UNJ Ketikan

8/6/2019 UNJ Ketikan

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Frog Handstand ( Tip-Up )

Squat down on the mat, placing the hands flat, with fingers pointing forward and elbows inside

and pressed against the inner part of the knees. Lean forward, using the leverage of the elbows

Against the knees, and balance on the hands ( Figure 20.54 ). Hold for 5 seconds. Return to position. The

head does not touch the mat at any time. The hands may be turned in slightly if this makes better contact

between elbows and the insides of the thighs.( This stunt follow from the three-Point Tip-Up ).

Half Teeter-Totter

This is continued lead-up activity for the handstand. Begin in the lunge position and shift the weight to

the hands. Kick the legs up in the air to a 135-degree angle, the return to the feet. This activity is similar

to the Switcheroo, except that the feet are kicked higher with out switching foot position.

Cartwheel

Start with the body in an erect position, arms outspread and legs shoulder width apart. Bend the body to

the right and place the right hand on the floor. Follow this, in sequence, by the left hands on the floor.

Follow this, in sequence, by the left hands, the left foot, and the right foot ( Figure 20.55 ). Perform with a

steady rhythm. Each body part should touch the floor at evenly spaced intervals. The body should be

straight and extended when in the inverted position. The entire body must be in the same plane throughout

the stunt, and the feet must pass directly overhead.

Children who have difficulty with the Cartwheel should be instructed to concentrate on taking the weight

of the body on the hands in succession. They need to get the feel of the weight support and later can

concentrate on getting the body into proper position. After the class has had some practice in doing

Cartwheels, a running approach with a skip can be added before takeoff.

In spotting, the spotter stands behind the performer and moves with her. To assist, the spotter assumes a

crossed-arm position and grasps the performer at the waist. The spotters arms uncross as the performer

wheels.

Gambar

Forward Roll ( Pike Position )

begin the piked Forward Roll in a standing pike position keep the legs straight and bend forward

at the hips. Place the hands on the mat. Keep the legs straight until nearing the end of the roll.

Bend at the knees to facilitate returning to the feet.

Forward Roll Combinations

Review the Forward Roll, with increased emphasis on proper form. Combination such as the

following can be introduced.


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1. Do a Forward Roll preceded by short run.

2. Do two Forward Roll in succession.

3. Do a Leapfrog (p.478) plus a Forward Roll.

4. Do a Forward Roll to a vertical jump in the air, and repeat.

5. Do a Rabbit Jump plus a Forward Roll

6. Hold the toes while doing a Forward Roll

Backward Roll Combinations

Review the Backward Roll. Continue emphasis on the Push-Off with the hands. Combinations to

be taught are these.

1. Do a Backward roll to a standing position. A strong push by the hands is neceeary to provide

enough momentum to land on the feet.

2. Do two Backward Rolls in succession.

3. Do a Crab Walk into a Backward Roll.

4. Add a jump in the air at the completion of a Backward Roll.

Headstand Practice and Variations

Continue work on the Headstand. Try the following variactions. ( Spot as needed. )

Variations :

1. Clap the hands and recover. The weight must be shifted momentarily to the head for the clap. (

Some children will be able to clap the hands twice before recovery. )

2. Used different leg positions- legs split sideward, legs split forward and backward ( Figure

20.56), and knees bent.

FIGURE 20.56 Headstand variation

3. Holding a utility ball or a beanbag between the legs, go into the Headstand, retaining control

of the ball.

Teeter-Totter

The teeter-totter is the final lead-up activity for the Handstand. It is performed in a manner

similar to the Half Teeter-Totter, except that the feat are held together for a moment in the

handstand position before returning to the standing position.

Handstand

Start in the lunge position. Do a Teeter-Totter to the inverted position. The body, which is

extended in a line from the shoulders through the feet, should be kept straight with the head

down. It is helpful to teach the correct position first in a standing position with the arms overhead

and the ears between the arms.


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The Handstand can be done with double or single spotting. In double spotting, the spotters are

stationed on both sides of the performer. Each spotter should have a firm grip with one hand

beneath the performers shoulder. The other hand can assist the lift by upward pressure on the

thigh ( Figure 20.57). the performer walks the hips forward until they are over the hands and then

kicks up with one foot, pushing off with the other and raising that leg to join the first in the first

in the inverted position ( Figure 20.58 ). They rhythm is a one-two count.

FIGURE 20.57 Double spotting for the Handstand, first stage ( Note the hand support under the

Shoulders.)

FIGURE 20.58 Double spotting for the Handstand, second stage

In single spotting, the spotter takes a stride positions, with the forward knee bent somewhat (

Figure 20.59). the performers weight is transferred over the hands, and the body goes into the

handstand position with a one-two kick-up. The spotter catches the legs and holds the performer

in inverted position ( Figure 20.60 ).

FIGURE 20.59 Single spotting for the Handstand, first stage ( The performers shoulder is

against spotters leg.)

FIGURE 20.60 Single spotting for the Handstand, second stage ( Note knee pressure against

performers shoulder.)

Balance Stunts

One-Leg Balance Reverse

Assume a forward balance positions (p.457). in a quick movement, to give momentum, swing the

free leg down and change to the same forward balance position facing in the opposite direction (

a 180-deegre turn) ( Figure 20.61). no unnecessary movement of the supporting foot should be

made after the turn is completed. The swinging foot should not touch the floor.

FIGURE 20.61 One-Leg Balance Reverse

Tummy Balance

Lie prone on the floor with arms outstretched forward or to the sides, with palms down. Raise the

arms, head, chest, and legs from the floor and balance on the tummy (Figure 20.62). The knees

should be kept straight.

FIGURE 20.62 Tummy Balance

Leg Dip

Extend both hands and one leg forward, balancing on the other leg. Lower the body to sit on the

head and return without losing the balance or touching the floor with any part of the body. Try


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with the other foot. ( Another child can assist from the back by applying upward pressure to the

elbows. )

Balance Jump

With hands and arms out to the sides and body parallel to the ground, extend one leg back and

balance the weight on the other leg ( Figure 20.63). Quickly change balance to other foot,

maintraining the initial position but with the fest exchanged ( Figure 20.64). Keep the body

parallel to the ground during the change of legs. Try with arms outstretched forward. Working in

pairs might be helpful. One student critiques the others performance to make sure the arms and

body are straight and parallel to the floor.

FIGURE 20.63 Balance Jump, starting position

FIGURE 20.64 Balance Jump

Seat Balance

Sit on the floor, holding the ankles in front, with elbows inside the knees. The feet are flat on the

floor, and the knees are bent at approximately a right angle. Raise the legs (toes pointed) so that

knees are straight (Figure 20.65). and balance on the seat for 5 seconds.

FIGURE 20.65 Seat Balance

Face-to-Knee Touch

Begin in a standing position with feet together. Placing the hands on the hips, balance on one

foot. With the other leg extended backward. Bend the trunks forward and touch the knee of the

supporting leg with the forehead (Figure 20.60). Recover to original position.

Teacher can have the children begin by keeping the arms away from the sides for balance and

then stipulate the hands-on-hips position later. In the learning stages, assistance can be given

from behind by supporting the lag extended backward, or the child can place one hand against a

wall.

FIGURE 20.67 Finger Touch

Finger Touch

Put the right hand behind the back with the index finger straight and pointed down. Grasp the

right write with the left hand. From an erect position with the feet about 6 in. apart, squat down

and touch the floor with the index finger (Figure 20.67). Regain the erect position without losing

balance. Reverse hands. (in the learning stages, the teacher can use a book or the corner of a mat

to decrease the distance and make the touch easier.)

Individual Stunts

reach


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Individual Stunts

Reach-Under

Take a position with the feet pointed ahead (spaced about 2 ft apart) and toes against a line or a

floor board. Place a beanbag two boards in front of, and midway between, the feat. Without

changing the position of the feet, reach one hand behind and between the legs to pick up the

beanbag. Now pick up with the other hands. Repeat, moving the beanbag a board farther away

each time.

Variation : Allow the heels to lift off the floor. Use the other hands.

Stiff Person Bend

place the feet about shoulder width apart and pointed forward. Place a beanbag 6 in. behind the

left heel. Grasp the right toes with the right hand, thumb on top. Without bending knees, reach

the left hand outside the left leg and pick up the beanbag without releasing the hold on the right

toes. Gradually increase the distance of the reach. Reverse side (figure 20.68)

FIGURE 20.68 Stiff Person Bend

Coffee Grinder

Put one hand on the floor and extend the body to the floor on that side in a side-leaning rest

position. Walk around the hand, making a complete circle and keeping the body straight (Figure

20.69). The stunt should be done slowly, with controlled movements. The body should remain

straight throughout the circle movement.

Scooter

Sit on the floor with legs extended, arms folded in front of the chest, and chin held high. To

scoot, pull the seat toward the heels. Using heel pressure and lifting the seat slightly (Figure

20.70). extend the legs forward again and repeat the process. (This is an excellent activity for

abdominal development.)

Hip Walk

Sit in the same position as for the Scooter, but with arms in thrust position and hands making a

partial fist. Progress forward by alternate leg-seat movements. The arm-leg coordination is

unilateral.

FIGURE 20.69 Coffee Grinder

Long Bridge

Begin in a crouched position with hands on the floor and knees between the arms. Push the hands

forward a little at a time until an extended push-up position is reached (Figure 20.71). Return to

original position. (The teacher should challenge children to extend as far forward as they can and

still retain the support.)


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FIGURE 20.70 scooter

FIGURE 20.71 Long Bride

Variation:

1. Begin with a forward movement and then change to a sideward movement, establishingas wide a spread as possible.

2. Work from a crossed-hands position

Heelstand

Begin in a full-squat position with the arms dangling at the sides. Jump upward to full leg

extension with the weight on both heels and fling the arms out diagonally. Hold momentarily.

Then return to position (Figure 20.72). several movements can be done rhythmically in

succession.

Wicket Walk

Bend over and touch the floor with the weight evenly distributed on the hands and feet, thus

forming a wicket. Walk the wicket forward, backward, and sideward. Keep the arms and legs as

nearly vertical as possible (Figure 20.73). Be sure that the knees are reasonably straight, for the

stunt loses much of its flexibility value if he knees are bent too much. A common positioned too

far forward of the feet. (the stunt gets its name from the childs position, which resembles a

wicket in a croquet game.)

Knee Jump to Standing

Knell, with seat touching the heels and toes pointing backward (shoelaces against the floor).

Jump to standing position with a vigorous upward swing of the arms (Figure 20.74). it is easier

to jump from a smooth floor than from a mat, because the toes slide more readily on the floor.

Variation: jump to a standing position, doing a quarter turn in the air in one quick motion. Try a

half turn.

FIGURE 20.72 Heelstand

FIGURE 20.73 Wicket Walk

FIGURE 20.74 Knee Jump to Standing

Individual Drops or Falls

Drops, or falls, can challenge children to achieve good body control. Mats should be used. The

impact of forward fall is absorbed by hands and arms. During the fall, the body should maintain

a straight-line position. Make sure that little change in body angles occurs, particularly at the

knees and waist.

Knee Drop

Kneel on a mat, with the body upright. Raise the feet up. Off the floor, and fall forward, breaking

the fall with the hands and arms (Figure 20.75).

Forward Drop

From a forward balance position (p. 457) on one leg with the other leg extended backward and

the arms extended forward and up. Lean forward slowly. Bringing the arms toward the floor.

Continue to drop forward slowly until overbalanced, then let the hands and arms breaks the fall


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(Figure 20.76). the head is up and the extended leg is raised high, with knee joints kept

reasonably straight. Repeat, changing position of the legs.

FIGURE 20.76 Forward Drop

Dead Body Fall

Fall forward from an erect position to a down push-up position (Figure 20.77). a slight bend at

the waist is permissible, but the knees should be kept straight, and there should be no forward

movement of the feet.

FIGURE 20.77 Dead Body Fall

Stoop and Stretch

Hold a beanbag with both hands. Stand with heels against a line and feet about shoulder width

apart. Keeping the knees straight. Reach between the legs with the beanbag and place it as far

back as possible. Teach back and pick it up with both hands.

Variations:

1. Bend at the knees, using more of a squatting position during the reach.2. Use apiece of chalk instead of a beanbag. Reach back and make a mark on the floor. Try

writing a number or drawing a small circle or some other figure.

Tanglefoot

Stand with heels together and toes pointed out. Bend the trunk forward and extend both arms

down between the knees and around behind the ankles. Bring the hands around the outside of the

ankles from behind and touch the fingers to each other (Figure 20.78). Hold for a 5 second count.

Variation: instead of touching, clasp the fingers in front of the ankles. Hold this

position in goog balance for 5 seconds without releasing the handclasp.

Egg Roll

In a sitting position, assume the same clasped-hands position as for Tanglefoot. Roll sideways

over one shoulder, then to the back, then to the other shoulder and finally back up to the sitting

position (Figure 20.79). The movements are repeated in turn to make a full circle back to place.

The secret is a vigorous sideward movement to secure initial momentum. If mats ate used, two

should be placed side by side to cover the extent of the roll.(Some children can do this stunt

better from a crossed-ankle position.)

FIGURE 20. 79 Egg Roll

Toe Touch Nose

From a sitting position on the floor, touch the toes of either foot to the nose with the help of both

hands. Do firs one foot and then the other. More flexible youngsters will be able to place the foot

on top of the head or even behind the neck. Although this is a flexibility exercise, caution should

be used; the leg can be forced too far.


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Variation: Perform from a standing position. Touch the toes to the nose and return

the foot to original position without losing balance. Try the standing version with

eyes closed.

Toe Tug Walk

Bend over and grasp the toes with thumbs on top (Figure 20.80). Keep the knees bent slightly

and the eyes forward. Walk forward without losing the grip on the toes. Walk backward and

sideward to provide more challenge. Walk backward and sideward to provide more challenge.

Walk in various geometric patterns, such as a circle, triangle, or square. (This stunt can be

introduced in a n easier version by having the children grasp the ankles, thumbs on the insides.

And perform the desired movements.)

Variation: try ding the walk with the right hand grasping the left foot, and vice versa.

Partner and Group Stunts

Partner Hopping

Partner coordinate hopping movements for short distances and in different directions and turns.

Three combinations are suggested.

1. Stand facing each other. Extend the right leg forward to be grasped at the ankle bypartners left hand. Hold right hands and hop on the left leg (Figure 20.81)

2. Stand back to back. Left the leg backward, bending the knee, and have partner grasp theankle. Hop as before.

3. Stand side by side with inside arms arund each others waist. Lift the inside foot from thefloor and make progress by hopping on the outside foot.

If either partner begins to fall, the other should release the leg immediately. Reverse foot

positions.

Partner Twister

Partners face and grasp right hands as if shaking hands. One partner swings the left leg over the

head of the other and turns around, taking a straddle position over his partners (Figure 20.82).

the other swings his right leg over the first, who has bent over, and the partners are now back to

back. First partner continues with the right leg and faces in the original direction. Second partner

swings his left leg over the partners back to return to the original face-to-face position. Parteners

need to duck to avoid being kicked by each others feet as the legs are swung over.

FIGURE 20.81 Partner Hopping

FIGURE 20.82 Partner Twister

Variation: the stunt can be introduced by grasping a wand instead of holding hands.

Partner Pull-Up

Partners sit facing each other in a bent-knee position, with heels on the floor and toes touching.

Pulling cooperatively, they come to a standing position (Figure 20.83)

Variation: try with feet flat on the floor.

Chinese Get-Up


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Partners sit back to back and lock arms. From this position, ther try to stand by pushing against

each others back (Figure 20.84). Sit down again. If the feet are sliding, do the stunt on a mat

FIGURE 20.83 Partner Pull-Up

Variation:

1. Try with three or four children2. Try from a halfway-down position, and move like a spider.

Rowboat

Partners sit on the floor or on a mat, facing each other with legs apart and feet touching. Both

grasp a wand with both hands. Pretend to row a boat . seek a wide range of movement in the

forward-backward rowing motion. (the stunt can be done without a wand by having the children

grasp hands.)

FIGURE 20.84 Chinese Get-Up

FIGURE 20.85 High, medium, and low leapfrog positions

Leapfrog

One student forms a back. A leaper takes a running start, lays her hands flat on the back at the

shoulders, and vaults over the low student. Backs are formed at various heights (Figure 20.85). to

form a low back, crouch down on the knees, curling into a tight ball with the head tucked well

down. To form a medium back, reach down the outside of the legs from a standing position and

grasp the ankles. The feet should be reasonably spread in order to absorb the shock of the leaper.

To form a high back, stand stiff-legged, bend over, and brace arms against the knees. The feet

should be spread, the head down, and the body braced to absorb the vault.

Leapfrog is a traditional physical education activity, but the movement is actually a jump-

and-vault pattern. The takeoff must be made with both feet. At the height of the jump, the chest

and head must be held erect to avoid a forward fall. The teacher should emphasize a forceful

jump to achieve height, coordinated with light hand pressure to vault over the back. Landing

should be done lightly and under good control, with a bent-knee action.

Variations:

1. Work in pairs. Alternate leaping and forming the back while progressing around theroom.

2. Have more than one back for a series of jumps.3. Using the medium back, vault from the side rather than from the front. The vaulters legs

must be well spread, and the back must keep the head well tucked down.

4. Following the Leapfrog, do a Forward Roll on a mat

FIGURE 20.86 Wheelbarrow

Wheelbarrow

One partner gets down on the hands with feet extended to the rear and legs apart. the other (the

pusher) grasp partners legs about halfway between the ankles and the knees. The wheelbarrow


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walks forward on the hands. Supported by the pusher (Figure 20.86). movements should be

under good control.

Children have a tendency to grasp the legs too near the feet. The pusher must not push

too fast. The wheelbarrow should have the head up and look forward. Fingers should be pointed

forward and well spread, with the pads of the fingers supporting much of the weight. The pusher

should carry the legs low and keep the arms extended.

Wheelbarrow Lifting

Partners assume the wheelbarrow position. The pusher lifts partners legs as high as possible

without changing the hand position. The pusher should be able to lift the legs enough so that the

lower childs body is at an angle of about 45 degrees to the floor.

Variation: the pusher brings the legs up to the level described, changes the handgrip to a

pushing one, and continues to raise the lower child toward a handstand position. The

lower child keeps the arms and body straight.

Camel Lift and Walk

In the wheelbarrow position, the wheelbarrow raises her seat as high as possible, forming a

camel. The camel can lower herself or walk in the raised position.

Dump the Wheelbarrow

Get into the wheelbarrow position. Walk the wheelbarrow over to a mat. The lower child ducks

the head (chin to waist). Raises the seat (bending at the waist). And exits from the stunt with a

Forward Roll. The pusher gives a little push and a lift of the feet to help supply momentum.

Dromedary Walk

One child (the support) gets down on the hands and knees. The other child sites on herm facing

the rear, and fixes the legs around the supports chest. The top child leans forward, so that she

can grasp the back of the supports ankles. Her arms are reasonably extended (Figure 20.87). the

support takes the weight off the knees and walks forward with the top childs help.

Centipede

On child, the stronger and larger individual, gets down on the hands and knees. The other child

gates the same direction and places the hands about 2 ft in front of the supports. he then places

his legs and body on top of the support. The knees should be spread apart and the heels locked

together. The centipede walks with the top child using hands only and the supporting child using

both hands and feet. The support should gather the legs well under while walking and not be on

the knees.

Variation: More than two can to this stunt (Figure 20.88). After getting into position, the

players should keep step by calling Right and Left out loud

FIGURE 20.87 Dromedary Walk


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FIGURE 20.88 Centipede

Double Wheelbarrow

Two children assume the same position as for the Centipede, except that the under child has the

legs extended to the rear and the feet apart. A third child stands between the legs under child,

reaches down, and picks up the legs of the lower child (Figure 20.89). the Double Wheelbarrow

moves forward with right and left arms moving together.

An easy way to get into position for this activity is to form the front of the wheelbarrow

firt and then to pick up the legs of the second child. This stunt usually is done by three children

but can be done by more.

FIGUR 20.89 Double Wheelbarrow

Partner Support Stunts

Several considerations are important in the conducting of partner support stunts at this level. The

lower child (the support) should keep the body as level as possible. This means widening the

hand base so that the shoulders are more nearly level with the hips. The support performer must

be strong enough to handle the support chores. Spotters are needed, particularly when the top

position involves a final erect or inverted pose. The top child should avoid stepping on the small

of the lower childs back. In the Lighthouse and the HIP-Shoulder Stand, the top performer can

remove the shoes, making the standing position more comfortable for the support. When holding

the final pose, the top child should fix the gaze forward and relax as much as possible while

maintaining the position.

FIGURE 20.90 Double Bear

Double Bear

The bottom child gets down on the hands and knees. The top child assumes the same position

directly above the support, with hands on the shoulders and knees on the hips of the support

(Figure 20.90). Touch up the final position by holding heads up and backs straight

Table

The bottom performer assumes a crab position. The top performer straddles this base, facing the

rear, and passions the hand on the bases shoulders, fingers pointing toward the ground. She then

places her feet on top of bases knees, forming one crab position on top of another (Figure

20.91). As a final touch, the heads are positioned so that the eyes look up toward the ceiling, and

the seats are lifted so that the backs are straight.

FIGURE 20.91 Table

Statue

The first child gets down in crab position. The second child straddles either foot, facing the child

in crab position. With the help of a third person, he mounts each knee of the base child so that

the statue is standing erect (Figure 20.92).hold the position for a few seconds. Partners should be


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facing each other. The top child should not mount with back toward the base child.(Spotters are

important and must not be eliminated until the stunt is mastered).

FIGURE 20.92 Statue

FIGURE 20.93 Lighthouse

Lighthouse

The support gets down on the hands and knees. The top child completes the figure by standing

on the supports shoulders and facing in the same direction. The lighthouse stands erect with

hands out to the sides (Figure 20.93).

Variation: the support turns around in a small circle, while the partner keeps the standing

balance.

Hip-Shoulder Stand

The support is on the hands and knees, with hands positioned out somewhat so that the back Is

level. The top child faces to the side and steps up, first with one foot on supports hips and then

with the other on the shoulder (Figure 20.94)

A spotter should stand on the opposite side and aid in the mounting. Care must be taken

to avoid stepping on the small of the supports back.

DEVELOPMENT LEVEL III

Children at this level should be skillful in both the forward and the Backward Roll. Routines

involving these rolls can be expanded. The Judo Roll, Cartwheel with Round-Off, and Eskimo

Roll continue the mat-type activities. Improvement in the Headstand is expected. Such stunts as

the Headspring, Front Seat Support, Elbow Balance, Straddle Press to Headstand, and Walk-

Over provide sufficient breadth for even the most skilled. It is unrealistic expect all children to

accomplish the entire list of stunts at this level.

Particular attention should be paid to the gymnastic type stunts. Although there is still

opportunity at this level for exploration and individual expression, more emphasis is placed on

execution, conformity, and form.

FIGURE 20.94 Hip-Shoulder Stand

Tumbling and Inverted Balances

Forward and Backward Roll Combination

Combination from the developmental level II should be reviewed. The following routines can be

added.

1. Begin with a Forward Roll, coming to a standing position with feet cross the feet and tobring the back in the line of direction for a Backward Roll (Figure 20.95)

2. Hold the toes, heels, ankles, or a wand while rolling. Use different arm possitons, such asout to the sides or folded across the chest. Use a wide straddle position for both the

Forward Roll and the Backward Roll.


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Back Extension

Carry the Backward Roll to the point where the feet are above and over the head. Push off

vigorously with the hands, shoot the feet into the air, and land on the feet.

Headstand Variations

Review the various aspects of the Headstand, using the single-spotter technique as needed. Vary

with different leg positions. Add the two-foot recovery. After the stand has been held, recovery

by bending at the waist and knees, pushing off with the hands, and landing on the feet back in

the original position.

Handstand Against a Wall

Using a wall as support, do a Handstand. The arms must be kept straight, with the head between

the arms (Figure 20.96). some performers like to bend the knees so that the soles of the feet are

against the wall.

A critical point in the Handstand Against a Wall is to position the hands the correct

distance from the wall. It is better to be too close than to far. Being too far can cause the

performer to collapse before the feet gain the support of the wall. A mat should be used in the

preliminary stages.

FIGURE 20.95 Alternating Forward and Backward Rolls

Freestanding Handstand

Perform a Handstand without support. Students must learn to turn the body when a fall is

imminent, so that they land on the feet. (Spotters can be used to prevent an awkward fall). Move

the hands to help control the balance.

FIGURE 20.96 Handstand Against a Wall

Cartwheel and Round-Off

Practice the Cartwheel, adding a light run with a skip for a takeoff. To change to a Round-Off,

place the hands somewhat closer together during the early Cartwheel action. Bring the feet

together and make a quarter turn to land on both feet, with the body facing the starting point. The

Round-Off can be followed by a Backward Roll.

Judo Roll

For a left Judo Roll, stand facing the mat with the feet well apart and the left arm extended at

shoulder height. Bring the arm down ad throw the left shoulder toward the mat in a rolling

motion, with the roll made on the shoulder and the upper part of the back (Figure 20.97). reverse

for a right Judo Roll. Both right and a double foot takeoff should be practiced. Later, a short run

and a doublefoot takeoff should precede the roll. The Judo Roll is a basic safety device to

prevent injury from tripping and falling. Rolling and raking the fall lessen the chances of injury.

The Judo Roll is essentially a Forward Roll with the head turned to one side. The pint of impact

is the back of one shoulder and the finish is return to the standing position.


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Variations:

1. Roll to the feet and to a ready position2. Place a beanbag about 3 ft in front of yourself and go beyond the bag to start the roll

Advanced Forward and Backward

Roll Combination

Put together different combination of Forward Rolls and Backward Rolls. The emphasis should

be on choice, exploration, and self-discovery. Variations can involve different approaxhes,

execution acts, and finishes. Try the following variations of the Forward Roll.

1. Roll while holding the toes, heels, ankles, or a wand.2. As above, but cross the hands.3. Roll with hands on the knees or with a ball between the knees.4. Roll with arms at the sides, folded across the chest, or on the back of thighs.5. Press forward from a front-leaning rest position and go into the roll

Try the following suggestions with the Backward Roll

1. Begin with a Stiff-Legged Sitdown and go into the roll.2. Push off into a Back Extension (p.482), landing on the feet3. Roll to a finish on one foot only.4. Roll with hands clasped behind the neck5. Roll with a ball between the knees6. Walk backward using a Crab Walk and then roll

In addition to these, combine Forward Rolls with Backward Rolls in various ways.

Developing Gymnastic Routines

The teacher can put together in sequence various stunts and other movements. The problems

might be structured like these.

1. Specify the number and kind of stunts and movements to be done and the sequence to befollowed. For example, tell the child to do a balance stunt, a locomotor movement, and a

rolling stunt.

2. Arrange the mats in some prescribed order so that they become the key to the movementproblems. Two or three might be placed in succession, three formation, there should be

some space between mats, depending on the conditions stated in the problem. The

problem could be presented like this: On the first mat, do a Forward Roll variation and

then a movement to the next mat on all fours. On the second mat, do some kind of

balance stunt, and then proceed to the next mat with a jumping or hopping movement. On

the third at, you have a choice of activity. The Problem can also be stated in more

general terms, and the children can do a different stunt or variation on each mat and a

different movement between mats.

3. Have partners work out a series of stunts. The paired children should be of equal size andstrength, so that they can alternate as the support. If the children are of different sizes, the

larger child can provide support for the smaller, and a third child may act s a spotter to


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take care of safety factors. After the children have practiced for a period of time, each

partnership can demonstrate the routines they have developed.

Straddle Press to Headstand

Begin by placing the hands and head in the triangular headstand position. The feet are in a wide

straddle position and the hips are up. Raise the hips slowly by pressing to appoint over the base

of support. Slowly raise the legs to a straddle position and finish with the legs brought together in

regular headstand position. All movement is done as a slow, controlled action (This is a more

difficult stunt than the regular Headstand).

Handstand Variations

The first two stages of the Handstand, done with double spotting and then single spotting with

knee support (pp 469-470), should be reviewed. Progression can then follow this order.

1. Single spotting, without knee support2. Handstand Against a Well3. Freestanding Handstand4. Walking on the Hands5. Stunts against a wall

For single spotting without knee support, the performer and the spotter face each other 4 or 5

ft apart. The performer lifts both arm and the left leg upward as a preliminary move, with the

weight shifted to the right leg. The lifted arms and forward leg come down forcefully to the

ground, with the weight shifted in succession to the left leg and then to the arms. The right

leg is kicked backward and upward for initial momentum and is followed quickly by the left

leg. The downward thrust of the arms, coupled with the upward thrust of the legs, inverts the

body to the handstand position. The placement of the hands should be about 2 ft in front of

the spotter, who reaches forward and catches the performer between the knees and the ankles

( Figure 20.98)

FIGURE 20.98 Single spotting for the Handstand

FIGURE 20.99 Headspring

Headspring

With forehead and hands on the mat and knees bent, lean forward until almost overbalanced.

As the weight begins to overbalance, raise the feet sharply and snap forward , pushing with

the hands. As the feet begin to touch the ground, snap the body to a bent-knee position

(Figure 20.99). keep control of balance and rise to a standing position.

Two spotters should be used, one on each side of the performer. Each spotter places one

hand under the performers back and the performer a lift under the shoulders to help him

snap to the standing position.

Some instructors like to introduce this stunt going over a rolled-up mat, which provides more

height for the turn. A slight run may be needed to get the proper momentum.


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Walking on the Hands

Walk on the hands In forward direction, bending the knees slightly, if desired, for balance.

(Walking can be done first with a spotter supporting, but this support should be minimal.)

Variation: Walk on the hands, using a partner. The performer does a Handstand and the

partner catches her feet. The performer then walks the hands forward until they are on the

partners feet. The two cooperatively.

Walk-Over

Do preliminary movements as if for the Handstand. Let the legs continue beyond the

handstand position and contact the floor with a one-two rhythm. The body must be well

arched as the leading foot touches the floor. Push off with the hands and walk out. (A spotter

can support under the small of the back).

Balance Stunts

V-Up

Lie on the back, with arms overhead and extended. Keeping the knees straight and the feet

pointed, bring the legs and the upper body up at the same time to form a V shape. The entire

weight is balanced on the seat (Figure 20.100). hold the position for 5 seconds.

This exercise, like the Curl-Up, is excellent for development of the abdominal muscles. It

is quite similar to the Seat Balance except for the starting position.

Variation: Place the hands on the floor in back for support. (This makes an easier stunt

for those having trouble).

Push-Up Variations

Begin the development of push-up variations by reviewing proper push-up techniques. The

only movement is in the arms. The body should come close to, but not touch, the floor.

Explore the following variations.

MONKEY PUSH-UP

Point the fingers toward each other. Next, bring the hands close enough for the fingertips to

touch.

CIRLE-O PUSH-UP

Form a circle with each thumb and forefinger.

FIGURE 20.100 V-UP

FINGERTIP PUSH-UP

Get up high on the fingertips

DIFFERENT FINGER COMBINATION

Do a Push-Up using the thumb and three or two finger only

EXTENDED PUSH-UP

Cross the arms. Cross the legs. Cross both

ONE-LEGGED PUSH-UP


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The Elbow Balance presents a considerable challenge. The teacher should take time to

discuss the location of the center of gravity. The elbow support pint should divede the upper and

lower body mass.

FIGURE 20.105 Elbow Balance

Individual Stunts

Walk Walk-Up

From a push-up position with feet against a wall, walk up the wall backward to a handstand

position (Figure 20.106). Walk down again.

FIGURE 20.106 Walk Walk-Up

Skiers Sit

Assume a sitting position against a wall with the thighs parallel to the floor and the knee joints at

right angles. (The position is the same as if sitting in a chair, but of course, there is no chair.) The

arms are held in front of the chest. The feet should be flat on the floor and the lower legs straight

up and down (Figure 20.107). Try to sit for 30 seconds, 45 seconds, and 1 minute.

The Skiers Sit is an isometric type of activity and is excellent for developing the knee extensor

muscles. It is done by skiers to develop the muscles used in skiing.

FIGURE 20.107 Skiers Sit

Variation : Support the body with crossed legs. A more difficult stunt is to support the body on

one leg. With the other leg extended forward.

Rocking horse

Lie facedown on a mat with arms extended overhead, palms down. With back arched, rock back

and forth (Figure 20.108). (Some children may need to have someone start them rocking)

Variation: Reach back and grasp the insteps with the hands. (The body arch is more difficult to

maintain in this position.) Also try rocking from a side position.

FIGURE 20.108 Rocking Horse

Heel Click (Side)

Balance on one foot, with the other out to the side. Hop on the supporting foot, click the heels,

and return to balance. Try with the other foot.

The child should recover to the one-foot balance position without excessive foot

movement. The teacher should insist on good balance.

Variations:

1. Perform the rope jump with a partner2. Jump using different foot patterns (e.g., one foot or alternate feet ) and using slow and

fast time.

3. Establish standards for declaring a class champion in different areas. Some categoriescould be maximum number of turns in 30 seconds, most unique routine, and most jumps

without a miss.

FIGURE 20.111 Circular Rope Jump


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Bouncer

Start in push-up position. Bounce up and down with the hands and feet leaving the ground at the

same time. Try clapping while doing this. Move in various directions. Turn around.

Pretzel

Touch the back of the head with the toes by raising the head and trunk and bringing the feet to

the back of the head. Try first to bring the toes close enough to the head so the head-to-toe

distance can be measured by another child with a handspan (the distance between the thumb and

little finger when spread) (Figure 20.112). If this distance is met, then try touching one or both

feet to the back of the head.

FIGURE 20.112 Pretzel

Jackknife

Stand erect with hands out level to the front and a little to the side. Jump up and bring the feet up

quickly to touch the hands. Vary by starting with a short run. Be sure the feet come up the

hands, rather than the hands moving down to the feet (Figure 20.113). Do several Jackknives in

succession. The takeoff must be with both feet, and good height must be achieved.

FIGURE 20.113 Jackknife

Heel-and-Toe Spring

Place the heels against a line. Jump backward over the line while bent over and grasping the toes.

(Lean forward slightly to allow for impetus and then jump backward over the line.) Try jumping

forward to original position. To be successful, the child should retain the grasp on the toes. The

teacher can introduce the stunt by first having the children grasp their ankles when making the

jumps. This is less difficult.

Single-Leg Circle (Pinwheel)

Assume a squatting position, with both hands on the floor, left knee between the arms and right

leg extended to the side. Swing the right leg forward and under the lifted right arm, under the left

leg and arm, and back to starting position (Figure 20.114). Several circles should be made in

succession. Reverse position and try with the left leg.

FIGURE 20.114 Single-Leg Circle

FIGURE 20.116 Eskimo Roll

Partner and Group Stunts

Double Scooter

Two children about the same size face each other, sitting on each others feet (Figure 20.115).

with arms joined, scoot forward or backward with cooperative movements. When one child

moves his seat, the other child should help by lifting with her feet. Progress is made by

alternately flexing and extending the knees and hips. (Review the Scooter [p. 473] before doing

this stunt.)

FIGURE 20.115 Double Scooter

Eskimo Roll (Double Roll)


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One child lies on a mat with his feet in the direction of the roll. The other takes a position with

feet on either side of the first childs head. The first child reaches back and grasps the others

ankles with thumbs on the inside and then raises his own feet, so that the other child can

similarly grasp his ankles. The second child propels her hunched body forward, while the first

sits up and takes the position originally held by the other (Figure 20.116). Position are then

reversed and the roll continues.

Be sure that the top child hunches well and ducks the head to cushion the roll on the back

of the neck and shoulder. Also, when the top child propels herself forward, bent arms should

momentarily take the weight. It is important that the underneath child keep his knees bent.

Tandem Bicycle

One child forms a bicycle position, with back against a wall and knees bent, as if sitting. The feet

should be placed under the body. The second child backs up and sits down lightly on the first

childs knees. Other children may be added in the same fashion, their hands around the waist of

the player immediately in front for support (Figure 20.117). Forward progress is made by

moving the feet on the same side together.

FIGURE 20.117 Tandem Bicycle

Circle High Jump

Stand in circles of three, each circle having children of somewhat equal height. Join hands. One

child tries to jump over the opposite pair of joined hands (Figure 20.118). To be completely

successful, each circle must have each child jump forward in turn over the opposite pair of joined

hands.(Jumping backward lift is necessary. Try two small preliminary jumps before exploiding

into the jump over the joined hands.

FIGURE 20.118 Circle High Jump

Variation: Precede the jump with a short run by the group. A signal can be sounded so that all

know when the jump is to occur during the run.

Stick Carries

Children of similar weight stand in groups of three, each group having a study broom handle

about 4 ft long. Using movement exploration techniques, two of the children carry the third with

the broom handle (Figure 20.119). The child who is carried may be partially or wholly supported

by the handle. Exchange positions. (It is better to use special sticks for this purpose because

ordinary wands may break.)

FIGURE 20.119 Sick carry


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Two-Way Wheelbarow

One child two wheelbarrows, but with one in front and one behind. The child secures the front

wheelbarrow first in a normal whelbarow position. The back wheelbarrow assumes position by

placing the ankles over the already established hand position of the holder (Figure 20.120). (

review the varios wheelbarrow activites [pp.478-480] before doing this stunt.)

FIGURE 20.120 Two-Way wheelbarrow

Partner Rising Sun

Partner lie facedown on the floor, with heads together and feet in opposite directions. They hold

a volleyball or a basketball ( or a ball of similar size ) between their heads (Figure 20.121).

working together, they stand up and return to position while retaining control of the ball. Do not

touch the ball with the hands.

A slightly defiated ball works best. Some caution is necessary to prevent bumping heads if the

ball is suddenly squeezed out.

FIGURE 20.121 Partner Rising sun

Triple Roll

Three children get down on their hands and knees on a mat, with heads all in the same direction

to one of the sides. The performers are about 4 ft apart. Each is numbered-1,2, or 3- with the

number 3 is on the left. Number 1 starts rolling toward and over the player beneath him.

Numbered 2 is then in the center and rolls toward number 3, who projects himself upward and

over number 2. Number 3, in the center, rolls toward and under number 1, who, after clearing

number 3, is back in the center. Each performer in the senter thus rolls toward an under the

outside performer (figure, 20.122). (Review the Side Roll [p.453] before doing this stunt.)

The children should be taught that as soon as they roll to the outside, they must get ready to go

over the oncoming child from the center. There is no time for delay. The upward projection of

the body to allow the rolling child to go under is important.

FIGURE 20.122 Triple Roll

Quituplet Roll

Five children can make up a roll series. They are numbered 1 througt 5, as shown in Figure.

They are numbered 1 through 5, as shown in Figure 20.123 Numbers 3 and 5 begin by going

over number 2 and 4, respectively, who roll under. Number 1 goes over number 3 as soon as she

appears. Each then continues to go alternately over and under.

FIGURE 20.123 Quintuplet Roll

Dead person Lift

One child lies on her back, with body stiff and arms at the side. Two helpers stand, one on each

side of the dead person, with hands at the neck and fingers touching. Working together (Figure

20.124). From this position, the child is released and falls forward in a Dead Body Fall.


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Injured Person Carry

The injured child lies on the back. Six children, these on each side, kneel down to do the carry.

The lifers work their hands, palms upward, under the person to form a human stretcher, then they

lift her up (Figure 20.125). (The injured child must maintain a stiff position.) They walk a

short distance and set the person down carefully.

FIGURE 20.124 dead person lift

FIGURE 20.125 Injured Person Carry

Merry-Go-Round

From 8 to 12 children are needed. Half of the children form a circle with joined hands, using a

wrist grip. The remaining children drape themselves (each over a pair of the joined) to become

riders. The riders stretch out their bodies, faces up, toward the center of the circle, with the

weight on the heels. Each rider then leans back on a pair of joined hands and connects hands,

behind the circle of standing children, with the riders on either side. There are two sets of joined

hands-the firs circle, or merry-go-round, and the rider (Figure 20.126). the movement of the

Merry-Go-Round is counterclockwise,. The children, who provide the support, use sidesteps.

The riders keep pace, taking small steps with their heels.

FIGURE 20.126 Merry-Go-Round

Partner Support Stunts

The basic instruction for partner support stunts (p.480) should be reviewed.

Back Layout

The under, or support, partner lies on the back, with arms outstretched and palms down for

support. The legs are raised, and the feet are positioned as if pushing up the ceiling. The support

bends the knees and the prtner lies back, resting the small of the back on supports soles. The top

partner balance and body in a slight curve. The bottom partner reaches up and gives support to

the top childs arms to provide stability (Figure 20.127). ( A spotter can help position the top

partner.)

Front Sit

The support gets down in the same position as for the Back Layout. The top partner straddles the

support so that the support and the top partner are looking at each other. The top partner backs up

to sit on supports feet. As the support raises the top partner into a seated position, the top partner

extends the legs forward so that the support can reach up and grasp them to stabilize the seated

position (Figure 20.128). (Suporting should be done from behind. )


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Flying Dutchman

The support takes a position as for the Back Layout. The top child takes a position facing the

support, grasping supports hends and the saime time bending over supports feet. The support

then raises the top partner from the floor by extending the knees. The top child arches the back

and can then release the grip and put the arms out level to the sides in flying position (Figure

20.129) A little experimentation determines the best place for the foot support. (Spotting should

be available for getting into position and for safety.)

Knee-and-Soulder Balance

The support partner is on his back, knees well up and feet flat on the floor. He puts the hands out,

ready to support the shoulders of the top child. The top child takes a position in front of the

supported by the hands of the bottom partner, and he kicks up (Figure 20.130).

FIGURE 20.129 Fling Dutcman

Press

The bottom partner lies on the back, with knees bent and feet on the floor. The top partner takes

a straddle position over the bottom partner, facing the supports feet. Performers then join hands

with each other. The top partner sits on the joined hands, supported by the bottom partner, and

rests the legs across the bottom partner knees (Figure 20.131). Both performers should keep the

elbows quite straight. Hold for a specified time.

FIGURE 20.130 Knee-and-Shoulders Balance

FIGURE 20.131 Press

All-Fours Support

The bottom performer lies on the backi with legs apart and knees up. The hands are positioned

close to the shoulders with palms up. The top performer stands on the partners palms and leans

forward, placing his hands on the support performers knees. The support raises the top

performers by lifting with the arms. The top performers is the in an all-Fours position, wiyh feet

supported by the bottom performers extended arms and hands supported by the bottom

performers knees. (Figure 20.132).

FIGURE 20.132 All-Fours Support

Angel

The top performer stands in front of the support partner. Boath face the same direction. The

support squats down, placing the head between the legs of the top performers. Support rises, so

that the top partner is sitting on supports shoulders. The top performers then proceeds to take a

position on supports knees. Support must lean well cack for balance, removing the head from

between the top performers legs. The top performers stands erect on supports knees, with arms

held level out to side. The bottom performer takes hold of the tops thighs and leans back to


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place the pose in balance (Figure 20.133). Hold for 5 seconds. ( children need to experiment to

determine the beast to achieve the final position.)

Side Stand

The support partner gets down on the hands and knees to forms a rigid. The top performer stands

to the side, bends over the supports back, and hooks the hands, palms up, well undermeath the

supports chest and waist. He leans across, steadying with the hands, and kick up on the far side.)

FIGURE 20.133 Angel

FIGURE 20.134 Side stand

Variation : The top performer, instead of hooking hands undermeath, graps the bottom

performers arm and leg.

Pyramids

Making pyramids is a pleasurable activity for children and uses skills learned in the stunts and

tumbling programs. Emphasis in this section is on smaller pyramid groups. Pyramids provide on

opportunity for creativity, since a variety of figures can be made. Stunts using only one

performer of pair should be practiced as apreliminary to pyramid building with three students.

The examples presented in Figure 20.135 A-F are compopssed of three performers; groups larger

than this are not recommended since it increases the potential for accidents.


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