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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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