A. TEACHING TECHNIQUES

In this chapter are presented suggestions and methods that should prove helpful in the teaching of tumbling in physical education classes. These suggestions are based on the composite opinions of the many experts with whom contact was made in the preliminary survey.

Use a short warm-up period. Just as for any other sport, there should be a short warm-up before strenuous action begins. This may consist of general class calisthenics or specific limbering exer­cises (simple tumbling stunts) for the unit in progress. Per­formers cannot be depended upon to warm up individually.

Use variations to impress the fundamentals of a stunt. Be­cause of the lack of adequate material, most instructors go through the elementary tumbling stunts too fast. Much time should be spent on these because they are basic to advanced tum­bling. Therefore, the authors have put with each page of illus­trated fundamentals a companion page with variations and group exercises. As the course progresses, unlimited possibilities for variations will be found in combinations of preceding stunts. By the use of variations, the performers may be given what appear to be many different stunts, to satisfy their short interest span; yet they will still be working on and improving the same set of fundamentals.

Teach tumbling stunts as parts of routines. It will be noticed, upon glancing at the illustrations in this book, that very little stress has been placed on a definite beginning and finishing form for each stunt. Each should be not an exercise within itself but part of a routine; hence all the illustrations were drawn so as to show progression within a routine.

Use definite progressions. The program presented herein has been built on definite progressions, which were set up only after careful study had been given to the difficulty, danger, and rate of transfer of training in each stunt. Each step within the progres­sion helps to develop the correct fundamentals for the execution of the most important one, which is usually at the end of the series. It is assumed that the proposed progressions are subject to change and adaptation by the instructor to fit the needs of various classes.

Stimulate group activity. In schools where companion tum­bling has been taught properly in physical education classes, it has proved very popular. It is only natural for performers to want to work together. Group stunts are particularly helpful in motivating the mediocre performer. The indifferent performer often will put forth his best efforts so as not to spoil a group stunt. The performers can learn most stunts best by working in pairs if they are really taught how to assist each other. When working in pairs or small groups, it is very important that the same part­ners work together, and that the same bottom men are used, so that mutual confidence is established between the performers.

The group stunts suggested in each of the units are very simple and merely serve to illustrate the various types of possible group progressions. Each one may serve as the beginning of a series to be developed to fit a given group of performers. It is well to have the routines begin and end at different places for the sake of variety. These group stunts may be done on a grass lawn, a wrestling mat, or several small mats placed together to form a square. This area should be from sixteen to twenty-five feet square, with the center circle five to eight feet in diameter. (See Group Stunt No. 1, p. 11.)

Supplementing this type of group tumbling, a wealth of pyramid work can be used successfully for exhibitions and dem­onstrations. Some group or squad might be asked to give a short demonstration each week during part of a class period. This would be an outlet for individual expression and a stimulus to do creative work with the stunts thus far mastered.

B. SAFETY TECHNIQUES

Safety techniques may be divided into two divisions: first, the knowledge and teaching techniques involved in preparation for teaching a stunt; and second, the active protective techniques during the performance of the stunt.

The preparatory techniques are the more important. The problem is analogous to that of health education, where preven­tion should always take precedence over cures. Many hazards are eliminated entirely if the proper progressions and knowledge of fundamentals are used.

The active safety techniques are often known as "spotting" skills. Two of these are particularly important. First, always assist the beginner through the exercise the first few times and gradually reduce the physical contact as he improves. The in­structor must guide the performer so that he will be sure to get the feeling of the whole performance from the beginning. Second, spotting is very much a matter of handling weights. Weights are always lifted with the big leg muscles, not with the arms or back. When a man lifts or catches a weight, he gets under it. In tum­bling, this means that the assistant or "spotter" must keep close to his man, get under his elbows in somersaults, and always be near enough to anticipate and prevent falls. Spotting at arm's length cannot be effective.

In this study it was found that certain principles govern the safety techniques as applied to all forms of stunt tumbling. These can be classified into three divisions: (1) those relating to the performer, (2) those relating to the instructor, and (3) those relating to the equipment used.

I. General safety principles relating to the performer.

1. Consider the performer as well as the exercise. Has he the right mental attitude for the stunt? Has he the proper physical development? Has he completed the preliminary work? Is he sick or tired today?
   
   
2. The confidence of the performer should be developed in him­ self and in the safety man. The instructor should personally initiate the timid beginner into the fundamentals of tum­ bling. Use none but dependable bottom men, and once they are picked, they should seldom be changed.
   
   
3. The performer should be taught never to try new stunts until he has completed the preliminary work and has been passed by the instructor.
   
   
4. The attention of the performer should always be kept away from the dangers of an exercise. He should be allowed to think only of the fundamentals for proper execution. Fear causes tension and distracts from the ability to concentrate on fundamentals.
   
   
5. The springboard is dangerous and its use should be per­ mitted only under the closest supervision of an experienced instructor.

II. General principles relating to the instructor.

1. Analyze each exercise for danger elements before trying to teach it.
   
   
2. Consider all the types of spotting technique for the exercise and decide on the most efficient.
   
   
3. Prevent jars and shocking surprises. A jarring fall on the back in the first attempt at the forward roll or hand stand may discourage a performer from attempting further tumbling.
   
   
4. Know where the lightest touch will give the maximum of con­ fidence. Give the performer the feeling of doing the exercise right. Too much assistance does not give the feeling of doing the stunt, and confidence is not established. The touch of the safety man, without any assistance at all, establishes much confidence in the learning stages.
   
   
5. Proper timing and position in relation to the performer throughout the exercise are of great importance. The safety man should be ready to help his charge at any time during the stunt.
   
   
6. The stronger arm of the safety man should be toward the greatest danger. There is a proper side from which to spot certain stunts.
   
   
7. When spotting on one knee, the knee away from the per­ former at the beginning of the exercise should be on the ground. This will enable the safety man to move with the performer in case he goes too far or falls forward at the finish of the stunt.
   
   
8. Know the predisposing danger signs. Learn to recognize fear and hesitation. Watch the performer, as he approaches, for squinting or closing the eyes, gritting the teeth, or clenching the fists.
   
   
9. Turn or guide the performer to a somewhat natural landing position instead of trying to break his fall. It is better that he fall out of balance forward than backward.
   
   
10. If a body is falling completely out of control, especially from a height, try to catch the main body mass instead of the arms or legs. Always center the support near the head end of the body.

III. General principles relating to equipment.

1. The instructor should always check on the set-up before the class begins, especially if it has been arranged by the students.
   
   
2. Have the proper thickness of mats for the type of stunts being taught.
   
   
3. Never allow mats to separate. This creates grave danger of sprained ankles.
   
   
4. Never place the end of a mat toward a wall or piece of ap­ paratus. Performers doing back handsprings or other fast routines often forget momentarily where they are and may crash into such obstructions.
   
   
5. The end of the mat should never face a bright window. The bright sunlight may blind a performer momentarily at a critical moment. This is especially true in companion work.
   
   
6. Long mats should have carpets trimmed with dark edges or made of a color contrasting with that of the mat.

Are You Ready To Move Onto The Next Lesson? Click Here...