chapter 3 observing fundamental movement...

Chap

ter

3

43Observing fundamental movement skills

What’s in this chapter?

This chapter introduces some ways to help youobserve and make judgements about thedevelopment of students’ fundamentalmovement skills.

The chapter includes a checklist for each of thetwelve fundamental movement skills to assist youin observing the skill components. It also includesprofessional development activities to help youto understand and recognise the components ofeach fundamental movement skill.

You should use the skills checklists and theprofessional development activities in thischapter along with the video, Get skilled: Getactive—Show me how. This video has examplesof students who are still developing and studentswho are already proficient in each fundamentalmovement skill.

Why should you observefundamental movement skills?

Teachers observe students in the classroom andthe playground performing a variety of skills. Youcan use these observations to make judgementsabout what students can or can’t do.

Observation is a valuable tool for teachingpurposes. When observing students’ fundamentalmovement skills, you can use the information youcollect to:

• plan and program lessons or activities for thewhole class, small groups or individuals

• assist individual students by providingfeedback about their performance

• evaluate the effectiveness of your teachingprogram.

Observing fundamentalmovement skills

How and when should youobserve fundamentalmovement skills?

When observing fundamental movement skillsit is useful to keep in mind the followingconsiderations.

• Observation should be part of the naturalteaching and learning situation. Observationneeds to be unobtrusive, as some studentsmay alter their movement pattern if they areaware that they are being observed.

• When observing students performingfundamental movement skills, you shouldfocus on how the movement looks or whichcomponents are evident in the performance,rather than on the final outcome of themovement, such as how fast the student ranor the accuracy of the throw.

• Observation should be objective. This willcome with practice and discussion withcolleagues. Ask a colleague to observeand make comments on the performanceof a small group of students. Compareyour observations with those of yourcolleague.

• Fundamental movement skills need to beobserved in a variety of contexts and over aperiod of time if you are to make a fairjudgement as to whether a skill has beenperformed proficiently. Observation shouldoccur in as many situations as possible and ina variety of contexts. This can include inphysical education lessons, in the playgroundor at sport.

Chapter 3

44

What do you need to observeabout fundamental movementskills?

The first step when observing students performfundamental movement skills, is to look at theoverall performance of a skill. The key to this is toask: Does it look right?

More detailed observations can be undertakenwhen you are familiar with the individualcomponents of the skill and there is a clearpurpose for these observations. For example, itmay be to provide feedback to students or toevaluate a unit of work focusing on kicking.

It is not necessary to be a specialist PE teacher orto have a strong background in sports to be ableto observe students and make judgements abouttheir performance of fundamental movementskills. Most teachers have a good idea of what aproficient performance looks like. It is the abilityto explain why a student doesn’t look right thatrequires a higher level of observational skill.

Introducing the checklists

Checklists have been provided in this resource tohelp you with your observation and to makejudgements about students’ proficiency infundamental movement skills. There are twelvechecklists. Each has the following features:

• An overall check to prompt you to look at thewhole movement as it is being performed. If itlooks right, in terms of smoothness and thecoordination of the movement, then it is likelythat you have observed a proficientperformance of that particular skill.

• Organisers along the top of the checklist,which provide a focal point for observations.These may be body parts (e.g. legs, arms, headand trunk), or phases of a movement (e.g.preparation, propulsion and follow-throughon landing). They are presented not in theorder in which the skill should be taught, butin the order in which they are observed.

• Components of the skill. Each skill is brokendown into either introductory components,which are the dark coloured boxes, or fine-tuning components, which are the lightcoloured boxes. See Chapter 2 for moreinformation about introductory and fine-tuning components. If a student’sperformance of a skill does not “look right”,then your observations should concentrate onthe individual components. The introductorycomponents are the ones that should be theinitial focus for teaching purposes. As thestudent progresses, you may need to focus onthe fine-tuning components.

• Photographs of the components, which modelproficient performance of the skill.

• A comments section to allow you to record yourobservations.

• A hints for observation box. This section givesyou information about:

• the instructions to give to students

• the best place for you to be positioned forobservation

• what is needed to complete the skill e.g.equipment.

Does it look right?

Chap

ter

3


Stat

ic b

alan

ce

12

35

13

4

Nam

eO

vera

ll ch

eck

Legs

Hea

d a

nd

tru

nk

Arm

sC

om

men

tsD

oes

it lo

ok

1. S

up

po

rt le

g2.

No

n-s

up

po

rt3.

Hea

d s

tab

le,

4.Tr

un

k st

able

5.N

o e

xces

sive

righ

t?st

ill,

foo

t fla

tle

g b

ent,

no

tey

es fo

cuse

san

d u

pri

ght.

arm

on

the

gro

un

d.

tou

chin

g th

efo

rwar

d.

mov

emen

ts.

sup

po

rt le

g.

= In

tro

du

cto

ry c

om

po

nen

ts=

Fin

e-tu

nin

g co

mp

on

ents

Hin

ts fo

r o

bse

rvat

ion

•In

stru

ctio

ns:

“W

atch

me

dem

on

stra

te h

ow I

w

ant y

ou

to b

alan

ce. N

ow s

tan

d o

n o

ne

leg

for

as lo

ng

as y

ou

can

or

un

til I

tell

you

to s

top.

”•

Ob

serv

atio

n p

osi

tio

n: T

o th

e fr

on

t.

Features of the checklist

Nam

e of

the

skill

Reco

rd s

tude

nts’

nam

es h

ere

Ove

rall

chec

k

Hin

ts fo

rob

serv

atio

n

Reco

rd y

our

obse

rvat

ions

her

e

Org

anis

ers

to p

rovi

de a

foca

l poi

nt fo

r you

rob

serv

atio

ns

Intr

oduc

tory

com

pone

nts

Fine

-tun

ing

com

pone

nts

Phot

ogra

phs

ofth

e sk

ill

46

12

34

51

34

Nam

eO

vera

ll ch

eck

Leg

sH

ead

and

trun

kAr

ms

Com

men

tsD

oes

it lo

ok

1.Su

pp

ort

leg

2.N

on

-su

pp

ort

3.H

ead

sta

ble

,4.

Tru

nk

stab

le5.

No

exc

essi

veri

ght?

still

, fo

ot f

lat

leg

ben

t, n

ot

eyes

focu

sed

and

up

righ

t.ar

mo

n th

e gr

ou

nd

.to

uch

ing

the

forw

ard

.m

ovem

ents

.su

pp

ort

leg.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

s tru

ctio

ns :

“W

atch

me

dem

on

s tra

te h

ow

Iw

ant

you

to

bal

ance

. Now

sta

nd

on

on

e le

g fo

ras

lon

g as

yo

u c

an o

r u

nti

l I te

ll yo

u to

sto

p.”

•O

bse

rvat

ion

po

siti

on

: To

the

fro

nt.

Stat

ic b

alan

ce

Chap

ter

3


14

56

23

Nam

eO

vera

ll ch

eck

Leg

sH

ead

and

trun

kAr

ms

Com

men

tsD

oes

it lo

ok

1.La

nd

s o

n b

all

2.N

on

-su

pp

ort

3.H

igh

kn

ee li

ft4.

Hea

d a

nd

5.E

lbow

s b

ent

6.A

rms

dri

veri

ght?

of t

he

foo

t.kn

ee b

end

s at

(th

igh

alm

ost

tru

nk

stab

le,

at 9

0º.

forw

ard

an

dle

ast 9

0º d

uri

ng

par

alle

l to

the

eyes

focu

sed

bac

k in

the

reco

very

gro

un

d).

forw

ard

.o

pp

osi

tio

n to

ph

ase.

the

legs

.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

s tru

ctio

ns :

“R

un

as

fas t

as

you

can

fro

m o

ne

end

to

ano

ther

.”•

Ob

serv

atio

n p

osi

tio

n: T

o th

e si

de

hal

fway

alo

ng,

an

d to

the

fro

nt

•N

eed

ed: A

flat

op

en a

rea,

ap

pro

xim

atel

y 20

met

res

lon

g.

Sprin

t run

48

12

34

56

Nam

eO

vera

ll ch

eck

Prep

arat

ion

Prop

ulsi

onLa

ndin

gCo

mm

ents

Do

es it

loo

k1.

Eyes

focu

sed

2.C

rou

ches

wit

h3.

Forc

efu

l4.

Legs

5.La

nd

s o

n6.

Co

ntr

olle

dri

ght?

forw

ard

or

knee

s b

ent

forw

ard

an

dst

raig

hte

n in

bal

ls o

f th

ela

nd

ing

wit

hu

pwar

dan

d a

rms

upw

ard

the

air.

feet

an

d b

end

sn

o m

ore

th

anth

rou

gho

ut

beh

ind

th

esw

ing

of t

he

the

knee

s to

on

e st

ep in

the

jum

p.b

od

y.ar

ms.

abso

rb la

nd

ing.

any

dir

ecti

on

.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“Ju

mp

as

hig

h a

s yo

u c

an.”

•O

bse

rvat

ion

po

siti

on

: To

the

sid

e.•

Ob

serv

e ap

pro

xim

atel

y fi

ve ju

mp

s: “

Rep

eat

un

til I

ask

yo

uto

sto

p.”

Vert

ical

jum

p

Chap

ter

3


12

34

56

Nam

eO

vera

ll ch

eck

Prep

arat

ion

Rece

ptio

nCo

mm

ents

Do

es it

loo

k1.

Eyes

focu

sed

2.Fe

et m

ove

to3.

Han

ds

mov

e4.

Han

ds

and

5.C

atch

es a

nd

6.E

lbow

s b

end

righ

t?o

n th

e o

bje

ctp

lace

the

bo

dy

to m

eet t

he

fin

gers

rel

axed

con

tro

ls th

eto

ab

sorb

the

thro

ugh

ou

tin

lin

e w

ith

ob

ject

.an

d s

ligh

tly

obje

ct w

ith

han

ds

forc

e o

f th

eth

e ca

tch

.th

e o

bje

ct.

cup

ped

to c

atch

on

ly (w

ell-

tim

edo

bje

ct.

the

ob

ject

.cl

osu

re).

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“C

atch

the

ob

ject

wit

h tw

o h

and

s.”

•O

bse

rvat

ion

po

siti

on

: To

th

e si

de

and

sli

ghtl

y to

war

ds

the

fro

nt (

45 d

egre

e an

gle)

.•

Nee

ded

: Sm

all,

soft

ob

ject

(Ye

ar 1

); te

nn

is b

all (

Year

3).

Catc

h

50

12

35

12

34

Nam

eO

vera

ll ch

eck

Leg

sH

ead

and

trun

kAr

ms

Com

men

tsD

oes

it lo

ok

1.Su

pp

ort

leg

2.La

nd

s an

d3.

No

n-s

up

po

rt4.

Hea

d s

tab

le,

5.A

rms

ben

tri

ght?

ben

ds

on

pu

shes

off

on

leg

ben

t an

dey

es fo

cuse

dan

d s

win

gla

nd

ing,

then

the

bal

l of t

he

swin

gs in

forw

ard

forw

ard

as

stra

igh

ten

s to

foo

t.rh

yth

m w

ith

thro

ugh

ou

tsu

pp

ort

leg

pu

sh o

ff.

the

sup

po

rt le

g.th

e ju

mp.

pu

shes

off

.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“H

op

fro

m o

ne

end

to th

e o

ther

.”•

Ob

serv

atio

n p

os i

tio

n:

On

th

e s u

pp

ort

sid

e,h

alfw

ay a

lon

g.•

Nee

ded

: A

fla

t o

pen

are

a ap

pro

xim

atel

y 15

met

res

lon

g.

Hop

Chap

ter

3


35

24

13

4

Nam

eO

vera

ll ch

eck

Leg

sH

ead

and

trun

kCo

mm

ents

Do

es it

loo

k1.

Smo

oth

2.B

rief

per

iod

3.W

eigh

t on

4.H

ips

and

5.H

ead

sta

ble

,ri

ght?

rhyt

hm

ical

wh

ere

bo

thth

e b

alls

of

sho

uld

ers

eyes

focu

sed

mov

emen

t.fe

et a

re o

ffth

e fe

et.

po

int t

ofo

rwar

d o

r in

the

gro

un

d.

the

fro

nt.

the

dir

ecti

on

of t

rave

l.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“Si

de

gallo

p f

rom

on

e en

d t

o t

he

oth

er a

nd

ret

urn

.”•

Ob

serv

atio

n p

osi

tio

n: T

o th

e fr

on

t.•

Nee

ded

: A

fl a

t o

pen

are

a ap

pro

xim

atel

y 15

met

res

lon

g.

Side

gal

lop

52

13

42

5

Nam

eO

vera

ll ch

eck

Leg

sH

ead

and

trun

kAr

ms

Com

men

tsD

oes

it lo

ok

1.Sh

ows

a2.

Lan

ds

on

3.K

nee

of

4.H

ead

an

d5.

Arm

s re

laxe

dri

ght?

rhyt

hm

ical

bal

l of t

he

sup

po

rt le

gtr

un

k st

able

,an

d s

win

g in

step

-ho

p.

foo

t.b

end

s to

eyes

focu

sed

op

po

siti

on

pre

par

e fo

rfo

rwar

d.

to le

gs.

ho

p.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“Sk

ip fr

om

on

e en

d to

the

oth

er.”

•O

bse

rvat

ion

po

siti

on

: To

the

sid

e, h

alfw

ay a

lon

g.•

Nee

ded

: A

fla

t o

pen

are

a ap

pro

xim

atel

y 15

met

res

lon

g.

Skip

Chap

ter

3


12

34

55

6

Nam

eO

vera

ll ch

eck

Prep

arat

ion

Prop

ulsi

onFo

llow

-thr

ough

Com

men

tsD

oes

it lo

ok

1.Ey

es fo

cuse

d2.

Stan

ds

sid

e-o

n3.

Th

row

ing

arm

4.St

eps

tow

ard

s5.

Hip

s th

en6.

Th

row

ing

arm

righ

t?o

n ta

rget

are

ato

targ

et a

rea.

mov

es in

ata

rget

are

ash

ou

lder

sfo

llow

sth

rou

gho

ut

dow

nw

ard

wit

h fo

ot

rota

te fo

rwar

d.

thro

ugh

, dow

nth

e th

row

.an

d b

ackw

ard

op

po

site

and

acr

oss

arc.

thro

win

g ar

m.

the

bo

dy.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“T

hro

w th

e o

bje

ct a

s fa

r as

yo

u c

an.”

(Stu

den

tm

ay ta

ke a

2-3

ste

p r

un

-up

.)•

Ob

serv

atio

n p

osi

tio

n: T

o th

e th

row

ing

arm

sid

e.•

Nee

ded

: A b

ean

bag

or

smal

l bal

l.

Ove

rarm

thro

w

54

12

34

56

Nam

eO

vera

ll ch

eck

Prep

arat

ion

Prop

ulsi

onFo

llow

-thr

ough

Com

men

tsD

oes

it lo

ok

1.Ey

es fo

cuse

d2.

Kn

ee o

f3.

Legs

str

aigh

ten

4.A

rms

hel

d in

5.Tr

un

k le

ans

6.La

nd

s o

n b

all

righ

t?fo

rwar

dta

ke-o

ff le

gd

uri

ng

op

po

siti

on

slig

htl

yo

f th

e fo

ot

thro

ugh

ou

tb

end

s.fl

igh

t.to

the

legs

.fo

rwar

d.

and

ben

ds

the

leap

.kn

ee to

ab

sorb

lan

din

g.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“R

un

up

to

th

e m

arke

r an

d le

ap a

s fa

r as

yo

uca

n.”

•O

bse

rvat

ion

po

siti

on

: To

the

sid

e o

f th

e m

arke

r.•

Nee

ded

: On

e m

arke

r (o

r a

line)

, an

d a

flat

op

en a

rea

eith

ersi

de.

Leap

Chap

ter

3


12

34

56

Nam

eO

vera

ll ch

eck

Prep

arat

ion

Prop

ulsi

onFo

llow

-thr

ough

Com

men

tsD

oes

it lo

ok

1.Ey

es fo

cuse

d2.

Forw

ard

an

d3.

No

n-k

icki

ng

4.B

end

s kn

ee o

f5.

Co

nta

cts

bal

l6.

Kic

kin

g le

gri

ght?

on

the

bal

lsi

dew

ard

foo

t pla

ced

kick

ing

leg

wit

h to

p o

ffo

llow

sth

rou

gho

ut

swin

g o

f arm

bes

ide

the

at le

ast 9

0ºth

e fo

ot (

ath

rou

gh h

igh

the

kick

.o

pp

osi

teb

all.

du

rin

g th

e“s

hoe

lace

” ki

ck)

tow

ard

s th

eki

ckin

g le

g.b

ack

swin

g.o

r in

step

.ta

rget

are

a.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“R

un

up

to

th

e b

all

and

kic

k it

as

far

as y

ou

can

.”•

Ob

serv

atio

n p

osi

tio

n: T

o th

e ki

ckin

g le

g si

de .

•N

eed

ed: L

arge

so

ft b

all.

Kick

(sta

tiona

ry b

all)

56

12

34

56

7

Nam

eO

vera

ll ch

eck

Prep

arat

ion

Prop

ulsi

onFo

llow

-thr

ough

Com

men

tsD

oes

it lo

ok

1.St

and

s si

de-

2.E

yes

focu

sed

3.H

and

s n

ext

4.St

eps

tow

ard

s5.

Hip

s th

en6.

Bal

l co

nta

ct7.

Follo

ws

righ

t?o

n to

targ

eto

n th

e b

all

to e

ach

oth

er,

targ

et a

rea

sho

uld

ers

mad

e o

nth

rou

gh w

ith

area

.th

rou

gho

ut

bo

tto

m h

and

wit

h fr

on

tro

tate

forw

ard

.fr

on

t fo

ot

bat

aro

un

dth

e st

rike

.m

atch

es th

efo

ot.

wit

h s

trai

ght

the

bo

dy.

kick

ing

leg.

fro

nt

foo

t.ar

ms.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“M

ake

sure

th

e st

and

is

leve

l w

ith

yo

ur

wai

st. H

old

the

bat

in tw

o h

and

s an

d h

it th

e b

all a

s fa

r as

you

can

.”•

Ob

serv

atio

n p

osi

tio

n: T

o t

he

fro

nt

of

the

stu

den

t (s

ide-

on

to th

e ta

rget

are

a).

•N

eed

ed: T

-bal

l sta

nd

, bas

ebal

l bat

, sm

all s

oft

bal

l.

Two-

hand

str

ike

(from

a T

-bal

l sta

nd)

Chap

ter

3


12

34

5

Nam

eO

vera

ll ch

eck

Leg

sH

ead

and

trun

kW

hole

bod

yCo

mm

ents

Do

es it

loo

k1.

Ch

ange

s2.

Ch

ange

of

3.B

od

y lo

wer

ed4.

Eye

s fo

cuse

d5.

Do

dge

righ

t?d

irec

tio

n b

yd

irec

tio

nd

uri

ng

chan

gefo

rwar

d.

rep

eate

db

end

ing

knee

occ

urs

ino

f dir

ecti

on

.eq

ual

ly w

ell

and

pu

shin

g o

ffo

ne

step

.o

n b

oth

sid

es.

the

ou

tsid

e fo

ot.

= In

tro

du

cto

ry c

om

po

nen

tsH

ints

for

ob

serv

atio

n =

Fin

e-tu

nin

g co

mp

on

ents

•In

stru

ctio

ns:

“Ru

n u

p to

eac

h m

arke

r an

d d

od

gefr

om

it a

s fa

st a

s yo

u c

an.”

•O

bse

rvat

ion

po

siti

on

: To

the

fro

nt.

•N

eed

ed: S

ix to

ten

mar

kers

arr

ange

d in

a z

ig-z

agfo

rmat

ion

.

Dod

ge

58

Putting it into practice

Introducing the videoThe video, Get skilled: Get active—Show me how,has been produced to help you to develop yourobservational skills. On the video, students fromKindergarten to Year 5 demonstrate the twelveselected fundamental movement skills. Thestudents are described as either developing orproficient in their performance of each skill.These demonstrations will assist you to gain anunderstanding of each fundamental movementskill and its components.

Each skill is presented on the video in thefollowing way:

• a graphic interface indicates the skill that isbeing featured

• a coloured ball identifies the level ofperformance of the skill (i.e. proficient ordeveloping)

• a student performs the skill proficiently. Thetext and the voice-over are used to highlighteach skill’s components

• a number of students who have developed afew but not all of the components also performthe skill. The voice-over is used to help focusyour observations on these developingcomponents

• the skill is demonstrated once again by theproficient student. The text and a freeze framerepeat the components of the skill.

The video should be used with the checklists ofthe fundamental movement skills found earlierin this chapter and the professional developmentactivities that follow.

Introducing the professional developmentactivitiesThe professional development activities in thischapter will help you with your understandingand observation of fundamental movement skills.These activities can be used flexibly dependingon the needs of the different audiences using theresource.

Some suggestions for using these activitiesinclude:

• At a staff development day, develop a PDHPEK-6 scope and sequence with a focusedsequential approach to teaching fundamentalmovement skills.

• At staff meetings, introduce three or four skillsper meeting and use the video to help teacherscome to recognise the components of eachskill.

• At stage or grade meetings, examine thefundamental movement skills which shouldbe taught in the year or stage. Reflect on yourPDHPE programs and identify where

fundamental movement skillswill be taught. Create a list ofactivities which enable studentsto practise their fundamentalmovement skills.

• At PDHPE committeemeetings, work through thematerials and developstrategies to inform staffabout the issues relating tofundamental movementskills.

• As an individual or with acolleague, try some of theactivities in your own classand discuss the findings witha colleague.Exploring the components of the static balance

Chap

ter

3


What’s needed:• butchers paper or whiteboard

• checklists for static balance and sprint run

• snapshots of static balance and sprint run invideo, Get skilled: Get active—Show me how.

Steps:1. Ask the group to list the twelve fundamental

movement skills in this resource. Whencompleted, record them on butchers paper oron a whiteboard.

2. Discuss the following questions:

• Why might these skills be considered“fundamental”?

• How do they vary from what you may havepreviously thought to be fundamentalmovement skills?

• What are your concerns about makingjudgements about students’ proficiency inperforming these fundamental movementskills?

• What is needed for you to be able to makejudgements effectively and confidently?

3. Examine the checklist for the static balance.Discuss the layout and the terminology usedto describe the components. Refer to theexample on page 46.

4. Invite each member of the group to work witha partner. Take turns performing the staticbalance. Use the checklist to evaluate yourpartner’s performance. Share your findingswith your partner.

5. Watch the introduction and the first skill onthe video, which is the static balance, tobecome familiar with the format. Stop the

video after the final closing shot of theproficient performance of the static balance(i.e. before the sprint run).

6. Ask the group to locate the “Overall check”column on the static balance checklist. Invitethe group to complete the overall checkcolumn for the static balance for the studentson the video. Ask the group how they identifiedwhich was the proficient student. Recall thecomments made on the video for the staticbalance. Direct the group to the links betweenthe student’s performance, the text on screen,the voice-over and the checklists.

7. Now examine the sprint run checklist. Invite amember of the group to perform this skill. Asa group, make a decision about the overallcheck: Does it look right?

Watch the relevant section of the video.Encourage the group to make commentsabout the students’ performances. Discuss:

• What were the observable differencesbetween the performance of the proficientstudent and the developing students?Encourage the use of language similar tothe components when making comments.For example “trunk unstable, lands flat-footed.”

• Compare your observations and commentswith those on the video.

8. Negotiate with the group how this session isto be continued. For example:

• Devote some time now and some time inthe near future to work through a similarprocess to become familiar with all theskills and their components.

• Watch all of the video, with discussionbreaks after a number of skills.

ACTIVITY 1: Looking at the big picture

Purpose:This activity is designed for a group situation, such as staff meetings, PDHPE committee meetings ordistrict PDHPE interest groups. It works best if you use a facilitator or presenter to lead the groupthrough the activity.

60

ACTIVITY 2: Focussing on a skill

Purpose:This activity is designed to enable teachers to become familiar with the components of fundamentalmovement skills and to further develop their observation skills. It can be undertaken as a group activityor on an individual basis.

What’s needed:• a selection of checklists for fundamental

movement skills

• video, Get skilled: Get active —Show me how.

Steps:1. After reviewing all the fundamental movement

skills and their components, choose one ortwo skills to focus on and observe in moredetail.

2. Cue the video to the relevant skill. Play thevideo with the volume off (so that you cannothear the voice-over). Use the checklist torecord your observations of the students onthe video. Replay the video to observe the skilla number of times.

3. Discuss your observations with the rest of thegroup.

4. Replay the video with the volume up to enableyou to hear the voice-over. Compare anddiscuss your observations with the commentsmade on the video. Are there any other thingsyou observed?

5. Repeat this process, focusing on otherfundamental movement skills.

Chap

ter

3


ACTIVITY 3: Testing yourself

Purpose:This next activity can be done individually or with a colleague. It is designed to allow you to apply theknowledge and skills gained from activities 1 and 2, and to observe students in a natural setting.

What’s needed:• checklist for one fundamental movement skill

• students demonstrating this skill in a varietyof situations.

Steps:1. Select a fundamental movement skill and work

through the accompanying checklist. Onceyou are familiar with the features of thechecklist and the components of the skill (youmay wish to refer to the video for this), set upsome opportunities to practise observing theskill.

2. Some suggestions include:

• Observe a small group of students in theplayground.

• Observe students in a class situation.

• Observe selected students at sport.

• Observe students in a variety of contexts.

The focus of your observation should be onthe skill components, not the outcome.

3. Remember to concentrate on onefundamental movement skill, as students willdemonstrate a wide variety of movements intheir activities.

chapter 3 observing fundamental movement...

Documents