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Lesson 6 - Group Counter-Balance

Partner Forces and Body Tension in Gymnastics

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Year 7

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Gymnastics

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1h 17min

Big Question

How can we use our body weight in opposition with others to create impressive group gymnastics sequences?

Learning Objectives

To work collaboratively in groups to perform asymmetrical counter-balances in sequences using canon or unison
To challenge yourself to improve technical execution and creativity in group gymnastics work
To demonstrate safe and controlled counter-balance and counter-tension techniques at different levels

Key Outcomes

Students will create and perform group sequences incorporating at least 2 counter-balances and 2 counter-tension balances
Students will demonstrate understanding of canon and unison in gymnastics choreography
Students will safely use apparatus to explore symmetrical and asymmetrical balances with body weight opposition
Students will provide constructive peer feedback and self-assess their progress

Equipment & Resources Required

Gymnastics Mats

Various - benches (4), boxes (3), wall bars (2 sections), A-frames (2)

Stored in designated mat queue area; students carry in pairs using correct technique

Alternative: Yoga mats or crash mats for additional padding

Stopwatch

Teacher-controlled for timing apparatus setup and pack-away challenges

Alternative: Phone timer or wall clock with second hand

Video Device

1 (tablet or phone)

Fully charged; positioned on tripod or held by teacher for recording group sequences

Alternative: None required if recording not possible - use live performance observation instead

Cones

8-10

Mark out Rats and Rabbits lines with 1-metre gap; mark apparatus zones

Alternative: Chalk lines or tape markers on floor

Sun Markers

Display key vocabulary and success criteria for student reference throughout lesson

Alternative: Printed visual aids showing canon/unison examples

Key Vocabulary

Canon

A choreographic technique where movements are performed one after another in sequence, like a Mexican wave

Unison

When all performers execute the same movement at exactly the same time

Asymmetrical

A shape or balance where the two sides of the body or group are different and not mirror images

Symmetrical

A shape or balance where both sides mirror each other exactly

Counter-balance

Two or more people using their body weight to lean away from each other while maintaining contact and balance

Counter-tension

Two or more people pulling or pushing against each other to create stability and balance

Levels

The height at which movements or balances are performed - low (floor), medium (kneeling/sitting), high (standing)

Shoulder balance

An inverted balance where weight is supported on shoulders with legs extended upwards

Pathways

The route or pattern travelled through space during a sequence (straight, curved, zigzag)

Transition

The movement that connects one balance or position to another in a sequence

Skill Progression Pathway

Understanding where pupils are coming from and where they're going

Prior Learning

Basic individual balances including shoulder stands and bridges
Understanding of symmetrical and asymmetrical shapes
Basic partner counter-balance work from previous lessons
Safe apparatus handling and movement skills

Current Skills

Group counter-balance work in fours with varying levels
Asymmetrical counter-balance techniques
Canon and unison sequence choreography
Counter-tension balance application
Apparatus-based balance work using body weight opposition

Next Steps

Extended group sequences with multiple balance types
Advanced apparatus combinations and transitions
Performance skills with audience awareness
Creating whole-class synchronized gymnastics displays

Milestone Indicators

Students can hold counter-balances for 3+ seconds with stability

Groups can transition smoothly between balances in sequence

Students demonstrate clear understanding of canon vs unison

All group members contribute equally to sequence creation and performance

Key Teaching Points

Counter-balance is leaning AWAY from partner/group using body weight in opposition while maintaining contact - emphasise the 'pull away' feeling
Counter-tension is pushing or pulling TOWARDS/AGAINST partner/group to create stability - emphasise the 'push together' feeling
Canon means performing the same movement ONE AT A TIME in sequence - like a Mexican wave
Unison means performing the same movement ALL TOGETHER at exactly the same time - synchronized timing is key
All group balances need STRONG BASES before building height - wide stance, engaged core, secure positioning
Shoulder balance weight must be on SHOULDERS and upper arms NEVER on neck - check hand position supporting lower back
Apparatus safety rules are non-negotiable: no running, carry in pairs, walk at all times, sit behind apparatus when set - enforce consistently
Sequences need clear BEGINNING, MIDDLE, and END - don't just stop abruptly, plan deliberate ending position
Smooth TRANSITIONS between balances create flow in sequences - avoid just standing up between balances, use rolls, slides, travels
All students must be ACTIVELY involved in group balances - no observers, everyone contributes to the balance structure
Peer feedback should be SPECIFIC and CONSTRUCTIVE using Two Stars (what was done well) and a Wish (even better if...) - avoid vague comments
Performance quality matters - pointed toes, straight lines, engaged muscles, facial expression - not just getting into position but HOW you do it

Common Misconceptions

MISCONCEPTION: Counter-balance and counter-tension are the same thing. CORRECTION: Counter-balance is leaning AWAY from each other (like tug of war), counter-tension is pushing/pulling TOGETHER (like arm wrestling). Demonstrate both clearly showing directional difference.
MISCONCEPTION: Canon means doing different movements. CORRECTION: Canon is the SAME movement performed one after another in sequence, not different movements. Show example of all students jumping but one at a time vs all doing different actions.
MISCONCEPTION: In unison, movements just need to be roughly together. CORRECTION: Unison requires PRECISE simultaneity - all performers starting and ending at exactly the same moment. Practice counting '1, 2, 3, GO!' for precision.
MISCONCEPTION: Asymmetrical means unbalanced or wrong. CORRECTION: Asymmetrical is a deliberate CHOICE where two sides are different - it's not a mistake, it's a creative design decision. Show beautiful asymmetrical balance examples.
MISCONCEPTION: In shoulder balance, you lift yourself up using neck strength. CORRECTION: Never use neck to lift - roll back with momentum, place hands on lower back for support, weight stays on SHOULDERS. Demonstrate correct technique emphasising shoulder position.
MISCONCEPTION: The fastest apparatus setup wins. CORRECTION: Safe AND fast wins - speed with safety rule violations doesn't count. Emphasise that penalty points (10 seconds each) make rushing counterproductive.
MISCONCEPTION: Only the skilled students should be in top positions in group balances. CORRECTION: With correct technique, any student can be in top positions if bases are strong and stable - it's about structure not just strength. Demonstrate proper base technique enabling different students to be lifted safely.
MISCONCEPTION: Feedback should focus on what went wrong. CORRECTION: Two Stars and a Wish framework means MAJORITY of feedback is positive (2 stars) with only one developmental suggestion (wish). Model this structure explicitly.

SEN Adaptations

ADHD

Keep activity intervals short with frequent changes (already built into lesson structure); provide clear, boundaried spaces for activities; use visual timers to show time remaining; offer movement breaks (already inherent in PE); give specific roles in group work to maintain focus; provide immediate, frequent positive feedback; allow standing/moving during instruction if helpful; build in legitimate high-energy outlets through warm-up and apparatus work

dyspraxia

Use larger, easier-to-grip apparatus where possible; break down complex sequences into smaller, manageable steps; allow extra practice time for motor planning; provide simplified balance options at low level; use wall or partner support for stability; give verbal rehearsal opportunity before physical attempt; reduce speed expectations - focus on control over speed; celebrate effort and improvement not just final product; provide visual step-by-step guide for sequence creation

autism spectrum

Provide visual schedule showing lesson structure and timings; give advance warning of transitions between activities; offer quiet zone option if overwhelmed by group work; use consistent, predictable routines for apparatus setup; provide clear, literal instructions avoiding figurative language; allow processing time before expecting responses; offer alternative to whole-class performance if anxiety-inducing; provide fidget tool if needed for listening times

visual impairment

Use bright coloured mats for contrast; provide verbal descriptions of all demonstrations; allow tactile exploration of apparatus before use; pair with sighted buddy for spatial awareness support; use verbal cues for transitions and changes; ensure adequate lighting; describe visual setup clearly before activities begin

hearing impairment

Use clear visual demonstrations for all instructions; establish visual signal system for start/stop/emergency; ensure student can see teacher's face for lip-reading; provide written instruction cards for sequence requirements; use demonstration rather than verbal explanation; position near front for clear visibility; ensure understanding through thumbs up confirmation before starting activities

physical disability

Modify balances to seated or wheelchair-based versions; allow use of wall or apparatus for additional support; adapt counter-balance work to hand pushing while seated; provide alternative to shoulder balance such as seated balance hold; allow extra time for transitions; reduce distance or height requirements; enable participation in group balances in stable, supported roles; ensure accessible apparatus stations

Cross-Curricular Links

English

Technical vocabulary development (canon, unison, counter-balance, counter-tension, asymmetrical, symmetrical); verbal communication during group planning; giving and receiving constructive feedback using specific language; following and giving multi-step instructions; descriptive language for explaining techniques and sequences

Maths

Counting and timing for canon sequences (intervals between performers); measuring and estimating distances for apparatus spacing; angles of body positions in balances (45 degrees, 90 degrees, 180 degrees); symmetry and asymmetry as mathematical concepts applied to shapes; timing and duration calculations (stopwatch challenges)

Science

Forces in action - push and pull forces in counter-tension; gravity and balance - centre of mass concepts; levers and mechanical advantage in counter-balance positions; friction between body and apparatus; muscular system engagement during balances; skeletal structure supporting inverted positions; heart rate changes during warm-up and cool-down; force distribution in group balances

Drama/Performing Arts

Performance skills - facial expressions, energy, presence; choreography principles - beginning, middle, end; use of space and levels; canon and unison as performance techniques; audience awareness and performance under observation; starting and ending positions for polished presentation; expression through movement

PSHE

Teamwork and cooperation in group sequences; communication skills for collaborative work; resilience and perseverance when learning difficult skills; trust building through partner and group balances; managing emotions when performing in front of others; celebrating diversity of abilities and achievements; respect for others during peer feedback; leadership skills in group organisation; self-confidence through skill mastery and performance

Teacher Guidance

Positioning

Stand centrally during warm-up for full view of scrambling movement; circulate actively during group work spending 60-90 seconds with each group; position near apparatus during equipment work with ability to see multiple stations; stand where all students visible during demonstrations and performances

Observation Focus

Watch for equal participation in group work - ensure no students excluded or dominating; monitor technique quality particularly in high-risk skills like shoulder balances; observe group dynamics and cooperation; assess understanding through quality of peer feedback; look for creative application of skills; monitor fatigue levels affecting performance; watch for safety compliance throughout

Intervention Points

Step in immediately if unsafe practice observed (weight on neck in shoulder balance, unstable apparatus, excessive force in counter-tension); intervene if group dynamics breaking down or exclusion occurring; provide technical correction when fundamental errors seen; stop activity if safety rules being broken during apparatus work; redirect if students off-task or distracted; support students showing anxiety or lack of confidence

Demonstration Notes

Use student demonstrations wherever possible to model good practice and build confidence; demonstrate shoulder balance technique clearly with straight body emphasis; show exaggerated difference between canon (one at a time) and unison (all together); demonstrate mat carrying technique with two volunteers; model being supportive audience during performances; demonstrate Two Stars and Wish feedback structure; show various counter-balance and counter-tension examples at different levels; demonstrate safe apparatus handling and setup procedures

Verbal Cues

•'Weight on shoulders, not neck!' - shoulder balance correction
•'All four people involved - everyone has a role!' - group work inclusion
•'Hold for three seconds to show control' - balance stability
•'Smooth transitions, not just stopping and starting' - sequence flow
•'Strong bases before you build height' - group balance safety
•'Apparatus in pairs, walk don't run' - apparatus safety reminder
•'Show me canon... now show me unison' - choreography clarity
•'Counter-BALANCE means leaning away, counter-TENSION means pushing or pulling together' - technical differentiation

Safety Considerations

Space & Surface Requirements

Space Requirements

Minimum 20m x 30m hall space for warm-up and floor work; clear height minimum 3m for shoulder balances; apparatus stations require 3m clearance around each piece; adequate storage space for apparatus around hall perimeter

Surface Check

Dry, clean, non-slip hall floor free from hazards; check for water spillages or slippery patches particularly after apparatus use; ensure floor surface suitable for gymnastics (sprung floor ideal); remove any debris or obstacles before lesson

Equipment Safety

Safety Checks

•Check all mats are in good condition with no tears or excessive wear
•Inspect apparatus before use for damage, instability, or wear
•Ensure apparatus is correctly assembled and stable before student use
•Verify benches, boxes, A-frames locked and secure
•Check wall bars are firmly attached and bars are secure
•Ensure adequate mats positioned at all apparatus for safe landing zones
•Recording device fully charged and stable (tripod or held securely)

Risk Management

Key Risks

•Falls from apparatus or during high-level balances - risk of impact injuries
•Collisions during warm-up game or apparatus rotation - risk of impact injuries
•Neck/shoulder strain during shoulder balances if incorrect technique - risk of cervical spine injury
•Crushing injuries during group balances if poor base structure - risk of trapped limbs or body weight injuries
•Trips and falls over equipment during setup/pack-away - risk of impact and twisted joints
•Muscle strains during counter-tension work if excessive force applied
•Equipment falling or tipping during apparatus work - risk of impact injuries

Risk Mitigation

•Clear boundaries established for all activities with adequate run-off space
•Progressive skill building from low level to high level balances
•Continuous monitoring of technique particularly for inverted balances
•Enforce apparatus safety rules strictly: no running, carry in pairs, walk at all times
•Ensure strong base structures in group balances before adding height
•Limit height of group balances to maximum 2 levels without additional matting
•Adequate spacing between students during shoulder balances (minimum 2m)
•Teach and reinforce safe dismount techniques from all balances
•Intervene immediately if unsafe practice observed
•Modify activities for students with medical conditions or injuries
•Ensure fatigue doesn't compromise safety - provide rest breaks as needed

Supervision & Emergency Procedures

Supervision Points

•Teacher positioned centrally with 360-degree view during warm-up game
•Circulate actively during group work to monitor all groups
•Position near apparatus stations during apparatus work, moving between stations
•Maintain visual contact with all students throughout lesson
•Monitor high-risk activities (high-level balances, apparatus work) most closely
•Be particularly vigilant during apparatus setup and pack-away
•Watch for signs of fatigue affecting technique and safety
•Monitor emotional states - stop students who are frustrated, upset, or overly competitive

Emergency Procedures

Stop all activity immediately if injury occurs using sharp whistle or STOP command; assess injured student without moving them unless necessary; administer appropriate first aid; send responsible student to get additional help/first aider if needed; keep other students calm and occupied away from incident; complete accident report form; contact parents if injury requires; know location of first aid kit, telephone, and emergency procedures