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Lesson 4 - Weight on Hands Sequencing

Synchronised Group Sequences

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Year 7

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Gymnastics

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1h 11min

Big Question

How can we combine individual skills to create a powerful group performance?

Learning Objectives

Link gymnastics skills to perform actions and sequences of movement with control and precision
Produce a collaborative group sequence demonstrating different dynamics and formations
Demonstrate safe weight-bearing techniques and apparatus handling

Key Outcomes

Students will create and perform a group gymnastics sequence incorporating weight on hands and travelling movements
Students will demonstrate understanding of canon, unison, and mirroring in group compositions
Students will safely use apparatus to adapt and enhance their floor routines

Equipment & Resources Required

Gymnastics Mats

Various: benches (5), boxes (3), wall bars, climbing frames as available

Initially spread around hall perimeter for skill development, then positioned with apparatus

Alternative: Crash mats for extra safety during weight on hands work

Cones

30 cones (6 per team for warm-up)

Place at equal intervals along one side of hall, approximately 2-3 metres apart

Alternative: Bean bags, dome markers, or chalk marks on floor

Stopwatch

Keep accessible for timing apparatus setup/pack away challenges

Alternative: Mobile phone timer, wall clock with second hand

Video Device

1-2 tablets/smartphones (optional but recommended)

Ensure devices are charged and positioned on tripods or stable surfaces for recording

Alternative: School cameras, or peer observation without recording

Key Vocabulary

Weight on hands

Supporting body weight through the hands with arms extended or partially bent, maintaining core tension

Travelling

Moving from one point to another using various gymnastics actions such as rolls, jumps, slides, or crawls

Canon

When performers execute the same movement or sequence but start at different times, creating a ripple or wave effect

Unison

When all performers execute movements at exactly the same time in perfect synchronisation

Mirroring

When performers face each other and perform movements as if looking in a mirror, with opposite sides moving

Formation

The spatial arrangement or pattern that performers create, such as lines, circles, diamonds, or scattered positions

Pathway

The line or route that a performer follows during travelling, which can be straight, curved, zigzag, or circular

Dynamics

The quality of movement including speed (fast/slow), energy (strong/light), and flow (smooth/sharp)

Composition

The process of selecting, arranging, and linking movements to create a planned sequence or routine

Routine

A planned, rehearsed sequence of gymnastics movements performed in a specific order with a clear beginning and end

Skill Progression Pathway

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

Prior Learning

Basic gymnastics shapes (tuck, pike, straddle, arch)
Individual weight on hands positions (front support, crab, bunny hop)
Simple travelling actions (rolls, slides, jumps)
Safe apparatus handling from previous lessons

Current Skills

Linking weight on hands movements with travelling actions
Creating group formations and pathways
Understanding and applying canon, unison, and mirroring
Adapting sequences from floor to apparatus

Next Steps

Developing more complex partner and group balances
Creating longer sequences with varied dynamics and levels
Incorporating counter-balance and counter-tension
Performing sequences with musical accompaniment

Milestone Indicators

Smooth transitions between weight on hands and travelling movements

Clear demonstration of at least two compositional devices

Successful adaptation of routine to different apparatus

Confident performance showing control and precision

Key Teaching Points

Safety is always the priority - straight arms and engaged core during all weight on hands work prevents wrist and shoulder injuries. Actively monitor and correct bent arms immediately with verbal cue: 'Strong straight arms like pillars!'
Smooth transitions make the difference between a disjointed routine and a flowing sequence. Teach students to use body positioning to set up the next move rather than pausing between elements. Demonstrate how a forward roll's end position can flow directly into standing travel.
Compositional devices (canon, unison, mirroring) are tools for creating visual impact - help students understand that unison creates power and synchronization, canon creates flow and movement across space, and mirroring creates connection and partnership. Use clear demonstrations to establish understanding before application.
Group work success depends on inclusive decision-making. Actively monitor planning discussions to ensure all voices are heard, not just the loudest or most confident. Intervene to facilitate quieter students' participation: 'We haven't heard from everyone yet - what's your idea?'
Apparatus work is an extension of floor work, not a completely different activity. Help students see the connection - a bunny hop on floor can become a bunny hop along a bench. Support them in adapting existing skills rather than creating entirely new sequences.
Quality of movement matters more than complexity. A simple sequence performed with excellent control, clear formations, and strong dynamics is better than an overly complex routine performed poorly. Encourage refinement over constant addition of new elements.
Assessment should be holistic using Head/Hands/Heart framework. Don't just assess physical skills (HANDS) - equally value cognitive understanding of concepts (HEAD) and social-emotional skills like teamwork and leadership (HEART). This ensures all students can demonstrate success regardless of physical ability.

Common Misconceptions

Misconception: 'Everyone in the group must do the same skill at the same level.' Correction: Explain that differentiation within groups is encouraged - 'Sam can do a cartwheel while Mia does a bunny hop, both are weight on hands, different abilities, equally valuable to the sequence.' This creates inclusive environment where all can contribute.
Misconception: 'Canon means doing different movements.' Correction: Clarify that canon is the SAME movement performed at different times. Demonstrate with simple example: 'Watch all three students stretch up tall, but starting 2 counts apart - same movement, different timing creates the wave effect.'
Misconception: 'Apparatus work means doing completely different sequences.' Correction: Teach that apparatus enhances and adapts floor sequences. 'Your floor sequence is the foundation - now we're adding a new dimension by including the bench in your travelling section.'
Misconception: 'Mirroring means doing the same thing at the same time' (confusing with unison). Correction: Demonstrate clearly - 'Mirroring is like a reflection in a mirror. When I raise my RIGHT arm, my mirror partner raises their LEFT arm. Unison would be us both raising the same arm.' Use physical demonstration with two students.
Misconception: 'The more moves we include, the better our sequence.' Correction: Teach that quality beats quantity. 'Three movements performed beautifully with smooth transitions and clear formations is more impressive than ten movements performed messily. Focus on perfecting what you have.'
Misconception: 'Weight on hands means only handstands or cartwheels.' Correction: Expand definition to include accessible skills - 'Weight on hands includes front support, crab, bunny hop, bridge, bear walk, and yes, cartwheels too! Choose the level that challenges YOU safely.'
Misconception: 'Thumbs down in self-assessment means I failed.' Correction: Reframe self-assessment as honest reflection for growth - 'Thumbs down means you're still learning and that's absolutely fine! It helps me know how to support you better next lesson. Honesty is what we value, not perfection.'

SEN Adaptations

ADHD

Keep activity changes frequent (5-7 minute maximum per activity); use physical activity to channel energy (leadership roles like demonstrating); provide clear time boundaries with visual timers; offer specific, focused tasks ('Your job is to count for your group'); use stopwatch challenges to create urgency and focus; allow movement breaks between planning discussions; provide immediate feedback and praise; position near teacher for frequent check-ins; use physical reminders (hand on shoulder) to refocus attention.

dyspraxia

Break skills into smaller micro-steps with individual practice time; use larger, softer equipment (larger balls, foam apparatus where possible); reduce speed requirements ('perform at your own pace'); provide extra mat thickness for confidence during weight bearing; allow additional practice time before group work; use wall support for balance during weight on hands; simplify formations (straight line only vs complex patterns); provide verbal walkthrough before physical attempt; celebrate effort over technical perfection; allow observer/director role in group as alternative to constant physical performance.

autism spectrum

Provide visual timetable of lesson sections with timings; pre-warn of transitions ('In 2 minutes we'll stop and perform'); establish clear routines for apparatus handling (step-by-step visual guide); offer quiet observation zone if overwhelm occurs; reduce group size to 3-4 if large groups cause anxiety; provide specific role in group (e.g., 'You are the timekeeper'); use concrete language avoiding metaphors ('move smoothly' instead of 'flow like water'); allow repetition of familiar sequences rather than constant creation of new material.

visual impairment

Use bright coloured cones/spots for warm-up obstacles; provide tactile markers for spatial boundaries; verbal descriptions of all demonstrations ('My arms are straight out to the side at shoulder height'); buddy system with sighted peer for navigation; use audible signals (claps, bells) to indicate timing for canon; allow closer proximity to demonstrations; provide hand-over-hand guidance for apparatus familiarization before use.

hearing impairment

Ensure student can see your face when giving instructions (lip reading); use visual demonstration as primary teaching method; written key vocabulary displayed on board; hand signals for apparatus rules and common instructions; visual countdown for timing (fingers showing 3, 2, 1); vibrating timer for personal countdowns; position at front during demonstrations; check understanding through showing/doing not just verbal response.

physical disability

Adapt weight on hands to seated weight bearing (hands on floor from seated, lifting bottom); wheelchair users can participate in planning and directing; modify travelling to wheelchair mobility or assisted walking; use different apparatus heights (floor-level work only if needed); reduce distance for travelling sections; provide sitting role in group sequences (e.g., stable base for others to move around); ensure participation in all planning and creative aspects; celebrate intellectual contribution to choreography.

Cross-Curricular Links

English

Vocabulary development (technical terminology - canon, unison, mirroring, dynamics, composition); verbal communication during group planning; giving and receiving constructive feedback; descriptive language to explain sequences; following complex multi-step instructions

Maths

Counting in sequences (canon timing - starting every 2 counts); angles of body positions (90-degree knee bend, 180-degree splits); spatial geometry (formations - triangles, diamonds, circles, lines); symmetry and asymmetry (mirroring vs canon); time measurement (stopwatch challenges for apparatus setup)

Science

Forces acting on body during weight bearing (gravity, tension, compression); muscular system (which muscles engage during specific gymnastics positions); levers in the body (arms as levers during bunny hops); momentum and energy transfer (rolling movements); cardiovascular response to exercise (heart rate changes during warm-up vs cool-down)

Art and Design

Choreographic composition similar to visual composition (balance, contrast, focal points); formation design (aesthetic arrangement of bodies in space); dynamics as artistic expression (speed, energy, flow variations); creating visual impact through synchronized movement

Computing

Video recording and playback for performance analysis; potential use of slow-motion replay to analyse technique; using technology to document and assess learning; digital literacy through appropriate use of recording equipment

PSHE

Teamwork and collaboration during group sequence creation; respecting different ability levels and learning to work inclusively; resilience when sequences don't work initially; managing performance anxiety; leadership opportunities; celebrating others' successes; self-assessment and honest self-reflection

Teacher Guidance

Positioning

Position yourself centrally during group work to see all groups simultaneously. During apparatus work, constantly rotate between stations every 30-60 seconds. Stand at corner of performance area during performances to see both performers and audience. During warm-up, position along side of hall to observe all team lanes.

Observation Focus

Watch for: 1) Safe weight bearing technique (straight arms, engaged shoulders, controlled lowering), 2) Quality of group interaction (inclusion, communication, support), 3) Understanding and application of compositional devices (canon, unison, mirroring), 4) Smooth transitions between movements, 5) Appropriate use of space and formations, 6) Safe apparatus handling and usage, 7) Signs of fatigue affecting technique quality.

Intervention Points

Step in immediately when: 1) Unsafe skill attempts beyond capability (stop, modify, demonstrate safer alternative), 2) Apparatus being used unsafely (halt activity, restate rules, demonstrate correct usage), 3) Group dynamics breaking down (facilitate discussion, redistribute roles, provide structure), 4) Students excluded or disengaged (integrate into activity, provide specific role, pair with supportive peer), 5) Technique deteriorating due to fatigue (enforce rest break, reduce intensity), 6) Equipment becoming hazardous (reposition mats, check stability).

Demonstration Notes

Demonstrate: Use a mix of teacher demonstration (for complex skills or when establishing high standards) and student demonstration (for celebrating success and peer learning). Always demonstrate full technique slowly first, then at performance speed. For weight on hands: show progression from easy to hard (front support → bunny hop → cartwheel). For compositional devices: use 3-5 students to show clear visual difference between canon, unison, and mirroring. Exaggerate key teaching points (super straight arms, obvious counting for canon). When using student demonstrators, brief them beforehand so demonstration is successful and builds their confidence.

Verbal Cues

•'Straight arms like strong pillars!' - during weight on hands work
•'Flow like water, not like robots!' - encouraging smooth transitions
•'Find space - if you can touch someone, you're too close!' - managing spacing
•'Quality over speed - controlled movements win!' - maintaining technique standards
•'Eyes on your landing spot!' - during apparatus dismounts
•'Tight bodies, strong shapes!' - encouraging tension and control
•'Together on 3... 1, 2, 3!' - supporting unison work
•'Freeze! Assess! Adjust!' - when immediate safety stop needed

Safety Considerations

Space & Surface Requirements

Space Requirements

Minimum 15m x 10m hall space for class of 30. For apparatus work, ensure minimum 2m spacing between stations. Performance area requires 8m x 8m clear space.

Surface Check

Dry, clean, non-slip hall floor essential. Check for water spillages, dust, or debris before lesson. Ensure no protruding equipment from walls. Mats must be flat without curled edges causing trip hazards.

Equipment Safety

Safety Checks

•Check all gymnastics mats for tears, adequate padding, and flat positioning - no overlapping edges
•Inspect apparatus before use: benches stable with no splinters, boxes with secure sections, wall bars firmly attached
•Ensure cones have no sharp edges or cracks
•Test video recording equipment is on stable surface/tripod to prevent falls
•Verify all apparatus can be safely lifted by pairs of students - nothing too heavy

Risk Management

Key Risks

•Falls from apparatus - mitigate with mats, appropriate height, supervised practice
•Collisions during group work - mitigate with clear boundaries, adequate spacing, traffic management
•Wrist/arm strain from weight on hands - mitigate with progressive skill building, proper technique emphasis, strength appropriate tasks
•Trapped fingers during apparatus handling - mitigate with clear carrying procedures, no rushing, supervision
•Neck injury during rolls - mitigate with chin tucked emphasis, proper technique demonstration, individual monitoring
•Overexertion/fatigue - mitigate with appropriate work/rest ratios, water breaks, intensity monitoring

Risk Mitigation

•Establish clear boundaries for each activity using cones or verbal instructions - students understand their working space
•Demonstrate all weight on hands skills with emphasis on straight arms and engaged core before student attempts
•Maintain adequate spacing: minimum 4m between groups during floor work, 2m between apparatus stations
•Progressive skill building: master floor skills before apparatus transfer
•Constant supervision during apparatus work - teacher positioned for maximum visibility of all stations
•Enforce strict apparatus rules with zero tolerance for running or unsafe behaviour
•Build in rest periods: planning discussions provide physical rest between active phases
•Ensure students with long hair have it tied back, no jewelry worn, appropriate PE kit (no socks on apparatus)

Supervision & Emergency Procedures

Supervision Points

•Position yourself where you can see all groups - typically hall centre or rotating perimeter during group work
•During apparatus setup/pack away: position near heaviest equipment to monitor lifting technique
•During apparatus work: constantly scan all 6 stations - never focus on one station for more than 20 seconds
•Prioritise watching: height work (students on boxes/benches), weight on hands attempts, transitions on/off apparatus
•During performances: position to see performance area and audience - monitor both performers and watchers
•Monitor high-activity areas: apparatus queues, popular equipment, confined spaces around wall bars

Emergency Procedures

STOP signal (whistle or 'FREEZE') immediately halts all activity. Assess situation: minor injury - send student to side with peer support and basic first aid; major injury - secure scene, send reliable student for first aider/senior staff, keep injured student still and comfortable, keep other students calm and supervised in separate area. Always have first aid kit accessible in hall. Know location of nearest telephone for emergency calls. Maintain accident report book for all incidents.