Unified Group Performance
•Year 8
•Gymnastics
•Place in centre circle for warm-up games, then store safely away from activity area
Alternative: Small foam balls, markers, tennis balls
Spread around hall perimeter initially, moved to working spaces by students in pairs
Alternative: Crash mats for additional safety
Used by teacher to time apparatus setup and pack-away challenges
Alternative: Timer app on tablet/phone, wall clock
If using, place at each apparatus station showing safety reminders and task focus
Alternative: Verbal instructions, demonstration only
The patterns traced through space by a performer's movement, including straight, curved, zigzag and circular routes
When two or more performers' movement patterns intersect in space, requiring careful timing and spatial awareness
The orientation of movement including forwards, backwards, sideways, and diagonal
The height at which movements are performed: low (floor level), medium (kneeling/crouching), high (standing/jumping)
The tempo or pace of movement, from very slow sustained movements to explosive fast actions
The methods used to structure and organise movements including repetition, variation, contrast, canon and unison
Specific gymnastics terminology used to precisely describe movements, shapes and compositional elements
Partner balances where two performers support each other through opposing forces, often pulling away from each other
The process of improving and polishing movement quality through practice and incorporation of feedback
When all performers execute the same movements at exactly the same time
When performers execute the same movement sequence but start at different times, creating a ripple effect
Understanding where pupils are coming from and where they're going
Oracy development through collaborative planning discussions; giving clear explanations using precise technical vocabulary; constructive feedback requiring articulate expression of observations and suggestions; listening skills when receiving peer and teacher feedback; persuasive language when presenting ideas to group; descriptive language when explaining compositional choices; sequencing and narrative structure when creating sequence beginnings, middles, endings
Spatial reasoning - planning routes through three-dimensional space including angles and trajectories; geometry concepts including parallel pathways, intersecting lines (pathway crossings), angles of approach; measurement and estimation - judging distances and spacing between performers and apparatus; timing calculations - coordinating movement to achieve simultaneous crossing points; symmetry and asymmetry in sequence composition; pattern recognition in pathways (straight, curved, zigzag patterns)
Forces in action - understanding balance and counter-balance through opposing forces; gravity and centre of mass when balancing and dismounting apparatus; friction between feet and floor surfaces affecting movement control; cardiovascular system during exercise - heart rate monitoring during warm-up and cool-down; muscular system - identifying muscles used in specific gymnastics movements (core engagement, leg strength); physics of motion - momentum, acceleration, deceleration in travelling movements; Newton's third law demonstrated in counter-balances (equal and opposite forces)
Performance skills - commitment, focus, projection, spatial awareness; choreography principles shared between gymnastics sequences and drama compositions; evaluation vocabulary applicable to both performance forms; working collaboratively to create group performances; understanding of beginning-middle-end structure in sequences; use of levels, directions, and speed for dramatic effect; audience awareness and presentation quality
Spatial awareness and navigation - understanding routes through space; direction vocabulary (north, south, compass directions) can be applied to pathway planning; mapping concepts - translating floor plans to three-dimensional movement spaces; scale and proportion when adapting sequences from large floor space to smaller apparatus areas
Teamwork and collaboration - essential focus throughout lesson with group choreography requiring communication, compromise, shared decision-making; resilience and perseverance when sequences don't work initially; managing emotions during challenging tasks and competitive elements; respect for others' performances and ideas; sporting behaviour and fair play during sumo wrestling; trust-building through partner counter-balance work; leadership skills within group roles; self-awareness through self-assessment activities; celebrating diversity of ideas and approaches in creative work
Position centrally during whole-class instruction for visibility and voice projection. During group work, circulate systematically spending approximately equal time with each group while maintaining awareness of whole class. During apparatus work, position with clear sight lines to multiple stations simultaneously - never turn back on working groups. During performances, position to see both performers and audience.
Monitor safety constantly throughout lesson - landing technique, apparatus stability, spacing between groups, pathway crossing timing. Watch for collaborative behaviours and inclusive group dynamics. Listen for technical vocabulary use during planning and feedback. Assess movement quality including body tension, pointed toes, controlled landings, clear shapes. Note creative and original choreographic choices. Identify students needing additional support or extension challenges.
Intervene immediately for any unsafe practice - stop activity, correct, demonstrate safe alternative, restart. Step in if group dynamics become exclusionary or one student dominates - facilitate equal contribution. Support groups stuck in planning phase with guiding questions rather than providing solutions. Correct poor movement technique that could lead to injury. Redirect off-task behaviour quickly to maintain lesson flow. Provide additional demonstration or breaking down of skills if multiple students struggling.
Always demonstrate new movements yourself or use confident student demonstrators. Show correct technique slowly first, then at full speed. Exaggerate key teaching points for visibility (e.g., exaggerated knee bend for landings). Use demonstration to show both correct technique and common mistakes (comedic incorrect version followed by correct version). Position demonstration so all students have clear view. Narrate during demonstration to highlight what to observe. For pathway crossing concepts, use multiple demonstrators to make spatial relationships clear. Re-demonstrate as needed if many students struggling with technique.
School gymnasium or sports hall minimum 15m x 20m to accommodate six apparatus stations with adequate spacing. Indoor space required for apparatus work. Ceiling height minimum 4m for safe jumping and apparatus work. Clear of all obstacles and hazards.
Clean, dry, non-slip sports hall floor. Check for any wet patches, debris, or damage before lesson. Ensure floor markings are intact and not creating slip hazards. Gymnastics mats must be in good condition (no rips, adequate padding, flat with no curling edges).
Emergency stop signal (whistle blast or 'STOP!' call) results in immediate freeze position - all movement stops. Teacher assesses situation. For injury: appropriate first aid provided, other students moved to safe area under supervision, emergency services contacted if needed. All incidents logged according to school procedures. First aid kit accessible at hall entrance.
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