Kmti^rBtta of 5^nrtl| (Earultna (Ealkrtion of 5JortI| OlaroUniatta nf %aiIaBB of IBBS Cyn.7 UNIVERSITY OF N.C. AT CHAPEL HILL 00034037827 This book must not be token from the Library building. Form No. 471 Digitized by tine Internet Arciiive in 2011 witii funding from Ensuring Democracy tiirougii Digital Access (NC-LSTA) http://www.archive.org/details/physicaleducatio1952nort PHYSICAL EDUCATION IN THE ELEMENTARY AND SECONDARY SCHOOLS 1952 WHAT CONSTITUTES A SCHOOL Not ancient halls and ivy-mantled towers. Where dull traditions rule With heavy hand youth's lightly springing powers; Not spacious pleasure courts. And lofty temples of athletic fame, Where devotees of sport Mistake a pastime for life's highest aim; Not fashion, nor renown Of wealthy patronage and rich estate; No, none of these can crown A school with light and make it truly great. But masters, strong and wise. Who teach because they love the teachers task. And find their richest prize In eyes that open and in minds that ask; And hoys with hearts aglow To try their youthful vigor on their work. Eager to learn and grow. And quick to hate a coward or a shirk: These constitute a school, A vital forge of weapons keen and bright. Where living sword and tool Are tempered for true toil or noble fight! But let not wisdom scorn The hours of pleasure in the playing fields; There also strength is born. And every manly game a virtue yields; Fairness and self-control. Good humor, pluck, and patience in the race Will make a bad heart whole To win with honor, lose without disgrace. Ah, well for him who gains In such a school apprenticeship for life; With him the joy of youth remains In later lessons and in larger strife! —Henry van Dyke. II Publication No. 279 PHYSICAL EDUCATION IN THE ELEMENTARY AND SECONDARY SCHOOLS • 1952 Issued by the State Superintendent of Public Instruction Raleigh, North Carolina III COPYRIGHT, 1952, BY THE DEPARTMENT OF PUBLIC INSTRUCTION STATE OF NORTPI CAROLINA RALEIGH IV FOREWORD Modern education is concerned with the optimum development of children, youth and adults. This means that schools have responsibili- ties in education for their physical, social, emotional, and the intel- lectual development. Physical education, like the arts, the sciences and the fundamental skills, provides experiences that help schools achieve broad educational aims. Physical education, however, has a special function— to help children, youth and adults be and continue to be physically and mentally fit. Within this bulletin are many fine suggestions for activities and programs of physical education which are in keeping with our broad concept of the functions of education. The suggestions and recom- mendations contained herein represent the best thinking of those engaged in the field of physical education and are in keeping with a sound philosophy of general education. The activities selected for detailed description were chosen because they were representative of the best practices throughout the State. Through intelligent applica- tion of the principles stated here, I believe that our program of phy- sical education will be forwarded and that the health and happiness of all the children, youth and adults of the State will be greatly im- proved. This bulletin contains a suggested comprehensive program of physical education for grades one through twelve. The program includes recommendations for each of the following phases of phys- ical education. 1. Physical education instructional program required in grades one through nine. 2. Physical education instruction recommended in grades ten through twelve. 3. Intramural activities for upper elementary and secondary schools. 4. Inter-school competition for senior high school boys and a limited program for senior high school girls. 5. Recreational activities for elementary and secondary schools. Materials covering health and safety instruction, health services, and healthful school living, prepared during the same period and under the direction of the same State Steering Committee, are in mimeographed form. The close relationships of health, physical edu- cation and safety are recognized by the State Department of Public Instruction and the three committees that worked on the material. However, it was decided to publish the material in two separate publi- cations for practical rather than educational reasons. The health and safety bulletin will be published next year. This publication was prepared by Charles E. Spencer, Director, School Health Coordinating Service, Director of the Curriculum Project and Mrs. Ruth Moore Davis, Physical Education Adviser, School Health Coordinating Service, Chairman of the Physical Edu- cation Committee. They were ably assisted by members of the com- mittee listed in "Acknowledgments" and by representatives of 120 school administrative units. The program as outlined herein, prepared democratically by local and State personnel, is sound educationally and every effort on the part of superintendents, principals and teachers sliould be made to incorporate the suggested program into an actual program to the end that boys and girls tliroughout the State may become healthy and useful citizens. State Superintendent of Public Instruction. January 10, 1932. VI ACKNOWLEDGMENTS This publication was prepared as a part of a "Curriculum Building and Improvement Project in Health, Physical Education and Safety," designed ( 1 ) to stimulate local groups to carry on curriculum build- ing and improvement projects in health, physical education and safety, (2) to provide opportunities for in-service education for group leaders throughout the State and for a few local groups, and (3) to prepare a publication on physical education, health and safety. Acknowledgments are given to the 192 local committees represent- ing 120 administrative units that participated in the curriculum project. Grateful thanks are given the 120 persons who served on the State Curriculum Committee. This Committee consisted of 33 persons elected at eleven district meetings and 87 others, including teachers, principals, superintendents, supervisors, local health department per- sonnel, college and university personnel and representatives of the State Board of Health and the State Department of Public Instruc- tion. For working purposes the State Committee was divided into tliree major committees— physical education, health, and safety. Dr. Clyde A. Ei"win, Superintendent, State Department of Public Instruction, appointed the following to serve as members of a State Steering Committee to plan and direct the work of the three com- mittees: Charles E. Spencer, General Director of the Curriculum Project; Mrs. Ruth Moore Davis, Chairman of the Physical Education Committee; Mrs. Annie Ray Moore, Chairman of the Health Com- mittee; and John C. Noe. Chairman of the Safety Committee. John L. Cameron served on the Steering Committee until he was appointed Director of the Division of School Planning. The material prepared by the health and safety committees, now in tentative form, will be revised and published in a separate bulletin. Special acknowledgments are due: Mrs. Ruth Moore Davis,^ Adviser in Physical Education, School Health Coordinating Service, Chairman of the Physical Education Committee, the several chairmen of the pliysical education sub-committees, and the entire membership of these committees who contributed invaluable service in selecting, writing, and organizing the materials. Listed below are the names of the members of the Physical Educa- tion Committee, Consultants to the Committees, and those who made special contributions to the bulletin: Augusta Barnctte. Lee Edwards TTigh School, Asheville. N. C. ITarold Barrow, Wake Forest College, Wake Forest, N. C. Alice Benton, Western Carolina Teachers College. CuUowhee, N. C. Carl S^pwart Blythe. Atlantic Christian Collesre, Wilson, N. C. II. A. Clemmer. San ford High School, Sanford, N. C. A. B. Combs, Div. of Instructional Service, State Dept. of Public Instruction 1 Now employed by the Charlotte City Schools. vn Dr. O. K. Comwell, University of North Carolina, Chapel Hill, N. C. Marjorie Crisp, Wake Forest College, Wake Forest, N. C. Dorothy Davis, Woman's College, Greensboro, N. C. Mrs. Ruth Moore Davis, Charlotte City Schools, Charlotte, N. C. Taylor Dodson, Div. of Instructional Service, State Dept. of Public Instruction O. A. Dupree, Principal, Pantego School, Pantego, N. C. Mrs. Ruth W. Fink, University of North Carolina, Chapel Hill, N. C. Julia Fuller, Rocky Mount High School, Rocky Mount, N. C. G. H. Graham, Asheville City Schools, Asheville, N. C. Margaret Greene, Woman's College, Greensboro, N. C. John W. Grice, Chapel Hill High School, Chapel Hill, N. C. Ellen Griffin, Woman's College, Greensboro, N. C. Julia Grout, Duke University, Durham, N. C. H. H. Hall, Principal, Rosewood School, Goldsboro, N. C. D. C. Ilobson, Principal, Skyland Elementary School, Skyland, N. C. Q. H. Holt, Principal, Rex School, Lumber Bridge, N. C. W. A. Hough, Principal, Bladenboro School, Bladcnboro, N. C. Doris Hutchinson, University of North Carohna, Chapel Hill, N. C. Robert Jamison, Greensboro High School, Greensboro, N. C. G. F. Kirchner, Appalachian State Teachers College, Boone, N. C. Joy Kirclmer, Appalachian State Teachers College, Boone, N. C. Harry Lemon, Newton High School, Newton, N. C. Marjorie Leonard, ^Voman's College, Greensboro, N. G. James Long, Wake Forest College, Wake Forest, N. C. James Lytle, Shaw University, Raleigh, N. C. Ethel Martus, Woman's College, Greensboro, N. C. E. Preston Mitchell, Stephens Lee High School, Asheville, N. C. Virginia Moomaw, Woman's College, Greensboro, N. C. Martha Moore, Woman's College, Greensboro, N. C. J. B. McLendon, North Carohna College, Durham, N. C. F. D. McLeod, Superintendent, Richmond County Schools, Rockingham, N. C. Artliur Pasclial, High Point College, High Point, N. C. Dr. W. II. Peacock, University of North Carolina, Chapel Hill, N. C. Phairlever Pearson, Principal, Newton Negro School, Newton, N. C. L. J. Perry, North CaroHna High School Athletic Association, Chapel Hill, N. C. Doris Peterson, Meredith College, Raleigh, N. C. J. L. Pierce, Elon College, Elon College, N. C. Mrs. Jeannette Potter, Woman's College of tlie U.N.C., Greensboro, N. C. Walter Rabb, University of North Carohna, Chapel Hill, N. C. M. M. Richards, Catawba College, Salisbury, N. C. A. J. Simeon, High Point High School, High Point, N. C. Dr. G. E. Shepard, University of North Carolina, Chapel Hill, N. C. Julian Smith, Gillespie Park Junior High School, Greensboro, N. C. Sallie Southerland, University of North Carolina, Chapel Hill, N. C. Charles E. Spencer, Director, School Health Coordinating Service, Raleigh, N. C. Ivan B. Stafford, Crossnore School, Crossnore, N. C. Nell Stallings, East Carolina College, Greenville, N. C. Yvonne Stohlman, Fayetteville Elementary Schools, Fayetteville, N. C. Edward Teague, Guilford College, Guilford College, N. C. Mrs. Lula B. Yancey, Jeanes Supervisor, Henderson, N. C. Special acknowledgments are also given to: L. H. Jobe, Director of the Divi- sion of Publications, who assisted in editing and arranging the material for publication; Dr. J. Henry Highsmith, Director of the Division of Instructional Service, who served as an adviser to the Steering Committee; A. B. Combs, Division of Instructional Service, who served on the Committee on Organization and Administration; B. L. Nalley, Charlotte City Schools, for the piano arrange- ments of the singing games; Mrs. Gladys Lawhorn, Meredith College, for the piano arrangements for the folk dances; Mrs. John L. Cameron for checking and copying the notes for the musical arrangement; Helen Stuart,' Adviser in Physical Education, School Health Coordinating Service, for proofreading and pre- paring the index; and the two secretaries, Mrs. Lillie Mae Peddy and MoUie O. Liles, who copied, recopied, mimeographed, and remimeographed both the tentative and final materials. Charles E. Spencer, Director 1 Employed as of August 1, 1951. School-Health Coordinating Service VIII TABIE OF CONTENTS CHAPTER I Page ORGANIZATION AND ADMINISTRATION 1-24 Definition, Aim, Objectives 1 Physical Education Platform 2 Child Growth and Development 3 Integration With Other Subjects 5 State Requirements in Health and Physical Education 7 Scheduling and Classification of Physical Education Classes 8 Scope of the Program 10 Suggestions for Planning the Program 13 Play Areas, Equipment and Supplies 19 CHAPTER II GAMES 25-55 Story Plays 25 Games for Running, Tagging, Dodging 28 Games for Jumping, Plopping, Skipping 39 Games with Balls 41 Classroom Games 51 CHAPTER III TEAM SPORTS AND LEAD-UP GAMES 56-93 Soccer Fundamental Skills 56 Soccer Lead-Up Games 57 Soccer 62 Speedball 65 Tag Football 68 Basketball Type Games 72 Basketball 74 Volleyball Fundamental Skills 79 Volleyball Type Games 80 Volleyball 83 Softball and Baseball Fundamental Skills 87 Softball Type Games 88 Field Hockey 93 CHAPTER IV RELAYS 94-100 General Teaching Su^^gestions for All Relays 94 Single File Relay 94 IX Page Shuttle Relay 96 Circle Belays 97 Square Relay 99 Basketball Dribble and Shoot Belay 99 CHAPTER V INDIVIDUAL AND DUAL SPORTS 101-124 Archery 101 Badminton 102 Bowling lOS Golf 109 Horseshoes 110 Shufflehoard Ill Tennis and Tennis Type 112 Combative Activities 120 Track and Field Athletics 121 Co-recreational Sports 124 CHAPTER VI STUNTS AND TUMBLING 125-137 CHAPTER VII RHYTHMS 138-274 Teaching Suggestions 138 Explanation of Terms and Analyses of Steps 138 Diagrams— Floor Patterns, Formations and Dance Positions 144 Fundamental Rhythms 148 Creative Rhythms 156 Singing Games 159 Folk Dances 179 Modern Dance 267 Social Dancing 270 Tap Dance 273 CHAPTER VIII PHYSICAL FITNESS 275-281 CHAPTER IX CORRECTIVE AND ADAPTED PHYSICAL EDUCATION 282-284 CHAPTER X MEASUREMENTS AND EVALUATION 285-288 CHAPTER XI Page OUTING AND CAMPING ACTIVITIES 289-293 Introduction 2S9 Integration of Outing Activities with the School Program 290 Suggested Outing Activities for School Program 200 Place of School Camps in School Program 292 CHAPTER XII AQUATIC PROGRAM 294 CHAPTER XIII INTRAMURAL PROGRAM 295-309 CHAPTER XIV GAMES FOR SPECIAL OCCASIONS 310-316 Party Mixers 310 Classroom Games for IlaUoiceen 311 Classioom Games for Christmas 312 Classroom Games for Valentine Day 313 Classroom Games for Easter 314 CHAPTER XV SPECIAL ACTIVITIES 317-325 May Day Program 317 Rope Jumping Activities 319 Sports Days and Play Days 322 APPENDIX 327-332 Physical Education Laws and Regulations 327 Cerlificalinn Rcv 44 Physical Education Similar game: Circle Toss Race. In this game there is a starting and finishing point. The ball is tossed in regular order around the circle. Each player moves one place to the right after each toss of the ball into a basket. There is a little more space between the start and finish marks than there is between the other players. The finish line and line for the basket are clearly marked, and if the game is played with competition, Start / \ • h/asie /wjASA Aaske^ I \ each circle should have the same distance to basket. The first player holds the ball until signal to pass is given. When ball has been passed completely around circle to last player, he tosses it into basket. Score is 1 for each ball landed in basket. Each player moves to right and play is repeated. It helps if each child marks his place on the ground at the beginning of the game. If played in competition, each circle should have same number of players. Call the total score of each circle at end of each play; continue until all players have had turn. If the competition confuses the children, discontinue it. BAT BALL Grades: 3-4. Number of Players: 10-30. 7 or 8 on each team is best for the size field given below; adjust number of players to the space being used. Equipment: Volley or soccer ball. Space: Total length— 72 feet (forward line for fielders need not be marked unless found necessary.) Width— 36 feet. X-Fielders. 10' 10' IZ' 1 1 X X X Fie 1 X 1 1 St 1'" ^ X B^ X «? ^1 Description: Players are divided into two teams, batters and fielders. Players on each team are numbered for batting order; they also rotate Games 45 positions in the field each inning, so that the same players do not always have the most desirable positions. Start. First batter stands facing home base and about two feet away from it. Batter holds ball on one hand and bats it with the other, swinging the arm parallel to the ground and striking the ball toward its underside to help it rise. Runner. When a player hits a fair ball, he runs the length of the field, around field base from either side, and back to home base. The runner may dodge and change direction, but if he does this so long that he delays the game, or if he stops, he may be called "out." The runner is safe after he has crossed the scratch line in returning, but must step on home base for the run to count. Fielders. No more than two fielders are to play in the base area; if the team is small, one may play there. Fielders in this area must not stand close to base. Fielders may not run around on the field, nor bunch up, nor run alongside the runner. They may run to get the ball but must stand still to throw it. Fielders throw the ball ahead of the runner trying to get it in good position for tagging him. When the ball goes outside, the nearest fielder goes for it and throws it back to another fielder. Player may run back to the boundary line before throwing if the distance is long. If it is a short distance, running wastes time. On the serve, fielders should stand about 10 feet away from scratch line until ball strikes ground. Batting. Position described under "Start." A fair ball crosses the scratch line, and the batter at once begins his run. A ball that fails to cross the scratch line, or that hits outside the side lines, is called "ball." The batter gets one more try. Batter is out. 2 "balls." Runner is out. Fly ball caught; hit with ball thrown by fielder; fail- ing to go around field base; stepping on or over boundary lines; delay- ing the game. Fouls against fielders. Running with ball in field; holding the ball, or keeping it by bouncing to self; passing ball between same 2 players more than twice in succession; more than 2 fielders in base area. Scoring. 2 points for each run; 1 point to batters for each foul on fielders. Three outs brings the other side to bat. Teaching Suggestions: Throw ball ahead of runner in order to hit him. Hit below waist. Discuss ways of dodging: turning, bending, jumping over ball, changing direction of run. Fielding (catching) ball: watch ball all the time, move in line with ball, have weight evenly balanced and hands ready. Think ahead and try to decide where to throw ball. 46 Physical Education Practice passing the ball among fielders without having a runner on the field. Practice running around field base without having ball being thrown. Practice throwing ball promptly instead of holding it. To develop teamwork practice passing the ball to player in better position to put runner out. Practice hitting a moving target with ball. BOUNDARY BALL Grades: 3-5. Nu7nber of Players: Any number. Equipment: Two volley or soccer balls. Space Needed: Playground, gymnasium. Two parallel lines 60 feet apart and 60 feet long. Draw a line parallel with and midway between two boundary lines. Description: Players are divided in two teams and placed, one in each half of playing area, facing center. The line back of each team is that team's goal line. Each team is given a ball. On signal, each attempts to tlirow ball across other's goal line. Ball must go over roll- ing on ground or bouncing. Fly balls do not count. After first throw on signal, ball may be thrown at any time. Players may move freely about in own half of field, but may not go into opponent's half of field. Players attempt to stop balls going over own line. Team scores a point each time ball goes over opponent's goal line. Team with highest score wins the game. X X X O o V X X X X X Of .5 O O o o X X O ° o o Teaching Suggestions: 1. 2. 3. 4. 5. Watch ball. Use two-hand under hand throw. Throw where there are fewer or no players; feint. Keep eyes on the ball; move in line with the ball; keep fingers relaxed and "give" with the ball as it is caught. In using squad organization, place one squad in one half of field in competition with other squad. Encourage players to pass to team mate who may be in better position to pass. Games 47 Similar games: Guard ball. Draw 2 parallel lines 10 feet apart. Length depends on the number of players; allow 3 feet for each player. One team is placed within lines; other divided, half on one side, half on the other, facing those in center. Players on outside try to throw the ball between players in center. Center players attempt to block ball. One point is scored each time ball passes through center players. Balls higher than players' heads do not count. Play 5 minutes, then change. CIRCLE DODGE BALL Grades: 3-6. Number of Players: Any number; two squads of approximately 8 to 10 players each is preferable. Equipment: One ball which may be a volley ball, soccer, or a play- ground ball of similar size. Space Needed: Playground or gymnasium. Circle approximately 30 feet in diameter. Description: One squad gets in circle formation; other squad scattered within circle. Players in outer circle attempt to hit player within circle with the ball. Players may use any tactic to dodge being hit, except they may not leave the circle. If ball stops in circle a player may go in to get it and may throw it out to a team mate, or he may return to his place and throw at opponents but he may not throw at them while within circle. Teaching Suggestions: 1. Keep eyes on the ball. 2. Help children realize necessity for watching ball; for running toward an empty space; for developing agility in dodging to avoid being hit. 3. Passing quickly. Make the "give" of the catch the first part of the throw instead of stopping after the ball is caught. Step forward as ball is thrown. Stress principles of catching. 4. Players in outer circle must throw from the outside the circle. 5. Player hit on any part of person or clothii.g by ball on fly, bounce or rolling is out. 6. Only one player is put out at a time; if two are hit on same throw, one hit first is out. 7. As a safety feature, stress hitting below the waist.. 8. Players who are hit may a. Stand outside until circle is empty. b. Join circle and throw at team mates. 9. Game may be played as squad competition, in which case players who are hit are eliminated, and remain inactive until all members are hit. Game may be played in two ten or five minute halves. At the end of the first half teams exchange places. The squad wins which has the greatest number of play- ers in center at the end of playing time. 48 Physical Education 10. Stress passing the ball around the circle to get shorter throws at center. 11. Use a light ball for smaller players. Similar games: 1. Dodge bounce ball— using a bounce pass instead of pass could well precede the above game, with the stress on starting a bounce pass especially when balls are caught above the waist. 2. Circle kick do dgeb all— sa.me, using kick instead of throw. 3. Solo dodgeball— squad play; one person in center dodges to avoid being hit by thrown ball. When player is hit he exchanges places with the one who threw the ball. 4. Exchange dodgeball— any number from 2 to a third of the players in the center. Other players form two lines. Play as in above forms. The one hit exchanges places with the thrower who hit him. In this manner, all continue in the game all the time. 5. Soccer dodgeball. Game is played with ball being kicked in- stead of thrown. CIRCLE STRIDE BALL Grades: 3-6. Number of Players: 8-14 players. Equipment: One soccer, volley ball or basketball for each group. Space Needed: Playground, gymnasium. Description: Circle formation; players standing in a wide stride position so that outside of feet are touching those of player on either side. "It" in the center attempts to throw the ball between the legs of players who must keep their hands on their knees until ball leaves "Its" hands, then he tries to stop the ball with his hands. When ball has been thrown between player's legs, that player becomes "It." Teaching Suggestions: 1. Keep eyes on the ball at all times. 2. Have one person only to chase ball and throw it back or run back quickly with it. 3. Stress good mechanics of throw. Keep eyes on ball, throw accurately. 4. Stress feinting and stopping ball with hands. 5. Use as a squad game, with leader directing game. 6. Instead of exchanging places each time the ball goes through a player's legs, have a time limit for each center player, after which he reports how many times he threw ball through a player's legs. Select a new center player after each time limit is up. Modifications : 1. Partner circle stride ball. Two are "It," one inside and other outside circle. Center player exchanges places with player through whose legs the ball went. When ball goes outside Games 49 circle, outside player attempts to throw ball between a player's legs. 2. Kick circle stride ball. Game is played as circle stride ball except ball is kicked rather than thrown. CIRCLE KEEP AWAY Grades: 4-6. Number of Players: 8-12 players. Equipment: 1 soccer ball for each group. Space Needed: Playground, gymnasium. Circle formation. Description: Children form large circle with one child in center. Ball is kicked around circle. Child in center tries to get the ball. If he succeeds the child kicking the ball last becomes "It." Teaching Suggestions: 1. Control ball before kicking. Stop it with hands. 2. Warn children to keep ball low. Keep toes pointed down when kicking. 3. Stop ball and kick quickly, away from "It." 4. As improvement in skill is shown, have children trap ball in feet rather than stop it with hands. 5. Return ball quickly when kicked out of circle. Modification : 1. Circle keep away, using a throw instead of a kick. Two or tliree players may be in center of circle. One who intercepts ball exchanges place in circle with person who threw the ball. 2. Bounce keep away. Ball is bounced to players in the circle with the exception of the player on the right or left of one who has the ball. BALL STAND Grades: 4-6. Number of Flayers: Any number. 4 to 10; whole class when learning. Equipment: Volley ball outdoors. Space Needed: Playground, gymnasium. Description: Players stand in a circle close together. "It" stands in the center of the circle and puts the ball on the ground beside him. He caUs the name of a player. The one called runs to pick up the ball while all the others run away as far as possible. The player who gets the ball shouts "Stand!" as soon as he touches the ball. Runners must stop at once. The center player throws the ball to hit another player. If he succeeds he has a second turn at standing in the center and calling a name; if he fails, the player whom he missed stands in the center and calls. All players return to the original formation after each throw. Players may dodge in any way to avoid being hit by ball but must not move their feet. Teaching Suggestions: Running as far as possible. This game is to give practice in running and throwing. Unless the players run as far as they can, part of the 50 Physical Education fun and benefit of the game is lost. In discussion, help children under- stand this. Moving after "It" calls "Stand." Discussing this problem should help the children understand the reason for having this rule. Practice in stopping quickly; the importance to "It" that all do so. Accurate throw. Practice the skill— emphasize correct form. Two hand shoulder throws. Many children do not try. Urge them to do their best not to be hit. Keeping balance at the signal to stop. Children should learn that stopping without falling is a more useful skill as it keeps them ready for subsequent action. Social-emotional. Running fast but stopping on signal; doing one's best not to be hit; admitting if hit; choosing quickly. This game should be preceded by plenty of practice in throwing. Help children remember to call on every player. Help them plan a place to run; avoid bumping. Help them plan about calling names quickly and beginning promptly to avoid waste of time. GUARD THE PIN Grades: 4-7. Number of Players: 1 center player to guard the pin, 6 players in a circle formation around the center player. Equipment: 1 Indian club, 1 soccer ball. Space Needed: Circle approximately 8 foot radius. Description: The center player must so guard the pin that it is not hit down by the ball or kicked down by himself. He can use his feet, legs, and thighs. If the ball happens to go above the waist, he can use his head, shoulders, and arms. If a circle player succeeds in knocking down the pin, he replaces the center player. If the center player knocks down the pin that he is guarding, he can either choose someone to take his place or let the person who has the ball in his hand take his place. Teaching Suggestions: The center player tends to stand too close to the pin. The circle players tend to move in toward the center player. They must allow him sufficient space to move around the pin. The throwers tend to throw above the waist. 1. Teach the guard not to stand too close to the pin. 2. The players should remain outside the circle. 3. Aim and throw the ball quickly and accurately. ROLY POLY Grades: 4-8. Number of Players: 8 to 12. Equipment: Tennis ball or small rubber ball. Space Needed: Playground, gymnasium. A line is drawn at one end of the playing area. Each player digs a hole in front of this line about three inches deep and seven inches in diameter. Indoors a chalk Games 51 circle will serve. A throwing line approximately ten feet away from and parallel with the end line is drawn. Description: The game is started by one player rolling the ball from behind the throwing line trying to get it into one of the holes. When it enters a hole, the owner runs up to get the ball. As soon as he gets it he calls "stop," for in the meantime the players have scattered. When the signal to stop is given, players must stay exactly where they are, not moving a foot. "It," with the ball, is allowed to throw it at one of the players. Hitting one scores one point against the victim; missing scores one point against the thrower. A player who has ac- cumulated three points must stand in front of a wall with his back to the players. Each gets one throw, trying to hit him from a distance of twenty feet. Teaching Suggestions: 1. Keeping balance on quick stop; keep the weight low. 2. Stress mechanics of a good throw; point of aim. 3. When played indoors, use a bean bag instead of a ball. This may be thrown with an underhand throw or "It" may walk behind the row of circles and drop the bag into one of them. 4. Demonstrate and discuss the mechanics of a quick stop. Similar games: Spud. Players are gathered in the center of the playing area around "It." He tosses a ball into the air and at the same time calls the name of a player. The player called runs for the ball while the others scatter. When he gets the ball, he calls "stop." At this signal the others must stop immediately, and the one who recovers the ball throws it with- out moving from the spot. He tries to hit one of the players. They may dodge in any manner as long as they keep one foot in place. If the tosser fails, one "spud" is scored against him; the game continues with him throwing the ball in the air and calling a name. If he hits the player, one "spud" is scored against the one hit. The one hit then re- covers the ball and tosses it into the air. When one player has three "spuds," he stands against the wall and each of the other players gets a free throw at him from a distance of twenty or twenty- five feet.. CLASSROOM GAMES Definition: Classroom Games are those which, because they require a hmited amount of activity and space, can be played in the classroom and are suitable for various recreational situations. Kaleidoscope: Grades 1-8. This is a most adaptable game, easy enough for first graders but also challenging enough for those in higher grades; it may be used in correlation with any subject matter. Six players stand in a line at the front. Each one chooses a color which he says loudly and clearly enough for all in the class to hear. After all six have named their choices they exchange places. The seated players take turns trying to name the colors in correct sequence from one end of the line to the other, giving each player the color 52 Physical Education he chose. The player who succeeds wins for his row or group the privilege of standing at the front and choosing colors. Touch: Grades 1-8. Class seated. The player chosen to begin the game, takes yardstick or pointer and walks around the room, touching 3 objects. These should be above eye level of the seated players so that all can see. He then gives the stick to the nearest seated player who touches the same objects in the same sequence. If he is successful, he touches one more of his own choice and passes the stick to the nearest player. The game continues until the list is too long; usually 3 players missing in suc- cession is indication that the game should be ended. Simon Says: Grades 3-5. The players are seated. Each player makes a fist of each hand with the thumb extended. One is chosen for leader, whom the others follow. The leader says, "Simon says, "Thumbs Up!" where upon he places his own fists on the table before him with the thumbs upward. The players must all do likewise. The leader then says, "Simon says, "Thumbs down!" where upon he turns his own hands over so that the tips of the thumbs touch the table, the others imitating him. He may then say, "Simon says, "Thumbs wiggle waggle!" where upon he places his fist on the table with the thumbs upward and moves the thumbs sideways, the players imitating him. If at any time the leader omits the words "Simon says," and goes through the movements simply with the words, "Thumbs up!" "Thumbs down!" or "Wiggle waggle!" the players must keep their hands still and not imitate his movements. Any player imitating him under those circumstances must either pay a forfeit or become leader, or both, as may be decided on beforehand. The Organ Grinder Man: Grades 1-8. One child is "It" and leaves the room. While he is out the others hide an object in sight of each pupil. "It," who is the organ grinder man, comes in and starts hunting for the hidden object. The class sings: Tune: "Farmer in the Dell." "Oh, the organ grinder man, Oh, the organ grinder man. Oh, we'll do all we can To help the organ grinder man!" ( This is sung very softly as "It" moves away from the hidden object, and more loudly as he comes closer to it. When 1^ finds the object, he selects another to be the organ grinder man. Find the Object: Grades 1-6. All children but one leave the room or put their heads on their desks so they cannot see. The remaining child hides an object. The others return to the room and start looking for it. When they locate it, they hunt a few minutes more, then sit down. The last child to locate the object is the "dunce." The first child to find it hides the object the next time. Games 53 Poison Seat: Grades 3-5. Place a book on each empty seat and also out on a seat that is occupied. The book indicates that the chair is poisoned and cannot be occupied. When the signal is given, all children change places and try to get a chair which is not poisoned. One child will not get a seat, so he is eliminated. Put a book on another chair and continue to play in this manner until all but two are eliminated. Note: This may be used at Halloween by letting the poison chairs represent haunted houses. Men, Rabbit, Gun: Grades 4-7. Two players or two teams line up facing each other. Each team decides quietly what it is to represent. When the signal is given, each team assumes a representative position: Man: Arms folded across chest. Rabbit: Wagging hands over the ears. Gun: Pointing the right arms and finger straight ahead. Winner scores one point accordingly: "Man" wins over "Gun" for "man" can shoot the gun. "Gun" wins over "Rabbit" for gun can kill the rabbit. "Rabbit" wins over "Man" for rabbit can run from man. Play for specified time and announce winner. Number Tag: Grades 3-8. Players seated, and numbered in order around the room. A leader writes all the numbers in several columns on the board. One player, chosen to begin the game, stands at the front and calls any number. The one called attempts to tag the first player before he can touch the back of the room and return to his desk. If he succeeds, he goes to the front and calls a number; if he fails, the other player gets another turn (3 turns allowed). The leader at the front erases each number called; no number may be called unless it is on the board. The game is over when all the numbers are erased. Going Hunting: Grades 3-8. Class seated. One player chosen to be the hunter stands at the front. The hunter walks around the room, pausing occasionally to ask a player, "Want to go hunting with me?" The players so chosen follow in a line behind the hunter. When about 6 have been chosen the hunter leads them rapidly around and up and down the aisles until he thinks he has theifl*as^r as possible from their places. When he calls, "Bang!" all the plavers run quickly to their places. The first one seated in his own pl^e is the new hunter. Hens and Chicks: Grades 3-8. Class seated. One player to be Mother Hen is sent out of the room. Three boys and three girls are chosen to be the chicks. All of the children then lean forward on their desks in order to hide the lower part of their faces in their arms. There is no need to hide eyes. Mother Hen is called into the room where she walks up and do^vn the aisles calling "Cluck, cluck" at frequent intervals. Each cluck must be answered with "Peep, peep" from the chicks. When Mother Hen 54 Physical Education has located a chick by sound, she touches him lightly and he stands up. Game continues until Mother Hen has located all the chicks. Poison or Poison Circle: Grades 3-8. Class standing in circle around room; a leader standing in the center and a clapper seated in a middle desk. The clapper closes eyes and claps hand as a signal to stop. It helps if the clapper is instructed to time his claps by counting to himself to any number from 3 to 10, "mixing them up" to make irregular intervals. The leader calls "Go" and also calls promptly the name of any player who is "caught," thus helping the game to move along without confusion of "who should sit down." A blackboard eraser or a ball is started around the circle, passing from hand to hand. x\ny player who is touching it when the clap sounds, is "poisoned" and has to sit down. Anyone who throws the eraser is out. Dropped eraser must be recovered by the player who dropped it. After an interval, "time-out" will need to be taken so that the circle may close in to prevent wide gaps. To end the game: the last two players remaining stand at the front, each grasping one end of the eraser at arm's length in front. The clapper is instructed to count a longer interval. On the signal to go the two players pass the eraser back and forth; each must touch his body with it before he gives it back to the other. Blindman's Buff: Grades 3-8. While "It" is being blindfolded by leader at front of room, rest of class exchange places as quietly as possible so as not to give "It" any clues to their change of position. With ruler in hand "It" walks along the aisle feeling on each side with the ruler. A player who is touched must take hold of the end of the ruler, "It" continuing to hold his end. "It" then asks, "What do you like to play?" and the other must answer something. "It" has three guesses to name the player. If he (it) suc- ceeds, the player takes his place; if it fails, he tries another player. Cross Questions: Grades 4-9. All but one of the players sit in two rows facing each other, those directly opposite each other being partners. The odd player walks around the rows behind the others, asking questions of any player facing him from the farther row. The questions must be answered, not by the player addressed, but by his partner or vice-versa, who sits with his back to the questioner. Any player answering a question addressed directly to him, or fail- ing to answer one addressed to his partner, or giving incorrect answer to a question changes places with the questioner, or pays a forfeit, as may have been decided on beforehand. Bandit: Grades 4 and up. Class standing in circle around room. When introducing the game, the teacher should explain the signals and movements and give enough demonstrations so all the players understand before proceeding. The leader in center points to a player and calls "Bandit." The player called bandit claps both hands to cheeks; the two adjacent players clap to their cheek the hand that is nearest the bandit. This Games 55 makes a group of players who must move on signal, the one in the center moving both hands while those on each side of him move only one. The last one of the group of 3 to get hand in correct position is "out" and must sit down. Usualh' much laughing and enjoyment. Observation: Grades 5-8. The game is a test of visual memory. Six to twenty objects should be placed on the teacher's desk so shielded that pupils cannot see them except as they march past the desk. The objects may include a key, chalk, eraser, pencil, paper clip, tack, small vase, etc. The more uniform the size and color of the objects, the more difficult will be the test. The pupils return at once to their desks and write down on a slip of paper the names of as many objects as he or she can remember. The player who writes correctly the longest list wins. The game may be made to correlate with nature study, the objects to be observed being grass, shells, leaves, stones, wood, etc. _^ Chapter III TEAM SPOKTS AND LEAD-UP GAMES SOCCER FUNDAMENTAL SKILLS Kicking 1. Dribble. Advance the ball with little taps or kicks while the player is running. The taps are made with the inside of the right and left foot alternating. The outside of the foot may also be used in the dribble. The ball should be 10-12 inches in front of the dribbler. 2. Kicking Ball on Ground (Place Kick). a. Place left foot shghtly in back of and to the left of the ball. b. Swing right foot back, knees bent, arms raised for balance. c. Swing right foot forward with sharp extension of the knee. Extend the ankle down to meet the ball with the top of the instep, not with the toes. d. Follow through with leg swinging forward and upward, knee straightened, arms raised, body extended. 3. Punt. a. Hold ball in front, arms' length about waist high. b. Spread fingers comfortably on opposite sides of ball, elbows, hips, knees all slightly bent; keep eyes on ball. c. Step forward left, swing right leg forward to contact ball which is dropped from the hands at the moment of the swing; contact ball with top of instep. d. Follow through with leg swinging forward and upward, arms and body extended with tnmk leaning slightly forward. Stopping and Advancing the Bsdl 1. Stopping the ball with the foot ( trapping ) —Get in line with the ball. Balance on one foot, lift the other leg slightly with knee bent, heel low and toes raised; let the ball roll between the foot and the ground; drop sole of foot on ball. 2. Stopping the ball with feet and legs ( trapping ) —Get in line with the ball. Hold the feet with heels near together and toes turned out to make a V of a size to trap the ball; as ball rolls into this space, bend knees down over it to prevent bouncing. 3. Heading— Meet the ball with the front or side of the head. Keep eyes on ball, have head moving into ball at moment of contact. 4. Shouldering— Meet the ball with the front, top or back of the shoulder without the arm striking the ball. Passing 1. With inside of foot; stand on left foot and turn body slightly to right, swinging right leg sidewards; swing right leg diagonally across the body, lightly tapping side of ball with the inside of foot. 2. Practice passing ball with either foot. Team Sports and Lead-up Games 57 Blocking Stopping the ball with body— Get in line with ball, eyes on it. Knees slightly bent, body relaxed. Just as ball contacts the body, "give" by bending slightly at the waist and jumping back slightly with both feet. Girls should fold arms across chest for protection. Tackling Three ways to take the ball away from the opponent (avoid body contact). Block or straight tackle— stop the ball with the sole of the foot and then either pass quickly or draw ball in position for dribbling. Hock Tackle— Step to one side of player and extend the nearer leg, ankle bent, to hook around the ball. SOCCER LEAD-UP GAMES LINE SOCCER Grades: 4-6. Number of Players: Any number divided in two equal teams; boys and girls together. Space Needed: A rectangular area, about 30 by 30, or 30 by 40 feet. Equipment: 1 soccer ball. Elements: Kicking, trapping ball. Object: To kick ball over opponent's end line below shoulder height. Rides: To start the game, players are lined up as shown on diagram, ball in center. At signal, the number 1 player on each team runs forward and tries to kick the ball. Teach children to kick with the side of the foot, and use this kick exclusively in this fourth grade game both for training in the skill and because "toe kicks" send the ball too hard and high for this small an area. A ball going across the end hne 58 Physical Education below shoulder level is a goal and scores one point for the side that made it. Center players keep kicking the ball in attempting to get it over opponents' end line until a goal is made, with these exceptions: ( 1 ) If they play for longer than a minute without either one winning a point, (2) if they kick the ball out of bounds over the side lines 3 times. In case of either of these, put the ball back in center and rotate players. No score counted. Line players may not kick the ball; their only function is to stop it. After a goal the ball is put in play as at the beginning; all players rotate one place to the right; the players on side lines rotate as arrows on diagram indicate. A ball that goes out of bounds over the side lines is put in play by the nearest player making a throw in, except when the center player kicks it out for the third time. The throw in is an overhead two hand throw. A ball that goes overhead at the end line does not score a goal. The ball must be below shoulder level to score. Bring ball back to center, rotate players and start as at beginning. The ball must not be touched with the hands except for the throw in. Personal contact which restricts movement of an opponent or which throws him off balance is a foul and gives a point to the other side. (Pushing, holding, tripping, etc.) Scoring: 1 point for each goal. 1 point to opponents for pushing, holding, etc.; for touching ball with hands; or for linemen kicking ball. To Trap the Ball: The easiest and surest way is to put the feet on top of the ball as it rolls toward player, thus stopping it by stepping lightly on it. This can be done as far away as player can reach. Another way is to hold legs together and bend knees down as ball makes contact, thus catching ball between knees and ground. Another way is to put heels together, toes pointing outward, and let ball roll to a stop in this angle made by feet. This method is good for slow balls, but fast balls will rebound. ^^^ m 1 X X .-. ^^// X X X t Team Sports and Lead-up Ganies 59 LINE SOCCER (Variation) Grades: 6-8. Number of Players: Any number, but 11 on each team will be a good lead up to soccer. Equipment: 1 soccer ball. Space Needed: A rectangular area divided in the middle with a line at each end to mark off the kicking area. 5X , X ,X \. Afe.3 \ V. V Elements: Kicking, passing, dribbling. Object: To kick the ball over opponent's goal line below the waist. Rules: All passing and dribbling must be done with the feet. Start the game at center with a bully between the 2 forwards. The other 2 players are guards and must stay in their own kicking area. Line up as in diagram. The bully: The 2 forwards put their right feet lightly on top of the ball; at signal, each tries to kick ball into opponent's territory. The one who succeeds follows the ball up trying to kick it across opponent's end line below waist level. The one who fails waits at center line for his guard to pass the ball to him. The guards stay in their own half of the field. It is their job to prevent the opposing forward from scoring a goal, and to dribble toward the center line and then pass to their own forward. The guard may take the ball away from the forward by kicking the ball away from him or by interrupt- ing his pass, but he must not push, hold or charge the forward. The guard must watch the ball and his opponent at the same time; he should keep a well balanced body position so as to be able to move quickly in any direction. The ball must be kicked below the waist and across the goal line by the forward from within the kicking area in order for the goal to count. The goal counts 2 points. After a goal, the ball is put in play as at the beginning. Rotation: the forwards take the place of their side linesman on the left, the left linesman becomes the last goal linesman, the guard becomes the forward, the right side linesman becomes the guard, and the first goal linesman becomes the right linesman. 60 Physical Education The guards should be in the kicking area on t±ie kickoff, but they should move toward the opposing forward as soon as the ball is kicked. A ball that goes out of bounds over the sideline is put in play by a throw-in by the sidelinesman covering the area. The throw-in is a two-hand overhead throw to the feet of a player on that linesman's team. The goal linesman should stop the ball with his foot and then pass it to one of his guards. He may not step into the kicking area. Penalty for stepping into the area: A penalty kick to the forward. The ball is placed anywhere on the kicking area line, the forwards try to kick the ball across the goal line without any interference by the guard. One point is scored if a goal is made. A ball which goes over the goal line higher than the waist level does not count a score. A free kick is given to a goal linesman oh the goal line. The opposite forward may not interfere with the kick. Fouls: Pushing, holding, tripping, touching the ball with the hands. Penalty: A free dribble to the opponent. The person taking the dribble is given 6 feet without interference. If play continues two minutes without a goal being scored, the umpire shall call time and the players all rotate as after a goal. Scoring: 2 points for a field goal; 1 point for a penalty goal. After a few weeks add 2 forwards and 2 guards to each team. The forwards must be on their own side on the center line on the kick off, but they cross over immediately on the kick off and do not cross back over until the goal is made. Guards stay in their own half of the field with the right guard guarding the left forward, the center guard guarding the center forward and the left guard guarding the right forward. R.F. ^ Q L.r. % Rotation: Change goal and side linesmen to active position after a short while of play. Continue to add guards and forwards and reduce a goal and side linesmen as the players improve. Gradually change the game to the regular soccer game. Similar games: 1. Schlag ball— Same procedure used as in German bat ball. Ball is dropped and kicked (punted) before it hits the ground. Regular rules apply except ball caught at home before runner gets there puts nmner out. Team Sports and Lead-up Games 61 2. Pick-up kick ball.* Same as German bat ball except ball is kicked instead of served. A fly ball may be caught; if kicked on ground, ball may not be picked up. It may be passed by kicking, or it may be kicked up into the air and caught before touching the ground, then thrown at the runner. Encourage children to throw ball promptly instead of holding it. PIN SOCCER BASEBALL Grades: 4-8. Number of Players: 10, catcher, pitcher, first baseman, second base- man, third baseman, two shortstops, three fielders; 10 on the other team. Equipment: Four Indian clubs (use wooden blocks, about twelve inches high, 2 inches square), soccer ball. Space Needed: A baseball diamond, but adapted to the group, i. e., for fifth and sixth grades vary the size of the field according to the ability of the group. Description: Instead of bases the clubs are set up. The players in the field are set up as in baseball. Kicker Rules: 1. Stand in front of the home pin. 2. If the kicker knocks down the home pin, in attempting to kick the ball, he is out. If the pitcher succeeds in knocking down the home pin, the kicker is out. 3. The kicker must make a home-run and must knock down every pin as he goes around. If the kicker fails to knock down a base pin, he can be put out, either on that base or on the other bases, if the ball has been thrown correctly.* Rules for the team in the field: A runner is put out 1. If the ball reaches the base before he does and the pin is knocked down. 2. If he is hit by the ball as it is thrown from base to base. 3. If he is touched before he reaches the base. 4. If a fly ball is caught. Teaching Suggestions: 1. Field players throw the ball to first base immediately. 2. The carelessness of the runner in kicking the pin too hard and too far with the likeliness of hitting someone with it. He should knock the pin down with the side of his foot as he passes it. 3. Develop ability to throw a ball accurately to a designated player. "* Mason and Mitchell. Active Games and Contests. A. S. Barnes and Co. N.Y. p. 342. • No matter where the ball is kicked, it must be thrown to first base first, and then around the field to second, to third, and to home. 62 Physical Education SOCCER Boys and Girls Description Soccer is a game played entirely without the use of the hands, with the exception of the goal-keeper who is the only member of the team allowd to pick up the ball with his hands. The game is started by a kick-off from the center of the field. The opposing team may not cross the restraining line (see diagram) until the ball is kicked off. Each team attempts to advance the ball without the use of hands or arms down the opponent's half of the field by dribbling the ball with the feet, heading or volleying the ball to score a goal by sending the ball between the opponent's goal post and under the crossbar. Each goal made counts one point. The team scoring the greatest number of goals wins the game. Players A soccer team consists of eleven players: five forwards, three half- backs, two fullbacks and one goal-keeper. The five forwards are the chief attack players who make most of the goals. The three halfbacks are attackers and defenders; therefore, they are on the run con- tinuously. They back up their own forward by passing the ball up to the forwards and the opposing wings and center forward when the ball is in the opponent's possession. Halfbacks take most of the free kicks. The two fullbacks are defenders of their own goal. They guard the opposing forwards and at all times try to prevent the opponents from scoring. The goal-keeper keeps his own goal, and to aid in preventing the opponents from scoring has the following privileges: 1. Pick up the ball with hands 2. Bounce the ball once 3. Punt the ball 4. Drop kick the ball 5. Throw the ball 6. Combine a bounce with a punt, drop-kick or a throw. Length of Game Girls: Official games shall consist of four quarters of eight minutes each, with two minutes between quarters and ten minutes between halves. Boys: Official games shall consist of four quarters of 15 minutes each, with 1 minute between quarters and 10 minutes between halves. In games other than league games, the captains of both teams may agree before the game starts to shorten the playing periods. Playing Space Girls: The official field is 100 yards long by 60 yards wide. The minimum field is 80 yards long by 40 yards wide. See diagram for markings, p. 65. Boys: The official field is 100-120 yards long by 55-75 yards wide. Equipment Soccer ball. Rules For Girls: In addition to the rules given below, each teacher should Team Sports and Lead-up Games 63 have a copy of "Official Soccer and Speedball Guide," National Section of Women's Athletics, 1201 10th Street, N. W., Washington, D. C. For Boys: The official National Collegiate Athletic Association Soccer Guide, A. S. Barnes and Company, New York, New York. Major Rules: A. Kick off. The game shall be started by a place-kick from the center of the field and must travel forward into the opponents side of the field at least the distance of the circumference of the ball. B. Goal Scored. When the ball passes o\er the goal line between the goal posts under the bar, not being thrown or batted with hands or arms or carried by any player of the attacking side, a goal is made and scores one point. C. Restarting Game. After the goal is scored, the kicking team shall be the side against which the goal was scored. D. Fouls and Penalties. 1. Tripping, kicking, pushing, holding, striking, charging, jumping at player and handling the ball are all fouls. The following penalties are given when fouls occur: a. Outside the Penalty Area (see diagram). (1) Free kick. Girls: For foul by either team, the opponents shall be awarded a free kick where the foul occurred. Kickers' opponents shall remain a distance of not less than 6 yards. Kicker shall not play the ball a second time until it has been played by another player. Boys: Kickers' opponents shall remain a distance of not less than 10 yards. A goal may be scored directly from a free-kick. (2) For double foul a roll-in (ball rolled between two opponents) shall be awarded. h. Inside the Penalty Area (see diagram). ( 1 ) For foul made by attacking team, a Free-kick shall be awarded the defending team near the spot where foul occurred. (2) For foul made by the defending team, a Penalty- kick shall be awarded the attacking team from the Penalty-kick mark. a. Line-up for Penalty-kick. A place-kick shall be taken from the Penalty-kick mark 12 yards from the goal by any member of the attack- ing team. All players except the one taking the Penalty- kick and the opposing goal-keeper, must be outside the Penalty area and in the field of play. The goal- keeper may stand on the goal line, but may not advance beyond it until the ball has been kicked. 64 Physical Education (3) For a double foul, a roll-in is awarded where the foul occurred. 2. Ball kicked out of bounds. Girls: Ball goes out of bounds on the side lines. Penalty- kick-in is taken by a player on side opposite the one who touched it last. Player kicking ball must stand outside the field of play, the ball is kicked in from the point on the side line where it left the field of play. Boys: Ball goes out of bounds on side line. Opponent of player who last touched the ball throws it in with a two- hand overhead throw, keeping feet together flat on ground. 3. Ball goes out of bounds on goal line. a. Defense-kick shall be awarded the defending team when the attacking team kicks the ball over the goal line, over the cross bar or goal line outside the goal-post. A place-kick is taken by any member of the defending team at a point anywhere on the line marking the penalty area. Girls: All opponents shall stand 6 yards away until ball has been kicked. Boys: All opponents shall stand 10 yards away until ball has been kicked. b. Corner-kick shall be awarded the attacking team, when the defending team sends the ball over the crossbar or over the goal line outside the goal post. The defending half- backs, fullbacks and goal keeper must stay on or behind the goal line until the ball has been kicked. The ball shall be kicked from the corner-kick mark 6 yards from the nearest corner. 4. The goal-keeper may not run or walk with the ball. Penalty: Free-kick awarded the opponents. A goal may not be scored directly from this Free-kick. Teaching Suggestions ^ Formations and Drills for Soccer Skills. 1. Progression for teaching the dribble (the main technique used in soccer). a. Teacher explain and demonstrate to class, or have a pupil demonstrate. b. Have class practice dribbling slowly at first, then full speed. c. Dribble and pass. d. Dribble, pass, receive. e. Dribble and shoot for goal. f. Dribble and dodge opponents. 2. Progression for teaching the tackle. a. Teacher explain and demonstrate, or have a pupil demonstrate.' b. Practice the tackle on a rolling ball. c. Practice on a player dribbling the ball slowly. d. Practice on a player dribbling the ball at full speed. 3. Progression for teaching the goal-keeper his duties. a. Catch the ball and clear it with a throw. b. Catch the ball and clear it with a punt. c. Batting, fisting or slapping a high ball. d. Kicking the ball on the fly. 4. Progression for teaching trapping with the inside of one leg, with the inside Team Sports and Lead-up Games 65 of both legs, with the front of both legs, with the sole of the foot, and with the heel. a. Teacher explains and demonstrates each type of tackle, or have pupil demonstrate. b. Trap a slowly moving ball. c. Trap and kick the ball immediateh . d. Trap and continue with dribble. e. Trap a fast moving ball. Formations which may be used in teaching soccer skills ( as an example, the dribble). a. Single column formation— 8 to 12 players in a column. Give each column a ball and opposite each column place a marker 35 feet from the first player. A^ dribbles to the marker, around it and back to A^. A^. goes to the end of the column. b. Circle formation— 8 to 10 players eight feet apart in each circle. X^ dribbles clockwise around the circle, returns to place and passes the ball left. (This formation with player in center of circle for practice in trapping, heading, or blocking the ball.) c. Shuttle formation— this formation is used frequently. Columns thirty- five feet apart. A^ dribbles across to B^; A^; goes to the end of that column and B^ dribbles back to A^. Dribble to A^ BiAAAAAA BiRBBBBAJ Dribble to B^ Teach as many skills as possible in relay formation. They like this competition. d. Couple formation— ten feet apart, dribbling and passing. DIAGRAM OF SOCCER FIELD AND MARKINGS ^t^e //we ^yrt't. 80 udi. LW-Left Wing LI— Left Inner CF— Center Forward RI-Right Inner RW-Right Wing LH-Left Halfback CH-Center Halfback Forwards RH-Right Halfback LF-Left Fullback RF-Right Fullback GK— Goal Keeper SPEEDBALL Description Speedball combines the skills of soccer, football and basketball. It is a vigorous game; therefore excellent as a fall and winter activity. The number of players and their positions are the same in speedball as in soccer. (See soccer diagram above). The game is started with a kick-off. On the kick-off the ball may be lifted with the foot to a teammate or a regular place-kick ma)- be used as in soccer. No Physical Education opponent shall cross the restraining line and no attacking players shall cross the center line until the ball has been kicked. The object of the game is to advance the ball down the field and score. A "fly-ball" may be caught and thrown to teammates and in this respect the game resembles basketball. A "ground-ball" must be kicked or dribbled as in soccer without the use of hands and arms. DIAGRAM OF SPEEDBALL FIELD AND MARKINGS < 80 t^* N S'-fe. li' Left Wing Left Inner Center Forward Right Inner Right Wing Left Halfback Center Halfback Right Halfback Left Fullback Right Fullback Coal Keeper Length of Game The game shall consist of four quarters of eight minutes each, with two minutes between quarters and ten minutes between halves. Scoring A. Field Goal— 2 points. Same as in soccer, the ball must go over the goal line, between the goal posts and under the crossbar. B. Drop-kick— 3 points. The ball is dropped to the ground and kicked as it bounces from the ground. The ball must be played from outside the Penalty Area and must go over the crossbar and between the uprights of the goal posts before a score counts. C. Touch-down— 2 points. Completion of a forward pass by one teammate, who is outside the Penalty Area, to another teammate, who is back of the goal line ( not between the goal posts. ) D. Penalty-kick— 1 point. Awarded the attacking team when a foul is made by the defense in its own Penalty Area. This is a drop-kick, taken by any member of the attacking team on the Penalty-kick mark. Only the goal-keeper may guard the goals. Playing Space The official field is the same size of a soccer field. (See diagram above for markings.) Team Sports and Lead-up Games 67 Equipment Regulation speedball, or a soccer ball may be used as a substitute. Rules Official Soccer and Speedball Guide, N.S.W.A., 1201 16th Street, N.W., Washington, D. C. Major Rules Fouls and Penalties. obstructihg, holding, charging, blocki 3. Individual Type Fouls: 1. Kicking, tripping, pushing, and boxing up. Unnecessary roughness. Not reportinp; to scorer and umpire when entering the game. Delaying the game unnecessarily. Traveling with the ball. Touching a ground ball with hands or arms. Juggling more than once. 8. Holding ball more than three seconds on the field. Penalties for Individual Type Fouls Made by: 1. Player outside his own penalty area: free kick where foul occurred. 2. Player within his own penalty area or behind own goal line: one tr>' for Penalty-kick goal. Attacking player behind opponent's goal line: a free kick on goal or end hne. B. Team Type Fouls; 1. Illegal substitution— reentering the game more than twice. 2. Taking more than three time-outs. 3. Having more than eleven players on the field at one time by one team. Penalty for team type fouls: One Penalty-kick shall be awarded the opponent team. C. Double Fouls: Foul committed by both teams at the same time. Penalty: a toss-up between the two players, one from each team. Teaching Suggestions Definition and Terms of Skills. A. Aerial Ball. The ball must be raised into the air directly from 68 Physical Education a kick by one or both feet and includes the punt, drop-kick, kick- up or a thrown ball which has not touched the ground. B. Ground Ball. Any rolling, bouncing or stationary ball on the ground. C. Kick-up. A means of converting a ground ball into an aerial ball. 1. Lift to one's self or to another player— place the foot under the ball and lift it into the air. 2. Kick-up to one's self by snapping one foot from the top ot the ball and quickly under the ball, as is done with a racket in picking up a tennis ball. 3. Two-legged kick-up to one's self— ball between ankles and jump so that ball reaches the hands. 4. Allow an on-coming ball to roll onto one's instep and then lift the ball into the air to be caught. D. Punt. As in football, ball is dropped and is met with the foot before it touches the ground. Used by defense players to get the ball away from their own goal. E. Out-of-bounds Over Side Line. Ball is put in play by a throw- in as in basketball. F. Out-of-bounds Over Goal or End Line. If sent out by attacker or defender, ball shall be put in play by a punt, drop-kick, place- kick, or throw-in. G. Tie Ball. Same as in basketball. H. Free Kick. A place kick where the foul or violation occurred outside the Penalty area. Speedball Lesson Plans. Three easy, workable lesson plans for teaching beginners speedball. 1. Show positions and names of players. 2. Marking or guarding line-up (who guards or marks who). 3. Practice in passing and catching. 1st Day ( 4. Forward line dribbling ball as in soccer (from wing to wing). 5. Demonstrate and practice three types of pick-ups. 6. Tackling and guarding as in soccer. 7. Play (a httle while). 1. Demonstrate and practice the punt. 2. Demonstrate and practice the drop-kick. 3. Demonstrate lineup for penalty kick and regular kick from scrim- 2nd Day { mage. 4. Demonstrate four ways to score and give number of points for each type of scoring. 5. Play. ( 1. Work out team plays. 3rd Day \ 2. Stress keeping and playing own position. ( 3. Play most of the period. TAG FOOTBALL* Introduction Tag football is a game which is fun for boys and provides an activity for those interested in football without the inherent dangers of tackling and blocking when boys are not fully equipped for regulation football. • These rules are adopted from the rules used at the University of North Carolina in th« intra-mural program. Team Sports and Lead-up Games 69 The skills of passing, catching, kicking, running and sidestepping re- quired in regular football may be developed in tag football. Object of the Game The object of the game is for the offensive team to advance the ball down the field and across the opponent's goal by passing the ball or running with it. The defensive team attempts to: 1. Intercept or break up the passes. 2. To stop rurming plays by touching the nmner. Equipment and Facilities A. Size of Field: The maximum dimensions of the playing area are 360 feet by 160 feet; a minimum satisfactory size is 240 feet by 160 feet, though a smaller field may be used when necessary. These dimensions include a zone at each end, each of which is 30 feet. B. Football: The football may be rubber or leather. C. Equipment of Players: Players are prohibited from wearing the following: baseball, track, football, or metal cleated shoes, padded suits, or special protective devices, such as shoulder pads, helmets, etc. D. Scoring: Touchdown 6, field goal 3, safety 2, and point after touchdown 1. E. Players and Substitutes: 1. Number of Players: Seven players may constitute a team. On offense, four players must be on the line of scrimmage and one player at least one yard behind the line. If nine players are used, five must be on the line of scrimmage and one at least one yard behind the line. 2. Substitutions: Unlimited substitutions will be permitted. F. Length of Game: Two periods of 15-20 minutes each will constitute a game. Time outs: Tliree time-outs will be permitted each half. G. Kick-off: The ball will be put in play by a kick from the kicking side's 40 yard line. A kick out of bounds will be kicked over, and if it is kicked out a second time, it will be put in play from the point kicked from. Players of the receiving team must be not less than ten yards from the point of the kick off. Receiver may either run with the ball, kick it back, pass to any player, whether lineman or back, in any direction, at any time unless the ball is dead. H. Scrimmage: Slx downs are allowed in which to make the length of tlie field or a score. Any player is eligible to receive a pass, which may be thrown in any direction. A forward pass may be made from any point on the field. Tackling is not permitted. To make the ball dead a defensive player 70 Physical Education needs only to touch the ball carrier with one hand, and play ceases at that point. A touch must be made from belt line up or upon any part of the hands and arms. No part of the toucher's body, except his feet, shall be in contact with the ground throughout the touch. If a man advances the ball, then after the run attempts to pass, but pass is incomplete, the ball will be put in play where pass was attempted. Blocking is not allowed either in the line of scrimmage or in the open. Players are granted the same privileges in the hght of blocking in tag football as are allowed in basketball. Movement of arms and body to meet opponent is blocking. Vaulting is not permitted. At any time the ball is fumbled, during scrimmage, after lateral passing, a kick or after a run, the ball is dead and belongs to the team that fumbled at the spot. A blocked kick goes to the team which blocked the kick and is dead at point of contact with ground. If ball is centered over player's head, it is dead at point of contact with the ground. Any pass forward or backward that is incomplete is dead and the ball will be put in play at the point from which the pass was attempted. An air dribble will not be allowed. Defensive and offensive players are restricted in the use of their hands. Rushing is permissable. Contact is a foul on the same basis as in basketball. I. Penalties: Off-side— Ten yards. The offended team may choose between ac- cepting the penalty or the yardage gained. Blocking and Charging— Twenty yards. Loss of yards from spot of foul. Use of Hands— Twenty yards. Unnecessary Roughness such as Clipping and Slugging— One-half of the remaining distance to the goal. All players are prohibited from: Striking with fists, kicking, kneel- ing, striking on the head, and roughing a player. J. Other Rules: In all other respects tag football rules are the same as those for association football. K. Possibilities of Defensive Play: Man-to-man style. Zone defense. Combination man-to-man and zone defense. L. Fundamental Skills: Passing, forward and lateral; running with the ball; catchinti the ball; kicking the ball; and screening. M. Terms: Dead Ball— A ball which under the rules has ceased to be in play. Off-side— A player is off-side when any part of his person is ahead of the ball, his scrimmage or restraining line when the ball is put in play. Team Sports and Lead-up Games 71 Formations and Suggestions for Teaching Skills In the early class periods, prior to the actual playing of the game, there are several drills which might be used in developing skill in passing, pass receiving, punting, punt receiving, running with the ball and centering. 1. Divide class into groups of seven or nine students. The mem- bers of each group then form a circle with each student in arm's distance apart. The ball is passed back and forth across the circle, thus affording each individual an opportunity to pass and receive the ball. Gradually widen the circle. The in- structor should stress accuracy in passing, stepping forward on proper foot, arch of ball as distance becomes greater, use of hands and fingers in receiving the ball. 2. Divide the class into groups of seven or nine students. Select one of the students from each group as a center and one as a passer. The remainder of each group shall line up in single file. The first person in each group shall be three yards to the right of the center and on a parallel line. The passer calls the snap number and the player runs straight at half speed for ten yards, fakes, and then fishhooks or breaks to the right or left. The passer throws the ball to the receiver. The ball is brought back to the center and the receiver goes to the end of the line. The next person in line takes his position and the procedure is re- peated. Change the passer and center in each group after all the members have received one pass until each person has had an opportunity to center and pass. The instructor should stress speed and accuracy in the pass from center, receivers faking well, catching ball in hands, and passers leading the receivers. 3. Divide the class into two groups and have each group form a double line fifteen yards apart. Select two of the most highly skilled performers and place one at a distance of seven yards facing each double line. The skilled performer passes the ball towards the first two players and they try to out-maneuver each other to catch the ball. The ball is thrown one time and the two contestants tiien go to the end of the line. The instructor should stress the fact that the pass is a free ball and either participant is eligible to receive the ball. 4. Divide the class into four groups. Two of the groups shall be receivers and two shall be punting groups. Place the punting groups on opposite sides of the field facing the receiving groups. There should be a distance of 25 to 40 yards between punting and receiving groups. Each member of the receiving groups take his turn at catching the punt and trying to out- maneuver and out-run the opponents coming down the field. He returns the ball to the center. From the punting groups select a center and a kicker for each group. The remaining members of the group divide and take positions in single file on either side of the centers. On a designated snap number the ball is centered to the kicker who punts the ball. The men on each side of the center run down 75 Physical Education field and tag the receiver. Kickers and centers can be changed at the discretion of the instructor. The punting and receiving groups can also be inter-changed, thus affording each individual an opportunity to kick, cover punts, and return punts. The instructor should stress punting for distance and accuracy; getting the punt off quickly; covering punts quickly and keep- ing the body under control; receiving or catching punts, in- cluding the use of hands; eluding opponents in returning punts; and carrying the ball properly. Another kicking and catching drill M'hich might be used is that in w^hich individuals or groups attempt to out-kick the opponent with each kick to be made from the point ball is received. The object being to drive the opponents back across their own goal line. 5. Divide the class into two groups and place them on opposite sides of the field facing each other. Arrange each group in smaller groups of tliree or four. The first group of three is in- structed to run and pass the ball to one another until they reach the opposite side of the field. The ball is given to the first three men in that group and they return the ball, carrying out the same tactics, to its original starting point. This pro- cedure is continued until all players are back in their original positions. The instructor should stress speed in running, ac- curacy in passing, and catching the ball in the hands. Be certain that the three members spread out while advancing the ball and emphasize the fact that the closer they are to- gether, the easier it is for one defensive man to cover them. BASKETBALL TYPE GAMES PASSING GAME Grades: 6-8. Number of Flayers: Any number. Divide class into teams of 6-8. Equipment: Basketball or soccer ball for each two teams. Space Needed: Gymnasium or playground. Description: Six or eight on a team. Two or three games ma\' be played simultaneously, using one-half or one-third of the floor for each. Start with a jump between two players of equal height. The Team Sports and Lead-up Games 73 team with the ball passes it in an effort to complete eight passes. It the pass is intercepted, start counting again. Each player should call out the number of the pass. Rules of running with the ball, holding the ball, out of bounds, and guarding prevail. When eight passes have been made successfully, one point is scored for that team. Team wins which has the highest score. Teaching Suggestions: 1. Short, quick passes will speed the play and decrease the num- ber of interceptions. 2. Passes between guards should be toward the scoring area. TWENTY-ONE Grades: 6-8. Number of Players: 20—4 squads of 5 players each. Equipment: Basketball or soccer ball for each two squads. Space Needed: One-half of basketball court. Description: Two squads at each basket. The squads at each basket are in a separate contest. Put the ball in play by a jump between two players from opposite teams. The two squads must stay on their own half of the floor, with both shooting at the same basket. Each field goal counts two points. If a goal is made, the player who made it gets a free throw. If the free throw is successful, he continues to take the free throws until he misses, then the ball is in play. Each free throw counts one point. All basketball rules prevail. The team first scoring 21 points wins. RISK IT Grades: 6-8. Number of Flayers: 6 or 8. Equipment: One basketball or soccer ball. Space Needed: Area around a basketball goal. Description: Mark seven spots on the floor at the indicated angles. As many as 8 players may compete. A player starts at spot 1, takes a 74 Physical Education shot, if he makes it, he moves to spot 2. If he fails, he may "risk it," and try again; if he fails a second time, he must return to spot 1; and the next player starts. One trial only is allowed at spot 1. A player con- tinues shooting until he misses. The first player completing the circuit wins. After a failure a player need not "risk it," but may await his turn at the spot where the failure occurred. LADDER CLIMB Grades: 7-9. Number of Players: Squads of 5-6 members. Equipment: Basketball for each squad. Space Needed: Basketball goal. XXXX XX / !( 3 V^_^ X/X X X X X 1 a Description: Two squads of 5 or 6 each at one basket. Mark off rings of the ladder about two feet apart. The object of the game is to determine which squad can get its players over the top of the ladder first with a sucessful shot by each player from every ring on her side of the court. Each squad should have a ball, but the players must take their turn in regular rotations, and alternate shots with the opponents When a player makes a basket from ring 1, she takes her next shot from ring 2, etc. BASKETBALL Introduction This section is devoted to the fundamentals of basketball for both boys and girls. Where a certain technique is for boys only or girls only, it is noted. The rules will not be included as they are con- tinually changing. An official rule book is essential for the teaching and coaching of basketball. Rules Official Rules for Girils: Official Basketball Guide, N.S.W.A., 16th St., N.W., Washington, 6, D. C, Price 50c. Official Rules for Boys: Official High School Basketball Rules, A. S. Barnes & Co., New York. Price 30c. Team Sports and Lead-up Games 75 A. Passing and Catching. 1. Chest Pass. The ball is held by the fingers and thumbs in front of the chest. The elbows are flexed and kept close to the sides, knees flexed and easy. The arms and shoulders are relaxed. The hands and arms rotate inward and with a quick flick of the wrists the ball is released. On the follow-through the hands, wrists and arms should be straight and following the direction in which you wish the ball to go. To give more power to the pass step forward when passing the ball. 2. Underhand Pass. The pass is made from either side at hip level. The fingers are spread apart and the ball should rest on the fingers and against the forearm. The other hand may be used to balance the ball instead of letting it rest against the fore- arm. Elbow is flexed and the ball is released with a forward swing of the arm, parallel with the body, and the extension of the elbow. The arms should follow the direction of the pass. 3. Two-hand Shoulder Pass. This pass is made from above the right or left shoulder. The ball is gripped with the fingers and thumbs pointed upward. The ball is released with a quick extension of the elbows and a snap of the wrists. 4. One-hand Shoulder Pass. The ball is raised to the shoulder resting in the palm of the hand, the other hand supports the ball. To throw the ball, extend the arm in the direction in which the ball is to go, stepping in the same direction as the throw. 5. Bounce Pass. The ball is held between chest and waist height with the fingers of both hands spread on the side of the ball; thumbs are at back of the ball. The elbow is flexed and close to the side. The ball is released by extending the elbow and wrist and pushing the ball with the thumbs to the floor. 6. Catching. The hands are parallel and cupped. The fingers are spread and relaxed until the instant of contact with the ball. For balls caught below the waist the fingers should point downward, and for those caught above the waist the fingers point upward. When the ball is caught the heel of the hand and fingers grip the ball firmly. "Gi^'e" with the ball and pull the ball in toward the body. B. Teaching Formations for Passing and Catching. (As soon as the fundamentals of passing and catching are learned the stationary position should be discontinued— catch the ball on the run and pass ahead of the player) 76 Physical Education 1. Zigzag Formation. 2^ 4^ 6^ 8^ X^ passes to X^ who passes to X^, etc. When mastered work into a relay with several groups. 2. Shuttle Formation. ^ \ X* passes to 1*^ and X^ runs behind 4*. 1" passes to X^ and P runs behind X^, etc. A bounce and pass may be com- bined in the formation. Work into a relay. 3. Circle Formation. Place seven or eight players around the center circle and the two foul circles. In the center of each circle is one player whose duty it is to touch or intercept the passes of the players in the circle. Players cannot pass to the player standing next to him. If the player in the center touches the ball, the passee takes his place. If the receiver misses the ball, he must go to the center. Shooting. 1. Chest Shot. The ball is held in the hands similar to the chest pass. For long shots, the ball is dropped from the chest to the waist and pushed upward and forward close to the chest. The knees, hips, and ankles are extended as the ball is released. Keep the elbows close to the sides and the thumbs behind the ball. 2. Lay-up or Set-up Shot. This shot is made from the front or either side close in to the basket following a dribble or receiving the ball on the run. At the height of the jump the shooting arm is extended Team Sports and Le.'U>up Games 77. D. directly overhead and the ball is released with a slight push, depending on the nearness to the basket. Shots made from the side are banked, while those from the front may not hit the backboard. 3. Two-Hand Overhead Shot. The ball is shot directly overhead with a swing of the arms forward and upward. The head is back with the chin up and the eyes on the basket. 4. Foul Shots. This is a habit shot and is always the same distance and height. In the two-hand underhand shot, the feet are parallel in front of the foul line. The arms are focused on the front rim of the basket. The knees bend until the back of the hands touch the inside of the thighs. The ball is lifted in a low arch and underhand swing of the arms, with a full follow through of the arms. Some players like to rise up on their toes as the ball is released. Do not try to twirl the ball. Teaching Formations For Shooting. 1. E>ouble Column Formation. X^ bounces into basket, shoots and goes to the end of O column. I'' recovers rebound of X^'s shot and passes to X^ who bounces and shoots. I*' goes to the end of X column, etc. This formation is used when ball is shot while on the run, without taking a bounce. 2. Line Formation Directly in Front of Basket. X^ runs up to just in front of basket and receives a pass from 1° and jumps for a shot into the basket. O goes to the 78 Physjcal Education end of X line. X^ recovers his own rebound and passes to X- who is running in for the pass, etc. 3. Spot Formation. °^ } \ 0, Jo, Mark off six spots on the floor around the basket. Each player makes a set number of shots from each spot. The player with the highest total number of shots made wins. Use several balls at the same time. 4. Foul Shot Formation. Six players are lined up along the side foul hnes and one player takes five straight foul shots. The other players try to get the rebounds or tip the missed shots back into the basket. Teams can be made up for competition to keep up the interest. E. Pivot Pivoting is a legal method of changing the position of the body while holding the ball. The pivot is done by keeping one foot in con- tact with the floor as a pivot foot and turning on that foot, while moving the other foot in any direction. The weight is on the stationary foot and the ball must be released before the pivot foot leaves the floor. F. The Dribble (boys only). The fingers are well spread and the weight is forward on the toes. The elbow is flexed and the forearm is nearly parallel to the floor. The ball is bounced or pushed mainly with the fingers, not slapped to the floor in. a continuous manner. As a player becomes more proficient, speed can be increased. Team Sports and Lead-up Games 79 G. Formation for Teaching the Dribble. Four lines one behind the other with the ball dribbled across the floor at first. As the group improves, divide into teams and have a relay down the length of the court dribbling around a boy or chair at the end and back again. Encourage the boys to dribble with both right and left hand equally well. H. Jumping. The feet are flat on the floor with the weight forward on the toes and knees bent. Timing of the jump with the eyes focused on the ball is most important. The jump should be upward and should be started just before the ball reaches the highest point. The arm swings forward and upward with the wrist and fingers well extended. I. Jumping Contest. Have a player stand facing wall with arm extended over head and make a mark on the wall with a piece of chalk. Then turn the players side to the wall and have him jump as high as possible and make another chalk mark. Measure the distance between the chalk marks. VOLLEY BALL FUNDAMENTAL SKILLS 1. Serving a. Stand with left side toward the target, feet astride and toes on a line. b. Hold the ball straight in front of palm of left hand. c. Swing right arm, parallel to ground, elbow straight, and hit the ball off of the left hand. Ball should be struck toward the underside near the left hand. Contact may be with open palm or with fist. Note: This stance is a direct lead up to the skill of batting with a bat and to the tennis serve. For volleyball games these variations may be preferred: 1. Player may face diagonally forward. 2. Player may face target (net), ball held in left hand in line with right, the stance and arm swing same as that for bowling. 2. Receiving and Passing a. Feet an easy stride apart, body well balanced, hips and knees 80 Physical Education slightly bent; hands held palm outward, fingers spread and re- laxed. b. If ball is low, hands contact the underside with palms up. fingers spread apart, and arms stiffen and swing forward and upward; knees and hips also straighten to add force to the stroke. c. If ball is high, fingers point up, fingers spread apart and palms tilt to make the angle of ball; quick straightening of elbows, knees and hips, with follow-through in direction ball is to go. d. Fingers give final direction of flight of ball. 3. Setting Up a. Observing points a, b, c, and d above in No. 2 pass ball or "set up ball" at least 12-14 feet high and one or two feet awa\- from net so that the spiker will have plenty of time to make a high leap and hit ball down into opponent's court. 4. Spiking The "spiker" one of the front line players has the ball set up for him by one of the other players on his team and attempts to time his leap so that he hits the ball down into his opponent's court before the ball has descended past the top of the net. VOLLEY BALL TYPE GAMES NEWCOMB Grades: 4-6. Number of Players: 16 to 28 players, divided into two teams. Equipment: Volleyball or soccer ball, net. Space Needed: Playground, gymnasium. Playing area 25 by 50 feet. Dimensions may vary as may the height of the net, which is seven feet. Description: The object of the game is for one team to throw the ball over the net and let it touch the floor before the other team can catch it. Play is started by a player on one team throwing the ball over the net to the opponent's court. Rules: Serving. The captain, or one appointed by the captain, serves first. The server's position is the back right hand corner of the court. ( A small or weak player may move closer to the net.) A served ball must clear the net completely. No other players except server may touch it. A server may have two serves if needed; but this rule applies only Team Sports and Lead-up Games 81 when he first comes up to serve. If his first ball goes over the net and is played, he does not get a second try thereafter. The server continues in his position as long as his team is scoring. When they miss, his turn at serving-ends. Playing. A player receives the ball by catching it before it touches the ground on his side of the net. He must immediately throw it. Back line players pass to forward line players on their own side who throw over net. A fumbled ball may be recovered in any way and remains in play provided it does not touch the ground. A player may not walk with the ball, but may take several steps in order to catch it. If the ball touches the top of the net and goes over, it is all right, and remains in play. Any number of players on a side may play the ball before it goes over the net, except on the serve. Out-of-bounds. An out-of-bounds ball caught before it touches the ground continues in play. A ball is out-of-bounds when it strikes the ground or any object (except a player) outside the boundaries of the court. The person who last touched the ball is considered to have sent it out-of-bounds. - Scoring. If the serving side misses, there is no point given to anyone. If the receiving side misses, the servers get a point. A side gets points only when it is serving. Misses. Letting the ball touch the ground. Sending the ball out-of- bounds. Batting the ball instead of catching it. Throwing the ball into or under the net. Holding the ball. Touching the net, even by accident. Game. The side first getting 11 points wins. Teaching Suggestions: 1. The net may be lowered a little if the children are small. Mak- ing the net too low, however, loses some of the values of the game. 2. Stress teamwork. 3. Discuss placement on the throw so there will not be aimless tossing. Similar games: 1. Same game, but score as in volleyball; only the serving side scores; when the serving side loses, no points are scored but the receivers become servers. 2. Volley-Newcomb. Same as newcomb except the service is as in volleyball. 3. Volley-keep-up. Players (8 or less) in circle formation. One volleys the ball into the air to another player, who volleys to another, etc. Each group counts the number of times the ball is hit into the air without touching the floor. 82 Physical Education BOUND BALL Grades: 4-6. Number of Players: 10-30 players. Equipment: Tennis, rubber, or volley ball. Space Needed: Playground, gymnasium. Play area definitely out- lined, 50 by 25 feet suggested; may be smaller or larger. Center line drawn which serves as net. T I SO Description: Players divided into 2 equal teams scattered in own half of court. L Start. One player drops ball to ground and bats it, with palm, into opponent's territory. Server has two trials to get ball o^•er line properly. Failure to do so gi^'es opponent one point. One player continues to serve until his side scores five, when ball is thrown to opponents for their serve. Rules: 1. Ball must bounce once or may be bounced any number of times before batting it over the line. 2. Ball may be "dribbled" up from back court to get in more advantageous position to hit to opponents. Low bounding balls may be hit to get high bounce. Ball going over boundary lines is out-of-bounds unless it bounces back into fair territory. Ball must be hit from above with open palm. Scoring. Only serving team scores. One point is given for: 1. Opponent's failure to return ball. 2. Failure to bat ball from above with open hand. 3. Failure to bounce ball before returning it to opponents. 4. Failure to return a good serve. Teaching Suggestions: 1. Keep eyes on ball and move to get in good position to hit it. The ball will go in the direction the palm is facing as the ball is hit. Try to place ball. Teach O'Leary* before teaching bound ball. Bouncing the ball to a team mate helps confuse the opponents 3. 4. 5. 2. 3. 4. Mason and Mitchell, Active Games and Contests, p. 123. Team Sports and Lead-up Games 83 5. Can use this for squad competition, playing for a time limit. 6. Remember that the ball is always hit from a bounce, never "on the fly." VOLLEYBALL Boys and Girls The game of volleyball may be played by both boys and girls. The rules are practically the same; howexer, where the rules vary they will be indicated. Description Volleyball is a competitive game in which there is no body contact. The game offers the participant an opportunity to develop better posture, and to develop a degree of accuracy and skill. Volleyball is suitable for either indoor or outdoor participation and is an inexpensive activity for the physical education program. The object of the game is to keep the ball in the air at all times by hitting it with one or both hands and not letting the ball hit the ground on your side of the net. Players Girls: A volleyball team consists of eight players; right back, center back, left back, right center, left center, right forward, center forward and left forward. When the team loses the serve the players rotate. Boys: Six players make up a regulation team; right back, center back, left back, right forward, center forward and left forward. (Note: As many as 10-12 players can play on a team without changing the rules. ) Length of Game Girls: The game shall consist of two halves of fifteen minutes each, with a rest period between the halves. The team scoring the most points wins the game. Boys: A game is won when one team scores at least fifteen points and has at least a two-point advantage. Scoring When the receiving team fails to return the ball legally over the net, the team serving scores one point. Playing Space The volleyball court shall be a rectangular court 60 feet long and 30 feet wide, and have a height of 15 feet or more free from ob- struction. Equipment Ball: A regulation indoor or outdoor volley ball. Net: The net shall be 3 feet wide, 6 feet 6 inches from center of ground and 32 feet in length when stretched. (Note: The height of the net should vary with the ability of the players and the size of the court. The minimum of 6 feet 6 inches is recommended for elementary (Note: The size of the court shall be modified for younger girls and may be modified for informal games to accommodate larger or smaller groups.) S4 Physical Education 30' DIAGRAM OF VOLLEY BALL COURT AND ROTATION OF PLAYERS Team Sports and Lead-up Games 85 grades; a height of 7 feet is suggested for high school girls. However, a height of 7 feet 6 inches should be used for official games for boys and girls. Official Rules For Girls: Official Volleyball Rules, Official Recreation Games and \'olleyball Guide, N.S.W.A., 1201 16th St., N.W., Washington, D. C. For Boys: Official Volleyball Guide, A. S. Barnes & Co., New York, N. Y. Major Rules A service is the putting of the ball in play by the player in the right back position, by batting it over the net into the opponent's court in any direction with either hand (open or closed), or with forearm, and while in a position with both feet wholly behind the serving line within the designated section. If any of the serving team commits any of the following acts, it shall be "side out"; if any player of the receiving team commits any of the following acts, one point shall be scored for the serving team: 1. Serve illegally. When a ser\'ed ball touches the net, passes under the net or touches any player, surface or object before entering opponent's court. 2. Fail to return the ball legally to the opponent's court. The ball must pass over the net within the regulation court. The ball is out of bounds when it touches any surface or object, or the ground outside of the court, except a player in the act of play- ing the ball. A ball touching a boundary line is good. 3. Catch or hold the ball. When the ball comes to rest in the hands or arms, it is holding or catching the ball. Scooping, lifting or moving the ball is considered as holding. 4. Strike the ball more than twice in succession (Girls rules). Strike the ball more than once in sucession (Boys rules). 5. When a fourth player plays the ball. Touch the ball when it already has been played three times before being returned over the net. 6. Body Foul. Girls: Play the ball with any part of the body except the hands and forearms, or allow the ball to touch any part of the body except hands and forearms. Boys: Allow the ball to touch his person or clothing below the hips. 7. Touch the net with any part of the body at any time except when the ball is dead. If two opponents touch the net simul- taneously, neither point nor side out shall be called; the ball is dead and shall be served over. 8. Play out of position. When the ball is served, each player shall be in his own area. 9. Reach over the net under any circumstance. (Note: "Side Out" is called when the receiving team fails to win its point or plays the ball illegally. Serve goes to other team. "Point" is called when the team receiving fails to return the ball legally to the opponent's court. ) 86 Physical Education 10. Touch the floor on the opposite side of the center hne. 11, "Spike" or "kill" the ball when playing a back position {Boys rule ) . Teaching Suggestions 1. The class should receive instructions in the skills of: handling chest, overhead and underhand passes; serving the ball, receiv- ing the ball; and spiking the ball. 2. Divide the class in three groups: feeders, boosters, and spikers. This will teach the players how to handle the ball in a game- like situation, 3. Offensive and defensive play should be discussed and demon- strated. 4. Team play should be stressed and encouraged. 5. On each team play the participant should be alert and play as though the ball were coming to him. 6. The players should be acquainted with the rules of the game. Key: Letters not circled indicate positions of players on a girls team. Circled letters indicate positions of players on a boys team. 4//./ ./•;„;■ I'V:. Team Sports and Lead-up Games 87 SOFTBALL AND BASEBALL FUNDAMENTAL SKILLS (Descriptions are given for right hand players) Overhand Throw a. Left foot a stride forward, eyes on target. h. Ball is held in right hand, thumb and forefinger on opposite sides of the ball, other fingers comfortably spread; grip is firm. c. Ball is drawn back about shoulder height, elbow bent, shoulders turned to right, weight transferred to rear foot. d. Ball is carried forward slightly above the shoulder to a for- ward extended position. Wrist and fingers give final force to the throw. Rotate shoulders to left with the forward movement and transfer weight to left foot. e. Follow through with hand and body moving in the direction of the target. Underhand Pitch (Softball) a. Stand facing the plate, feet on a line, body well balanced, eyes on the target. Ball is held in both hands cupped around it in front of the body. b. Swing right arm back at same time turning body a little to the right and inclining it slightly forward. c. Step forward left, and swing right arm vigorously forward, re- leasing the ball approximately the time the arm passes the leg. A wrist snap at the last moment adds power. d. Follow through with arm extended in the direction of the throw, palm up, trunk inclined forward. Catching a Grounder a. With eyes on ball get in line with it, go to meet it, and judge rhythm of the bounce so as to catch the ball at the height of the bounce if possible. b. Left foot a stride forward; knees and hips bent to bring body close to ground; fingers pointed down to catch low ball. Field ball with the hand extended forward about in line with the lead- ing foot. c. At instant of contact, hands "give" to soften the catch and also as a preliminary to the throw which is to follow. Batting with a Bat (Right hand batters.) a. Starting position. 1. Batter faces plate, left shoulder toward pitcher. 2. Feet are approximately width of shoulders apart, knees "loose" (not locked) toes in line. 3. Grip bat at or near end of handle with left hand; right hand above left and close to it. If bat is too long, shorten grip and both hands until bat is balanced. 4. Elbows away from body; left forearm parallel to ground; do not rest bat on shoulder. 68 Physical Education 5. Weight shifts to the rear (right) foot, trunk turns to the right in prehminary motion to batting. 6. Keep eyes on the ball as long as possible before the bat contacts it and the head should be held motionless before the swing. h. Forward swing. 1. Bat is swung parallel to ground. 2. Weight is shifted to forward foot (left); to gain power, a short step toward the pitcher may be taken with the left foot. 3. Shoulders, trunk, hips begin turning to the left. c. Contact with the ball. 1. Arms extended comfortably. 2. Keep eyes on ball; meet it squarely and in front of plate. d. Follow-through. 1. Continue body turn to left until upper portion is facing pitcher, wrists "roll over" and arms carry bat through the arc of the swing. Complete shifting of weight to left foot. 2. Step with right foot toward first base; drop bat easily from left hand; do not sling it. SOFTBALL TYPE GAMES LONG BASE Grades: 4-8. Number of Players: 6 to 20 players. Equipment: Softball and bat. Space: Playing area— playground, gymnasium. //o^e. /V*/e PittJters 6oK Description: Players divided into two teams, from three to ten on a team. One team is in the field, the others are at bat. The object of the game is for the team at bat to score as many runs as possible by hitting the ball and running to the long base and back without being put out. Rules: 1. Every hit is a fair hit, including fouls and foul tips. 2. When the ball is hit, the batter must run to the long base. 3. A runner may stop on the long base. Several runners may be on the base at a time, provided there is a batter left. Team Sports and Lead-up Games 89 4. All runners on long base may score from a single hit. 5. When a runner leaves the long base, he may not return unless a fly ball is caught. 6. A batter remains at bat until he hits a ball. 7. A runner is out: a. When a fly ball hit by him is caught. h. When a thrown ball is held by the baseman with one foot on the long base or at home before the runner gets there, c. When an opposing player with the ball tags him off base. Teaching Suggestions: 1. This is one of many softball lead-up games. It can be used before or with others suggested below. 2. Demonstrate and discuss with the class good form in the skills of the game. Correct poor performances. 3. A good local rule to insert for an out is slinging the bat. When a child is called out for this, he usually will learn to drop the bat to the ground. Similar games: 1. Throw It and Run. Ten to fourteen players divided into two teams. Have home, first, and third bases. One softball or rubber ball. Player at bat stands at home base and throws the ball out in the field in such a way that he can run to first and back before the ball is thrown to the catcher on home plate. The thrower is out if he throws a foul ball, or if a fly ball thrown by him is caught. Runner is out only by catcher catching a ball thrown to him, and touching home plate with his foot before the runner gets there. The runner may not be tagged out. Five throws from each team constitute an inning. 2. Variations of Throw It and Run. a. A pitcher may be used to improve skill on catching. The thrower (batter) ) catches a ball thrown by the pitcher, then throws it into the field, b. Use a kick instead of a throw. 3. Three Grounders or a Fly. Equipment: softball or baseball and bat. One player is batter; the others are scattered in the field. The batter tosses the ball and bats it. When a player has fielded three grounders or has caught a fly ball, he becomes batter; the batter goes to the field. With each new batter, fielders must begin anew scoring grounders. ONE INNING SOFTBALL Grades: 4-8. Number of Players: Any number; but should have large group. Equipment: Softball, softball bat, regular softball field. Description: Divide group in two equal teams. One team takes the field. The team in the field may take any position desired. They must 90 Physical Education have a pitcher, catcher, and a person on each base. The group at bat Hnes up in single file at a safe distance from home base. They take turns at bat each player having one strike only. (Foul balls count as strikes.) If a ball is hit into fair territory the rules of softball apply and the runner tries to reach first base. The side at bat remains at bat until each player has had his turn. When the last player of the team at bat has had his chance, the teams change places. The game is scored as follows: Runs count as in softball. In addition, a runner on first gets 1 point, a runner on second base gets 2 points, and a runner on third gets 3 points. For example, team A would win if they had 3 runs and 2 runners on second, while team B had 3 runs but a runner on first. Teaching Suggestions: 1. Have team in the field station players in foul territory to re- cover over-throws. 2. Pitch easy. Make the batters hit first good pitch. 3. Allow no base stealing. PEPPER Grades: 4-8. Number of Players: 2-12. Equipment: Balls, bats, and gloves. Space Needed: Level area. Description: One batter and any number of fielders stationed about 15 feet from the batter, the fielders are in a line facing the batter. The fielder tosses the ball to the batter so that he can hit it 15 feet easily. The batter attempts to hit the ball to each of the fielders in turn. The fielder receiving the ball tosses it again for the batter to hit. The players alternate as batter. Teaching Suggestions: 1. Have batter hold bat firmly, but not tightly. 2. Have batter watch the ball closely. 3. Have batter half face the fielders. He can hit better to the place he desires. 4. Have fielders watch the ball. 5. Fielders should stand with feet spread, knees flexed, body slightly forward. Glove close to the ground. FUNGO HITTING Grades: 6-8. Number of Players: 6-7. Equipment: Softballs and bat. Space Needed: Playground. Description: Batter and five or six fielders. Have the batter toss the ball, hit it to the various fielders, either as a fly or ground ball. A regular rotation may be established or a player who catches a fly or fields two grounders perfectly may become the batter. In fungo hit- ting, many players prefer to hold the bat with the right hand fairly Team Sports and Lead-up Games 91 high and toss the ball with the left. The left hand is placed upon the bat as soon as the ball is tossed. The bat should be back as the toss is made. The value in fungo hitting lies in training to watch the ball and in placing hits. It is also good practice for fielding. ERRORS Grades: 4-8. Number of Players: Any number. Equipment: Softball and bat. Space Needed: Softball diamond. Description: A game for batting and fielding practice. On a regu- lation diamond, place all the infield and outfield players. There may be four or six batters. This is a form of work up or scrub in which a player, when he is put out, goes to the right field position and all of the players move up one position. The order of rotation of fielding position is right to center, to left field, to short stop, to third, to second, to first, to pitcher, to catcher, to batter. Thus, when a batter is put out, all players rotate one position. When a fielder makes an error (let the players decide the errors), all fielders should rotate one position up to the position held by the player making the error. The player making the error must go to right field. Thus, rotation takes place after each out or error. BATTING AND FIELDING GAME Grades: 4-8. Number of Players: 10-20. Equipment: Softball and bat. Space Needed: Softball diamond. Description: Two squads. A pitcher and a catcher are the only fixed positions, the other players on the squad are placed anywhere in the field. The second squad is at bat. A player at bat is entitled to the usual three strikes. On a fair liit, he must run to first base and return home. If a fly is caught he may still run to base and return. An out is made by the fielder when the ball is returned to the plate ahead of the runner and when a batter strikes out. Score 1 point for each player who gets to first base and back before the ball is returned to the plate. Rotate squads after three outs. KICK BALL Grades: 4-8. Number of Players: Two teams, 10-25 players. Equipment: 1 soccer or playground ball. Space Needed: Softball field. Description: Have two teams of equal number. Put one team in the field in approximately the same positions as in softball. The other team is at bat. The pitcher rolls the soccer or playground ball toward home plate. The batter kicks the ball as it crosses the plate and attempts to reach first base. The rules of softball would apply except in the following cases: The base runner can be put out by hitting the base runner with the ball while not on a base, the base runner cannot 92 Physical Education leave the base before the batter kicks the ball. Each side has three outs each inning. As many innings may be played as desired. Teaching Suggestions: 1. Have pitcher roll the ball at a moderate speed. 2. Keep the batter well back of home plate, so that they can run up to the plate to kick, 3. Have fielders make short throws, relaying the ball. 4. In many cases, the base runner can be hit with the ball when the ball cannot be thrown to the base ahead of him. 5. Have each group practice kicking on the run. 6. Practice catching and throwing the large ball. KICK BALL VARIATION Grades: 4-8. Number of Players: 6-15 on each team: first baseman, second base- man, third baseman, fielders, umpire. Space Needed: Field: same as for softball except that a line is dra\A n across from first to third base. Equipment: A soccer ball or a football. Fielders spread out according to skill of kickers. Description: There is no pitcher nor a catcher in this game; fielders rotate every inning. The fielder nearest home should be ready to tag a runner out at home if necessary. The game is started by kicking the ball from home plate into the field. The kick may be either a place kick or a punt. To be fair, the ball must cross the line bisecting first and third bases. Team Sports and Lead-up Games 98 A foul ball is one that lands or rolls foul (as in softball) or which fails to cross the dividing line. Fielders field the ball and pass it to a fielder who is in position to put the runner out either by tagging him with the ball or by tagging the base to which he is running. Rules for putting the runner out are the same as in softball. Runners advance around bases in the same way as in softball; they may not "play off," but must stay on base until the ball is kicked. A strike is a ball kicked at and missed; foul balls also count as strikes except on the third strike. The kicker is out if: fly ball caught; three strikes; interference with play at home plate. Although fielders rotate positions each inning, the kicking order remains the same. Kicking order should be decided before beginning play. Three outs change the side at kick. Order of Rotation: No definite rules can be given, since the number of players will vary from game to game. The children should be taught j to move in general to the right; and to decide on their order of rotation to suit the situation. Whatever order is decided upon must be kept constant for the duration of that game so that every player will have the same chance at the choice positions. FIELD HOCKEY Since Field Hockey requires a lot of equipment, very few schools can afford this fall team sport. It is a worthwhile team sport, how- ever, and should be included whenever possible. There are eleven players on a hockey team with the same names and positions as for soccer and speedbaU. The regulation hockey field is 100 yards by 50 yards. For secondary schools, the field should be 85 yards by 40 yards. Space in this bulletin will not permit a detail description and rules of the game. Official Field Hockey Guide may be secured from the National Section on Women's Athletics, 1201 16th St., N.W., Washington, D. C. Price 50c. Chapter IV RELAYS GENERAL TEACHING SUGGESTIONS FOR ALL RELAYS 1. Require strict observation of all rules; a. Be behind the starting line on the signal "go." h. The next runner must have his feet behind the hne, but ma> extend his hand and run as soon as he is tagged. c. If stunt relays are used, be sure the stunt is not too difficult, and require that the stunt be performed. d. If ball handling relays are used, reduce the distances and stress accuracy of performance before stressing speed. (If you are stressing the use of a particular pass, such as tw^o-hand underhand, do not permit the use of a chest pass. ) 2. Use of a baton or bean bag to be handed to the next runner will eliminate the tendency to run before being tagged. 3. Use a verbal command to start a relay. Do NOT use a whisde. 4. In the lower grades, determining the winner by the team whose last runner is the first to return to his place, and all the team quiet and in a straight line gives much more satisfaction in the relay. 5. Do not abuse relays. Two is a good number to use in one class period, and these may well be at the end of the period. 6. Scoring: First team to finish receives 5 points. Second team to finish receives 3 points. Third team to finish receives 1 point. 7. The same number of children should be on each team. If there is an odd number on one or two teams, these children ma> serve as judges, scorers or starters. In second relay, let them exchange place with someone else on their team. SINGLE FILE RELAY Grades: 3-8. Number of Players: 6 to 10 on a team; eight makes a good number. Formation: Class is divided into equal teams of eight. The teams are lined up in single file about ten feet apart, behind a common starting line and facing an object which represents a turning point. This may be twenty or more feet away, depending on the ability of the class. 87654321 Team -A | 8-10- 1 8 7 6 5 4 3 2 1 Team b •AT Toi-ninq ?^. -20 'o Relays 95 Procedure: On the signal to run, number one runner from each team runs for- ward, around the turning point, comes back, tags off number two and goes to the end of his line. This continues until each member of each team has run once. The winning team is the one whose last runner is tlie first to return to the starting line. Teaching Suggestions and Progressions: 1. This type relay can be begun in the third grade. 2. When first presented, the following progressions may be help- ful: a. Get the teams in formation. Have all lines run at the same time, each line going around its own turning point. The winning team is the first to return and make a straight line behind the starting line. b. Number the players on each team consecutively. Have each number one run at the same time. These return and each goes to the end of his line. The first one in position at the end of the line is the winner. This brings the number two runner to the head of the line. On signal, each number two nms around the turning point as number one did, and returns to the end of the line. Determining the winner in this manner places emphasis on running fast until well past the finish line, and directs the nuiners to the ends of their lines. This procedure is followed until all have run. c. On signal to run, number one runs around the turning point, returns, tags number two by touching his outstretched hand, and goes to the end of the line. As soon as number tvvo is tagged, he may run. When "two's" get back to the end of the line and in position, the winner is announced. This lorocedure is repeated witli "tliree's" and "four's," and so on, until all have run. d. Walk through a regular relay. e. Run through a regular relay. 3. Running around an object is more satisfactory than running to a line or to a wall, especially if a rule is made that players shall not touch the object which represents the turning point. 4. To be sure that winners are accurately selected, mark the last runner conspicuously or have each runner sit down after his nm. 5. Have the players run to the right when approaching the object which is the turning point, and to the right when approaching the next runner. See diagram. SAMPLE SINGLE FILE RELAYS 1. All-up Indian Club Relay. Fifth grade and up. Two tangent circles, three feet in diameter, are drawn in front of and about 40 feet away from each team. One, two, or three Indian clubs are placed upright in one of the two circles for each team. On signal to run, the first player from each team goes up and moves the 1 clubs from one circle to the other. Only one hand may be used, and 96 Physical Education only one club may be moved at a time. Players may not get in the circle. Clubs must be left standing; if one falls, the runner must return and set it up. 87 G5^5Z1 8 7 6 5 ^ 3 ^ 1 40' Siatttnq Lint Variation: Bean bags or blocks may be used for younger children instead of Indian clubs. 2. Hopping Relay. Fourth grade. Players hop to turning point, then run back. This may be varied by using other means of locomotion than a hop. 3. Overhead Relay Players are lined up for single file relay. Number one player on eacli team is given a ball. On signal "go," number one, using both hands, passes the ball over his head to number two, two to three, and so on to the end of the line. When the last player gets the ball, he runs to the head of the line and continues the relay by passing the ball over his head. This continues until number one is back at the head of the line. The first number one back is the winner. Variation: Over and Under Relay. First player passes the ball over his head. The second player passes the ball between his legs to the third who passes it over his head. This continues over and under down the line until the last player gets the ball. He then runs to the head of the line and starts play again. 4. Run and Throw Relay. Fifth Grade and up. Single file formation. Leader has a ball, runs to the turning point, throws the ball to the second player, then returns to the foot of the line, keeping to his left as he returns. As soon as the second player catches the ball, he runs to the turning point and throws to the third player. This continues until the last person has returned to his place. Distance for turning point varies as to child's throwing ability. SHUTTLE RELAY Grades: Fourth grade and up. Number of Players: Two-four teams; eight each team. Equipment: None. Formation: The shuttle relay is more advanced than the single file relay, and should be taught after this has been taught. Each team is divided into two lines, single file and facing, as in the diagram. Relays 97 On signal to run, the number one runner from each team runs across and tags his number two runner. Number one goes to his left to the end of the line behind number 8. As soon as number two is tagged, he runs across and lags number three and goes to his left to the end of the line behind number seven. This continues until all have run. The winning team would be that whose number eight runner is the first to cross the finish line. *'7S Team -A 3 1 7 5*3 -? ^ ^ 2 4^ 6 d 2 Circle Relay I. Each team makes a single circle facing center. On signal to start, the leader passes, throws, or kicks an object to the player on his right. Each player sends the ball on to the next player to him. When it gets back to the leader, he raises his hand. The first team completing the circuit wins. 98 Physical Education Variation for practicing a dribble: Ofiiibic Pas» The leader dribbles the ball around the circle to the right. After completing the circuit, he passes to the next player on his right, who does same. This is continued until each player has run. Circle Relay II. (Two teams in one circle) Single circle facing center. Players count off by two's. One's are on one team; two's, another. Captains are across the circle from each other. On the signal to start, the captains pass the ball to the team mate on their right, and so on around the circle (every other one). The first team to return the ball to his captain is the winner. This may be varied by allowing the race to continue until one ball overtakes the other. Suggestions for Circle Relays: 1. Play once, then change direction. 2. Make circle larger to make longer passes. 3. Stress accuracy, declaring the winning team the one with few- est misses. 4. Stress speed and accuracy, giving special recognition to the team which finishes first with fewest misses. 5. Use more than one ball per team. 6. Use different sized balls for each team. Relays 99 SQUARE RELAY Grades: Fourth grade and up. Number of Flayers: Two-four teams. Formation: A square is definitely outlined on the ground or floor, and all players except the two running must remain inside this square. The size of the square is determined by the ability of the class. "\«* / Z 3 S 6 7 8 e 7 6 S 5 t 2 > ^t - |:^j| Two teams are lined up in opposite corners of the square, facing in opposite directions. The line of the square each number one player is facing is that team's starting line. On the signal to run, each number one player crosses his starting line, turns to his left and runs around the outside of the square. When he gets back, he tags off his number two runner who does the same. This continues until all have run. BASKETBALL DRIBBLE AND SHOOT RELAY Grades: 7-9. Number of Players: It is best not to have more than 12 on a team. Equipment: A basketball for each team and one basketball goal. Description: The teams line up in single file behind their leader at a point about 40 feet from the goal. The teams should be separated > by about twenty feet. The two players in the front of the line start the relay by dribbling down to the goal where they must shoot until they make a goal. After this, they dribble the ball back to the next man in the line who in turn dribbles down to shoot. .This procedure would continue until one team has finished. Teaching Suggestions: 1. Have the players dribble all the way back to the head of their team line after a shot. 2. Have the player bank the ball off the board when shooting. 3. Have the teams change sides of the basket after each relay. Similar Relays: 1. Under Leg Relay. Line up as before but roll the ball under all the players' legs to the player at the rear of the line. He then dribbles down to the goal and shoots. After making his shot, he returns to the head of his line and rolls the ball back through the legs of the players to the next man at the rear of the line, etc. 100 Physical Education 2. Over and Under Relay. The first player hands the ball between the legs, the next over the head, and so on, until the ball reaches the last player who dribbles down to shoot. After making the shot the player returns and passes the ball between the legs. This continues until one team finishes. Chapter V INDIVIDUAL AND DUAL SPORTS ARCHERY Archery can be a useful addition to a physical education program (1) for a light activity, (2) for a co-educational activity. As an individual sport it is suitable for recreation. It may be used in intra- mural competition, and, where interest is great enough, individuals or teams may be entered in the annual tournament-by-mail sponsored by the National Archery Association. Equipment A sufficient number of bows, arrow sets, arm guards and finger tabs should be provided, so that each pupil in the largest class will be equipped. One target for each four shooters in the class will be needed. Bows. Flat type, lemonwood bows are most serviceable. Drawing weights should range from 18 to 26 pounds, with possibly a heavier bow for stronger shooters. Lengths should range from 5 to 5/2 feet, or longer for tall boys. Arrows. Pine arrows, either self or footed, are most generally used. The footed ones, though more expensive, will probably give longer service. Lengths should vary from 24 inches to 28 inches, depending on the length of bow and the arm reach of the archer. Arm Guards and finger tabs are accessories necessary to protect forearm and fingers from the bow string. Each student should learn to use them. Targets may be regulation manufactured ones, or may be bales of straw piled up to make butts. They should be protected from the weather. Space Needed A range should be placed out of the way so that stray arrows will not be a danger to passers-by. The range should allow 60 yards from the targets to the farthest shooting line, and 15 to 20 feet width for each target. The ground should be level and free from stones, but not have too heavy a turf, as arrows are easily lost in thick grass. Safety The dangers in archery may result from incorrect handling of equipment and from shooting carelessly out of turn. The following points are suggested for safety: A. Equipment: Splinters from broken bow or arrow may cut face, arms or eyes, either of the one handling the equipment or of someone standing near. 1. Use the correct length arrow for the bow. This is to prevent overdrawing. 2. Never draw a bow without an arrow on the string as a measure for the length of draw. (Exception to this is class practice in drawing when the students have been properly fitted with 102 Physical Education bows and the chance of overdrawing has thus been reduced to a minimum.) 3. Keep bowstrings in repair; replace frayed ones. 4. Avoid drawing arrow head within the arc of the bow at full draw. B. Shooting: 1. Field captain (instructor) blows whistle when all have finished shooting. No archer should advance toward the target until this signal is given. 2. When all have returned from targets, the field captain blows whistle to begin shooting. No archer should start to shoot before this signal. 3. Bow should not be drawn except when arhcer is standing at shooting line and field is clear. ( No trial draws facing in various directions behind the lines. A broken string or bow could cause an injury.) 4. Spectators should be far enough away from the line of fire, so that they are in no danger from accidentally deflected arrows. Rules and Scoring; Teaching The manufacturers of archery tackle put out pamphlets giving in detail the correct form in shooting, scoring, general rules of the game, teaching, and other suggestions. These are easily obtained from the sporting goods store which supplies the tackle, so it is not considered necessary to cover the detail here. Other references which give com- plete information for the physical education teacher are: Ainsworth, Dorothy, et al., Individual Sports for Women. Pliiladelphia; VV. B Saunders Company, 1943. Craft, Dave and Cia. The Teaching of Archery. New York: A. S. Barnes and Company, Incorporated, 1936. Reichart, Natalie and Gilman Keasey. Modern Methods in Archery. New York: A. S. Barnes and Company, Incorporated, 1936. BADMINTON Description Badminton as a game in the physical education and recreation pro- grams is appealing to both sexes and all age groups. The object of the game is to hit the shuttle back and forth across the net with the racket without allowing the shuttle to touch the ground. Since the shuttle does not hit the ground, a smooth surface for the court is not needed as in tennis. The court may be quickly constructed on any level piece of ground. For this reason badminton has become very popular as a leisure time activity in communities and in the family's own back yard. Equipment and Facilities 1. Badminton rackets. 2. Racket presses. 3. An official shuttlecock. 4. A regulation net of fine mesh is preferable, but a volleyball net may be used. The net is stretched to a height of 5 feet at the top. Individual and Dual Sports 103 5. Badminton court. The court may be laid out on any level ground or on the gymnasium floor. ( See diagram for markings and lay-out page 107.) Players Singles— two players. Doubles— four players. Scoring 1. Boys: Doubles and boys' single games consist of 15 or 21 points as agreed. In a game of 15 points, when the score is 13 all, the side first reaching that score has the option of "setting" the game to 5, and when it is 14 all, the side first reaching it has the option of "setting" the game to 3. 2. Girls: Girls single game consists of 11 points. When the score is 9 all, it may be "set" to 3 and when it is 10 all, it may be "set" to 2. Girls doubles are scored the same as singles. 3. Only the serving side may score. 4. A "rubber" is the best of three games. 5. Only one serve is allowed. Rules Official Badminton Rules, Official Tennis-Badminton Guide, N.S.W.A., 1201 Sixteenth St., N.W., Washington 6, D. G. MAJOR RULES A. The PJmj. When it has been decided which side is to have the first service, the player in the right-hand half court of that side commences the game by serving to the player in the opposite right-hand half court. If the latter player returns the shuttle before it touches the ground, it is to be returned by one of the "in" side, and then returned by one of the "out" side, and so on, till a fault is made or the shuttle ceases to be "in play." If a fault is made by the "in" side, the server's hand is out, and as the side beginning a game has only one hand in its first innings, the player in the right-hand opposite half court now becomes the server; but if the service is not returned, or the fault is made by the "out" side, the "in" side scores an ace. The "in" side players then change from one half court to the other, the server now being in the left-hand half court and serving to the player in the opposite left-hand half court. So long as a side remains "in," service is delivered alter- nately from each half court into the one diagonally opposite, the change being made by the "in" side when, and only when, an ace is added to its score. The first service of a side in each inning shall be made from the right-hand half court. After the service is delivered, the serA'er and the player served to may take up any positions they choose on their side of the net, irrespective of any boundary lines. B. Faults. A fault made by either player of the side which is serving puts the server out, but does not count a point for the other side; if made by a player whose side is "out" it counts as an ace to serving side. It is a fault— 104 Physical Education 1. If the service is overhand. (A service shall be deemed to be overhand, within the meaning of this rule, if the shuttle at the instant of being struck be higher than the server's waist. ) 2. If, in serving, the shuttle falls into the wrong half court, (i. e., into the one not diagonally opposite to the server ) , or falls short of the short-service line, or beyond the long-service line, or outside the side boundary lines of the half court into which service is in order. 3. If the server is not standing with his feet in the serving half of the court. 4. If the player receiving the service is not standing with his feet in the proper court to receive the serve. Note: A foot on the line is out of court. 5. If during the service the server or his partner make, in the opinion of the umpire, preliminary feints, or otherwise in- tentionally baiks his opponent. 6. If, either in service or play, the shuttle falls outside the boundaries, or passes through or under the net, or fails to pass the net, or touches the roof or side walls, or the person or dress of any player. Note: A shuttle falling on any line is held to have fallen in the court or half court of which such line is a boundary, 7. If the shuttle "in play" be struck before it crosses to the striker's side of the net. The striker may, however, follow the shuttle over the net with his racket. Note: A shuttle is "in play" from the time it is hit by the racket of the server until it touches the ground, or the person or dress of any player, or until a fault or "let" occurs. 8. If, when the shuttle is "in play," a player touches the net or its supports with racket, person, or dress. 9. If the shuttle be hit twice in succession by the same player, or be hit by a player and his partner successively, or if the shuttle be not distinctly hit. 10. If a player obstructs his opponents. General Rules The player served to may alone receive the service, and no player may receive two consecutive services in the same game. The server may not serve till his opponent is ready, but if a return of the service be attempted the latter shall be deemed to be ready. The side beginning a game has only one hand in its first innings. In all subsequent innings each partner on each side has a hand, the partners serving consecutively. The server and the player served must stand within the limits of their respective half courts ( as bounded by the short and long service, the central and side lines ) , and some part of both feet of these players must remain in contact with the ground until the service is delivered. It is a "Let" if the shuttle touches the net in service, provided the service be otherwise good, but if in play it does not invalidate the Individual and Dual Sports 105 stroke. It is a good return if the shuttle having passed outside either post drops on or within any of the boundary lines of the opposite court. A "Let" may also be given b>' the umpire for any unforeseen or accidental hindrance. If a player serves out of his turn, or from the wrong half court (owing to a mistake as to the half court from which service is at the time being in order) and wins the ace, it shall be a "Let," provided such "Let" be claimed or allowed before the next succeeding service is delivered. If a player standing in his wrong half court takes the service, and his side wins the rally, it shall be a "Let," provided that such "Let" be claimed or allowed before the next succeeding service is delivered. ISlote: Should a player inadvertently change sides when he ought not to, and the mistake not be discovered until after the next service has been delivered, the mistake shall stand, and a "Let" cannot be claimed or allowed. Teaching Suggestions A. Methods and Formations for Teaching Fundamental Skills: L Practice of wrist action. Grip for forehand strokes— take the racket by the throat in the left hand, narrow side toward you, shake hands with end of handle. Wrap fingers around handle. In backhand strokes, put thumb slightly up the handle of racket. Practice wrist action, swinging arm in various planes. 2. Practice of arm swing from bent elbow to straight with wrist action, in various planes. 3. The service. a. Long service. Flight of the shuttle should be high and deep back to long service line. Body turned to the right with left foot ahead. Arm is swung back and weight goes to right foot; racket is swung forward with wrist cocked and handle of racket leading. Wrist is snapped forward as racket contacts shuttle, weight shifts to left foot and racket follows through toward net. Shuttle is held out in front in left hand by feathers and is dropped or thrown down. Shuttle must be struck from below the server's waist. The server stands in the center of the service court about three feet behind the short service line. h. Short service. Flight of the shuttle should be so that it just clears the net and lands just beyond the short service line. Technique is the same but the arm swing is shortened. Formation for technique practice: "■ % XXX 04K xxxx XX XX xxxx 106 Physical Education This formation may be used for as large a group as desired. First one in each file takes two long serves to diagonally opposite court, gives racket to next in line and goes to end of her line. Opposite one recovers two shuttles and takes her turn. Next turn each player takes two practices of short serve. Files on same side of net shift courts and take two trials each. 4. Drives. a. Forehand drive. Body is turned to the right with left foot ahead. Arm is swung back and up to bent elbow and weight goes to right foot. Arm is straightened out and swung forward with wrist cocked and handle of racket leading, about shoulder high. Wrist is snapped forward as racket contacts bird out in front of player. Weight shifts to left foot and racket follows through toward net. b. Backhand drive. Body is turned to the left with right foot ahead. Rest of analysis like forehand except it is reversed. Formation for technique practice: ,A&^ ">v ' N> ^ 04 ^ N» ^ May be used with 9 to a court. Count off by threes. The 2's toss or lift a shuttle high to the I's who practice the forehand drive. 3's recover the shuttles and give to the 2's. Rotation— I's to 3's activity, S's to 2's activity, 2's to I's activity. Same formation may be used for practice of the backhand drive. 5. Smash. Body is turned to the right with left foot ahead. Right arm is swvmg down, back and up to bent elbow as weight goes to right foot. Ann is straightened out to fullest reach to contact shuttle overhead, out in front of body and wrist is snapped forward to hit it down. Weight shifts to left foot and racket follows through toward the floor. Should be used for shuttle falling in middle and front part of court. Formation for tech- nique practice is same as for the drives. 6. High clear. Shuttle should go high in air and drop near the baseline. a. Overhead clear. This stroke is similar to the smash except that the racket face should be open at contact and wrist action should direct shuttle up and deep into back court. This may be used only when the flight of the oncoming shuttle is sufficiently high. Individual and Dual Sports 107 b. Underhand clear. This stroke is used when a clear shot is desired but the flight of the shuttle is too low to be taken in an overhead clear. Body is turned to the right with left foot ahead. Right arm is extended in back and weight is on right foot. Racket and arm are swung forward and wrist snaps forward as shuttle is contacted with underhand swing. Weight shifts to left foot. Formation for technique practice is same as for the drives. 7. Drop shot. When played from the backcourt, technique is the same as for the overhead clear, but it is necessary to "ease up" on the swing. The shuttle should just clear the net. When played from near the net, the underhand clear stroke may be used, with the shuttle just clearing the net. B. Suggestions for Class Work. 1. Practice fundamental skills. 2. Discuss rules and care of equipment. 3. Test students on skills at beginning and end of course to measure progress. 4. Conduct intra-class tournaments. 5. Give written examination on rules. References Official rules are found in Tennis-Badminton Guide, N.S.W.A., 1201 16th St., N.W., Washington, 6, D. C. Ainsworth, D. and Goss, A. G., Individual Sports for Women, W. B. Saunders Company, 1943. Devlin, J. F., Badminton for All, Doubleday, Doran & Co., 1937. Jackson, C. II. and Swan, Z. A., Better Badminton, A. S. Barnes & Co., 1939. BADMINTON COURT S^/c/e. SounaCs -y //>>e \ S&r-yiee, .6'6" ^^. ^/np/0 \ A) 1 108 Physical Education BOWLING— TENPINS AND DUCK PINS Introduction Bowling is a desirable activity which should be included in the physical education program but due to the facilities and equipment necessary to carry on this activity very few schools can offer it. How- ever, schools, through cooperation with the local bowling centers, can generally arrange to use their bowling facilities to teach and carry on an after-school program in bowling. Bowling is an excellent co-recreational sport with a carry-over value outside of school and aids in preparing a student for worthy use of leisure time. Space in this bulletin will not permit a detailed description of all the rules of bowling. However, facilities may be improvised for teach- ing bowling within the physical education program and for that reason the rules concerning scoring are included. The object of the game is to knock all of the pins down with one ball, failing to do that, to knock down the remainder with the second ball. In duckpins, the bowler has a third ball with which to knock down the remaining pins. Improvised Facilities Discarded duck pins, Indian clubs, or bottles covered with canvas may be used for pins. The alleys may be marked off on the sides of the gymnasium floor, paved walk ways or any level floor area. The official alley is 62 feet long, but this may be shortened. At the end of the improvised alley chaUc marks may be made to indicate the pin spots. The pin spots are in a triangular formation and each spot spaced 12 inches apart. ^7 ^ ^9 % y s- € O 1 Scoring Tenpins— Each player bowls two balls per frame. Duck pins— Each player bowls three balls per frame. Each pin knocked down scores one point. Individual and Dual Sports 109 1. Strike— is scored when all pins are knocked down with the first ball. This is indicated on the score sheet by placing an "X" in the upper right corner of that frame. The score is not recorded for that frame until the same bowler has thrown two balls in the second frame. Then that bowler scores the total of his next two balls plus ten in the first frame. 2. Spare— is scored when all pins are knocked down with the first two balls. This is indicated by placing a "/" in the box in the upper right corner of that frame. The score is not recorded in that frame until the bowler delivers the first ball of his next frame. Whatever he makes on his next ball plus ten is the score that is entered into the former frame. 3. Game; Line; Frame— A game consists of a line. A line consists of 10 frames (across the score sheet). In duckpins three balls are rolled per frame but scoring is the same. Sample of a Line E /9 13 U n u i: n u n n v/&7e /^oe ^8 ^/ so sv Explanation of the above game: 1st frame— bowler knocked all pins down in first ball. "X" placed in box. 2nd frame— on both balls, the bowler knocked down 9 pins. Score into first frame was 19. In the second frame, he scores 9 points, making a total of 28. 3rd frame— bowler knocks all pins down in both balls. Score not recorded but tlie / placed in the box. 4th frame— bowler scores 3 pins knocked down. Points added to 3rd frame— 13., etc. GOLF Golf is fast becoming America's most popular outdoor sport. The number of participants is increasing yearly. Since golf is a carry-over sport with life-long benefits after graduation, it is becoming one of the most popular sports in secondary school physical education pro- grams. A broad physical education program on the secondary level should have the basic golf instruction to develop enough skill and create a minimum of interest so that the students will want to con- tinue the game on their own. A major problem of teaching golf in schools is a lack of equipment and facilities. Where interest, enthusiasm and ingenuity is practiced, however, this problem can be partly surmounted. Many schools as yet do not have access to a golf course. In communities where golf courses are located, schools can generally arrange to use the facilities in the physical education program. This may take many forms, such as low green fees, free practice periods, use of course for inter-scholastic matches, golf pro donating services and use of old and discarded golf 110 Physical Education equipment. For obtaining golf clubs, many schools have solved this problem by soliciting unused or unwanted golf equipment from golfers in the community or neighboring club members. A barrel placed in the club house with appropriate signs will help. In man)- schools, students are willing to acquire one or two clubs for their own personal use. For indoor instruction or practice, an old canvas strung from the ceiling in the gymnasium or storeroom will work fine for practice in driving with woods or irons. A cotton ball can be used for teaching proper form in driving and does not need canvas backdrops. Cocoa mats or rubber mats will protect the floor. Old garden hose cut to approximately /2 inch will serve as tees. Old carpets will simulate putting greens. A countersunk No. 2J2 can with both ends cut out can be used for teaching the put. These are just a few suggestions that will help in beginning a golf program. HORSESHOES Description The game of horseshoe pitching is an activity which requires very b'ttle equipment. It can be enjoyed by the unskilled as well as the skilled player; therefore, it is an excellent co-educational recreational activity. The object of the game is to pitch the horseshoes at a stake, attempt- ing to encircle the stake with the shoe or to place the shoe as close to the stake as possible. Equipment and Facilities The stakes shall be of iron or steel, one inch in diameter and shall extend twelve inches above the ground, with a three-inch incline toward the opposite stake. The stakes are placed 30 to 40 feet apart. The official shoes should not exceed 7/2 inches in length, 7 inches in width and not over 2/1 pounds in weight. The official pitcher's box shall be 6 feet square and should be filled to a depth of 6 inches with clay. Players Singles— Two players, both at same end of court, changing ends after all horseshoes have been pitched. Doubles— Four players. Partners playing at opposite ends of court. Scoring The game is 50 points or sometimes 21 points. A shoe closer to a stake than the opponent's counts one point. Shoes farther away from the stake than six inches shall not be counted. A ringer counts 3 points. All equals count as ties and no points are scored. Playing Rules A. A player may stand on either side of the stake, front or in back, provided he is in the pitcher's box. B. Players must remain at the stake until both have pitched. C. Players must pitch both shoes before leaving the box. D. It is a foul when the shoe strikes the outside of the pitcher's box or the edge of the box. Individual and Dual Sports 111 Teaching Suggestions The shoes are to be pitched so that the open end of the shoe will land toward the stake. Take time to aim and keep the eye on the stake until the shoe has landed. An easy under arm pitch is the one most commonly used. References Post and Sliidey, Selected Recreational Sports, A. S. Barnes & Co., New York. N.S.W.A. Official Rules, Recreational Games and Sports Guide, A. S. Barnes & Co., New York. John R. Tunis, Sport For The Fun of It, A. S. Barnes & Co., New York. Jofin R. Tunis, Lawn Games, A. S. Barnes & Co., New York. SHUFFLEBOARD Description Shuffleboard is a good recreational activity for teen-agers and adults. It offers opportunity for co-educational activity. The object of the game is to score as high as possible by placing one's disk in the scoring boxes and at the same time to prevent the opponent from scoring by displacing his disks. Equipment and Facilities Eight wooden disks, four of one color and four of another color. (Disks are one inch thick and six inches in diameter). Four cues or pushers (Maximum length 6 feet 3 inches). Playing surface may be a floor or sidewalk properly marked for the game. ( See diagram below. ) SHUFFLEBOARD ( ::ouRT ^ ^ ^ ^ d N ^ <^ s K 0> t VO 1 9' -^1^ 2' 8' -^^.6 ?' >K> :^0' ^ Players Singles— Two players, both at same end of court, changing end after all discs are played. Doubles— Four players. Partners playing at opposite ends of court. Scoring Twenty-one points or 50 points may be set as the game. ( For values of the scoring area, see diagram above. Playing Rules The disks are shoved alternately by each player from his own half of the 10-off space. An opponent's disc may be driven off the scoring 112 Physical Education area or into the 10-off space. All discs not touching the lines are counted. Teaching Suggestions The cue can be held in one or both hands and is pushed forward with a lunging movement, the player taking one forward step and ending with the cue extended well out in front of his body. Push the disc— don't hit it. References Post and Shirley, Selected Recreational Sports, A. S. Barnes & Co., New York. John R. Tunis, Sport For The Fun of It, A. S. Barnes & Co., New York. N.S.W.A. Official Rules, Recreational Games and Sports Guide, A. S. Barnes & Co., New York. John R. Tunis, Lawn Games, A. S. Barnes & Co., New York. TENNIS AND TENNIS TYPE DECK TENNIS Introduction Deck tennis requires little space, inexpensive equipment and may be enjoyed the first time it is played. The object of the game is to throw a deck tennis ring back and forth across the net without letting it touch the ground. Equipment and Facilities Ring: One rubber ring or quoit, six inches in diameter. Manila rope ()2 inch thick) may be used oy splicing the ends together. Net: One net or rope stretched tightly across the court, five feet high from the ground. Court: The court is 18 feet wide and 40 feet long. Individual and Dual Sports IIS Players Singles— two players. Doubles— four players. Scoring A game is won when one team scores at least 15 points and has at least a two-point advantage. When the receiving team fails to return the ring legally over the net the team serving scores one point. Note: Deck tennis may be scored the same as regulation tennis. MAJOR RULES 1. Serving: The player stands behind the base line and using an underhand motion tosses the ring into the opponent's court. Only one serve is allowed. If on a serve the ring hits the net and falls over into the "neutral area," it shall count as a bad serve and the serve goes over to the opponents. If on a serve, the ring hits the net and falls into the opponent's court, it may be served over unless the receiver chooses to play it. 2. The ring must be caught with one hand and returned im- mediately with the same hand with which it was caught. 3. Holding the ring, walking, feinting or making false motions of throwing are not permitted. 4. The ring must be caught on one attempt, not juggled, and must be returned over the net with a toss, using an underhand or horizontal movement of the wrist. 5. In doubles only one person is allowed to play the ring before it is returned over the net. 6. Rings that fall on boundar>' lines are considered as good. Any infringement of the above rules results in a foul and the serve goes to the other team. Teaching Suggestions 1. When catching the ring let the hand "give" with the ring. 2. Hold the ring between thumb and finger. 3. Practice catching the ring with right and left hands. 4. Have the palm of the hand turned up when catching and throwing the ring. 5. Practice throwing ring, low serve and then high lofting serves which fall well into the back court. 6. Change speed of returns, learn to place rings where opponents cannot reach them. References Recreational Games and Volleyball Guide, published for N.S.W.A. by the American Association for Health, Physical Education and Recreation, 1201 Sixteenth Street, N.W., Washington 6, D. C. Price 50 cents. Tunis, John R. Sports For the Fun of It. A. S. Barnes and Co., New York, N. Y. Mason, Bernard S. and Mitchell, E. D. Active Games and Contests. A. S. Barnes and Co., New York, N. Y. 114 Physical Education DECK TENNIS I ^ 1 ^ ■4 SI V < >0 »-«■ /7' 3' 3' >H j> ( < >K yp-' TWO-SQUARE TENNIS Grades: 4-6, Number of Players: Two to four players. Equipment: Sponge rubber ball or old tennis ball. Space Needed: Playground, sidewalk, gymnasium. Two squares of sidewalk, or playing area drawn on ground 3 feet by 6 feet, with line through center representing a net. 6' Description: This is a sidewalk adaptation of tennis, using tennis techniques and rules. Server stands behind line. A starts the play by tossing the ball slightly with the left hand and hitting it with the palm of the right hand over the center line and into the opponent's court. The object of the game is to play the ball in the opponent's court in such a way that he cannot return it. Rules: 1. Only one attempt is allowed to make a successful serve. 2. The served ball must bounce once before being played; after that, it may be volleyed or played on the first bounce. Individual and Dual Sports 115 3. Served ball hitting the center line is not good. 4. Other line balls are good. Scoring. The server serves as long as he wins. When he loses, no score is made and the receiver becomes server. 1. One point is scored when the receiver fails to return the ball fairly. 2. The server loses the serve when he: a. Fails to serve into the opposing court. b. Steps on or over line in serving. c. Fails to return ball fairly into the opposing court. 3. Game is 11 points, unless the score is 10-all, in which case one player must win two points in succession to win the game. Teaching Suggestions: 1. Keep weight balanced in stride position. Keep wrist and hand firm as ball is hit. 2. Keep eyes on the ball; move in line quickly to hit it. 3. Only one trial at service is allowed, so make it good. 4. Players may use either or both hands in returning the ball. 5. This game is excellent for free play periods. 6. When doubles are played, players alternate in hitting the ball, as in table tennis doubles. Similar Gaines 1. Hand tennis. Played as paddle tennis, using no paddles, and a soft rubber ball. TEAM DECK TENNIS Description Deck tennis can be played as a team sport by enlarging the court and making a few changes in the rules. Since it requires little equip- ment and floor space, it can be used very easily to enlarge the intra- mural or physical education class sports program. The object of tlie game is to toss the ring back and forth across the net from one player to another without letting it hit the floor, until one team fails to return the ring over the net or it is thrown out of court. Equipment and Facilities A rubber ring, a playing surface of 60 feet by 30 feet or less, accord- ing to number of players, and a net or rope to be stretched at least 6 feet high. Players The game may be played with 8 to 12 players on each team accord- ing to the size of the court. Scoring Players are lined up in two or three lines. The player in the right hand corner serves from behind his baseline. • One player serves as long as his team scores. Only the serving team can score. The game 116 Physical Education is played in two eight or ten minute halves, with the team having the largest score at the end of playing time declared the winner. Playing Rules All the rules of individual deck tennis apply with two exceptions: 1. The ring may be touched by more than one player on the re- ceiving side. 2. There is no neutral territory. Teaching Suggestions Hold the ring between thumb and fingers. Learn to catch and throw equally well with either hand. Throw the ring so that it rises. Let the hand "give" with the ring when catching it. References Recreational Games and Sports Guide, published for N.S.W.A. John R. Tunis, Sport For the Fun of It. A. S. Barnes & Co., New York. Post and Shirley. Selected Recreational Sports. A. S. Barnes & Co., New York. John R. Tunis, Lawn Games. A. S. Barnes & Co., New York. PADDLE TENNIS Introduction Paddle tennis is an excellent recreational and co-recreational activity which may be included in the physical education program from the grammar grades through high school. The game offers excellent opportunities for teaching tennis skills to a large number of children at a minimum of cost. Because the play space needed is small and equipment very inexpensive and little upkeep, paddle tennis is becom- ing more popular in our school programs. Many of the skills learned in paddle tennis are essentially the same as needed for playing tennis. Interest in regulation tennis may be stimulated and partially taught, since the rules of paddle tennis and tennis are the same. Description The object of the game is to strike the ball back and forth across the net with the paddle without allowing the ball to bounce more than once on each stroke. The game may be played as singles or doubles. Equipment and Facilities Paddle tennis paddle— laminated hard wood, 15 inches long for juniors, 17 inches long for seniors. One paddle for each player. Paddle tennis net— on a junior court, the net should measure 2 feet, 2 inches at center; senior court, the net should measure 2 feet, 6 inches at center. Official ball— light weight, solid sponge rubber ball approximately 2/2 inches in diameter. Court The lay-out of a paddle tennis court is the same as the regulation tennis court, except it is one-fourth the size. (See diagram, p. ). The court may be marked off on a paved sidewalk or any smooth surface. Individual and Dual Sports 117 Players Singles— two players. Doubles— four players. Scoring Paddle tennis is scored the same as regulation tennis. After each I serve the ball is played back and forth across the net until one player fails to return the ball, in which case a point is scored for the other side. The server continues to serve the ball until the end of the game, regardless of which side wins the point. First point won— 15. Second point won— 30. Third point won— 40. Fourth point won— Game. The server's score is always called first. The word 'love" means nothing. For example, if the server wins the first point, the score is "fifteen love." If the receiver wins the next point, the score is "fifteen all." When both players reach forty, the score is called "deuce" and to win the game after "deuce" is called, a player must win two points in succession. MAJOR RULES 1. Serving: The serve is started from the right hand court. The ball must fall in the service court diagonally opposite him, if the ball doesn't go in this court it is callecl a "fault" and a second try is given. When the first point is won or lost the serve is made from the left court and the server continues to serve alternating from right and left sides until the game is finished. 2. A point is scored when: a. An opponent fails to return a ball. h. An opponent volleys a served ball. c. An opponent serves a double fault. (Double fault is when on the serve two balls fail to go into the correct service court. ) d. An opponent allows a ball in play to hit liim. e. An opponent touches the net during play. /. An opponent strikes a ball before it has passed over the net. Teaching Suggestions 1. Teach the basic skill techniques of the backhand, forehand, service, lob, small and drop or volley shots. 2. Use diagrams, charts and demonstrations. 3. Practice with and without court situation can be utilized. 4. Teach the skills as the group ask for and needs them. 5. Play the game with others of approximately equal competitive strength. References Recreational Games and Volleyball Guide, published for N.S.W.A. by the A.A. H.P.E.R., 1201 Sixteenth Street, N.W., Washington 6, D. C. Price 50 cents. Tunis, John R. Sports For the Fun of It. A. S. Barnes and Co., New York, N. Y. Mason, Bernard S. and Mitchell, E. D., Active Games and Contests. A. B. Barnes and Co., New York, N, Y. 118 Physical EriucATioN PADDLE TENNIS COURT M 7' T i: ^ ^ 39' TABLE TENNIS Description Table tennis is a game played on a table with paddles and a small celluloid ball. The object of the game is to strike the ball back and forth across the net with the paddle without allowing the ball to bounce more than once on each stroke and without volleying the ball. It is desirable to place the ball so that it is difficult for the opponent to return it. Equipment and Facilities A. Rackets. A wood paddle surfaced with rubber, cork, leather or sand paper. B. Balls. A hollow celluloid ball 4/2 to 41 inches in circumference. C. Net. A dark green net bound with white tape. It is six feet in length and 6 inches above playing surface at all points. D. Table. The table is 5 by 9 feet and should be 30 inches above the floor. It is painted dark green with a three-quarter inch white line around the outside edges and lengthwise down the center. Players Singles— two players. Doubles— four players. Scoring A. The game is won by the player who reaches 21 points first, unless the score is 20-20, after which one player must win two points in succession to win the game. B. Server or receiver may win point. C. A player serves 5 points, and the serve then rotates unless the Individual and Dual Sports 119 score becomes 20-all in which case the serve alternates after each point. D. Only one serve allowed to start each point. E. A match is 2 out of 3 games. Rules Official rules for table tennis, Recreational Games and Sports Guide, N.S.W.A., 1201 16th St., N.W., Washington, D. C. Price 50c. MAJOR RULES A. Service. 1. Singles. The player serving stands behind his end of the table and strikes the ball with the racket so that the ball bounces on his side of the table, passes over the net, and bounces on any position of tlie receiver's side of the table. 2. Doubles. The serve is the same as in singles except the ball must land in the proper half of the receiver's court. The service alternates between players after each five points, and partners alternate in making returns. B. The Play. When the server makes a good service, the receiver attempts to make a good return. A good return is made when the player strikes the ball in one stroke on the first bounce and it passes over the net and bounces on his opponent's side of the table. Striking the ball more than once is prohibited. A point is scored when: 1. The ball is not served correctly. 2. The service is not delivered from behind end line of server's court. 3. The ball fails to clear the net, falling outside of the proper court in doubles or touching clothing or person of any player. 4. A player, while ball is in play, touches the net or its sup- port with racket, person or clothing. 5. The ball is hit more than once on one side of the court. 6. A player fails to return ball after one bounce. 7. The ball is volleyed. Teaching Suggestions A. Practice fundamental strokes. B. Discuss rules and care of equipment. C. Test students on skills at beginning and end of course to measure players. D. Conduct intra-class tournaments, singles and doubles. References Official Recreation and Sports Guide, N.S.W.A., 1201 16th St., N.W., Washing- ton, D. C. Purvis, Jay. Table Tennis. A. S. Barnes & Co., New York. 120 Physical Education COMBATIVE ACTIVITIES Combative activities consist of individual contests of a rough and strenuous nature. They are valuable in developing agility, strength and coordination. In the administration of combatives the teacher should encourage strenuous combat but should guard against any conduct which might result in injury. Informal Combatives Informal combatives may be conducted as dual, and group or team contests. The class should be arranged in pairs according to size when possible. The activities should be conducted to command until the procedure is learned. It is advisable to use a whistle to start and stop each activity. 1. Hand Pull. Each contestant grasps the hands (one or both hands) of his opponent and tries to pull him over a designated line. In grasping hands, grasp the wrist of the opponent so that diere is a double grasp with the heels of the hands in contact and with each hand grasping the other's wrist. 2. Pull Neck. Each contestant grasps his opponent by the back of the neck with one hand, with right hand right foot forward and with left hand left foot forward. Each contestant then attempts to pull his opponent forward out of position. 3. CJiest Push. With arms behind back and the right shoulder and right part of chest braced against the opponent, attempt to push him out of position. 4. Rooster Fight. Each contestant hopping on one foot attempts to butt his opponent, with right shoulder if on left foot and vice-versa. The object is to make the opponent unfold his arms, touch his free foot to the ground or fall. 5. Hand Wrestling. The contestants grasp each other's right (or left) hands, with little fingers locked and with right (or left) foot forward. At the signal each boy attempts by pulling, push- ing, sidewise movement or movements (other than moving either foot) to force his opponent to move one or both feet. 6. Indian Wrestle. The beginning position is with the contestants lying on the ground, face up, with their heads in opposite direction and right elbows linked. Upon a given signal by the instructor or by mutual agreement, each contestant raises the right leg, holding the knee approximately straight, far enough to "hook" the heel of the opponent. The purpose of the contest is to roll the opponent over backwards. Timing of the activity will be improved if the contestants raise legs rhythmically three times, with the attempt to roll opponent coming on the third raise. Boxing In the light of published opinions of medical and educational groups, the State Department of Public Instruction does not recom- mend competitive boxing in the schools of North Carolina. Individual and Dual Sports 121 Wrestling Wrestling is one of the oldest and most valuable forms of com- batives. It is a suitable activity in physical education classes, where space and equipment is adequate, in intra-murals and in inter-school competition. It should not be attempted unless under expert super- vision. Since an instructor of w^restling w^ill want to secure up-to-date rules and a detail guide on wrestling, it is not necessary to include in this publication the rules, holds, methods of instruction or teaching sug- gestions. Reference: Official Jligh School Wrestling Ciiide and Rules may be secured from A. S. Barnes and Company, New York. Guide $1.00; Rules 30 cents. TRACK AND FIELD ATHLETICS Importance of Track and Field Athletics Running, jumping and thiowing constitute three basic skills that are important in most activities in the physical education class, in intramural athletics and in interscholastic sports. Besides, track and field athletics have a place in the core program because of their con- tribution to muscular and organic development, endurance, coordi- nation and skills useful tliroughout life. The teaching of the skills of running, jumping and throwing should be a definite part of the physical education program, and opportuni- ties should be provided for the practice of these skills in activities suitable to the various groups and to individuals in each group. Events Suitable for Elementary Grades In the elementary grades the skills of running, jumping and tlirow- ing should be taught as a part of the many activities that require these skills. Relays (see Chaper IV, p. 94) provide opportunities for prac- tice in speed running. Field days or play days for elementary grades are recommended in ( lieu of organized track meets. [ Events Suitable for Junior High School Boys The following track and field events are suggested as being suitable 122 Physical Education for boys of adolescent age. Strenuous track athletics, such as distance runs, are considered inadvisable. Sprints, 30 to 75 yards Hurdles, (2' 6") 50 to 75 yards Relays : Shutde, 50 yards each boy Jumps : Broad Jump (standing) Double Broad Jump Hop, Step, and Jump High Jump (standing) Throwing : Sliot, 6 lb. Baseball Target Basketball Distance Events Suitable for Senior High School Boys The following events are the standard events of the North Carolina High School Athletic Association ( for boys ) : 100 Yard Dash Relay (one mile) 220 Yard Dash High Jump 440 Yard Dash Broad Jump 880 Yard Dash Pole Vault Mile Run Shot Put (12 lb.) 120 High Hurdles Discus Throw 200 Yards Low Hurdles Javehn Throw Track and Field Events for Girls The Committee on Physical Education for Girls does not recom- mend track and field athletics for girls. This Committee recommends Play Days instead of Track or Field Days. As a guide to schools that include track and field athletics for girls, events that are considered suitable for girls by the National Section on Women's Athletics of the American Association for Health, Physical Education and Rerceation are listed belovs^: STANDARDS IN ATHLETICS FOR GIRLS AND WOMEN (10-12 Years) A. Running: 1. Short Dashes (up to 40 yards) 2. Relays B. Jumping: Standing Broad Jimip C. Tlir owing: 1. Baseball Distance 2. Soccer Ball Distance (13-18 Years) A. Running: 1. Dashes (up to 75 yards) 2. Low Hurdles (2 ft.-50 yds.) B. Jumping: 1. Standing Hop, Step, and Jump 2. Standing Broad Jump C. Throwing: 1. Basketball Distance 2. Baseball Distance 3. Shot Put (6 lb.) 4. Discus 5. Javehn Individual and Dual Sports 123 Intrcunural Track and Field Activities for Boys (Track and Field Day) Objectives: General objective same as physical education objectives. (See page 42.) Specific Objectives: 1. To stimulate interest in participation in track and field athletics. 2. To measure progress and achievement. 3. To provide a way of demonstrating certain activities. 4. To provide occasions for social opportunities. Training Periods: Training periods should precede any competitive track and field participation. The length of the training period de- pends upon the physical condition of the participants and the events to be entered. 1. Four to six weeks of systematic daily training should be re- quired of any boy who is to compete in a running event of a distance greater than 100 yards. 2. Three to six weeks of training are necessary to condition a boy for pole vault, high jump, shot put, javelin, 220 low hurdles, or broad jump. Suggestions: 1. Select events that are suitable for those who are to participate. 2. Omit all long distance runs unless the above training schedule has been followed by all those who may participate in them. 3. Limit the number of events that any one boy may enter: a. One running event if the distance is more than 100 yards. b. Two field events— one weight event and one jumping event. 4. Have a thorough physical examination by a physician for those who are to participate. Suggested Events for Field Day: 95 Pound Class 115 Pound Class 50 Yard Dash 60 Yard Dash Double Broad Jump Hop, Step, and Jump Shuttle Relay (50 yards each boy) Shuttle Relay (60 yards each boy) Potato Race Potato Race Baseball Target Throw Baseball Target Throw Junior Unlimited Class Senior Unhmited Class (Boys under 14 years of age) (Boys over 14 years of age.) 80 yard dash 100 Yard Dash Running Broad Jump High Jump Shuttle Relay (80 yards each boy) Sliuttle Relay (100 yards each boy) Shot Put (6 lbs.) Sliot Put (8 or 12 lbs.) Potato Race 440 Relay (110 yards each boy) Additional Events (not classified) Basketball Throw for Distance Sack Race Three-legged Race Soccer Dribble Relay Dodge Ball Basketball Dribble Relay Obstacle Race Football Carry Relay References Recreational Games and Sports. Official Track and Field Rules. A. S. Barnes & Co., New York. Price 30 cents. Mitchell, E. D., Sports for Recreation. Barnes. $2.50. Jones, T. E., Track and Field. Scribner's. Standards in Athletics. National Section on Women's Atliletics. American Sports Publishing Company, New York. Conger, Ray M., Track and Field. A. S. Barnes & Company, New York, 1939. $1.50. 124 Physical Education CO-RECREATION SPORTS During the past fifteen years there has been a trend towards in- cluding co-recreational activities in the physical education program. A change in reasoning and philosophy has ben responsible for the growth and development of this phase of the program. Co-recreational sports are those dual or team activities which because of the nature of their rules, strategy, and playing situations, are adaptable for par- ticipation by young people of both sexes of high school age. It is felt that through co-recreational activities young people can learn to work and play together in a socially acceptable manner. It is possible for these activities to make a very concrete contribution to ultimate aims and objectives of the total program. Co-recreational activities can be included in the physical education program in the following ways. 1. As a part of the required physical education program. 2. In a four year program, the senior year or part of the year might well include co-recreational classes in die regular sched- ule. 3. Activity periods. 4. Lunch periods. 5. After school programs. 6. Saturday morning. 7. In consolidated schools, periods prior to the opening of school. 8. One or two designated evenings per week. The sports which might be included in the co-recreational program are: Tennis type games Archery Badminton Horseshoes Swimming Shuffleboard Golf Bowling For further information relative to these activities refer to the Individual and Dual Sports Section, Chapter V, p. 101. Principles relating to the organization and conduct of co-recreational activities : ^ 1. The co-recreational activities should be only one phase of the program. 2. Participation in the program should be voluntary, not com- pulsory. 3. Activities must be adapted equally well to both sexes. 4. Equal numerical distribution according to sex is highly desir- able. 5. Opportunity for activities should be provided at a variety of times. 6. Costumes must be appropriate to the activity. 7. Sex distribution according to growth and development is highly desirable. 1 Nixon, Cozens, Introduction to Physical Education, 2nd Edition, W. B. Saunders Co., 1941. pp. 112, 113. Chapter VI STUNTS AND TUMBLING Stunts and tumbling activities involve balance, agility, strength, ^flexibility, coordination and endurance. They provide opportunity for tlie child to measure his own potentialities and progress as well as a measure of comparison of Iris own accomphshments with those of his classmates. I. Teaching Suggestions. 1. Success is necessary for the students to derive satisfaction from performing any activity. It is easier to do the difficult stunts if the easier stunts are learned first. Some stunts call for more strength, greater coordination and balance than others; therefore it is undesirable to select the difficult stunts for the lower grades. Avoid haste in the performance of these stunts. Give some type of warm-up exercises before beginning the stunts. Stress practice to improve skill but avoid taking the fun out of it by stajing on one stunt too long. 126 Physical Education 6. Know the stunt thoroughly (even if you cannot do it) before trying to teach it. 7. See that you have the necessary equipment (mats, ropes, appa- ratus) before trying to teach the stunt. II. Safety Factors to be Considered. 1. Protection is the first consideration in the teaching of stunts and tumbhng. 2. If mats are available, make sure that they are thick enough to protect against injury. (Mats should not be less than 2 or 3 inches in thickness.) 3. Be sure to have spotters on all apparatus work (chinning bars, swings, horses, bars, etc.) Provide a safety man or spotter for each stunt that entails some type of dangers. 4. Mats are not necessary for many of these stunts. However, care should be taken in teaching stunts on the lawns or playgrounds so that rocks or stones do not offer hazards. 5. All stunts that are designated by a star (*) are not recom- mended for girls, because of the strength or danger involved. DUCK WADDLE (Grades 1-2) Squat, place hands on knees or ankles, and waddle forward. Imitate the "quack" of a duck. CAMEL WALK (Grades 1-2) rlr Bend forward, arms folded across on back (hump), walk forward moving head up and down. LAME DOG RUN (Grades 1-2) Take position on all fours, extend one leg to rear and run forward on two hands and one foot. SxtTNTS AND TUMBLING 127 CRAB WALK (Grades 1-2) jtt L Partners lie on floor or mat with heads in opposite direction. Heads at each others' waists. Place inside hand over partner's shoulder. Raise inside legs until feet touch, lower and repeat three times. On the third time, partners hook legs and try to turn each over with a strong leg pull. FOLDED LEG AND STUMP WALK (Grades 4-6) 'I i i Performer stands on knees and grasps right toes with right hand and left toes with left hand. (Figure 1). In this position performer i-akes alternate steps forward keeping balance ( Figures 2 and 3 ) . FOREARM BALANCE (Grades 6-8) j Performer places forearms parallel and shoulder width apart on mat. Palms of hands are on mat. The body is in tuck position with one knee flexed and the weight distributed on toes of this foot and fore- arms. Other leg is off floor and in back of body. Head is up. From this position, the foot in contact with the floor pushes off and both legs 132 Physical Education are lifted, shifting all the weight to the forearms. The legs continue upward until body is in an inverted position and balance is obtained. Back is arched and head is up. Performer returns to stand by reversing procedure described. ANGEL BALANCE (Grades 6-12) yi Base lies on back, toj) stands at base's feet. Base lifts feet, with knees bent and top places them diagonally across the pelvic bones, then joins hands with base. Top pushes up to position over base. Base straightens knees as top goes up into position. Balance is maintained by the joined hands. Elbows should be straight. When top and base are balanced in above position, top lifts head, arches slightly, releases hands with base, and extends arms sidewards. ONE FOOT SQUAT AND BACK TO STAND (Grades 5-12) Performer stands on right foot, left foot extended in front of body and off floor. Arms are out to the side for balance. Right knee bends completely and left heel is touched to the floor. From this position, the arms circle back and up, right knee straightens and performer stands. No push off witli the left heel is allowed. Either foot can be used to touch floor. COURAGE VAULT (Grades 6-12) ^ «o fe- ll Performer kneels on mat, toes tucked under, arms forward, weight over the knees (Figure 1). As elbows circle out and down, weight is shifted over heels. (Figure 2) Arms are then lifted forcefully unward, abdominal muscles contract, and performer jumps from knees to feet (Figure 3). As weight is taken on feet, performer stands. Stunts and Tumbling 133 JUMP THROUGH HANDS (Grades 5-6) Performer in semi-squat position clasps hands in front of body, forming a circle with the arms. (Figure 1). In this position performer jumps off the mat and brings arms under feet (Figure 2). Arms con- i tinue swinging back so that they are behind the legs as feet touch floor from tlie jump ( Figure 3 ) . FOREARM BALANCE (Grades 6, 7, and 8) Performer places forearms parallel and shoulder width apart on mat. Palms of hands are on mat. The body is in tuck position with one knee flexed and the weight distributed on toes of this foot and forearms. Other leg is off floor and in back of body. Head is up. From tin's position, the foot in contact with floor pushes off and both legs are lifted, shifting all the weight to the forearms. The legs con- tinue upward until body is in an inverted position and balance is obtained. Back is arched and head is up. Performer returns to stand by reversing procedure described. HEADSTAND (Grades 3-8) "^^ r>j7)h {'^f Have perfoi-mer kneel on both knees. Form an equilateral triangle with the points being the head, and two hands. Kick up slowly with one foot, bringing other foot slowly up until feet are over center of body. Arch back, use forehead as base. To help in teaching, have spotter stand behind performer to help reach the extended position. FORWARD DIVE (Grades 6-12) 134 Physical Education Performer stands facing mat; knQes slightly bent swings arms back. Head is forward. To start tlie dive arms swing forward as knees straighten and weight is taken on hands. Hips are flexed. Weight is gradually taken on head and rounded back, body in tuck position. Momentum of the roll brings performer to a stand as in a forward roll. Teaching Progression: 1. Chin should be tucked as weight is taken on hands. 2. Arms should bend gradually and equally as weight is trans- ferred to head and upper back. 3. Performer should have the basic coordination of the dive alone before attempting the variations below. a. Through the window: Two people kneel on opposite sides of a mat, facing each other. Hands are joined and extended to forai a circle perpendicular to the mat. Performer then dives through this "window." b. Over a folded mat: A mat is folded and placed just in front of performer. Dive is then made over mat. c. Over one person: Person in knee chest position, weight on knees and forearms and head tucked, takes position in front of performer. Dive is then made over person. d. Over more than one person: Position described above is assumed by each person to be dived over. Alternate persons should face the same way. Dive is then made over the group. e. Through legs of person doing a head stand: Person does a head stand facing performer upon its completion. As balance is gained, person spreads legs to the side. Dive is then made through the legs. CARTWHEEL Performer stands with one foot forward, hands over head. Trunk bends diagonally forward, rear foot is lifted, and hand on same side as forward foot touches the mat, just outside of this foot. As this hand touches the mat, the forward foot pushes off. As body is almost com- pletely inverted, the other hand touches the mat, head up. Weight is completely shifted to hand last placed on mat as first hand is lifted and body continues its turn. Foot on same side as the hand in contact with the mat is the first to touch mat. As this foot touches the mat, the hand is lifted. The body completes the turn, the other foot touches mat, and performer is standing, hands at sides. Stunts and Tumbling 135 HAND STAND (Grades 6-12) Performer stands with one foot forward, arms at side. Knee of for- ward foot flexes slightly and rear foot is lifted as trunk bends forward and arms reach towards mat. As hands touch mat the forward foot pushes off from floor and both legs are lifted. Force of the push-off carries hips over head so that performer is in an inverted position. In order to maintain balance, head should be up, back arched, and feet extended. Return to stand by reversing procedures or as described in the variations. Teaching Progression: 1. Hand stand cc.n be started with hands over head if performer does not gain enough momentum from the push-off alone. 2. In order to get the feel of the stunt, performer can start with both hands on mat and kick off from this position. 3. A receiver should be stationed to the side of person performing stunt to prevent performer from going over. 4. Weight should be taken equally on both hands. 5. Head should be up to counteract the tendency to go all the way over before gaining balance. 6. Back should be arched. 1. Hand stand and forward roll down: Performer goes into a hand stand. From this position the weight is gradually taken on the head by bending elbows. As head touches mat, per- former goes into a tuck position, and completes a forward roll. 2. Hand stand to head stand and roll down: Performer goes into a hand stand. Elbows bend gradually until head touches mat. Head should be placed slightly in advance of hands. Balance in this position is held and then performer tucks chin and rolls down as described in the head stand. 3. Hand stand with chest roll down: Performer goes into a hand stand. Elbows bend gradually and performer lifts head, keeps back arched, and drops legs back toward original starting position. As chest touches mat, hands push up aoiain so that chin will not hit mat and performer takes weight from chest to abdomen. It is possible to stand at completion of this stunt if knees are brought up quickly and the hands are used simultaneously for a more powerful push-off. 4. Walk on hands: Performer goes into a hand stand and as 136 Physical Education balance is obtained, lifts alternate hands from floor taking small steps and keeping balance. 5. Walk on hand: Slap chest with alternate hands: Performer take majority of weight on one hand and lifts other hand to slap chest and immediately replace it. Tliis is repeated using other hand. FORWARD ROLL (Grades 3-12) f i^^ Start in squat position, hands on floor between knees, fingers straight ahead. Take weight on hands, duck head, round upper back, let weight travel from hands, by bending elbows and lowering trunk, to back of neck and down back. Push off with hands and come to stand. Safety Factors: L Bend both elbows equally. 2. Duck head and round back to take weight gradually. Teaching Progression: 1. From stand: Performer starts from standing position, squats, and completes roll as described. 2. Arms folded: Performer has arms folded, head touches mat and push off is given by feet. Body stays in tuck position and roll is completed as described. 3. Crossing legs, grasping toes: Performer crosses legs and grasps right toes with left hand and left toes with right hand. Roll is done as in "Arms folded." 4. Continuous rolls: Performer takes continuous rolls, but remains in squat position at the end of each roll instead of standing. On final roll performer stands. 5. Cross legged roll to cross legged stand: Performer crosses legs, rolls as described, keeping legs crossed and comes to a stand in this position. 6. With ball betwen ankles: Performer holds a soccer or similar ball between ankles. Roll is completed as described, ball re- maining between ankles throughout roll. Performer comes to a stand and jumping up off the mat bending trunk slightly for- ward, ball is caught in hands. This is the two-foot pick-up as described in speedball technique. Stunts and Txjmbling 137 BACKWARD ROLL (Grades 4-12) <^1? Performer stands with back to mat; then sits with knees bent, feet on floor and head forward; hands on floor and to the side, fingers pointing back (Figure 1). The body in this position rocks backwards. As hips are hfted off mat, the arms swing up and back and the weight is taken on rounded shoulders and back. As the weight is taken on the shoulders, the palms of the hands are placed on the mat, thumbs next to head and fingers pointing in direction performer was facing at be- ginning of stunt. Body remains in this tucked position, and as roll is beng completed, toes are placed on the mat. The momentum of the roll and a final push with the hands enable the performer to stand. Safety Factors: 1. Knees should be kept close to chest and head forward at be- ginning of roll. 2. Back should be rounded. 3. Hands should be used to push off. 4. The continuity of roll should not be broken by stopping just before completing the turn. Teaching Progression: 1. Cross-legged, roll to cross-legged stand: Performer starts roll from stand with legs crossed. Upon completion of roll, the per- former, comes to a cross-legged stand. 2. Using one foot only: Performer stands on one leg and without using raised leg, completes roll. 3. Continuous rolls: Performer starts roll from a stand, but re- mains in tuck position at the start of each succeeding roll. 4. Shoulder stand and reverse walk: This is a lead-up activity for the backward roll, as well as a complete stunt in itself. Per- former rocks back as in a backward roll until body is balanced on shoulders. Legs are then placed back of head on mat. In this position, performer moves feet back alternately for about three steps. 5. From lying on back: Performer starts by lying on back; uses hands to push off; contracts abdominal muscles to help lift legs; and then completes roll. 6. From sitting, legs straight in front: Performer sits with legs straight in front; rocks back and completes roll. References Home, Virginia Lee, Stunts and Tumbling, A. S. Barnes and Company, New York, 1943. Cotteral, Bonnie, and Cotteral, Donnie, The Teaching of Stunts and Tumbling, A. S. Barnes and Company, New York, 1936. Physical Fitness Throuah Phijsicai Education, For the Victory Crops, Federal Security Agency, U. S. Office of Education, Washington, D. C, 1943. Fischer, Hugo; Shawbold, Dean R.; Wohlford, Paul R., Individual and Dual Stunts, Burgess Printing Company, Minneapolis 15, Minnesota, 1950. Chapter VII RHYinMS TEACHING SUGGESTIONS The success of any rhythmics activity Hes in the presentation, the actual teaching of the various patterns, and the interest which the teacher has in the activity. The teaching suggestions hsted here, while of a general nature, also apply specifically to any rhythmic activity. 1. Attempt to teach only those rhythmic activities and/ or dances which you know and which are suitable to the skill and psycho- logical development of the group. 2. Whenever feasible rhythmic activities should be taught as in- formally as possible. 3. Correct terminology should be used as soon as the group can recognize them and understand their meaning. 4. For all traditional dances the group should become acquainted with the accompaniment simultaneously with the step pattern. 5. The group should be taught specific or basic steps connected with the activity before the presentation of the activity. 6. Try to be able to set an interesting background for each rhythmic activity. 7. In so far as possible teach rhythmic activities by phrasing rather than by count. 8. Encourage creativeness and originality whenever possible. 9. Try to avoid the practice of imitation in teaching rhythmic activities. EXPLANATION OF TERMS AND ANALYSES OF STEPS Definitions and/or Descriptions Folk Dance: The traditional dances of a given country or group of people which have been handed down from generation to generation in the manner of traditions. The origin of many folk dances seems to have been directly related to the everyday experiences and activities of the people at some particular period in their history. They often give a very accurate picture of events connected with the religions, occupations, ceremonials and festivals of the group. Customs, emotions, and racial characteristics find fertile soil for expression in the folk dances. Singing Games: That group of folk dances and folk games whose accompaniment is a song, the words of which are the basis for the step patterns and dramatic action used. Singing games seldom require a great degree of skill which makes them particularly usable in the early grades. The rhythm is well-defined and each game has con- siderable activity. The fact that most singing games tell a story adds to the enjoyment of participation. Kinds of Folk Dances Social Folk Dances: Those folk dances which have a decided social Rhythms 139 appeal and which are most often danced for sheer enjoyment by mixed groups. Ceremonial Dances: Those folk dances which are danced tradition- ally in preparation for a great event or as a result of some great event. The American Indian dances are excellent examples of this type of dance. The dancers are almost universally selected for their unusual skill and the ceremonial is danced before a large group of spectators. Ceremonial dances do not include the social factor. War and religion seem to be favorite areas where ceremonial dances have been de- veloped. Primitive peoples used ceremonial dances to a great extent. Dance Formations Round Dances: Those folk dances using an informal formation, with couples moving freely over the floor. Circle Dances: Those dances in which the dancers execute the steps in circle formation. Line Dances: Those dances in which the dancers execute the steps in lines. Square or Quadrille Dances: Those dances in which a group of four couples forms a square, each couple facing in and forming one side of the square. Kinds of Circle Dances Single Circle— facing in: Dancers form a circle, boy on left of his partner— all dancers facing the center. Single Circle— facing out: Dancers form a circle, boy on right of his partner— all dancers with backs to the center. Single Circle— alternately facing in and out: Dancers form a circle, boy on right of his partner— boys face center, girls have backs to center. Single Circle— facing clockwise: Dancers form a circle, face single file in a clockwise direction, boys in front of partners. Single Circle— facing counterclockwise: Dancers form circle, face single file in a counterclockwise direction, boys behind partner. Double Circle— couples facing alternately clockwise and counter- clockwise: Couples form double circle, boys on left of partner— even numbered couples face in a clockwise direction, uneven numbered couples in a counterclockwise direction. Double Circle— couples facing: Couples form a double circle— boys with backs to center and girls facing center. ( Partners are thus facing each other.) Double Circle— facing clockwise: Couples form a double circle, boys on left of partner, face in a clockwise direction. ( Boys are on outside, girls on inside.) Double Circle— facing counterclockwise: Couples form a double circle, boys on left of partner, face in a counterclockwise direction. (Boys are on inside, girls on outside.) Kinds of Line Dances Longways Set, facing up or forward: Couples form 2 lines, facing front, boys in left line, girls in right. (Most line dances become un- 140 Physical Education wieldy with more than 6 couples— it is better to divide large groups into 2 or more sets of lines. ) Longways Sets— partners facing: Couples form 2 lines, partners facing, boys in left line, girls in right line. (Most line dances become unwieldy with more than 6 couples— it is better to divide large groups into 2 or more sets of lines.) Counting, Phrasing, Diagrams Most folk dances and singing games have very well-defined rhythm, the accompaniment almost does the counting for the group. All dances and games described will have 2, 3, 4, or 6 counts to each measure. The description of each dance will tell the number of counts as well as what is to be done on each count. The music is so phrased that there will be a feeling of completion at the end of each step described. Each diagram appearing uses a black or closed figure for the position of the boy and a white or open figure for the girl. Example: X X Kinds of Partner Positions Closed Social Dance Position: Partners face, boy holds girls R. hand in liis L. hand, and places his R. hand on the small of girl's back- girl places her L. hand on boy's R. shoulder. Open Social Dance or Scandinavian Position: Partners stand side by side— boy on left of girl— boy places R. arm around girl's waist, and places his L. hand on his L. hip. Girl places her L. hand on boy's R. shoulder and her R. hand on her R. hip abox'e boy's R. hand. Skating Position: Partners stand side by side, boy on left of girl. Partners join R. hands above their joined L. hands. (Joined hands are held in front and almost at shoulder level.) Side by Side. Inside Hands Joined: Partners stand side by side, boy on left of the girl— join inside hands (boy's R. and girl's L. ) at shoulder level. Side by Side. Right and Left Hands Joined High: Partners stand Rhythms 141 side by side— boy's R. arm is behind girl's head, he takes her R. hand in his sHghtly abo\'e and to the R. of her shoulder— he takes her L. in his L. slightly above and to the side of her L. shoulder. Square Demce and Quadrille Terminology Corner: The imaginary corner of the square which the dancers face when they turn their backs on their partners in Quadrille formation. Head Couples: One couple is designated as head couples— when description calls for two head couples, the second head couple is the couple directly opposite the head couple. Side Couples: The couples standing directly to the R. and to the L. of the head couple. Head Ladies: The girls of the head couples. Head Gents: The boys of the head couples. Side Ladies: The girls of the side couples. Side Gents: The boys of tlie side couples. Analyses of Steps Address: A term used almost exclusively in American folk dances. The boy bows and the girl curtseys to partner, corner, or opposite as directions may state. Allemande: An American folk dance term. Term generally means allemande L. so that description is given. Boy joins L. hands with the girl on his L. and turns one complete turn with her— then fall back into original position beside partner. Balance: A very common dance term— when executed to 2/4 meter the boy steps forward toward partner 1 step L.— brings his R. foot to his L. taking weight on R. foot— takes 1 step backwards on L.— bring his R. foot to his L. taking weight on R. foot (4 cts.— 2 meas. 2/4 meter). At the same time the girl executes the step beginning on her R. foot. Bow: A term which varies slightly in description according to the country. The most commonly used bow is described here, as executed by the boy. Step to the side L.— bring R. foot to the L. taking weight on both feet. With the L. hand behind the back and the R. hand at side, bend the trunk forward to almost a 90° angle. Buzz Step: Executed as a series of small steps with one foot used as a pivot. Since it occurs most frequently by a couple in social dance position the R. foot is used as the pivot foot and with a series of small steps the couple swings each otlier in a small circle. Bleking: With a jump land with weight on L. foot and extend the R. foot forward with the heel touching the floor and the toe pointing up. Reverse position of the feet with a jump. Each change of position may take 2 counts or two changes may take 2 counts, the next three change take 1 count with one rest count and then repeat the series as many times as directed. Example: Cts. 12121212 Jump Jump Jump Jump Jump Rest 142 Physical Education Chasse: A series of slides executed in one direction for a certain number of counts, and repeating the same number of slides in the opposite direction to return to position. May be done by one person or by couples. Close: The simple act of bringing the feet together. Usually used in connection with another step. Curtsey: "Half"— Executed by girls, generally simultaneously with the boy's bow. Step on the L. foot, at the same time sweep the R. foot back and slightly to the L. of L. foot. Transfer weight to R. foot, bend bend R. knee, pointing L. toe and bend the trunk slightly to a di- agonally R. position. During the curtsey the girl holds her skirt. The curtsey may take any number of counts— the number to be used is generally designated in the dance description. "Floor" Curtsey. This curtsey begins with weight on the L. foot Sweep the R. foot diagonally back to the L. until the outside edge of the shoe sole rests comfortably on the floor. Bend the L. knee and lower the entire body until the R. hip is touching the floor to the R. of the R. foot. Do not sit on the R. foot. The back is kept perpen- dicular to the floor the entire time. Return to standing position by shifting the weight from the hip back to the L. foot. Do-si-do, Dos-a-dos, Dosey-do: Variations in spelling do not alter the execution. There are many versions of this step, however. The simplest one is described here. Each dancer passes partner by R. shoulders and without turning but stepping sideways passes partner back to back and returns to original position. Each partner actually describes a circle around each other. Draw-step: Step to the side with one foot and bring the other foot to it with a transfer of weight. Example: step to side L. with L. foot —bring R. foot to L. foot taking weight on the R. foot. Dutch-step: So called because it emphasizes the sound of wooden shoes. Step forward on L. foot— brush R. foot on floor across in front of L. foot— hop on L. foot. The entire step takes 3 counts and is danced to music in 3/4 meter. The step continues on alternate feet. Forward and Back: Found most often in American Folk Dances. Couples take four steps forward, followed by four steps backward. Eight counts are used for the execution of the step one time. Grand R. and L.: Partners face in a single circle— girls facing clock- wise, boys counterclockwise. Partners join R. hands and pass by R. shoulders, dropping hands as they pass. Each takes the L. hand of the person they meet and pass by L. shoulders. Continue around the circle passing alternately R. and L. Girls continue to move in clockwise direction and boys in counterclockwise direction. Heel-Toe Polka ( simple version ) : Step is described for boy— girl generally begins on opposite foot. With weight on R. foot place the L. heel forward (count 1)— with weight still on R. foot touch the L. toe backward (count 2)— beginning L., take 3 steps forward— L.R.L. (counts 1, and, 2) repeat step with weight on L. foot. Honor: Another term with the same meaning as "address." Hopsa-step: This step may be taken forward, backward or turning —usually in couple formation. Girl begins on opposite foot from boy. Rhythms 143 Boy's part: Step L.— hop L.— hop L. (counts 1, 2, 3—3/4 meter or counts 1, and, 2—2/4 meter). Ladies' Chain: This step is executed by two couples facing, the boy on the L. of the girl. The entire steps take 16 counts or 4 meas. of 4/4 meter. Opposite ladies join R. hands and exchange places with 4 steps— give L. hand to opposite as he places R. hand on her back and turns her around him with 4 steps— each girl again joins R. hands and returns to her own partner with 4 steps— she gives her partner her L. hand as he places his R. hand on her back and turns her around to her original position with 4 steps. Right and Left Mill or Star: Two couples face and join R. hands in the center— progress around a circle in clockwise direction. Usually the second phrase designates that the dancers change to counter- clockwise direction and join L. hands in the center. Polka: The polka is danced to music of the same name and has 2/4 meter. The polka step consists of a hop R. (count and), step L. (count 1) close to L. with R. foot (count and), step L. (count 2). Continue the step alternating feet. Girls generally begin on the L. foot for this step. Promenade: Couples join hands in Skating Position and march around a circle or around the room. Schottische: The basic schottische step is danced to music in 4/4 meter. Step forward 3 steps L., R., L. and follow with a hop on the L. foot (counts 1, 2, 3, 4). Continue the step alternating feet. This is one of the easiest steps to master. Skip: The skip step is the same as the one small children learn very young without any formal instruction. It is generally executed to either 6/8 or 2/4 meter. Stamp: This step can either take the weight or not as instructed. If the weight is taken it is executed like an accented step. If not, it is a sharp click of the foot against the floor and the foot is lifted immediately. The stamp is used for purposes of accenting particular parts of a dance. Slide: This is also a step that small children seem to learn naturally. It is a means of progressing sideways and often covers considerable space. Star: See Right and Left Hand Mill or Star. Step-hop: This step is exactly described by the title. Step L., hop on L, (counts 1, 2) step R, hop on L. (counts 3, 4). Each step and hop is executed in even time. Waltz: Executed to 3/4 meter. Boy's part is described— girl's part begins on opposite foot. Step L, step R, close L to R taking weight on L (counts 1, 2, 3). Repeat on opposite foot. (The turning waltz in- volves a step to the side on count 2.) Waltz Balance: This step is also executed to 3/4 meter. Boy's part is described— girl's part begins on opposite foot. Step to side L. with L. foot— turning body slightly to the L. Close R. foot to L. with weight on R. foot, step L. in place (counts 1, 2, 3). Repeat to R. with R. foot. 144 Physical Education FLOOR PATTERNS AND FORMATIONS \ T V. > .ir^- -. \ \ \ \ 4 V, i , S/na/c Cit^/t^- 4ie/no Out" / J Sinole. a'irc/c- fdcino aloakcoise. Sintf/k. ai'^^e. -^acina Coun^ a/oc/Sakse. Rhythms 145 V^ ^ ^ k )1 X k- KXJ if { \ K } J)octble. aifc/e. - -f^z/ncf clooMu/ise^ XT K, 146 Physical Education L I I ^ . EX >^ ^ "% X >4 ^ > >< X ^ yi- X >• 4 X >^ -X-T- ^ 1 -X- Sciu^r^ O^ (^c/^\ "DanccTisiV.. t c 'Poiition Free 148 Physical Education BIBLIOGRAPHY Books — Folk Dance and Singing Games Duggan, Anne S., Schlottmann, Jeannette, and Rutledge, Abbie: Folk Dance Library. New York, A. S. Barnes & Company, 1948. LaSalle, Dorothy: Rhythms and Dances for Elementary Schools. New York, A. S. Barnes and Company, 1926. Record Albums Folk Dances, Albums 1 and 2. Ruth Evans, 326 Forest Park Avenue, Springfield, Mass, (Very good). Folk Dances, Albums A and B. Robert V. Bums, 573 Conn. Avenue, Bridgeport, Conn. (Very good). Note: The albums listed above contain the recorded directions for teaching purposes as well as the music for each dance. All are unusually good for the inexperienced teacher of folk dance. FUNDAMENTAL RHYTHMS Fundamental Rhythms includes all the rhythmic activities con- cerned with the basic natural movements, such as walking, running, skipping, galloping, sliding, hopping, etc. Many combinations and variations can be used. For small children fundamental rhythms should be kept as informal as possible. Circles and formal lines should be avoided. The teacher need not be too concerned with the correct mechanics of any par- ticular step. The chief use of these rhythms widi young cliildren is the purely rhythmic training they should give. These rhythms can be used with older children on occasion when there is a necessity for training in the proper mechanics in basic movements. They can be used very effectively in variations and com- binations preliminary to types of creative rhythms. Standards of work with respect to quality of the activity should include: (a) Keeping acciirately with the music. (b) Moving naturally, easily, and lighdy. (c) Avoid all extreme tensions. (d) Use the whole body freely. (e) Aim toward full extention of tlie body as often as possible. Teaching Suggestions 1. Any suitable music may be used— changes in music add interest to the activity. 2. Teach children to listen to music to see if they can feel the rhythm. 3. Occasionally let the children clap the rhythms. 4. Use some music for free activity letting each child select the rhythm or movement he feels. 5. Avoid all formal formations for this activity. 6. In lower grades do not be too concerned with correct form; the emphasis here is on response to rhythms, 7. Use a variety of fundamentals each period. 8. Older children should be taught correct performance. Rhythms 149 Suggestions for Grade Placement of Fundamental Rhythms Grades Rhythms 123456789 10 11 12 Walk xxxxxxxx March xxxxxxxx Skip xxxxxxxxxx x x Run X X x X X X x x x x x x Jumps and Leaps xxxxxxxxxx x x Run and Stop x x x Run and Hop x x x Tip Toe Running x x x Gallop X X X Slide XXXXXXXX x x Trotting; x x x Schottische xxxxxxx x x Polka xxxxxxx x x Waltz xxxxxxx x x References: The Music Hour in the Kindergarten and First Grade, by Silver Rurdett and Company. Marching: The Fairy Land of Poland, p. 81; Pirate's March, p. 81; March, p. 83; Marche Heroique, p. 171; Mihtary March, p. 173. Skipping: Happy and Light of Heart, p. 85; Malbrough Has Gone to War, p. 85. Running and Trotting: Gypsy Rondo, p. 82; March, p. 83; Sonato in D, p. 171. Jumping and Hopping: Allemande, p. 83; Variations on French Melody, p. 84. Galloping: The Wild Rider, p. 86. Flying: The Flatterer, p. 84. Walking and Ciurtsying: Sonatina, p. 172. Lightly Stepping: Andante, p. 82. Whirhng: Gavotte, p. 172. Swaying: Roat Song, p. 92; Moods, p. 93; Roses from the South, p. 180. New Music Horizons, "Experiences in Music for First Grade Children," Teacher s Manual by Silver Rurdett and Company. Swaying: Pp. 6, 21, 22, 37, 135. Swinging: Pp. 21, 72, 83. Swinging Arms: (Windmill) Pp. 43, 83. Hopping and Jumping: Pp. 38, 65. Lumbering Walk: P. 91. Marcliing: Pp. 16, 20, 26, 27, 53, 60, 64, 105, 110. Shding: Pp. 38, 99. Galloping: 15, 38, 83, 84, 99, 125. Skipping: Pp. 37, 38, 99, 103. Trotting: Pp. 49, 84, 91. Walking: Pp. 20, 64, 71, 84, 90, 99, 100, 125# Second Book Skipping: P. 12 Swaying: P. 2 Skating: P. 62 Lilting Walk: P. 3 Riding a bicycle: P. 76 Skipping: P. 3 Schottische step: P. 85 Marching: P. 7 Loping: P. 131 Running: Pp. 20, 24 Trotting: P. 136 Hopping: P. 27 Swaying: P. 137 Whirhng, Flying: P. 27 Galloping: P. 150 Galloping: P. 36 Walking Rackwards: P. 154 Trotting: P. 42 Shuffling (Indians); P. 56 Fourth Book ■ Lurnbering Walk: P. 59 Marching: P. 10 Swinging: P. 69 Swinging: P. 7a Waddling: P. 96 Swaying: P. 14 Third Book ' Skipping: P. 57 Marching: P. 4 Lumbering Walk: P. 110. 150 Physical Education WALKING l^'i J I J J m -9 — * — r m 9- ^4 I ?=±—t f^ i t^" 4 * ^ M^ 4 — « — 4 :q s i 1 =^ T^^ — ^ « 3:: 9 US — fe i ' "' i =f= r" r ^— s M^ — e 3 — J, — « 1 — ^ — «i — — s— _ai^ r 1' 1 « — —t •H ::7S ^'b^ J r las — ^ ff 1 — < 1 — ^ -a — (- - 4i ^ - ' a I — ^ tf ^ SLIDING 4^ ^==;^ is ^m ^^ tiz:t± ^— *- ^ H/H&- ^ f ::«=)=* ^±^ fe^ q' rH'' ^ t B— t- ^ i S ^ P=*= # ^=^ •^^.; / ■-, Rhythms 151 RUNNING ^m w~w WW ^S fe^ ^=^f^^ Mee^ ^S3 ^ r^ \ A» . _ * §L m i fij '■ * i± ^ M=M ^ 3E ht ^S q' r (^1 r [.I # .^ i # gs g^ * " J=Z f^ ^ ^=F# ^ S ? rrrr. lf^jj fea 3: ^^^^ TROTTING PP ^ # — * « f - ^ (« *. ^ ^ =£=* P i a ^^^ i ^^^ t — - ^^5 J) f f f r^ r- n r r" r r* r — * # ^ : p 4 |1^' ' l-J 1 L-M — ^^ ... 1 ^^ '^^^--^ .^^^ — J-^4 — f-^^-. 'Aii4 ^rt=J 152 Physical Education RUN AND STOP ^^*=t i ffj* i' 1? ^S ^ w W^ ( j ^ ^ ^ ^ wm ^ 044= i ^ 3 RUN AND LEAP i!^'\n'U\Jhm!M ufifti Rhythms GALLOPING 153 Alltgro s: js5Lfi#r^^M^mffl ^ mf *f *f ^^^^ ^r^r^^=^ If — f — t— rt SKIPPING From Mr. and Mrs. Henry Ford "Good Morning.' u ^ ^^ ^ ^^ ^ ^^ ^ ^ M ^ !^ 7 E 7 feS ^^5 1^ ^ C ?= tl u rl " u>rz±£ i s P—9- ^fe to ig a g * ^ i^ £ ^ [P-^ ^ 'M cxr r fe -• p 154 Physical Education JUMPS AND LEAPS SCHOTTISCHE From Mr. and Mrs. Henry Ford "Good Morning.' m m ^^ E gt^ f rfljfMjtrf gjj ^ ? To Trio 2d time m [■ ^^'j^^ PiJ ^ *s^«^ 8 Ig: ^ i B "" J~ J~' 221 W rf Jfl f f ll i Tl f l ff ^ ic TRIO ^ _ ^ Jlil^M ^^ ^^ jj^ r P jj^ f=i i 93 p ^ :C Rhythms WALTZ From Mr. and Mrs. Henry Ford "Good Morning." 155 I ^ ^ m if-9-9- t^ Hi ^^^"i* ^^ i m wmm. ^ P ^S^^^ i t^ I ^ ^ Wvw ^ i ^ azieaqc a ^ «ii POLKA From Mr. and Mrs. Henry Ford "Good Morning.' U'i r^ \ r F I r3 m 4 *7 ^ ^ t=^ ^ t£ JI*J L S:^ ^¥ S ^P— ^ *-^,~" ^ ,^ ^ ^^ 156 Physical Education CREATIVE RHYTHMS Opportunities for creative rhythms should be provided for every child at each grade level. The teacher of creative rhythms should know the subject matter of the curriculum, especially art, music, literature, and social studies, and should correlate that material in the rhythm work. Originality and individual expression should be encouraged. The teacher must take care not to impose her own interpretations and ideas on the children. She functions rather as a guide to help the child to a variety of experiences and to help him clarify his thinking and organizational powers, to attain the maximum development possible for his age level. FIRST GRADE Creative rhythms in the first grade can include most of the mimics and story plays listed in various curricula that are published. Boys and girls both should participate in these activities. The child can create his own interpretations of music and stories by using the funda- mental movements (see p. 148-149). The average child of this grade level is very active and should be encouraged to do large, free move- ment. He has a vivid imagination and in his play he assumes the character of the part he is portraying. He will be the horse, rather than the rider, the swing rather than the person swinging. Suggested themes for creative rhythms: Family Life Rocking and putting the baby to bed. Cooking, sweeping, dusting, etc. Household duties of either parent. Working in the garden. Nature Flowers growing from seeds to maturity. Birds— animals. Elements— wind, rain, snow, sun. Seasons— winter, spring, fall, summer. Nursery Rhythms Pussy Cat. Humpty Dumpty. Miss Muffett. Any other poems with which they are familiar. Stories Three Bears. Three Pigs. Any stories that appeal to them. Rhythms 157 Community resources Circus. Zoo Animals. Parades. Policemen— directing traffic. Firemen. Cowboys. Fishermen. Indians. Holidat/s Christmas toys. Santa Claus. Easter Rabbits, etc. Pilgrims. Halloween— jack in the boxes, brownies. Summer activities, climbing mountains, swimming, wading. Winter activities, building snow men, skating. Music^ Art songs and music used in music and music appreciation can be interpreted rhytlimically by the children according to the mood, meaning of the words, or the story in the music. The objectives will be similar to those in other areas. Knowledges would in- clude a recognition of even and uneven rhythms, keeping the beat of the music with their movement, recognition of the proper rhythm and mood suitable for different types of movement. The basic movements of walking, running, hopping, galloping, sliding and skipping, bending, stretching, turning and twisting, swing- ing and swaying should be used in a variety of tempi, directions and amounts of force. 1. Osborne, McCorathy, et al., 1949, New Music Horizons, SUve Burdett and Company. SECOND GRADE ( See also first paragraph under First Grade. ) Children of this age continue to have characteristics of first grade children. Individual competition, the ability to work with a group, the desire to belong to a group and the wish to cause things to happen are beginning to develop. In activity we see these characteristics in a desire to ride the horse rather than be the horse. We see more characters in their play— a whole family with the father and mother rather than just playing keeping house by oneself. Suggested Themes for Creative Rhythms Continue with First Grade themes but more detailed and mature expression will be shown. The list is supplemented with new activities that develop in the school and community. Stories used in reading and literature can be danced. Poems can be read or recited as accompani- ment to dance. New music can be utilized. Note values are studied in this grade. A child can play a rhythm band instrument in different meters and have the class divided into groups each representing a different meter. When a group's meter is played, then that group may move. Using note value, Father Bear might move on whole notes, Mother Bear on half note, and Baby Bear on quarter notes. THIRD GRADE There is a continuation of the characteristics listed under First 'I Grade, paragraph one, and Second Grade, paragraph one. There is, perhaps more realism and developing appreciation of skill. Stunts and individual competition are of great interest. There will be questions as to how the Indians hunted, etc., which will reflect in a more accurate and logical development of the plots of the dances they com- pose. Children of this period will partly retain impersonations of 158 Physical Education things; but will be more and more the controller, as the engine driver, the ring master in the circus who makes the animals do his bidding. Themes for Creative Rhythms: Music from music appreciation and singing (move with different instruments as well as dance the story). Music elements, meter, phrasing, tempo, dynamics, staccato and sustained. Stories and poems from literature and reading. Stories from health and social studies. Occupations and customs of Eskimos, Indians, Chinese, also doing movements similar to tractors, plows, etc., connected with planting or harvesting, fishing, or construction of buildings. FOURTH, FIFTH AND SIXTH GRADES In the fourth, fifth, and sixth grades, Creative Dance can be interest- ing to both boys and girls, but the sex roles should be increasing and developed in dance to maintain interest. The boys will do the high jumps, leaps and strong movements, while the girls do more quiet and softer movements. Continue from now on to emphasize organization and planning of the dances with consideration of space to be used, type of music, development of story, climax, etc. Hhave the children evaluate their work. Themes for Dances: Social problems— The shy child at the party. The child who would not play. New child comes to school, town, etc. Stories and poems from literature and reading. Stories and music from music curriculum. Stories and events from social studies. Dances based on research iucO why people do what they do, i. e. May Day dances to bring about good harvest, etc., composed on why, where, when they danced and working on what they should do in this instance. Use dramatic situations in his:;ory and social studies. Special References: Hughes. Rhythmic Games and Dances. American Book Co. Waterman. ABC of Rhythm. Rhythms 159 SINGING GAMES CHART OF SINGING GAMES Ethnological Singing Game Source Grade Suitability Recording A Hunting We WiU Go Enghsh Second and Third Victor 22759 Beans Porridge Hot American Second and Third Victor 20621 Children's Polka Germany Third and Fourth Victor 20432 Broom Dance Germany Second and Third Victor 22448 Danish Dance of Greeting Danish First and Second Victor 17158 Did You Ever See a Lassie German- American First, Second, Third Victor 17368 Chimes of Dunkirk French Second and Third Victor 21618 Farmer Sows the Seed American First and Second Victor 21618 Go Round and Round the Village Enghsh First and Second Victor 17104 Hickory, Dickory, Dock American First and Second Victor 20621 Looby Lou Enghsh First and Second Victor 20214 Hansel and Gretel German Third Victor 21620 How D'ye Do My Partner Swedish First and Second Victor 21685 Jump Jim Crow American Third Jolly Is the Miller American Third Victor 20214 London Bridge Enghsh First and Second Victor 20806 Mazoo American Third Muffin Man Enghsh First and Second Victor 24533 Oats, Peas, Beans Enghsh Second and Third Victor 20214 Old Roger Is Dead American Second and Third Shoemaker's Dance Danish Second and Third Victor 20450 On the Bridge of Avignon French Second and Third Victor 22356 The Little Pony American Second and Third A HUNTING WE WILL GO Victor Record: 22759 n jzi .n=n m m Oh, a-hunting we will go, A-hunting we will go, We'll catch a fox and put him in a box, And then we'll let him go. Formation: Two parallel lines of six to eight players. Partners opposite 160 Physical Education each other. (Lines should be at least four feet apart.) Line 1: First couple step toward each other, take partner by hand and skip down between the lines. The other players clap hands in Rhythm. Line 2: On first word, couples change hands and skip back to head of line. Line 3: On the word "Catch," the head couple slap their sides, on "Fox" clap own hands, and on "Box," clap hands with partner. Line 4: The couple separates and runs down the outside of his own line trying to get to the foot before the verse is finished. The other players take a short side step toward top of line. Repeat: Continue until each has had a turn to skip. Then all join hands skipping around in a single circle and singing verse. Finish facing center, swing one leg around and all yell "YA!" A HUNTING WE WILL GO Victor Record: 22759 Variation: Lead up to Virginia Reel. Formation: Two parallel lines— girls in one, boys in other. Lines should be six feet apart. Lines 1-2: Head couple join both hands and slides to foot of line. Lines 3-4: Slide back. Repeat verse: Drop hands, counter march and form an arch! (Each group follows the first person in his line. The leader makes a quick turn away from his partner and marches to the foot of his line and re-joins his partner's hands, making an arch for the rest of the players who follow and pass under arch on the way to their places.) Lines 1-4: The second couple is now at the head of the line. (The arch couple drops hands, and remains at foot of line each time.) Repeat: Continue until all are in original places. BEAN PORRIDGE HOT Victor Record: 20621 1. Bean porridge hot Bean porridge cold Bean porridge in the pot Nine days old. Some like it hot Some like it cold Some like it in the pot Nine days old. Rhythms 161 Formation: Double circle, or two lines, partners facing. Measures 1-2: Clap own thighs with both hands; clap own hands; clap partner's right hand. Repeat clapping left hand. Measures 3-4: Clap thighs; clap own hands; clap partner's right hand; clap own hands; clap partner's left hand; clap own hands; clap both of partner's hands. Measures 1-4: Repeat, clapping as above. All raise arms sidewards, hands joined, and take sixteen sliding steps around the circle to the left, then sixteen to the right. During the last measure, all move to the right and take new partners. Repeat from beginning with new partner. The clapping part can also be done witli children sitting in their seats, and clapping hands across the aisle. CHILDREN'S POLKA (Kinderpolka) German Victor Record: 20432 #" ?^ 1*- ^ 1 ^ s ^ ^ ^ -a: gE r" 1* 1* L ■ — V — r r r ^ IV _ *f— " — =1 1 r 1 — ^ — f jT 1 — J 1 r r^ • ^ J S^=: ^* B 5*^ s 4 ' ]^ i£ £ Formation: Single circle. Partners face each other. Join hands, arms extended at sides, shoulder high. Measures 1-8: Take two slides, (slide together, slide together) towards center, followed by three running steps in place. (Two Measures). Repeat, moving outward (Two Measures). Repeat in and out again (Four Measures). 162 Physical Education Measures 9-12: Clap thighs with both hands; then clap own hands in slow time. (One Measure). Clap partner's hands three times in quick time. (One Measure). Repeat, (Two Measures). Measures 13-14: Point right toe forward, place right elbow in left hand and shake finger at partner three times, (One Measure). Repeat left, (One Measure). Measure 15: Turn a complete circle with four running steps, (right). Measure 16: Stamp three times. Repeat from beginning. • BROOM DANCE German Victor Record: 22448 f :!JJJJ ^ m ^ t t ft t m s ? T 5 ^ 5 ? ±± One, two, three, four, five, six, seven Where's my partner, nine, ten, eleven? In Berlin. In Stettin There's the place to find him in. Fonnation: Double circle, couples facing counterclockwise, boys on inside. Old man in center with a broom. Directions: Partners skip around the circle as verse is sung. The Broom man gives the broom to a boy in the circle and then takes his partner. The new broom man gives the broom to another boy and takes his partner. This continvies until the last word is sung. On the chorus all sing tra, la, la, etc. The boy holding the broom when the chorus begins must dance with the broom while the others dance with their partners. DANISH DANCE OF GREETING Victor Record: 17158 Formation: Single circle. Partners face center, hands on hips. Measures 1-2: Clap hands twice, turn to partner and bow. Turn to center. Repeat, bowing to neighbor. Rhythms 108 Measure 3: Stamp right, stamp left. Measure 4: Turn around in place to right with four running steps. Repeat from beginning. Measures 5-8: Join hands in circle. Run sixteen steps to right. Turn and run sixteen steps to left. Repeat from beginning. DID YOU EVER SEE A LASSIE Victor Record: 17368 Columbia Record: A-3149 t.^ "B.J. Nalltu ^ ^ ^ J J I >l J J ;■■' ^E^ ^E^ t^ ^ fe^ ^ ^ ^s ^m f rr f 3E3: i^ 5^ ^^ fe^ fe^ ^ ¥E^ :e^ i^ ^^ ^^ ^ r r, c c m ^ 3^ f^^' f r 1" £ ^ ^ :£= £e^ ^ p ^ ^ Did you ever see a lassie, a lassie, a lassie, Did you ever see a lassie do this way and that? Do this way and that way, and this way and that way Did you ever see a lassie, do this way and that. Formation: Single circle hands joined. Child chosen to be lassie is in the center. Lines 1-2: Children in circle walk to right around "Lassie." On the words "Do this way and that way," circle stops moving and imitates action done by "Lassie." Lines 3-4: Players continue to perform with "Lassie" until end of verse. "Lassie" chooses another child to succeed her and joins circle. Suggestions: When a boy is in the circle the players should sing, "Did you ever see a Laddie." Children should be encouraged to use vigorous movements, imi- tations of various sports, dance steps, animals, cowboys and gymnastic movements are most popular. 164 Physical Education THE CHIMES OF DUNKIRK Belgian Columbia Record: A-3061 Victor Record: 21618 ^«, ~Tf "P /^ ' iSa 'r ^J^ ' 'f ' ' lU' r^ 1 -1 r- Formation: Single circle. Partners face each other, hands on hips. Measures 1-2: Stamp three times— right, left, right. Measures 3-4: Clap thi-ee times. Measures 5-8: Join hands with partner and turn around in place with eight running steps, starting with left foot. Measures 9-16: Sixteen running steps. All join hands and run in circle to left. Repeat from beginning. THE FARMER SOWS THE SEEDS (Tune — Farmer In The Dell) Victor Record: 21618 . bu B-J. Nall4 'I I r l U l ^^ ^ r-i^. ^ ^ ^' r r ^ £; ^m ^ p Verse 1: The Farmer sows the seeds The Farmer sows the seeds Heigh-O the dairy-O The Farmer sows the seeds Rhythms 165 Verse 2: He puts them in the ground Verse 3: The sun begins to shine Verse 4: The rain begins to fall Verse 5: The seeds begin to grow Verse 6: The farmer cuts them down Verse 7: The farmer stacks them up Verse 8: They all begin to dance Formation: Single circle facing in with farmer, sun and rain in center. Verse 1: Farmer skips around circle and sows seeds. Verse 2: Farmer skips around inside circle tapping each child lightly on head. They immediately stoop down. Verse 3: Child representing sun skips around and spreads sunshine on seeds. Verse 4: Child representing rain skips around circle and shakes rain on seeds. Verse 5: Seeds begin to grow. Seeds come slowly up to standing position. Verse 6: Farmer skips around and pretends to cut down seeds (en- courage vigorous motion.) Seeds stoop down. Verse 7: Farmer moves around circle and puts seeds in groups of two. Verse 8: The farmer, sun and rain make a circle of three and skip around. The seeds in groups of two turn each other in place. Variation: Groups of two may skip counter-clockwise around circle. GO ROUND AND ROUND THE VILLAGE Victor Record: 17104 f i i ^ ^ Go round and round the vil - lage. t Go i ^E f ^ t ^ 5 round and round the vil - lage Co WT- round and round the ;*: ^ ^ ^ a f I t w— ^ ~9 10 * W we have done be vil - lage, As 3 ^ :^^=5r ^=^ fore 166 Physical Education 2. Go in and out the windows. 3. Go now and face your partner. 4. Now follow me to London. Formation: Single circle, hands joined. Verse 1: One or more children skip around inside of circle. Verse 2: Children in circle raise hands high making windows; children in center skip in and out of windows thus formed. Verse 3: Children skipping choose partners. Verse 4: Children chosen follow partners around circle. Note: First children skipping may now return to circle, or all may continue until all are chosen. 1 ^: ^ ^ p-^ HICKORY, DICKORY DOCK Victor Record: 20621 ± J1 J n arr. V^ "BJ. N«Ln«ij ^m ^ ^ p ^ p Pit' ; ;^J ^ J i^ j: I J^y/z-i IS. ^ ^s ^••jr T ^ ^m Dickory, dickory, dock (tick tock) The mouse ran up the clock ( tick tock ) The clock struck one The mouse ran down Dickory, dickory, dock (tick tock) Formation: Children in two straight lines facing about ten fee^ apart. Measures 1-2: Hands clasped low in front of body; swing in time with music. Stamp left foot on "tick" and right on "tock." Measures 3-4: Eight little running steps forward: stamp L and R on "tick" and "tock." Measure 5: Clap hands once on "one." Measure 6: Eight steps back to place. Measures 7-8: Swing pendulum and stamp left and right on "tick" and "tock." Rhythms LOOBY LOO Victor Record: 20214 Columbia Record: 10008D 167 y^ B.T Nalle>4 t J' J' J' ^ P S J' J J ^ ^ ^ ^ ? r V I J ■=* J J J J' J . ^^^ f ^ :i^^ > T I i^ ^ ? i j j' j J ^^^ J i J J ^ ^ ¥sp^ g^^:^^ ^^^s^^ ^=^^ ^ :* ^¥=^ WW ^ l^ ^ m ^ Here we dance, Looby Loo, Here we dance. Looby Light, Here we dance, Looby Loo, All on a Saturday night. I put my right hand in I take my right hand out, I give my right hand a shake, shake, shake, And turn myself about. I put my left hand in, etc. I put my right foot in, etc. I put my left foot in, etc. I put my little head in, etc. I put my whole self in, etc. Formation: Single circle, facing left with hands joined. Chorus, Measures 1-8: Players move counter-clockwise around the circle with skipping, shding or walking steps. The dance is begun with the chorus and it is repeated after each verse. Verses 1, 2, 3, 4, 5, 6, Measures 9-16: Players stand facing the center. The action suggested by the words of the song is given in pantomime. The children should be encouraged to make large and vigorous movements. 168 Physical Education HANSEL AND GRETEL Victor Record: 21620 Columbia: 8308 Andante RumperdiDk 1 2 ' 3 Lit -lie play-mate dance with me, Bothyourhands now give tome. 5 6 7 8 9 Point your toe, 'way we go, Up and down the mer-ryrbw. Tra la la la 10 11 *• * *^E 3 13 14 10 11 " "^ "IS 9 13 14 la la la, Tra la la la la la Ja^ Tra la la la la la la la. '>], ^0 J'l-J' J>j,v i Jf J'MJ'ff^P 15' IS Tra la la la la la la. 17 ' "18~ ' 19 With your feet go tap, tap, tap, With your hands go With your head go nip, nip, nip. With your fin -gers 20 I 21 ' 22 23 24 23r 24 Up and down the mer • ry row. 20 I 21 clap,claj3,c]ap, Point your toe, 'way we go, 8njp,snip,snip, Pointyourtoe, 'way wo go, Round and round so mer- ry oh, 1. Little playmate, dance with me, Both your hands now give to me, Point your toe, 'way we go, Up and down the merry row. Chorus: Tra, la, la, la, la, la, la, etc. Rhythms 169 2. With your feet go tap, tap, tap, With your hands go clap, clap, clap. Point your toe, 'way we go. Up and down the merry row. 3. With your head go nip, nip, nip, With your fingers, snip, snip, snip. Point your toe, 'way we go, Round and round so merry, oh. Formation: Double circle, facing partners. Verse 1, Measures 1-2: Curtsy to partner. Measures 3-4: Join hands, skating position, facing in line of direction. Measures 5-6: Place outside heel forward, then outside toe backward. Walk three steps forward. Measures 7-8: Repeat with inside foot. Chorus, Measures 9-16: Partners skip in line of direction, inside hands joined. Verse 2, Measure 17: All stand still. • Measure 18: All stamp right, left, right. Measure 19: All stand still. Measure 20: All clap hands three times. Measures 21-24: Same as measures 5-8 in Verse 1. Chorus, Measures 9-16: Repeat as above. Verse 3, Measure 17: All stand still. ■ Measure 18: All nod heads. Measure 19: All stand still. Measure 20: All snap fingers three times. Measures 21-24: Same as measures 5-8 in Verse 1. Chorus, Measures 9-16: Repeat as above. 'From Clark, Lydia. Physical TTaining for Elementary Schools, 1929. B. H. Sanborn Co. 170 Physical Education HOW D'YE DO MY PARTNER Swedish Victor Record: 21685 Columbia Record: 1008D [^^ ■ J j j — J— H -f-^— /— =n^ ^- ^—4 — ^ — O: b 3 9 — « J f f -- — 1 9 — 9 — 9 •■ 4 ft M IF ^ 1 ■^l" bH 1 — « — J 1 How D'ye do my partner, How D'ye do today? Will you dance in the circle? I will show you the way. Chorus: Tra, la, la, la, la, la, etc. Formation: Double circle partners facing each other. Measures 1-2: Children in the outside circle bow to each other. Measures 3-4: Children in the inside circle return the greeting with a curtsy. Measures 5-6: Partners join right hands— then left hands. Measures 7-8: Partners face counter-clockwise; join inside hands ready to skip. Chorus: Couples skip around circle, (sixteen slow skips). Children in outside circle step forward to a new partner and dance is repeated. JUMP JIM CROW American j|' J- -. J-^ ^ S J ~m JTTJ ^J r , 'y%i \ !.; I , r ^ i ^^ nf ^ m i ^^ ^ Jump, jump. Oh jump Jim Crow, Take a little twirl and around you go. Slide, slide and stamp just so. Then you take another partner, and you jump Jim Crow. Formation: Double circle, partners facing each other. Rhythms 171 Line 1: Partners join hands, jump two slow, then three quick jumps in place. Line 2: Turn partner with eight light running steps. Line 3: Partners drop hands and take two slides to the right, then stamp three times. Line 4: Join hands, turn new partner and finish with three quick jumps. Repeat from beginning. JOLLY IS THE MILLER English Victor Record: 20214 Columbia Record: A3075 J A ^ J. =^^^ ^^ ^- i ^^^s ^^^^ J S' :• s-. ^ \ W^ ^ $ ^m ^ m r r ^ r J ^ J J J . J J J. J* J ^3E^ t ^ m Oh-JoUy is the Miller And he lives by the mill. As the wheel goes round With a right good will. One hand in the hopper And the other in the sack. As the boy goes forward And the girl stays back. Formation: Double circle, boys on the outside, girls on inside, facing counter-clockwise. Lines 1-6: Circle walks forward singing. Lines 7-8: Boys step up to new partner, girls stand still. When players have learned to do this, an extra player may be chosen to stand in the center; as boys change, this extra player tries to get a partner. The one who is left out remains in the center and tries to get a partner next time. 172 Physical Education LONDON BRIDGE Victor Record: 20806 Columbia Record: A-3148 {HO^ i jH^^ H ^ i m ^^ 1. London Bridge is falling down Falling down, falling down, London Bridge is falling down My fair lady. 2. Off to prison you must go. 3. Take the keys and lock her up. The following words are also suggested: 1. London Bridge is falling down. 2. Build it up with iron bars. 3. Iron bars will bend and break. 4. Build it up with gold and silver. 5. Gold and silver will be stolen away. 6. Get a man to watch all night. 7. Suppose the man should fall asleep? 8. Put a pipe in his mouth. 9. Suppose the pipe should fall and break? 10. Get a dog to bark all night. 11. Suppose the dog should meet a bone? 12. Get a cock to crow all night. 13. Here's a prisoner I have got. 14. What's the prisoner done to you? 15. Stole my hat and lost my keys. 16. A hundred pounds will set him free. 17. A hundred pounds he has not got. 18. Off to prison he must go. Rhythms 173 Formation: Two of the tallest players represent a bridge by facing each other, clasping hands and holding them high for the others to pass under. Players are in a long line and march under the arch while the verses are sung (alternately by those forming the arch and those marching). On the words "My Fair Lady," the arch is lowered and one of the line is captured. The child caught is told by the "arch" to choose between two valuable objects represented by the two members of the arch who have previously agreed which each shall represent, such as "gold" and "silver." The child caught belongs to the side he chooses. When all have been caught and are standing in a single file behind the member of the arch they chose, a tug of war takes place. MAZOO an-. Wi^ 'B.J Mallcu i ^ J^ ^ i' ^m ^ ^ ^ J^ ; S S ^ ^ P J I .n J! J? ^ ^ Go round and round the circle, Mazoo, Mazoo, Go round and round the circle, Mv Susie Anna Sue. Go in and out the windows, Go wash your tiny windows. Now let me see you hustle. Formation: Circle, hands joined. Several children outside of circle. Verse 1: Children on outside skip around while circle sings. Verse 2: Children in circle hold hands high, others skip in and out. Verse 3: Skip around inside of circle pretending to wash faces of other children. Verse 4: Children who have been skipping choose partners by facing someone. All hustle. To "hustle" time and action same as for skipping in place but lifted foot is put down behind, crossing feet each time. Repeat from beginning. Continue until all are playing. Similar Games: Go Round and Round the Village. 174 Physical Education 'y.^r. > THE MUFFIN MAN Victor Record: 24533 -i-?-M ^*^ m ^ J ^ F ^ i ^^^ 1. Oh, have you seen the Muffin Man, The Muffin Man, the Muffin Man? Oh, have you seen the Muffin man, That hves in Drury Lane? 2. Oh, yes, I've seen the Muffin Man The Muffin Man, the Muffin Man Oh, yes, I've seen the Muffin Man That hves in Drury Lane. Formation: Players in circle, hands joined, one or more in center. Verse 1: Children sing while those inside skip around for first two lines. They stand still during third and fourth lines while those who were inside the circle choose partners. Verse 2: Those in center skip around and sing "Oh, two," "Oh, four," etc., "have seen the Muffin Man." Continue until all have been chosen. OATS, PEAS, BEANS Victor Record: 20214 Columbia Record: 3148 o-"--- ku B.J. Nallei i * fj j'N Jj. \ i N i' \ j ^^ ^=1= ^ ^ ^ ^ $ t i U i\f' {• i i i' l j ^ j^ ^m J J J- 9:*^ f f- ^^ ^ ^^^ 1. Oats, peas, beans and barley grow Oats, peas, beans and barley grow Can you, or I, or anyone know How oats, peas, beans or barley grow. Rhythms 175 2. Thus the farmer sows the seeds Thus he stands and takes his ease Stamps his foot and claps his hand And turns around to view the land. 3. Waiting for a partner Waiting for a partner Open the gates and close me in Make haste and choose your partner. 4. Now you're married you must obey You must be true to all you say You must be kind, you must be good And keep your wife in kindling wood. Formation: Single circle, hands joined. Child chosen to be farmer in center. Verse 1: Circle walks to right around farmer. Verse 2: Circle faces center and pantomimes according to words. Verse 3: Farmer chooses a partner who comes into center of circle. Verse 4: Farmer joins hands with his partner and skips around inside of circle. Repeat: Farmer's partner becomes new farmer. OLD ROGER IS DEAD Traditional North Carolina Folk Game Victor Record Tune: Old Pompey * S [ ■ I h h tr=t=h. h h N ^ =g ^ ^ S ^!=!t 1 1 \ —i- ^^ 1 r^ [> i' J 11 4A) — * — J— ^f 1* — t^— f — • — * * .J-. ft- —5. ^- d- ^ ^ "^ a— 4 ■ ^ \ \ 1 d . «l • 4. -^^ 4 1. Old Roger is dead and lies in his grave. Lies in his grave, lies in his grave, Old Roger is dead and lies in his grave Hm! Ha! Lies in his grave. They planted an apple tree over his head. The apples were ripe and ready to drop. There came an old woman a-picking them up. Old Roger got up and gave her a thump. Which made the old woman go hippity-hop. 176 Physical Education Fonnation: Single circle facing in. Verse 1: Child representing Old Roger lies down in center of circle with arms folded over chest. The other players fold hands and sway in rhythm. Verse 2: Child representing apple tree enters circle with arms stretched out shoulder high, fingers extended. Verse 3: Tree shakes fingers (apples falling). Verse 4: Child representing old woman comes in and picks up apples. Verse 5: Roger gets up and chases old woman around the inside of circle. Verse 6: Roger lies down, old woman limps around circle. Repeat: Each child chooses another player to take his place. SHOEMAKER'S DANCE (Danish) Victor Record: 20450 H \. f f. r^- ] — 1 w — r — » r T r f=^ ~^ — r* — " 1 \-— • LJ ^ =^ i =\ ^::A ^ £ — 1 — 1 — 1 — 1 — 1. l_^ ^— 1' LI l-^ • -f=-J — v^ — L--^ L *■- 1. See the cobbler wind his thread, Snip, snap, tap, tap, tap. That's the way he earns his bread, Snip, snap, tap, tap, tap. 2. So the cobbler blithe and gay, Works from morn til close of day, At his shoes he pegs away Whistling cheerily his lay. Formation: Double circle. Partners face each other. Measures 1-2: With arms shoulder high and hands clenched, roll one arm over the other three times. Reverse and roll three times. "Winding the thread." Measure 3: Pull hands apart and jerk elbows backward twice. "PulHng thread tight." Measure 4: Clap hands three times. Repeat measures 1 to 4. On measure 4 hammer fists three times. "Driving the peg." Measures 5-8: Join inside hands, outside hands on hips. Skip around the ring. Repeat from beginning. Rhythms 177 ON THE BRIDGE OF AVIGNON (French) Victor 22356 arr. L>M B.J. Nalley ;^ / / ^ I j> j^ J ;» i- J ^ r r r r r ^ ^ ^ J' J' J J' -^ t T ;> I JM^ ^ J J J J r r T r r T ^^ r J^ ^ J J J J / J J J J J 7 i\c r S Chorus: On the Bridge of Avignon They are dancing, they are singing On the Bridge of Avignon They are dancing in a ring, 1. Gentlemen do this way 2. Then they all do this way 3. Ladies all do this way 4. Then they all do this way 5. The clergy all do this way 6. Then they all do this way 7. Soldiers all do this way 8. Then they all do this way 9. Street boys all do this way 10. Then they all do this way Formation: Single circle, facing forward, hands joined. Game is begun with Chorus, and Chorus is repeated after each verse. Chorus, Measure 1-8: Circle skips to right on 8th measure, comes to a stop and drops hands. Line 1, Measures 9-10: Face partners as they sing "This way" making bow as though removing hat. Line 2, Measures 11-12: Face neighbors and repeat. Repeat Chorus, measures 1-8. 178 Physical Education Line 3, Measures 9-10: Line 4, Measure 11-12: 1-8. Line 5, Measures 9-10: heads. Line 6, Measure 11-12: 1-8. Line 7, Measures 9-10: Line 8, Measure 11-12: 1-8. Line 9, Measures 9-10: Line 10, Measure 11-12: 1-8. I J7J7I r Face partner and curtsy. Face neighbor and curtsy. Repeat Chorus, measures Face partner, put palms together, fingers down, bow Face neighbor and repeat. Repeat Chorus, measures Face partners and salute. Face neighbor and repeat. 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T3 c p O PS P o p < ^ U ^ 2 u , , P t-lH p tJ o ■P -5 > o P < > o OS 43 > O P ID > O P < bJC ^ 05 05 ^^ 00 CD G5 -H O > > O o^ o cS c -a o CO % .19 > O a u > o a < s T3 C < s Q U O 3 > T3 > o a I— I I— I j-H CQ .— ( fa > o a < U u c < .t3 u •5 o fa > < 1i J3 'pi bO *•> a CA) CA GA 'to bO Rhythms OH SUSANNA 185 This is a very simple American circle dance which can be used with almost any age as a mixer. It is useful also in presenting the grand R and L and promenade which are part of almost all square dances. Formation: Single circle facing in, boy on L of partner. Step I. (Music A) Girls take three steps into the center of the circle, curtsy— fall back into place beside partner with 4 steps 4 measures Boys take three steps into the center of the circle, and bow— fall back into place beside partner with 4 steps 4 measures Step II (Music A repeated) Partners turn to face and take R hands. Pass partner by R shoulders with 2 steps, dropping hands as you pass 1 measure Take the L hand of the next person— pass that person by L shoulder, dropping hands as you pass 1 measure Continue passing by R and L shoulders until you meet the seventh person. The boy takes the L hand of the seventh girl ( his partner was the first), turns her around with 4 steps, ending with her on his R side and the outside of the circle— take skating position 6 measures Step III (Music B) Promenade in large circle 8 measures Continue entire dance as long as desired. 186 Physical Education OXFORD MINUET American 5|ou) I ^S es ^ P u ■w>. ip r p^iFfpfif T jripfpf if ^ rl^ ^ «F ^f ^ ^^ ^ i * P ^ m f'^, Mf j' i 'Tr h^r hFFffjfffff ^ i ^ ^ i i ^ i t^ f^ff ^ ^ pf j-rtf J i^i & m e f P ^ i i ^ ^ i s iK , i^"i. n It 1: <: e ^ a f^ ^ i ^ i i i S Oxford Minuet is one of the very early American folk dances. The word "Minuet" most certainly came to this country via France and we can only presume the "Oxford" denotes a definite English in- fluence. The music for the dance is actually a gavotte but the dance itself is a combination of a very stately minuet executed in duple time and a lively and typically American two-step. Although the dance is an evident result of the combining of steps from many sources it is a very lovely ^^nd popular American folk dance. Formation: A double circle of any number of couples, the boy stand- ing on the L of his partner. Partners join inside hands at shoulder level and assume stately and dignified postures. The boy's free hand T' rests behind his back and the girl's free hand holds her skirt. Rhythms 187 Figure I. A. Couples take 3 steps forward in line of direction followed by a half turn toward partner, joining opposite hands and facing in oppo- site direction; point toe of the free foot forward— boy begins L and girl begins R. 1 measure Repeat the step moving away from line of direction and begin on opposite foot. Couples end facing in original direction 1 measure Repeat all 1 time 2 measures B. Couples face and join both hands at shoulder level. Boy steps to the side L and points R toe across and in front of his L. At the same time the girl steps to the side R and points L toe across and in front of her R. Repeat step 3 times alternating feet. ( 2 steps are taken to each measure) 2 measures Repeat "A" 1 time 2 measures Figure 11. Couples execute this step in original position. Take 3 two-steps moving forward in line of direction. Immediately following the 3rd two-step step back 1 step and point toe forward— boy begins L and girl begins R. 4 measures Repeat step 3 times 12 measures Figure III. Repeat Figure 1 8 measures Figure IV. Couples take social dance positions and execute 16 turning two- steps progressing in line of direction— boy begins L and girl begins R. 16 measures 188 Physical Education " MILITARY SCHOTTISCHE Arranged by Lawhcai ^ m s =b: Si 4*—*-* * * /f .9' ZZ ^ ¥ i 4-. ^ u m fH m9 m -0- \}}mm [ =p if- i f-^^ife FT P ^t V . \J s ^ ^ i i E t=l ^ ^tt ^^ ^ li ^ ^ i M « :* ^ ^: i^ , f r ^f-#-T ^ ^ ^^ § ^ ^ i bT»- ^ ^ Legend has it that this schottische was brought to the southwest United States by the Spanish soldiers. The dance is executed in strict schottische time and the combination of a shghtly martial rhythm and a Spanish style makes the dance popular almost immediately. Formation: A double circle of any number of couples, the boy stand- ing on tlie L and slightly behind liis partner. He holds her L hand in his L, shoulder high, and reaching across her back holds her raised R hand in liis R. This position is maintained throughout the dance. Both the hoy and girl dance the entire dance in step. Figure I. With a definite dip of the body cross the L foot in front and to the R of R foot— bring the R foot to place beside the L foot ending with weight on R foot 1 measure Beginning L take 3 steps forward in line of direction ending with weight on L foot 1 measure Repeat entire step 3 times alternating feet 6 measures Rhythms 189 Figure II. Beginning on L foot take 2 slow steps moving forward in line of direction 1 measure g Si f;- im Se^ 35 FINE irf Fi f I p =^ fel ^ i i M ^ P^^ ^E J I W i i £. *fe fe J : - ,b n ■/ a w^ 25 ':^r^-lH^ :t ^ t i trrjtftf rrrffrrrip: i: 3 # t?f by «|^ BACK lOS- m Without losing the double hand grasp, each dancer executes a half turn to the R and steps L in place, (dancers are now facing away from line of direction with the boy still on the inside, and slightly behind his partner) followed by 2 steps, R, L, moving backward but still in the line of direction 1 measure Beginning on R foot take 2 slow steps moving forward in line of direction 1 measmre Without losing the double hand grasp each dancer executes a half turn to the L and steps R in place, (dancers are now back in original position and facing line of direction) followed by 2 steps, L, R, mov- ing forward in line of direction 1 measure Repeat entire step 1 time 4 measures REPEAT FIGURES I AND II AS MANY TIMES AS DESIRED. NOTE: Military Schottische can be danced by making one complete turn in a clockwise direction during Figure I instead of traveling in line of direction, if desired for variety. 190 Physical Education A WESTERN POLKA American f\ oo\rBj\'f^ ^j tp=^^=^ '^•^vlF jiLf^icjr^ r f ft ij p^ ^*n iTii^ i ^^ ^ ^^J v^^ ^ /~^ I ^r^ f^ I n clJ ^ in'''" There are many American polkas and each has numerous versions" Similar steps and patterns have been employed in all. While any polka music can be used for most of the various combinations of steps, special polka music has been composed and arranged for this particular version of the Western Polka and should be used for effec-iyj tive performance. 1 Rhythms 191 Formation: A double circle of any number of couples, the boy stand- ing on the L of his partner. Partners take skating positions with the R hands clasped above the L hands. w Uj im^' ^m^ i p r^ Step A. Couples take 4 heel-toe polka steps— boy begins L and girl begins R. (Each heel- toe polka step takes 2 measures) 8 measures Step B. Couples take social dance positions and execute 8 turning polka steps progressing in line of direction— boy begins L and girl begins R 8 measures Step C. With inside hands joined, the boy's free hand behind his back and the girl's free hand holding her skirt, couples take 7 walking steps forward in line of direction. The 7th step is accented by stamping the foot— boy begins L and the girl begins R. (Two steps are taken in each of the first 3 measures with 1 step only in the 4th measure 4 measures Couples face joining both hands and extending arms sideward to shoulder level. Take 8 sliding steps away from line of direction— boy begins R and the girl begins L (2 slides are taken to each measure) 4 measures Repeat all of Step C 8 measures REPEAT THE ENTIRE DANCE 2 TIMES ENDING WITH A STAMP' ON THE 7th SLIDE. 192 Physical Education VIRGINIA REEL American I ^ First^rt m ^ P m m » Be ^ ^ m ^ At ^ ■^* ft-it ^ p I ^ r.^f^ i cp'r m W 00 mz W m m mmm ty-<^ gj^ 1 fe^ »♦ « « X/. C ititfv i fffft m ^^ ^ Reel The Virginia Reel comes to us from England where it is known by the name Sir Roger de Coverly. Virginia Reel has long been a favorite and is still danced by young and old in many rural communities. Formation: Longways set of 6 couples, partners facing. Rhythms 193 March i .•0-P- •' -d ^J W9»i J'f m all join I hands . m Hon-oryour cor-ner P ^ Swingthe cor - ner m A d d ^ la - dy . m i Hon-oryour part-ners all. I E^ % F * Jl pJ j* ^ * d' d f ■0^-0- V,. la - dy and m anri m promenade the all.. e ^ g * ^^M ^^ TFT I FT \\mm 5 i sa This relatively simple folk dance falls under the classification of a Singing Quadrille. Its call is sung to the music and it gives the dancers fairly accurate instruction for the various figures. Singers may be used or the dancers may sing their own call. 196 Physical Education Singing Call 1 Two head ladies cross over and by that gentleman stand. Two side ladies cross over, and all join hands Honor your corner lady, Honor your partners all Swing your comer lady and promenade the hall. 2. Two head gents cross over and by the lady stand Two side gents cross over and all join hands Honor the comer lady, Honor your partners all Swing the corner lady and promenade the hall. Formation: Quadrille. Directions : Words— Two head ladies cross over and by that gentleman stand. Dance— The two head ladies pass by R shoulders and stand beside opposite gentlemen. Words— Two side ladies cross over and all join hands. Dance— Two side ladies pass by R shoulders and stand beside oppo- site gentlemen. All four couples join hands. Words— Honor your comer lady. Dance— Partners turn back to back— the boy bows to corner girl and she curtsies. Words— Honor your partners all. Dance— Partners turn to face each other. The boy bows to partner and she curtsies. Words— Swing the corner lady. Dance— Boy joins both hands with corner girl and swings her around with 8 walking steps. Words— And promenade the hall. Dance— Take skating position with corner girl— face counterclock- wise and promenade once around the set stopping at tlie boy's original place. The comer girl is his new partner. Sing the second verse and repeat the dance except the head and side boys cross over instead of the girls and on the promenade the boy takes his new partner back to his new position. Repeat each verse one time. Dancers should all finish in their original positions. Rhythms POP GOES THE WEASEL 197 ^♦^ i 1 P^ 1 — r^ 1 p= 1==H ^--r- p ^=F=1 =t=^ -1 — =r=mi 5: P J J ►*n J — ^ — < J* — 1 "J ^ g * 7- . J s — J — » »k — J v±/- § y _i A « ' ~ ^ .- * 7 i^-^-fi I r j -T 1 —^ — r — f^ " 1 J ^ 1 F=M = H '■ ^y^sL f ^ ^ ^ — ' f ,, f ,, -J^ — Z ■ ^ — «^ — » [ 1- _£ — *: 1 1 i. -1 — ' — "= A Singing Quadrille danced to a familiar old folk melody. Singing Call Head couple lead out to the right And balance there so easy Join hands and circle half Pop! Goes the Weasel. Formaton: Quadrille. Song— Head couple lead out to the right. Dance— Head couple leads out to a position in front of and facing the next couple to the right. Song— And balance there so easy. Dance— Head couple balances to the side couple. Note: "Balance" is described in step analyses. Song— Join hands and circle half. Dance— The two couples join hands and circle half way around. Song— Pop 1 Goes the Weasel. Dance— The couple to the right raises their joined hands— the head couple bows through in under, and leads on to the third couple. The song and dance are continued until each couple has traveled all around. As soon as the group does the dance they can try having each couple following in turn as soon as the next couple is free instead of waiting untH the first couple has completed their part, then the second, and so on. 198 Physical Education LADY ROUND THE LADY American Moderato te i^Hl ^^•■^U:i PP^JTJI ^=» For its la - dy round the la- dy and the ^^ i gent a-round the gent and the ?^ ^ W=^=§ m gent a - round the la - dy and the * • I * » — lady a - round the gent. ^m ^ j^ ^^ W * *• ^ Half right and left, Four hands half Swing your la dyonce a-round and m 3*: i ♦-♦ rry 113 #^ i lead up to the next For it's lead up to youi" home m ^^ ait ^ i A Singing Quadrille has a game element added. The lady is wind- ing in and out of another couple urging her partner to follow her and not lose track of her grapevine route. Singing Call For it's lady 'round the lady and the gent around the gent And the gent around the lady and the lady round the gent Four hands half, half right and left Swing your lady once around and lead up to the next. Directions: Song-Lady 'round the lady and the gent around the gent. Dance-Head couple leads to the couple on the right with girl lead- ing pass between the side couple, the girl going left around the side girl and the boy passing right around the side boy. Rhythms 199 Allegro ^m ^ # p / '.>^^ii '^ r ^ ^ ^ ^ -— :^ i ^^ i: i i i s ;>=^ii j H ? ^s k Is" F r f' ii ^^ T y-h j ? j: ^ ^ * Song— Gent around the lady, and the lady around the gent. Dance— This time the girl goes right around the side boy and the boy goes left around tlie side girl. Song— Four hands half. Dance— Head and side couple join hands to make a circle— side couple in original position— head couple facing them— circle half way around in four steps to exchange places. Song-Half Right and Left. Dance— Drop hands— with four steps the two couples pass by right shoulders— boy takes partner's left hand in his left— places his right hand on her back turns her around to face other couple. Song— Swing Your Lady once around. Dance— Head couple joins hands and swing around in place. Song— Lead on to the next. Dance— Head couple leads on to the next couple to the right and repeats the verse from first. Repeat the verse with the fourth or other side couple. Refrain: Allemande L.— All dancers face corner' and do an allemande. Grand R and L.— Return to partner and execute a grand R and L until partner is met. Promenade— Take skating position with partner and promenade home. Repeat the dance for each couple to lead. 200 Physical Education COUPLE DOWN CENTER P ita ^ f ^ coil - pie down First cen - ter and there they di - vide, J^ ^^=* m m mm f ^ ^ w -&^ Hon - or your I3 - dy goes ^ ^f^ right, gent goes lelt. *=* m IBI ^m i f corn-er and P *^ don't be < fraid, m Swing to your I part-ner and All Waltz i ^ ^ i: ^ ^ ^ walt-z prom - e - nade. P i 5=r fpi# This is a Waltz Quadrille and one of the most popular of the Sing- ing Quadrilles. Because the waltz step is used tliroughout it should not be taught until the waltz has been perfected. Singing Call First couple down center and there they divide Lady goes Right, Gent goes Left Honor your corner and don't be afraid Swing to your partner and waltz promenade. Song— First Couple down center and there they divide Dance— Head couple joins inside hands with partner, waltzes for- Rhythms 201 i i ^ ^ ^ -<^ S- S *iP ^t# ^ i ^ i ^^ tet 7V(fjy 4 fi Jill's m n ^# itip ^ i ward with 4 waltz steps passing between the couple opposite 4 measures Song— Lady goes right, gent goes left. Dance— Girl turns out to right and boy turns out to left returning to home position around the outside of the set. (Use waltz step). 4 measures Song— Honor your corner and don't be afraid. Dance— All dancers turn and bow or curtsy to the corner 4 measures Song— Swing to your partner and waltz promenade. Dance— All dancers join both hands with partner— turn twice around with 4 waltz steps 4 measures Chorus— Using the turning waltz step take social dance position- al! couples waltz around the set 1 time 16 measures Repeat the dance 3 times for the 2nd, 3rd, and 4th couples to lead. APPALACHIAN SQUARE DANCES American Music: Victrola, piano, or other instruments. Records: Ida Red, Flop Eared Mule, Down Yonder, Under the Double Eagle, Alabama Jubilee, Soldiers Joy, etc. All Appalachian square dance figures are executed from one of the following positions on the floor: 1. Circles of four. 2. Promenade position. 3. One large circle. Explanation of Terms Used. Back to Place: Place occupied before figure started. Big Circle: All dancers join hands and form one large circle. Circle Four: Two couples (odd and even) form small circle with 202 Physical Education joined hands. When done from big circle all odd boys drop hands of even girls, thus forming groups of fours, odd boy then moves around and catches right hand of even girl. Corner Lady: (Opposite, or Lady on the Left) Girl on boy's left or behind him. Count Off: Number given each couple in big circle to designate even and odd couples for the dance. Count is made by starting with one couple as number one, and counting to right until all couples have been counted. Couples are asked to remember if their number is "even" or "odd." Hold Where You Are: All dancers stop forward motion but continue to dance. Wait for next call. Lead Couple: Number one couple. Partners: Couple dancing together. Boy's partner is on his right. Promenade: Partners dancing together led by Number One couple. Boy has his right arm across partner's shoulders, holding her right hand with his right hand above her right shoulder; they hold each other's left hand. Swing: Couple assumes same position of hands and arms as that of ballroom dancing and make turn around each other, following left hand of boy. Note: To get dancers back into one large circle after it has been broken to execute the figures, the following calls should be given in the order listed: 1. "Swing your partner and promenade." 2. "All join hands and circle left." Elxplanation of Square Dance Figures. Z. Organization of group for dancing. 1. Dancers select partners, form a large circle with girls on left of partner, and count off by couples. 2. The call for beginning the dance: "Music, please! All join hands and circle left." (Dancers take hold of hands and move left around the circle.) "Now half way back." (Dancers turn and circle half way back to the right. Be sure all dancers con- tinue dancing while they make the turn.) 77. Figures from "Circle Four" formation. Note: Each of the following figures is taken while the dancers are actually dancing to the left in small circles of four as described above in explanation of "circle four." L Simple Miscellaneous: Figures: (a) "Right Hands Over": All continue to circle left, drop hands, girls reach over and catch each other's right hands. Boys' hands are joined over girls' hands. "Left Hands Back": All dancers reverse direction of circle and change from joined left hands to joined right hands. (b) "Swing Your Corner Lady": Each boy swings the partner of the opposite boy in his group. Rhythms 203 "Swing Your Partner." Each boy swings his own partner. (c) "On You Go to Next Couple": Odd couples leave the couple with whom they are dancing and move right to the next even couple. Note: Only odd couples travel around the circle. As soon as the odd couple meets a new couple they always "circle four" before a new call is given. 2. Georgia-Rang-Tang: All drop hands. At same time opposites, odd girl and even boy, catch each other by right hands and circle each other from right side. As boys reach place they drop hands and turn to face partners. Part- ners take each other by left hands, circle each other from left side. As boys come back to place they drop hands and turn right to face opposites. All girls make complete circles both times and back to place. 3. Ocean Wave— Odd Couple Dive: Odd boys drop hands of opposites. Odd girl and even boy raise their joined hands; odd boy followed by odd girl circles under this arc, going to right and then under arc formed by even boy and even girl raising their joined hands. All follow odd boy under this arc and back to place. Even girl in going under the arc will turn to left under her own arm. Next call: "Wave the deep" or "Even couples break." Same as above only reversed and led by even boy. 4. Four-Leaf Clover: Even couples raise their joined hands, odd couples pass under this arc. As they come through the arc they raise their joined hands and spin under this arc. This turn is made by odd couples turning back to back. Dancers continue to circle. Next call, "Even couples break." Odd couples raise their joined hands, even couples pass under this arc. As they do, they raise their joined hands and spin back to back, under this arc. (No hands have been dropped by dancers.) 5. Bird-In-The-Cage: Odd girl drops hands she is holding and steps to center of circle formed by two boys and even girl holding hands. Next call: "Birdie out and buzzard (or crow) in." Odd boy exchanges place with odd girl. All continue to circle. 6. Open Garden Gate: All drop hands. Odd boy and girl pass between even couple. Odd boy circles even girl back to back, and backs to place. Odd girl circles even boy back to back, and backs to place. Next call, "Close the gate." Even boy and girl pass inside of odd couple in same manner. 7. Lady Around the Lady, the Gent Goes Slow: All drop hands. Odd lady goes around even lady from left side of even lady and circles to her left. Odd boy follows: girl travels double time. Then call "Lady around gent, gent don't go." Odd lady circles around even gent, going to his right side and around him back to place by time odd boy completes circle around even lady and back to place. CALL: "Swing your partners and promenade." 204 Physical Education III. The following figures are done from "Promenade" in large circle. 1. Lady In The Center Back to Back: Ladies cross in front of partners and turn their backs toward center of circle. This will form circle of girls inside tlie circle made by boys, as they continue around. All the girls will be facing out. Everyone still dancing. Call: "Up one time, boys." Every boy faces the girl standing on left side of his partner. All face each other and dance standing face to face. Call, "Swing the lady and leave her where you found her, and on you go." Boys swing girls they are facing. As swing is completed, boys continue to dance, moving in circle around girls. Girls continue to dance, and dance back to place. Call, "Up one more time." Boys now face next girl to left of one he faced before. Repeat swing. This may be repeated as many times as desired. To bring partners back together, call "Face your partner." This time all boys will come face to face with partner. Call, "Swing your partner and promenade." 2. Weave The Basket: Call, "Ladies on left, join hands and go left. Boys join hands, go right." Ladies cross in front of partner to his left side, they then join hands and circle left. The boys join hands and circle right. Call, "Half- way back." Change direction of circle. Call, "Weave the basket." When the boys' partners are about to come in front of them, all boys raise joined hands. The girls continue to hold hands, and back under arc to right side of their partner. All continue to circle left. Boys still holding boys' hands, and girls holding girls' hands. Call, "Ends meet." Opposite sides of circle dance in toward each other. They meet and dance back to place. Call, "Sides meet." Same as for ends, only started from two points half-way around circle from where started first time. Both these calls may be repeated. Call, "Swing your partner and promenade." 3. Down The King's Highway: Lead couple breaks away from partner, boys turning to his outside and girl turning to her outside. Boys follow boy, single file back dow^ line. Girls follow girl back down line. Then they come to the end of line and meet, all partners promenade back to point where first break was made. This time boy crosses behind his partner to the right and girl crosses across and to her left. Both turn and go back down line outside of dancers as before, only the boy is following the way the girl went first time, and the girl is going the way the boy went first time. When they meet they promenade. 4. Build The Bridge: Lead couple drops hands, turns to inside. On the turn the couple forms an arc with boy's left hand holding girl's right hand. Lead couple continues to dance forward. All dancers go under this arc. As each couple comes out from under arc formed by last couple then in line, each couple forms an arc likewise, and continues to follow lead couple. Lead couple carries arc all the way down line. When the lead couple comes to the end, it turns and goes under bridge, promenade fashion. Lead couple comes from under the bridge and promenades imtil next call. All couples continue to follow lead couple under tlie bridge. Rhythms 205 IV. The following figures are done from the "Big Circle." While promenading the call, "All join hands and let's go left," is given. This forms the "big circle" again. 1. Thread The Needle. Lead couple follows imaginary line across center of circle to couple on opposite side. Dancers on boy's left, still holding hands, form line following lead boy. Dancers on girl's right still holding hands, form line following girl. This forms two lines moving toward couples who are on opposite side of circle from "lead couple." As the lead couple passes under arc formed by couple on opposite side raising hands, the lead couple drops hands; boy turns left and continues to lead line around circle going left, and back to place. Girl turns right and con- tinues to lead line around circle going right. All other dancers still holding hands follow under arc. Partners forming arc still hold hands and spin to inside under arc. As soon as lead couple meets, give the call, "Swing your partner and promenade." Follow this with the call, "All join hands and go left." 2. Shoo Fly Swing: All dancers drop hands. Number one boy grasps right hand of partner with his right hand and circles clockwise. As girl comes face to face with next boy in line on right, he steps out one step to meet her. Girl frees right hand and grasps left hand of boy meeting her with her left hand. They turn counter-clockwise. Girl's partner moves to right and toward center of big circle, meeting partner. As she comes toward center of circle girl frees her left hand at the same time she reaches for her partner's right hand, and they circle again clockwise. This process continues until girl has circled each boy in big circle. Wlien this is done they will find themselves back in place where they become a part of the big circle again. Each couple follows suit, as soon as the boy on right is back to place after circling girl who was member of couple starting from their immediate left. When all couples have gone around big circle, call, "All join hands and go left." 3. Grape- Vine Twist: Call: "All join hands and go left. Half-way back." "Grape-vine twist." Lead boy drops hand of opposite. This girl continues to circle counter-clockwise, all others still holding hands follow her. She circles on outside and around. Lead boy turns right, and circles each dancer to his right, in turn, and under arc formed by raised hands of said dancer and next dancer in line behind the dancer being circled. Dancer being circled does not go under this arc, but turns clockwise, and brings right hand to left shoulder, arm around neck under chin. All still holding hands except hand lead boy dropped. All dancers already circled follow boy under arc. As each dancer is circled and completes turn, the dancer behind will still be holding, with left hand, the right hand of dancer in front, across left shoulder of front dancer. Continue until all dancers have been circled. When lead boy comes to end he will turn clockwise and bring his right arm to same position as that of dancers circled. Girl leading other end of line will bring her right hand to same position, and boy catches hold of this hand with his left hand. All dancers continue circling left till call: "Swing 206 Physical Education your partner and promenade." End dance with call: "SWING YOUR PARTNER AND THANK HER FOR THE DANCE." A number of other figures may be added if desired. Also these listed may be taken in any order desired. FORWARD SIX— FALL BACK SIX This Square Dance has some very interesting figures both in the call and in the pattern made. Much of the call is continuous so care must be taken to keep strict rhythm with the music used. Music: Any square dance music is acceptable. Suggestions: Golden Slippers, Nellie Ely, Flop-Eared Mule, Turkey in the Straw, Red Wing. Call: Numbers appearing at the side and in the call indicate rests. Part of a called phrase takes the whole phrase to dance so the caller must rest. For example: Honor your partner takes 2 counts to say but 4 counts to do— so the caller rests 2 counts at the end. (a) Honor your partner, 1 2 That lady by your side. 1 2 (b) All join hands and circle wide. 12 3 4 (c) Break and trail along that line. The lady in front and the gent behind. (d) Now you swing yours, and I'll swing mine. (e) Promenade boys, promenade. (Rest 16 counts for the promenade) (f ) First couple out to the couple on the R And circle four. 1 2 (g) Leave that girl, go on to the next And circle three. 1 2 (h) Take that girl, go on to the next And circle four. 1 2 (i) Leave that girl, go home alone 12 3 4- (j) Forward six— fall back six. (k) Forward two— fall back two. (1) Forward six— pass right tlirough. (m) Forward two— fall through, too. Repeat preceding four lines three times, (n) Now swing on the corner like swinging on the gate. Swing your own if you're not too late. (o) Left to the corner with your L hand (p) Right to your own with a R and L grand. (q) Pick up the dust, stir up the sand. Pick up your hoe and then your spade. (r) Meet your honey and promenade. Rhythms 207 (s) Promenade, boys, promenade. 12 3 4 12 3 4 Dance Direction: Formation: Quadrille. Step: Simple walking step throughout. Though the dance sounds complicated it is very easy to execute. Direction are given by the letters in parentheses which match the call. (a) Bow or curtsy first to partner and then to the comer. (b) All 8 dancers join hands and circle to the left. (c) Drop hands and return to home position single file, boy be- hind his partner. (d) Each couple takes social dance position and swings in place. (e) Couples take skating position and promenade once around the set. (f ) First couple moves to the R and faces the second couple. All four join hands and circle to the L or clockwise. (g) First boy drops hands, leaves the circle and goes alone to the third couple. This leaves the head girl holding the second boy's L hand with her R. These three (second couple, head girl) stand in a straight line facing in— boy in the middle. The head boy joins hands with third couple and the three circle to the L. (h) The head boy and third girl break their hold with the third boy— the head boy passes the third girl from his L to his R side and they go to the fourth couple. This leaves the third boy stand- ing alone. Now the head boy and third girl join hands with the fourth couple and the four circle L. (i) The head boy drops hands, leaves that circle and goes to his home position alone. This leaves the third girl holding the fourth boy's L hand in her R. These three form a straight line facing the other set of three. The set now looks like this: XXX K >^ XXX Head boy (j) Each row of three advances four steps toward each other- then falls back to place with 4 steps, (k) As the groups of three are falling back 4 steps in (j) the 208 Physical Education head boy and third boy advance four steps toward each other, then fall back to place with 4 steps. (1) As the two boys are falling back the four steps the two sets of threes advance toward each other and pass right through to the same position on opposite sides by passing by R shoulders of the person directly opposite them. This takes 8 steps, (m) When the two sets of three have completed their first four steps in (1) the head boy and tliird boy exchange places with 8 steps, j-k-l-m are repeated 3 times. This means they will return to original grouping preceding ( j ) —return to opposite positions once more and return to original grouping once more. ( n ) Each dancer faces his corner. Take social dance positions and swing corners— turn to partner and swing in social dance position, (o) Allemande L with corner (See Analyses of Steps), (p) Grand R and L beginning with R hand to partner, (q) Just patter used as a fill-in. (r) When partner is met turn in counterclockwise direction— take skating positions. (s) Promenade partner to home position. All of that takes only a little more than a minute. To repeat omit parts a-b-c-d-e and start with (f ) part of call. Call should be repeated 3 times to give each couple a chance to travel. On first repeat (f) changes to "Second couple out to the couple on the right" and so on. CORN HUSKING DANCE Indian Dances i m JIZ3 ^m zt=» - ^ b z J ^ t± ^^ g ^m s ^ ^^ ^ ^ w (I ' fj J m ^ ^ ^m 3 fp m This is a harvest dance as the name implies— and Indian whoop at stated intervals is the Indian's means of expressing joy. While pri- marily a boy's dance girls often enjoy dancing it with the boys. It is not a couple dance. Rhythms 209 Formation: Dancers form a single circle facing in a clockwise circle. An ear of corn is held in the L hand. Directions : Walk around circle holding corn high above heads— 8 walking steps beginning L 2 measures Hold com high over head— while looking up at com wave it to L and then R 1 measure Take 16 Indian skip steps around circle beginning L. Corn is high in L hand on 1st 2 skips at side on 2nd two skips high on 3rd two and low on 4th two, etc 4 measures (Indian skip— lift free knee high so free toe almost touches shin of other leg). Take 8 skips to center— turn around twice in place with 8 skips 4 measures Take 8 skips back to place 2 measures Give an Indian whoop 1 measure When doing Indian skip dancers bend forward and straighten every other skip. Repeat entire dance except dance away from center beginning with 8th measure 14 measures Repeat 1st 3 measures 3 measures Odd numbers hold com high— skip 4 skips to center 1 measure Bend and offer corn to fire as even numbers skip 4 skips to center 1 measure Even numbers offer com to fire while odd numbers skip one turn in place with 4 skips 1 measure Odd numbers offer corn to fire while even numbers skip one turn in place with 4 skips 1 measure Odd numbers skip back to place with 4 skips while even numbers offer com to fire 1 measure Even numbers skip back to place while odd numbers hold corn high and wave it from L to R in both hands 1 measure All turn in place with 4 skip steps holding corn high 1 measure Walk around circle as in the 1st two measures 3 measures (12 steps) All give Indian whoop 1 measure 210 Physical Education BUFFALO DANCE Indian Dance (!A: n n 4 (t i CUE i i^I^ t EZZZg P b 4 ^ g g g :9-.^ = -^ ^ b » Bl fct 4'-"n n JBE g=f ^ ^ This is an Indian dance depicting the hunting for and kilHng of the Buffalo. The steps should be done quickly and with accents. Formations: Dancers form single circle facing counterclockwise. Indian step: Step on R toe— lower R heel, making 2 sounds on cts. 1, and — repeat alternating feet each time. Directions : a. Do Indian step forward for 10 steps with arm at sides and body erect 5 measures Do Indian step forward for 8 steps while bending forward— arms still at sides 4 measures Repeat 1st 9 measures 9 measures b. All face center. Leap forward on R— at same time lean forward and make downward stroke with imaginary tomahawk in R. hand. Move back immediately with 3 Indian steps L, R, L... 2 measures Repeat 2 measures Turn once around to R with 2 high jumps in air 1 measure Each dancer dance in his own small circle to R with 8 Indian steps 4 measures Repeat all of b 9 measures c. Move diagonally forward L with 3 Indian steps followed by a leap onto R foot with a downward stroke with R arm 2 measures Repeat forward diagonal to the R with same steps as proceeding 2 measures beginning L 2 measures Turn completely around to R with 2 high jumps 1 measure Move around circle with 6 Indian steps, brandishing tomahawk up to R on ct. 1 and down to L on ct. 2 3 measures Raise tomahawk high in air with a high jump and a sharp high cry • .1 measure Repeat c 1 measure Rhythms THE STRAW CUTTER Bavarian Folk Dance 211 ^ m -^f-^ -9^-9- ^^ ^ SI 2 t-fcui Ft^ ^^=fc .8 0. ^ &. ^ i^ tJt: r 1 ^ iEEfJ: i #^^ ^ BE fc=ft f'^"^LJL ^ # # ^ ^..ff f.nrfrf l ff ^ ai e=fc ^ i^^ g ^ rf i s ^P ^ :z: This dance was, in all probability, originally an occupational dance —but the movements have lost their significance along the w^ay. The dance is simple in step pattern— it is fun to do because of the gay music and vigorousness of the steps. Formation: Couples form a double circle with partners facing. Boys backs are to the center— hands are joined in cross arm position. Directions : I. With a spring each dancer lands with the R foot forward, toe touching floor 1 measure Repeat the spring with each dancer landing with L foot forward, toe touching floor 1 measure Spring four times quickly, alternating R, L, R, L foot forward 2 measures Repeat all 4 measures II. Change to shoulder waist position (boy's hands on girl's waist —girl's hands on boy's shoulders ) —pulling away from partner as far as possible revolve in clockwise direction with 2 pivot steps to each measure 8 measures Repeat entire dance as many times as desired. 212 Physical Education NEW BAVARIAN Bavarian Folk Dance ^ ^=ii ^ ±=^ ^=^ ^ ^ m n W=¥' $ m m s p.^r I 'Tir ^tif rrir crir 1? ^^^^ S ^ ? i^ i I 3 P ^ iz3fc 13 m ^ ##^ ^ #§^ &^ M i ^« s it FF ,f."^Lrtrr.r rff imrrrf i s ^^# ^ ^ # H»- ^ New Bavarian is a simple and characteristic dance of the Alpine region. The title seems to have no direct bearing since the dance is similar to the traditional dances of many groups in the particular area of Europe. Formation: Couples form a double circle facing counterclockwise— boy on the left of his partner— inside hands joined, outside hands on hips. Directions: Music A. Partners swing joined hands forward and take one waltz balance step with backs to each other 1 measure Partners swing joined hands backward and take one waltz balance step facing each other 1 measure Stand in place for counts 1 and 2 of 3rd measure— clap hands on count 3 of measure 3 and ct. 1 of measure 4. Rest on cts. 2 and 3 of measure 4 2 measures Repeat all except substitute 2 stamps for the 2 claps 4 measures Lady turns clockwise under boy's R arm as boy moves forward with 4 waltz steps 4 measures Repeat first four measures 4 measures Rhythms 213 Music B. Boy places hands on girl's waist— girl places hands on boy's shoulders. Partners revolve clockwise and progress around the counter- clockwise with a waltz 16 measures NOTE: In the lower grades where students do not yet know how to waltz a walking step may be used. COBBLER'S DANCE Czech Folk Dance ^ ^ is M ^ ^m m ^ ^m ^ [T V i I^^O s ^ J J J J ^ P ^^ ' n a ^ ^^ ^ ^ ^ ?*= This occupational dance is enjoyed especially by younger children. The song which is used as an accompaniment has only the "low" Dutch words for the chorus— but children seem to learn them easily. Rhythms 217 Song: A. So thread I my needle, So stitch I my seam, So make I the hole in the shoe. Just as— just as the cobblers do. B. Draien, draien, van wie-le wie-le waien, Draien, draien, van wie-le wie-le vom. Draien, draien, van wie-le wie-le waien, Draien, draien, van wi-le wie-le, vom. Formation: Couples may be two boys, two girls, or a boy and a girl. Partners face— fists are held at wrist of opposite arm. Directions : Music A. Each dancer winds R forefinger around L and thrusts forefinger forward as thrusting finger through his partner just below his L shoulder 4 measures Repeat with L hand 4 measures Each dancer cups his hands and alternately claps toward L and R— at the same time stamp the opposite foot (8 claps) 8 measures Music B. Partners place hands on each others shoulders and revolve in a clockwise direction with 6 step hops 3 measures Stamp in place 3 times 1 measure Repeat the 4 measures but turn in a counterclockwise direction 4 measures Repeat entire dance. 218 Physical Education DUTCH COUPLES Dutch Folk Dance ttrran«ed bu LaVA/l^on ^ ^ m m m m ^ m^ i 9± m i i fff^ ^ i ^ ^ M M ^ a rt i^ i i ^ ^ ^ m m „i^ r P' ^ ^ tt I ^ ^ r This dance has for its accompaniment an old folk tune which has long been a favorite of many peoples. Most of the children will recog- nize it immediately as "Where, Oh Where Has My Little Dog Gone." Because of its melody as well as its rhythmic pattern it readily be- comes popular with all ages. Formation: Couples form a double circle facing in a clockwise di- rection. Inside hands are joined. Directions : I. Couples do six Dutch steps forward. Boy begins on L foot- girl R. Rhythms 219 ( Dutch Step ( boy's part ) : Step forward on L foot— brush R foot diagonally forward in front of L foot— hop on L foot— to continue use alternate feet— each Dutch step uses 3 cts. or 1 measure 6 measures Partners turn away from each other to face in a clockwise direction with 4 small jumps on both feet (rest 2 cts.) 2 measures Repeat facing clockwise and finish facing in original or counter- clockwise direction 8 measures II. Turn to face partner— boy with back to center, girl facing center. Take 4 step hops away from partner moving backward 4 measures Repeat step hops moving forward towards partner 4 measures Partners join both hands extended sideways to shoulder height. Execute six Dutch Waltz steps. (Dutch Waltz Step: boy's part. Step on L foot and hop on L foot 2 times turning in clockwise direction— repeat on R foot) Revolve clockwise with partner while executing Dutch Waltz step 6 measures Turn away from partner and execute a complete turn with four small jumps. Finish facing in original counterclockwise direction 2 measures Repeat entire dance. SWEET KATE English Folk Dance rra ^ ^^ rtii 1 — — — 3^i. Ut4q F=H Q — =1=1 ll ? — a = ^-^ -=^ ^ == &==d 'M:it= t. 1 >-• ■#• — »■ A -M. f^' — \.b£ 8— h — ^ -0-^ — *^ 1 -*^ -• L- — ^ \' rs r =^t^ ~ f=\ -"^'-"-tr- r r ^ ^ r J n J 1 * Ht^S; '—. =1 - LJ L-=LJ iH- L-^LJ 1 — b— \ 1 ^ r^~ »• ■■■■1 ^ *^ y^ ■^ ■^- 1 — J- ^ — i 220 Physical Education This very simple English dance contains several figures common to many of the English folk dances. The pattern is simple enough to teach very young children. Formation: A longways set with any number of couples. Boy stands on left of partner— R hands joined. Directions: Music A. I. All dancers with partners run forward 4 steps beginning R 2 measures Return to place with 4 running steps backward— beginning R 2 measures Repeat all 4 measures Music B. II. Face partner— beginning R, partners spring sideways on R foot —touch L foot in front of R taking weight— step on R foot 1 measure Repeat to L 1 measure Clap own hands, clap partner's R hand, clap own hands, clap part- ner's L hand 2 measures Wind with own index fingers and point at partner with R finger 2 measures Each dancer makes a complete turn to R with 4 running steps, be- ginning R 2 measures Music A. III. Partners do-si-do passing R 4 measures ( 8 running steps beginning R. ) Partners do-si-do passing L 4 measures Music B. Repeat step II. Music A, IV. Partners hook R arms and swing each other with 8 running steps, beginning R 4 measures Hook L arms and repeat 4 measures Music B. Repeat step II. 'i ^ W Rhythms 221 MAYPOLE DANCE English Folk Dance This is the traditional dance for the May Day celebration. If it is to be used preceeding the winding of the pole eight couples should be selected. Couples may either consist of a boy and a girl or two girls. Formation: Partners form a double circle around the Maypole and face in a counterclockwise direction. Boy to left of girl. Inside hands joined. Directions : First 4 measures should be played as an introduction and then re- peated for step I. Music A. I. Beginning on R foot, all dancers skip 12 skips forward around circle (2 skips to a measure) 6 measures With 4 skips couples swing in to face pole and form a large single circle by joining hands 2 measures Music B. II. With 4 skipping steps forward couples advance toward pole, swinging joined hands forward and up 2 measures With 4 skipping steps backward all move away from pole, swing joined hands downward 2 measures Repeat last 4 measures 4 measures Music C. III. Couples join R hands— with 8 skipping steps turn around part- ners 4 measures Couples join L hands and repeat (finish with boy in original po- sition—boy and girl face ( boy's back to pole, girl facing pole ) 4 measures 222 Physical Education Music A. IV. All dancers begin on R foot— take 3 steps, R, L, R out to each dancer's R— hop on R foot 1 measure Hop on R foot again and point L toe forward. Hop on R foot and touch L toe behind R heel 1 measure Repeat last two measures beginning on L foot and mo\ing L 2 measures Repeat last four measures 4 measures Music B. V. Repeat step HI. 8 measures Music C. VI. All dancers join hands facing pole. With 16 skipping steps dance entirely around the pole in counterclockwise direction 8 measures Music A. VII. Repeat step II. 8 measures Music B and C VIII. With 4 skipping steps first and fifth couples advance toward pole and pick up streamers. Return to places with 4 skipping steps and finish facing partner 4 measures Couples two and six do the same 4 measures Couples three and seven do the same 4 measures Couples four and 8 do the same 4 measures NOTE: Each two couples must go in on the correct count whether the pre- ceding couples are back to their places or not. If there is difficulty encountered by any couple they can take extra coiuits to return to place. Introduction should be played again while dancers make final ad- justments and preparations for winding the pole. English Maypoles are wound with a skipping step. The Maypole is wound with a grand chain or grand R and L. Boys travel around circle in a counterclockwise direction and girls in a clockwise direction. Pass partner by R shoulders, next person by L shoulders, next by R and so on weaving in and out. Care must be taken to hold the streamer tight— to hold it liigh when passing on out- side and low when passing on the inside— thus the streamer winds over and under. Poles should be wound from one-third to one-half way down pole. Music should be played through as many times as necessary. Music A. IX. With four skipping steps advance toward pole and drop streamers 2 measures Repeat last 6 measures of step II. .6 measures Music B. X. Repeat step IV 8 measures Music C. XL Boy of Couple number 1 releases hand of dancer to his L and leads to rest of the dancers away from pole with 16 skipping steps 8 measures Rhythms 223 -feg= GATHERING PEASCODS English Folk Dance a=S m s e 2: i T^ ^gP :=1: STZZ^IZZe £e£: fe^ -f—f- ^ r — r c -^ 1^^^ 10 11 r 12 ~f • ^ m=^ * i^^ v-^ fei si^ g 13 m fh-S 14 15 t = £S! 16 :5^ ^^i^^^g ^ P P 17 !=*=* ^ Ji. 18 19 20 ^^=«: I t= ■ ^ P^ 1 1 This circle dance calls for any number of couples and seems most effective when danced with six or seven coqples. Formation: Couples form a large single circle facing in— hands joined, boys on L of girls. Directions: Music A. I. Dancers take 8 sUdes to L 4 measures 224 Physical Education Drop hands— each dancer makes one complete turn to R in place beginning with R foot (4 running steps) 2 measures Repeat all, sliding to R 6 measures Music R. II. Roys join hands in center— slide 12 slides to L and finish in own place beside partner 6 measures Girls join hands in center— slide 12 slides to L and finish in own place beside partner 6 measures When boys are dancing this step girls stand still— and vice versa. Music C. III. Girls stand still while boys, beginning on R foot, run forward 4 steps, clap hands high above head on count 3 2 measures Roys fall back to place with 4 running steps as girls, beginning on R foot, run forward 4 steps, clap hands high over head on count 3 2 measures Girls fall back to place, as boys repeat first two measures 2 measures Roys fall back to place while girls make one complete turn in place to R with 4 running steps 2 measures Music A. IV. Reginning R, partners run 4 steps diagonally forward R passing by L shoulders and make a half turn to L 2 measures Partners return to places passing by R shoulders and make a half turn to R 2 measures Each dancer makes one complete turn to R with 4 running steps beginning R 2 measures Repeat entire step 6 measures Music R and C. Repeat steps II and III. Music A. V. Partners grasp R arms and make one complete turn with 8 run- ning steps beginning R 4 measures Drop hands and each dancer makes one complete turn to R with 4 running steps beginning R 2 measures Grasp L arms and repeat 1st 6 measures 6 measures Music R and C. Repeat steps II and III. «*««£' Rhythms MINUET French Court Dance 225 MOZART Pmm ^m ± ^ ^ I m ^ ss i!"i'j m^f i'iDi"i|i ^^ '>-'n jjjj i r PLfij ^ ^i^^j/ r^ n — -J -g -g J 1 • • -^ — m 1 --*.-- ^-*'^-*'^-*'- .5 ( f .rrrrrrfrrrr II ■: «g_g B •-S ig ^ /,? J4 ^ 1 713 TP ~3- 1 553 /5 /:,b 1,2 ■ — i 1* r (** ^T*-^ ^ b b^^i] ^ ti— =^= t^ L J — ' ^A ^ ' \lAh J r r r \ > -^ rr- p > — w^r~ r^i* — 7^ — ^ — fc)- 1, u i ^ f f P — i U $ ^b t." ' *-^ _i y 1 1 Rhythms 227 This is a very simple and playful French circle dance. Formation: A single circle of any number of couples or single dancers. Dancers join hands facing the center of the circle. Directions: I. Step sidc'.va)S L on L foot— bring R foot to L taking weight on R foot-repeat 1 measure Hop on R foot and swing L foot forward. Hop on R foot and swing L foot backward 1 measure Repeat Ist 2 measures four times 6 measures n. '"Blcking" step 4 times 8 measures Bleking step: With a spring place left heel forward— pause in this position. With a spring change position of the feet, R heel forward- pause ( 1 measure ) . With quick springs, change position of feet three times and pause (1 measure). Repeat, beginning with R heel forward. Repeat entire dance but move to the R and begin with R foot. MY MAN'S AWAY IN THE HAY German Folk Danco P f^S^ a m El ^ $ f f W *=F h r p L r r ^ 4 ^ I R a— _ « i :* I l=t f *=F I -B ) \ \ . p f f tt^ I I ^ : r P L I - ■ g ^ I A ^ f m i -4 ^ 7-rfr r u f I M ■? f f !f F i ^ » r I r y ^ a » ^ g *=*^ ^^ m 228 Physical Education Very few European folk dances are executed in Quadrille formation. This German dance is a Quadrille and is as gay and spirited as many of our Western Square Dances. Formation: Quadrille— boy stands on L of his partner. Directions : Music A. I. Couples 1 and 3 face partners and join hands at shoulder level- arms extended sideways. Use slide steps, 2 to each measure, couples 1 and 3 exchange places with 8 slides 4 measures (Use 4 slides to exchange places and 4 slides to revolve around to correct position for boy and girl. ) In the slides the two boys pass back to back. Couples 2 and 4 change places 4 measures Music B. II. Each couple is now across the set from its original position. Couples 1 and 3 take same position as for step 1— take 3 slides to center and meet with a stamp and a pause 2 measures Couples 1 and 3 take three slides back to position in quadrille- stamp and pause 2 measures Couples 1 and 3 take six slides straight across set (boys passing back to places ) and stamp two times 4 measures Couples 1 and 3 repeat last 4 measures returning back to place in Quadrille 4 measures Couples 2 and 4 dance step II 12 measures Music A and B. Repeat entire dance with couples 2 and 4 dancing couples 1 and 3 part and couples 1 and 3 dancing couples 2 and 4 part 20 measures Dance ends with all couples back in original positions. Rhythms 229 CIRCLE DANCE Greek Folk Dance fi \ I rT=T=i 1 — 1 T^=T=1 _ ih^ f T i^^ -i T^ j- T^ — 1^ f1 4h^ J — z ^ — ^ — * ^ J Mm — J J -*»*''' J l— a J J u «] 1 f- 1 fL m *f^ — 1 p — — *i*— f T ^ *r — 5 — m ■ h ■^-^ — — J 1 1 — ' 1 — ^ -p — f — ^ — ^~ ^ J = 1 — ^ r L— — ' — ■S- -0- -P- T*- I*- 1* M -^ -F- t V I J* — » — » k r r j i"i * J* P r" — ff »" lA'^ r- -P-V » f - 01 — 1* J, 1 J.^nni p r-^ rn.i I I c -ii r r M [i r r Lf 1 ^•'■^ "1 —J t_J?L. 44^-t «=■=■= 1* r 1* -j ■-f — "H^ k±^ E^ __JJ L — 1 1 y U U i — ^=^; In many of the circle dances of this part of Europe the circle is never closed. The reason has been explained that open circles keep the invitation open for dancers to join the group at any time during the dance. Formation: An open circle composed of any number of dancers with no respect to sex or pairing off in partners— dancers place hands on shoulders of dancers next to L or R. Directions: Music A and B. Use a running step throughout. All begin on R foot. Step R, pause, close L foot to R, step R 2 measures Repeat to L 2 measures Step R, pause. Point L toe in front of R, pause 2 measures Repeat last tv^^o measures to L 2 measures Repeat dance indefinitely. This dance becomes fascinating when the step is mastered to the degree that the dancers have developed considerable speed and smoothness. 230 Physical Education CZEBOGAR Hungarian Folk Dance UM-^—i^ h i J ^^ m i i ra== ^ ^> 9 =^ =8?g^ g ^ o M I n n i^ B • g e rf= 73 g i P : g » g m ^ t :^ ^ & :r^ i - I 3 **-^ ^ ^ ^=it w &# i i i± ^^3^^ '^ w S i ^ i^ f^ Rhythms 231 This gay, spirited dance is simple enough to be learned quickly and has an interesting step pattern which makes it a favorite of all ages. Formation: Single circle— boy on left of girl— partners facing center —hands joined. Directions : Music A. Eight sliding steps to L 2 measures Eight sliding steps to R 2 measures Four walking steps to center of circle, joined hands raised high 1 measure Four walking steps backward to form large circle, arms lowered 1 measure Partners face and place R hand across on R hip of partner, L hand raised high over head, dance around partner with 8 skipping steps 2 measures Music B. Partners join both hands outstretched sideways, shoulder high- take four slow steps— close toward center 2 measures Repeat moving away from center 2 measures Partners take 2 slow steps— close steps toward center and 2 away from center 2 measures Repeat last two measures of step 1 2 measures Repeat entire dance as many times as desired. 232 Physical Education IRISH LONG DANCE Irish Folk Dance ■zHzt P ^ite Y-m — I i- -.--4- M: — • — -I ^^ i-^ J — I ^ 1 ;»— •- =E* i*-z:f!=»--*z:rt: -f' — *— I — "g^UZ'-p =z.^ -=?- q-q~:1=ri-- ■[- — ^ — I ^-- — I r-- 1 — •- I m—0—\ m — br-t- — l — j / -^— • =££■=? S y r— I .1 F—\ 1 •— • • -zc:. 333S^^EB'^'' fB-C- — I K^ 5113^ rfcid: -H — — -«- _^_^ ^-fi-, — ^-^- -•-I — h- h»-! — I — ^-f— Ht r^:t::1: :g--[: =zfi:j- j: .y-L., , 0- The Irish Long Dance contains steps similar to the Irish Lilt plus slides and skips to add variety to the total pattern. Formation: Sets of four; in couple facing partners— hands on hips. Directions : A. All dancers hop on L foot, touching R toe forward— 8 hops in Rhythms 233 this position— 2 hops to each measure 4 measures All four dancers join R hands and skip around a complete circle L with 8 skips 4 measures Repeat the preceding 8 measures reversing direction on the foot and hand positions 8 measures B. Head couple faces foot— joins inside hands— walks four steps to the foot— turns and walks four steps back to place 4 measures Head couple joins both hands, arms raised sideways— takes four slides to foot— drops hands, slides back to place along outside of set —at the same time foot couple slides to head on outside of set and joins hands. Slides four slides on inside back to place 4 measures Set joins hands to form a circle of four. Take 8 sHdes to L and 4 slides to R. Couples ending in opposite position (head couple becomes foot couple and vice versa). Bow and curtsy to partner. 8 measures KERRY DANCE Irish Folk Dance 1i*^ J J I^^ ' r r i 1 if ; JT] 1 p l==f= -4— ij rrn i 4^?#-t -= ^ hi " 1 — f — — 5 — * ' J 4 \ _ ^=^ 9^ — 4- f 1^ g J. 1 -4 L* y=l A -* L -,-■ — 1 — X* - r f X \ '\ ^ jY\\ A \ ' \ 7 \r f r t \f r f r \^—C-t- ^^-1* 5-^'T- -j# — 1 (« — 1» -f =5= T — 1 /"Y*H 1* — 1 -' r r ri 1 p 1 c r I I' — \- * ' Nh •i »C e ^ U jr- y^ — \ ~4 '-' \-^. -* ^ #== J §1 J This Irish longways dance is one of Ireland's lovely folk songs. The dance is more fun when the dancers sing. Song: Oh the days of the Kerry dancing! Oh the ring of the piper's tune, Oh for one of those hours of gladness! Gone alas! like our youth, too soon. When the boys begin to gather In the glen in the summer night And the Kerry piper's tuning Made us long with wild delight. Oh to think of it! Oh to dream of it! Fills my heart with tears. Oh the days of the Kerry dancing! Oh the ring of the piper's tune, Oh for one of those hours of gladness! Gone alas! like our youth, too soon. 234 Physical Education Formation: Double line with partners facing— girl on R, boy on L. Dance begins with the two top couples. Directions: A. Boy of leading couple and lady of second couple balance toward and away from each other as boy of second couple and girl of leading couple do the same 2 measures Repeat preceding 2 measures 2 measures B. Boy of leading couple and girl of second couple join R hands- girl of leading couple and boy of second couple do the same. With eight steps dance a full round to the left 4 measures C. Repeat "A" 4 measures D. Repeat "B" except join L hands and dance a full round to the R. 4 measures E. Leading couple turns to face foot of set, joins inside hands, advances 8 steps to foot 4 measures Turns to face head of set, advances to place 4 measures F. Leading boy passes back of second boy as leading girl passes back of second girl. Leading boy and second boy take partners' own hands and two couples dance around each other in clockwise circle- second couples finishes in the new head couple position 4 measures Leading couple repeats preceding 4 measures with the 3rd couple leaving them in the 2nd couple's position— and so on until the leading couple finishes in the foot position. Continue the dance until every couple has been the leading couple. Rhythms 235 ITALIAN PEASANT Italian Folk Dance J r r T — r — ' SES3E 5 ^^ ^^^ jj^ji g fa., I f^"^ H* Y * .-^' /S ^ F.ne f\; /'^ r ^^ ^ ^^^^ f^ t^" iirpai J JJ ^ J ito ^ 1^=2: f^ r — r r ^- m Tfwn^^ ^ / ^ f s ^^ t- This is a very graceful, gliding dance which can be quite pictur- esque if colored ribbons or streamers are tied to the wrists. Formation: Couples form a double circle facing in a counterclockwise direction. Girl's L hand is on boy's R shoulder— her R hand holding her skirt. Boy's R arm is around girl's waist— his L hand on his hip. Directions : A. Both dancers begin on R foot. Step R, brush L foot across in front of R, hop R. Step L, brush R foot across in front of L foot, hop L 1 measure Step R. Close to R with L-step R-close to R with L (cts. 1-3-4-6) 1 measure Repeat preceding 2 measures 3 times 2 measures B. Step R— brush L across in front of R— hop R, step L— brush R across in front of L— hop L 1 measure Point R toe forward, extend R foot forward off the floor, slide R foot forward, hop R 1 measure Repeat preceding 2 measures 3 times 6 measures C. Step R to side, step L to rear of R, step R to side, point L toe in front of R (cts. 1-3-4-6) 1 measure Repeat beginning L and moving left 1 measure Partners face, place R hands on Partner's R shoulder— move around in clockwise circle with 4 step— brush— hops— beginning R 2 measures Reverse directions and hand positions. Repeat 4 step— brush— hops 2 measures Repeat parts "A" and "B" 16 measures 236 Physical Education CHIAPANECAS Mexican Folk Dance ^ "4 J J ^5 :J=^ ^ ^ • ^ A ^ i ^=:t ^=t S F=^ ^ i % U: ^^ 0-^ r ^ J ^ ^=t i Q.*- J Et ^ El «=« ^^^ ^ hf^-^ i ^ g J ~ff — i fi- f5- '9 r » a— — 1 J ^-f— 1 S i 0. 1 ^ 1 f p J OP 1 — 4 — -1 1 ' — ^- i 4* ww^ ^^ ?^ : . t < ^ S ^ f Rhythms 237 This dance can be either a solo or group dance and fits the very popular folk tune so exactly that its popularity is assured. It is also very easy to teach. Song: Sing Chiapanecas, ay-ay! (Clap! Clap!) Sing Chiapanecas, ay-ay! (Clap! Clap!) Sing Chiapanecas, ay-ay! (Clap! Clap!) Sing Chiapanecas, ay-ay! (Clap! Clap!) Dance! Dance! Soon it will make us Sing! Sing! Sing Chiapanecas! Clap! Clap! Clap your hands and we'll see How much fun it will be singing, Ay! Ay! Ay! as we're dancing Soon we'll all be romancing! It's a simple thing just to sing Chiapanecas and Clap! (Clap! Clap!) Formation: Dancers stand in circle or lines. Each dancer places his own interpretation with hand and body movement. Directions : A. Step L, brush forward R, step R forward. Step L, brush back- ward R, step L backward. Step L, clap 2 times 4 measures Repeat to R, to L, to R 12 measures B. Moving to L step sideways L, click R heel close to L, step R close to L 1 measure Repeat preceding measure 3 times 3 measures Stamp L, stamp R without weight R 1 measure Repeat preceding 4 measures to the R beginning on R foot 4 measures Repeat 1st measure of "B" 6 times 6 measures Stamp L, turn complete turn L. Stamp R, stamp L 2 measures Repeat the preceding 8 measures to the R beginning on R foot 8 measures :t?f..>{^3:. 238 Physical Education LA CUCARACHA Mexican Folk Dance ^ ^ V h n s r>* '. 7 I i=^ :=* i fe ^m m ^ f P » y i ^^ m^ ^3 ^ t^ ^ ^ '> nn m M^^-ZS. ^m gpi m ^ p p "La Cucaracha" is the Mexican term for "little cockroach" which is an endearing term in that country. This dance is performed to the well-known folk tune and is equally fun to dance or to watch it danced. Formation: Dancers can be arranged informally over the room or placed in lines with girls on R of partners. The dance is a couple dance. Boys place hands on small of back, elbows out. Girls hold outer skirt up in front so the petticoat shows. Directions: Boy's part is described— unless otherwise stated girl begins on opposite foot. Music A. A. On 3 introductory notes step sideways L. Cross R over L with strong accent of R. Step on L beside R. Step on R in place 1 measure Cross L over R with strong accent of L. Step on R beside L. Step on L in place 1 measure Continue alternately accenting with R and L 6 measures Dancers turn slightly with each step. Finish with weight on L foot for both the girl and boy. B. Face partner— continue the step in part "A" tuching elbows on Rhythms 239 each cross-over step and progressing entirely around partner ending in original place 8 measures Music B: 2 times. C. Use a light running step for this part. Partners side by side facing front. Boy step sideways L. Close R to L, step sideways L. Stamp R close to L, taking weight on R 2 measures (Girl opposite). Make a complete running turn to L in place with 3 steps L, R, L, and stamp 2 times R without taking weight on right .2 measures Step sideways R— close L to R— step sideways R— close L to R— stamp 2 times on R without taking weight 2 measures Take three running steps R, L, R, passing behind girl to girl's place. Stamp L taking weight 2 measures Repeat "C" on opposite foot and in opposite direction ending back in place 8 measures Music A. D. Repeat figure "A" 8 measures Twist body a half-turn each time this time. Music B. E. Boy begins R, girl L. Girl crosses over in front of boy with 3 steps L, R, L, making a full turn to left— stamps twise R without taking weight. At the same time boy crosses over behind girl with 3 running steps R, L, R, and two stamps L without taking weight 2 measures Girl and boy reverse parts and return to place 2 measures Repeat preceding 4 measures 4 measures Music A: F. Repeat figure "A" 8 measures Music A : G. Repeat figure "B" 8 measures 240 Physical Education VIRA Portugese Folk Dance ^^ 1^=F» i : ' ^[* =g i i s ^4 ^ i F r Z' b \ — r- —^ — \ — r, .i'l h , y ^J J — 1 — p — 9 r 7 rf — 1 — ^ 9— ■^ fp n^^ — \ i F— « * j ^iif r I f f I g) ^ ^^ 1 .p , J 1 1 1 1 hi I'n 1 1 1 . 1 ^ h-^j — 1 1 f -i^ — ' -# — $ ^ c J ^ M L\ \ J *=^ «==* y b\m- -^ ^ ^=p :^ i ITT- s=* "cr ^ «:- i ^ Rhythms 241 The word "Vira" means "turn," and with one word the dance is described. The music is one of the best loved of all the old Portugese folk tunes. Formation: Dancers form sets of 2 couples each— the set should make about a six foot square. Directions : A. Dancers begin with L foot and dance 4 waltz steps in a clock- wise circle around the set 4 measures Dancers turn in a clockwise direction complete two complete turns with 4 waltz steps 4 measures Repeat the preceding 8 measures 8 measures B. First girl and second girl exchange places with 4 waltz steps 4 measures All dancers revolve clockwise two complete turns in place with 4 waltz steps 4 measures First boy and second boy exchange places with 4 waltz steps 4 measures All dancers revolve clockwise two complete turns in place with 4 waltz steps 4 measures C. Two girls take 2 waltz steps toward each other to meet 2 measures Make a quarter turn to L so that R shoulders almost touch— step forward L rise on toes, bringing R foot to L and lower heels 1 measure Turn a quarter turn R with a stamp R and hold 1 measure The two boys dance the preceding 4 measures as the girls take two waltz steps back to place beginning on L— make a quarter turn L with a waltz balance L and a quarter turn R with a stamp R and hold 4 measures The boys dance the part described for the girls in the preceding four measures while the girls turn two complete clockwise turns in place with 4 waltz steps 4 measures All dancers waltz 1 waltz to center beginning L— stamp R and hold - 2 measures Return to places with 1 waltz step L and stamp R 2 measures 242 Physical Education THE LITTLE GOAT Russian Folk Dance ^lls^rett i^:s J 1=iH A. —f f 4=q -s—^ — ^ — fl — t — F=3= J a. 1 t s K#-3 H— 9 * ^ 1 f f ^ *— f — 9 c — » — — 1 — ^HM f J 1 1 J 1 1 — 1 J =^ =J P^ ^ J j I i :. j I « J ^ I J J . I J T^I ^ J 1 1 I r [^ I J = I I r I J r 0* """^^ 1 .. . ] J ■^ ■ — #-g-^-l - Hi i y i i ? F=«=t ^— P M J ro=F^ J 1 r * P=F= \] f i — * — i — \~* * ' _ [^ M= -4 -T — — #— ^F#=- — 1 i=J=^ ~ M=J > The Little Goat is a very simple little gay Russian dance which children love to do. It also is danced in waltz rhythm which is not so common in the more elementary folk dances. Formation: Couples form a double circle, facing in a counterclock- wise direction— inside hands are joined— outside hands are on the hips. Directions : A. Partners run forward 3 steps to each measure for 7 measures- accent the first count in each measure by stepping a little harder. Begin on R foot , 7 measures (Keep running steps small) Partners face each other— boy's back to center— girl face to center -join both hands with partner 1 measure B. Boy leaps onto L foot— girl onto R 1 measure Boy leaps onto R foot— girl onto L 1 measure Boy runs backward— girl forward, three steps toward center and three steps back out to place 2 measures Repeat preceding 4 measures 4 measures Repeat entire dance. Rhythms 243 SCHERR Russian Folk Dance Pt^ H= 4=1 1 — F=4=^ 1 n 4=1 1 1- bi> I — J — . «i — f — =H= p — — « ^ ^ » 1 — J — *i -—s — # p — c£ -i--tr If 1 ¥ =1 b 1 r 1 jf I — 1 I r ' — ' ^^-^ tj t O- I, ^l:i::^p= » p : ==p p - j t= - J g Jth^ r r ■> = p~" » 1, , iT 1 1 — f — -■ F^=R^ p^ Lr r ^>: 1- 1 1— J — * — r^ — s — 1 — f — *% — ^- £ — ^i>" ) 1 hiU=l <—J ' I-+ — L 1 9 1 Scherr is a quadrille similar in some respects to our American square dances. Formation: Four couples form a quadrille— boy on the L of partner. Directions : A. Each quadrille forms a circle with all dancers joining hands. Moves to the left with seven slow shuffling steps 4 measures Returns to places with seven steps to R 4 measures B. Drops hands— couples one and three exchange places, boys lead partners across with 4 steps. Girls "cut" through opposite couple- dancers turn to face opposite couple and back 4 steps to opposite position 4 measures (Couples 2 and 4 clap and stamp feet in rhythm) Couples two and four exchange places as couples one and three did while couples one and three clap and stamp feet 4 measures Couples one and three return to original position 4 measures Couples two and four return to original position 4 measures C. This is called the visiting figure— dancers clap and stamp when not "visiting." Girl No. 1 and boy No. 2 move toward each other with step R, stamp L, step L, stamp R. Boy places hands on girl's hips— girl places hands on boy's shoulders. They dance around each other with four "buzz" steps. They now return to own partners and all couples take shoulder- waist positions and dance four "buzz" steps 4 measures Girl No. 1 and boy No. 3 repeat preceding step 4 measures Girl no. 1 and boy no. 4 repeat the step 4 measures Continue the dance until every girl has visited with every boy. All couples dance the "buzz" step every fourth measure. 244 Physical Education CRESTED HEN Danish ii^ ^ - — r-r- f ^ 1 f=^=r^ ~* — r r ^ <'):■&■ 1 — I f ^^ % —M i — ^ ^ ? ^ ' L* 1 - ' 1 — ^ J /^tf' P^ [ 1 1 ^ . N- n i^ J ] ^ „^_ -^ J J — ihj— — H^l =1 — J-^J- ^^^ — ^-J — ^^ -^ -^ ^ ^ J J —,\ e) ^ ' p * .yii * —< * 4J 1 Z7 1- /^ -M J I j ^ ■■- I ,> ^ ,^ r I r r - _ I J ti:.fr g ^1 g -\ g = ij ^ f This popular Danish folk dance derives its name from the fact that the men wore a red stocking cap, and in the second figure the women tried to steal it. If successful she put it on, thus giving the dance its name of "Crested Hen." It is also thought to be a courting dance. Formation: A man with two girls, one on each side. They stand in a circle. Sixteen step-hops to the left. (Step-hop is a short skip). Stamp on the first note of the first measure measures 1-8 Repeat the same to the right, jump high into the air on the first note and come down on both feet measures 1-8 Partners should swing their shoulders back in order to keep the circle well balanced. Girls drop their joined hands, put free hands on hips and form a straight line. The boy never breaks his grasp. Players then skip, be- ginning on the right, using the same step. The girl on the boy's right hand bends forward and passes under an archway formed by the boy's left arm and the arm of the girl on the left measures 9-10 The boy follows the girl, turning under his own arm measures 11-12 The left girl goes under the archway formed by the boy and the girl on the right measures 13-14 The boy follows measures 15-16 Repeat measures 9-16 measures 9-16 This may be used as a progression dance by having the girls step forward to the boy ahead of them. May be repeated as often as desired. Rhythms ACE OF DIAMONDS Danish Folk Dance 245 g^3....-.-|? «— 1 "-r- =Z =1=;^=! ^m 4=^h F^=^ =^ j—^ g f ^-1 e. ^-4 — • — 1 f^Mi f — p- U=\ 9 I 1 C^a — 1»- —J — J — 4 — -^ — ^ > 1 -— I 1 1 --, — L p 1 1 / jt- 1 r=i 1 -f===. t A \ — f i — .LJ — "s ^1 — d — ^—^ P ^ — -r p- -t — t: cJ tf- 7 «- ■ 1 *** ; — » —>' i-"--^ — s-» — IP— ./ . ^ -I — £ "TT I 7 ■4 V -W - (J 1 t Tt"^ f — a — a — 1 s — 1 3 i p^=\ '-^ * ~$^ =^ o ^ 1* 1 P^ g» l—i—t— — — « — 9 — k — ^ — ^^ c - I = —, H..... — ,,.^ .^^1^^ /J A — 1 g t ■ — A 1 V-^ r ^- -^— t=^ H f-=1 1 — L — 1 r^ ^ , J- 1 J- N 1 t= ^ »--i F ft: f ' m — 1* , « 1 f r 1 r r 1 Cj ^ /* =1 N M H ^ \ ! 1 /f , r- '7 t- :i »^^*^ r\ — 5^- 7^ -^ F < * TT . ^* — j f- ■ — 1 ^ r — s 1 tf. . » — 1 p — 1 1 l« — ♦_^ I"- i^ » =z H H H h=t = =z t^-T^ -tfe* — ( V. p- -J »- ^ «— a a- f- _ 1,^ 1= g =\ k= := — k n: — — 2-4 1 « 1 246 Physical Education This lively, gay Scandanavian folk dance never seems to grow old. It can be used with both children and adults. Formation: Couples form a double circle— boys with backs to center and girls facing center. Directions : A. Dancers clap own hands together sharply— immediately hook right elbows with partner— start with L foot take 2 running steps to a measure— swing partner in a clockwise circle 4 measures Without pausing clap hands again, hook L elbows and swing part- ner counterclockwise 4 measures Finish in original position. B. With hands on hips boy moves backward toward the center and girl moves forward with 4 step-hops 4 measures Reverse directions and repeat preceding 4 measures 4 measures C. Partners stand side by side with inside hands on hips, boy's free hand on hips, girl's free hand holding skirt— polka around large circle 8 polka steps (boy begins L, girl begins R) 8 measures See Swedish Klapdansen for description of polka step. Repeat entire dance as many times as desired. Rhythms DANISH SCOTTISCHE Danish Folk Dance 247 [J J iJ^^i.i \n n|j.jj,j|j.jjjK 1 r s =^=^ — ^ g ~J I 4—^ 1 ^ =4=^ l_|« LM p L^_| 1 j L^ LJ_| Lg__| 1 W^m vrf^-1^ f J c — J g -*- J ^ -^ — 1 — U (8 1 ^v.— «— -• — ^ — L_J_ 1 1^ r 1 1 — ^ 1 1 — ^ -f= — fe^ ^^= ^Ei^^ NH ^it^:^^ Ji j-j ^:^ ^ 1 — f — ' 1 — % — J g 1 ^^^ J ^ ^ — s — #= ^-^ •> — ? — -• — - — w t^ r L-* -F— This is one of the most popular of the European schottische— it is simple enough to learn quickly but has enough variety to make it enjoyable. Formation: Couples form a double circle facing in a counterclockwise position— open social dance position— boy's R arm around girl's waist, girl's L hand on boy's R shoulder— boy's free hand on hip— girl's free hand holding skirt. Directions : A. All dancers begin on R foot— take two running schottische steps forward (Run forward R, L, R, hop R— run L, R, L, hop L) 2 measures Take four step-hops moving forward R, L, R, L 2 measures Repeat preceding 4 measures 4 measures B. Partners face— boy's back to center of circle— girl facing center —join L hands, boy's R on hip, girl's R holding skirt. Dance one schottische step to side R 1 measure Change hands and dance one schottische step to side LI measure Keeping R hands joined, partners make one clockwise turn in place, beginning R with 4 step-hops R, L, R, L 2 measures Repeat preceding 4 measures 4 measures Repeat entire dance as many times as desired. 248 Physical Education FINNISH SCHOTTISCHE Finnish Folk Dance i 23E 1 l^ ^^ 2* ^ fct gj s ^ i iJTfmyr^ -rw- frr o \ \ r ^ ^ m^ § ) i"r ^T r ^ ^ ^ ^^ Se 3a ^ ? ^ The Finnish Schottische uses the schottische step as it is used in most European schottisches. It is excellent to use for teaching the schottische step to beginners. Formation: Couples form a double circle facing in a counterclockwise direction. Use the open social dance position— girl's L hand on boy's R shoulder— boy's R arm around girl's waist. Boy's free hand on hip- girl's free hand holds skirt. Directions: Two running schottische steps forward— boy begins L, girl begins R 2 measures Running schottische: Boy— 3 running steps forward L, R, L, and hop on L— continue by alternating feet. Girl— 3 running steps forward R, L, R, hop R. Change to closed social dance position— turn clockwise and progress counterclockwise with 4 step-hops— boy begins L, girl R....2 measures (Make 2 complete turns with 4 step-hops). Repeat preceding 4 measures 3 times 12 measures Rhythms 249 KERENSKI Finnish Folk Dance Kerenski, while a Finnish Folk Dance, is very similar in step pattern and music to a Russian dance. The music is minor and at first may seem like a strange accompaniment to the dance— but with better acquaintance both music and steps become favorites. Formation: Couples form a double circle with partners facing. Boy's back is to the center of circle— girl is facing center. Boy holds girl's L hand in his R at shoulder level. Directions : A. Boy's part is given. Girl progresses in same direction but uses opposite foot each time. Step L to side, close R foot to L and repeat 1 measure Step L to side, step R across in front of L, step L to side, close R foot to L taking weight 1 measure Repeat preceding 2 measures except do not take weight on the R foot at end of 2nd measure 2 measures Repeat preceding 4 measures in opposite direction 4 measures B. Dancers are in original position, hold joined hands out to the side. Step L to side— swing R across in front of L and swing joined hands across in front of body. Step R to side— swing L across in front of R. 250 Physical Education Swing joined hands out to side as at beginning of "B" 1 measure Swing joined hands forward vigorously, release hands and turn away from each other— make one complete turn— finish facing partner with 3 steps L, R, L 1 measure Repeat preceding 2 measures three times alternately reversing di- rection, feet and hands 6 measures C. Partners face and place hands on hips. Boy skips 4 skips back- wards toward center of circle while girl skips 4 skips forward— boy begins L, girl R 1 measure Take 3 stamps in place— boy L, R, L— girl R, L, R 1 measure Repeat preceding 2 measures the boy moving forward, beginning R— the girl moving backward, beginning L 2 measures Take social dance position— turn in a clockwise direction while pro- gressing in a counterclockwise direction with 8 two-steps... 4 measures Repeat "A" 8 measures FEIAR Nor^vegian Folk Dance i m ^^ e i fei S i ^ £ ^ The Norwegian word Feiar means "Chimney Sweep." The parts of the dance suggest the kinds of sweeping motion necessary for cleaning and sweeping clogged chimneys. Formation: Couples form a double circle facing counterclockwise. Couples are numbered one and two around the circle. Inside hands are joined— outside hands on hips. Directions: A. Partners swing joined hands back and dance a two-step forward (boy begins L, girl R) 1 measure Two-step: Boy— step L, close R, step L (cts. 1, 4, 2). Girl— step R, close L, step R (cts. 1, 4, 2). Partners swing joined hands forward and dance another two-step forward (boy begins R, girl L) 1 measure Repeat 1st measure 1 measure Release hands, turn toward each other to face clockwise with two steps ( boy R, L— girl L, R ) and clap own hands on ct. and of measure 1 measure Rhythms 251 Partners dance first 4 measures over again using opposite foot and travelling clockwise 4 measures B. Couple 2 turns back to dance w^ith the couple 1 behind them. - Form a R hand mill w^ith 2 boys joining R hands and 2 girls joining ^ R hands. All begin on L foot and dance 8 step-hops clockwise ' 4 measures Clap hand and turn about to make a L hand mill— dance 8 step-hops counterclockwise, beginning L. On last step-hop girls substitute a step R and a step L 4 measures The dance can be made into a progressive dance by couples 1 and 2 passing each other to begin dance again instead of turning back to original places. RUGEN Norvvregian Folk Dance Pii^ J. J 4 j I I f II - F- r~r~ The origin of this dance is not known. Rugen is the Norwegian word for "Rye"— so it may be that in its original form it had some connection with the harvesting of grain. Formation: Couples form a single circle— in social dance position— the boys facing counterclockwise and the girls facing clockwise. Directions : A. One step in towards the center of the circle— boy L and girl R. Boy closes R to L— girl closes L to R 1 measure Repeat preceding measure 2 times 2 measures Boy stamps L and girl stamps R both taking weight 1 measure Repeat the preceding 4 measures using opposite foot and moving to outside of circle 4 measures B. Partners take shoulder waist positions— boy begins L and girl R. Take two chain steps in line of direction 4 measures Chain step: Boy moves forward with a step L, close R, step L (cts. 252 Physical Education 1, 2, 1) Rest (ct. 2). Girl moves backward with a step R, close L, step R (cts. 1, 2, 1) Rest (ct. 2). Partners make two complete turns in a clockwise direction with 4 step-hops (boy begins L, girl begins R) 4 measures Repeat "B" 8 measures BLEKING I Sw^edlsh Folk Dance S^^tf^f^ ^^E^^^ ^ ^ J ^^ 1^^^^^ ^^ Rhythms 253 This is a sowing and harvest dance. The first part simulates drop- ping the grain and covering it with the heel. The second part is in celebration of the anticipated harvest. Formation: Partners face— L hands are joined under the joined R hands. Directions : A. Spring onto the R foot and touch the L heel forward with toe up— at the same time the boy pushes liis L arm forward and pulls his R arm back (the girl's R arm will be forward and her L arm back) —with a spring reverse position of feet and arms 1 measure Reverse foot and arm position three times with three fast springs 1 measure Repeat the first 2 measures three times 6 measures R. Girls place hands on boys' shoulders and boys place hands on girls' waists— dance 16 step-hops turning in a clockwise direction 8 measures (Roy begins L— girl begins R) Swing the body from side to side. Dance may be repeated as many times as desired. KLAPPDANS (CLAP DANCE) Swedish Folk Dance P ^^^ • f^ ^-tf^v^ ^ ^g M^ :j r i cjtj 7^ x^t u\ r \- m fi t: t^ t^ ^ i. Jt. ^ S t^-^ w f t - 53 s IG r=tz mf 13, •f- -^ -^ 13 JL #. 4. 15^ ^^ Li »— y» U :t= ^ This is one of the most popular of the Swedish folk dances for children. The music is exceptionally well accented to match each step, which makes the dance very easy to teach. Formation: Couples form a double circle facing counterclockwise— 'boy on girl's left— inside hands are joined, boy's free hand is on his ,hip, girl's free hand holds her skirt. 254 Physical Education Directions : A. Beginning with outside foot (boy's L, girl's R) partners polka forward, swinging joined hands forward and back and turning body slightly back to back and face to face. Polka 8 times 8 measures Polka step : After a preliminary hop on L foot, step forward L, close R to L, step forward L, hop L. (1 measure). Girl's part is opposite). B. Heel and Toe Polka. Boy's part: Touch L heel forward to floor. Touch L toe to floor across the R foot to the R— take three steps forward preceded by a hop (L, R, L). (Girl's part is opposite) 2 measures Repeat preceding measures 3 times alternating R, L, R . .6 measures C. Release hands and place both hands on hips— face partner. The boy bows and the girl curtsies to partner— return to erect position 1 measure Each clap hands three times 1 measure Repeat measure 1 of "C" 1 measure Stamp L, R, L 1 measure Partners clap R hands together— then clap own hands 1 measure Partners clap L hands togehter— then clap own hands 1 measure Each dancer makes a complete L about turn, L, R, L 1 measure Partners face each other and stamp 3 stamps, R, L, R, in place 1 measure D. Repeat 1st 4 measures of "C" 4 measures Partners shake R forefinger at each other 3 times 1 measure Partners shake L forefinger at each other 3 times 1 measure Repeat last 2 measures of "C" 2 measures Dance may be repeated as many times as desired. Rhythms 255 GUSTAF'S SKOAL Swedish Folk Dance *fc M ^S S ^S 10 12 m^ ^^ ^ ^ ^ i Gustaf's Skoal is believed to be a satire on the court dances of die day. The peasant mimics the courtiers in the first part and then expresses his own idea of good dancing in the second. Formation: A quadrille— with two couples designated as head couples and two as side couples. Directions: A. Head couples join inside hands at shoulder height and move toward each other with tlii-ee steps and a shght bow and curtsy. 2 measures Head Couples retire to place with 4 steps back 2 measures Side couples dance tlie same 4 measures Repeat the preceding 8 measures 8 measures B. Side couples make an arch by separating slightly and raising joined hands high, while the head couples skip 4 skips to meet at the center 2 measures Each head boy takes the opposite head girl for his partner, join hands and skip with her under the arch of the nearest side couple. Then they separate and skip back to their original position beside original partner 4 measures Partners hook R elbows and swing with 4 skipping steps 2 measures Repeat "B" with head and side couples exchanging parts 8 measures Note: The "A" part should be danced with great dignity but the "B" part with gay abandon. 256 Physical Education MASQUERADE Swedish Folk Dance OUa.y'S'c/i CJJxic&€ -^^cU^ Masquerade is an interesting Scandanavian dance in which the peasants try to imitate the court dances and people of their country. Formation: Couples form a double circle facing in a counterclockwise direction. Girls link their L arm in boy's R, free arm relaxed at side. Directions : A. Boy begins on L foot, girl on R foot— move forward in line of direction with 16 walking steps executed in strict marching rhythm 4 measures Turning toward partner face in opposite direction— girl linking R arm in boy's L— take 16 walking steps in clockwise direction turning Rhythms 257 to face counterclockwise direction after the 16th step 4 measures B. Beginning on L foot for boy, R for girl, inside hands joined— boy's L hand on hip, girl's R hand holding skirt execute a waltz balance away from partner and one toward partner 2 measures Repeat preceding 2 measures 2 measures Partners take social dance position— dance 4 waltz steps making one complete turn in clockwise direction 4 measures Repeat all of "1^" 8 measures C. With inside hands joined, boy beginning on L and girl on R partners execute 8 hopsa steps in place, turning back to back and face to face with vigorous arm swinging 8 measures Hopsa step: Boy's part— Leap onto L foot (ct. 1). Step onto R foot directly in front of L toe or to L of L toe (ct. and). Step onto L foot in place (ct. 2) Rest (ct. and). Girl's part is the same except begin on R foot. Hopsa steps alternate from one foot to the other. Repeat entire dance as many times as desired. FLOWERS OF EDINBURG Scotch Folk Dance (^ ^ c j g J J «l ■' '' " : [rrj " " ^^ — ''-..ug J J J ^l gj J J J'^ jf I in 1 n i» > i *i * rrr i r^. i — m i _ i ~i ^ JJ* ^ ^ * ^j^jj [__L-L J ^—L_L-J* ^ ^ijzzg bi- jjr -^ r f ?? r"? g ~ ^i ft i — r 1 * "l * ll^J' fj pd 0- ^ -i F^ ^ pi « M , • ■'"1 »■ r □ m — 1 f= •- fe -jri E=j Pn » — ^ i—4 • =1— t — 1* F=^ H 1= 1 «. «. ?= — 1- t — ./ -* "^ ^: ff .. [=J ct 1 — N =ll =J P^ -J- td f^^^==\ *-!• P EI=i r 1* * 1' fd N Pin /m , rr r^ .n -4q i=4=^ p=M 1 fr r 1 = ^ LF rr '^ ■ • ff=^^Hi fc):^/ r M= H ^4= jr ^ 1 t -]• — Hh-\ .2_^t » i= t= u= =d 1= ^— F= -» — ^=?- This dance comes from the "Lowlands" of Scotland. It differs in pattern from most of the Scotch dances, and can be danced by almost any number of couples. Formation: Two lines of dancers, boys on the L, girls on the R. 258 Physical Education Directions: A. First girl turns out to her R and moves down the outside of the girls' hue, passing between the 3rd and 4th girls, to the first boy's place. While she is doing this the boy follows her but dances to her place. Both use the reel step (step R, step L, step R, hop R— step L, step R, step L, hop L—et cetera) 4 measures All dancers leap onto R foot— place L foot directly in front of R toe taking weight L— quickly change weight to R foot in place. Repeat to L. This is called "Set R— Set L" 2 measures Repeat preceding 2 measures 2 measures Repeat "A" with the boy leading 8 measures B. First couple joins hands and slides 8 slides to foot of set— 8 slides to head of set— drops hands, turns away from each other and each skips on outside of own line to foot of set 12 measures Everyone "steps R, L, R, L" 4 measures Repeat with second couple becoming head couple and so on until each couple has danced. HIGHLAND SCHOTTISCHE Scotch Folk Dauice (pi ^ *EE^ g m g ^ im i iME l=* i ±^ m m p ^ ^ i I ^^ ^m m m p m m f — f m i t (^ This delightful and fairly simple Scotch dance from the "High- lands" of Scotland contains steps of both the schottische and Higliland Fling families. Formation: A single circle with partners facing— boys facing counter- clockwise—girls facing clockwise. Starting position: Arms akimbo— heels together, toes pointed out- ward slightly. (In the Scotch akimbo position knuckles are on the hips. ) A. Beginning on L foot and curving L hand overhead hop L, touch- ing R toe to side R— hop L, swinging R leg so that R toe is pointed Rhythms 259 down and R heel is directly behind L calf— hop L, touching R toe to side R— hop L, swing R leg so that R toe is pointed down and R heel is directly in front and above L ankle 2 measures Slide R foot to side R— draw L foot to R, cutting R out to side- leap R— hop R, swinging L leg so that toe is pointed down and L heel is directly behind R calf 2 measures Repeat preceding 4 measures reversing feet and direction 4 measures Repeat all of "A" 8 measures B. Partners hook R elbows and curve L hand overhead. With 8 step-hops beginning R make two complete turns (lift the free foot behind the supporting foot each time) 8 measures Partners hook L elbows, with R arm curved overhead, make one complete turn with 4 step-hops 4 measures With arms akimbo partners pass each other by L shoulders with 4 step-hops to meet a new partner 4 measures Repeat the entire dance as many times as desired. KOLO Serbian Folk Dance fJMPPPi ^ P PP '. m ^ a^^ \L j^^nN j n; i rjjivij m ^ ^ ¥ y V y P m m i i—^ .-^ r-T .^ r— I #^ ^ ^m m m ^^ ±m z^ ^ ^ H^^ There are many Kolos, and all are Serbian folk dances. Many varied step-patterns are used, but always the dancers are linked together, dancing as a single unit. This Kolo is fairly simple and is fun to dance —suitable for any age group. Formation: A line of couples or single dancers— dancers are linked together by placing arms around each others waists or across shoul- ders. All begin with L foot. 260 Physical Education Directions: Line dancers forward with 4 running steps beginning L— dance backward to place with 4 running steps 2 measures Line dances sideways L with 1 step sideways with L-R foot placed back of L foot— 1 step sideways with L— hop on L foot swinging R foot forward 1 measure Repeat preceding measure beginning with R foot and moving to ^^^ ^ 1 measure Dance in place with a stamp L followed by a hop L swinging the R foot diagonally forward L. Repeat on the R foot 1 measure Repeat preceding measures 1 measure Line move sideways L with a step L, step R just back of L, step L, step R just back of L, step L, step R just back of L, stamp L, hop on L foot and swing R foot diagonally forward L 2 measures Repeat the preceding 2 measures beginning on R foot and travelling ^° ^ 2 measures Repeat the entire dance two times increasing the tempo each time so that the last time the dance is performed as rapidly as dancers can dance. On the last hop all dancers finish by a sharp shout of "Hey!" EL VAQUERO Spanish Folk Dance The translation of "El Vaquero" is "The Cowboy" although it is danced in couples. It is a very simple dance especially suited to the elementary school child. Formation: Couples in a double circle with inside hands joined and facing in a counterclockwise direction. Boy is on the left of the girl. Directions : A. Couples dance forward with 8 step-hops. Boy begins L and girl begins R. Lift the free foot forward and up with bent knee 4 measures Repeat moving backward 4 measures B. Couples join outside hands in front and execute a complete turn under joined hands with 8 step-hops 4 measures With both hands still joined, face partner and raise arms sideways to shoulder height. Shde four slides in line of direction and four slides back to place 4 measures NOTE: The whole effect should be one of prancing or galloping. Repeat as many times as desired. Rhythms 261 TRIPOLI, TRIPOLA Spanish Folk Dance E ^m m m e ^m. 4 ^ %=%^ ^^^=^ if ^ t^ This graceful yet fiery Spanish dance is suitable for older children who have had considerable folk dance training. Formation: Couples form a double circle witli partners facing— boys on inside of circle. Directions : A. Both beginning on R foot partners exchange places with three steps and a stamp, making a half-turn to R (cts. 1-4). Rest (cts. 5, 6). Arms are akimbo 2 measures Balance to R with a step R sideways, step L in front of R toe, step R in place (cts. 1-3). Balance to L with a step L sideways, step R in front of L toe, step L in place (cts. 4-6) 2 measures (R arm akimbo— L arm swing across to R shoulder and back). Repeat preceding 4 measures ending back in original position 4 measures Repeat all of "A" 8 measures B. In this figure dancers dance completely around each other, each describing a square and each making a quarter turn to the R on each side. Arms akimbo. Balance forward toward partner, beginning R. Balance away from partner, beginning L 2 measures Step sideways on R foot (cts. 1, 2), draw L foot across in front of R foot and step on L foot (ct. 3). Stamp on R foot, making a quarter turn to R (ct. 4). Hold (ct. 5, 6) 2 measures Repeat preceding 4 measures three more times to complete square 12 measures 262 Physical Education C. Face partner and both step R, close L to R, step R, stamp L in front of R without change of weight (cts. 1-4). Rest (cts. 5, 6) 2 measures (R arm is overhead, L arm akimbo). Balance forward R toward partner but touching L shoulders. Bal- ance L away from partner 2 measures (Swing R arm down and back overhead). Repeat preceding 4 measures but touch R shoulders 4 measures (Swing R arm across to L shoulder and back overhead). Join R hands. Balance forward R raising joined hands and bending to L. Balance backward L, lowering joined hands and bend to R 2 measures Repeat preceding 2 measures 3 times each couple moving in a complete circle clockwise _ 6 measures Repeat all of part C ending with a sharp stamp L in place of the last balance L 16 measures LA CAMILA Spanish Folk Dance f^ «^ ^ fc m — 1 p « ' r r r 1 i*r r (* m r (*,* 1 1 -m (• * — ^ 1: ^ '— -' * U — y— n If L f f -^- J— J -^1 = zz: :zr 1 — * f f f I ^ I * f e « a^: nl* } ^^-^ ^ 1* ^ P M P > > _ « ■ -■ — f- ^ m . =H &^ ig— _£J L^ =y ^-^s- 1* 5 =^^ -LJ ' -^>:# f~ f- ^ 1 t - r t= .^? ^ 1 rJ -1 — 1 d rC-i [V.=fc 1 ii» r — =^ — (•— — ^- r I* i» = m ■ > ~ r r m' O" #=-^=t=^= ^ =^ = =fr =^^:^= Y* ^ ^^ ^ ^^ ^ 1 fr r -^ t. \ r f -fc^^^-"— — t -f r — -'^ F — I 1 1 td 1 ^ H^^-J t=j ' La Camila is one of the few Spanish folk dances which uses the polka step. It i^ best suited to those upper elementary school children who have learned or are ready to learn the turning polka step. Formation: Couples form a double circle with partners facing. Boys on inside and hold hands behind back— girl holds skirt. Rhythms 263 Directions : A. Boy begins L and girl begins R. Take three slide steps to left (boy steps L, closes with R and repeats 2 times. Girl steps R, closes with R and repeats 2 times) 2 measures With 7 small steps return to place— turn hips in line of direction. (Boy begins L, girl begins R) 2 measures Repeat A in opposite direction. Boy begins R and girl begins L 4 measures B. Couples take social dance position and dance 8 turning polka steps. Turn in a clockwise direction and progress in a counterclock- wise direction around the room 8 measures Repeat dance as many times as desired. Note: The Polka may be described thus: Boy's part— hop on R foot, step L, close with R, step L, repeat beginning L. Girl's part— hop on L foot, step R, close with L, step R, repeat beginning R. The polka begins on the "and" count preceding measure 9. SWISS SCHOTTISCHE Swiss Folk Dance ^^ ^^ 53 264 Physical Education A "mixer" dance is simple enough in pattern to make it both useful and popular with unskilled groups. Partners change frequently enough to insure a mixing of the group. Formation: Couple form a double circle facing in a counterclockwise direction. Dancers place hands on hips— boy on left of partner. Directions : A. Boy begins on L foot— girl begins on R foot. Dance one running schottische away from each other and one running schottische back to partner's side 2 measures (Schottische description: Boy— step L, R, L, and hop on L foot (re- peat on opposite foot). Girl— step R, L, R, and hop on R foot (repeat on opposite foot). B. Partners take shoulder waist position— (face partner. Girl places hands on partner's shoulders, boy places hands on girl's waist). Make two clockwise turns with four step-hops (boy begins on L foot— girl begins on R foot) 2 measures C. Repeat A with the exception that on the second running schottische the boy progresses to the next girl in front of him. The girl repeats A exactly as she executed it first 2 measures Repeat B— this time the boy is dancing with his new partner 2 measures Repeat the entire dance 8 measures The music contains 16 measures which means the dance must be executed two times, the boys travelling forward two times, while the music is being played one time. Rhythms 265 WEGGIS SONG Swiss Folk Dance Because "Weggis Song" is one of the favorite European folk songs sung in this country the deHghtful dance to the same melody should be taught to every school child advanced enough to execute the polka and schottische steps used as a part of the dance. "Weggis" is also a favorite song of tlie Swiss people. Song: From Lucerne to Weggis on, Hoi di ri dia, Hoi di ria; Shoes nor stockings need we don, Hoi di ri dia, Hoi dia. Chorus: Hoi di ri dia Hoi di ri dia, Hoi di ria Hoi di ri dia Hoi di ri dia, Hoi dia. Weggis starts, with highest hill. Hoi di ri dia. Hoi di ria; Boys and girls cheer with a will, Hoi di ri dia. Hoi dia. Formation: Dancers form a double circle facing counterclockwise— partners take skating position. Boy on inside begins L— girl begins R. 266 Physical Education Directions : A. Touch heel forward to floor (boys L and girls R). Touch toe to floor across the foot carrying weight 1 measure Take 3 steps forward and pause 1 measure Repeat preceding 2 measures three times alternating feet 6 measures B. Partners drop hands— girl holds skirt and boy places hands on hips. Boy moves diagonally forward L to center of circle and girl moves diagonally forward R away from boy. ( Boy's part is described— girl's part is identical but moves in opposite direction and uses opposite foot). Step L, close R foot to L, step L, hop L raising R foot slightly backward 1 measure Repeat, moving diagonally forward R to meet partner and begin on R foot 1 measure Partners face— take shoulder- waist positions (boy's hands on part- ner's waist, girl's hands on partner's shoulders)— take 4 step hops, making two complete turns clockwise while progressing in counter- clockwise direction. Boy begins L, girl begins R 2 measures Repeat all of B 4 measures C. This step is preceded by a two-measure interlude which appears in the manuscript. This time is used to take the new position. Partners face: Boy's L shoulder is toward the center and girl's R shoulder is toward the center. Hands are joined and arms are extended sideways, clasped hands on inside of circle are low— those on the out- side are high. Couples dance the step described in A moving first sideways toward center of circle and then sideways away from center— changing the level of joined hands with change of direction 4 measures Repeat preceding 4 measures 4 measures Repeat "B" 8 measures During next interlude in the music partners face— this time boy has back to center of circle and girl faces center. Boy's R and girl's L hands are joined, shoulder level. D. Swing the joined hands forward and upward, release hands as partners turn away from each other, making one complete turn with two steps (boy begins R— girl begins L) 1 measure Partners join hands. Boy's L and girl's R, boy steps to side L and bows— girl steps to side R and curtseys 1 measure Repeat the preceding 2 measures, moving in opposite direction and beginning on opposite foot 2 measures Repeat all of "D" 4 measures Repeat "B" 8 measures Rhythms 267 MODERN DANCE Glossary : Axial Movement— Movement around the axis of the body. Move- ment with a stationary base. Choreography— The combining of movements into a whole or unity —the development of a dance. Composition— See Choreography. Improvisation— The development of a movement or sequence of movements by an individual or group. Leotard— The basic dance garment usually made of some pliable material such as cotton or rayon jersey, which may or may not cover the arms, and which leaves the legs free for movement. Locomotor Movement— Movement in which the body moves across the floor— movement which covers space. Movement— A purposeful change of weight or position which con- veys a feeling or idea. Movement Sequence— A series of movements which form a unity or express an idea. Rhythm— An arrangement of accented and unaccented beats which follow a pattern and form a sequence. Rhythmic Training— Experience in accurate response of the body to rhythmic patterns. Syncopation— The accenting of rhythmic beats which are usually not accented. Technics— Exercises to increase flexibility and general conditioning of the body. Also movements which relate to dance education, and which form an integral part of the dance vocabulary. General Suggestions for Teaching Methods. (For the teacher who is trained in the field of modern dance; an individual with no modem dance experience should not attempt teaching in this area.) 1. Generally speaking, include in each lesson the following ele- ments : a. Technics of modern dance. (If a trained physical education teacher has a limited background in modem dance technics, she could utilize conditioning or gymnastic exercises. b. Rhythmic training experiences. c. Experiences in composition. 2. Include a well-rounded program of technics, increasing muscle tone and flexibility of the total body. Require students to warm up before participation in rigorous activities. 3. Utilize democratic procedures in the modern dance class through the following steps: a. Use student chairmen to direct groups working on chore- ography. b. Encourage each individual to experience creative movement in all possible ways. 268 Physical Education c. Use student judgment in the selection of movement and ideas to be used in composition. d. Develop the critical ability of the student through critical analysis of student compositions by students. 4. Direct the interests of the beginning student toward compo- sition in familiar areas of their experience. 5. Supplement actual experience with research, reading, movies, and discussion when students are composing in unfamiliar areas. 6. Use every possible source of learning to enable participants to develop understanding of dance; such as: verbal description and analysis of dance movement, observation of demonstrating groups, rhythmical and musical analysis, et cetera. 7. Stress healthful carriage and body mechanics through a properly balanced program of movement. 8. Place your standards of achievement at a high level before per- formance may be enacted. Permit no careless performances. 9. Strive to develop a feeling within each student for the dance through the use of descriptive words and phrases. 10. Begin amateurs with short movement sequences; give the stu- dents practice in tying these sequences together. 11. Gradually increase intricacy and extent of movement sequence. Encourage constant individual experience in improvisation. 12. Immediately follow instruction in technics with application in composition whenever possible. Teach only technics which are going to be used either for warm up purposes, as a specific exercise, or in composition. 13. Begin demonstration in dance with larger groups, gradually decrease the number in these groups, until finally the soloist evolves with self-confidence gained through concentration upon the idea o+ Uie dance. 14. Correlate the modern dance program with such subjects as: history, music, speech, dramatics, geography, literature, et cetera. Possible Approaches for Composition on the Junior and Senior High School Level. 1. Rhythmic Approach— Concentration upon movement patterns to cohere to selected rhythmic devices. The rhythmic pattern becomes the primary idea behind the dance. a. On the Junior High School Level. (1) Nursery Rliymes. (2) Proverbs. (3) Primary and Secondary Rhythmic Patterns. (4) Simple patterns of Syncopation. h. On the Senior High School Level. (1) More intricate syncopated patterns. (2) Twice as fast, and twice as slow rhythmic patterns. (3) Resultant Rhytlim. Rhythms 269 2. Movement Approach— in which movement itself (usually hav- ing certain qualities and characteristics) becomes the focal theme or idea upon which the dance is based. a. On the Junior High School Level. ( 1 ) Variations of locomotor movement. (2) Variations of swings, and other axial movements. b. On the Senior High School Level. ( 1 ) More advanced variations of locomotor movement. (2) More advanced variations of axial movement. 3. Approach Through Musical Form— Emphasis upon the form of actual musical selections, or application of the principles of musical form to movement. a. On the Junior High School Level. (1) One Part Form. (2) Two Part Form. (3) Three Part Form. (4) Cannon Form. b. On the Senior High School Level. (1) More intricate use of all forms mentioned for the Junior High School Level. (2) Rondo Form. (3) Theme with Variations. (4) Group of Parts. (5) Pre-Classic Forms. 4. Approach Through Idea— The desire of the dancer to portray an idea may become the focal point around which a dance is centered. a. On the Junior High School Level. (1) Ideas from school life. (2) Ideas from community life. b. On the Senior High School Level. (1) Use of similar ideas to those utilized on the Junior High School Level with a less pantomimic approach. (2) Use of more abstract ideas. Standards for Equipment for Modern Dance. 1. Use the gymnasium floor for modern dance lessons. 2. If no gymnasium is available, a stage floor or other large floor may be used, provided it has a smooth surface free from splinters. Cement floors should be entirely avoided. Splintery floors may be covered with a canvas which is tacked along its edges to the floor. Safety precautions must be taken when there are columns in the room. 3. In suitable weather the modem dance lesson may be held out- of-doors on a soft green which is free from rocks. 4. A piano often provides the best form of accompaniment, but 270 Physical Education records may be used. Modern dance may be done to singing or spoken accompaniment, or to drum beats and other forms of percussive accompaniment. Interesting sounds for dance ac- companiment may be made through the use of rattles, dish- pans, bottles, sticks, splashing water, shaking leaves, etc. 5. Of course modern dance leotards enhance the spirit of the dance, but regular gymnasium costume may be used satisfactor- ily in the dance class. Bare feet are essential to proper par- ticipation in a class of this nature. Bibliography 1. Radir, Ruth Anderson. Modern Dance for the Youth of America. New York: A. S. Barnes and Company, 1945. 2. Shurr, Gertrude and Yocom, Rachael D. Modern Dance Techniques and Teaching. New York: A. S. Barnes and Company, 1949. SOCIAL DANCING The teaching of social dancing on the elementary level will, of course, vary with the community, the dance background of the pupils, and the enthusiasm and interest of the teacher, as well as the pupils. Some teachers may see fit to start teaching social dancing in the fourth grade, but it would be much wiser to do folk dancing because then boys and girls are not as conscious of their partners. They have fun as a group. Here would be the place to start breaking down the supposedly typical behavior pattern of elementary school boys toward girls and vice versa, when we know that they are really anx^!ous to dance and mix with each other in most instances. The most important step is to teach them how to walk gracefully to music. That will be the start. If space permits use line formations, large circles, otherwise work in small groups. It will not hurt for the girls to know the boys' steps. So have all begin on the left foot, toe lead, good balance, head up, straight path. The left foot advances; the right foot comes up to the left, and passes it. From then on there is an alternate left foot, right foot movement forward. Note that with a toe lead the weight shifts from the toe to the ball of the foot which means that the person has risen slightly on the toes. After the boys and girls learn to walk forward, then have the girls walk backwards, right foot lead, though. Now let the group pair off and try walking together. It would be best to start the group off by advocating that the girl stand slightly in front of the boy, and facing him. The boy is to walk forward, beginning on the left foot. The girl is to walk backward, be- ginning on the right foot. Stress that this is very important to remem- ber, and is carried through in almost every dance step they will learn. After the couples know how to progress, then ask them to hold hands and try doing the walking step. From there it is very easy to teach the correct dance position which is used in most social dancing. Correct dance position. 1. Couples face each. 2. The boy puts his right arm around the girl's waist. His left hand is raised about shoulder high, elbow bent, palm slightly up. Rhythms 271 3. The girl puts her left hand on the boy's right shoulder. Her right hand rests in the boy's left hand. (Many youngsters lock fingers with their partner. If ( 3 ) is explained correctly you will see the inter-twined hand position soon disappear.) Remember that the boy's steps must be about ten inches. He is to start on the left foot. He is to lead the girl, but she must know her steps in order to follow him. When the group is moving around the room be sure to have them all go the same way— counterclockwise, for this is the usual procedure on any dance floor. When a number of the group succeed in doing the walk as given above, then have the boys try to walk backward, and the girls go forward, because invariably a few will try this anyway— just for vari- ation. You will soon realize that grammar grade students want to move on. They are soon tired of doing the same step, even though they may not have mastered that step. So from the walk proceed to the side step which has quite a few variations. Side Step I. The feet are together. The left foot leads to the left, and the right foot is drawn close to the left foot. In order to go to the right, the right foot leads and the left foot is drawn close to the right foot. Combine Side Step I with the walk. Two walking steps (left, right) and a left side step, or three walking steps and a right side step. Remember the boy always starts the lead on his left foot. The girl reverses the boy's directions, and begins with the right foot. Side Step II— Two Side Steps Instead of doing one side step, execute two consecutive side steps. On the completion of the first step, the weight should be on the right foot so that the left foot can lead left for the second side step. If one wishes to do a side step to the right, then begin the side lead with the right foot. Combine this step with the walking step. Side Step With a Dip Instead of doing two consecutive side steps, do one side step and for the second side step substitute a side dip which the couple do in a side to side position more than a face to face one. The boy steps forward on his left foot, and does a lunge (puts liis weight forward, bends his left leg, while his right leg is to the back, and in a straight position. The girl lunges on her right leg.) In order to return to his original position, he brings his left leg back to his right, and from there can do two right side steps. The Sway Step The side step can be used as a sway step. Lead to the left with the left foot; bring the right foot to it, but do not put the weight on it. Then lead back to the right with the right foot; bring the left foot to the right. Continue the sway step, but try to turn around by shifting the feet slightly as the step is made. • 272 Physical Education The Conversation Step There is a style of dancing which is very easy for youngsters. Some of the steps used in the regular dance position are used in this dance form. It is known as the conversation step. The partners are side by side. The couple faces forward, the boy's right hand is still around the girl's waist, her left hand on his right shoulder. They may hold their other hand in the front or may let the arm hang at the side. Remember that the boy begins on his left foot, the girl on her right foot even though they are going forward. Conversation I The walk—reiei to second paragraph above. Conversation II Do four walking steps forward. Then the couple faces each other and executes two side steps, and perhaps two side steps back. Conversation III Do two walking steps. Then the foot goes forward into a third step. The other foot goes to it, but does not pass it. The second foot steps back, and the first foot goes back toward it and is ready to lead for- ward again. When the couple is in a closed dance position the boy may want to turn his partner around while he stands still. He may turn her either to his right or to his left, never releasing her right hand, but allowing it to turn loosely as she turns. His right hand may help to turn her if he turns her toward his left. Children make own patterns from known steps. Miw/c— Claude Thornhill's "There's a Small Hotel"— Columbia. Al- though any popular music if slow enough, can be used, fox trots are preferable. Social Dancing in the High School There are many progressive variations in social dance. On the ele- mentary level the steps were based on the walk mainly. All the pre- ceding steps can be used even on the high school level, JDut with much more added. Fox Trot I. The "step-close-step" which is really the fox trot is very simple to teach. It can be explained in a term "change step" which is used by anyone who has done any marching. When someone in a marching line gets out of step, he leads out with the same foot twice. Thus in the fox trot the boy starts on his left foot; his right foot comes up to his left with weight on right foot only; he immediately steps forward on his left foot again. Then he leads right, closes left to right, and steps right. The girl starts backward on her right foot. Variation Fox Trot I. In order to vary the above, take two walking steps left, right, then left, close left, two walking steps right, left, then right, close right. Fox Trot II— The Box Step. Boy steps forward on left foot, right foot brought up to, but passes left foot, step over to right side, left foot over to right foot, weight on left foot. Step back on right foot, bring left foot back alongside right, but pass it and lead to left, right foot Rhythms 273 over to left, weight on right foot. Try to turn around by using the same footwork. The girl starts back on her right foot, left foot goes back to, but passes right, and over to left, weight on right foot. Then forward on left foot, right foot up to, but passes left foot and over to right, left foot over to right foot, weight on left foot. Variation Fox Trot II. Put two walking steps left, right, and then do the box step. Conversation step. (Refer to conversation step on elementary level). Boy takes a forward step on left foot, a forward step on right foot, step forward on the left foot, but slowly turns around and goes back the way he came by stepping forward on right foot, then left foot, and closes to regular dance position. The Dip. The boy in executing a dip takes a step back on the left foot, and in so doing bends his knee. The right leg is in an extended position, knee straight, toe pointed. The girl steps forward on the right foot, bending right knee, left leg in back, extended, with a straight knee. The foot is extended; toe pointed downward, following the same angle as the leg. Slow or medium fox trot records can be used. TAP DANCE While many of the values of tap dance are inherent in other types of dance, tap dance adds variety to the dance program. It is popular in appeal to all ages, can be used for programs of many types, and provides great satisfaction to the learner with its particular type of rhythmic and muscular response. When properly taught, tap dance is creative in nature, and when improperly taught it is purely imitative. The teacher of tap dance must have specialized training in this area. The teacher who conducts other types of physical activity is involved only in an advisory and critical capacity. A program of tap dancing should be based on the following principles : 1. Tap dance should not begin before the fourth grade because the child is not mature enough for the small motor skills. 2. Students should not be taught purely by imitation of the teacher, but should be taught to know what they are doing. 3. Accuracy in rhythmical reaction, exactness in execution of steps and patterns, and relaxation while dancing should be empha- sized. 4. Material should be chosen which is in keeping with the psychological development and interests of the grade level and sex of students. 5. The creative approach to tap dance should be stressed. The student must have an understanding of the basic elements of tap dance. Group and individual composition of dances should be encouraged, and individual expression should be fostered where possible. 274 Physical Education Bibliography 1. Frost, Helen. Clog and Character Dances. A. S. Barnes and Company, New York. 1924. 2. Duggan, Anne Scliley. The Complete Tap Dance Book. A. S. Barnes and Company, New York. 1947. 3. O'Gara, Shiela. Tap It. A. S. Barnes and Company, New York. 1937. 4. Sauthoff, Hermine. Tap Dance for Fun. A. S. Barnes and Company, New York. 1941. Chapter VIII PHYSICAL FITNESS Because so many young men were found to be unfit for military service during World War II, "physical fitness" has come to be a very popular term. Physical fitness, however, is desirable in peace time as well as during a war. The question may be asked, "Fitness for what?" The kind of fitness one needs depends upon what he wants to do. In general, however, it can be assumed that everyone wants to have a well developed and proportioned body that is capable of doing the things he wants to do. This means in most cases good posture, adequate muscular strength and endurance to carry on life's activities without undue fatigue or strain and coordination sufficient to enjoy sports, to work and to per- form safely and efficiently any activity needed for effective living. Total fitness implies not only these qualities, but also social and mental fitness and freedom from disease. Other Factors that Influence Fitness. There are many other important factors besides muscular activity. Some of these are: 1. Freedom from diseases and physical defects. 2. Adequate nutrition. 3. Mental health. 4. Balanced living with respect to sleep, rest, work, recreation. 5. Environmental factors, such as proper beds, chairs, tables, and lights. 6. Proper shoes and clothing. 7. Medical and dental attention when needed. 8. Inherited physical and mental characteristics. Health Appraisal — Medical Examination. Medical examinations are especially important to determine the needs and limitations of students. Periodic examinations as well as special examinations when there seem to be special needs should be a regular part of the school health and physical education program. The physical education program should be adjusted according to the recommendations of the examining physician and procedures should be set up to have remediable defects corrected. (See page 27-31, Publication No. 219, State Department of Public Instruction.) The Role of Physical Education in Physical Fitness. Exercise can play an important part in the development of physical fitness on the part of boys and girls; though admittedly, exercise is just one of the essentials. All of the activities outlined in this publication provide some muscu- lar exercise which when properly selected as to type and amount. 276 Physical Education and based upon the needs of individuals, will contribute to the fitness of the participants. Properly selected, these activities will contribute to social and mental fitness as well as to physical fitness in the narrow meaning of the word physical. There are many physical educators who believe that the average normal pupil or adult can get as much exercise as he needs in games, sports, rhythmics and other activities in which he participates for fun only, without special emphasis on so-called body building activities. Under ideal conditions, such as adequate facilities, time, and instruc- tional personnel, this is probably true. However, under the conditions that we now have and will have for a long time, many children, youths and adults will not and cannot get all the exercise they need without some emphasis on certain types of developmental exercise, such as gymnastics, calisthenics, ranger activities, obstacle course running, or some other activity of a strenu- ous nature. Special body building activities of a formal type, even calisthenics, have a place in the physical education program for some people in some places. First, many people need to know and should be able to maintain fitness in situations when playing fields and gymnasiums are not available. Second, formal activities may be used to supplement the sports program as "warm-up" exercises, or to provide vigorous exercise when the play program is relatively inactive. Third, many children and adults need special exercises because of weaknesses in certain muscles and habits of bad posture. Conditioning Exercises. • Special conditioning exercises should be only a part, and a small part, of the physical education program in most instances. They may be used as warm-up, as a brisk finish up just before the shower and for special needy cases. In planning and giving conditioning exercises, the following are suggested as guides: 1. Have a definite purpose in mind. 2. The individualization of the program is essential to satisfy the needs of the individuals. The person, for example, with a hollow back needs a different exercise from the person with a flat back. 3. Special types of exercise to correct physical defects should be given upon the recommendation of a physician. 4. Exercise should be limited in terms of the amount of exercise the partici- pant has been taking regularly, his a^e and general physical condition as revealed by health appraisal procedures. 5. The overload principle must be used for development (gradual increase of resistance to the individual's optimum.) This may be done in three basic ways: a. Time element— Slowing down exercise and sustaining motion. h. Increase resistance by weights, tension devices, etc. c. Number of repetitions. 6. Strive to get a proper alignment of various body segments when partici- pant is standing or sitting. 7. For general conditioning for the normal person a routine of exercises involving the various areas of the body in sequence should be given, namely: a. Warm-up or general conditioner, such as "Running in Place." h. Neck extensors exercises. Physical Fitness 277 c. Contract— shoulder abductors (muscles between shoulder blades), stretch shoulder abductors ( chest muscles ) and exercise outward rotation of arms. d. Trunk limbering in all directions. e. Abdominal area is most important. Exercises that flex tlie trunk and shorten the abdominal muscles. /. Thigh muscles. Contraction of quadriceps (front) and stretching of hip extensors ( back of thigh ) . g. Foot muscles. Body Mechanics. One of the specific objectives of physical education is to help children and youth develop good body mechanics. This means, in simple terms, efficiency in standing, walking, sitting, running and any other activity essential to living happily and effectively. Since many of our school children and youth are undeveloped, have little co- ordination and exhibit poor body posture, it is recommended that special attention be given to the development of those muscles that need strengthening. Essentials of teaching good body mechanics include: 1. Motivating the child. This is the key to success in teaching. 2. Developing in the child an understanding and recognition of good body positions. 3. Teaching stunts, games and exercises to help him experience good positions and gain needed strength and endurance. 4. Providing an opportunity for daily practice. 5. Stimulating each child to continue the following developmental activities out of school: a. Climbing. b. Hanging. c. Chinning. d. Practicing body mechanics stunts. e. Games that develop the large muscles of the body. 6. Commending the student on improvement, so that he feels it is important to him, his home and school. 7. Watching for signs of fatigue or illness, and adjusting the regular program when indicated. 8. Check often on posture in sitting, walking and standing. Do not nag; instead make helpful hints. 9. The proper amount of exercise, physical fitness and muscular tone are also essential. Individual and corrective exercises to be of developmental value must be made strenuous and must increase in resistance up to the indi- viduals' optimum. Good Posture. Good posture should be thought of as dynamic rather than as static. Grace, comfort and efficiency rather than fixed positions should be emphasized. Good posture should be in evidence in walking, stooping, lifting and in all other activities involving work or play. Maintaining good posture in life's activities should become a habit calling for no special constant effort. As in the formation of any good habit, daily practice is necessary. A person who has developed a habit of standing or sitting or walk- ing with bad body alignment will need special attention to correct a condition which, though unnatural, might feel natural to the indi- vidual. 278 Physical Education ' While it is recognized that there is no "best posture" for all people, there are certain general principles that may be intelligently applied to most individuals to prevent and alleviate the functional type of poor posture. The first step in teaching good posture is to get the boy and girl to want good posture. This might be done with girls through emphasis on appearance. Boys, especially the teen-age group, are interested in "looking like an athlete." Second, teachers and students should recognize that there are many factors that affect posture. Some of these are nutrition, mental hygiene, sleep, rest, lighting in homes and school rooms, seating, physical de- fects and exercise. Third, that exercises to correct defects must be adapted to the needs of the individual child. Fourth, that general conditioning exercises as outlined in this section are needed by many children to develop those muscles involved in good posture. Fifth, boys and girls should be taught the "feel" of good posture. If they know how it feels when standing, sitting and walking with good posture, they are then able to practice daily good posture habits. Below are some statements regarding posture which may be useful in helping students know what constitutes good posture and how good posture feels: 1. Good Standing Posture. a. Feet parallel, slightly apart, toes point straight ahead. b. Weight evenly balanced and placed slightly on outside of feet. c. Knees easy, not bent or forced back. d. Abdomen held in by contraction of abdominal muscles. e. Hip muscles contracted and hips tucked under body. f. Shoulders relaxed and down, shoulder blades squeezed slightly to- gether. This brings the chest into normal position. g. Head high, chin slightly in with back of neck pushed slightly back- ward. 2. Good Sitting Posture. a. Sit tall in chair with hips touching back of chair and feet flat on the floor. b. Shoulders relaxed and down with shoulder blades squeezed slightly together. c. Neck and head in line with upper back. d. When writing, lean forward from the hips maintaining the correct alignment of back, neck and head. Equipment for Teaching Good Posture. In addition to the equipment recommended on pages 23-24 of this publication, such as balls of various types, victrola, etc., the following inexpensive items are recommended: 1. Newspapers, sheets, or towels for floor, if class is held in classroom. 2. Hanging and climbing equipment, which may be trees, ropes, hanging bars, and ladders. 3. Marbles, at least two for a child. (Keep in closed jar with disinfectant.) 4. Pencils 6 to 8 inches long, two to a child. 5. Chalk, at least two pieces to child. Physical Fitness 279 6. Jumping ropes. (See page 320-321.) 7. Head blocks, sand bags or books for teaching pupils to walk with body segments in proper position. a. Square flat board. b. Circular flat board. c. Books tied shut (old ones). 8. Scales. 9. Full length mirror. Many other items of equipment useful but not necessary are: (1) Dwight posture model, ladders, plumb line, footboard, balance beam, stall bars, small tools, and school room door bar for chinning and hanging. This latter item can be easily made or may be purchased from Olympian Industries, Inc., 4720 N. Kilpatrick Ave., Chicago, lUinois. Price $6.95. Simple Bar Stunts. Simple bar stunts are fun and valuable in developing good posture. ° The horizontal bar is a good piece of equipment for any size school. Students like to do stunts on it. It is good for muscular development. Because of the differences in the height of students, it is recommended that a series of three bars be provided with heights of 4, 5, and 6 feet, each with a width of 4 or 5 feet. The kind of stunts and the number of times a student ought to repeat a stunt or any activity depends on the physical strength and endurance of the individual. The stunts listed below are very simple and can be taught by a teacher without special skills on bar work. For teaching advanced horizontal bar work, the teacher should have understanding and skill in bar work. In order to avoid accidents lead up gradually to the more difficult stunts. Place a "spotter" (a safety person ) in a position where he can catch the performer in any act in which a fall is possible. To prevent injuries to feet in dismounting from the bar, the students should give with their legs and ankles as their feet touch the floor. Mats should be used for all horizontal bar work except chinning, swinging and hanging by the hands. 1. Hang with feet off the ground. Dismount properly. 2. Hang and swing. 3. Hang with the feet off the grovmd. Lift knees to the chest. 4. Hang with feet off the ground. Lift knees to the chest. Straighten knees so the legs will be horizontal to tlae floor. Bend knees to the chest again. Lower to starting position. 5. Hang with feet off the ground. Lift knees to chest. Straighten knees as before so the legs will be horizontal to the floor. Lower the legs, with knees straight, slowly to the starting position. 6. Hang with feet off the ground. Pull the knees way up and stick the feet between the arms. Turn the body over so the feet come a httle nearer the ground. This is skinning the cat. Return to starting position. Dismount. 7. Hanging by the knees. Hang and swing the feet up as in skinning the cat. Turn over as in this stunt. Place the knees on the bar and hold tightly. Remove the hands from the bar and hang by the knees. To dismount place the hands on bar again and remove knees from the bar. Bring feet down to original hanging position and dismount. 8. Lowering from chinning. Jump up to grasp the bar, keeping the elbows 'Gymnastics and Tumbling bv U. S. Naval Institute, A. S. Barnes and Company, New York, 1944. Price $2.50. 280 Physical Education bent and bringing the chin near the bar. Slowly straighten the arms, lowering the body to a hanging position. Practice this until the lowering is a slow controlled movement. 9. Chinning. Hang on a high bar with elbows straight. Pull, elbows bending, bringing the chin to tlie bar. Very slowly lower the body to the starting position until the elbows are straight. Try to increase one time each day after the initial performance. 10. Body circling around a bar. The bar needs to be high enough to avoid bumping the head. Place the knees over the bar with the arms and hands under the bar. Hang tightly on to the lower leg with both hands. Push with the supporting feet leaning forward to start circling. 11. Straight-arm rest and dismount slowly. 12. Vault over low bar. Place both hands on bar, jump and throw both feet around side of hands landing with back to bar. Safety man should stand in front of bar to prevent falls. Special Foot Exercises. To strengthen the anterior (metatarsal) arch. 1. Sit with the heels resting on the floor. Curl the toes down under the feet. Hold 10 counts and relax. Repeat 10 times. 2. Sit with the heels resting on the floor. Curl toes around pencils. Hold 10 counts and relax. Repeat 10 times. Hold the pencil so the vinriting end is near the small toe. To strengthen the longitudinal arch. 1. Sit with knees straight. Turn tlie soles of the feet together. Hold 10 counts. Repeat 10 times. 2. Stand for the longitudinal arch lift. Be sure the toes are straight ahead and the feet a few inches apart. Keeping the feet on the floor, lift up on the inner edge of feet so the ankle bones (inside ones) are partially hidden. The weight should be borne on the outside of the feet. Hold 10 counts and relax. Repeat 10 times. 3. Peas Porridge Hot played with the feet. To strengthen the anterior and the longitudinal arches. 1. Curl the toes under as in No. 1 above, but keep the knees straight. Turn the soles of feet toward each otlier or together. Hold 10 counts and repeat 10 times. 2. Write or print with a pencil held under the toes of the right foot. Be sure the writing end is at the small toes side. Hold the pencil firmly by curling the toes around it. Turn the foot inward and write or print on a large paper placed on the floor. The knee will bend. Repeat using the left foot. 3. Grasp pencil or chalk as above and play Tit-tat-toe with a partner on a large sheet of paper placed on the floor. 4. Grasp pencil and/or draw pictvu-es. Penmanship drills may also be done vdth the feet. 5. Walk vdth a marble curled under the large toe and adjoining toe of each foot (marble must not be lodged between the toes). Turn the soles toward each other and walk on the outside of each foot. Count the steps taken with the foot and compare with classmates. 6. Relays of various types carrying marbles in the above fashion are fun and provide good foot exercise. Special Abdominal Exercises. 1. Abdominal curl. From supine (lying on back) hft head and shoulders to 45° angle, and hold, then return. This may be varied by twisting while at a 45° angle, or by coming to a full sit up and return. 2. "V" position. From supine with hands behind head, lift head and shoulders to 45° and then lift legs to 45°. This may be varied by twisting trunk and bending knees and then touch opposite elbow to opposite knee. 3. Modified bicycle. From supine, hands placed under hips but keep hips on floor, bicycle vdth legs moving in wide arc. Physical Fitness 281 Source Materials Baumgartner, Albert J., POSTURE TRAINING AND REMEDIAL GYM- NASTICS. Minneapolis: Burgess Publishing Company, 1946. 166pp. Kelly, Ellen D., TEACHING POSTURE AND BODY MECHANICS. New York: A. S. Barnes and Company, 1949. 299 pp. Rathbone, Josephine L., CORRECTIVE PHYSICAL EDUCATION, Phila- delphia: W. B. Saunders Company, 1949, 299 pp. Hawley, Gertrude, THE KINESIOLOGY OF CORRECTIVE EXERCISES, Philadelphia: Lea and Febiger, 1945. 192 pp. Drew, LiUian and Hazel L. Kinzly, INDIVIDUAL GYMNASTICS, Phila- delphia: Lea and Febiger, 1945. 222 pp. Stafford, George, EXERCISE DURING CONVALESCENCE, New York, A. S. Barnes and Company, 279 pp. Stafford, George, PREVENTIVE AND CORRECTIVE PHYSICAL EDU- CATION, New York: A. S. Barnes and Company, 1950. 312 pp. Lee, Mabel and Miriam M. Wagner, FUNDAMENTALS OF BODY MECHANICS AND CONDITIONING, Philadelphia: W. B. Saunders Company. 1949. 377 pp. U. S. Department of Agriculture, POSTURE IN HOUSEWORK, U. S. No. 83, Washington, D. C, Government Printing Office, 1944. 24 pp. Chapter IX CORRECTIVE AND ADAPTED PHYSICAL EDUCATION A. Activities to Fit Needs. Every teacher of physical education should plan and conduct the physical education program so that every student can benefit from the program. This means that the unskilled, the undeveloped and the physically handicapped student, as well as the healthy skilled per- formers, should be provided with opportunities to take part in the kind of activities best suited to them. Physical education activities for the typical student is sometimes called "individual physical education," sometimes "corrective physical education," but more often we think of it as just "physical education to meet the needs of individuals." Many courses of study and books on physical education include corrective physical education as a part of "Body Mechanics." In Chapter VIII on "Physical Fitness" is included certain types of cor- rective work which may be used with groups with common handicaps, such as postural defects or poor coordination. The first essential in such a program is a teacher interested in find- ing out what the needs and limitations of the students are and one who is willing to give some time to them. B. Importance of Medical Examination.^ A comprehensive medical examination is recommended for all stu- dents who are to engage in strenuous physical education activity. The physical examination is recommended for several reasons: 1. To detect those few for whom strenuous activity is dangerous, such as defective heart cases. 2. To detect physical defects which are remediable. In the health instruction and health service programs, follow-up procedures for getting corrections should be carried out. 3. To select tliose for whom tlie physician may prescribe certain corrective measures. 4. To educate all students concerning the importance of medical examination. C. Teacher's Role in Appraisal of Students.^ Teacher appraisal of students is important with or without the medical examination. The teacher sees the child every day and can often detect signs of deviation from normal not apparent at the periodic examination. Teacher appraisal should be based upon: 1. Observance of defects that are apparent to any well-trained teacher. 2. Procedures such as weighing, measuring, testing eyes and ears.i 3. A study of the history of diseases the individual may have had. 4. A study of the records of any previous examinations, including defects found and history of diseases. 5. Conferences with student, parent and family physician, especially of those wlio appear to be undeveloped, unhealthy or have any signs of deviation from normal. 1. Physical and Health Education for Elementary and Secondary Schools, Publication 219 Manual of Screening and Medical Examination of Elementary School Children. Corrective and Adapted Physical Education 283 D. Excuses from Physical Education. There is no justification for excusing students from physical edu- cation on the basis of a general excuse certificate from a doctor. Where good programs are conducted and where teachers and physicians co- operate in determining the physical needs and limitations of students, excuses from physical education do not present a problem. Practically every student can participate safely and with pleasure in some kind of activity. Therefore, instead of giving an excuse from physical edu- cation, the doctor and physical education teacher should determine tvliat the student needs and what is safe. E. Individual Guidance. The first approach to individual physical education is through guidance based on the medical examination. Handicapped students should be encouraged to take part in the regular physical education program as long as they can do so safely and profitably. Guidance should be directed toward helping the student: 1. Accept his handicap gracefully without undue worry. 2. Learn some activities which he can do at school. 3. Accept his responsibility for self direction. 4. Take care of all health needs, such as rest, sleep and adequate food. F. Modification of Regular Program Most handicapped students can and should take part in some of the activities planned for normal students. For example, a student might play "twenty-one" even though he is not able to "scrimmage" in basketball. To take care of all students who need a modified program it will be essential: 1. To provide some facilities such as ping-pong tables, horseshoe courts, checkers, chinning bars, ropes, balls of various types. 2. For the teacher to give some aid to the handicapped during the regular period. This could be done through the use of squad leaders for the normal students. G. Individual Exercises for Specific Cases. Corrective exercises for specific defects that may be corrected by exercise should be under the direction of medical personnel. Teachers can, by a little planning, select, demonstrate and give guidances to tliose needing special exercises in the regular physical education class. The teacher will need to give individual attention until the student learns the correct performance and sequence of exercises that will be needed afterward. For best results, the student must do the exercises often and this may require work at home as well as at school. Sug- gestions for persons with posture defects will be found on page 278. Suggested exercise for the physically undeveloped are on page 276. Since it is obviously impossible to include a comprehensive treatment of exercises for all the possible physical handicaps, the teacher is referred to the list of references at the end of this section. H. Special Classes. In some high schools there may be enough students who need individual attention to justify a special class. Scheduhng may be diffi- 284 Physical Education cult but no more so than scheduling band, glee club or other special school activities. Special classes are not recommended for those who can profit by the modified regular program. Bibliography Drew, Lillian C. and Hazel L. Kinzly, Individual Gymnastics, Philadelphia, Lee and Febiger, 1945. Hawley, Gertrude, The Kinesiology of Corrective Exercises, Philadelphia, Lee and Febiger, 1949. Lee, Mabel and Miriam M. Wagner, Fundamentals of Body Mechanics Con- ditioning, Philadelphia, W. B. Saunders Company, 1949. Lowman, Charles, Claire Colestock and Hazel Cooper, Corrective Physical Education for Groups, New York, A. S. Barnes, 1928. Rathbone, Josephine, Corrective Physical Education, Pliiladelphia, W. B. Saunders Company, 1944. Stafford, George, Sports for the Handicapped, New York, Prentice-Hall, Inc., 1947. Stafford, George, Preventive and Corrective Physical Education, New York, A. S. Barnes and Company, 1928. Stafford, George, Harry B. DeCook, and Joseph Picard, Individual Exercises, New York, A. S. Barnes and Company, 1935. Chapter X MEASUREMENTS AND EVALUATION Measurement and Evaluation Defined The term evaluation means appraising something according to a set of values. In education evaluation means determining in some way "how much" or "how good." The ideal evaluation in education is that which measures pupil progress. This means first, setting up objectives in order to have the specifics of what is meant by progress; second, it means finding and using some measuring instruments; and third comes the interpretation of the findings. The term evaluation in education is applied not only to evaluation of pupil progress but also to evaluation of the various features of the total education program that exert influence on pupil progress. For example, the "Evaluative Criteria," 1950 Edition, Cooperative Study of Secondary School Standards, Washington, D. C, includes a check list for evaluating organization, offerings, facilities, direction of learn- ing, outcomes, and special characteristics. Measurement in education is one step in evaluation. It implies the use of procedures which are precise, objective, and quantitative. In physical education measurement, findings of measurements should be expressed in terms of time, distance, number or some quantitative symbol that can be treated statistically. Evaluation Instruments. The most common evaluation instruments used by teachers include: 1. Simple observations and ratings. 2. Interviews, questionnaires, check lists, and self-appraisals. 3. Case histories, anecdotal records, and logs. 4. Objective measurements of various types including standard- ized tests, acliievement tests, rating scales and score cards. Importemce and Use of Evaluation Procedures. Evaluation is an important and essential part of a good physical education program. Evaluation in physical education is important to determine the extent to which the experiences contribute to the gen- eral aim of education which may be briefly summarized as mental, social, emotional, and physical growth. Testing and measuring to accumulate records for comparing abilities, for classification, and for grading should be of secondary importance to the main function of such procedures; namely, to improve pupil progress. The functions of evaluative procedures including the use of ob- jective test and standards may be briefly stated as follows: 1. Evaluating attainment of basic aims and objectives. (See page 1 for aims and objectives.) 2. Determining pupil progress. The results of measuring pupil progress may be used as a method of improving instruction. The grades or marks given in physical education and pro- 286 Physical Education motions should be based on the degree to which major ob- jectives have been reahzed. 3. Determining pupil status and present ability. In some of the schools pupil ability may be used in classification for schedul- ing classes, for classification within a class and for the organi- zation of groups for competition. 4. Determining group and individual needs and the selection of appropriate activities. 5. Motivating pupil effort. Knowledge of achievement gives evi- dence of performance and is interesting and stimulating to both pupil and teacher. 6. Comparing the relative value of teaching techniques, and their outcomes with those used by others. For example, if pupils consistently jump higher by using the "Western Roll" than by using the "Scissors" this would indicate that the former would be a better jumping technique. Selection of Test To Be Used. The physical education teacher who has adequate training in test and measurement and statistical procedures can and should work out tests that will measure the competences— knowledge, attitudes and skills— he is attempting to teach. In addition, the physical education teacher should make use of some of the many tests for which standards are available. It is important to compare status and achievement of pupils with tliat of pupils of other schools and other states. In so doing improvement in instruction may be achieved by changes in the curriculum and by improved methods. Criteria to be used in evaluating and selecting tests have been pre- sented by many authors of books on tests and measurements, some of which are listed in this chapter. Most authorities are agreed that the criteria should include statistical measures supplemented by practical consideration and subjective opinions. Physical education tests should be carefully selected. Good tests usually show evidence of: 1. Reliability— This means a degree of consistency with which a measuring device may be applied. 2. Validity— This means that the test measures to a high degree of accuracy the quality to be measured. 3. Objectivity— This means the degree of uniformity that can be obtained. 4. Norms or Achievement Standards— These add to the usefulness of a test but are not essential. 5. Development— This means that the test should contribute to the physical, social or mental growth of those taking the test. Other items of practical consideration in the selection of tests in- clude standardized directions, the type of scoring, ease of adminis- tration, time, equipment and personnel needed to give the test. Measurement and Evaluation 287 Tests in Physical Education. Space in lliis publicalion does not permit a detailed discussion of any of the available tests in physical education. Various authors have pre- sented fairly com[M-ehcnsi\'e reviews of existing tests, and their work may be used to guide the teacher in selecting desirable tests to use for any specific purpose. The table on page 288 lists a sampling of tests of various kinds and classifies them according to Nash's^ four areas of development, licfcrenccs and page numbers are given to aid the teacher in finding each test. It is realized that not all the tests mentioned can be used in any given class. On the other hand, it should be stressed that no one test can serxe for all purposes. The teacher must use his own judgment in selecting the \ariety of tests, based on the criteria for selection and the use to which they are to be put, which will best meet the needs of the boys and girls in liis physical education classes. 1. Jay B. Nash, Physical Education: Interpretations and Objectives, New York, A. S. Barnes and Company, 1948. A. AATTPER, Measurement 6- Evaluation Materials in Health, Physical Education and Recreation, Washington; AAIIPER, 1950. B. Bovard, J. F., F. W. Cozens and Patricia Ilagman, Tests and Measurements in Phijsical Education, Pliiladelpliia, W. B. Saunders Company, 1949. C. Clark, II. Flarrison, Application of Measurement to Health and Physical Edu- cation, New York, Prentice Hall, Inc., 1950. D. Cozens, Frederick W.. Hazel J. Cuhherly and N. P. Neilson, Achievement Scales in Physical Education Activities for Secondary School Girls and Collcpe Women, New York, A. S. Barnes and Company, 1937. E. Physical Education Achievement Scales for Secondary School Boys, New York, A. S. Barnes and Company, 1936. F. Classow, Riitit B.. and Marion R. Broer, Measuring Achievement in Physical Education, Pliiladelpliia, W. B. Saunders Company, 1939. G. McCioy, Charles IT., Tests and Measurements in Health and Physical Edu- cation, New York, Appieton-Century-Crofts, Inc., 1942. II. Neilson, N. P., and Frederick W. Cozens, Ach'evement Scales in Physical Education Activities for Boys and Girls in Elementary and Junior High Schools, New York, A. S. Barnes and Company, 1939. I. Scott. M. Gladys and Estlier French, Evaulation in Physical Education, St. Louis, The C. V. Moj-lcy Company, 1950. J. Better Teaching Through Testing, New York, A. S. Barnes and Company, 1915. K. Physical and Health Education for Elementary and Secondary Schools, Raleigh, Department of Public Instruction, Publication No. 219, 1940. 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