SECTION I

INTRODUCTION TO MOVEMENT EDUCATION

TIME ALLOTMENT
This chapters will be taken up for 6-hours
INTRODUCTION
This section introduces the history and philosophy of movement education, this will
explain how the key personalities have great contribution to the development of
movement education. In this part the students would be discovering the reasons behind
on the downfall of movement education.
The physical education major students will be able to learn the movement education
framework and how it would be taught to their future students. Through this section the
PE practitioners will be guided on how to develop appropriate teaching strategies
especially in teaching movement education to children and how to properly assess them.
Studying MEF will help future teachers in learning how to apply these concepts in
achieving healthy and active lifestyle.
Moreover, this section will give ideas on how to use innovations and technologies in
teaching movement education to diverse type of students. In this section PE practitioners
will be guided on how to analyze movements to check whether the desired movement for
each age bracket will be applied by the students appropriately.

LEARNING OBJECTIVES
At the end of the lesson the students must have;
1. identified the key personalities of movement education;
2. demonstrated deep understanding on the changes of movement education
through time; and
3. understood the role of movement education in teaching physical education.
4. in depth learning on the fundamentals of movement education;
5. classified the movement education framework to allow better oral and visual
communication;
6. identified the stages of motor development and its criteria;
7. determined the appropriate teaching methods and tools in assessing
students’ performance;
8. applied the standards of NASPE in promoting one’s lifetime physical activity;
9. enumerated the tools and innovative teaching ideas used in movement
education;
 10. evaluated the efficiency of the tools and innovative teaching ideas in the
modern technology era; and
11. identified techniques in analyzing movement activities.

TOPICS
CHAPTER 1

HISTORY AND PHILOSOPHY OF MOVEMENT EDUCATION

When did movement education originate? Why was it popular in the 1960s, 1970s,
and even into the 1980s? Who should know the movement education framework (MEF)?
Why did its popularity fade, and where are we today? Who were the contributors to the
beginnings of movement education? Because we offer only a brief historical overview of
movement education, we mention only some key people connected with the formulation
of this approach.
A critical event in the history of physical education was the implementation of
national content standards. In addition to the development of movement education as a
delivery method for physical education content, a critical historical event for physical
education was the implementation of national content standards. These standards can
be linked directly to movement education. The success of any movement education
program is rooted in the ability of those who teach it to embody the essence of the
movement education philosophy. How a teacher delivers a program based on a
movement education philosophy is vital to students' learning. This issue is addressed at
the end of this chapter.

CREATORS OF A NEW IDEA: MOVEMENT EDUCATION IN THE 1800S TO EARLY

1900S

The early pioneers of movement education were influenced by the idea of the body
being an expression of movement. Three of the most historically influential individuals
were Francois Delsarte, Liselott Diem, and Rudolf von Laban.

FRANCOIS DELSARTE
 One of the first people to articulate ideas of movement was Francois Delsarte, a
Frenchman who lived in the 19th century. This era was influenced by Romanticism, which
emphasized the notion of expression of thought and emotion. Delsarte developed what
he termed applied aesthetics (Brown & Sommer, 1969) and focused his work in the arts,
where he contributed critical ideas of connections among the mind, body, and spirit. He
also saw movement as a union of time, space, and motion. Delsarte suggested that the
combination of movements toward and away from the center of the body was critical to
all other movements.
Delsarte believed that expressive movement should relate to the emotion that
inspired that movement. In addition, he introduced the idea of parallelism in
movement—the simultaneous motion of two body parts in the same direction and in
succession. His nine laws of motion referred to altitude, force, motion, sequence,
direction, form, velocity, reaction, and extension. These ideas gave rise to much of what
was to come in the field of movement education.

LISELOTT DIEM
In the mid- to late 1930s, Professor Liselott Diem and her husband, Carl, founded
an internationally known college in Germany, Deutsche Sporthochschule Köln, to train
teachers in sport and physical education. The college taught a “natural approach to
teaching children to move effectively in all kinds of situations” (Brown and Sommer, 1969,
p. 62). Children were encouraged to explore movement freely in their own way and
according to their unique stages of development. The teacher's role was to provide an
environment that supported and fostered this focus. The teacher would use simple
equipment such as balls, wands, ropes, boxes, and benches to allow children to develop
a wide variety of movement responses individually, with partners, or within small groups.
Diem's approach centered on learning to build movement skills and balance.
Teachers were encouraged to challenge children by asking questions such as “Who can
do this?” and “How can this be done differently?” They would then guide the children
toward improving their quality of movement. Diem's focus for older children was more on
developing an awareness and analysis of muscular force as well as how to move in time
and space.
RUDOLF VON LABAN
Rudolf von Laban (1879-1958) is considered by most as the true pioneer of
movement education. A critical contribution was his theory of movement, focusing
specifically on the concept of effort. Laban believed that the body was an instrument
of expression and made a distinction between this expressive movement and
movements that serve a purpose in everyday life (functional movement). Expressive
movement communicates ideas in dance or other forms of artistic expression. Functional
movement has a purpose in addition to helping with the tasks of everyday life, such as
sports and games. The four factors of movement that Laban identified (weight, space,
time, and flow) became the bedrock of what became known as movement education.

DEVELOPMENT OF A CURRICULAR APPROACH: 1960S, 1970S, AND 1980S

Whereas Laban and his colleagues were concerned with the inner attitude of the
mover and the function of each movement (Stanley, 1977), those who came after them
provided a way of regarding movement and applying this perspective to the teaching of
physical education. The intent of those working at this time was to provide a framework
that teachers could use to apply these movement concepts broadly in the following three
learning domains:

• Cognitive
• Psychomotor
• Affective

The 1960s and 1970s witnessed a growth in the field of movement education.
Gilliom (1970), Kirchner (1977), Logsdon and colleagues (1977, 1984), Maulden and
Layson (1965), Maulden and Redfern (1969), Russell (1975), Stanley (1977), and many
others brought movement education to the forefront of elementary physical education.
MOVEMENT CONCEPTS
Stanley (1977) and Logsdon and colleagues (1984) identified the four major
movement concepts as body (representing the instrument of the action), space (where
the body is moving), effort (the quality in which the movement is executed), and
relationships (the connections that occur as the body moves—with objects, people, and
the environment). Logsdon and colleagues (1984) suggested that how much children gain
from their physical education learning experience is related to how well the teacher is able
to understand, interpret, and implement the movement content. They suggested that the
teacher's goal should be to develop enough knowledge about movement to help
learners become skilled in executing all aspects of the movement content.
FITNESS OVERSHADOWS MOVEMENT EDUCATION
The fitness boom of the 1970s resulted in a base of research that contributed a solid
scientific basis to the study of movement. Movement education was not getting this kind
of support and therefore was not met with the same level of enthusiasm in this era. As
other curriculum models were introduced that were easier to understand and appealed to
the fitness and activity focus of the time, movement education faded from popularity.

MOVEMENT EDUCATION: AT THE HEART OF PHYSICAL EDUCATION

The MEF is clearly not a new idea. As ideas developed, the framework for
movement education became more and more complex. Professionals began to disagree
about the use or exact meaning of terms. As a result, the concepts of human movement
and early presentations of the MEF sometimes became intimidating and difficult to use in
practical settings. This may have been one of the reasons movement education lost
momentum and was by and large replaced by other curricular frameworks over the years.
Critics might say that movement education, which was popular in the 1960s, 1970s, and
even into the 1980s, is now passé. One of our objectives is to revive this most basic
approach to teaching physical education because we believe that it provides not only the
basic framework for physical education, but also the basics all educators—both physical
education and classroom teachers—are searching for to provide the foundation for
teaching physical education.
One of the primary goals of this text is to present a revised MEF that is easy to
follow, easy to use, and meaningful for physical educators, classroom educators, and
most important, children. We do this by focusing on the movement concepts, movement
categories, and particularly, the movement elements, and their application to what we are
calling the core content areas: educational games, educational gymnastics, and
educational dance.
 It is important for readers of this text to understand how the MEF is tied to current
national standards.
Some of the classic outcomes of a movement education program are described in
the first two National Association for Sport and Physical Education (NASPE, a
subspecialty group of the American Alliance for Health, Physical Education, Recreation
and Dance [AAHPERD]) standards (2004):

• Standard 1. Demonstrates competency in motor skills and movement patterns

needed to perform a variety of physical activities.
• Standard 2. Demonstrates understanding of movement concepts, principles,
strategies, and tactics as they apply to the learning and performance of physical
activities.

From NASPE, 2004, Moving into the future: National standards for physical
education, 2nd ed. (Reston, VA: National Association for Sport and Physical Education)
11.

THE PHILOSOPHY THAT MAKES MOVEMENT EDUCATION DIFFERENT

All physical educators want to provide lessons that foster success. The MEF,
however, focuses on not only fostering motor success, but also developing cognitive
knowledge about movement. Movement education is about developing a very wide base
so that students develop skill in executing many types of movement. To establish this
wide base, the movement education approach uses a specific framework for classifying
movement and encourages learners to build a movement vocabulary that they can apply
to all subsequent movement content.
The MEF is adaptable to students of all ages and developmental stages. It serves
as a thread that runs through all movement in all situations. As Logsdon and Barrett
(1984) noted, “Movement is the content of physical education” (Logsdon et al., p. 141).
Teachers can continually incorporate vocabulary from the framework into lesson
introductions, feedback during a lesson, and lesson closures. Similarly, children can
communicate with the teacher and with other children about their movement, thus
creating a wonderful learning environment for all.
STUDENT PROBLEM SOLVING IN MOVEMENT EDUCATION
Success for all, activity for all, and contributions by all are all key values in a
movement education program. Specific approaches in presenting content are critical.
Using methodology based on the process of discovery and techniques of problem solving
(Gilliom,1970) allows children to discover their own methods and ways of solving
movement problems. Creative thinking is required, and individual solutions, which may
be unique to the problem solver, are not only allowed but also encouraged because we
all experience new and often more complex movement challenges throughout life.
Children in movement education programs do much more than merely learn skills; they
learn to apply movement elements and create solutions to both simple and complex
movement problems.
GUIDED PROBLEM SOLVING IN MOVEMENT EDUCATION
Guided discovery methods are addressed in the core content chapters of this book
(11-13). According to Mosston and Ashworth (1986), the guided discovery approach
involves students solving teacher-created problems with guidance from the teacher. In
addition to guided discovery, teachers also provide students with learning cues. Chapter
3 provides examples of the teacher-directed cues for learning locomotor skills such as
skipping, hopping, and jumping, as well as manipulative skills such as throwing and
catching.
Problem-solving techniques were expounded upon by Gillion (1970). An example of
putting teaching cues and problem solving together might sound like this: “Today, we are
going to learn about the spring like actions of leaping, hopping, skipping, jumping, and
galloping.” You might then present the learning cues via pocket chart cards (movement
element definitions) for each of these skills. After formally presenting the definition of
hopping, you can then informally remind the students that when we hop, we travel from
one foot to the same foot, whereas jumping involves several different types of movement
patterns. With these cues in mind, students may then be encouraged to demonstrate the
various spring like actions by creating a traveling sequence using those actions. This task
emphasizes a pure problem-solving approach.
 PROVIDING CHOICES ENHANCES LEARNING
The way you present the movement challenge or task can foster success by
respecting students' individuality. One way to present a challenge is to provide
extensions, making the task either easier or harder as needed. Following is an example
of how you might use extensions with movement education.
A more traditional approach to presenting a movement problem related to rocking
and rolling might be to ask all children to do a forward roll. However, using extensions,
you might say, “Some of you may wish to try this next task, whereas others may choose
to continue working on log rolls. For those who would like to try, think about rolling in a
forward direction, keeping your chin tucked to your chest and pushing with your hands to
help you transfer your weight onto the back of your shoulders as you complete rolling in
a forward direction.” Other ways to offer extensions could be, “If you are ready, you can
try . . .” or, “For those of you who would like to try a more difficult task . . ..” Giving students
options in all situations helps them decide their comfort level in task completion (Logsdon
et al., 1984; Rink, 2006).

SUMMARY
The earliest inklings of movement education occurred in the late 1800s in the field
of dance. The concept really didn't gain popularity and become known as movement
education until the 1960s, 1970s, and into the 1980s. The fitness boom and other
curriculum models replaced movement education, possibly as a result of its complexity
and the difficulty teachers had making it relevant to middle and high school physical
education curricula. In the late 1990s and early 2000s, the development of national
content standards for physical education brought back the essence of movement
education by emphasizing that children should know basic movement concepts and be
able to perform basic movement patterns.

CHAPTER 2

Movement Education Framework Content

 Every academic content area has fundamentals on which most concepts are built.
Reading and writing begin with learnings with learning the alphabet. Mathematics begins
with learning numbers. Most people, however, would probably have a hard time
identifying the fundamentals of physical education content. So, where do we begin to
identify the fundamentals? The intent of this unit is to make this foundational content
information in physical education easy to understand, meaningful, and practical to
implement. WE begin by identifying the four-basic movement concepts and their
associated movement elements, which form the type of foundation in physical education
that the ABCs do in literacy and the “1, 2, 3s” do in mathematics.

Movement terms that are regularly used in physical education were included in this
unit. Movement terms that broaden the understanding of movement and allow users of
the framework to eventually advance to higher levels of movement analysis (e.g.,
biomechanics, motor development, and exercise physiology) have been taken into
consideration in developing the framework presented here.

ROOTS OF MOVEMENT EDUCATION

We use the roots of a tree in this section as an analogy for the most basic concepts
in movement education. Figure 2.1 is a visually appealing aid that will help you use this
analogy to explain the movement education framework. The tree is also a simple visual
aid to which young children can relate.

The movement concept tree is easy to understand. It helps to classify the movement
elements and answer the following questions on basic movement concepts:

• What do we move?
• Where do we move?
• How do we move?
• What are the connections with whom or what we move?

To move, we need something to move – our bodies. We need place to move –

space. We need energy to move – effort. And we often move in connection with other
people, things, and ideas – that is, in relationships. These four concepts (body, space,
effort, relationships) are the essence of the movement education framework and are
represented in figure 2.1 by four roots that serve as the basis from which all other
functioning parts of the tree are formed.

Basically, the movement concepts begin with the body, which is the tool of
movement. To move, we must have a means of moving. The body, its parts, and its most
basic, or fundamental, movements are the foundation if this framework: it is the center
taproot of the tree, which is the most important. So now that there is something to move
with, the body needs to go somewhere, or be able to use the space for movement. How
one moves in this space is the movement concept of effort. The space and effort roots
surround the center taproot, creating more stability for the tree to grow taller and begin to
expand in breadth. This analogy helps children broaden their body concept knowledge
and experience as they grow taller-just like a tree.

From the addition of space and effort children can perform many more variations of
the fundamental movements.

The most complex of the movement concepts is relationships, and so it is presented

as the top tree root, closest to the surface. For a tree, this layer is a very broad and
complex network that provides nourishment, increased stability, and hydration; it is critical
to the tree’s long-term survival and expansion. In the same way, movement relationships
provide the best opportunity to build long-term movement capabilities that can affect our
physical, emotional, and cognitive health (i.e., long-term survival).

Similar to the wandering of the root system in the ground, the progression of the
movement concept is not purely linear. The various layers of the root systems are actually
developing at the same time, with each system depending on the development of others.
The movement concepts develop best when presented simultaneously; however, using
a logical progression that Is rooted in motor development optimizes the process. Plenty
of overlap occurs as you review movement concepts and create challenges at higher
levels of complexity. However, the basic idea of the tree roots creating a foundation is
simple and easy to remember, making it a good introduction to the organization of
movement concepts.
 Organizing the Movement Education Framework

In the past, teachers have had difficulty understanding the movement education
framework. The complexity of previous presentations was overwhelming. To avoid this,
we simplify the information, create logical associations, provide clear examples, and build
a practical understanding. We muse a consistent set of terms for each of the four
movement concepts, which are also coded by letter and number to help you stay
organized.

Our organizational structure helps you mentally organize the material, communicate
it orally, and visually present it. New to this presentation and organization of the
movement education framework are three basic terms, which are presented in table 2.1:
movement concepts, movement category, and movement element. Although these terms
do not match exactly the previous descriptions of the movement education framework,

they link nicely with the terms NASPE uses in its national standards and help to add a
consistent and more detailed structure to the movement language.

Table 2.1 Movement Education Framework

Concept Categories and subcategories Movement elements

Body Body Parts Head, Neck, eyes, nose,

mouth, elbows, wrists, hands,
fingers, belly, chest, spine, back,
 bottom, hips, knees, ankles, feet
and toes

Body shapes Narrow, wide, round,

twisted*, symmetrical, and
asymmetrical

Actions of body parts Weight bearing, receive

force or weight, apply force, lead
the action, and weight transfer

Actions of Nonlocomotor Stretch, curl, twist*, turn,

the whole body spin, swing, push, pull, rise, sink,
gesture, dodge, balance,
counterbalance, and
countertension

Locomotor Walk, cartwheel, crawl,

bear walk, crab walk, run, leap,
hop, skip, jump, gallop, slide,
rock and roll**

Manipulative Throw, roll**, strike, kick,

volley, catch, trap, dribble, and
carry

Space Location Self-space and general

space

Direction Forward, backward,

sideways, up, down, clockwise,
and counterclockwise

Level Low, medium, high

Pathway Straight, curved, and

zigzag
 Plane Sagittal, frontal, and
traverse

Extension Small and large

Effort Time Fast, slow, and

acceleration

Force Hard and soft

Flow Bounce and free

Focus Direct and indirect

Relationship People Solo, alone in a mass,

partners, even groups, uneven
groups, individual to group,
group to group, triangle, circle,
square, scattered, spokes of a
wheel, and X

Position Above/below, over/under,

inverted, mount/dismount, in
front of/behind, beside,
alongside, through, surround,
around, support/supported,
lift/lifted, meet/part, and near
to/far from

Timing Simultaneous Mirror, match, contrast, and

unison

Alternate Take turns

Successive Movement sequence,

canon, question/answer,
act/react, and lead/follow
 Goal Cooperative, collaborative,
and competitive

Environment Static and dynamic

*Twist(ed) appears correctly twice; as a non-locomotor primary body movement

(B15) and then again as a body shape (B5).

**Roll appears correctly twice; as a manipulative sending an object away (B43) and
as a locomotor roll-like action (B41).

Movement Concepts

It is important to recognize how the language of movement education ties into the
national standards for physical education. The word concept is the primary term used by
NASPE (2004) in standard 2. The movement education framework speaks directly to
standard 2 because it addresses the movement concepts. Movement concept is the most
general of the organizational terms used in this book and in NASPE standard 2. In this
case, they refer to body, space, effort and relationships. Movement concept collectively
refers to all of the movement elements.

Movement Categories

The term category is used within a concept to create smaller groupings of similar
terms (e.g., actions of the whole body). When needed, the categories are organized into
smaller groups called subcategories (e.g., locomotor) and, even smaller, subdivisions
(e.g., springlike actions).

Movement Elements

Our intention is to show the NASPE standard relate to the movement education
framework. The movement elements in the category actions of the whole body
(nonlocomotory, locomotor, and manipulative) are what NASPE describes as motor skills
in standard 1. Movement patterns, also a main part of NASPE standard 1, are easily
identified as the subdivisions within action of the whole body (e.g., send away). NASPE
standard 2 encompasses all 121 movement elements (e.g., run forward, bound, mirror,
and so on) via the phrase “demonstrates understanding of movement concepts.”
 Movement Education Framework: The Body Concept

Learning about the body may be the most basic and important of all the movement
concepts. The body is the instrument of movement that gives meaning to the other
concepts (e.g., space, effort, and relationships). The body concept (B) focuses on the
entire body or its parts. It has four categories: body parts, body shapes, actions of the
body parts, and actions of the whole body.

Body Parts

In the coding system for the MEF, and for the sake of simplicity, the entire category
of body parts (B1) is numbered instead of each body part. The body parts category
includes common body segments and joints including the head, neck, ears, eyes, nose,
mouth, shoulders, elbows, wrists, hands, fingers, belly, chest, spine, back, bottom, hips,
knees, and toes.

Body Shapes

The second category is body shapes, which form silhouettes, or outlines, of the
body in space. There are six body shapes: narrow (pin; B2), wide (wall; B3), round (ball,
B4), twisted (screw; B5), symmetrical (same; B6), and asymmetrical (different; B7). The
word inside the parentheses following the names of the shapes offer other descriptors
that some children might understand more readily.

Actions of Body Parts

Actions of body parts is the third category and includes the kinds of roles a body
segment can play in a movement. The movement elements of weight bearing (B8),
receive force (or weight) (B9), apply force (B10), lead the action (B11), and weight transfer
(B12) complete the actions of body parts category.

Although the action of the entire body is considered in the next category, the intent
of the actions of body parts category is more specific. For example, the base of support
for weight bearing could be two feet (typical standing), two hands (handstand), o hand
and two feet (offensive lineman position), the head (headstand), or even the buttocks (V-
sit).
 The hands receive force when a ball is caught in them or when a barbell is lifted.
The back of the shoulders may receive force from someone using a hand to tag them
(e.g., when playing Tag). A foot applies force to a starting block or to the ground when
walking.

The hands are the point of force application when swinging a bat. The hands might
lead the action when stretching them toward the water during a dive into a swimming
pool. The feet might lead the action when turning first for a dancer or ice skater performing
a spinning action.

Weight transfers involves moving the focus of weight from one body part to another
body part or shifting weight from one foot to the other foot while walking. Changing from
a crab walk to a cross-legged sit would move the weight from both hands and both feet
to the legs and buttocks.

Action of the Whole Body

The final category for the body concept is actions of then whole body, which are
movements or activities performed by the entire person. Actions of the whole body is a
very complex category, having three subcategories: nonlocomotory, locomotor, and
manipulative skills. These three subcategories from the fundamental movements
(“movement skills and movement patterns” in NASPE standard 1, 2004) that are critical
to motor development.

Nonlocomotor Skills

The nonlocomotory skills are executed on a fixed base of support, and include 15
movement elements. The first three elements (stretch, curl, and twist) are the primary
body movement from which all of other movements can be made.

• A stretch (B13) extends or lengthens the body. A swimmer stretches to touch the
wall at the end of a race.
• A curl (B14) involves some type of flexion or bending at the joints. Bringing the
hand in to scratch the nose requires the person to bend the elbow.
• A twist (B15) is not the same as a turn or spin. In a twisting action one end of the
body is fixed or turns in the opposite direction of the other part of the body. The dance
called the Twist, done to a Chubby Checker song, is a great example of this
nonlocomotory skill. Sitting at a school desk and reaching to take a piece of paper from
the person at the desk behind is another example of a twist.

Some more common nonlocomotory elements are as follows.

• A turn (B16) can be clearly identified when the base of support for the person shifts
to face a new direction (in a twist, the base of support is stationary). For example, the feet
may face the north wall, and after turning, they may now be facing the east wall, along
with the torso.
• In a spin (B17) the entire person moves like a toy top around a central axis.
Consider an ice figure skater rotating on one foot.
• A swing (B18) also has rotation, but the rotation occurs only at one end of the body,
which is fixed. The other end moves freely. A gymnast on the high bar with the hands
fixed at one end but the extended body moving freely around the bar is performing a
maneuver called a giant swing. A more common example is the arms swinging back and
forth along the sides (fixed at the shoulder and free at the hand).
• A push (B19) and a pull (B20) are opposites: a push involves exerting force away
from the body, whereas a pull works to bring the resistance toward the body. The body,
at the hands, is technically pushing the floor away in a push-up, and the hands are
attempting to pull the stationary pull-up bar close to the body.
• Rise (B21) and sink (B22) are also opposites: elevating the body or moving up
toward the ceiling (rise) versus lowering the body, or moving down toward the floor (sink).
• Gesture (B23) can refer to a feeling or mood expression using movement as well
as to a movement made when attempting to maintain balance. A thumbs-up is usually
thought of the word gesture in the movement framework. Rather, flailing the arms while
trying to maintain balance on a narrow surface is a better description of gesturing.
• A dodge (B24), when viewed as a nonlocomotory movement, refers to the shifting
of the body to avoid something, such as avoiding an approaching ball. Alternatively, if the
focus is on the foot movement needed for moving the body, a dodge might be considered
a locomotor skill (e.g., avoiding being tackled while on the run).
 • Balance (B25) is being able to keep all forces affecting the body equal (maintaining
equilibrium). In a practical way, this often means keeping the center of gravity or body
weight within the base of support. Having a strong core and maintaining strong muscle
tension assists with creating and holding a balanced position. Remaining in a headstand
position or remaining still while standing in a moving bus illustrates balance. Maintaining
body balance is very important and often a prerequisite to developing skill with the limbs
(e.g., legs for locomotor skills and arms for manipulative skills).
• Counterbalance (B26) is a specific aspect of balance that requires all of the
elements to be actively participating in the creation of a stable condition (e.g., two people
placing palms together and leaning into each other).
• Countertension (B27) is simply reversing the direction of the force application (e.g.,
two people holding hands and leaning away from each other).

Locomotor Skills

The locomotor movements are those that move the body from one place to another.
This subcategory has additional subdivisions (Logsdon et al., 1984). Steplike actions is
the first subdivision, and these movements do not have flight; in other words, one body
part is always in contract with the supporting surface. Commonly taught elements include:

• the walk (B28), an alternate stepping action with arm-leg opposition in the sagittal
plane;
• the cartwheel (B29), the alternation of hand-hand and foot-foot in the frontal plane;
• the crawl (or limb; B30), alternating right-and left-side ipsilateral arm-leg
movements;
• the bear walk (B31), walking on hands and feet with the belly facing the ground;
and
• the crab walk (B32), walking on hands and feet with buttocks facing the ground.

Springlike actions include the aspect of flight (a momentary time in which there is
no contact with the supporting surface). Commonly taught elements include:

• a run (B33), steps (alternating right, left, right, left, and so on) with arm-leg
opposition at a fast pace;
 • a leap (B34), an elongated run (longer flight time);
• a hop (B35), involves a one-foot takeoff and a landing on the same foot;
• a jump (B37), involves a two-foot takeoff and two-foot landing, a two-foot takeoff
and a one-foot landing, or a one-foot takeoff and a one-foot landing;
• a gallop (B38), moving forward using a continuous pattern of stepping with the lead
foot followed by bringing the rear foot up next to the lead foot; and
• a slide (B39), moving sideways using a continuous pattern of bringing the rear foot
up beside the lead foot.

Roll-like actions are similar to steplike actions in that the body maintains its contact
with the supporting surface; however, these actions involve a sequential pattern of
adjacent body part coming in contact with the surface such as in a rock (B40) and a roll
(B41). Because the transfer of weight in rocking is back and forth and doesn’t result in
much change in location, some do not consider it a locomotor skill, but rather, a
nonlocomotory skill. The roll involves various adjacent body parts coming into contact
with the supporting surface (e.g., hands, head, shoulders, back, and feet in a forward roll)
and does move the person to a different place. The use of the body (not an object) along
the supporting surface defines the use of the terms roll in this subdivision, in contrast to
rolling an object (e.g., a ball) in the manipulative subcategory.

Manipulative Skills

Manipulative skills, also known as object control skills, are actions that involve
controlling an object or piece of equipment such as ball, bat, or racket.

The following skills are in the subdivision of sending objects away.

• A throw (B42) is the use of the hand to release an object, sending it into the air.
• A roll (e.g., a bowling ball; B43) is different from throwing in that the object is made
to move across the supporting surface rather than through the air. The term rolling in the
manipulative category indicates that an object, other than the body, is being used. For
example, a child may roll a ball toward a pin or set of pins to knock them down. In the
locomotor category, the person uses the body to roll across the surface instead of
directing something such as ball to roll across a surface.
 • A Strike (B44) involves forceful contact, often a collision between an implement
and a ball.
• Although a kick (B45) can also be a strike, we classify it as a kick because it is
done with the foot. Similar to a throw, a kick uses the foot to make an object fly through
the air.
• The volley (B46) involves making contact with an airborne object where the intent
is to direct the object with accuracy and a light touch. For example, a tennis volley at the
net needs a soft touch and accurate placing. The setter in volleyball needs to have soft
touch to redirect the ball accurately so that the hitter can get an effective spike.

The following skills are in the subdivision of gaining control of an object.

• A catch (B47) involves a grasp of one object, whereas collecting involves gaining
control of an object moving along the ground to redirect it. (Collecting is not on the Flip ‘n’
Fold, but because some people use it, we include it here as additional information.) Both
catching and collecting suggest reducing the speed of other object by bringing it in toward
the body (Logsdon et. al., 1984, p. 130). For example, gaining control of a soccer ball to
redirect its path would be an example of collecting.
• A trap (B48) is similar to a catch except that it involves holding the ball between
two things (one inanimate), such as trapping a soccer ball between the knee and the
ground.

The last subdivision is propelling an object, or keeping an object under control while
traveling with it, which includes the following skills.

• A dribble (B49) occurs when traveling with an object that is repeatedly contacted
by hands or feet. For example, dribbling a basketball with the hand or dribbling a soccer
ball with feet.
• A carry (B50) occurs when traveling with an object held in the hands. When rugby
or American football players hold the ball against the body with an arm while running
toward the goal, they are said to be carrying.
Movement Education Framework: The Space Concept

Learning about space will help children become efficient movers. For example,
learning to dribble at a low level is important to successful performance as a basketball
guard. The space concept focuses on where the body moves. It has six categories:
location, direction, level, pathway, plane, and extension.

Location

Generally, the location (or area) of where the movement occurs is described as
either self-space (S1) or general space (S2). Self-space-also called personal space or,
Laban’s coined term, the kinesphere-is defined by the three planes and refers to the
personal bubble that surrounds and moves with the performer. In contrast, general space
is all of the area available for movement such as the gymnasium, the boundaries of a
court or field, or the dance floor. Self-space is located within the general space.

Direction

Common directional movement elements include forward (S3), or moving toward

the direction one is facing, and backward (S4), or moving in the direction the back of the
body is facing. Sliding to the right or left, as in stepping to the side to receive a volleyball
serve, are also general space examples of sideways (S5) movements of the whole body.
Moving toward the ceiling or sky is up (S6) and moving toward the floor or ground is down
(S7). Finally, one can move in a clockwise (S8) or counterclockwise (S9) circle as a
member of a group participating in parachute activities within the general space.

Level

Levels are a description of how high or low the movement occurs. Near the floor or
below the knees is typical of a low movement (S10), whereas a high movement (S12)
takes the performer into the air or includes movements above the shoulders. Medium-
level movements (S11) are those that are generally between the low and high levels or
at the height of the trunk. Doing a bear walk is a low-level movement, doing a defensive
slide across the floor is a medium-level movement, and jumping high into the air or
stretching high are examples of high-level movements.
Pathway and Extension

Pathway is typically an invisible pattern or tracing of the movement of the body

through space that can occur in either the air or water or on a solid surface (e.g., a floor).
The following are basic pathway elements.

• A straight (S13) pathway means to move in a direct line. For example, a 50-meter
sprint occurs in a straight pathway if the runners or swimmers are in lanes on track (solid
surface) or in a pool (in the water). An arrow flies through the air in a straight line toward
the target.
• A curved (S14) pathway moves in an arch or semicircle. An arrow can also fly
through the air in a curved pathway if it is shot upward and must arc down toward the
target. A cross country runner often follows a curvy pathway on the ground if the pathway
has been set up on a golf course.
• A zigzag (S15) pathway moves in a crisscross manner. A zigzag path is sometimes
used as part of an offense plan for an American football receiver running on the football
field. Dodging, as in a tag type of activity, also uses zigzag pathways.

Planes

As children become more skilled and the teacher is able to provide more challenges
to the students, the application and progression of planes knowledge should be included
in the lessons. The inclusion of planes in chapter 11, 12, and 13 will provide examples of
how and why planes might be sued in a lesson or unit. In the lower stages of development,
the use of planes is applied during the presentation of movement concepts. Teaching
children the ideas and language of planes will help them learn how to analyze
movements, how to communicate with others in a technically correct manner about
movement, and how to better receive instructions, feedback, and information regarding
movement which generally increased movement competency, identified by Stodden and
colleagues (2009) as a critical factor in motivating adults to have an active lifestyle.

At the higher levels of core content learning, children need to be able to combine a
variety of movement elements in order to be successful. For example, in educational
gymnastics, children need to begin to understand why and when moving in a certain plane
will enhance balance on a balance board. In educational dance, knowing that a dance
movement (e.g., spinning) can be done faster if performed more purely in the transverse
plane helps the dancer make a better choice of how to do the spin. Finally, in educational
games, a hockey player might improve their defense by using and intercepting postures
that occurs in the frontal plane.

An understanding of self-space is the pre-requisite for understanding planes. The

ideas of spatial planes are too complex for children are beginning to develop their
fundamental motor skills and an understanding phrases like “pump with your arms,”
“swing level.” And “explode with your legs,” then phrases like “keep your arms in the
sagittal plane.” “swing your bat in the transverse plane,” or “jump straight up in the frontal
plane” will provide meaningful feedback to the child. The time to begin teaching about the
planes should be about the same time that a child starts to perform locomotor and
manipulative skills with some consistency at the elementary level (explained in chapter
3). Children can then incorporate this kind of verbal feedback into their understanding and
performance of the fundamental motor skills.

The name of the plane (e.g., sagittal) and the term plane have different meanings.
While sagittal describes the actual area of the space, plane is a geometry term meaning
a flat or level surface. This flat surface is what is used to divide the area of the self-space.
Some visualize the plane as a rectangular piece of glass that slices through the body,
separating it into two sections. Others view it like a hard square of cheese sandwiched
between two slices of bread, separating the two pieces of bread. The three plane names
(sagittal, frontal, and traverse) are used to help people communicate about areas of self-
space. The idea of planes is also helpful in describing more specifically where or how a
person is moving within self-space, such as joint movement (flexion).

Because many teachers of elementary physical education do not have a clear

understanding of the three planes, we provide the following definitions and examples. A
helpful three-dimensional model, cleverly called Plane Jane, makes for a good learning
tool. This model shows each of the planes dividing the body as well as upper limb
movements in each of the planes (see appendix C for information on how to obtain this
model from www.denoyer.com).
 • Sagittal
• Frontal (also known as coronal)
• Transverse (also known as horizontal)

Sagittal Plane

The sagittal plane (S16) divides the body into right and left sides with the plane
sandwiched between them. All sagittal plane movements occur in one or both of these
two sides of the body with the movement being parallel to the plane of glass that is
sandwiched in the middle. For example, someone pretending to saw a piece of wood that
is in front of him using a handsaw or swinging his arms forward and backward in
opposition to his legs when running is moving in the sagittal plane. When the elbow
extends during a basketball free throw shot, the forearm is moving parallel to the piece of
glass that is sandwiched between the right and left sides, or through the sagittal plane.

A less technical and more familiar term, wheel, might good to use to introduce the
sagittal plane to children. Most children can visualize a wheel turning around its axis and
make the connection of how a wheel rolling across the ground is similar to them doing a
forward roll across the ground (both the right and left halves of the body are moving
through the plane).

The front and back movements in the sagittal plane are called flexion (bend) and
extension (stretch). Table 2.2 on page 18 provides additional practical examples for each
of the core physical education content areas to assist you in giving students helpful verbal
cues. More detail on anatomical planes can be found in the beginning of almost any basic
biomechanics textbook.
 Frontal Plane

The frontal plane (also known as the coronal plane; S17) divides the body into front
and back sections with the plane being sandwiched between them. As presented in table
2.2, a person doing a cartwheel or jumping jacks moves her limbs parallel to the piece of
glass that is sandwiched between the front and back of the body. These sideways
movements are called abduction (out, or away from the middle) and adduction (in, or
toward the middle). A more familiar term that might be used to make this idea less abstract
is door.

Table 2.2 Examples of Movements in the Planes for Core Content Areas
Plane Core content area: Educational

Games Dance Gymnastics

Skill Teaching cue Skill Teaching cue Skill Teaching cue

Sagittal – Shooting a free “Parallel to the Bow to “Simple Forward roll “sagittal roll like a
throw plane is the your sagittal style” car wheel (in the
Forward and
name of the partner ‘wheel’ plane)
backward
game”
movements

Frontal – Defensive slide “Glide to the Slide step “squeeze Cartwheel “Pretend you are
side” mouse like doing a cartwheel
Sideways
past people within a door
movements
seated in a jamb (in the ‘door’
movie theater” plane”

Transverse Swing of a “Hit the ball off Spin on the “Be a turn- Log roll “Keep in tight for
baseball bat the top of the ball of the table (in the twisting right”
table (in the foot ‘table’ plane)”
‘table’ plane)”

To illustrate this plane, a child stands inside a door jamb and tell him that he cannot
move any part of his body in front of or behind the door jamb. Students will soon discover
the frontal plane movements and have a phrase that they can relate to easily to describe
them: door plane movements.
Transverse plane

The transverse plane (also known as the horizontal plane; S18) divides the body
into top and bottom sections with the plane being sandwiched between them. In a coffee-
grinder stunt, the leg that circles under the body moves parallel pane of glass sandwiched
between the top and bottom sections of the person, or in the transverse plane.
Movements in the transverse plane are called inward and outward rotation (clockwise or
counterclockwise). Additional movements in this plane are beyond the scope of this book,
but are described in any biomechanics text.

A discussion of a magic show in which the magician puts someone in a box and
separates the box (top and bottom half) maybe a fun way to help children understand this
plane. You may also call it the table plane and have a child stand in front of a table so
she can clearly see that part of her body is above the table and part is below the table.
You can then ask her to move her body or body parts across the top of the table.
Movements such as truck twisting and shaking the head to indicate no are simple
examples that illustrate the table, or transverse, plane.

Extensions

The extensions category describes the range or size of the movement in space
relative to the body: small (near the body; S19) or large (far from the body; S20).
Stretching an arm away from the body is a large (far) extension, whereas using the hand
near or on the hip is a small, or near, extension. Extensions are often discussed when
teaching racket sports and activities.

Movement Education Framework: The Effort Concept

While utilizing space concepts provides more efficient movement, appropriate effort
application yields more effective movement. For example, a child who uses the correct
amount of tension (hard-soft) will be more likely to hit their target rather than under- or
overthrowing it. The effort concept describes the quality of movement. It has four
categories, time, force, flow, and focus.
Time

The time category addresses the movement is, or its rate. Fast (sudden; E1), slow
(sustained; E2), and acceleration (change of pace; E3) are the time elements. Running
is a fast movement, whereas walking is slow in comparison. Changing from a walk to a
run involves acceleration, and similarly, changing from run to a walk is sometimes used
in place of the more accurate term, negative acceleration (i.e., a decrease in speed).

Force

The force category addresses how much tension there is in the movement: hard
(strong; E4) and soft (light; E5). Striking a balloon lightly uses very little force, whereas
striking a balloon really hard might make it pop!

Flow

The flow category addresses how continuous or fluid the movement is. Bound
(stoppable; E6) and free (ongoing; E7) are the two elements of flow. A child running all
over the playground without a specific objective shows freely flowing activity. Moving like
an elephant (strong, powerful movements that are choppy and heavy) is an example of a
bound movement.

Focus

The category of how effort is used in space has been called space (Laban & Ullman,
1971; Logsdon et al., 1977; Stanley, 1977). However, because using the word space as
both a category term and a movement concept term could be confusing, we use focus as
the category term in the effort concept. There are two focus category movement
elements: direct and indirect.

Direct (E8) force is energy that is focused and penetrating. A sprinter in a race and
children learning how to run a track event are examples of direct force because the energy
is channeled to a single point. Indirect force is not very focused than force that moves in
a wavy or flexible manner (indirect). Another way to describe the two elements of focus
is to describe movement that comes together to a point versus movement that spreads
out, or expands. Dancers often exhibit indirect focus (or energy) as they travel in curved
or wavy pathways. Children running out onto the playground at recess often have an
indirect (E9) focus as they scatter to all parts of the area; when they run back toward the
building to find a single place in line at the end of recess, they are moving more directly.
A clean dive into a pool causing little splash exhibits direct energy; whereas a belly flop
exhibits indirect energy.

Movement Education Framework: The Relationships Concept

The focus of the relationships movement concept should be on the types of

connections that can occur when moving. Thus, the “who” or “what” of a movement is
secondary to the connections between and among the movers or objects in this concept.
Common things that have these connections are body parts, individuals, groups, rules of
how to move or play, objects, boundaries, equipment, and aspects of the various arts
(e.g., writing, music, pictures, lighting, and nature). The following five categories of the
relationships concept provide cohesion of the material presented in this concept:

• People
• Position
• Timing
• Goal
• Environment

People

People is the first relationships category and describes a variety of ways students
can be organized to relate (or not relate) to one another. The following are the most basic
categories of people.

• Solo (R1) refers to a child working by himself in a demonstration or performance

capacity. Children in an elementary physical education setting might work solo when they
are demonstrating a skill or performing a creative dance sequence.
• Alone in a mass (R2) refers to a child moving independently in her own personal
space among other children who are often also working independently.
• Partners (R3), even groups (R4), and uneven groups (R5) are important
organizational tools. It is critical at the beginning of the academic year for children to learn
how to find and work with a partner or one other child. The activity or task dictates whether
even or uneven groups are necessary. Rather than pairing children by having them count
off “1” and “2,” you can ask them to find partners with whom they think they can work well.
There are many other creative ways to form groups that are quick and encourage
inclusion and the expansion of social skills. At least 40 examples can be found at
mrgspepage.tripod.com. the same type of phrase can be used for forming small even or
uneven groups. You should give children a limited amount of time in which to find partners
or create small groups.
• Individual to group (R6) is an arrangement in which one person relates to a group
of others. In a game of Tag, one person works towards a goal that is the opposite of that
of the group (e.g., trying to make someone else “It”).
• Group to group (R7) is what we commonly think of as a team sport (e.g., one
basketball team playing against another.)

Formations are used within the people category to implement a wide variety of
activities in physical education. The following are common geometric shapes that are
used to quickly assemble people in helpful arrangements.

• Sport skills are practiced using triangle (R8) formations such as fungo hitter
sending fly balls to fielders who throw the ball back to a catcher who underhand tosses
the ball back to the hitter to repeat the sequence.
• Students might a circle (R9) when working on directions, levels, and force with a
parachute activity.
• A square (R10) is often used in square dancing.
• Little children scatter (R11) throughout the general space to work in their personal
bubbles when volleying a balloon for the first time (working individually).
• Spokes of a wheel (R12), or children forming lines radiating out from a center point,
is a formation used in dance and synchronized swimming.
• Finally, an X formation (R13) is two lines that cross in the middle instead of being
parallel to each other. This is used in doing some sport skill drills such lay-ups, in which
one-line shoots and the other rebounds and they cross over at the hoop.
Position

A variety of positional relationships are often in opposite pairs. Some of these

relationship terms are very similar, differing only in whether people are moving or
stationary. The following elements come from the category of position.

• Above/below (still; R14) refers to being on top or beneath. A child may put his hand
above the head of another child or place his hand below another child. He might sit below
a piece of playground equipment or climb above where other children are sitting.
• Over/under (moving; R15) also suggest on top of or beneath, but the person is not
stationary. Students working on passing an object form one person to another might pass
the object over their heads or between (under) their legs.
• Inverted (R16) is upside down or having the head below other body parts. This can
be demonstrated when working on gymnastics task by asking children to think of how
they can place their heads below other body parts such as their hips. A tripod as well as
a lead-up to a tripod (knee to elbow) is an example of inverted.
• Mount/dismount (R17) suggests getting onto or off of an object such as a bench
or beam. Children can problem solve how to mount a bench. Which body part would they
like to use? In dismounting, do they want to dismount with a jump, a step, or a turn?
• The elements in front of/behind (R18) are very important, particularly in educational
games. For example, understanding the positional relationships of sending an object
ahead of a team member (in front of) to achieve a successful pass is beneficial for scoring
in a game.
• Beside (R19) and alongside (R20) are very similar elements. Beside is generally
near the side of another person (e.g., classmates spread out across the gym floor doing
aerobic dance). Alongside would be very close to, or right next to, a partner as in dance
that requires them to hold hands. Using these elements correctly will help children
understand the intent as well as the meaning of each element.
• Through (R21) suggest moving from one side of a barrier or plane to the other
side, such as moving through a hula hoop that a partner is holding. You may ask students,
“how many ways can you think of to move through the hoop?” Asking children at the
nature or transitional stage to identify the plane within which they are working while
teaching the movement element through would be beneficial.
• Children who are having fun with a parachute would be asked to surround (R22)
the parachute and then place their hands in tan overhand grip as they prepare to lift the
parachute to various levels.
• As children are moving in a clockwise or counterclockwise motion with the
parachute, they are moving around (R23) in a circular motion (which is different from
surround).
• Support (R24) is a term that describes the person or object that is holding
something up, whereas supported (still) is the one who is being held. For example, when
doing a cheerleading pyramid, the bottom row of cheerleaders provides the support to
those in the top row (who are supported). Any other kind of human pyramid done in an
educational gymnastics’ unit is a good demonstration of the nonmoving aspects of
support versus supported.
• Lift and lifted (R25) are very similar to support/supported; however, lift indicates
the action of moving the person or object up. Therefore, lifting a dumbbell or lifting one’s
own arm is a dynamic movement element. Lifted describes the person or object that is
being moved: the arm or the dumbbell is lifted.
• Meet (R26) describes two square dancers coming forward to bow to each other,
and part describes the two dancers moving backward to their original positions.
• Near to and far from (R27) describe the distance between objects or people in
general space. The defensive player maybe right near the offensive player, or the
offensive player may evade the defensive player and be far away at the other end of the
field.

Timing

The category of timing in the relationships concept has three subcategories:

simultaneous, alternate, and successive. Actions in the timing category related to the
starting and stopping of movements. Actions that are simultaneous are done at the same
time (e.g., mirroring). Actions that are alternating are done one after the other. In order to
be alternating actions, one person must complete the action before the other person
begins (e.g., taking turns). In successive movements, while they are not done at the same
time, there is only a bit of a lag between when the first person completes the action (or
the first action as in a movement sequence), and the second person begins the action (or
second action as in a movement sequence).

Simultaneous movements are those where the performers are moving together at
the same time. The following elements come from the simultaneous subcategory.

• When mirroring (R28) another person’s movement, the person is often facing the
other person. When one person moves her right arm, the other person moves her left arm
exactly the same way, as if the first person were looking in the mirror.
• Matching (R29) is very similar to mirroring, except that the two people are facing
in the same direction so that when the first person moves his right arm (i.g., they are the
same, or they match).
• A contrasting (R30) movement is one that us the opposite of, or different from,
another; when one moves up, the other moves down.
• Unison (R31) refers to movement at the same time, like synchronized swimmers
who are perfectly in unison. However, the movements do not have to be identical to be in
unison. It is that they are occurring together rather than at different times that makes them
in unison. For example, it is considered unison when the teacher says “Everyone, ready,
go!” and the children do unique movements at the same time.

Alternate is the second subcategory of timing; it describes the frequent need in the
movement environment to take turns (R32). Examples are batters in softball and kickers
in kickball. In gymnastics, performers take turns making attempts such as jumping over
the vaulting horse. During the Virginia Reel, dancers take turns traveling down the middle
of the lines formed by people clapping to the music.

Successive is the last subcategory of the timing category and describes situations
in which one movement is followed by another, often as a logical response to the first
movement. Successive timing of movements is a little more complex than simultaneous
or alternate timing of movements. The beginning and ending process in successive timing
is more staggered than the very clearly identified start and stop in the previous timing
subcategories. For example, in a successive relationship, one might start to move slightly
after the first person begins moving and they might end at the same time or at different
times. The following elements come from the successive subcategory.

• A movement sequence (R33) is a really critical element because most skills are
formed by combining several parts in a specific order, such as swinging a bat or throwing
a ball. A movement sequence must have a clear beginning and a definite ending. Here is
a typical gymnastics routine that serves as a good example of a movement sequence:
step-up mount (beginning), walk across the beam, squat turn, leap, and tuck-jump
dismount (end). An offensive play in a team sport can also represent a highly complicated
movement sequence that involves many people logically timing their movements to be
successful.

• Canon (R34) is a really fun movement element to practice. The canon is

successive in that one person begins a movement and another person initiates movement
that is begun prior to the ending of the first person’s movement. Like movement sequence,
it is a series of movements, but it is the timing of the dynamics that sets this movement
element apart. Like the exploding of fireworks in the night sky, canon movements use the
emphasis of the expression of effort to distinguish the timing of the movements. Each
series of explosions has unique pauses between the sounds that make up the unique
dynamics. For example, conga line dancing and stadium waves are silly ways to teach
the idea of canon. Movements are done one right after the other with the same dynamics
(effort) as the person who originally performed the movement.

Question/answer (R35) is an interesting relationship of timing. The timing

relationship for question and answer is captured in the understanding that there is a
conversation occurring. Instead of using words, the conversation is being done with
movements. The first movement is presented as some kind of question or challenge. A
movement is then used to respond to the query. In terms of timing, there may be an
immediate response or there may be a delay. The amount of time is determined by the
respondent’s answer. This is often the case in a dance when the lead dancer presents an
open hand to their partner, asking the question, Will you join me? The partner then
responds, Yes, by taking the leader’s hand. Another question/answer scenario common
to a game is exemplified when one player sends a lob shot over a net to their opponent.
The question is, can you hit this? The opponent’s answer is likely to be a smash in
movement language or, in English, a resounding Yes, and take that!

• In act/react (R36) the main idea is that one movement causes another. Act/react
is a proportional timing issue. If there is a slow action, then the reaction is slow; if the
action is fast, then the reaction is fast. Bouncing on a fully inflated balloon would result in
its popping loudly. Act (or cause) = bounce; React = pop!

• In lead/follow (R37) the second movement is a form of copying the first movement.
Lead/ follow timing is about the followers attempting to keep up with the leader. One
person (the leader) begins the movement and the others (the followers) begin to move as
soon as they recognize the movement and can copy it. The followers do not wait for the
leader to complete the movement prior to beginning their movement. The classic game
of Follow the Leader is a great example of this timing. Exercisers in an aerobic dance
class are also demonstrating the lead/follow timing aspect intended here. The more
familiar the followers are with the leader’s movements, the more identical their timing is
with the leader. The more unfamiliar the followers are with the leader’s movements, the
more delayed their movements are from the leaders. Simon Says is a game in which one
person does a movement (e.g., takes three steps forward) and the rest of the players
must do exactly the same movement (but only to the phrase Simon Says). Lead = three
steps forward; Follow = three steps forward.

Goal

The goal of the movement is the next category in the relationships movement
concept and describes how people connect to one another. There are three basic
situations, each with a different goal: cooperative, collaborative, and competitive.
Cooperative (R38) situations are those in which people are helping each other reach a
common goal, such as assisting a partner in a drill or in a game. The ultimate cooperative
relationship is the functioning of a team in which each player has a specialized role.
Collaborative and competitive goals are similar in that they refer to a desire to be better
than some-one else. Collaborative (R39) involves outwitting an opponent by cooperating
with another (possibly an opponent) to create a winning strategy, whereas in competitive
(R40) the goal is simply trying to win. For example, in a game of Tag, the person who is
“It” may try to tag another person to win by not being “It” anymore; this is competitive. If
we add the element of several players collabo-rating, or working together, to create a
strategy to physically shield themselves from the “It” player, we now have a more complex
and very interesting collaborative relationship.

Environment

In this final category, the environment can be either static or dynamic. In a static
(R41) environment, the object, implement, or apparatus is fixed, or stationary. For
example, a target on the wall toward which students are throwing balls is static, or
stationary. A bench, box, or beam on which students are balancing does not move. In a
dynamic (R42) environment, the object, implement, or apparatus is in motion. A small
group of players throwing and catching while traveling is an example. Both the players
and the object are in motion.

Definitions of Movement Education Terms

Because the movement elements describe the movements to be performed, they

are really the most important content in the movement education framework. Teaching
the movement elements is the priority over teaching any of the other content or terms
(i.e., movement concepts or movement categories). The use of these elements in
activities and tasks forms the basis for all movement endeavors. The more successful
and broader a child’s movement competency, the more likely that child is to continue to
participate in movement opportunities throughout the life span. Definitions of the
movement elements appear in both Spanish and English in the glossary at the end of this
book. We hope this glossary of movement education terms and the examples in the
activities chapters (7, 8, 9, and 10) as well as in the core content area lessons (chapters
11, 12, and 13) provide a better and more consistent understanding of these terms in both
the physical education profession and the general population and culture.

Utilizing the Movement Education Framework

The framework may sound complicated, but it is actually quite easy to remember
and use in your own classes. You can see table 2.1 for a quick reference and you can
see the glossary for complete descriptions. For easy reference when you don’t want to
hold your book, you can use the Flip ’n’ Fold shown in appendix A. Appendix A is a
presentation of the entire movement education framework. After completing the two paper
folds, the booklet size of the Flip ’n’ Fold makes it easy to store in a pocket or on a clip
board when teaching and makes a handy tool for teachers or even students, depending
on their reading level. The sections of the Flip ’n’ Fold document (its name refers to the
two folding procedures used to make an 8.5-by 11-inch piece of paper read like a book)
are presented in figure 2.2a (body), figure 2.2b (space), figure 2.2c (effort), and figure
2.2d (relationships). There are four sections to the Flip ’n’ Fold; each section represents
one of the movement concepts. The concept is listed at the top of the section followed by
numbered category terms (in figure 2.2a, the body category terms are numbered 1 to 4).
The subcategory and subdivisions are in bold under the actions of the whole-body
category. There are six space category terms and four effort categories. There are five
category terms for the relationships concept, with three subcategories in the timing
category. The movement elements in each section are the actual movements that
children need to learn to do. The terms listed within a category are what we are calling
the movement elements. For example, in figure 2.2a (body concept) under the body
shapes category (number 2) are the movement elements narrow, wide, round, twisted,
symmetrical, and asymmetrical. An alphanumeric code helps identify each term. For
example, the letter B is used to identify all of the terms associated with the body concept,
the letter S identifies the space concept movement elements, the letter E represents the
effort concepts, and finally, the letter R signifies relationships concepts. In addition, each
movement element is numbered with the first term for each movement concept beginning
with 1. The alphanumeric code is used on the Flip ’n’ Fold, in the glossary at the end of
this book, as well as on the pocket chart teaching cards available from Sportime (see
appendix C for information on how to obtain the pocket chart cards) and any other related
products. An additional element that you will see in the Flip ’n’ Fold, in this book, on the
related pocket chart cards by Sportime, and on a poster set by Sportime, is a set of
characters called the KinetiKidz. The job of the KinetiKidz characters is to help children
everywhere to move more, feel good and think better. The KinetiKidz characters
demonstrate technically correct form for each of the 121 movement elements (50 body
elements, 20 space elements, 9 effort elements, and 42 relationships elements). One
KinetiKid character is on each page of the Flip ’n’ Fold demonstrating one example of the
movement elements for that movement concept.

The characters also appear on a set of pocket chart cards and a set of 18 posters
(to be used as word walls) available from Sportime at www.sportime. com. The card set
has both a written definition of each term and a line drawing of a KinetiKidz demonstrating
the movement element. The KinetiKidz characters help to teach nonreaders and visual
learners. The Flip ’n’ Fold is simply a means to provide a structure to the ideas of
movement education. We have attempted to create the most authentic representation we
could from the movement education literature, recognizing that compromises and
interpretations may have limited how true we could be to history. Movement education
experts have a variety of opinions and view-points regarding classification and definition
of terms. Thus, we acknowledge that what we are calling the movement elements can be
arranged, described, and defined in a variety of equally valid ways. We do not present
the Flip ’n’ Fold as the correct or only organization of movement education terminology
and ideas. What we hope to provide is a presentation of the movement education
terminology that is practical, easy to remember, and meaningful to both teachers and
children, and that provides a current and clear vision of the NASPE national physical
education standards 1 and 2.

Extending the Basics for Children

Critical to any child’s movement success is the way the movement challenge is
presented. Central to the movement education framework approach are the following
general objectives:

• Success for all

• Activity for all

• Contribution by all
Children are encouraged to problem solve and thus take control of their own movement
choices. Teachers guide children toward these challenges and present movement
problems in such a way that children are encouraged to apply their movement knowledge
toward success. Learning occurs in three domains: cognitive, motor, and affective.
Movement education facilitates movement content learning both cognitively and
physically (motor). When children learn the entire framework, they have a strong basic
movement (motor) foundation. This foundation not only consists of movement knowledge
(cognitive), but also extends to a movement vocabulary that aids in movement acquisition
(motor), and finally to valuing physical activity for a lifetime (affective, which encompasses
NASPE standard 6). The KinetiKidz motto of “move more, feel good, and think better”
thus addresses all three learning domains (motor, affective, and cognitive).

The Big Picture: Movement Education Tree

Figure 2.1, which showed the roots of movement education, illustrates the general idea
of progression in movement education. Figure 2.3 is a more complete picture of the
movement education tree showing how the movement concepts fit into a curriculum and
lifelong movement framework.
 The roots of complex movement lie in the development of the movement elements
that are organized into the four movement concepts: body, space, effort, and
relationships. Thus, the tree roots in figure 2.3 represent this basic beginning point
(presented earlier in figure 2.1), which serves as a basis for movement language and
content that can be applied in the primary grades or later in middle and high school. A
more detailed discussion of the tree root analogy was presented along with figure 2.1.
Because young children can readily acquire a movement foundation, movement concepts
should first be introduced in early child-hood. Continued refinement and broader
experiences should follow preschool into elementary school so that children become
more skilled and move to higher developmental stages. The basic root movement
concepts are combined in various ways into three general areas at the center, or core, of
the tree. Typically, the core of the tree (the trunk), representing the core content areas of
movement, is the focus in later elementary grades and in middle school. In middle school
and high school, the curriculum branches out to provide more specialized and complex
movement challenges in each of the three core content areas. The main branches that
divide off at the top of the tree represent the three specific core content areas (educational
games, educational dance, and educational gymnastics). The leaves of the tree represent
specific activities within each of the three core content areas. For example, floor hockey
is a game; creative, folk, or square are dance forms; and rolling or weight transfer skills
are examples of gymnastic tasks that are all frequently used at the elementary level.
Educational games, educational dance, and educational gymnastics are the three core
content areas of movement education. The MEF organization allows movement
education content to be structured and communicated in a way that students can best
understand and utilize. We provide brief descriptions of the core content areas here to
provide a complete picture of the application of the movement education framework.
Educational Games

Educational games essentially address manipulative skills (e.g., striking, throwing,

catching) that help children learn to become skillful games players. These manipulative
skills are combined with non-locomotor skills and locomotor skills as well as many of the
other movement elements within the space, effort, and relationships concepts. All
combine to develop children who are skilled at playing games. The games used in this
content area include activities as simple as standing in self-space and throwing to a spot
on a wall. Children may work on throwing objects such as beanbags or balls at various
levels and with varying amounts of force. The game aspect may involve having children
collect the object and seeing how many times they can send it to the desired target.
Children can be challenged to move to different starting places and use different amounts
of force depending on where they are standing. Another game example is One Step.
Working with partners, children throw and catch an object. When they are successful,
they take one step back and continue. Games at the elementary stage of development
can have as few or as many rules as you deem necessary. As your students’ progress to
a mature or transitional stage of development (see chapter 3), you can add additional
rules and skills.

Educational Gymnastics

The focus of educational gymnastics is for the individual child to be successful; it

allows for the “unique style in which each [child] moves, learns, and develops” (Logsdon
et al., 1984, p. 241). This approach encourages children to feel movements, to learn how
their bodies move, and to develop variety in their movement. There are no stunts that all
children need to perform; rather, they are offered choices and options to explore as they
are ready. The problem-solving approach is most critical in educational gymnastics. This
is highlighted in chapter 12. An educational gymnastics activity at the elementary school
level might involve having children choose a balanced shape and try to hold that shape
for at least three seconds. They can then change their shape. Children can also be asked
to create a gymnastics routine that consists of striking a balanced pose, followed by
traveling in a pathway of their choice and then performing a locomotor step or springlike
action, followed by a balanced ending pose. Children at a mature developmental stage
might create gymnastics routines with partners or in small groups that consist of a
balanced shape, traveling, rolling, and meeting and parting. They may be asked to include
mirroring or matching. The children can write their routines down on paper, practice them,
and then perform them for the class. Educational gymnastics differs from traditional or
Olympic gymnastics in that children create their own responses to gymnastics problems.
Educational Dance

The key to educational dance is movement expression. What type of mood or feeling
is created when children perform a dance? As implied in figure 2.3, all types of dance
forms can be used in the educational dance area. For example, children can apply
elements from each of the movement concepts when working on folk or square dances.
Applying creative movement is a wonderful way to enhance problem solving. Chapter 13
provides an Umbrella Dance example: students pretend to become umbrellas as they
sway in the wind and rain. Once learned, movement elements become part of each core
content area.

Presentation for Learning

The prudent physical educator introduces or reviews movement concepts,

categories, and elements very early in the academic year, thus pro-viding a structure to
the core content areas to be presented throughout the year. The ultimate goal of the
physical educator or elementary classroom teacher administering physical education is
to teach children sufficient movement knowledge to help them develop their skill in
whatever movement problem is presented. Children should not only develop a movement
word bank, or vocabulary but also be able to transfer this knowledge to how their bodies
move and the movement principles involved in all types of movement problems. Initially,
you should begin by providing lessons that focus on building a movement word bank in
each of the four concept areas. Although all movement concepts and elements should be
covered and will eventually be presented as you move into the core content areas, there
are critical categories and elements that should be taught prior to implementing any
lessons in educational dance, educational gymnastics, and educational games. These
critical elements provide a foundation for acquiring a movement word bank (content
knowledge) for future movement elements and tasks. The critical concepts include neither
all of the movement categories nor all of the movement elements—only the most essential
movement elements are included in this list. For example, learners first need to become
familiar with the body concept categories of body parts, body shapes, and some actions
of the whole body. As noted in chapter 7 (Body Activities), activities may include body
part identification, making body shapes, and holding those shapes for a count of 3. The
critical categories and elements include the following with the corresponding pocket chart
card alphanumeric reference in parentheses.

Critical Body Concept Elements

• Body parts—Head, neck, ears, eyes, nose, mouth, shoulders, elbows, wrists,
hands, fingers, belly, chest, spine, back, bottom, hips, knees, ankles, feet, and toes
(B1)

• Body shapes—Narrow, wide, round, and twisted (B2-B5)

• Actions of the whole body • Nonlocomotor—Stretch, curl, twist, dodge, and balance
(B13-B15, B24, B25)
• Locomotor—Run, leap, hop, skip, jump, gallop, and slide (B33-B39)

Critical Space Concept Elements

• Location—Self-space and general space (S1-S2)

• Direction—Forward, backward, and sideways (S3-S5)

• Levels—Low, medium, and high (S10-S12)

• Pathway—Straight, curved, and zigzag (S13-S15)

Critical Effort Concept Elements

• Time—Fast, slow, and acceleration (E1-E3)

• Force —Hard and soft (E4-E5)

Critical Relationship Concept Elements

• People—Partners, even groups, and uneven groups (R3-R5)

• Position—Above/below, over/under, beside, alongside, and near to/far from (R14,
R15, R19, R20, R27)
• Timing—Taking turns, movement sequence, and lead/follow (R32, R33, R37)

Within the space concept, learners should first acquire an understanding of location,
direction, level, and pathway. For example, becoming familiar with personal and general
locations and high, medium, and low levels will help in future activities such as dribbling
and throwing and catching. Use of directions can later be applied to passing. Similarly, in
the effort concept area, learners should first acquire movement knowledge of fast, slow,
and acceleration (time), and strong (hard) and light (soft) force. Once this knowledge is
established, they can apply these elements as they practice locomotor skills, dribble a
ball, or develop a movement sequence in gymnastics. Finally, in the relationships concept
learners should first develop partner relationships, work in small groups, and understand
the positional relationships of above, below, in front of, and behind. In the timing category,
children need to be able to take turns (or work one after the other). This will also help with
classroom management. Movement sequence is a critical element as children can work
independently starting from the initial stage of development to put two movements
together (e.g., wide balance followed by step-like action of walking). In order to be
successful in the three core content areas, children need to learn how to combine
movements together. Lead/follow is important to include early as children need to be able
to follow a partner’s movement in the three core content areas. More advanced learners
apply these elements in game like situations as they relate not only to equipment and
apparatus, but also to other learners. Specific applications of these critical elements to
core content areas are provided in chapters 11, 12, and 13 with lessons and unit
examples.

Teaching from the Movement Education Perspective

The movement education perspective differs from other teaching approaches in its
focus on problem solving. Although the problem-solving approach has often been
employed over the years in teaching physical education, movement education uses it in
a unique way by incorporating a cognitive body of knowledge: the movement word bank.
By achieving a cognitive understanding and applying the movement elements, learners
discover ways their bodies can move and how they can solve movement problems. We
provide examples of how to include problem-solving activities (chapters 7-10) and lessons
(chapters 11-13). If you use a process of discovery and the techniques of problem solving,
and accept many answers as correct, you will maximize this dual cognitive and motor
approach. In this way of teaching physical education, you can present movement
problems through a questioning style as follows:

• Show me how you can . . . .

 • Can you think of a different way to . . . ?

• How many different ways can you . . . ?

The movement education approach contributes to the total education of the child:
physically, affectively, and cognitively. Along with the cognitive and motor advantage, the
movement education approach enhances the affective domain as well by encouraging
learners to build working relation-ships with partners and small groups. Learners also
acquire working and applied definitions of cooperation and collaboration, as well as
competition.

Summary

This chapter is really the heart of the book. It is in this chapter that the movement
education con-tent of teaching in elementary physical education is given. A tree roots
analogy for the movement concepts is set up early and is expanded upon later to
complete the entire MEF conceptual model. A set of organization terms (i.e., concepts,
categories, and elements) is laid out to help clarify the way that movements and ideas in
our presentation of the MEF are grouped. The majority of the chapter is dedicated to the
details of definitions, descriptions, and examples of the entire MEF. Our pocket guide to
the MEF, which we fondly call the Flip ’n’ Fold, is unveiled here along with encouragement
for readers to refer to the glossary (available in both English and Spanish).

LEARNING ACTIVITIES/ASSESSMENT
*A quiz will be uploaded in the google classroom next meeting.
*Psychomotor test will also be uploaded separately.

REFERENCES
1. Retrieved from www.mhhe.com/graham8e
2. Abels, K. and Bridges, J. (2010). Teaching Movement Education: Foundation
for Active Lifestyles. Sheridan Books. United States of America
3. SHAPE America. (2013). Grade-level outcomes for K-12 physical education.
Reston, VA: Author.
4. National Association for Sport and Physical Education (NASPE). (1995). Moving
into the future. National Standards for physical education: A guide to content
and assessment (1st ed.)