Teaching Team Games in Physical Education

Extract

[...] The situation refers to the learning field aimed at leading the student to express themselves in front of others through an artistic and/or acrobatic performance. The students must create a dance to be seen. In the situation, we notice that the students easily fall into imitation. In order to help the students progress, it is interesting to introduce constraints based on the components of the outline. Reasons explaining the students' behavior To explain the students' behavior, it is interesting to rely on the typology drawn up by Bucheton and Soulé2 : ? [...]

[...] This allows for as many timeouts as needed, to use the neutral zone as a strategic retreat zone More difficult: limited number of passages in the neutral zone (one or two times per game). ? This requires using the passages in the zone strategically. Interdisciplinarity Write the game rules using adult dictation. Conclusion This situation allows the child to transform their view of being eliminated. There is only one winner: 'the last pig'. To win, the only solution is not to get caught. Being eliminated does not mean losing, but rather changing roles (while knowing that you can hold this role in another game). [...]

[...] The other components of the épure: time, space, and energy, actually offer a wide range of variants allowing the student to explore their motor skills and creativity: shortening the time of the choreographic phrase allows limiting the time when the student will try to imitate; defining spaces allows constraining the student to explore certain movements (performance on the ground, for example); varying the energy by asking to slow down or speed up the gestures finally offers the possibility of discovering how to decompose a gesture or, on the contrary, how to condense it? Within this framework and in reference to the typology drawn up by Bucheton and Saulé, it can be said that the teacher adopts a posture of control. [...]

[...] It is by imposing a precise framework that he offers students the possibility of exploring new gestures. Interdisciplinarity One can propose to students to study the text 'Kandinsky the painter of colors and sounds'3 This would allow discovering Kandinsky's childhood as well as the relationship he maintained between painting and musicality. This work could be completed, within the framework of the history of art, by studying Kandinsky's works. For example, one could ask students to imagine what music Kandinsky had in mind when he painted such and such a work. [...]

[...] Epistemological obstacle: Finding original movements with one or several parts of his body. Moving in an aesthetic and creative way. Emotional obstacles: In this situation, narcissistic stakes are high. The other's gaze weighs heavily and starts to have consequences on the way we behave. We can also highlight that at this age, some students may have been victims of bullying. Stakes It is interesting to de-dramatize the situation, limit the scope of imitation, and force students to search for original gestures. [...]