THE TEACHING STRATEGIES

IN
PHYSICAL EDUCATION
 NECESSITY FOR WELL-
UNDERSTOOD
METHODS
According to studies, it has also
affected the attitudes of individuals towards
physical education. While it is true that some
of the usual methods of teaching maybe
affective in teaching the cognitive phase of
physical education, this may not be
applicable in the psychomotor
teaching phase of the
program.
TWO PARTS:

Methods in teaching the cognitive phase

Methods in teaching the psychomotor
phase of physical education
 TEACHING THE COGNITIVE PHASE OF
PHYSICAL EDUCATION
LECTURE
- the only justification for the use of
lecture as a method of teaching is when there
is a special topic which needs to be presented
with authority, and when there is a dearth of
textbooks or reference materials.
QUESTION AND ANSWER
- also known as Socratic Method. An effective way
to hold the attention, arouse interest of the pupils, keeps
the topic or problems in mind, serve to ascertain the
extent of knowledge, and promote discussion is the
effective use of the question and answer method.

Socrates- a Greek philosopher, used this in

teaching his pupils
-this requires skill of the teacher in the art of
questioning so that the pupil is led to arrive at a concept
or generalization.
GROUP DISCUSSION
- can be a good way to stimulate the interest
of the pupils to interact with other members of the
group. This facilitates permanency of learning.
-will also challenge thinking and thus develop
reasoning power
-The role of the teacher in this
encourage
methodthe is toshy and the timid
children to by not allowing the
participate
talkative students
extroverted
to dominate
or the discussion.
DEMONSTRATION
- or information on
education
instruction
can be physical
made more effective if
demonstrations are provided to enhance learning or
retention.
-It must be well planned and the equipment
and materials to be used must be organized at the
place where demonstration is to take place.
PROJECTS
- can be prepared by the students and
placed on display.
-can be an effective way to provide
opportunities to discover the talents of children
in the field of creativity.
PROBLEM-SOLVING
- the teacher should have the ability t
help children identify their problems
confronting them, explore alternative
solutions and select the best solution based
on the best knowledge available and in
keeping with personal values.
HOMEWORK
- must be an outgrowth of the lesson. A
skill which has not been satisfactorily
mastered may cause the teacher and students
to make an agreement that the practice of
the skill should be done as part of the child’s
homework.
 TEACHING THE PSYCHOMOTOR
PHASE OF
PHYSICAL EDUCATION
TWO GENERAL METHODS;

Whole-Part Method
Part-Whole Method
WHOLE-PART METHOD
- it is more meaningful for the
learner to see the movement
activity in its entirety first and then its
parts, rather than the parts first and
then the whole activity. Sometimes
called whole-method because of the
part-whole
second demonstration of the skill
pattern after the analysis of the parts.
GESTALT THEORY
- student gains an insight into
the whole activity and so he forms
his objective for learning. He makes
an analysis of the parts that make up
the whole. This favors the
permanency of learning.
PART-WHOLE METHOD
- the premise of this method
of teaching is that the part is
more important than the whole
since the parts make up the
whole.
THORNDIKE
- (stimulus-response theory)
learning the parts and mastery
of these parts lead to learning
the whole activity.
SPECIFIC TEACHING
SUGGESTIONS AND
PROCEDURES
 A. Teaching suggestions in developing
skills
1. Know the skill to be taught and the
standards of performance.
2. Have the skill demonstrated to the
class.
3. Have the class evaluate the elements of
correct form displayed by the
demonstrator.
4. Give time and space for practice of the
new skill.
5.Evaluate the achievement made
considering individual progress
commensurate to his ability.
6.Have the skill applied now in
complex situations as in games,
rhythmic activities, etc.
7.Encourage the children, praise
honest efforts, and avoid drudgery.
 B. SUGGESTIONS IN LEADING STORY
PLAYS
1. Help children work out and adapt
story plays based on stories or
incidents familiar to them.
2. Try to have the children portray the
story vividly.
3. Suggest the movements sometimes,
allow the children to suggest the
movements at other times.
4.Emphasize the vigorous
action of the whole body with
large and free movements.
5.Relate the story play to all
phases of school work.
6. Use no formal commands.
 C. STEPS IN TEACHING A NEW GROUP
GAME
PUT THE CLASS INTO FORMATION

1. Introduce and motivate the game.

2. Explain the game clearly in
the fewest words possible.
3. Demonstrate or have a trial game.
4. Ask for questions to clear up
hazy points, if any.
5. Play the game.
 D. STEPS IN TEACHING A LEAD-UP OR
SPORTS-TYPE GAME

INTRODUCE AND MOTIVATE THE ACTIVITY

1. Explain briefly the organization

and skills needed in the activity.
2. Analyze the activity for its skill
elements. If possible, show the
correct form of the skill.
3. Ask questions
understanding and
possible difficulties.
4. Have a trial game.
5. Play the game.
E. Practical hints to the play leader:

1. Know the game thoroughly before

attempting to teach it.
2. Complete all preparations for an
event before starting to introduce
it. Boundary lines, starting lines,
balls, etc. must be prepared
beforehand.
3.Never attempt to teach anything
until quiet and attention are
absolute.
4.Explain a game briefly and to
the point. Children want action.
5.If an activity is going badly, stop
it, iron out the difficulty and then
start again.
6.Keep things moving for the entire play
period, never allowing the class to lag.
If enthusiasm dies and players get cool
it will take time to get them interested
again.
7.Maintain a general condition of order.
Don’t tolerate disorder but don’t hold
the class in strict discipline. A happy
medium of the two extremes is best.
8.Develop the spirit of play by making
the activities as funful as possible,
rousing enthusiasm, stimulating the
spirit of completion, and keeping things
lively.

9.Always insist on fair play; enforce the

rules.
TEACHING PROCEDURES FOR
STUNTS
 Approach in the Primary Grade Level
1. The story approach in beginning stunts
Starting young children with stunts can
be very well done by presenting a dramatic
story situation. Basing on pupils previous
experiences, the teacher makes the
children imitate their own conception of the
movements of characters in the story he is
going to relate. As the story is being
presented or related, the children move
about to imitate
the movements of a character just
mentioned.
2. The problem or Question
approach
To stimulate the imagination
and help children explore stunt
activities, the teacher may post a
problem or ask some questions
which she can weave into a story
or series of actions.
 3. THE GAME
APPROACH
Children love to play games and this
makes the game approach very
appealing our young children.
to
Games which require the performance of a
difficult task can be very challenging to the
child.
 APPROACHES IN THE UPPER
ELEMENTARY OR HIGH SCHOOL LEVEL

The Whole-Part-Whole Method in Teaching

Stunts
1. Describe the stunt clearly for the children
to visualize the picture in its entirety.
2. Demonstrate the stunt as a complete
activity.
3. Describe and demonstrate the series of
related individual positions that make up
the whole activity.
4.Describe and demonstrated the
whole stunt again showing the correct
form as possible.

5.Have the children establish

standards of performance based on
the demonstration.

6.Have them try and practice the stunt

by themselves.
Safety Precautions:

1. Tennis shoes or rubber shoes are advisable

to be worn.
2. A sufficiently large area is
recommended so that the children can be
away from walls
or furniture.
3. Mats should be used wherever possible. A
grassy lawn can be a good substitute.
4. The play area should be safe from hazards.
Suggestions in Conducting Stunts
and Tumbling’s

1. Divide the class into squads or small

groups, the members of each group
about the same age, size, weight, or
ability.
2. Select squad leaders who should be
instructed to assist through the trials.
3.Learn to recognize signs of fear or
hesitation. A pupil gains self-confidence by
giving a helping hand at first and gradually
leaving him alone as he improves.
4.Guard against overstraining pupils. Be
alert for signs of fatigue or illness.
5. Introduce the spirit of rivalry and
stimulate interests in competition by having
each child keep a record of
his
accomplishment.
Suggestions for Teaching and Conducting
Exercises

1. Study and practice the exercise yourself

before teaching it to the class. Be
prepared to demonstrate it accurately
when necessary.
2. Put class into formation before starting
the exercise.
3.In teaching an exercise, have the class respond
to commands, then by counts. This is the time to
correct wrong execution of the command and is a
test on the ability to respond properly. Then the
exercise can be done rhythmically in 16 or 32
counts.

4.the class at different angles Insist on good

posture and good performance.
Important Points to Consider in Creating
Exercise
1. Have in mind the developmental needs of the
children.
2. Observe progression of exercises. Start with
easy
movements and gradually have more complicated
ones.
3. Variety of movements or combinations may add
interest and will also involve more muscle.
4. Have an exercise or combination in 16 or 32
counts.
5. Observe symmetry and unity in creating
exercises
Suggestion for Teaching and Conducting
Balance Beam Exercises

1. Teach how to mount and dismount correctly.

2. Try the exercises on the floor first before doing
them on the beam. Give corresponding count or
counts for every movement.
3. Pair off the children, one acting as support while
partner performs on the beam with inside hands
joined.
4. Have the exercise tried on beam without any help,
but spotters must be ready to assist.
5.Have two or three beams side at
considerable distances and an exercise
performed by two or three children on the
beam with inside hands joined.

6.Have an exercise performed singly in slow

tempo first, then in normal tempo.

7. Observe progression of exercises.

Teaching Procedure in Pyramid-Building

1. Review fundamental positions which

may be combined in various ways to
build individual poses.
2. Review also stunts which may serve as
poses, such as handstand, shoulder
stand, etc.
3. Teach commands which unify the
movements of the group.
4.Begin with simple formations and
gradually progress to more complex
structures.

5.Always begin a figure with the group

standing in a straight line formation side by
side.

6.At a signal, the performers walk to their

assigned place and stand waiting ready to
mount.
7. At next signal, the top children mount supported
by the performers who maintain erect or
kneeling positions in the complete pyramid.
8. At last signal, performers who do not support
others and who assume position completing
motionless attitude should prevail for a few
seconds.
9. Once in position, an absolutely
motionless attitude should prevail for a few
seconds.
10. Dismount on signal and then the group returns
to original straight line formation.
 TEACHING
SUGGESTIONS FOR
RHYTHMIC
ACTIVITIES
Fundamental Rhythms

1. Select music characteristic of the fundamental

movements to be performed. Music with
even rhythm can be good for walking or
running, while music with uneven rhythm can
be suitable for light lifting movements.
2. Let the children listen to the music so they
can mentally relate the activity to the music
before trying it.
3. Occasionally, and when necessary, ask the
children to clap the rhythm.
4. Let the children try the activity informally
around the play area.
5. After the class has tried the activity, select
several who do it well to show it to
the
others.
6. Give help to those who cannot do
well. Avoid embarrassing or
frightening the
child.
7. In teaching combinations, discuss first the
two movements to be combined,
then
Rhythmic Interpretations
A. Mimetic Rhythms
1. Select the subject or idea to be imitated on the
basis of its actual functioning in the life and mind
of the child. It would be best if the idea comes
from the children.
2. Discuss with the children the subject for imitation
or interpretation to the end that they can relate
the rhythmic activity to their own understandings.
Discuss also the needs and feelings which might be
expressed in relation to the character of animal or
subject to be interpreted.
3. After listening to the music, the entire
group might try the activity at the same
time.
4. Praise those who show originally to
discourage imitating others.
5. Trying out the “best ideas” expressed by
the children may provide opportunities
for the child to develop his own
standards in judging good expressions as
well as for comparing his ideas with
others.
 B. Dramatized Rhythms
1. Select nursery rhymes, poems, stories,
or songs which are significant
to the interest
of the child at the time. The material
may have been taken up in Language Arts
or in
any other subject.
2. Select music that fits the rhythmic phrases
of the dramatization.
3. Discuss the story or poem as a whole with
the class so that the children can get
the whole picture of the plot, the
4. Let the children suggest what part
may be adapted to rhythmic work.
5. Permit the free expression of
many ideas, accompanied by group
discussions on the qualities of each in
respect to what is needed on the
basis of the standards discussed.
6. Plan with the children how the
parts are assembled for
presentation.
Singing Games

1. The song for a singing game may

be taught during the Music period.
2. Have the children express what
the music means to them by clapping or
by
any bodily movement.
3. Encourage originality in
interpretation and let the children
suggest appropriate
actions.
4. Encourage individual suggestions, have
the class select the movements
appropriate for the grade .pupils maymost be
guided in such a way that the game will take
form as the directions indicate.
5.Necessary skills should be practiced to gain
enjoyment and satisfaction as a result
of correct performance.
6.Freedom of movement should be stressed
at all times.
Folk Dancing
A. The selection of Dances

1. Is there any possibility of integrating it

with related classroom work?
2. Is it suitable for the rhythmic and social
development of the group?
3. Are the steps and figures of the dance
within the ability of the class?
4. Are there social and recreational
possibilities of the dance?
 B. The Presentation of Dances
1. Set the stage for the dance. This is done by
discussing with the children the background
of the dance, the customs, life, mood or music
of the people from whom it originated.
This will provide understanding
and appreciation and also proper
expression in dancing.
2. Have the children to the music.
Always give a motive or motives for
listen
listening. Clapping the rhythmic patterns or
accent of the music may help improve a
better sense of rhythm.
3.Teach new terminologies, if any that are
to be used in giving directions so that they
will become familiar with these descriptive
terms.

4.Describe the step first rather than

demonstrate to give children practice or
drill in following directions.
5. After teaching a new figure, have the children
dance from the beginning to have a feeling of
continuity.

6. Provide enough practice or drill but avoid too

much of it, just enough to insure satisfaction or
enjoyment.

7. Be loyal to traditional steps. The creative element

in folk dancing is in the imaginative interpretation
or self-expression but not the invention or
changing of steps.
Suggestions for Teaching and Leading Marching
Maneuvers
1. Test your ability in marching before leading
your class.
2. Be an unquestioned leader and
secure
absolute order.
3. Require precision of movements
as prescribed.
4. Stay at strategic positions where you
can
view or see the entire class at a