| Teaching tumbling in a physical education class is fun, | | | | the most important one, which is usually at the end of |
| but it does require technique. | | | | the series. It is assumed that the proposed |
| Just as for any other sport, there should be a short | | | | progressions are subject to change and adaptation by |
| warm-up before strenuous action begins. This may | | | | the instructor to fit the needs of various classes. |
| consist of general class calisthenics or specific | | | | Stimulate group activity. In schools where companion |
| limbering exercises (simple tumbling stunts) for the unit | | | | tumbling has been taught properly in physical education |
| in progress. Performers cannot be depended upon to | | | | classes, it has proved very popular. It is only natural for |
| warm up individually. | | | | performers to want to work together. Group stunts |
| Use variations to impress the fundamentals of a stunt. | | | | are particularly helpful in motivating the mediocre |
| Because of the lack of adequate material, most | | | | performer. The indifferent performer often will put forth |
| instructors go through the elementary tumbling stunts | | | | his best efforts so as not to spoil a group stunt. The |
| too fast. Much time should be spent on these because | | | | performers can learn most stunts best by working in |
| they are basic to advanced tumbling. Therefore, the | | | | pairs if they are really taught how to assist each other. |
| authors have put with each page of illustrated | | | | When working in pairs or small groups, it is very |
| fundamentals a companion page with variations and | | | | important that the same partners work together, and |
| group exercises. As the course progresses, unlimited | | | | that the same bottom men are used, so that mutual |
| possibilities for variations will be found in combinations | | | | confidence is established between the performers. |
| of preceding stunts. By the use of variations, the | | | | The group stunts suggested in each of the units are |
| performers may be given what appear to be many | | | | very simple and merely serve to illustrate the various |
| different stunts, to satisfy their short interest span; yet | | | | types of possible group progressions. Each one may |
| they will still be working on and improving the same set | | | | serve as the beginning of a series to be developed to |
| of fundamentals. | | | | fit a given group of performers. It is well to have the |
| Teach tumbling stunts as parts of routines. It will be | | | | routines begin and end at different places for the sake |
| noticed, upon glancing at the illustrations in this book, | | | | of variety. These group stunts may be done on a |
| that very little stress has been placed on a definite | | | | grass lawn, a wrestling mat, or several small mats |
| beginning and finishing form for each stunt. Each should | | | | placed together to form a square. This area should be |
| be not an exercise within itself but part of a routine; | | | | from 16 to 25 feet square, with the center circle five to |
| hence all the illustrations were drawn so as to show | | | | eight feet in diameter. |
| progression within a routine. | | | | Supplementing this type of group tumbling, a wealth of |
| Use definite progressions. The program presented | | | | pyramid work can be used successfully for exhibitions |
| herein has been built on definite progressions, which | | | | and demonstrations. Some group or squad might be |
| were set up only after careful study had been given | | | | asked to give a short demonstration each week during |
| to the difficulty, danger, and rate of transfer of training | | | | part of a class period. This would be an outlet for |
| in each stunt. Each step within the progression helps to | | | | individual expression and a stimulus to do creative |
| develop the correct fundamentals for the execution of | | | | work with the stunts thus far mastered. |