1. Teaching Styles, Presentation of Practice, Types of Practice and Methods of Guidance Revison

2. Teaching Styles Command Reciprocal Discovery Problem Solving

3. Command Teacher makes all the decisions with no input from the learners Clear instructions and objectives, large groups catered for, control and discipline maintained Possible lack of understanding, little social interaction, little creativity, limited individual feedback

4. Command Used when:  Groups are large or undisciplined  Novice performers need to be taught recognised techniques  Dangerous situations  Complex skills

5. Reciprocal Style Most decisions made by teacher with some learner input Instructions and objectives are clear, social interaction skills are developed, some individual feedback received, self-confidence increased May be difficult for beginners, performers may lack communication skills, unable to analyse movement, difficult to monitor for teacher

6. Reciprocal Used when:  Learners are more experienced  Simple skills are involved  Limited danger is present  Time is available

7. Discovery Teacher guides performer to find the correct movement by providing information, giving specific clues or asking questions Encourages creativity and decision making skills, responsibility for own learning, increased motivation and self confidence Time consuming, difficult for those who lack creativity, progress of large groups is difficult to monitor

8. Discovery Used when:  Creativity is required  There is no right or wrong answer  More experienced performers are involved

9. Problem Solving Problem set by teacher and solved by student. There is no right or wrong answer Encourages creativity and develops cognitive skills

10. Choose a style! Novice performer throwing javelin Novice performer developing a gym routine Experienced basketball players practicing free throws in a practice session Sixth from students rock climbing for the first time Year 9 students practicing the smash in badminton, for the first time, in a 50 minute lesson Year 9 students practicing the smash in badminton, for the third lesson in a series or four An outside coach coming in to take a kick boxing lesson at a club for the first time

11. Choose a style! What have you based you decision on?

12. Factors to consider Nature of performer – experience, stage of learning, age, gender, size of group Nature of task – open or closed skill, gross or fine, discrete serial or continuous, self or externally paced Experience – amount of knowledge, personality, relationship with group Environmental conditions – facilities, time available, purpose of the session

13. Presentation of practice Whole Learning Part Learning Progressive Part Method Whole-Part-Whole Method

14. Whole learning Performer attempts the whole movement following instructions or demonstration Develop an awareness of entire movement and understand the relationship between different subroutines immediately Difficult to use with complex skills, difficult for novice performers, not ideal for dangerous skills

15. Whole Learning Ideally used when:  Skill is discrete or ballistic  Subroutines lack meaning  Performer is motivated  Performer is experienced

16. Part Learning Performer attempts all sub routines before attempting skill as a whole Complex skills are broken down into subroutines, specific aspects of technique modified, develops confidence on completion It hinders timing of complete skill, reduces kinaesthetic awareness, transfer part-whole may not be effective, time consuming

17. Part Learning Ideally used when:  The skill is complex  Skill involves long sequences  Performer has limited attention span  Inexperienced

18. Progressive Part Method Subroutines linked (chaining) once each individual part is learned Complex skills introduced gradually, novice performers achieve quick success, development of understanding of subroutines, transfer to whole is easier Time consuming, too much focus on particular subroutines

19. Progressive Part Method Ideally used when:  Skill is complex, serial or dangerous  Time is not a constraint  Performer is inexperienced

20. Whole-Part-Whole Method Performer attempts whole skill and then develops specific subroutines before completing the whole skill An overall feel for movement developed initially, success is ongoing as subroutines are developed Transfer form part to whole is difficult

21. Choose a method A novice athlete learning the triple jump Year 9 class learning how to head a football A premier rugby team learning a set tactical move A golfer practicing his tee shot An experienced fast bowler practicing his action An inexperienced cricketer learning a bowling technique A gymnastics floor routine A year 11 team practicing basketball lay ups A hockey flick An athlete working on their sprint start Mr Kirk learning a dance routine

22. Types of Practice Task for next week To take a 10 minute practice session using: Massed Practice Distributed Practice Variable Practice Mental Practice and be able to explain when it could be used and the potential problems

23. Types of Practice Practice occurs after the presentation of practice Coach to decide on type ensuring learning occurs, motivation is maintained and fatigue does not affect performance Four Types: 1. Massed 2. Distributed 3. Variable 4. Mental

24. Massed Ptractice Repeated practice with little or no recovery period between blocks Ideally used when: 1. Skills are discrete 2. Performer is motivated 3. Performer is experienced 4. High level of fitness 5. Replication of fatigue in games is required Possible problems – boredom and fatigue

25. Distributed Practice Repeated practice followed by recovery period before repetition or new task Recovery period may involve other form of activity not just rest (mental practice or feedback) Ideally used when: 1. The skill is new and complex 2. The performer is a novice 3. Low levels of motivation 4. Low levels of fitness 5. Short attention span Recovery period can lead to – de-motivation, loss of concentration and lack of discipline

26. Variable Practice Coach uses a mixture of massed and variable practice Maintains interest levels and motivation Helps to limit the effects of fatigue when required

27. Mental Practice Cognitive rehearsal of skill without physical movement Used before, during or after performance Internal – sees themselves from within (kinaesthetic feel) External – seeing themselves as if they were a spectator Creates mental image, reduces reaction time, improve anticipation and control arousal

28. Mental Rehearsal Ideally used when: 1. Learning time needs to be reduced 2. Preparing for alternative situations or experiences 3. Concentrate on specific aspects or the overall skill 4. Arousal needs to be controlled 5. Performer is injured Optimised by 1. Quiet Location 2. Encouraging successful outcomes 3. Regular practice 4. Use during recovery period

29. Methods of Guidance Guidance is used to develop movement patterns and reduce errors made in performance Guidance depends on the situation, nature of the task and ability of performer Types: Visual, Verbal, Manual and Mechanical

30. Visual Guidance Creating a mental picture through observation of demos, videos, pictures etc Can also be developed through modifying the playing area To optimise visual guidance: accurate demo, focus on key points, info relevant to age and ability and clear and realistic stimuli

31. Visual Guidance Advantages Good for performers in the cognitive stage of learning Provides a clear idea of the movement pattern to be performed Specific cues can be highlighted Disadvantages De-motivation if the performer is unable to replicate the skill Can provide too much information for a novice Static forms of guidance soon loose their impact

32. Verbal Guidance Explaining the motor skill to be performed, understanding the requirements and feedback General or specific depending on ability To optimise visual guidance: clear and accurate info, limit the amount of information required, language and terminology relevant to age group, most effective with visual guidancemost effective with visual guidance

33. Visual Guidance Advantages Good for all stages of learning if combined with other types of guidance Useful in the autonomous stage of learning Feedback can be given immediately either during or after the performance Focus the performers attention on specific cues when watching a demo Disadvantages De-motivation if unable to replicate the skill Overload of information may occur Difficulty in understanding, especially for novice performers Some movement may be difficult to explain

34. Manual Guidance Involves the performer being physically placed or supported into correct position supported To optimise manual guidance: avoid over use of kinaesthetic awareness will not develop, combine with verbal guidance and ensure movement pattern is correct

35. Manual Guidance Advantages Good for all stages of learning especially novice Reduce fear and builds confidence Helps to reduce risks in some potentially dangerous situations Development of correct kinaesthetic awareness Disadvantages Performer becomes over reliant on help and support Lack of intrinsic feedback Difficult to learn for own mistakes and correct them independently Difficult in large groups

36. Mechanical Guidance Similar to manual but uses some form of device or support Trampolining and swimming use them Trampoliningswimming

37. Test Next Week Teaching Styles (Command, reciprocal, discovery, problem solving) Presentation of Practice (Whole, part, progressive part, whole part whole) Types of Practice (Massed, distributed, variable, mental) Methods of Guidance (Visual, verbal, manual, mechanical) Feedback (Intrinsic, extrinsic, continuous, terminal, positive, negative, KR, KP)