notes
WEEK 7
1. BICEP CURLS-ELBOWS SHOULD BE AT THE SIDE OF THE TRUNK WITH THE PALMS OF THE HAND FACING UPWARD BRING THE HANDS TOWARD THE CHEST BY FLEXING THE ELBOW AND RETURN THEM TO THE SIDE OF THE TRUNK.
NOTED: YOU CAN CHANGE YOUR LEVEL OF INTENSITY BY BRINGING THE ARMS UP INSTEAD OF HAVING THE ELBOWS AT YOUR SIDE, BRING THEM LEVEL WITH THE
SHOULDER
2. Alternating Bicep Curls-Same as the movements above, but only flex/extend one arm at a time.
3. Hammer Curls-similar to bicep curls except the palms are facing each other rather than facing upward. This movement can also be done by alternating arm movements.
4. Triceps Kickback-arms should be at your side with the elbows slightly bent and behind the shoulders. Your hands next to your trunk with your palms facing the body. Extend the elbow back and then return to your, starting position. This movement can be done by pressing both arms back at the same time or alternating back and forth.
5. Low Row-arm is in front of the body, pull the elbows in toward the waist until the hands are next to the waist and then return the arms to the front of the body.
6. Upright Row-fists should be together next to your thighs. Bring the arms up toward your chin (keeping the fists close together and next to the body). Return the arms to their starting position
7. Frontal Raise-begin with fists on each thing Raise the arms to shoulder level and return to the thigh.
8. Lateral Raise-fists should be together with palms touching the things. Lift the arms outwards and upwards with the paims facing down. Elbows should be leading this movement and should be sightly bent. Lift until the arms are slightly below shoulder lever and then return them to the thigh.
9. Frontal Pull-arms at shoulder level, pull the arms in toward he body (so fists rest on things), then return them to shoulder level.
10. Overhead Pull-arms are above the head, pull the arms in toward the things and then return them overhead.
11. Arm Circles-arms are over head or shoulder level. Circle the arms clockwise down toward the body and then back to the starting point.
13. Overhead Press-fists are resting on the shoulder with the palms facing each other, Extend the arms up over the head keeping the elbows close to the ears. Lower the arms back to the shoulders. (this can be done with both arms at the same time or by alternating arms).
14. Pec Press - elbows are at shoulder height and bent. Hands are in a fist with palms facing forward. Press the arms together until the palms (and fists) are facing each other in front of you face Return the arms to their starting position.
15. Double Side Out - fists should be under the chin at chest level with palms facing downward. Extend both arms out to the side keeping the elbows at shoulder height. Return the arms to their starting position. (this can also be done by alternating the R and L arms.
16. Slice-similar to the double side out except one arm goes up and the other goes down. This is usually done with a side lift move. The leg that lifts to the side corresponds to the arm which is down (the opposite arm goes up)
WEEK 8
LEG MOVEMENT ARE THE MOST COMMONLY REPORTED MOVEMENT DISORDER OCCURRING DURING SLEEP. WHEN THESE MOVEMENTS ARE STEREOTYPED, TYPICALLY INVOLVING RHYTHMIC FLEXION IN THE LEGS, THEY ARE REFERRED TO AS PERIODIC LIMB MOVEMENTS
1.BASIC-CAN BE DONE WITH THE R ORL FOOT LEADING STEP UP WITH ONE FOOT AND DOWN (DIFFERENT INSTRUCTORS MAY USE DIFFERENT ARM MOVEMENTS WITH
THIS MOVE)
2.V-STEP-CAN BE DONE WITH THE R OR L FOOT LEADING TAKE THE FEET WIDE ON THE STEP AND THEN PUT TOGETHER ON THE FLOOR (ARM PATTERNS WILL VARY) EXAMPLE R FOOTSTEPS WIDE, THEN THE L FOOTSTEPS WIDER FOOT STEPS DOWN ON THE FLOOR NEAR THE MIDDLE OF THE STEPS, THEN THE L FOOT STEPS DOWN.
3. ALTERNATIVE BASIC-BEGIN WITH ONE FOOT LEADING, THEN TAP WITH THE OPPOSITE FOOT AND STEP WITH THAT FOOT EXAMPLE STEP WITH THE R FOOT LEADING FOLLOWED BY STEPPING UP WITH THE FOOT STEP DOWN WITH THE R FOOT FIRST FOLLOWED BY THE L FOOT TAPPING AND
THEN STEPPING UP
4.ALTERNATIVE V-STEP-BEGIN WITH ONE FOOT LEADING WIDE, THEN TAP WITH THE OPPOSITE FOOT AND STEP WIDE WITH THAT FOOT EXAMPLE STEP WIDE WITH THE R FOOT LEADING FOLLOWED BY WIDE WITH THE L FOOT STEP DOWN TOWARD THE MIDDLE WITH THE R FOOT FOLLOWED BY THE FOOT TAPPING AND THEN STEPPING WIDE
5. KNEE LIFT-STEP WITH ONE FOOT AND LIFT THE OPPOSITE KNEE (CAN BE DONE WITH THE ROR L LEG LEADING) EXAMPLE STEP WITH THE R FOOT AND LIFT THE KNEE
6. ALTERNATIVE KNEE LIFTS
EXAMPLE STEP WITH THE R FOOT AND LIFT THE L KNEE PLACE THE L FOOT ON THE FLOOR FOLLOWED BY THE R FOOT STEP WITH THE L FOOT AND LIFT THE A KNEE
7. HAMSTRING CURL - STEP WITH ONE FOOT AND BRING THE OPPOSITE HEEL TOWARD YOUR REAR UNTIL THERE IS TENSION IN THE HAMSTRING MUSCLE (CAN BE DONE WITH THE R OR L LEG LEADING)
EXAMPLE STEP WITH THE R FOOT AND BRING THE L HEEL TOWARD YOUR REAR
8. ALTERNATIVE CURLS
EXAMPLE STEP WITH THE R FOOT AND CURL THE L LEG (BRING THE HEEL TO YOUR REAR) PLACE THE L FOOT ON THE FLOOR FOLLOWED BY THE R FOOT STEP WITH THE L FOOT AND CURL THER LEG.
9. KICKS-STEP WITH ONE FOOT AND KICK THE OPPOSITE LEG (CAN BE DONE WITH THE RIGHT OR LEFT LEG LEADING)
EXAMPLE STEP WITH THE R FOOT AND KICK THE L LEG
10.ALTERNATIVE KICKS
EXAMPLE STEP WITH THE R FOOT AND KICK THE L LEG PLACE THE L FOOT ON THE FLOOR FOLLOWED BY THE R FOOT STEP WITH THE L FOOT AND KICK THE R LEO
11. SIDE LIFTS-STEP WITH ONE FOOT AND LIFT THE OPPOSITE LEO TO THE SIDE (DON'T NEED TO LIFT VERY HIGH, JUST LIFT THE LEC STRAIGHT UP TO THE SIDE AND SQUEEZE THE MUSCLE WHEN YOU FEEL TENSION) THIS MOVE CAN BE DONE WITH THE RIGHT OR LEFT LEC LEADING
EXAMPLE STEP WITH THE R FOOT LIFT L LEG TO THE SIDE
12. ALTERNATIVE SIDE LIFTS
EXAMPLE STEP WITH THE R FOOT AND LIFT THE L LEG TO THE SIDE PLACE THE L FOOT ON THE FLOOR FOLLOWED BY THE R FOOT STEP WITH THE FOOT AND LIFT THER LEG TO THE SIDE
13. HIP LIFT OR GLUTE LIFT-STEP WITH ONE FOOT AND LIFT THE OPPOSITE LEG BACK (THIS IS A SMALL MOVEMENT THAT WORKS THE GLUTES. THE ABDOMINALS SHOULD REMAIN TIGHT SO THE LOWER BACK ISN'T STRESSED. ONCE THE LEG IS LIFTED TRY TO SQUEEZE THE CLUTES BEFORE LOWERING THE LEG) THIS MOVE CAN BE DONE WITH THE RIGHT OR LEFT LEG LEADING
EXAMPLE STEP WITH THE R FOOT AND LIFT THE L LEG BACK
14. Alternating hip or glute lifts
Example: step with the R foot lift the L leg back. Place the L foot on the floor followed by the R foot Step with the L foot and lift the Ring back
15.LUNGE-FROM THE TOP OF THE STEP LEFORWARD AND PUT YOUR TOE ON THE FLOOR BEHIND YOU YOUR WEIGHT SHOULD BE SLIGHTLY FORWARD-NOT ON THE FOOT THAT IS TOUCHING THE FLOOR DO NOT PRESS YOUR HEELS DOWN IN THIS MOVE, JUST TOUCH THE FLOOR WITH THE TOE AND RETURN THE FOOT TO THE STEP PLATFORM. REPEAT WITH THE OPPOSITE LEG
16. TURN STEP-LIKE THE ALTERNATING V-STEP EXCEPT AS YOU BRING BOTH LEGS DOWN, THE SIDE OF YOUR BODY IS FACING THE STEP RATHER THAN FRONT OF YOUR BODY
EXAMPLE R FOOTSTEPS UP, L FOOT STEP INTO V. AS R LEG COMES DOWN, BODY TURNS SO THE SIDE OF THE BODY IS FACING THE STEP L FOOT TAPS THE FLOOR AND STEPS BACK ON TO THE STEP R STEPS INTO V AS L LEG COME DOWN, BODY TURNS SO THE SIDE OF THE BODY IS FACING THE STEP R FOOT TAPS THE FLOOR AND STEPS ONTO THE STEP, ETC
17.STRADDLE DOWN FROM THE TOP OF THE STEP, ONE LEGS STEPS DOWN ON ONE SIDE, THE OTHER LEG STEPS DOWN ON THE OTHER ISO YOU ARE "STRADDLING THE STEPI EACH LEG THEN RETURNS TO THE TOP OF THE STEP (A WIDE VARIETY OF ARM MOVEMENTS CAN BE USED WITH THIS LEG PATTERNI
EXAMPLE R FOOT STEPS DOWN L FOOT STEPS DOWN (YOU SHOULD BE "STRADDLING THE STEP AT THIS POINT) R FOOTSTEPS BACK ONTO THE PLATFORM, L FOOT THEN RETURNS TO THE PLATFORM.
18. OVER THE TOP-THE SIDE OF YOUR BODY IS TOWARD THE STEP BRING ONE FOOT ONTO THE STEP FOLLOWED BY THE OTHER FOOT. THE FIRST FOOT STEPS DOWN ON THE OPPOSITE SIDE OF THE STEP, FOLLOWED BY THE SECOND FOOT
EXAMPLE R SIDE OF THE BODY FACES THE STEPS PLACE THE R FOOT ON THE STEP FOLLOWED BY THE L FOOT PLACE THE R FOOT ON THE OPPOSITE SIDE OF THE STEP FOLLOWED BY THE L FOOT NOW THE LEFT SIDE OF THE BODY SHOULD FACE THE STEP TO RETURN TO THE ORIGINAL STARTING POSITION
19.REPEATERS-ANY ALTERNATING STEP PATTERN WHERE THE WEIGHT BEARING PLACE OF THE MOVEMENT (SUCH AS KNEE LIFTS, HIP LIFTS, ETC). CAN BE REPEATED (USUALLY 3 TIMES) EXAMPLE REPEATER KNEES R FOOTSTEPS UP, L KNEE IS LIFTED, L TOE TAPPED, L KNEE IS LIFTED. L TOE IS TAPPED L KNEE IS LIFTED, L FOOT COMES DOWN, R FOOT COMES DOWN L FOOT STEPS UP. R KNEE IS LIFTED, R TOE TAPPED, R KNEE IS LIFTED R TOE TAPPED, R KNEE IS LIFTED, R FOOT COMES DOWN, L FOOT COMES DOWN
20. Diagonal or corner to corner- the side of your body is facing the step. Rather than going over the top to the other side, go over at a diagonal so you end up on the other side at the opposite end of the step. Example: R side is facing the step. R. foot steps up, L footsteps in front of the R on the top of the step. R foot steps down on the opposite side and corner from where the move originated, L foot follows
week 8
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TWO TYPES OF BODY MOVEMENTS
1. LOCOMOTOR MOVEMENTS - THESE ARE MOVEMENTS WHERE THE BODY TRAVELS THROUGH SPACE FROM ONE LOCATION TO ANOTHER LOCOMOTOR MOVEMENTS PRIMARILY USE THE FEET FOR SUPPORT HOWEVER, THE BODY CAN TRAVEL ON OTHER PARTS SUCH AS THE HANDS AND FEET.
EVEN RHYTH
A. WALK-IS A TRANSFER OF WEIGHT FROM ONE FOOT TO THE OTHER USUALLY THE HEEL TOUCHES FIRST SHIFTING ONE'S WEIGHT FROM ONE FOOT TO THE OTHER
B. RUN IS A TRANSFER OF WEIGHT FROM ONE FOOT TO THE OTHER HOWEVER, THE BODY IS PROPELLED INTO THE AIR AND SUSPENDED BETWEEN RUN STEPS
C. JUMP - IT REQUIRES THE BODY TO PUSH OFF FROM ONE OR BOTH FEET MOST COMMON IS A TWO FOOT TAKE OFF AND TWO-FOOT LANDING A JUMP CAN TAKE OFF ON ONE FOOT AND LAND ON TWO OR TAKE OFF FROM TWO FEET AND LAND ONE FOOT GOING UP AND DOWN, WITH BOTH FEET IN THE AIR AT ONCE
D. HOP THE HOP REQUIRES A PUSH-OFF FROM ONE FOOT AND LANDING ON THE SAME FOOT SPRINGING ON ONE FOOT AND LANDING ON THE SAME FOOT
E. LEAP A LEAP IS PERFORMED BY PUSHING OFF FROM ONE FOOT AND LANDING ON THE OTHER FOOT THE BODY IS SUSPENDED IN THE AIR BETWEEN THE PUSH OFF AND THE LANDING IT CAN BE COMBINED WITH A RUN OR WALK SPRINGING ON ONE FOOT AND LANDING ON THE FOOT-WIDE STRIDE
UNEVEN RHYTHM
A. SKIP - A COMBINATION OF A STEP AND A HOP ON THE SAME FOOT FOLLOWED BY A STEP AND HOP ON THE OTHER FOOT. THE RHYTHM IS UNEVEN LONG-SHORT LONG (THE STEP) AND SHORT (THE HOP).
B. GALLOP - A FORWARD MOVEMENT WHERE ONE FOOT LEADS THE GALLOP WHILE THE OTHER FOOT FOLLOWS. THE LEAD FOOTSTEPS WITH BENT KNEES AND PUSHES OFF INTO THE AIR AND LANDING ON THE TRAILING FOOT THE RHYTHM IS UNEVEN, LONG-SHORT LONG (THE STEP) AND SHORT (THE LANDING) STEPPING ON ONE FOOT AND CUTTING THE OTHER, EITHER SIDEWARD OR FORWARD
C. Slide is similar to a gallop performed with the right or left foot leading. The rhythm is uneven, long-short Long (the step) and short (the landing).
2. NON-LOCOMOTOR-MOVEMENTS THAT PERFORM IN STABLE POSITION IT IS NOT REQUIRE TO MOVE THE BODY IN PLACE TO ANOTHER PLACE
A. SWING - A PENDULA MOTION OF A BODY PART THAT CAN MOVE FORWARD AND BACKWARD OR SIDE TO SIDE. A PENDULA MOVEMENT BELOW AN AXIS
B. TWIST - A PARTIAL ROTATION OF BODY PARTS AROUND AN AXIS MOVING A PART OF THE BODY AROUND A LONG AXIS, USUALLY FOR HEAD AND BODY
C. TURN - A FULL ROTATION OF THE BODY AROUND A VERTICAL OR HORIZONTAL AXIS FULL, HALF OR QUARTER TURN
D. BALANCE-AN EVEN DISTRIBUTION OF WEIGHT ENABLING YOU TO REMAIN UPRIGHT AND STEADY
E. BEND - A FLEX OF A BODY PART AT A JOINT MOVING THE MUSCLES AROUND THE JOINT WHERE 2 BODY PARTS MEET
F. STRETCH - EXTENDING A BODY PART OR THE WHOLE BODY DONE BY STRAIGHTENING OR EXTENDING ANY PART OF THE BODY FROM THE JOINTS
G. ROCK OR SWAY-SHIFT OF THE BODY WEIGHT FORWARD, BACKWARD, SIDE TO SIDE OR IN A CIRCULAR PATHWAY A PENDULA MOVEMENT ABOVE AN AXIS.
WEEK 10
INTRODUCTION TO GYMNASTICS
Gymnastics is a sport of future, which nonetheless, enjoy a long nentage and preserve an ancient tradition of demonstrating exactly what a person is capable of
. Gymnastics involves the performance of exercises, on or with an apparatus, or a partner requining physical strength, flexibility, coordination, power, agility, grace, balance and control.
Gymnastics is one of the oldest Olympic sports and one of the World's most popular sports ⚫It all started on 23rd July 1881, when the foundation of what would become the Federation of international Gymnastics (FIG)
⚫ The primary objectives were to utilize gymnastics in the promotion and pursuit of peace to ensure that all experiences and ideas within the sport could be freely exchanged in order to further its development.
• To promote the experiences of professional gymnasts to the wider sports world with the aim of serving, through its ethical standards as a morai barometer for society.
⚫ It helps develop strong, healthy and shapely bodies. It helps an individual gain confidence, determination and discipline Gymnastics activities also improve poise, posture and coordination of movement of an individual
BRIEF HISTORY OF GYMNASTICS
GYMNASTICS as a sport activity has been around for over 2000 years. It is one of the oldest Olympics sports, and has always been part of the ancient, as well as the modern Olympics games. The term "gymnastics is derived from the Greek word "gymnos", meaning naked
Gymnasium, originally an area for physical training, nas been a school for training both the mind and the body
The following were considered great contributors in the development of gymnastics.
1. Johann Basedow (1723-1790)
He was the first to conduct Gymnastics as part of Education in School Curriculum. He was the first Modern writer and teacher at organized gymnastics for whom records survive
He founded the philanthropinum, a German gymnasium in Dessau Saxony in 1774 Basedow advocated the use of realistic teaching methods and the introduction of nature study, physical education And manual training into the school
2. Johann Guts Muths (1759-1839)
He knows as THE GREAT GRANDFATHER OF GYMNASTICS
Reduced body fat improved weight control
Improved glucose tolerance and reduced insulin resistance
He wrote many influential books including Carefully Chosen Gnastics Exercises for girls in 1818. He wrote GYMNASTICS FOR YOUTH The first book on modern Gymnastics in 1793
He describes the use of sloping beans, climbing poie, ladders and ropes along with balancing and the swimming beam
3. Friedrich Ludwig Jahn (1778-1852)
He was known as "THE FATHER OF GYMNASTICS"
He was a German educator known to have started gymnastics clubs and gymnastics movements for competitive purpose.
He designed exercises to be performed on stationary pieces of equipment and even invented much of the apparatus used in his training.
4. Peter "Per" Henrik Ling (1776-1839)
He was known as the "FATHER OF SWEDISH GYMNASTICS
He invented the stall bars and vaulting box.
Franz Nachtegall (1777-1847)
He formed a gymnastics club, opened a private gymnasium and through his success encourages the government to incorporate training into its curriculum. His gymnastics program in Denmark emphasized mass calisthenics, mass vaulting and drills using aumbbells and balls
•Founded the Danish System of Gymnastics, which was considered useful for military training, and in 1804 he was appointed the First Director of Denmark's influential military gymnastic institute.
6. Adolfo Spiess (1810-1858)
He was known as "THE FATHER OF SCHOOL GYMNASTICS
He taught gymnastics to his class in Switzerland and added marching and introduced the free nand exercise with the music
Other Contributors
1. Gerhard Vieth
2 Johann Pestalow
3. Dr Dudley Sargent
4 Director Candido Bartolome
5. Francisca Reyes Aquino
EQUIPMENTS FOR GYMNASTICS
1.Steel Rings-2 paralles ring 50 cm apart, suspended from a cable and straps and neld, one in each hand, for a series of exercise in men's artistic gymnastics particularly requiring stillness of the body also called "rings"
2. Uneven bars - An apparatus in women's artistic gymnastics with a top bar 2 4m above the floor and a lower bar 1.6m nign, used for a continuous series of grip changes releases, new grasp and other complex move
3. High bar A bar standing 2.75 meters high, used in men's artistic gymnastics, also called the "horizontal bar”
4. Parallel bars artistic)- An apparatus consisting of 2 wooden rails on uprights, adjustable in height and used for swinging, vaulting and balancing exercises in men's artistic gymnastic
5. Pommel horse-A solle apparatus 115 cm high with 2 nandles, or pommeis, on top that men in artistic gymnastics use for series of manoeuvres defined by coplex hand placements and body positions while noiding themselves above the apparatus.
6. Safety Plaform- A sarge thick mat that sits on the floor at each end of the trampoline to cushion the impacht if anyone falls from the apparatus approach
7. Vault-A solid apparatus miar to the pommel horse, but lacking nandles, and used in mens and womens artistic gymnastics for a variety of handsprings from a running
8. Beat board the springboard usen in the vault
9. Ball-it is made of either rubber or synthetic material provided it possesses the same elasticity as rubber. It is from 18 to 20 cm in diameter and must have a minimum weight of 400g. The ball can be any color and should rest in the gymnasts hand, not the wrist.
10. Hoop is an apparatus in mythmic gymnastics and may be made of plastic or wood, provided that it retains its shape during the routine. The interior diameter is from 51 to 30 cm and the hoop must weigh a minimum of 300g
11. Ribbon-it is made of satin or another similar material cloth of any color and may be multicolored as well as nave design on it. The ribbon itself must be at least 35g 1 oz.). 4-6 cm (15-2.4) in width and for senior category a minimum length of 6cm (20) 15m 116.25) for juniors
12. Clubs-is built along an internal rod, providing a base on which a handle made of polyolefin plastic is wrapped, providing an airspace between it and the internal rod. This airspace provides flex, cushioning impact, making the club softer on the hands: Foam ends and knobs further cushion the club.
13. Rope- may be made of hemp or a synthetic material which retains the qualities of lightness and suppleness. Its length is in proportion to the size of the gymnast. The rope should, when held down by the feet, reach both of the gymnasts armpits One or two knots at each end are for keeping hold of the rope while doing the routine. At the ends (to the exclusion of all other parts of the rope) an antislip material, either colored or neutral may cover a maximum of 10 cm (3.94 in). The rope must be colored, either all or partially It may be either of a uniform diameter or be progressively thicker in the center provided that this thickening is of the same material as the rope
COSTUMES FOR GYMNASTICS
1.A leotard is a unisex skin-tight one-piece garment that covers the body from the crotch to the shoulder The garment was first made famous by the French acrobatic performe Jules Leotard (1838-1870). Leotards are worn by acrobats, gymnasts, dancers, figure skaters, atnietes, actors, wrestlers, and circus performers both as practice garments and performance costumes. They are often worn together with ballet skirts on top and tights or sometimes bike shorts as underwear. There are sleeveless, short sleeved and long sleeved leotards. A variation is the unitard, which also covers the legs. As a casual garment, a leotard can be worn with a belt, it can also more commonly worn under overalls or short skirts
2 Acro shoes-They are typically laceless, slip-on shoes, with tight-fitting leather uppers that are designed to prevent the dancer's feet from shifting inside the shoes. Because of their thin, pliable leather uppers and split soles, arco shoes have excellent flexibility thus enabling dancers to attain both good dance form and acrobat control The sole is made of soft, composite rubber so as to provide both high traction and cushioning, and it provides excellent protection from skin abrasion as it covers the entire bottom of the foot
3. Foot thongs-which are slip- on. Partial foot covers that protect only the ball of the foot are sometimes preferred over acro snoes for aesthetic reasons. Flesh colored foo thongs endow the wearer with the appearance of having bare feet, while retaining some degree of the traction, cushioning, and abrasion protection provided by acro shoes