4.  DESCRIPTION OF ACTIVITIES "Part-2"

DIAGRAM 69

After reaching the end of the room, both girls and boys will turn facing each other about three and a half yards apart, thereby forming partners as in Diagram 69. When all couples are facing each other ropes are placed in jumping position. The odd couples will then jump for­ward doing a do-si-do and return, followed by the even couples going through the same procedure. Odd couples will then move forward and jump a circle around each other and back in place.

After all are back in place the boy on the end hands one end of his rope to his partner and both begin turning the rope. While this is being done couple Number 2 jumps around the outside of couple Number 1, stops jumping, and runs through the rope being turned by couple Number 1. After Couple Number 2 has run through the turning rope they do the same as Couple Number 1. This procedure is continued until the last couple has run through all the turning ropes. It should be emphasized that the ropes must be turned in rhythm and the couples must not stop once they have started through. The couples turning the ropes should adjust the turning so as to help the couples running through. If there is a miss the couple should take their place at the end of the line.

After the last couple has run through, all ropes are halted. The first couple jump down the rope together and keeping time to the music. When number 1 has jumped the last rope they go to the left swinging the ropes to the side as in Diagram 70. The next couple follows but go to the right instead, etc., with each couple alternating to the left and to the right. This makes two double lines moving up each side of the floor. Upon reaching the end of the floor Number 1 and 2 will turn toward the center making a group of four. The four abreast begin jumping in unison down the floor followed in the same fashion by couples 3 and 4, etc. Upon reaching the end of the floor the girl doubles the rope she has, holding on to the handles in the left hand as in diagram 71. She then takes the loop with the right hand which the girl on the left gives her. After the last girl has completed this she leads the group into a large single circle using the square dance step. After this is completed all stop and take a jumping position. All then jump forward at a given signal. One half of the girls then jump backward. One girl takes her place within the smaller circle and starts swinging her rope in a large circle close to the floor forcing the girls to jump over the rope as it passes beneath them. The smaller group then jumps back forming one large circle and an exit is made by criss crossing as shown in Diagram 73.

Other drills which may be used are:

1. Have four boys and girls form a single line, jump to the center of the floor and go through a definite routine. This may consist of 8 hops with both feet, then 8 steps, 8 hops on the right foot, 8 hops on the left foot, 8 front cross and jump back to position.

2. Another group may do the same thing but swing the rope backwards.

3. Have two girls do a tap routine while jumping.

4. Have two boys do a set of doubles and crosswings, combining the two while doing one jump.

5. Have one boy do whirlwind jumping while running around the gym. Various swings may be made.

RELAYS

Relays will usually give comedy and fun to the pro­gram and should be placed about midway in the demon­stration. Relays should be selected which will be amusing to the spectators.

Wheelbarrow Relay

The players are divided into two teams and line up in two straight lines. The front boy in each line gets down on all fours and his legs are grasped by the boy in back of him so that in order to go forward he must "walk on his hands." A certain distance must be traversed and then the position is reversed for the return trip.

Horse and Rider Relay

Two or more lines of an equal number are formed. At a given signal the number two boy in the line will jump upon the back of the boy in front of him or number one boy. The "horse" then carries him to the goal line where a change is quickly made reversing the position of horse and rider. The horse then runs to the finish line where the next horse and rider repeat the performance.

Fig. 1. Horse and rider relay.

Tunnel Relay

Several players stand with their feet about two and one-half feet apart. Two lines are formed with an equal number of players in each line. The players then start one at a time to go through the legs of the standing play­ers to a designated spot and return. At the return another player is touched off by his outstretched hand.

Stick Relay

Each player is provided with a stick about three feet long, or a baseball bat. The players of each team are lined up in two lines with the captain of each team at the head of the line with the stick. At a given signal the cap­tains run to the end of the gym and on the return hand one end of the stick to the next player at the head of the line. They then run with the stick held close to the ground while their teammates jump over it. After the return has been made to the head of the line the first player or captain takes his place at the end of the line and the next player runs to the end of the gym and upon return repeats the process.

Bag Relay

The players are divided into teams of equal number and line up in straight lines. A large bag is given to the head boy in each line. At a given signal he puts both feet in the bag and walks or jumps to a designated line some distance away and returns. Upon return he gets out of the bag and gives it to a teammate who repeats the per­formance.

Crab Relay

The players are lined up in several files of equal num­ber. At a given signal the number one player in each file runs backward on feet and hands to a circle some distance away and returns touching off his teammate. To start, the first player puts his heels on the starting line with his back to the circle.

Broom Relay

Lines are formed with an equal number in each line. No. one player is given a house broom and at a given sig­nal #2 player sits on the brush part of the broom placing his feet and hands on the handle. #1 player pulls him to a designated line and back and then the second player pulls the third, etc.

Three Legged Relay

Fig. 2. Three legged relay.

The players are divided into teams of equal number. They then pair off in two's and each pair is given a strap or short rope which is used to tie their inner legs together at the ankles. At a given signal they run to a predeter­mined line and return, whereupon the next pair is touched off.

Back to Back Relay

The first two players stand back-to-back. At a signal they link elbows. The front player lifts the other upon his back and runs to a designated line where he lowers the player. The player who was carried then takes his turn and lifts the first player and returns to the starting line where he touches off the next pair.

Centipede Race

Each player pins onto the player ahead of him by pla­cing his arms around his waist and clasping the hands to­gether. If anyone loses his grip or falls he is disqualified.

Circle Race

Two or more circles are formed with an equal number of players in each circle. The players then lie face down­wards with their heads facing toward the center of the circle and about two feet apart. At a given signal a player jumps and steps over each individual player as fast as he can, returning to his original place and position. As soon as the first player steps over, the player next to him jumps up and does the same things. The first side to finish wins.

Human Chair Relay

Teams are formed with an equal number on each team. At a given signal two of the team members form a chair by facing each other, grasping their own left fore­arm with the right hand, midway between the wrist and elbow. Each then grasps the others right forearm with the left hand. The third player sits in the chair and is carried to a designated line and back whereby the second and third players carry the fourth and so on.

Boat Relay

This relay is enjoyed by both spectators and partici­pants. Each team of five or six players straddle a long pole facing the rear and the coxswain takes his position at the end facing the front. It is the duty of the coxswain to keep his crew in step and to direct them.

Fig. 3. Human chair relay.

Over and Under Relay

Lines are formed with an equal number of players in each line. A volleyball or basketball is passed at a given signal between the legs of the first player and taken from his hands by the player in back of him. The number two player in the line passes or hands the ball over his head to #3 player in the line. This is repeated until the last player in the line receives the ball. He then carries the ball to the head of the line and the process is repeated until the person who started at the head of the line re­gains his position at the head.

Tumbling Relay

This relay is played by executing several tumbling stunts such as forward roll, backward roll, hand spring, hand stand, etc. Lines are formed as in other relays with an equal number of participants on each side.

Animal Relay

Lines are formed with the same number of boys in each line. At the starting signal the boy at the head of each line races to a designated spot and imitates some animal by either noise or action and returns. Animals like the goat, donkey, rooster, duck, cow, etc., may be imitated.

Dressing Race

The boys come in fully dressed in street clothing with their gym suits underneath. Each boy takes off his outer clothing and deposits it in a huge pile along with every other boy. The boys then line up at the starting line and at a given signal race to the pile, find their clothing, put it on and get back to the starting line. The winner must be fully dressed with shoes tied and clothing but­toned.

GAMES OF LOW ORGANIZATION

Games which have an appeal to the audience should be used in the demonstration. The games should not take up too much time. The success of the demonstration depends on its variability and with the precision with which it is run off and not by the extraordinary feats of the perform­ers. The games described are interesting to both parti­cipant and observer and will fit in well in the demonstra­tion.

Dead Man

Eight to ten pupils sit closely together in a circle with pulled up legs and with arms held forward upward. In the middle stands a participant who makes himself stiff from head to foot. He lets himself fall backward and by push­ing or shoving he is passed from one to another around the circle. The person who lets the dead man fall must take his place.

Swat Tag

All participants except one form a circle standing about one foot apart with their hands in back of them. The person not included in the circle is given a knotted towel or handkerchief or newspaper. He then walks around the circle and places the towel, handkerchief or news­paper in the hand of someone in the circle. This person then turns upon the player to his right and beats him while he is running around the circle to his original position. The beater then walks about the circle and places the swatter in someone else's hand.

Cock Fight

The two participants raise the left foot behind and grasp it with the left hand. The right hand must be kept behind the back. At a given signal each attempts to up­set the other by bumping with his body.

Elbow Tug of War

Two teams line up partner fashion two feet apart. Link elbows back to back on center line. At a given sig­nal each participant attempts to lift opponent on hi s back and carry him across a line ten yards from center line. The team carrying the greatest number of opponents over its line wins.

Three Deep

The players form in pairs making a double circle. One person is appointed to be "it" and another to be chased. The person being chosen jumps in front of a pair and "it" attempts to tag the runner. The runner becomes safe when he goes in front of a couple and stays there. The player at the rear of this new couple may be tagged by "it" unless he runs out of the way.

Indian Wrestle

The two participants lie on their backs with their heads in opposite directions. The bodies are close to­gether. On the count of one the leg nearest the opponent is lifted in a vertical position. On the count of two the leg is brought back to the floor and on the count of three the player hooks his opponent's leg and attempts to roll him over backward.

Fig. 4. Indian wrestle.

Horse and Rider Fight

Two teams are formed with an equal number on each team. The larger boys are selected as horses and the smaller boys as riders. The riders are carried on the backs of the horses and the teams are lined up on oppo­site sides of the gym. At a given signal the two teams ad­vance forward and the riders attempt to pull the opposing rider from his horse. If the horse falls both horse and rider are disqualified.

Jump the Rope

A large circle is formed with one boy in the center. He is given a long rope with an old tennis shoe tied to one end. This shoe is swung around in a circle about knee high by grasping the other end of the rope. The players in the circle must jump over the shoe as it approaches them. If the shoe strikes them they must drop out.

Rope Tying

The two participants are given a short piece of rope and at a given signal they attempt to tie each other's feet together.

Hand Wrestling

Fig. 5. Hand wrestling.

The participants lie on their stomachs facing each other. Clasp the hands with the elbows touching the floor and about three inches apart. On a designated signal each tries to force the other's arm down to the floor without raising his elbow from the floor.

Broncho Busting

Fig. 6. Broncho busting.

The participants form into groups of two and these two should be equal size and weight. The broncho bends down so that the hands are placed on the knees. The rider sits on the broncho's back but is not allowed to wrap the legs around the waist. The broncho tries to buck the rider off but must keep his hands on his knees.

FIRST AID DRILL

Fireman's Carry

Fig. 7. Fireman's carry.

"One" places his left arm between the legs of "two" so that the crotch of "two" is at shoulder of "one". "Two" leans forward until he lays across "one's" shoul­ders. "One" straightens up, lifting "two" off the ground. "One" using the hand of the arm through "two's" crotch, grasps the wrist of "two's" arm which is hanging over his shoulder. Retaining this position "one" runs forward.

Cross Carry

"One" standing in front of "two", leans forward.

"Two" bends forward until hp is lying across the middle

of "one's" back. "One" then places one arm around "two's" knees and one arm around "two's" shoulders, and straightens up lifting "two" from ground. Retaining this position, "one" runs forward.

Fig. 8. Cross carry.

Single Shoulder Carry

"One," standing in front of and facing "two", assumes a semisquatting position. "Two" leans forward until he lies across "one's" left shoulder. "One" clasps his arm around "two's" legs and straightens up, lifting "two" from the ground. Retaining this position "one" runs for­ward.

Arm Carry

"One" standing beside "two", bends his knees and lifts up "two", by placing one arm below his thighs, and the other around the small of his back. "Two" places his near arm around "one's" shoulders and clasps his other hand. Retaining this position, "one" runs forward.

Fireman Drag

"One" lies on back arms extended backward. "Two" ties "one's" wrists together with a piece of cloth. "One" straddles "two" and places head between "two's" arms. "One" then crawls forward dragging "two".

Fig. 9. Fireman drag.

Artificial Respiration

The two accepted methods are the manual (chest and the pressure arm lift and back pressure arm lift) mouth - to - mouth. The latter is the most practical but does not lend itself to a demonstration. It would be best simply to describe this method. Demonstrate the back pressure arm lift method as follows:

1. Place the victim face down, bend his elbows, and place his hands one upon the other; turn his head slightly to one side and extend it as far as possible, making sure that the chin is jutting out.

2. Kneel at his head. Place your hands on the flat of his back so that the palms lie just below an imaginary line running between the armpits.

3. Rock forward until your arms are approximately vertical and allow  the weight of the upper part of your body to exert steady, even pressure downward upon the hands.

4. Immediately draw his arms upward and toward you, applying enough lift to feel resistance and tension at his shoulders. Then lower the arms to the ground. Re­peat this cycle about twelve times per minute, checking the mouth frequently for obstructions.

ATHLETIC POSES

An exhibition of living statuary presents a colorful activity and one which will be enthusiastically received. Naturally the poses in a demonstration of this type will portray modern athletes. Care should therefore be taken in the selection of the individuals. Those persons pos­sessing symmetrical physical development as well as poise and interpretive ability should be chosen.

It is necessary for the individuals to practice these poses very carefully. The background should be of black cloth if possible and a blue flood light should be thrown upon the subject. The lighting effect is very important. The posers should remain perfectly still. It will add col­or to the act to have the band play softly during the per­formance. Careful rehearsing is important. Popular figures are discus throw, basketball throw, etc.

The Marble White make up is probably the best make up to use and is by far the safest. The make up sufficient for one individual is made by using the following formula:

Heat one pound of Crisco until it becomes a liquid. Add one pound of zinc oxide and mix well. Allow the mix­ture to cool and form a paste. It should then be applied to the body of the poser, using the hands for spreading. Do not apply too thickly. After applying the paste place a pound of Number one Stein's White Powder in a muslin sack. Dust the entire body with sack and the result will give a white marble effect. The poser should be careful not to breath the powder.

A wig can be made in various ways. One way is to take a white felt hat, cut off the brim in such a way that the hair will be completely covered. Glue can be placed on the hat and cotton stuck on so as to resemble hair. Another method is to use shaving cream placed in the hair. The swimming supporter may be used.

STUNTS

A group of stunts will add variety to the demonstra­tion. These stunts need not be difficult and if there are some boys with ability a great deal of practice and pre­paration is not necessary. The following pictures show a variety of stunts which will be well received. Others which may be used are: Elbow Wrestle; Stick Wrestle; Badger Pull; American Wrestle; Sitting Pull; Turn Over; Snap Up; Back Toss; Frog Jump; Lame Dog; Seal Crawl; Individual Tumbling Stunts; etc.

Elephant Walk. No. 1 stands with feet spread apart. No. 2 faces No. 1, jumps upward, putting legs around No. l's waist. No. 2 then bends backward placing hands on floor between No. l's legs. No. 1 bends forward until hands are on the floor. No. 2 then places hands on heels' of No. 1.

Forearm Stand. Make a V shaped triangle with the forearms. Using the head as a balancer, push off with the feet to a stand, keeping feet together.

Fig. 11. Forearm stand.

Roll Over Back. No. 1 hooks elbows with No. 2. No. 1 leans forward and No. 2 does a backward roll and lands facing No. 1.

Head Stand. The performer places his head on the mat. The hands are placed so that he will not fall for­ward or sideward. Balance is important.

Fig. 12. Roll over back.

Triple Forward Roll. Number 1 lies on back with knees drawn up and feet on floor. Number 2 stands with feet astride of Number l's head. Number 1 grasps ankles of Number 2. Number 3 grasps ankles of Number 1 and throws up his feet so that Number 2 can grasp them.

Fig. 13. Head stand.

Fig. 14. Triple forward roll.

Knee and Shoulder Balance. Number 1 lies on back with legs drawn up and feet on floor. Number 2 places hands on knees of Number 1 and comes to a stand with shoulders supported by Number 1.

Walking on Hands. This takes a great deal of prac­tice. The back should be slightly arched and feet kept to­gether.

Fig. 15. Knee and shoulder balance.

Dead Man Carry. Number 1 assumes a rigid position on floor on his back. Number 2 and 3 pick him up by the head and feet.

Fie. 16. Walking on hands.

Fig. 17. Dead man carry.

Inverted Hand Walk. Number 1 places his hands on feet of Number 2 and comes to a hand stand. Number 2 grasps his ankles and walks forward.

Horse Walk. Number 1 rests on hands and feet on "all fours". Number 2 straddles Number 1 with his back toward Number l's head. He clenches his feet, bends forward and grasps Number l's heels.

Monkey Walk. Number 1 rests on hands and feet on "all fours". Number 2 puts his legs around Number 1 and clenches his feet around his back. Number 2 then grasps Number l's hips as shown in illustration.

Fig. 18. Inverted hand walk.

Squat Stand. The performer rests hands on floor bringing weight over them in a squat balance. The weight should be well centered.

Fig. 19. Horse walk.

Fig. 20. Monkey walk.

Fig. 21. Squat stand.

Front Flip. The performer takes a short run, springs into the air and at the highest point he brings his arms into the body and brings the head forward. As he com­pletes the turn he straightens the body and lands on the feet.

Fig. 22. Front flip.

Fig. 23. Double wheelbarrow.

Double Wheelbarrow. Number 1 grasps Number 2 by the ankles as Number 2 rests on his hands. Number 3 places feet so that they can be held by Number 1.

CLOWN ACT

A clown act in a demonstration always has a place. It can be put on without a great deal of preparation or practice providing you have 2 or 3 outstanding tumblers or gymnasts. The instructor can help them work up the acts and they can practice by themselves until each one knows what is expected of the other. The clown act will of course be more successful if the participants dress the part. Just to look at an individual dressed as a typical clown is funny enough, and almost anything he does is amusing. It is perhaps best that two work together on this activity. Many of the acts can be original. Some which have proven successful are given here.

Diagram 74. One slaps at two's cheek as two slaps his hands; reverse -- one swings his hand within a few inches of two's cheek, stopping it. Two slaps his hands together as one's hand comes close to his cheek.

Diagram 75. Make a forward roll, come high in the air after coming off of feet. Shake the buttocks while in the air.

Diagram 76. Two lies on floor face up. One stands with feet straddling two's head. One jumps up and comes down as though to land on two's face but at last second straddles two's head. This is done several times.

Health and Physical Education Journal, South Chicago Dept. Y.M.C.A,. Jan., 19.il "Clown Tumbling Stunts". L. L. McClow.

Diagram 77. Number one pulls Number 2 up by the seat of the pants and kicks him. Number 2 falls forward into a roll.

Diagram 78. Number 1 lies on back with face turned to the side. Number 2 runs across one's face and body-very lightly.

Diagram 79. Spring upward and forward with legs and arms as stiff as possible.

Diagram 80. Double roll forward bringing each other stationary while high in the air.

Diagram 81. Take a forward roll and hitting on but­tocks, roll forward.

Diagram 82. Number 1 stands on edge of table making believe to fall backward waving arms. As he falls Number 2 who is looking toward audience and directly in line with Number 1 turns just in time to catch number 1 and push him back onto the table.

Diagram 83. Number 1 runs and dives forward on his stomach on top of table sliding off other side. As he lands he does a forward roll coming up onto his feet.

Diagram 84. Number 1 runs forward as if to jump over the chair. He stops suddenly, jumps into the air so that he comes down on the chair in a sitting position.

Diagram 85. Number 1 balances himself on chair.

Diagram 86. Number 1 runs forward, dives over chair in a forward roll. As he comes out of the roll he brings a newspaper which is lying on the floor with him and then stands and reads the paper.

DIAG-BA-M 87

Diagram 87. Number 1 sits on the chair reading a newspaper. Number 2 runs forward, dives over the chair in a forward roll. As he is in the air he takes the paper from Number l's hands, continuing his forward roll. As he comes out of the forward roll onto his feet he stands and reads the newspaper.

MARCHING

A place should be given in every physical education demonstration for marching. It may be either simple or complex depending upon how much preparation the in­structor wishes to give. The drill should be well thought out and there should be music accompaniment. The qua­lity of marching will be vastly improved if done to music. Here are a few sample drills which may be used in a de­monstration. They are not difficult and can be added to or improved upon wherever necessary.

Formations: "Squad of sixteens"

DIAGRAM 89

Diagram 88. Two groups will enter gym from each end corner of the gym marching straight ahead to opposite corner alternating as they march through each others line in center of gym.

Count off by fours and twos from right to left. No. 1 will circle around number 2 in 8 counts coming back to original position.

Number 2 will circle around number 1 in 8 counts coming back to original position.

Number 1 will circle around number 2 in opposite direction from diagram 90.

Number 2 will circle around number 1 in opposite direction from diagram 91.

Using number 4 as pivot quarter wheel to the right.

Using number 4 as pivot half wheel to the right.

Using number 4 as pivot full wheel to the right.

Star formations:

Using center men (number 4) as pivots execute a full Wheel to the right. About face and to the left.

From star formation number 4's execute a quarter turn to the left. Do this four times coining back to the original position.

Number 4's full wheel to the left.

WEIGHT LIFTING

The weight lifting demonstration should show only the types of exercises engaged in during the regular class period. Care should be taken to show that the program in the school involves more than just lifting weights and try­ing to build muscles. It should be emphasized that the program is for general conditioning.^ The demonstration should show the gradual progression from the light weights to the heavier weights. It should be emphasized that the starting weight is important and should be deter­mined for each performer before the demonstration. Every precaution should be taken to prevent the misun­derstanding that might result if a student were permitted to lift too heavy a weight, or if people are led to believe that the program is strictly a muscle building activity. The purpose of the course should be fully explained.

Mats should be used so that the weights do not touch the floor. These mats should be placed far enough apart so that there will be no chance for injury should more than one exercise be performed at the same time.

A discussion on the physiology of exercise will add to the demonstration. When the exercise is being demon­strated, a description of the muscles involved and the value of the exercise may be stated.

The program should include a demonstration of the correct way to lift a barbell accompanied by a verbal explanation as to what part of the body is being benefited.

The demonstration should include the following exer­cises. Others may be added should it be so desired.

The Military Press

In performing this exercise, the bar bell is brought from the floor to the chest in one quick smooth move­ment. Stand perfectly still with the feet about shoulder width apart and even with each other. The hands should

Kig. 24. Military press.

Fig. 25. Military press.

be placed on the bar a little farther apart than shoulder width to give better balance. Press the weight overhead to full arm's length, using only the arms and shoulders, Return the bar bell to the chest and repeat. This move­ment may be continued for as many times as is deemed necessary to complete the demonstration. The bar bell need not be placed back on the floor once it has been brought to the chest. The repeating of the exercise should be from the chest to the overhead position.

Shoulder Shrug

Fig. 26. Military press.

In performong this exercise, place the feet together and grasp the bar bell with a fairly wide grip. Merely try to touch the ears with the shoulders. Be careful not to bend the elbows, as the arms should not help at all ex­cept to hold the weight. Do not allow the shoulders to slump when dropping them down as they should be paral­lel to the floor.

Fig. 21. Shoulder shrug.

The exercise should not be continued for too long a period of time. The bar should be gripped with the palms facing in and should not be too heavy.

3/4 Squat

In beginning to perform the squat the performer should keep the knees locked and slightly flexed. The back should be straight while squatting. The bar bell is placed behind the neck and held by the hands and arms but should rest lightly on the shoulders and neck. The feet should be approximately shoulder width apart. The body is lowered to squatting position but care should be taken not to squat farther than 3/4 of the way down as this will tend to injure the knees. This precaution should be emphasized, since a full squatting position is not rec­ommended as an exercise even without the added weight.

Fig. 28. 3/4 squat.

Toe Raises

The bar bells are kept in the same position as for the 3/4 squat. The performer merely raises up on the balls of the feet as far as possible. The exercise is repeated several times to give the audience an idea of what is being done. This exercise may be emphasized by having the performer place the balls of the feet on a small raised piece of wood so that the audience may better ob­serve the feet as the exercise is being performed.

Fig. 29. Toe raises.

Press Behind the Neck

The weight is brought to the chest in the same man­ner as in the military press and then pressed overhead. Instead of returning the weight to the chest it should be lowered behind the neck to the shoulders and pressed up again. This movement should be continued as long as is necessary to complete the demonstration. The hands grasp the bar with the palms toward the performer and the backs of the hands face outward. Care should be taken not to allow the bar bells to be lowered too far back below the neck and shoulders as this could result in injury.

Press behind the neck.

Fig. 31. Press behind the neck.

Two Hand Underhand Curl

The back should be kept straight. The hands should be shoulder width apart on the bar. The weight should be held with the arms fully extended and in front of the thighs. The weight should be curled all the way up to the chest just below the neck keeping the elbows to the sides at all times.

Fig. 32. Two hand underhand curl.

Supine Press

In performing the supine press the performer lies on his back with feet about six inches apart and his legs straight. The bar bell is grasped slightly wider apart than shoulder width and resting lightly on the chest. The bar bell is pressed straight up until the arms are fully flexed and is then returned to the starting position. Ex­treme care should be taken by the performer not to drop the weights as he presses them upward. A severe injury may result if the bar bells are dropped on the face or the chest.

Fig. 33.  Supine press.

Sit Ups

Care should be taken that the performer does not use a weight that is too heavy. A 10 lb. weight should be the maximum and the number of repetitions should be limited.

This exercise is performed in the same way as the regular sit ups with the added weight. The boy lies on his back on the mat with knees straight and feet together. His hands are placed behind the head. A companion sits perpendicular to him with his legs on top of the legs of the boy that is being tested. This exercise is begun as soon as both boys are ready and continues as long as it is deemed necessary to demonstrate the exercise satisfac­torily.

REBOUND TUMBLING

Rebound tumbling is a new activity which has been added to many physical education programs and will add a great deal to the gymnasium demonstration. It is im­portant that the safety element be stressed in the re­bound tumbling program. It is important that each side and the ends of the apparatus be protected by spotters. It is the responsibility of the students standing by the frame to watch the performer at all times. It is their responsibility to direct the performer back to the center of the bed by talking to him. If necessary, mechanical aids should be used.

To keep the spotters alert and aware of the fact that their turn is coming up some form of rotation around the trampoline should be worked out. One end of the "tramp" should be designated as the mounting end and as the per­former mounts, each spotter should move one position clock-wise around the apparatus. Each performer should dismount at a designated corner so that he may take his position as a spotter and help his teammates who will take their turn as a performer. Proper mounting and dismounting should be taught and practiced before the demonstration. The value of correct spotting should be emphasized. The students should be taught to stand at the ends and sides while anyone is bouncing.

If possible, the demonstration should include the stunts in order on the skills list. The explanation should be brief and to the point. The skills should be demon­strated quickly. This skill will add much to the program. Audiences will be astounded by the complexity of some of the simple routines performed by the high school stu­dents.

Hand and Knee Bounce

This exercise is begun from an "all fours" position. The performer rests on his hands and knees which must be well coordinated or a rocking motion will result. The performer bounces up and down increasing the height of the bounce each time.

Fig. 34. Hand and knee bounce.

Front Bounce

Fig. 35. Front bounce.

The exercise is begun from a medium height foot bounce. The legs are lifted up and back with the body leaning slightly forward as the performer reaches the height of the bounce. The body is straightened out so that it is parallel to the bed. The belt of the performer should strike the point on the bed that was last touched by his feet. It is absolutely essential that the performer lands flat.

Seat Bounce

This exercise is performed from a medium foot bounce. The feet arc lifted up in front of the body with the legs forming right angles to the trunk. The performer lands flat on the legs and seat with the hands at the sides. The fingers should point toward the feet. The hands should be used to push up from the sitting position to re­gain the standing position on the bed.

Fig. 36. Seat bounce.

Back Bounce

The performer lifts the legs and drops to the back from a low foot bounce. The chin should be held to the chest and the performer should be careful not to drop too far on the back of the neck. This exercise may be done from a high leg bounce.

Fig. 37. Back bounce.

Doubles or Alternate Bouncing

Fig. 38. Doubles or alternate bouncing.

The exercise must not be attempted unless the per­formers have had considerable experience. The routine is begun by having one performer start bouncing. The other performer times his jump so that he is going up while the first performer is coming down. Various land­ings may be used but at no time should the performers be in unison on the jumps or landings. While not too dif­ficult, this type of bouncing is rather spectacular.

Foot Bounce

The performer begins the exercise by placing the feet about shoulder width apart. The arms should be swung up in front of the face with the toes pushing into the bed of the rebounding tumbling unit. The eyes should be focused upon the end of the bed to make it easier for the per­former to stay in the center of the bed. The body should be kept in an erect position.

Fig. 39. Foot bounce.

The bounce may be stopped by flexing the knees upon contacting the bed.

Knee Bounce

The exercise is begun from a low foot bounce. The feet are lifted so that the legs are extended backward at right angles to the body. The toes should be pointed backward to avoid landing on them. The body should be kept straight from head to knees.

Fig. 40. Knee bounce.

PHYSICAL FITNESS

A demonstration of physical fitness activities which is being conducted in the high school program will create an awareness to the necessity of youth fitness and inform the public as to what is being done. Many states have made an all out effort in stressing fitness in the schools. Standards of evaluative criteria for self-evaluation in physical education have been developed. Norms have been established for comparative purposes and tests have been devised. School people and laymen have been alerted to the fact that physical fitness is an important phase in the overall program of health and physical edu­cation.

The test battery presented here includes pull ups, squat jumps, sit ups, push ups, broad jumps, vertical jumps, Softball throw, 600 yd. run and one mile swim.

The program described here is a representative one and can be changed to meet the needs of a particular school system or community. The terms used may be different from what are generally used. The implications and meanings are the same.

The physical fitness norms as shown in the chart are national norms. In scoring the results on the physical fitness score card, the actual number of times the ac­tivity was performed is placed on the card under the "No." heading. The number is then checked on the "norm" chart under the activity to establish the points scored by the individual according to the national norm. These points are then placed on the physical fitness card under "score." The scores are then added and averaged to establish a final result. A full description of the ac­tivities will thus be presented.

Pull Ups

This activity is done on the high bar. The boy grasps the bar with palms out and pulls himself up so that his chin comes over the bar. The body is then lowered until the arms are straight. The body must not swing during the performance. It will be counted as a chin if the act is more than 3/4 completed providing it is the last at­tempt. The feet must be kept together. The boy must not stop the action until he has done as many pull ups as he is able to do.

Fig. 4 1. Pull ups.

Squat Jumps

This activity is performed by first standing up straight with the feet together. The hands are placed on top of the head with fingers entwined. The boy will start the exercise by jumping off the floor and returning with the heel of one foot parallel with the toe of the other foot and the feet about six inches apart. The return to the floor continues with a full squat. The boy will recover from the squat by again jumping into the air as he did to begin with. As he is in the air he will change the starting position of his feet so that the right foot will be in the corresponding position of the left foot and the execution of the skill may be performed the second time. The ex­ercise is continued until the boy can no longer perform. A count is kept of the number of times the boy is able to do the exercise. The count begins after the boy has gone into the squatting position and returns to the upright position. It will be counted as a squat jump if the skill has been more than 3/4 completed. The boy is not al­lowed to stop at any time. He must go all the way down so that his rump touches the heel of the back foot and he must come all the way up to an erect position with knees completely straight and feet off the floor on the jump. His hands must remain on his head during the exercise.

Fig. 42. Squat jumps.

Sit Ups

The boy lies on his back on the floor with knees straight and feet together. His hands should be clasped behind his head. A companion sits perpendicular to him with his legs on top of the legs (near the ankle) of the boy that is being tested. The instructor gives the signal to begin the exercise and counts the number of situps the boy does in two minutes. The tester must watch that the boy does the exercise correctly. He should be stopped if it is not being done in the accepted manner. The count begins when the boy touches his right knee with his left elbow. This procedure should be alternated on each touch with the left knee being touched by the right elbow. The boy must touch the floor with both shoulder blades. The count is continued until the two minutes are up at which time the instructor calls a halt. The boy is given credit for a completion if the exercise is 3/4 completed.

Push Ups

Fig. 44. Push ups.

The boy lies on the floor face down with legs straight and feet together. The hands are placed palms down directly under the shoulders. The boy pushes his body upward until the arms are completely straight at which time he is resting on his hands and the toes of his two feet. His entire body and legs must be straight, a slight bend is permissible but not a sag. He must lower his body, allowing his chest to touch the floor and this only lightly. No other part of the body should touch the floor. This procedure is continued without interruption for as many times as is possible. The boy should not be allowed to stop and rest. The exercise must be continuous.

Broad Jumps

This is a standing broad jump. A line is drawn on the floor. The boy stands with his toes on the line and jumps out as far as he can. The distance he jumps is measured from the line to the heel of the foot that is closest to the line. If the boy falls back he is allowed another try.

Fig. 45. Broad jumps.

Vertical Jumps

This exercise is a test of leg strength and is accom­plished in the following manner: The boy stands next to a wall with a piece of chalk in his hand. He jumps as high as he possibly can and makes a mark with the chalk as high on the wall as he can reach. The measurement of his jump is taken from the mark on the wall to the floor. The measurement procedure may be simplified and a great deal of time may be saved by making a scale on the wall which will indicate the feet and inches the boy has jumped without measuring each jump. The points scored may be found by checking the chart.

Softball Throw

This is a throw for distance using a 14" ball. A line is drawn and the boy must stay behind the line. He may take a run before the throw. The ball is thrown overhand and the distance is measured from the line to the spot where the ball lands.

600 Yd. Run

This is a run against time and should be done outside on the track under as ideal conditions as possible. It is timed as any other running event is timed.

One Mile Swim

This is not a swim against time. The boy may take as long as he needs providing he keeps swimming and does not stop to rest. The chart shows 22 laps as one mile.

The posting of scores is a tremendous motivating force and serves as an added incentive for the boy to im­prove on his score. He not only is competing against his companion but also against himself.

A score of 900 and up would be considered excellent; 760 to 900 would be good; 500 to 760 would be fair; and below 500 would be poor.