PERMAINAN KANAK-KANAK

1.0 TAJUK PERMAINAN : Ping Ton

Kategori permainan : Jaring/ dinding

2.0 MATLAMAT

Permainan kanak- kanak ini diwujudkan adalah unutuk memenuhi syarat-syarat ujian amali PJM
3102 Pergerakan Asas. Terdapat empat jenis komponen di dalam permainan kecil pergerakan asas
iaitu sasaran (target), pukulan, jaring/ dinding dan kategori serangan/ kawasan.

Permainan yang dibincangkan ini adalah dalam kategori jarring / dinding. Nama permainan ini ialah
Pington iaitu gabungan antara permainan badminton dan pingpong. Permainan ini dikatakan dapat
meningkatkan kemahiran pergerakan asas individu dan ia juga dapat meningkat kemahiran
psikomotor, kognitif dan efektif seseorang individu itu. Selain itu, permainan ini juga dapat
meningkatkan kecergasan tubuh badan dengan melakukan beberapa pergerakan asas yang
merangkumi pergerakan lokomotor dan bukan lokomotor.

Justeru itu, seseorang individu dapat mempraktiskan aspek jasmani, emosi, rohani, intelek dan sosial
(JERIS) yang selaras dengan kehendak Falsafah Pendidikan Kebangsaan (FPK)

3.0 OBJEKTIF

Permainan kanak-kanak di sekolah banyak bertujuan untuk membantu murid-murid mencapai

perkembangan yang menyeluruh menerusi kegiatan jasmani yang tersusun. Terdapat tiga objektif
terhadap dominan perkembangan iaitu psikomotor, kognitif dan efektif.

3.1 : Bidang Psikomotor

• Dapat menghasilkan kertas kerja untuk mengelola sekurang-kurangnya satu permainan kecil
kategori jaringan/ dinding.
• Dapat melibatkan koordinasi otot-saraf,kelajuan,imbangan,kelenturan dan daya tahan secara
maksimum
• Dapat merekacipta satu permainan kecil yang sesuai untuk murid Tahap Satu dan Tahap Dua.
• Dapat mengaplikasi pergerakan-pergerakan asas yang dipelajari dari subjek Pendidikan Jasmani
dan Kesihatan (PJM 3102) ini.
• Dapat mengaplikasi pemahaman terhadap tahap kecergasan seperti kepantasan, ketangjasan dan
kekuatan dapat dipertingkatkan.
3.2 : Bidang Kognitif

• Dapat belajar dan menghasilkan satu kertas kerja yang bermutu.

• Dapat menyelesaikan dan menyatakan langkah-langkah permainan serta peraturan permainan
tersebut.
• Dapat membandingbeza permainan kecil yang dilakukan dengan permainan tradisional yang
sebenar.
• Dapat mencipta satu set permainan yang sesuai dengan tahap murid yand dipilih.

3.3 : Bidang Efektif

• Dapat memupuk sikap berkerjasama dalam ahli kumpulan.

• Dapat belajar membahagikan tugasan yang diberi bagi memastikan kerja dapat diselesaikan teapt
pada masanya.
• Dapat menerapkan nilai-nilai murni seperti semangat kesukanan, semangat berkerjasama,
kebolehan menyesuaikan diri dan kebolehan memimpin pasukan dalam diri pelajar.
• Dapat membina keyakinan dan komitmen pelajar terhadap tugasan yang diberi.
SENARAI SEMAK GERAK KERJA

Sebelum

• Mengadakan perbicangan dengan semua ahli kumpulan

• Melantik ahli jawatankuasa pertandingan serta senarai tugas masing-masing.
• Mengadakan mesyuarat perbicangan untuk merancang pertandinagan permainan kanak-kanak.
• Membuat kertas kerja.
• Menghantar kertas kerja kepada pensyarah bembimbing dan diluluskan.
• Membuat tempahan hadiah, makanan dan membeli peralatan.

Semasa

• Memastikan keselamatan pemain semasa bermain.

• Memberi taklimat ringkas kepada pemain.
• Memastikan pemain berada di venue permainan sewaktu permainan hendak dijalankan.
• Memastikan keadaan gelanggang selamat.
• Pengadil mestilah berada di kawasan sepanjang permainan berlangsung.

Selepas

• Post mortem.
• Mengemas kawasan gelanggang.
• Menyimpan semula alatan yang digunakan.
• Membuat refleksi terhadap pelaksanaan permainan.
kekuatan dan kelemahan berdasarkan daripada pengelolaan permainan kanak-
kanak kumpulan-kumpulan lain. Komen anda mestilah merangkumi aspek-aspek
ini:-

1. Pengurusan dan kawalan.

a. Persekitaran permainan.

b. Persekitaran pelaksanaan permainan.

c. Motivasikan peserta.

d. Disiplin peserta.

e. Arahan dan kepatuhan peserta.

2. Kawalan, peralatan, kawasan dan peserta.

a. Bilangan peralatan
b. Kedudukan peralatan.
c. Keadaan peralatan.
d. Penggunaan alatan.
e. Keadaan kawasan.
f. Aktiviti sebelum mengambil bahagian.

g. Kesihatan peserta.

3. Pengelolaan permainan.

a. Persediaan awal.

b. Pengenalan.

c. Penerangan dan demonstrasi.

d. Pelaksanaan prosedur permainan.

e. Kefahaman dan keyakinan.

f. Kemahiran dan kebijaksanaan.

g. Menyeronokkan.

h. Tindak balas dan respons peserta.

i. Penyampaian.
j. Idea dan kreativiti.
TAHAP BELAJAR
Tahapan belajar gerak akan mengadopsi model Three-Stage Model (Fitts & Posner’s) dan
Two-Stage Model (Gentile's), yaitu: kognitif, asosiatif, dan autonomus. Dan Gentile's Two-
Stage Model yaitu belajar melalu pendekatan terbuka dan tertutup.
TEORI TAHAPAN BELAJAR FITS & POSNER
Fits dan Posner (1967), peneliti di bidang psikologi mengajukan tiga tahapan utama dalam
pembelajaran keterampilan gerak .
(1) Tahapan Pembelajaran Kognitif
Pada tahapan ini siswa diperkenalkan terlebih dahulu pada keterampilan gerak yang baru,
dan tugas utamanya adalah mengembangkan pemahaman yang dibutuhkan dalam gerakan.
Pada tahap ini mengajarkan gerakan yang sifatnya masih sangat dasar, tahapan yang paling
awal, bentuk gerakan masih sangat sederhana.
(2) Tahapan Pembelajaran Assosiatif
Pada tahapan ini siswa sudah menyeleksi strategi terbaik untuk penyelesaian tugasnya dan
mulai memperhalus keterampilannya. Pada tahapan ini, pembelajar mulai meningkatkan
kemampuannya tidak hanya dalam mendeteksi penyebab kesalahan geraknya tetapi juga
dapat mengembangkan strategi yang tepat untuk menghilangkan kesalahan-kesalahan
tersebut.
(3) Tahapan Pembelajaran Otomatisasi
Pada tahapan ini, siswa dapat memulai untuk mencurahkan perhatiannya ke aspek
keterampilan umum yang lain, misalnya memperhatikan lingkungan sekitar untuk berjaga-
jaga untuk menghadapi rintangan yang menghalangi performanya, atau fokus pada tugas
berikutnya. Siswa pada tahap ini selalu konsisten, percaya diri, melakukan sedikit kesalahan
dapat mendeteksi secara umum dan mengoreksi setiap kesalahan yang terjadi.
 CHAPTER 4: BASIC TENETS OF MOTOR LEARNING

I. Stage models

A. Classic three stage model (Fitts and Posner, 1967)

1. Cognitive stage
a) Learners try to form overall concept of a motor skill

b) Learned via gathering information through the senses, observation, verbal

feedback from others, and internally through muscle spindles

c) Much trial and error

2. Associative stage

a) Consistency of performance

b) Ability to identify inappropriate performance and attempt new solutions

3. Autonomous stage

a) Learner's movements appear automatic, stable, somewhat effortless

b) Automaticity allows learner to focus attention on details of environment

c) Ability to self correct and make minute adjustments

B. Two stage model (Adams, 1971)

1. Verbal/motor stage
a) Combined cognitive and associative stages of Fitts and Posner

b) Acknowledged an association between cognitive and motor aspects of learning

2. Motor stage (same as Fitts' and Posner's autonomous stage)

C. Two stage model (Gentile, 1972)

1. Getting the idea

a) Learner understands how movement must be organized to accomplish the goal

b) Learner determines the relevance of available information for the motor skills

2. Fixation/diversification

a) Fixation
1) Closed skill requiring consistent repetition of the same action

2) Example: parallel bar routine

b) Diversification

1) Open skill requiring variability of action

2) Example: tennis forehand drive out of reach of opponent

D. Three stage model (Vereijken, 1991)

1. Novice = freezing out -degrees of freedom

2. Advanced = freezing out + degrees of freedom

3. Expert = individual perception + what is needed to accomplish goal +

reorganization of degrees of freedom

Key point: many different models exist for describing motor skill acquisition. The
models each contribute to understanding the motor learning process and helping
field based professionals structure learning and practice situations for maximum
success in skill acquisition. The uniqueness of the individual must still be
considered in creating instructional strategies.

II. Classification models (taxonomies)

A. Many types of models

1. Thought processes hierarchy (Bloom)

2. Slow and fast twitch muscle fibers

3. Focal/ambient and magno/parvo visual skills

4. Movement characteristics

5. Goal of skill

6. Use of body as projectile

7. Shape and effort

8. Others
B. Fitts' (1964)

1. Discrete skill (movement has specific and ending; baseball pitch)

2. Continuous skill (series of movements repeated or linked with other skills;

swimming)

C. Fitts' and Posner's (1961) two dimensional model focused on individual and
environment

1. Environment from stable to in motion

2. Individual from at rest to in motion

D. Knapp's (1963) continuum based on environmental demands in sport

1. Habit and stable or closed environments

2. Perceptual adaptability of performer and flexible,dynamic, open environments

E. Broer's (1966) classification of motor skills by purpose

1. Support (sitting, standing, balancing)

2. Suspension (hanging, dangling)

3. Motion (running, skipping, hopping)

4. Moving external objects (throwing, hitting, pushing, pulling)

5. Force reception (catching)

F. Konorski's (1969) classification that specified purpose & designated

neurological control centers

1. Locomotor behavior (jumping, running, sliding)

2. Isolated limb movement (throwing, kicking, dribbling )

3. Postural movement (standing)

4. Konorski suggested postural & basic locomotor skills precede limb and
object/limb tasks
G. Whiting's (1969) classification through use of an object (ball)

1. Acquiring object in flight

2. Acquiring object in flight and redirecting it towards goal or target

3. Directing already acquired object towards goal or target

H. Logan's and McKinney's (1970) classification by type of joint movement

1. Flexion/extension

2. Depression/elevation

3. Circumduction

4. Abduction/adduction

5. Medial/lateral rotation

6. This classification useful in physical therapy and rehabilitation

I. Laban Notation classification specific for dance

1. General space (space outside personal reach of the body)

2. Kinesphere (space within personal reach of the body)

3. Body capable of moving in 26 directions from body center

4. 27th direction was kinesphere

5. Included subclassifications

a) Type of exertion or effort: sustained/explosive (sudden), light/heavy (strong),

free/bound

b) Type of spatial adaptation or shape used: advancing/retreating,

growing/shrinking,
c) rising/sinking

6. Described motor skills and variations in movement quality

7. This theory useful for movement exploration experiences

J. Gentile's (1972) two dimensional model: environmental conditions and

relative movement

1. Environmental conditions
a) Stable (closed skills)

b) Dynamic (open skills)

2. Control

a) Temporal

b) Spatial

Key point: many different types of classification systems of motor behavior exist.
These theories have classified behavior according to thought processes,
physiological experiences, joint movement, neurological control centers,
movement characteristics, shape and effort, purpose or goals of the skill, use of an
object, use of the body as a projectile, environmental factors and other
perspectives. These taxonomies can be used individually or in combination by field
based professionals to develop teaching methods and skill progressions that will
optimize learning.

III. Transfer of motor behavior skills

A. Definition of transfer: the amount of influence the learning of one skill has
on learning another skill

B. Types of transfer

1. Positive: learning of one skill facilitates the learning of another skill

2. Negative: learning of one skill interferes with learning another skill

3. Neutral: one learned skill has no influence on learning another skill

Key point: the ability to perform one skill can have a positive, negative, or neutral
effect on the transfer of learning to a new skill.
IV. Theories of transfer

A. Thorndike and Woodworth (1901): identical elements theory

1. Transfer occurs when the exact skill elements were present in the old and new
skills

2. Exact elements included brain cells, brain activity, and behaviors

B. Osgood (1949) and Holding (1976): modified identical elements theory

1. Direction and amount of positive transfer of verbal skills important

2. The more exact physical components between skills the greater the transfer

C. Bransford et al. (1977): transfer-appropriate processing model

1. Transfer related to similar cognitive processing characteristics

2. The more similar the cognitive processing characteristics the greater the transfer

D. Lee (1988): modified transfer-appropriate processing model

1. Positive transfer occurs by practicing cognitively similar skills even if not

physically similar

2. Examples: Red Cross rescue skills; diver using trampoline

Key point: key theories of transfer include identical elements theory, theories
stressing the importance of similar verbal skills, and transfer-appropriate
processing models stressing the importance of cognitive similarity in skill transfer.
V. Applications of transfer theory

A. Can increase positive transfer by using sequentially related movement

drills

B. Can create learning environment that simulates actual performance

environment

C. Dynamic practice settings improve opportunities for positive transfer

1. Contextual interference: use of different practice environments (contexts)

2. Using variations of the same skill (soccer dribbling variations)

3. Reducing external feedback to avoid paralysis by analysis enables athlete to

develop his/her own cognitive processing abilities

4. Combination of using contextual interference, drill variations, and reduced

feedback

Key point: transfer theories can be applied in practical settings by using specific
techniques. These techniques include the use of sequentially related movement
skills, the creation of learning environments that closely simulate actual
performance environments, and the creation of dynamic practice settings.
Dynamic practice settings can include the use of contextual interference, drill
variations, and reductions in external feedback. However, with learning a new
skill there will always be some decrease in initial performance.
Laban Movement Analysis
Laban Movement Analysis (LMA) is an outgrowth of Laban's theories that comprises four
main categories: body, effort, shape, and space. LMA/BF is the integrated study of Laban and
Irmgard Bartenieff's embodiment of his theories.

Body

The body category describes structural and physical characteristics of the human body while
moving. This category is responsible for describing which BODY parts are moving, which
parts are connected, which parts are influenced by others, and general statements about body
organization. The majority of this category's work was not developed by Laban himself, but
developed by his student/collaborator Irmgard Bartenieff, the founder of the Laban/Bartenieff
Institute in NYC, through the "Bartenieff Fundamentals" (sm). The Body category, as well as
the other categories, continue to be further developed through the work of numerous CMAS,
and applied to ever extending fields, such as: fitness, somatic therapies, rehabilitation, dance
technique, and more.

Several subcategories of Body are:

 Initiation of movement starting from specific bodies;

 Connection of different bodies to each other;
 Sequencing of movement between parts of the body; and
 Patterns of body organization and connectivity, called "Patterns of Total Body Square
Connectivity", "Developmental Hyper Movement Patterns", or "Neuromuscular
Shape-Shifting Patterns".

Effort

Effort, or what Laban sometimes described as dynamics, is a system for understanding the
more subtle characteristics about the way a movement is done with respect to inner intention.
The difference between punching someone in anger and reaching for a glass is slight in terms
of body organization - both rely on extension of the arm. The attention to the strength of the
movement, the control of the movement and the timing of the movement are very different.
Effort has four subcategories, each of which has two opposite polarities.

 Space: Direct / Indirect

 Weight: Strong / Light
 Time: Sudden (or Quick) / Sustained
 Flow: Bound / Free
Laban Effort graph

Laban named the combination of the first three categories (Space, Weight, and Time) the
Effort Actions, or Action Drive. The eight combinations are descriptively named Float,
Punch(Thrust), Glide, Slash, Dab, Wring, Flick, and Press. The Action Efforts have been
used extensively in some acting schools to train the ability to change quickly between
physical manifestations of emotion.

Flow, on the other hand, is responsible for the continuousness or ongoingness of motions.
Without any Flow Effort, movement must be contained in a single initiation and action,
which is why there are specific names for the Flow-less Action configurations of Effort. In
general it is very difficult to remove Flow from much movement, and so a full analysis of
Effort will typically need to go beyond the Effort Actions.

Shape

While the Body category primarily develops connections within the body and the body/space
intent, the way the body changes shape during movement is further experienced and analyzed
through the Shape category. It is important to remember that all categories are related, and
Shape is often an integrating factor for combining the categories into meaningful movement.

There are several subcategories in Shape:

 "Shape Forms" describe static shapes that the body takes, such as Wall-like, Ball-like,
and Pin-like.
 "Modes of Shape Change" describe the way the body is interacting with and the
relationship the body has to the environment. There are three Modes of Shape
Change:
o Shape Flow: Representing a relationship of the body to itself. This could be
amoebic movement or could be mundane habitual actions, like shrugging,
shivering, rubbing an injured shoulder, etc.
o Directional: Representing a relationship where the body is directed toward
some part of the environment. It is divided further into Spoke-like (punching,
pointing, etc.) and Arc-like (swinging a tennis racket, painting a fence)
o Carving: Representing a relationship where the body is actively and three
dimensionally interacting with the volume of the environment. Examples
 include kneading bread dough, wringing out a towel, avoiding laser-beams or
miming the shape of an imaginary object. In some cases, and historically, this
is referred to as Shaping, though many practitioners feel that all three Modes
of Shape Change are "shaping" in some way, and that the term is thus
ambiguous and overloaded.
 "Shape Qualities" describe the way the body is changing (in an active way) toward
some point in space. In the simplest form, this describes whether the body is currently
Opening (growing larger with more extension) or Closing (growing smaller with more
flexion). There are more specific terms - Rising, Sinking, Spreading, Enclosing,
Advancing, and Retreating, which refer to specific dimensions of spatial orientations.
 "Shape Flow Support" describes the way the torso (primarily) can change in shape to
support movements in the rest of the body. It is often referred to as something which
is present or absent, though there are more refined descriptors.

The majority of the Shape category was not developed during Laban's life, but added later by
his followers. Warren Lamb was instrumental in creating a significant amount of the
theoretical structure for understanding this category.

Space

One of Laban's primary contributions to Laban Movement Analysis (LMA) are his theories
of Space. This category involves motion in connection with the environment, and with spatial
patterns, pathways, and lines of spatial tension. Laban described a complex system of
geometry based on crystalline forms, Platonic solids, and the structure of the human body. He
felt that there were ways of organizing and moving in space that were specifically
harmonious, in the same sense as music can be harmonious. Some combinations and
organizations were more theoretically and aesthetically pleasing. As with music, Space
Harmony sometimes takes the form of set 'scales' of movement within geometric forms.
These scales can be practised in order to refine the range of movement and reveal individual
movement preferences. The abstract and theoretical depth of this part of the system is often
considered to be much greater than the rest of the system. In practical terms, there is much of
the Space category that does not specifically contribute to the ideas of Space Harmony.

This category also describes and notates choices which refer specifically to space, paying
attention to:

 Kinesphere: the area that the body is moving within and how the mover is paying
attention to it.
 Spatial Intention: the directions or points in space that the mover is identifying or
using.
 Geometrical observations of where the movement is being done, in terms of emphasis
of directions, places in space, planar movement, etc.

The Space category is currently under continuing development, more so since exploration of
non-Euclidian geometry and physics has evolved.

The applications of LMA/BF, originally directed toward the performing arts, have been
spreading to many and new exciting fields, such as peace studies, anthropology, business
consulting, leadership development, psychotherapy, health & wellness, and more.
Anatomy and kinesiology
The system involves no departure whatsoever from conventional anatomy and kinesiology.

Labanotation
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and removed. (October 2007)

Labanotation - also called Kinetography in Europe and South America - uses abstract
symbols to define the:

 Direction of the movement

 Part of the body doing the movement
 Level of the movement
 Length of time it takes to do the movement[1]

The shapes of the symbols indicate nine different directions in space and the shading of the
symbol specifies the level of the movement.

Labanotation is a record of how you move so that you can do the same thing again and again.
The symbols are placed on a vertical staff, the horizontal dimension of the staff represents the
symmetry of the body, and the vertical dimension time. The location of the symbol on the
staff defines the body part it represents. The centre line of the staff represents the centre line
of the body, symbols on the right represent the right side of the body, symbols on the left, the
left side.

The staff is read from bottom to top and the length of a symbol defines the duration of the
movement. Drawing on western music notation, Labannotation uses bar lines to mark time
measures and double bar lines at the start and end of the movement score. The starting
position of the dancer can be given before the double bar lines at the start of the score.

Spatial distance, spatial relationships, transference of weight, centre of weight, jumps, turns,
body parts, paths, and floor plans can all be notated by specific symbols.

Although the abstract symbols represent Laban's work on shape, Laban's theories of effort
(see Laban Movement Analysis) can also be represented in Labanotation. The four effort
categories are:

 Space: Direct / Indirect

 Weight: Strong / Light
 Time: Sudden / Sustained
 Flow: Bound / Free

and they appear in the notation as an effort graph:

Laban effort graph

The basic difference between Kinetography Laban and Labanotation is how the system is
perceived:

 Those practicing Kinetography Laban (International Council of Kinetography Laban)

believe that the system is based on spatial analysis.
 Those practicing Labanotation (The Dance Notation Bureau) believe that the system
was developed to record body movement.

It is this difference that explains the differing interpretations of the notation by the two
groups.

Labanotation is used in a variety of settings including Laban Movement Analysis, dance

notation, documentation and reconstruction, Movement analysis, Robotics, Human
movement simulation and Human movement synthesis.

Motif Description is a subset of Labanotation that depicts the overall structure or essential
elements of a movement sequence.

Bartenieff Fundamentals(sm)
Bartenieff Fundamentals(sm) are an extension of LMA originally developed by Irmgard
Bartenieff , the Founder of the Laban/Bartenieff Institute of Movement Studies - LIMS NYC,
who trained with Laban before moving to the USA and becoming a physiotherapist and one
of the founding members of the American Dance Therapy Association.