DOCSLIB.ORG

Skill Toy Kit User Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Skill Toy Kit User Guide Skill Toy Kit User Guide Introduction to Skill Toys 2 Coaching Tips Flower Sticks 3 Kendama 5 Spinning Plate 7 Diabolo 9 Flop Ball 11 Yo-Yo 12 Juggling 14 Creating a Routine 17 DIY Instructions Kendama 20 Flower Sticks 22 Juggling Balls 24 Activity Ideas Trick of the Week/Month 25 Everyday Objects 25 Video Contests 25 60 Second Challenges 26 Skill Toy Bingo 27 Other Resources Reading List & On-line Resources 28 Kit Inventory Form 29 Introduction to Skill Toys You and your team are about to embark on a fun adventure into the world of skill toys. Each toy included in this kit has its own story, design, and body of tricks. Most of them have a lower barrier to entry than juggling, and the following lessons of good posture, mindfulness, problem solving, and goal setting apply to all. Before getting started with any of the skill toys, it is important to remember to relax. Stand with legs shoulder width apart, bend your knees, and take deep breaths. Many of them require you to absorb energy. We have found that the more stressed a player is, the more likely he/she will be to struggle. Not surprisingly, adults tend to have this problem more than kids. If you have players getting frustrated, remind them to relax. Playing should be fun! Also, remind yourself and other players that even the drops or mess-ups can give us valuable information. If they observe what is happening when they attempt to use the skill toys, they can use this information to problem solve. Try throwing it higher, try making the circle bigger, try holding it looser. Try something different and then pay attention to what effect it had. Take the pressure off of dropping by using it as a clue and a critical step in the learning process. Each of these toys has a wide range of tricks that can be learned. If players get bored, it is only because they have not explored the full range of possibilities. Players should look through the instructional materials and videos, decide on a set of tricks to learn, and then work on the steps toward mastering those goals. Once you've had a chance to play with the skill toys, you can spend time comparing the similarities and differences between them. Most players end up with a favorite, but it will vary from person to person. After the first session, we always like to ask which is your favorite and why. Some like the skill toy that is the most challenging, some like the one that comes easiest, while others like the ones that use bigger motions. You may be surprised by what they share and how it may change the more they play. One major difference that we will address in this section is the difference between stop and go skill toys versus flow skill toys. Stop and go plays just like it sounds. The player starts in a rest position, does a trick, and then returns to rest. The flow toys are like juggling in that once it starts, the toy has to stay in motion. There is usually a home position that has to be mastered first and from this action all of the other tricks are done. Often times the player has to return to this home position in between tricks to regain momentum. Happy Playing! © 2017 Flow Circus Inc. All Rights Reserved. 2 Coaching Tips - Flower Sticks History: The history of the flower sticks most likely dates back to ancient times, but the earliest written history of the toy comes from European explorers that traveled along the Silk Road to China during the 1700s. The Hua Kun (flower stick) popular in China at the time was brought back to Europe. The design has changed slightly over the years, but the style of play remains similar. Stop & Go: To first get comfortable playing with the flower sticks, have players hold the two short sticks or hand sticks in each of their hands and balance the flower stick across the hand sticks. The set of tricks in this part all involve the flower stick starting at rest, going into motion, and then returning to a resting position. Stop and go. Toss and Catch: Throw different heights to get comfortable with the sticks. Toss and Catch with a Partner: Practice with one flower stick back and forth first. When tossing two at a time, one partner throws high and the other throws low so the flower sticks do not collide in the middle. Flips: Flip to the right, to the left, double flip, etc. One stick pushes up harder than the other to create the flipping action. Turns: Toss the flower stick into the air while pushing with one stick and pulling with the other in order to make the stick rotate in a flat circle. Rolls: Roll the flower stick down the hand sticks and then down arms to shoulders. Fancy Catches: Toss, cross arms while stick is in the air, and catch with arms crossed; toss above head and catch on the back side of hand sticks over head; toss over the head and catch behind the back; toss up and catch with one arm under the leg. Of course, with all of the fancy catches listed above, the flower stick player then needs to figure out the next move. This is where creativity and innovation become important. Challenge players to come up with their own signature routines that consist of a series of five moves (or more). A behind the back catch is impressive, but then how do you get it back to the front for more tricks? What is the big finish trick to impress the audience? These are some of the questions you can pose to get them thinking creatively. We love when players discover new moves to create fantastic routines. © 2017 Flow Circus Inc. All Rights Reserved. 3 Flow: The basic flow motion for the flower stick is called the Tick Tock. Here are some basic points to remember: Start by kneeling on the ground or with the bottom of the flower stick resting on a table. The hand sticks should make contact with the flower stick three quarters of the way up. The motion is not batting back and forth, but an actual toss and catch between the hand sticks. Player will need to use both hands equally with this skill toy. Flow Tricks: Once players have mastered the tick tock comfortably, they can move on to more difficult tricks. They will want to start with these tricks because they look so impressive, but they really need to have control of the sticks and the basic tick tock before they increase the level of difficulty. Flips: Have the flower stick do half flips or full flips in either direction. Under the leg: Have one arm reach under one leg and continue the tick tock in this position. Helicopter: Keep the same motion as the tick tock, but have one hand stick pull and the other push so that the flower stick moves in a horizontal plane. Propeller: Move one hand stick in a small circular motion around the flower stick’s center to make it spin like a propeller. As the hand stick gets to the bottom of its circular path it gives the flower stick a gentle lift, moves in a circle around it, and then gives another lift when it gets to the bottom again. Combine stop and go and flow tricks. Flower sticks allow players to bring in other talents that they may have already developed. For example, a drummer can toss up the flower stick do some fancy drumstick spins with the hand sticks and then catch the flower stick. The dancer can add pirouettes or other dance moves. The baton twirler will have fancy twirls that can be added. Or the juggler can move from the tick tock, to juggling the three sticks, and back to the tick tock. Encourage them to think creatively about how to combine talents and develop their own personal style. © 2017 Flow Circus Inc. All Rights Reserved. 4 Coaching Tips - Kendama History: The modern version of the kendama that you will be using was developed in Japan during the early 1900s, but its history dates back even further. Versions of this type of toy that practices hand-eye coordination have been found around the world in England (cup and ball), France (bilboquet), North America (pommawonga), and South America (balero). The indigenous people of Japan (the Ainu) may have had their own version of the toy, but evidence indicates that the European explorers traveling the Silk Road in the 1700s brought the modern version of the toy to Japan. At first, it was primarily enjoyed by adults, but then in 1876 Japan’s Ministry of Education wrote a report indicating that the toy should be used by children. It then became widely popular and is still played by Japanese children today. How it Works: The Japanese kendama has three cups and a pin on which to catch the ball. A variety of tosses and catches can be used with this stop and go toy. The handle or stick is the ken and the ball is the tama oor dama. Basic Toss & Catch: Hold the stick as if it were an ice cream cone or lollipop. Tip the stick so that it is parallel to the ground and the pin is pointing away from you. Let the ball hang from the stick. Once the ball stops moving, gently lift the handle so that the ball gets tossed above the stick.
Load more

Recommended publications
  • National Circus and Acrobats of the People's Republic of China
    Friday, September 11, 2015, 8pm Saturday, September 12, 2015, 2pm & 8pm Zellerbach Hall National Circus and Acrobats of the People’s Republic of China Peking Dreams Cal Performances’ $"#%–$"#& season is sponsored by Wells Fargo. PROGRAM Peking Dreams EKING (known today as Beijing), the capital of the People’s Republic of China, is a Pfamous historical and cultural city with a history spanning 1,000 years and a wealth of precious Chinese cultural heritage, including the Great Wall, the Forbidden City, the Summer Palace, and the Temple of Heaven. Acrobatic art, Chinese circus, and Peking opera are Chinese cultural treasures and are beloved among the people of Peking. These art forms combine music, acrobatics, performance, mime, and dance and share many similarities with Western culture. Foreign tourists walking along the streets or strolling through the parks of Peking can often hear natives sing beautiful Peking opera, see them play diabolo or perform other acrobatics. Peking Dreams , incorporating elements of acrobatics, Chinese circus, and Peking opera, invites audiences into an artistic world full of history and wonder. The actors’ flawless performance, colorful costumes, and elaborate makeup will astound audiences with visual and aural treats. PROGRAM Opening Acrobatic Master and His Pupils The Peking courtyard is bathed in bright moonlight. In the dim light of the training room, three children formally become pupils to an acrobatic master. Through patient teaching, the master is determined to pass his art and tradition down to his pupils. The Drunken Beauty Amidst hundreds of flowers in bloom, the imperial concubine in the Forbidden City admires the full moon while drinking and toasting.
    [Show full text]
  • How to Juggle the Proof for Every Theorem an Exploration of the Mathematics Behind Juggling
    How to juggle the proof for every theorem An exploration of the mathematics behind juggling Mees Jager 5965802 (0101) 3 0 4 1 2 (1100) (1010) 1 4 4 3 (1001) (0011) 2 0 0 (0110) Supervised by Gil Cavalcanti Contents 1 Abstract 2 2 Preface 4 3 Preliminaries 5 3.1 Conventions and notation . .5 3.2 A mathematical description of juggling . .5 4 Practical problems with mathematical answers 9 4.1 When is a sequence jugglable? . .9 4.2 How many balls? . 13 5 Answers only generate more questions 21 5.1 Changing juggling sequences . 21 5.2 Constructing all sequences with the Permutation Test . 23 5.3 The converse to the average theorem . 25 6 Mathematical problems with mathematical answers 35 6.1 Scramblable and magic sequences . 35 6.2 Orbits . 39 6.3 How many patterns? . 43 6.3.1 Preliminaries and a strategy . 43 6.3.2 Computing N(b; p).................... 47 6.3.3 Filtering out redundancies . 52 7 State diagrams 54 7.1 What are they? . 54 7.2 Grounded or Excited? . 58 7.3 Transitions . 59 7.3.1 The superior approach . 59 7.3.2 There is a preference . 62 7.3.3 Finding transitions using the flattening algorithm . 64 7.3.4 Transitions of minimal length . 69 7.4 Counting states, arrows and patterns . 75 7.5 Prime patterns . 81 1 8 Sometimes we do not find the answers 86 8.1 The converse average theorem . 86 8.2 Magic sequence construction . 87 8.3 finding transitions with flattening algorithm .
    [Show full text]
  • THE BENEFITS of LEARNING to JUGGLE for CHILDREN Written by Dave Finnigan
    THE BENEFITS OF LEARNING TO JUGGLE FOR CHILDREN Written by Dave Finnigan Fitness, Motor Skills, Rhythm, Balance, Coordination Benefits . Students can start acquiring pre-juggling skills in pre-school and kindergarten by learning to toss and catch one big, colorful, slow-moving nylon scarf. Once tossing and catching becomes routine, you can use one nylon scarf anywhere that you would normally use a ball or beanbag for most games and many individual challenges. Just think of the scarf as a "ball with training wheels." Scarf juggling and scarf play progresses in a step-by-step manner from one, to two, and on to three. Scarf play and scarf juggling requires big, flowing movements. Children get a great cardio-vascular and pulmonary work-out when they juggle scarves, exercising the big muscles close to the head and close to the heart. They will find scarf juggling to be a great deal of work and lots of fun at the same time. Once they move on to beanbags or other faster moving equipment, they get exercise not only from tossing, but from bending over to pick up errant objects as well. Once a student can juggle continuously, they can "workout" with heavy or bulky objects such as heavyweight beanbags, basketballs, or other items which provide strenuous exercise while they improve focus and dexterity. Because all of this tossing and catching activity can be done to music, you can use different types of music to help children acquire a sense of rhythm and a natural "beat." By working together, students can participate in a group activity requiring concentration and attention to task and reinforcing rhythm.
    [Show full text]
  • Inspiring Mathematical Creativity Through Juggling
    Journal of Humanistic Mathematics Volume 10 | Issue 2 July 2020 Inspiring Mathematical Creativity through Juggling Ceire Monahan Montclair State University Mika Munakata Montclair State University Ashwin Vaidya Montclair State University Sean Gandini Follow this and additional works at: https://scholarship.claremont.edu/jhm Part of the Arts and Humanities Commons, and the Mathematics Commons Recommended Citation Monahan, C. Munakata, M. Vaidya, A. and Gandini, S. "Inspiring Mathematical Creativity through Juggling," Journal of Humanistic Mathematics, Volume 10 Issue 2 (July 2020), pages 291-314. DOI: 10.5642/ jhummath.202002.14 . Available at: https://scholarship.claremont.edu/jhm/vol10/iss2/14 ©2020 by the authors. This work is licensed under a Creative Commons License. JHM is an open access bi-annual journal sponsored by the Claremont Center for the Mathematical Sciences and published by the Claremont Colleges Library | ISSN 2159-8118 | http://scholarship.claremont.edu/jhm/ The editorial staff of JHM works hard to make sure the scholarship disseminated in JHM is accurate and upholds professional ethical guidelines. However the views and opinions expressed in each published manuscript belong exclusively to the individual contributor(s). The publisher and the editors do not endorse or accept responsibility for them. See https://scholarship.claremont.edu/jhm/policies.html for more information. Inspiring Mathematical Creativity Through Juggling Ceire Monahan Department of Mathematical Sciences, Montclair State University, New Jersey, USA
    [Show full text]
  • Book Review: the Mathematics of Juggling, Volume 51, Number 1
    Book Review The Mathematics of Juggling Reviewed by Allen Knutson The Mathematics of Juggling • (to avoid considering boundary conditions) The Burkard Polster juggler has been juggling since the infinite past Springer-Verlag, New York, 2003 and will continue into the infinite future. 226 pages, $39.95 • The throws come one per second, with right ISBN 0-387-95513-5 throws at even times and left throws at odd times (this can be ensured by reparametrizing Around 1985 three groups of jugglers (in Santa the time coordinate). Cruz, California; in Pasadena, California; and in More notable, though, is the assumption about Cambridge, England) independently created the what one actually wants to record: same notational system for juggling patterns. These • The only information kept about the ball thrown ∈ Z numerical descriptions have been well publicized at time n is when it is next thrown, at time in the juggling world under the name “siteswaps” f (n). (and, even so, continue to be rediscovered by new- In particular, this assumption loses any extra de- comers). tail about the throw like “under the leg”, “with a triple spin” (if the objects juggled are pins rather As we will see shortly upon presentation of the than balls), “while telling joke #1729”, etc. But it basic definitions, a rather simple list of restric- suggests a very nice mathematical theory of cer- tions leads easily to a unique notational system. tain functions f : Z → Z: More surprising is the near-simultaneity of the dis- 1. The function f should be one-to-one, since we covery! The best explanation of this seems to be do not want two balls landing at the same time.
    [Show full text]
  • The Beginner's Guide to Circus and Street Theatre
    The Beginner’s Guide to Circus and Street Theatre www.premierecircus.com Circus Terms Aerial: acts which take place on apparatus which hang from above, such as silks, trapeze, Spanish web, corde lisse, and aerial hoop. Trapeze- An aerial apparatus with a bar, Silks or Tissu- The artist suspended by ropes. Our climbs, wraps, rotates and double static trapeze acts drops within a piece of involve two performers on fabric that is draped from the one trapeze, in which the ceiling, exhibiting pure they perform a wide strength and grace with a range of movements good measure of dramatic including balances, drops, twists and falls. hangs and strength and flexibility manoeuvres on the trapeze bar and in the ropes supporting the trapeze. Spanish web/ Web- An aerialist is suspended high above on Corde Lisse- Literally a single rope, meaning “Smooth Rope”, while spinning Corde Lisse is a single at high speed length of rope hanging from ankle or from above, which the wrist. This aerialist wraps around extreme act is their body to hang, drop dynamic and and slide. mesmerising. The rope is spun by another person, who remains on the ground holding the bottom of the rope. Rigging- A system for hanging aerial equipment. REMEMBER Aerial Hoop- An elegant you will need a strong fixed aerial display where the point (minimum ½ ton safe performer twists weight bearing load per rigging themselves in, on, under point) for aerial artists to rig from and around a steel hoop if they are performing indoors: or ring suspended from the height varies according to the ceiling, usually about apparatus.
    [Show full text]
  • Happy Birthday!
    THE THURSDAY, APRIL 1, 2021 Quote of the Day “That’s what I love about dance. It makes you happy, fully happy.” Although quite popular since the ~ Debbie Reynolds 19th century, the day is not a public holiday in any country (no kidding). Happy Birthday! 1998 – Burger King published a full-page advertisement in USA Debbie Reynolds (1932–2016) was Today introducing the “Left-Handed a mega-talented American actress, Whopper.” All the condiments singer, and dancer. The acclaimed were rotated 180 degrees for the entertainer was first noticed at a benefit of left-handed customers. beauty pageant in 1948. Reynolds Thousands of customers requested was soon making movies and the burger. earned a nomination for a Golden Globe Award for Most Promising 2005 – A zoo in Tokyo announced Newcomer. She became a major force that it had discovered a remarkable in Hollywood musicals, including new species: a giant penguin called Singin’ In the Rain, Bundle of Joy, the Tonosama (Lord) penguin. With and The Unsinkable Molly Brown. much fanfare, the bird was revealed In 1969, The Debbie Reynolds Show to the public. As the cameras rolled, debuted on TV. The the other penguins lifted their beaks iconic star continued and gazed up at the purported Lord, to perform in film, but then walked away disinterested theater, and TV well when he took off his penguin mask into her 80s. Her and revealed himself to be the daughter was actress zoo director. Carrie Fisher. ©ActivityConnection.com – The Daily Chronicles (CAN) HURSDAY PRIL T , A 1, 2021 Today is April Fools’ Day, also known as April fish day in some parts of Europe.
    [Show full text]
  • JUGGLING in the U.S.S.R. in November 1975, I Took a One Week Tour to Leningrad and Ring Cascade Using a "Holster” at Each Side
    Volume 28. No. 3 March 1976 INTERNATIONAL JUGGLERS ASSOCIATION from Roger Dol/arhide JUGGLING IN THE U.S.S.R. In November 1975, I took a one week tour to Leningrad and ring cascade using a "holster” at each side. He twice pretended Moscow, Russia. I wasfortunate to see a number of jugglers while to accidentally miss the catch of all 9 down over his head before I was there. doing it perfectly to rousing applause and an encore bow. At the Leningrad Circus a man approximately 45 years old did Also on the show was a lady juggler who did a short routine an act which wasn’t terribly exciting, though his juggling was spinning 15-inch square glass sheets. She finished by spinning pretty good. He did a routine with 5, 4, 3 sticks including one on a stick balanced on her forehead and one on each hand showering the 5. He also balanced a pole with a tray of glassware simultaneously. Then, she did the routine of balancing a tray of on his head and juggled 4 metaf plates. For a finish, he cqnter- glassware on a sword balanced point to point on a dagger in her spun a heavy-looking round wooden table upside-down on a 10- mouth and climbing a swaying ladder ala Rosana and others. foot sectioned pole balanced on his forehead, then knocked the Finally, there were two excellent juggling acts as part of a really pole away and caught the table still spinning on a short pole held great music and variety floor show at the Arabat Restaurant in in his hands.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, SAN DIEGO Flips and Juggles A
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Flips and Juggles ADissertationsubmittedinpartialsatisfactionofthe requirements for the degree Doctor of Philosophy in Mathematics by Jay Cummings Committee in charge: Professor Ron Graham, Chair Professor Jacques Verstra¨ete, Co-Chair Professor Fan Chung Professor Shachar Lovett Professor Je↵Remmel Professor Alexander Vardy 2016 Copyright Jay Cummings, 2016 All rights reserved. The Dissertation of Jay Cummings is approved, and it is acceptable in quality and form for publication on micro- film and electronically: Co-Chair Chair University of California, San Diego 2016 iii DEDICATION To mom and dad. iv EPIGRAPH We’ve taught you that the Earth is round, That red and white make pink. But something else, that matters more – We’ve taught you how to think. — Dr. Seuss v TABLE OF CONTENTS Signature Page . iii Dedication . iv Epigraph ...................................... v TableofContents.................................. vi ListofFigures ................................... viii List of Tables . ix Acknowledgements ................................. x AbstractoftheDissertation . xii Chapter1 JugglingCards ........................... 1 1.1 Introduction . 1 1.1.1 Jugglingcardsequences . 3 1.2 Throwingoneballatatime . 6 1.2.1 The unrestricted case . 7 1.2.2 Throwingeachballatleastonce . 9 1.3 Throwing m 2ballsatatime. 16 1.3.1 A digraph≥ approach . 17 1.3.2 Adi↵erentialequationsapproach . 21 1.4 Throwing di↵erent numbers of balls at di↵erent times . 23 1.4.1 Boson normal ordering . 24 1.5 Preserving ordering while throwing . 27 1.6 Juggling card sequences with minimal crossings . 32 1.6.1 A reduction bijection with Dyck Paths . 36 1.6.2 A parenthesization bijection with Dyck Paths . 48 1.6.3 Non-crossingpartitions . 52 1.6.4 Counting using generating functions .
    [Show full text]
  • Circus Class Overview & Links to Victorian Curriculum
    Circus Class Overview & Links to Victorian Curriculum FunFit Circus classes assist students to develop a variety of circus skills that are increasingly popular today. There is nothing like learning a new skill for satisfaction and self-approval. With our huge range of different circus disciplines, there’s something for everyone. Most are individual activities so students can learn at their own pace and hone in on the circus toys they love. They can then work together on partner and group skills and even create short or long circus shows. Circus skills are also something that students can take home and develop. Families and friends love watching as students proudly perform their new circus tricks! Each class addresses the Victorian Curriculum learning area of Health and Physical Education through the strand and sub-strands identified below: Health and Physical Education: Movement and Physical Activity • Moving the body • Understanding movement • Learning through movement Circus classes may also align to the following learning areas and capabilities: • Health and Physical Education: Personal, Social and Community Health • The Arts: Dance • The Arts: Drama • The Arts: Music • Personal and Social Capability • Critical and Creative Thinking Capability For a more detailed understanding of what and how the Movement and Physical Activity content descriptors are addressed through our Circus classes see below: Foundation Level – Includes Juggling, Hula Hoops, Acrobalance, Poi, Staff, Diabolo and Clowning Movement & Physical Activity: Sub-Strand Curriculum (what) - Content Description Pedagogy (how) – Through these circus workshops students will: Practice fundamental movement skills and Practice a variety of fundamental movement skills through a fun warm up activity.
    [Show full text]
  • Class of 1965 50Th Reunion
    CLASS OF 1965 50TH REUNION BENNINGTON COLLEGE Class of 1965 Abby Goldstein Arato* June Caudle Davenport Anna Coffey Harrington Catherine Posselt Bachrach Margo Baumgarten Davis Sandol Sturges Harsch Cynthia Rodriguez Badendyck Michele DeAngelis Joann Hirschorn Harte Isabella Holden Bates Liuda Dovydenas Sophia Healy Helen Eggleston Bellas Marilyn Kirshner Draper Marcia Heiman Deborah Kasin Benz Polly Burr Drinkwater Hope Norris Hendrickson Roberta Elzey Berke Bonnie Dyer-Bennet Suzanne Robertson Henroid Jill (Elizabeth) Underwood Diane Globus Edington Carol Hickler Bertrand* Wendy Erdman-Surlea Judith Henning Hoopes* Stephen Bick Timothy Caroline Tupling Evans Carla Otten Hosford Roberta Robbins Bickford Rima Gitlin Faber Inez Ingle Deborah Rubin Bluestein Joy Bacon Friedman Carole Irby Ruth Jacobs Boody Lisa (Elizabeth) Gallatin Nina Levin Jalladeau Elizabeth Boulware* Ehrenkranz Stephanie Stouffer Kahn Renee Engel Bowen* Alice Ruby Germond Lorna (Miriam) Katz-Lawson Linda Bratton Judith Hyde Gessel Jan Tupper Kearney Mary Okie Brown Lynne Coleman Gevirtz Mary Kelley Patsy Burns* Barbara Glasser Cynthia Keyworth Charles Caffall* Martha Hollins Gold* Wendy Slote Kleinbaum Donna Maxfield Chimera Joan Golden-Alexis Anne Boyd Kraig Moss Cohen Sheila Diamond Goodwin Edith Anderson Kraysler Jane McCormick Cowgill Susan Hadary Marjorie La Rowe Susan Crile Bay (Elizabeth) Hallowell Barbara Kent Lawrence Tina Croll Lynne Tishman Handler Stephanie LeVanda Lipsky 50TH REUNION CLASS OF 1965 1 Eliza Wood Livingston Deborah Rankin* Derwin Stevens* Isabella Holden Bates Caryn Levy Magid Tonia Noell Roberts Annette Adams Stuart 2 Masconomo Street Nancy Marshall Rosalind Robinson Joyce Sunila Manchester, MA 01944 978-526-1443 Carol Lee Metzger Lois Banulis Rogers Maria Taranto [email protected] Melissa Saltman Meyer* Ruth Grunzweig Roth Susan Tarlov I had heard about Bennington all my life, as my mother was in the third Dorothy Minshall Miller Gail Mayer Rubino Meredith Leavitt Teare* graduating class.
    [Show full text]
  • Juggling – 15013000/15013100 HOPE PE 1506320G
    Course: Juggling – 15013000/15013100 HOPE PE 1506320G Credit for Graduation: 1.0 Credit – HOPE elective credit / Physical Education Credit Pre-requisite: Desire to explore and develop the skill set needed for juggling. Description: Expectations: The purpose of this course is to provide students Students will be expected to embrace the many with the knowledge, skills, and values they need to challenges involved in developing a unique skill become healthy and physically active for a lifetime. set. In addition to developing skills with assorted This course addresses both the health and skill- props, students will be expected to learn about related components of physical fitness which are the greater juggling community, learning theory, critical for students' success. The SAIL juggling program exists to promote self-expression and to prop building, routine development etc. encourage creativity. Students will have the Participation and movement are key components opportunity to form new friendships and develop for being successful in this course. skills that will last a lifetime. In addition to conventional ball, club and ring juggling, students will be exposed to a plethora of props likely including but not limited to unicycle, cigar box manipulation, rolla bolla, contact juggling, card throwing, throw top, yo-yo, diabolo, hacky sack, passing, kendama and ball spinning. Resources/Materials: Assorted jugging equipment Website: https://www.leonschools.net/Domain/2453 Course: Juggling 15013000 / 15013000 HOPE PE: #15063200 Credit for Graduation: 1.0 Credit - HOPE elective credit Pre-requisite: Description: Expectations: HOPE PE: The purpose of this course is to develop and enhance healthy behaviors that influence lifestyle choices and student health and fitness.
    [Show full text]