Motor Learning and Coaching PES 11 PPT PDF

PHYSICAL EDUCATION STUDIES ATAR Motor Learning and Coaching SYLLABUS Motor Learning and Coaching (Unit 1) Physical-Education-Studies-ATAR-Year-11-Syllabus-for-teachi ng-from-January-2024_pdf.PDF (scsa.wa.edu.au) Classification of motor skills: Gross Fine Open Closed Disc...

PHYSICAL EDUCATION STUDIES ATAR Motor Learning and Coaching SYLLABUS Motor Learning and Coaching (Unit 1) Physical-Education-Studies-ATAR-Year-11-Syllabus-for-teachi ng-from-January-2024_pdf.PDF (scsa.wa.edu.au) Classification of motor skills: Gross Fine Open Closed Discrete Serial Continuous SYLLABUS Mo tor Le arning and Co aching (Unit 1) Fitts and Posner Model: Phases of motor learning and how they can be used to develop/improve specific physical skills SYLLABUS Mo tor Le arning and Co aching (Unit 1) Types of cues used to improve performance Visual Verbal Proprioceptive  SYLLABUS Mo tor Le arning and Co aching (Unit 1) Phases of information processing during skill performance: Identification of stimuli/input Response identification/decision making Response/output Feedback SYLLABUS Mo tor Le arning and Co aching (Unit 1) Types of feedback Intrinsic (inherent) Extrinsic (augmented) - terminal, concurrent, verbal, non-verbal Purpose of feedback reinforcement motivation SKILL DEFINITION – WHAT IS IT? Skill is the “learned ability to bring about predetermined results with a maximum of certainty, often with a minimum outlay of time or energy, or both” – Knapp Skill Categories There are 3 basic categories of skills; 1.Cognitive skills involving primarily the brain. Eg. reading, analysing a problem. 2.Perceptual skills involving how an individual interprets stimuli eg two players receive the same information from the environment but interpret it differently. Correct interpretation of stimuli improves performance. 3.Motor skills involving physical movement. Eg. catching, throwing, running. SYLLABUS Motor Learning and Coaching (Unit 1) Physical-Education-Studies-ATAR-Year-11-Syllabus-for-teachi ng-from-January-2024_pdf.PDF (scsa.wa.edu.au) Classification of motor skills: Gross Fine Open Closed Discrete Serial Continuous CLASSIFICATION OF MOTOR SKILLS  CLASSIFICATION OF MOTOR SKILLS Motor Skills can be put into different continuums based on; 1.The size of the muscle groups involved 2. The impact of the environment on the skill 3. The degree of continuity of the skill Refer to pages 101-103 PEST BOOK 2AB 4.The difficulty / complexity of the skill DEFINE THESE TERMS 5.The performer’s control over the timing of the skill 1. MUSCLE INVOLVEMENT Precision of the Movement Continuum This continuum is influenced by the size of muscle groups / movement involved. Gross Motor Skills Involve movement of major muscle groups resulting in large body part movement. Includes fundamental movement patterns eg walking, running, balance, coordination, jumping 1. MUSCLE INVOLVEMENT Precision of the Movement Continuum This continuum is influenced by the size of muscle groups / movement involved. Fine Motor Skills Involve movement of smaller muscle groups resulting in more precise movement. Includes activities such as writing, typing on a keyboard, playing a guitar Often involves coordination between the hands and eyes. 1. MOVEMENT PRECISION 2. PREDICTABILITY OF ENVIRONMENT This continuum is influenced by the impact of the environment on the skill. Open Skills Open skills involve performing in an environment where critical information is constantly changing and the production of the skill must adapt to these changes. Performers use experience, perceptual skills and knowledge to analyse a given situation during the course of the performance before adapting a suitable skill in response. Games such as rugby, soccer, netball are open skills as the performer must take into account the movement of team mates and opposition when performing a skill. Decision making is made during the course of the performance. 2. PREDICTABILITY OF ENVIRONMENT Closed Skills Take place in a stable, predictable environment where critical information does not change during the performance of the skill. The skill is pre – learned, rehearsed movement pattern, that the performer tries to reproduce the same way every time eg diving, floor routine in gymnastics, shot put. Golf is a closed sport as the environment is stable and does not The environment change has little influence during the performance. on the performer. Decision making is done prior to performing the skill. 2. PREDICTABILITY OF ENVIRONMENT 3. CONTINUITY This continuum is influenced by how well defined the beginning and end of the performance is. Discrete skills Have clear beginnings and endings. a drive in golf a dive from the tower a shot at goal a penalty shot 3. CONTINUITY Serial skills Made up of a number of discrete skills which are put together in a certain order> Involves the production, in the correct sequential order, of several discrete skills. A sporting example of a serial skill is a lay up in basketball where the performer joins together many discrete skills to make up the routine – run, setp, jump, release ball etc. 3. CONTINUITY Continuous skills Do not have clear a clear beginning or ending and it is impossible to define exactly where the skill starts and where it stops. e.g. – cycling, jogging 3. CONTINUITY 4. TASK COMPLEXITY This continuum is based on how difficult the skill is to perform. The difficulty or complexity of a task is affected by; The number of relevant cues that require attention The amount information that needs to be analysed The number of available responses to select from Time available to analyse information and select response Task requirements – degree of speed and accuracy needed. Gymnastic routines vary in complexity and take a different amount of time to learn 4. TASK COMPLEXITY Simple skills: Are quickly learned, often by imitation of the demonstration compared with complex skills which Simple skill require a longer No time pressure learning and practice One cue only time. No opposition players Speed not important 4. TASK COMPLEXITY Complex skills: Require a high level of the elements listed. Complex skill Time pressure Many cues Many available responses Speed important Accuracy important 5. PACING This continuum is based on how much control the performer has over the timing of when the skill will occur. Internally - paced or self – paced skills Internally paced Occur when the skill performer determines The timing of the start when to start the skill eg of the shot is a golf shot, diving off the determined by the board. player 5. PACING This continuum is based on how much control the performer has over the timing of when the skill will occur. Externally paced skills Occur when the Externally paced skill performer produces a skill The timing of the execution at a time determined by of the block by the defensive an external source eg a player is determined by the sprint start, a block in movements and actions of the attacking player volleyball. SYLLABUS Mo tor Le arning and Co aching (Unit 1) Fitts and Posner Model: Phases of motor learning and how they can be used to develop/improve specific physical skills FITTS AND POSNER MODEL "Learning may be considered to be the more or less permanent change in performance associated with experience" Knapp (1973) Fitts and Posner, 1967, proposed that motor learning is done in 3 progressive stages. 1. Cognitive Stage Refer to pages 101-103 PEST BOOK 2AB 2. Associative Stage 3. Autonomous Stage DEFINE THESE TERMS FITTS AND POSNER MODEL Refer to pages 101-103 PEST BOOK 2AB DEFINE THESE TERMS  1. COGNTIVE STAGE First Stage of Learning: The Cognitive Phase Performer learns the nature and demands of the task. Performance level is inconsistent with frequent large errors – trial and error is common. Athletes more concerned with what to do rather than how to do it. Learner begins to develop the basic motor patterns for the task. Movements consciously controlled. Little, if any, cue recognition Demonstration of the skill prior to performance and immediate feedback to correct errors is vital. All instructions, explanations and feedback must be kept simple 2. ASSOCIATIVE STAGE Also referred to as the practice or intermediate stage Characterised by plenty of practice to develop and consolidate motor programs Parts of the skill become automatically controlled Consistency improves Size and frequency of errors decreases External feedback is important but learner begins to understand and use internal feedback to change performance Feedback contains more specific information Selective attention improves  2. ASSOCIATIVE STAGE The length of time in this phase varies depending on; oTask complexity oLevel of ability oAmount of practice oAmount and quality of feedback With practice; Accuracy increases Number of errors decrease Time in this phase can last from minutes Size of errors decrease to hours based on above points Consistency improves Cue recognition improves Some learners never move beyond this Increased understanding of stage often due to a lack of motivation. internal feedback  3. AUTONOMOUS STAGE Performer’s movements are fluent, well coordinated and seemingly effortless Increased speed and accuracy of response to a given situation Attends to relevant cues only – selective attention is high. Little variability in day to day performance Able to detect and self – correct errors Skills are automated Little attention given to technique allows more attention to be given to decision making and the application of tactics and strategies. OVERVIEW OF STAGES SYLLABUS Mo tor Le arning and Co aching (Unit 1) Types of cues used to improve performance Visual Verbal Proprioceptive  CUES To maximise performance, a performer needs to be able to interpret and understand internal and external cues. The use of cues starts in the cognitive stage of learning and continues throughout the learning and game performance process. Cues can be internal or external to the performer. Three main types of cues are used;  Visual  Verbal  Proprioceptive  VISUAL CUE An external cue Demonstration is the most effective method of introducing a performer to a new skill and is critical in the cognitive stage of learning. Learners are shown how to perform the skill with a 3 or 4 key points verbalised. Coaches of more advanced players can use visual cues to show players a new grip on the ball or how to adjust their grip on the bat. VISUAL CUE – COGNITIVE LEARNERS VISUAL CUE – ASSOCIATIVE LEARNERS VISUAL CUE – AUTONOMOUS  VERBAL CUE A short task-oriented phrase which directs a performers attention to task relevant stimuli in order to enhance performance Instruction and feedback provide information to the performer about what is being done correctly and incorrectly. Verbal cues can increase in complexity and specificity as the performer becomes more experienced. Coaches and players can use verbal cues immediately prior to performance to focus on key points. Positive verbal cues can motivate performers.  PROPRIOCEPTIVE CUE Proprioception is internal feedback which comes from sensory receptors – called “proprioceptors” - found in joints, tendons and muscles. Proprioceptors send information to the central nervous system detailing position, posture, equilibrium, and internal conditions of the body. Equilibrium relates to the balance and positioning of the body. A performer uses this information to detect and correct errors and to adjust their body position if required eg a gymnast on a balance beam can feel a loss of balance and re – distributes her body weight to correct the error.  PROPRIOCEPTIVE CUE CONT. Proprioceptive cues help the central nervous system to control the force, speed and position of the body. Players can use this information to change their next performance if required. Kinaesthetic information is information from within the body about how the movement felt and can be used by experienced performers to change their Performing a balance beam next performance. Eg. a basketballer who can feel routine requires a good sense his wrists not following through will make changes of balance – the performer to the next shot. changes her body position to maintain her equilibrium Kinaesthetic awareness develops with practice and during the performance. This increasing experience. It increases the ability of the performer to self – detect errors about how the information about her balance movement felt and make corrections to improve and body position comes from subsequent performances. proprioceptors  SYLLABUS Mo tor Le arning and Co aching (Unit 1) Phases of information processing during skill performance: Identification of stimuli/input Response identification/decision making Response/output Feedback PHASES OF INFORMATION PROCESSING  INPUT 1. Stimuli/input  Relevant information is gathered from the external environment through the body’s sensory system and from within the body through the proprioceptors in the muscles, tendons and joints.  DECISION MAKING 2. Response identification/decision making  Relevant cues/stimuli are recognised and the performer decides on an appropriate response after processing the information.  Processing of data received from the brain.  RESPONSE AND FEEDBACK 3. Response output The muscular system carries out the movement as determined by the response selection. Performance of necessary movement 4. Feedback Any information that the performer receives internal and external on how the movement was completed. STAGES OF LEARNING & INFORMATION PROCESSING 1. Stimuli/input  Novices tend to take in all the cues  Skilled athletes focus on the relevant cues 2. Response identification/decision making/processing  Novices have difficulty in determining which information is relevant.  Novices may not recognise the situation and have few appropriate responses to choose from.  Skilled performers use their experience to recognise the correct information.  Skilled performers can recognise the situation and apply the appropriate response. STAGES OF LEARNING & INFORMATION PROCESSING 3. Response output  Novices take longer to initiate the movements and have less muscular control.  Skilled performers are well trained so their muscles are ready for action and they have more motor programs stored in long term memory. 4. Feedback  Novices rely on external sources for feedback as they are less able to make use of internal feedback.  Skilled performers will recognise more internal feedback as their kinaesthetic feel is well developed and provides them with more accurate information. FACTORS AFFECTING INFORMATION PROCESSING MODEL Stimulus detection and is influenced by;  The ability of sense organs  Strength of the cue  Noise  Length of the cue  Level of arousal  Experience Response time includes Reaction time - the time between the presentation of a stimulus and the initiation of the response. Movement time – the time taken from the initiation of the movement to the completion of the movement. GOLF EXAMPLE – STAGE 1 Information Processing Model in Golf; Stage 1 – Stimulus Identification Gathers information from the environment and sends it to the brain Examines the environment;  Wind speed and direction  Slopes  Position of bunkers  Other contributing factors GOLF EXAMPLE – STAGE 2 Stage 2 - Decision Making The decision mechanism determines;  Which club to use  What type of shot to play  Where to hit the ball This decision making is influenced by past experiences and skill level: E.g a golfer has knowledge of how far each club hits the ball. Golfer would consider the likelihood of success and risks associated with each available response. The more past experiences a player has, the more likely they are to make the correct decisions. GOLF EXAMPLE – STAGE 3 & 4 Stage 3 – Output The performer will have many motor programs available to allow the successful execution of the selected response. The selected response is produced by the muscles. The stroke is made. Stage 4 – Feedback The player receives feedback about the performance. This would include knowledge of results (where the ball finished up) and knowledge of performance (how the skill felt as it was executed) TENNIS EXAMPLE – ALL STAGES Apply the 4 stages of the model to this tennis example of Novak Djokovic returning the serve. SYLLABUS Mo tor Le arning and Co aching (Unit 1) Types of feedback Intrinsic (inherent) Extrinsic (augmented) - terminal, concurrent, verbal, non-verbal Purpose of feedback reinforcement motivation INTERNAL FEEDBACK Internal Feedback Feedback received from sensory receptors inside muscles, joints and tendons which provide information to the performer about their execution of the skill - - eg a skilled hockey player knows as soon as they hit the Internal feedback allows a ball whether it was a clean, well player to know how well the timed hit because sensory ball was kicked as soon as receptors send messages to the contact between ball and brain about how the contact felt. foot is made. EXTERNAL FEEDBACK External Feedback External feedback is information received from outside the body. It is received by the sensory system and is seen, felt or heard. External feedback can be; Intrinsic – a performer sees her shot at goal miss the target. This feedback is a direct consequence of the performer’s actions. Augmented – this is additional feedback provided by an external source. It provides additional information to the performer eg the coach tells the player that she missed the shot at goal because she had no follow through. Use of video playback is a very useful form of augmented feedback. TYPES OF AUGMENTED FEEDBACK Feedback can be provided either during the performance eg a runner taking a message to a player, at half – time or other break in play. It can also be provided after the performance has been completed Concurrent Feedback Provided during the performance either internally or through the coach. The player can use this information to immediately change performance if need be, or if the feedback is positive, maintain current performance. Concurrent Terminal feedback can feedback can Terminal Feedback be used to only change Provided after the movement has change future been completed by external source. The performer can only immediate use this feedback to change future performance performance performance. TYPES OF AUGMENTED FEEDBACK Non – verbal feedback Non – verbal feedback is feedback communicated to the performer without using words. Gestures, body language, posture, facial expression, hand A catcher uses hand signals as a signals can all convey form of non – information to a performer. verbal feedback TYPES OF AUGMENTED FEEDBACK Verbal Feedback This is spoken augmented feedback provided by a coach or similar. Eg a runner in AFL may say to the player – “your rushing your kicks today and you look off balance when you release the ball – slow down and try and get some rhythm into your kicking”. TYPES OF AUGMENTED FEEDBACK Positive Feedback Positive feedback is feedback which recognises what was done well during a performance. Positive feedback from a coach is very important in helping young players in particular to maintain their motivation. A player who receives positive feedback about Actions which are positively his performance is likely recognised and reinforced are likely to to try and reproduce the be repeated. This is important for learners who would otherwise not be same actions in future. sure what aspects of their performance to repeat. TYPES OF AUGMENTED FEEDBACK Negative Feedback Negative feedback is feedback which highlights negative aspects of the performance or things that went wrong. It can be demotivating to the athletes concerned and can lead to drop out from the sport especially with beginners who need positive feedback to keep them motivated. Negative feedback can still be constructive if it contains information the athlete can use to change their future performance. Elite athletes can cope with negative feedback better than learners. FORMS OF EXTERNAL FEEDBACK There are 2 main forms of external feedback; Knowledge of Performance Knowledge of Results 1. Knowledge of Performance Subjective feedback that a performer receives regarding the quality of their movement or technique. It is an analysis of technique and execution of the performance. Swimming – “ you are over rotating when you breath” Football – “you are not kicking through the ball” Basketball – “you are getting good knee bend on your free throws” FORMS OF EXTERNAL FEEDBACK 2. Knowledge of Results Objective feedback which provides the performer with information regarding the success of their performance in achieving a desired outcome. It is an analysis of the result or outcome of the movement. FUNCTIONS OF FEEDBACK Feedback has 3 main functions; 1.To motivate the performer A coach can provide feedback which motivates the performer to continue to strive for improvement or to re – assure the performer that progress is happening. Motivational feedback must be realistic. “You are currently running 4km in 16 minutes. If you stick to training twice a week, net month you can get that time to 15 and a half minutes.” FUNCTIONS OF FEEDBACK 2. To Change Performance Feedback given to the performer aimed at changing aspects of their performance. It is information provided to the performer on what needs to be changed for future attempts if improvement is to “You are getting into space to receive the ball occur. really well but you are trying to take on too Positive feedback should be included in many defenders and then losing the ball – look to move the ball on a bit the feedback as should some words of quicker – keep working on the quick encouragement to maintain motivation ball at training” levels. FUNCTIONS OF FEEDBACK 3.To Reinforce learning Feedback can be used to reinforce learning or performance which increases the chances of the behaviour being repeated. “You played really well today because you looked for a team mate to pass the ball to, just like at Particularly important in training, instead of just kicking it without looking first. Really good the Cognitive Stage of effort today – well done” learning CHARACTERISTICS OF EFFECTIVE FEEDBACK The most beneficial feedback is; 1.Specific, not general General  “Good work. Well done”  Contains no information that the performer can use to improve / change future performance. Specific Contains information “You played well today – your catching in the outfield was excellent because you moved into the correct position under the ball much quicker than last week” Coaches often use both general and specific feedback with their players – “Much better second quarter Sally, you’re working much harder. Now I want you to play a negating role on their number 7 making sure you keep on the goal side of her at all times”. CHARACTERISTICS OF EFFECTIVE FEEDBACK 2. Constructive, not destructive Constructive recognises positive parts of the athlete’s behaviour and suggests further ways to improve. Destructive provides no motivation or encouragement. Constructive  “An improved defensive effort today but you must work to make yourself an option in attack” Destructive  “Did you catch a train to the ground? You are a passenger today – just terrible!” CHARACTERISTICS OF EFFECTIVE FEEDBACK 3. Directed at behaviour which is changeable Changeable:  “Move your feet into position sooner” Unchangeable:  ” You’re too short to play in first team” 4. Provided as soon as possible  The sooner feedback is provided, the more effective it is. The longer the delay in the provision of feedback, the less impact it has on the performer. 5. Clear and concise  Feedback should be easily understood and relate specifically to the situation at hand. Feedback should contain one or two points only to avoid overloading the performer.  If feedback is unclear, the performer may become confused about the situation and make errors. 6. Contains information  Feedback must include useable information which promotes enthusiasm in the performer. CHARACTERISTICS OF EFFECTIVE FEEDBACK Front Loading Is the process that the coach sets up before an activity / session to focus his players attention on one or more key aspects of the upcoming session eg “main thing to concentrate on today is to try and create a loose man in the attack”. Front loading can also make the de – briefing session at the conclusion of training more meaningful if the players have been made aware of what they should be focusing on during the training session. Debriefing Is a process conducted after the performance which allows the coach and players to provide feedback about their perception of the performance. Debriefing is an important part of the psychological recovery from the physical activity.