Guidance and feedback on performance — AQA GCSE Physical Education
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Guidance and feedback on performance explained
Guidance and feedback on performance covers 11 specification points, including Identify examples of, and evaluate, the… and visual (seeing).
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Identify examples of, and evaluate, the effectiveness of the use of types of guidance, with reference to beginners and elite level performers Evaluation of the use of the following types of guidance with specific links to:
This criterion asks you to identify examples of types of guidance and evaluate how effective each is for beginners and for elite performers. The types of guidance are visual, verbal, manual and mechanical. Visual guidance uses demonstrations, video or diagrams; it suits beginners who need a clear picture of the skill, but an elite performer may find a basic demonstration too simple. Verbal guidance uses spoken explanation and cue words; it helps beginners understand key points and helps elite performers refine tactics, but too much talk can overload a beginner. Manual guidance physically supports the performer through the movement; it builds confidence in beginners but can reduce the performer's own feel for the skill if overused.
visual (seeing)
Visual guidance is guidance the performer takes in by watching, so it is described as guidance by seeing. A coach demonstrates a skill, shows a video clip, uses a diagram or models a movement so the learner can form a picture of what to do. It works best when the demonstration is accurate, repeated and matched to the learner's level, and it is especially useful for beginners building an image of a new skill. Its limits are that a demonstration can be too fast or too complex to copy, and it may not correct a fault the learner cannot see in themselves.
verbal (hearing)
Verbal guidance is guidance a performer hears, usually spoken by a coach, teacher or peer. It can be given before a skill is attempted, to describe what to do, or during and after the attempt, to correct and refine it. Because it is heard rather than seen or felt, it works best when the words are short, specific and matched to the performer's level: a beginner may need one simple cue such as 'bend your knees before you jump', while an experienced performer can act on detailed technical points about timing or body position. Verbal guidance can also be combined with visual or manual guidance, for example a coach who explains the arm action while demonstrating it. Its strengths are that it is quick, flexible and can be given without equipment; its limits are that long or unclear instructions overload the performer and that it relies on the performer listening and understanding.
manual (assist movement – physical)
Manual guidance is physical guidance in which a coach, teacher or partner supports or assists the performer's movement by hand or by contact. The helper may take some of the body's weight, guide a limb through the correct path, or steady the performer so the skill can be felt safely. A common example is a coach supporting a gymnast's back and hips during a backward roll, or holding a swimmer's legs while they practise a kick. Manual guidance is useful for dangerous or complex skills and for building confidence, because the performer experiences the correct movement with support. Its limits are that it can make the performer dependent on the helper, it may feel unnatural, and it must be withdrawn gradually so the learner takes responsibility for the movement. It is often combined with verbal cues.
mechanical (use of objects/aids).
Mechanical guidance means supporting a learner with an object or aid rather than by hand or by words. The equipment itself shapes the movement, so the learner feels the correct path while staying in control. Examples include holding a float while kicking in swimming, using a harness and rope on a climbing wall, riding a bike with stabilisers, or swinging a bat along a guide rail. Contrast this with manual guidance, where a coach physically places a limb, and with verbal guidance, where instructions are spoken. Mechanical aids suit beginners because they build confidence and reduce risk, but they can become a crutch if the learner never practises without them, so the aid should be withdrawn as skill improves.
Students need to be taught to be able to choose and justify which types of guidance are appropriate for beginners and/or elite level performers. This should include examples of how the guidance can be given, eg visual via demonstration.
This criterion asks you to select the type of guidance that fits a performer and explain why it fits. The types are visual, verbal, manual and mechanical. Visual guidance shows the skill, for example a coach demonstrating a tennis serve or a learner watching a video. Verbal guidance explains the skill in words, such as a coach describing where to place the feet. Manual guidance physically moves the performer into position, and mechanical guidance uses objects or aids such as a float or harness. Beginners usually need clear visual demonstration and simple verbal cues, plus manual or mechanical support for safety and to feel the correct movement. Elite performers usually need less guidance and more specific verbal or visual information to refine technique. Choose a type, name the level of performer, and justify the choice with a reason and an example of how the guidance is given.
Identify examples of, and evaluate, the effectiveness of the use of types of feedback, with reference to beginners and elite level performers Evaluation of the use of the following types of feedback with specific links to beginners and to elite level performers:
Feedback is information a performer receives about their movement. Intrinsic feedback comes from the performer's own senses, such as feeling a smooth golf swing. Extrinsic feedback comes from outside, such as a coach's comment or a video replay. Concurrent feedback arrives during the performance, while terminal feedback arrives after it. Beginners benefit most from extrinsic, positive and simple feedback that reinforces correct actions and builds confidence, and they often need terminal feedback because they cannot yet judge their own movement. Elite performers can use detailed intrinsic and concurrent feedback, and precise extrinsic data such as split times, to refine small technical details. Evaluate each type by weighing its accuracy, timing and suitability for the performer's stage.
positive/negative
This item tests whether you can tell positive feedback from negative feedback. Positive feedback tells a performer what they did correctly, for example a coach saying a basketball free throw followed the correct arc, which reinforces the technique and builds confidence. Negative feedback tells a performer what was wrong and how to correct it, for example a coach saying the elbow dropped on the shot and should stay higher. Both are useful: positive feedback strengthens correct actions, while negative feedback directs change. The key distinction is the content of the message, not the tone of voice or whether the performer liked it. A statement that only praises without information is not the same as feedback that confirms a specific correct action.
knowledge of results/knowledge of performance
Feedback after a performance can be classified by what it tells the performer. Knowledge of results (KR) gives information about the outcome or success of the action — for example a basketball player learning that the shot missed or that a pass reached a teammate. Knowledge of performance (KP) gives information about the quality of the movement itself — for example a coach telling a gymnast that the hips were too high during a handstand or that the arm swing was too short in a jump. KR answers 'what happened?'; KP answers 'how did the body move?'. Many performers need both: KR motivates and sets the goal, while KP helps refine technique. In an MCQ you may be asked to classify a described feedback statement as KR or KP, so identify whether the information concerns the result or the movement pattern.
extrinsic/intrinsic.
Feedback can be classified by its source. Intrinsic feedback comes from within the performer — the kinaesthetic sense of how a movement felt, such as a swimmer sensing a smooth, powerful pull or a footballer feeling the ball strike the inside of the foot correctly. Extrinsic feedback comes from outside the performer — a coach's comment, a crowd's reaction, a stopwatch time or a video replay. Intrinsic feedback builds body awareness and can be used immediately; extrinsic feedback adds information the performer cannot detect alone, such as a precise time or a technical observation. Skilled performers rely more on intrinsic feedback, while beginners often need extrinsic feedback to build the correct feel. In an MCQ, identify who or what supplied the information: inside the performer means intrinsic, outside means extrinsic.
Students need to be taught what each type of feedback entails and be able to choose and justify which types of feedback are appropriate for a beginners and/or an elite level performers.
Feedback is information a performer receives about their performance and it shapes how they correct and refine skills. Teach the types: intrinsic feedback comes from the performer's own senses and kinaesthetic feel; extrinsic feedback comes from an outside source such as a coach, teacher or video. Extrinsic feedback can be concurrent, given during the performance, or terminal, given after it. It can also be positive, focusing on what was done well, or negative, focusing on errors and how to fix them. Beginners rely heavily on extrinsic, positive and terminal feedback because they cannot yet judge their own movement accurately. Elite performers use refined intrinsic feedback and can cope with negative, detailed extrinsic feedback to fine-tune technique. A multiple-choice question asks the learner to identify a type or select and justify the best match for a given performer.
Your focus
- Identify examples of visual, verbal, manual and mechanical guidance.
- Evaluate the effectiveness of each type of guidance for beginners and elite performers.
- Justify which type of guidance best suits a given performer and skill.
Show all 33 objectives
- Define visual guidance as guidance taken in by watching.
- Give an example of visual guidance in a sporting context.
- Explain why visual guidance can be effective for a beginner.
- Define verbal guidance as guidance received through hearing
- Give an example of a spoken cue used to teach or refine a skill
- Explain one advantage and one limitation of verbal guidance for a performer
- Define manual guidance as physical assistance with a movement
- Describe an example of a coach physically supporting a performer through a skill
- Explain one advantage and one limitation of manual guidance and why it should be withdrawn gradually
- Identify mechanical guidance from a description involving equipment.
- Give a sporting example of an object or aid used to guide a learner.
- Explain one benefit and one limitation of using mechanical guidance.
- Choose an appropriate type of guidance for a beginner or elite performer.
- Justify the choice with a reason linked to the performer's level.
- Give an example of how the chosen guidance is delivered.
- Identify examples of different types of feedback in sport.
- Evaluate the effectiveness of feedback for beginners and for elite performers.
- Justify which type of feedback best suits a given performer and stage of learning.
- Distinguish positive feedback from negative feedback.
- Give a sporting example of each type of feedback.
- Explain how each type can improve performance.
- Define knowledge of results and knowledge of performance accurately
- Classify a described piece of feedback as KR or KP
- Explain how each type of feedback supports skill learning
- Define intrinsic and extrinsic feedback accurately
- Classify a described example of feedback by its source
- Explain why performers at different stages of learning use each type differently
- Define intrinsic and extrinsic feedback and give an example of each
- Distinguish concurrent from terminal feedback and positive from negative feedback
- Select and justify the most appropriate feedback type for a beginner or an elite performer
Guidance and feedback on performance flashcards
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Verbal guidance
Guidance and feedback on performance exam tips
Marking Points
- Identifies visual guidance with an example such as a demonstration or video and evaluates its value for beginners and elite performers.
- Identifies verbal guidance with an example such as cue words and evaluates its strengths and limitations at each level.
- Identifies manual guidance with an example such as physical support and explains why it suits beginners but may limit elite performers.
- Identifies mechanical guidance with an example such as a float or harness and evaluates how far it transfers to real performance.
- Weighs benefits against limitations for each type rather than only describing the guidance.
- Links each judgement specifically to beginner or elite level performers.
- Identifies visual guidance as guidance gained by watching a demonstration, video or diagram.
- Recognises that visual guidance lets a performer build a mental picture of the correct technique.
- States that visual guidance is particularly useful for beginners learning a new skill.
- Recognises a limitation, such as a demonstration being too fast or complex to copy accurately.
- Identifies verbal guidance as guidance the performer receives by hearing, typically spoken by a coach, teacher or peer
- Explains that verbal guidance can be given before, during or after a performance to introduce or refine a skill
- Gives a concrete example of a spoken cue, such as telling a performer to bend the knees before a jump
- States an advantage of verbal guidance, such as being quick, flexible or needing no equipment
- States a limitation of verbal guidance, such as relying on the performer listening and understanding or becoming confusing when too long
- Identifies manual guidance as physical guidance in which a coach, teacher or partner supports or assists the performer's movement
- Explains that the helper may take weight, guide a limb or steady the performer so the correct movement is felt
- Gives a concrete example, such as a coach supporting a gymnast during a backward roll
- States an advantage of manual guidance, such as making a dangerous or complex skill safer or building confidence
- States a limitation of manual guidance, such as creating dependence on the helper or feeling unnatural
- Explains that manual guidance should be reduced gradually so the performer becomes independent
- Defines mechanical guidance as the use of an object or aid to shape or support a movement.
- Gives a valid example such as a float in swimming, stabilisers on a bike or a harness in climbing.
- Distinguishes mechanical guidance from manual guidance, where a coach physically moves a limb.
- Explains that aids build confidence and reduce injury risk but should be removed as skill develops.
- Selects a named type of guidance, such as visual, verbal, manual or mechanical.
- Identifies the level of performer, such as a beginner or an elite performer.
- Justifies the choice by explaining why that guidance suits that performer.
- Gives a concrete example of how the guidance is delivered, such as a demonstration or a video.
- Explains that beginners often need more support while elite performers need more specific refinement.
- Identifies a type of feedback, such as intrinsic, extrinsic, concurrent or terminal, with a clear sporting example.
- Explains why beginners rely on extrinsic and positive feedback to build confidence and correct basic technique.
- Explains how elite performers use detailed intrinsic and concurrent feedback to refine small technical adjustments.
- Evaluates effectiveness by weighing accuracy, timing and suitability for the performer's stage of learning.
- Draws a clear comparison between beginner and elite use of the same feedback type.
- Selects positive feedback as information confirming what was performed correctly.
- Selects negative feedback as information identifying an error and the correction required.
- Distinguishes positive from negative feedback by the content of the message rather than by tone or praise alone.
- Recognises that both positive and negative feedback can improve performance when used appropriately.
- Identifies knowledge of results as feedback about the outcome or success of an action rather than the movement itself
- Identifies knowledge of performance as feedback about the quality or technique of the movement
- Classifies a given feedback statement as KR or KP by checking whether it describes a result or a movement pattern
- Explains that KR tells the performer what happened while KP tells the performer how the body moved
- Recognises that effective learning often combines outcome information with technique information
- Defines intrinsic feedback as information coming from within the performer through feel and kinaesthetic awareness
- Defines extrinsic feedback as information coming from an outside source such as a coach, crowd, timer or video
- Classifies a described feedback example as intrinsic or extrinsic by identifying its source
- Explains that intrinsic feedback develops body awareness while extrinsic feedback supplies information the performer cannot detect alone
- Recognises that beginners often rely more on extrinsic feedback while skilled performers use more intrinsic feedback
- Identifies intrinsic feedback as information the performer gains from their own senses and kinaesthetic feel during or after the movement
- Identifies extrinsic feedback as information supplied by an outside source such as a coach, teacher, peer or video recording
- Distinguishes concurrent feedback given during the performance from terminal feedback given after the performance has finished
- Distinguishes positive feedback that highlights strengths from negative feedback that highlights errors and corrections
- Selects extrinsic, positive and terminal feedback as most appropriate for a beginner who cannot yet self-assess accurately
- Selects intrinsic and detailed negative feedback as appropriate for an elite performer refining technique
- Justifies the choice by linking the feedback type to the performer's stage of learning and ability to process information
Examiner Tips
- 💡Structure each paragraph as type, example, benefit, limitation and level of performer.
- 💡Use the words beginner and elite performer explicitly so the link is clear to the examiner.
- 💡Balance strengths and weaknesses for every type rather than listing only advantages.
- 💡Read the question stem carefully to check whether it asks what visual guidance is or who it suits best.
- 💡Link the answer to the sense involved, seeing, to confirm you have chosen the right type of guidance.
- 💡Eliminate options that describe spoken instructions, because those belong to verbal guidance.
- 💡Define verbal guidance in one sentence before giving an example, so the examiner sees the key idea of hearing straight away
- 💡Use a named skill and a short spoken cue to make your example concrete rather than abstract
- 💡When asked for advantages or disadvantages, give one clear point and explain why it matters for the performer
- 💡Link verbal guidance to the performer's stage of learning to show understanding of when it is most useful
- 💡State clearly that manual guidance is physical, involving contact, to separate it from verbal and visual guidance
- 💡Use a specific skill and describe exactly where the helper's hands go to make the example convincing
- 💡When discussing limitations, explain the risk of dependence and how gradual withdrawal solves it
- 💡Link manual guidance to safety and confidence to show why it is used for complex or risky skills
- 💡Anchor each answer to a named piece of equipment so the examiner can see the aid clearly.
- 💡Use the word 'aid' or 'object' to signal mechanical rather than manual guidance.
- 💡Add one sentence on effectiveness, such as reduced risk or improved confidence, to reach the higher mark.
- 💡Check you have not slipped into describing a coach's hands; that is a different type of guidance.
- 💡State the type of guidance, the performer level and the reason in one clear chain.
- 💡Include a specific example of how the guidance is given, such as a demonstration.
- 💡Use subject terms accurately, such as visual, verbal, manual and mechanical.
- 💡Structure each paragraph around one feedback type, then apply it to a beginner and to an elite performer.
- 💡Use evaluative language such as 'effective because' or 'less useful when' to show judgement.
- 💡Include a concrete example, such as a coach's comment after a serve or a video replay of a sprint start.
- 💡Finish with a short judgement comparing which feedback best suits each stage.
- 💡Read each option and ask whether it confirms a correct action or identifies an error and correction.
- 💡Reject options that describe tone or praise without specific performance information.
- 💡Check the option against a concrete sporting example before selecting it.
- 💡Underline the key noun in the feedback description: a result (goal, score, distance) signals KR, a body action (arm, hip, foot) signals KP
- 💡Ask yourself whether the performer could know this without watching the movement; if yes it is likely KR
- 💡Revise both terms together with one sporting example each so you can match quickly in an MCQ
- 💡Ask 'who or what gave this information?' — inside the performer is intrinsic, outside is extrinsic
- 💡Link each term to a quick example: a gymnast feeling balance (intrinsic) versus a judge's score (extrinsic)
- 💡Remember that a stopwatch or video is an outside source, so it counts as extrinsic
- 💡Read the stem carefully to identify whether the performer is a beginner or elite before choosing the feedback type
- 💡Link each option to the performer's stage of learning rather than choosing on personal preference
- 💡Eliminate options that mix up the source of feedback, such as calling coach advice intrinsic
- 💡When asked to justify, state the feedback type and give a reason tied to the performer's ability to self-assess
Common Mistakes
- Describes each type of guidance without judging its effectiveness; add a benefit and a limitation for each level.
- Treats manual guidance as suitable for elite performers without explaining its drawbacks; explain how it can reduce the performer's own feel for the skill.
- Gives examples without naming the type of guidance; label each example as visual, verbal, manual or mechanical.
- Judges guidance for performers in general without separating beginners from elite performers; link each point to one level.
- Confuses visual guidance with verbal guidance; visual guidance is taken in by watching, while verbal guidance is delivered through spoken words.
- Assumes visual guidance only suits elite performers; it is especially valuable for beginners forming an image of a new skill.
- Ignores the quality of the demonstration; an inaccurate or over-complex demonstration reduces the value of visual guidance.
- Confuses verbal guidance with visual guidance; remember that verbal guidance is heard, whereas visual guidance is seen
- Treats verbal guidance as only for beginners; recognise that detailed spoken technical points can refine experienced performers too
- Assumes verbal guidance must be long and detailed; keep cues short and specific to the performer's level
- Ignores the need for the performer to understand the words; link clear, simple language to effective verbal guidance
- Confuses manual guidance with verbal guidance; remember that manual guidance involves physical contact and support
- Assumes manual guidance should always be used; recognise that it should be withdrawn gradually to avoid dependence
- Treats manual guidance as suitable only for dangerous skills; note that it also helps build confidence and feel the correct movement
- Forgets that the helper may guide a limb as well as take weight; include both forms of physical assistance
- Describes a coach physically placing a limb into position as mechanical guidance; recognise this as manual guidance and give an object-based example instead.
- Treats verbal instructions as mechanical guidance; keep spoken cues as verbal guidance and name a piece of equipment for mechanical guidance.
- Assumes the aid should always stay in place; explain that it is withdrawn progressively as the learner gains control.
- Names a type of guidance without justifying why it suits the performer; add a clear reason linked to the level.
- Gives an example that does not match the type chosen; make sure the example shows how that guidance is given.
- Treats one type of guidance as suitable for every performer; match the guidance to the beginner or elite level.
- Lists feedback types without linking them to beginners or elite performers; attach each type to a named stage and explain why it suits that stage.
- Treats all feedback as equally useful; evaluate by weighing accuracy, timing and the performer's experience.
- Confuses concurrent feedback with terminal feedback; state clearly whether the information arrives during or after the performance.
- Confuses negative feedback with punishment; correct this by explaining that negative feedback identifies an error and the correction.
- Treats positive feedback as any encouraging comment; correct this by requiring it to confirm a specific correct action.
- Assumes only positive feedback improves performance; correct this by explaining that negative feedback directs a needed change.
- Labels a comment about arm position as knowledge of results; treat technique comments as knowledge of performance
- Treats a statement that a shot went in as knowledge of performance; treat outcome statements as knowledge of results
- Assumes KR and KP are the same thing; separate the result from the movement quality
- Ignores the wording of the question and guesses; read whether the feedback describes an outcome or a technique
- Calls a coach's comment intrinsic feedback; treat information from another person as extrinsic
- Calls the performer's own feeling of a movement extrinsic; treat internal sensation as intrinsic
- Assumes extrinsic feedback is always negative; recognise that praise and scores are also extrinsic
- Treats the two terms as interchangeable; separate feedback that comes from inside the performer from feedback that comes from outside
- Confuses intrinsic with extrinsic feedback; remember intrinsic comes from the performer's own senses and extrinsic comes from an outside source
- Treats negative feedback as always harmful; recognise that negative feedback identifies errors and corrections and can be valuable, especially for elite performers
- Assumes beginners benefit most from detailed negative feedback; recognise that beginners need simple, positive, extrinsic feedback to build confidence
- Describes concurrent feedback as given after the performance; keep concurrent as during the performance and terminal as after it