The purpose of this study is to elucidate some aspects of situational awareness abilities required for volleyball setters and to obtain implications for methods of developing these abilities. The research subject is the author herself. The author attempts to elucidate the characteristics of kinesthetic awareness related to situational judgment ability as a setter from the perspective of phenomenological movement theory. Specifically, the author employed a method called transcendental reflective analysis to enable her to recall what decisions she made and how she made those decisions while competing in matches with the objective of developing a descriptive understanding. However, this reflective analysis, which takes the form of self-questioning, requires careful attention to the potential generation of personal biases and preconceived notions. This study, therefore, employed a method of rigorous reflective analysis that involves consulting with others, particularly researchers specializing in phenomenological sport movement theory and volleyball coaching studies, which revealed that sports situational awareness is not solely reliant on technique or experience, but is fundamentally grounded in intuitive judgment, stemming from kinaesthetic consciousness and embodied knowledge.

　More specifically, the study indicates the crucial importance of the ability not only to visually perceive players movements, but also anticipate actions instantaneously while constructing attacks. It also highlights the necessity of improvisation, which allows for flexible responses in rapidly changing situations.

　In synchronized diving, which is performed by two athletes as a pair, achieving high scores requires not only technical excellence in each individual’s performance, but also a high degree of synchronization of the pair. Therefore, it is essential to precisely align the entire sequence of movement－from the initial motion to water entry.

　The effort to synchronize movements in synchronized diving involves a complex structure of each athlete’s kinaesthetic intentionality. Previous studies, however, have not sufficiently addressed the athlete’s intrinsic kinaesthetic awareness. The authors’ previous research examined, as an example, a pair who had trained together for approximately three years and who had trained together for approximately three years and had been selected to represent Japan in the Tokyo Olympics and clarified the characteristics and developmental processes of each athlete’s kinaesthetic intentionality during highly synchronized performances.

　Based on the findings of the preceding study, the present research featured a different pair who competed in mixed synchronized diving. Although this pair trained toward achieving a high level of synchronization and were selected as a representative pair for the World Championships, they were unable to fully demonstrate their abilities in a crucial competition. By analyzing the kinaesthetic intentionality of each athlete of the pair and comparing the results with those of the Tokyo Olympic pair, we aim to elucidate the structural characteristics of kinaesthetic intentionality that are essential for consistently achieving highly synchronized performances.

　The results showed that the pair who could not achieve synchronization relied on external factors such as the hardness of the equipment or the sound of the springboard rather than paying attention to the partner’s movements. One of the pair, in particular, attempted to align the timing of the performance based solely on his own bodily sensations, without sufficiently considering the partner’s movements.

　In other words, unlike the Tokyo Olympic pair, this pair lacked the requirements identified in the previous study that were essential for achieving and maintaining synchronized performance, namely the dual experience of each athlete’s actualized kinaesthetic melody and their partner’s potential kinaesthetic melody.

　From these findings, it can be concluded that in synchronized diving, it is crucial for both athletes to engage in surrogate imitation of their partner’s kinaesthetic melody and to reconcile it with their own. Through this process, the athletes are able to “perform in two voices,” embodying both their own and their partner’s kinaesthetic melodies. This form of kinaesthetic intentionality was identified as indispensable for achieving synchronization in synchronized diving performances.

　In den vom Ministerium für Bildung, Kultur, Sport, Wissenschaft und Technologie im Jahr 2012 veröffentlichten „Richtlinien zur Bewegung in der frühen Kindheit“ wird die Bedeutung betont, dass Kinder in der frühen Kindheit ihren Körper vor allem durch vielfältige, selbstinitiierte Spiele in Bewegung setzen. Dass Kinder auf diese Weise ihr Bewegungsvolumen steigern und dadurch Kraft, Ausdauer und Fertigkeiten verbessern, steht außer Frage. Doch wie entsteht überhaupt die Motivation, mit freiem Spiel zu beginnen? Wie entsteht die Motivation, eine bestimmte Bewegung auszuprobieren, sodass der Körper wie von selbst in Bewegung gerät? Zur Beantwortung dieser Frage ist der Begriff „assoziative Motivation“ wichtig. Damit ist eine passive Motivation gemeint, bei der der Körper ohne bewusste Ich-Beteiligung wie von selbst in Bewegung kommt.

　Die vorliegende Studie richtet den Blick auf diese „assoziative Motivation“ und analysiert zwei Fallbeispiele spontaner Spiel- und Bewegungsgenese bei Kindern aus der Perspektive der phänomenologischen Bewegungslehre nach Kaneko. Durch die Fallanalysen wird das kindertypische Muster „Fühlen → sich wie von selbst bewegen“ aus dem Blickwinkel der passiven Synthesis herausgearbeitet. Für das Verständnis frühkindlicher Bewegungsgenese ist daher eine erneute Würdigung der Funktionen von „Assoziation“ und „Affektion“ innerhalb der passiven Synthesis unverzichtbar.

　Die Ergebnisse versprechen, zur Erweiterung der theoretischen Grundlagen sowohl der phänomenologischen Bewegungslehre der frühen Kindheit nach Kaneko als auch der Bewegungsanleitung in der frühen Kindheit beizutragen.

　This study aimed to describe the transformation of skill and embodied awareness in a U15 male basketball player (aged 12) through a case study examining combined sprint and change of-direction (COD) movements during off-the-ball play. The participant demonstrated excessive deceleration and an unstable power position when shifting from sprinting to COD movements. To address these issues, two forms of skill training grounded in embodied horizon structure were implemented once per week over a 2-week period. The first intervention, Riding Board (RB), was a static task in which the athlete maintained a power position while balancing on a rectangular board using the metatarsal heads. The second intervention, Jumping Change of Direction (JCOD), required a light sprint followed by a jump over an obstacle and an immediate direction change upon landing. A skill test consisting of ten straight sprints and nine COD movements was administered before and after the intervention to evaluate performance and movement modifications. Following training, the player improved his ability to maintain a stable power position and initiate anticipatory body adjustments before direction changes, reducing total skill test time from 19.98 to 18.85 seconds. In addition, dialogical inquiry (Shakumon) aimed at eliciting internal movement experiences enabled the athlete to verbalize several embodied “Kotsu” (practical cues), including “imagining a skewer running through the head and hips,” “preparing for redirection before landing,” and “tilting the body toward the next direction.” These statements illustrated how the player reorganized movement control and embodied understanding throughout the RB–JCOD–skill test sequence. In conclusion, the RB and JCOD tasks provided opportunities for the athlete to articulate latent sensations and transform embodied awareness. This case study demonstrates, from a sport movement science and coaching perspective, that skill training grounded in embodied awareness can support a meaningful approach to understanding and fostering skill development in youth basketball.

　The purpose of this paper was to confirm the value of inheritance of the technique of 〈Miyachi〉 through an analysis from the perspective of structural analysis in Movement theory of Sports and to present its notation and systematization. To achieve these objectives, this paper analyzed the developmental process of the 〈Kovacs〉 technique's evolutionary lineage, clarifying the impact of scoring rules on the development of the technique, while also confirming its value for inheritance. Furthermore, in the structural analysis of the system, a notation-based analysis was conducted, and a proposal for a simpler and more universal notation method was made. Additionally, the developmental system of the bar somersault suspension techniques was presented. In this paper, the following steps were taken to present these points.

　・Examination of basic movement terminology

　・Definition of the characteristic of transitioning from the bar to a pull-up

　・Notation for the starting and ending phases of the technique, as well as the notation for the direction of rotation

　・Proposal for the notation of "Miyachi" technique name

　This study focused on the difficulties encountered during the learning process of the “Run ning Man” dance step. We reconstructed a progressive instructional method by implementing in structional practices designed to overcome these difficulties through reflective analysis.

　The results showed that introducing onomatopoeia, visual aids, and the sensory awareness of weight shifts effectively addresses common beginners’ issues, such as movement confusion and delayed rhythm, thereby supporting learners’ understanding of movement and the acquisi tion of kinesthesia.

　In addition, utilizing clapping and rhythm cues to encourage learners’ active construction of movement initiation timing was suggested to enhance their recognition of rhythm and promote autonomous movement initiation.

　With regard to the incorporation of upper body movements, we confirmed that it is effective in maintaining rhythm and integrating movements when utilizing embodied components, such as the existing “down” action, with priority given to stabilizing lower body movements.