Modern Gymnast - July/August 1962

JULY-AUGUST 1962

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WILHELM WEILER CANADIAN CHAMP

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1 Glenn Sundby und sein Magazin

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Betrachtungen tiber die schonste Turn~eitung der weI; Man mag erstaunt sein, dall wir in "Deutsches Turnen", das 'a us aller Welt mit Lob tiberhauft wird, es sei die beste Turnzeitung, einer anderen ·den Superlativ zubilligen, . die schonste Turnzeitl,lng del' Welt zu sein. Alber Ehrlichkeit und Offenheit ·g ehoren zu den turnerischen Grundtugenden. Im Turnerwahlspruch zahlt es unter den Begriff "Frei". Wir behaupten also frank und frei, dall Glenn Sundbys "The inodern .g ymnast"den Superlativ "schonste Turnzeitung del' Welt" zu Recht tragt. Wir halten die tschechische TurnzeHung fUr aie auf dem Gebiete des olympischen Turnens instruktivste, unser "Deutsches Turnen" fUr die vielseitigste und im internationalen Turrien fiir aie reichhaitigste; abel' an Schonheit kommen wir an "The modern gymnast" so V{enig heran wie wir an Wissenschaftlichkeit "Sportnovni Gymnastika" bisher erreicht haben.

Glenn Sundby ist ein Mann von hinreillendem Sch·w ung. Er gab seiner Turnzeitung eine ·so personiiche Note, dall man von Mal zu MaJ mitbrennender Neugier wartet. Leider, leiaer mull man tiber zwei Monate oft warten, denn vorerst gelingen fum jahrlich nur sieben Ausgaben. Die abel' sind so grundlieh und umsichtig gestaltet, dall das Warten sich lohnt. Mi·ster pundby ist VOl' allem ein leidenschaftlicher Fotograf. So bringt er es fertig, auf eine einzige Seite neun bis zehn Fotos. zu montieren, und wenn er dann noch Doppelseiten hernimmt, ,dann schwelgt das Ganze in turnerischer Schonheit, und ·das, was wir am Turnen lieben, drangt sich uns mit begltickendem Reichturri auf.

Wir wollen hie r nicht systematisch vorgehen und Nummer fUr Nummer besprechen, sondern nehmen uns gleiCh >die .S on<lernummer .d.er Gymll:aestrada vor, September/Oktober 1961. Das Titelbi1dzeigteine Jugendgruppe bei einer Btihnenvorfiihrung, wie sie vom kleinen Trampolin iiber eine Menschenpyramide ein Bockspringen ausfUhrt. Das Bild strahlt tummelhaftes. Jugendturnen aus. Im Innern beginnt ·der Augenschmaus mit einem ganzseitigen Foto, da,s Stalders Sektionsturnen am Barren beim Handstand zeigt; dann rollt ein ,g anzer GymnaestradaFilm Val' uns abo Hohepunkt ist die Seite 9 mit 6 Bildern vom ,,80-Jahre-ITB-Turnen" in del' Halle 6 auf dem Killesberg.

Den starksten Eindruck aller Bildmontagen hinterliellen bisher die sec;±ls Seiten del' Marznummer 1961, die vom Nationalen Turner-Lager in Florida berichten. Dieses grollte turnerisch·e Ereignis, das jiihrlich in den USA zu verzeichnen .jst, war von 673 Turnerinnen und Turnern jeden Alters besucht und dauerte sechs Tag.e. Nicht alles mag unseren ,deutschen Turnergeschmack tn~.ffen, aber das ist echter Turnergeist, del'. da ausstrahit - und hochste Turnkunst ,bisweilen, die hier von den Besten des Landes ins BUd g,ebannt wurde. Und immer del' Hintergmnd von Palmen und Meer: wo gibt es das noch in del' Welt! - In der neuesten Ausgabe von November/Dezember hat es mil' die Doppelseite mit 24 Seiten Malmahed angetan, einmal, weil mich di·e schonsten turnerischen Erinnerungen mit Malmahed verbinden - 1939 internationales Gymnastiklager -, abel' auch wegen del' Fiille von menschlicher una turnerisch'et Schonheit, die da auf engstem Raum verdichtet wurde.

Fotoktinstler Glenn Sundby hat einen turnerischen Blick, das macht sich bezahlt.

Aber schwarmen wir nicht nul' von der Bildkunst die sich da auf Glanzpapier darbietet! "The modern gymna~t" ist auch textlich gro13artig gemacht. Da siIl!d die Briefe an den Herausgebel', die ein bei del' Schriftieitung von "Deutsches Turnen" schmerzIich vermilltes Interesse an del' Forte'n twicklung Cler Turnkunst bekunden. Wann schreibt schon jemand an "Deutsches Turnen" und sehtittet sein Turnerherz aus! Es sind

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wenige. Vielleicht, weil unsere Turner so notorisch schreib trage sind? Die amerikanischen Turner sind es offenbar nich;1 Y Glenn .sundb . t Schreib . und t mitweill Herzgeschickt u. nd. Verstand nen Noten und selbs Erlebnissen jeweilsvon fUr seil di nachste Ausgabe zu werben. Mit Stolz konnte er jetzt melden .daB sich die Zahl del' Abonnenten von 200 innerhalb eine.

Jahres auf 3500 erhohte. Das solI noch lange nicht das End. sein! Denn das Kunstturnen hat in den USA einen machtigel Aufschwung erlebt, und nicht nur das Kunstturnen! Mr. Sund by versteht es, die ·g rqBe, von Eisel1'hower ·b egonnene und Val Kennedy mit Energie fortgefiihrte Bewegung zu fordern, nam· lich die amerikanische Jugen.d auf einen besseren Gesundheits zustand zu f.ilhren, ,besonders auf dem Gebiete del' . Muskel kraft, an del' es allerorts bedeilklich mangelt. Darum wir~t eJ fUr eine Jugendturnbewegung "Fitness Through Gymnastics" Das Gesundheitsturnen solI also mehr als ,bisher auch im arne· rikanischen Turnen verankert werden. Trotzdem herrscht da.

Leistungsturnel) vor, ganz ' in dem gesunden Sinn, dall, we] sich· zum Turnen entschliellt, dort etwas leisten will. Die Weg zur Leistung zu zeigen, dazu bietet "The modern gYmnast~' viele Wege an. Es wi rd. viel . mit Reihenfotos gearbeitet, abe. auch mit bvillant gezeichneten Reihenbildern. In del' Mai Juni-Nummer, S. 19, finden wir in ftin! Phasen eine bei um noch nicht geturnte Recktibung: kammgriffs ,die zweite Halft< eines "Riesenschwunges" auslaufen lassen, ,den rechten Grifj losen und, mit Gewichtsverlagerung auf den linken Arm, recht! in den Ristgriff tibergehen, dann eine rasche halbe Drehunl1 urn diesen rechten Griff einwarts anzusetzen, so dall man wie· der ·in den doppelten Kammgriff gelangt, nun aber zum "Kamm· riesen" in entgegengesetzter Richtung. Die Zeichnungen sin so einieuchtend, dall man Jim F'a rkas gratulieren kann, de dieses neue Kunststiick zeichnete und besprach.

Die Turnerinnen kommen .ebenso zu ihrem Recht wie Turner. Ihnen wil1d auch eine Ballett-Schule prasentiert, in de sie ,das ABC del' Ballett-Ausbildung erlernen konnen, ohne da man nun einmal heute im olympischen Bodenturnen keine Blumentopf mehr gewinnenkann. CharJes Simms, einst seLbs einer del' besten Kunstturner, gibt Fachkommentare zu kunst· turnerischen Ereignissen. Von graBen Wettkampfen werde die Punkttabellen abgedruckt. Was abel' neu ist: man kanr dann meist auch die erfolgreichsten Dbungen in genauer turn· sprachlicher Foige nachlesen. Welcher Berichterstatter ist be:, uns ,dazu in del' Lage? Und wie wertvoll ware es! Ineinem is l "The modern gymnast" nach meinem Urteil rtickstandig : e bringt zu oft Wettkampf~Ergebnisse ohne Punktzahlen. Un ' er iiberbetont die Rangfolgen an den einzelnen Geraten (au ohne Punktzahlen). Das "all around" wird in keiner Weise abgehoben von den Einzelwettbewerben. Das mtillte aberge- , schehen, wenn die USA im Kunstturnen die gewiinschten Fort~ schritte machen w9-Ilen. Del' Sechskampfer sollte im 10. Ran noch angefUhrt werden, wo beim Einzelwettbewerb die dre Ersten vollaufgentigten. Dies als Anregung fUr die Zukunft.

Mister'Glenn Sundby wa.r so freundlich, uns eine Menge Exem· pi are seiner meisterhaften. 32seitigen GymnaestradacNumme zuzusenden. Wer immer unter unseren Lesern del' engliSche~' Sprache rnachtig ist, sollte sich diese Nummer erwerben. E~ gentigt ein Brief an die Anschi:ift Dr. Josef Gohler, Wiirzburg Neubergstralle 66. Eine ' 20~Pfennig-Briefmarke mage beiliegen, Neidlos .begltickwiinschen wir Glenn Sundby und die amerika· nischen Turner zu ihrer namosen Zeitschrift. Wir sind tiberzeugt dall bei dieserspontanen Begeisterung, die -,- nicht zu· letzt dank del' Impulse von "The modern gymnast"- fiir da" Gerateturnen und Kunstturnen entbrannt ist, das amerika· nische Turnen noeh grolle Fortschritte machen wird. Die Schu· len zumal fOI'dern das' Kunstturnen. und so wird die Jugend gewonnen. Vergessen wir auch nicht, was die von Deutschen Sehweizern und Tschechen/Poien (Sokol!) in den USA ,g eleistete Arbeit gefruchtet hat. Gelingt es, aIle Krafte organisatorisch so zu binden, dall eine Gemeinschaft entsteht, dann ha'j das Turnen in den USA eine grolle Zukunft. Und "The modern gymnast" eine nicht mindel' grolle!

Werdies€ Turnzeitung beziehen will. dem sei die Anschriftmitgeteilt: Glenn Sundby, P.O. box 611, Santa Monica California, USA. Das Ziel i'st, jahrlich 9 Nummern herauszubringen. , Preis: 3 Dollar pro Jahr, also DM 12,-.

Ju]y.A" gust

1962

Volume 4 . Number 6 CONTENTS Und Sei n Magazin ... .... 4 Notes From The Editor 5 Chalk Talk ................ .. .... 6 Canadian Report ................. . .... 8 M. G. Photo Contest .. . .......... 10 J r. Gymnasts of America ... ........ 11 Ballet for Gymnasts ............. ...... .. .... . .... ... ..... 12 ........ ......... .

Gym Snaps ...... 16 Table Tumblin g ...... . ........ ..... 18 On e Hand Balance .. 20 Barney's Beach Album .... 22 Ask Charlie ......... ....... . . ......~4 Gym Forum ....... . ........ 25 Meet R esutls ...........26 Letters .. ................................... 29

M.G. BOOSTER: On the page to your left is an article that recently appeared in the " Deutsches Turner" German Gymna stic magazine. We have reproduced this flatterin g review not just to show the Modern Gymnast is read and respected the worM over, but to share this reco gnition with you our readers ,,,ho throu gh your support and enthusiasm have made The Modern Gymnast possihle.

If you, as yo ur editor, have a bit of diffi culty tran s· latin g the German text and do not have an interpret er handy, here are a few points brou ght out in the article.

They like the Modern Gymnast, especially the many photos and instructional articles (Jim Farkas in sp ecial note ). They also commented on the free, frank, independent and open editorial policy and coverage in the M.G. However, they did have one criticism (wh ich has also been heard from our American readers), and that was that we did not publi sh the M.G. often enough OT have a very goo d schedule when we did. This we ag,ree with and intend in the coming year to have a better than ever M.G. on a regular schedule. Our thanks to Dr. Josef Gohler for his stimulatin g review, it was well appreciated.

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COVER : Wilhelm Weiler, Top Ranking Men's All· Around Champion of Canada.

•••••••••••••••••••••••• Max 1. I{ud erian Glenn S undby .

Charli e Simm s Ku r t Baechler

.. Publisher .. Editor .... ........ Associate Editor ... ...... ....... European Edit or

Contributors: Grace Kaywell, l\'lay and George Bauer.

Ross

Black,

Bob

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•••••••••••••••••••••••• THE MODERN GYMNAST is published in the U.S .A . by Junior Gymnasts of America, Inc ., nine issues for $3 .00, 35c the single copy. All pictures and manuscr ipts submitted became the propert y af THE MODERN GYMNAST u nless

a

return

requ es t

and

sufficient

postage

are

included. Published material becomes the praperty af THE MODERN GYMNAST. Cop y right 1962 by Junior Gymnasts of America, Inc ., 410 Broadwa y, Sant a Mon ica , Californ ia.

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DEUTSCHES T URNER: In return we would like to do you (our readers ) that may not be acqua inted with this German Gymnastic publication a fa vor, and let you know a bit about this fine magazine. Even thou gh you may no1: understand the copy and there may not be as many photos as you are used to seeing in the M.G., the " Deutsches Turner" publishes large and ex· cellent photos as well as wonderful instructional al'tides with comprehensive reviews of competitions alon g willh discussion s and analysis of new tricks and trends in Gymnastics. The sensational photos of -the world's top Gymnasts published in the DT are inspirin g in any language and make wonderful bulletin board material fOor the coach or wall picture for the private collector . .. Well worth the price of a subscription . .. (what· ever it maye be ) ... We will try to get this subsoript-ion information and include it in the next edition of the M.G. . . . In the meantime if you are impatient you can write to: Deutsche Turner, W. · Limpert Zeitschriften verlag, Frankfort, Germany, for info,rrn'a tion. .;f

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NEXT EDITION : As this edition of the M.G. goes to press your editor takes off to cover a day at the Sokol Centennial in Pittsbur gh, the finals of the Canadian _Tational Championships in Montreal then on to Europe and the World Championship in Prague to brin g back photos, results, routines and hi·li ghts for the next edition of the M.G. . . . see yo u then.

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SPACEBALL Spaceball! Will this new sport give a shot in th e arm to the Trampoline Centers? Well if Chicago is any example, it looks like it will, for they have gone bounce happy over this new competitive attraction whi ch made it debut there recently.

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AKRO ; GYMNASTIC GUIDE Akron, Ohio public schools are using a 34路page Gym路 nastics Guide written by Joseph Toth to further fitness in their Jr. Hi gh School program . The Guide contains graded and illustrated material on the Vaulting Box, Side Horse, P . Bars, Still Rings, H. Bar and Tumbling.

AIso suggested are skill tests for the 7th. 8th and 9th grades. For furth er information write to: Akron Public Schools, !\'Iartin Essex (sup.). Akron, Ohio. Refer to publication No. 146.

During the TV Broadcast Flight of Astronaut Carpenter, th e director of Astronaut Physical Fitness program stated that Gymnastics was considered the most important part of their Physical Fitness program. He also stated that the Trampoline was very important in that a twentyminute work out on the Trampoline gave a simulated fifteen minutes of weightnessness.

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WOMENS ROUTINES Because of the many requests for women's moves, here are some more women's routines from The 1962 National A.A.U. Championships in Seattle.

FLOOR EXERCISE BETTY MA YCOOK: Fu. assemble, 1h turn jump to toe stand , touch toes to head in a jump, 3 step turn , leap, aerial walkover, dive tinsica, aerial walkover, arabasque, forward no handed roll to toe stand; Glissade, tour jete, coupe, 2 chene turns, butterfly; Hop toe to knee, step hop, turn to toe stand, back handsprin g to split, spin on seat, lJ2 valdez to switch

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kick walkover ; Double pirouette, double fouette, 3 chene, 2 balance turning, turn on one foot, other leg to side; Run , back develope to a back walkover, switch kick, Yz turn out certebasque, double pique, back roll to handstand pirouette on hand s, split, roll one chest changing to another split, neck spring walkout; 3 step turn, hitch kick, unge ; Round off, back handspring, back layout. Jump on to one foot, other toe to knee, turn chasse thru 1st position to 4th position arms in 4th .position.

GAIL SONTGERATH: Front beat, back beat, ballet leap; Tinsica, tigna (aerial front walkover); Leg exten sion front then back ; Gypsy turn; Front walkover, back walkover; Run flip flop , layout back to one leg and turn; Tinsica, drop to one knee ; Knee spin; Tour jete; Back walkover, 1 legged back; Tour jete beat, turn ; Run 2 flip flops turn tinsica to lunge.

DORIS FUCHS: Turn back walkover lunge, step turn step, round off flip flop layout split . revolving off both legs to a stand on right leg, step tour j ete, step side leap, turn step step, cartwheel, flip flop walkout dive handstand . walkover turn scale turn into cross step cross right cross step cross left turn . leap leap to kneeling position on floor revolving of arms stand up back walkover to a pose; Turn step step high leap . dive hand spring, no hand fonyard roll into split pull out of split into finishing pose.

AVIS TIEBER: Begi n corner of area facing opposite corner . weight on bent left leg, right leg extended forward, bow forward, step chan gin g weight to right, step left, step right, step back on left and outward full turn to right ; Round off flip fl op layo ut back, step arch back; Full turn to left, hop % turn ; Step, back walkover, switchin g legs; Side pas de chasse, full skaters turn, step, pose; Back step, full turn R , leap turn , full turn R, butterfl y, full turn , pas de basqu e R, step turn L to lun ge; Glide tour jete, 2 steps brin gin g feet together and rise on toes ; Forward roll, head· sprin g to straddle sit; Bring legs together, tuck, flip fl op to lun ge; 14 turn, hop R, L leg extended, 3 steps, hop L with R leg bent brin ging R leg behind L, rising on toes and turn to R ; Running steps to leap, circle, R leg back into split, roll over L, valdez into back lunge; Round off 2 flip flops, twist out and step turns to R, bow fonyard extendin g left leg, weight on R ben t leg; Running walk· over, 2 steps, cabriole, step forward R, backward turn to sup port on L leg to pose position on R knee.

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HORSE VAULT BETTY MAYCOOK: AVIS TIEBER: Handspring.

Hand spring.

GAIL SONTGERATH: Layo ut straddle.

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DORIS FUCHS: Hecht.

MURIEL GROSSFELD: Layout stoop.

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BALANCE BEAM GAIL SONTGERATH : Front roll on end of beam; Steps, kick leg turn; Steps, cat jump; Turn , diving front roll over ; Knee scale; Stand and turn to leap % turn squatting position ; Back roll, turn , handstand hold ; Back walkover; Leap turn; Step, hand stand hold, fron t roll over; Attitude turn, front beat, back beat, ballet leap; Turn front beat, 2 turns sit for vald ez, valdez di smount (I·arm front walkover).

DORIS FUCHS : Straddle shoot to split legged handstand, drop roll shoot to handstand come down right leg, half turn split, pull out split, back roll shoot into scale on right leg, bring left leg fonyard into scale on right leg, having left leg fonyard into balance on right to, step . dance . turn leap, hop step hop . dan ce . En glish split leg handstand drop forward roll whip forward roll - shoot into back hand· stand pose left leg in front of right . dan ce . step leap turn step step . aerial dismount.

BETTY MA YCOOK: Jump to complete straddle, 14 turn V sit, back roll to arch pose, place L foot on beam, slide onto back foot ; Chasse, coupe, chasse, leap, step turn , pose; Cartwheel, turn on one foot other toe to knee, cat jump, turn on

forward attitude. Ronde jambe to arabasque, step turn ; One arm walkover, split jump, forward roll, % turn in straddel position, V sit and come up, pose; Hitch kick , supersote turn , change, change, landing on one foot, back walkover to hand stand, cartwheel out ; Chasse, aerial off end of beam.

AVIS TIEBER : From the side, running leap to ri ght leg support to middle of beam; Pas de chasse, kick forward and back, % turn to right; 2 steps, hitch kick, step, swin g hop, step back . pose; 2 steps, bringin g feet together, squat jump, land in squat, % turn to right coming to a stand; Step forward left , sid e step right, side step back left, step ri ght, 1f2 turn , ki ck left leg back to lunge; Straight leg head stand; Backward roll, brin ging left leg forward to beam, pose, ri se to arabasque on toe ; Chene turn , kick, full pirouette, step jump, bringing feet together , % turn ; Pas de cha se cartwheel, back pose; Running steps to leap, % pirouette turn ; English handstand, hrward roll out, step out; Arabasque, supporting leg bent, sissone, step right turn, 2 steps kick with a 14 turn bringing feet together in a stand; Back flip dismount. :!'

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UNEVEN BARS DORIS FUCHS: Glid e kip fonyard roll stoop up hop skip into reverse action front hip circle; Cast back into glide kip h@p to top bar legs over bottom bar, kip to hi gh bar fonyard roll, straddle in straddle out leg switch to top bar fonyard roll high cast, hip circle £range hecht off.

GAIL DALEY: Mount . standin g under high bar facin g low bar, glide kip r egrasp to hang on high bar, lift legs, kip to straight support on upper bar and ilrunediately place feet with legs straddle on high bar . sole circle ( backwards) half turn hip circle on low bar and immediately place feet on low bar between hands . back sole circle . half tum hop circle to eagle . drop kip on low bar to regrasp . lift legs plymouth to sittin g position on high bar . forward seat circle to dislocation half turn to hang on hi gh bar . lift legs through hands . wagon wheel to stand on low bar facing high bar. Dismount . handstand stoop off high bar.

MURIEL GROSSFELD: Squat over low bar, regrasp high bar, shoot with half tum; Back hip circle (no hands), grasp hi gh bar with dislocate grip; Drop to glide kip on low bar regrasp high; Left foot on low bar and rai se body to front support on hi gh bar ; Hand stand on low bar; Straddle down past high bar to straddle stand on low bar ; Straddle sole circle shoot with half turn glide kip; Front hip circle to straddle stand; Straddle sole circle shoot to high bar ( hands mixed grip ) , half turn swing back; Place feet on low bar ri se to front support on high bar; Fonyard roll, bounce low bar; Free hip circle over high bar to back hip circle on low bar; Squat up on low grasp high bar; Drop back, straddle cut to stand.

A VIS TIEBER: Glide kip to straddle stand on low bar; Straddle sole circle, shoot to high bar, mixed grip, % turn, swing back uprise to high bar; Cast out hip circle; Single leg squat through ; Crotch circle, half turn; Swing leg back to front support, shift left hand to high bar, squat jump on low bar; Straddle sole circle on hi gh bar, cast out, turn, hip circle; Squat jump on low bar, rise to stand ; right hand on high bar ; Jump back to straddle "L" support, circle, legs boun ce on low bar, pull over high bar to front support; Discend to low bar in crotch support , 14 turn, bringin g right leg to stand on low bar, 14 turn arabasque; Hand· stand on high bar] squat through dismount.

BETTY MAYCOOK: Glide double leg shoot thru; F orward seat circle catch high bar ; Stem rise, double leg stoop thru ; Dislocated hip circle; Stoop one leg thru, crotch circle ; 1/2 turn squat up; Forward roll on high bar, straddle on , cast out % turn hip circle; Back ca tch (eagle) ; Stand on low bar, extend one leg, 112 turn to fa ce high bar ; Hand stand stoop thm on high bar.

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Willy Weiler (Photos by Favero, Barrie, Ontario)

Uanadian Report CANADIAN GYM SKETCH WILLY WEILER

A familiar Gymnastic personality seen regul,a rly at all the top U.S. competitions for the past several yea rs is Sgt. Willy Weiler from the Army Physical Trainin g Center aL Camp Borden, Ontario, Canada.

Willy is an exciting and hard driving Gymnast who is always coming up with a new move or seq uence of tricks usually well in advance of his American competitors. This was a fact again at the National Championsh~ps in Seattle where Willy used several new and unsual moves in his routines.

On the Horizontal Bar he performed a straight hody front hip circle to a front giant and. used a pike front over the bar dismount. Probably the most spectacular was his Lon g Horse vault with which he won the event and 1962 vaulting title.

Here Willy did a \'ault that was first performed in Willy doing his Long Horse Vault-Pike Somie from the Croup (Straight arm giant handspring with a pike).

MARITIME OPEN R e p o l't b y Tru e m a n Hi rsc h f ield Y M CA . H a li fa x . Nova S cotia Th e M a rtim e Ope n M a le Gymn as ti c C h ampio ns hi ps 'vere a cO lnpl ete s uccess thi s yea r ,vith teanlS f.'onl Can1}) Bord e n . Camp Gagetown . a nd th e Ha lifax Y .M.C.A. compe t in g in th e Seni o r D iv is io n. .Vill y ' V-e il e r . w h o pl ace d 6th in Sea ttl e. c ompe tin g . Th e d ay b e fo r e th e m ee t a vid e o-taped s h o w of th e t e n b es t Seni o r s and t,vo juniors ,vas t a l<en. Th e s ho,,' las te d for one h o ur a nd co n s is t e d o f comp e titive r o utin es o n a ll th e m a le appa r atu s a nd

../

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Willy's Pike Front dismoun t from the H. Bar

the USSR-Japan Meet by the Japanese Gymnast " Yamashita" (the vault was pictured and exp lained in the Deuthches Turnen Publication from Germany), a pike front from the croup_ Upon leavin g th e beat board the vault is performed with a strai ght arm takeoff, pike body with strai ght legs bein g some three feet over the horse and slowly stretch the body to land as in a handsprin g vault (an d Weiler lands as if he were glued to the floor )_ Willy confided that he picks up most of his new tricks from articles in the " Deuthches Turnen" which he reads easily hecause of his German background .

Our th anks to Major R. B. Firlotte, Commandin g Officer of the Canadian Army Physical Trainin g Center for photos and info路r mation .

*

in ter v ie\Ys \v i t h

th e gy mn as t s, r e corll-

p e t itiv e gy mn ast ics . T hi s v id eo -ta p e was s h own l h e fo ll owing d ay a t 12 :30 P .M. Th e in te rm e di a t e a nd senior Ch a mpi o n s hip s w e r e h e ld Sa turda y . M ay 12. at t h e H a lifa x Y .M. C.A. an d th e ty r o a nd junio r even ts 'veer h e ld o n Friday, )lay 18, al Ro a t t1, e Y. M .C.A. Results SEc路n O R EVENT S Free C alis thentic s: 1. 'We il er (B ): 2. MacDo na ld (G); ~ . Ri c h a rdSOll ( B) . V a ulting: 1. 'We il e r ; 2. Hoy le (Y); 3. P a rtridge (B) . Still Rings: 1. '~'e il e r ; 2. Par t rid ge ; 3.

G r a nt ( G ). High B ar: 1. W e il e l'; 2. Hirsc hfi eld (Y) ; 3 .

Hole; P a r a llel B a rs : 1. Weil e r ; 2. H oyle ; 3. Partridge .

Side Horse: 1. , V-e il e r ; 2. Partrid ge; 3. M a.cD o n a ld. Leg , end : (B ) Camp Borde n ; (Y) H a lifax YMCA ; (G) Ca mp Gage t o wn.

I N TERMEDIATE E VEN TS Free Calisthenics: 1. Dickie (CDH) ; 2. W a dd e ll (1 ); 3 .

Blal{ e n ey (Y) . V a ulting : 1. Dunba r (Y); 2. H e ffl e r ( S S) ; ~ . Coo mbes (Y) and M a nn (Y). Still Rings : 1. Coo mbe,,; 2. M a nn ; 3. C urri e (Y ) . High Bar: 1. H effl e r ; 2. G r een (C DR); 3. Dic ki e . P ara llel Bars: 1. C urri e; 2. ~Tadd ell ; ~.

M a nn . S ide Horse: 1. M a nn ; 2. Th o rbur n (Y); 3.

B la k e n ey. Legend: (Y) Y .M.C .A. ; (CDH ) Corn walli s Di s t ri c t Hig h Sch ool ; ( S S) S idn ey S t e ph e n Hi g h Sc h ool.

TYRO Free Calisthenics: 1. J . W e naus. B.H.; 2. B. Lap o inte.

BH; 3. R. Bla x la nd. B H. Vaulting : 1. J. ' Ve路na ud; 2 . W .

Smith. SS: 3. R. Green .BH. St ill Rings: 1. D . Howe. P.A.; 2. R. G r een; 3. 'N . Smith . All - Around: 1. J . W enau s ; 2.

R. Gree n: 3. R. B la xlftnd; Team: Bi cente nni a l Junior Hi g h Sch o ol.

J UNIOR Free C a listhenics: 1. C. W a dd ell . Y ; 2. P. D e la n ey. C it y R ec . ; 3. W. D acey. Y . Vaulting: 1. D. H effl e r . S . S. ; 2.

C. vVndd ell, Y ; 3. B. N augleI'. PA. Still Rings : 1. .D. AI'chiba ld , SS ; 2. C. W a dd ell . Y ; 3. ~r. D acey. Y . High B ar: 1. D . Arc hiba ld: 2. C. Wadd e ll ; 3. P . R obinso n . S S. Para llels : 1. C . vVadd ell ; 2. P. D ela n ey : 3. W . Dacey .

All-Around: 1. C . Wadd ell ; 2. D . Archib a ld: 3. P . D e la n ey.

T ea m s comp e ting w e r e Sidney Ste ph e n , Halifax Y M CA .

C ity R ecr eat ion . Bicente nni a l Junior HS a nd P rin ce A rthur.

TROPHIES: L. R. H ay t e r . Junio r T eam. S id n ey Ste ph e n H .S. (Bedfo rd ) ; Takas h On o. In te r medi a t e AIIArQlll1d. Bob Coo mb es (Y) ; Bori s S h a khlin. In te rm ed ia t e T eam . Y .M. C .A . H a li f a x; Masa o T a k e m oto. Se nio r AllAround , vVill ~' W eil e r , Bord e n ; J a m es Hoyle. Se ~"li o r T ea m . Ca mp Bord e n; J oseph Sta ld e r . C lub. H a hfa .x Y.M. C. A.

-:-:-

SOKOL GYMNASTIC ASSOCIATION OF CANADA 1962 NATIONAL GYMNASTIC CHAMPIONSHIPS May 19, 1962 Sokol Centre, Toronto, Onto Th e r e we r e 169 Comp e tito r s for th e 13 e v e n ts in t his year 's C hamp"ions hip s (2 6 co mpe tito r s in 1958) . ,"' inners o f t h e All- A round "1 s t pl ace" cu p s wer e : ME N Hig h Di v is io n. W eile r (Can a dia n Arm y); Int erm e di ate. ~I"hi tn ey ( SGU So k ol .

Clevela n d); L ow. F e rn ella (SA U So k ol . C leve. ) . JR. BOY S Hig h .

P awla k ( Sok o l T o r o nto 1); L ow . IVIa nning ( Sok o l Ba"ltim o r e) . SOKOLAD S, 9-12.

Beadl e (So kol Toro nto 2).

S OKOLAD S. 6- 8, Godzwo n (Sok o l Hig h . B a zT o r o nto 2) . vVOMEN zo n e (S G U SOK OL. C leve.) ; Low. Ce n'in ( Soko l B a l t i more ) . JR. BO YS - Hi g h , Babu s k a ( S GU S o k o l. P e rth Amboy ): L o w . M a r es ( S oko l . Bait . ).

SO KOL E TT S , 9- 12. L oss ( S okol Toro nto 2 ) . 6- S. M cC utc h eo n ( S. T o ro nto 2 l. ,,,rinn e r s o f A nnu a l ~' inn e r S hi eld e Vle m be r s of Can ada S okols o nl y ) i\Ie n: H rdli c l{a, Kadl ecek . C sok a & H a le. a nd Bead le . W O M E:\, : Za ruba .

V icent a nd Loss.

WI NN I KG T EAMS WERE : By Di v is io n M e n : Can a d ia"n Army ; SGU Sokol. C levela nd ; T. J. S ok ol .

Be lcamp ; Sok o l T o r o n to 1 ; Sok ol T o ro nto 1: Solw l T o r o n to 2 and Sok ol T o ronto 2.

Wom e n: SGU Sok o l .

Cl evela nd ; Sok o l T o ronto 2 ; P a l.

Natl. . M o ntr eal ; T . J. S ok ol . B a l tim o r e ; Soko l Toro nto 2

Ma ri time Open Junior Champ .

C. Wadde ll

9

M.G. PHOTO CONTEST First prize thi s edition is for th e photo above taken by Ri chard Pritko with a Speed Graphi c at 1/400 sec. at F /8 usin g Kodak Royal Pan Film with a # 5 flash bulb of Ed Gunny of Los Angeles, California.

Second place winn er is C. Sutton of Tallahassee, Florida for this photo of Bill Beavers doing a "V" - Photo was taken with a 35mm Camera, 3.5 lens, plus X film, M2B fla sh at a speed of 1/100 sec.

Third award was won by Dave Miller of Seattle, Wash. for this photo of Bill Vennels (for sure this time) taken with a Kodak 35 with existing light.

JUNIOR GYMNASTS OF AMERICA Jr. Gymnasts of America salute two fine looking young gymnasts this edition: Miss Donna Chalmers, a Junior Gymnast from the city of Ames, Iowa (Daughter of Mr. Gordon Chalm er~. Athletic Director at Iowa State Uni路 versity) and 10 y~ar old John Crosby, Jr. of Long Island City, New York (Son of photographer John Crosby, who won a first prize in a recent M.G. Photo Contest.)

BALLET for Gymnasts

By Grace Kaywell 3 Tanglewood Court IT' est Palm Beach. Florida

GRACE NOTES Regular readers of the Ballet for Gymnasts series in this ma gazine will know that from time to time I try and salute some of the outstanding teachers of dance in the Uni1ted States. In this way, no matter what State you live in , you will know of a qualified teacher in your a:rea. In this particulat report I wish to honor most especially "J 0 Anna" (Mrs. Ted Kneeland ) ballerina-choreographer from South Africa and founder of the now famous Imperial Studios in Palm Beach, Florida.

About five years ago Jo Anna formed her ballet classes here. She announced that she would con duotan experiment with a new and different approach to the teaching of ballet. The pro gram wou ld , she said , utilize the latest and most modern findin gs in the fields of body build in g and psycholo gy, plus a revolutionary concept of dramatic trainin g devised by her husband, Ted Kneeland , whose credits as a producer-director include such shows as the Moss Hart Show, Yul Brynner Show, Laraine Day Show, etc. Jo Anna also said that the pro gram would be hi ghly personalized with special concentration bein g given to the individual needs of each participant and a conscious knowled ge of body placement would be thorou ghly taught and supercede the impOltance of "dance steps" . If the recipe was successful, Jo Anna predicted that all twelve contenders would emerge capable of following successful professional careers regardless of whM their original short-

comin gs mi ght have been. Sh e add ed that she considered it better to conduct this experiment awa y from the obviou s meccas such as lew York , London and P a ri s, etc. , as she wou ld get a very average cross-section of cases from such a small area to call on.

I sat back and watched with ton gue in cheek as the experiment was conducted on a scholarshiv basis under lhe allspices of Mr. Frank J. Hales Academy Royale Theatre, Inc. I knew personally many of the youn gsters in the class and I was aware of their many physical probl ems : knockknees, bow legs, sway backs, dropped arches, etc.

The outcome is now history. All twelve emerged fully qualified for a theatrical career after just three years avera gin g four hours a week of ballet training. l'i'ine of these persons are now successfull y active in the theatre and the other three chose to get married. One of the most famo~s of this group is Miss Caudia Cravey w路hose plct~re ap pears here as the finished product of thi s personalized anatomical teaching of Jo Anna.

I find it ironic that I should have looked all over the world for a trainin g pro gram such as this on lv to find it in my own back yard . I am convien~ed that Mi ss Jo Anna's method of teaohin g ballet will help gymnasts a'btain their goal quicker and with everlasting good results. I have enro lled in her teacher's course and am presently stud yi ng under her direction. I hope to brin g !his new approach to gymnasts as soon a'S pOSSIble and also hope that we might get Miss Jo Anna herself to come to teach at one of our now famou s Gym Clinics.

At le ft: Miss Claudia Cravey, trained exclusively

by JoAnna's methods, displays at attitude en arriere. Although still only fourteen years of age, Claudia has alread,." created considerable comment in ballet circles both here and abroad. At twelve she shared the title role with Violette Verdy, of the New York City Ballet Co ., in the London produ ction 01 "Th e Princess" and was hailed by the London p路ress as "a miracle . .. " At thirteen, she appeared as gues t artist with Ruth Page's Chicago Opera Ballet Co., thus becoming America's youngest dan cer to play leading roles with a re cognized major ballet com.pany. She is currently under contract to M.G .M. and Desilu Productions.

At right : Eleven-year-old Clara Beth Cravey, also an exclusive product of JoAnna's methods, demonstrates a stylized balletic attitude. Even at this early stage of her career, the excellent form which is the hallmark of .roAnna's graduates is already evident.

13

WRONG

RIGHT

Attitude Position: PHOTOS 1 and 2 - The many thin gs whi ch are wrong with the posItion in PHOTO 1 (The sunken chest, bad axis of balance, in co rrect back position, turn ed in legs and shortened n eck) cannot be corrected just by a reminder from the tcacher. Only a personalized program of exercises which will actually change the sha pe of the body will make it possible for the position in PHOTO 2 to be arri ved at. N ote : M odel is Hiss Jo Anna ; Photos by Mort Kaye Studios . " PREPARING THE INSTRUMENT" By "Jo Anna" It has been said that the body to the dancer is the co unterpart of what an instrum ent is to the musician.

Th ere is of course one ob vious difference. There are Ill any bonafi ed music stores in whi ch musical instrum ents may be purchased, whereas dancers must develop the limbs thev are born with into the best possible instru路 ments of expression. If th ey fail to pay sufficien attention 10 thi s all路import;mt ph ase of their trainin g, even after they have learncd th e full vocabulary of steps and movements, they can only hope at best to emerge as a compelent vi{)linist who could unfortunately only afford an in exp ensive and inferi or violin instead of being able to play his concertos on a Stradivarius. The same would a Iso be tru e for gymn asts, who are in a similar fi eld of physical ex pression.

The subj ect of "preparing the instrument" has far too Illany fa ce ls to it to cover in anyone articl e, so I can only hope to cover one of the face ts at this time. I shall th erefore choose th e attitude, one of the two most fre'luently used positi ons in ballet ( the other being arabesque) which has beco me so much a part of gymnastics, ( particularly in the Girls . Free Exercises ) and try to demon strate how impossible it is for an improperly prepared body to achi eve lin e and balance in this position while conversely how simple it is to do with the correct preliminary preparation. Naturall y, th ere are many exercises which can be don e for every problem area, but I have had of necessity to demonstrate only one of each.

First, pl ease study Plates No. 1 and 2 and compare the difference in the body placement. Notice that in Pl ate No. 2 the back, both in the upper and lower sections, is suffi ciently limber to allow the chest to go a good deal furth er forward ( Ex ercises No.2 and 3). This ~han ge al one will give th e performer a different and better axis of balance as well as put them on the way toward s acbievin g good line. The tendons of the neck and should ers ( Exercise No.1) have been considerably length ened and thi s, to gether with tbe "give" in the upper back ha s all owed the pectoral area of the chest 10 lift, whi ch is so indispensable, not only for line and

14

balance, but for strength and control. We have now lost th at "sunken chest" look. The legs, which have responded 10 a special exercise program , (Exercises No. 4 and 6) are now able to turn out in the hip sock et and the thigh can now be held in a correspondin g positi on to th e di aphra gm, which is so much a part of the beautiful circular lin e of an attitud e. The tendons on th e inside of the foot have been lengthened, ( Ex ercise No. 5) so that the performer may continue the circular lin e ri ght up to the toe.

Aft er contemplatin g these differences carefully, I invite all aspiring gymnasts to study the exercises whi ch" effected these results, as any personal physical shortco min gs can be overcom e if proper concentrati on is given to that tl rea and th e exercises practiced diligently. I would urge you, however, to pay particular note wherever an expl anati on is given of " how to do the exercise", as unfortunately, I often find people who have put in an enormous amount of hard work , but all in the wron g way and have achi eved nothin g more than an excess of muscle bulk in stead of th e wiry strength and long elastic tendons they should have earn ed for their pains.

There are, of course, no two cases exactly alike and read ers should at all tim es try to ascertain what their particular needs are. Obviously a per son born with a weak but very limber back should be spending their time on hack-strengthening exercises. whi ch as I said before, would be a completely different fa cet of this vast subj ect and would need a complete article in itself. You will find however, that the physical chan ges which are di scussed in this article apply not only to the attitud e or arabesque, but will help the body to make all the pictures of the gy mnastic vocabularly look better and be more balanced as a result of the increased turnout.

I would like to thank The Modern Gymnast Magazin e is to see the fi eld of gymnastics becomin g more and more allied with the fi eld of ballet as I have always believed that both mediums could be of help to each other, parti cularly in th e case of boys training as dancers.

I would like to thank Gymna ~ ts Magazin e therefore for invitin g me to write about s ome of my ideas on dance training and I hope that its read ers will find them helpful.

EXERC ISE NO. 1 - Shoulder and Neck Tendons: To get th e maximum stretc'h in the should er and neck area, think of stretchin g th e top of the head dia gonally upwards and pull th e oppos ite shoulder blade down as hard as you can. The clasped position of the hands is only to brace you and the main area of concentration must be in the neck and should er, not the hands.

EXERCISE NO. 2 - Upper Back: While on the sur· fa ce nothin g much may appear to be go in g on in this picture, in actual fa ct there is a definite mental relation· ship between the press in g action of the fin gers and th e region of th e upper back, whi ch is such a difficult one to define and limber. Thinkin g very hard of the area between th e shoul der blades (alld nowhere else) , you pu sh the ches t forward with the pressure of the arms and finger tips. Under no circumstan ces should you let any other area of th e back bend or th e entire purpose of th e exercise is lost.

EXERCISE NO. 3 - Lower Bark: H ere we see a concentration int o th e area of th e lower back which is, I think . self·explanatorv. Thi s exercise can of course also be used for th e up per' back. You would then strai ghten up th e body, kee pin g the pelvic bon es well controlled und er and pull away from th e barre just into th e area of the should er blad e~, letting th e chest push forward as explain ed und er Plate No.4.

4

5

EXERCISE NO.4 -- Tumol/t Attill/de all Barre: Thi ~ is an exercise which must be started easily and adj usted acco rdin gly as yo u acquire more turnout and extens ion. so pl ease read th e in st ru ct ion. ca refull y. Start by puttin g your right hand on th .. harre and yo ur knee braced again st tbe ri ght wri st. nllp anllll1d turning ou t th e sup portin g leg as you do ~o until vour le ft hand i, able to grab th e barre behi nd yo u. Nnw '('e hal\' far yo u can hop th e sup· porting leg away fmlll tl\(' barn' and Iw nd it seve ral tim es in thi, position. Yll ur ultilll atc aim is to get the highest poss ibl e part of yo ur thi gh on th e bar re and the support· ing leg as far away from th e barre as poss ibl e, but this mu st be work ed up to , lowl )' and by degree", Noti ce that th e chest mu st be lifted at all t im cs and th e supportin g leg mu st remain turned nut.

EXERCISE NO.5 - Foot: Thi s shou ld be self·explana· tory . but just a remind er to press downward s until you fe el a stretching: action takin g; place on the in sid e tendon s of the foot. Try to retain this "feeling" in yo ur mind so that you can carry it on into your attitudes and arabesques.

EXERCISE NO . 6 - Turnout Split: Thi s exercise can on ly be attempt ed a fter an ord inary split has been mastered . By liftin g th e back leg in thi s mann er, an extra stretching of th e in sid e tend ons of the thigh can be eff ect.ed as th e full pres,ure now centers in that area. The turn of th e body is for th e purpose of keeping the legs turned eut throu ghout, rath er th an fa cin g the leg which would put th e stretchin g: action into a different area.

6

Gym Pictured here are three up and coming gymnasts from Iowa State Unive rsity mentored by Ed Gagnier. At left: Ken Wiggers; below, Dave Block; and bottolll , Mike Coon.

16

Snaps Coach Jerry Krawitz from the Paterson N. J. YM路 YWHA took the photos at right anU below 0/ Gregor Weise at the Eastern Intercollegiate Competition at West Point.

]7

Lo vington New Mexico Tumbling Table Exhibition Team (C oach Black on Right).

TUMBLING TABLE

By Ross Black The " Tumblin g Table" may be u sed with a s pring boar d or a mini-tramp_ However , more stunt s may be learned if th e mini-tramp is u sed . The " Tumblin g Table" is primarily used as a teaching aid in learning tumbling skill s and stunts, but it may b e used as a separate apparatus. Basically, the skill s taught in tumblin g may be taught in mu ch the sam e way when u sing the " Tumblin g Table" with a few minor revision s.

The " Tumbling Table" cr eates inter est in stud ents b e路 cause of the simplicity in whi ch stunts or skill s may b e learned . They get imm ediate satisfa ction of accomplishment and with much less effort than on many other types of apparatus. The value of the. " Tumblin g Table" is also present in the carry-over value it has to the lon g horse, buck , elephant, and trampoline. The " Tumbling Table" is very valuable when teachin g difficult stunts in that th ey may be broken down and tau ght on e part at a time.

The foll owing are a few of the more basic stunts that may be done from the "Tumblin g Table": 1. Bou n ce from mini- tranlp to s (a nd o n table, a . B o un ce O\"e r tabl e, b. Bounce over tab l e in p ik e p os iti on .

II. F or ward Roll (Fi g ur路e 1): a . L e t yourself down easily with arms, du cl<ing h ead ; b. L a nd on n eck a nd s hould er s, not head; c. Tu c k tig h tl y - c hin on ch es t - r oll: d . Hold tu ck until you com e to e nd of t a bl e, le t fee t drop off.

III. F orwa rd R oll Va riatio n s : A. Forward r oll in pik e pos ition, 1. Keep legs s t r a ig h t - point toes , 2. S n a p legs down o ve r e d ge of table; B. Hand s tand into pik e 1'011 ;

C. F orwa rd roll not u s in g ha nd s, 1. Exte nd a rm s from s ides, 2. Tuck h ead a nd r oll ; D. Di ve Roll , 1. Move minit r a mp back from table 3 to 5 feet, 2. Tak e we ight on hand s, 3. Fini sh as in f Ol""\vanl r oll.

IV. H eads pl-ing (Figure 2) : A . Start on t ab le - puttin g for eh ead an d h a nd s on fa r end of table ; B. From s quat, r ock forwa rd, placing forehea d on end of table; C. As body fa ll s off balance and comes into pike position , extend hips for c ibl y. At th e sa m e time pu s h with h a nds.

18

V. Handspring (Figu r e ~) : A. Swin g legs up as h a nd s are go ing dOWl1; B. Ke ep elbows straig ht and look s traig ht a h ead. P lace ha nd s o n. far end of t a ble; C. Push with s hould ers as legs snap over into arch; D . Bend at knees whe n la nding.

VI. Handspring Variations: A. F orward h a nd spring with 'h twist (round off), 1. Place hands on fa r end with fin g'er s pointing towa.rd n ea r end - c ross ri g ht h a nd over left ; B. Forward hand s pring with full twist in a nd out.

vn. Back Handspring (F igure 4): A. As you s pring from lnini-tra nlP . s it back: B. 'rhrow hips t o w a rd ce il-

in g - pu s h off toes, draggirig kn ees; C. Throw h ea d back with arms - watc h fin ger s all th e w ay back ; D. L and on h a nd s w ith elbows locked an d str a ig h t; E. Fl ex hip s sna p rlown.

VIII . Front Som esault (Figure 5): A. May be done from a run approach 0 " fro m off th e t a bl e ; B . Spring high off mini-tramp lif ting with a rm s and s h ould er s; C. At h e ight of spring, tu cl' chin to ch es t - b e ca utious not t o tuck too soo n; D. Hold shin s a nd go into spin as you t uck; E. Pu t h ea d back a nd open tu ck t o land .

IX. Har a ni (Figure 6): A. Learned by doin g front ha nd s prings over table w ith 'h twist : B. Get good high sprin g; C. L et legs fl y up fast, drop. h earl, watch tabl e a ll the way over: D . Wh e n in ups id e down pos ition s n a p str a ight legs down at hip s.

On e can not place to much stress and importance on proper "s pottin g" and safety techniques . To become a profi cient "spotter" one must have practice, just as in learnin g a new stunt. However of equal importa nce is to be sure that the stud ent has had a proper preparation for learning a new stunt. The stud ent mu st h ave complete confid ence in his spoller. Ahove all th e student must be phys ically and mentally ready. A jarring fall on th e first allempt a t a stunt may discourage a perform er from at, temptin g furth er e ffort s, In part, th e illustration s and inform ati on in thi s presenta¡ ti on were tak en from " Th e Tumblers Manual" by Luport e a nd R enner. Although thi s book is for tumbling, it may be adapted to the tumblin g tabl e . For a close study on the various stunts and spottin g .t echniques, this book may he consulted.

.

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.

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Figure J

Figure !i

Figure 6

19

HOW TO TEACH A GIRL A "ONE ARM"

By Bob May Last year, the Tallahassee Recreation Department en· rolled 550 pupils in their regular winter gymnastic program. " T o my knowledge", says Mr. Bob May, Director of the Tallahassee Tumbling Tots, "this is the largest number of children enroll ed in tumbling at anyone place any where in the United States. During the summer the tumb· lin g program goes outdoors and is conducted in the seven parks the R ecr ea tion Department serves.

Each summer, a new piece of simple "homemade" equip· ment':' is developed and made for each of the parks. Dia· grams are passed out to the parents of interested pupils, so they may build th eir son or dau ghter a similar piece of equipm ent to practice on at home.

Thi s year, a new piece of equipment has been made, called " H AN DSTAN D GIMMICKS", which has already proved to help many youngsters learn handstands . .How· ever, it was primarily built to teach girls to do a one arm .

The advantage of the " HANDSTAND GIMMICKS" is that it offers a very stable and reliable group from which the performer can control or "fight" his balance from all directions.

As you ca n see by the pictures, a one arm is learned in six steps, each of which requires many lon g hours of practice, but which are achieved much fa ster on the " H AN DSTAND GIMMICKS' than on the flat ground.

Very few girl s do or even attempt to learn one arm s.

However, we feel that if this piece of eq uipment was built. in YMCA 's, Recreation Departments, schools, etc., that

20

yo u would see many more girls enjoying the fun, physical fitness benefits, and satisfaction obtained from mastering the very diffi cult "one arm".

The cost of the " HANDSTAND. GIMMICKS" is about $1.00 and takes about an hour to build.

Each summ er, the Tallahassee Recreation Department has a handstand contest. First, a winner is picked from each park on their ability to hold a handstand for the longest period of time. Th en , a run off is held to de termine a eity·wide winn er. This year, the Department plans to also have a "one arB1 " contest.

STEP #1 is to master a regular two arm ha nd stand.

It is very important that the thumb be placed on the inside, two fin gers on the front and two fin gers on the outsid e of the hand gr ip. This a llows the performer contro l a'· " fi g ht" from a ll directions.

STEP #2 is to learn a s plit legged hand stand . Legs shou ld be about 90° a part. These s tep s are demon strated

by Kitty Grubbs, age 12, the 1961 Florida State Senior ''Vomen's tumb lin g a nd trn,mpoline champion.

STEP #3 is to rock weight over on one arm ·us ing the thumb of the free ha nd to balance with. This gives the pC l'fornlcr a

"feel"

of a

one arm

h er ,,'e ight on h er one arrll.

plus putting all

of

STEP #4 is to remove the thumb, lifting the arm to a horizontal position a nd thus dOing a split legged one arm .

STEP #5 is to bring the legs together. Each step shou ld be mastered well enough to hold for at least 10 s econd s before moving on to the next step.

STEP #6 is to bring the fr ee arm up by the sid e. This is more diffi cu lt than the split legged one arm, but makes a very beautiful trick.

':' Snch as wobblers, jlunpsticks, balance beams, etc.

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21

Beach Album the1940's "THE GOLDEN YEARS" For over thirty years Barney Fry has taken thousands of balancing, pyramid, contest and Gymnastic action photos at the Santa Monica Beach Playground.

In order to comply with the many requests we receive for more balancing photos, here are some action shots from Barney's collection taken during 1940 one of the memorable golden years of fun and action at the Beach Playground.

Pictured here are many fine and unusual balancing tricks. Johnny Robinson's one elbow stand, three or four high pyramids of all descriptions, three giant swings on one bar, powerful Dewight Davis on the Rings, Howie Mandell on a one arm planche and many of the 01' gang, Pud ge and Les Stockton, Bruce Conner, Russ Saunders, Paula Boelsems, 路Rand Hall, Deforest Most (Moe) , AI Jackson, Johnny Kornoff, Helen Smith, Bob Leonard, Harold Zinkin, George Redpath, Al Marco, Ray Saunders and Wayne and Whitey just to name a few .

Thou gh the days of the high pyramids and the holiday shows have passed with time and removal of the Beach platform there are many treasured albums and photos such as these from Barney Fry to recall "The Golden Years" of Beach Balancing at the Santa Monica Beach Playground.

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B, Ch,di, Simm,

J UDGI NG TIPS .. .

Free-exercise is one of rhe events up on which there is mu ch disagreement as to wha t ohj ect ive score to give an exercise. Probah lv th e ma in reason for this is the factor of what r~a ll y makes up a top notch free-exerci se routin e. Yo u, as a jud ge: are more or less prepared for th e rin gs or a ny of the solid events, because yo u ha\'e a rea lm of ex uectation as to what will fa ll 0 \\ ; hut in freeexercise, th e performer may do any thin g a nd everythin g to eke out over the one minute minimum time limit.

Let's start from the beginning. One of the most common mounts around these days is the round off flip-fl op (like that ) back full twi&ter to a stand. This is a move of superior difficulty, and if well done, will bring up any judge to expectation of a stron g routine to come.

My immediate reaction to this type of mount is to watch immediately for the gymnasts next sequence. Which will it be? A 1fz turn drop into a Swedish f all or a slight pause into another tumblin g sequence across the area? In either case, it is almost certain that art: the end of either movement, the gymnast will attempt his strength trick.

It may be a press to a handstand , and if so, watch to see that it is a " press," and not a snap .

Immediately alert yourself also to the possibility th at the routine will be one consisting mainly of tumblin g movements, which is no detraction from the good tumblers who have turned into good free-exercise men, but remember the other elements that go into makin g a well rounded free-exerci se routine.

The mount should be of a difficulty that works to the routine as a whole, and if too easy for whalt follow s, should be penalized. Conversely, if the mount is of superior diffi culty, witih th~ rest of the routine downhill in performance, the first move does not make a routine.

Watch the flow of movement from the difficult move to the easy one, such as a series of tumbling moves into a one leg stand . Balance moves are the place to spot the gymnast who has really worked his routine as a whole, polishin g each part to perfection. I have been amazed at the number of good gymnasts who do excellent routines when it Gomes to the diffi cult part of their exercise, an d then fumble and take hop steps to assume control on a simple balance move.

Watch the next seq uence after a strength move.

Is the gymnast working smoothly, or has his press (or hold ) taken somethin g out of him th at makes him work in a labored manner. If so, he has wo rked over his head and will be penalized for an y mistakes he makes in the followin g moves, but he should also be penalized for fhe lack of elegance in the execution of his exercise.

Watch for the long holds in the balance stands or in the splits, or in any of the many obher stop positions one can assume_ Once the position is

24

attained, the si mple one-twa-three count is sufficient. Anything much over t his is a rest, and should be penalized _ Conversely, watch that any true hold position whether handstand (one or two arm variety), sp I its, one leg stand , p lanche, inverted cross, etc. , is held for a three count to show the move as bein g performed , a nd if under, should be penalized.

Watch ve ry closely on the dismount. Outsid e of the vario us deductions for any mishaps, the gymnast who do es mount with the superior move and th en di smo unts with a simple round-off back done poo rl y, should be severly penalized.

Wa tch, most of all, that the gymnast does an easv flowin g routine that is well within his capabiliti es: th a t he does not tire easily, that tumblin g is done with snap , strength \v;ith strength , balance with a lock , suppl eness with ease, and a dismount with a good stand.

We are on ly scratchin g the surfa ce willi suoh an outlin e, and when time and space permit we wi II go into definite breakdown of moves. Let us kn ow if we are on the right track. For now, how is yo ur horizo ntal bar knowledge as to diffi culty of moves?

RATE THE FOLLOWING HORIZONTAL BAR MOVES AS TO DIFFICULTY B OR C 1. Mount with mixed grip, caste to double rear vault into free rear support, back sea t circle, caste back into German Giant_ 2. From a hang below th e bar with reverse grip kip to handstand , immediate drop to reverse Stald er, one giant forward to hecht dismount.

3. Backward swin g with full turn into free front sup· port, immediate fre e· hi p circle backward to handstand , stoop through hand s to rear support.

4. From a giant swin g backward, stoop through between arms to free rear support, one circle, caste to Gennan giant, drop into one backward seat circle and pull out to % handstand position.

5. From a giant swin g forward, squat through , one cirle forwa rd and dislocate to an eagle giant, chan ge to reverse grip and di smount with a somersa ult with a half twist.

*

'J':HI 'S !a'::HI ' 17 !a-a-J .£ !a -J'a .(; !J-a '1 S l:I3:&SNV

Gym Forul LET'S MODERNIZE GYMNASTIC JUDGING

By George V. Bauer University of Wisconsin Gymnastic Coach Over the years, gymna stic judging has en co un,tered num erous critidsms . Many gymnastic enthusiasts believe the sport has n ot met with greater acceptance because of thi s one fa ctor. In no other sport are officials expected to observe and make decisions on all phases of the activity, football (head linesman , umpire, referee), volleyball (umpire, referee), baseball ( plate umpire, base umpire), etc. In gymnastics, each judge must award points for form , the number and type of gymnastic moves performed, and the proper use of equipm ent called composition. Above all, thi s must be calculated and flashed in approximately 10 seconds.

There is no doubt that the F ederation of International Gymnastics scoring or rating scale is an answer to the judgin g problem at a given level of competition, but certain modifications are necessary for its use in intercollegiate co mpetition.

The F.I.G. catagorizes gy mnastic judging in the following way - 10 points equals a perfect score com prised

Qf th e fQIlQwin g cQmpQnents: 5 PQints maximum fQr executiQn, fQrm , style, cQntinuity; 3 PQints maximum fQr difficulty; 2 PQints maximum fQr cQmpQsitiQn (Appendix A and B).

The NatiQnal CQllegiate Athletic AssQciatiQn uses a 100 PQint sCQring system. Originally, the breakdQwn was as fQlIQws: 50 PQints maximum fQr executiQn , 50 PQints fQr difficulty and cQmpQsitiQn. The N.C.A.A. has accepted,

by CQnsent, th e principles of F .I.G. usin g this system as it fit s intO' the 50-50 PQint system Qf the N .C.A.A. The follQwin g sCQring system iS, assumed to' be in use: 5 PQints F.I.G. eq ual s 50 PQints N.C.A.A. executiQn, fQrm , style, cQntinuity; 3 PQints F.I.F. equals 30 PQints N.C.A.A. fQr difficulty; 2 PQints F.I.G. equals 20 PQints N.C.A.A. fQr cQmpQsitiQn; TQtal 10 PQints F.I.G. equal s 100 PQints N.C.lI.A. The 50 PQints fQr perfQrmance and executiQn , as stated in Article 21 Qf F.I.G., needs nO' change Qr explanatiQn .

Ded ucti Qns are made in accQrdance with F.I.G. Articles 6, 7, 8 and 13, as well as SectiQns band c Qf Article 18.

SectiQn 2 Qf Article 16 (cQmpQsitiQn) cannQt be used as presented in the F.I.G. rules fQr judging N.C.A.A. gymnastics. This is impQssible as 10 Qf thees PQints are reserved fQr an QPtiQnal exercise shQwing sufficient difference frQm the cQmpulsQry exercise. The N.C.A.A. dQes nQt have a compulsQry eexrcise. These PQints are either disregarded Qr are being used imprQperly in the judging.

TherefQre, Article 18, SectiQn a, dQes nQt apply. SectiQns b, c, d and e can be used with a maximum Qf 10 PQints.

Article 19 cQncerning "difficulty" presents a few problems. The ten parts can be recQgnized, but there are differences Qf QpiniQn as to' what cQnstitutes a A, B Qr C mQve. 'What are the fundamental A mQves and hQW simple can they be and still be classified as medium diffi culty? AnQther prQblem is the exclusiQn Qf the trampQline and tumbling events in the F.I.G. rules.

Article 20, the difficulty rating, states that the gymnast can IQse up to' 30 PQints fQr lack Qf difficulty. It is difficult to' understand because SectiQn a under Article 20 states that each principal part A is wQrth 2 PQints. If the rQutine did nQt include 4 Band 1 C, but was made up Qf all A parts, the perfQrmer CQuld receive Qnly 12 PQints fQr difficulty and nQt 20 PQints as is implied. HQwever, there is nO' prQvisiQn fQr substituting an A mQve fQr any Qf the Band C mQves, therefQre a cQmplete A rQutine shQuld receive Qnly 10 PQints fQr difficulty, nQt 20 as is implied Qr 12 as actually happens. It is stated that a B mQve can be substituted fQr a C mQve with a lQSS Qf 3 PQints.

Article 20, NO'. 5, a, states " If the difficulty Qf the 10 parts is less than 10 A parts, the to' tal PQssible SCQre CQuld be 70." A discrepancy exists. fQr it WQuld be impQssible to' receive the 20 PQints fQr cQmpQsitiQn under these circumstances. Article 2 indicates that in Qrder to' have the prO' per cQmpQsitiQn, the perfQrmer must have A and B mQves in his rQutine. FQr example, a ring rQutine with proper cQmpQsitiQn must cQntain a handstand executed thQugh a swing (dislQcate shQQt handstand - uprise handstand). This mQve required in cQmpQsitiQn is of B Qr C difficulty and when Qmitted, reduces the cQmpositiQn rating belQw 20 PQints. The same is true fQr the parallel bar and side hQrse, etc. TherefQre, a perfQrmer having all A mQves Qr mQves cQnsidered even less than A, Qr mediwn dificulty, shQuld in sO'me way lQse a PO'rtiQn Qf the 20 PQints fQr cQmpQsitiQn in mQst events. This leaves a maximum Qf 50 fQr perfect executiQn, nQthing fO'r difficulty, and PQssibly SQme PQints fQr cO'mpQsitiQn but surely nQt 20.

Because Qf the abQve stated discrepancies and the difficulties invQlved with each judge trying to' evaluate the 50, 30 and 20 areas Qf the gymnastic rQutine, the fQllQwing changes are Qffered fO'r cQnsideratiQn: 1. Retain the 50 PO'ints fO'r executiQn and perfQrmance as stated in Article 21 Qf F.I.G. and SectiQns band c Qf Article 18.

2. Article 18 (cQmpositiO'n) be reduced to' 10 PQints and include Qnly d and e Qf said article. See attached sheet fQr A, B, C, D, E, F and G fQr compQsitiQn. 3. Add the 10 PO'ints Qf SectiQn a, Article 18, "If the cO'mpQsitiQn resembels the compulsO'ry exercise tQQ much" to' the difficulty pattern. This WQuld permit a maximum

Qf 40 PQints for difficulty to' be credited in the fQllQwing manner: (a) A mQves wQrth 2 PQints with a maximum O'f 10 PQints fQr difficulty, 10 PQints cQmpQsitiQn, and 50 executiQn, Qr a PQssible 70 PQints; (b) B mQves WQrth 3 PO'ints with a maximum Qf 30 PQints. Thus a routine with 10 B CQuld equal 30 PQints fQr difficulty, 10 PQints cQmpQsitiQn, 50 PQints executiQn, O'r 90 tQtal. AdditiQnal A mQves WQuld nQt CQunt tO'ward the difficulty scO're and thereby eliminate lQng rQutines; (c) C mO'ves worth 6 PQints fQr a maximum Qf 40 PQints. If it is cQnceivable that a perfO'rm er CQuld dO' 10 C mQves, he WQuld receive Qnly 40 PO'ints fQr difficulty. Here a perfO'rmer CQuld receive 40, 10, and 50, Qr 100 tQtal; (d) PQints WQuld be given (added) nO' deducted, Qn the 10 mO'st difficult Qr cQmbinatiQn mQves Qnly. For example: Suggest.

Suggest.

Suggest.

Rating F.I.G. Rating F.I.G. Rating F.I.G. 4A 8 4A 4 5 A 10 5 A 10 SA 10 5 A 4B 12 4B 12 4 B 12 4 B 12 5 B 12 5 B 15 4C 6 4C 24 lC6 lC6 5C 6 5C 30 40 26 28 28 45 Max. 40 e. New Proposal: 5 (50) executiQn, fQrm , style, continuity; 1 (0) prQper cQmpQsitiQn; 4 (40) difficulty TQtal 10 (100 ) . Current F.l.C.: 5 exceutiQn , fQrm, style, cQntinuity; 2 cQmpQsitiQn; 3 difficulty.

4. Three judges WQuld be used instead Qf fQur. Their resPQnsi bilites WQuld be as fO'llQws: (a) PerfO'rmance Qr executiQn judge. He will scO're up to' 50 PQints, maximum ; (b) Th e cQmpQsitiQn judge determines whether the gymnast has executed the prO' per mQves fO'r the gymnastic apparatus. He will SCQre up to' 10 maximum; (c) The head judge Qr difficulty judge (and he shQuld be the best Qf the three) will keep a recO'rd O'f the A, Band C mQves and nO'tify the executiQn judge if the exercise is less than 10 mQves. The difficulty and cO'mpQsitiQn will still be judged the same, but if there are Qnly 9 mQves, executiQn will be 9/10 Qr 45 PQints maximum fQr perfect eexcutiQn, Qr 45 minus PQints lQst fQr PQQr executiQn_ 8/ 10 equals 40; 7/10 equals 35; 6/10 equals 30, etc.; minus PQints lQst O'n executiQn. 5. The three scO'res WQuld then be added to' give the final tabulatiQn: ExecutiQn 32, CQmpQsitiQn 7, Difficulty 31, TQtal 70.

In cQnclusiQn, the principle Qf F.I.G. shQuld be retained with the adaptatiQns to' fit Qur cO'llegiate prQgram. The principles can be adapted to' the high schQO'l gymnastic prQgrams where frequently Qnly twO' judges are used.

Under these circumstances, the head judge would scO're cQmpQsitiQn and difficulty while the O'ther judge WQuld sCQre O'nly executiO'n.

COMPOSITION REQUIREMENTS FOR EACH PIECE OF GYMNASTIC EQUIPMENT 1. (10) POINTS MAXIMUM SCORE A. Free Exercise: 1. Use Qf the entire 39' x 39' area; 2. RQutine nO' less than 1 minute nQr mQre than 11/2 minutes O'f time; 3. MQvements must include elements O'f: a. agility, b. balance. c. flexibility (suppleness) . d. strength, e. tumbling, f. fluid mQvement.

B. Trampoline : 1. A minimum Qf 10 and a maximum Qf 12 bQunces ; 2. FQrward mQvements; 3. Backward mQvements ; 4. Twisting mQvements; 5. Maintaining a central PQsitiQn Qn the trampQline; 6. Landing O'n sO'me part Qf the bQdy Qther than the feet.

C. Pommelled Horse: 1. CO'ntinuQus swinging wO'rk withQut hQlds Qr stO'PS; 2. Use O'f the three parts: neck, crQUp, saddle; 3. ScissQrs : a. regular and reverse, b. at least Qne perfO'rmed twice in a rQW; 4. Circles with twO' legs perfQrmed in bQth directiQns. D. Parallel Bars: cQmbinatiQn O'f swinging, vaulting, strength, and hQld; 1. Elements Qf swinging to' predominate; 2. NO' more than three hO'ld PQsitiQns; 3. At least Qne mQvement Qf strength ; 4. Change Qf directiQn mQves; 5.

Releases : a. abQve the bar, b. belQw the bar.

E. Horizontal Bar: 1. Swinging and vaulting withO'ut hQld Qr pause; 2. Out bar wQrk; 3. In bar wO'rk; 4. Change O'f directiQn mQvements categQrized by: a. giant swing changes; b. twisting mQve; c. vaulting.

(Continued on page 30)

28

2S

1l1ino is S tate Team Winners: L. to R. , Sharon R usso (Atte ndant), John A. Fischer, Meet Manager, A l1en Brelig and Richard Minse r, Co-Copts. (Willowbrook - 2nd Tie). Jerry Fontana, Capt. ( York lI .5. - 2nd Tie) , R obert Ensa1aco, Capt. ( Pro viso E. - 1st), K ay Burgene r, Queen. At right, Karl Bu rgener - inverted cross on rings eluring finals of S tate Mee t. (Coach Victor Lesch - spotter) .

M e et Res ults ILLINOIS STATE HIGH SCHOOL FINALS REPORT

By Vic Leach and Wilt Weisbecker Approx imately 3,000 spectators attended the final session of th e Illi no is State High School Ch ampionshi ps for 1962.

(There were less th an 300 spectators for the first State Championshi ps in 1958).

The state fin als are presently conducted in three sessions, wi th the prelimin aries and the all-around competition held in tw o sessions Friday afternoon and evening. The hi ghli ght of the meet is the last session on Saturd ay evenin g whi ch sees the top ten perform ers in each of the six event s, as selected via the preliminary or qualifying sessions on Friday. Due to th e in creased number of entries, it became necessary thi s year (1962 ) to subdivide the state in to districts and hold three distri ct meets for the purpose of qualifyin g contestants for the state fin als.

The past fi ve years have seen a phenomenal growth in the number of teams competin g. Evidence of this growth is shown as follows : 1958, 12 teams; 1959, 20 teams; 1960, 27 teams; 1961, 35 teams; 1962, 41 teams.

Those fami li ar with the boom in gymn astics in this area can predict only greater success and a more widespread interest in future years. Many of the top perform ers from this past meet will return next year with more di ff icult and more highly polished routines. Also, numerous other schools in the area have expressed a desire in starting a program of gymnastics. With an expected ent ry of more than fifty teams and over 700 entries next year, one can concl ude only that the future of gymnastics in this area is bright indeed.

WI NNING ROUTINES Below are the first five placements in the All -Around along with th eir Long H orse Vault, and the first three event winnin g and placing routines of the other events.

A LL-A RO UN D Willi am Sil han, Proviso West, 805 ( L-H Vault - Handstand 14 turn cartwheel) ; Robert Ensaloco, P roviso West.

794 (Va ult - S toop from croup ); Ned Duke, Lane T ech, 766 (Hecht from neck ); Gerald Fontan a, York, 757 (Stoop from croup); J ames Block, Niles East, 748 (Straight leg

26

stoop from croup ); Dave Trippe, Evanston , 748 (Handstand 1/1, turn cartwheel).

S IDE HORSE 1. Rober t Ensalaco, Pr oviso West (l!l2): (croup) Doubl e in - circles - r ussian moore - circles - double out - double in - circles - reg ul ar scissors . reverse circles - reverse scissors - circles - downhill tromlet - 2V2 loops dismoun t.

2. George Husser, Proviso East (181) : (croup ) Flank on end - loop - uphill tromlet - immedi ate downhill tromlet - double in - circles - tromlet double in (without touchin g end of horse) - circles - r everse sciessors (2 ) - reverse circles - regular scissors (2 ) circle - downhill tromlet 2% loo p dismount.

3. Richard Anderson, Prospect (167) : (neck ) Moore mount - circle . loop - circle - uphill tromlet - circle moore . circle - moore - circle - reverse scissors - reverse circles . scissors . un dercut - circles . downhill tromlet circle . loop off dismount.

HORIZON TAL BA R 1. Gerald Fontana, York (182 ): Takemoto (Ja m cast V2 twist . reach under fl ank over ) - kip - hop change to reverse grip above bar - reverse giants - stoop thru - dislocate - eagles hop to reverse grip immediate pirouette regul ar giants - straddle hecht dismount.

2. Stanley Thompson, New Trier (1 73): Cast to reverse giants - pirouette reach und er flank over - hop chan ge under bar - ki p V2 turn to regular giants - blind change to mixed grip - kris care - underswing to back upri se full twist - kip to regul ar gian ts - full twist dismount.

Ti e 3. Allen Breli g, Willowbrook (172 ): Back uprise free hip - regular giants - cross change - reverse giants roll to eagles - hop to reverse giants - full pirouette - pirouette - giants full twistin g fl yaway.

Tie 3. Robert Ensalaco. Proviso East ( 172): Regular grip ki p hop to eagle - hop to reverse giants - reach over fl ank over - reverse kip - german giant - fl ank out - kip regular giants - flyaway.

PA R A LLEL BA R S 1. Kenneth Wiegand , Thornton (186) : Loop support straddle out - L - straight arm straight body press to handstand - back sommi e . stutz - loo p - back upri se stradd le cut - swin!! handstand - stutz - lower down - front uprise - front off. ~

2. Jerry Russell, Arlington (182): Peach support· loop s upport· straddle cut - "L" - press handstand· back sommie . stutz . loop . back uprise . straddle cut - cast back .front uprise - front off.

3. J erry Crowder, Thornton (176): Peach support . stutz - swing handstand . back sommie - stutz - swin g pirouette . drop peach support . swing handstand - stutz front off.

RINGS 1. Elliott Pearl, Niles East (187): Straight body pull to

,

..

inverted hang . reverse kip - "L" cross . drop legs roll forward and pull to straight body front roll to handstand· back roll - olympic cross - roll to inverted hang· dislocate shoot to " L" . press out to momentary planch - drop to straddle cut off.

2. Karl Burgener, Willowbrook (182) : Slow flex to handstand . inverted cross - regular giant . front cast . back uprise - back roll - L - straight body forward roll to hollowback handstand - planch to olympic cross . forward to back lever up to back uprise - drop back - dislocate straddle cut off.

3. Lee Lindquist, Glenbrook (176): Pull to " L-cross" up to L - forward roll to hollowback handstand - regular g iant - fall out - back uprise to olympic cross - fonvard to back lever - pull to straight body inlocate - back uprise handstand - back roll to cross - up to L - drop back reverse kip to shoulder stand - cast flyaway dismount.

TUMBLING 1. Douglas Reynolds, Pekin (190): a. R.O. - F.F. - Full F.F. - Double Full; b. R.O. - F.F. Blf.! - R.O. - F.F. Double Full; c. Fr. - Tinsica - Fr. - Tinsica - Fr. - Fr.; d . R.O .. F.F. - Ba. Ba. Ba. - F ull .

2. Harold Shaw, Urbana (183) : 1. Fr.-hdsp. Fr. - Tinsica - hdsp. - Fr.; 2. R.O. - F.F. - Full - F.F. - Double Full.; 3. R.O. - F.F. - Ba. - F.F. - Balj2 - RO. - F.F. - Double Full; 4. R .O. - F.F. - Ba. - Ba. - F.F. - Full.

3. Wm. Downing, Maine West (180): 1. R.O. - F.F .. Ba - Doubl e Full; 2. Fr.-hdsp. - Fr. - roll - Fr. -- roll - Fr.; 3. R.O. - F.F. - Full - F.F. - Full - F.F. - Ba. - Fr.; 4.

R.O .. F.F. - Full - F.F. - Full - F .F. - Ba. - Fr.; 4. R.O . F.F. - Ba. - Ba. - F.F. - Full - Ba.

TRAMPOLINE 1. Ray La Fran cis, York (179): a. Double back "piked" back - double back - double full - double back - rudolph back - randolf; b. Branie out fliffus - double back back - rudolph - double full - back - double full - triple full.

2. Clay Christman, Arlington (176): a. FIiffus - Fliffus back - double full - rudolph - back %, - full cody; b. FIiffu s • double full - back - Fliffus - branie - back - double full - triple full.

Tie 3. Dale Hardt, Niles East (170): a. Branie in fliffu s - full - back - full - branie out fliffu s - double full rudolph - double back; b. Branie out fliffus - double back - double back - rudolph - back - full - double full - triple full .

Tie 3. Joseph Dupree, Rich (170 ): a. Branie out fliffu s - doubl e back - rudolph - double full· double full - back full - randolph; b. Branie out fliffu s - branie out fliffu s double back - rudolph - back - full double full - triple full.

GYMNASTICS PROGRESS IN NEW JERSEY

By Marvin H . Speidel, Physical Director Elizabeth Turn er s New Jersey is enjoying a revival of interest in gymnastics as ev idenced by the 148 entries and more than 300 spectators at the recent Age-Group Development Meet sponsored by the Elizabeth Turner s in their own gym. We have no gymnasts of the calibre of New J ersey's form er greats, both Olympians and National Champions, but we do have many youngsters who show considerable promise.

This meet, held Sunday afternoon. April 29th, was directed by myself, assisted by Maria H emko and George Christow of the Turn ers staff, and H elen Schifano Sjursen, Nancy Kromer, Milt Berkowitz, Eli Snyder, Ralph Di Nicola, Ernst Koerner, Frank Richter, Tom Dunkley, Carl Willen brock, and Fred Klawunn.

Entries represented of following clubs: Elizabe th Turners,

National Turners of Irvington , Passaic Turners, Carlstadt Turners, Union Hill Turners, Swiss Turn ers of Union City, Pater son Swiss Turners, J ersey City YMCA, Newark YMCA, Fanwood-Scotch Plains YMCA, Paterson YMHA , T. J. Sokol of Little Ferry, St. P eter's Prep School, Freehold High School, Newark Schools, East Brunswick Schools, Union Schools, and East Orange Schools.

All-Around and Event Winners were as follow s : Girls, 12 Years and Under All-Around: 1. Katerine Yeo , Elizabeth Turners, 67.0; 2. Donna Pinteralli, Swiss Turners U nion City, 65.3; 3.

Jan e Cowell, :\'ationa l Turners Irvington, 64. 5.

Free Exercise: l. Donna Pi nteralli, Swiss Turners Unjon City; 2. J ane Cowell , National Turn er s Irv ington ; 3. K a therine Yeo. Elizabeth Turners.

Tumbling: 1. Katherine Yeo. Elizabeth Turners; TIe 2.

Janet H unt, Fanwood Scot P lains YMCA and Mari e Mills, Pa terson Swiss Turners.

Buck Vault: 1. Katherine Yeo, Elizabeth Turn ers; 2.

Carol Kuterka , National Turners Irvington; 3. J a ne Cowell, Nation al Turners ll-v ington.

Boys, 12 Years and Under All-Around: 1. Louis Rose, Swiss Turners Union City , ~ 8 .0; 2. Douglas Bohrer, Paterson Swis s Turn er s, 64.8 ; 3.

John Kuterka, National Turners Irvington , 61.7.

Free Exercise : 1. ,John Kuterka, Tational Turn er s Irvington; Tie 2. Louis Rose, Swiss Turners Un ion City and D a nny O'Connor, East Brunswick Schools.

Tumbling : 1. Louis Rose, Swiss Turners Union C ity; 2. J ohn Kuterka, National Turners Irvington; 3. Douglas B ohrer, Paterson Swiss Turners.

Buck Vault: 1. Louis Rose, Swiss Turners U nion City ; 2. Douglas Bohrer, Paterson Swiss Turners; 3. Jeffrey Gallup, Union Hill Turners.

Girls , 13-14-15 Years All-Around: 1. Betty Haas, Swiss Turners Union C ity , 87.1 ; 2. Renee Royer, Paterson Swiss Turners, 82.6; 3.

Judy Bohrer, Pat erson Swiss Turn er s, 80 .9 .

Free Exercise: 1. Betty Haas, Swiss Turners Union City; Ti e 2. Renee Royer, Paterson Swiss Turners a nd Judy Bohrer, Paterso n Sw iss Turn ers.

Side Horse Vault: 1. B etty Haas, Swiss Turners U nion C ity; 2. Renee Royer, Paterson Swiss Turners; 3. Ka.ren Zwerver, Pa terson Swi ss Turners.

Balance Beam: 1. Betty Haas, Swiss Turners Union City; 2 .Renee Royer , Paterson Swiss Turners ; 3. Judy Bohrer, Paterson Swiss Turners.

Uneven Bars: 1. K a ren Zwerver, Pater son Swiss Turners; 2. Betty Haas, Swiss Turn ers Union C ity; 3. Judy Bohrel', Paterson Swi ss Turners.

Boys, 13-14-15- Years All-Around: 1. Richard Di Nicola, Elizabeth Turn ers, 79.8 ; 2. Rob ert R epp ert, Union Schools , 79.6; 3. Robert Cowe ll, Nationa l Turn ers Irvington , 77.3.

Free Exercise: 1. Robert Holland, Jersey City, YMCA; Tie 2. L eo nard Hekel, Sw iss Turners Union' City and Rob ert Reppert, Union School s.

Tumbling: 1. Robert Holland, Jersey City YMCA; 2.

L eo nard Hekel, Swiss Turners U nion City; 3. Joseph Czukras, Swiss Turn ers Union City.

Parallel Bars: 1. Robel:t R eppert, Union School s'; 2.

Stanl ey Nakonechni, Newark YMCA; 3. Ralph l\1anaker, ?\alional Turners Irvington.

Long Horse: 1. Robert Holland, J ersey City YMCA; 2.

Sta.nl ey Na kon echni, Newark YMCA; 3. Robert Cowell , Nat ional Turners Irvington.

Ladies, 16 Years and Over All-Around: 1. Edie Novotny, Sokol Little F erry, 81.1; 2. Celia Sirignano, Union Hill Turners, 78.5; 3. Cynthia Nerone, Sokol Little Ferry, 71.2.

Free Exercise: 1. Celia Sirignano, U nion Hill Turn ers; 2. Edie Novo tny, Sokol Little Ferry; 3. Cynthia Nerone, Sokol Little Ferry.

Hqrse Vault : 1. Edi e Novotny, Sokol Little Ferry; 2.

Celi a Sirignano, Uni on Hill Turn ers; 3. ~ynthi a Nel'one, Sokol L ittle Ferry.

Balance B ea m: 1. Edie Novotny , Sokol Lttl e Fen'Y; Ti e 2. Cyn thi a Ner one , Sokol Little Ferry a nd Celi a Sirignano, Un ion Hill Turners.

Uneven Bars : 1. Edie Novotny, Sokol Little F erry; 2.

Celia Sirignano, Un iotl Hill Turn er s; 3. Cy nthia Ne r one, Sokol Little F ert'Y. Men, 16 Years and Over All-Around: 1. Robert Lee, Jersey Ci ty YMCA, 89 .7; 2.

"Verner Sorsch, Paterson Swiss Ttfrn ers, 82.4; Ti e 3.

William Holy, St. Pet er's Prep Sch oo l a nd Covert Erkele ns, Nation a l Turn ers Irvingtcm, 78.9 .

Free Exercise : 1. William Holy, St. Peter's Prep School; 2. Robert Lee, J er·sey City YMCA; 3. Robert McKenna, Snyder H.S., Jersey City.

Long Horse: 1. Robert Lee,. Jersey City YMCA; 2. Robert McKenna, Snyd er H.S ., J e r sey City ; 3. Charles Pi lger, J er sey iCty YMCA. Parallel Bars : 1. Robert Lee, Jersey City YMCA; 2. '~7e rll e r Sor sch, Patel'son Swiss Turn er s; 3. William Holy , St. Peter 's Prep School.

Hor izo ntal Bar : 1. 'Verner Sorsch, Paterson Swiss Turner s : 2. Ric hard DiNicola, Eliza be th Turners; 3.

Robert L ee, .Jer sey City YMCA.

27

Los Angeles City H igh School Champions: Top Row, Left to Right, H iggins, Montero (Meet High Point Man), Hernandez. Bottom Row, Hernandez, Alba and Bautista.

LOS ANGELES CIT Y SCHOOLS G Y MNAST : CS CHAMPIONSHIPS Venice High - June 1, 1962 RESUL TS R o p e Cl i mb: 1. Field, Birmingham, 3.3; 2. Tracey, Pol y, 3.4; 2. Gordon , T aft, 3.4; 2. Go ldstein, Un i ver s ity, 3.4; 5. Johnson, Fremont, 3.5.

Horizontal B a r: 1. Hero andez, Wilso n, 18.8 ; 1. Higgins, Reseda, 18.8 ; 3. Montero, W il son, 17.9; 4. Hul se, H un t. Park, 17 .1 ; 5. G unn y, W est c h ester, 17.0.

P a rallel B a r s : 1. Hern andez. Wilso n, 19.0; 2. Montero , Wil son , 18.8 ; 3.

Baca, V eni ce, 18.5; 4. Sakamoto, L.A. , 17 .9; 4. Glissold, S. Gate, 17.9.

R i ngs: 1. Sakamoto, L.A. , 18.4 ; 2.

Montero, ,"Vi l so n, 18.3; 3. '!\lason, S. Gate, 17.9; 4. Byers, \Ves tche ste r , 17.7; 5. Robi so n, N. Holl ywood, 17.4.

F re e E xe rcis e: 1. Bautista, \ Vilson, 19.2; 2. Magdal eno, ,"Vilson , 18.6; 3.

Cohn, G a rdena, 17.7 ; 4. IVl c I(enn ey.

L .A ., 17 .6; 5. Sakamoto, L.A., 17.5.

Side H orse: 1. Alba, ,"Vil son , 17. 9; 2. K l ump , S. Gate, 17.5; 3. Yonenaku, L . A., 17.4; 4. Kamei, Po l y, 16.8; 5.

Otsuji, Venice, 1fl.7.

L o ng H o rs e : 1. Redding, Fre m ont, 36.6; 1. B li nde r, ~Westche s t e r , 36.6 ; 3. Sakamoto, L.A . , 36.5; 3. Millman, Mal'shall , 36.5; 5.

Synstel ien, San P edro, 36.4; 5. Montero, \ Vilson, 36.4 .

Tumbling: 1.

M ill man , M a rs h a ll , 18.1; 2. Wimb erl ey, Jefferson, 17.7 ; 3. \Vo nd er li e, Cleve l an d , 17.6; 4.

Segal, L.A., 17.3 ; 5. Lyn ch, Reseda,

17.0.

High Sco re Men : 1. Mont er o, ,"Vilson, ll'h ; 2. Sakamoto, L.A. , 10; 3.

Hernand ez, \ Vilson, 9'h; 4. Mi ll man , Mars h all, 7'h; 5. Fiel d, Birming ham , 5; 5. Bautista, \ Vilson, 5 ; 5. Alba, Wil son, 5.

WINN I NG ROUTI N ES Free Ex e rcise : To n y Bauti sta (Wilson) Leg l ift, h a ndspr i ng fro nt

28

h a ndspring fall to Swedish f aJI. Matista t o birdie, walk ov er back a l'c h over to c hest r ock- up . 'h turn to r o und- of f flip fl op Arabian dive !'O il stiff l eg ri se . Handspring to sid fl a n ge h a l f tUI'll to chest stan d . Press to h a nd stand wa l k - out. Hand spring to support. Turn Valdez hand sta nd to sh oot through to sp l its, a rm c irc l e to splits h ea d knip 'h turn round off flip fl op b ack.

Hori z ont a l Bar : T en-y H i ggins (R eseda) - Upr i se, stradd l e over bar,

catc h , cas t to Ger nl a n , shoot uprise, ca st turn und er , whi p to h a nd s tand, r each und er to bar v ault, kip hop t o ba c k g' l~nt, c ha.nge .to fron t ,inl ln edi a.te ,,'hip ~hange, i'fnnl ed iate ch a nge to front gIa nts. flyaway.

H o r i z o nt a l B a r: Raul H ernad ez ~Wilso!,) Flange to back giant, Ilnm e(hate h o p t o front giants, r e ver se st a ll to shoo t , h op to di sl ocate giant s, hop to front giants, pirou ette to vau l t catch , to imm edi ate 'h turn to s tradd l e c ut, t o kip h op fro n t giant, h ec ht.

Sid e H o r se: R ichard Alba (\~Tilson)

-

Roy l\'Ioo re to h ig h s,

moore

inl-

rnediate h igh trave l i nlnl ediate' r ear ill. R i g-ht a n d l eft iront sc iRsor s , a lternate to u n de r l eg c u t, 1'h r eve r se h Igh doubl es, back to h i g h s, hig h trav el , ~ l oop s Olympic .

P ara ll el B a rs : Rau l H ern a nd ez (WIl son) . Under bar, hop turn , Rtutz, dnp front ri se Roy Moore to "L". Stiff a rm l eg to h andstand over bar stu tz, drop front cas t stmd dl e cu t, h andstand, over bar, ba c k l ayo ut o ff.

Ri ngs: Sakamoto (Los Ang el es) H a n g- pu ll to a cross , rise to " L" plan c h e, r oll to kip to in verted pull to h ~ n<lstand, giant t o hand stand.

Fall thro u g h hand stand to c r oss fra n ge to "L" hollowback to h an d~ stand roll to bac k l evel , di sl oca.te l ay out, di s mo n nt.

L o ng

H orse:

~~,~~~~~;?te r) -

Richard Blind er A. Handspring; B.

L o ng H orse : Frank R edding (Fre mont) A. Giant Cal' twhee l ' B Stl'aight arm Handspring. , .

SO . CALIF .

JUNIOR COLLEGE FINA L S May 11, 1962 T ea m S c o re s : Pasadena (P), 71; Vall ey (V), 27 - 5/ 6; Tra d e Tech (TTL 12; Long Beach (LB), 11 ; Hal'bor (H), 9%; Santa Monica (SM) , 6; San An tonio (MSA), 4; E as t L .A. (ELA), 2; Los Ange l es C.C. (LACC), 2/3; P i erce (Pi) ; E l Camino (EC).

All - Ar o und : Gary Buckner (P), 74.9; Rusty Rock (V), 74.4; Bill Wolf (P) 73.0; Bob Diamond (V), 69. 8; J oh"; Christensen (H), 68.9.

Rop e Cl i mb : Ung (TT), 3.2; Farber (V), 3.4; Sunderland (P), 3.4; Ortiz (ELA), 3.5 ; Grissett (LACC), 3.6; T a k a ki (V), 3.6; Kantanasa (LACC),

3.6.

Free-E x: Chamberl ain (P), 18.8; Cu r t i s (MSA), 18.3; Rock (V), 18.0; C h ritse n sen (H), 16.7; D i a mond ( V ),

17.6.

High Bar: Buckner (P) , 19 .4 ; Wo lf (P), 19. 1 ; Rock (V), 19.0; Smith (V), 18.7; W illiam s (P),' 17.6; G i bson (H) , 17.6.

Parallel B a rs: Nich ol as (P) , 18. 8; Roc k (V) , 18.8; Buckn er (P) , 18.4 ; W o l f (P) , 17.2; Gibson (H) , 16.7.

L o ng Hors e: Kinmont (SM), 38.4; Bar keley (LB), 37.5; Chamberl a i n (Pl, 37.3; Buckner (P), 36.8; Christensen (H), 36.7.

R i ngs : Wolf (P), 19.2; N i c hol as (P), 19.0; Diamond (V), 18. 8; Buckner (P), 18.7 ; Rock (V), 18. 6.

Tumbl i ng : Chamberl ain (P), 19.8; C h ri stenson (H) , 19.0; Barkeley (LB), 18.4 ; Baldwin (P), 18.3; Bennett (P).

18.3.

Dear Glenn: I think that your readers might be interested to know that eleven years ago I had an "incurable and hopeless" case 0/ arthritis and my right arm was paralized for a year . . .

So when the doctors gave up I didn't.

I started to study medical science and nutrition and started the exercises. I couldn't even hold a pencil so would pull up a chair under the horizontal bar, clim b on it, take my paralized right arm with left hand. for ce it up . lay it on the top 0/ the bar, grab the bar with the Ie/ t h and, kick off the chair and ... find myself on the floor being unable to stay on th e bar . . .

However determination and hard will made possible what seemed not to be possible: day after day in the local gym I worked for about 30 minutes a day, but EVERY DAY, including Sun. day for about a year. Then I was ready to think to try a kip . It was a failure.

More work. Another year. The hand· stand. The planche, etc. So since 1955 in the gym (l am 56 years old now), T managed "to do the impossible" as my doctor said and came back into shape again so that quite many young men are envious . . .

Of course I am a former gymnast: in 1924 T've got my Ph.E. Credentials and in 1926 I participated at the "Sokolski Slet" in Praha but then I entered the Military Academy in Bel· grade and had no time for gymnastics.

In ]934 I became the military skiing champion of Yugoslavia and was teach· in/{ skiing and training the outstanding shers. But no gymnastics.

L!1;st year I organized a small gym· nast~c group at the Presidio of Mon· terey where I am teaching the Russian language, and was able to give six public periormances in Monterey, Ford Ord and Watsonville with· excellent results.

On the enclosed photo you will see my way of fighting and curing arthritis: one hand handstand on the same arm that was paralized.

Gymnastically yours, Serge Sinkevich Monte rey, Calii.

Modern Gymnast, P. O. Box 611, Santa Monica, California Dear Sir: I would like to inquire about a weight trainz:ng plan. I need this plan to build up my strength for the Olympic apparatus. If you have such a plan would you please send it to me. Thank you.

Gymnastically yours, Eric W. Metcalie Saskatoon, Saskatchwan, Canada ED. : Many of the Gymnasts we know train with wall pully's and dumbell exercises. However for further information you might wTite to the Marcy Equipment Co. who specialize in weight training programs. See M.G. Billboard for their ad.

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;:

*

Dear Glenn: Please keep up the good work with The Modern Gymnast. I think it {s one of the best for the spor·t.

I have not been connected with the sport from a coaching standpoint here at Santa Paula High for the last five yea,s, but am still interested in it.

Sure sorry to hear that the Colleges are cutting out the Rope Climb. I think there is a real need for indio vidual competition as all boys are not al·around performers, just like track men are not all·around track men.

Shot, high jump, sprints and distance.

From a fo rmer Rope Climber and record holder in 33, 34, 35, 36, 37, 38 and 39. 25 ft. at 5.1.

Randall A . Bryden830 McKeuett Road Santa Paula, Calif.

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:;:.

Serge Sinkevich

Rusty Rock of Valley doing a caste·front sammie dismount at the Jr. College Championships.

29

( Continued from page 25)

F. Still Rin .lSs: 1. No swin g of the rin gs; 2. At least two hand stand s : a. one hand stand executed throu gh strength; h. one hand stand execut ed after passin g throu gh a hang or semi· inverted positio'l ; 3. At least one strength move : a. crosses, h. levers, c. planches; 4. All holds must he fore 3 second s.

G. Tumbling : 1. Back tumbling; 2. Front tumblin g; 3.

Twisting moves ; 4. A maximum of four trips down the mat executed in no more than 1% minutes.

*

.r,.

* " During my years O~

them to be 01 the finut con struction and performance, and Ilighly recom· mend them. " Norman (Die") Holto . pf.1 Vo,.ity Gymrlo.tin Coach Univ.,. ity of Iowa

0

cooch

uled many brand. of trampol ine" and hove ,e le cted American Trampolines for use in my program, as I consider them to be the firlut available ."

Chorli. Pond VCHlity Gymnolliu Coach Univ. ,.ity of lIIinoil

EQUI"M~NT : Parallel Bar Roils 10 ft ., new but slightly warped, $19.95 pair; Climbing Ropes 18 ft., $14 .00; Horse with pommels, $85.0.0 (no casters); Nissen Trampoline Pit Un its, web bed and springs,. $ 150.00; Finner-Hamilton , 1C by 17 - web bed cables and pods, $350.00. GYMNASTIC SUPPLY CO ., Box 1067, Son Pedro, Calif.

USED GYM

MEN'S GYMNASTIC PANTS: Mode fr om finest double stretch nylon in White or Navy. Pr ice $12.95. These are mode to measure so be sure 1·0 include accurate measurements as follows: Waist, Hips , Thigh , Calf, Ankle , Inside and Out side leg length. Please. send money order or check with order to : THE GYMNAST, Glenwood , The Pork , Sidcup, i<ent, England .

"for ql,lolity, performance and lervice, I recommend American Trampolines." lorry Grilwold A..,thor of "Trampolin. T..,mbling "

COACH: For that EXTRA POWER consider a weight-training

" I have fo und American Trampoline. to be of the highest qualily. I highly recommend American lor top perform. once and long life ."

Clair W. Jennett Gymnosliu Coach Son JOle Siole Colleg.

'ltysical lilne .. i. fUN on on Americon r,ampoline

program for your g ymnasts . Send for ou r illustrated cata log today with what ever specific Quest ions you may have.

We will be glad to help you get started using ,he latest weillht traininll syst ems. Write t o. MARCY GYMNAS IUM EQUIPMENT CO., 1398 Sun set Bl vd. , Los Angeles 26, Calif .

II~ I, -j,°.',i,·n m•

TH E GYMNAST: The Official Magazine of the Amateur Gymnastic. Association of Great Britain . Filled with News , Results , Photos and Instruction of gymnast ics in Great Brita in and the Continent. Published Q"arterly . Send $1 .00 for a year's subscription to : J . P. PRESTIDGE , Glenwood , The Pork , Sidcup , Kent, Great Brita in. (Single copies may be obtained from the Sun-Bee Gym Shop , 11756 Gorham Ave ., Los Angeles 49 Californiia for 25c) .

BOX 368 -

JEFFERSON, IOWA

SPECIAL: Gymnast ic Pants (Reject Seconds) $5.00 ppd. 100 % wool, cream in color. Thin and tight but excellent for workouts. Up to 30V2 " waist only. State waist and inseam measurements. Order From : FRANK ENDO , 12200 So. Berendo Ave ., l.A. 44 , Col it.

M.G, BILLBOARD: DO you have something to sell , New or Used . Place on ad in the M.G . BILLBOARD for Quick results .

Just $2 .00 a line (Minimum Ad $6 .00) . M.G . BILLBOARD , Bo x 611 . Santo Monica, Calif .

THE MODERN GYMNAST PHOTO CONTEST is open to all readers of the M.G. the World over, There will be prizes for 1st, 2nd and 3rd place winning photos which are printed in forthcoming editions of The Modern Gymnast , .... 1st place - $10 ,00 Gift Certificate for books advertised in the M.G. Bookshelf or by Fronk Endo, 2nd place Complete set of bock edition M.G.s, Volumes I and II. 3rd place - Gift Subscription to The Modern Gymnast, Honorable Mention Award . , . Gift subscription to "The Gymnast" (British Publication), Any Photo Marked Photo Contest and used elsewhere in the M.G. will receive Honorable Mention Award.

BAL-NU-VITA NUTRITIONAL SUPPLEMENTS Scientifically supplement your diet the way champions do with BAL-NU-VITA, a nutritional supplement of the very highest Quality containing 28 minerals and 14 vitamins from 37 natural or organic sources, Moil Now To : BAL-NU-VITA, Dept . G Box 35176 Los Angeles 35, California CHECK ITEMS DESIRED: 3 Months Supply ............................... ONL Y $12.50 (546 Tablets) 6 Months Supply.. .. .. ONLy $24 .00 (1092 Tablets) NAME____________________________________

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PHOTO BALANCING COURSE $1.00 This course shows you all the different ways to press-up to a handstand and to do such advanced balances as Tiger-Bends, one-hand balances, Pirouettes and Planches, Send just $1.00 to: PHOTO BALANCING COURSE P. O. Box 611 Santo Monico, Calif.

o

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