Mademoiselle Gymnast - May/June 1967

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Vo lume 2, No.

MAY - JUNE 1967

AAHPER SPECIAL

CONTENTS EDITORIAL ....... -.. -----.. --- -........ __ ...... __ .. __ A. B. Frederick 5 MADEMOISELLES ---.. _.. __ .... _.. _.. __.... _.. __.. ___ ...... __ ............ _.. _ 6 COACHING CHALLENGE FOR KATHY ............ John LoU 7 FUNDAMENTAL GYMNASTICS IN DRAMATICS ................ ..

Dr. Albert M. Katz 8 MILAN MED SKETCH _____________________________________________________ 11 USING A CHECK LIST TO LEARN AND SPOT ____________ .. ____ __ A. B. Frederick 12 WORLD CHAMPIONSHIP ROUTINE .. ____________________________ __ 16 MILAN MED ETCHING -- ______________________ ________________________ .. __ 18 JUDGING CLINIC NOTES ----________________ Alenu Tenterova 19 ) RGANIZATIONAL CONFERENCE ---- ________________ Judy Hall 24 'SKATS" IN SEQUENCE ____________________ .. ______________________ 25 BEGINNERS UNEVEN INSTRUCTION ____ Helen Sjursen 26 LEITERS ---- ------------ ___________________ __ __________________________________ ___ 28

COVER: Recent paste l at Temple University, signed AAU gymnastic found in the homes United States .

by Thomas Morton, art Philadelphia, Pa. Tom pin and his originals of prominent gymnasts

student has demay be of the

We were very happy to personally meet many of our MADEMOISELLE GYMNAST subsc ribers at the recent AAHPER National Convention in Las Vegas, Nevada. Their enthusiasm for MLLE. G. accompanied by more su ggestions and needs then we will be able to cover in the MLLE. G. for some time to come was most gratifyin g. We were also pl eased with the interest and com m ents concerning our display booth whi ch featured pastels, sketches, etchin gs and paintin g by Milan Med as published in past MLLE. G. editions.

At our booth we had a Very Special get acquainted with MADEMOISELLE GYMNAST Offer! All 4 issues of MLLE . G. Volume I for 1966 for just one dollar. Hundreds of teachers took us up on this SPECIAL including many subscribers who had used th eir copies for bull etin board aids or whose copies of MLLE. G. had become dog-eared from constant use.

We would like to ext end this SPECIAL OFFER to our readers that were unable t o attend the AAHPER Convention and visit our display booth. If you r Volume I copies of MLLE . G. are all cut up or dog-eared or if you would like us to send this 1966 4-issue packet as an INTRODUCTORY SPECIAL to a potential subscriber . .. then order now whil e we still have a supply on hand . Send one dollar ( plus 30c iri coin or stamps to cover posta ge) for each packet you order.

Added Special : We also have a AAHPER Special on three large poster reproductions of MADEMOISELLE GYMNAST covers # 2 and # 4 alon g with MG cover Vol. 8 # 1 for just $1.00. If you would like to have these posters (3) for your office or bulletin board include an extra dollar with your packet order of 1966 MLLE. Gs. and we will also send these colorful posters along to you .

Barbara B. Sundby Managing Editor For MLLE. G. SPECIALS:

GLENN M. SUNDBY-Publisher BARBARA B. SUNDBY-Managing Editor A. B. FREDERICK- Editor

Mademoisell e Gym nas t is published bi路monthly. Price : $3.00 pe r year, 75c .s ingle co py: Subscri pti on co rrespondence, Box 777, Santa Monica, Cal l f~rnl a 90406_ Copyright 1967 all rights reserved by Sundby Publica tions, 410 Broa dway Santa Monica Califo rn ia 90401. "

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EDITORIAL MOVEMENT . .. Another Fad or What?

Movement education goes by a variety of names these days. (Educational Gymnastics, Basic Movement, The "Who Can . . . " School of Thought, Developmental Movement, etc.) There are those who believe it is a suitable and substitute name for physical education. After all, isn't movement what it's all about?

Rega rdless of the name, we are going to see an increased emphasis on things " movement" in the fture in our physcial education programs. How did it get . started? Where is it going to lead? These are the key questions.

Probably no single factor or motivation is responsible for an increased interest in movement. It was natural for some ladies already interested in modern dance to be excited some ten years ago when they reported on and attempted to carryover into their own programs the educational gymnastics they had observed in England and Scotland. We know that a dance choreographer (more properly a dance notator) named Laban was primarily responsible for the revolutionary changes in the British schools and he in turn must have been influenced by the Turnvereins of his native Germany.

The translation of Frau Diem's WHO CAN ... under the direction of Arthur Steinhaus of George Williams College (now at Michigan State U.) evoked a serious interest in the variety in creative movement the German physical educator seemed to be offering and the simple philosophy of Diem. Challenging children for example by such a phrase as, "Who can make himself small," does offer a fresh approach.

A key idea has been explained in a recent text by Muska Mosston entitled TEACHING PHYSICAL EDUCATION-FROM COMMAND TO DISCOVERY (Chas. E. Merrill Publishers, Columbus, Ohio) Mosston has been identified with movement but more especially with learning by discovery. Perhaps no single person has yet er plained this philosophy as well as he yet all of thE various movement groups allude to the "discovery' style of t€aching. Mosston's explanation goes beyond the specialized areas of dance , gymnastics and fundamental movement since it has a philosophical orientation. As such he applies it to the entire field of physical education by employing logic in the progressive development of student oriented learning. To oversimplify, he compares the command style of teaching (Ex. "Ready . .. exercise. One, two, three, four, etc., etc.) with the discovery style (Ex. "John, let's see if we can find some reasons why you can't do this exercise." ) With the President's Council on Physical Fitness looking for another glamour boy (Stan Musial's fo rmer P.C.PJ. Assistant, Bob Stewart says it's basketball's turn since, " . .. we 've had a football and baseball man as Council heads.") the physical edu cation community has be come conscious of fads and quacks. A movement fad could kill much of the good which can be found in all of the budding movement offshoots. If you don't believe it just try and buy a hula hoop some time or scan the variety of junk publications on phy-

sical fitness one of which is offered by OUJ own U.S. Government Printing Office.

Our editorial opinion is simply this. We believe that those who are attempting to do a variety of different things with "movement" are on the right track. Movement programs to date have been developing under the guidance of trained professional leadership. It will take a while for the men to discover that movement is not only dance but Mosston is a man and he has evidently seen the light.

The AAHPER and its variety of leaders in all parts of our country have undertaken the immense project of the interpretation of movement to the profession at large. Many of the Las Vegas Meetings of the National Convention of AAHPER were developed around the movement theme. Almost all of the elementary programs were in this category. One could find ample samplings in the AAHPER District Conventions as well.

The fact that movement programs are being aimed at the elementary level is an encouraging sign.

Youngsters need to be taught a great many patterns and meanings for movement before they can apply them to specific games that are beyond the elementary level. Most of the innovation that has occurred in physical education over the years was developed at the college or high school ·Ievel and finally filtered down to existing elementary programs where it didn't belong. Perhaps you 've never witnessed the foolishness of primary school baseball, basketball or volleyball but it's there just the same.

AAHPER'S new staff assistant in the elementary area , Miss Margie Hanson, has seen the movement light. Very recently she placed a major role in getting the first national conference on the preparation of elementary physical education teachers off the ground.

The theme . . . movement. Interested persons can secure tapes of the leading presentations from AAHPER at a very reasonable cost.

Several states have also hired elementary physical education consultants. Most of them are men; most of them have been active in their states promoting the values of movement-oriented programs.

The most exciting development has been the increased awareness by those associated with movement programs of all types that there is a need for more exposure to gymnastics. Those of you who have taught beginners in gymnastics but know little or nothing about the movement trends would be surprised to see how closely some of these programs parallel the very things you are doing and have been doing for years.

Finally, I predict that many of our gymnasiums in the future will be constructed more on the lines of those found typically in Germany and Scandanavia.

They will accommodate more than iust basketball and will be loaded with apparatus of all kinds which will be efficiently and ' conveniently stored. Every child will have a ball literally and figuratively. Gymnastic programs will prosper and we'll win a few gold medals in gymnastics in the Olympic Games by 1980.

A. B. Frederick, Editor

Display of Milan Med's paintings, sketches and etcnmgs at the Mlle. G booth was a most talked about item at the recent National AAHPER Convention in Las Vegas .

and Women's Sports (D.G.w.S.) of the American Assoc. for Healtt, and Women's Sports (D.GW.S.) of the American Assoc. for Health, Physical Education and Recreation. Formerly the D.GW.S. has used a oanneron their publications depicting various activi~ ties but the gymnast is a recent addition. We remember Frank Wolcott's (Springfield College) suggestion for same when he addressed the First National Institute on Girl's Sports in Oklahoma . At that time he also mentioned that a figure depicting a track athlete be included. It was.

------ D.G.W.S. GYMNAST We note appropriately the inclusion of the little figure of a gymnast in some recent literature from the Division of Girls

A SUPERIOR EXHIBITION Under the direction of Miss Lydia Thering and MIss Gerda Kock the majors at Wisconsin State University (Superior, Wisconsin) recently presented a half-time display of rhythmic and ball gymnastics.

Superior Exhibition

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LAS VEGAS DGWS COMMITTEE MEETING: (L-R) Past Chairman Norma Zabka (Hunter College); Lu Wallace (Brigham Young); Chairman Carolyn Bowers (Ohio State); Barbara Fl eisher (Concord High Schoo l, Calif.l; Past Chairman Mary Cave (San Diego State College); Pat Lamb (Carlton College, Minn.l, sitting in for Mrs. Annette Leiter; Dr. Francis Hall sitting in for Gail Sontgerath (Florida State).

But for the time being, Miss Corrigan has settled down in University Park, Pa., where the popularity of gymnastics rivals such "big-time" intercollegiate sports as football, basketball and wrestling. For years, the showmanship of men's coach Gene Wettstone, plus the traditional quality of his !eams, have attracted capacity crowds to Rec Hall for gymnastics meets.

The Penn State women's program is in its infancy now, but Miss Corrigan's arrival as coach has been like a ?hot of a~re~­ alin. In the team's first dual meet of the season, It came within two points of defeating Miss Corrigan's alma mater, Springfield College, which perennially boasts one of the nation's best women's teams.

When Miss Corrigan was accepted into Penn State's graduate school, she expected to receive a teaching assistantship.

She didn't find out about her coaching duties until shortly before her arrival at Penn State.

"There's a big difference between coaching and teaching: she says, clearly displaying a preference for the former.

"When you teach, you prepare a lesson plan for the whole class to follow. But in coaching you work with a group of girls, and they all have individual problems. You have to worry about all their individual difficulties.

"You ask yourself: why isn't she responding? What is it that she's doing wrong? Then you leave practice and think about it all the time, when you should be studying. I think it's twice as tough as teachir ' To some ob_ rers, the last statement could sound like a complaint. With Ka,',v, it's not: She approaches her duties as a coach with the same enthusiasm she exudes as a competitor.

"Basically, the most important trait of a gymnastics coach is knowing how to handle people-knowing when to push them and when not to," she explains. "My dad, who has been coaching me since I got started, has always been great in this respect. He never had any experience in gymnastics before, but he learned quickly and he and my brother Jim have been invaluable to my progress."

To ·say Kathy "stumbled" into gymnastics would be a bit inappropriate, because she's an artist of movement. But she did become a gymnast quite by accident. She performed a ballet dance that resembled a gymnastics routine.

"It happened when I was 16," she recalls. "I was a ballet dancer, and once in a recital someone told me my dance looked like a floor exercise routine. That's how it all started."

Miss Corrigan began competing shortly after that pivotal day in the dance studio nearly six years ago. She was coached along the wav bv her father and brother, and by Ed Isabelle, Penn State's 1966 team captain, who hails from Springfield.

"Ed was really responsible for getting me started, I guess," Miss Corrigan says. "He suggested I go to a gymnastics clinic in Sarasota, Fla., and he helped coach me while we were there."

Shortly after the Sarasota clinic, the Corrigans began building an outdoor gym at their Cape Cod summer home. Kathy's father is a building contractor and. he constructed most of the equipment himself. During the winter months, Kathy could work out in another do-it-yourself gym-in a renovated barn near her South Weymouth residence.

It was soon obvious from her progress that Kathy Corrigan was to become a big name in women's gymnastics. She enrolled at Springfield College ("I wanted to be near home so my father and brother could continue coaching me") and joined the Spring· field women's team.

During her career at Springfield, Miss Corrigan competed in the Pan American Games in Sao Paulo (1963), the Olympic Games in Tokyo (1964) and in the Gymnastrada exhibition in Vienna (1965). And now she's hoping to make the trials for the 1968 Olympics in Mexico City.

"I'd like to see if I'm still good enough to make the Olympic team again," she says. "Eventually, I'd like to get into college tea ching and coaching in phys·ed. This is such a great experience-working with such a wonderful group of girls-and I like Penn State a lot."

Kathy Corrigan

NEW MLLE AT PENN STATE COACHING CHALLENGE FOR KATHY

By John Lott Special to Mademoiselle Gymnast Kathy Corrigan, who has already made her mark as an out standing gymnast, is currently receiving her baptism into another phase of gymnastics: coaching.

Miss Corrigan, a veteran of Olympic and Pan American Games competition, is studying under a graduate assistantship at the Pennsylvania State University. In addition to pursuing studies for her master's degree in physical education, she's coaching the Penn State women's gymnastics team.

"It's a tremen dous challenge," Kathy says, referring to h( . triple role as a student, athlete and coach. "It's a big load to carry, trying to go to classes, study, work out on my own and coach the girls."

A 1966 graduate of Springfield College (Mass.), Miss Corrigan's background reads I ike a travelogue. Her all-around excellence as a performer has taken her to such remote locales as Sao Paulo, Vienna and Tokyo during the past several years. ·7·

Theodore (Ted) Bernstein (on Trampoline), Dr. Albert M. Katz standing at right.

Leap

FUNDAMENTAL GYMNASTICS IN DRAMATICS

By Dr. Albert M. Katz, Asst. Prof. of Speech Wisconsin State U., Superior, Wisconsin Editor's Il1)te: This is the first in a series of articles on movement and gymnastics. Through these articles we hope to show the many ways our gymnastic programs may branch out especially in the movement idiom which is gathering momentum in physical education.

Theatre has always been considered a synthesized art. A play unfolds before an audience through contributions from the . fine arts, the social and physical sciences and also, to a large degree, from gymnastics. This last statement should not come as a surprise to anyone who has ever seen a play. The primary medium by which theatre is presented is the actor, and the actor's physical appearance, his ability to control rather than acede to his body's limitations, plays a major part in determining his success, and therefore the success of the play.

Jacques Copeau, one of the great directors and innovators of twentieth century theatre, founded a school named L'Ecole du Vieux-Colombier in conjunction with his Theatre du VieuxColombier in Paris. This school, and Copeau's work in the early part of this century, had a profound effect on our contemporary theatre, both in the United States and in Europe . In his training of actors Copeau employed Dalcroze's Eurythmics, a strenuous and formal approach to body control which lies within the realm of gymnastics, and to which some . gymnasts as well as theatre practitioners have turned for part of their regimen. Having studied Copeau and his methods for years, I attempted this fall to incorporate gymnastics into an elementary acting class at Wisconsin State University, in place of what had come to be the more traditional adjunct of modern dance. Together with Mr. Bruce Frederick of the Department of Physical Education, I conducted an hour-long movement session each week, and found these sessions to be most worthwhile.

The basic function and goal of the movement course was body control. The first step was to break down complex, but every-day movements into the fundamentals of effort, shape and

balance, and to teach the students to control them individually and in combination. Most important, they had to learn to control their movements at will and on demand, instead of at random and by chance. The next step, through the ability to perceive anti control the fundamentals of movement, was to concentrate on rhythm and coordination, again in terms of both perception and execution. If, in the course of these sessions, the student learned how to shape his movement, and to control his balance, if his senses of rhythm and coordination were heightened and strengthened, then the student's body control has been measurably increased, and he should be better able to portray desired attitudes, moods, emotions, and physical characteristics for an audience. The physical dexterity aimed for in the course was not the only benefit to be found in it, however. As a student becomes more aware of his physical ability, his confidence increases, and this should be reflected in his other work in acting class. A student must make aesthetic decisions about his own body, and about a character he is portraying in order to shape a movement, a rhythm, etc. As he learns to solve these problems, his confidence and experience in other areas of acting also increase. Thus, the second goal of a movement course: to increase a student's involvement and confidence.

There were several different types of sessions held in our attempt to achieve these goals. The first third of the course involved "Space and Motion Control". These sessions dealt mainly with breaking everyday movement down into its appropriate scales of 1) effort and effort flow and 2) shape and shape flow. " Effort" can be charted on three scales: a) slow to quick b) direct to indirect and c) light to strong; "effort flow" runs on a scale from bound to free. In the same way, the "shape" of a movement is charted as a) rising to sinking b) widening to shrinking and c) advancing to retreating; "shape flow" is from opening to closing.

When a student was able to analyze and control a motion in one of these scales, the next step was to move in two scales at once: to perform a motion, for example, that was both "indirect" and "quick" , then "direct", "slow", and "bound", and so on until individual problems involved as many as five factors.

The application of these scales to an actor's characterization Float

Balance should be apparent at once. A character in a play may be described as "nervous".or "relaxed", and his movement will correspond in a sca le of "bound" or "free"; a character who has been wounded, such as "Finch" in Arthur Laurent's Home of the Brave wil l move with an "indirect", "slow", "strong" , and "bound" effort pattern. In so far as he learns what each of these patterns is, and how to control them individually and in combination, the student increases not merely his body control. but his ability to characterize, his ability as an overall performer. During the problem-solving sessions on Space and Motion Control the students were given increasingly complex combinations of factors to deal with, but they were not given characters from specific scenes, in specific plays, to act out, as this would have involved many additional phychological and literary factors we did not wish to bring up so early in the prol!ram.

The next two sessions were spent on balance. The problem here was to locate and control the center of gravity. The application in problem solvin~ dealt with such simple actions as maintaininl! a firm stance, sitting down on a chair or the floor and lying down : standing up from either a sitting or prone position. from a side, a back, or from a front prone position. The problem, of course. was to perform .these seemingly simple movements graceful lv, smooth Iv and easily. instead of in awkward and intrrrupted stages. The same techniques were applied and practiced for lifting and pulling.

We allotted four sessions to work on the trampoline, which is very helpful for the development of rhythm and coordination.

There was no attempt here to get the students to do a standard competition series of movements. Rather, we concentrated on the mo.st elementary moves: a four-point bounce, then fourpoint drops, then 180 degree turns and four-point drops, then 360 degree turns and four:point drops, and finally a 360 degree

Thrust

horizontal turn between two four-point drops. Each move, with the exception of the four-point bounce, started and ended with the student on his feet. The student would do each movement several times in a row, until he had it "grooved", and then he would put two or more moves together in a series. The rhythm and coordination required to perform even the simplest moves on the trampoline, and the gradual increase of degree of difficulty inherent in each successive exercise until the student "washed out", provided both the students and the instructors with insights into each student's physical abilities and potential. Each student showed a marked improvement from the first session to the last, and their increased awareness of their own rhythmic sense showed itself in their scenes in acting class as well In an attempt to determine their rhythmic perception, we administered the Seashore Test to the entire group. The Seashore is 路perhaps the most useful for determining rhythmic acuity, but it tests other sensory perceptions as well. The students were tested for Rhythm, Pitch, Loudness, Time, Timbre and Tonal Memory. There was an almost absolute correlation between their performance on the Seashore Test and their relative abilities in both the acting class and the movement course.

Because the Seashore Test is a tried and accepted standard of measurement, we are hopeful that our own acting research may prove useful in establishing an overt connection in the area of rhythm between art, music, theatre and movement in general.

Next semester we hope to administer the test not only to acting students, but to participants from other areas as well.

The last type of session held was devoted to "tension reduction". Exercises during this session were pointed towards the ability not to use muscles, to relax them completely and to suppress all voluntary movement. This is difficult enough to achieve with the major muscles of the torso, arms and legs which want to react to any and all strong thoughts, emotions and outside stimuli. When it comes to the facial muscles which express our reactions to rather delicate emotions as well, the problem is ticklish indeed. The application of this concept to the stage is, again, readily apparent. The actor must suppress

all his own reactions ; only the character may appear on the stage, and neither the actor nor the character he plays should interrupt or interfere with another through unnecessary or involuntary movement.

Jacques Copeau was very firm on this point, both as a director and a teacher. He believed that a good actor has to learn how, and know when, to do nothing. He objected particularly to an actor's excessive use of gesture and "involuntary movements" under the pretext of being natural . The constant stream of movement and pretended interruption on the part of a listening actor appalled Copeau who felt that "silence is expressive through the sincerity contained in the one who listens, through the simp'e interior preparation for the response.'" The tension reduction exercises employed in this course course were aimed at this same point, through helping the student gain further control over his body.

In addition to providing the student with- greater awareness of and control ovpr his body, the course provided the instructors with a series of indices by which to judge the ability and progress of the students. The patterns, or s,cales, established, or attempted, were: a)degree of inhibition to relaxation , b) coordination, c) rhythmic acuity, d) general sensory awareness, and e) the relationship between this general sensory awareness and the student's body awareness and body control.

Critiquing of scenes and individual student growth in the acting class were facilitated by the movement sessions in two ways. First, and most obvious. as the students learned to move better than before, their ability to portray character also increased. But, equally important, with the information and impressions of the students gathered by the instructor in the movement course, it became more practical to determine within the scenes in the acting: class whether the student's problem lay in interoretation of the scene, or in an inability to execute something he did understand, Thus the movement course had a two fold value, and we hope to continue. and expand it, in the future.

The proiect Mr. Frederick and I are working on is openended. at this point. There are still many areas of cooperation and inter-dependance to be explored. The concept of "selling the exercise" in Gymnastics, for example, is one area where th Theatre unit can be of help to the Gymnast. On any college or university campus. the Theatre instructor and the teacher of Gvmnastics are likely to find a receptive and willing ear in pach other's departments for any joint efforts they ' might wish to propose. It is my earnest hope that many of you will take advantage of your mutual. interests and skills to pursue the idea further.

'Jacques Copeau, Notes sur Ie metier de comedien, comp Marie-Helene. Daste, (Paris: Michel Brient, 1955) p. 51.

Shrink

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Figure 1. Cast, pike straddle-somersau lt

Using A Checklist to Learn and Spot a ...

CAST, PIKE STRADDLE SOMERSAULT CATCH ON THE UNEVENS Using a checkl ist to double check your think ing in the preparatory phase of teaching a new movement is an efficient way to use al l of your mental prowess. The checklist we present in this article can be improved but it will provide you with a starting tool. The application of the checklist is the subject of this article. If you clip it out and keep it with you it is cha llenging at certain dull moments to use it with other movements in mind tbus providing some mental gymnastics.

The "front somey catch" is a relatively new movement seen in international competition on the unevens. It is very difficult and was not readily recognized for what it really was when movies of it were first shown to groups of teachers. "Let's see that again!" could be heard from many who were not ready to believe their eyes.

Let's assume that a group of girls wou ld like to learn this movement. Following the checklist we might first show a movie or sequence pictures such as those found in Fig. 1 above. The first objective then is to become thoroughly acquainted with the movement.

Having shown your group what the movement is like, continue with section I-B of the checklist. Here you simply identify the significant gymnastic features of the movement. One should recognize that the movement in question contains elements listed in B-3-c and B-3-f. We also quickly note the importance of fle xibility (I-B-4) but wo uld not place primary importance on this section. Basica lly th e movement is a cast to a catch with a half somersault in betwee n. Furthe r, the somersault is done in a pike-straddle position with the arms reaching up and behind the hips. Hamstring fle xibility is apparent as is flexibility in side splits.

In I-G of the checklist, we are asked to consider some of the mechanical principles having special value in thinking about the "front somey catch" . Application of this theoretical know 1-

on the unevens.

Figure 2. Path of the center of weight for the cast, somey catch shown in Fig. 1.

I

A CHECKLIST FOR SPOTTING AND LEARNING . GYM ASTle MOVEMENTS I. Do you understand the movement?

A. What is it called? What does it look like? What audio-visual aids?

B. What is the gymnastic category of the movement?

1. Is it in the swinging group? a. In a hang? b. In a support?

2. Is it a balance?

3. Is it in the rotational (circle or arc) group? a. Circle with vertical path on a bar? b. Other circles on apparatus? c. An aerial circle (somersault)? d. Circle on floor with path parallel to floor? e. Circle with vertica l path done on the floor? f. A cast? g. A kip?

4. Is it in the flex ibility group? a. A split b. Is backbending involved? c. Is there a hamstring stretch? d. Is sho ulder flexibility needed? e. Is it a sidebending move?

5. Is it in the vaulting group?

6. Is it in the strength group? a. Support? b. Grip? c. Abdominal? d. Arm? e. Leg? f. Back?

C. What mechanical principles are involved?

1. How is the C.G. a factor? a. C.G. in bar circle? b. C.G. in circle parallel to ground ? c. C.G. in balancing? d. Will it be helpful to spot near C.G.?

2. Are Newton's three laws involved? a. Law of inertia? b. Law of acceleration? c. Law of action-reaction?

3. Is a lever or moment involved? a. A lever favoring strength? b. A lever favoring speed and range? c. A seesaw lever?

4. Does a body axis play a part in the movement? a. The long axis? b. The transverse axis? c. The medial axis?

II. What is the ro le of fle'xibility in the movement?

A. Should the toes be pointed?

B. Is there a splits position?

C. Is the movement one which involves backbending?

D. Are the hamstrings stretched?

E. Is shoulder flexibility needed?

III. What kind of strength is involved?

A. Is muscle tone enough?

B. Is grip strength needed?

C. Is strength in the arms or shoulders a factor?

D. Is abdominal strength required?

E. Is back strength a factor?

IV. How is the movement coordinated?

A. Can the coordination be learned on the floor?

1. Are there familiar movements contained on it?

2. Should an easier movement be mastered first?

3. If on apparatus, can a similar movement be done on the floor?

B. What is the rhythm of the movement?

1. What are its sounds?

2. Can you visualize it?

C. Can the movement be pantomimed?

1. Can you be lifted through it?

2. Can it be simulated with a stick or other object?

3. Can it be done in water?

4. Can it be done on the trampoline?

D. What are the lead-ups or progression?

(What should be learned first?)

E. Is there an explosive . quality?

V. Is the performer afraid? Why? A. Should height be eliminated?

B. What kind of hand spotting (if any) should there be?

1. What is the cri tical or dangerous point? a. Bottom of a vertical circle? b. Does the C.G. need to be high? c. Is loss of grip poss ibl e? d. Are the head and neck in danger? e. Is a jump or vault involved?

2. What is the position of the spotter?

3. Does the gymnast understand the spotting action?

4. Is the spotter in any danger?

5. Should some easier movements be spotted first?

6. Are any verbal directions needed?

C. How can a landing be made softer?

1. Additional mats?

2. Foam rubber scraps? 3. Trampoline?

4. Perform into water?

5. Pits?

6. Belt support? (Other rigging?)

D. Should movement be done in a belt?

E. Can standard equipment be used?

F. What homemade spotting device could be made?

Figure 3. Can you do these?

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STRA,1»)LE.

CONCLUSiON # l-If a gymnast is not able to stretch well as shown in Fig. 3 she cannot complete the movement under consideration and must take appropriate conditioning action.

Will it be helpful to spot near the center of gravity? This question is almost always answered in the affirmative since the weight is more favorably controlled at this point. For example, if an overhead belt is used it should hang above the point shown in .Fig. 2. In addition, the spotter should be able to manipulate the rope with ease at any point between 1 and 5 as this represents the distance that the gymnast will cover. The spotter should be in an especially good position to give assistance between points 5 and 6 since this is where the grasp of the upper bar is attempted. But we're a little ahead of the game.

Since a cast is an important element in the total movement, we ask, "Can she do a cast?" If not, the gymnast must learn this important fundamental. In our "front somey catch" the cast provides the initial momentum for the somersault. A cast to a pike straddle position with a simple landing on the mat is an important lead-up movement as well as other casts designed by the teacher. See Fig. 4.

CONCLUSION ' # 2-Casting ability is a necessary prerequisite for the front somey catch.

Part IV of the checklist should provide us with a number of good ideas to develop the movement under study. For example, what could be done on the floor? We immediately think of

Figure 4. Go at least this high .

edge certainly amplifies what one can know about the movement in question but there is not time to discuss fully their total meaning in this article. If any of these items in I-C are unfamiliar to you, consult a text such as Dyson's MECHANICS OF ATHLETICS for a simple, meaningful explanation. Suffice it to say that we will take a closer look at the center of weight factor (theoretical center of weight or center oJ gravity) since it is important to know about especially during the spotting phase. In Fig. 2 you will find the approximate center of weight for each of the numbered figures in Fig. 1.

As in most somersaults, the action occurs around the axis of the body running from one side of the body to the other (e.g. hip to hip) through the center of gravity. This is sometimes called the transverse axis. If the body can be squeezed very close to this axis, speed of rotation will increase accordingly. (The tighter the tuck ... etc.) The squeeze occuring in this problem happens when the gymnast straddles out and pikes forward. We note the squeeze is greatest between points 5 and 6 in Fig. 1. At point 5 we also note that the gymnast has reached her highest point and is momentarily "weightless" (neither going up or down). The straddling of the legs and the tight pike contribute to the speeding up of the somersault.

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·14·

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On the trampoline, an excellent teaching aid that always must be considered for lead-up movements, she may attempt a pike straddle somersault from a hand and knee drop. With a little experimentation a stretch rope can be moved into position at ' the exact moment the catch is attempted to give her a more thorough feeling of the movement. See Fig. 6 This latter technique should be attempted only after the somersaulting action has been completed a number of times to the back.

One other floor movement having some relationship to the "front somey catch" is shown in Fig. 7. It provides opportunities to practice a quick pike straddle from a straight body position.

---~Figure 7. Front support, supple back to forward pike straddle roll reaching through the arms.

Section V of the checklist should give you ideas about spotting. We have already mentioned one idea above. Hand spotting this movement would take considerable skill and it should be done only at the very advanced stages of performing the movement in question. The spotter must step in after the cast to avoid being kicked by the straddling legs of the gymnast which in turn could lead to a bad fall by the performer as well.

CONCLUSION # 3-You can use a checklist to advantag-e to learn more about many of the movements you teach and perform. Try it.

Czech performer Kostalova showing degree of flexibility for " Front Somey Catch ".

a pike straddle forward roll without the hands or simply assuming the position for the catch as illustrated in Fig. 1 (6). Perhaps we can manipulate a stick into position for her to catch as she begins her pike straddle roll forward. See Fig. 5.

USE YOUR CHECK LIST ON THIS SEQUENCE

15路

(3) If the presented exercise des not correspond to the description the penalty is: (a) for each element missing For each omitted element mentioned in the description the penalty imposed is equal to the number of points established for this element in the partial evaluation. Should the omission facilitate the rest of the exercise the deduction may be increased by 0.5 point. (b) for adding an element For each added element which is not mentioned in the description 0.3 to 0.5 point is deducted from the score. If the rest of the exercise is facilitated by the addition of the element the deduction may amount to 0.4 to 1.0 point. (c) for altering an element When an element is altered the score is lowered by 1/3 to % of the point value which is attributed to this element in the partial evaluation.

(4) There are also deductions due to poor quality of the exercise, that is, insufficient assurance, lightness, bearing of the body, amplitude of movements, elegance and style.

Distinction is made between small faults, medium faults and serious faults. (a) Small faults-penalty 0.1 to 0.2 point (b) Medium faults-penalty 0.3 to 0.5 point (c) Serious faults-penalty from 0.6 on (5) The deduction of points because of lack of fluency and rhythm during the exercise : (a) If the exercise has been executed too slowly or too quickly or in an uneven rhythm, the penalty is 0.3 point. (b) If the gymnast has interrupted the exercise without leaving the apparatus, the penalty is 0.2 to 0.6 point; in the case of the beam it amounts to 1.0 point. There is one peculiarity about the beam. If the gymnast falls from the beam and recovers on the apparatus without touching the floor with the feet, the penalty is one point.

If there is a longer interruption of the exercise the penalty can amount to as much as a half of the points established for this section in the partial evaluation.

If the gymnast touches the floor with one or both the feet, with her hands retaining the weight of her body on the apparatus, the penalty is 0.2 to 0.5 for each touch. (c) Should the gymnast leave the apparatus completely, e.g. she might fall or flyaway from the apparatus, she is penalized by one point. She should, however, resume the exercise by 30 seconds; in the case of the beam by 10 seconds after the fall. This also. applies to the case when the contestant flies away from the apparatus and gets a few steps away from it owing to centrifugal force. If the gymnast falls down from the apparatus she may leave it to make use of magnesium or to fix the wriststraps. If the interruption lasts longer than is permitted or if the gymnast deliberately leaves the apparatus and shows no intention to remount it immediately the judges shall consider the performance completed and evaluate only the part executed before the interruption. (d) Each competitor has the right to warm up on the apparatus on which she will compete within the time determined beforehand.

The usual length of time reserved for a six-member team is 5 minutes. The gymnasts may feel the width of the apparatus, try a few elements and see if the apparatus is properly adjusted.

As soon as the master judge announces the end of the warmingup time the gymnasts are obliged to obey and the master judge opens the competition. The contestants may not use the apparatus at any other time but the' allotted time. .

The competitor may start the exercise once more if something has gone wrong with the apparatus or if her performance has been made impossible by an obstacle independent of her will.

This regulation does not apply if a handguard has shifted or moved .

The competitor has the right to repeat the compulsory exercise if convinced that her first performance was bad. But she must ask the master judge before the score is given. In this case the first execution of the exercise is not evaluated. The gymnast may repeat the set after a proper rest but it must be done before the team finishes the exercises on the respective apparatus.

It is not possible to repeat the compulsory floor exercises. At master class competitions the compulsory exercises are accompanied by music. (e) The compulsory exercises may be reversed but only in their entirety unless the description says otherwise . (f) Every contestant has the right to perform two vaults . Both the attempts are evaluated and the better one counts.

The vault begins at the very moment when the gymnast touches the apparatus (vaulting horse, vaulting buck, spring board, etc.) and ends when she lands straightened after the afterflight. She may swerve away from the apparatus only twice without touching it. If she swerves away the third time, no points are awarded.

No points are awarded if the contestant replaces the straight log squat by some other element, for example bent leg squat

Famed Czechoslovaki an Gymnast Coach Alenu Tenterova pictured with Vannie Edwards left, (Centerary College Women 's Gymnastic Coach) and Bud Marquette (California "SCATS" Coach).

Notes of ALENU TENTEROVA of CZECHOSLOVAKIA Judging Clinic - Centenary College - February 27, 2B, March 1, 1967 INTRODUCTION: The remarkable successes of our women gymnasts and especially those of Vera Caslavska, Mistress of Sports, are good examples for young people to contribute to the upturn in gymnastics. In our country sport gymnastics is one of the principal branches of sport and has a tradition of many years standing. It effectively improfes qualities of movements-Leo quickness, strength, dexterity and perseverance . as well as moral and volitive qualities, as determination, courage and persistence.

An integral part of the educational work in sport gymnastics are competitions where competitors demonstrate the resu lts they attained after their annual work.

At competitions an important role is also played by judges who by their criticism and explanations of 90mpetitions rules educate competitors . To be capable of doing their job properly, they must follow the development in sport gymnastics and take an active part in it.

A perfect knowledge of competition rules which are observed at all sport gymnastics competitions, a thorough preparation for each competition and a personal example are the basic prerequisites for a good work of judges.

An invaluable aid for all judges which makes their responsible work easier are exact and clear competition rules. They help them to correctly evaluate performances of competitors .

We believe that all judges should study the new rules thoroughly and that they should contribute, by judging objectively according to the rules, to a smoother course of all competitions and to a further development of sport gymnastics.

COMPETITION RULES OF SPORT GYMNASTICS FOR WOMEN Evaluation of compulsory exercises: (1) At competitions in sport gymnastics the compulsory exercises on the floor and on the apparatus are evaluated from 0 to 10 by tenths of a point.

Of the 10 points there are attributed: 5 points for rhythm and precision in all parts of the exercise 5 points for the general impression, that, is elegance and assurance of execution (2) When judging and evaluating an exercise both as a whole and in individual parts the judge should watch: (a) If the presented exercise corresponds to the description, that m.eans, nothing has been left out, added or altered (b) If the . exercise has been carried out with assurance, lightly, neatly, correctly, if the bearing of th'e gymnast has been graceful and if the movement has been executed in the greatest possible amplitude (c) If the exercise has been carried out smoothly and in a suitable rhythm.

According to these aspects, points are deducted especially for changes facilitating the exercise. These deductions are established for individual faults.

In order that the exercise may be evaluated correctly it is divided into sections , each of which contains one or more elements of the exercise and the respective connecting movements. According to difficulty individual elements and connections shall be evaluated by appropriate number of points out of the total of 10 points .

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No points are awarded if the gymnast during the. e~ecution of the vault sits or arrives on the apparatus even If It IS done continuously. (g) If the gymnast has not touched the balanc~ beam during her first attempt she may start aga in without being penalized. Every other unsuccessful attempt, however, will be penalized by one poi~ . . (h) For the exercises on the uneven bars and for vaulting the Rheuter spring board is used. In the case of the uneven bars the spring board may be placed on a mattress or on a wooden rest if it need be located inside the bars. In the case of the balance beam the spri ng board may rest on a mattress and in the case of the vault on the ground or a rubber mat. (j) If a short gymnast is to exercise on the uneven bars she may be lifted up into the hanging position by the team mana~er and no penalty is imposed. Each competitor may set the Width of the bars if it does not su it her but she may not change the height. (j) A stand-by is permitted except for the exercises on. the floor.

Assisting a gymnast is not allowed. Penalties for assistance are established in the list of faults. (k) Before the opening of the competition the team manager is bound to make sure that the apparatus is in good condition.

She may sta nd by the apparatus during the exercise but she may not speak to the gymnast.

(I) If the contestant is injured or becomes ill during the competition she should inform the doctor immediately. The doctor must determine whether after a short rest she will be able to continue with the competition or not.

Evaluation of optional exercises: . , (1) When judging the voluntary exercises we must take Into. conslde.ration not only the quality of fluency of the whole exercise (as In the case of the compulsory exercises) but also the difficulty of the exercise and the value of the composition. When judging the floor exercises or exercises on the balance beam w must consider whether the gymnast has made full use of the exerc ising area and the whole length of the beam.

The voluntary exercises are evaluated just like the compulsory exercises, from 0 to 10 by tenths of a point.

Of the 10 points there are attributed: 2 po ints-for the compos ition (sequences) and the utilization of the exercis ing area 3 points-for difficulty 5 points-for the execution, general impression and rhythm (2) Voluntary exercises should be different from compulsory exercises and at team competitions there should be differences between the voluntary exercises of individual competitors as well. Voluntary exercises may contain elements from compulsory exerc ises but the elements must be parts of completely different sequences . Voluntary exercises must be more difficult and should be presented fluently without unnecessary repetition of the elements of difficulty. They must comprise original connecting movements. Exercises showing swing should predominate and those involving force and stren~th are undesirable. The exercise should have the value corresponding to the level of the competition . It should start and conclude with an element of difficulty of the respective class. The character of the composition and the choice of elements should accord with the individual qualities of the gymnast in order that the who le exercise may make an impression of lightness and elegance.

(3) If the element of the required difficulty is missing in the compos ition the penalty sha ll be 0.6 point. If no element of difficulty is included at the beginning and at the end of the compOSitIOn 0.3 points are deducted.

(4) It is not possible to repeat the voluntary exercises.

(5) Point penalties for non路compliance with the principles of composing voluntary exercises: . unsuitable composition (arrangement of elements and connecting movements ..................................................................up to 1.0 point introduction of unsuitable elements ................................ up to 0.2 point forced connection of elements or an unsuitable changing of direction of movement ..............................................................up to 0.5 point disharmony between the exercise and the musical accompan iment or an unsuitable music ............. .....................................up to 0.5 point music played by more than one instrument .................. .......... 1.0 po!nt repetition of the same elements ................; ...................up to 0.3 po!nt elements from compulsory exercises prevail ......._........ up to 1.0 po!nt insufficient utilization of the floor area ......................up to 0.5 pOint gymnast beyond the boundary with one foot ..........................0.1 point gymnast beyond the boundary with two feet ............................0.2 point insuffic ient utilization of the whole length of the beam . ..........................................................................up to 0.5 pain! fourth and every next stop on the beam ................................0.1 po!n! each unjustified stop on the bars, which is not in accordance with the character of the exercise on thi s apparatus ................0.2 point conclusion of the exercise on the bars not initiated from the hands or out of character of the exercise .................................. 0.3 point element of difficulty missing ... .... .............................................0.6 point no element of difficulty introduced in the composition ......3.0 points

HORSE VAULTING All vaults must be carried out with hands placed on the horse . Each contestant has the right to perform two vau lts which may be either identical or different. Both attempts are eva luated and the better one counts. The evaluation of vaults in points is established in the table of vaults . We sha ll discuss this later. If the chosen vault is not mentioned in the table the gymnast is bound to inform the master judge before the meeting of judges so that this vault can be evaluated extra .

All vaults must be carried out with hands placed on the horse. I am emphasizing that because it is very important. The distance of the springboard from the horse is arbitrary. But it must be great .enough to enable a good preflight in the first phase. Also the thrust IS very important although there is no penalty imposed on a poor one .

Two phases are to be distinctively considered: (1) flight and arriving on the horse (preflight) (2) pushing off the horse and afterflight If the preflight is high it helps the gymnast to make a good push-off with the hands and thus it facilitates the execution of the after-flight.

After the take-off the gymnast should fly obliquely with her arms in vertical position because we mustn 't forget th at the arms play a very important role during the thrust. If they are placed lower the first phase is also lower. If the gymnast rai ses her arms higher the flight is also higher.

When passing through the horizontal position the gymnast should not allow her body to rise too high . Her shoulders should get slightly behind the horse.

If the springboard is placed farther from the horse the first phase is higher and longer. The thrust should be made from the toes, not from the heel and it should be as quick as poss ible. Simply speaking it should be explosive. When perform ing the thrust some gymnasts lift their arms bent and close to the body and some lift them straight using a more swinging action. Using th e arms straight is technically more correct because the quick movement of the arms upwards helps the gymnast to make a higher and longer preflight.

In the penalty section nothing is said about the run-up. The run-up is, however, the most important part of the whole vault. It shou ld be continuous and relaxed and the speed increased mainly before the springboard. . .

Point deductions in the first phase: (1) preflight, body bent ..................... ...............................up to 0.5 po!nt (2) body bent before inverted support ........................................1.0 pOint (3) insufficient flight between start on springboard and . placing the hands ................................ ..............................1.5 pO ints (4) stopping in handstand ... ............ .......... :.; ..............................0.5 po!nt (5) using strength to get into support pOSitIOn ........................1.0 po!nt (6) bending the arms in support ...............................; ................. 1.0 pOint (7) arms completely bent in the course of the exercise ..........2.5 POl~ts (8) insufficient push-off ... ............................. ...... up to 1.0 p~lnt (9) straightening out insufficient . ................................ up to 2.0 pOints Point deductions in the second phase: (1) insufficient afterflight .................................._......... ......up to 0.5 point (2) no afterflight ...... .....................................................................2.0 poi~ts (3) alternating push-off of the hands ................................ up to 0.3 po!nt (4) vault poorly directed ..... .............................................. .. up to 0.5 pOint (5) releasing the hands too late ........................................up to 0.5 pOint (6) straddling legs too soon ..............................................up to 0.5 po!nt (7) bending legs in exec uting stoop vault ........................up to 1.0 po!nt (8) body slightly above horizontal ...................... :.........: .... up to 0.5 P~lnt (9) body horizontal at the moment of contact With hands ......2.0 pOints (10) body below horizontal .. ..........................................................3.5 points When the Yamashita vau lt is executed the trunk must be in vertical position and the arms forward. If the arms were stretched sideway~ the afterflight would be insufficient and the penalty would be 0.3 pOint.

When a vault with a turn is carried out the take-off of the gymnast must be very quick. All vaults with a turn are evaluated fro~ 10 pOi.nts .

If the competitor does not pass through handstand she IS pen.allzed by up to 1.0 point and if the vault is not continuous the deduction IS 0.5 point.

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Accordin g to the new rules the coach should not stand between the springboard and the horse. If she does, 1.0 point is deudcted. As sistance during landing is penalized by 2.0 points. No points are awarded if the gymnast is assisted during preflight during the execution of the vault.

Vaults evaluated from 10 points are: (1) Jump to handstand, 1/.1 turn, wheel -out (2) Jump to standstand, straight leg squat (3) Handstand, straddle down (4) Handstand, bent leg squat (5) Long arm overthrow (6) Cartwheel (to left or right to dismount sideways) (7) Yamashita vault (8) Yamash ita vault with one turn (9) Handstand vault, 1/.1 turn (10) Short vault (11) Lever above the horizontal, straight leg squat (12) Lever above the horizontal, stradd le vault The first vault in this enumeration is the jump to handstand, rep lacing one hand by the other and wheel-out. The gymnast's arms must be placed straight on the horse, she must not stop in handstand, she sho uld only pass through it in that the character of the exercise be quick. The same principle applies to the second vault, jump to handstand, stra ight leg squat. In the handstand the body must be unbending. Then the gymnast carries out straight leg squat having made a good push-off with her hands. It is a rather difficult vault especially the second phase as the good push-off of the hand plays a very important role here.

When performing the third vault, handstand, straddle down , the gymnast should not part her legs too soon and a good push-off of th e hands is very important.

In the vault called, long arm overthrow, the first phase shou ld be as high as possible and the second phase as long as possible.

When cartwheel is performed the gymnast's body shou ld be turned already on the springboard . Good placing of hands on the horse is essential.

The Yamashita vault requires a great height in the first phase and a good push-off with the hands. Also the legs shou ld be drawn to ' the body in good time. When the Yamashita vault with one turn is executed it is necessary to draw the legs to the body a little earlier so tbat there is time for turning before landing.

When the short vault is carried out it is necessary the first phase to be slightly lower which enables the hips to catch up with the arms in the second phase.

BALANCE BEAM Optional exercises on the beam must be performed in a limited time. After the expiration of the prescribed time the contestant is given a signal which is repeated again after 5 seconds. If the gymnast does not conclude her exercise even after the second signal 0.5 is deducted.

If the composition is too short 0.05 is deducted for each remaining second. For exercises on the beam the Rheuter springboard is used and it is placed on the first mattress . A modern exercise on the beam sho uld be composed and understood as a composition. That means that it should be considered as a whole. The entire length of the beam should be untilized during the exercise and one shou ld tak e it into consideration when one composes an exercise. It is advisable to do away with "dud" places and to put one element into relation with the other so that there are no unnecessary stops in the exercise. It is also good to introduce jumps which, however, should be executed in the greatest possible amplitude. It is jumps that embellish the composition a great deal. Also rhythm is very important and it is advisable to use the contrast between the fast and the slow movement.

The rich composition contains: steps, sitting positions, prone positions, running, springs, turns, some sustained positions , hops, rolls , dancing elements, stands, mounts and dismounts. It may also contain pirouettes and SOlDe acrobatic elements.

Modern conception of exercises on the beam goes so far that some acrobatic elements from the floor exercises, e.g. flic-flac, Arab apring and so on are being introduced. Modern set of exercise should contain three poses. If the arms move during posing it is not considered posing. For each next pose the contestant is penalized by 0.2 point.

The duration of the composition is 1.20-1.45 minutes.

The exercise must contain five elements of difficulty otherwise 0.6 point is deducted. If the gymnast, during her first attempt, does not touch the beam she may start again and no penalty is imposed. If she does, the penalty is 1.0 point.

If the beginning or the end of the exercise is identical with that of the compulsory exercise the penalty is 0.3 point.

If the difficulty of the composition does not correspond to the international level 3.0 are deducted.

Penalties are also imposed if: the gymnast recovers with one hand ...... _.............. ......0.5 point the gymnast recovers with two hands ......_.................................. 1.0 point the gymnast falls down ........... .. ..... _.................... 1.0 point the coach speaks to the gymnast .............._................ .. .... 0.5 point the gymnast is assisted by the coach ..... .. .... _.......... .1.5 point the gymnast is assisted at landing ... .................... ............0.5 point there are additional movements of arms due to ......... up to 0.3 point poor balance ............................................. ........ up to 0.5 point there are additional movements of trunk there is loss of balance covered up by additional movements ..... ............. ... up to 0.3 point the jumps are low or heavy .......................... up to 0.2 point there are unjustified stops ... ................ .. .... 0.2 point the rhythm of the composition is monotonous ........ up to 0.2 point Eva luation of optional exercises is made of 10 points: 5 points go for difficulty (originality, assurance); 5 points go for technical execution, rhythm, personality and temperament of the gym nast.

The exercises on the beam should not be rhythmically monotonous .

Therefore it is advisable for the gymnast to tra in on this apparatus with musical accompan iment.

We hope that in the future the voluntary exercises on the beam will be accompanied by music.

UNEVEN BARS The exercises on uneven bars in modern conception consist almost exclusively of swing el~ments and vaults. All support elements have been ruled out from exercises. Stands have almost disappeared except as a transition to swing elements. Swift and frequent shifts from rest to revert hanging are fully used; especially on the lower bar. Difficult and effective exercises require swift and repeated interchange of elements performed on both the bars. There should be a logical sequence between individual elements in the exercises and if we want to achieve th full value of it the sequence of the difficult elements should not be broken by easy ones, e.g. by added circles, half circles, stems and the like. The exercises should also be expressive and every new idea is an asset not on ly in elements but also in connecting movements.

Also, the exercises should possess a certain amount of graduation, that is, difHcult elements must not be grouped in part of the exercise but should be staggered throughout it. Static strength should not be used nowadays, and it hardly is, and exactness of every move (without the loss of swi ng and smoothness) is required. One must, anyhow, be technically and physically fit .to exercise on the bars, that means one must have enough strength in abdominal, arm and back muscles; sufficient freedom in joints especia lly in the shoulder joint; control of rapid changes in muscular tension; a perfect nerve-muscular coordination and superb orientation in' different positions .

Each element on bars requires certai n technique. To master those technically exacting, however, it is necessary that every contestant master the fundamental elements. The fundental elements are for example: circles, (hip-swing up backwards) from straight leg squat into support position, half circles with bent legs and stra ight legs, etc.

The elements requiring more skill could only be developed on the grou nd of the fundamental ones. Just by way of repetition: the exercises on bars are very grue ling, one should be equipperl with proper

technique and physical fitness , and perform the element flawlessly. At international level any exercises sho uld contain at least 5 elements of difficulty. Modern composition is full of swing and individual elements are logically linked without unjustified handfaults and stops .

The bar exercises should possess only the characteristic bar elements and repetitions shou ld be avoided; they usaully diminish the value . Elements from compulsory exercises should not be (in fact they must not be) used in the same context in the optional exercises.

Any fault in composition accounts for O.l to 0.2 point deduction.

Now I'd like to stress that the exercises on uneven bars require a variety of movements, lightness, swing, charm and assurance. I would also like to call your attention to some faults which are not covered by regulations today, namely: assistance of the coach accounts for 1.5 point deduction; the fall assisted by coach 1.5 point deduction but no further point is deducted for fall. Incomplete exercises are, of course, evaluated up to the point of completion and the penalty is up to 1.0 point for the missing part, but again penalty is imposed for the fall.

If the gymnast successfu lly repeats the elements she failed to perform correctly before, 0.5 point is lost. If the element is carried out incorrectly but smoothly the contestant can continue exercising and deduction is made for fault in that particular elem ent, for example: bent arms , legs, etc.

The penalty is imposed according to the gravity of fault; touch on floor may mean as much as 0.2 point deducted if the rhythm of the exerci se is not affected or up to 0.5 if affected. The exercise must not be interrupted except when the contestant prepares for a very difficult conclusion. What does it mean-interruption of th e exe rci se?

In support a long stop of the contestant should be regarded as an interruption or sometimes as an extra swing. Any additional swing on the bars is, as it is well known, penalized by half a point deduction.

The assitsance of the coach at dismount accounts for 0.5 deduction.

The contestant can repea t the run-up if she has not touched the bars at her first attempt. If she ducks under a bar or touches it the penalty is 1.0 point. The coach may stand outside the bars but should not stand between them otherwise 0.5 point penalty is imposed. We have come across such a situation, however, only at the latest World Championship in Dortmund, Germany; previously to it the coach could have stood where he pleased. If the exercises are lacking in general impression, lightness, charm, assurance and perfection the penalty may amount to as much as 0.5 point. I have mentioned the idea that the bar composition should be swingy and should possess certain range of movements , and logica l sequence of elements. Thi s suggests that in sw ing exercises we shall avoid any support elements and stops.

Now I should like to repeat once more that any fall involves a penalty of 1.0 point on condition that the gymnast shall remount the apparatus and continue her exercise before a maximum of 30 seconds is used, if called for, to make use of magnes ium or to replace a handguard that has shifted.

The exercise should be all means be varied. Unjustified faults and stops would spoil the dynamic and modern exercise . Bar exercises should possess only the characteristic bar elements and no repetitions.

It makes a poor impression both on the judge and the audience if the exercises on uneven bars contain a lot of identica l elements; even if identical elements are put into a different context the set is lacking in variety. As I have already told you before elements from compulsory exercises must not be included in the optional one in the same conte xt and I have already explained the meaning of it too. A contestant of international reputation commands usually a rich enough repertory of elements and need not resort to petition. For faults in composition there is a deduction of O.l to 0.2 point, (For example if the composition is illogical). We also should attach a great importance to the range of movements in bar exercises, for instance! straight leg squats must be executed flawlessly and with straightened arms, during swings arms must be unbending and back not arched, half circles should be made without touching the bar, etc. Once more and I hope for the last time I should like to stress the importance of scope of movements in bar exercises which make for a high proportion of lightness, dynamics and assurance. The exercises on bars are . I think, one of the most difficult disciplines for a gymnast who, therefore, must be well physically developed especially her abdominal and trunk musculature must be strong and the same goes for arms. At the same time, however, she should be relaxed for other disciplines as beam or floor exercises. That is why I prefer swing elements on bars to those employing strength . At present the strength elements tend to disappear from gymnastics and the so called era of horizontal bars reigns, based on coupling two horizontal bars. .

Now let me explain some point deductions I mentioned already before.

The assistance of coach means if she really assists in the performing of an element and the penalty is 1.5 point. If the contestant has a tendency to fall and the coach tried to recover her balance there is a deduction of 1.5 point but no additional penalty is imposed for fall.

But, of course, an incompleted set of exercises is evaluated up to the points of completion that is only the end may be missing and up to 1.0 is deducted. If, for example, the completed part is one quarter of the whole of the exerc ises only the performed ' elements count. If, however, there is only one quarter of the exercise missing it is considered as a whole and only one point is deducted but no penalty is imposed for fall. If the contestant corrects a fault 0.5 is deducted. If she con-

finues exercIsing as if nothing has happened she is penalized only for the fault she made. If she bends her arms or legs or makes an extra movement to get herself into support position on the lower bar it is considered a fault. A touch on floor accounts for 0.2 deduction if the rhythm is not affected, for example; if she touches the floor when performing arch swing forward but does not distort the rhythm and goes on smoothly the deduction is 0.2 point. If however, the rhythm is affected it is up to the judge to estimate the gravity of the fault and the penalty can be anything up to 0.5 point. The exercise must not be interrupted by any means , any interruption, be it change of rhythm or an extra swing are penalized by 0.5 point. For instance: if the contestant performs straight leg squat on the upper bar and an off-swing should follow but she pauses between these two elements or makes an extra swing it is considered a fault and the oenalty is 0.5 point.

The competitor may make a stop before a very difficult conclusion: She can repeat the run-up if she has not touched the bars in her previous attempt but she can touch the springboard for example and the deduction is same same as for a fall.

FLOOR EXERCISES Floor exercises is a dancing composition containing acrobatic and other elements of difficulty, which are an integra l part of it.

Jumps and double turns presented in maximum amplitude find their application in floor exercises. Nowadays the demands on both the acrobatic and th e dancing sectio n are much greater than In the past. The composition must be accompanied by music. It has it.s beginning.. gra 9uation, climax and end. It is a very demanding discipline, for In spite of difficult acrobatic element, the gymnast's performance must be elegant, graceful , light, lively, etc. Floor exercises should be compos~d together with the composer or adapted to a chosen musIc. Th.e musIc should not be too serious since it would hardly match, for Instance, acrobatic jumps. ' . .

Floor exercises must make use of the entire body, must contain artisically performed movements and leaps, with livelin ~ss, with poses , with balances , with changes of pace, and With expressIOn .

The duration of the exercise is from a minute to a minute and 30 seconds. The two timers should start their watches the moment the gymnast begins the exercise with a movement of arm or leg. They shall stop the watches the moment the gymnast ends with final position.

The compulsory and voluntary exercises shall be executed with accompaniment of music using a single instrument. The musIc should give the composition more vitality, underline the harmony of the movements, the elegance and personality of the performer; in short provide the impetus needed for a more perfect artistic execution.

The space of 12 by 12 meters available to the gymnast shall be utilized in its entirety and must be properly lined. If the gym nast gets beyond the boundary, with one or both feet or a part of the body, the penalty is each time O.l point. At international competitions this offence is observed by two judges.

Coach within area, penalty of ... _.__ .. _.. _. __ .. _. __ .... _0.5 point Coach speaks to the gymnast .............. ... .. ....... __ ... _.. _... _.. .... _0.5 point Some other gymnast speaks to the competitor .... _._ ... ____ ... _.0.5 point The exercise not ended after the second signal ...... .. .... ..... 0.5 point For each second below the minimum time allowed .... _............ 0.05 point The composition not accompanied by a singe musical instrument 1.0 point The composition must contain 5 elements of difficulty. If it does not 0.6 point is deducted for each element missing.

According to the new rules the gymnast must not start with the third position, otherwise 0.2 point is deducted.

There may be a prelude to introduce the composition. However, it must not be too long.

The music ends together with the last movement of the gymnast.

Disharmony between the music and the movement ...................... 0.5 point Balancing and falls , repeated movements .............. _..................... .. 0.5 point

Tenterova presenting this paper and instructional session for officials, coaches and gymnasts at Lakewood High School, Lakewood, Calif.

THE WORK OF JUDGES: As there are only few opportunities annually for the gymnast to take part in gymnastics competitions we must realize the importance of the work of judges and the measure of their responsibility since by their evaluations they appraise the annual preparation of each gymnast. We know from experience, however, that the relation between gymnasts and judges is far from cordial. Gymnasts should have just as much confidence in their judges as in their coaches, they must respect the sta tements of the judges as well as comments of the . coaches. What is necessary to do to create such an atmosphere? First, judges must inspire confidence and sound respect by their approach to gymnastics and gymnasts themselves. Second, coaches must teach gymnasts to see friends in judges and not enem ies which is from the educational point of view very important. .

In order to be able to full her task properly, i.e. to evaluate justly and responsibly the presented performances of gymnasts the judge must meet at least two basic requirements: (1) She must have a sincere and unselfish attitude towards and enthusiasm for spo rt gymnastics, (2) She must have a profound and theoretical knowledge of gymnastics .

Now let us give heed to some aspects which are connected with the qualification of the judge. What is required from a judge of our time? (a) EXPERIENCE IN SPORT GYMNASTICS One of the main prerequisites of expert qualification is a former practice in competing. Sensations and experiences from her own performances are a good school for the judge. The feeling for the movement of the body on the apparatus cultivated by perso nal experience cannot be achieved by any theoretical knowledge and watching a gymnast. (b) REGULAR CONTACT WITH PRACTICE In the course of every competition, local or international , it becomes evident that the most efficient judges are active coaches. If the judge does not work as a coach it is necessary for her to attend gymnastics lessons, watch the coach and the gymnasts, talk with them and so on.

Being in close contact with practice, the judge's knowledge and experience becomes deeper the memory and perception of movements becomes more refined, she can verify the right technique of exercises and so on and thus keep pace with the contemporary development and conception of gymnastics. (c) FAMILIARITY WITH COMPETITION RULES It is most essential for the judge to know all the important competition rules by heart. Equally important for her is the capacity to correctly interpret and at any suitable moment readily use the compendious articles of the rules . The competition rules are in their essence nothing more than a basis serving for creation of correct subjective conception.

In sport gymnastics where the performance of a gymnast cannot be objectively consi dered the correct interpretation of the rules is one of the most decisive factors. Insufficient familiarity with the rules always results in a wrong evaluation of gymnasts. The gymnast is affected either directly, when the judge underestimates her performance or indirectly, when the judge overestimates the performance of another gymnast. Another equally unsound extreme which we often come across, is a mechanical and thoughtless application of rules . To be able to solve this problem the judge should have more than an idea of the rules. She must study them, think about them , discuss them with other judges, coaches and gymnasts. She must carefully follow thte developmerrt:: ~f,: gymnastics which goes hand in hand with the development and chah@s of competition rules. (d) CAPACITY TO JUDGE THE EXERCISE ALSO FROM THE AESTHETICAL POINT OF VIEW The judge considers gymnastic exerci se also from another viewpoint than . a purely gymnastic one . The exercises on the apparatus fall also

into the aesthe路ticalsphere. For spectators the competition in gymnastics is chiefly an aesthetical event. Sure, they can also appreciate the difficulty of the exercise but they are far more satisfied by elegance, grace, exactness, and beauty of body line. What does the judge consider from the aesthetic point of view? First of all it is the gymnast's style. We have so far very rarely spoken about style in sport gymnastics. What is understood by the expression style. Style is an individual conception of technique. That means that one and the same exercise correctly executed from the technical viewpoint may be presented differently and in consequence of it, it has a different appearance. The gymnast's style may be either interesting and elegant or it may not be pleasing to the eye which must appear in the evaluation of the judge. The magnitude of the deduction will depend on the aesthetic feeling of the judge. In the rules this aspect is expressed mainly by the requirement that the exercise should be carried out lightly, fluently and in a suitable rhythm.

Another aesthetic condition is the correct bearing of the body. This is the most frequent fault of gymnasts ~nd it is also the most obvious fault so that it cannot be concealed. Unfortunately it happens very often that judges consider exercises only from this aSjlect which results in distorted evaluations. It is usually inexperienced judges or judges who fell out of contact with practice th at evaluate in this way as they are not able to view the exercise from all points of view. Their evaluations, as a rule, correspond to those of a layman.

A very important ae thetical aspect is the conception of voluntary exercises . It is this aspect that we have so far failed to apply. Maybe it is caused by the contemporary system of evaluation which does not permit us to do so. The judge may deduct points for original elements, connecting movements, etc. For an exercise of outstanding conceotion the judge may award 2.0 points (which is maximum for the position) but she may award two points as well for an exercise the conception of which is mediocre, but where there are no reasons for imposing penalties .

The trouble is that we have not always the opportiJnity to fully evaluate the performances of gymnasts. But ' it is also true that some路 times we have the opportunity but we do not take it. For example we impose penalties due to poor conceptions very rarely and if we do it is only in the case of floor exercises.

We must admit that the evaluation of gymnastic compositions is an "unmapped territory" and that we should tackle and solve the problem.

GYMNASTIC 1967 CAMP DGWS AUGUST 20 thru 26 at CARLETON COLLEGE INSTRUCTING GRACE KAYWELL USGF Ballet Consultant

RUDY BACHNA Coach at Kent State University

ARNOLD DIDOMENICA Outstanding Coach from Louisiana

BONNIE PHILLIPS GORDON Works in Rhythmic Gymnastics, Univ. of British Columbia

MARGARET POWELL Free Exercise and Ballet Instructor

BARB SALTZEIDER Of "Never On Sunday" Fame

OUTSTANDING LOCAL INSTRUCTORS The DGWS Gymnastic Committee proudly announces the Gymnastic Camp for the Summer of 1967. As you have noticed , we have invited top instructors from allover the United States for the staff, and in this way present an outstanding opportunity for girls at all levels of gymnastics to develop their skills. The registration fee for the camp is $55.00 for the week, including room , meals , and instruction.

All activities and areas are supervised. Counselors are provided for all campers .

For further information write to Miss Mary Ann Bayless Camp Director 2720 Florida Avenue North Minneapolis, Minnesota 55427

ORGANIZATION CONFERENCE On April 13-15, 1967 the U.S.G.F. Orangization Conference for Women's Gymnastics convened at the Flamingo Motor Hotel in Tucson, Arizona . The following people were in attendance: Shirley Bryan, Kerstin Edgar, Judy Hall, Sharon Pirkl, Mildred Prchal , Terry Sendgraff, Jackie Uphues, and Sharon Wilch.

At the first session, Frank Bare, Executive Director of the U.S.GJ., was present to review the development of the U.S.GJ. At prese nt, gymnastics is a small sport in this country and if it is to progress and grow, a national program has to be developed. Over the past few years, gymnastics has rece ived a great deal of publicity and people are more aware of gymnastics as a sport.

The U.S.GJ. operates under a constitution and the elected officers are: Presi dent, Vice President for Men, Vice President for Women, Secretary-Treasurer and two members at large.

These people make the aaministrative decisions and establish the govern ing policies of the Federation. The U.S. G.F. also has a Governing Council wh ich has representatives from the followi ng: NCAA, AAHPER, National High School Federation, Nationa l Jun ior College Athletic Association, The American Turners, National High School Coaches Association and the National College Coaches Association.

The fo llowing sessions were conducted by Jackie Uphues and ass isted by Mildred Prchal , who jointly handled the background work for the conference. • Jackie Uphues, Vice President for Women, explained what things have to be done in women's gymnastics to date; i.e., publications of the U.S.G.F. rules and poli cies for women's gymnastics, the co-operative effort by the U.S.GJ. and D.G.w.S. in co mposi ng compu lsory competitive ro utines, the staging of Annual Gymnasti cs Competitions for Women, and the conducting of several judging and instructional cli nics for teachers, mainly in the Midwest area.

She then presented the ideas for the establishment and organization of the U.S.GJ. Women's Committee. At present, there is a great need for a broad program for the development of women's gymnastics on a competitive level , wh ich would be administered by gymnastically qualified women physical educators. The D.G.W.S. and the U.S.GJ. together have developed a national compu lsory co mpetitive program for three age groups and ability levels. The U.S.GJ. has also formulated a broad program consisting of six major plans to increase the quantity and quality of competitive gymnastics in all parts of the country.

The purpose of the Women's Comm ittee at this point will be to bring to the attention of physical educators in the country, t he national compet itive program.

The U.S.GJ . has divided the nation into eight regions and '<:tters were sent to known interested women in each of these regions. From this mailing has been established a list of women who are interested in helping to promote the national program.

The U.S.G.F. Women's Committee will consist of three executive positions, six standing committee chairmen and eight regional chairmen who will serve for a two year term. The following U.S.G.F. Women's Committee executive positions were established and women appointed: Chairman .................................. _.. _.. _ ..... Shirley Bryan Vice Chairman ...... .. ........ .................................... .Judy Hall Secretary-Treasurer ............. ................... ............... .1udy Marr The following national standing committees were established and chairme n appointed: Committee for Judges Training Clinics ... ......... Sharon Wilch Competitive Compu lsory Committee ....................Sharon Pirkl Educational Committee ....... ........ ............... .1ackie Uphues Modern Gymnastics Committee ........................... Kirsten Edgar Teacher's Training Committee .. .... __ .......... __ ... Terry Sendgraff Technical Committee .............. :...................... .1ackie Uphues Regional charimen and alternates were recommended and ,will be contacted by the chairman for their approval of appointment.

The duties and responsibilities of the various positions were

discussed. The chairmen of each of the six committees wi ll be working with the eight regional chairmen to administer the nationa l progra m and will report to the executive officers during the year.

The duties and responsibilities of the six committee chairmen are as follows: COMMITTEE FOR JUDGES TRAININ~ CLINICS l. To see that at least one regional Judges Clinic is held for each year.

2. To see that each region has copy of the judging material

by Alena Tinterova.

3. To see that each region has the most current information on judging, i. e., current changes, material on procedure.

4. To see that a judges directory is established for each region.

5. To provide a list of aids for judging.

COMPETITIVE COMPULSORY COMMITTEE l. To see that each region holds one meet per year on each of the three levels; lowe r, middle and upper grade.

2. To see that each region has recommendations for the organization of gymnastics meets.

EDUCATIONAL COMMITTEE l. To see produced and made available a film of the D.G.w.S. and U.S.G.F. National Compulsory Routines.

2. To see produced and made available tapes of the music used for the compulsory routines.

3. To provide each region with a college directory offering gymnastics programs.

4. To provide the Modern Gymnast and the U.S. Gymnast Magazines with information of an educational nature, i.e., distribution of international material.

MODERN GYMNASTICS COMMITTEE l. To deve lop and distribute material on the use of balls, hoops, ropes , etc.

2. To develop and distribute instructional material on the above for group performances.

3. To . develop an instructional film for the above.

TEACHER'S TRAINING COMMITTEE l. To see that one regional teacher's training clinic is held per year.

2. To estab lish standard procedure for the running of clinics.

3. To recommend to each region instructional material which conta ins the national compulsory routines and the individual skills within t~e routines.

TECHNICAL COMMITTEE l. To see distributed through the U.S.GJ. office, educational material and compulsory routines.

2. To develop and distribute a current interpretation of the F.I.G. code of points.

3. To develop and distribute an evaluation of the A, B, C level of parts of women's gymnastics movement.

Information publicizing the national program shou ld be sent to JACKIE UPHUES for the MODERN GYMNAST AND MADEMOISELLE GYMNAST and to TERRY SENDGRAFF for the U.S. GYMNAST. For further information regarding the national program contact any executive officer or national committee chairman of the U.S.GJ. Women's Committee. Respectfully submitted, Judy Hall Secretary Pro Tem NAMES AND ADDRESSES OF THE WOMEN'S COMMITTEE EXECUTIVE OFFICERS AND COMMITTEE CHAiRMEN: Mrs. Shirley Bryan, 426 S. Kirkwood Rd., B, Kirkwood, Missouri 63122; Mrs. Kerstin Edgar, 1709 Ruby Drive, Colorado Springs, Colorado 80907; Judith Hall, Dept. of Health & Physica l Education for Women, Illinois State University, Normal, III. 61761 ; Sharon Pirkl, RR # 1, Box 175A, Colona, Illinois; Judy Marr, P.O. Box 518, Chico, Cal if. 95926; Mrs. Jackie Uphues, U.S.G.F. Vice President for Women, 632 Dodge, Evanston, lilinois 60202; Sharon Wilth, 6357 W. Mississippi Place, Denver, Colorado; Mrs. Terry Sendgraff, 5280 West 17th Ave. , Denver, Colorado.

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NORTHERN CALIFORNIA GYMNASTICS CAMP CLINIC ( .J ""~~~

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"SCATS" In sequence

Above: SCAT (Southern Californi a Aero Team) Wendy Cluff does a gl ide single leg kip up on the low bar of the unevens.

Above : SCAT Margie Schilling performs a glide stoop thru the arms kip to a "L" position on the unevens .

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"where the emphasis is on LEARNING."

Now in its 10th year of operation.

Located at Camp Gualala, in the magnificent Sonoma County redwoods, north of San Francisco. Seven full days of instruction by some of th e nation's leadin g coaches.

TWO CAMP SESSIONS: August 12- 19 for boys 9-15; girls 9-14 .

Augu st 19-26 for men 16 & ove r; wome n 15 & ove r.

Cost : $65.00-includes meals, lodging and inst ruction Prominent stoff members this year will include: Hal Frey-U.c. Berkeley Irv Foria- Sacramento State Clair Jennett-San J ose State Bill Holmes-De nver, Colorado Andrea Schmid - San Francisco State (Oly mp ic G a I d Medal winner) Steve Jo hnson-Co lorado State Dick W o lfe-USC. Chic Johnson-Ch ico State and many, man y others.

Above : SCAT Cathy Rigby demonstrates a forward " L" circle to an inlocate swi ng half turn kiD-UD on low bar of the un evens.

路25路

For applications, write Ernie Marinoni Berkeley YMCA, 2001 Allston Way: Berkeley, California

Fig. 1

Fig. 3

Fig. 2

Fig. 4

CAST-OUT TO BACK HIP CIRCLE FOR BEGINNERS? WHY NOT?

By Helen Sjursen There are times when I will teach a skill in stages using an incorrect technique, but for a reason as explained under Fig. 1 and 2. As soon as one of my beginners has mastered a back hip circle, the next step for her is a . ca~t·out from a support position on the high bar to a bac-k hip circle on the low bar. I shall try to show you that this skill is possible for a beginner who has control of the back hip circle.

Fig. 1 & 2. From a support position, with little Or no back swing of the legs, have gymnast drop straight down.

Any coach can foresee what is going to happen with this incorrect start of the cast out. The gymnast will most likely peel off the bar and land on her feet, since there is no swing involved. I put the gymnast throu g h this "grip test" to see if she can still hold on to the upper bar after the body has descended with a jerk. A spotter should stand under the high bar and circle waistline of gymnast as soon as it can be reached. Anticipate the grip being lost, and if not, she is then ready for the next stage.

Now that you and the gymnast know the grip can be maintained through this sudden drop, you will have to build up confidence for casting, always stressing "form". Legs should be together, straight, and with toes pointed.

Fig. 3 . The next step starts again from the support posi· tion on the high bar. Now the gymnast should swing her legs backwards just a little and again lower to a hanging position . The spotter should again assume that the grip will be lost and catch the gymnast around the waistline as she descends . . . Each time she starts the cast from the support position , the gymnast should swing her legs rearward more and more. Some gymnasts must build up their confidence to a good cast, while others after going through the grip test will take the full cast at the first try. Of course, when hanging, the body will swing towards the low bar.

Fig. 4-5 . As the legs swing rearward and upward, shoulders move bacward with arms straight, so that when the legs have reached the height of their rear-upward swing, the body is fully extended, and the descent of the body will be smooth with much less chance of the grip being lost. The spotter should grip around the waistline as the body descends, and then take away the arm from the front of the gymnast so she will be free to execute the back hip circle.

Fig. 6. The next step is to see if the gymnast 1. can descend leading with her hips in readiness for contact with the low bar and 2 . to see if she can raise her legs high enough after passing legs under. low bar. Avoid bending at

the hips until the hips have contacted the low bar. It is very important that the coaches emphasize the hip flexion or high swing of the legs before the grip is released from the high bar. The legs should be raised high enough so the gymnast can feel the grip being pulled away from the high bar. If the legs are too low when the grip is released, the gymnast can easily slip away from the spotter. The body motion will be fast as the legs start the whip for the back hip circle. The body will drive under the low bar causing the gymnast to fall on her back. (To avoid this type of fall , I always say " DON'T let go until you see your legs right in front of your face.")

After spotting the cast out, the spotter should move towards the low bar keeping one arm around the back of the gymnast an.d placing the other arm under legs of the gymnast. . Fig. 7. The next step is to transfer the hand grip from high to low bar, and to do this some gymnasts have to build up their confidence again . If so, release one hand first, to grip low bar, immediately followed by the other as head is thrown back to turn body over the low bar. Spotter can assist in turning body over low bar, if necessary by pushing against under side of thighs, or hips. As the gymnast gains confidence, she will soon release with both hands at one time.

In making the transfer of grips, some girls hit their wrists or fore-arms on the low bar and then fumble for the grip.

This can be quickly corrected by telling them to open the palms wide and direct their hands to the side of their hips .

The palms will contact the low bar and fingers can quickly close for the grip . After the legs pass over the bar, the body will assume an upside down "V" position .

Fig. 8. The speed of your rotation will deterniine at what ·angle you will raise the upper body to avoid dropping to the feet after completing a back hip circle (to the support position) . If the rotation around the bar was done too slowly, the upper body should rise upward and possibly slightly rearward.

Fig. 9 . If the rotation was too fast, you will have to raise the shoulders forward and upward as legs move rearward , to successfully arrive in a balance support position. Most girls tend to rotate on the faster side .

The explanation for this skill combination might seem long, but the actual teaching of it goes quickly .. When you understand the skill , know what happens and what can happen , it can be taught safely with success, even to beginners.

The only requirements are knowledge of the back hip circle and successful execution of the grip test.

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Wisconsin State University - Superior, Wisconsin GYMNASTICS WORKSHOP July 18-July 22 - 1-4 Daily, Gates Arena Conducted by: A. B. Frederick: Gymnastics Coach, Lecturer in Gymnastics National Summer Clinic, Michigan State University and Jackie Uphues', Women's Olympic Team, 1956, Physical Education Teacher, Evanston, Illinois.

In addition to a very practical work in gymnastics including a personal evaluation of each attendee on the first and last day, the Gymnastics Workshop will attempt to get at the root of pwblems encountered in three major areas : . . ., , 1. CONTENT-The philosophy of gymnastics, what IS It? Girls pro· gram? Boys' program? I have n.o apparatus, what can I d.o? What are the reasonabl behavioral objectives for gymnastics? Speclflce content for each gymnastic area.

II. METHOD-The logic of presentation in gy~nastics . How ~an I teach if I can't demonstrate? What can I do With the uncoordinated and the gifted? How can I get the maximum ~ut of. each gy.mnastic !esson? Can gymnastic movements be categorIZed Into logical, tYPical classes ? How can I spot or assist?

III. EVALUATION-How can I assess my own skills? How can I assess the skills of others? Can the international, competitive rules help me evaluate my students? How can one predict potential gymnastic ability?

MONDAY, JULY 18 GYMNASTIC WORKSHOP -Teaching Gymnastics1:00-2:00 Evaluation sheet to be filled in by each attendee. Objective: to define the limits of personal skill with remarks on demonstration.

Break 2:00-3:00 Evaluation continued-men and women.

Break 3:00·4:00 Floor exercises-men, floor exercise-women . Note: we will have a variety of available recordings for girls' floor exercise.

TUESDAY, JULY 19 1:00-2:00 Theory and practice of trampolining and tumbling-men and women.

Break 2:00-3:00 Theory of teaching and spotting gymnastic movements .

Assignments given following this session.

Break 3:00-4:00 Parallel bars-men; balance beam-women.

WEDNESDAY, JULY 20 1:00·2:00 Vaulting-men and women-with emphasis on using a variety of equipment and learning the vault run.

Break 2:00-3:00 Uneven parallel bars-women; horizontal bar-men.

Break 3:00-4:00 Practicum in gymnastics-men and women: open end session geared to specific questions of participants.

THURSDAt JULY 21 1:00-2:00 Side horse-men; ball work and rhythmic gymnasticswomen.

Break 2:00·3:00 Judging the gymnastic performance . Overview-men and women. Theory.

Break 3:00-4:00 Synopsis of F.I.G. (International Rules) for men and women.

Separate sessions . Practice judging session.

FRIDAY, JULY 22 1:00-2:00 Rings-men ; practice or event selection according to needs-women.

Break 2:00-3 :00 Personal skills practice session-men and women.

Break 3:00-4:00 Final evaluation-evaluation sheets updated and assignments checked. Films-world champs, Dortmund, Germany, October 1966. Finis.

Each day's work to begin with a variety of 'warm·up' techniques.

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MORE BULLETIN BOARD MATERIAL Dear Mr. Sundby: . .

I am an avid admirerer and enthUSiastic follower of y?ur publication, "Mademoiselle Gymnast". It . is indeed a flOe piece of work devoted to. women . and girls In gymnastics.

Since I regard your magazme so highly, I would truly prefer to keep it as a prized reference source. In all honesty however, this is impossible! Being a teacher, I fln~ myself wa.nting to share the excellent pictures, pr.ogresslOns of skills and routines with my students as bulletin board materia! ..

Is it at all conceivable for you to extend the availability of some of your work in this form? I'm sure there are many educators who would welcome the opportunity to purchase this information.

Thank you, first for an excelle~t year of publicati.on, secondly for your continuation of thiS type of ~ubllcatlOn and, thirdly for any consideration that you may give toward the availability of reproducing materials so that we can Visually teach gymnastics.

Sincerely yours, (Mrs.l Jeanette Klimszewski Teacher-Girls Physical Education Commack, New York ED: We are continually looking for chart ideas. Look for some published charts in the future ... P.S. Double subscribe and cut one up.

MORE PHOTOS AND STUDIES NEEDED Dear Editor: I encourage my students to read my copies of Mademoiselle Gymnast in order to broaden their knowledge and interest beyond our class activities . I would like to increase their awareness through visual aids such as action or posed pictures of outstanding gymnasts for bulletin board displays.

On an international level it might be interesting to have representatives of the different countries at the Olympicsor perhaps a series of Milan Med's studies. Your magazine has excellent pictures, but I can't bring myself to cutting them out.

Is there any such collection of photos available? If not, would Mademoiselle Gymnast be interested in such a project? Dance Magazine, for example, produces several different series, Modern Dance, Ballet, Jazz.

Sincerely yours, (Mrs.l D. Mahy Galileo High School San Francisco ED: Just as fast as we can do so we hope to have materials like this available.

Dear Editor, I received my fall issue of Mademoiselle Gymnast and am deeply interested in the Book Review, " Women's Gymnastics"

by A. B. Frederick. Could you please tell me the cost, if any, and where to send my order to receive this book. I'm sincerely dedicated to gymnastics and consider it a greot aid for Mademoiselle Gymnast to advertise books of this type and where to get them .

Sincerely yours, Janice Guiducci 435 Clarendon Avenue Monessen, Pennsylvania 15062 ED: The book may be purchased for 95c from the Wm. C. Brown, Co. Publishers, Dubuque, Iowa.

Dear Mr. Sundby, I have enjoyed Mademoiselle Gymnast so much and have found it an excellent source for the gymnastics and tumbling units I teach in Wahoo High School. My husband, Denny Albers, is a gymnast and he also is much impressed with your work. We would both like to congratulate you on the first successful year of Mademoiselle Gymnast and hope we will be receiving many more outstanding issues.

Sincerely, Joan and Denny Albers Wahoo, Nebraska Dear Mr. Sundby, I cannot thank you enough for the photographs you sent me of women competing in gymnastics for use in my textbook, Coaching Techniques for Women. They are outstanding pictures and will add much interest to the book.

Sincerely, Patsy Neal Brevard College, Brevard, N.C. ED: You're welcome.

3256 North Avenue Chicago, Illinois 60641, USA

-28-

Dear Barbara and Glen, As a woman physical educator I am so pleased with a professional magazine th at is femal e orientated. One of the bi ggest problems in our field is finding material with gi rls performing so the skills we are trying to teach will seem less masculin e.

Thank you again for your wonderful magazine.

Sincerely yours, Ann Curley Blackhawk Junior Hi gh School Bensenville, Illinois

SOUTHERN CALIFORNIA GYMNASTICS CAMP (Coed): June 24th to July 1st. Camp Arbolado, Calif. Co-sponsored by Cal State L.A. and Uptown Whittier YMCA. Information Mr. Kurt McKean, UJltown YMCA, 12817 Hadly, Whittier, Calif. or Mr. Gordon T. Maddux CSCLA, 5151 State College Dr., Los Angeles, Calif. 90032.

EASTERN GYMNASTIC CLINIC: Camp Deerhead, Hancock, New York.

Sess ions: June 24-July 1; August 3-September 3. Send inquiries: Eastern Gymnasti c Cli nic, 811 Vernon Rd., S-3, Philadelphia, Pennsylvani a 19119.

SOKOL WOODLANDS: Sess ions: July 16-22, July 23,29, July 30-Aug. 5, Aug. 6-12, Aug. 13-19, Aug. 20-26. Write : Sokol Woodl ands, Mail Road, Barryville, N.R. 12719.

Dear Madam: I am interested in bringing a few girls to the gymnasti c course at th e University of Michigan in Lansing in August.

We have a gymnastic club in our school and need to develop some good all-around leaders. These girls are beginners with one semester of gymnastics training.

Will you please send me information about your gymnastics course e.g., time, place , cos t, etc. .

The girls find your publication very interesting and helpful.

Yours truly, Mary Coonan, Head of Girl's Physical Education Sarnia St. Clair Secondary School Sarnia, Ontario, Canada ED: See our list of camps, etc. this issue.

CAMP EDELWEISS: On Lake Ontario near Oswego, N.Y. Full seasonJuly 2 - Aug. 12; three week sessions-July 2-22, July 23 - Aug. 12. For further information write Othmar Boxl er, Camp Edelweiss, R.D. # 2, Cortland, N.Y. 13045.

ALL GIRLS GYM CAMP: Scats Gym Camp, Big Bear Lake, California, July 8th through 15th, 1967. (8 days-$50l For further info: Mrs. Wyckoff, 11 813 E. Spry St., Norwalk, Calif. 90650 (or Camp Dir. Bud Marquette, 262 Coronada Ave., Long Beach, Calif. 90803).

GYMNASTIC WORKSHOP: New York State University at Cortland, July 17-28. Grad credit. Jo Friesen( Director. For info. Dr. Katherine Ley, Women 's P.E. State Univ., Cortland, N.Y. 13045.

GYMNASTIC WORKSHOP: The sixth annual Gymnastic ' Workshop for women teachers will be held at San' Francisco State College, July 17August 4. Three units of graduate credit. Andrea Bodo Schmid, Director.

For information write to Mrs. Andrea B. Schmid, Department of Physical Education for Women, San Francisco State College, 1600 Holloway Ave., San Francisco, California 94132.

Dear Mrs. Sundby: In former issues of gymnast magazines, I've read of clinics held for gymnasts in various parts of the country.

Do you have any information as to where clinics are being held this year as I am very interested in spending a week's vacation for improvement.

Thank you very much for any help you may be able to offer.

Sincerely, Betty Beck Pittsburgh, Pa. ED: See list of clinics, workshops, camps in this edition.

SIXTH ANNUAL GUSTAVUS GYMNASTIC WORKSHOP FOR TEACHERS-July 24-28,1967, Gustavus Adolphus College, St. Peter, Minnesota.

This workshop is designed to aid physical education teachers in conducting teaching units in gymnastics, and is geared to introduce gymnastics to the beginning teacher as well as enhance the knowledge of the experienced teacher. Although not basically designed to prepare gymnastic coaches, the elementary techniques of coaching will be presented.

Included in the program will be elementary and advance tumbling, floor exercise, vaulting, uneven parallel bars, trampoline, and balance beam.

Because of the critical shortage of judges to promote gymnastics in the state, an optional judging course will be offered in conjunction with the workshop.

College credit is optional. Tuition charge is $25.00, dormitory rooms will be available at $7.50 for the week. Address inquiries to Mrs. Nancy Baker, Gustavus Adolphus, St. Peter, Minnesota.

PEN PAL WANTED Dear friends, ~here was published an article about your paper " MademOls ell~ Gym.nast" in the paper "Ceskoslovensky sport" in connection with the reprinting of the pictures of our artist Milan Med in your paper.

I ~uppose, th~t your paper is especially for the girls, who are Interested In sporting gymnastics.

Because I wi.sh to ~orrespond with some girl gymnast, please, be so kind, .t? Insert my address in your paper. For my person I am training two years at the gymnaste base of th CSTV and I am 12 years old.

If it is impossible in your paper, please send me an address Of a~other paper, where there is the possibility of announcing It. I thank YQu very much for your kindness awaiting your reply, I am Yours faithfully, BOUDOVA Iva Praha 7, Vrbenskeho 38 Czechoslovakai

SUMMER GYMNASTIC CAMP FOR GIRLS-August 7-11 , 1967 This camp is designed to prepare gymnastic teachers, coaches, and gymnasts for competition. Additional instruction will be given in swimming, bowling, and tennis.

Participants will be divided into advance, intermediate, and novice groups to study under VANNIE EDWARDS physical educator and 1964 U.S. Olympic Coach; Bill Watson, recognized authority in gymnastics and coach of eseveral national champions; and the Gustavus gymnastic staff.

Counselors will be provided for those gymnasts who wish to attend without their instructors.

A comprehensive fee of $50.00 will be charged. This includes room, board, and tuition. Facilities are limited and the number of gymnasts will be controlled. Register early. Write Mrs. Baker, Gustavus, St. Peter, Minnesota.

INSTITUTE IN ADVANCED GYMNASTICS: August 9 through 23, 1967.

For information write: Roger Counsil , Gymnastic Coach, Indiana State Univ. Terre Haute, Indiana 47809.

GYMNASTIC POSTERS "Suitable for froming "

Beau ti fu l f o ur co lo r 2 0" x 2 4 " Mad e m o ise ll e Gymna st Vo l. 1 #2 Cove r Pho t o Poster $ 1. 00 P.Pd .

Ma demo ise lle Gymnas t Cove r Phot o 1 # 4 , 16 Y,' x 23" SOc P.Pd.

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Mode rn Gymnast Vo l. 9 # i 16 Y2" x 23 " Cove r Poster SOc P.Pd .

SET OF THREE ABOVE POSTERS $1.50 P. Pd. M.G. POSTERS Box 777 Santa Monica, Calif. 90406

GYMNASTIC CAMP: Central Atlantic Area Gymnastic Camp August 20-27, 1967. Washington YMCA Camp Letts, Edgewater, Md. For further info: Vern Elder, Camp Dir., 1736 G St., N.W. Washington, D.C. 20006.

10th ANNUAL NATIONAL SUMMER GYMNASTICS CLINIC: August 20-25, 1967, Michigan State University, East Lansing, Michigan.

Thi s National Clinic Program includes: 1. For Physical Education and Admini strators. Theory and practice of teaching gymnastics. Opportunities to teach, spot and learn skills . 2. For Coaches and Judges, observation and participation in sessions conducted by experts. 3. For performers and competitors basic thru advanced level instruction for boys and girls, competitive experience for all desiring it.

Clinic Board: George Szypula, Paul Fina, Jack Carr, Joe Schabacker and Bill Meade.

Clinic Staff: Rusty Mitchell, Toby Towson, Jim Curzi, Carl and Louise Engstrom, Dick Mulvihill, Linda Metheny, Jackie Uphues, Betty Meyer, Bruce Frederick, Don Leas, Fred Orlofsky.

Clinic Fee : $50 .. . Send to George Szypula, Clinic Director, Natl.

Summer Gym Clinic, MSU, East Lansing, Mich: 48823.

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STAMP STARTER COLLECTION The above collection of 20 gymnastics stamps for $1.00. Also available: 30 mixed track and field _____ __ __ ______ ___ __$1.00 40 general spqrts- stamps ___ _.____ _______ $1.00 California Resloenl: "Add 4% Sales Tax MG STAMPS Box 777 Santa Monica. California 90406

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Physical Education Supervisors in schools Land other organizations, L. please write us on your letterhead for special price list.

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BALLET FOR GYMNASTICS Manual for Class "C" Record # 1000 (Stepping Tones) Send $3.00 to: Ballet for Gymnastics P.O. Box 777, Santa Monica, California

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FOR THE LADIES MADEMOISELLE' GYMNAST P. O. BOX 777 SANTA MONICA, CALIFORNIA - 90406 Please send me a Subscription of MADEMOISEllE' GYMNAST

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It is not necessary to enclose this form . If you wish. just send com plete information on a separate sheet along with your remittance to Mademoiselle Gymnast, P.O. Box 777, Santa Monica, California 90406.

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