Mademoiselle Gymnast - September/October 1967

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Volume 2, No. 2

SEPT. - OCT. 1967

CONTENTS EDITORIAL ............................................ A. B. Frederick 5 MLLE. G- COLLEGIATE ART CONTEST .......................... 6 WOMEN'S COLLEGIATE CHAMPIONSHIPS ................ GS 8 CENTERART ...................................................... H. Fink 16 THE EXTREME RANGE OF A FLUCTUATING QUALITY ........

A. B. Frederick 18 BALL GYMNASTICS ..............................A. B. Frederick 22 HELEN'S CORNER .................................. Helen Sjursen 26

COVER : Drawing by Dr. Herbert J. Fink, chairman of the Southern Illinois University Art Department. (Also see over leaf and center fold.)

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

MADEMOISElLE GYMNAST is published bi-monthly during the school year (Sept.·Oct., Nov.-Dec., Jan.-Feb., March·April, MayJune). Price: $3.00 per year, 75c single copy. Subscription correspondence, Box 777, Santa Monica, California 90406.

Copyright 1967 all rights reserved by Sundby Publications, 410 Broadway, Santa Monica, California 90401.

Dear Mrs. Sundby: It's great to have some illustrations, articles, and teach· ing hints to refer to. Your magazine is outstanding and extremely helpful. I only wish there were more like it!

My husband was fortunate to have been able to see your display at the AAHPER Convention in Las Vegas and, being a gymnastic enthusiast too, came home full of praise and compliments for both your display there and also the cour· tesy with which his inquiries were answered. I would like to add, along this same vein, that the articles presented this month seemed to be particularly outstanding, i.e., A. B. Frederick and Alenu Tenterova.

Thank you so much for publishing such a fine magazine. .

Sincerely, Mrs. Robert D. Mooney Cheney, Washington

MLLE. G. AN INSPIRATION Dear Sir: We have certainly enjoyed both the Modern Gymnast and Mademoiselle Gymnast. Our Dancing School is slowly but surely turning into a gymnasium.

My husband and daughter, who is also a stunt girl in TV and movies, are the instructors but I horn in on the ballet technique also, since I head the ballet department. We have just over 100 gymnastic students registered.

We just held our 8th gym meet and Charlie Baker and his wife, from Montebello, were judges along with three college gymnasts. Mr. Baker was so impressed he had the girl and boy Senior winner give their Free X and Tumbling routine for the Dance Master of America, Club No.1, meeting the following Sunday.

Again may I say how much we enjoy the magazines and how much we feel they are an inspiration for our youngsters to continue with their gymnastics.

Yours sincerely, Corinne Leslie Canoga Park, California HIGHER STANDARDS Dear Sir: Thank you so much for your efforts in publishing Made· moiselle Gymnast. It can and does serve many purposes.

Before your 2 magazines no one really knew what was going on in the gymnastic field in other parts of the country or what progress was being made in promoting gymnastics in the schools. I made sure that our athletic director here got a subscription of M.G., his interest has soared, and for the first time we have a gymnastic coach hired for next year.

Another thing your magazines do is to make each teacher strive for better standards and go seeking better teaching techniques. It also gives recognition to the hard working athletes who seldom get much publicity for all their hard work.

Now I could be all wrong, but from where I sit in our little town of Ft. Morgan, it seems that a harder push for higher standards of ballet technique would help our U.S. girls gymnastics more than anything. We are coming up with too much of a running, jumping, jazzy look thatiust won't ever put us above the Russians or Japanese. This could best be accomplished by teaching at judges clinics what values to place on the different points of technique: If the judges knew what they were looking for the coaches wou Id see to it that they knew what to strive for. So if you think I have a good point then articles on this would be appreciated. Your articles on ballet are good but they could be better. I think the average gymnast is capable of a more technical article on ballet with more advanced students doing the demonstration poses.

Just one more point I would like to make. At a clinic in Boulder a few months ago Herb Vogal said just exactly what I have been wanting to shout for some time now. You do not make a good gymnast by pushing the student into difficult tricks before they are ready for it just to win a ribbon at some poorly judged meet. I would like to see this stressed in every way possible.

Thank you again for your fine magazine.

Sincerely, Clarice Tatton Fort Morgan, Colorado

THE NEW MEDIA AND GYMNASTICS In the years ahead we will witness dramatic changes in our schools. Gymnastics , physical education and education in general will be affected because of vast improvements in aural and visual aids such as television and instruments using electronic tape.

Those of you who become thoroughly familiar with the new forms of instrumentation ( " hardware " ) will be better able to ideate and suggest useful applications for apparatus of all k inds. Indications are that hardware WILL be well used and will not suffer the fate of disuse or misuse which has been associated with the opaque projector and numerous other teaching aids.

Programs designed as input for the hardware ( " software") will be devised by creative people who are well trained and experienced teachers. There will be little room for traditionalists who have been satisfied to play " follow-the-/eader " with their classes. Mass learning will slowly change to individual learning. We will witness the emergence of the master teacher who will be adequately paid for his contribution.

Hardware is currently being produced and developed at a much faster rate than it can profitably be used in education. "A computer a day . . . etc. " This is not surprising. In dustry has long respected and provided excellent career opportunities for its professional technicians. The field of education , however, has struggled in vain to prove that teachers are basically all alike! S.a laries are calculated accarding to training and rank rather than ability.

The PhD " union card " is the epitome of this thinking. Merit systems have generally failed.

The current trend towards unionization, especially in the larger cities , is the militant teacher 's reply. "Since we're no more than the labor force of education , pay us more or we'll walk out ." It is due to this misguided philosophy that we will see a movement in education to use ability as a prime criterion for the special kinds of jobs which will be created due to new advances in educational technology. Creators of software will be in demand. They will have to be good!

Increasing human efficiency must be the goal regardless of the innovative hardware that is available. In education this means we must investigate and know more about the learning process. In gymnastics we want to do a better job . Filling the software gap in gymnastics for example will require us to seek out our best teachers. For this reason you should be investigating many applications of the tape recorder. (See Mlle. G.-Vol. I, No.2, p. 27) Can you program a computer to analyze gymnastic movement? Someone is going to do it!

How can you use video-tape for more than just amateur movie production? Can you put it to work to increase your efficiency in teaching a handspring? Video路 tape will be commonly used in schools and gyms in the 1980s. The time to be thinking of applications is now.

A good teacher cannot be replaced by a machine; only an excellent teacher can use one. The manufacturers of hardware are aware of the software gap and are currently recruiting excellent teachers to do the job commercially. It would be quite a shame to lose the best we have to industry . There's something sickening about . . . " I used to be a teacher."

Just as a starting point, if you're interested, you might like to read a summary of Dr. A. D. Woodruff's remarks on setting behavioral objectives. (M.G . June-July, 1967, pp. 20-21) He compares the learner to a computer. Another publication LEARNING ABOUT LEARNING is available from the U.S. Office of Education. (oE-12019 Cooperative Research Monograph No . 15-$1.00) It is worthy of your attention. Some time during the coming year The American Association for Health, Physical Education and Recreation will publish a monograph on programmed learning in physical education . A gymnastic videJ -tape project has bee, com plete] of the University of Illinois . These and other projects indicate that the field of physical education is doing something about the software gap. As a matter of professional pride we hope that the gymnastic community can contribute significantly to this work. Will you?

A. B. Frederick Editor

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MADEMOISELLE GYMNAST 路 COLLEGIATE

ART CONTEST

, Werner Mertz, is a native of Denmark , who left home at twelve years of age to become a circus performer, notably a "teeter board" specialist. After an accident which fractured both wrists , he retired from the "sawdust " ranks and enrolled at SIU. He attempted to con vert his circus skill to gymnastics , specifically tumbling but the dropping of the event by the N.C.A.A. sent his interests to photography and art. A " protege" of H. L. Fink, he is possibly one of the few tumblers even to execute a forward double sommi on the tumbling pads.

Master of both the double " twisting" and double back sommi , he now follows gymnastics with brush , camera, or pen and ink.

Shown here are the winning entries of the first , and hoped to be annual Photo -Art contest sponsored by Mademoiselle Gymnast magazine , in conjunction with the Collegiate Women 's Gymnastic Championsh ips.

Plans are underway to make this an event of national scope , originally insp ired by Herb Vogel, coach of SIU and Glenn Sundby, Mlle. G. publisher with the thought, to set down graphically a permanent record of artistic gymnastics.

In this first year contest Herbert L. Fink received top honors in the faculty division and Werner Mertz first place for the student division.

Entries for the 1968 contest will open January 1st, 1968 and close March 1st in order to determine win路 ners and placers for inclusion in the Program and display at the 1967 WOMEN'S COLLEGIATE CHAMPION SHIPS. Judging rules, awards, etc. will be published in a coming ed ition of Mile G. All entries should be sent to: MLLE G - COLLEGIATE ART & PHOTO CON TEST, c/o Mr. Herb Vogel, Women's Gymnastic Coach, SIU, Carbonda le, Illinois 62901.

Herbert L. Fink, is a leading U.S. artist of note , the chairman of the SIU Art Department and Director of the SIU Gallery. His interest in the use of gymnastic studies was developed through the commission to develop a cover for the 1966 Collegiate Championship for Women souvenir program . The originals are presently being displayed in New York City at a price range of $300 to $600 each. 路7路

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SIU Coach Herb Vogel and Athletic Director Dr. Boydston present awards to the All-around and Special Event winners of the 1967 Women's Coll egiate Championships duri ng the banquet following the final competition.

THE 1967 COLLEGIATE GYMNASTIC CHAMPIONSHIP FOR WOMEN

By Glenn Sundby Southern Illinois University, the grac Ious host to the 1967 collegiate championship ro lled out th e "red carpet" to its visitors and too, roll ed on to its 42 con secutive victory and 3rd Collegiate Championship team title.

This MG editor covered the "co llegiates" live this season finding the "rumored " success of the 1966 version hard to believe.

But "seeing was believing", in fact during my vi sit during the week preceeding the meet . someon e stuck

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a paint brush in my hand and I learned first hand what they mean by gym nastics-Southern Style. Hard work, long hours, and attention to detail-the result was apparent to contestants, coaches, officia ls , and spectators.

It was, as publicized and previously reported, "The Prestige Event" of Women's Gymnastics-it was fast moving, alive with action and modern in its effort to meet the needs of both the participants and the spectators. It was a " masterpiece of organization".

Floor Exercise: Janie Lively (Cent.),. Gail Daley Beam: Linda Metheny and)anie Speaks (Cent.)

Speaks (Cent.) 9.25, Linda Metheny (I U), Karen (SIU), Mary Toth (SIUl, Joann Hashimoto (SIU). (lU) 9.10, Sue McDonnell (Cent.), Gail Daley (S IU) tie, Mary Toth (SIU) Jan is Dunham (S IU).

Vaulting: Janie Speaks (Cent.) and Judy Will s (S IU) 9.3, Linda Methenv (lUl, Sue McDonnell (Cent.), Donna Schaenzer (S IUl, Karen Lively (~ent.)

Bars: Sue McDonnell (Cent.) 9.250, Donna Schaenzer (S IU) Gail Daley (SI U), Joan n Hashimoto (SI U), Janie Dunham (SI U), Mari Woolner (Cent.) .

The "Collegiates" conducted in Class A-Champion ship and Class B-Intermediate Divisions posting a record entry of 65 women and over a dozen team s clearly depicted the intense growth of collegiace women's gymnastics across the nation_ A total of 5700 spectators attended the 3 session competition staged by host school Southern Illinois University, whose attenti路on to organizational detail was exceptional, created a sports-entertainment spectacle that was both a healthy-memorable experience for the contestant and an impressive presentation of the grace and beauty, that is women 's gymnastics , to the avid SIU gymnastic fans _

Ali Around: Donna Schaenzer (SIU) 35.95, Sue McDonnell (Cent.) 35.45, Linda Metheny (U. of III.) 34.70, Janie Speaks, (Cent.) 34.45, Joanne Hashimoto (SI U) and Karen Lively (Cent.) 33.60.

Southern Illinois University

Centenary Coll ege of Loui siana ~""""'!""'I'I!P"III"JII'I!'JII!I!I!I""~

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The competitive organizational planning committee structure involved nearly 200 peop le, all keyed to serve the jud ges-offic ials , contestants-coaches, and the spectators in a manner which they hope wi ll become practice, not the exception , in national gymnastics _ Th e two preliminary competitive sessions ran two hours each which the Class B-Intermediate Competition was completed and advanced the top-ten finalists of Class A-Championship Division to the Saturday night finals_ The finals, with presentation of awards and ten positions in each event in dividual ly presented to the spectators and judges, who was completed in two hours_ Backed by the " swinging sounds" of th e SIU Saluki "Pep" Band , the massive master score board , the crimson and silver of the award platform , the special lighting effects of the multi-million doll ar SIU Arena set the stage for exceptiona l performances of the contestants and a memorab le experience for all involved _ Southern Ill inois University successfully defended its third consecut ive Collegiate Championsh ip team title , with Centenary Co llege of Louisi ana becoming "bridesmaid" for the second year. Each team was highly trained and produced polished "international class" performances by its members. The edge that SIU has is team balance in all events.

SIU's Judy Wills set the pace for the Saluki team with gold medal victories in trampoline , tumbling , and horse vault. Donna Schaenzer, the Collegiate All Around Champion of 1965, regained the 1967 Collegiate All Arounc;l Crown.

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Janie Speaks of Centenary, battled an exceptionally strong field of Floor Exercise finalists for the title in that event. With Linda Metheny, of the University of Illinois and Sue McDonnel of Centenary capturing the "Collegiate Gold" in Beam and Uneven Bars respectively.

Meet Direction is credited to Miss Jackie Puhls of the Women's Physical Education Department of SIU and WRA gymnastic sponsor. Other Women's Physical Education Staffers charged with chairman responsibilities were Miss H. Posgay-Hospitality and Pageantry, Miss S. Davidson-Registration and Eligibility, Miss J. Bartlesbarger-Administration and Miss C. West-Finance. Physical facilities and arrangements were coordinated by Dean Justice, Arena Director and Mr. M. Goegler, SIU Asst. Gymnastic Coach .

A special judging clinic was conducted by Mrs. K. Kjelsen , DGWS representative from the University of Massachusetts assisted by Mrs. J. Bachna and Mrs. G. Cocco, of the U.S. Women 's Olympic Committee.

Twenty-four working judges were employed in the conduct of the competition .

Now for 1968. Host coach Herb Vogel , chairman of the organizational committee structure, requested that the participating universities develop an "evaluation " committee. Such a committee has been officially established and shall henceforth be known as the

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"Advisory Board" of the Collegiate Championships.

Miss D. Pearson, of the Women 's Physical Education Department of Western Illinois University, Macomb, Illinois, was elected chairman of the Advisory Board for the 1967-1968 school year.

Three major issues worthy of inclusion in this re-

port were discussed and voted upon at the Advisory Board initial meeting.

1. Southern Illinoi s University requested to host the 1968 Collegiate Championships. SIU accepted the re sponsibility and the date for the 1968 competition has now been established for March 29 and 30 , 1968.

2. Team Scoring in the Ch ampionship Division shall be based upon "raw scores ," earnednot point-placement scores. This will allow equitable team scoring and ranking of al l teams in the competition.

3 . That the trampoline and tumbling events shall continue to be a part of the collegiate championships , and points (raw scores) , earned shall be counted for team ranking.

Participating Colleges/ Universities Centenary College of Louisiana; West Chester State Teachers College , Pa. ; University of Washington , Seattle; University of New Mexico; University of Massachusetts; University of Illinois; Highline College, Seattle, Washington; Southern Illinois University; University of Louisville, Kentucky ; Ken t State University, Ohio; Western Illinois University, Macomb , III. ; New York University; University of Missouri , Columbia ; South West Missouri State.

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WOMEN'S COLLEGIATE CHAMPIONSHIPS APRIL 7-8, 1967 - SOUTHERN ILLINOIS UNIVERSITY Class A - Championship Division Team : Southern Illinois University, Centenary College of Loui siana, Univers ity of New Mexico, Kent State University, Highl in e College, University of Washington and University of Massachuetts, ti e.

All Around: Donna Schaenzer (S IU) 35.95, Sue McDonnell (Cent.) 35.45, Linda Metheny (U. of III.) 34.70, Janie Speaks , (Cent.) 34.45, Joanne Hashimoto (S IU) and Karen Livel y (Cent.) 33.60.

Vaulting: Janie Speaks (Cent.) and Judy Wills (S IU) 9.3, Linda Metheny (I Ul, Sue McDonnell (Cent.), Donna Schaenzer (S I U), Karen Lively (Cent.)

Beam: Linda Metheny (lU) 9.10, Sue McDonnell (Cent.), Gail Daley (S IU) and Janie Speaks (Cent.) tie, Mary Toth (SIU) Jan is Dunham (S IUl. Bars: Sue McDonnell (Cent.) 9.250, Donna Schaenzer (S IU) Gail Daley (SIU), Joan n Has himoto (S IU), Janie Dunham (SI U), Mari Woolner (Ce nt.).

Floor Exercise: Janie Speaks (Cent.) 9.25, Linda Metheny (lU), Karen Lively (Cent.), Gail Daley (S IU), Mary Toth (S IU), Joann Hashimoto (S IUl. Trampoline : Judy Wills (SIU) 9.0, Nancy Smith (S IU), Sue Rogers (SIUl. Tumbling: Judy Wills (SIU) 9.55, Janie Speaks, Sue Rogers (SIU).

Class B - Intermediate Division All-Around: Kristi Barkheimer (SI U), Sue Eichorn (S IU), Nancy Tkac (SI Ul. Vaulting: Lori We sa (S IU), K. Barkheimer (SIU) and Muriel Decker (NYU) tie, Sue Eichorn (S IU), Nancy Tkac (SIU), Mary Dehnert (S IUl. Trampoline: Carole Najowski (S IU), Lora Wesa (S IU), Camille A..nderson (SW Mo. St.).

Balance Beam: K. Barkheimer (SIU), Nancy Tkac (S IU), Camille Anderson (SW Mo. St.).

Uneven Bars: Sue Eichorn (SI U), Kristi Barkheimer (SIU), Lori Wesa (SIUl. Free Exercise: Sue Eichorn (S IU), K. Barkheimer (SI U), Carole Najowski (SIUl. Tumbling: Lori Wesa (SIU), K. Barkheimer (SIU), Carol Najowski (SIUl.

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THE EXTREME RANGE OF A FLUCTUATING QUALITY . . .

The Dortmund Uneven Bar Exercise of Doris Brause look into the specifics of Doris's routine. The little figures were layed out after a thorough film-drawing session from an original German film loaned to us by Nissen Corp. The numbering and lettering are for your convenience and we shall allude to these throughout the body of the article. To be sure, the drawings are not perfect (Ex. between 75 and 76 the arms should be extended as shown on p. 14 of the M.G. for December, 1966.) but they will permit you to concentrate upon the totality of the exercise.

Since we have observed at least one recent meet where certain participants have attempted to emulate the Brause style (Pan-Am trials, ryiinneapolis , 1967), it should be useful to first examine the routine as an integrated whole and then comment on other noteworthy details. (See Mlle. G. May-June, 1967 for an analysis of the learning procedure for the cast, somey catch. The drawings presented were from the actual films.)

The style-setting Dortmund (Germany) performance of Doris Fuchs Brau~e has been a topic of conversation for interested gymnasts the world over, Gymnastic periodicals of a foreign origin have contained a variety of articles, both political and poetic, treating nontechnical aspects of the Brause performance, Herb Vogel's very apt description , "Doris Brause swings bars," best describes for English speaking Americans the heart of the theme of the Brause routine, Another equally descriptive phrase, "The extreme range of a fluctuating quality ," is donated by Webster.

This is the dictionary definition of "amplitude". These phrases only serve to. wet the appetite, however, and one is naturally led to think, "I want to see for myself," Technical articles on the Brause routine are not available; films are equally hard to come by, It was due to the kindness of the Nissen Corp" whose personnel are always ready to cooperate in gymnastic projects, that we are able to give you the first inside -19-

The only possible time where she may have held the low bar with both hands and feet comes between numerals 61 and 63 . I strongly suspect that if you were to ask her about this she would say there was no simul · taneous contact at this point. The film provided no clear evidence except that the contact was very, very momentary if it existed at all.

Upon closer examination we find the Brause rou· tine similar in part to that of Katalin Makray of Hun gary who won the silver medal for her bar effort in Tokyo. At the time the Makray sequence was published in the Modern Gymnast (7 ·8/ 65, pp. 18·21) several authorities expressed their approval and commented on the creative aspect of her work which included a free hip from the low bar to a free rear (kidney) sup· port on the high bar. (See figures 45-49) Doris chose a kip, immediate cast to achieve much the same position.

The front hip circle plays a prominent role in the execution of the Brause routine. It is the kind of move· ment that must not be used for its own sake but rather to provide the impetus for a powerful, swinging cast.

Doris used the front hip circle three times in Dortmund and each time it was used to provide casting action . (G, A-I and B-1) She needs an exceptional cast for the cast somey catch (28-32). Then in sequence 57-60 the front hip circle is noteworthy in two ways.

First , it is done out of a long hang and provides wei· come relief from the overdone wrap·around which she

One very definite impression of this writer, whose first contact with the routine was the film , is that it is quite possible that the judges did not know exactly what they were seeing. If th is seems to be a naive con · cept, we can only suggest that other experienced teachers have expressed the same opinion when they had seen the exercise. for the first time. So much is thrown at you at once that it is difficult to remember the whole of it.

An interesting feature of the exercise is the admir· able quality that Doris exhibits in her avoidance of the low bar as a "perch. " In a majority of uneven bar exercises , you will observe the low bar used as a rest · ing place. The most extreme kind of rest involves the simultaneous use of feet (or thighs) and hands to generally prepare the body for a movement which uses the low bar as a propelling, spring board device. (Bounce hip pullover, back straddle catch, straddle up to handstand , double rear in etc.) A much earlier interpretation of uneven bar work included a pose-pause on the low bar but this has all but disappeared. If the direction in style is away from rests of all kinds on the low bar, then we can say that Mrs. Brause turned the trick.

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does not use until she performs her familiar hecht dismount. (E-1) The second factor is that this front hip circle is once again used effectively to provide casting action, in this case a cast to a free stand on the low bar, immediate half turn whereupon she uses the last of her front hip circles to provide the impetus for the handstand , pirouette and finally hecht dismount. None of the girls at the Pan-Am trials were able to show th is latter handstand movement with anywhere near the degree of amplitude that Doris and some of the Japanese performers have been able to achieve.

We can safely predict that a greater use of the front hip circle will be seen in Mexico.

Are you annoyed by the absence of the Eagle catch in the Brause routine? Have you ever had the feeling that typical optional exercises on the uneven bars, yes even on an international level, are simply another kind of compulsory. The stock elements may be shuffled about in a number of interesting ways perhaps but they are there nonetheless. It is very refreshing to see a creative piece of work that defies the conformity of the Eagle catch , the superfluous kip and the wraparound. The Eagle catch is an authentic difficulty because of the release of the hands. But, it is not really difficult to learn . Many intermediate level gymnasts master this movement. It takes an Ashtokava to get in and out of it creatively, however. The Eagle catch, more often than not, produces a stranded performer who must rely on an inferior movement of a definite pause in support in order to disengage. It is easy to prefer interesting turns for example. The back-to-back full turn catch movements of Caslavska or indeed the Brause triad of turns are preferable. (See 36-39; 56-58; 69-70) Both of the Brause glide kips were exceptional because of the ways they were combined. The first (12-19) is done from a drop from the high bar; the position achieved in 19 is seldom shown. As a result , the latter position has been the subject of several published photographs in foreign journals due to the unique extension on the low bar where the body is parallel to the floor. The second kip begins with a glide in one direction and then the very difficult turn to glide kip. This sequence also begins with a drop from the high bar. There are no "cheap" kips in the Brause routine. The balance between kips and movements from a cast may result in a major change in the approach to bar work. We will watch the Mexican performances for a trend in this direction.

We have already alluded to the difficulty of Mrs. Brause's exercise. Specifically, her four difficult re leases and her mount account for more than enough to qualify the exercise. In addition, her execution was superb. Consider the graphic representation of the exercise in Fig. 2. This shows the limits of space

through which Doris Brause's center of gravity travelled during the course of her exercise. Compare it with a ,; imilar graphic representation of a Caslavska composition (Fig. 3) or for th at matter make some of your own graphs using Makray , Koutschinskaya , Ikeda , Latynina and others. It is likely that the graph for Brause will exceed the limits of the others and we repeat , "The extreme range of a fluctuating quality." The fluctuating quality is the gymnast ; the extreme range is obvious! All but one of her turns could be rated as superior difficulties.

A short note on the mount . .. this is possibly the part that the human camera can miss when first seen . It is basically a back up (rear uprise) movement leading to another movement, a hip circle backwards to an immediate push off to long hang with a drop to glide kip. This movement compares favorably with Caslavska's rear up, full twist, catch , immediate drop etc. The fact that Doris achieved the level of the high bar from her back up movement leads one to ponder whether she will in the future use this very sequence as a dismount converting the hip circle to a free hip to handstand, hecht off. It's possible. At any rate we will predict that rear uprise movements using the low bar to supply the impetus will be many and varied in the future.

Doris Brause was not one of those who competed for the United States in the Pan American Games in Canada. We hope this will not have a bearing on her possibly making the Mexican Olympiad. If she does she's going to bring home a medal and a title that ha~ gone too long unsung.

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At left is a tracing of the outer limits of the center of gravity of the Brause routine. At right contrasting the Brause routine (dotted line) with Caslavska.

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Fig. 1

BALL GYMNASTICS From time to time we hope to bring you a semi continuous series of articles on ball gymnastics. In the first of these and those to follow in the future , we will concentrate on fundamental procedures. Be路 ginning work, regardless of the age of the participants, should follow a logical sequence of activities.

The demonstrators (Paula and Mary) are young. But they exhibit characteristics of girls who have not had previous experience. As we discover the weaknesses of these two little cha rmers, we can devise activities and articles which shou ld parallel your own efforts in this activity.

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There are probably very few little boys in the United States who have not had an opportunity to handle a ball by the time they enter Kindergarten. Due to the nature of our national sport of baseball and the tremendous influence of basketball, little boys in particular play "catch" with their dads and are seen imitating the Big Leaguers they see on T.V. (The sequence pictures show a typical first grader and a Little Leaguer throwing a ball with an overhand pattern.)

Girls also exhibit an interest in our national sports. They too may play "catch" with dad. But there is no social pressure placed upon girls to enter the Little League for example and only occasionally do we see a varsity emphasis on girl's basketball. Thus in the first grade, ball handling experience for most girls has been minimal when compared with that of most of the boys. Primary school children are never ready for the complications of typical American team sports. Any of the lessons on ball handling they might receive while in the first three grades should be helpful to both boys and girls.

Ball gymnastics is especially appropriate for girls. It is quite likely that girls will not be interested in baseball or basketball as they reach high school age. Only a few of them will become lifelong "fans" or participants. Ball gymnastics offers an outlet for adulthood. This simply means that with proper training, both mom and dad can influence their children to take part in some sort of ball work regardless of its nature.

It is very unlikely that dad will want to do more than work with the 路 typical team sport skills. Mom, on the other hand, could make a unique contribution to her daughter's grace and carriage because of the kinds of activities she has encountered 1n ball gymnastics. There are two sides to consider . . . the masculine and the feminine; both are valuable for young children. Since the typical mom in our society just doesn't know or recognize her role in ball handling, our emphasis for both boys and girls has been strictly masculine in nature. It is to this task of establishing a reasonable balance, that we have begun this series.

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There are two basic considerations in ball gymnastics. The first has to do with the fundamental movement skills of the learner; the second has to do with the physical characteristics of a ball. In other words, "What can I do?" Then, "Now that I can do it, can I do it with a ball?" The subject of ball work is of prime importance for our purposes here but we should remember that fundamenta ls of movement are necessary prerequisites for ball routines and we cannot expect anything near the kind of performance we might have witnessed from a touring Scandanavian gymnastic troupe. First the body, then the ball is the philosophy. We will occasionally refer you to certain weaknesses which crop up in the photographs we choose for these articles. You will note for example in the photos accompanying this article that Paula (the taller girl) does not make proper use of her legs. Mary on the other hand imparts unequal pressures to the ball. (See Graph-check sequences of the girls.)

The Ball Since the properties of a ball are much easier to describe than the infinite variety of things that a person can do with one, let us first examine the ball itself. We shall use a medium sized, playground ball with a mottled surface for a better grip.

There is a special ball designed for ball gymnastics, but until very recently American manufacturers have not produced the European ball used for ball work as it is described here. Our playground ball is light and approximately the size of a volleyball. It is inexpensive enough to purchase in quantity. To conduct your class in ball gymnastics properly, every child must have a ball. Let's examine the properties of a ball.

Note: The categories below were originally described in an article by Waneen Wyrick entitled "Purposes and Usefulness of Balls in Creating Rhythmic Exercises."

(The Physical Educator, Oct., 1966 pp. 120-122) 1. Trajectory-By trajectory we means the path of a ball in flight. This path is governed by a set of variables. (See Fig. 1) a. Length of Trajectory-Actual measurement of length. Fig. 1 shows a variety of lengths. b. Direction of Trajectory-Up, down, in out, etc. c. Shape of Trajectory-Wide, narrow, etc. d. Impetus of Trajectory-Throw, kick, head In Fig. 1 you will note some of the trajectory possibilities and you can easily deduce from these diagrams some of the ways that a performer might impart force to a ball to result in a variety of shapes. Children find out very quickly that a ball

Bouncing: Mary (left) shows more leg flexibil ity as the girls bounce the balls with one or both hands . Both girls seem to be using light pressure with their hands as they bounce the balls.

E.

F comes down in the same kind of curved path that it takes going up. (Disregarding the possible influence of wind.) The shaded portion of Fig. I-A is equal to the unshaded portion.

Children can be led to discover th is principle of trajectory in a negative way if the teacher will ask them to throw a ball which will assume the path shown in Fig. I -H. When they find it can't be done, the children will rationalize other possible explanations for the ball's trajectory, often discovering the truth of the matter.

2. Bounce A ball selected for ball gymnastics should have a good bounce. The ball might also be used as a type of percussive "instrument." A bouncing ball establishes a series of beats which get increasingly faster until it finally comes to rest after rolling a short distance. If music is used, children may bounce a ball in such a way that the bounce coincides with the strong beat of a march or waltz. If you wish to learn something of a student's ability to pick out a strong beat, have the class sit on the floor holding the ball securely with their legs. Then the children will attE'mot to strike the ball they are holding on the strong beat or "down beat." By varying the speed of a phonograph you will be able to see whether or not individual children perceive the rhythm established by the music.

activity is minimized when sufficient numbers of balls are not available.

For example, if you want a class to bounce the balls, simply tell them so. Then, while everyone is bouncing a ball you make your rounds looking for weaknesses and opportunities to challenge those who are more adept. During brief periods of rest, you make suggestions to the whole class or perhaps invent some partner activities.

The photographs accompanying this article show reactions of Paula and Mary to suggestions which were primarily taken from an elementary gymnastic text by Diem entitled WHO CAN . .. ' As quoted from the book some of the suggestions were given as follows: "Who can throw the ball and catch it?

Who can throw and catch while running without slowing down?

Who can catch without making a sound?

How do you wind up to throw far?

How do we catch most easily?Arms straight or bent?

Who can clap his hands just before catching?"

3. Roll A ball will roll in various ways when given impetus from the hands and feet. Making a ball roll without any sign of a bounce is a skill that should be practiced by beginners since it involves a smooth movement and good stretching quality.

4. Spin A knowledge of ball spin can be learned through ball gymnatsics. When your students combine various spins with bouncing they learn to recognize these ball spins which are important in games such as tennis. The use of spin can also provide some interesting variety in ball routines which a class can work on later on.

With these qualities in mind, you may begin to plan specific lessons with balls that are elementary in nature. At the beginning stages it would be wise to let the discovery style of teaching predominate_ Let children find out about these things on their own while you make suggestions to guide them. If you get too specific in the beginning stages, you cut down on the active minutes children need almost in the same way that

This series of suggestions represents just one of eight sets given for one lesson. As you might suspect, certain difficulties cropped up during the course of the lesson and all eight categories were not completed. This is good. The teacher notes the difficulties as she observes them. Then she attempts to design suggestions which will lead to an improvement of discovered weaknesses.

In Figures 2-5 you will see the girls tossing the balls in various ways. Suggestions were given in static and moving positions. In Fig. 5 for example, the girls toss the ball while running and attempt to catch it after it has bounced one time.

The girls exhibit consistant traits in these pictures. While tossing a ball, Paula (taller of the two) shows greater freedom. In Fig. 3 her ball goes out of the picture. We will find as we go along that Mary will need to loosen up a bit to provide an even push with the hands. We may need to "tame" Paula a

Practice with Balls: Paula (l) shows no leg movement in her throw while Mary, who shows better form, has given more impetus with her right hand resulting in the ball descending to her left. Since Paula is less flexible, her catch is more abrupt than it would be if she would bend with the catch.

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bit, however, if she continues to throw with com'plete abandon. . (The girls did not attempt to pose for these pictures. You will notice a beanbag on the floor in the foreground. The camera was focused on this point and the girls were encouraged to move around the floor. Occasionally they passed the beanbag and were snapped at that point.) 路In Figures 6 and 7 the girls are simply carrying the ball while walking and running. They had a little trouble with hopping and skipping when they used only one hand. The ball is too large for them to grip it securely so they must depend on balance. Mary shows more security during the running aspect. Note the tension in Paula's hand. As she gains more security, this should vanish.

Bouncing was the theme when Figures 8-1 0 were snapped.

The tension in Paula's hand still signals that she is a novice.

We do observe that she is using her finger tips to bounce the ball which is one objective. In Fig. 9 Mary's hand is obscured

but she seems to be more in control. The girls were given directions to control both a high and a low bounce using one or both hands. Note that the girls continually look at the ball.

They have not developed enough skill or perception to do otherwise. In the sequence picture showing bouncing, Mary looked up once to smile and immediately lost control of her ball. She is shown almost missing the ball with her right hand.

Some rolling suggestions were given to the girls. Rolling with the hands shown in Fig. 12 was generally well done. In future lessons we will encourage more graceful rolling by employing a wide sweep of the body. In Fig. 12, Mary is releasing the ball with both hands. The girls are using their feet in Figs.

11 and 13. The improper use of the foot may be detected in Fig. 13. Mary should attempt to contact the ball with her instep instead of her toes. Pointing the toes will establish a more graceful line. The use of the instep will result in greater control, as in soccer, and the I:(irls will find that they will be able 9

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employing some of the elements they have been practicing, you should applaud and encourage such an outgrowth.

As a last suggestion, you might try the following activity with your beginners regardless of their age. Have them toss the ball into the air so that it is fairly high and have them respond to the action of their own ball as it bounces, spins, rolls and finally comes to a stop. Perhaps they will clap when it hits the floor. They may roll over when it ceases its bouncing pattern. They will stop when it does. If there is a.dequate space and the surface (indoors or outdoors) is fairly flat, they should be encouraged to follow their ball without touching any of the other participants.

In our next article on the subject of BALL GYMNASTICS we will offer a routine for those of you who have had basic experiences.)

to lift the ball from the floor as it rolls towards them when their legs are fully extended. In Fig. 14 Paula attempts to leap over a rolling ball.

Little work路 with rhythm has been attempted thus far although we have used music to observe whether or not the girls automatically adapt their movements to specific tempos.

We found that they did.

Ball gymnastics will eventually result in a group exercise where the movements of all participants are in harmony. You should not expect this type of work to develop until fundamentals of ball handling, rhythm and body movement have been mastered. We would suggest, however, that children be encouraged to discover and use sequences of movements with balls when they are ready for them. The development of sequences is all that is usually needed to keep above average students interested in their work. Similarly, if two or three girls decide that they would like to design a sequence of skills in unison 11

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Diem , Liselott , Who Can . . . Chicago: Ge orge Willioms College, 1957.

Original German te x t pu b lished by Wilhelm Limpert , Frankfurt on Main, 1955.

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By Helen Sjursen

FLOOR PREPARATION FOR CARTWHEEl ON BALANCE BEAM

Fig. 1, 2, 3. Start the execution of the cartwheel leading with left arm, in the normal manner, over a line on the floor.

The right leg should kick up only hard enough to get you into a straddle handstand position with body weight balanced over the arms. (A regular fast cartwheel on the floor causes the movement of the hips to go beyond the point ne~essary for a momentary straddle handstand.

Fig. 4. Bend to the side at waistline, allowing right foot to come close to right hand (with hips high) on floor line. If your foot does not land on the line, this indicates that you have fallen off the beam. Try this part with your eyes closed. Since you can sense where your hand is, try to make the toe of the

Fig. 1

right foot touch hand. If you can do this part with your eyes closed, you certainly can always make an accurately placement of the foot with eyes open.

Fig. 5. End this preparation by coming to a stand, balanced only over the right leg. Left leg remains extended rear-upward off floor. .

When you can successfully do this preparation ending the cartwheel in a stand, balanced over the right leg only with foot on line, you are ready to try it on the balance beam. The preparation for the cartwheel should be executed slowly for accuracy at first. Then build up to the normal speed of a cartwheel.

Fig. 2

Fig. 3

Fig. 4

Fig. 5

FLOOR PREPARATION FOR HEADSTANQ ON BALANCE BEAM Fig. 1. Execute a handstand in the usual way on the floor.

Then shift hands inward, one at a time, until thumbs are touching-hold. If you can maintain balance, you are off to a good start.

Fig. 2. Start from a lunge position, right leg bent in front.

Fig. 3. Place hands on floor with thumbs touching, right knee between arms, place head on floor in front of hands.

Fig. 4 Raise left leg . as high as possible, at same time straightening right leg. DO NOT SPRING OR PUSH OFF RIGHT LEG. The right leg will feel very light, after it is straightened, since by this time, the hips have been raised high enough (along with the raising of the left leg) to transfer the body weight over the head and hands.

Fig. 5 Raise right leg to join left and arch back. Be sure to keep some body weight over the hands to prevent on over balance. (If you are able to lift your hands off the floor with ease, this means that the head is carrying the full body weight and chances of arching over are greater). If an over balance occurs, tuck head in (bring chin to chest) and bend at hips at same time rounding the back for a smooth roll out.

For extra floor practice, lie on the floor on your stomach.

Place. hands on floor under chest with thumbs touching. Raise hips, then legs, to the headstand position-hold.

When you have full control of balance in practicing the above described headstands, then you are ready to try it on the beam with amazing results.

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路 FLOOR PREPARATION FOR HANDSTAND V4 TURN DISMOUNT Fig. 1, 2, 3. Cartwheel to a handstand position, placing hands on a line on the floor at positions A & B (corners of an imaginary square).

Fig. 4. Transfer body weight momentarily over left arm by taking right hand off floor and moving it sideways parallel to floor as body executes (in arched position) a % turn to left.

Fig. 5. Because of the lack of height, the knees and hips are quickly bent in order to arrive in a squat position. If feet hind .to the inside of line A & B within the square, then you know you would have cleared the balance beam on descent.

Movements in figure 1 to 4 should be learned well on the floor before trying them on the balance beam. You must be sure your legs will be able to clear the beam after the % turn.

When dismounting from the balance beam, the knees should not bend until feet contact the floor.

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FORWARD ROLL MOUNT ON THE BALANCE BEAM 1. Can you execute a forward roll on the balance beam?

2. Do you start with a top grip and shift to an under grip when the back of the neck contacts the beam?

3. Do you keep your legs in perfect form as you take the roll, legs together, straight, and toes pointed?

4. Do you get yourself back over the center of balance should you roll slightly off balance?

If the answers are all "yes", there is no reason why you cannot learn the "forward roll mount" at the end of the balance beam. Let's take it in steps to analyze the movements.

Fig. 1. Place a Reuther board (take-off board) at the end of the beam. Take a few running steps and the hurdle step (in preparation for the take-off) and when the two feet contact the take-off board, arms extend forward and hands are placed in a top grip on the beam. Jump to a piked position only, and drop back to the take-off board.

When practicing this preparation, you must make sure that you run in a straight line towards the end of the beam. When piking, raise the hips high, upward and forward (towards beam) enough so body weight is carried fully over the arms. Then drop back to the take-off board. Do this piked jump several times. Arms should be straight during this preparation. When actually going for the forward roll mount, the arms will not be fully extended.

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Fig. 2

I normally use the Reuther board for this mount, but there have been times when it was being used for vaulting. The gymnasts, at first were reluctant to practice the mount without the take-off board until they were made to realize that the most important thing to remember on take-off is to jump high enough and inward enough to get the body weight over the arms. This also results in the gymnast taking the mount at various heights (minus the board, a stronger push-off needed) which is good experience for the gymnast.

Fig. 2. ' After the take-off, tuck the head in (chin towards chest) bending the arms so piked body can be lowered towards the beam.

Fig. 3. Continue to bend the arms so the back of the neck contacts the beam first, keep hips high (momentarily), increasing the bend at the hips and instantly changing to an under grip, press fore-arms against sides of beam. (DO NOT BREAK FORM WITH THE LEGS AT THIS POINT.) By keeping the hips high and increasing the bend at the hips, the sudden drop of the hips to the beam is avoided (pulling up on the under grip will also help), thus giving more time to correct any side off-balance, if any, by pressing of the fore-arms against the sides of the beam. When in the position as shown in Fig. 3 (hips off beam), slowly shift your hips to the right, or left, remembering to press the fore-arms 路 against the sides of the beam, and you can prove to yourself how far off-balance you can go and still correct the fault and complete the roll without falling off the beam, providing you keep your legs in strict form , straight, together and toes pointed. Lower back and hips to beam and you are now in a position to continue on with your exercise.

The spotter stands close to the side of the beam where the mount is to be made, facing the gymnast as she mounts.

After the head has been tucked, grip hips as soon as possible, keeping them centered over the line of beam. Guide the gymnast so the center of the back rolls down over the center of line of beam. Should the trial go out of control, the spotter must immediately release the hips and grip the upper arm, or circle arm around waistline, pulling upward, to allow feet of gymnast to contact floor first. Normally, the gymnast will automatically roll sideways and drop to her feet if balance is out of control after the roll has been started.

This mount can be learned by a gymnast in one workout.

Fig. 3 -27路

UNEVEN BARS EXERCISE - ADVANCED

By Helen Sjursen Fig. 1. Facing low bar-squat mount, regular grip.

Fig. 2 to an immediate two leg squat through on high bar, under grip.

Fig. 3 & 4. fall forwar~ to the bent inverted hang Fig. 5 & 6. Shoot legs over low bar, release grip, regrip low bar in regular grip.

Fig. 7, 8, 9, 10, 11. Glide kip to a support position Fig. 12. Swing legs rearward to the free support position.

Fig. 13, 14, 15. Without body touching low bar, fall rearward (free hip circle) swinging legs under low bar and upwards between bars and over high bar, to pass through a leaning handstand position.

Fig. 16. Immediately push off low bar raising upper body to a rear sitting position on high bar, hands in under grip, straighten arms ra ising buttocks off bar.

Fig. 17, 18. Fall forward (passing through the bent inverted hand-feet low) place feet on low bar shifting hips over low bar, release grip and regrip low bar in regular grip.

Fig. 19, 20. Fall rearward passing body under low bar. Upon rising between the bars "kip" (do not extend body) and straddle the legs catching the high bar in a straddle bent inverted hang.

Fig. 21, 22. In this position, turn 1/ 2 turn (180째) to the right (look for the low bar) and extend right leg over the low bar, straighten upper body and release.

Fig. 23. Drop to the low bar, hands in regular grip and fall rearward Fig. 24. As the body is rising upwards to the outside of low bar, straighten the right leg (split legs) Fig. 25, 26, 27, 28. Execute a knee rise to catch on high bar, swing left leg side-upwards bringing foot to high bar, then lower to join right leg (rear lying position) Fig. 29, 30. Kip to support on high bar Fig. 31 , 32, 33. Forward Roll to support.

Fig. 34, 35, 36, 37. Cast out, to back hip circle and "baby corkscrew." (Baby corkscrew-When executing the back hip

circle, on rising, pop off low bar making one full turn to catch high bar) Fig. 38, 39, 40, 41, 42. Drop grip to low bar and glide kip to a support.

Fig. 43, 44, 45, 46. Swing legs upwards towards under side of high bar, push off low bar tucking head between arms (chin towards chest), straddle legs and catch high bar between legs to arrive at a straddle bent inverted hang. Keep legs str;lddled and lower legs between the bars, swing legs rearward and join legs.

Fig. 47, 48, 49. Pike and place feet against low bar, pull through and arch, bend one knee and raise leg. Lower bent leg back to low bar, straighten to a standing positio{1. Adjust grip to the under grip.

Fig. 50, 51, 52. Pike and spring from low bar tucking head between arms passing through the bent inverted hang. Release left hand extending the body rearward, away from low bar, making one full turn of body and regrip high bar-Corkscrew.

Hands are in mixed grip. Extended body is parallel to floor as turn is made.

Fig. 53, 54, 55, 56. Swing legs under low bar and upward, swing legs rearward, Pike, place feet on low bar and pull through to a stand on low bar.

Fig. 57. Jump to a rear support position, regular grip.

Fig. 58, 59, 60. Fall rearward casting out (German cast), release grip and fall into the low bar.

Fig. 61, 62, 63. Execute a front hip circle to catch on high bar.

Fig. 63, 64. Swing legs forward and over low bar to the rear lying position.

Fig. 65, 66. Kip to a support. .

Fig. 67, 68. Swing legs rear-upward to a handstand position.

Fig. 69. Pike "tucking" head between arms (Yogi handstand) Fig. 70. Extend legs upward and over low bar dismounting to the floor.

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We would like to extend this SPECIAL OFFER to our readers that were unable to attend the AAHPER Convention and visit our display booth. If your 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 potenti al subscriber . . . then order now while we still have a supply on hand . Send one dollar (plus 30c in coin or stamps to cover postage) for each packet you order.

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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 R"eslaenl: 'Add 4% Sales Tax MG STAMPS Box 777 Santa Monica, California 90406

NEVER a compromise on design or quality!

Always consult Nissen first! You choose gym equipment for its basic value. Equipment that works smoothly in every way, offers proven high level performance, and is built for long, tough service, usually gets your nod.

Why take a chance on an unknown quality to save a few pennies? Few schools or organizations do. In fact, more of them buy Nissen gymnasium apparatus than all other

brands COMBINED? For the most value, dollar for dollar, Nissen is always first choice.

Write today for our complete catalog.

NISSEN

CORP.,

930

-

27th

AVE.

S.W.,

CEDAR

RAPIDS,

IOWA

-"---SUBSCRIBE NOW TO

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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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l-Year @ $3.00 Foreign - $3.50 Per Year

0

2-Years @

$5.00

Please find $... .. . . . for Gift subscriptions to be sent to the names enclosed.

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