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NOTES FROM AN ASSOCfATE EDITOR ... Dick Criley VOLUME IX
MARCH, 1967
No. 3
CONTENTS NOTES FROM AN ASSOCIATE EDITOR Dick Cri ley 5 CHALK TALK ................................................ 6 THE STAMP AND GYMNASTICS ................. . Harry Johnson 6 CANADIAN REPORT ................John Nooney 8 GYMNASTICS IN PHYSICAL EDUCATION .... A. Bruce Frederick 10 Y-NEWS ...... ..................... ... <•• • Kenneth Hollis 11 RESEARCH AND FITNESS .... Dr. James Bosco 12 CARBON COpy ... _........................ Herb Vogel 14 WORLD CHAMPIONSHIP ROUTINE .... Laiho 16 LET'S GO ALL-AROUND ............ Art Shurlock 18 WORLD PROFESSIONAL TRAMPOLINE CHAMPI ONSH I PS .................................... 19 FRONT SOMIE ............................A. M . Myers 20 HELEN'S CORNER .................... Helen Sjursen 21 A COMPARATIVE STUDY OF THE PEACH AND THE CAST ..............Joseph M. Galli 22 PARALLEL BARS .......................... Don Tonry 23 CONDITIONING FOR COMPETITION ................ Dick Wolfe 23 HELPFUL HINTS .......................... Jim Farkas 24 FORUM ...................................... Don Millman 25 LETTERS .......................................................... 25 NOTES FROM A NEUROTIC JUDGE Roy Davis 26 MG SCOREBOARD ...................................... ... 28
COVER: Laiho of Finland (Sixth, Side Horse) who is featured this issue in our World Gomes sequence photos.
GLENN SUNDBY ............. ................... ............. Editor·Pu blisher ASSOCIATE EDITORS A. BRUCE FREDERICK .......... ....... ......... .................. Education
DR. JAMES S. BOSCO .. .... ........ ................ ........... ... .. Research DICK CR ILEY .......... ......................... ........................ .Statistics J 1M FARKAS .. .... ........ .... ......... .... ......... ..... ..... ..... . Instruction JERRY WRIGHT .......... ..... ........ .... .......... .... ......... Competition FRANK L. BARE .. ........ ...... ... .. ...... ................................ . USGF JESS ROBINSON .. ....... ...... ........... .... .... ...... ......... ... Trampoline ROY DAVIS ........... ............. ............... ........ ......... ..... ...Judging JACKIE KLEIN UPHUES ...... ...................... ........ ..... .....Women KENNETH W . HOLLIS ............. ....................... .......... ..YMCA KEN SAKODA ... ... ....... ............................ ..... ... _..Art & Desig n . INTERNATIONAL JOHN NOONEY ........... ......... ... ...... ..... .................. ...... Canada
THE M ODERN GY MNAST is published by Su ndby Pub licati ons, 410 Broadway, S a nta M o ni ca,. Ca l ifornia . Second cl ass postage pa id a t Santa M onica, Calif. Published mo nthly except Ju ly and September whi ch are combined w ith the prev IOUS m onth's issue. Price $5.00 per year. SOc Single copy : Subscri ption corr espondence, THE M ODERN GY MNAST , P.O. Box 611 , Santa M o nica , Califo rn ia. Copy ri g ht 19 67 © all rights reserv ed . by SUNDBY PUBLICATI ONS, 41 0 Broadway, Santa M oni ca, California . All pictures and manuscript s submitted become the property of THE M ODERN ' GYMNAST un less " return request and sufficient p ostage are included .
While the cat's away, the mice work harder. This issue of the Modern Gymnast is being composed while Editor Glenn Sundby is increasing our national coverage at the NCAA Championships, the Women's Collegiate Championships, and the USGF Open Championships. This again is another late issue, but its publication is another step in trying to catch up with the calendar. Hopefully the April issue can follow without much delay. Without the usual editorial formality, here are a few observations which Mr. Sundby himself might noj: make in quite as pointed a fashion. First, some questions. What is the point of this magazine? Is it meeting your needs, fu lfilling a purpose? Why should we even bother when there is such little support from the gymnast himself? Why don't we drop this, include that, run more photo sequences, run le-ss clinic coverage-or what· have you? The Modern Gymnast and Playboy started out at the same time. You are all acquainted with the Playboy Philosophy but may feel that the only philosophy the MG offers is that of a crying need for more-more subscribers, more ads, more color, more money and so on. We trave solicited your subscriptions, articles, money, and opinions and have received a return-of sorts. To our faithful reade-rs, contributors, and supporters, we say we love you, but we must say more. It is this writer's opinion that the Modern Gymnast is not supposed to be a mere instruction manual or a handy format for a quick program, nor is it only a news and pub· licity·dispensing agency. These are all vital functions and all must be given their due weight in the makeup of the magazine. The purpose of the Modern Gymnast is to promote gym· nastics as a sport. In this country gymnastics has much to offer in the way of increasing our awareness of our physical capacities and how to use them, but like a voice in the wilderness, it is not being seen or heard. The grass·roots programs to promote gymnastics die aborning from a lack of communicable knowledge which does exist. Whether we get letters from Minnesota inquiring about the CIF programs in California or from youngsters in New England inquiring about camps and clinics, our response can only be the same. If we know about it, we can help. If someone devises a new technique in spotting or teaching, we'd like to let everyone know. But the Modern Gymnast can not go strictly educational nor strictly publicity and reportorial. Whether the New Yorker cares about a northern California clinic or the Cali· fornian about a gymnastics meet in South Dakota, we do care, and we try to balance our coverage for the greatest audience. In a practical sense, the only apology the MG need make is in its erratic publication output. A famous saying might be paraphrased to the effect that "You can please all of the gymnasts some of the time, some of them all of the time, but you can't please all of the gymnasts all of the time. " We do hope we have pleased some of the gymnasts .. * * * * The April issue will feature a review of the NCAA's by Jerry Wright and include photos and winning routines . . .. For those readers who have inquired; Yes, there will be an· other edition covering state high school championships. Get your results, winning routines, and action photos in to us soon as per the instructions in the MG Scoreboard.
THE STAMP AND GYMNASTICS PHOTO SET NO. 6 One probl em that will plague any stamp collector is the illogical and extensive is· suing of stamps. This is not common with gymnastics. The glaring exception to this is the set illustrated above. Dubai iss ued ten stamps for the 1964 Tokyo Olympics, all showing gymnas tics, even though the country did not participate in the Games. Readers familiar with Peter Rodwell's book on Gymnastics will recognize that many of the photographs from that publication are strangely similar to the illustrations on the Dubai stamps. Czechoslovakia issued a set of stamps in 1965 honoring various Olympic winners of years past. Among those hon· ored were Alois Hudec, 1936 still ring win· ner, and Vera Caslavska 1964 beam, vault· ing, and all·around winner. Descriptions: 1. Dubai #43·52 a. horizontal bar (#47, #51) b. long horse (#50) c. rope climb (#43) d. still rings (#48, #52) e. Swedish box (#45 ) f. balance beam (#49) g. men 's floor exercise (#44) h. side horse (#46) i. 18th Olympic Games (Tokyo, Japan) j. 1964 k. full set of ten stamps I. Imperforates and souvenir sheet exist 2. Czechoslovakia #1300, #1302 a. still rings (#1300) b. balance beam (#1302) c. honoring past Czechoslovakian Olympic winners d. 1965 e. two stamps in a set of seven
The, Bar and the Body
Next month: Stamps commemorating both European men's and women's champion· ships. Also a stamp portraying Friedrich Ludwig lahn, the fellow who really started this great sport.
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Patri~k McDonnell Cheetowaga, New York The high bar yields slightly as y.ou jump up and grasp it. While hanging there, you realize that it is time to start; it is time to put every muscle into action, time to command all possible stores of energy in your body. You begin your first stunt ; it is good, but no time to think of that now. Quickly and smoothly you glide into each succeeding move. Now you begin your giant swings; dizziness tries to dominate your brain, but you fight it off-you must fight it off. You dare not close your eyes although the urge to do so is strongly compellin g. You start to feel the tremendous friction caused by the unbelievable speed at which you travel around the bar. Your hands are aching ; the bar tears and rips at them. You must hold on. They burn now ; your hands are burning. The bar seems like a maniac, like a demon trying to shed an un wanted annoyance. But you must hold on. Around and around you go in endless and beautiful circles. You are succeeding ; you are conquering the bar and showing mastery of your body. It is time for your dismount now. Easily and cautiously you swing into position. At the exact, precise, split second, you reo lease the bar. Your body snaps into the air. The ceiling trades places with the floor; then the floor with the ceiling, And then, very abruptly and seemingly miraculously, you find yourself standing on your own fe et. It seems odd; you feel that you have transgressed into one exciting world and then back again. You feel wonderful. You canno t nam e what that feeling is, but it does not matter. As lon g as it is there, you will keep returning to that world of the simpl e·appearing, but very complex, high bar. AAHPER NATIONAL CONVENTION . At Las Vegas, March 1967. Upper right: Bob Richards addresses general session of physical educators. Upper left: Dick Zuber leads one of many gymnastic exhibitions at meetings. Exh ib itors include Sundby publications and many of our advertisers. Every year more companies find the AAHPER convention a more popular site to promote the growing sport of gymnastics.
FAMED CZECHOSLOVAKIAN gymnastics coach Alena Tinterova (left) talks about the Olympics with Muriel Grossfeld, Fitness Consultant to Campbell Soup Company and coach of the 1968 United States
women's gymnastics ream . During a televis ion newsfilm , Mrs. Tinterova predicted that the United States will be third. Mrs. Tinterova gave judging clinics in America at the invitation of the U .S. Olympic committee.
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ACANADIAN REPORT
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teams, will assist in the future selection of our National team. Results MEN Team Winners : Ontario, Quebec, British Columbia.
All Round : S. Mitruk, Onto 1st; M. Jodoin, Que., 2nd; B. McVey, Ont., 3rd. LH : V. M. Jodoin; SH: S. Mitruk, Ont.; R: Gilles Briere, Que.; HB: S. Mitruk; PB : Mitruk; FX : Tim Sedgewick, Sask! !: ... WOMEN Team Winners : Ontario, Saskatchewa n, Quebec. ,All Round: Theresa McDonnell, Ont o (1); Jenn ifer Diachun, Ont (2); Barb Tha mps0l'l' Onto (3). FX: T. McDonnell, Ont.; BB : McDonnell ; Unevens: J. Diachun; VH: T. McDonnell.
National College Championships The First Nat ion a I Inter-Collegiate championships were recently held at the University of Alberta, Edmonton. Great credit is due to the personable Athletic Director and to Geoff Elliot, the convener, for this very well organi2:ed champoinships. Everything was planned to the last detail. The Western conference team, 'composed of members from U.B.C. and Univ. of Alberta scored a total of 144.66 points to win the team trophy. Individual All Round was won by Rick Danielson, U. of A., followed closely by Bill Mackie, U.B.C., and third place was won by Gilles Briere, Univ. of Montreal. A total of 35 college gymnasts competed from all over Canada. The idea of a conference team improved the standard greatly. Danielson, Mackie and Briere were selected as Canadian representatIves at Tokyo and G. Elloit as co~ch. This will become. an annual event and arrangements are now being made to hold next year's championships at an Eastern University. An excellent clinic was given on the day following the meet by Willy Welier and Gil Larose. Judging Officials : W. Weiler, J. Nooney, E. Rieger, C. Sebeysten, C. Ca rlstenand D. Whittle. Results Team Championships (Conferences): W.C.I.A.A. 144.66, O.Q.I.A.A. 13B.92, M.I.A.A. 125.96, O.S.L.A.A. 121 .2B. All Round : Dan ielson, U. of A. 0)' Mackie, U.B.C. (2), Br iere, U. of M. (3). . Individual Results : PB: Daniel son B (1) U of A; Mackie 7.B (2) U.B.C.; Briere 7.0 (3) U. of M.; Rings: D. Sale B.l, U of Western; G. Briere 7.B, U of M; J . Cote 7.4, U of M; LHV: Briere and Mackie B.5 tie; Elwood B.l, Queens; FX: Mackie B.3; Cooper B, U of A; Salmela 7.5, U.B .C. SH: Danielson 7.4; Davis 7:2, R.M .C.; Matthews 6.B, Queens. HB: Danielson 7.6; Mackie 7.3; Neck 6 .9, Queens. Trampoline : W. Roy, MIAA; R. Stevenson, WCIAA; H. Fink, OQIAA.
Theresa McDonnell, 1st All-arou nd Canad ian Winter Gomes
National Coach Comments By Willy Weiler Olympische T urn k u s t (Gymnastique Olympique) is the title of a new German gymnastic magazine. The Nov. issue has a vrey good coverage of the World Games in Dortmund with some interesting comments about every country that participated. Here are their comments on our women's team: "1%2 in Prague the total points were 330.985; now in Dortmund the total has gone up to 3%.145. This is enough im· provement to suggest that Canada has begun to climb the steep hill to Olympic victories. The nearby American Universities should be of much help competition
wise. We missed Gail Daley who in Tokyo reached over 72 points, which no Canadian girl managed in Dortmund." The women's team is, in the eyes of the experts, the most promising in Canada; so men let's stay with them. The report for us reads as follows: "Very weak in compulsories. Number 2 and 3 gymnasts are ·the reason that Canada, on this its secR'n d::try with a full team, failed to reach the:. 'N1Q ' point mark. The op tional, however, wev't ·. 'Puch better and if Gil Larose had been · able to gym, Canada would have placed as' high as Spain and Britain." In looking over the results I have noticed an interesting point. Our men's team ranked 8th in optional vaulting. Well, there is hope for us and things don't look that bad in one event anyway. I hope that the experts in FIG notice this when look· ing over this competition. New and Rarely-Seen Moves from Dortmund Free X- Back lay·out with Ph twists, and back lay-out with double twist, double leg circles followed by a Chaguinian. (A Chaguini an is a double hop moor on the end for' the side horse). Rings-Straight arm shoots to handstand. Giant .circle forwards with straight arms all through the exercise. P. Bars-Double somersault dismount. Back somersault with full twist. Diamidovs stuetzkehre with full turn. From somersault with % turn towards the bar to grasp -and swing forwards. Like Cerar's side part. High Bar- Double twisting fly-away. Ph twisting fly·away from undergrasp. Full twisting hecht dismount. German giant with % turn to front support. Free hip circle forwa rds. The most unbelievable .trick was from an overgrasp giant, a Czech gymnast widened his grip and on the following giant moved his shoulders and head forwards between the arms and carried on with giants in that position. After 2 giants he then without releasing his grip moved back to over-grasp giants. You realize that this exercise is reserved for extremely supple gymnasts. Side Horse- Perhaps Cerar's triple moor is the most important exercise to mention. However, he won the Gold Medal performing the same exercise as he performed in 1964 Olympics. To sum up, it is felt that the women have come up with far more originality than the men. Women gymnasts stole the
First Canadian Winter Games . These Games, as expected, were a tre· mendous success. The officials in Quebec City did a marvelous job of organizing and hosting our Sport. This was an exceptionally good meet and is an indication of the high standard of our junior gymnasts. The Ontario Junior teams won both divisions, led respectively by Theresa McDonell and Steve Mitruk. A great future is in store for these two very fine gymnasts. It is n ow obvious that by assembling our Provincial Junior teams, a giant step forward has been made and having such
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Western Conference Team. L. to R. Dr. D. Wh ittle, Cooper, Talle, Hansen . Danielson, Stevenson, Mackie, Fr idden, Salimela, Elliot.
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show in Dortmund without belittling the men's routines of almost perfect gymnasts. I still have not received all the names of the provincial coaches chairman; I would appreciate it if the chairmen of the provinces that haven't yet sent me their head coach's name would do so. Thanks.
Gym Along with Willy GYM ALONG WITH WILLY is a book· let that Wilhelm Weiler has recently published. Price 65 cents a copy. The booklet is made up of boys' gymnastic routines on all apparatus as well as captions explaining the routin es. By buying this booklet you will be assisting Willy to publish his new book and obtaining an excellent booklet. Please let us support our National coach and a fellow gymnast who has represented our country with distinction. Write to Willie at Box 318, Veddar Crossing, Chilliwack, B:C.
Clu~ Congratulations to the North York Pa.rks and Recreation Dept. on forming this new Club. Mr. Frank Burch, program director and Mr. Peter Vleeschhower, gymnastics co· ordinator, and Mr. Al Warrick, vice president of O.S.G.C.A., are administrating this Club. Mr. and Mrs.·· Karl Nutzenberger have been appointed Head Coaches respectively for boys and girls. Karl and Margaret are well known and respected gymnastic coaches and have been active in the Sport many years. Assisting them are many volunteer coaches and teachers. This Club has been fornied to provide an opportunity for the young boys and girls of this very large township to participate in the great sport of gymnastics. Registration has been excellent- a total of 164 boys and girls registered already. With such knowledgable coaches as Margaret and Karl, I am sure we will in the future hear a great deal about the North York Gymnastic Club. Further information can be had from Karl Nutzneberger, 54 Cobden Dr., North York or the Parks and Recreation Dept., North York, Toronto.
North York Gymnastic
Ontario Quebec University Championships Mr. Don Carnegie, coach at Queens University, hosted the meet. A total of nine universities competed: Laval, Mc Gill, Montreal, Toronto, R.M.C., Mc Master, Western, Guelph and Queens. This was the largest entry ever and shows the growth . of gymnastcis at the University level. As the Meet referee, I want to compliment all the officials and especially the conveners. It was a very well organized meet. Result. Team' Winners: (1) Univ. of Montreal , (2) Queens Univ. Kingston, (3) Univ. of Toronto . Individual Winners: (1) Gilles Briere, U of M; (2) Brion McVey, U to T ; (3) Jacque Cote U of M. FX: Briere, SH: Matthews (Queens), PB: Briere, HB: Neck (Queens), LHV: Briere, Rings : Sale (Western).
At the end of the meet a Conference team representing Ont.-Que. Athletic Assoc. was selected to attend at the Nationals at the Univ. of Alberta. ONT.-QUE. CONFERENCE TEAM Gilles Briere, All Round, U of M; Jacque Cote, All Round, U of M; Larry Matthews, All Round, Queens; Brian Neck, Queens; Richard Wigmore, Guelph; Digby Sale, Western, Hartmut Fink, McMaster, Jacquette (Alternate), U of M; Trampoline Specialist, Tom Kinsman; Team Coach, Mr. Gil Larose, Univ. of Montreal.
MEET RESULTS ONTARIO HIGH SCHOOL GRADE TEAM MEET at George Harvey Collegiate, Toronto Team Winners : Grode 9 : Ross Collegiate (1) Guelph; Port Col borne H.S. (2) Port Col borne; York Memorial (3) Toronto . All Round : Wayne Kurtz, Ross Collegiate, Guelph. Team Winners Grode 10 : Massey Call. Windsor (1); Par kside 5.5., Dundas (2); Lawrence Pork, Toronto (3). All Round: David Hunter, Lawrence Park Call. GLEBE INVITATIONAL HIGH SCHOOL MEET OTTAWA Team Winners : Gl ebe Call., Ottowa (1); Trinity Call., Port Hope (2); Hillcrest H.S., Ottowa (3). All Round : Peters Rogers (1); Jim Bayne (2); Greg Miall (3). TRINITY COLLEGE INVITATIONAL HIGH SCHOOL MEET, PORT HOPE Team Winners: David and Mary Thompson Call. Toronto (1); Glebe Call. , Ottawa (2); Trinit y College, Port H ope (3). Individual Winners : (1) Don Vena, DMT; (2) Jim Boyne, Glebe; (3) Greg Miall, Glebe. SAULT STE. MARIE H .S. GYMNASTIC MEET Team Winner: Bawating C and V .Z ., Sau lt Ste. Marie. All Round: Mike Zuke, Bawating (1); Ed McDermid, Sir James Dunn (2); Bruce Edgar, Bawating H.S. (3).
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GYM SKETCH By Horst Wilhelm
LEATHER HANDGRIPS Leslie Bird
Leslie Bird, a 19 year old native of B.C., has always been an active participant in all sports. When she was 15 she became very interested in gymnastics and joined the school gym club where she was coached, and still is, by J ohn Hemingway. In J963 she won the B.c. Junior Championships, the B.C. Age Group Championships in 1964, and the B.C. High School Championships in 1965. In her first National Meet she placed 6th All Round Junior. Now a senior, Leslie has been a member of Canada's National Gymnastic Team for 2 years, 1965 and 1966. She competed in the North American Championships in Montreal last February and the North, South, All-Star Invitational Meet in California last May and had the honor to represent her country as a member of Canada's team at the World Championships in Dortmund, Germany last September. Leslie is a 2nd year Science student at the University of B.C. and is working towards a degree in Microbiology.
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bv A. BRUCE FREDERICK WISCONSIN STATE UNIV DEPT. OF P.E. & ATHLETICS SUPERIOR, WISe. 54881.
LEONTIOV SHOWS BASICS IN AN INTERNATIONAL ROUTINE Seven forward rolls (count 'em ), two backward rolls, splits, a hollow jump and a cartwheel hardly qualify as an F.I.G. calibre routin e. Yet these were real ele· ments of the exercise we present in film drawing form below. P erhaps a bit on the femin ine side; perh aps to be criticized by some as "gymnastic junk"; yet the routine has value from another point of view. In his interesting, stylized work, the Russian Leontiov has provided us with an exercise which might well be considered a trainin g ex ercise for the intermediate gymnast. Eliminate the three instances of the flip- somey tumbling work (too much repetition we agree) and substitute tumbling routin e of your choice. Just putting the parts togeth er gymnastically with few, hopefully no breaks, makes a n ice warmup in our opinion. Sprinkle in a few easy kipping movements (see th e current series tran slated by Bob Freeman ) , r epeat the exercise five times in a row with perhaps varying numbers of minutes in between in the style of the interval system and perform for endurance. This latter objective in itself is often neglected by us. For example you mi ght try a modifi ed Leontiov modeled after the drawin gs below, rest for three to five minutes, then do it again; then rest, then do etc. until you have completed your five repetition s. Try it! 10
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Kenneth W. Hollis I; you have "Y-NEWS" that should be in the MG . .. Send it direct to Kenneth W. Hollis, 3881 W. 25, Cleveland, Ohio, 44109 .
IIY-NEWSII A Report on the Nationa l Judges Clinic To th e Y.M.C.A.'s By Frank O. Perron Dayton, Ohio, YMCA On February 23 through the 25th I was fortunate to attend the National Judges Clinic held at Southern Illinois University under the auspices of the Olympic Develop· ment Committee. Through the cooperation of the Czechoslovakian Sports Embassy Mrs. Alena Tinterova presented for our en· ightenment a three day session on Women's Gymnastics. She very aptly and method· ically proceeded to interpret the F.I.G. Code of Points for Women for each Olympic event. She di scussed deductions, composi· tion, difficulty and style, and technique, emphasizing thc proper technique in the coaching of individual skills. Some current trends of modern gymnastics were discussed and demonstrated by the highly skilled Women's Gymnastic team of Southern Illinois University under the leadership of Herb VogeL I do believe that Mrs. Tinter· ova was pleasantly surprised at the high degree of profi ciency exhibited by Ameri· cans in their optional exercises. One of the sad things about the clinic is that none of our National Judges were present to listen and evaluate as well as learn from our friend from Czechoslovakia. Wom en 's judging is indeed greatly dif· ferent from that of the men and I'm not sure that some of our American officials truly understand the difference. I claim no great knowledge on this subj ect for I am a rank beginner but it was quite evident that we are not utilizing the International rules as they were intended in evaluating the performance of our women gymnasts. We must do a great deal more in training our officials so that the intent of the rules are understood . Technical under,tanding of each skill is a must for the Judge, com· petence in determining degrees of diffi· culty and knowing what co mprises modern gymnastics, are also very important. Throughout Mrs. Tinterova's presentation she emphasized the extreme importan ce of workin g compulsory exercises for the pur· pose of developing strong modern gymnasts capable of working with elegan ce and amplitude in a competitive manner. It is her hope that the gymnast will learn each skill in the compulsory exercise with the greatest height and extention of body pos· ture possible (amplitude). I believe that the Y.M.C.A. has its finger on a very im· portant concept here in making our begin· ning gymnasts work compulsory exercises. Throughout the country various areas are using the compulsory as a method of devel·
oping a large pool of interested competitors. Now, I think it is necessary for the Y.M.C.A. to not only work compulsories, but to constru ct the compulsory so that each element can be performed with the greatest amplitude. In doing this from the very outset we will permeate the mind of the gymnast with working toward perfec· tion even on the novice leveL This attitude is a must if the gymnastics program in America is to move up to the international leveL Let me cite a couple of examples-on the balance beam, the beginner does a very slow controlled forward roll initially but as one looks to developing the height and amplitude of this particular skill, it can be done without placing the hands on the beam and without any interruption in rota· tion and completing the skill by standing up into a high arabesque. The cartwheel on the beam can be developed also: L En co urage the gymnast to execute the skill with straight legs from start to finish . 2. Discourage forward or sideward bend· ing of the body in the initiation and completion of the skilL Straight body all the way. 3. Legs should be in a side split position 4. Finish the cartwheel by leaving the trailing leg very high and pull arm s, head and trunk up first. 5. Add a diving motion to the cartwheel thereby utilizing almost the entire beam for a cartwheeL In floor exercise-Developing forward walkovers with the highest amplitude: L Initiate walkover by lifting stepping leg to the face, knee to the nose and immediately stepping forw.ard without bending the body. 2. Kick through split handstand. 3. Finish in standing position with trail· ing leg high up in front and the kn ee on the nose. On the unevens- Doin g a kip L Glide into completely extended position 2. Kip 3. Finish in front support straight body without an intermediate swing under the bar. These are only a few limited examples of performin g skills with amplitude. Use your imagination with all the skills you know and realize that they can be developed to a very hi gh level of performance and yet accomplished without amplitude they are very basic skills. Let us all look at our compulsory pro· grams and see if we can develop in them the motivation to achieve a higher standard of performance. And as we coach and teach our students, let us always keep in sight the highest standards of form, elegance, grace and amplitude so that each person may achieve to her highest level, unhin· dered by improper attittudes and skills.
All·Around winners. Optional routines were performed in the tumbling and trampoline events. Youngstown, Cleveland· Euclid, and Cleve· land H eights accounted for well over half the total entries from Ohio. Bryce Warne came tu th e Heights YMCA just last Nov· ember but still organized a l earn and en· tered over 20 boys in this State Meet! Cleveland·Lakewood won the Prep Di· vision Championship in the Junior Division. One of the closest races ever gave Dave Eby of Dayton the Prep All·Around Champ· ionship over Gary Mauldin g and Chuck Ewing, both of Lakewood, as only .3 points separated the first 3 places ! Mike Grimes of Euclid, many times a Junior Olympic Champion, repeated thi s year as the Junior All·Around Champion. The sincere gratitude of the Meet Di· rectors goes to all the judges of the meet and officials who volunteered their time and effort to make the meet a huge suc· cess. H ead of Judges, incidentally, was Erwin Walther, a familiar name in national and international gymnastics! In the Prep division (12 and under) the teams fini shed as follow s : Lakewood 92. Dayton 42, Euclid 31, Youngstown 24, Hill: crest 9. Outstanding young performers were D. Eby, (D), G. Maulding (L), C. Ewing (L), S. Lanz (Y), R. Walker (L), B. Reese (L), E. K ennedy (E), and R. Bar· rick (H). In the Junior division, Euclid finished first with 741f2, followed by Lake· wood 61, Youngstown 30, Dayton 19, H eights 10, and North Canton 31f2. Outstanding competitors were M. Grimes ( E), S. Zandy (L), B. Hammond ( L), J. Lanz (Y) , B. Dugan eE), B. Vallarelli (H), R. Herbert (D) , and B. Ellis (L).
Ohio-W. Virginia YMCA Gymnastics Championsh'ips 1967 by K en Hollis, Cleveland· Brooklyn On Saturday, February 25, 81 boys from age 9 to 11 gatherecl at the Cleveland· Euclid YMCA for the Annual Area Gym· nastics Championships. The meet was so smoothly run by Directors Bryce Warne of Clevela,nd H eights and Bob Vande Veer of Euclid that awards were presented just minutes after the conclusion of each event. All boys performed required routines in the International events, then the top 8 scorers ex hibited their optional routines. Th e 2 scores determin ed the individual event winners, but only th e required routine scores were computed to determine the 11
by James S. Bosco, Ph.D. San Jose State College
This is the fifth in a series oj random topics dealing with research in gymnastics. In this series, no a,tempt will be made to categorize articles. Send all articles, <;omments, questions and suggestions to the above address. Jennett, Clair W. - Instructional Film on Trampoline Stunts Used in Competiticm, University of Iowa, M.S., 1954. Purpose: To create a film of advanced trampoline moves, give a complete description of and identify mechanical principles involved in each move. Procedure: Two hundred feet of film were taken of advanced trampoline moves. The performers were Robert Hazlett, 1953 National Collegiate Trampoline Champion, James Norman, runner-up 1953 National Collegiate meet, and the author. The film was analyzed and a step-bystep description of each move was presented. Mechanical principles involved in each move were added after each description . * The followin g mechanical principles were used in the analysis of the stunts: 1. In ertia is that property of matter by virtue of which matter tends to remain at rest or in uniform motion unless external *Your editor has selected only a few moves to be presented here. Many more are described in the actual study.
forces are operatin g on it. There are two types of inerti a, lin ear inertia an d rotary or angular in ertia. In trampolining the body will remain motionless or continue moving angularly or lin early until a force is applied to the body. 2. A force may be defined as a push, pull, or tendency to di stort. In trampolining an upward motion is attained by pushing downward against the bed of the trampoline with thl' feet. This pushing is accomplished by extension of the lower legs and the plantar flexion of the feet. As more height is attained, the descending body depresses the bed of the trampoline to a greater extent, which in turn produces a greater upward force. The force for angular motion is attained by pushing horizontally against the mat with feet, the knees or the hands in the direction opposite to that of the angular motion required . 3. According to Newton's third law of motion, there is, for every force or action, an equal and opposite reaci ton. In trampolinin g when the feet push in one direction on the bed, the body will react in the opposite direction . An example of this would be the forward pushing of the fee t fo r a front somersa ult and the backward pushing of the feet on a back somersault. When the body is in the air, movement of the arms around the body in one direction will cause the body to react in the opposite direction or when the upper part of the body turns on the vertical axis in one direction the lower part of the body will react in the opposite direction. 4. Any two forces meeting at a point can be replaced by a single, r esultant force which may be r epresented graphically by the diagonal of a parallelogram whose two adjacent sides represent the two forces. Where the feet contact the bed of the trampoline may be a point where two for ces {vertical and horizontal} start. The res ultant will be the direction in which the body moves. 5. A movement of force or torque is a force applied to the body to produce a rotary movement. The moment of force is equal to the perpendicular distance between the line of force and the axis of rotation , times the amount of the force. In trampoining this is the type of force used to start rotation on the vertical, anterior-posterior, or transverse axis. When the body land s with forward or backward lean from the vertical position the upward force of the bed on the recoil will give the body rotation around the transverse axis. 6. Momentum is the quantity of motion, and is eq ual to the mass times the veloci ty. The momentum of one part of the body may be transferred to the whole body in which instance the mass of the part times the velocity of the part would be equal to the mass of the whole times the velocity of
the whole. In trampolining angular momentum of the upper body and arms is started while the feet are on the mat. As the feet rise from the mat this momentum is transferred to the whole body. 7. The shortenin g or lengthening of the radius of gyration in angular motion accelerates or slows any angular velocity. In trampolining an gular velocity around the transverse axis can be increased by shortening the radius of gyration by fl ex ing the knees and hip join ts and bending the neck and back forward. If the arms are extended forward or sideward at the star:t of rotation on the vertical axis, then the angular velocity can be increased by bringing the arms in close to the body or by extending the arms over the head. 路T he two movements described above can be slowed for landing by extension of 路 the legs and body for tran sverse-axis rotation and extending the arms forward or sideward for verticalaxis rotation. 8. The reaction of a long lever affects the body more than that of a short lever of the same wieght and angular velocity. In trampolining when the arms are used as levers in startin g an action, they can be ex tended when they initiate an action so that the reaction will be greater than if they were flexed. 9. The linear inertia of a body is proportional to the mass of the body but rotary inertia depends also on the distribution of the mass about the axis of rotation. In trampolining the arms may be extended sideways and forward at the start of a twist and then flexed towards the body to increase the angular speed. The principle is related to principle 7. 10. In "twister" (rotation on the vertical axis) movements five principles are involved: a . Turnin g of the head and shoulder s gives angular velocity around the vertical axis of the body, due to the transfer of momentum from part to whole. If this principle is applied, the turn must begin before the feet leave the bed. (see prin ciple 6 above) b. When rotation around the vertical axis is begun with the feet still on the bed and the arms out at right angles to the twist, addi tional velocity may be had by brin ging the arm s in line with the long axi s of the trunk . (see principle 7 above) c. If the arms are rotated around the body's vertical axis while the body is in the air, the angular reaction of the body will be in the opposite direction. (see principle 3 above ) d. When starting a twist in the pike position, the arms are pulled in to the body or extended over the head in line with the body, and .the trunk given' angular motion against the angular inertia of the legs. The legs are then straightened out in lin e with
MG demonstrator : Chris Castner
1V2 Twisting front somersault
12
the body, and the trunk's inertia continues the twist. (see principle 3 and 6 above) e. When a body is rotating on the tran sverse axis and a torque is applied perpendicular to the axis, around the vertical axis, the anterior· posterior axis begins to move at right angles to the direction in which the torque is applied. This is called precession. In trampolining, when the body is rotating around the transverse axis clockwise and around the vertical axis clockwise, this adds a force which causes rotation clockwise around the anterior posterior axis. If the body is rotatin g around the transverse axis clockwise and around the vertical axis counter-clockwise, this adds a force which causes rotation counterclockwise around the anterior-pos terior axis. If the body is rotating around th e transverse axis count er-clockwise and around the vertical axis clockwise this adds a force which will cause rotation counter-clockwise around the anterior-posterior axi s. If the body is rotating the transverse axis counter clockwise and around the vertical ax is counter clockwise, thi s adds a force which will cause rotation clockwise around the anterior-posterior axis. 11. The body is in a state of equilibrium when its line of gravity fall s within its base. It loses its stability of equilibrium when the center of gravity fall s ou tside the base. In trampolining when a stunt has been com pleted and the body lands on the bed, and the center of gravity must be over the feet ( base) in order to remain on the feet. Analysis.- Front Somersault Tu ck 1. The startin g position is the standin g position with a medium bounce. ( principle
2)
2. The body starts to rise and the following movements are execution simultaneously : a. The feet push forward as the hips are thru st backward and upward. (principles 1, 2, and 3.) b. The arm s, should ers, and head are thrust forward and downward. ( principles 8 and 9) 3. The body rises from the mat, and the upper and the lower legs are fl exed , and the hand s grasp the front sid e of the lower leg, shortening the rad ius of gyration. (principle 7) 4. The somersault is three-fourth completed and the legs are ext ended, lengthening the radius of gyration. (principle 7) 5. The feet land on the mat with the line of gravity within the base of the feet and the body as erect as possible. (prin ciple 11) Back Somersault Tuck 1. The starting position is th e standin g position with a medium bounce. ( principle
2)
2. The body starts to rise and the fol·
lowing movements are executed simultan· eously : a. The feet push to the rear as the hips are thrust forward. (principles 1, 2, and 3) b. The arm s, shoulders, and head are thrust upward and backward. (principles 8 and 9) 3. The body rises from the mat, and the u pper and the lower legs are flexed, and the hands grasp the lower legs (principle 7)
4. The eyes remain open throughout the rotation. When the perform er sights the bed, the thighs and legs are extend ed. (principle 7) 5. The feet land on the mat with the lin e of gravity within the base of the fee t and the body is as erect as possible. (principle 11 ) Barani 1. The startin g positIOn is the standin g position with a medium bounce. (principle
2)
2. The body starts to rise and the following movements are executed simultaneously : a. The fe et push forward as the hips are thrust backward and upward. (principles 1, 2, and 3) b. The arms, shoulders, and the head are thrust forward and downward. (prin. ciples 8 and 9) 3. The body rises from the mat and the upper legs are flexed to approximately a ninety degree angle. (principle 7) 4. The trunk reach es the up-side-down vertical and the trunk and arms are twisted in the direction of the twist against the inertia of the legs. After the trunk starts twisting, the thighs and legs are ex tended and the trunk's inertia continues the twist. (principle 10d ) 5. The eyes see the mat throughout the stunt and whne the one· half twist is completed the arms are ex tended forward or sideways to slow the angular velocity by lengthenin g the radiu s of gyrati on .. (principle 7) 6. The feet land on the mat with the line of gravity within the base of the feet and the body as erect as possible. ( principle 11) One and one·hall Twisting Front Somersault 1. The startin g positi on is a standin g position with a med ium bounce. (principle
upper legs are fl exed to approximately a ninety degree angle with the trunk. (prin. ciple 7) 4. The trunk raeches the up-side-down vertical, and the trunk and arms are twisted in the direction of the twist against the inertia of the legs. The arms are then held in close to the body. (principle 7) After the trunk starts twistin g, the legs are extended and -the trunk's inertia continues the twist. (principle 10d) 5. The head remains in the direction of th e twi st and as the one-and·one·half twist is completed the arms are extended sideways or forward to slow the angular velocity by lengthening the radius of gyration. (princi pIe 7) 6. The feet land on the mat with the line of gravity within the base of the feet and th e body as erect as possible (principle 11) Full Twisting Back Somersault 1. The starting positIOn is the standing position with a medium bounce. (principle 2) 2. Th e body starts to rise and the following are executed simultaneously: a. The fe et push backward as the hips are thrust forward and upward. ( principles 1, 2, and 3) b. The arms, head and shoulders are thrust upward, and backward. (principles 8 and 9) c. The arms, head and shoulders after starting the initial thrust in " b" above, are then thrust in the direction of the twist. (principles 8 and 9) 3. The feet leave the mat and the momentum of the head, arms and shoulders is transferred to the whole body (principle lOa) 4. The arms are held in close to the body. ( principle 7) 5. The feet land on the mat with the line of gravity within the base of the feet as erect as possible. (principle 11) Front Drop, Back Somersault 1. The starting position is the front drop position with a medium bounce. (Principle
2)
2. The body starts to rise and the arms are extended pushing the hands against the mat. The head and shoulders are raised upward and backward. (Principle 1, 2, and 3). The line of gravity will be behind the hands giving a moment of force for rota· tion around the transverse axis. (principle
2)
5)
2. The body starts to rise and the followin g are executed simultaneously: a. The feet push forward as the hips are thrust backward and upward. (principles 1, 2, and 3) b. The arm s, shoulders, and head are thrust forward and downward. (principles 8 and 9) 3. The body ri ses from the mat and the
3. The body leaves the mat and the upper and lower legs are flexed and the hands grasp the lower legs. (principle 7) 4. The somersault is three-fourths completed and the thighs and legs are extended. (principle 7) 5. The feet land on the mat with the line of gravity within the base of the feet and the body as erect as possible.
Full twisting bock somersault
Trends are nebulous projections of the future based upon the present. Trends are without foundation unless we have learned from the past; quite useless without interpretation or practical implementation. The keyword, perhaps, is application. Application of the "trends", by the in· dividual gymnast for her future success. Application, by ' the coach and his or her individual ability to analyze the strengths and weaknesses of the gymnast in relation to their trends. And finally, the judge, whose application of the trends into critical evaluation of gymnastic execution determines the standard of performance. Th e Trends and Interp retative Sugge stions : Floor Exercise - The Russian "New Breed", led by Droughininina, not only displayed full amplitude in stunt development and performance but brought imagination and creativity to a new interpretation of gymnastic artistry. The 9.933 routine was creativity, it was living music, it was excitement. I have been impressed by many routincs in the past-by their beauty, cleaniness and dynamics ,of tumbling and dance, but never excited. On film , one item will be lacking- music. That item is perhaps the real trend that can be easily identified. It was music that determined the floor pattern, it was music that changed the mood of movement, it was music which created the illusion of a creative blend of sight and sound. The music did not "j ust fit" the routine- it was the routine. It was difficult to tell where the music left off and the performance began, for in this championship performance, the performer and music were an inseparable blend of sight, sound and artistic dynamic action. This young, totally proud, Russian beauty, electrified the audience with performance in style and mood, which at times appeared to develop the music to full feeling. At other times, the music was the force that developed the fullness of movement. This routine contained the "full twist" as the major tumbling part, with highlights of three butterflys and three aerial walkovers. These, three in series movements, begin at the usual walkover height but then seem to climb, in each succession, to a new height of achievement. Then, without notice, an almost "stark" change of pace in movement and sound carried the viewer into the softness that could be likened to a cat fluently awakening, the controlled beauty of it stalking its prey and responding. as you . know she must, with reflex action-coming dynami cally and dramatically alive. I do not feel that there is a person alive who is not "stirred" by the music of the "steppes", or not moved by the music and power of the "Cossack" dancers. This emotion was transmitted to World Game Spectators. There were other teams, the "Czechs" for example, who were undoubtedly ex-
CARBON COpy by Herb Vogel, Women's Gymnastic Coach Southern Illinois University Carbundale, Illinois XVI World Gymnastic Championship Part II "TRENDS AS A WORKING COACH SEES THEM" posed to this Russian floor exercIse Influence, performed well but could not bring the same result. Their performances still hung to tradition, and perhaps through habit, could not fully depart from the choreography of the past, though high in amplitude in skill performance. In this area, an acolade must go to the U.S. Team and the foresight of Muriel Grossfeld. Floor Exercise was perhaps our best event, even with two top performers benched with injuries. The style changes, influenced by Grossfeld, brought our girls closer to the new trend than any other country. As a projection for the future, it is in this event that we could meet the World Champions on equal terms. Our U.S. gymnastics stems from tumbling and acro· batics. Our girls have to strengthen these techniques, almost forgotten in our successful attempt to stay three years behind the leaders. If now we can revive that strength, and most important, find music that identifi es us with our culture, we could match anyone, much less the Russians. As stated, the Russian music was Rus· sian, you could feel it as well as hear it. If we can develop the music of our culture, not just the "show" tunes but the interpretive cross-breeds of rhythm and blues, then incorporate the dance action we have created for them- dance movements we call modern, contemporary or jazz, we might find our "cultural key" to success. To listen now, to "play backs" of the Russian music, and then attempt to copy it would be fatal. History here, should be a teacher, this is what we have done in the past. Match them, as well as the other countries, in stunt production we most certainly can; but on the competitive field we must display exactly what we are- a simple ethnic blend of the cultures of the world. Our music, as our movements, must be reflective of "freedom".
Uneven Bars-The trend, need not be repeated. Doris Fuchs Brause, is the U.S. and World Pace Setter. Uninterupted swing is the thmg, but completely impossible without developing a full range of founda -
tion movements in our young performers. The "Big Trick" for kids is fooli sh, try teaching glide kips, back kips, and all the fundam ental movements with fullest ampli· tude. Judges remember that "difficulty" is a matter of degree. The higher degree, the less deduction is taken for mistakes. The simple connecting movement of the kip becomes a difficult element when performed with fullest amplitude, unfortunately, only a half dozen U.S. women can perform this kip with full amplitude. Contradictory as it may seem, low difficulty elements, even a forward roll on beam, meet the FIG standards of difficulty but the deduction penalty is the greatest if not performed with ultimate degree of style and execution. These low level movements must be mastered with style and only this mastery will produce top difficulty elements performed with high style of execution. Too often we coaches and judges fail to see the /orest"-the level at which every skill must be executed-for the "trees",-the "big tricks" that get in the way. This is my thought for the nine to fourteen year old gymnasts ana their coaches. Sure, shoot for the stars, but in doing so look critically at how you get there. For the international age contestant, and their coaches, your problem is far greater. This category of our gymnastic community must "short cut" the system, working for achievement of style and difficulty at one and the same time. An international bar routine should average 18 to 22 elements executed with ease and style. The 10 part, wtih the five parts of difficulty requirement of the FIG, is a minimum standard. Current top routines have as many as 14 difficulty parts, with as many as one half of these classified as most difficult. Modern routines appear shorter for they place high difficulty elements back to back and with imagination, create -new connectors or use middle diffi· culty combinations to create free movin g "swing". The "shortcut" may be to look to the "strengths" of your advanced gymnast, the areas of movement which they can perform with high levels of style. Then "create" movements that use these areas, instead of banging your head against the proverbial wall attempting to master skills which will take time, the time you don't have, to perform with eloquence. Vaulting-Little change in direction, some fine international vaulting is seen but the majority of vaulters are as weak as we are in the U.S. Here is an area of general weakness for all and a good area to gain ground in. The trend looks to: A. Handspring vaults with twists B. Twists in first half as well as 2nd half of vault Direction to young vaulters-Put your time in on the good handspring vault; don't waste your effort on being "fancy", practice only with fast run, on flight above
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the horse and extention off the horse can full "amplitude" be gained or the "new vaults" possibly be performed with class. Balance Beam-New routines contain as many as 14 parts of difficulty and as many trips down the length of the beam. The more difficult or "chance" mount is being employed, over the usual safe mount. A mount equal to the degree of the routine is expected in all events. (D ismounts to) and a .3 deduction given if not accom· plished. The , winning routine must contain forward and backward flexibility move· ments. Handstandin g movements, at least one high leapin g movement across the beam, effortless strength·balance part, front· side leg flexibility part, as well as turn· ing movements. This is the balanced routine on balance beam. The trend-more "stun t"-Iess dance, fast moving, seldom do more than "mark" a normally satic position of balance on hands or feet. It is obvious that the international sys· tern of judging is easier on the advanced gymnast than ours. Difficulty and chance movements are "less" deductible itemsfor example, a small loss of balance on a front walkover reaps no more than one· tenth while the same loss of balance during a simple turn will go to 2·3 tenths. Our judges "stateside" may be the cause for the usual "pressure" found in our balance beam performances, something to think about. The general overview of the direction or trends of world class gymnastics is the simple·continuing development a f tech· nique. The complete refinement of each element of the routine in terms of reach· ing an ultimate level of performance. The "new breed" and the young "Czechs", have been schooled in the . devel· opment of balanced routines built around the framework of the individual's specific strengths. The problem, as this writer sees it, is that the United States during the past decade played the role of "sheep", follow· ing the "goat" to their usually unsuspecting end. Our national representatives in the past, self·appointed-self·annointed, brought back misconceptions based purely upon their personal lack of gymnastic know how. The working coach used the trends of "yesterday", for the 1966 World Game results, now "old news", and used them as projections to the future. Our_ judges, lacking perhaps the imagination produced through the teaching of presen t day skills, read rules, interpreted them as words, and most effectively " hobbl ed" our program. We should hope those "live" viewersjudges, coaches" and gymnasts who witnessed the Dortmund competition, plus the hundreds of flim viewers are not looking at just the " new tricks" with amazement or are simply being entertained. The FIG rules are not meant to be "broken" but to be enforced. They are "minimum" standards, "words" and " phrases" which must be interpreted and developed into practice. Interpreted and developed into "World Class Artistic Action". That in itself is a large mouthful of words but for the purpose of illustration , let's take two F.I.G. rules or statements and pick them apart, usin g the 1966 World Came Results as examples. Statement #l-An F.I.G. statement paraphrase indi ca.tes, "In women's gymnastics, there is no place for strength movements, and should these movements be found, a ded uction be given. Oh, r eally!! Exhibit A- The first three balance beam routines con,tained some of the followin g: *Straighr Arm-Straight Log Press to English handstand , to front Walkover, used as
Mount. *Side Handstand, straddle down to "French Splits", immediate Press to side handstand. Exhibit B-Doris Brause, undoubtedly the top bar performer in th e world, illustrated the application of strength and fluid strength. Artistically, the movements that require strength , must not be performed with a visual show of strength. ' Stress and strain is where th e deductions fall but for strength movements employed with the illusion of effortl ess ease, no deduction must be given. Statement #2- F.I.G. rules indicate "Elements (stunts, etc.) should not be repeated." Exhibit A-The New Breed Routines contain: A. 3 aerial walkovers in series B. 3 butterflys in series C. 3 grande j etes in series Repea ts of this nature increase the difficulty of the elements and the execution as such is only possible if the gymnast has complete mastery of technique. It is the emphasis of peak stunt production, only possible if the gymnast has the ability to "bring it off" without deductions. The deduction for repeats applies to routines containin g a movement type; used simply to "fill" the minimum difficulty standard of five major parts. The key then is the manner in which the stunt, or stunts in repetition , are perform ed that determines how the "rule" is applied. Again, rules are not words, but effective coaching and jUdging tools. Recently a series of Olympic Developmental Judging Clinics were held at four publicized locations across the nation. These clinics featured Alena Tinterova, leading F.I.G. Judge, Coach, and Official, of Czechoslovakia. At the Southern Illinois University clinic, not one national judge was present, perhaps "our authorities" have more experience than we cred it them with. Nonetheless, the 75 judges and coaches that did attend came away with a new addition to their gymnastic vocabulary"amplitude". A word with meaning- a word when converted into "action"-both by the gymnast in her performance and by the judge in grading of performances makes "new trends" possible. "Amplitude" is the ultimate level of skill performance applying to all skills ranging from the forward roll to the "double" twisting back sommi . To have amplitude the performer must have the ultimate in total body fl exibility and strength. It indicates that the in ternational class performance is not just 3 butterflys in series but the performance of each of the butterflys, as well as all of th e simple elements within the routine, be performed with the highest degree of amplitude. "Amplitude" is the per· former 's ability to perform a simpl e forward roll to the highest possible level of execution. For better understanding, take a "Volkswagen" and make it look like a "Rolls Royce". Please then, read these trends with the preceeding in mind, view the films for more than entertainment, but analyze each and every movement in r elation to how it was performed, the level of amplitude of each skill and determine what you as a gymnast, coach or judge must achieve in terms of physical and academic preparation. Don't look merely for the "Big Trick" but for the foundations required for "Big Trick" development.
Suggestions lor FzLlure Crowth: A. Administratively-National Leadership needed. 1. National Training Program for Coaches, with top coaches provid ed
2.
3. 4.
5. 6.
opportunity to go to international competition. National Training Program for Judges, with foregin authorities as instructors. International dual matches, minimum two per year. National Training Program for top 10 to 15 gym nasts annually, employing our best coaches. National Trainin g Camp for our best 15 junior (under age 15) gymnasts. Employ th e aid of leading dancemusic authorities to assist in floor exercise development.
All these items are evident, but all cost money and need total cooperation; they certainly cannot be accomplished by the "throwing of rocks", mud, or the like, in national circles of organization. There is little the casual reader can do to help this aspect except strive for representation, clamor for information and give cooperative effort at all levels. B. To The Coach. 1. Learn to understand gymnas~ic movements, be able to recognIze the ultimate in skill performance. And require "amplitude" in the performan ce of each and every skill you teach. 2. Teach your gymnasts "Why and How,"- providin g gym nastic maturity. Why let them wait until they are your age. 3. Insist on total fl ex ibility, strength and body condition- develop it; command it. 4. Be a "PRO"-or "get out". C. To the Gymnast. 1. Strive to understand gy mnastic movement and technique of performance. 2. Perform each element of your routine ot the ultimate of style. 3. Give of yourself, time and knowledge, to others. You'll grow for it. 4. Take criticism. At best you're just a member of the 6th place World Game T eam, and most of us would like to see you mount the victory st and. 5. "Think Fat", for most of you are. Unfortunately, the top women are not. Make your dedication complete. 6. Make total body fl ex ibility and strengthening exercises an in tegral part of your daily routine, .. you can never have enough of either. D. To The Judges. 1. Attend gymnastic practice sessions to keep current with skills and proper techniques. 2. Attend clinics. 3. Commit the rules to memory. 4. Apply the rules practically. 5. Develop the ability to memorize an individual routine at a glance. 6. Be a "PRO", a human computer, working at your responsi bility as hard as the gymnast and coach, or get out! My Acknowledgment to the U.S.C.F . My personal thank s, and the gratitude of those readers who may benefit from this series, must go to the United States Gymnastic Federation for providing thi s writer with the opportunity, finan cially, to attend the XVI World Gymnastic Championships. The leadership of the U.s.G.F. to send "working coaches" to international events to "see and learn" is a major step-a needed " trend" toward the attainm ent of the International class gymnastIc goals of this nation. 15
"LET'S GO ALL-AROUND" FLOOR EXERCISE-Back walkover off kn ees. This move requires a very fl exibl e back. From the kneeling position, the gym路 nasts throws his arms and head vigorously backward wh ile at the same time pushing powerfully against the ground with his legs. He mu st follow throu gh to make it into the hand stand position. For the gy mnasts who are not so fl ex ible, a flip flop from this position is pos~ ible. It may be learned by practicing it on the tramp. Remember, the main necessiti es on this move are the powerf ul arm swing and powerful straightening of th e legs aga inst th e gro und. SIDE HORSE- Triple Ru ssian. Needless to say, this move requires a certain degree of prior skill on the sid e horse. The key to th e move is that the right hand reaches for the ' end of the horse early. Keep the should ers high and do not ' rush the hand
18
A NEW SERIES EMPHASIZING INSTRUCTION FOR THE ALL-AROUND GYMNAST Bv Art Shurlock, Gymnastic Coach at UCLA
action. I can 't say much more than that about this particular move. HORIZO NTAL BAR-Back stut z to inverted giant. Although the sequence does not show it, the move begins from the front support position. From the front support, cast backward as if to a handstand , r elease the. right hand and turn backward, bendin g at the waist at the same time. Regrasp the bar in the inverted giant posi tion . This move may be practiced on the low high bar or on one bar of the parallel bars. This move may also be performed from back hip circles. PARALLEL BARS- Pike back somie. This was shown in an earlier edition of the iWodem G yrnnast; however, that illustration was not very ' good. I think this move has distinct possibilities and is wait-
ing to be utili zed. A gy mnast should have a high liftin g back somie, preferably one that is close to a handstand catch. The action involves an early layout, release, immediat e and extremely fast pike and open, followed by regrasp. RI NGS-Ma ltese, layaway, Hickman roll , mom entary ba ck lever pull to cross. The Hi ckman roll should be fast, the shoot out to back lever pull cross should be continuous. The momentum from the Hickman roll is utilized in making the back lever pull cross. Th e move looks dynamic and requires less strength than an ordinary back lever pull cross. LO NG HORSE pointer for thi s issu e (no pictures). During the "run , focus your eyes on the beat board until just before the hurdle. This is an often overlooked funda mental in vaulting.
World Professional Trampoline Championships Chicago may have missed out on most championship sports events in the last year, witness the Bears, Sox, and Cubs, but one it got was the World Professional Trampoline Championships" held this year at the Addison (Chicago ) Trail High Schoo!. The meet was sponsored by the World Professional Trampoline Association and the Illinois Gymnastic Coaches Association_ A crowd of over 3,500 saw Gary Erwin of Arlington H eights, Illinois, become the 1967 World Profess ional Trampoline Champion_ In earning his $1,000 first prize, Gary nosed out depending champ, George H ery of Framingham , Massachusetts_ Ronnie Munn, former AAU National Champion from Amarillo, Texas, fini shed third ahead of J ohn Hamilton of Dallas, Texas_ Other competitors in the Championship final field included Pat Winkle, London, England, British Trampoline Champion; Ed Cole, Evanston, Illinois, 1965 Professional Diving Champion and form er NCAA trampoline champion , Brent Williams, Carbondale, Illinois, star of 1966 Southern
Illinois University NCAA Gymnastic Championship team, and Fred Sanders, Tuscon, Arizona, form er Big 10 Champion at Michigan_ In contrast to collegiate and other amateur trampoline competition , the professional championship features a double elimination tournament in which trampolinists are paired and judges choose 'between the two exercises, drop pin g one man to lower bracket. No scores or marks are assigned _ The loser has a chance to come back through the pairings in the losers bracket, as did Hery, who met Erwin a secon d time for the championship_ Erwin 's nearly flawle ss form and precision control throughout his difficult routine finally won out. His winning routine started out with a triple back somersault, followed by barani out fliffus, double back, full twisting back, rudolph, full twisting back, double back with twist, 1 % back, and a double cody_ The mount used by Hery was the same, triple back, barani out fliffus, but his routine continued on with full twist,
piked back somie, half-in hair-out fliffu s, doubl e back, 1% twisting back, full twistin g :;ack, double twisting back, back som ie full twist, 1 :~ back somie into double cody _ In addition to the trampolin e competition, the crowd was treated to several other sports attractions r anging from table tennis to Spaceball. In a lively Spaceball match, between the U.s_ and Great Britain, the U.s.A_ team of J ohn Stillions and Ed Cole beat the British duo at P at Winkle and Wally DeWoody, 7-5_ Doris Fuchs Brause, 1964 Olympic Team Member and worldfamous for her optional uneven parell el bar routine in the -1966 World Games Gymnastic Championships, presented a dynami c example of her skill on the uneven parallel bars_ World Professional Trampoline Champion Gary Erwin signs autographs for admirers . World professional trampolinists gleefully accept their awards from donor George H. Nissen . L. to R. Gary Erwin , George Hery, Ronnie Munn, John Hamilton.
19
, SUNDBY . pUBLICATIONS
Front Somersault
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by Gus Myers Pho tos by Dick Criley A variety of techniques are used in executing the front somersault. The following technique has been used to obtain front s which clear 5% - 6 feet. A short but vigorous run is terminated by a long, low hurdle which produces a strong block. Notice that there is no indication of a forward lean until the gymnast has left the ground. Throughout the early parts of the move, every effort is made to gain height by maintaining an upright
position. The r eal key to the height of the somie lies in getting the chest up_ Arm action is an important means to this end and is carried out by coordinating their forceful lift upward with the block. At the peak of the lift, the knees come up to the chest in a fa st, tight tuck. When the rotation is short of completion, the gymnast opens by extendin g his legs with a vigorous snap from the hips. A walkout from the front would be performed by scissoring the legs open to add the whip necessary for additional moves.
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.. -- - -\ ESPECIALLY FOR PHYSICAL EDUCATION TEACHERS - FORWARD ROLL WITH INSTANT SUCCESS Line up the students along the edge of - - - - - the mats placed end to end (or mat placement of your choice) _ The first four phases (Fig_ I to Fig_ 4) should be done slowly_
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NORTHERN CALIFORNIA GYMNASTICS CAMP CLINIC
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"where the emphasis is on LEARNING." Fig_ 1
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Fig. 5
Fig. I-Squat low and extend arms diagonally fore-downward, arms straight. Pause. The squat should be done with feet and knees together. Fig. 2. Tilt the body forward to allow hands to contact the mat, hands should be shoulder width apart. Pause. (TeacherCheck to see that palms of hands are "flat" on the mat. Entire pdlm should contact the mat. See that hands are shoulder width apart.) Fig. 3. Straighten knees. Pause. (Teacher-it is important that the hands or feet DO NOT MOVE while legs are being straightened. The reason for straightening the legs is to raise the hips high enough so that when phase Fig. 5 is being executed, the "forward" rolling motion will be insured. Fig. 4--Tuck the head between the arms as MUCH as possible (bring chin to chest) and round the back. Pause. (TeacherMake sure all students have their heads well tucked in between the arms.) Fig. 5. Keeping the head well tucked in, bend both arms slowly placing the back of the neck on the mat. (Teacher- make sure legs DO NOT BEND while the back of the neck is being lowered to the mat. Backs should remain rounded for a smooth roll.) When the student starts to bend the arms to place the back of the neck on the mat, she will automatically, without choice, fall right into the roll. Because the legs have been kept straight and bips held high, bending the arms causes an off-balance for-
Fig. 4
Fig . 3
Fig. 6
Fig. 7
ward and the student must roll forward. Because the head is tucked between the arms, the hands act as a brace to prevent the roll from taking any direction other than forward. So it is important that the hands remain on the mat until the back of the neck contacts the mat. As the students gain confidence in the first part of the forward roll, eliminate the pauses. The tucking of the head and the bending of the arms should then occur simultaneously as the legs straighten. Fig. 6. As soon as the "rounded" back contacts the mat, immediately place the palms of the hands on the mat by hips, bend knees keeping feet close to the buttocks. Fig. 7. Keep body in a tight "tucked" position (knees bent, back rounded, chest close to knees). Continue rolling forward placing feet on the mat "close" to the buttocks, press down on the mat with the hands shifting the head and chest forward to get the body weight over the feet. Straighten legs to stand. Once the back of the neck makes contact with the mat, as in Fig. 5, there must be no hesitation in continuing with th e remaining phases of the forward roll as described in Fig. 6 and 7. If motion is stopped, coming to a stand will become more difficult. A faster momentum of the rollin g action, a stronger push with the hands, heels close to the buttocks, aimin g chest towards knees when shifting body weight over fe et, are all aids in com ing to a standing position successfully.
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ANALYSIS OF DRAWINGS
A Comparative Study of the Peach and the Cast
crease the speed of the rotation of his chest in comparison with the speed of the rotation of his legs; thus, he raises his head and chest above the bars; so that, he can regrasp the bars in a support position. The gymnast executing the cast continues to keep his head tucked and his body piked; so that, he too can continue to rise above the bars and then regrasp the bars in a support position. Fig. 5. the regrasp-In this drawing both moves are complete, and the gymnasts have regained their grips of the parallel bars.
Fig. 1. the drop- The body position is the same for both moves. Notice the related positions of the hands, the hips, and the shoulders: the hips are behind the hand s and the shoulders are behind the hips. Fig. 2. the pike-The pike positIOn for the cast is tighter than for the peach bask et ; thi s tighter pike results in a greater degree of rotation of the hips. The head con trols the amount of rotation of the body around the hips. The head r emains in a tucked position (chin on chest ) during the entire time req uired for the completion of the cast ,thus, preventing the gymnast's body from rotating around his hips. For the peach basket, however, the head goes from a normal position to a thrown back position, thus, causing the gymnast's body to rotate around his hips. Fig. 3. the extension-In this drawing the effects of the pike and of the head position can clearly be seen. The body of the gymnast, who is doing the basket, has begun to rotate; while the hips of the other gymnast have reached a hi gher point above the bars. Both gymnasts are beginning to ex tend their bodies; however, these extention s are of differen t parts of their bodies. The gymnast doing the peach ex tends his legs backward and upward-at an approximate angle of 60 degrees-and raises his head upward in order to increase his bodily rotation. The gymnast doing the cast extends his trunk and hips upward in an effort to gain as much height for hi s hips as possible. Take special note that the gymnast does not permit his body to rotate forward nor does he kip his legs ; these are both frequent mistakes made by the beginner. Fig. 4. the release- Thi s is a misleading title for the part; actually, the gymnast does not release the bars. H e holds on until his arms are parallel with the bars; at this point he can no longer maintain a grip on the bars so his hands slips off the bars. The head positions remain the same for each move. The gym nast doing the basket has arched his back in order to in-
by Joseph M. Galli
PURPOSE The purpose of this study is to provide a comparative analysis of the cast and of the peach basket, which can serve as an informative guide for gymnasts and coaches for instruction in the mechanics involved in these moves. For purposes of simpli fication this study compares these two moves when they are executed from a support position. PROCEDURE Seq uence photographs of gymnasts executing these two moves were compared. These sequence photographs were taken from various issues of The Modem Gymnast. Tracings of the body positions of these. gymnasts executing a cast and a peach basket were made from these photographs l The tracings of the body positions were then directly compared by superimposing a tracin g of a cast on a tracing of a peach basket. The hands and the arms, and their relative relationship to the parallel bars were used as constant reference points for these super-imposed tracings. Composite drawin gs which illustrate the related body positions of the cast and of the peach basket were made. These two moves were subdivided into five separate mechanical parts: the drop, the pike, the extension, the release, and the regrasp. Composite drawin gs which best illustrate . these fiv e basic parts were selected (drawings 1路5 ). It was from these five drawings that the following comparative analysis was drawn.
CONCLUSION The basic mechanics of the peach basket and of the cast are analogous to the mechanical principles of a pendulum. Visualize a man whirling a weight attached to a string in circular arc. He then r eleaseE the string, at which time the weight flies off in a straight line. In the execution of the peach and the cast, the arms fun ction as the string of our pendulum; and the body functions as the weight with the hips as the center of gravity of this body weight. The hips follow a circular path until the hands come off the bars (figures 1-4). When the man released the string, the weight flew off along the tangent to the arc at the time of release. When the gymnast releases his gri p on the bars, his hips con tin ue along the tangent to the curve at the moment of relaese; until, the momentum built up by the drop is exhausted. Unlike the pendulum, the gymnast can increase his momen tum and his height by pulling on the bars - he must not bend his arms while pulling on the bars; or, his momentum will quickly die out instead of increasing. The gymnast who is doing a cast only has to guide his body along the pendulum's traj ectory; but the gymnast who is doing the peach has to rotate his body around his hips while his hips are following the pendulum's trajectory. The mechanics by which the gymnasts control their bodies in order to execute either a peach basket or a cast differ only in the head positions, the extension, and the pike.
<--
",', "\
,\ ,
\
" ,' ...... \
,, "\
\
\
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"\
\
"\ \
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,
, "\
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,,
,
\ "\
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1I I I
Fig. 4. The release
Fig. 5. The reg ro sp
SPECiAL NOTE : All the figures in sol id outline illustrate the cost, and all the figure s in broken outline illustrate the peach basket. Figure 1 is t he only exception; th is drawing illustrates both moves with a sing le solid out li ne figure .
Fig . 3 . The Extension Fig. 2. The pike
22
Drawings by. J . M. Galli.
parallel bars CAST
~
TURN TO UPPER ARM SUPPORT
Drawings and Article By Don Tonrv The above skill has been taken from chart #66·1 , advanced parallel bar skills, GYM · NASTIC AIDES, NORTH BRIDGE, MASS. There are now available fifteen complete charts on advanced and intermediate parallel bars and still ring sk ills suitable for fram. ing. Each skill has been carefully selected and drawn from photograph and movies of international performers. For complete in· formation write to Gymnastic Aides, North Bridge. Mass.
The "Cast 1 / 2 turn to upper arm sup· port" may be executed as a mount from a stand or from a support with an early or late drop. The illustration above demon· strates a late drop. 1·2. Swing forw ard, raise .legs to pike position and lean backward with shoulders. As body descends, pull seat sharply down· ward into deep pike position. 3·5. Extend hips forcefully as arms pass the vertical. Release the right grip and pull
the left hand and quickly turn to the left. Grasp the left bar with the right hand a nd release the left gri p. 6·7. Quickly grasp the right bar with the left hand and attempt to stabilize the descendin g body with the hands befor e the upper arms contact the bars. This skill may be safely practiced by placing a mat over the bars for support after the turn. The gymnast should cast with his hips and legs over the mat and land on his front after the turn .
CONDITIONING for COMPETITION By Dick Wolfe FRONT LEVER PULL· DOWNS The exercise for this issue is the fir st in this series that does not require gymnasti c apparatus. The res ponsibility for making the exercise beneficial rests on the man sup· plying the resistance. H e controls the speed of the movement, making certain that the
EXERCISE
#8.
FRONT
LEVER
PULL-DOWNS.
pe rformer covers a full r ange of motion. This exercise should be performed three sets of 5 to 10 repetitions. The man sup· plying the resistance must insure maximum output on the part of the performer by whatever means necessary, e.g. stop the motion till maximum force is applied, give
From a kneeling
position, arms overhead and
with a partner res isting (Fig. I), press through (Fig. 2) to positio n shown in Fig. 3. Raise and
ve rbal encouragement, etc. Only o n e ' ~ imagination limits the r eper· toire of " dual exercises" such as is shown here. Think of others particular to yo ur strength needs. Next issue, some ways to develop th at straight handstand.
repeat . Specific to : RINGS-front lever , straightbody ro lls; P-BARS-flying cast, peach basket to a handstand .
23
Helpful hints by "Jim" Farkas, Instructor of Physical Education, of The Milwaukee Turners, Wisconsin
Dear Mr. Farkas, Agai'n I want to congratulate you on your fin e age·group workbook (USGF). I have used it a great deal and found it very help· ful. I know you have the European philo· sophy of making certain a young gymnast is not pushed too soon into the next move until he learns the previous one and exe· cutes it almost perfectly. I feel the same way. Now I could use some of your ad· vice . I teach boys and girls from kinder· garten to 8th grade at my school. I also coach a more advanced group after school (on my own and without pay) . I would like to make sure I am not pushing my pupils too hard. I have made a list of tumbling and free exercise moves and it would help me and m y pupils if you could advise me on tJhe proper age levels· (or grade) that these stunts should be taught. Or you can merely indicate what level they should start. Or you can indicate what level NOT to do a stunt. For example you wouldn't advise a 6 year old boy to start on a back somy ( even though some are exceptionsve ry few) . Anyway I'm sure that you your· self take into consideration the growth process of the boy ar girl. I hope you understand what I'd like you to do if you can. It would help me and my pupils a great deal . .. . L.G., Newark, N ew J ersey. Dear Mr. Guarino! Although your questions merit more ex· tensive elaboration, I must be short for lack of tim e. Just when a youngster should start the learnin g of a specific athletic skill will be determin ed by many'. factors, not Just by the chronological age~ although between these factors and the chronological age there is a well established correlation. In any case one must always consider in· dividual differences between youngsters. Differences, which- despite their age- will make them more oI; less ready to start the learnin g of a certain skill. It must be said here, th at on some primitive level, form all skills can ):>e started almost at any early age, provided that only such characteristics, of the complete skill, will be included in the early attempts which are in perfect harmony with the physiological develop· ment of an individual. When I now try to assemble a few points of conccrn, I would name the following: About the ASSIGNMENT: 1. How much physical stress- in r egard of strength demand- is involved? 2. How much physical demand- in r egard of stresses on the skeletal fraine- is in· volved ? 3. How much physiclil demand- in reo gard of joint extension muscle·tension·liga· ment expansion- is involved? 4. How much physical stress-on the circulatory and on the respiratory systemis involved ?
24
5. How much intellectual maturity-the understanding of a successful techniquedemands? 6. The degree of necessary psychological readiness (fear, courage, success, etc. in matching assignments) is involved in the skill ? About the PUPIL : 1". His (or Hers, because 't here are marked differences among the sexes) physi· ological age, developm ent. 2. The pupil's intellectual maturity. 3. His repertoire of previously acquired skills, and the nature of those; their degree of accomplishment, and their mechanical relation to the assignment at hand. About the METHOD of APPROACH: 1. What kind of " preparatory" and "lead· up " exercises are involve,9. in view of the assignment, and in view of the student's psycho· physical readiness ? , " 2. The degree of manual and mechanical help (assistance, spotting ) is involved in the learning phase? 3. The kind of equipment used. Is il in proper relation to psycho· physical . mao turity of students ? To make a proper evaluation and an ap· propriate choice of assignments, one 'must be able to: a ) consider the anatomical, physiological, and psychological make· up of the pupil;' b ) know with definite certainty the physioligical effects of a certain exercise; c ) be perfectly aware of the mechanical demands and stresses of a certain skill; d) be in a position to approach each assignment with a multiple choice of ap· propriate methods. After this generalization I will attempt to mark, on your attached list, the earliest chronological age at which those skills may be taught, provided, the individual involved has the necessary "psycho· physical readiness". These age limits by no means apply to everyone. Most of our pupils probably will never be ready 10 learn some of them. Those exercises which require specific anatomical capabilities (like: walk·overs, splits, etc.) may be taught early to those only who are blessed with limber vertebral columns, or with naturally elastic hip· girtle-and to these also with extreme care and graduation. These exercises, however, should never be forced at those whose skeletal construction prohibits extreme backward bends, or in case of splits, those with tight musculature must wait until the bone-tissue is quite strong (14-15 years) before a planned, gradual stretching pro:. gram could St\lrt. You have described some skill~. with local terminology (I ·marked them with a "question mark"). T , did not try to . venture guesses. Strength exercises may start only after the skeletal growth is more·or·less accomplished, around 14-15 years of age. . As you see there is no definite answer to the question: "At what age ?" It must be
considered from many .angles, and about these, I hope, I have shown a few despite the injustice T did to the problem by mere· ly touching its surface. One must, however, see that there is 'much study needed before a teach er of Gymnastics-or ' any sport in general-could be certain about the bene· ficial effects of his work. I wish good luck and ijuccess to your ef· fort s, Sincerely: James A. Farkas.
List of moves and suggested age level for tea~hing:
TUMBLING Forward ' Roll (to squat) .................................... 2 Forward Roll . (to stand) .................................... 2 Dive roll . ~ ... ;:....................................................... 5 Layout dive roll ............................................... .10 Kick ' to. hand·stand (no hold) .......................... 4 Front' limber ...................................................... 8 Forward Handspring ........................................ 8 Forward Walkover .............................................. 8 Aerial Walkover ............................................... .10 Backward Roll (squat ........................................ 4 Backward Roll (stand) ...................................... 4 Backward Extension Roll ..................................10 Backward Walkover .......................................... 8 Back Chest·roll (from handstand) .................... 8 Backward Hand·spring ...................................... 8 1(2 Head·stand (hold) ........................................ 6 Head-stand ' (hold) .............................................. 6 Head-spring ................................................... :.... 8 Kip ......................................................................10 Kip with V2 turn .......... :.................................. .io Tinsica ................................................................ 8 Forward Somie ' ................................................. .10 Backward Somie ................................................ 10 Backward Tuck .....................................:........... .10 Backward Layout ..............................................10 Cradle' ................................................................ 15 Alternates .......................................................... 10 Backward Somie with Twists ..........................10 Double Backward Somie (00 not teach it. Hazardous.)
~r~~t s~~i~e . :::::::::::::::::::::::::::::::::::::::::::::::~~ :~:
Straddle Scale (stand) ................? (what is it?) Knee Scale ................................................<lny age "Y" Scale .................................... ? (what is it?) Pin Needle .................................... ? (what is it?) V Seat ...................................................... any age Cross Splits (gradually developing after 10) if naturally is not present Side Scale ....................................same as cross Russian Splits .............................. ? (what is it?) Lean·in .......................................... ? (what is it?) Splits to Splits ........................ (not quite clear) Frog Stand ...................... ? (what should it be?) Hand·stand ........................................................ 4 Pike Press to, Head (stand) ............................ 6 Pike Press to Hand (stand) ........................... .15 Fore-arm Stand .................................................. 6 Straddle Press to Hand·stand ....................... .15 1 Hand·stand .................................................... 10 Tiger Press .................................. ? (what is . it?) Yogi Hand·stand (also incorrect terminologyUO Chest·stand ........................................................10 Lever (pi ache) ....................................................15 Lever on 1 Band ........................................... .15 Backward Plache ......................................... _....15
GYMNASTIC CONTROVERSY
Daniel Milbnan Inttod~ctiim Few readers will be surprised to see a column of "Gymnastic Controver sy" origin· !lting from the University of California, at Berkeley. Berkeley has been called a center b'£ controversy; gymnastics, is a creative, P!ogressive sport. It is time we put the two ~ogether in Qrder to re·examine various ideas affectin-g " Qur sport. R e·examining 'some of our present gym· nastic policies and rules with a critical eye will help to strengthen '.effective rulings, and throw out anaclitonous or irrelevant rules. No ideas will be sacred; all will b e considered . Anyone who has a complaint or idea or argument to offer for or against anythirig mentioned in artiCles to follow, is urged to write in. All arguments will b e published, if space allows. All opinions expressed are those of the author, and do not reflect those of the uni· versity coaching staff or the Modern Gym· nast. This column is ' designed as a free forum to discuss gymnastics and related ideas (which are controversial, we h ope).
WHAT IS WITH A BEARDED GYMNAST? The basic question, to shave or not to shave, should always be decided by the individual. Yet, when ' a gymnast joins a gymnastic team, he must recognize that h e takes on some obligations and responsibili· ties. The school or club will send him to gymnastics meets and usually furni sh ex· pense money. The gymnast carries the pres· tige of competing for his school. The school also gains in prestige if the gymnast hel ps his team to win . Thus, when some gymnasts "give more" by being more proficient, the school offers them various sorts of scholar· ships. Thus, the school's relation ship to the gymnast is not paternal, or domineering; a fair trade is going on. When the, gymnast cooperates and "gives his all", coach and school are happy, and both parties can "win". If the gymnast takes more than he gives, that is, if he shows up to workouts late, and do ~sn't really help the team, the coach has a perfect right to insist that he tow the line or leave the team . It is just as true, that the gymnast may t erminate the relationship if he feels that his rights are being infringed upon. For example, I know of one instance in which a coach called up the fian ce of one of his gymnasts, and told her to stop seeing "his boy"! (It seems the coach didn't approve of girls, for he b elieved workouts suffered.) While ~very coa ch may wish his t eam mem ber s to live, eat, and breathe gymnastics only, h e should never demand this. If a coach did feel this way, and actually a cquired a t eam that fit his standards, he would have a
championship team, but his gymnasts would n either be well·rounded nor very happy . I have chosen the topic of bearded gym· nasts, not b eca use it is especially significant, but because it r epresents many b order· line ca ses, where the question arises, "Does the gymnast have the right to do this, or not?" In this essay, I am not going to argue that the gymna!\t · has the right of wearing a beard if the coach says n o. What I want to attack, is a more basic point. Does the
coach have a right to say no? Many people don't like b eards. That is their privilege. No onll . should make them wear one. (No r eader; l'm sure, would argue this point.) Yet, no p~rson should b e pres· sured into not wearing ' one e ither , anymore than one should be forced not to wear levi's or wool jackets. Yet if we look around, there is a tremendous pressure of conformity. Next time you go to the opera, wear some j ean s. (Ah, the reader may snicker) . Yet what is inherently different about jeans and dre ss pants? One pair are ~'ark an~ ~~re expen sive, there fore more appropn.a te . Why arc dress pants more appropriate, except for the sake of con· formity? I certainly could enjoy the opera as much, if I were wearing levi's. Conformity sh'o uld certainly not b e stressed in our sport. Gymnastics is an in· dividual sport. A sloppy haircut or a sloppy beard will hurt performan ces (perhaps .3) . Yet a neatly trimmed head or face is no detriment. Several Olympic gymnasts wore beards; (Carmimicci of Italy, and Simard of Canada, to name a few) ., Many coaches feel that a beard will hurt the team or school's image, arid will r eo flect poorly on the coa ch. This is only tru e if there is something inherently wrong with the beard. Except for bein g "out of fashion " (a code of conformity ), ther e is nothing wrong with a beard. It is a matter of per· sonal taste. As a show of good faith, coach, let ' your gymnast wear a n eatly trimmed beard. En· courage individuality. (At least give the question serious thought.) Show that you can be progressive. You'll see, performances won't crumble; gymnastics won't go to rot. Besides, it might be sort of interesting to see a triple twisting b eard at next year's meets. Again, if any reader has arguments, comments or complaints about anything in the sport of gymnasts, you are encouraged to send letters which will b e published if space permits. Letters may be sent to: "Gymnastics Controversy" 2400 Haste # 304 Berkeley, California 94704 or, care of the Modern Gymnast
LETTERS VOTE OF CONFIDENCE
Dear Gentlemen: I just got done reading the No t es from the Editor February, 1967 Volume IX #2. A word of constru ctive suggesUon s. KEEP UP THE GOOD W ORK. You a r e doing a fin e job, k eep it up. Sincerely you rs, Jack C. Norbeck P hiladelphia, Penna. ED: Thanks, there are some days we need all the encouragement we can get. MAINE NEWS
Dear Mr. Sundby, You h ave made mention no w a nd again th a t news from New England is hard t o come by . I h ave been a loyal s ubscriber to MG now for five years and I can't ever r emember seeing a ny news from Maine. Enclosed you will find a brief outlin e of what is goin g on in gymnastics h e re in the Pine Tree State. Subject: State of Main gymnastic new s. The first state boys' gymnas tic clinic was h eld at South Portland High School on March 18, 1967. An en thu siasti c cr owd
of about 300 boys and coach es attended thi s fine clinic. The cli nic was conducted under the ausp ices of the MAHPER. Wink Houghton, State Gym nas tic Chairman, organized t h e clin ic pla n s and obtai ned a d onation from H .P. Hood & Sons to cover expenses. Jim Connolly was s ite chairman a nd secured a fine staff of in structors under th e leadersh ip of Isidore Battino from Dar ien, Con n . High Sch ool. Oth er s acting as instructors an d d emonstrating at the clinic were : Erik Kjeldsen , h ead coach a t the University of Mass.; Robert Pataky, h ead coach at Port J effer so n , N.Y. ; J eff Card inel1i, h ead coach at the U .S. Coast Guard Academy; and Nate Todaro, h ead coach at L exin gton High School, Lexington, Mass. In s tru c tive sessions were h eld covering a ll gym n astic events a nd a sect io n on j udging a nd routine evalu a tion proved very h elp ful to the coaches a ttending. On Mat'ch 25, 1967, four r egion a l meets will b e held for both b oys and g irls, f ollowed by th e state fin a ls on April 8. South Portlan d is the defending boys' champion, and look s good again thi s year. However , th e clin ic sh owed t h at m a n y other schools , including Biddeford, Augusta an d Waterv ille will b e strong in th e n ear future. Coach es h ere hope to or gan ize a competitive league for n ext year . I will b e se nding you the r esults of the meets wh en t h ey have been concluded., Sincerely, . " Winthrop Houghton ; Bqy·s Ch a irman A·S·C
= ALL.ARPUND
D ear Glenn: I have a few ideas th at might h elp you in your e fforts to find suitable article material. Firs tly , compul sories. You could run a section in each edition on compul sory exercises with pictures or drawings a nd words and possibly an ana.lysis by a coach . Compulsories could b e gotten from the USGF, AAU, a nd YMCA for all levels of competition. You could take 2 events per month on a nyone level a nd in 9 ed iti on s run through 3 entire levels. An a lysis would h elp those gymnasts w h o a r e trying to l earn their routines. Another idea is taken ftoom the German m a g a zine, "Olympische Turnlmn st" . You cou ld run t h e d rawi n gs for the A. B, a nd C parts with words a nd a nalysi s. The return of Art Shurlock to you r n1 aga.?in e
was a m u ch welcom ed sigh t and hi s new format on a ll- a r ound is a great idea. Bu t just a word of cri tici sm for Art. In the Nov. 1~66 ed ition, the sequence ,of hi s neck spring on the floor showed a basic flaw that many gymnasts exh ibit in this move. He dropped his hips too low before initiating the s pring action w hich seemed to result in a n eal' mis~. Instead of la nding high on hi s toes , h e landed a lmost fl at-footed an d hi s kn ees were bent. Although hi s hip s rise , they should rise even more, making th e trick muc h nicer to watch. Thi s err or was magnified in the sequ en ce on the long h or se. Notice in the third frame h e h as n ot yet b egun to push with hi s a mlS and hi s hips are way pas t hi s h ead. Notice in frame 4 t h a t although his a rms a r e fully extend ed, hi s hips never rose in height, leaving his h eadspring fla t. If you dra w a pen cil lin e across the full sequen ce , you w ill notice that his hips reach a m a ximum height in frame 2 a nd actually g o down through the rest of the trick . Thi s is backwards as they s h ould rise to a peak in frame 4. Jim Farkas writes one of the best columns in the magazine . Ma ny coaches could use coach ing tips; spo ttin~ ti ps , an d h elp in teaching proper t echniqu e. A good monthly feature would be a sequence photo a rticle on one trick with mayb e 20 p hotos to th e sequen ce, slow motion, SoD that coaches could a nalyze t h e move. If you put in a pl ea, I'm sure coach es aroun d the counrty would respond with some seq un ece photos, especIall y with the r ash of PhD work recently in thi s sport. . Speaking on a broader topic , I think t h er e are two a reas w h er e w e, as a s p ort, n eed
iJnpnovem e nt:
fin a ncial
sUPPOJ·t
for
trips to me~ts "-nd m'o re foreign dua l meets for the U.S. Ju st to be able to see the Japan ese, f or example, live , at a meet w ou ld b e a great inspiration for the gym n ast s of t hi s cou ntry, not to mention the knowl edge gained from seeing an d filming some of their great n ew moves and fin e t echniqu e. From the film s I h ave seen. t h e Japanese a lm os t a lways h ave locked elbows, good h eigh t, e t c. W ell , I am fin a lly fini s h ed. Gymnastica lly you r s, David J acobs Brooklyn, N.Y. • Letter cut
25
NOTES FROM A NEUROTIC JUnGE by Roy Davis (Note: ThiS' is the fourth of six articles devoted to an appraisal of the "FIG Illustrations". I hope people realize what a task this is ; I must admit at this point that I ce rtainly appreciate the effort of the FIG leaders in fo rmulating these ratings in the fi rst place . The original product must have been immeasureably more difficult .to put toge ther than any appraisal, each oj which has become more difficult; the combinationS' and transitions on horizontal bar can be quite complex with some very fine lines dividing the B from the C move . Be cause 0/ these intracacies, I must declare some he stitations about the recommendations which follow . It is appropriate that I apologize for the erratic publication of my column; since moving to Okinawa, however, I have found my conditions and responsibilities slightly less than favo rable to such extra projects .) THE FIG I LLUSTRAnONS: HORIZONT AL BAR 1. Note on counting moves: start and end at the bottom of the ·swing or are, not at the top. That's where the routine starts and end s and that signals the completion of all moves. In this respect the Illustrations can be unintentionally misleading-all the action occurs on the "slow" areas, i. e., near the top or above the bar, but the drawin gs oft en start and fini sh at the top (or appear to). 2. No te that the book sometimes identifies a hand change and follows it with the phrase " and giant turn r earward/forward". In most cases, the giant turn is or should be (in my opinion ) a separate consideration as a rated move. 3. I recommend the followjng changes :
u) Rear mount in palmary arlp, changinjl to dorsal ,rip and pasSIng extended legs between arms to free back support or splitting Ie,s to dIsmount forward to rear stand
"
~.N)
~~~,
(5e) C to A+B
or from front ways support
mnalna body forward with change of grips or dlalocate arlp giant tum, followed by 'h tum in handstand and giant tU/1\
~~(.
(2u) B to A + B (bottom)
B to A + A (top)
h) Free support tum rearward and place feet, legs lolned or straddled on
~
(jP ~ ~
rearward
(6c) C to A+B+B
;t;i~~(~ ;;;~)~ tI~~ff;~~ d)
KI~
to front ways support sWlna body forward changin)l gripes to dislocate gnps swing rearward in hang and mOUl't to free
(6d) B to A+B+A
(3 h) B to A+B
a) Giant tum rearward and lole circle rearward, legs joined or split
b) Front kip chanling arips
simultaneously before arriving at half-inverted hang or after kip Gump while changing)
(90) A to A+A 'J) Giant turn rearward and
sole circle rearward. leo. loined or split 10 hand-
(31) C to A + C
d) Giant turn forward. 'h tum crossing one hand over the other. swing forward in crossed grip. 'h tum to giant turn forward (Ib) B to A+B
1) Rear
mount to support paaslna extended leas between arms to free rear support
e) Giant tum rearward . swing
forward in crossed itrip . Yz tum in momentarY
handstand on one arm fol-
lowed bv 1'1 turn in the
26
~~)~ (9b) B to A+B
(5d) B to A
(21) B to A+A
•..~~~~
same direction and ~iant tum rearward
c) ('}Ianl tum rearward and pass extended legs between grips or· straddled over bar and free turn rearward to handstand . (Stalder straddle rearward)
c. cross change uprise-A d. double cut from step rise or high swing-A e. from han g: cast above bar level-A f. hecht with % turn to regrasp-C g. Rudolph dismount (front somie with 1% tw.ist}-----,G h. blind cnang'e (reserve pirouette at top) to one or both eagle grips-C Next article : Long Horse
(9c) C to A+C e) Giant tum forward and IOle circle forward, legs lolned or straddled to handstand
~ (.
!
~fb~f'
/~-....;:rt\~~
(llc) C to B+A , ) Front support place feet on bar, leiS joined or split and swlnl forward under bar with ~ turn to swinl forward. mixed ariP, pass extended leiS
MG 100 CLUB
&etween arms and mount
forward to free support
~~~~~~~ (lle) B to A+A
MG Gym Ca"lendar
f) Front support, place feet
(ge) B to A+B
on bar leMs joined or split, and swln~ forward under bar with ~ turn to swlna forward in mixed
~&e:nas:n::t:~~e'!n~~~~
forward to free back'support, followed by dislocate lrip mount to free IlUpport
~ .
(~~4~~r e) GI.nt tum rearw.rd,
~
~~ s~f!l~a 路[~wngan~I~~
h) Glint tum forward
and p.n extended Ie,s bee tween .rms .nd tum for....rd In free back support with ~ tum to ....In~
') Giant tum forward. pass extended leas between .rm. and tum forward in
~~ ~:.l' :,::r.r.'rtre:.'!..~rl
In hanl, mlxe4 or pal mary arIp: A
+C
GIRLS GYM CAMP: August 7-11 , 1967 in Minnesota. ~or informa路 tion: Mrs. Baker, Gustavusi St. Peter, Minnesota. -
UNIVERSITY WORLD CHAMpiONSHIPS, August 1967, Tokyo, Japan.
~'"
t\ (13e) B to A+B f) Giant tum
(9h) B to A+A+B
GYMNASTIC WORKSHOP: The Sixth Annual Gustavus Gymnast Workshop for Teachers, July 24-28, Gustavus Adolphus College, St. Peter, Minnesota. for further information write: Mrs. Nancy Baker, Gustavus Adolphus College, Minn.
GYMNASTIC CAMP: Central Atlantic Area Gymnastic Camp August 20-27 ... 196L Washington YMCA Camp Letts, Edgewater, Md. For further info: Vern Elder CamP Dir. 1736 G St., N.W. Washington, D.C. 200Q6: 路
doraa1 arIp under rilht hand swlna rearward In mixed arlp and mount to support and rear vault to riaht over bar with \4 tum to ri~ht to swino =a~ ;n han I, dorsal
:r;:.a~:e"naI~n2' b~onal
~~~d~~
GYMNASTIC WORKSHOP: New York State University at Cortland, July 17-28. Grad credit. Jo Friesen, Director. For路 info. Dr. Katherine ley, Women's P.E. State Univ., Cortland. N.Y. 13045.
INSTITUTE IN ADVANCED ~GY.MNASTlCS: August 9 through 23, 1967. For information write; Roger Counsil, Gymnastic CO!lch, Indiana State Univ. Terre Hute. Indiana 47809.
(llf) C to A+B + A
(9f) C to A+C
MG 100 CLUB . . . Are there 100 people in the USA (just 2 per state) interested enough in Gymnastics and the MG to pay $100 for a lifetime subscription to The Modern Gymnast? Join the MG 100 CLUB and insure the future of the MODERN GYMNAST. Be the first from your state to join the "MG 100 CLUB" the most exclusive and dedicated Club in Gymnastics.
re.rward,
~
~~ S~i,n~g a[~f~n~an~I~~
donal Irip under right hand. swlnl rearward In mixed grip and mount to support and rear vault to right over bar with \4 tum to right to front support
(also 4. c)
EASTERN GYMNASTIC CLUOC: Camp Deerhead, H.ancock, New York. Sessions: June 24-July Ij August 3-September 3. Senll inquiries: tastern Gymnastic Clinic, 811 Vernon Rd., S-3, Phil a-delphia, Pennsylvania 19119. SOKOL WOODLANDS: Ses~ons: July 16-22, July 23-29, July 30-Aug. 5, Aug. 6-12, Aug. 1319, Aug. 20-26. Write: Sokol Woodlands, Mail Road, Barryville, N.R. 1271~. AAU JR. NATIONAL MEET: Southern Connecticut State College. May 19-20. Optionals and compulsories. Meet direct Abie and Muriel Grossfeld. BRUIN CLASSIC: First Bruin Gymnastic Classic. Friday, May 26 at UCLA's Pauley Pavilion. Meet to feature the top gymnasts of California. CAMP EDELWEISS: On bake Ontario near Oswego, N.Y. Full season..:::July 2 - Aug. 12j three week sessions-July- 2-22; July 23-Aug. 12. For further information write Othmar Boxler, Camp Edelweiss, R. O. #2, Cortland, N.Y.. 13045.
(9;) A+C to A+A+C
(13f) C to A+C
::~ :cSe~nt.:~o \!~J:
4. Recommen ded ratings of unrated moves: a. kip to handstand with straight body
IIa.. Ie.. between .rml. Pne _ck aupport tum
b. forward free hip circle to handstand
c) Prom aUf-t
Iwlnl'n rear-
Itand In palm.r)' arIp .nd
forward
-B -B
ALL GIRLS GYM CAMP: Scats Gym Camp, Big Bear Lake, California, July 8th through 15th, 1967. (8 days-$50l For further info: Mrs. Wyckoff, 11813 E. Spry St., Norwalk, Calif. 90650 (or Camp Dir. Bud Marquette, 262 Coronada Ave., Long Beach, Calif. 90803). 27
With our new format, we are asking our readers to help us report results more quickly. In the past, it has been difficult to keep up ta date because many of our correspondents have sent us pages of results which required much time for us to pull out the winner. IF YOUR MEET RESULTS ARE IMPORTANT ENOUGH TO SEND US, THE USE OF THE FOLLOWING FORMAT WILL SPEED THEIR APPEARANCE IN THE MG SCOREBOARD: 1. Rank team scores in order and list school names in full. 2. List only the top three places in all-aralJnd and each event: Full nome, school, score. 3. A brief (75 words or less) paragraph describing the meet should include site, meet director, the name(s) of the outstanding gymnast(s) with events won, and top teams, if pertinent. A photograph of the all-around champion or the event winner in action is more I ikely to be used than a posed trophy picture. Any size print can be sent but it should be as sharp and clear as possible for reproduct ion purposes. When possible include winning routine from each event . Meet results on the national, regional, and statewide leve ls and important local championships and invitationals are welcome in the MG Scoreboard. Send vour results directly to MG SCOREBOARD, P.O. Box 611, Santa Monica, California
90406.
1967 AAWU GYMNASTIC CHAMPIONSHIPS Hosted by Stanford University, the 1967 AAWU Championships featured a close race between the University of California UCLA and the University of Southern California. Avenging earlier defeats, UCLA captured the team title despite a series of misfortunes on the side horse. This championship marked the first northern California appearance of Makoto Sakamoto competing for USc. Sakamoto, our notion's top Olympian , won the 011around title and the parallel bar title, but bowed to specialists Joel Tepp of California on side horse and Josh Robison, also of California, on the still rings. Sid Freudenstein of California was the only other double winner, capturing firsts on the high bar and long horse vault. Kanati Allen of UCLA earned the high score of the meet with a 9 .7 floor exercise routine. Rick Fanceca of Washington garnered the only first for the northerners with a 9.1 on the trampoline. Team standings: UCLA 187.60, California 187.20, USC 185.85, Washington 183.00, Washington State 160.40, Oregan 151.40, Stanford 149.20. AA: Makoto Sakamoto (USC) 56.45, Sid Freudenstein (Cal) 55.45, Kanati Allen (UCLA) 54 .35. FX : Allen 9.7, Freudenstein 9.6, Bassist (UCLA) and Sakamoto (USC) 9.50. SH: Tepp (Cal) 9.20, Fujimoto (Cal) 9.10, Wullschlager (USC) 9.00 Tramp: Fonceca (Wash) 9. I 0, Lerner (UCLA) 8.95, Turchi (Ore.) 8.70. HB: Freudenstein 9.60, Sakamoto 9.55, Allen 9.35. LHV: Freudenstein 9.50, Sakamoto 9.40, Flansaas (Wash) 9.40. PB : Sakamoto 9.65, Durham (USC) 9.35, Allen 9.35. Freudenstein 9.35. SR: Robison (Col.) 9.65, C hop I a n (UCLA) 9.55, Sakamoto 9.45.
28
every first place in the meet. A strong battle developed early in the meet for 2nd place between Georgetown College, Western Kentucky University and Eastern Kentucky University, but Georgetown's experience won it in the end, with Western Kentucky placing 3rd. All-around honors went to Ted Morrison who won three events and took 2nd in another. Frank Powell (Ceo_) and Mark Christianson (WKU) finished 2nd and 3rd respectively in the allaround_ Other winners were Dick Haynes and Danny Miller both of U_ Louisville who tied for first on the side horse and Bob Gaeta, also of U. Louisville, on the trampoline_ Ted Morrison won the long horse vault event, followed by Georgetown's Frank Powell who' also took 2nd on the trampoline. THIRD ANNUAL EASTERN INTERCOLLEGIATE GYMNASTIC MEET FOR WOMEN, MAR_ 4, 1967 Best in the West! Makoto Sakamoto, Kanati Allen, Sid Freudenstein, Rich Grigsby_ West Chester State College of Pennsylvania hosted three other collegiate women's gymnastic teams 1967 CALIFORNIA became eligible in the spring in the third Eastern Intercollegiate meet for women. Competitors were COLLEGIATE ATHLETIC semester. classified into levels so as to have ASSOCIA TION GYMNASTICS Team standings: San Fernando the giils compete against others Valley State (SFV) 181.55, CaliCHAMPIONSHIPS of their own ability. The classes fornia State College at Los Angeles were I-beginner, II-novice, and 111by Joe Buttitta, San Fernando (CSCLA) 171.90, California State top place winners of II from the College at Long Beach (CSCLB) Valley State College previous_ 'lear and those girls who 171.25, San Diego State College have competed at the junior or San Fernando Valley State (SDSC) 145.75, Col Poly at Pomona senior national level. (POM) 112.30, Cal Poly at San College rolled to an unpreceAt the advanced level Ellen BaLuis Obispo (SLO) 80.45. AA: Rich buska of West Chester State dented 5th consecutive CCAA Grigsby (SFV) 53.70, John Maggiearned 4 firsts enroute to winning gymn astics title in March on the netti (SFV) 50.90, Julio Monroy the all-around title. (CSCLA) 50.60. FX: Monroy 9.05, strength of a very young team Results Don Warren (CSCLA) 9.00, Grigsby I-FX: Ruth Morse (U. Mass.) and a fine coaching job by Bill 8.85. SH : Gary Hoskins (CSCLA) 5.45, Arlene Binney (U. Mass.) Vincen t. The Matadors outs oared 9.45, Fred Siebum (CSCLB) 9.0, 4 .50, Peggy Peters (E. Stroud. S. Chuck Walden (SFV) 8.75. TR: their nearest opponent, Cal State C.) 4.40. BB: Morse 7.20, Lynn EISteve Endicott (SLO) and Jerry gert (WCSC) 6.15, Peters 5.95. Los Angeles, 181.55 to 171.90 to Clodfelter (SFV) 8.40, Mike AIIUPB: Leslie Gallion (U. Mass.) 8.10, easily win another championship_ mandinger (SFV) 8.25. HB: Grigsby Lue Riker (WCSC) 7 .0, Elgert 6.25. 9.25, Warren and Bernie Rechs Rich Grigsby of SFVSC won V: Gallion 6.80, Cathy Cowan (SCSLB) tie at 8.8. LHV: Grigsby (WCSC) 6.4, JoAnn Sherk (WCSC) three events, including all-9.35, Warren and Jim Fountaine 6.0. around , and collected trophies (CSCLB) tie at 9.25. PB: Siebum II-FX: Ilona Klimchak (U. Pitt) 9.25, Grigsby 9.10, Magginetti in all seven even ts to be the 6.20, Pat Long (WCSC) 5 .80, Barb 8.65. R: Magginetti 8.95, Wolden McAndle (U. Mass.) 5.5. BB: Linda high point man of the meet. 8.90, tie between Bruce Coulter Binney (U. Mass.) 6.50, Judy BohrJulio Monroy of Cal State Los (CSCLA) and Monroy 8.60. er (WCSC) 6.40, Klimch"k 5.60. Angeles performed beautifully UPB: Linda Gottshall (WCSC) 7.0, Long 6 .75, Marilyn Donadt (WCSC) to capture the free-ex routine FIRST KENTUCKY STATE 5.80. V: Bohrer 8.15, Klimchak with Diablo team mate Don WarINTERCOLLEGIATE 7.50, Long and Maggie Faulkner ren right behind, tallying 9.05 GYMNASTIC (WCSC) 7.0. AA: Ellen Babuska and 9.00 respectively_ (WCSC) 31.20, Judy Bohrer (WCSC) CHAMPIONSHIPS 27.20, Pat Long (WCSC) 24 .85, NCAA side-horse champion by Bob Wason, Coach, Ilona Klimchak (U. Pitt.) 23.80, Gary Hoskins, also of Cal State Leslie Gallion (U. Mass.) 22.85. University Louisville LS, easily captured winning III-FX: Babuska 8.20, Marge Smith (U. Mass.) 7.25, Bohrer 7.20. honors with a 9.45 score. Fred BB: Babuska 8.05. UPB: Babuska Siebum of Cal State Long 6.75. V: Babuska 8.20.
0/
Beach, possibly the most improved gymnast in the CCAA, finished 2nd with 9_00. Valley State's Clodfelter came through on trampoline to tie for first with Steve Endicott of Cal Poly (an Luis Obispo) at 8.40_ Grigsby's high-bar l' out i n e rated two standing ovations from th e 3,000 fans in the Matador gym as he captured the event with a 9.25 score. Competition on long horse was keener , but Grigsby won again with a 9.35 followed by Warren and Jim Fountaine (CCSCLB) at 9.25. Fred Siebum won the pbars at 9.25. Valley State's John Magginetti won the rings with 8.95. The Matadors picked up first, second, and fourth in the allaround with Grigsby, Magginetti, and Radomski, who just
WISCONSIN STATE UNIV_ ATHLETIC CONFERENCE GYMNASTICS CHAMPIONSHIPS March 17 and 18, 1967
State
Champions - Univ .
Louisville
The University of Louisvill e hosted the first State Intercollegiate Gymnastic Championships ever held in Kentucky on March 11, 1967. There are now 7 colleges and universi ti es with competi tive teams and all signs in dicate that gymnastics is on its way to becoming established In Kentucky. The University of Louisville's depth proved too much for the other teams as they captured
by Jame Howard, Gymnastics Coach WSU-LaCrosse The Wisconsin State University Athletic Conference Gymnastics Championships were held at the Eau Claire campus_ The meet was a contest mainly for the Stout and LaCrosse campuses but excellent individual performances were turned in by gymnasts from all teams_ LaCrosse's depth was responsible for its 167.5 victory over the 159_5 scored by WSU-StoUL Ron Day of Stout was the outstanding performer of the meet, winning 4 gold medals_ The high-
light of the meet for LaCrosse was its 1-2·3 slam of the horizontal bar event. Team Standings: LaCrosse (LaX) 167.5, Stout (S) 159.5, Eau Claire (EC) 72.0, Stevens Point (SP) 51.5, OshKosh (0) 32.5, Platteville (P) 15.0, Whitewater (W) 6.0, River Falls and Superior. AA: Ron Day (S) 39.85, Richard Zaleski (LaX) 38.85, Dave Wentworth (LaX) 35.30. FX : Day 7.575, Zaleski 6 .65, Decker (EC) 6 .575 . SH: Olson (EC) 7 . 10, Ness (S) 6.875, Johnson (LaX) 6.725 . TR: Janssens (P) 5.875, Lorenz (S) 5.70, Karceski (LaX) 5.675. HB : Wentworth 7.625, Druecke (LaX) 6.90, Zaleski 6.70 . LHV: Dupont (S) 8.0375, Padgett (LaX) 8.0125, Schnieder (SP) 7.950. PB: Zaleski 8.025, Dupont 7.375, Druecke 7.050. R: Day 8.00, Rabbitt (S) 7.95, O'Hearn (LaX) 7.90. Tu: Day 6,40, Hogstrom (EC) 6.35, Schnieder 5 .60 . BIG 10 GYMNASTIC CHAMPIONSHIPS March 4, 1967 For the first time in 30 ye ars, Iowa won the Big Ten Gymnastics Title by topping Michigon 187.05 to 184.87. Four indiv idual titles were taken by Hawkeye gymnasts. Dave Th or who was the defending all-around' champion from 1966, retained his title but was unable to win any individual honors. Team standings: Universtiy of Iowa (I) 187.05, University. of Michigan (Mich) 184.87, Michigan State University (MSU) 182.37 , University of Illinois (UI) 180.55. FX: Toby Towson (MSU) 9.5, Dave Jacobs (Mich) 9.15, Phip Ful ler and Chip Fuller (Mich) 9.0. SH: Keith McCanless (I) 9.5, Denni S Smith (MSU) 9.25, Dave Thor (MSU) and Bob Hoercherl (Minn.) 9.2. Tr : Dave Jacobs (MSU) 9,45, Gary Holveck (UI) 9.1, Cookie Rollo (UI) 9.05. HB: Neil Schmitt (I) 9,45, Chuck Weber (UI) 9.2, Mike Sasich (Mich ) 9.1. LH: Hal Shaw (UI) 9.32, Chip Fuller (Mich.) 92 Dean Calhoun (UI) 9.12. PB: T~";' Goldsborough (I) 9.3, Ike Heiler (I) 9.15, Bob Dickson (I) and Arnie Lazar (I) 8.9. R: Don Hatch
QYMNASTICS
(UI) and Dave Croft Ed Gunny (MSU) 9.1.
(MSU)
9.'1.,
BIG 8 GYMNASTIC CHAMPIONSHIPS March 17-18, 1967 A powerful Iowa State University team captured the Big 8 Gymnastics Championships held at the University o f Nebraska w ith a score of ' 187.45. Runnerup was Colorado with 172.80. In addition to the team title, Coach Ed Gagnier's Cyclones earned fi ve of seven individual gold medals and six silver. Team standings : Iowa State 187.45, Colorado 172.80, Kansas 166. 10, Nebraska 162.90, Oklahoma 143.00, Kansas State 138.60. FX: Jim Barber (SU) 9.275, Bob Fisher (Col) 9.25, H omer Sardina (ISU) 9.15. SH: Jack Ryan (Col ) 8.875, Burt Christopherson (Neb) and . Jerry Fontana (ISU) 8 .625 . Tr : Sardina 9.375, Tim Clarke (ISU) 9.325, Mark Wilcox (ISU) 8.975. HB: Fontana <;':'125 , Ernest McDonald (ISU) 9.175, Tom Sexton (Okl) 8.825. LH: Fisher 9.4, Sardina 9 .225, Clarke and Fontana 9.175. PB: Jerry Crowder (ISU) 9.275, Fontana 9.025, Mike Jacki (ISU) 9.0. R: Jacki 9.50, Ward Maythaler (ISU) 9 . 175, Allen Armstrong (Neb) 9 .025. UCLA GYMNASTICS INVITATIONAL February 4, 1967 While five teams participated in the 13th annual UCLA Invitational/ the main interest centere.d about the rivalry between the University of Southern California led by Makoto Sakamoto and UCLA led by all-arounder Kanati Allen. Sakamoto won the all-around competition with . a 54.80 score, but UCLA won the team title with a score of 180.35 . Each team made three first place finishes and two seconds but the depth of the UCLA team won
out in the end. UCLA's trampol ine team notched a 4-point margin aver their closest rival, USC. First place winners for UCLA were S~m dy Bassist in the floor exerCise,
on STAMPS
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- st~mps ................ $1.00 California R'eslaen1: Add 4% Sales Tax MG STAMPS Box 777 Santa Monica. California 90406
Steve Lerner and Chris Castner in trampoline, and Mickey Chaplan on still rings . USC's Makoto Sakamoto won the all-around , parallel bars, high bar, and tied Rich Grigsby of San Fernando Valley State on the long horse. NCAA Side Horse Champ Gary H osknis of Los Angeles State won the side horse event wtih the high meet score of 9.6. Results Team standings: UCLA 180.35 , USC 179.80, Los Angeles State College 174.55, Long Beach State College 165.05, San Fernando Valley State College 165.05 . AA: Makoto Sakamoto 54.80, Kanati Allen 52.90, Mikio Sakamoto (USC) 51.90. FX : Bassist (UCLA) 9.3, Makoto Sakamoto 9.2, Warren (LASC) 9.2. SH: Hoskins (LASC) 9.6, Siebum (LBSC) 935 Wullschlager (USC) 8.8 . T~a";p: Castner and Lerner (UCLA) 8 6 Wiese (UCLA) 8,4. HB : Mak~t~ Sakamoto 9.55, Allen 9,4, Grigsby (SFVSC) 9,4. LHV : Grigsby 9.4, Mo . Sakamoto 9,4, Allen 9.25. PB: Mo. Sakamoto 9.5, Siebum 9.35, Durham (USC) 9.0. SR: Chapalan (UCLA) 9 .35, Mo. Sakamoto 9.2, Munroy (LASC) 9.1.
LOS ANGELES TRADE TECH COLLEGE 7TH ANNUAL INVITATIONAL Team Standings: Harbor City College (H) 55 , Santa Monica City Co llege (SM) 43.5 , EI Camino (EC) 11 , L.A. Trade Tech (TT) 10, Fullerton Junior College (F) 8.5. All-around: P. Tickenoff (H) 26.4, D. Ferre (SM) 24.95, D . Ramsey (SM) 24.25. FX: Ferre 9.1, Tickenoff 8 .8, Leon Mims (H) 8.45 , SH: Ramsey 8.8, S. Duhaime (F) 8.7, J. Cooper (TT) 6.9. HB : Ferre 7.65, R. L. Gardner (H) 7.15, B. Jones (TT) 6.95 . LHV: Ticker)off 9.2, Schwartz (H) 8.7, R. Orrick (SM) 8 . 1. PB: Tickenoff 8.4. Ferre 8.2, B. Burley (H) 7.65. R: Gardner 8 .8, R. Corey (SM) 8.15, B. Shook (SM) 7.9. Tumbling: A . Reilly (EC) 8.6, Schwartz 8.4, Mims 8.2. Rope: Burley 3.7, C. Hurd (H) 3 .9, D. Allen (SM) 4.0.
AVAILABLE BACK ' EDITIONS MADEMOISELLE GYMNAST Introductory Edition ............. $1.00 VOLUME I #1 ........................... .75c # 2 ..........................................75c #3 .......................... .75c # 4 ..................... ..... .75c Volume I, complete ......... $2.50 MISCELLANEOUS ACROBAT VOLUME I # 4 .......... 25c ACRO·CHAT Sept. 1950 ........... ..... .l5c Jan. 1951 .. .l5c 2 for . ........ 25c MG NEWSLETTER Aug. 1960 ... .lOc Photo Balance Course ............ $1.00 Nat'l Compulsory Routines 1958 with drawings .... . ..lOc BALLET FOR GYMNASTICS Manual # 1000 ................. $3.00 # 1000 to accompany Class "C" record (Stepping Tones) Manual # 1010 ....... $4.00 # 1010 to accompany Class "B" record (Stepping Tones) THE GYMNAST (Published in England) VOLUME III #1 .........................................25c #3 ............... .. ......... 25c #4 .............. .................... 25c VOLUME IV #2 ......... 25c #3 ............ ........ .25c #4 .................... .. 25c VOLUME V # 1 ............................. ....... .25c #2 ......................................... 25c
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MG CLASSIFIED SECTION CAMP EDELWEISS : Summer camp on Lake Ontario for boys 7 to 15. Combining a physical fitness program, featuring gymnastics, with nature and campcraft activities . For furthe r details write: Othmar Baxler, Director, R.D. #2, Cartland, New Yark 13045.
Shreveport Gymnastic Supply Company
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