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NOTE FROM THE PUBLISHER:
NOV.-DEC., 1968
VOLUME 3, NO. 2 CONTENTS
NOTE FROM THE PUBLISHER ...................................... OLYMPIC ALL-AROUND CHAMPION .............................. USA OLYMPIANS IN MEXICO ........................................ 1968 OLYMPIC REPORT ................................................ WOMEN'S TEAM RESULTS ............................................ ALL-AROUND .................................................................. ALL-AROUND SILVER MEDAL WINNER .......................... INDIVIDUAL EVENT CHAMPIONSHIPS VAULTING .................................................................. BALANCE BEAM ........................................................ UNEVEN PARALLELS ................................................ FLOOR EXERCISE ...................................................... DANCE DEMONSTRATION AT AAHPER CONVENTION .... CANADIAN CHAMP ........................................................ HELEN'S CORNER .......................................................... LmERS ...........................................................................
4 5 6 8 12 14 16 18 20 22 24 26 28 28 30
COVER: Mademoiselle Gymnast scenes from MexicoOpening day at the stadium - Vera Caslavska, Olympic Gold Medal Champ. Cathy Rigby, high AA scoring USA Olympian - USA team in Olympic Village. GLENN M. SUNDBY-Publisher BARBARA B. SUNDBY-Managing Editor
MADEMOISELLE GYMNAST is published bi·monthly during the school year .(Sept.·Oct., Nov.·Dec., Jan.-Feb., March·April, May· June). Price: $3.00 per year, 75c single copy. Subscription correspondence, Box 777, Santa Monica, California 90406. Copyright 1968 all rights reserved by Sundby Publications, 410 Broadway, Santa Monica, California 90401.
The 1968 Olympic Games in Mexico City reflected the growth of the Women's Gymnastic program in America during the past four years, Little Cathy Rigby of Long Beach, Calif" the brightest American star on the horizon of world Gymnastics placed sixteenth in the AII·Around, This is the best Olympic AII·Around position any USA girl gymnast has ever achieved, Linda Metheny placed 4th on the Balance Beam which made her the first USA Gymnast (male or female) to win a birth in the Individual Event Finals of the Olympic Games, (In the 1948 Olympic Games in London, Mile, G. contributor Helen (Schifano) Sjursin was the highest scorer for the USA team unofficially placing 2nd in Vaulting, As there was not individual Cham· pionships or AII·Around in '48 we do not know the AA placings for the three event competition, FX, BB & V), In Mexico Linda did an excellent job in the BB finals, but could not overtake any of the first three to bring home what would have been the first Olympic Gymnastic Medal in Twenty years, Cathy placed right behind Linda on the Beam ending up in a three·way·tie for fifth place with Petric of USSR and Zuchold of East Ger· many, who by the way tied with each other for fourth place in the AII·Around, so you can see Cathy is up there with the best of them. Because of just six performers in the Individual Championship event the rule (we could not find it in the FIG Code) is that the gymnast with the highest AA total qualifips for the finals, so Cathy did not make it into the Beam finals , , , THIS TIME! In the Team placement thanks to a grand group of hard work· ing young lady gymnasts' and good coaching by Mrs, Gross· feld, Mrs, Flanaas, Mr. Edwards and Mr, Mulvihill the USA team placed sixth, the best in Olympic competition in two decades, (In 1948 the USA team placed third behind Czechos· lovakia and Hungry to take home the Olympic Bronze medals. USSR, E. Germany and Japan the other teams ahead of the USA in Mexico '68 were not in the 1948 Olympics,) Below for your comparison are the USA Team and Individual placements for the past five Olympic Games: MEXICO 1968 USA 6th Place H>- Rigby 28-Metheny 30-Tanic 31-Gleason 34-Mulvihill 38-Cluff
TOKYO 1964 USA ~!h Place 34-McClemments (Flan.,.sJ 3&--Metheny 51-Corrigan 58-Grossfeld 60-Walther 62-Speaks
ROME 1960 USA 9th Place 28-Songerath 4O-Fuchs (BrauseJ 45-Richardson (Zuber! 52- Maycock 58-Montefusco 70-Grossfeld
MELBOURN 1956 USA 9th Place 51-Ruddick 52-Davis (Grossfeld! 54-Racek 55-Klein IUphuesJ 57-Fuchs IBrause! 58-Howe
FINLANO 1952 USA 12th Place 64-Barone 65-Grulkowski 74-lomady B3-Topalian 103-Dalton 107-Hoesly
It is interesting to note that in all but three cases our lowes scar· ing girl in 1968 scored better than every other USA team member in the five previous Olympiads.
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OLYMPIC PHOTOGRAPHS 1968
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Don Wilkinson whose photos appear in Mademoiselle Gymnast, , , , " covered the Olympic Games photographically in color and black and :white. He has produced a fully illustrated catalogue showing over 1,500 contact size black and white prints (with over 400 of Gymnastics). Also listed are the color transparencies taken. This catalogue, price $1.00 is now available from - DON WILKINSON, 1013 8th A VENUE, GREELEY, COLORADO 80631.
RA CAS 1'68 Olymp Gold Medal
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Above: Linda Metheny, Kathy Gleason and team Beam Optionals . Top left page - The USA Coach, Team and Manager pose for the Mademoiselle Gymnast camera in the Ol ympic Vill age. Left to Ri ght: Muriel Grossfeld (coach), Cathy Rigby, Linda Metheny, Joyce Tanic, Diane Bolin (alternate), Coll een Mulvihill , Wendy Cluff, Kathy Gleason and Vannie Edwards (manager).
USA OLYMPIANS IN MEXICO
Below: Cathy Ri gby in Opti onal Floo r Exercise and te am warm-up for Uneven Optionals.
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1968 OLYMPIC REPORT 1968 OLYMPIC GAMES - WOMEN'S GYMNASTICS Report by Dale Flansaas The 1968 Olympic Games proved to be most exciting. The Games opened on Oct. 12, 1968 with an impressive opening ceremony involving 7,886 athletes from 109 countries. The athletes marched into the stadium, speeches were given, the Olympic flag was hoisted, balloons and pigeons were released into the air and for the first time a woman athlete carried the torch and lit the flame. An impressive presen1:ation of the Olympic flag was done for the first time. A Japanese delegation presented the flag to the Mexican delegation with an impressive musical background portraying the two coutr ies. And so, the Games were officially launched. The gymnastics competition wasn't to begin until the last week of the Games - Oct. 21-0ct. 26th. And so, training resumed for the gymnasts. Each country is given a 3 hour block of time in the gym per day. The workouts are open so one can watch the various' teams practice. At times some countries worked out at different times than scheduled so as not to be seen. The American team along with others spent. most of their time trying to perfect the compulsories and optional exercises and to build physically toward their peak which was aimed for the competition dates. The time flew by. When the girls weren't in the gym they were usually at the Olympic Village meeting other athletes, spending time' in the recreation hall or just resting. -8-
The competition proved to be a battleground between the Soviet and Czechoslovakian team with the E. Germans not too far behind. Most of the individual titles were members from these teams also. The Japa nese did not do as well as usual this time. Their team looked good but did not have as high a difficulty valu e and originality as the other top teams. Hungary and the United States were battling it out for 5th place. The U.S. was leading until the Hungarians pulled up ahead of us by 0.05 in the optionals. Following is an event report of how some of the teams did, the styles and difficulties used, and individuals who did an outstanding job. In vaulting, the top teams showed good styles. The Russians tended to have high preflight and lower afterfl ight, the E. Germans the opposite and the Czechs were somewhere inbetween. Good style, with the arms being thrown outward slightly at the height of the pre flight and afterflight of the compulsory, giant cart wheel vault, was used. The most popular optional vaults used were Yamashita's and cartwheels with the % twist. Caslavska hit her normal flighty vault with a perfect landing. She scored a 9.9 on her compulsory vault. Voronina looked like the best Russian vaulter - excellent preflight and afterflight. Her Yamashita was definitely individualized - she thrusted her arms sideward at the height of her preflight before bringing them forward onto the horse. The E. German team also proved to be strong vaulters placing Zuchold and Janz in the finals. Zuchold has low preflight on a Yamashita, but tremendous afterfl ight. Bars proved to be a bit disastrous for the Czech and Russian teams. Although Caslovska did a good compulsory, two girls on the team missed somewhere in their exercises. The Russian team as a whole does not look as strong as the Czechs on Camp., but the surprise of the entire meet came when Kuchinskaya fell off camp. bars on the Ij2 turn squat. This of course knocked her out of the battle for all-around with Caslovska and placed her teammates Voronina and Petrik in the running. E. Germany had good bars. They stylized the sale circle % turn well in the camp. by thrusting the arms slightly sideward before recatch ing the high bar. On optional bars all 3 teams showed interesting movements. Many hechts and hechts with full twists were used off the high and low bars, Zuchold, from E. Germany hit good routines. ZL1chold has her 2 original moves she used in Dortmundt in 1966 more perfected - front seat circle shoot on high bar drop to handstand on low bar and the 1/2 seat circle shoot dislocating the arms and recatching the high bar. One of the Russian girls did a sale circle 11/2 twist on the high bar recatching the high bar which was probably the most current new stunt thrown in the competition, and one of the Czechs did a cast away from somi from the high bar. Caslavska has a new stunt, but didn't use it in competition. She does a full sale circle on the low bar, stands up (back to high bar) and throwing her arms up over her head falls with her back against the high bar, does a back circle around the high bar and grasps the low bar into a glide kip. The American girls were right up with these nations in the originality of some parts. Colleen Mulvi hill used a front flip over the low bar from a front support to a recatch on the high bar, and a free hip, 1/2 turn on high bar to an immediate double knee circle on the low bar. Linda Metheny used a cast away back somi dismount from the high bar and although she didn't do it in competition, is doing a glide kip shoot -g-
through on the low bar to high bar grasping the high bar in a reverse grip in an upside down "l", shoot outward releasing the high bar to a kip on the low bar. Joyce Ta nac uses a straddle vault to a bounce off closed legs on the high ba r to an immediate back somi. And so , optional bars was probably the most excit ing event of the meet as far as new movements and originality of connecting movements is concerned . The floor exercise event was dominated by the Russians as a team . Their originality of combinat ion along with the music and flashiness put them above the other teams. Their style this time tended to be ve ry supple showing flexi bility and modern gymnastics type of body movement. Petrik, Voronina and Kuchinskaya showed the most creativeness although Kuchin skaya received a very high 9.85 for a routine with low tumbling and a stumble out of a full twisting back somi . The Czech team had good F.X. as a team with Ca slavska having an excellent routine of 9.85 - probably the best composed in the competition. She used excepts from the Mexican Hat Dance for music which was of course, appreciated by the Mexican audience. Most of the floor exercise routines used twisting som ersaults and aerials in sequence, along with interesting movements on the floor. The balance beam routines were stable by most teams and the difficulty level was higher. The Russians and Czechs seemed to be holding back on compulsories. The E. Germans went all out with every part of the exercise and the American girls did an outstanding job receiving good scores. After compulsories, Kuch inskaya was in 1st, Caslavska 2nd , Linda Metheny 3rd and Cathy Rigby 4th, both from the U.S. In the optionals Kuchinskaya remained in the lead. She and Caslavska both hit very stable routines. Guchinskaya had the same routine as in 1966 difficulty wise, with walkovers, press handstand and the back handspring dismount. Caslovska had 2 new movements - a handspring walkout (done like a fast walkover) to an immediate needle scale and a cartwheel to a full twisting back somi dismount. Linda Metheny remained in 3rd spot and Cathy Rigby tied for 5th with 2 others. So, Linda made finals and Cathy missed out because she tied with 2 and only 6 could be in the finals. Cathy had the lowest all-around of the three. Some other difficulties done on the beam were: backhandsprings, diving cartwheels, carwheel immediate backhandspring (not used in competition), I -arm walkovers, handspring walkout to an immediate aerial dismount, a front aerial with a full twist dismount, and a backhandspring to a chest roll down. The finals , although a very slow meet, proved to be 'a tough competition. All si x girls in every event hit their routines very well. It is the first finals where I've seen so many routines hit. I can only remember one miss on the bars by one of the Czech girls. Since what was performed in the routines has already been discussed , the results following this article should tell the story of the finals. I thought it was a little sad the way the Mexican audience was booing and stamping their feet during so much of the competition, especially during the presentation of the medals. To sum up , I felt this was a difficult competition . More gymnasts are becoming members of the upper group fighting for the medals. along with more teams. I think the U.S. team has a bright future for the next competition . Our team is up with the rest in difficulty, but still needs more polish and elegance in their work along with the difficulty. So that is the next step for the American gymnasts. -10-
Gold Medal Team from the USSR
WOMEN'S TEAM RESULTS XIX OLYMPIC GAMES MEXICO CITY 1968 1. USSR 382.85 2. CZECHOSLOVAKIA 382.20 3. E. GERMANY 379.10 4. JAPAN 375.45 5. HUNGARY 369.80 6. USA 369.75 7. FRANCE 361.75 9. W. GERMANY 354.65 9. POLAND 353.85 10. BULGARIA 352.10 11. CANADA 343.40 12. NORWAY 338.15 13. CUBA 332.85 14. MEXICO 311.25
路12路
Kuch i ns kaya
Caslavaska
Zuchold
Voronina
Petrik
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All-Around victory presentations
Janz Caslavska receives victory toss from her team mates
ALL路AROUND WOMEN'S ALL AROUND PLACINGS XIX OLYMPIC GAMES MEXICO CITY 1968
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Place Name 1. Caslavska, Vera 2. Voronina, Zinaida 3. Kuchinskaya, Natalia 4. Petrik, Larissa 4. Zuchold, Erika 6. Janz, Karin 7. Rimniacova, Bohumila 7. Karaseva, Olga 9. Sklenickova, Miroslava 9. Karajcirova, Mariana 11. Kiskova, Hana 12. Bauerschmidt, Maritta 13. Hanyu, Kazue 14. Banfai, Agnes 15. Kubickova, Jana 16. RIGBY, CATHY 17. Matsuhisa, Miyuki 18. Mitsukuri, Taniko 19. Janosi, Ducza 19. Oda Chieko 19. Letourneor 22. Kandori, Mitsuko 22. Starke, Ute 24. Turisheva, Ljudmila 25. Burda, Ljubov 26. Schmitt, Makrai 27. Noack" Marianne 28_ METHENY, LINDA 29. Schmidt, Magalena 3~. TANAC, JOYCE 31. GLEASON, KATHY 34. MULVIHILL, COLlEEN 39. CLUFF, WENDY
Country Total 78.25 Czechoslovakia USSR 76.85 USSR 76.75 USSR 76.70 E. Germany 76.70 E. Germany 76.55 Czechoslovakia 76.00 USSR 76.00 Czechoslovakia 75.85 Czechoslovakia 75.85 Czechoslovakia 75.65 E. Germany 75.45 Japan ' 75.30 Hungary 75.10 Czechoslovakia 75.05 74.95 USA Japan 74.90 Japan 74.85 Hungary 74.80 Japan 74.80 74.80 France Japan 74.65 E. Germany 74.65 USSR 74.50 74.20 USSR Hungary 74.15 E. Germany 74.10 74.00 USA 73 .95 E. Germany 73.65 USA 73.60 USA 73.05 USA 71.80 USA There were 101 competitors in the Women's Olympic Gymnastic competition. A complete score breakdown by events will be contained in a Special Olympic book to be published at a later date in the MG office .. . Watch for special announcement.
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WOMEN'S VAULTING -INDIVIDUAL FINALS
Total Place - Name - Country C&O Avg. Finals 1. Caslavska, Vera (Czechoslovakia) 9.875 9.900 19.775 9.800 19.625 2. Zuchold, Erika (E. Germany) 9.825 3. Voronina, Zinaida (USSR) 9.800 19.500 9.700 4. Krajcirova, Mariana (Czech.l 19.475 9.725 9.750 9.650 19.375 5. Kuchinskaya, Natalia 9.725 9.650 6. Sklenickova, Miroslava (Czech.l 9.675 19.325 (C&O Avg.-Compulsory and Optional score average going into finals) Vera Caslavs ka's compulsory Vault
I\uchinskaya
WOMEN'S BALANCE BEAM - INDIVIDUAL FINALS Place - Name - Country
C&O Avg. Finals Total 9.800 9.850 19.650 2. Caslavska, Vera (Czech,) 9.725 9.850 19.575 3. Petrik, Larissa (USSR) 9.500 9.750 19250 4. METHENY, LINDA (USA) 9.575 9.650 19.225 4. Janz, Karin, (E. Germany) 9.525 9.700 19.225 6. Zuchold, Erika (E. Germany) 9.500 9.650 19.150 (C&O Avg.-Compulsory and Optional score average going into finals)
1. Kuchinskaya, Natalia (USSR)
BALANCE BEAM 路20路
Metheny (USA) Petrik
Caslavaska Janz
Zuchold
Voronina Rimnacova Zuchold Skienickova
UNEVEN PARALLELS WOMEN'S UNEVEN PARALlELS -INDIVIDUAL FINALS PJace - Name - Country C&O Avg. Finals Total 1. Caslavska, Vera (Czech.) 9.750 9.900 19.650 2. Janz, Karin (E. Germany) 9.650 9.850 19.500 3. Voronina, Zinaida (USSR) 9.625 9.800 19.425 4. Rimnacova, Bohumila (Czech.) 9.650 9.700 19.350 5. Zuchold, Erika (E. Germany) 9.525 9.800 19.325 6. Sklenickova, Miroslava (Czech.) 9.550 8.650 18.200 (C&O Avg.-Compulsory and Optional score average going into finals)
路23路
Kuchinskaya -24-
Petrik
WOMEN'S FLOOR EXERCISE - INDIVIDUAL FINALS Place - Name - Country C&O Avg. Finals Total 1. Petrie, Larissa (USSR) 9.775 9.900 19.675 1. Caslavska, Vera (Czech.!' 9.775 9.900 19.675 3. Kuehinskaya, Naralia (USSR) 9.800 9.850 19.650 4. Vororiina, Zinaida (USSR) 9.700 9.850 19.550 5. Karaseva, Olga (USSR) 9.575 9.750 19.325 5. Rimnaeova, Bohumila (Czech.) 9.575 9.750 19.325 (C&O Avg.-Compulsory and Optional score average going into finals) .
路25路
Reaction to the Demonstration Presented Jointly by the Dance Division and The International Relations Council of AAHPER KIEL AUDITORUM - MARCH 31, 1968 AAHPER CONVENTION IN ST LOUIS Reactor -
A. Bruce Frederick, Dept. of Physical Education Wisconsin State University at Superior
Interesting contrasts and similarities marked the perform ances of three groups in a specia l program at the St. Louis Convention of AAHPER this year. Finnish rhythmic gymnasti cs, com~etltlve floor exercise for women and modern dance presentations were to be followed by observations from a panel of reactors including this writer. Time ran out and the second phase of the program was necessarily deleted. This writer rionthe-less enjoyed and looked forward to the opportunity to react.. He is therefore presenting this abstract of his views . Since the program was rather unique and because it did evoke a wide response from attendees who were contacted later, it is the writer's hope that reactions from all of the panel might be extracted for contrast and published at some later date. All of the performances were of high qual ity representin g the best available display of t alent In each area. The Finnish g roup consisted of teachers who in their homeland teach others the fundamentals of rhythmic gymnastics . The competitive group of thrE7e girls from Southern Illinois University (S_I.U .) had the prevIous evening won national recognition as the Intercollegiate Women's Gymnastic Championship team. The modern dance group was under the direction of Paul Chambers of the University of Missouri at Kansas City. Mr. Chambers is Dance Chairman of MAHPER and was assisted by M r. Cliff Wirwan who is Chairman-Elect of MAHPER. One must be initi ally impressed by the male leadership in Missouri in dance. The rem arks which follow are ge nerally in accord with the order of events of this unique program. Th ere is no attempt therefore to place the performances in rank order of preference but merely to comment on aspects of the presentations which stimulated thou ght before and after. There were many surprises. After a brief introduction the Finnish girls appeared in a locomotor sequence accompanied by Inkeri Simola who also com~osed the mu~ic. It should be notE7d that both in Europe and In Scandanavla the gym nastic trainin g of the young in cl.udes techniques of runnin g and other forms of locomotion With ~uslc ~ 1 accompaniment. A pianist might eas ily find a career In thiS field In those countries while in the United States for exa mple only a mere handful of pianists have been trained to accompany gymnastic exercises. I?.uring the performance we overheard a significant remark by Lllsa Orko who i~ Vice Pres!de~t of the International Lea gue of Modern Gymnastics. She said , In reference to the music and the exercises, " They are born together." The competitive group from S.I.U. and the modern dancers used vari ations of well established themes such as "Dr. Zhiva go" and "Exodus" during their performances . . The Finnish gi rls showed exce llent carriage and amplitude while they moved In a variety of ways. Lightness was especi ally apparent in their handlin g of one pound clubs. They were
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so well handled th at one could easily imagi ne that the clubs were const ructed of light plastic material. Althou gh individual members of the Finnish group were not featured, th ey presented a number of group exercises very similar t o a new competitive f orm known as Gym nastics Modern . At lea.st two thin gs. identified the Finnish girls as primarily a rhythmiC group. Their leotards had a zipper down th e back. Such a un!form is not worn by those gym nasts who expect to roll o~ their back~ or perform on apparatus. Secondl y, the girls occasionally stabllzed landin gs from leaps and jumps with the ir finger tips but not once did any of the girls support their weight with the hands alone. An earlier tour by students of the U.ni,:,ersity of Helsinki under the direction of Elna Koppinen was Similar but less difficult th an the St. Louis performance. Both grou ps (University of Helsinki and S.N. L.L. - The Finnish Women 's Ph ys ical Education Assoc.) had presented their work at th e Gymnaestrada in Vienna several years ago. The use of a disc in one of t he segments of the Finnish p~rformance ~ad not .been seen by this writer in the past. The diSC: was Similar In size and shape to ones often depicted in conjunction With the ancient OlympIC games _ Hoop exe rcises were last on the program and they were well don e. It should be noted that hoop exercises are co nsidered to be the most difficult of all rhythmic gym nastic forms due to the space requirements and difficult adjustments of the body to accommodate a variety of movements. . To s~me observers . the ball work was a disappointment since a SIX Inch rather than an eight inch ball was used. It is much easier to control the former and it was assumed that the experience of this fine group would dictate th at th ey use the large r variety in order to show absol ute control. . Three gi rls from Southern Illinois University followed the Finnish performance. There were examples of competitive flo or exercises and a running narration was given by Mr. Herb Vogel who coaches the girls. Unfortunately, the girls had to perform their routines without live piano accompa nim ent. They
used taped mu sic and found that their work was further complicated by a rough splintery surface and they had to modify their directions somewhat occasionally slipping out of harmony with their music. The audience saw an immediate contrast in gymnastic form since the S.I.U . girl s used acrobatics and tumbling throughout their routines and one could definitely note the influence of the Czech style as one of the girls did three butterflys in a row during her routine and finished in a low pose on the knees with the back bending close to the floor reminding one immediately of the Czech Champion Vera Caslavska. Followin g each of the routines, Mr. Vogel had the girls demonstrate selected parts in order to emphasize differences between rhythmic and competitive gymnastic work. He may have oversold the idea that acrobatics and tumbling were truly gymnastic difficulties when he said, "Now let's look at some real gymnastics ," in referring to the tumbling sequence that was to follow. The use of make-up is another interesting point to ponder. The objective of natural health and robustness emphasized by the Finns is re·e mphasized by their judicious use of make·up. Make·up serves to dramatize and provide illusion for modern dance. Both extremes we re noted as one observed the S.I.U. girls . The first performer had too much make·up which detracted from her performance in the writer's opinion. The second girl , Joanne Hashimoto , wore no apparent make·up while the third girl was a blend in terms of the other two. I believe this topic needs to be further explored by those who are concerned. What are the proper limits of make-up? How does make-up affect the "sell" of a particular form of movement. What about hair styles? Mr. Vogel made use of a technique known as audio-tonal rhythm is working with his girls. At one point he asked the audience to be aware of the sounds of the performance of one of the girls. This kind of association with the specifics of movement is also worthy of further description as well as certain adaptations of video tape in combination with techniques of audio-tonal rhythm . Having viewed the S.I.U. group, one wonders how their training and general attitude might be modified if they had been trained by a woman. Male leadership in the field of competitive gymnastics for women is subsiding as more and more competent women are entering the competitive f ield . To this writer, at least, it was evident that the girls were trained by a man. Discussion of the pros and cons of this subject would make for a very interesting session in the future. The modern dance group presented the widest variety of numbers from that field under the direction of Paul Chambers and Cliff Kirwan of the University of Missouri at Kansas City. The technique demonstration of the modern dance group was especially good in the opinion of the writer who was surprised by the extent to which a modern dancer might engage in pure exercise forms . At t imes tne technique exercises were reminiscent of Danish gym nastics. The exercises were executed with precision and verve building from movements very close to the floor to leaps and jumps. The beat of the drums during this portion of the modern dance program produced an excellent rhythmical quality although when compared with the type of work exhibited by the Finns one might be tempted to say that it was more bound. The Finnish girls seemed to be moving out from an imaginary center from within themselves but this was not particularly an overall impression one could obtain from observing the dancers . In the latter one could find more discipline and less freedom. The unique portion of the modern dance program was the effort of the performers who dramatized certain comical and emotionally appealing themes. "Kix are for Kids" and " Inflation" were examples of the former while the impression of the struggle of a free society combating social and political evils was performed to the theme of " Exodus" as an example of an emotionally toned modern dance. Especially appealing to the writer was a number entitled, "co ntrasts ." Two girls presented this number which represented a very advanced form of educational gymnastics (English movement) in which or'ie performer moves in contrast to another. Low contrasts with high; fast with slow; heavy with light, etc. The writer cannot end his commentary without recalling, as he did that evening, the television '· special" entitled '· A Man Who Dances ." The story of Edward Villella was the subject of this excellent program. It did much to explain the
masculine role in the field of dance. Having seen Villella in action and understand ing something about his long hours of preparation in connection with his interpretation of " Rubies " left one with the feeling that in all athletics there is no train· ing regime which can quite compare with it. The modern dance group came closest to the silent interpretation of men in dance . If the program were to be repeated, it would be especially useful from the writer's point of view to contrast masculine dance forms with modern competitive gymnastics for men. A program sponsored jointly by the Dance Division and the Division of Men's Athletics would probably have great appeal. In the final analysis, all of the presentations we viewed in St. Louis were movement forms . In this sense they all might be placed correctly in a movement model which needs to be evolved jointly by interested professionals who are not afraid to cross interdisciplinary lines. It would be quite a shame for the battle of the systems to occur onc.e again championed by modern exponents in any or all of the above mentioned and significant areas. The writer would especially like to see this movement model evolve in order that the field of physical education can extract the best of each area to uniquely affect the lives of all boys and girls who participate in our programs. Perhaps we should unite around the more important theme of teaching movement to all children rather than taking refuge and pleasure in thoughtless designations such as "movement person ," " dance person," "gym nastic person" and the like. If we are all physical educators then we will develop our cur· ricula in such a way that important experiences in dance, gymnastics and movement will be taught to all children. If we are all teachers we will not fall victim to the fea rs of one of the panelists who whispered to a male colleague whom she thought to have negative reactions to the Finnish performers. "Don't knock it!" she declared. Let us rather " rap" together and combine our talents as was so ably done in St. Louis.
HIGHLIGHTS ANNOUNCED FOR AAHPER 1969 CONVENTION AAHPER convention highlights at Boston will be a performance by the Springfield College gymnastics team and a concert by members of the Boston Pops Orchestra. Headliners among the speakers are Pa u.l Dudley White, well known cardiologist; Scott Carpenter, astronaut; A. Donald Bourgeois of the Urban Coalition; and Ethel AI penfels, New York University. A detailed Convention program will appear in the February Journal of Health - Physical Education - Recre· ation. Convention dates are April 11-15, 1969.
~/en : C
orner
By Helen Sjursen
LET'S BRING OUT THE TALENT OF SECOND GRADERS So many physical education teachers suppress the talents of lower elementary students. I am a great believer of "gymnastics being the best sport for all-around physical fitness and hope that more and more schools will include it in their physical education program . The following are just two of the skills my second graders at Hartridge School in Plainfield, N.J. are doing. The Smile on the faces of the students beamin g with excitement over the execution of a skill she never thou g ht she could possibly attempt is worth all the tea in China. Note -students do all the spottin g. Bring out the -talents of your young potential gymnasts.
11
Canadian Champion
Fig. 1
SANDY HARTLEY 1968 NAT'L WOMEN'S CHAMP BALANCE BEAM Valdez Mount, slide to splits, hand under leg, turn to scale, kick run split leap, jump to knee pose, front attitude pose, body wave, skip step front walkover, quick scale, turn to jump on toes , arm wave backwards, double stag leap, develope, arabasque on tge, hop to point front and back kick back walkover, arm flourish to back t insiea , bent knee pose into turn, dive into stag handstand forward roll, straddle legs, lever into bent arm cartwheel to one knee , knee spin to handstand on end of beam, straddle legs, chest roll down, back roll to 2 feet, turning body wave, lunge to leg circle, step bo~y wave, jump to face sideways, lunge, % turn, body wave pose, step aerial roundoff off side of beam_ VAULT Yamashita _ UNEVEN BARS Squat vault over LB, shoot out % turn hip circle eagle, stand on LB, fall forward into front sole circle into seat circle cut catch TB , drop kip to LB, Kip catch kip to HB, squat over HB drop to crotch circle on LB, % turn jump to squat, front straddle sole circle to back stoop sole circle on LB, shoot out 1/2 turn g lide kip catch kip up HB , hecht off HB_
400 ft. Super 8 Color film of the III MODERN GYMNASTIC WORLD CHAMPIONSHIPS available Your editors took over 800 feet of the action at the III World Modern Gymnastic Championships in Super 8 Color and have edited it down to a 400 ft. reel. The film is a cross section of the competition from Rope, Hoop, Free Floor and Team routines. This film contains some full routines and parts of others to give y.ou as a teacher a visual record of:, the indidvidual movements and patterns of Modern Gymnastics. (and the price is just $35.00 for the 400 ft. 路reel). Write to: III Modern Gymnastic Film, Box 777, Santa Monica, California 90406.
Fig. 2
BACK BEND FOR 2ND GRADERS
Fig. 3
Fi g. 4
Fi g. 5
Fi g. 6
Fig. 1. Performer stands with arms up as spotters stand on either side of the performer, facin g each other. Spotters hold hands ti ght (or hold wrists) in back of th e performer. Spotters hands should be at the same level of the performer's waistline. Fi g. 2 . Performer first stands tall , stretches arms upward , arms parallel to each other and stay that way, and looks up (chin away from chest) feet apart. Fig. 3 . Next she should a rch back as far as possible shiftin g thighs forward and keepin g the legs strai g ht keepin g head back (chin awa y from chest) . Fi g. 4 & 5. When she has arched as far back as she can , in balance, then she can start to bend her knees and lower her hands to the floor. Her ar ms should be kept straight when hands contact the floor to prevent her head from contacting the floor. The spotters arms are under the small of the back of the performer and they also help to prevent a collapse by keepin g the back from lowering any more th an it would normally be when in the back bend (high brid ge) position. Spotters should be alerted NOT to have thei r arms under the buttocks or thig hs as the performer arches back. Fig. 6 . To stand , the perform er should first move her thi ghs forward to transfer her body wei ght over her legs, and then straig hten her legs, and then strai ghten the torso. The head should be held. back (chin awa y .from chest) until the standin g posit ion has been rea ched . Th e spotters can help raise the performer to a standin g position by liftin g up with locked arms . BACK LIMBER FOR 2ND GRADERS Refe r to back bend to arrive at th e high brid ge position .
~T
~j Fig. 1
Fig. 2
~l? Fig. 3
J Fi g. 4
Fi g. 1 & 2. As soon as the performer' s hands tou c h the floo r, the spotters, ho ldin g hands t igh t , places one arm unde r sm all of back and th e other a rm under buttocks or hig h thigh of performer. Spotters raise legs up to th e inverted position only (handstand positi on) watchin g that the shoulders of the performer are over the hands .
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Spotters should not "lift and throw" performer's feet for landing. The performer must be told to keep her arms straight and NOT to move her hands, and as she reaches the handstand position, she must " tuck" and let her feet drop to the floor close to her hands. Fig. 3 . You might explain what is meant by a "tuck" (bend路 ing at the hips and knees). The tuckin g prevents a crash landing to the knees or toes . You could also tell them that when they come out of the handstand position , their feet should land close to their hands . This automatically forces a tuck position resulting in a lighter, controlled landin g. Telling them to land on the " balls of their feet" will help prevent landin g on the knees. Fig. 4. Finish by standing tall , arms up in " V" position.
STEP IV The front limber using two student spotters
Fig. 1
To loosen back
Fig. 1
Fig. 2
Fig. 1. Lay on your back, knees bent, feet flat on floor close to buttocks, hands on floor by shoulders. Fig. 2 . Push up to the high bridge position . (Remind students that the shoulders should be over the hands, or, their arms represent two telephone poles standing straight up. Remind them, too, that their feet should remain flat on the floor.) For further development of the back arch, the students can try to straighten their legs while in the high bridge, without moving their feet or hands. Feet should be about 12-14 inches apart. STEP II -
Preparation for kicking to the inverted (handstand)
Fig_ 1
Fig. 2
position
Fig. 3
Fig. 1. Start in a lunge position, hands flat on the floor shoulder width apart, back leg should be straight, tense, toes pointed with foot barely touching the floor. Fig. 2 _ RAISE rear leg up at the same time straightening the the front leg_ Return raised leg to floor and repeat several times in succession. (Straightening the front leg to its fullest is important since this action helps to raise the hips to a high position. While the students are practicing this leg action in slow motion, stress the fact that the rear leg must always remain straig/lt, the front leg must straighten to its fullest, and the arms must be kept straight. The students should develop the habit of straightening the front leg all the way before raising this leg to the handstand position.)
Fig. 4
Fig. 5
GIRLS GYMNASTIC WORKBOOK FOR PHYSICAL EDUCATORS By: Helen Schifano Sjursen This book is written for the elementary and secondary schools for beginners and intermediates. It covers floor exercises, vaulting, uneven bars, balance beam and tumbling. The contents include preparatory exercises to condition the body for gymnastic skills, contains individual skills and routines (3 floor exercise routines set to musical selections), how to increase "pre-flight" in vaUlting insuring the gymnast's safety and confidence while the spotters perfect their spotting techniques, how you can immediately start squad competitions scoring either individual skills or routines using the simple system of scoring that can make a judge of anyone within minutes. "Motivating interest" and the "incentive to learn" is definitely promoted through competitions whether it be through class competitions or otherwise. Through these squad competitions , you will be able to see the quality of execution of skills, by your students, greatly improve when guided by this workbook. This book is illustrated and may be ordered from Hoctor Records, Waldick, N.J. for $5.00. Children attending elementary schools having a gymnastic program are most fortunate since they are starting early in life participating in one of the best sports for all-around physical fitness . They are toning up their muscles "while they are growing" developing strong, healthy, shapely bodies plus coordination, grace, sureness, flexibility, control of balance, confidence, endurance and self satisfaction of achievements. As quoted by Helen Sjursen, former National All-around Gymnastics Champion and Olympian bronze medal winner, she regards gymastics as the " Doorway to all-around physical fitness and a must for all students". Get your students involved in gymnastics starting from the elementary schools on up.
STEP III Learning to raise the front leg to join the rear (Kicking to a % handstand position)
Fig_ 1
Fig_ 3
Fig. 1. The performer gets into the lunge position and focuses her eyes on a spot on the floor ahead of her hands and looks there as long as possible when attempting the limber. Two spotters-Spotters stand on each side of the performer facing each other. Each grasps the other's wrist (wrist of arm closest to the head side of the performer), bends knees slightly and places grasped arms close to high back of performer. Fig. 2-3 _ As the prformer kicks her legs upward , (kick should be harder than in prep) spotters place the fre hand (hand closest to side of legs of performer) under thighs and help raise the legs of the performer to the inverted position if necessary. Once the performer reaches the handstand position, spotters should take their hands off the thighs and grip the upper arm of the performer. At this point, the spotters must be sure the locked arms are under the small of the back (at the waistline or slightly above the waistline towards the high back of the performer) . The locked arms of be harder than in prep) spotters place the free hand the spotters should never be under the buttocks or thighs of the performer as this would make the performer top heavy when lowering her legs to the bridge position and harder for the spotters to help raise the performer to her feet_ Fig. 4-5. As the performer arches her back, she should look up (chin away from the chest) as the feet lower to the floor to arrive at the high bridge position . The spotters should assist in helping the performer maintain the arch through the use of the locked arms. As soon as the performers feet touch the floor to arrive at the high bridge, the spotters should lift the upper body by pull ing upward and forward with the hand grip on upper arm to help the performer arrive at a standing position _ Students can work in sets of threes rotating turns to exe'cute the front limber. When they are trying the spotting for the first time, check them over to see that they have the correct arms locked before the performer starts the move. Soon the spotters will know exactly what they have to do. Don't underestimate the talent of 2nd graders.
FRONT LIMBERS FOR 2ND GRADERS STEP 1 -
Fig. 2
Fig. 2
Repeat the leg action as in Step II , but rather than raise the rear leg, SWING it up and straighten the bent leg faster (a small spring from this leg). Fig. 1, Immediately raise this leg to join the rear leg arriving at a % handstand as in figure . 2, ARMS MUST BE KEPT STRAIGHT, HANDS MUST NOT MOVE. On returning the feet to the floor, the students should be told to make their feet land close to their hands. This will automatically force them to take a tuck position resulting in a lighter, controlled landing from the % handstand . Now the students are ready to try the front limber using spotters. The students themselves can do the spotting and can do a very good job_
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GYM PROGRAM
Shreveport, La . 71105 Suppliers of 1968 U. S. Women's Olympic Gymnastic Team 1968 World Trampoline Team
LffiERS SATISFIED, .. BUT ... Th e Editor, Mademoiselle Gymnast Dear Madam, From a satisfied subscriber, best wishes and thanks for a most interesting magazine. Naturally your national competi· tion res ults are of little interest to us In N.Z. but the reo mainder of the magazine is most valuable for anyone engaged as I am in coaching and judging women's gymnastics. . May I make one suggestion. Your book review column IS most useful in keeping me in touch with recent books In the field of gymnastics, but may I make the follOWing requests. Could the title of the book be given accurately - In the Mar.· Apr. issue, two books by Helen Sjursen were revielVed. lor· dered these, quoting the title given, only to discover that the books I received were not th ose reviewed. Secondly, could the name of the publisher be given, as our local bookshops can have some difficulty on obtaining a book where this informat ion is not given. Finally, to have my nervous system when the book arrives, could you kindly quote the U.S. price? One other matter in which you might be able to assist me. I would appreciate a corre spondent in the states lVith whom I could exchange news and gossip of gymnastic matters . I am a teacher, junior high school area, involved in coach· ing at all levels from beginners to IVhat would be about your intermediate or low advanced level. My judging experience to date is at district and national levels with all grades up to th e equivalent of your elite level. My thanks for any assistance you can give me, and my best wishes to you and for the continued success of your most welcome magazine.
THE UNITED STATES GYMNASTICS FEDERATION GYMNASTICS MATERIALS LIST -1969 Age Group Gymnastics Workbook. 1968 Edition. Incl udes all the basIc routines for boys and girls at various age levels, including stick figures and assigned values for each port of the routine. Excel lent guide f or classroom teaching as well as age-group competitive prog rams. Ages 618 years. Trampol ine included in the 1968 Editi on. 94 Pages. $3.00. F.I.G. Code of Points . . . For Men. 196 pages of the international rules for men. The most important book in any gymnasts I ibrary. An absolute must for every teacher coach and official. All the A-B-C ports with illustrations and the latest rules for every event f or men . The "offic ial FIG rules " in English . $3.50 each.
"Interpretations of International Rules for
Wamen". .......... Based on the official F.I.G. Code of Points for women. All the international rules . This booklet contains the difficulty ratings for each event as we ll as the rules governing internati onal gymnastics events for women. Translated by the USGF Women's Technical Commitee. 50 Pages. $2.00. U.S.G.F. News Service . . . subscription service. Mailings to those carried on the USGF News Service moiling list contain all the latest news on Notional and I nternational Gymn astics. Mailings are mode
whenever news deserves attenti on. Six to twelve mailing per year or more ~s events dictate. Send nome, address, ZIp. $2 .00
'Ne~ti~~~; ' Compulsory Routines for Girls . . . a joint project between the U.S.G.F. and the Division of Girls and Women's Sports of AAHPER . . . this booklet contains all the routines now being used in the DGWS Guide and the music and floor diagrams as well. Also includes trampoline and tumbling routines. 50 cents per copy. U.S.G.F. Promotional Items. Special printing of Posters (1 1 inches by 17 inches) with mole or female gymnast thereon. Your home meet schedule o r special notices . . . write f o r prices . Minimum order is 100 posters. May be ordered with just figure and word "Gymnastics
Dear Sirs, Following is a resume of our gymnastics organization. The Burnsville Gymnastics Activities Association IS a non· profit, incorporated organization. It is composed of parents of children in Burnsville·Savage School District # 191 who are interested in gymnastics. It was organized in January 1967 and started the first session with seventy·five children and two coaches. The Fall session of this year we irgsterd one hun· dred and fifty children. The B.G.A.A. rents the gymnastic equipment and gymnasium from the School District. The facilities are used three hours a day, five days a week. There are four eight week sessions during the school year and one or two sessIOns In the sum· mer. The children get a minimum of two hours of gymnastic lessons, pne hour of dance and one hour to Vlork on equip· ment on their OVln, each week. Last season, 1967-68, Vias our first competitive season and we took girls to meets in Milwaukee, Wisc., Chicago, III.. Northfield, Minn., Dallas, Tex., Des Moines, la., and Nashvine, Tenn . We also sponsored three meets pf our own. Thi s season we are again sponsoring three meets. The dates of our meets are, February 1, 1969 (Minnesota Openl, March 15, 1969, and an All-around Meet on April 5, 1969. For information of the meets or clinics please contac!' 10823 - 27th Ave., Burnsville, Minn. 55378 Mrs. Richard Dennison Meet Director, B.G.A.A. Sincerely, Jean Dennison 1969 YMCA NATIONALS Th e 1969 Notional YMCA Gy mnastic Championships a re t o be hosted by the N ew Orleans YMCA on April 11 , 12, 1969. The compulsory exercises f or both me n and women are now available from : W. P. Wo rtman Physical Director-YMCA 936 St. Charles Avenue New Orleans, Louisi ana 70 130 OREGON HIGH SCHOOL GYMNASTIC RULES The Oregon Gymnastics Association .recently pub lished their off ic ial 1969 High School Gymnastics Rule Book f or both boys and girls. If you do not have a Gymnastic rule book f or your state or area this guide could be of help to you. Send $1.00 t o: Official Gymnastics Rules Chuck Messenger , Execu ti ve Sec. Oregon Gymnastics Association 1195 W. 17th Avenue Eugene , Oregon 97402
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U .S.G.F. Bumper Stickers . . . in bright, re flective papers . . . Red on block or block on red . Word IIgymnostics" in big letters and your school name or meet information carried abov e and below. Usable as bumper stickers or wall posters. Guide for Competitions . . . published in 1965 . 25 pages of instructions on how to run a competitive gymnastics meet, including what he announcer should soy. Designed to help the meet director . . forms, checklists, all included. $1.00 each. Order From: THE UNITED STATES GYMNASTICS FEDERATION P.O. Box 4699, Tucson, Arizona 85717 USA (602) 622-3865 Make checks to U.S.G.F.
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