Modern Gymnast - December 1969 by USA Gymnastics

OLYMPIA MAT MFG. CO. INC. SAFETY - BEAUTY - HANDLING EASE - SERVICE

YMPIA' ~ 5.00 ( Delive'red) -- --- ----

Olympia Gymnastic Mats were used at the final USA Olympic (men's) trials at UCLA. Alsa Final USA Olympic (women's) trials at Long Beach, Calif. National United States Gymnastic Federation Championships, NCAA finals, Pasadena National Invitationals, California State College Gymnastic Championships, Calif. Women's State J.c. finals, LA City High School finals, and the United States Gymnastic Championships and the 1st Annual World Cup at Long Beach, Calif. 9051 Del Mar Avenue Montclair, Calif. 91763

- -- - -

•••••••••••••••••••••••••••••••••••••••••••••••• COACHES; Mail thi s cou po n f or further inform a ti on and FREE Olympia Grip Exe rci se r . OLYMPIA MAT. MFG. CO. INC. 9051 Del Mar Avenue Mantclair, Calif. 91763

Name Add ress

OLYMPIA MAT MFG. CO., INC.

·· ··········-- (schooij············---·-----··· ·· .................

City ... ....... ... ... .......... . St a t e

... ............. Zip ..................... .

•••••••••••••••••••••••••••••••••••••••••••••••••

CREATIVE GYMNASTICS Port-a-Pit, well known manufacturer of Olympic quality landing surfaces for pole vaulting and high jumping, and creators of Fa-T-mats and crash pads, now introduces a dynamic new line of creative gymnastic equipment. Typical of the many products of Port-a-Pit's creative engineering are: octagon spot trainers in four sizes; folding and extra large Fa-T-mats; three section urethane

foam vaulting horses; incline mats and an inclined trampoline protector pad. Top quality urethane foam, custom covered with specially constructed hypalon coated nylon, guarantees long durability and economy. Learning is accelerated as tension is removed by assurance of a safe, soft landing. For a complete new catalog write or call:

PORmPiT

P. O. Box C • Temple City, California 91780 • (213) 444·6900 or 283-2568

notes editor:

FROM THE

THE MODERN GYMNAST MAGAZINE

CG MG AND THE '60s: Many of the major magazines in recent issues have devoted total editions to the world of the '60s. Moon landings, dope, pills, riots , wars, assassinations, campus turmoil , micro skirts and mini morals. Except for the fantastic moon trips and landings (which a couple of gymnasts were involved in), violence and sex was the theme of these reports ... . Not so with gymnastics and the MG. In the '60s gymnastics in the U.S.A. and the world made great strides forward .... U.S.A. notable participation in three Olympic Games, two world championships, two Gymnaestradas, several international tours, hosting the first World Cup, new format U.S.A. and NCAA national championships, high school progress, clinic increase and the ri se of a new gymna stic body in the U.S.A. attest to the brightest growth decade in the history of U.S.A. gymnastics . ... And the MG was on hand to photograph and report most of these happenings for you . . . . But perhaps the best report of all is that in spite of all our publishing problems of the '60s the MG is still rolling and has the largest circulation of any gymnastic magazine in the world.

THE '70s: The '60s started out with one National Winter Clinic and a couple of summer camps serving a few hundred gymnasts and coaches. As we enter a new decade we have grown to several major Winter Clinics : Sarasota, Lauderdale, Tucson, Berkeley (on sabbatical this year), Oregon and many others serving not hundreds but thousands. The New England Thanksgiving Clinic had over 2,000 enrolled (see report thi s MG), and the Eastern Clinic at Abington, Penna., also had a big turnout. Plus there is an ever-growing number of gymnastic clinics and summer camps across the nation. With the recently appointed national coach for men (Gene Wettstone) along with all of the other proposed national team training sessions and international tours planned for the 70s, we expect the coming decade to be an ever brighter one for gymnastics ... . As for the MG we have overcome most of our publishing problems and should be catching up shortly on our mailing schedule. So hang in there with us as camera and pen cover the action, trends and personalities of the gymnastic world for you in the 70s . . . . An exciting decade for you, gymnastics and the MG. SPECIAL NOTE TO COLLEGIATE COACHES AND TEAM CAPTAINS The MG would like to give recognition to the Collegiate Gymna stic Team Capta ins in the coming edition s. We feel it is a merited honor to be selected as a College Gymna stic Team Captain and reflects the tru st and respect of your coach and fellow team members. Coach, please send us an action photo of your team captain along with a brief info sheet (age, major, grade average, interests, competition award s, etc.), and we will include your captain along with others in our spring edition s of the MG.

Official Publication of the United States Gymnastic Federation

CONTENTS VOLUME XI DECEMBER 1969 NUMBER 12 NOTES FROM THE EDITOR ................. Glenn Sundby 4 CHALK TALK ... .... .... ........... . ...... .............. ....... 6 FASHION ............... ...... .. ... .. ..... .. .. .walter Zwickel 8 ViEWPOINTS ...... .... ....... ..... ..... ... ...... .. Dick Criley 8 THE NEW ENGLAND GYMNASTIC CLlNIC. .Jeff Carninali 10 MG COLLEGE & UNIVERSITY DATA ....................... . Federation Gymnastics School, Niederrod, Germany 12 RESEARCH AND FITNESS IN GYMNASTICS .. ... . .. ... .... . Analysis of the Reverse Lift Forward Somersault, Frank Fortier 111. .......... .................. 14 UNIVERSAL MOVES IN GYMNASTICS Burt Wasserman 15 TUMBLING TOPICS .. ... .. ...... .... .... ........ Dick Criley 15 MG CENTER PHOTO ........ ............ .. ... Brent Simmons 16 ANYONE FOR ALL AROUND ................ ............ .. ... . ..... ..... .... Gerald George, Don Tony, Dan Millman 18 CAST FOR REGULAR BACK RING GIANTS .... ...... ....... . ............ ... . ... ..... ..... ... ............. Mickey Chaplan 22 JR. AAU . AND Y.M.C.A. COMPULSORIES .... ....... .. .... 23 JUDGING BY JERRy ... ..... ...... ... ... ......... ... ..... ...... . A Critical Review of Difficulty Ratings in the F.I.G. Code of Points, Jon Culbertson ... ... .... .. 24 Gymnastic Judging Comes of Age, Bill Roetzheim .. . 26 BUT, COACH .... ... ...... Rational for Inability to Perform ..... .... ..... ... ... ... .... .. .. .... ..... .. ....... .. .. ..Art Aldritt 29

COVER : Stroboscopic Phot o of Kean Day, top AA Gymnast fram LSU. Kean is a top NCAA contender in Floor Exer cis e, Long Horse and Harizontal Ba r. (Scoring 9.5's in FX) ... an A+ Pre路med senior ... Phot o by Dr. Ke nneth M. Purdy, Dept. of Heolth, Phys. Ed., Rec路 rea tion at LSU.

PUBLISHER-EDITOR GLENN SUNDBY

ASSOCIATE EDITORS-TECHNICAL DICK CRIlEY, FEATURE KEN SAKODA, LAYOUT

ASSOCIATE EDITORS - Feature A. Bruce Frederick, Education; Dr. James S. Bosco, Research; Jerry Wright, Competi tion ; Frank Bare. USGF; John Nooney, Canada; Robert Hanscom, YMCA ; Andrzei Gonera, European ; Gerald George, Dan Millman & Don Tonry, AA I nstructional; Bill Roetzheim, I nstructional.

THE MODERN GYMNAST magazine is published by Sundby Publicafions. 4'0 Broadway, Santo Monico. ~o rifornia 90401. Second Clan Postage paid at Sonto Monica, Colif. Published monthly except. b~-monthly June. July. August, and September. Price $6.00 per year. 60c a single copy: SubSC ription correspondence. The MODERN GYMNAST. P.O. Box 611 . Sonia Monico. California 90406. Copyright 1969漏 0 11 rights reserved by SUNDBY PUBLICATIONS. 410 Broadway, Santo Monico. Calif. All photos and manuscripts submined become the property of The MODERN GYMNAST unless a return request and sufficient postage ore included.

gymnastics apparatus for champions

NO. CH235 CHAMPIONSHIP BALANCE BEAM SCHOOL PRICE $365.00

ATLAS ATHLETIC EQUIPMENT

co.

2339 Hampton Ave., St. Louis, Mo. 63139

GYMNASTICS APPARATUS • GYMNASIUM AND WRESTLING MATS • FOOTBALL SLEDS AND DUMMIES • GYMNASIUM EQUIPMENT

GYMNASTICS AND RECREATION: APROPOSAL By Sandy Cutler Gymnastics Coach Castlemont High School Oakland , California Most people in the Un ited States are wo ndering why we do not have success in international gym nastics competition. The main reason is beca use we do not have an age-level gy mnastics program which can reach a great man y youngsters. It is necessa ry to have a broad base at the bottom to develop a group of highly skilled gymnasts at the top. How can we develop a n age- level program when the country is not gymnastics oriented? The sc hool s would seem to be the solution to this problem , however, the schools are traditionall y reluctant to try anything new. The school sys tem lacks initiative, money , flexibility , and qu alified person nel to teach gymnastics . There is a solution to this problem though , utilize tht! recreation departments. The mechanics involved in establishing a gy mnastics program a re not usually difficult. All that is necessary is the approval of the recreation department (which is not hard to obtain ), a qualified instructor, and an available facility. The recreation department will usually take care of all of the details as to facilities , publicit y, and timing of the program. The instructor need only have the desire to teach , and a plan of what is to be accomplished.

"Another " Nakayama?"

There are several advantages of using a recreation department to develop gymnastics. The program is widely publici zed. This attracts a large number of participants , often more than would be involved in a school situat ion. Often , parents will attend the classes to observe their children. In this way , the communit y becomes involved , and (hopefully) becomes gymnastics oriented. This can be promoted eve n further if the instructor conducts a meet or a demonstration. I have set up gymnastics programs in two different communities , and I have more parent participation wit h the recreation programs , than I have with my high school meets. There is still another advantage of the recreat ion program and gymnastics. Existing coaches and instructors are at a premium , 6

th ey ca n reach more people through the recreation de partment than in one particular sc hool. The instructors are usuall y paid for their se rvice s by the recreation department. The pay is usuall y good , since gy mn astics instructors are highl y skilled. I think that we can de ve lop a good age-level gymnastics program by working with the recreation departments. It will mean more work for the already overworked coaches, but then , it is necessary to start a broad long range program. The plan has great potential for everyone. The coaches will eventually get better gymnasts. The recreation department will get a nother program , and mo st important. the yo ungsters involved will become exposed to gy mnastic s. Who know s, maybe there is a nother Nakayama somewhere, just waiting for a program .

A SYSTEM THAT REALLY WORKS ,,' (Look for Rust y Mitchell 's Camp of Champions advertisements in the up-com ing spring editions of the MG, sign up , a nd you'll soon realize how and why Ru sty rose from a tumbling specialist to our country's top all-around gymnast in two short years.)

IHSGCA Annual Clinic November 7 &8, 1969 Report By TOM CHAPMAN The Illinois High School Gymnastics Coaches ' Association held its annual clinic at illinois State University November 7 & 8.

RUSTY MITCHElL'S REPLY TO THE 'GRASS ROOTS' PROGRAM Report By GERALD GEORGE This past summer Olympian Rusty Mitchell introduced a new a nd striking approach to teaching gy mnastics - it would best be called a " gymnastic live-in " . The structure , content, and breath of hi s camp program were indeed second to none. For the first time in my life, I witnessed a true 'gras s roots ' approach to gy mnastic training.

"Grass Roots"

Mitchell 's Camp of Champions was made available to both boys and girls of all ability levels. This 'live-in ' consisted of nine simultaneous training sessions , six hours a day, for each of the seven camp days. Film study , lecture-demonstrations , skill analyses, class sessions, and free work-out were all in the day 's order. Yet the true uniqueness of Rusty 's approach lies in the art of " doing" ... mariual manipulation of the students through a wide range of skills has proven, beyond a doubt , to be the most formidable method of efficient and effective skill learning. Dreamers are made into doers , and the doers are made into champions' The psychological aspects of the Mitchell Method also stand at the top of the list. By allow ing the student to feel and experience a total and complete range of skills, the mind grows in awareness that the body is , in fact , very capable of top level motor performance. The gymnast becomes aware of his capabilities milch sooner . .. he begins to reali ze that he too has all the equipment needed to be a champion! Specialty technicians such as George Hery, Ed Gunny , Bob Manna, and Stormy Eaton, to mention just a few , were on hand daily to provide a scientificall y-rounded program. Ru sty's staff did an exceptional job in every facet of 'grass roots ' training , In short , they got right down to the nitty-gritty and didn 't punt until the touchdown was scored. It had to be the finest gymnastic experience ever reali zed by a ny of the gymnastic campers. I would personally like to commend the Mitchell Method to all gymnastic enthusiasts who aspire to become a champion. HE'S GOT

Friday evening h"ighlighted an " old-timer's" meet in which many of us tried to relive the days in 路which we were competing. Then Saturday morning, a midst the strong smell of analgesic balm and complaints of soreness, the main portion of the clinic got underway. During the morning session two of the most successful coaches in the history " of Illinois high school gymnastics made their presentations. Ron Walden , past president of the Association and former coach at Evanston, discussed his philosophy centering upon motivation and organization in competitive gymnastics. Bill Roetzheim, formerly of Proviso East and now head coach of University Circle Campus in Chicago, followed Walden. Interestingly enough , both men argued that practice should be devoted mainly to activity on the apparatus and that success in gymnastics depends mainly upon the ability to organize and stressing winning. Paul Mayer and Rick Tucker, recent graduates of Southern Illinois University, combined to bring out several interesting points on " Free Exercise and its Transitions." Mr. Rusty Mitchell , head coach of the University of New Mexico, discussed "Coaching Gymnastics" and presented several important spotting and coaching techniques on several events. The clinic this year was the best ever and Illinois State is to be commended for their hospitality.

NATIONAL JUDGES SYMPOSIUM Stanford University The second in a series of special nationwide judging clinics was very successfully conducted at Stanford University on Nov. 15 and 16. Participating in the special sy mposium was guest lecturer Ted Muzyczko of Chicago, FIG internationally certified judge and founding member of the Mid-American Gymnastics judges association; Jerry Wright, president of the Northern California Gymnastics Judges Association a nd also an F IG internationally certified judge ; Don Nel son, present coach at UC-Berkeley and an FIG internationall y certified judge ; Rick Field , former Univ. of Calif. All-American gymnast ; Karl Byers , Ray Gold-

ba r, D o n A llin a nd D an Millma n, coac h a t Stanfo rd and th e ve ry impo rt ant hos t a nd organi zer of th e sy mpos iu m. D an is techni ca l direc to r for the N o rth e rn Ca lifo rni a judges assoc iati on and res ponsible fo r the ce rtifi cati on of j udges in th at area. F ra nk C umi skey was sc hedul ed to a ppear as a s peaker but was forced to ca nce l hi s trip by doct o r's orde rs. T he two-day sy mpo sium was patt erned close ly aft e r th e FIG judges course w ith deta il ed lec ture s on th e code of po ints. T he first day, a compre he nsive writt en exa m th e se cond day, plus prac tical jUdging exe rcises with a pa ne l of ex pert s jUdging a long with th e c lass and di sc uss ing th e scoring of routines. Th e fin a l part of the sy mpos ium was a I Y2-h our exa m on th e practi cal j udging of routines. Stude nt s in th e c lass were required to turn in a score for three routin es in all s ix Ol ympic eve nt s, plus th e numbe r of B and C pa rt s in each routin e. Sixty-fi ve pe rsons participated fro m Southern Ca lifo rni a, No rth e rn Californi a and Was hington (G unt er Bo hrm ann came from Was hington a nd in turn pl a ns a like course for th e Wes tern Was hington Judge s Ass n. in late N ov.). Other course s are pl a nned for Southe rn Ca li forni a a nd Oregon , and Frank C umi s key will probably hold seve ral on the East C oas t (if he has n't a lread y), and Tom Ma lon ey is to give one at th e U ni v. of Florida in Ga in esv ill e on Ja n. 2-3-4, 197 0.

From the course at Sta nford , 23 persons were awarded N ational Judges Card s , seve n pe rsons we re awarded regiona l cards , a nd five persons we re awarded local cards. Thirt y pe rso ns did not receive ratings. N ationa l a nd regional ca rd re cipients a re certified a nd a pproved by the U .S. G ymnastic s C ommiss ion until the N ational G y mnastic s Judges Association is in full operation.

AUSGF Editorial:

ONCE UPON ATIME ... The United States was a World Power in Trampolining. This nation was once th e world 's grea te st po wer in tra mpolining. G ra nted . that many individuals who ex e rc ise considerable influence in our sport a re not fa vorable to the event. For that matter, in all fa irness I mu st admit that I too favor the a ll -around eve nt. althou gh I have alwa ys professed real interes t in keeping the trampoline event ac tive.

ma ny or a ny oth er natIon now powe rful in tra mpo lining came to th e U nited States to mee t us in tea m st rength ... 5 men a nd 5 wo men , a ll sco res to count. could we indeed fi e ld a tea m to bea t th e powe rful tea m we saw pe rform in Swi tze rl and ? It mu st be sa id here . th at th e second it em o f of co nce rn is that no w I am in fo rm ed th a t the Ge rm a n nati o n. through th e Int ernati ona l Trampoline Federati on Presid ent. has as ke d the vario us N ation a l Ol ympi c Committees to a pprove tra mpoline as an exhibition eve nt a t th e 1972 Ol ympic Ga me s in Munich . Ge rm an y. Wh at co uld be mo re fittin g th an to all ow th e host nati on, the wo rld 's be st tra mpo lin ing natio n. to pe rform in a n eve nt in whi c h th ey a re second to none? I fee l compelled to inform you th at hi sto ry 路.vill writ e tha t the C ha irman of the Tramp olil :e Co mmitt ee fo r the A .A. U . for these pas t severa l years killed th e sport of trampoline in Am erica. Perhaps in ignora nce. perhaps to defe nd hi s pos ition , but nonethel ess. the rec o rd unde r hi s supervision inte rnation all y is the re for all to see .

ILLINOIS GYMNASTICS ... BEST IN THE COUNTRY?

Recently , two e xperiences have caused me considerable concern about thi s trul y " America n" event. First , during the recentl y concluded Gymnaestrada in Switzerl and , I wa s approached by the powerful West Germa n contingent to a nswer a questio n as to wh y . . . when Germany invited the U nited States to pa rticipate in G ermany in an Internationa l Match (with fin anci al he lp from that host nation) . .. did the U.S.A. official in question inform that nation 's represe ntatives that thi s country could not fi e ld a team to meet them ? It is now , however , all to patentl y true . IfGer-

Durin~ the recent N C AA C hampionship s fourteen of the thirty-s ix places for individua l fin ali sts were ta ken by gymnasts who preppe d in Illinois. I n fact , Illinois gymnas tics can boas t at least two pl aces in each event as well as the national cha mpion in each event with the exception of all-around (see re sults below) . The ma in basis for this representatio n of Illinoi s gymnastics in the N C AA is the tremendou s amount of depth in talent our sta te can offer in each event. The best gymnast in each e ve nt from Illinois may not be decidedly better th an a n event cha mpion from another state; however, it seems doubtful th at any other state can claim to produce as ma ny top-level gy mnas ts as a re produced in Illinois each year.

Individual Finalists NCAA Championships 1969 All-Around 1. Mauna Niss inen 2. Bob Emery 3. Jim Amerine * 4. Dick Swe tm an 5. Sho Fukushima 6. John Elias

Floor Exercise Wash. * 1. Toby Towson Penn S. 2. Do ve Jacobs S. Conn. 2. Tom Proulx Penn. S. 4. Geo. Greenfield Wa sh. *5. Ric k Si mmons N. W. La: 5. Jim Fisher

Side Horse

* 1. Keith McCanless

Rings

Iowa * 1. Ward Maytholcr *2. Ken Lieh r Iowa 1. Paul Vexler 3. Dennis Ram sey B. Y. U. 3. Bob Dickson 4. Mauna Nissi nen Wa sh. *4. Don Hatch * 5. Tom Neville Ind. St. *4. Ch. Froeming 6. Bo b Emery Penn. St. 6. Da ve Carrier

Parallel Bars

Horizontal Bar

Mich. *2. Dick Sw etman Penn St. *3. Tom Dunn Penn St. 4. Bob Emery Penn Sf. 5. Bob Dickson Iowa 6. Brent Simmon s Iowa Sf.

2. Rich Grigsby 3. Mauna Nissinen 4. Norm Haynie 5. Sho Fuku shima * 6. Dick Swetma n

* 1. Ron Ra pper

USA "SCATS" Perform at the Gymna sestroda in Switzerland

M.S. U. Mich. Col. Sf. Co l. Iowa Sf. Soc . St.

* 1. Bob Manno

Iowa St. Penn Sf. Iowa Iowa Mich. N. M ex. N. M ex. San F. St. Wash.

M. s. U.

Wash. Penn St.

Fashion by Waller Zwickel

Let's try for some controversy .... What 's the best kind of stirrup arrangement? Well , there are four basic types .... The plain stirrup: Generally seen in the economy model pants. It does its job ... hold the pants down, but unless it 's on a pants that has lots of stretch it won't do much in the way of form. Also, if there's too much stretch, then the pants will bag. So this man 's opinion is ... plain stirrup only if you can't hack something better.

GERMAN STIRRUP "German" stirrup: Called German because it was first int rod uced in a West German pants by IGM ... now available in one brand or another from almost every dealer. The German stirrup is made of cloth and is part of the trousers themselves. If properly shaped. this stirrup will give beautiful form. However, it must be remembered th at this type of stirrup ends at the ankle ... makes no contact with the toes. Therefore, it can do nothing if the wearer has less than a perfect point.

TOE STRAP "Swiss" toe strap: Called Swiss after pants first imported by Nissen. Variations of this design are universally available. This is probably the most popular of them all. It helps the point by pulling the front of the pants away from the shin to give the illusion of a perfect point even when it 's lacking. It also serves to pull the "bag" out of the knees. Care should be taken in fitting this stirrup because unless it is right. it will pucker at the sides of the foot. Patterson Toe Cup: Named for the late Carl Patterson because it was he who conceived the idea. Definitely the most comfortable of them all. Offers all the form advantages of toe strap without the constriction at the toes. Also lends itself best to the trend of working certain events without shoes .. . thus giving an uninterrupted line from waist to toe.

TOE CUP Conclusion: Which is best? I would call it between the toe strap and toe cup. depending on the configuration of the foot. If the wearer has knobby , uneven toes, then the strap is best since the uneven look can be " blamed " on the strap itself. Conversely, where the wearer has smooth lines, even toes , then the cup can 't be bea t. Do you have any ideas on the subject? Send me your draw ings , a nd I'll name it after yo u.

VIEWpoints Ry iJick Criley

PART II Step by step the U.S. is attempting to upgrade its gymnastic program for the production of all-around gymnasts of international caliber. The first efforts were those of the YMCA's and AAU who required the execution of compulsory routines in their national championships. Later, the U SG F developed an age-group program to encourage development of basic skills. When the NCAA moved to make an all-around man a team requirement and later introduced compulsory exercises for him , this too marked a step forward. Where do we go from here ? During this next season, even the special- underwrite the school in terms of scholarships ists in NCAA competition will be doing com- and staffing. pulsories. While it is difficult to decide just Such an idea may be only the stuff of which what this proves as specialists do not have the dreams a re made. But it could become a reality. opportunity for international recognition , it The Modern Gymnast would enjoy hearing does mark something of a trend. from our readers on their reaction to such a In the smoky hotel rooms of championships proposal. and congresses, the discussion often concerns the completely all-around team. It would, of course, make the coach's job easier as he would need work with but a handful of gymnasts. There would not be the specialist or the two-or-three event man to draw his attention to special coaching needs or to stimulate his imagination with "i mpossible" tricks. But by John Hinds, Clinic Director from where are these all-around men to come? The age group program for gymnastics is As with any successful activity , energy the only way the U.S. is going to develop the used in constructive ways is necessary. The gymnasts capable of making the top in all- "energies" of many gymnastic enthusiasts aro und in a four-year college program. Let's were brought together at the recent Fourth face it , it is pretty hard to take a college fresh- Annual Columbus High School-Gymnastic man novice and turn out a 53.00 all-around Clinic to provide I ndiana high school gymman in four years, because he does not have nasts and their coaches with a rewarding, eduthe basic foundation on which to build. The cational experience on Saturday, November age group program as it should be practiced 22, 1969 in Columbus, Indiana. More than by the high schools is our long range answer. two hundred gymnasts from fourteen high But in the shorter range-in the next four to schools responded with interest and exciteeight years-what can we do? One solution ment to a staff of twenty-eight college gymwould be the establishment of a National nasts and four college coaches. During the Sports School. The gymnastics section of this day-long clinic the staff was kept busy demonschool would take the advanced gymnast and strating skills and responding to inquiries of train him for international competition. Thus, the high school gymnasts. Special attention was the training of a gymnast would not end when given to techniques necessary in the learning he leaves college. Only those gymnasts willing of selected mounts and dismounts. Pertinent to endure the rigors of intensive training would talks and a film of the 1969 Illinois State High qualify. A national coach and staff selected School Gymnastic Meet provided a welcome for their competence in gymnastics would pre- relief from the hustle and bustle of the demonpare and carry out this program. The estab- strations. For the judges of the State, a day lishment of such a school would underscore the long clinic was directed by Dr. Ryser under widely" held feeling that even our superiority the sponsorship of the Indiana High School in sports is a matter of national concern. No Athletic Association. longer would excuses for poor national efforts be grounded on the lack of suitable training conditions. It is interesting to note that the National Coach of the Swiss team subjects candidates to a rigorous six-month probation period. If, at the end of this period, the coach agrees to accept the gymnast , the gymnast signs a contract binding him to the coach 's terms and agreeing to pay back the costs involved in his training should he drop out. As I see it, one of the advantages of a National Sports School would be to place the college gymnastic program in its proper perspective. The coach and gymnast would not be on the spot to serve as the international training ground. College athletics could then be run for the athlete. There are several possibilities for the funding of the sports school. As in some of the Eurov... .. pean countries, the government could subsidize both coach and athlete. Alternatively, the NCAA could sponsor the school. Still another "If Russell would lose the weight I've told him to, possibility would be a guarantee by major prohe could be a world beater" fessional sports of an annual contribution to

Columbus High SchoolGymnastic Clinic Report

eJ . ~

Optionals were held Friday and compulsories on Saturday afternoon to qualify for the finals on Saturday evening. When the chalk had cleared on competition , Dave Thor had captured the all-around title by edging Iowa State's Brent Simmons 106.4 to 106.3. Other event champions were Lind Buck (Iowa St.) on Long Horse ; Wayne Miller (Unat.) on Trampo-

SUB· TOTAL

TOTALS

8.85

9.15

9.1

8.45

52.90

106.40

8.65

9.0

9.15

8.85

53.50

8.8

9.35

8.55

8.7

7.85

8.3

9.35

9.25 9.05

52 .00

Thor, Dave

Unat.

9.35

8.0

8.95

8.9

9.0 8.75

Hamada, Sadao Butzman, Dave Dennis, Fred Jim Brown giving High Bar demonstration at Columbus HS Clinic

SCHOOL

Jensen, Sid

Iowa St. Kent St. Iowa St. Unat. U. of Mich

Results of the all-around competition are as follows: lH

NAME

Simmons, 8rent

line ; Charlie Ropiquet (So. Ill inois) on Rings ; Sadao Hamada (Kent St.) on Parallel Bars ; Dave Thor (Unat.) on Floor Exercise ; Ken Barr (I ll inois) on Side Horse ; and Dave Gil christ (Ind . State) on Horizontal Bar.

8.85

8.5

8.8

8.5

8.9

52.45

8.50

8.0

9.3

8.5

9.3

8.20

51.80

8.6

7.75

9.3

9.1

8.95

52.80

7.8

6.8

8.85

50.30

8.75

9.0

9.4

8.75 r

8.8

8.75

9.05

53 .70

6.3

8.1

8.95

8 .55

8.8

6.55

47.25

8.8

7.9

9.3

9.1

8.7

8.6

52.40

7.9

6.35

8.5

8.4

8.7

8.2

48 .05

9.1 .~ 8.65,- 9l4 '-

106.30

104.25

103.10

100.95

100.45

Ten University of Michigan Gymnasts plus their well known coach , Newt Loken were featured guests this year. Additional staff members were, Coach Jim Brown of Indiana University and several of his gymnasts and Coach Roger Counsil of Indiana State U niversity and his gymnasts. Without a doubt the success of this clinic was the result of the " energies" of the above mentioned-a big thank you to them! With a new ruling that prevented the high school gymnasts from working out they left the cl inic this year with tired "butts" instead of torn hands . But, they also left enriched with the know-how of how to improve upon their skills and how to learn new skills plus a desire to get back home for workouts.

MIDWEST GYMNASTICS CHAMPIONSHIPS

54.30

Pl·

November 28 and 29 , 1969

Basic Skill Development Equipment Unfts

The Midwest Gymnastics Championships, co-sponsored by the Illinois High School Gymnastics Coaches Association and the Midwest Gymnastics Association, were held at Mt. Prospect High School in Mt. Prospect, Illinois on a Friday and Saturday. More than 250 specialists and 50 plus all around men entered competition.

Skill Development Equipment is manufactured by Port· a-Pit, well known for its pole vaulting and high jumping landing surfaces used in the Olympics and most United States and world championsh ips. Basic units in the unique Skill Development line are the Fa·T-Mat, Incline Mat and Spot Trainers. Innumerable combinations of durable, vinyl covered urethane foam products can be used by

students of all ages to learn new skills. The safe, sott foam removes fear and accelerates learning with a minimum of adult dependence. Instructors can now teach proper form and execution of new movements, confident of the student's safety. Many new activities and new gymnastic exercises are now possible. learning is fun. For a color cata log of all the Skill Development Equipment products write , Port·a·Pi t P.O. Box C Temp le City, Ca li f. 91780

GYMNASTICSHAS ARRIVED! Gymnastics is now a full time project with our company. We who have specialized in wrestling and weight training for many years. now turn our full attention to gymnastics. To prove that we are gymnastic specialists too, we have just printed our long awaited gymnastics catalog. Need further proof?-Our stock of shoes is now several thousand and our available gym uniforms. number in the hundreds. twenty five size combinations. The n~w catalog features these products , • 4 different gymnastic shoes. including three of the famous Tiger models and a Swiss "waffle" slipper. CNe are US distributors for Tiger wrestling & gym shoes) . • 7 different gym pants f rom a $6.00 practice pants to a $30.00 luxury competition pont. and several gym shirt desig ns in white or col· ars. The top part of our uniform line is American

• • •

•

made and extremely well tailored as evidenced by being chosen by the 1968 US Men's Olympic team. Dress Warmups from Japan, Switzerland, Ger· many, USA leotards created for American Women gym· nasts, all stretch nylon. And all t he extras - mat tope, chaulk, palm guards, mat transporters, Vitamins for Ath· letes, Resilite Mots (east only) And all the extras - mot tape, chaulk, palm guards. mot transporters. Vitamins for Ath· letes. Resilite Mots (east only)

All products are in stock except the wormups and colors. Write for a 1969-70 catalog and price sheet. Samples available for schools and clubs.

UNIVERSAL-RESILITE (formerly Olympic Products)

Simmons, Iowa State

43 Polk Avenue Hempstead Li. N.Y. 1155 (516) 483-3700 9

Photos by Mike Ki rby

tlVew CEngland gymnastic Clinic by JEFF CARDINALI Clinic Director

Workout session

T he seve nth annua l New England Gy mn asti cs Cli nic was hos ted for th e second consecuti ve yea r at th e U nit ed States Coas t G uard Acade my on N ove mber 28-29 , 1969 . Again , the cl inic was a n o verwhelming success in light the orga ni zation a nd th e qu ality of th e progra m and the record of 2,000 pa rtic ipa nt s. T he Coast G ua rd Acade my's ve ry spac ious fac ilit y acco mmodated all 2,000 parti cipant s with co mfo rt. T he pe rsonal needs of eac h registra nt were me t within th e athl eti c comple x from the time they registered until th e end of eac h day 's acti viti es. A gene ra l staff of 150 coaches and gy mnasts from a ll pa rt s of the U ni ted States prov ided continuo us supervi s ion and th e best possi hle inst ruc ti o n. A first rated Master T eac hing Staff con sist ing of some of th e finest coac hes a nd gy mnas ts in the world prov ided exce ll e nt lec ture-de mon strati on prese nt ati o ns. Mas ter T eac hers for me n inc l!lded :

CLIN IC OFFI CIALS, L to R, Fronk Wolcott, Dick Aronson, Erik Kjeldsen, Nik Stuart (Nat'!. Cooch of England), Jeff Co rdinoli (C lin ic Director). ond Bob Hanscom.

N ik Stu art , N ati onal Coac h 0 1 e ngla nd ; Ku sty Mitc he ll: Fra nk C umi s key ; Ed Scrobe : G era ld Geo rge; Gary Erwin : Joe Fode ro : Bob EIs inger a nd Bob Pata ky. Master T eache rs for wo men included: Wanda Obradov ic h: Elsworth Stumpf; Loui se Engs trom ; Arline Resni ck , Ma ril yn Schnaars, Kitt y Kj el dse n, J 0 seph Mass imo a nd Mimi Murray. T he C lirfi c Co mmittee included : Jeff Cardina li as c lini c director, Erik Kj e ld se n, Kitty Kj e ldse n, AI Bic kum , Dick Aronson, Frank Wolcott , Bob Ha nsco m, Jose ph Mass imo a nd Isido re Battino. T he bas ic objecti ve of the N ew England Gy mn astics C lini c is to provide each registrant with th e most co mpre he nsive gy mnas ti cs expe ri ence with as little time wa isted as possibl e. After registe ring as a beginner, intermediate or ad vanced gy mnas t or coach, one could select from the many sess io ns offe red eac h hour during the two day c lini c. During th e 13 sess ions of the c linic, 46 a reas of instructi o n were offered each hour for a tota l of 598 fo r the two days. On Sa tu rday eve ning 2,500 spectato rs enj oyed an ex hi biti on by th e c lini c staff rounding up wha t ca n be co ns idered the la rges t clini c in the world.

~\\l

Coach R

usty Mitchell during - closs period glvmg -r ---.-::::ll~-

de monstration

Advanced tumbrmg - the double back 11

THE MODERN GYMNAST MAGAZINE

CG COLLE6E! UNIVERSITY DAIA Featured in this MG School data report are photo action scenes of the Gymnastic schoo l and its director, A lbert Dickhut. Tom Walthouse, Gy mn ast ic coac h at Arlington High School , III. , was one of the three Americans (Tom, Dick Aronson & Joe Giallom bardo) to represent the USG F at the first World Gymnastic Symposium, held at Maco lin , :swltzerlanO, March I \/0\/. 10m visited Germany and England after the Symposium. A hi ghlight of hi s trip was a visit to the West Ger man Gymnastic Federation School near Frankfurt. H ere he saw the new gym designed by Albert Dickhut, West German National Coac h a nd Director of the School. To quote To m:

"This is the' l/1ost fan tastic gymllastic school layou t, for both mell and womell, that t hm'e el'er seen. A gymnas t can en roll th ere for a weekend, week, or a year. The school is quite large, with many gymnastic rooms filled with I'arious Iypes of apparalus, classrooms and dormitories to accommodate studellls." " The mals piclures under th e apparalus are cOl'ered with a soft brown lea th er, alld are foam about fil 'e in ches Ihick. Th ere is another mat of the same type beneath it , and under Ihat four feet or marl' of foam rubber, Portions of the floor are cut OU I about eiglll feel wide alld for ty feel long, where Ih e mats co I'er th e high bar, rings, and parallel bars (quit e a design). Our lI ew gymnas tic facitilies in th e USA , High School and College, should be designed along this lin e"

(photos

Walthouse,

Frankenstein

a nd

Sundby)

se rving as reference po ints, to determine the center of gravity of the body and the movements of the major body segments. Graphs were plotted using these points and tables were constructed to represent these movements mathematically. The fo llowing are some of the major result s that were recorded: (I) The distance of flight of the center of gravity was 6.75 feet: (2) The time of flight was 0.6864 seconds: (3) The average rotary velocity of the body was 9.16 radian s per second (525 degrees/sec.) ; (4) The body angle from the feet to the center of gravity at take-off was 80 BY degrees: (5) The average velocit y of the ce nter JOlE S S. Bosco. PHD of gravity was 12.58 feet per second; (6) The average arm velocity before body contact SA~ JOSE STATE COLLEGE was 28.01 feet per second. and after arm conS 路\~ JOSE . (.\LIFOR" IA <J.Jll-J. tac t was 12 .58 feet per seco nd. All the results were analyzed in light of their application to th e performance of the sk ill. The author could not pinpoint any key factor ANALYSIS OF THE REVERSE LIFT or factors that affected significantly the perFORWARD SOMERSAULT formance of the skill du e to the intervariation of the composite factors. It was concluded that by a successfu l performance of the reverse lift FRANKl. FORTIER III forwa rd somersault was due to precis ion and Gymnastic Coac h timing of a ll the factors considered. It was recMcNeese State College ommended th at a further study of the reverse World Tumbling Champion 1966 lift forward somersault be conducted attemptThe Twentieth Ce ntury , with the advent of ing to keep a ll factors except the arm moveGymnastic competition and intense scientific 路 ment constant. This, perhaps, could lead to investigation , has seen the development of new more significent conc lu sions. As a result of the study the following mechanica l analysis was techniques for performing gymnastic skills. For ma ny years. gymnasts executed the forrealized: ward somersau lt utilizing the two-arm " overMechanical analysis. The reverse lift forhead " lift. During thi s decade, however, a new ward somersault was di vided into three main two-a rm " reverse " lift has become quite popudivisions to allow for a systematic analys is. lar. Ma ny gy mnasts who use the " reverse" lift These three divisions were then divided further technique be li eve that it provides greater height into individual phases. To aid the reader visuth an the convent ional method , whi le others a ll y a sc hematic diagram was drawn of the subargue that the " reverse " lift is more conduject performing the ski ll. The subject's image cive to rotation. Because of the sk ill 's widewas traced from a filmstrip every 0.1234 spread popularity and due to many unanswered seconds. question s about it a sc ientific investigation was I . Take-Off undertake n to a nalyze the basic body mechanI . Run and leap. (fi gure A) In order to initiics utili zed in performing the ski ll. ate sufficient linear velocity , the performer Motion pictures were taken of a proficient began by assuming a maximum running male tumbler performing the reverse li ft forst ride . At a point just prior to the initial twoward somersault at 64 frames per second. The footed take-off. both feet are brought tobest performance of three trials was picked a nd gether and placed slightly in front of th e cenused for the a nal ys is. T ape cross strip s were ter of gravity of the momentarily airborne placed on the subject's major articular joints, body. The extended arms are moving down-

RESEARCH AND FITNESS IN GYMNASTICS

SCH EMATIC DIAGRAM OF THE REVERSE LIFT FORWARD SOMERSAULT 0.1234 seconds between images

ward in front of the body. This long lever will be used to create a powerful moment of force. 2. Initial conta ct. (figure B) As the balls of the feet st rike the tumbling mat si multaneously an a ngle of incidence is created. The performer's center of gravity begins to move in a forw ard - upward direction as a result of the forces exerted on it by the body segment s. The arms serve in thi s force as they have moved in a backward-upward direction causing a noticeable shou lder hyperextension. The body is being directed into a trajectory determined by the resultant forces exerted. 3. Initial rise . (figure C) Vigorous upward force is created by means of the coordinated effort between the leg-hip extension and the backward-upward drive of the rotated arms. The transfer of momentum is nearly complete from the body segments as a greater part of the forward linear velocity has been transferred into upward a nd rotary velocity. II, Airborne I. A scent. (figure D) The trajectory has started a nd the forces directed on the body a nd the center of gravity are comp lete. The body ascends in a parabo lic curve. During this ascent, the head begins to move in a forward-downward direction and the hips consequently , begin to move in a forwardupward direction. The leg segment is flexed and drawn up to the trunk assuming a "tucked" posit ion causing the body to 1'0rate around the center of gravity. 2. Highest vertical point. (figure E) The tucked position of the body is fu ll a nd complete just prior to a ttaining the highest vert ical point in the parabola. This tucked position is he ld to the anatomical minimum thus continuing the rotating action. 3 . Descent. (figures F & G) As the body descends , the head begi ns to move in a forward-upward direction and the hips begin to move in forward-downward in relation to the center of gravity. The performer now begins to release the tucked position. This timely ex tension of the leg, hip, and arm segments decreases rotation , inhibiting an over-rotation a nd facilitating a landing. Continued on page 28

UNIVERSAL MOVES IN GYMNASTICS By BURT WASSERMAN Gymnastic Coach Pea rl River H.S. , New York

I f a new gy mnast is introduced to the entire sco pe of gym na stic s through the knowledge of some universa l move s, hi s ultima te goals will be clearer and his progres s toward those goa ls, more meaningful. If a gymnast knows that the learning of a mat kip will also facilitate the learning of the same stu nt o n other pieces of equipment, his motivation wil l also be increased. The move will become more import a nt to him. Thi s know ledge, that a certain transfer occurs with all s imilar st unt s on different equipment is also helpful in developing the a llaround gymnast. A gymnast , in some instances, might approach a practice with the idea of learning a move , without emphasis on the piece of equipment. Thus , if the high bar is not available on a given day , the gymnast could practice the kip or the shoot to handsta nd on the rings with the idea of developing those same moves on the hi gh bar. The ne xt thing that 路 might happen is that on the following day th a t same boy reports to the rings to learn a different stunt. Due to his awareness of the universal moves of gym nastics , he has come one step c loser to becoming an all -around performer. A gymnast who is aware of certain concepts of movement will better understand what is involved in different gymnastic stunts . Although there are some individuals who would not benefit from di sc us sions concerning gymnastic concepts, perhaps because their comprehension need only be at a nonverbal level , there are many who need this added verbalization. Since the time invested is minimal and the effects , if any , can only be positive, I suggest that discu ss ions concerning universal moves and gymnastic concepts be a part of every gymnastic coach's sc hedule. With the assumpt ion that the average high

sc hool student has so me knowledge concerning the laws of motion and the system of levers , it is usu ally not necessary to start from sc ratch. I have extracted three principles of motion from J a mes Baley's Gymllastics ill the Schools: I. The shorter the radius the faster the rotation: 2. The longer the lever the greater the a ngul ar momentum: 3. The longer the lever, the greater the amount of strength is required to control that lever. Through a di sc ussio n of the above principles a boy can begin to understand the importance of a complete extension on swinging moves and the reason for the slight pike in either of the giant swings. He may a lso begin to understand why many of the good ringmen he has seen have been short a nd well built while the hi gh bar men were a little leaner a nd taller than average. An alternative way of pre senting this material to the gymnast is to prese nt the information in the form of worksheets. Explain a sitution such as th a t moment of we ightl essness on th e dislocate on the rings and the gia nt on the high bar, when the gymnast is ab le to change his grip without having his weight on hi s hand s. Next ask the gymnast to identify other stunt s which have thi s same characteristic. In many stunt s , a critical point occurs after the center of weight passes direct ly under hands, at which time the gymnast must force hi s body toward hi s base of support. A good prob lem wou ld be to ask the gy mnast if he cou ld name those stunts in which that type occurs . Most importa nt of all types of problems would be those th a t would initi a te creative thinking in the gymnast. I try to combine creativity and safety by asking my gymnasts to think of the safest way to learn any new stunt. There is no re ason to try a handstand or even a top kip on the pa rallel bars before you have so lid ones on the parallels. Another worksheet I have provided to develop their creative thinking and their concept of transfer in gymnast ics is a chart, entitled Universal Gymnastic Moves . Each gymnast must familiarize himself

with each stunt. e ither by watching or performing , a nd then decide on which apparatu s the stunt cou ld be performed.

UN I VERSAL MOVES StUllt Hand sta nd Forward Roll Backward Roll Dive Roll Shoulder Stand

X X X

Kip Muscle Up 路' L" Position Pik e Position Stoop Through

X X X X X

X X X X

Straddle Cut Dislocate Inlocate Front Uprise

X X X

X X X X

Back Uprise Back Kip Front Somie Back Somie Layouts F. & B.

X X X X X

Hect Pirouette Giant Ci rcle s Pla nche C ircles Moore Cartwheel Hands pring

X X X

X X

X X X

X X

X X X

X X X X

X X X

X X

It is my hope that thi s type of approac h to teaching gymnastics will not only facilitate the learning of gymnastic stunt s, but will also se rve as an in s pira tion to the gym nast, coac h and physica l educator to approach other sports in a simi lar manner.

Cartoo n lI!oed _111'1 p e l m lU 10n o f The ~a l v rdoy Evenmg PO !.I

Pholo:, . perml!oSlon of Allyn and Baco n. Inc ., publi!ohet!o

6. Roundoff , back somersault. (tuck , pike, layo ut. A + B=B difficult y). Often ta ught before a roundoff, back handspring is lea rned , thi s is actuall y a move or more advanced difficulty when properly executed. The roundoff is more extended; the chest is hig her a nd the angle of

contact is closer to vertical (See las t month's discussion of the roundoff, back ha ndspring). The lift is vertical, and the head is not thrown back until the feet leave the ground or else a whipping act ion is initiated when the move shou ld appear to float. The beginner is cau-

tioned against throwing backwards and offbalance as in the roundoff. back ha nd spring as the so mersa ult is likely to be low and fast. Next. Back handspring , back somersault. 15

ANYONE I!I EI FOR mJSS ALL AROUND (!jJ GERALD S. GEORGE. Coordin ator DON TONRY DAN MILLMAN We would lik e to in vite a ll of the MG readers to se nd in a n y a nd a ll reque s ts for pa rticul ar sk ill ana lyses. te ac hing and coac hing points. problem area s. e tc. th at yo u fee l wo uld help to clarify a nd facilitate qui c ker an d more acc urate learning a nd understanding of the various gy mna stic events. Our prima ry objective in pro viding a se ries of this na ture is to serve yo ur gy mnastic needs . You are th e I'ery pulse of thi s operation. So let us know w h a t you wa nt to see a nd we'll do our best to present it in a mo s t nieaningful way.

I!I FLOOR EXERCISE By DANJ . MILLMAN Gymnastic Coach. Stanford

In thi s and the ne xt article , we ' ll cover some spec ifi c tip s on how to pe rform certa in basic tumbling sequ e nces with the mo st efficient (therefore aes thetic) mechanics. Some bas ic transi tion s wi ll also be di sc usse d. Be low is a li st of the bas ic,tumbling mo vement s: Roundoff, flic"fl ac. back layout Front hand spring, front Swan dive roll Full pirouette In de sc ribing ho w to perform the basic sequences or move s above , we will overlap in covering a lmost every other tumbling mo vement in free exercise. The transition moves to be covered: Kip up to feet Kip up to hand sta nd Various turns Within the scope of thi s a rticle , it is impo ssible to cover the great variety of tran sition move s s uch as body waves , different lunge s , scale s , leaps , turns a nd such. It is hoped that the following will give the gy mnast a beginning, at least, to ward s eve n more imagina tive work . No book can trul y teac h gymnastics: no article can give individua li zed instruction. All the written word can do is desc ribe approximatel y what should be the ph ys ica l goal of each movement. As for feedback about eac h mi stake and how it ca n be corrected: for communicating in differe nt words to the gy mnast how he can impro ve , it take s a coach or another ex peri enced gy mnas t. who understand s the Illu stration s:

# 1

mec ha ni ca l goa ls me nt all y. not ju st phy sicall y. As me nti o ned in the prev ious a rti cle , "W hat is Talent," if th e gy mna st is very infl ex ibl e o r exceptionally weak . he sho uld wo rk on hi s talent before ge tting frustrated trying the tumbling se qu enc es , for he wi ll me et many roadblocks on th e way unl ess he is ph ysica ll y prepared. Roundoff, flic -fl ac , layo ut saito : Prac ti ce the rou ndoff at first out of three to fi ve powerful step s , picking up spee d : later. cut down to three steps maximum - two is bes t. The hurdl e is a sk ip step , "rig ht , ri ght left (hand s) ," or 路'Ieft . left right (and ha nd s) " sho uld be the order. On th e first " ri ght " o r " left ," depending upon which way you do a roundoff, the arm s should be lifted forcefully up to a full y extended positi o n, in lin e with th e back. and the body should be lea ning far fo rward. As the last foot comes down before placing the ha nd s . it should be bent. th e a ngle depending upon oth er factors which mu st be " felt. " The chest should be sli ghtl y pulled in , (t he back slightl y rounded). and the sho uld e rs slightl y shrugged . in preparation for a forceful pu shoff ju st after th e body passes through th e vertica l a nd the " snap-dow n" ac tion begins. The " snap-dow n" acti on should be rounding of the body (like a bow) rather th an a strong piking at the hip s. As the feet land, mo st of th e bod y's weight should be behind the feet (see illustrat ion # I). The ha nd s then , quickl y snap backwards , as the bow springs open a nd backward s. At the momenta ry landing o n the hand s position , th e shoulders should be slightl y in front of the ha nd s , (in the direction of trave l) , and the legs should be slightl y behind the hand s (see illu stration #2). This is th e o ptimum position for the " snap-do wn," whether preceding a nothe r flic-fl ac . or a back layout sa ito, in this case. Th e a ngle of takeoff for the back layout should be rel ati ve ly near . but ne ver pas t, the vertical. The preci se a ngle mu st be " felt ," as it depends upon th e amount of hori zo nta l and rotational momentum alre ad y attained. On take-off. the body should retai n a slight bo wed a ngle , with the chest hollowed , as in the flicfla c. The a rm s should be as stretched upward as fa r as possible. As th e gy mnast punches upwa rd . the bow action opens in sta nta neou sly to a stretched line with a slight c hest lead , the legs drive the hips upwa rd , and the a rm s immediately s nap down and forward to a lmo st slap the thighs. The head remain s in a ne utra l pos ition , or even looking forwa rd a bit. until the bod y is half way 'round . The extreme difficu lt y in perfo rming a co rrect layout in volves the qui ck timing necessa ry in the hand , hip , head . and overall body in a frac tion of a second. If you are doing all the mo vements suffic ientl y, but the la yout is still lacking, think of doing th e m sooner. Common mistakes on th e roundoff' Not enough for ward lean, front leg not bent enough (re sulting in a weak arm pu sh because the hand s barel y reach the ground by the time the legs are pu shing- thi s result s in the legs landing heav ily o ut of th e roundoff, rat her th a n gentl y, quickl y rotating under.) Arms a re not in an extended lin e with the body , resulting in an inefficient push , a crooked roundoff, and crooked fli c-flac. Also check to

see whe re hand place me nt is. I n ge ne ra l. it shou ld be s imil ar to a cartw hee l. bu t the ha nd s turn a bit more arou nd. To check if the ro und off is straig ht. c halk the hands a nd feel to see where th e hand s a nd feet la nd . Arm pu sh too late o r too ea rl y. If too late . legs la nd heav il y. a nd in suffici e nt rotation towards fli c-flac. If too ea rl y. (this is more rare). th e roundoff will be ni ce and high . but a bit lack ing in rotation. ''Fee l'' the co rrect timing through many repe tition s. ** A reminder here : every tim e you do a repetition , think ahead of time exactl y what you are stri ving for: rehearse wi th your mu sc les. Just doing a mo ve twice or fift y times. withou t think ing abou t what you are stri ving fo r. is not effic ient. Co ncentrat ion and determin ation are as important as sweat (almost). I t is difficult to say where the roundoff e nd s a nd w here th e fli c- fl ac begins. It all happens so fast. it mi ght be best to imagine th e beginning of the flic-flac at the point the ha nd s push off th e ground on the roundoff. Common mistakes on the f1ic-f1ac: Generally th ese all stem from either infl exible shoulders or a bad roundoff. Ass uming th e roundoff is good (th at is , sets the body up in a correct position. with most of weight pas t feet in the direction of travel). let 's c heck so me other problems: Wri sts hurt on flic-flacs - thi s stem s fro m tight should ers. Look a t the two illu stration s below: X has good shoulder extension and Y does not. The re sulting positions show the increased w ri st s tress for Y. I

I [

Y 's po sition also makes for a poor snap do wn (a nd wi ll hurt him in virtua ll y any snap do wn motion , or any moti on which requires a n extended arm-bod y posi tion). The arm-shoulder flexibi lit y is possib ly th e most import a nt in th e body. Make sure it is loo se before beginning a ny stunt s! Common m istakes on th e layout: Lea ning too much on take-off. Thi s results in a long, low (w hipove r) sa ito. ** In any somersaulting motion on any apparatus , the lower body (legs and hips) should provide most of the somersault motion , while the upper body should suppl y mo st of the lifting action. " Leaners" a re so mersaulting with the upper body , which is a mi stake. Often , this leaning is forc ed through an incorrect of ineffective roundoff and/o r flic-flac. Check these. Co ncentrate more on dri ving hips " up a nd over the head. " Bringing th e a rm s up over the head and rapidly down again to the hip s is import ant , because in doing so, yo u s horten your radiu s (like tucking), and wi ll have increase rotation , e nab ling you to concentrate more on height.

Try thinking of throwing hip s earlier. a nd slightl y forward. The soone r your hip s throw . the quick er th e rotation . The roundoff. flic-flac. layout is the basic sequenc e. That is n't to say the layo ut sho uld be learned before the tuck. but there is ac tu all y no compe lling reaso n it can't be, dependin g upon the mecha nical grasp of the stud ent. Once a layout is lea rned . the addition al lift 路's ta ll. " a nd tuck is not difficult to learn (as long as the head is not whipping backwards). A doubl e back sa ito isn't being cove red. because mec hanicall y. it 's about id e ntical: no more th an a tuck back sa ito done hi gher a nd milch harde r. I n learning it. use a crash pad a nd overthrow to a back roll rath er than try to stick (for the first 20). A back with a full isn't being cove red because it is nothing more than a n exce ll ent la yout with a full pirouette. With few exce ptions, anyone having trouble with a back with a full is hav ing troub le with the layout so mersault. not the twi st. Make sure you have enough saito rotation, a nd that yo ur body is straight , not arched. A s for progre ssio ns on the full twi st: there a re as many progress io ns as there a re gymnasts . I teac h th em all on trampoline, a nd would suggest you check with a good tra mpoline book, such as " Thi s Is Trampolinin g," by Frank Ladue and Jim Norm an. Make up your own progress ion s a nd ask yo ur coach. One thing is import ant. Whatever progression you use, it 's generally best to make sure yo u set the somersau lt action correctly before beginning th e twi st. Crooked twisters or those which see m to get lost usually have weak layo ut action and uncoordinated twi st. (See the de scription of the pirouette in the next article.) The whipo,ver back saito and bounders are aga in simil a r in the mech a nic s, but the gymnast s hould strive more for rapid saito a nd di sta nce, and le ss actual lift of the saito. The whipover is a rapid, powe rful fli\.:-flac with out ha nd s. Bounders are a bit higher. (T he center of grav ity should remain at about th e same height from the ground.)

Double , Suisse Double) , Stock li (S toeckli), Ru ss ia n (Ru sse nwe nde sc hwung. Facial Ru ss e E ntier). 2. Henc eforth . upon rece ivin g gy mna stic s info rmation from th e F. I.G . th at was writt e n in French (F. I. G. A-B-C G ymnasti cs H and book. 1964) we proceeded to literall y tra nslate the French te rm s into th ei r English counterpart s. Ex a mple s: Allemand into "G erman," C ouronnement into "C rown." etc. 3. After introducing the American public to th ese unu sua l terms in te xt and by word of mouth. it was soo n discovered (it took yea rs) tha t the words "German ," " C rown" a nd many others we re not part of any Frenchman's vocabulary. The French obviou sly use d the term s Allemand a nd Co uron nement to desc ribe the se sk ill s. What te rm s were the German gymnas ts and official s using to de sc ribe the se skills as a re sult of the official French te xt? You know how Ge rmans are abo ut changes like this- the y continued us ing their own traditional te rm s but parenthes ized th e French so th at a ll Ge rm an official s could refer to both. To th e Ge rma n. a Schwabenflanke was sti ll a Schwabenfl a nk e: to th e French. a n Allemand is a n Allemand: but to th e Americans, a " loop aro und th e e nd " beca me fir st an Allem a nd and the n a German for reasons of better international co mmunica tions (it is currentl y being ca lled a Schwabenflanke in the 1968 English version of the F.I.G. Codewe interpreted our version from the German). Now we have a situ ation whereby a n American ca nnot even understa nd a n American. 4 . Finally , the new 1968 F.I.G. Code of Points arrived on the scene with a special sec tion on nomenclature. The English addition was translated from the origin al Germ an te xt. Guess what ? The country is going strictly German now with nam es like Drehflanke , Wunderhupfen , and Winkel stut z. The only terms th at have any international co mmunicative value are th ose th at co ntain ed proper name s such as: Chagu ini an , Diamidollkreisel , Russian wendeschwung, Stockli Suisse (German spelling) , Tsche chenkehre, etc. Almost all of the other term s were traditional German.

ElThe Side Horse

The French version of the code was int erpreted from th e German also . but contained French te rm s in every case. Would it not be more logica l, in view of our obv iou s dilemm a , to sto p the pretense of using " international terminology " and in stead "show it like it is. " The followin g is a li st of movement s tha t stem from double leg circles. The na me s for each skill were derived from a study done in 1967 in conjunction with the masters program for a M.S. degree. The opinions of twenty gy mnastics ex perts were utili zed (former Olympi ans, members of wo rld championship team s , and renowned gy mnastic s technici ans) to arrive at the following te rms:

By DON TONRY Gymnas tics Coac h, Yale Universit y

SIDE HORSE TERMINOLOGY What to the following ski ll s on the s ide horse have in common ? SCHWABEN FLANKE(F.I.G. Handbook 1968) LOOPAROUNDTHE END GE RM AN (F.I.G. Handbook 1964) ALLEMAND (F.I.G . H a ndbook 1964) MOORE CZECH (F. I.G. Handbook 1964) TSCHEC HENKEHRE (F. I.G . H a ndbook (968) Just in case you haven't guessed by now , they are all the sa me skill , either on different areas of the side horse or on the sa me area. Why do we have this situation? Because: I. About ten years ago many leaders in U.S. gymnastics attended their first international judges clinic. They were told that the F.I.G. official la nguage is French and that a ll fed erations must a ttempt to use the same international terminology whenever it is ava il able (set in print). Therefore , the French term is the correct term for a ski ll , except when it is commonly known by another nam e by mo st federations , in which case the French would always adopt the mo st co mmon name th emselves. Examples of truly international terms are : Czec h (Tschechenkehre, Tcheque dordal) , Swiss (Suisse

I. DOUble leg Skills (the term "mount " or "dismount" is added when the skill is used as such) A. From a Front Support: I . Double leg ci rcles 2. Inward cro ss ci rcles on end or pommel (inward tran sverse ci rcle s) 3. Outward cross circles on end or pommel (outward transver se circles) 4. Kehre out or in 5. Stockli (kehre-out, keh re-in or vice versa) 6. Full kehre (360掳 turn on one pommel) 7. Fro nl oul or in B. Front out or in, Czech (front out (in) - Moore) 9. Front in , back keh r e out 10. Swiss (hop Vo turn) II. Modified Swiss (walk around on end without pommels) 12. Hop coun ter V. twist (Yo Durham) 13. Hop counter Vo twist (Durham) 14. Back side trovel 15. Back tramlot (back side travel , Vo circle, back kehre) 16. Direct back tramlat (bac k side travel, back keh re an one pommel ) 17. Hop side travel to front suppor t

lB . Back Czech (bock Moore) 19. Back Czech, side travel (back Moore side travel) 20. Back Czech, side travel, front in or out (back Moore, side tra vel, fran t in or out) 21. Back Czech, direct tramlot (back Moore, direct tram lot) 22. Flank vault dismount (side vau lt di smount) 23 . Rea r vault dismount 24. Rear vau iliefl wi th Vo twist left dismount 25 . Front vau lt dis mount 26. Front vau lt left with Vo twi st righ t dismount 27 . Front vault left with Vo twist left dismoun t

B. From Rear Support 2B . Side travel 29. Tram lot (s ide tra vel, V2 circle, Kehre) 30. Direct tramlo t (side travel, Kehre on one pommel) 3 1. Hop side travel to rear support (Cu mi skey) 32. Bock Kehre (reverse Kehre) 33. Czech (Moore) 34. Czech , Keh r e (Moore, Kehre on one pommel) 35 . Czech, front aut (Moore, fro nt out - Shurlock) 36. Ru ssian 37 . Triple Russian 3B. Czech with v.. turn, back Czech with v.. turn, side tra vel on one pommel (Bai ley) 39. Czech , f ront around on one pommel 40. Czech, fron t ar ound side travel on one pommel 41. Loop around the end (Czech around the end - Moore ar ound the end)

miThe Rings By DON TONRY Gymnastics C oach, Yale U niversit y have a ttempted to cl ass'ify mo st of th e known s kill s on th e still rin gs in order to provide a guide for the gy mna st. coach and author. The gy mnas t a nd coac h may find it convenient to refe r to th is class ification as a means of selecting ski ll s that s te m from variou s position s. The author has a read y- made " Table of Conte nt s " or he may choose to se lect skill s that he feel s a re approp ria te for his writ ings. Probably, the mo st significant factor that is presented is the terminological value of thi s li sting. The skill na me s tha t a re presented are the re sult (a congbmeration) of a research stud y th at was conducted in 1967. I'm sure th at th e reader wi ll find th at most of th e name s give n to th ese s kill s are common a nd , in ge neral. nothing to get exci ted abo ut. However. th ey do represe nt expert opinion a nd therefore should be consi dered in term s of a te chnical lit erary contribution. II. Rings A. Forward swinging skills in support I . Rai se legs to T ' 2. Thrust legs forward and lower body to hong (cast away from support) 3. Lower backward to piked invert ed hang 4. Lower backwa rd t o fron t lever 5. Lower backward to straigh t inverted hang 6. Straight body backward roll to support 7. Piked backward roll t o hang (Hickman ro ll) B. Tucked backward somersaul t dismount 9. Piked bac kward somerso'J lt dismount 10. La yout backwa rd somersault dismount II . Backward somersault with V2 tw ist di smount 12. Backward somersau lt with a full twis t dismount 13. Backward straddle dismount 14. Backward straddle with V2 twis t dismount 15. Backward straddle with a full twis t dismount

B. Backward swinging skill in support 16. Press or swing to pla nche or maltese cross 17. Press or swi ng t o shoulder stand lB. Press or swi ng to roll forward to piked inverted ha ng 19. Piked forward roll 20. Straight body forward roll 21 . Press or swing to a handstand (describe body position) 22. Press or swing to an inverted cro ss (describe body position)

C. Vertical moving skills from support 23. Cross 24. " L" cross 25. Side cross

D. Forward swinging skills from a hang 26. Rai se legs to " L" 27. Raise body to front lever 2B. Raise body to piked inverted hong 29 . Raise body to straight inverted hang 30. Di slocate

31. Shoot bockword to support 32. Shoot bockword to cross 33. Shoot bockword to planche 34. Shoot to shoulder stond 35. Shoot to inverted cross 36. Shoot to hand stand 37. Backward straddle dismount 38. Backward straddle V2 twist dismount 39. Backward straddle with a full twist dismount 40. Layout backward somersoult dismount 41 . Piked backward somersault dismount 42. Piked backword somersault with V2 twist dismount 43. Piked backward somersoult with a full twist dismount 44. Backward somersoult with 0 V2 twist dismount 45. Backward somersault with 0 full twist dismount 46. Bockward somersault with 0 one ond 112 twist dismount 47. Bockward somersault with 0 double twist dismount E. Backward swinging skills from a hang 48. Inlocate from still honging position 49. Inlocate 50. Stroight body inlocate 51. 8ackward rise 51. Bockward rise to a plonche 52. Bockward rise to a shoulder stond 53. Bockward rise to an inverted cross 54. Backward rise to 0 handstand 55. Forward somersault with straddle dismount 56. Froward somersault with stroddle V2 twist dismount 57. Tucked forward somersault di smount 58. Piked forward somersault dismount 59. Loyou t forward somersoult dismount 60. Forward somersault with V2 twist dismount 61. Forward somersault with a full twist dismount F. Vertical moving skills from a hang 62. Muscle up to support 63. Pull to 0 cross 64. Pull to "L" cross 65. Pull to side cross G. Skills from a piked inverted hang moving forward and backward 66. Lower forward to front lever 67. Kip to support 68. Kip to "L" 69. Kip swing to shoulder stond 70. Kip swing to handstand 71. Forward stroddle dismount 72. Forward straddle with V2 twist dismount 73. Forward straddle with 0 full twist dismount 74. Lower bockward to back lever 75. Dislocate 76. Back kip to support 77. Bock kip to planche 78. Back kip to stroddle "L" 79. Back kip to shoulder stand 80. Back kip to handstond H. Vertical movements from a straight or piked inverted hang 81. Piked inverted hang extend hips to straight inverted hang 82. Straight inverted hong, pull ond press t,1handstond I. Skills that stem from a handstand moving ba, kward 83. Handstand lower to planche 84. Handstand lower to straddle "L" 85. Handstand lower to support 86. Hand stand lower to bock lever 87. 8ackword giont swing (or swing to any skill that may be performed from a hang swingi ng forwa rd) J. Skills from a handstand swinging forward 88. Handstand, lower forword to, (all skills under E) 89. Forward giant swing K. Skills from a handstand that lower vertically 90. Handstond lower to shoulder stand 91. Hand stond lower to inverted cross 92. Handstand lower to straight inverted hang

can be obtained from the U.S.G.F. , Box 4699, Tucson , Arizona, fo r $3 .50. If a nyone has questions about vaulting , please direct your queries to M.G. VaUlting, Box 611, Santa Monica , Cal. 90406. THE STOOP VAULT All vaults have certain aspects more or less in common. We begin with an aggressive run. In the saito vaults , we want all the speed we can get. Not necessarily so in the non- somersault vaults. Too fast a run may result in loss of control. Thus, a suffici ently fast run is important , without going all out. The take-off is si milar to the handspring. An explosive spring off the reuther board is vital. The heel s and arm s should lift aggre ssivel y, with the heels lifting harder, resulting in forward rotation to an angle of about 25-30 degrees above horizontal , depending upon speed or run. One take-off, as the arm s and heel s are being lifted , it is important to drop the shoulders low, down towards the horse , and hold the head in a neutral position (not lifted , but in line wi th the body). The momentary contact position is illu strated below:

Th e contact: What goes on during contact with the horse is instrumental to the success of the vault. Contact should take place in a fraction of a second. Assuming that the bod y is " set" in the correct contact position as illustrated , with chest close to the horse , arms stretched forward , readying for a quick punch , and heels lifting, we are ready for the snap down action. The Snap-DolVn: In free exercise, a snap down is a fairly elementary movement performed from a handstand position. I t is an elementary, but difficult movement , when performed correctly. The snap down rotates from the hands to the feet , in a standing position. Ideally , the knees should not be bent. The rotation is initiated as the body snaps from a slightly arched position , with hyperexte nded shoulders to a piked position , as the arms give a very quick , explosive push, done with the shoulders rather than the arms. See the illustrations below:

8The Vault

By DAN J. MILLMAN Gymnastics Coach, Stanford

**This article concludes an admittedly short series on vaulting. In summary, we have looked over the philosophy of vaUlting, and why it is a valuable, and potentially exciting event. Then we examined what the writer feels is the basic vault, the handspring. In this article, we 'll take a look at the basic non-somersaulting vault , the stoop vault. At the conclusion of the article, the handspring and stoop will be related to all the other F. I. G. vaults. If the reader has any questions about the actual rules of vaulting, or the value of vaults, please see the F.I.G. Code of Points , which 20

The important thing to note is that the time from illustration # I to #2 is a sliver of a second' If the shoulders, instead of being hyperextended ~ are forward on the snap-down action , it is impossible to attain an effective push or snap motion. Since , without this snap motion , it is not possible to do a correct stoop type vault , it is absolutely vital that upon contact with the horse , the shoulders are down and the body is slightly arched. In the incorrect contact, illustrated below, the arm punch is generally too late, and the head fades up , resulting in a late

push and ineffective height or rotation:

Incorrect

[

~ I

~~/ I

Correct

1~:=J

The diffi culty of the stoop-type vault lies in the extremely quick timing necessary. The body is fl ying through the air to the horse , and th e snap down motion must be explosive, with the piking action and punch-off simultaneously. Thus , the vaulter must stretch as long as possible for the horse, and anticipate the hand contact , punching off the horse almost before he touches it ; a nd keep the shoulders down until the punch! After the s nap down, the body should stretch as quickl y as possi ble , for a more dram at ic fli ght , and aesthetic body line. The stoop then, is a quick , pike-open vault , with the body reaching a tight pike before opening. Now let's look at the similarity of th e stoop and other non-saito vaults. A hecht is essentially the same vault except the piking action is much less and mor e subtle. Nevertheless, the snapdown to a slight pike with an immediate' opening does take place. It is so quick that many beginning vaulters don 't see it and try to orm the hecht without any snapdown at all , resulting in a " desperation vault. " The straddle vault, when done correctly , is a st raddle hecht. The scissors vault is a straddle with an early half twist to a backward landing. The basic machanics are the same as the above vaults, but as the body begins to extend , after the snap motion , the body turns as it extends. Keep the legs together with a half, and you have a half-twisting hecht. This writer is not going into the precise mech anics of every vault , becau se it should be stressed that the mech anics of all vaults are only minor extensions of the handspring and stoop mechanics. Variations in speed of run , angle of contact , and piking-punching action of the body result in the variety of vaults. In twisting vaults, if there is a problem completing the twist , the weakness generally lies in the amount of somersault rotation and the timing of the beginning of the twist. In twisting , keep in mind: The twi st can be initiated from a push from the horse (or in some cases , from the tak e-off board). The twist can be initiated as the body opens from either an arched position or piked position to a straight body position. The body twists most efficiently when straight ; legs together, body stiff. When beginning a twist , the arms should be extended sideward from the bod y as far as is practical , then as the twist progresses, the arms should be pulled around and closer to the body. (The ice-skater spin effect). Some additional somersault vaults: Two variables are important here: I. The moment of blocking, or punching, with the arms. 2. The radius or length , of the rotating body. As an example , ta ke the handspring to the yamashita. In pun ching off the horse , we must compromise between height and rotation. If we punch or block too early, we may go a bit higher, but our rotation may be insufficient to

rotate in a layout position to our feet. Yet if we punch early for extreme height, then pike momentarily , we have a shorter radius , which will rotate faster , enabling us to have our cake and eat it too . Incidentally, as we stretch early for the landing , we can joyously celebrate our Yamas hita vault with a stuck landing. If we want more rotation , for a double , we mu st compromise some height , by punching later, just as our body passes through the vertical position , and we follow the punch with a tight tuck' Good luck. On the Ya mashita with a ha lf or full , we want an early extension and an over the shoulder look. Those vaulters who ca n do a half twist but not a full , will have more success when they try for more rotation and an early extension. Thus far , we have talked about vaults from the neck. Vaults from the croup (or near end) must travel a bit further , and the angle of contact will be a bit lower in general , but it is possible to do a vault identically from both e nds . Work the hand spring and work the stoop and you ' ve got 'em all. Keep your eyes open , your reflexes fast , and your landings stuck. Hang in there a nd see how high you can fly!

Illustration A-B-C-D-E a re omitted in order that a more vivid prese nta tion of the Overgrip Stalder Hop be reali zed . Illustration F depicts the bod y cocked as in an arc her 's bow ready to rea lese its potential force in direct coordination with the upward circular swing. As the gymnast swings through the " bottoming effect ," the slightly arched body position is released. The gymnast mu st immediately follow up the ac tion first by decreasing very slightly the shoulder angle and then by quickl y driving the feet and legs in a for-upw ard direction. Illustrat ions G-H depict the foot lead position. As the body transcends the horizontal , the aforementioned decreased shoulder and hip a ngles begin to increase simultaneously and proportionately with each other. The hip a ngle co ntinues its increment until prescribing a direct straight-line relationship with the

The gymnast s hould attempt to sw ing ONTO a handstand a nd not push-through a se mi-handsta nd to a handstand. The moment of truth is revealed in Illu stration O. The needle hand stand pl aces the gy mnast in an ideal position for any of the seque ntiall y re lated seq uentia ll y re lated skills.

10 1Horizontal Bar GERALD S. GEORGE Gymnastic Coach Louisiana State University

RE: From a n Overgrip Giant Swing STALDER HOP-to a n Undergrip Hori zo nta l Bar H and stand Position .

Continued on page 28 ~

Gymnastic ClassicsÂŠ

I ~

Volume 2 - Parallel Bars Section B- Uprlses

'omb" I - fmm " P,ked U"d""m S",

13 Parallel Bars GERALD S. GEORGE Gymnastic Coach Louisiana State University

RE: From an Underarm Support PositionBAC KWARD UPRISE HANDSTAND. Parallel Ba rs. Illustration A depict s the initial Underarm Support Position. The hip angle is totally decreased and the trunk region is held above the bar and horizontal to th e floor. This position is susta ined by means of a forceful downward pu sh of the hand s and arms against the bar. Observe that the elbow regions are pointing in a sli ghtly downward direction. The initial extension of the hip a ngle to a direct straight-line relationship. Illustrations B-C-D-E, mu st be as forceful as poss ible while still mainta ining a high underarm support position. This vigorous hip angle increment must encompass as large a downward circle as is anatomically possible. Such a consideration will significantly enhance a powelful and seemingly effortless Backward Uprise Handstand. Slightly prior to " bottoming effect " of the swing, the hips begin to lead the feet resulting in a rel atively decreased hip angle. This action , Illustration F , is the single most important aspect oj any backward uprise skill. The hip lead must be forceful , deliberate and continuous throughout Illustrations G-H. As the gy mnast transcends the lower vertical , the bars will bow downward slightly and will then recoil as the body rises up the circular swing. This aspect , in addition to the cocked hip angle , serve as the prime mover in effective upward initiation. Illustrations H-I relate the forceful release of this cocked hip angle to a direct straight-line rel ationship. The execution of this vigorous hip a ngle increment mu st be instantaneous with the forceful fordownward push of the hands a nd arms against the bar. Observe that as the body unit tra nsce nds the horizontal the elbow articulation s begin to straighten at a rate that is congruent wi th max imum utilization of the actual upward force. In other words , the gymnast is attempting to prescribe as la rge a circular path as is possible without effecting the rate of the upward swing. Refer to Illustrations J-K-L-M . Illustration N reveals that the total body unit attains a direct straight-line relationship slightly beJore reaching the handstand position.

Gymnastic ClassicsÂŠ

Volume 1 - Horizontal Bar Section D - Release Grip Skills Number 5 - From an Overgrip. Giant HOP - to Swing - STALDER on Undergrlp Handstand Position

I r-;-...J

11 AA

I 21

CAST FOR REGULAR BACK (overgrip on high bar) RING GIANTS

A,A,U, Junior Grade Prescribed Exercises and National Y.M,C,A. Gymnastic Championships Compulsory Exercises for Men-

M ickey C hap lan S in ce t hi s tr ick is un do u b te dl y t he mos t fri ghte ning tri c k to be perfo rmed o n th e rings with o ut lettin g go of th e m, it is abso lut e ly necessary th at th e pe rfo rme r proceed ste p by ste p, ma king ce rt a in th at each ste p is perfect befo re go ing on to the nex t step . I would like to ma ke ce rta in that befo re the gy mn as t at te mpt s thi s tri ck that he have unde r co nt rol th e s hoot or phl a nge to ha ndstand a nd a ha nd sta nd , lowe r th ro ugh pl anc he o r s ligb tl y be nt arm planc he to back leve r. A t thi s po int, th e gy mnas t is give n th e fi rst a nd most basic cas t o r layaway tec hniq ue. From a half suppo rt (be nt a rmed suppo rt pos iti o n wit h th e e lbows be nt to th e point where a co mfortab le posi tion is reac hed) th e gym nas t sw ings hi s hee ls fo rward a nd bac kwa rd , tryin g to ge t th em as high as poss ible. Wh e n th e fee t reac h th eir he ight in the backs wing, preferab ly leve l with hi s head , the gy mnast , whil e loo king toward th e gro und , pu shes th e rings forwa rd ra pidl y, keep ing hi s a rm s stra ight and leadin g wi th hi s ches t. T hi s should be we ll spo tt ed, fo r if the gy mnast does not pu sh th e rings fo rwa rd (e.g. , he pus hes th e m to th e side) they will smas h toge th er whe n he hit s " bo tt om" and he wi ll be w re nc hed from th e rings. If his arms rema in be nt, when he hit s botto m, th e we ight of hi s body will pull hi s a rm s straight , wre nching him from th e rings. If he mo ves hi s a rms to the fro nt too s low ly o r raises hi s head then hi s fee t w ill d rop first a nd he may be wre nched fro m th e rings. In s ho rt , he should und erstand ex actl y what he sho uld do a nd he sho uld be we ll s potted. H e sho uld a lso practi ce a shoot to th e handsta nd pos itio n from th e cast in orde r to learn how to e mpl oy hi s swing. Th e shoot techniqu e may correct e rro rs th at the gy mnas t makes in the cast tec hnique. For exa mpl e , th e gy mnast knows that be nding hi s arm s will ki ll th e swing he needs to shoot to a hand stand. I f he th inks in terms of max imi zing hi s swing, he w ill kee p hi s arms stra ight. As the nex t ste p, the ha lf suppo rt layaway is a fa irl y si mpl e stunt. Wh en th e gy mnast ca n do thi s w ith o ut getting a tre mendo us j o lt at the botto m due to poor technique , he may att empt a full (nea rl y stra ight a rmed) support layaway. Aga in , the gy mna st tries to swing hi s hee ls as hi gh as poss ible befo re cas ting whil e pushing hi s arm s fo rward . When th e gy mnast is comfortable with the full s up port layaway , he should press (using strength ) towa rd a pl anche or be nt-armed pl anche posi ti o n (hi s hee ls sho uld be we ll above ring leve l) a nd layaway fro m th ere . Th e same layaway techniqu e mu st be practiced througho ut. T he gy mn ast may s lightl y w hi p hi s hee ls int o th e mo me nt ary pla nc he pos iti o n, but stre ngth s ho uld predo minate. Th e reaso n I fee l th at stre ngth s ho uld predominate is because th e nex t ste p is the tough one , and if th e gy mnas t can co ntrol him self with strength the nex t step w ill not be ri s ky for him self o r hi s s potte r. Th e nex t ste p has the gy mnas t lowe ring from a ha ndsta nd to wa rd a pla nc he or be nt -a rmed pla nc he (see prerequi s ites, pa rag ra ph I) a nd cas ting from tha t pos ition. l f the gy mn ast has already learned to cast from a pla nc he pos iti on, th is step sho uld require little co urage . O n th e way dow n to th e pla nche pos ition , th e gy mnas t sho uld re me mber to push hi s s ho ulders far in fro nt of the rings so th at he can lower to the pos iti o n with CO rlt rol. Ass uming co nt ro l of the pre parato ry stunt s , if the gy mnas t is capabl e of making th at las t ste p (l owe rin g to a nd lay ing away fro m the pl anche) s moothl y , he the n possesses a ring gia nt.

1970 flOOR EXERCISE (May be reversed in entirety only) I . From stand nea r and fac ing A, bock towa rd D; Ri se on toes extending arm s backwa rd, swi ng arm s fo r· wo rd and backwa rd ha ndspring to stand ( 1.0 Poi nt Eva lu· otion). 2. Fall backward, bending at hips, and execute bock· word roll and shoot·up to ha nds tand, immed iately lower into ches troll to front leaning rest position. (0.5) 3. Step forward onto R·leg, swinging arms upwa rd, and with '12 turn left, bringing R·foot to L·foot, place hands on floo r and execute head· kip to stand wi t h arms extended upwa rds, (facing D). (1.0) 4. Lower arms sideways executing a % tu r n right foe· ing C, toke three running steps and round·off into bock handspring landing on L· (or R·) leg. ( 1.5) 5. Execute y, tu rn R (or L) and immediate front hand· spring to stand with arms extended upwa rd, then fa ll forwa rd to front lea ning res t position, ar ms bent, and L· (or R·) leg extended upwa rd (l.0) 6. Lower rai sed leg , straighten arm s, and execute strad· die forward to bock lea ning rest position, draw bock to si tting position, place hands on floor next to left leg, wi th Y. tu rn of upper body (facing B), and press to hand· stand wit h bent arms and bent hips - hold. (l .5) 7. Lower to forwa rd roll, wi th straight legs, to stand w ith arms extended upwa rd (facing B). (0.5) 8. Step out wi th L-Ieg and jump upwa rd, swinging righ t leg up· forwa rd, then left leg up· forwa rd, to sta nd on r ight leg (scissor leap) with arms extended fore-upwa rd. (0.5) 9. Execute f ront ha ndspring landing on left leg, arms upwa rd, placing R·leg on floo r (walk·out) with J/. turn to· wo rd A, br inging arms side·downward. (0.5) 10. Step out into three runnin g steps and round·off into backwa rd somersaul t (tucked) to stand. (2.0)

The two things whi c h mu st be practiced , ho wever, in orde r that the giant be aestheti ca lly pleas ing are ( I) lowering to the re lease point (whether it be a pl a nche , so mewhe re bet ween a planche a nd a hand stand , o r th e ha nd sta nd it se lf) wi th stra ight arms, and (2) releas ing or lay ing away as earl y as poss ible. Thi s howeve r, takes ex perience, coo rdin ation and nerve. T he most pe rfect exa mpl e tha t I know of for a n earl y rel ease is E ric Courches ne of Cali fo rni a , who re leases fro m a ha ndsta nd (s tudy the films of th e 1969 N CAA's). A n early release will produ ce ph enomena l speed which will be severe ly redu ced if the gy mnast's back is ove ra rc hed. G ood luck!

B. Cast dawn-backward and inlacate with straight body, ( 1.0) 9. Bend hips at three·quarter point, rotating forward, and execute forward straddle to stand under th e ring s. (2 0)

SIDE HORSE (May be reversed in entirety only) I . From side sta nd frontway, left hand on right po mmel , right hand on end ; Moore mount around end of horse (cou nter-clockwise) with V, turn to rear support on Rend . (2 0) 2. Under-cut R-Ieg (under L-Ieg and hand), swing Rleg forward over saddle to straddle support on R-arm and pommel, swing L-Ieg back unde r L-hand transferring Lhand to double-g rip on pommel, then circle L-Ieg forward tran sferring R-grip to L-pommel to rear support in saddle. (1 0) 3. Cut L-Ieg back under L-hand and execute backwa rd scissors to th e right and then to the left. (1.0) 4. Cut R-Ieg back under R-hand and execute one double leg ci rcle (clockwise) to front support in saddle. (1.0) 5. Cut L-Ieg forward under L-hand, then R-Ieg forward und er R-hand, execute two and a half double leg circles (counter clockwise) (1.0), and 6. Tromlot to th e right, transferring L-g ri p to doublegrips on L-pommel , swing ing bot h legs forwa rd to rear support on L-end of horse; (1 .0) 7. One double leg circle on end (counter-cloc kwise); (1.0) B. Execute double rea r vau lt around end to side-stan d sideways wi th R-side to horse. (2.0)

~~ ~~ ~~ ~ ~ If ~ ~~ ~ ~ __

•

_'_r

"~''' '

-,' '__,

PARAllEL BARS I . From cross stand at end of ba rs take three running steps and lea p into glide kip under bars to support , (1.0) 2. Swing backwa rd to hand stand (momentary hold). (0.5) 3. Forward pirouette (one half turn), (1.0) 4. Swing downward through support, drop backward (0.5) into 5. under-cast to upper-arm suppo rt wi th leg s overhand ,( I .O)

6. Cast and back uprise to immediate stra ddle forward over bars to " L" support - hold. (1.5) 7. Press to hand sta nd with bent ar ms and bent hips -.~ 2."- hold. ( 1.5) B. Swing down-forward into stutz-kehre (V, turn) and ,~Iay back into upper-arm hang, ( 1.0) -J r [ _ ~ 9. Swing forward and fro nt uprise to support (0.5), and _ 10. Swing backward through handstand with V, turn -.-- -.. -- - - " . . pivot on one arm (Wende) to cross stand sideways. (1.5) _

~~~~~

/~~ffi

'- -,: ' '- ; ~; ~'i'~-

~r~~fb ~~'.

~¥~_/

LONG HORSE Vault number three of th e F. I.G. Code of Points. Simple Hollander. Leap to handstand in the saddle then execute V4 turn and "cartwheel " off the end keeping legs together to stand.

NO"

~~~'~~ '--~~!"r'-' ~&r' 1101.»

,.'

__ _ _ _;,

IJH..Jt

.. ... _.'

10.

NASTIC

AIR~S

Write to Gymnas tic Ai des, North brid ge, Mass ., fo r beginning, intermedia te and advanced rings, pa rallel bars and side horse cha rt s. NE W I Side horse charts are now avai lable. Six exercises ranging from beginne r to high intermediate levels have just been completed. Write to GYMNAS TI CS AIDE S CO., Northbridge, Mass.

ZWICKEL A Distinctive Line of Men's and Women's Uniforms

•

Why Settle for less? HORIZONTAL BAR 1. From mixed grip hang, high cast and back uprise, extending one leg over th e bar into a V, turn to momentary straddled " L" support with over-g rip s. (2.0) 2. Drop backwa rds, drawi ng legs together, and cas t executing V, turn backward on backwa rd swing to doubl e under-g rip s; (0.5) 3. At end of swing execute forward kip to handstand (1.5) 4. Two forward giant circles and on end of second circle (1.0) 5. execute one- half turn pivot to over-grips, (1.0) 6. One and three-quarter backward giant circles (1.0), and 7. Place feet on bar between grip s (stoop) (1.0), and B. Continu e into backward sale circle dismount, Wi th straight leg s, to cross sta nd rearways. (2.0)

RINGS I. From hang, bending arms, draw straig ht body to stra ight inverted hang , (0.5) 2. Bend to half inverted hang and disloca te backward, (05) 3. Swing forward and shoot up to handstand (2.5) and immediately. 4. Swing legs down-forward into drop-cast, swing backward in hang and execute bent-h ip inl ocate to half inverted hang , (0.5) 5. Cast down-backward into backward uprise to " L" - hold. (1.0) 6. Press to handstand with bent arms and bent hips hold . (15) 7. Swing downward through support, with stra ight body, and drap_ backward to momentary straig ht inverted hang , bend slig htly at hips, (0.5)

FREE CATALOG

•

ZWICKEL Gymnastic Tailors

P.O. Box 309 Jenkintown, Pa. 19046 23

~~4~ ~~

JUDGING bYJERRY By JERRY WRIGHT

ACRITICAL REVIEW OF THE DIFFICULTY RATINGS IN THE F.I.G. CODE OF POINTS (1968 Edition) by JON CULBERTSON New College Sarasota, Fla.

PART II SIDE HORSE The criticisms of the side horse evaluations primarily reflect matters of opinion and consistency. Side Horse is now well acknowledged as the most difficult apparatus to judge due to the complexity of combinations inherent in the difficulty ratings. Therefore, there is much here devoted to analyzing the parts and their relative values when used in different combinations. I have been perhaps a bit too academic in my treatment here. For those who have neither the time nor the interest to wade through all of this I have indicated the major points to be considered by asterisks (*) . ARTICLE I Scissors The allocation of B moves to scissors with a Y2 turn or a trav'.!l hop and a C when both a travel hop AND a Y2 turn are performed seems appropriate (moves which we don 't see often enough in my opinion), but some comment is in order regarding numbers 1-8 and 1-9. The ability to do inward cuts to support is the key in #8.

"circle right forward " is included whereas the French says simply " double swiss followed by a direct tramlot without intermediate circles." So #6 is a nalogous to #3 . The illustrations are correct' ARTICLE III Kreiskehres and Stocklis For some unknown reason the Englis h version obtained a pluralization of " travel " throughout this article (Nos . 3, 6, II , 18, 21) which is incorrect. Should read tra vel instead of travels! *In discussing B & C moves from here on they will be broken down into A & B parts both to analyze their relative values and since a wise judge will have the moves so recorded in an effort to maximize the performer's possible difficulty. In this connection I have indicated high Bs by (B+) . Previous unofficial analyses of C combinations have led to the hypothesis that there were two classes of B moves reflected by their ability to facilitate C combinations. That is, if only 2 Bs were necessary , at least one had to be a high B (B+). Low Bs required at least an additional A or B part without intermediate circles (wo.i.c. ). As we shall see, there are numerous exceptions to this possible general rule." Number 1II-3 = B+B + A/B( ?): This is aclassix example of 2 low Bs requiring an A or B wo.i.c. to create a C combination.

.; "

-4.f ' ,

~~~~~!~A'0 ~

1lI~~~~b

'&i ,f: <f( .__. Y.rr-II

....

._ ), ;.', __, _ I,

Such moves exhibit the ability of the gymnast to do proper pendular work , but I question their validity as a B combination. These are simply A moves (to me) which are quite good tests to evaluate a gymnast's technique for obtaining pendular swing. #9 exhibits the not uncommon occurrence of redundancy in the code. What is the necessity for the inward cut-scissors combinations preceding a C move (back scissors with Y2 turn and travel hop) already designated? ARTICLE II Hops from C ircular Swing Again one wonders why it is necessary to designate a simple swiss-stockli combination in number 11-5 as a B move when a stockli alone is sufficient (cf.1I1-2). More important, however, is number II-6. I n the English version

Number 111-10: wo.i.c. present in the French is omitted from the English version. Illustrations are correct. Number III-II=A + A + B: The uphill travel alone is a B (cf.IV-5). (Ed . Note: This is not quite true - uphill travel-downhill travel , wo.i .c. is a B part. Number 111-12= B+(B + ), where the back stockli is the (B+). " Back Stockli " here is considered a very poor term since it is in reality nothing more than a reverse Kreiskehre or inverted haiFstockli! Number 111-13: Why not 3 As ? Number 111-14: Of very dubious value!

~~\\~~!~S~K1~ m~~~~~~~~~ There are rules against such repetItIon in the code so that this example is a very poor one and should be ignored if not eliminated. Number 1I1-15B (B+) , where the Czechkehre is the (B + ) - (an exception as discussed under Article VII). Number lll-17 = A+ B: Since a tramlot is defined as a B in IV -2.

~~@4~ This is a terribly unimaginative C since it takes only two different moves to comprise the five parts and is seldom seen in this country. The question mark here regards the confused status of a downhill travel in a combination which is discussed in detail under IV-5. Number 1II-5=B+ A: since a stockli alone is a B. (Ed. Note : is this not repetitious also?)

a B by itself. It must have an A part combined wo.i.c. such as a Krei s kehre , as shown here , ora travel (cf.VIII-2). Number 11I-9 = B + (B + ): classic example of only 2 Bs neces sa ry when one is a (B + ), the direct tramlot.

Number lll-18=A+(B+)+B(?): This is a relatively easy C combination, since a downhill travel is a questionable B. Number 20=A + B: since Czechkehre is a B by itself (cf.VII-2). Number 2IxA + B+B( ?): This appears to be an even ch:aper C than # ~ 8.

.JI~@~A~~

~~A~\JL4~

Number 111-6=B+B+ B.

~J~~Â˘~~@(;3~ ~ ~

~t\~~t

~~~~~~tlP~ @ *Number 111-8=B: It should be stressed here that one of the most important changes in side horse is that a Schwabenflanke is no longer

There is the possibility of interpreting such a combination as Kreiskehre-travel, wo.i.c. , as a B move so that one could get two Bs out of this sequence (a similar interpretation could perhaps be made for # 18). This interpretation, however, just serves to point out the redundancy and therefore poor composition of this sequence as for # 14 above. ARTICLE IV Travels and Tramlots Again in this article as in III the word Travel, when it appears , should not be plural. It is never plural in the French. Number IV-3=B+(B+). Number IV-5. There is a serious problem with this one! One could argue for 2 As. I will go along with a B for an uphill travel. To make the downhill travel a B in combination saves

face for many wea k C combinations (s uch a s 11 -2 I) a nd leads to not a littl e confusio n regarding so me combinations suc h as Kre iske hretrave l, wo .i.c. (A B or just B?) . In my opinion , the downhill trave l, e ven ill combination,

should be re lega ted to an A move and tho se C co mbin atio ns , dependent upon it as a B. dropped. Number IV-6=B + B(?) + A: or B+ B: The former interpretation deri ve s directly from #5 w hil e th e la tter wo uld e nt a il ma king t h e Schwabenflanke a B by th e travel preceding (cf. V 111 -2). A weak C in ei ther int e rpretation si nce th e " possible ge neral rule " does n't a llow two Bs to equa l a C unl ess one is superi or. (I can hardl y imagi ne a n uphill trave l as a (B + ), a ltho ugh I have suggested previously th at so me F.I.G. peop le might. ) Number IV-8: A si ngle B? (cf.V III-2 and 111-8).

4H<~~~ ~~~~Â˘t~ ~c!~$~~

pea rs th at an uphill travel is on ly an A unle ss followed by a down hill trave l. Number V-8 = A + B. " Number V-9=A + (B + ): Here is th e first se ri ou s exception to the " poss ible ge nera l r ule "

(B + (8 + ) or A + B+ B=C). It wou ld make more se nse to me to require a downhi ll trave l before th e Sc hwa be nfl a nke . A que st io nable C ! ART ICLE VI Drehfla nkes D re hfl ank es are nothing more than reverse Stockli mount s so for th ose who a re co nfu sed. co nsult the sec tion (X II ) on conventional terms in th e code (p. 169). I t makes more se nse th at reverse Stockli. Number VI-2=A + B. Number VI-3=A + B+(B + ). Number V I-5 . Although "wo.i.c. is left out of the English version , the illustrati ons a re

Number IV-IO: Wh y not 3 As? NumberIV-II : Redundant ! Number IV-1 2 =B + B+B(?}: A worse redunda ncy'

~J~,-~!J~@4

~~!~~~,,~~

Numbe r IV-1 3: H ere is a n a ppare nt gross inconsi stency with #5. The uphill trave l is everywhere else considered a B except in #4. It would a ppea r here th at FIG people thin k it easier to do uphill travel rather than downhill travels in co mbinati o n (!?). Number IV-14=A + A + A: Thi s is FIG 's first attempt to include a countermove ("Schwabe nkehre with Y4 turn inward . . . ") and is a pretty weak exa mple . In the future I' m sure this co mbin ati o n will not warrant a B.

Number 15 B+ (B+}+ B: A rather strong C combination unless one considers one of the uphill trave ls a n A. This is a n example where the incons iste ncy between # 5 and # 13 leads to confusion . Number IV-18= (B+}+B . ARTICLE V Reve rse Stocklis Numbe r V -3=( B+}+( B+}. Numbe r V-5=A+(B + }: Since a reverse Stockli alone is a (B+ ) (cf.#2). Numbe r V-6=(B+}+B+B(?}: Wh y an ext ra B unles s the downhill trave l is considered a n A here (w hich it probab ly should be)? The previous code had a C for just the first two moves (reverse Stock Ii -uphill tra vel) , but now it ap-

clear. A Dreh flanke- in sta nt trave l (wo. i.c. is equal to a Czec h we nd e, a nd therefore a Czech mount on the end is now a B(?). I would have to cons ider it a low B. Number VI-6 = B+ (B+) a short but a ppropriate C. This cou ld be th o ught of as a Cze ch mount-in stan t Kreiskehre (wo. i.c.) which is easier in th e middle , and I wo nder if it would obtain th e sa me valu e there? . Number VI-7: Reflect s poor wording a nd would be best to co nsider it Drehflanke-h a lf c ircle- travel. Numbe r 8: Czechke hre-h a lf circle-kreiskehre!? Number VI-9=A(?)+B + B(?): I'm not sure what's go ing o n here.

ct~}3h ~ ,&!!!rP,~

N um be r V 11 -4: Be sure to note a lso th e di stinction be tween C z echkehre a nd C zec!lIvende (Tcheq ue dors al a nd Tcheque fac ia l in F rench ), B & A moves , respectivel y. Number V II -6 = B+ B+ B('J) : Thi s exa mpl e offers fu rth er evide nce tha t a Czech kehre is a low B a nd that a down hill tra ve l, in co mbin ation , ought to be a n A. Number 8: The B eva lu ation here leaves me wo nderi ng wh y not B for the reverse stock li di smo unt (cf.V-7) ? This is not consistent in li ght of the fact th at a reverse stock li is ra ted a hi gh B a nd a Czec hke hre a low B. Number V II -9= B+ (B + ). N umber VII-II = B+ A/ B(0): Nowhere is the co nfu s ion rega rdin g a downhill trave l be tt er illustrated th a n by th is examp le. The move is

Jft~~U4@l~

~~4~ ignored here afte r a C zechk e hre whil e considered a I:l after an uphill trave l (cf. IV- 5)' Number 12=B +( B+ ). Number 15=B + (B + )+ (B+ ): It is fitting here th at a C B be give n for suc h a combination. A RTI C L E VIII Schwafe nfl ank es-ke hres a nd-we ndes "F irst a brief cl arification of the variou s Schwaben moves . I n theory a Schwaben move requires a ha lf-turn on th e e nd of th e horse (a Czechkehre) with a variety of terminations th at refl ec t the nature of th e suffi x. I f th e performer stays o n th e horse or dismounts to a s ide sta nd (back to horse) , he is executing a Schwabenj1allke (a llema nd costa l).

If the gym nas t di smo unt s wi th a half-turn so th at th e front (ve ntral) side is facing dow n, he is exec ut ing a Schwabenwende (a ll e mand facial).

ll~P~~ Both illustrations a nd the text are inadequ ate. It a ppears to me that a double Ru ss ia n wende on one pommel followed by a travel wo uld be feas ible, but they are depi cting a Drehfla nke with a n extra liz turn on one arm which creates quite a torqu e on that arm. ARTICLE VII Czechkehres " Numbe r VII-3=(B+)+B: Onl y in a few cases is a C zech given a high B rating where there is an immedi ate (in stant-A La Mills) tran sfe r into the next move when a liz circle could be e mplo yed as well (see also 111-1 5). Compare th is w ith # 14 where the liz circle re-

~~tJ~,~tl~ m~~?W~&mo ves the C poss ibility. This is an importa nt di stinction which clarifies an a ppare nt inco nsistency with regard to whether a Czech is B or (B+). It is generall y a low B as indicated by #5 .

And if the gymnas t dismounts with o ut a twi st so that hi s back (dorsa l) side is toward the floor , he is executing a Schwabenkehre (allema nd dorsal) .

The French term s make more sense th an the German here! Number VIII- 2: A re minder th at a Schwaben move require s an A suc h as a travel wo .i.c. in combination to qualify as a B! *Number VIII-3=A+B + B(?): So , aft er the admo nition above they leave out s uch a n A preced ing the Schwabe nflanke , and one mu st ass ume a B for the downhill trave l again to justify the C co mbination . This tre nd is repeated in numbers 6 , 9 & 12 . It see ms as though the y are say ing the rule only a ppl ies to make it a B but not in C co mbination s 0) or that Schwabenfl ankes a lways become Bs in any combination. Number VIII-6 = A + (B+) : A weak C s ince there is no A preceding the Schwabenflanke which would re nder B+ (8+).

Number 8: Circles are singular in the French , and this is the same as #5. Should read Circle instead of circles I Number 9= A + A + B: Another weak C since

all that has been added to a previous B (ef. IV14) is an A move (trave l). Very questionable! Number 12 = A + (B + ) same criti cism as in #6. Number VII I-14=A + A + A: a low B. Note use of Czech wende.

What a good example , however , of a C combination this could have made if modified to Travel - Schwabenflanke - Czechkehre wo.i.c. (B + (B + )) . Number 15=A + B+ B: Finall y what I con-

1lz-~~~4~~

~4~~if~1~ sider a legitimate C in this artic le (VI II ); however, the illustration omits the first half of the Schwabenflanke. Number 17=A/ B( ?)+B: Again lacks an A part preceding the first Schwabenflanke. Also appears Inconsistent on casual inspection with # 14 , but note from illustrations that a Schwabenflanke is equivalent to a Czechkehre, not a Czech wende. Number 18 = A + B+ B: Esse nti ally equ ivalent to # 15 except that the pommels aren 't used. Chaquinian , 3 Czechkehres or Schwabenflankes. Why isn't that considered repetitious? ARTICLE IX Russian Wen des Number lX- 3= B+ B: Ought to read double Russian wende swing. (Ed. Note: This could be a debatable issue concerning the use of the word double). The reinstatement of this move to a C causes another exemption from the "general possible rule," but it is similar in nature to " instant" combination exceptions given before (Ill-IS & VII-3). Summary *The new code has seen further revision in sid e horse difficulty. It is perhaps most up to date in terms of what is expected of the modern gymnastic performer. The "possible general rule" has been discussed and some exceptions noted. Nevertheless , it still appears to be the best general guide for making difficulty decisions especially for new , unillustrated combinations. The most frustrating problems in side horse appear to be what to do with the downhill Travel and the Schwabenflanke in combinations. The code only allows the following distinction of Bs: LowBs(B)

Stockli

HighBs(B + )

Reverse Stockli (l nverted Kreiskehre) Tramlot Direct Tramlot Czechke hre (a few exceptions) Double Swiss (Hop) Travel-Schwabenflanke wo.i.c. Obviously this list needs to be extended along with the evaluation of many other moves especially common in this country. The following are just some of the moves not listed in the 26

code which need to be evaluated with my prejud ice indicated: Reverse Czechkehre (= Back Moore) (B + ) (B + ) Reverse Swiss Ya nki ' Yanki ' A Reverse Yanki B Counter Yanki ' B " Shurlock " (B + ) Counter Swiss (= Durham) (B +) Hop Trave l B Counter Hop Tra vel (B + ) " Bailie " (Travel-Rev. Czech .Trave l wo.i.c.) C Double Ru ssian wende on one pommel C 'see Mills , R. A New Terminology for Side Horse. Modern Gymnast X , (I), 18 (1968).

GYMNASTIC JUDGING COMES OF AGE By BILL ROETZHEIM TED MUZYCZKO

and also attested to its need. We were particularly careful in structuring this event becau se it was the first effort to hold this type of class. For our staff we used Frank Cuminskey , Tom Maloney , Ted Muzyczko, and Joe Ginlombardo. Each of these men not on ly had a vast amount of experience as judges but also possessed anF.I.G . card. We blocked the course out into four main sections accounting for 16 hours. First there was a general discussion of the F.I.G. Manual followed by a panel that answered questions on trouble areas. I I Block two was the breakdown of judging event by event. The third session gave everyone an opportunity to judge and discuss many routines and the final time segment consisted of testing. For the sake of standardization and only after much debate , we decided to use the F.I.G. test as it is administered by that astute body. Apparently the discussion , although long, did not give us a true picture of the validity of this test when it comes to classifying officials. A statistical analysis quickly demonstrated to us that we would have to upgrade the international requirements in order to identify competence in judging. Let us examine the F.I.G. scoring system. You are graded on your ability to recognize B & C moves , score a routine and pass an oral or written test over selected sections of the rule book. You are told which sections of the books you will be tested on prior to the exam so a perfect score is quite common. Scoring is based on a numerical system from zero to five with five being the perfect mark. Under this system if you score a five on the theory portion of the test you could sti ll get a national card by recognizing only 58% of the B moves, 37 per cent of the C moves and only scoring within 6 tenths of a point in the 8 to 8.95 bracket. In order to get a national card under F .I.G . with a passing 3.00 theory score one would still only have to recognize 70% of the B's parts and 55 % of the C moves. The item you are trying to measure is the ability of the judge to recognize moves and come up with a valid score. We emphasize this aspect by giving only a pass or fail on the rules and not counting it into the average score. We also upgraded the 3.00 requirements on the practical to 3.5. We can now define a national qualified judge as follows: • He has a good knowledge of the latest rules as indicated by the oral or written test score. • He can distinguish a minimum of 76% of B moves in simulated meet , compared to an expert panel. • He can distinguish a minimum of 64% of the C moves in a simulated meet, compared to an expert panel. • In scoring gymnastics performances in the 8.00-8.90 range he can evaluate these within a maximum deviation of .35 compared to an expert panel. • He has shown a reasonable ability to score gymnast ics exercises ranging from 6.0 to 9.5. If you are in the process of organizing a judging clinic you may find the following certification procedure helpful. A candidate must complete the following: I. Fill out and sign an approved questionnaire. 2. Pass a practical scoring test in which a minimum of four events are judged and in wh ich four men per event are scored. A minimum Practical Score of 3.50/5.00 is required. This practical score is based on the candidate's ability to determine Band C moves and his abi lity to score each event within the established ranges as compared to the expert

Gymnastic judging is very much like the weather, it is not only completely unpredictable but it is a subject we frequently complain about without offering an effective means by which it can be changed. You have all heard football and basketball coaches complain how inept officiating caused them frustration and defeat, but there isn 't any athletic contest more closely dominated by officials than the sport of gymnastics. The men with stripes on their shirts may make it a little easier for a team to score in football , but in gymnast ics they put the points on the score board. We have improved our coaching techniques, our equipment , and we are working with a superior physical specimen . Yet , our progress has been measured by judges whose requirements have not changed since the first kip was scored in that old frame Turner Hall in New York. I use the word requirements very loosely because as far as I know , to meet this mythical standard one only had to act like an authority and be avai lable. You worked at the local level because it was convenient for the neighborhood school to hire you. Regional decisions on procuring judges were vested in the site manager who chose his friends and at the national level selection was determined by a popularity contest with the coaches acting as the electorate. Many times your total technical preparedness to judge a meet was the mere fact that you were a spectator at an event for which judges were needed. It is true that some sections of the United States did upgrade through courses and exams the general proficiency of their local officials but without a co-ordinated effort at the national level many of these programs lost their effectiveness. It was quite apparent that if gymnastics was going to continue its rapid growth the professional qualifications of our judges would not only have to be elevated but an objective meaningful national ranking system would have to be instituted. Last spring we sought and received sanctioning to hold a pilot judging course and also the right to establish criteria for the certification of judges at the national and regional level. Through the joint efforts of the MidAmerican judges Association and the University of Illinois , Chicago Circle campus, this venture was highly successful and led to a meaningful numerical rating of judges and to their subsequent registration in a national office. Ninety-two men signed up for the panel. 3. An oral or a written score should be adcourse. This tremendous response certainly justified the work of preparing for this course ministered and the candidate must score at

least 3.50/5 .00. The Practical Score is arrived at by averaging th e B-C score with the live Judging Score. If a score of less th an the minimum is received in th e categories shown , that part of tes t mu st be repeated. The Oral or Written Test Score is not averaged into the Practica l Score but a minimum of 3.50/5.00 must be received. Upon successfull y completing these requirements a candidate will receive a Natiollal Card with an Individually ass igned number. The Individual Number file s will be kept at the U.S. c.c. office (U .S.G.F.), and later at the N .G J .A. office. These file s will be kept up to date with entries of meets judged, refresher course scores and other pertinent information. A National Card will be valid for one year from the date of iss ue. After one year a short refresher course should be taken to keep the national card actively valid. COURSE STRU CTURE The course should be structured in th e following manner an d should include a minimum of 16 hours of instruction s and testing. Introductory Lectures: List Course Objectives; Discuss F.I.G. Code in general ; Describe Testing Procedures. Mai n Lectures At least one lecture per evelll i.e. , a minimum of six lectures should be given. At the end of the lecture, live scoring is strongly recommended so that candidates may be able to judge live performers -listing Band C moves along with appropriate scores. If live performers are not available ; films should be used. The specific execution errors peculiar to each event should be thoroughly covered. Any difficult discrepancies should also be discu ssed. Lecturers should not be arbitrary and should freely answer questions. At the end of each lecture candidates should be in the habit of listing B's and C's and putting down appropriate scores. This is quite important since candidates will be tested in precisely thi s manner. • R eview Lectures and Discussion Session s These are optional, but are st rongly recommended - time permitting. • T esting Procedures An oral test as outlined by the F.I.G. may be given as follow s. On the day preceding the test. A number of cards with five categories on each card are shuffled and each candidate is to take a card. The candidate is to study these five categories and will be tested orally on the next day. Each interviewer will have a master sheet with the appropriate correct responses. The interviewer should make sure that the candidate is at ease. Questions are then askedfrom the master sheet and the interviewer grades the candidate from 0 to 5 based on the accuracy and speed of the candidate 'S response. A candidate must score 3.50/5.00 on this test or he cannot be awarded a national card. • Wrill ell Test Alternatively a suitable written test may be given, which should not contain more than 50 questions. The questions must be based on what is actually printed in the F.I.G. manual

and lIot on verbal opinions or loose interpreI- C move Execution 5.0 tation s of ques tionable sections. Multiple 10.0 The usual miti gation rules are applicable choice and completion questions are sugges ted. The test should not take more th an 20-30 min- here. After viewing a performance, each canutes to complete. didate is required to put the following on hi s A candidate mu st score at least 3.50/5.00 score paper: or 70%. If he does not he cannot get a nation al NUMBER NAME card and mu st repeat thi s portion of the tes t. N umber of B moves and C moves Final Score • Pan el of Experts Each candidate is allowed the followin g The panel should consist of at least 3 and preferably 4 expert judges, at least one of which lengths of time to eva lu ate each performance : I st performance 40 seconds has an international card. If two international card holders are available, both should be 2nd performance 30 second s used. All other panel members should have 3rd performance 20 seconds 20 seconds at least national cards. The panel should select 4th performance a superior judge who would medi ate differAt the end of each time period, the sco re ences and average the panel scores. Each panel sheets of each candidate will be picked up. judge should write down the number of B's I! is important to have enough score pads and C's as well as hi s sco re for each per- available so that the delay s can be avoided. former evalu ated. However, each of the panel • Evaluating th e Candidates' Scores judges has an additional re sponsibilit y for beThis is a time consuming procedure so that ing an expert in each of the following 3 cate- ample , knowledgeable clerical help should be gories: available. The standard F.I.G . work shee ts and evaluation sheets should be used. The Difficult y I Judge Co mbin ation I Judge final scores should be di splayed as follows : Form I or 2 Judges Thi s system does not put the candidates Number N ame at a di sadvantage as does the F.I.G. sys tem which breaks down the panel judges responsibilities similar to the Bauer System. After each performance the panel will C move quickly submit scores to the superior judge Score who will arrive at an ave rage. If any discrepancies exist the panel mu st give the candi-. Bmove dates the benefit of any doubt. For example if Score there is a questionable C move or if a C move maybe given 2B credit thi s should be consid- C & B mo ve ered. For example, the following assess ment s Score may all be correct: 2C-4B-9.1 Exercise I C -5B-9.1 -questionable C Score IC- 6B-9. 1-1 Cgiven2B credit The candidates cannot be penali zed for the Practical panel 's lack of unanimit y on B's and C's but Score any scoring spreads should be discu ssed to one final average. At the end of an exercise, Th eOlY after the candidates ' cards are picked up , the T est su perior judge must announce the number of Score B's and C's and the panel 's average score. • Performan ces by Gymnasts On the bas is of the above procedure candidates receiving a Practical S core of 3.50 or Performer Score Range higher will receive numbered national cards I 60-70 from Frank Bare. Results and question2 70-80 naires would be forwarded to Frank as soon 3 80-90 as possible after the test. 4 90-Candidates would be notified by mail as This may be difficult to meet exactly but soon as possible, di sclosing Pra ctical Scores. should be followed as closely as possi ble so that the candidate 's ran ge of ability is tested. The cards may be mailed out by the sponsoring institution or Frank per agreement. It is also suggested that the competitors not I t is a good idea to issue Course Completion perform any really questionable moves subCertificates to those who did not qualify for ject to extensive interpretation. It would not national cards. be a bad idea to "allow" one or two performRegional cards may be awarded if the local ers to fall-off so that thi s phase of judging can judges organization so decides. A suggested be tested. score for regional qualification is a Pra ctical • Evaluation by Candidates An announcement should precede the per- S core of 3.00 to 3.49. Regional cards are the responsibility of regional organizations alformances explaining that all gymnasts are to thought they may want to follow the preceding judge as if they are performing in the Olympics procedure. Preliminaries i.e. 6-A moves I! took a long time, but maybe because of Difficulty 3.4 4 - B moves our efforts judging will finally come of age. Co mbination 1.6

MR. X-PERT, GYMNASTICS

I \

I I

+~ 27

Continued from page I 4

Where wi II you be in

III. Landing I. Initial landin g contact (figure H) The

~@~@

legs , hips and body are almost fully extended in preparation for the forceful landing. The center of gravity is above and slightly behind the feet upon contact with the mat. 2. Impact. (figure I) The ankle, knee, and hip segments fold slightly (s light body crouch) on impact to absorb the la nding shock . The arms move in front and then laterally to the body and the center of gravity is lowered. These movements serve to maintain body balance during impact and to absorb any remaining forward rotation. The body then recoils from the crouch position ending in a standing position.

FRANK ENDO

00000

... we know where we'll be! ~@

years ago we started producing gymnasium equipment of finest quality and long-life. Designs and materials have constantly changed since then but our same, timeless tradition of fine quality remains as modern today as it was 60 years ago and will be just as up-to-date 60 years from now in 2030. That's the way it is with Quality. It has a way of lasting and assuring its buyers the equipment they purchased this year, last year, 10 years ago or 10, 20 years hence will always be current, will always be Quality, and will always have a "home" with someone interested in its condition and ready with parts and service if needed.

If you need gymnastic equipment you should look to Porter for these many advantages:

SHOES #Tl-2 (os illustrated) .. . .. . ........ . .. . .. .$2.75 #Tl-3-A All-leather shoe with rubber sole. . ........ . • _. • . . ...... 4.00 #Tl·4 Ladies' gym shoe Nylon w/leather sole .... 2.00 # NB Nylon booty with leather sole Sizes 1·6 . .... ..... 2.00 2 .25 Sizes 7-12 . 0 •••••••••

pro pro pro

pro

LEATHER HANDGRIPS #A-Good (most popular) .

j.\@

Continued from page 21

B - Better (one-piece) . . Best (extra strong)

#e -

lompwick handgrips (S-M-l)

. . . . ... $1.S0 pro 1.75 pro

Fully Olympic Specs. Best of Materials and Workmanship Safety Engineering Modern Design Experienced Representatives Full Technical Staff Installation Capability

........ 2.25 pro 1.50 pro

PANTS ....... $7. S0 pro

Cotton/acrylic stretch Nylon stretch po nh

14.25 pro 10.00 pro

White.

Off-white .. With loe-pc., add 7Sc extra.

SUSPENDERS 7fs" elastic w/chrome dips , Adjudable and detachable . Comes in white, blue or red . .

. ... $3.00 ea.

WOODEN RINGS Meets all specifications ......... . .. ..... ... $22.S0 pro

CHALK Block or powder.

. ... .. . .......... ... Lowest prices

1968 MEXICO OLYMPIC

FILMS Super 8 - in color Complete winning and runner-up optional routines on all Olympic events. Taken at 24 fps and edited from 2000 feet of film taken from choice locations. Highly educational. No rentals. Men's - 400 ft. .............. $32.00 Ppd. Women's - 400 ft. ........ $32.00 Ppd.

All of PORTER'S floor equipment has the "safety-at-a-glance" Qu ik Lok.

Write for your FREE, fully-illustrated, colorfu I catalog today.

trunk. The shoulder angle continues its increment until prescribing a forward-opening angle with the trunk. Illu stration s I-J - K reveal these increments relative to the tot al body position on the bar. The above angle increments yield a feeling of weigh tlessness. It is at this time , Illustration K, that the sl ip-grip action of the hands is realized. The wrists are arched onto the top of the bar to provide support for the oncoming body weight. Illu st ration s L-M-N-O-P-Q relate the "s traddle-in " action. Observe that the back is kept as flat as possible and that the gymnast atte mpt s to stradd le the feet about the hands as narrow as possible. Such a consideration will position one 's center of grav it y farther away from the bar and thereby allow for a more powerful "basket" action. The vigorous for-downward push against the bar serves to facilitate the inward and upward stradd ling of the legs. Illustrations R-S-T-U depict the rapid descent of the body through the " bottoming effect " of the swing. The straddled legs continue to be driven in an upward direction. The illustrations relate the obvious need to utilize one 's full anatomical range of motion with reference to the hip region. Illustrations V-W-X-Y-Z demonstrate the " straddle-out " action. As the body passes through the " bottoming effect" of the swing, the resultant downward bow of the bar serves as a tactical cue in initiating the straddle-out action. The shoulder and hip angles begin to increase simultaneously and proportionately with the upward ciruclar swi ng. The shoulder action is simil ar to the concept of " throwing the bar away , as hard as possible, in an upward a nd backward direction." The hip actio n is similar to the concept of "straddling out the legs using primarily the late ral plane of movement ... straddle as wide as possible on the straddle-out. " The above vigorous hip and shou lder angle increments continue until both prescribe a direct straight-line relationship with the trunk. In terms of directing the total body unit to the desired off-handstand position , either and/or both of two methods may be employed: I. During the "botto ming effect" , one may choose to utilize either the ceiling or the floor in relation to the body as a visual cue for off-handstand direction; 2. One may choose to utilize kinesthetic feel. Illustration AA depicts the actual " hopping" from the overgrip to undergrip handgrasp. The double arrows indicate the resultant direction of force necessary for a mechanically effect " hop ". The throw-release and the 1800 outward rotation-regrasp actions must be instantaneous a nd deliberate. The elbow articulations remain straight and locked throughout the entire ski ll. The desired offhandstand position, Illustration BB , places the gymnast in an ideal position for any of the sequentially related skills.

Order from:

FRANK ENOD

SEND FOR FREE COMPLETE

12200 SO. B£RENDO AVE. LOS ANGELES, CALIF. 90044

CATALOG OF TRAMPOLINE EQUIPMENT & SUPPLIES

We stock 011 items for immediote delivery postpoid. Write for FREE brochure.

SIDLINGER TRAMPOLINE CO.

1910 WORLD GAMES' _ _ ~~COM~ULSORIE~

P.O. Box 2 Garland. Texas

Just . $15.00 fir 150 It. S.,.r-I Cllir fillII If 1171 W.r" I:.IIIIS C.lllp.'Slrils. A"i1 •• I. fre. S••~., P•• ,icati.IS, P.O. 811111, Salta Mllic.: Calif,rei.

984D'

PORTER" EQUIPMENT CO 9555 IRVING PARK RD. SCHILLER PARK . ILLINOIS 60176 Telephone (3 12) 671·0110

75040 Indisputably the finest name in trampolining - since 1948

But, Coach ... RATIONALE FOR INABILITY TO PERFORM

(A handy, ready-reference guide) Compiled by ART ALDRITT, coach Univ. of Ca lifornia at Santa Barbara INTRODU CTORY REMARKS 1. These are all paraphrases of remarks the coach has been attenti ve to over the yea rs. 2. Therefore, rather than making a thorough prepa red statement, save time by just ca lling out the appropriate number. Fellow, tea m members and/or coach will then try to help you work thraugh the particular problem. 3. All authentic new contributions will be grea tful ly received and added to our list. 4. Deadline for entries is midnight of the first weekend in Ap ril. (Contest void where prohibited by lawful pride.)

.G:tfl

~r~~

1. It's too hot t o work out! 2. It's t oo cold to work out! 3. I didn't get enough sleep lost night! 4. I got too much sleep lost night! 5. The other guys never criticize my work l 6. The oth er guys are always criticizing my work ! 7. Coach pushes me too hord l 8. Coach doesn't push me enough! 9. I get upset and can't work out when punctualit y is demanded! 10. I get up se t and can't work out when guys come drifting in any t ime th ey fee l like it! 11 . Work outs are t oo orgonized l 12. Workou t s are too disorganized! 1 3. There are t oo many guys there to work my event! 14. There are not enough guys there to work my event! 1 5. I can't work well unless gymnastics affords gr oup momentum and solidarity! 16. I can't work well unless gymnastics afford s personal freedom of pa ce and individuality ! 1 7. I'm hung up because my girl demands too much of my time! 18. I'm hung up because my girl won't see me often enough! 19. Coach needs t o be meaner and more asserti ve during my workouts I 20. Coach needs to be more understanding and not t ry to dominate my workout! 21. We wo rk out t oo often and tao langl 22. We neither work out often enough nor long enoug h! 23. We start so late in the yea r that I can never peokl 24. We start so ea rl y in th e yea r that I get st ole ! 25. I feel t oo tight to work todo yl 26. I fee l t oo loose to work toda y I 27. Coach introduces new mat erial so fast that I ca n't keep up! 28. Coach introduces new material so infrequently that I get bo red! 29. I'm di straught and worried beca use of my job! 30. I'm distraught and worried because I can't get a job I 3 1. I don 't like being treat ed li ke on adolescent; as if I couldn 't toke re sponsibiliti es! 32. I don't like being treated like on establi shment man w ho must knuckle under to re sponsibilities! 33. I dislike coach's demand th at I show up every day! 34. I hate it when guys don't show up to workouts! 35. Coach is always butting into my private life! 36. Coach doesn't ta ke an interest in me as a whole individua ls!

Gym Master's FIBERGLASS "G" RAILS the "perfect" rails for parallel bars • Gym Master FIBERGLASS " G " RAILS have never warped , broken or splintered under the most v igorous use and extreme tests. • Gym Master FIBERGLASS " G" RAILS have a "built - in " perfection that never varies - each ra il is precision manufactured to exacting Olympic shape, strength and flexibility - and every rail is identical. • The outstanding FIBERGLASS "G" RAILS are standard on all Gym Master parallel bars and provide the grip and feel of wood rails.

THEy'RE STILL GOING STRONG - Insist on the Big " G" - Fiberglass rails with built-in perfection by Gym Master ... The World's Gymnastic Equipment Specialists.

FREE! Write for your copy of our new, illustrated catalog. THE WORLO ·S GYMNASTIC EQUIPMENT SPECIALISTS

1~~~~~~~'0 29

(

THE MODERN GYMNAST MAGAZINE

1970

CG HARDBOUND MG's Individual Volumes of 8-9 or 10 $10.00 each Order all three for just $25.00 Unbound complete volumes, Val. 8 ......... $4.00 Vol. 9 ............ $4.00 Vol. 10 . . .... $4.00 Order three unbound volumes for just $10.00 MG 10 year index available free, iust send selfaddressed stamped envelope BALLET FOR GYMNASTICS Manual # 1000 to accompany Class " C" record (Stepping Tones).. . ............ .$3.00 Manual # 1010 to accompany Class "B" record (Stepping Tones).. . .. .$4.00 Special offer, Both manuals .. . ..... .... $5.00 NCAA 1968 HIGHLIGHTS Regular $1.00. Order now for just SOc each . ........ $1.00 LET'S TEACH ROUTINES .. MG POSTERS : Four color 20x 24 uneven bar ... . .... $1 .00 Giant 2'x3 ' World Cup Poster ............. $1.00 Gymnastics Moderne 16 Y2x23 .. .50 High Bar 16Y2X23 .. .50 Specia l offer, All four posters suitable for $2.00 framing ..

Excellent for the home and gym. Handstands, presses and levers so essential ore mov~s done on these parallettes. Extensively used by gymnasts and Olympians throughout Japan. Made of hardwood and sturdily constructed for ·Iang use. Walnut finished and hand polished. Price $6.00 per pr. Plus Postage

MG BARGAIN BOX 50 50 Assorted Past MG Editions for just $5.00 (1957-1968) Order From :

SUNDBY PUBLICAliONS MG BOOKSHELF Box 771 Santa Monica, Ca . 90406

W. States

Midwest

Ea st

15c

$1.00

$1.20

$1.35

ORDER FROM: M.G. PARALlrnES BOX 177 Santa Monica Calif. 90406

Shreveport Gymnastic Supply Company

WHY WAIT FOR YOUR ORDER?

Our stock items are shipped the day your order is received . We stock most gymnastic clothing items and accessories. Send for our catalog

POSITION WANTED Gymnastic Coaching position wonted in College or Jr. College level. Resume on request. CK, Box 777, Santo Monico, California 90406. Wanted : Illinois high school coach seeking High School coaching (gymnastics) and physical education position. Contact Box 777H, Santa Manica, Ca. 90406 Wanted : Experienced 32 year old Chicago Suburban Coach is seeki ng a UNIVERSITY COACHING POSITION. Contact Box 777U, Santa Monica, Ca. 90406 Do you know of a high school, college or university looking for a gymnastic coach? .. . If so, have them send information to the MG, and we wi ll make the data known to our reader coaches. The information can be confidential using an MG P.O. box number or all data listed for faster factual response.

SUBSCRIBE TO

The World's Largest Selling Gymnastic Magazine THE MODERN GYMNAST P. O. BOX 611

SA NT A MONICA, CALIFORNIA • 90406

p, 0 , Box 5374

Shreveport, La . 71105 Suppliers of 1968 U. S, Women's Olympic Gymnastic Team 1968 World Trampoline Team

C~_M_G_C_L_A_SS_I_FI_ED_SE_C_T_IO_N_~)

COACHING POSITIONS AVAILABLE

California residents add 5% sales tax

So. Cal.

March 5, 6, 1, 1910. Big 10 Championship, University 0 Minnesota. March 1, 1910. North Atlantic Gymnastic Championship Westchester, Pennsylvania. March 12, 13, 14, 1910. Eastern Intercollegiate Champion ship, Syracu se, New York. March 14, 1910. Southwest Conference Gymnastic Cham pionship, Texas A&M, College Station, Texas. March 19-21 , 1910. NAIA Gymnastic Championship, Stou State College, Menomonie, Wisconsin. March 19-21 , 1910. Big 8 Gymnastic Championship, Kansa State Univ., Manhattan, Kansas. March 26-2B. AAWW Gymnastic Championship, Univ. 0 Washington, Seattle, Washington. April 2-4, 1910. NCAA Gymnastic Championship, Tempi University, Philadelphia, Pennsylvania. April 8-9-1 0, 1910. Championships of the U.S.A. Las Vegas Nevada. April 11,1910. Central Atlantic Area YMCA Championships Glassboro State College, Glassboro, New Jersey. April 11-18, 1910. National YMCA Gymnastic Championship, Oklahoma City, Oklahoma. April 24-25, 1910. World Cup Invitational, Long Beach, Col farnia. April 25-26, 1910 .. . Second Annual WORLD CUP. Lon Beach, California. International Judges Courses for Men and Women. Tenta tively scheduled for Long Beach, pending approval of FIG Officials involved. Course for all English-speaking wame . .. Men from Canada, U.S.A. and Mexico. October 22-21, 1910. WORLD'S GAMES .. Ljubjlona, Yugo slavio.

LIMITED SUPPLY SPECIAL COMPLETE SETS OF MG Volume 1-10. _. $100.00

PORTABLE PARALLETTES

MG Gym Calendar

YES, Please send me a Subscriprion

THE MODERN GYMNAST.

(Please Check)

o o

1-Year $6.00 0 2-Years $10.00 0 3-Years $15.00 Foreign - $7.00 Per Year (Outside USA) Please find $ ........ for Gift subscriptions to be sent to the names enclosed. Name

Address City _ _ _ _ __ _ _ _ State _ _ _ _ Zip Code _ _ _

Better Not Take Safety Standards For Granted When You Buy Gymnastic Apparatus Nissen doesn't. In fact, most new safety and convenience features for gymnasium apparatus in the last decade have been developed by Nissen. Who else would think of putting a Floating Counterbalance device in each apparatus upright to make height adjustments almost effortless? More importantly, the counterbalance prevents the parallel bar, for example, from suddenly dropping, possibly causing pinched fingers or bruised foreheads. Who else but Nissen would develop an almost unbreakable Perma-Wood top bar for parallel bars, fusing hardwood laminations together under extreme heat and pressure? Noone insisted these changes ... except Nissen. Heavier gauge materials, interchangeable parts so improvements or innovations will fit equipment in the field, streamlined, protrusion-free design - Nissen has engineered new safety into gymnastic equipment, on its own, without an outside organization requiring it. Some equipment buyers take safety standards for granted. If you're

that way, your best bet is to buy equipment from a company that doesn't. Like Nissen, for instance. Nissen Corporation, Cedar Rapids, Iowa 52406

A floating counterbalance is installed inside each upright of Nissen parallel bars to keep the pistons at static tension. Only a slight hand pressure is required to raise or lower the bar.

BOX 11,1

JEFFERSON. IOWA 50129

AMERICAN ATHLETIC EQUIPMENT CO.

When Performance CA .......