Mademoiselle Gymnast - January/February 1969

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1968 OLYMPIC PHOTOGRAPHS By DON WILKINSON Don Wilkinson whose photos appear in Mademoiselle Gymnast, . . . .. covered ilie Olympic Games photographically in color and black and white. He has produced a fully illustrated catalogue showing over 1,500 contact size black and white prints (with over 400 of Gymnastics). Also listed are the color transparencies taken. This catalogue, price $1.00 is now available from - DON WILKINSON, 1013 8th AVENUE, GREELEY, COLORADO 80631.

Cost of Slides I to 9 slides 10 to 24 slides .

25 to 49 slides

SOc each ... .... .. 47c each . .... .45c each

50 to 99 slides ........... .40c each 100 to 249 slides ..

38c each 250 or more .............. .35c each

Cost of Black and W'hite Prints 5 x 7 - $1.00 each - set of 10 prints $ 900 - set of 25 prints $20.00 8 x 10 - $1.50 each - set of 10 prints $14.00 - set of 25 prints $32.50 11 x 14 - $4.25 each - .et of 10 prints $39.25 - set of 2S (price availabl~ on request)

for the gals, too . ••

Gym Master dynamically designed gymnastic equipment for colleges and universities, built to rigid Olympic specifications and known the world overfor its excellence in quality and performal)ce.

Gym MasterPrep-a complete line of full-size gymnastic equipment for ju nior and senior hig h schools .

The Gym Master Tyro-Gym is a 5 unit set specifically designed as a complete, basic gymnastic program for elementary schools.

Keep your eye on Gym Master-where new ideas, new safety features, new and better materials are constantly producing the most functional, most efficient gymnastic equipment in the world!

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3200 SOUTH ZUNI STREET ENGLEWOOD. COLO. 80110

The World's Gymnastic Equipment Specialists.

VOLUME 3, NO. 3

JAN.-FEB., 1969 CONTENTS

NOTE FROM THE PUBLISHER ...................................... 4 ART PHOTO ........... ...................................................... 5 MLLE G LETTERS .... . ................................................... 6 SEATTLE GYM CLUB TOUR ................... ...................... 7 MLLE G NAMES 'N NEWS ... ........................................ 8 NEW ENGLAND GYMNASTIC SCENE .......................... 9 GYMNASTICS MODERNE ........:.................................... 10 MADEMOISELLE GYMNAST INTERViEW ...................... 12 MORE OLYMPIC SCENES ............................................ 14 MADEMOISELLE TURISHEVA LJUDMILA (USSR) .......... 16 VERA CASLAVSKA ......... .............................................. 18 MILAN MED ENGRAVING .............................................. 19 PROGRAMMING AND GYMNASTICS ... .......................... 20 GYMNASTICS FOR 2ND & 3RD GRADERS .................... 23 HELEN'S CORNER .................................................... 24 ELEMENTARY BALANCE BEAM ROUTINE .................... 26 MLLE G SCOREBOARD . ................... ........................... 28

COVER: "Back Walkover Into Split" Drawing by John Taye of Salt Lake City.

Glenn M. Sundby- Publisher "Barbara B. Sundby- Managing Editor

MADEMOISELLE GYMNAST is published bi-monthly during the school ye ar (Sept.-Oct., Nov.-Dec., Jan.-Feb., March-April , & May-June). Price $3.00 per subscription year, 75c a single copy. Subscription correspondence Box 777, Santa MOnica, California 90406. Copyright 1969. All ri ghts reserved . by Sundby Publicati ons, 410 Broadway, Santa Monica, California 90401.

Managing Editor Mrs. G. Sundby and her new found friend, Scott Raymond.

NOTE FROM THE PUBLISHER: \

Our Mile G Managing Editor is taking leave of her position to take on new management responsibilities (with" malty changes) for our new Sundby Publications addition, Scott Raymond Sundby (born Dec. 28th, 1968, 8 pounds, 8 oz.) . . . Therefore Mademoiselle Gymnast is on the lookout for a new Associate Editor. Requirements: An enthusiastic interest and knowledge of Women's Gymna~tics; A ~esire to s.e.e a!1 pha~es of Women's Gymnastics grow In America; An abll.lty In typing and Sport style journalism; The energy and capacity to handle a volume of correspondence and editing; An artistic sense of discernment in selecting photos and materials for publication; A tenacity to meet deadlines; To be able to research and present new ideas and trends in Women's Gymnastics; !o stimulate reader action; Help develop a good new s~bscrlp颅 tion and subscriber renewal program; Seek out pOSSible advertisers路 Credit new products of Gymnastic interest; Institute an exte~sive file system of photos and history of Women's Gymnastics; Be efficient and progressive.:. IN OTHER WORDS ... do the Impossible, do all the things we have always wanted to do with MADEMOISELLE GYMNAST and never really got much beyond an enthusiastic scratch of the surface .. . AND DO ALL THIS for a very limited financial compensation knowing you are doing a job that cannot be rewarded in $$$$ but in pride and satisfaction that you are contributing to the growth of our wonderful sport of Gymnastics in America ... ANY TAKERS????

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We feel the Mile G has a very bright future , but to get out on time we need more help and more subscribers ... Think about it . . . Perhaps you are not in a position to be an editor or direct worker for the Mile G, but you may have some ideas how we can reach out and fill your needs better, or a fantastic idea how we can get 5,000 new Mile G subscribers in a hurry. Just think if we had 5,000 more subscribers we could publish Mile G every month during the school year with more news, action, instruction and photos . .. A beautiful thought wort.h thinking about ... Not just thinking but acting on ... let us hear from you. (And wh~e you are at it get a friend to subscribe to Mile G, she Will be doing herself, you, and all of our other Mile G readers a favor.)

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"FIRST UP" TO THE EDITOR: There is a story to be told about the great effort of our Women 's Gymnastic Team at the 1968 Olympic Games; one-that I am sure the general public could not conceive and that the coaches and athletes wi" not or at least to this point have not mentioned in any of their news or press releases ; and I have titled this " FIRST UP" and hope that you can see fit to print it in your next publication.

Although I am not by any stretch of the imagination an expert in the sport of gymnastics, I am knowledgeable of the sport and therefore my name is associated with the sport within the circle of coaches and gymnasts alike. So, for that reason, I prefer to rem ain anonymous.

It is not my intention to belittle or discredit any of the coaches and certainly not the athletes, these are an odd breed, but then to be as dedicated as they are to the sport of gymnastics they must be unusual.

It seems to me that we overlook the very obvious in our bid to be in the winners circle, such is certainly the case with the women's gymnastics in the recent Olympic Games in Mexico Ci ty. Natura"y, we a" sing the prai ses for high scorers; but we must not for one minute forget how they got on top. Other members of the team made many more sacrifices than ever wi" be told and the competitor that is "FIRST UP" holds the weight of the team so far as receiving a high score. Surely a" competitors as we" as coaches know the hazards of being "FIRST UP" in a sport where the only judgment is made by another human, or at least we assume they are human. So much of the time, too much attention is given to the Linda Metheny's and Cathy Rigby's and too little to th e Wendy Cluff's. Miss Cluff was "FIRST UP" in seven (7) out of eight (8) events in this past Olympic competition .. . and still scored a 9.2 average, THE HIGHEST STARTING SCORE EVER TO BE ESTABLISHED BY A UNITED STATES GYMNAST in any previous Olympic Games ... thus being directly respon sib le for the higher scores enjoyed by her teammates, and the . ultimate climb by the United States in International Gymnastics Standards.

There certainly must be other girls that could do as we" as " FIRST UP", but they were not on the 1968 Olympic Team. Miss Cluff has more real heart and intestinal fortitude than any athlete I have had the pleasure of knowing, and certainly deserves much more praise than she has been shown thus far. I had the distinct honor of speaking with most of the girls from the gymnastics team while at the Games as we" as the coaches. Wendy impressed me so very much when I asked " Why did Muriel Grossfeld have you "FIRST UP" so many times? And her sim ple reply was, "SOMEONE HAS TO START." And start she did, with the spirit and proud ness of a true American girl that she is ... Miss Wendy Cluff, I salute you!

Sincerely, An Anonymous Admirer of "First Up" Wendy "GYMNASTICS MODERNE" Dear Mr. Sundby: This letter is long overdue, but it comes as a compliment for your fine coverage and articles on "Gymnastics Moderne". It is also a request for information.

I ~m a dancer and a dance teacher and have competed in gymnastics and coached a team here in the Bay area. After reading your articles on " Gymnastics Modern-e" I have become very interested in that aspect of gymnastics .

At the high school where I teach I am attempting to interest some of our girls in this form of gymnastics . I would appreciate any and all information you might have. Are there any "teams" as such formed as yet in the USA, and if so are there any competitions scheduled?

I also think it wou ld be wonderful if the USA could have a team represented in the world champions hi ps in 1969. If there is any way I could help in this regard I would be most interested as I feel this aspect of gymnastics could be the up and coming "thing" and will have great appeal.

I hope sometime in the future to meet you and Barbara and discuss the future of "Gymnastics Moderne" in America.

Sincerely, Patti G. Stauch Walnut Creek, California ED: The 4th Gymnastics Moderne World Championships wi" be held in Bulgaria September 27th路29th, 1969.

Wendy Cluff

"Gymnastics Moderne" Team competition with Hoops

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Mademoiselle Gymnasts from the Seattle Gym Club (left to right) Carol Elsner, Peggy Rowen , Jean Anne Henderson and Linda Bennett.

REPORT OF THE SEATTLE GYMNASTIC CLUB TOUR OF SOUTHEAST ASIA

by Dr. Eric Hughes, Coach and Manager The Seattle Gymn astic Club returned home on September 12, 1968 after spending five weeks tourin g Japan , Thailand , Sin ga pore, Philippines , Taiwan and Hawai i. The " goodwill " tour was sponsored and financ ed pri'marily by the United States Departm ent of State as a part of their Cultural Presen· tation Program.

The Seattle Gymnastic Club (S .G .C.) was founded in 1961 to promote the sport of gymnastics in Western Washington and to raise money t o se nd gymnasts to National gymnastic meets. Since 1961 the club has expanded its act iviti es to in· clude the sponsprship of visiting foreign teams in Seattle and tours such as this So utheast Asia tour. The S.G.C. is a com· bination of two well known Seattle gymnastic t eams - the Seattle Y girls team and the Husky Gymnastic Club of the University of Washington. The tour group was composed of the followin g six women and eight men: Bo Bennett, Linda Bennett. Gunter Bohrm ann, Barbara Cook Jim David Pauline David, Carol Elsner', Gary Finne, Mike Flan~aas, Bob H~II, Yoshi Hayasaki, Jean Henderson , Charlie Peters, Peggy Rowe n and Dr. Eric Hughes, gymnastic coach f rom the University of Washington.

The group left Seattle on August 9 and stopped in Tokyo for three days. The three days were used to sightsee and visit gymnasiums where some of the top Japanese gym nasts train.

The main purpose of the tour was t o c reate goodwill and develop. friend shi p and understanding between the peoples of the United States and the countries visited. In each country a local sponsorin g group arranged the schedule of activities. and acted as host for the Seattle Gymnastic Club. These host gro.ups were: Th ailand , th e National College of Ph ysica l Edu· cation; Singapo re , the Singapore Amateur Gymnastic Associ · ation; Philippines, the Gymnastic Assoc. of the Philippines; Taiwan, the Gymnastic Association of the Republic cif China.

Each of these groups arra nged clinics, demonstrations, T.V. appea~ances as well as receptions, ba nqu ets, social functions , and Sight seeing tours. Because of the common interest in sports and gymnastics , friendships developed rapidly and any barriers Imposed by language and differences in cultures seemed small indeed.

The clinics varied g reatl y. In some cases they were formal presentations of teaching techniques, lead·ups, spotting meth· ods, etc. to a large audience sitting in the bleachers. Several were participation type clinics in which school clli ldren were divided into small group s and were rotated from event to event

to work directly with the visiting Americans. At one clinic a group of children were assembled in the gym and were tau ght as in a regular physical education class situation with a large group of teachers in the stands to observe t he process.

Demonstra ti ons were planned to be entertaining and of interest to the general public as well as to gymnasts. The bulk of the program was a demonstration of competiti ve mens and womens gym nastics. Thre e c lown members were presented, one on th e trampoline , one of the tumbling mats ana one novelty slap·sti ck handba lan cin g act. Th e gri ls developed two modern gymnastic group numbers performed to music and one of the girls did a novelty acrobatic dance . Several memo bers of the group happened to be accomplished musicians an d in many demonstrations musical numbers we re included to add variety to the show.

The T.V. appearances varied greatly from short appea rances on regular news telecasts to full len gth two hour programs .

Some of these shows were done live , others were taped to be used at a later dat. The estimated viewing audience for many of the se programs was huge. Several of the cities had only one T.V. channel and therefore somewhat of a captive audio ence.

Newspaper coverage was tremend ous. It is hard for us in the United States who have struggled for years to get reports in the papers (Seattle is an except ion with good newspape r support for gymnastics) to understand the interest in the sport in some foreign countries, especially in the ones we visited where gym nasti cs is still in the embryo stage. Photographers and reporters followed our group throughout our tour takin g photos of our clinics and social activities, as wel l as our ar· rival and departure from their city.

The level of gym nastics in the countr ies we visited was very low but the interest of the gymnasts and the governing organi zations was exceptionally high. The hot, humid climate in these countries is not conducive to gymnastics but on the other hand the people are especial ly suited for sports like gymnastics because of their physical structure and attributes.

The skills of the top gym nasts were far below the level of our g roup except in Tai wa n where they approached but could not quite match our gro up.

On the way home th e Seattle Gymnastic Club stopped in Hawaii. Two school assembly programs were presented but most of th e tim e was spent swimming and surfin g on Waikiki Beach and in tourin g the Island .

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MLLE G NAMES 'N NEWS

ONE OF THE FINEST

Caslavska in Japan

NOTE OF INTEREST FROM JAPAN . Akinori Nakayama and M iss Mitsuko Kandori who have partiCipated at the Mexico Olympic Games and both who are 1968 all路around champions of Japan have announced that they will wed this Spring. Both are 25 years of age. Nakayama won four (4) gold medals at Mexico. . It is also interesting to note that severa l recent Japanese men and women Olympians have wed: Mr. and Mrs. Ono .

Mr. and Mrs. Tsurumi Mr. and Mrs . Mitsukuri Mr. and Mrs. Tanaka Vera Cas lavska visited Japan from Dec. 4 to Dec. 14 fo r an exhibition with the women's (Czech) gym team. This was her fifth visit with an invitation from the Japan Gymnastic Association.

A TEAM EFFORT Dale and Mike Flansaas will be at the University of Nevada as graduate students for at least two years. Mike will take over coaching the Men's Gymnastics Team and Dale will work with the Women's Gymnastics Team.

The University of Nevada will have a Gymnastics Camp at Lake Tahoe, Nevada on June 16路21. The camp will be an annual affair. Dale and Mike will be the administrators and chiefs this .year.

Under the direction of Coach Harrrett Maminca, the Ithaca College women's gymnastics team (Ithaca, New York) is rapidly becoming one of the finest in the east. Thus far, this season, the Ithaca lad ies have won five and lost only one, .a close decision to long established and perennial power Southern Connecticut. Leading the way for I.C . are Linda Stanley in floor exercise and balanced beam, Karen Kirk on the uneven beam and Dia n Ingraham in vaulting .

SOKOL ' SCHOOL HOLDS WINTER SESSION IN FLORIDA Sokol USA sponsored its first annual winter sess ion of the Sokol Gymnastic School (held each summer at Soko l Woodlands, Barryville, N.Y') from December 26 to 31, at the Sokol Beach Motel, Courtney Campbell Causeway, Tampa, Florida 33607 .

Gymnasts attended from as far as Mai ne an d Chicago, and included many summer Sokol School alumni.

The dai ly schedule included gymnastic classes on each piece of apparatus, for men an d women, with the gymnasts divided into groups according to ability, lectures, informal workouts, and time fo r dips in the pool and for other recreational activities.

Director of the school was Milan Trnka, gymnastic coach at West Chester State College and also director of the Sokol Woodlands summer sess ions: Instructors included Joe Fodera, Gary Anderson , Ellen Babuska, Norman and Marion Franck, and John Castle.

A student-teacher ratio of 3:1 resulted in completely individualized instructi on of excellent quality,

Sokol Winter Session in Florida

Pattie Corrigan

Photos by Russell C. Brown

NEW ENGLAND GYMNASTIC SCENE

Margie Sims

UNIVERSITY OF MASSACHUSETTS SPRINGFIELD COLLEG~

By Dr. Joe Massimo The gymnastic season for women in the New England area is shaping up to be one of the most exciting in these parts in many years. All to be climaxed by the National Champion' ships (DGWS) being held in Springfield at the college on March 7 and 8 , 1969.

Springfield opened its season with an impressive win over Salem State College. The varsity team this year is loaded with talent and has considerable depth. Based on their early performances this is a group of ladies to reckon with at the Nationals. Sprin gfield ' s g irls are kept busy with their exhibition schedule as well as competitive program. This year they are doing 14 shows with the men and the icin g on the cake is a . projected trip to the Gymnaestrada in Basel , Switzerland_ The Univ. of Mass . has a heavy competitive schedule and opened their season with a win over the Montclair YMCA team with a score of 92 .3 to 66 .10. The outstanding performer in this meet was Margie Sims of U. of M. who won all four events. She scored an 8.8 in FX, 8 .65 SHY, 8.8 on B.B., and a 8 .9 on bars. Co-Captain Sue Cl ancy, still trying to recover from the effects of mononucleosis came in second on the bars with an 8 .15 and in vaultin g with an 8 .25_ Newcomer Linda Seidunas posted an 8.25 in the FX. The most exciting meet so far this season was the tri meet between the U. of M., Springfield College and Towson State College (Maryland) held in mid-December. These teams put on quite a show. The U. of M. and Sprin gfield battled it out - only one point separated the team scores in FX, SHY, and UBs. However, Balance Beam proved disasterous for the girls from U. of M. Everyone fell off the beam, some twice, contributing to a large point spread and a final team score of Springfield 102.65. University of Massachusetts 93.65. Towson College showed some good performances and finished third with a respectable 75 .20 team effort.

There were many outstanding performances, as a capacity crowd of enthusiastic f ans made for a wonderful atmosphere.

The meet was well run and lasted only 2 hours and 15 minutes, a record for a three -way competition in this a路rea .

The most outstanding girl of the meet was Patti Corrigan, youn ger sister of past Olympian Kathy Corrigan (also Springfield gal) who is a freshman at th e College. Patti won vaulting with a beautiful Yamashita (9.45!) and Uneven Bars with a 9 .35. Judy Markell, another Sprin gfield competitor, won the Beam with a score of 9.3.

Margie Sims (U . of M.) continued to be undefeated in FX winnin g the event with a score of 8 .8. She came in fourth in SHY with an 8.85! , and second on Unevens with a 9 .l. Sue

Susan Clancy Clancy tied with Springfield 's Lind a Beye r fo r second place on SHY, both girls scoring a 9 .0 out of possible 9 .7. She also placed fourth on. bars with an 8 .6.

Last year's Eastern Intercollegiate A.A. champion , Karen Stewart from Sprin gfield , came in third in FX with an 8 .55 , and third on unevens scoring 8.85. The scores in the meet suggest the high caliber of competition. Add t o the efforts of these teams, th e performances of other top schools across the nation and you can imagine why the women's Nationals at Springfield in March will be the even t of the season!

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THE HISTORY OF GYMNASTICS MODERNE Gymnastics Moderne developed as a by-product of Soviet gymnastics . As early as 1939 there were noticeable activities going on , but at that time it was still hard to see in what direction Gymnastics Moderne was to develop.

The name, in direct translation, is Artistic Gymnastics. In all middle European countries, where this type of gymnastics is flourish ing, it is known by that name: in German, Kunst· lerische Gymnastik; in Hungarian, Muveszi Torna; in Czech, Kunstnerisch Gymnastik.

The first competition in the Soviet Union was held in 1939, the second in 1941. That was the time when pantomine, stage craft, drama, and dance were mixed together with gymnastics to such an extent that the elements of gymnastics played only a secondary role .

It was after the Second World War that Artistic Gymnastics developed its character and became a sport in its own right.

It became a sport designed for women.

In 1945 a special Committee was appointed by the Soviet Gymnastic Federation to study this new line of gymnastics, to clarify its goals and means, and a lso to work out a system by which Artistic Gymnastics can grow and develop in theory and in practice.

Meanwhile, seminars, wo rkshops , and competitions were being held, one in 1946, then in 1947 and 1948.

It took the Committee about two years to formulate a clearcut definition of Artistic Gymnastics. The name " artistic" reveals that it is a form of art, a form of self·expression for each and every individu al. It is gymnastics with its spirit of competition and striving for high achievements . But it is different from " classical" gymnastics. It uses small hand·apparatus only. It is closely related to dance; the elements of dance are present in it and music is used. Its goal is to achieve beauty, grace, femininity, fitness, and self-discipline. The train ing has to be artistic, aesthetic, musical as well as gymnasticaL The Committee presented an exact list of rules and regulations concerning competitions at all levels. ' The two most important resolutions that the Committee made were: the recommendation to establish trainin g co ll eges for teachers and a work-plan for a nationwide age-group gymnastic program.

These two resolutions gave a real impetus to the new sport.

The Committee's recommendations were promptly accepted. Five-year training co lleges were e's tablished throughout th e country where teachers were instructed in the special training of Artistic Gymnastics .

A program , detailed in all its aspects, was put to work all over the country in the trainin g of children. High achievements in any sport can only be reached through a systematic schooling that lasts several years.

Group I was for girls from 6 to 8 years of age. (Work with jumpropes is one of the first activities.)

Group II for girls from 8· 10 Group III for girls from 10-12 Group IV for girls from 12· 14 Group V is called the " Elite g roup" for girls from 14 years up. It is for competitive gymnasts training for international meets.

The small hand-apparatus are the following: jumpropes, balls, wands, hoops, clubs, pennants, scarves (6' by 3 ').

So, the Committee's work-plan was accepted and put to work. Not only in the Soviet Union , but in the satellite coun · tries, too. After 1950 Artistic Gymnastics began to flourish in Hungary, Czechoslovakia , East Germany and other communist countries. The gYfTInastics performed in international meets between these countries began to reach spectacularly beautiful forms.

The western world wasn 't aware of Artistic Gymnastics until 1963, when the first World Championship was held in Budapest, Hungary. It was an event gymnastic circles took notice of at once.

The second World Championship was in 1965 in Pra gue, C.S.R. The third one was held in Copenha gen, Denmark, in 1967.

That was the time when news really reached us in America.

GYMNASTICS MODERNE Mrs. Eva Balazs of Sweden has just completed the manuscript and illustrations for her book the manuscript and illustrations for her book Rhythmical Rope Jumping For Gymnastic Moderne. With Mrs. Balazs permission we are previe~ing for our Mademoiselle Gymnast readers portion of this book soon to be published. l. The Table of Contents. 2.

The Forward. 3. Two instructional excerpts with illustrations. 4. The History of Gymnastics Moderne (which by the way took her months to read through Russian, Czech, Hungarian and East German publications to find facts on Gymnastics Moderne).

Rhythmical Rope Jumping for Gymnastics Moderne

By Eva Balazs L 2.

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Foreword Terminology The special technique of rhythmical rope jumping Material for the beginner. A simple routine put together for the elementary grades.

Intermediate level. Suggestions for making up individual and group routines in the junior high schooL Advanced movements_ Elements for compositions in the senior high schools and colleges.

Rope jumping as a competitive event in Modern Gymnastics.

Judging.

The history of Modern Gymnastics.

FOREWARD Rope jumping, as it is done in Gymnastics Moderne, is quite new to Americans. Of course we know how to jump a rope. We know that athletes do it, that children do it. But this is a different kind of rope jumping. Rhythmical rope jumping is accompanied by music and is a form of dance. It is beautiful. The grace, accuracy and the poise of a well-trained gymnast is that of an experienced dancer. She turns, leaps, twirls and dances with the music while the rope is swinging with seemingly no effort at aiL How is it done? Where to start? I hope this book will help you to begin and to continue. I hope it will enable many girls to discover and enjoy rope jumping as a creative and expressive form of gymnastics.

I hope even more that this book will aid many teachers in starting a program in Gymnastics Moderne, starting it and following it through from the beginning stage to the beautiful advanced level.

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.---Meanwhile, western European countries are beginning to develop programs in Modern Gymnastics and are startin g 'it from the very beginning - where all new things have to start.

Here in Sweden, the first national competition is just about to take place . The air is full of expectation. How many girls are going to participate? How many gro ups are going to show up? What will the quality of the performances be? We don't know yet.

But one thing is clea.r: one has to begin . Then if you keep doing it and working on it, exciting things can happen. It is worth trying.

3. Run and swing the rope. Two running steps on each forw~r d swi ng of the rope. Rope passes under the same foot all th e time.

Keep arms well to the side. Swing the rope with th e wrist. Stay erect.

Run with even, li ght steps.

Practice with left foot starting as well as right.

Note to the teacher: Divide the class into groups of 4-S. Take turns running in a large circle. (figure 3) Use music as often as possible . Here a 2/4 beat is best suitable.

32. Horizontal circles. Hold ends of rope in right hand . Lift arm and start to rotate the rope overhead in a horizontal plane. (figure 32) Th e movement begins with bending the knees - then stretching and going up high on the toes. Keep the back fle xible, follow the rope with your eyes. Keep the free hand relaxed .

Practice it with left hand, too.

Use 3/ 4 beat music.

This movement lends itsel f well to combinations of different steps and turns. Experiment with itl

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INTERVIEW With JOYCE TAN IC JOYCE T ANAC - Age 17, Resident of Seattle, will enter University of Washington as pharmacy major in fall . .. National AAUsidehorse vaulting champion in 198 . . . Second place winner in Pan American Games all-around competition (to Linda Metheny) and second in National AAU allaround (again to Miss Metheny) . . . Member of 1966 World Games team.

One brother .

Began tumbling at age 3, but did not work on other events until age 11 .

What is it about gymnastics that would appeal more to a girl than some of the other sports she could go into?

I think it's very feminine, very g raceful. It's a beautiful sport; not like basketball or somethin g like that. There's also variety in it - you have lots of different things you can do; really, it isn't too boring.

I just think it's a really good sport. It develops the whole body. There's not a part of you that doesn 't get sore at some time or another. It makes you more coordinated to do anything else, another sport. You can do oth er things easier than someone else who hasn't had gymnastics .

What do you do about calluses?

Well, there's not really very much you can do about them.

They're there and you get weird looks when you shake hands, and that sort of thing.

Have the Olympics been a real factor in your drive?

Yes , I can remember when I was about 12 and I was on a TV program in Seattle and one of the announcers asked me if I hoped to make a team or anything and I said I hope to make the '68 Olympic team.

How long do you plan to compete?

As of right now, I'd like to try for the '72 Olympics, but after that, I don't think I'd keep on .

Do you have any gymnasts you try to pattern yourself after?

I think Dale Flansaas has helped me the most, as far as other gymnasts I've worked out with are concerned. She was in the first tumbling class I had with Frank . So I think she's the on5 gymnast I've followed , not to be exactly like her, but as an example .

How do you develop what you would call your own style in gymnastics?

You have to kind of play around with a whole bunch of different ways and finally find one that feels natural and looks good too. It's hard.

How would you describe your style then?

Probably floor ex and beam would be the best examples.

Take right here at the training camp - they're trying to make me look more elegant so that 's probably one of my problems.

I'm rather bouncy and carefree and not real dramatic .

It is hard to characterize style. You've used words like care路 free and elegant. What else might characterize style for women?

I think mainly it's the way you present yourself. A lot of women can do the same stunt or ballet movement, but it just looks different for each person. It's your own personality that you put into it, and how you look. It's hard to explain .

by Ken Sakoda and Dick Criley (At Lake Tahoe Training Camp before the Olympic Games) How did you get started in gymnastics in the first place?

I took acrobatics and ballet, starting 'when I was about 3 1h. I took tumbling lessons every once in a while from different instructors. Then Frank Hailand came from IlIi路nois to Seattle and I took tumbling lessons from him when I was about 9. He did gymnastics, you know, so he got me interested in gymnastics. Then I started at the (Seattle) Y with George Lewis when I was 11.

I graduated from Shoreline H. S. in Seattle in June and I' ll enter the University of Washington in January to major in Pharmacy. Washington has a girls' gymnastics club, but it's run by the girls themselves; they don't have a coach.

You've been working all-around now for some time. How did that all get started?

I had a good background in tumbling with Frank. I'm really thankful for that the longer I' m in gymnastics.

Would this (Tumbling) be the foundation for girls to start out in?

I think so. It's really important. It has taught me so much.

What percentage of your time do you spend at gymnastics?

Well, for the Ojympic trials or training for a big meet, we spend about 5 h'ours a day, six days a week. Usually during school it was about 3 hours every day. We worked in the evening from about 6 to 9:30 at the Y. Is this on a yearly basis or do you layoff for a while?

Usually after a big meet, like Nationals, we take a week off completely away from the gym and then come back and work on new things, but, no hard workouts for a while . We work out the year ' round.

Do you feel you've had to sacrifice a lot because you are in gymnastics?

I know there were lots of things at school like committees and clubs I'd like to have been on and activities I'd like to have gone to, but I really don't mind because I like gymnastics.

Originally we were going to ask why you chose gymnastics, but I guess at the age of 3 1/ 2 you didn't really have much choice. So why don't we phrase it - What keeps you at it?

I don't know. It's funny, I was talking with some of the girls about why all of us got into gymnastics. I really don 't know. It's something you started doing and really liked.

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What part does the coach have in brin ging out personality and style in your routines?

Th ey can give you hints and directi ons in which way t o go, but th e fin al product just has to come from yourself. Nobody else can give it to yo u.

Would you do something in a routine that felt unnatural if your coach said you should be doing it?

Well, yo u 'd try t o do somethin g like they say, but you'd try t o change it so it felt good to yo u. If you do somethin g that feels good to you, it gives better impression .

Noting the preponderance of men who are coaching women's gymnastics, would (or do) women make good coaches, based on your experience and the few that you might know?

Women, I think, do make good coaches. The men - th eir strong points are vaultio g and uneven bars and the women more on free ex and ba lance beam. I think if you get one who has bee n a gym nast, who has t ried and done it all, th en, she can be a real help. I think that spotting also presents a problem. But I think they make very good coaches.

Do you have a preference?

I've only worked with men coac hes, besides Dale (Flansaas) who has helped me on floor ex and beam, but other than that I've never had a woma n coach except here at the trainin g camp.

Do you have aspirations to do coaching then?

I think after I get through competing I wan t to coach.

Wh ether I have a team of my own, I'd like t o help coach , maybe at the Y or something like that.

Has reaction to the training camp been favorable among the girls here? . There are a coup le who hadn't been in a tra ining camp before and they kept saying, " I didn't think it would be like this. " It's the lon g period of time that we work out each day, I th ink, that's the bi ggest fact or. That kind of runs 'em down .

Can you describe what it is that we are trying to develop in our women's national ~tyle?

We want to try to get something th at is definitely American and that will open up the eyes of other people and make them notice us. Like the Russians in '66 who had a very young t eam, very cocky. They were very brisk, you know, like " I'm the Best". Th ey' came out with some very different thin gs. I think the United States is reluctant to come out with different things, because they (the Russians) set the trends .

I think we are starting to break away now and put in a little of our own .

What is this of our own that we're trying to put in?

We 've always been strong in tumbling. Now, we' re tryin g to get a team of six who can all throw full twists in free exer路 cise and a couple different dismounts here and there. Some of us are working on flip -flops on the beam . I' m sure more people are working on it now, but last October at the Pre Olympics just one East German girl was doin g it. I think if a couple of us can go down there and do it, it will show the others that we aren 't quite so far behind.

What are some of the qualities that women have to have to be in gymnastics?

Well, I think women have to have things like strength, endurance, and th at sort of thing. You might be very flexible but very weak and unable to control your flexibility or not have enough strength to do anything. Desire, too , plays a great part. There isn't a lot of pain in gymnasti cs as compared to some other spo rts , like runnin g, but still there 's enough so that when you don't really want to do it, you have to be able to force yourself just a little bit beyond .

What is your favorite event?

I think probably vaultin g and balance beam.

What's your most difficult event?

The uneven bars.

Would you say that generally it (the unevens) is the most difficult event for girls?

Well, I think that for. the U.S. as a whole that vaultin g has been one of the weakest for everybody. (Is it because women haven't been brought up to run like that?) That's probably the basis. I really don't know why but as a nation, that 's been our weakest.

If you had a group of young girls to work with, what might your advice be?

Work on flexibility, stren gth , and perfect the basic moves first. It's so much easier, then , to build upon those. That's one of the problems I had - I started ri ght with the harder stunts and didn't learn the really basic moves. It's really an advantage to learn the simple thin gs first real good.

We've run into this also with the men. They say they want to get the basic things down, but they never tell us what the basic things are. What do you consider basic for women? ?

With me, the perfect examples are on the unevens - the squat-throughs, the seat circles and a strong set of stomach muscles. Also kips. And in tumbling good front and back walkovers, good handstand . On beam, I think you should be able to get over the fear of it and to be able to leap before you start doing a lot of hard stunts. In vaultin g, a good run would be the first essential thin g, then a good take-off. It's hard to change once you'ce done it a while.

In Europe there is still another competitive gymnastics form, the Modern Gymnastics with balls, hoops and wands, and that sore of thing. What do you think is its potential in the U.S ., compared with, say, the Olympic Gymnastics?

I think it has good possibilities. From talkin g ' with kids who had it in PE gym classes, I know they really enjoyed it.

It's something different. Some kids can't do gym nastics because they aren 't strong enough or they're afraid. Th e modern gymnastics is different, it's hard to do but you can really have a lot of fun learning it. Especially in a class type of situation, it can be really good.

Is there a way that this could lead some people into the competitive Olympic type of gymnastics?

It is quite different and I haven't really done a lot with it. We just played around with it at the Y. But if yo u enjoy it a lot, you might go into the regular competitive gym nasitcs .

Some of the men gymnasts we've talked to have special diets or exercises they carry on. Do you have anything like this?

I've found the best way to lose weight is just to cut down on what I eat - cut out sweets and bread and potatoes and that sort of thin g. I haven't done very much (in the way of stren gth exercises) but I should work on thin gs like stomach muscles a lot more th an I do. I know that Doris Bra use sa id that she had lifted weights, but none of our own club has a set program . Sometimes about three weeks before a meet we'll do different thin gs to strengthen different parts of the body, like running at the end of a workout.

Miss Tanic being spotted in a Back-hand-spring on the Beam at the Lake Tahoe training camp by Olympic coach Muriel Grossfeld.

How can everyone afford to take so much time off for this?

Most of the kids are still in high school and that isn 't too hard. I missed 3 weeks for the World Gam es in Germany.

There 's not much you can do about it. If you want to go, you have to make it up somehow when you get back . I don't know about college. Linda 's going to miss out on a quarter and Kathy will have to make up a semester. I' m kind of in a good pOSition because I haven 't started yet and I' m just going to skip the f irst qu arte r and start in January. .

How do you tnink the U.S. women stand internationally now and also for the future?

We were sixth at the '66 World Games and in the Olympics. I think we all hope we can ~tay in the t op 6, but I think 4th is the absolute highest we could take and th at would take air the breaks our way. In the future, we ll, we'r-e starting now to come up w ith some new thin gs instead of doing li ke the Russians and Czechs and copying them . Then two years later we look like they used to.

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MORE OLYMPIC

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VERA CASLAVSKA Top Olympic Gold Mepalist in Mexico in 1968, Vera Caslavska won 1st places in All -Around, Vaulting, Uneven Bars and Floor Exercise. Shown above is Vera walking from trophy stand for Vaulting, also with her teammates and at right during her Floor Exercise routine .

Engraving by Artist Milan Med of. Prague, Czechoslovakia of Vera Caslavska's " Handspring Pike Vault" ,

路19路

P.M.D •

P.O.

PROGRAMMING AND GYMNASTICS

By A. Bruce Frederick One of the more recent themes to attract the attention of education has been programmed instruction (P.I.). All manner of theoretical work has been presented in the literature to promote, attack, glorify or warn educational practitioners about the assorted merits and shortcoming of the P.I. method. (A readin g list will be found at the end of this article.)

Rega rdles s of what you know or hope to find in th e enormous body of literature related to P.I., it is more or less agreed that these kinds of materials are better described as teachin g aids . . . not teach ing substitutes.

Pro grammed instruction is particularly useful when portions of any subject matter can be described in terms of " knotty problems." Programs are often written to provide experiences for students who show both high and low aptitudes. Thus, there are "catch up " programs and programs for the gifted.

Few, if any, · programs have been designed for physical education which deal with specific movements. We have our "knotty problems" and P.I. should. be helpful. Most of the current programs published for physical education are concept programs, those whic h deal with rules , theory, team play and the like.

The little program presented in this article deals with one of the " knotty problems" of gym nasti cs . .. the handstand .

Not that the handstand is difficult . . . it isn't. But it is amazing that not more of our students learn to do it. Perhaps the reason is that the teacher cannot often devote the kind of time to the teaching of a handstand that results in a greater percenta ge of class achievement. P.I. materials can help brin g the best the teacher. has to offer to each students who takes part in it.

Since the prog ram writer has selected a motor skill (the handstand( for programming we might refer to resultant material as prog rammed material for movement or simply prog rammed movement instruction P.M.I. This is a new departure in physical education. Only - in industry do you find P.I. materials for fine motor movements related to such things as tele vision and mass production .

Althou gh the handstand program given here is but a small portion of materials that are yet to be developed , certain thin gs had to be checked before even this small bit could be done to the satisfaction of the program writer.

Construction rules for P.M.I. will be the subject of future articles. Generally, the program writer had to have some ideas about: A. Analysis of the gymnastic field includin g areas of ,problems suitable for P.M.I. B. Developing a philosophy of progression .

C. Establishin g goals or objectives.

In synthesizing the field of gym nastics, the writer identi · fied five basic areas: 1. Vaulting - Including ba sic movement. tumbling and tra· ditional vaults. This was considered the foundation area .

2. Swing - Recognizing the human body as being made up primarily of third class lever units (attachment of muscles to their bony levers) this area is considered prime. Man is not built for strength but rather for speed and range hence his swing in the performance of kips, circles and other movements dependent on the efficient use of the body was identified very closely with gymnastic excel · lence 3. Balance - Both static and dynamic forms of balance are part of the total make·up of this area .

Note : Although a held handstand is truly an example of static balance, the learning process an d the program presented below are more dynamic than static.

4 . Flexibility - This area is closely identified with swin g since total body range enables the bony levers to yield maximum efficiency.

5. Strength - The area in which the determination of stren gth need is extracted for suitable gymnastic performance.

Within these five areas, problems were identified according to seler:ted criteria. The handstand was one of many. Since

·20·

it was believed that a momentary handstand can easily be accomplished by the majority of students we meet but often is not. this particular item was selected for P.M .I. Gymnastic progression , famili ar to us in the sense commonly applied for years in gymnastics, is somewhat modified in P.M .I. 1. Materials are developed and designed for student selfin stru cti 0 n.

2 . Instructional material at each step (frame) of the program includes one simple self-evaluation standard desi gned in such a way that the student or his partner will immediately know ttiat he has or has not accomplished the goal of the step.

3. To be successful , program steps must be followed exactly as repesented. Often, as you may well know, an oral presentation of material may vary from class to class.

Therefore important bits may often be excluded . Not so in P.M.I.! Every little bit is thoroughly presented to the student in terms he understands. The program undergoes continuous revision when confused students report "grey" areas to the teacher_ Such " feedback" is evaluated for weaknesses and the program is revised accord ingly. Programs tend to become more perfect as they are used . You should be attuned to special weaknesses of the program presented here. Your students will enable you to improve it!

4. In P.M.I. a pair or a' group of students work together. It is difficult for you to see yourself in action. This is a basic difference between typical P.I. and P.M.I.

READI NG LIST DeC ecco, John P., (Editor), Educational Technology - Readings in Pro· grammed Instruction. New York: Holt, Rinehart & Winston, 1964.

Thi s book contains an excellent sampling of materials from the lead· ing exponents and critics of P.1. Educational Technology is also the name of an excellent joural iss ued twice a month from Educational News Service, P.O. Box 508, Saddle Brook, N.J. 07662.

Espich, James and Bi II Williams , Developing Programmed Instruction Ma· terials. Palo · Alto, California: Fearon Publishers (2165 Park Blvd., 94306) 1967 Explains the method for con structing programs to educators as well as those engaged in industry. Appendix contains an excellent guide to construction rules. The authors explain such terminology as "Baboon," " Go or no go," and "RAM frames " in this book.

Mager, Robert, Preparing Educational Objectives. Palo Alto, Cal. : Fearon Publishers, 1964.

The book is prepared in programmed form and represents a good review prior ·to preparing materials for P.1. since it makes you aware of typical errors in construction of behavioral objectives. .

Markle, Susan M. et ai , Primers on Programing. New York: Center for Programed Instruction (365 West End Ave.l 1961 Thi s writer has also prepared Good Frames and Bad. The Primers represent programs which guide you to an understanding of the ob· jectives an,d methods in P.I. They are good basic references. Phi Delta Kappan (Bloomington, Ind.l Special Iss ue on P.I., March, 1963.

Vol. XLI C, No. 6 Pipe, Peter, Practical Programming. New York: Holt, Rinehart & Winston, 1966 If you had to buy or consult a first book on P.I. this would be it.

It is down to earth and excellent gui de to "getting the job done" are contain ed in its pages.

Skinner, B. F., "Teaching Machines," Scientific American. Nov., 1961.

Vol. 205, No . 8 A classic reference on programming. Article written by the man who more than anyone else has pioneered in P.I. by virtue of his Harvard studies.

Taber, Julian I., et ai , learning and · Programmed Instruction. Reading, Mass .: Addison-Wesley Publishers, 1965 Good advice from men who have much experience in P.I. Final Note: The AAHPER will soon release a handy guide to P.I. which will be of interest to physical educators. For information ... 1201 16th St., N.W., Washington, D.C. 20036.

FRAME 5 CHECKING FRAME. Your partner checks on the following items: r Floating leg is straight.

2. Hand shape is good.

3. Head is up as shown.

4. Arms are straight.

WHEN YOUR PARTNER CONFIRMS THESE ITEMS AND TELLS YOU THAT YOUR PERFORMANCE OF A " FLOAT·UP" LOOKS COMFORTABLE OR NATURAL, GO TO FRAME 6.

A Program (P.M . I.) Leading to Proficiency in the Momentary Handstand The frames themselves can be removed from the maga· zine for student use. Duplicate them if you like.

The following prerequisties must be met by those students to whom you give the program : L The program is designed for those who cannot perform a momentiiry handstand. It would be foolish to give this material to those who can.

2. The students must understand proper hand shape for the performance of a handstand. Weight is distfibuted on the heels of the hands and the finger tips. This pre· requisite can be met by the entire class under the direc·· tion of the teacher.

3 . Students must be able to perform a fairly good forward roll as it is an important escape device for over·balanced handstands.

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FRAME 6 Practice floating·up on your own. WHEN YOU FEEL YOU HAVE PER· FORMED 5 COMFORTABLE FLOAT·UPS IN A ROW, GO TO FRAME 7. THE STRAIGHT LEG GOES NO FARTHER THAN IS SHOWN IN FRAME 4.

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FRAME 1 Get into the posi tion shown.

CHECK 1. Hand shape.

2. The trailing leg (R. or U is straight.

3. Your weight is supported by the .hands and the foot of the bent (R. or U leg.

WHEN YOU CAN MOVE COMFORTABLY INTO THIS POSITION, GO ON TO FRAME 2.

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FRAME 2 Move into position as in FRAME 1 and feel the transfer of weight to your hands without lifting the legs from the floor.

MOVE SLOWLY. WHEN THIS MOVEMENT FEELS COMFORTABLE, GO TO FRAME 3.

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FRAME 7 Work with your partner. Once aga in you are floating·up but you at· tempt to raise your leg to the shaded position thi s time .

YOUR PARTNER CATCHES THE STRAIGHT LEG WITH ONE HAND AS IT GOES UP AND STOPS IT WITH THE OTHER HAND WHEN IT IS DIRECTLY ABOVE YOU. Your par tner must report that your leg . . .

1. FEELS HEAVY - If so you must continue to practice at this frame .

2. FEELS LIGHT - Meaning that you floating·up under your own power.

WHEN YOUR PARTNER REPORTS THAT YOUR FLOATING LEG FEELS LIGHT, GO TO FRAME 8.

FRAME 3 CHECKI NG FRAME. WHEN YOUR PARTNER CONFIRMS THAT YOU LOOK COMFORTABLE PER· FORMING THE MOVEMENT YOU PRACTICED IN FRAME 2, GO TO FRAME 4.

FRAME 4 The movement shown above is called a " Float·up." Your straight leg (R. or U comes off the floor but floats up rather than kicking up. The straight leg goes no higher than shown . Your partner uses his hand to slop the straight leg as shown.

PRACTICE THIS MOVEMENT AND GO ON TO FRAME 5.

FRAME 8 Practice floating·up with your partner as described in FRAME 7.

THIS TIME YOUR PARTNER WILL NOT ASSIST THE FLOAT·UP BUT SIM·

HAND OF PART NEil!

·21·

PLY STOPS THE FLOATING LEG WHEN IT REACHES THE VERTICLE POSITION .

WHEN YOU CAN PERFORM 5 FLOAT-UPS AS DESCRIBED ABOVE WITH COMFORT AND WHEN YOUR PARTNER CONFIRMS: 1. Straight float ing leg.

2. Straight arms.

3. Head up.

4. Good hand shape. . . . GO ON TO FRAME 9.

2. You may simply return to your feet.

3. YOU MIGHT BE IN BALANCE AND IN CONTROL OF YOUR OWN BALANCE. WHEN YOU HAVE FELT THIS MOMENTARY BALANCE AT LfAST TWICE, GO TO FRAME 12. .

FRAME 12 You work on your own in this FRAME. Partner observes.

Float-up on your own until you achi eve a momentary balance on your own .

WHEN YOU PERFORM ONE MOMENTARY BALANCE ON YOUR OWN AND YOUR PARTNER CONFIRMS THAT YOU WERE ACTUALLY BALANCING MOMENTARILY, YOU HAVE COMPLETED THE OBJECTIVE OF THIS PROGRAM.

400 ft. Super 8 Color film of the

III MODERN GYMNASTIC WORLD CHAMPIONSHIPS available Your editors took over 800 feet of the action <It the III World Modern Gymnastic Championships in Super 8 Color and have edited it down to a 400 ft. reel. The film is a cross section of the competition from Rope, Hoop, Free Floor and Team routines.

FRAME 9 TWO FINGER CONTROL OF YOUR FLOAT-UP HANOSTAND Your floa t-up is sim ilar to the ones you have just performed in FRAME 8.

YOUR PARTNER MUST USE NOTHING BUT HI S TWO INDEX FINGERS TO CONTROL YOUR BALANCE. 1. If he ca nnot comfortably co ntrol you with his fingers you must rep ea t th e work in FRAME 8.

2. If he can maintain your balance with his fingers as shown, GO TO FRAME 10.

FRAME 10 Float-up to a finge r control led handstand.

BOTH YOU AND YOUR PARTNER WILL NOW CONCENTRATE ON THE ACTION OF YOUR FI NGER TIPS. 1. If you press the hps of your fi nge rs firmly on the fl oor as you near th e vert icle posi tio n you will be able to prevent overbal ancing.

2. If your finge r tips are not activ e you may have to ROLL OUT as shown in FRAME 11.

WHEN YOU UNDERSTAND (FEEl) FINGER ACTION, GO TO FRAME 11.

pa others to give you as a teacher a visual record of· the indidvidual movements and patterns of Modern Gymnastics. (and the price is just $35.00 for the 400 ft.reel).

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FRAME 11 Float-up to a finge r-controlled handstand by your partn er. As he lets go with his finge rs ...

1. You may roll , out as shown

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12200 SOUTH BERE NDO AVENUE LO S ANGELE S. CALIFORNIA 900 44

Hartridge School, Plainfield, New Jersey (Head of Dept. - Mrs . Virginia Hogan)

"GYMNASTICS FOR 2ND

2nd

&

3RD GRADERS"

This is the first year that the students of the Ha rtridge School of Plainfield , New Jersey have gymnastics throughout the entire school year. The gym nastic program is scheduled for 2nd grade rs up throu gh 12th graders . All students start the period with sit·ups, push ·ups, rope skipping, runnin g and flexi· bility moves before the start of class.

The 2nd and 3rd graders are immediately tau gh t spotting techniques (as well as the other students), besides learning skills within their ability.

In the tumbling event, these students are taught to spot a'n d execute such skills as back bends, walkovers, kip·ups and headsprings .

In vaulting, the box is used at a height of appro ximately 36" to accommodate the shorter bodies of the lower elementary students. The lower height gives the student an opportunity to complete the vault learning to execute it " in form " while at the same time learning how to use the Reuther board properly. Also, the flat top seems to gi ve the young performers more security on a miss. Should the student sit on the box during the vault, there would be less of a chance of her sliding off. Students with a hi ghe r skills ab ility are put throu gh headsprings and handsprin gs.

Althou gh there are limited skills for 2nd and 3rd graders to perform on the ropes , rope climbing is a definite asset t o develop arm strength for these aspiring gymnasts. T.wo 2nd graders wasted no time in climbing up the rope to show their strength. Camera range prevented them from climbing to the top.

These students !lre also being tau ght how to spot skills on the uneven bars. In learnin g the back pull over mount, the student is first taught how to kick and pull to arrive at the " L" position, (without turning over the bar). Then the spotters are tau ght to place one han d under the lower back and under the hips as the performer kicks her legs up. As the performer is turnin g over the bar, the spotters are tau ght to hold the legs firmly, which helps to make it easier for tile performer to reach the support position.

Balance beam is also included in the program plus the floor exercise event.

There is lots of-talent among the lower elementary students which can be brought out if we expose them to th e sport of gymnastics.

Photogra phs were taken by Mrs . Helen Sjursen, assistant to Mr. Hogan.

-23-

Climbing Ropes to strengthen the arms

1st stage in learning a pull·over mount to support Spotter learn to hold legs firmly to act as a " prop" making it easier tor the pertormer to arrive at the support position.

FOR ELEMENTARY SCHOOL STUDENTS Working up to the handstand position

J{e/en ~ Corner

STEP 1

By Helen Sjursen

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BOX VAULTING FOR LOWER ELEMENTARY STUDENTS Forward Roll

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Fi g. 1. Use box lengthwise . Take a few runnin g steps up to the end of the box. Place hands on end and immediately spring from both feet to a piked half bent arm position with head tucked between arms (chin toward s chest). The hips should travel diago na ll y forward and upward towards the box when springing.

Fi g. 2. Lower the back of the neck t o the box, keep back rounded .

Fi g. 3.

Bend the legs keeping a tucked position and continue to roll onto the feet. Stand and step t o the end of the box. Dismount.

SPOTIER .. . The spotter stands at the side of the box facing the performer. As the performer tucks her head between her arms , the spotter g rips the hips , pulls hips towards far end of box to insure the start of the rolling motion. If th e performer does not spring hard enough, or does not raise her hips high enough on the dia go nal , do not force her into the roll. Let her drop down to her feet a nd try aga in concentrating on a stronger springing action .

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Fig. 1. The student should assume a lunge position (right leg bent, left leg extended rearward with toes pOinted and top of toes barely restin g on the floor) , hands on floor shoulder width apart, a rms STRAIGHT with elbows locked, shoulders in a forward position slightly in front of hands .

Fi g. 2. The student should then rai se the left leg rear-upward at the same time stra ighten in g the right leg com pletely without havin g foot leave the floor. Arms always remain stra ight. (Rear leg is " raised" up, not swung up, in this preparation .)

Fi g. 3. Without stoppin g the student should teturn to the startin g position with ri g ht knee bent and left fo ot extended rearward foot barely resting' o n the floor.

Th e student should repeat this movemen t several times consecutively so that she will lea rn to straighten the ri g ht leg (which will be the sprin g ing leg ) completely. When the bent leg is straightened to its fullest , this causes the hips to raise hig h, and shifts the shou ld ers to the sli g htly forward position. if the foot of the bent leg is "p icked " up off the floor before the leg is comp lete ly strai g htened , this makes the performer "bottom heavy" so the feet are forced to drop to the floor unvoluntarily. In Step 1 then , the students should concen trate on straightening the bent leg completely and keeping the arms straight.

Fi g. 1. Stand at side of box placing palms of hands firmly on box , knees slightly bent in preparation for the spring, no take -off board necessary but can be used if desired so students can have take -off practice on the board.

Fig. 2. Keeping the hands on the box , sp rin g from both legs piking at the hips . Return to the original starting posi tion and immediately t ake a second spring. Keep springing (4-5 times) ra isin g the hips hi gher and hi gher each time. Take notice of position of shouldersslightly ahead of hands .

In this preparation, students should be tau ght to pres, their toes into the floor as they quickly straighten their leg' for th e springing action. They should not "pick" their feet of the floor or move them re arward on the spring. This prepal ation also teaches the student t o support their body weig~ over their a rms , and is also a preparation for a headsprin vault , or bent body handsprin g vault.

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Preparations: First teach the forwa rd roll on the mat and then the dive roll. Usin g two or thre e sections of the box (I use th ree sections of Krawitz box), have each student (2-4 at a time) execute the following preparation:

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Fi g. 1. Assume the same st artin g position as in Step 1.

Fi g. 2. Swin g left leg re ar-upward and take a small spri ng from ri ght leg (straighten ri ght leg fully pressing toes against the floor) , and allow the ri gh t leg to raise above the floor only a few inches.

Fi g. 3. Bend right knee returnin g f oot to floor and lower left leg to starting position. Th e stude nts should be told to retu rn the right foot to the close close to the ha nds for a lighter and better control led landin g.

The student should , in Step 2, g radually make the spring from the right leg stronger at the same time gradua lly swinging the left leg rea r-upward higher and hi gher. Care shou ld be taken that the shoulders do not move too far forward as the spring is taken as this may cause the arms to co ll apse. Thi s movement can also be done consecu tively. As the studen t ga ins confidence, she should try to raise the righ t foot to the level of the left (after sprin g ing ) before returnin g to the startin g position , as shown in Fig. A, % handstand.

STEP 3

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Fig. 2. Swing left leg rear-u.pwa rd and spring from right leg with enough drive to arrive at the inverted position in re lation to the left leg.

Fi g. 3. Close right leg to left and rest both feet aga inst th e wa ll. (LQwer right leg with bent knee placing foot on floor, c lose to hands, t o return to the starting position.) .

BOX VAULTING FOR ELEMENTARY SCHOOL STUDENTS Handstand arch-over

Fig. 1

Fig. 2

Fi g. 3-4-5

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Fig. 1. Use box length wise. Use two or three sections. I use three sections of the Krawitz box for 2n d g raders.)

Pl ace hands on end of box , ri ght leg in squat, left leg exte nded rearward , straight, t ense and toes pointed.

Fig. 2. Swing left leg rear-upward simult aneo usl y w ith a spring from the right leg. ( In springi ng from the right leg, the leg must quickly straighten to its fullest, toes p ressing firmly i nto the box. The right foot should not be " raised " before the leg has straightened complete ly.

Once the spring in g action has taken place, the foot wi ll " automatically" leave the box.)

Fi g. 3-4-5 . Quickly j oin legs by raisin g the right leg to meet the left arrivin g at the handstand position , b ody weight supported over STRAIGHT arm s. Pass through the handstand position. do not hold. Arch over for the land ing.

T h e movements in Fi g. 1 & 2 have ben exp lained t o brin g out th e leg position and springin g action of the right leg more thoroughly. Now, instead of startin g in the set low position (lunge positio n ), start from a stand with a rm s up. Quickly bend f orward throwing the hands into position simultaneously w ith the swing of the left leg ( leading leg), pass through the . handstand position and continue for landin g.

The height of the box should g radu a lly be increased to reach the height of the side horse . The student then is learning the secon d half of a handsprin g vault - control of balance on landing, and be that much ahead of herself until she is advanced enough to try the complete handspring vault. The handstand arch ove r on the box can also serve as a preparation for the handstand arch over dismount on the balance beam or uneven bars .

By comb ining the preparation for th e forward roll on the box, with the last half of the above described skill (arching over from the handstand position) the stude nt ca n learn a bent body handspring vault using the box at the low level.

FOR GYMNASTICS Manual for Closs "C' . Record # 1000 (Stepping Tones) Send $3 .00 to : Ballet for Gymnastics P.O . Box 777, Sarita Monica, California

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SIDE A " ONCE. UPON A TIME" ( 3 / 4 )

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l- -·[JA NC E Of THE COMEDIANS ( 2 / 4 ) 76 secon ds 2-TAU.5 OF THE VIENNA WOODS (3 / 4 ) 73 seconds

2 Bor Int ra. 62 Bars Time 06 seconds 5 Rehearsa l Bonds "L igh t And A ir y" (Johnny Finke ) ( 4 / 4 )

WOMEN'S GYMNASTICS S & M BOOK. (Superior & Medium Difficulties) This book illustrates the superior and medium difficulties in all events (uneven bars , balance beam , floor exercise) including the various vaults and thei r values ... based on the official FIG Code of Points. This book is valuable for a competing gymnast to determine if her routine contains at least 2 superior and at least 4 medium elements of difficulty. This book, also, can be very valuable to the aspiring gymnast, coach , who wants new material to learn or teach , , . glance through the illustrati ons and ge t some ideas of sk ill s you have not tried before. Thi s book can be an excellent aid to the physical education teacher or students whose knowledge of vari ous skills is limited ... Cost $3.00 plus 18 cents postage and handling, Order th rough Helen Sjursen, 46 Poplar Place, Fanwood, N.J . 07023. Payment must be included with order. , . checks payable to He len Sjursen, !Book is mimeographed in book form )

SIDE B

I - SPLITS 2--STRADD LE STRETCH & TllUNK FLEXIBILIT Y 3- 5 POSITIONS ( FEET ) 4--5 POSITIONS ( ARMS ) 5--COMB I NED POS, 6--lst PORT de BRAS 7-- BAL ANCE a- 2 nd PORT de BRAS 9-- GALLOP, SKIP , WALK 10-BASIC WALTZ ( WA LKING ) l l -PO INT, CA RTWHEEL 12-FORWAR D ROLL 13- SLlDE , POINT. STEP, HOP 14- ROUTINE 1 S- SPLIT LEAP No.

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WORKSH OP IN GYMNASTICS: June 23-27 , 1969, Stanford University, Stanford, California 94305, Faculty: Heidi A, Kl aus, Geo rge Hery, Dan Millman , Sophie Stahlmann and gu est gymnas ts , Instruction will fo cus on tea chi ng meth ods for apparatus and fr ee fl oo r exe rcise. Emph as is will be on new techniques , sk ill s and sa fet y me as ures, Workshop may be taken for 2 units of credit , or participati on without cred it. For more informati on , writ e: Miss Heidi A, Klaus , Wor ksh op Director, Women 's Physi cal Educ ation Departm ent, Stanford Un iversity, Sta nford, Calif. 94305.

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General gymnastics (handstand).

FOR ELEMENTARY SCHOOL STUDENTS BALANCE BEAM ROUTINE

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by Helen Sjursen

If you are an elementary physical education teacher and feel you cannot start a gymnastic program because of the lack of equipment, there is much you can do, in spite of this fact, to prepare your students for a future gymnastic program in a higher grade.

The elementary P.E. teacher can make sure that during warm·up exercise, the students learn to keep their legs straight and toes pointed when called for. (This calls for constant reo minders to the students). Keeping the legs straight and toes pointed " must" become a " habit" with young children in preparation for gymnastic work. Youn g students can be tau ght basic ballet, flexibility moves such as bridges and splits. Mod· ern dance can be tau ght as a preparation for grace and co· ordination that is required in floor exe rci se routines. Tumbling can also- be taught, etc. Of course, push·ups and sit· ups should always be included in warm·up exercises. All these activities need no equipment, yet the young student will be conditioning herself for the gymnastic events.

When I first started to teach gymnastics at the Fanwood· Scotch Plains YMCA, we had no beam at all. Bein g anxious to enter two promising girls in a competition that was soon to come up, I tau ght them a routine on a line on the floor stressin g "good control of balance" first. They did not even know what a beam looked like unt il a week before the meet I took them to another gym for two workouts so they could at least see what they would be competing on . They adapted themselves very nicely because they had mastered their "con· trol of balance" over the line on the floor.

Teachin g routines on the floor can serve several purposes.

It gives the lower elementary student a new and different activity in their P.E . program. (My second graders were all excited to think that they were learning a balance beam rou · tine). Teaching a routine on a line in a gym w ithout the real balance beam gives the student the opportunity to learn what a beam routine is all about. They can be corrected on form and execution and learn to perform with g race, coordination and control of balance. When they have a chance to perform on the beam itself, they will be that much ahead of themselves. A routine tau ght on the floor can be tau ght to the entire class at the same time so that when the student is on the beam itself, she will know exactly what she has to do . This eliminates wasted time in pausing to think about the next move. Students can have more practice time by working over a line on the floor while she is waiting for her turn on the beam.

The lower elementary students should first learn a rou· tine on the floor. Then they can work it on a low balance beam which can be gradually raised to the desired height for the class involved .

Try the followin g routine for your lower elementary stu · dents emphasizing control of balance and good leg form.

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Box 777 Santa Monica, Calif. 90406 Also a limited number of the Original Introductory Edition of MADEMOISELLE GYMNAST are still available at just $1.00 each (a collector's item). ·26-

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Fig. 16. Step fo rwa rd on left foot bending both knees sli ghtly, arms curved low in f ront of body.

Fig. 17. Move arms forward and upward strai ght ening the legs at the same ti me and risin g on the ba ll s of the f eet.

Fig. 18. Exec ute % t urn (180 ° ) to the ri ght (toe turn) .

Fig. 19 ·20. Step f orward on left foot. Raise ri ght leg forward with knee slightly bent movin g left arm forward at t he same time. Rise on toes of left foot (modified skip ste p) FIg. 21·22. 'Step forward on right foot movi ng left arm up· ward. Raise I'e ft leg forward with knee slightly ben t ll10ving right arm forward. Rise on t oes of right foot (rfloCfified skip step).

Fig. 23·24·25. Run left, right, left, arms sideways.

Fig. 26·27·28. Raise right leg forward . Swin g right leg down· wa rd and rearward and immediately exc ute 1/2 turn to the right pivotti ng on the ba ll of the supporting leg, ending turn with right leg in front (reverse kick t u·rn , or swing turn), arms up .

Fig. 29·30. Step forward on the ri ght foot moving arms sideways. Slide the left foot to the ri ght makin g 114 turn to the left (90 ° ).

Fig. 31. Spring upward from both fe et landing ahead of the line (simulatin g an arch jump dismount from beam) .

Extend t he body fully and arch the back before landing. Arm s swin g upward at tim e of sprin g.

1. Stand with left foot in ' front of ri ght, body weig ht supported ove r the left leg, right leg extended rearward, toe touc hi ng fl oor, arms sideways.

2 . St ep forward on the r ight foot transferring body wei ght over ri ght leg, and turn % turn t o the left (90 ° ) 3 . Bend sideways to the left movi ng left arm down· ward t o curve in front of the body as rig ht arm moves u pward and curves over t he head , look over left shoulder.

4 . Straighten the body movi ng t he arms sid eways and make 114 turn t o the right.

5 . Step forward on left foot.

6 . Raise righ t leg forwa rd moving left arm forward and right arm upward ( leg kick).

7 . Step forwa rd on ri ght foot ret urning arms sideways. &. Raise left leg forward movi ng right arm f orwa rd and left arm upward ( leg kick).

9 . St ep f orward on left f oot · retu rn ing arms sideways .

10· 11 -12. Step forward on ri ght foot, slide left f oot cl ose (c hasse right) .

13 . Step forward on left foot moving arms forward.

14-15. Swing right leg forward, sprin ging from left leg, t o execute a forward leap movi ng arms upward and sideways. Land on right leg.

·27-

Columbus Invitational - Central YMCA Columbus Ohio December 15 1968. Meet Director:Jerry Baker. Report b'y J. Uphues. ' , Results : Flint, Michigan 71.65; Mich. State Univ. 55.25; Dayton Y Ohio 54.40. ' AA: Cindy Hall ,. Flint, Mich. 28.9; Cherry Almy, Mich. State Univ. 28.4; Raeanne Miller, Mich. St. . Univ. 26.85. FX: Sue Werling, Dayton Y 6.65; Ch eri Ashley, Marilyn-DenniS 6.50; Cindy Hall 6.45 . BB : Sue Werling 8.15; Cindy Hal l 7.55; Cherry Almy 7.10. UB: Cheri Ashley 6.70; Cindy Hall 6.25; Cherry Almy 6.20. V: Cherry Almy 8.70· Cindy Hall 8.65· Raeanne Miller 8.00. "

USGF REGION V Louisville Turner Inv. - Loui sville Turners Gym, Louisville, Kentucky, November 8, 1968. Meet Director: Mrs. Lois Toggwe iler. Report by J. Uphues. .

Senior Division Results-Team : Loui sville Y 182 .1 ; Sokals 159.4; Loui s. ville Turn. 142.2.

AA: Cindy Hall , Flint, Mich. 67.1; Adele Gleaves Louisvi ll e Y 66 .8· Cheri Ashley, Marilyn-Dennis 63 .9. FX: Raea nne Mille;, Mich. Sta te Univ: 16.9; Adele Gleaves 16.5; Cheri A;; hley 16.4. BB : Cindy Hall 18.5; Adele Gl eaves 16.7; Diann Nowicki , Dayton Y 15.0. UB: Cheri Ashley 17.0; Claud ia CQder, Lakewo od Y 16.4; Beth Sepily, Sokals 16.2. V: Cindy Hall 18.7; Claudia Coder 18.5; Adele Gleaves 18.1.

Junior Division Results - Team : Flint, Michigan 190.2; Dayton Y, Ohio 152.9; Louisville Y 132.9.

AA: Dianne Grayson, Flint, Mich . 69.3 ; Sue Werling, Dayton Y 64.8; Cherry Almy, Mich. State Uni v. 63.4. FX: Dianne Grayson 17 .6; Patti MacDonal d, Flint, Mich. 16.9 Sue Werling 16.1. BB : Sue Werling 17.9; Dianne Grayson 17.7; Patti MacDonald 15.9. UB: Dianne Grayson . 17 .6; Cherry Alm y 16.2; Sue Werling 15.7. V: Cherry Alm y 16.5; Dianne Grayson 16.4; Sandy Jozwiak, Flint, Mich. 15.9 .

MIDWEST OPEN Report by Betty Meyer The Midwest Open Gymnastic Meet for Women was held at Highland Park High Schoo l, Hi ghland Park, Illinois on Jan . 18th, 1969.

Over 100 participated in the meet although the Fre sno, Calif. gym team couldn't make it because of Hong Kong flu and the River Fall s, Wi sconsin team got iced in and was also unable to take part. Ther e were teams from Des Moines , Iowa : Ames, Iowa ; Milwaukee Turners; N.w.

Suburban Y.M. C.A.; Dayton Y.M.C. A.; Michigan State University; Kan sas City; Univ. of Iowa; Springfie ld, III.; Lake Shore Park in Chicago; Deerfi eld, III.; Highland Park, III.; Park Forest, III.; Arizona State University; Ei che Truners ; Burnsvi lie Girls Athl eti c Association, Minnesota; Sokol West Suburban ; Flint, Michigan; Kalam azoo Kali sthenians (Mi chigan); Eng5trom s Gym Club (III.); St. Charles, III.; Ri ch Central High School (III.); Schiller Turners and Elmhurst, III. Mrs . Jackie Uphues was in charge of the judging and judges worked only on one eve nt in th e preliminaries . Contestants we re organized into groups and rotated to the variou s pieces of equ ipment such as is done in Olympic competition. It was the use of this system that allowed us to run 5 events at a time (trampoline was included in the meet) for the Jr. preliminaries without mass confusion.

Thi s is the first meet for women that was sanctioned by A.A.U . and U.S.GJ .

13 year old Dianne Grayson

MLLE G. SCOREBOARD Louisville "All Star" Invitational: Univ. of Louisville; Crawfor d Gym , Jan. 11 , 1969. Meet Director: Bob Wason and Cap Caudill. Report by: J. Uphues .

Six of the better teams in the Midwest were invited. Top four scores in each event counted as team score. Closely contested and very well run meet with each team bringi ng judges. Prelims and finals. Each team could only brin g 6 members, which made th e time element better.

Results - Team: Fl int, Michigan 118.69; McKinley YMCA, Champaign, III. 115.86; Eiche Turners , Chicago 115.37.

AA: Barb Bauer, Ei che, 33.93; Diane Bolin, McKinley, 33.56; Cindy Hall , Flint, 33.03. FX: Colleen Mulvihill , McKin ley, 9.05; Dianne Grayson, Flint, 9.03 ; Diane Bolin, McKinley, 8.88. BB: Dianne Grayson , 8.25; Barb Bauer, 8.20; Cindy Hall 8.05. UB : Coll een Mul vihill , 8.65; Adele Gleaves, Loui sville Y, 8.30; Beth Miles, Dayton, 8.05 . V: Cindy Hall , 9.00; Adele Gleaves , 8.90; Barb Bauer, 8.50.

Midwest Open: Jr. All-Around winner (left to right) Diana Sepke, Lisa Cody, Sue Werling, Patti MacDonald, Connie Israel , Kathleen Dennison and Bonnie Voss, Site director, Highland Park High School.

Midwest Open: Senior All-Around Winners (left to right): Blythe Bauer, Eva Farkas, Cindy Hall , Cherry Almy, Barbara Bauer, Raeanne Miller, Betty Meyer, meet director.

Photo by Bill Mielenz

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Shreveport Gymnastic Supply Company P. O. Box 5374

I. UU .... rSIII' ((speeiaIl1 i ood lor abdominals and IlIi,II$).

Lie on bKk, lifl your he~ .n~ shouldfll sl ilihU,. suppor1 your. self wil~ arlllS. Rain liillt kin tiose to chest and It lurn 10 s!¥ling posilion. 00 sam. wit~ lell knft. Reptal 16·32 Urnes.

Shreveport, La . 71105

9. SUIE U, RAISIII' lfillTlS Ihi,hs). lieon ltrtsidt.lelissi"i allt, lilt shouldmand . PIIlwt ilht on lelt elbow. Riehl 11m is \Iud for Iullnce Itsllnll: in hont

r~ur:~~~.'r.d~e:~:·,~~~~ ';~:~:i~r:JI\:~ ~s~ron~i:~~: 16·32till'lfS. 5I1111ecn)'OlJrrigh!side.

Suppliers of 1968 U . S. W omen 's Olympic Gymnastic Team 1968 World Trampol ine Team WHY WAIT FOR YOUR ORDER? Our stock items are shipped the da y yo ur order is received . We stock most gymnastic cl ot hing items and accessories .

Send for our catalog

ljP? II. UI UlSlIII .l.OI~, btndelbowsand put ll~undetro-ur fH • • lilt 1I1tWa.~bolhIlIPS lndshouldt rs onlloa.HotdlorloUi

c-b lflii return to stut'lII POS Ition Rtpul 16 32 blllfl c.:.t_brtlttrUbnlltp lertlMnllaH

11 . ,[fIEIAL COMOIll OIIIIIG [JERC ls( !Also lirms thi,h musclesJ. Squat.han6:sonflool. Ouieklysluiihlfll)'Olll knrts , slrttdl ,,1M evt. lind and slilld Oft 11l6. 11014 lor fOUl C04I~\s IIId rtIUfntosllllino:posilion.ReprI12S·SOtilMS.

12. R[WIII' (fleshenin, • • rrcisrJ. SI I IId wilh ful 6" -10" I plrl. lift .IIM O'o"el lIud. iMll t .

Hold lerkM_ri,lItCOIlll I5 , tllandtopllmsdown, sllouldrlS tleel ;n front. bend uees shi/ltly Ind elNl e. Reil'ut 8 · 16 Umts.

AMERICAN K.E£P m LADfES DOWI b printed as a public service by the AMEROH PHYSICAl FlTHESS RESEARCH INSTITUTE. INC. PublisMB of The MODERN GYMNAST IMlnine - .410 Broadway, Santa Monica, Californii. Additional fret copJes nailable upon request

N EVER

a compromise on design or quality!

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

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

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

Write today for our complete catalog.

II G:JD~~rnG:J I NISSEN CORP., 930 -

27th AVE. S.W., CEDAI RAPIDS, IOWA

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r;If~lt;llrJljtl!t ~IIII(!J! FOR THE LADIES

MADEMOISelLE' GYMNAST P. O. BOX 777 SANTA MONICA, CALIFORNIA 路 90406 Please send me

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for Gift lublCriplions lent 10 The nomes e nclosed .

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