Technique Magazine - January-March 1991 by USA Gymnastics

Gymnastics at its Best Spatial Orientation FIG Medical/ Scientific Symposium Getting Good People Physics of Twisting Reports & Minutes

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January - March 1991 TECHNIQUE

Inside This Issue

Jan. 1991, Volume 11, No.1 Men's Technical

Publisher Mike Jacki

Coaching Strategies on Horizontal Bar .............. .4

Director of Educational Services Stephen W. Whitlock

Gymnastics at its Best ............................................ 7

Production Luan Peszek United States Gymnastics Federation Board Of Directors Executive Director: Mike Jack.i; President: Mike Donahue; President Emeritus: Bud Wilkinson; Athlete Representatives: Brian Babcock, chair; Wendy Hilliard, vice chair; LindaKardos-Bamett, sec; Kelly Garrison; Tim Daggett; Jim Hartung; Michelle Dusserre; Karyn Lyon; Petei Vidmar, USOC Athletic Advisory Council; Amateur Athletic Union: Julie Sickels; American Sokol Oq;anization: Jerry Milan; American Turners: Bruno Klaus; Junior Boys Gymnastics Coaches Association: Bill Foster; Men's Elite Coaches Association: Fred Roethlisberger; National Association for Girls and Women in Sports: Dr. Mimi Murray; National Association of Colle~late Gymnastics Men: Abie Grossfeld; National AssocIation of Collegiate Gymnastics Women: "'ail Davis; National Association of Women's Gymnastics dlles: Yvonne Hodge; National Collegiate Athletic Asso.ÂŁ<1tlOn: Cheryl Levick, Dave Mickelson; National Federation of State HiJdl SchoolAssociations:Sharon Wilch, Susan True; National Gymnastics Judges Association: Harry Bjerke; National High School Gymnastics Coaches Assoc,ation: John Brinkworth; National Jewish Welfare Board: Courtney Shanken; Rhythmic Coaches Association: Suzie DiTullio; Special Olympics, Inc.: Kate Faber; U.S. Association of Independent Gym Club: Lance Crowley; U.S. Elite Coaches Association for Women: Mary Wri.sht, Chere Hoffman; U.S. Sports Acrobatics Federation: Joe Schabacker; Young Men's Christian Association: Rick Dodson; USGF National Membership Representatives: Men's: Dave Strobel, Bob Wuornos; Women's: Joan Moore Rice, Jett Metzger; Rhythmic: Marina Davidovich, Jolie Barretta.

PreschooVdevelopmental Acadenic Knowledge

Educational Gymnastics

Women's Elite Program

USGF Junior "B" Testing Program ....................... 9

Balance for the Scales of Education

1991 World Championships page 7

Housing Request Form ........................................ 13 Biomechanics

Obtaining Maximum Height in Somersaults ... 15 Research

Spatial Orientation ............................................... 16 Information

F.I.G. Medical/Scientific Symposium ............... 20 Rhythmic Judging

New RSG Bonus Requirements .......................... 22 page 20

Business

Getting Good People ............................................ 23 Women's Program

Junior Olympic Program Survey ... ..................... 24 Men's Technical

1992 Compulsory Skill Analysis ........................ 26 Research

Prognosis of Men's Elite Routines ...................... 29 United States Gymnastics Federation Executive Committee President: Mike Donahue; Secretary: Mike Milldoms; Vice President-Women: Sue Ammennan; Vice President-Men: Jim Howard; Vice President-Rhythmic: Norma Zabka; Executive D irector: Mike Jacki; FIG Women'sTechnical Committee: Jackie Fie; FIG Rhyttunic TechnicalCommittee: Andrea Schmid; FIG Men's Technical Committee: Bill Roetzheim; Members-At-Large: Roe Kreutzer; Nancy Marshall; Athlete Representatives: Linda Kardos Barnett, Peter Vidmar, Brian Babcock, Wendy Hilliard; President Emeritus: Bud Wilkinson.

Associate Content Editors SPORTS SCIENCE ADVISORY COMMITTEE: Marlene Adrian, Ph.D. Gerald S. George, PhD. Patty Hacker, PhD. Merrill A. Ritter, MD. William Sands, PhD. Stephen W. Whitlock

TECHNIQUE JanuanJ - March 1991

Technical

The Physics of Twisting Revisited ..................... 33

page 26

Men's Technical

The Giant Swing on the Parallel Bars ................ 39 Minutes & Reports

MPC ................................................................ .. .. .... 40 Athlete's Council minutes .................................. .41 Women's EPC minutes ....................................... .43 Annual Index of Articles .......... .......................... .44 CHANGE OF ADDRESS AND SUBSCRIPTION INQUIRIES: In order to ensure uninterrupted delivery of TECHNIQUE magazine, notice of change of address should be made six to eight weeks inad vance. For fastest service, please enclose your present mailing label . Direct aUsubscription mail to TECHNIQUE Subscriptions, Pan American Pla za, 201 S. Capitol Ave., Suite 300, Indianapolis, IN 46225. TECHNIQUE is published quarterly by the United States Gymnastics Federation, Pan American Plaza, 201 S. Capitol Ave., Suite 300, Indianapolis, IN 46225 (phone: 317-237-5050). Third class postage paid at Indianapolis, IN. Subscription price: $18.00 per year in United States; a ll other countries $32.00 per year. If available, back issue single copies $4.00 plus $1.00 postage / handling. All reasonable care will be taken, but no responsibility can be assumed for unsolicited materia l; enclose return postage. Copyrigh t 1991 by USGF and TECHNIQUE. All rights reserved. Printed in USA.

Boy's Instructional

Coaching Strategies on Horizontal Bar Mark Wells Williams

The University of Oklahoma

Figure 1

hile coaching horizontal bar, the grassroots coach must develop activities which incorporate both long hang swing actions and in-bar work, both in regular and reverse grips. Along with these basic actions on the high bar, coaching preparations should include exercises which teach your gymnast hand changes and turns, dorsal hang or elgrip positions, release and regrasp skills, and dismounts. These movements are the fundamentals which make up the horizontal bar event. Even at an early age, your gymnast must be introduced to all the aspects of swinging horizontal bar. The better you train your gymnast at these preparatory drills, the easier he will progress toward using each of these elements in a competitive situation.

Long Hang Swings and Giants From the very first time your gymnast touches the high bar, you should teach him a basic beat or tap action for overhand grip giant swings. The tap action is developed through the bottom of the forward swing. As your gymnast descends from the peak of a low backward swing, he must delay the kick with his feet. The gymnast's chest opens up slightly, and his body position changes from a minute hollow to a minute arch. After passing through the bottom of the swing, your gymnast should drive his toes upward, with a scooping toe lift action, and alter his body posi tion from an arch position to a hollow position. This tapping action is the basic beat swing for completing overhand grip backward giant swings. Another skill in the overhand grip which your gymnast should work is the backward beat swing or the tap to a back uprise action. Because of possible grip problems which your gymnast may encounter while working the backward directional swing, you might utilize high bar hand straps when teaching this swing. (See the high bar hand straps section.) To teach this beat swing, you should have your gymnast start with a strong backward swing. On the downward phase of the backward swing, your gymnast must have a tight and extended body position. As he reaches the bottom of the swing, his body position should be hollow, and his heel drive action should be delayed. After passing through the bottom of the swing, the gymnast snaps his heels backward to create a slightly arched body position. This beat action is the basic tap swing for the back uprise swing and for the overhand grip forward swing giants, otherwise known as wrong-way giants. The preliminary action of the reverse or underhand grip forward swing action has to be taught with a little more swing than the beginning action of the overhand grip swing. The greater swing is necessary because of the difficulties involved with holding onto the bar when swinging back and forth in this reverse grip. From a cast above the bar or a high stemme action, your gymnast stretches his body into a straight body position. This position is maintained through the descending phase of the swing. After passing through the 4

bottom of the swing, your gymnast will slightly break his shoulder angle and create a more hollow body position. The gymnast's shoulders and upper back pull down on the bar, and his wrists shift on the top of the bar, up toward the handstand. Your gymnast can work on riding the swing up above 45 degrees and hopping his hands before jumping off the bar. With a reverse grip cast to handstand and additional swing through the bottom, this underhand grip swing will eventually develop into a forward giant swing. In-bar Moves In-bar moves comprise the spectrum of skills that are close to the bar. Some of your gymnast's body angles must be broken in order to create a swing in close to the bar. The categories of high bar in-bar work include kips, back uprises into the bar, hip circles, and stoop circles. The kip and back uprise skills embody overhand, underhand, and mixed grip kips. Hip circle skills include underhand grip stemme to handstands and free hip circles. Stoop circles incorporate stoop-in seat circles to a dislocate, and Stalter and Endo straddle circles. The following section will discuss the application of these basic long hang and in-bar swings within a circuit rotation of high bar stations.

Horizontal Bar Stations In order to create an environment conducive to working the fundamentals of high bar swing, you should set up a rotation of horizontal bar stations and events where different skills can be worked. These stations must have activities which encourage the development of technically sound swing and in-bar skills. You must teach a variety of skill progressions at these stations to build the gymnast's horizontal bar skill base. This base is the foundation from which more advanced skills will be framed. Station # 1 - The High Bar with a Spotting Box The first station is the standard high bar with a spotting box positioned next to one of the high bar uprights. (See Figure 1). While standing on top of the spotting box, you should assist and help manipulate your gymnast's body on the basic swing techniques. At the beginning of the gymnast's high bar workout, he should always work the previously discussed basic swings. After performing these warm-ups and preparations for good technical swings, he should add a 1/2 turn to the front of the gymnast' s swing. The beginning gymnast will perform a 1/2 turn to a mixed grip position, swing backward, and then change back the underhand grip hand. A more advanced gymnast will swing higher in the front swing, above horizontal, and change one hand and then the other hand before descending through the bottom of the swing. As the swings and turns become higher, your gymnast must shift the wrist of his turning arm in order to support his weight atthe top ofthe turn. You should assist with the gymnast's turn by spotting him through the top of each turn. The gymnast should execute this blind change action turning toward you. This enables you to assist

January - March 1991 TECHNIQUE

him with the turn while also controlling his swing. The gymnast's swing can eventually be worked upward and high enough to perform a complete blind change where both of the gymnast's hands change to the reverse grip handstand position. To do this, your gymnast must increase his ability to scoop and swing wi th force through the bottom of the swing and shift his weight onto his post arm at the top of the giant. You should help spot him through the swing until he is completely over the top of the bar and finishes the blind change turn. On a different turn while still spotting from the box, you should have your gymnast begin working dismounts at this station. Besides doing 1 / 2 turn jump off dismounts, you should teach your gymnast a flyaway or a salto backward dismount. To begin, you should have your gymnast swing through the bottom of the forward swing and bring his knees upward into a tuck position without releasing the bar. This is a timer swing for the release point. At the end of this tap swing and knee lift, the gymnast pulls slightly backward on the bar and will release his grip into the flip. You must provide a spot while your gymnast starts the turnover phase of the flyaway by placing one hand on his back and the other hand on his wrist or stomach. After helping flip the gymnast over, you should also assist with the gymnast's landing. Eventually, the gymnast should be able to perform the flyaway into the pit without a spot. During another one of the gymnast's turns, you should have your gymnast work on some compulsory exercise sequences. The gymnast can begin from a long hang swing, kip to a support, cast backward into a backward hip circle, execute an underbar shoot, swing backward and swing forward twice, and perform a tucked flyaway dismount. Another sequence for the more advanced gymnast is to have him kip to a cast handstand and continue to an overhand grip giant. At the top of the giant, he then swings to an underbar shoot, swings backward, and swings forward to a tucked flyaway dismount.

High Bar Hand Straps or Wrist Straps High bar hand straps can be used at this station to work on giant swings. The hand straps facilitate an aspect of safety which may come in handy while your gymnast learns the actions necessary to perform giant swings. The hand straps are made of two pieces of sewn nylon webbing. The two sewn runners are draped over the high bar next to two sections of taped PVC piping. The PVC piping must be attached to the bar in a loose fashion to allow for it to freely rotate around the bar. Sometimes leather gloves or other strong materials are used in place of the PVC piping.To work with the hand straps, your gymnast places his hands through the loops of the webbing, without grips on, turns his wrist toward the PVC piping, and grasps the piping. The straps and the piping allow your gymnast to swing forward and backward without having to shift his wrists. The strapping also connects the gymnast to the bar and negates the possibility of your gymnast losing his grip and releasing the high bar. Your gymnast should work his swing up to the point where you can help lift him through an overhand grip backward giant swing. The straps may also be used for back uprise actions and overhand grip forward giants. (At the low bar, the straps are also useful for doing Stalter drills.) Station # 2 - The Low Bar The second station, the low horizontal bar, is especially useful for working on in-bar skills. (See Figure 2.) TECHNIQUE January - March 1991

The first time at the low bar, your gymnast performs a pullover and a backward hip circle. After a succession of turns, the back hip circle should develop into a free hip circle to handstand. Occasionally, you will want to spot at the low bar to promote the development of the backward hip circle into a free hip circle to a handstand. Kips can also be worked at this station. If your gymnast is just learning this skill, it may be useful for him to use a rope looped around the low bar and stand on it to support his feet on the upward phase of the kip. You will have to attach a length of , - - - - - - - - - - - - - - - - - - - - , rope which is about four feet long around the bar and tie it into a big loop. The gymnast will then place his feet on the loop of rope, stand on the rope during the upward phaseofthe kip, and use it to help Figure 2 him reach the support position. The rope acts as a spotter while you are at another station. Repetitions of the kip should be done with and without the rope. Once your gymnast learns the kip, he should work on a kip and cast to handstand. An underhand grip kip cast to handstand prepares the gymnast for cast handstand giant swings. Also at the low bar, your gymnast should work straddle toe-on circles, Stalters, Endos, and seat circles. To begin, your gymnast must learn how to cast off the bar and set his feet onto the bar. From this hollow and straddled toe-on body position, the gymnast lets his body fall forward or backward, depending on the desired grip, and sets his body into a straddled and piked position. To enhance the turnover on the upward phase of the toe-on circle, tell your gymnast to compress his body into a very tight pike position through the bottom of the Stalter action. After doing a couple of toe-on circles, the gymnast should take his feet off the bar at the top of the swing and drop into a Stalter or Endo Stalter position. You should coach the gymnastto drop into a compressed straddle position without closing his shoulder angle. Tell your gymnast to let his feet press into the straddle rather than forcing his feet forward across the bar into the Stalter. The pressing and compressing actions will help keep his feet from popping out of the Stalter on the upward phase. The second half of the Stalter has your gymnast maintaining an open shoulder angle, holding his feet in while rising above the bar, turning his hips over through the bottom of the swing, and finally pressing and shooting out to a handstand position. Seat circle skills are started by having your gymnast sit on the bar in an underhand grip and lifting his hips upward before dropping his feet forward and downward into the compressed seat circle. The circular action of the seat circle will rotate him around the bar and have him arrive in the original seat circle position. Eventually, you will want to encourage your gymnast to cast, stoop into a seat circle, and have your gymnast drop down and around into a jamming action. This jamming action will be a progression to the jam dislocate to an elgrip position. A preparation for the elgrip position is to have your gymnast hang in elgrip and swing backward and forward . While your gymnast is at the low bar, you might also want to familiarize him with the dorsal hang position or the German hang swing. Station # 3 - The Low Parallel Bar With A Landing Mat The low parallel bar station is used for body position drills and pirouettes. (See Figure 3.) With an 8" mat positioned next to a set of paralletes, your gymnast

Figure 3

/' ;\ ~ .,.,.Figure 4

kicks to a handstand on one bar in an overhand grip and falls back down toward the landing mat with an extended and tight body position. Your gymnast will land on his stomach on the landing mat. If done correctly, his body will hit the mat simultaneously in a slightly hollow body position. The underhand grip cast to handstand drill is done in the same manner, except the gymnast will land on his back. These exercises are performed to promote the extended body position of the downward phase of each direction giant swing. The next drill is to have your gymnast perform a pirouette before landing on the mat. The gymnast kicks to a handstand on the far bar and executes a forward turning pirouette. The gymnast may pirouette and then fall to the mat onto his stomach. To develop the early pirouette action, your gymnast should stand on the mat, kick up to an underhand grip handstand, just short of vertical, and turn to a mixed grip pirouette while falling to his back onto the mat. As the gymnast masters these progressions, you should add full pirouettes to this station. Station # 4 - The Pit High Bar At the high bar over the pit, your gymnast has the opportunity to do release skills and dismounts in a very safe environment. (See Figure 4.) All landings can be made into the foam pit to allow for a greater degree of absorption of the impact of these releases and dismounts. The releases and dismounts performed at this station do not have to be particularly difficult, but the idea is to acquaint your gymnast with elemental movements which emulate more difficult skills. The first release and regrasp skill is a hopping release and regrasp of the hands on the backward swing of the overhand grip swing. Next, the gymnast can cast forward from an above bar support position in underbar grip to a forward 3/ 4 giant swing, and on the upward phase,

hop his hands to overhand grip. In order to hop his hands and not flip over, tell your gymnast to break the angle of his shoulders, hop his hands, and pull into the bar. Two other preparatory release skills are having your gymnast execute a straddle cut and catch and a swing 1/ 1 twist release and recatch. These actions help develop the gymnast's concept of the flight release move. Dismounts into the pit include having your gymnast do straddle sole circle dismounts and forward and backward tucked flyaways. As your gymnast becomes more accomplished at these dismounts, he can change his body position to a layout and add a 1/ 2 or 1 / 1 twist to the flyaway. Finally, your gymnast can execute the basic actions of a Jaeger and a Gienger into the pit. The ability to regrasp the bar should not necessarily be expected at the beginning stages of these drills, but the beat swing and the releasing of the bar should be emphasized.

Summary These basic progressions on the horizontal bar are centered around the requirements which are listed in the F.I.G.'s Code of Points. Your gymnast must learn giant swings, in-bar actions, flight elements, dorsal hang or elgrip positions, and dismounts. As the grassroots coach, you must provide direction to your gymnast for accomplishing these various skills and make it a goal for him to develop a strong understructure of basic skills. These basics will become very important to your gymnast's future achievements on the high bar. As the coach, one of your responsibilities is to teach all these rudimentary actions to your gymnast in order to better prepare him for future optional routines. Creating many different stations while coaching these skills will help your gymnast attain more quickly these fundamentals of the horizontal bar.

Educational Materials Women's Materials #1101 Women's FIG CodeofPoints....... $34.95 Women's J.O. Compulsory Book. Levels 1IV and 5-10 for the current season. #1110 Price for USGF Pro-memo .. $24.95 #1111 Price for non-Pro-mem ...... $34.95 #1114 Women's J.O. Levels I-IV. (Same as 1 51 80 pages of Compo book). Ideal for precompetitive programs .................. $15.00 #1113 F.I.G. Women's Artistic Symbols book. (published Sept, '86) .............. ...........$12.50 #1117 J.O. Technical Handbook (Previously called the "J.O . Supplement to the Code").................................................................$10.00 #1116 Women's Judging Element Supplement.. ................. ....... .........................$10.00

Men's Materials #1201 Men's F.I.G . Code of Points ....$34.95 #1202 Men's J.O. Compulsory Text...$16.50 #1211 Men's Gymnastics Training Diary. Keep track of your progress! ........ .$8.50 #1213 Men's F.I.G. Artistic Symbols book (published May, '85) ....................... $12.50

General

#3604 Sequential Gymnastics (grades 3-6) 2nd Edition. Recently revised by the USCF Education Sub-Committee, this book is ideal for P.E. teachers as well as the club developmental and pre-competitive coaches. The book is 3-hole punched so pages can be removed and posted for the gymnasts to see the skills. Illustrations Rhythmic Materials beautifully drawn b y James H . #1301 Rhythmic Gymnastics F.I.G. Code of Stephenson .................... ...... ............ $19.95 See page 2 for information on the Points .................................................. $34.95 Text $26.50 Sequential Gymnastics VHS Gymnastics Posters # 6201 - Women's Nutrition poster ("Perfect 10" - the cover of this issue!) $ 2.00 # 6200 - Lance Ringnald Poster ("Built by Gravity and Guts, Not Steroids") $ 3.00 # 4000 - American Gymnastics Print (by artist, William Purdom) $15.00 $ 5.00 # 5101 - Men's World Championships Poster $ 5.00 # 5102 - Women's World Championships Poster $ 8.00 # 5100 - Special price for both #'s 5101 & 5102 6

#12 Physiology of Fitness (Sharkey) Reveals the inside story of fitness. Practical information on fitness and health ...$17.95 #13 Coaching Young Athletes (Martens,et al) A book about the science of coaching. Sports: Psychology, Pedagogy, Physiology, & Medicine. Part of the ACEPTS program ............................................ $12.00 #14 In Pursuit of Excellence (Orlick) Best selling sport psychology guide that will motivcate athletes & coaches to achieve their own level of excellence ........... $14.95 #16 Living Anatomy (Donnelly) Learn anatomy rapidly with this unique approach. 100's of illustrations ......... $19.50 #1212 Development of the Conditioning Factors in Elite Gymnastics (HUllner) ... $16.00 #6001 - The USGF Safety Manual, 2nd Edition .... .. ...................................... $16.45 USGF Safety Posters #6101 -1. Safety Guidelines ............. $5.00 #6102 - 2. Respon. of Gymnasts ....... $5.00 #6103 - 3. Mats .. ...... ............ ............... $5.00 #6104 - 4. Spotting ... .......... ................ $5.00

To order any of these pUblications, please use the form on page 2 of this magazine. January - March 1991 TECHNIQUE

Educational Gymnastics

Gymnastics at its Best he true value of gymnastics as a fundamental part of education is not yet understood by either the public or the educational community. Socrates, the founder of modern education, said that to become educated one must "Know Thyself." Self understanding provides balance to knowledge. Knowledge without self understanding has no perspective and loses direction. Yet today's educational systems emphasize test scores and knowledge without the least consideration for a child's self understanding. This oversight might well account for a large portion of the 25% school drop out rate and for student loss of interest in school subjects.

Kinesthetic Receptors The basis for self understanding stems from the bodies own input to the mind. The body is full of sensory mechanisms sending information to the brain. Nerve endings in the skin, muscles, joints, tendons, and inner ear represent the prime sources of kinesthetic sensation. And these mediate and enhance the minds awareness of the bodies emotions and feelings. (See Figure 1)

Gymnastics - Balance to Knowledge Even a minimal effort to learn gymnastics will greatly stimulate the bodies kinesthetic system and send torrents of sensation from the body into the brain. The very essence of gymnastics is self awareness and self control. Every gymnast is in a constant search for control of the bod y and awareness of its balance, tension and orientation in space. If Educational Gymnastics were to become a basic part of every child's ed ucation then children would quite literally "know themselves" better. Children cannot express their feelings and emotions accurately unless they are in touch with those feelings and emotions. They cannot know themselves unless they pay close attention to the sensations and information coming in through the kinesthetic receptors. One cannot use academic information with purpose unless that information is balanced against its meaning in terms of human experience. (See Figure 2)

Balance for the Scales of Education Figure 1 - Internal Sensors

Figure 2

This sensory input fills the brain with information, but unless the mind uses this information and pays attention to these signals, kinesthetic input is soon disregarded. In this way the primary source of self understanding becomes neglected and ignored. Many in our society are unaware of their own tensions and emotions and never develop a refined awareness of body and self.

Acknowledgment from the Sciences

TECHNIQUE Januan) - March 1991

Studies of right and left brain function show that the two halves of the brain process different types of information. The left brain processes language and logical step by step analytical functions (associated with academic knowledge) while 7

Garland O'Quinn, Jr. Ph.D USGF Education SubCommittee

the right brain processes spatial and tactical functions (associated with kinesthetic and perceptual input). Roger Sperry of the California Institute of Technology says that " .. our educational system tends to neglect the nonverbal form of intellect ... modern society discriminates against the right hemisphere." (7) Numerous other sources associate human creativity with the right brain hemisphere which gets a large portion of its input from the kinesthetic sensations of movement and body control.

Educational Gymnastics Educational Gymnastics is mankind's richest source of kinesthetic input and, as such, makes a major contribution to a child's self understanding and creative abilities. The results of implementing Educational gymnastics as a regular part of our children's education would be immediate and far reaching. We could expect that there would be a great improvement in self awareness and self understanding. Children, becoming more aware of their own feelings and emotions would have better person to person communication. Better communication would lead to a reduction in conflict. Educational Gymnastics would literally lead to a richer, fuller and more balanced education.

Those of us intimately involved with gymnastics can be assured that no activity does so much to help a child "know thyself." Educational gymnastics provides the "agility" for an agile mind, the "coordination" for coordinated thought, and the "balance" for a balanced education.

Bibliography Edwards, Betty. Drawing on the right side of the brain. Brain/ Ed Center, California State University, Long Beach, CA 90840. Elkind, David. The hurried child. Addison-Wesley Publishing. Menlo Park, CA. 1981. Elkind, David. Miseducation: Preschoolers at Risk. Alfred A. Knopf Publishers, New York, 1987. Gardner, Howard. Frames of mind. Basic Books, Inc., copyright 1983. Kohn, Alfie. No contest. Houghton Mifflin Co., Boston. Copyright 1986. O'Quinn, Garland. Teaching Developmental Gymnastics. University of Texas Press, PO Box 7819, Austin, TX 78713, 1990. Sperry, R.W. The psychophysiology of thinking, "Lateral specialization of cerebral function in the surgically separated hemispheres," edited by F.J. McGuigan and R.A. Schoonover, Academic Press, New York and London, 1973. Thompson, Richard F. Foundations of physiological psycholQgy. Harper and Row Publishers. New York and London, 1967. Williams, Linda. Teaching for the two-sided mind. Simon & Schuster, Inc. Publishers, 1230 Ave of the Americas, New York, NY 10020.

Scoring Form for Junior "B" Testing - Dance (Floor and Beam) Objective: Evaluation: Note:

Category rating scale: Excellent -0.0 -0.1 Very Good -0.2 Good -0.4 Fair poor,: ~

To develop excellence through application of correct technique. To be based on total performance (not individual elements or connections). Ex. Gymnast scores "good" in all six applicalable categories = 10.0 - (2 x 6) = 8.8 points. 1st fall on Dance Beam will receive not penalty. Additional fall will receive 0.5 deduction in addition to appropriate penalties in the specific categories. Scoring is based on TOTAL PERFORMANCE.

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1"1 January - March 1991 TECHNIQUE

Women's Elite Program

USGF Junior "B" Element Testing Vault Handspring (#1.01)

Start Value = 10.0

Uneven Bars: • 1st Sequence Glide Kip, Cast handstand Glide Kip, Cast handstand Clear hip to handstand Clear hip to handstand- (kip to support)

• • •

• 2nd Sequence Pend Ie kip, Cast handstand, pirouette Giant (leg position on downswing optional) Giant (leg position on downswing optional) Dismount: Stretched saIto backward (layout flyaway)

•

Beam Acro Skills: • 1st Element (mount): Start Position(SP): from a side stand facing the beam, press to side handstand with straddling, then closing of the legs to straight body handstand. Stoop down (press down, legs together) placing the feet between the hands to arrive in sidestand on the beam. • 2nd Element (series) - Flip-flop (feet together), flip-flop step out. • 3rd Element: Front Handspring step out (legs do NOT come together) Ending position is support leg straight and free leg extended in front (toes touching beam). • 4th Element: From a cross stand, scale into handstand, 1/2 turn (180° pirouette) in handstand (2 hand changes) then split legs (180°) in vertical and hold for 2 seconds. Maintaining split, lower to knee sit (passing through knee scale - contact the beam with the top of the toes first, torso erect, free leg extended downward beside the beam). Arms: lateral. • 5th Element (dismount): Round-off, back saIto stretched (layout).

Beam Dance: • SP: from a crossstand,approximately one third in from the end of beam, arms high oblique, support leg straight, opposite leg extended forward. • One step to split leap (No stag). Arms: lower to sides on step and raise to optional arm position during leap. • Continuing immediately to 2 or 4 light running steps forward on toes to the end of the beam. Arms: lower to sides on runs and raise to crown TECHNIQUE January - March 1991

•

at completion of the runs - finish high on toe in - - - - - - - - 5th position. 180° pivot turn on toe. Arms: remain in crown. Repeat split leap on opposite side as described above. Immediately step to fouette. Arms: lower on step to side of body and raise to crown on fouette. Swing leg MUST be forward horizontal with hips squared before half turn. Arms: open to high oblique in arabesque hold at the completion of fouette. Back leg pulls to close in tight fifth on toe. Arms: finish in crown. 2 quick pivot turns (180° each) high on toe PM to chasse backward. Arms: opposition on chasse, in crown on turns. Immediately execute two or three steps backward on toe to the end of the beam- finish on toe in 5th position. Arms: (and body) supple, arms must lower beside the body and finish in crown. Step forward to plie, immediately releve (no preparation pause) to execute a 360° turn inward with free leg in passe (turned out- toe touching side of knee). Step forward on straight leg on toe to repeat a 360° turn on the opposite leg. Arms: optional on turns. Step forward to a standing split (needle scale) Arms: optional position free of beam. Lower free leg through scale position to step forward and scale on opposite leg. Arms: optional. Step forward and swing free leg to forward horizontal position (support leg straight), swing backward to arabesque in plie. Arms lateral. Immediately releve to execute a 180° turn, finish on toe with free leg at forward horizontal. Arms: crown. Immediately step forward on toe to arabesque Arms: crown. Back leg lowers quickly to close in tight 5th on toe. Arms: finish in high oblique.

• Full Bodywave forward . Arms: must come from crown, lower in wave and finish in crown. • Step forward to pose - supportleg straight, free leg extended backward, toe touching beam Arms: high oblique. 9

Tumbling Skills • 1st series: Round-off, whip-back, flip-flop, flip-flop, backward saIto stretched (layout) • 2nd series: (From a stand) Flip-flop, flip-flop, flip-flop, back salto tuck- kickout at vertical. • 3rd Series: Three Front Handspring (two foot landings) NOTE: Gymnast may continue to move forward after last handspring. Evaluation ends at the completion of the 3rd front handspring.

Floor Dance 3,.-____~~____,5 Right Pattern:

Left Pattern:

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• SP: From a fifth position stand in corner facing the diagonal. Arms: low rounded, focus and head position change required but positions optional. Front leg pointed forward toes on floor. Arms: open to low oblique. • Step onto front leg and brush assemble landing in 5th. Arms: softly lifting to lateral at the height of the assemble and low rounded upon landing. • Immediate stretched jump full turn in direction of front leg. Arms: circle forward upward to crown. Head: spot. • Repeat above on the opposite side. • Jump from two feet bringing rear leg forward to initiate two prance steps (free leg position on prance steps in forward low attitude. Arms: lateral, focus and head position required but positions optional. • Extend free leg and step hop (free leg rearward in low arabesque 45 0 • Arms: opposition in arabesque, focus and head position required but positions optional. . • Repeat as above.- initiating prance steps wIth small leap forward onto free leg. • (Skip) - Step forward with free leg and brush extended leg low forward (45 0 - with hop) Arms: arms, focus and head position change required but positions optional. Repeat. • Chasse forward 1 step to pose with back leg extended. Arms: high oblique. Head: follows the bodywave NOTE: rhythm of all of the above is a bouncy 4-count. Rhythm changes ato a slow waltz (3-counts) for the remainder of the routine. • Still facing the diagonal, back leg steps to the side to initiate the side bodywave (bodywave begins low and finishes high before turn). Immediate 1800 pivot turn finishing with feet together. Arms: raise to high oblique. Note: Gymnast is still on diagonal facing opposite corner. • Curved run - three long, fluid running steps. Arms: circle away from body, then into the direction of the run, focus and head position change required but positions optional. 10

•

• •

•

Note: The direction of the curved run is opposite the direction of the turn - forming a sweeping "5" pattern). Step immediately onto straight leg, high toe and execute 360 0 arabesque turn (Rt: start & finish facing corner 5. Lt: start & finish facing corner 1). Arms: optional. 1 or 2 steps forward from arabesque turn to plie, (no preparation pause) releve,to 540 0 inward turn in parallel passe. (Rt: start facing corner 5 and finish facing corner 1. Lt: start facing corner 1 and finish corner 5). Arms: optional. Brush free leg forward and take 2 steps on high toe, step (waltz steps). Arms: optional, focus and head position change required but positions optional. Swing free leg to forward horizontal initiating fouette - finishing in arabesque. Arms: lower on step to sides of the body and raise to crown on fouette. Step back and lift front leg to above horizontal - into back walkover, step out through scale. Step onto the back leg, rounding hips and lowering into an immediate Back extension roll 1800 pirouette (blind change) to handstand. Split 1800 in handstand, step out. Bring feet together on high toe, and execute areverse Body Wave (lower torso straight, deep knee bend, release of head and upper torso to initiate). Torso contracts in abdominals and rolls up to vertical. Arms: begin overhead, then circle downward, backward, continuing forward upward to finish in crown. Step forward to pose with front leg straight, back leg extended rearward - toes pointed on floor. Arms: upward oblique.

Evaluation of Element Testing 1. Regional Level

a. One Elite or Brevet Level Judge. b. One or Two Elite Level Coaches or "Special Category" Clinicians. c. Coach/Expert will be selected by the Regional Board. 2. National Level a. Must have 2 Evaluators. b. Brevet judge and a National Clinician "Expert." In all cases, evaluators will each take deductions, then arrive at one combined or "average" score per gymnast

Scoring for Junior "B" Testing 1. Four Element Testing Events:

* All events judged on a 10.00 basis. a. Vault & Tumbling. b. Bars. e. Beam Acro Element. d. Dance - Floor & Beam. January - March 1991 TECHNIQUE

1. Vault and Tumbling scores will be added together and averaged. Dance Floor and Dance Beam will be added together and then averaged, then both composite scores will be added to the remaining two events (Beam Acro and Bars). 2. A perfect element test score would be 40.00 AA. 3. Element testing will be conducted at Regionals but not count toward AA score for purposes of qualifying. Element testing (40 %) - Optionals (60%) - at Nationals (U.s. Classic) 4. General Penalties: Omission of an Element. 1.0 Reversing/ Changing/ or Failure to complete. 0.5 Omission of a connection. 0.3 On Dance (Floor and Beam), the above deductions will be deducted from the average. 5. All general FIG deductions are in effect in addition to the specific deductions for each event. 6. Recommended 2 squads: 1st rotation Tumbling & Beam Dance 2nd rotation (switch events) 3rd rotation Floor Dance & Beam Acro 4th rotation (switch events) 5th rotation Vault & Bars 6th rotation (switch events) 1st panel of evaluators Tumbling/Beam Acro /Vault 2nd panel of evaluatorsFloor Dance / Beam Dance / Bars

Vault Handspring (Vault #1.01) Specific Deductions

Start Value 10.0

1st Flight Phase a. Form break (arms, legs) b. Body bent during flight (arch/pike).

each up to 0.2 up to 0.5

Support Phase a. Form Break. b. Poor technique in support.

each up to 0.2 up to 0.2

2nd Flight Phase a. Form break (arms, legs). each up to 0.2 b. Body Bent during flight. up to 0.5 c. Insufficient height/length. each up to 0.5 d. Insufficient stretch of body. up to 0.3 prior to landing.

Landing a. Landing heavy and uncertain. up to 0.2 b. Slight unsureness 0.1 (movement of 1 foot). c. Actual step/hop in any direction. 0.2 d. Each additional step /hop. each 0.1

General a. Poor direction throughout vault. up to 0.3 b. Insufficient dynamics. up to 0.5 TECHNIQUE JanuanJ - March 1991

Uneven Bars 1st Sequence 1. Glide Kip (legs together) & Cast to straight body Handstand. 2. Repeat as above. Deductions a. Insufficient amplitude in glide. up to 0.2 b. Arms bent on cast. up to 0.4 c. Body bent (arched/ piked) on cast. up to 0.4 d. Failure to attain handstand. up to 0.3 3. Clear Hip to Handstand. 4. Repeat as above. Deductions a. Arms bent. up to 0.4 b. Arched/piked body on circle to handstand. up to 0.4 c. Failure to attain handstand. up to 0.3 ). Glide Kip to Clear Support. Deduction Failure to complete a straight arm kip. 0.5 NOTE: No deductions for execution and amplitude in performance of glide kip. Judging concludes with the completion of the clear hip to handstand. A maximum of 20 second rest/adjustments before gymnast must remount.

2nd Sequence SP:The 2nd sequence is initiated from a hang on the high bar facing the low bar. 5. Pend Ie Kip (legs together), Cast to handstand with 1 /2 tum (pirouette) in handstand. Deductions a. Insufficient amplitude of pend Ie kip (legs together). up to 0.2 b. Arms bent on cast up to 0.4 c. Body bent (arched/piked) on cast. up to 0.4 d. Failure to complete 1/2 tum in handstand phase. up to 0.4 6. & 7. Giant Circle to handstand (leg position on downswing is optional). REPEAT. Deductions up to 0.4 a. Arms bent. b. Body bent (arched/piked). up to 0.4 8. Dismount - Back saIto stretched (Flyaway) (leg position on downswing is optional) Deductions a. Insufficient height. up to 0.4 b. Failure to stick landings. up to 0.2 c. Insufficient stretch of body in flight. up to 0.4

General Deductions: a. Omission of an Element. b. Reversing / Changing or Failure to Complete an Element. c. Omission of a Connection.

1.0 0.5 路 0.3

Tumbling Skills

Beam Aero Skills

1st Series-

1st Element (mount):

Round-off, whip-back, flip-flop, flip-flop, backward SaIto stretched (layout). Objective: Acceleration through elements preparatory to salto. Deductions a. Lack of acceleration. up to 0.4 b. Excessive arm bend (slight bend allowed). up to 0.3 c. Excessive bending of the knees(slight bend allowed). up to 0.3 d. Slight leg separation up to 0.2 throughout. e. Failure to maintain stretched body position in saIto. up to 0.3 f. Insufficient height of salto. up to 0.3 g. Body arched in flight. up to 0.2 h. Failure to stick 2 foot landing. each step 0.1

2nd SeriesSP: From a stand. Flip-flop, flip-flop, flip-flop, back salto tucked to kickout at vertical. Deductions up to 0.4 a. Lack of acceleration. b. Excessive arm bend (slight bend allowed). up to 0.3 c. Excessive bending of the knees (slight bend allowed). up to 0.3 d. Slight leg separation throughout series. up to 0.2 e. Insufficient tuck position up to 0.3 prior to kick-out. f. Insufficient height of saIto. up to 0.4 g. Failure to kickout by horizontal. up to 0.2 h. Insufficient stretch before landing. up to 0.2 i. Failure to stick 2 foot landing. each step 0.1

3rd Series3 Front Handsprings - 2 foot landings. Note: Gymnast continues to move forward after the last handspring. Evaluation ends at the completion of the 3rd front handspring. Deductions a. Failure to maintain speed throughout the series. up to 0.4 b. Excessive arm bend. up to 0.3 c. Excessive knee bend. up to 0.3 d. Incorrect body posture. up to 0.2 up to 0.2 e. Legs apart.

General Deductions a. Omission of an Element. b. Reversing/Changing or Failure to Complete an Element. c. Omission of a Connection.

SP: from a side stand facing the beam, press to side handstand with straddling, then closing of the legs to straight body handstand. Stoop down (press down, legs together) placing the feet between the hands to arrive in sidestand on the beam. Deductions 1. Arms bent. up to 0.2 2, Poor body position in handstand. up to 0.2 3. Lack of control in stoop down. up to 0.2

2nd Element (series) Flip-flop (feet together), flip-flop (step out). Deductions a. Pause between flip-flops. up to 0.2 b. Stop between flip-flops. up to 0.3 c. Insufficient flight in flip-flops. each up to 0.2

3rd Element Front handspring step out Deductions a. Insufficient flight. b. Arms bent. c. Failure to step out.

up to 0.3 up to 0.2 0.3

4th Element SP: From a crossstand, scale into handstand, 1/2 turn (180째 pirouette) in handstand (2 hand changes) then split legs (180째) in vertical and hold for 2 seconds. Maintaining split, lower to knee sit (passing through knee scale - contact the beam with the top of the toes first, torso erect, 6;ee leg extended downward beside the beam). Arms: lateral. Deductions 0.2 a. Failure to scale into handstand. b. Failure to mark first handstand. 0.1 c. More than 2 hand changes. each 0.1 d. Poor body position in handstand. up to 0.2 e. Failure to split legs in vertical after 1/2 turn. up to 0.2 f. Failure to hold 2 seconds in vertical in split position. 0.2 g. Insufficient split. up to 0.2 h. Poor body position in knee sit. up to 0.2

5th Element (dismount) Round-off, back saIto stretched (layout). Deductions a. Insufficient height of salto. up to 0.2 b. Lack of straight body throughout saIto. up to 0.3 c. Body arched in flight. up to 0.2 d. Failure to stick landing. up to 0.2

General Deductions: 1.0

0.5

0.3

a. Omission of an Element b. Reversing/Changing or Failure to Complete an Element. c. Omission of a Connection.

1.0 0.5

0.3

JanuanJ - March 1991 TECHNIQUE

HOUSING REQUEST

FAN/SPECTATORS

Housing requests must be made on this form. Reservations by phone will not be accepted. Reservations can be received by FAX. To reserve a room, complete this form and mail to: WGC Housing Bureau Indianapolis Convention & Visitors Association One Hoosier Dome, Suite 100 Indianapolis, IN 46225 USA FAX: 317/684-2492 Information: 317/630-1991

*Deposit of $100 per roqm is required with reseroation. One half of the total room charge must be paid upon arrival, the remainder upon departure. Ih'-.l'1 \

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Please print or type: Name: ____________________________________________________________

• Upon receipt of your request, you will be sent an acknowledgement from the WGC Housing Bureau and a confirmation from the hotel.

Address: _______________________________________________________ Ci~:------------------------------------------------------

State/Province: _____________________ Postal code/ZIP: ______________ Country: _____________________ Phone: __________________________ FAX: __________________________ Telex: __________________________ Date: __________________________________

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Major Credit Card: __________________________________________________ Card #: ______________________________ Exp. Date: _________________ Signature: _______________________________________________________

or Wire funds to account INB NATIONAL BANK ROUTING NUMBER 074000052, ACCOUNT NUMBER 39-022-315. Total Funds Wired or Enclosed: $US

---'I

L I_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Signature: -----------------------------------

All changes and cancellations must be made in writing to the WGC Housing Bureau before August 16, 1991. After that date, you must cancel at least 72 hours prior to arrival, directly with your hotel, to avoid forfeiting your deposit.

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1991 WORLD GYMNASTICS CHAMPIONSHIPS INDIANAPOLIS, SEPTEMBER 6-15

Hotels and Room Rates HILTON AT THE CIRCLE A 369-room hotel located in the heart of downtown, just off Monument Circle and 3 blocks from the Hoosier Dome, with two restaurants and lounge. RATES Single: Double: Twin: Triple: Quad:

NUMBER OF ROOMS :

$ 90 $ 95 $ 95 $105 $115

(One person/one bed) (Two people/one bed) (Two people/two beds) (Three people/two beds) (Four people/two beds)

Arrival Date _ _ _ _ _ __ Departure Date _ _ _ _ _ __

TOTAL

EMBASSY SUITES A 360-all suite property located one block from the Hoosier Dome, with a restaurant, lounge and indoor pool. Rate includes breakfast and two hours of complimentary cocktails in the evening. RATES Single: Double: Twin: Triple: Quad:

NUMBER OF ROOMS:

$ 94 $ 94 $ 94 $104 $104

Arrival Date _ _ _ _ _ __

(One person/one bed) (Two people/one bed) (Two people/two beds) (Three people/two beds) (Four people/two beds) Departure Date _ _ _ _ _ __

TOTAL

CANTERBURY HOTEL A 99-room English-style hotel located one block from the Hoosier Dome, with a restaurant and lounge. RATES Single: Double:

NUMBER OF ROOMS: $122 $122

(One person/one bed) (Two people/one bed)

Arrival Date _ _ _ _ _ __ Departure Date _ _ _ _ _ __

TOTAL

1, _

_ _- - '

UNIVERSITY PLACE HOTEL A 278-room hotel located ten blocks from the Hoosier Dome that includes a food court, restaurant and lounge. RATES Single: Double:

NUMBER OF ROOMS:

(One person/one bed) $ 82 $ 82 (Two people/one bed) ($15/Per Rollaway Per Night)

TOTAL

L I_

Arrival Date _ _ _ _ __ Departure Date _ _ _ _ _ __

(Please list hotels in order of preference) • If the above choices are booked, please place me in (check one):

D A hotel as close to the Hoosier Dome as possible.

D A hotel with a comparable rate .

• Guest Names: _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

• Any Special Requirements? _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Sport Science

Obtaining Maximum Height in Jumps xceptional vertical displacement (height) is a desirable quality when associated with the performance of various jumps. On the other hand, a jump executed with minimal vertical height is often linked with mediocrity. For example, a low straddle jump detracts from performance and is less exciting or exemplary, no matter how spectacular the position of body segments assumed during flight. It is quite possible to be unable to reach an exceptional jumping height even though a gymnast possesses superior strength, flexibility, reaction time, and kinesthetic awareness (sense of location). Jumping height will be greatly reduced without the implementation of related mechanical principles. There are several mechanical principles that will guide the gymnast toward improved jumping height.

Important Mechanical Principles 1. Maximum lift is near the bottom of an arm

swing. 2. The center of gravity (CG) should beas high as possible at the point of takeoff. 3. The projection angle should be at the vert ical line.

Lift The point in the arm swing where the greatest lift force is generated is at, or near, the bottom where the arms pass below the shoulders (Hinricks & Cornelius, 1986; Knight, Wilson, & Hay, 1978). Newton's Third Law of Motion is particularly relevant in describing why lift is best generated at the bottom of the arm swing. The Law indicated that for every action there is an equal and opposite reaction (Kreighbaum and Barthels, 1990). The arm swing effectively presses the feet into the floor atthe bottom point in the angular path of the arms. This results in an external force acting as a reaction force. It is sometimes argued that the top of the arm swing is where the greatest lift is generated. Rather than creating maximum force at a point near the top of the arm swing, the arms negatively accelerate resulting in reduced lift force.

Center of Gravity A gymnast can project their body the greatest vertical distance from support when the CG is at it's highest point at takeoff. The CG or the center of mass represents the entire body and can be adjusted during performance while the body is in contact with support. A gymnast's CG is raised approximately four inches when the arms are moved from the sides to an extended position above the head. After takeoff, however, the path of the CG can not be adjusted. The only adjustment or change in the center of mass resulting after takeoff is in the position of individual body TECHNIQUE lalJUan) - March 1991

parts about the CG (Kreighbaum and Barthels, 1990). Position of the CG at takeoff relative to the support is an important consideration in determining the effectiveness of vertical displacement in a jump. In fact, the path (trajectory) of the CG is determined at takeoff. Consequently, the last phase of the arm swing can best raise the CG when the arms are fully extended above the head at takeoff.

Angle of Projection Another mechanical consideration in determining the most effective technique for achieving the greatest possible vertical displacement during a jump lies in the angle at which the body is projected into space. When the resultant (net) Force component is directed perpendicular to the ground, the external force exerted from the ground passes through the CG creating linear motion in a vertical line. Linear translation of the gymnast results best when skeletal alignment is truly vertical with the pelvis, head, and arms on the vertical line that passes from the base of support through the CG. All extraneous body movements that detract from body alignment must be minimized. Therefore, the force transmitted from the support to the body is in a direction that will provide the greatest vertical displacement. Linear displacement results best when a ground reaction force passes through the CG. An increased angle at takeoff, depicting a backward lean in leaving the support surface, will reduce the vertical force component, while adding to the horizontal force component, resulting in less vertical displacement.

Summary Extraordinary vertical displacement is an essential ingredient in accomplishing the artistic gymnastics performance. Implementing the use of mechanical principles in order to improve gymnastics jumps can help to maximize vertical height and the desired outcome. Minimizing the importance of understanding the effects of mechanical principles on improving technical execution, with little regard for virtuosity, will likely reduce desired performance.

References Hinricks, R.N., & Cornelius, W .L. (June 1986). The importance of arm-swing during a front somersault. International Gymnast. 28(6):44-45. Knight, SA, Wilson, B.D., & Hay, J.G. (March 1978). Biomechanica I determinants of success in performing a front somersault. International Gymnast 20(3):54-56. Kreighbaum, E., Barthels, K.M. (1990). Biomechanics: A Qualitative Approach for Studying Human Movement (3rd Ed.). New York: Macmillan Publishing Co.

William Cornelius, Ph.D., Dept. of Kionesi%gy, Health Promotion and Recreation University of North Texas

Research Results

Spatial Orientation While Somersaulting William A. Sands, Ph.D.

Motor Behavior Research Laboratory University of Utah

Divers and gymnasts must perform complicated skills while experiencing whole body rotation via a somersault and/or twist. These skills test the spatial orientation capabilities of the athlete to a very high degree. These demands can exceed the processing speed and capacity of the spatial orientation system (Le., vestibular organs, vision, and somatosensory (body sense systems) (Krejcova et al., 1987). The sensory information from a variety of sources must be integrated to coordinate the changes in body positions and other actions necessary for a safe dive or gymnastics skill. Vestibular information (one part of spatial orientation) is considered essential to properly preprogram neuromuscular responses for coordinated movement (Melvill-Jones & Watt, 1971). The athlete has three integrated systems to determine how the body is oriented in space (Gillingham & Wolfe, 1985; King Hogue, 1990). 1. The first system is vision. The athlete is highly dependent on visual information from the environment to detect where vertical, horizontal, up, down, forward and backward directions are located. An athlete may "spot" the ground, the pool, or a certain fixed point on the apparatus, tower, or elsewhere for a reference of body position to the environment (King Hogue, 1990). 2. The second system is the vestibular system. The vestibular system includes the organs of the inner ear. These are the bilateral arrangement of the three semicircular canals, and the saccule and utricle. These organs detect rotational acceleration of the head (semicircular canals), and linear acceleration and position of the head (utricle horizontal and saccule - up and down). The utricle is more highly sensitive than the saccule (Shone, 1984). 3. The third system is the somatosensory system. This system is very diverse, providing clues about the gravitational vertical and body position in space by limb positions and motions, pressures and tensions on various body sense organs, and the sensation of gravity on the mesentery of the gut (Ito & Sanada, 1965). These systems must be carefully integrated so that the eyes can track objects while the object or the body is in motion and to keep the body upright during motion or standing.

ThisstudywassupportedQy; United States Diving United States Gymnastics Federation U. S. Elite Coaches Assn. for Women's Gymnastics Hansen Planetarium, Salt Lake City, Utah

There are two general types of vision (Shupert, Lindblad, & Leibowitz, 1983). 1. The first is foveal vision. Foveal vision occupies the central portion of the visual field and is used to perform precise visual scanning such as reading. 2. The second type is called ambient vision. This vision includes foveal and peripheral vision. Ambient vision is most useful in spatial orientation by noting uprightness, self motion, and motion of the environment. Ambient vision does not appear to require direct attention by the person; thereby occurring without our conscious awareness. Ambient vision can be fooled by an illusion called vection. This illusion is created when the surrounding visual

scene moves but the person is still. You have probably experienced this illusion while seated in your car, another car moves in your visual field, and you feel as though you are moving even though you are not (Berthoz, Pavard, & Young, 1975). The sensory system attempts to detect self movement versus environmental movement via the optokinetic reflex which helps stabilize the focus of the eye on some object. It supplements the vestibulo-ocular (inner ear to eye) reflex (Shupert, Lindblad, & Leibowitz, 1983). Athletes in diving and gymnastics must deal with the apparent motion of apparatus and environment often, and thereby "make sense" out of what their spatial orientation senses are telling them. The vestibular organs assist the visual system in tracking objects when the head is moved and the eyes must remain focused on an object. The vestibular system informs the muscles of the eye that a movement of the head has occurred and the eyes must move in the opposite direction at the same speed as the head to keep the object clearly in the same place on the retina of the eye. Anyone who has watched a film when the person holding the camera was jittering the camera can attest to the difficulty of focusing on a moving object when the visual field is not held constant. This ability is called the vestibulo-ocular reflex (Gillingham & Wolfe, 1985). The somatosensory system uses information from muscle tension, pressure on the skin, and position of limbs and other body organs to determine the relationship of the body to motion and gravitational acceleration. This system can also be confused by touch senses that can falsely indicate motion (Campbell, 1967; Jones, 1988). There are a number of vestibular research findings that could impact sporting performance, particularly somersaulting sports. In most somersaulting sports the detection and orientation of the body to gravitational vertical is extremely important. Moving visual scenes have been shown to disorient one's perception of upright vertical (Dichgans, Held, Young, & Brandt, 1972; Lestienne, Soetching, & Berthoz, 1977). The athlete may need to maintain visual contact with some object (e.g. water, floor, snow) while somersaulting and twisting. There is a limit to how fast one can move the head before the eyes fail to see an object clearly. According to one study, this occurs at approximately 60 deg/ sec for most people (Gillingham & Wolfe, 1985). According to another study, the ability to maintain visual stability has been shown to be maintained up to 250-300 deg/ sec, and is adversely affected by vestibular organ abnormalities (Atkin & Bender, 1968). Athletes can somersault and twist at these velocities and higher. The dizziness (Le., nystagmus) after spinning may last as long as 2-3 minutes following cessation of the spin (Malcolm & Melvill-Jones, 1974), but is reduced when the subject performs the rotational movement him/ herself (Guedry, Mortensen, Nelson, & Correia, 1978). Finally, prolonged spinning of a subject can result in some damage to the retina of the eye if the spinning is

January - March 1991 TECHNIQUE

prolonged and at high rates, such as consecutive full circular swings from the knees (hock swings) on the monkey bars (Rabinovitch, McLean, Beck, & Brown, 1978). A study of sports and the vestibular organs showed that abnormalities in the vestibular and ocular (orienting and visual) systems occurred infrequently in athletes, with gymnasts relatively the highest at 15%. Eye tracking tests showed abnormalities most frequently in jumpers, divers, and judoists. An important test of the vestibular organs called a caloric test showed abnormalities when given to judoists (49%), trampolinists (43%), and divers (40%). These same researchers showed that with increasing training the abnormalities increased. The characteristics of the abnormalities were not listed. The vestibular impairments were sufficient that they could be diagnosed early in an athlete's career (Krejcova et aI., 1987). A study specific to diving sought to determine the relationships between spatial orientation ability and the learning of four basic dives by beginning divers (McCormick, 1970). Beginning divers were tested for spatial orientation in layout and tuck positions, detecting upright and inverted vertical, somersaulting forward and backward, and using sighted and un sighted trials. Using a German gym wheel to rotate the harnessed subjects, this study showed that spatial orientation only improved in one of sixteen tests from pretraining to post training. This study determined that subjects were better at detecting gravitational vertical when upright than inverted, sighted was better than unsighted, layout positions were better than tucked, and forward somersaulting was better than backward. The rotational velocity of the rotating device was set at 36 deg/ sec which does not closely simulate the velocity achieved by a somersaulting gymnast or diver performing modern somersault skills. A study of diving was performed by suspending and rotating elite divers in an overhead spotting rig (Dion, 1985). The divers were sighted and blindfolded and hand rotated through 2.5 somersaults and asked to tell the investigator where they thought vertical was. The study concluded that divers tend to note gravitational vertical slightly early relative to actual gravitational vertical. This may have been due to training and the necessity to extend slightly early to precisely time the entry position at vertical. Gabriel (personal communication, 1989) noted that divers tend to line up short of vertical when attempting a dive. This is sought in diving to ensure that the legs enter the water perpendicularly. Moreover, in quoting from a Soviet study she noted that the greater the amount of somersaulting prior to entry, the more apt the diver was to increase the earliness of the opening. She has noted that this is consistent with divers performing real dives while untethered (i.e., notina spotting belt). Gymnastics has effectively discouraged the use of 1 & 3/4 forward and arabian type somersault skills that end in a dive roll (Freudenstein, 1990). The resulting high incidence of catastrophic injuries from this skill has appeared to mark this skill as inordinately dangerous. This skill may suffer from the same type of spatial orientation limitation found in divers which appears to predispose the diver to opening early when beginning the water entry phase of the dive. Opening early on the 1 and 3/4 somersault type skills in gymnastics obviously leads to exposing the head and neck to a severe impact with the ground. TECHNIQUE January - March 1991

The Experiment To shed further light on the subject of spatial orientation in somersaulting athletes a study was conducted at the University of Utah - Motor Behavior Research Laboratory. This study consisted of several tests. â&#x20AC;˘ The tests included an upright standing balance test (stabilometer, Figure 1), an anticipation time test (Bassin Anticipation Timer, Figure 2), a rod and frame test (Figure 3), and tests of spatial orientation while the subject was seated in a specially designed chair that rotated through multiple forward and backward somersaults (Figure 4). The study was designed to detect if somersault trained athletes differed from nonsomersault trained athletes in theit ability to detect gravitational vertical while upright or inverted, rotating forward or backward, while sighted or unsighted. Twenty seven subjects volunteered for this study. Fourteen of the subjects were considered somersault trained (i.e., gymnasts, divers, and freestyle skiers). Thirteen athletic subjects participated who were not somersault trained (i.e., football, rugby, rock climbing, etc.). The rotating chair was constructed by Hanson Planetarium in Salt Lake City, Utah. The chair consisted of a helicopter jump seat with a four point harness that secured the subject. The subject's hands were placed on handle bars immediately in front of the subject. The handle bars were equipped with a transmitter switch for the subject to register upright or inverted vertical. The transmitter and a continuous turning potentiometer were interfaced to a receiver and computer to simultaneously detect a transmitter key press and the position of the chair. The chair was rotated by hand in either the forward or backward (somersault) direction.

Figure 1Stabilometer Test The subject attempts to hold the movable platform exactly horizontal.

Figure 2Anticipation Time Test Lights illuminate down the track toward the subject and the subject tries to press a button the moment the last light is lit.

The chair rotation speed was checked frequently by an independent timer/ counter. The chair was rotated at much higher speeds than those commonly listed in the literature. The range of average rotational speeds was from 237 to 250 deg / sec for all conditions. There were eight different tests performed in the rotating chair in random order based on the combinations of the three experimental conditions. These are listed below in Table 1: Vision Sighted Sighted Sighted Sighted Unsighted Forward Unsighted Backward Unsighted Forward Unsi hted Backward

TABLEl Somersault Dir. Forward Backward Forward Backward Upright Upright Inverted Inverted

Posifion Upright Upright Inverted Inverted

Each subject reported to the Motor Behavior Research Laboratory eight times. The first session included all preliminary tests and one chair test. Considerable problems developed with motion sickness in many nonsomersault trained athletes and a few somersault trained athletes during some tests. Each subject performed five trials of five to eight somersaults per trial (somersaults one through five were used for data reduction). The subject pressed the transmitter key to note upright or inverted vertical, depending on the condition, in all somersaults. Prior to testing the subject was shown, by rotating him/ her in the chair, precisely where upright and inverted vertical were.

Results and Implications

Figure 3Rod & Frame Apparatus The rod in the center is free to rotate as well as the outer frame. The rod and frame are placed off center and the subject is asked to rotate the rod to reflect gravational vertical.

Ten trials of the stabilometer standing balance test of fore / aft balance showed that females were better than males, but there was no difference demonstrated due to somersault versus nonsomersault training. The anticipation time test was used to determine an offsetfor calculating a response bias due to each subject's tendency to anticipate an event. During 25 trials the subject watched a series of lights illuminate in a sequence (Figure 2). The subject's task was to press a button to coincide exactly with when the last light ofthe series was lit. The anticipation time test did not indicate a difference between genders or somersault versus nonsomersault trained groups. The average anticipation time was -0.01 sec. indicating that the subjects were slightly early in their coincident timing of pressing a switch when the finallight was lit. The rod and frame test was performed by a subject viewing a large square luminous frame and a single luminous rod within the frame - in total darkness (Witkin & Asch, 1948). Both the rod and the frame are free to rotate. The frame is rotated and fixed 28 degrees randomly to either side while the rod is rotated and fixed within the frame a random amount. The task of the subject is to tell the investigator which way and how far to rotate the 18

rod until the rod is exactly vertical (Figure 3). An error score is determined by how far off from actual vertical the subject's judgement was. The subjects in this experiment performed twelve trials of this test while seated upright and while lying inverted over a table. This test was designed to partially determine whether the subjects were field dependent or field independent. Some people are dramatically affected by the environment (frame) in determining gravitational vertical (rod), these people are field dependent. Those people who are not affected by the displaced frame (environment) in setting the rod to gravitational vertical are considered field independent. The rod and frame test did not differentiate between somersault versus nonsomersault trained groups, or gender. However, the rod and frame test did differentiate between upright and inverted viewing, with upright viewing showing less error than inverted. Interestingly, several very good athletes were determined to be field dependent including one 1988 gymnastics Olympian. This was not consistent with the findings of Lagasse (Dion, 1985) who investigated the field dependence/ independence of 17 elite divers and found all 17 to be field independent, leading to an interpretation that divers did not rely on environmental feedback. The rotating chair tests were performed on separate days. Each subject was secured in the chair by a four point harness and rotated forward or backward, blindfolded or sighted, and with the task of noting upright or inverted vertical via a transmitter switch interfaced by transmitter to a computer (Figure 4). The major findings of these tests showed that the subjects were better (showed less error) while sighted and noting upright vertical. The direction of the somersault and previous somersault training did not matter. The Sighted and upright results correspond to other investigations (Dion, 1985; McCormick, 1970; Schone, 1984). However, one study also showed tha t forward somersaulting resulted in less error than backward somersaulting (McCormick, 1970). Interestingly, the average error for all conditions indicated that the subjects were always early in their signalling of gravitational vertical. The range of extreme average early errors for individual subjects were quite large at times varying from 53 deg. in unsighted trials to 22 deg. for sighted trials. The range of extreme average late errors was 55 deg. for un sighted trials to 12 deg. for sighted trials. This indicates that error in detecting the gravitational vertical can be quite large, certainly large enough to compromise the safety of an athlete while trying to land or enter the water.

Conclusion This experiment has demonstrated that, in a nonthreatening situation (Le., strapped in a chair), both somersault trained and nonsomersault trained athletes can detect gravitational vertical about equally. The role of sight and upright orientation to precision in spatial orientation has been further confirmed in this study. Moreover, even at angular velocities simulating those of somersaulting; the important role of vision and upright orientation can still be seen. Future research is going to investigate the role of field dependence/ independence and rotational position. The acquisition of a "Gyro" from Gyro North America has greatly facilitated the testing of various body positions and orientations. Unlike the forced sitting position of the rota ting chair, the Gyro allows the subject to assume layout and other positions The ability of divers and gymnasts to locate the gravitational vertical by multisensorial means is a fas-

January - March 1991 TECHNIQUE

)

cinating and important problem. The fascination lies in the integration of these sensory systems and the apparent ease with which humans learn and perform complicated and dangerous skills with them. The importance lies in the fact that the systems can be overloaded and/or the athlete can make a catastrophic mistake. It is my hope that future research will uncover some of these aspects and make such activities better understood and safer.

References Atkin, A., & Bender, M.B. (1968). Ocular stabilization during oscillatory head movements. Archives of Neurology, 19, 559-566. Berthoz, A., Pavard, B., & Young, L.R (1975). Perception of linear horizontal self-motion induced by peripheral vision (linearvection): Basic characteristics and visual-vestibular interactions. Experimental Brain Research, 23, 471-489. Campbell, P.A. (1967). What has space experience taught us about disorientation. In Lectures in Aerospace Medicine (pp. 139-149). Brooks Air Force Base, TX: USAF School of Aerospace Medicine Division. Dichgans,J., Held,R, Young, L.R,&Brandt, T. (1972) . Moving visual scenes influence the apparent direction of gravity. Science, 178, 1217-1219. Dion, D. E. (1985). Prediction de la performance de /'athlete d'elite

en Plonqeon par /'entremise de parametres anthropometriques et biomecaniques. Unpublished doctoral dissertation, University of Laval. Freudenstein, S.A. (1990). Floor exercise and tumbling (men) . In G. S. George (Ed.), USGFSafety Manual (2nd ed., pp. 8387). Indianapolis, IN: U.s. Gymnastics Federation. Gabriel, J.L. (1989). Additional spatial orientation references for competitive diving. (Personal Communication, May 24,1989). Gillingham, K.K., & Wolfe, J.W. (1985). Spatial orientation in flight. In R L. Deltart (Ed.), Fundamentals ill aerospace medicine (pp. 299-381) . Philadelphia, PA: Lea & Febiger. Guedry, F.E., Mortensen, CE., Nelson, J.B., & Correia, M.J. (1978). A comparison of nystagmus and turning sensations generated by active and passive turning. In J.D. Hood (Ed.), Vestibular Mechanisms in Health and Disease (pp. 317-325). New York, NY: Academic Press. Ito, T., & Sanada, Y. (1965). Location of receptors for righting reflexes acting upon the body in primates. The Tapanese Journal of Physiology, 15, 235-242. Jones, L.A. (1988). Motor illusions: What do they reveal about proprioception? Psychological Bulletin, 103(1),72-86. King Hogue, M. (1990) . Body awareness and spatial orientation. In J. L. Gabriel (Ed. ), U.s. Diving Safety Manual (pp. 97-103) . Indianapolis, IN: U.s. Diving Publications. Krejcova, H ., Jerabek, J., Bojar, M., Tutzka, E., Cerny, R., & Polechova, P. (1987). Influence of sports load on the vestibular apparatus. In M.D. Graham & J.L. Kemink (Eds.),

The Vestibular System: Neurophysiologic and Clinical Research (pp. 133-139). New York, NY: Raven Press. Lestienne, F., Soetching, J., & Berthoz, A. (1977). Postural readjustments induced by linear motion of visual scenes. Experimental Brain Research, 28, 363-384. Malcolm, R, & Melvill-Jones, G. (1974) . Erroneous perception of vertical motion by humans seated in the upright position. Acta OtolaIYn~ologica, 77, 274-283. McCormick, J.H. (1970 . The relationship between position sense and beginning diving ability. Unpublished doctoral dissertation, Indiana University. Melvill-Jones, G ., & Watt, D.G. (1971). Observations on the control of stepping and hopping movements in man. Tournai of Physiology, ill, 709-727. Rabinovitch, P., McLean, E.B., Beck, G.R., & Brown, A.C (1978). Recurrent pre-retinal hemorrhages following a negative "g" maneuver on school playground equipment. The Tournai ill Pediatrics, 92, 846-853. Schone, H . (1984) . Spatial Orientation. Princeton, NJ: Princeton University Press. Shupert, CL., Lindblad, LM., & Leibowitz, H.w. (1983). Visual testing for competitive diving: A two visual systems approach. In D. Golden (Ed.), Proceedings of the 1983 U. ~ Diving Sports Science Seminar (pp. 100-115) . Indianapolis, IN: U.s. Diving. Witkin, H.A., & Asch, S.E. (1948) . Studies in space orientation: III. Perception of the upright in the absence of a visual field. Journal of Experimental Psychology, 38, 762-782.

Important Notice to USGP Members The following Membership Statement has been adopted by the Board of Directors of the United States Gymnastics Federation: Membership in the United States Gymnastics Federation (USGF) is a privilege granted by the USGF. That privilege can be withdrawn by USGF at any time where a member's conduct is determined to be inconsistent with the best interest of the sport of f51Jmnastics of the athletes we are servicing.

An individual who's membership with the USGF has been suspended or, terminated, may NOT: 1. Participate in USGF sanctioned programs or events; 2. Provide instructions to USGF member athletes; 3. Be an employee or owner of a USGF club; or 4. Again apply for membership in the USGF.

At times the USGF may find it necessary to initiate the following actions regarding individ ual membership in the USGF: 1. place member on probation; 2. suspend membership; or 3. terminate membership.

SUSPENDED - with no rights of membership with the USGF. Mr. Robert Garner, Hickson, TN TERMINATED - and prohibited from ever regaining membership with the USGF. Mr. Rick Feuerstein, San Marcos, CA

TECHNIQUE JanuanJ - March 1991

Official Notice, effectively immediately:

Figure 4 The Rotating Chair. The chair in this figure shows the subject nearly inverted while rotating. The transmitter key is placed on the handle bars. Subjects wore ear phones to remove sound as a cue to position.

'91 World Championships Event

FIG Scientific/Medical Symposium - - - - - - - September 12 -14, 1991 F.I.G. Scientific and Medical Commission: Dr. Michel Leglise Prof. Dr. Nicola Hadjiev Site Coordinators: Dr. William Sands Dr. Gerald George Dr. Merrill A. Ritter Steve Whitlock Site Location: Indianapolis Convention Center In conjunction with the 1991 World Gymnastics Championships (at competition site) Indianapolis, IN

Theme: Gymnastics Chronic Trauma

Traumatologie Chronique

General Schedule: Part I - Professional Session - Scientific Methodology Thursday, September 12, 19919:00 am - 1:00 pm Part II -Professional Session - Scientific Medical Friday, September 13, 1991 8:30 am - 11:30 am; 1:00 pm - 3:30 pm Part III - Athlete session - Medical Information for the participating gymnasts in the World Championships SYMPOSIUM PROGRAM Thursday, September 12, 1991 (9:00 am - 1:00 pm) Welcome and Opening: Mr. Yuri Titov, President of F.LG. Mr. Mike Jacki, 2nd Vice President FLG and President of the Organizing Committee, Indianapolis '91 Session President: Prof. Dr. Nicola Hadjiev, Member F.LG./E.C., President of Scientific Commission Moderators: Dr. Michel Leglise Dr. Gerald S. George Introd uctory Report: Gymnastics Chronic: Methodological Aspects. (Gymnastique et traumatisme

Audience: • Medical Personnel including: Physicians, Physical Therapists, etc. • Sport Scientists, including: Sport Psychologists, Exercise Physiologists, etc. • Gymnastics Professionals, including: Trainers (coaches), Judges, Gymnastics Administrators, etc. chronique) Speakers: • Prof. Dr. Nicola Hadjiev The F.I.G. Commissions have invited participation in this Symposium by internationally Theme 1/1: The relationship between chronic trauma and training methods. (Methodes recognized sport scientists and members of the d' entrainement et traumatisme) medical community with specialization in sport - in particular, gymnastics. • Speaker from the USSR Gymnastics Federation Language: The Symposium will be offered in English, Theme 1/2: Recovery - the training methods to return to peak performance after trauma. French and Spanish. Publication(s)*: (Traumatisme et rehabilitaion) • A synopsis of the proceedings and papers • Speaker from the United States Gymnastics Federation will be published and provided for all SympoTheme 1/3: TheF.LG.CodeofPointsrequirements sium registrants. and traumatism. (Reglement pour juges et • A complete compendium of the papers and traumatisme) panels will be published and available for purchase by Symposium registrants and F.LG. • Speaker from the Italian Gymnastics members at a later date. Federation Entrance Fees: Theme 1/4: Gymnastics apparatus and chronic 1. Free for all World Championships particigymnastics injuries. (Agres Gymniques et traumatismes) pants with Official Accreditation. 2. Each Delegation will be provided two addi• Speaker: Mr. S. Fisher, V.P./F.I.G. tional passes to the Symposium. Theme 1/5: The relationship between practical 3. All other participants will be required to organization of competition and gymnastics injury. (Organisation de la competition et traumatisme) register and pay a fee of $50.00 • Speaker from the German Gymnastics Federation 20

January - March 1991 TECHNIQUE

Friday, September 13, 1991 (9:00 am - 1 :00 pm) Session President: Dr. Michel Leglise, President of the F.I.G. Medical Commission Moderators: Prof. Dr. Nicola Hadjiev Dr. Merrill A. Ritter, M.D. Introductory Report: Gymnastics Chronic Trauma - Medical Aspects. (Facteurs d'evolution de la pathologie articulaire chronique) • Dr. Michel Leglise Theme 2/1: The relationship between growth and chronic trauma in gymnasts. (Traumatismes chroniques et croissance osseuse) • Speaker: (To be announced) Theme 2/2: Chronic pathology of the spine. (Pathologie chronique de la colonne verte'brale) • Speaker: (To be announced) Theme 2/3: Surgical applications in the treatment of chronic trauma. (Chirurgie et pathologie articulaire chronique des membres) • Speaker: (To be announced) Theme 2/4: Physiotherapy and kinetic therapy - Education and rehabilitation through proprioceptive techniques. Stretching and chronic trauma. (Kinesithirapie - Education et reeducation - Le sens proprioceptif Ie stretching) • Speaker: (To be announced) Theme 2/5: Importance of the environmental factors in chronic trauma. (Problemes de securite -Importance de I' environnement dans la survenue de la pathologie chronique) • Speaker (To be announced) Theme 2/6: Hygienic and dietetic relationships to chronic trauma. (Problemes d 'hygiene: incidence dans la survenue d'une pathologie chronique.) • Speaker (To be announced)

F.I.G. Scientific and Medical Symposium

Call for Speakers Federations and/ or individuals interested in being considered as a speaker in the 1991 World Gymnastics Championships Scientific and Medical Symposium MUST provide the following general information. Participation Requests due: February 15, 1991 Final selection by the F.I.G. Scientific and Medical Commission will be made after: March 15, 1991

1---------------------, FIG Medical Symposium Speaker Registration Form

Name: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Title_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Address,_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ City_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ State/province._ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Country_ _ _ _ _ _ _ _ _ _ _ _Mail Code_ _ _ __ Personal phone: (Area)

(No) _ _ _ _ __

Federation_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Contact person at Federation_ _ _ _ _ _ _ _ _ _ _ _ __ Name: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Title_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Address_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Ci~-------------------State/province_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Country_ _ _ _ _ _ _ _ _ _ _ _.M ail Code_ _ _ __ (No) _ _ _ _ __

Personal phone: (Area) Additional Information for Potential Speakers: • Presentations will be limited to 15 minutes. • The Commission invites submissions relative to practical applications of scientific research and/ or summary of specific gymnastics data relative to the theme of Chronic Trauma. • For consideration of participation, the Commission must receive a summary or abstract in English and French (limited to not more than one page in length). • Upon notification of acceptance as a speaker, additional information will be sent concerning: Deadlines, Audio-visual aspects and manuscript preparation requirements. NOTE: • The Commission encourages the National Federations to include Symposium Speakers as Official Members of their W.e. Official Delegation. • Individual speakers will NOT be provided transportation, lodging, per diem, etc. to attend this Symposium by the F.I.G. • Registration fees will not be required by the speakers. TECHNIQUE January - March 1991

I wish to Present: Day Theme No. (circle) Sept. 12 1/1 1/2 1/3 1/4 1/5

Sept. 13

2/1

2/2

2/3

2/4

2/5

Topic/title

2/6

Please return this completed form to: F.I.G. Symposium United States Gymnastics Federation, Pan American Plaza, Suite 300 201 S. Capitol Avenue, Indianapolis, IN 46225 (317) 237-5050 I _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ --.1 21

Rhythmic Sportive Gymnastics

New Requirements for Bonus Points Dr, Andrea B. Schmid San Francisco State University Member FIG/RSG/TC

n order to obtain more objective judging and encourage more interesting choreography, the Federation of International Gymnastics Rhythmic Sportive Gymnastics Technical Committee (FIG/RSG/TC) has changed the requirements for receiving bonus points for originality, risk and virtuosity.

ceptional amplitude. There should be technical perfection in both apparatus handling and body movements in the entire routine. This inludes harmony of movement and music, ease of execution, beauty and lightness in style, fluidity and exceptional flexibility and muscular control.

1. Originality:

Distribution of 10 points:

0.10 pt. for an original superior difficulty element, plus 0.10 pt. for an overall original exercise (music and movements).

These new rulings have changed the distribution of points.

To earn full credit for "originality," the exercise must contain an original superior difficulty and an original composition. Original composition refers to the quality of music (its character and its rhythmic components) that blends with the character and expression of the movements of the gymnast. The rhythmic structure of the musical composition must correspond with the gymnast's performance.

2. Risk: 0.10 pt. for a minimum of 2 elements of risk, plus 0.10 pt. for a superior difficulty risk element. A bonus of 0.2 for "risk" will be awarded when the composition includes three risk elements executed flawlessly (one of which must be a superior difficulty).

3. Virtuosity:

A - Composition: Technical valueVariety - Music Bonus - Originality Bonus - Risk

Maximum 6.80 pt.

B - Execution: Technical- Execution Bonus - Virtuosity

Maximum 3.20 pt. 3.00 pt. 0.20 pt.

6.40 pt. 0.20 pt. 0.20 pt.

Maximum 10.00 pt. The above changes will encourage better harmony between the music and movements, as well as more interesting choreography and risk taking elements. In addition, it will allow more objective evaluation, and will better distinguish between the excellent, the very good, and the merely good gymnasts.

NOTE: This will go into affect for the USA Rhythmic program as of January 1, 1991. -N.H.

0.20 pt. for an entirely flawless exercise. A bonus of 0.2 for "virtuosity" will be granted only if the exercise is performed flawlessly and in its totality is performed with great ease and ex-

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JanuanJ - March 1991 TECHNIQUE

Gymnastics Club Business

Getting Good People Part I Clarifying The Interview Process Hello gym club owners. I trust that you have been able to buck the economic trends at force in our economy and are having a good winter so far. Things are great here in Cincinnati, even the weather! As I write this article, it is a sunny, 64° day! We don't get these in December very often, and I appreciate it! My name is Jeff Metzger. I am founder /president of Queen City Gymnastics Center, Inc., Cincinnati, Ohio- and have been so for the last 15 years. Although my background probably mirrors yours (gymnast, coach, owner, in that order), perhapslamnotthe typical gym club owner in the sense that I really love the gym club business. Let's face it, many (most?) gym club owners consider the business a "necessary evil" which exists out of necessity only to support the team. In case that sounds like I am anti-teams, that is not correct. Queen City both has boys and girls teams and always will. It is the "necessary evil" mentality that I find distasteful. I have it on good authority - YOU - that the unequivocal #1 problem facing gym club owners today is Getting Good People. This monstrously broad topic includes: 1) ATTRACTING people; 2) SELECTING the right ones, and 3) KEEPING them once you've got them. This article concentrates on one aspect of the selection process, the interview. Interviewing is an art learned through study and practice. To learn more about it, let's clarify what we are trying to accomplish in an interview. Simply stated, we are trying to gather information. This information can be divided into four categories.

Four Categories of Information You Need To Gather #1 Beliefs, Values and Principles: I consider this category of information the most important (and most difficult) to elicit. In my club a person can exist (and even thrive) with a mismatch. Plus, we can train when technical knowledge is lacking, but the basic beliefs and values must align or there is no hope for success. In short, during the selection process, more than anything else, I want to establish the way a person believes the world works. #2 Quantity and Quality of Technical Knowledge: This information is obviously very job specific. Interview questions must be designed to learn TECHNIQUE Januan) - March 1991

if, in fact, the candidate possesses the specific knowledge required to perform the job/position you have available. The open-ended method of questioning described below should be utilized as much as possible. In addition, when possible, I recommend inviting the candidate to teach in your club (one, two, or more classes) so you can evaluate the candidate "in action." #3 The Candidate's History: I believe history repeats itself (eventually); A leopard (almost) never changes its spots. Cliches sometimes do serve a purpose and I've added my own italics to allow for the rare exceptions. The point to remember is that you should learn as much as possible about a candidate's job and personal history because his future performances will (almost always) mirror his past performances. #4 The "Degree of Match:" This is a snarly issue for small businesses like ours since the reason for a "mismatch" could be in a legal grey zone. For example, an obese person may not fit into the image you want for your club; but, failure to hire based on appearance could be argued as being legally discriminatory. There are many more examples of mismatches which could be legal quagmires, and it is necessary that you become aware of the hiring laws in order to avoid the traps that innocent, non-prejudiced, honest club owners can fall into. For this article, suffice itto say that your concern is to choose an individual who has needs, wants and goals which match the job/position you have available. Legalcaution should be exercised.

The Interview The Atmosphere: I prefer an informal interview, absolutely void of intimidation tactics or gimmicks. I want, as much as possible, for the interview to seem like a "chat." The first thing I do is offer coffee or a soft dring. Even if the candidate declines, I accept my own offer and I leave the office and get it myself. This gives the candidate an opportunity to feel more comfortable by glancing around and see my kid's drawings on the wall, etc. Sometimes, if appropriate, I will tour the candidate around the facility, making this trek seem like a "pre-interview chat," when in reality I am heavily into the interview. As much as possible, my goal is to have the interview procede in a manner whereby, to the very last minute of the interview, the candidate is thinking, "When is this interview going to start?" 23

Je££ Metzger Founder /President, Queen City Gymnastics Center, Inc., Cincinnati, OH

How Much to Reveal the Job/Position: Do not reveal what personal qualities you are looking for until youhave made at least preliminary decisions about the candidate. Doing so will influence the candidate's answer because you have "told them the right answers." Do be specific about the responsibilities and realities of the job. Don't sugar coat things. It is a grave mistake to gloss over the down side of a job/position. Far better to tell it like it is - and then some. Spotting Lies: There is sometimes a tendency to overlook small lies about insignificant points. Don't! Any lie is significant because it speaks about the principles of the candidate -likewise for twisted or half truths. Spotting lies takes practice. First, establish the candidate's "baseline" communication style. Note voice qualities (volume, pitch, speed), frequency of eye contact (normally about 50%-70%), rapidity of eye blinking, complexion color, etc. Any changes in these baseline indicators, as well as stress induced gestures such as fidgeting, shifting in chair, or tugging on ear indicate increased stress. Tiny beads of sweat are dead give-aways! These reactions should red flag a specific response,..indicating you should delve deeper. While talking about lies, I would like to comment on references. Generally, candidates offer references who will speak highly of them. I do ask for references on our job application form, but follow up on few of them. I have found it more valuable to do my own detective work by phoning

(not writing) former employers, co-workers, etc. who may be casually mentioned during the interview (but not used as references). The information I receive from these people I consider very confidential for the sake of the helpful third party. Use Open-ended Questions: Probably the most valuable technique to get a candidate to "speak from the heart" is asking well chosen, open-ended questions. An open-ended question has no implied right or wrong answer. It is designed to be difficult to answer in one word and, therefore, tends to make the person talk more, rather than less. After asking an openended question you can often get revealing elaborations with, "Tell me more," "Is that so," "That's interesting," or tactical silence. Interpreting the Interview: I am far more interested in the beliefs, values, and principles of a candidate than the factual technical knowledge they possess. IfI have learned one thing for sure in 15 years, it is to pass by a candidate no matter how good they "sound" if I have any uneasiness about these soft issues. "Listen between the lines" and trust your gut feelings - they will prove correct 99% of the time. Hopefully these thoughts help clarify the interviewing process and stimulate thought. Getting Good People - Part II will deal with additional questioning techniques as well as the specific questions I use to elicit heartfelt answers. Make it a good spring! Jeff.

Women's Junior Olympic Program Survey The Jr. Olympic Program Committee is preparing for the next compulsory cycle. Originally, it was proposed that the Developmental Levels I - IV and the Competitive Levels 5, 6 and 7 would remain the same (with the exception of new music for Floor Exercise). The Committee wants input from YOU, the gymnastics professionals, as to any concerns with the present overall program, specific elements and / or the evaluation process. Please complete BOTH pages of this questionnaire (and any additional comments that you may have). Return deadline is MARCH I, 1991. Mail or FAX to: Connie Maloney, USGF J.O. Program Coordinator 201 S. Capitol, Suite 300 FAX: 317-237-5069 Indianapolis, IN 46225

I am/have been a

Please circle all that apply: COACH JUDGE ADMIN.

My state is

My Region is_ __

Number of years as above Please circle all that apply:

With what Levels are you presently ACTIVE as a Coach or Judge? I-IV What Levels did your gymtrain/compete in the 1989-90 season? I-IV

What Levels is your gymcompeting this season ('90-91)

I-IV

6 6 6

7C 7C

8 8

9 9

10 Elite 10 Elite

10 Elite

January - March 1991 TECHNIQUE

BELOW, please indicate any changes in content or evaluation that you would like to be considered, using the following key: Difficulty Evaluation 1= Element Too Difficult 3 = Deductions too severe 5 = Change Value of Element 2 = Element Too Easy 4 = Inadequate Deductions N/C = No Change NlC = No Change Please REFER TO SPECIFIC ELEMENTS and/or DEDUCTIONS, if you recommend change. Example: Difficulty Evaluation Level 6 Floor NC 3-Back Walkover

LEVELS I路 IV

Difficulty

Evaluation

LEVEL 6

VAULT

BARS

BEAM

FLOOR EX.

LEVEL 5

Difficulty

Evaluation

LEVEL 7

VAULT

BARS

BEAM

FLOOR EX.

YES NO NO OVERALL PROIGRAM Agree Disagree Opinion Comments: Development I 路IV 1. Develops good skill foundation. 2. Provides good incentive program. 3. Easy to move through the levels. 4. Provides good criteria for competitive readiness. Competitive Levels 1. The number of Compulsory Levels is just right. 2. The number of Optional Levels is just right. 3. Maintain present Mobility Scores. 4. Raise the mobility scores (If yes, indicate level & score in comments) 5. Lower the mobility scores(lf yes, indicate level & score in comments). 6. Mobilitv throuQh the present prOQram is easy. 7. Maintain present Qualifying Scores at Level 9 and10. 8. Would you like Level 7 to be an Optional level with specific elements required? 9. Level 7 Optional 路maintain difficulty restrictions? 10. Level 8 -maintain difficulty restrictions? 11 . Level 10-maintain as a Compulsory/Optional Level? 12. If given the opportunity to compete Round-off entry vaults at LAVAl 1n woulrl vou? 13. Round-off entry vaults should be allowed at Level 9 and 10. 14. If Round-off entry level vaults were allowed, there should be restrictions based on coaches' past competency to produce high-level competitors. 15. Level 10 Child/Jr. division should do Compulsory Element! Sequence testing instead of compulsory routines. 16. Level10-Maintain 2 separate National meets. 17. Have one combined (Jr./ Sr.) J.O. National meet. 18. The new dance work-out program should be non-competitive 19. Level 5 and 6should have amaximum value of less than 10.00. 20. All-Around performance should be required at Sectional & above meets. 21 . Event specialists should be allowed to participate in USGF meets, up to State level. 22. Overall, I am pleased with the J.O. program.

TECHNIQUE January - March 1991

Men's Technical

------

1992 Compulsory Skill Analysis There are always a few critical skills in the compulsory exercises that will separate the good gymnast from the excellent. Even among these skills, some are more critical because the amplitude of performance may have a significant effect on the execution of the following skill. Sometimes, it will simply set-up the next skill to be performed with greater amplitude. In another case, the final body position of the skill might allow for the a pplica tion of a totally different technique in the execution of the subsequent skill. This article will examine the Cast Forward to Inlocate (to handstand) on the rings. Gymnast A in Illustration I demonstrates an excellent technique from a relatively small cast forward to inlocate up to the handstand position. The efficiency of this technique will be discussed step by step.

Mas Watanabe USGF Senior Men '5 Technical Coordinator

Illustration I - Cast Forward (Figures 1-5) 1. The cast is relatively small and does not show

tremendous amplitude. But, overall, the lifting and casting action appears to be smooth and efficient. From a slight turn on the rings, it may be observed in Figure 1 that the straps appear to be touching the forearms during the down swing. Coming down from the handstand position without the forearms touching the straps requires a totally different type of strength from the cast itself. This strength must be developed separately (see suggested exercises).

Illustration I

2. In order to achieve better amplitude in Figure 4, stronger lifting action (beat action) through the bottom is required. This vigorous kicking motion will require additional support strength in order to be executed properly (see suggested exercises). 3. The most important technical execution points in Figures 1-5 include: a. The gymnast leaves the toes highly elevated as the body starts to descend. Note: Excessive body opening action occuring in Figures 4-6 would causes a rapid drop in the toes - this then, has a significant effect on the timing of the beat through the bottom. b. The gymnast keeps pressure on the rings during the push out to the side. c. The shoulders should not be thrust too far forward - particularly during the segment between Figures 4 and 5. Note: Thrusting the shoulders too far forward results in a very rapid drop of the body with very little pressure on the rings.

Body lowering phase (Figures 6-8) 1. This is one of the critical phases in the entire sequence - as the bod y is in transition between support and hang positions. 2. During this phase, the most critical point is the treatment of the rings: a. The rings should be pushed sideward and downward without loosing pressure on the ring straps. b. Place the rings approximately in line with the shoulders in order to ensure a smooth and controlled transition from support to hang. 3. The angle relative to the vertical line between the shoulders and the toes should be maintained through this transition. NOTE: Lowering the shoulders slightly faster than the toes is an acceptable technique providing that the pressure on the rings is maintained. 4. The body needs to stay very tight during this phase in order to ensure proper position.

Illustration II Illustration II is a comparison between gymnast A (from above) and gymnast Bin the transition between support and hang phases. Gymnast B represents some common faults and technical deficiencies. 1. Figure 1 a. The shoulders are thrust too far forward to maintain proper pressure on the rings. NOTE: the straps show slight slack as a result. 2. Figure 2 26

Januanj - March 1991 TECHNIQUE

position as quickly and as smoothly as possible. In this way, the power that is generated in the down-swing will be transferred efficiently by elevating the body toward a handstand position.

Gymnas B

Backward swing (Figures 13-15) 1. The body starts to turn when the backward

Gymnas A

(Vertic I line is ring pright)

Illustration II a. Slack in the straps is very apparent at this point. b. The distance between the rings and the upright is fairly large at this point (the distance is about equal for both gymnasts) and the movement of the rings seems to be in the right direction. However, the body of gymnast B is descending very quickly due to the lack of pressure on the rings. 3. Figure 3 a. It is evident that the distance between the rings and the upright, for gymnast B, is closing rapidly as the hanging position is attained. The close distance in this position indicates that there will be very little forward movement of the rings during turnover of the body through the bottom of the swing (see the technical comparison for Illus. IV). b. An important aspect that is not apparent ~ this drawing is the tightness of the body m this position. It is difficult to maintain a tight body position unless the athlete has been able to maintain pressure on the rings.

kick is initiated as shown in Figures 13-18. 2. The following factors contribute to a smooth and efficient turn-over at the bottom: a. Continuous downward pressing of the head. b. Very rapid forward movement of the shoulders. c. Smooth arching action initiated in the lower back. 3. The rings should stay shoulder width apart during the initial stage of the turn-over. NOTE: Separation of the rings at this point would result in elevation of the shoulders which would slow down the body turn-over. Shoulder flexibility is an important factor in this position. 4. By the position in Figure 15, the rings should be turned outward (turning the thumbs forward) to lighten the pressure on the shoulder joints.

Backward swing (Turn-over) (Figures 16-18)

1. The majority of body turn-over occurs durmg

this phase. 2. The head should continuously press down while the heel drive action facilitates rapid body turning. 3. Although the rings are starting to move apart at this point, it is essential to keep them as close as possible until body turn-over is suffic~ent足 to the point where the center of graVIty becomes higher than the shoulders.

Illustration III Downswing to the bottom (Figures 9-12) 1. The Figures in Illustration III demonstrate how

the body should be shaped during this phase. The dark thick line represents where the primary curvature of the body should occur. NOTE: it is very noticeable from these figures that the body should be rounded initially in the upper chest. This rounded point will smoothly shift toward the lower back to ensure a powerful whip-like motion through the bottom of the swing. 2. The small arrow in front of the body indicates the direction and pressure of the head - primarily forward and downward during this phase. 3. Maintaining pressure on the rings backward while moving the head downward will naturally stretch the shoulders to the fullest. This will assist in maintaining a firm body position. The main objective of the swing through the bottom is to rotate the body into the inverted TECHNIQUE January - March 1991

Illustration IV Illustration IV is a comparison of gymnast A and gymnast B in the turn-over phase. 1. The small arrow in front of the head represents the direction of the force and the head movement; Downward pressure of the head not only facilitates the body turn-over, but also delays separation of the ring. 2. Gymnast B appears to be pushing the rings out and initiating separation as early as in Figure 1. Very rapid shoulder rise is evident in Figures 2 and 3 which slows body turn-over. In contrast, Gymnast A is turning over very quickly. It is 27

Illustration III

Gymt)ast B

, Gymnast A

Illustration IV

evident that the center of gravity is well above the shoulders when they begin to rise - separation of the rings. 3. Comparing both gymnasts in Figure 2, marked differences in ring position can be observed. The position of the rings for gymnast A is significantly farther forward than for gymnast B. This is due to the position established in Figure 3 (Illustration II) where gymnast A is able to keep pressure on the rings during transition (from support to hang) as well as keeping the rings farther back. This promotes rapid movement of the rings forward as the backward swing is initiated. Thus, the gymnast is able to achieve better leverage in turning the body over quickly.

Uprise to handstand (Figures 19-23) 1. Once the body turns over effectively through

the bottom and the downward force is transferred upward, continuous pressure down on the rings should take the body into the handstand position. 2. However, gymnast A shows a secondary arch in his lower back in Figures 21 and 22. This is perhaps an indication that the momentum he has generated through the bottom is not strong enough - or that he is not quite strong enough in the press position (see suggested exercises). 3. During this phase, the rings should be pressed down and brought around slightly behind the shoulders rather than directly to the side or front. This provides better leverage for the press to handstand and increases body rotation.

Summary It is evident that this sequence can be executed with ultimate amplitude ending in the handstand position, without resorting to brute strength. However, to accomplish this requires refinement of certain technical aspects in certain segments. Shoulder flexibility plays an important roll in the application of efficient technique - continuous improvement in range of motion in the shoulders is essential. Finally, strength development (par28

ticularly in the support position and inverted cross) is critical to successful execution. Suggested exercises and drills are described in the next section to develop the strength required for executing this sequence properly.

Suggested Exercises and Drills 1. Lowering the body from a Handstand to Sup-

port position. a. The arms must remain free of the straps. b. The rings should remain shoulder width apart. c. The body must remain a slightly ARCHED position throughout. Note: During the course of a workout there are a number of times that a gymnast simply comes down from a handstand to support position at the end of a skill or sequence. These opportunities should be used to develop this particular strength, besides working on the exercise itself. 2. Support swing to Cast Forward (performed on low rings). a. Repetitions of support swing using a slight beat action. Note: Piking of the hips should be initiated after the bottom of the swing. b. From a support swing(s), cast forward. Note: A slight shoulder dip through the bottom of the swing should be used to facilitate the leg and hip lifting action during the cast. c. Body lowering from a castforward (without losing pressure on the rings. Note: This portion of the drill should be done with a spotter. The spotter should assist by slowing the gymnast and help to maintain proper position. 3. Underswing to body turnover. a. Simulate the positions in Illustration I, figures 8-17, initiated with a basic underswing. Note: The main purpose of this drill is to develop efficient body turning action through the bottom of the swing, therefore, shoulder lifting must be kept minimal. b. All technical aspects of this phase that have been discussed previously (keeping the head down, body rounding, timing of ring separation, etc.) must be emphasized to a great extent during this drill. 4. Body lifting exercises (low rings) a. From a front leaning support, with feet on an elevated surface, lower the body by pressing the ring directly to the side (chest below the rings) and raise back up to support. Note: It is more effective to do this exercise with a spotter. The spotter can adjust the height of the feet according to the strength and body position of the gymnast. The gymnast should also try to elevate the chest as high as possible at the end of the drill. b. From an inverted cross, press up to a handstand. Note: This exercise is also easy to work using a spotter. the spotter should assist by elevating the shoulders as the gymnast moves upward from the inverted cross. January - March 1991 TECHNIQUE

Men's Research

Development & Prognosis of Elite Routines Artistic gymnastics is among the oldest Olympic sports. Gymnastics competition was included in the first Olympic Games in Athens in the year, 1896. An addition, four men's gymnastics teams, representing France, Luxembourg, Netherlands and Belgium competed in the first World Championships in 1903 at Antwerp, Belgium. From this time, participation in artistic gymnastics spread to many different countries. Presently the International Gymnastics Federation (FIG) has jurisdiction over gymnastics in more than 90 countries. Many of these participate in international competitions, i.e. World Championships and Olympic Games. Gymnasts, especially in the most recent World Championships and Olympic Games, have shown a very high level of performance. This high level has been possible for many reasons, including improved training conditions, such as improved quality of apparatus and mats; improved training methods due to research; and a greater exchange of ideas among coaches from different countries. In my extended research, I have developed two goals: 1. to learn the development of difficulty and structure of routines performed by elite gymnasts in each event beginning with the first World Championships and Olympic Games up until the World Championships in Stuttgart in 1989. 2. to develop a prognosis of difficulty of routines for elite gymnasts in each event for tow Olympic cycles.

Method of Research In order to learn the development of difficulty and structure of routines performed by elite gymnasts in each event beginning with the first World Championships and Olympic Games the following methods were used: a. survey of the literature b. personal dialog with former elite gymnasts and experts who participated at World Championships and Olympic Games. c. analysis of films and video tapes. d . use of personal records of World Championships and Olympic Games from the past 30 years. e. mathematical and statistical methods. Presently, itwas difficult to find records of routines, especially prior to the Second World War. For this reason, Czechoslovak gymnastics rou tines, which were considered to be among the best in the world, were analyzed. Czechoslovak teams were world champions in the years 1907, 1911, 1913, 1922, 1926, 1930, 1938; in the years 1909, 1924, 1934 placed second, and in the year 1948, placed sixth. From the time of the Olympic Games in 1952, only finalist's routines, i.e. the first six places and most recently, the first eight places, were analyzed. Difficulty and structure of every routine of the finalists were evaluated according to the rules of the International Gymnastics Federation (F.I.G.) which applied from the year 1985. Elements and combinations of routines were

TECHNIQUE January - March 1991

evaluated according to difficulty ratings of A, B, C, D, and besides this, the most simple elements which would according to present day rules have had no value, were categorized as N, meaning no difficulty. Besides analyzing the finalists, some of the gold medal winners of the World Championships and Olympic Games were also evaluated. For prognosis, exponential, linear, quadratic equations and S curve were used . Development, Structure, and Prognosis of Difficulty of Routines on Floor Exercise: The following observations were made from the median values of difficulty of the finalists at the World Championships and Olympic Games. 1. Elements without difficulty (N). The highest number of N elements, 30, were recorded at the World Championships in 1938. The lowest number, one, was recorded at the World Championships in 1958, 1978,1989. 2. Elements of A difficulty. The highest number of A elements, 18, were recorded at the Olympic Games in 1960. The lowest number, 8, was recorded at the World Championships in 1938. 3. Elements of B difficulty. The highest number of B elements, six, were recorded at the World Championships in 1966 and at the Olympic Games in 1964. The lowest number, one, was recorded at the World Championships in 1981, 1983 and at the Olympic Games in 1936. 4. Elements of C difficulty. The highest number of C elements, three, were recorded at the World Champions hips in 1989 and attheOlympic Games in 1984. The lowest number, one, was recorded at the World Championships in 1938, 1970 and at the Olympic Games in 1936, 1970 and 1976. 5. Elements of D difficulty. The highest number of D elements, three, were recorded atthe Olympic Games in 1988. The lowest number, one, was recorded at the World Championships in 1970, 1974, 1978, 1979 and at the Olympic Games in 1976 and 1984. Structure of routines: The following observations were made from the median values of structure of the finalists at the World Championships and Olympic Games. 1. Swing elements. The highest number of swing elements, 33, were recorded at the World Championships in 1938. The lowest number, 10, was recorded at the OlympiC Games in 1948. 2. Strength elements. The highest number of strength elements, two, were recorded at the World Championships in 1938 and at the Olympic Games in 1936 and 1948. In other years, except the World Championships in 1962, only one strength element was recorded. 3. Hold elements. The highest number of hold elements, six, were recorded at the Olympic Games in 1948. The lowest number, one, was recorded at the Olympic Games in 1956 and at the World Championships in 1974, 1983 and 1985.

Anton Gajdos, Ph.D. Department of Physical Education and Sport University of Comenius, Bratislava, Czechoslovakia Associate Professor Dept. of P.E. Slippery Rock Univ., PA

Prognosis of Difficulty of Routines in Floor Exercise. The following conclusions may be made: 1. Regarding the prognosis of elements without difficulty. It is evident that routines will not contain elements without difficulty. 2. Regarding the prognosis of A elements. It is evident 36 that gradually routines will 30 contain less A elements. ?ti 3. Regarding the progno20 - - -- .--..- . -.-- ..---.-.-.sis of B elements. It is evit6 - -- -,..-- - "- -.dent that the number of B 10 elements which can be ex6 pected in routines has lev__ eled to approximately one. 1936 1966 1960 1002 1004 1966 1966 1074 Yesrs 4. Regarding the prognosis of C elements. It is evident that the number of C 40,--------------------------------, elements shows a tendency 36 to increase above five . 30 - ------.--- -.. ---- --- ... ... - - - -.- .. . - -.--.- --.----.--- . - - - 5. Regarding the progno26 sis of D elements. It is evi70 .-.--.- ..- ..--- -- ..... - ..... --- .- ----..- - .. - - - . - - --- ...- .dent that the number of D elements shows a rapid in16 crease to five. In conclusion, Table #1 shows the difficulty of routines of winners at the 1076 1979 1981 1963 11164 1966 11167 11166 l11A9 'rtlars World Championships and _ Without dlffloulty _ DIll/cully A ~ DlfllouHv 0 Olympic Games. _ OIll1(;ulTv C Iillffi) Dllt/oult., 0 40~-------------------------------,

~ In

• f

· m

o~~L-~~mw~~"'~~

N u

•,

· m

Table #1

~~~~~~J.w

Development, Structure, and Prognosis of Difficulty of Routines on Pommel Horse: The following observations were made from the median values of difficulty of the finalists at the World Championships and Olympic Games. 1. Elements without difficulty (N) . The highest number of N elements, 12, were recorded at the World Championships in 1934. The lowest number, one, was recorded at the World Championships in 1966, 1989 and at the Olympic Games in 1952. 2. Elements of A difficulty. The highest number of A elements, 17, were recorded at the Olympic Games in 1960. The lowest number, six, was recorded at the World Championships in 1989 and at the Olympic Games in 1932. 3. Elements of B difficulty. The highest number of B elements, six, were recorded at the World Championships in 1979 and at the Olympic Games in 1964 and 1968. The lowest number, one, was recorded at the World Championships in 1930, 1934 and 1938 and at the Olympic Games in 1960. 4. Elements of C difficulty. The highest number of C elements, four, were recorded at the World Championships in 1989. The lowest number, one, was recorded at the World Championships in 1966, 1974, and 1981.

Table #2 30 N

~)'i

;..>0

....

I II

0 1930

1930

1962

1956

1004

19 70

Yeore _

swinging por Ie

II_~ 1979

1964

1000

Structure of Routines: Table #2 illustrates the median values of structure of the finalists at the World Championships and OlympicGames. 1. Swing elements. The highest number of swing eiements,25.5, were recorded at the Olympic Games in 1968. The lowest number, 11, was recorded at the

Olympic Games in 1952. Optional routines on pommel horse have always contained only swing elements. Prognosis of Difficulty of Routines on Pommel Horse. The following conclusions may be made: 1. Regarding the prognosis of elements without difficulty. It is evident that routines will not contain elements without difficulty. 2. Regarding the prognosis of A elements. It is evident that gradually routines will contain less A elements. 3. Regarding the prognosis of B elements. It is evident that the number of B elements is rapidly decreasing and may not be expected in routines on the Pommel Horse. 4. Regarding the prognosis of C elements. It is evident that the number of C elements shows a tendency to increase above two. 5. Regarding the prognosis of D elements. It is evident that the number ofD elements shows a rapid increase to five or six. In conclusion, Table #3 shows the difficulty of routines of winners at the World Championships and Olympic Games. ?O

· o

16 -- - -.. - - - - - - -. - ..-.. --. 1--. - -

---

- - -.- . -.

o ,n

Yoot:J

20,-------- -- - - - - -- -- -- - - - - - - - - - , N

· g'

16f-{S---- - - - - - - - - - -- - - --

··

---i

'mar s _

W1thQut dllllOulty

_OII11CtJlly C

g €5l

Dlilicully A.

Olilloultye

DlIll ou llV [)

Table #3 Development, Structure, and Prognosis of Difficulty of Routines on the Still Rings: 1. Elements without difficulty (N) . The highest numberofN elements, three, were recorded attheOlympic Games in 1980. The lowest number, one, was recorded atthe World Championships in 1938, 1954 and at the Olympic Games in 1936, 1960 and in most succeeding years. 2. Elements of A difficulty. The highest number of A elements, seven, were recorded at the World Championships in 1938 and at the Olympic Games in 1948. The lowest number, one, was recorded at the World Championships in 1978, 1983, and 1987 and at the Olympic Games in 1980, 1984. 3. Elements of B difficulty. The highest number of B elements, 6.5, were recorded at the Olympic Games in 1964. The lowest number, 1.5, was recorded at the Olympic Games in 1988. 4. Elements of C difficulty. The highest number of C elements, five, were recorded at the World Championships in 1979 and at the Olympic Games in 1988. The lowest number, one, was recorded at the World

January - March 1991 TECHNIQUE

Championships in 1938, 1954, and 1958 and at the Olympic Games in 1948. 5. Elements of D difficulty. The highest number of D elements, four, were recorded at the World Championships in 1989. The lowest number, one, was recorded at the World Championships in 12954, 1958, 1966 and at the Olympic Games in 1936, 1960 and in most succeeding years. Structure of Routines: The following observations were made from the median values of structure of the finalists at the World Championships and Olympic Games. 1. Swing elements. The highest number of swing elements, eight, were recorded at the World Championships in 1979 and 1983 and at the Olympic Games in 1948. The lowest number, six, was recorded at the World Championships in 1954, 1970, 1987, and 1989 and at the Olympic Games in 1960, 1964, 1976, and 1988. 2. Strength elements. The highest number of strength elements, four, were recorded at the Olympic Games in 1956 and 1960. The lowest number, one, was recorded atthe World Championships in 1958, 1962, 1970,1981, 1983, 1985, and 1989, and at the Olympic Games in 1972, 1980 and 1984. 3. Hold elements. The highest number of hold elements, six, were recorded at the Olympic Games in 1954. The lowest number, two, was recorded at the Olympic Games in 1948, 1976, 1980, and 1984 and at the World Championships in 1979, 1981, 1983, 1985 and 1987. Prognosis of Difficulty of Routines on the Still Rings. The following conclusions may be made: 1. Regarding the prognosis of elements without difficulty. It is evident that routines will not contain elements without difficulty. 2. Regarding the prognosis on A elements. Itis evident that routines will not contain A elements. 3. Regarding the prognosis of B elements. It is evident that the number ofB elements which can be expected in routines has decreased to approximately two. 4. Regarding the prognosis of C elements. It is evident that the number of C elements shows a tendency to increase above four. 5. Regarding the prognosis of D elements. It is evident 10 N

· ::.

8 ~-.--.- . -..- ...-.---

r------------ -... -----.-----

('I

G-

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1920 1936 19 48 1962 1964 19hH 1000 1002 1064 1060 1000 1072 YeDro

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~ ~kitliulij 191<1 1970 1918 19 70 1900 19 03 ,90 01 1905 1987

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01111 0011.,. A.

OUll Cul l y C

Olliloolty D

c:l

Table #4 TECHNIQUE January - March 1991

OIfUouily B

1909

that the number of D elements shows a rapid increase to five or six. In conclusion, Table #4 shows the difficulty of routines of winners at the World Championships and Olympic Games. Development, Structure, and Prognosis of Difficulty of Routines on the Parallel Bars: The following observations were made from the median values of difficulty of the finalists at the World Championships and Olympic Games. 1. Elements without difficulty (N). The highest number of N elements, five, were recorded at the World Championships in 1907. The lowest number, one, was recorded at the Olympic Games in 1912, 1948 and 1952, and at the World Championships in 1983. 2. Elements of A difficulty. The highest number of A elements, eight, were recorded at the Olympic Games in 1928 and 1948. The lowest number, one, was recorded at the World Championships in 1985. 3. Elements of B difficulty. The highest number of B elements, nine, were recorded at the Olympic Games in 1960. The lowest number, one, was recorded at the Olympic Games in 1960. The lowest number, one, was recorded at the Olympic Games in 19$8. 4. Elements of C difficulty. The highest number of C elements, six, were recorded at the World Championships in 1979, 1981 and 1985 and at the Olympic Games in 1984. The lowest number, one, was recorded at the World Championships in 1913, 1922, 1926, 1930 and 1938, and at the Olympic Games in 1928, 1952 and 1960. 5. Elements of D difficulty. The highest number of D elements, three, were recorded at the Olympic Games in 1988. The lowest number, one, was recorded at the World Championships in 1970, 1979, 1981, 1983 and 1985 and at the Olympic Games in 1972, 1980 and 1984. Structure of Routines: The following observations were made from the median values of structure of the finalists at the World Championships and Olympic Games. 1. Swing elements. The highest number of swing elements, 14, were recorded at the World Championships in 1983. The lowest number, six, was recorded at the Olympic Games in 1924. 2. Strength elements. The highest number of strength elements, three, were recorded atthe Olympic Games in 1924and 1926. No strength elements were recorded at the World Championships in 1907 and 1980. 3. Hold elements. The highest number of hold elements, four, were recorded at the Olympic Games in 1924. No hold elements were recorded at the World Championships in 1987. Prognosis of Difficulty of Routines on the Still Rings. The following conclusions may be made: 1. Regarding the prognosis of elements without difficulty. It is evident that routines will not contain ,elements without difficulty. 2. Regarding the prognosis of A elements. It is evident that routines will not contain A elements. 3. Regarding the prognosis of B elements. It is evident that the number of B elements which can be expected in routines has decreased to approximately two. 4. Regarding the prognosis of C elements. It is evident that the number of C elements shows a tendency to increase above eight. 5. Regarding the prognosis of D elements. It is evident that the number of D elements shows a rapid increase to four.

1 0 r - - - - - - - - - - - - - - - - -- -- - - - - - - - - - - - - , N

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1912 1922 19281932 193019301962196 41960 19681902 196419661968 Yeara

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Table #5 In conclusion, Table #5 shows the difficulty of routines of winners at the World Championships and Olympic Games. Development, Structure, and Prognosis of Difficulty of Routines on Horizontal Bar: The following observatons were made from the median values of difficulty of the finalists at the World Championships and Olympic Games. 1. Elements without difficulty (N). The highest number of N elements, seven, were recorded at the World Championships in 1907 and 1922. The lowest number, one, was recorded at the Olympic Games in 1948, and at the World Championships in 1958, 1981, 1983, 1989. No N elements were recorded at any other World Championships or Olympic Games. 2. Elements of A difficulty. The highest number of A elements, 12, were recorded at the World Championships in 1938. The lowest number, four, was recorded at the Olympic Games 1956 and atthe World Championships in 1974. 3. Elements of B difficulty. The highest number of B elements, seven, were recorded at the World Championships in 1962, 1966, 1974. The lowest number, one, was recorded at the World Championships in 1907, 1909,1922, 1926. 4. Elements of C difficulty. The highest number of C elements, six, were recorded at the World Championships in 1978 and 1981 . The lowest number, one, was recorded at the World Championships in 1926, 1931,1954,1958, 1989 and at the Olympic Games in 1928, 1936,1948, 1952,1960. 5. Elements of D difficulty. The highest number of D elements, three, were recorded at the World Championships in 1985, 1987, 1989 and at the Olympic Games in 1988. The lowest number, one, was recorded at the World Championships in 1979, and at the Olympic Games in 1984. No D elements were recorded from 1907 to 1978. Structure of Routines: The following observations were made from the median values of structure of the finalists at the World Championships and Olympic Games. 1. Swing elements. The highest number of swing ele32

ments, 19.5, were recorded at the World Championships in 1%2. The lowest number, seven, was recorded at the World Championships in 1909. 2. Strength elements. From the World Championships in 1907 until 1931, only one strength elements was recorded each year. 3. Hold elements. Two hold elements were recorded at the World Championships in 1907, 1909, 1922, 1926 and 1930 and at the Olympic Games in 1924 and 1928. One hold element was recorded at the Olympic Games in 1912. Beginning with the OlympiC Games of 1932, no hold elements were recorded. Prognosis of Difficulty of Routines on the Horizontal Bar. The following conclusions may be made: 1. Regarding the prognosis of elements without difficulty. It is evident that routines will not contain elements without difficulty. 2. Regarding the prognosis of A elements. It is evident that gradually routines will contain less A elements. 3. Regarding the prognosis of B elements. It is evident that the number ofB elements which can be expected in routines has leveled to approximately four. 4. Regarding the prognosis of C elements. It is evident that the number of C elements shows a tendency to increase above four. 5. Regarding the prognosis of D elements. It is evident that the number of D elements shows a rapid increase to above five. In conclusion, Table #6 shows the difficulty of routines of winners at the World Championships and Olympic Games. 14 N

u m

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O~~~~L i~_~~~_~~_ULMLWLY~ 190719091912 19131922 19Z419a 41936,948,9b21966106819601962 YeRra

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19641966196819701972197410781979198319641986198719881000

Years _

WUtlout dlfl/culty _

Olltlculty C

mmJ

OHlioolly A

G:D

DllflOUlty B

Dllllculty 0

Table #6

Conclusion: The research shows that in individual events, elements with no difficulty, as well as A and B difficulty are rapidly decreasing in use. It is also evident that C and D difficulty elements are rapidly increasing in use. Coaches and gymnasts must realize that, in order to qualify to compete in the finals of the World Championships and Olympic Games, they must take these tendencies into account and develop training method which will assure their success.

January - March 1991 TECHNIQUE

Technical

Physics of Twisting Revisited ithin the last decade or so several articles have been written on the subject of twisting. Many of these articles have appeared in publications not likely to be read by the average person within the gymnastics community. The articles most easily accessible to gymnasts are mathematical in emphasis and/ or inaccurate regarding some of the relevant physics. Those which accurately described the physics usually did not define what a gymnast must do in order to perform the desired maneuver. The intent of this paper is to provide both the background information and to address the application of that information. With that in mind, this paper is divided into two broad areas. The first, a brief review of some of the more technical articles, is followed by a qualitative, rather than a quantitative description of the physics of the twisting somersault. The objective here is to avoid reproducing rigorous derivations previously published by others who are thoroughly versed in the relevant mathematics and to reduce the mathematics, as much as possible, to ordinary English. While the physics follows what appear to be fairly simple laws described by Isaac Newton, the mathematics associated with rotating bodies becomes exceedingly complicated, very quickly. Forces appear that are observed only from the perspective of the rotating object; these are called fictitious since they are not detected by an external observer looking at the rotating object. The centrifugal force is the most familiar of these. In order to keep the concepts presented as intuitively comprehensible as possible some small deSCriptive liberties may be taken with regard to the proper use of some of the terms. The second part of the paper is concerned with practical issues at the level of the coach or gymnast. While it is true that the "punchline" is in the second part, without the preceding explanation this paper is no different than any other paper that purports to explain in lay language what makes a twisting somersault occur. A brief amount of time is devoted toward the end of the paper to a couple models of twisting which have appeared in the gymnastics literature. Using high speed cinematography, Van Gheluwe [1] concluded that the primary mechanism inducing sustained twist is tilt of the body out of the plane of the somersault, and that this tilt is achieved through the use of an asymmetrical arm motion. A more mathematical treatment of asymmetrical action and induced tilt is given by Frohlich [2; 3]. The asymmetrical arm motion and its effects will be discussed at length later in this paper. A second mechanism with significant effects is referred to by Liu [4] in his paper as the Coriolis inertial force. The Coriolis force as described by Liu is the same force that makes a hurricane spin counterclockwise in the Northern hemisphere and clockwise in the Southern hemisphere. In a somersaulting gymnast this effect can be induced by properly chosen action on the part of the gymnast. The Coriolis force generates the Coriolis acceleration, which manifests as twist. The third model, by Yeadon and Atha [5] holds that it is

TECHNIQUE January - March 1991

possible to induce sustained twist by a hula action, the action being the same as that described by Frolich, and Christopher D. Clagett, thus bypass the need for asymmetrical arm action. PT Mathematical modeling by Yeadon and Atha used lateral flexion angles of 90째 during the hula action; some may find this to be esthetically sagitial plane displeasing. For these reasons the hula technique as a method of inducing sustained twist will not be discussed further in this paper. The greatest single stumbling block to understanding the twisting somersault is the fact that the human body has orientation conventions. Orientation conventions are those defined by bodily asymmetries: up/ down and front/back. Right and left are mirror of rotation \ images rather than asymmetries. These con\ \ ventions cause many people to fail to view the \ twisting somersault in the only way that matters: an object rotating in space on two \ plane \ of mass symmerty axes with a specific relationship between the \ two directions of rotation. It should also be \ \ noted that being asymmetrical, a human has \ \ a subjective perspective that gives backward twisting the illusion of being different from forward twisting. Figure 1 Before diving in to the subject at hand, it may help the reader to have a few conventions and definitions explained that will appear repeatedly throughout the restofthis paper. The body is divided by the sagittal plane into right and left halves, the coronal plane into front and back, and the transverse plane into top and bottom. An object rotates in a specific plane (the plane of rotation) in an axis (the axis of rotation) perpendicular to that plane. While the terms plane and axis of rotation are properly generic terms, in this paper they refer to the plane and axis of rotation associated with somersaulting (Le., sagittal plane and transverse axis). Somersaults, therefore, occur on the transverse axis, and twisting on the longitudinal axis (see figure on body planes and axes). The mass symmetry plane is the plane that evenly divides the mass of an object in space. While all objects have three such planes, oriented at right angles to each other, we are only concerned with the plane dividing the body into right and left sides. The terms symmetry and asymmetry appear frequently throughout this paper; asymmetry always indicates the right side of the body doing something different than the left side of the body, usually in the coronal plane. I specify coronal plane because while other asymmetries are present only this one is relevant to our discussion. What level of detail defines coronal plane asymmetry? If one leg has the toes forward and the other is toed out, is that asymmetry? Technically yes, but in toeing out only the foot is involved in changing the region of space that is occupied by body mass. We don't care which piece of mass occupies a region of space, only that the region is occupied. A torque is a force that causes rotation. Please note that this definition of torque is somewhat loose, but is accurate enough for purposes of this discussion. Arm "set," used as noun or verb, is an

operational term referring to the positioning of the arms in the coronal plane in preparation to induce twist. The "wrap," used as noun or verb, is the act of swinging the arms in such a manner as to directly induce twist. The wrap end position is the position that the wrap terminates in, and is held for the duration of the twist. Given the problem inherent with the convention of front / back a discussion of twisting is best begun with a model that possesses no facing - facing being any body part which defines forward/backward and thus right / left, or vice-versa. Up / down cannot be elimi, - - - - - - - - - - - - - - - - , nated, for obvious reasons. One last convenI sagital plane tion is employed in this paper. Most of the I drawings of human figures are oriented apI I proximately upright, in the act of asymmetrically setting the arms. The directions of forces acting on the figures are instantaneous ones, since only the forces acting at the initiation of twist are important in determining twist result. Please note that the arm set associated axis of with initiating twist (described later) is an rotation event of finite duration that is distinctly separa te from the wra p used to accelera te that same twist. The wrap used to accelerate the twist is not discussed until late in the paper. In Figure 1 is a human-shaped plane of mass symmetry dummy which only up and down are definin plane of rotation able. The arm on the right is elevated higher than the other but it is not known whether this is the right arm or the left. The dotted line Figure 2 represents the plane of mass symmetry for the dummy, which bisects the dummy's distribu tion of mass in space. The plane of mass symmetry will always be oriented like this relative to the high and low arms, although the angle between the planes of rotation and mass symmetry may be exaggerated in the figures. (The direction that a person is facing is irrelevant). All objects have three such planes oriented at right angles even though they may be difficult to determine if the object is highly irregular. We are concerned only with the plane that divides a person into right and left; this plane mayor may not exactly coincide with the sagittal plane, depending on how the extremities are positioned in the coronal plane. Since one arm is raised higher than the other the plane of mass symmetry no longer coincides with the sagittal plane, as it does if both arms and legs are symmetrically positioned. Objects freely rotating in space rotate with one of their mass symmetry planes in the plane of rotation. If the dummy in Fig. 1 is set rotating toward the reader (body parts uppermost approaching, those below receding) in a vertically oriented plane we see that the plane of mass symmetry is not aligned with the plane of rotation. In this situation the body experiences a torque which causes a rotation in the coronal plane so that the mass symmetry plane becomes aligned with the plane of rotation, as in Figure Figure 3 2. While this reorientweights in weights out of ation can occur under the plane of rotation plane of rotation influence of position torqu e alone, motion of the arms 路centrifugal-) \ component force can also induce tilt, by two mechanisms. The first and simplest of these is action-reaction, as described by Frohlich. The arms are swung in a circular path in the coronal plane, and by reaction the body inclines in a di-

rection opposite to the direction of arm swing. The second mechanism, the Corio lis effect, is more complicated and will be discussed later. For now we will examine why the body reorients in the coronal plane when the planes of rotation and mass symmetry do not coincide. The issue ofthis tilt in the coronal plane requires that we examine similar reorientation in an object that is mechanically much simpler than a human. A rod with weights at each end is set rotating about an axis not perpendicular to its length (Figure 3a) . For this object the plane of mass symmetry, which lies along the connecting rod, does not initially coincide with the plane of rotation. The reader will intuitively understand that the weighted ends are subjected to what is commonly referred to as centrifugal force, so that the ends will want to orbit the axis of rotation with as large a radius as possible. It can be seen in Fig. 3a that the radius is not the maximum possible value. The centrifugal force is directed at an angle to the rod. It has a small component perpendicular to the rod which will apply a torque, causing its rotation to shift to the orientation shown in Fig. 3b. The magnitude of this perpendicular force will go to zero as the angle between the planes of mass symmetry and rotation goes to zero, and at this point the weighted ends are rotating with the largest possible radius. Figure 3 is a simple case but how does a more complicated object rotate? The more complicated object is illustrated by the object in Figure 4. The masses labeled 'A' are equal to each other as are the masses labeled '8' but those labeled '8' are heavier than those labeled 'A.' The rod connecting the masses labeled '8' is longer than the rod connecting the masses labeled 'A.' The rods are rigidly attached to each other at an angle other than a right angle. The plane Figure 4 of mass symmetry for this object does not coincide with either of the rods, as it did in Fig. 3 but rather lies between them, closer to '8' than 'A' since masses labeled '8' are larger. The initial conditions of this object are that it is rotating in the plane shown and the plane of mass symmetry is not in the plane of rotation. Individually, both rods want to lie in the plane of rotation, and apply torques in opposite directions in their tendency to get there. N ei ther of the rods are able to lie in the plane of rotation without experiencing a perturbing force generated by the other rod. Equilibrium is reached when the plane of mass symmetry comes to lie in the plane of rotation. In Figure 5 the object from Figure 4 is redrawn at equilibrium and viewed Figure 5 edge-on to the plane

JanuanJ - March 1991 TECHNIQUE

direction of

vector

fingers curl in direction of rotation

Figure 6

of rotation (depicted as the vertical line bisecting the object). At equilibrium the rod connecting the larger masses will rotate at a smaller angle to the plane of rota tion than will the one connecting the smaller masses. If the angle between the two rods were 90째 the larger rod could rotate in the plane of rotation and the smaller rod would lie exactly on the axis of rotation, and this would be stable. Since the angle is not 90째 the rod connecting the larger masses has its motion perturbed out of the plane of rotation by the force applied by the smaller masses. Since the human body has movable parts, the plane of mass symmetry is variable in location and asymmetric arm positions shift it out of the sagittal plane as shown in Figure 1. The rod connecting the larger masses is analogous to the sagittal plane of the body, and at equilibrium does not lie in the plane of rotation when body position is asymmetric. Like the weighted rod the body reorients to bring the plane of mass symmetry into the plane of rotation as in Fig. 2. Before adding rotation about a second axis (twist) to the model a brief discussion of vectors is necessary. A vector is a quantity that has both magnitude and direction, such as force, velOcity, and acceleration. Quantities that have magnitude only are called scalars. Mass, length, and volume are scalars. Angular velocity and momentum, associated with rotation, are the vectors that we are concerned with here. They are always oriented identically in space but are expressed in different terms. For our purposes they may be lumped together under the term rotation vector. The rotation vector is always aligned along the axis of rotation and its direction is determined by a simple procedure called the right hand rule [6] which is as follows. The right hand is positioned as if gripping a broomstick with th.e thumb lengthwise on the stick rather than around as If gripping a high bar. The fingers are curled in the same direction as the rotation and the thumb then points in the direction of the vector (see Figure 6). Therefore if the dummy is set rotating toward the reader the rotation vector is directed to the reader's right. Raising one arm higher than the other induces a mass asymmetry relative to the sagittal plane, which initially coincides with the plane of rotation. Said another way, the plane of mass symmetry no longer lies with the sagittal plane of the body or the plane of rotation. The planes of rotation, mass symmetry, and the sagittal plane of the body must all be kept track of separately. The body in Figure 1 reorients to the position in Figure 2, bringing the plane of mass symmetry into the plane of rotation and the sagittal plane out of the plane of rotation. If the reader has understood all of the preceding the last piece is ready to fall into place. When the body reorients in the coronal plane it also reorients relative to the rotation vector (see Figure 7), which cannot change direction in space without an external force applied to the rotating object. Therefore, the rotation vector now has a small component aligned along the longitudinal axis, directed toward the head of the dummy (remember, the dummy is rotating toward TECHNIQUE January - March 1991

the reader) . When the angle between the longitudinal axis and the rotation vector is / sagittal plane 90째 the rotation vector has no component I I along the longitudinal axis and therefore there is no rotation on the longitudinal axis. When the angle is anything other than 90째 the rotation vector has a component aligned with the longitudinal axis which is --":7~"-/-++-~i--.!.--.o_ direction of angular momentum expressed as rotation on that axis (twist) . vector The direction of the twist associated with this longitudinal axis vector component can be determined by applying the right hand rule. The thumb is extended toward the head and the fingers will curl in the direction of rotation. The right hand rule therefore indicates left twist. Note that twist Figure 7 is to the left whether the dummy starts out facing toward or away from the reader. Now let us examine in detail the case where the dummy is defined as facing toward the reader and rotating away from the reader, i.e. a backward somersault. The rotation vector is directed to the reader's left regardless of the direction of twist. I~ the dum~y's.left arm is more highly elevated the sagIttal plane mchnes as shown in Figure 8. The rotation vector now has a component directed toward the sagittal plane feet, since the vector is angled toward the I I I feet, and by the right hand rule the twist is to the right. If the dummy's right arm is more highly elevated the sagittal plane inclination is reversed and the minor component of the rotation vector is directed direction of _o---!='~-f-++-_f"'\ toward the head - the twist is therefore to angular Vmomentum the left. A crucial detail that must not be vector overlooked is that the required asymmetry reverses (from the gymnast's first person perspective) for twist to a given side when one changes from forward to backward rotation. That is, to establish left twist, the left arm is elevated higher during forward rota tion but the right arm is eleva ted higher Figure 8 during backward rotation. Up to now we have only examined the somersault prior to the wrap, and this has been sufficient to explain the effects of a tilted longitudinal axis. In fact the wrap itself can be used to induce twist, which by conservation of momentum simultaneously requires additional tilt. How is this? Now we resume the topic of the Coriolis force. To demonstrate its workings let us look down along the axis of a rotating disc, shown in Figure 9. The axis of the disc is labeled P, and there are points X, Y, and Z located on its surface. All of the moving points are labeled at an initial ti~e 1 and a later ti~e 2. If a projectile is fired from the aXIS P toward the pomt Z located near the edge during the time it takes to travel from P to Z, point Z has moved from Z1 to Z2. An observer at Z would see the projectile appear to curve off on a leftward path. A leftward devia tion is also seen if on the observer on the disc edge fires a projectile Figure 9 toward the axis. This is because at any instant the observer at the edge has a velocity which is directed sideways relative to the disc axis and any projectile starting at the edge also has that same sideways velocity component. This is exactly c analogous to throwing a ball from a X2 -:;~ moving vehicle at a stationary obY2 ject by the side of the road. The tendency is to miss in the direction that the vehicle is moving.

Consider two observers on points X and Y firing projectiles at each other. At time T1 they see each other along the solid line, at which time they both fire their projectiles. Once in flight, the projectiles pursue a straight line course unless acted on by an external force. While the two observers continue to rotate with the disc, the projectiles continue along the original path of the observers mutual line of sight, the solid line. At time T2 when the two observers look at each other along the dotted rather than the solid line, the projectiles which are still moving along the solid line appear to have both curved to the left; the two observers do not detect their own movement with the rotating disc. Note that another observer looking down with the same perspective as the reader sees that the projectiles have moved in straight lines and the observers are the ones to have moved in the curved path. Note that if the rotation is clockwise the deviation is to the left Facing to Right Facing to Left regardless of where on the disc '----- - - -- - - - -- - - - - - ' one starts or which direction one Figure 10 moves. On the opposite face of the disc the sense of the rota tion is reversed and therefore the devia tion is to the right. This phenomenon is exactly what happens to the arms during the twisting somersault if the arm swing is chosen properly. Figure 10 shows a gymnast facing both left and right relative to the reader in both forward and backward rotation. The arrows drawn over the heads represent the direction of somersault. The arrows drawn overlapping the upper body represent the motion of the arm closest to the reader. If, for example the gymnast is facing to the left and is rotating forward, the arm nearest the reader is the left arm. If that arm is lowered the Coriolis acceleration of the left arm is forward, corresponding to right twist. Most gymnasts execute a wrap with both arms ultimately ending up at the side of the body, or over the stomach during the twist in backward somersaults. The gymnast has now given up the asymmetry which such pains were taken to create. Why does the body not lose its axial tilt, revert back into the plane of rotation, and therefore stop twisting? We know empirically that this does not happen. Forward twisting always has an asymmetrical wrap, backward twisting can have a symmetrical or asymmetrical wrap, and twisting occurs whether wrap end position is symmetrical or asymmetrical. Therefore, by this evidence alone we can see that wrap end position symmetry or asymmetry does not affect twisting in progress. A second empirical argument also has to do with twisting already in progress. If the gymnast begins a backward double twisting somersault by first lowering the left arm, and completes a half twist, isn't the rotation now forward? Now that the left arm is low and the right is high, isn't that incompatible with the earlier statement that twisting is toward the high arm in forward rotation? To go forward and twist left the left arm needs to be high. But after half a twist the body is now rotating backward with twist toward the high arm, again seemingly a violation of the principles we know to operate. If the twist is a continuous one extending through multiple revolutions of twist, direction of rotation as perceived by the gymnast changes by the instant. It is only during the initiation of twist that such descriptives as backward and forward have any meaning at all with respect to the asymmetrical position or action needed to generate the tilt. We know that twist occurs with both symmetrical and asymmetrical wrap end positions. In

the asymmetrical position, the asymmetry alternates in 180 0 increments of twist between being correct and incorrect for the direction of rotation. To fudge a little, we can say that the twisting somersault is stable because the oscillating asymmetry averages out to zero. But that only takes care of the issue of changing the low or high arm relative to the direction of the somersault. Doesn't the gymnast, with the symmetrical wrap for instance, experience a torque similar to the object in Figure 3, lose tilt, and thus stop twisting? No, and the difference here is that the gymnast is twisting and the object in Figure 3 was not, at least initially. Let's talk about Figure 3 a little more. It's initial conditions were artificially imposed upon it. The object was artificially set rotating as described, initially without twist. The object was then released from its artificial conditions, to watch what it would do in response to the forces acting on it. The "centrifugal" force was described, but incompletely. The centrifugal force acting alone will cause the object to overshoot the plane of rotation due to the inertia of its acquired motion in its "coronal" plane, and would Simply oscillate back and forth on either side of the plane of rotation if this was the only force at work: However, the object was initially tilted, and tilt requires twist (and vice versa) and the object will begin to twist because it has tilt. The speed with which it acquires twist will be inversely proportional to its moment of inertia (the resistance to changes in rotation). As it picks up twist, it has less need to get rid of its tilt, since twist requires tilt. If it picks up twist fast enough, it will reach an equilibrium at the angle of tilt required by the amount of twist it has picked up. If it picks up twist more slowly, the motion is much more complicated, involving oscillations on the transverse and longitudinal axes. If the initial conditions of the object in Figure 3 were that it was twisting at a rate commensurate with its angle of tilt, it would have been stable and not have experienced the centrifugal force inducing it to move toward its plane of rotation.

What does the gymnast do? So what does the gymnast physically do to generate a twisting somersault? Let's start at the beginning. First, there are three strategies to initiate twist, and more than one can be used in the same somersault. The first technique is the cat twist, or hula twist. This can be used effectively to get half a twist prior to using a tilt inducing or Coriolis mechanism, with no one the wiser. Even when this strategy is detected in its use to attain a half twist, no one really cares since it doesn't look bad. While it can also be used to establish continuous twisting, as stated earlier, this twist strategy may lack a clean appearance if large angles of lateral flexion occur. If asymmetric position is used without an induced Coriolis acceleration, it is probably better to establish the described asymmetry during take-off rather than later. This is because twist will initiate immediately after the feet have left the floor. Cat twisting may be effectively combined with this method as a reinforcing technique. Asymmetric position followed by merely pulling in the arms to decrease the radius of rotation about the longitudinal axis will be worth a single twist. If multiple twists are desired the asymmetric arm lift is much more important as a move preparatory to generating twist than it is in actually producing it. Esthetically pleasing multiple twists will probably involve at least some measure of Coriolis effect. The Coriolis effect can minimize the need for additional twist generating motions, especially at the hips. If the gymnast chooses to use Coriolis induced twist,

January - March 1991 TECHNIQUE

there are optimal techniques of doing so. A symmetrical take-off position does not adversely affect this technique, and in fact maximizes the Corio lis effect. From the symmetrical position of both arms directly overhead at take-off, one arm is dropped to the side of the body. If rota tion is forward this will be the arm opposite the direction of twist, and the arm on the same side as the direction of twist if rotation is backward. Twist will be maximized if the vector of the arm swing motion is perpendicular to the vector of the somersault. The combination of arm swing in the coronal plane at n 1/ 2 of twist is probably the most effective for inducing twist. This is because the body tilts by action-reaction as described by Frohlich, as well as by asymmetric body position. Additionally, arm swing in the coronal plane directly induces twist by the Coriolis effect. The end result of these mutually reinforcing mechanisms is that tilt, and thus twist, is maximized. Note that dropping the arm in the sagittal plane (while twist angle is 0, 1/ 2,2/2, etc. rotations) will still induce tilt, and therefore twist, but only by asymmetry and not by action-reaction or by the Coriolis effect. Accordingly, the twist output will be less. Consider the case of a somersault that started out rotating backward; the left arm is therefore low in order to twist to the left. When the body has completed 180 0 of twist the body is now rotating forward, with twist directed toward the low arm. By dropping the right arm in the coronal plane and raising the left arm in the coronal plane the gymnast can give tilt and twist an additional boost, like the second stage of a rocket. This second action may strike the reader as using two opposite actions to getthe same twist output, but it is not since the orientation of the "first and second stage" actions are the same relative to the sense of the rotation. Non-zero momentum techniques of twisting such as the cat twist can be effectively combined with Coriolis twisting. At this point a few more words concerning the do's and do not's of Coriolis induced twist are in order. First, it is possible to use asymmetry induced tilt without induced twist via the Coriolis effect but the converse is not possible. Twist cannot be induced with a symmetrical arm action because the Coriolis acceleration of the two arms is opposite and canceling. The key to inducing twist is arm swing, but not just any arm swing. The specification is thatthe rotation vector of the arm swing be perpendicular to the rotation vector of the somersault, which may be in the coronal or sagittal planes of the body depending on the twist angle at the instant. The Coriolis acceleration of the arms is maximized (if the arm swing is in the coronal plane) when the twist angle is 0/2,1/2,2/2, etc. because the interactive effect of the somersault and arm swing rotations is maximized when the vectors of those rotations are perpendicular. The Coriolis acceleration is zero (if the arm swing is in the coronal plane) whenever the twist angle is 1/4, 3/4, 5/4, etc., because the somersault and arm swing rotation vectors are parallel and the product of their interaction is zero. The bottom line is that if the arm swing is executed in the coronal plane it cannot be executed when the position in the twist is an odd multiple of 1/4 twist. The arm swing should have two qualities. The first is that it should be fast, because this helps the gymnast satisfy optimization requirements with respect to orientation in the twist. Arm swing that is slow may begin in an optimum phase of the twist, but it will be finished after the optimum phase has passed, at which point it may even become counterproductive. fhe second quality is that the center of mass of the arm should have as long a pathway as possible, Le. the arm should be fully extended throughout the swing, alTECHNIQUE January - March 1991

though the end position can have bent arms. The reason for this is that straight arms directly maximize the Coriolis acceleration, and maximize tilt by action reaction. If the twisting somersault occurs tilted, why isn't the landing also tilted? Let us go back to twisting where the wrap has an asymmetrical configuration, with one arm high. The arms established tilt by assuming an asymmetry when the longitudinal axis lay in the plane of rotation. Possibly they also used a wrap that induced precession. If the gymnast breaks out of the wrap by reversing the arm swing, the Coriolis acceleration is reversed and tilt is counteracted by action reaction. This is why we land standing upright instead of canted over like the Leaning Tower of Pisa. Symmetrical wrap positions will behave very similarly when the wrap is opened; twist velocity drops and the tendency to remain tilted disappears. The reader may be wondering how twisting-out somersaults fit into this model. There are three ways, the first being that the gymnast cat twists and does not transfer angular momentum between axes. The second is that the gymnast establishes the asymmetry in flight, inducing tilt and thus, twist. The third method is to utilize Coriolis accelerations, which will be the most efficient technique in this situation. It is possible to use a combination of methods within the same ~omersault. To perform 3/2 twists or more during the second somersault at least some measure of the third method is mandatory for anybody not wishing to use an exaggerated hula technique.

Earlier models Now it is useful to examine a couple of the earlier models of twisting that have appeared in the gymnastics literature. Hery [7] described that twist is generated by dropping one arm during a somersault, correctly stating that twist occurs to the side of the dropped arm during backward rotation and to the side opposite the dropped arm during forward rotation. The explanation is that the radius of rotation is shortened on the side of the body with the dropped arm and that that side of the body then accelerates, preceding the other side of the body through the somersault and thereby generating twist to the side of the dropped arm. This is very close to w ha t has been described earlier in this paper in terms of arm motion relative to the rest of the rotating body. In Hery's description twist is generated when the radius of rotation is shortened on the side of the dropped arm; the shorter side "precedes" the longer side. This in turn causes the body to twist as described. The arm as a discrete part of the body does in fact accelerate, in the fashion described by Hery, but twist is generated by its being tethered to the rest of the body which diverts it into a circular path around the longitudinal axis. In short, when generating twist by arm motion, twist is the result of the Coriolis acceleration of the arm and the inclination induced in the body's longitudinal axis by arm movement. It really does not have anything to do with the radius of rotation of the right or left half of the body around the somersault axis. Fink [8] proposed that twisting somersaults are most efficiently generated by applying a torque directly to the longitudinal axis of the body via contact through the feet; this is referred to as torque twisting Jump-turns and pirouettes are initiated in this manner. The torque is applied directly to the long axis of the body by force against the supporting surface. This model can find support in numerous published photographs of gymnasts on floor taking off into twisting single and double somersaults with an arched and 37

twisted trunk position. The arch is real. The twist is usually more apparent than real, and is generated by zero momentum rather than torque technique. As a zero momentum technique it is more of a turn with a lateral flexion in the plane of rotation than a twisted trunk as has been thought. As the body straightens in flight the potential energy stored in this position will rotate the trunk on the longitudinal axis by a small amount. This is a device to save time in the air, the way a false start will decrease the apparent time to run a certain distance in a race. Said another way, it decreases the arc angle through which the gymnast must twist in the air, during the time available. Fink's article contained some vaguely contradictory statements. Fink states that direct torque is "clearly the most effective twisting mechanism is to apply a large torque relative to the longitudinal axis during takeoff," and "for most gymnastics skills the application of a torque during take-off is the major twisting mechanism." On the same page he states that "if a gymnast has'considerable angular momentum about the somersaulting axis it has now been established that the most effective mechanism for initiating twist is what is commonly referred to as the tilt twist (the general phenomenon described in this paper)." In his concluding remarks we find the same ambiguous contradiction: "In all cases - other things being equal- a torque twist is the most effective twisting method," followed by "In delayed non-zero angular momentum twists the tilt twist mechanism is the most effective and the only one that can create a sustained twist." It is important to mention at this point that the physics governing rotating bodies actually prohibits use of torque twisting during somersaults. Consider a left twisting backward somersault, generated by direct torque to the longitudinal axis. The vector of the twist is established while the gymnast is still right side up and is directed upward by the right hand rule. The direction of this vector will remain constant in space which means that its orientation relative to the rotating gymnast will change throughout the somersault (in direct contradistinction to the Coriolis/tilt techniques). When the gymnast inverts, the vector is still pOinted upward toward the ceiling which now means that it points toward the gymnast's feet. The reader should realize from previous arguments that this means that the gymnast's direction of twist must now be to the right, by the right hand rule. This is the basis of the Kasamatzu vault illusion where the direction of twist reverses part-way through the vault. While this method yields an interesting vault involving less than one full twist it is absolutely unsuitable for skills where the direction of twist is not intended to reverse with every 1800 of somersault. At this point the subject of rotation deserves some mention. Most gymnastics coaches understand that rotation is important to twist output, but perhaps not explicitly why that is so. In proper twisting technique, strong rotation is established first, and then some of this very plentiful energy is transferred from the transverse axis to the longitudinal axis by reorienting the body relative to the somersault rotation vector. Unlike the torque twisting technique, the somersault vector in the Coriolis and tilt techniques has a constant orientation relative to the gymnast and so the direction of twist does not change. Does this transfer of energy mean that the velocity of the somersault is reduced? In the case of a twisting somi, probably not. The reason is that as the longitudinal axis tilts, the radius of rotation about the somersault axis gets a little smaller, and by the law of conservation of angular momentum rotation velocity

tends to increase. Transfer of energy and decreasing radius of rotation will tend to have opposite effects so that somersault velocity overall should experience little change.

Summary To summarize, twisting is established and maintained by complementary forces whose coordinated action during a twisting somersault generates considerable dynamic stability. This dynamic stability is why twist can occur whether wrap end position is symmetrical or asymmetrical. Asymmetric arm position and action both induce tilt, which then induces twist. Additionally, asymmetric action can be chosen such that it directly induces twist. Asymmetry can be established on the ground or in flight, with the understanding that doing so in flight delays the initiation of twist. If the Coriolis effect is not used following in-flight establishment of asymmetric position, twist velocity will not be increased to compensate for later initiation of twist. Establishing asymmetry in the air without use of the Coriolis effect therefore would make it more difficult to perform many twists in a single somersaulting skill.

References (1) Van Gheluwe, B. A biomechanical simulation model

for airborne twist in backward somersaults . ..1 Human Movement Studies, 81, 3: 1-22. (2) Frohlich, C. Do springboard divers violate angular momentum conservation? American TournaI of Physics, 47(7), July 79, 583-592. (3) Frohlich,C. The physics of somersaulting and twisting. Scientific American, March 80: 155-164. (4) Liu, Z. C. and Nelson, R. Analysis of twisting somersault dives using computer diagnostic. Biomechanics IX-B, ed. by Winter, D.A. et aI, 1985. (5) Yeadon, M. and Atha, J. The production of a sustained aerial twist during a somersault without the use of asymmetrical arm action. Biomechanics IX-B, ed. by Winter, D.A. et aI, 85, 385-400. (6) Sears, F.W., Zemansky, M.W., Young, H.D. University Physics (6th ed.) Reading, MA: AddisonWesley Publishing Co, 82, 14-15. (7) Hery, G. Twisting. International Gymnast. Oct. 84, 52-53. (8) Fink, H. An insight into the biomechanics of twisting. Technique. March 88,18-20.

I would like to acknowledge the invaluable assistance of three people in the preparation of this paper: Mr. Nick Orrick, Engineer, whose critiques kept me from running afoul of Sir Isaac Newton. Mr. Robert Nelligan, Head Coach for Women's Gymnastics at the University of Maryland, whose questions ensured that this paper addressed the issues important to the coach and gymnast. My wife Nancy, who ensured that this paper was written in language as plain as possible.

January - March 1991 TECHNIQUE

Men's Technical

Giant Swing on Parallel .oars A progression for the Giant Swing on Parallel Bars The Giant Swing on parallel bars has become a major element in the composition of routines during the past several years. Therefore, a strong emphasis has been placed on the technical execution of the Giant Swing at all levels of the age group Skills Testing Program. However, there remains little evidence of progress in the performance of this skill with sound technique among our Junior Gymnasts. Critical and yet common technical errors were found, particularly in the younger age groups, which suggest a lack of sound technical development and poor basic training.

Common Mistakes: 1. Poor control in either the initial handstand position or the layaway to long-hang position. 2. Excessive shoulder angle in the downward swing phase. 3. Bending of the knees too early in the downward swing phase. 4. Applying the beat action too early. 5. Poor hand grip on the bars at the bottom of the swing. 6. Releasing the bars too early on the upward swing. All of the above mistakes can be attributed to poor body extension (alignment) during the downward swing.

The following suggested progression, shown in Illustration I, would assist in promoting better Hideo Mizoguchi technical execution of the downward swing. Junior Men's Program Coordinator Coaching Tips: Place a Skill Cushion 00"-12" thick) against the parallel bar upright as shown in the illustration. Practice the downward swing with a tight body position and good shoulder extension. The hands should be placed 3"- 5" away from the Skill Cushion.

Focus Points: 1. Initiate the downward swing with total body

extension, slightly hollowed and tight. 2. Promote knee bending as late in the downward swing as possible. If the gymnast is short enough, keep the legs straight. Note: It is important that the tempo of the downswing be consistent and even. This will help to ensure control of the hand grasp at the bottom and help in creating greater upward swing.

Recommendation: Initially, the coach should spot at slightly above bar height. As technique improves, gradually increase the height of the layaway position. I observed this particular coaching method being utilized by the Chinese coaches during my visit with the Chinese Gymnastics Federation last Spring. This progression was tested at various Junior Program clinics and Age Group Summer Camps - it received a very positive response.

Controlled layaway Slightly hollow and very tight body

5 /

Good shoulder extension

l ee

extensiO~:': :- ~:

as long as possible. If possible, straight knees throughout.

TECHNIQUE January - March 1991

Men's minutes

Men's Program Committee Conference Call, November 20, 1990 The call was put-up at 7:00 pm, EST Members Present: Greg Buwick Chainnan, Elite Coaches Representative Jim Howard Vice President for Men Peter Kormann Elite Coaches Representative Gene Watson Junior Coaches Representative Yoichi Tomita Junior Coaches Representative Harry Bjerke NGJA Representative Dave Mickelson NCAA Representative Mas Watanabe USGF Men's Technical Coordinator Robert Cowan USCF Men's Program Administrator Members Absent: Bill Roetzheim FIG Mens Technical Comm. Member Jim Hartung Athletes Council Representative Both of these gentlemen were excused and had given their proxy votes to Greg Buwick in advance.

I. QUALIFYING SCORES AND PETITIONS FOR WINTER NATIONALS Robert Cowan had either faxed or express mailed the material to the committee members in advance. He explained that there were two mistakes in the ranking due to a scoring error and an omitted athlete. 100 athletes competed in the qualifying rounds and

the scores were much higher than previous years. The 48th athlete scored 103.08. There were two petitions, one from Robbie Kieffer with a back spasm and one from Kurt Thomas with a sprained ankle. Motion to accept both gymnasts petitions in addition to the 48 athletes and allow 50 competitors in Winter Nationals. MOTION - Greg Buwick SECOND - Harry Bjerke PASSED - Unanimously (includes proxy votes of Roetzheim / Hartung)

II. NEW BUSINESS The committee was brought up-to-date on the most recent developments in the grievance case of Patrick Kirksey and Tom SchleSinger. The MPC will make this a special agenda item at the Winter Nationals meeting. Motion to adjourn. MOTION - Dave Mickelson SECOND - Greg Buwick PASSED - Unanimously

Respectfully submitted, (signed) Robert Cowan, Nov. ,1990 Approved: (signed) Mike Jacki,

"Built by Gravity & Guts. Not Steroids." he U.S. Gymnastics Federation is taking steps to warn its athletes, parents and coaches of the dangerous side effects of steroids and their use. We feel it is our responsibility to take a leadership role in educating our gymnastics community. The message is to be sent through the sport to convey to the athlete to train naturally - without the use of harmful drugs.

The committment that an athlete makes to sport requires dedication, perserverence and hard work. Success in sport and in life is achieved through such efforts. There are no shortcuts.

Through the poster, "Build by Gravity & Guts. Not Steroids," the USGF hopes to convey the message to our athletes, coaches and officials tha t champions and triumphs are attainable without steroids.

"The dangers of anabolic steroids are insidious. First, there may be the benefits of a stronger or faster or quicker-healing body. But then athletes face a monstrous set of potential health problems. And, along with individual dangers, there is the unfair competition - athletes aided by drugs vs. drug-free competitors - that threatens the foundation of fair competition itself. Steroids can build champions. But they also can kill." - USA TODAY, October 26, 1988

For a copy of the Lance Ringnald poster, use the order form on page 2 of this magazine . NOTE: the poster is item #6200. 40

JanuanJ - March 1991 TECHNIQUE

Minutes

Athlete's Council Meeting September 14-15, 1990 Roll Call: Brian Babcock Linda Kardos Barnett Michelle Dusserre Jim Hartung Nancy Thies Marshall

receive all Team 92 monies while training at Gold Medal 2. Cannot, with present Team 92 Men's rules, receive these funds. But is still eligible for USOC and prize monies 3. The Athlete's Council must make a recommendation to the Executive Committee regarding this issue

Absent were: Tim Daggett Karyn Lyon Kelly Garrison Wendy Hilliard Peter Vidmar

Meeting was called to order at 6:15 pm Central Standard Time I. USGF INFORMATION - CHERYL GRACE A. Spirit of the Flame Award is on its way to Con-

gress B. Athlete' s Council Notebook to the National Team Members is on its way to Congress C. Awards Banquet 1. Presentations done by video 2. Spirit of the Flame will be presented by W. Hilliard D. Panel Discussion 1. All women participating should meet for breakfast at 7:15AM to go over topics II. USGF INFORMATION - MIKE JACKI A. Prize Money

1. Mike is recommending that the athletes receive all prize money and that a percentage be distributed to the coach/team. 2. The FIG designated the money to the USGF, but the Federation feels it should go to the athletes 3. The Council must make a recommendation to the Executive Committee on the percentage to coach/team 4. We need examples from other sports and how this matter is handled B. World Championships 91 1. Mike does not want to provide complimentary tickets to athlete's parents (or anyone else) 2. Mike said a section of seats will be set aside only 3. Club 91 passes will also be made available to parents at no charge C. World Championship Team Reunion 1. Corporate seats will be available at different times during the competition for Team Members to use 2. Club 91 and attendance at the banquet will be complimentary to Team Members D. Recruiting 1. Mike suggests: a. A letter to National Team Members describing the "must do's" and penalties b. This allows the coach some time to correct things c. The Athlete's Council must make a recommendation to the Executive Committee E. Trent Dimas 1. Left University of Nebraska and wants to

TECHNIQUE January - March 1991

Break at 7:20 PM Wendy Hilliard arrives 7:32 PM Resume meeting at 7:40 PM III.

RECUITING - BRIAN BABCOCK

A. Can we/ should we police recruiting?

1. Remove" complete financial obligations" from proposed contract a. It' s a catch 22 because both coach and gymnast have a way to get back at each other 2. Move the waiting period from 7 to 10 days The Athlete's Council recommends that the financial information section of the proposed contract for recruiting be deleted. We feel that it would drive another wedge between the coach and athlete and possibly create financial gains for either side. 3. Lawyers should battle out any problem, not the USGF 4. Would the USGF be willing to provide a training facility in the event of a bad situation between coach/ athlete?

Karyn Lyon arrived at 8:05 PM IV.

PRIZE MONEY

A. This topic is a very difficult one. As the Council

began discussing the issue of percentages, a variety of reasons "why" were brought to the table Should we consider what an agent gets? a. We didn't feel that an agent and a coach were one in the same and that it would be unfair to base our recommendation on this (As a note: Agents receive 10-15%) Should we divide the monies in half? a. We didn't feel that this was appropriate. Although the coach trains the gymnast, the gymnast does and has paid for that training. And now, the gymnast has won an event/ prize money. Should we base the decision on current professional athlete/ coach relationships? a. We felt this more reflected what the Council could recommend. We discussed many world athlete' s winnings vs. coaching fees. The percentages were extremely low, some not even 3% of the winners gross. b. Athletes traditionally make more than their coaches. The Council will recommend an 80/20 percentage break with the greater going to the athlete

V. WORLD CHAMPIONSHIPS TICKETS A. The Council feels strongly that the parents of the six team members and 1 alternate for both disciplines should receive complimentary tickets to the events their child is competing. 1. We want to pattern ourselves after the USOC - 2 tickets are given to each parent for the Olympic Games 2. We believe that only the competing athletes should be eligible to receive these complimentary tickets

Meeting adjourned 8:30 PM Meeting reconvened Saturday, 1:15 PM VI.

COMMUNICATION TO ATHLETES

A. Christmas Cards will be signed and sent at the

C. Congratulatory notes will be sent to all National

Team Members after USA Championships a. Each council member is charged to handle his / her respective discipline VII. PRIZE MONEY A. Need Input 1. If tomorrow's Executive Committee meeting decision regarding Prize Money Allocations is not final then the following will occur: a. Wendy will draft a correspondence to former National Team Members soliciting their opinions on the matter b. A questionnaire will be developed and sent to current National Team Members soliciting their opinions on the matter (1) In each instance, the written material will be presented in the proper manner, very general

November Board Meeting A. Karyn was charged with bringing the cards to the

Meeting adjourned at 2:50 PM

meeting B. A copy of the minutes from each Council meeting will be sent to every National Team Member a. Nancy will see that this is taken care of

Minutes submitted respectfully by, Linda Kardos-Barnett Secretanj to the Athlete's Council

United States Gymnastics Federation

Policy for Coaches Behavior Jurisdiction of this policy will include USGF National Meets (J.O. Nationals, Classic Nationals, USA Championships, Trials) and FIG registered competitions and events within the USA (under sanction/control of USGF). Unacceptable coach behavior can be defined as: 1. Questions concerning the evluation/judging during the competition. * 2. Inappropriate remarks or comments, harassment, and/or gestures ... directed toward any judge including the Meet Referee and/ or President of the Jury of Appeal, Chief Judges, STCs, Panel Judges, or Assistant Judges. 3. Contact with other persons outside of the competitive floor area during the actual warm-up and course of competition (exceptions: USGF or club doctor, trainer, other credentialed club coaches, or USGF credentialed personnel) .* * (See CODE OF POINTS, Article 4, page 11) Such above described behavior will be penalized as follows: Ph路S. Off,," """. A

"e>rha1 'AT",.n1路 n 0" 1路"""ued b\T thp Mept

R~fer~::';~d/ ~r~ d~~ig~~t~d ;~pres':nt~ti~;

the USGF Executive Director. 42

;i I

Second Offense: Withdrawal of floor credential, necessitating ejection from competitive floor area (or possibly the entire competitive arena). Assessment of $1,000 fine payable to the USGF before participation in the next competition under jurisdiction of this policy. If a coach feels that his/her actions did not constitute this penalty being assessed to them they can appeal to a Jury /Board composed of the following persons: 1. USGF Executive Director or his designated representative, 2. USGF International Technical President or designated Meet Referee, 3. ChiefJudge of the respective event (if applicable) or USGF Meet Director.

The following actions will be permitted at a competition: 1. A clarification of vault number with the Chief Judge or appropriate personnel; 2. Short dialogue pertaining to apparatus, mats, meet procedures, etc. with the Meet Referee or Chief Judge; 3. Submitting appropriately completed USGF Inquiry Form to the Meet Referee. USGF International Tech. President/Consilltant, Jackie Fie Approved - Mike Jacki

Januanj - March 1991 TECHNIQUE

Women's Minutes

Women's Elite Program Committee November 2, 1990 Phoenix, AZ Meeting convened at (8:05pm) by Chairman, Roe Kreutzer. Region I Region II Region III Region IV Region V Region VI Region VI Region VIII NJOPC Adm. Board Chair. Elite Tech Chai.r Worn. Prog. Chai.r

Joanne Pasquale (for Nancy Roach) Bob Levesque Jim Jarrett (arrived at 8:30 pm) Jim Schlott Gary Warren Gary Anderson (arrived 8:30 pm) Kip Reed Kevin Brown (arrived at 8:30 pm) Mark Cook Mary Ann Mahoney Audrey Schweyer Kathy Kelly

I. PREVIOUS MINUTES Previous minutes approved as published. II. ELITE DEVELOPMENT Don Peters addressed the committee on the needs of Elite Development in the United States. He presented a idea for development of skills for the elite athlete, including a national direction, maximum development, incentives for development, state, regional and national recognition, Certificates of Achievement, international training exchanges, and competitive experiences at the discretion of the coaches. III. CLASSIC COMPETITIONS Discussion concerning seeding, number of qualifiers, etc., financial consideration. Recommendation that the entry fee to Classics meets be a maximum of $75.00. Motion - Gary Anderson Second - Bob Levesque PASSED

Regional competition were also discussed. It was suggested that Regions combine Elite Regionals with a Level 10 or 9 event (clinic or competition). Regions requested the office to send Elite Cards with no date. Rules and Policies (page 53, III, C.) Add statement to last sentence: "approval from the Regional Technical Chairman, the Regional Elite Program Chairman, and Regional Junior Olympic Program Chairman." Recommendation that the American Classic be scheduled one week later on November 9-10, 1991. (Senior Division Only) Motion - Jim Jarrett Second - Kip Reed PASSED

Recommendation to accept the Open Division Proposal presented by Gary Anderson for the 1992 season as follows: Sr. Division (15 & over) - CompoIII Rules C/O Jr. "A" Div. (12-14) - Compo II, 1996 Seq/Opt Open Div. (14 & over) - Compo III 1996 Seq/Opt Motion - Gary Anderson Second - Jim Schlott PASSED

Recommendation to accept the following as the competition schedule for the 1992 Elite season.

Jr. Division: April Classic, USA Championships Open Division: Regional Only Competitions Motion - Gary Anderson Second - Jim Schlott PASSED

IV. BUDGET Mary Ann explained the budget restraints and requirements of the committee members. There is only one paid meeting per year, other than Congress. Meeting adjourned at 1:30 Meeting reconvened at 9:05pm, Nov 3, 1990 Kip Reed absent

V. TEAM '92 FUNDS The committee recommends that the Women's Program Team '92 funds for the 1991 competitive year be awarded as follows: #1-7 place at 1991 USA Championship # 8 monies to the 1st place Sr. at 1991 Fall Classic who is not already in the Team '92 Program.

VI. JUNIOR "B" TESTING PROGRAM The committee reviewed the Junior "8" Testing Program. The program will be the basis for the December Training Camp and a competition will be conducted at the camp to evaluate the system and the scoring method. Recommendation to the Junior Olympic Program Committee to absorb the Junior B Elite Division into the J.O. Level 10 Junior Division with optional competition and element testing. Recommendation regarding petitions for USA Championships - Only petitions from athletes who competed at the previous years USA Championship will be considered and petitions must include a score from USA Championships (the previous year) or a score from the current season (Elite Regional or Classics) that is equal to or greater than the last place qualifier. Recommendation that the Junior B Testing Program will count as 20% of the athletes combined score at Regional Competitions and 40% of the combined score at National competition. Motion - Jim Schlott Second - Gary Warren PASSED

Recommendation that each event in the Regional Junior B testing will be evaluated by one judge and one coach/expert. Motion - Jim Schlott Second - Gary Warren PASSED (Gary Anderson - opposed)

Recommendation that the coach/expert evaluator for Regional testing will be selected by the Regional Board. Motion - Jim Schlott Second - Gary Warren PASSED

VII. TRAINING CAMP SCHEDULE Schedule was discussed. The committee requested that Kathy provide a listing of the dates based upon need and availability of the staff & center.

Sr. Division: Nov. Classic (1991), April Classic, USA Championships

TECHNIQUE January - March 1991

Index of Articles USCF Publications Technique, 1990 ADMINISTRATIVE Claire, Jan. USGF insurance and travel. Technique, USGF Publications, Vo1.10, #4, 90, 4-5. Unfonnation about in-

surance when taking teams overseas for infonnal competitrons}.

Watanabe, Mas. Compulsory evaluation. Technique. USGF Publications, Vol. 10, #1, 90, 18-21. (Analysis of u.s.

Men 's team perfonllance of key compulsory elements with suggestions for training). Watanabe, Mas. Overview & progress of sr. men's national team. Technique, USGF Publications, Vol. 10, #4, 90, 32-35. Watanabe, Mas. USGF men's elite requirements for 1990. Technique, USGFPublications, Vol. 10, #2, 90, p. 15-16. Williams, Mark. Coaching strategies on floor exercise. Technique, USGF Publications, Vol.. 10, #1, 90, 6-8.

(Presentation o!"Pad Drills" and Circuit rotations for class instruction)

Clarke, Dr. Kenneth C. Waiver/release & consent fonns in sport. Technique, USGF Publications, Vol. 10, #4, 90, 20. Hewett, John. USGF statements of activity. Technique. USGFPublications, VoI.10,#1, 90,42. (I ncomestatement summary for 1985-88).

Williams, Mark. Coaching strategies on p-bars. Technique, USGF Publications, Vol. 10, #4, 90, 14-17. Williams, Mark. Coaching strategies on vault: for class III and boy's coaches. Technique, USGF Publications, Vol. 10, #4, 90, 12-13.

GENERAL Arends, John. 1991 preview world championships. Technique. USGF Publications, Vol. 10, #1 , 90,16-17. (Description of initial plans for the 1991 World Champion-

MEN - COMMITTEE REPORTS JOPC minutes. 1/13-14/90, Indianapolis, IN. Technique. USGF Publications, Vol. 10, #2, 90, 30-31. (JO National

ships in Indianapolis) . Crawford, Dr.Tom. Foundations for success: motor and psychosocial development in the preschool years. Technique, USGF Publications, Vol. 10, #2, 90,10-11.

Discusses the proper sequencing of movement skill development and the implications for psychosocial developm ent and program planning}.

qualification scores, compulsory committee, Coaches Development committee). MPC Conference Call. 2/5/90. Technique, USGF Publications, Vol. 10, #2, 90, 32. MPC Conference Call. 5/22/90. Technique. USGF Publications, Vol. 10, #3, 90, 41. (Petitions to USA National

Championships).

Jacki,Mike. Technique, USGFPublications, Vol. 10, #1,90,

MPC Conference Call. 8/16/90. Technique. USGF Publications. Vol. 10. #4. 90,40. (selection of athletes for uni-

47. (Position Statements concerning Apartheid, Olympism and South Africa by M. Jack;' Executive Director of the USGF, and F. Carrard, Director General of the I.O.C.).

MPC Conference Call. 11 /20/89. Technique, USGF Publications, Vol. 10, #1 , 90, 36. (W inter National Scores,

Kihmark, Olaf. What is the gymnaestrada? Technique. USGF Publications, Vol. 10, #2, 90, 22-24. (Description

of the fonnation of the Gymnaestrada). Komara, Patti. Gym birthday parties. Technique. USGF Publications, Vol. 10, #4, 90,10-11. O'Quinn, Dr. Garland. A deeper - wider base for our gymnastics programs. Technique. USGF Publications, Vol. 10, #3, 90, 32-33. (Educational Gymnastics). O'Quinn, Dr. Garland. Educational gymnastics. Technique. USGF Publications, Vol. 10, #2, 90, 9. (Describes

benefit of educational gymnastics curriculum in elementary , schools). Robbins, N.Clay. Work authorization for foreign gymnastics coaches. Technique, USGF Publications, Vol. 10,

#3,90,21-23. (Discusses how to obtain immigrant or permanent residence status). Whitlock, Steve (Ed.) Annual index of articles. Technique, USGFPublications, Vol. 10, #1,90,43-46. Ondexofarltcles appearing in the 1989 Official Publications of the United

States Gymnastics Federation}. JUDGING - WOMEN Fie, Jackie. Questions and answers. Technique, USGF Publications, Vol. 10, #2, 90, 4-8. (question & answers submitted to judges at the '89 Judges Course). FIG Report. Supplement to the Jan. 1988 list of original elements on uneven bars, balance beam, floor exercise, and vault with original elements from the 1989 WC in Stuttgart. Technique, USGF Publications, Vol. 10, #4, 90, 27-31. (elements are listed in English, French and

Gennan with illustrations). Maloney, Connie. Balance beam reversals: levels 5, 6, 7. Technique. USGF Publications, Vol. 10, #4, 90, 25-26. USGF women's level IV deductions. Technique, USGF Publications, Vol. 10, #4, 90, 23-24. (judging deductions applicable to level IV). MEN - GENERAL Cowan, Robert. World ranking byevent. Technique, USGF Publications, Vol. 10, #1 , 90, 9. (Men 's team scores ranked by event from the 1989 World Championships). Holt, Jim. Coaches role - gameday. Technique, USGF Publications, Vol. 10, #4, 90, 12-13. Holt,Jim. Various phases of ring swing. Techni~ USGF Publications, Vol. 10,#3,90,30-31. (DisCl/sses turnover,

lift and drop). Hullner, Peter. Conditioning factors in floor exercise. Technique. USGF Publications, Vol. 10, #2, 90,12-14. Mizoguchi, Hideo. 1989 junior olympic skill testing review. Technique, USGF Publications, Vol. 10, #2, 90,

25-27. (Areas of imptovement from previous testings as well as a listing of common mistakes and weaknesses in Cl/rrent perfromance levels). Mizoguchi, Hideo. China report: Chinese training system. Technique. USGF Publications, Vol. 10, #3, 90, 36-41.

(Summarizes observations on men's training in China). Qualifying/selection procedures. Technique. USGF Publications, Vo1.10, #1 , 90, 40-41. (U .5. National Champi-

onships, U.S. Olympic Festival, Pacific Alliance Championships, Goodwill Games Teatn, Other events).

fication cup).

SPORTS SCIENCE - RESEARCH Bailey, Brian, M.S. and Eskridge, Dr. Chris. Impact of strength training. Technique, USGF Publications, Vo1.10,#1, 90,12-15. (Resultsofa study undertaken to test

the proposition that strength training can improve gymnastics perfonnance). Basset, S.H., Sands, W.A., Ruttenberg, H ., and Johnson, S.c. Cardiac dimensions. Technique, USGF Publications, Vol. 10,#4,90, 18-19. (. ..noeviden cefrom thisst ud~

that prepubescent gymnasts exhibit impaired heart function as a result of inappropriate heart growth due to traiing). Cornelius, Dr. William. Human third class levers and gymnastics performance. Technique. USGF Publications, Vol. 10, #3, 90, 19-20. (Understanding movement

concepts related to the mechnical adavantageand disadvantage inherent in the 3rd class level, will help greatly in dealing with the young gymnast). Cornelius, Dr. William. Initiating a biomechanical analysis for the flip flop into back saIto. CTechnique, USGF Publications, Vol. 10, #4, 90, 21-22. Curtis, Dr. J., Iselin, Dr. W., and Gibson, B. Mindset for winning. Technique, USGF Publications, Vol. 10, #4, 90, 7-9. (greater knowledge, time and effort in mental

preparation will reward us with improved perfonnances). Feigley, Dr.David A. Influence of rewards on motivation. Technique, USGF Publications, Vol. 10, #1,90,4-5. (An

examination of commonly held beliefs about youth sports and re-examination of those beliefs in light of recent evidence and new trends in youth sports programming). Feigley, Dr.David A. Why kids quit? Technique. USGF Publications, Vol. 10, #1, 90, 10-11. (An examination of

why kids quit gymnastics with suggestions as to what the coach can do to help).

MPC minutes. 6/5/90, Denver, CO. Technique, USGF Publications, Vol. 10, #3, 90, 42-43. (Reports, Winter

Henschen, Dr. K, Sands, Dr. W.A., Gordin, R, and Martinez, R Psychological differences between women olympic gymnasts and the remainder of the senior national team. Technique, USGFPublications, Vol. 10, #3,90, 4-

Nationals fonnat , Selection Committee restructure, Judges' evaluation).

5. (Olympians were more success oriented, less fatigued and confused, and had overall higher self-concepts).

MPC minutes. 9/ 14/90, New Orleans, LA. Technique, USGF Publications, Vol. 10, #4, 90, 41-42, (reports, Olympic se-

Sands, Dr. W.A. Determining skill readiness. Technique, USGF Publications, Vol. 10, #3,90,24-27. (DisCl/ssesS

New Business).

lection procedures. Jr. Pan Am Games report, etc.!. MPC minutes. 12/ 2-3,89, Colorado Springs, CO (Winter Nationals meeting). Techniaue, USGF Publications, Vol. 10,#1,90,37-39. (World Championships Report, Role

of NCAA Program in USGF, Tracking Program Update, Budget, Coaches' Support Program,MPC Additional Combination Requirements, 90 Elite Regional Sites, 1990 Selection Procedures, Calendar, Judges Ranking, 1990 Game Plan, National Coach/event coach Selection). RHYfHMIC - GENERAL F.l.G. Report. Rhythmic Gymnastics. Technique, USGF Publications, Vol. 10, #1, 90, 29-30. (Clarification of certain nonns in the 1989 Code of Points). Hitzel, Nora. Code of Points: Questions and Answers. Technique, USGF Publications, Vol. 10, #1, 90, 31. Qualifying/ selection procedures. Technique, USGF Publications, Vol. 10, #1 , 90, 32. (1990 USGF National

Championships, National Team Selection, Four Continents Championships). Schmid, Dr. Andrea. Clarificaton of the risk taking bonus point. Technique, USGF Publications, Vol. 10, #2, 90, 47-48. Schmid, Dr. Andrea . RSG Code of Points: questions and answers. Technique, USGF Publications, Vol. 10, #3, 90, 28-29. Stahnke, Robert. Music at 1989 Rhythmic World Championships. Technique. USGF Publications, Vol. 10, #1, 90, 28. RHYfHMIC - COMMITTEE REPORTS RJCminutes. 9/ 16/89,Philadelphia, PA. Technique,USGF Publications, Vol. 10, #1 , 90,32. (Rules & Policies,Judges

Certification list, Judges Log Book, Judging assignments, Judges ethics, Technical Operating Code, Attire). RJOPC minutes. 1/ 5-6/90, Indianapolis, IN. Technique, USGF Publications, Vol. 10, #2, 90, 50. (Summer devel-

opment camps, Safety Certification, Operating Code). RJOPC minutes. 6/23-24/90, Indianapolis, IN. Technique, USGF Publications, Vol. 10, #4, 90, 48-49. (reports, east/

west championships, rules and policies, rhythmic operating code, elections, Class I Routine Body Element Requirements). RPCminutes. 2/2-3/90,ColoradoSprings,CO. Technique, USGF Publications, Vol. 10, #2, 90, 48-50. (RPC Coaches

position elections, Four Continen ts and Pan Am Games qual. procedures, international assignmebts). RPC minutes. 5/6/90, Eugene, OR Technique, USGF Publications, Vol. 10, #3, 90, 44. (Goodwill Games, Jr.

Pan Ams. Olympic Sports Festival). RPC minutes. 9 / 90, New Orleans, LA. Technique, USGF Publications, Vol. 10, #4, 90, 50. RTC minutes. 9/14/90, New Orleans, LA. Technique. USGF Publications, Vol. 10, #4, 90, 47. (certification

program, C-I elements, judging duties, tests, training video).

domains: Physical, Technical, Tactical, Psychological and Theoretical). Sands, Dr. W.A., Crain, RS., and Lee, K.M .. Gymnastics coaching survey - 1989. Technique. USGF Publications, Vol. 10, #1, 90, 22-27. (A study undertaken to de-

termine selected demographic characteristics and attitudes about artistic gymnastics coaches, their programs and their athletes). Sands, Dr. W.A., USGF women's tracking program, pI. 'l - Response. Technique, USGF Publications, Vol. 10, #2,90, 17-21. Svihlik, Dr. L. Chiropractors in sport. Technique, USGF Publications, Vol. 10, #4, 90, 36-38. WOMEN - GENERAL George, Dr. Gerald. Yamashita 1 /2 turn. Techni~ue. USGF Publications, Vol. 10, #4, 90, 6. (atwlysis of ( e compul-

sory vault). Judges training manual: update to the 1st and 2nd editions. Technique. USGF Publications, Vol. 10, #2,90,42-43. Mitchell,Joanne, and Elliott, Dr. B. Teaching the Yurchenko vault: A biomechanical perspective. Technique, USGF Publications, Vol. 10, #3, 90, 6-8. (Drills provided an ad-

equate learning environment for the Yurchenko) . Pidcoe, Peter, and Schuit, Dr. Dale. The bail technique: a quantative analysis applied to women's uneven bars. Technique, USGF Publications, Vol. 10, #3, 90,9-11. Text differences - level 10 and elite. Technique, USGF Publications, Vol. 10, #2, 90, 35-36. USGF supplement to the code of points. Technique, USGF Publications, Vol. 10, #2, 90, 37-40. WOMEN - COMMITTEE REPORTS Elite PC Conference Call. 8/ 28/90. Technique. USGF Publications, Vol. 10, #4, 90, 44. (Jr. "B" Testing). Elite PC, 5/20-21/90, Saginaw, Ml. Technique, USGF Publications, Vol. 10,#3,90,46-47. (Qualificationscores,

Jr. "B" program, JO mobility). JO Ad Hoc Conference Call. 8/30.90 Technique, USGF Publications, Vol. 10, #4, 90, 44. (JO concerns). JO PC Conference Call, 5 /30/ 90. Technique, USGFPublications, Vol. 10, #3, 90, 49-50. (calendar, ~e1 7 mobility

- Attachment: 90-91 rules for age determination). JO PC Conference CaB. 11 / 13/ 89. Techniqug, USGF Publications, Vol. 10, #1 , 90, 35. (Age determining date,

Event wards, ElitellO text differences). JO PC minutes. 5/13-14/90. Techni~ USGF Publications, Vol. 10, #3,90, 48-49. Technique. USGFPublications, Vol. 10, #3, 90, 48-49. (Dance Program, program issues). JO PC minutes. 9/13/90, New Orleans, LA. Technique. USGF Publications, Vol. 10, #4, 90, 45. (daance program.

program issues, elite drop-backs, etc.). Qualification/ selection procedures.

Technique, USGF

January - March 1991 TECHNIQUE

Publications, Vol. to, #1, 90, 34. (90 USGF Women's

National Team) . Qualification / selection procedures. Technique, USGF Publications, Vol. 10, #2, 90, 34. (1991 World University Games and 1991 Pan American Games). WPC Admin. Board. 5/5~/90, Co lorado Springs, CO. Technique, USGF Publications, Vol. 10, #3, 90, 45.

(R&P revisions, Officials Rights, Criteria for judges selection - and Conference Call 6/15/90: Clarifications). WPC Admin. Board. 9/16/90, New Orleans, LA. Technique. USGFPublications, Vol. 10, #4, 90,46. (operating

code, office requests, outfitting, level lV, etc.). WPC Conference Call. 12/ 14 /89. Technique, USGF Publications, Vo1.10, #1 , 90, 41. WPCminutes. 2/16-18/90, Denver, CO. Technique. USGF Publications, Vol. to, #2, 90, 44-46. (Technical Recom-

mendations, Bar adjustment, Operating Code amendment, eductionss for squat, stoop, and straddle vaults). WTCminutes. 7/ 29-30 / 90, Tacoma, W A. Technique. USGF Publications, Vol. 10, #4, 90, 43-44. (JCI, Safety Cert. , assignment to competitions, element evaluation, NCAA, R&P, JO program, reports, etc.). OTHER REPORTS Athletes Council Conference Call, 7/12/90. Technique. USGF Publications, Vol. to, #4, 90, 39. (World Cham-

pionships addresses, Spirit of the Flame, new business). ADVERTISEMENTS/ANNOUNCEMENTS 199OUSGFCongress. Pre-CongressSeminars. Technique. USGF Publications, Vol. 10, #3, 90, 14-18. 1990 USGF Congress. Technique, USGF Publications, Vol. 10, #2, 90, 20. 1990 USGFCongress. Technique. USGF Publications, Vol. 10, #2, 90, 33-35 and 51. Additions to the USGF men's elite requirements for 199091 . Technique, USGF Publications, Vol. 10, #4, 90, 39. Clarification to the 1990-91 women's rules & policies. Technique, USGF Publications, Vol. 10, #4, 90, 35. Classic Clinic Workshop. Technique. USGF Publications, Vol. 10, #2, 90, 41 . Coach/ Judges Summer 199OWorkshops. Technique. USGF Publications, Vol. 10, #2, 90, 51. Coach/ Judges Summer 199OWorkshops. Technique. USGF Publications, Vol. 10, #3, 90, 27. Coaches' Positions, USGF Rhythmic Summer Camps. Technique. USGF Publications, Vo1.10, #1 , 90, 31 . Coaches' Seminar, Intern. Gymnastics Research Foundation. Technique, USGFPublications, Vo1.10, #1 , 90,15. Correction to women's JO compulsory book. Technique, USGF Publications, Vol. 10, #4, 90, 35. Educational Materials. Techniqyg. USGF Publications, Vol. 10, #1, 90, 11. Educational Materials. Technique. USGFPublications, Vol. 10, #2, 90, 14. Educational Materials. Technique. USGFPublications, Vol. 10, #4, 90, 5. Information on 1990 men's winter nationals. Technique, USGF Publications, Vol. 10, #4, 90, 40. Men's Program announcement. Technique. USGF Publications, Vol. 10, #4, 90, 35. (Class V competitive program). Men's Program announcement. Technique. USGF Publications, Vol. 10, #4, 90, 43. (Class V ceiling scores). Safety Certification Testing. Technique, USGF Publications, Vol. 10, #1, 90, 48. Safety Certification Testing. Technique. USGF Publications, Vol. 10, #2, 90, 52. Safety Certification Testing. Technique, USGF Publications, Vol. 10, #3, 90, 52. Safety Certification Testing. Technique. USGF Publications, Vol. to, #4, 90, 52. Safety Manual. Technique, USGF Publications, Vol. to, #1 , 90, 17. Update on obtaining work auathorization for foreign athletes. Technique, USGF Publications, Vol. 10, #4, 90, 26. Video-tapes. Technique, USGFPublications, Vol. 10,#1, 90,2. Video-tapes. Technique, USGFPublications, Yol.to,#2, 90,2. Video-tapes. Technique. USGFPublications, Vol.to,#3, 90,2. Video-tapes. Technique. USGF Publications, Vol. 10, #4, 90,2 Womens Operating Code: Article XII - Cause for Removal. Technique, USGF Publications, Vol. 10, #3, 90, 23. World Championships. Technique. USGF Publications, Vol. 10, #2, 90, 33. World Championships. TeChni~ue. USGF Publications, Vol. 10, #3, 90, 17. (Information r Volunteers and Club '91). World Championships. Technique. USGF Publications, Vol. to, #3, 90, 51.

USA Gymnastics,1990 EDITORIALS Jacki, Mike. Cooperation is the Key. USA Gymnastics. Vol. 19, #2, 4. Jacl<i, Mike. For the Love of Sport. USA Gymnastics. Vol.

TECHNIQUE January - March 1991

19, #6, 6. Jacki, Mike. Mary Lou! One More Time? USA Gymnastics. Vol. 19,#3,6. Jacki, Mike. N adia Revisited . USA Gymnastics. Vol. 19, #1 , 4-6. Jacki, Mike. Recuit: To Seekout & Engage Persons for Work or Service. USA Gymnastics, Vol. 19,#5, 6-8. Jacki, Mike. Something for Everyone. USA Gymnastics. Vol. 19,#4, 6. What's in the Future for Mary Lou? USA Gymnastics. Vol. 19, #2, 8. EVENT RESULTS Cowan, Robert. 1989 Winter National Championships. USA Gymnastics, Vol. 19, #2, 26-27. Event Results. USA Gymnastics. Vol. 19, #4, 8. (Louvin LA

Neu ve International Rhythmic Tournamen t, Jr. Mens USA vs. Mexico, Shelly Allen). Event Results.

USA Gymnastics. Vol. 19, #4, to-12.

(Mulvihill:Canadian Cup, Hamilton: Athens Cup, Stockard: Daily Mirror, IV International Tournament of Boavista , Equipment for Costa Rica, Thomas into Hall of Fame). Event Results.

USA Gymnastics, Vol. 19, #5, 41-47.

(Rhythmic Classics,JO Nat. Championships, Moscaw News, Dutch Open, Magglingen, Grand Prix of Italy, Golden Sands, Czechoslovakia Cup, Rhythmic Venixxieu x, 14 Annual Cot/bus). Event Results.

USA Gymnastics . Vol. 19, #6, 16-17.

(H. Christie: Moscaw rhythmic competition. Four Continents: Christy Neuman Earns Silver medal. H.Christie: Corbeil-Essones rhythmic competition. H.Greathouse: Brother Cup). Event Schedule. USA Gymnastics, Vol. 19, #6, 43. Gy mnastics Results. Special Section. 1989-90. USA Gymnastics. Vol. 19, #5, 34-39. Lancette, C. Brandy Johnson: all-american kid. USA Grmnastics. Vol. 19, #6, 40-42. ('90 U.S. Olympic Festival Lancette, C. Burly bookends - Umphrey/ Roth. USA Gymnastics. Vol. 19, #6, 40-41. ('90 U.S. Olympic Festival! Roethlisberger, M. Simpson & the juniors steal the show. USA Gymnastics, Vol. 19, #6,40-42. ('90 U.S. Olympic

Festival FEATURE ARTICLES Auer, Patti. Karolyi Captures another C up. USA Gymnastics. Vol. 19, #3,26-30. Auer, Patti. U.S. Olympic Cup. USA Gymnastics, Vol. 19, #5,32-33. Clayton, Kim. Challenges in the '90'2: USGF N ational Congress. USA Gymnastics, Vol. 19, #6, 12. Cowan, Robert. A Fairy Tale. USA Gymnastics, Vol. 19,#3,8. Gordin, Richard, Ed.D. What to Say Two Minutes Before Competition. USA Gymnastics. Vol. 19, #2, to, 34. Gothard, Jeff. Honey, I Shrunk the Team. USA Gymnas~ Vol. 19,#3, 9. Gymnastics 1990 Preview. USA Gymnastics, Vol. 19, #2,

16-19. (Update on 1990 events). Hitzel, Nora. Bulgarians and Soviets Triumph. USA Gymnastics. Vol. 19, #1 , 32-33. (14th Annual Rhythmic

World Championships report) Nassar, Larry, A.T.C. Balancing Exercises. USA Gymnastics. Vol. 19, #2, 14-15. Nassar, Larry, A.T.C. Taping Combined with Exercise. USA Gymnastics. Vol. 19, #1 , 13. Peszek, Luan. USSA-USSR: U.s. Gaining Ground. USA Gymnastics. Vol. 19, #6, 28-32. McDonald'sChallenge). Peszek, Luan. Zmeskal & Lutz Hit the Jackpot. USA Gymnastics. Vol. 19, #4, 26-29. (1990 US Challenge). Peszek, Luan. Zmeskal-Ringnald A Pair of Winners. USA Gymnastics. Vol. 19, #3, 32-34. (McDonald's Interna-

tional Mixed Pairs). Rockwell.Jack. Tendonitis. USAGymnastics.VoI.19,#1 ,1O-12. Summer Camp Directory. USA Gymnastics. Vo1.19, #2,36-38. FEATURES - MEN'S GYMNASTICS Auer, Patti. Kurt Thomas - The Comeback Kid. USA Gymnastics, Vol. 19, #1,14-15. Brown, Rob. Nebraska Counts Tenths for NCAA Title. USA Gymnastics, Vol. 19, #4, 36-37. Peszek, Luan. A Race to the Finish. USA Gymnastics. Vol.

19,#3, 20-23. (1990 McDonald's American Cup). Peszek, Luan. Dimas Dominates. USA Gymnastics. Vol. 19, #5, 20-24. (USA/GDR). Peszek, Luan. Jair Lynch Led the Way. USA Gymnastics. Vol. 19, #5, 26&31. (Junior Champion ships). Peszek, Luan. Meet the Top U.S. Men's Coaches (Pt. 2). USA Gymnastics. Vol. 19, #1 , 34-37. Peszek, Luan. U.s. Depth Deeper than Ever. USA Gymnastics, Vol. 19, #5, 14-18. (U.S. National Championships

Report). Peszek. Luan. Goodwill Games: U.S. Men rise to world class level. USA Gymnastics, Vol. 19, #6, 18-21 & 34. Peszek. Luan. U.s. Narrows the Gap. USA Gymnastics, Vol. 19, #1 , 28-31. (World Championships report)

FEATURES - RHYTHMIC GYMNASTICS Exner,Jan. Goodwill Games: Scaldina wins the gold. USA Gymnastics, Vo l. 19, #6, 26-27. Peszek, Luan. The "Hunt" ended with Caroline. USA Gymnastics. Vol. 19, #4, 30-31. (RSG Jr. Nationals). Peszek, Luan. Top U.s. Rhythmic Coaches. USA Gymnastics, Vol. 19, #5, 28-30. (Bree, Davidovich, Hilliard,

Holdreith, Svirsky, Vdovets) . Peszek, Luan. Tracey Lepore Captures the Limelight. USA Gymnastics. Vol. 19, #4, 32-33. (RSG Sr. Nationals). FEATURES - WOMEN'S GYMNASTICS Auer, Patti. Crandall Comeback. USA Gymnastics. Vol. 19, #4, 14-15. Auer, Patti. Wendy Bruce Knows No Bounds. USA Gymnastics, Vol. 19, #1, 26. Lancette, Chris. Utah Back on Top . USA Gymnastics, Vol. 19, #4, 38-39. (NCAA's) Peszek, Luan. Christy Henrich Determined to Win. USA Gymnastics. Vol. 19, #2, 20-21. Peszek, Luan. Junior Talent Abounds. USA Gymnastics. Vol. 19, #5, 27&31. (Junior Championships). Peszek, Luan. Little Zmeskal Wins BIG. USA Gymnastics. Vol. 19, #3, 14-18. (1990 McDonald's American Cup). Peszek, Luan. Racanelli Wins the Gold. USA Gymnastics, Vo1.19, #2,22-25. Peszek, Luan. Soviet Spectacular! USA Gymnasticยง, Vol. 19, #1 , 18-21. (Report on World Championships). Peszek, Luan. Sweet Revenge. USA Gymnastics. Vol. 19,

#4, 16-19. (USA/GDR). Peszek, Luan. U.s. Seniors Stronger than Ever. USA Gymnastics. Vol. 19, #6, 20. (U. S. National Championships). Peszek, Luan . Woolsey Peaks a t Worlds . USA Gymnastics,VoI.19,#1 ,22-23. Peszek. Luan. Goodwill Games: U.s. women challenge the soviets. USA Gymnastics. Vol. 19, #1,22-24 & 35. Retton, Mary Lou. Ask Mary Lou . USA Gymnastics. Vol. 19, #4, 7. Retton, Mary Lou. Ask Mary Lou. USA Gymnastics. Vol. 19, #5, to. Retton, Mary Lou. Ask Mary Lou. USA Gymnastics, Vol. 19, #6, to. REPORTS Qualification/ Selection Procedures - Men. USA Gymnastics, Vol. 19, #1, 42. (U.S. National Championships,

U.S. Olympic Festival, Goodwill Games Team) Qualification/ Selection Procedures - Men. USA Gymnastics. Vol. 19, #6, 36-37. (Team Selection Procedures:

1991 World Championships) Qualification /Selection Procedures - RSG. USA Gymnas~ Vol. 19, #3, 35. (1991 Pan American Games). Qualification /Selection Procedures - RSG. USA Gymnas~ Vol. 19, #6, 38. (National Chgampionships Selection

Procedures) Qualification / Selection Procedures - W omen. USA Gymnastics, Vol. 19, #4, 40-42. (1991 Pan American Games,

1991 World University Games). Qualification/Selection Procedures - Women. USA Gymnastics.VoI.19, #6,38. (1991 USGFWomen's NationaITeam) The Biggest and the Best! 1991 World Championships Preview. USA Gymnastics, Vol. 19, #2, 12. UPDATES Darst, Delene. Women' s Barcelona Competition. 1!fu'. Gymnastics. Vol. 19, #2, 30. McIntyre, Dennis. Tulit Peter Memorial Tournament. USA Gymnastics. Vol. 19, #2, 31. Peszek, Luan. Gymnastics '89 Tour of Champions. USA Gymnastics. Vol. 19, #1, 38-39. Product Update. USA Gymnastics. Vol. 19, #3, 42-43. (Class

A Music, Pegasus Opens New Factory in Colorado,American

Gymnastics Print, Int'l Men's Brevet Judges Log Book, AAl American Training Pods, Nassar System). RSG Update. USA Gymnastics, Vol. 19, #3, 36-37. (Auer: RSG Re-ranking competition. 1990 Goodwill Games Commentator, Auer: Simpson Looks to New Beginnings, World Class Rhythmic Coach Helps the U.S.). RSG Update. USA Gymnastics.Vol. 19, #4, 34. (Thiais In ternational Rhythmic Competition , International Tournament of Rhythmic Gymnastics). Update. USA Gymnastics, Vol. 19, #1 , 40. (Zmeskal Wins American Classic. Shurlock,Art: Joaquim BlumeMemorial. U.S. Gymnastics National Train ing Center). Update. USA Gymnastics, Vol. 19, #2, 28, 2932,33. (Peszek: Drew Durbin, Jr. Coach Gene Watson, Swiss Cup/Aurthur Gander Memorial/DTP-Pokal, Bemco Hosts Tots and Teens Fun Day). Update. USA Gymnastics, Vol. 19, #2, 29. (A uer: Olga Korbut Pays a Visit. Brandy Johnson Sullivan Award Finalist. Sandy Woolsey Nominated for Dial Award). Update. USA Gymnastics, Vol. 19, #2, 42-43. (Callous Stick. AAl Reflex Padded Beam. CODOC Balance Platform). Update. USA Gymnastics. Vol. 19, #3, 38-41. (Boys JO Compulsory Awards Program, Peter Vidmar, Summer

Coaches Education Clinics, US Classic Competition and Clinic, New Video, USGF Regional Testing Results, Elite Gym-Kin visits Natinal Training Center, AAI American). Update . USA Gymnastics, Vol. 19, #4, 48-49. (M.Roetitlisberger, Trafton, Cowan: Men's fO Nat . Team, Posner: USGF National Collegiate Championships). Update. USA Gymnastics,Vol. 19, #5,40. (Bedding byBemco, Physical Fashions). Update. USA Gymnastics, Vol. 19, #6, 13-15. Team Teaching Concept. Gymnastics Loses a Hero (D. Bixler). Maria Bakos immeasurable contributions . Moguilni retires. U.S. National Team gets tested. Update. USA Gymnastics, Vol. 19, #6, 46. (Faces in the gym). USGF Congress. Challenges in the 1990' s. USA Gymnas!i!2, Vol. 19, #3, 13. USGF Congress. Challenges in the 1990' s. USA Gymnas!i!2, Vol. 19, #4, 9. ADVERTISERS Apparel-AAIAmerican. USA Gymnastics, Vol. 19,#3, 30. (Grips & shoes). Apparel-AAIAmerican. USA Gymnastics, Vol. 19, #4,40. (Grips & shoes). Apparel- AAI American. USA Gymnastics, Vol. 19, #6, 9. (Grips & shoes). Apparel - Alpha Factor. USA Gymnastics, Vol. 19,#3, 2. (Leotards, Sportswear) . Apparel - Alpha Factor. USA Gymnastics, Vol. 19,#4,2. (Leotards, Sportswear) . Apparel- Alpha Factor. USA Gymnastics, Vol. 19,#5,2. (Leotards, Sportswear). Apparel - Alpha Factor. USA Gymnastics, Vol. 19,#5, Center. (Leotards, Sportswear - Center insert) Apparel - Alpha Factor. USA Gymnastics, Vol. 19,#6, 2. (Leotards, Sportswear). Apparel- Bellino Associates. USA Gymnastics, Vol. 19, #5, 52. (Persona lized T-shirts). Apparel - Elite Sportswear, LTD. USA Gymnastics, Vol. 19,#3,4-5. (Leotards, Sportswear). Apparel- Elite Sportswear, LTD. USA Gymnastics, Vol. 19,#4,4-5. (Leotards, Sportswear). Apparel- Elite Sportswear, LTD. USA Gymnastics, Vol. 19,#5, 4-5. (Leotards, Sportswear). Apparel- Elite Sportswear, LTD. USA Gymnastics, Vol. 19,#6,4-5. (Leotards, Sportswear). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19, #1,6. (Velcro Gymnastics Grips). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19, #2, 35. (Velcro Gymnastics Grips). Apparel - G.W.Deitch Sr., Ine. USA Gymnastics, Vol. 19, #3,43. (Velcro Gymnastics Grips). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19, #4,45. (Velcro Gymnastics Grips). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19, #5,43. (Velcro Gymnastics Grips). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19, #6, 15. (Velcro Gymnastics Grips). Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #1 , 12. (Gymnastics shoe) Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #2, 34. (Gymnastics Grips) Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #3,45. (Gymnastics Shoes Apparel- Gibson, Inc. USA Gymnastics, Vol. 19, #4, 15. (Gymnastics Grips) Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #5, 8. (Gymnastics Grips) Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #6, 13. (Gymnastics Grips) Apparel - Gym West Sport Products Company. USA Gymnastics, Vol. 19, #1, 45. (Gymnastics shoes) Apparel - Gym West Sport Products Company. USA Gymnastics, Vol. 19, #2, 34. (Gymnastics shoes) Apparel - Gym West Sport Products Company. USA Gymnastics, Vol. 19, #3, 45. (Gymnastics shoes) Apparel-Kartoons. USA Gymnastics, Vol. 19,#1 ,40. (T-shirts) Apparel- Kartoons. USA Gymnastics, Vol. 19, #2, 27. (T-shirts) Apparel-NassarSystem. USA Gymnastics, Vol. 19, #1 , 11. (Ankle brace) Apparel- Nassar System. USA Gymnastics, Vol. 19, #4, 46. (Ankle brace) Apparel- NassarSystem. USA Gymnastics, Vol. 19, #6, 35. (Ankle brace) Apparel - Pegasus. USA Gymnastics, Vol. 19, #1, 31. (Gymnastics shoe) Apparel - Pegasus. USA Gymnastics, Vol. 19, #2, 24. (Gymnastics shoe) Apparel - Pegasus. USA Gymnastics, Vol. 19, #3, 28. (Gymnastics shoe) Apparel - Pegasus. USA Gymnas!i!2, Vol. 19, #4, 36. (Gymnastics shoe) Apparel - Pegasus. USA Gymnastics. Vol. 19, #5, 50. (Gymnastics shoe) Apparel - Pegasus. USA Gymnastics, Vol. 19, #6, 10. (Gymnastics shoe)

Apparel- Physical Fashions. USA Gymnastics, Vol. 19, #2, 49. (T-shirts and sweatshirts). Apparel- Physical Fashions. USA Gymnastics, Vol. 19, #4, 23. (T-shirts and sweatshirts). Apparel- Physical Fashions. USA Gymnastics, Vol. 19, #5, 43. (T-shirts and sweatshirts). Apparel- Physical Fashions. USA Gymnastics, Vol. 19, #5, 45. (T-shirts and sweatshirts). Apparel- Tone Zone. USA Gymnastics, Vol. 19, #5, 25. Apparel- Unique Industries. USA Gymnastics, Vol. 19, #1, 16. (Ankle brace) Apparel- Unique Industries. USA Gymnastics, Vol. 19, #2, 25. (ankle brace) Apparel- USGF Merchandise. USA Gymnastics, Vol. 19, #1 , 47. (Variety) Camp - Brigham YOlffig University. USA Gymnastics, Vol. 19, #2, 37. Camp - International Gymnastics Camp. USA Gymnas!i!2, Vol. 19, #1, Insert. Camp - International Sports Management. USA Gymnastics, Vol. 19, #2, 43. Camp - International Sports Management. USA Gymnastics, Vol. 19, #4, 19. Camp - Karolyi's Gymnastics World Camps. USA Gymnastics, Vol. 19, #3, 29. Camp - Lake Owen Gymnastics Camp. USA Gymnastics, Vol. 19, #1, Insert. Camp - Lake Owen Gymnastics Camp. USA Gymnastics, Vol. 19, #2, Back cover. Camp - National Academy Summer Camp. USA Gymnastics, Vol. 19, #2, 43. Camp - Pikes Peak. USA Gymnastics, Vol. 19, #1 , 17. Camp-Stanford Gymnastics. USA Gymnastics, Vol. 19,#2,39. Camp - The Association for International Cultural Exchange Programs. USA Gymnastics, Vol. 19, #1 , 41 . (Soviet Gymnastics Course & School) Camp - Top of the Rockies. USA Gymnastics, Vol. 19, #2, 38. Camp - Woodward. USA Gymnastics, Vol. 19, #1, 48. Educational- Challenges in the 1990's. USA Gymnastics, Vol. 19, #2, 40. (USGF Congress, New Orleans). Educational- International Gymnast. USA Gymnastics, Vol. 19, #5, 10. (magazine) . Educational - Safety Certification Testing, USGF. USA Gymnastics, Vol. 19, #1, 9. Educational - Safety Certification Testing, USGF. USA Gymnastics, Vol. 19, #2, 46. Educational - Safety Certification Testing, USGF. USA Gymna~ Vol. 19, #4, 11. Educational - Safety Certification Testing, USGF. USA Gymna~ Vol. 19, #5, 54. Educational- USA Gymnastics, USA Gymnastics, Vol. 19, #3,40. (magazine). Educational- USA Gymnastics, USA Gymnastics, Vol. 19, #4, 15. (magazine) . Educational- USA Gymnastics, USA Gymnastics, Vol. 19, #6,42. (magazine). Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #2, 41. Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #3, 47. Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #4, 34. Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #5, 55. Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #6, 33. Educational- Videotapes, USGF. USA Gymnastics, Vol. 19, #1, 46. Equipment-AAI, American. USA Gymnastics, Vol. 19,#1, 27. (USGF Official supplier and Sponsor). Equipment - AAI, American. USA Gymnastics, Vol. 19, #2, 5. (USGF Official supplier and Sponsor). Equipment - AAI, American. USA Gymnastics, Vol. 19, #4, 41. (USGF Official supplier and Sponsor). Equipment - AAI, American. USA Gymnastics, Vol. 19, #6, 11. (USGF Official supplier and Sponsor) . Equipment - Rhythmic Gymnastics, Inc. USA Gymnastics, Vol. 19, #1, 44. Events - 1990 McDonald's Challenge: USA-USSR. USA Gymnastics, Vol. 19,#4,43. Events - 1990 U.S. Gymnastics Championships. USA Gymnastics, Vol. 19, #3, 31. Events -1991 World Championships. USA Gymnastics, Vol. 19, #3, 7. (It's Taking Shape). Events -1991 World Championships. USA Gymnastics, Vol. 19, #4, 25. (USGF Members Share the Magic). Events-1991 World Championships. USA Gymnastics, Vol. 19, #4, Center Insert. (Ticket information). Events- 1991 World Championships. USA Gymnastics, Vol. 19, #5, 13. Events-1991 World Championships. USA Gymnastics, Vol. 19, #6, 8-9. (Share the Magic, Club '91) Events-I991 World Championships. USA Gymnastics, Vol. 19, #5,12. (Volunteer Information and Sponsor Update).

Mise. - AMI/Denver Broncos Sports Medicine Center. USA Gymnastics, Vol. 19, #3, 41. Mise. - Barrett House. USA Gymnastics, Vol. 19, #5, 52. (Jenni Gymnast). Misc. - Bemco, USA Gymnastics, Vol. 19, #5,11. (Official mattress of the U.S . Gymnastics Team). Misc. - Cellular One. USA Gymnastics, Vol. 19, #4, 19. Misc. - Clever Creations. USA Gymnastics, Vol. 19, #3, 35 (Unique gift items) Mise. - Continental Airlines. USA Gymnastics, Vol. 19, #4. 19. (USGF airlines sponsor) Misc. - Everett's Creations. USA Gymnastics, Vol. 19, #5, 52. (Gym mouse). Misc. - Everett's Creations. USA GymnastiCS, Vol. 19, #6, 46. (Gym mouse) . Misc. - Futurewave. USA Gymnastics, Vol. 19,#3, 19. (Master of Sport drink). Mise. - Futurewave. USA Gymnastics, Vol. 19,#4, 13. (Master of Sport drink). Misc. - Futurewave. USA Gymnastics, Vol. 19,#6, 7. (Master of Sport drink). Misc. - Granite State Gymnastics. USA Gymnastics, Vol. 19, #5, 52. (Pendants & charots). Mise. - Granite State Gymnastics. USA Gymnastics, Vol. 19, #6, 44. (Pendants & charms). Misc.-GymnasticsSpeciaIities. USA Gymnastics, VoI.19,#2,33. Misc. - Gymnastics Specialties. USA Gymnastics, Vol. 19, #1,23. (Pins, buttons, etc.) Misc. - Hodges Badge Company, Inc. USA Gymnastics, Vol. 19, #1, 44. (Ribbon Awards & Medals) Misc. - Hodges Badge Company, Inc. USA Gymnastics, Vol. 19, #5, 52. (Ribbon Awards & Medals) Misc.- Hodges BadgeCompany,Inc. USA Gymnastics, Vol. 19, #6, 44. (Ribbon Awards & Medals) Misc.- Honda. USA Gymnastics, VoI.19,#5, 19. (ijondaCub). Misc. - Hyde Park Gymnastics. Kiley, Marje. USA Gymnastics, Vol. 19,#5, 51. (Seeking coaches). Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19,#1, 45. (Medals & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19,#2, 34. (Meda ls & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19, #3, 45. (Medals & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19, #4, 45. (Medals & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19, #5, 53. (Medals & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19, #6, 46. (Medals & Pins) Misc. - Kraft Food Ingredients. USA Gymnastics, Vol. l' #4,24. (1990 Pyramid Challenge Sponsor). Misc. - Northwest Airlines. USA Gymnastics, Vol. 19, #4, 23. (event sponsor) Misc. - Sterling Sports. USA Gymnastics, Vol. 19, #1, 45. (Gymnastics score book) Misc. - Sterling Sports. USA Gymnastics, Vol. 19, #2, 15. (Gymnastics awards book). Misc. - Sterling Sports. USA Gymnastics, Vol. 19, #5, 47. (Gymnastics awards book). Misc. - Sterling Sports. USA Gymnastics, Vol. 19, #6, 38. (Gymnastics awards book). Misc. - Teri Stober. USA Gymnastics, Vol. 19, #6, 44. (Gymnastics diary). Music - Class A Music. USA Gymnastics, Vol. 19,#3,7. Music - Class A Music. USA Gymnastics, Vol. 19,#4,46. Music - Class A Music. USA Gymnastics, Vol. 19,#5,49. Music - Class A Music. USA Gymnastics, Vol. 19,#6,43. Music-EliteExpressions. USA Gymnastics, Vol. 19,#1,22. Music-EliteExpressions. USA Gymnastics, Vol. 19,#3,33. Music-Elite Expressions. USA Gymnastics, Vol. 19,#4,37. Music-EliteExpressions. USA Gymnastics, Vol. 19,#5, 39. Music-EliteExpressions. USA Gymnastics, Vol. 19,#6, 34. Music - Floor Express. USA Gymnastics, Vol. 19, #1 , 39. Music - Floor Express. USA Gymnastics, Vol. 19, #2, 31 . Music - Floor Express. USA Gymnastics, Vol. 19, #3, 46. Music - Floor Express. USA Gymnastics, Vol. 19, #4, 39. Music - Floor Express. USA Gymnastics, Vol. 19, #6,17. Services -John P. Pearl & Associates. USA Gymnastics, Vol. 19, #1 , 4. (USGF Major Medical Plan) USGF Member Services. USA Gymnastics,Vol. 19,#4, 47. (Athlete, Professional and Club Membership) USGF Member Services. USA Gymnastics, Vol. 19,#6, 47. (Athlete, Professional and Club Membership) USGFOfficial Merchandise. USA Gymnastics, Vol. 19,#2,47. USGFOfficial Merchandise. USA Gymnastics, Vol. 19, #3,48. USGFOfficial Merchandise. USA Gymnastics, Vol. 19, #4,48. USGFOfficial Merchandise. USA Gymnastics, Vol. 19,#5,56. USGFOfficial Merchandise. USA Gymnastics, Vol. 19, #6,48. USGFOfficial Merchandise. USA Gymnastics, Vol. 19, #6, center.

JanuanJ - March 1991 TECHNIQUE

USGF GYMNASTICS SAFETY UPDATE - Index to articles 1988-1990

date. Vol. 3, No.1, February 88, 1-2. George, Dr. Gerald . USGF national certifiers are "a cut above." Safety Update. Vol. 4, No. 1, March 89,1. Helschien, Margi. Making your gym safe. Safety Update. Vol. 5, No.1, February 90, 3. (Safe-proofing your gym for

pre-school).

A nd

justice prevails. Safety Update. Vol. 3, No.4, May 88, 3-4. Reprinted from Sports Liability News, Aug-Oct 88. re,fan. Gymnastics injury statistics. Safety Update. Vol. 5, No.1, Feb90, 3. Claire, Jan. Insurance: past, present, and future. Insurance and the USGF. Safety Update. Vol. 3, No.1, February 88,3-4.

Claire, Jan. Litigations against gymnastics clubs. Safety Update. Vol. 5, No.3, August 90, 4. Cowan, Robert. 2nd Edition of the USGF Safety Manual. Safety Update.Vol. 5, No. 1, Feb90, 1. Cowan, Robert. Coaches Corner. Safety Update. Vol. 5, No.4, Nov90, 5. Cowan, Robert. Gymnastics Safety - The coaches corner. Safety Update. VoI.3,No.l,Feb88, 4. (Tumblillgsurfaces) Cowan, Robert. Gymnastics Safety - The coaches corner. Safety Update. Vol. 3, No.2, May88, 2. (a thlete main-

tenance). Cowan, Robert. Gymnastics Safety - The coaches corner. Safety Update. VoI.3,No.3,May88, 1-2. (communication). Cowan, Robert. Gymnastics Safety - The coaches corner. Safety Update. Vol. 3, No.4, May88, 2. (strength

training). Dvorak, Dr. Hutch. Gymnastics Safety - The coaches corner. Safety Update. Vol. 3, No.1, February 88, 5.

(Inexpensive ways to "class_up" and "safety-up" yourgJjm). Feeney, Rik. Recreational program safety awards - Program Publicity. Safety Update. Vol. 5, No.3, August 90,1. George, Dr. Gerald. Difficulty - go for it!. Safety Update. Vol. 5, No.4, Nov90, 4. George, Dr. Gerald. National trends in sports litigation. Safety Update. Vol. 5, No.3, August 90, 2-3. George, Dr. Gerald. Reflections on spotting. Safety Update. Vol. 3, No.3, May 88, 2. George, Dr. Gerald. Remediation proceduresapplilicabale to victims of suspected catastrophic injury in landing pits. Safety Update. Vol. 4, No.1, March 89, 1-3. George, Dr. Gerald. Spotting - a sacred trust. Safety Up-

Imrie, Stephen (MD). The use of ibuprofen during active participation in gymnastics. Safety Update. Vol. 3, No. 4, May 88, 4. Issues and Answers. George, Gerald . Safety Update. Vol. 3, No.1, February 88, 2. (mat placement, removal of LB). Issues and Answers. George, Gerald. Safety Update. Vol. 3, No. 2, May 88, 2. (the "penny drop"). Issues and Answers. George, Gerald. Safety Update. Vol. 3, No.4, May 88, 1. (multiple performers 0'1 the beam,

teenagers taking the Safety course). Issues and Answers. George, Gerald. Safety Update. Vol. 4, No.1, March 89, 7. (placement of base mat, repairs of

equipment, pacement of beam on mat, letters to the editor). Issues and Answers. Safety Update. Vol. 4, No. 4, December 89, 6. (measurement of equipmen t, side-leap). Issues and Answers. Safety Update. Vol. 5, No.1, February

90, 1-2. (Age requirements for certification, New materials). Issues and Answers. Safety Update. Vol. 5, No.2, May 90, 3. (Mirrors, Tendinitis & Bursitis, Jewelry). Issues and Answers. Safety Update. Vol. 5, No.3, August 90, 5. (dowel grips on rings, use of 4" mats, the 1 3/4

sommersault) . Jacki, Mike. Executive Director's Report. Safety Update. Vol. 3, No.1, February 88,1. Jacki, Mike. Executive Director's Report. Safety Update. Vol. 3, No.3, May 88, 1. Jacki, Mike. Executive Director's Report. Safety Update. Vol. 4, No.4, December 89, 1. Jacki,Mike. Executive Director's report. Safety Update. Vol. 4, No.2, May 89, 1. Jacki, Mike. Executive Office Report. USGF club survey now being tabulated. Safety Update. Vol. 3, No.2, May 88, 1. Moskovitz, Dave. The role of safety certification in the professional development program. Safety Update. Vol. 5, No.4, Nov90, 1-2. Newman, Alan (MD). Injury Report Form. Safety Update. Vol. 4, No.4, December 89, 2-3. Nisonson, Barton (MD) and Goldberg, Barry (MD). Acute hemarthrosis of the adolescent knee. from: Physician

and Sportsmedicine, Vol 17, No 4, April 89, 75-87. Safety Update. Vol. 4, No.2, May 89, 2. O'Connor, Partick. Insurance: past, present and future. Safety Update. Vol. 3, No.3, May 88, 3. Rockwell, Jack, RPT, ATC, MS. Tendonitis. Safety Update. Vol. 4, No.3, August 89,5-6. Sands, Bill (PhD). Safety Information, research and ideas. Safety Update. Vol. 3, No.2, May 88, 3-4. (plyometrics) Sands, Bill (Ph.D). Safety information, research and ideas. Safety Update. Vol. 3, No.3, May 88,4. (conduct athrough

warm-up). Steinsland, Olaf. Prevention of low back pain in young gymnasts. Safety Update. Vol. 5, No.4, Nov90, 2. USCF safety certification program 1990-93 2nd cycle course rates information. Safety Update. Vol. 5, No.1 , February 90, 2. USGF Waiver and Release Form (example). Safety Update. Vol. 4, No. 2, May 89, 3. Whitlock, Steve. CPR training. Safety Update. Vol. 5, No. 2, May 90, 2. Whitlock, Steve. Dowel handgripsand injury prevention. Safety Update. Vol. 3, No. 4, May 88, 3. (and wrist-grip injuries). Whitlock, Steve. Educational and safety matenals for gymnastics. Safety Update. Vol. 3, No.4, May 88, 5. Whitlock, Steve. Giving medication to young athletes. Safety Update. Vol. 3, No.4, May 88, 4 Whitlock, Steve. Increasing the level of safety awareness in your gym. Safety Update. Vol. 4, No. 3, August 89, IS. (Safety posters, etc) Whitlock, Steve. Inspection of gymnastics facilities and equipment. Safety Update. Vol. 4, No.1, March,89, 3 and 5:6. Whitlock, Steve. Preschool motor development screenmg. Safety Update. Vol. 5, No. 4, Nov90, 3. Whitlock, Steve. Primary injury concerns: ankles and knees. Safety Update. Vol. 4, No.1, March 89, 4. Whitlock, Steve. Release and waiver of liability and indemnity. Safety Update. Vol. 4, No.2, May 89, 6. Whitlock, Steve. Safety certification mandate. Safety Update. Vol. 5, No.2, May 90,1. Whitlock, Steve. Slide presentaton. Safety Update. Vol. 5, No.2, May 90, 2-3. Whitlock, Steve. When is a gymnast Ready? Safety Update. Vol. 4, No.4, December 89, 2 and 5. Whitlock, Steve. When is spotting appropriate? Safety Update. Vol. 4, No.2, May 89, 5-6.

Technique 1991 Advertising Schedule

Statistics: Published: Circulation:

Quarterly All USGF Professional members (approximately 7,500-10,000)

Readership Profile: Technique is received by all professional members of the U.S. Gymnastics Federation. This elite and powerful group includes all coaches, club owners, judges and administrators. Technique provides its readers with current research topics, coaching trends and the official minutes from all USGF committee meetings to assist gymnastics professionals throughout the country. By advertising in Technique, your product or service is basically mailed to a list of professional members in a form which will be looked at, even studied, and then , kept permanently. This gives your ad extra impact. As a compliment to your advertising schedule in USA Gymnastics, or as its own entity, Technique will provide you with excellent exposure to a very select and highly motivated audience.

1991/92 Advertising Deadlines: Issue

Reservation

Due Date

Approx. Dis!.

VoI.11 , No.1 Vol. 11, No. 2 VoI.11,No. 3 Vol. 11 , NO.4 Vol. 12, No.1 Vol. 12, No.2 Vol. 12, NO.3 Vol. 12, NO.4

Nov. 25, 1990 Feb. 10, 1991 May 10, 1991 Aug. 10, 1991 Nov. 10, 1991 Feb. 10, 1992 May 10, 1992 Aug. 10,1992

Dec. 5, 1990 Mar. 5,1991 June 5, 1991 Sept. 5, 1991 Dec. 5, 1991 Mar. 5, 1992 June 5, 1992 Sept. 5, 1992

Jan. April July Oct. Jan. April July Oct.

1991 Advertising Specifications and Rates: ~

Full Page Half page 1/3 page 1/4 page 1/6 page Back cover

BIW(bleed) BIW(live area) BIW (horizontal) BIW BIW BIW

I!:=:

--.0... .....c ..

85/8 x 11 1/4 $750 47/8 x 73/8 $500 7 3/8 x 33/8 $375 31 /2 x 47/8 $300 21/4 x 47/8 $250 73/8x10 $1000

2x's $700 $450 $325 $275 $225 $900

3x's $650 $425 $275 $225 $200 $850

4 x's $600 $400 $225 $200 $175 $800

Please direct any inquiries to: Luan Peszek, Production Coordinator USGF Pan American Plaza, Suite 300 201 S. Capitol Avenue Indianapolis, IN 46225

I TECHNIQUE January - March 1991

15, 1991 15, 1991 15,1991 15,1991 15,1992 15, 1992 15, 1992 15,1992

Non-ProfH Organization U.S. Postage

PAID Permit No. 7867 Indianapolis, Ind.

SAFETY CERTIFICATION TESTING Scheduled Courses Friday, January 4, 1991 Omaha, NE -1:00-7:00pm Omaha School of Gymnastics, 6124 N. 99th St., Omaha, NE 68134 (402) 571-6630 Course Dir.: Mike Stanner (402) 339-2924

Friday, February 1, 1991 Boise, ID - 8:00am-3:00pm BSU, Human Performance Center Classroom (Bronco Gym), 1910 University Dr., Boise, ID 83725 Couse Dir.: Yvonne Sandmire (208) 385-1657

Saturday/Sunday, January 5/6, 1991 High Point, NC High Point Gymnastics Academy, 108 Westover Dr., SUite 102, HIgh Point, NC 27265 (919) 869-3589 Course Dir.: Don Davis (919) 790-9400 Local Contact: Rob Travers (919) 869-3589

Sunday, February 10, 1991 MadIson, AL - 9:00am-4:00pm Southern States Gymnastics, 106-A Castle Dr., Madison, AL 35758 (205) 837-7395 Course Dir.: Mike Goodale (205) 837-7395

Friday, January 11, 1991 Ann Arbor, MI - 12:30-7:00pm Gym America, 4611 Platt Rd., Ann Arbor, MI 48108 Course Dir.: David Kuzara (313) 436-8529 Saturday, January 12, 1991 1. Albany, GA - 9:00am-3:00pm Quality Inn-Marry Acres, 1500 Dawson Rd., Albany, GA 31707 Course Dir.: D.J. Milem (904) 641-9966 Local Contact: Marcia Lamb (912) 888-2595 2. Burke, VA - 5:00-1O:30pm Karon Gymnastics, 5581 Guina Rd., Burke, VA 22015 Course Dir.: Michael Rizzuto (814) 238-8995 Local Contact: Milan Stanovich: (703) 323-0088 3. Salt Lake City, UT - 9:00am-4:00pm Universiry of Utah, HPER Building Course Dlr.: Gerald George (318) 988-1220 Local Contact: Greg Marsden (801) 581-3513 Sunday, January 13, 1991 1. Yonkers, NY - 8:00am-2:00pm Gym Cats, Inc., 1 Odell Plaza, Yonkers, NY 10701 Course Dir.: Paul Spadaro (718) 816-6287 Local Contact: Stacy Frey-Carrero (914) 965-7676 2. Greenville, SC -1:00-7:00pm Piedmont Academy of Gymnastics 2595 Rutherford Rd., Greenville, SC 29609 Course Dir.: Robert White (803) 268-3790 3. Hanover Park, IL - 9:00am-4:00pm Gym-Khana, 1700 Tower Dr., Hanover Pk., IL 60103 Course Dir.: Monte Kimes (312) 733-7200 Local Contact: Jackie Buckley (708) 483-0330

This course will be condllcted in conjunction with the USGF lllinois Women's State Clinic. 4. Fullerton, CA - 9:00am-4:00pm Cal State Fullerton, Physical Education Building, 800 N. State College Blvd., Fullerton, CA 92634 Course Dir.: Jeff Lulla (818) 845-0700 Local Contact: Tina Preston (714) 558-7256 This cOllrse will be condllcted in conjunction with the USGF SOli them California State Congress. Sunday, January 20, 1991 Springfield, MA - 10:00am-5:00pm Springfield College, Physical Education Comlcx Course Dir.: Steve Posner (413) 788-3357 Contact: Technique Gymnastics Camp, 47 Fairfield St., springfield, MA 01108 (413) 739-5009

Sunday, February 17, 1991 'Colorado Springs, CO - 9:00am-2:30pm U. S. Olympic Training Or., Colorado Springs, CO Course Dir.: Dave Moskovitz (317) 237-5050 Local Contact: Ron Brant (719) 578-4500 Saturday, February 23, 1991 'Altamonte Springs, FL - 8:00am-1:30pm Altamonte Springs Hilton, 350 S. North Lake Blvd., Altamonte Springs, FL 32701 (407) 830-1985 Course Dir.: Dave Moskovitz (317) 237-5050

Saturday, August 3, 1991 Stroudsburg, PA -10:00am-5:00pm International GYllmastics Camp, Golden Slipper Rd., Stroudsburg, PA 18360 (717) 629-0244 , These courses are considered USGF National Courses, and therefore the participants will be charged the group rate of $60.00 per person. 1. The text book for the Certification Course is the USGF GYMNASTICS SAFETY MANUAL. This texVreference manual is to be purchased and studied prior to course participation. 2. The course will take approximately six hours, including the test. 3. Certification is good for four years. 4. The Course fee is $100.00. USGF members and second cycle recertification is $75.00. Retest cost is $25.00. For groups of at least 5, contact the USGF Department of Safety and Education (317) 237-5050.

r------------------------, Participation Registration Form Name: Mr./Mrs./Ms. _ _ _ _ _ _ _ _ _ _ _ _ _ _Soc. Sec. # _ _ _ _ _ __ Address: _ __ _ _ _ _ _ _ __ _ __ _ _ _ __ _ __ _ _ __ City:_ _ _ _ _ _ _ _ _ _ _ _ _State:_ _ _ ___Zip_ _ __

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