Modern Gymnast - December 1969

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notes FROM THE

editor:

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

* * * THE '70s: The '60s started out with one National Winter Clinic and a couple of summer camps serving a few hun­dred gymnasts and coaches. As we enter a new decade we have grown to several major Winter Cl inics: Sarasota, Lau­derdale, Tucson, Berkeley (on sabbatical this year), Oregon and many others serving not hundreds but thousands. The New England Thanksgiving Clinic had over 2,000 enrolled (see report this MG), and the Eastern Clinic at Abington, Penna., also had a big turnout. Plus there is an ever-grow­ing number of gymnastic clinics and summer camps across the nation. With the recently appointed national coach for men (Gene Wettstone) along with all of the other proposed national team training sessions and international tours planned for the 70s, we expect the coming decade to be an ever brighter one for gymnastics ... . As for the MG we have overcome most of our publishing problems and should be catching up shortly on our mailing schedule. So hang in there with us as camera and pen cover the action, trends and personalities of the gymnastic world for you in the 70s . . . . An exciting decade for you, gymnastics and the MG.

SPECIAL NOTE TO COLLEGIATE COACHES AND TEAM CAPTAINS

The MG would like to give recognition to the Collegiate Gymnastic Team Capta ins in the coming editions. We feel it is a merited honor to be selected as a College Gymnastic Team Captain and reflects the trust and respect of your coach and fellow team members. Coach, please send us an action photo of your team captain along with a brief info sheet (age, major, grade average, interests, competition awards, etc.), and we will include your captain along with others in our spring editions of the MG.

m THE MODERN GYMNAST MAGAZINE

CG Official Publication of the United States Gymnastic Federation

CONTENTS

VOLUME XI DECEMBER 1 969 NUMBER 1 2 NOTES FROM THE EDITOR ................. Glenn Sundby 4 CHALK TALK ... .... .... ........... . ...... .............. ....... 6 FASHION ............... ...... .. ... .. ..... .. .. .walter Zwickel 8 ViEWPOINTS ...... .... ....... ..... ..... ... ...... .. Dick Criley 8 THE NEW ENGLAND GYMNASTIC CLlNIC. .Jeff Carninali 10 MG COLLEGE & UNIVERSITY DATA ....................... . Federation Gymnastics School, Niederrod, Germany 1 2 RESEARCH AND FITNESS IN GYMNASTICS .. ... . .. ... .... .

Analysis of the Reverse Lift Forward Somersault, Frank Fortier 111. .......... .................. 14

UNIVERSAL MOVES IN GYMNASTICS Burt Wasserman 15 TUMBLING TOPICS .. ... .. ...... .... .... ........ Dick Criley 15 MG CENTER PHOTO ........ ............ .. ... Brent Simmons 16 ANYONE FOR ALL AROUND ................ ............ .. ... . ..... ..... .... Gerald George, Don Tony, Dan Millman 18 CAST FOR REGULAR BACK RING GIANTS .... ...... ....... . ............ ... . ... ..... ..... ... ............. Mickey Chaplan 22 JR. AAU. AND Y.M.C.A. COMPULSORIES .... ....... .. .... 23 JUDGING BY JERRy ... ..... ...... ... ... ......... ... ..... ...... .

A Critical Review of Difficulty Ratings in the F.I.G. Code of Points, Jon Culbertson ... ... .... .. 24 Gymnastic Judging Comes of Age, Bill Roetzheim .. . 26

BUT, COACH .... ... ...... Rational for Inability to Perform ..... .... ..... ... ... ... .... .. .. .... ..... .. ....... .. .. .. Art Aldritt 29

COVER : Stroboscopic Photo of Kean Day, top AA Gymnast fram LSU. Kean is a top NCAA contender in Floor Exercise, Long Horse and Harizontal Bar. (Scoring 9.5's in FX) ... an A+ Pre·med senior ... Phot o by Dr. Ke nneth M. Purdy, Dept. of Heolth, Phys. Ed., Rec· reation at LSU.

PUBLISHER-EDITOR GLENN SUNDBY

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

ASSOCIATE EDITORS - Feature

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

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

gymnastics apparatus for champions

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GYMNASTICS AND RECREATION: A PROPOSAL

By Sandy Cutler Gymnastics Coach

Castlemont High School Oakland , California

Most people in the United States are won­dering why we do not have success in interna­tional gymnastics competition. The main rea­son is because we do not have an age-level gymnastics program which can reach a great many youngsters. It is necessary to have a broad base at the bottom to develop a group of highly skilled gymnasts at the top. How can we develop an age- level program when the country is not gymnastics oriented? The school s would seem to be the solution to this problem, however, the schools are tradition­a ll y reluctant to try anything new. The school sys tem lacks initiative, money , flexibility , and qualified personnel to teach gymnastics . There is a solution to this problem though , utilize tht! recreation departments.

The mechanics involved in establishing a gymnastics program are not usually difficult. All that is necessary is the approval of the rec­reation department (which is not hard to ob­tain), a qualified instructor, and an available facility. The recreation department will usual­ly take care of all of the details as to facilities , publicity, and timing of the program. The in­structor need only have the desire to teach , and a plan of what is to be accomplished.

"Another " Nakayama?"

There are several advantages of using a rec­reation department to develop gymnastics. The program is widely publicized. This at­tracts a large number of participants , often more than would be involved in a school situ­at ion. Often , parents will attend the classes to observe their children. In this way , the com­munity becomes involved , and (hopefully) becomes gymnastics oriented. This can be promoted even further if the instructor con­ducts a meet or a demonstration. I have set up gymnastics programs in two different com­munities , and I have more parent participation with the recreation programs , than I have with my high school meets.

There is still another advantage of the rec­reat ion program and gymnastics. Existing coaches and instructors are at a premium,

6

they can reach more people through the rec­reation department than in one particular school.

The instructors are usuall y paid for their services by the recreation department. The pay is usuall y good , since gymnastics instruc­tors are highl y skilled.

I think that we can develop a good age-level gymnastics program by working with the rec­reation departments. It will mean more work for the already overworked coaches, but then , it is necessary to start a broad long range pro­gram. The plan has great potential for every­one. The coaches will eventually get better gymnasts. The recreation department will get another program, and most important. the youngsters involved will become exposed to gymnastics. Who knows, maybe there is an­other Nakayama somewhere, just waiting for a program.

RUSTY MITCHElL'S REPLY TO THE 'GRASS ROOTS' PROGRAM

Report By GERALD GEORGE This past summer Olympian Rusty Mitchell

introduced a new and striking approach to teaching gymnastics - it would best be called a "gymnastic live-in" . The structure , content, and breath of his camp program were indeed second to none. For the first time in my life , I witnessed a true 'grass roots ' approach to gymnastic training.

"Grass Roots"

Mitchell 's Camp of Champions was made available to both boys and girls of all ability levels. This ' live-in ' consisted of nine simul­taneous training sessions , six hours a day, for each of the seven camp days. Film study , lec­ture-demonstrations , skill analyses, class ses­sions, and free work-out were all in the day 's order. Yet the true uniqueness of Rusty 's ap­proach lies in the art of "doing" ... mariual manipulation of the students through a wide range of skills has proven, beyond a doubt , to be the most formidable method of efficient and effective skill learning. Dreamers are made into doers , and the doers are made into cham­pions'

The psychological aspects of the Mitchell Method also stand at the top of the list. By allowing the student to feel and experience a total and complete range of skills, the mind grows in awareness that the body is , in fact , very capable of top level motor performance. The gymnast becomes aware of his capabili­ties milch sooner . .. he begins to realize that he too has all the equipment needed to be a cham­pion!

Specialty technicians such as George Hery, Ed Gunny , Bob Manna, and Stormy Eaton, to mention just a few , were on hand daily to provide a scientifically-rounded program. Rusty's staff did an exceptional job in every facet of 'grass roots ' training, In short , they got right down to the nitty-gritty and didn 't punt until the touchdown was scored. It had to be the finest gymnastic experience ever reali zed by any of the gymnastic campers.

I would personally like to commend the Mitchell Method to all gymnastic enthusiasts who aspire to become a champion. HE'S GOT

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

IHSGCA Annual Clinic November 7 & 8, 1969

Report By TOM CHAPMAN The Illinois High School Gymnastics Coach­

es ' Association held its annual clinic at illi­nois State University November 7 & 8.

Friday evening h"ighlighted an "old-timer's" meet in which many of us tried to relive the days in ·which we were competing. Then Satur­day morning, amidst the strong smell of anal­gesic balm and complaints of soreness, the main portion of the clinic got underway.

During the morning session two of the most successful coaches in the history " of Illinois high school gymnastics made their presenta­tions. Ron Walden , past president of the Asso­ciation and former coach at Evanston, dis­cussed his philosophy centering upon motiva­tion and organization in competitive gymnas­tics.

Bill Roetzheim, formerly of Proviso East and now head coach of University Circle Campus in Chicago, followed Walden. Inter­estingly enough , both men argued that prac­tice should be devoted mainly to activity on the apparatus and that success in gymnastics de­pends mainly upon the ability to organize and stressing winning.

Paul Mayer and Rick Tucker, recent gradu­ates of Southern Illinois University, com­bined to bring out several interesting points on " Free Exercise and its Transitions."

Mr. Rusty Mitchell , head coach of the Uni­versity of New Mexico, discussed "Coaching Gymnastics" and presented several impor­tant spotting and coaching techniques on sev­eral events.

The clinic this year was the best ever and Illinois State is to be commended for their hospitality.

NATIONAL JUDGES SYMPOSIUM Stanford University

The second in a series of special nationwide judging clinics was very successfully conducted at Stanford University on Nov. 15 and 16.

Participating in the special symposium was guest lecturer Ted Muzyczko of Chicago, FIG internationally certified judge and founding member of the Mid-American Gymnastics judges association; Jerry Wright , president of the Northern California Gymnastics Judges Association and also an F IG internationally certified judge ; Don Nel son, present coach at UC-Berkeley and an FIG internationall y cer­tified judge ; Rick Field , former Univ. of Calif. All-American gymnast ; Karl Byers , Ray Gold-

bar, Don Allin and Dan Millman, coach a t Stan­fo rd and the ve ry import ant hos t and organizer of the symposiu m. Dan is techni cal direc to r for the Northe rn Califo rnia judges assoc iation and responsible fo r the certification of j udges in that area. F rank C umiskey was scheduled to appear as a speaker but was forced to cancel his trip by docto r's orde rs .

T he two-day sy mposium was patterned close ly afte r the FIG judges course with de­ta iled lec tures on the code of po ints. T he first day, a comprehensive written exa m the second day, plus prac tical jUdging exercises with a pane l of ex pert s jUdging a long with the c lass and discuss ing the scoring of routines. The fin a l part of the sy mposium was a I Y2-hour exam on the practi cal j udging of routines. Student s in the c lass were required to turn in a score for three routines in all s ix Olympic event s, plus the number of B and C pa rt s in each routine.

Sixty-fi ve pe rsons participated from South­ern Califo rni a, Northe rn California and Wash­ington (G unter Bohrmann came from Washing­ton and in turn plans a like course for the Wes t­ern Washington Judges Assn. in late N ov.). Other courses are pla nned for Southe rn Cali ­forni a and Oregon , and Frank C umiskey will probably hold several on the East Coas t (if he hasn't a lready), and Tom Maloney is to give one at the U ni v. of Florida in Gainesville on Jan. 2-3-4, 1970.

From the course at Stanford , 23 persons were awarded National Judges Cards , seven pe rsons were awarded regiona l cards , and five persons were awarded local cards. Thirty pe r­sons did not receive ratings. Nationa l and re­gional ca rd recipients a re certified and ap­proved by the U .S. G ymnastics Commiss ion until the N ational G ymnastics Judges Asso­ciation is in full operation.

USA "SCATS" Perform at the Gymnasestroda in Switzerland

A USGF Editorial: ONCE UPON A TIME ...

The United States was a World Power in Trampolining.

This nation was once the world 's grea test power in trampolining. G ranted. that many in­dividuals who exe rc ise considerable influence in our sport a re not favorable to the event. For that matter, in all fa irness I mu st admit that I too favor the a ll -around event. although I have always professed real interes t in keeping the trampoline event ac tive.

Recently , two experiences have caused me considerable concern about this trul y " Amer­ican" event. First , during the recentl y conclud­ed Gymnaestrada in Switzerland , I was ap­proached by the powerful West German con­tingent to answer a question as to why . . . when Germany invited the U nited States to pa rticipate in G ermany in an Internationa l Match (with financial he lp from that host na­tion) . .. did the U.S.A. official in question in­form that nation 's representatives that this country could not fie ld a team to meet them ? It is now , however , all to patently true. IfGer-

many or any other natIon now powerful in trampolining came to the U nited States to meet us in team st rength ... 5 men and 5 women, a ll scores to count. could we indeed fi e ld a tea m to bea t the powerful team we saw pe rform in Swi tze rland ?

It must be sa id here . that the second item of of concern is that now I am info rmed tha t the German nation. through the Internationa l Trampoline Federation President. has as ke d the various N ationa l Ol ympic Committees to approve trampoline as an exhibition event a t the 1972 Ol ympic Games in Munich . Germany. What could be more fitting than to allow the host nation, the world 's best trampolin ing na­tion. to pe rform in a n event in which they a re second to none?

I feel compelled to inform you th at histo ry ·.vill write tha t the C hairman of the Trampo­lil :e Committee fo r the A .A. U. for these pas t severa l years killed the sport of trampoline in America. Perhaps in ignorance. perhaps to defend hi s position , but nonetheless. the rec­o rd under his supervision inte rnationall y is the re for all to see .

ILLINOIS GYMNASTICS ... BEST IN THE COUNTRY?

Durin~ the recent N C AA C hampionships fourteen of the thirty-s ix places for individua l fin alists were taken by gymnasts who prepped in Illinois. I n fact , Illinois gymnas tics can boas t at least two places in each event as well as the national champion in each event with the exception of all-around (see results below) .

The main basis for this representation of Illinoi s gymnastics in the NC AA is the tre­mendous amount of depth in talent our sta te can offer in each event. The best gymnast in each event from Illinois may not be decidedly better than an event champion from another state; however, it seems doubtful that any oth­er state can claim to produce as many top-level gymnas ts as a re produced in Illinois each year.

Individual Finalists NCAA Championships 1969

All-Around Floor Exercise 1. Mauna Niss inen Wash. * 1. Toby Towson 2. Bob Emery Penn S. 2. Do ve Jacobs 3. Jim Amerine S. Conn. 2. Tom Proulx

*4. Dick Swetman Penn. S. 4. Geo. Greenfield 5. Sho Fukushima Wa sh. *5. Rick Simmons 6. John Elias N. W. La: 5. Jim Fisher

Side Horse Rings

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

* 1. Keith McCanless Iowa * 1. Ward Maytholcr Iowa St. *2. Ken Lieh r Iowa 1. Paul Vexler Penn Sf.

3. Dennis Ram sey B. Y. U. 3. Bob Dickson Iowa 4. Mauna Nissinen Wa sh. *4. Don Hatch Iowa

* 5. Tom Neville Ind. St. *4. Ch. Froeming Mich. 6. Bob Emery Penn. St. 6. Da ve Carrier N. M ex.

Parallel Bars Horizontal Bar * 1. Ron Ra pper Mich. * 1. Bob Manno *2. Dick Swetman Penn St. 2. Rich Grigsby *3. Tom Dunn Penn St. 3. Mauna Nissinen 4. Bob Emery Penn Sf. 4. Norm Haynie 5. Bob Dickson Iowa 5. Sho Fukushima 6. Brent Simmons Iowa Sf. * 6. Dick Swetman

N. M ex. San F. St. Wash. M. s. U. Wash. Penn St.

7

Fashion by Waller Zwickel

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

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

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

TOE CUP Conclusion: Which is best? I would call it be­tween the toe strap and toe cup. depending on the configuration of the foot. If the wearer has knobby, uneven toes, then the strap is best since the uneven look can be " blamed" on the strap itse lf. Conversely, where the wearer has smooth lines, even toes , then the cup can 't be beat.

Do you have any ideas on the subject? Send me your drawings , and I ' ll name it after you.

8

VIEWpoints Ry iJick Criley

PART II Step by step the U.S. is attempting to up­

grade its gymnastic program for the produc­tion of all-around gymnasts of international caliber. The first efforts were those of the YMCA's and AAU who required the execu­tion of compulsory routines in their national championships. Later, the U SG F developed an age-group program to encourage develop­ment of basic ski lls. When the NCAA moved to make an all-around man a team requirement and later introduced compulsory exercises for him , this too marked a step forward.

Where do we go from here? During this next season, even the special­

ists in NCAA competition will be doing com­pulsories. While it is difficult to decide just what this proves as specialists do not have the opportunity for international recognition , it does mark something of a trend.

In the smoky hotel rooms of championships and congresses, the discussion often con­cerns the completely all-around team. It would, of course, make the coach's job easier as he would need work with but a handful of gym­nasts. There would not be the specialist or the two-or-three event man to draw his attention to special coaching needs or to stimulate his imagination with "i mpossible" tricks. But from where are these all-around men to come?

The age group program for gymnastics is the only way the U.S. is going to develop the gymnasts capable of making the top in all­around in a four-year college program. Let 's face it , it is pretty hard to take a college fresh­man novice and turn out a 53.00 all-around man in four years, because he does not have the basic foundation on which to build. The age group program as it should be practiced by the high schools is our long range answer.

But in the shorter range-in the next four to eight years-what can we do? One solution would be the establishment of a National Sports School. The gymnastics section of this school would take the advanced gymnast and train him for international competition. Thus, the training of a gymnast would not end when he leaves college. Only those gymnasts willing to endure the rigors of intensive training would qualify. A national coach and staff selected for their competence in gymnastics would pre­pare and carry out this program. The estab­lishment of such a school would underscore the widely" held feeling that even our superiority in sports is a matter of national concern. No longer would excuses for poor national efforts be grounded on the lack of suitable training conditions.

It is interesting to note that the National Coach of the Swiss team subjects candidates to a rigorous six-month probation period. If, at the end of this period, the coach agrees to accept the gymnast , the gymnast signs a con­tract binding him to the coach 's terms and agreeing to pay back the costs involved in his training should he drop out.

As I see it , one of the advantages of a Na­tional Sports School would be to place the college gymnastic program in its proper per­spective. The coach and gymnast would not be on the spot to serve as the international train­ing ground. College athletics could then be run for the athlete.

There are several possibilities for the fund­ing of the sports school. As in some of the Euro­pean countries, the government could subsidize both coach and athlete. Alternatively, the NCAA could sponsor the school. Still another possibility would be a guarantee by major pro­fessional sports of an annual contribution to

underwrite the school in terms of scholarships and staffing.

Such an idea may be only the stuff of which dreams are made. But it could become a reality. The Modern Gymnast would enjoy hearing from our readers on their reaction to such a proposal.

Columbus High School­Gymnastic Clinic Report by John Hinds, Clinic Director

As with any successful activity , energy used in constructive ways is necessary. The "energies" of many gymnastic enthusiasts were brought together at the recent Fourth Annual Columbus High School-Gymnastic Clinic to provide I ndiana high school gym­nasts and their coaches with a rewarding, edu­cational experience on Saturday, November 22, 1969 in Columbus, Indiana. More than two hundred gymnasts from fourteen high schools responded with interest and excite­ment to a staff of twenty-eight college gym­nasts and four college coaches. During the day-long clinic the staff was kept busy demon­strating skills and responding to inquiries of the high school gymnasts. Special attention was given to techniques necessary in the learning of selected mounts and dismounts. Pertinent talks and a film of the 1969 Illinois State High School Gymnastic Meet provided a welcome relief from the hustle and bustle of the demon­strations. For the judges of the State, a day long clinic was directed by Dr. Ryser under the sponsorship of the Indiana High School Athletic Association.

eJ .. v..-. .. ~ "If Russell would lose the weight I've told him to, he could be a world beater"

Jim Brown giving High Bar demonstration at Co­lumbus HS Clinic

Ten University of Michigan Gymnasts plus their well known coach , Newt Loken were featured guests this year. Additional staff members were, Coach Jim Brown of Indiana University and several of his gymnasts and Coach Roger Counsil of Indiana State Uni­versity and his gymnasts. Without a doubt the success of this clinic was the result of the "energies" of the above mentioned-a big thank you to them!

With a new ruling that prevented the high school gymnasts from working out they left the cl inic this year with tired "butts" instead of torn hands . But, they also left enriched with the know-how of how to improve upon their skills and how to learn new skills plus a de­sire to get back home for workouts.

MIDWEST GYMNASTICS CHAMPIONSHIPS November 28 and 29 , 1969

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

Simmons, Iowa State

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

NAME SCHOOL

Thor, Dave Unat.

Simmons, 8rent Iowa St.

Hamada, Sadao Kent St.

Butzman, Dave Iowa St.

Dennis, Fred Unat.

Jensen, Sid U. of Mich

Basic Skill Development Equipment Unfts

FX

9.35

8.95

9.0

8.75

8.85

8.50

8.6

7.8

8.75

6.3

8.8

7.9

SH

8.0 8.85

8.9 8.65

8.8 9.35

8.7 7.85

8.5 8.8

8.0 9.3

7.75 9.3

6.8 8.85

9.0 9.4

8.1 8.95 7.9 9.3 6.35 8.5

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

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

Results of the all-around competition are as follows:

SUB· lH PB HB TOTAL TOTALS Pl·

9.15 9.1 8.45 52.90 106.40

9.0 9.15 8.85 53.50

9.35 8.55 9.25 54.30 106.30 2

8.3 9.35 9.05 52.00 8.5 8.9 8.9 52.45 104.25 3

8.5 9.3 8.20 51.80 9.1 9.1 .~ 8.95 52.80 103.10 4

8.65,- 9l4 '- 8.8 50.30

8.75 r 8.75 9.05 53.70 100.95 5

8 .55 8.8 6.55 47.25

9.1 8.7 8.6 52.40 100.45 6

8.4 8.7 8.2 48.05

~

students of all ages to learn new skills. The safe, sott foam removes fear and accelerates learning with a minimum of adult dependence. Instructors can now teach proper form and execution of new movements, confident of the student's safety. Many new activities and new gymnastic exercises are now possible. learning is fun.

For a color cata log of all the Skill Development Equip-ment products write ,

Port·a·Pi t P.O. Box C Temp le City, Ca li f. 91780

GYMNASTICS HAS ARRIVED!

Gymnastics is now a full time project with our company. We who have specialized in wrestling and weight training for many years. now turn our full attention to gymnastics. To prove that we are gymnastic specialists too, we have just printed our long awaited gymnastics catalog. Need further proof?-Our stock of shoes is now sev­eral thousand and our available gym uniforms. number in the hundreds. twenty five size combi­nations. The n~w catalog features these products , • 4 different gymnastic shoes. including three of

the famous Tiger models and a Swiss "waffle" slipper. CNe are US distributors for Tiger wres­tling & gym shoes) .

• 7 different gym pants f rom a $6.00 practice pants to a $30.00 luxury competition pont. and several gym shirt designs in white or col· ars. The top part of our uniform line is American

made and extremely well tailored as evidenced by being chosen by the 1968 US Men's Olympic team.

• Dress Warmups from Japan, Switzerland, Ger· many, USA

• leotards created for American Women gym· nasts, all stretch nylon.

• And all the extras - mat tope, chaulk, palm guards, mat transporters, Vitamins for Ath· letes, Resilite Mots (east only)

• And all the extras - mot tape, chaulk, palm guards. mot transporters. Vitamins for Ath· letes. Resilite Mots (east only)

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

UNIVERSAL-RESILITE (formerly Olympic Products) 43 Polk Avenue Hempstead Li. N.Y. 1155 (516) 483-3700

9

We tlVew CEngland gymnastic Clinic by JEFF CARDINALI Clinic Director

Workout session

10

T he seventh annual New England Gy mnas­tics Clinic was hos ted for the second con­secuti ve yea r at the U nited States Coast G uard Academy on November 28-29 , 1969 . Again, the cl inic was an overwhelming success in light the organi zation and the quality of the program and the record of 2,000 partic ipants. T he Coast G uard Academy's ve ry spac ious fac ility acco mmodated all 2,000 participants with comfort. T he personal needs of each reg­istrant were met within the athletic complex from the time they registered until the end of each day 's acti viti es. A general staff of 150 coaches and gy mnasts from a ll part s of the U ni ted States prov ided continuous supervi ­s ion and the best possi hle inst ruc tion. A first rated Master T eaching Staff con sist ing of some of the finest coaches and gymnas ts in the world prov ided exce llent lec ture-demonstration pre­sentations. Mas ter Teachers for men incl!lded :

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

Photos by Mike Ki rby

N ik Stuart , National Coach 01 e ngland ; Kusty Mitchell: Frank C umiskey ; Ed Scrobe : G er­a ld George; Gary Erwin : Joe Fodero : Bob EI­s inger and Bob Pataky. Master T eachers for women included: Wanda Obradovich: Els­worth Stumpf; Louise Engs trom ; Arline Res­nick , Marilyn Schnaars, Kitty Kjeldsen, J 0 -

seph Mass imo and Mimi Murray. T he C lirfic Committee included : Jeff Cardina li as c linic director, Erik Kje ldsen, Kitty Kje ldsen, AI Bickum , Dick Aronson, Frank Wolcott , Bob Hansco m, Joseph Mass imo and Isidore Bat­tino.

T he basic objecti ve of the N ew England Gy mnastics C linic is to provide each regis­trant with the most comprehensive gy mnas tics experience with as little time waisted as pos­sible. After registe ring as a beginner, inter­mediate or advanced gymnas t or coach, one could select from the many sess ions offe red each hour during the two day c linic. During the 13 sess ions of the c linic , 46 a reas of in­struction were offered each hour for a tota l of 598 fo r the two days. On Sa tu rday evening 2,500 spectato rs enjoyed an ex hi bition by the c lini c staff rounding up what can be consid­ered the la rges t clinic in the world.

~\\l

Coach R usty Mitchell d -u ring closs period --glvmg 0 de r ---.-::::ll- ~- monstration

Advanced tumbr mg - the double back

11

m THE MODERN GYMNAST MAGAZINE

CG COLLE6E! UNIVERSITY DAIA

Featured in this MG School data report are photo action scenes of the Gymnastic school and its director, A lbert Dickhut.

Tom Walthouse, Gy mnast ic coach at Ar­lington High School , III. , was one of the three Americans (Tom, Dick Aronson & Joe Gial­lombardo) to represent the USG F at the first World Gymnastic Symposium, held at Ma­colin , :swltzerlanO, March I \/0\/. 10m visited Germany and England after the Symposium. A highlight of hi s trip was a visit to the West German Gymnastic Federation School near Frankfurt. Here he saw the new gym designed by Albert Dickhut, West German National Coach and Director of the School. To quote Tom:

"This is the' l/1ost fan tast ic gymllastic school layout, for both mell and womell, that t hm'e el'er seen. A gymnas t can enroll there for a weekend, week, or a year. The school is quite large, with many gymnastic rooms filled with I'arious Iypes of apparalus, classrooms and dormitories to accommodate studellls."

" The mals piclures under th e apparalus are cOl'ered with a soft brown leather, alld are foam about fil 'e inches Ihick. There is another mat of the same type beneath it , and under Ihat four feet or marl' of foam rubber, Portions of the floor are cut OU I about eiglll feel wide alld for ty feel long, where Ih e mats co I'er the high bar, rings, and parallel bars (quite a design). Our lI ew gymnas tic facitilies in the USA , High School and College, should be designed along this line"

12

(photos by Walthouse, Frankenstein and Sundby)

13

RESEARCH AND FITNESS IN GYMNASTICS BY

JOlES S. Bosco. PHD SA~ JOSE STATE COLLEGE S ·\~ JOSE. (.\LIFOR" IA <J.Jll-J.

ANALYSIS OF THE REVERSE LIFT FORWARD SOMERSAULT

by FRANKl. FORTIER III

Gymnastic Coac h McNeese State College

World Tumbling Champion 1966

The Twentieth Century , with the advent of Gymnastic competition and intense scientific · investigation , has seen the development of new techniques for performing gymnastic skills. For many years. gymnasts executed the for­ward somersau lt utilizing the two-arm "over­head " lift. During thi s decade, however, a new two-arm " reverse" lift has become quite popu­lar. Many gy mnasts who use the " reverse" lift technique be lieve that it provides greater height than the convent ional method , whi le others argue that the " reverse" lift is more condu­cive to rotation. Because of the sk ill 's wide­spread popularity and due to many unanswered questions about it a sc ientific investigation was undertaken to analyze the basic body mechan­ics utili zed in performing the ski ll.

Motion pictures were taken of a proficient male tumbler performing the reverse li ft for­ward somersault at 64 frames per second. The best performance of three trials was picked and used for the anal ys is. T ape cross strips were placed on the subject's major articular joints,

14

serving as reference points , to determine the center of gravity of the body and the move­ments of the major body segments. Graphs were plotted using these points and tables were constructed to represent these movements mathematically. The fo llowing are some of the major results that were recorded: (I) The distance of flight of the center of gravity was 6.75 feet: (2) The time of flight was 0.6864 seconds: (3) The average rotary velocity of the body was 9.16 radians per second (525 degrees/sec.) ; (4) The body angle from the feet to the center of gravity at take-off was 80 degrees: (5) The average velocity of the center of gravity was 12.58 feet per second; (6) The average arm velocity before body contact was 28.01 feet per second. and after arm con­tac t was 12.58 feet per second.

All the results were analyzed in light of their application to the performance of the skill. The author could not pinpoint any key factor or factors that affected significantly the per­formance of the skill due to the intervariation of the composite factors. It was concluded that a successfu l performance of the reverse lift forward somersault was due to precis ion and timing of a ll the factors considered. It was rec­ommended that a further study of the reverse lift forward somersault be conducted attempt­ing to keep a ll factors except the arm move­ment constant. This, perhaps, could lead to more significent conclu sions. As a result of the study the following mechanical analysis was realized:

Mechanical analysis. The reverse lift for­ward somersault was di vided into three main divisions to allow for a systematic analys is. These three divisions were then divided further into individual phases. To aid the reader visu­a ll y a schematic diagram was drawn of the sub­ject performing the ski ll. The subject's image was traced from a filmstrip every 0.1234 seconds.

I . Take-Off I . Run and leap. (figure A) In order to initi­ate sufficient linear velocity , the performer began by assuming a maximum running st ride. At a point just prior to the initial two­footed take-off. both feet are brought to­gether and placed slightly in front of the cen­ter of gravity of the momentarily airborne body. The extended arms are moving down-

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

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

Continued on page 28

UNIVERSAL MOVES IN GYMNASTICS By BURT WASSERMAN

Gymnastic Coach Pearl River H.S. , New York

I f a new gymnast is introduced to the entire scope of gymnastics through the knowledge of some universal moves, hi s ultima te goals will be clearer and his progress toward those goals, more meaningful. If a gymnast knows that the learning of a mat kip will also facilitate the learning of the same stu nt on other pieces of equipment, his motivation wil l also be in­creased. The move will become more important to him. This knowledge, that a certain trans­fer occurs with all s imilar stunts on different equipment is also helpful in developing the a ll­around gymnast. A gymnast , in some instances, might approach a practice with the idea of learn­ing a move, without emphasis on the piece of equipment. Thus , if the high bar is not avail­able on a given day , the gymnast could prac­tice the kip or the shoot to handstand on the rings with the idea of developing those same moves on the high bar. The next thing that · might happen is that on the following day that same boy reports to the rings to learn a dif­ferent s tunt. Due to his awareness of the uni­versal moves of gymnastics , he has come one step c loser to becoming an all -around per­former.

A gymnast who is aware of certain concepts of movement will better understand what is involved in different gymnastic stunts . Al­though there are some individuals who would not benefit from discussions concerning gym­nastic concepts, perhaps because their com­prehension need only be at a nonverbal level , there are many who need this added verbaliza­tion. Since the time invested is minimal and the effects , if any , can only be positive, I suggest that discuss ions concerning universal moves and gymnastic concepts be a part of every gym­nastic coach's schedule.

With the assumpt ion that the average high

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

6. Roundoff , back somersault. (tuck , pike, layout. A + B=B difficulty). Often taught before a roundoff, back handspring is learned , thi s is actually a move or more advanced difficulty when properly executed. The roundoff is more extended; the chest is higher a nd the angle of

school student has some knowledge concern­ing the laws of motion and the system of lev­ers , it is usually not necessary to start from scratch. I have extracted three principles of motion from J a mes Baley's Gymllastics ill the Schools:

I. The shorter the radius the faster the rota­tion:

2. The longer the lever the greater the a ngular momentum:

3. The longer the lever, the greater the amount of strength is required to control that lever.

Through a di scussion of the above prin­ciples a boy can begin to understand the im­portance of a complete extension on swinging moves and the reason for the slight pike in either of the giant swings. He may a lso begin to understand why many of the good ringmen he has seen have been short and well built while the high bar men were a little leaner a nd taller than average.

An alternative way of presenting this ma­terial to the gymnast is to present the informa­tion in the form of worksheets. Explain a situ­tion such as that moment of weightlessness on the dislocate on the rings and the giant on the high bar, when the gymnast is ab le to change his grip without having his weight on his hands. Next ask the gymnast to identify other s tunt s which have thi s same characteristic. In many stunts , a critical point occurs after the center of weight passes direct ly under hands, at which time the gymnast must force hi s body toward hi s base of support. A good problem would be to ask the gymnast if he could name those stunts in which that type occurs .

Most important of all types of problems would be those that would initia te creative thinking in the gymnast. I try to combine crea­tivity and safety by asking my gymnasts to think of the safest way to learn any new stunt. There is no reason to try a handstand or even a top kip on the parallel bars before you have solid ones on the parallels. Another worksheet I have provided to develop their creative thinking and their concept of transfer in gym­nast ics is a chart, entitled Universal Gymnastic Moves . Each gymnast must familiarize himself

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

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

UN I VERSAL MOVES

StUllt

Handstand X X X Forward Roll X X X Backward Roll X X X Dive Roll Shoulder Stand X X

Kip X X X Muscle Up X X X ·' L" Position X X X Pike Position X X X Stoop Through X X

Straddle Cut X X X Dislocate X X Inlocate X X Front Uprise X X

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

X X X X X X

X

X X X X

X X

X X X X X

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

X X X X X X X X X X X X X X

X X X X

X X

It is my hope that thi s type of approach to teaching gymnastics will not only facilitate the learning of gymnastic stunts, but will also serve as an inspiration to the gymnast, coach and physical educator to approach other sports in a simi lar manner.

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

.1

tioned against throwing backwards and off­balance as in the roundoff. back handspring as the somersa ult is likely to be low and fast.

Next. Back handspring , back somersault.

15

ANYONE I!I EI FOR mJSS ALL AROUND (!jJ

GERALD S. GEORGE. Coordinator DON TONRY DAN MILLMAN

We would like to in vite a ll of the MG readers to se nd in a ny a nd a ll reque s ts for pa rticul ar sk ill ana lyses. teaching and coac hing points. problem areas. e tc. that you fee l would help to clarify a nd facilitate quic ker and more acc urate learning a nd understanding of the various gy m­nastic events. Our prima ry objective in provid­ing a se ries of this na ture is to serve your gy m­nastic needs . You are the I'ery pulse of thi s op­eration. So let us know wha t you wa nt to see a nd we'll do our best to present it in a mo s t nieaningful way.

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

In thi s and the next article , we ' ll cover some specific tips on how to pe rform certa in basic tumbling seque nces with the most efficient (therefore aes thetic) mechanics. Some bas ic transi tions wi ll also be di scussed. Be low is a li st of the bas ic,tumbling movements: Roundoff, flic"fl ac. back layout Front handspring, front Swan dive roll Full pirouette

In describing how to perform the basic se­quences or moves above, we will overlap in covering a lmost every other tumbling move­ment in free exercise. The transition moves to be covered: Kip up to feet Kip up to handsta nd Various turns

Within the scope of thi s a rticle , it is impos­sible to cover the great variety of transition moves such as body waves , different lunges , scales , leaps , turns a nd such. It is hoped that the following will give the gymnast a beginning, at least , towards even more imagina tive work .

No book can trul y teach gymnastics: no article can give individua li zed instruction. All the written word can do is describe approxi­matel y what should be the ph ys ica l goal of each movement. As for feedback about eac h mi stake and how it can be corrected: for com­municating in differe nt words to the gymnast how he can improve, it takes a coach or another experienced gymnas t. who understands the

Illustration s:

# 1

18

mecha nical goa ls me ntall y. not just physicall y. As me ntioned in the prev ious a rti cle , "What

is Talent," if the gymnast is very infl exible o r exceptionally weak . he should wo rk on his tal­ent before ge tting frustrated trying the tumbling sequences , for he wi ll meet many roadblocks on the way unless he is ph ysica ll y prepared.

Roundoff, flic -fl ac , layout saito : Prac tice the rou ndoff at first out of three to

fi ve powerful steps , picking up speed : later. cut down to three steps maximum - two is bes t. The hurdl e is a sk ip step , "right , ri ght left (hands) ," or ·' Ieft . left right (and ha nds) " should be the order. On the first " right " o r " left ," depending upon which way you do a roundoff, the arm s should be lifted forcefully up to a full y extended positio n, in line with the back. and the body should be lea ning far fo r­ward. As the last foot comes down before plac­ing the ha nds . it should be bent. th e a ngle de­pending upon other factors which must be " felt. " The chest should be slightl y pulled in , (t he back slightl y rounded). and the shoulde rs slightl y shrugged . in preparation for a forceful pu shoff just after the body passes through the vertica l a nd the " snap-down" ac tion begins. The " snap-down" acti on should be rounding of the body (like a bow) rather than a strong piking at the hips. As the feet land, most of the body's weight should be behind the feet (see illustrat ion # I). The ha nd s then , quickl y snap backwards , as the bow springs open a nd back­ward s. At the momenta ry landing o n the hands position , the shoulders should be slightl y in front of the ha nds , (in the direction of trave l) , and the legs should be slightl y behind the hand s (see illu stration #2). This is the o ptimum po­sition for the " snap-down," whether preceding a nothe r flic-fl ac . or a back layout sa ito , in this case.

The a ngle of takeoff for the back layout should be rel ati ve ly near . but never pas t, the vertical. The preci se a ngle mu st be " felt ," as it depends upon the amount of hori zonta l and rotational momentum alread y attained. On take-off. the body should retai n a slight bowed a ngle , with the chest hollowed , as in the flic­flac. The a rms should be as stretched upward as fa r as possible. As the gy mnast punches up­ward . the bow action opens insta nta neou sly to a stretched line with a slight chest lead , the legs drive the hips upwa rd , and the a rms im­mediately snap down and forward to a lmost slap the thighs. The head remains in a ne utra l pos ition , or even looking forward a bit. until the body is half way 'round. The extreme diffi­cu lt y in performing a correct layout in volves the quick timing necessary in the hand , hip , head . and overall body in a frac tion of a sec­ond. If you are doing all the movements suffi­c ientl y, but the layout is still lacking, think of doing the m sooner. Common mistakes on the roundoff'

Not enough forward lean, front leg not bent enough (resulting in a weak arm push because the hands barel y reach the ground by the time the legs are pu shing- this result s in the legs landing heav ily out of the roundoff, rather tha n gentl y, quickl y rotating under.)

Arms a re not in an extended line with the body , resulting in an inefficient push , a crooked roundoff, and crooked fli c-flac . Also check to

see whe re hand place me nt is. I n ge ne ra l. it shou ld be s imil ar to a cartwheel. bu t the ha nds turn a bit more arou nd. To check if the round­off is straight. chalk the hands a nd feel to see where the hands a nd feet la nd .

Arm pu sh too late or too ea rl y. If too late . legs la nd heav il y. a nd insufficie nt rotation to­wards fli c-flac. If too ea rl y. (this is more rare). the roundoff will be nice and high . but a bit lack ing in rotation. ''Feel'' the correct timing through many repe titions. ** A reminder here : every time you do a repe­tition , think ahead of time exactl y what you are stri ving for: rehearse wi th your mu scles. Just doing a move twice or fift y times. without think­ing abou t what you are stri ving fo r. is not effi­c ient. Concentrat ion and determination are as important as sweat (almost).

I t is difficult to say where the roundoff e nd s a nd where the fli c- fl ac begins. It all hap­pens so fast. it might be best to imagine the beginning of the flic-flac at the point the ha nds push off the ground on the roundoff. Common mistakes on the f1ic-f1ac:

Generally these all stem from either infl ex­ible shoulders or a bad roundoff. Assuming the roundoff is good (that is , sets the body up in a correct position. with most of weight pas t feet in the direction of travel). let 's c heck some other problems:

Wri sts hurt on flic-flacs - thi s stems fro m tight shoulders. Look a t the two illu strations below: X has good shoulder extension and Y does not. The re sulting positions show the in­creased wri st s tress for Y.

x

I I [

y

Y 's position also makes for a poor snap down (and wi ll hurt him in virtua ll y any snap down motion , or any motion which requires a n ex­tended arm-body posi tion). The arm-shoulder flexibi lity is possib ly the most importa nt in the body. Make sure it is loose before beginning a ny stunts! Common mistakes on the layout:

Leaning too much on take-off. Thi s results in a long, low (whipove r) sa ito. ** In any somer­saulting motion on any apparatus , the lower body (legs and hips) should provide most of the somersault motion , while the upper body should suppl y most of the lifting action. " Lean­ers" a re somersaulting with the upper body , which is a mi stake. Often , this leaning is forced through an incorrect of ineffective roundoff and/o r flic-flac. Check these. Concentrate more on dri ving hips " up a nd over the head. " Bringing the a rms up over the head and rapid­ly down again to the hips is important , because in doing so, you shorten your radius (like tuck­ing), and wi ll have increase rotation , e nab ling you to concentrate more on height.

Try thinking of throwing hips earlier. a nd slightl y forward. The sooner your hips throw . the quicker th e rotation.

The roundoff. flic-flac. layout is the basic sequence. That isn't to say the layout should be learned before the tuck. but there is ac tuall y no compelling reason it can't be, depending upon the mecha nical grasp of the student. Once a layout is learned . the additional lift ·'s ta ll. " a nd tuck is not difficult to learn (as long as the head is not whipping backwards).

A double back sa ito isn't being covered. be­cause mechanicall y. it 's about ide ntical: no more th an a tuck back sa ito done higher a nd milch harde r. I n learning it. use a crash pad a nd overthrow to a back roll rather than try to stick (for the first 20).

A back with a full isn't being covered be­cause it is nothing more than a n exce llent la yout with a full pirouette. With few exce p­tions, anyone having trouble with a back with a full is hav ing troub le with the layout somer­sault. not the twist. Make sure you have enough saito rotation, a nd that your body is straight , not arched. As for progre ssions on the full twi st: there a re as many progress io ns as there a re gymnasts . I teach them all on trampoline, a nd would suggest you check with a good tra m­poline book, such as " Thi s Is Trampolining," by Frank Ladue and Jim Norman. Make up your own progress ions a nd ask your coach. One thing is important. Whatever progression you use, it 's generally best to make sure you set the somersault action correctly before be­ginning the twist.

Crooked twisters or those which seem to get lost usually have weak layout action and un­coordinated twist. (See the description of the pirouette in the next article.)

The whipo,ver back saito and bounders are aga in simila r in the mecha nics, but the gymnast should strive more for rapid saito a nd dista nce, and less actual lift of the saito. The whipover is a rapid, powe rful fli\.:-flac without ha nds. Bounders are a bit higher. (The center of grav i­ty should remain at about the same height from the ground.)

ElThe Side Horse By DON TONRY Gymnas tics Coach, Yale Universit y

SIDE HORSE TERMINOLOGY What to the following ski ll s on the s ide horse have in common ?

SCHWABEN FLANKE(F.I.G. Handbook 1968) LOOPAROUNDTHE END GE RM AN (F.I.G. Handbook 1964) ALLEMAND (F.I.G . Ha ndbook 1964) MOORE CZECH (F. I.G. Handbook 1964) TSCHEC HENKEHRE (F. I.G . Ha ndbook (968)

Just in case you haven't guessed by now , they are all the same skill , either on different areas of the side horse or on the same area. Why do we have this situation? Because:

I. About ten years ago many leaders in U.S. gymnastics attended their first international judges clinic. They were told that the F.I.G. official la nguage is French and that a ll federa­tions must a ttempt to use the same internation­al terminology whenever it is ava ilable (set in print). Therefore , the French term is the cor­rect term for a ski ll , except when it is common­ly known by another name by most federations , in which case the French would always adopt the most common name themselves. Examples of truly international terms are : Czech (Tsche­chenkehre, Tcheque dordal) , Swiss (Suisse

Double , Suisse Double) , Stock li (S toeckli), Russ ia n (Russe nwe ndesc hwung. Facial Ru sse Entier).

2. Henceforth . upon rece iving gymnastics information from the F. I.G . that was writt e n in French (F. I. G. A-B-C G ymnastics Hand­book. 1964) we proceeded to literall y tra nslate the French te rms into thei r English counter­part s. Exa mples: Allemand into "G erman," Couronnement into "Crown." etc.

3. After introducing the American public to these unu sua l terms in te xt and by word of mouth. it was soon discovered (it took yea rs) tha t the words "German ," " C rown" a nd many others were not part of any Frenchman's vocabulary. The French obviou sly used the terms Allemand a nd Couronnement to de­scribe these sk ill s. What te rm s were the Ger­man gymnas ts and official s using to describe the se skills as a result of the official French te xt? You know how Germans are about changes like this- the y continued us ing their own traditional te rms but parenthes ized the French so that a ll German official s could re­fer to both. To the Germa n. a Schwabenflanke was sti ll a Schwabenfl a nke: to the French. a n Allemand is a n Allemand: but to the Ameri­cans, a " loop around the e nd " became fir st an Allema nd and the n a German for reasons of better international communica tions (it is currentl y being called a Schwabenflanke in the 1968 English version of the F.I.G. Code­we interpreted our version from the German). Now we have a situation whereby a n Ameri­can ca nnot even understa nd a n American.

4 . Finally , the new 1968 F.I.G. Code of Points arrived on the scene with a special sec tion on nomenclature. The English addi­tion was translated from the original German text. Guess what ? The country is going strict­ly German now with names like Drehflanke , Wunderhupfen , and Winkel stutz.

The only terms that have any international communicative value are those that contained proper names such as: Chagu ini an , Diamidoll­kreisel , Russian wendeschwung, Stockli Suisse (German spelling) , Tschechenkehre, etc. Al­most all of the other terms were traditional German.

The French version of the code was inter­preted from the German also . but contained French te rms in every case.

Would it not be more logica l, in view of our obviou s dilemma, to stop the pretense of using " international terminology" and instead "show it like it is. "

The following is a li st of movements tha t stem from double leg circles. The na mes for each skill were derived from a study done in 1967 in conjunction with the masters program for a M.S. degree. The opinions of twenty gymnastics experts were utili zed (former Olym­pians, members of world championship teams, and renowned gymnastics technicians) to ar­rive at the following te rms:

I. DOUble leg Skills (the term "mount " or "dismount" is added when the skill is used as such) A. From a Front Support: I . Double leg ci rcles 2. Inward cross ci rcles on end or pommel (inward tran s­

verse ci rcles) 3. Outward cross circles on end or pommel (outward

transverse circles) 4. Kehre out or in 5. Stockli (kehre-out, keh re-in or vice versa) 6. Full kehre (360° turn on one pommel) 7. Fronl oul or in B. Front out or in, Czech (front out (in) - Moore) 9. Front in , back keh re out 10. Swiss (hop Vo turn) II. Modified Swiss (walk around on end without pom-

mels) 12. Hop coun ter V. twist (Yo Durham) 13. Hop counter Vo twist (Durham) 14. Back side trovel 15. Back tramlot (back side travel , Vo circle, back kehre) 16. Direct back tramlat (back side travel, back keh re an

one pommel ) 17. Hop side travel to front support

lB. Back Czech (bock Moore) 19. Back Czech, side travel (back Moore side travel) 20. Back Czech, side travel, front in or out (back Moore,

side travel, fran t in or out) 21. Back Czech, direct tramlot (back Moore, direct tram-

lot) 22. Flank vault dismount (side vau lt di smount) 23. Rear vault dismount 24. Rear vau iliefl wi th Vo twist left dismount 25. Front vau lt dismount 26. Front vau lt left with Vo twist righ t dismount 27. Front vault left with Vo twist left dismoun t B. From Rear Support 2B. Side travel 29. Tramlot (s ide tra vel, V2 circle, Kehre) 30. Direct tramlot (side travel, Kehre on one pommel) 3 1. Hop side travel to rear support (Cumiskey) 32. Bock Kehre (reverse Kehre) 33. Czech (Moore) 34. Czech, Keh re (Moore, Kehre on one pommel) 35. Czech, front aut (Moore, front out - Shurlock) 36. Ru ssian 37. Triple Russian 3B. Czech with v.. turn, back Czech with v.. turn, side travel

on one pommel (Bai ley) 39. Czech, f ront around on one pommel 40. Czech, fron t around side travel on one pommel 41. Loop around the end (Czech around the end - Moore

around the end)

miThe Rings By DON TONRY Gymnastics Coach, Yale U niversit y

have a ttempted to class'ify most of the known skill s on the still rings in order to pro­vide a guide for the gy mnast. coach and author. The gymnas t a nd coac h may find it convenient to refe r to th is class ification as a means of se­lecting ski ll s that s te m from various positions. The author has a read y-made "Table of Con­te nts" or he may choose to se lect skill s that he feel s a re approp ria te for his writ ings.

Probably, the most significant factor that is presented is the terminological value of thi s li s ting. The skill na mes tha t a re presented are the result (a congbmeration) of a research stud y that was conducted in 1967. I'm sure that the reader wi ll find that most of the names given to these skill s are common a nd , in ge n­eral. nothing to get exci ted about. However. they do represe nt expert opinion a nd therefore should be considered in terms of a technical lit ­erary contribution. II. Rings A. Forward swinging skills in support I . Rai se legs to T ' 2. Thrust legs forward and lower body to hong (cast away

from support) 3. Lower backward to piked inverted hang 4. Lower backward to fron t lever 5. Lower backward to straigh t inverted hang 6. Straight body backward roll to support 7. Piked backward roll to hang (Hickman roll) B. Tucked backward somersaul t dismount 9. Piked backward somerso'J lt dismount 10. Layout backward somersault dismount II . Backward somersault with V2 tw ist di smount 12. Backward somersau lt with a full twis t dismount 13. Backward straddle dismount 14. Backward straddle with V2 twis t dismount 15. Backward straddle with a full twis t dismount B. Backward swinging skill in support 16. Press or swing to planche or maltese cross 17. Press or swing to shoulder stand lB. Press or swing to roll forward to piked inverted ha ng 19. Piked forward roll 20. Straight body forward roll 21 . Press or swing to a handstand (describe body position) 22. Press or swing to an inverted cross (describe body

position) C. Vertical moving skills from support 23. Cross 24. " L" cross 25. Side cross D. Forward swinging skills from a hang 26. Rai se legs to " L" 27. Raise body to front lever 2B. Raise body to piked inverted hong 29. Raise body to straight inverted hang 30. Di slocate

19

31. Shoot bockword to support 32. Shoot bockword to cross 33. Shoot bockword to planche 34. Shoot to shoulder stond 35. Shoot to inverted cross 36. Shoot to handstand 37. Backward straddle dismount 38. Backward straddle V2 twist dismount 39. Backward straddle with a full twist dismount 40. Layout backward somersoult dismount 41 . Piked backward somersault dismount 42. Piked backword somersault with V2 twist dismount 43. Piked backward somersoult with a full twist dismount 44. Backward somersoult with 0 V2 twist dismount 45. Backward somersault with 0 full twist dismount 46. Bockward somersault with 0 one ond 112 twist dismount 47. Bockward somersault with 0 double twist dismount E. Backward swinging skills from a hang 48. Inlocate from still honging position 49. Inlocate 50. Stroight body inlocate 51. 8ackward rise 51. Bockward rise to a plonche 52. Bockward rise to a shoulder stond 53. Bockward rise to an inverted cross 54. Backward rise to 0 handstand 55. Forward somersault with straddle dismount 56. Froward somersault with stroddle V2 twist dismount 57. Tucked forward somersault di smount 58. Piked forward somersault dismount 59. Loyou t forward somersoult dismount 60. Forward somersault with V2 twist dismount 61. Forward somersault with a full twist dismount F. Vertical moving skills from a hang 62. Muscle up to support 63. Pull to 0 cross 64. Pull to "L" cross 65. Pull to side cross G. Skills from a piked inverted hang moving forward and back-

ward 66. Lower forward to front lever 67. Kip to support 68. Kip to "L" 69. Kip swing to shoulder stond 70. Kip swing to handstand 71. Forward stroddle dismount 72. Forward straddle with V2 twist dismount 73. Forward straddle with 0 full twist dismount 74. Lower bockward to back lever 75. Dislocate 76. Back kip to support 77. Bock kip to planche 78. Back kip to stroddle "L" 79. Back kip to shoulder stand 80. Back kip to handstond H. Vertical movements from a straight or piked inverted hang 81. Piked inverted hang extend hips to straight inverted

hang 82. Straight inverted hong, pull ond press t,1 handstond I. Skills that stem from a handstand moving ba, kward 83. Handstand lower to planche 84. Handstand lower to straddle "L" 85. Handstand lower to support 86. Handstand lower to bock lever 87. 8ackword giont swing (or swing to any skill that may

be performed from a hang swingi ng forwa rd) J. Skills from a handstand swinging forward 88. Handstand, lower forword to, (all skills under E) 89. Forward giant swing K. Skills from a handstand that lower vertically 90. Handstond lower to shoulder stand 91. Handstond lower to inverted cross 92. Handstand lower to straight inverted hang

8The Vault By DAN J. MILLMAN Gymnastics Coach, Stanford

**This article concludes an admittedly short series on vaulting. In summary, we have looked over the philosophy of vaUlting, and why it is a valuable, and potentially exciting event. Then we examined what the writer feels is the basic vault , the handspring. In this article , we ' ll take a look at the basic non-somersaulting vault , the stoop vault. At the conclusion of the article, the handspring and stoop will be related to all the other F. I. G. vaults.

If the reader has any questions about the actual rules of vaulting, or the value of vaults, please see the F.I.G. Code of Points , which

20

can be obtained from the U.S.G.F. , Box 4699, Tucson , Arizona, fo r $3 .50. If anyone has questions about vaulting, please direct your queries to M.G. VaUlting, Box 611, Santa Monica , Cal. 90406.

THE STOOP VAULT All vaults have certain aspects more or less

in common. We begin with an aggressive run. In the saito vaults , we want all the speed we can get. Not necessarily so in the non-somer­sault vaults. Too fast a run may result in loss of control. Thus, a sufficiently fast run is impor­tant , without going all out.

The take-off is similar to the handspring. An explosive spring off the reuther board is vital. The heels and arms should lift aggressivel y, with the heels lifting harder, resulting in for­ward rotation to an angle of about 25-30 de­grees above horizontal , depending upon speed or run. One take-off, as the arms and heel s are being lifted , it is important to drop the shoul­ders low, down towards the horse , and hold the head in a neutral position (not lifted , but in line wi th the body). The momentary contact position is illu strated below:

Th e contact: What goes on during contact with the horse is instrumental to the success of the vault. Contact should take place in a fraction of a second.

Assuming that the body is " set" in the cor­rect contact position as illustrated , with chest close to the horse , arms stretched forward , readying for a quick punch , and heels lifting, we are ready for the snap down action.

The Snap-DolVn: In free exercise, a snap down is a fairly elementary movement per­formed from a handstand position. I t is an ele­mentary, but difficult movement , when per­formed correctly. The snap down rotates from the hands to the feet , in a standing position. Ideally , the knees should not be bent. The ro­tation is initiated as the body snaps from a slightly arched position , with hyperextended shoulders to a piked position , as the arms give a very quick , explosive push, done with the shoulders rather than the arms. See the illus­trations below:

The important thing to note is that the time from illustration # I to #2 is a sliver of a sec­ond'

If the shoulders, instead of being hyperex­tended ~ are forward on the snap-down action , it is impossible to attain an effective push or snap motion.

Since , without this snap motion , it is not possible to do a correct stoop type vault , it is absolutely vital that upon contact with the horse , the shoulders are down and the body is slightly arched. In the incorrect contact, illus­trated below, the arm punch is generally too late, and the head fades up , resulting in a late

push and ineffective height or rotation:

r

[ ~

I Incorrect

~~/ I 1~:=J

Correct

The difficulty of the stoop-type vault lies in the extremely quick timing necessary. The body is fl ying through the air to the horse , and the snap down motion must be explosive, with the piking action and punch-off simultan­eously. Thus , the vaulter must stretch as long as possible for the horse, and anticipate the hand contact , punching off the horse almost be­fore he touches it ; and keep the shoulders down until the punch!

After the snap down, the body should stretch as quickl y as possible , for a more dramat ic flight , and aesthetic body line. The stoop then, is a quick , pike-open vault , with the body reaching a tight pike before opening.

Now let's look at the similarity of the stoop and other non-saito vaults. A hecht is essen­tially the same vault except the piking action is much less and mor e subtle. Nevertheless, the snapdown to a slight pike with an immediate' opening does take place. It is so quick that many beginning vaulters don 't see it and try to orm the hecht without any snapdown at all , resulting in a "desperation vault. "

The straddle vault , when done correctly , is a st raddle hecht.

The scissors vault is a straddle with an early half twist to a backward landing. The ba­sic machanics are the same as the above vaults, but as the body begins to extend , after the snap motion , the body turns as it extends.

Keep the legs together with a half, and you have a half-twisting hecht.

This writer is not going into the precise mechanics of every vault , because it should be stressed that the mechanics of all vaults are only minor extensions of the handspring and stoop mechanics. Variations in speed of run , angle of contact , and piking-punching action of the body result in the variety of vaults. In twisting vaults, if there is a problem com­pleting the twist , the weakness generally lies in the amount of somersault rotation and the timing of the beginning of the twist.

In twisting, keep in mind: The twist can be initiated from a push from the horse (or in some cases , from the take-off board). The twist can be initiated as the body opens from either an arched position or piked position to a straight body position. The body twists most efficiently when straight ; legs together, body stiff. When beginning a twist , the arms should be ex­tended sideward from the body as far as is prac­tical , then as the twist progresses, the arms should be pulled around and closer to the body. (The ice-skater spin effect).

Some additional somersault vaults: Two vari­ables are important here: I. The moment of blocking, or punching, with the arms. 2. The radius or length , of the rotating body.

As an example , take the handspring to the yamashita. In punching off the horse , we must compromise between height and rotation. If we punch or block too early, we may go a bit higher, but our rotation may be insufficient to

rotate in a layout position to our feet. Yet if we punch early for extreme height, then pike momentarily , we have a shorter radius , which will rotate faster , enabling us to have our cake and eat it too. Incidentally, as we stretch early for the landing , we can joyously celebrate our Yamashita vault with a stuck landing.

If we want more rotation , for a double , we must compromise some height , by punching later , just as our body passes through the ver­tical position , and we follow the punch with a tight tuck' Good luck.

On the Yamashita with a half or full , we want an early extension and an over the shoulder look. Those vaulters who can do a half twist but not a full , will have more success when they try for more rotation and an early extension.

Thus far , we have talked about vaults from the neck. Vaults from the croup (or near end) must travel a bit further , and the angle of con­tact will be a bit lower in general , but it is pos­sible to do a vault identically from both ends .

Work the handspring and work the stoop and you 've got 'em all. Keep your eyes open , your reflexes fast , and your landings stuck. Hang in there and see how high you can fly!

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

RE: From an Underarm Support Position­BAC KWARD UPRISE HANDSTAND. Parallel Bars.

Illustration A depicts the initial Under­arm Support Position. The hip angle is to­tally decreased and the trunk region is held above the bar and horizontal to the floor. This position is sustained by means of a forceful downward pu sh of the hands and arms against the bar. Observe that the elbow regions are pointing in a slightly downward direction.

The initial extension of the hip angle to a direct straight-line relationship. Illustrations B-C-D-E, mu st be as forceful as poss ible while still mainta ining a high underarm support posi­tion. This vigorous hip angle increment must encompass as large a downward circle as is anatomically possible. Such a consideration will significantly enhance a powelful and seem­ingly effortless Backward Uprise Handstand.

Slightly prior to " bottoming effect " of the swing, the hips begin to lead the feet result­ing in a relatively decreased hip angle. This action , Illustration F , is the single most impor­tant aspect oj any backward uprise skill. The hip lead must be forceful , deliberate and con­tinuous throughout Illustrations G-H.

As the gymnast transcends the lower ver­tical , the bars will bow downward slightly and will then recoil as the body rises up the circular swing. This aspect , in addition to the cocked hip angle , serve as the prime mover in effec­tive upward initiation. Illustrations H-I relate the forceful release of this cocked hip angle to a direct straight-line relationship. The execu­tion of this vigorous hip a ngle increment must be instantaneous with the forceful for­downward push of the hands and arms against the bar.

Observe that as the body unit transcends the horizontal the elbow articulations begin to straighten at a rate that is congruent wi th max i­mum utilization of the actual upward force. In other words , the gymnast is attempting to prescribe as la rge a circular path as is possible without effecting the rate of the upward swing. Refer to Illustrations J-K-L-M .

Illustration N reveals that the total body unit attains a direct straight-line relationship slightly beJore reaching the handstand position.

The gymnast should attempt to swing ONTO a handstand and not push-through a semi-hand­stand to a handstand.

The moment of truth is revealed in Illu s­tration O. The needle hand stand places the gymnast in an ideal position for any of the sequentiall y re lated sequentia ll y re lated skills.

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

RE: From a n Overgrip Giant Swing ­STALDER HOP-to an Undergrip Horizonta l Bar Handstand Position .

Illustration A-B-C-D-E are omitted in order that a more vivid presenta tion of the Overgrip Stalder Hop be reali zed . Illustration F depicts the body cocked as in an archer 's bow ready to rea lese its potential force in direct coordination with the upward circular swing. As the gymnast swings through the " bottoming effect ," the slightly arched body position is released. The gymnast must im­mediately follow up the ac tion first by de­creasing very slightly the shoulder angle and then by quickl y driving the feet and legs in a for-upward direction. Illustrat ions G-H depict the foot lead position.

As the body transcends the horizontal , the aforementioned decreased shoulder and hip angles begin to increase simultaneously and proportionately with each other. The hip angle continues its increment until prescrib­ing a direct straight-line relationship with the

Continued on page 28

~ Gymnastic Classics© Volume 2 - Parallel Bars

~ I Section B- Uprlses

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

Gymnastic Classics© Volume 1 - Horizontal Bar Section D - Release Grip Skills Number 5 - From an Overgrip. Giant

Swing - STALDER HOP - to on Undergrlp Handstand Po­sition I I

r-;-...J

~ I

w I XI y I Z I AA I ss I

I 11 21

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

S in ce t hi s tr ick is un do ub te dl y t he mos t frighte ning tri ck to be performed o n the rings witho ut letting go of the m, it is abso lute ly nec­essary that the pe rfo rme r proceed ste p by ste p, ma king certa in that each ste p is perfect befo re going on to the nex t step.

I would like to ma ke ce rta in that before the gy mnas t at te mpt s this tri ck that he have unde r cont rol the shoot or phla nge to ha ndstand a nd a ha ndsta nd , lower th ro ugh planche o r s ligb tl y bent arm planche to back lever.

A t thi s po int, the gy mnas t is given the fi rst a nd most basic cas t or layaway technique. From a half support (bent a rmed suppo rt pos i­tion wit h the e lbows bent to th e point where a comfortab le posi tion is reached) the gymnas t swings his heels fo rward a nd bac kward , trying to ge t them as high as poss ible. Whe n the fee t reach th eir he ight in the backs wing, preferab ly leve l with his head , the gy mnast , while loo king toward the ground , pushes the rings forward ra pidl y, keeping his a rms stra ight and leading wi th his ches t. T hi s should be we ll spo tted, fo r if the gy mnast does not push the rings fo rward (e.g. , he pushes the m to the side) they will smash toge ther whe n he hits " bo ttom" and he wi ll be wre nched from the rings. If his arms re­ma in be nt, when he hits botto m, the weight of hi s body will pull hi s a rms straight , wrenching him from the rings. If he moves his a rms to the fro nt too s lowly o r raises hi s head then his fee t will drop first a nd he may be wre nched fro m the rings. In sho rt , he should understand ex­actl y what he sho uld do a nd he sho uld be we ll s potted.

He should a lso practi ce a shoot to the hand­sta nd positio n from the cast in orde r to learn how to e mploy his swing. The shoot technique may correct e rro rs that the gy mnas t makes in the cast technique. For example , the gy mnast knows that bending hi s arms will ki ll the swing he needs to shoot to a handstand. I f he th inks in terms of max imizing hi s swing, he will keep hi s arms stra ight.

As the nex t step, the ha lf support layaway is a fa irl y si mple stunt. When the gy mnast can do thi s without getting a tre mendo us j o lt at the botto m due to poor technique , he may attempt a full (nearl y stra ight a rmed) support layaway. Again , the gy mnast tries to swing his heels as high as poss ible before cas ting while pushing hi s arms fo rward.

When the gymnast is comfortable with the full support layaway , he should press (using strength ) toward a planche or bent-armed planche posi tio n (his heels sho uld be we ll above ring level) a nd layaway from there . The same layaway technique must be practiced througho ut. T he gy mnast may s lightly whi p hi s hee ls into the mo me ntary pla nc he pos ition, but stre ngth should predominate. The reason I fee l that stre ngth should predominate is because the nex t ste p is the tough one , and if the gy m­nas t can control himself with strength the nex t step will not be ri sky for himself or his spotte r.

The next ste p has the gy mnas t lowe ring from a ha ndsta nd to wa rd a pla nc he or bent -a rmed pla nche (see prerequis ites, pa rag ra ph I) a nd cas ting from tha t position. l f the gy mnast has already learned to cast from a pla nc he position, th is step should require little courage. O n the way down to the pla nche position , the gy mnas t should re me mber to push his sho ulders far in front of the rings so that he can lower to the position with CO rlt rol.

Ass uming cont ro l of the pre paratory stunts , if the gy mnas t is capable of making that las t ste p (lowe ring to a nd lay ing away from the planche) smoothly , he the n possesses a ring gia nt.

22

The two things which must be practiced, however, in orde r that the giant be aesthetica lly pleas ing are ( I) lowering to the re lease point (whether it be a pla nche , somewhe re between a planche a nd a handstand , o r the ha ndsta nd itse lf) wi th stra ight arms, and (2) releas ing or lay ing away as earl y as poss ible. This how­ever, takes experience, coordination and nerve. T he most pe rfect example tha t I know of for a n early release is Eric Courchesne of Cali f­ornia , who re leases fro m a ha ndsta nd (s tudy the films of the 1969 N CAA's).

An early release will produce phenomena l speed which will be severe ly reduced if the gy mnast's back is ove ra rched. G ood luck!

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

1970 flOOR EXERCISE (May be reversed in entirety only)

I . From stand near and fac ing A, bock toward D; Ri se on toes extending arm s backwa rd, swing arm s fo r· word and backward handspring to stand (1.0 Point Eva lu· otion).

2. Fall backward, bending at hips, and execute bock· word roll and shoot·up to hands tand, immediately lower into chestroll to front leaning rest position. (0.5)

3. Step forward onto R·leg, swinging arms upward, and with '12 turn left, bringing R·foot to L·foot, place hands on floor and execute head· kip to stand wi th arms extended upwards, (facing D). (1.0)

4. Lower arms sideways executing a % tu rn right foe· ing C, toke three running steps and round·off into bock handspring landing on L· (or R·) leg. (1.5)

5. Execute y, tu rn R (or L) and immediate front hand· spring to stand with arms extended upward, then fa ll forwa rd to front leaning rest position, arms bent, and L· (or R·) leg extended upward (l.0)

6. Lower raised leg , straighten arm s, and execute strad· die forward to bock leaning rest position, draw bock to si tting position, place hands on floor next to left leg, wi th Y. tu rn of upper body (facing B), and press to hand· stand with bent arms and bent hips - hold. (l .5)

7. Lower to forwa rd roll , wi th straight legs, to stand w ith arms extended upward (facing B). (0.5)

8. Step out wi th L-Ieg and jump upward, swinging righ t leg up· forwa rd, then left leg up· forward, to stand on r ight leg (scissor leap) with arms extended fore-upward. (0.5)

9. Execute f ront handspring landing on left leg, arms upward, placing R·leg on floor (walk·out) with J/. turn to· word A, br inging arms side·downward. (0.5)

10. Step out into three running steps and round·off into backward somersaul t (tucked) to stand. (2.0)

SIDE HORSE (May be reversed in entirety only) I . From side stand frontway, left hand on right pommel ,

right hand on end; Moore mount around end of horse (counter-clockwise) with V, turn to rear support on R­end. (2 0)

2. Under-cut R-Ieg (under L-Ieg and hand), swing R­leg forward over saddle to straddle support on R-arm and pommel, swing L-Ieg back under L-hand transferring L­hand to double-g rip on pommel, then circle L-Ieg forward tran sferring R-grip to L-pommel to rear support in sad­dle. (1 0)

3. Cut L-Ieg back under L-hand and execute backward scissors to the right and then to the left. (1.0)

4. Cut R-Ieg back under R-hand and execute one double leg ci rcle (clockwise) to front support in saddle. (1.0)

5. Cut L-Ieg forward under L-hand, then R-Ieg forward 8,

under R-hand, execute two and a half double leg circles PARAllEL BARS (counter clockwise) (1.0), and I . From cross stand at end of ba rs take three running

6. Tromlot to th e right, transferring L-g ri p to double- steps and leap into glide kip under bars to support , (1.0) grips on L-pommel , swing ing both legs forward to rear 2. Swing backward to handstand (momentary hold). support on L-end of horse; (1 .0) (0.5)

7. One double leg circle on end (counter-clockwise); 3. Forward pirouette (one half turn), (1.0) (1.0) 4. Swing downward through support, drop backward

B. Execute double rea r vau lt around end to side-stand (0.5) into sideways wi th R-side to horse. (2.0) 5. under-cast to upper-arm support wi th legs over-

~~ ~~ hand,( I .O)

~~~ __ • • _'_r "~''''' -,' ' __ , 0" 6. Cast and back uprise to immediate straddle forward _ ,_ over bars to " L" support - hold. (1.5)

7. Press to handstand with bent arms and bent hips / 1. -.~ 2."- - hold. (1.5)

~ ~ ~ ~~ ~ B. Swing down-forward into stutz-kehre (V, turn) and

If r ,~Iay back into upper-arm hang, (1.0)

-J r [ - _ ~ 9. Swing forward and front uprise to support (0.5), and " _ 10. Swing backward through handstand with V, turn

-- J. -.-- -- .. -- --".. pivot on one arm (Wende) to cross stand sideways. (1.5)

~~~~~ /~~ffi ~r~~fb ~~'. NO" 3

~¥~_/ '-- -,: ' '--; ~; ~'i'~-LONG HORSE

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

HORIZONTAL BAR 1. From mixed grip hang, high cast and back uprise,

extending one leg over the bar into a V, turn to momen­tary straddled "L" support with over-g rips. (2.0)

2. Drop backwa rds, drawing legs together, and cast executing V, turn backward on backward swing to double under-grips; (0.5)

3. At end of swing execute forward kip to handstand (1.5)

4. Two forward giant circles and on end of second circle (1.0)

5. execute one-half turn pivot to over-grips, (1.0) 6. One and three-quarter backward giant circles (1.0),

and 7. Place feet on bar between grips (stoop) (1.0), and B. Continue into backward sale circle dismount, Wi th

straight legs, to cross stand rearways. (2.0)

~~~'~~ 1101.» ,.' IJH..Jt .. ... _.' I

'--~~!"r'-' ~&r' " __ _ _ _ ;, 10.

RINGS I. From hang, bending arms, draw straight body to

stra ight inverted hang, (0.5) 2. Bend to half inverted hang and disloca te backward,

(05) 3. Swing forward and shoot up to handstand (2.5) and

immediately. 4. Swing legs down-forward into drop-cast, swing

backward in hang and execute bent-h ip inlocate to half inverted hang, (0.5)

5. Cast down-backward into backward uprise to " L" - hold. (1.0)

6. Press to handstand with bent arms and bent hips ­hold. (15)

7. Swing downward through support, with stra ight body, and drap_ backward to momentary straight invert­ed hang, bend slightly at hips, (0.5)

B. Cast dawn-backward and inlacate with straight body, (1.0)

9. Bend hips at three·quarter point, rotating forward, and execute forward straddle to stand under the ring s. (2 0)

8.

G1 NASTIC AIR~S

Write to Gymnas tic Aides, Northbridge, Mass., fo r beginning, intermedia te and advanced rings, parallel bars and side horse cha rts.

NE W I Side horse charts are now avai lable. Six exercises ranging from beginner to high interme­diate levels have just been completed. Write to GYMNAS TI CS AIDE S CO., Northbridge, Mass.

ZWICKEL A Distinctive Line

of Men's and Women's Uniforms

• Why Settle for less?

FREE CATALOG •

ZWICKEL Gymnastic

Tailors

P.O. Box 309 Jenkintown, Pa. 19046

23

JUDGING bYJERRY By JERRY WRIGHT

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

PART II SIDE HORSE

The criticisms of the side horse evaluations primarily reflect matters of opinion and con­sistency. Side Horse is now well acknowl­edged as the most difficult apparatus to judge due to the complexity of combinations inherent in the difficulty ratings. Therefore, there is much here devoted to analyzing the parts and their relative values when used in different combinations.

I have been perhaps a bit too academic in my treatment here. For those who have neither the time nor the interest to wade through all of this I have indicated the major points to be considered by asterisks (*) .

ARTICLE I Scissors

The allocation of B moves to scissors with a Y2 turn or a trav'.!l hop and a C when both a travel hop AND a Y2 turn are performed seems appropriate (moves which we don 't see often enough in my opinion), but some comment is in order regarding numbers 1-8 and 1-9. The abil­ity to do inward cuts to support is the key in #8.

'&i ,f: <f( II ._ ), ;.', __ , _ v .... I, . __ . Y.rr--

Such moves exhibit the ability of the gymnast to do proper pendular work , but I question their validity as a B combination. These are simply A moves (to me) which are quite good tests to evaluate a gymnast's technique for ob­taining pendular swing. #9 exhibits the not un­common occurrence of redundancy in the code. What is the necessity for the inward cut-scis­sors combinations preceding a C move (back scissors with Y2 turn and travel hop) already designated?

ARTICLE II Hops from C ircular Swing

Again one wonders why it is necessary to designate a simple swiss-stockli combination in number 11-5 as a B move when a stockli alone is sufficient (cf.1I1-2). More important , how­ever, is number II-6. I n the English version

24

~~4~ ~~ "circle right forward " is included whereas the French says simply "double swiss followed by a direct tramlot without intermediate circles." So #6 is analogous to #3 . The illustrations are correct'

ARTICLE III Kreiskehres and Stocklis

For some unknown reason the English ver­sion obtained a pluralization of " travel " throughout this article (Nos . 3, 6, II , 18, 21) which is incorrect. Should read tra vel instead of travels!

*In discussing B & C moves from here on they will be broken down into A & B parts both to analyze their relative values and since a wise judge will have the moves so recorded in an effort to maximize the performer's possible difficulty. In this connection I have indicated high Bs by (B+) . Previous unofficial analyses of C combinations have led to the hypothesis that there were two classes of B moves reflected by their ability to facilitate C combinations. That is , if only 2 Bs were necessary , at least one had to be a high B (B+). Low Bs required at least an additional A or B part without inter­mediate circles (wo.i.c. ). As we shall see, there are numerous exceptions to this possible gen­eral rule."

Number 1II-3 = B+B+ A/B(?): This is aclas­six example of 2 low Bs requiring an A or B wo.i.c. to create a C combination.

This is a terribly unimaginative C since it takes only two different moves to comprise the five parts and is seldom seen in this country. The question mark here regards the confused status of a downhill travel in a combination which is discussed in detail under IV-5.

Number 1II-5=B+ A: since a stockli alone is a B. (Ed. Note : is this not repetitious also?)

a B by itself. It must have an A part combined wo.i.c. such as a Kreiskehre , as shown here , ora travel (cf.VIII-2).

Number 11I-9= B + (B + ): c lassic example of only 2 Bs necessary when one is a (B + ), the direct tramlot.

Number 111-10: wo.i.c . present in the French is omitted from the English version. Illustra­tions are correct.

Number III-II=A+ A+ B: The uphill travel alone is a B (cf.IV-5). (Ed . Note: This is not quite true - uphill travel-downhill travel , wo.i .c. is a B part.

Number 111-12= B+(B + ), where the back stockli is the (B+). " Back Stockli " here is con­sidered a very poor term since it is in reality nothing more than a reverse Kreiskehre or in­verted haiFstockli!

Number 111-13: Why not 3 As ? Number 111-14: Of very dubious value!

~~\\~~!~S~K1~ m~~~~~~~~~

There are rules against such repetItIon in the code so that this example is a very poor one and should be ignored if not eliminated.

Number 1I1-15B (B+) , where the Czech­kehre is the (B +) - (an exception as discussed under Article VII).

Number lll-17= A+ B: Since a tramlot is de­fined as a B in IV -2.

~~@4~ ~t\~~t

Number lll-18=A+(B+)+B(?): This is a relatively easy C combination, since a down­hill travel is a questionable B.

Number 20=A+ B: since Czechkehre is a B by itself (cf.VII-2).

Number 2IxA+ B+B(?): This appears to be .; " ~~ , -4.f ' , an even ch:aper C than # ~ 8.

~~~~~!~A'0 ~ .JI~@~A~~ 1lI~~~~b ~ -

~~A~\JL4~ Number 111-6=B+B+ B.

~J~~¢~~@(;3~ ~~ - ~

~~~~~~tlP~@ *Number 111-8=B: It should be stressed

here that one of the most important changes in side horse is that a Schwabenflanke is no longer

There is the possibility of interpreting such a combination as Kreiskehre-travel, wo.i.c. , as a B move so that one could get two Bs out of this sequence (a similar interpretation could per­haps be made for # 18). This interpretation, however, just serves to point out the redun­dancy and therefore poor composition of this sequence as for # 14 above.

ARTICLE IV Travels and Tramlots

Again in this article as in III the word Travel, when it appears , should not be plural. It is never plural in the French.

Number IV-3=B+(B+). Number IV-5. There is a serious problem

with this one! One could argue for 2 As. I will go along with a B for an uphill travel. To make the downhill travel a B in combination saves

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

should be re lega ted to an A move and those C co mbin atio ns , dependent upon it as a B. dropped.

Number IV-6=B + B(?) + A: or B+ B: The former interpretation deri ves directly from #5 w hil e th e la tter wo uld e nt a il ma king t he Schwabenflanke a B by the travel preceding (cf. V 111 -2). A weak C in ei ther inte rpretation si nce the " possible general rule" doesn't a llow two Bs to equa l a C unless one is superior. (I can hardl y imagi ne a n uphill trave l as a (B + ), a ltho ugh I have suggested previously that so me F.I.G. people might. )

Number IV-8: A single B? (cf.V III-2 and 111-8).

4H<~~~ ~~~~¢t~ ~c!~$~~ .

Number IV-IO: Why not 3 As? NumberIV-II : Redundant ! Number IV-1 2=B + B+B(?}: A worse redun­

da ncy'

~J~,-~!J~@4 ~~!~~~,,~~

Numbe r IV-1 3: H ere is a n a pparent gross inconsi stency with #5. The uphill trave l is everywhere else considered a B except in #4. It would a ppea r here that FIG people thin k it easier to do uphill travel rather than downhill travels in combination (!?).

Number IV-14=A + A+ A: This is FIG 's first attempt to include a countermove ("Schwabenkehre with Y4 turn inward ... ") and is a pretty weak example . In the future I'm sure this combination will not warrant a B.

Number 15 B+ (B+}+ B: A rather strong C combination unless one considers one of the up­hill trave ls a n A. This is a n example where the incons iste ncy between # 5 and # 13 leads to confusion .

Number IV-18=(B+}+B. ARTICLE V

Reverse Stocklis Numbe r V-3=( B+}+( B+}. Numbe r V-5=A+(B + }: Since a reverse

Stockli alone is a (B+ ) (cf.#2). Numbe r V-6=(B+}+B+B(?}: Why an ext ra

B unless the downhill trave l is considered a n A here (which it probab ly should be)? The pre­vious code had a C for just the first two moves (reverse Stock Ii -uphill tra vel) , but now it ap-

pears that an uphill travel is on ly an A unless followed by a downhill trave l.

Number V-8 = A+ B. " Number V-9=A + (B + ): Here is the first

se riou s exception to the " poss ible ge nera l rule"

(B + (8 + ) or A + B+ B=C). It wou ld make more sense to me to require a downhi ll trave l before the Schwa be nfla nke. A quest io nable C !

ART ICLE VI Drehfla nkes

Drehflankes are nothing more than reverse Stockli mounts so for those who a re confused. consult the sec tion (X II ) on conventional terms in the code (p. 169). I t makes more se nse that reverse Stockli.

Number VI-2=A+ B. Number VI-3=A+ B+(B + ). Number V I-5 . Although "wo.i.c. is left out

of the English version , the illustrations a re

clear. A Drehflanke- insta nt trave l (wo. i.c. is equal to a Czech wende, a nd therefore a Czech mount on the end is now a B(?). I would have to cons ider it a low B.

Number VI-6 = B+ (B+) a short but a ppro­priate C. This cou ld be thought of as a Czech mount-instant Kreiskehre (wo. i.c .) which is easier in the middle , and I wonder if it would obtain the same value there? .

Number VI-7: Reflect s poor wording a nd would be best to consider it Drehflanke-ha lf c ircle- travel.

Numbe r 8: Czechkehre-ha lf circle-krei­skehre!?

Number VI-9=A(?)+B + B(?): I'm not sure what's go ing o n here.

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

ll~P~~ Both illustrations a nd the text are inadequate.

It a ppears to me that a double Russ ia n wende on one pommel followed by a travel would be feas ible , but they are depicting a Drehfla nke with a n extra liz turn on one arm which creates quite a torque on that arm.

ARTICLE VII Czechkehres

" Numbe r VII-3=(B+)+B: Only in a few cases is a Czech given a high B rating where there is an immediate (instant-A La Mills) transfer into the next move when a liz circle could be e mployed as well (see also 111-1 5). Compare th is with # 14 where the liz circle re-

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

N um be r V 11 -4: Be sure to note a lso the dis­tinction be tween Czechkehre a nd Czec!lIvende (Tcheq ue dorsal a nd Tcheque fac ia l in F rench), B & A moves , respectivel y.

Number V II -6 = B+ B+ B('J) : Thi s exa mple offers fu rther evidence tha t a Czechkehre is a low B a nd that a downhill tra ve l, in co mbina­tion , ought to be a n A.

Number 8: The B evaluation here leaves me wonderi ng why not B for the reverse stockli di smount (cf.V-7) ? This is not consistent in light of the fact that a reverse stockli is ra ted a high B a nd a Czechkehre a low B.

Number V II -9= B+ (B + ). N umber VII-II = B+ A/ B(0): Nowhere is the

confu s ion rega rding a downhill trave l be tt er illustrated tha n by th is example. The move is

Jft~~U4@l~

~~4~ ignored here afte r a Czechkehre while consid­ered a I:l after an uphill trave l (cf. IV-5)'

Number 12=B +( B+ ). Number 15=B+ (B + )+ (B+ ): It is fitting here

that a C B be given for such a combination.

A RTI C LE VIII Schwafenflankes-kehres a nd-wendes

"F irst a brief clarification of the variou s Schwaben moves . I n theory a Schwaben move requires a ha lf-turn on the e nd of the horse (a Czechkehre) with a variety of terminations that reflec t the nature of the suffi x. I f the performer stays o n the horse or dismounts to a s ide sta nd (back to horse) , he is executing a Schwaben­j1allke (a llema nd costa l).

If the gymnas t di smount s wi th a half-turn so that the front (ventral) side is facing down, he is execut ing a Schwabenwende (a ll e mand fa­cial).

And if the gymnas t dismounts witho ut a twist so that his back (dorsal) side is toward the floor , he is executing a Schwabenkehre (allema nd dorsal) .

The French terms make more sense than the German here!

Number VIII-2: A reminder that a Schwaben move requires an A such as a travel wo.i.c. in combination to qualify as a B!

*Number VIII-3=A+B + B(?): So , after the admo nition above they leave out such a n A preced ing the Schwabenflanke , and one must assume a B for the downhill trave l again to jus­tify the C combination . This tre nd is repeated in numbers 6 , 9 & 12. It seems as though they are say ing the rule only a ppl ies to make it a B but not in C combinations 0) or that Schwaben­flankes a lways become Bs in any combination.

Number VIII-6= A + (B+) : A weak C s ince there is no A preceding the Schwabenflanke which would render B+ (8+).

25

Number 8: Circles are singular in the French , and this is the same as #5. Should read Circle instead of circles I

Number 9= A + A + B: Another weak C since

a ll that has been added to a previous B (ef. IV-14) is an A move (trave l). Very questionable!

Number 12 = A+ (B + ) same criti cism as in #6.

Number VII I-14=A + A+ A: a low B. Note use of Czech wende.

What a good example , however , of a C com­bination this could have made if modified to Travel - Schwabenflanke - Czechkehre -wo.i.c. (B + (B + )) .

Number 15=A+ B+ B: Finally what I con-

1lz-~~~4~~ ~4~~if~1~ sider a legitimate C in this artic le (VI II ); how­ever, the illustration omits the first half of the Schwabenflanke.

Number 17=A/ B( ?)+B: Again lacks an A part preceding the first Schwabenflanke. Also appears Inconsistent on casual inspection with # 14, but note from illustrations that a Schwab­enflanke is equivalent to a Czechkehre, not a Czech wende.

Number 18 = A + B+ B: Essentially equ iva­lent to # 15 except that the pommels aren ' t used. Chaquinian , 3 Czechkehres or Schwaben­flankes. Why isn't that considered repetitious?

ARTICLE IX Russian Wen des

Number lX-3= B+ B: Ought to read double Russian wende swing. (Ed. Note: This could be a debatable issue concerning the use of the word double). The reinstatement of this move to a C causes another exemption from the "gen­eral possible rule," but it is similar in nature to " instant" combination exceptions given before (Ill-IS & VII-3).

Summary *The new code has seen further revision in

side horse difficulty. It is perhaps most up to date in terms of what is expected of the mod­ern gymnastic performer. The "possible general rule" has been discussed and some exceptions noted. Nevertheless , it still appears to be the best general guide for making difficulty deci­sions especially for new, unillustrated combi­nations. The most frustrating problems in side horse appear to be what to do with the down­hill Travel and the Schwabenflanke in combi­nations. The code only allows the following distinction of Bs:

LowBs(B) HighBs(B +) Stockli Reverse Stockli

(l nverted Kreiskehre) Tramlot Direct Tramlot Czechkehre (a few

exceptions) Double Swiss (Hop) Travel-Schwabenflanke wo.i.c .

Obviously this li st needs to be extended along with the evaluation of many other moves espe­cially common in this country. The following are just some of the moves not listed in the

26

code which need to be evaluated prejud ice indicated: Reverse Czechkehre (= Back Moore) Reverse Swiss Yanki ' Yanki ' Reverse Yanki Counter Yanki ' "Shurlock" Counter Swiss (= Durham) Hop Travel Counter Hop Travel " Bailie" (Travel-Rev. Czech .­

Trave l wo.i.c.) Double Ru ssian wende on

one pommel

with my

(B + ) (B + )

A B B

(B + ) (B +)

B (B + )

C

C

'see Mills , R. A New Terminology for Side Horse. Modern Gymnast X, (I), 18 (1968).

GYMNASTIC JUDGING COMES OF AGE By BILL ROETZHEIM TED MUZYCZKO

Gymnastic judging is very much like the weather, it is not only completely unpredictable but it is a subject we frequently complain about without offering an effective means by which it can be changed. You have all heard football and basketball coaches complain how inept officiating caused them frustration and defeat, but there isn ' t any athletic contest more closely dominated by officials than the sport of gymnastics. The men with stripes on their shirts may make it a little easier for a team to score in football , but in gymnast ics they put the points on the score board.

We have improved our coaching techniques, our equipment , and we are working with a superior physical specimen . Yet , our progress has been measured by judges whose require­ments have not changed since the first kip was scored in that old frame Turner Hall in New York. I use the word requirements very loosely because as far as I know, to meet this mythical standard one only had to act like an authority and be avai lable.

You worked at the local level because it was convenient for the neighborhood school to hire you. Regional decisions on procuring judges were vested in the site manager who chose his friends and at the national level se­lection was determined by a popularity con­test with the coaches acting as the electorate.

Many times your total technical prepared­ness to judge a meet was the mere fact that you were a spectator at an event for which judges were needed.

It is true that some sections of the United States did upgrade through courses and exams the general proficiency of their local officials but without a co-ordinated effort at the nation­al level many of these programs lost their effectiveness.

It was quite apparent that if gymnastics was going to continue its rapid growth the profes­sional qualifications of our judges would not only have to be elevated but an objective meaningful national ranking system would have to be instituted.

Last spring we sought and received sanc­tioning to hold a pilot judging course and also the right to establish criteria for the certifica­tion of judges at the national and regional level. Through the joint efforts of the Mid­American judges Association and the Univer­sity of Illinois , Chicago Circle campus, this venture was highly successful and led to a meaningful numerical rating of judges and to their subsequent registration in a national office. Ninety-two men signed up for the course. This tremendous response certainly justified the work of preparing for this course

and also attested to its need. We were particularly careful in structuring

this event because it was the first effort to hold this type of class. For our staff we used Frank Cuminskey , Tom Maloney , Ted Muzyczko, and Joe Ginlombardo. Each of these men not only had a vast amount of experience as judges but also possessed anF.I.G . card.

We blocked the course out into four main sections accounting for 16 hours. First there was a general discussion of the F.I.G. Manual followed by a panel that answered questions on trouble areas. I I Block two was the breakdown of judging event by event. The third session gave everyone an opportunity to judge and discuss many routines and the final time seg­ment consisted of testing.

For the sake of standardization and only after much debate , we decided to use the F.I.G. test as it is administered by that astute body. Apparently the discussion , although long, did not give us a true picture of the validity of this test when it comes to classifying officials. A statistical analysis quickly demonstrated to us that we would have to upgrade the internation­al requirements in order to identify competence in judging.

Let us examine the F.I.G. scoring system. You are graded on your ability to recognize B & C moves , score a routine and pass an oral or written test over selected sections of the rule book. You are told which sections of the books you will be tested on prior to the exam so a perfect score is quite common. Scoring is based on a numerical system from zero to five with five being the perfect mark. Under this system if you score a five on the theory por­tion of the test you could sti ll get a national card by recognizing only 58% of the B moves, 37 per cent of the C moves and only scoring within 6 tenths of a point in the 8 to 8.95 brack­et.

In order to get a national card under F .I.G . with a passing 3.00 theory score one would still only have to recognize 70% of the B's parts and 55% of the C moves.

The item you are trying to measure is the ability of the judge to recognize moves and come up with a valid score. We emphasize this aspect by giving only a pass or fail on the rules and not counting it into the average score. We also upgraded the 3.00 requirements on the practical to 3.5.

We can now define a national qualified judge as follows: • He has a good knowledge of the latest rules as indicated by the oral or written test score. • He can distinguish a minimum of 76% of B moves in simulated meet , compared to an ex­pert panel. • He can distinguish a minimum of 64% of the C moves in a simulated meet, compared to an expert panel. • In scoring gymnastics performances in the 8.00-8.90 range he can evaluate these within a maximum deviation of .35 compared to an expert panel. • He has shown a reasonable ability to score gymnast ics exercises ranging from 6.0 to 9.5.

If you are in the process of organizing a judging clinic you may find the following cer­tification procedure helpful.

A candidate must complete the following: I. Fill out and sign an approved question­

naire. 2. Pass a practical scoring test in which a

minimum of four events are judged and in which four men per event are scored.

A minimum Practical Score of 3.50/5.00 is required. This practical score is based on the candidate 's ability to determine Band C moves and his abi lity to score each event within the established ranges as compared to the expert panel.

3. An oral or a written score should be ad­ministered and the candidate must score at

least 3.50/5 .00. The Practical Score is arrived at by averag­

ing the B-C score with the live Judging Score. If a score of less than the minimum is received in the categories shown , that part of tes t must be repeated. The Oral or Written Test Score is not averaged into the Practica l Score but a minimum of 3.50/5.00 must be received.

Upon successfull y completing these re­quirements a candidate will receive a Natiollal Card with an Individually ass igned number. The Individual Number files will be kept at the U.S.c.c. office (U .S.G.F.), and later at the N .G J .A. office. These files will be kept up to date with entries of meets judged, refresher course scores and other pertinent information.

A National Card will be valid for one year from the date of issue. After one year a short refresher course should be taken to keep the national card actively valid. COURSE STRU CTURE

The course should be structured in the fol­lowing manner and should include a minimum of 16 hours of instructions and test ing.

Introductory Lectures: List Course Objec­tives; Discuss F.I.G. Code in general ; De­scribe Testing Procedures.

Main Lectures At least one lecture per evelll i.e. , a mini­

mum of six lectures should be given. At the end of the lecture, live scoring is strongly rec­ommended so that candidates may be able to judge live performers -listing Band C moves along with appropriate scores. If live perform­ers are not available ; films should be used. The specific execution errors peculiar to each event should be thoroughly covered. Any dif­ficult discrepancies should also be discussed. Lecturers should not be arbitrary and should freely answer questions.

At the end of each lecture candidates should be in the habit of listing B's and C's and put­ting down appropriate scores. This is quite im­portant since candidates will be tested in pre­cisely this manner. • Review Lectures and Discussion Sessions

These are optional, but are st rongly recom­mended - time permitting. • Testing Procedures

An oral test as outlined by the F.I.G. may be given as follow s. On the day preceding the test. A number of cards with five categories on each card are shuffled and each candidate is to take a card. The candidate is to study these five categories and will be tested orally on the next day.

Each interviewer will have a master sheet with the appropriate correct responses. The interviewer should make sure that the candi­date is at ease. Questions are then asked­from the master sheet and the interviewer grades the candidate from 0 to 5 based on the accuracy and speed of the candidate 'S re­sponse. A candidate must score 3.50/5.00 on this test or he cannot be awarded a national card.

• Wrillell Test Alternatively a suitable written test may be

given, which should not contain more than 50 questions. The questions must be based on what is actually printed in the F.I.G. manual

MR. X-PERT, GYMNASTICS

and lIot on verbal opinions or loose interpre­tations of ques tionable sections. Multiple choice and completion questions are sugges ted. The test should not take more than 20-30 min­utes to complete.

A candidate must score at least 3.50/5.00 or 70%. If he does not he cannot get a national card and must repeat thi s portion of the tes t. • Panel of Experts

The panel should consist of at least 3 and preferably 4 expert judges, at least one of which has an international card. If two international card holders are available, both should be used. All other panel members should have at least national cards. The panel should select a superior judge who would mediate differ­ences and average the panel scores. Each panel judge should write down the number of B's and C's as well as hi s score for each per­former evaluated. However, each of the panel judges has an additional responsibility for be­ing an expert in each of the following 3 cate­gories:

Difficulty I Judge Co mbination I Judge Form I or 2 Judges Thi s system does not put the candidates

at a disadvantage as does the F.I.G. sys tem which breaks down the panel judges responsi­bilities similar to the Bauer System.

After each performance the panel will quickly submit scores to the superior judge who will arrive at an average. If any discre­pancies exist the panel must give the candi-. dates the benefit of any doubt. For example if there is a questionable C move or if a C move maybe given 2B credit this should be consid­ered. For example, the following assessments may all be correct:

2C-4B-9.1 I C -5B-9.1 -questionable C IC- 6B-9. 1-1 Cgiven2B credit The candidates cannot be penalized for the

panel 's lack of unanimity on B's and C's but any scoring spreads should be discussed to one final average. At the end of an exercise, after the candidates ' cards are picked up, the su perior judge must announce the number of B's and C's and the panel 's average score. • Performances by Gymnasts Performer Score Range I 60-70 2 70-80 3 80-90 4 90--

This may be difficult to meet exactly but should be followed as closely as possible so that the candidate 's range of ability is tested. It is also suggested that the competitors not perform any really questionable moves sub­ject to extensive interpretation. It would not be a bad idea to "allow" one or two perform­ers to fall-off so that this phase of judging can be tested. • Evaluation by Candidates

An announcement should precede the per­formances explaining that all gymnasts are to judge as if they are performing in the Olympics Preliminaries i.e. 6-A moves 4 - B moves

I \

+

Difficulty 3.4 Combination 1.6

I I

~

I- C move Execution 5.0 10.0

The usual mitigation rules are applicable here. After viewing a performance, each can­didate is required to put the following on his score paper:

NUMBER NAME N umber of B moves and C moves

Final Score Each candidate is allowed the following

lengths of time to evaluate each performance: I st performance 40 seconds 2nd performance 30 seconds 3rd performance 20 seconds 4th performance 20 seconds

At the end of each time period, the sco re sheets of each candidate will be picked up. I! is important to have enough score pads available so that the delays can be avoided. • Evaluating the Candidates' Scores

This is a time consuming procedure so that ample , knowledgeable clerical help should be available. The standard F.I.G . work shee ts and evaluation sheets should be used. The final scores should be displayed as follows :

Number N ame

C move Score

Bmove Score

C & B mo ve Score

Exercise Score

Practical Score

Th eOlY T est Score

On the bas is of the above procedure candi­dates receiving a Practical Score of 3.50 or higher will receive numbered national cards from Frank Bare. Results and question­naires would be forwarded to Frank as soon as possible after the test.

Candidates would be notified by mail as soon as possible, disclosing Practical Scores. The cards may be mailed out by the sponsoring institution or Frank per agreement.

I t is a good idea to issue Course Completion Certificates to those who did not qualify for national cards.

Regional cards may be awarded if the local judges organization so decides. A suggested score for regional qualification is a Practical Score of 3.00 to 3.49. Regional cards are the responsibility of regional organizations al­thought they may want to follow the preceding procedure.

I

I! took a long time, but maybe because of our efforts judging will finally come of age.

I I I

+ ~ 27

Continued from page I 4

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

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with rubber sole. . ........ . • _ . • . . ...... 4.00 pro #Tl·4 Ladies' gym shoe

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SUSPENDERS 7fs" elastic w/chrome dips , Adjudable

and detachable . Comes in white, blue or red . . . ... $3.00 ea.

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

CHALK Block or powder. . ... .. . .......... ... Lowest prices

1968 MEXICO OLYMPIC FILMS

Super 8 - in color Complete winning and runner-up optional routines on all Olympic events. Taken at 24 fps and edited from 2000 feet of film taken from choice locations. Highly edu­cational. No rentals.

Men's - 400 ft. .............. $32.00 Ppd. Women's - 400 ft. ........ $32.00 Ppd.

Order from: FRANK ENOD 12200 SO. B£RENDO AVE. LOS ANGELES, CALIF. 90044

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

1910 WORLD GAMES' _ _ ~~COM~ULSORIE~ . Just . $15.00 fir 150 It. S.,.r-I Cllir fillII If 1171 W.r" I:.IIIIS C.lllp.'Slrils. A"i1 •• I. fre. S •• ~., P •• ,icati.IS, P.O. 811111, Salta Mllic.: Calif,rei. 984D' .

28

Where wi II you be in

~@~@ j.\@ ?I 00000

... we know where we'll be!

~@ years ago we started producing ~ 0 gymnasium equipment of finest

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

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

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

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

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

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

Continued from page 21

trunk. The shoulder angle continues its incre­ment until prescribing a forward-opening angle with the trunk. Illustrations I-J -K reveal these increments relative to the total body position on the bar.

The above angle increments yield a feeling of weigh tlessness. It is at this time , Illustra­tion K, that the sl ip-grip action of the hands is realized. The wrists are arched onto the top of the bar to provide support for the on­coming body weight.

Illust rations L-M-N-O-P-Q relate the "straddle-in " action. Observe that the back is kept as flat as possible and that the gymnast attempts to s tradd le the feet about the hands as narrow as possible. Such a consideration will position one 's center of gravity farther away from the bar and thereby allow for a more powerful "basket" action. The vigorous for-downward push against the bar serves to facilitate the inward and upward stradd ling of the legs.

Illustrations R-S-T-U depict the rapid descent of the body through the " bottoming effect " of the swing. The straddled legs con­tinue to be driven in an upward direction. The illustrations relate the obvious need to utilize one 's full anatomical range of motion with reference to the hip region.

Illustrations V-W-X-Y-Z demonstrate the " straddle-out " action. As the body passes through the " bottoming effect" of the swing, the resultant downward bow of the bar serves as a tactical cue in initiating the straddle-out action. The shoulder and hip angles begin to increase simultaneously and proportionately with the upward ciruclar swi ng. The shoulder action is similar to the concept of " throwing the bar away , as hard as possible, in an up­ward a nd backward direction." The hip action is similar to the concept of "straddling out the legs using primarily the lateral plane of movement ... straddle as wide as possible on the straddle-out. "

The above vigorous hip and shoulder angle increments continue until both pre­scribe a direct straight-line relationship with the trunk. In terms of directing the total body unit to the desired off-handstand position , either and/or both of two methods may be em­ployed: I. During the "bottoming effect" , one may choose to utilize either the ceiling or the floor in relation to the body as a visual cue for off-handstand direction; 2. One may choose to utilize kinesthetic feel.

Illustration AA depicts the actual " hopping" from the overgrip to undergrip handgrasp. The double arrows indicate the resultant direction of force necessary for a mechanically effect " hop". The throw-release and the 1800 outward rotation-regrasp actions must be instantaneous a nd deliberate. The el­bow articulations remain straight and locked throughout the entire ski ll. The desired off­handstand position, Illustration BB, places the gymnast in an ideal position for any of the sequentially related skills.

SEND FOR FREE COMPLETE

CATALOG OF TRAMPOLINE

EQUIPMENT & SUPPLIES

SIDLINGER TRAMPOLINE CO. P.O. Box 2

Garland. Texas 75040

Indisputably the finest name in trampolining - since 1948

But, Coach ... RATIONALE FOR INABILITY TO PERFORM (A handy, ready-reference guide) Compiled by ART ALDRITT, coach Univ. of Ca lifornia at Santa Barbara

INTRODUCTORY REMARKS 1. These are all paraphrases of remarks the coach

has been attentive to over the yea rs. 2. Therefore, rather than making a thorough pre­

pa red statement, save time by just ca lling out the appropriate number. Fe llow, team members and/or coach will then try to help you work thraugh the particular problem.

3. All authentic new contributions will be greatful ly received and added to our list.

4. Deadline for entries is midnight of the first week­end in April. (Contest void where prohibited by lawful pride.)

~ .G:tfl (0 i\

~r~~ n~ 1. It's too hot to work out! 2. It's too cold to work out!

3. I didn't get enough sleep lost night! 4. I got too much sleep lost night!

5. The other guys never critic ize my work l 6. The other guys are always criticizing my work !

7. Coach pushes me too hord l 8. Coach doesn't push me enough!

9. I get upset and can't work out when punctuali ty is de­manded!

10. I get upset and can't work out when guys come drifting in any t ime they fee l like it!

11 . Workouts are too orgonized l 12. Workouts are too disorganized!

1 3. There are too many guys there to work my event! 14. There are not enough guys there to work my event!

1 5. I can't work well unless gymnastics affords group mo­mentum and solidarity!

16. I can't work well unless gymnastics affords personal freedom of pa ce and individuality !

1 7. I'm hung up because my girl demands too much of my time!

18. I'm hung up because my girl won't see me often enough!

19. Coach needs to be meaner and more asserti ve during my workouts I

20. Coach needs to be more understanding and not t ry to dominate my workout!

21. We work out too often and tao langl 22. We neither work out often enough nor long enough!

23. We start so late in the yea r that I can never peokl 24. We start so ea rly in the yea r that I get stole !

25. I feel too tight to work todoyl 26. I fee l t oo loose to work today I

27. Coach introduces new material so fast that I can't keep up!

28. Coach introduces new material so infrequently that I get bo red!

29. I'm distraught and worried because of my job! 30. I'm distraught and worried because I can't get a job I

31. I don 't like being treated li ke on adolescent; as if I couldn't toke responsibi lities!

32. I don't like being treated like on establi shment man who must knuckle under to responsibilities!

33. I dislike coach's demand th at I show up every day! 34. I hate it when guys don't show up to workouts!

35. Coach is always butting into my private life! 36. Coach doesn't ta ke an interest in me as a whole indi­

vidua ls!

Gym Master's FIBERGLASS "G" RAILS the "perfect" rails for parallel bars • Gym Master FIBERGLASS " G " RAILS have never

warped, broken or splintered under the most v igorous use and extreme tests.

• Gym Master FIBERGLASS " G" RAILS have a "built - in " perfection that never varies - each ra il is precision manu­factured to exacting Olympic shape, strength and flexi­bility - and every rail is identical.

• The outstanding FIBERGLASS "G" RAILS are standard on all Gym Master parallel bars and provide the grip and feel of wood rails.

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

j~ FREE! Write for your copy of our new, illustrated catalog.

I THE WORLO ·S GYMNASTIC EQUIPMENT SPECIALISTS

1~~~~~~~'0 29

PORTABLE PARALLETTES Excellent for the home and gym. Handstands,

presses and levers so essential ore mov~s done on these parallettes.

Extensively used by gymnasts and Olympians throughout Japan. Made of hardwood and stur­dily constructed for ·Iang use. Walnut finished and hand polished.

Price $6.00 per pr.

Plus Postage

So. Cal. W. States Midwest Ea st

15c $1.00 $1.20

ORDER FROM: M.G. PARALlrnES BOX 177

Santa Monica Calif. 90406

$1.35

Shreveport Gymnastic Supply

Company p, 0 , Box 5374

Shreveport, La . 71105

Suppliers of 1968 U. S, Women's Olympic

Gymnastic Team 1968 World Trampoline Team

WHY WAIT FOR YOUR ORDER?

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

Send for our catalog

m THE MODERN GYMNAST MAGAZINE

CG HARDBOUND MG's LIMITED SUPPLY SPECIAL

COMPLETE SETS OF MG

Volume 1-10. _. $100.00 Individual Volumes of 8-9 or 10

$10.00 each Order all three for just $25.00

Unbound complete volumes, Val. 8 ......... $4.00 Vol. 9 ............ $4.00 Vol. 10 . . .... $4.00 Order three unbound volumes for just $10.00

MG 10 year index available free, iust send self­addressed stamped envelope

BALLET FOR GYMNASTICS Manual # 1000 to accompany Class "C" record (Stepping Tones).. . ............ . $3.00 Manual # 1010 to accompany Class "B" record (Stepping Tones).. . .. . $4.00 Special offer, Both manuals .. . ..... .... $5.00

NCAA 1968 HIGHLIGHTS Regular $1.00. Order now for just SOc each

LET'S TEACH ROUTINES .. MG POSTERS :

. ........ $1.00

Four color 20x24 uneven bar ... . .... $1 .00 Giant 2'x3 ' World Cup Poster ............. $1.00 Gymnastics Moderne 16 Y2x23 .. .50 High Bar 16Y2X23 .. .50

Specia l offer, All four posters suitable for framing ..

MG BARGAIN BOX 50 $2.00

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

SUNDBY PUBLICA liONS MG BOOKSHELF Box 771 Santa Monica, Ca . 90406

California residents add 5% sales tax

SUBSCRIBE TO

( MG Gym Calendar J 1970

March 5, 6, 1, 1910. Big 10 Championship, University 0

Minnesota. March 1, 1910. North Atlantic Gymnastic Championship Westchester, Pennsylvania. March 12, 13, 14, 1910. Eastern Intercollegiate Champion ship, Syracu se, New York. March 14, 1910. Southwest Conference Gymnastic Cham pionship, Texas A&M, College Station, Texas. March 19-21 , 1910. NAIA Gymnastic Championship, Stou State College, Menomonie, Wisconsin. March 19-21 , 1910. Big 8 Gymnastic Championship, Kansa State Univ., Manhattan, Kansas. March 26-2B. AAWW Gymnastic Championship, Univ. 0

Washington, Seattle, Washington. April 2-4, 1910. NCAA Gymnastic Championship, Tempi University, Philadelphia, Pennsylvania. April 8-9-1 0, 1910. Championships of the U.S.A. Las Vegas Nevada. April 11,1910. Central Atlantic Area YMCA Championships Glassboro State College, Glassboro, New Jersey. April 11-18, 1910. National YMCA Gymnastic Championship, Oklahoma City, Oklahoma. April 24-25, 1910. World Cup Invitational, Long Beach, Col farnia. April 25-26, 1910 .. . Second Annual WORLD CUP. Lon Beach, California. International Judges Courses for Men and Women. Tenta tively scheduled for Long Beach, pending approval of FIG Officials involved. Course for all English-speaking wame . .. Men from Canada, U.S.A. and Mexico. October 22-21, 1910. WORLD'S GAMES .. Ljubjlona, Yugo slavio.

C~_M_G_C_L_A_SS_I_FI_E D_SE_C_T_I O_N_~) POSITION WANTED

Gymnastic Coaching position wonted in College or Jr. Col­lege level. Resume on request. CK, Box 777, Santo Mon­ico, California 90406.

Wanted : Illinois high school coach seeking High School coaching (gymnastics) and physical education position. Contact Box 777H, Santa Manica, Ca. 90406

Wanted : Experienced 32 year old Chicago Suburban Coach is seeking a UNIVERSITY COACHING POSITION. Contact Box 777U, Santa Monica, Ca. 90406

COACHING POSITIONS AVAILABLE Do you know of a high school, college or university look­ing for a gymnastic coach? .. . If so, have them send infor­mation to the MG, and we wi ll make the data known to our reader coaches. The information can be confidential using an MG P.O. box number or all data listed for faster factual response.

CG The World's Largest Selling Gymnastic Magazine

THE MODERN GYMNAST P. O. BOX 611 SA NT A MONICA, CALIFORNIA • 90406

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names enclosed.

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Better Not Take Safety Standards For Granted When Y ou Buy Gymnastic Apparatus Nissen doesn't.

In fact, most new safety and convenience features for gymnasium apparatus in the last decade have been developed by Nissen.

Who else would think of putting a Floating Counterbalance device in each apparatus upright to make height adjustments almost effortless? More importantly, the counterbalance prevents the parallel bar, for example, from suddenly dropping, possibly causing pinched fingers or bruised foreheads. Who else but Nissen would develop an almost unbreakable Perma-Wood top bar for parallel bars, fusing hardwood laminations together under extreme heat and pressure?

Noone insisted these changes ... except Nissen.

Heavier gauge materials, interchangeable parts so improvements or innovations will fit equipment in the field, streamlined, protrusion-free design - Nissen has engineered new safety into gymnastic equipment, on its own, without an outside organization requiring it.

Some equipment buyers take safety standards for granted. If you're

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

\

A floating ~ counterbalance is

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

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