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Modern Gymnast - January 1970

Mar 09, 2016

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  • THE MODERN GYMNAST MAGAZINE

    JANUARY 1970 60c

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  • notes FROM THE

    editor:

    -

    School Data: It has taken longer than planned to gather and prepare the College and University Data promised for this edition of the MG. We are in the process of putting all the information we received into chart form, and it will be published in the next edition of the MG.

    4

    * * *

    Robert Schmidt 1898-1969 Although a bit belated we would like to note the passing

    of a friend in gymnastics, Robert Schmidt. Whenever we met at international events, he always had something en-couraging to say about the MG and your struggling editor. Robert was a contributing editor for the Olympische Turn-kunst, and we quoted from that publication's remarks in their most recent edition:

    " On June 1 st, 1969, the world of gymnastics lost one of its greatest experts, Robert Schmidt (w. Germany). There were only few who equaled this diploma mathemati-cian and physicist in his command of the mechanical prin-ciples underlying gymnastics. It was gymnastics to which he devoted all his spare time. His power of remembering the routines of former champions was amazing! Nobody in the world had a greater knowledge of the early history of men's Olympic gymnastics. The editor of Olympic Turn-kunst has suffered a grievous loss through the death of this contributor who also took a lively interest in all mat-ters concerning O. T. generally and made valuable sugges-tions. His friend , Karl Koenen , writes on page 31 about what Robert Schmidt meant to German gymnast s. Koenen stresses that his friend was a man of sober habits who nei-ther drank nor smoked. Three days before he died of a brain stroke he was still coaching his club 's gymnasts. Aged 71 he was able to do the free planche and the one-arm handstand on the floor, thus proving his fitness. But death will always be the ultimate victor, and we must reconcile ourselves to its seeming arbitrariness. To do this in Robert Schmidt's case is difficult and painful. "

    m THE MODERN GYMNAST MAGAZINE CG

    Official Publication of the United States Gymnastic Federation

    CONTENTS

    VOLUME VII JANUARY NUMBER 12

    NOTES FROM THE EDITOR ..... ....... ...... Glenn Sundby 4 GUEST EDITORIAL ... ... ..... ... ... ... ..... . Don Tonry 6 CHALK TALK ..... ............ ..... .. .. .. .. ........ ........ .. . 7 VIEWPOINTS ....... ... .... .. .... .. ...... .... Dick Criley 8 CANADIAN REPORT ....... .. .. ... .. .... .. .. John Nooney 9 ANYONE FOR ALL-AROUND .. .. .... .... .. .. Gerold George,

    Don Tonry, Dan Millman and Borislav Vajin .. .. 10 THE BASEL GYMNAESTRADA .... ...... .. . A. B. Frederick 1 5 JUDGING BY JERRy ... ....... ... .. ...... .. Jon Culbertson 18 MG REGIONAL REPORTS .. ... .... ..... ... ... .. ... ... .... .. ... 20 LETTERS ......... .... ..... ... .. .. ... ... ... ........ .. ... .... . .. . 28 MG CALENDAR .. ....... .. ......... ... .... ..... .. ... .... ..... .. 30

    COVER: Jeff Weils, AA Gymnast from Springfield College

    PUBLISHER-EDITOR GLENN SUNDBY

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

    ASSOCIATE EDITORS - Feature

    A. Bruce Frederick, Education; Or. James S. Bosco, Research; Jerry Wright, Competition; Frank Bare. USGF; John Nooney, Canada; Robert Hanscom, YMCA; Andrzei Gonera, European; Gerald George, Dan Millman & Don Tonry, AA Instructional ; Bill Roetzheim, Instructional.

    THE MODERN GYMNAST magazine is p ublished by Sund by Pu blica tions. 410 Broadw a y, Sonto Monico, Californ ia 90401. Second Closs Postage paid Of Santo Monico , Cal if. Publ is hed mon thly except bi- monthly June. July, August, and September. Price $6.00 per yeor, 60c a single copy. Subscrip tion co rrespondence. The MO DERN GYMNAST. P,O. Box 6 11, Santo Monico. California 90406, Copyright 1970 all rights reserved by SU NDBY PUB LI CATI O NS, 410 Broadway, Santo Monico. Cal if. All photos o'nd manusc ripts submitted become the property of The MODERN GYMNAST un less a retu rn request and sufficie nt postage a re included ,

  • gymnastics apparatus for champions

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    C ___ gu_e_st_e_d_ito_r_ia_l:_) Don Tonry, member of three USA World Game Teams, two Pan Am teams, 1960

    Olympic team, 1962 AAU-AA Chomp, Gymnastic Coach at Yale University

    Selection of National Team Coaches and Judges I recently read an article written by Jerry Wright (Sept. 1969-M.G.) where he

    criticizes the U.S. system of choosing coaches for international teams. Having been a victim of this system for almost ten years as a competitor, I am in complete agreement with him.

    There are numerous examples in the past history of our sport whereby coaches and judges were selected for international posts on the basis of a guess or by an appointment by a small group or single individual. I believe it is a fact that many of our top officials (A.A.U . and USGF) do not want to insi st upon requiring a severe testing program and thereby establishing a national coaches/judges list , because this could remove their names from further free participation in international games.

    I s it true that a coach 's record is enough to show us that he is capable of coaching an international team? Does the fact that a man has already judged or coached in inter-national contests make him a good prospect for the same post again? Does a former Olympian automatically make the grade as a great coach?

    I feel that the answer is no to all of these questions . I have competed with national champions and Olympians that did not know the compulsory exercises and could not explain how they executed many of their skills - " throw and go men. " I have worked under nationally prominent coaches that could not criticize a skill other than to say "go harder," " lift it higher" and " let's see you make it thi s time. " Needless to say , these con-ditions demoralized many a team - a gymnast is quick to find out the ability of his coach.

    There is no doubt that , in times of strife, coaches and judges must be chosen on a haphazard basis: college dual meet record , membership on national teams , all around good guy , etc. However, we are now in an era of relative stability (F. I.G. judges courses , long term training camps , etc.). We test our gymnast because we would not dare send a poor team abroad - but we continue to select our coaches and judges by vote , where favors and friends are often the determining factor.

    This is not a new message - everyone is aware of it. The AAU did not rectify this situation (this was one of the U.S.G.F.'s biggest gripes) perhaps the U.S.G.F.-A.A.U. will do the job - (hopefully these groups are not patting each other on the back the way the A.A. U. was accused of patting itself on the back).

    How difficult is it going to be to design an extremely difficult test (one that ranks people according to the results) for judges and coaches? How many judges and coaches would submit themselves to such a test? Would this be a fair method to use for evaluation? I believe that it would be better than any method that we have used in the past.

    The coaches' test would have to take into consideration all phases of technical knowledge (including the judges ' test) and spotting ability . The first phase of the exam could be a written test that takes classification of skills on all events, exercises for pre- and post-training, judges ' examination, current compulsory exercises , etc. into consideratiori. The second part might be geared toward the actual pelformance of the coach with refer-ence to spotting and orally analyzing routines and sequences. Finally , an oral exam de-signed to be somewhat all-encompassing but with emphasis on coaching procedure and conduct during training and international contests .

    The test would be given annually and must be retaken every three years in order to prove one 's desire and ability to coach on an international level. The judges ' test would be similar to the F.I.G. judges ' test but far more detailed and (hopefully) more accurate.

    All of the scores would be published so all gymnasts , judges and coaches would have a clear understanding of the national ranking-just as we do with the gymnasts.

    Perhaps I am being too critical of the current systems of selection for coaches and judges - however, I cannot help but see how well the gymnasts have to perform in order to " make it"; while our officials are chosen without having any sound method for evalu-ating their technical abilities.

  • SUMMER CLINIC AT MICHIGAN Report by George Szypula, C linic Director About 300 people of all ages congregated at

    Michigan State Univ. for the 12th annual Na-tional Summer Gymnastic Clinic. There were rave notices about the clinic, the staff, fellow participants, the facilities and the food ... ev-erything seemed just right.

    In the fine competition conducted by Rusty Mitchell and Fred Orlofsky for boys and by Jackie U phues and Betty Meyer for the girls the following gymnasts excelled in their age groups.

    NOVI CE GIRLS: Amy Isett , Bobbi Ann Hunt and Laurie Story. JUNIOR GIRLS: Diana Sepke, Merry Jo Hill and Kathy Stew-art. SENIOR GIRLS: Rae Anne Miller, Adele Gleaves and Cherry Gleaves.

    JUNIOR BOYS: Carl Szypula, Tom Lam-pone and Timmy Foster. SENIOR BOYS : Rick Russe ll , Dennis Seidel and Kelly Harmon.

    The program was directed by Paul Fina, board chairman, in the absence of Jack Carr (official program director). Paul and Jack, along with Bill Meade, secretary-treasurer, and George Szypula, clinic director, make up the clinic board. Dick Richter and Dick Shilling directed the "Nite of Stars" show, a well-re-ceived , ta lented demonstration of gy mnastics and dance skill. Rounding out the fi ne staff were Ernie Carter, Cap Caudell, Bill Ballester, Tom Walthouse, Chuck Thompson, Shaun Armour, Dave Arnold, Ron Aure, Linda Beyer, Jim Curzi, Bob Dixon, C . M. Dubois, Stormy Eaton , Carl and Louise Engstrom, Joe Fedor-chik, Adele Gleaves , Barb Goode, Don Kiger, N ancy Koetke, Carol Liedtke, Charl ie Morse, Mary Nie, Jan Richter, Kate Rafferty, AI Sanders , Barb Stark, Betty Stewart, Karen Stewart, June Szypula, Jim Walton and Steve Whitlock.

    The clinic will be held at Michigan State again in 1970 from Aug. 9-14.

    Eastern Gymnastic Clinic Winter Session

    For its third consecutive and successful year, Eastern Gymnastic Clinic, Winter Session played host to enthusiastic gymnasts from the East Coast. Four hundred clinic participants gathered at Abington High School, Abington , Pa., for two concentrated days , N ov. 28-2 9, 1969.

    Clinic directors Muriel Grossfeld , Bill Coco, Bob Stout and Milan Trnka recruited a fine staff of over 50 expert instructors. Through their coordinated efforts and the clinic policy of limited enrollment, the instructional pro-gram afforded each gymnast an opportunity to participate in classes of numbers small enough to insure benefit from clinic attendance.

    Each active gymnast took classes in his or her Olympic gy mnastic events, plus tumbling, trampoline, dance and routine composition. Coaches and officials shared views in the C linic Coaches' Seminar and gathered much useful information during lectures on the past Olympic Games and Care of Athletic Injuries. The view-ing of films of recent international and national competitions was also offered.

    Michigan Clinic

    Springfield College Gymnastic team

    The clinic was brought to a close by the an-nual Clinic Exhibition. Routines in all events were presented to a standing-room-only audi-eQce by such gymnastic greats as "Fred Turoff, Gary Anderson, Sara Brumgardt , Janet Cant-well and Patti McGarry , to name a few. The highlight of the evening, however, was an ex-cellent comic routine by staff member Jack Pancott , former Olympic gymnast from Great Britain.

    By the close of the day , Nov. 29 , the entire "E.G .C." family - staff and participants alike - headed for home weary but sat isfied from a job well done and with minds filled with knowl-edge and enthusiasm ready to be applied in the coming gy mnastic season.

    Eastern Clinic

    CHIEFS SUBDUE LIONS IN THEIR DEN Springfield College pulled off the upset of

    this and many seasons as it ni pped Penn Slate, 158.20- 158. 15, in gymnast ics competition.

    The loss was Penn State 's first at home in 13 years, dating back to 195 7 when the Nittany Lions bowed to Army.

    Springfield College accompli shed the re-markable feat before 7500 screami ng specta-tors at a meet that was televised throughout Pennsylvania.

    The C hiefs won the meet without benefit of a firs t place. The lions' Tom Dunn won three events and Tom Clark captured two first places with Captai n Dick Swetman scoring High in all events.

    7

  • Contributing valuable point s to the Spring-field Total were All-Around pe lformer Jeff Wiles who took second place in the final event , the horizontal bar, to ice the deci sion , Captai n Dave Ellis , Pa ul Briggs , Ron Brown , Joe Ceni s , Ed Datti , Tony Manzella, Kerry Newell, Doug Nielsen , Ray Pe ll et ier, Mike Provencher, Kirk Ridgeway, Chuck Shiebler , and Andy Wahtera.

    - Springfield Republican , January I I , 1970

    THE ROENRAD GOES SCIENTIFIC The Gymwheel shown in the picture is a

    de vice in vented by J ames McCormick and is currently being used to test " position sense" at the Human Performance Laborato ry at Wisc. State University (Superior)

    16mm OLYMPIC FILMS We have been informed by our Associate

    Bruce Frederick, that Don Clegg has so me ve ry excellent 16mm film s of Olympic Gymnastics in Mexico and anyone interested regarding purchase of this film can contact Mr. Clegg at: 50 I S. Highland, C hampaign, Ill. 61820.

    INTERESTING TROPHIES Some time back we rece ived from coach

    John Zuerlein a report of the fir st Stout State Invitationa l (Menomonie , Wi sconsin) where eleven High School teams from Minnesota and Wisconsi n met in Interstate competition. Al-though the meet results did not make it into the MG (lack of ,pace at the time) we were

    8

    very impressed with the awards John used for the meet. The indi vidual winners took home trophies depicting the ir event and the team troph y won by White Bear Lake Illustrated all the events. We are sure these attractive trophies are proud possess ions for the winners.

    WORLD GYMNASTIC RATINGS Dr. Gohler, editor of the Olympic Turn-

    kunst gymnastic magazine, keeps a score index file on all of the top gymnasts of the world. From this file he makes up an annual rating system of points and placements as he sees it from all of the statistics he receives and com-piles throughout the year. Listed below are Dr. Gohler's tabulations and placements for 1969:

    1969 WORLD RANKING FOR MEN Individual High Score

    I . Kenmotsu - Japan ... . . ... 114.35 2. M. Kubica - Poland ... ..... 114.00 3. Bogus - U.S.S. R. ....... 113.90 4. S. Kato - Japan ..... 11 3.65

    Nakayama - Japan ..... 11 3.65 6. Klimenko - U.S.S.R. . .... 113.45 7. Maleiew - U.S.S.R. . .... 11 3.40 8. Diamidow - U.S.S. R. . .... 113.32 9. Guiffroy - France ... .. 11 3.30

    10. Kosamatsu - Japan ....... 11 3.05 II Cerar - Yugoslavia ....... 113.00 12. Ohara - Japan ....... 11 2.95 13. lisitzki - U.S.S.R. . ........ 11 2.65 14. Tsukohara - Japan ............ . .. . . .. ..... 1 12.50 I 5. Okamura - Japan ........... . .. . .11 2.40 I 6. Honma - Japan ................ .. . .11 2.30 I 7. W. Kubica - Poland .11 2.20 18. T. Kato - Japan.... .. .. ll 2.05 19. Karassew - U.S.S.R. ...... ........... .. .. 111.85 20. Koeste - D.D.R ..... ... ............................ 111.85 24. Mossinger - Deutschland ..... ................... III .1 5 Sakamoto - U.S.A. with 110.40, was among 22 other world gymnasts that scored in the II O.OO-point bracket. Placement Rating

    I Sawao Kato - Japan Nakayama - Japan

    3. Kenmotsu - Japan 4. Woronin - U.S.S.R. .

    T. Kato - Japan ............... .. .. Tsukahara - Japan ............ .. Honma - Japan Ohara - Japan ............ .. .. Okamura - Japan . Klimenko - U.s.S.R.

    II . M. Kubica - Poland Kasomotsu - Japan. lisitzki - U.S.S.R. Bogus - U.S.S.R. Cerar - Yugoslavia .......... .. .. Konishi - Japan . . ........... . Diamidow - U.S.S. R ......... ..... . Aiba - Japan. Miki - Japan ................ .. ..

    20. W. Kubica - Poland.

    ..... 91

    ... .. 91

    ..... 90 .. ..... 89 .. ..... 89 .. ..... 89

    ..... 89 .. ....... 89

    .. ......... 89 . .... as>

    ...... 88 . ... 88

    .. .. .. 88

    .... . 88

    .. .... 88 .. ...... 88

    . .... 88 .. ........ 88

    .. ... 88 ..87

    Sakamoto, U.S.A., and other top gymnasts follow from this point on.

    Team Placement: I. Japan; 2. Russia ; 3. Poland; 4. W. Ger-man Turner Bund; 5. North Korea; 6. U.S.A. and E. Ger-many; 8. Switzerland; 9. Czechoslovakia; 10. Yugoslavia; II . France; 12. Hungary; 13. Finland; 14. Rumania; 15. Sweden; I 6. Norway, Bulgaria and Spain. (Due to an over-sig ht Italy was not included in Dr. Gohler's report to the MG. We expect we will have an odiusted report later but not in time for this edition.)

    VIEWpoints Ry iJick Criley

    Hawaii Gymnastics Association Clinic Nov. 28-29, 1969

    by Dick C riley , Clinic Director The Hawaii G ymnas tics Association ambi-

    tiou sly held its first clinic with the cosponso t:-ship of the Hawa ii Department of Education. C redit was offered to high school teachers who participated in the two-day sess ion held dur-ing the Thanksgiving vacation.

    The participants included about 15 teachers registered fcr credit , another half dozen from pri vate schoo ls , a number of cit y parks and rec-reation speciali sts and students from the U ni-ve rsity of H awa ii and Church College. Junior high school youngsters from a number of schools parti cipated in the age-group work-shop.

    T he purpose of the c linic was to introduce teachers to the fund amenta l skills on each ap-paratus. The women's program was headed by Earlene Durrant of C hurch College, assis ted by

    Hawa iian Gym Clinic

    Mrs. Julie C rutchfield of Punahou and Miss Kathy Quinn of Ka me ha meha , girls from C hurch College , and Dick C riley. Bill Buck headed up the men 's program, and he was as-sisted by Rick Fonceca of Punahou , Dean Hay-ward of Kamehameha and the University of Hawaii gymnastic team. The half-day trampo-line program was headed up by Mr. Larry Anderson with the assistance of J ac k Bonham, University of Hawaii gy mnastics coach , and Rick Fonceca. University gy mnasts and st u-dent s of Mr. Anderson pelformed skill s and ass isted teachers in lea rning their correct pro-gress ion and execution.

    The Central YMCA of Honolulu gave still another boost to gy mnas tics by pro viding the gy mnas ium space , equipment and cooperation. The University of H awaii a lso provided equip-ment , as did lola ni School and Punahou . Possible Positions Available

    A coupl e notes from Hawaii may interest readers in the rest of the country.

    Because of dock st rikes , the November MGs didn 't reach us until mid-J anuary. And you thought your service was bad!

    Also, I would like to echo the notice appear-ing in the Dece mber MG about us ing the MG as a means of locating openings where teach-ers and coitches of gy mnast ics are needed. (Actua ll y, it read that notices of such open-ings should be sent to the MG for publication in the C lass ifieds , but I' ll subvert that just slightly). I can not li st schools of Hawaii which are looking for coaches, male and fe-male, as I have no authoriza tion , but I can note that gymnasts with a potential for teach-ing other subjects in schools could a lso de-ve lop some mighty fin e gy mnas ts a mong our local youngs ters. The Hawaii Gy mnas tics Association is doing its bes t to stimulate an even greater acceptance of the sport in our schools. Without trying to deluge MG Box 777 wi th teaching applications and making _ no promises, we would like to hear from both men and women interested in the poss iblity of teaching in our State. Be sure to include your address and an indi cation of other areas of expertise.

  • CANADIAN

    HI REPORT

    by fohn Noone y 18 Lavington Dr. Weston, Ontario

    Report on the Pre-World Games Trip to Jugoslavia

    By W. Weiler - National Coach We left Mont real at 8 :30 p. m. on Oct. 13 and

    a rri ved in Amste rdam the nex t morning. J . Diachun, A. Simard , S . J ensen and myse lf met S'. Hartley in Amste rdam. The fli ght to Lju-blJana was delayed until approx imate ly 3 that aft e rnoon. We arri ved in Ljubljana about 5 p. m. Vi sas and money changing, as we ll as pu rchas-ing of bus ti ckets to Lj ubljana , which was about 25 miles fro m the sma ll a irpo rt, too k about Y.i of an hour. We arri ved at 7:00 p.m. in the hotel that was reserved fo r parti cipating athletes. Everyone was tired and hungry, so afte r supper they tu rned in ea rl y.

    I was called to what turned out to be a very importan t emergency meeti ng where I was urged to act as offic ial trans lato r fro m German to English by Mr. I vancevic. T he meet ing was cha ired by Mr. Gande r and was called to di s-cuss South African parti cipation in the pre-World Games.

    T he South Afr ican de legat ion had obta ined a visa in Pa ris , F rance, from the Jugos lav ian Embassy. Shortly before leav ing fro m Frank-furt, West Germany, on the final leg of the ir journey to Lj ubljana , they were de nied en-trance to the coun try by the J ugos lav ian gov-ernment.

    It seemed that the Jugos lav ian Gymnas tics Federat ion did everything poss ible to obtain pe rmiss ion fo r the South African de legation to enter Jugos lavia but without success . All ef-fo rts by Mr. Gander with the Jugos lav ian gov-ernment by telephone and numerous te legrams also fa iled . Mr. Gander read a pa rag raph from the F IG rules to the de legations present , whi ch in so many words had the fo llowing meaning: Every F IG member nation in good standing has the right and the pri vilege to parti c ipate in any F IG meet. South Africa was voted into the F I G last summer at the world congress in Basel, Switzerland. Mr. Gander made the announce-ment that he would leave Ljubljana in the morning as he did not recognize the competi -tion to be a fa ir one. He left the dec ision as to whether or not to assis t in th is mee t to each na-tion as we ll as to the ind iv idua ls present from the F IG technical committee.

    Most technical members fo llowed Mr. Gan-der's exampl e and withdrew fro m the compet i-tion. Mr. Gander stated that no afte r effects will res ult to any na tion if they did parti cipate . Mr. Ivancev ic , whom we in Canada all know, was caught in the middle of all this confusion as vice president of the technical committee of the F IG and will be play ing a big pa rt in the organization of the pre-World Games in Jugo-slav ia .

    U.S.A. had the ir private meeti ng and so did the officia ls of the J apanese tea m. U.S .A. had seven top officials and J apan about the same number. U.S.A. withdrew fro m the co mpeti -tion immediately.

    It was more di fficult to decide fo r me, as I was the onl y officia l representing our Canadian gy mnas ts. U nder the circumstances it seemed pretty clear to me to withdraw the entry. I

    placed a ca ll through to Canada right away , which fina ll y go t through the next morning. Mr. Cal Gi ra rd had the same view as I had to withdraw our entry.

    As Mr. Gander was to leave earl y next morn-ing, he a rranged a meeting be tween U.S.A. and Canada. The poss ibi lit y of a three-country meet in Switze rl and be tween U.S.A. and Canada, also Switze rl and , was di scussed , and we were given 90% assurance of this meet, which was to be organized in one of the major cities . Al-though U.S .A. and Canada trave led by cha r-tered bus to Z urich, a competition could not be organized.

    I went to the e. P. office in downtown Z urich the next day to charige the flight as we no longer had a reason to stay onl y to learn that the tick-ets were not endorsable to another company, and e. p.'s flights could not ge t us home any earli er. We were so mewhat di sappointed at thi s ti cket arrangement , and any manager in the f1.lture must make sure that tickets be open to all companies in case of such an incident. After I had the tea m stra ightened away and on their journey home on Saturday morning I left by train to Lahr, West Ge rmany. The following Tuesday I was abl e to ge t a sea t on a mi lita ry aircraft bac k to T renton, Ont.

    We all were a little di sappoi nted over this trip, but the gy mnas ts rea li zed the .necess ity of the boycott. It is unfo rtunate, hav ing spent so much money for what turned out to be the most unsuccessful tri p in the history of Canadi an gy mnasti cs . As I write thi s report I am still un-aware whethe r the competition took place at all. I could not fi nd a single piece of news about the competi tion in any of the Euro pean news-pape rs at the time.

    Canadian Intercollegiate Gymnastic Coaches Association

    Report by J AC K C HARTE RI S, C IGC A-Pres. A committee of nine was recently fo rmed as

    Canada's representa tion on F. I. S.U. and to o rganize Canada's parti cipation in the World Student Games. T hi s co mmittee co mprises three me mbe rs from C. I. A.U. , th ree fro m e. U .s.S. and three represent ing national sports governing bodies. O urs was one of the three sport s chosen to initiate this sche me.

    All Ontario uni ve rs ities are e ligible to join the Ontario Gy mnas tic Federation. These in-sti tutions will have the status of associate mem-bers and will be recogni zed voting me mbers of the federation with entitlement to all the pri vi-leges enjoyed by affiliated amateur gy mnasts. It seems good sense fo r O ntario unive rs ities to join the O.G .F. and to part ic ipa te in the growth of gy mnas ti cs togethe r rathe r than in-dependently. If every gy mnas t in Canada co-

    . o perated with a ll the others in promoting gy m-

    nas tics , ours would still be a minor sport. T hi s seems a greate r, not lesser, reason for joining fo rces. Support the e. I.G .e.A., support your prov inc ia l assoc ia tion and make the e.G. F. a powe r in Canadian sport.

    * :}: ::0 " Weste rn " now has a G ymnas tics squad.

    Men's coach is Bob Vigars. Women's coach Eli zabeth Lindsay (both c/o Department of Athle tics). Anyone inte res ted in arranging meet fi xtures with the new teams should con-tac t Bob and Elizabeth .

    :::

    Steve Mi truk is now a student at McMaster Uni ve rsity and enhances the ir squad , and Barry Brooker is do ing graduate work at the Unive rsit y of Ottawa.

    If you do not a lready have one, write Bo ri s Baj in (Depart ment of Athle tics, York Uni ve r-sity, 4700 Keele St. , Downsview 463, O nta rio) fo r a copy of his and Tom Z ivic 's exce llent "Manual fo r Coaches of Women's Gy mnas-ti cs. " T his manual is not intended to stand on it s own and is, of course, most effecti ve as a supple ment to the York se minars which the autho rs conduct. Regardless , it is a mlls l fo r a ll coaches.

    "This Is Gy mnas tics" continues to se ll we ll in Central and Eas tern Canada but has no t ye t caught on in the West. Obta in my book direc t fro m the publi shers: Stipes Publi shing Co., 10-1 2 C hester St. , C hampaign, Ill.

    Eastern Canada Christmas Cl inic Another exce llent meet and clinic was o r-

    ganized by Geza Martiny. This yea r a tota l 232 people attended : coaches , male and fe male, 50 : male gy mnas ts, 36: female , 146. All regions were represented: Prince Edward Island , N ew Brunswic k, Newfoundland , Nova Scotia and , of course, the Ph ys. Ed. students attending St. F ranc is Xav ie l'.

    T he guest lecture rs were Mrs. N ada Petro-vic (competed under the name of Werne r) in Yugoslav ia now teaching at one of Montreal' s leading high school. N ada is a welco me a dd i-tion to Canadian gymnastics. Prio r to co ming he re she was very active in Aust ra lia. Our ve ry ha rd-working Albert Di ppong, national techni -cal chai rman, was in cha rge of the men's d ivi-sion, plu s many local coaches.

    T hi s C hristmas c linic has now grown to the ex tent that a summer school-type se minar must evolve. Pe rsonal congratulations must be ex-tended to Geza, who has slowly and sure ly built thi s uni ve rs ity gy mnas tic program up to one of the fines t in Canada.

    If the spo rt is to grow, our uni ve rsit ies must make the ir fac ilities ava ilable and their s taff. Many a re do ing just that now, but I am sorry to say these uni ve rsi ti es a re in the mino rit y.

    Canadian Christmas Clinic, Mike Nickolson, Univ. of New Brunswick 9

  • ANYONE I!I EI FOR miSS ALL AROUND I!jJ

    GERALD S. GEO RG E. Coordinator We of the MG staff are constantly seeking

    ways and means of prOl'iding both educational and interesting materials for our subscribers. In an attempt to fu rther in crease the scope and breadth of the "A nyone For A II-A round" series, we would like to extend an im'itation to any and all gymnasts, coaches, j udges, and enthusiasts to submit articles pertaining to all-around instruction. Perhaps you h{JI'e a particular skill that you fe el particularly qualified to illustrate, dis cuss, and/or explain . Let's share your talents with the reading public and th ereby help to fos ter a stronger "System of American Gym-nastics."

    Submit your illustrations and articles to Gerald S. George, A thletic Department, Louisi-an a State Un;" ersity, Baton R ouge, Louisiana 70803 .

    I!I FLOOR EXERCISE By DAN J. MILLMAN Gymnas tic Coach. Stanford

    Picking up direc tly from last month 's column , let 's go over the basic sequence of front tum-bling, the front handsprin g, front saito.

    Of the two kinds of front handspring, the " fl oater" and the "s peedster," we choose the latte r for a preparation to the saito. As in the roundoff, a good, coordinated hurdle jump is necessary. As the last leg touches the ground , bending, in preparation for a great push, the arms are brought down forcefull y towards the ground. Please note that the arms don 't work independently of the body. The a rms are he ld in a straight line wth the body , and the entire upper body is th rown down fo rcefully.

    For a good illu stration of the front hand-spring, see the Nove mber-December '68 issue of the Modern Gymnast , page 43.

    What the illustration doesn't show is the rounded back (pulled in chest) and relaxed shoulders as the hands touch the ground. Then , at a certain point , the shoulders are explo-sive ly extended , and the chest is "opened " at the same time for a full extension. Thi s exten-sion takes place at about the same time as the lower leg is rapidl y joining the upper one after the lower leg's powerful kick from the ground.

    If the chest and shoulder ex tens ion takes place just befo re or at the vertical , the hand-spring will be a high, graceful " floater," which is fine, when done by itself. But when prepar-ing for a front saito , the pu sh should take place later after the legs have passed the vertica l.

    Another difference is , on the " floater" the toes should relax , or sta ll , after the initial kick-ing motion. On the "speedster," the toes should race one another to the ground. Thi s foot speed is vital to a good front handspring. We want to rotate as quickly as poss ible to our fee t.

    For an excellent illustration of the handspring to front sequence, check "Tumbling Topics" by Dick Criley, page 19 of the April '69 M.G.

    Note that as the feet land on the ground , the body is bent backwards like a bow , ready to spring. The arms a re stretched straight , tra iling behind , with the e lbows behind the ears. Kanati Allen correctly shows how the head should re-main s lightly back.

    10

    Upon landing, the body unbows rapidly, the arms reaching tall through a ve rtical position and into a tuck, as the hips and heels dri ve up-ward to the ceiling. It is important to note that the gy mnast should fee l that his heels never touch the ground when springing into the front saito. Actuall y the heels may touch the ground, but try not to le t them ... thin k of stay ing on the balls of the feet.

    Once in a tight tuck , all that remains is a litt le awareness and a dynamic kickout.

    A word on front so mersaults: whether com-ing to a landing out of a handspring on the long horse , the floor o r landing a front saito fro m the high ba r, on floor exerc ise, para lle l bars, one fact should be kept in mind. The idea that fro nts are ha rder to land because they are "blind" is a complete mi sconce ption! If we assu me the only thing we can spot is th e ground , then the land-ings a re blind. Ye t we can spot anything we choose as long as we ge t used to it. When land-ing a front , become accustomed to spotting the spot where the wa ll meets the cei ling. You 'll have better body line , and your land ings will be more cons istent. Common errors in the front handspring, front saito sequence: I ncorrect or ineffec ti ve hurdle jump (poorl y

    timed). Arms drop to ground , breaking straight body

    line. Heel kick quits before reaching the ground. Incorrect amount of knee bend , beginning of

    handspring. Thi s amount must be " felt " through repetition.

    Arms bend when touching ground. (This breaks body line and lowers the ce nte r of grav ity.)

    Bringing head forward ... this should not hap-pen until the body is into the front saito.

    General timing difficulties of kick and push. On landing the handspring: Prematurely bringing head forward an arms down, losing bow-spring action. Landing flat-footed and trying to jump the front , in stead of spring. O verlean forward (resulting from above mistakes) . >i ~

    '",-,>C>lUEC.T COf(.Il.U-1 One fina l comment on front handspring, front saito: G enerally, it is bes t to come out of the saito simila r to the end of the handspring in preparation for another handspring or saito. The "blind " landing is the most difficult hurdle to overcome in learning the correct handspring, saito combination. Like a back kip-german on the high bar, it is the prelimina ry tri ck (back kip or the handspring) that determines the effec-tiveness of the second movement in the series. The swan di\ 'e roll: is being covered as a basic movement because it involves important mus-cles in the back which should be coordinated for any forward rotating extended movement. The mu scles of the lower back , gluteus maxi-mus (or buttocks) and back of the thighs are used in pulling the body to a stretched or slight-ly a rched position .

    Two good exercises for these muscles are as fo llows: I. " Airplane" arches on the ground ; lying on

    stomach, lift head and arms (in line with body) high off the ground , and wi th legs straight and together, lift legs off ground as high as poss ible.

    2. Lay crossways on pa rallel ba rs, one bar over heels, and one bar under thighs. Hanging down, head poinfing towards ground , hands stretched over head (towards ground in line with upper body). Lift upper body above para lle l to ground , arching back and repeat , first twisting to left , then twi sting to right. Once the muscles a re strong enough, prac-

    tice the swan di ve ro ll s preferabl y into thick mats. Even though in reality , the hips will al-ways lead , if o nl y fo r a fraction of a second, it is best to imagine the back of the legs and feet lead , lifting immediately off the ground. This movement takes di scipline and repetition. Once

    the swan dive movement is maste red, it will he lp the handspring over the long horse and a number of other re lated movements.

    The a rm action in the swan di ve ro ll is signifi-cant. On takeoff, the stra ight arms should have lifted so they are stretching and lifting in a st raight line with the body. Directl y after take-off, the a rms should spread sideward , for a good line , and to shorten the rad ius to help the body rotate . The swan di ve should be st ra ight rather than arched. Common fau lts: Lazy leg lift , caus ing the fol-lowing faults. Throwing arms down to he lp rotati on (but this keeps di ve low). Throwing hips up instead of legs and feet pull-ing rest of body around. The full piroette: Thi s is simpl y a leap, fu ll twist, to a landing. It is significant in thai it is the bas is fo r a ll twisting sa ltos. There are a number of ways to initiate a twist , but this would re-quire a thesis to describe. I n summary , let 's just say that the body genera ll y " ge ts the hang" of the different ways to twist without hav ing to think about them at length. What will be dis-cussed in the piroette motion is, how to use the twist most efficientl y once we get it.

    We have all seen ice skaters begin a spin, with the a rms (and perhaps a leg) stretched away from the central ax is of the body. As the a rms come in , shortening our radius, the body spins fas ter. I n perfo rming a piroette , the arms should begin wide, and as the twis t motion is begun, should gradua lly pull in to the body. Thus, as the twist begins , we try to twist with stra ight a rms , then pull them in.

    The body twists most efficientl y when it is straight , stiff, and skinny. Keep that in mind. Common errors on the piroette (and any twist): Pull ing arms directly in befo re a stretched twist has begun. Spreading legs, piking or a rching body (it mu st be straight). Ineffective head motion.

    A genera l rule of twisting is, where the head goes, you' ll go. If you are havi ng trouble twi sting, (first check your somersault rotation to make sure it is more than sufficient), then make sure you are loo king in the direc tion you want to twist until the twi st is completed.

    To make sure the body is straight and stiff and skinny while twisting, make sure you tighten your stomach muscles , your buttocks, and keep the legs pressed together and locked. To do a ll this at the same time in the a ir is difficu lt . Practice it!

    THE TRANSITION MOVEMENTS As mentioned in pas t art icles , there a re a

    great va riety of transition movements, but they a re primarily intended to set the gymnast up for a change of direction , and to smoothly send him on his way. We can fulfill some of our st rength , ba lance, kipping and leaping move-ments in transitions , as well as show grace and dramatic expression. We can a lso lose most of our points here , so be careful and be cold!

    The kip up to the feet : The kip action is a vitally important one in gy mnastics; the ability to open from a tight pike pa rtia lly or complete-ly, with speed, is used in many move ments. It requires flexibi lity to reach the correct piked posi tion , and quick strength for the opening. In learning a kip correct ly, the student should be able to do a good back bridge, with shoulders ex tended. I f the shoulders are stiff, they wi ll a lmost invariably pull off the ground too soon, when they should still be pushing. In order to be able to do an excelle nt kip to the feet , we should first learn a - Kip to the handstand : From the piked position , with hands on either s ide of the head , spring open from the pike, shoot ing the feet towards the ceiling. Have someone pu ll the feet upwards until you get used to the direction. Open to a stra ight handstand , not an arched position , and try not to throw the head back, keep it fa irly closely between the a rms. You should try and open so rapidly, the hands ac tually leave the ground momentaril y as you reach the handstand position.

  • Once the kip to handstand is learned , the progression is as follows : Kip handstand, arch over to back bridge , push with arms to a stand . (Keeping the head back). Next , kip immediately to a high back bridge and immediately push to a stand (reme mbering, head and arms back). Next , work on performing the entire motion in one rapid movement ; Kip through the back bridge right to the feet, pushing with the arms extended backward for as long as poss ible.

    I n following the above progression , which may at first seem the long way around , the student wi ll learn a correct, extended kip, instead of the kip to squat we see often , in addition to ensuring good shoulder fle xibility.

    In pelforming a heads pring, we are actual-ly doing a rapid head kip. Even in a straight body forward handspring with legs together on takeoff, we have this slight pike- snap-open movement.

    The back extension roll to a handstand is generally pelformed too quickl y. It should feel like a slow pike roll to a pike on the floor , to a rapid back kit to handstand. Remember, roll s lowly and kip quickly.

    On the kip with 1/2 twist and back roll with a half twist , make sure you are reaching the extended handstand position before twist-ing. Learn these step by step , making sure each step is solid before proceeding to the next one.

    In a ll transition movements , lunges , etc. , here are a few generalizations to keep in mind:

    Practice in front of a mirror so you begin to feel and check exactly where each arm , leg, hand and foot are - make sure all body lines look clean and in place.

    Befo re working any move ment , picture it done pelfectly. to the ultimate, then work towards that ultimate. Don 't be sat isfied with almost there '

    Don 't merely take pride in your ability to do , but take pride in your ability to stril'e for the ultimate.

    In conclusion , we should not see every indi vidual tumbling movement as a trick in itself, because there are some mechanical genera lIzations we can make. Once we under-stand the genera lizations, in terms of what our goal is (e.g., height , trave l, rotation) , we can figure out the mechanics of any si ngle movement.

    In performing the Arabian di ve roll, for example, we begin the roundoff, f1ic-f1ac the same as for the layout. Then , knowing we want only a half saito, we can stop more rotation by blocking and sending our body higher. Remem-bering the hip and leg lift and straight body , we look over the shoulder, pelforming a half-piroette, and fini sh as in a swan dive roll , hips tight. ...

    It is hoped , that once the student of gym-nastics gains a mental understanding of at least what the ends are , he can figure out for himself the means , and through determined phys ical effort , transcend his mental under-standing by distilling it into physical ability.

    BThe Side Horse By DON TONRY Gymnastics Coach , Yale Univers ity

    There have been many articles written on side horse circles, but I have received a spe-cific request from one of our Modern Gymnast readers - so here is another one that will hopefully shed some additional light on the subjec t.

    The circle, as most coaches and gymnasts know, is the basic element in all work on the side horse. Paradoxically , the best method , in my opinion, of learning this skill quickly is to atta in a fair amount of proficiency in the area of single leg skills. I cannot specifically outline those skills that one must learn before he is absolutely ready for a double leg circle, but I shall out line several good possibilities for your considerat ion.

    Before proceeding into the area of skill progress ion, I would like to di scuss two other factors which I conside r to be of importance :

    Flexibility - While trying to correct poor position on hundreds oLcircles over the years , I have noticed that lateral fle xibility in the hip area (waist) is often very poor in many indi-viduals. I realize that one can be quite stiff in this area and still execute excellent circles: however, the begi nner needs every advantage possible as he slashes his way around the horse. Lack of a reasonable degree of flexibility will have to be compensated by extra lean or pike, and will cause some modification in the circle pattern. Practicing the circle itself (if you can get that far) will increase lateral flexibility , but it would be an advantage to have that flexibility in the first place. Practice side-stretching from a standing position and side-rais ing from a side support position.

    Flexibility

    Strength The side horse pertormer has developed a high degree of strength in specific areas of the body through repetition of the per-formance of circles. The beginner should develop those same muscle groups through other exercises because he cannot yet perform the circles. Exercises: L From a rear sup-port , raise hips rear-upward, ten times. 2. From a front support , raise hips rear upward, ten times. 3. Para lle l bar dips. 4. Straight leg raises on the high bar.

    2

    I I

    / /

    I

    .:If

    Suggested Single Leg Skills :

    3

    4

    I. Swinging left and right in front support (raise legs as high as possible to each s ide) .

    2. Left over and back - right leg over and back.

    3. Left over, right over, left back , right back.

    4. Rear support: develop a swing and pass both legs under hand to front support.

    5. Front support : develop a swing and pass both legs forward under hand to rear support.

    6. Stride support: pass left leg forward under left hand and pass joined legs rear-ward under right hand to front support.

    7. Stride support: pass right leg rearward under right hand and pass joined legs forward under left hand to rear support.

    8. From stride feint position : cast forward leg rearward and attempt to execute one or more double leg circles.

    There are other lead-up skills that are often taught, such as single leg circles and scissors: however, this pattern usually varies from coach to coach. The beginner must be very patient with himself and e xpect to spend several weeks to several months practicing the double leg circle before he can execute circles in a series.

    Side Horse Literature and Visual Aids:

    Th e Pommel Horse . by George Kunzle. International Gymnastics Materials, 527 Full-erton , Addisor, III. Approx. $5.50.

    The Side Horse. by Don Tonry . Gym-nastic Aides , Northbridge, Mass. $3.00.

    Beginning and I ntermediate Side Horse Charts, by Don Tonry (2 charts , 17" x 22"). Gymnastic Aides , Northbridge, Mass. $3.00.

    Selected Side Horse Skill Charts. Ni ssen Corp. , 930 27th Ave., S.W., Cedar Rapids , Iowa. One chart $ 1.00.

    11

  • ImThe Rings By DON TONRY Gymnas tics Coach. Ya le U niversit y

    LEARNING THE BACK RISE TO HANDSTAND ON THE RINGS

    This article is intended to provide the gymnast and coach with a brief outline of the basic pro-cedure that is commonly used to teach the back rise to handstand. Prerequisites:

    I. Back rise to support 2. Stable handstand 3. Hollow back press to ha ndstand

    Procedure:

    12

    I. Attempt to perform a series of back ri ses to a horizontal position with the palms of the ha nds turned outward as in the mid-point of a hollow back press to handstand.

    2. The back rise should be performed by pulling with the arms and placing the rings behind the head , extending the hips (sl ight-est pike) during the first phase of the de-scent , increasing the pike slightly during the fina l phase of descent and arching the back (driving the heels backward) as the body passes the bottom of the swing.

    3. As the legs, hips and chest r ise in the rear, the a rms are brought to the side of the body. The performer mu,st keep consta nt pressure (bear down) on the rings as the arms move out to the side .

    4. The exact placement of the rings in rela-tion to the body depends upon the degree of elevation that the torso has achieved by

    the time the arms are in position for the press to (swing) handsta nd.

    Spotting: This is a skill that ca n be spotted very effec-tively. The spotter (standing on the floor) should place one hand on the performer's thighs during the last phase of the descent. As the performer arches his back at the bot-tom on the swing, the spotter thrusts the per-former upward with a sweeping motion. The performer should attempt to catch himself in position for a straight body press to a hand-stand. The spotter, if he is standing on a raised surface, may also spot the support phase of this skil l.

    General: As soon as the support position is reached, the performer must learn to quickly push his lower body over his head toward a handstand. The straight arm backrise to handstand is performed in the same manner but requires exceptional rotation (heels over head) cou-pled with elevation of the shoulders (arm pull throughout the rise). The high swing that is required for the straight arm back rise wi ll often place the performer halfway between an in verted cross position and a plange upon arriving above the rings.

    Common errors: I. Not following through with leg drive dur-

    ing the rise . 2. Not placing the rings next to the hips in

    position for a straight body press to hand-stand.

    3. Not bearing down on the rings as the arms move sideward during the rise .

    4. Not having a stretched shoulder position at the bottom of the swing a nd/or arching the back before the bottom of the swing.

    ElThe Vault By BORI S LAV BAJI N

    Research Assistant , Dept. of Phys ical Ed., York University , Toronto , Canada Formerly Professor, N ational School of Ph ys ica l Education , Yugoslavia and . Yugoslav ian Wome n's Coach 1968 Ol ympics

    Yugoslavian and Canadian Gymnasts in Performing

    the Yamashita Vault Comp/eled as parI of a research program in gym-

    nastics under the direction of Dr. Bryce Tay lor , Di-rector of Physical Education and Athletics. York Uni" ersity , T oronto, Canada, and partially support ed by (l Na tional Fitn ess R esearch Grallt , Department of National H ealth and Welfare, Olla"'a. Canada.

    Film anal ys is of a tri-meet invo lving U.S. , Yugos lav ia n and Canadian gy mnas ts on Aug. 16 . 1969 . in Toronto. Canada , showed that the A mericans utili zed a diffe rent technique in ex-ecuting the ya mashita vault th an did the Yugo-s lavians a nd Canadians. In this meet 12 vault-ers competed with seven perfo rming a yamashi-ta from th e fa r e nd. The best s ix vaults were se-lected for analys is with those of Thor, Tick-enoff a nd Tucker from the U.S. being compared with those of Vratic and Ki se l from Yugos lav ia and LaRose from Canada.

    The first bas ic diffe re nce was that the pre-flight of the American gymnasts was highe r as indica ted by a mea n body position on ha nd touch of 52.3 above the hori zonta l. The Yugo-s lav ia n and Canadia n gymnas ts at the same time had a lower bod y posi tion with a mean of 43.7 (Figure 7). This higher body position on ha nd to uch for the American vaulters resulted in a la te r hand re lease as illustrated by a mean body pos ition of 99.3 while the mean body positio n ofthc other gy mnas ts was 92.2.

    Thi s late hand re lease resul ted in a late pike, a nd therefore the gymnas ts were not a ble to attain the body pos ition norma ll y characteris-tic of a we ll -executed yamashita vault. S ince the pike was pe rformed at a late r point in the flight th ere was not sufficie nt time to execute a good landing. I n the opinion of the a uthor an example of correc t technique in after flight can be found in the vaults of Vratic (Figure 4 , pic-ture 10) and La Rose (F igure 6, picture 9) .

    Although th e Americans scored well. with a small improveme nt in technique the ' scores could be improved.

    Figures I to 6 a re fi lm tracings of the vault s studied. The body position a t reuthe r boa rd contact , takeoff, hand touch , hand re lease. maximum pike in flight and the moment of l a nd ~ ing are illustra ted in Figure 7. T ab le I sum-mari zes the exact bod y positions for the same refere nce points as we ll as the scores awarded to each vault by the judges.

    E3 Parallel Bars GERALD s. GEORGE Gymnastic Coach Louisiana State University

    RE: From an H andstand Pos itio n - CAST -to an Inve rted U nderarm Support Pos ition.

    Illustration A assumes a n ex tended ha nd-sta nd pos ition with all bod y segments in a direct stra ight-line re la tionship. The for-downward push aga inst the bars depicted in Illustration B serves to offset the grav ita tiona l line towards the intended direction of move-ment.

    As the body begins its pendulum descent , Illustrations C -D - E, observe the proportion-

  • Figure 1 _ D . Thor - U. S .A. Figure 2 _ P . Tickenoff - U.S.A.

    Figure 4 - H . Vr;;ltic _ Yugoslavia Figure 3 - R. Tucker _ U. S.A .

    Figure 5 - A . Kisel - Yugoslavia Figure 6 - G. LaRose - Canada

    TAELE I ".

    The Pos itio n of the Body with respect to the Horizontal, -

    the Position of Haxirnum Pike, -

    and the Scores Awa r ded Hi'\nd

    Release by the Judges , - for the Execution of the Yamashita Vau l t

    Heasurements in Degrees

    ... .l! 0-.<

    '" ...

    " ... ~ ~ 3 u 0

    ,,;'1 ",t . ~" ,,~ "'~ o c 0)< c " C~ . " Gymnasts 00 o. .0 .~ o. ",u

    "''' "''' "'''' "''''

    D . Thor 66.5 95 . 0 49 . 0 102 . 0 51. 5

    P . Tickenoff 57.0 95.0 59 . 0 96.5 58 . 0

    R. Tucker 6L5 94. 0 49 . 0 99 . 5 47 . 5

    riean for American 61. 7 94.7 52 . 3 99 . 3 52 . 3 G~asts

    N. Vratic 66 . 0 1 00 . 0 45.0 94 . 0 61.0

    A . Kisel 64 . 0 94 . 5 44 . 5 92 . 5 4 2 .0

    G . LaRose 61.0 9 2 . 0 41.5 90.0 42.0

    Nean for Other 63 . 7 95 . 5 4 3 . 7 9 2 . 2 48.3 Gymnasts

    ate forward lean across the ve rtical line. This lean serves to control the initial aspect of the descent. It is not until the leg-trunk unit as -sumes a near horizontal position that the above mentioned s light forward lean is reversed to a degree that insures a controlled yet aggressi" e descent. The previou s illustrations, in addition to Illustration s F - G - H , depict the bas ic techniques utili zed in the " early drop" cast action . The kinesthetic sensation , thus far, is mos t s imila r to tha t of the Free Backward Hip C ircle on the Horizontal Bar.

    Upon transcending Illustra tion H , note the slight hip angle decrement. This " foot-lead" action , in addition to the steadfas t for-down-ward push against the bars , affords the gymnast the opportunity to best employ all potential spec ifically to the cast itse lf. The hip angle de-crement wi ll continue in direct proportion to the

    " u

    .'" ~~ 0'" uc .

    ".., 0 oc "' 0

    69.5

    74.0

    75.0

    72.8

    ~

    " 0 u Ul

    9 . 20

    9 .1 5

    8 . 65

    9.00

    Foot Take Off Foot

    Contact

    67 . 0 9.20 Figure 7 . Body Position of the Six Vaulters at the Va rious Reference PQints

    77 . 0 9. 1 0

    70 . 5 8 .90 Solid Lines Broken Lines

    1. D . ThOr 1. N . Vratic 71.5 9.07 2 . P . Tickenoff 2. A . Kisel

    3 . R . Tucker 3 . G . LaRose

    pendu lum descent and will termInate as a totally decreased hip angle at the exact bottom of the swing. Observe that the arm-trunk angle re-mains relati ve ly fi xed as depicted in Ill ustra -tions H -/-J - K - L. The above actions served to pos ition the body well away from the point of support (hands), a condition necessary for a mechanically sound " basket " action.

    As the body approaches Illustrat ion L , the gymnast will sense a " bottoming effect" in that the bars will bow downward s lightly and then recoil vigorous ly as the body unit rises up the pendulum swing. It is at thi s time that a most vigorous and continuous shoulder angle incre-ment occurs. The action is most similar to "a throwing the bars away from and behind one-self ' as ha rd as poss ible. Refe r to Illustrat ions M-N. Note also that there is 110 aclllal "oltl/1-tary release of the hand grasp. The hands shou ld

    be torn free from the ba rs by virtue of the afore-mentioned vigorous " throwing" action .

    At I ll ustration N , the body is air-borne and ri sing. Observe that in itial re-contact with the bars occurs. first with the undera rms a nd then with the hands. This regrasping action, Illustrations N - 0 - P, must be instantaneous in order to stabilize the total body unit in a position slight ly above the ba rs.

    Illustra tion P relates the final aspect of the Cast. The hip angle remains totally decreased and the trunk re~ion is he ld we ll above the ba rs. This momentary posi tion is sustained by means of a forceful downward pu sh of the hands and a rms against the bar. (Note that the elbow regions are point ing in a s lightly down-ward direction) . I ndeed a moment of truth is rea lized in that the gymnast is idea ll y positioned for any of the sequentia ll y related ski ll s.

    13

  • lOll Horizontal Bar GERALD S. GEORGE Gymnastic Coach Louisiana State University

    RE: Free Backward Hip Circle - ONE HALF TURN (PIROETTE) BACKWARD - to an Undergrip Handstand Position.

    Illustrations A-B-C of this sk ill sequence a re identical to the respecti ve illustrations de-picted in the Free Backward Hip Circle to a Handstand Position (MG, Oct. , 1969). Hence the mechanics and techniques relati ve to each skill are thus far one and the same.

    In Illustration D, the shoulder angle con-tinues to decrease wh ile the upper aspect of the body begins to return and move backward across the upper vertical. This action is fol-lowed up with a slight decrease in the hip angle , common ly referred to as "foot lead. " At this time the gymnast is ideally positioned to set his visua l and sensual cues of relocation so as to direct the body to the intended posi-tion , i.e. , a direct straight- line relationship of al l body segments positioned slightly to the left of the upper vertical line and the longitudinal weight of the body leaning slightly to the side of the anticipated Y2 turn. All oncoming actions are dependent upon the quality of this "direc-tive set."

    As the body continues to descent through Illustrations E - F , the hip angle continues to decrease s lightly. This slightly decreased hip angle and almost fully decreased shoulder angle serve as potential forces for the oncoming upward circular swing. Observe that the body is positioned well away from the bar so as to insure sufficient " basket" action necessary in actualizing the aforementioned potential forces. Such a consideration will enhance an effortless , fluid , and mechanically sound ascent.

    During Illustrations G -H, the gymnast wi ll sense the " bottoming effect" of the bar. The bar will bow downward s lightly , and then as the body begins to rise up the circular swing, the bar will pull itself straight. The gymnast responds to this " bottoming effect " by means of a simultaneous and proportionate increment of the shou lder and hip angles. It is best to concei ve of these angle increments as the " throwing the bar away from and behind one-self without, as yet , releasing one 's hand-

    14

    Gymnastic Classics Volume II - Parallel Bars Section C - Casts Number 1 - From a Handstand Positian-

    CAST - to on Inverted Under-arm Support Position

    ~ I

    B copyrighl

    grasp." Except for the free arm depicted in the actual Y2 turn , the arms remain completely extended throughout the entire skill. (Actually the free arm should remain straight .. . sorry , it's an illustrative error.)

    As a result of the previously mentioned " directive set ," the ankle regions alone follow a path identical to the upper vertical line.

    Illustrations H-I-J-K reveal the shoulder and hip angles increasing in a relationship with the upward circular swing such that the gym-nast is rising slightly to the left of the upper vertica l line with the longitudinal weight of the body leaning slight ly to the side of the antici-pated Y2 turn. It is only after the gymnast attains a direct straight-line relationship position of all body segments and completes the backward piroette that the entire upper vertica l is transcended .

    The traditional and necessary slip-grip action of the wrists occurs during Illustration K in order to provide support for the oncoming body weight.

    Slightly before the increasing shou lder and hip angles prescribe a direct straight- line re-lationship with each other, the actual Y2 Turn (Piroette) Backward is initiated. It is best con-cei ved of as "an extension of the afore-mentioned shoulder and hip angles into the Y2 turn. " Such action is often referred to as "cork screw" twisting.

    Throughout the entire Y2 Turn , Illustrations L-M, a vigorous for-upward push against the bar with the attached arm will help to avoid the tendency of turning too late. I n order to remain congruent with my concept of full anatomical range , the piroette must be initiated , executed , and completed slightly before the gymnast transcends the upper vertica l line.

    An important point is that the Y2 Turn must be executed as a single action. The entire motion must be instantaneous and coordinated with respect to total body unity. Upon re-grasping to a double undergrip , Illustration N, the gymnast is in an ideal position of any of the sequentially related skills.

    Gymnastic Classics Volume 1 - Horizontal Bar Section C - Backward Hip Circles Number 4 - Free Backward Hip Circle -

    ONE HALF TURN (PIROETTE) BACKWARD - to an Under-grip Handstand Position

    @ - Copyright

  • THE BASEL GYMNAESTRADA. Too Much Not Enough

    By A. B. Frederick

    A. Bruce Frederick poses for a photo with a group af Scattish handbalancers at the Gymnaestrada. L to R, Follen, Barn, (Frederick), Hale, Benny and Sey.

    A gymnaestrada is a complete gymnastic experience. For the small group of Americans who were savoring their first trip to the festi-val late las t Sum.mer in Basel, Switzerland, it will remain for them a gymnastic highlight for years to come. As one unknown sage put it , " I've seen too much , yet not enough. "

    The Swiss were ready in every respect for the festival. The Gymnaestrada was an organi-zational masterpiece. It was also a special time for Americans who have something to do with gymnastics. For as our Moonmen pre-pared to take a hi storic first step for man, the F.I.G. Congress approved a historic step for American gymnastics as well. This body had in Basel given approval to a Gymnastic Com-mission for the United States thus uniting, on paper at least, a community that had been split for so me years. We were commended by Euro-peans on both counts.

    The color of the 5th Gymnaestrada has alrea-dy been reported by this writer.! Much more could be written. Ideas for gymnastic pro-grams abounded every day in the Halls of the Mustermesse and other ideas were discussed by concerned groups of people from a variety of countries taking literal note of the real pur-pose of such an occasion ... to elevate gymnas-tics to new heights. One of these ideas, Jugo-slav ian Ladders is exposed in detail in this issue.

    Like the Lingiads which preceded the mod-ern " way of gymnastics'" teachers, coaches and gy mnastics gathered in Basel to display their own , unique work and to learn about the work of others . What follows below is a brief ex posure of the masculine side of the Gym-naest rada.

    Basel Gymnaestrada As in the four previous occasions of Gy m-

    naes trada festivitie s, females outnumbered

    the males In a ratio approximately two-to-one. Most of the presentat ions were group efforts with occasional gymnastic work done by a si ngle gymnast. The emphasis was on class or group gymnastics, however. Certain perform-ances were designated as teaching-learning demonstrations and were very well done. We saw work from each of the fo llowing gymnastic categories:

    I. Pattern and stream tumbling including doubles , triples and other balancing displays.

    2. Combined apparatus. 3. Synchronized apparatus work. 4. Mass calisthenics. 5. Unusual apparatus (Iron bars , logs, lad"

    ders ) 6. Combined work of men and women or

    boys and girls. A clown act performed by a group of prom-

    inent Czech gymnasts of a decade or more ago was a special highlight. It will be re-membered by many who saw it as one of the best comedy routines for para llel bars ever done. Synchronized work on both side horses and parallel bars was performed by Swiss gy mnasts at the opening ceremonies at St. J acob's Stadium. Simple movements were perfectly combined with music. Having seen this for the first time, it is understandable why such work is so popular in Europe.

    I have used the term "combined apparatus"

    ISee Mademoiselle Gymnast Sept.Oct., 1969. Most of this issue is devoted to the 5th Gymnaest rada. ' Depending on how you pronounce it "Gymnaestrada" may have two meanings each of which is suitable. (l) Gym Strodo - The street or way of gymnastics .. . gym-nastic way. (2) Gym Aestrada - a lifting up of gymnos-tics. The modern father of the Gymnaestrada, Enric Som-mer, gives credence to both interpretations.

    to represent those challenging gymnastic s ituations created by the teacher (or lea rn-ers) in which two or more different kinds of apparatus are combined. The gymnastic "play" ensueing is creat ive, challenging and is used occasionally for lead-up work. Traversing com-binations of apparatus provides a change of pace in the gymnastic program and has much to recommend it. Young German boys were seen vaulting a ramp composed of several thick landing mats combined with mini-tramps. (C-10) N at ional Swiss Trainer, Jack Gunthard, showed a more complicated grouping as he challenged Swiss champions (Rohner, Ettlin , Berchtold and Hurzeler) to jump from the mini-tramp to the horizontal bar finishing with a variety of advanced dismounts . With a little imagination, combinations of apparatus can be a very valuable method in training at all levels of skill.

    The boys of Kuwait provided a simple, yet well planned routine of tumbling and floor exercises. While some were in action we ob-served others (C-15) in a unique stance ready to spring into action. Stream tumbling (quick passes by a line of boys) was featured in some of the demonstrations. Carnegie College of Great Britain presented a demonstration les-son on the variations of kipping action on the floor leading to handsprings and other move-ments. (1-7)

    The Scotch provided a combination of men and women for their demonstration. The girls' work has been described in Mademoise{le Gymnast. (See Mille. G. Sept.-Oct. , 1969) I posed with the Scottish hand balancers out-side the Mustermesse . Their work included some fine pyramid balancing (L-23, 24 & 25) and as a finale they vaulted over one another often using a circular pattern where a ll men were moving at once in a sort of advanced , gymnastic " leap frog." (L-26A)

    Other combinations of male and female talent were provided by Germany , for exam-ple. At least one combination was frozen for posterity during the synchronized trampoline work performed (K-30) by the Germans un-der the leadership of Dr. Heinz Braecklein. Boys and gi rl s also worked together on rhon-rads (gymwheels) under the direction of Wer-ner Mais. (1-19)

    The " Evening of the World 's Best" includ-ed performances by two Americans ... Kathy Rigby and Dave Thor. We can be very proud of both of them for their very fine work at three separate "World's Best" perform-ances. Special distinction was reserved for the great Jugoslavian Champion , Miro Cerar. His performance in Basel was the third time that he was especially selected for a Gymnae-strada performance. No one but Cerar has ever equalled this honor.

    There are those who emote that the Gym-naestrada has little to offer but such people sadly and a ll too often have a limited , competi-tive narrowness. For such people, gymnast ics is reserved for the select few . The Gymnae-strada, on the other hand , is for everyone. Thi s Festival , held once every four years , is dedicated to the upgrading of gymnastics in all of its forms. In a world composed of many different kinds of individuals , this periodic look at the world's gymnastic program pro-vides a tremendous impetus for those con-cerned about how gymnastics affects life and culture. As the name Gymnaestrada implies, it is an uplifting experience.

    Americans have participated in Gymnae-strada work in several different categories. Our continued and expanded participation, even though great distances must be traversed and sacrifices must be made , will be one small indicat ion that the total program of gymnastics in our part of the world is becoming slowly but surely more important. Those who know gym-nast ics also know that the way to medals must first be paved by stepping stones from "the way of gymnastics" ... the Gymnaestrada.

    15

  • THE BASEL GYMNAESTRADA . . .

    Worlds Best Dave Thor

    Worlds Best March in (Dave Thor waves to cameraman ABF)

    16

  • Kuwait boys ready to spring into action (C-l 5)

    Scottish hand balancers build pyramids and " leap frog " 17

  • JUDGING by JERRY By JERRY WRIGHT

    Part III - Rings by JON CULBERTSON ARTICLE I

    Stemme Backwards 1-2: A back uprise , even if from a handstand , is a very simple move and a very questionable B move , as most would probably agree. Cer-tainly evaluate this one as the lowest B on the rings (value - 2.1! ?).

    1-4: The "L;' support should be held two sec-onds , according to the French version of the code of points which then leads me to believe there are two parts here , and therefore this example should read A + A.

    1-5: As in #4 the " L" support should be held two seconds , according to the French version and therefore should read B(?) + A. As men-tioned above , this is a very weak B move, how-ever.

    1-7: Again the two-second hold has been omit-ted for the " L" support. Here A + A is desig-nated which clearly argues for my comments above at least for the sake of consistency.

    1-8: This comment may be somewhat picayune, but the French has been too literally translated here (as elsewhere) to give the term stretched where straight would be more appropriate.

    18

    1-9: For the sake of consistency this should read A + C since a C evaluation is awarded elsewhere for the straight arm planche alone (see XV-3). The French version says nothing about straight arms , and yet in the illustration it is clearly straight arms (?). This could lead to some ominous speculations - e .g., is a back up-rise to a bent arm planche a C combination whi le a straight arm planche alone is a C move?

    ARTICLE II Stemme Forward

    11-3: Although the illustrations appear to show the swing to a handstand with straight arms , this is not stipu lated in the verbal description from the French version. The meaning of the word "effective" here is not clarified by read-ing the French (in which the word does not ap-pear). Ed. Note: Illustrations are usually more accurate than the verbal descriptions and prob-ably should be more closely followed.

    ARTICLE III Kips

    111-2: The " L" support should be held two sec-onds , according to the French version.

    111-3: The comments above for 11-3 apply here as well. Ed. Note: Again , it would seem that the illustrations are more reliable and that the intent is to have the stunt performed with straight arms.

    111-6: . The translation here is seriously in er-ror : i.e. , " kip to support and lower to cross" . .. of course, this would be a simpler C com-bination than what is indicated by the English version. I agree with the Engli sh version , but this is not what the official French code says.

    ~lA!'C~~~ Back-Kips

    IV-2: Handstand must be held three seconds, according to the French code'

    IV-3: Same error in translation as in 111-6: French says , " Back-kip to support and lower to cross. " However, I. agree with the English ver-sion. According to French - low C.

    IV-4: Shou ld read A-A (?).

    I V -5: Does not seem consistent with other combinations ending in a straddle " L" support (see V-7 and VII-7). I fail to see why it is a B combination with a back-kip but not with a felge. What do you readers think on. this one?

    IV-6: Should read A-C (similar to 1-9) since a planche alone is a C move (see XV-3). This time, however, in contrast to the case in 1-9 straight arms are specified. '

    ARTICLE V Feige backward from swing

    V-2: Handstand must be held three seconds according to the French version of the code:

    V-4: Should read A-A (?) V-6: Shou ld read " Feige upward and lower to cross ," according to the French version.

    V-9: Again should read A-C since a planche is a C by itse lf!

    ARTICLE V I Feige Forward

    VI-2 & 3: In the translation from the French version of the code, bent arms have been omit-ted from the English version. #2 should be con-sidered a low B.

  • VI-5 & 6: "S lowly" does not appear in the French version, and the word " lower" should precede the hold positions in both cases. The translation of #5 is a mess! One shou ld just consider the illustrations.

    IJr~M~~ f+~~

    ARTICLE VII Feige backward from support

    VII-3: Should read " Feige backward slowly and press straight body to handstand, 3 sec., according to the French version .

    L~t~ VII-4: The 2-sec. hold is omitted in the French but wou ld be appropriate if evaluated as A-A.

    VII-8: This is not consistent with IV-3 , espe-cia ll y when one considers that here it is a felge directly to a cross whereas one can lower mto the cross from the back-kip (see IV-3). In add i-tion, there isn ' t that much distinction between a felge and a back-kip. Hence, this should read A-B (preferably a high B).

    VII-9: Should read " horizontal body and." . ..

    ART ICLE V III Inlocates

    VIII-4: The new code has changed this move from a B to an A which was certainly expected and overdue.

    ARTICLE IX Dislocates

    IX-6 : I have the temerity to suggest that full twists are relatively easy. Particular attention should be paid to the technique , especially with regard to freedom from the rings, before a llow-ing full C credit.

    '~~'~ ARTICLEX

    Presses X-I & 3: All handstands must be held three seconds, according to the French ve rsion.

    ARTICLEX I Slow Feige Backwards

    X I-2: Handstand must be held 3 sec .. accord-ing to the French version. XI-4: "L" support held 2 sec., according to the French, and hence shou ld read A-A (?). XI-5: "L" support held 2 sec. , according to French. This B combination is dependent on a slow felge since a felge to a straddle " L" sup-port was previously defined as A-A (see V -7).

    ART ICLE XII Vertical Pull ups

    X I I-I: Should read "with bent arms and straight body," according to the French (although in

    ,h;, "" 'h, ;"'''rn;{' ~)' cern;",.

    XII-2 , 3, 5 & 9: Unfortunate ly none of these clearly states that the arms must be straight when lowered to the side, according to the French code, but certainly any significant bend-ing should reduce the value of the move.

    It~~~~ .9. V ertical pull up, straight arms sideward, to hanging scale rearways horizontal and 3 sec. (see also

    XIV 3)

    XIJ-4 & 12 : " L" support must be held 2 sec. , according to the French version. A-A for 4.

    ARTICLEXIII Hori70ntal Front Lever

    XIII-5: I heartily agree with the demotion of this once C combination to a B, but it shou ld read A-B.

    XIII-6: Here is probably the grossest's injus-tice of the new code. When a front scale is de-fined as a B move and a ll the following moves in the combinations given here are defined as Cs (see XI-6, XI-3 and XV-3 , respectively) , how can one come up with anything less than B_C?AIUfi

    ARTICLE XIV Horizontal Back Levers

    XIV-4: Should read A-A (?). XIV-5: Should read " lower slowly through," according to the French vers ion.

    ARTICLE XV Planches

    XV-2: Same correc tion as for XIV-5 above: "Lower slowly through. " XV -3: Should read " horizontal body and straight. "

    ARTICLE XVI Cross and Inverted Cross

    XV I-6: The term "and stretched" should be omitted.

    ART ICLE XVII Dismounts

    XVII-7: Note that from a handstand this dis-mount becomes a B move (see VIII-2).

    XVIJ-8: Likewise this dismount becomes a C move from a handstand (see V I 11-3).

    XVII-14: This stunt remains listed as a B but should be regarded as a low B.

    In summary the ring section of the new code is quite complete and up to date with on lya few inconsistencies. The worst features of thiS sec-tion are the omissions and errors in translation from the French version. There seems to be some unnecessary duplications as with the dis-mounts , but I could only come up with a brief list of moves which might replace the redun-dancies.

    Unl isted Ring Moves and Suggested Difficulty

    Slow press to handstand from inverted hang with straight body . C

    Maltese Cross C Press from inverted cross to handstand C Stemme forward (front uprise) from

    handstand C Pull to cross from back lever with

    straight arms C Feige (or dislocate) to handstand with

    straight arms C (?) Two straight body in locates with

    shoulders near ring height B Cast forward (or backward) from support A

    Ed . Note: Jon , how about XVIII-3)? 19

  • RegiOn One

    Region 1 - Connecticut, "Maine, Massachu-setts, New Hampshire, Rhode Island, Ver-mont.

    REGION ONE

    M.LT. Coach Robert Lilly reports that he is looking forward to a good season. Graduation losses included Mike De vorkin and John Schaefer, but newcome rs show a good dea l of promise in the person of Nate Rudd and Pa ul Bayer. The team roster also includes Dick Hood , co-ca ptai n in the AA: Ken Gregor, co-captain and AA: Phil Milbe , AA: Tom Hafer, AA: Dave Beck , FX: Don Wan. HB. LH. and Coz Ishimoto. LH. Prospects are for s trong SR and PB , average FX and LH and weak SH and H B. YALE UNIVERSITY Coach Don Tonry indica tes that the Yale gym-nastics tea m looks better than ever in spite of losing two seniors, Bruce Bolnick (10th place in the 1968 NCAA on the SHand in the Ivy League championships first 011 PB and SH in 1969) and Bruce Myers (No. I man for Yale in FX). Although Yale did not recruit a single gymnast, their freshmen squad consists of seve n mem-bers, one of which is Bob Rossback (Hinsdale , 111.) , who could be an all-time great on the side horse. Yale will have dual meet problems with s ix in-experienced performers and only one AA man but will have more depth than ever before. Roster includes John Boly , Phil Frost, Jim Grillo, Pete Kenyon , Chris Khoury, John Ma-lick , Dave Miller, Rich Miller, Tom Mooney, Jim Ryon, Mike Sherman , Brad Slnith and Steve Young. CORNELL UNIVERSITY Coach Bob Martin figures hi s team will be strong in SR. They lost no one and have added two strong freshmen , Tom Chesnut and Mike Lawitts: two juniors, Lynn Williams and Pete Ullman. " We will be hard to beat regardless of the league ," continues Coach Martin. Long horse tJgures to be Cornell's second best event with the 1-2-3 punch of Allstadt , James and Wiggins. Weakest event will probabl y be FX after losing top man Mike Hammel , but Allstadt, Mark EI-Iyne and Wally Auser expect to rectify that be-fore the season is o ve r. Cornell won the 1968 and 1969 I vy League championship and hopes to repat in 1970. They have scheduled some of the best teams in the East and with added ex-perience and hard work expect to be one of the best teams in the country. Newcomers include Chesnut, Rex James, good on SH and LH: Lawitts , second in N.Y. high school championships on rings: AI Janos , good on PB : Rich Bower, Pete Suci , Steve Wight and Dave Granatstein. AA: Russ Wiggin , Lynn Williams FX: AA + Auser, Ellyne , Allstadt SH: AA + Swanson, Wight , James SR: AA + Lawitts , Chesnut. Ullman LH: AA + Auser, Allstadt,James PB: AA + Wilderoter, Auser, Janos HB: AA + Suci , Ullman , Allstadt

    SOUTHERN CONN. STATE COLLEGE So. Conn. has shown the strong coaching of Abie G rossfeld the past three years by being one of the. strongest teams on the East Coast, and prospects are that this year will be no ex-cePtion. With Jim Amerine leading the team

    20

    the addition of John Crosby and help from as-sis ta nt coach Dave Thor should make this the team to beat in the NCAA College Division Nationals. Graduation losses were Fred Hatfi eld and Antone Capitao (AA a nd third in 1969 NCAA college division on SR) , however, the new team members will more tha n make up the differ-ence: John Crosby: AA , NAAU champion, second in vaulting a nd third in FX. Robert Lack man on PN and Tony Guarnieri on HB. AA: Amerine and Crosby FX: AA + T a mburri SH: AA + J a mes Yearwood , Shay (strongest

    event) SR: AA + Ball LH:AA + ?? PB: AA + Shay , Lack man HB: AA + Guarnieri

    LOWELL TEC HNOLOGI CAL INSTITUTE Coach Aronson reports that this sho uld be the best yea r in Lowell Tech's hi story. With no losses through graduation and led by tri-cap-tains Wayne White, Walter Marcella and Da r-rell Gallant , the prospects are indeed bright. White has two strong events, Gallant wi ll com-pete in the AA a nd finished consistently high last yea r on the H B, and Marcella is Tech 's No. I ring man. The outstanding sophomore is Mike Holmes , who competes on side horse , has full difficulty and needs only better form to start getting the higher scores. Tech uses freshmen , therefore , Frank Alden , Gary Berset, Jack Meagher, Clarence Poi sson will see plenty of action. AA: Nick Cicciu , Darrell Gallant , Wayne

    White FX: AA + Mark Brooks , Robert Brown , Tom

    LaCoste. Jack Meagher, Dan Mitchell , Richardson

    SH: AA + Frank Alden , Henry Anderson , Mike Holmes

    SR: AA + Alden , Gary Berset, Earle Dins-more, LaCoste , Marcella , Richard Weir

    LH: AA + Dinsmore, Bob Lawton, White PB: AA + Anderson, Richardson , White H B: AA + Marcella , Meagher, Richardson ,

    . Weir, White , William Prince

    U.S. COAST GUARD ACADEMY Coach Jeff Cardina li reports that this is a build-ing yeal: for the Coast Guard after losi ng two a ll-around men and their top side horse man. Newcomers Mike Kirby, John Molmrose and Paul Russe ll will comprise the building ma-terial. Team will be strong on side horse and weak on rings and in floor exercise.

    UNIVERSITY OF MASSACHUSETTS Mass appears to be headed for a strong season as de pth in every event should make them a threat to any team in the East. Success rests on the shoulders of the AA men , Joe Reed, Norm Vexler and Tony Vacca and the strong team effort of the specialists. Contenders for indi vidual honors should be Joe Goodwin , FX: Norm Vexler, SH: Joe Reed , R & HB: Tony Vacca , LH & HB ; Steve Cary , LH & PB , and Scott Stover, LH & H B. Graduation losses were Dick Del Gallo, East-ern rings champion , and George Seibert. New-comers are Tony Vacca, AA , and Dave Ge-nest, LH and PB. AA: Joe Reed , Norm Vexler, Tony Vacca,

    Doug Salisbury FX: AA + Goodwin , Kasavana, McCauley ,

    Nelligan , Calabria, Genest SH: AA + Dean, Hastings , Jones, Riley, Au-

    brey SR: AA + Jones , Myslicki , Peloguin , Aubrey ,

    Genest , earle LH: AA + Cary , Henry , Stover, Calabria ,

    Genest , Searle

    PB: AA + Goodwin , Cary. Henry, Peloguin. Genest, Searle

    H B: AA + Myslicki , Stover

    RegiOn lwo

    Region 2 ~ Delaware, Pennsylvan ia, New York, New Tersev. Maryland.

    Region Two Re port By STEVEN CO HEN

    The artist s of Eastern gymnastics a re looking to paint a brightly colored 1969-70 season. A thumbnail sketch of the teams who answered a questionnaire sent out by M.G. is presented here to give gy mnastic followers an idea of what is happening this year in the East.

    COLLEGE DIVISION E. STROUDSBURG STATE CO LLEGE Coach Bruno Kraus

    It will be interesting to watch former interna-tional gymnast Bruno Kraus turn his efforts to co

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