Modern Gymnast - July/August 1962

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JULY-AUGUST 1962 - 35c

WILHELM WEILER CANADIAN CHAMP

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4

1 Glenn Sundby und sein Magazin ]

Betrachtungen tiber die schonste Turn~eitung der weI;

wenige. Vielleicht, weil unsere Turner so notorisch schreib1 trage sind? Die amerikanischen Turner sind es offenbar nich;1

Man mag erstaunt sein, dall wir in "Deutsches Turnen", das 'aus aller Welt mit Lob tiberhauft wird, es sei die beste Turnzeitung, einer an­deren ·den Superlativ zubil­ligen, . die schonste Turnzei­tl,lng del' Welt zu sein. Alber Ehrlichkeit und Offenheit ·gehoren zu den turnerischen Grundtugenden. Im Turner­wahlspruch zahlt es unter den Begriff "Frei". Wir be­haupten also frank und frei, dall Glenn Sundbys "The inodern .gymnast"den Su­perlativ "schonste Turnzei­tung del' Welt" zu Recht tragt. Wir halten die tsche­chische TurnzeHung fUr aie auf dem Gebiete des olym­

pischen Turnens instruktivste, unser "Deutsches Turnen" fUr die vielseitigste und im internationalen Turrien fiir aie reich­haitigste; abel' an Schonheit kommen wir an "The modern gymnast" so V{enig heran wie wir an Wissenschaftlichkeit "Sportnovni Gymnastika" bisher erreicht haben.

Glenn Sundby ist ein Mann von hinreillendem Sch·wung. Er gab seiner Turnzeitung eine ·so personiiche Note, dall man von Mal zu MaJ mitbrennender Neugier wartet. Leider, leiaer mull man tiber zwei Monate oft warten, denn vorerst gelingen fum jahrlich nur sieben Ausgaben. Die abel' sind so grundlieh und umsichtig gestaltet, dall das Warten sich lohnt. Mi·ster pundby ist VOl' allem ein leidenschaftlicher Fotograf. So bringt er es fertig, auf eine einzige Seite neun bis zehn Fotos. zu montieren, und wenn er dann noch Doppelseiten hernimmt, ,dann schwelgt das Ganze in turnerischer Schonheit, und ·das, was wir am Turnen lieben, drangt sich uns mit begltickendem Reichturri auf.

Wir wollen hie r nicht systematisch vorgehen und Nummer fUr Nummer besprechen, sondern nehmen uns gleiCh >die .Son<ler­nummer .d.er Gymll:aestrada vor, September/Oktober 1961. Das Titelbi1dzeigteine Jugendgruppe bei einer Btihnenvorfiihrung, wie sie vom kleinen Trampolin iiber eine Menschenpyramide ein Bockspringen ausfUhrt. Das Bild strahlt tummelhaftes. Ju­gendturnen aus. Im Innern beginnt ·der Augenschmaus mit einem ganzseitigen Foto, da,s Stalders Sektionsturnen am Bar­ren beim Handstand zeigt; dann rollt ein ,ganzer Gymnaestrada­Film Val' uns abo Hohepunkt ist die Seite 9 mit 6 Bildern vom ,,80-Jahre-ITB-Turnen" in del' Halle 6 auf dem Killesberg. Den starksten Eindruck aller Bildmontagen hinterliellen bisher die sec;±ls Seiten del' Marznummer 1961, die vom Nationalen Turner-Lager in Florida berichten. Dieses grollte turnerisch·e Ereignis, das jiihrlich in den USA zu verzeichnen .jst, war von 673 Turnerinnen und Turnern jeden Alters besucht und dauerte sechs Tag.e. Nicht alles mag unseren ,deutschen Turnerge­schmack tn~.ffen, aber das ist echter Turnergeist, del'. da aus­strahit - und hochste Turnkunst ,bisweilen, die hier von den Besten des Landes ins BUd g,ebannt wurde. Und immer del' Hintergmnd von Palmen und Meer: wo gibt es das noch in del' Welt! - In der neuesten Ausgabe von November/Dezember hat es mil' die Doppelseite mit 24 Seiten Malmahed angetan, einmal, weil mich di·e schonsten turnerischen Erinnerungen mit Malmahed verbinden - 1939 internationales Gymnastiklager -, abel' auch wegen del' Fiille von menschlicher una turneri­sch'et Schonheit, die da auf engstem Raum verdichtet wurde. Fotoktinstler Glenn Sundby hat einen turnerischen Blick, das macht sich bezahlt.

Aber schwarmen wir nicht nul' von der Bildkunst die sich da auf Glanzpapier darbietet! "The modern gymna~t" ist auch textlich gro13artig gemacht. Da siIl!d die Briefe an den Heraus­gebel', die ein bei del' Schriftieitung von "Deutsches Turnen" schmerzIich vermilltes Interesse an del' Forte'ntwicklung Cler Turnkunst bekunden. Wann schreibt schon jemand an "Deut­sches Turnen" und sehtittet sein Turnerherz aus! Es sind

.

Glenn .sundbY selbs. t Schreib. t mit Herz u. nd. Verstand von seil nen Noten und Erlebnissen und weill geschickt jeweils fUr di nachste Ausgabe zu werben. Mit Stolz konnte er jetzt melden daB sich die Zahl del' Abonnenten von 200 innerhalb eine. Jahres auf 3500 erhohte. Das solI noch lange nicht das End. sein! Denn das Kunstturnen hat in den USA einen machtigel Aufschwung erlebt, und nicht nur das Kunstturnen! Mr. Sund by versteht es, die ·grqBe, von Eisel1'hower ·begonnene und Val Kennedy mit Energie fortgefiihrte Bewegung zu fordern, nam· lich die amerikanische Jugen.d auf einen besseren Gesundheits zustand zu f.ilhren, ,besonders auf dem Gebiete del' . Muskel kraft, an del' es allerorts bedeilklich mangelt. Darum wir~t eJ fUr eine Jugendturnbewegung "Fitness Through Gymnastics" Das Gesundheitsturnen solI also mehr als ,bisher auch im arne· rikanischen Turnen verankert werden. Trotzdem herrscht da. Leistungsturnel) vor, ganz ' in dem gesunden Sinn, dall, we] sich· zum Turnen entschliellt, dort etwas leisten will. Die Weg zur Leistung zu zeigen, dazu bietet "The modern gYmnast~' viele Wege an. Es wi rd. viel . mit Reihenfotos gearbeitet, abe. auch mit bvillant gezeichneten Reihenbildern. In del' Mai Juni-Nummer, S. 19, finden wir in ftin! Phasen eine bei um noch nicht geturnte Recktibung: kammgriffs ,die zweite Halft< eines "Riesenschwunges" auslaufen lassen, ,den rechten Grifj losen und, mit Gewichtsverlagerung auf den linken Arm, recht! in den Ristgriff tibergehen, dann eine rasche halbe Drehunl1 urn diesen rechten Griff einwarts anzusetzen, so dall man wie· der ·in den doppelten Kammgriff gelangt, nun aber zum "Kamm· riesen" in entgegengesetzter Richtung. Die Zeichnungen sin so einieuchtend, dall man Jim F'arkas gratulieren kann, de dieses neue Kunststiick zeichnete und besprach. Die Turnerinnen kommen .ebenso zu ihrem Recht wie Turner. Ihnen wil1d auch eine Ballett-Schule prasentiert, in de sie ,das ABC del' Ballett-Ausbildung erlernen konnen, ohne da man nun einmal heute im olympischen Bodenturnen keine Blumentopf mehr gewinnenkann. CharJes Simms, einst seLbs einer del' besten Kunstturner, gibt Fachkommentare zu kunst· turnerischen Ereignissen. Von graBen Wettkampfen werde die Punkttabellen abgedruckt. Was abel' neu ist: man kanr dann meist auch die erfolgreichsten Dbungen in genauer turn· sprachlicher Foige nachlesen. Welcher Berichterstatter ist be:, uns ,dazu in del' Lage? Und wie wertvoll ware es! Ineinem is l

"The modern gymnast" nach meinem Urteil rtickstandig : e bringt zu oft Wettkampf~Ergebnisse ohne Punktzahlen. Un ' er iiberbetont die Rangfolgen an den einzelnen Geraten (au ohne Punktzahlen). Das "all around" wird in keiner Weise ab­gehoben von den Einzelwettbewerben. Das mtillte aberge- , schehen, wenn die USA im Kunstturnen die gewiinschten Fort~ schritte machen w9-Ilen. Del' Sechskampfer sollte im 10. Ran noch angefUhrt werden, wo beim Einzelwettbewerb die dre Ersten vollaufgentigten. Dies als Anregung fUr die Zukunft.

Mister'Glenn Sundby wa.r so freundlich, uns eine Menge Exem· pi are seiner meisterhaften. 32seitigen GymnaestradacNumme zuzusenden. Wer immer unter unseren Lesern del' engliSche~' Sprache rnachtig ist, sollte sich diese Nummer erwerben. E~ gentigt ein Brief an die Anschi:ift Dr. Josef Gohler, Wiirzburg Neubergstralle 66. Eine ' 20~Pfennig-Briefmarke mage beiliegen, Neidlos .begltickwiinschen wir Glenn Sundby und die amerika· nischen Turner zu ihrer namosen Zeitschrift. Wir sind tiber­zeugt dall bei dieserspontanen Begeisterung, die -,- nicht zu· letzt dank del' Impulse von "The modern gymnast"- fiir da" Gerateturnen und Kunstturnen entbrannt ist, das amerika· nische Turnen noeh grolle Fortschritte machen wird. Die Schu· len zumal fOI'dern das' Kunstturnen. und so wird die Jugend gewonnen. Vergessen wir auch nicht, was die von Deutschen Sehweizern und Tschechen/Poien (Sokol!) in den USA ,gelei­stete Arbeit gefruchtet hat. Gelingt es, aIle Krafte organisato­risch so zu binden, dall eine Gemeinschaft entsteht, dann ha'j das Turnen in den USA eine grolle Zukunft. Und "The modern gymnast" eine nicht mindel' grolle! Werdies€ Turnzeitung beziehen will. dem sei die Anschrift­mitgeteilt : Glenn Sundby, P.O. box 611, Santa Monica Cali­fornia, USA. Das Ziel i'st, jahrlich 9 Nummern herauszubringen. , Preis: 3 Dollar pro Jahr, also DM 12,-.

Ju]y.A" gust 1962

Volume 4 . Number 6

CONTENTS

Und Sein Magazin ... Notes From The Editor Chalk Talk ....... ......... . . Canadian Report ........ ...... ... . M.G. Photo Contest .. . J r. Gymnasts of America Ballet for Gymnasts ............. ...... .. .... . Gym Snaps ........ ..... .... . Table Tumbling ...... . One Hand Balance Barney's Beach Album Ask Charlie ......... ...... . . Gym Forum ....... . Meet Resutls

. .. . 4

5 . ... 6 . .. . 8

. ......... 10 ... ........ 11 . ... ... ... .. 12

. ..... 16 . ....... ..... 18

.. 20 .... 22

. ...... ~4 . ....... 25

.... ....... 26 Letters .. ........................... ...... .. 29

COVER : Wilhelm Weiler, Top Ranking Men's All· Around Champion of Canada.

•••••••••••••••••••••••• Max 1. I{ud erian Glenn Sundby . Charli e Simms Ku r t Baechler

.. Publisher ..Editor

.... ........ Associate Editor ... ...... ....... European Editor

Contributors: Grace Kaywell, Ross Black, Bob l\'lay and George Bauer.

•••••••••••••••••••••••• THE MODERN GYMNAST is published in the U.S.A . by Junior Gymnasts of America, Inc., nine issues for $3 .00, 35c the single copy. All pictures and manuscr ipts sub­mitted became the property af THE MODERN GYMNAST unless a return request and sufficient postage are included. Published material becomes the praperty af THE MODERN GYMNAST. Copyright 1962 by Junior Gymnasts of America, Inc., 410 Broadway, Sant a Mon ica , Californ ia.

M.G. BOOSTER: On the page to your left is an article that recently appeared in the "Deutsches Turner" German Gymnastic magazine. We have reproduced this flatterin g review not just to show the Modern Gymnast is read and respected the worM over, but to share this recognition with you our readers ,,,ho through your support and enthusiasm have made The Modern Gym­nast possihle.

If you, as your editor, have a bit of diffi culty trans· lating the German text and do not have an interpret er handy, here are a few points brought out in the article. They like the Modern Gymnast, especially the many photos and instructional articles (Jim Farkas in special note ). They also commented on the free, frank, inde­pendent and open editorial policy and coverage in the M.G. However, they did have one criticism (which has also been heard from our American readers), and that was that we did not publish the M.G. often enough OT

have a very good schedule when we did. This we ag,ree with and intend in the coming year to have a better than ever M.G. on a regular schedule. Our thanks to Dr. Josef Gohler for his stimulating review, it was well appreciated.

* * * DEUTSCHES T URNER: In return we would like to

do you (our readers ) that may not be acqua inted with this German Gymnastic publication a favor, and let you know a bit about this fine magazine. Even though you may no1: understand the copy and there may not be as many photos as you are used to seeing in the M.G., the " Deutsches Turner" publishes large and ex· cellent photos as well as wonderful instructional al'tides with comprehensive reviews of competitions alon g willh discussions and analysis of new tricks and trends in Gymnastics. The sensational photos of -the world's top Gymnasts published in the DT are inspiring in any language and make wonderful bulletin board material fOor the coach or wall picture for the private collector . .. Well worth the price of a subscription . .. (what· ever it maye be) ... We will try to get this subsoript-ion information and include it in the next edition of the M.G. . . . In the meantime if you are impatient you can write to: Deutsche Turner, W. · Limpert Zeitschrif­ten verlag, Frankfort, Germany, for info,rrn'ation.

* .;f * 7:-

NEXT EDITION : As this edition of the M.G. goes to press your editor takes off to cover a day at the Sokol Centennial in Pittsburgh, the finals of the Canadian _ Tational Championships in Montreal then on to Europe and the World Championship in Prague to bring back photos, results, routines and hi·lights for the next edition of the M.G. . . . see yo u then.

5

AKRO ; GYMNASTIC GUIDE Akron, Ohio public schools are using a 34·page Gym·

nastics Guide written by Joseph Toth to further fitness in their Jr. High School program. The Guide contains graded and illustrated material on the Vaulting Box, Side Horse, P . Bars, Still Rings, H. Bar and Tumbling. A Iso suggested are skill tests for the 7th. 8th and 9th grades. For furth er information write to: Akron Public Schools, !\'Iartin Essex (sup.). Akron, Ohio. Refer to publication No. 146.

6

SPACEBALL Spaceball! Will this new sport give a shot in the arm

to the Trampoline Centers? Well if Chicago is any example, it looks like it will, for they have gone bounce happy over this new competitive attraction which made it debut there recently.

* During the TV Broadcast Flight of Astronaut Carpenter,

the director of Astronaut Physical Fitness program stated that Gymnastics was considered the most important part of their Physical Fitness program. He also stated that the Trampoline was very important in that a twenty­minute work out on the Trampoline gave a simulated fifteen minutes of weightnessness.

* *' :;:

WOMENS ROUTINES Because of the many requests for women's moves, here

are some more women's routines from The 1962 National A.A.U. Championships in Seattle.

FLOOR EXERCISE BETTY MA YCOOK:

Fu. assemble, 1h turn jump to toe stand, touch toes to head in a jump, 3 step turn , leap, aerial walkover, dive tinsica, aerial walkover, arabasque, forward no handed roll to toe stand; Glissade, tour jete, coupe, 2 chene turns, butterfly; Hop toe to knee, step hop, turn to toe stand, back handspring to split, spin on seat, lJ2 valdez to switch

kick walkover ; Double pirouette, double fouette, 3 chene, 2 balance turning, turn on one foot, other leg to side; Run, back develope to a back walkover, switch kick, Yz turn out certebasque, double pique, back roll to handstand pirouette on hands, split, roll one chest changing to another split, neck spring walkout; 3 step turn, hitch kick, unge ; Round off, back handspring, back layout. Jump on to one foot, other toe to knee, turn chasse thru 1st position to 4th position arms in 4th .position.

GAIL SONTGERATH: Front beat, back beat, ballet leap; Tinsica, tigna (aerial

front walkover); Leg extension front then back ; Gypsy turn; Front walkover, back walkover; Run flip flop , layout back to one leg and turn; Tinsica, drop to one knee ; Knee spin; Tour jete; Back walkover, 1 legged back; Tour jete beat, turn ; Run 2 flip flops turn tinsica to lunge.

DORIS FUCHS: Turn back walkover lunge, step turn step, round off flip

flop layout split . revolving off both legs to a stand on right leg, step tour j ete, step side leap, turn step step, cartwheel, flip flop walkout dive handstand . walkover turn scale turn into cross step cross right cross step cross left turn . leap leap to kneeling position on floor revolving of arms stand up back walkover to a pose; Turn step step high leap . dive handspring, no hand fonyard roll into split pull out of split into finishing pose.

AVIS TIEBER: Begin corner of area facing opposite corner . weight

on bent left leg, right leg extended forward, bow forward, step changing weight to right, step left, step right, step back on left and outward full turn to right ; Round off flip flop layout back, step arch back; Full turn to left, hop % turn ; Step, back walkover, switching legs; Side pas de chasse, full skaters turn, step, pose; Back step, full turn R, leap turn , full turn R, butterfl y, full turn , pas de basque R, step turn L to lunge; Glide tour jete, 2 steps bringing feet together and rise on toes ; Forward roll, head· spring to straddle sit; Bring legs together, tuck, flip flop to lunge; 14 turn, hop R, L leg extended, 3 steps, hop L with R leg bent bringing R leg behind L, rising on toes and turn to R ; Running steps to leap, circle, R leg back into split, roll over L, valdez into back lunge; Round off 2 flip flops, twist out and step turns to R, bow fonyard extending left leg, weight on R bent leg; Running walk· over, 2 steps, cabriole, step forward R, backward turn to support on L leg to pose position on R knee.

* ::: ::: *' HORSE VAULT

BETTY MAYCOOK: AVIS TIEBER: Handspring. Handspring.

DORIS FUCHS: Hecht.

GAIL SONTGERATH: MURIEL GROSSFELD: Layout straddle. Layout stoop.

* * BALANCE BEAM

GAIL SONTGERATH : Front roll on end of beam; Steps, kick leg turn; Steps,

cat jump; Turn , diving front roll over ; Knee scale; Stand and turn to leap % turn squatting position ; Back roll, turn , handstand hold ; Back walkover; Leap turn; Step, handstand hold, fron t roll over; Attitude turn, front beat, back beat, ballet leap; Turn front beat, 2 turns sit for valdez, valdez dismount (I·arm front walkover). DORIS FUCHS :

Straddle shoot to split legged handstand, drop roll shoot to handstand come down right leg, half turn split, pull out split, back roll shoot into scale on right leg, bring left leg fonyard into scale on right leg, having left leg fonyard into balance on right to, step . dance . turn leap, hop step hop . dance . English split leg handstand drop forward roll whip forward roll - shoot into back hand· stand pose left leg in front of right . dance . step leap turn step step . aerial dismount.

BETTY MA YCOOK: Jump to complete straddle, 14 turn V sit, back roll to

arch pose, place L foot on beam, slide onto back foot ; Chasse, coupe, chasse, leap, step turn , pose; Cartwheel, turn on one foot other toe to knee, cat jump, turn on

forward attitude. Ronde jambe to arabasque, step turn ; One arm walkover, split jump, forward roll, % turn in straddel position, V sit and come up, pose; Hitch kick , supersote turn , change, change, landing on one foot, back walkover to handstand, cartwheel out ; Chasse, aerial off end of beam.

AVIS TIEBER : From the side, running leap to right leg support to

middle of beam; Pas de chasse, kick forward and back, % turn to right; 2 steps, hitch kick, step, swing hop, step back . pose; 2 steps, bringing feet together, squat jump, land in squat, % turn to right coming to a stand; Step forward left , side step right, side step back left, step right, 1f2 turn , kick left leg back to lunge; Straight leg headstand; Backward roll, bringing left leg forward to beam, pose, ri se to arabasque on toe ; Chene turn , kick, full pirouette, step jump, bringing feet together , % turn ; Pas de chase cartwheel, back pose; Running steps to leap, % pirouette turn ; English handstand, hrward roll out, step out; Arabasque, supporting leg bent, sissone, step right turn, 2 steps kick with a 14 turn bringing feet together in a stand; Back flip dismount.

:!' ::: :::

UNEVEN BARS

DORIS FUCHS: Glide kip fonyard roll stoop up hop skip into reverse

action front hip circle; Cast back into glide kip h@p to top bar legs over bottom bar, kip to high bar fonyard roll, straddle in straddle out leg switch to top bar fonyard roll high cast, hip circle £range hecht off. GAIL DALEY:

Mount . standing under high bar facing low bar, glide kip regrasp to hang on high bar, lift legs, kip to straight support on upper bar and ilrunediately place feet with legs straddle on high bar . sole circle (backwards) half turn hip circle on low bar and immediately place feet on low bar between hands . back sole circle . half tum hop circle to eagle . drop kip on low bar to regrasp . lift legs plymouth to sitting position on high bar . forward seat circle to dislocation half turn to hang on high bar . lift legs through hands . wagon wheel to stand on low bar facing high bar. Dismount . handstand stoop off high bar. MURIEL GROSSFELD:

Squat over low bar, regrasp high bar, shoot with half tum; Back hip circle (no hands), grasp high bar with dislocate grip; Drop to glide kip on low bar regrasp high; Left foot on low bar and raise body to front support on high bar ; Handstand on low bar; Straddle down past high bar to straddle stand on low bar ; Straddle sole circle shoot with half turn glide kip; Front hip circle to straddle stand; Straddle sole circle shoot to high bar ( hands mixed grip ) , half turn swing back; Place feet on low bar ri se to front support on high bar; Fonyard roll, bounce low bar; Free hip circle over high bar to back hip circle on low bar; Squat up on low grasp high bar; Drop back, straddle cut to stand. A VIS TIEBER:

Glide kip to straddle stand on low bar; Straddle sole circle, shoot to high bar, mixed grip, % turn, swing back uprise to high bar; Cast out hip circle; Single leg squat through ; Crotch circle, half turn; Swing leg back to front support, shift left hand to high bar, squat jump on low bar; Straddle sole circle on high bar, cast out, turn, hip circle; Squat jump on low bar, rise to stand ; right hand on high bar ; Jump back to straddle "L" support, circle, legs bounce on low bar, pull over high bar to front support; Discend to low bar in crotch support , 14 turn, bringing right leg to stand on low bar, 14 turn arabasque; Hand· stand on high bar] squat through dismount. BETTY MAYCOOK:

Glide double leg shoot thru; Forward seat circle catch high bar ; Stem rise, double leg stoop thru ; Dislocated hip circle; Stoop one leg thru, crotch circle ; 1/2 turn squat up; Forward roll on high bar, straddle on , cast out % turn hip circle; Back ca tch (eagle) ; Stand on low bar, extend one leg, 112 turn to face high bar ; Handstand stoop thm on high bar.

7

Willy Weiler (Photos by Favero, Barrie, Ontario)

Uanadian Report CANADIAN GYM SKETCH

WILLY WEILER

A familiar Gymnastic personality seen regul,arly at all the top U.S. competitions for the past several yea rs is Sgt. Willy Weiler from the Army Physical Training Center aL Camp Borden, Ontario, Canada.

Willy is an exciting and hard driving Gymnast who is always coming up with a new move or sequence of tricks usually well in advance of his American competitors. This was a fact again at the National Championsh~ps in Seattle where Willy used several new and unsual moves in his routines.

On the Horizontal Bar he performed a straight hody front hip circle to a front giant and. used a pike front over the bar dismount. Probably the most spectacular was his Lon g Horse vault with which he won the event and 1962 vaulting title. Here Willy did a \'ault that was first performed in

Willy doing his Long Horse Vault-Pike Somie from the Croup (Straight arm giant handspring with a pike).

.;' / ..

Willy's Pike Front dismount from the H. Bar

the USSR-Japan Meet by the Japanese Gymnast "Yamashita" (the vault was pictured and explained in the Deuthches Turnen Publication from Ger­many), a pike front from the croup_ Upon leavin g the beat board the vault is performed with a straight arm takeoff, pike body with straight legs being some three feet over the horse and slowly stretch the body to land as in a handspring vault (an d Weiler lands as if he were glued to the floor )_

Willy confided that he picks up most of his new tricks from articles in the "Deuthches Turnen" which he reads easily hecause of his German back­ground.

Our thanks to Major R. B. Firlotte, Command­in g Officer of the Canadian Army Physical Train­in g Center for photos and info·rmation .

* -:-:-

MARITIME OPEN R e p ol't by Tru e m a n Hi rsch f ield

Y M CA. H a li fa x . Nova Scotia Th e M a rtime Ope n M a le Gymnas ti c C h ampio ns hi ps

'vere a cO lnplete s uccess thi s year ,vith teanlS f.'onl Can1}) Bord e n . Camp Gagetown . a nd the Halifax Y.M.C.A. compe t in g in th e Senior D iv is io n. .Villy ' V-e il er . w ho placed 6th in Sea ttl e. compe ting . Th e d ay b e for e th e m ee t a vid e o-taped s h o w of the t e n b es t Senior s and t,vo juniors ,vas tal<en. Th e sho,,' las ted for one h o ur a nd co n s is t e d o f compe titive r outin es o n a ll th e m a le appa ratus and in terv ie\Ys \v i th th e gy mn as ts, r e corll­p e t itive gymnast ics . T hi s v id eo -ta p e was sh own l h e fo llowing d ay a t 12 :30 P .M.

Th e in termedi a t e a nd senior Ch a mpi on ships we re h e ld Sa turda y . M ay 12. at t h e H a lifa x Y .M. C.A. and th e tyr o a nd junior even ts 'veer he ld on Friday, )lay 18, al Ro a t t1, e Y. M .C.A.

Results SEc·nOR EVENT S

Free Calis thentic s: 1. 'We iler (B ): 2. MacDona ld (G); ~ . Ri c h a rdSOll (B) . V a ulting: 1. 'We il er ; 2. Hoyle (Y); 3. P a rtridge (B) . Still Rings: 1. '~'e il er ; 2. Par t ridge ; 3. G ra nt ( G ). High B ar: 1. W e il e l'; 2. Hirschfi eld (Y) ; 3 . Hole; P a r a llel Ba rs : 1. Weil e r ; 2. H oyle ; 3. Partridge. Side Horse: 1. , V-e il e r ; 2. Partridge; 3. M a.cD on a ld. Leg , end : (B ) Camp Borde n ; (Y) H a lifax YMCA ; (G) Camp Gage t own.

I N TERMEDIATE E VEN TS Free Calisthenics: 1. Dickie (CDH) ; 2. W a dde ll (1); 3 .

Blal{e n ey (Y) . V a ulting : 1. Dunba r (Y); 2. H e ffl e r ( SS) ; ~ . Coombes (Y) and M a nn (Y). Still Rings : 1. Coombe,,; 2. M a nn ; 3. C urri e (Y ) . High Bar: 1. H effl e r ; 2. G r een (CDR); 3. Dic ki e . P ara llel Bars: 1. Currie; 2. ~Taddell ; ~ . M a nn . S ide Horse: 1. M a nn ; 2. Thorburn (Y); 3. B la k e n ey. Legend: (Y) Y .M.C.A. ; (CDH) Cornwalli s Dis ­t ri c t Hig h Sch ool ; (S S) S idney S t ephe n Hig h Sc h ool.

TYRO Free Calisthenics: 1. J . W enaus. B.H.; 2. B. Lap o inte.

BH; 3. R. Bla x la nd. B H. Vaulting : 1. J. ' Ve·na ud; 2 . W . Smith. SS: 3. R. Green .BH. St ill Rings: 1. D . Howe. P.A.; 2. R. Gr een; 3. 'N. Smith . All - Around: 1. J . W enau s ; 2. R. Green: 3. R. B la xlftnd; Team: Bicentennia l Junior Hig h Sch o ol.

J UNIOR Free Ca listhenics: 1. C. W a dd ell . Y ; 2. P. D e la n ey. C ity

R ec. ; 3. W. D acey. Y . Vaulting: 1. D. H effl e r . S .S. ; 2. C. vVndd ell, Y ; 3. B. N augleI'. PA. Still Rings : 1. .D. AI'chiba ld , SS ; 2. C. W a ddell . Y ; 3. ~r. D acey. Y . High Bar: 1. D . Arc hiba ld: 2. C. Wadde ll ; 3. P . R obinson . S S. Para llels : 1. C . vVadd ell ; 2. P. D ela n ey : 3. W . Dacey. All-Around: 1. C . Waddell ; 2. D . Archiba ld: 3. P . D e la ney.

T eam s compe ting w e r e Sidney Ste phe n , Halifax Y M CA . C ity R ecr eat ion . Bicente nnia l Junior HS a nd P rin ce Arthur.

TROPHIES: L. R. H ay t e r . Junior T eam. S id n ey Ste ­phe n H .S. (Bedford ) ; Takash On o. In ter medi a t e AII­ArQlll1d. Bob Coo mbes (Y) ; Boris S h a khlin. In term ed ia t e T eam . Y .M. C.A . H a li f a x; Masao T a k e m oto. Se nior All­Around , vVill ~' W eile r , Bord e n ; J a m es Hoyle. Se~"li or T ea m . Ca mp Bord e n; J oseph Sta ld er . C lub. H a hfa .x Y.M. C. A.

SOKOL GYMNASTIC ASSOCIATION OF CANADA 1962 NATIONAL

GYMNASTIC CHAMPIONSHIPS May 19, 1962

Sokol Centre, Toronto, Onto The r e wer e 169 Competitor s for the

13 ev e n ts in t his year 's Champ"ion­s hips (26 compe tito r s in 1958) .

,"' inners of t h e All- A round "1s t place" cup s wer e : MEN Hig h Div is io n. W eile r (Can a dia n Army); Interm ediate. ~I"hi tney (SGUSok ol . Clevela nd); L ow. F e rnella (SA U Sok ol . C leve. ) . JR. BOY S - Hig h . P awla k (Sok ol T or onto 1); L ow. IVIa n­ning (Sok ol Ba"ltimor e) . SOKOLADS, 9-12. Beadl e (Sokol Toronto 2) . SOKOLAD S. 6- 8, Godzwo n (Sok o l T o r onto 2) . vVOMEN - Hig h . B a z­zo n e (SGU SOK OL. C leve.) ; Low. Cen'in ( Soko l B a l t imore ) . JR. BOYS - Hig h , Babus k a (SGU S ok ol. P erth Amboy ): L ow . Ma r es (Sokol . Bait . ). SOKOLE TTS , 9- 12. L oss (Sokol Tor­onto 2) . 6- S. McCutc h eo n (S. T or­o nto 2l.

,,,rinn e r s of A nnu a l ~'inner S hi eld e Vle m ber s of Canada Sokols onl y ) -i\Ien: H rdli c l{a, Kadl ecek . Csok a & H a le. a nd Beadle . W O M E:\, : Za ruba . V icent a nd Loss.

WINNIKG T EAMS WERE : By Di v is io n - M e n : Can a d ia"n Army ; SGU Sokol. C levela nd ; T. J. S ok ol . Belcamp ; Sok ol T or o n to 1 ; Sok ol T or­o nto 1: Solw l T o r on to 2 and Sok ol T oronto 2. Wom e n: SGU Sok ol . Clevela nd ; Sok ol T oronto 2 ; P a l. Natl. . Mo ntreal ; T . J. S ok ol . B a l ti­m or e ; Sokol Toronto 2

Mari time Open Junior Champ.

C. Waddell

9

M.G. PHOTO CONTEST First prize this edition is for the photo above taken by

Richard Pritko with a Speed Graphic at 1/400 sec. at F /8 using Kodak Royal Pan Film with a # 5 flash bulb of Ed Gunny of Los Angeles, California.

Second place winner is C. Sutton of Tallahassee, Florida for this photo of Bill Beavers doing a "V" - Photo was taken with a 35mm Camera, 3.5 lens, plus X film, M2B flash at a speed of 1/100 sec.

Third award was won by Dave Miller of Seattle, Wash. for this photo of Bill Vennels (for sure this time) taken with a Kodak 35 with existing light.

JUNIOR GYMNASTS OF AMERICA Jr. Gymnasts of America salute two fine looking young

gymnasts this edition: Miss Donna Chalmers, a Junior Gymnast from the city of Ames, Iowa (Daughter of Mr. Gordon Chalmer~. Athletic Director at Iowa State Uni· versity) and 10 y~ar old John Crosby, Jr. of Long Island City, New York (Son of photographer John Crosby, who won a first prize in a recent M.G. Photo Contest.)

BALLET for

Gymnasts By Grace Kaywell

3 Tanglewood Court IT' est Palm Beach. Florida

GRACE NOTES

Regular readers of the Ballet for Gymnasts series in this magazine will know that from time to time I try and salute some of the outstanding teachers of dance in the Uni1ted States. In this way, no matter what State you live in , you will know of a qualified teacher in your a:rea. In this particulat report I wish to honor most especially "J 0 Anna" (Mrs. Ted Kneeland ) ballerina-chore­ographer from South Africa and founder of the now famous Imperial Studios in Palm Beach, Florida.

About five years ago Jo Anna formed her ballet classes here. She announced that she would con­duotan experiment with a new and different ap­proach to the teaching of ballet. The program would , she said , utilize the latest and most modern findin gs in the fields of body build ing and psy­chology, plus a revolutionary concept of dramatic training devised by her husband, Ted Kneeland , whose credits as a producer-director include such shows as the Moss Hart Show, Yul Brynner Show, Laraine Day Show, etc. Jo Anna also said that the program would be highly personalized with special concentration being given to the individual needs of each participant and a conscious knowl­edge of body placement would be thoroughly taught and supercede the impOltance of "dance steps" . If the recipe was successful, Jo Anna pre­dicted that all twelve contenders would emerge capable of following successful professional careers regardless of whM their original short-

At le ft: Miss Claudia Cravey, trained exclusively by JoAnna's methods, displays at attitude en arriere. Although still only fourteen years of age, Claudia has alread,." created considerable comment in ballet circles both here and abroad. At twelve she shared the title role with Violette Verdy, of the New York City Ballet Co ., in the London pro­duction 01 "Th e Princess" and was hailed by the London p·ress as "a miracle . .. " At thirteen, she appeared as guest artist with Ruth Page's Chicago Opera Ballet Co., thus becoming America's youngest dan cer to play leading roles with a recognized major ballet com.pany. She is currently under contract to M.G .M. and Desilu Productions. At right : Eleven-year-old Clara Beth Cravey, also an exclusive product of JoAnna's methods, demon­strates a stylized balletic attitude. Even at this early stage of her career, the excellent form which is the hallmark of .roAnna's graduates is already evident.

comings mi ght have been. She added that she considered it better to conduct this experiment away from the obvious meccas such as lew York , London and P ari s, etc. , as she would get a very average cross-section of cases from such a small area to call on.

I sat back and watched with tongue in cheek as the experiment was conducted on a scholarshiv basis under lhe allspices of Mr. Frank J. Hales Academy Royale Theatre, Inc. I knew personally many of the youngsters in the class and I was aware of their many physical probl ems : knock­knees, bow legs, sway backs, dropped arches, etc. The outcome is now history. All twelve emerged fully qualified for a theatrical career after just three years averagin g four hours a week of ballet training. l'i'ine of these persons are now success­fully active in the theatre and the other three chose to get married. One of the most famo~s of this group is Miss Caudia Cravey w·hose plct~re ap ­pears here as the finished product of thi s per­sonalized anatomical teaching of Jo Anna.

I find it ironic that I should have looked all over the world for a training program such as this on lv to find it in my own back yard . I am convien~ed that Miss Jo Anna's method of teaoh­in g ballet will help gymnasts a'btain their goal quicker and with everlasting good results. I have enro lled in her teacher's course and am presently studying under her direction. I hope to brin g !his new approach to gymnasts as soon a'S pOSSIble and also hope that we might get Miss Jo Anna her­self to come to teach at one of our now famous Gym Clinics.

13

WRONG RIGHT

Attitude Position: PHOTOS 1 and 2 - The many things which are wrong with the posItion in PHOTO 1 (The sunken chest, bad axis of balance, incorrect back position, turned in legs and shortened neck) cannot be corrected just by a reminder from the tcacher. Only a personalized program of exercises which will actually change the shape of the body will make it possible for the position in PHOTO 2 to be arrived at. Note : Model is Hiss Jo Anna ; Photos by Mort Kaye Studios .

" PREPARING THE INSTRUMENT" By "Jo Anna"

It has been said that the body to the dancer is the counterpart of what an instrument is to the musician. There is of course one obvious difference. There are Illany bonafied music stores in which musical instruments may be purchased, whereas dancers must develop the limbs thev are born with into the best possible instru· ments of expression. If they fail to pay sufficien attention 10 this all·import;mt phase of their training, even after they have learncd the full vocabulary of steps and move­ments, they can only hope at best to emerge as a compe­lent vi{)linist who could unfortunately only afford an inexpensive and inferior violin instead of being able to play his concertos on a Stradivarius. The same would a Iso be true for gymnasts, who are in a similar fi eld of physical ex pression.

The subj ect of "preparing the instrument" has far too Illany facels to it to cover in anyone article, so I can only hope to cover one of the face ts at this time. I shall therefore choose the attitude, one of the two most fre­'luently used positions in ballet ( the other being ara­besque) which has become so much a part of gymnastics, (particularly in the Girls . Free Exercises ) and try to demonstrate how impossible it is for an improperly pre­pared body to achieve line and balance in this position while conversely how simple it is to do with the correct preliminary preparation. Naturally, there are many exer­cises which can be done for every problem area, but I have had of necessity to demonstrate only one of each.

First, please study Plates No. 1 and 2 and compare the difference in the body placement. Notice that in Pl ate No. 2 the back, both in the upper and lower sec­tions, is sufficiently limber to allow the chest to go a good deal further forward (Exercises No.2 and 3). This ~hange alone will give the performer a different and better axis of balance as well as put them on the way towards acbieving good line. The tendons of the neck and shoulders (Exercise No.1) have been considerably lengthened and thi s, together with tbe "give" in the upper back has allowed the pectoral area of the chest 10 lift , which is so indispensable, not only for line and

14

balance, but for strength and control. We have now lost that "sunken chest" look. The legs, which have responded 10 a special exercise program, (Exercises No. 4 and 6) are now able to turn out in the hip socket and the thigh can now be held in a corresponding position to the di aphragm, which is so much a part of the beautiful circular line of an attitude. The tendons on the inside of the foot have been lengthened, (Exercise No. 5) so that the performer may continue the circular line right up to the toe.

After contemplating these differences carefully, I invite all aspiring gymnasts to study the exercises which"effected these results, as any personal physical shortcomings can be overcome if proper concentration is given to that tl rea and the exercises practiced diligently. I would urge you, however, to pay particular note wherever an ex­pl anation is given of " how to do the exercise", as unfor­tunately, I often find people who have put in an enormous amount of hard work, but all in the wron g way and have achieved nothing more than an excess of muscle bulk in stead of the wiry strength and long elastic tendons they should have earned for their pains.

There are, of course, no two cases exactly alike and readers should at all times try to ascertain what their particular needs are. Obviously a per son born with a weak but very limber back should be spending their time on hack-strengthening exercises. which as I said before, would be a completely different facet of this vast subj ect and would need a complete article in itself. You will find however, that the physical changes which are discussed in this article apply not only to the attitude or arabesque, but will help the body to make all the pictures of the gymnastic vocabularly look better and be more balanced as a result of the increased turnout.

I would like to thank The Modern Gymnast Magazine is to see the fi eld of gymnastics becoming more and more allied with the fi eld of ballet as I have always believed that both mediums could be of help to each other, par­ticularly in the case of boys training as dancers.

I would like to thank Gymna~ts Magazine therefore for inviting me to write about s ome of my ideas on dance training and I hope that its readers will find them helpful.

EXERCISE NO. 1 - Shoulder and Neck Tendons: To get the maximum stretc'h in the shoulder and neck area, think of stretchin g the top of the head diagonally upwards and pull the opposite shoulder blade down as hard as you can. The clasped position of the hands is only to brace you and the main area of concentration must be in the neck and should er, not the hands.

EXERCISE NO. 2 - Upper Back: While on the sur· fa ce nothing much may appear to be going on in this picture, in actual fact there is a definite mental relation· ship between the press in g action of the fin gers and the region of the upper back, which is such a difficult one to define and limber. Thinking very hard of the area between the shoulder blades (alld nowhere else) , you push the ches t forward with the pressure of the arms and finger tips. Under no circumstan ces should you let any other area of the back bend or the entire purpose of the exercise is lost.

EXERCISE NO. 3 - Lower Bark: Here we see a concentration int o the area of th e lower back which is, I think. self·explanatorv. This exercise can of course also be used for the up per' back. You would then straighten up the body, kee ping the pelvic bones well controlled under and pull away from the barre just into the area of the shoulder blad e~, letting the chest push forward as explained under Plate No.4.

4 5

EXERCISE NO.4 -- Tumol/t Attill/de all Barre: Thi~ is an exercise which must be started easily and adj usted accordingly as you acquire more turnout and extension. so please read the inst ru ct ion. carefull y. Start by putting your right hand on th .. harre and your knee braced against tbe ri ght wrist. nllp anllll1d turning ou t th e supportin g leg as you do ~o until vour le ft hand i, able to grab the barre behind you. Nnw '('e hal\' far you can hop the sup· porting leg away fmlll tl\(' barn' and Iwnd it several times in thi, position. Yllur ultilllatc aim is to get the highest poss ible part of your thi gh on the bar re and the support· ing leg as far away from the barre as poss ible, but this must be worked up to , lowl)' and by degree", Notice that th e chest must be lifted at all t im cs and the supporting leg must remain turned nut.

EXERCISE NO.5 - Foot: This should be self·explana· tory . but just a remind er to press downwards unti l you feel a stretching: action takin g; place on the inside tendon s of the foot. Try to retain this "feeling" in your mind so that you can carry it on into your attitudes and arabesques.

EXERCISE NO . 6 - Turnout Split: This exercise can only be attempted a fter an ord inary split has been mas­tered . By liftin g the back leg in this manner, an extra stretching of the inside tendons of the thigh can be effect.ed as the full pres,ure now centers in that area. The turn of the body is for the purpose of keeping the legs turned eut throughout, rather than facin g the leg which would put the stretchin g: action into a different area.

6

16

Gym Pictured here are three up and coming gymnasts from Iowa State University mentored by Ed Gag­nier. At left: Ken Wiggers; below, Dave Block; and bottolll , Mike Coon.

Snaps Coach Jerry Krawitz from the Paterson N. J. YM· YWHA took the photos at right anU below 0/ Gregor Weise at the Eastern Intercollegiate Com­petition at West Point.

]7

18

Lovington New Mexico Tumbling Table Exhibition Team (Coach Black on Right).

TUMBLING TABLE By Ross Black

The "Tumbling Table" may be used with a spring board or a mini-tramp_ However , more stunts may be learned if the mini-tramp is used . The "Tumbling Table" is primarily used as a teaching aid in learning tumbling skill s and stunts, but it may be used as a separate appar­atus. Basically, the skill s taught in tumbling may be taught in much the same way when using the "Tumbling Table" with a few minor revisions.

The "Tumbling Table" creates interest in students be· cause of the simplicity in which stunts or skill s may be learned. They get immediate satisfaction of accomplish­ment and with much less effort than on many other types of apparatus. The value of the. " Tumbling Table" is also present in the carry-over value it has to the long horse, buck , elephant, and trampoline. The "Tumbling Table" is very valuable when teaching difficult stunts in that they may be broken down and taught one part at a time.

The following are a few of the more basic stunts that may be done from the "Tumbling Table":

1. Bou nce from mini- tranlp to s (a nd o n table, a . B o unce O\"er table, b. Bounce over table in p ike position .

II. F or ward Roll (Fig ur·e 1): a . L e t yourself down easily with arms, ducl<ing head ; b. L a nd on neck a nd shoulder s, not head; c . Tuck tigh tl y - chin on ches t - roll: d . Hold tuck until you come to end of ta ble, le t fee t drop off .

III. F orwa rd Roll Variatio ns : A. Forward roll in pike pos ition, 1. Keep legs s t ra igh t - point toes , 2. Snap legs down o ve r e dge of table; B. Hand s tand into pike 1'011 ; C. F orwa rd roll not us ing ha nd s, 1. Extend a rm s from sides, 2. Tuck head a nd roll ; D. Dive Roll , 1. Move mini­t ra mp back from table 3 to 5 feet, 2. Take we ight on hands, 3. Finish as in fOl""\vanl r oll.

IV. H eadspl-ing (Figure 2) : A. Start on tab le - putting for ehead and ha nds on fa r end of table ; B. From squat, rock forwa rd, placing forehea d on end of table; C. As body fa ll s off balance and comes into pike position , extend hips forc ibly. At the same time push with ha nds.

V. Handspring (Figure ~) : A. Swing legs up as ha nds are going dOWl1; B. Keep elbows straight and look s traight a h ead. P lace ha nds on. far end of ta ble; C. Push with shoulders as legs snap over into arch; D. Bend at knees whe n la nding.

VI. Handspring Variations: A. F orward ha ndspring with 'h twist (round off), 1. Place hands on fa r end with fin g'er s pointing towa.rd n ea r end - c ross ri ght ha nd over left ; B. Forward handspring with full twist in a nd out.

vn. Back Handspring (Figure 4): A. As you s pring from lnini-tra nlP . s it back: B. 'rhrow hips to w a rd ce il­ing - pu sh off toes, draggirig knees; C. Throw h ead back with arms - watch fin ger s all th e way back ; D. L and on ha nds with elbows locked and stra ig h t; E. Flex hips snap rlown.

VIII . Front Som esault (Figure 5): A. May be done from a run approach 0 " fro m off the ta ble ; B . Spring high off mini-tramp lif ting with a rm s and shoulders; C. At h e ight of spring, tucl' chin to ch es t - be cautious not t o tuck too soon; D. Hold shin s a nd go into spin as you t uck; E. Pu t head back a nd open tuck t o land.

IX. Hara ni (Figure 6): A. Learned by doing front ha ndsprings over table w ith 'h twist : B. Get good high spring; C. L et legs fl y up fast, drop. h earl, watch table a ll the way over: D . When in ups ide down position sna p stra ight legs down at hips.

On e can not place to much stress and importance on proper "spotting" and safety techniques. To become a proficient "spotter" one must have practice, just as in learning a new stunt. However of equal importance is to be sure that the student has had a proper preparation for learning a new stunt. The student must have complete confidence in his spoller. Ahove all the student must be phys ically and mentally ready. A jarring fall on the first allempt a t a stunt may discourage a performer from at, tempting further e ffort s,

In part, the illustrations and information in thi s presenta· ti on were taken from "The Tumblers Manual" by Luporte and Renner. Although thi s book is for tumbling, it may be adapted to the tumbling table . For a close study on the various stunts and spotting .t echniques, this book may he consulted.

Figure J

Figure !i

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Figure 6

19

HOW TO TEACH A GIRL A "ONE ARM" By Bob May

Last year, the Tallahassee Recreation Department en· rolled 550 pupils in their regular winter gymnastic program. " To my knowledge", says Mr. Bob May, Director of the Tallahassee Tumbling Tots, "this is the largest number of children enrolled in tumbling at anyone place any where in the United States. During the summer the tumb· ling program goes outdoors and is conducted in the seven parks the Recrea tion Department serves.

Each summer, a new piece of simple "homemade" equip· ment':' is developed and made for each of the parks. Dia· grams are passed out to the parents of interested pupils, so they may build their son or daughter a similar piece of equipment to practice on at home.

Thi s year, a new piece of equipment has been made, called " H ANDSTAND GIMMICKS", which has already proved to help many youngsters learn handstands . . How· ever, it was primarily built to teach girls to do a one arm. The advantage of the " HANDSTAND GIMMICKS" is that it offers a very stable and reliable group from which the performer can control or "fight" his balance from all directions.

As you can see by the pictures, a one arm is learned in six steps, each of which requires many long hours of practice, but which are achieved much faster on the " H ANDSTAND GIMMICKS' than on the flat ground.

Very few girls do or even attempt to learn one arms. However, we feel that if this piece of equipment was built. in YMCA's, Recreation Departments, schools, etc., that

20

yo u would see many more girls enjoying the fun, physical fitness benefits, and satisfaction obtained from mastering the very diffi cult "one arm".

The cost of the "HANDSTAND. GIMMICKS" is about $1.00 and takes about an hour to build.

Each summer, the Tallahassee Recreation Department has a handstand contest. First, a winner is picked from each park on their ability to hold a handstand for the longest period of time. Then , a run off is held to determine a eity·wide winner. This year, the Department plans to also have a "one arB1" contest.

STEP #1 is to master a regular two arm ha ndstand. It is very important that the thumb be placed on the inside, two fingers on the front and two fingers on the outside of the hand gr ip. This a llows the performer control a'· " fight" from a ll directions.

STEP #2 is to learn a split legged handstand . Legs should be about 90° a part. These s teps are demonstrated by Kitty Grubbs, age 12, the 1961 Florida State Senior ''Vomen's tumblin g a nd trn,mpoline champion.

STEP #3 is to rock weight over on one arm ·us ing the thumb of the free ha nd to balance with. This gives the pC l'fornlcr a "feel" of a one arm plus putting all of h er ,,'e ight on her one arrll.

STEP #4 is to remove the thumb, lifting the arm to a horizontal position a nd thus dOing a split legged one arm .

STEP #5 is to bring the legs together. Each step shou ld be mastered well enough to hold for at least 10 second s before moving on to the next step.

STEP #6 is to bring the free arm up by the side. This is more diffi cult than the split legged one arm, but makes a very beautiful trick. ':' Snch as wobblers, jlunpsticks, balance beams, etc.

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21

I" I

Beach Album the1940's

"THE GOLDEN YEARS"

For over thirty years Barney Fry has taken thousands of balancing, pyramid, contest and Gymnastic action photos at the Santa Monica Beach Playground.

In order to comply with the many requests we receive for more balancing photos, here are some action shots from Barney's collection taken during 1940 one of the memorable golden years of fun and action at the Beach Playground.

Pictured here are many fine and unusual balancing tricks. Johnny Robinson's one elbow stand, three or four high pyramids of all descriptions, three giant swings on one bar, powerful Dewight Davis on the Rings, Howie Mandell on a one arm planche and many of the 01' gang, Pudge and Les Stockton, Bruce Conner, Russ Saunders, Paula Boelsems, ·Rand Hall, Deforest Most (Moe) , AI Jackson, Johnny Kornoff, Helen Smith, Bob Leonard, Harold Zinkin, George Redpath, Al Marco, Ray Saunders and Wayne and Whitey just to name a few .

Thou gh the days of the high pyramids and the holi­day shows have passed with time and removal of the Beach platform there are many treasured albums and photos such as these from Barney Fry to recall "The Golden Years" of Beach Balancing at the Santa Monica Beach Playground.

AS ~harl i • ....... B, Ch,di, Simm,

J UDGING TIPS .. .

Free-exercise is one of rhe events upon which there is much disagreement as to wha t ohj ect ive score to give an exercise. Probah lv the main reason for this is the factor of what r~a ll y makes up a top notch free-exerci se routine. Yo u, as a judge: are more or less prepared for the rin gs or any of the solid events, because yo u ha\'e a rea lm of ex ­uectation as to what will fa ll 0 \\ ; hut in free­exercise, the performer may do any thin g and everythin g to eke out over the one minute minimum time limit.

Let's start from the beginning. One of the most common mounts around these days is the round off flip-fl op (like that ) back full twi&ter to a stand. This is a move of superior difficulty, and if well done, will bring up any judge to expecta­tion of a strong routine to come.

My immediate reaction to this type of mount is to watch immediately for the gymnasts next sequence. Which will it be? A 1fz turn drop into a Swedish fall or a slight pause into another tumbling sequence across the area? In either case, it is almost certain that art: the end of either move­ment, the gymnast will attempt his strength trick. It may be a press to a handstand , and if so, watch to see that it is a " press," and not a snap .

Immediately alert yourself also to the possi­bility that the routine will be one consisting mainly of tumblin g movements, which is no detraction from the good tumblers who have turned into good free-exercise men, but remember the other elements that go into making a well rounded free-exerci se routine.

The mount should be of a difficulty that works to the routine as a whole, and if too easy for whalt follows, should be penalized. Conversely, if the mount is of superior diffi culty, witih th~ rest of the routine downhill in performance, the first move does not make a routine.

Watch the flow of movement from the difficult move to the easy one, such as a series of tumbling moves into a one leg stand. Balance moves are the place to spot the gymnast who has really worked his routine as a whole, polishing each part to perfection. I have been amazed at the number of good gymnasts who do excellent routines when it Gomes to the diffi cult part of their exercise, and then fumble and take hop steps to assume control on a simple balance move.

Watch the next sequence after a strength move. Is the gymnast working smoothly, or has his press (or hold ) taken something out of him th at makes him work in a labored manner. If so, he has wo rked over his head and will be penalized for an y mistakes he makes in the followin g moves, but he should also be penalized for fhe lack of elegance in the execution of his exercise.

Watch for the long holds in the balance stands or in the splits, or in any of the many obher stop positions one can assume_ Once the position is

24

attained, the simple one-twa-three count is suffi­cient. Anything much over this is a rest, and should be penalized _

Conversely, watch that any true hold position whether handstand (one or two arm variety), sp I its, one leg stand , p lanche, inverted cross, etc. , is held for a three count to show the move as being performed, a nd if under, should be penalized.

Watch ve ry closely on the dismount. Outside of the various deductions for any mishaps, the gym­nast who does mount with the superior move and then di smo unts with a simple round-off back done poo rl y, should be severly penalized.

Wa tch, most of all , that the gymnast does an easv flowin g routine that is well within his capa­bilities: tha t he does not tire easily, that tumbling is done with snap , strength \v;ith strength , balance with a lock, suppleness with ease, and a dismount with a good stand.

We are on ly scratching the surface willi suoh an outline, and when time and space permit we wi II go into definite breakdown of moves. Let us know if we are on the right track. For now, how is yo ur horizontal bar knowledge as to diffi culty of moves?

RATE THE FOLLOWING HORIZONTAL BAR MOVES AS TO DIFFICULTY B OR C

1. Mount with mixed grip, caste to double rear vault into free rear support, back sea t circle, caste back into German Giant_

2. From a hang below the bar with reverse grip -kip to handstand, immediate drop to reverse Stalder, one giant forward to hecht dismount.

3. Backward swing with full turn into free front sup· port, immediate free· hip circle backward to handstand, stoop through hands to rear support.

4. From a giant swing backward, stoop through between arms to free rear support, one circle, caste to Gennan giant, drop into one backward seat circle and pull out to % handstand position.

5. From a giant swing forward, squat through, one cirle forward and dislocate to an eagle giant, change to reverse grip and dismount with a somersault with a half twist.

* 'J':HI 'S

!a'::HI ''17 !a-a-J .£ !a -J'a .(; !J-a '1 S l:I3:&SNV

Gym Forul LET'S MODERNIZE GYMNASTIC JUDGING

By George V. Bauer University of Wisconsin Gymnastic Coach

Over the years, gymnastic judging has encoun,tered numerous critidsms. Many gymnastic enthusiasts believe the sport has n ot met with greater acceptance because of this one factor. In no other sport are officials expected to observe and make decisions on all phases of the activity, football (head linesman, umpire, referee), volleyball (umpire, referee), baseball (plate umpire, base umpire), etc. In gymnastics, each judge must award points for form , the number and type of gymnastic moves performed, and the proper use of equipment called composition. Above all, this must be calculated and flashed in approximately 10 seconds.

There is no doubt that the Federation of International Gymnastics scoring or rating scale is an answer to the judging problem at a given level of competition, but certain modifications are necessary for its use in inter­collegiate competition.

The F.I.G. catagorizes gymnastic judging in the follow­ing way - 10 points equals a perfect score comprised

Qf the fQIlQwin g cQmpQnents: 5 PQints maximum fQr exe­cutiQn, fQrm , style, cQntinuity; 3 PQints maximum fQr difficulty; 2 PQints maximum fQr cQmpQsitiQn (Appendix A and B).

The NatiQnal CQllegiate Athletic AssQciatiQn uses a 100 PQint sCQring system. Originally, the breakdQwn was as fQlIQws: 50 PQints maximum fQr executiQn, 50 PQints fQr difficulty and cQmpQsitiQn. The N.C.A.A. has accepted, by CQnsent, the principles of F .I.G. using this system as it fit s intO' the 50-50 PQint system Qf the N.C.A.A. The follQwin g sCQring system iS, assumed to' be in use: 5 PQints F.I.G. equals 50 PQints N.C.A.A. executiQn, fQrm, style, cQntinuity; 3 PQints F.I.F. equals 30 PQints N.C.A.A. fQr difficulty; 2 PQints F.I.G. equals 20 PQints N.C.A.A. fQr cQmpQsitiQn; TQtal 10 PQints F.I.G. equals 100 PQints N.C.lI.A.

The 50 PQints fQr perfQrmance and executiQn, as stated in Article 21 Qf F.I.G., needs nO' change Qr explanatiQn . DeductiQns are made in accQrdance with F.I.G. Articles 6, 7, 8 and 13, as well as SectiQns band c Qf Article 18.

SectiQn 2 Qf Article 16 (cQmpQsitiQn) cannQt be used as presented in the F.I.G. rules fQr judging N.C.A.A. gymnastics. This is impQssible as 10 Qf thees PQints are reserved fQr an QPtiQnal exercise shQwing sufficient dif­ference frQm the cQmpulsQry exercise. The N.C.A.A. dQes nQt have a compulsQry eexrcise. These PQints are either disregarded Qr are being used imprQperly in the judging. TherefQre, Article 18, SectiQn a, dQes nQt apply. SectiQns b, c, d and e can be used with a maximum Qf 10 PQints.

Article 19 cQncerning "difficulty" presents a few prob­lems. The ten parts can be recQgnized, but there are differences Qf QpiniQn as to' what cQnstitutes a A, B Qr C mQve. 'What are the fundamental A mQves and hQW simple can they be and still be classified as medium difficulty? AnQther prQblem is the exclusiQn Qf the trampQline and tumbling events in the F.I.G. rules.

Article 20, the difficulty rating, states that the gymnast can IQse up to' 30 PQints fQr lack Qf difficulty. It is diffi­cult to' understand because SectiQn a under Article 20 states that each principal part A is wQrth 2 PQints. If the rQutine did nQt include 4 Band 1 C, but was made up Qf all A parts, the perfQrmer CQuld receive Qnly 12 PQints fQr difficulty and nQt 20 PQints as is implied. HQw­ever, there is nO' prQvisiQn fQr substituting an A mQve fQr any Qf the Band C mQves, therefQre a cQmplete A rQutine shQuld receive Qnly 10 PQints fQr difficulty, nQt 20 as is implied Qr 12 as actually happens. It is stated that a B mQve can be substituted fQr a C mQve with a lQSS Qf 3 PQints.

Article 20, NO'. 5, a, states " If the difficulty Qf the 10 parts is less than 10 A parts, the to' tal PQssible SCQre CQuld be 70." A discrepancy exists. fQr it WQuld be impQssible to' receive the 20 PQints fQr cQmpQsitiQn under these cir­cumstances. Article 2 indicates that in Qrder to' have the prO' per cQmpQsitiQn, the perfQrmer must have A and B mQves in his rQutine. FQr example, a ring rQutine with proper cQmpQsitiQn must cQntain a handstand executed thQugh a swing (dislQcate shQQt handstand - uprise hand­stand). This mQve required in cQmpQsitiQn is of B Qr C difficulty and when Qmitted, reduces the cQmpositiQn rat­ing belQw 20 PQints. The same is true fQr the parallel bar and side hQrse, etc. TherefQre, a perfQrmer having all A mQves Qr mQves cQnsidered even less than A, Qr mediwn dificulty, shQuld in sO'me way lQse a PO'rtiQn Qf the 20 PQints fQr cQmpQsitiQn in mQst events. This leaves a maxi­mum Qf 50 fQr perfect executiQn, nQthing fO'r difficulty, and PQssibly SQme PQints fQr cO'mpQsitiQn but surely nQt 20.

Because Qf the abQve stated discrepancies and the diffi­culties invQlved with each judge trying to' evaluate the 50, 30 and 20 areas Qf the gymnastic rQutine, the fQllQwing changes are Qffered fO'r cQnsideratiQn:

1. Retain the 50 PO'ints fO'r executiQn and perfQrmance as stated in Article 21 Qf F.I.G. and SectiQns band c Qf Article 18.

2. Article 18 (cQmpositiO'n) be reduced to' 10 PQints and include Qnly d and e Qf said article. See attached sheet fQr A, B, C, D, E, F and G fQr compQsitiQn.

3. Add the 10 PO'ints Qf SectiQn a, Article 18, "If the cO'mpQsitiQn resembels the compulsO'ry exercise tQQ much" to' the difficulty pattern. This WQuld permit a maximum

Qf 40 PQints for difficulty to' be credited in the fQllQwing manner: (a) A mQves wQrth 2 PQints with a maximum O'f 10 PQints fQr difficulty, 10 PQints cQmpQsitiQn, and 50 executiQn, Qr a PQssible 70 PQints; (b) B mQves WQrth 3 PO'ints with a maximum Qf 30 PQints. Thus a routine with 10 B CQuld equal 30 PQints fQr difficulty, 10 PQints cQmpQsitiQn, 50 PQints executiQn, O'r 90 tQtal. AdditiQnal A mQves WQuld nQt CQunt tO'ward the difficulty scO're and thereby eliminate lQng rQutines; (c) C mO'ves worth 6 PQints fQr a maximum Qf 40 PQints. If it is cQnceivable that a perfO'rm er CQuld dO' 10 C mQves, he WQuld receive Qnly 40 PO'ints fQr difficulty. Here a perfO'rmer CQuld receive 40, 10, and 50, Qr 100 tQtal; (d) PQints WQuld be given (added) nO' deducted, Qn the 10 mO'st difficult Qr cQmbinatiQn mQves Qnly. For example:

F.I.G. SA 10 5 B 12 5C 6

Suggest. Suggest. Rating F.I.G. Rating 5 A - 5 A 10 5 A 10 5 B 15 4 B 12 4 B 12 5C 30 lC6 lC6

28 45 28 28 Max. 40

F.I.G. 4A 8 4B 12 4C 6

26

Suggest. Rating 4A 4 4B 12 4C 24

40

e. New Proposal: 5 (50) executiQn, fQrm, style, con­tinuity; 1 (0) prQper cQmpQsitiQn; 4 (40) difficulty -TQtal 10 (100) . Current F.l.C.: 5 exceutiQn , fQrm, style, cQntinuity; 2 cQmpQsitiQn; 3 difficulty.

4. Three judges WQuld be used instead Qf fQur. Their resPQnsibilites WQuld be as fO'llQws: (a) PerfO'rmance Qr executiQn judge. He will scO're up to' 50 PQints, maximum ; (b) The cQmpQsitiQn judge determines whether the gym­nast has executed the prO' per mQves fO'r the gymnastic apparatus. He will SCQre up to' 10 maximum; (c) The head judge Qr difficulty judge (and he shQuld be the best Qf the three) will keep a recO'rd O'f the A, Band C mQves and nO'tify the executiQn judge if the exercise is less than 10 mQves. The difficulty and cO'mpQsitiQn will still be judged the same, but if there are Qnly 9 mQves, execu­tiQn will be 9/10 Qr 45 PQints maximum fQr perfect eexcu­tiQn, Qr 45 minus PQints lQst fQr PQQr executiQn_ 8/ 10 equals 40; 7/10 equals 35; 6/10 equals 30, etc.; minus PQints lQst O'n executiQn.

5. The three scO'res WQuld then be added to' give the final tabulatiQn: ExecutiQn 32, CQmpQsitiQn 7, Difficulty 31, TQtal 70.

In cQnclusiQn, the principle Qf F.I.G. shQuld be retained with the adaptatiQns to' fit Qur cO'llegiate prQgram. The principles can be adapted to' the high schQO'l gymnastic prQgrams where frequently Qnly twO' judges are used. Under these circumstances, the head judge would scO're cQmpQsitiQn and difficulty while the O'ther judge WQuld sCQre O'nly executiO'n.

COMPOSITION REQUIREMENTS FOR EACH PIECE OF GYMNASTIC EQUIPMENT

1. (10) POINTS MAXIMUM SCORE A. Free Exercise: 1. Use Qf the entire 39' x 39' area;

2. RQutine nO' less than 1 minute nQr mQre than 11/2 minutes O'f time; 3. MQvements must include elements O'f: a. agility, b. balance. c. flexibility (suppleness) . d. strength, e. tumbling, f. fluid mQvement.

B. Trampoline : 1. A minimum Qf 10 and a maximum Qf 12 bQunces ; 2. FQrward mQvements; 3. Backward mQve­ments ; 4. Twisting mQvements; 5. Maintaining a central PQsitiQn Qn the trampQline; 6. Landing O'n sO'me part Qf the bQdy Qther than the feet.

C. Pommelled Horse: 1. CO'ntinuQus swinging wO'rk withQut hQlds Qr stO'PS; 2. Use O'f the three parts: neck, crQUp, saddle; 3. ScissQrs : a. regular and reverse, b. at least Qne perfO'rmed twice in a rQW; 4. Circles with twO' legs perfQrmed in bQth directiQns.

D. Parallel Bars: cQmbinatiQn O'f swinging, vaulting, strength, and hQld; 1. Elements Qf swinging to' predomin­ate; 2. NO' more than three hO'ld PQsitiQns; 3. At least Qne mQvement Qf strength ; 4. Change Qf directiQn mQves; 5. Releases : a. abQve the bar, b. belQw the bar.

E. Horizontal Bar: 1. Swinging and vaulting withO'ut hQld Qr pause; 2. Out bar wQrk; 3. In bar wO'rk; 4. Change O'f directiQn mQvements categQrized by: a. giant swing changes; b. twisting mQve; c. vaulting.

(Continued on page 30) 2S

1l1ino is S tate Team Winners: L. to R. , Sharon R usso (Attendant), John A. Fischer, Meet Manager, A l1en Brelig and Richard Minse r, Co-Copts. (Willowbrook - 2nd Tie). Jerry Fontana, Capt. ( York lI .5. - 2nd Tie) , Robert Ensa1aco, Capt. ( Proviso E. - 1st), K ay Burgener, Queen. At right, Karl Bu rgener - inverted cross on rings eluring finals of S tate Mee t. (Coach Victor Lesch - spotter) .

M eet Results ILLINOIS STATE HIGH SCHOOL FINALS REPORT

By Vic Leach and Wilt Weisbecker Approximately 3,000 spectators attended the final session

of the Illi no is State High School Championships for 1962. (There were less than 300 spectators for the first State Championships in 1958).

The state fin als are presently conducted in three sessions, wi th the preliminaries and the all-around competition held in two sessions Friday afternoon and evening. The high­light of the meet is the last session on Saturday evening which sees the top ten performers in each of the six events, as selected via the preliminary or qualifying ses­sions on Friday. Due to the increased number of entries, it became necessary this year (1962) to subdivide the state in to districts and hold three district meets for the purpose of qualifying contestants for the state finals.

The past fi ve years have seen a phenomenal growth in the number of teams competing. Evidence of this growth is shown as follows : 1958, 12 teams; 1959, 20 teams; 1960, 27 teams; 1961, 35 teams; 1962, 41 teams.

Those fami liar with the boom in gymnastics in this area can predict only greater success and a more wide­spread interest in future years. Many of the top per­formers from this past meet will return next year with more di ff icult and more highly polished routines. Also, numerous other schools in the area have expressed a desire in starting a program of gymnastics. With an expected ent ry of more than fifty teams and over 700 entries next year, one can conclude only that the future of gymnastics in this area is bright indeed.

WINNING ROUTINES Below are the first five placements in the All -Around

along with their Long Horse Vault, and the first three event winnin g and placing routines of the other events.

A LL-A ROUN D William Silhan, Proviso West, 805 (L-H Vault - Hand­

stand 14 turn cartwheel) ; Robert Ensaloco, P roviso West. 794 (Vault - Stoop from croup ); Ned Duke, Lane T ech, 766 (Hecht from neck ); Gerald Fontana, York, 757 (Stoop from croup); J ames Block, Niles East, 748 (Straight leg

26

stoop from croup ); Dave Trippe, Evanston, 748 (Hand­stand 1/1, turn cartwheel).

SIDE HORSE 1. Rober t Ensalaco, Proviso West (l!l2): (croup) Double

in - circles - russian moore - circles - double out - double in - circles - regular scissors . reverse circles - reverse scissors - circles - downhill tromlet - 2V2 loops dismoun t.

2. George Husser, Proviso East (181) : (croup ) Flank on end - loop - uphill tromlet - immediate downhill trom­let - double in - circles - tromlet double in (without touch­ing end of horse) - circles - r everse sciessors (2 ) - reverse circles - regular scissors (2 ) circle - downhill tromlet -2% loop dismount.

3. Richard Anderson, Prospect (167) : (neck ) Moore mount - circle . loop - circle - uphill tromlet - circle -moore . circle - moore - circle - reverse scissors - reverse circles . scissors . undercut - circles . downhill tromlet -circle . loop off dismount.

HORIZON TAL BA R 1. Gerald Fontana, York (182 ): Takemoto (Jam cast V2

twist . reach under flank over ) - kip - hop change to reverse grip above bar - reverse giants - stoop thru - dis­locate - eagles hop to reverse grip immediate pirouette -regular giants - straddle hecht dismount.

2. Stanley Thompson, New Trier (1 73): Cast to reverse giants - pirouette reach under flank over - hop change under bar - kip V2 turn to regular giants - blind change to mixed grip - kris care - underswing to back uprise full twist - kip to regular gian ts - full twist dismount.

Tie 3. Allen Brelig, Willowbrook (172): Back uprise -free hip - regular giants - cross change - reverse giants -roll to eagles - hop to reverse giants - full pirouette - pirou­ette - giants full twisting flyaway.

Tie 3. Robert Ensalaco. Proviso East (172): Regular grip kip hop to eagle - hop to reverse giants - reach over flank over - reverse kip - german giant - flank out - kip -regular giants - flyaway.

PA R ALLEL BA RS 1. Kenneth Wiegand, Thornton (186) : Loop support -

straddle out - L - straight arm straight body press to handstand - back sommie . stutz - loop - back uprise stradd le cut - swin!! handstand - stutz - lower down - front uprise - front off. ~

, ..

2. Jerry Russell, Arlington (182): Peach support· loop support· straddle cut - "L" - press handstand· back sommie . stutz . loop . back uprise . straddle cut - cast back .front uprise - front off.

3. J erry Crowder, Thornton (176): Peach support . stutz - swing handstand . back sommie - stutz - swing pirouette . drop peach support . swing handstand - stutz -front off.

RINGS 1. Elliott Pearl, Niles East (187): Straight body pull to

inverted hang . reverse kip - "L" cross . drop legs roll forward and pull to straight body front roll to handstand· back roll - olympic cross - roll to inverted hang· dislocate shoot to "L" . press out to momentary planch - drop to straddle cut off.

2. Karl Burgener, Willowbrook (182) : Slow flex to handstand . inverted cross - regular giant . front cast . back uprise - back roll - L - straight body forward roll to hollowback handstand - planch to olympic cross . forward to back lever up to back uprise - drop back - dislocate -straddle cut off.

3. Lee Lindquist, Glenbrook (176): Pull to " L-cross" -up to L - forward roll to hollowback handstand - regular g iant - fall out - back uprise to olympic cross - fonvard to back lever - pull to straight body inlocate - back uprise handstand - back roll to cross - up to L - drop back reverse kip to shoulder stand - cast flyaway dismount.

TUMBLING 1. Douglas Reynolds, Pekin (190): a. R.O. - F.F. - Full -

F.F. - Double Full; b. R.O. - F.F. Blf.! - R.O. - F.F. -Double Full; c. Fr. - Tinsica - Fr. - Tinsica - Fr. - Fr.; d . R.O .. F.F. - Ba. Ba. Ba. - F ull .

2. Harold Shaw, Urbana (183) : 1. Fr.-hdsp. Fr. - Tinsica - hdsp. - Fr.; 2. R.O. - F.F. - Full - F.F. - Double Full.; 3. R.O. - F.F. - Ba. - F.F. - Balj2 - RO. - F.F. - Double Full; 4. R .O. - F.F. - Ba. - Ba. - F.F. - Full.

3. Wm. Downing, Maine West (180): 1. R.O. - F.F .. Ba - Double Full; 2. Fr.-hdsp. - Fr. - roll - Fr. -- roll - Fr.; 3. R.O. - F.F. - Full - F.F. - Full - F.F. - Ba. - Fr.; 4. R.O .. F.F. - Full - F.F. - Full - F .F. - Ba. - Fr.; 4. R.O . -F.F. - Ba. - Ba. - F.F. - Full - Ba.

TRAMPOLINE 1. Ray La Francis, York (179): a. Double back "piked" back - double back - double full - double back - rudolph back - randolf; b. Branie out fliffus - double back -

back - rudolph - double full - back - double full - triple full.

2. Clay Christman, Arlington (176): a. FIiffus - Fliffus -back - double full - rudolph - back %, - full cody; b. FIif­fu s • double full - back - Fliffus - branie - back - double full - triple full.

Tie 3. Dale Hardt, Niles East (170): a. Branie in fliffu s - full - back - full - branie out fliffu s - double full -rudolph - double back; b. Branie out fliffus - double back - double back - rudolph - back - full - double full - triple full .

Tie 3. Joseph Dupree, Rich (170 ): a. Branie out fliffu s - double back - rudolph - double full· double full - back -full - randolph; b. Branie out fliffus - branie out fliffu s -double back - rudolph - back - full double full - triple full.

GYMNASTICS PROGRESS IN NEW JERSEY By Marvin H . Speidel, Physical Director

Elizabeth Turners New Jersey is enjoying a revival of interest in gymnastics

as ev idenced by the 148 entries and more than 300 spec­tators at the recent Age-Group Development Meet sponsored by the Elizabeth Turners in their own gym. We have no gymnasts of the calibre of New J ersey's former greats, both Olympians and National Champions, but we do have many youngsters who show considerable promise.

This meet, held Sunday afternoon. April 29th, was direc­ted by myself, assisted by Maria H emko and George Chris­tow of the Turners staff, and H elen Schifano Sjursen, Nancy Kromer, Milt Berkowitz, Eli Snyder, Ralph Di Nicola, Ernst Koerner, Frank Richter, Tom Dunkley, Carl Willen brock, and Fred Klawunn.

Entries represented of following clubs: Elizabeth Turners,

National Turners of Irvington , Passaic Turners, Carlstadt Turners, Union Hill Turners, Swiss Turners of Union City, Paterson Swiss Turners, J ersey City YMCA, Newark YMCA, Fanwood-Scotch Plains YMCA, Paterson YMHA, T. J. Sokol of Little Ferry, St. P eter's Prep School, Free­hold High School, Newark Schools, East Brunswick Schools, Union Schools, and East Orange Schools.

All-Around and Event Winners were as follows : Girls, 12 Years and Under

All-Around: 1. Katerine Yeo, Elizabeth Turners, 67.0; 2. Donna Pinteralli, Swiss Turners Union City, 65.3; 3. Jan e Cowell, :\'ationa l Turners Irvington, 64. 5.

Free Exercise: l. Donna Pinteralli, Swiss Turners Unjon City; 2. J ane Cowell , National Turn ers Irv ington ; 3. Ka th­erine Yeo. Elizabeth Turners.

Tumbling: 1. Katherine Yeo. Elizabeth Turners; TIe 2. Janet H unt, Fanwood Scot P lains YMCA and Marie Mills, Pa terson Swiss Turners.

Buck Vault: 1. Katherine Yeo, Elizabeth Turn ers; 2. Carol Kuterka , National Turners Irvington; 3. J a ne Cowell, National Turners ll-v ington.

Boys, 12 Years and Under All-Around: 1. Louis Rose, Swiss Turners Union City ,

~ 8 .0; 2. Douglas Bohrer, Paterson Swis s Turn ers, 64.8 ; 3. John Kuterka, National Turners Irvington, 61.7.

Free Exercise : 1. ,John Kuterka, Tational Turn ers Irv­ington; Tie 2. Louis Rose, Swiss Turners Un ion City and Da nny O'Connor, East Brunswick Schools.

Tumbling : 1. Louis Rose, Swiss Turners Union City; 2. J ohn Kuterka, National Turners Irvington; 3. Douglas B ohrer, Paterson Swiss Turners.

Buck Vault: 1. Louis Rose, Swiss Turners Union City ; 2. Douglas Bohrer, Paterson Swiss Turners; 3. Jeffrey Gallup, Union Hill Turners.

Girls , 13-14-15 Years All-Around: 1. Betty Haas, Swiss Turners Union City,

87.1 ; 2. Renee Royer, Paterson Swiss Turners, 82.6; 3. Judy Bohrer, Paterson Swiss Turner s, 80 .9 .

Free Exercise: 1. Betty Haas, Swiss Turners Union City; Tie 2. Renee Royer, Paterson Swiss Turners a nd Judy Bohrer, Paterson Swiss Turners.

Side Horse Vault: 1. B etty Haas, Swiss Turners U nion City; 2. Renee Royer, Paterson Swiss Turners; 3. Ka.ren Zwerver, Pa terson Swi ss Turners.

Balance Beam: 1. Betty Haas, Swiss Turners Union City; 2 .Renee Royer , Paterson Swiss Turners ; 3. Judy Bohrer, Paterson Swiss Turners.

Uneven Bars: 1. Ka ren Zwerver, Paterson Swiss Turn­ers; 2. Betty Haas, Swiss Turners Union City; 3. Judy Bohrel', Paterson Swi ss Turners.

Boys, 13-14-15- Years All-Around: 1. Richard Di Nicola, Elizabeth Turners,

79.8 ; 2. Robert R eppert, Union Schools , 79.6; 3. Robert Cowell, Nationa l Turners Irvington, 77.3.

Free Exercise: 1. Robert Holland, Jersey City, YMCA; Tie 2. Leonard Hekel, Swiss Turners Union' City and Robert Reppert, Union Schools.

Tumbling: 1. Robert Holland, Jersey City YMCA; 2. L eonard Hekel, Swiss Turners Union City; 3. Joseph Czukras, Swiss Turners Union City.

Parallel Bars: 1. Robel:t Reppert, Union School s'; 2. Stanl ey Nakonechni, Newark YMCA; 3. Ralph l\1anaker, ?\alional Turners Irvington.

Long Horse: 1. Robert Holland, J ersey City YMCA; 2. Sta.nley Nakonechni, Newark YMCA; 3. Robert Cowell , Nat ional Turners Irvington.

Ladies, 16 Years and Over All-Around: 1. Edie Novotny, Sokol Little F erry, 81.1;

2. Celia Sirignano, Union Hill Turners, 78.5; 3. Cynthia Nerone, Sokol Little Ferry, 71.2.

Free Exercise: 1. Celia Sirignano, Union Hill Turners; 2. Edie Novotny, Sokol Little Ferry; 3. Cynthia Nerone, Sokol Little Ferry.

Hqrse Vault : 1. Edie Novotny, Sokol Little Ferry; 2. Celia Sirignano, Union Hill Turners; 3. ~ynthia Nel'one, Sokol L ittle Ferry.

Balance Beam: 1. Edie Novotny, Sokol Lttle Fen'Y; Ti e 2. Cynthi a Nerone , Sokol Little Ferry and Celia Sirignano, Un ion Hill Turners.

Uneven Bars : 1. Edie Novotny, Sokol Little F erry; 2. Celia Sirignano, Uniotl Hill Turn ers; 3. Cynthia Nerone, Sokol Little F ert'Y.

Men, 16 Years and Over All-Around: 1. Robert Lee, Jersey Ci ty YMCA, 89 .7; 2.

"Verner Sorsch, Paterson Swiss Ttfrners, 82.4; Tie 3. William Holy, St. Peter's Prep School a nd Covert Erkel­ens, Nationa l Turners Irvingtcm, 78.9 .

Free Exercise : 1. William Holy, St. Peter's Prep School; 2. Robert Lee, J er·sey City YMCA; 3. Robert McKenna, Snyder H.S., Jersey City.

Long Horse: 1. Robert Lee,. Jersey City YMCA; 2. Rob­ert McKenna, Snyd er H.S ., J e rsey City ; 3. Charles Pi lger, J er sey iCty YMCA.

Parallel Bars : 1. Robert Lee, Jersey City YMCA; 2. '~7erll e r Sor sch, Patel'son Swiss Turner s; 3. William Holy, St. Peter 's Prep School.

Hor izo ntal Bar : 1. 'Verner Sorsch, Paterson Swiss Turner s : 2. Richard DiNicola, Eliza beth Turners; 3. Robert L ee, .Jer sey City YMCA.

27

Los Angeles City High School Champions: Top Row, Left to Right, Higgins, Montero (Meet High Point Man), Hernandez. Bottom Row, Hernandez, Alba and Bautista.

LOS ANGELES CIT Y SCHOOLS G Y MNAST : CS CHAMPIONSHIPS

Venice High - June 1, 1962 RESUL TS

R ope Cl imb: 1. Field, Birmingham, 3.3; 2. Tracey, Poly, 3.4; 2. Gordon , T aft, 3.4; 2. Goldstein, Univer sity, 3.4; 5. Johnson, Fremont, 3.5.

Horizontal B a r: 1. Heroandez, Wil­son, 18.8 ; 1. Higgins, Reseda, 18.8 ; 3. Montero, W ilson, 17.9; 4. Hul se, H un t. Park, 17 .1 ; 5. G unny, W est ­ch ester, 17.0.

P arallel B a r s : 1. Hernandez. Wil­son, 19.0; 2. Montero, Wil son , 18.8 ; 3. Baca, V enice, 18.5; 4. Sakamoto, L.A. , 17 .9; 4. Glissold, S. Gate, 17.9.

R i ngs: 1. Sakamoto, L.A. , 18.4 ; 2. Montero, ,"Vi l son, 18.3; 3. '!\lason, S. Gate, 17.9; 4. Byers, \Ves tchester , 17.7; 5. Robi so n, N. Hollywood, 17.4.

F re e E xe rcise: 1. Bautista, \ Vilson, 19.2; 2. Magdal eno, ,"Vilson , 18.6; 3. Cohn, Gardena, 17.7 ; 4. IVl c I(enn ey. L .A ., 17 .6; 5. Sakamoto, L.A., 17.5.

Side H orse: 1. Alba, ,"Vilson , 17. 9; 2. K lump, S. Gate, 17.5; 3. Yonenaku, L .A., 17.4; 4. Kamei, Poly, 16.8; 5. Otsuji, Venice, 1fl.7.

L ong H orse : 1. Redding, Frem ont, 36.6; 1. B linder, ~Westchester , 36.6 ; 3. Sakamoto, L.A. , 36.5; 3. Millman, Mal'shall , 36.5; 5. Synstel ien, San P edro, 36.4; 5. Montero, \ Vilson, 36.4 .

Tumbling: 1. M illman , M arsh a ll , 18.1; 2. Wimberl ey, Jefferson, 17.7 ; 3. \Vonder lie, Cleve land , 17.6; 4. Segal, L.A., 17.3 ; 5. Lyn ch, Reseda, 17.0.

High Sco re Men : 1. Monter o, ,"Vil­son, ll'h ; 2. Sakamoto, L.A. , 10; 3. Hernand ez, \ Vilson, 9'h; 4. Mi llman , Marsh all, 7'h; 5. Field, Birmingham , 5; 5. Bautista, \ Vilson, 5 ; 5. Alba, Wilson, 5.

WINNI NG ROUTIN ES Free Exercise : Ton y Bautista (Wil­

son) - Leg l ift, h a ndspr i ng front

28

h a ndspring fall to Swedish f aJI. Matista t o birdie, walk over back a l'ch over to c hest r ock-up . 'h turn to r ound-of f flip flop Arabian dive !'O il stiff l eg ri se . Handspring to sid fl a nge h a l f tUI'll to chest stand . Press to h a ndstand wa l k - out. Handspring to support. Turn Valdez hand sta nd to sh oot through to sp l its, a rm c irc l e to splits h ead knip 'h turn round off flip fl op back.

Hori zonta l Bar : T en-y H iggins (Reseda) - Upri se, stradd l e over bar, catch , cas t to Gernla n , shoot uprise, cast turn under , whip to h a nds tand, r each und er to bar vault, kip hop t o bac k g' l~nt, c ha.nge .to fron t ,inl ln edi ­a.te ,,'hip ~hange, i'fnnled iate cha nge to front gIants. flyaway.

H o r izonta l B a r: Raul H ernadez ~Wilso!,) - Flange to back giant, Ilnme(hate h op t o front giants, r e ­ver se st a ll to shoo t , h op to di sl ocate giants, hop to front giants, pirou ette to vau l t catch , to imm ediate 'h turn to s tradd l e c ut, t o kip h op fro n t giant, h echt.

Sid e H o r se: R ichard Alba (\~Tilson) - Roy l\'Ioore to h ig hs, moore inl­rnediate h igh trave l i nlnl ediate' r ear ill. R ig-ht a n d l eft iront sc iRsor s , a l­ternate to u n der leg cu t, 1'h r ever se h Igh doubl es, back to h ig h s, hig h travel , ~ l oop s Olympic.

P ara ll el B a rs : Rau l H erna nd ez (WIlson) . - Under bar, hop turn , Rtutz, dnp front rise Roy Moore to "L". Stiff a rm l eg to h andstand over b a r stu tz, drop front cas t stmddle cu t, h andstand, over bar, back layout off.

Ri ngs: Sakamoto (Los Angeles) -H a n g- pull to a cross , rise to " L" planc h e, r oll to kip to in verted pull to h ~ n<lstand, giant t o handstand. Fall throu g h handstand to c r oss fra nge to "L" hollowback to hand~ stand roll to back l evel , disl oca.te l ay ­out, dismon nt.

L ong H orse: Richard Blind er ~~,~~~~~;?ter) - A. Handspring; B.

L ong H orse : Frank R edding (Fre ­mont) - A. Giant Cal' twhee l ' B Stl'aight arm Handspring. , .

SO . CALIF . JUNIOR COLLEGE FINA L S

May 11, 1962 T ea m Scores : Pasadena (P), 71;

Valley (V), 27 - 5/ 6; Tra d e Tech (TTL 12; Long Beach (LB), 11 ; Hal'bor (H), 9%; Santa Monica (SM) , 6; San An ­tonio (MSA), 4; E as t L .A. (ELA), 2; Los Ange l es C.C. (LACC), 2/3; P i erce (Pi) ; E l Camino (EC).

All -Around : Gary Buckner (P), 74.9; Rusty Rock (V), 74.4; Bill Wolf (P) 73.0; Bob Diamond (V), 69. 8; J oh"; Christensen (H), 68.9.

Rope Cl i mb : Ung (TT), 3.2; Farber (V), 3.4; Sunderland (P), 3.4; Ortiz (ELA), 3.5 ; Grissett (LACC), 3.6; T a k aki (V), 3.6; Kantanasa (LACC), 3.6.

Free-Ex: Chamberlain (P), 18.8; Cu r t i s (MSA), 18.3; Rock (V), 18.0; C hritsen sen (H), 16.7; D i a mond ( V ), 17.6.

High Bar: Buckner (P) , 19 .4 ; Wolf (P), 19.1 ; Rock (V), 19.0; Smith (V), 18.7; W illiams (P),' 17.6; G i bson (H) , 17.6.

Parallel B ars: Nich ol as (P) , 18. 8; Roc k (V) , 18.8; Buckner (P) , 18.4 ; W ol f (P) , 17.2; Gibson (H) , 16.7.

L ong Horse: Kinmont (SM), 38.4; Bar keley (LB), 37.5; Chamberl a i n (Pl, 37.3; Buckner (P), 36.8; Christensen (H), 36.7.

R i ngs : Wolf (P), 19.2; N ic hol as (P), 19.0; Diamond (V), 18. 8; Buckner (P), 18.7 ; Rock (V), 18. 6.

Tumbl i ng : Chamberl ain (P), 19.8; C h ri stenson (H) , 19.0; Barkeley (LB), 18.4 ; Baldwin (P), 18.3; Bennett (P). 18.3.

Rusty Rock of Valley doing a caste·front sammie dismount at the Jr. College Championships.

Dear Glenn: I think that your readers might be

interested to know that eleven years ago I had an "incurable and hopeless" case 0/ arthritis and my right arm was paralized for a year ...

So when the doctors gave up I didn't. I started to study medical science and nutrition and started the exercises. I couldn't even hold a pencil so would pull up a chair under the horizontal bar, climb on it, take my paralized right arm with left hand. for ce it up . lay it on the top 0/ the bar, grab the bar with the Ie/ t h and, kick off the chair and ... find myself on the floor being unable to stay on th e bar . . .

However determination and hard will made possible what seemed not to be possible: day after day in the local gym I worked for about 30 minutes a day, but EVERY DAY, including Sun. day for about a year. Then I was ready to think to try a kip . It was a failure. More work. Another year. The hand· stand. The planche, etc. So since 1955 in the gym (l am 56 years old now), T managed "to do the impossible" as my doctor said and came back into shape again so that quite many young men are envious . . .

Of course I am a former gymnast: in 1924 T've got my Ph.E. Credentials and in 1926 I participated at the "Sokolski Slet" in Praha but then I entered the Military Academy in Bel· grade and had no time for gymnastics.

In ]934 I became the military skiing champion of Yugoslavia and was teach· in/{ skiing and training the outstanding shers. But no gymnastics.

L!1;st year I organized a small gym· nast~c group at the Presidio of Mon· terey where I am teaching the Russian language, and was able to give six public periormances in Monterey, Ford Ord and Watsonville with· excellent results.

On the enclosed photo you will see my way of fighting and curing arthritis: one hand handstand on the same arm that was paralized.

Gymnastically yours, Serge Sinkevich Monterey, C alii.

Modern Gymnast, P. O. Box 611, Santa Monica, California Dear Sir:

I would like to inquire about a weight trainz:ng plan. I need this plan to build up my strength for the Olympic apparatus. If you have such a plan would you please send it to me. Thank you.

Gymnastically yours, Eric W. Metcalie Saskatoon, Saskatchwan, Canada

ED. : Many of the Gymnasts we know train with wall pully's and dumbell exercises. However for further information you might wTite to the Marcy Equipment Co. who specialize in weight training programs. See M.G. Billboard for their ad.

* * ;;: *

Dear Glenn: Please keep up the good work with

The Modern Gymnast. I think it {s one of the best for the spor·t.

I have not been connected with the sport from a coaching standpoint here at Santa Paula High for the last five yea,s, but am still interested in it.

Sure sorry to hear that the Colleges are cutting out the Rope Climb. I think there is a real need for indio vidual competition as all boys are not al·around performers, just like track men are not all·around track men. Shot, high jump, sprints and distance.

From a fo rmer Rope Climber and record holder in 33, 34, 35, 36, 37, 38 and 39. 25 ft. at 5.1.

Randall A . Bryden-830 McKeuett Road Santa Paula, Calif .

* * * :;:.

Serge Sinkevich

29

( Continued from page 25)

F. Still Rin .lSs: 1. No swing of the rings; 2. At least two handstands : a. one handstand executed through strength; h. one handstand executed after passing through a hang or semi· inverted positio'l ; 3. At least one strength move : a. crosses, h. levers, c. planches; 4. All holds must he fore 3 seconds.

G. Tumbling : 1. Back tumbling; 2. Front tumbling; 3. Twisting moves ; 4. A maximum of four trips down the mat executed in no more than 1% minutes.

* .r,. *

USED GYM EQUI"M~NT : Parallel Bar Roils 1 0 ft ., new but slightly warped, $19.95 pair; Climbing Ropes 18 ft., $14.00; Horse with pommels, $85.0.0 (no casters); Nissen Trampoline Pit Un its, web bed and springs,. $ 150.00; Finner-Hamilton, 1 C by 17 - web bed cables and pods, $350.00. GYMNASTIC SUPPLY CO., Box 1067, Son Pedro, Calif.

MEN'S GYMNASTIC PANTS: Mode from finest double stretch nylon in White or Navy. Pr ice $12.95. These are mode to measure so be sure 1·0 include accurate measurements as follows: Waist, Hips, Thigh , Calf, Ankle , Inside and Outside leg length. Please. send money order or check with order to : THE GYMNAST, Glenwood, The Pork , Sidcup, i<ent, England.

COACH: For that EXTRA POWER consider a weight-training program for your gymnasts. Send for our illustrated cata log today - with what ever specific Quest ions you may have. We will be glad to help you get started using ,he latest weillht traininll syst ems. Write t o. MARCY GYMNAS IUM EQUIPMENT CO., 1398 Sunset Bl vd. , Los Angeles 26, Calif .

TH E GYMNAST: The Official Magazine of the Amateur Gym­nastic. Association of Great Britain . Filled with News, Results , Photos and Instruction of gymnast ics in Great Brita in and the Continent. Published Q"arterly . Send $1 .00 for a year's subscription to : J. P. PRESTIDGE, Glenwood, The Pork , Sid­cup , Kent, Great Brita in. (Single copies may be obtained from the Sun-Bee Gym Shop, 11756 Gorham Ave., Los Angeles 49 Californiia - for 25c) .

SPECIAL: Gymnast ic Pants (Reject Seconds) $5.00 ppd. 100% wool, cream in color. Thin and tight but excellent for work­outs. Up to 30V2" waist only. State waist and inseam measure­ments. Order From : FRANK ENDO, 12200 So. Berendo Ave ., l.A. 44, Col it.

M.G, BILLBOARD: DO you have something to sell , New or Used . Place on ad in the M.G. BILLBOARD for Quick results . Just $2.00 a line (Minimum Ad $6 .00) . M.G. BILLBOARD, Box 611 . Santo Monica, Calif .

THE MODERN GYMNAST PHOTO CONTEST is open to all readers of the M.G. the World over,

There will be prizes for 1 st, 2nd and 3rd place winning photos which are printed in forthcoming editions of The Modern Gymnast , .... 1st place - $10 ,00 Gift Certificate for books advertised in the M.G. Bookshelf or by Fronk Endo,

2nd place - Complete set of bock edition M.G.s, Volumes I and II.

3rd place - Gift Subscription to The Modern Gymnast,

Honorable Mention Award . , . Gift subscription to "The Gymnast" (British Publication), Any Photo Marked Photo Contest and used elsewhere in the M.G. will receive Honorable Mention Award.

PHOTO BALANCING COURSE This course shows you all the different ways to press-up to a handstand and to do such advanced balances as Tiger-Bends, one-hand balances, Pirouettes and Planches,

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them to be 01 the finut con struction and performance, and Ilighly recom· mend them. "

Norman (Die") Holto . pf.1 Vo,.ity Gymrlo.tin Coach Univ.,. ity of Iowa

"for ql,lolity, performance and lervice, I recommend American Trampolines."

lorry Grilwold A..,thor of "Trampolin. T..,mbling"

"During my years O~ 0 cooch uled many brand. of trampol ine" and hove ,e lected American Trampolines for use in my program, as I consider them to be the firlut available ."

Chorli. Pond VCHlity Gymnolliu Coach Univ. ,.ity of lIIinoil

"I have fo und American Trampoline. to be of the highest qualily. I highly recommend American lor top perform. once and long life ."

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