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THE MOPERN GYMNAST P. O. Box 611 Santa Monica, California 90406 Dear Sirs: Please send me a SubscriptiOn to the Modern Gymnast magazine: Name __________________________________________ Address City _________~. ______ State _________ Zip,_ __

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AMERICAN THE INTERNATI

YMBOL OF QUALITY )

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IN GYMNASTIC AND GYMNASIUM EQUIPMENT t TRAMPOLINES, AND ATHLETIC FIELD MARKING EQUIPMENT The American lines are first in quality, performance and design . . . the true marks of a thoroughbred. Only the finest equipment displays the American medallion ... available to your school through purchase or lellse. See your American Distributor today. You can always depend on him for unexcelled service because only top distributors sell American. Write now for our new 1966 Catalog cmd the name of your nearest American Distribu'tor.

JEFFERSON, IOWA, U.S.A.

M/Ie G. letters . . .

Dear Sundbys: .. . Mademoiselle Gymnast, merits my commendation and applause. The one thing that is the greatest is the artists' appreciation of the artistry of movement as seen in today's modern girl gymnasts . . . . If I could purchase any of the Milan Med engravings of hoop, ball and rope that were available at the recent 2nd World Modern Gymnastics Championships held in Prague Czechoslovakia it would be appreciated. VOLU ME 1 No. 2

SPRING 1966

CONTENTS LETTERS ..................................................... ,................ 4 EDITORIAL COMMENTS .......... ........... Barbara Sundby 5 MINNESOTA STORY ........................ Mary Ann Bayless 6 MADEMOISELLES FROM NORWAy .............................. 10 TIIDUS GIRLS ........................................ John Nooney 12 II WORLD CHAMPIONSHIPS ....................................... 14 THORNTON HIGH SCHOOL ......................Sharon Pirkl 20 BEAUTY OF MOVEMENT ........... _........ June Huddleson 24 INSTITUTE ON GIRLS SPORTS ......A. Bruce Frederick 25 BALLET FOR MLlE. G. .......................... Grace Kaywell 28 TRAM POLINE TIME .............................. Abbey Rob inson 30 UNBALANCED SPLIT .............................. Helen Sjursen 32 GYMNAST'S PERFORMANCE ................Marge Gerstadt 33

COVER: This very speci al Mile G. cover photo of Swedish gymnast Birgitta Gulberg was taken by world famous magazine photographer Don Ornitz. Don has done many color features and covers for life, Look, Popular Photography and fashion magazines.

GLENN M. SUNDBY- Publisher BARBARA B. SUNDBY- Managing Editor

Mademoiselle Gymnast is published Quarterly; Winter Spring, Summer and Fall. Price: $3.00 per year, 75c single copy. Subscription correspondence, Box 777, Santa Monica, California 90406. Copyright 1966 all rights reserved by Sundby Publications, 410 Broadway, Santa Monica, Cal iforni a 90401.

. .. I am enclosing a photo so you can see what can be done with gymnastic drawings in a teen-age girl's room .. . I was pleased to see our daughter do simple crayon drawings of something she enjoyed doing herself. I enclosed the photo only because you started your first issue with the art interpretation of a beautiful sport, "Gymnastics" . . . . "Mademoiselle Gymnast" . . . a very feminine name for a fine magazine-we like it very much. Sincerely, (Mrs.) Cedric Miller Richmond, Indiana Past DWGS State Gymnastics, Chairman We have had many inquiries about the availability of Mr. Med's paintings and engravings. In correspondence with Mr. Med we have made arrangements to have some of his works available for purchase by Mlle. G. readers in the near future ... we have also had many other favorable comments on our choice of MADEMOISELLE GYMNAST for the title of our magazine. -Editor Dear Mrs. Sundby: What a well done Vol. I No. 1 of Mlle. G. Everything was in such good taste and well informative. Photography, layout, articles- everything well done and interesting. Thanks and congratulations. A contented subscriber, Gloria W. Fisher Granada Hills, Calif.

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MLLE. G. JOY

Managing Editor - Barbara B. Sundby

It is a real joy to look over all the material and suggestions that come into the Mlle . G. office from our readers, for possible publication in MADEMOISELLE GYM NAST. Without it, there would be no magazine. By continuing the large type , large photo format of our first editions, we have selected for this issue , articles and photos we feel would be most interesting and educational for you. How do we make these selections? How much material do we have to choose from? What is acceptable? Should the material be all ready to go to into the magazine? These are some of the questions you may ask if you are an interested reader with material to submit. As MADEMOISELLE GYMNAST is a new publication, we do not have a large backlog of ready material, but we do have many books, educational materials, photos and suggestions from which we can develop articles for publication . We give top consideration to unsolicited articles that are of inspirational or instructional benefit to our readers . The more complete the article, the easier it is for us to edit and work into final form for printing. This means that all photos or illustrations should be marked and captioned. When possible, their suggested order should appear with the article . Also, indicate the preferred choice of order of use as space may not always permit the use of them all. For reproduction purpose, we prefer glossy 4x5 or 5x7 photographs or even jumbo prints to work with. Gathering all the material and getting the magazine ready for press sounds like fun , and in many ways it is because we enjoy editing the Mlle . G. for you the educator, as the aim of MADEMOISELLE GYMNAST is education and inspiration. There were many hours of photo work, proof corrections, and layout decisions to get this edition of MADEMOISELLE GYMNAST ready for the printer not to mention the time taken in national and international correspondence gathering the material.

We received several letters asking more about the 2nd World's Modern Gymnastic Championships, so we wrote to our artist friend, Milan Med in Czechoslovakia . He sent us photos of the competition, along with another one of his beautiful engravings , which you may wish to frame, as many did with the large one from the last edition. He also had Mila Hanzlikove send us a written report (in Czech) which we sent on to Mildred Prchal in Chicago for translation (thanks Mildred) . Our "Minnesota Story" was the result of receiving liLa Gymnastique, " the Minnesota DGWS Newsletter. When we read of the many wonderful thin15s that were happening for women's gymnastic growth in their state, we just had to write and ask them to share their report with you. The Illinois High School report went through three drafts by our Illinois representative Jackie Uphues of Chicago, before it came to us for publication. " Mademoiselles From Norway" was the result of our publisher's trip to the AAHPER Convention in Chicago. liThe Beauty of Movement" article was an enthusiastic reply by June Huddleson, after seeing our first edition . We could go on about other articles in this edition, and ones planned for the next issue , fact is we are quite thrilled and excited about the MADEMOISELLE GYMNAST and what the future has in store for her and you. We hope you are just as excited about the wonderful growth of women 's gymnastics in America, and look forward to hearing from you about the progress in your area.

1. Pat Lamb of Carleton College, Minnesota coaching Sue Wright. 2. Norma Cairns and Leslie Bloch (split leap) from Carleton College. 3. Miss Dorothy Mcintyre of Eden Prairie, shows the girls at St. Cloud play day the art of Ball Handling. 4. Peggy Swanson of Eden Prairie moves the girls at St. Cloud through a Rhythmic Ball Routine.

The MINNESOTA Story

Bonnie Lowinsxe, Jo Connlly and Carolyn Fosse, Juniors from Burnsville have put in many hours helping other girls learn about Gymnastics in Minnesota.

THE MINNESOTA STORY by Mary Ann Bayless 'Who me? Teach gymnastics? Are you kidding? ' I mumbled under my breath to my enthusiastic young colleague last fall. I had fallen victim to the same set of circumstances that many others have-simply if we don't know it we don't teach it or we teach it poorly. One year ago, I had no knowledge of any new direction of gymnastics. Now, it occurs to me that gymnastics is one of the greatest things that has happened to me since I started teaching." The above statement was taken from an article by a Minnesota teacher written for the gymnastics newsletter La Gymnastique. We in Minnesota are not only in agreement with this statement, but we are also excited about the unbelievable strides girls' gymnastics has made in the state. This excitement is not without reason, nor has it been created without the dedicated efforts of many people, in particular the Minnesota Girls and Women's Sports Gymnastics Committee. HOW IT ALL GOT STARTED. One might say it all started when Pat Lamb of Carleton College came back from the first Sports Institute at Oklahoma in the Fall of 1963. Such vibrating enthusiasm culminated in the development of the first state wide gymnastics clinic for teachers, held in January of 1964. And, almost as if magic words had been spoken, a response II

Gymnastics Chairman and Mrs. Annette Leider, coach at Burnsville. Blizzards come, but Gym路 nastics goes on. Father, Coach's husband and student help unload equipment for another snowy workshop.

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came for a student and teacher clinic hosting 160 participants , and the beginning of the GWS Gymnastics Committee. A little later came a developmental meet with 76 girls participating in it, and more interest in the area of gymnastics. HOW PROGRESS IS MADE. Progress? Well, let's take a look at what has been happening since that January in 1964 when the original "fire" was lit. By the Fall of 1964, the committee was composed of five members. What to do? . . . Yes, that's a good idea. The first event was a novice participation and judging workshop for 130 students and teachers. This was followed later in the year by two gymnastics meets so that those participating in the first clinic were insured of an outlet for their activity and work. Probably the most sensational event of that 1964路65 year was an advanced participation clinic and demonstration by Herb Vogel and members of the Southern Illinois Gymnastic Team. Mr. Vogel and his girls presented gymnastics as never before witnessed in Minnesota. As a program grows, so do the demands and requirements for the fulfillment of the program. So, in the Fall of 1965, here we go again-only more so. First of all came the development of the GWS Gymnastic Newsletter, La Gymnastique and the "trademark" insignia of the GWS gymnastic movement. In January, seven workshops were held in all parts of the state. These workshops were open to any and all schools wishing to participate. A state-wide gymnastic meet was planned for April, 1966, as an outcome of these workshops, and in order to facilitate participation even more, a teacher-oriented workshop was held in early March, and compulsory routines for the meet were printed and made available. The state wide meet was open to all schools desiring to enter any girl grade nine through twelve, participating in novice, intermediate or advanced areas. So the end of another year has come, and one looks back a little tired and tries to evaluate what has been done and how gymnastics in Minnesota has grown .

After a Triangular Competition Mrs. Mary Roloff helps the intermediate girls with compulsory routines

Teacher learns different spotting techniques at a summer gymnastics course.

Girls from Eden Prairie

Get those feet together, says coach Hi ldegard Bunge from Mt. Lake .

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Burnesville gymnastic school partici pated.

meet-220

girls

from

different Up and over the High Bar

LOOKING AT OUR GROWTH. Growth includes reaching or at least partially reaching the goals that have been set. Some of the goals for the year were: to help more schools have an active program, to further assist existing programs, to provide an opportunity for all levels of ability, to spread gymnastics throughout the state, and to increase the ability and availability of judges. How to evaluate? Hmmm ... Well, here we go with the vital statistics. There were approximately 1200 participants in the seven workshops held in January and over 200 schools were represented at them. The participation in teacher workshops was outstanding. In fact, at the last teacher-student workshop, it was amazing to see "novice teachers" flying over the horse, working the unevens and tip路toeing gracefully on the balance beam. A state wide meet was held and attracted more than 300 girls from 47 schools. Quite an increase from the original 76 back in 1964. More than 50 teachers have been actively involved in teach ing, judging, and helping to make the year's activities successful. In the first year, only two judges were available in the state, and now a basic group of 40 judges at various levels are available. The total number of contacts made by gymnastics has tripled in the past two years. A newsletter is being printed at the rate of 650 copies each printing, and is being sent free of charge through the State Department of Health, Physical Education and Recreation to all schools in the state. The scope of gymnastics is broadening to include and encourage rhythmic gymnastics. There will be a gymnastic workshop-Camp held this summer. Gymnastics is a more wide-spread part of school physical education program and after-school activities. There is a deluge of inquiries for materials, book references, ilnd information concerning gymnastics. More gymnastics equipment is being sold in Minnesota than ever before, and official type equipment at that. The sale of leotards has increased to the point where some popular stores have exhausted their supplies. And, finally , how can progress and growth be counted. Another quotation from the article in La Gymnastique that introduced the "Minnesota Story" sums it up. "Am I still frightened (of teaching gymnastics)? Not nearly as much! Do I have adequate background? No, but it's getting better. Can I demonstrate? It too is getting better. Most important-do I believe in gymnasics EMPHATICALLY-YES!

Pat Englehard watches as Jo Connoly prepares for Glide Kip Pat Sunderman , a student from Windom, helps the girls from her school and Mt. Lake learn a Floor Exerci se Routine.

Teachers came prepared to participate, but were happy for an occasional break.

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The photos shown on K.S. I. at the National criteria of success we of the top attractions

Randi Norman, . Director

these pages of Mile G. were taken during the demonstration of AAHPER convention in Chicago. If attendance and ovation are any would say this wonderful K.S.I. Elite group from Norway was one of the 1966 AAHPER gathering.

During March and April of this year the K.S.I. Kvinnelige Studenters Idrettsklubb (Women students sports club) Elite group of Norway made a whirlwind exhibition tour of the USA from coast to coast. Chicago, Atlantic City, Los Angeles, Minneapolis were just a few of their many stops. In 1896 a small but enterprising group of women students at the University of Oslo instituted gymnastic classes with a view to maintaining their physical fitness and creating an opportunity for exercise that would prove a welcome break from the demands of study. This was the beginning of the organization known as the K.S.I. The K.S.I. Elite ' group was started in 1936 and staged its first public performance. The girls meet twice a week, for 2 hour sessions. One day they practice mostly Floor exercises, exercises with rhythm balls and Indian clubs. The other day they work on the apparatus. . Today the Club has 1500 members and is active in gymnastics, ballet, skiing, athletics, handball, basketball, volleyball, tennis, badminton and fencing. The aim of the Club today is the same as it was in 1896-to provide opportunities for all women students to participate in open-air sports activities while engaged in academic pursuits.

Lisen Sanberg, Chairman

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Th e "Tiidus Girls" at the Maple Le af Gardens, Toronto

"TIIDUS GIRLS" CANADIAN GYM GROUP By John Nooney I had the pleasure recently of watching the "Tiidus Girls " perform. This group, under the direcection of Mrs. Helen Tiidus and Mr. Arvo Tiidus their accompanist, were magn ificent. Their display of Mod ern Rhythmic Gymnastics was truly beautiful in its expression of motion and in its flawless execution. Mrs. Helen Tiidus assembled this group on arriving in Canada a few years ago , herself being a graduate of the University of Tartu , Estonia. Many of her girls are of Estonian heritage. In the past year or two they have thrilled large audiences at the Worlds Fair at New York, the C.N .E. Toronto , the O'Keefe Centre, Toronto and at many Canadian Universities. Their immediate plans are to hold a Gymnastic

Festival at Ryerson Technical Collegiate, Toronto , in May and future plans are to take part in the Centennial Celebrations and the Canadian Exposition 1967 at Montreal and some day to tour the U.S.A. and Europe. Mrs. Tiidus remarked during the interview, "John , the interest in Canada in Modern Rhythmic Gymnastics is very high presently; many new groups are being started but there is a great need for instructors. " Any Canadian or American Univers ity or College who would like to have this excellent group perform or would like a Clinic in Modern Rhythmic Gymnastics , please write Mrs. Helen Tiidus, 14 Sage Ave., Toron to, Ontario. -12-

"Tiidus Girls" advanced group, left to right : Siiri Lepp, Siina Kasekamp, Helve Aasmae, Tiina Sulev, Salme Jeeger, and Ene-Liis Orupold. Below: "Tiidus Girls" Junior Group

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Czechoslovak artistic gymnasts during exhibition.

in special

presentation

II WORLD'S CHAMPIONSHIP IN MODERN GYMNASTICS Report by Mila Hanzlikova (Translated by Mildred Prchal) In the short history of the very young women's sport, "Modern Gymnastics" , the II World's Championship was conducted during the days of December 3rd and 4th, 1965 in Prague, Czechoslovakia. This was only the second opportunity for the meeting of the exponents of various gymnastic or gymnasticdance trends from various lands. The first time this happened was during the international competitions in Budapest in December 1963, called the I. World's Championship. This world meeting of representatives of modern gymnastics was preceded by a 15 months' preparation by Czechoslovak organizers, the first issuance of Reglement passed on by the FIG. , and the close cooperation with the FIG. technical committee, particularly with its President Berthe Villiancher, who, personally, with another member of this committee, Valeri NagyHerpich of Hungary, attended the filming of the compulsory routines. For the unification of opinions and ideas as to the evaluations of the routines , an international judges clinic was called three months before the World's Championship competitions. The composing of the compulsory exercise with hand apparatus was given to Irmgard Foerster of the German (spolky) Republic and the mus ic was composed by Margret Schmidtbleicher from the same country. The Championship four events in which the gymnasts competed, also included , optional exercise without hand apparatus , and optional exercise with jump rope and ball .

The II. World's Championship in modern gymnastics was a competition of individuals. 35 contestants from 12 states participated: Belgium, Bulgaria, Finland, Yugoslavia, Cuba, Hungary, NOR, NSR, Poland , Austria, SSSR and CSSR. Present were observers from Chile, Venezuela, Uruaguay, Paraguay, Portugal and France.

1. absolute Champion of the World, Hana Micechova, 2. Tatana Kravcenkova (SSSR), 3. Hana Bogusovska 路15路

World 's Championship in Prague, however, showed that the gymnasts varied fundamentally amongst each other in interpretation and expression. In the compulsory exercises without hand apparatus, at first glance simple, the gymnasts were to show correct walking , running in arcs and distance leaps. The exercise depended upon the correct movement of the trunk from which arm movements were led into figure 8's. The evaluation of this exercise was comparatively low because some elements, such as the figure 8s of arms in turns and in frontbends, arm waves , front circles, unaccustomed straight scale with frontbend , without arch in the lower part of the back (head, trunk and leg in one line) and supporting leg in halfsquat created difficulty for the gymnasts. The optional exercise with jump rope (from hemp) should have included at least 6 elements of difficulty, one of them of superior difficulty. The rope demands special techn ique, must continually be in motion throughout the area and even in changes of direction and rapidity of turning. Former World's Champion from Budapest, Soviet competitor Ludmila Savinkovova and Czechoslovak Hana Micechove (9.5 pts.) received the highest evaluation . As with the jump rope, the movement so it does not slip from the hands. The ball technique prescribes that the ball must not be held in the fingers, and that the movement of the ball be in harmony with the body movement. The highest score was given to Bulgarian Gigova, 9,466. How treacherous an apparatus is the ball was demonstrated when the former World Champion Savinkovova accidentally kicked the ball into the audience and so practically lost all hope of defending her title. Tatan a Kravcenkova

Jana Berova

Absolute all -around victor was Czechoslovak com petitor Hana Mi cec hova before Tantana Kravcenkov from the Soviet Republic and Hana Bogusovska from CSSR_ The World 's Champion in exercise without apparatus was Kravcenkova before Bogusovska and Micechova ; in the exercise with hand apparatus, Micechova before Kravcenkova and Nazmutdinova (SSSR). Modern gymnastics as a sport follows a path that should broaden through the search for the most correct style. Modern gymnastics is neither ballet nor rhythm ic dance, and should have no definite expression. These elements, however, must be mastered by the competitor so that she acquires all-around proficiency through functional preparation; these important basic s will be evident in the composition and execution of her exercises Modern gymnastics is a sport in which neither a story nor idea is expressed through physical movement ; the gymnast is led by the music experienced within an d this experience is expressed by joy in movement and understanding of the melody. The " -16路

World's Champion Hana Micechova

Hana Bogusovska

The optional exercise without apparatus is composed by the gymnast of movements and elements she can do best. In 2 minutes she can execute a composition in which she utilizes , in various tempo , and rhythm , to a musical accompaniment already com posed (from classics) or specially written, dance steps, ties and comb inations and elements of difficulty (jumps, waves , turns , balances) without strenuous acrobatics. Kravcenkova received the highest score. One of the most effective combinations was presented by Czechoslovak gymnast Bogusovska. Austrian Stacher was accompanied by her trainer on a percussion drum. Some gymnasts had their accompaniment on tape, but the majority had piano accompaniment.

A meeting of the mus ic ians from 12 states was held during the occasion. Beside this conference, upon the urgent request of the FIG Technical Committee, an InternationaL Seminar in modern gym 路 nasti cs was conducted after the Championship meet, mainly dealing with the perspectives of this sport. Re路 suits of the proceedings路 showed that in the given scope of development of modern gymnastics, the golden middle path of Czechoslovak understanding , as verified by the success of the Czechoslovak gymnasts , who in an unofficial evaluation by the states attained first place before SSSR. And this tendency the FIG Committee of Women obviously also wishes to maintain in the future.

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COMPETITION ACTION AT THE SECOND WORLD'S MODERN GYMNASTICS CHAMPIONSHIPS

Sharon Pirkl coaching girls class in walkovers above and at right four girls in Backhand springs as the class looks on. (This unusual handspring picture and others accompaning this article are photos by Dressen)

THORNTON TWP. HIGH SCHOOL GIRLS PHYSICAL EDUCATION DEPARTMENT GYMNASTICS PROGRAM ARTICLE SUBMITTED AND EDITED BY

Swim or dance for one year is elected by the student during the sophomore year. One exception to the elective program is that non-swimmers must enroll in swimming class until they pass the American Red Cross beginner test. As a junior, any girl may elect gymnastics or team sports for one year. The skills attained through a year long gymnastic program enhance the girls Rhysical fitness and gymnastics ability far beyond the conventional six-weeks unit program. Two hundred and ten junior girls are presently enrolled in seven , fifty-five minute gymnastic classes. Each class meets five days a week for one school year. Throughout the department each class of thirty is taught by the same teacher all year. Mrs. Arlene Bruno, Mrs. Sharon Pirkl and Miss Paula Powers instruct the seven gymnastic classes. These teachers also supervise the after school gymnastics program. Work-out sessions (with forty girls per session) meet three nights a week for fifty-five minutes. The girls sign up on a fi rst come fi rst served basis for one of the three sessions and remain in that session for nine weeks. At the end of the nine weeks they may sign up again . This program makes the facilities available to ah additional one hundred and twenty students. Bus service is provided for those students Iiving beyond walking distance from school.

JACKIE UPHUES ARTICLE WRITTEN BY: SHARON PIRKL PROGRAM INITIATED BY: MRS. SHARON PIRKL SEC. MIDWEST GYMNASTIC ASSOC. IAHPER STATE GYMNASTIC WORKSHOP STAFF 2 YEARS PHY. EDUC. TEACHER THORNTON TWP. H. S. The Girl's Physical Education Department at Thornton Township High School, Harvey, Illinois has developed an outstanding gymnastic program. This South Chicago Suburban High School has an enrollment of four thousand students. Fifty-five minute physical education classes are required for every student five days a week. As a freshman, each girl is introduced to the entire physical education curriculum. Short units of team sports , swimming, folk and social dancing, tumbling and track and field are taught. The interested girls with potential ability are encouraged to participate in the after school gymnastic program and give serious thought to the possibility of electing gymnastics for their junior year physical education program. -20-

The facilities and equipment available are of the latest Olympic caliber. A special 40 foot by 60 foot room adjacent to a giant indoor track is used for girl's gymnastic classes. Each of the girl 's and boy' s physical education departments has its own facilities and equipment. This unique specialization of space and equipment eliminates the necessity of storing expensive equipment and using teaching time for proper arrangement of the apparatus and mats. This yearly gymnastic program has been in effect one year. During the first of four nine week grading periods, conditioning , tumbling, ballet , and floor exercise are taught. The apparatus is moved off the floor area and all the apparatus mats are used. This allows for a more active class and the use of mass instruction. As individual differences become apparent, squads are formed according to ability. Teaching stat ions are then used as a means of instruction . Grading techniques used throughout the program are: 1. Rating each girl's individual progress commensurate with her ability. 2. Rating her ability to combine her skills into routines. 3. Rating her ability to evaluate her classmates' routines according to a ten point scale. 4 . Attentiveness and use of correct spotting techniques.

Coach Pirkl spotting Mary Dehnert

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Penny Kane

Mary Dehnert

Penny Kane

Coach Pirkl demonstrating an Uneven Bar move for class

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The apparatus is introduced the second nine weeks using demonstrations and explanations by the teacher and students. One squad leader is assigned to each teaching station. These teaching stations are the uneven parallel bars, vaulting, ropes and trapeze, tumbling, floor exercise, and balance beam. The squad leaders are taught the skills after school or as quickly as possible during class. During the first six weeks of the grading period, each s"quad leader rotates with her squad to all six stations assisting the members of her squad in learning naw skills and combining those skills into short routines. The teacher has an over-view of all the squads and actvities and makes a conscious effort to observe and help each squad at least three times per week. Special individual assistance is provided when needed. For the last three weeks of the grading period each squad rotates two stations per week and combines skills into routines to be graded. The trampoline is introduced the third nine weeks , replacing floor exercise. The trapeze and climbing ropes are eliminated from the rotation schedule. Those girls with fears of height or weak shoulder and arm muscles are given an opportunity to leave their respective squads and report to the ropes and trapeze for concentrated work on their weakness. Special attention is given to this group, checking the possibilities of discouragement due to fears or a lack of necessary strength. All students are now encouraged to learn more difficult skills adding to and replacing the elementary skills in each routine . This nine-week period is evaluated through the lengthening of the progression charts and spot checking those new skills each student has mastered. The same basic grading techniques are again used with the exception that no routine is eva luated. Time is spent in specialization and routine preparation for competition during the first six weeks of the last grading period. The final three weeks consist of preliminaries and finals within class squads. Every girl is rated on each piece of apparatus and the results. compiled for her skill grade. All seven classes send their first place students on every event to an after-school competition. The Girls' Gymnast ic Club, composed of highly skilled girls, assist with this inter-class competition. The winners may then enter the Girls' Gymnastic Club's annual meet. Only the highest skilled girls are accepted on a try-out basis for membership into the Girls' Gymnastic Club. The sponsor, Mrs. Sharon Pirkl , works with this group of th irty girls during one of the three after school sessions. Club activities include participation in the all-school variety show, halftime shows for basketball games, and a cheering section for the boys' gymnastic meets. Thornton Township High School should produce many fine young gymnasts with this yearly program.

Penny Kane spotting Susan Wayne

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Drawings by Ivan Foster

THE BEAUTY OF MOVEMENT

team . Thus, it was educational for the student body to see a boy performing in dance on the stage. May I make It clear here that this activity was not a class in physical education but outside of the regular school day. When I moved to Fairfax Senior High School L.A. City School . District, I found again that when needed boys in the dance I could contact the gymnastics coach, Mr. Jim Bishop, and ask him to send n:e the best of the free exercise boys. I always took time to explain what they would be doing and gave they a chance to refuse with no stigma attached if they did not want to dance. I had very few refusals and met with much success in the cooeducational dance program . The boys enjoyed it as much as the girls. Boys. are much easier to" work with in any type of performing art as they want to be sure they will look good-not just performance, but perfection for them! The boys feel beauty-a sense of kinesthetic pleasure while moving in both gymnastics and dance. The audience sees beauty in movement in both dance and gymnastics. Can beauty of movement be separated Into classes by the mere name of the activity? The girls are now enjoying the beauty of gymnastics. How far apart are dance and gymnastics? Can we not integrate these activities in MOVEMENT? Why can't we have boys and girls perform in this field of rhythmic beauty t.ogether for the aesthetic cultural, physi· cal and social pleasure offered by gymnastics and dance?

Rhythm and Its Relative Activities by June Huddleson June Huddleson, Leave of Absence LA City Schools, SA Occidental. College, working on M.Ed. at Loyola University and in the Associate Degree Program of Registered Nursing at Harbor College, Past Chairman of Dept. of Physical Education Fairfax High School, Past Chairman of Dept. of Phy. Ed. Lincoln High School, Past Director of All City Modern Dance Show. Past member of Advisory Council of L.A. City P.L Teachers.

In the days when a definition is necessary before anything academic can be read , understood or rejected it becomes crucial to begin every article with a statement of meaning even before opinion_ Beauty as referred to in this article is simply defined as anything pleasurable to the senses_ Many years ago, when I was a young and eager teacher of senior high school dance classes, I felt the attraction toward the boys' gymnastic activity. I had been exposed to gymnastics at Occidental College with Dr. Carl F. Trieb , who believed that women could be gymnasts with training and spent much of his time with interested students. When teaching at Lincoln High, Los Angeles City School District, I became in· tngued with the idea of influencing boys to be in the Dance Programs. Mr. Gerold Russom, now Supervisor, Boys Physical Education, L.A. City Schools, I am sure would not mind my mentioning the fact that we exchanged mutual ideas regarding the training of the free exercise boys of the gym team in basic movements of modern dance and thus having the hope of their being willing to participate as male dancers in the dance programs with the girls. This worked very well as it accomplished four purposes: 1. Improved flexability, rhythm and movement of boys in free exercise 2. Developed an interest in gymnastics on the part of the girls. 3. Created a reservoir of boys who were familiar with dance movements and could be asked to take part in a presentation. 4. Was of mutual pleasure and social education to both boys and girls to exchange ideas in a closely related activity of a coeducational type. ThiS school had very' fine gym teams and the leaders of the student body were also on the gym

Letter to the Editor: This has been a long desired secret ambition- to write an article that is just plain personal opinion, not an aca~emic d~ssertation, research paper or documented thesesJust an Idea that has been in some far corner of the mind for many years. Thank you for this pleasure. May I congratulate you on your very fine publication which I have enjoyed reading. It would be interesting to see boys in the All City Mod· ern Dance S~ow. Gets kind of monotonous seeing all girls for 4 hours It takes to show 30 schools' work. Since it is sponsored by Youth Activities-how about it? Also would like to write sometime on correlation of corrective P. E. & Dance. June Huddleson ·24·

A. B. Frederick improvises on the flute while attendees draw

SECOND NATIONAL INSTITUTE ON GI RLS SPORTS by A. BRUCE FREDERICK

In 1928, Margaret Morris wrote about a movement notation system she devised. In a brief discussion of Morris's contribution, Ann Hutchinson writes ... "While there was a basis for her (Morris's) analysis of motion, the signs were arbitrary, following no logical sequence and containing no provision for the indication of rhythm."* This description could be applied to the technique presented in this article. Dr. John Cooper of the University of Southern California has also contributed a droplet of knowledge via his book, Kinesiology, which he co-authored with Ruth Glassow.** A special appendix is devoted to rhythmic patterns in sport. We quote .. . "The sounds made by performers in action in sports competition were recorded on a tape recorder. These sounds were then transcribed into musical scores. Subsequently, the performers repeated their actions, and the music was tested against their movements, and necessary corrections were made. In most instances the foot sounds were the most audible ... " You will see below that mu_ch the same technique is suggested for "drawing" music. Some others who have expressed an interest in ' the technique below include Irmgard Bartenieff of the Dance Notation Bureau in New York. She has worked with a form of Labanotation in psychotherapy at the Albert Einstein College of Medicine in the Bronx, N.Y. Her paper entitled "Effort-Shape Analysis of Movement" has much to offer the physical educator. At least two Doctoral candidates are working or at least are interested in aspects of the problem. One of these, Robert Curnow, is a music major at Michigan State University. He has given the writer some hope that an inter-disciplinary study might eventually be worked out. The other, Robert Sorani, is working on a dissertation in the rhythmic area at the University of Southern California. Audio-tonal rhythm , first introduced to the gymnastic community by Mrs. Grace Kaywell, is a further innovation which has seemed to gain considerable acceptance. A two hour movie on the subject is available for viewing at the Library of Congress in Washington.

(Report continued from Mlle. G. Vol. 1 # 1)

DRAW YOUR FLOOR EXERCISE MUSIC Objective-To develop floor exercise routines for girls which are in harmony with the music especially prepared for them. Statement of the Problem To many of us, physical educators and gymnastic instructors alike, an insufficient musical background often makes it difficult to prepare exercises to music. This lack of background will always be a handicap regardless of innovations presented here and elsewhere but since the method may lead one to further study, it may be of value. Music selected for floor exercises is best when it is especially composed for an individual performer. Each girl has peculiar abilities and disabilities. At intermediate and advanced levels she will tend to develop a style which identifies her work. Ability to compose music for individuals requires an even more substantial musical background and certainly one of greater depth than the physical educator is likely to acquire as an undergraduate. We must therefore rely on existing compositions offered by recording companies or those we have "immortalized" ourselves via the tape recorder. None of these is an adequate substitute for the live variety of music we so rarely observe in competitions. History Although the writer's first attempt to draft an article on the subject in question is admittedly crude ("Draw Your Free Ex. Music" M.G. Sept., 1963), he was happy, though not surprised, to find historical evidence of other "dreamers" who had been afflicted with the same madness. Throughout history, man has attempted to describe movement. He drew it. He improvised ideographs which were to become a part of his written language. He formulated notation systems for movement the most sophisticated of which has become known as Labanotation. -25-

spire his students by providing a musical background while they paint. In gymnastics, however, music must be more than background. The performer must become intimately and gymnastically associated with as much of the music as she can. This will take time. What we hope to offer here is a short cut. Let's work with ' "Rudolph" again. Refer to Fig. 1. There are no rules about the shape your drawing must take. The important thing is that it fits the music with as much exactness as YOll can possibly get. The notations in Fig. 1 are merely suggestive and are typically those of the writer. Your first attempt to draw a musical selection will be a failure. As crude as it is, it will begin to take definite shape by the third or fourth trial. Use a soft pencil and progressively make your · impressions darker as your drawing taKes on the nieaningful form you seek. At last you will exclaim, "That's it!" When you have arrived at a drawing which is satisfactory, you will find that you are more familiar with the music than you could ever be if you just listened. Every little flick of your pencil and hand will have a definite meaning to you. It will be much easier to transfer this feeling of understanding to the whole body as you begin to experiment with gymnastic movements that fit. Ballet dancers are known to get the feeling of rhythm and movement of a new work by first using their hands. In addition, you will have a graphic representation of your hand movements which is your final drawing. In Fig. 2 you will see the writer's drawing of "Rudolph". The verticle lines represent time. It would take eight ordinary or natural claps to complete line "A" as well as all of the other lines. There appear to be eight phrases arranged into two paragraphs. Note the similarity of lines "A", "B", "G", "D" and "G". Line "H" has a slight deviation at the end. This is true of most musical "stories" and should also receive prominence in the gymnastic floor exercise. Let's look for some obvious things at first. Alas, there are no clear-cut patterns of four represented by four single strokes so we have no obvious cartwheel movement. In line "A" the word "nose" takes approximately two quarter notes to sing. If our gymnast can do a cartwheel consisting of four VB notes, it can be inserted for "nose". In line "H" we notice at the very end two strokes; one going up and one goir'ig down. It so happens that these two

Barbara Gilmore, formally instructor at Syracuse University, is working on a set of symbols to facilitate 'SPl)1munication in gymnastics. . ' ,:;;:;. . WH~n the pieces are finally all set into place :(or nearly so), we will look back on the contributions of each of the above and look forward to hearing about applications of your own. As you tryout the method below, think "wildly." It's easier to tame down than to think up! The Method Even without extensive musical training or natural musical ability, most people can recognize rhythms and rhythm variations. Rhythm is the common denominator for music and movement. A cartwheel has a 1-2-3-4 rhythm; so do four beats of a drum. The conclusion ... whenever the music you hear contains a definite four-beat pattern, it is quite possible that a cartwheel could be synchronized with such a passage. So could some other movements. . Musical Rhythms and Phrases Typically, music has combinations of two or three beats to a single measure. The terms 2/ 4 time o[ % time are widely understood and commonly employed. (The "4" simply means that a % note gets a single beat.) Phrases are simply musical sentences. They are quite easily picked out by children. They represent a whole musical thought. Suppose we sang, "Rudolph, the red-nosed" and then stopped abruptly? The musical thought is incomplete; we become inwardly concerned because it doesn't 'sound right. Therefore, we would ordinarily complete the phrase by adding, " .. . reindeer had a very shiny nose." Feel better? Similarly, a gymnastic exercise must not end in the middle of a musical sentence. ' Such an exercise is just as incomplete as the "Rudolph" example. . Get a music professor to tell you why but if you just clap your hands naturally to any music, you will usually find that eight claps will be required for each musical phrase. Try to familiarize yourself ' with this technique. Can you discover a musical paragraph? Now ... Let's Draw Some Music The suggestion that you draw music is a quite literal one. We have all heard of the art instructor who attempts to inJ

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strokes only have half a beat values; each is an l/S note. This calls for a dynamic up movement and similarly a down movement corresponding to "hisTO-RY". (TO=up; RY=down) What would you insert here? With a group all working together, you might now attempt to have them perform only the cartwheel and the dynamic ending. Clapping in between helps to fill · in the void. Students who progress rapidly will want further challenges. We might suggest just one of these which is a bit more advanced. Please refer a moment to Fig. 3. Look at the boxed-in notation for a short run, skip step, round off, back handspring. Compare this notation with the "Rudolph" drawing. We see two possibilities immediately as we look at lines "E" and "F". The synchronization of the movements with line "E" is shown in Fig. 3. Notice that the word "eve" is too long . musically to correspond only with the last part of the skip step, so the placement of the hands for the roundoff is also tacked on to "eve". It is a strong feeling pf the writer that by using this sort of comparative technique, exercises may be devised which are very precisely coordinated with the music selected. The Use of A Tape loop The tape recorder, already a valuable tool for gymnastics, can be adapted to make it even more valuable by the construction of a very simple device which will permit the use of tape loops. ." , 'A tape loop is simply a "belt" of recording tape. Select a length of tape (it may vary in size according to your purposes) and join the ends by fusing them together with the new "frosty" plastic tape. The device used to adapt any standard tape recorder for use with loops is shown in Fig. 4. The device is quite simple.

A spool is placed over a nail which has been partially driven into a block of wood. This will permit the spool to rotate freely and in place on top of the block of wood. The loop is inserted in the tape recorder in the usual way .and is passed around two empty reels. The loop is then placed around the spool and the remote device is moved back (see arrow) so that there is moderate tension but no slack in the tape. . You will find this device very helpful for composing and practicing elements of your floor exercises. You may record anything you like · and then play it back endlessly. The device eliminates the need to rewind. When you have a loop that you particularly like, simply remove it and make up another. The possibilities for uses are many and varied and we need not discuss them further here. If you are good at whistling, you can compose original themes right at your practice session, play them back as often as you wish and save the loops of those themes you wish to retain for later use . If you play the piano or some other instrument, so mu<;h the better. You might also place portions of existing recqrdings on tape loops '- for practice. In this way you can isolate desired portions of recorded music for practice. Needless to say, the tape loop is an excellent aid to drawing music since there is no need to replace a needle arm pr rewind a tape. You simply sit and draw. *Hutchinson, Ann, labanotation-The System of Recording Movement, New York: New Directions Books (James ~aughlin Publisher), 333 - 6th Ave ., N.Y. 14, (1961). **Cooper, John and Ruth Glassow, Kinesiology. , st. Louis: The C. V. Mosby Co., (1963).

Drawings come to life

Evaluation of music session with Carolyn and Ernie

27-

YMCA of the Palm Beaches Gym Team: l to R: Top row, Pamela Smith, Darlene Davis, Kristi Boher, Sally Van Fleet, Sharon Wood, Doreen Witt, Janice Smith . 2nd row, Sheila Kelly, Roxanne Robertson, Carolyn Kern, Ellen Baker, Delores larkin, Barbara Kern, Joanne Ech. Standing at left, Kathy Ke rn and Marilyn Baker. At right, Grace Kaywell.

BALLET FOR MLLEG BY GRACE KA YWELL

FIVE POSITIONS OF THE FEET It is well for the athlete to know the five basic posi tions of the feet in ballet. but once mastered. they can be eliminated fr om the daily practice. C ymnasts are not required to turn the feet out more than is comfortable and natural. Rallet dancers must. The ath lete , however, must have the same good turn-out fr om the hips in order to place the legs in artistic positions, but the feet are not a factor. FIHST POSlTIOi\: Stand with heels together, toes turned out about .t5 0 , weight well forward over the in~teps. (The arms are rounded low in front of the body, not touching the body , throughout the entire foot pla~ement exe rcise. ) SECO\D POSITIO!\: Shift the weight forwa rd onto the L and point the 路 R toe to the side, 路kneeup to the ceilings, heel forward. (This is not directly to the side, but a little forward so that the position can be controlled without arching the back. I i\ow lower the heel and place the weight evenly and slightly forward.

First position. . Point to the side to

second position.

Third.

Point forward to fourth position .

THIRD POSITIO N : Shift the weight back to the L, point the I{ toe and bring the R heel into the center of the L foot at the instep . FOl"RTH POSITION: Slide the R toe forward , knee turned to the diagonal H, heel forward. Lower the heel and place the weight evenly between the two feet and well forward over the insteps. FIFTH POSITIO ; : Place weight back on L foot (still forward over the instep , of ~ourse I point the !{ toe and slide the !{ heel back towards the L big toe. It is correct to place the heel at the joint of the big toe, or all the way to th e tip of the big toe. The feet should be well turned out. In gy mnastics we have eliminated the 5th position' beca use of the extreme turn-out. It is not necessary for. athletics. We use the comfortable 3rd position when desiring a crossed effect of the feet. Athletes who study in a formal , traditional ballet school will have to kn ow what the positions are . , _ but if the athlete will explain hi s or her needs to t~e teacher, it is hoped that the teacher will aI/ow the gymnast to work in the com fortable positions for athletics, with the proper forward placement of th e body. Th ese are the fi ve basic pos itions in which to RECOVER BALA J\CL In formal ballet every movement begins and ends in one of these positions.

Fifth position.

Weight even in fourth position .

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first. Third.

fourth .

filth .

FIVE POSITIONS OF TH E ARMS FIRST POSITION: The arms form a circle in front of the body at the hei ght of the diaphragm, fin gertips not quite touching, the palms turned inward toward the body. SECOND POSITION : The arms are held out to the sides, slightly forward before the chest line . . . not in one straight line with the shoulders . . . the elbows up- and slightly rounded. The palms of the hands are facing forward , fingers grouped gracefully together, the thumb slightly downward towards the middle finger. THJl{O POSITIO N : One arm is curved forward and above the head, while the other is held out to the side. The palm overhead is turned toward the body. FOURTH POSITION: One arm is curved forward and above the head, palm inward, while the other is extended forward at the diaphragm level and very slightly curved.

FIFTH POSITION: Both arms are curved above the head, fingertips not quite touching, The arms should be a little forward and NOT RESIDE THE EARS. Ry looking upward the gymnast should be able to see the tip of the little fingers WITHOUT RAISIJ\C THE HEAD. The shoulders must be kept down at all times.

.• /

-30-

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TRAMPOLINE TIME by Abbey Robinson

For years we have used a routine of basic landing positions as a test for beginning trampolinists. The routine, starting and ending on feet, is as follows : hands and knees, stomach, knees, hands, feet, seat, back. This is not difficult for beginners since the stomach drop is done from hands and knees drop, hands landing from knees, and back drop out of a seat drop. Still, the fast learning student is delayed from progressing too rapidly because he must memorize stunts. By watching students perform this rou tine we can determine how advanced they are and how fast they learn and are able to place them in groups according to their ability. Following is our method of teaching the routine. FIRST TURN Student walks to center of trampoline and faces end. With feet shoulder width apart and with arms swinging in rhythm of bounce, she begins to bounce -but not high. There is no need for high bouncing. Student is asked to stop on command two or three times with "stop" being called while at the height of her bounce. Student is asked to assume hands and knees position with stomach directly over cross in bed and with a hand and / or knee in each quarter of the bed. Thigh should be perpendicular to bed so weight is equally distributed on hands and knees. She is then asked to bounce in that position_ Most students give impression of a bucking horse. Many will shift weight so they are performing a knees bounce with hands barely touching bed and this is corrected. After starting and stopping a few times students gets "feel" of the trick and will perform it correctly. We now ask her to lay on bed with stomach on cross, hands in front of face and elbows extended outward. She should be relaxed and comfortable. After this position is shown she is asked to bounce on hands and knees until she has an even bounce and then drop to stomach. We emphasize the importance of having stomach directly over cross while bouncing, and on cross when landing. When she has completed this, we allow balance of class to perform this much . As each student takes their turn we watch to see that they work over cross in bed, that they go from hands and knees to stomach by extending legs behind them rather than by diving forward, and that they land in a comfortable, relaxed position in the stomach drop. SECOND TURN Student begins by bouncing very low on cross line of bed and then performs hands and knees drop (in above described hands and knees position) with stomach directly over cross. Next, she again starts on feet, drops to hands and knees, bounces until she

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Shown demonstrating basic landing positions is 9 year old Gale Hahn . Gale, an advanced ice skating student, has been trampolining for six months .

gets an even bounce and then continues to stomach drop. After a few tries she should be able to perform a three bounce routine: (from feet) hands and knees , stomach , knees. Often a cautious student will take extra hand and knees bounces for several lessons but will eventually gain confidence and perform the rou tine without extra bounces. THIRD TURN A knee drop starts this turn . Think of the knee drop as feet bounce with knees bending at the last moment. It is important to maintain same swinging arm movement in knee drop as in feet landing as this motion seems to prevent landing in an awkward posi tion. It also helps lift performer back to feet. Now comes a timing trick beginn ers seldom think of trying. Performer executes knee drop approximately eighteen inches behind center line. As knees start upward motion after depressing bed, student snaps hands down onto center line and shifts weight to hands. This will eventually become a handstand, but we are satisfied if student can master correct timing necessary to go from knees , to hands , to feet , in first lesson. It is common for beginners to put hands down too late or to ancipate hands landing and land almost in hands and knees drop instead of knee drop, but as long as hands are snapped down onto cross line it is a safe stunt to teach . When this is mastered we ask for (from feet) hands and knees , stomach , knees, hands, feet. LAST TURN Routine ends-seat drop, back drop , feet. Begin ners who have never before attempted seat drop are asked to sit on bed in seat drop position before attempting the drop from feet. In teaching seat to back , student is asked to sit on cross and then move into back drop position by moving hips forward and bringing knees up so small of back is on cross. Once the mechanics of the move is demonstrated the student is asked to start from feet, bounce twice or three times in seat drop before going on to back drop. When seat to back is performed in swing it is time to try entire rout ine. Only the most coordinated beginners will be able to perform the entire routine and come to feet at th end. 路31路

Let's see what happens when you extend the rear leg directly rearward and the forward leg directly forward. The coverage of floor space in the width of the split is greater making any tilting sideways less possible. Top View

DO YOU HAVE AN UNBALANCED SPLIT By HELEN SJURSEN USA Medal Winner, 1948 Olympic Team Are you one of those gymnasts who has a difficult time trying to maintain balance when going down into the split, without the use of hands? Do you, unknowingly, make the same mistake over and over again, and perhaps by chance get a well balanced split once in a while? Always try to analyze your errors, if possible, so perfection can be reached more Quickly. Many beginniners (assuming the leg muscles are well stretched) find that when they are down in the split position, they suddenly find that the buttocks drop to the floor and they are left in a sitting position with straddle legs. Why does this happen? It's in the hips, girls. The hips should remain at right angle to the legs:

Width Widened More surface is covered in width of split which helps to present any side off-balance Ariother tip for maintaining balance in a split, for the beginner, is to place the inside edge of rear foot against the floor with toe pointing slightly outwards. Top View

Top View This puts the feet in a better position to help correct a side off-balance by using foot pressure. Assuming the left leg is rearward, the body is tilting to the left side, apply pressure on the left toe which will shift upper body back over center of balance. Vice versa for a tilt to right side. However, if upper body is relaxed , a correction of side off-balance by pressure of the foot will be more difficult, and perhaps will not work at all. The spine should be kept rigid while correcting a side off-balance, so that the upper body will return to the center of balance as a unit from the hip up. (When balance in the split has been perfected, toe of rear foot should be pointed rearward instead of slightly outward.) So, the points to keep in mind for ' a balanced split are:

Hips at right angle to legs

Top View (Incorrect)

1. Slide forward leg directly forward 2. Slide rear leg directly rearward 3. Hips should be at right angle to legs 4. Upper body should not be relaxed when a side off-balance is being corrected by foot pressure 5. For a severe side off-balance, sometimes it might be necessary to use arm motion to Quickly correct the error in addition to foot pressure, and possibly a side bend at the waist. If the tilt is to the right side, bend left sideward from waist, Quickly and gracefully swing right arm inward and then upward and straighten spine. Vice versa for a tilt to the left side. When doing a fast front walkover immediately followed by a split, it might be well to keep the above points in mind. When doing any fast split, the mind has to be Quick to decide if an off-balance will occur, and correction must be made instantly before final split position is reached.

Turning of hips causes buttocks to lower to floor. A side bend in upper body usually accompanies a turned hip. Do you keep your hips in the correct position and still lose your balance? Let's go a step further. Did you ever walk a tight wire? Not much to go on if you want to keep your balance, but try putting two tight wires parallel to each other with a space between them of about two inches. Now it is much easier to walk the wire, isn't it? Why? Because you have more width or a larger base of support for balance. Now let's put your split on an imaginary wire. Top View (Iincorrect)

No width to split

ED ITORS NOTE: Use chairs facing each other, stand between chairs with palms on seats of chairs and " bob" up and down sliding legs apart (forward and back), with legs and body straight

The back leg is slanted slightly inward and in line with the front leg increasing the possibility of tilting off-balance sideways_ -32-

DGWS GYMNASTIC CAMP FOR GIRLS Where : Carleton College . . . North field, Minnesota When: Au gus t 21·27, 1966 For whom : .I 1. Te achers and coa che s who have worked with glr s 2. Students who have completed the 7th grade, unless accom· panied by an adult 3. All skill levels will be stressed Wh at will be offered : . 1. Instru cti on in tumbling, trampoline, beam,. une~ens , vaulting, free exe rc ise basic movement and rh ythmic activities 2. Teaching progress ions and spotting techniques .tor teachers 3. Part ici pa ti on in actual skills for teachers according to indiVidual interes t and ability . . ,. 4. Techniques of developing routine s and of Judging competitive routines Guest instru ctors: 1. Vannie Edwards - Co ach of the 1964 Women 's Ol ympic Team - Present coach of internation al champ ions - Director of his own gymn as tic camp . . -In structor at Centenary College in Shreveport, LOUISiana 2. Bonnie Phillips . .. - Instru ctor in gymnastic s and figure skating at UOIV. of British Columbia -N ati onally rated. judge for Canadia n Championships in 1961 · 62·63 and for Pan Ame ri can Tri als in 1962 . -Form er student of Europ ea n Gymnasti cs at Ollerup School In Denmark as well as numerous other equally famous schools throughout Euro pe. 3. local gymnastics teachers to act as assistants .. -A proper rat io of instructors to students Will be malntalneu to insure maxi mum learning Housing: On ca mpus in dormitories for both teach ers and stud ents, meals and bedding will be furni shed . ... . Recreat ional opportun iti es: Fr ee time and va ried faCiliti es Will be provided-Swimmin g pool , tenni s co urts, hiking, campfires, outdoor field s, golf course , cookouts , etc. Cos t : $55.00 for the week, including room and board $30.00 for commut ers Registr ati on: Send name and . summer mailing address and $10.00 deposi t by June 15 to: MISS Pat Lamb, Carleton Coll ege , Northfi eld, Minnesota .

THE GYMNAST'S PERFORMANCE MARGE GERSTADT, Coach Germantown YMCA Philadelphia, Pa. . The heart of any performance, presupposing y?U can do . It at all , is the expression of its inner meaning .whlc~ you wish to convey to the audience and your relationship with them: Too often a performer becomes so intent on performing that it becomes "the be·all and the end·all ": . The performer must ask herself what she wants the audience and judges to know and feel after her performance. What understanding will they have that they didn't haye before? The sum of these questions is what you wish to give to each member of the audience by means of your performance. If you are a beginner, you may desire to astonish or ~tar~le. This will not be too demanding on the performer and Wi ll give her an opportunity to feel audience reaction and prepare her for future competition. As you develop your personality and gain experience . the expression of your inner·meaning will also become effective. Remember you are an artist. Your performance, your cre· ation should add some worth and new meaning to the world around you. . Your relationship with the audience is not connecte~ wl~h the inner-meaning you wish to convey to them. Relationship involves everything about your performance from the moment you walk onto the floor until you leave it. A gymnast. must sense the mood of the audience as well as the judges. Remember their chairs are usually hard, the hall close. Your performance must cause them to forget this. It is a mistake to concentrate your performance only on the judges. The entire audience ":lust be included. ~herefore , examine your floor area and equipment areas. Many times you must project your performance to four side~ of a gy~nasiul'!1 ' sometimes two. Be sure that what you desire to project Will be fe lt by the entire house. With this starting point you have established the framework of your relationship. Having accomplished th is, you must know exactly who you are, and what part of yourself you wish to emphasize. for the particular performance. Do you know yourself as a serious per· son or light hearted, comical , satirical , dull or many of these. It is sometimes difficult to decide, but giving it serious thought will help you to know yourself better. Once having. d~cided , stick to your decision and develop these characterIStiCS of your personality. The moment to shape the course of your relationship with the audience is the moment you step on the floor. Another aspect of this performer-audience relationship is the general impression you make. There are many rea~ons not connected with you r performance that cause an audlen~e .to like or dislike you. It may be the way you wear your hair, ItS color, the color of your costume, the way your music is played or your choice of music. The better you execute your performance the less these issues will matter, but no matter how great you are, you will always be apraised as a person apart from your performance. Your exit is as important as your entrance. How do you feel-up or down? Do you express it? This is the last impres· sion the audience has of you as a performer and person. No two performances will be exactly the same. What makes you feel elated or down hearted? Think about it and seriously work for the answer. Should you be so fortunate as to have a performance in which everything is so beautifully meshed together that there is no separation between them, then you will have eyerything mentioned above and can consider yourself a true artist.

BALLWORK Playground balls are suitable for the ball wo~k you want. They are- available in many sizes and If you are planning to buy a supply of one size, we suggest you purchase an 8 ~ ". ball. Most suppliers now make these playground balls with a slightly rough surface for better grip. I recommend the rough surface over the smooth surface. These balls are usually available in red , blue, or green and sometimes available in other colors. We suggest you indicate your first and second choice of color. The prices vary quite a bit, but approximately your cost will be $2.50 per ball. Following are a list of companies and/ or suppliers who can supply you with an 8 ~" playground ball.: 1. Nissen Corp., 930 - 27th Ave., S.W., Cedar Rapids, Iowa 2. Seamless Rubber Co., New Haven 3, Conn. 3. Wilson Products, 230 Needham Street, Newton Upper Falls, Mass. 4. W. J. Voit Rubber Corp., 45 W. 18th Street, New York 11, N.Y. 5. Spalding Company Balls appropriate for rhythm work may be obtained from: Mr. Robert Langas, Sales Manager Pennsylvania Athletic Products The General Tire and Rubber Company P.O. Box 951, Akron, Ohio 44309 -33·

BALLET FOR GYMNASTICS No. 1000

.Clns C

SIDE B

SIDE A

CENTtR FLOOR I-WARM UP 2-LEG RAISES 3-SIT UPS 4-BACK ARCH 5-PUSH UP, .BACK BEND 6-FORWARD ROLL 7-FROG, HEAD BALANCE B-HEAD STAND, (PARTNERS) 9-HEAD STAND PREPARATION lC>-ON SHOULDERS, PIKE KICKS & ROLL II-"-BACKWARD ROLL 12-CARTWHEEL 13-SPLIT FROM KNEE POSITION 14-RUN & LEAP 1010 15-ROUTINE

BARRE l-DEMI.PLIE 2-POINT & CLOSE 3-RETIRE 4-ELEVE & RELEVE 5-LEG ON BARRE STRETCH 6-pofNT & BACK KICK CENTER FLOOR · 7-SLIDE & POINT 8-STEP, CURTSY, BOURREE TURN 9-SLIDE FORWARD & POINT 100JUMPS ll-COUP.de.PIED PRACTICE 12-COMBINATION

No.

Class B

SIDE A

SIDE B

l-GRAND PLiE 2-DEMI.PLIE 3-BATT. TEN.DUs, GR., BATT. 4-EXERCI.SE (FEET) 5-ACHIL. TENDON STRETCH 6-RETIRE 7-SIDE STRETCH 8-'IIACK FLEXIBILITY 9-GEN . . FLEX: (BACK) 100DEVELOPPE II-BATT. ARRONDI 12-ATTITUDE POS. 13-SPLIT STRETCH 14-BALANCE 15-BATT. en CLOCHE

'~PLlTS

No.

2-STRADDLE STRETCH & TRUNK FLEXIBILITY 3-5 POSITIONS. (FEET) 4-5 POSITIONS ·(ARMS) $-COMBINED "OS. 6-1st PORT de BRAS 7-BALANCE B-2nd PORT de BRAS 9-GALLOP, SKIP, WALK 100BASIC WALTZ (WALKING) II-POINT, CARTWHEEL 12-FORWARD ROLL 13~LlDE, POINT, STEP, ·HOP .14-ROUTINE . I~PLIT LEAP 1020

Class A

SIDE A "ONCE UPON A TIME" (3/4) (Jennye. McGriff·Jay Lee) 2 Bar Intro. 62 Bars Time 66 seconds 5 Rehearsal Bands "Light And Airy" (Johnny Finke) (4/4) 4 Bar Intra. 8 Bars (4/4) 16 Bars (3/4) 32 Bars (2/4) Time 71 seconds 5 Rehearsal Bands "MAZURKA" (3/4) 1 Chord Gliss. 69 Bars Time 68 seconds 5 Rehearsal Bands

BALLET FOR GYMNASTICS Manual for Class "(" Record # 1000 (Stepping Tones) Send $3. OOto:

SIDE B

Ballet for Gymnastics P.O. Box 777, Santa Monica, California

I-DANCE OF THE COMEDIANS (2/4) 76 seconds 2-TALES OF THE VIENNA WOODS (3/4) 73 secllnd. 3-RHUM8A RHYTHM (4/4) 65 seconds 4-MY OLD KENTUCKY HOME (3/4) 68 secands 5-SK!P AND HOP (4/4) 64 secands 6-VALSE BRILLIANTE (3/4) 81 seconds 7-FOSTER MEDLEY (2/4 & 3/4) 75 .econds B-FUNICULI.FUNICULA ·(6/8) 60 seconds 9-HUNGARIAN RHAPSODY NO. 2 (2/4) 90 seconds 100THIS IS THE BLUES (4/4) 79 seconds ll--CARMEN (2/4) 90 seconds 12-RAGTIM 4 4 64 seconds

F ROM STEPPING TONES BALLET FOR GYMNASTICS RECORDS

THIS COULD

$S. 00 Each

P. O. Box 6433A. Los Angeles. California

YO'UR

90Q~4

MAILING CHARGE ... 2S¢ for one record and 10¢ for each additional record. (Calif. buyers add 4% Sales Tax.)

ORDER Please send me

Record #1000

AD~

FORM Record #1010

Record #1020

Five Dollars ($5.00) Each Record CHECK ENCLOSED IN AMOUNT OF

$........................

No C. O. D.'s

NAME ........................................................................................ . ADDRESS ................................... ,.............................................. .. CITY ................................................................ (ZIP) .................. . STATE ........................ ;.............................................................. ..

For Mademoiselle Gymnast Ad· vertising Rates. Send wire, let· ter or postcard to:

MADEMOISELLE GYMNAST P.O. Box 777 Santa Monica, Calif. 90406 OR PHONE: 213·451·4211

'fI_ittllt

~;mIllU!

FOR THE LADIES MADEMOISELLE' GYMNAST

P. O. BOX 777 SANTA MONICA, CALIFORNIA路 90406 Please send me a Subscription (4) issues) of MADEMOISELLE' GYMNAST l 路Year @ $3.00 Foreign. $3.50 Per Year Please find $ ..... . .. for Gift subscriptions to be sent to the names enclosed.

o o o

Name..................................... ........... .......................................... ...... .......................... .......... .

Address........................................ ... .. ............. .... ... ................. ...... .......... .... ...... ." ..................... . City .......................... ............................... ............. State .. ....... ......................... Zip............. ... . It is not necessary to enclose this form. If you wish, iust send com-plete information on a separate sheet along with your remittance to Mademoiselle Gymnast, P.O. Box 777, Santa Monica, California 90406.

More schools bu y Nissen gymnasium apparat us than all other brands CO MBINED NISSEN CORP., 930 27th AVE . S.W. , CEDAR RAPIDS, IOWA 52406