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FROM THE EDITOR'S DESK: Vol. 5 - No. 4 March-April 197·1 CONTENTS FROM THE EDITOR's DESK .... .. .. ....... . . 4 6 U.S.A.-U.S.S.R. COMPETITION REPORT. .. .. REPORT FROM LJUBLJANA................. 10 CANADIAN GIRLS AT WORLD GAMES.... . 12 ADVISE FROM VERA CASLAVSKA .. . ....... 13 A VISIT TO THE PAST.. ................ .. ..... 14 RUSUDAN SIKHARULlDZE................... 16 COMPULSORY EXERCISE WITH RIBBON.............. .... ......... 18 CREATIVE GYMNASTICS MODERN ... .. . . . 20 USGF REPORT .. .................... .. ........ . 21 USGF-FIG REPORT.................. .. ........ 22 WHY NOT? ................ .. . .. .. .. ........... 25 NAMES 'N' NEWS.................... .. ..... 26 HELEN'S CORNER.... . . .. .. . . . ..... . ..... .. . . . 28 BOOK REViEW............ .. ........ .. ....... 28 COVER: Joanne Moore, 5th all-around, U .S.S.R.-U.S.A. competition ; Penn State, Febru ary 1971.
GLENN M. SUNDBY - Publisher DENNIES BARBER - Editor A. B. FREDERICK - Assoc. Editor BARBARA B. SUNDBY - Managing Editor HELEN SJURSEN - Contributing Editor
Manuscripts, photographs, and news items are in vited, but we can assume no responsibility for return or compensation . The views and opinions of writers and contributors do not neces sarily reflect the views of Sundby Publ ications or the Editor.
Many of our readers have ideas On how to improve the content and interest of Mile G. Here is a letter we received recently which reiterates ideas from the past and many of our Own which only need the staffing to accomplish . We hope our readers will take note of her constructive protest and add to the ideas . . . and material.
Dear Mademoiselle Gymnast: As I reread your last magazine, I took particular notice of the letters on the last page of the November-December issue. How completely I agree with their statements! Mlle . G. is a potentially wonderful gymnastics magazine, but my letter is to protest the complete domination of your publication by the Scats team of Long Beach. They are a super-fine team and as of now are deserving of all the many high honors they receive, but if you are truly an independent magazine and not a subsidiary of Scats, please acknowledge the existence of some of the other many fine teams in California as well as across the nation . May I also add some suggestions? An interesting new feature could be a news and pictorial study of a different gymnastics team with each issue of Mlle. G. This could be your " team of the month " or just a salute or recognition of an established or new team, whether they are large or small. Perhaps a running commentary or editorials from you or from prominent coaches on gymnastic etiquette. This could cover many, many phases . The dos and don 'ts expected of performing gymnasts before and during competition, the coaches ' responsibility in relation to the judges, meet director and his own gymnasts . Even spectator etiquette. How about a tip of the month to the gymnasts? This could be from interviews with established judges . ... Let them give a few major hints to the gymnasts on what points they deduct from a performance, or just talk about what they like to see or not see in a gymnast. They could even write open letters to coaches, stressing grooming, general appearance and discipline of their gymnasts as individuals or as a team . Mademoiselle Gymnast could write a few letters to the far corners, not only of their own state but to every state and give a comprehensive list of established (or new) AAU and USGF clubs, coaches, clinics and camps being conducted across our country. How about sending a courtesy subscription of one to three issues to high school gymnastics coaches? (I am not connected with any high school). This list is endless for me. Perhaps even your readers would like to send in a suggestion for an item of interest each month. I would like to echo the statement made in the letter from Boston. I, too, love Mlle. G. and do not wish to criticize but to help. Please, please, inform, enlighten, entertain, anger, pacify, anything, but do not bore us! Sincerely, Marian Buttrill Dublin, Calif. In an effort to make Mile G. a magazine of good composition and quality, we may have given a false impression that we are exclusive and all too selective. Fact, we are always very interested in more instructional material, news, photos and creative expressions .
MADEMOISELLE GYMNAST is published by Sundby Publications. 41 0 BroacNay. Santo Monico. Cali fo rnia. Second Closs Postage paid at Santo Monico. Calif Published bi·monthly. Sept.·Oct . Nov.·Dec . Jon.·Feb , Mar.·April. and May·June. Price. $3.00 per year. 75c si ngle copy. Subscription corres · pondence Box 777. Santo Monico. Cal ifornia 90406. Copyright1971© All rights reserved by Sundby Publications, 410 Broadway. Santo Monico, California 9040 I .
Talent working w ith jo y in th e ca use of universa l truth lifts th e possessor to new power. Em erson
Gymnastic Geometries
Standing Room Only crowd for U.s.S.R.- U.S.A. competition at Penn State.
1. U.S.S.R. 2. U .S.A. 1. Lyudmila Turish eva 2. Zinaida Voronina 3. Rusudan Sikharulidze 4. Olga Karaseva 5. Wendy Cluff 5. Joanne Moore 7. Kathy Ri gby 8. Larisa Petrik 9. Roxa nne Pierce 10. Kim Chace
U.S.S.R. U.S.S.R. U.S.S.R. U.S.S.R. U.S.A. U.S.A. U.S.A. U.S.S.R. U.S.A. U.S.A.
37.90 37.50
37.70 36.75
9.60 9.50 9.30 9.40 9.35 9.20 9.40 9.40 9.50 9.25
9.65 9.40 9.35 9.30 9.05 8.95 8.35 9.25 9.40 9.35
37.30 38.25 36.55 38. 10 9.40 9.40 9.45 8.90 9.15 9.25 9.65 9.05 8.50 8.40
9.7 9.55 9.35 9.65 9.45 9.60 9.50 9.05 9.20 9.55
151.15 148.90 38.35 37.85 37.45 37.25 37.00 37.00 36.90 36.75 36.60 36.55
AA winners Sikharulidze, Voronina, Turistcheva. U.S.S.R. team - Karaseva , Turistcheva , Sikharulidze, Petrik, Voronin a and coach.
U.S.A. team - Rigby, crossfeld and Marquette (coaches) Chace, Cleaves, Moore, Cluff and Pierce.
U.S.A.-U.S.S.R. COMPETITION REPORT By Dr. Joseph Massimo State College, Pennsylvania, is a geographically intriguing place located in the physical center of this large Eastern state in an area dominated by beautiful hilly terrain. On a good day it is a reasonable journey, say from Boston, Massachusetts. However, on a typical Northeast winter day, the kind your author always picks to travel, it can be tortuous - for instance 18 hours, including an early morning snooze in a Harrisburg bus depot! The trip can be worthwhile for Pennsylvania State University is a great school with an air of excitement around and within its impressive campus. On the weekend of Feb. 5 and 6 something very special was in that air. The Russian gymnasts had arrived, both men and women, for a competition with the Americans. A team of girls from our national group had been selected to face the Russians on Friday evening, and a group of current and past Penn . St. gymnasts had been brought together for the men's competition on Saturday. Penn. St. has enjoyed the reputation of being a mecca for gymnastics in the United States. Those of us privileged to attend and participate in this event can attest to the fact that this reputation is well deserved and that Mr. Gene Wettstone is the undisputed
Muriel Grossfeld, coach, and Roxanne Pierce
Ludmilla Turistcheva
Wendy Cluff
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master showman of gymnastics in the nation and, indeed, perhaps the world. The organization and grandeur of this spectacular international match, from opening to closing ceremon ies, was a very n;Joving experience, and the 18,000plus people who attended the contests (not even standing room available) would surely agree. A personal note if you will forgive me the indulgence. On one evening I approached the recreation hall gym through the huge locker room facility. It was unusually still in this ordinarily bustling area. My heels clicked on the
tile floor and echoed through the gaunt grey lockers. As I approached the main gym entrance, the sound of music became clearer, and my senses were bombarded upon emerging into the apron section beneath the stands. The powerful sounds of the fine Penn. St. Blue Band playing Russian melodies, the shine of extra gymnastic equipment waiting to be utilized if needed, the rising voices of literally thousands of people, the incredible network of TV cables running out to the main floor (ABC Wide World of Sports was filming the event), and then, of course, the competi-
Cathy Rigby
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Zinaida Varon ina
Rusudan Sikharulidze
tion area itself, lit with the brilli ant bri ghtness of a great areea, the entire setting stirring with anticipation :...- all of these things combined to make this time an unforgettable experience with few equals. The Russian National Women's Team won the team title, 151 .25 -148.90. Miss Turisheva won the AA title as she Larisa Petrik
had at the World Games. Miss Cathy Rigby captured the first-place position on the balance beam with a 9.65 score. In general the American girls made a good showing. Note: Dr. Massimo will be making further personal observations and personality reports on the U.S.A.-U .S.S.R. competition in coming editions of Mademoiselle Gymnast. Olga Karaseva
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Report from Ljubljana by Lindsay Cobb This fall I was fortunate enough to attend the World Games in Ljubljana, Yugoslavia, from Oct. 22-27. The World Games is the interim international competition held every two years after each Olympic Games. In gymnastics the World Games are just as important as the O lympi cs. Competing nations were Russia, East Germany, Czechoslovak ia, japan , Rumania, Hungary, United States, West Germany, Poland , Yugoslavia, Sweden, Bulgaria , Canada, France, Norway, New Zealand, The Netherlands, Australia, Great Britain , Cuba and Israe l in their finishing order. The pre-competition favorites were the Russians and East Germans. Czechoslovak ia with the retirement of Caslavka, an inju ry to Olympic team member Sklenikova, and th e loss of Mrs. Matchlakova, their coach, who is now working in Italy, dropped them out of contention . In fact, Czechoslovakia and japan were set to duel for third place. Czechoslovakia took the bronze by a narrow margin of .15 point, 371.90 to 371.75 for japan. japan cou ld have undoubtedly overcome this margin had their top performer, Chieko Oda, not been injured . After the '66 Dortmund World Games it was clea r East Germany would be on the rise, and they proved it in Mexico with two silver medals and a fourth , fifth and sixth as well as a thirdplace team finish . Furthermore, Karen janz now boasted the title of European champion . The young group of Schmeiber, Hellman, Noack and Schmitt had some fl ashy tricks of their own such as a sweep split leap and an aerial walkover on beam along with solid vaulting and impeccable bars. Erika Zucho ld by far the oldest, 23, stood as the international veteran of the team. On the whole this long-legged bunch of gamins seemed quite unaware of the pressure. Not so the Russians. If there is o ne word that cha racterizes them, it is " professional. " They had lost their great star, Kutchinskaya, due to a gland ul ar problem, and they were trying to put up two youngsters, Ldudmila Turistcheva and Ljubov Burda, who finished 24th and 25th in Mexico, as their leading li ghts. Petrik, Karasseva, Voronin a and Lazakovitch, three vetera ns and one novice completed the Russian representation . Compulsories were interesting because there was such a wide range of interpretation : the East Germans - very brisk, the j apa nese flowery, the Russians - dynamic. Free exercise was quite good, and the best event for almost every team . The vaulting (handspring) still had weak postflight but was genera lly excellent among the top three teams and deplorable for everyone else. Bars were highly stylized . Handstands and not just layouts were hit in the casts. The eag le had a definite period of suspension, and the Burda (5th AA)
dismount w as turned above the horizontal. However, the balance beam was where the action was. The Russians completely bombed out. Lazakovitch, their first up, went to pieces and fell off the beam twice. This unnerved everyone else. Some of them fell off. Others desperately clung to the beam trying to stay on . Their scores: 9.15, 9.15 , 8.00, 9.25, 9.00, 8.80 - unbelievable for Russians. After this debacle the East Germans pranced out onto the floor. The Russian contingent now sitting in the stands, was intent on them and nothing else. As they watch , the East Germans did just we ll enough on beam - 9.45, 9.50, 9.25, 9.35, 9.25 and 9.20 - to put them ahead by .1 point. 188.65 to the Russians, 188 .55. Now the real battle began. Optionals. The East Germans built up a slight edge in optiona I vaulting w ith the whole team doing yamishitas. The Russians used the yamishita as well as twisting vau lts. Both teams have exceptional preflight with the board set at th e very end of the brace. The difference was in the postflight. Lingering a little too long on the horse the Russians also have a tendency to leave the head back in stead of turtling. With bars and beam they pulled ahead and then finished off any possible threat from the East Germans with their superb floorwork. The final score : Russia 380 .65, East Germany 377.75. Optionals in international competition are a feast for the spectator. There are four teams on the floor simultaneous ly, and your heads bobs back and forth like a puppet. I had come with a list of performers and tricks to look for. Otherwise, as I knew from Mexico, you end up looking everywhere and seeing nothing. It is better to concentrate your energ ies. The most orig inal tricks were to be seen on bars: Brigitte Domski (W. Ger.) - hecht on the LB with a Y2 twist land ing in a stoop on the bar. Miyuki Matsuhisa Uap.) - hecht between bars to an eagle hand on the HB. Kathy Rigby (U.S.A.) - HB, back summi with straddled legs to glide on LB. Elena Ceampelea (Rum.) - back uprise to hec ht vault over the HB. Unidentified Hungarian - front summi over the bar to a hang on the HB. Swing is the thing. Full extens ion on all glides and with every basic movement. Simple casts done almost to the handstand. Eagles lifted above the bar. Free back hip shoot to handstand with straight arms. Front summis that settled onto the bar. All variations of underswing (basket) with complete compression and then
Noack (1 1th AA)
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Cleaves (33rd AA)
Matsuhisa (7th AA)
j anz (4th AA)
contenders tied with her bobbled their way out ot the running. Poor Matsuhisa landed on her seat doing a front full off. So there Cathy was in her apple green leotard accepting her medal and watching our flag go up. With this American breakthrough after Fuchs-Brause's attempt in Dortmund and Metheny'S in Mexico, we can now have hopes for more medals in the future. Linda Metheny has defeated Rigby time and time again on beam . H ad she been uninjured, she also would have won a medal. Expect this to happen for sure in Munich. At present the common trick on beam is the back handspring. Burda did two in a row . There were three aerial walkovers thrown (Keleman, Hungary; Noack, East Germany, and ?) I saw no aerial cartwheels, but they are being done, and I may have just missed them in all the motion. Kadolph on the East German B team does one, and Bujnacova on the Czechoslovakian B team does two in a row. The mounts showed little change. Most were vaults on . Dismounts were more daring - front fulls by Rigby and Matsuhisa; Gleaves does a 1 Y2 twisting front. janz threw a back handspring full and landed on her hands and knees, which kept her out of the fin als, but Turistcheva stuck hers, even though she landed low. On the whole, beam was quite boring. It was clean and precise, but there was no spark, no excitement. Beam at its best, which is undoubtedly epitomized by Linda Metheny, resembles free exercise. Why the Russi ans with thei r fantastic sense of floorwork have not applied the same approach to beam is beyond me. Above all there was no sense of presenting a total composition . It was one length stop, one trick stop, run leap stop. Instead of flowing and building to a climax, the routines jerked and scuffled along. Despite the daring dynamics displayed by a few performers, they still lack a sense of phrasing and body dynamics. Until they achieve this, beam will still have room for development, no matter what the tricks. The event that is closest to its apex is floor exercise. Significantly there were few advancements. Front work was done primarily by Americans, and again they all had fulls for which they were again unrewarded. Our composition is weak but certainly equal to the japanese and the Czechs. Free exercise is dominated by the Russians and rightly so. They have wonderful showmanship and composition making them a del ight to watch. They took all the medals. Burda fell on her back during a tumbling pass but still managed a sixth-place finish. Petrik, who tied for first in Mexico and should have placed in Ljubljana, was the
shot out of to the highest amplitude. janz (first) and Zuchold (sixth) characterize modern bars, and if you want to know what bars are all about, study their routines. The rest of their team is solid but does not show the same amplitude. The Russians have clean, stock routines with exceptional stylization and one outstanding trick. Burda (fourth) and Turistcheva (second) typlify this. Both have plain routines. The first does a glide kip hop to HB mount and the other, kere disengage kip. Both have a cast to straddle on , Y2 circle, shoot off to 1 Y2 twist, regrab the bar. Turistcheva also does a Y2 twist regrab. Nothing in itself, but she carries her arms straight out to the side, like a swan dive, during flight, which is quite impressive. This multiple twist regrab is definitely a new trend. Variations of the hecht regrab as by Domski , Rimnacova and Matsuhisa continue to develop, too. The hecht full twist has held out as the dismount. The best American was Rigby again with a 9.55. As usual her compulsory score, 9.2, gave her no chance of making finals . Kim Chase, only 14, showed flashes of brilliance but fell off again as she had done previously in compulsory bars and beam and optional beam. Adele Gleaves (9.15) could be much better if she would drop another 10 Ibs. and get an outstanding trick. As luck would have it, our flashiest bar worker, Roxanne Pierce, injured her ankle at training camp and could not compete. Vaulting was disappointing because no one was trying new vaults such as handspring front, yami back out or cartwheel Y4 turn yami. Of the Americans only Gleaves approaches the vaulting of the Russians and East Germans. Unfortunately she was not on that day and pulled a 9.15. Whereas Rigby, who is a lesser vaulter but did a good job and is very well known internationally, only got a 9.2. Rigby was the only competitor to do a yamishita with a Y2 twist. Vaulting is by far our weakest event. A lot of it has to do with just not running fast enough to generate power for a first-class vault. The top people don't just run down the strip; they tear down there. The quality of the vault has nothing to do with size either. Tiny Matsuhisa, who is under five feet. set her board back as far as the Russians and got off some great vaults for a 9.55. The Americans seemed to lack the confidence to go all out. Balance beam is the event where we have the greatest chance of international success right now. Rigby's silver medal was a combination of luck and determination. She only received a 9.1 in compulsories, but because of the Russi ans' bad showing, her 9.6 optional score got her into finals. She was first up, but she did an excellent iob under pressure for a 9.7 . After that the three other 路1 1路
victim of a judges conference and ended up with a ludi crous 9.55. The Russi an tumbling is much improved with hi gh fulls , and Turi stcheva has a 1 % twist. Trends are toward combined direction in rumbling runs (roundoff back handspring, 1V2 twist tin sica, roundoff tuck back or roundoff back hand spr in g with a half twist tinsica), falls into rolls and very dramatic presentation. It is because of their art in this event that they will continue to beat any challengers. The East Germans are nowhere near them. Only jan z broke into the finals and very much on the strength of her name and not of her routine. They are into a jazzy style which fits them , but the routines themselves are terrible, and their tumbling has a long way to go. The japanese (Matsu hisa placed fifth), and Czechs are much more competent in this area. In genera l the United States has much to look forward to in the future. With the development of 14-year-olds like Kim Chace and Theresa Fileccia, two veterans like Metheny and Ri gby, the rounding out into other events of bars whiz Roxanne Pierce and the possible return of ' 68 Olympian Colleen Mulvihill, America could be on its way. In a quote for the Nissen News: "Coach Muriel Grossfeld said, 'Although they didn't place as high as expected , the international judges and officials were very impressed. Ours is a young team, and the maturing effect of this kind of competition should work in our favor.' Muriel also said that the judging was more real isti c than at the 1968 Olympics where 9.7 and 9.8 scores were tossed around right and left. She noted that both Kim Chace and joan Moore performed excellent floor exercise routines but were not scored high."
Rigby (75th AA) Chace (6 1st AA)
Analysis of Scores by Canadian Girls at World Games Ljubljana, October 1970 By Marilyn Savage Ca nadian Women's Coach Total number of competitors was 137. The 31 st place was a tie between competitors from Roman ia and Hun gary for a score of 72.20 points, an average of 9.0. The Canadian gi rls marks were as follows: 41 - j ennifer Diachun, 71.35; 62 - Teresa McDonnell, 69.25; 76 - Lise Arsenault, 67.80; 77 - Susan Buchanan, 67.75; 87 - Sandra Hartley, 67.00, and 88 - Nancy McDonnell , 66.95. Twenty-one countries had teams, Canada pl aced in 13th position with a total of 344.65 points or an average score of 8.6. It is significant that the judging was harder at the 1970 World's Championships that it was at the 1968 Olympics. Note:
Team
'70 World's
'68 Olympics
Russia 380.65 382.85 Czechoslovakia 371.90 382.20 East Germany 377.75 379.10 japan 371.75 375.45 Hungary 362.80 369 .80 United States 360.20 369.75 Canada 344.65 343.40 Granted, this is only a slight improvement, compared to the other six countries, they all dropped from 2 to 9 points whereas we ga ined. This really indi cates a bi g improvement. It is interesting to note that we are 1.35 points behind Bulgaria the 12th-pl ace team and 1.40 behind Sweden who was in the 11 th place. Both these teams were judged hi gher because of the evening performance of the top 12 countri es. These were based on team standing in the compulsory exercises; we missed out on the 12th place by .65 points! Of cou rse, we have a long way to go, but our place in wor ld gymnastics has now been estab l ished. Many European coaches and judges commented on our improvement. It was also noted in the papers several times. Our girls now lack " risk" moves in their routines, so this is where we must place the emphas is .
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Vera Caslavska
Good Advice from Vera Caslavska 1. Train regu larly and accordi ng to a plan! You must always know what you want to pract ice and why. Tra ini ng without a plan is on ly fooling around , and if you happen to progress, it is only by chance. 2. Follow your training book diligently! O nl y th en will you have a clear overv iew of your goa ls and can you eva luate your success o r fa ilure w ith your coach. 3. Keep a conscientiously regu lated pattern of living; eat wel l but only good, good. Careful ly contro l you r weight. Visit your doctor regul arly. 4. Be di scip lin ed, precise, punctual and informed. Prepare you rself patiently and in cessa ntl y in workin g together w ith your coach! You can not lea rn everythin g, but the conquerin g of tricks lies in your w ill.
5.
Learn through watchin g other gy mnasts. If you ca nnot train you rself, take part in the trai nin g of others. Compare individual tricks and ent ire comb inations w ith the idea l concept of your routin e. 6. Don't copy. In stead try to create somethin g original. In your own opti onal exercise, try to make th e best of your own advantages. 7. Don 't laugh at other gym nasts, and don't cut down any gymnast. Even the best gy mnast can always become better. Always be prepared to help your fellow gymnasts, not on ly with spottin g but advice as we ll. 8. Be consc ientiou s in all things. Try to make each routine and each indiv idual trick the best possible - just as if Y9U were in competition.
Article above translated by Lindsay Cobb from Deutsches Turnen Nov. 12, 19 70, submitted by Owen Perkins .
Angelika Hellmann -DDR
Pictures of Cas lavsha and the beautiful pre-flight vault photo of Angelika Hellman are from O lympische Turnkunst (Ma rch 1971 ), the outstanding quarterly Germ an publication edited by Dr. Josef Gohler (good friend of our publisher, Glenn Sundby) .
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AVisit to the Past By A. Bruce Frederick The United States first entered a women's team at the 1936 Olympic Games in Berlin. While there the girls were introduced to two new events which were by 1952 to become standard in the women's program . Compulsory exercises for both the beam and the uneven parallel bars were introduced in Berl in . By today' s standards these compulsories would have been a "snap ." The balance beam exercise consisted of a mount, a pose on the knees, a full turn and a simple spring from the beam to a landing on the floor. Only in the exercise designed for the uneven parallel bar event were those present given a hint of more swingful exercises yet to come and common in competitions of today. And yet we can see the influence of the beam in the uneven compulsory in that four major stops were noted. Only at the beginning of the exercise (underswing, Y2 turn to long hang to hip circle on the low bar), we note the influence of the horizontal bar which is today the predominant influence. We are receiving more inquiries about the origins of the women's events, the latest coming from a graduate student at Springfield College. In the interest of those who are concerned with tracing the history of the development of the feminine gymnasti c program we are presentin g here the content of the first uneven compulsory (translated from the French version) with a set of special drawings to accompany the written description. Since there are a number of readers who are interested in the history of gymnastics, we make a special plea to those of you who mi ght have documentary information to share. It is a relatively simple matter to make copies of such materi al at a local library which we in turn can then convert suitably to materials for publication in both Mlle. Gymnast and the Modern Gymnast. Best wishes to Miss Elizabeth R. Smith , the Springfield College student mentioned above, who is presently working up a documentary history of uneven bar work for women.
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Compulsory Exercise for the Uneven Parallel Bars Prescribed for the Xlth Olympiad - Berlin 1936 (Refer to numerals placed in the figures ill ustrating the exercise.) 1 - From a position (standing) on the lower bar facing the upper bar with the ri ght hand in under grip, left hand in regular grip . . . 2-3 - Jump from the lower bar and underswing (Y2 turn) to long hand and back hip circle to front support (fac ing out) on the lower bar. 4-5-Swinging the legs left sideward and taking a grip with the left hand on the upper bar, swing rearward between the bars and ... 6-swing the legs over the lower bar with a 14 turn removing the right hand from the lower bar to grasp the upper bar to a bent arm front leaning support-hang facing in with the weight resting on the thighs. 7-lO-Circie the legs (left) while hanging from the upper bar perform ing ..---:?' a comp lete circle and return to pos ition described in 6. _ - - -;;;: ./ 11-13 - Undercircle the right leg and 14 turn to a side seat removing the ____ right hand from the upper bar and grasping the lower bar behind the left hip. 14 - Swing the legs forward to place the right foot on the lower bar with the left leg held horizontally forward. 15 - Extend the right leg to a stand maintaining the position of the left leg. 16-Circle the left leg (circumduction) over the upper ba r and .. . 17-18 -with a 14 turn cont in ue the movement in order to hook the knee over the upper ba r. Remove the hands and stretch backward to ... 19 -an extended position with the pa lm s of the hands turned upward. 20-Continue to move the arms in a c ircular pattern and grasp the upper bar with undergrips. 21-22- Turn mount left around left arm joining the legs to a front support facing in on the high bar. 23 - Change the left hand to an undergrip. 24 - Lower the trunk grasping the lower bar with the right hand and swing (s lowly) to a momentary handstand position. 25 -Swing forward between the bars and ... 26-rear vau lt over the lower bar w ith a Y2 turn to ... 27 -a landing on the mat legs half bent. 28 - Finish the exercise by stretch ing to a cross stand (right sideward). From a description offered by Giu lio Lay in an Italian publication by Lay, entitled Ginnastica Artistica : Pa ra lie Ie As im metriche (P rato, 1955) Figures and trans lation by A. B. Frederick
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Compulsory Exercise with Ribbon for World's Gymnastique Moderne Championships - 1971 translated by Mildred Prchal Ribbon Exercise Performance Exercise with the ribbon requires much space. The gymnast learns very quickly that all movements of the ribbon are dependent upon the movements of the entire body. Unless the movements are smooth, flowing and followed to completion with body as well as arm, the ribbon "snapa " or " cracks" and many loops and knots occur. The gymnast must, herself, determine the necessary strength to apply to movement for if on one hand, too much accenting or whipping causes it to snap and crack, movement that is too slow causes the ribbon to wrap around body. Swings, circles and figure "8s " are executed in all planes. Movement is dynamic and executed to maximum amplitude. Axis of movement is in shoulder joint. When changing plane, be sure movement is completed to end of ribbon, otherwise the ribbon can easily tangle, or the end of ribbon remains "dead. " Unless otherwise specified, the baton is always in line with arm, end is held lightly in palm, index finger is softly extended. Required planes and positions of arms must be adhered to.
Duration of exercise - 1 minute, 20 seconds. Stand at left front, facing front, ribbon in right hand. With 45° turn to left, one pas chasse to left (L,R,L) - vertical serpent on floor - arms at sides. I. 1.-3. 45° turn to left, spring from L, extend R front in air turning 180° to left with moderate arch ing of body and close R to L while still in air. 4. land on R with 90° turn to left. II. 1.-2 . step L to side, close R to half squat, moderate front bow - horizontal circle of right arm inward, bend upward left, palm up (movement in form of figure "8") - trunk follows movement of arms. 3.-4. like 1.-2 . In 1.-4. of II. measure, ribbon executes 2 figure " 8"s. III. 1.-4. like I. IV. 1.-2. like II. 1.-2. 3. -4. 45° turn to left, step L to side, R foot points to side, moderate wave of trunk to left with big swing of ribbon to left in front of body - movement of ribbon commences to the right side - left arm extended to side - moderate side bow to right. V. 1. 45° turn to right, step R forward 2. 360° turn to right on R, L leg bent at side, point of L foot touching inside of R knee - horizontal circle of ribbon over head to right left arm extended to side. 3. lower right arm and sketch a horizontal c ircle with ribbon on floor, step L forward on toes, ribbon fo rm s circle. 4. turn 360° to right on left toes - bend R to side, R toes touching inside of L knee - horizontal ci rcle over head to right, left extended to side. Remark: on 2.-4. cou nts execute 2 full turns (720°) while ribbon executes 3 horizontal circles successively over head, on floor, and again over head. VI. 1.-2. step R forward on toes, L extended to rear - vertical wave from left to right chest high 3.-4. step L forward on toes, rear bow, bend R forward , momentary hold - big circle along right side of body (lateral) beginning c ircle high to rear - left extended to side. VII. 1. half-squat step R turning 360° to left in half squat on R toes, L toes touch floor lightly - arms to right, vertical serpent in air. 2.-3.2 steps forward (L, R) - horizontal serpent on floor. 4. hold in toestand L front,_R rear - horizontal spiral to left, baton vertical in front of body in right hand, left extended to side. VIII. 1. swing ribbon to right rear on floor, small leap to right over ribbon on R, stand Lacross R on toes, R toes on floor. 2. small hop to righ t on L, stand R across behind L, R leg bent - spiral of ribbon to left. 3.-4. like 1.-2 . IX. 1.-2. like VIII. 1.-2. 3.-4. 360° turn to left (one foot after the other) - pass streamer to left hand behind body, arms to right. X. 1.-2. step with left to side on toes, cross R in front of L - swing ribbon . to right behind back and vertical spiral behind back.. 3.-4. 360° turn to left on toes - continue in vertical spi ral. XII. 1.-2. step L to left, cross R behind L - sketch ci rcl e with left hand (medium circle) behind head - extend right to side. 3.-4. small leap to left on L, cross R in front of L - sketch large c ircle in frontal plane. XIII. 1.-2. like XII. 1.-2. 3.-4. like XII. 3.-4. to half squat - moderate front bow. XIV. 1.-4. run backward beginn ing with L - vertical spirals on floor in front of body, left arm low front, right arm extended to side.
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XV. 1.-2. with impulse leap to right on R, beginning with extens ion of R leg to side, L toes touch R knee - big swing of ribbon over head from left to right (jete on R to right). 3.-4. step with L to left, close R to L on toes. Spiral ribbon in air from right to left in front of body - grasp ribbon in right hand (moderate sidebow to left), lateral twist of trunk to left. XVI. 1.-2.3 running steps (L,R,L) - con tinu e sp iral to left. 3. swing ribbon from left to right on floor - spring from L to spl it leap (grand jete) over ribbon landing on R. 4. step L forward - spiral to left. XVII. 1.-2. spring from L, bend R, moderate arch , leap over vertical spira l (stag leap) from left to right side - right arm moves from left to right downward (oblique). 3.-4. land on R, step L forward and turn 225° to ri ght in half squat on L, R to rear on point (to stand with right hip to original position) - spiral on floor.
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XXII. 1.-2 . take ribbon in left hand, cross R in front of L - side bend to ri ght and horizontal circle in outward direction over head - extend right to side. 3.-4. step L to side, cross R behind L - horizontal circle over head inward. XXIII. 1.-4. like XXII. but finish with feet together on toes and grasp ribbon in right hand. XXIV. 1 . turn 135° to right on toes, step F forward , knee flexed. 2. rise to toes (relieve) on R turning 360' to right, L extended to rear vert ical wave with ribbon in front of body from left to right, finish with arms to sides. 3.-4. lower to R heel and aga in rise (relieve) to toes turning 360' to right on R - arms extend to sides and continue vertical serpent. XXV. 1.-2. step L forward , close R, turn 360° to right on toes - large horizontal circle over head. 3.-4. step R forward , close L turnin g 270° to right - horizontal circle of ribbon over head. XXVI. 1.-2. swing ribbon on right side of body and1jump over ribbon with both feet. 3.-4. 3 cross steps on toes to right starting with L crossing in front of R spiral - arms extend to sides. XXVII. 1.-3. like XXVI. 1.-3 . 4 . close L, turn 90° to left on toes - continue with spiral - arms extend to sides. XXVIII. 1.-2. 2 steps forward , R(L, hop on L extending R forward , then bend R, R point touches inside of L knee, arch strongly, big swing of ribbon forward and upward. 3.-4. 3 running steps (R,L,R) and horizontal serpent from high to low. XXIX. 1. step forward on L toes - arms extended to sides. 2. step R forward turning 180° to left - arms extended to sides. 3. 180° turn on R to left, extend L forward . 4. spring to half-squat step forward on L (R in rear on toes) ribbon executes big horizontal swing to left in front of body, arms to left of body all movements must be executed with accent on each count. XXX. 1 . 45° turn to right, swing ribbon to right and back - step R to side take ribbon in left hand behind body. 2.-4. turn 360° to right (alternating feet, crossing) - ribbon executes horizontal circle over head starting to right back and transfer ribbon to right hand from left side. XXXI. 1.-4. like XXX. but without 45° turn to right. XXXII. 1.-4. 45° turn to right. half-squat step R forward (L in rear on toes) vertical serpent on floor from left to right - moderate side bend to right. XXXIII. 1.-4. like XXXII. to opposite side and on opposite foot but without 45° to right. XXXIV. 1.-4. 4 running steps backward (L,R,L,R) - vertical spiral on floor. XXXV. 1.-3. 3 running steps backward (L,R,L) - continue enlarging frontal circles of ribbon. 4 . close R to L in toestand - big frontal circle of ribbon. XXXVI. 1. 45° turn to right and horizontal circle of ribbon on floor inward and leap forward to left with R. 2. horizontal circle of ribbon over head inward - leap to left on left, R leg behind L (both knees flexed) toes of R on floor. 3.-4. like 1.-2. XXXVII. 1.-4. like XXXVI. to toestand (closed) XXXVIII. 1.-2. half-squat step L to side (r on toes) - big frontal circle with right spiral. 3.-4 . close R to closed toestand - swing ribbon to right. XXXIX. 1. turn 45° to right - swing ribbon to left rear on floor - jump over ribbon with both feet. 2.-3.2 steps to rear (R, L) - sketch figure "8" with ribbon on floor. 4. 90' turn to left, step R forward. XL. 1.-2. spring from R to catstep forward , L, R - big saggital circle along right side of body upward . 3. half-squat step L fdrward (R in back on toes) 4. vertical spiral in front of body. SU. 1. 180° turn to right to half-squat step forward R, L in back on toes continue with vertical spiral on floor from left to right. 2. back bend - big swing of ribbon upward to rear. 3.-4 . hold.
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XVIII. 1.-4. spiral on floor - turn trunk to right. XIX. 1.-2. turn trunk to left with swing of ribbon forward in horizontal c irc le
Ribbon
above floor to left - step forward with R into c ircle, hop on R, close L to R in half sq uat - dorsal front bow. 3.-4. body wave forward. to points, strong stretch and arch - 2 horizontal circles over head to left. XX. 1.-2 . big lateral circle on ri ght side of body and small leap with Rover ribbon (sideway) to stand on R, bend L forward. 3.-4. repeat XIX. 1.-2 . XXI. 1.-2. turn to right (face original direction), cross L in front of R on toes turning 360° to right, arch, arms lateral with spiral to right. In the moment of turn the ribbon sketches bi g circle in frontal plane. 3.-4. finish turn on toes - small flexion of trunk to right - spiral of ribbon on floor to left ami right finishing arm movement to side.
Official measurements of ribbon to be used in 1977 Cymnastique Moderne Championships in Cuba: a. Small baton made of wood and equipped with hole at one end, 50-60 cm. in length (approximately 19 %"-23 5/a".) (Bamboo for baton recommended.) b. Ribbon in satin, width: 4-6 cm. (approximately 15/a"-2%"). length 6 meters (19 feet, 95/a inches) of which 1 meter (approximately 1 yard, 3% inches) is doubled at the baton end. c. Ribbon attached to the end of baton with thread (fish line) passing through the hole. A piece of stiffening about one inch wide should be inserted in doubled end where thread is attached to ribbon (to keep ribbon from shirring).
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model: Karen Odom , Beverly Hills Tini cettes.
Creative Gymnastics Modern By Gretc hen Sunderland Dowsing
Have you ever tried teaching gymnastics in an exploratory, creative manner? In such a manner that the student has a chance to discover new sk ills and unique ways of so lving problems for herself? An easy way to implement this sty le of teaching is to use modern gymnastics, since this area of gymnastics especial ly encourages creative movement. The -tea cher, in this case, has little need for demonstration ; she does not want her students to copy her every move but instead wants them to experiment with their own body movements and develop individual styles. This goal can be accomplished by using a series of word cues, or questions, which can lead the student from a low to a hi gh level of skil l in modern gymnastics. I w ill give you some exa mples using different elements of rhythmic ball skills, beginning w ith basics and leadin g up to actual routines performed to music.
Tossing and Catching: 1. Can you throw the bal l and catch it without making a sound? 2. Try to throw the ball very hi gh but still catch it. 3. Can you throw and catch us ing the backs of your hands? 4. Try stretching your body when throwing and rela x while catch ing. 5. Can you throw the ball with a different part of your body? 6. Try catch ing and throwing the ba ll in time w ith the music.
Bouncing: 1. How low can you bounce the ball? How high? 2. Can you run and bounce the ball? Skip? Leap? 3. How fast can you bounce? How slow? 4. Can yo u bounce w hil e in a balance position? 5. Who can bounce the ball under a part of her body? 6. At this point the students can be encouraged to invent a I ittle routine combining 8 tosses and 8 bounces to 16 beats of music. These tasks are leading the participants to an awareness of what their bodies can do. They learn control of the ball in many different positions, and partner work may be introduced after basic sk ill s are learned . The use of music is always helpful. Let us continue with more samp le tasks.
At all times the students should be encouraged by the teac her, and she may point out unique variations that the whole group may li ke to try. There is no "wrong" way to perform any of these sk ill s, so a measure of self-confidence is sure to follow. After experimenting with the basic sk ill s, try combining them: 1. Who can combine a leap and a swinging movement using the ball? 2. Find a way to add a balance position to tossing and bouncing. Now try a different balance. 3. Can you combine a bounce, a toss and a swing of the bal l wh ile skipping? These questions and tasks are endless; I have only given you some examples to begin with. I realize that it may be more efficient to say, "Here is a rhythm ball, and I will show you the correct ways to bounce and swing it," but it's so much more exc iti ng to see quite "ordinary" students solve these movement problems in unique and interesting ways that you may never have dreamed of!
Rolling: 1. Can you roll the ball around your body? 2. Can you roll the ball on part of your body? 3. Try to roll the ball, leap and pick it up agai n before it stops. 4. Can you roll the ball under a partner? In another position? 5. Can you add rolling skills to your bouncing and tossing routine if we increase the number of beats to 24?
Swinging: 1. Can you swing the ball in one hand? In two? 2. Who can use her whole body to follow the swing? Do your knees bend? 3. Can you swing the ball with one hand and toss it to the other? 4. Ca n you sw ing the ball in a circle? While moving? 5. Let's add to your routine some swinging movements. Can you add 16 counts of swings?
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U.S.G.F. Report By Jackie K. Uphues and Shirley Bryan Mrs. Jackie Uphues, Chairman (FIG Brevet) 642 Dodge Avenue Evanston, Illinois 60202
USGF Elite Championships for Women 1971 Mr. Bare has informed us that the USGF Elite Championshi p for Women has been moved from th e May 2 1 and 22 date to th e fall of 1971 , date as yet not confirmed. Si nce the 1972 O lymp ic compul sories w ill be fin ished by June 1, 197 1, the Elite Championship will require the performance of these 19 72 Olympic compulsory exercises and optionals. Thi s directive will have the fo ll ow ing effects on ou r competitive program - a reconfirmation of the February 1st Bulletin by J. Uphues: 1. Those gym nasts scoring a 33 .20 al l-around score (8 .3 event average score) and w ho are a minimum of 14 years of age in 197 1 may qualify for the Elite Championship in the following manner: a. At the USGF Junior Nationals fo r ages 12 to 14 on M ay 1st in Fresno, Cal iforni a - Meet Director Wanda Obradovich. Box 5 141 - Zip 95755. b. At the USGF Senior Nat iona ls for ages 15 and over on April 24 and 25 in Bethesda, Maryland - Meet Director Ruth A. McBride. c. At their respective USGF Regional Competit ion. d. At the DGWS Intercollegiates on Ap ril 9 and 10 at Penn State Uni versity. 2. There w ill NOT be a separate qualification meet for the Pan-Am Tri als. Both the Junior Nationals and Senior Nation als will serve as this qualifying competition for sa id Pan-Am trials, which are slated for early June. No more than 25 gymn asts (at least 14 yea rs of age in 19 71) based on a combined li stin g of all -a round scores from both th e Junior and Senior National Meet will qual ify fo r th ese Pan-Am Trials. Th ese two meets will be th e only two opportunities for such qualification. 3. Th e World Cup Meet wi ll ta ke place on May 21 and 22 in Miami, Florid a, with gym nast se lection based on 197071 Internation al and National Competitive Record s. 4. All reporti ng of scores wi ll be the same as directed in recent Feb. 1 Bulletin from J. Uphues. A ll further questions should be directed to you r respective regional chai rm an or Tech nica l Committee Chai rman Jackie Uphues.
Th e U SGF Women's Technical Comm ittee has been expanded, and we are hopeful th at you will ca ll upon the member closest to you or w ithin your region to answer those many technical questions which arise during th e course of the competitive year. Below is a list by region of each techn ica l committee member, and encl osed is add ress li st: (a ll members are nationall y or internationally qualified judges) . Region I Mrs. Sharon Weber (FIG National) 1738 Park Street Huntington Beach, Ca lifornia 92648 Reg ion II -
Mrs. Dale Flansaas (FI G Brevet) 12003 Andes St. Reno, Nevada 89506
Miss Karen Patoile (FIG Nati onal) 14806 Bothell Way N.E., Apt. 214 Seattle, Wash ington 98 155 Region III Reg ion IV (contact Jack ie Uphues) Region V Mrs. Sharon Pirkl (F IG National) Mrs. Greta Treiber (USG Fj DGWS Natd) Department of Women's Physical Ed Rt. 1-Box 175A Ind iana State University Colona, Illinois 61241 Terre Haute, Indiana 47809 Region VI Miss Sharon Valley (FIG Brevet) 119 Blake St., Apt. 203 New Haven, Conn . 06511 Region VII Mrs. Ernestine Carter (FIG Brevet) Marianne Estates, Apt. 2 Rt. 1 Shippenv ille, Pennsylvan ia 16254 Region VIII Mrs. Delene Darst (USG FjDGWS Nationa l) 1903 Robin Lane Milledgev ill e, Georgia 31061
USGF ELITE NATIONALS - Fall 19 71 Open to 14 and over 33.20 optional all -aro und total (8.3 event average) in either the Junior or Senior N ation al Meet or respective Regional M eet or DGWS Intercollegiate Championshi ps April 9-10 is needed for entry.
BULLETIN The office of assistan t executive director was res igned by Jackie Uphues at the USGF Govern ing Counc il Meeting in December of 1970. She will now concentrate her total effort as cha irman of th e Technical Committee, hand ling th e techni ca l matters of national and intern ation al character. Those responsibil ities and duties previou sly belonging tei the ass istant executive director's pos ition have been delegated to the chai rman of the Women's Committee, Shirley Bryan, and to other execu tive board members of the Women 's Comm ittee. All further correspondence shou ld be directed to her office: Mrs. Sh irl ey Bryan 27 Keswick Road Elk Grove Vill age, Illinois 60007
Other News Items: The prepared notes from th e Lon g Beach FIG Course are ava il ab le from Tu cson, titled " Jud ging Guide." (Mrs. Sharon Weber, FIG judge, USGF Technical Com mittee member. Recorded notes from Chi cago. FIG Co urse, " Jud ging Guide II," by JackieUphues are ava i lab le for $1.00 from Tucson.
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USGF-FIG REPORT The following compulsory exercises are being sent to the attiliated tederations by the Women ' s rechnical Commlltee: Floor exercise, beam and uneven bars. As well as the' va'ult chosen for the Olympic Games in Munich. Because of the new form of set exercises for women these documents are being sent out earlier than usual. This will give the technical committees of the federations time to provide for an adapt the necessary I inkages as well as the music for floor exercises, following the terms explained in the following. Later, you will receive the definite text as well as figurines and tables of penalties provided for each apparatus from the Men 's Technical Committee: For the Women's Technical Committee: The President: B. Villancher
Compulsory Exercises - Women: New Form 1. Duration: (a) Four years with the possibility of changing the order of difficulty on bars, beam and floor after the first two years. (b) From Olympic Games to Olympic Games. (c) The federation must be informed immediately. 2. Only the elements of difficulty for bars, beam and floor are fixed by the Women's Tech. Committee. In vault, it is set from the Code of Points. 3. For the Munich Olympic Games, the elements of difficulty have to be performed in this chronological order. The choice of linking movements is free. 4. No other elements of difficulty may be added to those officially set. 5. Each element may be reversed . 6. The overall composition of the exercise and the musical accompaniment for floor exercises are arranged by each federation. 7. The exercise is to be the same for all team members. 8. The musical accompaniment is the same for all team members. 9. The elements of difficulty for the set exercises cannot be used in the composition of optional (voluntary) exercises unless the linking moves which precede or follow that difficulty are totally different or if the acrobatic element is executed with a change.
Judging Each purely acrobatic element executed in excess of set elements merits a deduction of: 0.50 points. Concerning the voluntary exercises: Each acrobatic element identical to those in the set exercise merits a deduction of: 0.50 for a medium. 1.00 for a superior difficulty. Specific penalization for the elements of difficulty on all the apparatus will be subsequently sent to the federations. The penalties concerning exercises too long or too short are identical to those concerning the voluntary exercises.
BEAM: FLOOR:
Elements of Difficulty for Women's Set (Compulsory) Exercises: 1971-72 Floor Exercise (Chronological order of elements is mandatory) 1. Code of Points, page 106 (Sup. Difficulty No.2) Round off with a series of flick-flacks on two legs. 2. From a takeoff on two feet, handspring forward, land on one leg. 3. Code of Points, page 89 (Med . Difficulty No. 5) Turning jump with a half turn. 4. Dive Cartwheel sideways. 5. Code of Points, page 106 (Med . Difficulty No. 11) Backward walkover with change of legs. 6. Pivot forward on the toe of the foot with a 360 0 turn , free leg stretched backwards to bend in front at end of the turn. 7. Code of Points, page 102 (Med. Difficulty No.2) Dive Arab Wheel 8. Code of Points, page 89 (Med . Difficulty No.3) Stag Leap. 9. Front horizontal support on one half-bent leg. 10. Roundoff, flick-flack onto one leg, cartwheel sideways forward walkover on one leg.
Vault Vault No.1 O. Code of Points. Jump, body and arms stretched, then with quarter turn during the flight to an inverted support, quarter turn after leaving horse to land on floor.
Beam (Chronological order of elements is obligatory.) 1. Standing facing the end of beam, with a few steps, take off on one foot and squat on to the beam, one foot behind the other without hand grip. 2. Passing through inverted support, hollow down through chest roll, to straddle sit. 3. Code of Points, page 59 (Medium difficulty 1) Stand on one leg complete one full turn (delete: a minimum) 4. Code of Points, page 65 (Medium difficulty 11) Turning leap landing in squat (delete: continue with a turn) 5. Code of Points, page 71 (Medium difficulty 1) Cartwheel sideways. 6. Code of Points, page 79 (Superior difficulty 5) Runn ing takeoff somersau It forward, body pi ked , legs stretched .
Uneven Bars
Number of Elements of Difficulty BARS:
Beam Only connections that are nonacrobatic in nature are allowed between the set elements.
8 Medium difficulties (mount and dismount included) Duration of exercise not set. 5 Medium difficulties and one superior difficulty (Mount and simount included) Duration of exercise: 1 minute to 1 minute, 20 secs. 9 Medium difficulties and one superior difficulty. Duration of exercise: 1 minute to 1 minute, 20 secs.
Linkages - Floor and Beam The following can be used as linkages: Elements from Modern Gymnastics; turns; pivots ; hops; dance steps; balances; movements offlexibility. Excluded: All acrobatic elements such as roundoffs, cartwheels, flick-flacks, handsprings, headsprings, saltos, leaps, split leaps, handstands as well as all elements of suppleness, walkovers, etc.
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(Chronological order of elements is obligatory.) 1. From a position facing lower bar: 路 dorsal grip, thrust forward , pass the stretched legs between the grips to arrive in dorsal support on the low bar. 2. Hanging from the upper bar, thrust the legs into inverted hold position and kip through front support to free support forwards. 3. Place the feet on the upper bar outside the grips and a forward swing, half turn to hang on the upper bar. 4.-5. Circle on lower bar (without grips) to a momentary free position between the two bars, body stretched, arms upwards and immediately grasp lower bar with hands. 6. Upstart (kip) from the lower bar to hang on upper bar. 7. Kip to support on upper bar, forward circle. 8. Thrust backwards, straddle the legs over the upper bar, then legs together and stretched bounce and backward somersault to facial stand .
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integral conditioning program as a part of the practice season . Girls should be following the same procedures especially if they perform at a calibre of high level. Most girls will readily see the need for good conditionin g when their moves become sloppy and simple routines too difficult to " throw" because they are just " too tired. " Some coaches have I ight and heavy workout days; others try to incorporate all aspects of gymnastics daily. Another problem which may domin ate the coach is the spotting of individual performers. Good spotting techniques is a must. Spotting techniques should be taught to all performers so th at they can safely spot each other on most of the moves. For example, team members should be tau ght not to have an extended arm over the low bar while spotting the even bars, as this can fracture the elbow. There are many techniques of which the coach should be aware to insure safety during performance. Why not take the attitude that " the fewer injuries the more successful the season." The coach will of necessity spot the advanced sequences of an event, but his energies should not be burned away "boosting up," "helping over" and lowering down every performer who comes along. The more time a coach spends spotting basic moves that other team members can do, the less he has to give to the team as a whole, especially in areas where spotting " knowhow" is needed. Preparing a girl for competition means more than tea ching a routine to the performer. Why not acquaint the girl with judging procedures and also how she must enter and exit the competition area. Knowledge such as her time beginning on the balance beam, when her hand or foot touches the beam, and th at she just needs to bow to one judge upon routine completion, are little bits of business the performer acquires through more complete coaching. Also why not teach the performer to be aware of her fac ial expression while performing. Encourage her to smile while doing her routine at first may seem more of a grimace than a smile, but it will change as she becomes more famili ar with the routine. Why not have team discussions at least once a week, subjects covered besides gymnastic techniques, maybe movies of champion gymnasts, philosophy of gymnasts and gymnastics, team loyalty of members to coaches and vice versa, training rules deportment of team members as part of a team as well as many more pertinent topics. Good team members are lost each year because of a lack of communication on topics such as the above. If one is a male coach , why not set an example for the above and refrain from patting the girls on the "backside" as they finish their performance, giving the girl a "squeeze" as one converses, etc. These, of coLirse, are meaningless gestures but may be misinterpreted by others. Remember many fathers and mothers just do not approve of a male patting or caressing their daughter, no matter just how innocent it may seem to the coach. Many coaches prepare well for a meet and then forget necessary items and equipment. Why not prepare an itemized list and check it off prior to each meet. Pertin ent items may be a tape recorder, record player, hand chalk, hand straps, merthialate resin, burn ointment, tweezers, ace bandage, ice pack and other paraphanalia that is important to the coach . Also as meet preparation, why not brief the car owners beforehand or the bus driver on how to get to the meet site, where nearby restaurants are, ground rules for everyone while on the trip and last but not least to "drive safely." Why not, as the season progresses, take the team to see girls' meets or perhaps even a boys' meet, make them aware of gymnastics and help them to watch routines from other girls for moves that they may incorporate into their routines. If your budget will allow it, why not take movies after a week or two of practice and then take them again at the end of the season. This is to let the team as a whole see the improvement (if any) that a few months will make. Why not take a movie and cut it so that moves from the same events are isolated on small reels; then if one wished they could watch moves from the one event, I.E. dismount moves from the uneven bars without having to sit through a whole reel of other events. In conclusion, why not assume that you are going to have both problems and fun during the season? Why not try to have more fun than problems?
"Why Not?" By Ami Leso As recently as 1960, very few women and even fewer men faced the problem of what to do about coaching the high school girls' gymnastic team. Today a scant 10 years later this problem is a reality. Today, both men and women are being asked to coach this rising high school sport, and more th an a few have little to go on other than enthusiasm. If you are a fledgling coach and enter the gym for the first practice and see 25-35 girls, some parallel bars, a few mats and little else. How do you begin? If you have not already done so, why not immediately subscribe to a gymnastic periodical, look up tumbling and gymnastic books in the library, rent or buy films and find out who are resource people in your area. Assuming that you do not have a balance beam, vaulting buck, uneven bars, etc., and further more the season will have begun by the time you receive them. Why not have the shop or custodians make a balance beam. Why not put a mat over the bars and use it for vaulting (a number of basic vaults may be taught). Why not use the basketball court lines for balance beam drills. Why not teach basic tumbling moves such as cartwheels, etc. Why not find out which girls, if any, have had ballet and have the five basic positions of ballet taught as well as a "pas chassez," " tour jetes" and other basic ballet moves. Two of the four events accentuate poise and grace. Form and flow drills concerning body mechanics need to be taught any way so why not now, as you are getting under way. The writer is attempting to point out that even without equipment and knowledge on the coach's part, there are many things he can do to keep the program going unti I he has more firm ground to stand on . Most coaches in their first years of coaching will experience injuries among the team members due in most part to his inexperience and that of the student. It is felt that the more acquainted the coach is with conventional injuries, the more he is able to be of value to the gymnast both physi ca lly and mentally. In gymnastics if the coach has a basic knowledge of the anatomy of the body and the parts which suffers the most stress and strains and further more has the ability to treat these parts he has a distinct advantage. Why not take a course in the treatment and care of injuries. It is extremely difficult for a girl to perform or practice if she is plagued with injuries. If a girl has talent and yet is afraid of minor and imag inary injuries, a coach ' s counsel may be quite important. In many instances a girl can work around an injury and thus not lose her conditioning. As a coach , why not search out this seemingly minor factor and notice how many high school girls never are truly conditioned because they have overreacted to minor injuries. Common injuries among beginning gymnasts are bumps and bruises usually involving " posterior" landings, hand tears and finger strains. With the more experienced and advanced gymnasts, ligamental strains around the knees and injuries that involve the elbows and shoulders which will take their toll. Both the coach and the performer must pursue the point that as the performer becomes more confident of her ability she will as a rule desire to do more difficult and hazardous stunts. Don't let your success as a coach be governed by someone else's treatment and care of your athletes (unless they are a professionally trained and can be depended on throughout the season). While on the subject of injuries why not be aware of "character" injuries. This type of injury ca rries scars, too. The coach's deportment, philosophy, language, etc. , before the team all reflects later in the team ' s attitudes. Too much lip service is given to character development, and too few coaches actually make a concentrated effort to develop good character qualities this, too, is part of coaching. Training the squad most members will arrive at the gym for their first practice out of shape and several months later, even though they have improved somewhat, will still be out of shape. Not enough coaches of women ' s teams include a conditioning program around cardiovascular fitness and strength . And this could be incorporated as part of the regular gymnastic practice. Remember almost every successful men 's sports program has an 路25路
NAMES 'N' NEWS 2 1971 AAU NATIONALS
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Hamby, Fleming, Hill, Mullen, Fike, Sepaspour; West Coast Invitational.
Cedar Rapids, Iowa, to host 1971 national AAU Gymnastic Meet. The meet w ill be held at the new Kennedy High School under the direction of athl etic director Don Supe and gymnastics coach Gary Williams. For further information: AAU Meet Committee, Box 1270, Cedar Rapids, Iowa 52406
WEST COAST INVITATIONAL WOMEN'S GYMNASTIC CHAMPIONSHIPS Fresno, Calif., March 6, 1971 Meet Referee: Dale Flansaas
CENTRAL QUEENS "Y" HOSTS GYMNASTIC CLINIC FOR GIRLS AND WOMEN Report by Sid Lorber Gymnastic Coach , Queensborough Commun ity Col lege The Centra l Queens YMCA in Queens, New York, held its first girl s-women gymnastic c linic on Saturday, jan. 16, 19 71. There were about 130 gi rls taking part in the cl ini c. The object of the clinic was to demonstrate, exp lai n and teach the AAU junior Olympic Age-Group Compulsory routines. Films of the compu lso ri es were shown .throughout the clinic. Printed com pulsory routines were given out to all participants and spectators. The gi rl s and women that did not take part in the workshop phase were able to observe and take notes. The use of a video-tape machine en hanced the cl inic for the gi rls. Although the organization of the c linic needed improvement, the cl ini c was a success. Gymnastic competition for gi rl s and women (as well as for boys and men), outside the N.Y.C. public schools, has not really existed to any great extent. There have been very few AAU meets in New York City area. Maybe compulsory clinics will foster more meets in the metropolitan area in the future. The following people were instrumental in making the clinic a success: Madeline Nelson, N .Y.S. Comm issioner of Gymnastics for the YMCAs and Assistant Phys ica l Director of the Central Queens Y; Pat King, Gymnastic Coordinator in the Northeast Region for the YMCAs and Physical Director of the New Canaan, Conn. , Y; Marilyn Schnaars, National AAU judge and Coach of the Carle Place H.S. gym nastics team ; Linda Chencinski, National AAU judge and Coach of the Centra l Queens Y Girls' gymnast ics team; Maria DeCristoforo, Gymnastic Coach at Port Washington H.S.; Nancy Lauster, Gymnastic Coach at York College; janet H ennessy, Coach of Springfield Gardens H.S. ; joh anna New, Assistant Physical Director of the Prospect Y; Norbert Chencinski, women's gymnast ic judge for the metropolitan area; Luis Alomar, gymnast from Long Island University; Sid Lorber, Gymnastic Coach at Queensborough Community Co llege and the centra l Queens Y. The women and girls that ass isted in performing routines at the clinic were Terry Turso, Debby Eich, Barbara Palmer, Beth Schoenwald , Marion Settle and Elaine Bruescki.
AA: Debby Hill , Den ver - 35 .50; Barbara Fleming, Fresno - 35.45 ; Debby Mu llen, Fresno - 35.10 ; Lind a Hamby, Fresno - 34.75; Debby Fike, Lakewood " Kips" - 33.95; Barbara Fleming, Sacramento State and Tami Sepaspour, Diablo Valley - 32.45. BB : Tie, Debby Hill and Barbara Fleming; Linda Hamby; Debby Fike; Candy O li ver, Reno ; Debby Mullen; Li sa Buttrill , Diablo. FX: Linda Hamby; tie, Barbara Fleming and Debby Mullen; Tina Liskum Sac-San juan; Leanne Lobdill , Sac-San juan; Oliver; Parcher. UB: Hill ; Mu llen; Fike; Flemin g; Debby Halle, Seattle; Parcher; Sandy Ga ll oway, Sac-San juan. V: Sepaspour; Fleming; Hill ; Hamby; tie, Mullen, Linda Antonio, Denver; tie, Fike, Lisa Buttrill and Diane Dunbar, Di ablo. Results: Team Fresno, 166.90; Sac-San juan, 157.95; O veta Chernich Linda Hamby Tina Liskum Barbara Flemin g Sandy Galloway Kim Sue Greaves Pam Bickner Cindy Smythe Nancy LeValley Diane Ain ley Debby Mullen Leanne Lobdill Denver, 154.75; Linda Antonio Laura Trowbridge Debby Hill Renee Hack Claudia Walush Caney Fergu son
Seattle, 153.10. Debby Halle Shirley Boyd Lonna Woodard jill johnson Peggy Rowan Laurel Anderson
Other than full teams, competitors we re from Lakewood " Kips" ; Di ablo Valley, Sacramento State, University of Nevada. judges were from Sacramento, Palo Alto, Concord, Huntington Park, San Diego, Ventura, Woodland Hills, Los Angeles and Fresno.
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COLLEGIATE WOMEN 'S GYMNASTICS Report by Margit Treiber To qualify for the 1971 National Collegiate Women's Gymnastics Champions hi p, regiona l competitions were held throughout the country during the months of February and March. From each region th e top two teams, the top 10 individu als in eac h event and the top five all-around gymn asts en tered in the national s held at Penn State University on April 8-9- 10. From the Midwest at the O hi o State Regional Championsh ip meet (held on Feb. 27). the team s who qua li fied are: First Place - Indiana State University, Terre H aute, Ind. ; 89. 15. Coac hed by Mrs. Margit Treiber. Second Place - Kent State Univers ity, Kent, Oh io ; 87.40. Coached by Mr. and Mrs. Rudy Bachna . Th e all -around p lace was won by Mi ss Jan H eppner, Indiana State Un iversity with a 29 .85. Th e first-place winners are: Beam: Sarah Brumgart, Indiana State University, 8 .05. Vau lt: Mona Govert, Indiana State University, 8. 10. Floor: Pam Chill a, Kent State, 8.95. Bars: Sa lly Crawford , Centra l Michi gan State, 7.75 .
MID AMERICA News of the forma ti on of th e Mid Amer ica n Gymnastic Conference has been announ ced by Carole Li edtke, MAGC secretary. Th e first meeting of coac hes was he ld in August in Kansas C ity, seven teams represented. A ro und robin tournament is now in process. Each team w ill have six meets in five month s with one bye. Six competitors en ter each even t with th e top five raw sco res of each event cou nting toward team scores in both the com pu lso ri es (AAU Junior Nationa ls) and opti ona ls. Each team pa id an entry fee and donates 10% of th eir home meet profits into the Conference treasury and home tea ms provide housing and food for the vis iting team. At the end of t he season th ere wil l be a league champion ship meet at Champaign, Illinois (Ma rch 27). The league purposes are: 1. D eve lopment of judges from our area to be certified and to rep resent us in nat iona l and internationa l compet ition. 2. Uniting of coaches to develop better o rgani zation of gymn asti cs everywhere. 1. Give gymnasts more experience and give recogn iti on to them suc h as form ing an all star team w hi c h may even compete internationa ll y. 4. Set up workshops for coaches. 5. Fo rm trainin g ca mp for gymnasts. 6 . In general to better gymnasti cs in our area w ithin th e national realm. After the third round the tea ms have th e fo ll ow in g averages and stand in gs: Louisville Gym Club, 3-0, Average: 305. 17; Champaign, II I. (McK inl ey Y) 2-0, Ave rage 305.7; Cedar Rapids, Iowa (Sokol), 2-0 , 238.4; Ok lahoma City, Okla . (Hi -Lo Twisters), 1-2, 308.06 ; Burn sv ill e, Minn. (MGAA)' 1-1, 250.45; Kansas Ci ty, Mo., 0-3,246.00; Flint, M ich. (Olymp ians), 0-3 , 217. 17. Pe rh aps others ca n beg in other such leagues o n eith er a loca l or nationa l basis.
Kristi Matthiesen warming up for Phillips 66 In vitational.
PHILLIPS 66 INVITATIONAL Gymn astics wi th Phillips 66 Petroleum Co. is of fai rl y rece nt orig in, as it started in 1966 under the di rection of the Recreation Department of Phillips 66 as an added benefit for emp loyees. From thi s program has come a competition tea m and sponsors h ip of severa l age group gymnasti c co mpetiti o ns each year. It is hoped that through these activ it ies, the overall gymnastic prog ram already in prog ress in Ok lahoma and the Southwest w ill receive added encouragement and development. Mrs. Willi am Trepka, pub li c ity chairman, Ph illi ps 66 Parents' Gymnastic Board, recentl y sen t us news of the th ird annua l Phi ll ips 66 Invitati on,, 1 Age Group Gymnastics Meet at th e Phi llips 66 Gym in Bartl esv i ll e, Ok lahoma. The gi rl s' overall team trophy went to the H altom-Ri chl and Gyros, a Fo rt Worth team, w ith a score of 221.94. Jim Bryant is the coac h for the Phillips club, wh ile O.G. Buck served as meet director. Approx imately 20 teams were inv ited to attend the meet from Colo rado, Kansas, M issou ri , Texas, New Mexico and Ok lahoma.
DENVER-FRESNO WOMEN 'S GYMNASTIC MEET
Clarion State College, Cla rion, Pa., high scoring team with a 5-0 re cord this season.
The D enver-Fres no Women's Gymnastic Meet was held at McLane High Schoo l in Fres no Jan. 20. Top score of th e meet was Debby Hill's bar - 9.4 - spectacula r! With the com bin ed sen iors and juniors it was D enver, 293 .1 5; Fresno, 29 1.25. Results: AA: Barbara Fl eming, Fresno; Debby Mul len , Fresno; Debby H i ll, Denver; Lind a H amby, Fresno; Juli e Kni ght,. Fresno; Claudia Walu sh, Denver. FX: Mu ll en, Fl em ing, Hill , H amby, Knight, Walush. BB : Flem in g, H amby, Mullen, Hill, Kn ight, Candy Ferguson, Denver. UB : Hill , Flem in g, Mullen, Kn ight, Wa lu sh. V: Mullen, Hamby, Fl eming, Hill, Walu sh, Charleen Miller, Fresno.
Teacher Miss Cheva lier watches as Kathy Dersch performs on th e balance beam during gymnastic exh ibition at Tecumseh Public School, Port Credit, Ontario, Canada.
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Book Review
BASIC MOVEMENT EOUCATION FOR CHILDREN: RATIONALE ANO TEACHING UNITS by Bonnie Cherp Gillion, formerly San Francisco State College. AddisonWesley Publishing Co. , Reading, Mass. 01867. 224 pp. $4.95. This book delinates the va lu es of add ing basic movement education to physical educat ion cu rri cu la through a scholarly rationale for teaching basic movement in ele mentary sc hools and throu gh practical detailed teaching units for children in three consecutive grades. A secondary purpose is to present as succinctly and practically as possible one interpretation of basic movement education w ith its new approac h to content and methodology. Part I contains a co ncise discussion of how a curriculum in basic movement education for stud ents of any age may be developed. It focuses on the structure of movement and on the process of becoming physically educated. Part II contains very detailed, well-tested teac hin g units in basic movement educati on to be used in any three co nsecu ti ve grades in the elementary school. The text is designed for advanced und ergraduate and graduate-level students as we ll as for experienced classroom teachers and physical education spec ial ists. It is an attempt to sy nthesize for teachers and future teachers the work of movement theori sts, curriculum theorists and learning theori sts into a practical plan wh ich they can modify and use with confidence. While the book is recommended as a text for college students and it is excellent as far as it goes, it could never be the only text because there is much more to be sa id and done. For instance, the book is excellent for the early grades and as a guide for movement exploration. However, the materials the author has illu strated would be relatively unchallenging for children above the third grade, and this reviewer would qualify the recommendation of this mate ri al for any three consecutive grade levels. Many of the next grade- leve l probl ems should follow immediately upon the first phase of exploration as she outlines it in the beginning grade. The divisions in the problems seem weak; in other words, there needs to be more depth. The questions need to be more probing for the children so that they explore and discover skillful ways to execute the problems. For example, ball and tumbling skills are left at very basic stages in deve lopment. Children are capable of achieving at a relati vely hi gh leve l of skill (especially at the hi gher grades) with the necessary understandin g and app reci at ion for the task. It is, however, an excellent springboard to the methodology. The penand-ink drawings of children in action are excellent. The artists have caught the exploratory nature of children involved 路in learnin g about movement. In addition, the bibliography is quite complete and up to date. (Reviewed for Mademoiselle Gymnast by Sue Hanson , Dept. Physical Education, University of H awa ii.)
HELEN SJURSEN 46 POPLAR PLACE
FANWOOD, NEW JERSEY 07023
"Something Different for the Beginner" o
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Fig. 2
Fig. 1
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Fig. 3
Fi g. 1 - Stand under the hi gh bar facing the low bar. Fig. 2 & 3 - Swin g legs under low bar and turn backwards over low bar (Y2 back pullover mount) and, as soon as the legs are restin g on the bar, release the hand grip.
Fig.4
Fi g.5
rig. 4 & 5 - Without stopping, quickl y swing arms forward and upward simultaneously extending the body fully, arch the back popping off the low bar to catch the high bar with the eagle grip. (This entire movement should be completed within a short count of "one"). At the time ot th e hand release, the opening up (the stretching of the body) must be done quickly with a strong arm swing. The extension of the body must be full y completed at the " hei ght" of the left when leaving the low bar. Right after the hand release, sw ing the arms parallel to each other while extending the body. By keepin g the arms parallel , it helps to raise the shoulder higher, getting yo u nearer to the hi gh bar for a successful catch. Spread the arms in preparation for the eagle catch, almost at the last moment. This combination (back pullove r mount to eagle catch) can be used as a preparation for the cast-wrap-eagle catch starting from a fronf support on the hi gh bar. Spotting - The spotter stands between the bars and grasps the legs as the
"JUDGING COURSE FOR WOMEN'S GYMNASTICS" The " Judgin g Course for Women's Gymnastics" is based on the 1970 FIG Code of Points and U.S.A. / FIG courses. This booklet contains all the rules and regulations and deductions for errors one needs to know and all under "o ne cover" in rega rds to judging. It explains how to evalute exercises of all levels for uneven bars, balance beam, floor exercise and va ulting, optionals and compulsories. All deductions for errors are listed separately under each individual event. The FIG-rated medium and superior elements of difficulty, based on the 1970 FIG Code, are also included (mimeographed). This booklet can be used: 1. By people wa ntin g to learn how to judge. 2. By coaches, to learn w hat errors will draw the " heavier" penalties. 3. By new coac hes, to learn the requirements of each event and w hat is expected in a particular exercise. Also a new coach can improve his or her coaching by glancing through the errors listed. By a coac h knowing wha t constitutes an error, he or she can spot these errors more quickly should they be committed by the gymnast during her workouts and can correct them before the gymn ast competes. . 4. Bya gymnast, so she can educate herself on what errors judges will be lookin g for. 5. By existing jud ges, to refresh her memory on deductions for errors, etc., before judging a meet. 6. As a preparation before taki ng an official certification test. 7. By test admini strators, since a ll judging information is under one cover. Order from: Helen Sjursen, 46 Poplar PI. , Fanwood, N.J. 07023.
gymnast extends her body.
NOW AVAILABLE "SKillS FOR WOMEN'S GYMNASTICS" by Helen Schifano Sjursen ... includes skills far uneven bars, ba lance beam, floor exercise and vaulting ... no need to scan through a dozen separate books to hunt up different skills to learn or to teach ... over 890 skills, including some combinations ... all listed under one cover ... especially helpful to coaches and gymnasts with a limited knowledge of gymnastic skills ... excellent reference for selecting skills when composing a routine for physical education classes, school teams, individual competitors or just for the fun of participating in the sport of gymnastics ... for convenience, skills have been "unofficially " listed as an element of "med ium " or "superior" difficulty so that judges may use this book as a guide when judging competitions within their local area ... no one in the gymnastic field should be without this handy convenient reference book ... a must for every library ... each skill illustrated ... beginners to adva nced ... cost $6.95, plus 30c postage and handling. Order from Hactor Records, Waldwick, N.J. 07463 (C.O.D. orders accepted)
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WORKSHOP W isco nsi n Sta te University, La Crosse, Gymnastic Works hop for wo men coac hes an d judges June 7- 18, 19 71. Conducted by Mrs. Ernestin e Ru ssel l Ca rter. Write : Workshop Director Dr. Mary McLellan Wisconsin Sta te University Women's P.E. Departmen t Wittich H all 1710 Pine Street La Crosse, W isconsin 5460 1
Gymnastics For Elementary School Children (Wm. C. Brown Co., 1967, $2.95) by Garland O'Quinn Our sincere apologies to author Gar O'Qu inn for our neglect of his excel lent text. Ga r was given special recogn ition at the St. Loui s Convention of AAHPER on w hich occas ion he presented a fil m and talk about hi s work with gymnasti cs for child ren. Th ose who know Gar also know th at he is very enthusiastic abou t his wo rk and has created many unique devices w hile co nductin g programs of gymnastics for children w hile in New Mex ico.
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TRIPODS
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LADIES' GYMNAST IC SHOE
An ex tremely flexioble snug-filling shoe with wh ite tetron iersey upper. Provides excellent toe point . during competition. Rubber hemming assures tight but comfortable wear even during the mosr vigorOUI movements . Leather sale i s slip-free and ,llows good ventilation . Worn by many top international competitorl . Sizel: 2 - 9 $2.00 pro ppd.
TO A SET
1970 Yugoslavia World GymnastiCS Championships
Homemade devices for gymnastics are shown throughout the book and in add ition to a great number of photographs showing children in action sequences, the author has inc luded c lea r instructions for constru ctin g some of hi s unique eq uipment. (We have includ ed just 路one of these items in ou r review ... the O'Qu inn Balance Beam .) Other special apparatus appropri ate for elementary sc hoo l is introduced by the author such as playground ropes (German style), the tumbling bench, improv ised hori zontal bar, tumbling tubes and mini tramp . In a final chapter the author, a former O lympian, gives some in sight to the organ ization of a Summer recreation program organized around the gymnastic th eme. Th is book w ill certainly find a place on our Golden List of gymnasti c books. reviewed by A. B. Frederick
Super 8 - in color
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The world's most exciting combinations, tWists and new techniques have been recently filmed. See the winning and top optional routines, for all Olympic events, in semi-slow motion tpken from the best locations. In order to show more variety of routines, a second reel for men has been produced showing top competitors throughout the world. Men's - #14 - 400 ft .. ........ ..$35.00 Ppd. Men's - #1 5 - 300 ft ..... ....... $25.00 Ppd. Women's - # 16 - 400 ft .... ..... $35.00 Ppd.
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styles for action
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GYMNASTICS MODERN AT SOKOL WOODLANDS Train ing in Gymnast ics Modern w ill be offered at Sokol Woodlands in two sessions for the benefit of women physica l educa ti on teachers in co ll eges, public school systems, dance groups, for instructors in gym nasti c clu bs, Sokol and Modern Gymnasti cs .
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The week of June 26 through July 2 is designed to give ph ys ical education teach ers training and knowledge in the field of modern gymnastics.
complete dancewear and record catalogs. 1571 Golden Qat,
'In.
C"vel ln d , Ohio 44124
Anoth er week, Aug. 29 through Sept. 4, will be designed to accommoda te students as we ll as teacher. It w ill feature more actu al wo rkout tim e and incl ude the learn ing of compu lsory routines. Enrollment w ill be: $90.00 per week PLUS $ 10.00 initia l registration Enrollment includes room and boa rd. Initial registrati on is for one or two wee ks. For reservations w rite:
SOKOL WOODLANDS , Mail Road Barryville , N.Y. 12719
STAFF: Rusty Mitchell Don Robinson Marie Buski Dale Flanssas Rod Hill LAquita Hargrove For additio nal information wrae
Caravan of
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Santa Monica, Ca. 90406
silver_ tone charms, sweater pins in stock for immediate delivery Fill in event(s) des ired in vided blank spaces, circle tone (G) or Silver tone (S) indicate quantity and total below.
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'in G. or ' S.-== at $1.00 each. CHARM BRACELET (one charm included) with _ _ in G. or S. _ _ at $2 .00 each . SWEATER PIN with _ _ in G. or S. _ _ at $1.00 each . CHARM PENDANTS _ _ in S. _ _ at $1 .50. DELUXE CHARM PENDANT: in G. or S. _ _ at $2 .50 each . Please include 2Sc for postage and handling on all GYM SHOP JEWELRY (SOc for postage handling and insurance for all orders over $5.00.)
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Santa Monica, Ca. 90406
THE MODERN GYMNAST SUPER ' '1' ' size: _ Small, _ Medium, _ Large , _ X-Large color: _ Lt. Blue, _ Avocado , _ Red, _ White , _ Gray, _ Ordnge, _ Yellow, _ Bone . D THE GYM SHOP SUPER ' 'T'' size: _ Small, _ Med ium, _ Large , _ X -Large color: _ Lt. Blue, _ Avocado, _ Red, _ White, _ Gray, _ Orange, _ Yellow, _ Bone, _Navy. Pattern: _ Paisley, _ Floral-1, _ Floral-2.
Gymnastic Trophies New customized sculptured male and female figures in Gold tone, Silver tone and Bronze tone, mounted on : handsome molded bases (available in blue, red, white), at $3 .95 Women's (W) figure and place: FirstGold tone (G), Second Silver tone (S), Third - Bronze tone (B) .
Woodward Camp. located in central Pennsylvania offers weekly sessions from June 20th to August 28th . Gymnastics instruction for boys and girls from ten years and over. P,O, Box 93, Woodwa~d, Pa, 16882,
Official Gymnastics Modern Hand Apparatus Now Available Through Gymnastic Supply Company E-70 OFFICIAL WOODEN GYMNASTIC HOOPS. Imported from Germany. Constructed from 3fa" laminated Beech wood, 31 W ' diameter with flat surface for " sure" grip. Delivered price per dozen : $59.40.
E-034 OFFICIAL GYMNASTIC CLUB. Manufactured by Gymnastic Supply Company to conform to the European style. 14" long with % " weight properly distributed to insure correct and graceful movements. Delivered price each: $4.75.
E-C30
E-75 OFFICIAL JUMPING ROPE. Without
PRACTICE HOOPS. Light weight plastic in two (2) sizes , 30" and 36". Round grip surface. Delivered price per dozen : $24.50. E-2 OFFICIAL GYMNASTIC BALl. Original Medau, imported from Germany. 7%" diameter and weight 1-lb., 2-oz. The size and weight force correct use of the ball, thus giving a perfect performance. Delivered price each : $7.20.
handles as required. Available in 8 ft. and 9 ft. lengths, with 1 0" long center section of rope enlarged to give proper distribution of weight. Delivered price each : $4.25.
E-80 PRACTICE ROPE. Made from braided dacron without the enlarged center section. Delivered price each: $1.50.
E-S54 100% DOUBLE KNIT STRETCH NYlON HALF SOLE GYMDAL, with elastic heel strap. (Worn by models) Soft leather sale protects the foot pivot area, yet does not lose the "feel of the floor". This slipper was first introduced in European Gymnastics Modern and is now EXCLUSIVELY manufactured by Gymnastic Supply Company. Sizes: Small (1 -4) Medium (5-8), Large (9-1 2). White only. Delivered price per pair: $2.00.
AMERICAN LIBERATES THE FEMININE GYMNAST!
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The American Revolution provides the feminine gymnast with apparatus that accentuates the freedom of movement. A new member of the American force is the F.I.G . Balance Beam. You can get complete information on this new balance beam by jOining the American Revolution and sending for your "Revolution Handbook" (our catalog)! Join today.
AMERICAN ATHLETIC EQUIPMENT COMPANY BOX 17761 JEFFERSON, IOWA 50129
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