THE OFFICIAL TECHNICAL PUBLICATION OF THE UNITED STATES GYMNASTICS FEDERATION

Vol. 7, No.4

PAID Permit No. 7867 Indianapolis, Ind.

December 1987

2

Vol. 7, No.4

Inside This Issue

4-6 Preliminary Investigation Of Forces Produced By Junior Male Gymnasts On Rings

8-9 Safety Certifiers List And Schedule

10-11 RSG Duet Clubs Required Elements

12-14 RSG Difficulty Proposals

15-19 Junior Olympic Program Women's

Proposed Elements 1989-92

20-22 Horizontal Bar Tech­niques (Learning Without Blisters)

23 USGF Calendar Of Events

By: P.J. Cheetham H. Mizoguchi Hoi. Sreden

By: Nora Hitzel

By: FIG

By: Linda Chencinski

Dale Kephart John Wojtczuk

By: Ken Allen

(Cover photo © 1987 by Dave Black)

CHANGE OF ADDRESS AND SUBSCRIPTION INQUIRIES: In order 10 ensure uninterrupted delivery of TECHNIQUE magazine, notice of change of address should be made six to eight weeks in advance. For fastest service, please enclose your present mailing label . Direct all subscription mail to TECHNIQUE SUBSCRIPTIONS, Pan American Plaza, 201 S. Capi101 Ave., Suite 300, 'Indianapolis, IN 46225. POSTMASTER: Send address change to TECHNIQUE, Pan American Plaza, 201 S. Capitol Ave., Suite 300, Indianapolis, IN 46225.

TECHNIQUE is published quarterly for $12.00 by the United States Gymnastics Federation, Pan American Plaza, 201 S. Capitol Ave., Suite 300, Indianapolis, IN 46225 (Phone: 317-237-5050). Third class postage paid at Indianapolis, IN. Subscription price: $12.00 per year in United States; all other countries $24.00 per year. Back issue single ca­pies $2.00 plus $1 .00 postage/handling. All reasonable care will be taken , but no responsibility can be assumed for unsolicited material; enclose return postage. ©1987 by USGF and Technique. All rights reserved. Printed in USA.

FIG BULLETIN If you would like to subscribe to the FIG BULLETIN, please indicate your interest in writing by JANUARY 31, 1988, Due to the fluctuating currency exchange, the subscription price has not been determined, Last years price was $25,00. Send requests to: John Hewett, 201 S, CapitoIA~e., -Suite 300, Indianapolis, IN 46225,

December 1987

Publisher Mike Jacki

Education/Safety Editor Dr. Gerald George

Production Michael G. Botkin

UNITED STATES GYMNASTICS FEDERA· TION BOARD OF DIRECTORS: Executive Director: Mike Jadd . Athlete Representatives: Lydia Bree; Peter Vidmar; Linda Kardos; Tom Beach; Kathy Johnson; Tim Daggett; Kelly Garri­son. Amateur Athletic Union: Jerry Hardy. Amer­ican Sokol Organization: Norma Zabka. Amer­ican Turners: Harry Warnken. Members at Large: Linda Chendnski. NCAA Gymnastics Coaches­Men: Fred Roethlisberj;er, University of Minneso­ta . NCAA Gymnashcs Coaches-Women: Judi Avener, Penn State University . National Associa­tion for Girls and Women In Sports: Dr. Mimi Murray, Sprin~field College. National Associa­tion of Women s Gymnastics Judges: Dale Brown. NCAA: Sylvia Moore, Oregon State University; Gail Davis, Rhode Island College; Jerry Miles, do NCAA; Wayne Young, Brigham Young Universi­ty. NAIA: Bonnie Morrow. NHSGCA:John Brink­worth . National Federation of State High School Athletic Assoc.: Sharon Wi1ch; Susan True . National Jewish Welfare Board: Courtney Shank­en. NJCAA: Dave Rowlands, Truman College.

"NGJA: Mike Milidonis . USAIGC: Ed Knepper. Men's Elite Coaches Assoc.: Jim Howard , Uni­verSity of Nebraska. USECA for Women: Roe Kreutzer; Steve Whitlock. Youn~ Men's Christian Assoc. : Cliff Lothery. Jr, Boy s Gym. Coaches Assoc. : Rich Bocda. President: Mike Donahue.

EXECUTIVE COMMITTEE: President: Mike Donahue. Secretary: Judi Avener. Vice President: Jim Howard. Executive Director: Mike Jacki. FIG Technical Committee: Jackie Fie. FIG Rhythmic Technical Comm. : Andrea Schmid. FIG Men's Technical Committee: Bill Roetzheim. Vice Presi­dent for Women: Sue Ammerman. President Emeritus: Bud Wilkinson. Athlete Representa­tives: Kathy Johnson; Peter Vidmar; Larry Gerald . Members at Large: Mike Milidonis; Linda Chen­cinski .

Associate Content Editon SPORTS MEDICINE COMMllTt:t: Merrill A. Ritter, M.D. SAFETY COMMllTEE Dr. Marc Rabinoff EDUCATION COMMITTEE Dr. Garland O'Quinn BIOMECHANICS COMMllTEE Dr. Marlene Adrian, Director SPORTS PSYCHOLOGY COMMllTEE Dr. Keith Henschen, Ph .D. EXERCISE PHYSIOLOGY COMMllTEE Dr. Pat Eisenman, Ph.D.

Unless expressly identified to the contrary, all articles, statements and views primed herein are attributed soley ( 0 the author and the United States Gymnastics Federation expresses no opin­ion thereon and assumes no re sponsib il i ty the reof

Technique

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Preliminary Investigation Of Forces Produced By Junior Male Gymnasts On Rings

P. J. Cheetham, USOC Sports Science Program

H. Mizoguchi, USGF Junior National Team Coaching Staff

H. I. Sreden, USOC Sports Science Program

One of the most common chronic injuries suffered by male gymnasts is in­flammation of the shoul­der joint caused by forc­

es placed on it during performances on the rings. Nissinen (1983) found these forces to be up to 9.2 times the gym­nast's body weight at the bottom of the giant swing. These enormous forces may be a factor leading to the early retirement of some unfortunate gym­nasts. It is interesting though that there are some gymnasts who escape these chronic shoulder pains. Is there a difference in their technique? If so, and if we can find out what the difference is, then our young gynasts may be able to avoid shoulder injuries caused by the rings .

Several scientists have examined the forces in the ring cables during var­ious skills . Forbes (1985) looked at both forward and backward giant swings of elite Australian gymnasts. He found that forces curves with both one and two peaks during the bottom­ing phase of the swing were typical. The bottoming phase is defined here as the phase where the gymnast pass­es through the bottom of the swing and then begins to rise towards handstand. It is characterized by a force curve value of more than the gymnast's body weight (half the body weight in the case of one ring) .

Nissinen (1983) studied over 60 gi­ant swings performed by German gym­nasts of various skill levels. The force curve of a world-class gymnast per­forming a giant swing exhibited a one peaked curve with a plateau on the down swing phase. Tan (1983) studied over 91 gymnasts from the Chinese

4

National Team and the Beijing Gym­nastics Team. He concluded that the gymnast whose force curve had only one distinct peak exhibited "the best" technique. Sale and Judd (1974) ana­lyzed Canadian gymnasts of varying skill levels doing a shoot to handstand. Each gymnasts used the bent arm technique and the two peak curve was evident in each case.

The aim of this study was to inves­tigate the forces exerted on young gymnasts during a series of three dis­locates on the rings . Three dislocates were chosen since the dislocate is a basic skill on rings and doing three in sequence would show whether con­sistencies or inconsistencies occurred. It was hoped that indicators of poor and potentially harmful technique would be discovered. A second pur­pose of the study was to examine the feasibility of using split-screen video of the gymnast and the synchronized force curve as direct coaching feedback.

Camera 2

Oscilloscope

Camera 1

METHODS

A force measuring system was designed to fit into the ring cables (figure 1). The force transducers were installed in series

with each ring cable above the ring frame cross member. Signals from the transducers were brought down a ring frame leg to a computer and the entire system allowed the gymnast to swing unimpeded. The feel of the rings was unchanged by the installation of the system. Thirteen, ten to twelve year old male gymnasts from the US National Squad were tested while performing three dislocates in sequence, begin­ning from inverted hang. The forces in both ring cables were acquired by a computer and one of the forces was simultaneously displayed on a storage oscilloscope. The gymnast and the os­cilloscope were filmed with a 200 frames per second video system using its split screen capability. This allowed

Figure 1 Instrumentation System

Technique

500

400 --------::l:

'" ..: >-I (!) 300 ii: z 0

Iii' In 200 .=. w U

'" 0 "-

100

1/2 BW

2 .00 4.00

TIME (SEC) Figure 2 . Force-til'le curve , for one r ing cable , for the three dislocate sequence , by gymnas t BS.

500

400 ::l:

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'" 0 "-

100

1/2 BW

0

N 11 ) h II I 11 I

"-../ ~ VJV \ .. j ~V~ 0 .00 2 .00 4 .00

TIME (SEC) Figure 3. Force-time curve , for one rin::t cable, for the three dislocate sequence , by gymnast DR.

500

400 ---::l:

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Iii' In 200 .=. w u

'" 0 "-

100

1/2 BW

0 0.00 2.00 4.00

TIME (SEC) Figu r e 4 . Force-time curve, for one ring cable, for the t hree dislocate sequence, by gymnast AA.

for the synchronized viewing of the force curve and the gymnast's move­ment pattern. The data collected by the computer were scaled and plotted for each gymnast.

RESULTS AND DISCUSSION

The peak force on the gym­nast, summed for both arms, ranged from 5.1 times body weight to 7.9 times body weight. This

was generally on the last of the three dislocates and just passed the bottom of the swing. The shape of the force curve during the bottoming phase of the swing varied markedly between gymnasts. Each gymnast however, tended to have a consistent force pro­file from one dislocate to the next. Three basic curve shapes were ob­served. Figures 2, 3 and 4 show the force profiles for an entire sequence of dislocates from three different gymnasts.

Comparing figures 2, 3 and 4 we im­mediately have some indication as to the effectiveness of each dislocate in each sequence. After the initial dislo­cate from inverted hang (the first small peak) we see three large peaks caused by the bottoming phase of each dislo­cate. The three large peaks from figure 2 are similar in magnitude. This sug­gests that gymnast BS was not gain­ing from each dislocate in the se­quence. His swing was not increasing in magnitude from dislocate to dislo­cate. The three peaks from each dis­locate in figure 3 show an increasing trend.

This suggests that gymnast DR was benefitting from each dislocate and was in fact increasing the magnitude of his swing from one dislocate to the next. Figure 4 shows a different situa­tion. Here the magnitudes of the bot­toming phase of the last two dislocates are similar. The first full dislocate however, is smaller than the last two. This may suggest that gymnast AA was very efficient, he only needed one full dislocate to reach his maximum amplitude. These conclusions from the force curves were also supported by observation of the video. Gymnast BS was very jerky and did not gain ampli­tude from one dislocate to the next. Gymnast DR did increase amplitude from one dislocate to the next and gymnast AA took only one dislocate to build up to a high dislocate.

Technique 5

If the force curve of a dislocate is looked at in detail more interesting results appear. Figures 5, 6 and 7 show the last dislocate of each of the three sequences from figures 2, 3 and 4. The time axis has been scaled and synchronized figures have been ad­ded. Figure 5 shows a force curve with multiple peaks during the bottoming phase. Certainly, from the shape of the force curve, this dislocate does not look smooth. Examination of the video reveals this to be the case. Several ex­traneous movements occur during the bottoming phase. Much of the gained energy from the down swing is dissi­pated in these extraneous movements. Figure 6 shows a force curve with two peaks during the bottoming phase. On examination of the video this gym­nast's dislocate appeared quite high above the rings. Figure 7 shows a force curve with only one distinct peak. On examination of the video this gym­nast's dislocate was also above the rings . Despite these similarities the difference in their force curves during the bottoming phase is remarkable. Gymnast DR experiences a drop of 3.8 times body weight then a rise of 5.4 times body weight to a second peak of 7.9 times body weight. (Note that the forces show on the figures are half of these since they are for one cable only) . These relatively large force changes occur in less than 0.1 se­conds. Gymnast AA experiences no sudden drop then rise in force during the bottoming phase. He experiences a smooth rise to 5.7 times body weight. These differences, while dramatic on the graphs, were not so obvious from the video. The reason for ther--differ­ences in the two force curves is not

Rhythmic Update Correction

To October 30, 1987

6

Qualifying score for Compulsory Classic

April 22-24, 1988

Children/Juniors -31.00

Seniors - 32.00

500

400 /A~J,,~,\ cY :;,;

'" I -0:

>-- I I t> 300 a:: / / 1 1 I I z ( / I I I 0 r I I e;;- I I I m

-=-200

w u '" 0 "-

100

1 /2 OW

0

3.20 3.40 3 . 60 3.80 4 .00

TIME (SEC) Figure 5 . Synchronized film and force-time c ur ve, for one ring cable , during the last dislocate in a

sequence of three, by gymnast BS.

500

400 -:;,;

'" -0:

>--I t> 300 -

'" Z 0

e;;-m

200 -=-w U

'" 0 "-

100

"' ow

0

4 .00 4.20 4.40 4.60 4.80

TIME (SEC) Figure 6. Sychronized fill:1 a nd force-tir.te c ur ve , for one ring cable, during the last dislocate in a

sequence of three I by gymnast DR.

500

4.20

5 . 00

400 l~)~~1 :;,;

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>-- / I \ I / I t> 300 / I \ I / I '" ( I I r 2 . 85xBW I z 0 I I r I e;;- I I m

200 --' I w

I I

u I '" 0 I "- I 100 I I I

0

3.80 4.00 4 .2 0 4.40 4.60

Figure 7. Sychronized film a nd force-time cu r ve , fo!lo~eErfn~Ec~Jle. during the last dislocate in a sequence of three, by gymnast AA .

4.80

Technique

clear. It is believed to be connected with the timing and interaction be­tween the two elements of the complex double pendulum that is formed by the gymnast and the rings. This interaction needs to be closely examined. Tan (1983) concluded that the one peak force profile, as in figure 7, indicated "the best" technique. Also the force profile of figure 7 is almost identical in shape to that of the world-class gym­nast in Nissenen's (1983) paper, even though one is a dislocate and the other is a giant swing.

SUMMARY AND CONCLUSION

It can be surmised that the gymnast with the "two peak" curve may be set­ting himself up for injury. Each time he performs a dislocate his shoulders,

Technique

and in fact whole body, receive two sharp jolts of force. Perhaps if he had grips with no dowels he would not be able to perform the dislocate with this technique. Perhaps he would "rip off." The gymnast with the one peak force curve may be less prone to shoulder injury in the future and may have less tendency to "rip off" when the dislo­cate grows into a giant swing. Gym­nast BS had an obviously jerky tech­nique. This was obvious from both the video and the force curve. Gymnasts DR and AA had dislocates that were not obviously different by superficial observation. With the aid of slow mo­tion video and a synchronized oscillo­scope trace the differences in tech­nique are detectable. It is concluded that this combination of force display and video system is certainly useful to the coach and gymnast as a direct feedback tool and can help in pin-

pointing faulty technique that may eventually lead to injury.

In d ianapo li s, IN 46255-5562

REFERENCES Forbes, W. (1985) . Unpublished

manuscript. Australian Institute of Sport, Canberra, Australia.

Nissinen, M.A. (1983). Kinematic and kinetic analysis of a backward giant swing on the rings. In, Biomechan­ics VII-B, pp 781-786. University Park Press. Baltimore.

Sale, G.D., and Judd, L.R. (1974). Dy­namometric instrumentation of the rings for analysis of gymnastic movements. Medicine and Science in Sports, 6 (3):209-216.

Tan, S. (1983). Kinetic characteristics of back giants on rings. In, Selec­tion of Research Papers. National Research Institute of Sports Science. Peoples Republic of Chi­na. 1 :92-100.

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7

ARETZ, JULIA THOMPSON USGF NATIONAL SAFETY OMI, PAUL

12123 16th Ave. South CERTIFIERS 245 W. 57th Street

Burnsville, MN 55337 Revised: November 4, 1987 Westmont, IL 60559 B: 612-890-9020 B: 312-420-6490

GANIM, RON BEACH, ROBERT 8135 West Ridge Dr. RABINOFF, MARC University of Kentucky Broadview Hts., OH 44147 5479 South Iris Street Alumni Gymnasium B: 216-526-2970 Littleton , CO 80123 Lexington , KY 40506 GEORGE, GERALD B: 303-556-3935 B: 606-257-6483 423 Orangewood Dr. BERNHARDT,SARAHJANE Lafayette, LA 70503 RIZZUTO, MICHAEL 2029 Five Mile Line Road B: 318-231-5681 3 Copper Hill Court Penfield , NY 14526 FRANK, PHIL Durham, NC 27713-9447 B: 716-586-9580 2414 Yellowstone Rd. B: 919-471-3857 BISHOP, KARL Cinnaminson, NJ 07077 428 5th Street B: 609-234-5292 ROONEY, JOE Largo, FL 33540 HAY ASAKI, BEV 120 Woodland Ave. #B B: 813-447-2108 510 South Staley Rd. Reno, NV 89523

Champaign, IL 61821 B: 702-747-2719 COWAN, ROBERT B: 217-352-4269 US Gymnastics Federation HICKS, JOAN SHARPLES, MIKE Pan Am Plaza #300 450 Ferry Blvd. 3H 207 P.E.B. 201 South Capitol Stratford , CT 06497 Ames, IA 50011 Indianapolis, IN 46225 B: 203-357-3244 B: 515-294-4182 B: 317-237-5050 MICKELSON, DAVE

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8 Technique

u.s. GYMNASTICS FEDERATION

SAFETY CERTIFICATION TESTING

Everyone Needs To Be Safety Certified 1. Promotes a safer teachingllearning environment. 2. Reduces insurance premIUms. 3. Identifies your commitment to your profession, your sport and

your athletes. 4. Implementation of stricter safety practices will help reduce the

chances of accidents and/or injuries. 5. Helps in membership recruitment.

General Points of Information

1. The text book for the Certification Course is the USGF GYM­NASTICS SAFETY MANUAL. This text/reference manual is to be purchased and studied prior to course participation.

2. The course will take approximately six hours, including the test.

3. The Course fee is $100.00 (retest cost is $25.00). 4. Certification is good for four years.

Participation Registration Form Name: Mr.lMrs.!Ms.

Address: ______ _______ _

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USGF SAFETY CERTIFICATION PROPOSED COURSE/TEST SCHEDULE

SATURDAY DECEMBER 19, 1987 UNIVERSITY OF ALABAMA 9:00am - 4:00pm P.O. Box 253 TUSCALOOSA, AL 35404 Course Director : D.J. Milem - 904-641-9966 Course Contact: David Patterson - 205-348-4578

SUNDAY DECEMBER 20, 1987 WILLOW GROVE, PA 12:00pm - 6:00pm RICHOCETS GYMNASTICS CLUB 520 N. YORK RD. , WILLOW GROVE, PA 19090 Course Director: Paul Spadaro - 718-816-6287 Course Contact: Troy Miller - 215-659-4225

TUESDAY DECEMBER 29, 1987 KAILUA, OAHU KOKOKAHI GYM CLUB P.O. BOX 1247 Course Director: Sam Sandmire - 208-385-1657 Course Contact: Wayne Wright - 808-235-6866

SATURDAY JANUARY 16, 1988 SCOTTSDALE, AZ. 9:00am - 4:00pm SCOTTSDALE COMMUNITY COLLEGE PE 109 9000 E. CHAPARRAL, SCOTTSDALE 85253 Course Director: Stormy Eaton - 602-941-3496 Course Con-tact: Julie Crutchfield - 602-941-0999

Ext. 338

JANUARY 24, 1988 MAPLEWOOD GYM. SCHOOL 9:00am - 4:00pm 1937 SPRINGFIELD AVE. MAPLEW00D, NJ 07040 Course Director: Cathy Finkel - 201-263-1534 Course Contact: Geri Johnston - 201-762-5222

SUNDAY JANUARY 10, 1988 MT. LAUREL, NJ 9:30am - 5:00pm WILMORE SCHOOL OF GYMNASTICS HARTFORD RD. Course Director: Phil Frank - 609-234-5292 Course Contact: Joyce Hubbard - 609-234-5292

SATURDAY FEBRUARY 7, 1988 NORTHBROOK, IL 10:00am - 5:00pm NORTHBROOK GYM . TRAINING CTR. 1845 RAYMOND DR. Course Director: Gerald Denk - 312-564-3420

SUNDAY MARCH 13, 1988 DUBLIN, OH 9:00am - 5:00pm UNIVERSAL GYMNASTS, INC. 6355A OLD AVERY ROAD Course Director: Bobbi Montanari - 614-457-1279 Send Registrations to: Universal Gymnasts, Inc.

4555 Knightsbridge Blvd. Columbus, OH 43214

Dates, Times and Locations will all be listed in USA GYMNASTICS and USGF TECHNIQUE. They can also be checked by calling the USGF Department of Safety

and Education at (317) 237-5050

RSG Duet Clubs Required Elements

Below are listed the required CLUB ELEMENTS for the 1988 Rhythmic Gymnastic Duet Competition. The three compulsory elements:

1. may be performed in any order 2. maybe performed to any rhythm

The purposes of these requirements is to provide some direction to choreographers, gymnasts and coaches with regard to the structure of a duet rhythmic routine.

ELEMENT #1

Starting position: Side by side Gymnast A kneeling to L of Gym­nast B Gymnast B standing A: seated on heels in closed kneel­

ing position, head R B: standing erect with legs together,

head R Both: one club in each hand, ex­

tended low R, clubs parallel

B A

Gymnast A: Slide L knee to the side as circumduction begins. Circumduction: Clubs make large circle front , L,

- - ancttrack~ as-body ratates to arch position . -Continue cir­cumduction R as R leg extends sideward R. Clubs make one small horizontal circle, over the arms, to L at the front of the body. Finish with clubs extended to L side and R leg extended R. Head follows clubs .

Gymnast B: Lunging to L side, clubs pass over gym­nast A into the same circumduction movement. Lunge sideward R as clubs move R. Clubs make same small cir­cle, over arms, and finish L with L side lunge.

A & B: Turn 90° R to step R passing through plie; body contracted. Clubs pass through low position to front and begin backward vertical mills as gymnasts rise to closed releve; R foot forward . Clubs finish high vertical. Grasp both clubs with R hand . Gymnast A places L hand on L shoulder of Gymnast B. Gymnast B extends L arm for­ward. Both gymnasts lean bodies slightly L. Head tilted L. Exchange:

A: Contracts forward in plie, placing both clubs forward over R shoulder of gymnast B.

B: Arches back, placing both clubs backward over R shoulder of Gymnast A.

Both : Release clubs simultaneously

10

Gymnast A: Catches clubs with R hand from under R shoulder as clubs begin to slide down the back.

Gymnast B: Catches clubs with R hand as clubs begin to slide down the chest.

Both: Immediately drop clubs and body to low contract­ed position. Clubs remain in R hand . L arms extends low.

Both: Taking one club into the L hand, step backward L with 45° turn L, remaining in contraction. Clubs make one small inward circle on outside of arms.

Both: Continue with a large arm sweep backward ex­ecuting a body wave into deep arch with R leg kicking high. Finish in closed releve, clubs vertical high position. A and B side by side.

ELEMENT #2

Starting position: Gymnasts facing Both: L foot pointed forward, one

club in each hand, L arm backward high di­agonal and R arm forward low diagonal, head optional

A B

The following movement occurs while the gymnasts are moving toward each other and passing L shoulders:

Both: Chasse L (LR) , step L and execute a R split leap (180°), while arms make two large opposition saggital circles.

Repeat chasse, step leap with arm circles and during second leap execute a backward flip toss under R with the R club and catch (club makes a 360° rotation)

Close feet to finish with both clubs in front middle position.

Technique

ELEMENT #3

Starting position: gymnasts facing approximately 3 feet apart

During element #3 Gymnast A and B move in the same direction as if looking into a mirror. Foot directions are given for Gymnast starting with R foot , other gymnast starts with L foot.

one club in each hand, in low po­sition at side of body

A B

1. Cross R foot over L while executing a small outward circle with both clubs

2. Step side with L while executing a small outward cir­cle with both clubs.

3. Close R to L and make a small toss with R club (540 0

turn of the club) to partner while L club makes a small out­ward circle. (partner tosses L club)

4. Repeat 1-3 above tossing L club (partner tosses R club)

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Technique 11

Rhythmic Gymnastics Difficulty Proposals

Proposals for elements of difficulty by the exchange of apparatus for the composition of the group exercise with three hoops and three ribbons on the program for the 1988 European Championships, the 1988 4-Continents Cham­pionships and the 1989 World Championships. 1. APPARATUS NORMS

Identical to those required for the individual exercises. The three hoops must be of the same material and di­ameter. The three ribbons must be of the same material.

2. REQUIREMENTS REGARDING THE ELEMENTS OF DIFFICUL TY BY THE EXCHANGE OF APPARATUS An exchange of apparatus constitutes a difficulty only if it takes place between the hoop and the ribbon . Ex­changes between identical apparatus are permitted but do not qualify as exchanges.

3. POSSIBILITIES OF EXCHANGE BETWEEN HOOP AND RIBBON These two apparatus afford sufficient possibilities of ex­change realizeable in a variety of ways so as to fulfill the requirements upon elements of difficulty.

Hoop Ribbon 1. by throwing ...... . ..... by throwing 2. by throwing ...... ...... by transmission 3. by rolling . .. ... .. .. . .. . by throwing 4. by rolling . . .. . . ... . . . . . by transmission 5. by throwing with bounce. by throwing 6. by throwing with bounce. by transmission 7. by rotation around an axis

and displacement of the hoop on the floor ....... by throwing

- - - 8. -by rotation around an axis - - - - - --and displacement of the hoop on the floor . . .... . by transmission

9. by transmission ... ... .. . by throwing 10. by transmission .... ... .. by transmission

4 . EXAMPLES OF ELEMENTS OF DIFFICULTY BY EX­CHANGE BETWEEN THE HOOP AND THE RIBBON

A. Exchanges through throwing the hoop and the ribbon

12

It is not necessary to mention these examples since they correspond to those indicated in the Code of Points. Remark: The examples and the general criter­ia for judging the degree of difficulty in the 1982/88 Code are valid for the 1988 European Championships and the 1988 4-Continents Championships. The exam­ples and the general criteria for judging the degree of difficulty in the 1989 Code shall apply for the 1989 World Championships.

B. Exchanges by throwing the hoop and passing the ribbon Average Difficulties - Throwing the hoop and

passing the ribbon with an average physical difficulty performed by both gymnasts.

Superior Difficulties - Throwing the hoop and

passing the ribbon with a superior physical difficulty performed by both gymnasts.

- Throwing the hoop in a position on the floor and passing the ribbon during a jump of aver­age difficulty over the partner.

C. Exchanges by rolling the hoop and throwing the ribbon - Exchange by rolling

and throwing the rib­bon; the hoop to be caught while passing through it in conjunc­tion with an average physical difficulty.

D. Exchange by rolling the ribbon - Exchange by rolling

the hoop and passing the ribbon in conjunc­tion with an average physical difficulty per­formed by both the gymnasts.

- Exchange by rolling the hoop and throwing the ribbon; the hoop to be caught after a jump over it of average difficulty and the rib­bon to be caught in conjunction with a su­perior physical difficulty.

hoop and passing the

- Exchange by rolling the hoop with retro ef­fect in conjunction with

-a-superror physical -difficulty and passing of the ribbon to the partner during a jump of average difficulty over the hoop.

E. Exchange by throwing and bouncing the hoop and throwing the ribbon - The gymnasts must be

at least 4 or 6 m apart * : exchange by throwing and bouncing the hoop backwards and throwing the ribbon in conjunction with an average physical dif­ficulty performed by both gymnasts.

- The gymnasts must be at least 4 or 6 m apart *: exchange by throwing and bouncing the hoop backwards and throwing the rib­bon in conjunction with a superior difficulty performed by both gymnasts.

Technique

)

- The gymnasts must be at least 4 or 6 m apart*: Exchange by throwing and bouncing the hoop and throwing the ribbon; during the flight of the two apparatus a pivot of average difficulty is to be performed by the two gymnasts.

- Exchange by throwing and bouncing the hoop and throwing the rib­bon during a first jump by the two gymnasts; the apparatus is to be caught during a se­cond jump by both gymnasts.

* Remark: The distance of 4 metres applies for the 1988 European Championships and the 1988 4-Continents Championships in accordance with the Code of Points 1982/88. The distance of 6 metres is required by the 1989 Code for the 1989 World Championships.

F. Exchange by throwing and bouncing the hoop and passing the ribbon - Exchange by throwing

and bouncing the hoop and passing the ribbon in conjunction with an average physical difficulty performed by the two gymnasts.

- Exchange by throwing and bouncing the hoop and passing the ribbon in conjunction with a superior physical difficulty performed by the two gymnasts.

G. Exchange by displacing the hoop while rotating it about a vertical axis and by throwing the ribbon - Rotation of the hoop - Rotation of the hoop

about its vertical axis about its vertical axis while moving it on the and throwing of the rib-floor and throwing of bon ; the hoop is to be the ribbon; both ap- caught after a jump of paratus to be caught average difficulty over in conjunction with it and the ribbon an average physical caught during a superi-difficulty and the ribbon or physical difficulty. caught during a jump of average difficulty.

H. Exchange by moving the hoop during rotation around its vertical axis and by passing the ribbon - Rotation of the hoop - Rotation of the hoop

around its vertical axis around its vertical axis while moving it on the while moving it on the ground and passing of ground in conjunction the ribbon in conjunction with a superior physi- · with an average physical cal difficulty and pass-difficulty performed by ing of the ribbon to the both gymnasts. partner during a jump

of average difficulty over the hoop.

Technique

I. Exchange by passing the hoop and throwing the ribbon - Throwing of the ribbon

and passing of the hoop in conjunction with an average physical dif­ficulty performed by both gymnasts.

- Throwing of the ribbon and taking up of a po­sition on the floor; passing of the hoop during a jump of aver­age difficulty over the partner.

J. Exchange by passing the hoop and the ribbon - Exchange by passing

the hoop and the rib­bon during a jump of average difficulty per­formed by both partners.

5. LEFT-HAND ELEMENT OF DIFFICULTY The composition should include a superior left-hand

difficulty with the hoop performed by three gymnasts and a superior left-hand difficulty with the ribbon per­formed by three gymnasts.

The composition should also be well-balanced be­tween work with the right hand and work with the left.

6. COMPOSITION OF THE EXERCISE A. 1988 European Championships and 1988

4-Continents Championships The 1982 Code of Points plus all the supple­

ments thereto communicated by circular are valid for these events. Duration: 2' to 2'30" Number of difficulties: 8 difficulties, 2 superior difficulties and 2 average. Of these 8 difficulties, four must be by exchange of the apparatus, one of which must be a superior difficulty.

B. 1989 World Championships The norms in the 1989 Code of Points shortly

to be published will be valid for this event. Duration: 2' to 2'30" Number of difficulties: 8 difficulties, four of which must be superior and 4 average . Of these 8 difficulties, 4 should be realized by the exchange of apparatus, 2 of which must be superior difficulties. For the exchanges by throwing the apparatus, without physical difficulty, the dis­tance between the gymnasts must be a mini­mum of 6 m to qualify for a superior difficulty.

13

Junior Olympic Program Proposed Elements 1989-92

LEVEL III: If you have any suggestions for the

J.O. Program or the elements for the proposed 1989-92 Compulsory skills, please send them by December 15, 1987 to the following three people:

VAULT

LEVEL I:

1. RUNNING SPEED BOARD DRILLS TO 4" LANDING MAT:

1. RUNNING SPEED (must pass norms set up at this level)

2. FRONT HANDSPRING TO TWO FOOT LANDING AND STICK ON 4" MAT

J.O. Compulsory Coordinator: Linda Chencinski 377 Randall Ave. Elmont, N.Y. 11003

2. STRAIGHT JUMP 3. TUCK JUMP 4. STRADDLE JUMP 5. JUMP 112 TURN

LEVEL IV:

SQUAT VAULT

J.O. Compulsory Exercises Coordinator: LEVEL II:

LEVEL V:

Dale Kephart 7821 Lotus Dr. Anchorage, Ak. 99502

1. RUNNING SPEED SQUAT ONTO HORSE AND: 2. STRAIGHT JUMP OFF

HANDSPRING - horse height option­al not to exceed 120.

LEVEL VI : J.O. Committee Chairman: 3. TUCK JUMP OFF

14

John Wojtczuk 4. STRADDLE JUMP OFF HANDSPRING - horse height option­al not to exceed 120. 4475 South Clinton Ave.

South Plainfield, N.J . 07080 5. JUMP 112 TURN OFF

LEVEL VII:

HANDSPRING - horse height regula­tion for age group.

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Technique

Technique

,~st

1985 O\.~IAPIC u.s. flCS tRIAl.5

G~IAMA5

Gymnasts will be performing their greatest hits in Salt Lake City July 29 through August 7,1988, for the

1988 Olympic Gymnastic Trials. The record will be set straight that America has the best of Seoul.

So if you want to be up front where the action is, call or write:

u s F UTAH SPORTS FOUNDATION

445 EAST 200 SOUTH, SUITE 46 SALT LAKE CITY, UTAH 84111

(801) 359-0314

"The Road to Seoul Starts in Salt Lake City"

15

LE

VE

L I S

KILLS

:

1. Forw

ard Roll

2. D

ive roll piked 3. H

andstand (hold 2 sec.) step down

4. H

andstand forward roll

5. B

ackward roll

6. Back extension roll (bent arm

) 7. C

artwheel R

8

. Cartw

heel L 9

. Round off

10. Ba

ck walkover

LEV

EL II S

EQ

UE

NC

E (using level I skills)

LEV

EL V

: B

RO

NZ

E

CO

MP

UL

SO

RY

LEV

EL V

I: S

ILVE

R

CO

MP

UL

SO

RY

LEV

EL V

II: G

OLD

C

OM

PU

LS

OR

Y

AC

RO

Round o

ff, flic flac,

flic flac

Front handspring step out,

round off, rebound, back extension roll

Dive cartw

heel

Round off, flic flac,

back saito tucked

Front handspring step out,

round off, flic flac

Aerial cartw

heel

Round o

ff, flic flac,

back saito layout

Front handspring step out,

round off, flic flac back salta tucked

Front saito to 2 feet,

forward roll

Proposed E

lements F

LO

OR

EX

ER

CIS

E 1989-92

LEV

EL III S

KILLS

:

1. Layout dive forward roll

2. Handstand, sw

itch legs step down

3. Straddle stand press to handstand, press dow

n to str. stand

AC

RO

/GY

M

Hitch

kick/ handstand forw

ard roll

Hitch

kick/ F

ront w

alkover

Hitch

kick/ aerial cartw

heel

4. Handstand 180

0 pirouette

5. D

ive cartwheel

6. Back extension roll (straight arm

) 7. F

ront walkover

8. H

eadspring to 2 feet 9

. Front handspring step out

10. B

ack handspring, rebound

LEV

EL IV

SE

QU

EN

CE

(using level III skills)

FL

EX

IBIL

ITY

Backw

alkover

Back w

alkover to handstand, split 180

0, step dow

n

Handstand 180

0

pirouette, step dow

n,

back walkover

TU

RN

S

3600

turn O

utward

Passe

3600

turn F

ront A

ttitude

3600 turn

Arabesque

LE

AP

S

Hop

Fouette

To

ur Jete

Split leap

Tour Jete

Sp

lit leap -side leap

WA

VE

S

Auth(JIr

Au

tho

r

Author

Proposed E

lements D

AN

CE

1989-92

LEV

EL I S

KILLS

:

1. Five positions of the feet

2. F

ive positions of the arms (port de bras)

3. D

emi-plie

4. Battem

ent Tendu S

imple

5. R

ond de Jam

be

A T

erre 6

. Half T

oe Work

. Press up/R

eleve 7

. Plie R

eleve 8

. Allegro

9. C

hangement

10. E

chappe

LEV

EL II S

EQ

UE

NC

E (using level I skills)

LEV

EL V

: BR

ON

ZE

CO

MP

ULS

OR

Y

1. Epaulem

ent (croise-eHace) T

he two fundam

ental positions of the shoulders in relation to the head and legs.

2. P

etit Tem

ps Lie (A com

bination of leg and arm m

ovements using the

2nd, 4th, 5th positions of the feet.

3. Attitudes (en avant, en face, en arriere) U

tilizing the various attitude positions w

hile combining the head and shoulder positions.

4. S

outenu en Tournant (en dedans, en dehors; half turns).

5. P

irouettes (en dehors, en dedans) turns forward and backw

ard.

6. G

rand Jete (en avant-forward) split leap.

7. Soubresaut (a leap from

both feet to both feet from 5th position).

LEV

EL V

I: SILV

ER

CO

MP

ULS

OR

Y

1. Port de B

ras.

2. P

as Ballotte (Jum

ps performed w

ithout pause transferring weight from

one foot to the other.

3. C

abriole (large beating of the legs forwards)

4. Brise F

erme (a sm

all beating of the legs with jum

ps moving forw

ard o

r backward).

5. Entrechat Q

uatre (a small beating of the legs w

hile jum

pin

g

vertically). 6

. Em

boite en Tournant (a series of half turns from

one foot to the other.

LEV

EL III S

KILLS

:

1. Grand plie

2. B

attement F

ondu 3. D

eveloppe 4

. Grand B

attement/B

attement en C

loche 5. T

emps Leve

6. Jete O

rdinaire 7. G

lissade 8

. Assem

ble 9. P

as de Bourre

10. Scissone O

uverte

LEV

EL IV

SE

QU

EN

CE

(using level III skills)

7. Grand Jete en T

ournant (a split leap with a change o

f legs in the half turn in the air).

LEV

EL V

II: GO

LD C

OM

PU

LSO

RY

1. Port de B

ras. 2

. Tours C

haines Deboules (fast turns on the balls of the feet across the floor

in the same direction).

3. T

our a la Seconde (turn en dedans w

ith the free leg in 2nd position). 4. P

irouette en dehors (from 5th to 5th position w

ithout changing of the feet).

5. Pas de C

hat (a small cat-like m

ovement in the air w

ith bending of the

knees). 6

. Fouette en face en I'a

ir (a jum

p w

ith a ha

lf turn from one foot, the other

leg is extended forward and finishes in arabesque.

7. Tour en I'a

ir (en dehors a full turning jum

p beginning and ending in 5th

position). 8

. Pas de B

asque (a series of four small m

ovements across the floor em

­phasizing q

uick technical execution).

9. S

i onne Tom

bee (Jump upw

ards from both feet w

ith smooth transition of

arms and extended leg to transfer w

eight).

Proposed E

lem

en

ts BA

LA

NC

E B

EA

M 1

98

9-9

2

LE

VE

L I S

KILLS

:

1. Wa

lk forward, backw

ard, side

wa

rd (releve)

2. C

ha

sse R

-L

3. R

un forw

ard

(on toe) 4

. Ste

p h

op

finish d

em

i-plie

5

.2 foot 1

80

0 tu

rn R

-L

6. T

wo

foo

t straig

ht ju

mp

7. A

rab

esq

ue

(hold 2 sec. 45

0)

8. 1 foot sit to lying position and rise

9. F

orw

ard

roll 10. Ju

mp

off to co

ntro

lled

dism

ou

nt la

nd

ing

LE

VE

L II S

EQ

UE

NC

E (using level I skills)

LE

VE

L V

: B

RO

NZ

E

CO

MP

UL

SO

RY

LE

VE

L V

I: S

ILV

ER

C

OM

PU

LS

OR

Y

LE

VE

L V

II: G

OL

D

CO

MP

UL

SO

RY

MO

UN

T

Jum

p sq

ua

t on w

ith h

an

ds

Ob

liqu

e run

on

Free ju

mp

to 2 feet

AC

RO

Ca

rtwh

ee

l

Cro

ss ha

nd

stan

d

step

do

wn

Ba

ck wa

lkove

r

Ca

rtwh

ee

l to h

an

dsta

nd

stra

dd

le d

ow

n

to fee

t

Cro

ss ha

nd

stan

d

1800

split, ste

p

do

wn

to ba

ck w

alko

ver

Flic F

lac

LE

VE

L III S

KILLS

:

1. W

alk fo

rwa

rd w

ith knee lift a

nd

kick to ho

rizon

tal

2. Bo

dy W

ave

3. S

tride

lea

p 9

00

4. Ara

be

squ

e hop (rear leg 4

50

)

5. 1800-180

0 tu

rn (sam

e dire

ction

) 6

. Stra

igh

t jum

p tra

vellin

g forw

ard 7. S

cale

8. C

artw

he

el

9. B

ackw

ard

roll 10. R

ound off d

ismo

un

t

LE

VE

L IV

SE

QU

EN

CE

(using level III skills)

TU

RN

S

36

00

turn

1800

turn o

pp

osite

foot to 360

0 turn

36

00

turn

to b

ala

nce

1800 tu

rn

op

po

site foot

to 3600

turn

3600 tu

rn to

ba

lan

ce

1800

turn

o

pp

osite

foot to

3600

turn

LE

AP

S

Sp

lit leap 12

00

,

straig

ht ju

mp

Ch

asse

-sp

lit le

ap

18

00

Asse

mb

le, stra

igh

t ju

mp

, de

mi-p

lie,

1800

releve turn

Sp

lit lea

p series

(author)

Asse

mb

le, stra

igh

t ju

mp

with

1800

turn

BA

LA

NC

E

Sca

le

Scale

Sca

le

WA

VE

Au

tho

r

Au

tho

r

Au

tho

r

DIS

MO

UN

T

Round O

ff

Brani

Ca

rtwh

ee

l b

ack saito

LE

VE

L I S

kills

1. Jum

p to B

ack Pull over LB

2. C

ast to horizontal and return to support 3

. Stride circle forw

ard 4. B

ack Hip C

ircle 5. S

ingle leg squat through 6. G

lide forward and back to stand

7. Undersw

ing from F

ront Support D

ismount

LE

VE

L II S

equence of skills from Level I

LE

VE

L V

Bronze C

ompulsory

Straddle G

lide Kip U

p

Front H

ip Circle

Squat on, reach to H

B

Long Hang

Pull O

ver HB

Undersw

ing forward to C

ounter S

wing and S

traddle Stand on LB

Straddle S

ole Circle D

ismount

Proposed elem

ents UN

EV

EN

BA

RS

1989

LE

VE

L V

I Silver C

ompulsory

Glide K

ip

Cast 3

0°

Clear H

ip Circle 3

0°

Std. G

lide to Back K

ip

Long Hang K

ip

Front H

ip Circle

Cast 3

0°

Flyaw

ay Tucked

LE

VE

L III S

kills

1. Single leg kip

2. Glide kip

3. From

Squat stand on LB

Long Hang K

ip 4. F

rom S

quat stand on LB Long H

ang Pull over H

B

5. Basket sw

ing 6. F

ront Hip C

ircle Cast

7. Straddle S

ole Circle D

ismount

LE

VE

L IV

Sequence of skills from

Level III

LE

VE

L V

II Gold C

ompulsory

Glide K

ip

Cast 4

5°

Straddle on F

ull Back S

ale circle

Std. G

lide to Back K

ip

Long Hang K

ip

Front H

ip Circle

Cast 4

5°

Clear H

ip Circle 4

5°

Flyaw

ay Tucked

HORIZONTAL BAR TECHNIQUES:

Learning Without Blisters By Ken Allen

Associate Professor, HPER Men's Gymnastics Coach

University of Wisconsin Oshkosh

Of all the ideas, drills, gim­micks , etc. , I have learned from others or discovered or developed myself over the years,

the one which I consider to have had the most profound effect on my coach­ing and teaching has been the use of straps in learning horizontal bar skills. The man to whom I must give the credit for exposing the idea to me is Myke Gluck who, at the time, was Men's Technical Director of the On­tario Gymnastics Federation (Canada).

I first learned of this " new" idea in June, 1978, when I hosted the Junior Olympic National Championships and subsequent two week training camp which Mas Watanabe conducted for the Junior National Team. Gluck was present and gave everyone a copy of a brief article which he wrote describ­ing this sytem of swinging horizontal bar which Eugene Galperin brought to Canada from Russia. Gluck had some straps with him and most of the coaches present "played" around the idea. It was novel, then scary, then , fi­nally fun, because it was such a free feel ing and there was no friction on the hands. And-you could swing both ways without changing grips or ripping off the bar!!

The entire experience of hosting this event gave me two great new ideas. I was so impressed with the junior boys that I began a competitive program for young boys. We already had a youth program, but recreational gymnastics only. The second idea, of course, was the straps. They have become a part of my daily training program since that time.

The value of the straps has been the incredible number of repetitions of many skills, in particular, fundamental swing techniques, which can be per­formed without friction on the hands. They are a tremendous teaching tool

20

for young boys, college age gymnasts who have not learned how to swing properly, or for fairly advanced gym­nasts who need to learn or improve a particular swing technique .

Just as most doctors would tell you that any operation has its potential risks, this operation would also have potential risks. However, in the nine years I have been using them in our gym, we have not had one accident or injury.

MAKING THE STRAPS

I have experimented with several different nylon materials for the straps. The best material I have found from the point of view of strength, durability, capability of

sliding on the bar and softness (to avoid cutting into the wrists of the gym­nast) is what is called one inch tubu­lar nylon webbing. A store which sells outdoor gear, in particular, hiking or climbing supplies, will most likely car­ry this material. It can be purchased by the foot (approximately $.20/foot) and it comes in a great variety of colors. In our gym, I color code the various sizes. The material itself has a strength of 4000 pounds.

Mark and cut the strips to length. The most common size in our gym (college gymnasts) is a finished length of 29 inches. In this case, I would cut two strips 32 inches long and mark a line three inches from one end. I then bring the strips to a shoemaker or someone with a heavy duty sewing machine and heavy duty nylon thread . The strip is laid out flat. The ends are brought together. A half twist is made and then the ends are overlapped by three inches and sewn together. I ask that the three inch overlap be sewn in a rectangle and then in two diagonal lines from the corners. We have never had a strap break and , over the years, there has been surprisingly little fraying .

OTHER EQUIPMENT NEEDED

In addition to the straps, a materi­al of some sort is needed for the gymnast to place on the bar so that he can place his hands on it. The most effective material I

have found has been old nylon gym­nastics slippers . We have tried other materials , such as canvas slippers, a pad of material , socks, etc. They all tend to " grab" the bar a bit more and it may be potentially dangerous. The material must slide easily otherwise the potential for the hands to stop is created.

There is much pressure from the straps on the wrists. As with the new style leather handgrips, a gymnast must experiment with a variety of material , thicknesses, and configura­tions to place over the wrist area in or­der to arrive at a situation that does not creat blisters or a great deal of pain on the wrists. We have used wrist bands, old sock tops, wrist wraps , indoor­outdoor carpet and, most recently, neoprene material which scuba divers use for wet suits.

Of course, there is a horizontal bar and it must be very clean , i.e . sanded of all chalk with emory cloth . Emory cloth is the only thing we use on the bar and we sand it several times a week even though we do not put any chalk on this particular bar at all. The bar can be used high or low. Even though it is highly unlikely that a gym­nast would " slip" off the bar, we place mats under the bar. When the bar is set high, we have a spotting table next to the bar so the gymnast can get into the straps.

SOME CAUTIONS PRIOR TO SWINGING

1. Make sure bar is adjusted and fastened properly.

2. When using low bar, a spotter is not usually necessary for safety but may be useful for technical assistance.

3. Depending on the age and skill lev-

Technique

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USA SWEATSHIRT This soft white sweatshirt is embroidered with USA in red and Gymnastics in blue. Per­fect for your favorite gymnast. 5311-5317 $22.95

TRAVEL KIT The USGF logo is presented on a navy, nylon travel kit. Perfect for your grips and over­night trips .

The USGF Logo Pin is red , white and blue under soft enamel-1 ". 4201 $2.00

NATIONAL TEAM PINS Select your team pin and show the sport you support! The new logo pins are 1" x 1" with the particular event displayed in red , white and blue. 4203 Women's National

Team 4204 Men's National Team 4205 Rhythmic National

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Order# O\'l ' GO\O~ S\'l-e Description Total : OFFICIAL I WORKOUT I BAG

ceramic mug . 4601

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Adult sizes XL L M S Last Digit 1 2 3 4

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I

el of the gymnast, when using a high bar for giant swings, a spotter may be necessary to assist the gymnast into and out of the straps, keep the gymnast's shoulders "open" when above horizontal and to stop the swing of the gymnast when they have completed their practice session.

4. The gymnast must be instructed to put the hands in the straps correct­ly, depending upon which grip he will swing in.

5. The gymnast must be instructed to indicate whether the straps feel too loose or too tight before increasing the level of the swing beyond light swings below the bar.

6. Certain skills, of course, would re­quire specific cautions with regard to avoiding muscle or jOint strains.

GETTING INTO THE STRAPS

For the majority of skills which might be learned and practiced in the straps, a regular grip can be used. It is very simple indeed, to rotate forwards or backwards in the straps. The process is as follows: 1. Facing the bar, lay the shoes side

by side with the nylon against the bar and rubber sole up. Fingers will eventually be placed on shoe bot­tom just as the feet might.

2. The straps are then laid on the bar to the outside of the shoes. They simply fold over the bar so that there is a loop on each side of the bar. The gymnast may want to adjust the position of the sewn overlap so that it does not create a pressure point on the wrist.

3. The hands are placed forward through the loops. The hands and wrists are now under the bar.

4. The hands turn inward and then back under the bar and, finally, over the bar onto the shoes.

NOTE: When using the undergrip, the entire setting is the opposite. Straps are inside, shoes are outside. Hands enter from op­posite ~ide and then turn out.

SKILLS WHICH CAN BE PRACTICED

The following skills, drills and tech­niques can be easily practiced in the straps. Details on the specific techni­cal performance objectives of the ex­ercises will be covered in the video and verbal presentation. A. Low bar skills

1. Back kickover

22

2. Forward roll 3. Backward hip circle 4. Forward hip circle 5. Single leg basket swing 6. Jump to glide (or run) and

Single leg kip (shoot through) 7. Forward stride (mill) circle 8. Backward stride circle 9. Underswing to single leg stoop

out 10. Straddle basket swing 11 . Glide to straddle in overshoot

and underswing to straddle out

12. Forward straddle seat circle (Endo) NOTE: Straddle toe on (sale circle) can be used with for­ward and backward direction in addition to the seat circle.

13. Backward straddle seat circle (Stalder)

14. Piked basket swing

15. Glide to stoop through and overshoot and underswing to stoop out

16. Forward seat circle a. Simple b. From stoop in above bar c. To Mana-like position (re­

quires spotting) 17. Backward seat circle

a. Simple b. To stoop out c. To backward kip d. To backward kip and cast

back for German hang 18. Kip

B. Long Hang Swings on high bar 1. General swinging in long hang

to become acclimated to the straps

2. The beginning of "tap" swing for backward giants

3. Basic technique for the forward giant

4. Going over the top on a back­ward giant swing

5. Going over the top on a forward giant swing

6. Accelerating a backward giant swing

7. Accelerating a forward giant swing

8. Changing the timing of the "tap" of the backward giant swing a. Flyaway dismount b. Decelerating the swing c. Flyaway release and regrasp d. Reverse hecht e. Kovacs or Straumann

9. Forward hecht beat giant swings

10. Backward uprise to late entry

hip circle and underswing a. Backward uprise motion b. Underswing for high start

or free hip circle 11 . Backward uprise to late strad­

dle entry and underswing (Stalder) NOTE: Straddle toe on (sale circle) can be used with forward and backward direction in addi­tion to the seat circle.

12. Forward swing to straddle in and circle forwards (Endo)

C. Dorsal and elgrip requirements NOTE: These drills may not be for everyone and there is a certain amount of risk involved with regard to potential injury to the shoulders. In experimenting with these tech­niques, the process must be very slow, i.e. progressions must have many steps. A coach should directly monitor the technical progress of the gymnast and should continu­ously ask for feedback from the gymnast with regard to the level of

pain experienced in the shoulders. The pain is a result of muscles be­ing stretched. Some gymnasts do, in fact, have very tight shoulders. The coach must be ever mindful of the fact that it is total body weight which is pulling on those muscles and, as the gymnast swings, the momentum is increased. 1. Dorsal hang swing - German

giant 2. Inverted (elgrip) hang swing

ADDITIONAL COMMENTS WITH REGARD TO SAFETY

A. Gymnasts should not be permitted to train with the straps to the exclu­sion of regular bar work. There is so little friction on the hands that the gymnast does not learn how to use the hands and wrists properly for normal horizontal bar work. In the first few months we used them, we had several gymnasts slipping off the regular bar because they were relaxing their hands too much.

B. I would not recommend teaching one arm giants with the use of straps for two reasons: 1. I believe it takes time for a gym­

nast's shoulder to become ac­customed to handling the forces generated by a one arm giant swing. For this reason I prefer teaching a one arm giant on a normal bar by building up the swing from below the bar. Although a gymnast would most

Technique

( j

(

likely be secure in one strap, the force he would suddenly feel , if he casted from above the bar might cause injury.

2. I have already mentioned the problem of not being able to use the hand and wrist for control while in the straps. For a one arm giant, one of the most critical aspects is to learn how to grip the bar properly and to keep the body correctly aligned . I believe this can be better and more safe­ly accomplished on a regular bar.

C. Spotting by a coach should still be an important part in the learning of certain skills, particularly for young­er gym nasts and at the start of a new skill area.

UNITED STATES GYMNASTICS FEDERATION

1987-89 PROPOSED EVENT SCHEDULE

(Dates & Events s ubject t o change or cancellat ion )

1987 December

3·6 Wom en's USG P Nat.ional Sa lt Lake city, UT Team Coaches Seminar (By Invitation Only)

5·6 IX Inte rnati onal Catania. Sicily Tournament in Cantania

8·14 Belgian I nternat ional (;Y'm MastNs (IV)

Belgium

11 ·11 "!lhy't.h mic Laht i (fl) Lahl.i , Finland IIi ~ I Kraft. In t." rn at innal 1,011(\011, England

Tu urnalll<'lIt ( MiW ) 17 · ~O 5H Nat ional T. 'a ln It<- Lincol n, Nf:

Hallki ng (M) ~Ii :Ut Nalill llal Tt'il llI Training Orlan do. FL

CalliI' (Sr.\\'/,Ir.A W) ~ti · ,IIUS I! National T.'a ll1 Colorado Springs, CO ,Ian ~ Trai ning Cam p (H) ~r.. .Ir. Bol's Na liona l Testillg Co lorado Springs, CO Jan ~ & Training :It)· National Tl'am Trai ning Orlando, FL ,Ian :l Ca mp (,Ir B Women)

January 2·10 'Seni or Womens Training 'Lake Plaeid, NY

Ca mp 1·'1-17 ,Iunior (Il ) Training TBA

Camp (W) March

5·6 McDona ld's American Cup Fairfax, VA (M/w)

8 McDonald's In ternational Allentown, PA Mixed Pairs (M/IV )

8·17 Australia Cup (MI\V/R) Melbourne/Sydney 22·28 Junior Paci fi c Alliance Co lorado Springs, CO

Championships 25· Junior Boys Train ing Colorado Springs, CO Apr 2 Ca mp TBA USSR International Moscow/Len ingrad,

TournamenL, USS R April

" USA vs. Hunga ry (Jr. Colorado Spri ngs, CO Iloys)

1·2 USG P Collegiate Nat'l Springfi eld, MA ( Division 11 &111) MAV

8·10 U.S. Rhythmic Gymnas· San Rarcl, CA tics Championships

9·10 NCAA Regionals (W) Various Sites 15·16 NCAA National Lincoln, NE

Championships (M)

Technique

D. During long hang swings, begin­ners get in trouble as they rise above bar level. They must learn to properly keep tension against the bar to avoid falling back into the bar.

E. Check the bar's cables, chains, turnbuckles, and other stress points often . With more repetitions on the bar, there is more stress and poten­tially worn parts. I believe the ideal bar from the point of view of safety is the Nissen bar with tubular steel supports. If anyone of them were to break, there would be three more, not only holding the bar down, but up as well. I am serious­ly considering attaching safety ca­bles of some sort from my ceiling to the uprights of the bar.

15·17 Class I Slale Phoenix, AZ Championships (W)

23 McDonald's Challenge- Salt .Lake City, UT USAIUSSR (MIW)

22·23 NCAA National TIlA Championships (W)

27· Senior Men's Training TBA May I Camp 29 · Class I Hegiollals Variolls Sites May I (W) TIIA ' World SporL, Pair (M/W)Tokyo, ,Iapan

May 6·8 Hegional Eli t.e Quali fy ing Various Sites

Meets (W) I ~ · I :, ,1.0. f:ast/\Y.,st. TIlA

Championships (Class I)

21·22 SR Elite Regional Various Sites (TBA) Qualifying Mc('(s (M)

21·2:3 American Classic TIlA Nationals (W)

27 ·28 Brother Cup (H) Japan 28·3U Junior Olympi c Nationals TIlA

(W) TBA Grand Prix or Rome Italy TBA Corbcil Essoncs (R) Corbeil, France

June 3-5 Sr. Elite Regionals ( M) Ohio State

University of Iowa Arizona State

3·5 Elite East/ West Qual ify · TBA ing Meets (IV)

5·12 Four Co ntinents Toronto, Ca nada Cham pionships (R)

18·19 U.S. Classic Nationals TIlA (W)

20·24 ' S!! Womens Training TIlA Camp (IV)

20·23 Junior Olympic 1301'S Alhuqu erqur , NM Nationals (M)

23·26 ,IRIS H Training Camp- TIlA Classic Qual ifier (W)

26· ' Nat ional Training Camp T13A July 3 (J r. Boys) 29 · Sen ior Men's Training TIlA Ju ly 3 Camp TIlA Canadian Classic (IV) Canada TBA Glllden Sa nds (IV) Varna, Eo Igaria

July 7·10 McDonald's U,S. lIouston , TX

Gym nastics Champs (MI\Y )

August 4·7 Olympic Trials (MI\v/I() Salt Lake City, UT 15·23 National Tcam Training Indianapolis, IN

Camp (Sr. W) IH ti .Ir. Boys 11" l'<' loplI,,' nl. Colorado Springs, CO

CalliI' 'I'BA Brazil Cup Brazil

F. Examine the straps on a regular ba­sis. Factors such as the abrasion they experience by rubbing on the bar, ultra violet light, exposure to chemicals, etc. will all affect the potential life of the material. The material is relatively inexpensive. It would be best to discard any ques­tionable straps and replace them.

G. Lastly, a reminder that I have had personal experience with all the skills, techniques and situations. I have considered the use of straps for the teaching of other skills but have rejected some ideas because I considered them unsafe. I am sure that there are many of you who will brainstorm and come up with some new uses. Please think things com­pletely through before experiment­ing with someone else's body.

September II · If, FI (; Congr"ss SI ~IIIU Kllrt'a 17-· OIYlllpi l: (:allll 'S (WW/IO S"olll , "ofl'a 0<:1. ~

TIlA Olym pi c- Trai nillg Camp TIlA (M/\Y)

October 8·9 'Konica Cup Rhythmic 'TBA

Inn iJl\" itatiunal 13· 16 USGF National Congrrss Anahr im , CA

November 4·6 SR Nat:! Team Coachl's TIlA

Training Camp (IV ) 5·23 JUllior Iloys Dcve lopment Colorado Sp rillgs, CO

Camp TRA ' Swiss CuplDTIl Pukal SwitzrrlandiFllG

Cup (MIW) TIlA 'Chunil:hi Cup (M/\V) ,Iapan

December 2·10 Pacific Alliance China

Championships 9·12 SI( Nat'l Team Training TBA

Ca mp (W) II ·IB PIG Men's 7th Int'l Magglingen , Swiss

Judges Course 15· 18 Senior National Team Colorado Springs, CO

Training Camp (M) 21i· Jr. Iloys National Testing Colorado Springs, CO Jan 3 & Training TIlA 'IlAGA Internal.ional London , England

Tournament (MI\Y) TIlA 'JIUSR Tra ining Camp· TIlA

Classic Qualifiers (IV)

1989 March

' 11 !) ~"' no n al d 's An"" ican TIlA Cup (M/\V)

' H McDonald's Inl'l Mi,rd TIlA Pairs (MIW)

TBA ' USSR International Moscow/Leningrad, TournamenL, (MI\Y) USSR

TBA ' Aust ral ian Games Melbourne, Australia (M/\V)

April TBA . U.S. Rhythmic (;ymnas· TBA

tics Champs (R) TBA American Classic TBA

Nationals (W) 13·15 NCAA National TBA

Cham pionships (M) 14·15 NCAA National TEA

Championships (W)

·' ·Tentative Dates or Sites (~1) · Mcn (C) ·Chiid ren T13A·To be An nounced (W)·IVomcn (J)·Junior " ·Proposed Evcnt (1t) ·Rhyr,hmic (S) ·Scnior

23

American Athletic, an official spon­sor of the United States Gymnastics Federa­tion, is the all-around favorite. The one selected for use in the Olympics, and the Olympic Trials, the World Gymnastics Championships, the Pan American Games, the World University Games ... and many other major tours and meets.

Why this unequaled popularity? Because our concern rests with the athlete. Because we believe gymnastic apparatus should enhance an athlete's performance, never hinder it.

It's no wonder American Athletic is the choice of champions. Shouldn't it be your choice, too? Bring out the best in your athletes, bring out AAl American.

For information about the complete line, call Ken Cysewski at 1-800-247-3978 toll-free today. Telex 910-520-1031.

I~ American 200 American Avenue Jefferson, Iowa 50129, U.S.A.

Official Supplier of Gymnastic Equipment to the Tenth Pan American Games T.'

The'n!nth Pan AmerIcan Games indianapolis 7-23 August 1987

By permission of tht Unitt<! Statts Olym pic Commilttt

C I98S PAX/India napolis. Al l RighlS Resenrd.