Gym Coach, Vol.2 (2008) 15-18
Methodological Article
Men’s choreography – it is about postural alignment Nick Blanton Notts School of Gymnastics, Nottingham, United Kingdom
ABSTRACT The artistic and physical preparation requirements of male and female gymnasts are relatively similar, even though they share so many common traits, there are areas where each code has specific needs. Male gymnasts like female gymnast benefit greatly from dance, or ballet training. The effects of such training of the postural alignment are undeniable. However the requirements and demands of male gymnast‟s differs substantially from that of female gymnasts. MAG specific choreographed routines help to develop the postural control (especially in the shoulders and pelvis) and grooming (tension, leg shape, arm shape, presentation) that is required in the performance of gymnastics. Proper postural alignment is also fundamental to the learning and performing of gymnastics skills. Basic arm and body positions need to be learned and understood in order for the gymnast to execute postural corrections during skill performance. The following article outlines basic guidelines and suggestions for the development of choreographed sequences specific to MAG with emphasis on arm and body positions. Key Words: physical preparation, training program, MAG
INTRODUCTION „1, 2, 3, 4 – and - 1, 2, 3, 4‟ to most boy‟s this repetitive sequence can only mean one thing… Choreography. If your male gymnasts are anything like my mine, just mention the word Ballet, or Choreography training, and watch the reactions - moans and groans at the thought. Holding onto the bar with their head held low they „go through the motions‟ as if they were robots programmed to be miserable. It‟s these reactions that have prompted me to explore how to incorporate Men‟s Choreography to be effective and targeted towards the demands of men‟s disciplines within gymnastics. Don‟t get me wrong, I am a huge advocate of traditional choreography training for men‟s gymnastics and I believe some males in the sport do not appreciate the benefits the training provides. We as coaches wonder why this is? The strength, flexibility and stability it provides are enormous. Elements such as the Plié and the Rond de jambe (or Circle of the Leg) assist in the teaching of everything from proper landing position to advanced level flair to handstands on pommel horse. The issue I am interested in is how far does traditional choreography need to go to influence men‟s gymnastics before its benefits seem more advantageous towards the female side of the sport? ©2008 The Gym Press. All rights reserved
The scope of this article is encourage the incorporation of postural training though choreographed routines specific to MAG. These routines should focus on postural awareness of arm movements, specifically the shoulder area, and the core muscles in the torso region to target the athletic demands the current sport possesses. I am not advocating the lower body be neglected in men’s development; this article is set out to work alongside traditional choreography sessions to allow for proper training of the different demands men‟s gymnastics presents.
METHODOLOGY There are two categories of positions outlined below, Standing Arm Positions and Body Positions. Both are interdependent on each other to provide the necessary characteristics for postural development. The Arm Positions help to stabilize the shoulder region of the body while the Body Positions help to generate stability of the core muscles of the body in addition to placing load on the arms. Both work hand-in-hand to coordinate proper body alignment and should be incorporated in a men‟s choreography program. Gym Coach Vol.2, March, 2008
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Nick B, Gym Coach, Vol.2 (2008) 15-18 Standing Arms Position There are five positions associated among this group (figure 2). Meticulous detail must be given to the postural alignment of each of the positions. Chin up, stomach in, pelvis rotated under, arms straight, fingers straightened all must be maintained throughout to achieve effective alignment procedures. If this attention to detail is overlooked, the corresponding incorrect position will almost certainly present itself when performing higherlevel elements. The gymnast should become so familiar with these shapes that in the training of an element the coach could call a command and the gymnast would automatically be able to respond accordingly. For instance, when instructing gymnasts I have worked with in the past to begin twisting a straight bodied somersault, I would often use the command „Position 2 on take off, show Position 3, then perform the subsequent twist‟ A gymnast must be so used to the association between the body positions and the corresponding number system that consciously they can create an automated physical response. This physical response can be a powerful mechanism for a coach when trying to relate the proper pedagogical techniques to his gymnast. A simple game to play to help gymnast begin to memorise the Arm Positions is called „Numbers‟. The coach calls out a certain number, or sequence of numbers and the gymnasts must arrive at the positions accordingly. Body Positions Body positions are exercises that enforce the mid-section to „tighten up‟ in order to facilitate the pelvic region, in this case the lower back, the abdominal regions and upper thigh areas, to allow for postural alignment. They serve as a useful progression for the muscles in the lower torso region to conform to a straight line. Often times, gymnasts are not sufficiently strong enough to perform such postural demands. Body Positions aim to combat this lack of strength and provide useful exercises to incorporate in the training of choreography. One common reaction when explaining the concept of pelvic rotation is confusion, frustration, or the amusing response of „it‟s not possible‟. A simple exercise is to instruct the confused participant to lay down flat on his belly and try and lift the belly button off the floor. The gymnast must rotate the pelvic region forward in order to raise the stomach off the floor. The pelvic tilt, as it is commonly referred to, is a standard component to the three shapes involved with Body Positions.
Methodological Article feet slide outwards. To do this, the exercise must be performed with the toes pointed so the floor is in contact with the top of the ankle, rather than the balls of the toes.
Figure 1 – Diagrams of the standing arm positions and effective body position exercise progressions
Routines Choreography Utilizing the positions previously outlined coaches can begin to incorporate certain movements into a choreographed routine. An example of a routine is as follows: Starting position 1 Rapid arm swings upwards and downwards between Positions 1 & 2 Starting position 2 Small, fast arm circles in both directions Large, slow arm circles in both directions
Starting position 3 Small, fast backwards arm circles Large, slow backwards arm circles Small, fast forwards arm circles Large, slow forwards arm circles
Starting position 4
Figure 2 - How to perform body position exercises
Effort must be made to try and squeeze the hands towards the feet when statically holding these shapes (figure 1). In other words, do not let the hands and ©2008 The Gym Press. All rights reserved
Rapid arm swings, arm one going up to Position 2, one arm going down to Position 4
Small, fast arm circles in both directions
Arms swing upward to Position 2 and downward to Position 4 - 16 -
Nick B, Gym Coach, Vol.2 (2008) 15-18 Starting position Body Tightners –
Moving up and down from starting position, to hips on floor
The routine provided is meant as a guideline and can incorporate countless variations and advancements. Utilizing hand weights, maximizing the repetitions, and many other creative changes can bring highly challenging workouts with prosperous results. Again these movements are intended to go hand-in-hand with traditional choreography routines.
DISCUSSION There are two reasons I believe Men‟s Choreography should provide an ulterior motive than women‟s. The first are the demands the two disciplines require. “The main distinction between men‟s and women‟s gymnastics is that women have four pieces of equipment, three of which are jumping (the vault, beam and free exercises), while the men have six, of which only two involve jumping.” (1) The development of the muscle groups from the waistline up in higher-level men‟s gymnastics is more intensive than its women‟s counterpart, as two-thirds of the events require a high level of strength in the upper body compared to onequarter for the women. The second, involves the expressional differences between the men‟s discipline and women‟s discipline: “Contemporary men‟s gymnastics is more athletic, while women‟s is more plastic and expressive, more artistic, even though it is one and the same sport expressing respectively the art of men and women.” (1) Women‟s gymnastics sets out to create more of an artistic and expressive thesis in its aim, where the men stress a more athletic outlook in their objective. The Women‟s FIG points out during the Components of an Evaluation that “The current philosophy for exercise content and combination encourages an emphasis on the mastery of dance and acrobatic choreography, artistically presented.” (2) “Perfect alignment is mandatory for high-calibre athletes in order to prevent injury, excel at their sports and move efficiently.” (3) How many times do we find ourselves as coaches, spectators or judges yearning to see a perfect line in a handstand, a perfect straight posture when standing
Methodological Article up, a balanced gymnast poised and steady on his feet, or hands for that matter? These characteristics are what make a gymnast „strong‟. With them, a solid base can be formed with the structural sturdiness to layer higher-level awareness in the future. Without them, the basic foundation will crumble as the developmental process proceeds. From a coaching standpoint, getting gymnasts to understand - what a straight elbow feels like when the arms are actively pursuing a position, what constitutes the arms being raised „straight‟ above the head, where the arms should be when placed straight out to the side, how the pelvic region can be tilted forward etc. are invaluable. Without the conscious understanding of these postural fundamentals, gymnast‟s progress will be hindered along their development. Whether through lack of strength, or flexibility, this postural non-development will present problems for many elements.
CONCLUSIONS The differences in men‟s and women‟s gymnastics should also influence a difference in the delivery of choreography. I believe choreography is essential to developing strong, healthy gymnasts. It is vital then to understand the demands men‟s gymnastics present and develop choreography routines to combat these demands. Men‟s Choreography can be an effective way for gymnasts and coaches the opportunity to train postural alignment. Performing choreographed routines daily before the start, or at the end of each workout can be very beneficial. You will begin to see much better lines in your gymnasts, which will correlate into much better fundamental building blocks to work with. I think this area in gymnastics development is often over looked and needs to be addressed. Many times we as coaches encounter problems in the pedagogical process of our gymnasts, many of these issues can be resolved with the fine tuning of postural concepts to facilitate proper advancements. Making postural alignment the cornerstone of development will continue to bring Men‟s Artistic Gymnastics delivery safely, progressively and most importantly - aesthetically pleasing. Every care is taken to assure the accuracy of the information published within this article. The views and opinions expressed within this article, are those of the author/s, and no responsibility can be accepted by The Gym Press, Gym Coach or the author for the consequences of actions based on the advice contained herein
Address for correspondence: Blanton N. Notts School of Gymnastics, Nottingham, United Kingdom, blantonnick@hotmail.com
©2008 The Gym Press. All rights reserved
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Nick B, Gym Coach, Vol.2 (2008) 15-18
Methodological Article
REFERENCES and RECOMMENDED READINGS 1. L. I. Arkaev & N. G. Suchilin. How to Create Champions The Theory and Methodology of Training Top-Class Gymnasts Oxford: Meyer & Meyer Sport (UK) Ltd., 2004 2. FÉDÉRATION INTERNATIONALE DE GYMNASTIQUE (2007) Code of Points – Women’s Artistic Gymnastics. Available from: http://www.fedintgym.com/rules/docs/06-code/02-wag/codewag0701-e.zip 3. Ellen Barrett (2004) Straighten up! Four steps to great posture. American Fitness. Available from: http://findarticles.com/p/articles/mi_m0675/is_3_22/ai_n6057269/pg_1
©2008 The Gym Press. All rights reserved
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