Mademoiselle Gymnast - May/June 1968

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Added Feature.

Individua l help w ith routine compositi on and improvement.

Exper t ba ll et instruct ion for girls, specifical ly related to fl oor exercise and ba lance bea m : Closed circuit instant replay T .V. camera for analysis of ski ll s and rout ines.

Opportunit y to study fi lms of internationa l gymnasts performing w inn ing routines.

Opportun it y to part ic ipate in compulsory and optiona l meets .

Pu rchase of gy mnastic apparel , equ ipment, and literat ure i.e., gymnastic

shoes, hondgr ips, wa rm-up suits, etc.

Good Facilities Our huge, we ll illuminated, field house

(140' x 110') is fully equipped with mod-

SOKOL WOODLANDS ENROLL AT SOKOL USA GYMNASTIC SCHOO'L Sokol Wood l ands Mail 'Road Barryville, New York 12719 The First Summer Gymnastic Prog ram in the East Daily Schedule MOR NINGGymnastic Classes A FTERNOON Lecture Demonstrations pertinent to g y mnastic activit ies Rest and Recreation Free wor kout or use of schoo l fa c il iti es: Including insta nt rep lay T V camera Swimming Poo l Play Fields Gymnasium EVENI NG Worko ut and Gy mnastic Classes Social activ ities such os movies, camp -

fires, etc.

ern Ni ssen gy mnastic equipment, wh ich meets Olympic specif ications.

On most p ieces of apparatus there are at least 3 duplications. In addit ion th ere is a 40' x 40' padded floor exe rcise area .

Staff Th e school w ill again be directed by Milan Trnka , Assistant Professor of Health and Ph ys ica l Edu cation and Head g ymnasti c coach at West Chester State College, Pennsy lvania. He w ill be capably assisted by Bob Wa lker w ho teaches Health Education and coaches the boys and girls Gymnastic Teams at Oakcrest High Schoo l in N ew Jer sey.

Also incl uded in this year's staff wi ll be Ellen Babuska and Gary Anderson, both of whom have distinguished t h em selves as nationally ranked all around compet itor s.

Other members of the st aff w il l be composed o f se lect ed coaches and professiona l educators. Assistants are co ll ge stu dent s with a major concentration in education and gymnastics.

With limited enrollment and sufficient instructors, the teacher-pupil ratio wi ll be kept to about one t eacher fo r eve ry eight stude nts.

Physical Educators and Coaches You are inv ited t o attend the school fo r instruction and experience in teaching and spotting techniques and as m uch practical participation as you ' wish to enga ge in .

The staff wi ll be glad to ass ist you in developing and filming com pulsory and opt ional rout ines or progression of in-

div idua l ski lls.

You w ill also prof it g reatly from special sess ions and t he added features , as well as consu ltation with staff members . You may attend anyone or m ore of th e six weeks.

Enrollment Fee $75 for I week. $145.00 f or 2 weeks. $210. 00 for 3 weeks.

Fee includes: meals, lodg ing, gymnastic inst ru ct ion and use of a ll Sokol Woodlands facilities, plus insurance cove rage and activ ity fee .

Age Li mi t - App li cants should be at least 12 yea rs of age.

Enrollment wiff be Limited Send Your Application In Now! Mail Application ToSOKOL WOODLANDS Mail Road Barryv ill e, New York 127 19 -

APP LIC A TI ON FORM-

Name _ _ __ _ _ _ _ _ _ _ _ _ __ Age _ _ Sex M

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Add r ess _ _ _ _ _ _ _ __ __ _ _ __ City _ _ __ _

~S路tate _ ___ Zip--

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Ph 0 ne路 _______________________________ Gymnastic Affi li at ion _ __ _ __ __ _ A re you a gymnast? _ _ _ _ _ _ _ __ Beginner 0

Intermediate 0

Advanced 0

A re you a Teacher? _ ___ Coach? _ __ A member of Sokol USA? _ _ _ _ _ __ I Wi ll Attend : First Week: Ju ly 14 - July 20 Second Week: Jul y 21 - July 27 Third Week: July 28 - Aug. 3 Fourth Week: Aug. 4 - Aug. 10 Fifth Week: Aug . II - Aug . 17 Sixth Week : Aug . 18 - Aug. 24 I am enclos ing a deposit of $10.00 (NOT REFUNDABLE). I wil l pa y the balance upon arr ival at SOKO L WOODLANDS. Make Check or Money Order Pa yab le to SOKOL WOOD LANDS .

o o o o o o

For Per sona lized Ins truction In F loor Exerc i se onl y

JOE PRICE

AUTHENTIC

Phone: CO 5-8877 1697 Broadway Suite 302 New York City , N . Y. 10019

Authentic Floor Exercise Music Competitive Gymnastics Series I

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Two new long ploy albums, each conlaining 16 piano . accompaniments lor floor exercise composilions wh ic h meel all 01 Ihe requiremenls 01 Ihe F. I.G . and Ihe A.A.U. Gymnaslic Rules such os time limit, one instrument and appropr iate introdu ctions and conclu sions . Teachers manual includes rules and requi rements governing floor exercise, gives examples 01 Ihe type 01 malerial Irom which a good compos ilion should be arranged, and indicales national and international gymnastic trends. Severa"1 floor exercise compositions for beginners, intermed iate and advanced performers have been prepared, which can be execuled 10 specilied seleclions on Ihe album .

Each 12" 33 1/J Album and Teachers Manual Series I or 11-$8.95 each

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()"J,II'-. KIMBO EDUCATIONAL RECORDS

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II

2nd Annual All Girls ' i Gym Camp

A Ca mp Program designed for Girls eight years of age thru college.

JULY 27th thru AUGUST 10th C. Bud Marquette, Director Enrollment Limited to 90 Campers BIG BEAR LAKE, CALIFORNIA For details rega rding reservations and any other information .

Write or phone: Mrs. Tiny Wyckoff, Regis, (Chrm.)

6316 Mariquita St. Long Beach, Calif. 90814 Phone (213) 596-1212

LETTERS Dear Mr. Sundby: I thought this was an interesting shot of one student spotting another on a double full.

Both girls are members of the Tallahassee Tumbling Tots, formally a group of 500 tumblers and trampolinists . This year, we have gone into all phases of gym nastics and the kids

Volume 2, No. 5

May-June 1968 CONTENTS

LETTERS ___ ._ ___ ___________ _____ __ _________________ .__ . 4 PHOTO SEQUENC E _____ ____________ ____ 5 8 1968 USGF CHAMPI ONSHIPS ____ __________________ EASTERN INTERCOLLEGIATE CHAM PIONS HIPS 10 1968 COLLEGIATE CHAMPIONS HIPS 12 MLL E_ G. 1968 PHOTO ART WINNER 20 22 USGF WOMEN'S REPORT ____ ______ _____ __ ____ MADAME VILLANCHER U.S. A. TOU R AND SEM INARS ___________________ _ 22 GYMNASTI C RO UTINES FOR MLLE. G. 30 MADEM OI SELLES FROM VENEZU ELA 35 __ ______ __ ._____ .________ .__ .. 36 HELEN'S CORNER _

are picking It up Just as rapidly as theY ' re tau ght . Illey have already won team tropllies on their first t wo meets, the Valastic Invitational in Fort Walton Beach and the Southwest Florida Gymnastic Championship in Fort Myers.

Tumblin g has provided an excellent back ground , but th e increasin g cha ll enge and diversity of all around gym nastics has grea tl y enhanced the program and its benefits.

Sincerely you rs , June Gifford, Director Tallahassee Tumblin g Tots Tall ahassee Recreation Dept., City Hall Tallahassee , Florida

CO VER: Photo by Werner Mertz: 2nd place winne r in

1968 Women's Coll egiates Mademoiselle Gymn as t PhotoArt Contes t (see center fold for winni ng art by Tom Sewa rd).

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

MADEMOISELLE GYMNAST is publi shed bi-monthly during the school year (Sept.路Oct., Nov.-Dec., Jan.-Feb., March-Ap ril , MayJune). Pri ce: $3.00 per ye ar, 75c single co py. Subscripti on correspondence, Box 777, Santa Monica, Californ ia 90406 .

Copyri ght 1968 all ri ghts rese rve d by Sundby Publications, 410 Broa dwa y, Santa Monica, Cali fo rni a 90401.

USGF WOMEN'S NATIONAL JUDGES' EXAMINATION Ten examinees participated in the first administration of the USGF Women's National Jud ges' Examination in Mem phis, April 26, 1968. The examination was comprised of two parts, w ritten and practical. A score of 80 or above on the 100 question comprehensive w ritten examination qualified the examinee to t ake the practical. Video tapes were made of 20 selected routines and vaults , compulsory and optional, from both the National and Elite Competition of the National Champonships. The examinees viewed the tapes and scored each routine; these scores were then evaluated against the master scores which were actual judges' scores from the co mpetition.

Qualifying requirements consisted of the combination total from the written and practical examination. One national rat in g, six regional ratings and t wo local ratings we re awarded.

THANKS, BUT PLEASE BE PATIENT We had so many more orders for our " GYMNASTICS MODERN Super 8" film than we had anticipated, that we fell behind in deliveries. We have since reordered reprints on a large r scale and should be able to fill all orders promptly in the future . Thank you. These films are now

available at $35.00 for the 400 foot reel.

Order from the Mlle. G. office ...

Box 777, Santa Monica, California 90406.

Super 8 C~Ior film MODERN GYMNASTIC WORLD CHAMPIONSHIPS

swan on the low bar to a fr ee piked forward hip circle grasping ba; on way up cast to pilled so le circle baclIWards to immediate cast half turn catch gl ide kip rel ease catch to hi gh bar swing back to stra ddle over lo w bar back arch whip to stoop cast back kip on high bar to immed iate half piroue tt e to sea t bou nce to back free sea t circle bringing one leg throu gh to scissor kip to quarter turn grasp high bar straddle leg roll to whip kip cast stoop through to stand on low bar, ch ange to ..!!ndergrip on high bar jump to forward piked seat circle st raddl e cut C"a1ch on the high bar to under swi ng free hip circle on the low bar to dislocate catch to immediate strad路 die drop catch scissor kip on low ba r to forward scissor circle coming up in a quart er turn position grasping th e high bar with the left hand an d bring th e leg over th e low bar pike whip cast to stand on low bar spring to straddle position on high bar to back strad dle drop cast ou t half turn to free hip straddle hecht dismount from the low bar.

Pictured above are sequence photos from parts of the balanc e beam routi ne performance of Petrac of USSR. Here we illustrate three of her moves that show good style, form and follow through. First a cartwheel, second a front walkover and tl,ird a combination of the two a tins ica with hands in cartwhee l pos iti on (can also be don e with hands flat on the beam one hand ahead of the other).

SEQUENCE PHOTO ROUT I NE from 1966 World Champi onsh ips in Dortmund, Germany

Pictured below an d on the following pages is the complete uneven parallel routin e of Ikeda of Japan. From a running bea t board mount

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UNITED STATES l,

FOR I Report by Jackie Uphues .. . were held on April 25, 26, and 27 in Memphis Tennessee in the very large and gymnastical ly well equipped are na of White Station High School. Entries in the National Division performed the High-Intermediate Level USGF-DGWS National Compulsories plus Optional Exercises. _Several new and promising performances were turned in by girls from Memphis, Tennesee and the Boulder, Colorado area. The All Around was won by Sarah Brumgart with impressive work in both the floor exercises and balance beam. (See Event Results) The Elite - International Division entries worked the Olympic Compulsories plus Optional Exercises on Friday with the Final Event competition on Saturday evening. Linda Scott aga in qualified for the Olympic Trials with a much improved All Around score of 72.42 and Terry Spencer took second All Around with a 66.84 total, again an improvement over her original qualifying score. M iss Spencer performed an excellent vault for a 9.56 final score, the hi ghest score in the meet.

Sharon Wi lch, USGF Women's Committee, ably directed the meet and scoring procedures, while the Judging Certification Exam ination Program was administered by the Cha irman of the Women 's Committ~e, Shirley Bryan. Si x nationally quali-

HAMPIONSHIPS OMEN fied judges, Greta Trieber, Mildred Prchal, ' Erna Wachtel, Sharon Pirkl, Delen e Gifford, and Jackie Uphues, very successfully evaluated all performances 'according to th e newly effected changes in the FIG CODE OF POINTS.

U.S. CHAMPIONSHIPS FOR WOMEN - MEMPHIS - APRIL 1968 Elite International Division All Around: l. Linda Scott (S IU) 72.42; 2. Terry Spencer (S IU) 66.84; 3.

Karen Smith (S IU) 6l.92. Beam: l. Linda Scott 17.12; 2. Terry Spencer 17.00; 3. Karen Smith 14.72. Vaulting: l. Terry Spencer 18.76; 2. Linda Scott 17.67; 3. Karen Smith 17.07. Unevens : l. Linda Scott 16.57; 2.

Carol Donnelly 14.57; 3. Terry Spencer 14.15. Floor Ex: l. Linda Scott 17.90; 2. Terry Spencer 17.42; 3. Carol Donnelly 15.50. Trampoline : l.

Tray Kauffman (Memphis Gym . Assoc.l 16.80; 2. Mary McDonnel (De s Moines) 15.75.

National Division All Around: l. Sarah Brumgart (Illinois) 59.20; 2. Phylli s Jojola (Colo路 rado) 5l.40; 3. Allison Lehti (Colorado) 45.60. Beam: l. Sarah Brumgart, 2. Phyllis Jojola, 3. Allison Lehti . Vaulting: l. Jojola, 2. Brumgart, 3.

Lehti. Unevens : l. Brumgart, 2. Leh ti, 3. Jojola. Floor Ex: l. Brumgart, 2. Jojola, 3. Lehti. Trampoline: l. Greer Thompson (Memphis G.A.) 16.20, 2. Tina Eremann (Memphis G.A.) 15.65.

Springfie ld Coll ege team, First pl ace Eastern Inter-C ollegiate Champi onships

Eastern College Regional Gymnastics Championships For Women

By Dr. Joe Massimo On Saturday. March 2nd th e Eastern Regional Championships we re held at the University of Massachusetts in Am herst. This was an unusual meet in several re spects. It was one of the largest intercollegia te gym nasti cs competitions for women ever held in the United States with 13 schools repre路 sented and over 17 5 en tries in the Olympic Events . In add ition . th ere were three levels of competi ti on I-Beginning, II-Intermediate, (1 year of hi gh school or college competition) and III -Advanced (prior Re gion al entry). Women 's gy mnastics has sometimes had a dubious reputation in terms of the long hours needed to complete simple dual meets , not alone a three-level champions hip of this size. Meet Director, Kitty Kjeldsen , her officia l staff, and jud ges are to be con gratulated for carry in g out this competition in under 5 hours! The judgin g was exce ll ent and t he evening finals had sta ndi ng ro om only.

Ell en Babuska of West Chester State College, 2nd place All-Around .

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The team competition for 1, 2 , 3 , and 4 position was fierce and very close. (.05) Sprin gfield Colle ge emerged as the Eastern Regional Champions. Dian e Potter and Mimi Murry can be proud of the steady and sure performances of their te am. Final Te am Standin gs- (l) Sprin gfield 95 .20 , (2) South ern Connecticut Colle ge 95.15 , (3) Univ. of Mass 92.90 , (4) West Chester State College (Penn.) 92.85 , (5) Towson College (Maryland) 69.40 , (6) East Stroudsberg (Penn.) 66.00.

The All-Around title was also close wi th Karen Stewart of Sprin gfield becomin g the champ with a score of 33.05 . Second was Ellen Babuska of West Chester with 32.90, third , Margie Simms , Univ. of Mass. 32.40 and fourth , Sue Clancy, Univ. of Mass . 31.85. Margie Simms and Karen Stewart w ill represent Massachusetts at a Tri -State meet schedu led for Lexin gton Hi gh School on April 27. Th e top three all-around girls th e Univ. of Mass . and Southern Conn . will be go in g to Southern Illinois Univ. for the National Championships . There we re same exciting individua l performances at this meet. Sue Cl ancy of the Univ. of Mass. was the on ly double champion capturin g the Uneven Bars and Vaultin g titles with a high cal iber performance in both events. Margie Simms, also of U. of Mass. , did a beautiful exercise to win the Free -X event. Miss Babuska of West Chester did a so lid composition to win the Balance Bea m title. Below are the comp lete results and some scores in all th ree levels .

I-BEGINNING : FX: 1. Linda Stan ley, Ithaca, N.Y. 6.3 ; 2. Mary Ni. Spring路 field ; 3. Terry Ciotty, Cortland, N.Y. BB : 1. Paula Hamada 6.9; 2. Bonni e Remo , Sprfd.; 3. Cheryl Tulk, Sprfld. UB : 1. Connie Graves , Sprfld.

7.0, 2. Mary Ni , Sprfld; 3. Chris Lwkas ieweiz, Sprfld. SHV: 1. Peg Potter, E. Stroudsberg 7.8, 2. Carol Di et l, West Chester; 3. Sandy Lea thery, E. Stroudsberg.

II-INTERMEDIATE: FX: 1. Pat Long, We st Chester 7.25 ; 2. Ruth Morse, Univ. of Mass.; 3. Janice Smith , U. of Mass. UB : 1. Carol Dietl , West Chester 8.15 ; 2. Sue Ricker. West Ch es ter; 3. Kelly Renner, Sprfld . BB: 1. Mary Ni , Sprfld. 7.0; 2. Candy Narmil e, Towso n; 3. Ruth Morse, Univ. of Mass . SHV: 1. Pat Long: West Chester 8.5; 2. Lynne Tyler, Ithaca; 3.

Kelly Renn er, Sprfld.

III -ADVANCED : FX: 1. Margie Simms , U. of Mass. 8.8; 2. Sally Este rs, So. Conn . 8.75; 3. Ell en Babuska , West Chester, 8.2. BB : 1. Ell en Babuska, West Ch es ter 8.75 ; 2. Kathy Hill , Montclair, N.J. 8.7; 3. Connie Ma loney an d Sand y Thi elz, So. Conn. 8.5. UB : 1. Sue Cl ancy, U. of Mass .

8.75 ; 2. Ell en Babuska, West Che ster and Judy Grego ry , Sprfld 8.65.

SHV: 1. Sue Clancy, U. of Mass 8.85; 2. Karen Stewart , Sprfld 8.65; 3.

Connie Maloney. So. Conn . 8.05.

Above: Ruth Morse, Univ. of Mass. 2nd pl ace FX Coll egiate division Class II .

Above right: Karen Stewart, Springfield co ll ege , First pl ace All-Arou nd.

At ri ght: Third pl ace Uni ve rsity of Massa chu se tt s team .

Far ri ght: Margie Sims, Univ. of Mass. third pl ace all-around.

Below: Southern Connecticut State College women's team, second pl ac e.

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Linda Metheny 1968 Nati onal Coll egiate Women's All-Around Champi on. (Photo by Russell C. Brown)

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1968 Women's Collegiate All-Around Champions: L to R; Linda Scott, Donna Schaenze r, Linda Metheny, Joanne Hashimoto, Debbie Bailey and Jo Connolly.

1968 COLLEGIATE GYMNASTIC CHAMPIONSHIP Southern Illinois University - Carbondale, Illinois March 29-30, 1968 Report by Mrs. Gretta Trieber Gymnastic Coach, Indiana State University Southern II I inois University, host for th e 1968 Collegiate Championship , rounded out its fifth anniversary season by annexing its fourth consecutive nationa l co lleg iate team champ ion ship tit le.

Th e ant icipated battle for top team honors betwee n Centenary College of Loui siana and Southern Illinoi s University , based on Centenary's upset dual match victory over SIU this week prior to the championsh ip , " Fizzled " when SIU's vaulters jumped to a fir st event lead th at steamed on to a 24 point victory margin .

The winn ing of their fourth title was a fitting tribute to the " Saluki " team and Southern Illinois University_ Instrumental in the initiation of the first collegiate championship in 1965 , SIU has effectively established a high standard of meet organization and conduct - prestige guidelines for the future.

Tracing the past, historically speaking, the "Collegiates" has grown from 33 individuals and 7 teams in 1965 to 93 contestants and 21 teams in 1968. The competition grew to include a Class B-Intermediate Division in 1967 and now annually selects a Collegiate All American Team . The All-American Award Banquet , with original " one of a kind" All American Awards, has made " being an All-American" a coveted honor for the college woman. A touch of culture was added in 1967 with the inauguration of the National Photo-Art Contest which graphically records the grace and beauty that is competitive women's gymnastics. Then finally , last season , the " Collegiates " participated the entry of a collegiately oriented team in the Tokyo Universiade-The Student World Games.

The 1968 Collegiate Championships, sanctioned by the D.G.W.S. Commission on Intercollegiate Athletics, found a total spectator attendance of over 5,000 attending the four sessions of competition.

The sessions averaging 21/2 hours in length were highlighted by the usual SIU "Big Show" staging of the championship division finals with the Marching "Saluki" Band setting the mood with contemporary "swinging" sounds.

Administrative Meet Director, Jim Rosser and Operational Meet Director, Ray Vincent left few details unattended . An interesting note is that their various committees numbered approximately two (2) workers for every gymnast competing, for a total of 211 workers assigned as flashers, scorers , ushers , trainers , doctors, ambulance attendants, etc. rounding out the Administrative-Operational Committees.

From the Holiday Inn - Prestige Section Hospitality evening for visiting coaches and officials , through the Green Room coaches and judges meetings , to the All American Award Banquet Finals , the 1968 Collegiates was a memorable experience for the contestants and coaches.

The competition results speak for themselves but some words should be said about the competition that an award stand cannot tell.

Only by being on the scene can you describe the steady all-around performance and brilliant beam and floor exercise performances of Linda Metheny of the University of Illinois. The defending 1966 team champion reclaimed the title and annexed floor exercise and all-around as well. Linda set the all-around pace but the .55 wh ich sepa rated the fou rth and fi rst place all-around finishers depict the race , the closest in the history of the "Collegiates."

Judy Wills, SIU ' s World Champion , Tumbling and Trampoline specialist , defending her 1966 titles with her crown pleasing defiance of gravity and all laws of physics.

The Vaulting of SIU' s Shaenzer, Wills , Hashimoto and Rogers and the SIU bar effort of Hashimoto , Daley, Schaenzer and Scott, which pl aces 1-4 in both events , was the finest team effort witnessed in recent years.

While most spectators watched the SIU squad progressively take the championship out of the reach of Centenary and Centenary nail down the runner-up honors , few were aware of th e running battle for the third pl ace position .

Donn a Schaenze r, 2nd All -Around

Linda Meth eny, 1st All-Around

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site for 1969. The recommendation made to insure the continue d health and growth of the competition and re duce the fi nanc ial burden for a greater majority of schools .

It was indi ca t ed that Centenary College of Louisi ana and Indi ana State University would submit a bid for the 1969 championships, eac h havin g the endorsement of the coaches .

10. Th at th e D.G.w.S. Commis sion consider the appointment of a laison comm ittee. Representative of the coaches th at have co nducted, particip at ed and supported the " collegiates " in th eir developmental yea rs . This " Iai son " committee to afford the Commission with the knowledge of thei r experience ga ined through active and practical involve ment in competitive gy mn astics for the colle ge women_

West Chester State University of Pennsylvania , coached by Phyllis Cooper, fielded a balanced team led by senior Ellen Babuska , which managed a slim 5 point advantage over Southern Connecticut University for third place. Southern Connecticut coached by Gail Davis , got an honest effort of injury recovering Caro lyn Hacke r and her teammates Connie Maloney , Sally Espe and Sharon Thielz but their lack of scoring in tumbling and trampo line made the major difference. Ea st ern Washington State of Cheney Washington lacked only the "b ig scorer" for they had credible balance in all events which garnered their fifth place finish .

While no team championship was contested in the Class B-Intermediate Division Ohio State, Washburn University , Southwest Missouri State , University of Colorado , Sacramento State-made creditable team showing. In fact, all Class B teams , except SIU with on Iy th ree representatives , were la rge 4 to 8 mem ber squads indi cative of the growth of college women's gymnastics in the United States. An interesting point is that , although the leading college teams and individuals continued to be coached by men , 15 of the 22 coac hes active in the 1968 Collegiates were women ; th at this "Co-ed " group of coaches have developed a high leve l of "wo rking reports" and cooperative plannin g for the future indicates that collegiate gymnastics is no longer at the "grass roots " level.

Their recommendations to the D.G.W.S. Commission of Interco llegiate Ath letics, resu Iti ng from thei r annual meeting can be summarized as follows : 1. Dual Match Scoring -

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Unified National System A. four entries from each team per event with best three scores t o count for team score .

B. Intern ati ona l events (beam, vaulting, floor exercise and bars) to be contested, trampoline suggested at volition of opposing coaches.

Preparation of Judges and Procurement A. Dual Matches - recommended that each vis itin g team try to carry one jud ge, preferably two, to each match.

B. Regional Meets - Highly recommended, same as 2A. C. National Championships - Mandatory, same as 2A. Transfer Rule -loss of one (1) year eli gibility if gymna st transfer to another school.

Eligibility for Competition - four years of competitive collegiate eligibility wi th waivers possible when individuals lose school time as a member of an international team.

Contracts of agreemen t , between competing univers ities, provided by the lost team, statin g provisions of the competition, signed by representatives, preferably Department Chairman or Athletic Directors of both institutions involved .

Recommend that the event of tumbling be dropped from dual and championship competition in that it has become a repeat of floor exercise combinations by the majority of participants.

Recomm end that the event of trampoline be retained, encourage d for dual ma tches when both teams agree, for national competitions and be counted for team scoring in the same manner as other gym nastic events.

That the method of judging used by the National A.A.U .

Trampoline Committee , upon investi ga tion and possible revision , be adopted for judgin g this event for collegiate wome n. This would simplify the judgin g problem as four jud ges need only judge on performance with one authority to check the difficulty of a routine and assi gn the difficulty rating.

Th at th e D.G.w.S. Commission recognize that four col legiate championships have been conducted and that the standards established relative to conduct, organization , All-American Team se lection , National Photo-Art contest, All-American Awards Buffet and quality of Awards be maintained by future hostess institutions.

That the D.G.w.S. Commission consider the location of th e 1969 National Championship in terms of travel dist ance. It was the thinkin g of the majority of the 21 colleges entered in 1968, that the Mid west or Central portion of t he nation be a stron g conside rati on, in selectin g a -15-

Li nda Scott, 4th All -Around

John Ren dleman, (SI U Vice Presid ent for Business Affairs) presenting collegiate All American Awards.

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1968 COLLEGIATE ALL-AMERICAN TEAM MEMBERS 16 Nominations J . Connolly-Centenary Coll ege AII 路Around D. Masse - Centenary College All-Around D. Bailey - Centenary College All-Around J . Johnson - Centenary College Trampoline E. Babuska - West Chester State All -Around L. Metheny - Univ. of Illinois AII 路Around D. 'Schaenzer - So. III. Univ.

All -Around and Tumbling K. Smith So. III. Univ.

All -Around S. Rogers - So. III. Univ. .

All-Around and Tumblin g All-Around J. Hashimoto, So. III. Univ.

L. Scott - So. III. Univ.

All-Around and Tumblin g J. Wills - So. III. Univ.

Tumbling and Trampoline

1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th

1968 COLLEGIATE CHAMPIONSHIP CLASS A-TEAM CHAMPIONSHIP RESULTS place Southern Illinois University 157.30 place Centenary College of Louisiana 132.95 place West Chester State Univ. of Pennsylvania 109.70 place Southern Connecticut State College 104.70 place Eastern Washington State 99.80 place University of Massachusetts 52.85 place University of Illinois 36.35 place San Jose State Co ll ege 30.75 place Sacramento State University 30.40 place University of Nevada 28.75 place State Univ. College of Brockport, New York 5.70

SI U team with Coach Herb Vogel

1968 COLLEGIATE CHAMPIONSHIP OFFICIAL RESULTS: CHAMPIONSHIP -

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CLASS A DIVISION

All-Around - Championship Division Linda Metheny, Universi ty of Illinois Donna Schaenzer, Southern Illinois University J. Hashimoto, Southern Illinois University Linda Scott, Southern Illinois University Debbie Bailey, Centenary Jo Connolly, Centenary Uneven Bars - Champinnship Division J. Has himoto, Southern Illinois UnivlrSity Gail Daley, Southern Illinois Uni versity D. Schaenzer, Southern Illinois Universi ty Linda Scott, Southern Ill inoi s University Jo Connolly, Centenary L. Metheny, University of Illinois Floor Exercise - Championship Division L. Metheny, University of Illinois D. Schaenzer, Southern Illinois Uni versity L. Scott, Southern Illinois University D. Bailey, Centenary J. Hash imoto, Southern Illinoi s University 1. Connolly, Centenary

36.35 36.l0 35.85 35.80 35.05 34.05 9.20 9.175 8.875 8.825 8.70 8.60 9.40 9.25 9.20 9.l0 8.85 8.725

1.

2.

3.

4.

5.

6.

6.

L. L. D. D. J. G. D.

1.

2.

3.

4.

5.

6.

D. J. J. S. L. D.

1.

2.

3.

4.

5.

6.

J. D. L. J. J. K.

1.

2.

3.

4.

51.

5t.

J. J. S. D. S. D.

Balance Beam - Championship Division Metheny, University of Illinois Scott, Southern Illinois University Schaenzer, Southern Il linois University Bailey, Centena ry Hash imoto, Southern Il lino is University Dal ey, Southern Illinois University Masse, Ce ntena ry Vaulting Schaenzer, Southern Illinois Uni ve rsity Wills, Sou th ern Illinois University Hashimoto, Southern Illinois University Rogers , Sou th ern Illinois University Metheny, University of Illinois Bailey, Cen tenary Tumbling Wills, Sout hern Illinois University Schaenzer, Sou thern Illinois Uni versity Scott, Sou th ern- Illinois University Hashimoto, Southern Illinois Uni ve rsity Connolly, Centenary Curtiss , E. Washington State Trampoline Wills, Southern Illinois Unive rsity Johnson, Cen tenary Rogers, Southe rn Illinois Unive rsity Bascomb, So uthern Illinois Univers ity Rose, E. Washington State Bailey, Centenary

9.375 9.l25 8.825 8.600 8.55 8."1 8.35 9.175 9.l 25 9.025 9.000 8.95 8.85 9.20 8.25 6.875 6.65 5.975 5.925 9.425 8.20 8.05 7.425 6.225 6.225

1.

2.

3.

4.

5.

6.

E. L. L. A. N. S.

l.

2.

3.

4.

4.

6.

C. L. E. A. K. K.

l.

2.

3.

4.

51.

51.

A. L. A. L. S. S.

l.

2.

3.

4.

5.

6.

K. S. L. L. A. A.

Balance Beam - Class B Domolky, Southern Ill inois Univers ity Galat, Ohi o State Wesa , South ern Illinois Uni versi ty Camille, S.w. Missouri Krattiger, LaCrosse Hass ler, Washburn Universi ty Vaulting - Class B Schmidt, Washburn Universi ty Galat, Ohio State Domolky, Southern Illinois University Morris , S.W. Missouri Stoecker, Universi ty of Colorado Biege, Washburn University

8.l5 7.35 6.95 5.95 5.75 5.60 7.30 7.25 6.80 6.45 6.45 6.15

Trampoline - Class B Morris , S.W. Missouri Wesa, Southern Illinois Unive rsity Camille, S.W. Missouri Galat, Ohio State Shank, Dickinson State Sanneman, Washburn Universi ty Tumbling - Class B Biege, Washburn Universi ty Hass ler, Washburn Universi ty Wesa, Southern Illinois University Galat, Ohio State Wilhoit, S.W. Missouri Morris, S.W. Missouri

5.0 4.4 3.45 3.25 3.lo 3.10 6.45 5.50 5.00 4.85 4.35 4.25

1968 COLLEGIATE GYMNASTIC CHAMPIONSHIP FOR WOMEN OFFICIAL ENTRY LIST Team Entry by Name l. Sacramento State College (California) 2. We'st Chester State College of Penns ylvani a 3. Eastern Was hington State College 4. Southern Connecticut State College 5. State Unive rsity College Brockport, New York 6. University of Massachusetts 路7. Universi ty of Illinois

1968 COLLEGIATE CLASS B-INTERMEDIATE DIVISION - RESULTS 1.

2.

3.

4.

5.

6.

1.

2.

3.

4.

51.

5t.

1.

2.

3.

4.

5.

6.

All-Around - Class B E. Domo lky, Southe rn Illinois University L. Galet, Ohio State K. Biege, Washburn Universi ty K. Stoecker, Unive rsity of Co lorado S. Hassler, Washburn University L. Wesa, Southern Illinois Univers ity Floor Exerc~e -Class B E. Domolky, Southern Illi nois Uni versi ty L. Galat, Oh io State R. Dworkis, Sacramento State R. Ryder, Indiana State R. Stoecker, Unive rsity of Colorado S. Hass ler, Washburn University Uneven Bars - Class B K. Biege, Washburn Unive rsity L. Galat , Ohio State K. Stoecker, Un iversity of Colorado S. Hassler, Was hburn University E. Domolky, Southern Illinois University M. Foltyn, Wes tern Illinois

29.25 29.l5 26.l5 24.55 24.10 23.40

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

7.85 7.65 7.10 7.00 6.95 6.95

7.75 29 .l5 6.70 6.60 6.45 6.l5

Centenary College of Loui siana Sa n Jose State College (California) Indi ana State Uni vers ity Ohio State University Western Illinoi s University South Wes t Missouri State Di cki nso n State College of North Dakota University of Co lorado Michiga n State University University of Nevada Furman Unive rsity Washburn Universi ty LaCrosse State University Southern Illinois Uni versity

All-Around winners in 1968 Class B, Intermediate Di visi on

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Coach Kathy Shelly Phyllis Cooper Donna Vail Gail Davis Lee Mill er Kitty Kjeldson LaVa rne Lan ders Dick Mulvihill Vance Ed war ds Ami Leso Grella Tri eber Sharon Weber Kathy Pearso n Mike McCarty Don Duda Terry Sendgra ff Ernestine Carter Le e Newell Carolyn Wallin El ai ne Brady M. McLellan Herb Voge l

In 1965, we received letters from the University of Wash· ington in St. Lou is, invitin g us to participate in the first Na · tion al Colleg iate Gymnastic Championships for women , and in the formation of a North American Con g ress of Women's Gymnastics Coaches . Teachers, coaches and judges arri ved from al l over the country. About 10 schools we re rep resented , all the way from California t o Massachusetts. Division of Girls and Women ' s Sports had sent a representative, g ivin g their tentative approva l to thi s venture .

Many of the coaches had their own ideas , and thou gh the form ation of the National Congress fell throu g h, anothe r very va lu able tradition was estab li shed - the runnin g of an invi· tational National Col legiate Gymnastics Champ ionsh ips for Women.

The next four years saw an increasin g interest and par· ticipation in this meet, until about 20 schoo ls were repre · sented in the 2 levels of compet iti on . The level of compet i· tion itself rose very rapidly, with an in creasing number of na· tional level competitors participatin g every year.

Herbert Voge l has to be congra t ulated for t aki ng the little be ginning four years ago and mo ldin g it into a competiti ve experience that any school would be proud to enter. (S IU has bee n hosting the meet for th e last 3 years). He gathered the best wo men jud ges from all across the country (payin g their expenses) , invited every schoo l known t o have a t eam (every year a larger number responded) . and not only ra n an effi· cient meet, but also initiated the following traditions: l. Se lections of a Co llegiate AII ·American team with ap· propriate awa rds and ba nq uet.

2. Ho lding coac hes meetings where th e guide lin es for future meets were worked out.

3. I nitiating the National Gymnastics Ph oto·Art Contest, sponsored by the Modern Gymnast magaz in e and run in con · juction with the National Intercolleg iates .

4 . In vo lvin g t he whole school and community in th e pro· ject. Band , color g uards , cadet s and other schoo l o rga ni za· tions helped in winning th e meet. Th e merchants in the com· munity frequently d isplayed welcome sig ns for women gym· nasts , making us feel at home.

Thi s was the last year that National Interco ll egiates were run in Carbondale. The Commission of Athletics of the Divi· sion of Girls and Women 's Sports, while sa ncti o nin g the last meet, has t aken over th e ove r·a ll organization and will be puttin g the Championships ou t for bid from now on. It was a logica l st ep and had to come sooner or later. An under· taking of this nature cannot be handled by in div idu als alone. no matter how dedicated they mi ght be.

As one of the t wo coac hes who has been present in this venture from the very beginni ng, I wou ld like to voice the concerns that a ll of us attend in g th e last meet felt. We know that DGWS has no det a il ed rules or win ning procedures for a meet of this sort. Many rules and runn ing proced ures were estab lished by Herbert Vogel over the years , mostly by trial and error, under th e guidance of the attend in g coaches. Th ey work , and have been tried ou t. We wo ul d like t o see th em continu ed , rather th an having the next school start from scratch.

This meet has become to mean something to the com · petitors . Though th ey are not officia l, we wou ld also like to see th e following traditions ca rried on: l. AII·American team select ion, with it s awards and ban· qu et . It is a memorable occas ion .

2. Ph oto·Art contest 3. Involvement of judges from all ove r the country.

4 . Coaches meetin gs to iron out common problems and give the coaches a voice in runnin g this meet.

5. Preliminaries and fin als, keeping th e same scoring system.

6. Two levels of competition 7 . Flowers , medals and trophies; flags , color guards and ba nd s; in oth er wo rds , a ll the little niceties that have made thi s meet a memo rable occasion for th e participants.

One era is over a nd another one wi ll start. I cannot help but t o look back wi th nostalg ia t o everyth in g that has hap · pened in th e f our short years . hoping th at this beautiful be· ginning wi ll not suffer setbacks, but wi ll be stepp in g ahead as t he most memorable event in co ll ege women's gy mnastics .

Coach Kitty Kje ldsen with Susan Claney top performer from the Univ. of Mass. (photo by Russell C. Brown).

HOW DID IT ALL GET STARTED? Thoughts on the [\lational Collegiates for Women

By Kitty Kjeldsen, Gymnastic Coach, Univ. of Massachusetts Here we a re agai n - in th e big and spacio us SIU Arena . c. bout 20 schoo ls strong. ready t o participate in th e Fourth National Colleg iate Championships f or women . The band is playing , fla gs are flying, audie nce cheering, and eve rybody feels the excitement of a com in g competition in bea utiful surround in gs. In the four short yea rs this meet has become somethin g to remember and look forward to. How d id it a ll get sta rted?

Scenes from the 1968 Wome n's Collegiate Ch ampionships at SIU, Carbondale, III.

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First place winning entry by Tom Seward, in Annual Mademoiselle Gymnast photo art contest held at 1968 Women's Collegiate Championships.

USGF WOMEN'S REPORT Summary of Madame Villa neher's Tour February 9 - 18, 1968

The United States Gymnastics Federation P.O. Box 4699 Tucson, Arizona

We gratefully acknowledge Kitty Kjeldsen , Sharon Wilch, and Jackie Puhl for their help in preparation of this material.

Jackie Klein Uphues Assistant Executive Director-USGF UNIVERSITY OF MASSACHUSETTS - February 10路11, 1968 Master Teacher: Madame Berthe Villancher Workshop Director: Kitty Kjeldsen Hostess: Marianne Davis Interpreters: Deszo Keifer and Mrs. Georgiette Crescione Registration Chairman : Marit Johnsen Madame Villancher arrived Friday afternoon, about half an hour after the arrival of the main interpreter, Deszo Kiefer.

Hostess Marianne Davis met them at the airport and drove them to their hotel in Amherst. Madame and the interpreter stayed in the best, oldest and most unique hotel in town. the Lord Jeffrey. Arran gements had been made to have fresh flowers at Madame Villancher's room and a lit fireplace g reeted her upon arrival.

After dinner Madame Villancher, Deszo Kiefer, Marianne Davis and Kitty Kjeldsen met for an organizational meeting concerning the running of the clinic. She seemed very interested in the plans and cooperated fully with all the arrangements .

The first session of the clinic was held Saturday mornin g.

It was a lecture on FIG and proposed rule changes in compulsory j udgi ng. Mr. Kiefer proved to be an excellent interpreter, being a gym nastics coach himself and having worked a g reat deal with women in hi gh level gymnastics.

At the openin g of the first session Madame Villancher was met by the Associate Dean of Physical Education, Dr. David Bishoff, and the Director of the Women's PE Department, Dr. Marga ret Coffey. Both welcomed her officially to the University of Massachusetts.

After having been taken to lunch at a quaint village restaurant, Madame returned for the afternoon to lecture and show movies of Modern Gymnastics. Everything was runnin g smoothly and the interest in the sessions ran high, regardless of a snowstorm outside which prevented several pre-registered teachers from attending, especially the ones coming from Boston area.

Saturday nigh t there was a cocktail hour and banquet in honor of the guests at the old and historical Hotel Northampton. Bad weather and transportation problems kept the number down to 12 plus the head table , but this proved to be a nice, cozy number, and the banquet was a great success.

It was a very rela xing evening. Madame Villancher was presented with a corsage, a University of Massachusetts college mu g (also presented to Deszo Kiefer), and the biggest heart shaped box of Valentine chocolates that could be found , plus a large Valentine card with everyone's si gnature. She seemed very touched and happy by the thoughtfulness.

Sunday's session started at 9:00 A.M. with a lecture on proposed rule changes in optional judgi ng. It was a very livel y session with g reat audience participation. Many questions were asked, especially concerning the interpretations of the new 10 point breakdown . Around noon we had a small group of students come in and present routines for audience discussion. Madame . critiqued the routines, answered any questions , and then all the performances were played back by video tape for a second look. It was very enlightening.

Sunday afternoon was spent on Olympic Compulsories and their interpretation . Representatives from an Olympic trainin g meet, held the same weekend two hours away, were present, showing their version of the exercises _ As a rule , there were very few discrepancies, and even these were minor ones. To our regret, interpreter Deszo Kiefer had to leave to catch his plane. Since the second interpreter, Mrs_ Crescione, had not arrived yet, we retired to the loun ge for coffee, and the participants of the clinic had a golden opportunity to tryout their French. It was a most interesting half hour. Gymnastic sign langua ge and halting French were enough to make oneself understood in the universal language of sports, thou gh some questions took lon ge r to ask than to answer. I'm sure that no one present will forget this experience.

Upon the arrival of Mrs . Georgette Crescione another session in optional judgin g rule changes and a long question answer period was held . By supper time everybody was tired , but all . (or almost all) the questions had been answered. It was a successful clinic.

J

REPORT USGF WOMEN'S COMMITTEE Jackie K. Up hues, Assistant Executive Oirector ~42 Dodge Avenue Evanston, Illinois

USGF WOMEN'S COMMITTEE ANNUAL REPORT

1967路68 Prepared by Shirley Bryan, Chairman "Gymnastics for all" has been the foundation for all work by the USGF Women's Committee. A national program has been developed and implemented to provide impetus for girls and women's gymnastics in the United States. A developmental compulsory program, workshoDs for teach er education clinics for training judges and age-group compulsory competition co mprise the core of this program . Specific. projects accomplished and future projects of the USGF Women's Committee are I isted bel ow.

PROJECTS ACCOMPLISHED: 1. Development and distribution of Age-Group Compulsory Routines.

Cooperative project with DGWS. 2. Development and distribution of tapes with music for age-group compulsory floor exercise.

3. Deve lopment and distribution of a film showing age-gluup compulsory routine s. Cooperative project with the Athletic Institute.

4. Distribution of Tinterova's Judging Material.

5. Development of the Operating Code to establish committee procedures and functions .

6. Publication of pertinent information in the Modern Gymnast magazine .

7. Di stribution of the 1968 Olympic Compulsory Routines.

8. Sponsorship of Lecture Tour of Madame Villancher, FIG Women 's President; University of Massachusetts, Colorado Universi ty and Southern Illinois University.

9. Development and distribution of Rules and Policies Governing Competition.

10. Development and distribution of guidelines for Teacher Education Workshops .

11. Development and distribution or guidelines for Judges' Training Clinics.

12. Development and distribution of Guidelines and Information for Modern Gymnastics .

13. Sponsorship of the United States Gymnastics Championships .

14. Deve lopment and administration of a certification program for judges.

15. Sponsorship for 25 Clinics for Teacher Education for 2632 registered participants.

16. Sponsorship for 23 Clinics for Judges' Training for 1271 regis tered participants.

17. Sponsorship for 27 Age-Group Compulsory Competition s for 2362 regi ste red participants .

CURRENT PROJECTS: 1. Development of guidelines for the organization and conduct of competitive events .

2. Sponsorship of the USGF Women's Committee Seminar for Modern Gymnastics.

3. Development of a college directory of schools offering gymnastics programs.

4. Appointment of state chairman for implementation of committee work.

5. Development of a compulsory program for Modern Gymnastics .

6. Development of a testing film for the Judges' Certification program .

7. Di stribution of Current FIG changes.

8. Publication and distribution of second booklet including the DGWSUSGF Compulsory Age-Group Routin es, the newly compiled evaluation of parts, and the USGF age group tumbling and trampoline compulsorie s.

9. Continued efforts on the organizational level for cooperation with the DGWS, OSA for the development and implementation of agegroup compulsory gym nas tics program and a judges' certification program.

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,

mented favorably on the construction and combination of these routines and was enthusiastic concerning this step forward toward a National Program in the United States.

The afternoon luncheon was given in honor of Madame Villancher at the University Memorial Center. Mr. Frank Bare and Mrs . Jackie Uphues presented her with gifts commemorating her visit to the U.S. and Miss Sharon Wilch , representing the Colorado Committee, gave Madame a lovely travel bag. Durin g her stay Madame Villancher also received a large basket of fruit and a beautiful bouquet of hearts and flowers for Valentines Day. Wednesday evening she charmed all at the cocktail party which included such guests as: Mr. Francis Bunnelle, Assistant Commissioner-CHSAA , Mr. Frank Bare, Mr. and Mrs. Manning, Helen McCall , Judy Bodman, Mary Ann Mahoney, Miss Edmondson , Colorado University, Director of Women ' s Physical Education , Mrs. Jackie Uphues, Pat Druggan , Terry Sendgraff, Barbara Hedges, Sharon Wilch, and Miss Ann Sprague, Graduate Advisor of Colorado University.

Certificates were given to those who attended both sessions. All registrants were given a packet of pertinent USGF judging materials compiled by Sharon Wilch.

Colorado was charmed by Madame Villancher, and they thoroughly enjoyed her brief visit. She favorably impressed everyone and increased our appreciation for and dedication to gymnastics.

At University of Massachusetts clinic Maqame Villancher, Kitty l<jeldsen , Deszo Kiefer and Marianne Davis (Photo by Pat Lempartl.

The clinic committee took Madame Villancher out to dinner and spent a most memorable social evening _ The next morning Dorey Finn , a French major on the University Gym nastic Team, and Kitty Kjeldsen took Madame Villancher to the plane _ The clinic was over_ CHICAGO STOPOVER - February 12th Madame Villancher arrived at O'Hare on Monday morning, February 12th and was met by interpreter Miss Alice Barrieux and M rs_ Jackie Uphues_ They proceded by cab a few miles toward Chicago to the new and luxurious Marriott Motor Hotel-Stirrup Cup Room where luncheon given by the USGF Women's Committee was held in honor of our guest_ Officers and guests in attendance were: Miss Judy Hall, Vice Chairman of the USGF Women's Committee, Mrs_ Mildred Prchal, USGF Modern Gymnastics Committee, Mrs_ Erna Wachtel , and Mrs _ Jackie Uphues_ Madame was presented with a lovely yellow orchid corsage and delighted all with her knowledge of gymnastics and the most gracious manner in which she conversed _ We are grateful to Miss Alice Barrieux, who magnificently directed the luncheon conversation_ Madame Villancher and Mrs _ Uphues were driven to O'Hare

by Miss Hall and then boarded a flight for Denver, Colorado_ More snow greeted Madame as we arrived on the tail end of an unusually heavy snow storm_ Miss Sharon Wilch and Mrs. Jeanne Mannin g, interpreter, met the plane and drove the group "very slowly" to Boulder.

COLORADO UNIVERSITY - February 13th and 14th The Colorado gymnastic enthusiasts were very pleased to have the opportunity of meeting Madame Villancher at the University of Colorado. Colorado's knowledge and appreciation has grown because of her professional manner and pleasant. warm personality_ Master Teacher: Madame Berthe Villancher Workshop Director: Sharon Wilch Interpreter: Jeanne Manning Registration Chairman: Pat Druggan The Organization Committee for the Seminar - included : Judy Bodman, Pat Druggan, Terry Sendgraff, and Sharon Wilch.

Tuesday began with early morning coffee and donuts.

After introductions the morning session featured the organi zation of the FIG, its structure and function and the new changes to be made in the FIG CODE of POINTS. The afternoon session was spent watching fantastic films of championship artistic gymnastics at Dortmund and modern gymnastics World Championships films.

REPORT OF INTERNATIONAL JUDGES' SEMINAR Conducted at Southern Illinois University by the U_S.G.F. Feb. 16th-17th, 1968 The listing of registrants, meeting U.S.G_F. judging certification for seminar participation is indicative of the wide range of gymnastic leadership, representative of the United States and Canada that were in attendance .

Area Representation Illinois, Ohio, Michigan, Missouri, Indiana, Kentucky, Wash ington, Florida', Louisiana, with Montreal (Canada) Vancouver, B.C. (Canada) the areas marked with official representation .

Adding the non -registrants (SIU physical education majors and demonstrators) we can add Oklahoma , Texas, Wisconsin, Cali fornia, Saskatoon (Canada), Maryland, Colorado, New York boosting the list to 16 states and 3 areas in Canada where the incentive, leadership and knowledge supplied by Mme. Villancher will be utilized for the betterment of our sport.

Gymnastic Leaders Present 1. Miss D. Flansaas, NAAU , National Tech. Chairman, Seattle, Washington .

2 . Maria Medveczky, NAAU Tech. Chairman of Canada .

3. Mr. V. Edwards, NAAU Women's Gymnastic Committee Chairman.

4 _ Mrs. E. Wachtel, V_P., NAAU Women 's Gymnastic Committee .

5. Mrs. V. Nye, FIG Judge, Canada.

6 . Mrs. S. Pirkl, USGF Tech. Committee, Compulsory Age Group Program Committee Chairman.

7. Mrs . M. Prchal, USGF Modern Gymnastics Committee .

Social Aspects The social aspects ranged from daily informal coffee hour, graciously staged in the Arena "Green Room", through the hospitality sessions at the Carbondale Elks Club, to the formal dinner in which community-campus dignataries such as Athletic Director and former USGF President Dr. Boydston and John Rendleman, SIU Vice President in attendance . The informal approach was taken at SIU, substituting the formal luncheon etc. with informal relaxing family atmosphere pre vailing. Key figure was Jon Alletti, the SIU interpreter, native of Paris and as described , a carbon copy of one of Mme _ Villancher's sons, brought forth the "full of fun " personality that is seldom seen in a world leader.

We are sure that Mme. Villancher enjoyed this " leg" of her tour as we enjoyed her bein g here as well as gaining in knowledge by her presence.

Other Highlights The SIU -Centenary College Dual Match happened to fall on the seminar date and provided the registrants and Mme .

Villancher a first hand look at good collegiate gymnastics .

The competition was "taped" and used to serve as a " critical evaluation " of our gymnastics and our judging techniques.

Mme. Villancher was most effective in her " interpretation " of the 1968 Olympic Compulsories as she could draw upon skill of gymnastic demonstrators as Linda Metheny, Debbie Bailey, Donna Schaenzer, Joanne Hashimoto, Sue McDonnell (leading U.S. and Canadian gymnasts) .

Evaluation The " Seminar" was meaningful and "important" to North ern American gymnastics. The liason-" getting to know " Mme. Villancher and give her the opportunity to realize that we in the United States and Canada do work at our sport and will have far reachin g advantages.

The entire group of 40 people had a delightful luncheon at the Lamp Post on Tuesday afternoon. Tuesday evening the interpreter, Jeanne Manning, invited Madame Villancher to her home to have a French dinner and converse in French with her family. Mrs. Manning is very accustomed to entertaining and receiving visiting guests in her home as her husband is Vice President of the University of Colorado.

The Wednesday session continued with explanations of the FIG CODE of POINTS, including changes and comments on the beam , floor exercise, vaulting, and evens. The afternoon sessions dealt with demonstrations of the USGF-DGWS National Routines, on the Beginning, Low Intermediate, and High Intermediate levels. Madame was impressed and com-

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The USGF WOMEN'S COMMITIEE Presents A Summary of Lecture Series Given by MADAME BERTHE VILLANCHER 1. FIG - Orga nization , Structure, Purpose, Exec utive Committee Functions, Judgi ng Certification 2. FIG CODE of POINTS - Proposed Chan ges and Comments 3. MODERN GYMNASTICS - Definition and Scope, Competi tions, Prog ram Development Each member Federation submits 10 names from their own country of qualified women to judge on an international Special recognition and thanks are extended to Mrs. Jeanne Manning, interpreter for the Colorado Seminar, for her vital help in assisting Mrs . Jackie Uphues in the preparation of this material.

International Federation of Gymnastics - FIG 1. Organization 2 . Structu re 3 . Purpose 4. Executive Committee Function 5. Judging Certification 6. Artistic Gymnastics

THE ORGANIZATION OF THE INTERNATIONAL FEDERATION OF GYMNASTICS - FIG What specifically is the International Federation?

The International Federation of Gymnastics meets and directs international gymnastics. One section is organized for women's gymnastics, the other for men's. On an international level , all the directives for women's gym nastics are given by a Technical Committee, exclusively composed of women and for women. The Women's Committee is composed of two parts : the Committee which meets once a year, composed of a representative from each of the 60 member federations ; this plenary committee elects for a period of 4 years, a Women 's Exec utive Committee of 7 members. The members of the Execu tive Committee represent the Women 's Com mittee and not the individual countries from which they come .

The officers of the Executive Committee are a President, two Vice Presidents, and one Secretary. It is this Executive Committee which 1) prepares the compulsory exercises for the World Championships and Olympic Games, 2) directs the Olympic , World Games, and European Competitions, 3) sup ports all member Federations and gives help when needed, 4) determines the technical rules and prepares the Code of Points, 5) trains judges and establishes plans to conduct courses in several languages, and 6) who tries in every possible way, to direct women's gymnastics on a world -wide level.

An up to date file on each international judge is kept by the Technical Committee. A complete record of judging in previous competitions serves as a gu ide in assigning judges to the area where they are most competent.

Each member Federation submits 10 names from their own country of qualified women to judge on a international level. These people should receive a card stating that they are qualified to judge any international meets which take place in that respective country.

From this list each country submits 3 names for the international judging course, the next of which will be held in Rome this summer and again in Mex ico City. The duration of this course is eight days. Then if acceptable, these two women are awarded a diploma which certifies them for Olympic or World Gam es judging.

These two may return and conduct courses in their respective countries to impart th eir acquired technical knowledge.

The governin g federation in th e United States must choose 3 women to represent them in Rome and also submit the list of 10 intern ationally qualified judges to the FIG. We consider our work is not only a work of organization, but an effort to see that the gymnastics is a feminine sport

adapted to all. We search in all possible ways to aid th e t ech 路 nique of gym nastics and to aid all member federations.

In a few years, there has been an integra l change in artistic gymna stics in which the exercises have become more beautiful and at the same time more difficult.

Today a gymnast should have all the possible qualities (she must be a perfect animal) t o engage in this sport. It is ce rtain that a gymnast must begin at a youn g age if she wishes to arrive at the moment where the work is perfect and compete on an international level.

The qualities of a gymnast are: (elements she must mani 路 fest during her performance) Unbending and springing Force - a hidden force th at is not visible in executing the exercises Control - of all muscles and artiCUlations Rapidity of reflexes - extraordinary spirit of decision Suppleness Equilibrium Rhythm - not necessarily the rhythm of a musician , but a natural sense of rhythm .

No other sport (except perhaps fi gu re skatin g) demands so much of the participant.

The disciplines of the internationa.l gymnast are the horse vault, the uneven bars, the bal ance beam and the floor exe rcises . These 4 disciplines are completely different, one from the other, and each demands from the gymnast different techniques.

Which leads me to say that artistic gymn'astics is not improvised . For example, a girl of 16 who possesses all the qualities, cannot begin at 16 years and expect to become a perfect gymnast. It is necessary th at she be prepared from an early age in all the body work which leads up to and devel opes her qualities for international competition .

At the age of 5 or 6 ga mes which stress large motor activities, flexibility, and rhythm should be taught" so that these qualities become inherent or "innate" and stay with the girl for life . Progress as capabilities of the individual pro gress ; children will learn more as they are "ready" and understand _ From ages 6 throu gh 12 or so, there should be general preparation throu gh all sports and activities with no specialization until the age of at least 12.

FIG CODE OF POINTS Proposed Changes and Comments FIG CODE OF POINTS - TECHNICAL GYMNASTICS The new code will not be ready until May I, 1968_ The changes will be in effect for the judges course in Rome thi s summer and for the Olympic Games in Me xico City_ Proposed Changes and Comments An exercise will be judged by 4 instead of 5 judges. On e head judge also scores, but does not reveal her score unl ess a difficulty occurs. The 4 independent scores are collected, the high and low discarded, and the two middle scores averaged w ith the avera ge bein g fl ashed t o the public and the gymnast.

In case of a great difference, the superior judge calls f or discuss ion to reconsider th e movements and arrive at a ju st score. If th ere can be no compromise , the President of th e Jury (President of the Techni cal Committee) is called and the 路decis ion rests with thi s Jury- composed of the Pre sident of the Technical Committee, Vice President, Secretary, Director of competition from th at Country, and the Superi or Judge.

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Tile difference between tile ili gilest and lowest of tile two scores taken into consideration cannot be greater tilan : Preliminary Competition 0.30 for scores between 9.50 - 10.0 0 .50 for scores between 8.50 - 9.45 1.00 for scores below 8.45 Final Competition 0.20 for scores between 9 .50 - 10.0 0.30 for scores between 8.50 - 9.45 0.50 for scores between 7.00 - 8.45 1.00 for scores below 7.00 Compulsory Exercises In the uneven bars , floor exercise, and beam, -tile 10 points are attributed as follows: 2.0 points for precision, exactitude, and correctness of the prescribed exercises as des4 points cribed by the official text written text 0.5 points for precision of the floor pattern, direction, and general scheme of orientation 1.5 points for tile general rhythm and speed of the exercise

Modifications for lower leve ls of competit ion should arran ged usin g tile FIG sca le as a guide. Girls should jud ged on a scale appropriate to tileir level.

1.0 points for elegance 1.0 points for certainty, confidence, sureness of execution 6 points 1.5 points for amplitude execution 0.5 points for coordination of arms, legs and total body 1.0 for lightness in general-ease of movement in leaps and on landings 1.0 points for precision and direction of turns The entire exercise may be reversed, unless specified .

There will be no repetition of compulsory exercises except in the horse vault.

Optional Exercises 4.0 points for difficulty 4 elements of medi um difficulty worth 0 .5 each=2.0 2 elements of super i 0 r difficulty worth 1.0 each = 2.0 1.5 points for the value of originality of sequences, difficulties, and connecting parts (this and a good liason between elements 6 points separates the good or excellent from the composition mediocre gymnast) 0.5 points for the general value and organization of the exercises-the logical composi tion , progression , and construction The above 6 points for total composition are very specific and each judge must be able to defend her deductions.

2.0 points for technical faults or errors 4 points 1.0 points for amplitude of performance execution 1.0 points for general impression, elegance , rhythm, poise, and beauty of the exercise Deductions for music, timing, boundary, falls, etc. are taken after the score has been determined.

General Requirements of Optionals Mounts and dismounts from apparatus must differ among members of the same competitive teams . When a team disregards this guideline, deductions are taken from the team total and not the individual scores.

Elements of compulsory exercises may not be used unless in a different sequence. Difficulties from compulsory exercises may be used in a different !?equence.

Repetition of a difficult movement does not earn another difficulty credit.

An exercise of value avoids any type of repetition except difficulties in succession, such as 2 aerial walkovers or 2 reboundin g leaps . Repeating a difficulty in succession with the same or increased amplitude makes the sequence a superior difficulty.

Do not add extra difficulties beyond the required number as this opens the gymnast to more faults and deductions.

Gymnasts of a low caliber should do what they are capable of and do this with perfection. Do not attempt what you are not ready for or can not perform with absolute sureness.

Specific Penalties Small Faults - 0.1 - 0.2 small bends or flexions of the head , arms, legs, feet Medium Faults - 0.3 - 0.4 medium bends or flexions of the head , arms, legs, feet and trunk-loss of balance Serious Faults - 0.5 and up-serious breaks depending on the situation 1.5 coach 's aid during exercise 1.0 fall on or from the apparatus

be be

Horse Vaulting The vault is tile most difficult event for women.

In botil the optional and compulsory vault the gymnast has a right to two executions. The best score counts. Two different optional vaults may be executed.

Tile approach and take off from the board may be reo peated only once provided the gymnast has not touciled the horse .

There is a penalty if the coach stands between the board and the horse. She m'ust stand to the side and may not give signs or even place a hand on the horse.

All vaults must be performed with both hands placed on the horse.

There are two pilases in the vault: 1) Pre fli ght - leaving board and arriving on the horse 2) Pushin g off the horse and after flight General Techniques or Principles of Vaulting: 1) Pre-Fli gh t - consider the feet as they leave the springboard, the position of the arms, body, legs during the on-flight, and the heigh t of the pre-flight.

2) Rapidity and force of the push -off-note tile brief moment of hand contact with the horse 3) Position of the body during the after flight 4) Balance, equilibrium, and control of the landing 5) Direction of the vault - the body should travel in a straight line forward from the board to the horse to the landing 6) General equilibrium of fli gh t - arc of the vault. A good balance of trajectory should be evident. The body should acilieve a perfectly straight position with no accentuation of arch or pike.

Vaults fall into 3 ge neral categories: 1) Handsprings or Inverted vaults-the body must be vertical on hand contact in relation to tile feet in order to get a strong and forceful push from the hands , 2) Lay-O ut vaults-these necessitate a careful calculation of hand placement in relation to the legs, and 3) Hechts.

The Giant Cartwheel - compulsory vault for Mexico City - involves a 1~ turn in the air after the take off. an alternate hand placement, and repulsion from both hands alternately.

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Up to now the gymnast has found a way to hide her stops.

Now this is absolutely forbidden. For example , one can not move alon g the beam , pivot and simply move the hands . It is no lon ger permissable to stop all movement of the feet and simply use the hands. This new conception of the exercises on the balance beam is very important.

The duration of the exercise is 1 min. , 20 sec. to 1 min. , 45 sec. The clock begins at the moment the gymnast leaves the floor or the sprin g-board . It stops at the moment she finishes the exercise and places the feet on the floor: Here , there is a difference from the old Code of Points. Before the clock sounded at the end , that is, at 1 min., 45 sec. Then there was 5 sec. in which she could dismount, giving a time of 1 min. , 50 sec. Now the first signal is given at 1 min., 40 sec. and the second signal at 1 min. , 45 sec. Therefore , the duration is very exact. If the gymanst is still on the beam after the second signal , the judges do not look at the rest of the exercise, even the dismount, and she is penalized 0 .30.

If the exercise is too short, the penalty is 0.05 points per second.

If the gymnast falls from the beam , the penalty is 1 point.

It is necessary for the gymnast to remount immediately and she has no right to use magnesium on her hands, to leve, etc ., otherwise the exercise is terminated. (Very often, a gymnast in a walk-over falls after she has completed the difficulty. She should remount and continue the exercise, but not repeat the walk路over. Her difficulty has already been counted and she is penalized only for her fall. Too often in repeatin g the difficulty, the gymnast falls again .)

The Uneven Bars This is quite difficult to judge because of the quickness of execution.

The performer must have complete mastery of the exercises. It is not wise to have too much difficulty unless the amplitude and form are of high standard . Too many difficulties cause the gymnast to tire and make more errors, thereby receiving a lower score. Never permit a gymnast to perform beyond her ability.

Judges must sit at corners, so that they can see a profile of all the gymnast's moves.

The use of a Rheuter spring board is authorized on the mat, but not on the base of the bar.

The coach may not talk to the gymnast, position herself between the bars, or obstruct judges.

Specific Penalties: 1.0 for support of any part of the body against the bar 0.5 for support of one hand against a bar 1.0 fall to the ground 0.5 for hang with one hand before regaining the superior (high) bar without the help of the inferior (low) bar 1.0 for hang with one hand before regaining the high bar and touching the low bar to assist 0.5 for extra intermediate swing (the gymnast must arrive immediately in position) 0.1 for touching bar lightly with the feet 0.2 for touching bar heavier with the feet 1.5 coach touches body of the gymnast 0.5 help by coach on dismount 0.5 coach between the bars 0 .2 for alternate hand grasp when not desirable 0.2 brush of feet on the mat 0.2 for very short unauthorized stop on the bars 0.2 for every sitting position (sitting on the bar is per路 missable if the movement requires such) Two short momentary stops are authorized without penalty with feet on the low bar and hands on the high bar.

These must be for position or balance or as a brief period of concentration prior to a difficult passage.

Balance Beam The exercise must contain parts of equilibrium or balance, turns, pivots, jumps, leaps , runnin g, and walking with ele路 ments of difficulty incorporated throughout.

The gymnast must move from one end to the other usin g the entire len gth of the beam.

One should avoid too many positions of sitting or lying.

There are too many gymnasts who ignore the fact they have legs and who spend their time on the beam (on the back, sitting, etc.) The best exercise is one in which the gymnast is standing upright, stretched upwards on the beam. It is both more spectacular and more difficult.

There may be two or three very short stops , but the rest of the routine must be uninterrupted. Each additional stop above those authorized is penalized at 0.20 .

The rhythm is one of the most important factors in the execution . An exercise which is very difficult, executed with the sam e rh ythm and very slowly does not have the same technical value as the same exercise executed with a chan ge in rhythm and w ith animation.

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If the gym nast " practically" completes a point of difficulty and falls , she receives credit f or the movement. If she falls at the beginning or during the- movement, there is no credit.

In compulsory exercises , she has the ri ght to a supplementary mount on condition (as for the horse) that she does not touch the beam. If she touches the beam, the penalty is 1 point.

Specific penalties for the beam : 1.0 Fall to the floor 1.0 Fall on the beam 1.0 Support by hands to maintain equilibrium 0 .5 Touchin g hands to the beam , but without support 0.5 Jerky movements to maintain balance 0 .5 Unnecessary movements of th'e body 0.3 Unnecessary touch of a foot to the beam (pushing against beam with the free foot for support) 0.2 Unnecessary movements of arms and legs to gain balance 0 .2 All stops even with arms moving 0.2 Lack of amplitude on leaps 0 .2 Lack of sureness and precision in pivots and turns 0.2 Monotonous rhythm of phrase of portion of the whole routine .

0.5 Monotonous rhythm of whole exercise Floor Exercise In composing a floor exercise: All the elements of difficulty should not follow one another. They should be placed progressively throughout the exercise, so that the natural progression of difficult elements saves the most difficult one for the last. The sequences which relate the difficulties ought to have a technical value which has a rapport with the level of the elements of difficulty, with the morphology of the gymnast and finally with the in dividual temperament of the gymnast. The sequences ought to be there to bring out the beauty, the grace , and the dynamism of the gymnast_ The rhythm of the exercise (and the rhythm is extremely important) should be allied and related to the life itself of the exercise, to its beauty and should compare to the diffi culty of the exercise .

It is absolutely indispensible to vary the rh ythm so that the gym nast has a passage which is dynamic , from time to time, movements which are more sliowly paced to recuperate from loss of breath , movements which give her time to work into a more active part of the exercise, and the resulting composition will finally g ive to th-e gy mnast a work which is not monotonous for her or for the spectator.

These are the elements used to construct an ideal exercise. In the execution , the jury ought to give attention to: Sureness of the acrobatics Sureness of the pivots Sureness of the equilibrium Amplitude of all the exerc ises (movements) General firmness, steadiness of the body Perfect coordination of the movements of the arms, the legs, and trunk Movement in space Li ghtness of the gymnast (maximum work on the tips of the toes, not the tips of the toes of the dancer). Landings on the floor ought to be extremely supple, silent, with a minimum of noise like a cat.

Suppleness. Not only of the vertebrae . but suppleness of the arms, legs, and the articulations.

Elasticity. Her ability and facility in leaping, in working at a maximum.

Avoid in the composition physical expressions which are forced, that express the sentiment in the face . There should be body expression which expresses the musical phrase. If the musical phrase is serious, it is not necessary for the girl to look as'though she were about to lose her family. The floor exercise, on the contrary, represents a joy, an expUlsion, of the human body which expresses in all its possibilities, what the musical phrase expresses. It is consequently a joy and not a theatrical drama.

The musical accompaniment should be carefully consid ered. It should not be chosen simply by chance. It should not simply be background music which has no connection with the exercises . Ideally, the musical composer works at the same time as the gymnast, that is, he makes the music according to the possibilities of the gymnast, according to her temperament, related to strong exercises or light exercises. If the gymnast is small, light, lively, dynamic, the music should be an image of that gymnast. If, on the other hand , the gymnast is large and naturally has very large movements ,

the music might be more serious, but always employing variation of rhythm.

The music ought to represent a support for the gymnast.

The gymnast ought to feel the music . It is as if the gymnast is transported by the music and the music aids her in remembering the exercise . The music is the ima ge itself of the exercise. If there is a leap or spring done by the gymnast, the chord should break forth at that moment and pro ject her into space. If the music at this point is soft, it is certain that (if she really is a gymnast who works with the music) she will not have the flight . She will not have the desire to leap .

The music aids her when she works in public and in front of the judges , because the music puts her into another domain, another world separated from what is happening around her.

The music keeps the gymnast from becoming over-tired.

The music is a fa.ctor, a real aid for her. The necessity of choosing very carefully a musical phrase which will aid the exe rcise is obvious.

The - musical accompaniment should begin several measures before the opening of the exercise to permit the gymnast to place herself in the proper atmosphere at the beginning.

But the music should stop with the very last movement of the gymnast.

Accompaniment by a single instrument is authorized, whether it is piano , violin, or whatever.

The floor area is 12 meters by 12 meters. The gymnast cannot go beyond the limits marked. If the gymnast has a foot on the line itself, or any part of the foot on the line , tHere is no penalty. To receive a penalty, it is necessary that the foot, or the feet, or that part of the body which is sustaining the weight, be completely outside the line. For each stop outside the line , the penalty is 0.10.

For the competition, we place 2 judges at 2 angles to view the lines. As soon as a gymnast steps over the line, the judge raises a red flag and everyone knows there is 0.10 penalty. The penalties are not placed by the jud ges themselves. The judges make their scores without being preoccupied with this . It is afterwards , that the line judge shows the superior judge the faults for goin g outside the line and it is the superior judge who makes the penalties in the final score.

It is the same thin g if the exercise is too long or too short.

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It is not . the judge, but the . superior judge who deducts for tl'ie , faults . .The duration 'for a floor exercise is 1 min. , 30 sec. Here, like .the other exercise explained , there is not 5 sec. extra.

The gymnast is warned at 1 min . 25 sec . by a bell. The second 路 bell is at 1 min. , 30 sec. terminating the exercise . If the exercise is too long or too short, the penalty is the same 路 as for the balance beam. (0.30 too long or 0.05 points per sec . too short) .

It is absolutely forbidden for the coach to place herself in the floor area . 'The gymnast is absolutely ' alone in the area .

Specific pena Ities for the floor exercise: 1.0 Fall 0 .5 Lack of. completion of a difficult element followed by repetition of that pa rt 1.0 Musical accompaniment is an orchestra instead of a single instrument 0.5 Music is not adapted to the movement of the exercise 0.5 Coach comes into the floor area to aid the gymnast 0.3 Coach gives any signs to the gymnast 0 .2 Every fault in the rhythm in the exercise -:- a movement which has no rapport with the musical phrase 0.1 Stepping outside the floor area - each time 0 .5 Gymnast stops her exercise while the music continues. or stops Her exercise after the music stops - serious . disaccord of the music and movement 1.0 At the beginning of the exercise, . beginning the exercise . ,stopping. and beginning again. (Except if this fault is provoked by the f<;lct that the music is too fast, too slow, or because it is not her music. Then it is a technical error, however, there is a meetin g o'f the jury to reach a decision as to whether it is a fault or a technical error,,) 0 .2 Indiscretions in attire (Sometimes there are gymnasts who work with leotards which are transparent and this is not desirable in ' a competition. Another factor is the cut of the leotard. A certain elasticity is important to allow proper movement of the thi gh. There are exa ggerated cuts of the leotard which are too generous . With some of the movements . these leotards move so that one sees all the articulation of the legs , a sun-tan mark, or in a split, too much exposure .)

MODERN GYMNASTICS 1. Definition and Scope 2 . Competitions 3. Program Development MODERN GYMNASTICS An attempt to define modern gymnastics: This is a discipline put into the international program only recently . The last. World Championships were held in Copenha gen in 1967 and were the Third Championships in Gymnastique Moderne. It is a new discipline, now being used in several countries. There have been many discussions in arriving at what the technical rules should be.

There are ri ght now several tendencies which are different and have nothing to do with modern gymnastics.

1) The tendency toward classical choreography. and the ballet. Classical dance should be reserved for the thea ter. done by artists trained over a long period of time and who can perform without a trace of mediocrity.

2) Acrobatics which are normal for artistic gymnastics do not have a place in modern gymnastics.

3) Tendencies to the contortionist movements of the circus, 4) The tendency to mix folk dancing into modern gymnastics.

What remains , then, for modern gymnastics . What is the concept? It is a complete gymnastics . It is a completely natural movement, that is to say, without having any arti ficial position . It requires a preparation, extremely pushed to the limits . extremely finished so that the whole human body arrives at an absolute coordination of movement with the chosen music.

Modern Gymnastics is all the possibilities of movement, all the possibilities of physical and emotional capabilities of the gymnast (not theatrical-with no facial exaggerations) .

There is, then, an absolute coordination between the musical phrase , the executed movement and the possibilities of the gymnast (her temperament, her morphology) without any fault of movement. It is all the movements of natural suppleness, all the movements of equilibrium , all the turns, pivots, leaps , and walks . To this is added an expression of the work which has rapport with the music and an expression . which

is natural and not an expression w hich belongs to the drama of the theatre.

Until now there has Qeen difficulty in understanding this .

Now that we have arrived at a point where artistic gymnastics is reasonably structured , "we can do the same thing for modern gymnastics.

Modern gymnastics does not contain any elements of acrobatics (cartwheels or flic-flacs). There is, little by little, a list of rules and a structure for modern gymnastics with a list of elements of difficulty (average and superior) to be executed in tile exercises without portable apparatus as well as exercises with manipulation of portable apparatus.

We have to prepare specific jud ges for modern gymnastics for we cannot accept the same judges which exist for artistic gymnastics.

We have in modern gymnastics a program which includes floor exercises with and without hand apparatus. We have exercises with: long scarves (which permit lovely composition) ball jump rope Indian clubs streamers of 7 meters in length hoop wand The great difficulty lies in the fact that each apparatus demands a manipulation which is special and a specific movement of the body. The apparatus must serve the gymnast not as something which is thrown from one hand to another, but as a decoration and as an extension of the total body.

Typical example : A ball which has a determined size and weight must rest on the palm of the hand and not be held by the fingers. If in manipulating the ball, the gymnast grasps the ball , it is a fault.

Another fault concerns the arms . The human body has two arms and both arms must work with the same force.

The ball must play the rcile demanded of it while the gymnast makes great body movements. It must remain an extension of the body. Similarly with the hoop. It is an apparatus which should be 路rolled or thrown and not used to frame the gymnast.

We have tried to organize the work in demanding with each of the apparatus that the gymnast do the exercises rationally and in a diverse way.

In Copenhagen, all the obli gatory exercises with the jump rope (a rubber rope with 2 handles) were exercises of rapidity and the gymnasts executed them without stopping, whether the jumps were simple or difficult.

The cord is certainly made for jumping, but an exercise logically constructed should contain other manipulation of the rope which is more beautiful and more difficult for the gymnast. We have demanded that the gymnast work with a hemp rope , slightly enlarged in the center giving it a certain weight and without handles w hi<;h permits a direct manipulation between the rope and the hand. One can design figures as if the rope were animated as if it were a person. It can also be used for jumping, but jumpin g with this rope is more difficult. One can throw the hemp rope. This is one example of the possibilities we search for with each of the apparatus.

For, each apPC1ratus, then . there is the same base , the same structure. We must determine the appropriate progressions for each a ppa ratus.

Modern gymnastics prog ram for the competition of 1969 will include: 1 compulsory exercise with hand apparatus 1 optional exercise with the rope 1 optional exercise with the hoop 1 optional exercise with no apparatus These are for the general individual competition. What the Federation has already advanced for 'women is a group exer cise with apparatus. that is to say, exercises performed by ? team of 6 gymnasts. One may have ' composition which is free , but the apparatus is obligatory.

COMMENTS IN ANSWER TO OUESTIONS CONCERNING MODERN GYMNASTICS Will the competition in Modern Gymnastics in any way alter the competition in Artistic Gymnastics?

There will be competition in both artistic gymnastics and in modern gymnastics . They are two different thin gs. A special sub-commission which will concern itself with the activities of modern gymnastics.

Before Dortmund, during the games at London, the games at Helsinki , and the games at Melbourne , the program of artistic gymnastics comprised the program that you know ,

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Each year I try to ' have a trainin g program which ' will serve for the judges and the technici ans. In 1968 there will be one in Czechoslovakia . The people within the Federation there yvho are respo nsible for the program are invited . Thi s kind of thin g wi ll be done every year.

How did this program start in France?

In France to have a base fo r modern gymn astics (it does not exist on a school level or in clubs), I formed a group of techni cia ns and specialists , people who were specialized in techniqu e and rhythm. We made a program. We classified children into g roups ; very young chi ldren , gi rls up to 15·16 years, and others 16 to 18 or 20 years. We ga ve to each g roup , naturall y f ollowin g the age, only the elements of com · pulsory exercises. We left to the teachers the co nstruction of th e movements. For example, for a young girl doing an exercise w ith the ball , she has 3 or 4 compulsory movements which she must include in the exercise. One adds a g reater number of difficult elements according to the age. For the last group, naturally, you add more elements of difficulty. But with each group, the difficulties are never impossible to do. you do not want to discourag~ the girl s by the exercises.

I began this work in October and ip May, I already had 80 te ams of 12 girls each who could compete. After the com · petition , there was a meetin g of the teachers in order to point out what was well dOr)e and what was poorly done .

We wi ll begin aga in next year and little by little, th ere will be more girls participating. I am persuaded that it is some· thin g which enormously pleases young girls, because not everyone can perform artistic gym nastics and this form of gymnasti cs will have a great success.

Someo ne has asked upon what base do we begin a pro· gram. The important thing is to BEGIN . If you make mistakes and it is im possibl e not to, the essential is to begin, the es· sential is to participate. By participating, one sees mistakes and one arrives bit by bit by eliminating the bad thin gs in order to preserve t he good elements. One ca nnot remain seated in a chair and say I can 't do this toni ght. It is neces· sary to try to do somethin g - to do it as well as po ssible and then to correct it.

bars , beam , horse and floor exercises. There also was (with these same gymnasts) competition by teams with portable appara tus. This did not work because the technique is too different. Then . too, a gym nast might be injured and unable to compete with the team. completely separating the team.

Modern gymnast ics needs different gym nasts , juries, and tech · nic ians .

May the same 3 individuals be part of the team competition in modern gymnastics?

Th ere is indi vidual competiti on with the program of 4 dis· ciplines f or 3 individuals. Competiti on now for team is for group exercises with small portable apparatus using 6 gym· nasts on a team . There are two classifications: general individ · ual exercises or the team exercises or both. Each country has the option. The U.S. could send 3 individu al gymnasts who could also perform with 3 others as a team or we could send 6 to perform just as a team .

Where can Modern Gymnastic material on compositions be obtained?

In the program booklet for Copenhagen , there are th e compulsory exercises which were the exercises with the rope .

At the end of th e program booklet, for each discipline, ball , hoop . rope, th ere are examples of combinations of elements of difficulty (average and superior) .

Th ere must be a base. Thre is no doubt many schoo ls which perhaps do not have a program of modern gymnasti cs, but who are sympath etic to such a program . These schools gi ve a line of d irection and can give help in setting up a pro· g ram . One can have training programs in a country. Don 't invent, but obtain a proper base.

How do you start such a program when there is such a lack of written and audio·visual materials and qualified teachers?

The same problem has ex ist ed in artistic gym nastics . You enter comp etition , coaches attend trainin g programs , they have an understanding of wha t is happening in international gymnastics . Little by little, artistic gymnasti cs for women evolves and finds a techn ique which is good . It is the ques· tion of the snowball whi ch little by little grows. The same thin g will happen with modern gymnastics.

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Gymnastic Routines For Mlle. G.

By Tuovi Cochrane Tuovi (Sappinen) Cochrane, is the Author of a forthcoming book "In· ternational Gymnastics for Girls and Women", by Addison Wesley Publishing Company. A graduate of Helsinki Univers ity in Ph~slc a l Education (1963), won National Championship honors several times In Fin· land and was on the Finni sh Olympic team. Came to Penn State Unl' versity and started a girls gym team, taught and coached there until Summer '66. Mrs . Cochrane is now teaching and coaching at the Universi ty of New Hamps hi re .

The direction of the movements in the drawi ngs follow the floor pattern (or apparatus movement) and the long. arrows underneath show where the girl goes next (do not necessa rily read or look at them from left to right).

FLOOR EXERCISE The floor exercise should last from a minute to a minute and a half. Entire body movements should be used with nvely jumps and leaps, difficult balances and elegant po.ses, differ· ent step patterns and surprising tumblin g combinations. There is an opening movement, usually with some dance ste:ps and wide arm movements, followed by a difficult tumbling se quence . There is a graduation and climax in a routine and finally a definite and effective end. . .

The following little parts of a floor exercise could be linked into a routine with some minor variations to suit the in · dividual. They try to give an example of the nature of floor exercise where the movements flow in continuity from the beginning to the end.

1. Back arch, leaps, walkover to a pose From a standing position with the arms down, rise up on to the toes lifting the arms smoothly to the sides. Step for· ward with the right foot, swinging the arms simultane~usly down , forward and up and slide the left foot close . to the nght.

Rising up to the toes of both feet. continue to sWing the arms back and down . At the same time, arch the back, throw the head backwards and lean forward. Lean forward in this arched position until a step forward has to be t ake n to prev~nt fall· ing. This step should be taken with the left foot running, fol· lowed by another step with the right and then a thrust off with the left foot to a high leap, swinging the right leg for· ward and up with the arms to the sides. Breathe deeply in at the same time lifting the chest up but pressing the shoulder down. Extend the left leg backwards and up and keep the body stretch upwards during the leap. Land smoothly. on to the ri ght foot, absorbing the force of the . landing . with the ankle and the knee joints. Run forward again left, nght, left, to execute another leap as before. During the runs and leaps cu rve to the ri ght. Step forwa rd with the left foot, kickin g the right leg forward and up while the arms swing forward and up also. Rise up onto the left toes, and lookin g up at the hands reach forward, stepping down onto the right foot and swing up to a handstand with the legs in a split position. Hold the handstand , then perform a walkover landing onto the left foot, holding the right leg high up in the air and the arms over· head . Take a short step forward with the ri ght foot, leaving the left toes on the floor, bend both knees with the weight on the ri ght foot. Contract the body bendin g forward and down . At the same time, bring the arms down and to the ri ght. Twisting the body to the right, look up at the right hand which is lifted diagonally up and backwards while the left arm is in front of the body with the forearm in the line with the right arm . Keep the fingers loose but extended, the thumb slightly in and the palms facing to the left ..

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2. Sidekick, cartwheel, handstand forward roll, knee scale, gallop, gallop turn to sitting pose .

From a standing position , lift the arms to the Sides, look to the right and take a step with the left fDOt across to the right in front of the right leg. At the same time the left arm swings down and to the right. Risin g up onto the left toes, swing the right leg vigorously up to the right. at the same time both arms are swung diagonally up and to the Sides (the left overhead to the left). Look upwards and stretched up in this position, holding the muscles firm . Reach out and perform a cartwheel. On standing up, from the cartwheel the arms are overhead and the right leg is held high on the side. Turn 90 ° to the right holding the right leg and the arms up step down and reaching out execute a handstand forward r01'1. From the roll, leave the legs up to a V-sit position, and lift the back up, keeping it straight and the neck stretched upwards.

Do not stop but with a light push with the hands from the floor on the sides, swing both legs to the left and to the rear.' rolling over the ri ght side to a front lying position . Place the hands down onto the floor close to the chest and straighten the arms up, at -the same time lifting the left leg up backwards and rising onto the right knee. The back is arched and the head kept high. Continuously pushin g the left arm up, swing it up and overhead at the same time turnin g to the left 180°, the ri ght arm follows up. The left toes are placed gracefully onto the floor whilst tlJe knee is bent and turned out slightly. The left arm is over the head to the ri ght, the right arm is diagonally up and to the ri ght with the palms facin g to the right. Look at the right hand_ Stand up on the left foot swinging the arms to the sides and down and crossin g them in front of the body, swing them up overhead to an asymmetrical position . At the same time rise up onto the left toes, and slide the right leg close to the left.

Stretch upwards, looking up and lean forward to take two running steps right and left in a forward direction. Gallop, lifting both knees up forward, first the right then the left, and land on to the ri ght foot. During the gallop the arms swin g forward . Next, take slide steps forward left, right, with the arms to the sides and with the left foot thrust off to another gallop, turning 360 ° to the left in the air. The ri~ht knee swings up first, the left follows and the arms sWin g overhead while the body twists to the left for the turning motion . Land smoothly on to the ri ght foot, holding the left leg up to the rear with the knee bent and the arms still overhead . . Bending the ri ght leg, place the left knee on to the floor. Contract the body, bring the arms down and to the back while sittin g down onto the left knee and straightening the right leg forward . Bend down towards the ri ght leg, look down and hold the arms diagonally back and up turning the palms to face each other.

3 . Pirouette, round-off, jump, backward roll to headstand, lunge, hop turn, pose From a standing position with the feet together and the arms down , turn the head to the left bending the body slightly to the right and lift the arms with the upper arms leading to the sides , the left dia gonally upwards and the right diagon · ally downwards . Extend the left leg off the floor to the left.

Step down on to the left foot by bending both knees and swing the ri ght leg forward and around to the left strai ghten · ing it at the same time. Simultaneously the right arm scoops down and swings to the left and up and rising up to the left toes, straightenin g the knee at the same time, start spinnin g around to the left. Place the ri ght toes onto the floor, close to the left foot cross in front of it and keep spinning to com · plete one and a quarter turn wtih both feet on the floor, the arms lifted overhead and the eyes lookin g up. Stop the pirou , ette sharply standing on both feet close together up on the toes. Take a step forward with the right foot, rising up to the toes swing the left leg back and up and the arms to the sides and throw the head backwards. Without stopping, lean forward , run a few steps forward and execute a drag hurdle round·off. From the round ·off jump upwards extending the arms overhead and keeping the legs together. Land onto the right foot, lifting the left leg forward, and the arms to the sides with the palms up. Bend the right knee, sit back and roll backwards to perform a backward roll to a headstand.

From the headstand split the legs, and swing the right foot down onto the floor. Push strongly with the arms and swih g them and the body up and backwards while keeping the ri ght knee bent, the left leg is extended for backwards and place the left foot onto the floor. The top of the left toes is flat on the floor and the left knee is straight. The arms are in a line with the left leg, the head is back and the back is arched.

Do not stop in this lunge position , but after a stretch back· wards, swin g the arms down at the same time straighten the right knee and lifting the body up to a vertical position slide forward to stand on the right foot . Swing the left leg forwClrd and the arms forward, and hopping on the right foot, turn 90 ° to the ri ght leaving the left leg up to the side and swing· ing the arms to the sides. ' Step with the left foot diagonally forward and to the right, take another step with the right in the same direction while the arms swing down . Rise up onto the right toes lifting the left knee forward and up with the toes touching inside the right knee. Swing the left arm forward while the right arm swings up overhead . Arch the back slightly and stretching the body upwards look back over the left shoulder.

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forward, and the arms overhead . SWin g the right leg forward and down. Slide down to a split position onto the floor, the arms stay up, the back and the neck stretched upwards. With · out stoppin g in the split position turn 90° to the left and brin gin g the legs together, roll backwards and execute a fish · flop. From the front lying position straighten the arms by liftin g the body up on hands and knees, at the same t ime stretching backwards, sit down onto the heels, bending down forwards and leaving the hands down on the floor.

Straighten the back up by swingin g the arms backwards and up while the body waves backwards and rise up to a knee standing position with the arms overhead .

Swing the right leg forward with the strai ght knee and then bending the knee place the toes onto the the floor, di · agonally to the right while the arms are brought forward and down asymmetrically. Stand up on the right foot while the arms swing to the sides and up. Slide the left foot right be· hind the right. Shift the weight onto the left foot while stand · ing on the toes of both feet. Bring the arms over to the right and bend the upper body to the right while pushing the hips to the left. Lean to the left as far as possible, then take a long step with the right foot across to the left in front of the left leg and then five more running steps follow, in a curve 'Iine to the left. The arms are left behind to the right, the body is twisted to the right with the head looking forward over the left shoulder. Take these steps with the body held low and the left hip leading. There is a small delay before the foot leaves the floor and the leg is fully extended. At the end of the run , swing the arms down, to the left and up. At the same time taking two little steps high up on the toes, turn around on a spot through 360 to the left with the arms overhead . looking up. Halt sharply.

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5. Pose, hop turn, slide step, hitch kick around, slide step, hitch kick around, turn split, spin turn on the abdomen, pose Stand on the left foot with the right toes on the floor slightly behind, both knees bent and turned out, the body contracted and bent forward with the head down and the arms lifted back and up. Take a step forward with the right foot, straightening the back, swinging the arms down and forward and lifting the head up. Hop on the right foot while the left leg swings back and up. During the hop turn 90 0 ·to the left and swing the arms overhead and to the sides. Take a slide step (left, right) to the left and perform a hitch kick turning around 360° in the air (ballet terms; tours jete) . In this jump, turn ing to the left, thrust off with the left foot , swing the right leg forward and springing up into the air con tinue turning to the left whilst the left leg follows up and back. The arms swing forward and up to gain more height, the back is arched and the head is kept high up during the flight, land softly onto the right foot, while the left leg remains up in air to the rear . Repeat the slide step and the hitch-kick ' around. While executing the slides and the hitch-kicks, the floor pattern of the whole movement curves to the left.

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On landing onto the right foot after the second hitch ·kick without stopping, turn to the left on the right foot, keeping tHe left leg on a horizontal pl an e behind the body and drop· ping the upper body lower to the right. Spin around as far as there is momentum, the left foot gettin g closer to the f loor and finally slide . down to a split with the arms to the sides.

Bring the arms overhead and to the rear, arching the back.

Then swin g the arms forward , bend forward over the right leg and continue to swin g the arms and the upper body to the left on the floor. At the same time pivoting the body on the abdomen , spin to the left. bringing the legs together. The faster the arms swing forward and to the side from the split. the further the gymnast is able to spin . After spinning (180 °· 360 °) roll over the ri ght side pushing with the right hand from the side sit up and bend the left knee. placin g the out· sirle of the left lower leg onto the floor in front of the body.

4. Scale, walk-over to split, fish-flop, body wave, pose to sideways run, turn Perform a scale with the right foot, stretching the left leg backwards and up and the arms forward and down with the wrists crossin g and the fingers extended. The back is arched, the knees are straight and the head is held up. The maximum extension forward and backward helps to maintain the bal · ance. Hold the position , then placing the hands down onto the floor kick up to a walkover without letting the left leg sink down . Land on the left foot , the ri ~ ht leg extended up and

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, left leg up to the rear. Step down backwards onto the left fo ot, swi ng in g the ri ght leg hig h up f o rward, exec ute two back wa lkovers. one after the other. Land o nto the right fo ot, swinging th e left leg backwards t o a lun ge position , lift the arms up to an asymm eirical posi tion , the back is straight and the head up .

lift th e ri gh t leg u p, step over the left leg w ith th e right fo ot. and reaching f o rwa rd with the arms st and up o n the right fo ot. Swing the arms overhead an d back and the left leg bac k and up , w ith th e knee bent a nd turn ed out. Th e kn ee is kept at the same level as the foot . Arch the back and look ba c kwa rds_

BEAM ROUTINES Routine A - Easy Set the Reuther board crossways close t o th e left end of the beam.

Run couple of steps t a ke off with both feet placing the hand s onto the beam crossways . Lean forwa rd and lift the hips h igh and slip the left leg throu g h the arms to th e other side of the bea m to a crotch support. Keep the head up and the knees stra ig ht. Turn 90 t o th e ri g ht, lift the legs f orwa rd and up and hold a V-sit with the arms up. Spread the legs, swing them down a nd backward at the same time placing the hands onto the beam in front. and liftin g th e hips upwa rd.

Bendin g the ri g ht leg. pl ace th e knee onto the beam while swinging the left. leg up. Th e arms are straigh t , back arched and the head is UD. Bendin g the arms , lowe r down the chest onto the beam, liftin g the ri ght f oot upwards . wh ile the left leg is extended upwards . Straighten th e arms back to a knee scale position. and swing the left leg down and forwa rd , keeping it straight. Swing the arms forwa rd and up at the same time. Bend the left knee. place the toes gracefull y onto the beam and stand up swin g in g the arms to the sides, down , forwa rd and up . Turn to face to th e right ,th e ri g ht arm t o the side a nd the ri ght leg lifted backward.

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6. Lunge. turn, pose, two pirouettes , leap, jump to back arch , cartwheel turn. two back walkovers to a lunge From a standing position swing the arms to the sides il nd the left leg ba ckwa rds w hile rising up onto the ri g ht toes.

Bendin g forward bring the arms down and for wa rd simultaneously bending the ri ght knee and placing the left foot down in the rear onto the floor to a lun ge position. Reach forward and up w ith the arms crossing the wrists and lift the upper body and the he3d up. Archin g the back bring the arms ove rh ea d and back. Straightening the ba ck. bend the arms and bring the hands wi th the palms up, close to the sides at chest height and straig hten the arms forwa rd and slightly to the right wh ile lookin g at the hands reach t owa rds them w ith the upper body. Straighten the ri g ht knee, the a rms go forward and up and the left foot slides closer to the ri ght foot staying behind it w ith the t oes on the floor.

Turn 180 0 t o the left. th e arms up and the weight evenl y on both feet w hil e turning around on the toes. Look up. After th e turn th e we igh t is shifted onto the left foot. Lowering the heel onto the floor con tract the a bdominal mu sc les, th e arms still overhead and by bending both legs with the kne es turn ed out, brin g the a rm s and the UDDer body forwa rd and down.

The we ig ht is kep t on the left foot. while the right toes are on th e floor right behind. The a rm s continue to the left side. the left arm diagon311y bilckwards and up, th e ri ght forearm in line wi th the left arm. Tw istin g th e body to the left look up at the left hand.

Straightening the bac_k. step forward with the ri g ht foot and ri sin g up onto the right toes with the knee very straight. swin g the arms to the ri ght in a horizontal plane , and pirouette a rou nd to the ri ght th rough 360 0 • The left leg is lifted up with the knee bent and out and the foot touchin g the ri gh' ankle in side. In order to get momentum for the pirouette. swin g vigorously; especially the left arm, forwa rd. then bendin g both arms, hold them in fro nt of the chest with the hands close to geth er durin g the spin. Focus straight forward as lon g as possible, th en swing the head quickly around and focus again on the _ same spot. While finishin g the pirouette swing the a rm s bac k to the sides and step down onto the left fo ot.

The body is stretc hed upwa rds and there is a lift upwards in the chest region , the head is kept high. Repea t another pirouette on th e rig ht foot to the ri ght.

On la ndin g onto . th e left foot, thrust off with it to a leap, swinging the ri ght leg forward a nd up and the left leg back wa rd a nd up. The ri gh t arm is extendep forwa rd and the left a rm , back. during the leap, which is directed forwa rd and to the ri g ht. Run forwa rd t wo steps after the leap ' (left, ri ght) with the a rm down. Swin g the left knee up and forward while the arm s sw in g forwa rd and the ri gh t leg wi th the kn ee straight follo w up and fo rwa rd . Before lan din g onto the left fo ot. start arching the back and swing the a rm s down. Complete th e arm swi ng s back and up , while landing onto the left f oot. holdin g the ri g ht leg f orwa rd an d up and arching the b'1ck more. Look back durin g the a rc h, then lift the arms a nd the upper body up with th e right leg still up.

Reach f orward to a cartwheel turn to the ri gh t cartwheel.

In th e upside down position in the ca rtwhee l, bring th e legs t ogeth e r and wi th a ll th e wei g ht o n the left hand , turn t o th e right 90 moving the ri ght hand onto th e sid e of the left hand and keeping th e body up in a handstand position. Th en sp lit the leg s and bendin g down at the wa ist st ep down onto th e ri ght foot a nd swin g th e arms and th e body up with th e

Step f o rward w ith the ri g ht foot . the arms swing to the sides , immediatel y hop , liftin g the left knee forward , the arms forward. After the hop step forward with the left foot, hop , liftin g the ri g ht leg backwards and the arms to the sides. Step forwa rd with th e ri g ht f oot a nd kick the left leg forward the arms swing fo rward a nd up. Bendin g the ri ght knee desce nd down onto th e beam. holding th e left leg forward , the a,rms forwa rd and up . Roll backwards onto th e back , g rasp the beam overhead underneath the beam and pull up to a lever position. as horizontal to the beam as possible. Bend the left knee a nd hold . Roll forwa rd and stand up on the left foot into a squat position with the ri ght leg exte nded forwa rd , the arms overhead, and the bod y t wiste d to the ri gh t . Turn back facin g the beam step f o rwa rd w ith the ri ght foot. swinging the arms forward and over th e head. Slide th e left foot close to th e ri gh t and standin g hig h up on th e toes , pivot qui ck ly. 180 to the left. At th e end of the Divot, with the we ight o n the right foot , lift the left knee forwa rd , and arch th e back .

Straighten th e back, swing the left leg forward and up and sw in g UP t o a han dstand crossways on the be am . Pike a nd land onto th e m at fa c in g the beam.

Routine B - Low Intermediate Set the board diagonally c lose to the end of the beam fo r a tak e-off from the left.

Run couple of step s and t ake off w ith th e ri gh t f oot (out· side) placing the left hand onto th e beam and swinging th e left leg f orward, the left f oot lands onto the beam. At the same time th e ri gh t leg and the ri g ht arm swin g f orwa rd and pushin g wi th th e left hand from th e beam , th e left a rm swings overhead and forwa rd , th e bod y is co ntrac ted , the head slightly down. Straighten the back, swin g the ri ght leg down and backwarc', placin g th e hands o nto th e beam perform a f o rwa rd roll and sp read tile legs at the end of the ro ll. Swing th e legs down an d backward , placin g the hands onto the beam in front and lifting th e hips . upwa rd . Bend the ri ght knee , place the foot onto th e beam, and ho ldin g under th e beam with both hands extend th e left leg upwards , straighten the ri g ht knee and exec ute a needle-sca le.

Straighten th e back up, and with th e arms t o the sides run forward with th e left foot t o execu te a leap st ret c hin g the ri ght leg f o rwa rd , th e left backward , la nd on th e ri gh t fo ot .

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and swin g th e bod y up t o a hea dsta nd position , shiftin g the ha nd s onto the top of th e bea m . With the wei g ht on the ha nd s, arc h the ba ck and exec ute a c hest roll down to a straddl e sea t on th e bea m . Ro ll bac kwards and perform a bac kwa rd rollover th e head la ndin g onto the ri g ht fo ot , ex· t end ing the left leg backward. Turn 90 ' to the left in a lun ge pos iti on, w ith the arms to th e left. Pirouette in a lun ge posi · tion 270 to the ri g ht, with the a rm s in front of th e chest.

Bend the left knee pl ace th e left toe s onto the beam in front of the ri g ht foot and continue to turn to the ri ght 180 in a squat pos iti on. Still con tinuin g the turnin g 90 to the ri ght on the ri gllt foot, stra ighten up to a standin g position at the same time lifti ng the left leg backwards, the arms forward and up.

Short step forward with the left f oot thrustin g off to a leap , bendin g the ri ght leg in front , and swin gin g the arm s up.

Land on the ri ght foot , take a short step f orward with the 0

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up, the arms f o rwa rd and up . Place the ri g~ t foot onto the be am in front of the left , turn to the left 180 0 lifting the left knee forward. Straig hten the left leg. swin g it up and the arms up and kick up t o a handsta nd position lon gwa ys on th e beam , with the left kn ee bent, the lower leg in a lin e with th e ri ght leg. Step down with the left foot, bend · ing the left knee lower down to a lun ge position , with the ri ght leg extended backward , th e a nns to the sides. Turn 180 to th e ri ght, leavin g the ri g ht leg forward after the turn .

Roll back t o perform a backward rollover the head and land onto the ri g ht foot. Sit down onto the beam , roll backwards placin g the ri ght shoulder onto th e beam , the ri g ht hand on · to th e be am in front of the face and the left hand under the beam on left side. Extend the bod y up to a shoulder stand position with the ri ght leg extended forward, the left backward .

Pl ace the ri g ht foot onto the bea m in front of the face , extend the left leg bac kward and pushin g w ith the hands swin g the upper body up and backward , the a rms sw in g up and backward to a deepl y arched lun ge posit ion.

Sw in g th e arms down and forward crossin g them in front of the body and st and up strai ghtenin g the ri ght knee.

Swin g the arms and the left leg forward . turn quickly 180 to the ri ght on the right foot, leavi ng th e left leg backward.

The arms swin g up and to the sides durin g the turn . Step forward with the left foot. then with the right, bringin g the arms to the left. Pirouette 180 to the ri ght on the right toes , the left knee lifted out to the side, the left toes touchin g the ri ght ankle inside. The arms are bent in front of the chest during the turn. Step forward with the left foot after the turn , sw in gin g th e ri g ht knee forward a nd up , the arms assymmet· ric a ll y overhe ad and archin g the back.

Strai ghten the ri ght leg forward , strai ghtenin g the body up and t wistin g t o the ri ght, the arms stay up . Take two steps forward ri g ht, left, contractin g the body brin g the arms for· ward and to the left. Both knees are bent, the wei g ht on the left foot and the body bent forward and twisted to the left.

Strai gllten the bod y, swin g t he ri g ht arm up and to the right turn to face the beam , step forward o n the right foot and thrust off to a gallop, w ith th e arms to the sides , the knees lifted forward. Perform another gallop , this time swin gi ng the arms forward, and bendin g the upper body f orward . Land on the left foot , kicll the ri ght leg forward and up and swin g down to a handstand crossways on the beam. Bring the legs together. With the wei g ht on the left hand, move the ri ght hand next to the left hand, turnin g 90 0 to the ri ght to a hand · stand longways on the beam. Push vi gorously with the left hand, swin g the arm to the left and backwards and fly off from the beam to the right, landin g onto the mat, facing the beam.

Routine C - Low Advanced Place the Reuther·board at the end of the beam.

After couple of runnin g steps take off with the right foot. swin gin g the left foot onto the beam and reaching forward with the arms. Straighten the left leg and swing the arms overhead. Swin g the right leg forward kick up to a handstand lon gways, hold it. Lower down and perform a forward ro ll , bend the ri g ht knee and stand up extendin g the left leg for · ward, t wistin g the body to the iri g ht, the ri ght arm stretchin g backwa rd and up, the left bent in front of the body. Look at the ri ght ha nd. The ri g ht knee is bent. Strai g hten the ri ght knee and the back, swin g in g the arms down and forward. turnin g to face forward and sw in gin g the left leg forward and up.

Run forward left, right , hopping on the ri g ht f oot lift the left knee up, then extend the left leg forward. The arms are at the sides. Land on the ri ght foot, step forward w ith the left and perform a hitch kick. Land on the ri g ht foot, holding the left leg extended f orward, the arms to the sid es, si t down on· t o the beam and roll backwards, placin g the hands f a r over the Ilead underneath the beam . Pull vi gorously with th e arms 0

left, swin g ing the ri g ht leg forward , land on both feet, one close behind the other, and bounce up into th e air, swin gin g the legs backward , bendin g the knees, the arms up and back ward and arch the back . Land on the right foot and slowly stretch the left leg backward to a scale , with the a rms stretched forward. Step backward with the left foot, ri g ht foot and turn 180 0 to the left on the r ig ht foot , liftin g the left knee forward , the arms up overhead. Extend the left :eg backward after the turn . Step backward on the left foot. swin g the ri ght leg forward and the arms forward , and perform a cartwheel to the right. Continue to a handstand crossways , hold. Brin g the left foot down onto the beam between the hands , bending the knee and leanin g forward. Swing the ri ght leg to the ri ght onto the beam , turn 90 to the left and slide down to a sp lit position lon gways on the beam. Twist the body to the ri g ht. Turn to face forward , bend forward over the left leg, same time sliding the ri g ht leg dow n and forward. Lift the legs up to a V-sit position, the arms lifted forward , the back strai g ht and the head up.

Bend th e right knee and stand up . Step forward to the end of the beam , rise up onto the toes stretch in g the arms upwards. Perform a front tuck somersault, and land onto the mat, with the back to th e beam.

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THE UNEVEN PARALLEL BARS Routine A - For a Beginner Stand behind the hi g h bar, facin g the bars, jump upwards g raspin g the hig h bar with both hands in a re gular g rip .

Swin g forward , backward , then bendin g the arms lift the legs over the lo w bar t o a rear support, holdin g onto the hig h bar with the hands. Turn 270 to the left by liftin g the ri ght leg upwa rds close to the hi g h bar and swing in g it to the left and down , whil e twistin g the body to the left, releasin g th e ri ght hand and repraspin g the hig h bar on the ot her sid e of th e left hand in a regular g rip . Switch the left hand onto the low bar behind the hips. Lift the legs up to a V-sit . Without stop pin g bend the ri g ht knee, place the ri ght foot on t o the ba r, and stand up reachin g forward with the left leg and the arm.

Im mediately turn 90 0 to the ri ght and holding onto the front support o n it. Continuously roll forward keepin g the hi gh bar w ith both hands in a reg ular grip bounce up to a arms bent, ano straighten the body and the arms to a han g0

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ing po si ti on. Swing back wa rd s, and by pul lin g wi th the arms lift the body upwards and shoot ou t. Land smoothl y onto the mat, with the back t o the bars.

t o a crot ch suppo rt through a knee -kip. Turn 180 0 t o th e right and lift th e left leg ove r the hi gh bar from th e le ft t o fro nt. With the ha nd s in a regul ar grip , swin g backwards and exec ute a side cut t o th e left. Land onto t he mat wi th th e ri ght side to the ba rs.

Routine D - Low Inted nediate Set th e Reuth er board in f ro nt of the hi gh bar.

Run co upl e of steps and t ake off with th e right leg swin g th e left leg f orward and up over th e low bar, sim ultaneously grasp ing the low bar w it h both hands in a reverse grip . Perform a crot ch circle f orward gra spin g the high bar. Lift the ri gh t leg over th e low ' bar exte ndi ng it upwards at th e same tim e bendin g the left leg and p lac in g th e left t oes on th e low bar. Rise up t o a front suppo rt on t he high bar t hrough a sin gle leg st em ris e and con tin uous ly reac hing fo rward place th e ri ght hand onto t he low bar and pu sh up t o a handstand posi ti on t urn in g 90 to th e left. With out st oppi ng spread th e legs, land on th e ri ght f oot on the low bar and lifting the ri ght arm up stand up turnin g t o face the hi gh bar. With both hands on the hig h bar in a regu lar g rip , bounce up .sp readin g th e legs to th e sides over th e high par t o a straddle pike position.

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Routine B - For a Beginner Stand under th e highbar, fac ing th e low bar and grasp it with a regu lar gri p. Bend in g the arms jump, liftin g th e legs upward s and sli pp in g th e ri gh t leg through th e arm s to th e othe r side of the bar to perform a knee路kip up on the low bar. Straigh t en the legs t o a crotch support. Holdi ng t he weig ht on the hands, reach forward liftin g the right leg f orward and upwa rd and swin g f orward, exe cute a crot ch circ le forward to grasp the high bar. Lift th e left leg over the low bar t o a rea r support. Arch t he back and keep t he head back .

Swing th e legs up and by bendin g the knees place the fee t onto th e low bar and pe rform a stem ri se t o a front sup port on the high bar. Rol l for ward t o a rear support on th e low bar. Grasp the low ba r w ith the ri ght hand in a reverse grip clo se to the hips, and rolling over th e right side turn 180 t o t he ri ght and grasp the bar with t he left hand is a regular gri p. From th e fron t suppo rt cast off perform a hip circle on the low ba r. Con tinue to swin g th e body backwards underne ath th e low bar ma intaining th e co ntact wi th th e bar.

Pi ke and sli p th e ri ght leg t hro ugh the arms t o the other side of the bar, and t hrough a knee kip stra ighten up to a crotc h support on the low bar.

Grasp th e hi gh bar and swing th e left leg over th e low bar. Drop t o hand on the high bar and immediately lift the legs up wa rds and through the arms to t he other side of th e bar. Bend in g th e legs place . th e knees onto the hi gh bar and release the han ds, swin g back an d f orth, gra sp th e low bar with a reg ular grip and push in g wit h t he arms extend up to a handstand position lift ing one leg upwards, and balancin g on th e hi gh bar with the other foot. Pu sh off from the high bar and fly off from th e bars , swin gi ng th e left arm to th e left, and turni ng 90 0 t o the left.

Land with th e left side t o the bars.

0

Simultaneousl y lea nin g backwa rds swing backwards under路l eath the high ba r and extend th e legs ou~ turnin g 180 0 to t he left w ith the legs t ogether. Relea se the ri gh t hand, reg rasp th e hi gh bar aft er th e turn and sw ing towards the low bar, stom ac h w hip, swin g backwards and bendin g th e arms spread th e legs to t he sides and lift th em over th e low bar.

Brin g the legs t ogether, and holding the body straight bounce on the low bar with th e th ighs and pull ove r the high bar to a front support on it. Swin g backwards under th e hi gh bar to sit on t he low bar. With th e hands in a reverse grip exe cu t e a sea t circle f orwards t o g rasp the high bar. Rolli ng over the left sid e turn 180 0 to the left t o a front support on the low bar g raspin g it w ith both hands in a regul ar grip .

Cast and brin g the left leg through the arms keeping it straigh t , to the other side of th e low bar. Chan ge th e hand s quickly t o a reverse grip and lean ing forward at th e same time begin a crot ch circle for wa rds t o g rasp t he high bar.

Swing th e rig ht leg over the low bar, drop t o hang on th e high ba r and pull over to front support on the h igh bar.

Cast, lea ning for ward be nd the legs and squat through over th e high bar. Pu sh with th e hands fly off strai ghtenin g the body in the air. Land smoothly onto the ma t with th e back to the bars.

400 ft. Super 8 Color film of the III MODERN GYMNASTIC WORLD CHAMPIONSHIPS available Your editors took over 800 feet of the action at the III World Modern Gymnastic Championships in Super 8 Color and have edited it down to a 400 ft. reel. The film is a cross section of the competition from Rope, Hoop, Free Floor and Team routines.

This film contains some full routines and parts of others t6 give y.ou as a teacher a visual record of the indidvidual movements and patterns of Modern Gymnastics. (and the price is just $35.00 for the 400 ft. 路reel).

Write to: III Modern Gymnastic Film, Box 777, Santa Monica, California 90406.

Routine C - For a Low Intermediate Gymnast Set th e Reuth er board in front of th e low bar.

Run couple of st eps t ake off with both feet swin ging th e arms upwa rd s and keepin g th e back ' slightly arched land on th e low bar on the abdomen and perform a hip ci rcle forwa rd s graspi ng th e low bar with a regular grip . Swi ng th e legs and th e body upwards and by bendin g the left knee, place t he left foot onto the bar bet wee n th e hands and rise up to st and on th e low bar. Immediately bounce up to a front support on the hi gh bar. Undershoot turn 180 0 to th e left, releasi ng th e ri ght hand and regrasping the high b,. F with it after th e turn. Swin g towa rds th e low bar and exec ute a backward hip circ le on it. Roll ove r the left sid e in a fron t support turnin g 180 t o the ri ght in a rear sup po rt. With th e hands in a regular g rip, pe rf orm a seat swin g backwards and after ri sin g up grasp the high bar and drop to hang from it.

Simultaneously lift the legs upwa rds, slip the left leg through th e arm s to th e oth er side of the hi gh bar and swin g u p 0

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Ga la Gymnastica Women 's group of Maracaibo MADEMOISELLES FROM VENEZUELA Gala Gimnastica is th e on ly vo luntary non -p rofit ex istin g in Venezuela dedicated to d ivulgat e the values of the modern physica l edu ca ti on in the integral formation of t he human being.

Th e gro up was created in Janu ary 1961 at Caracas and Decembe r 1964 at Maracaibo, Venezuela.

Gala Gimnastica ha s been a leade r in the bi g prog re sses the phys ica l educa ti on has done in Venezuela sin ce 196 1, where until that moment the kin d of educati onal gymnastics practiced was th at of the last century in Fran ce, becomin g now t hanks t o th e Gala Gi mnasti ca example and deep influ ence tile leading cou ntry of Central Americ a and th e Caribbean area reachi ng th e same level of the South Ameri ca n countries.

Th eir directors and te achers, physical education teacher Ne ll y Gomez de Vera and architect Carlos Vera Gu ardia, both

famou s as athl et es active in interna ti ona l com petiti ons in track and field some yea rs ago, direct the g roup , do the practices t hree times a week, create tile exercises, organ ize t ours and d emo nstrations and finan ce th e ex penses, f or which the membe rs - when they ca n - pay one dollar a month_ Gala Gim nasti ca perform public demonstrations eve ry week an d sometimes more th an one a week specially in modest schools to teach as many boys and girls as possible how is th e modern edu ca ti onal gymnasti cs and to get th em interested in practi ci ng_

Nell y Gomez deVera, teacher who started th e Gymnastica Moderne program in Venezu ela in 1961.

Fr ee hand exercise by Elite group of Maracaibo -35-

Jelen: Corner

By Helen Sjursen

HELPFUL HINTS Are yo u teac hing a seatrise and you find your gymnast d oes not get ample momentum w hen fallin g rearward? Have you tried to analyze why? Do her legs hug the bar when she falls rearward? Havin g the legs tou ch the bar is one of the main errors whe n gymnasts fa ll rearward from a rear support position. Let us try to correct this fault (legs touchin g bar) by tryin g the followi ng. and notice the difference in momentum:

Fi g. 1

Fig. 2

Fi g. 1 While in the rear support. hands in a regu lar grip. make sure the arms of the gymnast are STRAIGHT and she is NOT sitting on the bar.

Fi g. 2 As the gym nast falls re arwa rd . she must draw the legs closer to the upper body. To make sure her legs will not t ouch the bar. this is the expression I use. " When you fall rearward . make your knees touch your nose ". If your gymnast keeps her arms straight a nd brin gs her knees to her nose. she w ill be amazed at th e in c rea sed momentum she will get. making a seatri se easier to execute.

Girls. you better start working on "o ri ginality" in connectin g movements and . of cou rse . original skills if possible. Future jud ging wil l allot 1.5 points for originality and values.

Also work on yo ur " superior" moves. An exercise w ithout any superior moves can be scored no hig her than 8.0 points.

Uneven Bars -

NECKSPRING DISMOUNT

Fig. 1. Movement starts from a thigh rest. hips restin g against hi gh bar. hands in a reg ular grip on the low bar.

Fi g. 2. Tu ck head in (chin towards chest) bending the arms .

Bend at hips allowing the legs (keep them straight) to slide down the bar.

Fig. 3. Lower the back of the neck to the low bar. When the back of the neck makes co nta ct with th e bar. you will find that th e hips will be " over balanced" (body weight fallin g to the outside of the low bar). If you let your hips over balance t oo much. yo u w ill not be able to get good height and extension for thi s dismount. So don't let your hips travel t oo f ar to th e outside of the low bar before goin g into th e next ph ase .

Fig. 1

Fig. 2

Fi g. 3

When go ing throu gh the phases described under Fig . 2 & 3. do it slowly so you can " feel" yo ur way. When confidence has been ga ined . a faster execution of this skill will come easier. Throu gh pra ctice . you will learn to know at what moment the feet will contact the fl oo r so you can prepare for a balanced landing.

Practice kip-ups or nip-ups on the floor to get the practi ce of thrustin g the legs and extending the a rm s. A deeper back arch will be needed for this floor practice but should be cut down considerably when dismounting from the bar.

BREAK-IN FOR BACK HANDSPRING I have successfully used the following "break-in" for a back handspring for the young gymnast who learns through repetition rather than through the mind. This system (especially for the girls, since their backs are more limber), can also be used by those gymnasts who tend to lose their sense of direction when arching backwards. I have been criticized for this "break-in" as some advanced tumblers thought that the end result would be "spotters", yet it has been praised because it allows the gymnast more time to concentrate on perfecting the form and going through the body motions, at a slow pace, of what will later be the back handspring.

In teaching a "Tiny Tots" program at the Fanwood-Scotch Plains Y one year, I noticed that one 4V2 year old boy had exceptional strength and I was anxious to experiment with him, ·since I never had taught a person this young to execute a back handspring. The end result was a back limber (2 legs) back handspring, back handspring. (His actual workout time on this skill was 10 minutes, once a week, for 10 months.)

If you have a minute, drop me a line and let me have your views, either for or against this break-in. Thanks. Address is 46 Poplar Place, Fanwood, N.J. Continuous back limbers at a slow even pace Fig. 1. Start from a standing position feet slightly separated, arms upward, head back.

Fig. 2. Arch back shifting hips forward slightly (because of slow pace) to maintain balance.

Fig. 3. Bend knees lowering arms towards floor. Fingertips should be pointing towards feet.

Fig. 4. Drop hand to floor forcing head back (chin away from chest) at the same time quickly pressing feet against the floor •••

Fi g. 4

Fig. 5

If yo u constantly fall backward after landin g. you might try a stronger push ju st before rel eas in g the hand g rip . or yo u mi ght in c rease th e arc h in th e back at th e time the body is full y extend ed before la ndin g.

Fi g. 4. Quickly swing the legs diagonally fore-upward stretchin g the body full y. at the same time straightenin g th e a rm s and pushing th e body away from the low bar releasing the g rip.

If you constantly f all forward after landin g. you could decrease th e arch in th e back. or decrease the push off. or on landing you could tense the hip joints to prevent the upper body from wan tin g t o continue t o move forward.

Fi g. 5. On descending. stra igh t en th e upper body and keep it perpendicu la r to th e floor for a controlled landing.

Bend knees sl ig htl y for a softer landing.

-36-

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••• as legs straighten and come together, raise legs to handstand position. The spotter can help to raise legs to the handstand position , if necessary. When inverted, relax the head because if continued to be forced back at this point, the hips may travel beyond control causing a heavy or uncontrolled landing. Coaches and instructors should remind the gymnast to keep the legs in "form " when reaching the inverted position. When doing continuous back limbers, form should be stressed more than anything else. Doing a series of back limbers will also give the gymnast a chance to get used to the feeling of going backwards, and as speed is built up, there will be less chance of twisting the head, or turning the fingers inward when hands contact the mat, or picking up the feet too soon, sitting too low, etc.

Fig. 5. With legs straight and together, bend at hips keeping body weight over the arms.

Fig. 6. Allow feet to contact floor slightly separated, and upon contact, the legs bend slightly. Shift body weight over feet. Come to a stand as in Fig. 1 and continue on with another back limber. Always have a spotter when learning new skills.

The series of 2 leg back limbers should be continuous in motion done only as fast as the gymnast can handle it, with form and control. Gradually increase the speed of the series.

There should be no fast or slow parts. Motion should be at the same rate of speed throughout. When a fast rate of speed is reached in a series, all but the first back limber will actually be back handsprings.

Fig. 2 explains that the hips shift forward to maintain balance, which is so because there is no speed in the back limber.

When doing a back handspring, which entails speed, the hips "do not" shift forward. An easy way to correct this fault, if necessary, is to instruct the gymnast to "leave legs as is" as soon as feet contact floor, legs slightly bent and tense , (to avoid any more knee bend) leaving knees and hips right where they are, immediately followed by the arm swing upwards raising upper body passing through a position similar to sitting on a stool. See Fig. A.

MADEMOISELLE GYMNAST SUMMER INVENTORY SALE For only $2.50 (plus SOc postage) Complete set of back editions of Mademoiselle Gymnast, Volumes I & 11- 8 big issues .. .

Here is your chance to get fresh Mlle. G. issues to replace your much used, lost, cutup or dog-eared copies at a very special price. Act Now! Send $2.50 (plus SOc postage) to: MLLE. G. INVENTORY SPECIAL Box 777 Santa Monica, Calif. 90406 Also a limited number of the Original Introductory Edition of MADEMOISELLE GYMNAST are still available at just $1.00 each (a collector's item).

7th Annual Gustavus Gymnastic Worksnop for Teachers July 2 1-26, 1968, to be held at Gustavus Adolphus College, St. Pet er, Minnesota.

2nd Annual Summer Gymnastic Camp for Girls (ages 12 and ove r) Au gust 11 ·16, 1968, t o be he ld at Gustavus Adolphus College, St. Peter, Minnesota. Guest director will be Vannie Ed wa rds , National Gymnastic Coach. For further in formation, w rite t o: Mrs. Nancy Baker, Gust avus Adolphus College, St. Peter, Minnesota 56082.

1968 SUMMER ACROBATIC TOUR SCHEDULE OF JAMES A. ROZANAS AND STAFF Teacher of Champions JUNE 3-7: Family YMCA, 315 East 15th St. , Casper, Wyomin g. For information call: Mrs. Donald M. Hoffman 235-582 1 JUNE 9·13: Schlessman Branch , YMCA, 390 1 Eas t Yale, Denve r Colorado. For information call: J. Rasmusse n 757-84 84 JUNE 17-21: Junior High School Gymnasium, East 12th St. , The Dalles, Oregon. For information call : El eanor Borg 296-5154 JUNE 24-28: Eureka Valley Recreation Center, 18th & Collingswood St., San Francisco, Calif. For information call: Betty May Dance Studio VA 4-6057 JULY 8-12: Fresno Gymnas tic Club, Rom ain Gymnasium, 1st and Harvey Sts., Fresno, Calif. For information call: Wanda Obradovich 264-52 57 JULY 15-19 : Rose Ann 's Dance Studi o, 1163 EI Camino Real, Menlo , Calif. For informati on ca ll : Rose Ann 's Dance Studio DA 3-5292 JULY 22-26: Vera Lynn Dance Stud io , 469 Fourth St., San Bernardino , Calif. For information call: Vera Lynn TU 8-5 440 JULY 29-AUG. 2: Recre ation Hall, City Park, Fl agstaff, Arizona. For info rm ation call: Ida Sm ithso n 774-2474 AUG. 5-9: Paris Dance Studi o, 345 North Stapley, Mesa , Arizona. For information call: Ann Paris 964-1111 AUG. 12-16: South Plains College Gym, Levelland, Texas . For information call : McKay School of Dance 894-3661 AUG . 19-23: Hilltop Dance St udio, 5403 State , Kansas City, Kansas.

For information call: Nelda Hill AT 7-1626 AUG. 24-26: Emma Ogle Dance Studio, 422 Powell Ave ., Ferguson , Missouri. For information call: Emma Ogle JA 1-0241

t

1L3b "9 13 If action were stopped at this point the gymnast would be off-balance .rearward. As arms continue to forcefully swing backward and head forced back, emphasis should be made on raising the " stomach" towards the ceiling, as many beginners have the tendency to raise their feet up too soon. See Fig. B. Another tip, which seems to automatically correct minor faults in the execution of a series of back handsprings, is to have the back handsprings done to the even counting of 1-2 1-2.

The hands touch the mat at the count of 1, feet at the count of 2, etc. The count should be in rhythm as the count of music and the tempo of counting should be guided by the speed of the first back handspring executed by the gymnast. When she executes the series, she must try to keep in time with the counting.

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SOUTHERN CALIFORNIA JUNIOR COLLEGE On Thursday eve nin g, May 25 , 1968, th e first Sou t hern Ca liforn ia J uni or Co llege Wome n 's Gym nast ics finals was host ed by t he Sa n Bern ardi no Valley Co llege women 's gYIll' nasti cs t eam.

-{ In its first yea r of , nterc6l1 egiat e cOlllpetition t he SC JC WO lll en's GYllln asti cs Ass ocia ti on was co m posed of five col· legiat e t ea illS; Lo s Angel es Va ll ey Coll ege, coac hed by Maria Sas vary; Mou nt San Antoni o Co ll ege, coac hed by Linda Ga r· ri so n; Pasade na City Co ll ege coac hed by Jac ki e Ivers on; San Bern ardin o Vall ey Co ll ege, coache d by Di ck Gas kell and Sa nta Moni ca City Co ll ege coac hed by Gladys Col grove.

COlllpetiti on was of excepti onally hi gh ca li be r f or t he fi rs t yea r of co mpetit io n as in born out by t he w inn ing sco res of 7. 9 on til e BB , 8 .46 in sid e horse vaultin g, 8.46 on th e unevens, 8 .56 in free ex and 30.59 in the all aroun d.

Th ese sco re s be ar validity because all offi cials were q uali · fi ed AAU jud ges. Tile co mpetiti on wa s cOlllposed of app rox illl' ately fifty youn g ladi es frolll th e fi ve co mpetin g co ll eges.

Highlight of the meet was th e trem end ously close race for all a round honors betwee n Kath ey Boger of pec 29.26 ; Rowena Jac kson , SMCC 30 .48 and Joa n Mag nu son SBVC 30.59.

Team Ilonors we nt to th e San Bern ardin o Va ll ey Co llege tealll WllO we nt und efea t ed f or th e yea r with a 7·0 record in th e SCJ C cOlllpetitio n. Tealll sco res we re: SBVC 41; PCC 3 1; SM CC 22 1/ 2 ; Mo unt Sac . 16; LA Vall ey 4 1k RESULTS: All Around: Joa n Ma'gnuso n (SBVC), 30 .59; Rowena Jackson (SMCC) 30.48; Kath ey Boge r (PCC) 29.26; Carol Fl yn n (M t. Sac .J 28 .03; Pam Cairncross (P CC) 25. 62; Juli e Dav is (SBVC) 24.62 . FX: Kathey Boger 8.56; Pam Cairncross 7.66; Caro l Flyn n 7.5. BB: Joan Magnuson 7.9; Kathy Boge r 7. 6; Pam Cairn cross 7.43 . SHY: Rowena Jackso n 8,46; Joan Magnuso n 7.9 6; Carol Fl ynn 7.33. UPB : Rowena Jackso n 8.46. Joa n Mag· nu son 8,4; Roberta Soss on 7.26.

S. F. All College Optional Meet Report by Jeanne Miller The Women 's Gymnasti c Meet at San Franci sco Stat e, May 4th was an excitin g success. Thi s was SJ . State' s first all coll eg e, opti onal meet.

It was run near perfection , starting and ending on ti me , with no acci· dents. Ei ghte en sc hool s attend ed from Northern Calif. and Los Angel es.

Ribbon s, medalions and plaques we re award ed to the best gymn as ts and winning coll eges. San Jose came in 3rd wi th 107 team points, SJ . second, with 132 points and Sacramento State winni ng by one point with 133. All contestants left cheery, but tired, eag erly awa iting ne xt year 's comp etition .

USGF WOMEN 'S COMMITTEE CHARTER MEMBERSHIP DRIVE Take part in th e growth of gymnas ti cs fo r wome n in the Unit ed States. Join now - receive members hip th roug h Au gust 30, 1969.

Th e $3. 00 annu al membership fee entitl es yo u to: (1) USGF News Se rvice - cor rec t and up-to-date re port of ne ws an d happenings of th e gymn as ti c wo rld .

(2) USGF Women's Com mittee Bu ll et in - informati on of import· ant state, regional, nati onal and intern atio nal gymn as ti c events fo r wo men.

(3) Rul es and policies fo r wo men's co mpetition.

(4) A lis t of materi als ava ilable and where th ey ca n be ob tained.

(B ooks , mo vies , co mpu lsory exe rcises , etc.)

(5) Take part in USGF ju dges training workshops and become certi fied for a iocal , state , regional or nat ional judges rating.

Detach and mail th is appli cat ion wit h you r ch eck for $3. 00 to Mrs. Marci a Junas, 5052 No. Dra ke, Ch icago, Illinois 60 625. Chec ks should be payabl e to USGF Women 's Committee.

NAME: Miss Mrs. USGF Region_ _ _

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