PART II OF JULY-AUGUST 1965 MODERN GYMNAST
COVER: Top North Am erican Gymnast Gail Daley of Canada. Above and at let top US gymnasts Dale McClements and Linda Metheny.
MADEMOISELLE GYMNAST CONTENTS EDITORIAL ______ _______ ________________________________________ DO IT YOURSELF ________ ______ Barbara A. Mann BALLET FOR GYMNASTICS ____ .________ . Grace Kaywell YOUNG LADY GYMNASTS ___________ Martha Swasey LAS VEGAS MEET __ . _______ _____ ______ __ __ ...... ______ ...... __ .. ____ FIRST IN THE USA ._ .. _ . _ .. __ .. _ _ .. __ .... ____ . WESTRIDGE SCHOOL _______ Virginia Blankenhorn A LOGICAL APPROACH ..... ____ .. ___ .. __ Richard Zuber 1966 WORLD COMPULSORY EXERCISES .. __ .... GLENN M. SUNDBY-Publisher BARBARA B. SUNDBY-Managing Editor
3 4 6 10 11 12 14 16 20
FOR THE LADIES With thi s Special Edition of MADEMOI SELLE GYMNAST we open a new era of Womens Gymnastics in the USA . . . This publication wi ll be devoted ex路 clusively to Artistic, Ryt hhmic and Modem Gymn as tics for Women and Gir ls .. . MADEM'O/SEUE GYMNAST will emp has ize Educational Programs, In stru ctional Aids and current Intern ational Trends in Women' s Gymn as ti cs. MADEMOISELLE GYMNAST is a quarte rl y publication ava ilab le by subscrip ti on only .. . The first regular subscrip ti on edition is scheduled to be off the press for the fall sc hool semester and will be foll owed by Winter, Spring and Summer iss ues to co mplete th e fir st volume . This Special prototype ed ition of MADEMOISELLE GYMNAS T is a co mbination of th e new format for the publication along with seve ral overf low articl es th at had already been set for use in the MODERN GYMNAST . . . Large type, photos and artistic layout s will give th e futur e ed itions of MADEMOISELLE GYMNAST a feminine style all it's own . . .
We hope you like MADEMOISELLE GYMNAST and take adva ntage of our Spe路 cial charter subsc ription offer to curren t " Modem Gymnast" subsc ribers . .. Use the Pos t Paid return envelopes we have enc losed for your co nvenience ... Do it NOW, as we do not want yo u to mi ss ':' a single edition of MADEMOI路 SELLE GYMNAST our new Gym na sti c magazine designed espec ially for YOU. BARBARA B. SUNDBY Managin g Editor *Our first print order wi ll be determined by the number of subscrib ers we have as we go to press , (beyo nd th e few we wou ld naturally print as ex tras our f irst printing will be lim itedl. So get your subscription ord er in early to insure you get in on the very first ed ition .
Karen Kovacs doing a Stag handstand with Susan Jaindl , Judy Gunns and Kathy Moser watching.
By Barbara A Mann , Harrison-Morton Junior High School, Allentown, Penna.
HOW TO BUILD A BETTER 1968 and 1972 OLYMPIC GYMNASTIC TEAM S up ply number one is yo u. Are you interes ted in gy mna stics? Do yo u lik e the work ? Do you lik e to work ? All aff irm ati ve, th e next ste p is findin g so me build in g ma terial. am ell', children fr om ages t wo to fourt ee n. ( Old er ages a re not so pliab le in body or spirit ). Fo rtunat ely, you d on't have to look very far. Th ere always see ms to be so ma n y children availab le and so Ill a ny more to come.
Th e th ird plan of act ion is to ha ndl e the merchandi se properl y. YOU lea rn yo ur own lesso ns well before tryin g the m on oth ers. Be yo ur own g uin ea pi g. Now, if yo u're
still int eres ted in Doin g It Yourself, real iza ti on has probably hit that thi s is a diffic ult ste p. On e teacher has a lot of bruises to nurture before she ca n ass ure low risk to her buildin g material s, (w hich in cid entl y a re most valu able) .
Lady Physical Education T each er, yo u must learn to de mon strat e ball et, ( that's hard for th e littl e girl that grew up with the sa ndl ot boys), tUlllblin g, un even par' all el bar work , vaultin g, ba lance beam , co urage, di sciplin e, and engineerin g kn ow how and skill. Oh , yo u don ' t have a ball et backgr ound ? Ge t a book, r ead it, and try a nd try an d learn. Cost is low. Takes time and a lot of sly remark s from fellow edu cators. Tumblin g? Well , you had th at in coll ege. Enough to start a nyway . Ge t anot her book, read it, a nd try and try and learn . Cost is low. Does require tim e and Kram er's An路 algesic Balm in great quanti ti es. 0, Une ven parall el bars? Expensive? not at first. Your first set will be a hori 路
zo ntal bar, a parall el bar sho ved und er it with un e bar re mu ved. Teac h a ,rood kid a cast and show yo ur admini s tra tor how s haky th at loo ks. Presto-one co n ve rt ed para ll el ba r. (u se w ire a nd turnbu ckle screws to stabilize, and you 're in bu sin ess. I Vaulting'? You have a horse ca ll ed Sid e. Be brave. Tak e the pomm e ls off a nd yuu have a va ultin g piece. Run a bak e sal e a nd buy a Reuth er Board . Nu place to put it ? Fits on a ny standard size tpache rs desk as a 路 modern form r ese mblin g on e old desk bl utte r. Also advanl a~co u s
in di sco urag in g dt'~ k dwe ll e rs.
Yes mam , th e balan ce l)p a m is a problelll. You mi g ht bu y one. On the oth er hand, you proba bl y have a ma rvelu us wuud shop with a t least SSO,OOO worth of tools a nd a hi ghl y skill ed a nd eage r in stru cte r. fvl a rch路Ap ril , 1963 issue of th e Mod e rn Gymn as t magaz in e has an e ff ective design for a balan ce beam. With the hel p of about ten wond e rful g uys, yo u surely will have you r beam. Th e Fourth ste p is S trat egy : Yo u must go to the big gy m mee ts in you r a rea to
know what thi s is sup posed to look lik e as a fini shed product. Go see M uri el, or Mal'ie o r Dal e and take the raw materi al a long. P oli sh rubs off frequ entl y. Reading is fin e and tryin g is wo nd erful, but, eventuall y, thi s ca n beco me fru stratin g. Seek Help! Gy mn astic summ er ca mps lik e Bill Coco's Deerh ead are excell ent adventures for the kid s and the new id eas cascade in at an overw he lmin g rate when the chil o dren re turn. Afte r the fir st wave of na usea , th e remainin g tides a re easy to rid e. You thought yo u kn ew somethin g. Well , n ot really. No t ye t, hold on, the re is more to co me.
C e t go in g in so me competition. A.A.U. , F .l. G., U.S.C.F., or who cares what. So the kid s co me home with a tot al of 2.0 for allaround. They've go t their feet we t and by now yo u are an gry enough to work ha rd er. May be one or two of th ose beginn e rs of yo urs hit a 7.0 or a n 8.0 in fl oor exe rcise or va ultin g. Ju st think of that! WOW! Compassion pl ease for the kid s th a t have the best co aches in th e U.s. in their hip pockets, and have played the gy m meet circnit for fiv e, six, or seven years, and got shoved out o f placing by yo ur up starts. By now , the home town is hummin g. In路 spectors s tart show in g up. So yo n have some back fence co mm ents. So M rs. McIntosh doesn' t like it. W ell , I'll bet you M r. l'vl cIn tosh does. H ow about Mrs. J ones ? O.K.! , it's about tim e to ha ve so me thing for the P.T.A. to ta lk a bout. Have a gy m mee t a t yo ur ne ighbors doorste p. In vite the world . C et good co mpet iti on. The neighbors don 't expect yo u to win. They come. Maybe yo u wi n a few. Thin gs a re gettin g better. The ne ighbors liked what they saw. That's wonderful. You want to get bu sy and build some more. You will have peo pl e th at ar e inte rested beyond spectator level. They volunt eer the ir help. P eo pl e join yo u and very soon yo ur project is r ollin g. This yea r you have ana路 ti onal meet and what's more im po rt a nt tha n th a t, yo u're ready for it! Are th e Olympi cs r eady to stand yo u and and a ll the peo pl e lik e yo u of th e town s a ll over the U.S.A. ? Watch out Mexico! We have kids by the nam e of Bev Mackes a nd the Seifert girl s and J enny Bachm a n and Linda Fri es and K aren K ovacs and Kathy Mose r and littl e Judy Cunns and Bev Billie and S usie J a indl and Linda Roth and Susie Risser and J oa nne T oth and . . .
Pau lette Badura
BALLET FOR GYMNASTICS By Grace Kaywell 3 Tanglewood Court IT' est Palm Beach. Florida
BEGINNING FLOOR EXERCISE WITH MUSIC
C- BEGI NN ERS WORK-lVI US IC: SH Y I'ING TO NES RECORD # 1000 " I3ALLET FOR G YMNASTICS" Standin g in corn er 2 fa cing corn e r 3, in first positi on, arm s round ed at sid es. S li de hop for ward on ri ght , left leg extend ed strai ght in ba ck, both arm s to th e right and low, head turn ed to the ri ght . . . Slid e and hop for ward on the left , ri ght leg e xt end ed straig ht in ba ck, both arm s to th e left and luw , Iwad turn ed tu th e left . . . Re peat all. (Th ere are 4 slid e and hops l . S te p to th e ri ght , cross in g left over it and t urn on buth toes ( detourne lon e full turn , arm s overh ead in circl e (5th positi on ). Re peal. Gall op and cartwhee l to the right . . . re peat , go in g toward s corn er 4. Turn on toes to ri ght again ( de tourn e) arm s overh ead in drcl e, and drop to kn eel on ri g ht , pointin g . left toe forward , ri ght arm overhead . left arm ex tend ed to th e sid e. Sit back o~ ri ght kn ee, bendin g forward to touch head to kn ee, arms out in back. Strai g ht en up to kn eelin g positi on as above . S tand on left foo t, ri ght toe pointed to th e back, arm s the sam e : right arm ove rhead , le ft arm to th e sid e. Turn to fa ce co rn er 2 by swin ging right arm d own and bendin g body sli g htly, ra ising left ann ove rh ead, right arm to the sid e, puintin g ri ght toe forward by pivotin g slightly on left foo t to turn to fa ce co rn er 2 as outlin ed. Step forward on ri ght foot, arm s cr ossed in front of body . . . extend left leg high in th e back, openin g arm s to th e sid e in second pos iti on (sca le ) . . . hold. Lower leg to stand in fir st position, arm s cross ing in front of ches t again. Lun ge forward to the ri ght on th e right foot swin gin g ri ght arm down and up hi gh in front , palm down . . . straighten kn ee . . . le ft ann is ex tend ed low to th e back . . . ste p back on left foot in de mi-pli e, swinging ri ght ann down . . . straight en left kn ee and point ri ght toe forward, swin ging left arm up hi gh in front , palm fa cin g down, ri ght arm extend ed low in back. R epeat all. Turn to fa ce co rn er 1 and execut e 4 piqu es forward: P oint ri ght toe, ste p on it with a very strai ght kn ee, left foot at co up
de pi ed (a s practi ced earlier in this study I , sink to de mi-plie on right foot and a t th e sam e tim e extend lef t foot strai ght forward to pique to the le ft . .. arm s are op ened to the sid e in second position. Now do the sam e thin g (pique 1 turnin g on e full turn to the ri ght , arm s in low cricl e in front of bod y. Do 4 comple te turns to th e ri ght. Run forward with littl e ste ps on toes (bourre e l swin gin g arm s from low at sid es to high in front ove rhead , hold mom entarily, bend down and do a for ward roll to an immediat e stand . . . bend down and do a backward roll to an imm ediat e stand. Spin on toes to fa ce corn er 3, arms overhead . . . run and leap on ri ght foot . . . spin again and th en exec ute a kn ee turn by droppin g to ri ght kn ee, turn to the ri ght and place left kn ee next to it, makin g a compl ete turn around to the ri ght, point right toe in front (still kn eelin g on the left ) left arm overhead , ri ght arm to the sid e . . . stand on ri ght. kee pin g the sam e arm position s, pointin g the left toe in back . . . Bend forward at the waist, low, to bow, sw in gin g arm s up and ba ck . . . Recover to a stand on right fo ot, left toe po inted straight in back, arm s overh ead in wid e V, palms up.
Marilyn Baker, Capt. YMCA Girls Gym Team , West Palm Beach, Florida . The Y of the Palm Beaches has a fine gymnastics and ballet program for the girls of the area. FLOOR PATTERN
33. 34 .
Adagio: Sl o w m o ve ment at the ba rre , in the ce.l tre , o r when the b allerina is. sup p : :n ted b y a po r tne r . Port d e p r os : M ov ement o f the a r ms . A ssemb le: A jump , in which o;-;e foo t b rushes o utwa r d , and bo t h f ee t descen d i·og e t her i n /ifth. T e l1 P S lev e : A spring into the a :r C f1a'1 0ement des p ieds: Changing o f t he f ce~ ·in the air b y jumping fro m fi ft h
10 fifth. 3 5.
Gli ssade: Fr o m d emi -p li e in f i fth , q l irJes to p o int ir. an e xte:lded the weight shi ft s o n to that f oot , o i·her glirles int o fifth , d em i- plie. Arabsequ~: A position on one o ther extended str ai g ht in back
t h e f c ot p ositi o n , and the leg , of
t he d--:e
bo d y e 'l I'air , bc dy e re ct . 37. 38. 39 .
A ll o nge : A stret ched p o sit io n , a l most h or izontal./ Penche: Lean ing down towa r d the f loor . Attitu d e: A pos iti o n on one leg , wi t h t he ot her raised de va nt o r der ri e r e w i th k nee
ben t. 1,0.
Ma ny athle tes and coaches hav e asked that we tran slate th e ball e t French terminology into a basic and litera l desc ription in Engli sh. In futur e articl es our directi ons will be in Engli sh, but the standard and acce pt ed French names of certa in ball et ste ps, poses and move ments will re main in Fre nch. This will save long descripti ve paragra phs. Balle t technique, with its 300 year old hi story, was cod ified at the court of Loui s XIV in th e 18th century France. Travel th e world over today, and whe reve r ball et is pe rform ed yo u'll find that th e nam es of its movement s and its exercises are still in French. Li sted below are so me of the term s you will see and hear during yo ur stud y of gy mnasti c ball e t: 2.
Demi-pl ie': the knees bend over the feet wit h hee ls on the fl oo r. Grand-p li e": The knees ben d fully and
3. 4. 5.
heels ri se from the floor except i n second position. En a v ant: Forward Oev ont: in front En arriere: Backward
A 10 seconde: To second position . A 10 quatrieme deva nt. To 4th posit ion fr o nt.
10 quotrieme derriere:
and returns to the ankle .
17 . 18.
46. 47 .
94. 58. 51. 52.
53. 54. 55 .
59. 60 . 61.
En dedans : In an inward direction.
Ron d e jam be a terre: Pass ing through first
in a straight line, the foo t the n points, and describes a half ci rcle on th e f loor . Rand de jambe en I'a ir : Commencing with or: e leg a 10 second en I' air , the wo rk in:J leg from knee to toe describes a c ircle in
the air , and then o pens a 10 seconde: . . Grand battement: From a closed POS ition,
the leg swee ps straight up t o 'foe highest po int en I' air and bock t o the closed pos itio n.
p osi ti on sur Ie coup
~~: k~e!"eJ: p~inr~~!: t~n t~~e t~~~S , f:~mto~ dheO~f~ 26.
A rise t o th e t o es fr.:>m a straight leg. , Passe: A pos ition used in passing , i:1 whi ch one leg is rai sed, knee tur ned o u t , t oe
p o inti ng
just below the
knee of the Sup-
does n ot pg,ss through into a nothe r p os i t io n. Dev el r ppe: A m oveme :1 t in wh ich the leg
unf o lds.
li fted sllr Ie cou de p ied. Ba la nce: A lt erna ting f ee t perfo rm a l igh1 jete, a step in place o n the demi - PQinte, a n d a step into dem i-p li e. Chass€': Chased. A step in w hich one f oot G;-and jete en t o urnant : A la rg e jump , in w hich both legs change p os ition s in the ai r
ferm e except that it is finished on o ne f oo t . the o ther r ema ining en I' air. Em bo ites: Jumps fro m o ne f oo t t o the o!her, wi th legs cha nging pos itions in the Olr. S')u tenll: Sus ta ined. Tour de basque: Glide , cross and turn on Dessus: Over . In steps whic h are perf o rmed dessus , the wo rking f oo t passes in front o f the suppor ting one. D essaus: U n der. In steps wh ic h are perf o r med desso us, th e wo rki ng f oot pa sses in b ock o f the supportinq one. Pa s de bourree co uru : Tra ve lling swift ly in fif t h o r first o n the t o es. Pas d e basque : A lternating leg s move to Pr o menade: A slow turn on leg in one spot. , T o urs piques: A series of turns , in wh ich one f oot steps out on t o the t oes, wi th "(he other foot sur Ie cou de pi ed derriere.
Roya le: Changement des pieds with a beat. Entrechat quatre : Fr o m fifth , the cal ves bea t as they change pos iti o n in ·j·he air, and resume o riginol positi on. Fondu: Sink ing d own . A term used t o descri be a low ering of the bod y mode b y
bending the knee of the supporting
Battement f on du : Starting w ith wo rkin g f oot sur Ie cou de pied , suppor tin g leg bends in demi-plie , and straightens as workin2 leg extends . 72. Cou pe: An inte rm ediar y step , in which the suppo rting f oo t is r ep la ced b y th e wo rking f OQ t . It mea ns to cut , or cutting. It toke s its nome fr o m the fact that one f oo t cuts th e o th er awa y and tak es its pla ce. 73 . Te m p s de cuisse: A ba tt ement degage , d2m i-pl ie, f o ll owed by a sissonne fe rrr.e.
74 . 75 .
to fou rth . 79.
Tr a v elling t o the side o f
i"g leg , that foo t b ru shes to the sido , as the supporti ng leg bends , .the . cal v: es bea t e - I I' air . a nd the feet finish In fifth un-
82. 83. 84. 85 . 3 6. 87. 88.
89 . 9 0. 91.
Fal l dow n . Used to ind icate t h at the bod y fa lls fo r wa r d o r backwa r d onto th e w o rking leg in a demi-p li e . Ca b ri o le : A la r ge jump in which j·he legs beat t o ge ther i n the fourth p ositio :1 e:l I' air . Can be done t o t h e bock o r 10 th e fr o nt. ~ Ballo nr.e: A t r a v el li ng jump o n one Ie;) , ext endi n q the o ther e n I' oi r commencll1g and f i 'lishing su r Ie co u de pied. Saut de bosque en t ou rn ant: A grand battemen t a t urn in th e air, la nding in posse posit ion. . . Ent recha t tr ois: Royale With one leg fll1ishing in back o r fr ont o f t he suppo rtin g ankle. Entrechat cinq: Entrec hat quat re wi~h o n e leg finishing in bock o r fron t o f ·j· h e su p porting ank le. Pa s de ciseaux: In one jump , both legs poss each o ther forward in the a ir . P ir oue tte en deh o r s: on o u tside Spin on o ne leg , i n the directi on o. f the r aised le J , foo t held su r Ie cou de pled devanL Pir ouette en dedans: An inside sp i n on one leg , in the direction o f the supp:)ft i ng I?g . th e raised f oo t h eld sur Ie · cou d e p led devant. T ours en I' ai r : Tur ns in the air , co mme ncing and fini shi ng in f i fth . Em co ites en tour nan t : Em bo ites in a direc t li n e , a ha lf turn wi th each jump. Soubr esaut: A leap forward , archi ng t he
bock, feet held toget her in the air in bock o f t he bod y, land ing in f ifth . 92. 93 .
Sissonn e soubresaut: sa u t, bu,t land i ng in Renverse: The body to the ot h er, as th e
Perf o r med as soub rearabesque o r a~titu d"e. b ends fr o m one side leg d oes a grand r on
bou r~e e
el') t o urnant . B ri se vo le~: Flyi ng b r ise . A b ri se land ing o n o ne .Ieg, w ith the o ther en I' air. Bal lo tte: A caupe usually jumped, and a de v eloppe en a v ant and en arrier e, bo d y lean i ng awol' fr o m working leg. T ou r s elances : Turn s sk im m ing acr oss t he f loo r in wide leaps. Grandes piroue tte s: Turns on one spot on o ne leg, with the o ther a la secon de en I' air. Fouettes en t ournant : Co ntinuo us turns on one leg wi th the other w hipping a r ound in ro nds de jambe.
Sii:'so~~~ f~~I~;~e:sU t~~r ti~c?m~eg a~nt~ssf~~t~~
t he side, for war d , t oget her . 66.
de pied, the foot beats in back , then in front o f the supporting a n kle. Demi -pointe: Half-to e .
bo th toes. 62 .
bo th f eet, in w hich o ne leg ex t ends en I'
A terre : On the Floor. En I'air: In the air En dehors: In an outw ard direction.
po i r.t in g of t he f oo t in an o pen pos iti o:1 with a fully arched i nstep. It is no t :J tra ns f e r o f we ight. Ba lancoire: T e rm applied t o a g r and ba tte me n t "' whe n executed with a continu o u s swi nging motion thr oug h t h e first po sit io :1 t o th e fou rth pos it ion f r o nt and bock . Bat tement en c loche : Th e some a s b alan caire. Gra nd rand de jam be: Th e leg is ca r ried in a large half circle en I' air. Pa s de bourr ee Cha ngEr Alte r na ting f e"?~ step bac k o n the dem i -po in te, side o n t h e d ~ mj-p o in-:-e , fr on t into demi-plie. Jete: A jump, in w hich one foot b ru she:; sidewa ~ s into the air, descending int o de m iplie, rep la cing th e o ther f oot whic h is
in back .of the bod y. 56 . T ou r jete: Sam~ as g ran d jete en t o u rf"ont .. 57 . Sisso n n e ferme : A tra ve lli ng leap from
Fr om demi-p l ie in a cl o sed p:. siti o n , f eet spring onto toes in an o pe n positi o n , and r etur n to dem i-p l ie , cl o sed. Echappl saut e: A jump fr om a cl osed p os iti o n t o on o pen one , a nd back to the cl o sed p osition. Cha ines tours: Pr og re ss ing turns 0 1 the to es , tyrni ng a half wit h each step
litera ll y ch9ses the o ther o ut o f its pos iti on.
T o 4th p osition
behind. 10. Ouverte: Open. The open positions are seco r,ej and fo urth . 11. Fer m ee: Closed. The cl osed positions ore first , third , and fifth. 12. B.:Jttement tendu: From a closed position l the f oo t slides o ut ward un t il full y pointed , and s lides back to the closed pos ition. 13. Sur Ie cou de pied: The working foot rests against the ankle of the supporting leg . foot strikes the floor front , side, o r back, 14 . Frappe : Starting sur Ie cou de pied, the foo t strikes the floor front , side, or back 15. 16.
So u s-su s: A spr i ng into f ifth on the ·fe e:;, f eet tightly cr o ssed. Ba il o n : The abi lit y t o appea r to be suspended in the a ir on a jump . Pas d e chat: A tr a v elli n g ju mp, in which on e Ie;! and then the o t her is ra isej t o p"Jsse . p o sition unde r th e body . Pia u e: A st ep o ut on t o the t oes with
Grand f o uette: A g r and ba t teme :-, t en a v ant a tur n of the body t o f ace th e opp osite di r ect io n , lea v ing the raised leg it1 arab:?sque. Grand f ::: uette ma y c e perf o rmed wit9 a rel e v e o r a sau t e . Grand je t e: A lar ge leap f o r ward ont o one foo t. Fa i lli : A spr in g upward . f rom 5t h ,. e x te :1ding one leg back en I' a .r , descendl n q o ~t o o ne f e at , th e ot her pas sing thr o u g h f.r st
Battu : Perfo rmed with a
Entrechat six: A spring upward fro m fifth , beat ing ca lves in back and fr on t , landi ng i., fifth w ith feet reve r sed .
are 7 1l10vemen ts in ball et. Vi' e call " PERC-SET" so that we can reit easil y : for plie- to bend IS for etten dee- to stretch IS for releve-to rise I S for gli sser- to glide I S for saut er- to jump IS for elan cer- to dart is for tourn er- to turn
There thi s th e memb er 1. P I S
3. R 4. G 5. 5 6. E
There are eight directions or posltlOns the bod y. Th ese position s are in th emselves a stud y in lin e and perspective and should be applied to other movements in dancing, but th ey are determined by the relati onship of performer to audience fr om a stage. Sin ce the gy mnast has judges and s pec tators on all four sid es of th e arena , it wa s dec id ed to eliminate th em from thi s study. For those interes ted in learnin g th e correct pronoun ciation of th e French ball et termin ology , the Stepping Tones Re cord Company, 2506 Overland , Los Angeles, California, ha s prepared a reco rd ca ll ed " The Vocal Di cti onary of Ballet T ermin ology". On thi s record there ha s been no att empt mad e to give the wo rds an academi c French accent, feelin g that it would be more useful to Ameri can stud ent s if it is adapted to th e Ameri can lin gui stic ability.
1~ ~ 6
MUSIC FOR BALANCE BEAM This is something different and lends a little bit of excitement to routine beam work _ We work two girls on the beam at the same time, so that they render a synch ro nized perform ance and adhere strictly to the timing of the music_. MUSIC : " MY OLD KEN TUCKY HOME" (% time) Ban d 4 on B side of Rec ord # 10'20', " BALLET FOR GYMNASTICS" , Stepping Tones Recordin g Company, P.O. Box 64334, Los An geles, California . 1. Jump to front support, elevate R leg sideways to place R foot onto beam ;
an arabesque scale, R arm back low, L arm high in front, palms down. 7. Bend forward to grasp the beam and execute a forward roll to come up with straddle legs and through momentary straddle seat, lie down forward onto beam , graspin g beam under the chest . . . Push off to a R knee scale, place L foot on beam in front of hands and stand up on L, pointing' R toe in back, L arm up, R arm extended to the side. 8 . Sissone forward twice forward on the L, pas de . chat, and run backward with 3 fast steps.
2. 90' degree (II!) turn left, place L knee behind the hands and elevate R leg backwards to "knee-sca le" , hold;
9. Place weight on the arms and straddle down both legs to a straddled seat behind the hands.
3. Squat R leg behind the hands and stand up on the beam on R leg, L leg elevated high in the back, arms open to the side in arabesque scale;
10'. Elevate legs forward onto the beam and lie down backwards, gras ping the bottom of the beam over the shoulders .
4 . Step forward on L, kick right leg high in the front , step forward right, kick left leg high in the front ;
11. Kick the R leg high an d lowe r it, kick the L leg high and lower it.
5. Step forward on R and turn 180' degrees to face the opposite direction, pointing L toe. Step on L forward, turn 180' degrees to face back to original position, pointing R toe. (This makes one complete turn) .
12. Backward roll to place R knee on beam, L leg extended into knee-scale.
13. Dismount: Lower L leg at side of beam and then swing L leg back-upwards and dismount with a front-vault left to right-cross-sta nd (R hand on the beam) .. _ To attention .
Step back on R foot and raise L leg high in back to make
Grace Kaywell leading group in Ballet Exercises to Music.
SUGGESTIONS FOR TEACHING BALLET FOR GYMNASTICS By Grace Kaywell The two mo st important prin cipl es in teachin g ball et technique are to make the s tudent SEE and FEEL. They must be mad e aware of th e CORRECT positi onin g and also th e INC ORRECT positionin g. In dan ce studi os there a re usuall y full length mirrors in whi ch the stud ent s can see th emselves in ord er to judge whe th er or n ot they look ri ght and a re performin g pleasin gly. I n the gymnasium we almost never have thi s a id. The re fore, we have th e stud ent s demon strate before the class a nd correct ea ch ot he r. They a re asked to re tain in th eir mind s th e FEELING of the body when properl y placed. They are then r equired to delib erately do th e step wron g, so that they ca n properl y unde rstand the FE ELI IG of bein g wrong. There are no mirrors when perform in g before: an audi en ce or judges, so th e athl e te mu st always kn ow the FEELING of performin g correctly. First , be fore explaining an ythin g, you mu st pre pare the students to receive th e informat ion. Th ey must be in spired to r eal ly W ANT to lea rn and apply themselves. The teache r knows tha t the gy mn asti c ball e t exercise, pra cti ced diligently , wi ll develop a hea lth y, strong a nd beautiful body a nd that performin g before audiences will develop se lf-con fid ence, charm , a good pe rsonality, and th e a bility to get alon g well with other s. At a tender age, the n ovice gym nasti c ball et s tud ent cannot appreciate all of thi s. Th ey come to class beca use it is required by school, or att end privat e gymnasti c classes because th e parents send the m. Very seld om does a yo un g stud ent dream of becom in g an Olympic champion gym nast. Som e tim es a tea cher has to be ve ry cl eve r and give un rela ted reason s for doin g an exerc ise. For e x~mp] e , we in s pire very yo un g girl s to pra cti ce the foot stre tchin g exercises, ankl e s tren gthe ners, and exercises to develop th e in ste p by tellin g the m th a t they can wea r high heel sh oes beauif ull y wh en th ey grow u p, if they do thi s. Sin ce no littl e girl wa nt s to be left out of thi s ha ppy e vent , we find that th e girl s wo rk ha rder on th ese exercises beca use of such in s pira ti on. To tell her that she can jump hi ghe r " nri have a more beautiful toe-po int when
ext ending th e leg, jus t d oes not see m to be enough to fire th e ima g in ation of all th ose in the class. This then, is wha t we ca ll PREPA RI NG th e st ud ent to rece ive the informati on that we r ela te to th e m. The teacher shoul d g ive th e rul es in co nnecti on with behav ior, sa fety, and the subject studi ed for the day a nd ask ques tion s ab out the m lat e r dur in g th e cla ss. The stu dent s mu st be required to te ll th e teacher why th ey a re practic in g a cer tain exe rcise. In thi s way th e tea che r ca n learn wheth er or not the stud ents r ea ll y und e rstand what th ey a re d oin g. Class is re petitiou s and can beco me borin g with ou t add ed stimuli. A good way to kee p enthu siasm a nd inte res t a li ve is to divide the class into team s. Nam e the team s and appo int a captain for each . Then th e teacher gives point s for good work , or subtra cts for bad , or for not paying attention . The children love thi s ga me a nd it prepar es them for real compet it ion late r. It is also helpful for th e un ·coord inated child , who can ga in point s for her team by a lways bein g at attenti on and read y to begin a n exe rcise on tim e. If the tal e nt ed children are th e onl y on es to gain po ints it can be di shearten in g for those not so bl essed. j 11 conductin g gymnas tic ba ll e t classes th e teach er should avoid harsh criti c ism wheneve r poss ibl e. F or example say, " Susie, that wa s a lovely ki ck, 50 ni ce a nd hi gh. Now, if you just wouldn 't bend in the mid dl e, it wo uld be perfect !" Yo u mi ght be te mpted to say, " H ow ma ny tim es have I told yo u to kee p your back s trai ght and n ot bend in th e mid dle !" . . . but don't! In today's society, parents w ill not send their children to gymn as ti c or ball e t class if the children di slik e go in g. Therefore, we should criti cize and d isciplin e the children tac tfull y. Of co urse, if you are teachin g in school , you may not feel obli ged to be so tac tful , but better results a re usually attai ned if you a re. W e should a lwa ys s tri ve for ex cell ence in pe rforman ce, and children will try a littl e harder if they are not afra id of be in g harshly reprimanded for makin g a mis ta ke. Thi s does not mean that we tolerate nonsense, but the class should ha ve a good tim e.
A fa st wa rm -up to j azzy mu sic is a good wa y to begin class, because som etim es the stud ent fee l " le t d ow n" due to cla ss roo m wcrk , failyre in an exam in ati on , bein g tired,
or bein g Ju st pla in bored. Thi s type of mu s k: put s th e m in a happy fram e of mind and reli eves th eir tension s. So me of th e current po pu lar mu sic is en ough to mak e W' , as teac hers. run for th e nea rest ex it, but an ave ra ge pop record lasts for onl y three minutes a nd we should endure thi s for th e rea l goo d that it wi ll do . Th e teache r neve r has to worry abo ut the suppl y of reco rd sth e chil d ren will have th em. Yo u ca n a ppoint a differ ent child ea ch day to brin g th e record for warm-u p and to lead th e warm -up exe rc ises. Thi s will aut oma ti ca ll y creat e a littl e sense of res pon sibility and c reati vity as we ll. This fa st wa rm-up put s the m in a happ ie r moo d, ca uses th e bl ood to circulat e fa ster, and makes you, the teache r, " with it" . Th e studen ts w ill think you rea ll y s peak " the ir" la ng ua ge and that you e re definit ely not "squ are". A ft er th e wa rm ·up is over , we s hould use th e music £pecifi ca ll y crea ted for the classroom work. At th e end o f class we have th e s t ud ent s tak e a bow and salut e th e teacher with applau se. In traditi ona l ball et a "grand re ve rence" is done to the ball e t master. 1n gy mn asti cs a suitabl e di smi ssa l is : Ha ve th e s tud ents s ta nd with feet together in fir£t positi on at att ention. Th en ste p to th e ri ght and close the feet toge th e r in first pos iti un again , rai sin g th e ri ght arm hi gh
ove rhead. Bend forward low from th e wa ist, lowerin g th e I' i g h t a rm , head down. Strai ght en up , with a rm still held hi gh ove rh ead. Lo we r the ri ght ann . Now ste p to th e left and close th e f ee t in first pos iti on. Rai se the left arm up hi gh. stra igh l ove rhead. Bend for ward low, bowin g aga in . Wh en th e stud ent s straight en u p the second tim e, hf!Y clap th e ir hands to show th e ir apprec iation for th e teacher's class. If the chi ldren are in se parat e group" workin g on the apparatu s th ey should be brought ba ck toge th e r for thi s final , form al endin g of cla ss. A lways try to tak e th e lim e to end cla ss in thi s mann er.
Lynette Calvin and her young lady gymnasts
YOUNG LADY GYMNASTS OF THE SOUTH By Martha Swasey In a part of the country, traditionally considered demonstration. Here you see advanced gymnastic backward and in a small provincial town in addition , skills of near olympic calibre as they do sole circles a high school physical education teacher, who has and kips and one regrasp exercise to another on the responsibility for the whole girl 's physical education unevens and come flying over the low bar in a layout program and is faculty sponsor for cheerleader actiHecht dismount. You feel exhileration, not anxiety, vities, a time consuming after-school activity, has ac路 as you see them perform quick forward rolls right to a stand on the balance beam , or backward rolls, cartcomplished what is considered impossible by most. wheels , split leaps on the beam. She has allayed the usual anxieties of parents concerning their daughters engaging in vigorous gymnastics and has created a girl's gymnastics team of chamEven if they goof and lose their balance momenpionship calibre as an outgrowth of her regular physitarily and have to remount, they look like they are havcal education curriculum . Lynette Calvin's team of at ing a whale of a time. least twenty-five girls travel all over the South to put Others despair that they have no equipment. l"he on request demonstrations and clinics and have twice girls in this school have put on programs in their town won the championship of the Southern AAU Gymnasand bought the very best equipment with the proceeds , tics Meet at Houston , Texas. although they like their school路crafted balance beam Mrs. Tom Calvin , whose husband is the football better than the manufactured one. The town apprpecicoach at Sylacauga High School , is a very pretty, ates Mrs . Calvin's accomplishment so much that the charming, feminine and unagressive young woman, and local ciV'ic clubs paid her expenses to the Olympics in her girls reflect her feminine charm and good taste. Japan last November. They look like the American ideal of healthy vivacious She has had one girl whom she thought might, with high school age girls without exaggeration or affectaeffective coaching, make the Olympics. This is petite, tion in manner, clothing, hair style, or make-up . pretty Mary Cockerhan, who enrolled as a freshman They do not lool~ like athletes until-they mount this year at David Lipscomb College in Nashville , to the balance beam, uneven parallels , and trampoline, work under Coach Tom Hanvey; but Mary is the only or until they go handspringing down the mats, vaulting girl gymnast there and Coach Hanvey; has a boy's team the side horse , or leaping to the music for their floor Mary seems to have lost heart and is centering her exercise . As they flash by in their royal blue leotards, attention on dramatics now. even professional teachers (especially professional In the recent USGF National Meet in Nashville , teachers) find it hard to believe that anyone could Mickey Adams won the compulsory balance beam commake this many beautifully trained, graceful and dispetition and her score was high enough to have won the ciplined athletes out of the average group of high optional competition if she had not lost her balance school girls in a small town. Here is no mere tumbling twice. 路10路
Opening ceremonial lineup at the USGF Regional Championships, Nevada
LAS VEGAS MEET
Above : Miss Marguerita Villalabos host Directro from the Civic Center Recreation Dept., Las Vegas as she presents award to gymnast. At right: Vada Crabbe with her girls team from Sacramento Lower right: Bud Marquette and his Championship "SCATS " from Long Beach Below: All-Around winner, Joanne Hashimoto
FIRST IN THE USA North/ South Meet On Saturday, April 10, 1965 gymnastic history was made as the greatest dual, " First in the U.S.A. " All Star, All Girls National Invitational Gymnastic Championships were conducted. Hosting this gigantic event were the Southern California Acro Team, Lakewood Recreation Dept., and Lakewood High School. FOr this competition the performers were selected on the summation of their records and backgrounds for a particular event. Gathered into two equally balanced teams were numerous Olympi ans, National Champions, Collegiate and State Champions. This event has proven to be the Nations leading "All Age Level" gi rl s gym nastic competition. The girls were divided into two teams titled North and South . Final results found the South team edging out the North 46-42. This despite three win's by the North entries . Seattle, Wash ington's Dale McClements the top seeded U.S. gymnast won both the floor exercise and va ul ting competition although hard pressed by youngster Wendy Cluff of Torrance , Calif., and Bonnne Kilgore, Arizona in t:1 e free exercise event. Mrs. Trammel edged nut O'ympian Linda Metljany and Canada's Gail Daley on the balance beam. Linda Methany a resident of Champaign. Illinois and 1964 Olvm-
pi an copped the final event, the uneven parallel bars. Miss Methany, was also awarded the outstan ding performer trophy. Approximately 1400 persons jammed the Lakewood Hi gh gymnasium with more than 400 being turned away for lack of accommodations. Bud Marquette, coach for the State and Regional Champion "SCAT's " directed the program . The Nort h Team, Carol Camp, Seattle, Wash.; Wendy Cluff, Torrance, Calif.; Karin Galloway, Sacra.menta, Calif.;
Bev Ma rquett e,
Beach, Calif.; Dale McCiements, Seattle, Was h. ; Co lleen Mulvihil l, Champaign, III.; Angi Murphy! Lakewood, Calif.; Kathy Perry, Torrance, Calif .;
Margie T oon
Calif. ; Jud y Trammell , Long Beach, Calif.; Ter ~ ry Zander, Newpo rt Beach, Calif.; Coach Mrs. Vada
The South Team, Gail Daly, Saskatoon, Canada; Pat Dunning , Hunti ngt on Beach, Calif.; Karl/I Gallagher, Lakewood, Calif; Carolyn Hacker, Morago , Calif .; Joanne Hosimoto Sacrament o, Ca lif.; Ava Ichimoto, Fresno Calif.Bonnie Kilg or e, Albuquerque, N .M.; De'na Lor:
entze:1, . Albuquerque, N.M.; Linda Methany, Champaign , 1111. ; Lisa Nelson, Westminster, Calif.; Sue Richards , Newport Beach, Calif.; Cathy Rig by, Los Alamitos, Calif.; Susie Singrin, Lo ng. Beach , Calif.; Gaye Wil liams , Lakewood, Calif. ; Coach Mrs. J oanne Pasquale Fullerton,
WESTRI DGE SCHOOL, PASADENA, CALIFORNIA Report by Virginia S. Blankenhorn
The wonderful success of the gymnastics program at Westridge is certainly enthusiastic testimony in fa路 vor of diversity in school physical education programs, and an active example of the limitless possibilities for physical expression, even in a small, independent school. The smallness of the campus and even of the gymnasium itself has limited the number of vigorous team sports we have been able to indulge in, but the gymnastics program seems to have flourished. Westridge began to have gymnastics in 1954, when Mrs. Charlotte M. Wilcke became the head of the phy路 sical education activities. Having trained to be a member of Germany's Olympic gymnastics team in 1940, Mrs. Wilcke knew what kind of gymnastics program would be proper for Westridge. One thing which she felt very strongly about was that the gymnastics program should be adapted for girls especially; she realized , happily, that we don 't need biceps, but that we do want to be graceful, trim, and feminine. She also recognized the inability of some girls to adapt to team sports, such as basketball or softball . Some people have a tendency to be more of a hindrance than a help in situations where a concentrated, coordinated team effort is called for. In a gymnastics program every girl could participate who found the other sports frustrating, and what she chose to do would be an individual expression of her own creativity. Participation in the program would be completely voluntary, so every girl could choose between gymnastics and team sports, according to what suited her individually. In 1954 Mrs. Wilcke inaugurated a program of rhythmic gymnastics, using balls, king-size hoops , jump ropes, and clubs shaped like tenpins. Each group organized a routine to presented to the school in an annual assembly. The school gradually accumulated enough money to pay for a balance beam in 1961, and that year nearly everybody seemed to become excited and enthusiastic about the gymnastics program. A great crew of people were on the team that year, and we wanted to try everything; we organized routines in twos and threes on the beam as well as solo exercises ,and there was one faction among us which tried some spectacular vaulting leaps from a spring board over the beam. Perhaps the results of our efforts were not of Olympic caliber, but our experience was the nearest we had come to being "the man on the flying trapese." We were generally astonished and delighted to find that we could actually do some of the astounding things that we h'ad thought were only possible in circuses. After the presentation of the first program on the balance beam, both the parents and the school admin-
Pictured at left are scenes from the annual gymnastic display by Mrs . Wilcke 's Modern Gymnastic group held at Westridge School , Pasadena
istration caught our enthusiasm unreservedly . HaVing gotten over their respective fears of broken limbs and lawsuits, they gathered themselves together and bought us an uneven bar in 1962. Interest has increased steadily ever since, and the constant opening of new opportunities in gymnastics has kept the interest alive . There have been thirty girls on the Westridge team this year (the entire population of the four upper classes is only 170) , and the younger girls in grades five through eight have been hoping for a group of their own . We have continued not only with work on the apparatus, but also with tumbling , individual floor exercises , and group rhythmic routines set to ' music. Some of us have been able to attend gymnastics " seminars" and participate in programs sponsored by larger schools with greater facilities. We were especially lucky last Fall, when the administration helped Mrs. Wilcke convince the Finnish women's gymnastic team that it should visit Westridge in the course of its tour around the United States. The Finnish team gave a beautiful exhibition outdoors on the lawn , and gave us lots of ideas for our own show this Spring. We all feel that our gymnastics program at Westridge, made possible by Mrs . Wilcke's presence and by everybody 's uncontrollable enthusiasm , has been not only a source of our physical well-being , but also has been one more of the diverse and fascinating experiences contributing to our total education. Its value is immeasurable.
A LOGICAL APPROACH TO TEACHING KIPS THROUGH RELATED BODY POSITIONS AND MOVEMENTS by Richard Zuber
Too often in gymnastics each skill is taught separately and isolated from other skills. This places unnecessary limitations on the learner and burdens on the teacher. There is a common basis for understanding and presenting skills which will make it easier for both the learner and the teacher. That is to use basic mechanics in explanations of skills and to show how certain parts of skills are directly transferable to other skills. The following presentation of a "Kip" series uses simple terms to explain mechanics. This is done in
order to illustrate that communication between teacher and learner need not be complicated nor confusing. The Kip as selected since it is frequently a frustrating skill to learn, it is often requested as a skill to be exp lained at clinics, and it is a skill which clearly il lustrates our thesis of teaching related parts from various ski ll s to simp lify learning. The following illustrates the direct tra1 sfer of some positions and basic movements fro m an easily acquired skill to various types ~f kips.
THE BASIC SHOULDER BALANCE: The key body positions to' be utilized< in learning the various kips are 'first presented in. this basic mat ski ll. Note in (1) and (4) the basic pike shoulder balance, in (2) and (5) the locked extended body in (3), This is the result of the han"ds and in (3) and (6) the locked hips and firm body_ These positions and movements will appear in the various kips presented.
THE NECK SPRING or FLOOR KIP: In the neck spring the same basic pike position is shown in (lL In (2) the body position is the same, with the only difference being that the body is off balance forward. Note the locked extended body In (3). This IS the result of the hands and head being thrust back against the mat (1) through (3) and extending the body. The raised center of gravity (the hips) and the extended body create a lever. The lever action combined with the reaction from thrusting against the mat bring the performer to a stand (4) through (6).
HEAD SPR ING: The head spring reveals the same basic positions in (1) and (2). However, the arms are in a better position center of gravity or hips is higher at the sarI. These factors enable some performers to attain this skill before they learn In (3), (4), (5) and (6) the lower body again acts as a lever, which combined with reaction from the arm thrust, brin~s the position. The forward movement of the hips (5) and (6) also bring the body to a controlled stand by moving th e weight In
to thrust and the the neck sp ring. body to an erect front of the feel.
HEAD SPRING STEP OUT: The step out head spring also reveals the same basic body position in (1) and (2). In (3) we again see the extended body. In (4) the legs have split with the lead leg furn ishing the leverage and the arms thrusting to raise the center of graviy as in the two foot landing previously shown. In. (5) and (6) the second leg also acts as a lever to bring the body erect after the first leg has contacted he floor.
SINGLE LEG STEM RISE: The stem rise on an uneven parallel bar is very similar to the step-out head spring. This is more clearly observed when the pictures are viewed from the side. Imagine the performer lying on her back in (1) rai sing the leg to a basic shoulder balance in (2) and (3). In (4) the extension of the body occurs and the leg becomes the lever. The thrust backward of the arms (in the ground kips) has been replaced with forward-downward press ure of the arms and a light downward thru st of the supporting foot (4), (5) and (6),
KIP FROM REAR lYING SUPPORT AND FROM UPPER ARM SUPPORT: Th e Kip from a rear lying support shows the basic positions if viewed from the side, On the back (I), pike to basic shoulder position (2) , extended body shoulder balance in (3), Here both legs act as levers in (4), (5), and (6) which represe nts a mechan ica l advan tage over the single leg stem rise and the a,rms agai n pull forward and down against th e bar instead of thru stin g back against the mat.
DROP KIP ON EVENS AND UNEVENS: In th e drop Kip on the parall el bar we aga in see th e basic positions in Ir.ver effect in (4), (5), and (6), Th e arms agai n apply pressure forward and downward,
(1), (2), (3),
(4) and (5) and the leg
GLIDE KIP: The Glide Kip on the parallel bar and on the uneven bars reveals the same basic positions (l), (2), (3) and (4) (parall els) and (3) (4) and (5) (uneven parallels) as in the previous skills. Forward, downward pressure with thE.' arms is the sa me.
KIP ON RINGS AND HORIZONTAL BAR: The kip on the rings and the horizontal bar again show the same positions (1) through (3) and in (4) through (6).
SUMMARY In every kipping action the successful completion of the skill depends upon raising the center of gravity (the hips) , and a thrust backward downward or forward downward pressure of the hands and arms against
a base of support. The resulting lever created by extendin g the body an d the reaction from the thrust or pressure will bring success when applied at the proper time. It is the law of basic mec hanics that any action or actio ns will cause a specific result. -19-
WOMEN'S COMPU LSORY EXERCISE FOR 1966 WORLD CHAMPIONSHIP BEAM: From side stand facing left 1!3rd of the beam: toke a few steps to toke-off from two feet; place the hands onto the beam. 1. Jump t o support facing sideways stretched, right leg bent, foot on the beam, left leg stretched down. 2. On changing the right hand in front of the left, pivot V. turn to the left on the right foot and without stopping continue the m ovement of pi vot (release the left g rip V2 turn to left ) to arrive to the squat position on right leg , left leg slightl y flexed in front, touching the beam with the point of f oo t; right arm stretched In front below left arm stretched up behind, slightly twist body to left. 3. While changing weigh t of the body on left leg , st ra ig hten you rself , ri g ht leg stretched stretched pointed behind, lower left arm to ra ise it again parallel to right arm (the two arms a re now parallel, raised t o oblique-high forward). . 4. While, lowering the arms forward, bring the weight of the body on right leg slightl y flexed left leg stretched and pointed in front, arms raising again laterall y supp le t o oblique high. S. While lower ing the arms forward, transferring the weight o f the body on left leg , right leg slightl y flexed pointed behind, lower arms, left in front, right back in order to finish; right arm forward down, left arm back and up, slightly twisting body to left , head forward. The 4th and 5th ports must be executed on supp le legs without stopping. . 6. While swinging right stretched leg forward and with implulse from left foot, jump. forward on point of the right fo ot, leg sl ight ly bent, a little step of the left foot to position of half- bent left leg. 7. Repeat 6th part (execute the hops, continuous ly and lightly) 8. Place right foot forward, weight of body on this leg , while lowering arms, 1/ 4 turn to right sw inging left leg laterally, stretched arms lateral close the left foot to the right, while loweri~g the supple arms to bent position, head slightly inclined. 9. One step on right foot with '/ . turn to right to stand on right leg, left leg bent, knees t ogether lift the arms forward and up, left palm tS p above the right palm (palms up) head to left. 10. Head right, one step with left leg , arms stretched laterall y, sw ing right leg forward in order t o hop forward t o stand on half-bent right foot in fr ont of left f oot, arms stretched oblique ly bock, to toke-off fr om two feet a b ig leap forward, body arched, legs . together, lowering the arms and then SW inging the~ up. Land in half-flexed position, right foot In front of left f oot, lower arms to obi iquely beh ind . • 11. Straighten to stand on right leg , left leg stretched behind while raising the arms forward to verti ca l, one step with left foot left leg half-ben ( ) lower arms latera ll y, grasp the beam manual ly, . to sp lit handstand with changing of leg position and place right f oo t on the beam, straighten yourself, left leg behind, arms lateral. 12. Immediatel y toke a step with left foot forward, lowering the arms, pivot Y2 turn to right on the points of the feet t o stand on right leg, left foot pointed behind arms stre t ched laterall y, body arched. 13. Bend slightly th e right leg, left leg stretched bock and down, left foot touching bea m (on the right side) slight twisting of body head up, mark the position. . . 14. Straighten the body to stand on right leg , left leg lifted stretched behind, arms stretched laterall y , one "chasse" step (jump) (L.R.L.) forward swing the right leg then the left leg bent (co t jump) with ci rcle of arms crossed down to raise and fini sh in lateral position. 1 S. One step with left f oot forward, lift forward right bent leg, with the foot touching the left knee, crossing the arms in front of the chest, head slightly inclined. 16. While extending right leg swing it forward and up, arms stretched laterally, head up, and swing the right leg stretched behind, pivot V2 turn to right on the point of left foot to stand on left leg, right leg stretched forward , stretched arms up, and immediatel y toke a step with the r ight foot forward and incline the trunk forward to balance on right foot left foot stretched bock and high, arms stretched lateral (hold position for 3 seconds).
17. Straighten the body while lowering the arms laterally swing left leg forward , lift arms forward to ve rt ica l, simultaneously turn to right on right leg, place left foot behind arms lateral , point of right foot on beam . 18 . One step of left foot forward , swing the right leg supplely forward , right arm rounded in front of body, Y2 turn to right on point of left f oot and se parate the right arm laterally, with a swing of the right leg to arrive to stand on left foot, right leg slightly flexed in fron t of left leg knee sl ightly opened, right arm vertical, left arm roundee below in front of body. 19. Swing right leg stretched forward, left arm stretched laterally, right arm stretched vertica ll y; one step forward with right foot . In order to place the r ight hand on beam, SWing left leg backward and toke-off from the right foot to arrive in handstand passing onto the right arm , with a Y2 turn t o the right to dismount into cross-stand right .
VAU LT. Compulsory vaul t is No. 11 (Jump handstand vault, arms straight, 1/ 4 turn to right o r left) 10 points.
UNEVEN PARALLEL BARS. Stand facing the middle and under high bar. 1. Jump to stretched hong o n low bar, dorsal grip and pass stretched legs between the arms over' the low bar to straight bock support and immediately turn backward (sitting position). 2 . Turn backward to inverted hong and pass left leg half-bent under the low bar to establish forward split support, h turn to left and change left grip, dorsal grip on high bar, right hand on low bar. 3. Pass left stretched leg behind over low bar,.spring to squat position on low bar. 4 . Extend legs, change right hand to dorsal grip on high bar, jump to stretched front support a nd immediately turn support to the bock. S. Swing stretched legs forward to stretched hong, Y2 turn to left around the left arm and change right hand. 6. Swing forward , supported turn backwards chang ing grip onto the low bar to arrive In fr ont stretched support. 7. Swing bock in order to pass the bent legs between the grips and changing grips on the high bar and swing on the high bar while sp litting the legs, place feet on high bar. 8 . Swing forward the stretched legs under the high bar, jump forward pass over the low bar with V. turn t o left or right to cross-stand with hand grip on low bar. TRAN SLATION-where "half-flexed" or "halfbent" are used , this js a ~ore li teral tran slation and is distinguished In the .text from slightly bent . If further interpretation comes t o hand . thi s may clarify the position .
Stand near edge of mot facing inwards, nearer left edge. Three steps lateral : left crosses bock, right lateral, left crosses in front, arms latera l, slightl y incline trunk to left ,head left. '/ . turn right (90 ° ) place right forward, lower in order to raise them parallel to right, without stopp ing step left foot to the left, swing the left arm straight to .the lateral position and pivot on the left foot In order t o turn l :Va (495 ° ) to left, . right leg half-bentflexed and in front pOint of right foot on leg, arms vertical, slightly rounded . the arms
Place right f oo t forward, right leg (spilt right) arms oblique bock lateral, palms down, small rotation of trunk to right, head turned to right. (1 st port of music) Step left (chasse) hop forward lowering the right arm in order to bring them up t o horizonta l. Step right forward, rela x the arms, step left forward .and for (split leg) jump leap opening legs, right leg in front after bock, left bock after In front (scissor) right arm lateral, right hOrizontal. Return on right leg, two steps f o rward (R.L.) toke-off from the left leg in order to jump (little) and turn (h turn) arms lateral , land on right foot. Without stopping, step backwards flexing the leg s arms horizon tal, r ounded backwards manual 'support t o come again on left foot . Place right foot backwards (long step) pulling in left along side of right f oot. stretch the
body with circumduct ion o f the ri ght arm up and back t o fi nish w it h the hands soft ly curved in fr ont of the bod y, le ft arm slow ly l ifts f o rward to vertica l so ftl y rounded. 3/8 tu rn (135 ° ) t o ri ght, step right latera l and , w ithou t st opping sl ide p o i n t o f lef t f oo t bring ing it up behind the r ight foot , left leg half fle x ed, heels up , ri ght slightly ben t , arms supple, paralle l t o r ight , slightl y twisting and bending o f trunk to right, head to ri g ht.
3 steps lateral ( L.R .L.) and one and half 1V2 (54 0 ° ) turn t o l eft and fini sh on point o f right f oot and again br ing leg i n behi nd left leg, legs slightl y f l exed, a r ms para llel t o left slightly flexed, litt le twisting o f the trunk to left, head le ft. NOTE : During
th e th ree steps la t era l, ri g ht
on left f oo t laxed , place f oo t.
3;' (27 0 °) right fo ot
turn ri g ht , a r m s re bac k and after left
Swing right leg fo rwa rd and then backwa rds, t o land on right leg, step left bac k and cl ose ri gh t f oot to the side of left f oot (face together) on t oes, arms la t eral.
V2 (45 ° ) t urn t o left and three steps forward ( R.L.R.) and cur ve to r ight, simu ltaneo usly sma ll circle o f ri g ht arm in fr ont with pronation and supinati on o f wri st (s lightl y incline th e trunk t o r ight). Wit h out stopping p ivot on right f oo t to left, 3 steps bac kward and continue to cu rve in the same direction b ut without the body inclined t o left , simu l taneo us ly smal l circ le o f left arm f orwa rd , right arm ob liquely back.
arm remains in late ra l pos ition , the left pa sses thr ough hor izontal position , la t eral and, wit hout stopping li ft fo rwa r d supplely t o vertic al in order t o lower in fr ont of th e body.
3 steps la teral (R. L. R.) and turn r ight 1 '/ 4 (450 ° ) t o th e ri ght , left arm r ema ins in latera l position right arm passes t o latera l pos it ion ; h o ri zontal lateral and , wi t hout stopping , up again to ver tical t o come down supple ly in fr ont o f bod y h or izontal , hop on the ri ght f oo t left leg lif ted f or wards, arms ob lique ly up . Spr ing , wh ee l, ar ri ve on r igh t f oo t , o rms '/4 t urn to le ft and 3 steps f o rwa rd return r ight f oo t t o the left pointed body and arms ob l ique ly bock, head
lateral (L. R.L ; extend raised.
% turn left , st ep left f o rward, wi th sl ight impul se o f t he right f oo t t o land on left f oot right leg l ifted bac kw a rds, l eft a r m lateral , r igh t h ori zontal, step r ig ht f o rward and h op with Y2 turn to ri ght and la nd on right f oot, left leg lifted back, r igh t arm f orward t o ve rti cal sl ight ly rounded, left arm ob liquel y back. .
W it hout st opping , pi vo t a lternati v e ly on left foot , ri gh t f oo t, left f oot (V2 turn each pivot) t urn 1V2 (540 ° ) to le ft , a r ms back and the hands rou nded; su pple. W ith 3/8 (135 ° ) t urn left , 3 rap id steps (L. R.L. ) lifti ng the a rm s f orwa rd t o ve rtical and b r ing t ogether the ri ght foot to left f oo t (du ring t he 3 steps sl ig htl y bend the trunk beginni ng t o l i ft slo w ly to finish ex t ended, then relax the arms t o order to lift them t o ob li quely up ).
3 step s spr ings (L. R.L.) lowering latera ll y the arms, h op oblique ly left f oo t spring t o
on left leg ri ght l ifted fo rward, arms up , ha ndspring forward t o land on and withou t stopping second handland on left f oo t .
St ep right forward arms la teral , step le ft f orward , heels raised , ri ght arm ve rti ca l, left arm in h ori zonta l sl ight ly rounded , head t o left. The last part o f may be rev er sed.
St ep le ft f oo t backwards, half turn right , step right forward and wi th a ho p on the same leg with flexi o n of the lef t leg in fr on t simultoneous ly arms lateral t o finish r igh t ar m f orward rounded , a small c ircle of left arm ov er the head fr om f ront t o back. Step left f oo t f o rwa rd with take-off from th is leg t o jump (l ittl e) t urn V2 to left, bring feet t ogether ( in eleva ti on ) in jump when lowering take the arms
d o wn
with ou t
sw ing arm s ve rti ca l, fli e flo c t o arri v e on the l ef t f oo t right leg lifted bac k a rm s vert ica l.
Big st ep o f right f oo t backwards, kneel on ri g h t knee , left heel r aised, sit o n r ig ht heel , t wist
success ivel y, right , le ft t o lift arms ob lique t o right , head t o right.
p a ralle l
Raise up from support on left f oo t, wi th out st opping, swing th e left a rm la t er al and pivot 'l'8 (315 ° ) to left o n the po int of left f oo t , ri ght leg ra ised backwards , arm late r al. T wo steps f orward (R. L. ) loweri ng a rm s, sc issor back raising on the ri ght f oo t and lifting the arms f orward verti cal, 2 st eps f orward (L .R .) low ering the arm s f orwa rd, hop on right foo t left leg bent forward, arms ob liquely back.
Step left bac kward s, slight impulse o f right f oo t t o land o n left f oo t , right leg lifted backwards, with impu lse o f left f oot land on right foot f or ward, arm ro unded (hands) f o rward in fron t of body, " planche" ba lance right arm l i fted to ob l ique f o rward the left obliquel y b ack , parallel t o the le ft leg . (2nd par t of music) St retch the b ody up step left f orward on t oe, r ight leg I ifted back, right arm vertical , left lateral slight extension o f body, head raised. Two f ast steps forward (R. L. ) a nd lower the arms lat erally f o rward. Hop on left f oot, land left f oor sw ing the right leg forw ard, arms ob i iquely up. Arab wheel to land o n lef t foot , right leg lifted forwa rd , arms ve rt ica l, wi th ou t stopping st ep straight on the ri ght f orward and lower orms la terall y and step on le ft foot leg fle xed, ri g h t a rm hori zontal , left a rm lateral. Turn o f 1 % (495 ° ) t o ri ght and p iv ot on le ft leg , r ig ht leg bent f orward , arm s so ftl y rounded in fron t o f bod y. Two steps forwa rd s (R .L. ) arm s la tera l cartwheel, simul tan eously circle the arms cros sed in front o f the body from down t o up, land on right foot and step o n left f oo t , arms latera l and step on ri ght f oo t legs slightl y flexed on toes left f oo t back, bock rounded, arms remain supp le each side o f the h ead, palms turned in. Stretch the body and arms lateral , 3 steps t o right , left cross i ng back , r ight la teral ; le ft crossing i.n front lowering the arms and pivot
THE MA LMO GIRLS OF SWEDEN
Above and at ri ght : Graceful members of the wor ld tou ri ng Dani sh Gymnastic -Team which visit ed the US las t year under the directio n of Eric Fl ensted-J ense n.
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