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VOL. I NO. 1

WINTER 1966

75c

THE MOPERN GYMNAST P. O. Box 611 . Santa Monica, California 90406 Dear Sirs: Please send me a Subscription to the Modern Gymnast magazine : Name __________________________ ~--------~---

Address City _____________---'-___ State _________ Zip,_ __ PLEASE CHECK BELOW . $5 .00 0 One Yeor 12 Big issues 0 Check $9.00 0 Two Years 0 Cosh $12 _95 0 Three Years 0 Money Order .,~AII

foreign subscriptions $6.00 per Year 0 Please find $ the names enclosed .

for Gift subscription to be sen t to

AMERICAN THE INTERNATI

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YMBOL OF QUALITY

IN GYMNASTIC AND GYMNASIUM EQUIPMENT TRAMPOLINES, AND ATHLETIC FIELD MARKING EQUIPMENT t

The American lines are first in quality, performance and design . . . the true marks ofa thoroughbred. Only the finest equipinent displays the American medallion ... available to your school through purchase or lease. See your American Distributor today. You can always depend on him for unexcelled service because only top distributors sell American. Write now for our new 1966 Catalog and the name of your nearest American Distributor.

JEFFERSON, IOWA, U.S.A.

Mile G. letters . . .

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c~_, .. . n VOLUME I No. 1

. WINTER 1966

CONTENTS LEITERS ............................................................................ 4 EDITORIAL COMMENTS ........ Glenn & Barbara Sundby 5 GYMNASTICS AND ART .................................................. 6 INTERNATIONAL CONGRESS REPORT ............................10 Pat Lamb, Eleanor Hansen and Dorothy Michel GYMNAESTRADA 1965 .................... Barbara B. Sundby 14 GYMNASTIC CAROUSEL ................... ."Bud" Marquette 111 INSTITUTE ON GIRLS SPORTS ............ A. B. Frederick 22 TRAMPOLINE TIME ................................ Abby Robinson 28 MADEMOISELLES .............................................................. 30 BALLET FOR MLlE G. ............................ Grace Kaywell 32

COVER : Reproduction of Milan Med oil painting of Caslavska, World Champion All Around gymnast.

Dear Glenn and Barbara; Congratulations on the new Mademoiselle Gymnast. It is wonderful! You have opened a whole new world in Gymnastics for Women. The Chet Phillips Anapolis, Md. Dear Sundbys: Thank you for the complimentary copy. It is great! Mr. and Mrs. John M. Stocker Buffalo Turners, Buffalo, New York

Dear Editor: As a physical education instructor I am thrilled with your new magazine. The boy's gymnastic coach at our school gave me the copy you sent to him. We have one of the very few complete apparatus progra ms in our school (among Chicago High Schools) and I am sure your illustrations, articles, and teaching techniqu es will be invaluable to teachers and inspiring to students. Sincerely, Florence F. Erickson Morgan Park High School, Chicago, II I. Dear Ba rbara and Glenn: Congrats on the new magazine. Thanks again for the cou rtesies in Vienna. Good luck, The Nances, Oklahoma City, Okla. Dear Glenn, I have received your brill iant "Mademoiselle Gym· nast" and I was struck with it. Congratulations to your wife for such a beautiful magazine! Yuri Sabirov Moscow, Russia

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

Mademoiselle Gymnast is published quarterly; Winter Spring, Summer and Fall. Price: $3.00 per year, 75c single copy. Subscription corres· pondence, Box 777, Santa Monica, California 90406. Copyright 1966 all rights reserved by Sundby Publications, 410 Broad· way, Santa Monica, California 90401.

Dear Sundbys: Congratulations! Best wishes for a most successfu l enterprise. Your dedication must beget enchanced en· thusiasm with increasing progress toward ultimate sue· cess in artistic gymnast ics. Cord ially and sincerely, Don Adolph, Amer ican Gymnastics Assoc. Flushing, New York .

Publisher - Glenn M. Sundby

Managing Editor - Barbara B. Sundby

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THANK YOU With Volumn I No.1 of MADEMOISELLE GYMNAST for 1966 we want to start off right by thanking you the new Mile G. subscribers for your wonderful show of support and enthusiasm in joining us for our venture together in the world of Womens Gymnastics. You will be pleased to hear that we already have close to two thousand subscribers, this a great beginning, a good solid base indicating a bright future for MADEMOISELLE GYMNAST.

We received so many congratulatory letters on our complimentary edition of Mademoiselle Gymnast that we wish we could share them all with you. However space does not permit so we have chosen only a few as a cross section and send our sincerest thanks to all the others. With this first edition we have some beautiful paintings by Czech. artist Milan Med . . . a report of the "Womens International Congress' in Cologne, Germany . . . The "Gymnaestrada" in Vienna, Austria . . . On the lighter side the "Gymnastic Carousel" put on by a talented bunch of youngsters from Long Beach, Calif. coached by Bud Marquette . . . This is followed by are路 port on the second Institute on Girls Sports . .. "Trampoline Time" is next . . . and " Ballet for Mile G." completes this first edition of Mademoiselle Gym路 nast.

We hope you enjoy our first edition and we look forward to hearing from you with pictures, reports and ideas on how we may better serve you through future editions of MADEMO/SELl.E GYMNAST. Sincerely, Glenn & Barbara Sundby P.S. We were able to print some extra promotional copies of this first ,edition of Mile G. therefore if you know of others who YOU feel should know about Mlle. G. and would be interested in receiving a free copy, send us their name and we will send them a complimentary copy of this edition from YOU.

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GYMNASTICS AND ART We lead off this premier edititon of Mademoiselle Gymnast with these pages of wonderful gymnastic engravings and paintings sent to us by our Czechoslovakian artist friend Milan Med. Mr. Med has done two past cover pastels for the Modern Gymnast plus the recora jacket cover for the BALLET FOR GYMNASTICS album. We are pleased to use on our first cover his beautiful and moving oil painting for Olympic Champion Vera Caslavska. The beautiful paintings on pages 8 and 9 following these balack and white engravings are very colorful, we are sorry we could not reproduce them as color plates, but the added cost to Mile G. would have been more then she could stand. However you can be as sured as soon as the subscription volumn warrents it we will use color center spreads and color paintings of Milan Med and others throughout the pages of Mademoiselle Gymnast.

LE COMITE D'OR A L'HONNEUR GANISATION DE VOUS OFFRIR

CETTE FEUILLE MEM

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Hoop, ball and rope original Milan Med engravings which wele avaliable at the recent 2nd World Modern Gymnastics Cham路 pionships held in Prague, Czechoslovakia.

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Artist Milan Med in his studio in Prague. Note Mlle. G. cover painting on wall in background. Gymnastic moods and scenes all black and white reproductions on this page are from color photographs of the original Milan Med oil paintings .

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Above: Beautiful painting of Caslavska in action on Uneven Parallel

Below: Relaxed study of World Champion Caslavska

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RE'PORT FROM THE FIFTH INTERNATIONAL CONGRESS OF THE INTERNATIONAL ASSOCIATION OF PHYSICAL EDUCATION AND SPORTS FOR GIRLS AND WOMEN

By Pat Lamb Carleton College, Northfield, Minnesota Eleanor Hansen Dorothy Michel Carleton College, Northfield, Minnesota Macalester College, St. Paul, Minnesota This summer, August 2-7, 1965, five hundred delegates from over forty countries throughout the world gathered together in Cologne, Germany, for the Fifth International Congress on "Problems of Women 's Physical Education as Related to the Adolescents of Today." The conference was hosted by the Deutsche Sporthochschule Koln which is, as many of you know, a well-known training institution for physical education major students. Much of the leadership in organizing this Fifth Congress was provided by Professor Liselott Diem of the Sporthochschule, who is recognized as an authority in the area of basic moveme,nt for children_ We were among the 110 representatives from the United States, many of whom combined a tour of Europe with the opportunity of taking part in the Congress_ Although the American delegation was the largest national group, we did not in any way exert a dominating influence on the conference. It might be said that we were there to listen and to learn, to

Speakers stand and one of the musical groups which accompanied the demonstrations

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gain a little more insight into the approach to phy· sical education in other countries, to compare and contrast what we have found successful here in our country with the many other equally successful sys· tems throughout the world. It was apparent that a real effort had been made to include every interested nation in the Illternatior]al Congress. Some countries, particularly the ' unden;ie· veloped or newly-organized ones, came with a long list of problems, ' questicms , and fears. 'QHl er nation~, who had "been in the business" longer, felt that they had already found some answers and were willing to share this knowledge. The inter·play between those who had everything to learn and those who .felt they had something to offer was an interesting phenome· non to observe, as it soon became apparent that all of us had a great deal to learn from one another. The inspiration and ideals behind such an interna · tional meeting are indeed noble. Perhaps it should be noted that Americ;:an women , led by Qorothy Alns· worth, were the force behind the very first Interna · tional Congress held in Copenhagen in 1945. The unique features of such a world·wide confer· ence were fascinating. Accustomed to attending simi· lar conventions on the state and national level , most of us were overwhE,'llmed by the complexities of or· ganization that we are never asked to fC;1ce here at hom~ simply because of our common language. Pic · ture yourself as a memQer of the minority group of English·speaking peop'les, handicapped by a language barrier, unable to understand many of the speakers or panelists without the use of a set of earphones which provided translations in five major languages , seated in small discussion groups where an individu· ai 's statement had to be translated before other members of the group were able to react to it. At times, the process of translation and re·translation Apparatus exhibition by the German girls from the Sportschool

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Swedish group demonstration

became extremely cumbersome. In fact, the resulting lack of spontaneous interaction caused many of the small group discussions and panels to suffer. Nonetheless, it is amazing how well the delegates from the various nations were able to communicate with one another on the whole. The gesture and the smile continued to be essential factors in the "uni· versal language", and perhaps even more significant at such a conference was the universality of the con· cept of "MOVEMENT." We witnessed three or more demonstrations each day. The demonstrating groups came from various countries. Some were highly skilled and definitely physically fit. and all seemed to be thoroughly en· joying what they were doing. Although there are differences of thinking from country to country, there was a sameness in the types of demonstrations. Everyone seemed to want to express "body movement." It was interesting to note the terms which were used: "Rhythmic Movement!', "Basic Movement", "The Art of Movement", "Gym · nastic Movement", and "Gymnastics." What we in America think of as gymnastics, that is, the use of the various pieces of equipment the balance beam, uneven bars, horse is in most European countries referred to as "Olympic gymnastics." Some groups used music while expressing their movements . Other groups used small apparatus such

as ropes or balls. Two groups demonstrated on heavy apparatus, using bars, vaulting boxes, and the bal· ance beam. Only one class of girls from the Sports· schule itself concentrated on movement in sports, and they had a lesson in track. It is interesting to see how much stress was placed on basic or gym· nastic movement rather than on specific sports skills. No doubt this was due to the European influence on the planning of the conference. Each demonstration was well·organized, showing progressions along with spotting techniques when necessary. It was obvious that in most cases we were observing the results of a masterful job of teaching. The appreciation expressed by the audience of dele· gates following each demonstration clearly indicated that movement has the ability to speak to all, regard· less of nationality. It is the language by which we can speak to other6 of ourselves. Just as in verbal language, it is a process of selecting, from all of the possible words, the very words which best express what we wish to say. Movement, when it is performed skillfully, involves having one's body at one's own disposal, having power over the body, and speaking through use of the body in such a daring way that real inner motivations and drives are expressed. All delegates could not help but be impressed with the impact of movement as a language. Undoubtedly every physical education teacher, regardless of na·

Dance and rythmic action and rope number by exhibition group.

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New Zealand group

tionality, was made more aware of her unique responsibility that of helping individuals to sense the pure joy of being living creatures as opposed to inanimate objects. Perhaps we should not avoid asking ourselves certain questions . . . DO WE GUIDE OUR STUDENTS TOWARD THE LEARNING OF A SUFFICIENT MOVEMENT VOCABULARY OF BASIC TERMS FROM WHICH TO SELECT? DO WE HELP FREE OUR GIRLS FROM INHIBITIONS WHICH PREVENT THEM FROM SPEAKING OUT FREELY AND FLUENTLY? The real value of such a conference lies in the degree of implementation of newly-discovered ideas and approaches. If physical education has a contribution to make in aiding the development of adolescents today, as the theme of the International Congress suggests, it seems to us that the extent of our contribution is defined by the way we answer the above questions. We hope that our description has given you a sense of what went on at the Congress, but more than that have we stimulated your 'thoughts ... have we made you want to analyze the effectiveness of what you are doing in the area of movement? This is what the Congress forced us to do.

Upper right: Mary Wigman outstanding living personality of modern rythmic gymnasts. At lower left 2 teachers from France pantomine impressionists entertain the delegates. Below right some of the delegates attending meeting at the International Congress .

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1965 GYMNAESTRADA REPORT

By Barbara B. Sundby On July 20-24, 1965 it was my privilege to attend the 4th International Gymnaestrada which was held in Vienna . This was my first Gymnaestrada (they are held every 4 years) and for this little Junior High .Physical Education teacher it was a thrilling experience. There were nearly 15,000 athletes taking part from over 40 countries and I would guess at least 80 % or more of them were women. Each of the 5 days there were continuous demonstrations going on in several different halls making it impossible to see them all. But we did manage to see most of the top performances such as the World 's Best, the Olympic Gymnasts , The Scandinavian Night which had mass displays of rythmic gymnastics plus apparatus, balis , wands & hoops. Two of the Caslavska on the beam

Floor routines by Czechoslovakian youngsters

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Hoops, balis, ropes, Indi an clubs

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Balancing etc., etc.

highlights of this exhibition were a hilarious sober faced demonstration of a girls physical education class of the mid 1880's and the group demonstration of competitive rythmic gymnastics where the same musical

Gymwheels

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by special arranged music (not just background music) in fact many of the numbers were original compositions created for the Gymnaestrada. Both the Russian and Polish groups gave fantastic acrobatic, pyramid and hand balancing displays. Acrobatic type numbers were given by many of the participating groups. All in all we saw Indian clubs, rings, balls, hoops veils, gymwheels, ropes, vaulting horses, (and boxes), gymnastic apparatus and dance forms used in more conceivable ways than we ever dreamed possible. As mentioned earlier it was truly a beautiful and thrilling experience . We can hardly wait to see the next Gymnaestrada four years from r.lOW. With a few years of reporting and editing experience behind us we expect to bring you a more thorough and itemized report. Perhaps we will even be able to devote a complete edition to our photo and editorial coverage of the fifth Gymnaestrada. Even a complete edition of Mademoiselle Gymnast will only partially cover this wonderful International gymnastic event ... Better yet why don 't you also plan on attending the next Gymnaestrada.

selection is given to each group and they present an interpretation number to it. The style, variances and rythmics of each group showed tremendous ingenuity and feeling. At times it was difficult to realize they all used the same music as the moods and presentations of their interpretations were so contrasting yet all so very effective. We also enjoyed The American, the Czechoslovakia and 路 the Russian demonstrations as well as many others. The American demonstration was highlighted by a mod路 ern jazz floor exercise routine by four attractive young gymnasts. The Czechoslovakians presented 64 girls in a "Prague Rhapsody" as well as many other rythmic and apparatus demonstrations by youngsters and Olym路 pians. The Russian girls performed with streamers, hand apparatus as well as competition style equipment. An especially nice synchronized balance beam routine to music was performed on three balance beams by three Russian gymnasts. It should be noted here that the majority of all demonstrations whether dance or apparatus, individual or group were all accompanied

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~eam 2nd ANNUAL

Southern CaA!?rniaAcro

GymnASTIC CAROUSEL "WESTERN STYLE"

ON PARADE: Master of Ceremonies _________ ____ __ _______ ___ ___ Mr_ Gordon Maddux HONOR GUARD ____________________________________ Marine Corps of the Naval Station NA!IONAL ANTHEM __ _________ ____________ ____________ ______ ___ __Tasha Schilling, Soloist CAROUSEL ON ITS WAY: . Oh by Gosh __ __ _____ _________ ________ ______ ____ __ ________ Tasha Schilling and SCATS COWHANDS: Musical W arm Up ______________________ ________ ____ _____ ____ _________ ________ _________ .5CATS EMPTY SADDLES: Rapid Vaulting __________________________________________ ____________________ SCATS Sixteen WESTERN STYLE: Acrobatic Dance____________________________________________________________________ Linda Say DON'T FENCE ME IN: (Balance Beams) D_ Byrd, G_ Harris, S_ Gross, V_ Hartley, 1- Teissere, C. Bodnar, M_ Eslon, V. Eston, L. Nelson, N. Boy, K. Audley, S. Cox, J. Singrin, D. Zorick, W. Cluff. Kathy Perry Karin Gallagher Gaye Williams CHAMPIONS AWARD: (Trophy Presentation) Honorable Mayor and Surprise Guest. INDIAN MAIDENS: (F. X. in Unison) . S. Singrin, B. Maxwell, S. Ardis, L. Nelson, C. Rigby, D. Wells. Lisa Nelson Susie Singrin Wendy Cluff BRONCO BUSTERS: (Olympians and U. S. Champions)

WAGON WHEEL: (Trio - Hand Balancing) SCATS with David and Goliath. HOME ON THE RANGE: (Uneven Bars) B. Maxweli, S. Singrin, K. Audley, S. Ardis, L. Neilson, S. Singrin, G. Williams, W. Cluff. Cathy Rigby Margie Schilling Bev Marquette TUMBLEWEEDS: (Turnblingat its Best) SCATS SUPREME RIDERS IN THE SKY: (Trampoline) "The Slippin' Foats" SILVER AND GOLD: (Frozen Statues) Titles : No.1 - Beauty Pauses No.3 - Team Work No.2 - Play Time No.4 - Trails End

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The Second National Institute on Girl's Sports (MSU Institute) is now in its implementation or "doing" phase. If the Institute's impact is anything close to that of the original one held in Oklahoma in 1963, we should again look forward to another tremendous boost for the program of gymnastics for girls in the United States. The Institute programs at MSU and Oklahoma are important because they have genuinely qualified as clinics. But they were more than just clinics as we know them in gymnastics since they had arisen out of the need for a greater understanding of the role of girl's sports in our society. Rather than polishing a few diamond's the planners were seeking a better grade of coal. Thus the Institute's goal became, "To increase the depth of experiences and expand the opportunities for girls and women in sports."

SECOND NATIONAL INSTITUTE ON GIRLS SPORTS Kellog Center- Michigan State Uni. Sept. 26-0ct. 1, 1965 by A. BRUCE FREDERICK

Vannie Edwards, George Szypula and A. Bruce Frederick

Carolyn Bowers and Marta Nagy

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Mother and daughter look路alikes Ernie Carter and Rene Russell

There are many benefactors of such a design. It has been estimated that at least 1.4 million girls were indirectly affected by the Oklahoma Institute.' Of that number, we may rest assured that a majority were reo ceiving clinic experiences in gymnastics since the inter· est in gymnastics for girls and women, as measured by the interests of the attendees in Oklahoma, exceeded a similar enthusiasm for track and field. These two sports received special treatment in Oklahoma and were again selected for inclusion on the MSU Institute program. The physical educator must be aware of the im· portance of the NIGS programs. Through the medium of physical education in the public schools, we may potentially affect the development and interest of many more children than it · is currently possible to do through the sport·club type program in the United States. This possibility is no less true for boys than it is for girls. The difference at present is that the girls are doing something about their programs through NIGS; there is nothing comparable being done for boys and men at the national level. It will come as no sur· prise if in the next ten to twenty years the board base of activity for girls and women in physical education, as well as the International program of competition, will show significant results measured by mass partici· pation averages and comparative growth in excellence in the performance by female Olympians in the so· called "minor" sports areas. The sports of canoeing, diving, fencing, gymnas· tics and track and field were especially emphasized at the MSU Institute. In addition, the attendees at the MSU Institute were asked to think creatively about the M.S.U. gymnasts: L. Jan Richter, R. Sally Noble Charlie Forsythe speaks on problems of interscholastic gym nastics for giris

WaJt Leiner!. author of "Modern Girl Gymnasts on Uneven Bars" •

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Carolyn (Osborn) Bowers

possible inclusion of new and different activities for girls and women in the program of physical education. Such new activities would be especially designed by women to be coached and performed by girls and women. Thus a new sense of sports independence was very apparent as the Institute progressed. One writer has already singled out this theme: Only in gymnastics do we find the purely feministic activities of beam work and free exercise to music. This in no way negates the importance of the many adapted activities which have been borrowed from the boy's programs. The latter are certainly important culturally and developmentally. But, if nothing else, the NIGS program indicates that the image of the girl's physical educator must take on ever more feminine characteristics. The physical educator, whose interest is delimited to the activities of hockey, basketball and softball must expand her scope of interest. This will be difficult for the coach-oriented woman who has sincerely adhered to the adapted boy's program of the past. She cannot be blamed entirely since the evolution of her "species" was closely related to the desires of the American lay community who expected the girl's interschool program to be similar to the boy's program. Thus the cultural "facts of life" are being closely scrutinized by the planners of NIGS. They realize that the American public has a tremendous influence on any educational program. NIG revolutionary work, therefore, cannot be confined to the educationist .alone. If it is to h-ave any great influence, it must reach the very soul of American society and culture. It is signifi cant to note in passing that the National Section on Dance has recently been given Division status by the American Association for Health, Physical Education and Recreation. Perhaps this elevated position is incidental and unrelated to femininity theme unfolded at the MSU Institute but it has very obvious implications and inter-relationships.

A session with Carolyn Bowers George Szypula on Tumbling. Getting the most out of Cherry Almy and Rae Ann Miller

L. Cherry Almy, R. Rae Ann Miller

Walt Leinert on his favorite Uneven P. Bar

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Leinert's Uneven P. Bar session

WHAT THEY SAID Laura J. Huelster (U. of Illinois) "Sports are well adapted to most girls which . (1) ... apply force by means of a light or moderate weight implement to overcome the weight of a light or moderate weight object. (2) ... project the body weight through space for moderate distances without and with the use of apparatus." "Flexibility, agility and sufficient strength to propel the body and objects in beautifully coordinated skill patterns are dominant factors in the success of women performers." (Quoting Metheney-Connotations of Movement in Sport and Dance_ Dubuque, Iowa: Wm. C. Brown Co., 1965, pp. 51-52. "It is to be hoped that in the near future one or two new sports will be created by women for women." Guidelines for progress according to Dr. Huelster: "1. Increase the number and quality of high school sport activities and programs.

2. Concentrate efforts in urban areas, and on a national basis. 3. Stress learning, participation and exactness in sports which are sanctioned by our society. 4. Cooperate with girls' self-interests in sports to effectively promote habitual participation. 5. Promote excellence of instruction and sustained practice. 6. Provide sound standards of conduct and leadership for sport programs." Phebe M. Scott (Ohio State U.) "Individuals will need to become more self-directive in order to fill the leasure time hours with constructive, satisfying activities." On sports for women by women, Dr. Scott quoted Marie: Therese Eyquem from a speech before the Fourth Interna-

Improvised ballet bar

For good beam work, start on the floor

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Jumping with Rene Russell

tiona I Congress on Physical education and Sports for Girls and Women . .. "It is not to women's interests to imitate men for they would take the risk of doing badly what men do well. But whea they evolve their own (sports), they do well what men do badly." Editor's note: Think of the beam and free exercise to music as you re-read the quote from Eyquem. What else fits? "We must develop in girls and women a desire for excellence in human movement." "Rather than providing the attractive array of cafeteria offerings in our programs, perhaps we should present a more modest menu of movement experiences at the elementary and secondary level wJth the addition of desserts only after the meat and potato course has been thoroughly digested." William W. Heusner (Michigan State U) " ... the normal woman seems to be well-suited to perform in sports and activities which require endurance, but not to participate in those that demand high levels of strength and power. Yet, at present, most women's events are restricted to the latter category." "Many of the present sports programs for women seem to reward only the masculine girl." "The supposition that sports have a masculinizing effect on girls is highly exaggerated. There is no evidence that body build (male or female) is significantly influenced by athletics. In fact, the great majority of fema le athletes show no signs of masculinization after years of vigorous competition. Of course, there are a few women athletes who do exhibit male characteristics in build and behavior. These women probably had such android tendencies prior to competition and were successful because of their genetic make-up." Katherine Ley (U. of Michigan) "The emphasis must be on improvement of performance at all levels. Performance must be judged according to the capabilities of the indivi q~ als, and therefore winning must be regarded only as an ext~ rnal manifestation. The important

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proof of performance is the internal judgment placed on it by the performer herself. Pride in quality performance is foremost; winning must be secondary." John D. Lawther (Penn State U.) Editor's note: The following remarks are paraphrased from Dr. Lawther's speech .. . "The Psychology of Teaching and Coaching." The speaker reminds us that the way man learns is significantly different from the learning of animals. The latter group must learn in essentially the same way as all of its predecessors while ttlan, with his superior brain , learns from an infinate number of sources and need not repeat the ancient failures of his ancestors. Early training in the mastery of complex skills seems to enable a greater percentage of ch ildren to master advanced levels. As children reach the ideal point of rea_diness to learn an activity or skill, the introduction Of the skill should not be postponed for very long after this point. If this is true, the field of phys ical education in the United States operates in reverse . Commenting on this theme he said, " Figuratively speaking , the student arrives at the University not able to spell 'cat' in our field (physical education) ; but after an intensive term of training, she can now spell 'cat'." Supporting evidence of early training which led to higher levels skill was drawn from language and music learning. As far as physical education activity at the elementary level is concerned, the speaker suggested that very often children get on a single weekend more activity than it is possible for them to get in an entire school week, Children have an abundance of energy and are almost always highly motivated to learn physical skills. Even when not being taught formally, children practice an endless repetition of many kinds of skills even when unsupervised. Children also have much more time to devote to physical skills than do young adults. "Well at least we can do a cartwheel"

Dr. Lawther recognized the fact that championship performance is now being accomplished by many teen· agers but he quickly added that this was due to the earlier training of these athletes . A period of eight to ten years is still necessary for an athlete to reach peak performance. A teacher or coach can encourage students, they can develop shortcuts in the learning t ime by eliminating useless practices, they can guide the student away from gross errors and they can show the student his progress. Good teachers are very important but he points out that learning very often takes place without a teacher when the motivation of an individual is high enough . He pointed out that there is no one right way to teach. The only methods which are truly questionable are those which tend to decrease the actual motivated practice ti me of the student. He pointed to the following characteristics which tended to be present in most good teachers: 1. Basic knowledge of and intense interest in the subject. 2. Willingness to share this knowledge with anyone who is interested in it. 3. Communication skill. 4. A personality which demands, drives, stimu lates, excites or in some way extracts from students levels of achievement beyond normal expectancy. The coach has little problem with motivation. Verbal directions have more meaning. The athlete at the advanced level can utilize more and more the process of thought and creative thinking during training sessions. At the advanced level you encourage polish and detail. Daily practice is implied and endless repetition of performance will insure a greater percentage of success on the day of the meet or game. Finally, the speaker asks us to be aware of con· flicts in program emphasis in physical education. He reminds us that the thinking of man often goes astray. We must therefore be aware .of the evidence we have rather than attempting .to use our minds as tools to rat ionalize certain program fads which have much emotional appeal but which may lead us down the wrong path .

Ernie Carter, Institute Gymnas tic · Commi ttee Chairma n shows championship fo rm.

sultants as well as to comment on certain discussions which were held throughout the gymnastic portions of the Institute. Your Editor will hopefully entice some of the speakers to develop full articles for the pages of the Modern Gymnast and Mille_ Gymnast in the near future . Several new gymnastic authors were discovered among the participants as well as a few veterans who will shortly complete manuscripts. Tuovi Cochrane of Penn State U. was devoted a great deal of time to her text which will deal with aspects of the Finnish train ing program. We got to know And rea (Moln ar) Schmid a little better and look forward to reviewing her manuscript Wbich will undoubtedly be strongly influenced by her traini ng in Hungary. Andrea , you will recall , com bined with Blanche Drury to write Gymnastics for Women (National Press) which is enjoying a second edition. George Szypula is working on a text for tram· poline which should be informative while Carolyn Bowers and Ernie Carter are both engaged in gym nastic texts for girls and women which are to deal with a comprehensive treatment of the sport. Your Editor may be the last of the men who wr ite for women 's gymnastics as Brown publishes Gymnastics for Women, which will be released next Spring as a part of a new series of introductory and self·evaluating books on sports of all kinds. Journal of the National Institute on Girls Sports, Vol I-No.2, Feb. 1965. ' Totten, James C., "Women Want Sports SUfferage." The Amateur Athlete, November, 1965, p. 20. For the next edition of Mademoiselle Gymnast we have selected an updated version of technique which was originally reported in The Modern Gymnast. ("Draw Your Free Ex. Music" by A. B. Frederick, M.G. Sept., 1963). . This particular article was greeted with such comments as, "He's a dreamer" to "Wonderfully practical." Some were deplored that so much space had been wasted on so little whi le other exclaimed, "It works!" The "drawing music" presentation at MSU was a chance offering since it was substituted for a presentation which was to have been made by Marta Nagy of New York who was unable to attend. It seemed to be well received at MSU but let us remember that even The Three Stooges can be enjoyed even if they contribute little or nothing of an educational nature. The final evaluation will ultimately come from those who " take a chance."

Gymnastics at the MSU Institute Institute speakers in the gymnatics field included the following teachers: Carolyn (Osborn) Bowers-Ohio State University. Ernestine (Russell) Carter-Michigan State University (chairman). A. B. Frederick-Oak Grove Schools, Elsmere, Del. Walter Leinert-Director of Athenaeum Turners, Indianapolis, Ind. Rene Russell-Royal Academy of Ballet, Windsor , Ontario , Canada . George Szypula-Michigan State University. We wish it were possible to devote more space in this issue to the many fine presentations of the con27-

Picture d is Gwyn Jones, PE teacher at Toll Junior High School in Glendale, California with a typical group of beginning girls. Glendale schools have 22 trampolines in all and every student is introduced to the trampoline. Instructor, Gwyn Jones using the wall charts for instructional help to students.

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TRAMPOLINE TIME by Abbey Robinson

Editors Note: We are publishing a series of articles by Abbey Robinson, wife of Jess Robinson. Abbey is co路owner of Trampoline, Inc. and has been teaching trampol路 ine for the past ten years.

Trampoline is one of the most interesting and beneficial activity for girl: ::And women. There are so many fundamental tricks to learn that one never loses interest. We are going to dwell upon these fundamentals mostly in future issues. Fundamentals are so important before attempting airels. A PE teacher with only one trampoline and thirty students has a real problem. However, it's not an impossible situation. Divide the girls into two groups. Alternating classes on different days with the two groups would give more attention to each girl. While you are working with half the girls the others could practice another activity that requires less supervision . We believe that all girls would benefit more and learn faster by being split in two groups, using the trampoline every other day and getting more turns, than one group every day with very little chance to get on the trampoline. After a few classes put the girl who are more coordinated in one group. Both groups will be fun to work with. Perhaps you could form an after school trampoline club with one or both of these groups in order to give more practice time. The first step in teaching should be how to bounce. First leave the arms at the s1de and using the legs only. Feet about shoulder 's width apart when landing and together in the air with toes pointed and knees straight. Keep bounces low until student learns good balance, for high bouncing is an advanced skill. Keep everything in the center of the trampoline. Second step is using arms. Hands never meet in the air. Arms take a circular motion-down when feet are in the bed and lifting over the head when off trampoline. Use arms and legs together. Stress good form. Be sure the head is not down, for it can put the student off balance. We ask students to look at the end of trampoline while bouncing because they tend to look at their feet which brings the head forward. Next step is to stop bouncing by bending knees on landing. This should be practiced several times. Once controlled bouncing is learned you are ready to start fundamentals. Next Issue we will start on fundamentals.

Getting on and off trampoline should be the first step in teaching women's trampoline. If possible, have a mounting ladder available. Most manufacturers have these for sale . If you do not have a ladder, the student must pull herself up as she would getting out of a swimming pool. First putting hands on the frame and then sitting position on the frame. Getting off can be tricky for beginners. The student must be cautioned to stop bouncing before getting off. Other students could lend a hand to the girl dismounting (especially if using a ladder). Sit on the bed, scoot over the springs and then off. (reverse to getting on)

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Girls Gymnastic team from Florida State University, Tailahas- . see, Fla. Front row left to right: Betty Haas, Jane Fortenberry, Sue Conrad, Gail Sontgerath. Back row left Bonnie Paige, Eileen Cooper, Sharon Morton, Mary Ann McDavid, Susie Long. Below: Three attractive Mademoiselle gymnasts who attended the National Summer Gymnastic Clinic at Michigan State University.

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BALLET FOR MLLEG BY GRACE KA YWELL

Gymnastic ballet is a combination of the fluid line, grace, turn-out and poetry of motion of the classical ballet which was characteristic of the European court dances a few centuries ago, and the tumbling-acrobatic artistry of the peasants who performed for pennies in the market place. Combine all of this with a touch of modern dance and you come up with a new syllabus, an art all of its own , known in gymnastics as the Free Exercise . The sport of gymnastics is unique in that its ath letes a're artistic performers. They are judged on a point system which scores them for balance, flexibility, timing, poise, strength , co-ordination, flight , grace , tumbling-d ifficulty, musical interpretation and the use of ballet principles in form and line as mentioned above. The gymnasts are not judged by the tape measure, stop watch or machine which could accurately account for the number and difficulty of the tricks ,' but by human beings, who see, 路think and feel! The sport is then not much different than a theatrical performance wherein the artist must stimulate , arouse an d excite an audience. It is ttlerefore obvious that the gymnastic athlete must have not only a thorough knowledge of the difficulty of his sport, but the addItional training of ballet and theatrical projection and discipline. Ballet taught in the accepted, formal and traditional manner has always been known to takp a great deal of time to perfect. A would-be gymn;:J"t must spend several hours a week on the gymnastir : apparatus alone, and a majority still have their daily academic school work. If they are not in school they stili have to work at a job, so in either case, t hey have very little time, regardless of the possible excellence of the ballet training available to them in their area. A standard of ballet principles usable for gymnastics must be made ava ilable to aspiring young athletes and coaches alike. We have written the syllabus of ballet training necessary for gymnastic athletes , and set it up so that the athlete can progress from Class C to Class B to Class A and then to the Elite division , which is the advanced or Olympic type of training. Realizing that athletes must work with music from the beginning of their training, records are available to go with the exercises, with original music created for just this purpose by the famous composer-artist Johnny Finke. At this writing, the top ranking women gymnasts in the world today are Russian. The ballet influence has dominated the Olympic Compulsory Exercises . This is not surprising since we have long acknowledged the superb Russian Ballet performances. We should not fear the Russian champion. The greatest ballet artists in the world have left their heritage here in America. We know all the secrets of the Russian ballet training technique. We' have only to utilize it and then improve on it. Americans are quick to adapt new pro -

cedures. We can do that in ballet for gymnasts . Out of the long and tedious study of the classical ballet, we have taken only that which is necessary for gymnastics. Stepping Tones Record Company of Los Angeles have made this new teaching and home-practice aid available to all. The instructions are written , but are also directed by the voice of Glenn Sundby. Reali zin g that new teachers and students mi ght not understand the phrasing of the music and how to adapt the exe rcises to it from the written word , Mr. Sundby au dibly gives the directions while the music is pla ying. The syllabus takes the student from the first st eps at the ballet barre to the ad agio and all egro movements in the center floor. There are combinations of movements leading up to a routine. There is one wh ole album of music just for free exercise composition , played in various rhythms and tempos in a minimum of 60 to 90 seconds riuration. The select i,")n "Once Upon A T:me" , composed by Jay Lee and Lennye McGriff , h-'l s been seler:ted as a Class A exercise in difficult y ~ln d composition. Many teachers throughout th e cOl! ntry are already using our compulsory routine for individua l and cla ~ c, work and exh ibitions. It is suggested that this routine and phrasing be used to learn iree exercise composition and th e music can also be used for an original rout i n ~ at any time. In future editions of Mademoiselle Gymnast it is our aim to present teaching methods of artistic . rhythmic and balletic gymnastics in all forms . To hell' make available the wealth of existing materials and ideas , and to do this by the full use of music in gymna st ic programming.

Kim Morgan

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BALLET FOR GYMNASTS CLASS "A" FLOOR EXERCISE ROUTINE Music selec ted: "Once l"pon A Time"first ba nd on A side o f Heca rd # 1020. Ste p路 pin ~ To nes HecoTe! Compan y, P.O. Box ;,>:cn LI. Los An geles 64, California. Model: Kim Morga n. Lake K orth , Florida. Standin g forward from co rne r # L facin ~ corrie r #:t right (oat crossed in i ro nt of left in th e ballet ;) rd position, arms softl y r ound ed at s id es Jhin f!. arm s in fr ont of body

crossed ove r each other at about chest level. palms t~.lrned in toward s bod y, s win g th em o ut to the s id e in second pos iti on a nd a t the sa me time s lid e the rig ht foo t to th e side in 2nd pos iti o n, quickl y cross ing th e le ft foot in fr ont Ig lissadeJ .. . brush the ri ght foo t hi g h to the s ide ri ght with a jump on th e left foo t and land wi th both fee t togethe r. ri g ht foot c rossed in fr ont of left. (Asse mbl el . On g lissade the head is turned s lig htl }' to the ri ght , on the assembl e, the head is fa cin g front. . f\ ow reve rse th ese two steps e xactl y. FLOOR PATTERN

1. From standing at atl eriti on, the arms cross in front )1 body to throw them out to the side in second pas;路 ion on the glissade .

2. Brush right leg out to the side on the assem路 ble 3路4. land with right foot crossed in front of left on the assemble, bring arms down and cross in front again to repeat all on the left side. 5. Turn on toes to the right Arms over.head in 51h position, end with right fool crossed in front of le ft. 6. Right front split, keeping arms overhead. 7. Open arms to side and turn head to left. (End of first practice band)

8. Bend right leg, touching right toe to the left knee. He ad should be to the left, and not right as pictuerd. 9. Swing left leg around to the front, coming up on right knee, arms forward in first position. 10. Stand on left foot, right painted to 4th position back, right arm overhead, left arm extended to the side. 11. Slide and hop on the right foot, left leg extended to the back. The head and arms pictured above are not correct. The head should be turned to the right . . . the right arm should be extended to th, side, the left arm crosssed slightly in front of body to the right, both palms back.

II 14. From the cartwheel , end in lunge position, forming straight line from fingertips of right hand to toe of left foot. 15. Come up into an immediate sousous, right crossed in front of Jeft, arms overhhead in circle. (End of second practice band)

12. Slide and hop on the left, right leg extended to the back. Again , the head and arms are incorrect. The head should be turned to the left, the left arm extended to the side, the right arm slightly crossed in front of body to the left, both palms back. 13. Bring right leg down to cross in front of left, detourne (complete turn on toes 360 0 to the left) hop on left and take a little preparation to execute a cartwheel to the right . .. Not pictured.

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16. Not pictured is a preparation and tour jete to the le fl. 11. Preparation and grand ' ouelle tour.

18. Swing the right leg forwa rd and at the same time bend Iowan the left leg, both arms forward. 19. Execute a back/'roll to a knee scale. Hold pose momentarily and then place left knee on the fl oor and make a full tUfn On the knees to the right. (End of third pra ctice band) 20 ...from the knee turn end on left knee , right toe poi nted in front, left arm forward, ri ght arm to the side. Exactly opposite from that pictured. Hold momentarily. 21 . Stand on right foot , le ft le g poi nted to the back in 4th posi ti on, left arm overhead, right arm out to the side. The above picture is just the opposite. 22. Next sequence is a back walkover, not pictured. Back lunge, not pictured. (Step back on left with bent knee, right toe pointed forward, bend to the side left , arms extende dto the side in second position.l 23. Recover from the lunge by standing on the right foot, left leg extended to the back in 4th position, left arm overhead, ri ghl arm oul to the side. Not pictured. (End of fourth practice band) 24. Run lefl, right, left, hold momentarily on both toes, swinging both arms to the left, head to the left . 25. Run right , left, righ i, hold momentarily on both toes, left arm overhead, right arm to the side, head to the right. 26. Pique turn to the right twice . 27. A full turn on both toes to the right, end as oi ctured 28. 路Next sequence, not pictured: Pa s de basque forward right 'and left . . . hand stand . . . hold .. . splil wi th right leg forward, split wit h left leg forward, come up as in front walk over, turn on toes to face corner =2, arms overhead in 5t h position, ending with weight on right" foot , left toe pointed forward, right arm up, left arm extended to the side. (E"d of fifth practice phra se) 29 Run left ri ght, left and stag split leap on right QUick run to front walkover short, QUick run to front handspring. 30. Pique turn to the left. 31. Swing right leg back to land on right knee, extend le ft straight out in front. 32. Sit back on right foot, left hand on floor, right arm sweeps up 路high as body rises off foot, he ad turned 10 the left. 33. Sil back and swing both arms to the back, head down. 34. Rise to a sland on the left foot with bent knee , right leg straight back, arms forward , palms up. 35. Open arms high to the side. pal ms should be down, head turned to the side right.

for

gymnastic~

....

- ' -.,' -"", '' -.-".,,. ..........

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BALLET FOR GYMNASTICS No. 1000

Class C

SIDE B

SID£ A

CENTER FLOOR I-WARM UP 2-LEG RAISES 3-SIT UPS 4-BACK ARCH S-PUSH UP, BACK BEND 6-FORW ARD ROLL 7-FROG, HEAD BALANCE 8-HEAD STAND, (PARTNERS) 9-HEAD STAND PREPARATION IO-ON SHOULDERS, PIKE KICKS & ROLL 1 I-BACKWARD ROLL 12-CARTWHEEL 13-SPLIT FROM KNEE POSITION 14-RUN & LEAP 1010 15-ROUTIt-4E

BARRE I-DEMI·PLIE 2-POINT & CLOSE 3-RETIRE 4-ELEVE & RELEVE S-LEG ON BARRE STRETCH 6-POINT & BACK KICK CENTER FLOOR 7-SLIDE & POINT 8-STEP, CURTSY, BOURREE TURN " 9-SLIDE FORWARD & POINT 10-JUMPS II-COUP.de·PIED PRACTICE 12-COMBINATION

No.

Class B SIDE A

SIDE B

I-GRAND PLIE 2-DEMI·PLIE 3-BATT. TENDUS, GR ., BATT. 4-EXERCISE (FEET) S-ACHIL. TENDON STRETCH 6-RETIRE 7-SIDE STRETCH 8-'lIACK FLEXIBILITY 9-GEN. FLEX. (BACK) IO-DEVELOPPE II-BATT. ARRONDI 12-ATTITUDE POS. 13-SPLIT STRETCH 14-BALANCE 1S-BATT. en CLOCHE

I-SPLITS 2-STRADDLE STRETCH & TRUNK FLEXIBILITY 3-5 POSITIOt-4S (FEET) 4-5 POSITIONS (ARMS) S-COMBINED POS. 6-lst PORT de BRAS 7-BALANCE 8-2nd PORT de BRAS 9-GALLOP, SKIP, WALK 10-BASIC WALTZ (WALKING) II-POINT, CARTWHEEL 12-FORWARD ROLL 13-SLlDE, POINT, STEP, HOP 14-ROUTINE IS-SPLIT LEAP 1020

No.

Class A

SIDE A

BALLET FOR GYMNASTICS Manual for Class "c" Record # 1000 (Stepping Tones) Send $2.00 to: B~lIet for Gymnastics P.O. Box 777, Santa Monica, California

SIDE B

I-DANCE OF THE COMEDIANS (2 / 4) 76 seconds 2-TALES OF THE VIENNA WOODS (3/4) 73 seconds 3-RHUM8A RHYTHM (4 / 4) 65 seconds 4-MY OLD KENTUCKY HOME (3/4) 68 seconds S-SKIP AND' HOP (4 / 4) 64 seconds 6-VALSE BRILLIANTE (3 / 4) 81 seconds 7-FOSTER MEDLEY (2/4 & 3/4) 75 seconds 8-FUNICULI·FUt-4ICULA (6/8) 60 seconds 9-HUt-4GARIAN RHAPSODY NO.2 (2/ 4) 90 seconds 10-THIS IS THE BLUES (4/4) 79 seconds II-CARMEN (2/ 4) 90 seconds 12-RAGTIME 4" 64 seconds

"ONCE UPON A TlME"- (3/4) (Jennye McGriff.Jay Lee) 2 Bar Intro. 62 Bars Time 66 seconds S Rehearsal Bonds "Light And Airy" (Johnny Finke) (4/4) 4 Bar Intro. 8 Bars (4 / 4) 16 Bars (3/4) 32 Bars (2/4) Time 71 seconds S Rehearsal Bonds "MAZURKA" (3 / 4) I Chord Gliss. 69 Bars Time 68 seconds S Rehearsal Bands

F ROM STEPPING TONES

'1"'"

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