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VOLUME 1 No. 3
Summer 1966
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GONTENTS LEITERS .......................................................................... 4 EDHORIAL COMMENTS .................... Barbara Sundby 5 COVER STORY ...... :... _.,.......:.......................................;.. 6 . THE "KALEV" GIRLS ... ,.,;......................Mrs. Juri £stam g TUMBLING AND PHYSICAL FITNESS ............ Bob May 10 ' MLLL G. INSTRUCTION. SERlE'S .................................. .' Jacquelyn Kline Uphues 12 OLYMPIC BALANCE BEAM ROUTINE ....A. B. Frederick 18 TRAMPOLINE TIME ................................Abby Robinson 28 LET'S GROUP THEM RIGHT ........................Stan Burge 30 ' BALLET FOR MLLE. G.~ .............. ,...... :.,.... Grace Kaywell 32
COVER: Viva and Mila Estam along with Dorthy Perschke. poses for us in our "Gymwheels" for this MLLE. G in front of the Simta Monica Civic Auditorium (Site of the Annual Academy Awards presentations.)
Dear Editor: The Mademoiselle Gymnast is quite interesting to our girls and we read each issue with great enthusiasm. The Gymnaestrada Report with pictures was very good, how I wish I was able to be there, it must have been very thrilling. "Thank You " to Barbara Sundby for allowing us to share thi s thrill with her, it really must have been very wonderful to see. I found the "Spring" issue very interesting with the Ti idus Girls Gym Group and the report on the Modern Gymnastics Championships. This work really looks lovely, and we are very anxious to learn more about this type of work. We are very pleased to be able to send a small group of Australian girls, three and one reserve, plus Chaperon·Manageress to Dortmund Championships next month, so we are looking forward to these girls bringing back to us some help from these Comps. , The experience these girls gained by going to Tokyo, has improved the standard of work done by our senior girls, and I feel sure this too will be a great lesson. Many thanks for your help. Victoria, Australia Yours Sincerely, (Mrs.) Lee Caelli
* Dear Barbara: Each summer the Tallahassee Tumbl ing Tots have a Physic"1 Fitness contest consisting of 3 different events . A trophy is given to the tumbler (800 enrolled) who can do the most Chins (boy or girl). Also a trophy is given for the longest handstand and one to the tumbl er who walks the furthest on hands . I thought you might be interest in the results of this year's contest as two of our all time records were beaten. All three winners were girls (which proves which sex is the strongest: . Sincerely yours , Bob May, Director Tallahassee Tumbl ing Tots Tallahassee, Florida P.S.-I would be interested in finding out the world's records for girls or women in these three events. Or what other tumblers across the United States are doing. ED: We dont' know, but it might be interesting to find out. (For more on the Tallahassee Tumbling Tots see page 10,)
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Managing Editor - Barbara B. Sundby
Gymwheels, instruction, sequence photos and special interest items make up this current edition of MADEMOISELLE GYMNAST. We enjoyed preparing it for you and hope you find the material interesting, inspirational, and useful.
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The more we work with and see the potential of the Gymwheel, the more we would like to see them included in the Women's Physical Education Program in the more progressive areas of Gymnastics in the USA. The Gymwheel has much to offer in the way of fitness and co-ordination for the average student, with a challenge of skill and accomp/Lshment for the advanced student. What could be easier for the reluctant novice than to learn a cartwheel in the correct position by just rolling a wheel, or getting accustomed to being upside down , by going backwards and forwards in a slow controlled roll. The Gymwheel is neither a toy nor a fad , but an educational and competitive apparatus. In Germany, close to 10,000 competitions and exhibitions. watch and fun to do. We hope Monica under the direction of tured in this edition.
gymwheel enthusiasts actively participate in
It is spectacular, interesting and unique to to develop an exhibition group here in Santa Norburt Oil, a former German Champion pic-
We have taken six full pages to show the Olympic Championship Balance Beam Routine of Vera Caslavska. Leading into this sequence photo series are four pages in which we have a painting, a photo and drawings with an analysis of the routine by A. B. Frederick. This is a large section of the magazine devoted to one subject, but we felt it was well worth the space and time to give you the very best analysis. We would like comments if you wish to see additional coverage of this type of article using National and International Champions in sequence action. Along with our regular features we start an instructional series by Jackie Uphues. We hope you enjoy this edition of MADEMOISELLE GYMNAST.
COVER STORY We were so thrilled with the "GYMWHEEL" exhibition at the Gymnaestrada in Vienna that we imported sev-
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eral "GYMWHEELS" in various sizes from the 路 Turn meyer Gymnastic Equipment Company in Germany. Pictured here are a few photos of our current cover girls , Viva and Mila Estam and Dorothy Perschke , plus Ellen Perschl~e and Norbert Dill. Norbert Dill now living in the USA was the Gymwheel (or as they call it "Rhonrad " ) Champion of Germany for six years, and unless you see it , it is hard to imagine all th e different and difficult movements possible with a Gymwheel. Norbert was introduced to us by Leon ard Oigena an M.G. reader who was stationed in Germany with the USA Armed Forces, and met Norbert while attending Gymnastic competitions there. At left and below Norbert explaines the different foot. hand and body positions to the girls. While above and at right he demonstrates just a few of the movements used in competition. These Mlle. G. photos were taken after the Girls Gymnastic competition of the 4th An nual Santa Mon ica Gymfest (Labor day weekend) where Norbert thrilled the large crowd of spectators on hand with a "GYMWHEEL" exhibition.
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These Mlle. G. photos of the " Kalev" Girls were taken at Santa Monica Beach which the girls visited during their stay in California.
The Toronto
"Kale v" Girl Gymnasts By Mrs. Juri Estam
Fourteen young Estonian girl gymnasts from Toronto, Canada, the "Kalev Girls" recently appeared in Hollywood during their tour of the United States. Demonstrations in modern rhythmical gymnastics were given. It might be of interest to know that Estonia is a small country in North Europe, south of Finland , having a population of only one million of which 90 percent are behind the Iron Curtain. Estonians have several well known girl gymnastic groups in various parts of the world such as the famous "Idla Girls" and "Malmo Girls" in Sweden and the "Tiidus" and "Kalev" groups in Toronto. Although to a certain extent similar, these groups nevertheless vary considerably in their individual style and approach. The "Kalev Girls" on tour represent a group of approximately 200 girl gymnasts whose director is a lovely young gymnast and actress, Miss Evelyn Koop. The girls carefully plan and select exercises which stress femininity, flexibility, grace and balance. In these elements another is interwoven, dominating all the others. It is the sheer joy of movement, the happiness of being active, healthy and alive. These exercises are beneficial to all women regardless of age or profession. The "Kalev Girls" begin their demonstrations with
walking and running exercises. Simple as these basic human movements seem to be , they are actually very difficult to master and have to be properly taught and learned in order to be as beautifully performed as the "Kalev Girls" do, with featherlike ease and perfect grace, a special treat to view. The girls' group exercises of arm and trunk movements, swinging, knee-bending and toe-raising are very impressive. Of striking effect and interest are the group exercises with two red balls for each girl. The thumping sound of the balls creates a fascinating melodical rhthym which added to the movements of the white clad girls results in unusual effects of sound, rhythm and motion. Piano improvisations for the group are by Miss Anne Nurm. The role of music in Gymnastics is of outstand ing importance as an essential influencing and connecting element and also as a source of inspiration. Miss Koop is truly dedicated to the cause of advancing an utmost aesthetical as well as healthful branch of physical culture that has been compared to an entirely new kind of art. It has been defined as "a physical and spiritual rhythm" and it well deserves wide recognition and serious consideration to be included in the future Olympic Games. -9-
Becky Thompson is proof that a girl can be cute and feminine and still be strong. Tumbling develops balance and flexibility as demonstrated at left.
TUMBLING AND PHYSICAL FITNESS By Bob May, Director Tallahassee Tumbling Tots " It is my opinion that tumbling will develop more physical fitness qual ities than any other activity." To fully understand this statement, I must first define what I mean by "physical fitness qualities" and "tumbling". Let's list some of the more important qualities of physical fitness. They are: flexibility, strength, muscle endurance, cardio -vascular endurance, agil ity, speed, balance , coordination , health, abundance of ready energy, desired muscle tone, desired skin tone, proportional body weight and size, des ired muscle/ fat rat io, quick reflexes , timing, cheerful attitude and mental brightness. This . iist does not cover all the qualities , but these are the main ones we are concerned with developing, increasing or improving here at the Tallahassee Tum~ling Tots.
By "tumbling", I do not mean what most people associate tumbling with. That is, front rolls, headstands and pyramids. My definition includes much more than this. It comprises all the tricks and exercises taught to the tumbling tots, which may be anything from a back flip with a double twist on the mat and double flips with a full twist on the trampoline, to riding a unicycle over a see路 saw and building blocks while doing a handstand . It also involves a rigid flexibility and specialized exercise program. The Tallahassee Tumbling Tots has the largest enrollment in tumbling at anyone place in the United States. We enroll over 800 pupils each year, using eight teachers, teaching 32 different classes that meet twice a week. We have classes for children starting at six years old, classes for teen agers and also for adults. All of this is sponsored by the Tallahassee Recreation Department. The program is conducted in two different gyms, using six trampolines, eight tumbling mats, trampolets, vaulting tables , eight unicycles and three storage rooms full of small equipment including jump ' ropes, balancing gimmicks, stop watches, etc. The only cost to the pupil is a $4.00 registration fee each year. One of our best examples of the results of developing physical fitness is our top tumbler, Becky Thompson, who is twelve years old. Becky has taken tumbling since she was six and is great proof that a girl can be cute and feminine and still be strong. Becky holds all of our strength and endurance records here. She has done 20 chins, 50 one-legged squats on each leg, walkeq on hands 110 feet and held a handstand for two minutes and 22 seconds. She does a roundoff and four flip-flaps in 2.4 seconds. She has a never ending store of quick ready energy and always walks off with the running events in our Junior Olympic Track meets. Although tumbling works the body all over, it particularly develops the lower quadriceps and the gastrocnemius. All of the top tumblers I have even seen have one thing in common, and this is the development of the lower quadriceps (which is most definitely a "tumblers muscle"). Tumbling also promotes small hips and flat abdominals. It is not true that tumbling will make a girl flat footed, sway back, "muscle bound" , small busted, masculine looking, have hyperextended forearms, bow-legged, knock kneed, or anything else other than a beautiful figure-if it is properly taught. Actually, it is up to the tumbling director to try and correct things of this nature by assigning specialized exercises. By taking special pictures and giving certain tests, we are able to recognize these conditions sooner. Besides physical fitness, tumbling also develops poise and confidence. All of our top tumblers (the ones who do full twisters on the mat) have also made it to the top of the popularity list at school. So if you are interested in your child's physical fitness, enroll him or her in a local tumbling class. If there is not any tumbling offered in your town, go see your recreation supervisor or the principal at your child's school and encourage them to start a tumbling class. 路11 路
During the Tallahassee Tumbling Tots annual fitness contest Julie Hawkins, age 8 did 18 chins, Beck Thompson, age 13 walked 153'2" on her hands and Nancy Atkinson (pictured belowl age 14 held a handstand for 2 minutes and 46.4 seconds (without moving her hands). Champions all.
SERIES ON BEGINNING AND INTERMEDIATE TUMBLING, ACROBATIC, AND BALANCE MOVEMENTS For Floor Exercise by Jacquelyn Kle in Uphues 1956 U.S. Olympic Gymnastic Team, Vice President for Women - USGF and Techn ical Committee Member (United States Gymnastic Federation) 1965-1966, DGWS Gymnastic Guide Committee 1965-1967, Assoc. Women 's Editor-Modern Gymnast Magazine. Demonstrated by: Barbara Duerkop, Winnetka , III., Nancy Tarpey, Chicago, III.
FORWARD ROLL
FORWARD ROLL Instructional Analysis Begin in a squat pos ition and place the hands on the mat shoulder width apart. Let the arms lower head to the mat as the hips rise upward . Tuck chin to chest , push with feet, place back of head , then shoulders on the mat. As the contact is made, release hands from the mat, maintain a tight tuck position, reach arms overhead to horizontal forward position , keep shoulders and head forward , and roll to a squat stand. Teaching Hints and Progressions 1. Practice rocking in tuck position. 2. Straighten legs sl ightly before tucking head. Spotting Technique Not much spotting is necessary, except to help the student overcome fear and to be cautious. The spotter, while in a kneeling position , should use one hand on the back of the head to aid in the tuck and the other on the abdomen to aid in the hip lift. Related Stunts and Combinations 1. Dive Forward roll-Arms move from a low rear position to an extended reach forward-let the arms absorb the landing shock and lower head to mat. 2. Pike Forward roll-Place hands well in front of feet , let arms lower head to mat , and drag feet as head tucks until back of head contacts mat. 3. Pike Roll to Single Leg Kneeling position-To Lunge. 4. Lunge Forward Roll to Walkout-relate to the pike forward roll. 5. Arabesque -Scale Forward Roll io Body Wavekeep extended leg up and arms to the rear and then sideward as the head lowers to contact the mat. 6. Straddle Forward Roll to Jump % Turn-relate to principles of pike forward roll and bring arms overhead to aid in lift and turning movement. Note: The forward roll from a lunge, arabasque, scale or straddle may be executed with or without the use of t he hands. Several combinations of the above movements pre ceding and followin g the forward roll are possible.
PIKE FORWARD ROLL
PIKE ROLL TO SINGLE LEG KNEELING POSITION-TO
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FORWARD ROLL FROM LUNGE TO WALKOUT
FORWARD ROLL FROM ARABESQUE-SCALE TO BODY WAVE
FORWARD ROLL FROM STRADDLE TO JUMP HALF TURN
BACKWARD ROLL Instructional Analysis Begin in a squat position , rock backward to heels , tuck chin to chest, contact buttocks to mat, and keep hands over the shoulders with palms up. Keep a tight tuck position during the roll. Place t~e hands on the mat and push with the hands slightly straightening the arms to aid the roll over the head and lift of head. Straighten the knees slightly and place the' fett Or;) the mat returning to a squat position. Teaching Hints and Progressions . 1. Practice rocking back and forth in tuck position to upper back and hand placement on mat. 2. Initially place hands on mat in front of feet and rock forward 'slightly to gain momentum before backward movement is begun. " Spotting Technique .t In a standing position, grasp and lift at bot~ sides of hips to aid head lift. In a kneeling position , place one hand under hip or upper leg and lift. Do not push on back of student. Related Stunts and Combinations 1. Shoulder Balance-Over Shoulder Roll to Knee Balance. Combine smoothly-turn the head toward the bent knee , extend the free leg diagonally backward upward , and keep the arms far apart. Work for control and increased flexibility in the neck and shoulder regiQn. 2. Single Leg Squat-Back Roll Over Head- Knee Balance-extend the arms straight forward and incline trunk forward from h,ips to maintain balance during the squat-push with the hands and extend the free leg upward.. Relate to instructions for teaching the Backward Roll. 3. Single Leg Pike-Back Roll Oyer Head-Knee Balance-lean forward from the hips, reach with both hands to contact the mat and absorb the landing shock, 'and roll backwa rd as in the above mentioned stunt. , 4. Pike Back Roll to Lunge-again a good forward lean is necessary. Extend the free leg backward upward, push with the hands, and end 路in an arched lunge. 5. Pike Back Roll to Kneeling Forward Lean- The execution is the same as for the pike' backward roll, except that the arms (after the hand contact) are stretched sideward with the back of the hands to the mat during the ro ll. The arms move to an extended forward posit ion with palms down . Good flexibility in the neck and shoulder region is necessary.
BACKWARD SHOULDER ROLL TO KNEE BALANCE
SINGLE LEG SQUAT-BACK ROLL OVER HEAD-KNEE BALANCE
SINGLE LEG PIKE-BACK ROLL OVER HEAD-KNEE BALANCE PIKE BACK ROLL TO LUNGE
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PIKE BACK ROLL TO KNEELING FORWARD LEAN SIDEWARD ROLL Instructional Analysis From a kneeling tight tuck position with hands on mat beside knees , shift weight to right side, roll over onto back, and extend right arm and right leg diagonal 路 Iy upward in di rection of momentum. Roll to kneeling position on left knee with right leg extended sideward and arms sideward . Related Movement Begin in kneeling position on right knee with left leg extended sideward. Bend forward from waist, place right shoulder and right side of head on mat in front of right knee with right arm extended between legs. Roll from shoulder onto back and finish as in sideward roll.
SIDEWARD ROLL VARIATION OF SIDEWARD ROLL
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Caslavska during
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Olympic performance in Tokyo
OLYMPIC BALANCE BEAM ROUTINE Analysis report by A. B. Frederick
Caslavska (Tokyo Olympics Optional) Action-Reaction-B(6-7), B(40-41), B(49-51) and B(58-59) Balance (Sitting in tight pike)-B(46-48) In B-46 the gymnast prepared for this difficult balance hold. Slowly the legs are tucked in B-47. She then very slowly stretches her legs until they are very close to her head. Notice that her hands are not on the beam thus making the balance more difficult. She held posi tion B148 long enough to show control and mastery of the balance. Balance-B(42-43). The gymnast steps backward with the R. foot (B-42) placing the top of her R. foot on the beam while bending the L. leg slightly. The arms , held diagonally, make a straight line and balance out the position of the legs. Balance (Pose)-B(51-53) From a knee scale, the gymnast swings the back leg down to place the foot diagonally on the beam in front of the body. She stands slowly slightly turning R. and with a quick hand movement she shows the momentary pose position in B-53. Balance (assymetrical pose)-B-63. The gymnast steps L. in B-62 and immediately swings into the pose
in B-63. Note that the R. leg and the L. arm are bent while the R arm and the L. leg are stretched. This assymetrical pose ih held only . momentarily and provides a delightful break in a simple walk. Balance (one leg in squat; one leg stretched forward)-B-5. Balance (momentary front scale; arms side upward)-B(6 -7). In B-6 the gymnast coils by crossing her arms. As she flings the arms sideward and upward this motion of the arms helps her to stand gracefully. Although she is moving in this sequence, she might have held the position. There may be as many as three held positions on the beam after which the gymnast is penalized. Note the high position of the rear leg. Even with the trunk held vertically, it is parallel with the beam. Back Roll (head on the beam)-B(26-28). This movement is often confused with a back shoulder roll which is less difficult. In the latter the head comes off the beam and as a rule it is done more slowly. The back roll permits a higher position of the hips enabling the gymnast to stand with relative ease (B-28). This is not possible in the typical shoulder roll. -19-
Back Walkover-8 16-21). The arm circles seen in 8(15-16) lead the movement thus making it smooth. In 8-18 you will see that the gymnast is nowsupported by only a single foot and she is falling. Some girls have very loose backs and are able to do this move· ment with absolute balance until the hands make con· tact. This latter movement is less difficult and more acrobatic in nature. The element of danger is obvious in the Caslavska sequence. Without this element of danger, the movement cannot be classified as a real difficulty. Cartwheel-8(68-70). Notice particularly the splits position of the legs going into and coming out of the cartwheel. 8etter control of balance results since in bending the legs other levers develop thus complicat· ing the balance control. Cast (to a knee scale-8(48-51). As the legs are straddled (8-48 to 8-49), the gymnast quickly reaches through her legs to grasp the beam. 8etween 8-50 and 8-51 she holds her weight momentarily on her hands allowing a gentle descent of the knee to the . beam. Forward Roll-8-54 -57). Starting from the R. knee with the L. leg straight and about to slide down the side of the beam (8-54), she places her hands along the sides of the beam and rolls forward . The head is in contact with the beam in 8-55 and 8-56. The d irec· tion of the roli is felt on the spine and any action to either side is controlled with the hands. She finishes by placing her R. foot on the beam while the L. leg swings down (8-57) and provides the swing·mo· mentum needed for the stand which follows. Handstand (straddle down-a form of chest roll) -8(23 -26) . Notice the bend of the arms as the legs are lowered. This makes for a gentle and controlled roll down. High Kick (legs in splits position during the kick of R. leg)-8(33-35). The preparatory movement is seen in 8-33 as the gymnast swings both arms to her left then raises them thus leading the kick of the R. leg. I Jump (mount)-8(1-4). Without the use of her hands and with a single foot take·off, the gymnast uses the board and powerful arm lift to arrive on the beam with a single foot.
Scale (momentary; step into)-8(29-31). Notice how this scale, again momentary , is different than the one in 8 -7. Actually these momentary positions might simply be called stretched stands on a single foot. A true scale is usually a held position. Somersault (Layout; dismount) - 8-70-75). 1m· mediately upon the completion of the preceeding cart· wheel, the gymnast throws up and back stretching the legs (8-72) to a layout back somersault (8-73). She looks for her landing in 8-73 and 8-74. In 8-75 her landing is completed. Her legs bend no farther than shown in 8-75 and being slightly off balance steps quickly to 8-76. Finally she stands in 8-77. Except for the slight step , Caslavska showed excellent control of her landing in this very difficult dismount. The writer more often than not has seen such a dismount (very seldom layed out) overthrown so that the gymnast in· variably falls backward to her hips. This is a serious error which might be penalized by a full point deduc· tion. Splits Position of Legs-8-19 , 8-43, 8-70 and 8-69. Stand-8-57-8-58. Using her swinging L. leg and a downward·backward·upward swing of the arms, the gymnast stands on her R. foot and places the L. foot diagonally forward on the beam in front of her R. foot (8-58). Notice once again in 8-58 that the R. foot is curled under and both knees show a slight bend. Stretched Stand-8(40-41). This movement gains momentum from the arms. In 8-40 the gymnast is about to cross her arms in front of her body which is in squat stand. The arms are immediately uncrossed and raised sidewards thus assisting the body to stand with ease. In standing, her L. foot is b~ought to the rear of her R. foot. (A backward step) Caslavska uses the arm crossing and uncrossing many times on beam and floor to provide momentum. Have you noticed? Stretch to Stand-8(58-59). From the bent position in 8-58, with arms crossed in front of her body, the arms swing outward and upward as the gymnast rises high on the L. foot. Steps-8(8-10), 8(14-15) , 8(29-30), 8(3l-33), 8(41-43), 8(58-62) and 8(67-68). Notice in these se· quences that there is a definite turn out of the feet. The feet are placed diagonally on the beam rather than parallel with it. At times you may actually see the toes gripping the side of the beam. This position pro· vides a greater support and a more confident feel for the gymnast although it is not a natural movement for the beginner. Step and Pivot Turn at End of 8eClm-8(57 -62). The gymnast steps R. (8-57) and while pivoting on her R. foot her L. leg is swung in a small arc around the end of the beam 8-60 to 8-61). In 8-62 her L. leg con· tinues to swing forward and is placed on the beam in front of the R. foot. Turn (% single leg squat turn)-8(37-40). The movement starts with a "cocking" action of the arms in 8 -37. The arms are swung around to the R. They are followed shortly by the back leg which has been stretched in the lunge preceeding the movement. The impetus thus provides a rotating action around the support foot of the gymnast and she completes a half circle to her R. During the course of her exercise, Cas· lavska turns only five times. Each of these turns were 180 degrees or half turns. Other turns are found in 8(38-40), 8(45-46), 8'(60-61) and 8(65 -66).
Jump (leap)-8(10-14). This movement is a sim· pie leap from the L. foot to the R. foot. Notice how the gymnast swings her arms down (8-11) as the body bends slightly in preparation for ~he leap. Jump (leap)-8(43-45). Starting with the balance shown in 8-43, the gymnast swings the L. arm ' around in a circular motion timed with a sharp lift of the R. knee (8 -44.) She leaps from the beam to land on her R. foot. Knee Scale-8-5l. Notice the high, curved stretch of the L. leg. Lunge-8(64-65). The gymnast steps R. (8-64) into lunge (8-65) with the R. arm stretched upward. Lunge-8(35 -36). In preparing to lunge , the gym· nast gives a stylish little tap to the shin of the sup· porting leg (8-35) and then lunges it forward to 8-36. Lunge (% turn)-8(65 -66). From the lunge posi· tion in 8-65, the gymnast swings her R. arm down and around as she pivots on her R. leg. In 8-66 she is still moving and following this position she takes several steps. ·20-
Beat Board (end of beam) Running free leap one foot m t t rise to an arabasqu~ runnin t oun 0 momentary bent knee pose reverse circling of arms t~ \eps leap to grande jete, step to pose' straddle down to chest back to another step to bent knee scale few 9 wo eet stance body wave rise raise. Step to deep lunge (JA rurnm)g to high touch toes leg y S.tep left hop, raise right leg 4ste~rnrig~~S~ t~. mhomentar arabasque. nmg steps to swing Ie tu S o . Ig arabasque few runep Grasp beam switch leg ~ick ~\t left, rlg~t cartwheel to split. Straddle legs swing to knee se I ~ee tuck raise legs to tight V-sit. d.eep lunge bend knees to fi ca e rise t? deep lun~e bend knees to swmg rise to immediate swing turn ~~~ep \~ft S;t ~aCtk, k . to front roll pose. Step right to dee I . ? en. nee high arch body tended left leg scale St~ uan~~, Imm.edlate rise to momentary exscale 1f2 turn relaxed arnf s g. m to Jump squat, rise to bent knee high arch extended arms ove~~;d moveme~ts. Bend right knee with p step left to cartwheel . round off i ste bright t? bent knee position On the following 6' a ayou t ack dismount. a Caslavaska's Olympic wFnn1~gS bWeeamShOW rou t路me sequence at Tokyo.photo series of
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Robyn LeHunt, Australian Junior Women 's Champion demonstrates five aerial positions. Robyn is 14 years old. works diligently on the trampoline and is an up and coming contender for world competition.
Stag
TRAMPOLINE TIME by Abbey Robinson
Five aireal positions are featured in this issue They are pi~e , tuck, layout, straddle jump and stag. All of these should be learned before progressing to somersaults. These stunts are particularly attractive when performed by girls. Learn these bounces by bouncing low. High bouncing is an advance skill and r.an be accomplishpd when more balance is acquired . Keep all bounces in center of trampoline and kill your bounce if you begin to travel. Since these are form stunts, take particular care to point toes and kf'ep fingPrs and legs straight and together. An L shaped foot. fist type hand or bent knee will completelv ruin the effect of these bounces. Of course ballet training would be extremely valuable if it is available. These bounces can be effectively used in routines in place of free bounces. Or, if vou are not competing, remember form makes even the simplest stunt look good.
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LET'S GROUP THEM RIGHTBEGINNING GIRL GYMNASTS Stan Burge Assistant Physical Director, Birmingham YMCA
Girl 's gymnastics is growing by leaps and bounds the country over and especially here in the Southland. With this amplified interest, physical directors and coaches are confronted with larger classes of beginners , which increases the problem of grouping the class members so as not to have the more able members held up by the slower ones. If the class is divided into groups at random, it will take several weeks before ability will be recognized to the point that the class may be re-divided accordingly, and even here we have a problem of ability as to different pieces of apparatus. In order to greatly speed up the process and keep to a minimum the extent to which able members are held up, new classes of which the coach or instructor knows little or nothing as to ability, can be divided very qu ickly into the two areas of flexibility and strength. Since all girl gymnasts are at a definite disadvantage if they lack flexibility, have low strength- weight ratios, narrow shoulders and small hands, it seems only natural that to divide the class according to these factors would be to divide them according to ability. We have found this to be the case and think that the
new class divided in this manner will progress much faster than one divided any other way. The division of the class is a simple matter and should take no more than ten minutes for a class of average size. The class should be lined up in the warm-up formation with each girl positioned on her back. The instructor walks down the line, and she instructs each girl as she passes her to do a back pushup or arch -up as high as possible. The instructor, without stopping, can call out to each student a number1, 2, or 3, which designates her degree of flexibility and which the student remembers. . This shows only back. flexibility; however, cases hip flexibility will be proportional.
in almost all
Next comes the division as to body type. Each girl is told to stand and hold her hands in front of her. The instructor again walks quickly down the line, noticing each girl as to strength-weight ratio, width of shoulders in relation to hip size, and calling out a letter-A, B or C to each girl. The groups are then divided , each girl remembering whether she was 1-B, 2-C, etc. Now, let us look at each group and examine their potential. '
1-A-This group has both ideal flexibility and strength and should be well adapted to all events. If these girls have a dance background they should progress rapidly and make the best all·around gymnast. 2-A-These girls have a good strength weight ratio but lack the flexibility that is usually required. They shotJld adapt to most of the competitive areas but will have the most trouble with free exercise. They should dwell on flexibility work. 3-A-These are girls with strength and a stiff back, so obviously they will be weak in areas where flexibility is required. They should, however, do well in tumbling, vaUlting and uneven bars. This group should work heavily on flex ibility exercises. l.B-This group is flexible but their strength weight ratio is somewhat lower than the A groups. These girls should do fairly well in the areas of free exercise, balance beam and trampoline but will find the uneven bars and vaulting more difficult. 2-B-These have the same low strength ratio as 1-B but a-Iso have less flexibility. This group will likewise have difficulty with bars , vaulting and free exercises in addition . 3-B-These girls have neither great flexibility nor a very high strength weight ratio and will have a mod erate degree of difficulty with all areas. This group should work intensively on flexibility and also strength exercises. l·C-These are the girls with a very low strength weight ratio , but who have flexibility. This group, as all C groups, are usually overweight and will have diffi· culty even supporting themselves in a handstand . They will also have trouble getting off the ground for tumbling and leaping moves. This particular group should do better with walkovers , etc., than any other area if they have enough arm strength for support. 2·C-This group has the same strength problem and also more of a flexibility problem than group 1-C. These girls will have difficulty in most areas. 3-C-These are the heavy girls with a stiff back. They will have a great degree of difficulty in all areas and will probably never make good gymnasts unless they have an unusual· amount of determination. The relationship between these groups can prob· ably best be shown in the following manner. Group 1 . A
2
A
3·A
1
B
2
B
3 B 1 C 2 . C 3 - C
Probable Best All Around Tumbling, Bars, Vault, Beam Tumbling, Bars, Free Cal., Beam, Beam, Tramp Tramp Free Cal. Tramp
Areas
Probable Weakest Areas
Tramp
Free Ex
Vault, Tramp
Free Cal., Beam Bars, Tumbling, Vault Free Cal., Bars, Vault, Tumbling All Around All Around All Around
This division will result in nine groups which will be sufficient for la rge classes of fifty or more students. Naturally, all groups will not have the same number of students in each; however, it is usually surprising how near the same number each group will have. In smaller classes of less than fifty, the class may be divided into six sections by disregarding the C groups and dividing the class into only two strength categories of A and B, along with the same three flexibility categories. As the term or course progresses , it will be necessary to make a few spotted changes depending on individual characteristics; however, generally each group should progress relative to the original grouping.
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Standing at attention, ready to begin. Body placed forward , hand on the barre in front of the body.
Demi-plie, arm forward.
Back to stand, arm to side. Watch for the tendency to move the body weight back onto the heels.
BALLET FOR MLLE G
BY GRACE KA YWELL
DEMI-PLIE' This is perhaps the most usable of all the exerciseS beca use it is the simple beginning and ending of most dance steps, leaps and jumps. The athlete starts at the ballet barre : All of the exercises are given facing to the ri ght fi rst. The athlete tu~n s to fa ce the opposite directi on by turning in toward the bar re to face the other wa y. Everything must be practiced on the other side to avoid developing one side m ore than the other. We start with the feet together, no turn-out, facing stra ight forward .. . this is called first parallel. We bend the knees as fa r as they will go without liftin g the heels, but rathe r feel the heels pressing into the floor. This pressure creates a slight Achilles ten don stretch, b ut the a th-
Carol Ann Turner
First parallel position at the ballet barre.
lete will feel it more in the front and the side of the calf muscle. The free arm, which in this case, facing to the ri ght, is the right arm, shoots forward and straight, palm do wn , a nd just below the shoulder level on ~he bend. It returns to the side when the athl ete returns to the standin g position, however the arm must not be truly to the side, b ut slightl y fo rward before the chest line, and the body is still pl aced forwar d on the r ecovery . . . not bent at the waist or hips . . . but really placed forward. Secondly, we practice demi-p lie in the second parallel, with no turn-out. The feet are about twelve inches apart, dependin g upon the size of the athlete. The heels should be under the shoulder line. This is a ve ry important practice_ Think how many times we need a recover y in this posi-
Plie in first parallel, arm forward below shoulder level.
'l?
Return to stand, arm to side, but just forward in front of shoulder line.
tion with feet apart and with no turn-out. To find the athlete';; own individual placement of the second position, or second parallel, have him or her point to the side comfortably, and then put the heel down. For the second parallel the foot must also be turned forward . On the record you will notice that there is plenty of time in the music for the athlete to prepare the placement of the body forward before beginning to move. Also, on rhis record # 1000, we have only practiced each movement 4 times. The average physical education teacher does not have a longer time allocated to her. It is my suggestion that on some da ys each band of the ballet barre be repeated until the exercises are mastered, then progress on to the rest of the record. Some days you will want to only use the B side, which is the warm-up and exercises to prepare for acrobatic tricks. All of the exercises are very important, but it will be up to the teacher to decide which exercises to emphasize for her particular group. Demi-plie with turn-out of the feet: There are times when the athlete must master this exercise with a small degree of turn-out. As we have said before, 45 0 for the first position will be adequate for athletics. Heels are to~ether if the student has normal leg structure. If the student is very knock-kneed, you will see that this is an impossibility. Some teachers allow the student to work with the heels slightly separated. I advocate slightly crossing one heel in front of the other, not much, but just enough to allow for the physical condition to give the appearance of first position. The weight of the body is forward as described, but the weight on the feet is felt more on the outside of the foot than on the inside-this prevents any "rolling in" on the arches. The teacher must be aware that the student doesn't roll the foot outward either, which is just as bad. In accomplishing the right placement it is well to have the student think of placing the knees over the "little"
toe, rather than just over the toes. Thinking in this manner, the gymnast will really keep the instep up. "Rolling in" is usually caused from too much turn-out of the feet and from the gymnast not being really aware of the placement. I have found it helpful to actually make them do it the wrong way so that they can actually see and feel the difference. EXERCISE : In first parallel, demi-plie 4 times, right arm shooting forward below shoulder level, palm down, returning to the side on the stand . . . point to the side, heel down in second parallel . . . repeat the demi-plie 4 times . . . feet together . . . turn and face the other side . . . Repeat all on the left. Now repeat the band anll do all with turn-out of the feet, employing the above described rules.
in second parallel. Second parallel position.
Demi-pl~ in second pOSition.
First position with 45째 turn-out of the feet, body forward, arm low, ready to begi n.
Feet turned out slightly in position.
-33-
BALLET FOR GYMNASTICS No. 1000
Class C SIDE A
SIDE B
BARRE l-DEMI·PLIE 2-POINT & CLOSE 3-RETIRE 4-ELEVE & RELEVE S-LEG ON BARRE STRETCH 6-POI'NT & BACK KICK CENTER FLOOR 7-SLIDE & POINT 8-STEP, CURTSY, BOURREE TURN 9-SLIDE FORWARD & POINT 10-JUMPS l1-COUP.de·PIED PRACTICE 12-COMBINATION
CENTER FLOOR I-WARM UP 2-LEG RAISES l-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 l0-0N SHOULDERS, PIKE KICKS & ROLL ll-BACKWARD ROLL 12-CARTWHEEL 13-SPLIT FROM KNEE POSITION 14-RUN & LEAP 1010 IS-ROUTINE
No.
Class B SIDE A
SIDE B
l-GRAND PLIE 2-DEMI·PLIE 3-BATT. TENDUS, GR., BATT. 4-EXERCI.SE (FEET) 5-ACHIL. TENDON STRETCH 6-RETIRE 7-SIDE STRETCH 8-'IIACK FLEXIBILITY 9-GEN . FLEX. (BACK) 10-DEVELOPPE II-BATT. ARRONDI 12-ATTITUDE POS. 13-SPLIT STRETCH 14-BALANCE IS-BATT. en CLOCHE
'-SPLITS 2-STRADDLE STRETCH & TRUNK FLEXIBILITY 3-5 POSITIONS (FEET) 4-S POSITIONS (ARMS) $-;COMBINED POS. 6-lSt PORT de BRAS 7-BALANCE 8-2rid PORT de BRAS 9-GALLOP, SKIP, WALK 10-BASIC WALTZ (WALKING) II-POINT, CARTWHEEL 12-FORWARD ROLL 13-SLlDE, POINT, STEP, HOP 14-I\OUTINE IS-SPLIT LEAP 1020
No.
Class A
SIDE A "ONCE UPON A TIME" (3/4) (Jennye McGriff.Jay Lee) 2 Bar Intro. 62 Bars Time 66 seconds 5 Rehearsal Bands "Light And Airy" (Johnny Finke) (4/4) 4 Bar Intro. 8 Bars (4/4) 16 Bars (3/4) 32 Ba.s (2/4) Time 71 seconds 5 Rehearsal Bands "MAZURKA" (3/4) 1 Chord Gliss. 69 Bars Time 68 seconds 5 Rehearsal Bands
BALLET FOR GYMNASTICS Manual for Class "e" Record # 1000 (Steppi ng Tones) Send $3 .00to:
SIDE B
Ballet for Gymnastics P.O. Box 777, Santa Monica, California
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 4--VALSE BRILLIANTE (3/4) 81 seconds 7-FOSTER MEDLEY (2/4 & 3/ 4) 75 seconds 8-FUNICULI·FUNICULA (6/8) 60 seconds 9-HUNGARIAN RHAPSODY NO.2 (2/ 4) 90 seconds 10-THIS IS THE BLUES (4/4) 79 seconds ll-CARMEN (2/4) 90 seconds 12-RAGTIME 4 4 64 seconds
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