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VOLUME 1 No. 4 FALL 1966
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THE MOPERN GYMNAST P. O. Box 611 Santo Monico, California 90406 Dear Sirs: Please send me a Subscription to the Modern Gymnast magazine: Name ________________________________________ Address City _____________ State ______ Zip_ __ PLEASE CHECK BELOW
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The Nation's Gymnastic Equipment Specialists • • Side Horse • Short Horse & Buck • Horizontal Bars • Balance Beam • Still Rings • Parallel Bars
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VOLUME 1 No. 4
FALL 1966
CONTENTS LEITERS .......................................................................... 4 YOUR MADEMOISELLE IS EXPANDING ........................ 5 MADEMOISELLES ......................................................... 6 ORANJE GIRLS ................................ Bruce Frederick 8 "SCATS" IN SEQUENCE ........................................... 10 CHANGING TRENDS .......... . ............Vannie Edwards 12 CASLAVSKA ENGRAVING ........................... Milan Med· 16 MADEMOISELLE GYMNAST INSTRUCTION ................ .. Jackie Uphues 18 MODERN GYMNASTICS ...................... Bruce Frederick 26 BOOK AND FILM REVIEWS .... .... ................................ 30 COVER: Sketches of Modern Gymnastics by Milan Med. CENTER FOLD: A Milan Med engraving of World All· Around champion Caslavska's pirouette catch on the uneven bars made especially for the Czechoslovakian Gymnastic delegation was presented to many officials and gymnasts as a souvenir of the 1966 World Games in Dortmund. The center fold reproduction was # 9/200 signed by the artist and autographed by the Czechoslo· vakian team members for your publ isher.
Dear Barbara: I enjoyed the last issue of Mademoiselle Gymnast very much. So much published nowadays deals only with advanced pupils and teaching situations, but this last issue gives even a struggling unskilled teacher many helpful hints. Please print more articles such as the Tallahassee Tumbling Tots and the picture series on Beginning and Intermediate tumbling. . I was intrigued over the article about the Gymwheel. Could you give me information as to whether these Gymwheels are available in the United States, what is the cost, and is there a school or clinic whereby a person can learn the proper use of this apparatus. Here's hoping that future issues will carry more articles that can be carried into classrooms with limited facilities. Others like myself are not skilled nor have the opportunity to study, but must depend on pUblications like yours to im· prove our work . Keep up the good workSincerely yours, Mrs . Barbara Padgett Borger, Texas We imported the gym wheels we have been using from Turnmeyer·Werke, Hagen, Germany. However we understand there are a couple of companies considering going into production of them, one on the West Coast and another in the Midwest. If we get a production date we will let you know. GIRLS NATIONAL HIGH SCHOOL GYMNASTIC CHAMPIONSHIPS? Dear Editor, As an avid reader of Modern Gymnast and Mademoiselle, as well as a girls' gymnastics coach, this is the only reliable means of communicating to the nation what our country has done to build and promote competitive gymnastics. We are under C.I.F. (Calif. Interscholastic Federation) regu· lations for the year 1966·67 and hope to have full standing in 1967. The gymnastics coaches of Marin County would very much like to see "C.IJ." for girls' in other areas, eventually, having a State "C.IJ." Gymnastics Championship and possibly a National Championship for high school girls. Of course, in other states, it would be called by the state's name and follow with the Interscholastic Federation. What do you think? We would appreciate hearing from all schools interested in this type of program as well as the "pros and cons". AAU Pacific Coast 'Judge Yours sincerely, Margaret Schaul is, Sec. Redwood Higl School Larkspur, Calif. Girls' P.E. Dept. TUMMY TROUBLE
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 correspondence, Box 777, Santa Monica, California 90406. Copyright .1966 all rights reserved by Sundby Publications, 410 Broadway, Santa Monica, Cal ifornia 90401.
Dear Editor, I have eagerly awaited the arrival of my first edition of the Mlle. Gymnast and upon rece iving it am very pleased with its contents . However, I (and a great deal of my friends with my problem) would appreciate a column of exercises to strengthen the stomach muscles, since we are unable to do glide kips and other moves requiring rigidity, strength and control, as well as a slim abdomin! As for me I'm 5 feet , 8 inches tall and weigh 130 pounds, and have been told by many I'm not overweight but simply out of proportion, this you can see in my flabby stomach. An article on our problem would be of great aid to us all. Sincerely yours, Troubled One ED.-Abdominal development progresses with experience in gymnastics. We will feature an article on abdominal exercises in a future edition of Mlle. G. as part of a new series on gymnastic training for women.
Publisher - Glenn M. Sundby
Managing Editor - Barbara B. Sundby
Beginning with the March edition Vol. II No . 1 we will publish Mademoiselle
Gymnasf every other month for a total of five issues in 1967 and six in 1968 and thereafter. You may ask how is this possible when we are so late with our final edition for 1966 (Vol. I No . 4). Thanks to your wonderful support . the growing interest in Women 's Gymnastics. plus the special efforts of Mrs. Jackie Uphues who has been responsible for some very fine instructional articles in the last few editions , we have grown to this point of expansion. In addition to Jackie, our associate editor for women in both the Modern Gymnast and Mademoiselle Gymnast, we have procured the services of Bruce Frederick to take over as Chief-editor for Mademoiselle Gymnast and to supervise the ever expanding production of materials in the field of Gymnastics for girls and in other related areas.
Mr. Frederick is no newcomer to the world of publication. In recent years he has contributed three books and a host of professional articles in American and Foreign journals. This has been in addition to his regular M.G. feature , "Gymnastics in Physical Education ". Bruce's helpful participation in two NAtional Institutes on Girl's Sports (spon路 sored by D.G.W.S. and the Olvmpic Development Committee) and his ability as a creative teacher qualifv him as a person who is capable of developing Mademoiselle Gvmnast in harmony with the explosive growth of gymnastics throughout the United States . The success of the efforts of our wowing staff will be measured to a great extent by your own active oarticipation. Let us hear from you! Express your desires, send reports. contribute something of yourself to add to and to com路 pliment our best efforts for continuing growth in a very exciting field. Sincerely, Glenn & Barbara Sundby
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Above: Muriel Grossfeld at Gardena High School in Los Angeles during one of her many stopovers in the Sout~ern California area recently presenting a demonstration of Gymnastics along with a question and answer session. Muri el has a busy schedule with her "Club 15" program, clinics and officiating for gymnastics, not to mention making instructiona l films, writing and television appearances. At left: German Modern Gymnastics group putting on an exhibition at the opening ceremonies of the World Gymnastics Championships at Dortmund. At right: The second annual Northwest Gymnastic Clinic (Yoshi Hatano, dir.l held at the Univ. of Oregon Tongue Point Job COrDS Center, Astoria. Oregon, Dec. 26-28, 1966, attracted some 50 Mademoiselle Gymnasts for the three day activity. Pictured here teaching teachers a new Vaulting technique are staff members Verona French (closest spotter to camera), of Pacific Univ., Silvia Morre (far right spotter) of Oregon State Univ., and Shirley Veeck (far right standing) of the University of Oregon.
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Gymnastic display given by primary gymnasts ranging from 6-11 years of age
Class practicing skipping
ORANJE GIRLS HIGH SCHOOL BLOEMFONTEIN, SOUTH AFRICA Miss J . C. Abrahams . Director of Gymnastics for the Oranje Girls' High School in Bloemfontein , South Africa has informed us about her growing extramural program in gymnastics. Work is prescribed and divided into six age groups with girls between the ages of seven and seventeen in regular participation. All school children in South Africa are compelled by the Education Department to participate in physical education during regular school hours. The teachers draw the most talented pupils from these classes in order that they might have extended training in movement and gymnastics. The competitive program includes approximately thirty girls some of whom perform both compulsory and optional work. The girls compete individually and as a team with the current emphasis being devoted to free exercise. The photographs were taken during weekly lessons. They are illustrative of the girl 's work during practice sessions. We especially note an apparent emphasis on movement training as practiced in England mixed with typical work in gymnastics. We wish Miss Abrahams and her charges a prosperous new year in gymnastics.
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S. Krohov 12, gallops on balancing form
L. Norval 14, practicing free standing
C. LeRoux 16, dismounts from beam
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Pictured at upper left is Wendy Cluff in a Kick stage balance on the Balance Beam . Pictured at left is Cathy Rigby in a back head Beam. At lower left, Cathy demonstrates a back walkovel Above, Susie Singrin performs a cast to a back At top right, Margie Schilling from a support "L" through to a support. At right, Beverly Marquette does a Glide kip on with an immediate straddle over the low bar to Below, Lisa Nelson is pictured performing a free position on the low bar of the Unevens.
"SCATS" IN SEQUENCE. Coach "Bud" Marquette and his "Scats" (Southern California Aero Team) from Long Beach , Calif. dropped into our office and Gym recently for a pic路 ture taking session. When we had completed all the group photos we brought out our GRAPH路CHECK Camera and took a few sequence snaps of some of the girls in action.
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to a Handstand, Pike roll down to a shoulder roll to a hand and knee scale balance on the to a standing pose. 1ip circle on the Low bar of the Unevens. position, does a rear drop and single leg kip the low bar to a snap catch on the high bar lying position. front roll single leg squat through to a support
VOTE FOR THE SCATS The "Scats" will be in the finals of the "Ted Mack Amateur Hour" to be televised March 19th. Take a look at this fine group of girl tumblers and then cast a vote for them by Post Card. (Ted Mack, P.O. Box 191 , Radio City, New York 10019.
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Drouginina of Russia on the unevens and sequence strips of a portion of her floor exercise routine.
THE CHANGING TRENDS AND CONCEPTIONS IN WOMEN'S GYMNASTICS ON AN INTERNATIONAL LEVEL Report by Vannie Edwards 1964 Coach of the U.S. Olympic team 1966 member of the coaching staff of the World Games Gymnastics Coach-Centenary College, Shreveport, La .
II. Flexilibity-Flexibility was evident in the control of their movements and skills. In almost every case they showed 180 degrees in their splits, leap positions, and balance beam and floor exercises. Flexibility is a necessity in all exercises. An example of its usage is especially necessary in such exercises as the one-arm walkovers. III. Endurance-The tempos in all exercises had picked up considerably. The work in all exercises was much more dynamic. There was an evidence of more packed exercises and a definite height in the dance movements. The tumbling was much higher and stronger. There was much more exploiting on the parallel bars. IV. Agility-Agility was particularly evident in floor exercises and the balance beam. For example, the floor patterns were very free and gave the impression and appearance of being spontaneously committed . Many longitudinal and lateral movements on the balance beam was a result of agility. One important factor in combining all four factors is self-discipline. For example, along the lines of strict weight control by gymnasts.
The 1966 World Championships in Germany were very exciting. I was greatly impressed with the originality and creativity of the outstanding gymnasts in the world. Their originality and creativity was observed by the new movements in every exercise. I would say that there were four factors that were prevalent and made contribution to changes in the sport. These fou r fa cto rs we re st rength, flexibility, endurance, and agility. These viewpoints , in most cases , are my own personal interpretation and I could very well be wrong as right. I. Strength-The girls appeared to be much stronger, having much more strength and explosive power that was evident in their exercises. I could see strength moves especially in the presses and power involved in the vaulting. I do not feel that the girls developed this through working with weights. This was developed by some sort of isometric drilling which was performed after the workouts.
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FLOOR EXERCISE-movements in floor exercises showed much assurance and used body movements much freer than in the past. The ballet style and technique was still evident but it moved from the stock ballet style and used lots of style and free movement as was possible. There was a great change in using the hands in free position , showing as much expression as possible through gestures of head , shoulder, and arms. They definitely showed tremendous changes in tempo. All the top gymnasts were using an outstanding series of movement on the floor with the combination of agility and body rolls. There is an obvious trend in tumbling showing more tumbling passes. By 1968, they will be using more alternates and a twisting series. There will come to be more combined passes of front and bC'lck tumbling. For example, the walkover, aerial, etc. The American team was the only team with strong front tumbling and this made quite a favorable impression. Many countries used the folk dance, typical of their culture while the Americans used a degree of modern jazz. This could very well become an acceptable trend. I made a personal survey concerning time in floor exercises and found that the top thirty girls worked from one and twelve seconds to one and five seconds. The most outstanding floor exercises were worked from one and twelve seconds to one and twenty seconds. You may use your own judgment in the type of exercise that is being executed. I suggest that the floor exercises be worked in one and eight seconds. BALANCE BEAM-There seemed to be strong and complete control upon arrival on the beam. Difficulty is important but the confident control position in the opening series left a lasting impression upon the judges. Movement on the beam has speeded up from five passes to as many as ten or eleven passes. Variation in tempo is very important and seems to be showing at least one sort of strength skill in the exercise and a distinct turning series. Difficulty has increased a great deal and has become a necessity to show from two to five acrobatic moves with a lot of variation. There is possibly a trend toward tumbling dismounts on the beam (cartwheel, backward somersault, etc.). Most of the gymnasts here seemed to be working in the one and forty-five second time period . I felt that jazz movements and sharp execution left a favorable impression. UNEVEN PARALLEL BARS-This activity showed a great deal more originality than the 1964 Olympics in Tokyo. The girls have shown more strength and endurance on the bar and the top gymnasts are showing from four to seven or eight release moves in their exercises. There appears to be a lot of twisting moves in many of the exercises.
Kharlova of Russia showing tremendous lift in pre-flight in vaulting.
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Astachova of Russia on the balance beam
In scoring all events and particularly the bars, the gymnasts who showed more originality and creativity and not so near a perfect routine scored higher than the gymnasts who used stock exercises in very near perfect execution. This is pure speculation but I am certain there is nothing true about it, but to me it appeared to imply this. Swinging and releasing movements dominated the bar exercises. HORSE VAULT-Speed on the reproach-the angle of takeoff and lots of wild mistakes which have been translated into new vaults set the tempo. The Yamanshita, full twisting hand spring, full twist cartwheel , and the one and one-fourth twisting cartwheel will be obvious and prevalent in the 1968 Olympics. The onflight and off-flight is much higher due to the fact that the girls are running faster and at a much more direct angle of takeoff. The most important thing to remember is to overcome the fear and have courage. In closing, I might say that I enjoyed this experience very much . The competition was much more exciting and dynamic than the Olympics. I feel that I have been educated and now have an even better understanding of international gymnastics. I want to extend a hearty congratulations to the men's and women's teams of the United States. I may be a little prejudiced. I was especially proud of the women's team in their jump from ninth to sixth place on the international scene. I feel that their coach, Mrs. Colloner, the coaching staff and the training camp at Grossinger's Resort had a significant bearing on their fine showing.
Young Russians Kharlova in a forward split on the balance beam and Kautschinskaya (winner of 3 Gold Medals) performing a pirouette catch on the uneven bars.
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SERIES ON BEGI NNING AND INTERMEDIATE TUMBLING, ACROBATIC, AND BALANCE MOVEMENTS For Floor Exercise by Jacquelyn Klein Uphues 1956 U.S. Ol ympic Gymnastic Team , Vice President for Women - USGF and Technical Committee Member (U n ited States Gymnastic Federation) 1965·1966, DGWS Gymnastic Guide Committee 1965·1967, Assoc. Women's Editor-Modern Gymnast Magazine. Demonstrated by: Barbara Duerkop , Winnetka, 111., Nancy Tarpey, Chicago, III.
I HANDSTAND -
HANDSTAND OR HAND BALANCE Instructional Ana lysis- (SEQUENCE I) From a stand with both feet together take one small step forward, place hands on mat with fingers apart, move shoulders slightly forward, kick the back leg up· ward. and push with forward foot bringing both feet together overhead with knees straight, body slightly arched, and toes pointed. The head is between the shoulders with eyes focused on a spot between the hands. Keep arms and legs straight throughout the entire balance and do not allow shoulders to continue forward while the legs swing upward. To recover from underbalance , bend elbows , press down on heels of hands, and drop head slightly downward. Teaching Hints and Progressions l. Learn the tip·up, tuck, and roll out forward. 2. Learn the tripod-roll out forward. Progress to the tripod·headstand·roll out forward. 3. Learn the headstand from a pike and a lunge to a rollout. 4. Practice the handstand against the wall. Place hands far enough from wall so that the feet will be about 2" from the wall when balance point is reached. The wall should only be used as a check , . against overbalancing. 5. Practice handwalking forward by overbalancing the feet and shifting weight to one band as the other hand moves forward . Spotting Tech nique The spotter should stand to the side of the student and slightly in front of the spot where the hands are placed. The forward leg of the spotter is used to brace the student 's shoulder and thereby prevent it from moving too far forward. The hands are used to hold the legs and help arrive at the balance point: Related Stunts and Combinations . l. Handstand",forward roll (SEQU~NC[ I) Analysis-Kick to a handstand position, drop head, allow shoulders to move forward, and pike slightly thereby moving the center of gravity beyond the base of support. Bend the arms, tuck the head and chin toward the chest, and lower back of neck and upper shoulders to mat in front of hands. Pass through a momentary kip position before bending knees and rolling forward to a stand with feet to· gether. . Spotting-Grasp the lower leg near the ankle with both hands and give support to aid in lowering the head to the mat. Compensate for inadequate arm strength. . . ·18·
II HANDSTAND -
2.
FORWARD ROLL
SCISSORS TO SCALE
Handstand scissors to scale (SEQUENCE II) Analysis-Kick to handstand with split legs, scis· sors or change legs while inverted, and land on straight leg raising arms and upper trunk to scale position. No spot is necessary, but the spotter may aid in proper positioning of body in scale.
BACKWARD ROLL THROUGH HANDSTANDBACKWARD EXTENSION Instructional Analysis (SEQUENCE III) Begin as in the backward roll and roll until the hands and back of head are in contact with mat and legs are overhead in a straight leg pike position with the eyes focused on the knees. The head and hands push off the mat, th~ arms are extended forcefully,
III BACKWARD ROLL THROUGH HANDSTAND (BACKWAR
and the body is extended upward and slightly backward toward a straight arm hand balance. The final movement involves a tilting of the head back , slightly arching the body, and fully extending the arms from the shoulders. Hold momentarily. The descent may be executed by: 1) a walkout, or 2) whipping the legs down to a stand by a rapid and vigorous hip flexion and a hard push from the shoulders and hands. In the second method the feet and hands are momentarily off the mat before landing.
2.
Practice falling backward with straight legs from a stand after the stunt is mastered from a tuck backward roll. The hands may be placed at the side of the hips with fingers pointing forward to cushion landing before the hands are moved to a position over the shoulders. If forward lean is sufficient, hands need not be used. 3. To improve the whip down landing, kick up to a momentary handstand and whip legs down to mat. Emphasize the arms push from the mat. Spotting Technique The spotter stands to the side of the student and lifts the thigh to aid the extension . Assistance is especially necessary if performer extends too soon and falls forward.
Teaching Hints and Progressions 1.
Practice from a long sitting position with the hands in position over shoulders. The spotter must give a forceful assist.
EXTENSION)
A_ WALKOUT TO SCALE, 路19-
Relatea Stunts and Combinations 1. Back extension roll-walkout to scale (SEQUENCE III A) , arabesque, or split (SEQUENCE III B). Spotting fo r split-Stand to side of forward split· ting leg. Once legs are split in the inverted posi· tion (SEQUENCE III B 3), place right hand on knee of rear split leg and guide legs, especially left, into proper position-wide split. Keep weight of student over left arm as right arm is lifted from mat to ac· commodate cut of left leg forward. Spot only until student gets proper feel and timing of movement Photo note: III B 3 and 4-The legs should main· tain a wider split position with a stronger lean on the supporting arm. 2. Back extens ion roll-whip down-jump 1f2 turn in preparation for a forward dance movement. 3. Back extension roll-chest roll-knee balance or forward kneeling lean in tuck posit ion (SEQUENCE III C and D) . Spotting for chest roll-place one hand on thigh , the other on tummy and cradle the body to absorb shock on initial trials. CARTWHEEL Instructional Analysis-(SEQUENCE IV) Stand with the right side toward the mat, arms sideward , and head turned to the right looking over the shoulder. Kick right leg sideward-upward and place right foot on mat well ahead of supporting left leg. Kick left leg sideward-upward and raise left arm overhead, not across chest. Place right hand with arm extended ahead of right foot. As right foot pushes from mat, place left hand ahead of right hand and assume momentary handstand straddle position. Momentum will cause shift of weight to the left hand and the eye focus shifts to left hand as the left leg descends to the mat. As the right leg descehds , look toward the right arm overhead to help keep layout position. At no time is there a pike position. Teaching Hints and Progressions 1. A good handstand is a necessary pre·requ isite. 2. Practive a modified cartwheel right. Kick up the legs from a forward position as for the handstand. Place the right hand on the mat and then place the left hand ahead of the right. Just before the body reaches a handstand position, 1/4 turn into the cartwheel position or momentary handstand straddle position. As the left leg descends, 1/4 turn to face hands or start ing position. Spot the same as for the cartwheel. (Also called a forward-back· ward cartwheel or cartwheel % turn in and V4 turn out) . (SEQUENCE V) 3. Practice on a painted line in the gymnastium. 4. Practice to both sides. Spotting Technique The spotter stands behind the student opposite the spot where the hands are to be placed. As the student kicks the first leg upward, give support and direction by grasping her left hip with your right hand and her right hip with your left hand. In the handstand phas-e, the spotter's hands are not crossed. At the finish, the hands are crossed left over right. Related Stunts and Combinations 1. Cartwheel left-1/ 2 turn left-cartwheel right 2. Cartwheel on one arm-near arm (SEQUENCE VI) and far arm (SEQUENCE VII) . Spot same as for cartwheel keeping body weight of student over supporting arm. 3. Cartwheel to side handstand-forward roll or walk· over out. ·20·
B. WALKOUT TO SPLIT
IV SIDE CARTWHEEL
V FRONT BACK CARTWHEEL -
4.
MODIFIED CARTWHEEL
Cartwheel to scale. The spotter may aid in proper positioning of body in scale by holding the free leg up under thigh and aiding in the chest lift with a mild support at the waist or "tummy" .
D. CHEST ROLL TO FORWARD KNEELING LEAN
6. Cartwheel from sitting position (SEQUENCE IX). Spot at waist and under thigh of kicking leg. Note that same arm and leg are extended forward in sit路 ting position.
5. Cartwheel to split (SEQUENCE VIII). Spot as for cartwheel or as described for back路extension roll walkout to scale.
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VIII CARTWHEEL SPLIT
IX CARTWHEEL FROM SIT -22-
ROUNDOFF Instructional Analysis-(SEQUENCE X) Run forward with a few steps, skip step on the left foot (right leg kicks forward-upward and arms raise to shoulder height), place the right foot on the mat, bend forward at the waist, and immediately whip the hands to the mat directly in front of the body, not to one side. The right hand will make contact first with the f ingers pointing to the right side of the mat. quickly followed by the left hand with the fingers pointing back toward the starting point. With a proper placement of hands the twisting movement will be automatic. The left leg moves upward and the right foot pushes hard off the mat. The body executes a 1/4 turn to a side handstand position and the feet and legs come together. At the same time the body makes another % turn, the hands push vigorously from the mat, the hips flex, and the legs whip down to a stand close to the hands in front of the center of gravity. The body will be off balance backward if executed properly. The head is kept up during the stunt. Teaching Hints and Progressions 1. Practice the run and hop or skip step alone. 2. Practice a "modified" mule kick or whip down from a handstand as in the back extension roll. 3. Practice the stunt very slowly at first to get the feel of the move. Review and relate to the front-back cartwheel (SEQUENCE V). Without a preliminary run, place hands on mat , kick up to a handstand position , twist the body while inverted, and lower legs with feet together without the whip down or push off. Spotting Technique Little or no spotting is necessary. The student should have mastered the handstand and cartwheel. Related Stunts and Combinations 1. Roundoff-back roll to handstand-whip down or walkout 2. Roundoff-jump 1/2 turn-dive forward roll-headspring
X ROUNDOFF
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XI HEADSPRING TO ARCHED LANDING
HEADSPRING Instructional Analysis-(SEQUENCE XI) From a standing position or a short run and two footed take off, place hands on mat and bend arms slowly until the front part of the head touches the mat in front of the hands. Raise legs off floor in a pike position and move hips forward until the center of gravity is beyond the base of support. As the legs whip forcefully upward-forward, aided by a good head and hand push, the hips lift upward and the legs acting as levers, whip the body over into an arched landing position with the arms overhead and the head back. Teaching Hints and Progressions 1. Practice from a piked headstand position without preliminary steps. 2. Practice landing first with feet apart, knees bent, and toes turned out. 3. Practice by placing head and hands on a rolled mat about 10" high to give added height to the stunt. Spotting Technique The spotter assumes the same position as for spotting the neckspring (student moving toward the spotter's left). In the early stages the spotter uses the right hand to control the fall off balance and to aid the leg whip and the left hand to lift the small of the back and assist the snap to an arched position. After the timing of the leg whip is mastered, the right hand moves to a shoulder left and aids in controlling the landing. Use two spotters if possible. Photo note: SEQUENCE XI 3-Note early bending of the knees, a common fault resulting from an insufficient hand push from the mat and a weak thrust or extension of the body. Related Stunts and Combinations 1. Headspring-walkout (SEQUENCE XII). Spot the same as for headspring to arched landing. 2. Headspring-straddle or long sitting position with lean (SEQUENCE XIII). Analysis-Performance is same as for arched headspring until hips move forward to displace the center of gravity. Allow hips to move farther forward and whip legs forcefully forward in a direction more parallel to the mat. The heels contact the mat first followed by the buttocks. This last movement is offset by a vigorous forward snap and lean of the upper body. Spotting Technique-Spot as for headspring, but assist the pause before the leg whip and support lower back strongly to cushion landing in sitting position. 3. Dive roll-headspring. Finish dive roll in squat stand and immediately headspring forward.
XIII HEADSPRING -
LONG SITTING FORWARD LEAN
XV NECKSPRING FROM FORWARD XVI NECKSPRING - WALKOUT
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XII HEADSPRING -
WALKOUT
NECKSPRING-KIP UP-SNAP UP Instructional Analysis-(SEQUENCE XIV) From a long sitting position, roll backward with straight legs into a tight pike position with weight on the back of the head and neck, hips high, and hands palms down on mat with fingers pointing toward the shoulders. This much resembles the backward roll. Now rock forward a few inches and then forcefully and rapidly extend the body upward - forward with a hard push from the hands and head and then continue downward to a lan'ding with the feet together, knees straight, back arched , arms overhead and head back. Teaching Hints and Progressions 1. Always include preliminary roll backward as it aids timing and rhythm. 2. Practice kip and arch motion without hand push and with shoulders remaining on the mat. The student's feet land with bent knees and the back and hips are in an arch above the mat. Practice the same movement with a shoulder lift to a bridge. 3. Practice landing first with feet apart, knees bent, and feet turned out. Spotting Technique The spotter kneels on one knee with the other leg positioned for balance. In the first stages (student kipping to spotter's left) the spotter uses the right hand to aid whip of legs upward-forward and the left hand to support the small of the back. Once this leg action is learned, the spotter uses the left hand to support the back and the right hand to left at the shoulder. Use two spotters if possible. Photo note: SEQUENCE XIV and XV 4-Again the hips must extend with greater force and the hands must push vigorously to achieve more height before landing. Related 'Stunts and Combinations 1. Learn neckspring from a deep piked forward roll. (SEQUENCE XV). Place the hands a good distance in front of feet and execute a very slow roll forward with a momentary drop of the toes on the mat. Just before the weight reaches the upper back, execute the neckspring. 2. Learn the neckspring with an arched body to a stand on one foot followed by a step forward with the other foot (walkout). (SEQUENCE XVI). Spot as for the neckspring and then a forward walkover giving an assist to the lead or thrusting leg. Photo note: SEQUENCE XVI 4-The legs must split with greater speed , force , and angle of split. SEQUENCE XVI 5-Keep free leg extended forward upward above horizontal while body moves up to a stand. 路25路
MODERN GYMNASTICS A Compulsory Free Exercise Without Hand Apparatus One of the differences between "modern gymnastics" and the four event program of the Olympic all-around for women is that the former employs hand apparatus (i.e. ball, rope, silk, etc.) in a compulsory and optional routine . Modern gymnastics might be described as competitive modern dance. Modern gymnastics also includes a compulsory and optional floor exercise without hand apparatus. This particular form of gymnastics is more eurhythmics than floor exercise as practiced in the Olympic program. We hastily add, however, that routines of this type should help the gymnast to move with freedom and
thus is valuable training for the development of good connective movements in floor exercise. The compulsory exercise presented here was prescribed by a committee of women responsible for conducting the 1965 edition of the World Championships in Modern Gymnastics in Prague. This was the second time such an International event had been scheduled. Modern Gymnastics is a very new branch of the gymnastic tree. Denmark will be the host for the 1967 Modern Gymnastics Championships. Use the music and figures as you will. You might start by walking through the pattern and add specific movements gradually (you might even substitute your own movements during the
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learning phase). Note: Roman numerals represent sections of the total exercise. Arabic numerals represent parts of the sections. Black represents the left foot and white represents the right
foot when explicit directions for the feet are given. These refer· ences will be found on both the diagram pattern and music accompanying the figures. 27·
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BOOK REVIEW Report by Jackie Uphues A .Bruce Frederick, WOMEN'S GYMNASTICS. Dubuque, Iowa: Wm. C. Brown Company, Publishers, 1966 The author is well known for. his many articles and book reviews in the capacity of Education Editor of the " MODERN &GYMNAST" magazine and has a previous publication, GYMNASTIC ACTION CARDS, 1965. He has also contributed "creative" gymnastic writings for the 1965-67 DGWS GYMNASTIC GUIDE, the First and Second National Institutes on Girls Sports, and National AAPHER Conventions . Mr. Frederick is currently working toward his doctorate. The reviewer especially recommends Chapter 4, "Spotting - The Detective Work of Gymnastics ". As a summary, the author includes a most creative and thought-provoking " Check List For Spotting and Learning Gymnastic Movements" and then uses the check list to analyze a familiar gymnastic movement, the forward handspring. He has developed an extremely helpful outline to obtain clues about learning and spotting. Gymnastic enthusiasts at all levels will appreciate reading the Chapter - "An Index to Advanced Gymnastic Skill," which captures the four complete optional routines of Olympic and World Games All Around Champion, Vera Caslavska, through film drawings. The "Index to a Champion" includes not only an alphabetized pictured dictionary of her every gymnastic movement, but also coaching hints on proper technique and execution with continual reference to the important principles of body mechanics and physics. This book will serve as ' an essential preparation for the beginning teacher as well as the beginning performer. BOOK REVIEW Educational Gymnastics - Balance Beam by Helen Sjursen Hoctor Records, Waldwick, N.J. 1966 $5.00 Thi s is the most comprehensive book we have seen to date on the subject. In addition to a description of a majority of the most common elementary, intermediate and advanced movements, the author includes twenty-four combinations giving coaches and gymnasts a wide choice from which to design original routines. Following the combination section a variety of complete routines is included for three levels of skill. We feel that this book merits "Golden Library" inclusion and we commend the author on her hours of work in the preparation of this volume.
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FILM REVIEW The Training of Judges for Girl's Gymnastics 16mm, 1600', b&w, sound on floor exercise section only Rental $35 .00; Purchase $160.00 Order: Gymnastic Project Committee (DGWS) 2241 Hillside Ct., Walunt Creek, California The Division of Girls and Women Sports (AAHPER) via the gymnastics projects committee composed almost entirely of women in the Northern California region under the leadership of Barbara A. Heisler have produced an excellent tool for the training of judges . There is nothing to compare it with in the field of gymnastics for boys and men. Therefore , it represents a unique historical development for gymnastics in the United States. (Ask the judges in the Eastern Intercollegiate League what they have been using for a judges training
film!) This new film is a training device and a test as well. A complete script-workbook accompanies the film . The sample page accompanying this review will give you an idea of the kind of thing you will find in this complete training package. No double others will follow the lead of the girls in their endeavor to upgrade the practice and art of judging but for this first effort we congratulate all of the ladies involved and thank them for their leadership. Members of the committee are: Miss Juner Bellew, Or. Blanche Drury, Miss Barbara Heisler, Ch., Miss Barbara Saltzsieder, Mrs . Andrea Schmid, Miss Kathleen Shelly, Miss Jorgine Smith, Miss Marylinda Wheeler. Note: All of the above are members of The San Francisco Bay Counties Board of Women Officials . FILM REVIEW Gymnastics for Girls - 16mm, 30 min. Color Association Films, 600 Madison Ave., New York, N.Y. Rental $7.50; Purchase $150.00 Muriel Grossfeld and her younger sister show the development of routines on the balance beam and uneven bars at the novice level. The routines are also described in a pamphlet accompanying the film . These routines have been used as compulsory exercises at the novice level. Mrs. Grossfeld is seen in the beginning performing her competitive floor exercise. Later in the film she performs on balance beam and uneven bars. Each part of the exercises presented are enhanced by slow motion where necessary and active spotting is demonstrated. Quality of color production is excellent.
FOR GYMNASTICS Manual for Cla ss "C " Reco rd # 1000 (Stepping Tones) Send $3 . 00 to : Ballet for Gymnastics P.O. Box 777, Santa Monica, California
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