Mademoiselle Gymnast - March/April 1968 by USA Gymnastics

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March-April 1968

Volume 2, No. 4 CONTENTS

FROM THE PUBLISHER ................._................................ 111 MODERN GYMNASTICS WORLD CHAMPIONSHIPS.. CENTER PHOTO .............................................................. MODERN GYMNASTICS JUDGING RULES ...................... MODERN GYMNASTICS COMPULSORY ROPE ROUTINE HELEN'S CORNER .......................................................... NEW BOOKS FOR MADEMOISELLE GYMNAST ............ USGF WOMEN'S COMMITIEE REPORT ........................

4 6 16 18 20 28 29 29

COVER: Program of the III Modern Gymnastics Championships of th e World held in Copenhagen, Denmark on November 18th and 19th, 1967.

Dear Mlle_ G. Subscribers: For those of you, our wonderfu l readers who may still be looking for your November-December edition of Mile'. G. We did not forget you, we did not publish a Nov.-Dec. issue. We have changed the volume year of Madem oiselle Gymnast to correspond to the school yea r (Sept.-June), therefore Volume 2 has been a little spread out in frequency. The June-July (Vol. 2, No.5) ed ition will be the final issue of Volume 2 (for those of you who are interested in binding your Mademoiselle Gymnast copies). Volume 3 of Mlle. G. will start with the September-October edition.

With this edition of Mademoiselle Gymnast we feature reports and photos from the '" Modern Gymnastics Championships of th e World. This is a wonderful event for women and we would hope that our presentation in this issue of Mile G. will stimulate you into a competitive program of Modern Gymnastics in your area. We will continue to follow through and publish all the reports we receive on Modern Gymnastics rules, routines and regulations. By working together with the UNITED STATES GYMNASTIC FEDERATION we are sure the TEACHERS OF AM ERICA through our educational system can develop teams and competitions of exceptional skill and scope. We would also like to see the USA field a team for the next "Modern Gymnastics World Championships" which will be held in Bulgaria in 1969 (also the year of the next Gymnaestrada in Basel, Switzerfand). Sincerely, Glenn Sundby Publisher

400 ft. Super 8 Color film

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

MADEMOISELLE GYMNAST is published bi路monthly during the school year (Sept.-Oct., Nov.-Dec., Jan.-Feb., March-Apri l, MayJune). Price: $3.00 per year, 75c single copy. Subscription correspondence, Box 777, Santa Monica, California 90406. Copyright 1968 all rights reserved by Sundby Publications, 410 Broadway, Santa Monica, California 904..01.

of the '" MODERN GYM NASTIC WORLD CHAMPIONSHIPS available Your editors took over 800 feet of the action at the III World Modern Gymnastic Championships in Super 8 Color and have edited it down to a 400 ft. reel. The film is a cross section of the competition from Rope, Hoop, Free Floor and Team routines. This film contains some full routines and parts of others to give you as a teacher a visual reco rd of the indidvidual movements and patterns of Modern Gymnastics. (and the price is just $35.00 for the 400 ft. reel). Write to: '" Modern Gymnastic Film, Box 777, Santa Monica, California 90406.

Opening team lineup in KB Hallen, Copenhagen, Denmark for the Third World Championships November 18th, 1967.

GYMNASTIQUE MODERNE First place winners in the Team competition with Hoops from USSR.

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Princess Margrethe of Denmark.

FIG Women's president, Mme. Villancher and competition interpreter Helmut Rohnisch.

III GYMNASTIQUE MODERN WORLD CHAMPIONSHIPS Report by Barbara B. Sundby attend. However, Israel did send a couple of observers as did South Africa (4), Japan (3) and the USA (5), Mr. Frank Bare representing the United States Gymnastic Federation, Mr. George Gulack (Vice-President of the FIG) and his wife, Fay, and Glenn and Barbara Sundby covering the event for their gymnastic publications the MG and Mlle. G. With the pagentry of the opening ceremony and the introduction of Princess Margretheof Denmark who was the Official Protecter of the competition the 3rd World Modern Gymnastics was under way. It was a very enjoyable event to watch from the compulsory

The Third World Championships in Modern Gymnastics were held in Copenhagen, Denmark on November 18th and 19th at the KB Hallen (see Mlle. G. Vol. I No.2 for report on II World Championships in Prague, Czechoslovakia). Eleven groups from 15 countries took part in the competitions. Belgium, Bulgaria, Cuba, Czechoslovakia, Denmark, East Germany, West Germany, Italy, Poland, Russia and Yugoslavia entered teams in the competition (Italy had a team group only) and France, Hungary and Venezuela had individual entries only. Israel had a team entered but at the last moment due to some administration difficulties did not

" ace in the Team competition.

The sad and tearful girls team from Bulgaria who made the highest score in the team drill, but placed third because of a technical deduction.

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Compulsory and Optilonal Rope routine win ners: Hana Sitniaska (Czech), Elena Karpoukhina (USSR) Ute Lehmann (E, Germany).

Over-All Champions; Elena Karpoukhina (USSR), Ute Lehmann (E. Germany), and Lubov Sereda (USSR).

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I. Karpoukhina , Elena 2. Lehmann , Ute 3. Sereda , Lubov 4. Ovtchinnikova, Natalie 5. Sitniaska , Hana 6 . Bougusovska. Hana 7. Filipova, Krassi M. g . Binder, Irene 9. Guigova, Marie 10 . .Langov3. Jerina II. Halbritter , Rosemarie 12. Patocska, Maria 13. Robeva, Nechka 14. Bojarska, Grazyna 15. Pedroso, Aleman Sonia 16. Radovanovic Catjana 17. Fritsch, Zsusza 18. Szozopanska. Krystyna 19. Klussendorf . Maren 20. Obucina , Ivana 21. Veberovic, Gordana 22. Albertini Hero , Thais 23. Grimminger , Heide 24. Estivin, Anne - Marie 25. Broberd, Lone 26. Papp, Judit 27 . Rosel. Elizabeth 28. Vander Mersc h. Gilberte 29. O' Farrill , Alejandro 30. Kornvig , Joan 31. Cabre ra , Carmen 32. Pinon. Josette 33. Desterc ke , Annette 34 Van Nul!e!. Luthegarde 35 . Pinto Barros, Dais y 36. Raynaud , Anne-Marie 3 7 . Vestergaard, Birthe 38 . Sa nchez, Maria 39. Florowska, Ziwille I

Country

Rope( c -o )

USSR

18 . 366 18 .333 18 .100 17 . 933 18 . 399 18 .132 17. 766 17. 766 17.333 17 . 899 17. 699 17 .733 17.966 17.599 17 .233 17 .399 17 .532 17 .466 17.666 16.833 17.066 16. 799 16.933 16 . 63 2 16.633 16.466 16. 600 16 .233 15. 999 16.099 16.266 IS.733 15 . 666 15.566 15.366 14.433 14 .366 14 .499 8 .4 66

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USSR USSR Czech,

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Bul. E. Ger. Bul. Czech. E. Ger. Hun. Bul. Pol. Cuba Yugo. Hun. Pol. W. Ger. Yuga. Yugo. Cuba W. Ge r. Fra. Den. Hun. E. Ger. Bel. Cuba Den . Yen . Fra . Bel. Bel. Brazi l Fra. Den. Yen. Pol.

Hoo p 9.4 00 9.266 9. 300 9.400 9 . 100 9 . 066 9.000 8 .933 9.466 8 .600 8 .900 8.833 8 .166 8 .63 3 9 .200 8 .933 8. 633 8 . 3 66 8 .266 8 . 700 8 .333 8 . 600 8. 500 8 . 766 8. 633 R. 300 8. 133 8 .433 8 .400 8. 166 8. 100 8. 433 8. 200 8. 133 8. 466 7 .633 8.333 7.866 8.066

Free Fl oo r Total 9.433 9.366 9.533 9.500 9 . 333 9.433 9.466 9.233 9.100 9.300 9.200 9.200 9.466 9.300 9.033 8 .966 9.066 9.200 8 . 600 8.900 8 .800 8 .666 8 .400 8 .433 8.566 8.866 8 .866 8 .566 8 .666 8.466 8 .333 8 .533 8 .433 8.566 7 .566 8 .533 7 . 800 7 .166 9.066

37 .199 36.965 36.933 36.833 36.832 36.631 36 . 232 35.932 35.899 35.799 35.799 35.766 35.598 35.532 35.466 35.298 35.231 35. 032 34.532 34.433 34.199 34. 065 33.833 33. e31 33.832 33.632 33.599 33.232 33 . 065 32.731 32.699 32.699 32.299 32.265 31.398 30.599 30.499 29.531 25.59 8

rope routine on through the team compet itions , the individual events and the fina l award presentations, As it was our first attendance at a Modern Gymnastic championsh ip we cannot write with air of authority or as a cr it ica l analyst, but from what we observed and heard , took note of and photographed we hope our report will help acquaint you with th is wonderful competitive event for women. A country may enter from one to a maximum of ten girls in the competition, 6 for the team drill event and three and an alternate for the individual competitions. The five events scored in this competition were: The six girl team drill with hoops, individual compulsory routine with the ju mp rope, optional routine with Mlle. G. Managing Editor, Barbara Sundby ~nd USGF Director, Frank Bare represent the USA at the Modern Gymnastics Championships .

Free Floor-without hand apparatus: Lubov Sereda (USSR), Natalia Ovtchinnikova (USSR), Krassi Filipova and Nechka Robeva (Bulgaria),

Hoop Routine winners: Marie Guigova (Bulgaria), Elena Karpoukhina and Natalia Ovtchinnikova (USSR).

Town Hall reception and welcoming address by Copenhagen Mayor to the Officials and delegates to the III Modern Gymnastic Championships of the World (if you look closely you can spot four of our USA delegates in the front row , , , the fifth was taking the photo).

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the jump rope, optional with the hoop and optional floor routine with no hand apparatus. Awards were pres?nted to the best team drill group , the highest total for an individual in all four events and for each of the three events (compulsory and optional rope scores were combined). In the team competition the Mademoiselles from Russia placed first with 18.575 , the team from Czechoslovakia was second with 18.375 and the Bulgarian girls received the highest score from the judges (and the crowd approval) 18.700, but because of a technical deduction of .500 for using hoops that were four centimeters too large (a little over an inch) , they placed third instead of being the World Champions they deserved. The Russian girls were the most difficult to judge as they used two hoops in their presentations, one eighty centimeters and the other ninty centimeters in Size (within the 80 -90 centimeter official rule size). There had been no regulation against using two hoops, but undoubtedly there will be by the time the IV World Championships are held in Bulgaria in 1969. Team work, style, sureness and good difficulty was the formula for success for the Russian team. The Czechoslovakians had the most beautiful composition and clean gymnastics along with what many considered the best musical arrangements, however they did not receive the highest scores from the judges and that is what Maria Guigova (Bulgaria) who won the Gold Medal in the Hoop competition, pictured here during her Free Floor routine.

counts. Cuba who tied for fourth place with the East German team were a big hit with the audience, but technically they devoted too much time to Cuban folk dance and rhythms and not enough to gymnastic move路 ments. The East German team had a nice clean rou路 ti ne, but nothing outstanding. The sixth placing Italian team had good style and composition but not enough difficulty. Yugoslavia was seventh followed by West Germany, Poland , Belgium and Denmark the host country (Denmark received the honor to hold the cham路 pionships as Copenhagen was celebrating its 800 year old anniversary in 1967. Along with the team Gold Medal the girls from Russia also picked up two more Gold Medals, five Silver and one Bronze in the Individual event competitions. Sixteen-year-old Elena Karpoukina won the over all championship with 37.199 points. Ute Lehmann of East Germany placed second with 36.965 , Lubov Sereda and Natalia Ovtchinnikova of the USSR were third and fourth with 36.933 and 36.833 and Hana Sitni-

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anska and Hana Bougusovska of Czechoslovakia were fifth and sixth with 36.832 and 36.631. Miss Karpou路 kina (cover girl on the Jan.路Feb. Mlle. G.) the over all winner was marvelous in ev.ery event, (had too much ballet in her free floor r6'u tine but it was beautiful). Hana (Micechova) Sitnianska of Czechoslovakia (1965 over,all World Championship) won the compulsory and optional rope exercise Gold Medal, Maria Guigova of Bulgaria won the Gold Medal for her Hoop routine and Lubov Sereda of Russia was the Gold Medal Winner in the Free floor routine compet ition, Filipova of Bulgaria lost the Individual Free Floor Championship because she went 4 seconds too long (beyond the 5 second grace period). At this point it may be of interest to note that of the almost 40 girls performing, not more than 7 used tapes all the others had an accompanist at the piano which added immeasurably to the effectiveness of their routines. Modern Gymnastics is a comparatively new competitive event (the first World Championships were held in Budapest in 1963) with many guidel ines yet to be established, therefore there was considerable discussion after the competition of what the future trends should be in order to draw a clearer line between bal let, acrobatics and dance (folklore). Also more stand ardization of what hand apparatus to be used and a

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more precise code of apparatus measurements. (In the 4th World Championships to be held in Bulgaria in 1969 Ball Work will comprise the compulsory event). Perhaps the most important points brought out after the competition were the two different pulling forces of view on Gymnastics with Ballet or Ballet with a little bit of Gymnastics. Most of the officials felt the winners used too much Ballet and if this trend is accepted it could get out of hand and lead this competition away from its main purpose as a Gymnastic event. A Danish

Ballet dancer from the Royal Theatre was quoted by a local newspaper after seeing the finals on TV ... "The Royal Danish Ballet has many World Champions among its members" ... Perhaps this is a bit extreme, and even as beautiful as it was , it was too much Ballet for a Gymnastic event and we are sure it will be toned down in the future. All in all it was a wonderful experience filled with exciting moments and movements that are difficult to describe. How many different ways can you leap and

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turn in a Free Floor routine without aerial acrobatics, handstands or tumbling? You would be surprised at the beautiful moves and combinations. The patterns with the jump rope and the hoop are unusual to say the least and at times could be considered a bit too theatrical, but wherever the pattern or trend of this graceful and beautiful gymnastic event may lead in the future, America belongs. We have a vast source of material in our schools and when you combine, Ballet Modern Dance , Gymnastics and throw in some hoops . balls and jump ropes along with music and folklore the possibilities are unlimited (as are the number of teachers and students that can become involved. In order for you to better understand this wonderful World competitive event for women we are reproducing the compulsory rope routine exercise with the musical score of the III World Championships. Also following is a brief review of the rules as they were in effect at the championships. '

GENERAL RULES FOR JUDGING VOLUNTARY EXERCISES IN MODERN GYMNASTICS Quality of execution, movement corresponding closely with musical selections and the technical combination of movements are three basic elements for which a judge of MODERN GYMNASTICS must be held accountable. Ten points constitutes the highest possible score and the breakdown of points in particular areas is similar to the Olympic four. 1. Difficulty .................................................................... 3 2. Combination and technical value ............................ 2 3. Execution and general impression .......................... 5 The gymnast performs her exercise one time only. The exercise must contain a variety of elements revealing the technical preparation of the gymnast and reflecting the unique requirements of each of the prescribed elements. (Balances, pivots, leaps and suppleness are examples.) Exercises with hand apparatus (ropes, balls etc.) must contain movements involving both the right and the left arm . The particular features of the hand apparatus selected dictate the manner in which it should be used. The exercise must be dynamic and varied in its composition. The 12 x 12 meter area is to be used in its entirety. The execution of the exercise must correspond to the rhythm and mood of the music. Difficulty of the exercise must conform to prescribed elements .

DIFFICULTY DF EXERCISE The voluntary exercise must contain six elements of difficulty one of which must be high difficulty. Missing elements are penalized by .50. A table of difficultty elements is appended to the rules to serve as a guide for performers and judges. Repeated elements are counted as though they had been performed only once during the exercise. If similar elements are repeated but in wholly dissimilar combinations they may be judged on their individual merits and counted separately. International elements of difficulty repeated but in such repetition involve the opposite of the body (the other leg or the other side) are not to be judged as repeated movements.

COMBINATION OF THE EXERCISE 1. Faulty combination is penalized as follows : Average faults ............................................................ .10 Serious faults .............................................................. .30 Examples of Average Faults (Minus .1 D) a. Poor design: monotonous, space insufficiently used, lacking clarity or logic in design etc. b. Repetition of elements more than three (3) times c. Character of movements insufficiently harmonized with the character and rhythm of the music. d. Insufficient diversity of elements, poor range or diversity in movements such as suppleness, leaps or poor variety or combination of effort qualities such as punch, float , dab, glide etc . e. Insufficient use of hand apparatus; static positions or movements involving the hand apparatus which are inappropriate. f. Illogical connection of particular elements. Examples of Serious Faults (Minus .30) a. Evident lack of harmony between movement and music b. Absence of logic and monotonous design c. Particular monotony of elements

EXECUTION AND GENERAL IMPRESSION Faults of execution are penalized as follows: Small ................................................................ .10 Medium ............................................................. 20 to .30 Serious ............................................................ .50 If the gymnast has several small faults in the execution of a single element they are penalized separately. If a serious fault is compounded by other small or medium faults these latter faults are not considered separately and only the serious fault is penalized. 路18路

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ELEMENTS FOR COMPOSITION Elements without hand apparatus Body Waves-Finishing on pointed toes in place; the same but with a considerable body arch; finish in scale; finishing with a lateral inclination on pointed toes; 1/4 turns in combination with any of the above. Bending the Body Forward and Backward-From a stand; from splits; lateral as well as forward and backward flexion; forward flexion with mixed positions of legs (bent and straight, sitting on heel of one foot other leg extended with forward flexion of chest on knee); bending and twisting from the knees. Balances-Traditional gymnastic balances and many unusual positions are mixed throughout the exercise. Balancing after leaps; balances on the toes. . Turns-Full turns or more. Turning in balance. Two successive turns, etc. Leaps (Jumps) and Combinations Thereof- Arched jumps ; combination of two jumps ; Jump with 1/2 or full turn; scissors; split leap; cat steps; tour jete etc. Altitudes (Static Positions)-Splits; seats; lying positions The above are merely examples of expected classes of elements of difficulty and contain none of the Internationally defined special group in each genre which are rated as exceptionally difficult. At a later date we will endeavor to present these elements in pictorial form which will do proper justice to the French translation and supply a visible guide rather than the poorer method of presenting such elements in descriptive form. Elements with a Ball 1. Throwing and catching the ball with contrasting efforts 2. Side stepping while tossing the ball from one hand to another finishing in a balance. 3. Turning and bouncing the ball in various ways. 4. Holding the ball while performing body wave. 5. Scissors jump passing the ball under the legs. 6. Throw the ball up, full turn , and catch. 7. Roll the ball up the arm. 8. Throw the ball while performing one leap and catch the ball while performing a second leap. 9. Figure "8" with the ball while moving or in different planes . 10. Circling the hand about a ball in mid air. 11. Passing the ball behind the back while turning. Elements with a Rope For basic ideas in this category consult the compulsory exercise figures and descriptions in this edition. Elements with a Hoop 1. Rotating the hoop in verticle and horizontal planes while per路 forming steps, leaps, etc. 2. With a dance step, rotate the hoop around the body at the level of the waist. (Performer inside the hoop.) 3. Throwing the hoop in various ways. 4. Jump into the hoop while holding it in one hand. 5. Using the space provided by a hoop (at rest on the floor) by jumping in and out of the space or in some way conforming to the space. 6. Movements of the body about a balanced hoop (verticlel. 7. Rolling to hoop and moving with it in various ways. Comment: We have given you a glimpse of some of the FIG rules regarding a new and feminine division of International gymnastic competition. There is a great need for innovative and basic lessons both in modern dance, movement and the use of hand apparatus. The rules above will have little or no value for the novice and we highly recommend and invite those experienced instructors in these areas to assist us in presenting meaningful articles of instruction. TEAM COMPETITION: A team must consist of 6 gymnasts doing an optional routine with the apparatus selected for the Championships (rope , hoop, ball, etc.l. Length of time for the team competition is 3V? to 4 minutes. INDIVIDUAL COMPETITION: Compulsory routine with specified apparatus. Three optional routines, two with specified apparatus and one free floor routine. All routines are performed with music. The rope exercises are from 1 - 1V2 minutes-all other apparatus and free floor routines run from 11/2 to 2 minutes (with a 5 second grace period at either end). JUDGING: For the individual competition there are 5 judges, each judge gives her score. The highest and lowest are dropped and the remaining points averaged. In the Team competition there are 6 judges who give two scores each. One for composition and difficulty and another for technique and general harmony, and as in the individual event the high and low are dropped and the remainde r averaged. COMPETITION AREA: The competition area is similar to Olympic Gymnastics 12)( 12 meters (approx. 40' x 40' and usually you have a choice of a mat covered area or plain floor that is marked with a border. SCORING: There are first through third place awards for each of the individual events and for the highest total of all the individual events (The team awards are for the optional team display competition only. -19-

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COMPULSORY EXERCISE FOR MODERN GYMNASTICS EXERCISE WITH ROPE The following exercise was a requirement for participants at the World 's Championships in Modern Gymnastics held in Copenhagen, Denmark last year. We suggest that rather than attempting the entire sequence, you pick out portions first that are appropriate to your level of experience and work up from there. We will plan to publish some articles dealing with f undamentals in subsequent issues of Mademoiselle Gymnast should we uncover a definite demand for them. Following the descriptive portion of the routine you will find a Table of Faults with appropriate deductions recom 路 mended by the F.I.G.

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) COMPULSORY ROPE EXERCISE Note: Numbers below correspond to the figures and their numbers. Since this has been translated from the French pamphlet issued before the Championships you will find an occasional " d" and "g" in the figures which represent respectively, " right-R." and " Ieftl." in English. You will also find references to the exercise floor plan describing a 12 meter x 12 meter area and labeled ABCD. The French equivalents for "start" and "finish" are obvious. Beginning in the center of the space approximately six feet from the line CD. with the rope held doubled in the left hand at the side . .. 1. With a small, impulsive movement of the supple left arm to the right (R.l, extend the left (l.) arm laterally (sideward) resulting in a pendulum swing l. of the rope . The R. arm raises sideward ... 2.. .. and continues overhead until parallel with the l. arm whereupon the R. hand takes an end of the rope. The movement continues guided by the rope's pendular action. The gymnast takes a small step to her R. as the rope swings in front of her to her R. The weight then shifts to the l. foot as the rope swings to the l. and the R. foot closes to the l. foot. 3. Without stopping and transferring the weight to the R. foot (pivot foot) , 1/2 turn l. to a lunge position with l. flexion of the trunk. Continue by arching the trunk rearward to arrive in a lunge on the R. side with R. flexion of the trunk and the weight transferred to the R. foot. The rope completes a full turn (circle) about the body. The arms are parallel (R.l at the begi nn ing of the movement and extended as the rope circles. The arms fina lly are found in a position where the R. arm is extended R. sideward and the l. arm obl iquely upward with the head between the arms. 4. With support on the R. foot, V2 turn l. and step l. sideward. Follow ing this there are 3 steps (R.L.R.l curving l. with a % turn after the last step. The rope is held low and swung around the R. side of the body (head between arms) and with the body slightly inclined to the R. As the % turn finishes we find the l. arm vertically extended while the R. arm i$ low and obliquely inclined to the l. Without stopping, the supporting R. foot is extended and the L. leg is elevated in front of the body. The rope passes under the l. leg and is found between the legs in the last figure . 5. Without stopping, V2 turn l. with the l. leg now supporting the body with the R. leg at right angle with the body. The foot (l.) lowers from its extended position as the body completes another V2 turn l. The R. arm remains in the position shown while the l. arm (with a little circle of the forearm above the head) provides impetus for the rope to pass under the R. leg. As this sequence ends the arms are found in a horizontal position in front of the body. 6. Without stopping, % turn to the l. with a cross step R. and full turn L. in place. The rope makes a full circle (turn) as shown and the movement termin路

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ates with the R. arm forward and horizontal and the L. arm extended vertically. 7. Without stopping the R. forearm (slightly flexed) rotates finishing with the R. palm folded under (supinated) the forearm; following this , but almost simultaneously, the L. arm supinates and the R. arm circles over the head towards the L. (R. palm continues in supination,) The arms finally come to a vertically oblique position as shown. This sequence is now repeated. 8. Without stopping, four jumps follow (each consisting of two little springs--RR, LL, RR , LU . The rope turns rearward making one complete circle for every two jumps. (Four complete backward turns of the rope,) The arms are required to pass through an extended verticle position on each turn of the rope. 9. Two steps backward (R, U are accompanied by two backward turns of the rope. (The first turn is L. sideward and the second is R. sideward,) The hands are close together and the arms supple. Without stopping, 112 turn L. with the arms forward and finally reaching high to an oblique position over the head. 10. Action continues with two jumps on the R. foot followed by two jumps on the L. foot. The jumps are done with the weight displaced slightly forward. The rope turns forward and completes four circles (one for each jump). The arms are partially flexed. The sequence ends with a quick, little jump on the L. foot with the R. leg lifting sideward. 11. Without stopping, 1f2 turn R. and four gallop steps R. sideward with the rope turning forward. There is one turn for each gallop step. 12. 112 turn L., step R. rearward taking th.e doubled rope in the R. hand and swinging the rope rearward. Without stopping take two steps to the rear (R. , l.)

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accompanied by two quick cirCles of the doubled rope . The R. arm is supple and the trunk is inclined to the

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13. Another circle of the rope as before as the L. foot closes to the R. foot, % turn R. extending the L. foot and jump swinging the R. leg side upward_ 14. Land on the L. foot and 112 circle the rope through the verticle. Take the center of the doubled rope in the L. hand, step to the L. side with the L. foot and extend the right foot to provide spring for a small jump on the R. foot accompanied by a side upward swing of the L. leg.

15. Without stopping, step L. forward (In the direction of corner OJ while the folded rope passes the midline (travelling to the l.) and is held with both hands. Two steps forward (R.L.) with circumduction of the R. arm to a high forward position. The movement is term inated by a little swing and a release of the rope obliquely upward in corner D. 16. 1/2 turn L., join the R. foot to the L. foot, regrasp the rope with the hands close together and immediately swing the rope (forward to rearward) on the R. side of the body. Then follows a full circle of the rope with the body slightly bent forward and the chest turned to the R. 17. Without stopping, !fa turn R. and three steps forward in a curve to the L. (L.R.l.) The R. arm is held vertically while the L. arm moves from a forward to a low oblique position . Two more steps follow (R .l.) in the same direction in order to complete a full turn in place L. This sequence ends by closing the R. foot to the L. foot. During the sequence the arms pass rearwards and finish with the L. arm in a high oblique position and the R. arm in a low oblique position. The rope has circled the body without stopping. 18. Two squat jumps are performed over the rope as it passes through the oblique plane and the arms again are seen in the position they had been held at the end of sequence 17: 19. Three steps (L.R .l.) the length of a new curve in the same L. relationship as the previous established direction are performed in order to execute a full turn L. Following this two more steps (R.U along the same curved path terminate the sequence with the feet joined as seen in the last figure. During the first three steps the rope is swung around the body ending with the R. arm held obliquely upward and the L. arm in a low oblique position at the side . During the last two steps, the rope is held high in the L. hand (rope doubled) and the rope is circled above the head in a transverse plane. 20. Without stopping, the rope is turned under two jumps (squat jumps). The first jump is followed by a little jump in place but the second is not. Instead following the second jump of the rope there is a step L. forward-.

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The doubled rope is held in the L. hand during the sequence. The L. arm is held in a low oblique position as the rope circles under the jumps. During the step L. forward and without stopping the rope passes rearwards and upwards where it is then transferred to the R. hand.

-24-

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21. Step R. forward, R. arm verticle and without stoppi ng, circle the rope over the head in the transverse plane. Scale on the R. leg and circle the rope in front of the body over the floor as shown, The L. arm is held laterally (sideward) and the trunk is turned slightly to the L. with the head forward, 22. Without stopping, raise the body and step L. forward, the doubled rope is held low in the R, hand, It is then grasped at the other extremity by the L. hand and is seen to be moved to a high horizontal position , Two steps follow (R ,l.) to initiate a turn towards the L. Without stopping, two more steps fol low with a pivot on the L. foot initiated at the end of the sequence. The R, foot touches the L. leg in front of and above the knee as the body turns 11,4 times, 23. The R. leg is flexed in front of the body (lunge) and the arms are held vertically with the back arched, This position should be taken smartly, 24, With an initial L. twist of the trunk (R, arm supple in front) and the rope held horizontally in front of the body, the L. hand is released and with the rope held with the R. hand the R. leg is extended the rope makes a wide swee p to the R, then upwards and be· hind the head where it is again grasped by the L. hand. During the latter part of this movement there is a 1,4 turn R, 25, Without stopping, continue the circle of the rope with the R. arm verticle and the L. arm horizontal. Va turn to the R, and execute three full turns of the body. On. each turn swing the R. leg sideward with impetus from a little hop on the L. foot. (Lateral jump J Finish the seque nce on the R, foot finally joining the L. foot to the R. foot. During the three turns the rope remains horizontal to the floor in front of the body and the arms are also extended horizontally, (See curved line extending upward from corner DJ 26 , Without stopping, full turn in pl ace with feet reunited but. weight supported on the R, foot. There is slight flexion of the legs and the chest is slightly flexed forward. The arms are horizontal and the rope is seen in a low oblique pos ition. 27 , Two chasse steps follow and each is completed with a little jump upward. The rope is turned forward four times during the two chasse steps, 28, Now there are two simple jumps with a turn (forward) of the rope for each one, This is followed directly by a jump in which the rope is passed twr times under the feet before landing. Upon landing an without stopping quickly step forward on the R. for

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1. Lacks suppleness ____ ___ _____ ___ _______ ____ ____ _______ ____ _ up to .2 Poor transport of rope __________ .. __... ____ __________ _ .3 2. Failure to pass R. arm overhead ____ _________ ___ .1 3. Insufficient amplitude of the chest _____ _____ .2 Insufficient rope impulse with su pport ch anges ___ ___ ______ ____ ___ _____ _____________ . .1 Poor direction of rope as it travels around body ___ _____ ___ _______________ ____ __________ __ _ .2 4. Line of the curve not smooth __ ______ ___________ .1 Poor manipulation of rope as it passes under leg ___________ __________ __ _______ ___ ____ _ .1 5. Poor coordination of arm movements __ ____ ____ up to .2 .2 6. Rope poorly held during the turn _______ _______ 7. Uncoordinated arm movements ____ _____ __ ___ ____ .2 Movements of the chest not supple _____ up to .3 8. Failure to pass the arms through the verticle during the jumps ____________ ______ __ __ .2 11. Poor coordination of body rhythm and music and the quick step preceding the lateral gallop __ ___ _________ ____________________ _______ __ .2 Lateral gallop vague and without rhythm __ __ .1 13. Forced and unnatural swing of R. leg .2 14. Forced and unnatural swing of L. leg ______ ._ .2 15. Rope thrown too soon before arms extend .3 16. Rope not held in attempt to catch .3 17. Curve of poor shape __ _____________________________ __ ..• .1 Rope poorly swung and not extended _ .1 19. Second curve poorly executed ______________ ____ __ .1 Rope poorly swung and not extended .1 25. Rope not extended during the 3 turns ______ .2 26. Rope not held during the turn with feet reunited ____ ___ ______ ____ ____ _______ __ __ ______ .1 Incorrect body position ________________ ___________ ___ __ .2 27. Chasse steps witthout precision and too slow ___ ___ _________ ___ ____ ____ ___________________ ______ .3 28. Little jump without lightness or elegance __ .2 Poor direction of curve __ ___________ ____ ___ _________ .2 31. Poor coordination between steps and movements of the rope _____________ .2 32. Poor direction of thrown rope _____ ________ ._____ .2 Rope not extended in flight __ .2

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followed immediately by a small step L. rearward. T!1e rope is turned on the R. side with the _hands In c.lose proximity to each other. Without stoPPing three little cat steps (RL, RL, RU rearwards in a curve to the L. are performed and these are followed by a .chasse .step L. sidewards closing as shown . DUring this sequence the rope is circled four times on the L. side and the hands are close to one another. 29. Step L and chasse step sidewards with the arms forward. The rope is turned with the hands close to· gether in the same direction taken in the . p re~ious sequence. Without stoPPing, % turn R. and qUick Jump on the L. foot with arms remaining at the left hori· zontal with the hands close together. The rope is turned a full circle in this latter position of the body as the sequence ends. 30. Two backwards steps (R.U are taken with the arms held on the R. side with the hands together. The rope is turned in two full circles on the R. side. 31. % turn L. and three steps L. sideward (R. crosses in back; L. sideward and finally the R. crosses in front). The rope is circumducted in a high arc and is seen to terminate at high R. at the end of the sequence. 32. Step L. sidewards swinging the rope L. . and . reo leasing it as it travel s upwards_ (The rope In flight completes a 1/ 2 circle.) 33. Catch the rope with both hands and swing the rope in the frontal plane from. R. to ~. The R. foot joins the L. foot and the rope IS hel_d In the L. hand at the side at the end of the exercise.

J{elen ~ Corner By Helen Sjursen

VAULTING - WANT A FAST TOUCH Let us assume you are going to do a layout stoop vault. Fig. 1. Take off in your usual manner, fast run, quick pop-off, good height, but instead of leading "into" the horse with the hands, allow the body to travel further over the horse with arms extended ... scarey on the first try but you advanced gymnasts can easily adjust. Fig. 2. Simultaneously bring arms back to tap the horse bending at the hips (stoop). Fig. 3. The moment'the hands contact the horse, the tap must be combined with the push-off, immediately followed by the raising of the upper body. The legs should be forced to stay in a somewhat rearward position to save time in reaching a "stretched body" before the landing. (The motion used to open up to the stretched body is similar to the motion used to open up for the 'hecht" dismount on the uneven bars). Notice the big improve-

WITH GOOD AFTER-FLIGHT? ment of your after-flight. The same principal for a fast touch also applies to the layout squat and layout straddle . This vault (layout stoop) or layout squat is very easy to spot in spite of the speed involved . The spotter stands on the dismount side, body leaning against the horse. As the gymnast is in pre-flight, reach across the horse and grip one upper arm with both hands as soon as possible . (Follow arm movement of gymnast to give her freedom for accurate placement of hands, but be prepared for a tight grip on a faulty vault, if body passes over the horse, pulling upward to keep upper body high until the feet make contact with the floor. As the gymnast is going through the after-flight and still holding the upper arm, follow her through her after-flight so she is not held back by your grip.

SPOTTING A HOCK SWING DISMOUNT (Uneven Bars) Fig. 1. Gymnast starts from a rear lying position with knees bent, back of knees touching bar, hands on high bar, regular grip. Spotter stands to the outside of the low bar. Fig. 2. As the gymnast releases the grip from the high bar, the spotter places arm (closest to the bar) over legs of gymnast. This prevents the gymnast from straightening her knees too early thus preventing any falls on the head. Do not press down too hard with arm, or leave on too long as this will deter the under swing of the body. Fig. 3. After the hand release, the body of the gymnast will swing downward and under the low bar. As the body is rising in front of the low bar, slip other arm across her stomach and immediately remove arm across the legs and lower to circle body. (Press upward with arm that is slipped across the stomach). Be prepared to lift gymnast upward if the dismount is too low. After the gymnast has learned this skill pretty well, the spotting can be done by slipping the arm (closest to the bar) under the low bar and on the stomach of the gymnast. As she releases, follow her body movement, and as body rises upward in front of the low bar, press upward against stomach.

NO NEED TO LOSE BALANCE ON A DOUBLE LEG SQUAT THROUGH (Uneven Bars)

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Fig. 1 and 2. From a support, swing legs rear-upward to the free support position and be SURE to have the shoulders shifted well FORWARD and arms STRAIGHT. Having the shoulders shifted well forward will make it easier for you to have the body weight properly carried over the arms for the next phase. Fig. 3. Raise hips and tuck, bringing knees towards chest and passing feet over the bar. DO NOT BEND THE ARMS. (Once the feet pass over the bar, many girls tend to relax their arms and sit on the bar. If they are lucky, they will stay on the bar, but most of the time, balance is being struggled with and form is broken). Let's go on to see how we can be SURE and not just be lucky.

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Fig. 4. Once your feet pass over the bar, straighten the back lowering the hips towards the bar but DO NOT sit on the bar. Now, let your stomach muscles take over to "extend" legs forward. By not sitting on the bar, you are in a better position to fight any off balance. Fig. 5. Extend the legs forward. When instructing your gymnasts on the execution of the two leg squat through, (or one leg squat through), it is very important that you remind the gymnast NOT TO SIT ON THE BAR . Within a few tries, balance will be under perfect control. ·28·

NEW BOOKS FOR MADEMOISELLE Helen Sjursen, who has already written materials for each of the events in competitive gymnastics for women, has authored two books which are highly specialized. Educational Gymnastics-Balance Beam by Helen Sjursen. Waldwick, New Jersey, Hoctor Records, 1966. In addition to instructional material on floor preparations, skills on the beam, mounts and dismounts , the author presents a series of twentyfour combinations of basic skills in sequence and more than fifteen complete exercises for ranges in skill from beginner to advanced. Many of the exercises are layed out so that figures and descriptive material can be used without the need to turn pages. The pages are spirally bound and thus lay flat during use. Some of the beginning routines could be adopted by clubs as compulsory routines or otherwise adapted for instructional evaluation of work on the beam. Educational Gymnastics-Uneven (Parallel) Bars by Helen Sjursen . Hoctor Records . In addition to an analysis of basic and advanced movements, the author has also included 25 complete routines including the current Olympic compulsory and others at the beginning and intermediate levels. You will be interested in the picture on the cover since it shows the author working on a revolutionary new kind of Uneven Parallel Bar apparatus invented by Jerry Krawitz. Krawitz is a relatively small equip路 ment manufacturer but a giant when it comes to new ideas and sound equipment construction. We are hopeful to shortly include an article describing the Krawitz unevens .

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USGF WOMEN'S COMMITTEE REPORT Jackie Klein Uphues - Assistant Executive Director The Annual Meeting and Elections of the United States Gymnastic Federation Governing Council were held on January 24th and 25th at the Chicago-Sheraton Hotel. The Operating Code of the Women's Committee was presented to the Council and accepted as the official guideline governing the operation of the USGF Women 's Committee. Miss Sharon Wilch, Chairman of the Judges Training Committee, was elected as Vice President for Women on the Executive Committee for a two year term and Mrs. Sharon Pirkl, Chairman of the Compulsory Competitive and Rules Committee !Director of the Age-Group Competitive Program, was elected to serve for one year as one of the two At-Large members of the Executive Committee. Mrs. Shirley Bryan, Chairman of the Women's Committee, was appointed as USGF Representative to the 1969-71 DGWS Gymnastic Guide Committee and Mrs. Jackie Uphues, Chairman of the Technical Committee, received an appointment to the new position of Assistant Executive Director of the USGF, continuing in her role as Director of the projects and programs of the Women 's Committee_ The 1968 Championships of the United States were scheduled for Memphis, Tennessee on April 25-26-27. Two divisions are set for this year's championships-The ELITE-INTERNATIONAL DIVISION with the 1968 Olympic Compulsories plus Optionals for All Around competitors only and the NATIONAL DIVISION with the USGF-DGWS High Intermediate Level Compulsbries plus Optionals for All Around competitors only. Trampoline will be a Special Event in both Divisions using the USGF Compulsories plus Optionals. The minimum age for competition in both Divisions will be 15-for the ELITE-INTERNATIONAL DIVISION the competitor must be 15 before the 12th of October, the Opening Day of the Olympic Games. Trampoline Compulsories and Rules and Policies Governing Competition are available through Mrs. Sharon Pirkl, Route Box 175 A, Colona, Illinois 61265. Entry blanks are available through the Tucson Office. Specific schedules for competition and miscellaneous information will be available shortly. The 1969-71 DGWS Gymnastic Guide Committee met at the Holiday Inn in Chicago on January 26 and 27th to discuss the Compulsory Routines, cooperative efforts with existing organizations, articles for the next Guide, and several other pertinent topics. Mr. Don Buschore of the Athletic Institute showed the complete film of the National Compulsory Routines for Girls and indicated the proposed release date. The USGF representative then proposed a joint extension of the USGFDGWS Routines until 1971, so that maximum use could be made of these instructional films and the well constructed compulsory routines. The proposal was adopted by unanimous vote. The Athletic Institute, 805 Merchandise Mart, Chicago, Illinois 60054 has announced that the USGF-DGWS National Compulsory Routines for Girls are ready for purchase as of February 25th . The Film Series contains 21 loops-each level .. . beginning, low-intermediate, and highintermediate containing 7 loops (2 Floor exercise, 2 balance beam, 2 uneven bars, and 1 vaulting). Each loop is priced at $14.00. These excellent films with instructional booklets were developed for the American Women Gymnasts through the efforts of the Women's Educational Committee of the USGF. The USGF Sub-Committees have been functioning very well and reports from Regional Chairmen on Teaching Workshops, Judging Clinics, and Compulsory and Optional Meets are starting to come in on the report forms. A full review of this year's accomplishments and future plans will be evident after our USGF Women 's Committee Meeting on Friday, March 29 at the Sheraton-Jefferson Hotel in conjunction with the AAHPER National Convention in st. Louis, Missouri. Arrangements have been made, as part of the Educational Film Program, to have the premiere showing of the USGF-DGWS National Compulsory Routines on Friday, Saturday, and Sunday, March 29, 30, and 31. Chairman of the Women's Committee, Shirley Bryan .. received permission to have this premiere showing at the National AAHPER Convention. A representative of the Athletic Institute and members of the USGF Women's Committee will be on hand for information. The next Women's Committee Report will highlight the Lecture Tour of Madame Villancher and the forthcoming Judging Certification Exam to be administered in conjunction with the Championships of the United States in Memphis in April.

1 NEW TEACHING AIDS Rhythmic Rope Jumping and Ball Gymnastics by Dr. Annelis Hoyman (Kimbo Records LP 4000 and LP 4030-Box 55, Deal, N.J. 07723) These two new teaching aids are highly recommended for high' school and college instructors who are anxious to offer their students intro路 ductory or supplementary experiences with hand apparatus. Dr. Hoyman has studied under Hinrich Medau . The latter is well known in Germany for his pioneering work in modern rhythmic gymnastics. Moderne Gymnastik and Rhythmisch-Musische Gymnastik are two of Medau's works). Booklets accompanying the records compare favorably with some of the excellent publications we have seen in German . For example "Medau Ballspiel" is a selection on the ball records. .Each album contains more than 15 selections which are specially designed to accompany the work described in the pamphlets. The Works of Laban We learned recently that The Dance Notation Bureau is the U.S. representative of the MacDonald-Evans Publishing House in England. MacDonald-Evans has been the leading publisher of the works of Laban. Any teacher who is interested in the structure of movement should ask for a list of available materials by writing the Bureau. (8 E. 12th St., New York, N.YJ Although we intend to review many of the MacDonald-Evans books in future editions of Mlle. G., we take this opportunity to especially recommend Modern Educational Dance by Rudolph Laban (2nd Edition Revised by Lisa Ullmann-1966J. This book has one of the clearest explanations of the movement principles of Laban that we have seen to date and should be of special value to those of you who are interested in Modern Gymnastics. Feminine Gymnastics by Phyllis Cooper, West Chester State College 1968. T~e material in this outstanding book provides you with methods of teaching, skill analysis, spotting techniques, and common errors that a.re made when students perform the skills for the first time. Suggestions for class procedure and program planning have been included to serve as guidelines in the creation or designing of a program to fit the needs of a particular school or club. Two hundred and eighty sequences (see drawing) are included that show a breakdown of the entire sequence of movement involved in the skil!s .. Each group of skills is described in progression from the very beginning through the advanced, "!aking the book usable in a variety of gymnastic courses. A "Golden List" selection. -29-

GYMNASTIC WORKSHOP IN PHYSICAL EDUCATION FOR WOMEN The physical education department for women at Wiscon· sin State University, La Crosse will present a two·week workshop in Rhythmical Gymnastics, June 10·21, 1968. Em· phasis will be placed upon the development ' of skills in Rhythmical Gymnastics using balls, hoops, ropes, and clubs. Teaching skills, knowledges, and understandings will be en· couraged. The content will be of value to elementary and high school teachers of physical education . New films and guest lecturers will supplement the program . Special interest sessions will be included to develop teaching, coaching, and spotting techniques for performances on the heavy apparatus. Guest consultant: Miss Madeleine Lundin of Finland (presently graduate student, the State University of Iowa), The workshop may be taken for graduate or for un'tlergraduate credit. For further information contact Dr. Ernest Gershon, Coordinator of Graduate Studies, College of Health. Recreation, and Physical Education, Mitchell Hall, Wisconsin State University, La Crosse, 1820 Pine Streett, La Crosse, Wisconsin 54601.

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DGWS GYMNASTIC CAMP The D.G.W.S. Gymnastic Camp at Carleton College, North · field, Minnesota is to be held Augost 20·26, 1968. This will be the second year the camp has been held . It was originally planned to give impetus to the growth of gymnastics for girls in Minnesota . It was so well accepted and has resulted in so much enthusiasm ' in this area , that it looks like it will become an annual undertaking, The camp is sponsored and run by the D.G.W.S. Gymnastic Committee with instructors from throughout the United States forming the instructional staff. The areas covered include : un · even parallel bars, vaulting, balance beam, tumbling, floor exercise, and rhythmic gymnastics. The size of the camp is approximately 120 girls plus approximately 20 teachers.

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