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A·169·W UNEVEN PARALLEL BAR TRAINING PAD Ideal for practicing hip circles. Only 15" . Long enough to pro· vide ample protection yet will not interfere with hand position.

TEAM 9.50

A·170 BALANCE BEAM TRAINING PAD Added protection in learning backward rolls , hand stands , and other skills. Covers 16'5" beam .

TEAM 49.95

A·170-1 Same as a bove except 5'5" in length for partial beam covering.

TEAM 19.95

A·170·3 Same construction as above except in three 5'5" sections which will cover all or part of beam as requ ired. Sections are se· cured with velca closure.

TEAM 59.50

A·169 PARALLEL BAR PADS Ny·O·Lite filler with bonded Powerhyde cover and velcro fasteners. Lightweight padding allows bar to flex , yet gives complete protection for beginners as well as advanced performers attempting difficult routines. Set of four , five foot sections.

TEAM 59.95

Better Not Take Safety Standards For Granted When You Buy Gymnastic Apparatus Nissen doesn't. In fact, most new safety and convenience features for gymnasium apparatus in the last decade have been developed by Nissen. Who else would think of putting a Floating Counterbalance device in each apparatus upright to make height adjustments almost effortless? More importantly, the counterbalance prevents the parallel bar, for example, from suddenly dropping, possibly causing pinched fingers or bruised foreheads. Who else but Nissen would develop an almost unbreakable Perm a-Wood top bar for parallel bars, fusing hardwood laminations together under extreme heat and pressure? Noone insisted these changes ... except Nissen. Heavier gauge materials, interchangeable parts so improvements or innovations will fit equipment in the field, streamlined, protrusion-free design - Nissen has engineered new safety into gymnastic equipment, on its own, without an outside organization requiring it. Some equipment buyers take safety standards for granted. If you're

that way, your best bet is to buy equipment from a company that doesn't. Like Nissen, for instance. Nissen Corporation, Cedar Rapids, Iowa 52406 A floating counterbalance is installed inside each upright of Nissen parallel bars to keep the pistons at static tension. Only a slight hand pressure is required to raise or lower the bar.



FROM THE EDITOR'S DESK .. ...... ..... ... ... ... .... .. 4 MLLE. G NAMES 'N' NEWS .......... .......... .. .. ... 6 WORLD'S GYMNASTIQUE MODERNE CHAMPIONSHIPS ...... .. .... .. .... ......... 7 1969 GYMNASTIQUE MODERNE COMPULSORY BALL EXERCISE ...... ..... . 8 MARIA GIGOVA, GYMNASTIQUE MODERNE ALL AROUND CHAMPION ...... .... ... .... . 16 IT'S A SMALL WORLD ... .... .. ........ .. ........ .. ... 18 JAPAN, U.S.S.R., U.S.A. WOMEN'S MEET ......... 19 1970 WORLD CHAMPIONSHIP COMPULSORIES .. 20 HELEN'S CORNER ........ .... .... .... .... .. .. .. .. .... 26 BOOK REViEW ....... ... .. ... ............ .............. 28 LETTERS ....... ............. ...... .. ........ .. ....... .. . 28 CALENDAR ... ........ ... .. .. ....... .. ... .... .. ... ... .. 30 COVER: Salute to 4th Gymnastique Moderne Cham路 pianships at Varna, Bulgaria, September 1969.

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

Something new has been added to our table of contents with this issue. Bud Marquette joins Mlle. G as a regular contributing feature, IT'S A SMALL WORLD. The original concept is to provide a channel for communicating his vast experiences throughout his years as a steadfast supporter and untiring creative and motivating force in girls' and women's gymnastics. His observations and reactions, his comments and those of his many associates should prove informative and stimulating. Welcome, Bud.

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Mlle. G goes out with the 60's with a look at the past and another at the future. The highly informative and authorative report on the Gymnastique Moderne Championships held in Varna, Bulgaria, last September contributed by Mrs_Mildred Prchal, USGF Women's Chairman for Gymnastique Moderne, affirms we were singly well represented at this progressive women's program. Her report was a highlight at the recent Congress of Coaches in Denver (see Names 'N' News) and we consider it a highlight of this issue. For those who may not have seen it we follow her report with the official compulsory ball routine - a USGF publication which Mrs. Prchal also produced with the highest degree of professional standards. For the future we present the recently published World Games Compulsories, certainly of vital interest to women interested in competition, but equally va luable for the developing student and an ideal graded sequence source and deduction reference for the instructor. The Pre-World Games scheduled in Yugoslavia ran into boycott troubles and the competitions were not held, so we have no report to offer our readers.

* * *

Congratulations to Dale Flansaas selected as the Women's National Coach at the Coaches Congress in Denver. Her report to the commission on the Japan, U.S.S.R., U.S.A. Women's Meet was received just at presstime and we are delighted to be able to include this timely report. Her keen observations and charming reactions to their tour experiences are informative and entertaining. Man uscripts, photographs, and news items are invited, but we can assume no responsibility for return or compensation. The views and opinions of writers and contributors do not necessarily reflect the views of Sundby Publications or the Editor.

MADEMOISElLE GYMNAST is published by Sundby Publications, 41 0 Broadway, Santa Monica, Califo rnio. Second Class Postage paid at Santa Monico, Ca lif. Published bi- monthly. Sept.-Oct., Nov.- Dec., Jan.-Feb., Mar.-April, and Moy-J une. Price, $3.00 per year. 75c si ngle copy. Subscription correspondence Box 777, Santa Monico, Ca lifornia 90406. Copyright 1969. All rights reserved by Sundby Publications, 410 Broodway, Santo Monica, Californ ia 90401.

* * *

Warmest of Holiday Greetings. A toast to the endeavors of the past and another to a peaceful and fruitful New Year.

/lHide not your talents; they for use were made. What's a sun-dial in the shade!/I


Kazuki Ha simoto and Cathy Rigby at the Nagoya RR station.

JAPANESE TOUR Report by CATHY RIGBY Joyce Tanac (Seattle) and I. along with Mrs. Dale Flansaas (U .S.A coach & judge), were invited by the Japanese Gymnastic Association to participate in their Natianal Invitational Nov. 20 to Dec. 1. As we stepped off the plane in Tokyo, we were welcomed by a very enthusiastic Japanese press, the warm friendliness they showed set the pace for the entire trip. After getting settled in our hotel, we were given the agenda for the next 10 day s, which consisted of 2 meets, 3 exhibitions, and TV shows. At this time, we also met our Russian friends Larissa Petrik and Olga Karaseva. After just recently performing with them in Basel, Switzerland, it was not difficult at all to become reacquainted. At first, everyone was perhaps a bit standoffish, but as the days went by we all became like members of one team . We took in shows together and even went to a Sauna bath. It really was wonderful. Each performance was very well organized, starting exactly on. time With a full house. We visited and performed in Tokyo, Akita , Kueto, and Nagoyo. At each stop we were most cordially received. It was really the nicest and most pleasant gymnastic journey I have ever been on. I feel it was a great honor and privilege for me to have been invited and to have represented the U.S.A Upon our return1 we stopped over in Hawaii where we were met by Dick Criley and one of my former teammates, Karin Gallagher. We gave a short demonstration for the gymnasts on the island and again it was " outasight! " Concluding, may I say if the United States can continue to exc,hange gymna stic ideas, and competition with our fareign friend s I m sure that the next Warld Games and the 72 Olympics will be a different story. My Coach , Bud Marquette, will write up all the new training methods, we have been ob serving all summer while on tour and most recently in Japan.

Members of the USGF Women 's Committee Executive Boord , L.-R. Greta Trieber, Varina French, Betty Meyer, Delene Darst, Jackie Uphues, Shirley Bryan, Sharon Wilch and Mildred Prchal.

REPORT OF WOMEN'S SESSIONS CONGRESS OF COACHES (Denver - November 1 and 2, '69) Submitted by Jackie K. Uphues Assistant Executive Director . This year's Cangress af Caaches was a highly successful meetIng attended by nearly 100 individuals engaged in coaching, judging and conducting women 's gymnastic events. Within thi s group were the USGF Women' s Committee Executive Board members and officers, ~SGF Women 's Technical Committee, AAU Women '< Gymnastic Committee representatives, the top coaches eligible for nomination for the national coaching staff and the U.S.A's most qualified international and national judges. Joint sessions were conducted with the men's gymnastic group on Saturday morning and until 3 on Saturday afternoon. A special session on the 1970 World Games Compulsories, newest changes in the FIG Code of Points and uneven bar difficulties - instruction and classification was conducted by Jackie K. Uphues, Dale Flansaas, Ernestine Carter and Varina French. Discussions on the guidelines for selection of future international teams for competition and tours, selection of a national coaching and judging staff and gymnastic profile records resulted in excellent suggestions which have been . submitted to the U.S.A Gymna stic Commission for consideration and approval. Sunday morning scheduled the bu siness meeting of the USGF Women 's Committee and updated the participants on the current projects and future developments in the areas of USGF Judges TrainIng~ Teacher Education, Educational Publications, Age Group Competition, Technical Committee matters, 1970 USGF National Competition and Gymnastic Modern. The highlight of the conference was the Varna Report so ably delivered by Mildred Prchal, the U.S.A delegate to the World Gymnastlque Moderne Championships and chairman of the USGF Modern ~ymnastic Committee. Her very thorough report of the competitions, trends In ludglng and performance techniques and suggestions for implementation regarding our newly introduced Modern Gymnastic Program was enthusiastically received. Films of the Basel demonstrations by the Bulgarian Modern Gymnastic Team supplemented Mrs. Prchal 's fine report. A complete report on all recent publications, rule changes and natianal appointments will soon be mailed to all USGF Committee members. -6-

WORLD'S GYMNASTIQUE MODERNE CHAMPIONSHIPS a report by MILDRED PRCHAL Chairman, Gymnastics Modern, United States Gymnastic Federation and delegate to the Championships* * The 4th Championships of th e Worid Gymnast ique Moderne were held in Varna , Bulgaria, September 27-29. Judges' sessions were held September 25 and 26, and a Troin ers' Session was scheduled for Sept. 3~-Oct. 3.

On Sept. 21 I arrived at the Internatianal Hotel, situated about 12 miles from Varna in a resort area called "Golden Sands" on the Black Sea. When leaving home, it was my understanding that much of the business, judges' sessions, etc., would be conducted here. Because of previous commitments, however, the hotel was unable to provide accommodations, and the events were held in twa other locations. With the exception of Mme. Villancher, FIG chairman, and Mme. Chagurova of the Bulgarian delegation who were also in the International Hotel, all of the delegotes and gymnosts were housed in various hotels, most of them in the Sports palos, a hatel with darmitory facilities as well as a gymnasium and assembly hall. This Sportspalas was located about three miles from the International Hotel high on a hillside (1 03 steps up). Judges' sessions, the official training sessions and the championship itself, however, were in the Hall of Sports and Culture in the city proper about 12 miles from the International Hotel. It was very difficult to communicate with anyone since very little English is understood, and very little effort is made to understand any of the Slav languages except Bulgarian. Next day a taxi took me to the Sportspalas, and I found the Czech girls practicing in the gymnasium. Japan, Korea, Cuba, Germany and others were awaiting their turn. From the Czech coach I learned that the judges' sessions would start on the morning of the 25th in the Hall of Sports and Culture in Varna, where the FIG Gymnastics Modern Council was just then having a meeting. At the Hall of Sports and Culture I contacted Mme. Nescka Robeva, second place in AII- around competition.

1969 World Champion Modern team in front of the Varna, Bulgaria Arena where the 4th Gymnastic Modern Championshi ps were held.


Krossinira Philipova

Kveta Cerna, Czechoslovak chairman of Gymnastics Modern, and others of the council; was duly regi stered and given the program of all events with official pins and tickets of admission to all events, etc. For the next two days I "sat in" on the training periods in the Sportspalas. Each group was allowed two hours for warmup and practice. Among the groups I saw were the Japanese who were participating in the world championships for the first time: (Koreans also for the first time) the Russians, Cubans and others. The Russians drew a group of spectators who were anxious to see the "warmups" of these top contenders. I was not surprised, however, to see a traditional ballet "lesson" starting with a complete set of ballet barre technique, adagio, turns, pirouettes, combinations with tour jetes, grand jetes, etc. ; some body waves and backbends. The Cubans had some ballet warmups, concentrated on stretching and high extensions. Japanese and Koreans concentrated upon limbering, stretching and their familiar lunge routine. The warmups of other countries I had the apportunity to see, including Sweden and Denmark were very different. A detailed report of the work of some of the groups is included in my technical report. It was very evident that there were two very different interpretations of Gymnastics Modern, one by countries in the truly rhythmic style we have seen by Swedes, Danes and Swiss as against that with the predominantly ballet technique that distinguishes the Russians, Bulgarians, Cubans and to some extent Romanians.

There was an important discussion regarding stretched feet and legs and deep back bend s (ballet technique). Mme. Villancher stated that all should be to NATURAL ma ximum. Turning out and arched feet will not be stressed. Those without ballet technique will not receive a penalty. This "will help weaker countries who do not have the ballet technique available." In my estimation and later during competitions, it was definitely this difference that determined the scores of all the gymnasts. This was followed by a discussion on the use of instruments. What about having more than one instrument? Alternating instruments? After some discussion it was conceded that alternating piano with percussion drum or clapping could be possible, but there would be a risk of losing points if the change from one instrument to another would not be successful. Finally Mme. Villancher decided that no alternating of instruments would be allowed. At 10:30 a.m. the assembly moved to the gymnasium where four girls were judged, various elements of judging were brought up, faults and merits pointed out. Remarks : split can only be used as passing element. Greatest faults were lack of lightness, value of composition, elements of difficulty. No. 4 Gymnast, a Czech was given special mention by Mme. Villancher, who said "this is an example of what I hope for the future of Gymnastics Modern." All Gymnastics Modern should be done with central movement and total movement (movement to begin with pelvis). Back again to assembly hall and a review of jump rope rules. More demonstrations with jump rope. Mme. Gotta - Jump Rope. Rope must have no handles, but it is allowed that center of rope (about 25 cm.) (10 inches) may be thicker. If not according to rules , 1 pt. penalty. Exercise has two parts : 1. Jumps over rope with straight body. 2. Elements that must be executed with accompaniment of body movements; figu r e 8s, swing from side to side, continuous rope movement. When jumping over SLOWLY TURNING ROPE, ARMS ARE STRAIGHT; over FASTER TURN ING ROPE, TURN FROM ELBOW; over FAST TURN ING OF ROPE, TURN FROM WRIST. DOUBLE TURNING OF ROPE, with one jump. LEAP OVER DOUBLED ROPE TURNING IT WITH RIGHT HAND UNDER FEET. Touching floor lightly with rope is not penalized, but if hard, it interferes with movements that follow. GROUP COMPOSITION RULES were next. Some rules were brought up and clarified. Some countries found it necessary to correct or change parts of their Group Ball Exercise before next day's competi-

JUDGES'SESSIONS September 25, 26 - Hall of Sports &Culture Early in the morning I met the Czech delegation at the Sportspalas and went with them by special bus to the Hall of Sports and Culture in Varna. I sat between the two delegates from Czechoslovakia who not only took turns to translate into Czech all proceedings which were only in French and German but later gave me (also in Czech) all the current General Rules, Code of Points, Rules for Group Exercises, for individual exercise with Jump Rope, Ball, Hoop and Exercise without implement (this latter event was eliminated from future World's Championships in a meeting held later after the championships). The first session started at 9 :00 a.m. Members of the Gymnastique Moderne Council were Mme. Berthe Villancher, FIG chairman of Gymnastique Moderne, France; Mme. Gotta, technical chairman, Italy; Mme. Urzinykov, NDR (Eastern Germany); Mme. Furster, DDR (Western Germany); Mme. Batajen, SSSR; Mme. Chagurova, Bulgaria; Mme. Abat, Hungary, and Mme. Cerna, Czechoslovakia. All business was conducted in French and German, occasionally in Russian; without the help of the Czechs who sat with me throughout all the sessions I would have been at a great disadvantage. Eighteen countries were registered for participation in the championships, three of them only in individual competitions. Belgium, Bulgaria, Cuba, Czechoslovakia, Denmark, Eastern Germany, France, Holland, Hungary, Italy, Japan, Jugoslavia, Korea, Poland, Roumania, Russia, Sweden, Western Germany. Two countries sent delegates only: Israel and United States. Mme. Villancher greeted all delegates present and stated that only officials could speak on business. Judges could participate in all discussions on events, including those they had been selected to judge. Judges were then named from the list of those who had attended judges' sessions in Dobrichovice, Czechoslovakia, last April. The championships consisted of: 1. Compulsory Group Exercise with Ball (six girls). 2. Individual Compulsory Ball Exercise. 3. Optional Exercise with Hoop. 4. Optional Exercise with Jump Rope. 5. Optional Exercise without Implement. PART I OF RULES: The compulsory individual ball exercise was thoroughly discussed. This discussion was led by Mme. Cerna, who was the author of the ball exercise. All penalties for infractions were thoroughly studied and corrections in text (last picture of E part) were made. (The arm in the kneel should be directly forward, not upward.) The delegates and judges then assembled in the gymnasium for practical judging. Five girls executed the ball exercise, and various points were clarified. After lunch the same procedure was followed regarding optional exercises with the hoop. SEPTEMBER 26 - II PART OF RULES: (Most of these rules were given to me in Czech, others in French; these were practically a repetition of the sessions in ApriL) Discussion on A.) Optional Individual Exercises, Special General Rules for Exercise without I mplement and with I mplement. B) Specific individual exercise with Implement.

Vera Marinava


sented a bouquet to each of the FIG Committee members and Mme. Villancher. The girl had an appropriate greeting. Then 18 young men in gymnastic uniform ran onto the floor in single file giving a bouquet to each of the team leaders. Girls in Bulgarian costumes threw petals over the audience. At this time there were about 2,000 people in the audience, later about 3,000. The teams marched off, and judges marched to their tables. Each was introduced. Most of the judges were in uniform (gray skirt and navy blue jacket). There were two groups of four judges each and one head judge. One group judged composition, music, harmony and the other group judged technical difficulty and general impression. The program of the 15 group numbers with ball began at 5 p.m. Eighteen countries were represented; three of them had no group number: Korea, France and Holland. The Japanese attended for the first time, as did Korea; both of them did excellently. Results were as follows : West Germany 17.10 Bulgaria 18.50 16.45 Raumania S.S.S.R. 18.30 16.30 PROTEST Cuba Czechoslovakia 18.20 16.25 Italy Hungary 18.10 16.15 Jugoslavia Japan 18.05 15.85 Poland Sweden 1 7.35 13.80 Belgium East Germany 1 7.30 Denmark 1 7.20 Remarks on some of these groups separately. SEPTEMBER 28th: COMPETITION IN INDIVIDUAL COMPULSORY BALL EXERCISE AND OPTIONAL HOOP EXERCISE

Competitian began at 3 p.m. Seventeen countries had individual gymnasts in compulsories and additional events cansisting of ball (compulsory), hoop (optional exercise), exercise without implement (optional) and exercise with jump rope (optional). A total of 46 girls competed. Tables had been moved to opposite side. Both areas were at the disposal of the gymnasts as on the previous day, and both Violetta Elen ska


tions because of misinterpretation. (l) Timing begins 30 seconds from instant when the sixth gymnast enters area. Or gymnasts may enter and begin at once. If a team starts with a soloist or even four girls, timing starts when the others join in work. (Some countries had soloists and were obliged to change.) (2) Dropping ball, 1 pt. but other errors caused by the dropping must also be added. (3) No phonograph records can be used for any of the exercises. (4) Judges keep half of slip for their own records. After all business, leaders of groups had a final meeting and a social evening followed.

IV. WORLD'S CHAMPIONSHIPS GYMNASTIOUE MODERNE September 27, 28, 29, 1969 Hall of Sports and Culture, Varna, Bulgaria OPENING CEREMONIES:

The Hall of Sports and Culture in Varna, the scene of the IV. World's Championship in Modern Gymnastics, is a beautiful oval arena that seats 4,000 people and can seat 2,000 more on the floor for exhibitions and concerts. It was ideal for the championsh ips. There is an immense parking area, spacious dressing rooms and refreshment bars. Two floor areas were provided for the gymnasts, one with a rug (12x12m.l approximately 40x40 feet with colored border of about three feet (penalty area) and another area of same size without covering. A space of about 1 5 feet divided these two areas; a narrow runner was placed through the center. For the first day, judges' tables and table for the FIG Committee members were situated on one side of the two areas. Judges' tables were about 10 feet apart. Each table was covered with a long overhanging cloth in red upon which the national flag of the judge's country stood (about 12" high). Potted plants stood at about 20-foot intervals around both of the areas; in the middle between the areas stood an enormous live rose bush. Later this bush was removed because it blocked the view of the judges. About 16 "pioneers" (scouts?) with trumpets stood high in the bleachers and heralded the entrance of the teams. After teams were in place with the flag of their nation before each team, the Bulgarian hymn was played, then followed addresses by the mayor of Varna and Mme. Villancher. Ten of the "pioneers" with one costumed girl between them ran onto the floor and pre.g.




Three top Gymnastic Modern Champions from Bulgoria. l.-R. Slefanova, Gigova, and Robevo.

Bulgarian Winning Teom

were almost evenly utilized. Ball exercise and hoop exercise were alternated; during the second half, those who had competed with ball changed to hoop and vice versa; total of 92 floor exercises. The work was very spectacular, but in a number of cases the exercises resembled gymnastic ballet rather than rhythmic gymnastics. This was later braught out in the trainers' sessions, and necessary corrections were suggested in the interpretation of Modern Gymnastics for the future. In the second half the gymnasts seemed to improve considerably, and a strong feeling of competition was evident.

CHAMPIONSHIP RESULTS Individual 3. Maria Guigova Bulgaria 2. Nechka Robeva Bulgaria Lubov Sereda Russia Gamino Chagourova Russia 3. Roumiana Stephanova Bulgaria 4. Alia Sasouhina Russia 5. Maria Patocka Hungary 6. Hana Sitnianska Czechoslovakia 7. Zdenka Mlynarova Czechoslovakia 8. Jana Vonaskova Czechoslovakia 9. Victoria Vilcu Roumania 1O. Elke Botger East Germany

SEPTEMBER 29 - COMPETITION IN JUMP ROPE (OPTIONAL) AND EXERCISE WITHOUT IMPLEMENT (OPTIONAL) Ceremonies consisted of introduction of judges. The same procedure of alternate events followed: some gymnasts preferred the mat, some the bare floor. Some were barefooted, others had full or half slippers. The manipulation in some cases was fantastic. The exercise without implement showed different interpretations of rhythmic gymnastics; Denmark, Sweden, Holland, East and West Germany, Belgium, Jugoslavia, Poland, Italy, France and Czechoslovakia showed distinct differences in interpretations of the character of Modern Gymnastics. Russia, Bulgaria and Hungary used many ballet elements. As the competition continued, the audience became more and more tense; favorites of the audience were called three and even more times after their exercise, some of the gymnasts responding with deep ballet curtsies; flowers and bouquets were presented to them. The program was delayed for 20 minutes by staccato clapping and calling until the mayor of Varna spoke to the people, calling them to order and asking them to allow the rest of the individuals to compete without interruption. The music used throughout was selected by each gymnast and played by their accompanist or on tape. Many familiar American song arrangements were used, one 路of them being a Red River Valley Fantasy. The quality af voluntary exercises with jump rope were on a higher level than the voluntary exercises with hoop on the day before. The hoop was dropped several times (in one instance, it broke); this lowered the marks for otherwise excellent compositions. The new rule that the movement of the hoop must not be stopped caused many infractions. Regardless of how difficult a body movement may be if the hoop remains inactive it is considered a decoration and must be penalized.

38.45 38.05 38.05 38.05 37.75 37.40 37.00 36.70 36.45 36.35 36.30 36.05

SEPTEMBER 30 MEETING of all FIG judges and delegates ... in a.m. FUTURE PROGRAMS: Championship in 1971 will be in Cuba. Time was not set - Cuba's suggestion that it be held in August was rejected because of high temperatures. Also Cuba must guarantee air travel for all countries wishing to participate. PROGRAM FOR V WORLD 'S CHAMPIONSHIPS IN CUBA - 1971 GROUP NUMBER will be for 3 girls with balls and 3 girls with hoops. Individual exercises will be: (4 events) 1. COMPULSORY exercise with STREAMERThe ribbon should be 4 to 6 cm. (1 1/4 to 2" wide), original length 22 feet; 3 of the 22 feet are to be folded back so that final length will be 19 feet; ribbon should be of heavy satin, in any color and should be attached to a bamboo or other round baton 50 to 60 cm. (about 20 - 23 V2 inches long). The ribbon exercise will be ready for distribution in January or February. It will be sent to me in Czech but will also be available in French. 2. OPTIONAL exercise with hoop-wooden, can be round or flat 80 to 90 cm. (31 W' to 35W'). 3. OPTIONAL exercise with ball r to 8"; of any color except gold, silver or bronze. 4. OPTIONAL exercise with jump rope. Center 25 cm. (10 inches) may be thicker - no handles. May have taped ends. EXERCISE WITHOUT IMPLEMENT WILL NO LONGER BE A PART OF MODERN GYMNASTICS COMPETITIONS BECAUSE OF SUSCEPTIBILITY TO USE OF BALLET ELEMENTS AND DRAMATIC OR THEATRICAL EXPRESSION. (This may be used however, in Regional competitions.) NEW RULE FOR JUDGING: BECAUSE OF THE UNFAVORABLE POSITION OF THE GYMNAST WHO IS FIRST IN THE ORDER OF COMPETITIONS, IT WAS DECIDED THAT THE FIRST GIRL COMPETING SHOULD BE AN AlTERNATE SO JUDGES MEET IN CONFERENCE UPON HER INSTEAD OF ACTUAL PARTICIPANT. DEMONSTRATIONS BY AUDIENCES DURING COMPETITIONS MUST BE SOLVED.

The USGF is hosting men's and women's teams from Bulgaria early next year, with a two week tour of the Eastern Region. There are plans underway to establish a shorter tour in the immediate Southern California area in early February. The women's team is the Champion team from the recent Gymnastique Moderne competition, so they are not to be missed. If you are anywhere near these two areas keep a watch out for publicity on specific dates and locations. -10-

4th CHAMPIONSHIPS OF THE WORLD GYMNASTIOUE MODERNE Varna, Bulgaria 1969 EXERCISE WITH BALL FOR 1969 WORLD CHAMPIONSHIP~ VARNA, BULGARIA A 1. demi plie sidestep left, 3600 turn to left on left, right leg extended to reor outward - raise left arm sideway overhead, ball in left palm II. lower to halfsq uat on left, right leg extended to side, toes touch ing floor, deep right side bend arms high overhead, turn palms outward, ball in left palm III. 1.·2. close right to left, backbend and sidebend to left - right arm high inward, left palm with ball turns upward during trunk movement. 3. demi plie, lumbar frantbend (chest) - arms front inward, grasp ball with crossed arms, left front IV. straighten, rise on halftoe - lift crossed arms high inward (ball remains in crossed palms) V. Extending left to side and turning 45 0 to right, demi plie forestep left, left side bend - stretch left arm to side, ball on right palm VI. frontbend - with hori zontal swing forward, extend right arm to side, polm turned upward and back, ball on right palm, left extended to side, palm turned up and back VII.-Vili. 6 steps forward, beginning rig ht - vertical figure "8" with rig ht arm, boll in palm, (lower loop is exec uted forward in front of body horizontally, upper horizontal loop over head fini shes with diagonal swing forward to side, palm is turned upward to rear), carry left arm through side, close, and then to low rear movement of right arm is led by central movement of hips



'. VI. ;-~

.-~V'1. /

tiVIII . .


I. 1.-2. demi plie forestep right, rise (releve) on right halftoe, left extended to rear; upright lateral swing s forward to vertical tossing ball upward with right 3. demi plie forestep left (right toes close behind left heel), frontbend - arms low front inward, palms down and catch ball on bocks of hands II. 1.-2. rise on left half toe, bend right knee forward (toes of right behind left heel), shoulder backbend - lateral swings forward and toss ball upward 3. demi plie forestep right (toes of left behind right heel) shoulder back bend -lateral swing backward to front high oblique, then low front inward, palms down and catch ball on backs of hands III. 3 steps to rear, L, R, L. ARMS: 1.-2. raise arms and toss ball upward 3. extend right arm to side and backward, left front and catch ball in left palm - turn trun k to right, moderate sidebend to· left IV. 3 steps, R, L, R, turning 2700 to right and close left to right in halfsquat. ARMS: 1. front swing downward and toss ball upward - side bend to left ·2. arms high - moderate shoulder back bend 3. left extends to side and back, right forward, catch ball in right palm -chest frontbend V. ri se on halftoe (releve) turning 1800 to right; raising right arm toss ball behind head and lower right arrn to low rear, left arm swings to low rear upright with moderate shoulder backbend - 2 running steps forward, right, left while bouncing ball on floor once . VI. 1.-2. upright, 3 running steps fo rward, right, left, right 3. left forestep - arms low front inward and palrns down; catch ball on backs of hands VII. 3 runs to rear in arc to ieft turning 1800 to left beginning with right. ARMS: 1.-2. raise arms tossi ng ball upward, lowering and stretchin g 3. arms to sides - sidebend to right - catch ball with right and swing downward before body again tossing ball with right VIII. 3 steps turning 22 50 to left beginning with left foot 1. straighten body, arms high outward 2.-3. catch ball in left and toss before body to right hand (arms front hi gh oblique)









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C I.-II. demi plie forestep right to arabesque on right ond 6 hops on right turning 225 0 to right, left stretched high in rear - right hand bounces ball on floor 6 times, left arm rear III. upright, forestep left, extend right leg, high front outward - bounce ball to floor with right handswing right leg high inward over ball and close right to left foot on half toes bouncing ball 2 more times on floor (while on halftoes) -left arm stretched to side IV. bounce ball on floor with right -demi plie forestep right and rise to halftoe turning 360 to right, extend left leg high front outward over ball and finish turn on halftoe (feet closed) - thru closed position lower right arm to rear, raise left and catch ball in left palm (faster tempo) V. flex and straighten knees while bending trunk moderately and straightening aga in, turn trunk to left -left arm to rear, ball in left palm, right arm forward VI. 3 running steps forward, right, left, right - with preparatory downward swing toss ball slightly upward with left on 3rd count and catch in right VII. 3 long leaps (spring from left, leaping forward with right each time) bending right leg forward at start of each leap VIII., IX (stag leap) -left arm extends to side - ball is bounced 3 times with right hand, once on each leap X. 3 running steps forward, left, right, left - raise right arm forward and catch ball in palm (slower) XI. crossing right foot to rear turn 225 0 right to half toe stand - pass ball from right hand to left in back of body XII. 3 steps forward, left, right, left, toes of right foot on floor in rear - right arm forward high oblique, toss ball with left under right arm and catch in right palm - turn trunk to left, shoulder backbend - L arm extended to side and bock, right front high oblique D I. close right foot to left, demi plie and rise to half0 toe (releve) turning 315 to right- upper frantbend (chest) and body wove to backbend, then to left sidebend - with a slight downward preparation and a horizontal circle overhead to right, finishing right inward aver head, turn palm up, ball on palm, left arm extended to side II. halfsquat. with increased sidebend to left and then frantbend -left arm front inward, grasp ball with crossed hands, right hand in front (over left) III. 3 steps forward, left, right, starting with sidebend to right and shoulder back bend turn trunk to left and straighten (11.-111. complete circle of trunk) - transfer ball to left and with a small swing under arms raise both arms front high oblique, diagonal swing of arms inward raise arms high overhead and continue with lateral swing back left to low rear (palm remains up, ball in palm), right arm closes and stretches to side before finishing in low rear (palm remains up, ball in palm), right arm closes and stretches ' to ~ide before finishing in low rear IV. demi plie forestep left, rise to halftoe (releve), right leg extends to rear-with lateral swing forward left, toss ball, stretch right to side, catch ball in left hand in front high oblique position, right low rear V. demi plie forestep right, rise on right (releve), extend left leg high to rear - close orms, then raise both forward high oblique and toss ball from left to right, left extends to side, then moves to rear VI. close left to right in halfsquat position on halftoes and gradually straightening knees turn 270 to right - moderate frontbend and straighten - pass arms to back of body and transfer ball from right to left VII. demi plie forestep left, rise on left half toes, b'end right knee front, then straighten leg while VIII. Vii • • executing moderate frontbend and backbend (rear scale) - pass ball before body from left to right and bend, turn trunk to nght lateral sWing upward pass ball behind body to left during rear scale VIII. straighten - demi plie forestep right, kneel on and toss ball to rear above head with left; lateral left; through moderate front bend to deep back- swing forward then extend to side and catch ball







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on right palm (after catching ball, the back of right hand touches floor), left arm front oblique high outward.

E (finale)

I. with side bend ta right and arched frantbend, rail ball farward an flaar with right, straighten, rise an right halftae, extend left leg ta rear shaulder backbend - right frant high ablique, left law rear II. 1.-2. 4 running steps forward beginning left (arm s hald), 1 running step left farward and clase R toes to halfsquat behind left heel, deep frontbend; with lateral swin g farward right, scoap up ball fram in front with right hand III. 1. lateral swing back upward, right hand turns (with ball) under arm ta rear and tass ball over right shaulder 2. right fare step -left arm frant and catch ball in left palm, toss ball moderately upward. 3. left farestep and clase right to left in halfsquat - arms high ablique autward, catch ball in right palm, close left arm IV. 1. ri se an half toe (rei eve) turning 45° to left - straighten body through right sidebend - lower right arm moderately to side; with upward movement toss ball over head 2. 90° turn ta left and left forestep- roise arms high, then extend right arm to side 3. right forestep - ball bounces on floor V. 1. demi plie forestep left and tour jete (180°) to left (rig ht extends high front in flight and after 180° turn to left the left leg extend s to rear), catch ball whi le in flight in right palm 2. land on right, kneel on left, (bend right leg front) - with laterol swing downward raise right arm front high ablique, ball on right palm, left arm extends to side back, backbend 3. hold


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Musik von Josef Bohac

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ELEMENTS OF DIFFICULTY IN BALL EXERCISE Characteristics of Ball Exercise A-Rotating (railin g of ball) B-Floor Bounce C-Throwing and Catching Ball D-Ba lancing Ball E-Swings

Characteristics of Ball Ball must be of rubber, not of synthetic material; weight is not prescribed. Size: Average 18 ta 20 cm. (approximately 7 to 8") any color except bronze, gold or silver

Duration of optional exercise with ball: 1.30 to 2 minutes EXAMPLES

Medium Difficulty

High Difficulty

A-ROTATION (ROLLING, ETC.) 1. Jump over rolling boll 2. rolling boll on bocks of hands in low position - squat and turn into figure 8 or upward spiral 3. change directions when rolling boll 4. run ahead of rolling boll, roll it onto one hand and finish

movement with spirol 5. roll boll on one arm and catch with other hand

1. Some but jump with turn 2. some on one hand (remark: turn on one leg, etc.) 3. some with combination of jumps over rolling boll 4. some but execute spiral on one leg 5. roll boll along both arms and catch boll in palm

B- flOOR BOUNCE 1. repeat bouncing of boll in rhythm with coordinated

. movement of body or rhythmic steps 2. bouncing while leaping 3. bouncing while turning

1. some but in opposition to movements of body or steps 2. combination of bouncing, leaping and jumping over boll 3. bouncing while turning at least 360 0 - repeat without

interruption at least twice. C- THROWING AND CATCHING BALL

1. while jumping or leaping, throw boll and after landing catch with one hand or throw boll and catch while jump· ing or leaping 2. throw, turn and ca tch boll with one hand 3. throw and catch boll while in movement, on bocks of both hands 4. throw and catch with both hands in bock 5. throw boll with one hand and immediately throw again after catching (always with central movement impulse)

1. while jumping throw boll and catch on next jump or leap, with one hand 2. some but with more advanced pirouette 3. some but catch on one hand 4. throw boll during movement off place and catch boll in both hands in bock 5. some with combination including balance and turn, or in backbend, etc.

0- BALANCING BALL 1. balance boll on palm; when arms are extended to sides, turn palm up and down during rhythmic steps in va rious directions 2. spi ral (figure 8) boll balance on one palm - with steps turning, or steps in little ci rcle 3. boll on palm of arm extended to side and execute fast tu rns on both feet

1. some balancing, turning palm up or down but combine with throwing of boll in turnover of palm in swing overhead to other palm also turned over in high rear while executing rhythmic steps in various directions 2. some but combined with turns, or with jumps in turns 3. some but with pirouettes (turn on one foot)

E- SWINGS 1. boll on palm of right arm extended to side; trunk swing

through sidebend to rig ht, front-bend and side bend to left ronverse change boll to left plam - then reverse with big trun k swing, change boll from right to left palm with frontbend to right - both arms to right (trunk swings with demi plie 2. trunk swing as in 1., but during ci rcle of trunk cha nge boll to left (palm overhead should be up) sidebend to right

1. some but 1800 turn while doing trunk swing (ronverse) 2. Some, but after changing boll to left palm, bounce boll on floor, and execute any kind of whole turn (3600 ) and

any kind of catch; or some, but after changing boll to left palm, retard trunk swing and hold balance in bockbend with extension of leg forward (scale)

COMMON FAULTS Type of fault Small








LOSS OF BALL Viz: general penalty for loss of implement 3. small contact between boll and body (touch) A·ROTATION 1. boll bounces while rolling one to three times 2. interru ption while picking up boll B·BOUNCING 1. 2. small unsureness in directing of boll


movements not related to boll technique

unfamiliar with ba;, technique, harmony missing between movement of body and boll using boll as decora· tion

greater touch of body bounces more than three times pick up boll with fingers or with support against wrist boll is slopped to floor unsure placing of boll on floor

bounces all the way picking up boll with fingers or otherwise for longer period some but louder greater unsureness in placing boll on floor; no coordination in movement of body and boll

catching boll after bounce: boll is held in palm for a short time


Lost July the Gymnastics Modern Sub·Committee of the FIG met for a 6·day session in Varna, Bulgaria, to work out the technical principles and competition rules for this new sport. The foundation for this combined work was previously worked aut by members of the sub·committee in creative material ba sed upan experiences and observation s Jrom the previous three World Championships that progressively braught closer the conception of individual federations and so created a point of contact for world understanding. As in the previous three, the IV. World Championships in Varna, 8ulgaria, in 1969, will consist of two competitions: 0) individual, b) team compe· titions. The jndividual competition is written for four events: compulsory exercise with boll (the Czechoslovak exercise was selected), optional exercise without implement, one with hoop (1.30 up to 2 minutes) and optional exercise with rope (1 up to 1.30 minutes) - the difficulty required this time, for optional exercise is higher - 6 elements of me· dium and 2 elements of higher difficulty. Team competition is conducted only in group com· position. The results of individual competitions · will not be added to team competition results. The group composition for teams was first included in the World Championships program during the post year. In the plenary session of World Championships conducted in Kodan during the opportunity of the III. World Championships, it was approved that Group Gymnastics should be included even for future international competitions. Team competitions for the IV. World Championships is written for Group composition with balls. According to universal requirements, there must be 6 gymnasts in group competitions. More or less are not allowed. Each gymnast in the group will have one boll. This ball must be of rubberdiameter 18 to 20 cm. average (approximately 7 to 8 inches). All 6 gymnasts of a team must have the same kind of ball, only the colors may vary. (Colors may be used but gold and bronze shades are not allowed.) The leotard of each member must be of the some cut and color. The exercise area 12x12 meters (40x40 feet approximately), and the time requirement for the duration of the composition is 3 to 3.30 minutes ~ this is a change from past championships. The Group composition is not repeated during competitions, but will be decided upon by two groups of judges; one of the groups will evaluate the composition and difficulty (technical value) and the second group will evaluate the execution. The technical requirements emphasize the same understanding for group compositions as for individual compositions with the same implement. The peculiar specifics in exercises with hand implements rests entirely in the fine differentiation of the whole exercise that must always adhere to the character of the chosen or specific implement. The body movement must necessarily be influenced by all physio-mechanical characteristics of the implement. The implement is not used only for the benefit of certain physical development. For instance, the jump rope is not used only for jumping, but also for trunk movements, that, in fact, emanate from the same principle as, for instance, movements during exercise with ball, but their scope and dynamic qualities are different. From these requirements it, therefore, fallows that hand apparatus (implement) must not serve as a decorotive requisite. The implement must be in constant undisturbed movement during the en· tire exe rcise, movements that are natural to the body. It must · not be laid aside on the floor for even a short time. Both the right and left hands should be evenly occupied in the interest of balance throughout the exercise. Elements of difficulty in a group exercise must be included accordina to elements contained in lists

for individual exercise. But in the group exercise it is absolutely necessary ta develap difficulty through the exchange af implements between gymnasts. The exchange should be executed by tossing, ro'liing, etc., a specific distance; it is not sufficient only to hand the ball to the gymnast. Gymnasts, simultaneously, during mutual changing of implements, may also change places and so execute medium elements or those of higher difficulty (exchange of implement is not considered an element of difficulty in its broadest sense if it is done in static position). Far the group compositian with ball for the IV. World Championships, there are 4 elements of difficulty executed with mutual changing of the ball among the gymnasts. In group exercise as in individual exercises, acrobatic exercises eire forbidden, also typical ballet elements, modern dance and folklore elements. During evaluation of a combination, great emphasis will be laid upon its value and number of pattern changes, originality and variety. Further upon the logical ties of elements and their use in the area and also upon th~ number of changes of the apparatus. The difficulty of a group exercise rests, first, upon the value of individual difficulty of exercise, second, in the value of difficulty in the execution of the combined exchange between two or more gymnasts in the exchange of implement. During the evaluation of execution, there will be two basic views : technical execution and general harmony, including combination of movement of all gymnasts with music.

World Champion Bulgarian Gymnostic Modern Team on the Victory Plotform in Varna, Bulgaria, 1969.

World's Best Gymna stic Modern Gymnasts from Bulgorio, Stefanova, Coach Avramovo, Gigova, Cooch Schishmanova, Robeva and Pianist Michojlova.



Beginning with this issue, we will be bringing to Madamoiselle Gymnast readers information dealing with various world trends and concepts in women's gymnastics.

Ideas and materials are being received weekly from the many contacts made during the SCATS recent World Tour, and we hooe thraugh these means to share them with you. This first report deals with the general gymnastic philosophies of our Scandinavian and European friends. During the six-week tour, this writer spent literally hour upon hour talking with notional coaches, administrators, taking notes and viewing the overall structure of each country's gymnastic program. I'm certain you are well aware of the fact that in both the Scandinavian and European countries gymnastics is rightly regarded as the best means of physical training. To reiterate a statement penned many years ago, most every nation in the world considers "GYMNASTICS" physical education while we in the United States (in general) consider it a separate seasonal sport. Strange as it may seem, every national coach with whom we spoke advocated team training and truly believe that the gymnasts who train on their own are making a mistake. Their consensus is that teammates often note things that escape the attention of even the most experienced coach. In eight of the 10 countries visited, we found that at the elementary schoof level the girls did a great deal of

iumping, running and leaping, and at the national level approximately one-fourth of their training involved iumping exercises such as rope skipping, combination of leaps upon leaps and iust plain running, patterned after the United States topflight dash men's training program. The last general comment is an old, old story. However, I'm certai~ it is one of the 30 members of the Long Beach SCATS will adhere to, and that is, master the basics before you run, and run before you attempt to fly. In all of the countries visited, compulsories (no ootionals) are mandatory up until the age of 14. (Orchids to the U.S.A. Women's Division at the 1969 American Coaches Congress for instituting a national three-class program at all ages and ability levels.) IMPORTANT!! Coaches and Judges, NOTE: It is official that falls from the balance beam are now deducted five-tenths of a point per fall. Our next report will contain notes taken from visits with our Scandinavian counterparts at the universities and camp schools. Please address any comments or information requests to: Mr. Bud Marquette Director/Coach of SCATS 262 Coronado Avenue Long Beach, California 90803

Photo of "SCATS" performance at th e Kung stradgarden(Park), Stockholm, Sweden. Photo by Leif Engberg appeared in the Stockholm newspaper (see letters).


Report on the Japan, U.S.S.R., U.S.A. Women's Meet by Dale Flausaas U.S.A. Women's National Coach Cathy Rigby and Joyce Tanac were invited by the Japanese Gymnastic Federation to participate in a competition and exhibition in Japan with Russian and Japanese gymnasts. u.s. National Women's Coach Dale Flansaas was coac hl managerl ;udge. Following is Coach Flansaas ' report to the u.s. Gymnastic Commission. No vember 19, 1969:

Cathy, Jayce and myself left the L.A. airport en route for Tokyo. Prior to leavIng, Joyce spent 1V2 weeks in Reno, then we both went to Long Beach to train for what we thought would be four days af intensive training before departure. However, when the tickets came, they were set to leave earlier, and we only trained two days in Long Beach. On our arrival at Tokyo we were met by officials and the press. We were taken to the Palace Hatel and slept very well after 14 hours of traveling. November2 1, 1969:

It was strange for us to skip a day. After breakfast we hod meetings to determine the schedule for our stay in Japan. The Russians have a translator with them who speaks Russian and English. So everything is translated to English first for a change. The East Germans were not able to come because of visa problems. That was the only information given. We were interviewed at a TV studio for about 10 minutes. We were treated royally and presented with pearl pins. We worked out at Nippon Physical Education University in the afternoon. It was a slightly different experience. We entered the gym and took off our shoes and put on Japanese slippers as is the custom in Japan. We could not walk anywhere except the training area in anything but the slippers. We worked out lightly on every event. In the evening we had a reception and met many of the officials, coaches and ludges of the Tokyo area. Novemb er 22, 1969:

The competition was today. Our schedule said the 24th, but the Japanese said they sent a revision. We did not see it however. The Russians have 2 girls (Petrik and Karasevo), the Japanese 4 (ada, Hashiguchi, Hanyu and Mizukowal, and we 2 (Rigby and Tanac). The competition began at 3 p.m. At the opening ceremony we were presented with gifts. The girls competed on Vault and Floor Exercise and gave exhibitions in Beam and Bars. I had to judge which was difficult for the girls. However, they did a good job of helping one another,. and the Saviet and Japanese coaches also helped when necessary. From .thiS experience I would not recommend sending our team with this situation again unless necessary. The Japanese said they had a reciprocal agreement with the Russians for five people, and that is why they had a coach, judge and translator present with the gymnasts. The girls said they would have been more at ease if I cauld have been with them during the meet. The Japanese men performed an high bar and floor exercise. Also a group and individual exercises were perfarmed in modern gymnastics. Performances: Styles and trends in vau lting and floor exercise. Vault: (l) Either Yamashita's or twisting va ults were being perfarmed. (2) The Russians tend to have very high and impressive pre·flight but low past· flight In comparison. Both girls performed a cartwheel, 3,4 twist. (3) The Japanese tend to have low pre·flight and high and long post-flight. Three performed Yamashita's and one a cartwheel % twist (even flight on both sides). (4) The American girls vaults tended ta be in the middle of the above trends. Joyce did a Yamashita and Cathy did one Yamashita and one with a V2 twist which was very well received. (5) One af the Japanese officials told me that Mme. Villancher commented that she preferred the style with more post·flight (she officiated the meet). Floor Exercise: (1) The Russians' exercises, as usual, were very exciting to watch. Petrik was particularly impressive. She has such great facial and bady expression. You feel the mood of her dramatic music right along with her. Bath girls used the same routine as in 1968. Karaseva used a new one in the meet and then her old one the rest of the time in Japan. I liked her old ane best.

USA, Russian, Japanese gymnasts and officials pose for a group photo (2) The Japanese have a softer style than the Russians. I was particularly Impressed With the spring and amplitude of ado 's routine and the Oriental music and style and presentation of Hashiguchi. (3) Both of our girls hit a goad routine. Joyce's routine tends to be dramatic and seriaus and Cathy's bauncy with a saftness in the arms. We need to be a little more definite in each movement. Later at the hotel we met Kotsu Yamanaka (0 Japanese friend wha lived in the U.S. - Chico State for two years) and Steve Hug, who is training in Japan at the present. We ate dinner at a Japanese restaurant which was a fun experience because the faod was a little different and very good. December 23, 1969:

The second day the competition began at 6 p.m. Again, we were presented With gifts. We couldn't believe it when we opened it up, and it was a wristwatch. The team leaders of each country presented each other with their country's banner. We did not have a banner so we presented a U.S. emblem. I found out later that this is a customary procedure for dual meets So we should probably have some banners mode for our country. ., The girls campeted on beam and bars and did an exhibition on vault and floor exercise. The Japanese men perfarmed again. Beam: (l) The Russians have a very direct and abrupt type of movement on the beam. They are very sure of themselves. karaseva tends to be a little softer than Petrik. Ifeel they mave a little too slowly. (2) The Japanese have interesting compositio·n. Their dance movements are original and difficult. Many were doing fast handspring or tinsica walkouts. In this competition most of them tended to have minor mistakes in a few places. (3) Joyce's mount with the one·arm handstand is always very impressive. She had a good routine until the end where she hod minor losses of balance. Cathy hit a very solid routine, and her style of work on beam was commented upon favorably. She placed second on beam, and Mme. Villancher came up to me and commented on her good composition. Bars: (1) The Russians' routines seem short, but their form was good and each movement precise. I was not impressed with their work on this event. (2) The Japanese work very good bars. (The only thing I don't like is the single leg circles and single leg shoot throughs that some of them use.) Han yuone of their youngest and newest members - has an exciting routine. Each part is difficult. From her handstand pirouette on the H.B., she straddles down to the H.B. to a sale circle V2 turn, hip circle and immediately pops off the L.B. with a hecht, V4 turn to catch the H.B. She is not co nsistent yet, but in all events she is good and will be one of Japan 's best gymnasts. (3) The most popular dismou nts were hecht full twists from the L.B. or plain · or twisting hechts from the H. B. (4) Joyce hod a fall on the bars but finished off well and hit her impressive and well-received dismount - straddle cut, back flip off the H.B. Cathy's routine was well received and probably ties for the routine with the most difficulty with Hanyu's, but she had three minor form breaks which kept her score down. November 24, 1969:

Today we traveled· to Akita in northern Japan. The weather was very cold. We had a reception in the evening and then rested from a long day of travel· Ing. November 25, 1969:

In the morning, officials from Akita took us sightseeing and shopping. It started snowing; sightseeing outside was cold. In the afternoon we were taken to a Japanese tea ceremony. We were served small tea cakes and very strong green tea. Our exhibition went well. EOl>h girl worked three events. Joyce couldn't participate because of a stiff neck received from her fall in the Tokyo meet. The Continued on poge 28 ·19·

1970 WORLD CHAMPIONSHIPS COMPULSORIES WOMEN Translated by: Mrs. Jackie Uphues, USGF Women's Tech.Comm; Mrs. Ernestine Carter, Clarion State College, Penna.; and Mrs. Dale Flansaas, University of Nevada.


From an erect stand in the center of the platform (floor area). I.) 1-4 pause II.) 1-3 pause 4. Place the right foot crossed in front of the left, both feet on toes, raise the arms to the right, right arm upward and oblique, the left arm curved in front of the body, palm upward; lower the arms and turn by Y2 spiral 360° to the left to an erect stand on the toes of both feet, the left foot in front of the right, arms vertical.

III. 1. Lower the arms quickly from forward (downward) to backward, slightly bending the legs and go on without stopping to stag leap, throwing the arms upward, bending the right leg, toes of the right foot touching the left knee. 2. Land on the right foot, slightly bending the right leg, the left leg stretched backward, lower the arms: right arm lateral, left arm forward (pass through scale). 3. Straighten to a stand on toes of the right foot, leg extended, left leg extended backward, left arm lateral, one step on the left foot, hop on the left foot thrusting the right leg extended backwards, circling the arms backward up to the vertical. 4. One step forward on the right foot and by thrusting theleft leg backward, handspring forward to a stand on the left leg, right leg obliquely forward and downward, arms vertical. IV. 1. One step forward on the right foot, left leg extended backward, arms lateral, head to the left, slightly bending the right leg (take) one step in waltz crossing the left leg in front of the right with V4 turn to the right, two steps right, left, with slight bending of trunk to the left, head to the left (look over the left shoulder), lowering the arms to bring the left forward, the right backward. 2. Pivot to the right 135° (%) on the toes of the feet, lift the right leg to the oblique forward and downward position, with slight bending of the trunk forward and twist to the left, head lowered, right arm curved in front of the body, left arm extended backwa rd. 3. Place the right foot forward, while slightly bending and extending the legs, body wave in order to straighten to a stand on the toes of the right foot, left leg extended backward, simultaneously lowering the right arm to raise it up again obliquely upward, the left arm obliquely backward, the head raised -toward the right hand. (IV. 1-3 in waltz rhythm). The gymnast finds herself in the corner of the floor area, facing the center. 4. Step on the left foot and hop with the right leg extended backward, simultaneously lowering the left arm to raise it obliquely upward. V. 1.... and with a step on the right foot circle the arms from front to back and by taking off with the right leg and thrusting of the left leg, dive tin sica to a stand on the left leg, right leg extended obliquely forward and downward, the right arm horizontal, the left vertical. 2.-3. Place the right foot forward and cartwheel to the right ending with a V4 turn to the left bringing the feet together to a stand, legs semi bent, legs together with slight inclination of the trunk forward, arms horizontal, without stopping flic-flac (back handspring).

VI. 1. to a stand on the slightly bent right leg, left leg stretched backward (lunge) slightly bending the trunk forward, arms forward in semi-wide (ported) position (to the right corner of the floor area, facing the center). 2. Slightly bending the trunk to the right with circling of the left arm from downward to upward in front of body, straighten the trunk, slight bending of the trunk to the left with circling of the right arm from downward to upward, straighten the trunk (the head follows the movement of the arms, to finish the arms curved in an oval over the head). 3. Without stopping go on to lower the arms laterally, palms upward, slightly bending the trunk to the right, head to the right. Paragraphs V and VI 2-3 are executed with continuity. 4. Va turn (45°) to the left, extending the right leg, hop on the right foot, the left leg extended forward and downward, lower the left arm and circle the forearm up to the lateral position, one step on the left foot, hop on the left foot, right leg extended forward and downward, lower the right arm 'and circle the forearm up to the lateral position, head follows the movement of the arms. VII. 1. One step on the right foot lowering the arms, take off on the left foot and stride leap, right arm lateral, the left arm horizontal (forward), land (return) to a stand on the right leg, left leg stretched backward. 2. 'One step on the left foot, arms lateral and swing (thrust), the right leg forward in leap with changing of the leg (scissors leap) with a circle of the arms forward to backward, landing on the right leg partially bent, the left leg extended forward and downward, the arms obliquely backward. 3. One step forward on the left foot with bending and extension of the legs, body wave, forward to a stand on the left leg, thrust the right leg forward, lower the arms laterally in order to raise them again to forward and upward. 4. Continue movement of the right leg and the arms to place the hands on the floor and turn backward passing through the inverted stretched support (back walkover) to a position on t~e right knee, hand support forward, lower to a sitting POSItion on the right heel, left leg stretched backward on the floor, the hands placed on the floor, arching the body (facing the initial direction). Paragraph VII 3-4 are executed with continuity. VIII. 1. Go on without stopping by support on the right hand, displacing (lifting) the left hand with V4 turn to the right, join the legs to a stretched lYing front support (left side toward the initial direction). . 2. Continue the movement turning once agOin V4 (90°), bending the legs to sit on the left thigh, head to the right, right arm lateral, left hand support, turning to a bent sitting position on the right thigh, right hand placed on the floor, left arm extended laterally, head to the left. 3. % turn to the right, straighten with placing of the left foot forward. IX. 1. a stand on the toes of the feet (right foot in front of the left foot) arms extended obliquely foward and upward (left side turned toward the center.) 2. Bend the legs to a semi-squat stand, lower the left arm forward, followed by the right arm to the right side and turn 135° (% to the left in order to straighten to a stand on the toes of the feet, the left foot in front of the right, the arms upward, the trunk and the head following the movements of the arms. 3. Slightly bending the arms, palms upward, lower ·20·

them. Lower the right leg slightly bent (to a semibent stand on the right leg), left leg extended forward and downward, the arms supple, latera l, upward. 4. One step on the left foot forward bending and extending the legs with a body wave, bring (draw) the right foot behind the left foot to a stand on the toes of the feet, legs extended, head extended, simultaneously raising the . arms forward, .elbows and hands joined (clasped), then straighten (extend) the arms obliquely forward and upward, palms down, right hand on the left hand (back turned toward the center). X. 1. Turn to the right 135" (%) bending then straight· ening the legs and lowering the arms, by extending quickly the legs, slide the feet on the floor in order to slightly advance into a forward lunge on the semi-bent right leg and the toes of the feet, simultaneously raise the left arm forward, the right arm lateral, head turned to the left (the side toward the center). 2. By rapid extension of the right leg, reunite the left foot to the right to a stretched stand on the toes of the feet, arms obliquely lateral and upward, palms turned outward. 3. Repeat Paragraph X-1., but in reverse (lunge on left leg, right arm forward, left. arm lateral). XI. 1. One step forward on the right foot with swing of the trunk to the left, right arm bent in frant of the bust, head to the right. 2. Extending the right arm laterally, thrust the left leg extended, then bent forward, knee to the outside, toes of the left foot against the right leg, simultaneously Vivot 360° to the right, arms curved in oval over the head. 3.-4. Extend the left leg backward and with inclination (bending) of the trunk forward, frant scale to a stand on the right leg, simultaneously lower the arms, semi bent laterally, forearms up· ward, carrying (bringing)' them directly to the horizontal, forearms joined, lower the arms bent then extend up to an oblique backward position palms upward, without stopping bring them directly forward. XII. 1. . .. and place the hands on the floor, then by thrust from the right foot, inverted stretched support (handstand) with legs together and ... 2. V4 turn to the left separating the legs (one forward the other backward). 3. Slowly turn to a stand on the left leg (walkove rout), right leg extended forward, arms upward, one step forward on the right foot, join the legs to a stand on the toes of the feet, arms lateral (facing the initial direction).


1.-2. With V4 turn right, 4 running steps, right, left, right, left, curving to the right, left arm lateral, right arm curved in fro nt of the bust slightly twisting the trunk to the left. 3. With Va of a turn (45°) to the right, join the right leg to the left leg, arms obliquely upward and forward, blend the legs with Y2 circumduction (rotation) of the trunk and circle the arms parallel from upward-downward to the right, extending the legs to a stand on the toes of the feet returning the arms backward to the right side up to a vertica l position. XIV. 1. Twist the trunk to the left, arms to the left lateral, one step on the right foot and hop on the right leg, left leg extended backward, circle the right arm in front of the body up to an oblique forward and upward position, left arm obliquely backward. 1.·3. One step on the left foot forward on the toes of the foot, right leg bent, the toes of the foot touching the left knee and turn 360° to the right, arms curved forward and downward, extend the right leg and step forward on the right foot, arms lateral. Paragraphs XIII-XIV are executed on a curved line to the right.

XV. One step on the left foot ond stag leap with bending of the right leg, slightly twisting the trunk left, simultaneously lowering the arms ta bring them obliquely forward and upward, land on right foot. 2. Pas chasse -leap with hap (left-right-Ieft), arms lateral. . 3. Thrust the right leg, pivot to the left 225掳 (%) on the toes of the left foot to a stand on the left leg, the right leg extended forward and downward, arms lateral (standing in the left corner of the floor area - front turned toward the center.)

arm obliquely forward and upward, right arm remaining backward and downward. 2. Drow back (bring) the weight of the body on the right foot, turn to the right toward the back (rearwards) (360掳), body slightly to the oblique forward around the long axis, to return into a lunge, left arm upward, right arm on the thigh along the body (held against the body). 3. Lower the right orm in order to return it obliqueIy forward and upward, circle the .right arm back- _

ward and circle the left forearm in front ot the body, extend the arms obliquely forword and upward, slightly twisting the trunk to the right (standing ta the right corner of the floor area). 4. Pa.use. REMARKS: 1. Paragraph XII路3 may be reversed. 2. Paragraph XVI and XVII may be reversed but after the flip-flop (back handspring) the gymnast must return to a stand on the right leg.

XVI. 1. One step farward on the right foot to a semibent stand, left foot painted behind the right foot, the trunk and the head inclined forward; lower the arms straight downward, crossing them in front of the body and rapidly extend them obliquely lateral and downward. 2. Straighten the trunk, bending the arms near the shoulders. 3. Join the left foot to the right foot to a stand on the toes of the feet, arms obliquely upward, palms inward. 4. Two running steps, left right, lowering the arms laterally to return them forward and upward.



XVII. 1.-3. One step on the left foot and by thrusting the right leg backward, hop, with a step on the right foot, roundoff and flip flop (back handspring) to a stand on the right leg, left leg stretched backward and Y2 turn to the left to a stand on the right leg, left leg extended forward and downward, arms lateral. 4. One step on the left foot, one step on the right foot with a hop, thrust the left leg forward and to the left stretched then bent, toes of the left foot touching the right knee, circle of the arms backward.


XI IV (1-3)

XVIII. 1. Extend the left leg and lunge forward on the bent left leg, right leg stretched pointing backward, lower the arms backward, raise the left



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WORl.D GAMES· 1970 COMPUlSORY ~l.OO R EXERCISE MUSICAl. ACCQ)I PAN IMENT .. ulJeol ... " _ ' .... : Jullo.' ........



FLOOR EXERCISE (Penaltjes) 4. V, spiral not executed


................ 0:10

III 1. the foot not touching the knee (stag leop) ...... .. 0.1 0 2. left leg below horizontal .......... ...... . .0.20 3. handspring walkout without amplitude ............ 0.30 4. walkover instead of handspring .......... .... .. 0.50

IV 1. lock of continuity of the step forward after the handspring .................

XIII 1-2. Running steps without lightness ................ .... 0.10 3. In sufficient amplitude of the circle of the arms _.... 0.10

XIV 1. Lock of continuity...... .. . 2-3. Turn with placement of heel

1. Leap without amplitude .................. .. 0.20 -Insufficient fixation of the forward leg during the course of the leap............ . .0. 10 2. Leap without lightness .. . ............................ 0.10


V . Coordination incorrect of the circle of the arms forward to the dive tinsica .. . 0.20 -Insufficient flight forward in the plac'ement of the hands in the dive tinsica .. .. ........................... 0.10 - simultaneous placement of the hands . 0.30 - walkover instead of dive tin sica. .............. . 0.50 - poor direction in the dive tinsica.. . .. ... 0.10

VI 1-2. Insufficient coordination of the back handspring; movement of the 0 rms ......................... 0.10

VII 1. Insufficient spread of the legs during the leap, (less than a complete split) ........ _.................... 0.20 2-3-4. Insufficient continuity during the scissor leap, of the body wave and the backwalkover ...... . 0.20 -lack of amplitude in the execution of the body wove. ... 0.1 0 - forword leg too low during the backwalkover ..... 0.10 IX -2-3-4. Insufficient continuity of the movements ..... 0.10 -Insufficient body wave .. .. ... 0.30

X 1-2-3. Execution of the lunge with 0 jump instead of slide, each time.... .. .......... .. . .. ... _ 0.10 - Insufficient elevation on the toes each time .......... 0.10

XI 1-2-3-4. Poor coordination of the arms during the turn and the front scale ................ _..... 0.20 - Incomplete pivot ..... _.......... .................. ... 0.30 - Placement of the heel ........................ . ..... 0.20 - Position of the leg too low during the front scale 0.20

XII .... 0.10 1. Leg s aport in the inverted support .. ...... 0.10 2. Insufficient spread of the legs ... Ins'uffic'ient continuity during the execution of oarts XI -XII . .. .... 0.10

.. 0.20 .... 0.20


XVI 1. Fault in rhythm of the arm movements

... 0.10

XVII 1-3-4. Lack of continuity during the execution of the bock handspring, V, turn and jump.. .. ........ 0.20 - Omission of the hop with thrust of the leg forward and lateral.... .. .... .. . .. ......... 0.20

XVIII 2. Oisplacement of the axis of rotation during the turn ............. ............... .. ....... 0_30 - placement of the heel .......... 0.20

BALANCE BEAM From an erect stand facing toward the left third of the beam (oblique mount) 1. From a few running steps, take off from the left leg, place the right foot with leg bent on the beam with a brief support of the right hand, the left leg extended forward, the left arm lateral, and without stopping go on to Y2 tum (180°) to the right, the left leg moves forward to land in a squat position, body weight on both legs, the left foot in front of the right foot, arms upward, without stopping lower the right arm backwards, the left arm forward to the low oblique (downward), with a slight twist of the body to the right, head to the right. 2. Without stopping, straighten with a slig ht body wove to a stand on the toes, simultaneously lower the left arm backward in order to roise it upward, the right arm moves forward and upward . 3. Pas chasse leaps forward (left, right, left) lowering the arms laterally, crossing the arms softly in front of the body and by thrust (push) from the left foot,


leap forward thrusting the arms laterally, landing on two feet, right foot forward, arms downward. 4. Without stopping, by thrust (push), stag leap, with right leg bent, left extended, simultaneously raise the arms forward to the vertical in order to lower them laterally and obliquely downward, (return) london the right leg and ... 5. ... Step forward on the left foot with a Y2 (l 80°) turn left on the toes of the foot, right leg bent, knee facing to the exterior (outward), toes of the foot against the lower left leg, raise the arms forward to the vertical, the left arm curved upward, the right arm continuing the movement laterally, to the downward oblique, head to the right. 6. Without stopping one supple step forward on the right foot, extending the leg on toes with bending of the trunk to the right, head forward, circle the curved left arm supply in front of the body from downward to upward in order to lower sideward, the right arm sideward, one supple step forward on the left foot extending the leg on toes with bending of the trunk to the left, circle the right arm from downward to upward in front of the body in order to lower it sideward. 7. With straightening of the body, swing the right leg in order to toke one accentuated (slightly held) step forward on the right foot on the toes of the stretched leg, lowering the arms sideward to the rear oblique position, body stretched, head raised, rapidly drawing the left foot behind the right heel. 8. Directly jump from two legs with change of leg during the jump, the right leg moves backward then forward, the left leg moves forward then backward (small scissors) landing on the right leg, the left foot returning extended on the beam, both legs partially bent, simultaneously swing the arms forward to the vertical and with bending of the trunk to the left, lower the left arm through the lateral position in order to raise it curved (supply) to downward (low) in front of the body, the right arm curved (supply) obliquely upward, palm overhead, head to the right. 9. One step forward on the toes of the left foot,

thrust the stretched right leg forward toward upward (kick), simultaneously lower the arms supply in front of the body in order to raise them laterally, the left arm to a vertical position the right arm lateral. ' 10. Place the right leg forward, lowering the left arm sideward, step on the left leg with Y2 (l 80°) turn to the left on toes, right leg stretched backward, simultaneously raise the arms sideward to a curved position overhead, place the right foot forward, front scale with circle of the arms, the left arm lowering forward, the right arm backwards, in order to bring the right arm forward to the downward oblique, the left arm to the oblique backward position. 11. Without stopping go on to lower the left leg straightening the body, arms downward, place the left foot forwa rd on toes with elevation of the b.ent right leg forward, foot against the left knee, nght arm moves to the oblique backward downward position, the left arm curved (supply) in front of the body, extending the hands, palms turned under, head to the right, position maintained (held). 12. Two steps forward, right, left on the toes with circling of the left arm from backward to forward up to the forward horizontal, right arm raises forward to the vertical and without stopping go on to cartwheel left (left arm, then right) in order to return to an erect stand, back in the direction of the beam, arms curved in oval over the head. 13. supple step forward on the left leg, draw the nght leg supply behind the left foot, lower the arms forward ond downward and, with a small bending of the trunk forward continue the movement of the arms sideward, palms to the exterior and directly corry the extended arms to the hori-

zontal cros'sed in 'front of the body, right arm over the left arm, the head forward between the arms, one step backward on the right foot with straightening of the body lowering the arms downward. 14. One step backward on the left. foot and pivot one full turn (360°) to the left, arms sideward, bending the left leg (lunge), the right leg stretched backward on toes, bring the arms supply to the forward position, with the palms horizontal to the exterior, and with twist of the trunk to the left 45", bring the right arm over the left, palms upwards. ' 15. Return facing forward with one step on the right foot, turning palms to the exterior and open the arms laterally, one step forward on the left foot with a hop, right leg bent backward, knees together, simultaneously lower the arms backward and downward, left arm continues moving forward to the vertical, right arm laterally. 16. Without stopping to go on to a second hop on the left leg while kicking the stretched leg forward , simultaneously thrust the right arm forward up to the vertical, lowering the left arm laterally; step forward on the toes of the right foot with thrust of the stretched left leg forward, and without stopping go on to a '/2 turn to the right, thrust the left leg forward, simultaneously lowering the arms in order to elevate them forward , at the end of the turn the curved arms are vertical. 17. Placing the left leg forward , thrust the right leg, then left leg backward to on inverted stretched support (handstand) on the left arm, right arm lateral, and with Y2 turn (180°) to the right spring to a side stand right sideways, right hand on beam, left lateral. The exercise may be revised only in its entirety.


1. Mount heavy or off balance ... .. ............ 0.20 2. Mount with pronounced stop ........ .. .. .. ... 0.20 3. Half turn uncertain ........ .. ............. .... ... 0.20 4. Omission of the rande de jambe (circle of the ~ ............ .. ....... .... ....... ..... ....... .. . ~W 5. Omission of the twist of the trunk .. ...... .... 0.20 6. Omission of the turning of the head ...... .... 0.10 7. Execution jerky and without elegance of ~~ra~I .... ... .. ....... ... ....... ...... ...... ~W II 1. Heel s on the beam .. ...... .. ...... .... ........ ... 0.20 2. Incorrect body wove ... ..... .... ..... ... ... ...... 0.30 III 1. Pas chasses without liveliness .... .. ....... ... 0.20 2. Jump too low .... .... ....... .... .... ...... ...... .. 0. 20 3. Insufficient thrust of right leg .... ...... .... ... 0.10 4. Insufficient coordination of paragraph III .. . 0.20

IV 1. Insufficient elevation of stag leap .... .. ... ... . 0.20 2. Back leg slightly bent ................. .... .... .. 0.10 3. Insufficient bend of front leg .. .... ........ .... 0.20 4. Heavy landing .. .. ...... .. ..... ...... .... ..... ... 0.20 V 1. Y2 turn uncertain .. ........ .. .... ...... .. ... .. .. . 0.20 2. Y2 turn on heel .. .... .... .... ........ .. ... .... .. .. 0.20 3. Incorrect position of right leg ........ .. .. .... .. 0.10 4. Arm movements stiff .. ........ .... ..... ..... ... 0.20 5. Insufficient turn of the head .. .... ... ........ ... 0.20

VI 1. Steps without suppleness .. .... ...... ...... .... 0.20 2. Omission of bending the trunk, each time .... 0.20 3. Lack of straightening the body........... .. .... 0.10 4. Insufficient thrust of the right leg ... ........ .. 0.10 5. Poor continuity of the exercise during paragraph VI .. .. .. .... .... ................. . ... 0.20

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VII 1. Accentuated step with placement af the heel and without energy ...... ... .... ..... ............ .... 0.10 2. Omission of extension of the body ..... ... .... 0.20 VIII 1. Jump without a changing of legs .............. 0.30 2. Insufficient height of the jump ................. 0.20 3. Foot not returned to beam ..................... 0.10 4. Insufficient bend of the body .................. 0.20 5. Movement of the arms without amplitude ... 0.10 6. Omission of turning the palm upward, and omission of turning the head ................. 0.20 VIX 1. Placement of heel on beam ..................... 0.20 2. Insufficient thrust of right leg ................. 0.20 3. Movement of arms without coordination .... 0.1 0

X 1. Y2 turn on heel ........... ....................... 0.20 2. Scale incorrect ................... ............... 0.30 3. Circle of arms incorrect and without coordination ............................ ......... .. 0.20 XI

1. Placement of heel ............................... 0.20 2. Omission of placement of the foot against the knee .................... ................. ..... 0.10 3. Lack of body expression (staccato) .......... 0.20 4. Position not held ............... ........... .. ..... 0.20 XII 1. Lack of coordination and continuity of the movements ...................................... 0.30 2. Incorrect plane of the cartwheel (body position) .......................................... 0.30 3. Cartwheel with simultaneous placement of ~~s

............................................. XIII


1. Insufficient suppleness of arms and legs .... 0.30 2. Lack of coordination .......... .................. 0.20 3. Omission of bending trunk ..................... 0.20 4. Head nat placed between the arms ........... 0.20 XIV

1. Turn uncertain ................................... 0.30 2. Right heel on beam .... ..... .. .............. ..... 0.20 3. Incorrect movement of arms and without

COACH: 1) Between the board and the horse ....... ...... 2) Aid of coach during the vault ..... 3) Aid of coach during landing ................. Special Penalties For Compulsory Vault: 1) Omission of passing through vertical. ...... 2) Vault executed with mojor changes.. VAULTING PENALTIES Vault No. 16 FIRST FLIGHT:


1.00 Void 2.00 Void Void

I) Insufficient flight between the board and

the placement of the hands up to 2.00 points During the flight body bent. .. up to 0.50 Flight poorly directed ... up to 0.50 During the flight legs bent ... up to 0.50 During the flight legs aport ... up to 0.50 6) Coming to the inverted support with force . up to 1.00 7) Body bent at the inverted support 1.00 B) Shoulders forward at tne inverted support up to 1.00 9) Arms slightly bent at the support 0.30 - 0.50 - completely bent - 2.50 10) Stop at the support 0.50 IMPULSION: I) lock of impul sion 2.00 2) Alternate repulsion of hands (push off) 0.30 3) Removing hands too late 0.50 4) Insufficient height of repulsion (push off) 1.00 SECOND FLIGHT I) Insufficient flight ... up t<> 2.00 2) During the flight, body bent 0.50 3) legs bent ... up to 0.50 4) legs aport ... up to 0.50 DIRECTION: I) Poor general direction of the vault 0.50 GENERAL BALANCE OF VAULT: I) Poor general balance 1.00 LANDING: 1)) Hl eakvY'fubnclertain 0.20 2 ac a a once 0.30 3)) sTouchintg affhhandds onflflaor 0.50 4 uppor a on s on oar 1.00 5) landing on knees 1.50 6) landing on hips 2.00 7) landing out of balance with support of body against the horse ...................................... 1.50 2) 3) 4) 5)

(A Reuther Board may be used for the mount) From a side stand frantwa ys. a few steps from the center of the low bar: 1. Run two or three steps, toke off from two feet with a manual support on the low bar in order to jump to a squat stand, immediately di splacing the grasps to the high bar, spring fram the legs, cost backwards in order to ri se to a side straddled support on the high bar. (Squat mount - immediate jump to free straddle support on HB) 2. Fall (tu rn) backward in order to swing forward under the high bar, V2 turn left arm displacing the right hand, swing forward in mixed grip with legs together . (cost, V2 turn to mixed grip)

3. Turn in support backwards around the low bar without manual support, by impulse (push) from the thighs backwards to on eagle hong on the high bar. (Free bock hip circle- pop off to eagle catch on HB)

4. Immediately displace the hand grasps to the low bar, sWing forward under the low bar passing the legs stretched between the grasps in order to arrive on the tow bar, dorsal (regular) grasp on high bar. (Glide kip-double leg shoot thru-to rear lying support hong) 5. Swing (cast legs) and kip to a support an the high bar, turn in support forward araund the high bar, without stopping in stretched support, pass the legs flexed between the grasps to a rear support on the high bar. (Stationary kip-front hip circle-double leg squat through). 6. Fall (turn) backward to a semi-inverted hong , swing forward , and on return swing, release the right hand with V4 turn to the right passing the legs to the right and replace the right hand on the high bar with a V2 turn to the left in order to descend to a side. stand right. (Flank cut right-regrasp-V2 turn left)



amplitude ....... .. ... ... .. ....... ........... ..... 0.20

4. Omission of twisting the trunk ......... ....... 0.20 5. Palms under ........... ..... .. ........ .......... . 0.10

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XV 1. Omission of bending the body ................. 0.20 2. Hop too low, knees apart .... ........... ........ 0.20 XVI 1. Second jump too low ............................ 0.10 2. Insufficient thrust of right leg ................. 0.20 3. Y2 turn on heel and without continuity ....... 0.20 XVII 1. Omission of passing through vertical ......... 0.40 2. Dismount on two arms ......................... 0.50 3. Y2 turn too early or too late .. .... ... ..... ...... 0.30

HORSE VAULT - 1970 JUMP: Body and arms extended (stretched) to an inverted support, turn over forward in flight and descend to a rear stand. (Handspring vault).












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16 (HANDSPRING) Jump, body and arms stretched to an inverted support, turning forwards to fall (descend) free to a stand rearways.

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BARS - PENALTIES I 1. Placement of the feet alterna tely on low bar .0.20 2. Lock of bala nce in squat position .................... 0. 10 3. Oisplacement of hands alternately on high bar ....0.1 0 4. Mounting with force ...................................0.1 0 5. In sufficient elevation of the extended leg backward .. . .. ... ..0.30 6. Movement w ith rebou nd (spring).. . ............ 0.30 7. Insufficient elevation in straddle support ...........0.1 0 8. Straddling legs too ea rl y ...............................0.1 0 9. Touch ing the bar with the fe et ................ . ...... 0.20

II 1. Fall backwa rd too early ......... ......... .............. 0. 10 2. Touc hing the bar ........................................0.20 3. Insufficient amplitude of the swing forward and the Y2 turn .. .. .........0.30 4. Hand suppo rt incorrect.. .. .......0 .10


III 1. Lock of continuity in the bock hip circle ............0.20 2. Suspension in the eag le of 1 hand .................. 0.50 3. Insufficient extension of the body .................... 0.10


IV 1. Lock of contin uity in the displacement of hands...0.20 2. Insufficient extension of the body forward in the .. .0.20 passi ng of legs between the arms.. 3. Dorsal (rea r) support on low ba r .. .. .. 0.30 4. Hand support on high bar too early or too late ... 0.10 5. Stop on the low bar .. . ...... 0.20

V 1. Kip with bent arms ................ .. ................... 0.30 2. Coming into the high bar with force ................. 0.30 3. Lock of contin uity.. .. ... 0.20 4. Front hip ci rcle incomplete ......... 0.30 5. Sl ight bend of the arms ................... .0.20 6. Passing the legs extended .. .. .............0.30 7. Supplementary swing in order to pass the leg s between the arms .............. .. ..................... 0.50

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VI 1. Insufficient amplitude on the semi-i nvert ed swing 0.20 2. Hips too low when relea sing the right hand ......... 0.40 3. Y4 turn incomplete .. .. ........... 0.20 4. Y2 turn too early or too late ...........................0.20 5. Omission of the hand support on the high bar ..... 0.20 6. In sufficient straightening of the body before the landing on the di smount .............. 0.20


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Designed for Teacher, Coach, and Professional Student! Includes Teaching Methodology for all levels! Kinesiology, Physiology, and Psychology of Gymnastics! Covers the .Current Available Literature in the Field! Elementary, Secondary and College Level Physical Education Gymnastics! • Competitive Gymnastics at all levelsl • Exhibition Gymnastics! • Lists Current Equipment and Supply Companies! -


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NAME ________________________________________________ ADDRESS ____________________________________________ Street





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By Helen Sjursen


Fig. 3 WRONG

ARE YOU AN "OVER-SPOTTER" OR A"FALL BREAKER"? In my observations of various coaches, I have found that quite a few of them continuously help a gymnast through a movement. The gymnast could think she has learned the trick and may attempt to try it on her own and passibly take a fall, nat realizing that her caach or instructor has helped her mare than she knows. Such a gymnast had been (what I shall call) overspotted. I talked to one of the coaches and asked him why he over-spotted. His reply was that he likes to over-spot and gradually give less and less assistance until the gymnast can do with skill with no assistance. Some may feel this theory is good, and it may well be, especially to build up confidence in the gymnast on the more dangerous moves, knowing she will make it every time with assistance. However, I believe on a new skill, especially one with some danger to it, a gymnast SHOULD have spotters assisting her through the actual move so she can feel the mechanics of the skill and know exactly what she is to do. Coaches should also explain the details. of the mechanics. After a few tries with assistance, the gymnast should be ready to try the skill under her own steam. When using the overhead rig, the slack only should be taken up. As the gymnast goes through the movement, there should be NO ASSISTANCE from the spotter, or "fall breaker." If the gymnast misses the skill, her fall can be prevented by pulling on the ropes of the rig. By eliminating any assistance, the coach can more readily see the error that was made and instruct the gymnast as ta how to correct it. In "over-spotting" (always helping the gymnast complete the skill), the gymnast usually learns the skill through continuous practice and possibly with some explanation here and there. In "fall-breaking" the various errors that could be made by the gymnast for that particular skill will immediately show up. Each error is explained by the coach giving the gymnast the opportunity to correct it and also educating the gymnast of the errors and how to correct them. If the gymnasts are "educated" on the mechanics of the skill and how to correct the errors, she will advance more quickly and also, she will make a better instructor in the future. In hand-spotting, the spotter should have a grip on the gymnast from the start of the movement whenever possible (or grip as soon as possible) and with no assistance follow the movement through. Should the gymnast miss, the spotter already has the grip to prevent a fall. So, for the advancement of competing gymnasts and better instructors for the future, let's be fall -breakers and not over:spotters.

Fig. 3. As the hands contact the horse, many beginners will let their hips drop causing the "jog" (sinking the back) in the pre-flight which can result in an incompleted vault or a faulty vault. Are you a jogging vaulter? If you are, get out of the bad habit. Fig. 4. As the hands contact the horse, as high as the hips are at that instant, keep them there and let the LEGS raise upward to reach the stretched body position. By not "sinking the back" you can reacb the stretched body position at a higher angle in relation to the horse and execute the remainder of the vault with less effort. Beginners should first. be taught the proper running approach and the proper technique in popping off the board. Working through the squat vault and layout squat vault is about the best vault to use in working up a preflight and breaking in a new spotter. As the vaulter gains confidence, the board can gradually be moved farther and farther away from the horse until the board is at least a body's length away from the horse.

HANDSPRING - Spotting Pre-Flight and After-Flight


[J Fig. 1

Fig. 2

Fig. 3

Every once in a while you may come across a new gymnast who has a naturally fast run and a naturally good take-off and fearless. You, as a coach, might want to try such a gymnast on a handspring vault to see how well she does or just to let her get the feel of the mechanics of the handspring. If the first few attempts look promising, you might want her to continue practicing the handspring. Try the following with new gymnasts who have good take-offs: Figs. 1 & 2. Instruct the gymnast that her duty is to run fast and pop-off in the usual manner then STRETCH THE BODY IN PRE-FLIGHT AND STIFFEN OUT, nothing more. (You may want to further explain action of arms and angle of take-off according to speed of her run). The natural tendency for the gymnast, after take-off, will be to reach for the horse which should be allowed for the first few attempts to be sure hands will contact the horse and not fall short or beyond the horse. Be sure the board is not so close that she will not have time to stretch her body in pre-flight. As the gymnast stretches out, place two hands (or arms) under HIGH THIGHS and thrust upwards and towards the horse. The thrust should be ONLY hard enough to put the gymnast in the handstand position. If not, immediately, after the thrust, step in to face the gymnast and place the hands on her hips and gently push her to the handstand position. The gymnast must be reminded to "stiffen out" during the thrust and if necessary, during the gentle push against the hips. Another spotter should be on t~e landing side. As the hands contact the horse grip one upper arm of the gymnast to prevent her shoulders from shifting too far forward as the gymnast is being thrusted or raised to the handstand position.


Fig. 1


Fig. 1 & 2. When beginners start to learn to vault, a majority of them will have a "bent body" in pre-flight and also at the time of hand contact to the horse. (Eventually this can be corrected as the gymnast gains confidence, moves the take-off board further away from the horse, increases the speed of her run or improves the "pop.")

Fig. 3. The spotter on the landing side must always see that the back of the gymnast NEVER makes contact with the horse as the gymnast descends. As the gymnast arches over, the spotter should grip one upper arm with two -26-

Book Review A B. Fredericks leistungsturnen am hohen Stufenbarren (Advanced Performance on the Un evens)

hands. Anticipate where the feet wi ll land and shift the gymnast's shoulder aver thai spot as soon as the feet con tact the floor. To prevent the gymnast from squatting too low, sitting on the floar, or falling forward, step in close and draw the upper arm towards your chest. By sta nding close to the gymnast at time landing, the spotte r's arm s are strongest should a pull towards the chest become necessary. Spotters on the landing side shauld give a5 little assistance as possible (but enough to prevent a fall), so th at the coac h ca n better determine whot error is being made by the gym nost before reaching the final balanced stance.

by Hans Timmermann Verlag Karl Hoffman , Schorndorl bei Stuttgart (7060 Schorndorl, Germany) Approx. $4.50 Only on occasion do we recomme nd a foreign book. We do so when we fee l thot even in the absence of a knowledge of the language, the book will none-the-Iess prove to be valuable. This is such a book.' The illustrator, Kla us Wiemann, is one of th e best gymnastic illustrators in the world. Hi s drawing s appear in Olympische Turnkunst, a magazine that many M.G. readers are now reading. The author, Timmerman, also writes for O.T. and other German publicotions such as Praxis der Leibesuebungen. On the basis of the above we recommend this book ve ry highly to those who specialize in the training of girls for competitive wo rk on the uneven ba rs. It is one of the best books we have seen. You wi ll find material on the following: 1.路Kips and movements in an out of kips 2. Circles and va riations of movements from and into ci rcles. 3. Underswi ng movements 4. Vaulting movements 5. Movements of release and regrasp 6. New, advanced movements of rel ease and regrasp Final chapters deal with specific trainin g methods and comparotive styles of the cu rre nt world champions. Included in this latter summary is the description of the Fuchs style of uneven bar work and the characteri stic styles of othe r world greats such as Latynina, Caslavska, Astakovo, Barth and Kutsch in skaia.

DID YOU KNOW THAT: 1. There is a penal ty if a spotter reaches into th e area between the uneven bars even thaugh the spotter is not standing between the bars? 2. There is no penalty for a pure "accidental touch" between spotter and gymnast (neither one making an intentional attempt to touch the other)? 3. If a girl falls off the apparatus and is nat touched by a spotter, the penalty is 1.5 points? 4. There is a pena lty if a girl takes an extra warm-up while wa iting for the judge's nod to start her exercise? 5. There is a penalty for dropping the heel too early on turns on the balonce beam?


6. There is a penal ty if the dismount is not done "free" off apparatus, that is, on landing, the hand must not grip the apparatus for help in maintaining balance. 7. The penalty for falling to the knees or pelvis on a landing off the horse is muc h higher than makin g the sa me error when dismounting from the beam or uneven bars?


8. That, in flaor exercise, if a gymnast perform s too long over one area, the penalty is .1 pt each fime?

Don Wilkinson whose photos appear in Mademoiselle Gymnast, . . . . . covered ilie Olympic Games photographically in color and black and white. He has produced a fully illustrated catalogue showing over 1,500 contact size black and white prints (with over 400 of Gymnastics). Also listed are the color transparencies taken. This catalogue, price $1.00 is now available from - DON WILKINSON, 1013 8th AVENUE, GREELEY, COLORADO 80631.

9. That, if the entire floor exerci se area is not covered during the cou rse of the exercise, the penalty is .1 pt? 10. That if a floor exercise does not end with the music, th e penalty is .5 pt? (Penalties printed in Mademoiselle Gymnast are those held an record by Helen Sjursen collected through correspondence from the USA FIG Delegate, USA National and USA FIG judges and verification through the Presiden t of the FIG. As soon as the official English version of the Code of Points is ovai'lable, rules printed by the FIG will supercede any of those printed in Mile Gshould they differ.


NOW AVAILABLE WOMEN'S GYMNASTIC JUDGES CORRESPONDENCE COURSE The "Women 's Gy mnastic Judges Correspondence Course", based on the 1968 official FI G Women's Code of Points, has been issued to help ease your way to learning the art of judg ing. The desc riptions and deductions for errors, co ming out of the FIG courses in Rome, Canada and USA are all included in this co urse, along with those listed in the Code of Points. There are 60 dedu ctions listed under the uneven bars event, 50 under the floor exercise event, 57 under the balance beam event and 46 under the vau lting event. Learn the FI G system of evaluating an exercise. Use this course for an advance preparation for an official examination in your area, or use to troin judges in your orea. Coaches may refer to this cou rse to learn what errors will draw a heavier penalty, wh ich in turn, will improve her coaching. New coaches can use this course as a means to educate themselves on the requirements of all events and can also improve her coaching by knowing what errors the judges will be looking for, si nce the description of the errors are all listed. Gymnasts, who have no coaches, can also use the cou rse to learn the various errors and attempt to co rrect those she is in the habit of doing. Included with the course is a test for self examination, on the honor syste m. Answers are also included for self grading. This course is an excellent reference for judges, prospective judges, coaches and gymnasts. Cost $3.18 (includes postage) - mimeographed.

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Complete winning and runner-up optional routines on all Olympic events. Taken at 24 Ips and edited Irom 2000 feet of film taken from choice locations. Highly educational. No rentals. Men's - 400 . ft. ________ .. ____ $32.00 Ppd. Women's - 400 ft. __ ... ___ $32.00 Ppd. Order from :

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Continued from poge I 9

girls performed well, but everyone made small mistakes here and there, especially on the balance beam. Beca use of the snow, we had to leave Akita by train. It was a I 2-hou r trip, wh ich went fast because we had berths to sleep in.


.1. Petrik Novembe r 26, 1969:

2. Karasevo 3. Hashiguehi 4. Hanyu 5. Rigby 6.0da 7. Mizukawa 8. Tanae

In Tokyo we took a plane to Kyoto, where we were ta ken to a Japanese-style hotel. We enjoyed this beca use we could understand and learn about the Japanese way of life better. We slept on the floor on mattresses and ate on small tables in our room. We sat on pillows placed on chairs which are on the ground. This first evening we had a sukiyaki party. So we learned to eat with chopsticks fa st. We wa lked around the shopping area in the evening. November 27, 1969:

1st Competition: Noy. 22, 23, 1969- Tokyo, Japan UB V FX DB U.S.S.R. U.S.S.R. Japan Japan U.S.A. Japan Japan U.S.A.

9.60 9.45 9.45 9.40 9.30 9.45 9.20 9.20

9.50 9.30 9.20 9.30 9.40 8.95 8.35 9.05

9.40 9.45 9.35 9.40 9.25 9.40 9.25 9.00

9.40 9.50 9.45 9.30 9.35 9.30 9.30 8.05

Total 37.90 37.70 37.45 37.40 37.30 37.10 36. 10 35.30

NOTES ON THE COMPULSORY EXERCISES Vault: The vau lt is being done with a different style on the pre-flight. After the initial takeoff. thrust the arms sideward and then back to the vertical before landing on the horse. Bars: Make sure you are doing pa ragra phs 2 and 6 as written or if reversed that both are reversed. Beam: Paragraph: 2. Make the body wave supple - start in a tight contraction and throw the hips forward into an arch early. 4. After the stag jump come to an arabesque with a straight leg and pau se for a moment. 5. The Y2 turn is done on the toe. 10. On the step. lower the arms sideward to the side of the leg and then raise them sideward for the turn. 13. This part is done supply and quickly. The back leg slides forward and then back to take the step.-The arms start moving before the initial step is taken. F.X.: Paragraph: II) 4. Pick the foot up in the beginning bent as shown in the stick figures. VII. 3. The body wave is executed quickly with na stop after the scissor leap. X) 1. The lunges are done sliding the back foot backward and the front foot forward so that the body only moves slightly forward. The positions are done in a staccato and precise manner. XI) 3 and 4. Arms are carried to horizontal before starting into the scale position. XIV) 2 and 3. The leg does not extend high after the turn. XV) 3. On the turn make sure the free foot is at the downward oblique. XVI) 1. Both legs are bent in this curtsy position.

We were taken sightseeing on the outskirts af Kyoto. Kyoto is very hilly, so the setting of the city was beautiful. One of the more exciting places was the Garden of Kinkaku-ji - an old palace grounds and sh rine. We hod a steak luncheon which the girls were anxious for. Even though we enjoyed Japanese food - it was good to taste something familiar. Everyone was tired in this exhibition. On bars, everyone but two Japanese girls, missed one movement (actually fell). This ex hibition was our most informative because one girl from each cou ntry demonstrated the compulsories an beam and floor exercise. We were very similar. Each country had slight differences and late r, after a discussion with the other coaches and Mme. V!,lancher, we think we have an acceptable interpretation. A report on the compulsories is enclosed. Nakayama and some of his gymnasts from the Uni versi ty he coaches at performed on high bar, rings and parallel bars. November 28, 1969 :

We left Kyoto by bus for Nagoya and checked into our hotel. We had a shart workout today to polish some of the parts of the routines. In the evening we had another reception. This reception was different. Just before we entered the room we were told we would have to sing a song from ouri:ountry. So we were learni ng it throughout the reception. Our turn finally came, and we sang "This Land Is Your Land." None of us sing too well, but we made it. Novemb er 29,1969:

Our second competition began today. The girls competed in vaulting and floor exe rcise and did an exhibition on beam and bars. Everyone looked tired doing floor exercise. It was not as exciting as in Tokyo. That evening everyone did something different. Joyce went to the movies with the Russia ns and Cathy and I to a Japanese sauna with the Japanese girls.

Here are some natations an the co mpu lsories; I will be preparing an outline of styling the compulsory shortly, and 路if anyone is interested in a film ar tape (the tape will be $2.50) of the music, write: Mrs. Dale Flansaas Women's P.E. Dept. University of Nevada Rena, Nevada

November 30, 1969:

The girls competed on beam and bars and did an exhibition on floor exercise and vaulting. Today the routines looked excellent, especia lly bars. The Japanese toak first, secand and third on bars. Nabody missed. After the meet we were presented with samething we were surprised with - an aId Japanese soldier'S helmet. We left for Takyo for our hotel and spe nt the evening with a Japanese friend and Steve Hug.

CORRECTIONS OF THE WOMEN 'S CODE OF POINTS Add to the vaulting penalties : If the gymnast executes a different vault than she announced .................... , ....... ..... 0.50 Bars: Mounts, #3 medium : the Y2 turn is before going over the L.B. Mounts, #4 superior: it is superior in the middle of a routine but is med ium as a mount. 2., b) To rear support #5 superior: scratch out 34 2., c) by rear ki p # 1 superior - cross out flexed and put in extended. 3., b) backward to front suppart 5. # 1 superior: "grasp bar to spring" A hecht from the L.B. or H.B. without a twist is medium with the twist superior. Beam: Penalties: change to: #.1 - 0.50 #2 - 0.50 #3 - 0.50 #4 - 0.30 #6- 0.30 Penalties for falling an dismount, etc., remain the same (also if coach touches gymnast). Mounts, # 11 superior "roll across the shoulder to a sitting position (stag sit) or with a Y2 turn. #6 superior - cross aut "free." Leaps - add # 15 to medium - "Leap with a 'beat' sideward (cabriole)." Flexibilities: #4 medium - cross out the legs and put an one leg. Cartwheels, #2 superior - no "in waltz rhythm." These were changes given to me by Mme. Villancher at the Japan-U.S.S.R.U.S.A. meet.

Dece mber 1, 1969:

We left Japan with armloads of packages - mast af which were gifts. We arrived in Honolulu and were met by friends. We spent two days of "rest" in Hawaii. The girls did a shart exhibition of twa events at Punahau High School. We arrived in Las Angeles on December 3rd. SUMMARY All three of us fe lt the trip was a success. We learned a lat campeting with the Russian s and Japanese, and I feel aur ability level was up to theirs and that we alsa made a goad shawing. We need mare perfectian to score those extra tenths. The girls have co mmented that they felt the experience really inspired them. They're ready to go at it again.

We gained valuable information on the compulsories and received all of the current changes in the Code af Paints (enclased). The Japanese penple treated us like rayalty. They were always doing thing s for us, giving us things, asking us what we wanted to do, asking us what was good or bad about the trip, etc. Everything was highly organized. We enjoyed getting a chance ta really knaw the ather gymnasts, coaches and afficials. Being in contact sa much made a goad relationship possible. The Russians had an English interpreter, Joyce co uld talk to Karaseva with a little French, and the Japanese could speak some English. The exchange was great. The girls did a very good job, and I feel we learned a lot, ga ined valuable experience and had a very goad time. I think competitions such as these are going to help promote our nationallevel gymnastics.


leHers GOODWILL AMBASSADORS Dear Glenn: Yaur graup, the SCATS and Bruce Frederick and Bud Marquette, were wonderful people whom I liked very much. They gave very fine performances, especially their mat exhibitians, and the best girls' work on the uneven was outstanding. All of them were very good representatives for your cauntry and your gymnastic federation. I enclose a photo from the group's performance here at Kungstradgorden, which wos to be seen in our paper, Dagens Nyheter, the day after the performance. Karl Axel Rydel Sec. Swedish Gymnastic Federation Stockholm, Sweden

VISIT WITH MED Dear Mr. Sundby: We have enioyed your excellent gym mogazines (Modern Gymnast as well os Mademoiselle Gymnast) immensely over the past years and are looking forward to eoch new issue. While in Europe thi s Summer visiting the European Champion ships and the Gymnastrada I've had the chance to drive through Czechoslovakia via East Germony. I received a great welcome from Mr. Milon Med in Prague of whose art I'm an ardent admirer. Some of his work found its way out of the cauntry; however, I was not fortunate enough to purchase one of his large ail works. Prague is a very beautiful and hi storic city and I could not have had a better guide. In case any of your readers should visit Europe why not advise them to go and see Mr. Med's work personally.


Dagmar Carl sen at Milan Med's Studio in Prague. Here in Edmonton we have been busily running an ever growing gym club (appraximately 600 members). A small percentage of these are competitors, some af them have been participating in Canadian Championships. Gymnastically yours, (Mrs.) Dagmar Carlsen, The Edmonton Gym Club, Alberta, Canada


Here are two very important records for schools throughout the country that are involved in gymnastics. r

COMPOSITIONS FOR FLOOR EXERCISE - HLP 4090 Dale Flansaas, Coordinator - Pat Henderson, Pianist This album contains music to please all levels, beginners to advanced. Bands 1 to 3 are the compulsary pieces required for the three compulsory floor exercises in the D.G.W.S. Girls' Gymnastic Guide. Bands 1 to 3 are also the required music for the compulsory floor exercises under the girls' AAU Junior Olympic Program. Bands 4 to 6 are geared for the beginner's and intermediate's optional exercise . Bands 7 to 12 are geared for the low and high intermediate and advanced optional exercises. Included are : Gravy Waltz, Charade, Exercise Au Sol, Penny Whistle, Spoonful of Sugar, Midsommcrvaka Rosenkavalier, Aragonnaise, Those Were The Days, Love Is Blue, Polish Dance, Two Guitars & Czardas, Waltz from Comedians and German Dances No.4. Also included are suggested movements to use for bands 4 to 12 . ALL SELECTIONS TIMED TO WITHIN COMPETITIVE REQUIREMENTS


ALL TIME FAVORITE TUNES FOR FLOOR EXERCISE - HLP-4093 Helen Sjursen, Coordinator - Paul Kueter, Pianist Here is the record educators have been waiting for . .. different . . . exciting changes of rhythm and brilliantly played. Suitable for beginners to advanced. It also includes the Waltz from Eugene Onegin which is the compulsory music for the current "Junior National Compulsory Floor Exercise" routine (1969)EXCLUSIVE with this record, at no extra cost ... 5 different skills, illustrated, described in detail with spotting instructions to help increase the difficulty rating of the exercise. These skills can be learned rather quickly even by a beginner. Also included is a beginner's routine with a worksheet. ALL SELECTIONS TIMED TO WITHIN COMPETITIVE REQUIREMENTS


The Impossible Dream -1:22; Tonight -1:29; More/Somewhere My Love - 1:25; Give My Regards To Broadway/Moon River/Glow Worm -1 :08; La Napolitan/Mexican Hat Dance -1:11; I'll See You Again1:17; Waltz From Eugene Onegin - :58 (This is the Junior National Exercise Compulsory); Tico-Tico/ Fascination/ Hi-Ho The Merrio/ My Buddy - 1:13; Artist's Life - 1:22; It's A Big Wide Wonderful World. 1:06; By The Light Of The Silvery Moon - 1:05; Gina -1:10.


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JANUARY 17th, 1970: Midwest Open for Women. Deefold Hig h School, III. for Info., write: Betty Meyer, Northea stern State College, III. April 8-9-10, 1970. Championships of the U.S.A. Los Vegas, Nevada. April 11 , 1970. Central Atlantic Area YMCA Champio.nshi ps, Glassboro State College, Glassboro, New Jersey. Ap ril 17-18, 1970. Notional YMCA Gymnastic Championship, Oklo homo City. Oklahoma. April 24-25, 1970. World Cup Invitationa l, Long Beach, Col ifornia. April 25-26 , 1970 ... Second Annual WORLD CUP. Long Beach, California . International Judges Courses for Men and Women. Ten tatively scheduled for Long Beach, pending app roval of FIG Officials involved. Course for all Eng lish-speaking women ... Men Irom Ca nada , U.S.A. and Mexico. October 22-27 , 1970. WORLD'S GAMES... Liubjlana, Yugoslavia.

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Profile for USA Gymnastics

Mademoiselle Gymnast - November/December 1969  

Mademoiselle Gymnast - November/December 1969