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8/12/2019 Report Present Kines

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ARM - SUPPORT TRAVELS

Arm support is support the weight on the hands and lifts the hips off the floor. Arm support travel

is support the weight on the hands and lift the hips off the floor involves releasing and

regrasping both bars.

Biomechanical Analysis

1

23

4

5

6

7


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Static equilibrium

The combination begins with a handstand position and serves to illustrate the vertical alignment

of body segments over the base of support at the hands (frame 1). Static equilibrium exists

when the line of gravity is within the base of support. This is secured only when the gymnast's

center of gravity is over the base of support.

Static equilibrium is improved when major joints are stabilized by recruiting specific muscle fiber

types in particular muscle groups. Stabilizing joints at the elbow, shoulder complex, back, and

pelvis are particularly important. The elbow joint is best stabilized when fully extended. This

prepares the gymnast for controlling forward swing in frames 2-5. The shoulder girdle (scapula

and clavicle) is elevated, and related articulations stabilized, in order to facilitate a hollow chest

position. Pelvic alignment is secured by adequate strength in the abdominal and hamstring

muscles because these muscle groups reduce anterior pelvic tilt and lumbar hyperextension.

This is augmented by proper levels of flexibility in hip flexor and erector spine muscle groups.

Consequently, securing a straight handstand in equilibrium is highly dependent on a strength

balance between agonist and antagonist muscle groups, along with related connective tissue

flexibility.

Body segments and the tap

A beat or tap action at the bottom of the swing (frames 3-4) creates a reaction force from the

bars that acts as an upward motive force. The effects of the tap action can accentuate the

angular momentum phenomenon when preparatory body segment position occurs. A hollow

chest position out of the handstand assists in setting up the tap action. The following are

necessary sequential anatomical adjustments when moving into the tap:

a) chest leading and legs trailing in order to position the body prior to the bottom of the swing,

b) lowering the total center of gravity by relaxing the shoulder girdle into the bottom point of the

swing,

c) pulling backward on the bar and quickly moving the legs forward out of the swing bottom.

Tapping technique follows the point where the chest passes the bottom of the swing. The

purpose of the tap is to maximize the relationship between movements of the gymnast's

shoulder girdle, bar reaction force, and resulting increased angular velocity of the lower body at

the hip joints. The effects of the resistive force of gravity during the forward swing (frame 3) are


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reduced when the tap action is well timed. Such relationships are important in implementing

sufficient angular momentum for a dynamic stutzkehre forward.

Elbow joint locking mechanism

Parallel bar swing in straight arm support requires that there be anatomical adjustments at the

proximal radioulnar and glenohumeral joints. Particular adjustments at these joints provide a

locking mechanism for maintenance of full elbow extension. The elbow joint is uniaxial and only

allows flexion and extension. This hinge joint does not permit motion around the longitudinal

axis; therefore, necessary anatomical adjustments are made at associated articulations.

Necessary preparation occurs through supination of the lower arm at the radioulnar joint and

slight outward rotation of the humerus at the shoulder joint. These movements are around the

longitudinal axis in the transverse plane. The result is to limit elbow joint flexion created from a

buckling action at the bottom point in the swing. This can be problematic when an explosive

maneuver is required. The pull of gravity is difficult to control unless the anterior elbow is facing

forward immediately prior to and at the bottom of the swing (frame 3). The locking mechanism is

particularly relevant when coupled with the effects of high levels of centrifugal force created in

angular motion. The gymnast flies away from the axis of rotation when support is lost due to the

bucking effect. Consequently, the gymnast's anatomical structure serves to maintain control, at

this critical point in the swing, and positions the body segments to receive the inwardly directed

centripetal force from the bars in order to counteract centrifugal force.

Maximizing forward angular displacement

Angular displacement on the forward swing (frames 1-5) can be maximized by releasing one bar

(frame 5). The result is increased range of motion and a continued ability to control angular

momentum (product of the moment of inertia and angular velocity). On the other hand, the

anatomical limitation connected with hyperextension occurs at the shoulder joints when holding

on too long with both hands. Value in the technique of releasing with one hand, prior to the point

of anatomical limitation, cannot be overstated. The effectiveness of a one hand release can be

further reinforced by slightly flexing the head at the cervical vertebra (frames 3-5). Neck flexion

reduces the tendency to move the shoulder backward beyond the vertical line that passes

through the base of support at the hands. The single hand base of support allows the forward

swing to continue longer and permits the application of a backwardly directed action force on


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the bar. Hand contact with the bar can result in a forwardly directed external reaction force that

is crucial to controlling the shoulder position and provides a mechanism for increasing angular

momentum. It is more likely that a handstand position can be attained in frame 6 with the

release of one hand prior to the position shown in frame 5, rather than simultaneous release of

both hands.

Multiaxial rotation

Rotation of the gymnast's body during the stutzkehre is around both the primary mediolateral

axis (frames 2-7) and the secondary longitudinal axis (frames 5-7). Maximizing angular

momentum about the primary axis is essential if there is to be an acceptable position at the

completion of the stutzkehre (frame 7). There must be sufficient transfer of angular momentum

from the primary axis to the secondary axis, yet enough continued angular momentum about the

primary axis throughout the stutzkehre.

The generated angular momentum shown in frames 2-5 is directly related to the magnitude of

that which is produced while in bar support (Kreighbaum and Barthels, 1990). Angular

momentum produced in the first part of the combination around the mediolateral axis (frames 1-

5) is dependent on torques external to the gymnast. Utilizing the gravity torque by elongating the

body from frame 1 to a point just shy of frame 3, use of the bar relation torque generated from a

tap action beginning just prior to frame 3, and reaction torque from pulling on the bars (frames

3-5), are effective mechanisms for producing angular momentum. There must be sufficient

angular momentum entering the second phase of the combination (frames 3-7) for rotating

effectively around both axes. These techniques should be fully exploited during support

because additional angular momentum is not possible once free of support (frame 6).

Rotating the human system during performance of the stutzkehre embodies conservation of

angular momentum. This mechanical principle is relevant while in bar support as well as free of

support. From the point of releasing one hand, through the point at which both hands recontact

the parallel bars, providesan important opportunity for having a positive effect on the rate at

which the elongated body rotates around the secondary axis (frames 5-7). While maintaining an

extended support arm and torso, the free or unsupported arm can act to reduce the moment of

inertia (rotational inertia) by bending at the elbow joint in frame 5.


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The moment of inertia can be further decreased while free of support by decreasing the length

of both arms in frame 6. This results in greater angular velocity and assists in completing the

180 degree turn in preparation for subsequent gymnastics skills. Angular momentum is the

primary principle related to rotating the body and conservation of this vector quantity is essential

if insufficient angular momentum exists around the longitudinal axis when free of support.

External torque must be present to increase or decrease angular momentum; therefore,

conservation of angular momentum occurs in frame 6. Furthermore, the stutzkehre forward will

not reach a handstand position (frame 7) unless there is sufficient angular momentum present

around the mediolateral axis in the sagittal plane at release (frame 5). Transfer of angular

momentum from the mediolateral axis to the longitudinal axis can take place in both support or

free of support. However, overall angular momentum cannot be changed while free of support

unless there is the presence of external torque. In this case, gravity acts only to reduce angular

momentum in frame 6 when the gymnast is dissociated from the bar.

STATIONARY POSITIONS INVOLVING ARM SUPPORT

Stability

Centre of Gravity (Mass) C Of G


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Definition of centre of gravity balance point of body, point about which a body rotates,

intersection of 3 primary axis. Position of centre of gravity changes based on body position

(distribution of body mass).

Base of Support

Mechanics (Principles of Stability)

a) Centre of Gravity (mass) must remain over the Base of Support to be stationary

b) The closer the Centre of Mass is to the Base of Support, the more stable the body is (height)

c) The larger the Base of Support, the more stable the body is (size of base)

d) The more aligned the body segments are over the Base of Support, the more stable the body

is (straight is more stable than disjointed line or arch).

Rules of stability with no motion:

Close center of gravity to base, the greater the stability

center of gravity must be above the base in order to achieve balance

the large the base, the more stable the body

when things are segmented, the best arrangement is when the center of gravity of each

segment is above the center of gravity of the segment below

a segmented body is easier to stabilize when it is held together rigidly (as opposed to

loosely)

TYPES OF STATIONARY POSITIONS

- Supports

- Hangs & inverted hangs

- Balances - headstand, handstand


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Postural sway in the anteroposterior direction and increased total COP distance travel when

performing the press-to-handstand in the fingers forward position. At the legs horizontal position

(Figure 1c), the fingers forward position was characterized by a smaller hip angle, greater

shoulder angle and smaller torso to horizontal angle. In the steady handstand position, the hip

was more extended in the fingers forward position. The shoulder and torso angles during the

handstand were similar regardless of hand placement position. Raised legs from the toe-off to

the horizontal position faster when using the fingers outward position.


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Join Action and Muscle Groups That Involve During Handstand

Joint Action /

Movement Pattern

Muscle Group Related function in the

performance of

handstand

Shoulder girdle

abduction

Serratus anterior, pectoralis minor Round back

Shoulder girdle

elevation

Rhomboids, trapezius, levator scapulae Push through the shoulder,

so there are no gaps

between arms, shoulders

and ears.

Wrist and finger

flexion

Supinator, pronator teres, brachioradialis,

flexor carpi radialis, palmaris longus,

flexor carpi ulnaris, extensor carpi radialis

longus, extensor carpi radialis brevis,

extensor digitorum, extensor carpi ulnaris

and pronator quadratus.

Employed during balance

through the wrist strategy

Posterior pelvic tilt Rectus abdominis (9redominantly),

internal and external oblique abdominals,

transverse abdominis.

Flattening out of the lower

back

Extended hips with

slight external hip

rotation

Gluteus maximus, medius and minimus. Open hips when combined

with posterior pelvic tilt,

and the kick up.


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VAULT IN GYMNASTIC

Vault is one of two events inartistic gymnastics that both men and women perform. It's

an explosive, exciting event, with very little margin for error. Though a vault is over in a matter of

seconds, it has equal weight to the other events in which a gymnast competes.

The Vaulting Table:

All gymnasts vault over a piece of apparatus calledthe table,a slightly-inclined, metal

piece of equipment with a padded and springy cover. For men it is set at a height of 4 feet 5

inches (135 cm), while for women it is at a height of 4 feet 3 inches (125 cm).

In 2001, the apparatus was changed, from a long cylindrical structure (similar to the

pommel horse) to the current table. Therefore, it's sometimes still referred to as the vaulting

horse. The relatively new vaulting table is designed to be safer for gymnasts because of its

large push-off area its length is almost 4 feet and its width about 3 feet.

Types of Vaults:

Vaults are divided into five different groups, called families. The most common families

performed are thefront handspring style,the 1/4 turn in pre-flight (Tsukahara), and the round-off

entry (Yurchenko-style). In elite competitions, such as the Olympics and US National

Championships, gymnasts perform one vault in team and individual all-around events, and two

vaults from different families in the individual vault finals and in qualifications to the event finals.

Competitors can perform any vault they choose, and usually select the most difficult vault they

can perform successfully.

1. YurchenkoThe Yurchenko vault is named after Russian gymnast, Natalia Yurchenko, the 1983 World

Gymnastics Champion. When performing a Yurchenko vault, a gymnast runs toward the vault

and performs a round-off cartwheel onto the springboard. The gymnast then mounts the vault

from a back handspring position. A series of twists, flips and other maneuvers are performed

once the gymnast's hands hit the vaulting table. Yurchenkos are blind-entry vaults and often

include single or double full-twisting layouts.
http://gymnastics.about.com/od/gymnastics101/a/gymtypes.htmhttp://gymnastics.about.com/od/olympicgymnastics/ig/Illustrated-Gymnastics-History/Lu-Huang-Photo--Vault-.htmhttp://gymnastics.about.com/od/olympicgymnastics/ig/Illustrated-Gymnastics-History/Elise-Ray--Photo--Vault-.htmhttp://www.youtube.com/watch?v=jhZv8qxrqO4http://youtube.com/watch?v=U_qgjVzlGJohttp://www.youtube.com/watch?v=ziT7n1UVwjohttp://www.youtube.com/watch?v=ziT7n1UVwjohttp://youtube.com/watch?v=U_qgjVzlGJohttp://www.youtube.com/watch?v=jhZv8qxrqO4http://gymnastics.about.com/od/olympicgymnastics/ig/Illustrated-Gymnastics-History/Elise-Ray--Photo--Vault-.htmhttp://gymnastics.about.com/od/olympicgymnastics/ig/Illustrated-Gymnastics-History/Lu-Huang-Photo--Vault-.htmhttp://gymnastics.about.com/od/gymnastics101/a/gymtypes.htm


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2. Yurchenko With TwistThe newest category of vaults involves a Yurchenko entry, which involves a round-off onto the

springboard and a half-turn or more before mounting the vaulting table. From the mount, a

gymnast then performs single or full twists and front or back flips. An example of the

Yurchencko with a twist is the Khorkina, named after Russian gymnast, Svetlana Khorkina. The

vault includes a Yurchenko with a twist entry into a piked back flip. The Khorkina can be

performed from a tucked or layout position.

3. Tsukahara VaultLike the handspring vault, a gymnast performs a Tsukahara vault by running toward the

springboard and jumping on with both feet. Before mounting the vault, however, the gymnast

does a half-twist and mounts the vault backwards. The Phelps is a Tsukahara vault that

includes a half-turn after the mount into a front layout. The Tsukahara is named after Japanese

gymnast and five-time Olympic gold medalist, Mitsuo Tsukahara.

The Phases of a Vault:

Gymnasts perform five distinct phases to every vault:

1. The Run

The gymnast begins at the end of arunway approximately 82 feet or less from the table. They

then run towards the table, building up speed as they go. When the gymnast is about 3-6 feet

from the springboard, they perform a hurdle (a low jump from one foot to two feet) orround-off

onto the springboard.

Though this part of the vault is not officially judged, the gymnast should be running as fast as

possible in order to build momentum for her vault.

2. The Pre-Flight

This is the time between when a gymnast hits the springboard and when they make contact

with the table.

Tight form is very important at this stage, because a gymnast doesn't want to lose the power

built up from their run. The gymnasts legs should be together and straight, with toes pointed.

Their arms should be stretched by their ears.
http://gymnastics.about.com/od/gymnasticsphotos/ig/Alicia-Sacramone-Gallery/Sacramone-on-Vault-08-Olympics.htmhttp://www.gymnasticsrevolution.com/GymInteractive-Floor-RoundOff.htmhttp://www.gymnasticsrevolution.com/GymInteractive-Floor-RoundOff.htmhttp://gymnastics.about.com/od/gymnasticsphotos/ig/Alicia-Sacramone-Gallery/Sacramone-on-Vault-08-Olympics.htm


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3. Contact with the Table

The gymnast touches the table, and then pushes off with their hands as forcefully as possible to

propel their body into the air.

As with the pre-flight, it's very important for the gymnast to maintain a tight body position to

create as powerful a vault as possible. Think of a pencil versus a wet noodle. The pencil can

bounce off the ground on its end, whereas a wet noodle certainly can't.

4. The Post-Flight

This is the most exciting part of the vault. The gymnast has pushed off the table and is now in

the air, usually performing flips and twists before they lands.

Both height and distance are judged, as well asform such as pointed toes and tight-together

legs.

5. The Landing

The gymnast makes contact with the ground at the completion of the vault.

The ultimate goal of every gymnast is tostick the landing to land without moving their feet. It's

also important that the gymnast land between specific boundaries in line with the table. These

are marked on the mat.
http://gymnastics.about.com/od/gymnastics101/ig/Form-Gallery/http://gymnastics.about.com/od/glossaryofgymterms/g/stucklanding.htmhttp://gymnastics.about.com/od/glossaryofgymterms/g/stucklanding.htmhttp://gymnastics.about.com/od/gymnastics101/ig/Form-Gallery/


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The Muscle in Vault Gymnastic

Extension is the main knee joint action at the point of takeoff in vaulting (picture above).

The quadriceps muscle group serves as the primary mover in this maneuver, around the

mediolateral axis and along the sagittal plane. A force diagram in frame A acts as a means of

describing the relationship between the resultant quadriceps force (F), angular force component

(F1), and the stabilizing force component (F2). The takeoff is a point in the total vaulting skill

where the gymnast has an opportunity to increase or decrease angular momentum (Cornelius,

1994). Angular momentum is produced in picture, frame A, for vaulting preflight (frames B-D).

The production of angular momentum is dependent upon the magnitude of the overall internal

action force established in frame A by muscles crossing the shoulder, hip, knee, and ankle

joints. This in turn creates the external reaction force issued from the board. Frame D is the

second point in a vault where angular momentum can be influenced by an external force for

subsequent post flight. Shoulder girdle elevation is the mechanism for repulsion and is linked

with shoulder girdle elevator muscles, such as trapezious 1 and 2, levator scapula, and

rhomboids. Consequently, the total vault is highly dependent upon increasing the magnitude of

the angular force component (F1) at board takeoff ant at vaulting horse repulsion.


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The net force produced by the quadriceps during knee joint extension can be improved

by a moveable patella. The patella functions as a mechanical pulley at the knee joint (as picture)

and possesses the capacity to change the angle of muscle insertion at the tibial USA

Gymnastics Online.

Technique: Without this accommodating effect from the patella, there would be reduced

joint range of motion in knee flexion and extension and certainly torque about the knee would be

reduced. Changing patellar positions can move the angle of muscle insertion to a more

favorable resultant (F). This in turn can increase F1 and decrease F2, providing a greater

amount of the total force produced by the quadriceps for increasing the angular vector (F1). For

example, the quick stretch of the quadriceps musculotendinous unit during knee flexion (frame

A) in initial board contact, moves the patella downward in the intercondylar gemoral grove to a

position that increases the angle of muscle insertion at the tibial tuberosity. This results in an

increase in F1 and improved torque for the explosive takeoff maneuver.

Anatomical Analysis


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MOUNT IN GYMNASTIC

This term is used to identify the first skill in a routine. Mount meaning to get

on the apparatus. Gymnasts have found very inventive ways to get onto the

equipment.

Front Support Mount

The front support mount is typically the first mount a gymnast will learn. As you first

practice the technique, its important to keep proper body position and your eyes focused

upward. This position is similar to a front support on bars.

1. Hold your body in a front support position, either on a balance beam or bar.

2. While squeezing your body tightly, push up and hollow out your chest.

3. Continue pushing your body up until your knees are at beam- or bar-level.

4. Lower your body to a front support position and repeat.

Straddle L to Endo Press Mount

Learning a straddle L to endo press requires a tremendous

amount of strength and balance. Once mastered, though, this mount is

as exciting to watch as it is to perform due to the amazing amount of

body control it requires to pull it off.

Straddle L to Endo Press Explained

1. Stand at the side of the balance beam with your hands on top of the beam. Jump up and press

to an L straddle hold.

2. Keep your chin up and eyes forward as you hold your body in the straddle position with straight

arms.

3. Keeping your legs in a straddle, push your hips up towards the handstand position, leaning

slightly forward to stay balanced.

4. Once your body is in a balancedstraddle handstand, bring your legs straight up and together.

5. When you lower your body back to the straddle L, return exactly the same way you entered.

Slowly lower your legs and then your body to the beam.

To improve your straddle L to endo press mount, try this upper-body strengthening drill:

1. press handstand.

2. Slowly lower your body to the starting position and repeat as many times as possible.

3. Rest and attempt to beat your first number.


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MOUNTING AND FALLING

Skill Technique & Drills Spotting

Front supportmount

All gymnasts need to know how tomount the beam safely. Teach thistechnique, and they will be well on

their way! Stand facing thebeam. Jump to a front support withfingers cupping the top & oppositeside of the beam. Lean slightlyforward while swinging 1 leg up &over, & turn slightly to straddle thebeam, hands in front. Bend theknees & place feet on top of beambehind bottom. Push down with feet& hands to stand up.

Stand behind the gymnast & grasparound waist to assist in the frontsupport & leg swing. If necessary,

guide feet to proper positions &give your hand to assist instanding. Some gymnasts will bequite nervous standing up on thebeam for the first few times.

Safety falls This is to teach how to fall off thebeam safely! Walk along the beam,

wobble, and fall off the side. Be sureto keep both arms up above thehead during the fall. Roll back as ifdoing a candlestick with arms byears. This protects against brokenarms. Alternatively, if the fall is in aforward motion, perform a forwardroll upon landing, keeping arms bythe ears.

Drills/Progressions:

Start on a floor beam, thenwork up to higher beams, if fear ofheights is an issue.


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ANATOMICAL ANALYSIS

MUSCLE INVOLE

Origin:Clavicle, sternum, and costal cartilage of ribsInsertion:

Near the intertubercular groove of thehumerusActions:

Flexion, horizontal flexion, internal rotation,adductionUsed in bench press, push-up, pull-ups,

throwing, tennis serves

PECTORALIS MAJOR

Origin:Coracoid process of scapulaInsertion:

Humerus (medial)Actions:

Flexion, adduction, horizontal flexion

Primarily an assisting muscleCORACOBRACHIALIS

Origin:

Clavicle, scapulaInsertion:

Deltoid tuberosity of humerusActions:

Abduction

Anterior deltoid: horizontal flexion, internalrotation

Posterior deltoid: horizontal extension andexternal rotation

DELTOID

Origin:

Vertebrae, sacrum, iliumInsertion:

Near the intertubercular groove of humerusActions:

Extension (prime mover), adduction, internalrotation, horizontal extension

LATISSIMUS DORSI


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