Gymnastics at its Best

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January - March 1991 TECHNIQUE

Jan. 1991, Volume 11, No.1

Publisher Mike Jacki

Director of Educational Services

Stephen W. Whitlock

Production Luan Peszek

United States Gymnastics Federation

Board Of Directors Executive Director: Mike Jack.i; President: Mike Donahue; President Emeritus: Bud Wilkinson; Athlete Representa­tives: Brian Babcock, chair; Wendy Hilliard, vice chair; LindaKardos-Bamett, sec; Kelly Garrison; Tim Daggett; Jim Hartung; Michelle Dusserre; Karyn Lyon; Petei Vidmar, USOC Athletic Advisory Council; Amateur Athletic Union: Julie Sickels; American Sokol Oq;anization: Jerry Milan; American Turners: Bruno Klaus; Junior Boys Gymnastics Coaches Association: Bill Foster; Men's Elite Coaches As­sociation: Fred Roethlisberger; National Association for Girls and Women in Sports: Dr. Mimi Murray; National Asso­ciation of Colle~late Gymnastics Men: Abie Grossfeld; National AssocIation of Collegiate Gymnastics Women: "'ail Davis; National Association of Women's Gymnastics

dlles: Yvonne Hodge; National Collegiate Athletic Asso­.£<1tlOn: Cheryl Levick, Dave Mickelson; National Federa­tion of State HiJdl SchoolAssociations:Sharon Wilch,Susan True; National Gymnastics Judges Association: Harry Bjerke; National High School Gymnastics Coaches Asso­c,ation: John Brinkworth; National Jewish Welfare Board: Courtney Shanken; Rhythmic Coaches Association: Suzie DiTullio; Special Olympics, Inc.: Kate Faber; U.S. Asso­ciation of Independent Gym Club: Lance Crowley; U.S. Elite Coaches Association for Women: Mary Wri.sht, Chere Hoffman; U.S. Sports Acrobatics Federation: Joe Schab­acker; Young Men's Christian Association: Rick Dodson; USGF National Membership Representatives: Men's: Dave Strobel, Bob Wuornos; Women's: Joan Moore Rice, Jett Metzger; Rhythmic: Marina Davidovich, Jolie Barretta.

United States Gymnastics Federation

Executive Committee President: Mike Donahue; Secretary: Mike Milldoms; Vice President-Women: Sue Ammennan; Vice President-Men: Jim Howard; Vice President-Rhythmic: Norma Zabka; Ex­ecutive Director: Mike Jacki; FIG Women'sTechnical Committee: Jackie Fie; FIG Rhyttunic TechnicalCommit­tee: Andrea Schmid; FIG Men's Technical Committee: Bill Roetzheim; Members-At-Large: Roe Kreutzer; Nancy Marshall; Athlete Representatives: Linda Kardos Barnett, Peter Vidmar, Brian Babcock, Wendy Hilliard; President Emeritus: Bud Wilkinson.

Associate Content Editors SPORTS SCIENCE ADVISORY COMMITTEE:

Marlene Adrian, Ph.D. Gerald S. George, PhD. Patty Hacker, PhD. Merrill A. Ritter, MD. William Sands, PhD. Stephen W. Whitlock

TECHNIQUE JanuanJ - March 1991

Inside This Issue

Men's Technical Coaching Strategies on Horizontal Bar .............. .4

PreschooV developmental

Gymnastics at its Best ............................................ 7 Women's Elite Program USGF Junior "B" Testing Program .......... ............. 9 1991 World Championships Housing Request Form ........................................ 13 Biomechanics Obtaining Maximum Height in Somersaults ... 15 Research

Spatial Orientation ............. ..... ............................. 16 Information

F.I.G. Medical/Scientific Symposium ............... 20

Rhythmic Judging

New RSG Bonus Requirements ..... ........ ............. 22 Business

Getting Good People ............................................ 23 Women's Program Junior Olympic Program Survey ... ..... ................ 24 Men's Technical 1992 Compulsory Skill Analysis .... .................... 26 Research Prognosis of Men's Elite Routines ...... ....... ......... 29 Technical The Physics of Twisting Revisited ..... .... ......... ... 33 Men's Technical The Giant Swing on the Parallel Bars .... ............ 39 Minutes & Reports MPC ................................................................ .. .. .... 40 Athlete's Council minutes .................................. .41 Women's EPC minutes ....................................... .43 Annual Index of Articles ....... ... ............. ............. .44

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3

Acadenic Knowledge Educational Gymnastics

Balance for the Scales of Education

page 7

page 20

page 26

Boy's Instructional

Mark Wells Williams The University of Oklahoma

Figure 1

Coaching Strategies on Horizontal Bar

While coaching horizontal bar, the grassroots coach must develop activities which incorpo­rate both long hang swing actions and in-bar work, both in regular and reverse grips. Along with these basic actions on the high bar, coaching preparations should include exer­

cises which teach your gymnast hand changes and turns, dorsal hang or elgrip positions, release and regrasp skills, and dismounts. These movements are the fundamentals which make up the horizontal bar event. Even at an early age, your gymnast must be introduced to all the aspects of swing­ing horizontal bar. The better you train your gymnast at these preparatory drills, the easier he will progress toward using each of these elements in a competitive situation.

Long Hang Swings and Giants From the very first time your gymnast touches the

high bar, you should teach him a basic beat or tap action for overhand grip giant swings. The tap action is developed through the bottom of the forward swing. As your gymnast descends from the peak of a low backward swing, he must delay the kick with his feet. The gymnast's chest opens up slightly, and his body position changes from a minute hollow to a minute arch. After passing through the bottom of the swing, your gymnast should drive his toes upward, with a scooping toe lift action, and alter his body posi tion from an arch position to a hollow position. This tapping action is the basic beat swing for completing overhand grip backward giant swings.

Another skill in the overhand grip which your gym­nast should work is the backward beat swing or the tap to a back uprise action. Because of possible grip prob­lems which your gymnast may encounter while work­ing the backward directional swing, you might utilize high bar hand straps when teaching this swing. (See the high bar hand straps section.)

To teach this beat swing, you should have your gymnast start with a strong backward swing. On the downward phase of the backward swing, your gym­nast must have a tight and extended body position. As he reaches the bottom of the swing, his body position should be hollow, and his heel drive action should be delayed. After passing through the bottom of the swing, the gymnast snaps his heels backward to create a slightly arched body position. This beat action is the basic tap swing for the back uprise swing and for the overhand grip forward swing giants, otherwise known as wrong-way giants.

The preliminary action of the reverse or underhand grip forward swing action has to be taught with a little more swing than the beginning action of the overhand grip swing. The greater swing is necessary because of the difficulties involved with holding onto the bar when swinging back and forth in this reverse grip. From a cast above the bar or a high stemme action, your gymnast stretches his body into a straight body posi­tion. This position is maintained through the descend­ing phase of the swing. After passing through the

4

bottom of the swing, your gymnast will slightly break his shoulder angle and create a more hollow body position. The gymnast's shoulders and upper back pull down on the bar, and his wrists shift on the top of the bar, up toward the handstand. Your gymnast can work on riding the swing up above 45 degrees and hopping his hands before jumping off the bar. With a reverse grip cast to handstand and additional swing through the bottom, this underhand grip swing will eventually develop into a forward giant swing. In-bar Moves

In-bar moves comprise the spectrum of skills that are close to the bar. Some of your gymnast's body angles must be broken in order to create a swing in close to the bar. The categories of high bar in-bar work include kips, back uprises into the bar, hip circles, and stoop circles. The kip and back uprise skills embody overhand, underhand, and mixed grip kips. Hip circle skills include underhand grip stemme to handstands and free hip circles. Stoop circles incorporate stoop-in seat circles to a dislocate, and Stalter and Endo straddle circles.

The following section will discuss the application of these basic long hang and in-bar swings within a circuit rotation of high bar stations.

Horizontal Bar Stations In order to create an environment conducive to

working the fundamentals of high bar swing, you should set up a rotation of horizontal bar stations and events where different skills can be worked. These stations must have activities which encourage the de­velopment of technically sound swing and in-bar skills. You must teach a variety of skill progressions at these stations to build the gymnast's horizontal bar skill base. This base is the foundation from which more advanced skills will be framed. Station # 1 - The High Bar with a Spotting Box

The first station is the standard high bar with a spotting box positioned next to one of the high bar uprights. (See Figure 1). While standing on top of the spotting box, you should assist and help manipulate your gymnast's body on the basic swing techniques. At the beginning of the gymnast's high bar workout, he should always work the previously discussed basic swings.

After performing these warm-ups and preparations for good technical swings, he should add a 1/2 turn to the front of the gymnast' s swing. The beginning gymnast will perform a 1/2 turn to a mixed grip position, swing backward, and then change back the underhand grip hand. A more advanced gymnast will swing higher in the front swing, above horizontal, and change one hand and then the other hand before de­scending through the bottom of the swing. As the swings and turns become higher, your gymnast must shift the wrist of his turning arm in order to support his weight atthe top ofthe turn. You should assist with the gymnast's turn by spotting him through the top of each turn. The gymnast should execute this blind change action turning toward you. This enables you to assist

January - March 1991 TECHNIQUE

him with the turn while also controlling his swing. The gymnast's swing can eventually be worked upward and high enough to perform a complete blind change where both of the gymnast's hands change to the reverse grip handstand position. To do this, your gymnast must increase his ability to scoop and swing wi th force through the bottom of the swing and shift his weight onto his post arm at the top of the giant. You should help spot him through the swing until he is completely over the top of the bar and finishes the blind change turn.

On a different turn while still spotting from the box, you should have your gymnast begin working dis­mounts at this station. Besides doing 1 / 2 turn jump off dismounts, you should teach your gymnast a flyaway or a salto backward dismount. To begin, you should have your gymnast swing through the bottom of the forward swing and bring his knees upward into a tuck position without releasing the bar. This is a timer swing for the release point. At the end of this tap swing and knee lift, the gymnast pulls slightly backward on the bar and will release his grip into the flip. You must provide a spot while your gymnast starts the turnover phase of the flyaway by placing one hand on his back and the other hand on his wrist or stomach. After helping flip the gymnast over, you should also assist with the gymnast's landing. Eventually, the gymnast should be able to perform the flyaway into the pit without a spot.

During another one of the gymnast's turns, you should have your gymnast work on some compulsory exercise sequences. The gymnast can begin from a long hang swing, kip to a support, cast backward into a backward hip circle, execute an underbar shoot, swing backward and swing forward twice, and perform a tucked flyaway dismount. Another sequence for the more advanced gymnast is to have him kip to a cast handstand and continue to an overhand grip giant. At the top of the giant, he then swings to an underbar shoot, swings backward, and swings forward to a tucked flyaway dismount.

High Bar Hand Straps or Wrist Straps High bar hand straps can be used at this station to

work on giant swings. The hand straps facilitate an aspect of safety which may come in handy while your gymnast learns the actions necessary to perform giant swings. The hand straps are made of two pieces of sewn nylon webbing. The two sewn runners are draped over the high bar next to two sections of taped PVC piping. The PVC piping must be attached to the bar in a loose fashion to allow for it to freely rotate around the bar. Sometimes leather gloves or other strong materials are used in place of the PVC piping.To work with the hand straps, your gymnast places his hands through the loops of the webbing, without grips on, turns his wrist toward the PVC piping, and grasps the piping. The straps and the piping allow your gymnast to swing forward and backward without having to shift his wrists. The strapping also connects the gymnast to the bar and negates the possibility of your gymnast losing his grip and releasing the high bar. Your gymnast should work his swing up to the point where you can help lift him through an overhand grip backward giant swing. The straps may also be used for back uprise actions and overhand grip forward giants. (At the low bar, the straps are also useful for doing Stalter drills.)

Station # 2 - The Low Bar The second station, the low horizontal bar, is espe­

cially useful for working on in-bar skills. (See Figure 2.)

TECHNIQUE January - March 1991

The first time at the low bar, your gymnast performs a pullover and a backward hip circle. After a succession of turns, the back hip circle should develop into a free hip circle to handstand.

Occasionally, you will want to spot at the low bar to promote the development of the backward hip circle into a free hip circle to a handstand.

Kips can also be worked at this station. If your gymnast is just learning this skill, it may be useful for him to use a rope looped around the low bar and stand on it to support his feet on the upward phase of the kip. You will have to attach a length of ,--------------------, rope which is about four feet long around the bar and tie it into a big loop. The gymnast will then place his feet on the loop of rope, stand on the rope during the upward phaseofthe kip, and use it to help Figure 2 him reach the support position. The rope acts as a spotter while you are at another station. Repetitions of the kip should be done with and without the rope. Once your gymnast learns the kip, he should work on a kip and cast to handstand. An underhand grip kip cast to handstand prepares the gymnast for cast handstand giant swings.

Also at the low bar, your gymnast should work straddle toe-on circles, Stalters, Endos, and seat circles. To begin, your gymnast must learn how to cast off the bar and set his feet onto the bar. From this hollow and straddled toe-on body position, the gymnast lets his body fall forward or backward, depending on the desired grip, and sets his body into a straddled and piked position. To enhance the turnover on the upward phase of the toe-on circle, tell your gymnast to com­press his body into a very tight pike position through the bottom of the Stalter action. After doing a couple of toe-on circles, the gymnast should take his feet off the bar at the top of the swing and drop into a Stalter or Endo Stalter position. You should coach the gymnastto drop into a compressed straddle position without clos­ing his shoulder angle. Tell your gymnast to let his feet press into the straddle rather than forcing his feet forward across the bar into the Stalter. The pressing and compressing actions will help keep his feet from popping out of the Stalter on the upward phase. The second half of the Stalter has your gymnast maintain­ing an open shoulder angle, holding his feet in while rising above the bar, turning his hips over through the bottom of the swing, and finally pressing and shooting out to a handstand position.

Seat circle skills are started by having your gymnast sit on the bar in an underhand grip and lifting his hips upward before dropping his feet forward and down­ward into the compressed seat circle. The circular action of the seat circle will rotate him around the bar and have him arrive in the original seat circle position. Eventually, you will want to encourage your gymnast to cast, stoop into a seat circle, and have your gymnast drop down and around into a jamming action. This jamming action will be a progression to the jam dislo­cate to an elgrip position. A preparation for the elgrip position is to have your gymnast hang in elgrip and swing backward and forward . While your gymnast is at the low bar, you might also want to familiarize him with the dorsal hang position or the German hang swing.

Station # 3 - The Low Parallel Bar With A Landing Mat The low parallel bar station is used for body position

drills and pirouettes. (See Figure 3.) With an 8" mat positioned next to a set of paralletes, your gymnast Figure 3

5

/' ;\ ~ .,.,.-

Figure 4

kicks to a handstand on one bar in an overhand grip and falls back down toward the landing mat with an ex­tended and tight body position. Your gymnast will land on his stomach on the landing mat. If done correctly, his body will hit the mat simultaneously in a slightly hollow body position. The underhand grip cast to handstand drill is done in the same manner, except the gymnast will land on his back. These exer­cises are performed to promote the extended body position of the downward phase of each direction giant swing.

The next drill is to have your gymnast perform a pirouette before landing on the mat. The gymnast kicks to a handstand on the far bar and executes a forward turning pirouette. The gymnast may pirouette and then fall to the mat onto his stomach. To develop the early pirouette action, your gymnast should stand on the mat, kick up to an underhand grip handstand, just short of vertical, and turn to a mixed grip pirouette while falling to his back onto the mat. As the gymnast masters these progressions, you should add full pirou­ettes to this station. Station # 4 - The Pit High Bar

At the high bar over the pit, your gymnast has the opportunity to do release skills and dismounts in a very safe environment. (See Figure 4.) All landings can be made into the foam pit to allow for a greater degree of absorption of the impact of these releases and dis­mounts. The releases and dismounts performed at this station do not have to be particularly difficult, but the idea is to acquaint your gymnast with elemental move­ments which emulate more difficult skills. The first release and regrasp skill is a hopping release and regrasp of the hands on the backward swing of the overhand grip swing. Next, the gymnast can cast forward from an above bar support position in underbar grip to a forward 3/ 4 giant swing, and on the upward phase,

hop his hands to overhand grip. In order to hop his hands and not flip over, tell your gymnast to break the angle of his shoulders, hop his hands, and pull into the bar. Two other preparatory release skills are having your gymnast execute a straddle cut and catch and a swing 1/ 1 twist release and recatch. These actions help develop the gymnast's concept of the flight release move.

Dismounts into the pit include having your gym­nast do straddle sole circle dismounts and forward and backward tucked flyaways. As your gymnast becomes more accomplished at these dismounts, he can change his body position to a layout and add a 1/ 2 or 1 / 1 twist to the flyaway. Finally, your gymnast can execute the basic actions of a Jaeger and a Gienger into the pit. The ability to regrasp the bar should not necessarily be expected at the beginning stages of these drills, but the beat swing and the releasing of the bar should be emphasized.

Summary These basic progressions on the horizontal bar are

centered around the requirements which are listed in the F.I.G.'s Code of Points. Your gymnast must learn giant swings, in-bar actions, flight elements, dorsal hang or elgrip positions, and dismounts. As the grassroots coach, you must provide direction to your gymnast for accomplishing these various skills and make it a goal for him to develop a strong under­structure of basic skills. These basics will become very important to your gymnast's future achievements on the high bar. As the coach, one of your responsibilities is to teach all these rudimentary actions to your gym­nast in order to better prepare him for future optional routines. Creating many different stations while coaching these skills will help your gymnast attain more quickly these fundamentals of the horizontal bar.

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#1101 Women's FIG CodeofPoints ....... $34.95 #1201 Men's F.I.G. Code of Points ... . $34.95 #1202 Men's J.O. Compulsory Text...$16.50 #1211 Men's Gymnastics Training Diary.

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#13 Coaching Young Athletes (Martens,et al) A book about the science of coaching. Sports: Psychology, Pedagogy, Physiol­ogy, & Medicine. Part of the ACEPTS program ..... ..... ...... ............... .. .. ..... .. .. $12.00

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Text $26.50 Sequential Gymnastics VHS Gymnastics Posters

# 6201 - Women's Nutrition poster ("Perfect 10" - the cover of this issue!) # 6200 - Lance Ringnald Poster ("Built by Gravity and Guts, Not Steroids") # 4000 - American Gymnastics Print (by artist, William Purdom) # 5101 - Men's World Championships Poster # 5102 - Women's World Championships Poster # 5100 - Special price for both #'s 5101 & 5102

6

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January - March 1991 TECHNIQUE

Educational Gymnastics

Gymnastics at its Best

The true value of gymnastics as a fundamen­tal part of education is not yet understood by either the public or the educational com­munity. Socrates, the founder of modern education, said that to become educated

one must "Know Thyself." Self understanding provides balance to knowledge. Knowledge with­out self understanding has no perspective and loses direction. Yet today's educational systems emphasize test scores and knowledge without the least consideration for a child's self understand­ing. This oversight might well account for a large portion of the 25% school drop out rate and for student loss of interest in school subjects.

Kinesthetic Receptors The basis for self understanding stems from

the bodies own input to the mind. The body is full of sensory mechanisms sending information to the brain. Nerve endings in the skin, muscles, joints, tendons, and inner ear represent the prime sources of kinesthetic sensation. And these medi­ate and enhance the minds awareness of the bodies emotions and feelings. (See Figure 1)

Figure 1 - Internal Sensors

This sensory input fills the brain with informa­tion, but unless the mind uses this information and pays attention to these signals, kinesthetic input is soon disregarded. In this way the pri­mary source of self understanding becomes ne­glected and ignored. Many in our society are unaware of their own tensions and emotions and never develop a refined awareness of body and self.

TECHNIQUE Januan) - March 1991

Gymnastics - Balance to Knowledge

Even a minimal effort to learn gymnastics will greatly stimulate the bodies kinesthetic system and send torrents of sensation from the body into the brain. The very essence of gymnastics is self awareness and self control. Every gymnast is in a constant search for control of the bod y and aware­ness of its balance, tension and orientation in space.

If Educational Gymnastics were to become a basic part of every child's ed ucation then children would quite literally "know themselves" better. Children cannot express their feelings and emo­tions accurately unless they are in touch with those feelings and emotions. They cannot know themselves unless they pay close attention to the sensations and information coming in through the kinesthetic receptors. One cannot use aca­demic information with purpose unless that in­formation is balanced against its meaning in terms of human experience. (See Figure 2)

Balance for the Scales of Education

Figure 2

Acknowledgment from the Sciences

Studies of right and left brain function show that the two halves of the brain process different types of information. The left brain processes language and logical step by step analytical func­tions (associated with academic knowledge) while

7

Garland O'Quinn, Jr. Ph.D

USGF Education Sub­Committee

the right brain processes spatial and tactical functions (associated with kinesthetic and per­ceptual input). Roger Sperry of the California Institute of Technology says that " .. our educa­tional system tends to neglect the nonverbal form of intellect ... modern society discriminates against the right hemisphere." (7)

Numerous other sources associate human cre­ativity with the right brain hemisphere which gets a large portion of its input from the kines­thetic sensations of movement and body control.

Educational Gymnastics Educational Gymnastics is mankind's richest

source of kinesthetic input and, as such, makes a major contribution to a child's self understanding and creative abilities. The results of implement­ing Educational gymnastics as a regular part of our children's education would be immediate and far reaching. We could expect that there would be a great improvement in self awareness and self understanding. Children, becoming more aware of their own feelings and emotions would have better person to person communication. Better communication would lead to a reduction in conflict. Educational Gymnastics would liter­ally lead to a richer, fuller and more balanced education.

Those of us intimately involved with gymnas­tics can be assured that no activity does so much to help a child "know thyself." Educational gym­nastics provides the "agility" for an agile mind, the "coordination" for coordinated thought, and the "balance" for a balanced education.

Bibliography Edwards, Betty. Drawing on the right side of the brain. Brain/

Ed Center, California State University, Long Beach, CA 90840.

Elkind, David. The hurried child. Addison-Wesley Publish­ing. Menlo Park, CA. 1981.

Elkind, David. Miseducation: Preschoolers at Risk. Alfred A. Knopf Publishers, New York, 1987.

Gardner, Howard. Frames of mind. Basic Books, Inc., copy­right 1983.

Kohn, Alfie. No contest. Houghton Mifflin Co., Boston. Copyright 1986.

O'Quinn, Garland. Teaching Developmental Gymnastics. University of Texas Press, PO Box 7819, Austin, TX 78713, 1990.

Sperry, R.W. The psychophysiology of thinking, "Lateral specialization of cerebral function in the surgically sepa­rated hemispheres," edited by F.J. McGuigan and R.A. Schoonover, Academic Press, New York and London, 1973.

Thompson, Richard F. Foundations of physiological psychol­Qgy. Harper and Row Publishers. New York and London, 1967.

Williams, Linda. Teaching for the two-sided mind. Simon & Schuster, Inc. Publishers, 1230 Ave of the Americas, New York, NY 10020.

Scoring Form for Junior "B" Testing - Dance (Floor and Beam) Objective: To develop excellence through application of correct technique. Evaluation: To be based on total performance (not individual elements or connections).

Ex. Gymnast scores "good" in all six applicalable categories = 10.0 - (2 x 6) = 8.8 points. Note: 1st fall on Dance Beam will receive not penalty. Additional fall will receive 0.5 deduction in addition to

appropriate penalties in the specific categories. Scoring is based on TOTAL PERFORMANCE. -c:: 10.0 10.0

en § ....... Q)

Category rating scale: ~ ::J.- § E en minus minus .... u- .- Q) Excellent -0.0 Oen o.s -> c:: Tot. Tot.

:;:, ~§ u..c:: ~o (5 0 Oed. Oed. Very Good -0.1 c:: ~~ '5~ :;:::;

0:;:::; .... u Q) -Good -0.2 E 0'- =Q) .... - c:: ::J u..en ell .... 00 0 '0

Fair -0.4 c:: ....... 0 ::JQ.. 0Q) 0 Q) 0) Q)Q.

O.~ ~ oen 0 '00) .......

poor,: ~ -0.6 =Q) ....... eIl Q) « .... .~~ .~ E :c Ew u «i >.2 Q.Q) §~

.I::. ....... c:: ........... 'x -:;: ell en- Total Floor Beam Final Avg. '0 en ~.Q -::J

00 E~ t>. Q) «i -Q) GYMNAST'S NAME alQ.. «u.. «0 LI a:u.. al ~z Deductions Score Score Dance

BB

FX

BB

FX

BB

FX

BB

FX 1"1

8 January - March 1991 TECHNIQUE

I

Women's Elite Program

USGF Junior "B" Element Testing

Vault Handspring (#1.01) Start Value = 10.0

Uneven Bars: • 1 st Sequence

Glide Kip, Cast handstand Glide Kip, Cast handstand Clear hip to handstand Clear hip to handstand- (kip to support)

• 2nd Sequence Pend Ie kip, Cast handstand, pirouette Giant (leg position on downswing optional) Giant (leg position on downswing optional) Dismount: Stretched saIto backward (layout flyaway)

Beam Acro Skills: • 1st Element (mount): Start Position(SP): from a

side stand facing the beam, press to side hand­stand with straddling, then closing of the legs to straight body handstand. Stoop down (press down, legs together) placing the feet between the hands to arrive in sidestand on the beam.

• 2nd Element (series) - Flip-flop (feet together), flip-flop step out.

• 3rd Element: Front Handspring step out (legs do NOT come together) Ending position is support leg straight and free leg extended in front (toes touching beam).

• 4th Element: From a cross stand, scale into handstand, 1/2 turn (180° pirouette) in hand­stand (2 hand changes) then split legs (180°) in vertical and hold for 2 seconds. Maintaining split, lower to knee sit (passing through knee scale - contact the beam with the top of the toes first, torso erect, free leg extended downward beside the beam). Arms: lateral.

• 5th Element (dismount): Round-off, back saIto stretched (layout).

Beam Dance: • SP: from a crossstand,approximately one third

in from the end of beam, arms high oblique, support leg straight, opposite leg extended forward.

• One step to split leap (No stag). Arms: lower to sides on step and raise to op­tional arm position during leap.

• Continuing immediately to 2 or 4 light running steps forward on toes to the end of the beam. Arms: lower to sides on runs and raise to crown

TECHNIQUE January - March 1991

at completion of the runs - finish high on toe in ---------5th position.

• 180° pivot turn on toe. Arms: remain in crown.

• Repeat split leap on opposite side as described above.

• Immediately step to fouette. Arms: lower on step to side of body and raise to crown on fouette. Swing leg MUST be forward horizontal with hips squared before half turn. Arms: open to high oblique in arabesque hold at the completion of fouette. Back leg pulls to close in tight fifth on toe. Arms: finish in crown.

• 2 quick pivot turns (180° each) high on toe PM to chasse backward. Arms: opposition on chasse, in crown on turns. Immediately execute two or three steps back­ward on toe to the end of the beam- finish on toe in 5th position. Arms: (and body) supple, arms must lower beside the body and finish in crown.

• Step forward to plie, immediately releve (no preparation pause) to execute a 360° turn in­ward with free leg in passe (turned out- toe touching side of knee).

• Step forward on straight leg on toe to repeat a 360° turn on the opposite leg. Arms: optional on turns.

• Step forward to a standing split (needle scale) Arms: optional position free of beam. Lower free leg through scale position to step forward and scale on opposite leg. Arms: optional.

• Step forward and swing free leg to forward horizontal position (support leg straight), swing backward to arabesque in plie. Arms lateral. Immediately releve to execute a 180° turn, fin­ish on toe with free leg at forward horizontal. Arms: crown. Immediately step forward on toe to arabesque Arms: crown. Back leg lowers quickly to close in tight 5th on toe. Arms: finish in high oblique.

• Full Bodywave forward. Arms: must come from crown, lower in wave and finish in crown.

• Step forward to pose -supportleg straight, free leg extended backward, toe touching beam Arms: high oblique.

9

3,.-____ ~~ ____ ,5 Right Pattern:

2 6

8 7

3 4 5

Left Pattern:

2 ~ 6

8 7

Tumbling Skills • 1st series: Round-off, whip-back, flip-flop,

flip-flop, backward saIto stretched (layout)

• 2nd series: (From a stand) Flip-flop, flip-flop, flip-flop, back salto tuck- kickout at vertical.

• 3rd Series: Three Front Handspring (two foot landings)

NOTE: Gymnast may continue to move forward after last handspring. Evaluation ends at the completion of the 3rd front handspring.

Floor Dance • SP: From a fifth position stand in corner facing

the diagonal. Arms: low rounded, focus and head position change required but positions optional. Front leg pointed forward toes on floor. Arms: open to low oblique.

• Step onto front leg and brush assemble landing in 5th. Arms: softly lifting to lateral at the height of the assemble and low rounded upon landing.

• Immediate stretched jump full turn in direc­tion of front leg. Arms: circle forward upward to crown. Head: spot.

• Repeat above on the opposite side. • Jump from two feet bringing rear leg forward

to initiate two prance steps (free leg position on prance steps in forward low attitude. Arms: lateral, focus and head position required but positions optional.

• Extend free leg and step hop (free leg rearward in low arabesque 450

•

Arms: opposition in arabesque, focus and head position required but positions optional. .

• Repeat as above. - initiating prance steps wIth small leap forward onto free leg.

• (Skip) - Step forward with free leg and brush extended leg low forward (450

- with hop) Arms: arms, focus and head position change required but positions optional. Repeat.

• Chasse forward 1 step to pose with back leg extended. Arms: high oblique. Head: follows the bodywave

NOTE: rhythm of all of the above is a bouncy 4-count. Rhythm changes ato a slow waltz (3-counts) for the remainder of the routine. • Still facing the diagonal, back leg steps to the

side to initiate the side bodywave (bodywave begins low and finishes high before turn). Immediate 1800 pivot turn finishing with feet together. Arms: raise to high oblique.

10

Note: Gymnast is still on diagonal facing opposite corner.

• Curved run - three long, fluid running steps. Arms: circle away from body, then into the direction of the run, focus and head position change required but positions optional.

Note: The direction of the curved run is opposite the direction of the turn - forming a sweeping "5" pattern).

• Step immediately onto straight leg, high toe and execute 3600 arabesque turn (Rt: start & finish facing corner 5. Lt: start & finish facing corner 1). Arms: optional.

• 1 or 2 steps forward from arabesque turn to plie, (no preparation pause) releve,to 5400 in­ward turn in parallel passe. (Rt: start facing corner 5 and finish facing corner 1. Lt: start facing corner 1 and finish corner 5). Arms: optional.

• Brush free leg forward and take 2 steps on high toe, step (waltz steps). Arms: optional, focus and head position change required but positions optional.

• Swing free leg to forward horizontal initiating fouette - finishing in arabesque. Arms: lower on step to sides of the body and raise to crown on fouette .

• Step back and lift front leg to above horizontal - into back walkover, step out through scale.

• Step onto the back leg, rounding hips and lowering into an immediate Back extension roll 1800 pirouette (blind change) to handstand. Split 1800 in handstand, step out.

• Bring feet together on high toe, and execute areverse Body Wave (lower torso straight, deep knee bend, release of head and upper torso to initiate). Torso contracts in abdominals and rolls up to vertical. Arms: begin overhead, then circle downward, backward, continuing forward upward to finish in crown. Step forward to pose with front leg straight, back leg extended rearward - toes pointed on floor. Arms: upward oblique.

Evaluation of Element Testing 1. Regional Level

a. One Elite or Brevet Level Judge. b. One or Two Elite Level Coaches or "Special

Category" Clinicians. c. Coach/Expert will be selected by the Re­

gional Board. 2. National Level

a. Must have 2 Evaluators. b. Brevet judge and a National Clinician "Ex­

pert." In all cases, evaluators will each take deductions, then arrive at one combined or "average" score per gymnast

Scoring for Junior "B" Testing 1. Four Element Testing Events:

* All events judged on a 10.00 basis. a. Vault & Tumbling. b. Bars. e. Beam Acro Element. d. Dance - Floor & Beam.

January - March 1991 TECHNIQUE

1. Vault and Tumbling scores will be added to­gether and averaged. Dance Floor and Dance Beam will be added together and then aver­aged, then both composite scores will be added to the remaining two events (Beam Acro and Bars).

2. A perfect element test score would be 40.00 AA.

3. Element testing will be conducted at Regionals but not count toward AA score for purposes of qualifying. Element testing (40%) - Optionals (60%) - at Nationals (U.s. Classic)

4. General Penalties: Omission of an Element. 1.0 Reversing/ Changing/ or

Failure to complete. 0.5 Omission of a connection. 0.3 On Dance (Floor and Beam), the above deductions will be deducted from the average.

5. All general FIG deductions are in effect in addition to the specific deductions for each event.

6. Recommended 2 squads: 1st rotation Tumbling & Beam Dance 2nd rotation (switch events) 3rd rotation Floor Dance & Beam Acro 4th rotation (switch events) 5th rotation Vault & Bars 6th rotation (switch events)

1st panel of evaluators -Tumbling/Beam Acro /Vault

2nd panel of evaluators-Floor Dance / Beam Dance / Bars

Vault Handspring (Vault #1.01) Specific Deductions

Start Value 10.0

1 st Flight Phase a. Form break (arms, legs) b. Body bent during flight

(arch/pike). Support Phase

a. Form Break. b. Poor technique in support.

2nd Flight Phase a. Form break (arms, legs). b. Body Bent during flight. c. Insufficient height/length. d. Insufficient stretch of body.

prior to landing. Landing

each up to 0.2

up to 0.5

each up to 0.2 up to 0.2

each up to 0.2 up to 0.5

each up to 0.5

up to 0.3

a. Landing heavy and uncertain. up to 0.2 b. Slight unsureness

(movement of 1 foot). 0.1 c. Actual step/hop in any direction. 0.2 d. Each additional step /hop. each 0.1

General a. Poor direction throughout vault. up to 0.3 b. Insufficient dynamics. up to 0.5

TECHNIQUE JanuanJ - March 1991

Uneven Bars 1st Sequence

1. Glide Kip (legs together) & Cast to straight body Handstand.

2. Repeat as above. Deductions a. Insufficient amplitude in glide. up to 0.2 b. Arms bent on cast. up to 0.4 c. Body bent (arched/ piked)

on cast. up to 0.4 d. Failure to attain handstand. up to 0.3

3. Clear Hip to Handstand.

4. Repeat as above. Deductions a. Arms bent. b. Arched/piked body on circle

to handstand. c. Failure to attain handstand.

). Glide Kip to Clear Support. Deduction

up to 0.4

up to 0.4 up to 0.3

Failure to complete a straight arm kip. 0.5 NOTE: No deductions for execution and amplitude in performance of glide kip. Judging concludes with the completion of the clear hip to handstand. A maximum of 20 second rest/adjustments before gymnast must remount.

2nd Sequence SP:The 2nd sequence is initiated from a hang on the

high bar facing the low bar. 5. Pend Ie Kip (legs together), Cast to hand­

stand with 1 /2 tum (pirouette) in handstand. Deductions a. Insufficient amplitude of pend Ie

kip (legs together). up to 0.2 b. Arms bent on cast up to 0.4 c. Body bent (arched/piked)

on cast. up to 0.4 d. Failure to complete 1/2 tum

in handstand phase. up to 0.4 6. & 7. Giant Circle to handstand (leg position

on downswing is optional). REPEAT. Deductions a. Arms bent. up to 0.4 b. Body bent (arched/piked). up to 0.4

8. Dismount - Back saIto stretched (Flyaway) (leg position on downswing is optional) Deductions a. Insufficient height. b. Failure to stick landings. c. Insufficient stretch of body

in flight.

General Deductions:

up to 0.4 up to 0.2

up to 0.4

a. Omission of an Element. 1.0 b. Reversing / Changing or

Failure to Complete an Element. 0.5 · c. Omission of a Connection. 0.3

11

12

Tumbling Skills 1st Series-

Round-off, whip-back, flip-flop, flip-flop, backward SaIto stretched (layout). Objective: Acceleration through elements pre­

paratory to salto. Deductions a. Lack of acceleration. b. Excessive arm bend

(slight bend allowed). c. Excessive bending of the

up to 0.4

up to 0.3

knees(slight bend allowed). up to 0.3 d. Slight leg separation

throughout. up to 0.2 e. Failure to maintain stretched

body position in saIto. f. Insufficient height of salto. g. Body arched in flight. h. Failure to stick 2 foot

landing.

2nd Series-

up to 0.3 up to 0.3 up to 0.2

each step 0.1

SP: From a stand. Flip-flop, flip-flop, flip-flop, back salto tucked to kickout at vertical.

Deductions a. Lack of acceleration. b. Excessive arm bend

(slight bend allowed). c. Excessive bending of the

up to 0.4

up to 0.3

knees (slight bend allowed). up to 0.3 d. Slight leg separation

throughout series. e. Insufficient tuck position

prior to kick-out. f. Insufficient height of saIto. g. Failure to kickout by

horizontal. h. Insufficient stretch before

landing. i. Failure to stick 2 foot

landing.

3rd Series-

up to 0.2

up to 0.3 up to 0.4

up to 0.2

up to 0.2

each step 0.1

3 Front Handsprings - 2 foot landings. Note: Gymnast continues to move forward after the last handspring. Evaluation ends at the completion of the 3rd front handspring.

Deductions a. Failure to maintain speed

throughout the series. b. Excessive arm bend. c. Excessive knee bend. d. Incorrect body posture. e. Legs apart.

General Deductions a. Omission of an Element. b. Reversing/Changing or

up to 0.4 up to 0.3 up to 0.3 up to 0.2 up to 0.2

1.0

Failure to Complete an Element. 0.5 0.3 c. Omission of a Connection.

Beam Aero Skills 1st Element (mount):

SP: from a side stand facing the beam, press to side handstand with straddling, then closing of the legs to straight body handstand. Stoop down (press down, legs together) placing the feet between the hands to arrive in sidestand on the beam.

Deductions 1. Arms bent. up to 0.2 2, Poor body position in

handstand. up to 0.2 3. Lack of control in stoop down. up to 0.2

2nd Element (series) -Flip-flop (feet together), flip-flop (step out).

Deductions a. Pause between flip-flops. b. Stop between flip-flops.

up to 0.2 up to 0.3

c. Insufficient flight in flip-flops. each up to 0.2

3rd Element -Front handspring step out

Deductions a. Insufficient flight. b. Arms bent. c. Failure to step out.

4th Element -

up to 0.3 up to 0.2

0.3

SP: From a crossstand, scale into handstand, 1/2 turn (180° pirouette) in handstand (2 hand changes) then split legs (180°) in vertical and hold for 2 seconds. Maintaining split, lower to knee sit (passing through knee scale - contact the beam with the top of the toes first, torso erect, 6;ee leg extended downward beside the beam). Arms: lateral.

Deductions a. Failure to scale into handstand. 0.2 b. Failure to mark first handstand. 0.1 c. More than 2 hand changes. each 0.1 d. Poor body position in

handstand. e. Failure to split legs in vertical

after 1/2 turn. f. Failure to hold 2 seconds in

up to 0.2

up to 0.2

vertical in split position. 0.2 g. Insufficient split. up to 0.2 h. Poor body position in knee sit. up to 0.2

5th Element (dismount) -Round-off, back saIto stretched (layout).

Deductions a. Insufficient height of salto. b. Lack of straight body

throughout saIto. c. Body arched in flight. d. Failure to stick landing.

General Deductions: a. Omission of an Element b. Reversing/Changing or

up to 0.2

up to 0.3 up to 0.2 up to 0.2

1.0

Failure to Complete an Element. 0.5 0.3 c. Omission of a Connection.

JanuanJ - March 1991 TECHNIQUE

I

~ HOUSING REQUEST FAN/SPECTATORS 0

Housing requests must be made on this form. Reservations by phone will not be accepted. Reservations can be received by FAX. To reserve a room, complete this form and mail to:

WGC Housing Bureau Indianapolis Convention & Visitors Association One Hoosier Dome, Suite 100 Indianapolis, IN 46225 USA FAX: 317/684-2492 Information: 317/630-1991

*Deposit of $100 per roqm is required with reseroation. One half of the total room charge must be paid upon arrival, the remainder upon departure.

Ih'-.l'1 \ ,1tiol1 I 01 III

Please print or type: Name: __________________________________________________________ __

Address: ______________________________________________________ _

Ci~:------------------------------------------------------

• Upon receipt of your request, you will be sent an acknow­ledgement from the WGC Housing Bureau and a confir­mation from the hotel.

State/Province: _____________________ Postal code/ZIP: ______________ Country: ____________________ _

Phone: __________________________ FAX: __________________________ Telex: ________________________ __

Date: ________________________________ __

I' ,1\ Illl' 11 t

Major Credit Card: ________________________________________________ __

Card #: ______________________________ Exp. Date: ________________ _

Signature: ______________________________________________________ _

or

Wire funds to account INB NATIONAL BANK ROUTING NUMBER 074000052, ACCOUNT NUMBER 39-022-315.

Total Funds Wired or Enclosed: $US LI ________________ ---'I Signature: -----------------------------------

All changes and cancellations must be made in writing to the WGC Housing Bureau before August 16, 1991. After that date, you must cancel at least 72 hours prior to arrival, directly with your hotel, to avoid forfeiting your deposit.

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Downtown Hotel Package

1. Canterbury Hotel 2. Embassy Suites Hotel 3. Hilton at the Circle 4. University Place

1991 WORLD GYMNASTICS CHAMPIONSHIPS INDIANAPOLIS, SEPTEMBER 6-15

Hotels and Room Rates

HILTON AT THE CIRCLE A 369-room hotel located in the heart of downtown, just off Monument Circle and 3 blocks from the Hoosier Dome, with two restaurants and lounge.

RATES Single: Double: Twin: Triple: Quad:

$ 90 $ 95 $ 95 $105 $115

Arrival Date ______ _

EMBASSY SUITES

(One person/one bed) (Two people/one bed) (Two people/two beds) (Three people/two beds) (Four people/two beds)

Departure Date ______ _

NUMBER OF ROOMS:

TOTAL

A 360-all suite property located one block from the Hoosier Dome, with a restaurant, lounge and indoor pool. Rate includes breakfast and two hours of complimentary cocktails in the evening.

RATES Single: Double: Twin: Triple: Quad:

$ 94 $ 94 $ 94 $104 $104

Arrival Date ______ _

CANTERBURY HOTEL

(One person/one bed) (Two people/one bed) (Two people/two beds) (Three people/two beds) (Four people/two beds)

Departure Date ______ _

NUMBER OF ROOMS:

TOTAL

A 99-room English-style hotel located one block from the Hoosier Dome, with a restaurant and lounge.

RATES Single: $122 Double: $122

Arrival Date ______ _

UNIVERSITY PLACE HOTEL

(One person/one bed) (Two people/one bed)

Departure Date ______ _

NUMBER OF ROOMS: I

TOTAL 1, _ __ --'

A 278-room hotel located ten blocks from the Hoosier Dome that includes a food court, restaurant and lounge.

RATES Single: Double:

$ 82 (One person/one bed) $ 82 (Two people/one bed) ($15/Per Rollaway Per Night)

Arrival Date _____ _ Departure Date ______ _

(Please list hotels in order of preference)

• If the above choices are booked, please place me in (check one):

NUMBER OF ROOMS: I

TOTAL LI __ -'

D A hotel as close to the Hoosier Dome as possible. D A hotel with a comparable rate .

• Guest Names: _______________ _

• Any Special Requirements? __________________________________ _

Sport Science

Obtaining Maximum Height in Jumps

Exceptional vertical displacement (height) is a desirable quality when associated with the performance of various jumps. On the other hand, a jump executed with minimal verti­cal height is often linked with mediocrity.

For example, a low straddle jump detracts from performance and is less exciting or exemplary, no matter how spectacular the position of body segments assumed during flight. It is quite possible to be unable to reach an exceptional jumping height even though a gymnast possesses superior strength, flexibility, reaction time, and kinesthetic awareness (sense of location). Jumping height will be greatly reduced without the implementa­tion of related mechanical principles. There are several mechanical principles that will guide the gymnast toward improved jumping height.

Important Mechanical Principles 1. Maximum lift is near the bottom of an arm

swing. 2. The center of gravity (CG) should beas high

as possible at the point of takeoff. 3. The projection angle should be at the vert i­

cal line.

Lift The point in the arm swing where the greatest

lift force is generated is at, or near, the bottom where the arms pass below the shoulders (Hinricks & Cornelius, 1986; Knight, Wilson, & Hay, 1978). Newton's Third Law of Motion is particularly relevant in describing why lift is best generated at the bottom of the arm swing. The Law indicated that for every action there is an equal and opposite reaction (Kreighbaum and Barthels, 1990). The arm swing effectively presses the feet into the floor atthe bottom point in the angular path of the arms. This results in an external force acting as a reaction force. It is sometimes argued that the top of the arm swing is where the greatest lift is generated. Rather than creating maximum force at a point near the top of the arm swing, the arms negatively accelerate resulting in reduced lift force.

Center of Gravity A gymnast can project their body the greatest

vertical distance from support when the CG is at it's highest point at takeoff. The CG or the center of mass represents the entire body and can be adjusted during performance while the body is in contact with support. A gymnast's CG is raised approximately four inches when the arms are moved from the sides to an extended position above the head. After takeoff, however, the path of the CG can not be adjusted. The only adjust­ment or change in the center of mass resulting after takeoff is in the position of individual body

TECHNIQUE lalJUan) - March 1991

parts about the CG (Kreighbaum and Barthels, 1990). Position of the CG at takeoff relative to the support is an important consideration in deter­mining the effectiveness of vertical displacement in a jump. In fact, the path (trajectory) of the CG is determined at takeoff. Consequently, the last phase of the arm swing can best raise the CG when the arms are fully extended above the head at takeoff.

Angle of Projection Another mechanical consideration in deter­

mining the most effective technique for achieving the greatest possible vertical displacement dur­ing a jump lies in the angle at which the body is projected into space. When the resultant (net) Force component is directed perpendicular to the ground, the external force exerted from the ground passes through the CG creating linear motion in a vertical line. Linear translation of the gymnast results best when skeletal alignment is truly ver­tical with the pelvis, head, and arms on the verti­cal line that passes from the base of support through the CG. All extraneous body movements that detract from body alignment must be mini­mized. Therefore, the force transmitted from the support to the body is in a direction that will provide the greatest vertical displacement. Linear displacement results best when a ground reaction force passes through the CG. An increased angle at takeoff, depicting a backward lean in leaving the support surface, will reduce the vertical force component, while adding to the horizontal force component, resulting in less vertical displace­ment.

Summary Extraordinary vertical displacement is an es­

sential ingredient in accomplishing the artistic gymnastics performance. Implementing the use of mechanical principles in order to improve gymnastics jumps can help to maximize vertical height and the desired outcome. Minimizing the importance of understanding the effects of me­chanical principles on improving technical execu­tion, with little regard for virtuosity, will likely reduce desired performance.

References Hinricks, R.N., & Cornelius, W.L. (June 1986). The importance

of arm-swing during a front somersault. International Gymnast. 28(6):44-45.

Knight, SA, Wilson, B.D., & Hay, J.G. (March 1978). Biome­chanica I determinants of success in performing a front somersault. International Gymnast 20(3):54-56.

Kreighbaum, E., Barthels, K.M. (1990). Biomechanics: A Qualitative Approach for Studying Human Movement (3rd Ed.). New York: Macmillan Publishing Co.

15

William Cornelius, Ph.D., Dept. of Kionesi%gy, Health Promotion and Recreation University of North Texas

Research Results

William A. Sands, Ph.D. Motor Behavior Research Laboratory University of Utah

ThisstudywassupportedQy; United States Diving United States Gymnastics

Federation U. S. Elite Coaches Assn. for

Women's Gymnastics Hansen Planetarium,

Salt Lake City, Utah

Spatial Orientation While Somersaulting

Divers and gymnasts must perform complicated skills while experiencing whole body rotation via a somersault and/or twist. These skills test the spatial orientation capabilities of the athlete to a very high degree. These demands can exceed the processing speed and capacity of the spatial orientation system (Le., vestibular organs, vision, and somatosensory (body sense systems) (Krejcova et al., 1987). The sensory information from a variety of sources must be inte­grated to coordinate the changes in body positions and other actions necessary for a safe dive or gymnastics skill. Vestibular information (one part of spatial orien­tation) is considered essential to properly preprogram neuromuscular responses for coordinated movement (Melvill-Jones & Watt, 1971).

The athlete has three integrated systems to deter­mine how the body is oriented in space (Gillingham & Wolfe, 1985; King Hogue, 1990). 1. The first system is vision. The athlete is highly de­

pendent on visual information from the environ­ment to detect where vertical, horizontal, up, down, forward and backward directions are located. An athlete may "spot" the ground, the pool, or a certain fixed point on the apparatus, tower, or elsewhere for a reference of body position to the environment (King Hogue, 1990).

2. The second system is the vestibular system. The vestibular system includes the organs of the inner ear. These are the bilateral arrangement of the three semicircular canals, and the saccule and utricle. These organs detect rotational acceleration of the head (semicircular canals), and linear acceleration and position of the head (utricle horizontal and saccule - up and down). The utricle is more highly sensitive than the saccule (Shone, 1984).

3. The third system is the somatosensory system. This system is very diverse, providing clues about the gravitational vertical and body position in space by limb positions and motions, pressures and tensions on various body sense organs, and the sensation of gravity on the mesentery of the gut (Ito & Sanada, 1965). These systems must be carefully integrated so that the eyes can track objects while the object or the body is in motion and to keep the body upright during motion or standing.

There are two general types of vision (Shupert, Lindblad, & Leibowitz, 1983).

1. The first is foveal vision. Foveal vision occupies the central portion of the visual field and is used to perform precise visual scanning such as reading.

2. The second type is called ambient vision. This vi­sion includes foveal and peripheral vision. Ambient vision is most useful in spatial orientation by noting uprightness, self motion, and motion of the environ­ment. Ambient vision does not appear to require direct attention by the person; thereby occurring without our conscious awareness. Ambient vision can be fooled by an illusion called vection. This illusion is created when the surrounding visual

16

scene moves but the person is still. You have prob­ably experienced this illusion while seated in your car, another car moves in your visual field, and you feel as though you are moving even though you are not (Berthoz, Pavard, & Young, 1975). The sensory system attempts to detect self movement versus environmental movement via the optokinetic reflex which helps stabilize the focus of the eye on some object. It supplements the vestibulo-ocular (inner ear to eye) reflex (Shupert, Lindblad, & Leibowitz, 1983). Athletes in diving and gymnastics must deal with the apparent motion of apparatus and environ­ment often, and thereby "make sense" out of what their spatial orientation senses are telling them.

The vestibular organs assist the visual system in tracking objects when the head is moved and the eyes must remain focused on an object. The vestibular sys­tem informs the muscles of the eye that a movement of the head has occurred and the eyes must move in the opposite direction at the same speed as the head to keep the object clearly in the same place on the retina of the eye. Anyone who has watched a film when the person holding the camera was jittering the camera can attest to the difficulty of focusing on a moving object when the visual field is not held constant. This ability is called the vestibulo-ocular reflex (Gillingham & Wolfe, 1985).

The somatosensory system uses information from muscle tension, pressure on the skin, and position of limbs and other body organs to determine the rela­tionship of the body to motion and gravitational ac­celeration. This system can also be confused by touch senses that can falsely indicate motion (Campbell, 1967; Jones, 1988).

There are a number of vestibular research findings that could impact sporting performance, particularly somersaulting sports. In most somersaulting sports the detection and orientation of the body to gravitational vertical is extremely important. Moving visual scenes have been shown to disorient one's perception of up­right vertical (Dichgans, Held, Young, & Brandt, 1972; Lestienne, Soetching, & Berthoz, 1977). The athlete may need to maintain visual contact with some object (e.g. water, floor, snow) while somersaulting and twisting. There is a limit to how fast one can move the head before the eyes fail to see an object clearly. According to one study, this occurs at approximately 60 deg/ sec for most people (Gillingham & Wolfe, 1985). According to another study, the ability to maintain visual stability has been shown to be maintained up to 250-300 deg/ sec, and is adversely affected by vestibular organ ab­normalities (Atkin & Bender, 1968). Athletes can som­ersault and twist at these velocities and higher. The dizziness (Le., nystagmus) after spinning may last as long as 2-3 minutes following cessation of the spin (Malcolm & Melvill-Jones, 1974), but is reduced when the subject performs the rotational movement him/ herself (Guedry, Mortensen, Nelson, & Correia, 1978). Finally, prolonged spinning of a subject can result in some damage to the retina of the eye if the spinning is

January - March 1991 TECHNIQUE

prolonged and at high rates, such as consecutive full circular swings from the knees (hock swings) on the monkey bars (Rabinovitch, McLean, Beck, & Brown, 1978).

A study of sports and the vestibular organs showed that abnormalities in the vestibular and ocular (orient­ing and visual) systems occurred infrequently in ath­letes, with gymnasts relatively the highest at 15%. Eye tracking tests showed abnormalities most frequently in jumpers, divers, and judoists. An important test of the vestibular organs called a caloric test showed abnor­malities when given to judoists (49%), trampolinists (43%), and divers (40%). These same researchers showed that with increasing training the abnormalities in­creased. The characteristics of the abnormalities were not listed. The vestibular impairments were sufficient that they could be diagnosed early in an athlete's career (Krejcova et aI., 1987).

A study specific to diving sought to determine the relationships between spatial orientation ability and the learning of four basic dives by beginning divers (McCormick, 1970). Beginning divers were tested for spatial orientation in layout and tuck positions, detecting upright and inverted vertical, somersaulting forward and backward, and using sighted and un sighted trials. Using a German gym wheel to rotate the harnessed subjects, this study showed that spatial orientation only improved in one of sixteen tests from pretraining to post training. This study determined that subjects were better at detecting gravitational vertical when upright than inverted, sighted was better than unsighted, layout positions were better than tucked, and forward somersaulting was better than backward. The rotational velocity of the rotating device was set at 36 deg/ sec which does not closely simulate the velocity achieved by a somersaulting gymnast or diver per­forming modern somersault skills.

A study of diving was performed by suspending and rotating elite divers in an overhead spotting rig (Dion, 1985). The divers were sighted and blindfolded and hand rotated through 2.5 somersaults and asked to tell the investigator where they thought vertical was. The study concluded that divers tend to note gravita­tional vertical slightly early relative to actual gravita­tional vertical. This may have been due to training and the necessity to extend slightly early to precisely time the entry position at vertical.

Gabriel (personal communication, 1989) noted that divers tend to line up short of vertical when attempting a dive. This is sought in diving to ensure that the legs enter the water perpendicularly. Moreover, in quoting from a Soviet study she noted that the greater the amount of somersaulting prior to entry, the more apt the diver was to increase the earliness of the opening. She has noted that this is consistent with divers per­forming real dives while untethered (i.e., notina spotting belt).

Gymnastics has effectively discouraged the use of 1 & 3/4 forward and arabian type somersault skills that end in a dive roll (Freudenstein, 1990). The resulting high incidence of catastrophic injuries from this skill has appeared to mark this skill as inordinately danger­ous. This skill may suffer from the same type of spatial orientation limitation found in divers which appears to predispose the diver to opening early when beginning the water entry phase of the dive. Opening early on the 1 and 3/4 somersault type skills in gymnastics obviously leads to exposing the head and neck to a severe impact with the ground.

TECHNIQUE January - March 1991

The Experiment To shed further light

on the subject of spatial orientation in somer­saulting athletes a study was conducted at the University of Utah - Mo­tor Behavior Research Laboratory. This study consisted of several tests. • The tests included an upright standing balance test (stabilometer, Figure 1), an anticipation time test (Bassin Anticipation Timer, Figure 2), a rod and frame test (Figure 3), and tests of spatial orien­tation while the subject was seated in a specially designed chair that ro­tated through multiple forward and backward somersaults (Figure 4). The study was designed to detect if somersault trained athletes differed from nonsomersault trained athletes in theit ability to detect gravitational vertical while upright or inverted, rotating forward or backward, while sighted or unsighted. Twenty seven subjects volunteered for this study. Fourteen of the subjects were considered somer­sault trained (i.e., gymnasts, divers, and freestyle ski­ers) . Thirteen athletic subjects participated who were not somersault trained (i.e., football, rugby, rock climb­ing, etc.).

The rotating chair was constructed by Hanson Plan­etarium in Salt Lake City, Utah. The chair consisted of a helicopter jump seat with a four point harness that secured the subject. The subject's hands were placed on handle bars immediately in front of the subject. The handle bars were equipped with a transmitter switch for the subject to register upright or inverted vertical. The transmitter and a continuous turning potentiom­eter were interfaced to a receiver and computer to simultaneously detect a transmitter key press and the position of the chair. The chair was rotated by hand in either the forward or backward (somersault) direction.

17

Figure 1-Stabilometer Test

The subject attempts to hold the movable platform

exactly horizontal.

Figure 2-Anticipation Time Test

Lights illuminate down the track toward the

subject and the subject tries to press a button the

moment the last light is lit.

Figure 3-Rod & Frame Apparatus The rod in the center is free to rotate as well as the outer frame. The rod and frame are placed off center and the subject is asked to rotate the rod to reflect gravational vertical.

The chair rotation speed was checked frequently by an independent timer/ counter. The chair was rotated at much higher speeds than those commonly listed in the literature. The range of average rotational speeds was from 237 to 250 deg/ sec for all conditions.

There were eight different tests performed in the rotating chair in random order based on the combina­tions of the three experimental conditions. These are listed below in Table 1:

Vision Sighted Sighted Sighted Sighted Unsighted Forward Unsighted Backward Unsighted Forward Unsi hted Backward

TABLEl Somersault Dir.

Forward Backward Forward Backward Upright Upright Inverted Inverted

Posifion Upright Upright Inverted Inverted

Each subject reported to the Motor Behavior Re­search Laboratory eight times. The first session in­cluded all preliminary tests and one chair test. Consid­erable problems developed with motion sickness in many nonsomersault trained athletes and a few somer­sault trained athletes during some tests. Each subject performed five trials of five to eight somersaults per trial (somersaults one through five were used for data reduction). The subject pressed the transmitter key to note upright or inverted vertical, depending on the condition, in all somersaults. Prior to testing the subject was shown, by rotating him/ her in the chair, precisely where upright and inverted vertical were.

Results and Implications Ten trials of the stabilometer standing balance test of

fore / aft balance showed that females were better than males, but there was no difference demonstrated due to somersault versus nonsomersault training. The anticipation time test was used to determine an offsetfor calculating a response bias due to each subject's tendency to anticipate an event. During 25 trials the subject watched a series of lights illuminate in a se­quence (Figure 2). The subject's task was to press a button to coincide exactly with when the last light ofthe series was lit. The anticipation time test did not indicate a difference between genders or somersault versus nonsomersault trained groups. The average anticipa­tion time was -0.01 sec. indicating that the subjects were

18

slightly early in their co­incident timing of press­ing a switch when the fi­nallight was lit.

The rod and frame test was performed by a sub­ject viewing a large square luminous frame and a single luminous rod within the frame - in total darkness (Witkin & Asch, 1948). Both the rod and the frame are free to ro­tate. The frame is rotated and fixed 28 degrees ran­domly to either side while the rod is rotated and fixed within the frame a random amount. The task of the subject is to tell the investigator which way and how far to rotate the

rod until the rod is exactly vertical (Figure 3). An error score is determined by how far off from actual vertical the subject's judgement was. The subjects in this experi­ment performed twelve trials of this test while seated upright and while lying inverted over a table. This test was designed to partially determine whether the sub­jects were field dependent or field independent. Some people are dramatically affected by the environment (frame) in determining gravitational vertical (rod), these people are field dependent. Those people who are not affected by the displaced frame (environment) in setting the rod to gravitational vertical are considered field independent. The rod and frame test did not differen­tiate between somersault versus nonsomersault trained groups, or gender. However, the rod and frame test did differentiate between upright and inverted viewing, with upright viewing showing less error than inverted. Interestingly, several very good athletes were deter­mined to be field dependent including one 1988 gym­nastics Olympian. This was not consistent with the findings of Lagasse (Dion, 1985) who investigated the field dependence/ independence of 17 elite divers and found all 17 to be field independent, leading to an interpretation that divers did not rely on environmen­tal feedback.

The rotating chair tests were performed on separate days. Each subject was secured in the chair by a four point harness and rotated forward or backward, blindfolded or sighted, and with the task of noting upright or inverted vertical via a transmitter switch interfaced by transmitter to a computer (Figure 4). The major findings of these tests showed that the subjects were better (showed less error) while sighted and noting upright vertical. The direction of the somersault and previous somersault training did not matter. The Sighted and upright results correspond to other investigations (Dion, 1985; McCormick, 1970; Schone, 1984). How­ever, one study also showed tha t forward somersaulting resulted in less error than backward somersaulting (McCormick, 1970). Interestingly, the average error for all conditions indicated that the subjects were always early in their signalling of gravitational vertical. The range of extreme average early errors for individual subjects were quite large at times varying from 53 deg. in unsighted trials to 22 deg. for sighted trials. The range of extreme average late errors was 55 deg. for un sighted trials to 12 deg. for sighted trials. This indi­cates that error in detecting the gravitational vertical can be quite large, certainly large enough to compro­mise the safety of an athlete while trying to land or enter the water.

Conclusion This experiment has demonstrated that, in a

nonthreatening situation (Le., strapped in a chair), both somersault trained and nonsomersault trained athletes can detect gravitational vertical about equally. The role of sight and upright orientation to precision in spatial orientation has been further confirmed in this study. Moreover, even at angular velocities simulating those of somersaulting; the important role of vision and upright orientation can still be seen. Future research is going to investigate the role of field dependence/ independence and rotational position. The acquisition of a "Gyro" from Gyro North America has greatly facilitated the testing of various body positions and orientations. Unlike the forced sitting position of the rota ting chair, the Gyro allows the subject to assume layout and other positions

The ability of divers and gymnasts to locate the gravitational vertical by multisensorial means is a fas-

January - March 1991 TECHNIQUE

)

cinating and important problem. The fascination lies in the integration of these sensory systems and the ap­parent ease with which humans learn and perform complicated and dangerous skills with them. The im­portance lies in the fact that the systems can be over­loaded and/or the athlete can make a catastrophic mistake. It is my hope that future research will uncover some of these aspects and make such activities better understood and safer.

References Atkin, A., & Bender, M.B. (1968). Ocular stabilization during

oscillatory head movements. Archives of Neurology, 19, 559-566.

Berthoz, A., Pavard, B., & Young, L.R (1975). Perception of linear horizontal self-motion induced by peripheral vision (linearvection): Basic characteristics and visual-vestibular interactions. Experimental Brain Research, 23, 471-489.

Campbell, P.A. (1967). What has space experience taught us about disorientation. In Lectures in Aerospace Medicine (pp. 139-149). Brooks Air Force Base, TX: USAF School of Aerospace Medicine Division.

Dichgans,J., Held,R, Young, L.R,&Brandt, T. (1972) . Moving visual scenes influence the apparent direction of gravity. Science, 178, 1217-1219.

Dion, D. E. (1985). Prediction de la performance de /'athlete d'elite en Plonqeon par /' entremise de parametres anthropometriques et biomecaniques. Unpublished doctoral dissertation, Univer­sity of Laval.

Freudenstein, S.A. (1990). Floor exercise and tumbling (men) . In G. S. George (Ed.), USGFSafety Manual (2nd ed., pp. 83-87). Indianapolis, IN: U.s. Gymnastics Federation.

Gabriel, J.L. (1989). Additional spatial orientation references for competitive diving. (Personal Communication, May 24,1989).

Gillingham, K.K., & Wolfe, J.W. (1985). Spatial orientation in flight. In R L. Deltart (Ed.), Fundamentals ill aerospace medicine (pp. 299-381) . Philadelphia, PA: Lea & Febiger.

Guedry, F.E., Mortensen, CE., Nelson, J.B., & Correia, M.J. (1978). A comparison of nystagmus and turning sensations generated by active and passive turning. In J.D. Hood (Ed.), Vestibular Mechanisms in Health and Disease (pp. 317-325). New York, NY: Academic Press.

Ito, T., & Sanada, Y. (1965). Location of receptors for righting reflexes acting upon the body in primates. The Tapanese Journal of Physiology, 15, 235-242.

Jones, L.A. (1988). Motor illusions: What do they reveal about proprioception? Psychological Bulletin, 103(1),72-86.

King Hogue, M. (1990) . Body awareness and spatial orienta­tion. In J. L. Gabriel (Ed. ), U.s. Diving Safety Manual (pp. 97-103) . Indianapolis, IN: U.s. Diving Publications.

Krejcova, H ., Jerabek, J., Bojar, M., Tutzka, E., Cerny, R., & Polechova, P. (1987). Influence of sports load on the ves­tibular apparatus. In M.D. Graham & J.L. Kemink (Eds.),

The Vestibular System: Neurophysiologic and Clinical Research (pp. 133-139). New York, NY: Raven Press.

Lestienne, F., Soetching, J., & Berthoz, A. (1977). Postural readjustments induced by linear motion of visual scenes. Experimental Brain Research, 28, 363-384.

Malcolm, R, & Melvill-Jones, G. (1974) . Erroneous perception of vertical motion by humans seated in the upright posi­tion. Acta OtolaIYn~ologica, 77, 274-283.

McCormick, J.H. (1970 . The relationship between position sense and beginning diving ability. Unpublished doctoral dissertation, Indiana University.

Melvill-Jones, G., & Watt, D.G. (1971). Observations on the control of stepping and hopping movements in man. Tournai of Physiology, ill, 709-727.

Rabinovitch, P., McLean, E.B., Beck, G.R., & Brown, A.C (1978). Recurrent pre-retinal hemorrhages following a negative "g" maneuver on school playground equipment. The Tournai ill Pediatrics, 92, 846-853.

Schone, H . (1984) . Spatial Orientation. Princeton, NJ: Princeton University Press.

Shupert, CL., Lindblad, LM., & Leibowitz, H.w. (1983). Vi­sual testing for competitive diving: A two visual systems approach. In D. Golden (Ed.), Proceedings of the 1983 U. ~ Diving Sports Science Seminar (pp. 100-115) . India­napolis, IN: U.s. Diving.

Witkin, H.A., & Asch, S.E. (1948) . Studies in space orientation: III. Perception of the upright in the absence of a visual field. Journal of Experimental Psychology, 38, 762-782.

Important Notice to USGP Members The following Membership Statement has been

adopted by the Board of Directors of the United States Gymnastics Federation:

Membership in the United States Gymnastics Federation (USGF) is a privilege granted by the USGF. That privilege can be withdrawn by USGF at any time where a member's conduct is deter­mined to be inconsistent with the best interest of the sport of f51Jmnastics of the athletes we are servicing.

At times the USGF may find it necessary to initiate the following actions regarding individ ual membership in the USGF:

1. place member on probation; 2. suspend membership; or 3. terminate membership.

TECHNIQUE JanuanJ - March 1991

An individual who's membership with the USGF has been suspended or, terminated, may NOT:

1. Participate in USGF sanctioned programs or events;

2. Provide instructions to USGF member ath­letes;

3. Be an employee or owner of a USGF club; or 4. Again apply for membership in the USGF.

Official Notice, effectively immediately: SUSPENDED - with no rights of membership with the USGF.

Mr. Robert Garner, Hickson, TN TERMINATED - and prohibited from ever re­gaining membership with the USGF.

Mr. Rick Feuerstein, San Marcos, CA

19

Figure 4 The Rotating Chair. The chair in this figure

shows the subject nearly inverted while rotating.

The transmitter key is placed on the handle bars. Subjects wore ear phones to remove sound as a cue

to position.

'91 World Championships Event

FIG Scientific/Medical Symposium

------- September 12 -14, 1991

F.I.G. Scientific and Medical Commission: Dr. Michel Leglise Prof. Dr. Nicola Hadjiev

Site Coordinators: Dr. William Sands Dr. Gerald George Dr. Merrill A. Ritter Steve Whitlock

Site Location: Indianapolis Convention Center In conjunction with the 1991 World Gymnas­tics Championships (at competition site) Indianapolis, IN

Theme: Gymnastics Chronic Trauma

Traumatologie Chronique

Audience: • Medical Personnel including: Physicians, Physical Therapists, etc. • Sport Scientists, including: Sport Psycholo­gists, Exercise Physiologists, etc. • Gymnastics Professionals, including: Train­ers (coaches), Judges, Gymnastics Administra­tors, etc.

Speakers: The F.I.G. Commissions have invited partici­pation in this Symposium by internationally recognized sport scientists and members of the medical community with specialization in sport - in particular, gymnastics.

Language: The Symposium will be offered in English, French and Spanish.

Publication(s)*: • A synopsis of the proceedings and papers will be published and provided for all Sympo­sium registrants. • A complete compendium of the papers and panels will be published and available for pur­chase by Symposium registrants and F.LG. members at a later date.

Entrance Fees:

20

1. Free for all World Championships partici­pants with Official Accreditation.

2. Each Delegation will be provided two addi­tional passes to the Symposium.

3. All other participants will be required to register and pay a fee of $50.00

General Schedule: Part I - Professional Session - Scientific -

Methodology Thursday, September 12, 1991-9:00 am - 1 :00 pm

Part II -Professional Session - Scientific -Medical Friday, September 13, 1991 -8:30 am - 11:30 am; 1:00 pm - 3:30 pm

Part III - Athlete session - Medical Infor­mation for the participating gymnasts in the World Championships

SYMPOSIUM PROGRAM Thursday, September 12, 1991

(9:00 am - 1 :00 pm)

Welcome and Opening: Mr. Yuri Titov, President of F.LG. Mr. Mike Jacki, 2nd Vice President FLG

and President of the Organizing Committee, Indianapolis '91

Session President: Prof. Dr. Nicola Hadjiev, Member F.LG./E.C.,

President of Scientific Commission Moderators:

Dr. Michel Leglise Dr. Gerald S. George

Introd uctory Report: Gymnastics Chronic: Meth­odological Aspects. (Gymnastique et traumatisme chronique) • Prof. Dr. Nicola Hadjiev

Theme 1/1: The relationship between chronic trauma and training methods. (Methodes d' entrainement et traumatisme) • Speaker from the USSR Gymnastics

Federation Theme 1/2: Recovery - the training methods to

return to peak performance after trauma. (Traumatisme et rehabilitaion) • Speaker from the United States

Gymnastics Federation Theme 1/3: TheF.LG.CodeofPointsrequirements

and traumatism. (Reglement pour juges et traumatisme) • Speaker from the Italian Gymnastics

Federation Theme 1/4: Gymnastics apparatus and chronic

gymnastics injuries. (Agres Gymniques et traumatismes) • Speaker: Mr. S. Fisher, V.P./F.I.G.

Theme 1/5: The relationship between practical organization of competition and gymnastics injury. (Organisation de la competition et traumatisme) • Speaker from the German Gymnastics

Federation

January - March 1991 TECHNIQUE

Friday, September 13, 1991 (9:00 am - 1 :00 pm)

Session President: Dr. Michel Leglise, President of the F.I.G.

Medical Commission Moderators:

Prof. Dr. Nicola Hadjiev Dr. Merrill A. Ritter, M.D.

Introductory Report: Gymnastics Chronic Trauma - Medical Aspects. (Facteurs d'evolution de la pathologie articulaire chronique) • Dr. Michel Leglise

Theme 2/1: The relationship between growth and chronic trauma in gymnasts. (Traumatismes chroniques et croissance osseuse) • Speaker: (To be announced)

Theme 2/2: Chronic pathology of the spine. (Pathologie chronique de la colonne verte'brale) • Speaker: (To be announced)

Theme 2/3: Surgical applications in the treat­ment of chronic trauma. (Chirurgie et pathologie articulaire chronique des membres) • Speaker: (To be announced)

Theme 2/4: Physiotherapy and kinetic therapy - Education and rehabilitation through proprioceptive techniques. Stretching and chronic trauma. (Kinesithirapie - Education et reeducation - Le sens proprioceptif Ie stretching) • Speaker: (To be announced)

Theme 2/5: Importance of the environmental factors in chronic trauma. (Problemes de securite - Importance de I' environnement dans la survenue de la pathologie chronique) • Speaker (To be announced)

Theme 2/6: Hygienic and dietetic relationships to chronic trauma. (Problemes d 'hygiene: incidence dans la survenue d'une pathologie chronique.) • Speaker (To be announced)

Additional Information for Potential Speakers:

• Presentations will be limited to 15 minutes. • The Commission invites submissions relative

to practical applications of scientific research and/ or summary of specific gymnastics data relative to the theme of Chronic Trauma.

• For consideration of participation, the Com­mission must receive a summary or abstract in English and French (limited to not more than one page in length).

• Upon notification of acceptance as a speaker, additional information will be sent concern­ing: Deadlines, Audio-visual aspects and manuscript preparation requirements.

NOTE: • The Commission encourages the National Fed­

erations to include Symposium Speakers as Of­ficial Members of their W.e. Official Delegation.

• Individual speakers will NOT be provided transportation, lodging, per diem, etc. to attend this Symposium by the F.I.G.

• Registration fees will not be required by the speakers.

TECHNIQUE January - March 1991

F.I.G. Scientific and Medical Symposium Call for Speakers

Federations and/ or individuals interested in be­ing considered as a speaker in the 1991 World Gymnastics Championships Scientific and Medical Symposium MUST provide the following general information.

Participation Requests due: February 15, 1991

Final selection by the F.I.G. Scientific and Medical Commission will be made after:

March 15, 1991 1---------------------,

FIG Medical Symposium Speaker Registration Form

Name: _____________________ _

Title _____________________ _

Address, ___________________ _

City ___________________ _

State/province. __________________ _

Country ____________ Mail Code ____ _

Personal phone: (Area) (No) _____ _

Federation ____________________ _

Contact person at Federation _____________ _

Name: _____________________ _

Title _____________________ _

Address ___________________ _

Ci~--------------------State/province __________________ _

Country ____________ .Mail Code ____ _

Personal phone: (Area) (No) _____ _

I wish to Present: Day Theme No. (circle) Topic/title Sept. 12 1/1 1/2 1/3 1/4 1/5

Sept. 13 2/1 2/2 2/3 2/4 2/5 2/6

Please return this completed form to: F.I.G. Symposium

United States Gymnastics Federation, Pan American Plaza, Suite 300

201 S. Capitol A venue, Indianapolis, IN 46225

L (317) 237-5050 I _____________________ --.1

21

Rhythmic Sportive Gymnastics

Dr, Andrea B. Schmid San Francisco State University Member FIG/RSG/TC

New Requirements for Bonus Points

In order to obtain more objective judging and encourage more interesting choreography, the Federation of International Gymnastics Rhythmic Sportive Gymnastics Technical Committee (FIG/RSG/TC) has changed the

requirements for receiving bonus points for origi­nality, risk and virtuosity.

1. Originality: 0.10 pt. for an original superior difficulty ele­

ment, plus 0.10 pt. for an overall original exercise (music

and movements).

To earn full credit for "originality," the exercise must contain an original superior difficulty and an original composition. Original composition refers to the quality of music (its character and its rhythmic components) that blends with the char­acter and expression of the movements of the gymnast. The rhythmic structure of the musical composition must correspond with the gymnast's performance.

2. Risk:

0.10 pt. for a minimum of 2 elements of risk, plus

0.10 pt. for a superior difficulty risk element.

A bonus of 0.2 for "risk" will be awarded when the composition includes three risk elements ex­ecuted flawlessly (one of which must be a supe­rior difficulty).

3. Virtuosity:

0.20 pt. for an entirely flawless exercise.

A bonus of 0.2 for "virtuosity" will be granted only if the exercise is performed flawlessly and in its totality is performed with great ease and ex-

vo • 1727 22

•

ceptional amplitude. There should be technical perfection in both apparatus handling and body movements in the entire routine. This inludes harmony of movement and music, ease of execu­tion, beauty and lightness in style, fluidity and exceptional flexibility and muscular control.

Distribution of 10 points:

These new rulings have changed the distribu­tion of points.

A - Composition: Technical value­

Variety - Music Bonus - Originality Bonus - Risk

B - Execution: Technical- Execution Bonus - Virtuosity

Maximum 6.80 pt.

6.40 pt. 0.20 pt. 0.20 pt.

Maximum 3.20 pt. 3.00 pt. 0.20 pt.

Maximum 10.00 pt.

The above changes will encourage better har­mony between the music and movements, as well as more interesting choreography and risk taking elements. In addition, it will allow more objective evaluation, and will better distinguish between the excellent, the very good, and the merely good gymnasts.

NOTE: This will go into affect for the USA Rhythmic

program as of January 1, 1991. -N.H.

vo • JanuanJ - March 1991 TECHNIQUE

Gymnastics Club Business

Getting Good People -Part I

Clarifying The Interview Process Hello gym club owners. I trust that you have

been able to buck the economic trends at force in our economy and are having a good winter so far. Things are great here in Cincinnati, even the weather! As I write this article, it is a sunny, 64° day! We don't get these in December very often, and I appreciate it!

My name is Jeff Metzger. I am founder /presi­dent of Queen City Gymnastics Center, Inc., Cincinnati, Ohio- and have been so for the last 15 years. Although my background probably mirrors yours (gymnast, coach, owner, in that order), perhapslamnotthe typical gym club owner in the sense that I really love the gym club business. Let's face it, many (most?) gym club owners con­sider the business a "necessary evil" which exists out of necessity only to support the team. In case that sounds like I am anti-teams, that is not correct. Queen City both has boys and girls teams and always will. It is the "necessary evil" mentality that I find distasteful.

I have it on good authority - YOU - that the unequivocal #1 problem facing gym club owners today is Getting Good People. This monstrously broad topic includes: 1) ATTRACTING people; 2) SELECTING the right ones, and 3) KEEPING them once you've got them. This article concen­trates on one aspect of the selection process, the interview.

Interviewing is an art learned through study and practice. To learn more about it, let's clarify what we are trying to accomplish in an interview. Simply stated, we are trying to gather informa­tion. This information can be divided into four categories.

Four Categories of Information You Need To Gather #1 Beliefs, Values and Principles:

I consider this category of information the most important (and most difficult) to elicit. In my club a person can exist (and even thrive) with a mismatch. Plus, we can train when technical knowledge is lacking, but the basic beliefs and values must align or there is no hope for suc­cess. In short, during the selection process, more than anything else, I want to establish the way a person believes the world works.

#2 Quantity and Quality of Technical Knowl­edge: This information is obviously very job specific. Interview questions must be designed to learn

TECHNIQUE Januan) - March 1991

if, in fact, the candidate possesses the specific knowledge required to perform the job/posi­tion you have available. The open-ended method of questioning described below should be utilized as much as possible. In addition, when possible, I recommend inviting the can­didate to teach in your club (one, two, or more classes) so you can evaluate the candidate "in action."

#3 The Candidate's History: I believe history repeats itself (eventually); A leopard (almost) never changes its spots. Cliches sometimes do serve a purpose and I've added my own italics to allow for the rare exceptions. The point to remember is that you should learn as much as possible about a candidate's job and personal history because his future perfor­mances will (almost always) mirror his past performances.

#4 The "Degree of Match:" This is a snarly issue for small businesses like ours since the reason for a "mismatch" could be in a legal grey zone. For example, an obese person may not fit into the image you want for your club; but, failure to hire based on ap­pearance could be argued as being legally dis­criminatory. There are many more examples of mismatches which could be legal quagmires, and it is necessary that you become aware of the hiring laws in order to avoid the traps that innocent, non-prejudiced, honest club owners can fall into. For this article, suffice itto say that your concern is to choose an individual who has needs, wants and goals which match the job/position you have available. Legalcaution should be exercised.

The Interview The Atmosphere:

I prefer an informal interview, absolutely void of intimidation tactics or gimmicks. I want, as much as possible, for the interview to seem like a "chat." The first thing I do is offer coffee or a soft dring. Even if the candidate declines, I accept my own offer and I leave the office and get it myself. This gives the candidate an opportunity to feel more comfortable by glancing around and see my kid's drawings on the wall, etc. Sometimes, if appropriate, I will tour the candidate around the facility, making this trek seem like a "pre-interview chat," when in reality I am heavily into the inter­view. As much as possible, my goal is to have the interview procede in a manner whereby, to the very last minute of the interview, the candidate is thinking, "When is this interview going to start?"

23

J e££ Metzger Founder /President,

Queen City Gymnastics Center,

Inc., Cincinnati, OH

How Much to Reveal the Job/Position: Do not reveal what personal qualities you are

looking for until youhave made at least prelimi­nary decisions about the candidate. Doing so will influence the candidate's answer because you have "told them the right answers." Do be specific about the responsibilities and realities of the job. Don't sugar coat things. It is a grave mistake to gloss over the down side of a job/position. Far better to tell it like it is - and then some. Spotting Lies:

There is sometimes a tendency to overlook small lies about insignificant points. Don't! Any lie is significant because it speaks about the principles of the candidate -likewise for twisted or half truths. Spotting lies takes practice. First, establish the candidate's "baseline" communica­tion style. Note voice qualities (volume, pitch, speed), frequency of eye contact (normally about 50%-70%), rapidity of eye blinking, complexion color, etc. Any changes in these baseline indica­tors, as well as stress induced gestures such as fidgeting, shifting in chair, or tugging on ear indicate increased stress. Tiny beads of sweat are dead give-aways! These reactions should red flag a specific response,..indicating you should delve deeper. While talking about lies, I would like to comment on references. Generally, candidates offer references who will speak highly of them. I do ask for references on our job application form, but follow up on few of them. I have found it more valuable to do my own detective work by phoning

(not writing) former employers, co-workers, etc. who may be casually mentioned during the in­terview (but not used as references). The infor­mation I receive from these people I consider very confidential for the sake of the helpful third party. Use Open-ended Questions:

Probably the most valuable technique to get a candidate to "speak from the heart" is asking well chosen, open-ended questions. An open-ended question has no implied right or wrong answer. It is designed to be difficult to answer in one word and, therefore, tends to make the person talk more, rather than less. After asking an open­ended question you can often get revealing elaborations with, "Tell me more," "Is that so," "That's interesting," or tactical silence. Interpreting the Interview:

I am far more interested in the beliefs, values, and principles of a candidate than the factual technical knowledge they possess. IfI have learned one thing for sure in 15 years, it is to pass by a candidate no matter how good they "sound" if I have any uneasiness about these soft issues. "Listen between the lines" and trust your gut feelings - they will prove correct 99% of the time.

Hopefully these thoughts help clarify the inter­viewing process and stimulate thought. Getting Good People - Part II will deal with additional questioning techniques as well as the specific questions I use to elicit heartfelt answers.

Make it a good spring! Jeff.

Women's Junior Olympic Program Survey

24

The Jr. Olympic Program Committee is preparing for the next compulsory cycle. Originally, it was proposed that the Developmental Levels I - IV and the Competitive Levels 5, 6 and 7 would remain the same (with the exception of new music for Floor Exercise). The Committee wants input from YOU, the gymnastics professionals, as to any concerns with the present overall program, specific elements and / or the evaluation process.

Please complete BOTH pages of this questionnaire (and any additional comments that you may have). Return deadline is MARCH I, 1991. Mail or FAX to:

Connie Maloney, USGF J.O. Program Coordinator 201 S. Capitol, Suite 300 Indianapolis, IN 46225 FAX: 317-237-5069

Please circle all that apply:

I am/have been a COACH JUDGE ADMIN. My state is My Region is __ _

Number of years as above Please circle all that apply:

With what Levels are you presently ACTIVE as a Coach or Judge? I-IV 5 6 7C 8 9 10 Elite

What Levels did your gymtrain/compete in the 1989-90 season? I-IV 5 6 7C 8 9 10 Elite

What Levels is your gymcompeting this season ('90-91) I-IV 5 6 7C 8 9 10 Elite

January - March 1991 TECHNIQUE

1l

BELOW, please indicate any changes in content or evaluation that you would like to be considered, using the following key: Difficulty Evaluation 1 = Element Too Difficult 3 = Deductions too severe 2 = Element Too Easy 4 = Inadequate Deductions NlC = No Change

5 = Change Value of Element N/C = No Change

Please REFER TO SPECIFIC ELEMENTS and/or DEDUCTIONS, if you recommend change. Example: Difficulty Evaluation Level 6 Floor NC 3-Back Walkover

LEVELS I· IV Difficulty Evaluation LEVEL 6 Difficulty

VAULT VAULT

BARS BARS

BEAM BEAM

FLOOR EX. FLOOR EX.

LEVEL 5 LEVEL 7

VAULT VAULT

BARS BARS

BEAM BEAM

FLOOR EX. FLOOR EX.

OVERALL PROIGRAM YES NO NO Development I ·IV Agree Disagree Opinion Comments:

1. Develops good skill foundation. 2. Provides good incentive program. 3. Easy to move through the levels. 4. Provides good criteria for competitive readiness.

Competitive Levels 1. The number of Compulsory Levels is just right. 2. The number of Optional Levels is just right. 3. Maintain present Mobility Scores. 4. Raise the mobility scores (If yes, indicate level & score in

comments) 5. Lower the mobility scores(lf yes, indicate level & score in

comments). 6. Mobilitv throuQh the present prOQram is easy. 7. Maintain present Qualifying Scores at Level 9 and10. 8. Would you like Level 7 to be an Optional level with specific

elements required? 9. Level 7 Optional ·maintain difficulty restrictions?

10. Level 8 -maintain difficulty restrictions? 11 . Level 10-maintain as a Compulsory/Optional Level? 12. If given the opportunity to compete Round-off entry vaults at

LAVAl 1 n woulrl vou? 13. Round-off entry vaults should be allowed at Level 9 and 10. 14. If Round-off entry level vaults were allowed, there should be

restrictions based on coaches' past competency to produce high-level competitors.

15. Level 10 Child/Jr. division should do Compulsory Element! Sequence testing instead of compulsory routines.

16. Level10-Maintain 2 separate National meets. 17. Have one combined (Jr./ Sr.) J.O. National meet. 18. The new dance work-out program should be non-competitive 19. Level 5 and 6 should have a maximum value of less than 10.00. 20. All-Around performance should be required at Sectional &

above meets. 21 . Event specialists should be allowed to participate in USGF

meets, up to State level. 22. Overall, I am pleased with the J.O. program.

-TECHNIQUE January - March 1991

Evaluation

-

25

Men's Technical

1992 Compulsory Skill Analysis

------Mas Watanabe USGF Senior Men '5

Technical Coordinator

Illustration I

26

There are always a few critical skills in the compulsory exercises that will separate the good gymnast from the excellent. Even among these skills, some are more critical because the ampli­tude of performance may have a significant effect on the execution of the following skill.

Sometimes, it will simply set-up the next skill to be performed with greater amplitude. In an­other case, the final body position of the skill might allow for the a pplica tion of a totally different technique in the execution of the subsequent skill. This article will examine the Cast Forward to Inlocate (to handstand) on the rings.

Gymnast A in Illustration I demonstrates an excellent technique from a relatively small cast forward to inlocate up to the handstand position. The efficiency of this technique will be discussed step by step.

Illustration I - Cast Forward (Figures 1-5) 1. The cast is relatively small and does not show

tremendous amplitude. But, overall, the lifting and casting action appears to be smooth and efficient. From a slight turn on the rings, it may be observed in Figure 1 that the straps appear to be touching the forearms during the down swing. Coming down from the handstand position without the forearms touching the straps requires a totally different type of strength from the cast itself. This strength must be developed separately (see suggested exercises).

2. In order to achieve better amplitude in Figure 4, stronger lifting action (beat action) through the bottom is required. This vigorous kicking motion will require additional support strength in order to be executed properly (see suggested exercises).

3. The most important technical execution points in Figures 1-5 include: a. The gymnast leaves the toes highly elevated as the body starts to descend. Note: Excessive body opening action occuring in Figures 4-6 would causes a rapid drop in the toes - this then, has a significant effect on the timing of the beat through the bottom. b. The gymnast keeps pressure on the rings during the push out to the side. c. The shoulders should not be thrust too far forward - particularly during the segment between Figures 4 and 5. Note: Thrusting the shoulders too far forward results in a very rapid drop of the body with very little pressure on the rings.

Body lowering phase (Figures 6-8) 1. This is one of the critical phases in the entire

sequence - as the bod y is in transition between support and hang positions.

2. During this phase, the most critical point is the treatment of the rings: a. The rings should be pushed sideward and

downward without loosing pressure on the ring straps.

b. Place the rings approximately in line with the shoulders in order to ensure a smooth and controlled transition from support to hang.

3. The angle relative to the vertical line between the shoulders and the toes should be maintained through this transition. NOTE: Lowering the shoulders slightly faster than the toes is an acceptable technique providing that the pres­sure on the rings is maintained.

4. The body needs to stay very tight during this phase in order to ensure proper position.

Illustration II Illustration II is a comparison between gym­

nast A (from above) and gymnast B in the transition between support and hang phases. Gymnast B represents some common faults and technical deficiencies. 1. Figure 1

a. The shoulders are thrust too far forward to maintain proper pressure on the rings. NOTE: the straps show slight slack as a result.

2. Figure 2

Januanj - March 1991 TECHNIQUE

Gymnas B

(Vertic I line

Gymnas A is ring pright)

2 3

Illustration II

a. Slack in the straps is very apparent at this point.

b. The distance between the rings and the up­right is fairly large at this point (the distance is about equal for both gymnasts) and the movement of the rings seems to be in the right direction. However, the body of gymnast B is descending very quickly due to the lack of pressure on the rings.

3. Figure 3 a. It is evident that the distance between the

rings and the upright, for gymnast B, is closing rapidly as the hanging position is attained. The close distance in this position indicates that there will be very little forward movement of the rings during turnover of the body through the bottom of the swing (see the technical comparison for Illus. IV).

b. An important aspect that is not apparent ~ this drawing is the tightness of the body m this position. It is difficult to maintain a tight body position unless the athlete has been able to maintain pressure on the rings.

Illustration III -Downswing to the bottom (Figures 9-12) 1. The Figures in Illustration III demonstrate how

the body should be shaped during this phase. The dark thick line represents where the primary curvature of the body should occur. NOTE: it is very noticeable from these figures that the body should be rounded initially in the upper chest. This rounded point will smoothly shift toward the lower back to ensure a powerful whip-like motion through the bottom of the swing.

2. The small arrow in front of the body indicates the direction and pressure of the head - pri­marily forward and downward during this phase.

3. Maintaining pressure on the rings backward while moving the head downward will natu­rally stretch the shoulders to the fullest. This will assist in maintaining a firm body position. The main objective of the swing through the

bottom is to rotate the body into the inverted

TECHNIQUE January - March 1991

position as quickly and as smoothly as possible. In this way, the power that is generated in the down-swing will be transferred efficiently by elevating the body toward a handstand position.

Backward swing (Figures 13-15) 1. The body starts to turn when the backward

kick is initiated as shown in Figures 13-18. 2. The following factors contribute to a smooth

and efficient turn-over at the bottom: a. Continuous downward pressing of the head. b. Very rapid forward movement of the shoul­

ders. c. Smooth arching action initiated in the lower

back. 3. The rings should stay shoulder width apart

during the initial stage of the turn-over. NOTE: Separation of the rings at this point would result in elevation of the shoulders which would slow down the body turn-over. Shoulder flexibility is an important factor in this position.

4. By the position in Figure 15, the rings should be turned outward (turning the thumbs forward) to lighten the pressure on the shoulder joints.

Backward swing (Turn-over) (Figures 16-18) . 1. The majority of body turn-over occurs durmg

this phase. 2. The head should continuously press down

while the heel drive action facilitates rapid body turning.

3. Although the rings are starting to move apart at this point, it is essential to keep them as close as possible until body turn-over is suffic~ent­to the point where the center of graVIty be­comes higher than the shoulders.

Illustration IV Illustration IV is a comparison of gymnast A

and gymnast B in the turn-over phase. 1. The small arrow in front of the head represents

the direction of the force and the head move­ment; Downward pressure of the head not only facilitates the body turn-over, but also delays separation of the ring.

2. Gymnast B appears to be pushing the rings out and initiating separation as early as in Figure 1. Very rapid shoulder rise is evident in Figures 2 and 3 which slows body turn-over. In contrast, Gymnast A is turning over very quickly. It is

27

Illustration III

Illustration IV

28

Gymt)ast B

, Gymnast A

2

evident that the center of gravity is well above the shoulders when they begin to rise - sepa­ration of the rings.

3. Comparing both gymnasts in Figure 2, marked differences in ring position can be observed. The position of the rings for gymnast A is significantly farther forward than for gymnast B. This is due to the position established in Figure 3 (Illustration II) where gymnast A is able to keep pressure on the rings during tran­sition (from support to hang) as well as keep­ing the rings farther back. This promotes rapid movement of the rings forward as the back­ward swing is initiated. Thus, the gymnast is able to achieve better leverage in turning the body over quickly.

Uprise to handstand (Figures 19-23) 1. Once the body turns over effectively through

the bottom and the downward force is trans­ferred upward, continuous pressure down on the rings should take the body into the hand­stand position.

2. However, gymnast A shows a secondary arch in his lower back in Figures 21 and 22. This is perhaps an indication that the momentum he has generated through the bottom is not strong enough - or that he is not quite strong enough in the press position (see suggested exercises).

3. During this phase, the rings should be pressed down and brought around slightly behind the shoulders rather than directly to the side or front. This provides better leverage for the press to handstand and increases body rotation.

Summary It is evident that this sequence can be executed

with ultimate amplitude ending in the handstand position, without resorting to brute strength. However, to accomplish this requires refinement of certain technical aspects in certain segments. Shoulder flexibility plays an important roll in the application of efficient technique - continuous improvement in range of motion in the shoulders is essential. Finally, strength development (par-

ticularly in the support position and inverted cross) is critical to successful execution. Sug­gested exercises and drills are described in the next section to develop the strength required for executing this sequence properly.

Suggested Exercises and Drills 1. Lowering the body from a Handstand to Sup­

port position. a. The arms must remain free of the straps. b. The rings should remain shoulder width

apart. c. The body must remain a slightly ARCHED

position throughout. Note: During the course of a workout there are a number of times that a gymnast simply comes down from a handstand to support position at the end of a skill or sequence. These opportunities should be used to de­velop this particular strength, besides working on the exercise itself.

2. Support swing to Cast Forward (performed on low rings). a. Repetitions of support swing using a slight

beat action. Note: Piking of the hips should be initiated after the bottom of the swing.

b. From a support swing(s), cast forward. Note: A slight shoulder dip through the bottom of the swing should be used to facili­tate the leg and hip lifting action during the cast.

c. Body lowering from a castforward (without losing pressure on the rings. Note: This portion of the drill should be done with a spotter. The spotter should assist by slowing the gymnast and help to maintain proper position.

3. Underswing to body turnover. a. Simulate the positions in Illustration I, fig­

ures 8-17, initiated with a basic underswing. Note: The main purpose of this drill is to develop efficient body turning action through the bottom of the swing, therefore, shoulder lifting must be kept minimal.

b. All technical aspects of this phase that have been discussed previously (keeping the head down, body rounding, timing of ring sepa­ration, etc.) must be emphasized to a great extent during this drill.

4. Body lifting exercises (low rings) a. From a front leaning support, with feet on

an elevated surface, lower the body by pressing the ring directly to the side (chest below the rings) and raise back up to sup­port. Note: It is more effective to do this exer­cise with a spotter. The spotter can adjust the height of the feet according to the strength and body position of the gymnast. The gymnast should also try to elevate the chest as high as possible at the end of the drill.

b. From an inverted cross, press up to a hand­stand. Note: This exercise is also easy to work using a spotter. the spotter should assist by elevating the shoulders as the gymnast moves upward from the inverted cross.

January - March 1991 TECHNIQUE

Men's Research

Development & Prognosis of Elite Routines

Artistic gymnastics is among the oldest Olympic sports. Gymnastics competition was included in the first Olympic Games in Athens in the year, 1896. An addi­tion, four men's gymnastics teams, representing France, Luxembourg, Netherlands and Belgium competed in the first World Championships in 1903 at Antwerp, Belgium. From this time, participation in artistic gym­nastics spread to many different countries. Presently the International Gymnastics Federation (FIG) has ju­risdiction over gymnastics in more than 90 countries. Many of these participate in international competitions, i.e. World Championships and Olympic Games.

Gymnasts, especially in the most recent World Championships and Olympic Games, have shown a very high level of performance. This high level has been possible for many reasons, including improved train­ing conditions, such as improved quality of apparatus and mats; improved training methods due to research; and a greater exchange of ideas among coaches from different countries. In my extended research, I have developed two goals: 1. to learn the development of difficulty and structure of routines performed by elite gymnasts in each event beginning with the first World Championships and Olympic Games up until the World Championships in Stuttgart in 1989. 2. to develop a prognosis of difficulty of routines for elite gymnasts in each event for tow Olympic cycles.

Method of Research In order to learn the development of difficulty and

structure of routines performed by elite gymnasts in each event beginning with the first World Champion­ships and Olympic Games the following methods were used:

a. survey of the literature b. personal dialog with former elite gymnasts and

experts who participated at World Champion­ships and Olympic Games.

c. analysis of films and video tapes. d . use of personal records of World Championships

and Olympic Games from the past 30 years. e. mathematical and statistical methods.

Presently, itwas difficult to find records of routines, especially prior to the Second World War. For this reason, Czechoslovak gymnastics rou tines, which were considered to be among the best in the world, were analyzed. Czechoslovak teams were world champions in the years 1907, 1911, 1913, 1922, 1926, 1930, 1938; in the years 1909, 1924, 1934 placed second, and in the year 1948, placed sixth.

From the time of the Olympic Games in 1952, only finalist's routines, i.e. the first six places and most recently, the first eight places, were analyzed. Difficulty and structure of every routine of the finalists were evaluated according to the rules of the International Gymnastics Federation (F.I.G.) which applied from the year 1985. Elements and combinations of routines were

TECHNIQUE January - March 1991

evaluated according to difficulty ratings of A, B, C, D, and besides this, the most simple elements which would according to present day rules have had no value, were categorized as N, meaning no difficulty. Besides ana­lyzing the finalists, some of the gold medal winners of the World Championships and Olympic Games were also evaluated.

For prognosis, exponential, linear, quadratic equa­tions and S curve were used .

Development, Structure, and Prognosis of Difficulty of Routines on Floor Exercise: The following observations were made from the median values of difficulty of the finalists at the World Cham­pionships and Olympic Games. 1. Elements without difficulty (N). The highest num­

ber of N elements, 30, were recorded at the World Championships in 1938. The lowest number, one, was recorded at the World Championships in 1958, 1978,1989.

2. Elements of A difficulty. The highest number of A elements, 18, were recorded at the Olympic Games in 1960. The lowest number, 8, was recorded at the World Championships in 1938.

3. Elements of B difficulty. The highest number of B elements, six, were recorded at the World Champi­onships in 1966 and at the Olympic Games in 1964. The lowest number, one, was recorded at the World Championships in 1981, 1983 and at the Olympic Games in 1936.

4. Elements of C difficulty. The highest number of C elements, three, were recorded at the World Cham­pions hips in 1989 and attheOlympic Games in 1984. The lowest number, one, was recorded at the World Championships in 1938, 1970 and at the Olympic Games in 1936, 1970 and 1976.

5. Elements of D difficulty. The highest number of D elements, three, were recorded atthe Olympic Games in 1988. The lowest number, one, was recorded at the World Championships in 1970, 1974, 1978, 1979 and at the Olympic Games in 1976 and 1984.

Structure of routines: The following observations were made from the median values of structure of the finalists at the World Cham­pionships and Olympic Games. 1. Swing elements. The highest number of swing ele­

ments, 33, were recorded at the World Champion­ships in 1938. The lowest number, 10, was recorded at the OlympiC Games in 1948.

2. Strength elements. The highest number of strength elements, two, were recorded at the World Champi­onships in 1938 and at the Olympic Games in 1936 and 1948. In other years, except the World Cham­pionships in 1962, only one strength element was recorded.

3. Hold elements. The highest number of hold ele­ments, six, were recorded at the Olympic Games in 1948. The lowest number, one, was recorded at the Olympic Games in 1956 and at the World Champi­onships in 1974, 1983 and 1985.

29

Anton Gajdos, Ph.D. Department of Physical

Education and Sport University of Comenius,

Bratislava, Czechoslovakia

Associate Professor Dept. of P.E.

Slippery Rock Univ., PA

Prognosis of Difficulty of Routines in Floor Exercise. The following conclusions may be made: 1. Regarding the prognosis of elements without diffi-

culty. It is evident that routines will not contain

40~-------------------------------,

elements without difficulty. 2. Regarding the prognosis of A elements. It is evident ~ 36

In o 30 • f ?ti

that gradually routines will contain less A elements.

20 - --- .--.. - .-.-- .. ---.-.-.-3. Regarding the progno­sis of B elements. It is evi-

· m

t6 --- -, .. -- - "- -.-

10

6

o~~L-~~mw~~"'~~ __ ~~~~~~J.w 1936 1966 1960 1002 1004 1966 1966 1074

Yesrs

40,--------------------------------,

dent that the number of B elements which can be ex­pected in routines has lev­eled to approximately one. 4. Regarding the progno-sis of C elements. It is evi­

N 36 u

dent that the number of C elements shows a tendency to increase above five .

In o 30 - ------.----.. ---- --- ... ... ----.- .. . - -.--.---.----.---.---- 5. Regarding the progno-• , 26 sis of D elements. It is evi­

70 .-.--.- .. - .. --- -- ..... - ..... --- .- ----.. - - .. - --.----- ... - .- dent that the number of D elements shows a rapid in­crease to five. · m

16

1076 1979 1981 1963 11164 1966 11167 11166 l11A9 'rtlars

_ Without dlffloulty _ DIll/cully A ~ DlfllouHv 0

In conclusion, Table #1 shows the difficulty of rou­tines of winners at the World Championships and Olympic Games.

_ OIll1(;ulTv C

Table #1

Table #2

30

N

" ~)'i ,n

" .. ;..>0 --

Ih

I II

..

0 1930 1930 1962

Iillffi) Dllt/oult., 0

Development, Structure, and Prognosis of Difficulty of Routines on Pommel Horse:

The following observations were made from the median values of difficulty of the finalists at the World Championships and Olympic Games. 1. Elements without difficulty (N). The highest num­

ber of N elements, 12, were recorded at the World Championships in 1934. The lowest number, one, was recorded at the World Championships in 1966, 1989 and at the Olympic Games in 1952.

2. Elements of A difficulty. The highest number of A elements, 17, were recorded at the Olympic Games in 1960. The lowest number, six, was recorded at the World Championships in 1989 and at the Olympic Games in 1932.

3. Elements of B difficulty. The highest number of B elements, six, were recorded at the World Champi­onships in 1979 and at the Olympic Games in 1964 and 1968. The lowest number, one, was recorded at the World Championships in 1930, 1934 and 1938 and at the Olympic Games in 1960.

4. Elements of C difficulty. The highest number of C elements, four, were recorded at the World Champi­onships in 1989. The lowest number, one, was re­corded at the World Championships in 1966, 1974, and 1981.

.. .. --

II_~ 1956 1004 19 70 1979 1964 1000

Yeore

_ swinging por Ie

30

Structure of Routines: Table #2 illustrates the

median values of structure of the finalists at the World Championships and Oly­mpicGames. 1. Swing elements. The highest number of swing eiements,25.5, were recorded at the Olympic Games in 1968. The lowest number, 11, was recorded at the

Olympic Games in 1952. Optional routines on pom­mel horse have always contained only swing ele­ments.

Prognosis of Difficulty of Routines on Pommel Horse. The following conclusions may be made: 1. Regarding the prognosis of elements without diffi­

culty. It is evident that routines will not contain elements without difficulty.

2. Regarding the prognosis of A elements. It is evident that gradually routines will contain less A elements.

3. Regarding the prognosis of B elements. It is evident that the number of B elements is rapidly decreasing and may not be expected in routines on the Pommel Horse.

4. Regarding the prognosis of C elements. It is evident that the number of C elements shows a tendency to increase above two.

5. Regarding the prognosis of D elements. It is evident that the number ofD elements shows a rapid increase to five or six.

In conclusion, Table #3 shows the difficulty of routines of winners at the World Championships and Olympic Games.

?O

m o 16 · o ,n

N u

10 -- - -.. - -- ----. - .. -.. --. 1--. - - --- -- -.- . -.

Yoot:J

20,-----------------------------,

g' 16f-{S------------------- ---i · ,

· I · m

10

'mars

_ W1thQut dllllOulty g Dlilicully A. m Olilloultye

_OII11CtJlly C €5l DlIll oullV [)

Table #3

Development, Structure, and Prognosis of Difficulty of Routines on the Still Rings: 1. Elements without difficulty (N). The highest num­

berofN elements, three, were recorded attheOlym­pic Games in 1980. The lowest number, one, was recorded atthe World Championships in 1938, 1954 and at the Olympic Games in 1936, 1960 and in most succeeding years.

2. Elements of A difficulty. The highest number of A elements, seven, were recorded at the World Cham­pionships in 1938 and at the Olympic Games in 1948. The lowest number, one, was recorded at the World Championships in 1978, 1983, and 1987 and at the Olympic Games in 1980, 1984.

3. Elements of B difficulty. The highest number of B elements, 6.5, were recorded at the Olympic Games in 1964. The lowest number, 1.5, was recorded at the Olympic Games in 1988.

4. Elements of C difficulty. The highest number of C elements, five, were recorded at the World Champi­onships in 1979 and at the Olympic Games in 1988. The lowest number, one, was recorded at the World

January - March 1991 TECHNIQUE

Championships in 1938, 1954, and 1958 and at the Olympic Games in 1948.

5. Elements of D difficulty. The highest number of D elements, four, were recorded at the World Cham­pionships in 1989. The lowest number, one, was recorded at the World Championships in 12954, 1958, 1966 and at the Olympic Games in 1936, 1960 and in most succeeding years.

Structure of Routines: The following observations were made from the

median values of structure of the finalists at the World Championships and Olympic Games. 1. Swing elements. The highest number of swing ele­

ments, eight, were recorded at the World Champi­onships in 1979 and 1983 and at the Olympic Games in 1948. The lowest number, six, was recorded at the World Championships in 1954, 1970, 1987, and 1989 and at the Olympic Games in 1960, 1964, 1976, and 1988.

2. Strength elements. The highest number of strength elements, four, were recorded at the Olympic Games in 1956 and 1960. The lowest number, one, was recorded atthe World Championships in 1958, 1962, 1970,1981, 1983, 1985, and 1989, and at the Olympic Games in 1972, 1980 and 1984.

3. Hold elements. The highest number of hold ele­ments, six, were recorded at the Olympic Games in 1954. The lowest number, two, was recorded at the Olympic Games in 1948, 1976, 1980, and 1984 and at the World Championships in 1979, 1981, 1983, 1985 and 1987.

Prognosis of Difficulty of Routines on the Still Rings. The following conclusions may be made: 1. Regarding the prognosis of elements without diffi­

culty. It is evident that routines will not contain elements without difficulty.

2. Regarding the prognosis on A elements. Itis evident that routines will not contain A elements.

3. Regarding the prognosis of B elements. It is evident that the number ofB elements which can be expected in routines has decreased to approximately two.

4. Regarding the prognosis of C elements. It is evident that the number of C elements shows a tendency to increase above four.

5. Regarding the prognosis of D elements. It is evident

10

N

::. 8 ~-.--.- . -.. - ... -.--- r------------ -... -----.-----· · , ('I G - ­I

r .~_aI~I;~~·~~~~~·I~~~~~41--R-

~ : ~I ~1L.tU"""--&hI1 ,-"""11",,--,,,: ""'-"""'1.11 JI<L..a,I ............... i ........ ..-..!

1920 1936 1948 1962 1964 19hH 1000 1002 1064 1060 1000 1072 YeDro

10 -----------.- --.-----

N ::.. e .--.--.--.... ------.- -.. -... .. -. -.. b · ,

j ~ ~kitliulij 191<1 1970 1918 1970 1900 1903 ,90 01 1905 1987 umo 1909

Yoaf S

_ Without OltHoullV _ 01111 0011.,. A. c:l OIfUouily B

_ OUllCul l y C § Olliloolty D

Table #4

TECHNIQUE January - March 1991

that the number of D elements shows a rapid in­crease to five or six.

In conclusion, Table #4 shows the difficulty of routines of winners at the World Championships and Olympic Games.

Development, Structure, and Prognosis of Difficulty of Routines on the Parallel Bars:

The following observations were made from the median values of difficulty of the finalists at the World Championships and Olympic Games. 1. Elements without difficulty (N). The highest num­

ber of N elements, five, were recorded at the World Championships in 1907. The lowest number, one, was recorded at the Olympic Games in 1912, 1948 and 1952, and at the World Championships in 1983.

2. Elements of A difficulty. The highest number of A elements, eight, were recorded at the Olympic Games in 1928 and 1948. The lowest number, one, was recorded at the World Championships in 1985.

3. Elements of B difficulty. The highest number of B elements, nine, were recorded at the Olympic Games in 1960. The lowest number, one, was recorded at the Olympic Games in 1960. The lowest number, one, was recorded at the Olympic Games in 19$8.

4. Elements of C difficulty. The highest number of C elements, six, were recorded at the World Champi­onships in 1979, 1981 and 1985 and at the Olympic Games in 1984. The lowest number, one, was recorded at the World Championships in 1913, 1922, 1926, 1930 and 1938, and at the Olympic Games in 1928, 1952 and 1960.

5. Elements of D difficulty. The highest number of D elements, three, were recorded at the Olympic Games in 1988. The lowest number, one, was recorded at the World Championships in 1970, 1979, 1981, 1983 and 1985 and at the Olympic Games in 1972, 1980 and 1984.

Structure of Routines: The following observations were made from the

median values of structure of the finalists at the World Championships and Olympic Games. 1. Swing elements. The highest number of swing ele­

ments, 14, were recorded at the World Champion­ships in 1983. The lowest number, six, was recorded at the Olympic Games in 1924.

2. Strength elements. The highest number of strength elements, three, were recorded atthe Olympic Games in 1924and 1926. No strength elements were recorded at the World Championships in 1907 and 1980.

3. Hold elements. The highest number of hold ele­ments, four, were recorded at the Olympic Games in 1924. No hold elements were recorded at the World Championships in 1987.

Prognosis of Difficulty of Routines on the Still Rings. The following conclusions may be made: 1. Regarding the prognosis of elements without diffi­

culty. It is evident that routines will not contain ,elements without difficulty.

2. Regarding the prognosis of A elements. It is evident that routines will not contain A elements.

3. Regarding the prognosis of B elements. It is evident that the number of B elements which can be ex­pected in routines has decreased to approximately two.

4. Regarding the prognosis of C elements. It is evident that the number of C elements shows a tendency to increase above eight.

5. Regarding the prognosis of D elements. It is evident that the number of D elements shows a rapid increase to four.

31

N u m

" · ,

· , " '" " , , ·

N u m b

" ,

o , o

'" " " , ,

10r--------------------------------,

6 ..... - .- . --.---- ----- -. r- 1--.. ---

~ - - .. .. - .. - - ... - - .-- c-- --. ..... .- .- -- 1·- ..

: J 1J l~ ................ u-"",-.............. 1912 1922 19281932 193019301962196 41960 19681902196419661968

Yeara

10 ,------------------- -

6 - .. --.. -----------... - •• ----.-.•

6 . . ....... . .......•.. --.

.-. --- - 1-- .. - . 1-' - .- .-- ... -

I 'J ~ II~ -I nl ~ !!l ouu-w~~~~~_w~.~~~~LW~EUWU

197010721074107610781070106010Rll0RaI08410B610B710881U80 Yaars

_ W1thOU{ dll lloultv _ OIIII ouUy A

_ UIII/oully C milllJ 011110011.,. U

Table #5

D OllflcuU.,O

In conclusion, Table #5 shows the difficulty of routines of winners at the World Championships and Olympic Games.

Development, Structure, and Prognosis of Difficulty of Routines on Horizontal Bar:

The following observatons were made from the median values of difficulty of the finalists at the World Championships and Olympic Games. 1. Elements without difficulty (N). The highest num­

ber of N elements, seven, were recorded at the World Championships in 1907 and 1922. The lowest number, one, was recorded at the Olympic Games in 1948, and at the World Championships in 1958, 1981, 1983, 1989. No N elements were recorded at any other World Championships or Olympic Games.

2. Elements of A difficulty. The highest number of A elements, 12, were recorded at the World Champi­onships in 1938. The lowest number, four, was re­corded at the Olympic Games 1956 and atthe World Championships in 1974.

3. Elements of B difficulty. The highest number of B elements, seven, were recorded at the World Cham­pionships in 1962, 1966, 1974. The lowest number, one, was recorded at the World Championships in 1907, 1909,1922, 1926.

4. Elements of C difficulty. The highest number of C elements, six, were recorded at the World Champi­onships in 1978 and 1981 . The lowest number, one, was recorded at the World Championships in 1926, 1931,1954,1958, 1989 and at the Olympic Games in 1928, 1936,1948, 1952,1960.

5. Elements of D difficulty. The highest number of D elements, three, were recorded at the World Cham­pionships in 1985, 1987, 1989 and at the Olympic Games in 1988. The lowest number, one, was recorded at the World Championships in 1979, and at the Olympic Games in 1984. No D elements were recorded from 1907 to 1978.

Structure of Routines: The following observations were made from the

median values of structure of the finalists at the World Championships and Olympic Games. 1. Swing elements. The highest number of swing ele-

32

ments, 19.5, were recorded at the World Champion­ships in 1%2. The lowest number, seven, was recorded at the World Championships in 1909.

2. Strength elements. From the World Championships in 1907 until 1931, only one strength elements was recorded each year.

3. Hold elements. Two hold elements were recorded at the World Championships in 1907, 1909, 1922, 1926 and 1930 and at the Olympic Games in 1924 and 1928. One hold element was recorded at the Olym­pic Games in 1912. Beginning with the OlympiC Games of 1932, no hold elements were recorded.

Prognosis of Difficulty of Routines on the Horizontal Bar. The following conclusions may be made: 1. Regarding the prognosis of elements without diffi­

culty. It is evident that routines will not contain elements without difficulty.

2. Regarding the prognosis of A elements. It is evident that gradually routines will contain less A elements.

3. Regarding the prognosis of B elements. It is evident that the number ofB elements which can be expected in routines has leveled to approximately four.

4. Regarding the prognosis of C elements. It is evident that the number of C elements shows a tendency to increase above four.

5. Regarding the prognosis of D elements. It is evident that the number of D elements shows a rapid in­crease to above five.

In conclusion, Table #6 shows the difficulty of routines of winners at the World Championships and Olympic Games.

N u m

14

121--· ,------.-----. .. - ----.- ----

2 10 - ' 1- .. .. . - - ..... .... . --- . . .. _-_ .. __ . . -._. __ .-, o 8 - f--. -. -. ---.-.- ... - ....... - .- . -.. -....... - .. - .... -, o , o m o n , ·

N u m

6 I- - .-. _. .. ..- - .. - . -·-Il- {i--,,---ih- -m--.lH

4 - _ . - -. -- . .• .-... - . . ..• -.

2 - f- - - t-- f-- . ... - . .-

O~~~~Li~_~~~_~~_ULMLWLY~ 190719091912 19131922 19Z419a 41936,948,9b21966106819601962

YeRra

14~-----------------------------'

12 - .. - .•.. - ----.--. ... -. - ---------.......... -.---- --.--.... .•

~ '0 .------ . ..... . . . -.-- ... - .. - .... - ----.. ---- - r--' ,

· , • m • n I

•

o 1-." .-- .-.-.... --.-. . - . . ---..... -.-- ... --.. -_. - .• - - _.

6 ,- - - .- - .. ---I!HIh--i--,"r-t}-II-~+-'--1

:1 ~; ~. Iti 19641966196819701972197410781979198319641986198719881000

Years _ WUtlout dlfl/culty _ OHlioolly A G:D DllflOUlty B

_ Olltlculty C mmJ Dllllculty 0

Table #6

Conclusion: The research shows that in individual events, ele­

ments with no difficulty, as well as A and B difficulty are rapidly decreasing in use. It is also evident that C and D difficulty elements are rapidly increasing in use. Coaches and gymnasts must realize that, in order to qualify to compete in the finals of the World Champi­onships and Olympic Games, they must take these tendencies into account and develop training method which will assure their success.

January - March 1991 TECHNIQUE

Technical

Physics of Twisting Revisited

Within the last decade or so several articles have been written on the subject of twist­ing. Many of these articles have appeared in publications not likely to be read by the average person within the gymnastics community. The articles most easily ac­

cessible to gymnasts are mathematical in emphasis and/ or inaccurate regarding some of the relevant physics. Those which accurately described the physics usually did not define what a gymnast must do in order to perform the desired maneuver. The intent of this paper is to provide both the background information and to address the application of that information. With that in mind, this paper is divided into two broad areas. The first, a brief review of some of the more technical articles, is followed by a qualitative, rather than a quantitative description of the physics of the twisting somersault. The objective here is to avoid reproducing rigorous derivations previously published by others who are thoroughly versed in the relevant mathematics and to reduce the mathematics, as much as possible, to ordinary English. While the physics follows what appear to be fairly simple laws described by Isaac Newton, the mathematics associated with rotating bodies becomes exceedingly complicated, very quickly. Forces appear that are observed only from the perspective of the rotating object; these are called ficti­tious since they are not detected by an external observer looking at the rotating object. The centrifugal force is the most familiar of these. In order to keep the concepts presented as intuitively comprehensible as possible some small deSCriptive liberties may be taken with regard to the proper use of some of the terms. The second part of the paper is concerned with practical issues at the level of the coach or gymnast. While it is true that the "punchline" is in the second part, without the preceding explanation this paper is no different than any other paper that purports to explain in lay language what makes a twisting somersault occur. A brief amount of time is devoted toward the end of the paper to a couple models of twisting which have ap­peared in the gymnastics literature.

Using high speed cinematography, Van Gheluwe [1] concluded that the primary mechanism inducing sus­tained twist is tilt of the body out of the plane of the somersault, and that this tilt is achieved through the use of an asymmetrical arm motion. A more math­ematical treatment of asymmetrical action and induced tilt is given by Frohlich [2; 3]. The asymmetrical arm motion and its effects will be discussed at length later in this paper. A second mechanism with significant ef­fects is referred to by Liu [4] in his paper as the Coriolis inertial force. The Coriolis force as described by Liu is the same force that makes a hurricane spin counter­clockwise in the Northern hemisphere and clockwise in the Southern hemisphere. In a somersaulting gymnast this effect can be induced by properly chosen action on the part of the gymnast. The Coriolis force generates the Coriolis acceleration, which manifests as twist. The third model, by Yeadon and Atha [5] holds that it is

TECHNIQUE January - March 1991

possible to induce sustained twist by a hula action, the action being the same as that described by Frolich, and thus bypass the need for asymmetrical arm action. Mathematical modeling by Yeadon and Atha used lateral flexion angles of 90° during the hula action; some may find this to be esthetically displeasing. For these reasons the hula tech­nique as a method of inducing sustained twist will not be discussed further in this paper.

Christopher D. Clagett, PT

sagitial plane

The greatest single stumbling block to un­derstanding the twisting somersault is the fact that the human body has orientation conventions. Orientation conventions are those defined by bodily asymmetries: up/ down and front/back. Right and left are mirror images rather than asymmetries. These con­ventions cause many people to fail to view the

of rotation \

twisting somersault in the only way that matters: an object rotating in space on two axes with a specific relationship between the two directions of rotation. It should also be noted that being asymmetrical, a human has a subjective perspective that gives backward twisting the illusion of being different from forward twisting.

Before diving in to the subject at hand, it may help the reader to have a few conventions and definitions explained that will appear repeatedly throughout the restofthis paper. The body is divided by the sagittal plane into right and left halves, the coronal plane into front and back, and the transverse plane into top and bottom. An object rotates in a specific plane (the plane of rotation) in an axis (the axis of rotation) perpendicular to that plane. While the terms plane and axis of rotation are properly generic terms, in this paper they refer to the plane and axis of rotation associated with somersault­ing (Le., sagittal plane and transverse axis). Somer­saults, therefore, occur on the transverse axis, and twisting on the longitudinal axis (see figure on body planes and axes). The mass symmetry plane is the plane that evenly divides the mass of an object in space. While all objects have three such planes, oriented at right angles to each other, we are only concerned with the plane dividing the body into right and left sides. The terms symmetry and asymmetry appear frequently throughout this paper; asymmetry always indicates the right side of the body doing something different than the left side of the body, usually in the coronal plane. I specify coronal plane because while other asymmetries are present only this one is relevant to our discussion. What level of detail defines coronal plane asymmetry? If one leg has the toes forward and the other is toed out, is that asymmetry? Technically yes, but in toeing out only the foot is involved in changing the region of space that is occupied by body mass. We don't care which piece of mass occupies a region of space, only that the region is occupied. A torque is a force that causes rotation. Please note that this definition of torque is somewhat loose, but is accurate enough for purposes of this discussion. Arm "set," used as noun or verb, is an

33

\ \ \

\ plane \ of mass symmerty \ \ \ \ \

Figure 1

operational term referring to the positioning of the arms in the coronal plane in preparation to induce twist. The "wrap," used as noun or verb, is the act of swinging the arms in such a manner as to directly induce twist. The wrap end position is the position that the wrap terminates in, and is held for the duration of the twist.

Given the problem inherent with the convention of front / back a discussion of twisting is best begun with a model that possesses no facing - facing being any body part which defines forward/backward and thus right / left, or vice-versa. Up / down cannot be elimi-

,----------------, nated, for obvious reasons. One last conven­

axis of rotation

I sagital plane I

I I

plane of mass symmetry

tion is employed in this paper. Most of the drawings of human figures are oriented ap­proximately upright, in the act of asymmetri­cally setting the arms. The directions of forces acting on the figures are instantaneous ones, since only the forces acting at the initiation of twist are important in determining twist re­sult. Please note that the arm set associated with initiating twist (described later) is an event of finite duration that is distinctly separa te from the wra p used to accelera te that same twist. The wrap used to accelerate the twist is not discussed until late in the paper.

in plane of rotation

In Figure 1 is a human-shaped dummy which only up and down are defin­able. The arm on the right is elevated higher than the other but it is not known whether this is the right arm or the left. The dotted line represents the plane of mass symmetry for

Figure 2

Figure 3

the dummy, which bisects the dummy's distribu tion of mass in space. The plane of mass symmetry will always be oriented like this relative to the high and low arms, although the angle between the planes of rotation and mass symmetry may be exaggerated in the figures. (The direction that a person is facing is irrelevant). All objects have three such planes oriented at right angles even though they may be difficult to determine if the object is highly irregular. We are concerned only with the plane that divides a person into right and left; this plane mayor may not exactly coincide with the sagittal plane, depending on how the extremities are posi­tioned in the coronal plane. Since one arm is raised higher than the other the plane of mass symmetry no longer coincides with the sagittal plane, as it does if both arms and legs are symmetrically positioned.

Objects freely rotating in space rotate with one of their mass symmetry planes in the plane of rotation. If the dummy in Fig. 1 is set rotating toward the reader (body parts uppermost approaching, those below re­ceding) in a vertically oriented plane we see that the plane of mass symmetry is not aligned with the plane of rotation. In this situation the body experiences a torque which causes a rotation in the coronal plane so that the mass symmetry plane becomes aligned with the plane

of rotation, as in Figure

weights out of

)\

plane of rotation

torque ·centrifugal- component

force

weights in plane of rotation

2. While this reorient­ation can occur under the influence of position alone, motion of the arms can also induce tilt, by two mechanisms. The first and simplest of these is action-reaction, as de­scribed by Frohlich. The arms are swung in a cir­cular path in the coronal plane, and by reaction the body inclines in a di-

34

rection opposite to the direction of arm swing. The second mechanism, the Corio lis effect, is more compli­cated and will be discussed later. For now we will examine why the body reorients in the coronal plane when the planes of rotation and mass symmetry do not coincide.

The issue ofthis tilt in the coronal plane requires that we examine similar reorientation in an object that is mechanically much simpler than a human. A rod with weights at each end is set rotating about an axis not perpendicular to its length (Figure 3a) . For this object the plane of mass symmetry, which lies along the connecting rod, does not initially coincide with the plane of rotation. The reader will intuitively under­stand that the weighted ends are subjected to what is commonly referred to as centrifugal force, so that the ends will want to orbit the axis of rotation with as large a radius as possible. It can be seen in Fig. 3a that the radius is not the maximum possible value. The cen­trifugal force is directed at an angle to the rod. It has a small component perpendicular to the rod which will apply a torque, causing its rotation to shift to the orientation shown in Fig. 3b. The magnitude of this perpendicular force will go to zero as the angle between the planes of mass symmetry and rotation goes to zero, and at this point the weighted ends are rotating with the largest possible radius. Figure 3 is a simple case but how does a more complicated object rotate?

The more compli­cated object is illus­trated by the object in Figure 4. The masses labeled 'A' are equal to each other as are the masses labeled '8' but those labeled '8' are heavier than those la­beled 'A.' The rod con­necting the masses la­beled '8' is longer than the rod connecting the masses labeled 'A.' The rods are rigidly at­tached to each other at an angle other than a right angle. The plane of mass symmetry for

Figure 4

this object does not coincide with either of the rods, as it did in Fig. 3 but rather lies between them, closer to '8' than 'A' since masses labeled '8' are larger. The initial conditions of this object are that it is rotating in the plane shown and the plane of mass symmetry is not in the plane of rotation. Individually, both rods want to lie in the plane of rotation, and apply torques in opposite directions in their ten­dency to get there. N ei ther of the rods are able to lie in the plane of rotation without ex­periencing a perturb­ing force generated by the other rod. Equilib­rium is reached when the plane of mass sym­metry comes to lie in the plane of rotation. In Figure 5 the object from Figure 4 is redrawn at equilib­rium and viewed edge-on to the plane Figure 5

JanuanJ - March 1991 TECHNIQUE

direction of .. vector

fingers curl in direction of rotation

Figure 6

of rotation (depicted as the vertical line bisecting the object) . At equilibrium the rod connecting the larger masses will rotate at a smaller angle to the plane of rota tion than will the one connecting the smaller masses. If the angle between the two rods were 90° the larger rod could rotate in the plane of rotation and the smaller rod would lie exactly on the axis of rotation, and this would be stable. Since the angle is not 90° the rod connecting the larger masses has its motion perturbed out of the plane of rotation by the force applied by the smaller masses. Since the human body has movable parts, the plane of mass symmetry is variable in loca­tion and asymmetric arm positions shift it out of the sagittal plane as shown in Figure 1. The rod connecting the larger masses is analogous to the sagittal plane of the body, and at equilibrium does not lie in the plane of rotation when body position is asymmetric. Like the weighted rod the body reorients to bring the plane of mass symmetry into the plane of rotation as in Fig. 2.

Before adding rotation about a second axis (twist) to the model a brief discussion of vectors is necessary. A vector is a quantity that has both magnitude and direc­tion, such as force, velOcity, and acceleration. Quanti­ties that have magnitude only are called scalars. Mass, length, and volume are scalars. Angular velocity and momentum, associated with rotation, are the vectors that we are concerned with here. They are always oriented identically in space but are expressed in differ­ent terms. For our purposes they may be lumped to­gether under the term rotation vector. The rotation vec­tor is always aligned along the axis of rotation and its direction is determined by a simple procedure called the right hand rule [6] which is as follows. The right hand is positioned as if gripping a broomstick with th.e thumb lengthwise on the stick rather than around as If gripping a high bar. The fingers are curled in the same direction as the rotation and the thumb then points in the direction of the vector (see Figure 6). Therefore if the dummy is set rotating toward the reader the rotation vector is directed to the reader's right.

Raising one arm higher than the other induces a mass asymmetry relative to the sagittal plane, which initially coincides with the plane of rotation. Said an­other way, the plane of mass symmetry no longer lies with the sagittal plane of the body or the plane of rotation. The planes of rotation, mass symmetry, and the sagittal plane of the body must all be kept track of separately. The body in Figure 1 reorients to the posi­tion in Figure 2, bringing the plane of mass symmetry into the plane of rotation and the sagittal plane out of the plane of rotation. If the reader has understood all of the preceding the last piece is ready to fall into place. When the body reorients in the coronal plane it also reorients relative to the rotation vector (see Figure 7), which cannot change direction in space without an external force applied to the rotating object. Therefore, the rotation vector now has a small component aligned along the longitudinal axis, directed toward the head of the dummy (remember, the dummy is rotating toward

TECHNIQUE January - March 1991

the reader) . When the angle between the longitudinal axis and the rotation vector is

/ sagittal plane I

I 90° the rotation vector has no component along the longitudinal axis and therefore there is no rotation on the longitudinal axis. When the angle is anything other than 90° the rotation vector has a component aligned with the longitudinal axis which is expressed as rotation on that axis (twist) . The direction of the twist associated with this longitudinal axis vector component can be determined by applying the right hand rule. The thumb is extended toward the head and the fingers will curl in the direction of rotation. The right hand rule therefore indicates left twist. Note that twist

--":7~"-/-++-~i--.!.--.o_ direction of

is to the left whether the dummy starts out facing toward or away from the reader.

Now let us examine in detail the case where the dummy is defined as facing toward the reader and rotating away from the reader, i.e. a backward somer­sault. The rotation vector is directed to the reader's left regardless of the direction of twist. I~ the dum~y's.left arm is more highly elevated the sagIttal plane mchnes as shown in Figure 8. The rotation vector now has a component directed toward the feet, since the vector is angled toward the feet, and by the right hand rule the twist is to the right. If the dummy's right arm is more highly elevated the sagittal plane inclination is reversed and the minor com-

angular momentum vector

Figure 7

sagittal plane I

I I

ponent of the rotation vector is directed toward the head - the twist is therefore to the left. A crucial detail that must not be overlooked is that the required asymmetry reverses (from the gymnast's first person perspective) for twist to a given side when

direction of _o---!='~-f-++-_f"'\ angular V-

momentum vector

one changes from forward to backward rotation. That is, to establish left twist, the left arm is elevated higher during forward rota tion but the right arm is eleva ted higher during backward rotation.

Up to now we have only examined the somersault prior to the wrap, and this has been sufficient to explain the effects of a tilted longitudinal axis. In fact the wrap itself can be used to induce twist, which by conserva­tion of momentum simultaneously requires additional tilt. How is this? Now we resume the topic of the Coriolis force. To demonstrate its workings let us look down along the axis of a rotating disc, shown in Figure 9. The axis of the disc is labeled P, and there are points X, Y, and Z located on its surface. All of the moving points are labeled at an initial ti~e 1 and a later ti~e 2. If a projectile is fired from the aXIS P toward the pomt Z located near the edge during the time it takes to travel from P to Z, point Z has moved from Z1 to Z2. An observer at Z would see the projectile appear to curve off on a leftward path. A leftward devia tion is also seen if on the observer on the disc edge fires a projectile toward the axis. This is because at any instant the observer at the edge has a velocity which is directed sideways relative to the disc axis and any projectile starting at the edge also has that same sideways velocity component. This is exactly analogous to throwing a ball from a moving vehicle at a stationary ob­ject by the side of the road. The tendency is to miss in the direction that the vehicle is moving.

35

Figure 8

Figure 9

7 c

X2 -:;- ~

Y2

Facing to Right

Consider two observers on points X and Y firing projectiles at each other. At time T1 they see each other along the solid line, at which time they both fire their projectiles. Once in flight, the projectiles pursue a straight line course unless acted on by an external force. While the two observers continue to rotate with the disc, the projectiles continue along the original path of the observers mutual line of sight, the solid line. At time T2 when the two observers look at each other along the dotted rather than the solid line, the projectiles which are still moving along the solid line appear to have both

curved to the left; the two observ­ers do not detect their own move­ment with the rotating disc. Note that another observer looking down with the same perspective as the reader sees that the projec­tiles have moved in straight lines and the observers are the ones to have moved in the curved path. Note that if the rotation is clock­wise the deviation is to the left

Facing to Left regardless of where on the disc '-------------------' one starts or which direction one Figure 10 moves. On the opposite face of the disc the sense of the

rota tion is reversed and therefore the devia tion is to the right. This phenomenon is exactly what happens to the arms during the twisting somersault if the arm swing is chosen properly. Figure 10 shows a gymnast facing both left and right relative to the reader in both forward and backward rotation. The arrows drawn over the heads represent the direction of somersault. The ar­rows drawn overlapping the upper body represent the motion of the arm closest to the reader. If, for example the gymnast is facing to the left and is rotating forward, the arm nearest the reader is the left arm. If that arm is lowered the Coriolis acceleration of the left arm is forward, corresponding to right twist.

Most gymnasts execute a wrap with both arms ulti­mately ending up at the side of the body, or over the stomach during the twist in backward somersaults. The gymnast has now given up the asymmetry which such pains were taken to create. Why does the body not lose its axial tilt, revert back into the plane of rotation, and therefore stop twisting? We know empirically that this does not happen. Forward twisting always has an asym­metrical wrap, backward twisting can have a symmetrical or asymmetrical wrap, and twisting occurs whether wrap end position is symmetrical or asymmetrical. Therefore, by this evidence alone we can see that wrap end position symmetry or asymmetry does not affect twisting in progress. A second empirical argument also has to do with twisting already in progress.

If the gymnast begins a backward double twisting somersault by first lowering the left arm, and com­pletes a half twist, isn't the rotation now forward? Now that the left arm is low and the right is high, isn't that incompatible with the earlier statement that twisting is toward the high arm in forward rotation? To go for­ward and twist left the left arm needs to be high. But after half a twist the body is now rotating backward with twist toward the high arm, again seemingly a violation of the principles we know to operate. If the twist is a continuous one extending through multiple revolutions of twist, direction of rotation as perceived by the gymnast changes by the instant. It is only during the initiation of twist that such descriptives as back­ward and forward have any meaning at all with respect to the asymmetrical position or action needed to gen­erate the tilt. We know that twist occurs with both symmetrical and asymmetrical wrap end positions. In

36

the asymmetrical position, the asymmetry alternates in 1800 increments of twist between being correct and incorrect for the direction of rotation.

To fudge a little, we can say that the twisting somer­sault is stable because the oscillating asymmetry aver­ages out to zero. But that only takes care of the issue of changing the low or high arm relative to the direction of the somersault. Doesn't the gymnast, with the sym­metrical wrap for instance, experience a torque similar to the object in Figure 3, lose tilt, and thus stop twisting? No, and the difference here is that the gymnast is twisting and the object in Figure 3 was not, at least initially. Let's talk about Figure 3 a little more. It's initial conditions were artificially imposed upon it. The object was artificially set rotating as described, initially with­out twist. The object was then released from its artificial conditions, to watch what it would do in response to the forces acting on it. The "centrifugal" force was de­scribed, but incompletely. The centrifugal force acting alone will cause the object to overshoot the plane of rotation due to the inertia of its acquired motion in its "coronal" plane, and would Simply oscillate back and forth on either side of the plane of rotation if this was the only force at work: However, the object was initially tilted, and tilt requires twist (and vice versa) and the object will begin to twist because it has tilt. The speed with which it acquires twist will be inversely proportional to its moment of inertia (the resistance to changes in rotation). As it picks up twist, it has less need to get rid of its tilt, since twist requires tilt. If it picks up twist fast enough, it will reach an equilibrium at the angle of tilt required by the amount of twist it has picked up. If it picks up twist more slowly, the motion is much more complicated, involving oscillations on the transverse and longitudinal axes. If the initial conditions of the object in Figure 3 were that it was twisting at a rate commensurate with its angle of tilt, it would have been stable and not have experienced the centrifugal force inducing it to move toward its plane of rotation.

What does the gymnast do? So what does the gymnast physically do to generate

a twisting somersault? Let's start at the beginning. First, there are three strategies to initiate twist, and more than one can be used in the same somersault.

The first technique is the cat twist, or hula twist. This can be used effectively to get half a twist prior to using a tilt inducing or Coriolis mechanism, with no one the wiser. Even when this strategy is detected in its use to attain a half twist, no one really cares since it doesn't look bad. While it can also be used to establish continu­ous twisting, as stated earlier, this twist strategy may lack a clean appearance if large angles of lateral flexion occur.

If asymmetric position is used without an induced Coriolis acceleration, it is probably better to establish the described asymmetry during take-off rather than later. This is because twist will initiate immediately after the feet have left the floor. Cat twisting may be effectively combined with this method as a reinforcing technique. Asymmetric position followed by merely pulling in the arms to decrease the radius of rotation about the longitudinal axis will be worth a single twist. If multiple twists are desired the asymmetric arm lift is much more important as a move preparatory to gener­ating twist than it is in actually producing it. Estheti­cally pleasing multiple twists will probably involve at least some measure of Coriolis effect. The Coriolis effect can minimize the need for additional twist gener­ating motions, especially at the hips.

If the gymnast chooses to use Coriolis induced twist,

January - March 1991 TECHNIQUE

there are optimal techniques of doing so. A symmetri­cal take-off position does not adversely affect this tech­nique, and in fact maximizes the Corio lis effect. From the symmetrical position of both arms directly over­head at take-off, one arm is dropped to the side of the body. If rota tion is forward this will be the arm opposite the direction of twist, and the arm on the same side as the direction of twist if rotation is backward. Twist will be maximized if the vector of the arm swing motion is perpendicular to the vector of the somersault. The combination of arm swing in the coronal plane at n 1/ 2 of twist is probably the most effective for inducing twist. This is because the body tilts by action-reaction as described by Frohlich, as well as by asymmetric body position. Additionally, arm swing in the coronal plane directly induces twist by the Coriolis effect. The end result of these mutually reinforcing mechanisms is that tilt, and thus twist, is maximized. Note that dropping the arm in the sagittal plane (while twist angle is 0, 1/ 2,2/2, etc. rotations) will still induce tilt, and therefore twist, but only by asymmetry and not by action-reac­tion or by the Coriolis effect. Accordingly, the twist output will be less. Consider the case of a somersault that started out rotating backward; the left arm is therefore low in order to twist to the left. When the body has completed 1800 of twist the body is now rotating forward, with twist directed toward the low arm. By dropping the right arm in the coronal plane and raising the left arm in the coronal plane the gymnast can give tilt and twist an additional boost, like the second stage of a rocket. This second action may strike the reader as using two opposite actions to getthe same twist output, but it is not since the orientation of the "first and second stage" actions are the same relative to the sense of the rotation. Non-zero momentum techniques of twisting such as the cat twist can be effectively combined with Coriolis twisting.

At this point a few more words concerning the do's and do not's of Corio lis induced twist are in order. First, it is possible to use asymmetry induced tilt without induced twist via the Coriolis effect but the converse is not possible. Twist cannot be induced with a symmetri­cal arm action because the Coriolis acceleration of the two arms is opposite and canceling. The key to induc­ing twist is arm swing, but not just any arm swing. The specification is thatthe rotation vector of the arm swing be perpendicular to the rotation vector of the somer­sault, which may be in the coronal or sagittal planes of the body depending on the twist angle at the instant. The Coriolis acceleration of the arms is maximized (if the arm swing is in the coronal plane) when the twist angle is 0/2,1/2,2/2, etc. because the interactive effect of the somersault and arm swing rotations is maxi­mized when the vectors of those rotations are perpen­dicular. The Coriolis acceleration is zero (if the arm swing is in the coronal plane) whenever the twist angle is 1/4, 3/4, 5/4, etc., because the somersault and arm swing rotation vectors are parallel and the product of their interaction is zero. The bottom line is that if the arm swing is executed in the coronal plane it cannot be executed when the position in the twist is an odd multiple of 1/4 twist. The arm swing should have two qualities. The first is that it should be fast, because this helps the gymnast satisfy optimization requirements with respect to orientation in the twist. Arm swing that is slow may begin in an optimum phase of the twist, but it will be finished after the optimum phase has passed, at which point it may even become counterproductive. fhe second quality is that the center of mass of the arm should have as long a pathway as possible, Le. the arm should be fully extended throughout the swing, al-

TECHNIQUE January - March 1991

though the end position can have bent arms. The reason for this is that straight arms directly maximize the Coriolis acceleration, and maximize tilt by action reac­tion.

If the twisting somersault occurs tilted, why isn't the landing also tilted? Let us go back to twisting where the wrap has an asymmetrical configuration, with one arm high. The arms established tilt by assuming an asymme­try when the longitudinal axis lay in the plane of rota­tion. Possibly they also used a wrap that induced pre­cession. If the gymnast breaks out of the wrap by re­versing the arm swing, the Coriolis acceleration is re­versed and tilt is counteracted by action reaction. This is why we land standing upright instead of canted over like the Leaning Tower of Pisa. Symmetrical wrap po­sitions will behave very similarly when the wrap is opened; twist velocity drops and the tendency to re­main tilted disappears.

The reader may be wondering how twisting-out somersaults fit into this model. There are three ways, the first being that the gymnast cat twists and does not transfer angular momentum between axes. The second is that the gymnast establishes the asymmetry in flight, inducing tilt and thus, twist. The third method is to utilize Coriolis accelerations, which will be the most efficient technique in this situation. It is possible to use a combination of methods within the same ~omersault. To perform 3/2 twists or more during the second somersault at least some measure of the third method is mandatory for anybody not wishing to use an exag­gerated hula technique.

Earlier models Now it is useful to examine a couple of the earlier

models of twisting that have appeared in the gymnastics literature. Hery [7] described that twist is generated by dropping one arm during a somersault, correctly stat­ing that twist occurs to the side of the dropped arm during backward rotation and to the side opposite the dropped arm during forward rotation. The explanation is that the radius of rotation is shortened on the side of the body with the dropped arm and that that side of the body then accelerates, preceding the other side of the body through the somersault and thereby generating twist to the side of the dropped arm. This is very close to w ha t has been described earlier in this paper in terms of arm motion relative to the rest of the rotating body. In Hery's description twist is generated when the ra­dius of rotation is shortened on the side of the dropped arm; the shorter side "precedes" the longer side. This in turn causes the body to twist as described. The arm as a discrete part of the body does in fact accelerate, in the fashion described by Hery, but twist is generated by its being tethered to the rest of the body which diverts it into a circular path around the longitudinal axis. In short, when generating twist by arm motion, twist is the result of the Coriolis acceleration of the arm and the inclination induced in the body's longitudinal axis by arm movement. It really does not have anything to do with the radius of rotation of the right or left half of the body around the somersault axis.

Fink [8] proposed that twisting somersaults are most efficiently generated by applying a torque di­rectly to the longitudinal axis of the body via contact through the feet; this is referred to as torque twisting Jump-turns and pirouettes are initiated in this manner. The torque is applied directly to the long axis of the body by force against the supporting surface. This model can find support in numerous published photo­graphs of gymnasts on floor taking off into twisting single and double somersaults with an arched and

37

twisted trunk position. The arch is real. The twist is usually more apparent than real, and is generated by zero momentum rather than torque technique. As a zero momentum technique it is more of a turn with a lateral flexion in the plane of rotation than a twisted trunk as has been thought. As the body straightens in flight the potential energy stored in this position will rotate the trunk on the longitudinal axis by a small amount. This is a device to save time in the air, the way a false start will decrease the apparent time to run a certain distance in a race. Said another way, it decreases the arc angle through which the gymnast must twist in the air, during the time available.

Fink's article contained some vaguely contradictory statements. Fink states that direct torque is "clearly the most effective twisting mechanism is to apply a large torque relative to the longitudinal axis during take­off," and "for most gymnastics skills the application of a torque during take-off is the major twisting mecha­nism." On the same page he states that "if a gymnast has' considerable angular momentum about the somer­saulting axis it has now been established that the most effective mechanism for initiating twist is what is com­monly referred to as the tilt twist (the general phenom­enon described in this paper)." In his concluding re­marks we find the same ambiguous contradiction: "In all cases - other things being equal- a torque twist is the most effective twisting method," followed by "In delayed non-zero angular momentum twists the tilt twist mechanism is the most effective and the only one that can create a sustained twist." It is important to mention at this point that the physics governing rotat­ing bodies actually prohibits use of torque twisting during somersaults. Consider a left twisting backward somersault, generated by direct torque to the longitu­dinal axis. The vector of the twist is established while the gymnast is still right side up and is directed upward by the right hand rule. The direction of this vector will remain constant in space which means that its orienta­tion relative to the rotating gymnast will change throughout the somersault (in direct contradistinction to the Coriolis/tilt techniques). When the gymnast inverts, the vector is still pOinted upward toward the ceiling which now means that it points toward the gymnast's feet. The reader should realize from previ­ous arguments that this means that the gymnast's direction of twist must now be to the right, by the right hand rule. This is the basis of the Kasamatzu vault illusion where the direction of twist reverses part-way through the vault. While this method yields an interest­ing vault involving less than one full twist it is absolutely unsuitable for skills where the direction of twist is not intended to reverse with every 1800 of somersault.

At this point the subject of rotation deserves some mention. Most gymnastics coaches understand that rotation is important to twist output, but perhaps not explicitly why that is so. In proper twisting technique, strong rotation is established first, and then some of this very plentiful energy is transferred from the transverse axis to the longitudinal axis by reorienting the body relative to the somersault rotation vector. Unlike the torque twisting technique, the somersault vector in the Coriolis and tilt techniques has a constant orientation relative to the gymnast and so the direction of twist does not change. Does this transfer of energy mean that the velocity of the somersault is reduced? In the case of a twisting somi, probably not. The reason is that as the longitudinal axis tilts, the radius of rotation about the somersault axis gets a little smaller, and by the law of conservation of angular momentum rotation velocity

38

tends to increase. Transfer of energy and decreasing radius of rotation will tend to have opposite effects so that somersault velocity overall should experience little change.

Summary To summarize, twisting is established and main­

tained by complementary forces whose coordinated action during a twisting somersault generates consid­erable dynamic stability. This dynamic stability is why twist can occur whether wrap end position is sym­metrical or asymmetrical. Asymmetric arm position and action both induce tilt, which then induces twist. Additionally, asymmetric action can be chosen such that it directly induces twist. Asymmetry can be estab­lished on the ground or in flight, with the understand­ing that doing so in flight delays the initiation of twist. If the Coriolis effect is not used following in-flight establishment of asymmetric position, twist velocity will not be increased to compensate for later initiation of twist. Establishing asymmetry in the air without use of the Coriolis effect therefore would make it more difficult to perform many twists in a single somersault­ing skill.

References

(1) Van Gheluwe, B. A biomechanical simulation model for airborne twist in backward somersaults . ..1 Human Movement Studies, 81, 3: 1-22.

(2) Frohlich, C. Do springboard divers violate angular momentum conservation? American TournaI of Physics, 47(7), July 79, 583-592.

(3) Frohlich,C. The physics of somersaulting and twist­ing. Scientific American, March 80: 155-164.

(4) Liu, Z. C. and Nelson, R. Analysis of twisting som­ersault dives using computer diagnostic. Bio­mechanics IX-B, ed. by Winter, D.A. et aI, 1985.

(5) Yeadon, M. and Atha, J. The production of a sus­tained aerial twist during a somersault without the use of asymmetrical arm action. Biomechanics IX-B, ed. by Winter, D.A. et aI, 85, 385-400.

(6) Sears, F.W., Zemansky, M.W., Young, H.D. Uni­versity Physics (6th ed.) Reading, MA: Addison­Wesley Publishing Co, 82, 14-15.

(7) Hery, G. Twisting. International Gymnast. Oct. 84, 52-53.

(8) Fink, H. An insight into the biomechanics of twist­ing. Technique. March 88,18-20.

I would like to acknowledge the invaluable assistance of three people in the preparation of this paper: Mr. Nick Orrick, Engineer, whose critiques kept me from running afoul of Sir Isaac Newton. Mr. Robert Nelligan, Head Coach for Women's Gymnastics at the University of Maryland, whose questions ensured that this paper addressed the issues important to the coach and gymnast. My wife Nancy, who ensured that this paper was written in language as plain as possible.

January - March 1991 TECHNIQUE

Men's Technical

Giant Swing on Parallel .oars

A progression for the Giant Swing on Parallel Bars

The Giant Swing on parallel bars has become a major element in the composition of routines during the past several years. Therefore, a strong emphasis has been placed on the technical execu­tion of the Giant Swing at all levels of the age group Skills Testing Program. However, there remains little evidence of progress in the perfor­mance of this skill with sound technique among our Junior Gymnasts.

Critical and yet common technical errors were found, particularly in the younger age groups, which suggest a lack of sound technical develop­ment and poor basic training.

Common Mistakes: 1. Poor control in either the initial handstand

position or the layaway to long-hang position. 2. Excessive shoulder angle in the downward

swing phase. 3. Bending of the knees too early in the down­

ward swing phase. 4. Applying the beat action too early. 5. Poor hand grip on the bars at the bottom of the

swing. 6. Releasing the bars too early on the upward

swing. All of the above mistakes can be attributed to

poor body extension (alignment) during the downward swing.

The following suggested progression, shown in Illustration I, would assist in promoting better technical execution of the downward swing. Coaching Tips:

Place a Skill Cushion 00"-12" thick) against the parallel bar upright as shown in the illustration. Practice the downward swing with a tight body position and good shoulder extension. The hands should be placed 3"- 5" away from the Skill Cushion.

Focus Points: 1. Initiate the downward swing with total body

extension, slightly hollowed and tight. 2. Promote knee bending as late in the downward

swing as possible. If the gymnast is short enough, keep the legs straight.

Note: It is important that the tempo of the down­swing be consistent and even. This will help to ensure control of the hand grasp at the bottom and help in creating greater upward swing.

Recommendation: Initially, the coach should spot at slightly above

bar height. As technique improves, gradually increase the height of the layaway position.

I observed this particular coaching method being utilized by the Chinese coaches during my visit with the Chinese Gymnastics Federation last Spring. This progression was tested at various Junior Program clinics and Age Group Summer Camps - it received a very positive response.

Controlled layaway 1 Slightly hollow and

1 very tight body

5 / Good shoulder extension

l ee extensiO~:': :-- ~: as long as possible. If possible, straight knees throughout.

Hideo Mizoguchi Junior Men's Program Coordinator

TECHNIQUE January - March 1991 39

Men's minutes

Men's Program Committee

T

Conference Call, November 20, 1990 The call was put-up at 7:00 pm, EST

Members Present: Greg Buwick Chainnan, Elite Coaches Representative Jim Howard Vice President for Men Peter Kormann Elite Coaches Representative Gene Watson Junior Coaches Representative Yoichi Tomita Junior Coaches Representative Harry Bjerke NGJA Representative Dave Mickelson NCAA Representative Mas Watanabe USGF Men's Technical Coordinator Robert Cowan USCF Men's Program Administrator Members Absent: Bill Roetzheim FIG Mens Technical Comm. Member Jim Hartung Athletes Council Representative Both of these gentlemen were excused and had given their proxy votes to Greg Buwick in advance.

I. QUALIFYING SCORES AND PETITIONS FOR WINTER NATIONALS

Robert Cowan had either faxed or express mailed the material to the committee members in advance. He explained that there were two mistakes in the ranking due to a scoring error and an omitted athlete.

100 athletes competed in the qualifying rounds and

"Built by Gravity & Guts.

he U.S. Gymnastics Federation is taking steps to warn its ath­letes, parents and

coaches of the dangerous side effects of steroids and their use. We feel it is our responsibility to take a leadership role in educating our gymnastics community. The message is to be sent through the sport to convey to the athlete to train naturally - without the use of harmful drugs.

the scores were much higher than previous years. The 48th athlete scored 103.08.

There were two petitions, one from Robbie Kieffer with a back spasm and one from Kurt Thomas with a sprained ankle.

Motion to accept both gymnasts petitions in addition to the 48 athletes and allow 50 competitors in Winter Nationals.

MOTION - Greg Buwick SECOND - Harry Bjerke PASSED - Unanimously (includes proxy votes of Roetzheim/ Hartung)

II. NEW BUSINESS The committee was brought up-to-date on the most

recent developments in the grievance case of Patrick Kirksey and Tom SchleSinger. The MPC will make this a special agenda item at the Winter Nationals meeting.

Motion to adjourn. MOTION - Dave Mickelson SECOND - Greg Buwick PASSED - Unanimously

Respectfully submitted, (signed) Robert Cowan, Nov. ,1990 Approved: (signed) Mike Jacki,

Not Steroids."

Through the poster, "Build by Gravity & Guts. Not Ster­oids," the USGF hopes to con­vey the message to our ath­letes, coaches and officials tha t champions and triumphs are attainable without steroids.

"The dangers of anabolic ster­oids are insidious. First, there may be the benefits of a stronger or faster or quicker-healing body. But then athletes face a monstrous set of potential health problems. And, along with individual dan­

The committment that an athlete makes to sport requires dedication, perserverence and hard work. Suc­cess in sport and in life is achieved through such efforts. There are no shortcuts.

gers, there is the unfair competition -athletes aided by drugs vs. drug-free competitors - that threatens the foundation of fair competition itself. Steroids can build champions. But they also can kill." - USA TODAY, October 26, 1988

For a copy of the Lance Ringnald poster, use the order form on page 2 of this magazine . NOTE: the poster is item #6200.

40 JanuanJ - March 1991 TECHNIQUE

Minutes Athlete's Council Meeting September 14-15, 1990

Roll Call: Brian Babcock Linda Kardos Barnett Michelle Dusserre Jim Hartung Nancy Thies Marshall

Absent were: Tim Daggett Karyn Lyon Kelly Garrison Wendy Hilliard Peter Vidmar

Meeting was called to order at 6:15 pm Central Standard Time

I. USGF INFORMATION - CHERYL GRACE A. Spirit of the Flame A ward is on its way to Con­

gress B. Athlete' s Council Notebook to the National Team

Members is on its way to Congress C. Awards Banquet

1. Presentations done by video 2. Spirit of the Flame will be presented by W.

Hilliard D. Panel Discussion

1. All women participating should meet for breakfast at 7:15AM to go over topics

II. USGF INFORMATION - MIKE JACKI A. Prize Money

1. Mike is recommending that the athletes receive all prize money and that a percentage be distributed to the coach/team.

2. The FIG designated the money to the USGF, but the Federation feels it should go to the athletes

3. The Council must make a recommendation to the Executive Committee on the percentage to coach/team

4. We need examples from other sports and how this matter is handled

B. World Championships 91 1. Mike does not want to provide complimentary

tickets to athlete's parents (or anyone else) 2. Mike said a section of seats will be set aside

only 3. Club 91 passes will also be made available to

parents at no charge C. World Championship Team Reunion

1. Corporate seats will be available at different times during the competition for Team Members to use

2. Club 91 and attendance at the banquet will be complimentary to Team Members

D. Recruiting 1. Mike suggests:

a. A letter to National Team Members de­scribing the "must do's" and penalties

b. This allows the coach some time to correct things

c. The Athlete's Council must make a recom­mendation to the Executive Committee

E. Trent Dimas 1. Left University of Nebraska and wants to

TECHNIQUE January - March 1991

receive all Team 92 monies while training at Gold Medal

2. Cannot, with present Team 92 Men's rules, receive these funds. But is still eligible for USOC and prize monies

3. The Athlete's Council must make a recom­mendation to the Executive Committee re­garding this issue

Break at 7:20 PM Wendy Hilliard arrives 7:32 PM

Resume meeting at 7:40 PM

III. RECUITING - BRIAN BABCOCK A. Can we/ should we police recruiting?

1. Remove" complete financial obligations" from proposed contract

a. It' s a catch 22 because both coach and gymnast have a way to get back at each other

2. Move the waiting period from 7 to 10 days The Athlete's Council recommends that the finan­cial information section of the proposed contract for recruiting be deleted. We feel that it would drive another wedge between the coach and athlete and possibly create financial gains for either side. 3. Lawyers should battle out any problem, not the

USGF 4. Would the USGF be willing to provide a training

facility in the event of a bad situation between coach/ athlete?

Karyn Lyon arrived at 8:05 PM

IV. PRIZE MONEY A. This topic is a very difficult one. As the Council

began discussing the issue of percentages, a va­riety of reasons "why" were brought to the table

1. Should we consider what an agent gets? a. We didn't feel that an agent and a coach were

one in the same and that it would be unfair to base our recommendation on this (As a note: Agents receive 10-15%)

2. Should we divide the monies in half? a. We didn't feel that this was appropriate. Al­

though the coach trains the gymnast, the gymnast does and has paid for that training. And now, the gymnast has won an event/ prize money.

3. Should we base the decision on current profes­sional athlete/ coach relationships? a. We felt this more reflected what the Council

could recommend. We discussed many world athlete' s winnings vs. coaching fees. The per­centages were extremely low, some not even 3% of the winners gross.

b. Athletes traditionally make more than their coaches.

4. The Council will recommend an 80/20 percent­age break with the greater going to the athlete

41

V. WORLD CHAMPIONSHIPS TICKETS A. The Council feels strongly that the parents of the

six team members and 1 alternate for both dis­ciplines should receive complimentary tickets to the events their child is competing. 1. We want to pattern ourselves after the USOC

- 2 tickets are given to each parent for the Olympic Games

2. We believe that only the competing athletes should be eligible to receive these compli­mentary tickets

Meeting adjourned 8:30 PM

Meeting reconvened Saturday, 1:15 PM

VI. COMMUNICATION TO ATHLETES A. Christmas Cards will be signed and sent at the

November Board Meeting A. Karyn was charged with bringing the cards to the

meeting B. A copy of the minutes from each Council meeting

will be sent to every National Team Member a. Nancy will see that this is taken care of

United States Gymnastics Federation

C. Congratulatory notes will be sent to all National Team Members after USA Championships a. Each council member is charged to handle

his / her respective discipline

VII. PRIZE MONEY A. Need Input

1. If tomorrow's Executive Committee meeting decision regarding Prize Money Allocations is not final then the following will occur:

a. Wendy will draft a correspondence to former National Team Members soliciting their opin­ions on the matter

b. A questionnaire will be developed and sent to current National Team Members soliciting their opinions on the matter (1) In each in­stance, the written material will be presented in the proper manner, very general

Meeting adjourned at 2:50 PM

Minutes submitted respectfully by, Linda Kardos-Barnett

Secretanj to the Athlete's Council

Policy for Coaches Behavior

Jurisdiction of this policy will include USGF National Meets (J.O. Nationals, Classic Nationals, USA Championships, Trials) and FIG registered competitions and events within the USA (under sanction/control of USGF).

Unacceptable coach behavior can be defined as:

1. Questions concerning the evluation/judg­ing during the competition. *

2. Inappropriate remarks or comments, ha­rassment, and/or gestures ... directed to­ward any judge including the Meet Referee and/ or President of the Jury of Appeal, Chief Judges, STCs, Panel Judges, or Assis­tant Judges.

3. Contact with other persons outside of the competitive floor area during the actual warm-up and course of competition (ex­ceptions: USGF or club doctor, trainer, other credentialed club coaches, or USGF credentialed personnel) .*

* (See CODE OF POINTS, Article 4, page 11) Such above described behavior will be penalized as follows:

Ph·S. Off,," """. "e>rha1 'AT",.n1· n 0" 1· """ued b\T thp Mept A AA R~fer~::';~d/ ~r~ d~~ig~~t~d ;~pres':nt~ti~; ;i I

the USGF Executive Director.

42

Second Offense: Withdrawal of floor credential, necessitating ejection from competitive floor area (or possibly the entire competitive arena). Assessment of $1,000 fine payable to the USGF before participation in the next competition under jurisdiction of this policy.

If a coach feels that his/her actions did not constitute this penalty being assessed to them they can appeal to a Jury /Board composed of the following persons:

1. USGF Executive Director or his designated representative,

2. USGF International Technical President or designated Meet Referee,

3. ChiefJudge of the respective event (if appli­cable) or USGF Meet Director.

The following actions will be permitted at a competition:

1. A clarification of vault number with the Chief Judge or appropriate personnel;

2. Short dialogue pertaining to apparatus, mats, meet procedures, etc. with the Meet Referee or Chief Judge;

3. Submitting appropriately completed USGF Inquiry Form to the Meet Referee.

USGF International Tech. President/Consilltant, Jackie Fie Approved - Mike Jacki

Januanj - March 1991 TECHNIQUE

Women's Minutes

Women's Elite Program Committee November 2, 1990 Phoenix, AZ Meeting convened at (8:05pm) by Chairman, Roe Kreutzer.

Region I Joanne Pasquale (for Nancy Roach) Region II Bob Levesque Region III Jim Jarrett (arrived at 8:30 pm) Region IV Jim Schlott Region V Gary Warren Region VI Gary Anderson (arrived 8:30 pm) Region VI Kip Reed Region VIII Kevin Brown (arrived at 8:30 pm) NJOPC Mark Cook Adm. Board Chair. Mary Ann Mahoney Elite Tech Chai.r Audrey Schweyer Worn. Prog. Chai.r Kathy Kelly

I. PREVIOUS MINUTES Previous minutes approved as published. II. ELITE DEVELOPMENT

Don Peters addressed the committee on the needs of Elite Development in the United States. He presented a idea for development of skills for the elite athlete, including a national direction, maximum development, incentives for development, state, regional and na­tional recognition, Certificates of Achievement, inter­national training exchanges, and competitive experi­ences at the discretion of the coaches. III. CLASSIC COMPETITIONS

Discussion concerning seeding, number of qualifi­ers, etc., financial consideration. Recommendation that the entry fee to Classics meets be a maximum of $75.00.

Motion - Gary Anderson Second - Bob Levesque PASSED

Regional competition were also discussed. It was suggested that Regions combine Elite Regionals with a Level 10 or 9 event (clinic or competition).

Regions requested the office to send Elite Cards with no date.

Rules and Policies (page 53, III, C.) Add statement to last sentence: "approval from the Regional Technical Chairman, the Regional Elite Program Chairman, and Regional Junior Olympic Program Chairman." Recommendation that the American Classic be scheduled one week later on November 9-10, 1991. (Senior Division Only)

Motion - Jim Jarrett Second - Kip Reed PASSED

Recommendation to accept the Open Division Pro­posal presented by Gary Anderson for the 1992 sea­son as follows:

Sr. Division (15 & over) - Compo III Rules C/O Jr. "A" Div. (12-14) - Compo II, 1996 Seq/Opt Open Div. (14 & over) - Compo III 1996 Seq/Opt

Motion - Gary Anderson Second - Jim Schlott PASSED

Recommendation to accept the following as the com­petition schedule for the 1992 Elite season.

Sr. Division: Nov. Classic (1991), April Classic, USA Championships

TECHNIQUE January - March 1991

Jr. Division: April Classic, USA Championships Open Division: Regional Only Competitions

Motion - Gary Anderson Second - Jim Schlott PASSED

IV. BUDGET Mary Ann explained the budget restraints and re­

quirements of the committee members. There is only one paid meeting per year, other than Congress.

Meeting adjourned at 1:30 Meeting reconvened at 9:05pm, Nov 3, 1990

Kip Reed absent

V. TEAM '92 FUNDS The committee recommends that the Women's

Program Team '92 funds for the 1991 competitive year be awarded as follows:

#1-7 place at 1991 USA Championship # 8 monies to the 1st place Sr. at 1991 Fall Classic who is

not already in the Team '92 Program.

VI. JUNIOR "B" TESTING PROGRAM The committee reviewed the Junior "8" Testing Pro­

gram. The program will be the basis for the December Training Camp and a competition will be conducted at the camp to evaluate the system and the scoring method. Recommendation to the Junior Olympic Program Committee to absorb the Junior B Elite Division into the J.O. Level 10 Junior Division with optional com­petition and element testing.

Recommendation regarding petitions for USA Cham­pionships - Only petitions from athletes who com­peted at the previous years USA Championship will be considered and petitions must include a score from USA Championships (the previous year) or a score from the current season (Elite Regional or Classics) that is equal to or greater than the last place qualifier.

Recommendation that the Junior B Testing Program will count as 20% of the athletes combined score at Regional Competitions and 40% of the combined score at National competition.

Motion - Jim Schlott Second - Gary Warren PASSED

Recommendation that each event in the Regional Junior B testing will be evaluated by one judge and one coach/expert.

Motion - Jim Schlott Second - Gary Warren PASSED (Gary Anderson - opposed)

Recommendation that the coach/expert evaluator for Regional testing will be selected by the Regional Board.

Motion - Jim Schlott Second - Gary Warren PASSED

VII. TRAINING CAMP SCHEDULE Schedule was discussed. The committee requested

that Kathy provide a listing of the dates based upon need and availability of the staff & center.

43

Index of Articles USCF Publications

Technique, 1990 ADMINISTRATIVE Claire, Jan. USGF insurance and travel. Technique, USGF

Publications, Vo1.10, #4, 90, 4-5. Unfonnation about in­surance when taking teams overseas for infonnal competi­trons}.

Clarke, Dr. Kenneth C. Waiver/release & consent fonns in sport. Technique, USGF Publications, Vol. 10, #4, 90, 20.

Hewett, John. USGF statements of activity. Technique. USGFPublications, VoI.10,#1, 90,42. (I ncomestatement summary for 1985-88).

GENERAL Arends, John. 1991 preview world championships.

Technique. USGF Publications, Vol. 10, #1 , 90,16-17. (Description of initial plans for the 1991 World Champion­ships in Indianapolis) .

Crawford, Dr.Tom. Foundations for success: motor and psychosocial development in the preschool years. Technique, USGF Publications, Vol. 10, #2, 90,10-11. Discusses the proper sequencing of movement skill develop­ment and the implications for psychosocial development and program planning}.

Jacki,Mike. Technique, USGFPublications, Vol. 10,#1,90, 47. (Position Statements concerning Apartheid, Olympism and South Africa by M. Jack;' Executive Director of the USGF, and F. Carrard, Director General of the I.O.C.).

Kihmark, Olaf. What is the gymnaestrada? Technique. USGF Publications, Vol. 10, #2, 90, 22-24. (Description of the fonnation of the Gymnaestrada).

Komara, Patti. Gym birthday parties. Technique. USGF Publications, Vol. 10, #4, 90,10-11.

O'Quinn, Dr. Garland. A deeper - wider base for our gymnastics programs. Technique. USGF Publications, Vol. 10, #3, 90, 32-33. (Educational Gymnastics).

O'Quinn, Dr. Garland. Educational gymnastics. Tech­nique. USGF Publications, Vol. 10, #2, 90, 9. (Describes benefit of educational gymnastics curriculum in elementary

, schools). Robbins, N.Clay. Work authorization for foreign gymnas­

tics coaches. Technique, USGF Publications, Vol. 10, #3,90,21-23. (Discusses how to obtain immigrant or per­manent residence status).

Whitlock, Steve (Ed.) Annual index of articles. Technique, USGFPublications, Vol. 10,#1,90,43-46. Ondexofarltcles appearing in the 1989 Official Publications of the United States Gymnastics Federation}.

JUDGING - WOMEN Fie, Jackie. Questions and answers. Technique, USGF

Publications, Vol. 10, #2, 90, 4-8. (question & answers submitted to judges at the '89 Judges Course).

FIG Report. Supplement to the Jan. 1988 list of original elements on uneven bars, balance beam, floor exercise, and vault with original elements from the 1989 WC in Stuttgart. Technique, USGF Publications, Vol. 10, #4, 90, 27-31. (elements are listed in English, French and Gennan with illustrations).

Maloney, Connie. Balance beam reversals: levels 5, 6, 7. Technique. USGF Publications, Vol. 10, #4, 90, 25-26.

USGF women's level IV deductions. Technique, USGF Publications, Vol. 10, #4, 90, 23-24. (judging deduc­tions applicable to level IV).

MEN - GENERAL Cowan, Robert. World ranking byevent. Technique, USGF

Publications, Vol. 10, #1 , 90, 9. (Men 's team scores ranked by event from the 1989 World Championships).

Holt, Jim. Coaches role - gameday. Technique, USGF Publications, Vol. 10, #4, 90, 12-13.

Holt,Jim. Various phases of ring swing. Techni~ USGF Publications, Vol. 10,#3,90,30-31. (DisCl/sses turnover, lift and drop).

Hullner, Peter. Conditioning factors in floor exercise. Technique. USGF Publications, Vol. 10, #2, 90,12-14.

Mizoguchi, Hideo. 1989 junior olympic skill testing re­view. Technique, USGF Publications, Vol. 10, #2, 90, 25-27. (Areas of imptovement from previous testings as well as a listing of common mistakes and weaknesses in Cl/rrent perfromance levels).

Mizoguchi, Hideo. China report: Chinese training system. Technique. USGF Publications, Vol. 10, #3, 90, 36-41. (Summarizes observations on men's training in China).

Qualifying/selection procedures. Technique. USGF Pub­lications, Vo1.10, #1 , 90, 40-41. (U .5. National Champi­onships, U.S. Olympic Festival, Pacific Alliance Champion­ships, Goodwill Games Teatn, Other events).

44

Watanabe, Mas. Compulsory evaluation. Technique. USGF Publications, Vol. 10, #1, 90, 18-21. (Analysis of u.s. Men 's team perfonllance of key compulsory elements with suggestions for training).

Watanabe, Mas. Overview & progress of sr. men's national team. Technique, USGF Publications, Vol. 10, #4, 90, 32-35.

Watanabe, Mas. USGF men's elite requirements for 1990. Technique, USGFPublications, Vol. 10, #2, 90, p. 15-16.

Williams, Mark. Coaching strategies on floor exercise. Technique, USGF Publications, Vol.. 10, #1, 90, 6-8. (Presentation o!"Pad Drills" and Circuit rotations for class instruction)

Williams, Mark. Coaching strategies on p-bars. Technique, USGF Publications, Vol. 10, #4, 90, 14-17.

Williams, Mark. Coaching strategies on vault: for class III and boy's coaches. Technique, USGF Publications, Vol. 10, #4, 90, 12-13.

MEN - COMMITTEE REPORTS JOPC minutes. 1/13-14/90, Indianapolis, IN. Technique.

USGF Publications, Vol. 10, #2, 90, 30-31. (JO National qualification scores, compulsory committee, Coaches Devel­opment committee).

MPC Conference Call. 2/5/90. Technique, USGF Publi­cations, Vol. 10, #2, 90, 32.

MPC Conference Call. 5/22/90. Technique. USGF Pub­lications, Vol. 10, #3, 90, 41. (Petitions to USA National Championships).

MPC Conference Call. 8/16/90. Technique. USGF Publi­cations. Vol. 10. #4. 90,40. (selection of athletes for uni­fication cup).

MPC Conference Call. 11 /20/89. Technique, USGF Pub­lications, Vol. 10, #1 , 90, 36. (W inter National Scores, New Business).

MPC minutes. 6/5/90, Denver, CO. Technique, USGF Publications, Vol. 10, #3, 90, 42-43. (Reports, Winter Nationals fonnat , Selection Committee restructure, Judges' evaluation).

MPC minutes. 9/ 14/90, New Orleans, LA. Technique, USGF Publications, Vol. 10, #4, 90, 41-42, (reports , Olympic se­lection procedures. Jr. Pan Am Games report, etc.!.

MPC minutes. 12/ 2-3,89, Colorado Springs, CO (Winter Nationals meeting). Techniaue, USGF Publications, Vol. 10,#1,90,37-39. (World Championships Report, Role of NCAA Program in USGF, Tracking Program Update, Budget, Coaches' Support Program,MPC Additional Com­bination Requirements, 90 Elite Regional Sites, 1990 Selec­tion Procedures, Calendar, Judges Ranking, 1990 Game Plan, National Coach/event coach Selection).

RHYfHMIC - GENERAL F.l.G. Report. Rhythmic Gymnastics. Technique, USGF

Publications, Vol. 10, #1, 90, 29-30. (Clarification of certain nonns in the 1989 Code of Points).

Hitzel, Nora. Code of Points: Questions and Answers. Technique, USGF Publications, Vol. 10, #1, 90, 31.

Qualifying/ selection procedures. Technique, USGF Pub­lications, Vol. 10, #1 , 90, 32. (1990 USGF National Championships, National Team Selection, Four Continents Championships).

Schmid, Dr. Andrea. Clarificaton of the risk taking bonus point. Technique, USGF Publications, Vol. 10, #2, 90, 47-48.

Schmid, Dr. Andrea . RSG Code of Points: questions and answers. Technique, USGF Publications, Vol. 10, #3, 90, 28-29.

Stahnke, Robert. Music at 1989 Rhythmic World Champion­ships. Technique. USGF Publications, Vol. 10, #1, 90, 28.

RHYfHMIC - COMMITTEE REPORTS RJCminutes. 9/ 16/89,Philadelphia, PA. Technique,USGF

Publications, Vol. 10,#1 , 90,32. (Rules & Policies,Judges Certification list, Judges Log Book, Judging assignments, Judges ethics, Technical Operating Code, Attire).

RJOPC minutes. 1/ 5-6/90, Indianapolis, IN. Technique, USGF Publications, Vol. 10, #2, 90, 50. (Summer devel­opment camps, Safety Certification, Operating Code).

RJOPC minutes. 6/23-24/90, Indianapolis, IN. Technique, USGF Publications, Vol. 10, #4, 90, 48-49. (reports, east/ west championships, rules and policies, rhythmic operating code, elections, Class I Routine Body Element Requirements).

RPCminutes. 2/2-3/90,ColoradoSprings,CO. Technique, USGF Publications, Vol. 10, #2, 90, 48-50. (RPC Coaches position elections, Four Continen ts and Pan Am Games qual. procedures, international assignmebts).

RPC minutes. 5/6/90, Eugene, OR Technique, USGF Publications, Vol. 10, #3, 90, 44. (Goodwill Games, Jr. Pan Ams. Olympic Sports Festival).

RPC minutes. 9 / 90, New Orleans, LA. Technique, USGF Publications, Vol. 10, #4, 90, 50.

RTC minutes. 9/14/90, New Orleans, LA. Technique. USGF Publications, Vol. 10, #4, 90, 47. (certification program, C-I elements, judging duties, tests , training video).

SPORTS SCIENCE - RESEARCH Bailey, Brian, M.S. and Eskridge, Dr. Chris. Impact of

strength training. Technique, USGF Publications, Vo1.10,#1, 90,12-15. (Resultsofa study undertaken to test the proposition that strength training can improve gymnas­tics perfonnance).

Basset, S.H., Sands, W.A., Ruttenberg, H ., and Johnson, S.c. Cardiac dimensions. Technique, USGF Publica­tions, Vol. 10,#4,90, 18-19. (. .. noevidencefrom thisstud~ that prepubescent gymnasts exhibit impaired heart function as a result of inappropriate heart growth due to traiing).

Cornelius, Dr. William. Human third class levers and gymnastics performance. Technique. USGF Publica­tions, Vol. 10, #3, 90, 19-20. (Understanding movement concepts related to the mechnical adavantageand disadvan­tage inherent in the 3rd class level, will help greatly in dealing with the young gymnast).

Cornelius, Dr. William. Initiating a biomechanical analy­sis for the flip flop into back saIto. CTechnique, USGF Publications, Vol. 10, #4, 90, 21-22.

Curtis, Dr. J., Iselin, Dr. W., and Gibson, B. Mindset for winning. Technique, USGF Publications, Vol. 10, #4, 90, 7-9. (greater knowledge, time and effort in mental preparation will reward us with improved perfonnances).

Feigley, Dr.David A. Influence of rewards on motivation. Technique, USGF Publications, Vol. 10,#1,90,4-5. (An examination of commonly held beliefs about youth sports and re-examination of those beliefs in light of recent evidence and new trends in youth sports programming).

Feigley, Dr.David A. Why kids quit? Technique. USGF Publications, Vol. 10, #1, 90, 10-11. (An examination of why kids quit gymnastics with suggestions as to what the coach can do to help).

Henschen, Dr. K, Sands, Dr. W.A., Gordin, R, and Martinez, R Psychological differences between women olympic gymnasts and the remainder of the senior national team. Technique, USGFPublications, Vol. 10, #3,90, 4-5. (Olympians were more success oriented, less fatigued and confused, and had overall higher self-concepts).

Sands, Dr. W.A. Determining skill readiness. Technique, USGF Publications, Vol. 10, #3,90,24-27. (DisCl/ssesS domains: Physical, Technical, Tactical, Psychological and Theoretical).

Sands, Dr. W.A., Crain, RS., and Lee, K.M .. Gymnastics coaching survey - 1989. Technique. USGF Publica­tions, Vol. 10, #1, 90, 22-27. (A study undertaken to de­termine selected demographic characteristics and attitudes about artistic gymnastics coaches, their programs and their athletes).

Sands, Dr. W.A., USGF women's tracking program, pI. 'l - Response. Technique, USGF Publications, Vol. 10, #2,90, 17-21.

Svihlik, Dr. L. Chiropractors in sport. Technique, USGF Publications, Vol. 10, #4, 90, 36-38.

WOMEN - GENERAL George, Dr. Gerald. Yamashita 1 /2 turn. Techni~ue. USGF

Publications, Vol. 10, #4, 90, 6. (atwlysis of ( e compul­sory vault).

Judges training manual: update to the 1st and 2nd editions. Technique. USGF Publications, Vol. 10, #2,90,42-43.

Mitchell,Joanne, and Elliott, Dr. B. Teaching the Yurchenko vault: A biomechanical perspective. Technique, USGF Publications, Vol. 10, #3, 90, 6-8. (Drills provided an ad­equate learning environment for the Yurchenko) .

Pidcoe, Peter, and Schuit, Dr. Dale. The bail technique: a quantative analysis applied to women's uneven bars. Technique, USGF Publications, Vol. 10, #3, 90,9-11.

Text differences - level 10 and elite. Technique, USGF Publications, Vol. 10, #2, 90, 35-36.

USGF supplement to the code of points. Technique, USGF Publications, Vol. 10, #2, 90, 37-40.

WOMEN - COMMITTEE REPORTS Elite PC Conference Call. 8/ 28/90. Technique. USGF

Publications, Vol. 10, #4, 90, 44. (Jr. "B" Testing). Elite PC, 5/20-21/90, Saginaw, Ml. Technique, USGF

Publications, Vol. 10,#3,90,46-47. (Qualificationscores, Jr. "B" program, JO mobility).

JO Ad Hoc Conference Call. 8/30.90 Technique, USGF Publications, Vol. 10, #4, 90, 44. (JO concerns).

JO PC Conference Call, 5/30/ 90. Technique, USGFPubli­cations, Vol. 10, #3, 90, 49-50. (calendar, ~e1 7 mobility - Attachment: 90-91 rules for age determination).

JO PC Conference CaB. 11 / 13/ 89. Techniqug, USGF Publications, Vol. 10, #1 , 90, 35. (Age determining date, Event wards, ElitellO text differences).

JO PC minutes. 5/13-14/90. Techni~ USGF Publications, Vol. 10,#3,90, 48-49. Technique. USGFPublications, Vol. 10, #3, 90, 48-49. (Dance Program, program issues).

JO PC minutes. 9/13/90, New Orleans, LA. Technique. USGF Publications, Vol. 10, #4, 90, 45. (daance program. program issues, elite drop-backs, etc.).

Qualification/ selection procedures. Technique, USGF

January - March 1991 TECHNIQUE

Publications, Vol. to, #1, 90, 34. (90 USGF Women's National Team) .

Qualification / selection procedures. Technique, USGF Publications, Vol. 10, #2, 90, 34. (1991 World University Games and 1991 Pan American Games).

WPC Admin. Board. 5/5~/90, Colorado Springs, CO. Technique, USGF Publications, Vol. 10, #3, 90, 45. (R&P revisions, Officials Rights, Criteria for judges selec­tion - and Conference Call 6/15/90: Clarifications).

WPC Admin. Board. 9/16/90, New Orleans, LA. Tech­nique. USGFPublications, Vol. 10,#4, 90,46. (operating code, office requests, outfitting, level lV, etc.).

WPC Conference Call. 12/ 14/89. Technique, USGF Pub­lications, Vo1.10, #1 , 90, 41.

WPCminutes. 2/16-18/90, Denver, CO. Technique. USGF Publications, Vol. to, #2, 90, 44-46. (Technical Recom­mendations, Bar adjustment, Operating Code amendment, eductionss for squat, stoop, and straddle vaults).

WTCminutes. 7/ 29-30 / 90, Tacoma, W A. Technique. USGF Publications, Vol. 10, #4, 90, 43-44. (JCI, Safety Cert. , assignment to competitions, element evaluation, NCAA, R&P, JO program, reports, etc.).

OTHER REPORTS Athletes Council Conference Call, 7/12/90. Technique.

USGF Publications, Vol. to, #4, 90, 39. (World Cham­pionships addresses, Spirit of the Flame, new business).

ADVERTISEMENTS/ANNOUNCEMENTS 199OUSGFCongress. Pre-CongressSeminars. Technique.

USGF Publications, Vol. 10, #3, 90, 14-18. 1990 USGF Congress. Technique, USGF Publications, Vol.

10, #2, 90, 20. 1990 USGFCongress. Technique. USGF Publications, Vol.

10, #2, 90, 33-35 and 51. Additions to the USGF men's elite requirements for 1990-

91 . Technique, USGF Publications, Vol. 10, #4, 90, 39. Clarification to the 1990-91 women's rules & policies.

Technique, USGF Publications, Vol. 10, #4, 90, 35. Classic Clinic Workshop. Technique. USGF Publications,

Vol. 10, #2, 90, 41 . Coach/ Judges Summer 199OWorkshops. Technique. USGF

Publications, Vol. 10, #2, 90, 51. Coach/ Judges Summer 199OWorkshops. Technique. USGF

Publications, Vol. 10, #3, 90, 27. Coaches' Positions, USGF Rhythmic Summer Camps.

Technique. USGF Publications, Vo1.10, #1 , 90, 31 . Coaches' Seminar, Intern. Gymnastics Research Founda­

tion. Technique, USGFPublications, Vo1.10, #1 , 90,15. Correction to women's JO compulsory book. Technique,

USGF Publications, Vol. 10, #4, 90, 35. Educational Materials. Techniqyg. USGF Publications, Vol.

10, #1, 90, 11. Educational Materials. Technique. USGFPublications, Vol.

10, #2, 90, 14. Educational Materials. Technique. USGFPublications, Vol.

10, #4, 90, 5. Information on 1990 men's winter nationals. Technique,

USGF Publications, Vol. 10, #4, 90, 40. Men's Program announcement. Technique. USGF Publi­

cations, Vol. 10, #4, 90, 35. (Class V competitive program). Men's Program announcement. Technique. USGF Publi­

cations, Vol. 10, #4, 90, 43. (Class V ceiling scores). Safety Certification Testing. Technique, USGF Publica­

tions, Vol. 10, #1, 90, 48. Safety Certification Testing. Technique. USGF Publica­

tions, Vol. 10, #2, 90, 52. Safety Certification Testing. Technique, USGF Publica­

tions, Vol. 10, #3, 90, 52. Safety Certification Testing. Technique. USGF Publica­

tions, Vol. to, #4, 90, 52. Safety Manual. Technique, USGF Publications, Vol. to,

#1 , 90, 17. Update on obtaining work auathorization for foreign ath-

letes. Technique, USGF Publications, Vol. 10, #4, 90, 26. Video-tapes. Technique, USGFPublications, Vol. 10,#1, 90,2. Video-tapes. Technique, USGFPublications, Yol.to,#2, 90,2. Video-tapes. Technique. USGFPublications, Vol.to,#3, 90,2. Video-tapes. Technique. USGF Publications, Vol. 10, #4, 90,2 Womens Operating Code: Article XII - Cause for Removal.

Technique, USGF Publications, Vol. 10, #3, 90, 23. World Championships. Technique. USGF Publications,

Vol. 10, #2, 90, 33. World Championships. TeChni~ue. USGF Publications, Vol.

10, #3, 90, 17. (Information r Volunteers and Club '91). World Championships. Technique. USGF Publications,

Vol. to, #3, 90, 51.

USA Gymnastics,1990 EDITORIALS Jacki, Mike. Cooperation is the Key. USA Gymnastics. Vol.

19, #2, 4. Jacl<i, Mike. For the Love of Sport. USA Gymnastics. Vol.

TECHNIQUE January - March 1991

19, #6, 6. Jacki, Mike. Mary Lou! One More Time? USA Gymnastics.

Vol. 19,#3,6. Jacki, Mike. Nadia Revisited . USA Gymnastics. Vol. 19,

#1 , 4-6. Jacki, Mike. Recuit: To Seekout & Engage Persons for

Work or Service. USA Gymnastics, Vol. 19,#5, 6-8. Jacki,Mike. Something for Everyone. USA Gymnastics. Vol.

19,#4, 6. What's in the Future for Mary Lou? USA Gymnastics. Vol.

19, #2, 8.

EVENT RESULTS Cowan, Robert. 1989 Winter National Championships.

USA Gymnastics, Vol. 19, #2, 26-27. Event Results. USA Gymnastics. Vol. 19, #4, 8. (Louvin LA

Neuve International Rhythmic Tournament, Jr. Mens USA vs. Mexico, Shelly Allen).

Event Results. USA Gymnastics. Vol. 19, #4, to-12. (Mulvihill: Canadian Cup, Hamilton: Athens Cup, Stockard: Daily Mirror, IV International Tournament of Boavista , Equipment for Costa Rica, Thomas into Hall of Fame).

Event Results. USA Gymnastics, Vol. 19, #5, 41-47. (Rhythmic Classics, JO Nat. Championships, Moscaw News, Dutch Open, Magglingen, Grand Prix of Italy, Golden Sands, Czechoslovakia Cup, Rhythmic Venixxieu x, 14 Annual Cot/bus).

Event Results. USA Gymnastics . Vol. 19, #6, 16-17. (H. Christie: Moscaw rhythmic competition. Four Conti­nents: Christy Neuman Earns Silver medal. H.Christie: Corbeil-Essones rhythmic competition. H.Greathouse: Brother Cup).

Event Schedule. USA Gymnastics, Vol. 19, #6, 43. Gymnastics Results. Special Section. 1989-90. USA Gym­

nastics. Vol. 19, #5, 34-39. Lancette, C. Brandy Johnson: all-american kid. USA Grm­

nastics. Vol. 19, #6, 40-42. ('90 U.S. Olympic Festival Lancette, C. Burly bookends - Umphrey/Roth. USA Gym­

nastics. Vol. 19, #6, 40-41. ('90 U.S. Olympic Festival! Roethlisberger, M. Simpson & the juniors steal the show.

USA Gymnastics, Vol. 19, #6,40-42. ('90 U.S. Olympic Festival

FEATURE ARTICLES Auer, Patti. Karolyi Captures another Cup. USA Gym­

nastics. Vol. 19, #3,26-30. Auer, Patti. U.S. Olympic Cup. USA Gymnastics, Vol. 19,

#5,32-33. Clayton, Kim. Challenges in the '90'2: USGF National

Congress. USA Gymnastics, Vol. 19, #6, 12. Cowan, Robert. A Fairy Tale. USA Gymnastics, Vol. 19,#3,8. Gordin, Richard, Ed.D. What to Say Two Minutes Before

Competition. USA Gymnastics. Vol. 19, #2, to, 34. Gothard, Jeff. Honey, I Shrunk the Team. USA Gymnas­~ Vol. 19,#3, 9.

Gymnastics 1990 Preview. USA Gymnastics, Vol. 19, #2, 16-19. (Update on 1990 events).

Hitzel, Nora. Bulgarians and Soviets Triumph. USA Gymnastics. Vol. 19, #1 , 32-33. (14th Annual Rhythmic World Championships report)

Nassar, Larry, A.T.C. Balancing Exercises. USA Gym­nastics. Vol. 19, #2, 14-15.

Nassar, Larry, A.T.C. Taping Combined with Exercise. USA Gymnastics. Vol. 19, #1 , 13.

Peszek, Luan. USSA-USSR: U.s. Gaining Ground. USA Gymnastics. Vol. 19, #6, 28-32. McDonald'sChallenge).

Peszek, Luan. Zmeskal & Lutz Hit the Jackpot. USA Gymnastics. Vol. 19, #4, 26-29. (1990 US Challenge).

Peszek, Luan. Zmeskal-Ringnald A Pair of Winners. USA Gymnastics. Vol. 19, #3, 32-34. (McDonald's Interna­tional Mixed Pairs).

Rockwell.Jack. Tendonitis. USAGymnastics.VoI.19,#1 ,1O-12. Summer Camp Directory. USA Gymnastics. Vo1.19, #2,36-38.

FEATURES - MEN'S GYMNASTICS Auer, Patti. Kurt Thomas - The Comeback Kid. USA

Gymnastics, Vol. 19, #1,14-15. Brown, Rob. Nebraska Counts Tenths for NCAA Title.

USA Gymnastics, Vol. 19, #4, 36-37. Peszek, Luan. A Race to the Finish. USA Gymnastics. Vol.

19,#3, 20-23. (1990 McDonald's American Cup). Peszek, Luan. Dimas Dominates. USA Gymnastics. Vol.

19, #5, 20-24. (USA/GDR). Peszek, Luan. Jair Lynch Led the Way. USA Gymnastics.

Vol. 19, #5, 26&31. (Junior Championships). Peszek, Luan. Meet the Top U.S. Men's Coaches (Pt. 2).

USA Gymnastics. Vol. 19, #1 , 34-37. Peszek, Luan. U.s. Depth Deeper than Ever. USA Gym­

nastics, Vol. 19, #5, 14-18. (U.S. National Championships Report).

Peszek. Luan. Goodwill Games: U.S. Men rise to world class level. USA Gymnastics, Vol. 19, #6, 18-21 & 34.

Peszek. Luan. U.s. Narrows the Gap. USA Gymnastics, Vol. 19, #1 , 28-31. (World Championships report)

FEATURES - RHYTHMIC GYMNASTICS Exner,Jan. Goodwill Games: Scaldina wins the gold. USA

Gymnastics, Vol. 19, #6, 26-27. Peszek, Luan. The "Hunt" ended with Caroline. USA

Gymnastics. Vol. 19, #4, 30-31. (RSG Jr. Nationals). Peszek, Luan. Top U.s. Rhythmic Coaches. USA Gym­

nastics, Vol. 19, #5, 28-30. (Bree, Davidovich, Hilliard, Holdreith, Svirsky, Vdovets) .

Peszek, Luan. Tracey Lepore Captures the Limelight. USA Gymnastics. Vol. 19, #4, 32-33. (RSG Sr. Nationals).

FEATURES - WOMEN'S GYMNASTICS Auer, Patti. Crandall Comeback. USA Gymnastics. Vol.

19, #4, 14-15. Auer, Patti. Wendy Bruce Knows No Bounds. USA

Gymnastics, Vol. 19, #1, 26. Lancette, Chris. Utah Back on Top . USA Gymnastics, Vol.

19, #4, 38-39. (NCAA's) Peszek, Luan. Christy Henrich Determined to Win. USA

Gymnastics. Vol. 19, #2, 20-21. Peszek, Luan. Junior Talent Abounds. USA Gymnastics.

Vol. 19, #5, 27&31. (Junior Championships). Peszek, Luan. Little Zmeskal Wins BIG. USA Gymnastics.

Vol. 19, #3, 14-18. (1990 McDonald's American Cup). Peszek, Luan. Racanelli Wins the Gold. USA Gymnastics,

Vo1.19, #2,22-25. Peszek, Luan. Soviet Spectacular! USA Gymnastic§, Vol.

19, #1 , 18-21. (Report on World Championships). Peszek, Luan. Sweet Revenge. USA Gymnastics. Vol. 19,

#4, 16-19. (USA/GDR). Peszek, Luan. U.s. Seniors Stronger than Ever. USA Gym­

nastics. Vol. 19, #6, 20. (U. S. National Championships) . Peszek, Luan . Woolsey Peaks a t Worlds . USA

Gymnastics,VoI.19,#1 ,22-23. Peszek. Luan. Goodwill Games: U.s. women challenge the

soviets. USA Gymnastics. Vol. 19, #1,22-24 & 35. Retton, Mary Lou. Ask Mary Lou . USA Gymnastics. Vol.

19, #4, 7. Retton, Mary Lou. Ask Mary Lou. USA Gymnastics. Vol.

19, #5, to. Retton, Mary Lou. Ask Mary Lou. USA Gymnastics, Vol.

19, #6, to.

REPORTS Qualification/ Selection Procedures - Men. USA Gym­

nastics, Vol. 19, #1, 42. (U.S. National Championships, U.S. Olympic Festival, Goodwill Games Team)

Qualification/ Selection Procedures - Men. USA Gym-nastics. Vol. 19, #6, 36-37. (Team Selection Procedures: 1991 World Championships)

Qualification /Selection Procedures - RSG. USA Gymnas­~ Vol. 19, #3, 35. (1991 Pan American Games).

Qualification /Selection Procedures - RSG. USA Gymnas­~ Vol. 19, #6, 38. (National Chgampionships Selection Procedures)

Qualification / Selection Procedures - Women. USA Gym­nastics, Vol. 19, #4, 40-42. (1991 Pan American Games, 1991 World University Games).

Qualification/Selection Procedures - Women. USA Gym­nastics.VoI.19,#6,38. (1991 USGFWomen's NationaITeam)

The Biggest and the Best! 1991 World Championships Preview. USA Gymnastics, Vol. 19, #2, 12.

UPDATES Darst, Delene. Women' s Barcelona Competition. 1!fu'.

Gymnastics. Vol. 19, #2, 30. McIntyre, Dennis. Tulit Peter Memorial Tournament.

USA Gymnastics. Vol. 19, #2, 31. Peszek, Luan. Gymnastics '89 Tour of Champions. USA

Gymnastics. Vol. 19, #1, 38-39. Product Update. USA Gymnastics. Vol. 19,#3,42-43. (Class

A Music, Pegasus Opens New Factory in Colorado,American Gymnastics Print, Int'l Men's Brevet Judges Log Book,AAl American Training Pods, Nassar System).

RSG Update. USA Gymnastics, Vol. 19, #3, 36-37. (Auer: RSG Re-ranking competition. 1990 Goodwill Games Com­mentator, Auer: Simpson Looks to New Beginnings, World Class Rhythmic Coach Helps the U.S.).

RSG Update. USA Gymnastics.Vol. 19, #4, 34. (Thiais In ­ternational Rhythmic Competition, International Tourna­ment of Rhythmic Gymnastics).

Update. USA Gymnastics, Vol. 19, #1 , 40. (Zmeskal Wins American Classic. Shurlock,Art: Joaquim BlumeMemorial. U.S. Gymnastics National Train ing Center) .

Update. USA Gymnastics, Vol. 19,#2, 28, 2932,33. (Peszek: Drew Durbin, Jr. Coach Gene Watson, Swiss Cup/Aurthur Gander Memorial/DTP-Pokal, Bemco Hosts Tots and Teens Fun Day).

Update. USA Gymnastics, Vol. 19,#2, 29. (A uer: Olga Korbut Pays a Visit. Brandy Johnson Sullivan Award Finalist . Sandy Woolsey Nominated for Dial Award).

Update. USA Gymnastics, Vol. 19, #2, 42-43. (Callous Stick. AAl Reflex Padded Beam. CODOC Balance Platform).

Update. USA Gymnastics. Vol. 19, #3, 38-41. (Boys JO Compulsory Awards Program, Peter Vidmar, Summer

45

Coaches Education Clinics, US Classic Competition and Clinic, New Video, USGF Regional Testing Results, Elite Gym-Kin visits Natinal Training Center, AAI American).

Update. USA Gymnastics, Vol. 19, #4, 48-49. (M.Roetitlisberger, Trafton, Cowan: Men's fO Nat . Team, Posner: USGF National Collegiate Championships).

Update. USA Gymnastics,Vol. 19, #5,40. (BeddingbyBemco, Physical Fashions).

Update. USA Gymnastics, Vol. 19, #6, 13-15. Team Teaching Concept. Gymnastics Loses a Hero (D. Bixler) . Maria Bakos immeasurable contributions . Moguilni retires. U.S. National Team gets tested.

Update. USA Gymnastics, Vol. 19, #6, 46. (Faces in the gym). USGF Congress. Challenges in the 1990' s. USA Gymnas­

!i!2, Vol. 19, #3, 13. USGF Congress. Challenges in the 1990' s. USA Gymnas­

!i!2, Vol. 19, #4, 9. ADVERTISERS Apparel-AAIAmerican. USA Gymnastics, Vol. 19,#3,30.

(Grips & shoes). Apparel-AAIAmerican. USA Gymnastics, Vol. 19,#4,40.

(Grips & shoes). Apparel- AAI American. USA Gymnastics, Vol. 19, #6, 9.

(Grips & shoes). Apparel - Alpha Factor. USA Gymnastics, Vol. 19,#3, 2.

(Leotards, Sportswear) . Apparel - Alpha Factor. USA Gymnastics, Vol. 19,#4,2.

(Leotards, Sportswear) . Apparel- Alpha Factor. USA Gymnastics, Vol. 19,#5,2.

(Leotards, Sportswear). Apparel - Alpha Factor. USA Gymnastics, Vol. 19,#5,

Center. (Leotards, Sportswear - Center insert) Apparel - Alpha Factor. USA Gymnastics, Vol. 19,#6, 2.

(Leotards, Sportswear). Apparel- Bellino Associates. USA Gymnastics, Vol. 19, #5,

52. (Persona lized T-shirts). Apparel - Elite Sportswear, LTD. USA Gymnastics, Vol.

19,#3,4-5. (Leotards, Sportswear). Apparel- Elite Sportswear, LTD. USA Gymnastics, Vol.

19,#4,4-5. (Leotards, Sportswear) . Apparel- Elite Sportswear, LTD. USA Gymnastics, Vol.

19,#5, 4-5. (Leotards, Sportswear). Apparel- Elite Sportswear, LTD. USA Gymnastics, Vol.

19,#6,4-5. (Leotards, Sportswear). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19,

#1,6. (Velcro Gymnastics Grips). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19,

#2, 35. (Velcro Gymnastics Grips). Apparel - G.W.Deitch Sr., Ine. USA Gymnastics, Vol. 19,

#3,43. (Velcro Gymnastics Grips). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19,

#4,45. (Velcro Gymnastics Grips). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19,

#5,43. (Velcro Gymnastics Grips). Apparel- G.W.Deitch Sr., Inc. USA Gymnastics, Vol. 19,

#6, 15. (Velcro Gymnastics Grips). Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #1 , 12.

(Gymnastics shoe) Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #2, 34.

(Gymnastics Grips) Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #3,45.

(Gymnastics Shoes Apparel- Gibson, Inc. USA Gymnastics, Vol. 19, #4, 15.

(Gymnastics Grips) Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #5, 8.

(Gymnastics Grips) Apparel - Gibson, Inc. USA Gymnastics, Vol. 19, #6, 13.

(Gymnastics Grips) Apparel - Gym West Sport Products Company. USA

Gymnastics, Vol. 19, #1, 45. (Gymnastics shoes) Apparel - Gym West Sport Products Company. USA

Gymnastics, Vol. 19, #2, 34. (Gymnastics shoes) Apparel - Gym West Sport Products Company. USA

Gymnastics, Vol. 19, #3, 45. (Gymnastics shoes) Apparel-Kartoons. USA Gymnastics, Vol. 19,#1 ,40. (T-shirts) Apparel- Kartoons. USA Gymnastics, Vol. 19, #2, 27. (T-shirts) Apparel-NassarSystem. USA Gymnastics, Vol. 19, #1 , 11.

(Ankle brace) Apparel- Nassar System. USA Gymnastics, Vol. 19, #4, 46.

(Ankle brace) Apparel- NassarSystem. USA Gymnastics, Vol. 19,#6, 35.

(Ankle brace) Apparel - Pegasus. USA Gymnastics, Vol. 19, #1, 31.

(Gymnastics shoe) Apparel - Pegasus. USA Gymnastics, Vol. 19, #2, 24.

(Gymnastics shoe) Apparel - Pegasus. USA Gymnastics, Vol. 19, #3, 28.

(Gymnastics shoe) Apparel - Pegasus. USA Gymnas!i!2, Vol. 19, #4, 36.

(Gymnastics shoe) Apparel - Pegasus. USA Gymnastics. Vol. 19, #5, 50.

(Gymnastics shoe) Apparel - Pegasus. USA Gymnastics, Vol. 19, #6, 10.

(Gymnastics shoe)

46

Apparel- Physical Fashions. USA Gymnastics, Vol. 19, #2, 49. (T-shirts and sweatshirts).

Apparel- Physical Fashions. USA Gymnastics, Vol. 19, #4, 23. (T-shirts and sweatshirts).

Apparel- Physical Fashions. USA Gymnastics, Vol. 19, #5, 43. (T-shirts and sweatshirts).

Apparel- Physical Fashions. USA Gymnastics, Vol. 19, #5, 45. (T-shirts and sweatshirts).

Apparel- Tone Zone. USA Gymnastics, Vol. 19, #5, 25. Apparel- Unique Industries. USA Gymnastics, Vol. 19,#1,

16. (Ankle brace) Apparel- Unique Industries. USA Gymnastics, Vol. 19,#2,

25. (ankle brace) Apparel- USGF Merchandise. USA Gymnastics, Vol. 19,

#1 , 47. (Variety) Camp - Brigham YOlffig University. USA Gymnastics, Vol.

19, #2, 37. Camp - International Gymnastics Camp. USA Gymnas­

!i!2, Vol. 19, #1, Insert. Camp - International Sports Management. USA Gym­

nastics, Vol. 19, #2, 43. Camp - International Sports Management. USA Gym­

nastics, Vol. 19, #4, 19. Camp - Karolyi's Gymnastics World Camps. USA Gym­

nastics, Vol. 19, #3, 29. Camp - Lake Owen Gymnastics Camp. USA Gymnastics,

Vol. 19, #1, Insert. Camp - Lake Owen Gymnastics Camp. USA Gymnastics,

Vol. 19, #2, Back cover. Camp - National Academy Summer Camp. USA Gym-

nastics, Vol. 19, #2, 43. Camp - Pikes Peak. USA Gymnastics, Vol. 19, #1 , 17. Camp-Stanford Gymnastics. USA Gymnastics, Vol. 19,#2,39. Camp - The Association for International Cultural Ex-

change Programs. USA Gymnastics, Vol. 19, #1 , 41 . (Soviet Gymnastics Course & School)

Camp - Top of the Rockies. USA Gymnastics, Vol. 19, #2, 38. Camp - Woodward. USA Gymnastics, Vol. 19, #1, 48. Educational- Challenges in the 1990's. USA Gymnastics,

Vol. 19, #2, 40. (USGF Congress, New Orleans). Educational- International Gymnast. USA Gymnastics, Vol.

19, #5, 10. (magazine) . Educational - Safety Certification Testing, USGF. USA

Gymnastics, Vol. 19, #1, 9. Educational - Safety Certification Testing, USGF. USA

Gymnastics, Vol. 19, #2, 46. Educational - Safety Certification Testing, USGF. USA Gymna~ Vol. 19, #4, 11.

Educational - Safety Certification Testing, USGF. USA Gymna~ Vol. 19, #5, 54.

Educational- USA Gymnastics, USA Gymnastics, Vol. 19, #3,40. (magazine).

Educational- USA Gymnastics, USA Gymnastics, Vol. 19, #4, 15. (magazine) .

Educational- USA Gymnastics, USA Gymnastics, Vol. 19, #6,42. (magazine).

Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #2, 41.

Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #3, 47.

Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #4, 34.

Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #5, 55.

Educational - Videotapes and Educational materials (USGF). USA Gymnastics, Vol. 19, #6, 33.

Educational-Videotapes, USGF. USA Gymnastics, Vol. 19, #1, 46.

Equipment-AAI, American. USA Gymnastics, Vol. 19,#1, 27. (USGF Official supplier and Sponsor).

Equipment -AAI, American. USA Gymnastics, Vol. 19, #2, 5. (USGF Official supplier and Sponsor) .

Equipment - AAI, American. USA Gymnastics, Vol. 19, #4, 41. (USGF Official supplier and Sponsor).

Equipment - AAI, American. USA Gymnastics, Vol. 19, #6, 11. (USGF Official supplier and Sponsor) .

Equipment - Rhythmic Gymnastics, Inc. USA Gymnastics, Vol. 19, #1, 44.

Events - 1990 McDonald's Challenge: USA-USSR. USA Gymnastics, Vol. 19,#4,43.

Events - 1990 U.S. Gymnastics Championships. USA Gymnastics, Vol. 19, #3, 31.

Events -1991 World Championships. USA Gymnastics, Vol. 19, #3, 7. (It 's Taking Shape).

Events -1991 World Championships. USA Gymnastics, Vol. 19, #4, 25. (USGF Members Share the Magic).

Events-1991 World Championships. USA Gymnastics, Vol. 19, #4, Center Insert. (Ticket information).

Events- 1991 World Championships. USA Gymnastics, Vol. 19, #5, 13.

Events-1991 World Championships. USA Gymnastics, Vol. 19, #6, 8-9. (Share the Magic, Club '91)

Events-I991 World Championships. USA Gymnastics, Vol. 19, #5,12. (Volunteer Information and Sponsor Update).

Mise. - AMI/Denver Broncos Sports Medicine Center. USA Gymnastics, Vol. 19, #3, 41.

Mise. - Barrett House. USA Gymnastics, Vol. 19, #5, 52. (Jenni Gymnast) .

Misc. - Bemco, USA Gymnastics, Vol. 19, #5,11. (Official mattress of the U.S . Gymnastics Team).

Misc. - Cellular One. USA Gymnastics, Vol. 19, #4, 19. Misc. - Clever Creations. USA Gymnastics, Vol. 19, #3, 35

(Unique gift items) Mise. - Continental Airlines. USA Gymnastics, Vol. 19, #4.

19. (USGF airlines sponsor) Misc. - Everett's Creations. USA Gymnastics, Vol. 19, #5,

52. (Gym mouse). Misc. - Everett's Creations. USA GymnastiCS, Vol. 19, #6,

46. (Gym mouse) . Misc. - Futurewave. USA Gymnastics, Vol. 19,#3, 19.

(Master of Sport drink). Mise. - Futurewave. USA Gymnastics, Vol. 19,#4, 13.

(Master of Sport drink). Misc. - Futurewave. USA Gymnastics, Vol. 19,#6, 7.

(Master of Sport drink). Misc. - Granite State Gymnastics. USA Gymnastics, Vol.

19, #5, 52. (Pendants & charots). Mise. - Granite State Gymnastics. USA Gymnastics, Vol.

19, #6, 44. (Pendants & charms). Misc.-GymnasticsSpeciaIities. USA Gymnastics, VoI.19,#2,33. Misc. - Gymnastics Specialties. USA Gymnastics, Vol. 19,

#1,23. (Pins, buttons, etc.) Misc. -Hodges Badge Company, Inc. USA Gymnastics, Vol.

19, #1, 44. (Ribbon Awards & Medals) Misc. -Hodges Badge Company, Inc. USA Gymnastics, Vol.

19, #5, 52. (Ribbon Awards & Medals) Misc.- Hodges BadgeCompany,Inc. USA Gymnastics, Vol.

19, #6, 44. (Ribbon Awards & Medals) Misc.- Honda. USA Gymnastics, VoI.19,#5, 19. (ijondaCub). Misc. - Hyde Park Gymnastics. Kiley, Marje. USA Gym­

nastics, Vol. 19,#5, 51. (Seeking coaches). Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19,#1,

45. (Medals & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19,#2,

34. (Meda ls & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19, #3,

45. (Medals & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19, #4,

45. (Medals & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19, #5,

53. (Medals & Pins) Misc. - KB. Specialties, Inc. USA Gymnastics, Vol. 19, #6,

46. (Medals & Pins) Misc. - Kraft Food Ingredients. USA Gymnastics, Vol. l'

#4,24. (1990 Pyramid Challenge Sponsor). Misc. - Northwest Airlines. USA Gymnastics, Vol. 19, #4,

23. (event sponsor) Misc. - Sterling Sports. USA Gymnastics, Vol. 19, #1, 45.

(Gymnastics score book) Misc. - Sterling Sports. USA Gymnastics, Vol. 19, #2, 15.

(Gymnastics awards book). Misc. - Sterling Sports. USA Gymnastics, Vol. 19, #5, 47.

(Gymnastics awards book). Misc. - Sterling Sports. USA Gymnastics, Vol. 19, #6, 38.

(Gymnastics awards book). Misc. - Teri Stober. USA Gymnastics, Vol. 19, #6, 44.

(Gymnastics diary). Music - Class A Music. USA Gymnastics, Vol. 19,#3,7. Music - Class A Music. USA Gymnastics, Vol. 19,#4,46. Music - Class A Music. USA Gymnastics, Vol. 19,#5,49. Music - Class A Music. USA Gymnastics, Vol. 19,#6,43. Music-EliteExpressions. USA Gymnastics, Vol. 19,#1,22. Music-EliteExpressions. USA Gymnastics, Vol. 19,#3,33. Music-Elite Expressions. USA Gymnastics, Vol. 19,#4,37. Music-EliteExpressions. USA Gymnastics, Vol. 19,#5,39. Music-EliteExpressions. USA Gymnastics, Vol. 19,#6,34. Music - Floor Express. USA Gymnastics, Vol. 19, #1 , 39. Music - Floor Express. USA Gymnastics, Vol. 19, #2, 31 . Music - Floor Express. USA Gymnastics, Vol. 19, #3, 46. Music - Floor Express. USA Gymnastics, Vol. 19, #4, 39. Music - Floor Express. USA Gymnastics, Vol. 19, #6,17. Services -John P. Pearl & Associates. USA Gymnastics, Vol.

19, #1 , 4. (USGF Major Medical Plan) USGF Member Services. USA Gymnastics,Vol. 19,#4, 47.

(Athlete, Professional and Club Membership) USGF Member Services. USA Gymnastics, Vol. 19,#6, 47.

(Athlete, Professional and Club Membership) USGFOfficial Merchandise. USA Gymnastics, Vol. 19,#2,47. USGFOfficial Merchandise. USA Gymnastics, Vol. 19, #3,48. USGFOfficial Merchandise. USA Gymnastics, Vol. 19, #4,48. USGFOfficial Merchandise. USA Gymnastics, Vol. 19,#5,56. USGFOfficial Merchandise. USA Gymnastics, Vol. 19, #6,48. USGFOfficial Merchandise. USA Gymnastics, Vol. 19,#6,

center.

JanuanJ - March 1991 TECHNIQUE

USGF GYMNASTICS SAFETY UPDATE - Index to articles 1988-1990

A nd justice prevails. Safety Update. Vol. 3, No.4, May 88, 3-4. Reprinted from Sports Liability News, Aug-Oct 88. re,fan. Gymnastics injury statistics. Safety Update. Vol. 5, No.1, Feb90, 3.

Claire, Jan. Insurance: past, present, and future. Insurance and the USGF. Safety Update. Vol. 3, No.1, February 88,3-4.

Claire, Jan. Litigations against gymnastics clubs. Safety Update. Vol. 5, No.3, August 90, 4.

Cowan, Robert. 2nd Edition of the USGF Safety Manual. Safety Update. Vol. 5, No. 1, Feb90, 1.

Cowan, Robert. Coaches Corner. Safety Update. Vol. 5, No.4, Nov90, 5.

Cowan, Robert. Gymnastics Safety - The coaches corner. Safety Update. VoI.3,No.l,Feb88, 4. (Tumblillgsurfaces)

Cowan, Robert. Gymnastics Safety - The coaches corner. Safety Update. Vol. 3, No.2, May88, 2. (a thlete main­tenance).

Cowan, Robert. Gymnastics Safety - The coaches corner. Safety Update. VoI.3,No.3,May88, 1-2. (communication).

Cowan, Robert. Gymnastics Safety - The coaches corner. Safety Update. Vol. 3, No.4, May88, 2. (strength training).

Dvorak, Dr. Hutch. Gymnastics Safety - The coaches corner. Safety Update. Vol. 3, No.1, February 88, 5. (Inexpensive ways to "class_up" and "safety-up" yourgJjm).

Feeney, Rik. Recreational program safety awards - Program Publicity. Safety Update. Vol. 5, No.3, August 90,1.

George, Dr. Gerald. Difficulty - go for it!. Safety Update. Vol. 5, No.4, Nov90, 4.

George, Dr. Gerald. National trends in sports litigation. Safety Update. Vol. 5, No.3, August 90, 2-3.

George, Dr. Gerald. Reflections on spotting. Safety Up­date. Vol. 3, No.3, May 88, 2.

George, Dr. Gerald. Remediation proceduresapplilicabale to victims of suspected catastrophic injury in landing pits. Safety Update. Vol. 4, No.1, March 89, 1-3.

George, Dr. Gerald. Spotting - a sacred trust. Safety Up-

I

date. Vol. 3, No.1, February 88, 1-2. George, Dr. Gerald . USGF national certifiers are "a cut

above." Safety Update. Vol. 4, No. 1, March 89,1. Helschien, Margi. Making your gym safe. Safety Update.

Vol. 5, No.1, February 90, 3. (Safe-proofing your gym for pre-school).

Imrie, Stephen (MD). The use of ibuprofen during active participation in gymnastics. Safety Update. Vol. 3, No. 4, May 88, 4.

Issues and Answers. George, Gerald . Safety Update. Vol. 3, No.1, February 88, 2. (mat placement, removal of LB).

Issues and Answers. George, Gerald. Safety Update. Vol. 3, No. 2, May 88, 2. (the "penny drop").

Issues and Answers. George, Gerald. Safety Update. Vol. 3, No.4, May 88, 1. (multiple performers 0'1 the beam, teenagers taking the Safety course).

Issues and Answers. George, Gerald. Safety Update. Vol. 4, No.1, March 89, 7. (placement of base mat, repairs of equipment, pacement of beam on mat, letters to the editor).

Issues and Answers. Safety Update. Vol. 4, No. 4, Decem­ber 89, 6. (measurement of equipment, side-leap).

Issues and Answers. Safety Update. Vol. 5, No.1, February 90, 1-2. (Age requirements for certification, New materials).

Issues and Answers. Safety Update. Vol. 5, No.2, May 90, 3. (Mirrors, Tendinitis & Bursitis, Jewelry).

Issues and Answers. Safety Update. Vol. 5, No.3, August 90, 5. (dowel grips on rings, use of 4" mats, the 1 3/4 sommersault) .

Jacki, Mike. Executive Director's Report. Safety Update. Vol. 3, No.1, February 88,1.

Jacki, Mike. Executive Director's Report. Safety Update. Vol. 3, No.3, May 88, 1.

Jacki, Mike. Executive Director's Report. Safety Update. Vol. 4, No.4, December 89, 1.

Jacki,Mike. Executive Director's report. Safety Update. Vol. 4, No.2, May 89, 1.

Jacki, Mike. Executive Office Report. USGF club survey now being tabulated. Safety Update. Vol. 3, No.2, May 88, 1.

Moskovitz, Dave. The role of safety certification in the professional development program. Safety Update. Vol. 5, No.4, Nov90, 1-2.

Newman, Alan (MD). Injury Report Form. Safety Update. Vol. 4, No.4, December 89, 2-3.

Nisonson, Barton (MD) and Goldberg, Barry (MD). Acute hemarthrosis of the adolescent knee. from: Physician

and Sportsmedicine, Vol 17, No 4, April 89, 75-87. Safety Update. Vol. 4, No.2, May 89, 2.

O'Connor, Partick. Insurance: past, present and future. Safety Update. Vol. 3, No.3, May 88, 3.

Rockwell, Jack, RPT, A TC, MS. Tendonitis. Safety Update. Vol. 4, No.3, August 89,5-6.

Sands, Bill (PhD). Safety Information, research and ideas. Safety Update. Vol. 3, No.2, May 88, 3-4. (plyometrics)

Sands, Bill (Ph.D). Safety information, research and ideas. Safety Update. Vol. 3, No.3, May 88,4. (conduct a through warm-up).

Steinsland, Olaf. Prevention of low back pain in young gymnasts. Safety Update. Vol. 5, No.4, Nov90, 2.

USCF safety certification program 1990-93 2nd cycle course rates information. Safety Update. Vol. 5, No.1 , Feb­ruary 90, 2.

USGF Waiver and Release Form (example). Safety Up­date. Vol. 4, No. 2, May 89, 3.

Whitlock, Steve. CPR training. Safety Update. Vol. 5, No. 2, May 90, 2.

Whitlock, Steve. Dowel handgripsand injury prevention. Safety Update. Vol. 3, No. 4, May 88, 3. (and wrist-grip injuries).

Whitlock, Steve. Educational and safety matenals for gymnastics. Safety Update. Vol. 3, No.4, May 88, 5.

Whitlock, Steve. Giving medication to young athletes. Safety Update. Vol. 3, No.4, May 88, 4

Whitlock, Steve. Increasing the level of safety awareness in your gym. Safety Update. Vol. 4, No. 3, August 89, I­S. (Safety posters, etc)

Whitlock, Steve. Inspection of gymnastics facilities and equip­ment. Safety Update. Vol. 4, No.1, March,89, 3 and 5:6.

Whitlock, Steve. Preschool motor development screenmg. Safety Update. Vol. 5, No. 4, Nov90, 3.

Whitlock, Steve. Primary injury concerns: ankles and knees. Safety Update. Vol. 4, No.1, March 89, 4.

Whitlock, Steve. Release and waiver of liability and in­demnity. Safety Update. Vol. 4, No.2, May 89, 6.

Whitlock, Steve. Safety certification mandate. Safety Update. Vol. 5, No.2, May 90,1.

Whitlock, Steve. Slide presentaton. Safety Update. Vol. 5, No.2, May 90, 2-3.

Whitlock, Steve. When is a gymnast Ready? Safety Up­date. Vol. 4, No.4, December 89, 2 and 5.

Whitlock, Steve. When is spotting appropriate? Safety Update. Vol. 4, No.2, May 89, 5-6.

Technique 1991/92 Advertising Deadlines:

1991 Advertising Schedule Issue Reservation Due Date Approx. Dis!. VoI.11 , No.1 Nov. 25, 1990 Dec. 5, 1990 Jan. 15, 1991

Statistics: Vol. 11, No. 2 Feb. 10, 1991 Mar. 5,1991 April 15, 1991 VoI.11,No. 3 May 10, 1991 June 5, 1991 July 15,1991

Published: Quarterly Vol. 11 , NO.4 Aug. 10, 1991 Sept. 5, 1991 Oct. 15,1991 Circulation: All USGF Professional members Vol. 12, No.1 Nov. 10, 1991 Dec. 5, 1991 Jan. 15,1992

(approximately 7,500-10,000) Vol. 12, No.2 Feb. 10, 1992 Mar. 5, 1992 April 15, 1992 Vol. 12, NO.3 May 10, 1992 June 5, 1992 July 15, 1992

Readership Profile: Vol. 12, NO.4 Aug. 10,1992 Sept. 5, 1992 Oct. 15,1992

Technique is received by all professional members of the U.S. Gymnastics Federation. This elite and power-

1991 Advertising Specifications and Rates: ful group includes all coaches, club owners, judges and ~ 2x's 3x's 4 x's administrators.

Full Page BIW(bleed) 85/8 x 11 1/4 $750 $700 $650 $600 Technique provides its readers with current research Half page BIW(live area) 47/8 x 73/8 $500 $450 $425 $400

topics, coaching trends and the official minutes from all 1/3 page BIW (horizontal) 7 3/8 x 33/8 $375 $325 $275 $225 USGF committee meetings to assist gymnastics profes- 1/4 page BIW 31 /2 x 47/8 $300 $275 $225 $200 sionals throughout the country. 1/6 page BIW 21/4 x 47/8 $250 $225 $200 $175

By advertising in Technique, your product or service Back cover BIW 73/8x10 $1000 $900 $850 $800

is basically mailed to a list of professional members in a form which will be looked at, even studied, and then , kept permanently. This gives your ad extra impact. Please direct any inquiries to:

I!:=: Luan Peszek, Production Coordinator As a compliment to your advertising schedule in USGF

USA Gymnastics, or as its own entity, Technique will .....c .. Pan American Plaza, Suite 300

I

provide you with excellent exposure to a very select .0 .. 201 S. Capitol Avenue and highly motivated audience. -- . Indianapolis, IN 46225

I TECHNIQUE January - March 1991 47

Non-ProfH Organization U.S. Postage

PAID Permit No. 7867

Indianapolis, Ind.

SAFETY CERTIFICATION

TESTING Scheduled Courses Friday, January 4, 1991

Omaha, NE -1:00-7:00pm Omaha School of Gymnastics, 6124 N. 99th St., Omaha, NE 68134 (402) 571-6630 Course Dir.: Mike Stanner (402) 339-2924

Saturday/Sunday, January 5/6, 1991 High Point, NC High Point Gymnastics Academy, 108 Westover Dr., SUite 102, HIgh Point, NC 27265 (919) 869-3589 Course Dir.: Don Davis (919) 790-9400 Local Contact: Rob Travers (919) 869-3589

Friday, January 11, 1991 Ann Arbor, MI - 12:30-7:00pm Gym America, 4611 Platt Rd., Ann Arbor, MI 48108 Course Dir.: David Kuzara (313) 436-8529

Saturday, January 12, 1991 1. Albany, GA - 9:00am-3:00pm

Quality Inn-Marry Acres, 1500 Dawson Rd., Albany, GA 31707 Course Dir.: D.J. Milem (904) 641-9966 Local Contact: Marcia Lamb (912) 888-2595

2. Burke, V A - 5:00-1O:30pm Karon Gymnastics, 5581 Guina Rd., Burke, VA 22015 Course Dir.: Michael Rizzuto (814) 238-8995 Local Contact: Milan Stanovich: (703) 323-0088

3. Salt Lake City, UT - 9:00am-4:00pm Universiry of Utah, HPER Building Course Dlr.: Gerald George (318) 988-1220 Local Contact: Greg Marsden (801) 581-3513

Sunday, January 13, 1991 1. Yonkers, NY - 8:00am-2:00pm

Gym Cats, Inc., 1 Odell Plaza, Yonkers, NY 10701 Course Dir.: Paul Spadaro (718) 816-6287 Local Contact: Stacy Frey-Carrero (914) 965-7676

2. Greenville, SC -1:00-7:00pm Piedmont Academy of Gymnastics 2595 Rutherford Rd., Greenville, SC 29609 Course Dir.: Robert White (803) 268-3790

3. Hanover Park, IL - 9:00am-4:00pm Gym-Khana, 1700 Tower Dr., Hanover Pk., IL 60103 Course Dir.: Monte Kimes (312) 733-7200 Local Contact: Jackie Buckley (708) 483-0330

This course will be condllcted in conjunction with the USGF lllinois Women's State Clinic.

4. Fullerton, CA - 9:00am-4:00pm Cal State Fullerton, Physical Education Building, 800 N. State College Blvd., Fullerton, CA 92634 Course Dir.: Jeff Lulla (818) 845-0700 Local Contact: Tina Preston (714) 558-7256

This cOllrse will be condllcted in conjunction with the USGF SOli them California State Congress.

Sunday, January 20, 1991 Springfield, MA - 10:00am-5:00pm Springfield College, Physical Education Comlcx Course Dir.: Steve Posner (413) 788-3357 Contact: Technique Gymnastics Camp, 47 Fairfield St., springfield, MA 01108 (413) 739-5009

Friday, February 1, 1991 Boise, ID - 8:00am-3:00pm BSU, Human Performance Center Classroom (Bronco Gym), 1910 University Dr., Boise, ID 83725 Couse Dir.: Yvonne Sandmire (208) 385-1657

Sunday, February 10, 1991 MadIson, AL - 9:00am-4:00pm Southern States Gymnastics, 106-A Castle Dr., Madison, AL 35758 (205) 837-7395 Course Dir.: Mike Goodale (205) 837-7395

Sunday, February 17, 1991 'Colorado Springs, CO - 9:00am-2:30pm U. S. Olympic Training Or., Colorado Springs, CO Course Dir.: Dave Moskovitz (317) 237-5050 Local Contact: Ron Brant (719) 578-4500

Saturday, February 23, 1991 'Altamonte Springs, FL - 8:00am-1:30pm Altamonte Springs Hilton, 350 S. North Lake Blvd., Altamonte Springs, FL 32701 (407) 830-1985 Course Dir.: Dave Moskovitz (317) 237-5050

Saturday, August 3, 1991 Stroudsburg, PA -10:00am-5:00pm International GYllmastics Camp, Golden Slipper Rd., Stroudsburg, PA 18360 (717) 629-0244 , These courses are considered USGF National Courses, and therefore the participants will be charged the group rate of $60.00 per person.

1. The text book for the Certification Course is the USGF GYMNASTICS SAFETY MAN­UAL. This texVreference manual is to be purchased and studied prior to course partici­pation.

2. The course will take approximately six hours, including the test.

3. Certification is good for four years. 4. The Course fee is $100.00. USGF members

and second cycle recertification is $75.00. Retest cost is $25.00. For groups of at least 5, contact the USGF Department of Safety and Education (317) 237-5050.

r------------------------, Participation Registration Form

Name: Mr./Mrs./Ms. ______________ Soc. Sec. # ______ _

Address: _________________________ _

City: _____________ State: ______ Zip ___ _

Telephone: (H) _________ (B) ______ ___ _

Course Director: _______________________ _

Course Location: Date: ____ _

Organization Represented: ___________________ _

If USGF Member, List Type and Number _ __________ _

Form of Payment: D Check D Visa 0 Mastercard Name on Card: Number: ________ _

Expiration Date: Signature: ______________ _

Please make checks payable in full to USGF SAFETY CERTIFICATION Mail Registration Form and Payment to Respective Course Contact.

00 NOT WRITE BELOW THIS LINE • FOR OFFICE USE ONLY (T191)

Registration Form Received: _______________ __ _

Confirmation Mailed: __________ __________ _ L ________________________ ~