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GYMNASTIC POSTERS "Suitable for framing"

Beaut iful four co lo r 2 0 " x 24 " Mademoi ­selle Gymnast Vo l. 1 #2 Cover Photo Poster $1 .00 P .Pd .

Mademoise lle . Gym nast Cover Pho to Vo l. 1 # 4, 16'12" x 23 " SOc P.Pd .

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MADEMOISELLE GYMNAST AAHPER SPECIAL

At our booth we had a Very Specia l get acquainted with MADEMOISELLE GYMNAST Offer! All 4 issues of MLLE. G. Volume I for 1966 for just one dollar. Hundreds of teachers took us up on this SPECIAL including many subscribers who had used their copies for bulletin board aids or whose copies of MLLE. G. had become dog-eared from constant use.

We would like to extend this SPECIAL OFFER to our readers that were unable to attend the AAHPER Convention and vis it our display booth. If your Volume I copies of MLLE. G. are all cut up or dog-eared or if you would like us to send this 1966 4-issue packet as an INTRODUCTORY SPECIAL to a potential subscriber ... then order now while we still have a supply on hand. Send one dollar (plus 30c in coin or stamps to cover postage) for each packet you order.

For MLLE. G. SPECIALS:

Barbara B. Sundby Managing Editor

Mail $1 (plus 30c postage) for Packet

To: MLLE. G. SPECIALS Box 777 Santa Monica, Calif. 90406

LADIES' GYMNASTIC SHOE

An extremely flexiable snug-fitting shoe with

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1966 WORLD CHAMPIONSHIPS FILMS

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Box 777 Santa Monica, California 90406

Volume 2, No. 3 JAN.-FEB. 1968

CONTENTS

EDITORIAL ........................................................ 6 CLUB 15 .......................................................................... ~ FINNISH GYMNASTIC TEAM TOUR ............................... . "SCATS" GYM CAMP .................................................... 12 NATIONAL SUMMER CLINIC .......................................... 14 EASTERN GYMNASTIC CAMP ..................................... ... 14 MINNESOTA GYMNAESTRADA ........................................ 15 USSR WORLD CHAMPIONSHIP TEAM .......................... 16 BALL GYMNASTICS ........................................................ 18 OLYMPIC COMPULSORIES ............................................ 21 PHOTO SEQUENCE ACTION ............................................ 26 FIRST MEET .................................................................... 27 19 AMERICAN DAYS ...................................................... 27 HELEN'S CORNER .......................................................... 28

COVER: El ena Karpouk hina of the USSR . first place winner in the Free(no hand apparatus) routine at the 1967 III World "Gymnastique Moderne" Champion­ships held in Copen haugen, Denmark (Look for t he complete results, photos and competition data in the next edition of Mademoiselle Gymnast).

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

MADEMOISELLE GYMNAST is published bi-monthly during the school year (Sept.-Oct., Nov.·Dec., Jan.·Feb., March-April , May­June). Price: $3.00 per year, 75c single copy. Subscription correspondence, Box 777, Santa Monica, California 90406. Copyright 1968 all rights reserved by Sundby Publications, 410 Broadway, Santa Monica, California 90401.

GYM NASTIC PIN

Dear Mr. Frederick: . At the Minnesota gymnaestrada, you requested some Infor­

mation concerning the origin of our gymnastic symbol and pin. d b

The Minnesota D.G.W.S. gymnastic symbol was create y Mrs. Mary Lou Roloff several years ago whil.e she. was a phy~i­cal education instructor at John Glenn JUnior High School In Maplewood. .

Two years ago, wi)en the Minnesota D.G.W.S. gymnastics committee began publishing a newsletter called "La Gymnas­tique", Mrs. Roloff's design was used as part o.f the n~wsletter heading. "La Gymnastique" .is no longer publl?,hed since t~~ Minnesota D.G.W.S. now has ItS own newsletter, The Informer, which includes gymnastic news. But the design, which became the Minnesota D.G.W.S. gymnastic symbol, is still with us.

Early last summer, th.e. state gy~nastic commi!tee . decided to look into the pOSSibility of haVing a gymnastic pin m~de using the design. Josten's Company agreed to make the pins and charms . fr us. Thus evolved our state gymnastic pin and charm design.

The committee presented bronze pins to all of the c.ampers at our first gymnastic camp last s.ummer. The bro~~~ pinS ar~ not available to anyone else, which makes the first year campers' pins extra special. ..

Since that time, the committee has been seiling the PI~S and charms, either gold-filled or gold-plated, to gymnastic groups throughout the state. The te.achers and coa~h~s hav.e used the pins and charms in a vanety of ways within their own gymnastic clubs.

NOTICE

LYNNE Y. JOHNSON Minnesota DGWS

Gymnastics Committee

F.I.G. WOMEN'S TECHNICAL COMMITTEE PRESIDENT IN U.S.A. - FEBRUARY 9·18, 1968

The President of the F.I.G. Technical Committee for Women, Madame Berthe Villancher, of France will come .to the United States in February of 1968 under the sponsorship of the U.S. Gymnastics Federation. Madame Villancher has consented to present three lecture courses in the United States. She has become one of the sport's most noteworthy and talented lead­ers in women's gymnastics and we are indeed pleased that she has graciously accepted our invitation to visit the U.S.A.

The U.S.GJ. Women's Committee has made arrangements for lectures at the University of Massachusetts, Southern Illinois University, and the University of Colorado. She will lecture on the International Gymnastics Federation, the 1968 Olympic Routines and technical women's gymnastics, and also discuss and describe the newest of gymnastics events for women-Gymnastique Moderne (Modern Gymnastics). She has indicated that she will bring with her a film taken recently at the Third World 's Championships in Gymnastique Moderne, conducted in Copenhagen, Denmark.

Following is Madame Villancher's itinerary: February 10 and 11 , 1968 at the University of Massachus­

etts, Amherst, Massachusetts. There will be a registration fee of $10 for adults, $2 for students. The preregistration dead­line is February 3, 1968 and is desirable. Make the check payable to Kitty Kjeldsen . The lecture course will begin on February 10 at 9:30 A.M. in the Women's Physi~a l Ed.uc~tion building. For further information contact Mrs. KItty KJeldsen, Women's Physical Education, University of Massachusetts, Am­herst, Massachusetts.

February 13 and 14, 1968 at the University of Colorado, Boulder, Colorado. For further information, fee and schedule contact Miss Sharon Wilch, 6357 W. Mississippi Place, Den­ver, Colorado.

February 16 and 17, 1968 at Southern Illinois University, Carbondale, Illinois. For further information. fee and ~chedule contact Mr. Herb Vogel, Women's Physical Education, Southern Illinois University, Carbondale, Illinois.

Madame Villancher represents our sport and the F.I.G. in a most impressive manner. Her leadershio in international women's gymnastics has been superlative. Plan to attend the lecture course nearest you.

COLLEGE WOMEN WILL COMPETE FOR NEW NATIONAL CHAMPIONSHIPS IN FIVE SPORTS

WASHINGTON, D.C., December 7, 1967-More high level competition in athletics for college women?

The fi rst an nua I nationa I intercollegiate ath letic championships for women will begin with a gymnastics meet in March or April of 1969 and a track and field meet will follow a month later. National championships will be held in 1970 in speed swimming,. badminton , and volleyball. A 26-year-old national golf tournament will be continued under the same auspices.

Announcement of the new championships was made by Katherine Ley, chairman of the Commission on In­tercollegiate Athletics for Women. The Commission, which began operation last September, was formed by the sixty-year -o ld Division of Girls and Women's Sports (DGWS) to give college women more opportunities for' high level competition in ath letics.

Colleges wishing to host the gymnastics meet have been asked to submit bids between January 1 and March 1, 1968. Bids for a track and field site open March 1 and close May 1, 1968.

All DGWS Championships and Commission-sanc­tioned events are "c losed." This means closed to all but full time junior college , college or univers ity women students.

Miss Ley said that sponsorship of the 26-year-old Women's Collegiate Golf Tournament will be continued by DGWS and that national competitions in additional sports will be added as resources become available. Mail tournaments in archery and bowling will be con­tinued.

" These national championships will give talented young women something to strive for and greater in­centive for developing their athletic skills," Miss Ley said, "and so , we think , will be a means of opening up new avenues of endeavor for women_"

"Children growing up need heroines as well as heroes. We suspect that the naming of national cham ­pions each year in the different sports will make sports activity seem more desirable and will motivate less

talente9 girls all over the country to learn sports skills and to enjoy sports on their own."

Besides sponsoring the DGWS national champion­ships for college women , the new Commission will "sanction" district, state , and . regional competitions in which five or more schools take part. The Commis­sions sanctioning service includes consultation and guarantees participating schools that the organiza­tional plan of the event will meet established stand­ards.

Two events have so far been sanctioned by the Comm ission-the First Annual United States Inter­collegiate Archery Meet held November 17-18 at Ari­zona State University, Tempe, and a . swimmfng meet at the University of New Mexico, Albuquerque , on De­cember 9.

Miss Ley said that the Commission believes it may be feasible to establish regional and district champion­ships in the next few years in order to qualify partici­pants for some of the national championships. These would be particularly needed for such sports as golf which draws grea t numbers of participants having a wide range of skill. Other sports , such as skiing , may be held only regionally. For example, the pattern for skiing might be two regional events-a western and an eastern.

Colleges wishing to host the gymnastic or the track and field championships may secure further in­formation from Miss Ley, State University of New York . Cortland, New York 13045.

Other members of the Commission are Phebe Scott, the Ohio State University, Columbus, and Maria Sexton , College of Wooster, Wooster, Ohio. Miss Scott is in charge of mail tournaments and Miss Sexton handles sanctioning of events by the Commission.

Rachel E. Bryant , Consultant on Girls and Women 's Sports of the American Association for Health , Physi­cal Education, and Recreation is ex officio member of the Commission.

A. B. Frederick, Editor

·6·

FROM MALMO Probably the most famous of al exhibition Ball Gym·

nastic teanis are the Malmo Girls (Malmoflickorna) from Malmo Sweden. Under the direction of Mrs. Leida Leesment (an Esthonian Gymnastic teacher who came to Sweden 'after World War II) the Malmo Girls have toured all over the World presenting their unique ball routines.

The girls have performed before the crowned heads of Europe and appeared twice on American Television (The Ed Sullivan Show) and were on the first color television sports program in Europe (Berlin in 1967). They have also taken part in many world Gymnastic events (at the Gymnaestrada in Vienna in 1965 they were unofficially named the best troup),

The Touring team is made up of about 20 of the Elite from the over 600 children and women between the ages of

7 and 70 who attend classes conducted by Leida Leesment or one of her assistant leaders in Sweden . Many of these leaders now have programs in other parts of the world , Canada . etc. The girls that tour are not professional , they take time off from their school or work to be part of a group such as the one pictured here that recently performed at the California State Physical Fitness Clinic at Cal State Fullerton . The girls of course did not come all the way from Sweden to take part in this Clinic, it was just fortunate that they were appearing at " Cesars Palace" in Las Vegas (with permission of the Swedish Gymnastic Federation) and with a little aid and encouragement from Mademoiselle Gymnast they came to Los Angeles to put on a impromptll exhibition for the teachers.

We want to publicly in print thank Mrs. Leesment and the girls for this fine performance and unselfish jestllre tn share with us their talent. (It was a hectic day of poor plane schedules. mixed-up tape recorders, and rushin g around, we didn't even get a chance to show them Disney· land) ... We all appreciated your exhibition very much, again we say Thank You.

CAMPBELL'S CLUB 15 STARS AT 3 NFL GAMES

As a dramatic demonstration of the CLUB 15 program , Campbell's public service crusade for physical fitness among teen-agers, champion gymnast Muriel Davis Gross­feld and 1500 local high school girls enlivened half-time at three major National Football League games this Fall with a dazzling Physical Fitness Show.

The kick-off Show was at Busch Stadium in St. Louis on October 22nd. While the St. Louis Cardinals and the Philadelphia Eagles licked their wounds between halves . CLUB 15's Muriel Grossfeld and 600 local St. Louis and Richmond, Indiana high school girls took the field. In a dazzling entertainment that showed the approach to physical fitness from the day of the middy blouse to the day of the mini-shift. they made fitness look fun . A similar show was presented in Atlanta on November 19th, with Atlanta teen­agers at the game between the Atlanta Falcons and the Los Angeles Rams. The final Show was in Los Angeles on December 17th, where the Los Angeles Rams were vic­torious over the Baltimore Colts .

This ambitious demonstration of Campbell's CLUB 15 results from the close co-operation of many organizations: NFL, CBS-TV, local boards of Education, high school physi­cal education departments and hundreds of high school

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girls. Each show was televised, the first two on regional CBS hook-ups and the last on the national CBS network.

The high point of each Show was a solo gymnastic exhibition on uneven parallel bars and balance beam by Muriel Grossfeld. member of three U.S. Olympic teams. coach of the 1967 Pan American team and of the 1968 Olympic team. As Fitness Consultant to Campbell Soup Company since 1965. Muriel has electrified teenage audi­ences in over 100 cities and enlisted over 2.5 million high school girls in Campbell's CLUB 15.

The fitness show runs 8 minutes. Records of the music and the teenage demonstration parts of the routine instruc­tions are available free by writing to CLUB 15, Football Shows, Box 1515, Maple Plain, Minnesota 55359.

Elna Kopponlen, Director of the Team, Coun­selor in Education, Head Teacher of Educational Gymnastics at Helsinki University.

Sirkka-Liisa Haimi, 21. Hobbies: Finnish baseball, literature, movies.

Sirkka Lehtinen, 24. Hobbies: boating, panto­mime, knitting.

---------~--'--~

Tarja Sipola, 22. Hobbies: basketball, knit­ting.

THE TEAM OF HELSINKI

UNIVERSITY

Helena Hannula, 24. Hobbies: slalom, tennis, fine art exhibitions, poetry.

Pirjo Nevalainen, 22. Hobbies: slalom, tennis, sewing.

Arja Sysimetsa, 24. Hobbies: Finnish baseball, literature, movies.

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Raija Karjalainen, 22. Hobbies: slalom, languages, movies.

Ritva Salimaki, 23. Hobbies: basketball, knit­ting.

Paivi Viljanen, 23. Hobbies: running (relay­races), music, . dressmaking.

Maria Tarasti, Accompanist and Composer of the Gym­nastic music.

Leena Kivioia, 21. Hobbies : riding, music sewing.

Aria Sipponen, 23. Hobbies: tennis, knitting.

Pirkko Vuori, 23. Hobbies: slalom, tennis, re­citation.

Finnish Exhibition Team at the University of M innesota (Duluth)

MODERN FINNISH GYMNASTICS FOR WOMEN From Finn Gymnasts 1967 Tour

By "modern Finnish gymnastics for women" we mean physical education for women. The tradition of systematic physical education for women has continued now for almost a hundred years, and it is the Finnish women themselves who have been in the leadership of this tradition . In Finland the training of women gym­nastic teachers , by women , goes back to th-e year 1872.

At the beginning of the present century the system which was used in gymnastics for women in Finland was the so-called "Ling System", from Sweden. But Miss Elli Bjorksten , the head teacher of gymnastics for women at the University of Helsinki, found that the Ling system was too l imited. It was too stiff and formal. As she put it, it was "not for I ivi ng people!" Miss Bjorksten ins isted that every gymnastics lesson should be a stimulating experience, in itself. The results to be aimed at were the improvement of postu re, devel­oping strength and endurance, and certain skills-but these results , according to Elli Bjorksten , could and should be obtained through movements which were rhythmical ,joyful , and feminine. Certain of the basic physiological principles of the Ling system were kept unchanged. But the gymnastic exercises as conceived by Elli Biorksten were quite different. She laid great stress on how the teacher used her voi ce and in gen­era l how the teacher projected her personality. It was important to create certain mental images in the minds of the participants . It was important to use music. The innovations introduced by Miss Biorksten were noted with interest throughout the world.

Miss Bjorksten was followed at the University of Helsinki by Mrs. Hilma Jalkanen, who became famous all over the world as an exponent of a style of rhythmi­cal gymnastics wh ich was identified as the "modern Finnish" style. Hilma Jalkanen was of the opinion that the systems and methods then in use in the schools of modern gymnastics in Central Europe were not ap-

-9-

propriate for the teaching of teachers of ·physical edu­cation in Finland. And she went beyond the innovations that had been introduced by Elli Bjorksten. Hilma Jalkanen felt that the objectives of physical education had been best defined in the ideas of the ancient Greeks and in the doctrines of Francoise Delsarte in France and of Genevieve Stebbins in the United States. Gymnastics teaching , she held, should be "natural" and based on systematic insights into the body and the tra ining of the body. And gymnast ics should be called upon to serve the needs of persons living in our modern age. The modern way of living, with all its stress and strai n, br ings about certain mental and physical inhibitions. Gymnastics ought to release us from those inhibitions. And gymnastics has the function of developing poise. What is poise? What does it mean to be poised? Hilma Jalkanen wrote: "Those persons have 'poise' who have developed their spiritual, mental and physical qualities fully, in accordance with their potentialities. Such persons are capable of releasing their latent powers , of placing their talents at the service of society and mankind as a whole . . . Poise is both spiritual and physical. Mental and physical inhibitions block the attainment of poise. People who are chronically under psychological and physical ten­sion, who have faulty posture, who are incapable of coordinating their muscular movements in a smooth way , who breathe incorrectly-these people are pre­vented by their inhibitions from attaining poise. And very few people are comp letely free of inhibitions of this sort."

Thus, human beings in the modern world are pre­vented by certain inhibitions from attaining poise. And insofar as gymnastics exercise is merely mechanical it fails to affect the who le person and it cannot release people from their inhibit ions. Gymnast ics must trans­cend the merely static. In the Ling system the basic

elements of gymnastics were various "attitudes" or static positions which were assumed, almost as tho.ugh human beings were statues! Elli Bjorksten had r~allzed that it was necessary for gymnastics to be mobile and rhythmic-calling into play the whole personality and putting the body and its movements into a state <;>f harmony. Hilma Jalkanen adepted moder~ gymnas~lc methods to attain these goals. The focusing and dis­persing of energy and movement have to be mastered as a kind of rhythmic cycle-to become taut and to become relaxed in turn. If a girl learns how alternately to exert all her strength ·and then to relax completely -to go ·from the extreme of motio~ to complete rest -from being completely taut to being complet~ly re-laxed-then movement and rest become a continuum at every point of which she is in control of herself and of her body. She can then move naturally, totally. ~er movements will be complete in themselves. The action of her muscles will be harmonious. She will learn to express herself through her movements .. This is the kind of gymnastics that develops harm~ny In th~ wh?le personality. And it is through gymnastics of this kind that poise is attained. .. .

Gymnastics for women as practiced In Finland can be divided first into Basic Gymnastics and later The Development of Expressive Movement. Th~ ~asic Gym­nastic exercises are divided into the preliminary loos­ening-up exerc ises are first relaxin~-exercises to cou~ ­teract the unbalanced tensions which have been bUilt up unnaturally in the body and second stretching­exercises to restore to the joints their full range of movement and maintain the ability of the joints to move through their full range of natural movement.

The constructive exercises include separate exer­cises to develop the flexibility, strength , and neuro­muscular coordination of different parts of the body. And then the constructive exercises include total move­ments of the whole body to develop the capacity for harmonious, dynamic, and expressive movement; strength and endurance; skill in particular maneuvers;

-10-

Univ. of Minn. (Duluth) Clinic

good, natural posture; correct breat~ing; m.ent~1 a~d physical poise-and finally, the feeling of JOy In life and movement.

During the gymnastic lesson most of the time is taken up by the constructive exercises. Most .of the exercises in this constructive phase of basic gymnastics are dynamic. The movement goes through the whole body as it were a kind of wave, going from one part of the body to another and gradually diminishing in intensity. The exercises include all the basic forms of organized movement - walking, running, bouncing, leaping, jumping. swinging, pushing, pulling. . .

The goal of all the exercises of baSIC gymnastics IS

harmony. There is an effort to achieve harmony in the assuming of an "attitude", in the counter-movement. in the muscular action as such. It is not the purpose of gymnastic movement to express emotions dra­matically, to represent or express the emotions of h3tp or love, or to represent the feeling of pain. But moder'l gymnastics is expressive insofar as the movement of "the human as a totality" is an expression. And through gymnastics the movement of the whole person brings complete satisfaction. The satisfaction is in the movement itself.

The development of expressive movement, or ex­pressive gymnastics, is based on basic gymnastics. Learning the movements of basic gymnastics is like learning one's ABCs. And the development of expres­sive movements, the gymnasts have the opportunity to use the skills they have acquired in basic gymnastics. In the developing of expressive movements the gym­nasts are taught more advanced sequences of rhyth ­mical movements. The dovelopment of expressive movements begins with the basic forms of organized movement which we mentioned above- walking, run­ning, hopping et cetera-and though these basic forms of organized movement are at first rather sim­ple , the train ing makes more and more demands on the performer. As the performer becomes more expres­sive mentally the possibilities of even more complex movements are released. From small, simple move­ments the performer is led through combinations of such simple movements into more complex series of rhythmical movements. Rhythm is conceived of as a

certain utilization of time and space to which the body is trained. The program reaches the point where such materials and equipment as balls , clubs, hoops, ropes, tambourines and cymbals can be incorporated into the movements. And every gymnast is also given the op­portunity to move freely and individually, to improvise, to feel the pleasure of choosing motions, to imagine and fulfill the possibilities of different kinds of move­ment. The exercises in the development of expressive movement are often accompanied by piano music. And the pianist may improvise the music to suit the char­acter and rhythm of the movements. We also use per­cussion instruments of various kinds to produce music as an accompaniment to movement.

In the gymnastics for women in Finland there is an effort during every lesson to practice the move­ments appropriate for every muscle. We pay special at­tension to strengthening the muscles of the shoulders , back and stomach-in order to bring about good pos­ture. Each movement is repeated a number of times. It is encouraging to the gymnasts to repeat the same movement a number of times and feel themselves be­coming more and more capable of going through the movement. The results get better and better. We have discovered that it is wise not to introduce too many new movements at one time. And we try not to intro­duce movements which are too difficult, which the gymnasts are not ready for. We introduce new move­ments when the gymnasts are ready for them, when they can be performed correctly and without a sense of frustration. It is important to produce a bright and cheerful atmosphere. The gymnasts in such an atmos­phere are more interested in the exercises and the re­sults are better. But the gymnastic lesson should not degenerate into mere horse-play and hubbub. The stu­dents come to the lessons to learn something. And the main pleasure of the students is in their awareness that they are developing and improving. It is our cus­tom to pract ice each movement many t imes and to teach what amounts to almost the same program at least three times before embarking on a new one.

The exercises we have adopted in Finland are ap­propriate for all women , no matter how old they are. After all , God has created women to be human beings

with feelings, impulses, thoughts, and motions. And women need to be physically active in order to stay healthy and to be able to work-to their own advant­age and to the advantage of their country.

Modern industrialized life has a dehumanizing effect. Women need the experience of physical move­ment as such, as well as the pleasure and relaxation to be gained from gymnastics. It is important for a woman to find a way in modern industrialized life to feel more like a human being rather than a machine.

Elna Kopponen Certified as a teacher of physical education at the

University of Helsinki in 1929., Elna Kopponen con­tinued her training both in Finland and abroad, in sev­eral European countries, and as a Fulbright grantee in the United States in 1955-56.

For over twenty years Elna Kopponen was a teacher of physical education in Helsinki in the "Normaalilyseo" for girls-supervising the practice-teaching of young graduate physical-education teachers.

In 1959 she became the head teacher in the Uni­versity of Helsinki Institute for Physical Education for Women, instructing in advanced physical-education techniques and also teaching teaching-methods to the future physical -education teachers.

The President of Finland confirmed the award of the title Counselor in Education to Elna Kopponen in 1966.

Elna Kopponen has led the Finngymnasts in many demonstrations for the public both in Finland and abroad (and visited California with the Finngymnasts at the invitation of the Department of Education of the State of California in 1964.)

Elna Kopponen has served on the Sport Committee of the State of Finland and is currently a member of the board of the Finnish State Sport Association and Vice-president of the "Suomen Kuntourheiluliitto" (The Finn ish Association for Athletic Conditioning).

Among the awards received by Elna Kopponen are the Gold Cross of Finnish Sport and the Olympic Cross.

Elna Kopponen is an honorary member of the Fin­nish Association of Physical Education.

Campers and I nstructors take time out from activities at Big Bear Gym Camp to pose for Mademoiselle Gymnast photo

GYM CAMPING IN SO. CALIFORNIA 1967

by Bud Marquette, Gymnastic Coach, Long Beach, Cal. The First in the U.S.A. "All Girls" gymnastic camp

has ended , but the words "Best Ever" still resound through the canyons of the beautiful San Bernardino Mountains at Big Bear Lake. California.

The main objective of "Gym Camp" this year, was to give girls of all ability levels an opportunity to par· ticipate in a rigid and concentrated program under the guidance of experts.

Limiting registrations to 110 campers proved to be quite a chore , hflwever in future years extending the camp periods will resolve this situation.

The staff consisted of: Director-Mud Marquette, Head coach of SCATS Program Director-Mrs. Del Youngren, Jordan

High School , Long Beach. Calif. Central Staff-Dan Speraw, Lou Hintnaus, Jim

Mills , John Trammell , Jan Bickmore, Judy Trammell,

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Pennv Brown. B8rbara Broadbent, Erlinda Schnieder, and Brenda Villard.

The program was highly instructional in nature and consistAd of 6 periods of 50 minutes duration each day. The four olympic events plus tumbling were stressed throughout the eight day period.

The evening hours were devoted to social activi· ties with wonderful campfire programs prevalent. The camp theme this year was "All American Girls" living together as each living group represented a part of the early history of the U.S.A. and so honored their flag each morning at the flag raising ceremony.

Once again there was nothing but praise for the camp, staff and program. The equipment was furn· ished by Mr. Lou Perschke of Nissen Corp.

The administrative staff is looking ahead to an even bigger and better camp in 1968.

The following article "Living Together" was pre· sented by a staff member, and done so well I thought it should be published for all to read.

LIVING TOGETHER Barbara Broadbent Staff Member Seattle, Washington

Much of what ails the world today is that they haven't really learned to "live together". With all our scientific advances, there is still lacking the ability to "live together" in harmony and understanding. Basic to living together in any group is a willingness to search for the goodness in people; to concern our­selves with the more meaningful parts of the person, which is the inn~r self. Too many of us are "surface people," interested in only the superficial make up or what appears on the outside, and we make our judgments from that. Instead, we should wait a little longer to see what exists inside. Some of the not so pretty people become almost beautiful when we begin to take the time to know the person.

Here at camp we share a common interest-gym­nastics, but there is much more that we must learn than the individual skills involved, and I would like to list for you, those things that are just as important for living as a gymnast as the physical skills we may learn:

1. Self Discipline-A dedication of yourself to that which you want to learn. Too many of us are impatient to move ahead too fast before we have the necessary tools with which to work. Tied in with this is the ability to concentrate. To concentrate on what you are doing even when there are distractions. The ability to con­centrate can come with 6 yr. olds or 10 yr. olds, but for many, it must be learned. It is one of the measures of a successful gymnast.

2. Respect-Respect for those who are working with us, along side of us, as well as for our­selves.

3. Enthusiasm - Enthusiasm for what we are achieving at whatever level we may be and en­thusiasm for the future and what is to come.

4. Appreciation-Appreciation for movement at all levels-in its initial "growing pains" as well as for its more seasoned partner. The advanced gymnasts, such as the SCATS we have here, are all able to appreciate the beginning move­ments of a new gymnast, for they know that it is here where they began and it is from these beginnings that our future gymnasts will come.

5. Desire to Achieve-Perhaps this should be at the head of our list, for it is basic to your suc­cess in gymnastics. It begins with an attitude and is smothered with perserverance; the type of perserverance that nothing can change. You have to want to achieve-you have to want to so bad that nothing can discourage you.

We will "live together"-our common interest, gymnastics. We will share our knowledge with you in hopes it will improve the individual and you in turn will share yourselves; with us the staff, as well as oth­ers around you and it is in sharing that each of us will grow, each of us benefitting from the other.

Lou Hintnaus instructing Aissia Wayne

Cathy Rigby, full-twisting hecht, Dan Speraw instructing

Rowena Jackson, John Trammell instructing

Winoy Cluff Lorie Nelson Dagmar Hintnaus

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National Summer Clinic

NATIONAL SUMMER GYMNASTIC CLINIC 1967

Another excellent turnout opened the 10th Annual National Summer Gymnastic Clinic held at Michigan State University. Jack Carr was the Program Director, Paul Fina, Associate Director, and George Szypula, Clinic Director. These men and Bill Meade, the Secreta ry·Treasu rer, form the Board of Direc· tors of the National Summer Gymnastic Clinic.

For the boy's meets the directors were Fred Orlofsky and Rusty Mitchell ; and for the girl's, Jackie Uphues and Judy Marr. As in previous years, the girl's competition was excel­lent-especially in novice and juniors. However, this year the boy's competition was of a higher quality.

Other outstanding staff members were: Ron Aure, John Brodeur, Jerry Clark, Jim Curzi, Tom Darling, Bob Dickson, Carl and Louise Engstrom, Jack Frowen, Delene J. Gifford, Dale Hardt, Bob Harris, Pamm Horack, Marcia Isaacson, Don Leas, Bob Marcellino, Jim McGraw, Barb McKenzie, Linda Metheny, Betty Meyer, Dick Mulvihill, Betty Jean (Maycock) Roys, Dick Shilling, Dennis Smith, June Szypula, and Toby Towson.

The "Nite of Stars" show, directed by Dick Richter, at­tracted a iine audience. Featured were winners from the com· petition plus other fine youngsters and outstanding gymnasts from colleges and universities.

The program was again directed to training judges, physi· cal educators, and coaches. One of the highlights of the Clinic was the use of the new Ampex Videotape machine-one of the most modern machines available. Linda Metheny and Col · leen Mulvihill performed the 1968 Olympic Compulsories, which were recorded on this machine. Other performances were recorded and examined by the participants also. This machine was loaned to the Clinic by " Biggie " Munn, Athletic Director at Michigan State University. We plan next year to use this machine more extensively.

The gym was completely covered with apparatus . In some cases there were six and eight pieces of apparatus available. It is fortunate that all of this apparatus can be housed in one gym. This makes supervision and teaching of participants more efficacious.

REPORT ON SECOND SESSION CAMP OF E.G.C. (EASTERN GYMNASTIC CLINIC)

Aug. 27 to Sept. 3, 1967 by Peg Broadley

The second session camp of Eastern Gymnastic Clinic under the direction of Muriel Grossfeld, William Coco and Marvin Domsky ran from August 27 to September 3 at Camp Deerhead, Hancock, New York. The weather provided an even assortment of very cold days, sunny warm days and rainy days. But the skillfully arranged work·out schedules provided either indoor or outdoor practice on all apparatus for more than 240 gymnasts and coaches gathered from t he Middle· Atlantic States and Illinois and Arizona.

Muriel Grossfeld instructed a group on Coaching and Judging for Women . Each member was given instruction on the old Novice Compulsory routines for floor exercise , uneven bars, beam and vault . Then each student was assigned to teach an intermediate gymnast either a set of these novi ce exercises or a set of optional exerc ises. One young gymn ast who volunteered for this work remarked ruefully to her coach , " Either they think we are great gymnasts or you are great coaches." But by workin g together in free periods between

·14·

the regularly scheduled classes of dance, bar, beam, tumbling and vault, the coach and gymnast pairs were able to present their exercises for judgment after five days, the time limit imposed by this clinic .

At the judging session for these exercises Muriel Gross· feld, Ginny Coco, Gail Davis and the class evaluated the coaches on appropriate use of the gymnast' s skills in develop· ing the rout ine, the artistic and rhythmic placements of stunts within the exercise area on both beam and floor exercise, and the connecting moves between stunts on all pieces. As a by· product of this intense course the gymnasts who took part now have complete or partial routines to perfect during the winter season .

Demonstrations on bars and beam were given in 2 parts. Doris Fuchs Brause, Sandy Gunnarsson Thielz, Colleen Mulve· hill , Patty McGarry, Cathy Gardner, Lisa Evans, Suzie and Diane Cantwell and Lisa Cain were the exhibiting gymnasts who illustrated Muriel Grossfeld 's explanations. They showed stunts on the beam with various connective moves-like get· ting into and out of splits and turns on toes, knees, hands and seat. On the bars they presented some beginning and intermediate moves (hip circles and glide kips) through step by step development for the learning gymnast.

The program for Men was carefully rotated stressing fundamental techniques during the regular class period on each event and allowing them to work on tricks and events of their choice under adequate supervision during the recre· ation periods. There was also a demonstration period each day for the men . Top notch performers who showed their special event were: Bob Stout-High Bar; Ed Isabel-Parallels; Bob Emery-Tumbling; Ed Isabel-Side Horse; Abie Grossfeld -Long Horse; Fred Turoff and Gary Anderson-Rings; George Hery-Trampoline.

The instructing staff numbered 50 or more talented and experienced men and women. Thei r classes were small and their responsibilities evenly distributed. Scheduling for them permitted rallying time in which to enjoy the many opportuni· ties at the camp or in Hancock for socializing or privacy. As a result the attention given to all students was ample and enthusiastic .

Fun· and games includes the staff show-" WEGC TV." After Doris Fuchs Brause in " full, living color" came Abie Grossfeld, Diane Cantwell and Lisa Cain, the variety show chorus line. Milan Trnka was fully in charge of World Affai rs. almost. Then the last episode of "The Fugitive" Wil S given a gymnastic twist. Newcasters Muriel Grossfeld " Hinkley" <1nd Bruce Tustin " Bruntley" introduced "weather·girl" Jim Cui· hane and reported on "Moonshot" with "gymnastronaut" Jim Amerine by interviewing " Lady Bird " Carolyn Hacker, Joe Baba " Nassar" and Dave Jacobs " Kosygin" . Local news of Han· cock being covered by Charles Jefferies was interrupted by bulletins on the "great Cantwell hunt" from "Peg of the Mer· cury Messenger Service ". Commercials featu·red Phyllis Cooper with her misbehaving " Henson and Bedges" extra·long cigar· ette.

Youn gsters dancing the disc·o-spin set the pace for their gathering at the Canteen in the even ings. And there was swim· m ing, tennis . tetherball, golf and boating for everybody. weather permitting. There was time for social chatter or cards in the warm glow f rom huge logs blazing in the Lodge fire· place after good meals. A good opportunity to salute the partnership that organized this clinic at this camp: Muriel Grossfeld and Bill Coco, for t he cl inic and Marvin Domsky f or Camp Deerhead . From all stages of gymnasts you rate a loud " Well done! "

Eastern Gymnastic Camp

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ABOVE : Leaders in Minnesota D.G.W.S. Gymnastics, Miss Pat Lamb, Mrs. Annette Leider and Miss Lynn Johnson, chairman , Minnesota D.G.W.S. Statewide Gymnaestrada.

AT LEFT: Everyone takes part in the Gymnaestrada.

A FIRST - THE MINNESOTA D.G.W.S. GYM NAESTRADA

For future directions in gymnastics , just watch Minnesota! The Minnesota D.G.W.S. that is. (D ivision of Girls and Women's Sports of the American Associ · ation for Health, Physical Education and Recreation) The first D.G.W.S. Gymnaestrada in Minnesota , perhaps the first ever held in this country, convened south of the Twin Cities last May at the Burnsville High School. It is no coincidence that this is the school where Mrs. Annette Leider has toiled in gymnastics for a number of years and under whose direction a fine program has developed.

The Gymnaestrada included the participation of twenty·si x Minnesota schools and a total of 451 regis· tered participants. More than 65 schools responded to the · initial invitation and pre-registration might have included almost 1,000 girls. Due to some conflicting school activ ities on the same day, this latter number was cut almost in half.

Activity started promptly at 9:30 A.M. and con­tinued uninterrupted until each of the schools had com­pleted a performance for which each school was alloted six minutes. Presentations ran the gamut of gymnastic activity.

There were Jr. High School girls in the traditional physical education "bloomers" and their more sophis­ticated sisters who wore leotards. There was no com· petitive pressure. To this observer at least it was exciting to see the great variety of creative efforts put forth by the gi rls under the banner of gymnaestrada as compared with the more familiar observation of a gymnastic meet.

It was evident that some of the performances were the direct result of gymnastic experiences in physical education classes. Thus all girls were offered the chance to participate if they showed an interest in doing so. No one can judge how this participation may affect fu rther development of gymnastics for girls in Minnesota. Many of the teachers expressed delight and surpr ise. Should the Gymnaestrada become an annual event, it will undoubtedly be found to be valuable in this respect.

In addition to the performances on the floor and apparatus which correspond to similar competitive events , the girls demonstrated a wide range of rhyth­mic demonstrations using balls , ropes , scarves, capes and sticks.

The Statewide D.G.W.S. Gymnaestrada was a com ­pletely new venture for the Minnesota D.G.W.S. gym­nastic committee. The idea of the gymnaestrada was developed with several purposes in mind.

The committee wanted to provide an opportunity for girls who were unable to compete in one of the four Area Developmental Meets to perform in gymnastics. We hoped to st imulate more interest in gymnastics through a sharing of ideas and a " review" of what schools in our state had been doing in their gymnastic programs.

'\

I

BALL GYM NASTICS A. B. Frederick

Continuing with a few ideas this month, we have selected some gen· eral themes which you might use with little (or big) girls as they develop skill in ball handling. There is no generalized objective below. The themes presented are simply ideas for practical use in your classes. The drawings were made from photographs.

The themes selected for the girls (Paula Frederick and Mary Cum-ming) are as follows:

1. The Ball in Circular Paths Around the Body 2. Tossing and Catching 3. Hand Transfer and Ball Balancing 4. Use of the Legs and Feet 5. Working Together In addition to Paula 's longer hair, notice how both of the girls have

relaxed their hands just a bit indicating that they have become a bit more skilled. We will make just a few comments under each of the theme headings. Circular Paths Around the Body

Note that in Figs. 1-7 the girls experience some excellent stretching as they attempt to push the ball in a circular path around their feet. There was little need to tell them to stretch. This would probably not be the case in the absence of hand apparatus. Figs. 8 and 9 show a cir­cular path around a closed stance involving Paula in a foreward-back­ward shift of weight. Some weight shifting is also exident in Figs. 11 and 12. In Fig. 13, Mary exercises her head (unkowingly) as the ball moves around it. Tossing and Catching

The relaxed positions in comparison with the figures of the girls in the last article' is evident in the similar actions they perform in Figs. 14 to 18. In Fig. 17 we see Paula in a position which is similar to a position one might assume in the performance of a lay-up shot in bas­ketball. Hand Transfer and Ball Balancing

In Figs. 19 and 20, Mary and Paula simply balance the ball at arms length. The extension of the arm to its full length is an important point

and leads to a smooth transfer of the ball from one hand to the other with a minimum of flight. Ball Gymnastics

In Fig. 21 Paula demonstrates the transfer of the ball from one hand to the other at two levels. (Shoulder and Overhead) In Fig. 21 (Left) notice the relaxed left hand of Paula in preparation to receive the ball. Mary is not as relaxed as she should be as she swings the ball over­head from left to right. In the future we shall attempt to improve this movement and make it more rhythmical as opposed to a stiff posture which is shown here. Using the Legs and Feet

There are many interesting ways to handle a ball with your feet. Europeans, South Americans and Asians have a head start in the use of the feet due to their emphasis on soccer but even in the absence of soccer in the American culture, much value is gained in the skillful use of the feet by designing and having the girls improvise ways to use their feet in ball handling. Mary (Fig. 25) resembles a speedball player who is executing a two foot kick-up. The girls had a little trouble with the knee kick but quickly made adaptations and show good balance during their attempts shown in Figs. 23 and 24. Working Together

Working together is perhaps the most admirable of all the themes presented here. If the girls later experience some group or syncronized gymnastics this will be excellent preparation. Little girls enjoy doing ball work in pairs or slightly larger groups. The introduction of music while they perform will result in even more enjoyment and will promote the feeling of a "team" effort. In Fig. 27 , the girls toss the ball to one another at close range. As this transfer becomes smooth, they will be encouraged to increase the distance separating them. Compare Fig. 30 with some of the photographs in our last edition. Can you identify im­proved qualities 7

So much for our little "charmers" this time. Do write and tell us about yours.

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WORKI NG TOGETHER: Fig. 27 - Transfer from one t o another at close range. Fig. 28 - Tandem transfer at close range. Fig. 29 - A lternate bounci ng at close range. Fig. 30 - Tw ist & Toss (as each girl catches ball they w ill

t urn to opposite side and toss up ball again.

1968 WOMEN'S OLYMPIC COMPULSORY FLOOR EXERCISE MUSIC, ROUTINES AND SCALE OF DEDUCTIONS FOR THE OLYMPIC GAMES IN MEXICO

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1968 WOMEN'S OLYMPIC COMPULSORY ROUTINES

SCALE OF PENALTIES FOR THE COMPULSORY EXERCISES - OLYMPIC GAMES IN MEXICO

FLOOR EXERCISE From R position in R corner: 1. Front attitude on R, supporting leg bent, body and head bent and

arms to oblique backward. 2. Straighten on R toe L leg extended forward, arms raised forward

to vertical. . 3. Lunge forward on left, arms lowered backward up to curved low

oblique position forward. 4. Raise on L toe to back attitude position, arms brought lateral and

high. 5. 3 runs (R·L·R). From L - round off jump with Vz turn 1, arms

vertical. 6. L leg raised forward . Dive cartwheel from L foot. 7. One step from gallop from L foot (Think this means a sideward

slide orchasse). Arms lowered to side and back up to lateral. 8. Turn 360°: Step L to L, leg bent, 1/2 turn L on L toe, leg stretched

- bring R toe beside L foot arms rounded in front of tne bOdy, cuntlnue 1/2 turn L opening arms lateral on R toe (chene turn). Lunge forward L, R arm bent in front of body touching L shoulder, L arm lateral, nead forward.

9. 1 \4 turn R: pivot on L foot (270°) arms lateral, place R toe behind L heel and 1/2 turn on toes raising arms curved over toe head, lower L arm supple in front of body.

10. Describe semi·circle towards L: 3 runs (waltz rhythm L·R·U, body bent to L, arms lateral, head to L. Step R forward, leap executing a tour (feet together) landing L, simultaneous circle of arms from frunt to back, place body weight on R, arms lateral.

11. Continue semi·circle, 3 runs (wal tz rhythm L·R·U. Step R forward, leap turning R, circling arms front to back, to land on bent L leg in front scale, R leg bacKward. R arm forward, L latera l (think this is a small tour jete to bent leg scale).

12. Step R backward and arab wheel R backward (backward tinsica;. 13. Land L foot and lower to R knee, arms vertical , V4 turn R on

knee, L leg stretched. Bend trunk R lower R arm lateral to position curved and low in front of body, L arm curved over head, head right.

14. \4 turn L on knee, bend trunk L placing L hand on floor, R arm lateral , head to L, put both hands on floor and lower to prone lying support, R leg bent, L straight (knees together).

15. While turning L (think this means continuing to turn in the same direction you were going) come to sitting position hands on floor behind body, R leg bent, L straight. \4 turn, R arm stretched high, head R, L arm supporting weight along with feet.

16. \4 turn L, place R forward, L hand on floor, R arm to oblique backward, straighten trunk to lunge L arm obl ique high, R arm oblique low.

17. 9/8 turn (405 °): turn on R foot, rand de jambe L (5/8 turn), place L in front of R on toe, lowering L arm to lateral posi tion and circling R arm supple in front of body to rai se to lateral position, continue turn to R on both feet, arms lateral (4/8).

18. Step R forward and leap on this foot , L backward (a rabasque leap) wh ile lowe ring L arm and carrying it to oblique hi gh position.

19. Place L foot on toe backward loweri ng arms, Vz turn R placing point of R foot latera lly on floor without stopping weight of body shifted alternately to R then L, legs supple with trunk movement. Swing arms whi le turning V4 turn to R on R tde, L arm supple in front, R in back.

20 . Straighten the trunk, we ight of body to R foot, L leg raised forward , bent and kicked straight simultaneous ly lower the arms and raise them to vertica l, L forward, R behind.

2l. Cartwheel L, V2 turn , bend body, place R hand on floor and reverse turn (l/2 to U to handstand. Place R foot on floor, stra ighten the body legs stretched, arms vertical body twist R, lowering arms to oblique forward, legs bent, head R.

22. Straighten to araba sque on R toe, L arm oblique hi gh, R bent across chest touching L shoulder.

23 . 1/8 turn on R toe, fall back 3 steps L·R·L (waltz rhythm) lower· ing ' arms supple to R and raise para llel backward to oblique high. Twist of body R, slightl y be nt, lateral ly to L (at finish of movement body straight and twisted).

24. Step R·L forward with 1/8 turn toward L legs supple, lower arms and raid.

1/8 turn . toward L legs su pple, lower arms and raise forward to vert ical, body weight on L foot, R heel raised.

25. Body wave backward to forward, bending legs, body weight on L, arms lowered supple lateral up to oblique backwa rd position, extend trunk while joining R foot to L foot on toes, simultaneous ly circle arms, crossed in front of body up to obl ique high.

26. 3 steps L·R·L handspring walkout. 27. Landing on R foot, 3 forward steps L·R·L, bring R foot to L on

toes turning from one 1/8 to L, R arm supp le in front, L arm back· ward, head R.

28. Bending legs, step backward on L, R leg pointed forwar.d, bring L arm forward to ve rtical, R arm lateral, head R.

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FLOOR EXERCISE

29. V2 turn R on L toe, arabasque on R toe stepp ing forward, R arm oblique forward, L obliq ue backward.

30. Step L forward raising R leg forward above hori zonta l with 1/8 turn R, slight bend of L leg, R arm late ral, L arm curved over head, head R.

3l. Step R forward lowering L arm in front of body, step L forward, join R foot to L on toes, legs bent, execute 6/8 turn L wi th circle of front arm back to forward under L shou ld er, R arm lateral then: (1 ) Vz turn L landing in arabasque on L leg, supporting leg slightly bent; (2) 1/2 turn leap on L to land in arabasque on L leg, slightly bent; (3) V2 turn leap on L to land in arabas que on L leg, leg slightly bent.

32. \4 turn L on L, step forward on R toe, simul taneous ly raise L leg, point of foot agai nst R knee , knee forward, lowering arms to raise R forward to oblique high, L lateral.

33. 3 backward steps L, R, L. Bring R. to L. on toes lower R arm backward to lateral, L forward to horizo ntal on 1st step. 2nd step, bend L arm forwa rd in front of chest, R lateral. 3rd step, extend L arm vert ica l, R forward in front of chest (bent) . While joining feet, extension of R arm to vertica l.

34. 3 runs forward, R, L, R from L foot, round' off L to flip ' flop (back·handspri ng).

35. l/Z turn L, 1 leg rai sed fo rward, arab whee l forward (tins ica) land ing on R leg.

36. Step forward L, bring weight on R toe while joining L foot to R.

37. Step R forward, weight of. body on this leg, simu ltaneously circle L arm passi ng in front of body to lower laterally in front of body, R arm raised forward in front of body and placed curved over head. Head to L.

Parag(aphs: 26-27-34-35-36-37 can be reversed in their com· plete sequence.

FLOOR EXERCISE I.-Lack of suppleness in the trunk movement... .............................. ... 0.10 2.-Bad coord ination of the legs and arms .......................................... 0.10

-Right heel on the floOL.. ................................................................... 0.10 3.-Lunge incorrect ............................................................................... 0.10 4.-Left heel on the floor ....................................................................... 0.10

-Incorrect position of the backward leg during the releve (rise on the toeL....... ..... ........ .......................................... 0.10

5.-Roundoff badly directed ...................................................................... 0.20 - Insufficient amplitude (heightL ................ ............................. 0.10· 0.30

6.-Straightening of body too slow from roundofL ................... 0.10· 0.20 -l!z turn incorrect, body broken ................................................ 0.10· 0.20 -Insufficient elevation of the forward leg ........................................ 0.10 -Dive cartwheel: duration of suspension insufficient... ......... 0.20· 0.30

Simultaneous support of the hands ...................... 0.20 Cartwheel badly directed ...................................... 0.20

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7.-Heavy landing .................................................................................... 0.10 -Sideward slide without su ppleness .................................................... 0.10

B.-Direction incorrect during the turn .................................................. 0.10 - Execution without continuity .............................................................. 0.10 -Left heel on the flooL ..................................................................... 0.10 -Lunge incorrect ................................................................................ 0.10

9.-Pivot not executed on half·toe (point of footL ............................. 0.10 -Lack of coordination of the pivots and movements of the arms .... 0.10

10.-Bad orientation .................................................................................. 0.10 -Running steps executed without suppleness with flexion of

the body insufficienL ........................................................................ 0.20

-Jump: ~~;~y 01~nJi~~ati~~ :::::::::::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::::~ :~~ Bad coordination of the arms ................................................ 0.10

11.-Bad orientation .................................................................................. 0.10 -Running steps without suppleness with flexion of the body

insufficient ......... ................................................................................. 0.20 -Jump: Lack of elevation ..................... ............................................... 0.20

Heavy landing .......................................................................... 0.10 Bad coordination of the arms ................................................ 0.10 Momentary sca le below the horizontaL ............................... 0.20

12.-Backwalkover in the place of backward tinsica .............................. 0.50 -B~ck tinsica broken (re laxed) ............................................................ 0.20 -Stop in the reversed support (middle of the back tinsicaL ......... 0.20

13.-Lack of coordination .......................................................................... O.20 14.-Execution without suppleness and without continuity .................... 0.20 15.-Heels on the floor .............................................................................. 0.10

-Extention of the body insufficient... ...... ........................................... 0.10 16.-Straightening of the trunk slow ........................................................ 0.10 17.-Heel on the floor ................................................................................ 0.10

-Rond de jambe (circle of the leg) insufficient... ............................. 0.10 -Bad coordination of the arms during the turn .............................. 0.10

lB.-Jump without amplitude (heightL ................................................... 0.10 19.- % turn uncertain ................................................................................ 0.10

-Bad coordination of the movement of the trunk, legs and arms .... 0.20 -Lack of suppleness during the execution ........................................ 0.20

20.-Elevation of the forward leg insufficient... ..................................... 0.10 2I.-Cartwheel : simultaneous support of the hands ................................ 0.20

Bad direction .................................................................. 0.20 % pirouette: incorrect ........................................ 0.20·0.30

Body does not pass through support position in handstand .......................... 0.30

Arrive heavy on the floor ........................ 0.10 22.-Hee l on floor ...... .............. ............................................................. 0.10

- Incorrect position of the left leg in the backward position ........... 0.10 -Straightening uncertain ...................................................................... 0.10

23.-Bad coordination of the arms and legs .............................................. 0.10 -Bad orientation .................................................................................. 0.10 -Insufficient twist of the body ............................................................ 0.10

24.-Bad coordination of the arms and legs ............................................ 0.10 -Bad orientat ion ......................... ......................................................... 0.10

25.-Body wave incomplete ........................................................................ 0.20 -Bad orientation ................................. ................................................. 0.20

26.-Takeoff insufficient ......... ................................................................... 0.30 -Bad orientation of the arms and body .............................................. 0.20 -Omission of delaying the movements of the arms .......................... 0.30 -Slow thrust (push off) of the arms ................................................. . 0.20

27.-Heavy landing .......................................................................... 0.10 -Bad orientation ..................................... ........... ............................... 0.10 -Rapid steps without lightness ............................................................ 0.10 -Heel on flooL......... .. .............................................................. 0.10 -T','i:~t cf the bed}' net executed ......................................... ............... 0.10

2B.-Execution without suppleness ......... ................................................... 0.10 -Incorrect position of the arms .......................................................... 0.10

29.-Heel on the floor during the pivot... ................................................. 0.10 -Incorrect position of the arms ............................................................ 0.10

30.-lncorrect position of the body during the elevation of the leg forward ... ...................................................................... ........... 0.10

-Insufficient elevation of the leg ...................................................... 0.10 3I.-Direction uncertain during the turns ........ ........................................ 0.20

-During the turns: elevation of the leg backward Fixation of the leg backward insufficient... ............................. 0.20

32.-lncorrect position of the body during the % turn: ......................... 0.10 -Heel on the floor ........................................................................... 0.10 - Incorrect position of the arms......... . ................................ 0.10

33.-Execution of the steps backward without suppleness .................... 0.10 -Bad coordinat ion of the movements of the arms ............................ 0.10

34.-Roundoff badly directed........ .. ................................................ . 0.20 -Stop before flip flop ...... ........................................... 0.20 - Fl ip flop incorrect. ............................................................................. 0.50 -Bending of the arms ............................................................. ............... 0.20

35.- l!z turn incorrect:. body broken (relaxed).. .. .. ........................ 0.20 Elevati on insufficient of the leg forward .......... 0.10

-Front walkover in place of a tinsica ................................................ .. 0.50 -Tinsica .......................... ........................ ........................................... 0.10 - Tinsica without amplitude (height) .................................................. 0.20

36.-Stop between the step forward and the step backward ................ 0.10 -Bad coordination of the arm movements .......................................... 0.10

BALANCE BEAM R side to beam towards end of beam. 1. Run, place R hand on beam from L foot - mount at the middle of

beam to R leg (up to stand), L leg stretched forward. Small bend of R leg, bending L leg touching R knee. R arm forward low oblique, L back low oblique. Swing L leg back to front scale on bent R leg. L arm forward, R backward bringing R arm supple forward to parallel with L arm extending R leg (position stopped).

2. Straighten body to arabasque on R leg arms vertical - immedi· ately thrust R leg forward lowering arms laterally to squat position (L behind R). Cross arms in front of body - R in front of L.

3. Quick extension on L toe kicking R leg up to side, L arm side· ward high, R supple low in front of body. Step R forward, arms supple low in front of body. Step L' on toe with !f2 turn, R leg bent heel touching L leg low, simultaneously raise R arm laterally over head, L arm low in front of body.

4. Kick R leg forward, up on L toe, momentary lunge circling arms forward to back to English handsta nd (marked) forward roll to straddle sit, arms supported in front of legs and continue to whip legs backward to squat on R leg, L leg raised backward. Lowering L leg, straighten body, arms horizontal extending R leg, swingi ng L leg through forward to step while opening arms laterally.

5. Step R forward, V2 turn to L on R toe lowering arms. Step L backward rai si ng arms forward and down to lateral , 1/ 2 circle (rota· tion) of trunk to L and backward, R arm rounded over head, L hori· zontal. Head follows trunk movement.

6. Straighten body lifting R leg to squat position (touching L knee) then place it behind L foot on toe, simultaneously open arms to lateral position. lower and raise to horizontal.

7. '0! turn R on R leg, L foot extended, pointed on beam L arm lateral, simultaneously lower R arm ' in front of body circling down and up to lateral. Bend body L continuing arm over head and parallel to L arm to oblique low position. Bring L foot (point of foot on beam) next to R.

8. Arms lateral extending body, step lateral L, bring R foot to L on toes make '0! turn L. Step forward!,. split leap R landing R -Bring L behind R in squat, arms cross ed forward (L in front),

9. Without stopping jump up to arabasque leap landing on L foot, R leg extended backward. Step backward R, arms horizontal (palms facing forward, twist of body and cartwheel lateral with '0! turn.

10. Shoot to dorsal position R. (Dorsal position means to land with the back to the apparatus).

Cartwheel can be reversed by executing one step instead of two.

BALANCE BEAM I.-Heavy mount ......... ......................................................................... 0.30

-Left leg below the horizontal ...... ........ ........ ........ .. .................. 0.20 -Omission of flexion (bending) of the trunk .................... 0.10 - Extension of the ri ght leg too early ............................................ 0.10 -Scale not precise, left leg insufficiently raised .............................. 0.40 -General lack of continuity ................ ............................. .. .. ............. 0.30

2.-Jump too low ................................................................ ....... ................. 0.20 -Trust from right leg too low .. ............................................................ 0.10 -Squat position with pl acement of the heel.. .................................... 0.10 -Stop in squat position .............................................. .... ...................... 0.20

3.-Extension of the legs too slow ...................... ....................... ............. 0.30 -Insufficient elevation of the right leg ...... .... ................................. 0.20 -Left heel on the beam ...................................................................... 0.30 _1/ 2 turn on the heel ................................... ......................................... 0.20 -Movements on the arms stiff (rigidL ........................................... 0.20

4.-Left heel on the beam during the thrust of the leg ...................... 0.30 - Omission of the handstand..... .. .......................................... .1 point - Handstand not marked .................... .. ....... 0.30·0.40 -Arrive heavy on the back during the roll. ......................................... 0.30 -Roll without continuity ...................................................................... 0.20 -Stop in the lying' down position (on back) ...................................... 0.30 -Elevation insufficient of the left leg backward .............................. 0.20

5.-Steps and turns without continuity .......................................... 0.40·0.50 -Pivot on the heel... . .......................................................................... 0.20 -Omission of flexing the trunk to the left and backward ................ 0.30 -Bad coordination of the movements of the arms .......................... 0.30

6·7.-Lack of continuity of the squat position to the turn .................. 0.20 -Incorrect movements of the arms ..... ............................................. 0.20 -Omission of flexion (bending) of the trunk ...................................... 0.20

8.-Lateral step on the heel. .. .. ............................................................. 0.20 -Stop exaggerated before the '0! turn .............................................. 0.20 -Jump delayed ...... .............................................................. .................. 0.20 -Split leap without amplitude (height) ................................................ O.iO -Lack of elegance in the execution .................................................. 0.30

9.-Jump delayed ............................................................................. 0.20 -Jump too low ......... ... ........................................................................ 0.20 -Backward and forward step without continuity .............................. 0.20 -Incorrect movements of the arms and without suppleness ............ 0.30 -Incorrect distance of th e cartwheel ..... ..................... ........................ 0.30 -Trust from the arms delayed ............................................................ 0.30 "':'Tinsica in place of a cartwheel. ......................... ......... ..................... 0.60

·24·

BALANCE BEAM

.

SIDE HORSE VAULT

UNEVEN PARALLEL BARS

2 3

5 6 7

SIDE HORSE VAULT (Vault # 17 in the Code of Points-1964 edition)

Cartwheel-Jump ' to the reversed support with a l,4 turn during the flight to the right or left (reversed support stretched lateral). Land with the side to the horse.

-Preflight insufficient ........................................................... .1 point·l.5 -l,4 turn with body bent (brokenL .. ...... ........................................... 0.50 -l,4 turn incomplete..................... .. ............................................ 0.30 -Placement of the hands simultaneously ............................................ 0.40 -Omission of passing through the vertical. .................................. .! point -Flexion of the arms in the reversed supporL ................................. 0.50 -Stop in the reversed supporL ........ ................................................ 0.50 -Push off insufficienL......... .............. .. ................ 0.50 -Simultaneous push off of the hands .. ............................................. 0.50 -Lack of conti nuity........... . ............................................ 0.30·0.50 -Afterf li ght insufficient ........................................................... .! point -Vault badly directed ......................... ....................................... 0.30·0.50 -Support of a part of the body against the horse

at the landing.................... .. ......................... .! point -Landing heavy and uncertain .......................................................... 0.20 -Landing unbalanced .............. .. ........................ .......................... 0.30 -Touch the hands on the floor ............................................ 0.50 -Distinct support of the hands ..................................................... .! point -Fall to the knees..... .................. .. .............................. .1.5 -Fall on the pelvis ................................... .. .............................. 2.0 -Aid from the coach on the landing ................................................... 2.0 -Aid from the coach during the vauIL ............................... Vault null (0) -Coach between the beat board and the horse ................ ......... .! point

UNEVEN PARALLEL BARS 1. From the late rial position with face to the high bar, jump forward

gripping the low bar with the hands and kip with displacement of the hands up to the high bar, pass the legs straddled over the low bar to a hang and support passage on the low bar.

2. Kip to a front support to the high bar, immediately continue the passage of the bent legs and joined between the hand support to rear support.

3. Turn from rear support backward, to fall backward .again to a hang reversed (upside down), impetus (shoot), return passing the legs straddled to a hang while releasing the support impetus forward and . ..

4. Turn from front support backward on low bar, place both feet, legs bent with half turn (V2) to squat position on the low bar with hand grip alternately right then left on the high bar, straighten the body -legs stretched and thrust the legs backward in order to . . .

5. Establish oneself on the high bar to a straddled position (feet· hands) legs stretched, lower oneself backward, thrust forward while bringing the legs together with half turn (1/2) and change the hands to hang whi le gripping dorsally, thrust forward .

6. And turn from support on low bar with a l,4 turn to the position transversal lateral right or left, hand support on the low bar.

Possibi lity of reversing paragraph 4.

UNEVEN PARALLEL BARS I.-Insufficient strai ghtening of the body while in suspension

under the low bar (insufficient extension on kipL ........... 0.10·0.20 -Insufficient thrust in preparing the kip with displacement

of the hand support on the high bar... ............................... 0.10·0.20 -Straddling the legs over the low bar with the arms benL ......... 0.20 -Stop in the support on the low bar .................................................. 0,20

2.-Lack of continuity (kip, and squat throughL ......................... 0.30·0 40 -Passage of stretched legs .................................................................. 0.40 -Passage of the legs with a supplementary thrusL ....................... 0.50 - Insufficient thrust before the passage of the legs:

Thrust forward, the heels above, even with the high bar .... .. 0.20 Backward thrust insufficienL ...... ......................................... 0.20 Legs bent too early.. ............. . ........ ........................ 0.20

3.-lnsufficient straightening at the end of the back seat circle ...... 0.2n -Amplitude insufficient when falling backward to reversed hang .... 0.20 -Posit ion too low of the body in preparation for the straddle

cut on the high bar to a hang ............................ ~ ........................ 020 4.-lnsufficient thrust of the legs before the squat position ............ 0.10

-Supplementary rebound in squat position before establishing oneself on the high baL....... .. .......................................... 0.30

-Lack of extens ion..... ..... .. ................................................... 0.30 - Insufficient thrust of the stretched legs backward ........................ 0.30

5.-Applitude insufficient on thrust forward (straddle sa le circle) with a 1/2 turn ................. ....... ......................................... 0.30

6.-Manual support alternative on low bar ............................................ O.20 -Insufficient height on the dismounL..... .. ...................... 0.10·0.20 -Lack of extension ......................... ..... .. ................ .......... 0.10·020 -Land on the floor without manual support on the low bar .......... 0.20

FLOOR EXERCISE-BEAM-UNEVEN-PARALLEL BARS (Compulsory exercises) All elements of lower difficulty not executed results in a penalty of 0.60 All elements of upper difficulty not executed results in a penalty of 1

point.

·25·

PHOTO SEQUENCE ACTION: Pictured here are sequence photos of 14-year-old Janet Ingram of Jefferson Jr. High, Springfield, III. Above: Janet performs a jump from the beat board, pike­straddle to a handstand, quarter-turn, cartwheel down to a back walkover. At left, right and below: Janet (Uneven bar champ at MSU 1966 National Summer Clinic) demonstrates a forward seat circle to an inlocate glide-kip on the low bar to a catch on the high bar. Next-a variation on the move, a forward seat circle shoot over the bar to an in locate, release catch overhand to glide­kip.

Diana Stevens. Furman U. - S.C.

SOUTH CAROLINA'S FIRST MEET REPORT BY CARO LYN WALLIN

Last. May, was the date for our state's first known Girls / Women's GymnastiC Meet,. held at Furman University, in Greenville, South Caro­lina under the directIOn and leadership of Miss Carolyn Wallin, Chairman of S.~ . D.G.w.S. GymnastiCS and S.C . A.A.U. Women 's Gymnastics.

This meet was a result of two workshops given by Furman University and MIss Wallin who attended the 2nd National Institute of Girl 's and Wome~'s Sports. After the second successful workshep, the hopeful ex­pectatIOn happened. "A plea from our participants for a meet." Within two months came the first open invitational. This invitation was se nt out to: Junior and Senior High Schools in the State, and to colleges Within a 300 mile radius of our city.

. Events planned were : tumbling, free floor exercise and balance beam. Within each .event were 3 classifications : Class "E" (very low skilled­optIOnal routine ;) Class "D" low skilled-optional routine ;) and Class "c" (be~lnnlng skilled compulsory and optiona l routine.) These classes were deCided by. the individual instructor; after viewing her own participants and reviewing the rules governing each class .

The events rotated between the schools and colleges, in this plan each partlclpan.t · performed, had time to observe,. initiated new ideas, and thereby gained a deSIre to further her own skills in her events.

Sln~e the meet was geared to " Iow" skills, a complete set of rules governing these events were ~eveloped with guidelines for future plan­ning. Each year a ~ew event IS to be added; each year a higher class IS to be added. ThiS .Iong range planning wi ll extend over a period of five years. A.t that time the participants in meets will be performing In all recognized events and at "Class A" level of skill , wh ich is com­parable With A.A.U. Women's Gymnastics , optiona l and compu lsory exer­cises.

As to the 1967 meet-it was a great success; entrants came from four JUnior High Schools, three Senior High Schools, and four colleges ; a total of 57 routines were performed and judged; trophies were awarded to first and second place winners in each class and in each event.

We are looking forward to next spring and our second meet.

S.C. competition Fl oor Exercise winners.

-27-

19 AMERICAN DAYS Translated by Lou Hintnaus

From the Czechoslovakian Gymnastic Publication "Sportovi-Umblecka Gymnastika"

The visit to the fairy tale Disneyland in Los Angeles was the only entertainment of the Czechoslovakian coach, Alena Tinterova, during her recent triP to USA. She traveled in the U.S. from east to north, then to south, from south to west and back again to the east. With the exception of about two dozens of airports, the excellence of hotel services and surprising courtesy and respect of the American men to women (even their own) she didn't see and learn much about U.S.

In the four gymnastics center, which she visited, she had the possi­bility to look into the American gymnastic picture, and that was also the theme of our conversation. Who and why invited you?

USA Olympic Committee for four three-day clinics for judges. The first cli~ic was in University city, Amh ea rst , Massachusetts, second also in Univers ity center in Carbondale, Illinois, third in Centenary College in Shreveport, La., and fourth in Lakewood High School in Long Beach, Calif. How was the program?

Very busy. The first two days I was discussing the gymnastic events, the third day were demonstrations and practical judging. How about the interest?

Great. The listeners, mainly high school and college teachers were very much interested and inquisitive. They asked enormous quantities of questions in the beginning, seen from our standards a little bit simple, but always during the three days I could observe Ii big increase in knowledge and the questions were much more involved. How is the gymnastic spread in US?

This I cannot answer very well. The main interest is in schools, clubs and colleges, but of course they don't like the gymnastics as much as for example basketball. The big advantage is that the head coaches are almost always the physical education teachers in those schools which leads also to the ample usage of beautiful and modernly equipped gymnasiums. Have these coaches contact with the US National team?

Yes, for instance the college coach , Herb Vogel in Carbondale, brings us many. competitors for the nat ional team. This university team now already IS three times the collegiate champions. He is not starting of course, with 8 year olds girls and the elementary stunts, but is working With advanced gymnasts. In the USA when a gifted gymnast would like to continue with gymnastics in college she can only choose one or two colleges where she has the possibility of furthering her career. Are they in USA applying early specialization?

Yes, and I was surprised. Another of the most significant coaches in US. is Vannie Edwards from Shreveport. He is also coaching the US natIOnal team and has the opportunity to see the world championships and olympIC games, and observes what gymnastics is developing. He leads the trai.ning of his girls with very modern and efficient methods. Has the American youth their competitions (league?)

As far as I could find out they have meets for seniors and juniors and for the younger ones only in tumbling. California is in this matter an exception. The leading personality in women's gymnastics is an excep­tional coach, Bud Marquette of Long Beach. Some of those who are helping Bud in taking care of the So . Calif. girls are also our country­men. They have translated our handbooks and publications and also they are receiving the magazine Gymnasticka. They told me how they are impatiently waiting for each new number.

In the Lakewood High School , where some of the girls are traveling from very far , I saw gymnast ics of highest caliber from young girls . For instance, one of the girls thirteen years old, Cathy Rigby, demonstrated World championship level routine on high and low parallel bars which she ended with full twisting hecht. Twelve of these young girls, 9 to 16, do .fu ll tWisting back layouts, and one Wendy Cluff, alternate fulls in her optIOnal work. What did you like most?

The beautiful modern gymnasiums of course, and the kindness shown by everyone, espeCIally the SCATS of Long Beach. They plan to travel 30 strong to the 1969 Gymneastreda in Switzerland. And what did you Enjoy?

The tele cameras in every gymnasium I visited. They filmed the performance of the gymnasts and right away on re·run show the mistakes. It saves much time and explanation. And in the end?

Of . course the same as everywhere else, they liked our gymnastic coaching and would like . to have some of our coaches for helping gymnasts and conduct cliniCS. On that you can verify how much is the Czechoslovakian gymnastics estimated in the world.

Mrs. Alena Tinterova, 'World renowned gymnastic coach and official and just recently honored with the title Master of Sports by her nation of Czechoslavakia, concluded a four week visit with the SCATS of Long Beach: Instrumental in obtaining the services of thi s wonderful person were Bud Marquette, Lu Hintnaus, coaches of the SCATS. Many, many hours were lived in the gym during this time: mai.nly learning the correct interpretations of the olympic compul­sarles.

J-felen : Corner PROGRESSION - KIP-UP (or Nip-Up)

By Helen Sjursen \.. ~J ", ,F )

~ Step 1. Fig. 1. Start from a lying position on the floor, arms on floor at side

of body. Fig. 2. Raise legs to the "kip" position (legs over head, hips high) Fig. 3. Thrust legs diagonally fore-upward keeping hips high, bend knees

placing feet on floor (low bridge). Hold.

Step 2, ~,. Fig. 1. Procedure is the same as Step 1 with the exception of the hand

position. Start movement with hands on the floor by shoulders , fingertips under shoulders, elbows in (do not spread elbows).

Step 3_ Same as step 2 except when thrusting legs to re"c~ the bridge.

O (PRESS NECK DOWN AGAINST FLOOR WHEN THRUSTING LEGS)

/''0' straighten the arms and hold head back (chin away from chest)_

Hold the high bridge posi tion, hands and feet only on the floor. See Fig. 1.

Step 4_ Fig.l & 2. From the lying position, hands on floor by shoulders, rai se

legs and hips to the "kip" position. Fig. 3. Thrust legs diagonally fore-upward pressing neck against floor

immediately followed by the straightening of the arms .

~ 4 ~r-"")j ;-?~ o~

~ I I Fig. i Fig. 2 Fig. 3 Fig. 4 Fig 5

Fig. 4. Bend knees so feet can land under the body. Fig. 5. Immediately come to a low squat by bending more at the knees

and hips and bringing the Chest to' the Knees_

A large group of students can learn t~e progression of this skill at the same time. A sharp thrust of the leg~' will give the students a feel of the "k ipping action" which , when done well , can serve as a prepar­atory movement for the glide kip on the uneven bars_ Learning the kip-up can also better prepare a student for headsprings and hand­springs_

If a spotter is being used to assist the student in reaching the squat position, the spotter can kneel at the side of the student placing one hand under the shoulder (towards center of back) and one hand under the hips. As the thrust of the legs is being made, the hand under the hips can help to keep the hips high. After the thrust and bending of the knees, the hand under the shoulder will press upward and for­ward aga inst the student 's back, helping her to reach the squat posi­tion. Eventually, through practice, the kip-up can be done with little or no bending of the knees, which is considered better execution.

STRADDLE SEAT FROM A STANDING '--0 > ~ POSITION ON THE BALANCE BEAM {' "_.-

~/_~~ ~_~ ____ l Fig. 1 Fig. 2 Fig. 3 Fig. 4 Fig. 5 _--;;1"-"'-

Fig. 1, 2 & 3. Stand at the center of the beam facing the end, one foot in front. Kick to a 3/.1 handstand position, legs apart (legs can join and separate again) and shift shoulders forward. ARMS MUST REMAIN STRAIGHT.

Fig. 4. Maintain the arch and as the body is descen ding (keep arms straight and shoulders forward) direct the hips towards the wrists. At this point it will seem as though you are going to fallon your face being your shoulders are shifted forward . KEEP YOUR ARMS STRAIGHT! As soon as your hips meet your wrists, this feeling of falling forward will disappear.

Fig. 5. When your hips meet your wrists, arms st ill straight, back still arched, you will notice that the crotch cannot make contac t with the beam unless you bend your arms. (On descending from the % handstand, if the shoulders are shifted forward , arms kept straight and arched held, these three factors will prevent any uncomfortable contact

TIPS FOR BACK WALKOVER ON THE BALANCE BEAM

Fig. 1 Fig 2

First you must develop a good back arch, a limber back. Execute a bridge on the floor (a back bend). Be sure ybur feet are flat on the floor, arms straight. Now, straighten your legs without raising your heels off the floor . Bring your feet closer to your hands and , again , straighten your legs. In this preparation, keep your head back (chin away from chest).

Fig. !. Ass uming you have a limber back, stand on a line on the floor with one foot in front. (Front leg is the leading leg, rear leg is the trailing leg). Body weight should be over the trailing leg, arms up, look up.

Fig. 2. Arch the back as far as you can with legs straight and stay­ing "in balance ".

Fig. 3. Then, bend trailing leg straddling line on floor with hands, at the same time kicking the leading leg upward and over (towa rds stomach side). (When arching back, you should be able to see at the same time, the hands and that part of the line where hands will strad­dle before hands make contact with th.e floor. If you can, this will mean that when you try the back walkover on the beam, you will be able to see your hands and the spot on the beam where hands will make con-

with the beam,) After reaching position as shown in Fig. 5, then bend your arms and sit on the beam. Continue the motion of the legs, for­ward, to your next desired movement.

FLOOR PREPARATION-Kick to a regular handstand on a mat. Keep a rigid arch, shift shoulders forward and lower the arched body to a front lean position AS SLOWLY AS YOU CAN. The farther forward you can lean your shoulders, the slower you can lower to the front lean. This preparation is intended to give you the practice of leaning the shoulders well forward so you can have better control of the descent without the fear of falling into the beam. When executing this movement on the beam, the entire movement should be done with a smooth even tempo avoiding any sudden or jerky descent to the straddle seat posi­tion . The arch at the peak of the % handstand should be accented. The proper forward lean of the shoulders will enable you to have time enough to accent this arch.

Fig. 3 Fig. 4 Fig. 5 Fig. 6

-28-

tact resulting in perfect contacts of "hands to beam"). Fig. 4. Straighten trailing leg raising leg off floor to arrive at the

split handsta nd position, or as close to it. It is important, at thi s point, to keep the legs in strict form, straight, tense and toes pointed so it will be easier for you to correct any side off-balances. Thi s is done by stretching out of the shoulders with arms straight and forcing the hips towards the ceiling as though you were being pulled upwards by the hips. This will take out any side bend of the spine and put you back over the line of direction.

Fig. 5 & 6. Now you must take the arch out of your back (round the back) keeping hips high, or, if necessa ry, shifting them slightly towards the side of the head, as the leading leg is being lowered to the line on th e floo r. When the hips are kept over the head , the body weight is being _ fully carried over the arms, giving you better control for an accurate placement of the leading foot on the line. After place­ment of the foot, the body weight should be shifted to this foot : Fin­ish this preparation in a balanced stand over the leading leg, other leg extended rearward off the floor, for further perfection of balance control.

TIPS FOR FRONT WALKOVER ON THE BALANCE BEAM

@ g{ Fig. 1 Fig. 2

Fig. l. Develop the arch in your back so you can see your feet when in the bridge. Being able to see the feet will mean that when on the beam, you will be able to see the leading foot for accurate placement on the beam.

Fig. 2. Straddle your hands over a line on the floor. Execute a one leg front walkover. Place leading foot on the line. Can you place it on the line with every try?

Fig. H. Come to a stand over the leading leg without placing the other foot on the floor. Can you hold the balance? (On the beam, of course, you will immediately go into your next move).

PROGRESSION FOR THE "WENDY" DISMOUNT FROM THE BALANCE BEAM Wne-hand round-off from center of beam)

STEP l. Floor preparation: At a slower pace and leading with the left hand, cartwheel to a handstand position (use two hands) quickly bringing the legs together (% turn now completedl. While inverted make another % turn to the left raising right arm sideways and tuck body (bend at hips and knees) landing in a squat position. The squat is taken because of the lack of height. Practice this floor preparation using only the left arm for support while inverted, then practice for increased speed. (The feet should land between placement of left hand and right shoul­der.l The main purpose for this floor preparation is to develop the habit of bringing the legs together "quickly" upon reaching the inverted posi­tion and making sure the feet land in the proper spot, which would indicate that the legs would have cleared the beam on descending.

STEP 2. Standing on and close to the end of the beam (facing end of beam), execute a two hand round-off (leading with the left arm) attempting to land to the left side of the beam and having the feet land opposite the placement of the left hand. Do not bend knees until feet make contact with floor. The moment the body starts to descend, the right arm should raise sideways. When under control , execute a one­hand round-off leading with the left arm. The purpose of Step 2 is to , again , make sure the legs will clear the beam with feet landing opposite the left hand grip. Practicing at the end of the beam will eliminate leg contact with beam should the turning of the body be insufficient. This step is also important to build up confidence in preparation for exe­cution in the center of the beam.

STEP 3. Standing at the center of the beam with a mat draped across the beam in front, execute a one-hand round-off (use two hands at first if preferredl. Hand should make contact directly with the beam, not on the mat. Should legs fail to clear the beam on descending, the mat will protect the shins. Practice increasing the speed in execution as this dismount looks best when done with speed. On descending the left hand should momentarily lift off the beam, turn and regrip the beam.

STEP 4. Remove draped mat and execute as usual. DO NOT GO TO THE NEXT STEP UNTIL YOU HAVE PERFECTED THE STEP BEFORE. This dismount may also be done to the opposite side , leading with the right arm.

In center of beam with draped mat

• ) STEP 4. • R.mo~ me>

( and execute 'Windy'

\,

-29-

~

E= 5: Fig. 3 Fig. 4

Execute the one leg front walkover over the line on the floor at the slowest rate of speed you can manage. This will make balance control more difficult for you, but to your advantage. Learning to control any off·balances is important in striving for perfection of execution.

When you can do the above as described on the floor, then you are ready to try it on the beam, and, I am sure you will have it in no time. When on the beam, you will want to execute the walkover at a faster rate of speed to avoid any "side" off-balances. However, should a slight off-balance occur, you would have had the practice of correct­ing it through the floor preparation.

STEP 2. - At the end of the beam

SPOTTING THE "WENDY" Assuming the gymnast will lead with the left arm, left foot in front ,

the spotter stands on the side of the beam to the left of the gymnast. As the gymnast places her left hand on the beam, grip her left upper arm with your left hand eyeing the movement of the legs. As she brings her legs together, place your right hand against her hips or thighs pushing her legs off to the side of the beam, if necessary. As the gymnast is descending and the legs clear the beam, grip her left upper arm with both hands and pull upward and towards you. In doing this, you may have to take a step towards the gymnast if she lands too far from the beam. When learning, or attempting this skill in the center of the beam for the first time, the gymnast usually will have excessive momentum going away from the beam, which is the reason the spotter has to pull as the gymnast lands. To have a perfectly balanced landing, the gymnast should complete the 1f2 turn while ascending to the inverted position and before the descent is started, and the feet should land opposite the placement of the left hand. If the feet land behind the placement of the hand, this could mean that the hips have travelled too far past the head when inverted, which is one of the causes for an unbalanced landing. At the start of the skill, when cartwheeling to the inverted position, the force of the legs should swing rear-UPWARD as though you wanted your feet to touch the ceiling and your body to "lift" off the beam. With this upward thrust of the legs, you will be in better control for turning and landing. If the momentum of the legs travels, with any force, in a "semi-circular" motion, this will force the gymnast to come to a fast descent without having time to accent the arched body (on turning) thus losing the beauty of the execution and losing the control for a balanced landing.

Pho", (213l ,,1·Olll ~

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COLLEGIATE GYMNASTIC CHAMPIONSHIP

The 1968 Collegiate Meet wi ll be held March 29 and 30th, SIU, Carbondale, Illinois. Two divisions, Intermediate-Class B and Advanced-Class A. For full meet particul ars, rul es and eligibility, write c/o H. Vogel, Health Education Department, Southern Illinois University, Carbondale, Illinois 62901.

DGWS GYMNASTIC CAMP The D.G.w.S. Gymnastic Camp at Carleton College. North ­

field , Minnesota is to be held August 20-26, 1968. This will be the second year the camp has been held. It was

originally planned to give impetus to the growth of gymnastics for girls in Minnesota. It was so well accepted and has resulted in so much enthusiasm in this area, that it looks like it will become an annual undertaking.

The camp is sponsored and run by the D.G.W.S. Gymnastic Committee with instructors from throughout the United States forming the instructional staff. The areas covered include: un ­even parallel bars , vaulting, balance beam, tumbling, floo r exe rcise, and rhythmic gymnastics. The size of the camp is approximately 120 gi rls plus approximately 20' t eachers.

JUDGES EXAMINATION FOR WOMEN'S GYMNASTICS March 6th , 1968 - 7:00 P.M.

at Montclair State College, Upper Montclair, N.J .

Sponsored by New Je rsey A.A.U. Women's Gymnastic Committee Exam ination Fees: Adults $1.00, Students 75 cents

For info write: Virginia Crossman, Co-Chairman 194 Inwood Ave ., Upper Montclair, N.J. 07043

RECOMMENDED EVALUATION OF SIDE HORSE VAULTING FOR WOMEN

by New Jersey A.A.U. Women's Gymnastic Committee 1. Squat (bent hips) ................................................................................ 3.5 2. Squat (bent hips) % turn ........................................................ __ ........ 4.0 3. Squat (bent hips) 1/ 2 turn ............................ ...................................... 4.5 4: Squat (stretched body assentl. ......................................................... 8.5* 5. Wolf vault (squat right leg, left leg straight sideways ......... _ ........ 4.5 6. Wolf % turn right (squat right leg, left leg straight) .............. .... 5.0 7. Wolf % turn to left (squat R leg, L leg straight) ........... ............... 5.5 8. Rear vault .......................................................................................... 6.0 9. Front vault ............................. ............................................................. 6.0

i~ : ~~i~~~~;l~~ :.::.: .. :::: ... ::.:::::::::::::::::::.::::::::.:::::::::::::::::.::::::::::::::::::::::::: ~ :~ * 13. Flank vault (stretched body, legs above horizontaD ...................... 7.0* 14. Flank vault % turn outward (stretched body, legs above

horizontal ...................................................................... _ ... 8.5 15. Flank vault rearward (body stretched) 3/4 turn to

dismount crossways ..................................... ..................... 90* 16. Stoop vault (bent hips) ........................................... ........................... 65* 17. Stoop vault (stretched body assentl. ................................... _._ .......... .100* 18. Handstand Stoop vault (stretched body assent) ... .......................... .10.0* 19. Straddle (bent hipsl. ................................................. .......................... 6.5 20. Straddle (bent hips) % turn .................................... ___ ........ ...... ......... 7.0 21. Straddle (bent hips) 1f2 turn ................................................ _ ........... 8.0* 22. Straddle (stretched body assentl... ........................................ ... .. ..... .10.0* 23. Handstand Straddle (stretched body assentl. .................................. .100* 24. Handspring (stretched body assentl... ........ ............. __ ....................... .10.0* 25. Handstand % turn (stretched body assentl... .............. ......... ......... .10.0* 26. Handstand· Squat (stretched body assentl. ...................................... .10.0* 27. Giant Cartwheel (stretched body assentl. .. ... ......... _ ......................... .10.0* 28. Pivot Cartwheel (stretched body assentl. .. .. .................................... .10.0* 29. Yamashita (stretched body assentl. ........................ _ ................... .. .... .10.0* 30. Swan ................................................. . ................. ........ ..................... .1 0 0* 31. Swan Straddle ................................................................................... .10.0*

Vaults marked with an asterisk (*) are A.A.U./F.I.G. evaluations. All others are recommended va lues.

Any unlisted vault requiring the feet or legs to rest on the horse is not recommended for use in comoetitions. Such vaults will be marked "zero" in accordance with the AAU/ F1G rules.

Height of the horse for the various age groups should be set as per recommendations of the New Jersey Gymnastics Association.

For complete descript ions of most vaults (illustrated) refer to the women's "Code of Points" book and the D.G.W.S. Gymnastics Guide.

Helen Siursen, Chairman N.J. AAU Women's Gymnastic Committee 46 Poplar Place Fanwood, N.J.

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