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1968 OLYMPIC PHOTOGRAPHS

By

DON WILKINSON

Don Wilkinson whose photos appear in Mademoiselle Gymnast, . . . .. covered ilie Olympic Games photographically in

color and black and white. He has produced a fully illustrated catalogue showing over 1,500 contact size black and white prints (with over 400 of Gymnastics). Also listed are the color transparencies taken. This catalogue, price $1.00 is now available from - DON WILKINSON, 1013 8th AVENUE, GREELEY, COLORADO 80631.

Cost of Slides -I to 9 slides 10 to 24 slides . 25 to 49 slides

SOc each 50 to 99 slides ........... .40c each ... .... .. 47c each 100 to 249 slides .. 38c each

. .... .45c each 250 or more .............. . 35c each

Cost of Black and W'hite Prints -5 x 7 - $1.00 each - set of 10 prints $ 900 - set of 25 prints $20.00 8 x 10 - $1.50 each - set of 10 prints $14.00 - set of 25 prints $32.50

11 x 14 - $4.25 each - .et of 10 prints $39.25 - set of 2S (price availabl~ on request)

for the gals, too . ••

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Keep your eye on Gym Master-where new ideas, new safety features, new and better materials are constantly producing the most functional, most efficient gymnastic equipment in the world!

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The World's Gymnastic Equipment Specialists.

VOLUME 3, NO. 3 JAN.-FEB., 1969

CONTENTS

NOTE FROM THE PUBLISHER ..................................... . 4 ART PHOTO .... ....... .. ...................................... ............ .. 5 MLLE G LETTERS .... . ..................... .............................. 6 SEATTLE GYM CLUB TOUR ................... ...................... 7 MLLE G NAMES 'N NEWS ... ... ............. ........................ 8 NEW ENGLAND GYMNASTIC SCENE ..... .. ................... 9 GYMNASTICS MODERNE ...... .. : ................... ........ ....... .. 10 MADEMOISELLE GYMNAST INTERViEW ...................... 12 MORE OLYMPIC SCENES ...... .................. .................... 14 MADEMOISELLE TURISHEVA LJUDMILA (USSR) .......... 16 VERA CASLAVSKA ......... ... .. ........ .. ......... ...... .. .............. 18 MILAN MED ENGRAVING .......... ..... ............................... 19 PROGRAMMING AND GYMNASTICS ... .. ........................ 20 GYMNASTICS FOR 2ND & 3RD GRADERS ....... .. .... ....... 23 HELEN'S CORNER .................................................... 24 ELEMENTARY BALANCE BEAM ROUTINE ............ ........ 26 MLLE G SCOREBOARD . ...... .. ........... ..... ... ... .. .............. 28

COVER: "Back Walkover Into Split" Drawing by John Taye of Salt Lake City.

Glenn M. Sundby- Publisher "Barbara B. Sundby- Managing Editor

MADEMOISELLE GYMNAST is published bi-monthly during the school year (Sept.-Oct., Nov.-Dec., Jan.-Feb., March-April , & May-June). Price $3.00 per subscription year, 75c a single copy. Subscript ion correspondence Box 777, Santa MOnica, California 90406. Copyright 1969. All rights reserved . by Sundby Publications, 410 Broadway, Santa Monica, California 90401.

Managing Edi tor Mrs. G. Sundby and her new found friend, Scott Raymond.

NOTE FROM THE PUBLISHER: \

Our Mile G Managing Editor is taking leave of her position to take on new management responsibilities (with" malty changes) for our new Sundby Publications addition, Scott Raymond Sundby (born Dec. 28th, 1968, 8 pounds, 8 oz.) . . . There­fore Mademoiselle Gymnast is on the lookout for a new Associate Editor. Requirements: An enthusiastic interest and knowledge of Women's Gymna~tics; A ~esire to s.e.e a!1 pha~es of Women's Gymnastics grow In America; An abll.lty In typing and Sport style journalism; The energy and capacity to handle a volume of correspondence and editing; An artistic sense of discernment in selecting photos and materials for publication; A tenacity to meet deadlines; To be able to research and present new ideas and trends in Women's Gymnastics; !o stimulate reader action; Help develop a good new s~bscrlp­tion and subscriber renewal program; Seek out pOSSible ad­vertisers· Credit new products of Gymnastic interest; Institute an exte~sive file system of photos and history of Women's Gymnastics; Be efficient and progressive.:. IN OTHER WORDS ... do the Impossible, do all the things we have always wanted to do with MADEMOISELLE GYMNAST and never really got much beyond an enthusiastic scratch of the sur­face .. . AND DO ALL THIS for a very limited financial com­pensation knowing you are doing a job that cannot be re­warded in $$$$ but in pride and satisfaction that you are contributing to the growth of our wonderful sport of Gym­nastics in America ... ANY TAKERS????

* * * We feel the Mile G has a very bright future, but to get out on time we need more help and more subscribers ... Think about it . . . Perhaps you are not in a position to be an editor or direct worker for the Mile G, but you may have some ideas how we can reach out and fill your needs better, or a fantastic idea how we can get 5,000 new Mile G sub­scribers in a hurry. Just think if we had 5,000 more sub­scribers we could publish Mile G every month during the school year with more news, action, instruction and photos . .. A beautiful thought wort.h thinking about ... Not just thinking but acting on ... let us hear from you. (And wh~e you are at it get a friend to subscribe to Mile G, she Will be doing herself, you, and all of our other Mile G readers a favor.)

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N.""" Photo P"" by Tom ""'00 - a ~ ~ 60~

"FIRST UP"

TO THE EDITOR: There is a story to be told about the great effort of our Women 's

Gymnastic Team at the 1968 Olympic Games; one-that I am sure the general public could not conceive and that the coaches and athletes wi" not or at least to this point have not mentioned in any of their news or press releases ; and I have titled this "FIRST UP" and hope that you can see fit to print it in your next publication.

Although I am not by any stretch of the imagination an expert in the sport of gymnastics, I am knowledgeable of the sport and therefore my name is associated with the sport within the circle of coaches and gymnasts alike. So, for that reason, I prefer to remain anonymous.

It is not my intention to belittle or discredit any of the coaches and certainly not the athletes, these are an odd breed, but then to be as dedicated as they are to the sport of gymnastics they must be unusual.

It seems to me that we overlook the very obvious in our bid to be in the winners circle, such is certainly the case with the women's gymnastics in the recent Olympic Games in Mexico Ci ty. Natura"y, we a" sing the prai ses for high scorers; but we must not for one min­ute forget how they got on top. Other members of the team made many more sacrifices than ever wi" be told and the competitor that is "FIRST UP" holds the weight of the team so far as receiving a high score. Surely a" competitors as we" as coaches know the hazards of being "FIRST UP" in a sport where the only judgment is made by another human, or at least we assume they are human. So much of the time, too much attention is given to the Linda Metheny's and Cathy Rigby's and too little to th e Wendy Cluff's. Miss Cluff was "FIRST UP" in seven (7) out of eight (8) events in this past Olympic competition .. . and still scored a 9.2 average, THE HIGHEST START­ING SCORE EVER TO BE ESTABLISHED BY A UNITED STATES GYMNAST in any previous Olympic Games ... thus being directly responsib le for the higher scores enjoyed by her teammates, and the . ultimate climb by the United States in International Gymnastics Standards.

There certainly must be other girls that could do as we" as "FIRST UP", but they were not on the 1968 Olympic Team. Miss Cluff has more real heart and intestinal fortitude than any athlete I have had the pleasure of knowing, and certainly deserves much more praise than she has been shown thus far. I had the distinct honor of speak­ing with most of the girls from the gymnastics team while at the Games as we" as the coaches. Wendy impressed me so very much when I asked "Why did Muriel Grossfeld have you "FIRST UP" so many times? And her simple reply was, "SOMEONE HAS TO START." And start she did, with the spirit and proud ness of a true American girl that she is ... Miss Wendy Cluff, I salute you!

Dear Mr. Sundby:

Sincerely, An Anonymous Admirer of "First Up" Wendy

"GYMNASTICS MODERNE"

This letter is long overdue, but it comes as a compliment for your fine coverage and articles on "Gymnastics Moderne". It is also a request for information.

I ~m a dancer and a dance teacher and have competed in gym­nastics and coached a team here in the Bay area. After reading your articles on "Gymnastics Modern-e" I have become very interested in that aspect of gymnastics.

At the high school where I teach I am attempting to interest some of our girls in this form of gymnastics. I would appreciate any and all information you might have. Are there any "teams" as such formed as yet in the USA, and if so are there any competitions scheduled?

I also think it wou ld be wonderful if the USA could have a team represented in the world championshi ps in 1969. If there is any way I could help in this regard I would be most interested as I feel this aspect of gymnastics could be the up and coming " thing" and will have great appeal.

I hope sometime in the future to meet you and Barbara and dis-cuss the future of "Gymnastics Moderne" in America.

Sincerely, Patti G. Stauch Walnut Creek, California

ED: The 4th Gymnastics Moderne World Championships wi" be held in Bulgaria September 27th·29th, 1969.

Wendy Cluff

"Gymnastics Moderne" Team competition with Hoops

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-~ -----Mademoiselle Gymnasts from the Seattle Gym Club (left to right) Carol Elsner, Peggy Rowen , Jean Anne Henderson and Linda Bennett.

REPORT OF THE SEATTLE GYMNASTIC CLUB TOUR OF SOUTHEAST ASIA by Dr. Eric Hughes, Coach and Manager

The Seattle Gymnastic Club returned home on September 12, 1968 after spending five weeks tourin g Japan , Thailand , Singa pore, Philippines, Taiwan and Hawai i. The " goodwill " tour was sponsored and financed pri'marily by the United States Department of State as a part of their Cultural Presen· tation Program.

The Seattle Gymnastic Club (S .G.C.) was founded in 1961 to promote the sport of gymnastics in Western Washington and to raise money to send gymnasts to National gymnastic meets. Since 1961 the club has expanded its act iviti es to in· clude the sponsprship of visiting foreign teams in Seattle and tours such as this Southeast Asia tour. The S.G.C. is a com· bination of two well known Seattle gymnastic t eams - the Seattle Y girls team and the Husky Gymnastic Club of the University of Washington. The tour group was composed of the followin g six women and eight men: Bo Bennett, Linda Bennett. Gunter Bohrmann, Barbara Cook Jim David Pauline David, Carol Elsner', Gary Finne, Mike Flan~aas, Bob H~II, Yoshi Hayasaki, Jean Henderson , Charlie Peters, Peggy Rowen and Dr. Eric Hughes, gymnastic coach f rom the University of Washington.

The group left Seattle on August 9 and stopped in Tokyo for three days. The three days were used to sightsee and visit gymnasiums where some of the top Japanese gym nasts train.

The main purpose of the tour was t o c reate goodwill and develop. friendshi p and understanding between the peoples of the United States and the countries visited. In each country a local sponsoring group arranged the schedule of activities. and acted as host for the Seattle Gymnastic Club. These host gro.ups were: Thailand, the National College of Ph ysica l Edu· cation; Singapore, the Singapore Amateur Gymnastic Associ · ation; Philippines, the Gymnastic Assoc. of the Philippines; Taiwan, the Gymnastic Association of the Republic cif China. Each of these groups arra nged clinics, demonstrations, T.V. appea~ances as well as receptions, ba nquets, social functions, and Sight seeing tours. Because of the common interest in sports and gymnastics , friendships developed rapidly and any barriers Imposed by language and differences in cultures seemed small indeed.

The clinics varied greatl y. In some cases they were formal presentations of teaching techniques, lead·ups, spotting meth· ods, etc. to a large audience sitting in the bleachers. Several were participation type clinics in which school clli ldren were divided into small groups and were rotated from event to event

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to work directly with the visiting Americans. At one clinic a group of children were assembled in the gym and were tau ght as in a regular physical education class situation with a large group of teachers in the stands to observe t he process.

Demonstrati ons were planned to be entertaining and of interest to the general public as well as to gymnasts. The bulk of the program was a demonstration of competitive mens and womens gym nastics. Three c lown members were presented, one on th e trampoline , one of the tumbling mats ana one novelty slap·sti ck handba lancing act. The gri ls developed two modern gymnastic group numbers performed to music and one of the girls did a novelty acrobatic dance. Several memo bers of the group happened to be accomplished musicians an d in many demonstrations musical numbers we re included to add variety to the show.

The T.V. appearances varied greatly from short appea rances on regular news telecasts to full length two hour programs. Some of these shows were done live, others were taped to be used at a later dat. The estimated viewing audience for many of these programs was huge. Several of the cities had only one T.V. channel and therefore somewhat of a captive audio ence.

Newspaper coverage was tremendous. It is hard for us in the United States who have struggled for years to get reports in the papers (Seattle is an except ion with good newspaper support for gymnastics) to understand the interest in the sport in some foreign countries, especially in the ones we visited where gym nastics is still in the embryo stage. Photographers and reporters followed our group throughout our tour takin g photos of our clinics and social activities, as wel l as our ar· rival and departure from their city.

The level of gym nastics in the countr ies we visited was very low but the interest of the gymnasts and the governing organizations was exceptionally high. The hot, humid climate in these countries is not conducive to gymnastics but on the other hand the people are especial ly suited for sports like gymnastics because of their physical structure and attributes. The skills of the top gym nasts were far below the level of our group except in Taiwa n where they approached but could not quite match our group.

On the way home the Seattle Gymnastic Club stopped in Hawaii. Two school assembly programs were presented but most of the tim e was spent swimming and surfing on Waikiki Beach and in tourin g the Island.

Caslavska in Japan

NOTE OF INTEREST FROM JAPAN . Akinori Nakayama and Miss Mitsuko Kandori who have

partiCipated at the Mexico Olympic Games and both who are 1968 all·around champions of Japan have announced that they will wed this Spring. Both are 25 years of age. Nakayama won four (4) gold medals at Mexico.

. It is also interesting to note that severa l recent Japanese men and women Olympians have wed:

Mr. and Mrs. Ono . Mr. and Mrs. Tsurumi Mr. and Mrs. Mitsukuri Mr. and Mrs. Tanaka Vera Cas lavska visited Japan from Dec. 4 to Dec. 14 fo r

an exhibition with the women's (Czech) gym team. This was her fifth visit with an invitation from the Japan Gymnastic Association.

A TEAM EFFORT Dale and Mike Flansaas will be at the University of Nevada

as graduate students for at least two years. Mike will take over coaching the Men's Gymnastics Team and Dale will work with the Women's Gymnastics Team.

The University of Nevada will have a Gymnastics Camp at Lake Tahoe, Nevada on June 16·21. The camp will be an an­nual affair. Dale and Mike will be the administrators and chiefs this .year.

MLLE G NAMES 'N NEWS

ONE OF THE FINEST Under the direction of Coach Harrrett Maminca, the Ithaca

College women's gymnastics team (Ithaca, New York) is rapidly becoming one of the finest in the east. Thus far, this season, the Ithaca lad ies have won five and lost only one, .a close de­cision to long established and perennial power Southern Con­necticut. Leading the way for I.C. are Linda Stanley in floor exercise and balanced beam, Karen Kirk on the uneven beam and Dian Ingraham in vaulting .

SOKOL ' SCHOOL HOLDS WINTER SESSION IN FLORIDA

Sokol USA sponsored its first annual winter sess ion of the Sokol Gym­nastic School (held each summer at Soko l Woodlands, Barryville, N.Y') from December 26 to 31, at the Sokol Beach Motel, Courtney Campbell Causeway, Tampa, Florida 33607.

Gymnasts attended from as far as Mai ne and Chicago, and included many summer Sokol School alumni.

The dai ly schedule included gymnastic classes on each piece of appar­atus, for men and women, with the gymnasts divided into groups accord­ing to ability, lectures, informal workouts, and time fo r dips in the pool and for other recreational activities.

Director of the school was Milan Trnka, gymnastic coach at West Chester State College and also director of the Sokol Woodlands summer sess ions: Instructors included Joe Fodera, Gary Anderson, Ellen Babuska, Norman and Marion Franck, and John Castle.

A student-teacher ratio of 3:1 resulted in completely individualized instructi on of excellent quality,

Sokol Winter Session in Florida

Pattie Corrigan Photos by Russell C. Brown

NEW ENGLAND GYMNASTIC SCENE UNIVERSITY OF MASSACHUSETTS

SPRINGFIELD COLLEG~ By Dr. Joe Massimo

The gymnastic season for women in the New England area is shaping up to be one of the most exciting in these parts in many years. All to be climaxed by the National Champion' ships (DGWS) being held in Springfield at the college on March 7 and 8 , 1969.

Springfield opened its season with an impressive win over Salem State College. The varsity team this year is loaded with talent and has considerable depth. Based on their early per­formances this is a group of ladies to reckon with at the Na­tionals. Springfield ' s g irls are kept busy with their exhibition schedule as well as competitive program. This year they are doing 14 shows with the men and the icing on the cake is a

. projected trip to the Gymnaestrada in Basel , Switzerland_ The Univ. of Mass. has a heavy competitive schedule and

opened their season with a win over the Montclair YMCA team with a score of 92.3 to 66.10. The outstanding performer in this meet was Margie Sims of U. of M. who won all four events. She scored an 8.8 in FX, 8 .65 SHY, 8.8 on B.B., and a 8 .9 on bars. Co-Captain Sue Clancy, still trying to recover from the effects of mononucleosis came in second on the bars with an 8 .15 and in vaultin g with an 8 .25_ Newcomer Linda Seidunas posted an 8.25 in the FX.

The most exciting meet so far this season was the tri ­meet between the U. of M., Springfield College and Towson State College (Maryland) held in mid-December. These teams put on quite a show. The U. of M. and Springfield battled it out - only one point separated the team scores in FX, SHY, and UBs. However, Balance Beam proved disasterous for the girls from U. of M. Everyone fell off the beam, some twice, con­tributing to a large point spread and a final team score of Springfield 102.65. University of Massachusetts 93.65. Towson College showed some good performances and finished third with a respectable 75.20 team effort.

There were many outstanding performances, as a capacity crowd of enthusiastic fans made for a wonderful atmosphere. The meet was well run and lasted only 2 hours and 15 min­utes, a record for a three-way competition in this a·rea .

The most outstanding girl of the meet was Patti Corrigan, youn ger sister of past Olympian Kathy Corrigan (also Spring­field gal) who is a freshman at the College. Patti won vaulting with a beautiful Yamashita (9.45!) and Uneven Bars with a 9 .35. Judy Markell, another Springfield competitor, won the Beam with a score of 9.3. -

Margie Sims (U . of M.) continued to be undefeated in FX winning the event with a score of 8 .8. She came in fourth in SHY with an 8.85! , and second on Unevens with a 9 .l. Sue

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Margie Sims

Susan Clancy

Clancy tied with Springfield 's Linda Beyer fo r second place on SHY, both girls scoring a 9 .0 out of possible 9 .7. She also placed fourth on. bars with an 8 .6.

Last year's Eastern Intercollegiate A.A. champion , Karen Stewart from Springfield , came in third in FX with an 8 .55, and third on unevens scoring 8.85. The scores in the meet suggest the high caliber of competition. Add t o the efforts of these teams, th e performances of other top schools across the na­tion and you can imagine why the women's Nationals at Spring­field in March will be the event of the season!

GYMNASTICS MODERNE Mrs. Eva Balazs of Sweden has just completed

the manuscript and illustrations for her book the manuscript and illustrations for her book Rhyth­mical Rope Jumping For Gymnastic Moderne. With Mrs. Balazs permission we are previe~ing for our Mademoiselle Gymnast readers portion of this book soon to be published. l. The Table of Contents. 2. The Forward. 3. Two instructional excerpts with illus­trations. 4. The History of Gymnastics Moderne (which by the way took her months to read through Russian, Czech, Hungarian and East German publi­cations to find facts on Gymnastics Moderne).

Rhythmical Rope Jumping for Gymnastics Moderne

By Eva Balazs

L Foreword 2. Terminology 3_ The special technique of rhythmical rope jumping 4_ Material for the beginner. A simple routine put together for

the elementary grades. 5. Intermediate level. Suggestions for making up individual

and group routines in the junior high schooL 6. Advanced movements_ Elements for compositions in the

senior high schools and colleges. 7_ Rope jumping as a competitive event in Modern Gymnastics.

Judging. 8. The history of Modern Gymnastics.

FOREWARD Rope jumping, as it is done in Gymnastics Moderne, is

quite new to Americans. Of course we know how to jump a rope. We know that athletes do it, that children do it. But this is a different kind of rope jumping. Rhythmical rope jumping is accompanied by music and is a form of dance. It is beauti­ful. The grace, accuracy and the poise of a well-trained gym­nast is that of an experienced dancer. She turns, leaps, twirls and dances with the music while the rope is swinging with seemingly no effort at aiL

How is it done? Where to start? I hope this book will help you to begin and to continue. I hope it will enable many girls to discover and enjoy rope jumping as a creative and expres­sive form of gymnastics.

I hope even more that this book will aid many teachers in starting a program in Gymnastics Moderne, starting it and following it through from the beginning stage to the beautiful advanced level.

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THE HISTORY OF GYMNASTICS MODERNE Gymnastics Moderne developed as a by-product of Soviet

gymnastics. As early as 1939 there were noticeable activities going on , but at that time it was still hard to see in what direc­tion Gymnastics Moderne was to develop.

The name, in direct translation, is Artistic Gymnastics. In all middle European countries, where this type of gymnastics is flourish ing, it is known by that name: in German, Kunst· lerische Gymnastik; in Hungarian, Muveszi Torna; in Czech, Kunstnerisch Gymnastik.

The first competition in the Soviet Union was held in 1939, the second in 1941. That was the time when pantomine, stage­craft , drama, and dance were mixed together with gymnastics to such an extent that the elements of gymnastics played only a secondary role.

It was after the Second World War that Artistic Gymnastics developed its character and became a sport in its own right. It became a sport designed for women.

In 1945 a special Committee was appointed by the Soviet Gymnastic Federation to study this new line of gymnastics, to clarify its goals and means, and a lso to work out a system by which Artistic Gymnastics can grow and develop in theory and in practice.

Meanwhile, seminars, wo rkshops, and competitions were being held, one in 1946, then in 1947 and 1948.

It took the Committee about two years to formulate a clearcut definition of Artistic Gymnastics. The name " artistic" reveals that it is a form of art, a form of self·expression for each and every individual. It is gymnastics with its spirit of competition and striving for high achievements . But it is dif­ferent from " classical" gymnastics. It uses small hand·appar­atus only. It is closely related to dance; the elements of dance are present in it and music is used. Its goal is to achieve beauty, grace, femininity, fitness, and self-discipline. The train ­ing has to be artistic, aesthetic, musical as well as gymnasticaL

The Committee presented an exact list of rules and regula-tions concerning competitions at all levels. '

The two most important resolutions that the Committee made were: the recommendation to establish trainin g colleges for teachers and a work-plan for a nationwide age-group gym­nastic program.

These two resolutions gave a real impetus to the new sport. The Committee's recommendations were promptly ac­

cepted. Five-year training co lleges were e'stablished throughout th e country where teachers were instructed in the special training of Artistic Gymnastics.

A program, detailed in all its aspects, was put to work all over the country in the training of children. High achievements in any sport can only be reached through a systematic school­ing that lasts several years.

Group I was for girls from 6 to 8 years of age. (Work with jumpropes is one of the first activities.)

Group II for girls from 8·10 Group III for girls from 10-12 Group IV for girls from 12·14 Group V is called the " Elite group" for girls from 14 years

up. It is for competitive gymnasts training for international meets.

The small hand-apparatus are the following: jumpropes, balls, wands, hoops, clubs, pennants, scarves (6' by 3 ').

So, the Committee's work-plan was accepted and put to work. Not only in the Soviet Union , but in the satellite coun · tries, too. After 1950 Artistic Gymnastics began to flourish in Hungary, Czechoslovakia , East Germany and other communist countries. The gYfTInastics performed in international meets between these countries began to reach spectacularly beautiful forms.

The western world wasn 't aware of Artistic Gymnastics until 1963, when the first World Championship was held in Budapest, Hungary. It was an event gymnastic circles took notice of at once.

The second World Championship was in 1965 in Prague, C.S.R.

The third one was held in Copenhagen, Denmark, in 1967. That was the time when news really reached us in America.

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Meanwhile, western European countries are beginning to develop programs in Modern Gymnastics and are starting 'it from the very beginning - where all new things have to start. Here in Sweden, the first national competition is just about to take place. The air is full of expectation. How many girls are going to participate? How many groups are going to show up? What will the quality of the performances be? - We don't know yet.

But one thing is clea.r: one has to begin . Then if you keep doing it and working on it, exciting things can happen. It is worth trying.

3. Run and swing the rope. Two running steps on each forw~r d swi ng of the rope. Rope passes under the same foot all the time.

Keep arms well to the side. Swing the rope with the wrist. Stay erect. Run with even, li ght steps.

Practice with left foot starting as well as right. Note to the teacher: Divide the class into groups of 4-S. Take turns

running in a large circle. (figure 3) Use music as often as possible . Here a 2/4 beat is best suitable.

32. Horizontal circles. Hold ends of rope in right hand. Lift arm and start to rotate the rope overhead in a horizontal plane. (figure 32)

The movement begins with bending the knees - then stretching and going up high on the toes. Keep the back flexible, follow the rope with your eyes. Keep the free hand relaxed.

Practice it with left hand, too. Use 3/ 4 beat music. This movement lends itsel f well to combinations of different steps

and turns. Experiment with itl

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INTERVIEW With JOYCE TAN IC

JOYCE T ANAC - Age 17, Resident of Seattle, will enter University of Washington as pharmacy major in fall . .. National AAUsidehorse vaulting champion in 198 . . . Second place winner in Pan American Games all-around competition (to Linda Metheny) and second in National AAU all­around (again to Miss Metheny) ... Member of 1966 World Games team. One brother . Began tumbling at age 3, but did not work on other events until age 11 .

by Ken Sakoda and Dick Criley (At Lake Tahoe Training Camp before the Olympic Games)

How did you get started in gymnastics in the first place? I took acrobatics and ballet, starting 'when I was about

3 1h. I took tumbling lessons every once in a while from dif­ferent instructors. Then Frank Hailand came from IlIi·nois to Seattle and I took tumbling lessons from him when I was about 9. He did gymnastics, you know, so he got me interested in gymnastics. Then I started at the (Seattle) Y with George Lewis when I was 11.

I graduated from Shoreline H. S. in Seattle in June and I' ll enter the University of Washington in January to major in Pharmacy. Washington has a girls' gymnastics club, but it 's run by the girls themselves; they don't have a coach. You've been working all-around now for some time. How did that all get started?

I had a good background in tumbling with Frank. I'm really thankful for that the longer I 'm in gymnastics. Would this (Tumbling) be the foundation for girls to start out in?

I think so. It's really important. It has taught me so much. What percentage of your time do you spend at gymnastics?

Well, for the Ojympic trials or training for a big meet, we spend about 5 h'ours a day, six days a week. Usually during school it was about 3 hours every day. We worked in the evening from about 6 to 9:30 at the Y. Is this on a yearly basis or do you layoff for a while?

Usually after a big meet, like Nationals, we take a week off completely away from the gym and then come back and work on new things, but, no hard workouts for a while . We work out the year ' round. Do you feel you've had to sacrifice a lot because you are in gymnastics?

I know there were lots of things at school like committees and clubs I'd like to have been on and activities I'd like to have gone to, but I really don't mind because I like gym­nastics. Originally we were going to ask why you chose gymnastics, but I guess at the age of 3 1/ 2 you didn't really have much choice. So why don't we phrase it - What keeps you at it?

I don't know. It's funny, I was talking with some of the girls about why all of us got into gymnastics. I really don 't know. It's something you started doing and really liked.

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What is it about gymnastics that would appeal more to a girl than some of the other sports she could go into?

I think it's very feminine, very graceful. It's a beautiful sport; not like basketball or something like that. There's also variety in it - you have lots of different things you can do; really, it isn't too boring.

I just think it's a really good sport. It develops the whole body. There's not a part of you that doesn 't get sore at some­time or another. It makes you more coordinated to do any­thing else, another sport. You can do other things easier than someone else who hasn't had gymnastics. What do you do about calluses?

Well, there's not really very much you can do about them. They're there and you get weird looks when you shake hands, and that sort of thing. Have the Olympics been a real factor in your drive?

Yes , I can remember when I was about 12 and I was on a TV program in Seattle and one of the announcers asked me if I hoped to make a team or anything and I said I hope to make the '68 Olympic team. How long do you plan to compete?

As of right now, I 'd like to try for the '72 Olympics, but after that, I don't think I'd keep on . Do you have any gymnasts you try to pattern yourself after?

I think Dale Flansaas has helped me the most, as far as other gymnasts I've worked out with are concerned. She was in the first tumbling class I had with Frank. So I think she's the on5 gymnast I've followed , not to be exactly like her, but as an example . How do you develop what you would call your own style in gymnastics?

You have to kind of play around with a whole bunch of different ways and finally find one that feels natural and looks good too. It's hard. How would you describe your style then?

Probably floor ex and beam would be the best examples. Take right here at the training camp - they're trying to make me look more elegant so that 's probably one of my problems. I'm rather bouncy and carefree and not real dramatic. It is hard to characterize style. You've used words like care· free and elegant. What else might characterize style for women?

I think mainly it 's the way you present yourself . A lot of women can do the same stunt or ballet movement, but it just looks different for each person. It's your own personality that you put into it, and how you look. It's hard to explain .

What part does the coach have in bringing out personality and style in your routines?

Th ey can give you hints and directi ons in which way t o go, but th e fin al product just has to come from yourself. Nobody else can give it to you. Would you do something in a routine that felt unnatural if your coach said you should be doing it?

Well, you'd try to do somethin g like they say, but you'd try to change it so it felt good to you. If you do somethin g that feels good to you, it gives better impression . Noting the preponderance of men who are coaching women's gymnastics, would (or do) women make good coaches, based on your experience and the few that you might know?

Women, I think, do make good coaches. The men - their strong points are vaultio g and uneven bars - and the women more on free ex and ba lance beam. I think if you get one who has been a gym nast, who has t ried and done it all, then, she can be a real help. I think that spotting also presents a problem. But I think they make very good coaches. Do you have a preference?

I've only worked with men coaches, besides Dale (Flan­saas) who has helped me on floor ex and beam, but other than that I 've never had a woma n coach except here at the training camp. Do you have aspirations to do coaching then?

I think after I get through competing I want to coach. Wh ether I have a team of my own, I 'd like t o help coach , maybe at the Y or something like that. Has reaction to the training camp been favorable among the girls here?

. There are a coup le who hadn't been in a tra ining camp before and they kept saying, " I didn't think it would be like this. " It's the long period of time that we work out each day, I th ink, that's the biggest fact or. That kind of runs 'em down .

Miss Tanic being spotted in a Back-hand-spring on the Beam at the Lake Tahoe training camp by Olympic coach Muriel Grossfeld.

How can everyone afford to take so much time off for this? Most of the kids are still in high school and that isn 't too

hard. I missed 3 weeks for the World Games in Germany. There 's not much you can do about it. If you want to go, you have to make it up somehow when you get back . I don't know about college. Linda 's going to miss out on a quarter and Kathy will have to make up a semester. I' m kind of in a good pOSition because I haven't started yet and I'm just going to skip the f irst quarte r and start in January. . How do you tnink the U.S. women stand internationally now and also for the future?

We were sixth at the '66 World Games and in the Olym­pics. I think we all hope we can ~tay in the t op 6, but I think 4th is the absolute highest we could take and th at would take air the breaks our way. In the future, we ll, we'r-e starting now to come up with some new things instead of doing li ke the Russians and Czechs and copying them . Then two years later we look like they used to.

·13·

Can you describe what it is that we are trying to develop in our women's national ~tyle?

We want to try to get something th at is definitely Ameri­can and that will open up the eyes of other people and make them notice us. Like the Russians in '66 who had a very young t eam, very cocky. They were very brisk, you know, like " I 'm the Best". They' came out with some very different things. I think the United States is reluctant to come out with different things, because they (the Russians) set the trends . I think we are starting to break away now and put in a little of our own . What is this of our own that we're trying to put in?

We've always been strong in tumbling. Now, we' re trying to get a team of six who can all throw full twists in free exer· cise and a couple different dismounts here and there. Some of us are working on flip -flops on the beam . I' m sure more people are working on it now, but last October at the Pre­Olympics just one East German girl was doing it. I think if a couple of us can go down there and do it, it will show the others that we aren't quite so far behind. What are some of the qualities that women have to have to be in gymnastics?

Well, I think women have to have things like strength, en­durance, and th at sort of thing. You might be very flexible but very weak and unable to control your flexibility or not have enough strength to do anything. Desire, too , plays a great part. There isn't a lot of pain in gymnasti cs as compared to some other sports, like runnin g, but still there 's enough so that when you don't really want to do it, you have to be able to force yourself just a little bit beyond . What is your favorite event?

I think probably vaulting and balance beam. What's your most difficult event?

The uneven bars. Would you say that generally it (the unevens) is the most difficult event for girls?

Well, I think that for. the U.S. as a whole that vaultin g has been one of the weakest for everybody. (Is it because women haven't been brought up to run like that?) That's probably the basis. I really don't know why but as a nation, that 's been our weakest. If you had a group of young girls to work with, what might your advice be?

Work on flexibility, strength , and perfect the basic moves first. It's so much easier, then , to build upon those. That's one of the problems I had - I started right with the harder stunts and didn't learn the really basic moves. It's really an advantage to learn the simple things first real good. We've run into this also with the men. They say they want to get the basic things down, but they never tell us what the basic things are. What do you consider basic for women? ?

With me, the perfect examples are on the unevens - the squat-throughs, the seat circles and a strong set of stomach muscles. Also kips. And in tumbling good front and back walkovers, good handstand. On beam, I think you should be able to get over the fear of it and to be able to leap before you start doing a lot of hard stunts. In vaulting, a good run would be the first essential thing, then a good take-off. It's hard to change once you'ce done it a while. In Europe there is still another competitive gymnastics form, the Modern Gymnastics with balls, hoops and wands, and that sore of thing. What do you think is its potential in the U.S., compared with, say, the Olympic Gymnastics?

I think it has good possibilities. From talking ' with kids who had it in PE gym classes, I know they really enjoyed it. It's something different. Some kids can't do gym nastics be­cause they aren 't strong enough or they're afraid. The modern gymnastics is different, it's hard to do but you can really have a lot of fun learning it. Especially in a class type of situation, it can be really good. Is there a way that this could lead some people into the competitive Olympic type of gymnastics?

It is quite different and I haven't really done a lot with it. We just played around with it at the Y. But if you enjoy it a lot, you might go into the regular competitive gym nasitcs. Some of the men gymnasts we've talked to have special diets or exercises they carry on. Do you have anything like this?

I've found the best way to lose weight is just to cut down on what I eat - cut out sweets and bread and potatoes and that sort of thing. I haven't done very much (in the way of strength exercises) but I should work on things like stomach muscles a lot more than I do. I know that Doris Bra use sa id that she had lifted weights, but none of our own club has a set program . Sometimes about three weeks before a meet we'll do different things to strengthen different parts of the body, like running at the end of a workout.

MORE OLYMPIC

o ~ -,

VERA CASLAVSKA Top Olympic Gold Mepalist in Mexico in 1968, Vera Caslavska won 1st places in All -Around, Vaulting, Uneven Bars and Floor Exercise. Shown above is Vera walking from trophy stand for Vaulting, also with her teammates and at right during her Floor Exercise routine .

Engraving by Artist Milan Med of. Prague, Czechoslovakia of Vera Caslavska's "Handspring Pike Vault" ,

·19·

P.O. P.M.D • PROGRAMMING AND GYMNASTICS

By A. Bruce Frederick

One of the more recent themes to attract the attention of education has been programmed instruction (P.I.). All manner of theoretical work has been presented in the literature to promote, attack, glorify or warn educational practitioners about the assorted merits and shortcoming of the P.I. method. (A reading list will be found at the end of this article.)

Rega rdles s of what you know or hope to find in th e enor­mous body of literature related to P.I., it is more or less agreed that these kinds of materials are better described as teaching aids ... not teach ing substitutes.

Programmed instruction is particularly useful when portions of any subject matter can be described in terms of " knotty problems." Programs are often written to provide experiences for students who show both high and low aptitudes. Thus, there are "catch up" programs and programs for the gifted.

Few, if any, · programs have been designed for physical education which deal with specific movements. We have our "knotty problems" and P.I. should. be helpful. Most of the cur­rent programs published for physical education are concept programs, those which deal with rules , theory, team play and the like.

The little program presented in this article deals with one of the " knotty problems" of gym nasti cs . .. the handstand . Not that the handstand is difficult ... it isn't. But it is amazing that not more of our students learn to do it. Perhaps the reason is that the teacher cannot often devote the kind of time to the teaching of a handstand that results in a greater percentage of class achievement. P.I. materials can help bring the best the teacher. has to offer to each students who takes part in it.

Since the program writer has selected a motor skill (the handstand( for programming we might refer to resultant ma­terial as programmed material for movement or simply pro­grammed movement instruction P.M.I. This is a new departure in physical education. Only - in industry do you find P.I. mater­ials for fine motor movements related to such things as tele­vision and mass production .

Although the handstand program given here is but a small portion of materials that are yet to be developed, certain things had to be checked before even this small bit could be done to the satisfaction of the program writer.

Construction rules for P.M.I. will be the subject of future articles. Generally, the program writer had to have some ideas about:

A. Analysis of the gymnastic field including areas of ,prob­lems suitable for P.M.I.

B. Developing a philosophy of progression . C. Establishing goals or objectives.

In synthesizing the field of gym nastics, the writer identi · fied five basic areas:

1. Vaulting - Including basic movement. tumbling and tra· ditional vaults. This was considered the foundation area .

2. Swing - Recognizing the human body as being made up primarily of third class lever units (attachment of muscles to their bony levers) this area is considered prime. Man is not built for strength but rather for speed and range hence his swing in the performance of kips, circles and other movements dependent on the efficient use of the body was identified very closely with gymnastic excel · lence

3. Balance - Both static and dynamic forms of balance are part of the total make·up of this area . Note: Although a held handstand is truly an example of static balance, the learning process and the program pre­sented below are more dynamic than static.

4 . Flexibility - This area is closely identified with swing since total body range enables the bony levers to yield maximum efficiency.

5. Strength - The area in which the determination of strength need is extracted for suitable gymnastic per­formance.

Within these five areas, problems were identified according to seler:ted criteria. The handstand was one of many. Since

·20·

it was believed that a momentary handstand can easily be accomplished by the majority of students we meet but often is not. this particular item was selected for P.M .I.

Gymnastic progression , famili ar to us in the sense com­monly applied for years in gymnastics, is somewhat modified in P.M .I.

1. Materials are developed and designed for student self­in stru cti 0 n.

2 . Instructional material at each step (frame) of the pro­gram includes one simple self-evaluation standard de­si gned in such a way that the student or his partner will immediately know ttiat he has or has not accomplished the goal of the step.

3. To be successful , program steps must be followed exactly as repesented. Often, as you may well know, an oral presentation of material may vary from class to class. Therefore important bits may often be excluded . Not so in P.M.I.! Every little bit is thoroughly presented to the student in terms he understands. The program undergoes continuous revision when confused students report "grey" areas to the teacher_ Such " feedback" is evalu­ated for weaknesses and the program is revised accord ­ingly. Programs tend to become more perfect as they are used. You should be attuned to special weaknesses of the program presented here. Your students will enable you to improve it!

4. In P.M.I. a pair or a' group of students work together. It is difficult for you to see yourself in action. This is a basic difference between typical P.I. and P.M.I.

READI NG LIST DeC ecco, John P., (Editor), Educational Technology - Readings in Pro·

grammed Instruction. New York: Holt, Rinehart & Winston, 1964. This book contains an excellent sampling of materials from the lead· ing exponents and critics of P.1. Educational Technology is also the name of an excellent joural issued twice a month from Educational News Service, P.O. Box 508, Saddle Brook, N.J. 07662.

Espich, James and Bi II Williams, Developing Programmed Instruction Ma· terials. Palo · Alto, California: Fearon Publishers (2165 Park Blvd., 94306) 1967 Explains the method for constructing programs to educators as well as those engaged in industry. Appendix contains an excellent guide to construction rules. The authors explain such terminology as "Baboon," " Go or no go," and "RAM frames" in this book.

Mager, Robert, Preparing Educational Objectives. Palo Alto, Cal. : Fearon Publishers, 1964. The book is prepared in programmed form and represents a good review prior ·to preparing materials for P.1. since it makes you aware of typical errors in construction of behavioral objectives. .

Markle, Susan M. et ai , Primers on Programing. New York: Center for Programed Instruction (365 West End Ave.l 1961 This writer has also prepared Good Frames and Bad. The Primers rep­resent programs which guide you to an understanding of the ob· jectives an,d methods in P.I. They are good basic references. -

Phi Delta Kappan (Bloomington, Ind.l Special Iss ue on P.I., March, 1963. Vol. XLI C, No. 6

Pipe, Peter, Practical Programming. New York: Holt, Rinehart & Winston, 1966 If you had to buy or consult a first book on P.I. this would be it. It is down to earth and excellent gui de to "getting the job done" are contained in its pages.

Skinner, B. F., "Teaching Machines," Scientific American. Nov., 1961. Vol. 205, No. 8 A class ic reference on programming. Article written by the man who more than anyone else has pioneered in P.I. by virtue of his Harvard studies.

Taber, Julian I. , et ai , learning and · Programmed Instruction. Reading, Mass.: Addison-Wesley Publishers, 1965 Good advice from men who have much experience in P.I.

Final Note: The AAHPER will soon release a handy guide to P.I. which will be of interest to physical educators. For information ... 1201 16th St., N.W., Washington, D.C. 20036.

A Program (P.M. I.) Leading to Proficiency in the Momentary Handstand

The frames themselves can be removed from the maga· zine for student use. Duplicate them if you like.

The following prerequisties must be met by those students to whom you give the program :

L The program is designed for those who cannot perform a momentiiry handstand. It would be foolish to give this material to those who can.

2. The students must understand proper hand shape for the performance of a handstand. Weight is distfibuted on the heels of the hands and the finger tips. This pre· requisite can be met by the entire class under the direc·· tion of the teacher.

3. Students must be able to perform a fairly good forward roll as it is an important escape device for over·balanced handstands.

I

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FRAME 1 Get into the posi tion shown.

CHECK 1. Hand shape. 2. The trailing leg (R. or U is straight. 3. Your weight is supported by the .hands and the foot of the bent

(R. or U leg. WHEN YOU CAN MOVE COMFORTABLY INTO THIS POSITION, GO ON TO

FRAME 2.

FRAME 2 Move into position as in FRAME 1 and feel the transfer of weight to

your hands without lifting the legs from the floor. MOVE SLOWLY. WHEN THIS MOVEMENT FEELS COMFORTABLE, GO TO

FRAME 3.

FRAME 3 CHECKI NG FRAME. WHEN YOUR PARTNER CONFIRMS THAT YOU LOOK COMFORTABLE PER·

FORMING THE MOVEMENT YOU PRACTICED IN FRAME 2, GO TO FRAME 4.

FRAME 4 The movement shown above is called a "Float·up." Your straight leg

(R. or U comes off the floor but floats up rather than kicking up. The straight leg goes no higher than shown. Your partner uses his hand to slop the straight leg as shown.

PRACTICE THIS MOVEMENT AND GO ON TO FRAME 5.

·21·

FRAME 5 CHECKING FRAME. Your partner checks on the following items:

r Floating leg is straight. 2. Hand shape is good. 3. Head is up as shown. 4. Arms are straight.

WHEN YOUR PARTNER CONFIRMS THESE ITEMS AND TELLS YOU THAT YOUR PERFORMANCE OF A "FLOAT·UP" LOOKS COMFORTABLE OR NATURAL, GO TO FRAME 6.

FRAME 6 Practice float ing·up on your own. WHEN YOU FEEL YOU HAVE PER·

FORMED 5 COMFORTABLE FLOAT·UPS IN A ROW, GO TO FRAME 7. THE STRAIGHT LEG GOES NO FARTHER THAN IS SHOWN IN FRAME 4.

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stopS straight ,. Partner t this point.

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Work with your partner. Once aga in you are floating·up but you at· tempt to raise your leg to the shaded position this time.

YOUR PARTNER CATCHES THE STRAIGHT LEG WITH ONE HAND AS IT GOES UP AND STOPS IT WITH THE OTHER HAND WHEN IT IS DIRECTLY ABOVE YOU.

Your par tner must report that your leg . . . 1. FEELS HEAVY - If so you must continue to practice at this frame . 2. FEELS LIGHT - Meaning that you floating·up under your own power. WHEN YOUR PARTNER REPORTS THAT YOUR FLOATING LEG FEELS

LIGHT, GO TO FRAME 8.

FRAME 8 Practice floating·up with your partner as described in FRAME 7. THIS TIME YOUR PARTNER WILL NOT ASSIST THE FLOAT·UP BUT SIM·

HAND OF PART NEil!

PLY STOPS THE FLOATING LEG WHEN IT REACHES THE VERTICLE POSITION. WHEN YOU CAN PERFORM 5 FLOAT-UPS AS DESCRIBED ABOVE WITH

COMFORT AND WHEN YOUR PARTNER CONFIRMS: 1. Straight float ing leg. 2. Straight arms. 3. Head up. 4. Good hand shape.

. . . GO ON TO FRAME 9.

FRAME 9 TWO FINGER CONTROL OF YOUR FLOAT-UP HANOSTAND Your floa t-up is sim ilar to the ones you have just performed in

FRAME 8. YOUR PARTNER MUST USE NOTHING BUT HIS TWO INDEX FINGERS

TO CONTROL YOUR BALANCE. 1. If he cannot comfortably co ntrol you with his fingers you must

rep eat the work in FRAME 8. 2. If he can maintain your balance with his fingers as shown,

GO TO FRAME 10.

FRAME 10 Float-up to a finger control led handstand. BOTH YOU AND YOUR PARTNER WILL NOW CONCENTRATE ON THE

ACTION OF YOUR FI NGER TIPS. 1. If you press the hps of your fi ngers firmly on the fl oor as you

near the vert icle posi tion you will be able to prevent overbalancing. 2. If your finger t ips are not active you may have to ROLL OUT

as shown in FRAME 11. WHEN YOU UNDERSTAND (FEEl) FINGER ACTION, GO TO FRAME 11.

\

FRAME 11 Float-up to a finger-controlled handstand by your partner. As he lets

go with his fingers ... 1. You may roll , out as shown

·22·

2. You may simply return to your feet. 3. YOU MIGHT BE IN BALANCE AND IN CONTROL OF YOUR OWN BAL­

ANCE. WHEN YOU HAVE FELT THIS MOMENTARY BALANCE AT LfAST TWICE,

GO TO FRAME 12. .

FRAME 12 You work on your own in th is FRAME. Partner observes . Float-up on your own until you achieve a momentary balance on your

own. WHEN YOU PERFORM ONE MOMENTARY BALANCE ON YOUR OWN AND

YOUR PARTNER CONFIRMS THAT YOU WERE ACTUALLY BALANCING MOMEN­TARILY, YOU HAVE COMPLETED THE OBJECTIVE OF THIS PROGRAM.

400 ft. Super 8 Color film of the

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Hartridge School, Plainfield, New Jersey - 2nd (Head of Dept. - Mrs . Virginia Hogan)

"GYMNASTICS FOR 2ND & 3RD GRADERS" This is the first year that the students of the Ha rtridge

School of Plainfield , New Jersey have gymnastics throughout the entire school year. The gymnastic program is scheduled for 2nd graders up throu gh 12th graders. All students start the period with sit·ups, push·ups, rope skipping, runnin g and flexi· bility moves before the start of class.

The 2nd and 3rd graders are immediately tau gh t spotting techniques (as well as the other students), besides learning skills within their ability.

In the tumbling event, these students are taught to spot a'nd execute such skills as back bends, walkovers, kip·ups and headsprings.

In vaulting, the box is used at a height of approximately 36" to accommodate the shorter bodies of the lower ele­mentary students. The lower height gives the student an opportunity to complete the vault learning to execute it " in form " while at the same time learning how to use the Reuther board properly. Also, the flat top seems to give the young performers more security on a miss. Should the student sit on the box during the vault, there would be less of a chance of her sliding off. Students with a higher skills ab ility are put through headsprings and handsprings.

Although there are limited skills for 2nd and 3rd graders to perform on the ropes, rope climbing is a definite asset t o develop arm strength for these aspiring gymnasts. T.wo 2nd graders wasted no time in climbing up the rope to show their strength. Camera range prevented them from climbing to the top.

These students !lre also being tau ght how to spot skills on the uneven bars. In learning the back pull over mount, the student is first taught how to kick and pull to arrive at the " L" position, (without turning over the bar). Then the spotters are tau ght to place one hand under the lower back and under the hips as the performer kicks her legs up. As the performer is turning over the bar, the spotters are tau ght to hold the legs firmly, which helps to make it easier for tile performer to reach the support position.

Balance beam is also included in the program plus the floor exercise event.

There is lots of-talent among the lower elementary students which can be brought out if we expose them to th e sport of gymnastics.

Photogra phs were taken by Mrs. Helen Sjursen, assistant to Mr. Hogan.

-23-

Climbing Ropes to strengthen the arms

1st stage in learning a pull·over mount to support

Spotter learn to hold legs firmly to act as a " prop" making it easier tor the pertormer to arrive at the support position.

J{e/en ~ Corner By Helen Sjursen

BOX VAULTING FOR LOWER ELEMENTARY STUDENTS

Forward Roll

Preparations: First teach the forward roll on the mat and then the dive roll. Using two or three sections of the box (I use th ree sections of Krawitz box), have each student (2-4 at a time) execute the following preparation:

Fig. 1 Fi g. 2

Fig. 1. Stand at side of box placing palms of hands firmly on box , knees slightly bent in preparation for the spring, no take-off board necessary but can be used if desired so students can have take -off practice on the board.

Fig. 2. Keeping the hands on the box , sp rin g from both legs piking at the hips. Return to the original starting posi ­tion and immediately t ake a second spring. Keep springing (4-5 times) ra ising the hips higher and high­er each time. Take notice of position of shoulders­slightly ahead of hands.

In this preparation, students should be tau ght to pres, their toes into the floor as they quickly straighten their leg' for th e springing action. They should not "pick" their feet of the floor or move them rearward on the spring. This prepal ation also teaches the student t o support their body weig~ over their arms , and is also a preparation for a headsprin vault , or bent body handspring vault.

Forward Roll

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Fig . 1 Fig. 2 Fi g. 3

Fi g. 1. Use box lengthwise . Take a few runnin g steps up to the end of the box. Place hands on end and immedi­ately spring from both feet to a piked half bent arm position with head tucked between arms (chin toward s chest). The hips should travel diagona ll y forward and upward towards the box when springing.

Fi g. 2. Lower the back of the neck t o the box, keep back rounded .

Fig. 3. Bend the legs keeping a tucked position and continue to roll onto the feet. Stand and step t o the end of the box. Dismount.

SPOTIER .. . The spotter stands at the side of the box facing the performer. As the performer tucks her head between her arms, the spotter grips the hips, pulls hips towards far end of box to insure the start of the rolling motion. If th e performer does not spring hard enough, or does not raise her hips high enough on the diagonal , do not force her into the roll. Let her drop down to her feet and try aga in concentrating on a stronger springing action .

-24-

FOR ELEMENTARY SCHOOL STUDENTS Working up to the handstand position

STEP 1

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Fig. 1 Fig. 2 Fig. 3

Fig. 1. The student should assume a lunge position (right leg bent, left leg extended rearward with toes pOinted and top of toes barely restin g on the floor) , hands on floor shoulder width apart, a rms STRAIGHT with elbows locked, shoulders in a forward position slightly in front of hands.

Fi g. 2. The student should then rai se the left leg rear-upward at the same time stra ighten ing the right leg com ­pletely without having foot leave the floor. Arms al­ways remain stra ight. (Rear leg is " raised" up, not swung up, in this preparation .)

Fi g. 3. Without stopping the student should teturn to the starting position with ri ght knee bent and left foot extended rearward foot barely resting' on the floor.

Th e student should repeat this movement several times consecutively so that she will lea rn to straighten the right leg (which will be the springing leg) completely. When the bent leg is straightened to its fullest , this causes the hips to raise high, and shifts the shou lders to the slightly forward position. if the foot of the bent leg is "p icked " up off the floor before the leg is comp lete ly straightened , this makes the performer "bottom heavy" so the feet are forced to drop to the floor unvoluntarily. In Step 1 then , the students should concen ­trate on straightening the bent leg completely and keeping the arms straight.

STEP 2

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Fig. 1 rig. 2 Fig. 3 Fig. A

Fig. 1. Assume the same starting position as in Step 1. Fig. 2. Swing left leg rear-upward and take a small spri ng

from ri ght leg (straighten ri ght leg fully pressing toes against the floor) , and allow the ri ght leg to raise above the floor only a few inches.

Fig. 3. Bend right knee returnin g foot to floor and lower left leg to starting position. Th e students should be told to retu rn the right foot to the close close to the ha nds for a lighter and better control led landing.

The student should , in Step 2, g radually make the spring from the right leg stronger at the same time gradua lly swing­ing the left leg rear-upward higher and higher. Care shou ld be taken that the shoulders do not move too far forward as the spring is taken as this may cause the arms to coll apse. Thi s movement can also be done consecutively. As the student ga ins confidence, she should try to raise the righ t foot to the level of the left (after springing) before returnin g to the start­ing position , as shown in Fig. A, % handstand.

STEP 3

~""i I \,j . I I.' ' I

Fig. 2

. / ./

( (.-.' Jr ,

----,--~

Fi g. 3 ri g. 1. Assume same starting position, as previously des-

cribed, in front of a wa ll. Fig. 2. Swing left leg rear-u.pwa rd and spring from right leg

with enough drive to arrive at the inverted position in re lation to the left leg.

Fig. 3. Close right leg to left and rest both feet aga inst th e wa ll. (LQwer right leg with bent knee placing foot on floor, c lose to hands, t o return to the starting posi­tion.) .

BOX VAULTING FOR ELEMENTARY SCHOOL STUDENTS Handstand arch-over

r Fig. 1 Fig. 2 Fig. 3-4-5

Fig. 1. Use box lengthwise. Use two or three sections. I use three sect ions of the Krawitz box for 2n d g raders.) Pl ace hands on end of box , ri ght leg in squat, left leg extended rearward , straight, t ense and toes pointed.

Fig. 2. Swing left leg rear-upward simult aneousl y w ith a spring from the right leg. ( In springi ng from the right leg, the leg must quickly straighten to its fullest, toes p ressing firmly into the box. The right foot should not be " raised " before the leg has straightened complete ly. Once the spring ing act ion has taken place, the foot wi ll " automatically" leave the box.)

Fig. 3-4-5 . Quickly join legs by raisin g the right leg to meet the left arr iving at the handstand position , body weight supported over STRAIGHT arms. Pass through the handstand position. do not hold. Arch over for the land ing.

The movements in Fi g. 1 & 2 have ben exp lained t o bring out th e leg position and springing action of the right leg more thoroughly. Now, instead of starting in the set low position (lunge position ), start from a stand with arm s up. Quickly bend forward throwing the hands into position simultaneously with the swing of the left leg ( leading leg), pass through the

. handstand position and continue for landing. The height of the box should gradu ally be increased to

reach the height of the side horse. The student then is learning the secon d half of a handspring vault - control of balance on landing, and be that much ahead of herself until she is advanced enough to try the complete handspring vault. The handstand arch ove r on the box can also serve as a prepar­ation for the handstand arch over dismount on the balance beam or uneven bars .

By comb ining the preparation for th e forward roll on the box, with the last half of the above described skill (arching over from the handstand position) the student ca n learn a bent body handspring vault using the box at the low level.

WOMEN'S GYMNASTICS S & M BOOK. (Superior & Medium Difficulties) This book illustrates the superior and medium difficulties in all events

(uneven bars , balance beam, floor exercise) including the various vaults and thei r values ... based on the official FIG Code of Points. This book is valuable for a competing gymnast to determine if her routine contains at least 2 superior and at least 4 medium elements of difficulty. This book, also, can be very valuable to the aspiring gymnast, coach , who wants new material to learn or teach , , . glance through the illustra­ti ons and get some ideas of sk ill s you have not tried before. This book can be an excellent aid to the physical education teacher or students whose knowledge of various skills is limited ... Cost $3.00 plus 18 cents postage and handling, Order th rough Helen Sjursen, 46 Poplar Place, Fanwood, N.J . 07023. Payment must be included with order. , . checks payable to He len Sjursen, !Book is mimeographed in book form)

WORKSH OP IN GYMNASTICS: June 23-27 , 1969, Stanford University, Stanford, California 94305, Faculty: Heidi A, Kl aus, George Hery, Dan Mill ­man , Sophie Stahlmann and guest gymnas ts , Instruction will fo cus on teachi ng methods for apparatus and fr ee fl oor exe rcise. Emphas is will be on new techniques, sk ills and sa fety measures, Workshop may be taken for 2 units of credit , or participati on without cred it. For more informa­ti on , writ e: Miss Heidi A, Klaus , Workshop Director, Women 's Physi cal Education Department, Stanford Un iversity, Stanford, Calif. 94305.

FOR GYMNASTICS Manual for Closs "C' . Record # 1000 (Stepping Tones) Send $3 .00 to : Ballet for Gymnastics P.O. Box 777, Sarita Monica, California

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·26-

FOR ELEMENTARY SCHOOL STUDENTS BALANCE BEAM ROUTINE

(No beam necessary) by Helen Sjursen

If you are an elementary physical education teacher and feel you cannot start a gymnastic program because of the lack of equipment, there is much you can do, in spite of this fact, to prepare your students for a future gymnastic program in a higher grade.

The elementary P.E. teacher can make sure that during warm·up exercise, the students learn to keep their legs straight and toes pointed when called for. (This calls for constant reo minders to the students). Keeping the legs straight and toes pointed " must" become a " habit" with young children in preparation for gymnastic work. Youn g students can be tau ght basic ballet, flexibility moves such as bridges and splits. Mod· ern dance can be tau ght as a preparation for grace and co· ordination that is required in floor exe rci se routines. Tumbling can also- be taught, etc. Of course, push·ups and sit·ups should always be included in warm·up exercises. All these activities need no equipment, yet the young student will be condition­ing herself for the gymnastic events.

When I first started to teach gymnastics at the Fanwood· Scotch Plains YMCA, we had no beam at all. Being anxious to enter two promising girls in a competition that was soon to come up, I taught them a routine on a line on the floor stressing "good control of balance" first. They did not even know what a beam looked like unt il a week before the meet I took them to another gym for two workouts so they could at least see what they would be competing on . They adapted themselves very nicely because they had mastered their "con· trol of balance" over the line on the floor.

Teaching routines on the floor can serve several purposes. It gives the lower elementary student a new and different activity in their P.E. program. (My second graders were all excited to think that they were learning a balance beam rou · tine). Teaching a routine on a line in a gym without the real balance beam gives the student the opportunity to learn what a beam routine is all about. They can be corrected on form and execution and learn to perform with grace, coordination and control of balance. When they have a chance to perform on the beam itself, they will be that much ahead of them­selves. A routine taught on the floor can be taught to the entire class at the same time so that when the student is on the beam itself, she will know exactly what she has to do. This eliminates wasted time in pausing to think about the next move. Students can have more practice time by working over a line on the floor while she is waiting for her turn on the beam.

The lower elementary students should first learn a rou· tine on the floor. Then they can work it on a low balance beam which can be gradually raised to the desired height for the class involved.

Try the followin g routine for your lower elementary stu · dents emphasizing control of balance and good leg form.

;>

~ /

1\ ~ 0 ..-0 /0 ~

1 11 Q ~ "'P. 51 1tL 1-900

1< j k /1: r~ (..

t. . ~ A ... R. i..

h9 I r,q ~ Fr'!J3 6''jtf f,JS' ;:/j b h'g 7 F,'3~ h 31 ... >

r' ?> 0 -0 /\, /1: 1 ,;r- ;r-If It !; I

A .> / / . ,. I k ... '.

R i- ,~ R ... fJ,. ,R.. ~ L. tl ;-

Flj / 6 F,3 II R3.)~ Fig J 3 F/9/'f F;3/~( h'3}b /~3 17 ./

<:::::.

iT 1

I- 0..-" v

R/' t ~() I /,

f<.

~~lJ.Y FJ j 3 ~~-------:>

FA ).'3 '-'

BALANCE BEAM # 1 (On line on floor or on low beam)

Fig. 1. Stand with left foot in ' front of right, body weight sup­ported ove r the left leg, right leg extended rearward, toe touchi ng fl oor, arms sideways.

Fig. 2 . Step forward on the r ight foot transferring body weight over right leg, and turn % turn t o the left (90° )

Fig. 3 . Bend sideways to the left movi ng left arm down· ward t o curve in front of the body as right arm moves upward and curves over t he head, look over left shoulder.

Fig. 4 . Straighten the body moving t he arms sideways and make 114 turn t o the right.

Fig. 5 . Step forward on left foot. Fig. 6 . Raise righ t leg forwa rd moving left arm forward and

right arm upward ( leg kick). Ftg. 7 . Step forwa rd on right foot ret urning arms sideways. Fig. &. Raise left leg forward moving right arm forwa rd and

left arm upward ( leg kick). Fig. 9 . Step f orward on left foot · retu rn ing arms sideways . Fig. 10·11 -12. Step forward on ri ght foot, slide left f oot cl ose

(chasse right) . Fig. 13 . Step forward on left foot moving arms forward. Fig. 14-15. Swing right leg forward, springing from left leg,

t o execute a forward leap movi ng arms upward and sideways. Land on right leg.

tl r< L i., R i-

C, '1 "­rt'g ,,,( . ....., r::j.jJ FSd-o ;;~1/7 1'::3 t~

·27-

l'

r Fig. 16. Step fo rwa rd on left foot bending both knees slightly,

arms curved low in f ront of body. Fig. 17. Move arms forward and upward straightening the

legs at the same ti me and risin g on the ba ll s of the feet.

Fig. 18. Execute % t urn (180 ° ) to the right (toe turn) . Fig. 19 ·20. Step forward on left foot. Raise right leg forward

with knee slightly bent moving left arm forward at t he same time. Rise on toes of left foot (modified skip step)

FIg. 21·22. 'Step forward on right foot movi ng left arm up· ward. Raise I'eft leg forward with knee slightly bent ll10ving right arm forward. Rise on t oes of right foot (rfloCfified skip step).

Fig. 23·24·25. Run left, right, left, arms sideways. Fig. 26·27·28. Raise right leg forward . Swing right leg down·

wa rd and rearward and immediately excute 1/2 turn to the right pivotti ng on the ba ll of the supporting leg, ending turn with right leg in front (reverse kick t u·rn , or swing turn), arms up.

Fig. 29·30. Step forward on the right foot moving arms side­ways. Sl ide the left foot to the right making 114 turn to the left (90 ° ).

Fig. 31. Spring upward from both feet landing ahead of the l ine (simulating an arch jump dismount from beam) . Extend t he body fully and arch the back before land­ing. Arm s swing upward at time of spring.

13 year old Dianne Grayson

MLLE G. SCOREBOARD Louisville "All Star" Invitational: Univ. of Louisville; Crawford Gym,

Jan. 11 , 1969. Meet Director: Bob Wason and Cap Caudill. Report by: J. Uphues .

Six of the better teams in the Midwest were invited. Top four scores in each event counted as team score. Closely contested and very well run meet with each team bringing judges. Prelims and finals. Each team could only bring 6 members, which made the time element better.

Results - Team: Fl int, Michigan 118.69; McKinley YMCA, Champaign, III. 115.86; Eiche Turners , Chicago 115.37.

AA: Barb Bauer, Ei che, 33.93; Diane Bolin, McKinley, 33.56; Cindy Hall , Flint, 33.03. FX: Colleen Mulvihill , McKin ley, 9.05; Dianne Grayson, Flint, 9.03 ; Diane Bolin, McKinley, 8.88. BB: Dianne Grayson, 8.25; Barb Bauer, 8.20; Cindy Hall 8.05. UB: Coll een Mul vihill , 8.65; Adele Gleaves, Loui s­ville Y, 8.30; Beth Miles, Dayton, 8.05 . V: Cindy Hall , 9.00; Adele Gleaves , 8.90; Barb Bauer, 8.50.

Midwest Open: Jr. All-Around winner (left to right) Diana Sepke, Lisa Cody, Sue Werling, Patti MacDonald, Connie Israel , Kathleen Dennison and Bonnie Voss, Site director, Highland Park High School.

- - ----..".- ---

·28·

Columbus Invitational - Central YMCA Columbus Ohio December 15 1968. Meet Director:Jerry Baker. Report b'y J. Uphues. ' ,

Results : Flint, Michigan 71.65; Mich. State Univ. 55.25; Dayton Y Ohio 54.40. '

AA: Cindy Hall ,. Flint, Mich. 28.9; Cherry Almy, Mich. State Univ. 28.4; Raeanne Miller, Mich. St. . Univ. 26.85. FX: Sue Werling, Dayton Y 6.65; Cheri Ashley, Marilyn-DenniS 6.50; Cindy Hall 6.45 . BB: Sue Werling 8.15; Cindy Hal l 7.55; Cherry Almy 7.10. UB: Cheri Ashley 6.70; Cindy Hall 6.25; Cherry Almy 6.20. V: Cherry Almy 8.70· Cindy Hall 8.65· Raeanne Miller 8.00. "

Louisville November 8, Uphues. .

USGF REGION V Turner Inv. - Louisville Turners Gym, Louisville, Kentucky, 1968. Meet Director: Mrs. Lois Toggwe iler. Report by J.

Senior Division Results-Team: Louisville Y 182 .1 ; Sokals 159.4; Louis-ville Turn. 142.2. .

AA: Cindy Hall , Flint, Mich. 67.1; Adele Gleaves Louisvi ll e Y 66 .8· Cheri Ashley, Marilyn-Dennis 63 .9. FX: Raea nne Mille;, Mich. Sta te Univ: 16.9; Adele Gleaves 16.5; Cheri A;; hley 16.4. BB : Cindy Hall 18.5; Adele Gl eaves 16.7; Diann Nowicki , Dayton Y 15.0. UB: Cheri Ashley 17.0; Claud ia CQder, Lakewood Y 16.4; Beth Sepily, Sokals 16.2. V: Cindy Hall 18.7; Claudia Coder 18.5; Adele Gleaves 18.1.

Junior Division Results - Team: Flint, Michigan 190.2; Dayton Y, Ohio 152.9; Louisville Y 132.9.

AA: Dianne Grayson, Flint, Mich . 69.3 ; Sue Werling, Dayton Y 64.8; Cherry Almy, Mich. State Uni v. 63.4. FX: Dianne Grayson 17 .6; Patti Mac­Donal d, Flint, Mich. 16.9 Sue Werling 16.1. BB : Sue Werling 17.9; Dianne Grayson 17.7; Patti MacDonald 15.9. UB: Dianne Grayson . 17 .6; Cherry Almy 16.2; Sue Werling 15.7. V: Cherry Almy 16.5; Dianne Grayson 16.4; Sandy Jozwiak, Flint, Mich. 15.9 .

MIDWEST OPEN Report by Betty Meyer

The Midwest Open Gymnastic Meet for Women was held at Highland Park High Schoo l, Hi ghland Park, Illinois on Jan . 18th, 1969.

Over 100 participated in the meet although the Fresno, Calif. gym team couldn't make it because of Hong Kong flu and the River Fall s, Wisconsin team got iced in and was also unable to take part. There were teams from Des Moines, Iowa: Ames, Iowa; Milwaukee Turners; N.w. Suburban Y.M.C.A.; Dayton Y.M.C.A.; Michigan State University; Kansas City; Univ. of Iowa; Springfie ld, III.; Lake Shore Park in Chicago; Deer­field, III. ; Highland Park, III. ; Park Forest , III.; Arizona State University; Ei che Truners ; Burnsvi lie Girls Athleti c Association, Minnesota; Sokol West Suburban; Flint, Michigan; Kalamazoo Kalisthenians (Michigan); Eng5troms Gym Club (III.); St. Charles, III. ; Ri ch Central High School (III.); Schiller Turners and Elmhurst, III.

Mrs. Jackie Uphues was in charge of the judging and judges worked only on one eve nt in the preliminaries . Contestants were organized into groups and rotated to the various pieces of equ ipment such as is done in Olympic competition. It was the use of this system that allowed us to run 5 events at a time (t rampoline was included in the meet) for the Jr. preliminaries without mass confusion.

Thi s is the first meet for women that was sanctioned by A.A.U . and U.S.GJ.

Midwest Open: Senior All-Around Winners (left to right): Blythe Bauer, Eva Farkas, Cindy Hall , Cherry Almy, Barbara Bauer, Raeanne Miller, Betty Meyer, meet director. Photo by Bill Mielenz

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9. SUIE U, RAISIII' lfillTlS Ihi,hs). lieon ltrtsidt.lelissi"iallt, lilt shouldmand. PIIlwt ilht on lelt elbow. Riehl 11m is \Iud for Iullnce Itsllnll: in hont

r~ur:~~~.'r.d~e:~: ·,~~~~ ';~:~:i~r:JI\:~ ~s~ron~i:~~: 16·32till'lfS. 5I1111ecn)'OlJrrigh!side.

II. UI UlSlIII 11 . ,[fIEIAL COMOIll OIIIIIG [JERCls( !Also lirms thi,h 12. R[WIII' (fleshenin, • • rrcisrJ . . l.OI~, btndelbowsand put ll~undetro-ur fH •• lilt musclesJ. SI I IId wilh ful 6" -10" Iplrl. lift .IIM O'o"el lIud. iMll t . 1I1tWa.~bolhIlIPS lndshouldt rs onlloa.HotdlorloUi Squat.han6:sonflool. Ouieklysluiihlfll)'Olll knrts , slrttdl Hold lerkM_ri,lItCOIlll I5 , tllandtopllmsdown, sllouldrlS c-b lflii return to stut'lII POS Ition Rtpul 16 32 blllfl ,,1M evt. lind and slilld Oft 11l6. 11014 lor fOUl C04I~\s IIId tleel ;n front. bend uees shi/ltly Ind elNle. Reil'ut 8 · 16 c.:.t_brtlttrUbnlltp lertlMnllaH rtIUfntosllllino:posilion.ReprI12S·SOtilMS. Umts.

AMERICAN K.E£P m LADfES DOWI b printed as a public service by the AMEROH PHYSICAl FlTHESS RESEARCH INSTITUTE. INC. PublisMB of The MODERN GYMNAST IMlnine - .410 Broadway, Santa Monica, Californii. Additional fret copJes nailable upon request

N EVER a compromise on design or quality! Always consult Nissen first! You choose gym equipment for its basic value. Equipment that works smoothly in every way, offers proven high level performance, and is built for long, tough service, usually gets your nod.

Why take a chance on an unknown quality to save a few

pennies? Few schools or organizations do. In fact, more of them buy Nissen gymnasium apparatus than all other

brands COMBINED? For the most value, dollar for dollar, Nissen is always first choice.

Write today for our complete catalog.

II G:JD~~rnG:J I NISSEN CORP., 930 - 27th AVE. S.W., CEDAI RAPIDS, IOWA

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