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Vol. 5 - No. 4 March-April 197·1 CONTENTS

FROM THE EDITOR's DESK .... .. .. ....... . . 4 U.S.A.-U.S.S.R. COMPETITION REPORT. .. .. 6 REPORT FROM LJUBLJANA................. 10 CANADIAN GIRLS AT WORLD GAMES.... . 12 ADVISE FROM VERA CASLAVSKA .. . ....... 13 A VISIT TO THE PAST.. ................ .. ..... 14 RUSUDAN SIKHARULlDZE................... 16 COMPULSORY EXERCISE

WITH RIBBON.............. .... ......... 18 CREATIVE GYMNASTICS MODERN ... .. . . . 20 USGF REPORT .. .................... .. ........ . 21 USGF-FIG REPORT.................. .. ........ 22 WHY NOT? ................ .. . .. .. .. ........... 25 NAMES 'N' NEWS.................... .. ..... 26 HELEN'S CORNER.... . . .. .. . . . ..... . ..... .. . . . 28 BOOK REViEW............ .. ........ .. ....... 28

COVER: Joanne Moore, 5th all-around, U.S.S.R.-U.S.A. com­petition ; Penn State, February 1971.

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

Manuscripts, photographs, and news items are invited, but we can assume no responsibility for return or compensation. The views and opinions of writers and contributors do not necessarily reflect the views of Sundby Publ ications or the Editor.

MADEMOISELLE GYMNAST is published by Sundby Publications. 41 0 BroacNay. Santo Monico. Cali fornia. Second Closs Postage paid at Santo Monico. Calif Published bi·monthly. Sept.·Oct . Nov.·Dec. Jon.·Feb , Mar.·April. and May·June. Price. $3.00 per year. 75c single copy. Subscription corres · pondence Box 777. Santo Monico. Cal ifornia 90406. Copyright1971© All rights reserved by Sundby Publications, 410 Broadway. Santo Monico, California 9040 I .

FROM THE EDITOR'S DESK: Many of our readers have ideas On how to improve the content and interest of Mile G. Here is a letter we received recently which reit­erates ideas from the past and many of our Own which only need the staffing to accomplish. We hope our readers will take note of her constructive protest and add to the ideas . . . and material.

Dear Mademoiselle Gymnast: As I reread your last magazine, I took particular notice of the

letters on the last page of the November-December issue. How com­pletely I agree with their statements! Mlle . G. is a potentially won­derful gymnastics magazine, but my letter is to protest the complete domination of your publication by the Scats team of Long Beach. They are a super-fine team and as of now are deserving of all the many high honors they receive, but if you are truly an independent magazine and not a subsidiary of Scats, please acknowledge the existence of some of the other many fine teams in California as well as across the nation .

May I also add some suggestions? An interesting new feature could be a news and pictorial study

of a different gymnastics team with each issue of Mlle. G. This could be your " team of the month " or just a salute or recognition of an established or new team, whether they are large or small . Perhaps a running commentary or editorials from you or from prominent coaches on gymnastic etiquette. This could cover many, many phases . The dos and don 'ts expected of performing gymnasts before and dur­ing competition, the coaches ' responsibility in relation to the judges, meet director and his own gymnasts . Even spectator etiquette.

How about a tip of the month to the gymnasts? This could be from interviews with established judges . ... Let them give a few major hints to the gymnasts on what points they deduct from a per­formance, or just talk about what they like to see or not see in a gym­nast. They could even write open letters to coaches, stressing groom­ing, general appearance and discipline of their gymnasts as indi­viduals or as a team .

Mademoiselle Gymnast could write a few letters to the far cor­ners, not only of their own state but to every state and give a com­prehensive list of established (or new) AAU and USGF clubs, coaches, clinics and camps being conducted across our country.

How about sending a courtesy subscription of one to three issues to high school gymnastics coaches? (I am not connected with any high school).

This list is endless for me. Perhaps even your readers would like to send in a suggestion for an item of interest each month.

I would like to echo the statement made in the letter from Bos­ton. I, too, love Mlle . G. and do not wish to criticize but to help. Please, please, inform, enlighten, entertain, anger, pacify, anything, but do not bore us!

Sincerely, Marian Buttrill Dublin, Calif.

In an effort to make Mile G. a magazine of good composition and quality, we may have given a false impression that we are exclu­sive and all too selective. Fact, we are always very interested in more instructional material, news, photos and creative expressions.

Talent working w ith joy in the ca use of universa l truth lifts the possessor to new power. Emerson

Gymnastic Geometries

AA winners Sikharulidze, Voronina, Turistcheva.

U.S.S.R. team - Karaseva , Turistcheva, Sikharulidze, Petrik, Voronina and coach.

Standing Room Only crowd for U.s.S.R.-U.S.A. competition at Penn State.

1. U.S.S.R. 2. U.S.A.

1. Lyudmila Turisheva 2. Zinaida Voronina 3. Rusudan Sikharulidze 4. Olga Karaseva 5. Wendy Cluff 5. Joanne Moore 7. Kathy Rigby 8. Larisa Petr ik 9. Roxanne Pierce

10. Kim Chace

U.S.S.R. U.S.S.R. U.S.S.R. U.S.S.R. U.S.A. U.S.A. U.S.A. U.S.S.R. U.S.A. U.S.A.

37.90 37.70 37.30 38.25 151.15 37.50 36.75 36.55 38.10 148.90

9.60 9.50 9.30 9.40 9.35 9.20 9.40 9.40 9.50 9.25

9.65 9.40 9.35 9.30 9.05 8.95 8.35 9.25 9.40 9.35

9.40 9.40 9.45 8.90 9.15 9.25 9.65 9.05 8.50 8.40

9.7 9.55 9.35 9.65 9.45 9.60 9.50 9.05 9.20 9.55

38.35 37.85 37.45 37.25 37.00 37.00 36.90 36.75 36.60 36.55

U.S.A. team - Rigby, crossfeld and Marquette (coaches) Chace, Cleaves, Moore, Cluff and Pierce.

U.S.A.-U.S.S.R. COMPETITION REPORT By Dr. Joseph Massimo

State College, Pennsylvania, is a geographically intriguing place located in the physical center of this large Eastern state in an area dominated by beautiful hilly ter­rain. On a good day it is a reasonable journey, say from Boston, Massachusetts. However, on a typical Northeast winter day, the kind your author always picks to travel, it can be tortuous - for instance 18 hours, including an early morning snooze in a Harrisburg bus depot! The trip can be worthwhile for Pennsylvania State University is a great school with an air of excitement around and within its impressive campus.

On the weekend of Feb. 5 and 6 something very spe­cial was in that air. The Russian gymnasts had arrived, both men and women, for a competition with the Americans. A team of girls from our national group had been selected to face the Russians on Friday evening, and a group of current and past Penn. St. gymnasts had been brought together for the men's competition on Saturday. Penn. St. has enjoyed the reputation of being a mecca for gymnastics in the United States. Those of us privileged to attend and participate in this event can attest to the fact that this reputation is well deserved and that Mr. Gene Wettstone is the undisputed

Muriel Grossfeld, coach, and Roxanne Pierce

Ludmilla Turistcheva Wendy Cluff

... .. . ~ . '

. J ~t .. · -j r

·7 ·

master showman of gymnastics in the nation and, indeed, perhaps the world. The organization and grandeur of this spectacular international match, from opening to closing ceremon ies, was a very n;Joving experience, and the 18,000-plus people who attended the contests (not even standing room available) would surely agree.

A personal note if you will forgive me the indulgence. On one evening I approached the recreation hall gym through the huge locker room facility. It was unusually still in this ordinarily bustling area. My heels clicked on the

tile floor and echoed through the gaunt grey lockers. As I approached the main gym entrance, the sound of music became clearer, and my senses were bombarded upon emerging into the apron section beneath the stands. The powerful sounds of the fine Penn. St. Blue Band playing Russian melodies, the shine of extra gymnastic equipment waiting to be utilized if needed, the rising voices of literally thousands of people, the incredible network of TV cables running out to the main floor (ABC Wide World of Sports was filming the event), and then, of course, the competi-

Cathy Rigby

·8·

Zinaida Varon ina Rusudan Sikharulidze

tion area itself, lit with the brilliant brightness of a great areea, the entire setting stirring with anticipation :...- all of these things combined to make this time an unforget­table experience with few equals.

The Russian National Women's Team won the team title, 151 .25-148.90. Miss Turisheva won the AA title as she

Larisa Petrik

had at the World Games. Miss Cathy Rigby captured the first-place position on the balance beam with a 9.65 score. In general the American girls made a good showing. Note: Dr. Massimo will be making further personal ob­servations and personality reports on the U.S.A.-U.S.S.R. competition in coming editions of Mademoiselle Gymnast.

Olga Karaseva

.g.

Report from Ljubljana by Lindsay Cobb

This fall I was fortunate enough to attend the World Games dismount was turned above the horizontal. However, the balance in Ljubljana, Yugoslavia, from Oct. 22-27. The World Games is beam was where the action was. The Russians completely bombed the interim international competition held every two years after out. Lazakovitch, their first up, went to pieces and fell off the each Olympic Games. In gymnastics the World Games are just as beam twice. This unnerved everyone else. Some of them fell off. important as the O lympics. Competing nations were Russia, East Others desperately clung to the beam trying to stay on . Their Germany, Czechoslovak ia, japan, Rumania, Hungary, United scores: 9.15, 9.15, 8.00, 9.25, 9.00, 8.80 - unbelievable for States, West Germany, Poland, Yugoslavia, Sweden, Bulgaria, Russians. After this debacle the East Germans pranced out onto Canada, France, Norway, New Zealand, The Netherlands, Aus- the floor. The Russian contingent now sitting in the stands, was tralia, Great Britain, Cuba and Israe l in their finishing order. The intent on them and nothing else. As they watch , the East Ger-pre-competition favorites were the Russians and East Germans. mans did just we ll enough on beam - 9.45, 9.50, 9.25, 9.35, Czechoslovak ia with the retirement of Caslavka, an inju ry to 9.25 and 9.20 - to put them ahead by .1 point. 188.65 to the Olympic team member Sklenikova, and the loss of Mrs. Match- Russians, 188 .55. Now the real battle began. lakova, their coach, who is now working in Italy, dropped them Optionals. The East Germans built up a slight edge in op-out of contention. In fact, Czechoslovakia and japan were set to tiona I vaulting w ith the whole team doing yamishitas. The Rus-duel for third place. Czechoslovakia took the bronze by a narrow sians used the yamishita as well as twisting vau lts. Both teams margin of .15 point, 371.90 to 371.75 for japan. japan cou ld have exceptional preflight with the board set at the very end of have undoubtedly overcome this margin had their top performer, the brace. The difference was in the postflight. Lingering a little Chieko Oda, not been injured . too long on the horse the Russians also have a tendency to leave

After the '66 Dortmund World Games it was clea r East Ger- the head back instead of turtling. With bars and beam they pulled many would be on the rise, and they proved it in Mexico with ahead and then finished off any possible threat from the East two silver medals and a fourth, fifth and sixth as well as a third- Germans with their superb floorwork. The final score: Russia place team finish . Furthermore, Karen janz now boasted the title 380.65, East Germany 377.75. of European champion . The young group of Schmeiber, Hellman, Optionals in international competition are a feast for the Noack and Schmitt had some fl ashy tricks of their own such as a spectator. There are four teams on the floor simultaneous ly, and sweep split leap and an aerial walkover on beam along with your heads bobs back and forth like a puppet. I had come with a solid vaulting and impeccable bars. Erika Zucho ld by far the list of performers and tricks to look for. Otherwise, as I knew from oldest, 23, stood as the international veteran of the team. On the Mexico, you end up looking everywhere and seeing nothing. It is whole this long-legged bunch of gamins seemed quite unaware better to concentrate your energ ies. The most orig inal tricks were of the pressure. to be seen on bars:

Not so the Russians. If there is one word that cha racterizes Brigitte Domski (W. Ger.) - hecht on the LB with a Y2 twist them, it is " professional. " They had lost their great star, Kutchin- land ing in a stoop on the bar. skaya, due to a gland ular problem, and they were trying to put up Miyuki Matsuhisa Uap.) - hecht between bars to an eagle two youngsters, Ldudmila Turistcheva and Ljubov Burda, who hand on the HB. finished 24th and 25th in Mexico, as their leading lights. Petrik, Kathy Rigby (U.S.A.) - HB, back summi with straddled legs Karasseva, Voronina and Lazakovitch, three veterans and one to glide on LB. novice completed the Russian representation . Elena Ceampelea (Rum.) - back uprise to hecht vault over

Compulsories were interesting because there was such a the HB. wide range of interpretation : the East Germans - very brisk, the Unidentified Hungarian - front summi over the bar to a j apanese flowery, the Russians - dynamic. Free exercise was hang on the HB. quite good, and the best event for almost every team. The vaulting Swing is the thing. Full extens ion on all glides and with every (handspring) still had weak postflight but was genera lly excellent basic movement. Simple casts done almost to the handstand. among the top three teams and deplorable for everyone else. Bars Eagles lifted above the bar. Free back hip shoot to handstand with were highly stylized. Handstands and not just layouts were hit in straight arms. Front summis that settled onto the bar. All varia-the casts. The eag le had a definite period of suspension, and the tions of underswing (basket) with complete compression and then

Burda (5th AA) Noack (1 1 th AA)

-10·

Cleaves (33rd AA) Matsuhisa (7th AA) janz (4th AA)

shot out of to the highest amplitude. janz (first) and Zuchold (sixth) characterize modern bars, and if you want to know what bars are all about, study their routines. The rest of their team is solid but does not show the same amplitude. The Russians have clean, stock routines with exceptional stylization and one out­standing trick. Burda (fourth) and Turistcheva (second) typlify this. Both have plain routines. The first does a glide kip hop to HB mount and the other, kere disengage kip. Both have a cast to straddle on, Y2 circle, shoot off to 1 Y2 twist, regrab the bar. Turist­cheva also does a Y2 twist regrab. Nothing in itself, but she carries her arms straight out to the side, like a swan dive, during flight, which is quite impressive. This multiple twist regrab is definitely a new trend. Variations of the hecht regrab as by Domski , Rim­nacova and Matsuhisa continue to develop, too. The hecht full twist has held out as the dismount.

The best American was Rigby again with a 9.55. As usual her compulsory score, 9.2, gave her no chance of making finals . Kim Chase, only 14, showed flashes of brilliance but fell off again as she had done previously in compulsory bars and beam and optional beam. Adele Gleaves (9.15) could be much better if she would drop another 10 Ibs. and get an outstanding trick. As luck would have it, our flashiest bar worker, Roxanne Pierce, injured her ankle at training camp and could not compete.

Vaulting was disappointing because no one was trying new vaults such as handspring front, yami back out or cartwheel Y4 turn yami. Of the Americans only Gleaves approaches the vault­ing of the Russians and East Germans. Unfortunately she was not on that day and pulled a 9.15. Whereas Rigby, who is a lesser vaulter but did a good job and is very well known internationally, only got a 9.2. Rigby was the only competitor to do a yamishita with a Y2 twist. Vaulting is by far our weakest event. A lot of it has to do with just not running fast enough to generate power for a first-class vault. The top people don't just run down the strip; they tear down there. The quality of the vault has nothing to do with size either. Tiny Matsuhisa, who is under five feet. set her board back as far as the Russians and got off some great vaults for a 9.55. The Americans seemed to lack the confidence to go all out.

Balance beam is the event where we have the greatest chance of international success right now. Rigby's silver medal was a combination of luck and determination. She only received a 9.1 in compulsories, but because of the Russians' bad showing, her 9.6 optional score got her into finals. She was first up, but she did an excellent iob under pressure for a 9.7. After that the three other

·1 1·

contenders tied with her bobbled their way out ot the running. Poor Matsuhisa landed on her seat doing a front full off. So there Cathy was in her apple green leotard accepting her medal and watching our flag go up. With this American breakthrough after Fuchs-Brause's attempt in Dortmund and Metheny'S in Mexico, we can now have hopes for more medals in the future. Linda Metheny has defeated Rigby time and time again on beam. Had she been uninjured, she also would have won a medal. Expect this to happen for sure in Munich.

At present the common trick on beam is the back hand­spring. Burda did two in a row. There were three aerial walkovers thrown (Keleman, Hungary; Noack, East Germany, and ?) I saw no aerial cartwheels, but they are being done, and I may have just missed them in all the motion. Kadolph on the East German B team does one, and Bujnacova on the Czechoslovakian B team does two in a row. The mounts showed little change. Most were vaults on. Dismounts were more daring - front fulls by Rigby and Matsuhisa; Gleaves does a 1 Y2 twisting front. janz threw a back handspring full and landed on her hands and knees, which kept her out of the finals, but Turistcheva stuck hers, even though she landed low.

On the whole, beam was quite boring. It was clean and pre­cise, but there was no spark, no excitement. Beam at its best, which is undoubtedly epitomized by Linda Metheny, resembles free exercise. Why the Russians with thei r fantastic sense of floor­work have not applied the same approach to beam is beyond me. Above all there was no sense of presenting a total composition . It was one length stop, one trick stop, run leap stop. Instead of flowing and building to a climax, the routines jerked and scuffled along. Despite the daring dynamics displayed by a few perform­ers, they still lack a sense of phrasing and body dynamics. Until they achieve this, beam will still have room for development, no matter what the tricks.

The event that is closest to its apex is floor exercise. Signifi­cantly there were few advancements. Front work was done pri­marily by Americans, and again they all had fulls for which they were again unrewarded. Our composition is weak but certainly equal to the japanese and the Czechs. Free exercise is dominated by the Russians and rightly so. They have wonderful showman­ship and composition making them a del ight to watch.

They took all the medals. Burda fell on her back during a tum­bling pass but still managed a sixth-place finish. Petrik, who tied for first in Mexico and should have placed in Ljubljana, was the

victim of a judges conference and ended up with a ludicrous 9.55. The Russian tumbling is much improved with high fulls , and Turi stcheva has a 1 % twist. Trends are toward combined direction in rumbling runs (roundoff back handspring, 1 V2 twist tinsica, roundoff tuck back or roundoff back handspr ing with a half twist tinsica), falls into rolls and very dramatic presentation. It is be­cause of their art in this event that they will continue to beat any challengers. The East Germans are nowhere near them. Only janz broke into the finals and very much on the strength of her name and not of her routine. They are into a jazzy style which fits them, but the routines themselves are terrible, and their tumbling has a long way to go. The japanese (Matsu hisa placed fifth), and Czechs are much more competent in this area.

In genera l the United States has much to look forward to in the future. With the development of 14-year-olds like Kim Chace and Theresa Fileccia, two veterans like Metheny and Ri gby, the rounding out into other events of bars whiz Roxanne Pierce and the possible return of ' 68 Olympian Colleen Mulvihill, America could be on its way. In a quote for the Nissen News: "Coach Muriel Grossfeld said, 'Although they didn't place as high as expected, the international judges and officials were very im­pressed. Ours is a young team, and the maturing effect of this kind of competition should work in our favor.' Muriel also said that the judging was more real istic than at the 1968 Olympics where 9.7 and 9.8 scores were tossed around right and left. She noted that both Kim Chace and joan Moore performed excellent floor exercise routines but were not scored high."

Rigby (75th AA)

·12·

Chace (6 1st AA)

Analysis of Scores by Canadian Girls at World Games Ljubljana, October 1970 By Marilyn Savage Canadian Women's Coach

Total number of competitors was 137. The 31 st place was a tie between competitors from Roman ia and Hungary for a score of 72.20 points, an average of 9.0. The Canadian gi rls marks were as follows:

41 - jennifer Diachun, 71.35; 62 - Teresa McDonnell, 69.25; 76 - Lise Arsenault, 67.80; 77 - Susan Buchanan, 67.75; 87 - Sandra Hartley, 67.00, and 88 - Nancy McDon­nell , 66.95.

Twenty-one countries had teams, Canada placed in 13th position with a total of 344.65 points or an average score of 8.6.

It is significant that the judging was harder at the 1970 World's Championships that it was at the 1968 Olympics. Note: Team '70 World's '68 Olympics Russia 380.65 382.85 Czechoslovakia 371.90 382.20 East Germany 377.75 379.10 japan 371.75 375.45 Hungary 362.80 369.80 United States 360.20 369.75 Canada 344.65 343.40

Granted, this is only a slight improvement, compared to the other six countries, they all dropped from 2 to 9 points whereas we ga ined. This really indicates a big improvement. It is interest­ing to note that we are 1.35 points behind Bulgaria the 12th-place team and 1.40 behind Sweden who was in the 11 th place. Both these teams were judged higher because of the evening perfor­mance of the top 12 countri es. These were based on team stand­ing in the compulsory exercises; we missed out on the 12th place by .65 points!

Of cou rse, we have a long way to go, but our place in wor ld gymnastics has now been estab l ished. Many European coaches and judges commented on our improvement. It was also noted in the papers several times.

Our girls now lack " risk" moves in their routines, so this is where we must place the emphas is .

Good Advice from Vera Caslavska 1. Train regu larly and accordi ng to a plan! You must always

know what you want to pract ice and why. Tra ining without a plan is on ly fooling around , and if you happen to progress, it is only by chance.

2. Follow your training book diligently! O nly then will you have a clear overv iew of your goals and can you eva luate your suc­cess or fa ilure w ith your coach.

3. Keep a conscientiously regu lated pattern of living; eat wel l but only good, good. Careful ly contro l you r weight. Visit your doc­tor regul arly.

4. Be discip lined, precise, punctual and informed. Prepare you r­self patiently and incessantly in working together w ith your coach! You cannot lea rn everything, but the conquering of tricks lies in your w ill.

Article above translated by Lindsay Cobb from Deutsches Turnen Nov. 12, 1970, submitted by Owen Perkins .

Pictures of Cas lavsha and the beautiful pre-flight vault photo of Angelika Hellman are from O lympische Turnkunst (Ma rch 1971), the outstanding quarterly German publication edited by Dr. Josef Gohler (good friend of our publisher, Glenn Sundby) .

Vera Caslavska

5. Learn through watching other gymnasts. If you cannot train you rself, take part in the trai ning of others. Compare individual tricks and ent ire combinations w ith the idea l concept of your rout ine.

6. Don't copy. In stead try to create something original. In your own opti onal exercise, try to make the best of your own advan­tages.

7. Don 't laugh at other gymnasts, and don't cut down any gym­nast. Even the best gymnast can always become better. Always be prepared to help your fellow gymnasts, not on ly with spot­ting but advice as we ll.

8. Be consc ientious in all things. Try to make each routine and each indiv idual trick the best possible - just as if Y9U were in competition.

Angelika Hellmann-DDR

·13·

A Visit to the Past By A. Bruce Frederick

The United States first entered a women's team at the 1936 Olympic Games in Berlin. While there the girls were introduced to two new events which were by 1952 to become standard in the women's program.

Compulsory exercises for both the beam and the uneven parallel bars were introduced in Berl in . By today's standards these compulsories would have been a "snap." The balance beam exercise consisted of a mount, a pose on the knees, a full turn and a simple spring from the beam to a landing on the floor.

Only in the exercise designed for the uneven parallel bar event were those present given a hint of more swingful exer­cises yet to come and common in competitions of today. And yet we can see the influence of the beam in the uneven compulsory in that four major stops were noted. Only at the beginning of the exercise (underswing, Y2 turn to long hang to hip circle on the low bar), we note the influence of the horizontal bar which is today the predominant influence.

We are receiving more inquiries about the origins of the women's events, the latest coming from a graduate student at Springfield College. In the interest of those who are concerned with tracing the history of the development of the feminine gym­nastic program we are presenting here the content of the first uneven compulsory (translated from the French version) with a set of special drawings to accompany the written description.

Since there are a number of readers who are interested in the history of gymnastics, we make a special plea to those of you who might have documentary information to share. It is a relatively simple matter to make copies of such material at a local library which we in turn can then convert suitably to materials for pub­lication in both Mlle. Gymnast and the Modern Gymnast. Best wishes to Miss Elizabeth R. Smith, the Springfield College student mentioned above, who is presently working up a documentary history of uneven bar work for women.

·14·

'-----~ --- -_ ...

Compulsory Exercise for the Uneven Parallel Bars Prescribed for the Xlth Olympiad - Berlin 1936 (Refer to numerals placed in the figures ill ustrating the exercise.) 1 - From a position (standing) on the lower bar facing the upper bar with

the right hand in under grip, left hand in regular grip . . . 2-3 - Jump from the lower bar and underswing (Y2 turn) to long hand and

back hip circle to front support (fac ing out) on the lower bar. 4-5-Swinging the legs left sideward and taking a grip with the left hand

on the upper bar, swing rearward between the bars and ... 6-swing the legs over the lower bar with a 14 turn removing the right

hand from the lower bar to grasp the upper bar to a bent arm front leaning support-hang facing in with the weight resting on the thighs.

7-lO-Circie the legs (left) while hanging from the upper bar perform ing ..---:?' a complete circle and return to pos it ion described in 6.

_ ---;;;: ./ 11-13 - Undercircle the right leg and 14 turn to a side seat removing the ____ right hand from the upper bar and grasping the lower bar behind the

left hip.

-15-

14 - Swing the legs forward to place the right foot on the lower bar with the left leg held horizontally forward.

15 - Extend the right leg to a stand maintaining the position of the left leg. 16-Circle the left leg (circumduction) over the upper ba r and .. . 17-18 -with a 14 turn cont inue the movement in order to hook the knee

over the upper ba r. Remove the hands and stretch backward to ... 19 -an extended position with the pa lms of the hands turned upward. 20-Continue to move the arms in a c ircular pattern and grasp the upper

bar with undergrips. 21-22- Turn mount left around left arm joining the legs to a front sup­

port facing in on the high bar. 23 - Change the left hand to an undergrip. 24 - Lower the trunk grasping the lower bar with the right hand and

swing (s lowly) to a momentary handstand position. 25 -Swing forward between the bars and ... 26-rear vau lt over the lower bar w ith a Y2 turn to ... 27 -a landing on the mat legs half bent. 28 - Finish the exercise by stretch ing to a cross stand (right sideward).

From a description offered by Giu lio Lay in an Italian publication by Lay, entitled Ginnastica Artistica : Pa ra lie Ie As immetriche (Prato, 1955) Figures and trans lation by A. B. Frederick

Compulsory Exercise with Ribbon for World's Gymnastique Moderne Championships - 1971

translated by Mildred Prchal

Ribbon Exercise Performance Exercise with the ribbon requires much space. The gymnast learns very quickly that all movements of the ribbon are dependent upon the move­ments of the entire body. Unless the movements are smooth, flowing and followed to completion with body as well as arm, the ribbon "snapa " or " cracks" and many loops and knots occur. The gymnast must, herself, determine the necessary strength to apply to movement for if on one hand, too much accenting or whipping causes it to snap and crack, movement that is too slow causes the ribbon to wrap around body.

Swings, circles and figure "8s" are executed in all planes. Movement is dynamic and executed to maximum amplitude. Axis of movement is in shoulder joint. When changing plane, be sure movement is completed to end of ribbon, otherwise the ribbon can easily tangle, or the end of ribbon remains "dead. " Unless otherwise specified, the baton is always in line with arm, end is held lightly in palm, index finger is softly extended. Re­quired planes and positions of arms must be adhered to.

Duration of exercise - 1 minute, 20 seconds. Stand at left front, facing front, ribbon in right hand. With 45° turn to left, one pas chasse to left (L,R,L) - vertical serpent on floor - arms at sides. I. 1.-3. 45° turn to left, spring from L, extend R front in air turning 180° to

left with moderate arch ing of body and close R to L while still in air. 4. land on R with 90° turn to left.

II. 1.-2. step L to side, close R to half squat, moderate front bow - hori­zontal circle of right arm inward, bend upward left, palm up (move­ment in form of figure "8") - trunk follows movement of arms. 3.-4. like 1.-2 . In 1.-4. of II. measure, ribbon executes 2 figure " 8"s.

III. 1 .-4. like I. IV. 1.-2. like II. 1.-2.

3. -4. 45° turn to left, step L to side, R foot points to side, moderate wave of trunk to left with big swing of ribbon to left in front of body - move­ment of ribbon commences to the right side - left arm extended to side - moderate side bow to right.

V. 1. 45° turn to right, step R forward 2. 360° turn to right on R, L leg bent at side, point of L foot touching inside of R knee - horizontal circle of ribbon over head to right -left arm extended to side. 3. lower right arm and sketch a horizontal c ircle with ribbon on floor, step L forward on toes, ribbon fo rms circle. 4. turn 360° to right on left toes - bend R to side, R toes touching inside of L knee - horizontal ci rcle over head to right, left extended to side.

Remark: on 2.-4. cou nts execute 2 full turns (720°) while ribbon executes 3 horizontal circles successively over head, on floor, and again over head.

VI . 1.-2. step R forward on toes, L extended to rear - vertical wave from left to right chest high 3.-4. step L forward on toes, rear bow, bend R forward, momentary hold - big circle along right side of body (lateral) beginning circle high to rear - left extended to side.

VII. 1. half-squat step R turning 360° to left in half squat on R toes, L toes touch floor lightly - arms to right, vertical serpent in air. 2.-3.2 steps forward (L, R) - horizontal serpent on floor. 4. hold in toestand L front,_ R rear - horizontal spiral to left, baton vertical in front of body in right hand, left extended to side.

VIII. 1. swing ribbon to right rear on floor, small leap to right over ribbon on R, stand Lacross R on toes, R toes on floor. 2. small hop to right on L, stand R across behind L, R leg bent - spiral of ribbon to left. 3.-4. like 1.-2 .

IX. 1.-2. like VIII. 1.-2. 3.-4. 360° turn to left (one foot after the other) - pass streamer to left hand behind body, arms to right.

X. 1.-2. step with left to side on toes, cross R in front of L - swing ribbon to right behind back and vertical spiral behind back.. . 3.-4. 360° turn to left on toes - continue in vertical spi ral.

XII . 1.-2. step L to left, cross R behind L - sketch ci rcle with left hand (medium circle) behind head - extend right to side. 3.-4. small leap to left on L, cross R in front of L - sketch large circle in frontal plane.

XIII . 1.-2. like XII. 1.-2. 3.-4. like XII. 3.-4. to half squat - moderate front bow.

XIV. 1.-4. run backward beginn ing with L - vertical spirals on floor in front of body, left arm low front, right arm extended to side.

-18-

XV. 1.-2. with impulse leap to right on R, beginning with extens ion of R leg to side, L toes touch R knee - big swing of ribbon over head from left to right (jete on R to right). 3.-4. step with L to left, close R to L on toes. Spiral ribbon in air from right to left in front of body - grasp ribbon in right hand (moderate sidebow to left), lateral twist of trunk to left.

XVI . 1.-2.3 running steps (L,R,L) - con tinue sp iral to left. 3. swing ribbon from left to right on floor - spring from L to spl it leap (grand jete) over ribbon landing on R. 4. step L forward - spiral to left.

XVII. 1.-2. spring from L, bend R, moderate arch, leap over vertical spira l (stag leap) from left to right side - right arm moves from left to right downward (oblique). 3.-4. land on R, step L forward and turn 225° to right in half squat on L, R to rear on point (to stand with right hip to original position) - spiral on floor.

31 32 33 34 35

XVIII. 1.-4. spiral on floor - turn trunk to right. XIX. 1.-2. turn trunk to left with swing of ribbon forward in horizontal c irc le

above floor to left - step forward with R into c ircle, hop on R, close L to R in half sq uat - dorsal front bow. 3.-4. body wave forward. to points, strong stretch and arch - 2 horizon­tal circles over head to left.

XX. 1.-2 . big lateral circle on ri ght side of body and small leap with Rover ribbon (sideway) to stand on R, bend L forward. 3.-4. repeat XIX. 1.-2 .

XXI. 1.-2. turn to right (face original direction), cross L in front of R on toes turning 360° to right, arch, arms lateral with spiral to right. In the mo­ment of turn the ribbon sketches big circle in frontal plane. 3.-4. finish turn on toes - small flexion of trunk to right - spiral of ribbon on floor to left ami right finishing arm movement to side.

·19·

XXII. 1.-2 . take ribbon in left hand, cross R in front of L - side bend to right and horizontal circle in outward direction over head - extend right to side. 3.-4. step L to side, cross R behind L - horizontal circle over head inward.

XXIII. 1.-4. like XXII. but finish with feet together on toes and grasp ribbon in right hand.

XXIV. 1 . turn 135° to right on toes, step F forward, knee flexed. 2. rise to toes (relieve) on R turning 360' to right, L extended to rear -vert ical wave with ribbon in front of body from left to right, finish with arms to sides. 3.-4. lower to R heel and aga in rise (relieve) to toes turning 360' to right on R - arms extend to sides and continue vertical serpent.

XXV. 1.-2. step L forward, close R, turn 360° to right on toes - large hori­zontal circle over head. 3.-4. step R forward, close L turning 270° to right - horizontal circ le of ribbon over head.

XXVI. 1.-2. swing ribbon on right side of body and1jump over ribbon with both feet. 3.-4. 3 cross steps on toes to right starting with L crossing in front of R -spiral - arms extend to sides.

XXVII. 1.-3. like XXVI. 1.-3 . 4 . close L, turn 90° to left on toes - continue with spiral - arms extend to sides.

XXVIII. 1.-2. 2 steps forward, R(L, hop on L extending R forward, then bend R, R point touches inside of L knee, arch strongly, big swing of ribbon forward and upward. 3.-4. 3 running steps (R,L,R) and horizontal serpent from high to low.

XXIX. 1. step forward on L toes - arms extended to sides. 2. step R forward turning 180° to left - arms extended to sides. 3. 180° turn on R to left, extend L forward . 4. spring to half-squat step forward on L (R in rear on toes) ribbon exe­cutes big horizontal swing to left in front of body, arms to left of body -all movements must be executed with accent on each count.

XXX. 1 . 45° turn to right, swing ribbon to right and back - step R to side -take ribbon in left hand behind body. 2.-4. turn 360° to right (alternating feet, crossing) - ribbon executes horizontal circle over head starting to right back and transfer ribbon to right hand from left side.

XXXI. 1.-4. like XXX. but without 45° turn to right. XXXII. 1.-4. 45° turn to right. half-squat step R forward (L in rear on toes) -

vertical serpent on floor from left to right - moderate side bend to right. XXXIII. 1.-4. like XXXII. to opposite side and on opposite foot but without

45° to right. XXXIV. 1.-4. 4 running steps backward (L,R,L,R) - vertical spiral on floor. XXXV. 1.-3. 3 running steps backward (L,R,L) - continue enlarging frontal

circles of ribbon. 4. close R to L in toestand - big frontal circle of ribbon.

XXXVI. 1. 45° turn to right and horizontal circle of ribbon on floor inward and leap forward to left with R. 2. horizontal circle of ribbon over head inward - leap to left on left, R leg behind L (both knees flexed) toes of R on floor. 3.-4. like 1.-2.

XXXVII. 1.-4. like XXXVI. to toestand (closed) XXXVIII. 1.-2. half-squat step L to side (r on toes) - big frontal circle with

right spiral. 3.-4 . close R to closed toestand - swing ribbon to right.

XXXIX. 1. turn 45° to right - swing ribbon to left rear on floor - jump over ribbon with both feet. 2.-3.2 steps to rear (R, L) - sketch figure "8" with ribbon on floor. 4. 90' turn to left, step R forward.

XL. 1.-2. spring from R to catstep forward, L, R - big saggital circle along right side of body upward . 3. half-squat step L fdrward (R in back on toes) 4. vertical spiral in front of body.

SU. 1. 180° turn to right to half-squat step forward R, L in back on toes -continue with vertical spiral on floor from left to right. 2. back bend - big swing of ribbon upward to rear. 3.-4 . hold.

Ribbon Official measurements of ribbon to be used in 1977 Cymnastique

Moderne Championships in Cuba: a. Small baton made of wood and equipped with hole at one end,

50-60 cm. in length (approximately 19%"-23 5/a".) (Bamboo for baton recommended.)

b. Ribbon in satin, width: 4-6 cm. (approximately 15/a"-2%"). length 6 meters (19 feet, 95/a inches) of which 1 meter (approximately 1 yard, 3% inches) is doubled at the baton end.

c. Ribbon attached to the end of baton with thread (fish line) pass­ing through the hole. A piece of stiffening about one inch wide should be inserted in doubled end where thread is attached to ribbon (to keep ribbon from shirring).

Creative Gymnastics Modern By Gretchen Sunderland Dowsing

Have you ever tried teaching gymnastics in an exploratory, creative manner? In such a manner that the student has a chance to discover new sk ills and unique ways of so lv ing problems for herself?

An easy way to implement this sty le of teaching is to use modern gymnastics, since this area of gymnastics especial ly en­courages creative movement. The -teacher, in this case, has little need for demonstration ; she does not want her students to copy her every move but instead wants them to experiment with their own body movements and develop individual styles. This goal can be accomplished by using a series of word cues, or questions, which can lead the student from a low to a high level of skil l in modern gymnastics. I w ill give you some examples using different elements of rhythmic ball skills, beginning w ith basics and lead­ing up to actual routines performed to music. Tossing and Catching:

1. Can you throw the bal l and catch it without making a sound?

2. Try to throw the ball very high but still catch it. 3. Can you throw and catch us ing the backs of your hands? 4. Try stretching your body when throwing and relax while

catch ing. 5. Can you throw the ball with a different part of your body? 6. Try catch ing and throwing the ba ll in time w ith the music.

Bouncing: 1. How low can you bounce the ball? How high? 2. Can you run and bounce the ball? Skip? Leap? 3. How fast can you bounce? How slow? 4. Can you bounce w hile in a balance position? 5. Who can bounce the ball under a part of her body? 6. At this point the students can be encouraged to invent a

I ittle routine combining 8 tosses and 8 bounces to 16 beats of music.

These tasks are leading the participants to an awareness of what their bodies can do. They learn control of the ball in many different positions, and partner work may be introduced after basic sk ill s are learned . The use of music is always helpful.

Let us continue with more sample tasks. Rolling:

1. Can you roll the ball around your body? 2. Can you roll the ball on part of your body? 3. Try to roll the ball, leap and pick it up agai n before it stops. 4. Can you roll the ball under a partner? In another position? 5. Can you add rolling skills to your bouncing and tossing

routine if we increase the number of beats to 24? Swinging:

1. Can you swing the ball in one hand? In two? 2. Who can use her whole body to follow the swing? Do

your knees bend? 3. Can you swing the ball with one hand and toss it to the

other? 4. Can you swing the ball in a circle? While moving? 5. Let's add to your routine some swinging movements. Can

you add 16 counts of swings?

·20·

model: Karen Odom, Beverly Hills Tinicettes.

At all times the students should be encouraged by the teacher, and she may point out unique variations that the whole group may li ke to try. There is no "wrong" way to perform any of these sk ill s, so a measure of self-confidence is sure to follow.

After experimenting with the basic sk ill s, try combining them: 1. Who can combine a leap and a swinging movement

using the ball? 2. Find a way to add a balance position to tossing and bounc­

ing. Now try a different balance. 3. Can you combine a bounce, a toss and a swing of the bal l

wh ile skipping? These questions and tasks are endless; I have only given you

some examples to begin with. I realize that it may be more effi­cient to say, "Here is a rhythm ball, and I will show you the cor­rect ways to bounce and swing it," but it's so much more ex­c iting to see quite "ordinary" students solve these movement problems in unique and interesting ways that you may never have dreamed of!

U.S.G.F. Report

By Jackie K. Uphues and Shirley Bryan

Mrs. Jackie Uphues, Chairman (FIG Brevet) 642 Dodge Avenue Evanston, Illinois 60202

USGF Elite Championships for Women 1971 Mr. Bare has informed us that the USGF Elite Championship

for Women has been moved from the May 21 and 22 date to th e fall of 1971 , date as yet not confirmed. Since the 1972 O lympic compul sories w ill be fin ished by June 1, 197 1, the Elite Cham­pionship will require the performance of these 1972 Olympic compulsory exercises and optionals.

Thi s directive will have the fo llowing effects on ou r com­petitive program - a reconfirmation of the February 1st Bulletin by J. Uphues:

1. Those gymnasts scoring a 33 .20 al l-around score (8 .3 event average score) and w ho are a minimum of 14 years of age in 197 1 may qualify for the Elite Championship in the following manner: a. At the USGF Junior Nationals for ages 12 to 14 on M ay

1 st in Fresno, Cal ifornia - Meet Director Wanda Obra­dovich. Box 5141 - Zip 95755.

b. At the USGF Senior Nat iona ls for ages 15 and over on April 24 and 25 in Bethesda, Maryland - Meet Direc­tor Ruth A. McBride.

c. At their respective USGF Regional Competit ion. d. At the DGWS Intercollegiates on April 9 and 10 at

Penn State University. 2. There w ill NOT be a separate qualification meet for the

Pan-Am Trials. Both the Junior Nationals and Senior Nationals will serve as this qualifying competition for sa id Pan-Am trials, which are slated for early June. No more than 25 gymnasts (at least 14 years of age in 1971) based on a combined li sting of all -a round scores from both the Junior and Senior National Meet will qual ify for these Pan-Am Trials. These two meets will be the only two opportunities for such qualification.

3. The World Cup Meet wi ll ta ke place on May 21 and 22 in Miami, Florida, with gymnast se lection based on 1970-71 International and National Competitive Records.

4. All reporti ng of scores wi ll be the same as directed in recent Feb. 1 Bulletin from J. Uphues.

A ll further questions should be directed to you r respective regional chai rman or Technica l Committee Chai rman Jackie Uphues.

USGF ELITE NATIONALS - Fall 1971 Open to 14 and over 33.20 optional all -around total (8.3 event average) in either the

Junior or Senior National Meet or respective Regional M eet or DGWS Intercollegiate Championshi ps April 9-10 is needed for entry.

Other News Items: The prepared notes from the Long Beach FIG Course are

ava ilab le from Tucson, titled "Judging Guide." (Mrs. Sharon Weber, FIG judge, USGF Technical Committee member. Re­corded notes from Chi cago. FIG Course, " Judging Guide II," by JackieUphues are ava i lab le for $1.00 from Tucson.

The USGF Women's Technical Comm ittee has been expanded, and we are hopeful that you will ca ll upon the member closest to you or w ithin your region to answer those many technical questions which arise during the course of the competitive year. Below is a list by region of each techn ica l committee member, and enclosed is add ress li st: (a ll members are nationally or inter­nationally qualified judges).

Region I -

Mrs. Sharon Weber (FIG National) 1738 Park Street

Mrs. Dale Flansaas (FI G Brevet) 12003 Andes St.

Huntington Beach, Ca li fornia 92648 Reno, Nevada 89506 Region II -

Miss Karen Patoile (FIG National) 14806 Bothell Way N.E., Apt. 214 Seatt le, Wash ington 98 155

Region III - Reg ion IV -(contact Jack ie Uphues)

Region V -

Mrs. Sharon Pirkl (F IG National) Rt. 1-Box 175A Colona, Illinois 61241

Region VI -

Miss Sharon Valley (FIG Brevet) 119 Blake St., Apt. 203 New Haven, Conn. 06511

Region VII -

Mrs. Ernestine Carter (FIG Brevet) Marianne Estates, Apt. 2 Rt. 1 Shippenville, Pennsylvan ia 16254

Region VIII -

Mrs. Greta Treiber (USGFj DGWS Natd) Department of Women's Physical Ed Ind iana State University Terre Haute, Indiana 47809

Mrs. Delene Darst (USG FjDGWS Nationa l) 1903 Robin Lane Milledgev ille, Georgia 31061

BULLETIN The office of assistant executive director was res igned by Jackie

Uphues at the USGF Govern ing Counc il Meeting in December of 1970. She will now concentrate her total effort as cha irman of the Technical Committee, hand ling the technica l matters of national and international character. Those responsibil ities and duties previously belonging tei the ass istant executive director's pos ition have been delegated to the chai r­man of the Women's Committee, Shirley Bryan, and to other executive board members of the Women's Comm ittee. All further correspondence shou ld be directed to her office:

·2 1-

Mrs. Sh irl ey Bryan 27 Keswick Road Elk Grove Village, Illinois 60007

USGF-FIG REPORT The following compulsory exercises are being sent to the

attiliated tederations by the Women 's rechnical Commlltee: Floor exercise, beam and uneven bars. As well as the' va'ult chosen for the Olympic Games in Munich.

Because of the new form of set exercises for women these documents are being sent out earlier than usual. This will give the technical committees of the federations time to provide for an adapt the necessary I inkages as well as the music for floor exer­cises, following the terms explained in the following.

Later, you will receive the definite text as well as figurines and tables of penalties provided for each apparatus from the Men's Technical Committee:

For the Women's Technical Committee: The President: B. Villancher

Compulsory Exercises - Women: New Form 1. Duration:

(a) Four years with the possibility of changing the order of difficulty on bars, beam and floor after the first two years.

(b) From Olympic Games to Olympic Games. (c) The federation must be informed immediately.

2. Only the elements of difficulty for bars, beam and floor are fixed by the Women's Tech. Committee. In vault, it is set from the Code of Points.

3. For the Munich Olympic Games, the elements of difficulty have to be performed in this chronological order. The choice of linking movements is free.

4. No other elements of difficulty may be added to those officially set.

5. Each element may be reversed . 6. The overall composition of the exercise and the musical ac­

companiment for floor exercises are arranged by each federa­tion.

7. The exercise is to be the same for all team members. 8. The musical accompaniment is the same for all team members. 9. The elements of difficulty for the set exercises cannot be used

in the composition of optional (voluntary) exercises unless the linking moves which precede or follow that difficulty are totally different or if the acrobatic element is executed with a change.

Judging Each purely acrobatic element executed in excess of set elements merits a deduction of: 0.50 points. Concerning the voluntary exercises: Each acrobatic element identical to those in the set exercise merits a deduction of: 0.50 for a medium.

1.00 for a superior difficulty. Specific penalization for the elements of difficulty on all the apparatus will be subsequently sent to the federations. The penalties concerning exercises too long or too short are identical to those concerning the voluntary exercises.

Number of Elements of Difficulty BARS: 8 Medium difficulties (mount and dismount included)

Duration of exercise not set. BEAM: 5 Medium difficulties and one superior difficulty

(Mount and simount included) Duration of exercise: 1 minute to 1 minute, 20 secs.

FLOOR: 9 Medium difficulties and one superior difficulty. Duration of exercise: 1 minute to 1 minute, 20 secs.

Linkages - Floor and Beam The following can be used as linkages: Elements from Modern Gymnastics; turns; pivots ; hops; dance steps; balances; movements offlexibility. Excluded: All acrobatic elements such as roundoffs, cartwheels,

flick-flacks, handsprings, headsprings, saltos, leaps, split leaps, handstands as well as all elements of sup­pleness, walkovers, etc.

·22·

Beam Only connections that are nonacrobatic in nature are allowed between the set elements. Elements of Difficulty for Women's Set (Compulsory) Exercises: 1971-72

Floor Exercise (Chronological order of elements is mandatory)

1. Code of Points, page 106 (Sup. Difficulty No.2) Round off with a series of flick-flacks on two legs.

2. From a takeoff on two feet, handspring forward, land on one leg.

3. Code of Points, page 89 (Med. Difficulty No. 5) Turning jump with a half turn.

4. Dive Cartwheel sideways. 5. Code of Points, page 106 (Med. Difficulty No. 11)

Backward walkover with change of legs. 6. Pivot forward on the toe of the foot with a 3600 turn , free leg

stretched backwards to bend in front at end of the turn. 7. Code of Points, page 102 (Med. Difficulty No.2)

Dive Arab Wheel 8. Code of Points, page 89 (Med. Difficulty No.3)

Stag Leap. 9. Front horizontal support on one half-bent leg. 10. Roundoff, flick-flack onto one leg, cartwheel sideways for­

ward walkover on one leg. Vault

Vault No.1 O. Code of Points. Jump, body and arms stretched, then with quarter turn during the flight to an inverted support, quarter turn after leaving horse to land on floor.

Beam (Chronological order of elements is obligatory.)

1. Standing facing the end of beam, with a few steps, take off on one foot and squat on to the beam, one foot behind the other without hand grip.

2. Passing through inverted support, hollow down through chest roll, to straddle sit.

3. Code of Points, page 59 (Medium difficulty 1) Stand on one leg complete one full turn (delete: a minimum)

4. Code of Points, page 65 (Medium difficulty 11) Turning leap landing in squat (delete: continue with a turn)

5. Code of Points, page 71 (Medium difficulty 1) Cartwheel sideways.

6. Code of Points, page 79 (Superior difficulty 5) Runn ing takeoff somersau It forward, body pi ked , legs stretched .

Uneven Bars (Chronological order of elements is obligatory.)

1. From a position facing lower bar: · dorsal grip, thrust forward , pass the stretched legs between the grips to arrive in dorsal support on the low bar.

2. Hanging from the upper bar, thrust the legs into inverted hold position and kip through front support to free support forwards.

3. Place the feet on the upper bar outside the grips and a forward swing, half turn to hang on the upper bar.

4.-5. Circle on lower bar (without grips) to a momentary free position between the two bars, body stretched, arms upwards and immediately grasp lower bar with hands.

6. Upstart (kip) from the lower bar to hang on upper bar. 7. Kip to support on upper bar, forward circle. 8. Thrust backwards, straddle the legs over the upper bar, then

legs together and stretched bounce and backward somersault to facial stand.

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"Why Not?" By Ami Leso

As recently as 1960, very few women and even fewer men faced the problem of what to do about coaching the high school girls' gymnastic team. Today a scant 10 years later this problem is a reality. Today, both men and women are being asked to coach this rising high school sport, and more than a few have little to go on other than enthusiasm.

If you are a fledgling coach and enter the gym for the first practice and see 25-35 girls, some parallel bars, a few mats and little else. How do you begin?

If you have not already done so, why not immediately sub­scribe to a gymnastic periodical, look up tumbling and gymnastic books in the library, rent or buy films and find out who are re­source people in your area. Assuming that you do not have a balance beam, vaulting buck, uneven bars, etc., and further more the season will have begun by the time you receive them. Why not have the shop or custodians make a balance beam. Why not put a mat over the bars and use it for vaulting (a number of basic vaults may be taught). Why not use the basketball court lines for balance beam drills. Why not teach basic tumbling moves such as cartwheels, etc. Why not find out which girls, if any, have had ballet and have the five basic positions of ballet taught as well as a "pas chassez," " tour jetes" and other basic ballet moves. Two of the four events accentuate poise and grace. Form and flow drills concerning body mechanics need to be taught any way so why not now, as you are getting under way. The writer is attempt­ing to point out that even without equipment and knowledge on the coach's part, there are many things he can do to keep the program going unti I he has more firm ground to stand on.

Most coaches in their first years of coaching will experience injuries among the team members due in most part to his inex­perience and that of the student. It is felt that the more acquainted the coach is with conventional injuries, the more he is able to be of value to the gymnast both physica lly and mentally. In gymnas­tics if the coach has a basic knowledge of the anatomy of the body and the parts which suffers the most stress and strains and further more has the ability to treat these parts he has a distinct advan­tage. Why not take a course in the treatment and care of injuries. It is extremely difficult for a girl to perform or practice if she is plagued with injuries. If a girl has talent and yet is afraid of minor and imaginary injuries, a coach 's counsel may be quite important. In many instances a girl can work around an injury and thus not lose her conditioning. As a coach, why not search out this seem­ingly minor factor and notice how many high school girls never are truly conditioned because they have overreacted to minor injuries.

Common injuries among beginning gymnasts are bumps and bruises usually involving " posterior" landings, hand tears and finger strains. With the more experienced and advanced gymnasts, ligamental strains around the knees and injuries that involve the elbows and shoulders which will take their toll. Both the coach and the performer must pursue the point that as the performer becomes more confident of her ability she will as a rule desire to do more difficult and hazardous stunts.

Don't let your success as a coach be governed by someone else's treatment and care of your athletes (unless they are a pro­fessionally trained and can be depended on throughout the sea­son).

While on the subject of injuries why not be aware of "char­acter" injuries. This type of injury ca rries scars, too. The coach's deportment, philosophy, language, etc. , before the team all reflects later in the team's attitudes. Too much lip service is given to character development, and too few coaches actually make a concentrated effort to develop good character qualities this, too, is part of coaching.

Training the squad most members will arrive at the gym for their first practice out of shape and several months later, even though they have improved somewhat, will still be out of shape. Not enough coaches of women 's teams include a conditioning program around cardiovascular fitness and strength . And this could be incorporated as part of the regular gymnastic practice. Remember almost every successful men 's sports program has an

·25·

integral conditioning program as a part of the practice season . Girls should be following the same procedures especially if they perform at a calibre of high level. Most girls will readily see the need for good conditioning when their moves become sloppy and simple routines too difficult to " throw" because they are just " too tired. " Some coaches have I ight and heavy workout days; others try to incorporate all aspects of gymnastics daily.

Another problem which may dominate the coach is the spot­ting of individual performers. Good spotting techniques is a must. Spotting techniques should be taught to all performers so that they can safely spot each other on most of the moves. For exam­ple, team members should be taught not to have an extended arm over the low bar while spotting the even bars, as this can fracture the elbow. There are many techniques of which the coach should be aware to insure safety during performance. Why not take the attitude that " the fewer injuries the more successful the season."

The coach will of necessity spot the advanced sequences of an event, but his energies should not be burned away "boosting up," "helping over" and lowering down every performer who comes along. The more time a coach spends spotting basic moves that other team members can do, the less he has to give to the team as a whole, especially in areas where spotting " know­how" is needed.

Preparing a girl for competition means more than teaching a routine to the performer. Why not acquaint the girl with judging procedures and also how she must enter and exit the competi­tion area. Knowledge such as her time beginning on the balance beam, when her hand or foot touches the beam, and that she just needs to bow to one judge upon routine completion, are little bits of business the performer acquires through more com­plete coaching. Also why not teach the performer to be aware of her fac ial expression while performing. Encourage her to smile while doing her routine at first may seem more of a grimace than a smile, but it will change as she becomes more famili ar with the routine.

Why not have team discussions at least once a week, sub­jects covered besides gymnastic techniques, maybe movies of champion gymnasts, philosophy of gymnasts and gymnastics, team loyalty of members to coaches and vice versa, training rules deportment of team members as part of a team as well as many more pertinent topics. Good team members are lost each year because of a lack of communication on topics such as the above.

If one is a male coach, why not set an example for the above and refrain from patting the girls on the "backside" as they finish their performance, giving the girl a "squeeze" as one con­verses, etc. These, of coLirse, are meaningless gestures but may be misinterpreted by others. Remember many fathers and mothers just do not approve of a male patting or caressing their daughter, no matter just how innocent it may seem to the coach.

Many coaches prepare well for a meet and then forget neces­sary items and equipment. Why not prepare an itemized list and check it off prior to each meet. Pertinent items may be a tape recorder, record player, hand chalk, hand straps, merthialate resin, burn ointment, tweezers, ace bandage, ice pack and other paraphanalia that is important to the coach.

Also as meet preparation, why not brief the car owners beforehand or the bus driver on how to get to the meet site, where nearby restaurants are, ground rules for everyone while on the trip and last but not least to "drive safely."

Why not, as the season progresses, take the team to see girls' meets or perhaps even a boys' meet, make them aware of gym­nastics and help them to watch routines from other girls for moves that they may incorporate into their routines.

If your budget will allow it, why not take movies after a week or two of practice and then take them again at the end of the season. This is to let the team as a whole see the improvement (if any) that a few months will make.

Why not take a movie and cut it so that moves from the same events are isolated on small reels; then if one wished they could watch moves from the one event, I.E. dismount moves from the uneven bars without having to sit through a whole reel of other events.

In conclusion, why not assume that you are going to have both problems and fun during the season? Why not try to have more fun than problems?

NAMES 'N' NEWS

1971 AAU NATIONALS Cedar Rapids, Iowa, to host 1971 national AAU Gymnastic

Meet. The meet w ill be held at the new Kennedy High School under the direction of athletic director Don Supe and gymnastics coach Gary Williams. For further information: AAU Meet Com­mittee, Box 1270, Cedar Rapids, Iowa 52406

CENTRAL QUEENS "Y" HOSTS GYMNASTIC CLINIC FOR GIRLS AND WOMEN Report by Sid Lorber Gymnastic Coach, Queensborough Commun ity Col lege

The Centra l Queens YMCA in Queens, New York, held its first girl s-women gymnastic c linic on Saturday, jan. 16, 1971. There were about 130 gi rls taking part in the cl inic. The object of the clinic was to demonstrate, exp lai n and teach the AAU junior Olympic Age-Group Compulsory rout ines. Films of the compu lso ries were shown .throughout the clinic. Printed com­pulsory routines were given out to all participants and spectators. The gi rl s and women that did not take part in the workshop phase were able to observe and take notes. The use of a video-tape machine en hanced the cl inic for the gi rls.

Although the organization of the c linic needed improve­ment, the cl inic was a success. Gymnastic competition for gi rl s and women (as well as for boys and men), outside the N.Y.C. pub­lic schools, has not really existed to any great extent. There have been very few AAU meets in New York City area. Maybe compul­sory clinics will foster more meets in the metropolitan area in the future.

The following people were instrumental in making the clinic a success: Madeline Nelson, N .Y.S. Comm issioner of Gymnas­tics for the YMCAs and Assistant Phys ica l Director of the Central Queens Y; Pat King, Gymnastic Coordinator in the Northeast Region for the YMCAs and Physical Director of the New Canaan, Conn. , Y; Marilyn Schnaars, National AAU judge and Coach of the Carle Place H.S. gymnastics team; Linda Chencinski, National AAU judge and Coach of the Centra l Queens Y Girls' gymnast ics team; Maria DeCristoforo, Gymnastic Coach at Port Washington H.S.; Nancy Lauster, Gymnastic Coach at York College; janet Hennessy, Coach of Springfield Gardens H.S. ; johanna New, Assistant Physical Director of the Prospect Y; Norbert Chencinski, women's gymnast ic judge for the metropolitan area; Luis Alomar, gymnast from Long Island University; Sid Lorber, Gymnastic Coach at Queensborough Community College and the centra l Queens Y. The women and girls that ass isted in performing rou­tines at the clinic were Terry Turso, Debby Eich, Barbara Palmer, Beth Schoenwald, Marion Settle and Elaine Bruescki.

-26-

2 3 Hamby, Fleming, Hill, Mullen, Fike, Sepaspour; West Coast Invita­tional.

WEST COAST INVITATIONAL WOMEN'S GYMNASTIC CHAMPIONSHIPS

Fresno, Calif., March 6, 1971 Meet Referee: Dale Flansaas

AA: Debby Hill ,Denver - 35 .50; Barbara Fleming, Fresno - 35.45 ; Debby Mu llen, Fresno - 35.10 ; Linda Hamby, Fresno - 34.75; Debby Fike, Lakewood " Kips" - 33.95; Barbara Fleming, Sacramento State and Tami Sepaspour, Diablo Valley - 32.45.

BB : Tie, Debby Hill and Barbara Fleming; Linda Hamby; Debby Fike; Candy O liver, Reno ; Debby Mullen; Lisa Buttrill , Diablo. FX: Linda Hamby; tie, Barbara Fleming and Debby Mullen; Tina Liskum Sac-San juan; Leanne Lobdill , Sac-San juan; Oliver; Parcher. UB: Hill ; Mu llen; Fike; Fleming; Debby Halle, Seatt le; Parcher; Sandy Ga ll oway, Sac-San juan. V: Sepaspour; Fleming; Hill ; Hamby; tie, Mullen, Linda Antonio, Denver; tie, Fike, Lisa Buttrill and Diane Dunbar, Diablo. Results: Team Fresno, 166.90; Sac-San juan, 157.95;

Linda Hamby Oveta Chernich Barbara Fleming Tina Liskum Kim Sue Greaves Sandy Galloway Pam Bickner Cindy Smythe Diane Ain ley Nancy LeValley Debby Mullen Leanne Lobdill

Denver, 154.75; Linda Antonio Laura Trowbridge Debby Hill Renee Hack Claudia Walush Caney Fergu son

Seatt le, 153.10. Debby Halle Shirley Boyd Lonna Woodard jill johnson Peggy Rowan Laurel Anderson

Other than full teams, competitors were from Lakewood " Kips" ; Diablo Valley, Sacramento State, University of Nevada.

judges were from Sacramento, Palo Alto, Concord, Huntington Park, San Diego, Ventura, Woodland Hills, Los Angeles and Fresno.

COLLEGIATE WOMEN 'S GYMNASTICS Report by Margit Treiber

To qualify for the 1971 National Collegiate Women's Gymnastics Championship, regiona l competitions were held throughout the country during the months of February and March.

From each region the top two teams, the top 10 individuals in each event and the top five all-around gymnasts entered in the nationals held at Penn State University on April 8-9-10.

From the Midwest at the O hio State Regional Championsh ip meet (held on Feb. 27). the teams who qua li fied are:

First Place - Indiana State University, Terre Haute, Ind. ; 89. 15. Coached by Mrs. Margit Treiber.

Second Place - Kent State Univers ity, Kent, Oh io; 87.40. Coached by Mr. and Mrs. Rudy Bachna .

The all -around p lace was won by Mi ss Jan Heppner, Indiana State Un iversity with a 29 .85. The first-place winners are:

Beam: Sarah Brumgart, Indiana State University, 8 .05. Vau lt: Mona Govert, Indiana State University, 8. 10. Floor: Pam Chilla, Kent State, 8.95. Bars: Sa lly Crawford, Centra l Michigan State, 7.75 .

MID AMERICA News of the formation of the Mid Amer ican Gymnastic Conference

has been announced by Carole Liedtke, MAGC secretary. The first meet­ing of coaches was he ld in August in Kansas City, seven teams represent­ed. A round robin tournament is now in process. Each team w ill have six meets in five month s with one bye. Six competitors enter each event with the top five raw scores of each event cou nting toward team scores in both the compu lsori es (AAU Junior Nationa ls) and optiona ls. Each team pa id an entry fee and donates 10% of their home meet profits into the Con­ference treasury and home tea ms provide housing and food for the vis it­ing team. At the end of the season there wil l be a league champion ship meet at Champaign, Illinois (March 27). The league purposes are: 1. Development of judges from our area to be certified and to represent us in nat iona l and internationa l compet it ion. 2. Uniting of coaches to develop better organization of gymnastics everywhere. 1. Give gymnasts more experience and give recogn ition to them such as form ing an all ­star team w hich may even compete internationally. 4. Set up workshops for coaches. 5. Form training ca mp for gymnasts. 6 . In general to better gymnasti cs in our area w ithin the national realm.

After the third round the teams have the fo llowing averages and stand ings: Louisville Gym Club, 3-0, Average: 305. 17; Champaign, II I. (McKinley Y) 2-0, Average 305.7; Cedar Rapids, Iowa (Sokol), 2-0 , 238.4; Oklahoma City, Okla . (Hi-Lo Twisters), 1-2, 308.06 ; Burnsv ille, Minn. (MGAA)' 1-1, 250.45; Kansas Ci ty, Mo., 0-3,246.00; Flint, M ich. (Olymp ians), 0-3 , 217. 17. Perh aps others can begin other such leagues on either a loca l or nationa l basis.

Clarion State College, Cla rion, Pa., high scoring team with a 5-0 record this season.

n

-PHILLIPS 66 INVITATIONAL

Kristi Matthiesen warming up for Phillips 66 Invitational.

Gymnastics wi th Phillips 66 Petroleum Co. is of fai rl y recent orig in, as it started in 1966 under the di rection of the Recreation Department of Phillips 66 as an added benefit for employees. From thi s program has come a competition team and sponsorsh ip of severa l age group gymnastic competitions each year. It is hoped that through these activ it ies, the over­all gymnastic program already in progress in Oklahoma and the South­west w ill receive added encouragement and development.

Mrs. William Trepka, public ity chairman, Ph illi ps 66 Parents' Gym­nast ic Board, recently sen t us news of the th ird annua l Phi ll ips 66 Invita­tion,, 1 Age Group Gymnastics Meet at the Phi llips 66 Gym in Bartlesv i ll e, Oklahoma. The gi rl s' overall team trophy went to the Haltom-Ri chland Gyros, a Fort Worth team, w ith a score of 221.94. Jim Bryant is the coach for the Phillips club, wh ile O.G. Buck served as meet director. Approx i­mately 20 teams were inv ited to attend the meet from Colorado, Kansas, M issou ri , Texas, New Mexico and Oklahoma.

DENVER-FRESNO WOMEN 'S GYMNASTIC MEET The Denver-Fresno Women's Gymnastic Meet was held at McLane

High School in Fresno Jan. 20. Top score of the meet was Debby Hill's bar - 9.4 - spectacula r! With the com bined sen iors and juniors it was Denver, 293 .1 5; Fresno, 29 1.25.

Results: AA: Barbara Fleming, Fresno; Debby Mul len , Fresno; Debby H i ll , Denver; Linda Hamby, Fresno; Julie Knight,. Fresno; Claudia Wa­lu sh, Denver. FX: Mullen, Flem ing, Hill , Hamby, Knight, Walush. BB : Flem ing, Hamby, Mullen, Hill, Kn ight, Candy Ferguson, Denver. UB : Hill , Flem ing, Mullen, Kn ight, Wa lush. V: Mullen, Hamby, Fleming, Hill, Wa­lu sh, Charleen Miller, Fresno.

Teacher Miss Cheva lier watches as Kathy Dersch performs on the balance beam during gymnastic exh ibition at Tecumseh Public School, Port Credit, Ontario, Canada.

HELEN SJURSEN 46 POPLAR PLACE FANWOOD, NEW JERSEY 07023

"Something Different for the Beginner" o c o

Fig. 1 ~

Fig. 3 ~ Fig. 2

Fig. 1 - Stand under the high bar facing the low bar. Fig. 2 & 3 - Swing legs under low bar and turn backwards over low bar (Y2

back pullover mount) and, as soon as the legs are resting on the bar, release the hand grip.

Fig.4 Fi g.5

rig. 4 & 5 - Without stopping, quickly swing arms forward and upward simultaneously extending the body fully, arch the back popping off the low bar to catch the high bar with the eagle grip. (This entire movement should be completed within a short count of "one").

At the time ot the hand release, the opening up (the stretching of the body) must be done quickly with a strong arm swing. The extension of the body must be full y completed at the " height" of the left when leav­ing the low bar.

Right after the hand release, swing the arms parallel to each other while extending the body. By keeping the arms parallel , it helps to raise the shoulder higher, getting you nearer to the high bar for a successful catch. Spread the arms in preparation for the eagle catch, almost at the last moment. This combination (back pullover mount to eagle catch) can be used as a preparation for the cast-wrap-eagle catch starting from a fronf support on the hi gh bar. Spotting - The spotter stands between the bars and grasps the legs as the gymnast extends her body.

NOW AVAILABLE "SKillS FOR WOMEN'S GYMNASTICS" by Helen Schifano Sjursen ... includes skills far uneven bars, ba lance beam, floor exercise and vaulting ... no need to scan through a dozen separate books to hunt up different skills to learn or to teach ... over 890 skills, including some combinations ... all listed under one cover ... especially helpful to coaches and gymnasts with a limited knowledge of gym­nastic skills ... excellent reference for selecting skills when composing a rou­tine for physical education classes, school teams, individual competitors or just for the fun of participating in the sport of gymnastics ... for convenience, skills have been "unofficially" listed as an element of "medium" or "superior" difficulty so that judges may use this book as a guide when judging compe­titions within their local area ... no one in the gymnastic field should be without this handy convenient reference book ... a must for every library ... each skill illustrated ... beginners to advanced ... cost $6.95, plus 30c postage and han­dling. Order from Hactor Records, Waldwick, N.J. 07463 (C.O.D. orders ac­cepted)

·28·

Book Review

BASIC MOVEMENT EOUCATION FOR CHILDREN: RATIONALE ANO TEACHING UNITS by Bonnie Cherp Gillion, formerly San Francisco State College. Addison­Wesley Publishing Co. , Reading, Mass. 01867. 224 pp. $4.95.

This book delinates the va lues of add ing basic movement education to physical educat ion cu rri cu la through a scholarly rationale for teaching basic movement in elementary schools and through practical detailed teaching units for children in three consecutive grades. A secondary pur­pose is to present as succinctly and practically as possible one interpreta­tion of basic movement education w ith its new approach to content and methodology.

Part I contains a concise discussion of how a curriculum in basic movement education for students of any age may be developed. It fo­cuses on the structure of movement and on the process of becoming physically educated.

Part II contains very detailed, well-tested teaching units in basic move­ment education to be used in any three consecu ti ve grades in the ele­mentary school.

The text is designed for advanced undergraduate and graduate-level students as well as for experienced classroom teachers and physical edu­cation spec ial ists. It is an attempt to synthesize for teachers and future teachers the work of movement theori sts, curriculum theorists and learn­ing theori sts into a practical plan wh ich they can modify and use with confidence.

While the book is recommended as a text for college students and it is excellent as far as it goes, it could never be the only text because there is much more to be sa id and done. For instance, the book is excellent for the early grades and as a guide for movement exploration. However, the materials the author has illu strated would be relatively unchallenging for children above the third grade, and this reviewer would qualify the recommendation of this materi al for any three consecutive grade levels.

Many of the next grade- leve l problems should follow immediately upon the first phase of exploration as she outlines it in the beginning grade. The divisions in the problems seem weak; in other words, there needs to be more depth. The questions need to be more probing for the children so that they explore and discover skillful ways to execute the problems. For example, ball and tumbling skills are left at very basic stages in development. Children are capable of achieving at a relati vely high leve l of skill (especially at the higher grades) with the necessary understanding and appreciat ion for the task.

It is, however, an excellent springboard to the methodology. The pen­and-ink drawings of children in action are excellent. The artists have caught the exploratory nature of children involved ·in learning about movement. In addition, the bibliography is quite complete and up to date. (Reviewed for Mademoiselle Gymnast by Sue Hanson , Dept. Physical Education, University of Hawa ii. )

"JUDGING COURSE FOR WOMEN'S GYMNASTICS" The " Judging Course for Women's Gymnastics" is based on the

1970 FIG Code of Points and U.S.A. / FIG courses. This booklet con­tains all the rules and regulations and deductions for errors one needs to know and all under "one cover" in rega rds to judging. It explains how to evalute exercises of all levels for uneven bars, balance beam, floor exercise and vaulting, optionals and compulsories. All deduc­tions for errors are listed separately under each individual event. The FIG-rated medium and superior elements of difficulty, based on the 1970 FIG Code, are also included (mimeographed).

This booklet can be used: 1. By people wa nting to learn how to judge. 2. By coaches, to learn w hat errors will draw the " heavier" penal­

ties. 3. By new coaches, to learn the requirements of each event and

w hat is expected in a particular exercise. Also a new coach can im­prove his or her coaching by glancing through the errors listed. By a coach knowing wha t constitutes an error, he or she can spot these errors more quickly should they be committed by the gymnast during her workouts and can correct them before the gymnast competes. .

4. Bya gymnast, so she can educate herself on what errors judges will be looking for.

5. By existing judges, to refresh her memory on deductions for errors, etc., before judging a meet.

6. As a preparation before taki ng an official certification test. 7. By test administrators, since a ll judging information is under

one cover. Order from: Helen Sjursen, 46 Poplar PI. , Fanwood, N.J. 07023.

WORKSHOP

Gymnastics For Elementary School Children (Wm. C. Brown Co., 1967, $2.95) by Garland O'Quinn

W isconsi n Sta te University, La Crosse, Gymnastic Workshop for women coaches and judges June 7- 1 8, 1971. Conducted by Mrs. Ernest ine Rus­sel l Ca rter. Write : Workshop Director Dr. Mary McLellan

Our sincere apologies to author Gar O'Qu inn for our neglect of his excel lent text. Gar was given special recogn ition at the St. Loui s Conven­tion of AAHPER on w hich occasion he presented a film and talk about hi s work with gymnasti cs for child ren. Those who know Gar also know that he is very enthusiastic about his work and has created many unique devices w hile conducting programs of gymnastics for children w hile in New Mex ico.

Wisconsin Sta te University Women's P.E. Department Wittich Hall 1710 Pine Street La Crosse, W isconsin 5460 1

LADIES' GYMNASTIC SHOE

2 TRIPODS f 8£AH TO A SET

An extremely flexioble snug-filling shoe with

wh ite tetron iersey upper. Provides excellent toe

point . during competition. Rubber hemming assures

tight but comfortable wear even during the mosr vigor­OUI movements . Leather sale is slip-free and ,llows

good ventilation . Worn by many top international

competitorl . Sizel: 2 - 9 $2.00 pro ppd.

Homemade devices for gymnast ics are shown throughout the book and in add ition to a great number of photographs showing children in action sequences, the author has inc luded c lea r instructions for construct­ing some of his unique equipment. (We have included just ·one of these items in ou r review ... the O'Qu inn Balance Beam.)

Other special apparatus appropriate for elementary school is intro­duced by the author such as playground ropes (German sty le), the tum­bling bench, improvised horizontal bar, tumbling tubes and mini tramp.

1970 Yugoslavia World GymnastiCS Championships Super 8 - in color

The world's most exciting combinations, tWists and new techniques have been re­cently filmed. See the winning and top optional routines, for all Olympic events, in semi-slow motion tpken from the best loca­tions. In order to show more variety of rou­tines, a second reel for men has been pro­duced showing top competitors throughout the world. Men's - #14 - 400 ft .. ........ .. $35.00 Ppd. Men's - #1 5 - 300 ft ..... ....... $25.00 Ppd. Women's - # 1 6 - 400 ft .... ..... $35.00 Ppd. In a final chapter the author, a former O lympian, gives some insight

to the organ ization of a Summer recreation program organized around the gymnastic theme. Th is book w ill certainly find a place on our Golden List of gymnastic books. reviewed by A. B. Frederick

r k r I 12200 SOUTH BERENOO AVENUE t-,.., ant: n a 0 LOS ANGELES, CALlFO"NIA 90044

styles for action

complete dancewear and

record catalogs.

1571 Golden Qat, ' In. C"vel ln d , Ohio 44124

420 Shenango Road

Beave r Falls, PA 15010 Chippewa Towns hop

412 846·7078 ALL GYMNASTIC NEEDS

Serving Pittsburgh and Tri-State Area. 30

Years Experience

GYMNASTICS MODERN AT SOKOL WOODLANDS Train ing in Gymnast ics Modern w ill be offered at Sokol Woodlands in two ses­sions for the benefit of women physica l education teachers in co lleges, public school systems, dance groups, for instruc­tors in gymnastic clubs, Sokol and Mod­ern Gymnasti cs.

* * * The week of June 26 through July 2 is de­signed to give phys ical education teach ers training and knowledge in the field of modern gymnastics.

* * * Another week, Aug. 29 through Sept. 4, will be designed to accommodate stu­dents as well as teacher. It w ill feature more actual workout time and incl ude the learn ing of compu lsory routines.

*' * * Enrollment w ill be: $90.00 per week

PLUS $ 10.00 initia l registration

Enrollment includes room and boa rd. Initial registration is for one or two weeks.

For reservations w rite: SOKOL WOODLANDS , Mail Road Barryville , N.Y. 12719

STUDY WITH AN ALL-STAR

STAFF 3 SESSIONS

COVERING TEXAS AND NEW MEXICO

STAFF: Rusty Mitchell Don Robinson Marie Buski Dale Flanssas Rod Hill LAquita Hargrove

For additional information wrae

Caravan of

P.O. Box 1206, Andrews, Texas 79714

Co o .c en E )..

C)

silver_ tone charms, sweater pins in stock for immediate delivery

Fill in event(s) des ired in pro­vided blank spaces, circle Gold tone (G) or Silver tone (S) and indicate quantity and total pr ice below.

CHARMS __ , __ , --,

==: _ , 'in G. or 'S.-== at $1.00 each.

CHARM BRACELET (one charm included) with __ in G. or S. __ at $2 .00 each .

SWEATER PIN with __ in G. or S. __ at $1.00 each .

CHARM PENDANTS __ in S. __ at $1 .50.

DELUXE CHARM PENDANT: in G. or S. __ at $2 .50 each .

Please include 2Sc for postage and han­dling on all GYM SHOP JEWELRY (SOc for postage handling and insurance for all orders over $5.00.)

412 Broadway Santa Monica, Ca. 90406

Super "T" Shirts: Finest quality 1 00 "10 combed cotton featuring high crew neck, sport shirt length sleeves, breast pocket and choice of colors and silk screened patterns . $4.75 each Indicate the Super " 1" shirt(s) you want by checking below:

D THE MODERN GYMNAST SUPER ' '1' '

size: _ Small, _ Medium, _ Large, _ X-Large color: _ Lt. Blue, _ Avocado , _ Red, _ White, _ Gray, _ Ordnge, _ Yellow, _ Bone. D THE GYM SHOP SUPER ' 'T'' size: _ Small, _ Med ium, _ Large, _ X-Large color: _ Lt. Blue, _ Avocado, _ Red, _ White, _ Gray, _ Orange, _ Yellow, _ Bone, _Navy. Pattern: _ Paisley, _ Floral-1, _ Floral-2.

412 Broadway Santa Monica, Ca. 90406

Gymnastic Trophies New customized sculptured male and female figures in Gold tone, Silver tone and Bronze tone, mounted on : handsome molded bases (available in blue, red, white), at $3 .95 Women's (W) figure and place: First­Gold tone (G), Second - Silver tone (S), Third - Bronze tone (B) .

Woodward Camp. located in central Penn­sylvania offers weekly sessions from June 20th to August 28th . Gymnastics instruc­tion for boys and girls from ten years and over. P,O, Box 93, Woodwa~d, Pa, 16882,

Official Gymnastics Modern Hand Apparatus Now Available Through Gymnastic Supply Company

E-70 OFFICIAL WOODEN GYMNASTIC HOOPS. Imported from Germany. Constructed from 3fa" laminated Beech wood, 31 W' diameter with flat surface for " sure" grip. Delivered price per dozen: $59.40.

E-C30 PRACTICE HOOPS. Light weight plastic in two (2) sizes, 30" and 36". Round grip surface. Delivered price per dozen : $24.50.

E-2 OFFICIAL GYMNASTIC BALl. Original Medau, imported from Germany. 7%" diameter and weight 1-lb., 2-oz. The size and weight force correct use of the ball, thus giving a perfect performance. Delivered price each : $7.20.

E-034 OFFICIAL GYMNASTIC CLUB. Manu­factured by Gymnastic Supply Company to conform to the European style. 14" long with %" weight properly distri­buted to insure correct and graceful movements. Delivered price each: $4.75.

E-75 OFFICIAL JUMPING ROPE. Without handles as required. Available in 8 ft. and 9 ft. lengths, with 1 0" long center section of rope enlarged to give proper distribution of weight. Delivered price each : $4.25.

E-80 PRACTICE ROPE. Made from braided dacron without the enlarged center sec­tion. Delivered price each: $1.50.

E-S54 100% DOUBLE KNIT STRETCH NYlON HALF SOLE GYMDAL, with elastic heel strap. (Worn by models) Soft leather sale protects the foot pivot area, yet does not lose the "feel of the floor". This slipper was first introduced in European Gymnastics Modern and is now EX­CLUSIVELY manufactured by Gymnastic Supply Company. Sizes: Small (1 -4) Medium (5-8), Large (9-1 2). White only. Delivered price per pair: $2.00.

AMERICAN LIBERATES THE FEMININE GYMNAST!

The American Revolution provides the feminine gymnast with apparatus that accentuates the freedom of movement.

A new member of the American force is the F.I.G . Balance Beam. You can get complete information on this new balance beam by jOining the American Revolution and sending for your "Revolution Hand­book" (our catalog)! Join today.

AMERICAN ATHLETIC EQUIPMENT COMPANY I BOX 17761 JEFFERSON, IOWA 50129 == AMERICAN