This form should be used for tariff sheet revisions that occur

2009-12 SPECIFICATIONS

FOR ACROBATIC GYMNASTICS

PROGRAM

APPENDIX

Version: 2012

COP Appendix Ver. July 2012

APPENDIX TABLE OF CONTENTS

Online Tariff Sheet Submission – Level 6-7 A-1

Online Optional Tariff Sheet Submission A-2

Minor Tariff Sheet Change Form A-3

Identification of Optional Elements A-4

Request for Element Evaluation Form A-5

Forbidden Elements A-6

Level 8 and 9 Difficulty Conversion Charts A-7

Level 10 Difficulty Conversion Chart A-8

Level 8 Compulsory Illustration Key A-9

Procedure for Athlete Measurement A-10

2012 Technical Update A-11

Glossary of Acrobatic Gymnastics Terms A-12


A-1

COMPULSORY TARIFF SHEETS (LEVELS 6-7)

Preparation of tariff sheets for Levels 6-7

Each pair/group entry at Levels 6-7 must submit a tariff sheet. There are specific deadlines to meet for filing these forms, and penalties will be assessed for late forms.

1. The appropriate tariff sheet is to be drawn and submitted online through the online tariff sheet manager website.

2. Fill in all informational fields on the tariff sheet. 3. The pair/group’s ID is created by the USA Gymnastics event registration site and should remain the

same throughout the season. If any partner changes within the pair/group a new ID is required. 4. Levels 6 and 7 athletes perform the skills, which are illustrated in the Specifications. On the tariff sheet,

coaches are to put the elements in order of performance. Place an X next to the element that will be performed. The same individual elements are to be performed by all partners unless specifically noted otherwise on the tariff sheet.

5. Refer to Section 6.6 in the Specifications for instructions, deadlines and penalties regarding submitting tariff sheets.


A-2

OPTIONAL TARIFF SHEETS

(LEVELS 8-10)

Preparation of tariff sheets for Levels 8-10

Each pair/group entry at Levels 8-10 must submit an optional tariff sheet. There are specific deadlines to meet

for filing these forms, and penalties will be assessed for late forms as well as improperly completed forms.

1. The tariff sheet is to be submtted online through the online tariff sheet manager website for competition at

Levels 8-10.

2. Complete:

a. Fill in all informational fields on the tariff sheet.

b. The pair/group’s ID is created by the USA Gymnastics event registration site and should remain the

same throughout the season. If any partner changes within the pair/group a new ID is required.

c. Diagrammed difficulty: Copy the elements clearly and precisely. Diagram in sequence horizontally

following the numbers.

d. For elements which will be held, show the duration of the hold.

e. For dynamic elements, indicate by fractions (i.e. 6/4) the number of salto rotations planned.

Degrees of twist should also be indicated (i.e. 360°).

f. Use one box for each valued element with the exception that paired individual elements

may be represented in the same box. There is a penalty for illegible tariff sheet for placing

more than three skills in one box.

g. If partners are doing different individual elements or the same element, note this. Show the

ID number and value for each individual element.

h. Value: Show the value for each element as given in the FIG Tables of Difficulty.

i. Identification number (ID): Identify each element by the proper notation from the FIG

Tables of Difficulty. If the element is not rated, put NR for Not Rates in the ID line and

leave the value line blank.

j. Keep an extra copy of your tariff sheet with you at all meets for reference or special needs.

k. Refer to Section 6.0 in the Acrobatic Gymnastics Code of Points for instructions on

submitting tariff sheets.


A-3

MINOR TARIFF SHEET CHANGE FORM

This form should be used for tariff sheet revisions that occur between three 3 days prior to the start of the competition up

to one (1) hour before the start of the session in which the athlete is competing.

The only exception is due to injury which must be verified by On-Site Medical. Coaches need to make necessary copies of

this form and should turn one (1) copy in to each of the following (in majority situations): Meet Referee, CJP and

Difficulty Judge.

Only one (1) “Minor Tariff Sheet Change Form” will be allowed per exercise. Only three (3) changes may be made on this

form. Do NOT include a copy of the tariff sheet. More than three (3) changes per exercise is considered a New Tariff

Sheet. Refer to Section 6.0 in the Acrobatic Gymnastics Code of Points for instructions and deadlines to turn in New and

Late tariff sheets.

Fill in the following information completely. Elements should be drawn in the boxes provided below as well as all

appropriate Values and IDs should be included. Please note, if you have a declared skill on the tariff sheet but it will not

be performed, you do not need to indicate that it will not be performed on this form. If you have declared alternate skills

on your tariff sheet, you do not need to indicate which skill is being performed on this form.

*This form is only for minor changes or additions to the tariff sheet.

CLUB: COACH:

COACH PHONE #: EMAIL:

ATHLETES:

EVENT:__________ LEVEL: __________ AGE GROUP:__________ EXERCISE: BAL / DYN / COMB

SESSION: ________ PANEL: __________ ENTRY #:_____________

CURRENT ELEMENT CURRENT ELEMENT CURRENT ELEMENT

BOX #: BOX #: BOX #:

VALUE: VALUE: VALUE:

ID: ID: ID:

REPLACEMENT ELEMENT REPLACEMENT ELEMENT REPLACEMENT ELEMENT

VALUE: VALUE: VALUE:

ID: ID: ID:


A-4

1

IDENTIFICATION OF OPTIONAL ELEMENTS

General Information:

This document is intended to standardize the identification of optional elements.

All page numbers refer to the FIG Tables of Difficulty, unless otherwise noted.

Pages 11a and 11b show the different types of handstands and foot to hand positions of the top.

Any top positions in the same box are considered to be the same element.

Pair Balance:

Mounts - pages 25-41 - Include the page number, letter (or number) of the row, and the letter-

number combination of the base/top position.

Tuck up to high handstand is on page 25. The ID for tuck inlocate to straight arm

handstand is 25-A-A16 (V2). To one arm of the base is 25-A-A20 (V9). It is best to use

the letter across the top of the page with the ID. If you write 25-A-B21, it is immediately

clear that the top is in overarch (C-yogi, D-flag, E-planche). The values on these mount

pages are granted with a hold at the end of one second.

Static Elements - pages 45-65 – include the page number and row number for the base position,

and the letter-number combination from the top row indicating the top’s position on the base.

The base standing with straight arms and the top in flag is 46-10-D31 (V6). Note that if

the drawing is unclear, the “D” indicates that the position is flag.

Motion of the Top - pages 12-14 - include the page number, table number, and the letters

indicating the start and finish positions.

To press from flag to planche on straight arms of the base, use 13-T1-D→E (V3)

Motion of the Base - pages 15-23 – include the page number, table number, and the letters

indicating the start and finish positions.

If the base uses bent arms, the top is in overarch, and the base goes from stand to splits,

use 15-T6-H→J (V2) for the motion of the base.

Note that the complete motion value also includes the value of the top during the

movement. Use 46-4-B4 (V4) for the top’s value. The element’s complete motion value

is V6. This is one value (V6), not V2 +V4. The value of the top should also be identified

as 46-4-B4 if it is not already indicated in the previous box as a static hold.

Note that pages 15-17 are to be used for tops in handstand or foot to hand of V6 or higher

and page 18 is for handstands only. Pages 19-22 are used for top positions other than

handstands such as straddle or needle.


A-4

2

Page 23 does not allow the position of the top to be added to the work of the base. The

text should say “Additional difficulty for motion of the base when top is in any position.”

(FIG Acro Newsletter May 2005). This page may be used for work of the base only. A

base with two straight arms going to one arm low would be 23-T1-A to F (V1). Note the

figures in the centers of the circles give a little more value. For the above example, if the

top were in overarch, the value would be V2.

Pair Dynamic: (pages 68-82)

ID’s for pair dynamic elements should include page number, number indicating the start position,

number indicating the body position, and the letter indicating the finish position – in that order. If

needed, identification of twisting is added as the last part of the ID and can be found in the table

at the bottom of the page.

If the top stands on bent arms of the base and does a 2/4 front salto to hand to hand in

pike position, the ID is 70-7-3-G (V6). If a twist is added, use the small chart at the

bottom of each page. Hand to hand in regular grip 7/4 back salto in tuck to horizontal

catch with a 180° twist in the salto is 71-13-5-M +8A. (values 9+3=V12).

If dynamic elements are linked, use page 68 as the ID.

Women’s Group Balance: (pages 84-110)

A balance ID for women’s group includes a base or base/middle position and a position of the top

or top and middle. For the base identification, include the page number, row letter or letter-

number combination, and the element number from the top row of the charts.

Example A for base position- Both bases are in backbends on one foot with action of the

top on the bases’ free joined feet- 87-G-3 (V11).

Example B for base position- Single base in a backbend with the middle in handstand

with base supporting one foot of the middle with action of the top on the neck and leg of

the middle- 91-A2-14 (V5)

Added to the ID of the base position is the ID of the top position from page 107-108 – indicating

the page number, table number, and the letter-number combination for the top position on the

base.

In Example A above, if the top is in elbow lever, the ID is 107-3-B-8. Since the base

position is V11, it is in Group 2 so the top position value is V3. The complete ID is 87-G-

2/107-3-B-8. The value should be written separately as 11 + 3.

In Example B above, if the top is in handstand, the ID is 107-2-A1. Note that page 106

explains that this type of handstand uses head and hand value of Chart 2 on page 107.

Since this base position is in Group 1, the top value is V4. The complete ID is 91-A2-

14/107-2 G1-A1. The value is 5+4, again written separately.

Motion for Men’s and Women’s Group Balance: (pages 111-116)

Should the top use motion, use pages 111-115. Identification of top motion should include the

page number, group number, and the letters indicating the start and finish positions.

In Example A above, if the top presses from elbow lever to straddle, the ID for the

motion is 112-G2-G→F (V1)


A-4

3

Page 116 shows values for action of the supporting partner only. Identification of motion of the

supporting partner should include the page number, table number, and the letters indicating the

start and finish positions.

If the supporting partner moves from 2:1 high to 2:1 low, use 116-T1-D→G (V3).

Men’s Group Balance: (pages 119-135)

ID’s for the base position of men’s group balance elements should include the page number and

the letter-number combination (of the base), and number indicating the position of middle(s).

If Base 1 is in table position with Base 2 standing on Base 1’s thighs and middle in

supported stand on Base 2’s thighs with support arms bent, use 119-A2-7 (V7).

Added to the ID of the base position is the ID of the top position from page 107-108 – indicating

the page number, table number, and the letter-number combination for the top position on the

base.

Motion is the same as for Women’s Group (pages 111-116).

Men’s and Women’s Group Dynamic: (Women’s Group- pages 138-147, Men’s Group- pages

150-164)

Group dynamic ID’s are written the same as for pairs. Include the page number, number

indicating the start position, number indicating the body position throughout the element, and the

letter indicating the finish position - in that order. If needed, identification of twisting is added as

the last part of the ID and can be found in the table at the bottom of the page.

Women’s Group- Throw from stand on platform back to platform with a 4/4 salto in

layout with a 360° twist is 139-2-4-S + 5B (V16).

If dynamic elements are linked, use page 138 as the ID for women’s group and page 150 as the

ID for men’s group.

Individual Elements: (pages 167-179)

ID’s for individual elements need only include the element number in the ID.

A Y-scale is 020 (V2). The drawing for this element on the tariff sheet should also have a

2” hold shown.

Some agility elements should also include a letter indicating the finish position.

Back tuck to knee is 120 B. (V4)

Note: Since characteristics of Category 1 elements are clearly indicated on these pages, it

is no longer necessary to label the elements as flexibility, agility or balance.

Tumbling is identified from the chart on page 175. Use Row 1 for elements without twist and

Rows 2-7 for elements with twist. Include row number, and element number for the complete

ID.

A 4/4 front pike is 175-1-15 (V5). A 4/4 back layout with a 360° twist is 175-3-6 (V10).


A-4

4

Level 8:

Compulsory elements should have only the row and element number indicated. If there are

choices for the compulsory element, indicate the correct one (e.g. number of rotations - 360° or

540° - or body position - tuck or pike).

One time that you add to the compulsory ID is in the Women’s Group balance Row 3. To the row

and element number, you need to add what the top, middle or top and middle are doing. Use

pages 107-108.

Example: R3 #2 with the middle in handstand on the back leg. Note that the handstand on

legs with the support partner in a lunge uses the same value as action on head and hand

(See page 106, row 2). The middle position would be 107-2-A1. The complete ID is R3

#2+107-2-A1. The complete value is 4+1+4 and should be left as separate numbers since

they are really separate parts of the element.

For Men’s Group, often the top position must be added, but these compulsory top positions are

given to you on the compulsory page.

If the basic shape is R2 #2, you might add the top in high pike support (R3 #1). The

complete ID is R2 #2 + R3 #1. The value is 5+1.


A-5

ACROBATIC GYMNASTICS

REQUEST FOR ELEMENT EVALUATION

Directions

1. Refer to element evaluation guidelines included in the Acrobatic Gymnastics Code of Points

Section 7.0.

2. Evaluation requests must be postmarked by April 1st in order for an element to be evalua0ted for use

during the current season and at National Championships.

3. Allow up to one month for evaluation of new elements.

4. Incomplete forms will not be accepted.

5. Evaluation request forms must be submitted to:

USA Gymnastics - Acrobatic Gymnastics

132 East Washington St, Suite 700, Indianapolis, IN 46204

Fax: 317.237.5069

Email: [email protected]

Name: ____________________________________ USAG #: Club:

Address:

Phone: Fax:

Email:

Discipline: WP | MP | MXP | WG | MG Element Type: Balance | Dynamic | Individual

Suggested Rating and Justification:

Draw a picture of the element below or attach a picture of the element and describe if necessary.

Postmark Date: Date Received: Initials:


A-6

1

FORBIDDEN ELEMENTS

All of the elements listed below are forbidden for pairs and groups in Levels 8-10. Elements #8-

12 below are also forbidden for elites. Performance of forbidden elements will result in a 1.0

penalty plus loss of element credit.

1. Column of three or four high

2. Stands on shoulders with base in split with hands off the floor (free)

3. Stand or handstand on bases’ hips and chest with base in bridge (for Women’s

and Men’s Groups only)

4. Stand or handstand on bases’ lower back or hips with base in exaggerated

curvature of spine

5. Middle in overarch handstand without support of base

(free), while top is performing a skill on middle

6. Triple back saltos

7. Women’s Groups: both bases must be on the floor for dynamic elements

8. Sitting in spread legs on the shoulders facing a partner is not permitted in any exercise.

9. Women’s Pairs & Women’s Groups: may not perform elements on the

back of the neck or top of the head


A-6

2

10. Mixed Pairs & Men’s Pairs: May only perform elements on the back of the neck with the

base in planche position.

11. Forbidden positions


DIFFICULTY CONVERSION CHART

A-7

Value Mark

1-2 1.00

3-4 2.00

5-9 2.50

10-14 3.00

15-19 3.50

20-24 4.00

25-29 4.50

30 5.00

31 5.33

32 5.66

33 6.00

34 6.33

35 6.66

36 7.00

37 7.25

38 7.50

39 7.75

40 8.000

41 8.200

42 8.400

43 8.600

44 8.800

45 9.00

46 9.10

47 9.20

48 9.30

49 9.40

50 9.50

51 9.60

52 9.70

53 9.80

54 9.90

55 10.00

* Level 9 minimum difficulty = V35

LEVEL 9


LEVEL 10

DIFFICULTY CONVERSION CHARTS

A-8

Value Mark Value Mark Value Mark Value Mark

1-5 1.00 71 8.60 1-9 1.00 56 9.10

6-10 2.00 72 8.70 10-19 2.00 57 9.20

11-20 3.00 73 8.80 20-29 3.00 58 9.30

21-29 3.50 74 8.90 30-34 3.50 59 9.40

30-35 4.00 75 9.00 35-37 4.00 60 9.50

36-40 4.50 76 9.10 38-39 4.50 61 9.60

41-45 5.00 77 9.20 40-42 5.00 62 9.70

46-50 5.50 78 9.30 43 5.50 63 9.80

51-53 6.00 79 9.40 44 6.00 64 9.90

54-55 6.50 80 9.50 45 6.50 65 10.00

56-60 7.00 81 9.55 46 7.00

61 7.20 82 9.60 47 7.50

62 7.60 83 9.65 48 8.00

63 7.80 84 9.70 49 8.40

64 7.90 85 9.75 50 8.50

65 8.00 86 9.80 51 8.60

66 8.10 87 9.85 52 8.70

67 8.20 88 9.90 53 8.80

68 8.30 89 9.95 54 8.90

69 8.40 90 10.00 55 9.00

70 8.50

* Minimum Difficulty = V60 * Minimum Difficulty = V55

BALANCE EXERCISE &

COMBINED EXERCISEDYNAMIC EXERCISE


A-9

Row 1

ID 41-1-A1 / 62-16-A1 39-1-A1/60-4-A1 13-T1-F-A/46-10-A16 20a-T20-H-I / 54-8-H8 69-1-2R 69-1-3R 69-1-4R

Value 2 + 1 1 + 1 3 + 4 4 + 2 2 3 4

Level 8Illustration Key

Duration of the hold (e.g. 3-second hold)

"POWER" means press Rotation and

direction

8

I

"ID and Value" identifies page number(s), skill ID, and skill value(s) from

the FIG Tables of Difficulty

The "dashed arrow" indicates motion of

the base

The "I" indicates this is a skill that can be used in WAGC competition

This arrow indicates direction of the flip

"OR" indicates you have a choice

between the different positions shown

Starting position

Ending position

"+" indicates that there is value for two parts of the

skill (e.g. press and hold)

Link "Link" indicates no hold or pause between skills


A-10

ACROBATIC GYMNASTICS PROCEDURE FOR ATHLETE MEASUREMENT

1. Athletes will be measured to the nearest millimeter by the Meet Referee or designate before competition

begins.

2. The measurement is taken by an anthropometer if available. Otherwise, a rigid tape (metal or plastic) may

be used.

3. Athletes who perform as bases are measured in bare feet, wearing a t-shirt and shorts or competition attire,

and standing against a wall. Athlete must stand in normal posture with feet together, knees straight,

shoulders and extremities relaxed, and looking straight ahead. The measurement is taken from the

suprasternal notch to the floor.

4. Athletes who perform as tops are measured in bare feet, wearing a t-shirt and shorts or competition attire,

and standing against a wall. Athlete must stand in normal posture with feet together, knees straight,

shoulders and extremities relaxed, and looking straight ahead. The measurement is taken from the top of

the head to the floor. Hair must not interfere with the ability to measure the top of the head.

5. For pairs, the measurements of the top and base partners are compared. For groups, the measurement of

the top is compared to the next tallest partner and so on.

6. If more than one size violation exists in a group, all deductions apply.

7. The Meet Referee will inform the appropriate CJP of any size deductions to be deducted from the

difficulty score.

Levels 8 - 10:

Deduction of 0.2 = Difference of 0.1 cm or more

Levels 4 - 7:

No deduction = Difference of 3.0 cm or less

Deduction of 0.2 = Difference greater than 3 cm


A-11

1

ACROBATIC GYMNASTICS

TECHNICAL UPDATE

Thursday, May 2012

Updates and corrections to Junior Olympic Code of Points will be effective immediately. Clarifications to

and updates to the FIG Tables of Difficulty are effective immediately unless otherwise noted in italics.

Unless otherwise noted, page and section references are to the 2012 Junior Olympic Code Of Points for

Acrobatic Gymnastics.

UPDATES / CORRECTIONS TO J O Code of Points – Updates/Corrections are effective

immediately.

General:

I. In regards to the clarification for the trio balance " skill set" when athletes can receive credit for 2 base positions. There can be only ONE of these special pyramids per exercise.

II. In the code, it states that each pyramid is allowed just 3 static holds. When a trio performs a pyramid skill set, and receives credit for 2 base positions, it is still considered to be one pyramid. This means that only 3 total static holds are allowed. a. An example: a trio performs a half column with a straddle 3" hold. The top presses to

handstand and holds 3". The base motions down to a back bend, and the top presses to arch 3" hold. There cannot be any more static holds within this pyramid. They get credit for both base positions, 3 static holds, and the motion.

III. Athletes must earn 2 qualifying scores at two local competitions in order to advance to State. At State, it's possible to earn a qualifying score to regionals and Nationals. Qualifying scores are listed on page 37 in Rules and Policies.

IV. In 11-16, if you add a twist to one of the compulsory elements, it changes the element and it is no longer compulsory.

Tariff Sheets : a. When tariff sheets are completed there must be a double // at the end of each series

of elements followed by the total value of the series.

b. This means that when athletes complete a series of skills, the coach must identify the end of the series, and a number with the total value. This will be REQUIRED for levels 9 – Elite.

c. Judges are responsible to check the tariff sheets carefully and notify coaches of any

errors with tariff sheets. However, ultimately the coach is responsible for the accuracy of tariff sheets. If an error is picked up during the competition, the correct rules are applied.


A-11

2

d. Each element must be listed with proper ID and value - identify row skills when applicable).

e. N/V elements need proper ID, but listed as no value

f. Total on the right hand column just 10.0 ( don't bother with a total number under difficulty)

g. Individuals just need ID values- no totals on the right column

h. ID’s for Individual Elements:

i. For Balance – Please picture all elements. Identify if all partners will be performing the

element, or just one. For the ID, please list the element ID number and the value. You

do not need to list the page number.

ii. For Dynamic – Please picture all elements. Identify if all partners will be performing the

element, or just one. There is no ID needed for tumbling elements. Please list them as

page 175 and list each element separately. For example, if the athletes are doing round

off, flic, tuck. List the values as 1+2+4, not as 7. This needs to be listed per partner.

QUESTIONS AND ANSWERS

Q1: What needs to be done to make a pyramid different to get two base position values in a

routine.

A1: Lifting a hand, arm or foot to create a different pyramid is a very simple move. In some

cases, the ID for the pyramid doesn't even change. If a trio chooses to do this as their ONE "skill

set" pyramid in an exercise, they will be given difficulty at this point. They will also be given a 0.3

artistic deduction because this small simple change in their pyramid creates repetition of

elements.

Q2: Can an arch be done with both legs bent?

A2: Yes, as long as the hips are horizontal.

Q3: Can this mount be done while sitting, 39-1-s21 V5?

A3: Yes, in the USA only until it would receive an FIG rating.

Q4: Can the mount on page 31-A to any handstand position be done from a push off starting on

the bases forearm or leg?

A4: Both starting positions are acceptable and considered coaching techniques.


A-11

3

Q5: Individual elements in the balance routine in level 8 (COP – Pg 2 of the L8 requirements –

top of the page) the Individual requirement states 3 Cat 1 elements representing the 3

characteristics. #4 states that a – 1.0 SR deduction is taken by the DJ if a P/G is missing an

individual but #5 states that missing characteristics will receive a .01 deduction for missing a

characteristic. What deduction is taken?

A5: If you don’t have all athletes performing all characteristics in the balance routine, but they

are doing 3 cat 1 elements, the deduction is .1 off of the artistry score.

Q6: How is a fall during choreography penalized? A6: A fall during the performance of choreography is penalized the same as a fall in the performance of elements. It is taken by the execution judges. For example, a fall to the floor during choreography is a 1.0 penalty applied by the Execution Judges. The fall is not penalized by the Artistry Judges. However, if there is a disruption of flow then Artistry judges would take the appropriate deductions as they do for a fall in a pair/group element. Q7: Can I claim the value for valdez to knee and valdez to box split in the same exercise? Please clarify the general rule on page 166 of the FIG COP A7: For individual elements (as written p166) it is not allowed to have two elements when they have the same ID even if they have additional difficulty as per the general rules (however, there are some exceptions as indicated in the tables). Q8: Do scales at the compulsory level need to be horizontal for credit? A8: No, if they are on one foot for the scale they would receive credit and execution deductions as warranted would apply. Q9: Is there a rule or restriction in the USA against wearing flags (emblem) on leotards. A9: No, there is no rule regarding or restricting the application of flags on leotards when competing in the USA. However, they are required for ALL international competitions (club or delegation). Coaches do need to observe the size restrictions per FIG regarding emblems.

CHANGES TO EXPECT FOR NEXT SEASON 2012-2013

I. For all levels in the USA black, navy blue, dark brown, dark red, dark green, and dark

purple one piece suits and trousers are allowed if the color on the leg is broken from, at

minimum, the head of the femur to the ankle with a light colored decoration or pattern.

II. Head Tax – there will be an increase in the Head tax per athlete due to the National

Office. The new prices are: Locals $5.00 per athlete, State $6.00 per athlete, Regionals

$7.00 per athlete. Please make your plans accordingly within your regions for next

season.


A-12

1

GLOSSARY OF ACROBATIC GYMNASTICS TERMS

1. Arabesque - Balance on one leg with the other leg raised backwards to near horizontal. Chest is kept

high, as close to vertical as possible.

2. Attitude - Position of the free leg in a balance skill, bend at knee, thigh parallel to the floor, knee turned

out. Front attitude - free leg in front of body. Back attitude - free leg in back of body.

3. Assemble' - Take off jumping from one foot, swing free leg forward to horizontal and bring the feet

together in the air or just as the feet land.

4. B - Base partner. It is acceptable for partners to change position during the exercise.

5. Back bird - Base holds top on straight arms overhead, stomach to ceiling. Top's back is arched and

supported by 1 or 2 hands of base below the bend of the back, legs of top in straight or one in stag.

6. Back extension roll to handstand - May be executed in tuck or pike, back roll with push to vertical

handstand with legs together. Roll continues to a stand. In the USSA Developmental Program, either

straight arms or bent arms pushing to straight arms are acceptable.

7. Balance element – a partner skill exhibiting static holds, strength, and flexibility.

8. Barani - Piked front salto with 1/2 twist initiated by shoulder twist and completed by the hips as the

body opens in flight.

9. Basket - Another word for platform. (see platform)

10. Boost - A force exerted by the base(s) on the top partner to propel him/her into a flight element. For the

entry into all boost skills, the top may run, step, hurdle, or start from a standing position. This includes

all forward and backward boosts. Note: boost over head – this skill will be awarded credit even if the

top goes directionally over the head or shoulder of the base. However, significant and/or serious

technical deductions may apply. If the base’s head or shoulder is used to support the top or facilitate the

skill (e.g. roll over the shoulder or head), credit for the skill will be taken away.

11. Bridge – Back bend with support of arms and legs (individual element).

12. Calf mount - While in a hand to hand grip and standing behind base, the top steps on the calf of the

base's bent leg. The base straightens leg and extends arms overhead propelling top to stand on

shoulders or to support or to hand to hand.

13. Camel - Trio element with top in single stagged handstand on middle's shoulders, middle supports one

knee and arm/shoulder of top.


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14. Cannonball - Top is lifted by swing from the floor between the partner(s) legs to a hand to hand or a

dynamic element. May follow a catch from a tumbling element. Partners face the same way and top

swings between legs head first. Reverse cannonball - Partners face each other and swing between legs

is seat first. The catch must be characteristic of the element. Swings and cannonball-type skills, by

their very nature, can be caught on the wrist or arm without deduction.

15. Cartwheel mount - Top and base face each other. Top steps on base's arm holding base's hands and

cartwheels to hand to hand.

16. Chasse' - Step and push off from one foot, closing the free foot in the air behind the take-off foot. Land

on take-off foot in demiplie.

17. CJP – Chair of Judges Panel. The head judge of a panel of judges.

18. Courbette - Pair/group dynamic element in which top snaps down from handstand to foot to hand,

or from stand executes a piked dive to handstand. Both may be done from regular or reverse

positions.

19. Crocodile - One arm version of elbow lever (see elbow lever).

20. Deep arch - Handstand position with 45 arch of back and feet down to the level of the hands.

21. Diamidov - a) Mount- Top stands on floor in front of base, and mounts with a 360 spin on 1 arm of

base to end in hand to hand. B) Individual element- 360 spin on one arm during a valdez.

22. Dislocate - Top stands in front of base facing the same way. Base lifts top by hands as top jumps to

hand to hand, stomach up during mount.

23. Double Support - Two partners support top from equal base positions.

24. Double Toe Pitch - Toe pitch with two partners standing side by side, hands facing up near bent

knees. Top places one foot into each partner's hands. Top's hands are on bases' shoulders for

support. Top is assisted into a flight element by a lift-throw by partners. Also called double foot

pitch.

25. Dynamic element – Partner element performed with flight from floor.

26. Elbow lever - Horizontal prone body position with support of body on elbows of bent arms.

27. Elbow stand - Individual element with support on forearms on floor, body in vertical stand. Must

be held 2" for credit.

28. F - Flic flac (back handspring)

29. F-H - See foot to hand.

30. Flic flac - Back handspring, backward traveling move with alternating repulsion from the floor by

the arms and then the legs (individual element).


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31. Foot pitch - See toe pitch.

32. Foot to hand - Top stands in hands of base with one foot in each of the base's hands. Both face the

same direction.

33. Forearm Catch – The top is caught horizontaly on the stomach or back in the base’s arms. Note:

For entry int forearm Catches the topy may run, step, hurdle or start from a standing position. This

would include all forward and backward forearm catches.

34. Fouette' - 180 jump turn from one foot to the same foot originating with forward swing of the free

leg to horizontal or higher, then 180 turn in the air in the same direction as the take-off leg. Land

in arabesque.

35. Front bird - Base holds top on straight arms overhead, top's back is to the ceiling. The top uses a

high arch in upper back, legs together and arms raised sideways. Support by base at the center of

gravity, usually at the hips.

36. Front support - Individual element with straight body supported on floor by feet and arms in pushup

position.

37. Half column - Middle of trio stands on thighs of base and supports top. Base and middle face the

same direction. Can be done by men's 4 also.

38. Hand to hand - Handstand held on hands of base, partners are looking at each other's faces. The

front of the palm of one partner is on the heel of the palm of the other partner.

39. Handstand – If requesting credit (+1) in a handstand with legs together, and they perform it with

legs apart, then there is no credit given for the skill.

40. Handstand Catch – In a handstand catch element, difficulty is to be awrded with a hand-to-hand

grip and an arm grip. Difficulty is to be taken away with any pair/groups catching with a wrist/arm

grip in a handstand position.

41. Headspring - Hands are placed flat on floor. Head is placed slightly ahead of hands with weight

just above the hairline on the forehead. The legs push the body to pass through a piked headstand

position, pushing forward and upward as arms push. May finish in sit or stand.

42. Healy twirl - Individual element starting in handstand, twist with 360 turn on one arm to sit on

floor with feet in front.

43. Hecht dismount - Base thrusts top upward and forward from hand to hand position, top's body

extended with legs together or straddled.

44. Hurdle - Used to develop momentum into a tumbling element such as a round off or front

handspring.

45. Inlocate - Top stands in front of base, facing the same way and holding base's hands low behind

him/her. Top jumps as base lifts top hips first to hand to hand. (tuck or pike)


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46. Layout - Body position in dynamic element or tumbling. Body straight or with no more than 10

arch or pike.

47. Linking - a) tumbling values for connected elements; b) values when pair/group dynamic elements

are performed in immediate succession (no pause) also known as “in tempo”.

48. Lunge - A standing position in which the legs are apart, front knee bent and back leg straight.

49. M - Middle position of groups. Partners may change position during the exercise.

50. Overarch - Handstand position with legs parallel to floor and back arched.

51. Passe'-Position of free leg with foot touching support leg. Side passe' - toe of free foot touching

ankle of support leg, knee turned out.

52. Pike - Body position with legs straight and together and hips bent (45 - 135). The legs may be

level or higher as long as the hips are not pulled through in front of the arms.

53. Pike support - Balance element with weight supported on hands, legs together and parallel to the

floor.

54. Pirouette - Longitudinal rotation of the body, as a dance element on one foot or as a strength

element in handstand on the floor.

55. Platform - Crossed interlocked wrist position of two partners facing each other. (Take own wrist

and opposite one of partner). Used to catch or throw a flight element.

56. Plie' - Bending of the knees while standing.

57. Press - slow continuous pushing action which changes the body position with strength and control.

Does not use flight or swing to complete the element.

58. Prone - Body position with the front of the body facing the floor, body straight.

59. R - Round-off

60. RFH - Reverse foot to hand

61. RHH - Reverse hand to hand

62. Reverse cannonball - See cannonball.

63. Reverse foot to hand - Like foot to hand except that the partners face each other.

64. Reverse hand to hand - Handstand held on hands of base with the partners looking the same

direction. The heels and the fronts of the palms of both partners are in matching contact ( heel on

heel, front on front).

65. Reverse half column - In groups, middle stands on base's thighs as they face each other.


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66. Salto - A dynamic or individual element with no hand support during the rotation.

67. Scale - Standing on one foot, trunk forward near horizontal, free leg rotated outward and held in the

rear at 90 or more to support leg.

68. Scissor leap - See switch leg leap.

69. Sissone - Individual element - large jump forward from two foot take-off to landing on the forward

leg in arabesque.

70. Side leap - Individual element - Split leap forward with 90 twist in the air to show straddle position

before landing.

71. Split leap - Leap from one leg to forward-backward split in the air to land on forward leg. Legs

should be straight as athlete lifts into the air. In the developmental program, variations of amount

of split are designated (120, 180)

72. Stag - Position of leg with bend of the knee.

73. Star - Pair element with base holding top above head with support on torso and at foot. Top has

one hand on base's shoulder and one hand free, legs in straddle. Also possible with base using only

one hand to support the top and top's foot is free.

74. Stalder - A term sometimes used to designate either a press from L position (straddle or pike) to

handstand or a press down from handstand to L position. USSA term is press.

75. Straddle - Body position with legs straight and apart. Can be straddle sit, straddle stand, straddle

forward or backward roll. A straddle support is a pair/group element when the top is supporting

self on hands with legs in straddle position.

76. Straddle pike jump - Legs extended sideways and rotated outward, legs should be at least horizontal

to the floor, minimum of 90 angle at hips.

77. Switch leg leap - Split leap forward of at least 120 split with change of legs to 180 split. Also

called scissor leap.

78. T – Top, the partner who performs the high elements of a pair or group exercise.

79. Tariff sheet – A required form depicting the elements in and the order of an exercises submitted by

the coach to the Meet Referee prior to a competition.

80. Tempo toss - Pair/group linking of one tossed element immediately followed by another tossed

element.

81. Timer - Element in progression to flight element in which the pitch and release are practiced but the

whole flight element is not performed.

82. Toe lift - Balance mount when base lifts the foot of the top to a foot to hand position. Similar to a


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toe pitch but no flight is shown.

83. Toe pitch - Base puts one hand on top of the other on his bent knees, palms up, fingers facing

outward. Top puts one foot on base's hands and hands on base's shoulders. Top steps up in tempo

assisted by a lift-throw by base to a flight element. A toe pitch is not a dismount in pairs; However,

it is a dismount for women’s and men’s groups.

84. Tour jete' - A 180 jump turn from one foot to the other foot, turning in the same direction as the

take-off leg. Scissor the legs while in the air 90 - 180 split forward and backward at the peak of

the flight. Flight should be vertical rather than horizontal. Land in demi-plie' with arabesque.

85. Tuck shoot to handstand - Start in tuck position, feet and hands on floor. Forward shift of weight

onto hands as the legs extend vigorously upward to handstand position. Press is not necessary.

(individual element)

86. Transition - Movement of partner or partners in a group element from one fixed position to another

without dismounting.

87. Two to one (2:1) - Top uses two hands joined to one hand or foot of base. The top's position is

stated first. One to two (1:2) has one hand (foot) of top held by both joined hands of base. Two to

two (2:2) has both hands of top joined to each other and to the joined hands of base.

88. Valdez - Initiated from sit on floor with back walkover movement to a stand (individual element).

89. Exercise Walk On/Walk Off: The Artistry deduction of “Clarity of start and/or end of exercise –

False start by one or more partners”, 2007-08 Specifications Section 7.5.3.1 – small, will apply for

an elaborate walk on and/or walk off. Therefore, the penalty for an elaborate walk on or walk off is

-0.1 artistry deduction each time. The walk on and walk off should not take additional time and the

athletes should move from the floor boundary directly to their starting place on the floor when

walking on or from their ending position immediately to the floor boundary when walking off. No

choreography is permitted. If a walk on and/or walk off is more elaborate, penalties will apply.

90. The Backbird must be performed in an arch position Levels 4-7.

91. Inlocate to 1-arm – release must be before hitting handstand.

92. The pull-up (drag) to handstand mount is given credit as long as the element moves continuously.

Technical errors should be taken for excessive arm bend or rhythm errors. Press to Handstand - in

order to get credit for the skill, a press to handstand must start from straddle support, not a straddle

sit. This rule will apply to all levels when pressing into a handstand.

93. Women’s Group Balance - Teepee skill with top in wide straddle (FIG Tables of Difficulty

page 86-B9 / page 107-3-E14) the top can only be supported by the feet of one base and must

be in a true “pancake” position. This also applies for similar base pyramids with the top in

wide straddle position.

94. Foot to hand dynamic positions must have the majority of the weight of the top on hands, not

the shoulders.


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95. Straddle jump – Any time a straddle jump is performed (pair/group or individual skills) the

legs can be slightly piked or extended directly out to the side.

96. Pairs Dynamic - Leg Boost skill (i.e. Level 8 WP R2#1): the base must hold the top with one

hand on the extended leg and the other hand placement may be on the leg, hip, buttocks or

lower back.

97. Women’s Group Dynamic - Double Supported Handstand throws and catches: the bases may

hold the top where preferred on the hand, arm, and/or shoulder without penalty or loss of

element credit. Regardless of support point, the skill should be performed without distortion

to the body position of the top and the catch should be clean, otherwise execution deductions

will apply. Element credit will be lost if support is provided on the top’s torso (chest or back).

98. The knee spin (176-6) must finish on two knees, as pictured.

99. ¾ or more of a rotation of a pirouette on hands or foot is given credit. Amplitude deductions

are taken for the incomplete rotation.

100. A turn on toe is ended if there is a hop or if the heel touches the floor.

101. Hopping during a scale is an execution deduction. The 2” time is counted as long as the leg is

lifted from the floor.

102. For a dynamic skill to receive credit there must be a flight (unless specifically noted on the

compulsory skills, no flight needed). In order for there to be flight, there must be a release.

The release should be between the throw of the base and the re-catch by the base. The base

should not slide hands up the top’s arms. The top must release the base as well for there to be

flight. Amplitude deductions should apply if warranted. Note: some compulsory skills

require little or no flight. This will be written into the skill description.


Documents

This form should be used for tariff sheet revisions that occur