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THE RUSSIANS ARE COMING: Awhirlwind tourof the USA by the Russian Olympic Gymnastic team sponsored by a perfume company, sanctioned by the USGF, arranged by the AAU is scheduled to arrive in New York on March 8th. This " exhibition only" tour will have stops at the Houston Astrodome on March 10th, Buffalo March 12th, Los Angeles Sports Arena March 14th, Miami Convention Center March 17th, Philadelphia March 19th, Washington D.C. March 21st and Madison Square Garden in New York City on March 23rd . From all indications there will be a sellout crowd with standing room only at every stop. At last report Tourischeva, Korbut, Andrianov, Voronin and Klimenko will be among the performers. Butwe will believe it when we see it. The exhibition in Houston is scheduled to be taped and televised the next evening (March 11th) which should help fill any empty seats there might be in future stops.

Although this exhibition came about suddenly as far as the Gymnastic famil y of America was concerned, the ground work goes back several months to before the Olympic Competitions. After the TV coverage in Munich with the tremendous interest stimulated for Gymnastics, the tour of the US by a Russian team is a natural. I guess everybody thought about it and several parties wrote letters of invitation to the USSR team (Gymnast even had a drafted letter on file of inquiry to the Russian Gymnastic Federation for information needed to host the USSR team.) But invitations to our National Championships, I nvitationals and many more ideas by many interested parties all came to a standstill when th e news broke that a large public relations firm in New York was finalizing all the exhibition tour arrangements of the Russian Gymnastic team for their client, Fabrege (Brut) .

Although the local gymnastic associations will not be the hosts and receive a little needed revenue for their traveling funds, at least our USGF will receive a fee for sanction which in turn will help our national team. Also such a tour planned by a big P.R. firm can only help stimulate interest and growth for American gymnastics, perhaps even more than a lot of dedicated local groups could do no matter how hard they worked or tried. Anyway it is going to be very interesting to see what happens. Hope I'm not too late to get a ticket as I would su~e like to get some pictures I missed in Munich. Speaking of Pictures: How about a Photo Contest for the Russian tour ... GYMNAST magazine will pay $25 .00 and use on the cover of a coming edition the best photo (color or black & white) taken by a GYMNAST subscriber during one of the exhibition performances (even from the TV tube?) . Also a second prize of $10.00, a third, fourth and fifth prize of a one-year subscription to GYMNAST and five honorable mention prizes of a GYM SHOP Poster of your choice ... and if our readers would like to have more and different types of contests in the future for GYMNAST, send us some ideas to think about and consider. Fact is the best three contest ideas we receive from our readers will each receive a one-year subscription added to their current subscription ... How about that!

91 iii TABLE OF CONTENTS

Volume XV / Number 1 / January 1973

5 FROM THE PUBLISHER, Glenn Sundby

6 ON THE BEAM, Barbara Thatcher

8 VIEWPOINTS, DickCriley

1972 OLYMPIC REPORT, Dick Criley

10 Women's Competition

13 Men's Competition

18 NEWS AND NOTES, Renee P. Hendershott

20 CENTERFOLD, Sawao Kato, Photo by Mitchell Barosh

22 "I'M NOT OVERWEIGHT •••• ", Renee P. Hendershott

24 GYMNASTIC HEEBIE-JEEBIES, Barbara Pfaff

26 PHYSICAL FITNESS REVIEW, James Bosco PhD

27 BEGINNER TRAMPOLINE, . Jerry Wright; Drawings, Pat Avera

28 LET'S LEARN A STUTZKEHRE, Bill Roetzheim

30 SIDE HORSE IS SIMPLE, James Hesson

32 SEQUENCES BY SCHULZ, Dieter Schulz

34 LETTERS TO THE EDITOR

Cover: Karin Janz 1972 Olympic Gold Medalist in va ulting and second place in All-Around compet ition.

Photo by Mitchell Barosh

Publisher: Glenn Sundby Associate Editors: Dick Criley and Renee P. Henders hott Staff Writer: Barbara Thatcher Contributors: Pat Avera , James Bosco PhD, James Hesson, Barbara Pfaff, Bill Roetzheim , Dieter Schulz, and Jerry Wright.

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GYMNAST magazine is published by Sundby Publications, 410 Broadway, Santa Monica, Ca. 90401. Second Class Postage paid at Santa Monica, Ca. Published monthly except bi-monthly June, J,uly, August and September. Price 75~ a single copy. Subscrrption correspondence, GYMNAST - P.O. Box 110, Santa Monica, Ca. 90406. Copyright1973@all rights reserved by SUNDBY PUBLICA liONS, 410 Broadway, Santd Monica , Ca. All photos and manuscripts submitted become the property of GYMNAST unless return request and, sufficient postage are included.

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6

Look who's on the beam again this month. Ifs little Olga Korbut, Associated Press " Woman Athlete of the Yea r."

This is a nice picture, (however I don' t know who the team is because Ihe arlicle is in Ge rman) and suggests a pose th at might be great for thai "end of the season" team photo.

Bob Farb, first place AA, Long Island Championships.

ON THE BEAM by Barbara Thatcher

Wow ! My fi rst rea l fa n le tt e r. I' ll have to save it a nd at least fra me it. I was thin kin g o f having it bro nzed but tha t would p ro ba bly be a little diffic ult.

Th e le tt e r was fro m Vicki Pasek, a Los Angeles resid e nt who suggested that I g ive a free trip to Russi a as the prize in my Olga Korbut Essay Contest. But heck (o r is that hecht ) if I did th at I'd e nte r th e co ntes t myse lf a nd a uto mati ca ll y win . But tha n ks fo r th e le tte r Vicki.

* * Havin g le ft Miss Korbut e n tire ly o ut o f m y

column las t mo nth (Be t yo u d idn ' t no tice did you?) it 's o nly fa ir that I menti o n he r aga in thi s mo nth especially now that th e littl e Russ ian rascal has mad e th e news aga in. Yes, pe tit e Olga was nam ed AP (Associated Press) Woman Athlete of the Year. Not o nl y is she the fir st gymn ast to receive th e ho no r but a lso th e fir st iron curta in athle te. If this isn' t a nother sho t in the a rm fo r gymnast ics I' ll eat m y typew rite r ribbo n.

I have a lways wo nde red w hy hi gh ba r is usua ll y the last eve nt in me n 's gymnasti cs. And th e n I re ad Jim Borg's poem a nd rea li zed th at if high bar was first ma ny peo pl e would leave afte r th at event was over. So for a ll of yo u hi g h bar e nthu sias ts w ho fee l that hig h ba r is the o nl y wo rthwhil e eve nt .. .. he re is "High Bar Is A lead Pipe Cinch"; wr itte n by t heCapta in of th e Uni ve rsity of Ca lifo rni a at San ta Ba rba ra tea m. Unedite d , un c ut a nd published fo r th e fir st tim e in this magaz in e .

"High Bar Is A lead Pipe Cinch."

What did Free Ex get me? Free Ex got me rolled. What did Side Horse leave me? Side Horse left me told. Still Rings are a bore. Vaulting: nevermore. Parallels won't give an inch, But High Bar is a lead pipe cinch. Giant swings piked in the chest Takemoto's, stalders, Eagles, ono's, all the rest. A gymnast never falters. With blisters broken, Both hands smokin' ... AII of this without a flinch. Yes, iiigh Bar is a lead pipe cinch. By the time the last man's up. The meet could well be over. If his teammates hah: done well, Everything is clover. Coach is keeping tabs . . Meet still up for grabs? Anchormen caught in a pinch Know High Bar is a lead pipe cinch.

Ve ry good. Jim at least d ese rves a la rge o r rath e r " g ia nt" ova tio n.

And now fo r gymn as ts w ho would rat he r bo un ce th a n spring t his suggesti o n from Marvin Johnson, " Why no t bo un ce trampo lin e in to our high school All-Aro un d prog ra ms? " Th e Eastern Michigan University gymnas ti cs coach wro te that va ulting was o mitted fro m th e

All-Around in the Sixth Annual Huron Invitational. Trampoline was subst ituted. The number of All-Around competitors increased by eight from the previous year. Many of Michigan's high schools are dropping vau ltin g in favor of trampol ine because supposedly vaulting is boring for both spectators and gymnasts. But then I always thought there was a certa in beauty in a double front or a good Yamashita. Well w ith one state vot ing to drop vault ing, do I hear any votes for dropping rings instead or maybe sidehorse?

However Section 11 literally vaulted to victory in the First long Island Intersectional Gymnastic Championships when the outcome of the meet was decided on the last long horse vault. Section 8 lost by a slim .35 points despite taking f ive out of seven first places. The outstanding All-Around competitor was Bob Farb, a junior at Oceanside High School. He is coached by Rich landry. The meet concluded the high school season for gymnasts in the Long 1~land area. The championsh ip brought together the two top sect ions in New York State. Section 8 may vote to eliminate vau lting but I have my doubts about Section 11.

A lot of nice things are being said about the gymnastics team at louisiana State University. Of course it 's LSU 's spo rts information department that's saying most of these things but so far the Tigers are living up to the predictions that they will be a strong team. Undefeated so far they have already beaten the University of Iowa and are looking forward to a fr iendly encounter with the Air Force Academy and finally the NCAA's. Among coach Armando Vega's star competitors are Mike Carter and Rick Russel . Remember those names, you ' ll probably be seeing them again and again and again.

* Anothe r name worth remembering is Diane

Dunbar. The little Diablo Gym Club dynamo finished second in the A ll-Around at the KIPS Invitational in Lakewood, Cal if. She gave AI I­Around champion, Debbie Fike a run for her money or rather medals and helped her team secure an impressive team victory . The KIPS slipped and fell into the second place slot as each KIP competitor had a slight problem holding onto the bars. Oh we ll maybe they can win their own invitational next year.

And if you happen to be around Penn State on February 23rd and 24th. You might think about attend ing the USA vs. Hungary International Meet. Such big names, as Cathy Rigby (opps Cathy Mason), Kim Chace, Joan Rice (Moore), Roxanne Pierce, Nancy Thies and Debbie Hill wi ll be there. Plus a men 's team not yet selected. (Wait a minute, rumor has it Mrs. Mason is retiring) Funny how these names keep reappearing. Could it be that these young ladies know something about the sport of gymnastics.

It's apparent the Denise Fujiwara know. something about Modern Rhythmic Gymnastics. A member of the Scarboro Winstonetles, she recent ly won the Canadian National title, in Toronto (That's in Ontario). However in the group competition the Sen ior Division winner was Kalev Estienne 'from Toronto. Oh I've been informed that Canadians do other things besides ice skate. They also ski. My sincere apo logies.

And so as once aga in this co lumn draws to a close, I'm running out of patience and paper, I leave you w ith little known fact #37. Did you know 'that' accord ing to an old Modern Gymnast the first USA woman gymnast to place in a single event in International competit ion was not Cathy Mason but a litt le lady named Helen Schifano, better known as Helen Sjursen, author of Helen's Corner. Mrs. Sjursen placed second in the 1948 Olympics in side horse vaulting . However ind ividual medals were not given at that time. So supposedly it doesn't count or does it? Don ' t worry you didn't miss the other 36 items. I'm just giv ing them to you in reverse order.

I am again contemp lating an Olga Korbut essay contest. If you wish to enter please send a typed 250 word essay on one of the following topics .... "Olga Korbut shou ld move to this country because .... " (I would have used defect but that sounds too political) or " Olga Korbut is my favorite gymnast because ..... " or " If I were Olga Korbut my next bar rout ine wou ld be ..... " I expect s'ome really good essays from you creat ive people. None of th is " OK shou ld move here because if she spoke English she cou ld get into the movies. " Or even " OK is my favorite gymnast because she's so cute." No something really creative. The prize has not yet been decided. Maybe instead of just a prize it will be a surprize prize. Anyway let's get those typewriters go ing.

~ .. .. ~ ""..." "....; ,... . ~\ . ~ ~ ) 1(efen \ : \(C~F~O I )' I

Helen Sjursen at the height of her competitive career and in her pre "Helen's_~orner" days.

And so as I type off instead of sign off I must remind you that my co lumn is once again brought to you on the same page, under the same heading and in the same magazine, and published by Sundby Publications in beautiful , sunnv Santa Monica, four blocks from the ­

; ocea~, right near the Muscle Beach Gym Club and a barber shop. So if you're ever in Santa Monica stop by. And until then WRITE-

Bet you thought they were the same gymnast didn't you? Butlook closely. Many teams in doing Olympic compulsory routines look alike and obviously the North Korean team is one of them.

7

8

The

anm --­".iii-

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VI EWIXJint&

With thi s January 1973 issu e the GYMNAST starts its 16th volume. The first thin little issue with Jack Beckner on the cover appeared December 1956. Many people have expressed their surprise that the magazin e has survived so long (although you may have wondered during the past few months!). Through December 1972 this has mea nt 137 se parate issues! I' ve been proud to be associated with Glenn Sundby for the past 77 of them .

The basic approach of our Editor has been much the same for the past 16 yea rs. The type has cha nged, th e photographs improved, the color come and gone and intermittentl y surfaced again , and Mademoiselle Gymnast enjoyed 5 yea rs of creative life as a spin-off from the Modern Gymnast. Only Glenn Sundby can tell of the many dedicated people who have helped him over th e yea rs by w ritin g without pay for their love of the sport and because of Glenn's unquenchable enthusiasm. The GYMNAST w ill , I trust, continue to grow with the sport, to highlight its bright moments and to boost for overcoming its faults.

I hope too, that our readers will try to help boost us too. W e receive many, many letters critical (justifiably, most of the time) of our inabilit y to make a deadline. (If yo u think you just wrote us a blistering one, yo u should ha ve seen what th e Post Office sent for getting the December issue ou t in February! You might let us know what yo u think of th e idea to simpl y number each issue (1 through 10) instea d of putting the month on it; then we 'd always be out on tim e as long as 10 issu es ca me out each year.) What we rea ll y need are more boosters like Mrs. Jan Barosh whose Hawa ii School of Gymnasti cs gained us 100 new subscribers in 3 months. (Aloha to those of yo u who may be receiving this as your first iss ue. )

* A few quick thoughts from th e Olympics: If Nationalistic judging is such a problem,

why not rotate and scramble judges w ith the different rounds of competition. If the Women 's Technical Committee ca n make the statement that their judges are suffi cient ly well trained to distingu ish different approaches to the compulsories and to remember if a team

by Dick Criley

uses the same combinations in their Optionals (See Summary -- Minutes of the FIG Women 's Technical Assembly, Ljubljana, Yugoslavia, October 1970) then they should have th e confidence that scores would be equally assessed by any qualified set of judges.

Another note: West Germany sees a great future in a

program called Reciprocal Sport Deve lopment Aid. The organizers of the XXth Olympiad foresee development of solid partnerships with other nations in Africa, Asia, and Latin America through the export of German know-how and technology in sports. The suggestion originated in a 1971 World Congress of National Ol ympic Committees in Munich.

For example, countries such as India and Pakistan could se nd hockey development players to American and European countries, Iran--wrestling coac h es, Malaysia-­badminton, and several Latin American countries--soccer. I magine the impact of a Japanese offer of gymnastics or volleyball coaches to the less developed nations! The possibilities are exciting .

Germany has already plunged into many aspects of assisting Third World countries with training films, spo rts physicians, coaches, and sports facilit y architects, as well as with clothes, equipment, and buildings and scholarships for study in Germany. There is official encouragement of outside agencies in these developmental programs too, and of priva te individuals following their own professions who find tim e to contribute to the sports knowledge of anoth er nation in their free time. These personal co nta~ts nearly always result from professional eve ry-day life, and sport is a welcome mea ns to intensify th ese contacts.

Sport is perhaps the only sphere of life where Afri ca n, Asian, and Latin American peopl es have a chance of proving to be equal with inhabitants of other countries or even superior to them. Herein lies th e va lue of rec iprocity in sports aia--that no nation feel s it is only giving and others only rece iving. Let us hope that the United States may also engage in such useful and friendly relationships.

BOOK REVIEWS by Dick Criley

GYMNASTICS ILLUSTRATED by Don Tonry. 1972. ·published by Gymnastic Aides, Box 475, Northbridge, M ass. 01534. Paperbo und . 228 pp . $9.00.

It wa s w ith conside rab le interest that I set out to rev iew Don Tonry's boo k, his ultimate compilation of moves in men's gymnast ics.

Don Tonry needs no introduction to our regular readers nor to anyo ne who has fo llowed gymnastics for th e past two decades. In addition to his many con tributi ons to th e Modern Gym nast, and GYMNAST, he has also prepared articl es and drawin gs for th e Olympische Turn kunst and the AAU Gymnastic News. Don 's own experien ce as a gymn as t, included m embership o n 3 Worl d Games teams, 2 Pan Am teams, and th e 1960 Olympic team. He has free -l anced as an arti st an d has prepa red many booklets and charts dea ling with gymnastics.

At the very outset, i t is clear that this book is to be a ca talog of moves, not a how- to-teach -it manual. Yet , th e detail ed drawings often give th at tin y li tt le clu e that rea ll y " makes" th e move. The nomenclatu re of gymn astic moves is essenti al to any such cata log. Do n has drawn upon a body o f gymnast ic expe rt s to eva luate th e term s appli ed to many moves and also upon his Master 's thesis on th e sa me subject. I note onl y that most o f his expe rts are from the East and th eir bias towa rds ce rtain terms is reflected a littl e in the book . O n the adv ice of hi s experts, however, he has adopted th e FIG term s w hereve r possible. This is both a li mi tat ion and a step fo rwa rd in my op inion.

Th e li mitations ari se b eca u se of imperfect ions in th e FI G system (French versus German prefer red names) and in th e grea t geograph ic d ive rsi ty in this co un try w hereby "straddl e fl ex," " panca ke," " Japanese splits," and "Chinese splits" all refer to the straddled seat pos iti on with th e ches t lowered forward to the floor . Th e 1968 FIG Code and i ts 1971 Complement complete ly omit mention of th e move. The forward steps come in th e simplifying of our complex and reg ional termino logy (a lthough it can be argued whether we need to adopt a French o r German name for a move when other nati o ns h<\.ve not yet fo llowed that lead) and in cons istent app li ca tion of th e basic terminology. My first criticism is that the book lacks an index by which any given move ca n be eas il y located.

Let me illustrat e. On the r ings I wa s tryi ng to find th e back shoo t to suppo rt so that I could compare it w ith the back k ip to support. Despite w hat seemed to me th e obv ious si milar ity of a backward rotating ski ll , th e two moves we re 16 pages apart, sepa rated by forward rotat ing sk ills from hang, vertical mov ing skill s from hang, and forward rotatin g sk ill s from pike inverted hang. Obviously, the back k ip to suppo rt lay w ith piked inverted hang skill s and the backward shoot to support with the sk ills from a regu lar hang. What th e reader has to know then, is the autho r 's sys tem of grouping moves and this is provided somewhat by th e table o f contents. The table of contents is set up to help find poss ible va riation s of a move from a basic sk ill (for example, wh at poss ib il ities exist from th e front uprise skill o n th e parallel ba rs) . An index certainl y would have been he lpful , especia ll y as term s such as Diam idov, Shurlock, Ba ili e, Durham, Yamashita, and Voron in and Endo shoot are also presented (Where are Ono, Takemo to, and Chagu inian?).

A se ri es of aids to understanding the termino logy are presented in a · glossa ry (definiti o ns), an abbrev iati ons section (on ly French FIG terms and their Eng lish equi va lents, however), and a mea ty chapter on gymnasti cs nomenc lature w hich is wel l i llu st rated by Don 's tal ented hand. Thi s chap ter is recommended to anyone trying to wade throu gh th e text o f an FIG-authored compulso ry exercise. In addition, we are given directions o n how to descr ibe an exe rcise in FIG-ese, right down to th e proper use of punctu atio n.

One of the things that fasc inates me is th e numbered ratings w hich Don assigned th e moves he i llustra ted . Although he fail s to mention that these are on a 1 to 10 basis (there are but nine ski lls rated at 10, four of th ese in va ulting), it becomes obv ious when the moves are compared. Th e little empty circle beside each number offers ve ry interest ing poss ibilities, from marking moves you ca n do (or w ish yo u cou ld do) to composi ng lesson plans to tes ting one's knowledge o f th e FI G rating . (In this co ntex t, I understand that th e NGJA sa t down at the 1972 NCAA's and rated every move. Perhaps sometim e that too wi ll be published.) This helps to make th e book even more va luab le as all of the drawings are large enough to see, in contrast to the " mini­drawings" of th e FIG Code. Th e o ne small cr iticism I make here is th at th e sty le of drawings diffe rs among the va ri ous moves because these have been taken from all of Do n's works: chart s, books , and arti cles. This is onl y slightl y distrac tin g, howeve r.

Probab ly th e biggest plus fo r ·the gymnast (coaches and judges alrea dy ca n conceive of the book's uses) is th e cha nce to exa mine skill s close to and sli ghtly above o nes he is now performing and to selec t from these new ones to build o r rebuild hi s ro utines . He may have to relea rn a few names (inward transverse circl es instead of " loop" ) but that is nothing compared to the chall enge of learning th e new moves.

STILL RINGS SKILLS and TECHNIQUES

By John W. Hinds Jr.

Over 90 pages of sequence and strobe action photos combined with easy to understand text, Makes "Still Rings Techniques" a welcome addition to any coach or gymnasts' library.

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9

Miyuki Malsuhisa (Japan)

Olympic Report by Dick Criley

COMPETITION TWO In Competition II , Poland 's M. Kubica did not compete which allowed Yugoslavia 's J. Brodnik to enter. The biggest jump in position was made by E. Gienger (W. Ger .) from 24th to 14th and the eiggest drop was by Russia 's Mikhaelian from 9th to 20th. The 1.00 score gain registered by Japan's Okamura reflected the fact that he was no longer the first man up for a team score. The +0.80 scores awarded Andrianov and Klimenko seem to indicate a political influence, especially since the top 3 Japanese were penalized In comparrson w ith their previous AA optional total. Only Voronln and Mikhaelian could not be scored up because of their own breaks. In Competition II , the Japanese women, especially Matsuhisa and Hirashima, made gains over their previous AA POSitiOns (6 and 10 places respectively) as did West Germany's Uta Schorn (8 places). US team members Chace and Pierce dropped 10 and 8 places respectively but Hungary's Marta Kelemen dropped 14 places. The greatest difference in scores between team and AA sets were Korbut (-2.05) and Kelemen (-1.15) while East Germany's Richarda Schmeisser picked up 1.70 as did Russ ia 's Antonina Koshel.

Women's All-Around Finals Going into the women's all-around finals,

Tourischeva was tied with Karrn Janz for first p lace followed by Erika Zuchold and Olga Korbut.

The gymnasts were divided into 4groups of 9 each with apparently random asslgnmenL It was difficult to keep track of who was dOing what on each event. It was even more difficult for the coaches because they could be with only one girl at a time.

Five US girls qualified into Competition Two : Rigby, Chace, Pierce, Moore, and Metheny.

10

Nancy Thies was tied with 5 other girl s at 35th 'a nd was dropped from the final competitions, presumably because there were already 5 others from the US in the finals and the intention was to permit representatives of other countr ies to enter the AA finals.

In the first round, all of the Russians performed well, getting high scores on their events.Tourischeva performed aYamashita and full twisting handspring to receive a 9.65. Rigby's first event was the beam, and she included the aerial walkover she had left out in Competition One. She received the same score, 9.35, as the first time she performed her optional. Her routine also included a handstand, snap-down, with a back handspring to a switch foot walkout, a swing-up handstand, a sWitch- leg back walkover, her press to handstand mount, and her rudolph dismounL She showed good amplitude and exciting dance elements. In contrast, Turischeva was to have breaks on the beam. Monika Csaszar, who was scored higher than Cathy, had similar composition and used a full twisting front for her dismount. Also on the beam, Kaethi Fritschi of Switzerland performed a well-controlled sidewards aerial and received but 9.1 for her efforts. Olga Korbut was on Floor Exercise in the first round. She hit her arched dive roll better here than she did in the final competition and ' received a 9.8 from the judges. Her routine did not include a full twisting sa lta and used on ly the backward dive to chest roll for originality. Her dance was jazzy and cute and was described also as "darling" and "explosive".

Erika Zuchold received a 9.6 for her FX and tumultuous applause from the audience. Her routine was a hard act for Kim Chace to follow, but Kim performed a difficult routine with excellent tumbling and had to be content with a 9.4. Joan Moore followed Kim and was way underscored at 9.5. Joan mounted with aerial walkover into RO, ff, double twist, and later included handspring to layout front. Both US girls deserved higher scores than they received .

After the first round, Rigby was sti ll in 10th place behind Bekesi (Hun), Chace was still 18th.

In the second round, Korbut was vaulting, receiving 9.65 for a Yamashita vault. Both Chace and Moore found it necessary to take steps after their vaults for recovery. Kim performed a handspring and Joan a high Yamashita. Meanwhile over on the beam, Saadi (URS) was looking good: cat jump, with y, turn, aerial, full twisting dismount for a 9.4. Zuchold on vault outclassed the others of her group with a 9.7. Roxanne Pierce was sure-footed on the beam except for a little half turn jump, and a loss of balance to fall from the beam. Upon remounting, she performed her one-arm front walkover with aplomb. In the floor exercise, Cathy Rigby 's " Roll Out the Barrel" netted her a 9.55 in one of her best floor performances. This was enough to boost her to ninth over Bekesi . Bekesi had only a 9.3 on the balance beam, just .05 behind Cathy. Janz was among the last up on the floor exercise and treated the audience to a light and spritely performance which was awarded 9.7.

At the end of the second round, Chace had dropped to 20 thanks to herfall while on beam. Moore moved from 26 to 21 on the strength of her FX, Rigby was in 9th and Korbut had taken over first place, followed by Tourischeva, Janz, and Lazakovitch. Pierce's bad break on beam dropped her down to 33.

The most signif ica nt happening of the third round was the ser ies of bad breaks which befell Olga Korbut on the unevens. She hit her feet on the stradd le glide mount, which broke the tempo so that she could not kip to grasp the HB; there were at least two other major breaks in the routine and her score was 7.50 which dropped her to tenth rank.

The other Russians were pushing hard as were the Hungarians. For the US, Rigby performed the flight aspects of her first vault well but stepped out off balance, but her second vault gained her a 9.4, which boosted her to 8th place. Janz performed a full twisting Yamashita for a 9.65 which boosted her into the

first spot over Tourischeva and Lazakovitch . Tourischeva was on the beam, mounting with st radd le L and pressing to handstand and forward walkover; she had a littl e bobble after a back handspring and was a little off-ba lance on her dismount for a 9.4. KimChace suffered a major break on the unevens for an 8.4. Joan Moore did a good job for a 9.35. It was perhaps fortunate that Lazakovitch followed Joan as Tamara received a 9.7 for a routine containing l Y2 twisting pirouette from a so le circle, and other flashy and difficult moves (free hip to hand) . Alina Goreac (Rom) started her UPB routine with a straddle on, immediate cast out and almost immediately suffered a break, a routine hard ly worth mentioning, except that her dismount was a hip circ le to handstand , back somersau lt off. Japan 's Matsuhisa had a routine possibly comparable to Moore's and received a 9.35, but the effect was hardly the same, because Joan's he ight gave her such beautiful amp litude on her moves. In the floor exercise, Nemethova (Czech) had an interesting transition move: backward scissor­straddle with 2Y2 spins on her back. Roxanne Pierce, alone of our girls, appea red to ' be enjoying her floor exercise as she was smiling and relaxed throughout. She had a-slight break after her handspring piked front walkout and received a 9.20. Hungarian Aniko Kery had some good tumb ling, lots of leaps and turns, and displayed good shoulder flexibility when she performed an inlocate front walkover and back; she too, used a hand spring, layout front and received 9.55.

With Korbut 's break dropping her to 10th, Janz was in first, Tourischeva 2nd, Lazakovitch 3rd, and Zuchold 4th . Burda was 5th, Hellman 6th, and the US girls: Rigby in 8th, Chace with breaks on the unevens was in 30th , Moore was at 20th, and Pierce was still at 33 .

Starting off in the fourth round , Romania 's Anca Grigoras had an interest ing mount for the unevens: she approach ed as if to do an aerial onto the LB, but at the last minute did a half turn and single leg kip to str ide support facing out on the LB. Karin Janz kept up the pressure with a 9.7 on her UPB exercise. Over o n the beam, Lazakovitch moved almost in thythm with the "Hel lo Dolly" music being played for one of the FX performers and received a 9.75. Tourischeva got a big hand from the crowd to push her FX score up to a 9.9; she used a double twist in her mount (as did Joan Moore and a girl from Poland). Kim Chace hit well on her beam routine with a smoothly executed press down from handstand to V seat , valdez, back walkover, ... well contro lled aerial walkover, Joan Moore had a coup le balance problems in her beam routine, one after a walkover, but looked good in her stag handstand and was so lid on her gainer back dismount. Cathy Rigby performed a very secure uneven bar routine for a 9.5. Korbut, who was down in 10th place, needed a 9.7 or better on the beam to push past Cathy, and Olga ' was awarded a 9.8 which seemed a littl e high for the routine despite her or iginality in the layout back dive to chest roll and her dismount of back some rsau lt to immediate front somersau lt off. An interesting mount on the beam was performed by Hungary 's Medveczky: aerial walkover to a seat .on the beam. Ju st as she ducks her head on the aerial, she places a hand on the beam to help control the landing.

In the final analysis Rigby still had 37.80 to Korbut 's 36.75, but th ere was a 1.225 edge for Korbut from the Competition One average. There were but 7 women with higher AA totals than Cathy Rigby for the day.

Tou rischeva 's 9.9 gave her a 38.60 total for the even ing for a 77.025 and the Gold Medal in the All-Around. Karin Janz followed with 38.45and 76.875 respectively. Tamara Lazakovitch had the high AA total for the evening at 38.65 but finished 3rd overall with 76.850. Erika Zuchold was 4th with 76.450, Liubov Burda (URS) 5th with 75.775, and Angelika Hellman (GDR) 6th with 75.550. Olga Korbut finished 7th with 75.100, followed by Saadi (URS) , Bekesi (HUN), and Cathy Rigby 10th at 74.925. Joan .Moore finished 21st (from 26th in Comp.I), KimChace 28th (from 19th) and Roxanne Pierce 33 (from 25th). Linda Metheny, who had qualified to compete in Competition Two, withdrew before the competition began because of her injuries . She had been tied w ith Joan Moore at 26th after Competition One.

After the Competition, Kim Chace, mascot in hand , went over to Olga Korbut and gave the young lady a big kiss of sympathy and congratu lations. The warm -feeling which the whole crowd seemed to feel for Olga Korbut was perhaps best exemplified by the friendly sm il e of Superior Judge Madame Nagy after flashing a 9.8 for her beam performance.

COMPETITION THREE Women's Finals

Tickets to the women 's individual event finals were almost impossible to obtain. Intense ticket-scalping brought more for standing­room-only places than good front-and-center seats. Despite the high demand for tickets there were large numbers of empty seats as the competitions got underway. By mid-point , however, many of those empty seats were filled with the blue, white, and orange uniforms of Germans working at the Games.

The vaulting event was first for the women. The six best vau lts al l logged in at 9.60 or better. Olga Korbut was first up and hit her Yamashita and stuck her landing with the first vault a littl e better than the second . Tourischeva was the o nly vaulter to use two different vau lts: Yamashita, and a handspring full twist. Erika Zuchold's Yamashita was higher with more preflight and postflight than Korbut's but she had a step on the landing of the first one while hitting the second one solidly . Incidentally, Russian coach Ashtakhova adjusted the board for Zuchold and the East German coach

Erika Zuchold (GORJ Photo by Mitchrll BilfOsh

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Karin Janz (GOR)

double-checked it and moved it o ne notch. Tamara Lazakovitch ran with long easy steps (15) and performed her Yamashita with very tight pike but not too much preflight or post­flight . Her landings were solid on both attempts. Luibov Burda performed a half-on , half-off handspring vault with long preflight with so-so postflight the first time but improved postflight on the second attempt. If one could be underscored at 9.7, she may well have been. Karin Janz ran with speed and purpose (18 fast steps) and twice performed an exce ll e nt piked Yamashita with full twist to solid landing for scores of 9.9 and 9.8. Her prefl ight was excellent and her strong pu sh-off gave her high postflight.

Recapping the results : Jan z 19.525, Zuchold 19.275, Touri scheva 19.250, Burda 19.225, Korbut 19.175, and Lazakovitch 19.050. The vaulting finals took about 20 minutes.

The routines on the un eve n parallel bars were difficult to record because of their difficulty and speed. The lowest award was a 9.65.

Tourischeva : with" the beat board placed before the LB, run, jump to hand stand, kris­kehre around, kip, grab HB and straddle ove r LB, kip to HB, sole circle, 1V, turns, bouncing off LB to front hip circle on HB, handstand, so le circle backwards, 1V, turns, hit LB, bounce back to full pirouette, drop to straddle glide on LB, kip to HB, sole circle on HB and v, turn , bounce off LB, stand on LB and jump to handstand , V, turn into wrap-around LB and full twisting hecht dismount. 9.80.

Ilona Bekesi: with the beat board before the LB, run , jump a nd somersault over LB, grabbing HB in straddle, v, turn, stradd le, ... front somersault between the bars, kip on LB to grab HB ... on HB, bounce, full pirou e tte, catch, wrap-around LB, V, turn on HB, drop to LB, kip to HB, sit on LB, kip to HB , wrap-around LB with full.twisting hecht dismount. 9.70.

Zuchold: beat board back away from LB : run, bounce to grab the HB and st raddl e over LB , back kip on HB, backward hip c ircl e to handstand on LB, drop, glide, kip ... kip to HB, free hip circle, cast, wrap-around, regrasp in eagle grip, st raddl e onto LB, bounce, kip to HB, hip circle, hecht over both bars. 9.80.

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Photo by Mitchell Barash

Korbut: standing under HB, g~abs LB, glide, kip to grab HB, straddle over LB, kip to HB, stand on HB, layou t back to regrasp HB (fee t were sepa rated slightly), wrap arou nd , eag le reg rasp , drop to LB, front hip circle to handsta nd and straddle backward and up to HB, handstand , to LB bounding off with V, turn to stand on LB, forward sole circle on HB, pushoff HB to back layou t over LB . 9.80.

(The Russian delegation was sitting in front of your GYMNAST reporters. We observed a disgraceful attempt by this delegation to have Korbut 's score raised from 9.8 which put her in a tie with Zuchold for 2nd place. The racket from the audience was much th e same as in Dortmund in 1966 when th e c rowd protested a low score awarded Doris Bra use. Yuri Titov who headed the Soviet de lega ti o n even went down on the floor to protest to the head scoring table. FIG Presideni Arthur Gander shook his head, NO, and sent Titov back to the sta nds. The score remained unch anged a nd the noise went on. Angelika Hellman was forced to perform nearly her whole exercise in this discourteous cacaphony from the Olympic crowd .)

Hellman: Mounted with run , jump and straddle over LB to g rab HB , kip to handstand , V, stalder, bounce off LB, full turn , bounce off LB, straddle over LB, kip, back hip circle to handstand , V, turn , cast, wrap-arou nd , eagle regrasp, straddle glide kip on LB, grab HB , st raddl e over LB, kip onto HB, back hip circle to backwards somersault. Her landing was off­balance and she staggered severa l steps. The whistling over Korbut 's routine still continued a nd Hellman was vis ibl y upset. 9.65.

Janz: With beat board back slightly from LB, run , jump with Y, turn over LB to grab HB, wrap-around, hip circle , V, turn onto LB, handstand, giant, straddle, seat circl e up , g rab the HB, stoop through , hip circle, V, turn, drop , catch the LB, g lide kip and grab HB, straddle over LB, kip to HB, cast to hand stand, V, turn, and drop to bounce off LB (st ill holdin g HB) with front somersau lt between the bars to regrasp HB, back hip c ircle, hecht over HB with full twist. Her score was first flashed as 9.8 but late r adj usted upwa rds to 9.9.

With the great fuss over Korbut's routine, the

eve nt took about 24 minutes to complete. Jan z was the cl ea r winner with 19.675, foll owed by Korbut and Zuchold at 19.450, Tourischeva 19.425, Bekesi 19.275, and Hellman 19.200.

Monika Csaszar of Hun ga ry was first up in the beam finals. With th e beat board off the end of the beam, she ran and sprang to a straddle support and up to a handstand , walkover followed by a couple steps, some poses, a stag jump, step V, turn, back walkover, bod y waves, arm waves, needle scale, sp lit handstand , step over and back thro ugh lunge position, V, turn , more poses and haRd waves, back hand sp ring landing one foot at a time, back walkover through stag position, split leap, seve ral poses, V, turn on one foot , forward walkover, step back, back wa lkove r one hand at a tim e , pose and V, turn o n e nd of beam, aerial, forward aerial off w ith full twist for 9.6.

Russia's Lazakovitch had the highest qualifying score but was up seco nd in the finals. With the beat board off the end of the beam, she ran and jumped to a straddle support and pressed in st raddle position to the handstand , straight split handstand , walkover, walking steps, diving cartwheel (very secure), step, split leap, lun ge positio n after V, turn, back walkover, momentary needle sca le, full turn, little leaps, back handspring from a two-foot takeoff, one foot landing at a time, step forward, poses, arm waves, V, turn , some dance steps, more turns, arm waves, V, turn, leg motions, kick to handstand , straight split, straddle split , back to straight split, ste p down to arabesque on end of beam, cartwheel with v.. turn forward , more turns a nd body waves, back bendover to straddle seat , valdez up a nd step onto beam, cartwh ee l, back with full twist . 9.8.

Erika Zuchold mounted from the side with the beat board on the diagonal: run and kick up into handstand to walkover (bu t had too much going for her and had to lower a foot for balance) , side leap, full spin in sea ted position, va ld ez, from end o f beam: some jumps and leaps, straight arm-straddle press to handstand , split , stag, straight split and on over into a walkover (with momentary loss of balance), kick again into split handstand; and on over to tou ch one foot and co me back, seated on beam in a stag pose, full turn with hips against beam and legs below the beam, stand onto the beam, pose, arm sweeps, 2 full turns on one foot , split leap, sq uat with V, turn, ca rtwheel , more jumps and turns, ae rial off with V, turn. 9.4.

Karin Ja nz placed the beat board on a diagonal and mounted with a run and kick to handstand and walk on over, back hand sp ring, down to straddle, backward roll , exte nsio n through handstand , step down, wolf leap, more jumps and turns, V, turn back towards middle of beam, turn , several poses and ballet steps on th e toes, turn with arm waves , kick to handstand with Y, turn , forward roll down, V sit, st raddl e o ut and whip up to handstand and step over, arabesque sca le, J;" turn on seat to the side, pose, sta nd with V, turn , semi -spli t leap, pose on end of beam, V, turn, full turn on one foot, backward walkover , fast handsp rin g wa lkover with momentary loss of balance, forward loss of balance, ca rtwheel to back off. 9.55.

Tourischeva mounted without the aid of the beat board, jumping to a stradd le L, pressing to a handstand, and walkover to stand , She co ntinued on wit h a diving cartwhee l, y, turn , two-foot takeoff into back handspr ing, step out with sl ight break in form, V, turn , lun ge position, turn on one foot, st radd le L, st raddl es down and has break in getting back up on the beam, shallow sp lit leap, squat down and V,

turn, 2 fo rward rolls w ithout hands, whip p in g legs up, lower to japanese sp lits on the beam, press to stradd le L, V. turn , sit stradd ling the beam, valdez through a wa lkover (looked unsteady), body waves, some ste ps, lo ng kick step, ca rtw heel with full twistin g back off. 9.40.

At las t came th e pe rformer the whole crowd had been wait in g for, O lga Korb ut. She mounted by jumping to sidewards sp lit s, pressing up and turning, and finall y swi ng in g he r legs up to sta ne on the beam. From th e re: back wa lkover, body wave, V2 turn , cartwhee l, pose, body waves, sp ri ght ly jumps, stag leap, back wa lkover, with two-foo t takeo ff : back layo ut di ve through ches t ro ll , through straddl e seat, back roll , back wa lkover to st raddle seat and w hip back up to stand (with a slight break ), stag hands tand , step d own and step forward , full turn , forward wa lkove r, arm waves, pose, turn , sp lit leap, sid eward wiggles, back somersau lt to fro nt off. Her 9.9 was dubious in view of littl e bobbles and lack of difficulty in he r mount. The crowd, howeve r, loved it , and she played them for a ll the applause and acknow ledgement she could get.

Korbut , of course was the win ner with 19.400, fol lowed by Lazakov itch at 19.375, janz at 18.975, Csaszar 18.925, Tourischeva 18.80 and Zucho ld at 18.70.

On the floor exercise, Liubov Burda of the Soviet Un ion led off with a piece o f heavy Russ ian mus ic: With head down, wraps arms around and extends and goes into hi gh pose; RO, ff, layout, ff , layout to corn e r; returning on same d iagonal: RO, 2 ff, V2 turn layo ut to aer ial wa lkover; drops to ground and comes back up in a walkover, pose, runn ing and dance steps, illu sion , spl it lea p; a long d iagonal: RO, ff , arabian hand spring, forward handspr ing, 2 split leaps, forward aeria l; in corner, ara besque, back walkover, turn , step o ut forward, arabesque, sp lit leap, RO, layout with step out, pose. 9.60.

East Germany's Angelika Hellman was up next: Dance steps, stag lea p, toss and back walkove r; RO, ff , full, bounce, steps,

Tamara Lazakovitch (URS)

ca rtwh ee l, back wa lkover; RO, f(wh ipove r, ff , tuck back; tour jete, pose, fa ll back and straddle a round on th e floor on her back, extens ion to handstand, dance steps; in the corner: RO, ff , layo ut with step out, split leap, pose. 9.6.

Lazakovi tch' s music was both folksy and modern. She sta rted with a few slow dance steps, somewhat in the modern dance ve in, then sped up with turns, and a ful l axi l jump and into the co rne r wi th a pose; a few fo lk dan ce steps (her music at thi s po int had the audi ence c lappin g in rh ythm) ; RO, ff, full, ff w ith walkout, kick, tour je te and more ste ps in a dance vei n ; pose, full turn down to o ne kn ee, arms moving ve ry gracefu l; aer ia l walkove r, steps, handsp ring over to knee sca le positi on; RO, ff, full; more dance steps and body waves; RO, ff , layo ut stepout to co rner and fina l pose. 9.8.

Next up was Karin janz w ho needed a 9.85 to tie Lazakovitch. She had a little dance bit before her tumbling pass; he r mount th en was fron t handsp rin g step out to front so me rsault, RO, back; aer ia l, l V2 axi l turn s, 3 butterfly moves to co rner ; RO, ff, layo ut, 2 ff , layout to step o ut, fu ll spin on o ne kn ee,; a rabesque turn , mo re turns, stag leap, country dance steps (music in a fo lksy ve in ), RO, ff , layo ut with step ou t, fin a l pose. 9.8.

Tourischeva had the highest qualifying score go ing in to the fina ls, 9.75, 0.075 ahead of seco nd p lace O lga Korbut. She started right in with he r tumbling: RO, ff, double full , da nce steps, d iving tinsica , knee sca le poses, split leaps, forward aeria l, more poses; RO, ff , a rabian walkover into RO, ff , back (a low back necessitating a bounce and recovery of ba lance) , sidewa rd ae rial to immed iate knee stand, knee sca le ; RO, ff, full to finish in a seated pose. (The audience also clapped a long with the folk portio n of he r mu sic.) The judges awarded her a 9.8.

O lga Korbut again drew the favored last spot. Her music was programmed just right for the imp-p ixie-litt le girl image. Her start was a sort-

Photo by Mitchell Ba rosh

of overplayed littl e g irl 's soph isti ca ted stru t, then break into a medium high arc h dive ro ll , and up with more lit t le g irl wiggles; handspring, front somersault with step ou t into RO, ff , sui cide (or d e layed) back, dance ste ps, sid e sp li t leap, sca le , more so phisticated little g irl- type steps; RO, ff , layout back dive to c hest rol l, (a li tt le short and hav in g a ll th e appearance of g ivin g he r bac k a te rribl e crunch), aer ia l wa lkover, to ches t stand , sc isso rin g legs, RO, ff, low layout to fin a l pose. As the crowd went wild , t he judges gave her a 9.9 and the floor exe rcise tit le.

Thu s, 17-year old O lga Korbut e dged o ut vete ran Ludmilla Tour ischeva by a scant .025 , 19.575 to 19.550. In third was Lazakovitch w ith 19.450, fo ll owed by Karin janz at 19.40, and Burda and Hellman who tied w ith 19.10.

Nine women representing but three countries took part in the finals. Korbut, Tourischeva, janz and Lazakov itch competed in all four eve nts wh il e Erika Zuchold appeared in three. The e ntire competition incl udin g awa rd s ce remonies took just under 2 hours.

CO MPETITION TWO

US MEN'S TEAM AVERAGE SCORES FOR PAST 8 OLYMPICS

~ Q..

c::- $ '" 1; .8 .§

~ ~ .C::- ° ~ "'? <: '* " § '- ..§ I ~'" ~ ,,0 I' <8' ~ 1936 1948 1952 1956 1960 1S~4 1968 1972 Team Average Scores 7.66 8.69 9.03 9.125 9.253 9.282 9.133 8.897

O p tio nal Average 9.292 9.31 9.24 9.07

Compulsory Average 9.213 9.25 9.05 8.725

Men's All-Around Finals Fou r japanese, 4 Russians and 2 East Germans

were in the top 10 going into the All-Around finals . Steve Hug was the only US gymnast in the men 's a ll-around fina l competition. He had fi nished at 26th in the AA standings after the team competition, with a tota l of 109.45. The 36th-ranked ind ividua l was Mauno Nissinen of Finland with 107.85. Marsha ll Avener was 50th with 106.35 and Makoto Sakamoto 56th with 105.70.

Hug got off to a bad start on the para ll e l bars with muscled moves and intermediate swings for an 8.25, but even Eizo Kenmotsu netted only a 9.45 . North Korean So ng jl Kim put togethe r a smooth PB routin e for a 9.30 and Song Yu Kim hit for a 9.35. .

In the floor exercise, Tsukahara performed a doub le twist to back fli p-flop as pa rt of his mount but looked a bit careless in other parts of the exercise; he d ismounted w ith a doub le twist as well.

On the rings Nakaya ma paced the first set of gymnasts with a 9.55 but was pushed a little by West Germany's Wa lter Moessi nge r who threw a sing le sa ito so high it looked as if he might be planning a double, but the judges though otherwise and awarded a 9.40.

At the conc lu sion of the first round , the japanese were sti ll leading although Sawao Kato dropped to 2nd be hind Ke nmotsu because of a 9.25 on the floor . East Germany's Klaus Koeste, with a 9.15 on the pommel horse, dropped from 6th to 7th.

In the second round of competition , Song Yu Kim ran into difficu lties on the HB and scored an 8.75. Voronin, w ho m ust have injured himself on the floor exercise dropped from 6t h to 9th as a resu lt of an 8.6 on that event. Peter

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Aleksandre Malee. (URS) photo by Mitchell Barash

Rohner of Switzerland showed a nice handspring l V2 vault for a 9.5. Kato hit on the PH for 9.4 but despite this score, he dropped to 3rd behind Kasamatsu who scored 9.5 on FX to move into 2nd behind Kenmotsu . Kenmotsu retained , his hold on first place with a 9.45 routine on PB. Andrianov threw a high and solid double flyaway on the rings for a 9.50 while Eberhard Gienger (W . Ger.) used a piked double flyaway for a 9.45. A 9.55 was registe red on HB by Poland 's Andrzej Szajna who used a high piked double flyaway. Steve Hug looked more confident performing his HB routine for a 9.40, but this only boosted him 2 places to 32nd.

The crowd was disappointed with the 9.5 awarded Kasamatsu on the floor. He mounted with a c ircus tuck double back, but the rest of his tumbling was high, clean , and extended. He dismounted with an exce llent exa mple of the full twisting sa ito.

At the end of the 2nd round, the top six showed that Koeste had moved up from 7th to 6th with Voronin 's drop to 9th. Kenmotsu still led Ka samatsu, Kato , Nakayama, and Andrianov. Tsukahara had moved to 10th on the strength of a 9.2 on PH.

In the third round , Klimenko hit a hi gh Yamashita with great arch and low extens ion but so lid landing for 9.4. Voronin picked up 9.4 on PH but remained tied in 9th with Mathias Brehme who had picked up 9.35 also on PH. A nice one-arm balance or side planche was performed by the Russian, Maleev, but he netted only 9.05. Nakayama sailed through his PB routine with 9.65 and great applause from the audience. Szajna 's HB score was originally flashed as 9.6 but a computer check later showed a 9.55 for his award. Moessinger's PB

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routine was interesting: mount wit h g lide and suck through to L support on one bar, press to handstand, v.; pirouette and later, a peach basket to immediate stradd le cut. His exercise excited the crowd but not the judges who awarded but 9.3.

Trying to move up from 32nd, Steve Hug put out with the difficulty in his floor exercise: RO, ff, double twist; scale-fall back into splits followed by double leg c irc les, and dismount of RO, ff , full. His score, however, was but 9.05, due largely to sloppy form.

In the meanwhile, Kasamatsu was hitting well on PH for 9.55, and Wolfgang Thu ene (GDR) hit for a 9.4, including a scissors with hop, V2 turn. Kenmotsu performed solidly o n FX for 9.45. Another circus tu ck double back was performed by Song Yu Kim in hi s FX mount, for a 8.90.

After 3 events, Kenmotsu stil l. led by 0.075 over Kato; Nakayama had c limbed to 3rd while Kasamatsu dropped to 4th. Andrianov was still 5th and Koeste 6th. Hug had dropped a place to 33rd. Tsukahara climbed from 10th to 7th on the strength (no pun intend ed) of a 9.7 rings performance, which was th e high est score registered on that eve nt in the competit ion.

In the 4th round, Kato hit his rudolph vault for 9.5, Nakayama picked up his pace with a 9.65 on the HB; his exercise included an ONO and st raddle vault with regrasp. Andrianov had hit for a 9.75 in the preceding round with his handspring l V2 vault and picked up a 9.4 on PB; his exercise included a piked front between the bars. Tsukahara managed only a 9.4 for his RO, piked back vault because of a giant step backwards for balan ce . Little Okamura of Japan hit the handspring l V2 vault for a 9.6 score. With good height, flight , and solid landing it was evident" that he was happy with this vault as his face broke out into a big g rin. Meanwhile, Kenmotsu was putting toget her a 9.6 on PH . Voronin showed that he st ill had something left to give with a 9.55 on the rings. Klimenko started his PB exercise with a beat board take­off and high vault, almost to handstand , and included a Diamidov and full twisting back dismount.

The top 6 individuals did not change, only the ran kings, as Nakayama edged past Kato 38.3 to 37.75. Nakayama's AA tota l was actually higher than Kenmotsu's 38.10, but only 0.1 ahead of Andrianov at 38.20. Hug had moved to 31 after his 9.3 PH performance. His 4-event total was 36.00.

In the fifth round, Nakayama picked up 9.5 Akinori Nakayama (Japan) Photo by Mitche ll 8arosh

on the floor exercise which included handspr ing, layout front as the mount, and a high, back layout dive to support and lowe r to prone position, and a RO, piked side somie. In this round, Tsukahara suffered a bad break on his PB dismount: overturning his handstand , snapdown, back somersa ult, he rolled off the platform into the judge's pit . He ca me up smiling and with a 9.2 score. One of the high scores of the round was Eberhard Gienger (W. Ger) on H B with 9.6. Kato again impressed the crowd and judges (to the tune of 9.6) with his bac k toss to handstand, snap-down with straddle cut to peach. His score was initia lly flashed as 9.75, then changed to 9.85 and ultimately reco rded by the computer as a 9.6 in a series of score changes that never seemed to be explained. Steve Hug remained in 31st position with a 9.0 on rings.

Kenmotsu still led after 5 events with Nakayama just behind by 0.05 and Kato 0.075 out of first. Andrianov, Kasamatsu, Koeste, Klimenko, Tsukahara , Thuene, and Brehme and Voronin (tie) rounded out the top 10.

I n the last round, Kasamatsu had a break just after his diamidov on PB to receive 9.2. Kenmotsu pe rformed a high, full twisting handspr ing for a 9.6 on the vault. Nakayama had a 9.45 on his va ult. Kato scored a 9.75 on HB to vault past both Kenmotsu and Nakayama. Voronin, who was tied at 10th with Brehme, dropped to 12th after simplifying his PB routine (his dismount apparently was a bent-knee flank vault a nd the execution of the routine suggested that he was feeling his injuries.) It was up to Tsukahara to score the highest individual score of the evening, a 9.85 on HB, with a routin e which included a high barani hop vault, straight body kip with amplitude, and a half-in , half-out double flyaway dismount.

Another double back mount was used by Song Sob Li who used a double twist in his dismount , rece iving 9.45 to tie such individuals as Kenmotsu, Andrianov, and Klimenko on the floor exercise eve nt. Had it not been for an 8.95 on PH , Li 's 6-event tota l could have pushed him up into the top 10 instead of 13th. (Incidentally, the 9.45 awa rded Andrianov met with crowd disapproval despite the necessary deductions for stepping out of the area when he overturned his double back mount.)

After the competition was concluded and Kato, Kenmotsu and Nakayama had won the top three places (114.650, 114.575, and 114.325 respective ly), the whole Japanese team was observed to grab Coach Yukio Endo and toss him up and down. Kato's evening total was 57.10 but Andrianov registered a higher score (57.30) and Kenmotsu and Nakayama at 57.20 were st ill higher; however, Kato had had a 0.175 lead over Ke nmotsu from Competition One and this made the difference.

Kasamatsu, who had sta rted in 3rd position dropped to 5th behind Andrianov and Klimenko who had sta rted in 8th tied for 6th with Klaus Koeste who stayed there throughout,

Th e accompanying tab le compares the optional total for the AA competition versus the team compet ition . Lower scores can be attributed to the greater seve rity of the judges' appl ication of the rules , especia lly the ROV aspects, and the likelihood that with only 36 competitors, the judges were no t as fatigued as in the fir st competition s and could be more critical. Another possible explanation for the lower scor.es would be that the gymnasts were getting tired after going through great

pressures and strains and so many sets of exercises.

In an interview at the end of the competitions, th e japanese were asked if the addition of Competition Two had diminished the gymnast's abil ity to present his best exercises in the finals. Th eir rep ly was that they felt it had, but while they st ill favored the use of the All-Around competition they hoped changes cou ld be made for fut ure Olympic Games. They were more concerned about the judging w hich had caused greater deductions for them than for the Russians.

COMPETITION THREE Men's Finals

The men's fina l competition was as jam-packed as was the women's thanks to the reputation for spectacu lar performances which the japanese men had earned. Only 11 different gymnasts were to appear in the finals of each apparatus: Sawao Kato, Eizo Kenmotsu , Akinori Nakayama, Shigeru Kasamatsu , Mitsuo Tsukahara, Niko lai Andrianov, Viktor Klimenko, Mikhail Voronin , Klaus Koeste, Wilhelm Kubica and Peter Rohner. Although already proven as the best team in the world, the japanese were determined to show their talents w ith even more difficulty and to prove that they were definitely superior to the Russians. Their ext ra difficulty was to backfire on them a littl e as severa l sure medals were lost because of breaks.

Going into the fin als of the floor exe rci se , it was anybody's guess as to who would be the w inner : Kato had a slim 0.025 lead over the other 5 finalists wit h a 9.55 average.

Koeste: Front handspring, barani, ff, If, full , turn to lunge, If, forward pirouette, front walkover, cartwheel, d iving back layout to chest roll out, crad le to kip w ith fu ll turn to rear support, 'I, turn, press w ith stradd le legs to handstand, tuck roll to stand, side scale and V. turn backwards to back wa lkover; stand, 'I, turn, handspring, full twisting front , headspring, front somie, dive to J/4 handstand, front support, stand , tu rn, 2 steps, jump straddl.e toe touch , backwqrd extension roll with st raight arms, 'I, turn to handstand, roll out, jump to 2 foot va ldez, step down, 'I, turn , RO, If, full. .. . 9.30.

Andrianov: Front som ie step out, RO, ff, double back (th e o nl y one he landed was in the individual event finals); step to corner, back along the diagona l w ith side somie, side somie, swedish fall, stand , RO, full , If, lunge, sing le leg circles, 'I, turn to prone position , to sp lits, st raight arm stradd le press to handstand , step down, RO, ff, arabian dive roll , stradd le roll out, to 2 doub le leg c ircles, prone position, come to stand, Y scale, RO, If, doub le twist (with one step for balance) .. .. 9.65.

Kasamatsu: RO, If, high double twi ster, turn to swedish fall , turn to rear support, turn to forward sp lits, 2'1, double leg circl es w ith y, turn, turn , stoop up; step to corner and face diagonal: reverse lilt front som ie step out, RO, arabian dive, jump to prone drop, to japanese sp lits, slide legs around to prone position, press straight arm, stradd le leg to handstand, step down ; RO, piked side; turn to front roll , back handspr ing to front support; turn along diagonal: Y scale, RO, If, full .. .. 9.50

Nakayama: Front handspring, layout front , headspring, swed ish fal l, lunge, back handspring, toe touch ff to front support, from knees Ito move, rear support , 'I, turn to stand , towards corner: RO piked straddled side som ie, swed ish fall, front support, turn to rear

Japanese team during a'n interview following Olympic Competition.

support, p ress to V seat, press through and with stra ight arms and straddle legs to handstand; step down, bounce turn, single leg circle, turn, lunge, Y scale; RO, ff, full. ... 9.60.

Kato: RO, ff, If, double back (low and over­balanced but intending the 'I, turn) to stra ight body fa ll , lilt leg forward to sp li ts, 2 double leg circl es with V. turn, back extension roll through handstand ; stoop down; RO, If, delayed piked arab ian front (short rotation and cras hing to his seat), front roll to stand on one leg, turn, backward walkover, stoop through to back, sit up and push up to stradd le L, st raight arm press to handsta nd, rollout to one knee, stand and turn , RO, side somie, sideward roll; turn to lunge, tu rn to Y sca le, RO, ff, If, double twist (sho rt on twist and took step) .... 9.20.

At this point, Kenmotsu , w ho was among those tied wit h Andrianov at the sta rt , had to decide whether to go for broke and throw everyth ing to try to beat the Russian or whether to play safe w ith a routine of lesser difficulty. He elected to throw his trip le full in his mount and overturned the somersau lt w hile comp leting the triple twist and tried to save the situat ion by turning around to front support. This, along with a form break on the dismount and a low position in his side scale, gave the judges enough to penalize him into fourth place.

Kenmotsu: RO, If, triple full with turn to front support, stradd le cut , 'I, turn , stand , f ront somie, headspring, front som ie, stra igh t body fa ll , sta ight arm stradd le press to handstand, step down, RO, arab ian dive, stag jump,

shoulder roll, turn, lunge, side sca le, full turn; along diagonal: RO, If, double twist....9.40.

Th e final floor exe rcise results: Andrianov ' 19.175, Nakayama 19.125, Kasamatsu' 19.025, Kenmotsu 18.925, Koeste 18.825, Kato 18.750.

To capture the routines of the best gymnasts on the pommel horse (as the side horse is now to be known internationa ll y) was impossib le at the time. The fo ll owing accounts were prepared by USA Olympic coach, Abie Grossfeld, from films .

Kubica: Mount looping on the end, 'I, ci rcl e, reverse loop, 'I, ci rcle, loop travel in , travel out, 'I, circle, loop, wa lkaround, loop, back stock li in , 1'1, circles, moore, 'I, circl e, moore, 1 ci rcl e, 2 back scissors, 2 front scissors, 1'1, circle, t rave l

.out, double loop, 'I, circ le walkaround , loop w ith 'I, turn off (Chagu inian) .... 9.40.

Kato : Mounts in the middle; jump to Y, circ le, moore, 'I, circle, back moore, travel to front in immediate back stock li out, 1 circle, hop, immediate kehre in , 1 ci rcle, travel o ut, 'I, circle, back travel in , back travel out, 'I, ci rcl e, back stock li in , 1 y, ci rcles, 2 back scissors, 2 front scissors, 2 circles, travel out, 1'1, circles, loop, hop, loop with 'I, turn ofl. ... 9.50.

Voronin: Mount from end w ith a loop, 'I, circle, hop (or wa lkaround mount) , loop, back stockli in , 1'1, c ircles, moore, travel out, 'I, circle, 1'1, Russian (end to pommel to end), 'I, ci rcle, trave l in, travel out, 'I, circle, kehre in, 'I, circle, 2 front scissors, 2 back sc issors, 1 c ircle, travel out, 'I, c ircle, loop, wa lkaround, loop with 'I, turn off (Chagu inian) .... 9.45.

Nikoli Andrianov, 1st place in individual Olympic floor exercise competition on the victory stand with Akinori Nakayama (2nd) and Shigeru Kasamatsu (3rd).

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Kasa matsu : Back moore to center to moore to end (all on one pommel), immediate ke hre (with touch back), 2 circles, back stock li out, 1 circle, walkaround, 1 circle, front in , immediate back stockli out, Yz circle, back stockli in, 1 circle, 3 front scissors, 1 back scissors (high in both ways), 2 ci rcles, travel out, Chaguinian off .... 9.40. (In trouble near the end, he just mad e it to his dismount.)

Klimenko did not need much above a 9.5 to be safe since Kato had earned only a 9.50. The Russia n led Kato by 0.025 while trailing Kenmotsu by the same margin . He mounted with 2 loops facing outwards on the e nd, Yz hop,1 circle, front in to moore, 1Yz circles, back moore travel out, Yz ci rc le, kehre in, 1 ci rcle , 2 back scissors, 2 front scissors, 1 ci rcle, moore, 1Yz circles, travel out, Chaguinian off (with slightly bent knees in the final 100p) ... . 9.60.

The 9.60 awarded Klimenko put pressure on Kenmotsu, again the last man up. He needed a 9.6 to stay ahead; a 9.55 would put him second . Again , the breaks were not going his way as he suffered a slight break just after a moore, had other form breaks and just muscled his dismount th rough.

Ken motsu : Mount to center, back moore, travel in, 1 circle, Russian on one pommel to end , 2 circles, loop, back stockli in, 2 circles, back moore - travel- kehre in (one pommel), % circle, 3 front scissors, 1 back scissor, 1Yz circles, back moore travel out, Yz circle, loop, % c ircle, Ru ssia n off .... 9.40.

Again, a Russian took the gold : Klimenko 19.125, Kato 19.000, Kenmotsu 18.950, Kasamatsu 18.925, Voronin 18.875, Kubica 18.750.

To this point, the judges and the Japanese themselves had kept Japan from taking any of the gold 'medals, Endo was so sure they would bring back from the finals. But then it was on to the rings where Nakayama, experienced veteran of the team and twice gold medalist in Mexico City and Ljubjana was to battle it out with the Russian , Voronin, who had placed second and third in these prior contests.

Ken~otsu : Straight body pull to inverted hang, cast, straight arm back uprise fall over to front giant with straight arms to handstand ; straight arm back giant to handstand, fall over

. to whippet to L support; straight body, be nt arm press to handstand, lower to L cross, lower

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legs to iron cross; lower and lift to in ve rte d hang, di slocate, high dis locate, ful l twi st. ... 9.40. (In his w hippe t to L, hi s feet ove r-rotate d and he had to bring them up and in his land in g, his feet were perhaps a bit too far apa rt for aest hetics, though th e landin g was solid.)

Tsukahara: Strai ght body pu ll to inverted hang, cast out to Japanese inloca te to stra ight arm back uprise to handstand; back giant with st raight arms to ha ndsta nd ; g iant down to front uprise to L support , straight body, bent arm press to handstand, lower slowly to maltese cross (didn ' t hold it ), then lower to cross lower and lift body to inve rted hang, dislocate, high dislocate , double piked flyaway .... 9.70.

Koeste: Slow inlocate, cast, back upri se to handstand , front g iant , back g iant, lower to L c ross (high) , lowe r, dislocate, shoot to tuck back roll (Hi ckman ro ll ) to back lever , disloca te, front uprise L, straight body bent arm press to handsta nd , fall over to back uprise, piked back off .... 9.45.

Nakaya ma : High (Japanese) inlocate, back uprise (s lightly be nt arms) to handstand, back giant (straight arms), pl anche down to back lever to L cross, lowe r through back lever, kip to L support, straight body, bent arm press to handstand, fall over to back uprise to cross, dislocate to full off (a little short on the twistl .... 9.65.

Voronin : Dislocate, straight arm shoot to handstand, straight arm back giant to handstand, fall over with straight arms to back uprise to planche, lower to cross (about Yz second), lower through back leve r to kip to L support, straight body bent a rm press to handstand, lower throu gh planche to back lever, immediate dislocate, dislocate, full. ... 9.65.

Kato : Pull to front lever, bent inlocate, cast out, high Japanese inlocate, back uprise, handstand (slight break in settling to handstand), fall over to rise up to straddle L, straight arm bent hip st raddle press to handstand, back giant straight a rm to handstand, giant down to giant dislocate, double back (tucked) .. .. 9.60.

Akinori Nakayama again repeated as Olympic rings champion with a total of 19.350, followed by Voronin 19.275, Tsukahara 19.225, Kato 19.150, Kenmotsu 18.950, and Koeste 18.950.

In the vaulting finals, the competitors were to do two vaults with th e average of both to be added to the previous C + 0 average from Competition One . Only Koeste and Klime nko were to hit both vaults, and the East German was most surprised to learn that he had won . In the post-competition interviews, he explained that he hadn't even expected to make the finals and had not suffiCiently practiced h is second vault.

With Boris Schakhlin se rvin g as superior judge on the va ults, and with only two Japa nese in the finals , it see med likel y that a Japanese would not finish in first place. What was surprising wasthat neither finished with even a medal , the first time in many consecutive events in world competition that a Japanese was not to occupy a spot on the victory stand.

Ken motsu : handsp ring 1Yz but overturned it and had to scramble on his landing ... . 9.05. (High e r scores had been awarded ea rli e r for vaults with the same fault , but in Competition Three this seemed to merit st iffe r penalties instead of greate r len ien cy.) His second vault was a handspring with full twist from the far end ; it was slightly overturned and required a step for balance .... 9.25. Ave. = 9.150.

Klim e nko : Handsp'ring full from far e nd, slightly overturned and requiring a step for balance. It did not have the he ight of Kenmotsu 's vau lt but his score was upgraded from a 9.30 (initially flashed) to 9.4. His second vault was th e Tsuka ha ra vault--Ianding on the horse with bent a rms but getting good push off for a high vault with fast tuck and a solid landing .... 9.45 . Ave. = 9.425.

Rohner: He appare ntly missed his first vault performing a right side cartwheel with J/4 turn left to land with his back to the horse .... 8.80. Hi s second vault was the handspring 1Yz from the near e nd, but his legs were apart and slightly bent during the preflight, but he had a good postflight and needed but one recovery step .... 9.50. Ave. = 9.150.

Kato : 1Yz twisting handspring (Rudolph) which was undertwisted and unde r­somersaulted and needing a step to recover balance .... 9.45. His second vault, a handspring 1Yz from the far e nd, was a disaster. Very poor pre-flight form co ntributed to under-rotation, an inglorious landing, and an 8.65 score. Ave. = 9.050.

Koeste: Ha ndspring 1Yz from near end. This was a good high vault with plenty of room to stretch for the floor for the landing but he hopped slightly for balance .... 9.45. His second vault, a handspring with full twist, seemed to be turned a little too ea rly or too much while in contact with the horse. On this vault also he required a slight hop for balance .. .. 9.30. Ave. = 9.375.

Andrianov: Handspring 1% from near end . This showed the best pre-flight form of any attempts at this vault but he landed off balance sideways and took a step back onto the mat ... . 9.50. His handspring with 1% twist was unde r-so mersa ulted and resulted in a solid landing on his seat. Apparently the leniency clause applied as his sco re was 8.90. Ave. = 9.200.

Koeste 18.850, Klimenko 18.825, Andrianov 18.800, Kenm ots u 18.550, Kato 18.550, Rohn e r 18.525.

There we re four japanese and two Ru ss ia ns in the fin a ls of the para ll el bar competit ion. To milke up for their non-appearance on the vic tory stand in the preceding eve nt , th e japa nese were to take a ll three medals .

Klimenk o: Run , jump to hig h pl a nc he po sition , cas t, Y2 turn , streuli , handstand , st ut z to handsta nd , back toss to handstand , Diamidov (with fee t apart), stutz handsta nd , drop cast , back uprise to c ut ca tc h to L support ; straddl e press to hand sta nd, back toss to ha ndsta nd and full twist off .... 9.50.

Na kaya ma: From sid e g rasps far bar in overgrip and shoots to handstand, hop over to near bar , to g lid e and overshoot back up to

stradd le L (in the fina ls he had to hook a foot under the far bar for balance), press to handstand and v. turn onto both bars , back toss th rough handsta nd , drop to basket to front uprise , reve rse pirouette, drop cast, ba c k uprise to c ut ca tch, L press to hand stand , back toss, drop to gl id e kip , front off with Y2 twist. ... 9.25.

Andrianov: Standing on beat board , peach to hand stand , front pirouette, st ut z, layaway, front upri se, front so mersa ult ca tc h and swin g forward to should e r roll , back uprise, cut catch , straight arm straddle press (a littl e fast and lack ing rh ythm ), back toss through handstand a nd swing down and fa ll to piked upper a rm support, (low) back uprise wi th bent knees and 3 intermediate swings th e n to handstand, double sa ito off .... 8.45.

With th e low sco re awarded the Russ ian , th e press ure was o ff th e remainin g japa nese. Ea ch needed bette r than a 9.5 to to p Andrianov, and each was capab le of more.

Kenmotsu: Peac h to n ea r handstand , press, forward pirou e tte , drop cast to support , swing back, priou e tt e, drop to peach to handstand, stutz to handstand , ba ck toss through handstand , drop cast, back upri se cu t catch L, straight arm press w ith stradd le legs to hand stand , stutz to hand sta nd , back off with full twi sl....9.60.

Kasamatsu: jump to end , cast to support, swing forwa rd pirouette, hi g h back toss to handstand, stutz to hand stand , Diamidov to handstand, drop cast, back uprise with Y2 turn (stutz), forward roll to back upri se to straddle c ut catch to L, st raight a rm press with stradd le legs to handsta nd, back off w ith full twisl....9.75 .

With th e 9.75 awarded Kasamatsu, Kato now needed a 9.6 to ti e for the go ld medal.

Kato: From sta nd on beat board, jump ,to st raddl e cut , 2 double leg c irc les, drop cast ca tc h to midd le of bars, sw ing forward pirouette, back toss to hand stand , stutz to near handstand , back toss to handstand and snap legs down to stradd le cut and immediate drop cast , back upri se st raddle c ut to L, straight a rm press to handstand with straddled legs, double sa ito ofl. ... 9.80.

Kato eas il y wo n with a 19.475, followed by Kasamatsu 19.375, Kenmotsu 19.250, Klimenko 19.125, Nakayama 18.875, and Andrianov 17.975.

All five japa nese performed in the fina ls of the hori zontal bar with only Andrianov to rep resent th e Russ ians.

Nakayama: Undergrip swing, shoot to handstand , J/4 undergr ip giant, stoop through sea t c ircle, Ta ke moto to back rise straddle cut over the bars and regrasp, full turn out on one a rm, change to und e rgrip and J/4 forwa rd gian t, stoop through , seat circle shoot to 3 inverted g iants, hop to undergrip and immediate Endoshoot , J/4 front giant to straddled kehre, to

. Staldershoot , 2 back giants, to back turn to 3/4 front g iant, to full twisting hecht. ... 9.60.

Kenmotsu: jump to undergrip , straight arm cast to hand stand , immediate Endoshoot into hop to di slocate grip , one eag le giant to one inve rted g ia nt to Ono turn to rear vau lt , kip with straight arms, hop pirou e tte , J/4 forwa rd giant to sta lder, shoot into back pirouette, J/4 forward giant, hech t w ith full twisl... .9.65.

Kenmotsu's routine seemed short, but he had 9 Cs and 2 B's and 1 A. USA Olympic coach Grossfeld felt it was the best routine in the finals and that on ly Ke nmotsu cou ld have executed such an intricate and difficult exe rcise.

Andrianov: Underg rip swing, shoot to handstand with st raight arms, J/4 forward giant to hecht (Vo ronin) va ult , kip , change grips, 3/4 forward giant, stoop .through , seat ci rcle, Takemoto, rear vault , back kip , cast to German giant, stoop out and half turn (below the bar),

swi ng forward change g rip, kip to one forwa rd giant , forward p irouette to two back giants, pik e doubl e fl yaway .... 9.50.

Kato: jump to undergrip sw in g, jam and stoop through to shoot into 2 eag le giants, J/4 eag le hop forwa rd , Y2 turn , J/4 back g ia nt, sta lder shoot, J/4 back giant, hop to und e rgrip and immed iate Endos hoot, J/4 forwa rd g iant , forwa rd pirou e tte , one back giant to cross ri g ht hand over left and cross grip turn to fu ll forward pirou e tte on left arm , one giant, Ono turn , rear va ult , kip change g rip, two forward giants, forward pirouette immed iate to tucked double fl yaway .... 9.75.

Tsukahara : Undergrip, jam and stoop through to Tak emo to to ba ckrise full turn ca tch , und ersw ing, hop grip, kip , J/4 forward g iant , stoop through , seat c ircl e, shoot , one inve rted gia nt , J/4 eagle hop, Y2 forward pirouette, J/4 back g iant, Staldershoot to hop to undergrip , 3/4 forwa rd giant, hecht (Voronin ) va ult to und e rswing hop to und e rgrip, kip, % forward giant , forwa rd piro ue tte, two back giants to h a lf-in , h a lf-out double flyaway .... 9.90.

Kasamatsu: Undergrip, stoop to immediate handstand, imm ed iate Endoshoot, J/4 forward g iant , stoop through to seat circ le to 2 in verted giants, one eag le , hop to one arm undergrip, ful l forward pirou e tte, one giant, Ono turn to rear vault, kip change, one forward giant, forward pirou e tte , one back g iaflt to pike-ppen fl yaway with fu ll twisl....9.70.

The horizo ntal bar was a fitting and exhi la ratin g climax to the Olympic gymnastic co mpetitions. Tsukahara earned the gold medal with a 19.725, one of the highest event scores on record. Immediately following we re Kato 19.525, Kasamatsu 19.450, Kenmotsu 19.350, Nakaya ma 19.225, and Andrianov 19.100.

(Assoc. Editor's note: Many thanks to Abie Grossfeld for reviewing and correcting our interpretations of the final routines. We hope these will be useful in conjunction with the many excellent films of the finals.)

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Mrs. Renee P. Hendershott 17605 Fries Avenue

Lakewood, Ohio 44107

NEWS Renee ~endershott_ Women s ______ _

~N NOTES Coordinating_ editor ____ _

WRITING ON THE WALL

Press On Nothing in the world can take the place of persistence. Talent will not ; Nothing is more common than unsuccessful men with talent. Genius w ill not; Unrewarded genius is almost a provert. Education alone will not; The world is full of educated dere licts. Persistence and determination alone are omnipotent.

McDonald (Sunday Empire November 19, 1972, th e magazine of the Denver Post)

* * *

FEATURE PROGRAM:

Austin Schools This article appeared in the December, 1972 Texas Gymnastic Reporter, Official Publication of the Gymnastic Association of Texas, 5100 Old Manor Rd. , Austin, Texas 78723

The Board of Education of the Austin Independant School District approved a $27,700 Secondary Gymnastics Development Plan Phase I proposal at the August 31 , 1972 Board Meeting. Purchase of equ ipment and compensat ion of men and women sponsor/coaches are included in this official step toward a broad secondary physical education program in gymnastics. In Phase II and Phase III, more comp lete high schoo l equipment sets, and beginning junior high schoo l equipment sets, wi ll be. purchased, looking forward to the teaching of physical education-gymnastics in all high schools and junior high schools for the 1973-75 schoo l year.

The Austin program was developed by cu rriculum coordinators Ellie Noack and Curt Eckhart, with the coorparation and interest of parents groups from three high schools. Finalizing of equipment purchases and securing of staff are first priorities for th e 1972-73 year.

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Austin 's pilot program in gymnastics was ' provided by the gymnastics club at John H. Reagan High School , sponsored by staff member Brian Schenk. The Reagan club began in 1967 as an extra curricu lar activity, and in 1968 a girls after-school program was added. Competitive teams were formed from the after­school program, and the boy/ girl club conducted fund-raising activities, resulting in the purchase of $6000.00 of equipment.

In 1971 , the first gymnastics-physical education classes were offered as PE-electives. Both girls and boys PE classes in beginning gymnast ics/ dance were offered , and one more advanced class in apparatu s gymnastics. Advanced courses (a second credit semester in physical education) will be offered in the spring semester of 1973.

Competitive gymnastics groups for boys and girls are operated in the after-schoo l time block. Competit ion schedu les are being developed for dual meets, regional meets, and other act ivit ies such as the Texas High School Gymnastic Clinic.

Tumbling clubs have been formed in some of the Jr. High Schools. In one, the students are paying dues of $1 .00/ month in order to purchase a trampoline. Complete sets of gymnast ic equipment have already been ordered for some of the junior & senior high schools and some strong clubs that are developing. At two schools, special gymnastic rooms will be built (44 x 120).

One of the ingredients in the Austin success has been the strong support of parent organizations. The Regan Parents' Steering Committee gave much leadersh ip to the communications w ith the School Board during the winter and spring this yea r.

The men 's staff seems to be a po tential hold­up in Austin . New teaching positions have not been created in order·to teach gymnastics. It is necessary to utilize existing jobs in order to provide the program. Therefore, it is necessary to find individuals who are able to teach a partial gymnastics schedule and a partial academic load of two or three English, social science, biology (etc.) classes . PE-Gymnastics is taught as part of the normal teaching load. A stipend is provided for extra-curricular competitive gymnastics coaching. Persons interested in present or future high school teaching / coach ing positions are instructed to include information about gymnastics background as well as their other academic teaching areas.

Gymnastics in Austin is entering a new area and a new era . Financial support, recruitment of staff, recognition as a worthy and va lid sport and excitement and approval by curricu lum director and athletic director have set the stage for what can be a real Cinderella situation.

Fund Raising TECHNIQUES

Discussed by Jim Lucero at the 1972 USGF Congress

At the first meeting of the United States Association for Independent Gym Clubs, Mr. Lucero of the Pueblo Gym Club talked of his experience with fund raising. " We started four years ago and the team is growing fast. We used to take six girls for a dual meet. This year we will be taking 20, and this costs money! The parents raise the money for the girls."

Selling various items is one source of income to the group. Whatever it is that is to be sold, they have found that it does not work out to try

Graham Bartlett at the 01 USAIGC. to estimate how many of the item the group wi ll sell and order ahead. A month and a half before delivery, the girls gc :)ut and take orders. They are each supplied with an order blank and a picture of the item to be so ld. They are instructed about se ll ing techniques to be used . Even though some of the items could be bought in loca l stores for a little less, they have found that when people understand the purpose they are more than anxious to support the cause. They pay when the merchandise is delivered later.

One thing they sold was candles. They so ld 200 dozen candles and 50 dozen bases and made $4000.00. Their profit was 60%. Another item they sold was li ght bulbs. They, aga in made a 60% profit bringing in a total of $6000.00.

Ticket sel ling contests are another method used. An incentive of a $25.00 to $50.00 savings bond is offered to the person who sells the most tickets. Fathers and mothers also take the tickets to work and easily sell many tickets to their associates there. Las t year they made $8000.00 doing this.

Voluntary potluck dinners are also on the docket. One group brings their own food and each person pays $1.50 to eat it. The children of parents attending the dinner perform in a gymnastic show on their own skill level. Another group holds these dinners once a month and makes $250.00 a month doing it. Each family brings enough food for 12 people. Tickets are $5.00 per family or $1 .50 per adult and $1 .00 per ch ild .

Some parents hold garage sales and have been known to make $200 or $300 a sale. Others se ll food at the concession stands at meets and clinics. The food is either donated by the parents or local merchants.

Mr. Lucero reminded the group that they should promote their meets held at home. They have brought in as much as $400.00 per meet. He mentioned that when one group invites another for a dual meet that it is best that the home team open their gym to the vis iting team for the night. Motel bills are expensive and this can often cut the travel bill in half. Often too .... the girls are very young and it good to be able to keep them all together in a gym rather than be spread out in a motel.

Rod Hill mentioned his new fund raising idea ... . Each girl is accessed so much a month to go into the travel fund . How much they pay depends upon how much they wi ll be traveling. The less advanced ones who do not travel very much are all accessed $3.00 per month. They have divided their Elite gymnasts into four groups. The two less skilled groups are accessed $5.00 a month and the two most advanced groups who .... in turn .... do the most traveling .. .. are accessed $10.00 per month. This way they put $1600 a month into the fund or $20,000 per year! Their gymnasts will travel

42,000 miles in a year. Bud Marquette talked about how the SCATS

raise money with their tours. He mentioned that their budget is $100,000 a yea r. There are 60 girls in the group. Some of them have never won a medal, but there is a place for each o ne in the show. Some of them do dri lls. He said that the loca l Girls Athletic Associat ion (GAA) is usually very cooperative in promoting th e shows. They sell t ickets and poste rs. The SCATS make 70% and the local organization makes 30%. This year they will go o n a foreig n tour to the Stuttgart Turnfest, Norway, Rome, Greece, Australia, Japan and back home.

Mr. Marquette told of another thing they have done. At Christmas time they have a big gym show in conjunction w ith a band and singers. They raffle off something like a speedboat and have m,ade as much as $20,000 in o ne evening this way!

Well. ... parents. These ideas should get yo u started. Get you rselves o rgani zed so that when yo u r children n eed money fo r a trip you won't have to say NO.

Scene at the USAIGC meeting, Editor's Note: These notes were taken at the first meeting of the United States Association for Independent Gym Clubs (USAIGC) at the 1972 USGF Congress - Hendershott

JUDGING NOTES

NEW USGF/ DGWS JUDGES RATING OBTAINED SINCE THE LAST CUT OFF DATE OF JUNE 16, 1972. This is from the official li st put out by Sharon Wi lch, Certificati on Chai rman (Cut-off Date .... Nov. 1, 1972) ALABAMA LOCAL RATING: Betty Nash.

ARIZONA REGIONAL RATING: Barbara Hedges, 348 S. Bryant, Tucson 35215

CALIFORNIA NATIONAL RATINGS: Shirley Anderson, Joan Kidder, Cheryl Wagner and Debbie Swartz Damsen are all national judges. They were li sted as both nat iona l and regional in the November issue of The Gymnast. REGIONAL RATING: Diana Bonani, 220 S. C:all isch, Apt. F, Fresno; Denise Brown, 8822 Lindante Dr., Whittier 90260; Euni McEntee, 31 W. Rail, Clovis ; Ann Mori, 16, N. Rochester, San Mateo 94401 ; Joanne Pasguele, 204 S. Annin, Fullerton ; Shirley Ruhlman, 5725 Blanco Ave., Woodland Hill s; Vicki Standridge, 2 Augusta Ct., Los Gatos, 95030; Kathleen Shelly and Bobby Tudsbury have moved up to regional f rom loca l rati ngs. LOCAL RATINGS: Sue Britt, Gert Larsen, Monica Lodge, Pam Miglio re, Andrea Mortimer, Susan Picchi , Mary Quesnell , Susan Singrin, Penny Wilton, and Debbie M cFadden.

FLORIDA RGIONAL RATING: Gail Sontgerath, 3613 Ave. K, Riviera Beach 33404 GEORGIA LOCAL RATING: Crystal Fountain ILLINOIS REGIONAL RATING: Ruth George, W heaton College, Wheaton. LOCAL RATINGS: Betty Axelson, Caryl Jones, Eli zabe th Whitney. INDIANA REGIONAL RATING: Berdene Wyse, Gos hen College, Goshen 46526 LOCAL RATING: Jane Betts, Billie Boultinghouse, and Jan Heppner. IOWA LOCAL RATINGS: Shirley Brown, and Linda Cood . KENTUCKY LOCAL RATING: Diane Ma Graw. MASSACHUSETTS REGIONAL RATING: Joan Hicks, 28 Farnham La ne, Westfie ld LOCAL RATINGS: Heidi Armst rong, Lynn Becroft, Lis Carson,.Beth Evans, Rugh Fai rfie ld, Virginia Irvi ne, Margaret Pappalardo, Diane Potter, Gretha Ruark, and Lena Trancik . MICHIGAN REGIONAL RATING: Dana Sue Vail, 4600 W . Britton Rd ., #128, Perry 48872 LOCAL RATING: Deborah Kastner and Donna Piper MINNESOTA REGIONAL RATING: Barb Hanson, 690 E. Balmont Lane, St. Pau155117; Mary Ann Hoschette, 1169 Breen; St. Paul 55106. LOCAL RATINGS: Patricia Eibrin k, Timara Gokulza r, and Elaine Sch lechter. MISSOURI NATIONAL RATING : Robbie Hoskovec (no address given) LOCAL RATING: Lena Sha ron Thurman. MONTANA REGIONAL RATING: Margaret Whittlesey, 1112 M iles Ave., Billings 50102 LOCAL RATING: Ann Dorrance. NEBRASKA NATIONAL RATING: Linda Beran 1836 W. Adams St., Mi llard 68137 (moves up to national from local ) NEW HAMPSHIRE LOCAL RATING: Judith Beauregard. NEW YORK REGIONAL RATING: Lorraine Adams, 1493 Rosser Ave., Elmont 11003. ' LOCAL RATINGS: Helen Allen, Den ise Anthony, Li nda Carpenter, Marcia Connors, Paulette Hoitmann, Dalmar Kitt redge, Loise Mangan , Elenor Scott , and Paula Summit. NORTH CAROLINA LOCAL RATING : Pat Granger. OHIO LOCAL RATING: Betty Sroufe, OREGON LOCAL RATING: Connie Bruce. PENNSYLVANIA REGIONAL RATING: Vicki Andrews, 913 Green St., Allentown LOCAL RATING: Dorothy Dotter, Donna Fink, Ruth Leid ick, Beverl y Stephenson , and Vick i Yokum. SOUTH CAROLINA REGIONAL RATING : Helen Timmermans, 912 Ontario Ave., West Columbia 29169, LOCAL RATINGS: Louise Peck and Mary Jo Riddle, TENNESSEE LOCAL RATING: Donna Donnell y. TEXAS LOCAL RATINGS: Darlene Schmidt and Joy Waggoner. VERMONT REGIONAL RATING: Mariyn Sheldon, Green Mountain College, Pou ltney LOCAL RATINGS: Holly Carro ll and Rebecca Mathews. VIRGINIA REGIONAL RATING: Judy Fath, 511 Pine St., Farmville. LOCAL RATINGS: Debbie Ellebrand and Ardelia Smith. WASHINGTON REGIONAL RATING : Monica Brown, 5808 Lake Washington Blvd ., S.E., Bellevue 98006 (moved from local to regional) WISCONSIN NATIONAL RATING: Janyce Sjoquist moves to national from regional. LOCAL RATING: Jane Wisse.

Address Changes of Rated Judges: Ann Beeman, Parkrose H.S. 11717 No. E, Carver; Portland Oregon Margorie Corso, SR1219, Woodland Park, Colorado 80863 . Pat Hatmaker, 7049-223 S.E., Issaquah, Washington 98027 Peggy Rowan, 4301 N. Lex ington, Tacoma, Washington 98407

Editor's Note: Because of limited space we have omitted the addresses of locally rated judges. Should a meet director wish to contact a local judge we suggest he contact the regional judge in his area, who in many cases can supply the addresses of local judges.

CALENDAR

International-National 1973 Mar. 9-10 Nationa l Junior College Gymnastic Championship, Farmingdale, N.Y . Mar. 23 NAIA Gymnastic Championshi ps, University of Wisco nsin, La Crosse Campus. Mar. 30-31 NCAA College Division Gymnasti c Cha mpionships, San Franc isco State College. Apr. 5-7 NCAA Gymnast ic Championsh ips, Un ivers ity o f Oregon, Eugene, Oregon . Apr. 7-8 National Gymnastics Intercollegiate-Women. Cliff Lo thery, Chicago Met. PE Office 31 E. Ogden Ave. , La Grange, III. 60525. Apr. 12-14 USGF Juni or Nationa ls. M eet Director Rod Hill , 10601 W. 44th , W hea t Ridge, Colorado. Apr. 13-14 Nat iona l YMCA Gymnasti c Championships, Lee Circle Branch YMCA, New Orleans La. Apr. 20-21 Nat ional DGWS Gymnastic Championsh ip, Grand View College, Des Moines, Iowa . Apr. 26-28 Senio r Nat ional AAU Gymnastic Championships; Buffalo, N .Y. Apr. 26-28 USGF Senior Nationa ls. Meet Directors Mr. and Mrs. Bill Strauss, 10 Juniper Rd. A.O. Macungie, Pa. 18062. May 2-4 USGF Elite Championships ... 5eattle, Washington. May 11-12 AAU Jr. Nationa ls at Jeffe rson H.S. in Jeffe rsonville, Indiana. Con tact Cap Cauf ill , 5303 Preston Hwy., Loui sv ille, Ky. 40214.

NEWSLETTER

And here we have some more Newsletter Writers. WASHINGTON ..... Washington State Gymnastics Association: Robert Tanac, 18533 Burke No., Seattle, Washington 98133. D ues $1.00 M ID-ATLANTIC. ... Mrs. Dolores Cuddeback clo The Beat Board , 1541 E Strasburg Rd . West Chester, Pennsylvania 19380 A LABAMA .... Wiliiam Guy, Rt. #4 Box 120, Birmingham, Alabama 35210

·MAINE .... Barbara Stoyell has changed her address to : 46 College Ave ., Orono, Maine 04473.

I am beginning to receive many newsletters written for individual c lubs. I am no t advert isin'g them because they are w ritten specifically for club members and parents. HOWEVER .... SOME VERY WORTHWHILE ARTICLES are being put down on paper in these little newsletters. It would overburden these clubs to send yo u all copies of their newsletters so I think the best thing to do is to ,extract the bits and pieces that would be wo rthwh ile for all to read and put them in the Gymnast Magazine. SO .... IF YOU ARE WRITING A NEWSLETTER EVEN JUST FOR YOUR OWN PRIVATE CLUB .... SEND IT OVER AND WE'LL SEE WHAT WE CAN DO FROM THIS END. -

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I'M NOT OVERWEIGHT ...

WHY DO I GET GRADED DOWN FOR HEAVINESS? by Renee P. Hendershott

Let us say that our gym nast has al l of her difficulty, has good combinat ions, origina lity, and fairl y good form , but still seems to be getting scored down on genera l impression ... .. or, when performing her compu lsories .. . gets g raded down for heaviness: When it comes to defining " heaviness" , judges find it difficu lt to exp lain just what working heavily rea lly is. They know that t here are some very overweight gymnasts who work ve ry lightly ... and ... on the other hand .. .. there are many well put together ones who work very heavily. The key word here is " EFFORTLESS" . The gymnast who ca n work with litt le apparent effort is working LIGHTLY.

Heaviness is caused by the inability of the gymnast to HOLD her lifted leg and her torso in the same relationship with each other that they were THROWN into during a jump o r a releve. The impact of each landing causes the leg and torso to drop. Because of weakness, the torso and arms are thrown out of control to assist in the ski ll. All of these things create a HEAVY performance!

"The legs should never be kicked up higher than they can be HELD, to show position during jump and landing. This will always lead to a dropping of the le·g and a heavy appearance. The trick is to work to the amplitude that the strength of the body .... not the flexibility, can handle.

Now, having explained what the gymnast must do to appear ligh t, let us examine some of the fine points which she must work on to enable her to change her performance : Th e key to the " illusion" is in the muscles of the upper thighs, the hips, the abdomen and the back . All of these muscles must be pulled up tightly before, during, and after jumping type movements. They must HOLD the torso and

22

c.. Fig. 1

The gymnast performing this leap, because of lack of torso strength, has leaned forward on takeoff (A) to give her a better push. Her body has reacted (D) in coming out of the leap (to maintain balance) by leaning backward. The impact of landing (E & F) has caused her weak torso, arms, and back leg to drop, thus creating a heavy appearance.

pelvis in an aesthetic alignment so that sho ulders and arms will not be thrown in all directions during the effort. The arms must be free to move into planned pathways w ithout having to assist the rest of the body in performing the skill.

The pelvis plays an important role, for if the pelvis is not held correct ly, the rest of the body has to compensate, and an effort less performance is imposs ible. We just recently saw "an art icl e in The Gymnast about posture. If the pelvis is tilted forward (fig. 3 a) , the upper back must pull back to maintain balance, and the result is lordosis. If the gymna st tries to co rrect this and tucks the hips under too far (ti lting the pelvis back .. . fig. 3 b) , then we have resu lting bent knees and rounded upper back . So we keep the hips from tilting either way (fig. 3c) The abdom inal muscles must be pulled up very tightly in an effort to st retch very tall. At

b

Fig. 3

B

Fig. 2 The gymnast performing this leap has used her arms to best advantage. By slightly lowering them upon takeoff ... then gradually raising them throughout the leap and landing (also raising the trailing leg slightly after landing) she has created the ILLUSION of endless flight. Because she is strong enough to maintain the proper torso position during takeoff, flight, and ianding, she has created an effortless look.

A

weight well distributed

<- hips have rounded appearance

B

to~ much weight thrown on inside

of ankle

The thighs are pulled up and buttocks pulled tightly together. The whole upper body is pulled straight up out of the hip of the support leg.

B This gymnast's thighs and buttocks are too relaxed. The whole upper body is sunk into the standing hip.

the same time the upper back must not be thrown into an arch .... the pull should be straight up. The shoulders maintain a slight downward pull and the arms must be free to move in a relaxed manner .... placed in the positions that the gymnast wishes them to go.

There is another type of control that the pelvis must maintain. We could name this " lateral " placement. This comes into play especially when one leg is lifted off the ground and the weight is placed solely upon one leg. The untrained body will allow a lot of moveme ~lt of the hips under such conditions. One must pull the entire body up and out of the standing hip. This would seem to be an

impossibility unless there were ropes tied to the body supporting it and pulling it upward out of the hip, but here is how it is done : (fig. 4) The muscles on the front and side thighs are pulled up very tightly and shou ld give one the feeling that they are rotating laterally around the femur (th is holds true whether the legs are turned out or forward for tumbling). At the same time, the muscles of the buttocks must be pulled very tightly together. When the r ight muscles are being used, the weight is thrown more on the outer part of the feet and this puts less strain on the arches. When looking at hips that are properly pulled in (from the front or the back) they appear to be caved in at the sides instead of rounded. One should be ab le to stand on one leg and look in the mirror and actually see the whole body be pulled up o ut of the hip WITHOUT ANY TILTING UPWARD OF THE HIP ON THE SIDE OF THE LIFTED LEG! At all times ... . whether the support ing leg is bent, or straight, this tightly "pul led up and out" position must be maintained. With th is type of contro l, one is then ab le to keep the hips well under control under any stress.

Fig. 5 Hips remain even ... shoulders over hips.

The things that the hips must do to enable the body to appear to be performing efiortlessfy

a. b Fig 6

Russian Style .... to achieve greater height of extension to the back, the hip of the lifted leg is considered a part of the leg. The hip is rotated upward (a) along with the leg as it turns out so that the knee faces

are these : One hip must not tilt higher than the other .. .. even when its leg is li fted very high. There is one exception to the idea of not lifting the hip, and this is when the leg is extended to the back. Using the Russian style the gymnast must learn to lift the hip along with the extended leg w ithout losing her body alignment. This is done to achieve the height of extension wh ich the gymnast needs for amp litude.

When extending the leg forward , one hip must not rotate forward. It must stay back and even with the other hip. All of these things are necessary to maintain the proper balance and the ab ility to LOCK the parts of the body in place. If the hips stay in line, then the shoulders are easily kept right over them and losses of balance to the side are experienced less frequently .

If the gymnast finds that she cannot lift the foot (with the leg extended) more than a foot or two off the f loor without also lifting the hip, she has weak thigh muscles. The dancer does many exercises daily (such as deve lopes and grande battements) which gradual ly strengthen her legs so that she can lift her legs very high ... even up to the level of her eyes ... without having to lift her hip or throw her shoulders out of line. (The importance of daily ballet bar work for the gymnast cannot be strongly enough emphasized here.) Not only can she lift her legs without loss of alignment, but she ca n HOLD them there .... even when going through the stress of coming out of a high jump. Furthermore .... the torso becomes strong enough through doing the same exercises so that it does not drop forward when going into and coming out of big jumps.

So ... the gymnast who wants to win that full point for LIGHTNESS in her compulsory floor exercise and beam routines and get a higher score on general impression on her optional work must.. .. l. Learn proper ballet alignment....2. Do daily ballet bar work to strengthen the body so that this alignment can be HELD during stress. and .... 3. Concentrate on its application when putting the body through stress.

c

\ 'f

knee faces directlv out to side stretch leg to lengthen ill

sideways (c). The shoulders must maintain their position directly over the hips (a) and must both remain forward. (b) shows improper alignment of typical beginner.

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\\1 \If Gymnastic HEEBIE· JEEBIES

By Barb Pfaff Great Falls High School

, !

Complete ly relaxed now, I sat curled up in a Trembling, I pulled on the cove ted blue chair, dangling stocking feet and discussing th e uniform. I wondered if anyone felt the sa me events of the meet with my parents. " Did you way I did , whether anyone e lse saw the black see the time Michelle almost fell of th e beam, cloud of fear descending upon them. One Dad? She made a great recovery! Alii could say st rain of a rock song, ""This' ll be th e day that I was 'whew' ! Kathy's mixed grip-straddle die ... ", kept running through my mind. " What looked ni ce tonight. Anna has a lot of grace, if I blow it?" I shuddered. " What if th at song don 't you th ink, Mom? Do yo u want to know comes true? No! I can ' t think about that! " something funny? Barb S. was more scared than As I was about to leave the locker room, I was! " Rea ll y, it wasn ' t a conversation ; it was a someone told me that my uniform was on Barb's babble session. backwa rds. I had to laugh. I mmediately I felt

Dad made a comment that he and Mom somewhat better. After cha nging it, I raced on would have to learn the terminology used in winged feet up the stairs and into the gym. gymnasti<;s. It has a language that is The cold gym wanted to swa llow me alive. unintelliglible to anyone not acquainted with Somehow, though the gym hadn ' t changed, it. So I began to exp lain each term and its the atmosphere in it had. The air was charged corresponding movement to them in deta il. with lit tle electric particles of excitement and But eve ry time I thought of my routine I felt li ke fea r. I saw the unevens in the center of the dancing around the kitchen. It seems to me I room , wa iting. The horse, the mats, the beam, did that a couple of times that night which is a and the unevens all seemed to be waiting for norm for me when I'm excited. Suddenly, as I someone to lovingly go through a routine. Even talked , the blue-green kitchen wall fad ed into lovingly doesn ' t describe the way a gymnast non-existence. The essence of fear, which was feels as she does a good routine. There is no not quite erased from my mind, again pervaded word that can. Concentration is so deep that as I was transplanted to the familiar tradition- nothing but the routine is felt. Each bod y filled halls of Great Falls High. position is carefully planned before execution.

Opening the gym door, I half-walked, half- Grace and excellence of performance are all ran down the stairs to the locker room. Yanking that matter to the performer. open that door, I found myself in the place I walked up to the bars to touch them. They where I had practically lived the past week, felt the same as they always had, rounded and both in thought and reality. The familiar , ugly, slight ly rough. The thought that at least they army-green lockers stood like sentinels in even hadn ' t changed was reassuring. Often during horizontal rows, filling the huge tan-colored pract ice I had stood touching them as I did room. now, watching someone smooth out the rough

At the long mirror on the left wall several girls spots in her mandatory while waiting for my f ixed straggly locks and adm ired the flattering turn . navy-blue uniforms. The towel carrier, usually The bars wobbled sli ghtly when I got on . But full to over-flowing with filthy white towels, by now every littl e jiggle and wobble was stood forlornly empty against the cracked wall. familiar. Astride the bars, which are such a Where was the mess? There were no stacks of terror to many, I was in my rightful place. Even books lying on the floor or clothes draped the painful contact of blistered hands and haphazardly over locker doors. Even the noise unyielding wood comforted me. I practiced was different. Success, failure , and fear were sections of the routine repeatedly. Mr. Davis, the main topics of .discussion. the coach, told me to st ick my hip-circles. I had

24

just lea rned the movement yeste rd ay, and he wanted me to perfect it in the hal f hour before the meet?! Needless to say I couldn ' t do it, but no one co uld say I didn't try.

Sweat poured from me, and the newly cleaned uniform was white with chalk spots. Finally our other coach, Mrs. Stalnaker, made me quit on th e g round s that I might tend to be too pooped to perfo rm . I complied to o rders.

Just then the Fort Benton girls paraded into the gym. Kathy, Barb S., and I, the unevens gang of Great Falls High School, watched th eir crew like hawks. Every move they made was either comp limented or cr itici zed. Having seen them and sized them up, we had a li ttle more confidence in ourselves.

" All gymnasts clear the floor! " blasted from a microphone w hich stunned me and interrupted my thought patterns . With stiff legs almost like a tin soldier, I marched to a row of chairs specially reserved for team members. Having had many yea rs of ball et lessons, without rea li zing it, when nervous, I always walk on my toes. I would have made a great puppet at that moment. If someone had pul led the imaginary stri ng at the back of my neck, I would have squeaked mechanically, " Help, I'm sca red! Help, I'm sca red !"

Strains from a scra tched Star Spangled Banner record filled the air. But I doubt seriously that any gymnast there heard more than th e opening bars. I know I didn ' t, my mind was on the approaching test.

Without warn ing, with a nod from a judge and the sound of running feet the meet began. The low hum from the crowd rapidly changed to complete sil ence. Though the gym was less than half filled with people, it seemed that there were hundreds, thousands. Eve ry eye was on each girl alone as she faced her Goliath. However, to disgrace the navy-blue uniform was the worst possibl e offense; it was bad luck even to think of fai li ng. During the routin es, from the Bison fans and team cou ld be heard , " Make it, Anna! " " Don ' t falloff, Michelle. Whew! "

Watching the meet with glazed eyes, it seemed unreal, d reamlike. " This can't really be happening, not now! " Freezing, I rubbed my palms togeth er to warm them and discove red a thick film of perspiration. A lump the size of a golf ball closed my throat and my parched, dry mouth felt like sandpaper. I clenched my hands in fear awaiting the announcement for our team to warm up. During that time I formed a checklist in my mind : bad hip-circle, bent arm, bent leg, fa ll , rotten dismount...Every time a gymnast did something wrong my eyes widened with horror, and I made a mental note not to do the sa me.

I watched each moment tick away with dread, for each passing second brought me closer to THAT MOMENT. Routine after routine began and ended. Applause ripp led in waves and bounced hollowly from the wa lls. I heard the bea ting of determined hea rts pulsating in rhythm with my own. With a surge of panic I knew that if I couldn ' t stil l this gnawing terror, I would miserably fail. Knowing of only one way to banish fright, I prayed, " Dear Lord, please take my fear away. I know you can. Help me to go through this routine by your strength. In Jesus ' name, Amen. " Slowly that unbearable horror left, and now I counted the minutes until THAT MOMENT, with an intense excitement, instead of dread.

Inev itably th e fateful announce ment ca me, " The Great Falls High Schoo l unevens team may begin their warm ups." Th e three of us, heads held high , walked togeth er to th e warm up mat. Whil e stretching my muscles with all my might, I had no time to think of THAT MOMENT. Aching legs protested as the gap between them increased in th e splits position. I could almost hear my parents thinking, " You ca n do it, Barb ! Go on up there and give it all you 've got! " M y team mates were thinking, " Com e on you guys, beat em! "

Immediately after stretching we began our one minute warm ups on the bars . Each girl completed one short movement. I did a shoot through and then climbed off. All too soon it was over. THAT MOMENT HAD COME.

" Next on the unevens for Great Falls High is Barb Pfaff. " Knowing that after my routine I would either hear a swan song or a well done I decided that I liked the latter. So with a step of determination I advanced to the bars. Every fiber in me was tuned for that infinitely short 30 second routine. Thrilled by the excitement of the impending test, my breath came in short gasps. I \yas still trembling, but now not from fear. I'm sure a race horse waiting for the bell at the Kentucky Derby feels similar to what I felt at that instant. Standing there waiting for the " go" signal, I glared fiercely at the bar in concentration. Anyone watching me, undoubtedly would think I wanted it t6 disintegrate. However, if a glare could demolish those bars, I know that they would have died a sudden death long ago, shriveling into noth i ngness.

Then seeing the judge's nod I did the weird little preparatory arm movement which has earned me the title of " The Drummer. " Even though it'.s strange, it' gave me a moment to collect my thoughts before beginning a brisk run . I hit the board , did a back hip-circle and thus mounted the bars. After the mount I heard no other so und; I was in the world of the unevens. Millions of thoughts crowded into my head -- point your toes, keep your arms straight, and hold your head high. My legs started to bend in the middle of the routine, but with a supreme effort I straightened them. After finishing one of the moves, suddenly I started to falloff. Suspended for a moment in space, holding on only by my arms, I strained every muscle and nerve to stay on . Miraculously I hooked a leg on the bar. As if in a dream, my mind clicked mechanically, "hip­circle, shoot through, mixed grip, straddle ... " . Gritting my teeth and contorting my features in the exaggerated faces which are characteristic of me, I strained each nerve to its limit with each movement I made.

Practically floating down on my dismount i . hit the ground and threw my hands up in the V position which for me that night symbolized victory. My hearing again was restored ; I heard applause. After presenting myself to the judges, knowing that I had done my best, I stood to wait for the score. I could almost hear the pencils scratching as the judges worked out their verdict. " Oh, no, they 're going to have a conference! " I was hardly breathing, expectantly yet fearfully awaiting those all important numbers. Seconds ticked by, then minutes, it seemed like an eternity ... Suddenly I saw ... a 5.45! Exhilaration overwhelmed me. I had accomplished the impossible. I had conquered! Nothing is like that feeling: it's in a class by itself. My heart almost burst with the combination of joy and relief.

Almost stunn ed, co mpletely drained o f energy, and t rembl ing fro m ex haustion , I sat down to w atch the re maining members of our uneveri s team face TH EIR MOMENTS. Th en together, triumph antly we marched back to the sidelines once mo re. With ou r solos over w e stepped ba ck into the fabri c of society, facing oblivion gratefull y but proudly.

Editor's Note: Watch for "Gymnastics With Lourie" to appear again very soon. She has been on vacation and just getting back in shape.

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Editor's Note: We would like to start a question and answer column. Sort of a " Everything You Wanted To Know About Gymnastics But Were Afraid To Ask." type of article. So if you have any questions (We'll accept answers) that you think should be in this column send them to Barbara Thatcher c/ o GYMNAST magazine P.O. 110, Santa Monica, Calif. 90401

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THE EFFECTS OF GYMNASTICS ON VARIOUS PHYSICAL FITNESS COMPONENTS: A REVIEW

by James S. Bosco, PhD

Studies dealing with the effects of gymnastic training on the physical fitness of previously untrai ned subjects of different ages and of both sexes have been summarized by Bosco (2) in a dissertation entitled, " The Ph ys ical and Person ality Characteristics of Champion M ale Gym nast ics" (1962). Also summari zed were " pres ent status " studies based on measurements taken on highly trained gymnasts.

Gymnastics and Strength . Of 10 studies reviewed, all seven of the training type repo rted increases in strength due to participation in gymnastics. The test items used in all studies were generally of the dynamometric type involving maximal isometric contract ions of the hands, back and legs. Three "present status" studies showed real differences between varsity gymnasts and normal subjects. Superior strength was demonstrated by Dan ish gymnasts compared to American track and swimming Ol ympians. Based on avai lable information, the followin g co nclusions were made:

1. Participation in gymnastics has been shown to increase the strength of untrained subjects of various ages and of both sexes.

2. Trained gymnasts have been shown to be considerably stronger than samples of normal , untrained subjects.

3. Strength seems to be one of the outstanding character istics of highly trained gymnasts.

Gymnastics and Power. Nine studies we re reviewed which attempted to relate gymnastics and power. Typically the test items used were of a throwing or jumping nature. All seven of the training studies reported improvement in power after participation in gymnastics training. Women, children and adult men were represented in the samples. In two "present status" studi es, DiGiovanna (2) found gymnasts to be more powerful than members of other varsity teams while Cureton (3) found Dan ish ex hibition gymnasts to be inferior to Olympic track men but superior to Olympic swimmers in power.

Within the limitations of the studies reviewed, the following conclusions were considered tenable:

1. Parti cipation in gymnastics will improve the power component of physical fitness in non-trained subjects.

2. Samples of trained gymnasts of any age or sex are co nsiderably more powerful than samples of normal, comparably aged subjec ts.

26

Gymnastics and Muscular Endurance. Seven of the eight studies rev iewed were of the training type. All seven repo rted improvements in muscu lar endurance with gymnastic training. Th e test items used were of the all-out variety involving the arms, legs and abdomi nal region (ch in-ups, dips, endurance hops, push-ups, sit-ups, etc.). The one " present status" st udy showed highly trained gymnasts to be superior to a samp le of untrained men in chin-ups but inferior to highly trained track men and swimmers. Overall conclus ions were:

1. Gymnastic participation has been shown to improve muscular endurance.

2. Trained gymnasts have greater muscular endurance than normal samples of untrained subjects.

3. High muscular endurance, particularly in the upper body, is an outstanding characteristic of highly trained gymnasts.

Gymnastics and Flexibility. I n all, seven studies dealing with flexibility were reviewed. The test items used to measure flexibility were, generally, of the "gross flexibility" type involving the ankles, trunk and shoulders. One study measured the effects of gymnastics on individual joint segments. The six training studies reported improvement in flexibility and the one " present status" study found the Danish gymnasts to be the most flexible group of young men ever measured. General conclusions were:

1. Participation in gymnastics will improve fle xi bility of untrained subjects.of various ages and of both sexes.

2. Highly trained gymnasts exhibit an extraordinarily high level of flexibility.

3. Flexibility seems to be one of the outstanding characteristics of highly trained gymnasts.

Gymnastics and Balance. Two studies were reviewed which attempted to relate gymnastics and balance. In the training study, children already in various stages of gymnast ic training failed from 32 to 60% less on three gross balance test items than new gymnastic pupils. In the " present status" study, gym nasts were found to be superior to non-athletes and four other groups of athletes in tests of sta tic and dynamic balance. On the basis of available evidence, overall conclusions were:

1. Participation in gymnastics may improve balance in youngsters.

2. Gymnasts appear to have better balance than other athl etes as well as non-athletes.

Gymnastics and Agility, Speed and Reaction Time. Six studi es were reviewed which attempted to relate gymnastics and agility. The test items used io measure agility we re, generally, those which required the subject to perform some total-body movement involving a time element. Two stud ies reported gymnastics as improving ag ility but not as well as a number of other activities. Matz (4) reported only slight improvement in the Illinois Agility Run test.

Three studies attempted to show th e effects of gymnastic training on speed as measured by time in the 440-yard run, 5-second run test and 300-yard shuttle run, respect ively. Little o r no improvement was reported . One " present status" study showed gymnasts to be superior to non-athletes, football linemen, basketball players and baseball players in speed measures.

No training studies were ava ilable while one " present status" study showed highly trained gymnasts to be inferior to highly trained track men and superior to highly trained swimmers in gross body reaction time. On the basis of

available evidence, the following conclusions were drawn:

1. Partici pat ion in gym nastics may improve slightly, the agility of untrained subjects.

2. Trained gymnasts are slightly better in agility than samples of normal untrained subjects.

3. Gymnastic training wi ll probably not improve gro ss speed in untrained subjects.

4. Trained gymnasts have above average speed.

5. Train ed gymnasts have above average reaction times.

Gymnastics and Physique. Six training studies associated improvements in the following measurements on you ng boys who participat­ed in gymnast ics : (1) foot measurements, (2) chest breadth, (3) ank le girth, (4) chest depth, (5) hip width and (6) height. Though often ru led out by the authors, these changes might have been attributed to growth. Studies on different age groups and both sexes most commonly reported reduction in weight and fat deposits as a result of gymnastics training.

Two " present status" studies showed trained gymnasts to be smaller than normal in height, weight, leg length, hip width and arm span. The same gymnasts were larger than normal in upper-arm girth and shoulder width. The following conclusions were made:

1. Gymnastic training may decrease weight and fat deposits in untrained subjects.

2. Highly trained gymnasts have the physique characteristics outlined above, in the " present status" studies.

Gymnastics and Cardio-respiratory Fitness. Six training studies reported increases, in va rying degrees, in vita l capacity or breath­holding after participation in gymnastics. Conflicting reasons for this increase were proposed by Methany (5) and Zimmerman (6). The former attributed the increase to the mechanical stretching of the thoracic walls during gymnastics training while the latter credited structural improvements in chest depth and breadth.

One " present status" study found highly trained gymnasts to be quite inferior, on the average, to highly trained track and field men and swimmers in breath-holding ability.

A large va riety of tests have been used by physiologists and physical educators in an attempt to quantitate d ifferen ces in cardiovascular fitness of normal subjects. Twelve studies were reviewed which attempted to relate gymnastics and cardiovascular fitness. The test items varied from pulse rates to e lectrocard iographic observations. The training studies reported little or no improvement in cardiovascular measures as a result of gymnastics training. Actually, some studies reported losses in cardiovascular fitness. Three " present status" studies reported, respectively, that (1) trained gymnasts had lower pulse rates than physica l education students, boxers and wrestl ers, (2) highly trained gymnasts were inferior to highly trained track men and swimmers in most cardiovascular measures, above average in the Schneider Index and Barach Index but below average in the all-out treadmill run (10 miles an hour) and (3) middle and old aged gymnasts were found to be relatively free of cardiovascular degenerative diseases.

The following over-all conclusions are made : 1. Gymnastics training has been shown to

improve vital capacity of untrained subjects. 2. High respiratory fitness is not one of the

outstanding characteristics of highly trained gymnasts.

3. Participation in gymnastics wi ll not improve circu latory fitness significantly.

4. Highly trained gym nasts are not noticeably superi or to samples of untrained subjects in circulatory fitness.

BIBLIOGRAPHY

1. Bosco, 1.S. the Physical and Personality Characterist ics of Champion Male Gymnasts. Urbana: Unpublished doctoral dissertation , Un iversity of Ill inois, 1962, Pp. 201. 2. DiGiovanna, V. The Relations of Structural and Functional Measures to Success in Coll ege A thlet ics. Research Quarterly, 14: 199-216, 1943. 3. Cureton , T.K. Physical Fitness of Champion Athletes. Urba na: University of Illino is Press, 1951, Pp. 457. 4. Matz, G.E. The Effect of Gymnastics on the Motor Fitness o f Boys. Urbana: U npubli shed M .S. thesis, University of Illinois, 1954, Pp. 99. 5. Methany, G.M. The Influence of Methodical Gymnastics in Increasing Chest Capacity. Proceedings of the American Association for the Advancement of Physical Education. New York : Rome Brothers, November, 1886. 6. Zimm erman, F.V. The Effects of Tumblin g and Trampoline Act ivit ies on the Physiques of Young Boys. Urbana : Unpubl ished M.S. thesis, University o f Illinois, 1954, Pp. 57.

Trampoline Routine For Beginners

Drawings by Pat Avera Routine by Jerry Wright Introduction:

This is the last in a ser ies of six articles designed to present routines su itab le for high schoo l P.E. classes, high school intramura l meets, college P.E. c lasses and college intramural meets.

Concerning this final art icl e the following clar ifi catio n is provided. The author recommends the t rampoline as one of six events fo r a P.E . p rog ram because it is easy to learn, easy to teach (but difficult to supervise­so watch out there) and the event students generall y have the most fun on . Th e trampoline takes the place of vault ing because it is fe lt by many, incl uding the author, that vault ing is unwei ldy at beginner levels.

Please note that the following routine may be started wit h either a back sa ito or a back pull­over. The type of back pull-over recommended is the seat drop type as opposed to the back drop variety for safety reasons.

A-a A-b A- c A-d

1-A 1-B 1-C

B C D

E F G H I

Beg in w ith back saito and land on th e feet (beginner could be permitted to take an ex tra bounce here to rega in contro l).

Back pull over stan (ex tra bounce may be used here also) .

Sea t Drop y, tw ist to sea t drop (swive l hip) bounce from sea t drop to fee t and then d rop to back drop - bounce from back to y, tw ist to back drop (cradle). Then bounce to feet and drop to knee drop. From knee drop bounce to front sa ito (recommended from knee d rop beca use it is easier to contro l).

16mm Olympic Gymnastic Films Price List 1972 Olympics

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Womens's Compu lso ries 240 ft. 9.6 min . $ 39.50 (c) $ 24 .50 (b&w)

Women's Highlights 525 ft. 21 min. $ 87.00 (c) $ 50.00 (b&w)

Women's Finals 1,100 ft. 44 min. $ 175.00 (c) $ 85.00 (b&w)

M en 's Highli ghts 555 ft . 22.2 min. $ 92.00 (c) $ 55.00 (b&w)

M en's Finals 955 ft. 38.2 min . $ 155.00 (c) $ 75.00 (b&w)

Special pri ces are ava ilable if three o r more films are purchased. Write fo r quotati on.

' * This is based on a proj ecti on speed o f 16 fram es per second. The films were taken at 24 fram es per second ; there fo re, the .perfo rmances can be viewed at slightly slower than normal motion w hen pro jected at 16 frames per second .

C. Swivel Hip

F. Cradle

Women's Highlights (c) Rental Po l icy

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'I1

LET'S LEARN A STUTZKEHRE

By Bill Roetzheim

So you think you can work parallel bars without learning a Slutzkehre? Start constructing •. routine excluding this skill and its many variations. You qUickly realize that there a're limited means available to you for turning around. As you add skill to skill in developing a routine how apparent it becomes that a Stutzkehre could be used to solve some of those building problems. Even if you are

28

successful in constructing an exercise without using this skill you're not out of the woods yet. I would have to tax my memory and go back a very long way to find an Elite compulsory routine that did not include this maneuver. So why fight it, let's all learn a Stutzkehre.

I am not going to dwell on the mechanical means you, as a coach, should employ in physically teaching this skill. The various logistics I've seen employed are numerous and each has redeeming qualities . Some coaches have the student grasp the end of the bars, facing outward to alleviate his fear of hitting the bars. Others use a spotting box on the side of the bars and actually have him throw for a handstand. They, of course, intervene by reaching over the bars, grabbing the gymnast by the thighs and hips, and setting him in the finished position. I've seen bars individually

padded with foam rubber and also mats thrown over the bars.

It is my personal preference to begin the student in the middle of the lowered parallel bars. I have him start from a very small swing and only increase the arc of the swing when he gains confidence in handling the greater movement. You can use this same procedure but modify it so the gymnast is facing out at the end of the bars, however , it has b.een my experience when using this approach that the performer did not keep his shoulders in proper alignment. That is also the reason I start him from a swing as opposed to a handstand . The beginner, in swinging down from a handstand, is inclined to press his shoulders forward for greater control. This physical position - is incompatible with the performance of a Stutzkehre.

Study the pictures; build up slowly, and before you know it, you will have the high Stutzkehre you've always wanted.

This skill is done so frequently your amplitude and general technique will inadvertently be compared to other gymnasts using this trick. It is essential if you are to benefit from this direct comparison that you strive to push toward the Stutz ·handstand. At the Munich Olympics every good gymnast carried the Stutzkehre in the compulsory to a handstand, although only a Stutz was prescribed.

This sequence of pictures is excellent and is indeed worth pages of descriptive narration. I will however, try to hit some of the most important things to emphasize in teaching this skill.

In this move the gymnast should think in terms of riding the swing through the bottom. If you stress any type of throw, dive, or sinking in the shoulder gi rdle during the fi rst half of the

skill, the student usually throws his shoulder forward and prematurely initiates the twisting action. Watch him closely, making sure his swing is free and that the shoulders remain over the hands as he passes the base of the swing. NO twisting action should be inaugurated at this time.

The twisting action is begun when the body, in a slight piked position, passes a point parallel to the bars at approximately shoulder height. If you begin before this the swing will carry your body forward in front of your hands giving you a poor base of support. Notice you release only the hand away from the twisting action, rather than the simultaneous release that many beginners attempt. They body shol,lld almost complete the full 180° turri on one arm. Whil e still supporting weight on this pivotal arm the outside hand comes around to position just

above the pivotal bar. During this second phase the gymnast will lose center alignment. Because of the extremely late release he will move in varying degrees slightly over the pivotal bar. This is quite natural. Notice that the shoulders stay over or slightly to the rear of the supporting arm.

During the final segment of this skill the gymnast pushes hard from the shoulder on the supporting arm. This is coordinated with the body finishing its final extension which was first started in the middle phase . This driving action not only gives you a final lift but also compensates for your lack of alignment and once again centers you between the bars. I think the most important single aspect of this skill is your ability to stay on the pivotal arms until the legs reach great elevation and the twist is almost completed .'

29

SIDE HORSE IS SIMPLE

By James Hesson University of Nebraska

There are many misconceptions about the side or pommel horse event i n gymnastics. The most serious of these is that working the side horse is difficult. This is one of the hardest obstacles to overcome as a coach . However, with enthusiasm, sound training techniques and enjoyable progressions this can be one of the most rewarding and enjoyable events in gym nastics.

I have said that side horse is a simple event. There are only two kinds of swing on the side horse, the pendulum swing that is used for scissor work and the circular swing that is used for double leg work. A more detailed examination reveals that there are only ten basic skills to learn on the side horse, all other moves being a combination or variation of these basic moves.

In this first of possibly a series of articles about the side horse I would like to concentrate on the most underdeveloped and overlooked aspect of side horse work, thal being scissor work . I notice that everyone I talk to cringes when I say scissors. Performers, coaches and judges all know how badly they are being performed and yet very few coaches or gymnasts have done anything about it.

Many gymnasts either consciously or sub-consciously reason that since scissors are such a small part of their routine they need only a small amount of work. This could not be farther from the truth. The fallacy of this reasoning lies in the fact that while the scissors are numerically a small portion of the routine they are the largest area of deductions during the performance of a routine.

Let me illustrate what poor scissor work can do to an otherwise excellent routine. Most gymnasts will touch the horse to stop the circular (doubl~s) swing and begin the

Poor for the side horse.

30

Larry Evermann, of the University of demonstrates well executed, controlled scissors on the side or pommel horse. pendulum (scissor) swing. According to article bending the front leg because the hips are 36 paragraph 2 of the "FIG Code of Points", behind the hands. If he straightens that front touching the body ofthe horse or the pommels leg he will either hit the horse or have his leg with the feet, legs or with the seat or other parts too high for an effective pendulum swing. So of the body if touching of these is not required add another.2 for touching, .1 for bent leg and by the execution of the movements, is a.2 to.5 .1 for poor position of head and body (article deduction, every time. Usually this break into 36, paragraph 1,"FIG Code of Points" .) Now, scissors is accompanied by at least a .1to.2 form because of the poor body position it is break in the knee or foot to cushion the impact. impossible to lift the hips to the desired height Then, assuming the first break is into a reverse for the reverse scissor. According to the Code scissor (very common), the gymnast swings of Points "forward or reverse scissors, without through the bottom of the scissor brushing or hip movement, means that the imaginary "touching" both sides of the horse and horizontal line does not pass throug~ the

Correct body position for the side horse.

r-------~-----------------------

upper hip and the shoulder of the supporting arm, each tim e deduct up to .2." Rather than elaborati ng a po int, wh ich is in need of elaborati ng, go through your own scisso r sequence ded ucting .2 to .5 every t ime you touch the ho rse o r pommels w ith a body part other tha n the hands. Th en deduct up to .3 every time you bend a leg, don' t point a toe o r have the head or body in a poo r position , and up to.2 for each sc isso r in which yo u don ' t have a hori zon tal line from the suppo rting shou lder through the upper hip. You w il l find that. you are probably losi ng 1 to 2 full points just on your scissor work. As a result most of the top side horse men are rece iv ing sco res in the high eights and low nines. This leaves the coach and the gymnast scratching their heads and cussing the judges at the end of a routine wondering how they could have done bette r double leg work and how ma ny more C moves they shou ld add. Ho pefull y this art icl e w ill help yo u to discover what can be done to improve sc issor work and side horse scores and how to do it.

START OVER if you are an advanced perfo rmer or START A TTHE BEGINNING if you are just starti ng to work side horse, the best body position for scissor wo rk begins by straddling the side horse with one hand on each pommel, body erect, head neutral, high in the shoulders and hips faCing the end of the horse (figure 1 and 2). Th ese are all important facto rs in obtai ning height and leg clearance at the bottom of the swing. No w begin to swing, low and controlled . Maintaining a smooth contro lled swing gradually increase the amplitude of the swi ng. Th is takes time, but do not sacrifice control fo r height. You will obviously reach a point at which you will bave to lift the hand p r go through your arm, lift th e hand. Lift the front hand on the front swi ng and the back hand on the back swing. At this point try to remain in a straight body position as much as poss ible and avoid any excessive bending at the waist or lifting of the legs. All you want is a straight body SWING. Once you can perform an excell ent sw ing both ways (right leg forward , left leg fo rward) begin to work on low swing scissors by performing two swings between each scissor. Through all of th is progression maintain a high degree of form and do not touch the horse with the legs. After you have accomplished the scissor with swings in between, begin to work on co nsecutive scissors, about 10 at a t ime. Smooth , continuous, clea n, sw ing scissors in sets of 10 will develop th e coordination and body mechanics for the swing without producing fatigue.

Only after you ca n do the swing should you begin to think about the scissor lift. As the term lift indicates it is from th e swi ng on up. Do not try to learn the lift before you have a good swing. It will result in jerky scissors with the hips low and it is very hard to co rrect o nce it beco mes a performance pattern. To work on the lift after you have a good swing perform a set of four high scissors or start with smooth low ones and build them up. I n performing the lift you ca n see th at th e hip angle (hips facing the end of the horse) is again to your advantage for shortening the swing radius. To illustrate, try lift ing your leg as high as you can to the side, then try lifting it as high as you ca n to the front, if yo u are const ructed like the res t of the homo sapiens yo u will b e able to lift you r leg much higher in front. We are going to apply th e same principle here as we do on the rings, h igh bar, etc., shortening the radius increases the speed of rotation or, as in this case, the speed of upward movement. Drive the foot of the back

leg straight up toward th e ceiling, follow this w ith an extension or disengagement of the hips as high as possible. When the hips are disengaged o r extended they are also being rotated th e opposite direction to prepare for the next sc issor (hips facing the opposite end). At this point it is importan t to reach between the legs w ith the free hand in preparation for the swing through the bottom. Reaching for the pommel too ea rl y o r too late o n the down sw ing will compli cate the performance of the next scissor and w ill g ive t he sc isso rs a jerky appea rance . Do not let your feet reach the bottom of the swing before your trail hand is on the pommel.

For parallel bar men and coaches the "arm ride " or " shoulder ride" and hip rota tion o n high scissors is very similar to th e high stutz o n the parall el bars .

Even more neglected than the fro nt sc isso r is the reve rse scissor. The basic scisso r swing is the same and the developmental seq uence is th e same, that is; lea rn the swing, two swings between sc isso rs, 10 co nsecutive swi ng scissors, four high scisso rs . Th ere are some differences on the lift . To begin with you should drive with th e back leg fro m th e bottom of the sw ing up to eliminate premature hip rotation w hich usually ca uses the back of lower leg to hit the horse befo re yo u are in position for a scissor. Driv ing the back leg will also g ive you max imum height on the sw ing. Approaching the top of the sw ing rotate the hips and lift the top leg toward your face, once again foot toward the ceiling. Now yo u have hips h igh and leg over your head and you look great, but don't bask in your glo ry too long or you will find yourself on th e downswing with a short radiu s which will probably leave you in a dea d hang o r sitting on the horse when you ge t extended at the bottom. Instead push the leg and hip up and out in an attempt to get extended for th e downswing, once again get your hand on the pommel as soon as possible without damaging the swing.

Rega rding the hands, try to keep them on th e front half of the pommel wh enever you are working side horse. There is a natural ana tomica l angle in the palm of the hand when gripping and slight as it may be, pommels have been built to compensate for that angle (figure 3). Placing your hand in the middle of th e pommel you are putting the wrist in a diffi cult position and if you get your hand on the back of th e pommel you will bend your e lbow, (In fact thi s, not weakness, is the most frequent cause of bent elbows on side horse.) o r drop your

Incorrect grip lor side horse.

shoulders back and push yourself 011 01 the horse because the wrist has very limited flexibility in that direction (figure 4) .

Some of you will get the basic front and back sc issor before oth ers so to keep you on the progress ive road here are some vari at ions for yo u to perform.

Front Scissor: '12 twist (B) 1 twist (not listed, should be C)

hop side travel (B) hop side travel with '12 twist (C)

hop side travel with 1 twist (not listed, should be C)

Reverse Scissor: '12 tw ist (not listed, should be B) hop side travel (not listed, hard B) hop side travel '12 twist (not listed , should

be C) \ I have listed o nly variations that I have

executed. Also remember that there is no rule restri ct ing scissor work to the middle o f the horse.

Present ly there is no specific deduction for scissor work not commensurate with the difficulty of the exercise but it is disappointing to see a routin e o f eight or nine C moves with three A scissors. Many judges will deduct for poor routine co nstruction and will certainl y hesitate to mitigate or award points for risk, originality or virtuosity.

What a side horse workout should consist of is another article in itself. But baSica lly how long and how intensely you work on scissors should be direct ly proporti onal to how good you want to be on the sidE: horse.

The author, James Hesson

31

Photos by Dieter Schulz

Andreas Pilfich executes a backward rise to full twist catch to hang on the high bar. Notice the lift away lrom the bar and also the head position throughout the entire movement.

Ebehard Gienger does a back rise, forward roll to support or inlocate and kip to support. The move is done in a fairly tight pike position with steady pressure on the rings by the shoulders and arms.

Dana Shelley, :l,Jriiversity of New Mexico, backward dive, l V, twist to tucked l Y2 forward ·somersault, roll out. However notice the lack of extension in the third and eighth frames and also that the legs appear to be apart through most of the action.

32

33

STONY BROOK GYMNASTICS CAMP P.O. Box 593, Stony Brook, Long Island, N.Y. 11790 Telephones: 814-349·8343 until June 22, 1973 / 516-751·1800 from June 22 to Aug. 30, 1973

NAME __________ ___________ AGE ___ SEX ___ _

last lirst middle Initial ADDRESS ____________________________ _

street ci ty state zip

OVERNIGHT CAMP AND DAY CAMP INDIVIDUAL WEEKS: ONE OR ANY COMBINATION OF

SUMMER 1973 SESSIONS o June 24th to July 1st o July 1 st to July 8th o July 8th to July 15th o July 15th to July 22nd o July 22nd to July 29th

o July 29th to August 5th o August 5th to August 12th o August 12th to August 19th o August 19th to August 26th

telephone

o Please send lurther information I __ - - - ____ - _________ _ _____________ I

34

LETTERS TO THE EDITOR

EXKUTION UNDERSCORED

Dea r Sirs: The comments about the USA Gymnasti C Team in

the November GYMNAST prompt this letter. To me. one o f the p rob lems of gymnast ics in thi s

country is judging. Thi s is mostl y judging at the high school and small co llege leve l.

The prob lem is that many of these judges are over impressed by long, choppy routines with hard moves. They don' t seem to care about execution at all. The gymnast with a short routine, executed we ll and smooth fl owing is under scored while the gymnast w ith a rout in e containing free swings (helps it look longer) , harder moves, executed poorly is over sco red.

The coaches, see in g w hat th e judges like, start cranking ou t gymnasts who perform harder moves with bad form in sloppy routines . Thi s poor technique learned early can stay w ith a gymnast no matter how far he progresses. And it is not good gymnast ics. We have seen thi s at the high school level in the Bosto n area and small co llege leve l in south western Ohio.

To improve gymnastics on the Olympic leve l in the USA, gym nasti cs needs to be improved on the lower leve ls and that means improving the judging at those leve ls. Sincerely, Judith Ca lkin Richmond, Kentucky

Editors Note: We would appreciate the views of judges on this subject. Any comments judges?

MUSIC FOR MEN

Dea r Glenn, W atching the super coverage of the O lympic games

from Munich, one could not help but be disturbed by the many decisions and disqua li f ications that took p lace.

If we are to get it altogether fo r 76, then the U.S. O lympic Committee should take the ini tiative in p ress in g for change and reform of the O lympic games.

One change I'd li ke to see made is in the men 's floor exercise-The Gymnasts should be allowed if he wishes, to perform to music. There are many masculine songs (Shaft) that could be used. Music yo u will agree adds to express ion and performa nce but also in the final ana lysis to that f ive letter wo rd " Score" .

I agree, lets keep " Gymnastics the Beautiful Sport" beautifu l, get those needed changes made, then we're sure to share in the medals co lumn. Since rely J. DaRocha East Provid ence, R.1.

We have always felt a good start in this direction would be for the boys to practive their floor exercise routines to music. Then even if the competition did not allow music, they would still have the music in their subconscious minds to help them go through their routine with more exuberance and efficiency in execution and timing ..• Ed.

DEAF GYMNASTIC TEAM

Dea r M r. Sundby, I am the physica l educa tion teacher and gymnastic

coach at the Lex ington School for the Dea f in Jackson Heights, Queens, N.Y. The World Games fo r the Deaf will be held at Malmo Sweden this summer, and I am unable to locate anyone invo lved with a deaf gym nastics team. If such a tea m ex ists, I wou ld like to offer the coach my services. If there is no such team, I would like to start one. I would appreciate it if anyo ne affiliated w ith a gymnasti cs tea m fo r th e deaf would please contact me. Than k You, Sheila Steiner Lex ington School fo r the Deaf 30th Ave. and 75th St. Jackson Heights, N.Y. 11370 Phone (212) 899-8800

Editor's Note: Contact Tony Turbin, Gallaudet College P.O . Box 119A Washington D .C. 20002. He is the person who first informed us of the Games.

WOODWARD CAMP a perfect place to learn gymnastics

• Experienced and Accomplished Staff includes:

ED ISABELLE, Camp Director. Assistant Coach, Penn State MIKE KASAVANA, Program Director

Assistant .90ach, University of Massach <.:setts TOBY TOWSON, Instructor. NCAA Free Exercise Champion.

Formerly with Joffrey Ballet Co.; Cliff Keuter Dance Co. MARGARET COMBS. Co-Captain Varsity Women 's Team,

University of Massachusetts ANNE BURMEISTER VEXLER

Varsity Women' s Team, University of Massachusetts JOHN CULBERTSON. National Gymnastics Judges Assoc.

(August 19 through September 2.) EARNESTINE RUSSELL WEAVER. 1956 and 1960 Olympic

Team. Internationally Certified Judge. And many other nationally-ranked gymnasts and coaches.

• Facilities and Programs

• 130 acres located in the pleasant heart land of Pennsylvania.

• Finest indoor and outdoor workout facilities available workouts rain or shine.

• Perfect balance of gymnastics and other activities . Photography instruction in fully equipped laboratory.

• Olympic swimming pool - instruction in swimming and diving.

• Instruction in woodworking.

First session begins June 24, 1973. Any girl or boy who is at least 8 years of age by registration is elig'ible to attend. Programs vary in length from one week to 10 weeks.

Use application form below to enroll.

WOODWARD CAMP P. O. Box 93, WOODWARD, PA. 16882 Telephone: 814 349-8343

NAME _________________ ____________ AGE _____ SEX ___ _ last middle first

street

ADDRESS ______________________________ ~---~~---zip telephonE! state city

FEES FOR 1973: 10 Weeks $800.00 5 Weeks $425.00 2, 3, or 4 Weeks $90 per Week 1 Weelt $95.00 My 15% non-refundable deposit is enclosed in the amou nt of $ . Make checks payable to Woodward Camp.

o full ten weeks 0 1st five week session o 2nd five week session

Individual Weeks: One or Any Combination of o June 24th to July 1 st o July 15th to July 22nd o August 12th to August 19th o July 1 st to July 8th o July 22nd to July 29th o August 19th to August 26th o July 8th to July 15th o July 29th to August 5th o August 26th to September 2nd

o August 5th to August 12th o Please send further information

Enrollment in any si ngle sess ion will be limited. Please indicate below an alternate session in the event your first choice session is filled at the time of receipt of your application. Balance due upon arrival (Non-refundable) NOTE: Any photos taken by or of campers may be used for publicity purposes.

For Expert Gymnastic Instructions Enroll at the

GYM SHOP JEWELRY Charms: $1.00 Charm Bracelet: $2.00 (one charm included)

Charm Pendant: $2.00 Delux Charm Pendant: $2.50 Sweater Pin: $1.00 Bowknot Pin Charm: $2.00 Brooch Pin: $2.00 Ear Rings: $3.50

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Lapel Pins - Tie Tacks - Tie Bars - Key Chains & Money Clips available for all events (FX,SH,R,LH,PB,HB &AA). ~

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SOKOL USA GYMNASTIC SCHOOL SOKOL WOODLANDS,

Barryville, N.Y.

STAFF The school, enjoying it's 11th successful season, is under the direction of Milan Trnka, Assistant Professor of Health and Physical Education at West Chester State College in Pennsylvania.

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T-S Other Special Trophies made up to order. .. Just send us a photo, catalogue page sketch of any trophy idea you would like to make up. Or send us a budgeted amount available for your event, and we will make up a set of trophies just for you.

T-PS Figure with Pen Set available from $7.95 and up with Walnut or Marble bases (Golton or Silvertone figures and pens)

Dear Si rs: Please find $ _____ to cover the items indicated. Name ____________ __

Address ____________ _

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California residents add 5% sales tax.

The staff is comprised of college physical education graduates and majors selected because of their years of experience with an expertise in gymnastics. Limited enrollment, sufficient instructors and adequate apparatus insure that the teacher-pupil ration will be kept to about one teacher for every eight students. Gymnastic apparel and supplies sold.

ENROLLMENT

The huge 140' x 110' will illuminated SOKOL WOODLANDS FIELD HOUSE is fully equipped with the most modern Olympic standard apparatus, including a top quality 40 x 40 floor exercise mat and safety "fluff" mats.

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SOKOL WOODLANDS, 276 Prospect Street, P.O. Box 189, East Orange, N.J. 07019. Or phone (201) 676-0280.

Choose anyone or more of the following weeks that the SOKOL GYMNAST-!C SCHOOL will be in program:

July 1 to 8 July 8 to 15 July 15 to 22 July 22 to 29

July 29 to August 5 August 5 to 12 August 12 to 19 August 19 to 26

MOVIES

-MUNICH OLYMPICS 1972-See the greatest women gymnasts in the ir best routines. Rigby, Korbut, janz, Tourischeva, etc. Gymnasts name and score given prior to each rou tin e -- you bethejudge. Vau lt in slow

mot ion.

-RUSSIAN OLYMPIC TRIALS-World womens gymnastic team cha mpions compet ing to represent the USSR in Munich.

Optiona l routines on all events. Filmed in Moscow.

MUN ICH super 8 & 8mm - 400 It. - $35.00

16mm - 800 ft. - $85.00

MOSCOW super 8 & 8mm - 400 ft. - $35.00

video tapes - price on request -SPKIAL OLYMPIC PACKAGE­Munich games-Moscow trials

Super 8 - 2 ree ls 400 ft. ea. - $55.00 All FILMS IN COLOR

Send check or money o rd er to: CINECAMERA Box 746 Ka ilu a, Hawaii , 96734 Phon e 261-2485

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BASIC SYSTEMS (charts with BOOKLETS teaching manual) The Side Horse. . 3.00

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__ Girls __ Boys CHARTS Int. Parallel Bars (5) . 6.00 Int. Rings (3) . . ...... .. ... .... 4.00 Ba sic to Int. Side Horse (2) 3.00 Basic to Advanced Tumbl ing (4) 5.00 Int. Uneven Parallel Bar (5) . 6.00 Advanced Parallel 8ar (4) . 5.00 Advanced Rings (3) ... 4.00 Girls ' Competit ive Vaultinq ... 4.00 BaSIC to Advanced HOrIZontal Bar(6) 8.00

GYMNASTICS IllUSTRATED .. $9.00

1972 OLYMPIC GYMNASTIC FILMS Men Super 8 400 It. $40.00 Women Super 8 400 Ft. $40.00

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All Super T Shirts (except Special) are $4.95 for short sleeves and $5.95 for long sleeves. Super T Shirts come in Small, Medium, Large and Extra Large sizes. Super T Shirts come in White, Yellow, Blue and Tan (Please indica te 1st, 2nd and 3rd choice of co lo res when ordering). All subjects on Super T Shirts are done in Multi·colored screens on a high quality cotton shi rt.

Additional different colored shi rts with your school or club name sc reened on the shi rts are available on special orders 01 12 or rnore shirts with a 50~ per shirt ex tra sc reen ing charge. (we can also make up special designs using your school emblem, logo, ma scot or team photos, draw ings orwhat have you .. . Send us your specia l needs and we will make them up to order for YOU).

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- FILMS 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 token from the best loca­tions. In order to show more variety of rou­tines, a second reel for men has been p'ro­duced 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 - #16 - 400 ft .... .. S35.00 Pod.

1972 MUNICH OLYMPIC GYMNASTICS

Super 8 film - in color See the mast spectacu lar Olympics ever held with many new maves and cambinatian s. The Final s includes the tap 4 - 6 compet itars entire rautines held in the new Olympi c Spartsha lle. Team optionals includes thase who. did na t make it into. the Finals.

M en's Finals 422 400 ft. $35.00 Ppd. Men's Cam p. #22 -A 200 ft. 15.00 Ppd . Women's Camp. #23 200 ft. 18.00 Ppd. Wamen's Team Opt. #24 280 ft. 25.00 Ppd. Wamen's Finals #25 350 ft. 31.00 Ppd.

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FREE - 17 x 22-inch Paste r with every new subscript ian arder to. GYMNAST magazine

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GYMNAST Subscriptian rates are: 1 year $7.50 2 yea rs $14.00

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CENTURY SCHOOL OF GYMNASTICS INTERNA TlONAL GYMNASTIC GOODWill

TOUR OF CANADA AND THE USA

Gymnastic clubs, schaa ls, YMCA's, schaals interested in hasting a tauring graup of 10 gymnasts and caaches during the last twa weeks in August 1973, please cantact Pel Mead, 14 Pav ilion Raad. Apt. 33, Suffern, NY 10901. Tentative schedu le far taur is to. give free Gymnast ic exhibit ians and clinics far Canadiar) Gymnast ic clubs and to. sw ing dawn thraugh Michigan and Minnesota to. perform far clubs there then back to. New York.

GRADUATE ASSISTANTS Graduate Assistantships are availab le in

gymnastics far un dergrad uate Ph ys ica l Educatian majars who. wauld be wi lling to. majar in Ph ysica l Educat ian at the grad uate level in earning their Masters Deg ree. In terested persans shau ld cantact:

Head ar Head Men's Physical Education Department Men's Gymnasium

Wamen's Physica l Education Department Ball Gym

Ball State University Muncie, IN 47306

Ball State Unive rsity Muncie, IN 47306

WANTED: Outstanding instructar far girls • gymnasti cs. $1,000 per manth, depending a n

respansibility assumed. Must build campetitive teams, train assistan ts and judges. Year-round nan­credit pragram, ar summers aff, yaur cho ice. Ability to. wark with beginners and goad persanality a must. Prefer husband-wife team, sa lary apen. Contact: Regional Center, Box 653, Garden City, Kansas 67846, Phone (316) 275-5431.

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It's OK to dream, Jimmy! And to help make your dreams come true, you ' ll need top quality gymnastics equipment. American has it whether you're a beginner or an international competitor.

Write for your copy of our free catalog. It includes complete lines of gymnastic apparatus for all levels, physical education equipment, mats, trampolines and portable bleachers.

American Athletic Equipment P.O. Box 111 , Jefferson, Iowa 50129

Official equipment for the 1973 USSR Gymnastic tour ..

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