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South African Gymnastics

Federation

Rhythmic Gymnastics Judges Code

2013 – 2016

Level 1 & Level 2 Manual Compiled by:

Robyn Baker – SAGF RG Programme Manager And

Allison Beyers

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Table of Contents

Part One - Generalities

1) SAGF Judging System

1.1) Overview of Structure

1.2) Examination procedures

1.3) Dress code for Judges

1.4) Rights and Duties of the Judges

1.5) Judges Oath

2) Overview of SAGF Levels Programme

2.1) General Rules

2.2) Age Groups

2.3) Floor Areas

2.4) Apparatus norms

2.5) Replacement Apparatus

2.6) Broken Apparatus or Apparatus caught in the ceiling beams

2.7) Dress of the gymnasts

2.8) Discipline of the gymnasts and coaches

2.9) Summary of Penalties taken by Co-ordinator Judge

3) Routines for SAGF Levels Programme (Individual)

3.1) Apparatus for Level 1-7

3.2) Summary of Difficulty elements for Level 1-7 routines

3.3) Risk elements for Level 6 & 7

3.4) Connecting Elements

4) Judging (Individual)

4.1) Distribution and Calculation of Scores

4.2) Judging Difficulty Elements

4.3) Judging Execution (Artistic and Technical)

5) Elements for SAGF Levels Programme (Groups)

5.1) Novice Dance Group

5.2) Levels Dance Group

5.3) Open Dance Group

5.4) Levels Hoop Group

5.5) Levels Clubs Group

6) Judging (Groups)

6.1) Difficulty Elements

6.2) Judging Execution (Artistic and Technical)

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Part 2 – Body and Apparatus Techniques

7) Body Elements

7.1) Leaps and Jumps

7.2) Balances

7.3) Rotations

7.4) Flexibilities

7.5) Pre-acrobatic elements

8) Apparatus Techniques

8.1) Rope

8.2) Hoop

8.3) Ball

8.4) Clubs

8.5) Ribbon

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1) SAGF Judging System

1.1) Overview of Structure

The SAGF Judges Qualification system works as follows:

Judges Course Min Age of Candidate

Levels able to judge

Competitions able to judge

How often to re-qualify

How many years in each Level

How many competitions

Level 1 Turning 16 in year of Course

Level 1 – 3 Club, Regional, Provincial

Every Olympic Cycle

1 years 4

Level 2 Turning 17 in year of Course

Level 1 – 7 Club, Regional, Provincial, National

Every Olympic Cycle

2 years 8

Level 3 (National)

Turning 19 in year of Course

All Levels Club, Regional, Provincial, National

Every Olympic Cycle

2 years 8

Level 4 (International)

n/a All Levels All except FIG Competitions

Every Olympic Cycle

4 Years (An Olympic Cycle)

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Brevet 4 – 1 * n/a All Levels All including FIG Competitions

Every Olympic Cycle

4 Years (An Olympic Cycle)

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* See FIG Rules and Regulations on how to move up within the Brevet categories

1.2) Examination procedures

At all courses, candidates are required to write both a theory and practical examination.

As this is the Level 1 and 2 Code, we will only focus on examination procedures for those

courses.

Judges Course Pass Mark for theory exam Pass Mark for practical exam Total pass mark

Level 1 Minimum pass mark is 50% Minimum pass mark is 65% Minimum pass mark is 65%

Level 2 Minimum pass mark is 60% Minimum pass mark is 75% Minimum pass mark is 70%

1.3) Dress code for Judges

Navy or Black Skirt or Pants

Navy or Black Jacket

White Blouse

Navy or Black Shoes

In Winter, additional covering must be in Navy, Black or White

Judges not adhering to these rules will not be allowed to Judge!

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1.4) Rights and Duties of the Judges

All Judges require knowledge of:

Judges code (In other words the relevant deductions / penalties)

SAGF Levels Programme (Rules)

SAGF Levels Routines

Technical Regulations (Rules pertaining to the competition at hand)

In addition, judges must:

Remain impartial and objective at all times

Judge strictly according to the judges code

Attend the Judges meeting prior to the start of the competition

Be available throughout the entire competition

Be dressed in the prescribed uniform

Have the prescribed routines and judges code with them

Refrain from communicating with anyone whilst judging, except in the case of a

discussion with the head judge after the scores have been handed in.

Write down the deductions – an impression mark may not be given!

Fill in the slips quickly and CORRECTLY without influence from other judges

Be positive and encouraging towards gymnasts and coaches

1.5) Judges Oath

I affirm upon my honour that, in the execution of my duties as a judge, I shall allow myself to be

guided only by the spirit of sporting loyalty and dignity and that I shall judge conscientiously,

without consideration of person, team, club or nation.

2) Overview of SAGF Levels Programme

2.1) General Rules

All Rhythmic Gymnastics Competitions take place under the auspices of the South

African Gymnastics Federation (SAGF).

Only registered gymnasts may participate in Levels Competitions. An exception will be

made for gymnasts registered in the neighbouring Zone-6 countries regarding

participation in competitions other than Internationals.

With permission by the SAGF, other organisations may use the Federation’s Rhythmic

Gymnastics Programme.

Clubs may participate in the individual and team events of the Team Trophy

Competitions which are held in the North, South, Central and Coastal parts of the

country.

Gymnasts may only compete in one level during a competition.

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Gymnasts may compete in more than one level during the course of a year, provided

that they progress and not regress.

Gymnasts may compete in the individual as well as group events.

2.2) Age Groups

Each level is subdivided into age groups in order to increase the number of competitive

sections. Ages are taken as of 1 January in the year of the competition. For example: U11

refers to any gymnast that turns 11 in that year of competition. It does not matter if her

birthday is 1 January or 31 December.

As of 2013, Age Groups are as follows: Level 1 U6, U7, U8, U9, U10, U11, O11

Level 2 U7, U8, U9, U10, U11, O11

Level 3 U7, U8, U9, U10, U11, O11

Level 4 U9, U11, U13, U15, O15

Level 5 U9, U11, U13, U15, O15

Level 6 U9, U11, U13, U15, O15

Level 7 U9, U11, U13, U15, O15

Level 8 U11, U13, U15, O15

Level 9 U13, U15, O15

Level 10 U15, O15

HP1 U8

HP2 U9

HP3 U10

HP4 U11

Pre-Junior U12

Junior U15

Senior O15

2.3) SAGF Floor Areas

In order to run efficient competitions, the floor areas for each level are as follows:

Level 1-3 Performed on one strip of carpet. In other words ± 3m width by 13m length

Level 4-5 Performed on a ½ floor. In other words 6 ½m width by 13m length

Level 6 & up Performed on a full floor. In other words 13m by 13m

All Groups Performed on a full floor. In other words 13m by 13m

Crossing the boundary of the floor area by the apparatus or one or two feet or by any part of

the body touching the ground outside the specified area or any apparatus leaving the floor area

and returning by itself will be penalized.

Penalty by the Co-ordinator Judge (CJ)/Head Judge (HJ): 0.30 point each time for an

individual gymnast or for each group gymnast or for the apparatus each time.

No Penalty by the CJ/HJ if the apparatus leaves the floor area after the end of the

exercise and the end of the music or the apparatus is lost at the last movement.

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Line Judge: must raise a flag for the apparatus or body crossing the boundary and two

flags if both the apparatus and body cross the boundary of the floor area; must write

down the penalty in the special form and pass it to the Coordinator Judge. In the

absence of a line judge, the Head Judge will take these deductions

No penalty will be applied if the apparatus passes the boundary of the floor area without

touching the ground.

Each exercise will have to be performed entirely on the same floor area:

Penalty by the Co-ordinator Judge: 0.30 point if the gymnast or each Group gymnast

changes floor areas or ends her exercise outside the floor area or leaves the floor area

during the exercise.

Line Judge: must raise a flag if the gymnast or Group gymnast changes floor areas or

ends her exercise outside the floor area or leaves the floor area during the exercise;

must write down the penalty in the special form and pass it to the Coordinator Judge.

2.4) Apparatus Norms

Rope:

Colour: To improve the visual effect of the rope, white and beige are not permitted. All

other colours are authorized, including multi-coloured ropes.

Material: Hemp or synthetic material

Length: Proportionate to the height of the gymnast

Ends: handles are not permitted. One or two knots are permitted at each end.

Hoop:

Colour: All colours are permitted, including multi-coloured hoops.

Material: Plastic

Diameter: 80 – 90 cm

Weight: A minimum of 300 grams

U9 / U11 gymnasts may use smaller / lighter hoops.

The hoop may be covered with adhesive tape.

Ball:

Colour: All colours are permitted, including multi-coloured balls.

Material: Rubber or synthetic material.

Diameter: 18 – 20 cm.

Weight: A minimum of 400 grams.

U9 / U11 gymnasts may use slightly smaller balls.

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Clubs:

Colour: All colours are authorized, including multi-coloured clubs.

Material: Synthetic material (plastic or rubber)

Length: 40 – 50 cm.

Weight: A minimum of 150 grams per club.

U9 / U11 gymnasts may use slightly smaller clubs.

Shape: Similar to that of a bottle. The wider part is called the ‘body’; the narrow part the

‘neck’; ends in a small sphere called the ‘head’. The head has a maximum diameter of

3cm.

The clubs may be covered with adhesive tape.

Ribbon:

Colour: All colours are authorized, including multi coloured. This refers to both the

ribbon and the stick.

Ribbon Stick

Material: plastic or fibre-glass.

Length: 50 – 60 cm, including the ring which permits the connection of the stick to the

ribbon.

Diameter: A maximum of 1 cm at its widest part.

Shape: Cylindrical or conical, or a combination of both shapes.

Ribbon

Material: Satin or similar material.

Weight: A minimum of 35 grams.

Width: 4 -5 cm.

Length: See table below:

Level Age Group Minimum length of

Ribbon

Fun Rhythmic All 3 m

Level 3 U7 3 m

U9 / U11 / O11 4 m

Level 5 & 7 U9 / U11 / U13 4 m

U15 / O15 5 m

Voluntary levels U11 4 m

U13 / U15 5 m

O15 6 m

Elite / Junior groups U15 5 m

Senior Groups O15 6 m

Apparatus used by a Group must all be identical (weight, dimension and shape); only the

colour may be different

Every apparatus will be checked prior to the entrance of the gymnast in the competition

hall. (This happens at FIG competitions only)

Another control may take place at the end of an exercise at the request of the Superior

Jury

For any use of non-conforming apparatus:

Penalty by the Coordinator Judge: 0.50 point for individual and group exercises

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2.5) Replacement Apparatus

According to new FIG rules, the competition organisers are responsible for placing 3 sets of each

apparatus around the floor area. Due to logistical reasons this is not possible at SAGF events.

Gymnasts may place one of their own replacement apparatus on the side of the floor if they

wish.

The gymnast may only use a replacement apparatus which has been placed prior to the

start of the exercise

o Penalty by the Coordinator Judge: 0.50 point for any additional apparatus

If the apparatus falls and leaves the floor area or is unusable (large knot), the use of a

replacement apparatus is allowed:

o Penalty by the Execution (E) Judge: 0.70 point for loss of apparatus outside the floor

area (regardless of distance)/unusable apparatus

o Penalty by the Coordinator Judge: 0.30 point for apparatus leaving the floor area

o Line Judge: must raise a flag for the apparatus crossing the boundary of the floor

area; must write down the penalty in the special form and pass it to the Coordinator

Judge.

If the apparatus falls and leaves the floor area and is returned to the gymnast by an

official or a member of the public:

o Penalty by the Coordinator Judge: 0.50 point for unauthorized retrieval

If the apparatus falls but does not leave the floor area, the use of a replacement

apparatus is not authorized:

o Penalty by the Execution (E) Judge: 0.70 point for loss of apparatus

o Penalty by the Coordinator Judge: 0.50 point for use of a replacement apparatus

2.6) Broken Apparatus or Apparatus caught in the ceiling beams

If the apparatus breaks during an exercise or gets caught in the small beams of the

ceiling the gymnast or Group will not be authorized to start the exercise over.

The gymnast or the Group will not be penalized for the broken apparatus or the

apparatus caught in the small beams of the ceiling but will be penalized for the

consequences of various technical errors such as leaving out body elements.

In such a case, the gymnast or the Group may:

o Stop the exercise

o Continue the exercise with a replacement apparatus

No gymnast or group is allowed to continue an exercise with a broken apparatus!

Penalties:

o If the gymnast or the Group stops the exercise, the exercise is not evaluated.

o If the gymnast or the Group resumes the exercise with a replacement apparatus, the

penalties will be the same as for loss of the apparatus and use of a replacement

apparatus. Execution judges 0.7 deductions.

If the gymnast or the Group continues an exercise with a broken apparatus, the exercise

will not be evaluated.

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If the apparatus breaks at the end of the exercise (last movement) and the gymnast or

the Group ends the exercise with the broken apparatus or without the apparatus, the

penalty is the same as for ”loss of apparatus at the end of the exercise:” Execution

Judge penalty 0.7

2.7) Dress of the Gymnasts

At interclub / provincial events, gymnasts must wear their Club leotards

At National events, gymnasts must wear their Provincial leotards

Voluntary and High Performance gymnasts may wear voluntary leotards

These Club, Regional / Provincial and Voluntary leotards must all be made according to the

below rules:

A correct gymnastics leotard must be in non-transparent material; therefore, leotards that

have some part in lace will have to be lined (from the trunk to the chest).

The neckline of the front and back of the leotard must be no further down than half of the

sternum and the lower line of the shoulder blades.

Leotards may be with or without sleeves, but dance leotards with narrow (spaghetti) straps

are not allowed.

The cut of the leotard at the top of the legs must not go beyond the fold of the crotch

(maximum).

The leotard must be skin tight to enable the judges to evaluate the correct position of every

part of the body.

The leotards of Group gymnasts must be identical (of the same material, style, design and

colour). However, if the leotard is made of a patterned material, some slight differences due

to the cut may be tolerated.

It is allowed to wear:

Long tights down to the ankles, over or under the leotard.

A full-length one-piece leotard (unitard) provided that it is skin tight

The length and colours of the fabric covering the legs must be identical on both legs (the

“harlequin” look is forbidden), only the style (cut or decorations) may be different.

A skirt that does not fall further than the pelvic area over the leotard, tights or the unitard.

The style of the skirt (cut or decorations) is free, but the skirt must always fall back on the

hips of the gymnast (the look of “ballet tutu” is forbidden).

Gymnasts may perform their exercises with bare feet or gymnastics slippers (toe shoes)

The hair style must be neat and trim and the make-up clear and light.

Jewellery of all types and piercings, which could jeopardize the security of the gymnast, are

not allowed.

Penalty by the Coordinator Judge:

o Dress of the Individual gymnast and of the Group gymnast not conforming to the

regulations: 0.30 point.

o Emblem or publicity not conforming to official norms: 0.30 point.

Bandages or support pieces must be of a beige colour

o Penalty by the Coordinator Judge 0.30 point if this rule is not met.

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2.8) Discipline of Coaches and Gymnasts

Individual gymnasts and the gymnasts of the Group should be present in the competition

area only once they have been called either by microphone or by the Coordinator Judge, or

when the green light/flag is showing.

Penalty by the Coordinator Judge:

o Early or late presentation by the gymnast or by the group: 0.50 point.

o Gymnast warming up in the competition hall if instructed not to: 0.50 point.

o Group gymnasts communicating verbally with each other during the exercise: 0.50 point.

Individual gymnasts and Groups must enter the floor area with rapid marching without

musical accompaniment and establish the start position immediately

o Penalty by the Coordinator Judge: 0.50 point if this requirement is not met

During the actual performance of the exercise, the coach of the gymnast or group (or any

other member of the delegation) may not communicate with their individual gymnast,

group gymnasts or the judges in any manner.

o Penalty by the Coordinator Judge: 0.50 point

The total of these penalties will be deducted from the final score

2.9) Summary of Penalties taken by Co-ordinator Judge

1 For each crossing of the boundary of the floor area by the apparatus or one or two feet or by any part of the body touching the ground outside the specified area or any apparatus leaving the floor area and returning by itself

0.30

2 For each gymnast or each Group gymnast who changes floor areas or ends her exercise outside the floor area or leaves the floor area during the exercise

0.30

3 For any use of non-conforming apparatus (Individual and Group exercises) 0.50

4 For any additional replacement apparatus above what is authorized 0.50

5 For unauthorized retrieval of the apparatus (spectator passes back the apparatus) 0.50

6 For an unauthorized use of replacement apparatus (original apparatus still in the floor area)

0.50

7 Dress of the individual and group gymnast not confirming to the regulations 0.30

8 For emblem or publicity not conforming to official norms 0.30

9 Bandages or support pieces not confirming to the regulations 0.30

10 For early or late presentation by the gymnast(s) 0.50

11 For gymnast(s) warming up in the competition hall 0.50

12 For Group gymnasts communicating verbally with each other during the exercise 0.50

13 For excessive delays in routine preparation which delay the competition 0.50

14 For coach communication with the gymnast(s) or judges during the exercise 0.50

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3) Routines for SAGF Levels Programme (Individual)

Please see booklet with routines written out.

3.1) Apparatus for Level 1 – 7

Level Apparatus

Novice

Level 1 Dance Rope

Level 2 Hoop Ball

Level 3 Clubs Ribbon

Levels

Level 4 Dance Rope Hoop Ball

Level 5 Dance Rope Clubs Ribbon

Level 6 Dance Hoop Ball Clubs

Level 7 Dance Rope Ball Ribbon

3.2) Summary of Difficulty elements (In order of routine)

Level 1

Element Number

Free Dance Rope

1 Long Sit – Trunk FW 3 Step Turn Right

2 4 Left side chasses 4 Passé Hops

3 Patter Turn Right Gallop Jump

4 Passé Balance Passé Balance

5 4 Passé Hops 4 Right side chasses

6 ½ Turn Stretch Jump 4 Stretch jumps with double bounce

Level 2

Element Number

Hoop Ball

1 Straddle sit Straddle sit – Trunk FW

2 Double Foot Balance Patter turn L on bent knees

3 SW Passé Balance ½-turn stretch jump

4 3-step turn SW R Double-foot Balance

5 ½-turn stretch jump Straddle stand – Reach SW with trunk

6 Chassé-gallop-chassé-gallop

Deep lunge (split preparation)

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Level 3

Element Number

Clubs Ribbon

1 Chaîné turn R Chassé-gallop-chassé-gallop

2 FW passé balance on flat foot then rise onto toes

Patter turn R on bent knees

3 Chassé-step-stride leap (90 degrees amplitude)

Chaîné turn R

4 Arabesque balance flat foot then rise (60 degrees amplitude)

SW Passé balance on flat foot then rise onto toes

5 Backbend on knees Straddle sit – Trunk FW

6 Side Balance flat foot then rise (foot head level)

Posé turn R

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Level 4

Element Number

Free Dance Rope Hoop Ball

1 Side Balance flat foot then rise (foot head level)

Turning stretch jump L (360 degrees rotation)

Passé balance SW, flat foot then rise onto toes

Backbend on knees

2 Splits (R or L) 1½ x chaîné turns R Turning stretch jump R (360 degrees rotation)

Splits (R or L)

3 Penché kick Chassé-step-stag leap (160 degrees amplitude)

Passé pivot (360 degrees rotation)

Arabesque balance (80 degrees amplitude)

4 2 x chaîné turns L Side Balance flat foot then rise. (Foot head level)

Chassé–step–split leap (120 degrees amplitude)

Chaîné turn R

5 Arabesque balance flat foot then rise (80 degrees amplitude)

Chassé-gallop Splits (R or L) FW body wave

6 Chassé-step-split leap (120 degrees amplitude)

Backbend on knees Side Balance flat foot then rise (foot head level)

Ring kick (must show ample arch but foot does not need to be in contact with head)

7 Passé pivot R (360 degrees rotation)

Passé balance FW, flat foot then rise onto toes

Posé turn L Passé pivot (360 degrees rotation)

8 Chassé-step-stag leap (160 degrees amplitude)

Chassé-step-split leap (120 degrees amplitude)

Backbend on knees Chassé-step-stag leap (160 degrees amplitude)

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Level 5

Element Number

Free Dance Rope Clubs Ribbon

1 Passé pivot R (360 degrees rotation)

2 x chaîné turn R Penché kick (140 degrees amplitude)

2 x chaîné turns R

2 Balance with leg FW on flat foot then rise (70 degrees amplitude)

Turning stretch jump R (360 degrees rotation)

BW body wave Backbend on knees

3 Chassé-step-stag leap-step-stag leap (160 degrees amplitude)

Chassé-step-stag leap (160 degrees amplitude)

Balance with leg FW on flat foot then rise (70 degrees amplitude)

Splits (R or L)

4 2 x chaîné turn L BW attitude balance on flat foot then rise (80 degrees amplitude)

Arabesque balance flat foot then rise (80 degrees amplitude)

Chassé–step–split leap (120 degrees amplitude)

5 Side balance on flat foot then rise (foot above head level)


Passé balance FW on flat foot then rise

Passé pivot R (360 degrees rotation)

6 Ring kick (must show ample arch but foot does not need to be in contact with head)

Splits (R or L) Chassé-step-stag leap (160 degrees amplitude)

Patter turn R on bent knees (540 degrees rotation)

7 Chassé-step-split leap (160 degrees amplitude).

Chassé-step-cossack jump (70 degrees amplitude)

Passé pivot R. (360 degrees rotation)

Side balance on flat foot then rise (foot above head level)

8 Slide through middle splits

Backbend on knees Side balance on flat foot then rise (foot above head level)

Posé turn L

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Level 6

Element Number

Free Dance Hoop Ball Clubs

1 Penché with help (140 degrees amplitude)

Tonneau turn with R foot in passé position



2 Chassé-step-split leap-step-split leap (160 degrees amplitude)



Cossack balance

3 Pivot with the leg held FW (360 degrees rotation; 70 degrees amplitude)


Penché kick (160 degrees amplitude)

Passé balance on relevé

4 Split roll Side balance on flat foot then hold on toes (foot above head level)

Side Scale with help (140 degrees amplitude)

BW attitude balance on flat foot then hold on toes (90 degrees amplitude)

5 Backbend on knees Chassé-step-cossack jump (80 degrees amplitude)

Tonneau turn on both feet

Body wave from standing, fall gently onto the knees, over pointed toes

6 Chassé-step-stag ring leap (160 degrees amplitude)

FW passé balance on toes


Attitude pivot (360 degrees rotation)

7 Cossack balance BW attitude balance on flat foot then hold on toes (90 degrees amplitude)

Backbend on the knees

Chassé–turning gallop jump (360 degrees rotation)

8 2 x chaîné turn L on bent knees


Split roll Chassé-step-cossack jump (80 degrees amplitude)

9 Chassé-step-scissor jump (second leg head level)

Attitude pivot (360 degrees rotation; 80 degrees amplitude)


Side balance on flat foot then hold on toes (foot above head level)

10 Arabesque balance flat foot then hold on toes (90 degrees amplitude)

Penché kick (160 degrees amplitude)


Balance with leg FW on toes (80 degrees amplitude)

Risk Element

Throw Roll Catch Throw Roll Catch Throw Roll Catch

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Level 7

Element Number

Free Dance Rope Ball Ribbon

1 Attitude pivot (360 degrees rotation; 80 degrees amplitude)


Backbend on knees Chassé-step-split leap (160 degrees amplitude)

2 Large BW bodywave Step-stag ring leap (160 degrees amplitude)


Attitude pivot (360 degrees rotation; 80 degrees amplitude)

3 Cossack balance Passé pivot (360 degrees rotation)

Side scale with help (160 degrees amplitude)

3 x chaîné turns R

4 Chassé-step-split leap-step-stag ring leap (160 degrees amplitude)

Turning stretch jump (360 degrees rotation)

Chassé-step-split leap-step-split leap (160 degrees amplitude)


5 Assemblé-jump with ring of both legs (must show ample arch but feet do not need to touch the head)

Stag jump off 2 feet (180 degrees amplitude)

Tonneau turn with free leg in passé position

Pivot with the leg held FW (360 degrees rotation; 80 degrees amplitude)

6 Balance with leg FW on toes (90 degrees amplitude)



Stag ring jump off 2 feet (160 degrees amplitude)

7 Cossack pivot (minimum 180 degrees rotation)

Chassé-step-cossack jump (90 degrees amplitude)


Cossack pivot (minimum 180 degrees rotation)

8 Penché with help (160 degrees amplitude)

Backbend on knees Penché (160 degrees amplitude)


9 Chassé-step-turning split leap (120 degrees amplitude)


Stag jump off 2 feet (180 degrees amplitude)

Tonneau turn with free leg in passé position

10 Illusion turn Chassé-step-cabriole

Illusion turn Passé pivot (720 degrees rotation)

Risk Element

Throw Roll Catch Throw Roll Catch in legs

Throw sitting turn catch in legs

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3.3) Risk Elements for Level 6 & 7

Risk elements are described as any horizontal or vertical rotation performed under the apparatus

while in flight e.g. Throw roll catch. The difficulty of risk elements can be likened to that of a body

difficulty. Therefore if a gymnast attempts the risk and consequently drops, they will be penalized

fully as per the judging code. If a gymnast, however, avoids the consequences of dropping the

apparatus and chooses to leave out the risk element completely they will be penalized as follows:

Omission of risk element 0.5 points +Incorrect apparatus handling 0.2 points =Total Deduction 0.7 points

3.4) Connecting Elements

As the routines in Level 1-7 are set routines it is not only the body elements that must be performed in the correct order and without mistakes. Connecting elements (all the movements between the body elements) should be performed as set out in the SAGF Levels Routines booklet.

The connecting elements performed by the gymnast must correspond with the choreography of the set routine

The specific apparatus work of the connecting element should performed as set out in the routines booklet and be performed without execution mistakes

The direction travelled by the gymnast in the connecting elements should correspond with the set directions of the routine

Connections between the music and movement must be performed as described by the routines booklet

Deduction for omitting a connecting element – 0.1 for each missing connecting element Deduction for changing the directions of the set routine – 0.3

A certain amount of expressive freedom is allowed in the connecting elements. Different coaches and clubs might have a slightly different interpretation of the set routines and gymnasts are encouraged to let their own personalities show in their work.

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Final Score: Level 1-3 Max 13.00 points Level 4-5 Max 14.00 points Level 6-7 Max 15.00 points

4) Judging Individual Routines

4.1) Distribution and Calculation of Scores

A panel of judges, consisting of CJ/E1 + E2 + E3 + E4, will evaluate the routine of the gymnast. The judges

will judge independently of each other and at the end of the routine write down their deductions on the

given execution slip and send them to the CJ. The co-ordinator judge will then compare the scores,

calculate the final score by removing the highest and lowest marks and averaging the two middle scores.

The CJ will send all four marks to the competition scorer.

If there is a major discrepancy in the marks sent to the CJ there should be a discussion between the judges

about the routine. A judge may change their score, but cannot be forced to do so.

Example of execution slip.

Judge Gymnast no. FX

Score

E1 506

12.2

SCORE DISTRIBUTION AND CALCULATION

DIFFICULTY (D) Individual Routines

Level 1-3 Max.3.00 points Level 4-5 Max 4.00 points Level 6-7 Max 5.00 points

EXECUTION (E) Individual Routines

Max. 10.00 points

●Artistic Faults

●Technical Faults

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4.2) Judging Difficulty Elements in Individual Routines

Scenario Deduction

The Difficulty does

not count if:

A gymnast OMITS a difficulty altogether 0.5 A gymnast performs a difficulty with a major deviation in

either amplitude / rotation (more than 30 degrees)

A gymnast performs only 1 or 2 repetitions when a difficulty requires 4 repetitions (For example: 4 side chasses in Level 1 dance)

A gymnast performs a different difficulty to the one prescribed in FREE DANCE

The Difficulty is considered as

being a ‘Change of Element’ if:

A gymnast performs a different difficulty to the one prescribed in the routine (except FREE DANCE)

0.3

A gymnast performs only 3 repetitions when a difficulty requires 4 repetitions (For example: 4 side chasses in Level 1 dance)

The Difficulty is considered as

being a ‘Change of Apparatus’ if:

A gymnast performs a different apparatus technique during the difficulty or omits the given apparatus handling of the body element altogether

0.2

A Difficulty is still counted if:

There are only small execution mistakes Execution deductions only

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4.3) Judging Execution in Individual Routines

EXECUTION (E) of the Individual exercises consists of: o Artistic Faults o Technical Faults

Penalties 0.10 0.30 0.50 or more

ARTISTIC FAULTS

Unity of the Composition (Not relevant in Level 1-7)

Interruption in the logical

connections between

movements (0.10 each

time)

Extreme or unjustified

start position

Absence of unity between the connections and continuity during a part of the exercise

Absence of unity between the connections and continuity during all of the exercise (the entire exercise is a series of disconnected elements) (1.00)

Music – movement

Absence of harmony between the rhythm and the character of the music and the movements, isolated occurrences (0.10 each time)

Absence of harmony between the rhythm and the character of the music and the movements during a part of the exercise

Absence of harmony between the rhythm and the character of the music and the movements during all exercise-entirely lacking rhythm and character (1.00)

Body Expression

Isolated segmentary movements

Absence of body and facial expression in the majority of the exercise

Total absence of body (segmentary movements) and facial expression

Use of space

Change of the prescribed floor pattern

Connecting elements Omitting connecting elements (0.1 each time)

TECHNICAL FAULTS: each fault must be penalized every time

Music

Absence of harmony between music-movement at the end of the exercise due to a loss of the apparatus: 0.30 + loss of the apparatus

Absence of harmony between music-movement at the end of the exercise

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Body Movements 0.1 0.3 0.5 or more

Generalities

Incomplete movement

Travelling without throw: adjusting the body position on the floor

Basic technique

Body segment incorrectly held during a movement (each time, up to a maximum of 1.00 point)

Loss of balance: additional movement without travelling

Loss of balance: additional movement with travelling

Loss of balance with support on one or both hands or on the apparatus

Total loss of balance with fall: 0.70

Static gymnast * Not Relevant In Level 1-7

Leaps/Jumps Lack of amplitude in the shape; heavy landing

Balances

Lack of amplitude in the shape; Shape neither fixed nor held

Rotations

Lack of amplitude in the shape; Shape neither fixed nor well-defined

Support on the heel during a part of the rotation when performed in “relevé”

Axis of the body not at the vertical and ending with one step

Travelling (sliding) during the rotation

Hops during the rotation or interruption

Pre-acrobatic Elements Heavy landing

Unauthorized technique

*Static gymnast: the gymnast should not remain static (motionless) if at any moment she is not in contact with the apparatus (for example: throws, rolls of the apparatus over the floor, etc.) This deduction is not relevant in Level 1-7 as the routines are prescribed.

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Apparatus 0.1 0.3 0.5 or more

Loss of the apparatus (for the loss of 2 Clubs in succession: the judge will penalize one time based on the total number of steps taken to retrieve the farthest clubs)

Loss and retrieval

without travelling

Loss and retrieval after a short travelling (1-2 steps)

Loss and retrieval after a large travelling (3 or more steps) or outside the floor area (regardless of distance): 0.70

Loss of the apparatus and use of the replacement apparatus: 0.70

Loss of the apparatus (no contact) at the end of the exercise: 0.70

Technique

Imprecise trajectory and catch in flight with 1 - 2 step

Imprecise trajectory and catch in flight with 3 or more steps

Incorrect catch or with the help of one hand or the body Involuntary contact with the body with alteration of the trajectory

Static apparatus or non-conforming decorative elements Not relevant in Level 1-7

Rope

Basic technique

Incorrect handling: amplitude, shape, work plane, or for the rope not held at both ends (each time, up to a maximum of 1.00 point)

Loss of one end of the rope with a short stop in the exercise

Feet caught in the rope during jumps or hops

Involuntary wrappings around the body or part of it with interruption of the exercise

Knot in the rope Involuntary wrappings around the body or part of it with interruption of the exercise

24

Hoop 0.1 0.3 0.5 or more

Basic technique

Incorrect handling: alteration in the work plane, vibrations (each time, up to a maximum of 1.00 point) Irregular rotation on the vertical axis

Catch after throw: contact with the arm

Catch after throw: contact with the forearm

Incorrect roll with bounce and involuntary, incomplete roll over the body

Sliding on the arm during rotations

Passing through the hoop: feet caught in the hoop

Ball

Basic technique

Incorrect handling: ball held against the forearm (each time, up to a maximum of 1.00 point)

Incorrect roll with bounce and involuntary, incomplete roll over the body

Involuntary catch of the ball with both hands (Exception: catches outside the visual field)

Clubs

Basic technique

Incorrect handling (each time, up to a maximum of 1.00 point)

Irregular movements or interruption of the movement during small circles and mills and arms too far (±10cm) apart during the mills

Alteration of synchronization in the rotation of the 2 clubs during throws and catches

Lack of precision in the work planes of the clubs during asymmetric movements

Ribbon

Alteration of the pattern formed by the ribbon (each time, up to a maximum of 1.00 point)

Incorrect handling: ribbon stick involuntarily held in the middle, incorrect connection between the patterns, snap of the ribbon (each time, up to 1.00 point)

Involuntary wrappings around the body or part of it with interruption in the exercise

25

Basic technique

Snakes and Spirals: loops or waves insufficiently tight/loops or waves not of the same amplitude (height, length) (each time, up to a maximum of 1.00 point)

Knot without interruption in the exercise

Knot with interruption in the exercise

The end of the Ribbon stays on the floor involuntarily during the performance of pattern, throws, echappes, etc.

** Static Apparatus Execution score (Е): Each Execution (E) Judge records all the artistic and execution faults and gives the total deductions.

Deductions given by judge

Level 1 – 3 (Out of 13 points) The scorer will work this out

Level 4 – 5 (Out of 14 points)

Level 6 – 7 (Out of 15 points)

2.3 10.7 11.7 12.7

1.2 11.8 12.8 13.8

0.9 12.1 13.1 14.1

When the judge has finished evaluating the routine, they must hand in the deductions to the Head Judge Who will then check that the scores are all within range. The highest and lowest scores are dropped and the average of the middle scores becomes the final score For example: E.g. 1 Judge 1: 1.2 Judge 2: 1.5 Judge 3: 1.8 Judge 4: 1.4 Final score will be 1.45 E.g. 2 Judge 1: 1.7 Judge 2: 2.8 Judge 3: 1.5 Judge 4: 2.7 In this case there is a major discrepancy between the two middle scores (more than 0.5) and the Head Judge will call the judges together for a discussion about the routine judged.

26

5) Routines for SAGF Levels Programme (Groups)

Please note that all Groups are voluntary routines. We will only cover groups in the Level 2 Course.

Group Rules

Section Number Level Age Competition

Novice Dance Group

4 gymnasts Level 1-3 All ages Provincial Competition Only

Levels Dance Group

4 Gymnasts Level 4-5 and HP1

U13 National Level

Open Dance Group (Former Aesthetic Group)

6-12 Gymnasts Open but aimed at higher Level Gymnasts

Open National Level

Hoop Group 4 gymnasts Level 4-7 and HP2/HP3

Open Age National Level

Clubs Group 4 Gymnasts Level 6-10 and HP4/Pre-Jun


5.1) Novice Dance Group

4 gymnasts Level 1-3 All ages Provincial Competition Only

Length of Music: Between 75 and 90 seconds Elements:

Body movement difficulty

1 Chasse hop chasse hop

2 ½ turn stretch jump

3 Passé Balance with relevé

4 Side Balance (foot head level) – 2 counts on flat foot

5 Patter turn L

6 3-step-turn R

7 Straddle sit leaning forward (pancake)

8 Lunge

27

5.2) Levels Dance Group

4 gymnasts Level 4-5 and HP1 U13 National Level



1 Split leap (120 degrees amplitude)

2 Stag Leap (160 degrees amplitude)

3 Side Balance with relevé – Foot above head level

4 Arabesque Balance with relevé (80 degrees amplitude)

5 Backbend on knees

6 Splits – R, M or L but must show pause in the split position

7 Passé pivot from lunge preparation (360 degrees rotation)

8 Chaîné x 2

9 From sitting position, push up through backbend

10 Turning gallop jump (360 degrees amplitude)

5.3) Open Dance Group

Level 2 Judges will only be allowed to judge Execution for this section

6-12 Gymnasts Open but aimed at higher Level Gymnasts


Each group performs the routine once therefore no ‘reserve’ gymnasts are allowed

The length of the music must be between 2 min 15 sec and 2 min 45 sec.

Competition leotard must follow RG guidelines

Each Group must hand in a Difficulty form (same as for Elite Groups)

The routine must include 10 difficulty elements of choice as follows o 3 x jumps / leaps o 3 x balances o 3 x pivots o 1 x element of choice

These elements must be taken from the new RG FIG Code

The difficulties may be of the same type and level for all gymnasts or of different types and levels. However, the easiest difficulty performed will determine the value of the difficulty for the group

Judges will evaluate the exercise according to the new FIG code

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5.4) Levels Hoop Group

4 gymnasts Level 4-7 and HP2/HP3 Open Age National Level



1 Exchange Exchanges over a distance of 6m or more are worth 0.5 and exchanges over distance of less than 6m are worth 0.3. All gymnasts must catch for exchange to be validated.

2 Exchange

3 Exchange

4 Exchange

5 Split Leap (160 degrees amplitude)

6 Cossack jump (80 degrees amplitude)

7 Balance with leg FW (80 degrees amplitude)

8 Passé pivot from lunge preparation (360 degrees rotation)

9 Backbend on knees

10 Splits – R, M or L but must show pause in the split position

5.5) Level Clubs Group

4 Gymnasts Level 6-10 and HP4/Pre-Jun Open Age National Level



1 Exchange Exchanges over a distance of 6m or more are worth 0.5 and exchanges over distance of less than 6m are worth 0.3. All gymnasts must catch for exchange to be validated.

2 Exchange

3 Exchange

4 Exchange

5 Split leap (160 degrees amplitude)

6 Stag jump or leap (180 degrees amplitude)

7 Stag Ring Leap (160 degrees amplitude)

8 Cossack balance

9 Arabesque Balance (90 degrees)

10 Attitude pivot (360 degrees rotation)

29

6. Group Judging

6.1) Group Elements Group body elements must be performed by all of the gymnasts in the group to be considered valid but do not have to be identical. E.g. Two gymnasts using their right leg for stag leap and 3 gymnasts using their left leg. They can be performed by all of the gymnasts together or in rapid succession (canon).

Group exchange elements must be performed by all of the gymnasts in the group. Each gymnast must throw and catch an apparatus for the exchange to be considered valid. The exchanges can be done simultaneously or in rapid succession with the same or different techniques of throwing and catching.

6.2) Group Execution Judging group execution is not different from individual routines. All of the deductions valid for individual gymnasts are also valid for group routines. There are a few added deductions that deal with the group dynamic. Execution judges must look for:

Artistic Component: Unity, Expressivity, Musicality:

All group routines are voluntary and music choice is optional so the choreography should

use the rhythm, accents, highs and lows of the music.

Collective Work: Each composition must have different types of organization in the collective work:

Organization with synchronized execution:

o Execution in rapid succession o Execution in “canon” o Execution in “contrast”

When all the gymnasts perform different movements:

o Organization with “choral” execution

o Execution in Collaboration

(None of these types of execution must overwhelm the composition)

Variety of movements, including dynamics (speed and intensity of the movements)

Use of Space (variety): The floor area, 13m – 13m, must be used completely:

Formations: minimum 6 Formations are groupings of gymnasts on the floor. E.g. 5 gymnasts in a line, diamond shape, circle. Or 2 gymnasts on one side of the floor and 3 on the other side, etc.

Different levels (gymnast in flight, standing, on the floor, etc.)

Variety of directions/ trajectories of body/apparatus movements (forward, backwards, etc.)

Variety in the modalities of travelling

There is an Execution deduction of 0.30 for lack of a minimum 6 formations in a group routine. There is an Execution deduction of 0.30 for lack of variety in the use of the levels, directions/trajectories of body/apparatus movements and travelling modalities.

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Execution Penalties (Artistic and Technical) All of the execution deductions for individual gymnasts are also valid for groups. Listed below are the added deductions that are only for group.

Penalties 0.10 0.30 0.50 or more

Artistic Faults

Organization of the collective

work

Isolated violations in the

collective work

Majority of the exercise

lacks variety in the

collective work

Total lack of variety in

the collective work

Prohibited elements with

Collaboration

Use of Space (variety)

Lack of a minimum 6

formations (variety of

amplitude and design)

Long stop in a formation

Lack of variety in the use

of the levels, directions/

trajectories of body/

apparatus movements

and travelling modalities

Technical Faults

Music - movement

(each gymnast)

Lack of synchronization between individual rhythm and that of the group

Absence of harmony between music-movement at the end of the Exercise (one time, regardless of the number of gymnasts)

Synchronization

and harmony

Lack of synchronization in the amplitude or intensity of expression between the gymnasts (each time, up to a maximum of 1.00 point)

Formations

and

travelling

Alteration of the formation

Collision between the

gymnasts/apparatus

(+ all the consequences)

Imprecision in the direction

and the shape of the

travelling

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Part 2 – Body and Apparatus Techniques

As a judge it is important to understand the basic characteristics of the different types of body and

apparatus movements that make up rhythmic gymnastics. All judges must spend time in the gym with

coaches and gymnasts learning about and understanding the body and apparatus elements that are

required. When and why are they correct or incorrect?

7) Body Elements

7.1) Leaps and Jumps

All leap and jump difficulties must have the following basic characteristics:

Elevation. The leap/jump must have enough height to show the correct shape in the air.

A fixed and defined shape. There must be a moment in the air that a judge can clearly see

the shape of the required leap/jump.

Amplitude. Each leap and jump in the level 1-7 routines has a minimum requirement. E.g.

Level 3 clubs. Stride leap (min 90 degrees amplitude).

For jumps with rotation e.g. Level 2 ball. ½ turn straight jump, the required rotation must

be completed.

The leap/jump must be co-ordinated with the required apparatus handling.

If any leap or jump does not meet these basic requirements, it will not be considered valid as a

difficulty and will also be penalised by the execution judge as per the code of points.

List of leaps and jumps in Level 1-7

Passé hop

Cabriole

Stretch jump with rotation

Turning gallop

Stag leap

Split leap

Cossack jump

Scissor jump

Stag ring leap

Arch jump from two feet

Turning split leap

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7.2) Balances

All balance difficulties must have the following basic characteristics:

A fixed and defined shape. A balance position must be clearly held without any movement

in the shape.

Amplitude. Each balance in the Level 1-7 routines has a minimum requirement. E.g. Level 3

clubs. Arabesque balance (60 degrees amplitude)

From Level 3 and higher, all balance difficulties must be visibly held on relevé (high on the

toes) unless otherwise stated in the code of points to be considered valid.

The balance must be co-ordinated with the correct apparatus handling.

Balances must have these characteristics to be considered valid as body difficulties. If the balance

does not have these requirements, it cannot be considered an element and will also be penalised

by the execution judge as per the code of points.

List of Balances from Level 1-7

Passé (image is of side passé)

Arabesque balance

Attitude balance

Front leg at the horizontal

Side balance

Cossack balance

Panché with help (flat foot)

Side scale with help (flat foot)

33

7.3) Rotations

All rotation (pivot) difficulties must have the following basic characteristics:

A fixed shape for the entire rotation. The position required must be held until the end of

the rotation.

Minimum basic rotation of 360˚. From the three step turn in Level 1 to the attitude pivot in

Level 7 the gymnast must perform one full rotation in the correct position. Exception:

Cossack pivot in Level 7, the minimum requirement is 180˚

Amplitude in the shape. Each rotation has a minimum requirement. E.g. Level 6 Free: pivot

with the leg held FW (amplitude 70 degrees)

Be performed on relevé. All rotations, except the three step turn in Level 1 and 2, must be

performed high on the toes without dropping the heel, hopping or sliding on the floor.

Be co-ordinated with the required apparatus handling

Any rotation performed without these basic characteristics cannot be valid as a rotation body

difficulty and will also be penalised by the execution judge as per the code of points.

Rotation elements in Level 1-7

Chainé turn

Pivot with leg held FW

Posé and passé turn (image is of side passé)

Tonneau

Attitude turn

Cossack pivot

Tonneau on two feet

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7.4) Waves and Flexibilities

Waves and flexibilities are a diverse group of movements. The main basic characteristics are:

Amplitude in the required shape

Waves are fluid without a stopping in any single position. E.g. Level 4 ball FW body wave.

Flexibilities are not a fixed position, but must clearly show the required amplitude. E.g.

Level 6 Ball, Penché kick (160 degrees amplitude)

Be co-ordinated with the required apparatus handling

Waves and flexibilities performed without clear shape and amplitude cannot be considered as body

elements and will also be penalised by the execution judge as per the code of points

List of Waves and Flexibilities in Level 1-7

Straddle sit trunk bent forward

Body wave (image is of forward body wave)

Split: Front and Middle

Ring kick

Penché kick (Level 4 and 5 may have hands on the floor)

Body wave from standing, over pointed toes.

Split roll

Illusion turn

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7.5) Pre-acrobatic elements

Pre acrobatic elements are elements of body rotation such as cartwheels, rolls and walkovers.

These movements are not fundamental to rhythmic gymnastics and so there are specific rules as to

what types of pre-acrobatic movements may be performed.

Only the following groups of pre-acrobatic elements are allowed:

Forward, backward and side rolls without flight

Walkovers forward, backward, cartwheels without flight

Walkovers performed with different types of support (on the chest, on the shoulders, on the hands).

Chest roll/Fish rolls: walkover on the floor over one shoulder with passing through the vertical of the stretched body, performed forwards or backwards.

8) Apparatus Technique

8.1) Rope

During rope routines the apparatus should always keep a definite shape and not sag or slacken.

The rope should move continuously and smoothly through the routine not losing its shape through

contact with the gymnast’s body or the floor.

The rope can be held in a number of ways:

With the ends (knots) in one or two hands

With one end in one hand (open rope) or open rope held in the middle by one or two hands

Rope held folded in two, three or four

One hand in the middle and the other hand at the end

Technical requirements of the rope:

Passing through the rope, turning the rope backwards, forwards or laterally. This must

show clear elevation by the gymnast and a clean shape of the rope

36

Skips and hops through the rope, usually done in a series (minimum 3). These need not be

very high jumps but must be high enough to let the rope pass under the feet without

touching the floor. The rope can turn forwards, backwards or laterally. Skips can be done

with rotations of the body, with the rope turning twice under the feet (doubles) or with the

arms crossing and uncrossing

Rotations can be done on the horizontal, vertical or sagittal planes. With the rope folded in

two or open. The apparatus must maintain a clear shape throughout the entire rotation

Throws of the whole rope. The rope must keep a clear shape in the air and should be

caught neatly at the ends (no more than 10cm from the knots). It is allowed to knot the

rope close to the ends to ensure it maintains its shape in the air

Tosses (echappé/lasso) of one end of the rope. The rope should maintain its shape in

through the movement and be caught neatly by the knot.

Swings, large circles, wrapping of the rope around the body and rebounding movements are

also possible but are not considered as fundamental technical elements with the rope.

These handling elements can be performed in different directions and planes, with or without

travelling and should always be co-ordinated with a body movement.

8.2) Hoop

Hoop is the most dynamic of the apparatus. During hoop routines the apparatus must remain in

precise planes during the many different movements, with no visible vibrations. The hoop must

change plane and direction in a logical fashion seemingly without effort.

The hoop can be held in a number of ways

In an under grip with one or two hands holding the hoop from underneath

Over grip with one or two hands holding the hoop from the top

If the hoop in on the vertical plane the hand can be inside or outside the hoop

37

Technical requirements of hoop:

Passing through the hoop, with a single jump or leap or with a series (min 3) of small skips

or hops. The movement must be done without the hoop touching the body or the floor.

The hoop can turn forwards, backwards or laterally.

Rolls of the hoop on the body or on the floor. The roll can be initiated by a gentle push

from the hand or from a rotation. The movement must be fluid without the apparatus

bouncing or vibrating.

Rotations around the hand or other body part. Rotations can be on the horizontal, vertical

or sagittal plane and must be without visible vibrations or sliding onto another body part.

Rotations around the axis of the hoop on the floor, around or on the hand or any other

body part. The movement must be precise and fluid without the hoop losing its axis or

sliding from its original position.

Throws and catches. These can be performed in many different directions and planes by

one or two hands or another body part. The plane of the hoop must remain clear in the air

without visible vibrations. Throws and catches must be precise, either with one or two

hands or any other body part.

Swings, circles, figure eight and passing the hoop around or under the body are also possible

but are not fundamental technical elements with the hoop. These movements must also be

performed without changing the plane of the hoop and with logical connections

These movements can be performed in many different planes and directions, with or without

travelling and should always be connected with a body movement in a logical manner.

8.3) Ball

38

Movements with the ball should be fluid, the ball must be lightly held in the hand with fingers

conforming to the shape of the apparatus. The ball should not be squeezed against the forearm or

by the fingers (gripping).

Correct grip Incorrect grip (ball held against forearm)

Technical requirements with ball

Rolls of the ball on the body or on the floor. The rolls must begin with a gentle impulse of

the hand or other body part and should be done without the apparatus bouncing on the

body or floor.

Bounces can be done with the hand or another body part, isolated or in a series. They must

be performed with the hand or body part following the movement of the apparatus without

slapping the ball.

Large figure eights and circles are movements begin from the shoulder. The hand must

remain under the ball throughout the entire movement without “gripping” or squeezing the

apparatus.

Throws and catches should be performed noiselessly. Throws can be performed by swinging

or pushing movements by one or two hands with the ball leaving the hands from the tips of

the fingers. Catches can be with one or two hands or another body part and must be

precise.

Passing the ball around the body, swings, “flip over” movements and roll of the body over

the ball can also be performed but are not fundamental technical elements of the

39

apparatus. These must also be done without gripping the ball and should be smooth, fluid

movements.

These movements with ball can be performed in different planes and direction, with or without

travelling and should always be smoothly connected with a body movement.

8.4) Clubs

As two clubs make one apparatus, it is considered by many as the most difficult apparatus to

master. With the clubs moving in synchronisation and independently of each other many

interesting movements can be created. The clubs should always be held at the “head” in a light but

firm grip. The club become an extension of the arm and should always remain aligned with the arm

in any movement.

Technical requirements with clubs:

Small circles of one or both clubs can be performed on a horizontal, vertical or sagittal

plane. The movement is initiated by the wrist and the arms of the gymnast must remain

straight throughout the movement.

Mills: at least 4 small circles of the Clubs with time delay and by alternating crossed and uncrossed wrists and hands each time. The wrists should stay close together during the entire movement (less than 10cm apart). Mills can be done on a horizontal or vertical plane in different directions.

Asymmetric movements are movements where the two clubs are traveling in different planes and directions at the same time. E.g. one club performing a large circle on the sagittal plane while the other performs small circles on the horizontal plane.

40

Small throws of one or two clubs are initiated by the wrist and can be performed in different planes and directions. The clubs should rotate quickly in the air. Gymnasts are allowed to catch the club by the “body” and then slide the club so that the “head” is back in the hand.

A large throw of one or two clubs differs from the small throw as it is a movement from the shoulder. It is possible to throw in different planes and directions. When thrown together the clubs must move simultaneously in the air without separating. Catches should be precise, it is possible to catch the club on the “body” and immediately correct the grip.

Swings, large circles, rolling the club on the floor or body and tapping movements are also possible but are not fundamental technical elements of clubs. These should never overwhelm the choreography of a clubs routine

These elements can be performed in many planes or directions with simultaneous or successive work of the clubs. They can be performed with or without travelling and must be co-ordinated with body movements.

8.5) Ribbon

The ribbon must be in continuous movement throughout the routine, with clean patterns and precise shapes. The whole length of the ribbon must participate in all patterns and should never lie on the floor or become knotted around itself or the gymnast. The ribbon should be held firmly in the hand without end of the stick being visible. Technical requirements of ribbon

Spirals are a movement from the wrist that create 4 or 5 small circles along the length of the ribbon. The spirals must all be the same shape and size and the entire ribbon should participate in the pattern

Spirals Snakes

41

Snakes are a movement from the wrist that create 4 or 5 waves along the length of the ribbon. These waves must be of identical shape and size with the entire ribbon involved in the pattern. The snakes can be performed in different directions and planes

Gymnasts can pass through or over the pattern created by the ribbon. While the movement is being performed the ribbon should hold its shape and not droop or sag onto the floor.

Toss (echappé) is a small throw of the ribbon stick. It is a low throw initiated by a flick of the wrist with the entire ribbon remaining in the air for the throw and catch.

Large circles and figure eights of the ribbon can be performed in many different planes and directions. Movement begins from the shoulder and the entire ribbon should show a clear shape in the air without sagging or drooping.

Throws and catches. The ribbon can be thrown by the stick or by the ribbon itself in many different directions and with different techniques. The end of the ribbon may not remain on the floor during the throw and catches should be done cleanly with the ribbon moving directly into the next pattern required without stopping on the floor.

A boomerang throw is a throw of the ribbon whilst holding on to the end of the apparatus and as the stick touches the floor the gymnast pulls back and the stick returns to the hand. The ribbon may not stay on the floor during the movement and the catch must be precise

Swings, rotations of the stick around the hand and rolls of the stick on the body are also possible but are not fundamental technical elements of ribbon. These handling elements must be performed with the entire length of the ribbon remaining in the air for the whole movement.

Gymnasts must show the ability to perform ribbon elements in different planes and directions with both the right and left hands with varying speed, intensity and amplitude. The ribbon movements must be well co-ordinated with corresponding body movements, with or without travelling. And the ribbon routine should be performed without knotting the ribbon around itself or the gymnast.

south african gymnastics federation cycle 1 years 4 ... country. gymnasts may ... length: 50 – 60...

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