THE OFFICIAL TECHNICAL PUBLICATION OF THE UNITED STATES GYMNASTICS FEDERATION

October 1986

Approach To Gymnastics Preparation

Non-Profit Organization

Vol. 6, No. 3

Velocity Of The Vault Run

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October 1986

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Inside This Issue

4-8 Approach To Gymnastics Preparation And Training For Class I Floor Exercise

By Sharon Valley Univ. of Florida

10-14 Velocity Of The Vault Run By Bill Sands Phil Cheetham

15-16 Observation On Men's By Russell Vaulting At '85 World Fystrom Championships

17 USGF Calendar Of Events

All USGF photos © 1985-86, by Dave Black

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Vol. 6, No. 3

Publisher Mike Jacki

Education/Safety Editor Dr. Gerald George

Production Michael G. Botkin

UNITED STATES GYMNASTICS FEDERA­TION BOARD OF DIRECTORS: Executive Director: Mike Jacki. Athlete Representatives: Lydia Bree; Peter Vidmar; Linda Kardos; Tom Beach; Kathy Johnson; Tim Daggett; Kelly Garri­son. Amateur Athletic Union: Jerry Hardy. Amer­ican Sokol Organization: Norma Zabka. Amer­ican Turners: Hany Warnken. Members at Large: Linda Chencinski. NCAA Gymnastics Coaches­Men: Fred Roethlisberger, University of Minneso­ta . NCAA Gymnastics Coaches-Women: Judi Avener, Penn State University. National Associa­tion for Girls and Women m Sports: Dr. Mimi Murray, Sprin~field College. National Associa­tion of Women s Gymnastics Judges: Dale Brown. NCAA: Sylvia Moore, Oregon State University; Gail Davis, Rhode Island College; Jerry Miles, c/o NCAA; Wayne Young, Brigham Young Universi­ty. NAIA: Bonnie Morrow. NHSGCA: john Brink­worth. National Federation of State High School Athletic Assoc.: Sharon Wilch; Susan True . National Jewish Welfare Board: Courtney Shank­en. NJCAA: Dave Rowlands, Truman College .

• NGJA: Mike Milidonis. USAIGC: Ed Knepper. Men's Elite Coaches Assoc.: Jim Howard, Uni­versity of Nebraska. USECA for Women: Roe Kreutzer; Steve Whitlock. Young Men's Christian Assoc.: Cliff Lathery. Jr. Boy's Gym. Coaches Assoc.: Rich Boccia. President: Mike Donahue.

EXECUTIVE COMMITTEE: President: Mike Donahue. Secretary: Judi Avener. Vice President: Jim Howard. Executive Director: Mike Jacki. FIG Technical Committee: Jackie Fie. FIG Rhythmic Technical Comm.: Andrea Schmid. FIG Men's Technical Committee: Bill Roetzheim. Vice Presi­dent for Women: Sue Ammerman. President Emeritus: Bud Wilkinson. Athlete Representa­tives: Kathy Johnson; Peter Vidmar; Larry Gerald . Members at Large: Mike Milidonis; Linda Chen­cinski.

Associ•te Content Editors SPORTS MEDICINE COMMITTH Merrill A. Ritter, M.D. SAFETY COMMITTEE Dr. Marc Rabinoff EDUCATION COMMITTEE Dr. Garland O'Quinn BIOMECHANICS COMMITTEE Dr. Marlene Adrian, Director SPORTS PSYCHOLOGY COMMITTEE Dr. Keith Henschen, Ph.D. EXERCISE PHYSIOLOGY COMMITTEE Dr. Pat Eisenma.n, Ph.D.

Unless expressly identified to the contrary, all articles, state mencs and views printed herein are attributed soley to the author and the United States Gymnastics Federation expresses no opin­ion thereon and assumes no responsibility thereof.

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An Approach To Gymnast Preparation And Training For

Class I Floor Exercise (PASS VI, #22 - Press Handstand 360°

Pirouette Forward Walkover)

By Sharon C. Valley Department of Intercollegiate Athletics

University of Florida

INTRODUCTION:

Comment and discussion from coaches regarding the above-mentioned sec­tion of the Class I Floor Exercise routine has

reached the National Development and Technical Committees this year. The primary concerns of coaches appear to be that, (1) This section of the exercise is a series of basics that becomes parti­cularly complex when put together in this sequence, (2) Performing these movements to full amplitude (no judg­ing deduction) within the allotted time and the rhythmic structure of the music increases the probability of perform­ance errors when competing and coach - gymnast frustration when training this section, (3) The immediately pre­ceding compulsory exercises (previous cycle) did not include many of these

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currently required elements, and (4) There is the possibility of lower back problems that can occur from rushing the development of a forward walkover in a gymnast whose upper back/shoul­der flexibility is not adequately de­veloped before repeatedly working on the skill.

It is the author's opinion that the key concept that determined how well gym­nasts from various gyms were able to cope with this challenge is BASICS. Obviously, those gymnasts who are de­veloping from those gyms whose coaches have a philosophy of coaching that includes and requires the broadest range of thoroughly mastered basics probably had the least amount of diffi­culty in coping with the challenging na­ture of this section of the floor exercise. And conversely, those gyms whose coaches require only basics related to a particular compulsory level and those optional skills for which the gymnast shows an initial talent or propensity, probably had the most difficulty in deal­ing with the skills and sequence of this section.

FLOOR EXERCISE CLASS I

P. 150 COMPULSORIES

22. HANDSTAND 360° PIROUETTE FORWARD WALKOVER (0.6) From a squat position, place both hands forward on the floor and "lJress up to a handstand with the body in a piked position. Upon reaching the vertical, split the legs 180° and initiate a 360° PIROUETTE ON THE HANDS moving to the right . (Clockwise.) Finish the handstand with a FORWARD WALKOVER landing on the left foot . Finish the for'Nard walkover with tile right leg extending 45° diagonally upward. Straighten left support leg. The body will be facing between ~orner #I and side #2. Arms: Move to high.

Nevertheless, and all things consid­ered, much has been done by coaches to aid gymnasts in dealing with this por­tion of the exercise and to "get through" the season of competition with as much success as possible. We now approach summer or pre-season ('86-87) training phases that allow us to "drop back" a bit and structure our workout sessions to emphasize the importance of the gym­nasts' skills and basic gymnastics attri-

. butes that need improvement and de­velopment. In preparing for next year's competitive season coaches also must consider that judges will have more familiarity with the entire floor exercise routine and will apply the deductions more discriminately.

In this article the author aims to sug­gest some specific training procedures and drilling methods for the basics re­quired to improve the aforementioned section of the Class I Floor Exercise Routine. I. Pre-Skill Drills

These drills are a) to be performed at an above-average level prior to large scale work on the actual skills and, b) to

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be continued as warm-up and acces­sory drills to the actual drill practice that will be outlined later. (Section II) A. Split-Oversplit Drills

1. Gymnast performs split between mat stacks or beat boards and is observed by the coach for good hip alignment (not legs out to side or turned in at hips) and for posture of upper back, lower back and stomach (not arched in lower back so that the stomach sags towards the thigh).

2. Gymnast stands facing a wall with her forward split leg walking up the wall to split position, base leg slightly turned out and as close to the wall as possible. Coach or spotter assists in balancing the gymnast and cor­recting alignment and posture.

3. Repeat with backward split leg, standing with back to wall to start. This drill becomes an arabesque drill if the gymnast lifts her chest and tries to remove her back leg from the wall to a held position.

PLEASE NOTE: All split drills and skills should be practiced on both sides to de­velop and main­tain the body evenly.

B. Basic Handstand and Pirouette 1 . Hold handstand 10 seconds in

stretched (legs together) posi­tion with the head down and be­twef-arms).

2. Hold handstand 3 seconds, split with control and main-" lift" of shoulders and hips. Legs are tight and "pressing" into split, rather than " releasing " and dropping to the split position . Hold an additional 3 seconds to work on strength of split position. Coach or competent partner ad­justs alignment and corrects handstand throughout as well as helping the gymnast " press down" in hip areas to increase splitting action.

3. Handstand {legs together), then pirouette %, 112, % or 1/ 1 (de­pending on coach's assignment) with and without assistance , maintain ing a stretched hand­stand and holding the handstand as the turn finishes.

4. Half and % pirouette in split handstand, end held 3 seconds. Performed until the gymnast can maintain handstand and

Technique

isolate the turning action without a change in split or stretch of the handstand.

C. Shoulder-Upper Back Orienta­tion 1. Sit on floor, legs together, upper

body stretched. Grasp stick be­tween hands, shoulder distance apart and bring to vertical and then behind the vertical without arms bending, pulling the head from neutral or arching lower back. Spotter assists and ad­justs as necessary.

2. Kick to handstand (legs together) with spotter adjusting and helping to maintain stretch­ed-elevated position of the shoulders. Gymnast attempts to move upper back/shoulders be­hind the hand support position ("push back" in shoulder area) . Spotter may have to gently assist in isolating the area as well as preventing gymnast from arching the lower back at any time during the drill. Note: It is important that the

gymnast maintains the stretched handstand while developing the ability for controlled hyperextension of the shoulder area. Observe these actions carefully.

D. Back bend/Walkover Lead-Ups 1. Upper backbend. Gymnast does

a back bend to a mat stack which is approximately 112 to % of her height while standing approx­imately 6 inches from the mat. The starting position requires straight standing position with back aligned properly, arms up and pressed behind vertical ("reach" with hands prior to head going back). This drill forces isolation of the upper back and prevents the hips from thrusting forward or backward. The coach will probably need to assist the gymnast in this drill.

2. Three quarter backbend to a mat that is approximately 8-12 in­ches thick. This drill helps with control of backbend. Encourage gymnast to arrive "softly" and with hands already under shoul-ders. '

3. "Rockers". In a backbend, full rocking , shoulders past hand­stand, hold, followed by full rock­ing of hips over feet.

4. Full backbend down and up showing both rocking positions

(hands leave floor only after hips moved over feet), and finishing in a straight stand, hands/arms behind shoulders and no move­ment of the feet. Encourage an "unfolding" action of vertebrae and musculature to the standing position.

5. Full backbend from a stand with one foot forward , leg stretched­rock, rock, with forward leg now extended to vertical (still in back­bend position); come up to be­ginning position-forward leg stretched, foot barely touching floor, hip over heel. The most im­portant action here is the trans­ferral of center of gravity through the shoulder/hip rocking move­ment to the leg which will be­come the standing leg. Note: Use this drill prior to hav­

ing gymnast try to hold leg up at end. If the gymnast is assisted some of the time, she will develop muscle orientation and strength for the "in be­tween" positions which will make possible the correct unfolding action of the back.

6. Handstand to backbend (for­ward limber) using shoulder isolation to initiate the legs mov­ing from vertical to backbend position . The gymnast should attempt to arrive with shoulders already at least slightly behind hands {the first rocking position) so that as feet arrive the body can rock forward immediately and begin the standing action.

E. Pre-Walkover Drills (Tic-Toe lead-ups) Note: The gymnast should not pro­

ceed to Tic-Toe drills until she shows adequate shoul­der flexibil ity and under­standing of the " isolation" concept.

1 . As in 0#2, but split handstand position. Watch for head staying at neutral position and lower back maintaining minimal arch as gymnast "pushes" back in shoulders. This is much more difficult than the legs together drill previously described. Observe carefully coaches, making sure the stretch is occur­ring in the proper areas. Also make sure the split is maintained once shoulders start working . The split legs will "tilt" forward,

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but should be a result of the shoulder action and not a drop­ping or adjustment of either leg. Gymnast returns to a controlled vertically split handstand.

2. When the first Tic-Toe drill is mastered and understood by the gymnast, the drill can be taken one step further by having the gymnast perform the drill as de­scribed above, but attempt to touch the toes of the front leg to a mat stack or object 8-12 in­ches off the ground without put­ting weight on the foot or relax­ing the stretch of that leg. Even­tually the gymnast should be able to perform this drill with the toes touching the floor (no mat used).

Both of these drills benefit for­ward and backward walkovers.

F. Press "Developers" 1. From squat position "jump tuck­

ed legs to mini-hand-stand with hips up and over shoulders, legs still tucked, balance in this posi­tion".

2. Same drill, but straightening legs to piked position with hips up and maintaining balanced position.

3. Drills #1 and #2, but extending legs up after the tucked or piked mini-handstand. Perform these drills against a wall or spotter at f irst to avoid overbalancing errors and develop awareness for the vertical position . Try to "stop" just prior to vertical. Note: If gymnast has trouble

elevating the hips high enough, set up a 4-8" mat with firm surface for her to start her squat on -hands on the floor close to mat.

4. From a handstand, press down to a controlled tuck or pike stand. Put the drills together, going up and down, making sure to show stretched handstand position between each phase of the drill­ing.

II . Skill Training Procedures The next most natural step in prepar­

ing the gymnast for this section of the floor routine is individual repetition of each of the three skills she will be train­ing to connect. (1) the forward roll, press handstand, (2) the split hand­stand 360° piroette, and (3) the forward

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walkover. Here the author suggests the concept of meaningful repetition wherein the coach observes and main­tains pre-set well understood condi­tions. For example, the gymnast must successfully perform five repetitions of the skill. Successful performance, however, may mean different degrees of perfection at different cycles of train­ing, so the coach must be clear in the explanation of what is expected each day. Hopefully, the standards tor per­forming the skill would be those out­lined tor the pre-skill drills already dis­cussed in this article rather than mere completion of the skill.

Some suggestions tor skill training : A Forward Roll Press Handstand

1 . Forward roll press handstand in a row down a tumbling diagonal or strip. Look tor increased con­trol on the press to handstand before each roll.

2. Same drill , but add the split handstand at the end of the press and hold , then roll.

3. Add arabesque position to for­ward roll prior to the press hand­stand, continue to split hand­stand and hold prior to rolling.

B. Split Handstand 360° pirouette 1. Kick to split handstand , hold ,

then pirouette 112, % or 1/ 1 and hold again .

2. Same drill but kick to legs together handstand, then split and add the degrees of pirouet­te and hold .

3. Combine drill A # 3 with B #2 as follows: Forward roll (with or without arabesque) , press hand­stand , split and pirouette 112, % or 1/1.

4. Same as above but add Tic-Toe to end of pirouette.

C. Forward Walkover 1. Single forward walkovers tor cor­

rectness, with and without leg held up at end.

2 . 1/ 1 pirouette forward walkover (perform walkover only when pirouette ends with control.)

3. Press handstand split 1/ 1 pirouet­te and forward walkover.

4 . Enti re sequence from forward roll to forward walkover.

Ill Routine Practice Most coaches have their own

method of having gymnasts work full or part ial rout ines in a manner that emphasizes a certain quality or specific areas of the exercise. To mention a few :

Technique

1) divide the routine into 1/4s, %s or 112s (perform with and without music)

2) perform tumbling passes with the connecting parts in and out of the passes (with and without music)

3) dance through full routines with­out the major tumbliv passes (with and without music)

4) perform the whole routine without music to allow the gymnast to work on individual style or rhythm and/or to allow her to work the dif­ficult sections at a pace that she can handle.

The author suggests a similiar approach to incorporating back into the routine the newly drilled parts discus­sed in Sections I and II of this article.

After practicing the skills back in combination , but outside of the routine, the whole sequence could be practiced to the music, requiring the gymnast to work only as fast as she can and still maintain correct technique. If the gym­nast shows a regression to poor techni­que of any part of the combination that lasts for more than a few repetitions, have her return to the appropriate drill until the problem is once again car-

rected . During this phase of training, the coach may choose to turn the music on and oft to accommodate whatever difficulty the gymnast may be having.

In addition , when return ing to work on the whole routine to music, the coach can ask the gymnast to perform only certain parts of the combination so as to vary the training process and change the emphasis from skill to ski ll. Exam­ples of this method would be to perform the entire routine to music, but when the gymnast gets to the forward roll through the forward walkover section she per­forms one of the following sequences :

1) arabesque to forward roll , press to handstand and hold , then roll out in time to pick up the next sec­tion (contracted pose) .

2) same as #1, but split the hand­stand and hold, roll ing out again into the nxt section .

3) same as #2, but add a 112 or 1/1 pirouette and hold until rolling.

4) kick or press to handstand, split and pirouette 112 or 1/ 1 and perform Tic-Toe (as in Drills E #1 and 2), and hold the handstand (no for­ward roll) .

5) same as #4, but leave out the

a colour quarterly, published by the Internation al Gymnastics Federation (FIG), whose news and pictures are not restricted to any one country but cover the whole world of our beautiful sport. Special introductory subscription rates and brochure, write to :

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pirouette and perform the forward walkover.

When approaching the competitive season, the coach must set up the train­ing cycle so that there is enough time to get the routine up to time and relating strongly to the music, regardless of error. The author suggests, however, drilling the parts and partial routines as long as possible.

CONCLUDING THOUGHTS

I t is important to note that the drills and skill practice as out­lined in Sections I, II and II are not meant to be done all at the same time, but progressively

over a period of months as the gymnast gains facility with proper mechanics for these skill areas. Coaching observation is crucial to avoidance of "over-work" syndromes for the shoulder and upper back areas and to incorrect involve­ment of the stomach and lower back, which can occur in gymnasts who work independently more than they are observed on these skills.

Progress on these drills and skills is slow in most cases. Success needs to be measured and praised according to each small part of the skill that is being addressed in the drill , as opposed to measuring success by performance of the whole skill . In this way the gymnast is hopefully internalizing the mental and kinesthetic aspects of performing with good technique and will eventually be capable of working for periods of time without constant coaching supervision or comment. At the same time, the coach is gaining invaluable analytical experience as he adjusts the drilling concepts to each individual with whom he works.

It is the author's hope that coaches, in reading Section Ill of this article, may have gained some ideas for variety and specificity of their methods of training any floor exercise routine , notwith­standing this article 's specific discus­sion of Pass VI of the current Class I floor exercise. Hopefully, judges have found some new understanding for how the discussed elements connect effi­ciently and with full amplitude. And , finally , perhaps a number of gymnasts have found some concrete ideas for correcting or improving their skill level for this routine.

ACKNOWLEDGEMENT

In lieu of textbook references, the au­thor would like to acknowledge that the approach to basi cs and drilling

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methods outlined in this article has been developed over a period of twenty years of coaching and teaching and in coordination with those gymnastics col­leagues with whom she has worked , experimented and learned in several very special gymnastics training cen­ters throughout the United States . Those centers and a multitude of young gymnasts have provided the "labora­tory" for learning which goes on and on .. .

About the author: Sharon Valley has been a Brevet

judge for 16 years, serving as a U.S.A. gymnastics official for most major world competitions during this time. Most re­cently she judged at the 1984 Olympic Games and the 1985 World University Games and she judged at the 1986 Goodwill Games this summer in Mos­cow. Ms. Valley serves as the director for the U.S.G .F. Women 's National

Senior National Men's Coach Position

The Men's Program Committee has for over a year attempted to finalize the selection of a full-time, in-house senior national coach for the Men's Program.

This came as a recommendation of a special task-force created by the Ex­ecutive Committee of the United States Gymnastics Federation (USGF) to identify means by which the program could be improved.

To date, there has been no commit­ment from the gymnastics community for such a position as demonstrated by no applications for the position.

At the most recent Men's Program Committee meeting, the decision was made to continue the annual selection process for the national coach from ap­plications presented to the Men's Pro­gram Administrator.

This would be a part-time, out of office position with a stipend contingent upon the duties performed.

The job description is as follows: 1. Yearly 12 month national coaching

position beginning on January 1 each year. Applicants will submit resumes to the Men's Program Administrator by November 15, with selection for that year taking place at the MPC meeting in December.

2. The National Coach will conduct four Regional clinics in the USA. He will structure and conduct these clinics with any assistants he deems justified.

Judge's Training Commission. She has coached and consulted for twenty years in Elite Training Centers through­out the U.S. and is currently the assis­tant gymnastics coach and a physical education instructor at the University of Florida. Ms. Valley holds B.S. and M.S. degrees in Health, Physical Education, Recreation and Athletics.

3. He will conduct at least four Senior National Team training camps each year. He will organize and conduct the clinics in a very structured manner with input from the athletes and coaches and dissemination of schedule and for­mat far in advance.

4. He will attend the Championships of the USA, the final trials, the American Cup at the expense of the USGF Men's Program.

5. He will attend Congress and be prepared to make presentations. Ex­penses to the Congress as with all pre­senters will be at his expense.

6. He will be the designated head coach of the USA team in all FIG team competitions for the year he is selected. He will also select his assistant coach for these functions. This assistant must be approved by the Men's Program Committee.

7. He will develop technical informa­tion and disseminate it.

Interested Applicants Should Submit Complete Resume Vita To:

ROBERT COWAN NATIONAL MENS PROGRAM

ADMINISTRATOR UNITED STATES GYMNASTICS

FEDERATION 1099 N. MERIDIAN, SUITE 380

INDIANAPOLIS, INDIANA 46204 by November 15, 1986. Announcement will be made by December 15, 1986.

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Women's Gymnastics

10

V aulting is one of the four events for female gym­nasts. The events are vaulting, uneven parallel bars, balance beam, and

floor exercise. Vaulting stands out among these events as the only one performed by the execution of a single skill. The other events are performed in a routine format, with a routine consist­ing of at least 10 elements or skills .

The vault receives a maximum score starting from 10.0 points, the same as the other events . This places an in­teresting emphasis on the execution of a single skill compared to the other events which require 10 or more skills to be performed in a routine. Therefore, one quarter of the female gymnast's all­around score is obtained by the execu­tion of a single skill. With responsibility for 25 percent of the all-around score resting with one skill while 30 or more skills account for the remaining 75 per­cent, one might assume that vaulting

biases the all-around score toward the accomplished vaulter, and emphasizes the importance of this event.

The vault is comprised of several dis­tinct skill phases, and each phase may be sub-divided into smaller phases. The major skill phases are the run-up, hurdle, take off, preflight, support, post flight , and landing. This study is con­cerned with the analysis of the run-up phase and the possible contributions of the run-up to the outcome of the vault, ie. the score received.

The gymnast uses the vault run-up to develop momentum that will be used for the remaining phases of the vault. One of the requisites to skilled performance of the vault is to achieve as high and long a trajectory as possible during the flight between the horse and the land­ing while performing somersaulting and twisting skills. This high and long trajec­tory will allow the gymnast to perform somersaulting and twisting skills with greater ease and elegance due to the

Technique

increased time in the air . Work by Bruggeman and Nissenen (1981) showed a significant correlation be­tween height and distance of the vault in the post flight with change in vertical velocity during the take off phase from the board.

Their work pointed to the vertical im­pulse during the support stage of the take off phase and acknowledged the underlying variables of horizontal com­ponent velocity , vertical component velocity, and angular velocity upon leaving the board. Dainis (1981) de­veloped a mathematical model of the handspring vault for the female gym­nast which was verified with four ad­vanced female gymnasts. His calcula­tions showed that a decrease of seven percent in the take off horizontal speed would cause a reduction of 13 percent in the post flight distance. Moreover, his model showed that a seven percent re­duction in vertical speed at take off would result in a 25 percent reduction in

Technique

post flight distance. The relationship of mined the velocity of Nelli Kim (Olympic the run-up velocity to the height and dis- gold medalist in vaulting - 1976) in tance of the post flight is not a simple both compulsory and optional vaults. one . The gymnast's actions during He determined the velocity during the boardcontactandhorsecontactcanre- hurdle step for her compulsory suit in changes in the outcome of the Yamashita vault to be 7.64 mis and her post flight. However, the run-up, which full twisting Tsukahara reached a veloc­is largely responsible for the horizontal ity of 7.4 mis during the hurdle. Male component velocity , is an important junior age vaulters were able to reach contributor to the outcome of the vault. velocities ranging from 7.09-7.84 mis in

The vault run of the female gymnast the study by Mizoguchi and Cheetham has been studied only cursori ly. The (1984 ) using photocell timers . vault run of the junior male gymnast has Cheetham (1982) showed collegiate been investigated by Mizoguchi and level male gymnasts had horizontal Cheetham (1984). Sprinting in general velocities at board contact ranging from has been studied with a variety of 6.72 mis to 7.91 mis with a mean veloc­methods ; high speed cinematography, ity of 7.32 mis. Hay (1973) reported the photocell timing devices , and the horizontal component velocity of a male speedograph (Volkov & Lapin , 1979; gymnast performing the long horse Henry & Trafton , 1951 ; Mann, Kotmel , vault to be 6.75 mis at the instant of take Herman, Johnson, & Schultz , 1984) . off from the hurdle step . Dillman , Run -up velocities of the senior age Cheethman, and Smith (1985) deter­female gymnast, as determined by high mined the range of velocities at the time speed cinematography, have been re- of board contact for 1984 Olympic male ported by Bajin (1976). Baj in deter- final ists ranged from 7.6 mis to 7.99 mis

11

with a mean of 7.79 mis and standard deviation of 0.13 mis.

Procedures

G ymnasts were filmed dur­ing competition at the 1985 American Classic gymnastics competition held at the U.S. Olympic

Training Center in Colorado Springs, Colorado. All gymnasts were filmed and 10 junior gymnasts were selected at random for this initial report. The film­ing was performed by a Locam II , 16 mm camera with film speed verified at 60 frames per second. The camera was placed approximately 25 m from, and perpendicular to, the sagittal plane of vaulter, centered in the vault runway, and elevated approx imately f ive meters. The elevation was accom­plished by positioning the camera on the bleachers, using a tripod . The field of view included the entire run area from the starting position to the area be­tween the take-off board and the horse.

Since the filming was performed dur­ing a competition it was necessary to raise the camera to avoid obscuring the body of the gymnast by meet personnel and other athletes. The camera posi­tion afforded an unobstructed view of the gymnast's head. Other parts of the gymnast's body were obscured at var­ious times due to score flashers , equip­ment, judges, and other athletes. Both vaults were filmed and the particular run for analysis was selected at ran­dom. Records were kept of the gym­nast's name, type of vault , major execu­tion problems, and score.

Digitizi ng of the approach run was performed using a Numonics Digibit digitizer. The apex of the head was

chosen as the single data point for iden­tification . The head was the only body part that remained in view during the entire run due to the presence of meet personnel. Digitizing began at the first perceived motion of the gymnast from the standing start and ended several frames after board contact. The hurdle step itself was disregarded in the analy­sis due to large head movements that all the gymnasts performed during the hurdle step.

Data points were stored in an AT&T PC 6300 following the digitizing. A But­terworth digital filter was used to smooth the displacement data with a frequency cut off of eight Hz. Following finite differentiation of the resultant and horizontal component displacement data a running average was utilized in­volving plus and minus three data points . The horizontal component velocity was then listed and graphed. Interest in the velocity of the vault run­up alone makes the data collection essentially a one dimensional problem, ie. a line. Therefore, the factor of in­terest becomes horizontal component velocity. Since the problem has been reduced to a line as long as the camera remains as nearly perpendicular to the line of travel as possible the data will represent the horizontal displacement and horizontal component velocity upon differentiation. The start actions of each gymnast varied with some gym­nasts taking the first step forward and, some backward - immediately prior to stepping forward . All the various start­ing actions were categorized as one step. Each step of the run was recorded as the leading foot contacted the floor. All software for the analysis was written by the investigators.

Table 1 Vault Data

Subject Type of Vault Score Steps Peak Velocity

1. Pike Tsukahara 8.40 12 7.11 mis

2. Tsukahara 1/1 Twist 8.50 13 7.60 mis

3. Pike Tsukahara 8.20 11 6.97 mis

4. V2 on 1 & V2 off 8.40 12 6.80 mis

5. Tsukahara 1/1 Twist 8.65 13 7.17 mis

6. Pike Tsukahara 8.75 13 7.27 mis

7. Layou t Tsukahara 8.90 12 7.44 mis

8. Layout Tsukahara 9.00 13 7.49 mis

9. Layout Tsukahara 8.70 13 7.20 mis

10. Layout Tsukahara 9.05 15 7.46 mis

Mean 8.555 12.70 7.25 Standard Deviation 0.280 1.06 0.25

12

Results and Discussion The sample of vaults, scores, num­

ber of steps, and peak velocities of the runs are displayed in Table 1.

The subjects included in this analysis included one subject with a very poor landing. The large execution error occurred on subject number two. In an attempt to diminish the confounding effects of large execution deductions on the final score, subject number two was removed from the statistical analy­sis that follows immediately below.

A coefficient of multiple cor­relation was calculated on the data in Table 1 to dis­cern any positive rela­tionships between the

number of steps taken in the run and peak velocity with the score received . The coefficient of multiple correlation (r) was .953 (n = 9, p < .01 ). The standard error of estimate was .1026 and the coefficient of determination (r squared) was .907. The coefficent of determina­tion would indicate that up to 90.7 per­cent of the variation in scores received by athletes at this level of competition can be predicted by the number of steps taken and the peak velocity achieved.

The largest contributor to the vaulting score is the peak run velocity. The num­ber of steps interacts or influences the peak velocity in that the more steps the gymnast takes the longer the run-up and, within limits, the higher the peak velocity. To clarify, the increased num­ber of steps implied by the statistics does not indicate that the gymnast should attempt to simply take as many steps as possible. The results indicate that the run-up peak velocity and number of steps can closely predict the score . The number of steps vari­able implies that the gymnast should run farther not simply take more steps. This has been shown by Henry and Trafton (1951) in their research on the velocity of sprinting in general. Their research showed that it took 22 yards to reach 95 percent of the male athletes' maximum sprint velocity.

By using the standardized regression coefficients for both independent vari­ables we obtained a beta value of .347 for number of steps with the score, and .701 for peak velocity with the score. This indicates that the velocity of the run contributes approximately twice as much to the prediction of the final score as the number of steps. It should be

Technique

noted that the interaction between the number of steps and peak velocity re­sulted in the .953 coefficient of multiple correlation but, peak run velocity is a larger contributor to the relationship than the number of steps.

This analysis indicates that the gym­nast should attempt to achieve as high a peak velocity as possible. The num­ber of steps taken interacts with peak velocity by implying a longer run-up dis­tance. Since gymnasts take a variety of starting actions, they are allowed to start anywhere within the limits E>f the runway, and the individual differences in stride lengths, height, strength, pow­er, technique, etc., contribute to peak run velocity we elected to study two variables that were quantifiable in a competitive circumstance. These two variables are themselves determined by a host of other factors. We cannot accurately indicate the contribution of these factors. However, we should ac­knowledge their existence.

This information appears to clearly identify the run-up as a potent contribu­tor to the outcome of the vault at the junior elite level. The gymnast should achieve as high a peak velocity as possible during the run-up and should utilize as much of the run-up distance as will be appropriate for reaching her peak velocity. Of course, this assumes that the gymnast does not perform the vault with large execution errors.

Patterns of the Final Four Steps

Attempting to ascertain any deviations from peak velocity during the final four steps may result in the identification of the

particular steps where decrements in velocity occur. It is common experience among gymnastics coaches to observe

decreases in velocity during the last two to three steps of a young vaulter due to a host of reasons. Any decline in veloc­ity during these final steps represents a loss of momentum that is unrecover­able.

The final four steps of the run include those steps immediately preceding, but not including the hurdle step. All the junior female gymnasts achieved peak velocity during the final four steps. The work of Mizoguchi and Cheetham (1984) on junior male gymnasts pro­vides comparative data. The data of Mizoguchi and Cheetham (1984) was reported as velocities at particular steps due to their instrumentation which utilized photo cell timing devices. Comparative data from the film study of the junior female gymnasts was obtained by calculating the average velocity of all the data points during each of the last four steps. From the calculated averages of the data points for each of the final four steps, aver­ages were calculated across subjects to obtain group means for each of the final four steps. This data is presented in Table 2.

Inspection of Table 2 Figure 1 shows that the male and female gymnasts have similar patterns during the final four steps of the run . The males achieve a higher peak velocity than the females but, both groups achieve the peak velocity during the second step before the hurdle. Although the differ­ences in the values are well within the statistical limits of the standard errors, the patterns of the final four steps are interesting. The decrement in velocity that occurs during the final step prior to the hurdle is .45 percent for the females and 1 .53 percent for the males. Figure 1 shows that the differences in the step velocities is not greater than statistical

Table 2

Mean Std Dev

Mean Std Dev

Technique

Comparison of Velocities of Final Four Steps This Study

4th

6.82 mis 0.25 mis

4th

6.82 mis 0.14 mis

Females (n = 10)

Step 3rd

6.96 mis 0.20 mis

2nd

6.97 mis 0.22 mis

Mizoguchi and Cheetham (1984) Males n = 6

Step 3rd

7.21 mis 0.10 mis

2nd

7.3 1 mis 0 .1 5 mis

1st

6.94 mis 0.30 mis

1st

7.20 mis 0.16 mis

error terms but does raise some in­teresting questions for further study. Is the pattern demonstrated in Figure 1 consistent among a larger group of vaulters? Are there differences in this pattern depending on the type of vault performed? Does age or size of the per­former influence this pattern? This pat­tern may be a necessity since the gym­nast must change from alternate step­ping during the run to symmetrical arm and leg actions during the hurdle and take-off.

The gymnast and coach should work to diminish any decrement in velocity during the final four steps as much as possible. An example of one particular female gymnast should be instructive in this regard. Figure 2 shows the graph of the velocity of a particular gymnast dur­ing the last four steps along with the mean values for the group of female gymnasts. The graph shows that the decrement in this particular athlete is more pronounced than that of the group in general.

The decrement in velocity of this par­ticular gymnast is 3.8 percent from her · peak velocity in the third step prior to the hurdle. This decrement was among the largest of the subjects under study. Although the subject did not score in the lower half of the subjects, the question arises as to whether this subject could improve her vault and her score by re­ducing this decrement in velocity. A more efficient transition from the run to the hurdle could help the gymnast ar­rive at the take off with greater horizon­tal component velocity. A simple ques­tion of efficiency arises as to whether a gymnast should achieve a high peak velocity during the final steps of the run­up only to slow down during the remain­ing steps.

Conclusion

T he vault run plays a very important role in the per­formance of the gymnast, as reflected in the scores awarded . A correlation

coefficient of .953 is quite high and re­flects a very good relationship between the number of steps and peak velocity of the run-up with the score awarded. A great deal of time and effort should be placed in the analysis of the vault run for each particular gymnast. It is a startling realization that almost 91 percent of the variation in scores in vaulting at the junior elite level can be accounted for by run velocity primarily and number of

13

steps secondarily. One should remem­ber that there is interaction between the length of the run , number of steps, and peak velocity.

The removal of the gymnast who had a large problem during the landing of the vault should emphasize that there are other considerations in the outcome of the vault that will effect the final score. However, at the elite level we can usually consider that the contend­ing gymnasts will not have such large errors and the resulting performance evaluation will largely be determined by factors other than major execution faults. This realization serves to amplify the need for a very fast run for the vault.

Coaches and athletes should renew their interest in sprinting drills, perhaps with increased attention to those peo­ple who can teach the gymnastics coach about running , ie. track and field sprint coaches. Finally, the analysis technique used here appears to offer some diagnostic potential in determin­ing exactly which step the decrement in peak velocity occurs. Therefore , the analysis technique can offer the coach a more accurate idea of where to look for fault in realizing maximum sprint speed and maintaining it as much as possible through the final steps of the approach. Future studies will concen­trate on the final four steps to ascertain consistency of the patterns demon­strated here.

References Bajin , B. (1976). Nelli Kim 's gold medal vault. Interna­

tional Gymnast Magazine, Nov. p46. Bajin , B. (1976). A study of selected aspects of the

Yamashita vault. Canadian Gymnastics Federa­tion Publication.

Bruggeman, P. & Nissinen, M. (1981 ). Kinematic analy­sis of the handspring vault. Paper presented at the

Eighth Internationa l Congress of Biomechanics. Nagoya, Japan.

Cheetham, P. J. (1982). The men 's handspring front 1 V2 somersault vault: Relationsh ip of the early phase to post-flight. Proceedings First International Sympo­sium on Biomechanics in Sports. International Socie­ty of Biomechanics in Sports.

Dillman, C. J. , Cheetham, P. J. , & Smith, S. L. (1985). A kinematic analysis of men 's Olympic long horse vault­ing . International Journal of Sports Biomecha­nics, 1, 96-110.

Hay, J. G. (1973). The biomechanics of sports tech­niques. Englewood Cliffs , NJ: Prentice Hall.

Henry, F. M. & Trafton, I. R. (1951). Velocity curve of

Vault Ru n : Final Four Steps

sprint running . Research Quarterly, 22, 409-422. Mann , R., Kotmel , J. , Herman , J. , Johnson , B., &

Schultz, C. (1984). Kinematic trends in elite sprinters. In J . Terauds, K. Barthels, E. Kreighbaum, R. Mann, & J . Crakes, (Eds.) , Sports Biomechanics, (pp. 17-33). Del Mar, CA: Academic Publishers.

Mizoguchi , H. & Cheetham, P. J. (1984). Number of steps in vaulting run. Paper presented to 1984 United States Gymnastics Federation , Coaches Congress, Indianapolis, Indiana.

Volkov, N. I. & Lapin, V. I. (1979) . Analysis of the veloc­ity curve in sprint running. Medicine and Science in Sports, 11 (4), 332-337.

7.5 ~-----~e_on_V_el_oc_ili_••_fo_,_Eo_c_h _Sl-'-•P ____ _ I

I T -. ' , .. : 7.3 : T ~t ---... ::~~ ///r 71 I // ~l ~1-------JI

Figure 1

6.9 .

6.8.,

6.7

e.e ~

6.5 +'----------~-------< 4U1 Jnl 2nd

Vault Run: Final Four Steps a Jr, Girl1' n=10

Step:! Before H1Jrdlc i" Jr. Bt>~ n=6

Mean Vclocrtic:5 for- Each S~cp 7.4 -, ------------'-----~

' 7.3 -I '

7.2 ..J ' - '

1.1 ~ ----------

- ' -------- ------, .,__..---

~ 6.9 ~ I

u~ ~ I I

Figure 2 5.7 ~ l I I

6.6 '"i : I I

6.5 ~ : I I

6.4 ~ : I I

6.3 -I I I I

6.2 -.-' -----.--------,-------<' 4\h 3nl 2nd 1>\

St e-01:1 6C"fo,.,, Hurdl e Mcon V1Jlue~ n=10 · 1- S.Jbjci;;t Yo!ue

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Technique

Observation on Men's Vaulting

From The 1985 World Championships

By Russell Fystrom

T he purpose of this paper is to raise some questions and concerns I have in re­gards to men's vaulting at the 1985 World Cham­

pionships. My concerns are in three areas. The first area I will deal with is the advent of the one-arm vault, the second area I will deal with is the Kasamatsu and the Tsukahara with a full turn, and the last area I will deal with is a general observation of the types and numbers of vaults performed at the 1985 World Championships.

A brief history of the one-arm vau It wi 11 help in realizing how quickly gymnastics changes. In the 1984 Los Angles Olym­pic Games there were no one-arm vaults performed. The first one-arm vault was performed by Grant Carlyon in the Australian Games in January of 1985. Carlyon performed a one-arm handspring with a full turn. I confirmed the performance of the vault with Ken Allen, an F.l.G. judge who judged at the games, and Makato Sakamoto, who presently is coaching in Australia. At the 1985 World Championships there were 144 vaults performed in competition 1 8, with 36 of them performed with one-arm. In competition 3 there were 16 vaults performed, eight of which were per­formed on one-arm.

Gymnastics is a constantly changing sport. My questions and concerns deal with whether the trend and direction that is being set is indeed a step forward. Hopefully, by raising the questions we can generate more discussion and de­termine if this is indeed the direction we should follow in men's vaulting .

My major contention in dealing with one-arm vaults is that generally they are not more difficult than two-arm vaults, but of course there are some excep­tions. I do agree that one-arm vaults are original. I do question whether some ori­ginal skills or techniques are proper in gymnastics. An example would that in women's competition they are allowed

Technique

to perform a round-off before hitting the Reuther board, but in men's gymnastics we have not allowed vaulting to go in that direction. I feel the one-arm vault is also a direction I think we best not go.

I have two major concerns with one­arm vaults. My conclusions are the re­sults of observation , and not of any sci­entific method. My first contention is that one-arm vaults make twisting easier. One performer was able to perform a handspring with two turns. He per­formed the skill on one arm, I don't think he could have performed the skill using two arms. I feel using one arm enables the gymnast to initiate the twist with great ease. There were 13 handsprings with a full turn performed, 11 which were done on one arm. Thus, 11 gymnasts gained the benefit of the extra two tenths merely by performing a vault with one arm. The second concern I have with one-arm vaults deals with forward rotat­ing vaults (example: handspring with salto forward).

When performing a handspring with salto forward vault with one arm, I feel we are aiding the gymnast by diminishing the effect the horse limits on rotation. When using two arms we are limiting the gymnast and his ability to rotate. When only using one arm the gymnast is not hindered as much by blocking on the horse. Thus, the important skill in vault­ing becomes speed and power the gym­nast can generate from the Reuther board. We thus are changing the nature of the event in down playing the horse and the limitations that it imposes on the gymnast.

I feel the men 's gymnastics Technical Committee must look at the vault from this perspective and determine whether this is the direction we should continue. It may well be that we will change the Reuther board or horse to enable the gymnast to twist or rotate more times, if that is the goal and direction we want to go. Whatever the direction we take I feel we should be aware of where we are

15

heading. I would propose that we not allow one-arm vaults or at least take the two tenths benefit the vault has received the past year. I feel the one-arm vault should be given the same value as two­arm vaults. I feel it is similar to the Tho­mas flair (American straddle circle) on pommel horse where that skill increased the difficulty for a performer in the first years it was performed. We have now given Thomas flair skills the same value as non-Thomas flair circles, unless it is listed in the Code of Points, The Tech­nical Committee has decided that to ele­vate the skill was no longer beneficial to the growth of gymnastics.

T he second area of concern deals with the judges' ability to determine the difference between the Kasamatsu and the Tsukahara with a

full turn . The problem is only a concern when the two vaults are performed in the tucked position. The Kasamatsu is valued at 9.2 and the Tsukahara with a full turn is valued at 9.4. My concern is that, as judges, we must be able to iden­tify those two vaults and score them appropriately or change the value of one or the other. Of the 144vaults performed at the World Championships, 44 were Tsukaharas with a full turn or a Kasa­matsu . They were performed tucked, stretched, piked and with one arm, The vaults I am most concerned with are the six Kasamatsus or Tsukaharas with full turns that were performed in the tucked position and the two that were per­formed with one arm in the tucked posi­tion . I will give the gymnasts' number and score.

218 8.30 210 9.15

15 9.40 83 9.30 40 9.75 61 9.75

145 9.30 108 9.55

By looking at the video tape I have come to the conclusion that performers 40, 61 and 108 performed the Kasamat­su vault with a vaue of 9.2 and 9.4 when performed with one arm. If we add two tenths for virtuosity we could get a value of 9.4 and 9.6. Gymnast 108 (9.55) scored .15 over the maximum score allowed for the vault. He was .15 better than perfect. Gymnast 40 scored 9.75 on a one-arm Ksamatsu in the tucked position and again scored .15 over the maximum score.

16

This over-scoring is not limited to the Kasamatsu vault. I will point out one other example. Gymnasts 226 and 47 performed a Tsukahara stretched with one arm. Gymnast 226 scored 9.85 and gymnast 47 scored a 9.8. The highest value of that vault if done to perfection with virtuosity would be 9.8 (9.4 base plus .2 for one arm and .2 for virtuosity). At least two judges felt gymnast 226 was one tenth better than perfect and gym­nast 47 was perfect and performed the vault with virtuosity.

T he next trouble area I would like to deal with is the one­arm Kasamatsu in the tuck­ed position . This vault seems to cause judges

problems because either they over score the vault or they confuse it with a one arm Tsukahara with a full turn. I suspect the second one. The maximum score for a one-arm Kasamatsu would be a9.6 (9.2 base plus .2foronearm and .2 for virtuosity) . Gymnast 105 scored 9.7 and gymnast 81 scored 9.75. Both vaults were performed in the finals of the World Championships. Both gymnasts performed the Kasamatsu and both scored higher than possible. I don't be­lieve the one-arm Tsukahara with a full turn has been performed and it was not performed in the 1985 World Cham­pionships. I feel the Tsukahara with a full turn and tucked or any other position on one arm would be a very different vault. My reasons are that in performing one­arm vaults, the non-support arm would be dropped or lowered thus making it easier to twist in that direction. In doing a Tsukahara with a full turn, the gymnast would need to twist towards the support arm.

I feel we must not reward the Kasa­matsu on one arm by over scoring the vault. We need to be certain that the gymnast is indeed performing the vault we are judging . I would like very much to determine if a one-arm Tsukahara with a full turn has been performed. I don't think it has and I have not seen the vault in the United States or at the 1985 World Championships.

Given the numberofTsukaharas with a full turn and Kasamatsu vaults per­formed , I feel the F.l.G. and the NGJA Technical Committees must provide some education to their members to in­sure that the judges can determine the difference between these two vaults. I question whether we can consistently tell the difference between the two vaults . We must be certain that the

judges who are selected to judge the vaulting event have the ability to deter­mine the difference between the two vaults. It is of greatest concern when the two vaults are performed in the tucked position or with one arm in the tucked position. Fred Roethlisberger, Universi­ty of Minnesota gymnastics coach , pointed out to me the added problem of the judge not knowing the vault that the gymnast will perform. A judge is ex­pected to recognize the vault as well as judge it. When dealing with the Kasa­matsu and Tsukahara with a full turn , I believe this is a most difficult task.

T he last area I would like to deal with is the number of and types of vaults per­formed . By far, the greatest number of vaults were the

Tsukahara and Kasamatsu either per­formed stretched, tucked, piked, with a full turn or with one arm. Seventy four of the 144 vaults were of some variation of the Tsukahara or Kasamatsu . The next greatest number of vaults were some variation of the cuervo. Nineteen cuervo type vaults were performed. The third greatest number were the 13 hand­springs with a full turn with 11 done on one arm. Another interesting note is that 109 of the 144 vaults and backward land­ings facing the vaulting horse. Should we look at the possibility of elevating the value of vaults that have forward land­ings with multiple twists or salto? I be­lieve we must look at vaulting and try to reward the gymnast that is trying the newer and more unusual vaults.

I feel we must judge vaulting more in line with the rules and values so the gym­nasts who perform different and unusual vaults are rewarded for his effort.

I hope this paper will help generate more discussion of the vaulting event and the direction it should take in future years. We must reward new and dif­ferent vaults. I feel we must apply the rules to the present vaults with greater vigor to encourage the gymnasts to seek the new and original. I feel we have seen the one-arm vault and we should move on and forward by not rewarding that vault with an extra two tenths. I feel we must be certain that gymnasts are not rewarded beyond the value of the vault. If we continue to reward the gymnasts with a greater score that is possible we will not be encouraging the gymnast to move forward and to seek new and ori­ginal vaults. My only hope is that I have generated some new questions and new ways of looking at vaulting .

Technique

CALENDAR

1987

SEPTEMBER JANUARY JUNE 23-29 VIII International Catania, 4 USA vs. Australia (Jr. Boys) Colorado 5-7 Junior Olympic TBA

Tournament-Catania (W) Sic ily Springs, CO Championships (W)

24-27 USGP National Congress St. Louis, TBA **USA/ROM (W) TBA 18-21 McDonald's Championships Kansas City, MO of the USA (M/W) KS

22-27 Princess Grace Cup (R) Monaco FEBRUARY [Trials-Pan Am Games

26- Pour Continents (R) Melbourne, 20-21 Pirst Regional El ite Meet (W) TBA (M/W) & World Champs

Oct 6 Australia (W)) MARCH 25-27 Junior Olympic Boys' *Reno, NV

OCTOBER 7-8 Pirst Regional Elite Meet (W) Various Nationals (M)

1-6 Cuperus Cup (M/W/R) Antwerp, Sites (TBA) 27-28 Rhythmic Pan American TBA Belgium 7-8 McDonald's American Cup Pairfax, Games Trials (R)

2-5 Junior Women's Training Colorado (M/W) Virginia TBA *Senior Women's Training TBA Camp (W) Springs, CO *12 International Mixed Pairs Hampton, Camp (W)

8-13 Joaquim Blume, XIII Barcelona, (M/W) Virginia TBA Canadian Classic Canada Catalunya (M/W) Spain 28-29 Second Regional Elite TBA TBA Golden Sands (W) Bulgaria

16-26 South African Cup (M/W) South Africa Meet (W)

17-19 World Cup (R) Tokyo, Japan TBA Moscow/Riga USSR JULY

17-19 Men's Clinic - Region II Portland, TBA Women's Day Cup (R) Prague, 9-16 World Univers ity Games Zagreb,

OR Czechoslovakia (M/W/R) Yugoslavia

17-19 Men's Clinic - Region VII Cortland, APRIL 7-11 PIG Gymnaestrada and Heming,

NY PIG Congress Denmark

21- Junior Boys' Development Colorado 3-5 Rhythmic Championships TBA 11-12 Junior USA Championships TBA

Nov 8 Camp (M) Springs, CO of the USA (W)

TBA **Senior Women's Training TBA 10-11 American Classic TBA 17-26 1987 U.S. Olympic Pestival Raleigh/

Camp (W) Nationals (W) (M/W/R) Durham,

11-18 Junior Training Camp (M) Colorado NC Springs, CO 25- Junior Boys' Development Colorado

NOVEMBER 17 *USA Jr. Boys vs. Cuba Colorado Aug 5 Camp (M) Springs, CO

7-8 Men's Clinic - Region V Northbrook, Jr. Boys Springs, CO IL 25-26 Class I State Meets (W) TBA AUGUST

7-8 Men's Clinic - Region VIII Tucker, GA 25-26 USA/USSR Dual TBA 6-12 Junior Boys' Training Camp Colorado

15-16 Men's Clinic - Region III Norman, Competition (M/W) (10-12 yr olds) Springs, CO

OK TBA *TBS Cup (M/W) Japan 7-23 Pan American Games Indianapolis,

15-16 Men 's Clinic - Region VI Springfield, TBA PIG RSC 7th Cycle Int'! Switzerland (M/W/R) IN

MA Judges Course TBA *Senior/Junior Training TBA

17-24 USA vs . China (M/W) Honolulu , TBA ••Junior Women's Team *Colorado Camp (W)

Hawaii USA/KOR (W) Springs, CO TBA Brazil Cup (W) Brazil

20-26 USA/Swiss/Holland (W) Switzerland TBA **Junior Women's "B" TBA

21-22 Men's Clinic - Region IV Oshkosh, Training Camp (W) SEPTEMBER WI TBA Champions All TBA 11-12 World Championship TBA

21-22 Men's Clinic - Region IX Colorado TBA *Hungary/Bulgaria TBA Team Trials (M)

Springs, CO Invitational (R) 17-20 Rhythmic World Varna,

21-22 Men's Clinic - Region I Tempe, AZ Championships (R) Bulgaria

19-28 Chunichi Cup/Tokyo Int'! Tokyo, 23-26 USGP Congress *Chicago,

Invitational (M/W) Japan MAY Illinois

Swiss Cup/OTB Pokal Cup Switzerland/ 9-10 Class I Regionals (W) TBA TBA Catania (W) Italy

29-Dec 8 (M/W) Germany 15-16 SR Elite Regional Various TBA Princess Grace Cup (R) Monaco

Qualifying Meets (M) Sites (TBA)

DECEMBER 16-17 Third Regional Elite Meet Various OCTOBER

10-15 Gym Masters (M/W) Belgium (W) Sites (TBA) 18-25 Artistic World Rotterdam,

11-22 *USA/Prance (W) Prance 22-23 East/West Championships TBA Championships (M/W) Holland

17-21 Senior Men's Training Camp West Point, (W) TBA *USA/Prance Prance

NY 29-30 U.S. Classic (W) TBA TBA •Junior Women 's (B) TBA

26- Jr. Boys' Nat ional Testing & Colorado TBA *Brother Cup (R) Japan Training Camp (W)

Jan 5 Training (M) Springs, CO TBA *Corbeil (R) Corbeil, TBA *Senior Women's Training TBA

TBA *BACA International London Prance Camp (W)

Tournament (M/W) England

Technique 17

ORDER # DESCRIPTION PRICE ORDER # DESCRIPTION PRICE WOMENS GYMNASTICS/TECHNICAL PUBLICATIONS ANO SAFETY 1101 Code of Prnnls/FIG 21 50 3101 Gym Reference/His! Sel 15 95 1108 Rules & Policies 11 50 3201 8 Back Issues ··usA Gym·· M,ag 7 50 1109 8588 Ehle Comp Tex! 16 50 3601 ·· s1omecharncs of W Gym 23 95 1111 85·88 Agegroup Comp Texl 11.50 600 1 Safel y Manual/USGF 16 45 2101 84 Oly Games VHS 45.00 6101 Safely Posler 1 Guideline s 00 2102 84 Oly Games Bela 45.00 6102 Safely Posler 2 ol Gymnsl s 00 2103 85 8 Elile Comp Music 6.50 APPAREL & T-SHIRTS 2104 88 Agrp Comp Music Cass. 6.50 2105 88 Agrp Comp VHS cl. 2&3 1S1.00 LAST DIGIT OF ORDER # !fourth digitl 2106 88 Agrp Comp VHS cl. 4&5 151 00 DESIGNATES THE SIZE OESIREO !chart below) 2107 88 Agrp Comp VHS cl 1 49.95 2111 84 Jr. Europe Champ VHS 31.95 Adull sizes XL M

2112 88 Elile Comp VHS 41.95 Lasl Oig il 3 2113 85 Sr Europe Champ VHS 31.95 Youlh Sizes M s 2421 85 Ch USA C&Finals M&W VHS 31.95

Last Oigi1 6 7 MENS GYMNASTICS/TECHNICAL 1201 Code of Prnnls/FIG 21.50 5003 5007 Olympic Leolards 3195 1202 88 Agegroup Comp Texl 16.50 · Adull M lo Youlh S only 1208 Rules & Policies 11.50 1209 88 Olympic Comp Texl 16.SO LONG SLEEVE T'S (all sizesl

2201 84 Olympic Games VHS 45.00 51115117 ""USA GYMNASTICS'' 10.95

2202 84 Olympic Games Bela 45.00 51215127 USGF Logo 10.95

2211 84 Jr Europe Champ VHS 31.95 51715177 Ame11can Cup 10.95

2212 88 Olympic Comp VHS 31.95 SHORT SLEEVE T'S !all sizesl 22 13 85 Sr Europe Champ VHS 31.95 51315137 USGF Logo 7.95 222 1 88 Agegroup Comp VHS 31.95 51515157 ·· Year ol lhe Gold"" 8.95 2222 88 Oly Comp Japanese VHS 31 95 51615167 "" USA GYMNASTICS .. 7.95 242 1 85 Ch USA C&Final M&W VHS 31.95 5181-5187 Champ ol USA 85 6.95 RHYTHMIC GYMNASTICS/TECHNICAL 90019004 . Classic Nationals 85 6.95

1301 Code of Points/FIG 21.50 90119017 USA vs China 7.95

1302 88 Agegroup Comp Texl 26.50 SLEEVELESS T'S /all sizes) 1308 Rules & Policies 16.50 90219027 World Team T11als 85 6.95 2311 88 Comp Music Cassi Cl 2 6.50 APPAREL 2312 88 Comp Music Cassi Cl 3 6.50 5201 5204 . Classic Casual Sh11t 21 .95 2313 88 Comp Music Cassi 2&3 12.00 • adull sizes only 2321 88 Agrp Comp Cl 2 VHS 59.95 53015304 . Veloure Pullover Top 32.95 2331 88 Agrp Comp Cl 2 Bela 59.95 · adull sizes only 2322 88 Agrp Comp Cl 3 VHS 59.95 5401 5407 White Salin Jackels 37.95 2332 88 Agrp Comp Cl 3 Beta 59.95 5501 5507 USGF Off1c1al Warmup 69 95 2323 88 Agrp Comp Cl 2&3 VHS 104.00 BAGS 2333 88 Agrp Comp Cl 2&3 Beta 104.00

5411 USGF Tote Bag 7.95 SOUVENIRS 5421 Official Workout Bag 9.95 3102 Commem Pictoral Bk LA84 15.95 5591 Duffie Bag grey 8.95 4111 Mary Lou Retton Poster 6.50 5592 Duffie Bag blue 8.95 4112 Milch Gaylord Poster 6.50 5541 B11efcase 12.00 4121 84 Oly Team Poslcards (5) W 4.00 5551 Travel Kil 6.50 4221 84 Oly Team Poslcards (5) M 4.00 5596 Carry-All Bag silver 10.95 4201 USGF Logo Pin 2.00 5597 Carry-All Bag orange 10.95 4202 USA Gym Commem Pin 84 2.00 5598 Carry All Bag gold 10.95 4401 ··1 Love Gym . :· Bumperslk 1.50 5599 Carr y All Bag yellow 10.95 4403 USGF Logo Decal 75 5511 USGF Garmen! Travel Bag 39.95 'NEW 4404 I Love Gymnaslics Bunon 2 00 7201 USGF Logo Patch 2 so

PROCEEDS FROM THE SALE OF # 4113 BART CONNER POSTER 4501 Antique Finish Key Chain 4.50 4701 Silver Coaster Sel of 4 24.SO 10 .00 WILL GO TO THE " BART CONNER SCHOLARSHIP FOR 4702 Gold Coasler Set of 4 27.50 ENDURING EXCELLENCE"

NEW! WORLD CHAMPIONSHIP VIDEOS $39.95 ea/C&O set $70.00 #2114 Women's Compulsories #2115 Women's Optionals

#2214 Men's Compulsories #2215 Men's Optionals

---------------------------------------------~2' _u ,-. J'~>._

F~ \~ l lSGF Merchandising ~ c:,~~~-- ~ PO. Box 5562 ~@·c. n -:G· lndranapolrs. IN

1/_ I 46255 5562 ' /" / - ---------- -

ORDER µ OTY

FOR CREDIT CARD ORDER ONLY,

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~ [·j11~·CHARGE MY ~ . . - D VISA D MASTERCARD c

u s A CALL 311638-8743 CARO NO. _ ______________ _

MY CARD EXPIRES : ____________ _

ORDER #

USGF Merchandising PO. Box 5562 Indianapolis, IN 46255-5562

OTY

' ;

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FOR CREDIT CARD ORDER ONLY, ~ [''.~] CHARGE MY: ~ . - . . D VISAD MASTERCARD

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USGF Safety Certification Testing USGF SAFETY CERTIFICATION

PROPOSED COURSE/TEST SCHEDULE

September 24-28, 1986-During the USGF Congress - St. Louis, Missouri 1. Thursday, September 25th

2:00pm-8:00pm Adams Mark Hotel Fourth and Chestnut St. Louis, MO 63102

Course Director: Ray Overmann • 314-569-1179

Hotel Contact: Adams Mark Hotel -314-241 -7400

2. Sunday , September 28 9:00am-4:00pm Adams Mark Hotel

Fourth and Chestnut St. Louis, MO 63102 Course Directors: Paul Spadaro -

718-816-6287 Additional USGF National Certifiers will assist with this course. Hotel Contact: .Adams Mark Hotel -

314-241-7400 · ·Registration for either of the two courses to

be conducted at the USGF Congress are to be directed to the United States Gymnastics Federation , 1099 North Meridian, Suite 380, Indianapolis, IN 46204, 317-638-8743

Friday, October 3, 1986 Ann Arbor, Michigan 1 :OOpm - 8:00 pm Course Director: Robert Cowan - 317-638-8743 Local Contact: Judy Freiheit - 313-742-2151 This course will be carried out during the Michigan State Gymnastics Congress

Sunday, October 5, 1986 Portland , Oregon 9:00am-5:00pm Multnomah Athletic Club Course Director: James Stephenson -

916-635-8930 Local Contact: Pat Robinson -

503-223-6251 x 242 This course will be carried out during the Region II Gymnastics Congress

Friday, October 10, 1986 1. Mt. Laurel , New Jersey

9:00am-5:00pm Mt. Laurel Hilton Course Director: Paul Spadaro - 718-816-6287 Local Contact: Pat Pangi - 201-735-8978 This course will be carried out during the Region VII Gymnastics Convention

2. Columbus, Ohio 9:00am-4:00pm Embassy Suites Course Director: Robert Cowan - 317-638-8743 Local Contact: Ron Ganim -

W: 216-526-2970 H: 216-237-3808 This course will be carried out during the Ohio State Gymnastics Congress

Saturday, October 11, 1986 1. Minneapolis, Minnesota

9:00am-4:00pm Cooke Hall Uni. Of Minnesota, Minneapolis

Course Director: Ralph Druecke -W: 414-782-3430 H: 414-691-3398

Local Contact : Fred Roethlisberger -W: 612-625-5967 H: 612-436-8365

2. Fort Collins, Colorado 9:30am-4:30pm Mountain Gymnastics

419 East Stuart, Ft. Collins, CO 80525 Course Director: Dr. Marc Rabinoff -

W: 303-556-3935 H: 303-972-3428 Local Contact: Ron Baratta - 303-482-3118 Hotel Contact: Holiday Inn University

Park - 303-482-2626

Sunday, October 12, 1986 Norman, Oklahoma 1 O:OOam-5:00pm Sheraton Hotel Course Director: Ray Overmann - 314-569-1179 Local Contact: Eleanor Kirby - 918-627-6989

Friday, October 17 - Sunday, October 19, 1986

Dallas, Texas During the Gymnastics Association of Texas (GA T) Congress Summit Hotel

2645 LBJ Freeway, Dallas TX 75234 Course Director: Hutch Dvorak -

W: 713-995-3315 H: 713-342-1702

Friday, November 7, 1986 Lake George, New York 1 O:OOam - 6:00pm Sagamore Hotel Course Director: Paul Spadaro - 718-816-6287 Local Contact: Kathy Feldmann - 617-784-5830 This course will be carried out during the Region VI Gymnastics Congress

Sunday, November9, 1986 Irvin , California Course Director: James Stephenson -

916-635-8930 Local Contact: Denise Porrazzo - 213-425-1514

General Points Of Information 1. The testing book for the Certification Course is the USGF Safety Manual. 2. The course will take approximately six hours, including the test. 3. The Course fee is $100.00 (retest cost is $25.00) . 4. Certification is good for four years.

Everyone Needs To Be Safety Certified 1. Promotes a safer teaching/learning environment. 2. Reduces insurance premiums. 3. Identifies your commitment to your profession, your sport and your athletes. 4. Implementation of stricter safety practices will help reduce the chances of

accidents and/or injuries. 5. Helps in membership recruitment.

Dates, Times and Locations will all be listed in USA Gymnastics. They can also be checked by calling the USGF Department of Safety and Education at (317) 638-8743.

An enrollment limit of 100 has been placed for each course. First come, first served (based on postmark of registration) . Call course contact for more details.

~-------------------------------

PARTICIPATION REGISTRATION FORM

Name: Mr./Mrs./Ms.

Address: __________________________________ _

Telephone : ~H~-------------------~B~----------

Course Director ----------------------------------

Course Location _________________________ Date ______ _

Organization Represented:----------------------------

If USGF Member, List Type and Number:----------------------

Please make checks payable in full to : USGF Safety Certification.

*DO NOT WRITE BELOW THIS LINE - FOR OFFICE USE ONLY*

Registration Form Received :----------------------------

Confirmation Mailed:---··---------------------------