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A SYLLABUS FOR FUNDAMENTAL GYMNASTICS
A PROJECT PRESENTED TO t h e FACULTY o f t h e SCHOOL o f EDUCATION THE UNIVERSITY OF SOUTHERN CALIFORNIA
IN PARTIAL FULFILLMENT o f t h e REQUIREMENTS f o r
t h e DEGREE
MASTER o f SCIENCE i n EDUCATION
by R ay m o n d L . V e r n o y A u g u st 1950
UMI Number: EP46634
All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
UMI D issertation Publishing
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This project report, written under the direction of the candidate’s adviser and ap proved hy him, has been presented to and accepted by the Faculty of the School of Education in partial fulfillm ent of the requirements fo r the degree of M a ster of Science in Education.
A d viser
Dean
ii
TABUS OF CONTENTS CHAPTER
PAGE HOW TO PERFORM FUNDAMENTAL TRICKS IN GYMNASTICS
1,
2.
HOW TO PERFORM IN T U M B L IN G .......................................... .
.
.
.
.
1
1.
How
t o d o a f r o n t r o l l .................................................................
1
2.
How
to
do a b a c k r o i l *
3
3.
How
to
do a c a r t w h e e l . .................................................................
3
4.
How
to
d o a r o u n d o f f ......................................................................
6
5.
How
to
d o a n i p u p . . . . ......................................................
6
6•
How
to
do a h e a d s p r i n g
. . . . . . . .
9
7.
How
to
do a f r o n t h a n d s p r i n g
• • . • • • • • • •
9
8.
How
to
do a w a l k o v e r
9.
How
to
do a b a c k h a n d s p r i n g ...............................................
.
.
.
....................................................
. .
. .
• • • • .................................................
9 12
HOWTO PERFORM ON THE PARALLEL B A R S ............................................. 1 8 1.
How t o do a b a c k u p r i s e ........................................................................ 18
2.
How t o
3.
How
to
do a f r o n t v a u l t d i s m o u n t
4.
How
to
do a r e a r v a u l t d is m o u n t
5.
How
t o d o a s h o u l d e r s t a n d .............................................................2 3
6.
How
to
do a b a c k s h o u l d e r r o l l
7.
How
to
do a f r o n t u p r i s e
8.
How
t o d o a s c i s s o r t u r n ................................................
9.
How
to
do a n a b o v e
do a d i p
b a r k i p • • • • .........................................2 0
tu rn
............................ 2 0 ....................................... 2 3
..................................... ..........................
26 28 28
..................................................31
ill
CHAPTER 10.
3.
4.
PAGE How
to
do a n u n d e r b a r k i p
on th e
e n d o f tiie
b a r s ............................................................................................................
32
HOW TO PERFORM ON THE HORIZONTAL B A R ..................................
36
1.
How t o
do a f r o n t p u l l o v e r
2.
How
to
do a f r o n t h i p
c irc le
3.
How
to
do a b a c k h i p
c irc le
4.
How t o
5.
How
to
do a f r o n t h e e l c i r c l e
. • • • • • • •
6.
How
to
do a f r o n t s o l e
•
7.
How t o
8.
How
t o do a n o v e r h a n d k i p
9.
How
to do a n u n d e r h an d k ip
10.
How
t o do an o v e r h a n d u p r i s e
.......................
49
11.
How
t o do an u n d e r h a n d u p r i s e
......................
49
12.
How t o
do a b a c k h e e l
do a b a c k s o l e
do a b a c k k ip
..................................... •
36
• ............................
38
• • • • . . . « •
38
c irc le
..................................
c irc le
• ...........................
c irc le • • • • • • • • • • • . . . » • • • • •
• • • • • • . .
...........................
HOY/ TO PERFORM OH THE R I N G S ........................................................ ................................................
40 40 43 43 46 46
52 56
1.
How
to do a m u sc le up
2.
How
t o d o a d i s l o c a t e .....................................................
58
3.
How
t o do a s n a p r i s e
58
4.
How t o
5.
How
t o do a f r o n t r o l l p i k e p o s i t i o n
6.
How
t o d o a k i p .....................................................................
64
7.
How
t o do a p h la n g e
64
................................
do a n i n l o c a t e ............................................................. . . . . .
.....................................
56
61 61
iv
L IS T OP FIGURES FIGURES
PAGE
1.
A FRONT ROLL IN T U M B L IN G ................................................
2
2.
A BACK ROLL IN T U M B L I N G ................................................
4
S.
A CARTWHEEL IN T U M B L I N G ................................................
5
4.
A ROUNDOFF IN TU M B LIN G .....................................................
7
5.
A N IP UP IN TU M B LIN G ...........................................................
8
6.
A HEADSPRING IN TU M B L IN G ................................................
10
7.
A FRONT HANDSPRING IN TU M B LIN G ................................
11
8.
A WALKOVER IN TU M B L IN G .....................................................
14
9.
A BACK HANDSPRING IN T U M B L I N G ................................
15
10.
A BACK U PR ISE ON THE PARALLEL B A R S .....................
17
11.
AN ABOVE BAR K IP
ON
THE
PARALLEL B A R S .................
21
12.
A FRONT VAULT DISMOUNT OFF THE PARALLELBARS .
.
22
13.
A REAR VAULT DISMOUNT OFF THE PARALLEL BARS .
.
24
14.
A SHOULDER STAND ON THE PARALLEL B A R S ...........
15.
A BACK SHOULDER ROLL ON THE PARALLEL BARS
16.
A FRONT U PR ISE ON THE PARALLEL B A R S ................
29
17.
A SCISSOR TURN ON T H E , PARALLEL B A R S ................
30
18.
A D IP TURN ON THE PARALLEL B A R S ...........................
32
19.
AN UNDER
25
. . .
27
BARK IP ON THE END OF THE PARALLEL BARS
33
20.
A FRONT PULL OVER ON THE HORIZONTAL BAR..........
37
21.
A FRONT H IP CIRCLE ON THE HORIZONTAL BAR. . . .
3£
22.
A BACK H IP CIRCLE ON THE HORIZONTAL BAR. . . .
39
V
FIGURE
PAGE
23.
A BACK HEEL CIRCLE ON THE HORIZONTAL BAR . . . .
41
24.
AFRONT HEEL CIRCLE ON THE HORIZONTAL BAR. . . .
42
25.
A
26.
A BACK SOLE CIRCLE ON THE HORIZONTAL BAR . . . .
45
27.
AN OVER HAND K IP ON THE HORIZONTAL BAR . . . . .
47
28.
AN UNDER HAND K IP ON THE HORIZONTAL BAR
. . . .
48
29.
AN OVER HAND U P R IS E ON THE HORIZONTAL BAR
. . .
50
30.
AN UNDER HAND UPRISE ON THE HORIZONTAL BAR . . .
51
31.
A BACK K IP ON THE HORIZONTAL B A R .....................................
53
32.
A
MUSCLE UP ON THE R I N G S .....................................................
57
33.
ADISLOCATE ON THE R I N G S .............................................................
59
34.
A
SNAP R IS E ON THE R I N G S .....................................................
60
35.
AN INLOCATE ON THE R I N G S ..........................................................
62
36.
A FRONT ROLL PIK E POSITION ON THE RINGS
. . . .
63
37.
A K IP ON THE R I N G S ..........................................................................
65
38.
A PHLANGE ON THE R I N G S ................................................................
66
FRONT SOLE CIRCLE ON THE
HORIZONTAL
BAR. . . . 4 4
Vi
PREFACE TO TEACHERS The l o n g w ay
p h y s ic a l e d u c a tio n
m o v e m e n t o f t o d a y h a s com e a
to w a rd s f u l f i l l i n g
th e
seco n d ary s tu d e n t.
d e s i r e s a n d dem ands o f t h e
M ore a n d m o re s t u d e n t s a r e
tim e i n v a r i o u s p h a s e s o f th e s c h o o l s a r e now o f f e r i n g t o
s p o r ts p ro g ram .
th e
s p e n d in g T he s e c o n d a r y
s t u d e n t s m ore a c t i v i t i e s
of an in d iv id u a l n a tu re . A lth o u g h e m p h a sis s t i l l te a m n a t u r e , m ore e f f o r t i s th e
to
fav o r sp o rts
b e i n g m ade t o d a y
of a
to re c o g n iz e
i n t e r e s t s and needs o f each in d iv id u a l. T h is s y ll a b u s ,
w h ic h i s th e
te n d s
on th e
p re se n te d h e re ,
is
in d iv id u a l s tu d e n t.
m iss t h e
arm s,
fu n d a m e n ta ls
o f g y m n a stic s,
d e s ig n e d to m eet th e
M ost g ro u p
s h o u ld e rs , c h e s t,
needs o f
s p o rts and a c t i v i t i e s
and b ack m u sc le s.
s u b stitu te
h a s b e e n fo u n d f o r a p p a r a tu s and tu m b lin g
a c tiv itie s
to a c c o m p lish t h i s
o b je c tiv e .
been in c lu d e d a lo n g w ith e a c h t r i c k sta n d in g
of th e a c tu a l t r i c k
g i v e n o n how t h e
tric k
is
T he i n t e n t o f t h i s t e a c h e r s and s tu d e n t s a s ta rtin g in
o u t.
It
g iv e
and to c l a r i f y
s y lla b u s
is
to
you a n u n d e r th e
d ire c tio n s
su p p ly th o se
in te re ste d
p o i n t fro m w h ic h t o w o rk .
have been l e f t
P ic tu r e s have
p erfo rm ed .
who a r e
o rd er of d if f ic u lty ,
to
No
i n g y m n a stic s
T he t r i c k s
are
liste d
b u t t e a c h i n g m e th o d s an d p r o c e d u r e s Is n o t a course
o f stu d y b u t
s h o u ld
vii
be u s e d to a i d th e The g y m n a s t i c
le a rn in g and u n d e rsta n d in g c la ss
o f H u n tin g to n P a r k H ig h S c h o o l i n
L os A n g e le s , w ere a s k e d t o p e rfo rm in g
tric k s
re la te d
p ro b le m s w ere c l a s s i f i e d ta b le
o f c o n te n ts*
of th e u s e r .
list
th e b a s ic
to b e g in n in g
p ro b le m s i n
g y m n a stic s.
by th e a u th o r and a rra n g e d
T h e sa m e s t u d e n t s w e r e
s y lla b u s .
in to
th e
d ire c tio n
The p e r f o r m a n c e a n d e v a l u a t i o n
s e c t i o n s w ere s u g g e s te d b y t h e
sam e s o u r c e .
a
th e n a sk ed to
a n sw e r t h e s e p ro b le m s and th e a n sw e rs a p p e a r i n s e c tio n o f th e
T hese
v lii
PREFACE TO GYMNAST T h is
s y lla b u s
is
d e s ig n e d
to
g iv e you th e b a s i c fu n d
a m e n ta ls o f e l e m e n t a r y g y m n a s tic m o v e m e n ts. a re a rra n g e d to h e lp
you m a s te r th e
T he m a t e r i a l s
te c h n iq u e s
o f a p p a ra tu s
and tu m b lin g a c t i v i t i e s . Y ou t o o le a rn in g th is
c a n b e ,a g y m n a s t *
U se t h i s
s y lla b u s in
o f a p p a r a tu s and tu m b lin g a c t i v i t i e s .
sy lla b u s
is
n o t a g u a ra n te e
th e
The u s e
of
t h a t y o u c a n becom e a
g r e a t g y m n a st, b u t w ith h a rd w ork and d e te r m in a tio n you can e n jo y w o rk in g i n g y m n a s tic s . te a c h e r.
P ra c tic e
? /o rk h a r d o n t h e s e a c t i v i t i e s
is
a lw a y s
th e b e s t
and you can g a in
m a ste ry o f b e g in n in g g y m n a stic s. It
is
hoped t h a t t h i s
l e a r n so m e o f t h e
in fo rm a tio n w ill h e lp
you to
f u n d a m e n t a l m o v em en ts o f g y m n a s t i c s .
1
CHAPTER 1 . HOW TO PERFORM IN TUMBLING A,
B.
MOTIVATIONS; V a l u e s w h ic h , y o u m ay e x p e c t i f th e te c h n iq u e s of tu m b lin g .
you m a ste r
1.
FREEDOM FROM INJURY: The a b i l i t y t o t u m b l e w i l l red u ce body aches and p a in s g e n e ra lly re c e iv e d fro m f a l l s *
2.
ADMIRATION OF OTHERS: Y ou c a n e n j o y t h e f e e l i n g o f p e rfo rm in g f o r th e g ro u p i f you c an tu m b le .
3.
SELF SATISFACTION: L e a rn in g t o tu m b le a n d h a n d le y o u r own b o d y d e v e l o p s c o n f i d e n c e a n d p r i d e i n your a b ility .
DIRECTIONS: P r a c t i c a l su g g e s t i o n s b u m b lin g . 1.
How t o
do a f r o n t r o l l .
o n how t o
(R e fe r to F ig u re
a.
S ta n d f a c in g
b.
B end a t t h e w a i s t a n d p l a c e m at s h o u ld e r w id th a p a r t .
c.
S h i f t th e w e ig h t fro m t h e ju m p in g o f f o f t h e f e e t .
d.
P u t th e h e a d f o rw a rd so t h a t on th e c h e s t .
e.
Low er t h e w e ig h t t o s h o u ld e rs •
f.
K eep t h e b a c k r o u n d e d a n d r o l l
g.
B end t h e l e g s a n d p l a c e n e x t to th e b u tto c k s .
h.
G rasp t h e a n k le s w i t h b o th h a n d s and come t o a s t a n d i n g p o s i t i o n .
i.
F i n i s h t h e m ove b y c o m i n g t o w ith th e f e e t to g e th e r .
do t r i c k s 1 .)
th e m a ts w i t h th e f e e t a p a r t . th e h an d s on th e
le g s
to
th e hands by
th e c h in r e s t s
th e back o f th e neck and
th e
o v er.
f e e t on th e m at q u ic k ly
a s ta n d in g p o s itio n
2
A. STARTING POSITION
B. SHOULDERS ON MAT
C. PULL FEET CLOSE
D. F I N I S H POSITION FIGURE 1
A FRONT ROLL IN TUMBLING
3
2•
How t o
(R efer to F ig u re
a.
S t a n d w i t h b a c k to w a rd t h e m a t s .
b.
S i t b ack on th e m a ts .
c.
Bend f o r w a r d a t
d.
3.
do a b a c k r o l l .
th e w a is t.
f u t t h e h a n d s on t o c a t c h som e o f fin g e rs
2 .)
th e m at n e x t to th e w e ig h t.
th e
th ig h s *
e.
K eep t h e
fo rw ard .
f.
P u sh o f f th e h e e ls to u c h th e m a ts.
g.
R o ll back q u ic k ly in a p ik e p o s itio n .
h.
Move t h e h a n d s n e x t t o t h e fo rw ard .
ju s t as
th e
hands
neck,
and le g s
fin g e rs
i.
P ush w ith th e hand s and l i f t th e h e a d .
j.
E x te n d t h e b o d y u p w ard a t a 90 d e g r e e a n g l e .
k.
Snap t h e f e e t t o th e m a ts f i n i s h i n g i n a s ta n d in g p o s itio n .
How t o d o a c a r t w h e e l . a.
S ta r t fa c in g
th e w e ig h t
( R e f e r to F ig u r e
over
t h e m ove 3 .)
c ro ssw a y s o f t h e m a t.
b.
L i f t th e l e f t l e g and h an d s h i f t i n g to th e r i g h t fo o t*
c.
Rock b a c k o n to t h e th e r i g h t le g .
d.
P la c e t h e l e f t hand on th e m at a s th e w e ig h t s h i f t s o f f b a la n c e on th e l e f t le g .
e.
P la c e th e r i g h t h an d on th e m at d i r e c t l y i n a l i n e w ith th e l e f t h and and p u s h o f f w ith th e l e f t le g .
f.
S h i f t th e w e ig h t to th e r i g h t hand a s t h e bod y p a s s e s th e p e r p e n d ic u la r p la n e an d p u sh o f f w ith th e l e f t hand.
le ft
le g
th e
w e ig h t
and p u s h o f f w ith
4
A. STARTING POSITION
B. S I T DOWN
G. KICK UP
D. F I N IS H PO SITIO N FIGURE 2
A BACK ROLL IN TUMBLING
5
A* STARTING POSITION
B. KICK UP
C. MOMENTARY HANDSTAND
D. F I N I S H PO SITIO N FIGURE 3
A CARTWHEEL IN TUMBLING
6
4.
5.
g.
S h i f t th e w e ig h t to th e r ig h t f o o t and p u sh o f f w ith th e r i g h t h and a s t h e r i g h t f o o t to u c h e s t h e m a t*
h.
C o n tin u e m o v in g a s t h e s p o k e s o f a w h e e l u n t i l th e l e f t f o o t i s a g a in on th e f l o o r .
How t o
do a r o u n d o f f .
(R e fe r to
a.
Take a
b.
P ut th e l e f t fo o t fo rw ard fo o t back and u p .
F ig u re 4 .)
sh o rt ru n . a n d s w in g
th e
rig h t
c.
Bend a t t h e w a i s t a n d p u t th e h a n d s on th e m at ab o u t 6 in c h e s a p a r t.
d.
P u s h o f f w i t h t h e le f t h a n d s ta n d .
e.
Make a J t u r n a s p o s itio n .
f.
S n a p b o t h f e e t dow n t o g e t h e r a s y o u p u s h o f f w ith b o th h a n d s.
g*
F i n i s h t h e m ove f a c i n g i n i n a s ta n d in g p o s it io n .
How t o
do a n i p u p .
le g as i f
th e body re a c h e s
th e
g o in g
in to
a
th e h a n d s ta n d
o p p o s ite
d ire c tio n
(R e fe r to F ig u re 5 .)
a.
S t a r t fro m a l y in g p o s i t i o n
b.
R o il b ack o n to
c.
P la c e th e hands fro n t*
d.
Bend a t t h e w a i s t s o t h a t t h e b o d y i s p o s i t i o n r e s t i n g on th e s h o u ld e r s .
e.
E x te n d th e b o d y v i g o r o u s l y u pw ard and o u t a t a 70 d e g r e e a n g le a s t h e w e ig h t s t a r t s t o r o l l o f f th e s h o u ld e r s .
f.
P ush h a rd w ith th e h ands 3 /4 e x te n d e d .
g.
Land on b o th f e e t w ith th e b a c k a r c h e d .
th e
on th e b a c k .
sh o u ld e rs .
on th e m at w ith f i n g e r s
ju s t as th e
in
to
th e
a p ik e
body i s
7
A. STARTING POSITION
C. ONE QUARTER TURN
B. KICK UP
D. F I N I S H POSITIO N
FIGURE 4 A ROUNDOFF IN TUMBLING
8
STARTING PO SITIO N
ROCK BACK
TW
C. BODY EXTENSION
D. F I N IS H POSITION i .
s.
FIGURE 5
A N IP UP IN TUMBLING
9
6.
How t o a.
Take a s h o r t
run.
b.
P ut th e
fo o t
c.
7.
le ft
(R efer to F ig u re
6 .)
fo rw ard .
P u t th e h an d s on th e m a t.
d*
B end t h e a rm s e n o u g h t o m a t.
e.
K ic k
f.
Push o f f w ith th e l e f t f o o t to s h i f t w e ig h t o v e r and p a s t th e h a n d s.
th e r ig h t
le t
f o o t up an d
g.
Push w ith th e
h.
Land o n b o th f e e t w ith
arm s an d a r c h
a.
Take a
b.
Put th e l e f t fo o t
c.
P u t th e hands
th e h ead to u c h th e over v ig o ro u sly . th e
th e b ack .
th e b a c k
How t o d o a f r o n t h a n d s p r i n g .
arch ed .
(R e fe r to F ig u re
7 .)
sh o rt ru n . fo rw ard .
on th e m a t.
d.
K ic k
th e r i g h t f o o t up and
o v er.
e.
K eep
th e arm s s t r a i g h t and
th e back a r c h e d .
f.
8.
do a H e a d s p r i n g *
P ush w ith th e h an d s a s w e ig h t i s b a la n c e •
g.
Land on
How
to
b o th f e e t w ith
do a w a l k o v e r .
sh ifte d
th e b ack a r c h e d .
( R e fe r to F ig u re
a.
Take a s h o r t
run.
b.
P ut th e
fo o t
c.
K ic k b a c k a n d u p ,
d.
P u t th e r i g h t hand on th e m at 2 f e e t o f th e l e f t l e g .
le ft
o ff
8 .)
fo rw ard . and o v er w ith th e
rig h t
le g .
in fro n t
10
jimT
i f t w
r
A. STARTING PO SITIO N
‘
B. KICK UP
*JSa.
C. ARCH OVER
D .; F I N IS H POSITION FIGURE 6*
A HEADSPRING IN TUMBLING
11
I
•H
: 1
• * ./
Y in
\ t ’ .4T'- "
' -*
*
- • . - T—^
-- "
B. KICK UP
A. STARTING PO SITIO N
C. ARCH OVER
D. F I N I S H POSITIO N FIGURE 7 .
A FRONT HANDSPRING IN TUMBLING
:V-'-
*■*. ' :
. *
■
'
12
9.
e.
P ush o f f o f
f.
P ut th e l e f t r ig h t hand.
g.
K eep t h e
h.
P u t th e fo o t.
i.
F i n i s h in a s ta n d in g p o s it i o n w ith a p a rt.
How t o
th e
le ft
le g .
hand a b o u t 2 f e e t
b o d y m o v in g l i k e rig h t fo o t
th e
in fro n t
sp o k es o f a w h e e l.
on t h e m a t; t h e n
do a b a c k h a n d s p r in g .
o f th e
th e
le ft
th e f e e t
(R efer to F ig u re
9 .)
a.
Take a s ta n d in g p o s i t i o n fe e t s lig h tly a p a rt.
b.
R a ise
c.
S w i n g t h e a r m s dow n a n d b a c k w a r d a t t h e sam e tim e b en d a t t h e k n e e s a s i f s i t t i n g i n a c h a i r .
d.
S w in g
th e
e.
T hrow
th e head back h a rd .
f.
Snap th e
g.
B r i n g t h e h a n d s d ow n o n t h e fin g e rs p o in tin g fo rw ard .
h.
P a ss th ro u g h a h a n d s ta n d p o s i t i o n .
i.
Snap th e f e e t
j.
F i n i s h t h e m ove i n a s t a n d i n g p o s i t i o n .
k.
U se a s p o t t i n g b e l t o r g iv e a s s i s t a n c e le a rn in g th e t r i c k .
th e
arm s t o
on t h e m at w ith th e
a h o rig o n ta l p o s itio n .
arm s v i g o r o u s l y up an d
h ip s
b ack w ard .
f o r w a r d a n d Jump o f f o f t h e h e e l s .
to
m at w ith th e
th e m a t.
w hen
13
10*
SOURCES FOR T H IS CHAPTER: a s sis ta n c e •
W nere t o g e t f u r t h e r
a.
W e s t, W .D .; The G y m n a st* s M a n u a l, H a i l , I n c . , New Y o r k , 1 9 4 7 *
P re n tic e -
b*
U n ite d S ta te s N avy; G y m n a stic s a n d T u m b lin g . U n i t e d S t a "tes N a v a l I n s t i t u t e , A n n a p o l i s , Ma r y l a n d , 1 9 4 4 •
c.
M ille r , C .E .; P h y sic a l T ra in in g . M e d a r t M fg. C o . , S t . L o u i s , 1 9 4 1
d.
W i t t i c n , W. J . a n d R e u t e r , H . C . ; E x e rc ise s on tn e A p p a ra tu s . A . S . B a r n e s a n d C o . , New Y ork.
F red
14
A. STARTING POSITION
B. KICK UP
C. WALK OVER
D. F I N IS H PO SITIO N FIGURE 8*
A WALKOVER IN TUMBLING
15
STARTING PO S IT IO N
S I T BACK
D. F I N IS H POSITION
WHIP OVER FIGURE 9 .
A BACK HANDSPRING IN TUMBLING
16
C.
D.
ACTIVITY A SSIG NMENTS : £ n t u m b l i n g ,.
W ork t o
do t o
p erfect your tr ic k s
1.
PERFORMANCE: I n c r e a s e y o u r a b i l i t y t o do e a c h o f t h e t r i c k s b y m ak in g u p a n d d o in g a r o u t i n e c o n s i s t i n g o f a x l th e t r i c k s .
2.
INSTRUCTING: D e m o n s tra te y o u r m a s te ry o f th e t r i c k s b y t e a c h i n g o t h e r s t o do e a c h o f t h e s t u n t s l i s t e d in th is c h a p te r.
3.
UNDERSTANDING: Make u p a n d d o s e v e r a l d i f f e r e n t i n c o m b in a tio n c o n ta in in g a t tric k s .
ro u tin e s le a s t s ix
EVALUATIONS: A t r u e f a l s e t e s t to m e a s u re y o u r k n o w le d g e o f tu m b lin g . (p u t an X in th e c o r re c t p a re n th e s e s f o r tr u e o r f a l s e .) T 1.
I t i s n e c e s s a ry to duck y o u r head an d la n d o n y o u r s h o u l d e r s w hen d o in g a f o r w a r d r o l l .
2.
You s h o u l d g r a b y o u r a n k l e s w i t h b o t h h a n d s t o h e l p y o u come t o a s t a n d i n g p o s itio n .
3.
I t i s d an g ero u s n o t to b re a k yo u r f a i l w ith y o u r h an d s w hen d o in g a b ack r o l l .
4.
Y ou s h o u l d s h o o t y o u r l e g s f o r w a r d a n d u p w hen you a r e p e r f o r m i n g a b a c k r o l l .
5.
Y ou s h o u l d g o b a c k w a r d s t o
6
.
do a c a r t w h e e l .
When d o i n g a c a r t w h e e l y o u s h o u l d l a n d o n b o t h f e e t a t t h e same t i m e t o f i n i s h t h e m ove .
7.
You s h o u l d p e r fo im i a c a r t w h e e l a n d ro u n d o ff e x a c tly a lik e .
8.
Y ou s h o u l d l a n d o n b o t h f e e t f a c i n g t h e o p p o s it e d i r e c t i o n fro m w h ic h you s t a r t e d i n t o do a r o u n d o f f c o r r e c t l y .
17
9.
I t i s n e c e s s a ry to k ic k your le g s v i g o r o u s l y up a n d o u t w hen d o i n g a n i p up
.
Y ou s h o u l d l a n d o n b o t h f e e t w i t h a f u l l a r c h w hen d o in g a n i p u p .
.
Y ou s h o u l d ju m p o f f o f b o t h f e e t w h e n d o in g a f r o n t h a n d s p rin g .
.
Y ou s h o u l d b e n d y o u r a r m s w h e n d o i n g a f r o n t h a n d sp rin g .
13.
I t i s n e c e s s a r y to p u s h w ith y o u r arm s w hen d o in g a f r o n t h e a d s p r i n g .
14.
You s h o u l d f i n i s h t h e h e a d s p r i n g i n t h e sam e p o s i t i o n a s y o u f i n i s h t h e f r o n t h a n d sp rin g .
13.
W hen d o i n g a w a l k o v e r y o u s h o u l d h a v e t h e l e f t h an d an d th e l e f t f o o t o n th e m at a t t h e sam e t i m e .
16.
W hen d o i n g a w a l k o v e r y o u r h a n d s a n d f e e t s h o u ld a l t e r n a t e to u c h in g th e m at l i k e th e sp o k e s o f a w h e e l.
17.
I t i s n e c e s s a ry to snap yo u r h ip s fo rw a rd a n d y o u r h e a d b a c k w hen y o u a r e d o in g a back h a n d sp rin g .
18.
I t i s n e c e s s a ry f o r you to u se a s p o ttin g b e l t o r g i v e a s s i s t a n c e w hen l e a r n i n g a back h a n d sp rin g .
10 11 12
18
CHAPTER 2 . HOW TO PERFORM ON THE PARALLEL BARS A,
B.
MOTIVATIONS: V a lu e s w h ic h y o u m ay e x p e c t i f y o u l e a r n t o w ork on t h e p a r a l l e l s . 1.
MUSCULAR TEAMWORK; L e a r n i n g new t r i c k s g i v e s you b e t t e r c o n tro l o v er th e a c tio n s of your m u sc le s.
2.
ALERTNESS: A c t iv it ie s t h a t r e q u ire q u ic k , a c c u ra te r e s p o n s e s w i l l t r a i n y o u r m in d a s w e l l a s y o u r body*
3.
LARGER T R IC E P S : S u p p o r tin g y o u r w e i g h t and w o rk in g w i t h y o u r a r m s w i l l m ake t h e m s t r o n g e r .
DIRECTIONS; P r a c tic a l s u g g e stio n s t r i c k s on th e p a r a l l e 1 b a r s ! 1.
How t o d o a b a c k u p r i s e .
o n how t o m a s t e r
(R efer
to F ig u re
10*)
a.
Jum p t o b ars.
a s h o u ld e r s u p p o r t on th e p a r a l l e l
b.
R a ise
c.
S w in g t h e m o tio n .
d.
P u l l w ith arm s a s th e body r e a c h e s p o i n t o f th e b a c k sw in g .
th e to p
e.
K eep a rm s s l i g h t l y b e n t t o m ake i t come t o a s u p p o r t p o s i t i o n .
e a sie r
f.
Make
g.
G iv e a s s i s t a n c e
by p la c in g
h.
H e lp b y l i f t i n g
th e
th e f e e t o v er head to a p ik e p o s i t i o n .
su re
f e e t o u t a n d down w i t h a v i g o r o u s
w e ig h t does n o t
s h ift
to o f a r
h an d s on th e
s h o u ld e rs .
to
fo rw ard . s h o u ld e rs .
19
A. STARTING PO SITIO N
X
B. PIK E PO SITIO N
C. BACK SWING
D. F I N I S H PO SITIO N FIGURE 1 0 .
A BACK UPRISE ON THE PARALLEL BARS
20
2*
How t o a*
(R efer to -F ig u re
S t a r t fro m a s h o u ld e r s u p p o r t on th e b ars. th e f e e t o ver head to
R a ise
c.
E x te n d body v i g o r o u s l y up a n d o u t a t a 70 d eg ree a n g le .
a p ik e p o s it i o n .
P u l l w i t h arm s a s b o d y r e a c h e s f u l l
e x te n s io n .
e.
K eep t h e a rm s
f.
C o m p l e t e m ove b y c o m in g t o su p p o rt p o s itio n .
a s t r a i g h t arm
g.
G iv e a s s i s t a n c e b y p l a c i n g h ip s d u rin g th e k ip .
hands a g a in s t
h.
Make s u r e t o r e a c h u n d e r t h e i t w hen s p o t t i n g .
How t o F ig u re
1 1 .)
p a ra lle l
b.
d.
3.
do a n a b o v e b a r k i p .
s tra ig h t.
b ar and n o t over
do a f r o n t v a u l t d i s m o u n t . 1 2 .)
(R efer to
a.
S t a r t fro m a s t r a i g h t
arm s u p p o r t p o s i t i o n .
b.
E s t a b l i s h a m e d iu m s w i n g , m a k i n g s u r e sw in g fro m t h e s h o u l d e r s .
c.
Push o f f w ith th e l e f t o f th e b a c k s w in g .
d.
R e p la c e th e l e f t h an d on th e r i g h t b a r and q u ic k ly r e l e a s e th e r i g h t h a n d .
hand a t
to
th e to p p o in t
e.
hand o n b o t h f e e t b e n d in g th e k n e e s th e sh o ck o f la n d in g .
f.
M a in ta in h o ld of th e keep fro m f a l l i n g .
g.
G iv e a s s i s t a n c e
by h o ld in g
h.
H e lp b y p u l l i n g
th e
b a r w ith th e
to a b s o rb
l e f t hand
th e r i g h t arm .
body o v er th e
rig h t b ar.
to
21
A. STARTING PO SITIO N
B. P IK E POSITIO N
C. BODY EXTENSION
D. F I N IS H POSITION FIGURE 1 1 .
AN ABOVE BAR K IP ON THE PARALLEL BARS
22
STARTING PO SITIO N
FRONT SWING
C. BACK SWING
D. F IN IS H POSITION FIGURE 1 2 .
A FRONT VAULT DISMOUNT OFF THE PARALLEL BARS
23
4.
5.
How t o
do a r e a r v a u l t
d ism o u n t.
(R efer
to F ig u re
a.
S t a r t fro m a s t r a i g h t arm s u p p o r t p o s i t i o n .
b.
E s t a b l i s h , a m e d iu m s w i n g , m a k i n g fro m th e s h o u ld e r s • hand a t
sw in g
Push o f f w ith th e t h e f r o n t s w in g .
d.
R e p la c e th e l e f t h an d on th e r i g h t b a r a n d q u ic k ly r e le a s e th e r ig h t hand.
e.
Land on b o th f e e t b e n d in g t h e th e shock o f la n d in g .
f.
M a in ta in h o ld o f th e b a r w ith th e l e f t hand to keep fro m f a l l i n g .
g.
G iv e a s s i s t a n c e
by h o ld in g
h.
H e lp by p u l l i n g
th e body o v er th e
do a s h o u l d e r s t a n d .
th e
to
c.
How t o
le ft
su re
to p p o in t o f
knees
to
ab so rb
th e r i g h t arm . rig h t
b ar.
(R efer to F ig u re
1 4 .)
a.
s t a r t fro m a s t r a d d l e
s e a t on th e b a r s .
b.
L ean fo rw a rd an d p la c e th e b ars in f ro n t o f hands.
c.
R a ise th e th e h e a d .
d.
K eep b a l a n c e b y h o l d i n g
e.
Make s u r e e l b o w s a r e p o i n t e d a n g le s fro m th e b o d y .
f.
B e w a re o f h a v i n g t h e p a r a l l e l b a r s m o r e t h a n s h o u ld e r w id th a p a r t .
g.
Low er t h e
h.
S w in g t o a s h o u l d e r s t a n d f o r m o re a d v a n c e d s tu d e n ts •
s h o u ld e rs
f e e t up u n t i l t h e y a r e
on th e
d i r e c t l y above
on w ith th e h a n d s.
f e e t and r e t u r n
to
1 3 .)
out a t
rig h t
s ta rtin g
p o s itio n .
24
A. STARTING PO SITIO N
B. BACK SWING
C. FRONT SWING
D. F IN IS H PO SITION FIGURE 1 3 .
A REAR VAULT DISMOUNT OFF THE PARALLEL B ARS
25
A. STARTING PO SITION
-
B. SHOULDERS TO BAR
ad esaaaw ai
0. THREE FOURTHS UP
D. F I N IS H POSITION FIGURE 1 4 .
A SHOULDER STAND ON THE PARALLEL BARS
26
6.
How t o
do a b a c k
s h o u ld e r r o l l ,
(R e fe r to F ig u re
a.
S ta rt
fro m a s h o u ld e r s u p p o r t
b.
E s ta b lis h a la rg e
c.
K eep
d.
P u s h dow n w i t h t h e h a n d s a s th e to p o f th e f r o n t sw in g .
e.
C o n tin u e t o f o r c e th e body up u n t i l a r e d i r e c t l y o v e r th e h ead .
f.
P ut th e
g.
T u r n t h e s h o u l d e r s o v e r q u i c k l y a n d come t o m o m e n ta ry s h o u l d e r s t a n d .
h.
K eep t h e e l b o w s a l w a y s a t a 9 0 d e g r e e a n g l e w ith th e body.
i.
R egrasp th e b a r s w ith th e hands a s s t a r t s t h e dow nw ard s w in g .
j.
H o ld on t i g h t t o k e e p th e a rm s fro m s l i d i n g a lo n g th e p a r a l l e l b a r s .
k.
F i n i s h t h e m ove b y s t o p p i n g su p p o rt p o s itio n .
th e
p o s itio n .
sw in g .
body a rc h e d a t a l l
tim e s. th e body re a c h e s
head b a c k and r e l e a s e
in
th e
feet
th e h a n d s .
th e
body
a s h o u ld e r
a
1 5 .)
27
bmi
A. STARTING POSITION
B. FRONT SWING
G. MOMENTARY SHOULDER STAND
D. F IN IS H POSITION
FIGURE 1 5 .
A BACK SHOULDER ROLL ON THE PARALLEL BARS
28
7*
8.
How t o
do a f r o n t u p r i s e ,
(R efer to F ig u re
1 6 .)
a.
S t a r t fro m a
b.
E s ta b lis h a la rg e
c.
B end t h e b o d y a t t h e w a i s t j u s t a l i t t l e th e b o tto m o f t h e f r o n t sw in g .
d.
P u l l w ith th e arm s an d s t r a i g h t e n th e body b y q u ic k ly r a i s i n g th e h ip s a s th e body com es t o t h e to p o f t h e f r o n t s w in g .
e.
F i n i s h t h e move i n a s t r a i g h t a r m s u p p o r t p o s itio n .
f*
G iv e a s s i s t a n c e b y p l a c i n g th e h a n d s b e n e a t h th e h ip s and by l i f t i n g as th e body re a c h e s th e to p p o i n t o f th e f r o n t sw in g .
g.
Do n o t p u t t h e a s sis ta n c e .
How t o
do a
s h o u ld e r s u p p o rt p o s it i o n . sw in g .
arm s o v e r th e
s c is s o r tu rn .
b ars
at
to g iv e
(R e fe r t o F ig u re
1 7 .)
a*
S t a r t fro m a s t r a i g h t arm s u p p o r t p o s i t i o n .
b.
E sta b lish a
c*
Put th e r ig h t
d.
S h if t w e ig h t to
e«.
P ut th e r ig h t hand q u ic k ly n e x t to le g .
f.
S h i f t w e ig h t to
g.
Move l e f t h a n d t o
h.
C o n tin u e s w in g b y q u i c k l y m o v in g b ack b e tw e e n th e b a r s .
I.
F i n i s h m ove i n a
s m a ll sw in g . le g
over th e
le f t b ar.
th e l e f t hand.
th e
rig h t
th e
th e r i g h t
hand.
o th e r b a r. rig h t
le g
s t r a i g h t arm s u p p o r t p o s i t i o n .
29
A. STARTING PO SITIO N
B. BACK SWL NG
C. FRONT SWING
D. F I N I S H POSITION
5
FIGURE 16«
A FRONT UPRISE ON THE PARALLEL BARS
30
A.
B.
STARTING PO S IT IO N
STARTING TO TURN
COMPLETING TURN
F IN IS H POSITION FIGURE 1 7 .
A SCISSOR TURN ON THE PARALLEL BARS
31
9*
How t o a.
10.
do a d ip
tu rn .
s t a r t fro m a
(R e fe r to F ig u re
s tra ig h t
1 8 .)
arm s u p p o r t p o s i t i o n .
b.
E s t a b l i s h a m e d iu m s w i n g .
c.
B end a rm s a t
d.
S t r a i g h t e n th e arm s q u i c k ly a s up w ard on th e f r o n t sw in g .
e.
P ush o f f
f.
Make a 1 / 2
g.
R egrasp th e b a rs w ith b o th hands s t a r t s t h e dow nw ard s w in g .
h.
K eep t h e a rm s reg rasp ed .
i.
F i n i s h t h e m ove i n a s t r a i g h t a r m s u p p o r t p o s itio n .
th e
to p
o f th e b a c k sw in g . th e
body s t a r t s
th e b a rs w ith b o th h a n d s. t u r n b e tw e e n th e b a r s .
s tra ig h t as
as th e
body
th e b a rs a r e
How t o d o a n u n d e r b a r k i p o n t h e e n d o f t h e b a r s . (R e fe r to F ig u re 1 9 .) a.
S ta n d a t
th e
end o f th e b a r s .
b.
G rasp th e b a r s w ith th e k n u c k le s in sid e .
c.
Jum p u p a n d b a c k h o l d i n g t h e w e i g h t o n t h e h a n d s t o e s t a b l i s h a sw in g .
d.
B rin g th e f e e t o v e r th e h ead to a p ik e p o s i t i o n a t t h e end o f th e f r o n t s w in g .
to w a rd t h e
*
e.
E x te n d t h e b o d y v i g o r o u s l y u p w ard a t a 70 d e g r e e a n g l e a s t h e b o d y s t a r t s u p o n fcfee b a c k sw in g .
f.
P u s h do w n h a r d w i t h t h e l i f t e d above th e b a r s .
hands as th e body i s
g.
K eep b o t h a rm s s t r a i g h t
d u rin g th e
h.
F i n i s h t h e m ove i n a s t r a i g h t a r m s u p p o r t p o s itio n .
c o m p le te m ove.
32
A* STARTING POSITION
B. D IP ON BACK SWING
C. PUSH AND TURN
D. F I N IS H POSITION FIGURE 1 8 .
A D IP TURN ON THE PARALLEL. BARS
33
B.
A.
PIK E PO SITION
STARTING PO SITIO N
'
’.y'
-.
BODY EXTENSION
F I N I S H PO SITIO N '$ i
'I
"
.
v
FIGURE 1 9 . AN UNDER BAR K IP ON THE END OF THE PARALLEL BARS
34
1 1 . SOURCES FOR T H IS CHAPTER: a s sis ta n c e . a.
W e s t , W. D . :
W here t o
get fu rth e r
T h e G y m n a s t 1s M a n u a l .
Prentice-Eall, Inc., New Y o r k , 1 9 4 7 •
C.
D.
b.
U n i t e d S t a t e s N avy: G y m n a s tic s an d T u m b lin g . U n ite d S ta te s N aval I n s t i t u t e , A n n a p o lis, M a ry la n d , 1 9 4 4 .
c.
M i l l e r , C. E . : P h y sic a l T ra in in g . F r e d M e d a r t M fg . C o . , S t • L o u i s , 1 9 4 1 .
d.
W i t t i c h , W. J . , a n d R e u t e r , E x e r c is e s on th e A p p a ra tu s . C o . , New Y o r k , 1 9 2 5 .
A CTIVITY ASSIGNMENTS: W ork t o t r i c k s on th e p a r a l l e l b a r s ♦
H. C . : A. S .
B arnes and
do to p e r f e c t y o u r
1.
UNDERSTANDING: L is t and p erfo rm s e v e ra l r o u tin e s d i f f e r e n t i n c o m b in a tio n c o n ta in in g a t l e a s t s ix d i f f e r e n t m oves.
2.
PERFORMANCE: Im p ro v e y o u r a b i l i t y t o p e r f o r m e a c h o f t h e t r i c k s b y m ak in g up a n d d o in g one r o u t i n e c o n s is tin g of a l l th e s tu n ts .
3.
INSTRUCTING: Teach o th e r s to p e rfo rm a l l t r i c k s m e n tio n e d i n t h i s c n a p t e r .
o f th e
EVALUATIONS: A t r u e f a l s e t e s t t o m e a s u re y o u r k n o w le d g e o f t h e p a r a l l e l bar's*! (P u t an X in th e c o r re c t p a re n th e se s f o r tru e o r f a l s e . ) T
F
1.
()
( ) Y ou s h o u l d p u l l h a r d w i t h y o u r a r m s a t t h e to p p o i n t o f t h e f r o n t sw in g to do a b a c k u p ris e .
2.
() (
3.
()
) The s t a r t i n g p o s i t i o n f o r a b a c k u p r i s e s h o u ld b e i n a s t r a i g h t arm s u p p o r t p o s itio n .
( ) A l a r g e sw in g i s back u p ris e .
n ecessary in
d o in g a
35
I t i s n e c e s s a r y t o iceep y o u r e l b o w s a t a 90 d e g r e e a n g l e f r o m y o u r b o d y w hen d o in g a s h o u ld e r s ta n d . Y ou s h o u l d a d j u s t t h e w i d t h o f t h e b a r s t o f i t y o u r s h o u ld e r s w hen d o in g a s h o u ld e r s ta n d . Y ou s h o u l d s t a r t f r o m a h a n g b y y o u r s h o u ld e r w hen d o in g a f r o n t u p r i s e . You s h o u l d s t a r t t o p u l l w i t h y o u r a r m s a s y o u r body s t a r t s upw ard on t h e f r o n t sw in g f o r a f r o n t u p r i s e . Y ou s h o u l d m a i n t a i n a c o n t i n u o u s s w i n g w hen y o u a r e p e r f o r m i n g a s c i s s o r t u r n . I t i s n e c e s s a r y t o d ip a t th e end o f th e f r o n t sw in g w hen d o in g a d ip t u r n . Y ou s h o u l d q u i c k l y s t r a i g h t e n y o u r a r m s a t t h e e n d o f t h e b a c k sw in g w hen d o in g a d ip t u r n . You s h o u l d g r a s p t h e b a r s w i t h t h e k n u c k le s o f y o u r h a n d to w a rd th e i n s i d e w hen d o i n g a k i p o n t h e e n d o f t h e b a r s . I n p e r fo r m in g a k ip on th e end o f th e b a r s y o u s h o u ld k eep y o u r arm s s t r a i g h t *
36
CHAPTER 3 . HOW TO PERFORM ON THE HORIZONTAL BAR A.
B*
MOTIVATIONS: R ew ards t o h o r iz o n ta l bar*
be g a i n e d
by w o rd in g on th e
1.
MORE STRENGTH:: P r a c t i c e o n t h e h i g h b a r w i l l d e v e lo p th e m u sc le s o f y o u r a rm s, c h e s t , and b ack .
2.
STATUS: By p e r f o r m i n g th e s t u n t s o th e r s w i l l lo o k to you f o r h e l p .
3.
BEAUTIFUL BODY: P r o p e rly d e v e lo p e d s h o u ld e rs and arm s p r e s e n t a n a t t r a c t i v e a p p e a ra n c e *
DIRECTIONS: S u g g e s tio n s h o riz o n ta l b a r. 1.
How t o
do a
on p e rfo rm in g
f r o n t p u llo v e r*
on th e h ig h b a r
s tu n ts
on th e
(R e fe r to F ig u re
a.
G rasp th e b a r w ith an o v e r hand g r i p th u m b s a r o u n d t h e b a r .
b.
P u l l h a l f w ay up w i t h t h e a rm s k e e p in g t h e body In a p ik e p o s itio n *
c.
Low er t h e h e a d b a c k w a r d an d b r i n g to th e b a r .
d.
B end a t t h e w a i s t t o th e body*
e*
P u ll w ith
f.
A rch th e
g.
S to p m o tio n on to p su p p o rt p o s itio n .
h.
A s s is t by l i f t i n g th e p e rso n s le g s and by p u s h in g u pw ard on th e b u tto c k s *
th e
h o ld th e b a r i n
th e arm s an d keep
w ith th e
w a ist c lo se
th e head b ack .
b ack a s t h e arm s a r e of th e
20*)
s tra ig h te n e d .
bar in a fro n t
to
37
A. STARTING PO SITIO N
B. PULL UP ■ ll> r .
D. F I N IS H PO S IT IO N
C. FEET OVER FIGURE 2 0 *
A FRONT PULL OVER ON THE HORIZONTAL BAR
38
2.
3.
How t o
do a
f r o n t h ip
c irc le .
fro m a f r o n t
(R efer to
F ig u re
a.
S ta rt
b.
U se a n o v e r h a n d g r i p w id th a p a rt*
c.
S t a r t fo rw a rd m o tio n b y b e n d in g fo rw a rd fro m th e h i p s .
d.
Bend t h e k n e e s s l i g h t l y to a i d i n s h i f t i n g th e w e ig h t fo rw a rd to i n c r e a s e th e sw in g .
e.
H o ld t h e b a r t i g h t l y t o th e b e n d a t th e w a is t th ro u g h o u t th e e n t i r e m ove.
f.
S h if t th e
g.
C u rl up q u ic k ly on th e
h.
S to p on to p o f th e b a r b y t i g h t e n i n g by p u ttin g th e head b a c k .
i.
S t r a i g h t e n th e arm s an d a r c h th e b a c k .
j.
Rem em ber a lw a y s t o b ar.
g rip
b.
s u p p o r t on th e b a r . w ith hands
sh o u ld e r th e tru n k
fo rw ard .
How t o d o a b a c k h i p a.
2 1 .)
o th e r
s id e
keep th e h ip s c irc le .
of th e
b ar.
g rip
c lo se
and
to
th e
(R efer to
F ig u re
2 2 .)
S t a r t fro m a f r o n t s u p p o r t p o s i t i o n
on th e
b ar.
U se a n o v e r h a n d g r i p w i t h h a n d s w id th a p a r t .
c.
S w in g t h e
b o d y aw ay o u t fro m th e
d.
T h ro t th e head back a s to u c h e s th e b a r .
s h o u ld e r b ar.
t h e b o d y com es i n
e.
L e t th e w a is t b en d to
f.
H o ld t h e b a r i n
g.
S h i f t th e w r i s t so t h a t t h e s t r a i g h t p o s i t i o n above th e
hands a re b ar.
h.
C o n tin u e r o t a t i n g u n t i l s ta rtin g p o s itio n .
b o d y com es t o
and
fo rm a V.
th e V fo rm ed a t
th e
th e
w a is t. in a
39
A. SWING BODY OUT FROM BAR
STARTING PO SITION
C. S H IF T WRISTS AND BODY
-
D. F I N I S H PO SITION
FIGURE 2 2 .
A BACK HIP CIRCLE ON THE HORIZONTAL BAR
40
4*
5.
i.
S to p m o tio n b y t i g h t e n i n g t h e g r i p , b y m o v in g th e head fo rw a rd , an d by s tr a ig h te n in g th e h ip s.
j.
I n c r e a s e d i f f i c u l t y b y f r e e i n g t h e b o d y fro m th e b a r and b y k e e p in g th e body s t r a i g h t .
How t o d o a
back h e e l c i r c l e .
(R e fe r to F ig u re 2 b .)
a.
S it
b.
U se an o v e r h a n d g r i p .
c.
L i f t th e body o f f th e b a r and s t a r t back w ard .
d.
Hook t h e h e e l s
e.
P ut th e head back v ig o ro u s ly to backw ard m o tio n .
f.
F le x th e arm s a s th e body s t a r t s th e f a r s id e o f th e b a r .
g.
H o ld o n to
h.
S to p on to p o f th e b a r by t i g h t e n i n g g rip and p u ttin g th e head fo rw a rd .
i.
F in ish
How t o
on th e h o r iz o n ta l b a r .
fa ll
over th e b a r.
th e b a r
c o n tin u e
fro n t heel
to r i s e
on
tig h t.
th e m ove i n a b a c k s i t t i n g
do a
to
c irc le .
th e
p o s itio n .
(R efer to
F ig u re
a.
S i t on th e h o r iz o n ta l b a r .
b.
U se a n u n d e r h a n d g r i p w id th a p a r t.
c.
L i f t th e body o f f th e b a r and s t a r t fo riv a rd .
d.
H oo k t h e h e e l s o n t h e s tra ig h t.
e.
H o ld o n to t h e b a r t i g h t w i t h th e
f.
K eep th e
g.
Bend t h e arm s s l i g h t l y a t t h e e lb o w s t o a l l o w th e body to r i s e to th e to p o f th e b a r .
h e e ls
w ith th e hands
2 4 .)
s h o u ld e r
to
fa ll
b a r and keep th e
le g s
hands.
hoo d ed on th e b a r .
41
w~
• '• S t win -’tII
A• STARTING P O S IT IO N
G• f l e x : arms
as
B. HOOK HEELS ON BAR
_ BODY
r is e s
\ D. F I N IS H POSITION
FIGURE 2 3 .
A BACK HEEL CIRCLE ON THE HORIZONTAL BAR
42
- r c r ? L ..
B. HOOK HEElfS ON BAR
A. STARTING PO SIT IO N
FLEX ARMS AS BODY R IS E S •..M.- •
^
--
1
?*♦* *
••••»-
*-
-*■
'
*
, * .** * '*.«**
**.>•'
* .. F IN IS H P O SIT IO N ->./
-
*“
» :'* •
*•*
’
FIGURE 2 4 . A FRONT HEEL CIRCLE ON THE HORIZONTAL BAR
*
*'
43
h.
6.
How t o d o a f r o n t 25. )
so le c i r c l e .
to F ig u re
S tand on th e
b.
Use a n u n d e r hand g r i p betw een th e f e e t .
c.
F a l l fo rw a rd k e ep in g th e arm s and t h e stra ig h t.
d.
F le x th e arm s and th e le g s s l i g h t l y th u s a id in g th e body r i s e to the to p of th e b a r .
f.
bar w ith th e
(R efer
a.
e.
7*
S to p th e fo rw a rd m o tio n on to p o f th e b a r by tig h te n in g the g r ip and by b rin g in g th e head backw ard*
w ith th e
hands p la c e d
S top on to p of t h e b a r by b rin g in g up an d b y s t r a i g h t e n i n g t h e knees*
leg s
th e head
S p o t b y s t a n d i n g on t h e n e a r s i d e o f th e b a r an d g r a s p i n g th e p e r f o r m e r b e n e a t h t h e arm s th u s a i d i n g th e p e r s o n to r i s e t o t h e to p of the b a r .
How t o d o a b a c k s o l e a.
fe e t ap art.
S tan d on th e
circle.
(R efer to F ig u re
2 6 .)
b a r w ith the f e e t a p a r t.
b.
G rasp t h e b a r w ith a n o v e r hand g r i p .
c.
S h i f t th e w e ig h t backw ard by p u t t i n g t h e back.
d.
H old on to
e.
Keep
f.
F le x th e knees a s th e body p a s s e s u n d e r th e b a r , th u s m aking i t p o s s i b l e f o r th e b o d y to r e t u r n t o t h e top o f the b a r .
g.
S h i f t th e w r i s t to th e to p of th e b a r as bo d y s t a r t s t h e upw ard sw in g .
h.
S to p m o t i o n when b o d y comes t o o r i g i n a l s t a r t in g p o s i t i o n by t i g h t e n i n g th e g r ip and by p u ttin g th e head forw ard.
the
the feet
bar
head
tig h t.
on th e b a r a t a l l
tim es*
the
44
A* STARTING POSITIO N
B. PALL FORWARD
G. R I S E I N BACK
F I N I S H POSITION FIGURE 2 5 .
A FRONT SOLE CIRCLE ON THE HORIZONTAL BAR
45
■ ■JUl'i l .
A. STARTING POSITION
B. PALL BACK
L ' :- y -■‘Tf-aUjgiAi-
cB I S K IN. FRONT
D. F I N I S H POSI TION FIGURE 2 6 .
A BACK SOLE CIRCLE ON THE HORIZONTAL BAR
46
i.
8.
9*
Don’ t th ro w th e body i n t o th e c i r c l e ; ± e t t h e downward sw in g c a r r y t h e b o d y t o t h e t o p o f the b a r .
How t o
do an o v e r h an d k i p .
(R efer to F ig u re
a.
G rasp th e b a r w ith an o v e r hand g r i p .
b.
E s t a b l i s h a m edium s w i n g .
c.
A rch th e
d.
Move q u i c k l y t o a p i k e p o s i t i o n w i t h t h e alm o st to u ch in g th e h an d s.
back a t
th e
end o f th e f r o n t
2 7 .)
sw ing. feet
e.
E xtend th e le g s v ig o r o u s ly up and o u t a t a 70 d e g r e e a n g l e a s t h e bo d y s t a r t s to r i s e on th e back sw in g .
f.
P u ll th e b a r in to stra ig h t.
g.
Don’t p u l l th e c h in i n t o extend in g th e body.
h.
C o m p le te t h e move i n a f r o n t on th e b a r s .
How
to
a.
G rasp
b. c. d.
th e
h ip s and keep th e
do a n u n d e r h a n d k i p . the
arm s
the b a r a f t e r support p o s itio n
(R efer
to F ig u re
b a r w i t h a n u n d e r h a n d gi*ip.
E s t a b l i s h a medium s w i n g . A rch th e back a t
th e
end o f t h e
P ike th e body q u ic k ly a t f r o n t sw ing. the
f e e t next to
the
front
sw ing.
end o f th e
e.
Put
f.
E x t e n d t h e l e g s u p a n d o u t a t a 70 d e g r e e a n g l e a s th e bo d y s t a r t s up on t h e b ack w ard sw ing.
g.
Keep t h e
h.
S h i f t th e hands to th e top o f th e b o d y comes i n t o t h e b a r .
arm s
th e b a r.
stra ig h t. bar as
the
2 8 .)
47
A. STARTING POSITI ON
t- •
!j i
B. P I K E POSITION
■
L sJi i ■
c.
D* F I N I S H POS ITIO N
BODY EXTENSION FIGURE 2 7 ,
AN OVER HAND K IP ON THE HORIZONTAL BAR
48
B. P I K E POSITION
A. sta rtin g
po sitio n
G. BODY EXTENSION
D. F I N I S H POSITION FIGURE 2 8 .
AN UNDER HAND K IP ON THE HORIZONTAL BAR
49
10.
11.
i.
C o m p l e t e t h e move b y f i n i s h i n g i n a f r o n t s u p p o rt p o s i t i o n w ith u n d e r hand g r i p ,
j.
D on’ t b en d t h e arm s a t a n y tim e d u r in g trick .
How t o do a n o v e r h a n d u p r i s e . the b ar
(R efer to F ig u re
a.
G rasp
b.
E sta b lish a larg e
c.
Keep th e
d.
P u l l downward w i t h t h e arm s a s t o r i s e on t h e back sw in g .
e.
A rch th e
f.
P u ll the body tow ard th e b a r a t o f th e back sw ing.
g.
B ring th e balan ce •
h.
F i n i s h t h e move i n a f r o n t th e b a r .
sw ing.
arm s s t r a i g h t .
back a t
th e
top
G rasp
b.
E s ta b lish a larg e
the body s t a r t s
o f th e back sw ing.
sh o u ld ers ahead of
a.
c.
2 9 .)
w ith a n o v e r hand g r i p .
th e
to p
p o in t
th e hands f o r
support p o s itio n
How t o d o a n u n d e r h a n d u p r i s e . 3 0 .) the
th is
on
(R efer to F ig u re
b a r w ith an un d er hand g r ip . sw ing.
P u l l downward w i t h t h e arm s a s to r i s e on th e b ack sw ing.
the body s t a r t s
d.
p u ll th e body i n t o th e b a r a t th e to p o f th e b a c k sw ing k e e p in g t h e arm s s t r a i g h t .
e.
S h i f t th e hands onto th e
f.
F i n i s h t h e m ove b y c o m i n g t o a f r o n t p o s i t i o n on to p o f t h e b a r .
g.
Keep t h e a rm s b a c k sw ing.
straig h t
top
of th e
bar.
th ro u g h o u t th e
support en tire
50
A*. STARTING POSITION
C. BACK SWING
B. FRONT SWING
D. F I N I S H POSITI ON
' FIGURE 2 9
AN OVER HAND U P R I S E ON THE HORIZONTAL BAR
51
A. STARTING POSITIO N
B. FRONT SWING
C. BACK SWING
D. F I N I S H POSITIO N FIGURE 3 0
AN UNDER HAND UPRISE ON THE HORIZONTAL BAR
52
12 .
How t o d o a b a c k k i p * a.
Use a n o v e r h a n d g r i p .
b.
E s t a b l i s h a sm a ll sw ing.
c.
13.
(R efer to F ig u re
L i f t t h e f e e t up and p u t on th e fo rw a rd sw in g .
3 1 .)
them b e t w e e n t h e a rm s
d.
R e st i n an in v e r te d p ik e hang
e.
E xtend th e le g s q u ic k ly anda r c h t h e b a c k on th e f o rw a rd sw ing a s t h e arm s p a s s th e v e r t i c a l • p o sitio n .
f.
S h i f t the hands to th e t h e b a c k w a r d m ovem ent*
g.
F i n i s h t h e move i n a b a c k s u p p o r t p o s i t i o n .
SOURCES FOR THIS CHAPTER: assistan c e*
to p
of
on th e b ack sw in g .
the b a r and sto p
W here t o g e t
fu rth er
a.
W e s t , W. D . * The G y m n a s t* s M a n u a l . H a i l , I n c . , New Y o r k , 1 9 4 7 .
P ren tice -
b.
U n i t e d S t a t e s Navy: G y m n astics an d T um bling. U n ite d S t a t e s Naval I n s t i t u t e , A n n a p o lis , Ma r y l a n d , 1 9 4 4 .
c.
M i l l e r , C. E . j P h y sical T ra in in g . M e d a rt M fg. C o . , S t . L o u i s , 1 9 4 1 .
d.
W I t t i c h , W. J . a n d R e u t e r , H . C . * E x ercises on th e A pparatus* A . S . B a r n e s a n d C o . . New Y ork, 192b.
Fred
54
C.
D.
ASSIGNMENTS: W o r k t o H o riz o n ta l bar*
do t o p e r f e c t y o u r t r i c k s
on th e
1*
PERFORMANCE; I n c r e a s e y o u r a b i l i t y t o do e a c h o f tiie t r i c k s b y m aking up a n d d o in g one r o u t i n e c o n s i s t i n g o f a l l th e m oves,
2.
INSTRUCTING t m en tio n ed i n
3.
UNDERSTANDING: Make u p a n d d o s e v e r a l r o u t i n e s d i f f e r e n t in com bination c o n ta in in g a t l e a s t s ix s tu n t s •
Teach o th e rs th is ch ap ter.
to
do e a c h o f t h e
trick s
EVALUATIONS; A t r u e f a l s e t e s t t o m e a s u re y o u r knowle d g e o f the h o r iz o n ta l b a r . (Put an X i n th e c o r re c t p aren th eses fo r tru e or fa lse # ) T 1. 2
.
F You s h o u l d g r a s p t h e b a r w i t h a n o v e r h a n d g r i p when y o u a r e d o in g a f r o n t p u l l o v e r . You s h o u l d f i n i s h t h e f r o n t p u l l a s i t t i n g p o s i t i o n on th e b a r.
over in
3
You s h o u l d u s e a n o v e r h a n d g r a s p w hen y o u a r e doing a f r o n t h ip c i r c l e .
4
I t i s n e c e s sa ry to allo w your h ip s to f a l l away fro m th e b a r t o r e t u r n to t h e f i n a l p o s i t i o n on a f r o n t h ip c i r c l e .
5.
You s h o u l d s w i n g y o u r b o d y o u t a w a y f r o m t h e b a r t o s t a r t y o u r b o d y r o t a t i n g when doing a back h ip c i r c l e .
6
I t I s n e c e ssa ry to s h i f t w ard a s y o u r b ody s t a r t s do in g a back h ip c i r c l e .
7.
You s h o u l d s t a r t f r o m a s i t t i n g p o s i t i o n on t h e b a r when d o i n g a b a c k h e e l c i r c l e .
8.
I t i s d a n g e ro u s n o t t o hook th e h e e l s on t h e b a r when d o i n g a b a c k h e e l c i r c l e *
your w rist fo r t o r i s e when
55
9.
10
. .
11
12
.
You s h o u l d s t a r t y o u r f o r w a r d m o t i o n b y l i f t i n g y o u r body from th e b a r and f a l l i n g fo rw ard w hen d o in g a f r o n t h e e l c i r c l e . You s h o u l d k e e p y o u r a rm s s t r a i g h t o u t th e e n t i r e f r o n t h e e l c i r c l e .
th ro u g h
I t i s n e c e s s a ry t o use and over hand g r i p when you a r e d o in g a f r o n t s o l e circle• You s h o u l d f i n i s h i n a s t a n d i n g p o s i t i o n on th e b a r w ith hands g ra sp e d betw een th e l e g s when d o i n g a f r o n t s o l e c i r c l e .
13.
I t I s n e c e s s a r y to h o ld onto th e b a r t i g h t when y o u a r e d o i n g a b a c k s o l e c irc le .
14.
You s h o u l d k e e p y o u r f e e t o n t h e b a r a t a l l t i m e s when you a r e p e r f o r m i n g a back so le c i r c l e .
15.
Y ou s h o u l d e x t e n d y o u r l e g s v i g o r o u s l y up a n d o u t a s y o u r body s t a r t s to r i s e on th e f r o n t s w in g when d o in g a n o v e r hand k ip .
16.
You s h o u l d p u l l y o u r c h i n i n t o t h e b a r when p e r f o r m i n g a n o v e r h a n d k i p .
17.
It at
18.
Y ou s h o u l d h a v e a under hand k ip .
19.
I t i s necessary s t r a i g h t d u rin g
20
.
i s n e c e s s a r y t o keep y o u r arm s s t r a i g h t a l l tim e s when d o in g a n u n d e r h a n d k i p . larg e
sw ing
to
do a n
to keep y o u r arm s the e n t i r e u n d er hand k ip .
You s h o u l d u s e a s m a l l d oing a back k i p .
sw ing when you a r e
56
CHAPTER 4 . HOW TO PERFORM OH THE RINGS A.
B.
MOTIVATIONS: G o a ls w h ic h y o u may a c h i e v e t o w ork o n t h e r l n g s T
if
you l e a r n
1*
MAKE THE TEAM: Perform ance and p e r f e c t i o n o f b a s ic t r i c k s on th e rin g s w i l l g iv e you an o p p o r t u n i t y t o c o m p e te on t h e g y m n a s t i c team *
2*
LARGER SHOULDERS: P r a c t i c i n g on th e rin g s w i l l d ev elo p th e m u scles of your arm s, c h e s t , s h o u ld e rs , and back*
3*
MUSCULAR COORDINATION t You w i l l d e v e l o p m u s c u l a r te a m w ork a n d p o i s e b y p e r f o r m i n g on t h e r i n g s *
DIRECTIONS: P ra c tic a l t r i c k s on th e r i n g s * 1*
su g g estio n s
How t o d o a m u s c l e u p *
o n ho w t o m a s t e r
(R efer to F ig u re
32*)
a*
G rasp th e r in g s w ith a f a l s e g r ip keep in g palm s o f t h e han d s to w a rd th e i n s i d e .
b*
A rch th e
back as
the
th e
th e p u l l up b e g i n s .
c*
P u l l q u i c k l y w i t h th e arm s and r a i s e to an L p o sitio n *
d*
A llow th e
e*
R o ll th e sh o u ld e r forw ard and tu rn th e hands o u t when t h e to p o f t h e p u l l up i s re a c h e d *
f*
Keep t h e r i n g s
g*
P ush up to a s t r a i g h t arm s u p p o r t p o s i t i o n c o m p l e t e t h e move*
to
h*
Remember a l w a y s t h e body*
to
leg s
to
in
to
sw ing
clo se
th e
leg s
back*
to
th e body.
keep th e r i n g s
in
clo se
57
A. STARTING' P O S ITIO N
B* PULL UP
C. ROLL FORWARD
D. F I N I S H POSITION FIGURE 3 2 .
A MUSCLE UP ON THE RINGS
58
2.
3.
How t o d o a d i s l o c a t e .
(R efer to F igure
3 3 .)
a.
G rasp
th e
rin g s w ith a norm al g r ip .
b.
R aise
th e
leg s
c.
Shoot th e an g le•
d.
Move t h e
e.
Throw t h e on t i g h t .
f.
Keep t h e arm s s t r a i g h t .
g.
Turn th e
h.
F i n i s h t h e move i n a
i.
Sw ing t h e l e g s f o r w a r d an d u p t o p u l l on th e arm s.
j.
F a i l i n g to k ic k up h ig h enough p ro d u c e s much o f a p u l l on t h e s h o u l d e r s .
How t o
over th e head
to a p ik e
le g s up and o u t a t a b o u t a
p o sitio n . 70 d e g r e e
head back. arm s o u t aw ay fro m t h e b o d y a n d h o ld
rin g s
o u t.
do a sn a p r i s e .
lo n g hanging p o s i t i o n .
(R efer to
w ith a norm al
elim in ate
F ig u re
to o
3 4 .)
a.
G rasp th e
rin g s
b.
R aise th e
leg s
c.
Shoot th e le g s up and fo rw ard an g le to f u l l body e x te n s io n .
d.
H old on t o
e.
P u l l q u i c k l y when y o u f e e l a j e r k t h e b o t t o m o f t h e w hip*
f.
Keep th e r i n g s
g.
F in ish th e p o sitio n .
h.
P u llin g to o soon k i l l s th e p o t e n t i a l l i f t d e v e l o p e d f r o m t h e s n a p down o f t h e l e g s .
over th e head to
th e r in g s
in
g rip . a p ik e p o s itio n . at
a 70 d e g re e
tig h t.
clo se
move i n a
the
to th e
from h i t t i n g
body.
s t r a i g h t arm s u p p o r t
59
. ,M- -■-tta'Y.'r—^laz^vU cZSZ?'-.' ttO Q r& ti^lifiS rrte-'
P I K E POSITION
STARTING P O S IT IO N
...V -
. • '*
- ‘w
. -
C . - - -f ■ i . v DISLOCATE POSITION
• K f S : «fc x
. * *
K
V