A syllabus for fundamental gymnastics

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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

UMI EP46634 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code

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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. . . .



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