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1968 MEXICO OLYMPIC FILMS

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VOLUME 3, NO. 2 NOV.-DEC., 1968

CONTENTS

NOTE FROM THE PUBLISHER ...................................... 4 OLYMPIC ALL-AROUND CHAMPION .............................. 5 USA OLYMPIANS IN MEXICO ........................................ 6 1968 OLYMPIC REPORT ................................. ............... 8 WOMEN'S TEAM RESULTS ............................................ 12 ALL-AROUND .................................................................. 14 ALL-AROUND SILVER MEDAL WINNER .......................... 16 INDIVIDUAL EVENT CHAMPIONSHIPS

VAULTING .................................................................. 18 BALANCE BEAM ........................................................ 20 UNEVEN PARALLELS ................................................ 22 FLOOR EXERCISE ...................................................... 24

DANCE DEMONSTRATION AT AAHPER CONVENTION .... 26 CANADIAN CHAMP ........................................................ 28 HELEN'S CORNER .......................................................... 28 LmERS ........................................................................... 30

COVER: Mademoiselle Gymnast scenes from Mexico­Opening day at the stadium - Vera Caslavska, Olympic Gold Medal Champ. Cathy Rigby, high AA scoring USA Olympian - USA team in Olympic Village.

GLENN M. SUNDBY-Publisher BARBARA B. SUNDBY-Managing Editor

MADEMOISELLE GYMNAST is published bi·monthly during the school year .(Sept.·Oct., Nov.·Dec. , Jan.-Feb., March·April, May· June). Price: $3.00 per year, 75c single copy. Subscription correspondence, Box 777, Santa Monica, California 90406. Copyright 1968 all rights reserved by Sundby Publications, 410 Broadway, Santa Monica, California 90401.

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NOTE FROM THE PUBLISHER:

The 1968 Olympic Games in Mexico City reflected the growth of the Women's Gymnastic program in America during the past four years, Little Cathy Rigby of Long Beach, Calif" the brightest American star on the horizon of world Gymnastics placed sixteenth in the AII·Around, This is the best Olympic AII·Around position any USA girl gymnast has ever achieved, Linda Metheny placed 4th on the Balance Beam which made her the first USA Gymnast (male or female) to win a birth in the Individual Event Finals of the Olympic Games, (In the 1948 Olympic Games in London, Mile, G. contributor Helen (Schifano) Sjursin was the highest scorer for the USA team unofficially placing 2nd in Vaulting, As there was not individual Cham· pionships or AII·Around in '48 we do not know the AA placings for the three event competition, FX, BB & V), In Mexico Linda did an excellent job in the BB finals, but could not overtake any of the first three to bring home what would have been the first Olympic Gymnastic Medal in Twenty years, Cathy placed right behind Linda on the Beam ending up in a three·way·tie for fifth place with Petric of USSR and Zuchold of East Ger· many, who by the way tied with each other for fourth place in the AII·Around, so you can see Cathy is up there with the best of them. Because of just six performers in the Individual Championship event the rule (we could not find it in the FIG Code) is that the gymnast with the highest AA total qualifips for the finals, so Cathy did not make it into the Beam finals , , , THIS TIME!

In the Team placement thanks to a grand group of hard work· ing young lady gymnasts' and good coaching by Mrs, Gross· feld, Mrs, Flanaas, Mr. Edwards and Mr, Mulvihill the USA team placed sixth, the best in Olympic competition in two decades, (In 1948 the USA team placed third behind Czechos· lovakia and Hungry to take home the Olympic Bronze medals. USSR, E. Germany and Japan the other teams ahead of the USA in Mexico '68 were not in the 1948 Olympics,)

Below for your comparison are the USA Team and Individual placements for the past five Olympic Games:

MEXICO 1968 USA 6th Place H>- Rigby 28-Metheny 30-Tanic 31-Gleason 34-Mulvihill 38-Cluff

TOKYO 1964 ROME 1960 MELBOURN 1956 FINLANO 1952 USA ~!h Place USA 9th Place USA 9th Place USA 12th Place 34-McClemments 28-Songerath 51-Ruddick 64-Barone

(Flan.,.sJ 4O-Fuchs (BrauseJ 52-Davis (Grossfeld! 65-Grulkowski 3&--Metheny 45-Richardson 54-Racek 74-lomady 51-Corrigan (Zuber! 55-Klein IUphuesJ B3-Topalian 58-Grossfeld 52- Maycock 57-Fuchs IBrause! 103-Dalton 60-Walther 58-Montefusco 58-Howe 107-Hoesly 62-Speaks 70-Grossfeld

It is interesting to note that in all but three cases our lowes scar· ing girl in 1968 scored better than every other USA team member in the five previous Olympiads.

1968 OLYMPIC PHOTOGRAPHS

By

DON WILKINSON

Don Wilkinson whose photos appear in Mademoiselle Gymnast, , , , " covered the Olympic Games photographically in

color and black and :white. He has produced a fully illustrated catalogue showing over 1,500 contact size black and white prints (with over 400 of Gymnastics). Also listed are the color transparencies taken. This catalogue, price $1.00 is now available from - DON WILKINSON, 1013 8th A VENUE, GREELEY, COLORADO 80631.

RA CAS 1'68 Olymp Gold Medal

.,. __ .; ,.,,_.l ~ ~~ ~ .. .. ,

Above: Linda Metheny, Kathy Gleason and team Beam Optionals .

Top left page - The USA Coach, Team and Manager pose for the Mademoiselle Gymnast camera in the Olympic Vill age. Left to Right: Muriel Grossfeld (coach), Cathy Rigby, Linda Metheny, Joyce Tanic, Diane Bolin (alternate), Coll een Mulvihill , Wendy Cluff, Kathy Gleason and Vann ie Edwards (manager).

USA OLYMPIANS IN MEXICO Below: Cathy Rigby in Optional Floo r Exerc ise and team warm-up for Uneven Optionals.

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1968 OLYMPIC REPORT 1968 OLYMPIC GAMES - WOMEN'S GYMNASTICS

Report by Dale Flansaas The 1968 Olympic Games proved to be most ex­

citing. The Games opened on Oct. 12, 1968 with an impressive opening ceremony involving 7,886 athletes from 109 countries. The athletes marched into the stadium, speeches were given, the Olympic flag was hoisted, balloons and pigeons were released into the air and for the first time a woman athlete carried the torch and lit the flame. An impressive presen1:ation of the Olympic flag was done for the first time. A Japa­nese delegation presented the flag to the Mexican delegation with an impressive musical background por­traying the two coutr ies. And so, the Games were of­ficially launched.

The gymnastics competition wasn't to begin until the last week of the Games - Oct. 21-0ct. 26th. And so, training resumed for the gymnasts. Each country is given a 3 hour block of time in the gym per day. The workouts are open so one can watch the various' teams practice. At times some countries worked out at different times than scheduled so as not to be seen. The American team along with others spent. most of their time trying to perfect the compulsories and op­tional exercises and to build physically toward their peak which was aimed for the competition dates. The time flew by. When the girls weren't in the gym they were usually at the Olympic Village meeting other ath­letes, spending time' in the recreation hall or just rest­ing.

The competition proved to be a battleground be­tween the Soviet and Czechoslovakian team with the E. Germans not too far behind. Most of the individual titles were members from these teams also. The Japa­nese did not do as well as usual this time. Their team looked good but did not have as high a difficulty valu e and originality as the other top teams. Hungary and the United States were battling it out for 5th place. The U.S. was leading until the Hungarians pulled up ahead of us by 0.05 in the optionals. Following is an event report of how some of the teams did, the styles and difficulties used, and individuals who did an out­standing job.

In vaulting, the top teams showed good styles. The Russians tended to have high preflight and lower after­fl ight, the E. Germans the opposite and the Czechs were somewhere inbetween. Good style, with the arms being thrown outward slightly at the height of the pre­flight and afterflight of the compulsory, giant cart ­wheel vault , was used. The most popular optional vaults used were Yamashita's and cartwheels with the % twist. Caslavska hit her normal flighty vault with a perfect landing. She scored a 9.9 on her compulsory vault. Voronina looked like the best Russian vaulter - excellent preflight and afterflight. Her Yamashita was definitely individualized - she thrusted her arms sideward at the height of her preflight before bringing them forward onto the horse. The E. German team also proved to be strong vaulters placing Zuchold and Janz in the finals. Zuchold has low preflight on a Yamashita, but tremendous afterfl ight.

Bars proved to be a bit disastrous for the Czech and Russian teams. Although Caslovska did a good compulsory, two girls on the team missed somewhere in their exercises. The Russian team as a whole does not look as strong as the Czechs on Camp., but the surprise of the entire meet came when Kuchinskaya fell off camp. bars on the Ij2 turn squat. This of course knocked her out of the battle for all-around with Cas­lovska and placed her teammates Voronina and Petrik in the running. E. Germany had good bars. They styl­ized the sale circle % turn well in the camp. by thrusting the arms slightly sideward before recatch ­ing the high bar. On optional bars all 3 teams showed interesting movements. Many hechts and hechts with full twists were used off the high and low bars, Zuch­old, from E. Germany hit good routines. ZL1chold has her 2 original moves she used in Dortmundt in 1966 more perfected - front seat circle shoot on high bar drop to handstand on low bar and the 1/2 seat circle shoot dislocating the arms and recatching the high bar. One of the Russian girls did a sale circle 11/2 twist on the high bar recatching the high bar which was probably the most current new stunt thrown in the competition, and one of the Czechs did a cast away from somi from the high bar. Caslavska has a new stunt, but didn't use it in competition. She does a full sale circle on the low bar, stands up (back to high bar) and throwing her arms up over her head falls with her back against the high bar, does a back circle around the high bar and grasps the low bar into a glide kip. The American girls were right up with these nations in the originality of some parts. Colleen Mulvi ­hill used a front flip over the low bar from a front sup­port to a recatch on the high bar, and a free hip, 1/2 turn on high bar to an immediate double knee circle on the low bar. Linda Metheny used a cast away back somi dismount from the high bar and although she didn't do it in competition, is doing a glide kip shoot

-g-

-10-

through on the low bar to high bar grasping the high bar in a reverse grip in an upside down "l", shoot outward releasing the high bar to a kip on the low bar. Joyce Ta nac uses a straddle vault to a bounce off closed legs on the high ba r to an immediate back somi. And so , optional bars was probably the most excit ing event of the meet as far as new movements and originality of connecting movements is concerned.

The floor exercise event was dominated by the Russians as a team. Their originality of combinat ion along with the music and flashiness put them above the other teams. Their style this time tended to be very supple showing flexi bility and modern gymnastics type of body movement. Petrik, Voronina and Kuchin­skaya showed the most creativeness although Kuchin ­skaya received a very high 9.85 for a routine with low tumbling and a stumble out of a full twisting back somi . The Czech team had good F.X. as a team with Caslavska having an excellent routine of 9.85 - prob­ably the best composed in the competition. She used excepts from the Mexican Hat Dance for music which was of course, appreciated by the Mexican audience. Most of the floor exercise routines used twisting som­ersaults and aerials in sequence, along with interest­ing movements on the floor.

The balance beam routines were stable by most teams and the difficulty level was higher. The Rus­sians and Czechs seemed to be holding back on com­pulsories. The E. Germans went all out with every part of the exercise and the American girls did an out­standing job receiving good scores. After compulsories, Kuch inskaya was in 1st, Caslavska 2nd , Linda Metheny 3rd and Cathy Rigby 4th, both from the U.S. In the optionals Kuchinskaya remained in the lead. She and Caslavska both hit very stable routines. Guchinskaya had the same routine as in 1966 difficulty wise, with walkovers, press handstand and the back handspring dismount. Caslovska had 2 new movements - a hand­spring walkout (done like a fast walkover) to an im­mediate needle scale and a cartwheel to a full twist­ing back somi dismount. Linda Metheny remained in 3rd spot and Cathy Rigby tied for 5th with 2 others. So, Linda made finals and Cathy missed out because she tied with 2 and only 6 could be in the finals. Cathy had the lowest all-around of the three. Some other difficulties done on the beam were: backhand­springs, diving cartwheels, carwheel immediate back­handspring (not used in competition), I -arm walkovers, handspring walkout to an immediate aerial dismount, a front aerial with a full twist dismount, and a back­handspring to a chest roll down.

The finals , although a very slow meet, proved to be 'a tough competition. All six girls in every event hit their routines very well. It is the first finals where I've seen so many routines hit. I can only remember one miss on the bars by one of the Czech girls. Since what was performed in the routines has already been dis­cussed , the results following this article should tell the story of the finals. I thought it was a little sad the way the Mexican audience was booing and stamping their feet during so much of the competition, especially during the presentation of the medals.

To sum up, I felt this was a difficult competition . More gymnasts are becoming members of the upper group fighting for the medals. along with more teams. I think the U.S. team has a bright future for the next competition . Our team is up with the rest in difficulty, but still needs more polish and elegance in their work along with the difficulty. So that is the next step for the American gymnasts.

·12·

Gold Medal Team from the USSR

WOMEN'S TEAM RESULTS

XIX OLYMPIC GAMES MEXICO CITY 1968

1. USSR 382.85 2. CZECHOSLOVAKIA 382.20 3. E. GERMANY 379.10 4. JAPAN 375.45 5. HUNGARY 369.80 6. USA 369.75 7. FRANCE 361.75 9. W. GERMANY 354.65 9. POLAND 353.85

10. BULGARIA 352.10 11. CANADA 343.40 12. NORWAY 338.15 13. CUBA 332.85 14. MEXICO 311.25

Kuch i ns kaya Caslavaska

Zuchold Voronina

Petrik

~ All-Around victory presentations Janz

Caslavska receives victory toss from her team mates

ALL·AROUND WOMEN'S ALL AROUND PLACINGS XIX OLYMPIC GAMES

MEXICO CITY 1968

Place Name Country Total 1. Caslavska, Vera Czechoslovakia 78.25 2. Voronina, Zinaida USSR 76.85 3. Kuchinskaya, Natalia USSR 76.75 4. Petrik, Larissa USSR 76.70 4. Zuchold, Erika E. Germany 76.70 6. Janz, Karin E. Germany 76.55 7. Rimniacova, Bohumila Czechoslovakia 76.00 7. Karaseva, Olga USSR 76.00 9. Sklenickova, Miroslava Czechoslovakia 75.85 9. Karajcirova, Mariana Czechoslovakia 75.85

11. Kiskova, Hana Czechoslovakia 75.65 12. Bauerschmidt, Maritta E. Germany 75.45 13. Hanyu, Kazue Japan ' 75.30 14. Banfai, Agnes Hungary 75.10 15. Kubickova, Jana Czechoslovakia 75.05 16. RIGBY, CATHY USA 74.95 17. Matsuhisa, Miyuki Japan 74.90 18. Mitsukuri , Taniko Japan 74.85

f 19. Janosi, Ducza Hungary 74.80 19. Oda Chieko Japan 74.80 19. Letourneor France 74.80

f

22. Kandori, Mitsuko Japan 74.65 22. Starke, Ute E. Germany 74.65 24. Turisheva, Ljudmila USSR 74.50 25. Burda, Ljubov USSR 74.20

f 26. Schmitt, Makrai Hungary 74.15 27. Noack" Marianne E. Germany 74.10 28_ METHENY, LINDA USA 74.00

I 29. Schmidt, Magalena E. Germany 73 .95 3~. TANAC, JOYCE USA 73.65 31. GLEASON, KATHY USA 73.60

I 34. MULVIHILL, COLlEEN USA 73.05 39. CLUFF, WENDY USA 71.80

There were 101 competitors in the Women's Olympic

I Gymnastic competition. A complete score breakdown by events will be contained in a Special Olympic book to be published at a later date in the MG office .. .

f

Watch for special announcement.

-15-

WOMEN'S VAULTING -INDIVIDUAL FINALS

Place - Name - Country 1. Caslavska, Vera (Czechoslovakia) 2. Zuchold, Erika (E. Germany) 3. Voronina, Zinaida (USSR) 4. Krajcirova, Mariana (Czech.l 5. Kuchinskaya, Natalia 6. Sklenickova, Miroslava (Czech.l

C&O Avg. 9.875 9.825 9.700 9.725 9.725 9.675

Finals 9.900 9.800 9.800 9.750 9.650 9.650

Total 19.775 19.625 19.500 19.475 19.375 19.325

(C&O Avg.-Compulsory and Optional finals)

score average going into

Vera Caslavska's compulsory Vault

BALANCE BEAM

·20·

I\uchinskaya

WOMEN'S BALANCE BEAM - INDIVIDUAL FINALS

Place - Name - Country C&O Avg. Finals Total 1. Kuchinskaya, Natalia (USSR) 9.800 9.850 19.650 2. Caslavska, Vera (Czech,) 9.725 9.850 19.575 3. Petrik, Larissa (USSR) 9.500 9.750 19250 4. METHENY, LINDA (USA) 9.575 9.650 19.225 4. Janz, Karin, (E. Germany) 9.525 9.700 19.225 6. Zuchold, Erika (E. Germany) 9.500 9.650 19.150 (C&O Avg.-Compulsory and Optional score average going into finals)

Metheny (USA)

Petrik Janz

Caslavaska

Zuchold

Voronina Rimnacova

Zucho ld

Skienickova

UNEVEN PARALLELS WOMEN'S UNEVEN PARALlELS -INDIVIDUAL FINALS

PJace - Name - Country C&O Avg. Finals Total 1. Caslavska, Vera (Czech.) 9.750 9.900 19.650 2. Janz, Karin (E. Germany) 9.650 9.850 19.500 3. Voronina, Zinaida (USSR) 9.625 9.800 19.425 4. Rimnacova, Bohumila (Czech.) 9.650 9.700 19.350 5. Zuchold, Erika (E. Germany) 9.525 9.800 19.325 6. Sklenickova, Miroslava (Czech.) 9.550 8.650 18.200 (C&O Avg.-Compulsory and Optional score average going into finals)

·23·

Kuchinskaya

-24-

Petrik

WOMEN'S FLOOR EXERCISE - INDIVIDUAL FINALS

Place - Name - Country C&O Avg. Finals Total 1. Petrie, Larissa (USSR) 9.775 9.900 19.675 1. Caslavska, Vera (Czech.!' 9.775 9.900 19.675 3. Kuehinskaya, Naralia (USSR) 9.800 9.850 19.650 4. Vororiina, Zinaida (USSR) 9.700 9.850 19.550 5. Karaseva, Olga (USSR) 9.575 9.750 19.325 5. Rimnaeova, Bohumila (Czech.) 9.575 9.750 19.325 (C&O Avg.-Compulsory and Optional score average going into finals) .

·25·

Reaction to the Demonstration Presented Jointly by the Dance Division and

The International Relations Council of AAHPER KIEL AUDITORUM - MARCH 31, 1968

AAHPER CONVENTION IN ST LOUIS

Reactor - A. Bruce Frederick, Dept. of Physical Education Wisconsin State University at Superior

Interesting contrasts and similarities marked the perform­ances of three groups in a specia l program at the St. Louis Convention of AAHPER this year. Finnish rhythmic gymnasti cs, com~etltlve floor exercise for women and modern dance pres­entations were to be followed by observations from a panel of reactors including this writer. Time ran out and the second phase of the program was necessarily deleted. This writer rion­the-less enjoyed and looked forward to the opportunity to react.. He is therefore presenting this abstract of his views .

Since the program was rather unique and because it did evoke a wide response from attendees who were contacted later, it is the writer's hope that reactions from all of the panel might be extracted for contrast and published at some later date.

All of the performances were of high qual ity representing the best available display of t alent In each area. The Finnish group consisted of teachers who in their homeland teach others the fundamentals of rhythmic gymnastics. The competitive group of thrE7e girls from Southern Illinois University (S_I.U .) had the prevIous evening won national recognition as the In­tercollegiate Women's Gymnastic Championship team. The modern dance group was under the direction of Paul Chambers of the University of Missouri at Kansas City. Mr. Chambers is Dance Chairman of MAHPER and was assisted by Mr. Cliff Wirwan who is Chairman-Elect of MAHPER. One must be initi ­ally impressed by the male leadership in Missouri in dance.

The remarks which follow are generally in accord with the order of events of this unique program. There is no attempt therefore to place the performances in rank order of prefer­ence but merely to comment on aspects of the presentations which stimulated thought before and after. There were many surprises.

After a brief introduction the Finnish girls appeared in a locomotor sequence accompanied by Inkeri Simola who also com~osed the mu~ic. It should be notE7d that both in Europe and In Scandanavla the gym nastic training of the young in ­cl.udes techniques of runnin g and other forms of locomotion With ~uslc~ 1 accompaniment. A pianist might eas ily find a career In thiS field In those countries while in the United States for exa mple only a mere handful of pianists have been trained to accompany gymnastic exercises.

I?.uring the performance we overheard a significant remark by Lllsa Orko who i~ Vice Pres!de~t of the International League of Modern Gymnastics. She said , In reference to the music and the exercises, " They are born together." The competitive group from S.I.U. and the modern dancers used variations of well established themes such as "Dr. Zhivago" and "Exodus" dur­ing their performances .

. The Finnish gi rls showed excellent carriage and amplitude while they moved In a variety of ways. Lightness was especi ­ally apparent in their handling of one pound clubs. They were

-26-

so well handled that one could easily imagine that the clubs were constructed of light plastic material. Althou gh individual members of the Finnish group were not featured, they pre­sented a number of group exercises very similar t o a new com­petitive form known as Gym nastics Modern .

At lea.st two things. identified the Finnish girls as primarily a rhythmiC group. Their leotards had a zipper down the back. Such a un!form is not worn by those gymnasts who expect to roll o~ their back~ or perform on apparatus. Secondl y, the girls occasionally stabllzed landings from leaps and jumps with the ir finger tips but not once did any of the girls support their weight with the hands alone. An earlier tour by students of the U.ni,:,ersity of Helsinki under the direction of Elna Koppinen was Similar but less difficult than the St. Louis performance. Both grou ps (University of Helsinki and S.N. L.L. - The Finnish Women 's Ph ys ical Education Assoc.) had presented their work at th e Gymnaestrada in Vienna several years ago.

The use of a disc in one of t he segments of the Finnish p~rformance ~ad not .been seen by this writer in the past. The diSC: was Similar In size and shape to ones often depicted in conjunction With the ancient OlympIC games_ Hoop exercises were last on the program and they were well done. It should be noted that hoop exercises are considered to be the most difficult of all rhythmic gym nastic forms due to the space re­quirements and difficult adjustments of the body to accom­modate a variety of movements. . To s~me observers . the ball work was a disappointment

since a SIX Inch rather than an eight inch ball was used. It is much easier to control the former and it was assumed that the experience of this fine group would dictate that they use the larger variety in order to show absolute control.

. Three gi rls from Southern Illinois University followed the Finnish performance. There were examples of competitive floor exercises and a running narration was given by Mr. Herb Vogel who coaches the girls. Unfortunately, the girls had to perform their routines without live piano accompaniment. They

used taped music and found that their work was further com­plicated by a rough splintery surface and they had to modify their directions somewhat occasionally slipping out of har­mony with their music.

The audience saw an immediate contrast in gymnastic form since the S.I.U . girl s used acrobatics and tumbling throughout their routines and one could definitely note the influence of the Czech style as one of the girls did three butterflys in a row during her routine and finished in a low pose on the knees with the back bending close to the floor reminding one immediately of the Czech Champion Vera Caslavska.

Following each of the routines, Mr. Vogel had the girls demonstrate selected parts in order to emphasize differences between rhythmic and competitive gymnastic work. He may have oversold the idea that acrobatics and tumbling were truly gymnastic difficulties when he said, "Now let's look at some real gymnastics," in referring to the tumbling sequence that was to follow.

The use of make-up is another interesting point to ponder. The objective of natural health and robustness emphasized by the Finns is re·emphasized by their judicious use of make·up. Make·up serves to dramatize and provide illusion for modern dance. Both extremes we re noted as one observed the S.I.U. girls . The first performer had too much make·up which de­tracted from her performance in the writer's opinion. The sec­ond girl , Joanne Hashimoto , wore no apparent make·up while the third girl was a blend in terms of the other two. I believe this topic needs to be further explored by those who are con­cerned. What are the proper limits of make-up? How does make-up affect the "sell" of a particular form of movement. What about hair styles?

Mr. Vogel made use of a technique known as audio-tonal rhythm is working with his girls. At one point he asked the audience to be aware of the sounds of the performance of one of the girls. This kind of association with the specifics of movement is also worthy of further description as well as cer­tain adaptations of video tape in combination with techniques of audio-tonal rhythm.

Having viewed the S.I.U. group, one wonders how their training and general attitude might be modified if they had been trained by a woman. Male leadership in the field of com­petitive gymnastics for women is subsiding as more and more competent women are entering the competitive f ield . To this writer, at least, it was evident that the girls were trained by a man. Discussion of the pros and cons of this subject would make for a very interesting session in the future.

The modern dance group presented the widest variety of numbers from that field under the direction of Paul Chambers and Cliff Kirwan of the University of Missouri at Kansas City.

The technique demonstration of the modern dance group was especially good in the opinion of the writer who was sur­prised by the extent to which a modern dancer might engage in pure exercise forms. At t imes tne technique exercises were reminiscent of Danish gymnastics. The exercises were exe­cuted with precision and verve building from movements very close to the floor to leaps and jumps. The beat of the drums during this portion of the modern dance program produced an excellent rhythmical quality although when compared with the type of work exhibited by the Finns one might be tempted to say that it was more bound. The Finnish girls seemed to be moving out from an imaginary center from within themselves but this was not particularly an overall impression one could obtain from observing the dancers. In the latter one could find more discipline and less freedom.

The unique portion of the modern dance program was the effort of the performers who dramatized certain comical and emotionally appealing themes. "Kix are for Kids" and " Infla­tion" were examples of the former while the impression of the struggle of a free society combating social and political evils was performed to the theme of " Exodus" as an example of an emotionally toned modern dance.

Especially appealing to the writer was a number entitled, "contrasts." Two girls presented this number which repre­sented a very advanced form of educational gymnastics (Eng­lish movement) in which or'ie performer moves in contrast to another. Low contrasts with high; fast with slow; heavy with light, etc.

The writer cannot end his commentary without recalling, as he did that evening, the television '· special" entitled '·A Man Who Dances." The story of Edward Villella was the sub­ject of this excellent program. It did much to explain the

masculine role in the field of dance. Having seen Villella in action and understanding something about his long hours of preparation in connection with his interpretation of " Rubies " left one with the feeling that in all athletics there is no train· ing regime which can quite compare with it.

The modern dance group came closest to the silent inter­pretation of men in dance. If the program were to be repeated, it would be especially useful from the writer's point of view to contrast masculine dance forms with modern competitive gymnastics for men. A program sponsored jointly by the Dance Division and the Division of Men's Athletics would probably have great appeal.

In the final analysis, all of the presentations we viewed in St. Louis were movement forms. In this sense they all might be placed correctly in a movement model which needs to be evolved jointly by interested professionals who are not afraid to cross interdisciplinary lines. It would be quite a shame for the battle of the systems to occur onc.e again championed by modern exponents in any or all of the above mentioned and significant areas. The writer would especially like to see this movement model evolve in order that the field of physical education can extract the best of each area to uniquely affect the lives of all boys and girls who participate in our programs. Perhaps we should unite around the more important theme of teaching movement to all children rather than taking refuge and pleasure in thoughtless designations such as "movement person," " dance person," "gym nastic person" and the like. If we are all physical educators then we will develop our cur· ricula in such a way that important experiences in dance, gym­nastics and movement will be taught to all children.

If we are all teachers we will not fall victim to the fea rs of one of the panelists who whispered to a male colleague whom she thought to have negative reactions to the Finnish performers. "Don't knock it!" she declared. Let us rather " rap" together and combine our talents as was so ably done in St. Louis.

HIGHLIGHTS ANNOUNCED FOR AAHPER 1969 CONVENTION

AAHPER convention highlights at Boston will be a performance by the Springfield College gymnastics team and a concert by members of the Boston Pops Orchestra. Headliners among the speakers are Pa u.l Dudley White, well known cardiologist; Scott Carpenter, astronaut; A. Donald Bourgeois of the Urban Coalition; and Ethel AI ­penfels, New York University.

A detailed Convention program will appear in the February Journal of Health - Physical Education - Recre· ation. Convention dates are April 11-15, 1969.

Canadian Champion

SANDY HARTLEY 1968 NAT'L WOMEN'S CHAMP

BALANCE BEAM

Valdez Mount, slide to splits, hand under leg, turn to scale, kick run split leap, jump to knee pose, front attitude pose, body wave, skip step front walkover, quick scale, turn to jump on toes, arm wave backwards, double stag leap, develope, arabasque on tge, hop to point front and back kick back walk­over, arm flourish to back t insiea, bent knee pose into turn, dive into stag handstand forward roll, straddle legs, lever into bent arm cartwheel to one knee, knee spin to handstand on end of beam, straddle legs, chest roll down, back roll to 2 feet, turning body wave, lunge to leg circle, step bo~y wave, jump to face sideways, lunge, % turn, body wave pose, step aerial roundoff off side of beam_ VAULT

Yamashita _ UNEVEN BARS

Squat vault over LB, shoot out % turn hip circle eagle, stand on LB, fall forward into front sole circle into seat circle cut catch TB, drop kip to LB, Kip catch kip to HB, squat over HB drop to crotch circle on LB, % turn jump to squat, front straddle sole circle to back stoop sole circle on LB, shoot out 1/2 turn g lide kip catch kip up HB, hecht off HB_

400 ft. Super 8 Color film of the

III MODERN GYMNASTIC WORLD CHAMPIONSHIPS available

Your editors took over 800 feet of the action at the III World Modern Gymnastic Championships in Super 8 Color and have edited it down to a 400 ft. reel. The film is a cross section of the competition from Rope, Hoop, Free Floor and Team routines.

This film contains some full routines and parts of others to give y.ou as a teacher a visual record of:, the indidvidual movements and patterns of Modern Gymnas­tics. (and the price is just $35.00 for the 400 ft. ·reel).

Write to: III Modern Gymnastic Film, Box 777, Santa Monica, California 90406.

-28-

~/en : C orner By Helen Sjursen

LET'S BRING OUT THE TALENT OF SECOND GRADERS

So many physical education teachers suppress the talents of lower elementary students. I am a great believer of "gym­nastics being the best sport for all-around physical fitness and hope that more and more schools will include it in their physi­cal education program . The following are just two of the skills my second graders at Hartridge School in Plainfield, N.J. are doing. The Smile on the faces of the students beaming with excitement over the execution of a skill she never thought she could possibly attempt is worth all the tea in China. Note -students do all the spotting. Bring out the -talents of your young potential gymnasts.

Fig. 1

Fig. 1.

Fig. 2 .

Fig. 3 .

Fig. 4

Fig. 6.

11 BACK BEND FOR 2ND GRADERS

Fig. 2 Fig. 3 Fig. 4 Fig. 5 Fig. 6

Performer stands with arms up as spotters stand on either side of the performer, facin g each other. Spot­ters hold hands tight (or hold wrists) in back of the performer. Spotters hands should be at the same level of the performer's waistline. Performer first stands tall , stretches arms upward , arms parallel to each other and stay that way, and looks up (chin away from chest) feet apart. Next she should arch back as far as possible shifting thighs forward and keepin g the legs straight keeping head back (chin away from chest) .

& 5. When she has arched as far back as she can, in balance, then she can start to bend her knees and lower her hands to the floor. Her arms should be kept straight when hands contact the floor to prevent her head from contacting the floor. The spotters arms are under the small of the back of the performer and they also help to prevent a collapse by keepin g the back from lowering any more than it would normally be when in the back bend (high bridge) position. Spotters should be alerted NOT to have thei r arms under the buttocks or thighs as the performer arches back. To stand, the performer should first move her thighs forward to transfer her body weight over her legs, and then straighten her legs, and then straighten the tor­so. The head should be held. back (chin away .from chest) until the standing posit ion has been rea ched . Th e spotters can help raise the performer to a stand­ing position by lifting up with locked arms.

BACK LIMBER FOR 2ND GRADERS

Refe r to back bend to arrive at th e high bridge position .

~j ~T ~l? J Fig. 1 Fig. 2 Fig. 3 Fig. 4

Fig. 1 & 2. As soon as the performer' s hands tou ch the floor, the spotters, ho lding hands t ight , places one arm under small of back and th e other arm under buttocks or high thigh of performer. Spotters raise legs up to th e inverted position only (handstand positi on) watching that the shoulders of the performer are over the hands.

Spotters should not "lift and throw" performer's feet for landing. The performer must be told to keep her arms straight and NOT to move her hands, and as she reaches the handstand position, she must " tuck" and let her feet drop to the floor close to her hands.

Fig. 3. You might explain what is meant by a "tuck" (bend· ing at the hips and knees). The tucking prevents a crash landing to the knees or toes . You could also tell them that when they come out of the handstand position , their feet should land close to their hands. This automatically forces a tuck position resulting in a lighter, controlled landing. Telling them to land on the " balls of their feet" will help prevent landing on the knees.

Fig. 4. Finish by standing tall , arms up in " V" position.

FRONT LIMBERS FOR 2ND GRADERS

STEP 1 - To loosen back

Fig. 1.

Fig. 2.

Fig. 1 Fig. 2

Lay on your back, knees bent, feet flat on floor close to buttocks, hands on floor by shoulders. Push up to the high bridge position . (Remind students that the shoulders should be over the hands, or, their arms represent two telephone poles standing straight up. Remind them, too, that their feet should remain flat on the floor.) For further development of the back arch, the students can try to straighten their legs while in the high bridge, without moving their feet or hands. Feet should be about 12-14 inches apart.

STEP II - Preparation for kicking to the inverted position (handstand)

Fig_ 1 Fig. 2 Fig. 3

Fig. 1. Start in a lunge position, hands flat on the floor shoul­der width apart, back leg should be straight, tense, toes pointed with foot barely touching the floor.

Fig. 2_ RAISE rear leg up at the same time straightening the the front leg_ Return raised leg to floor and repeat sev­eral times in succession. (Straightening the front leg to its fullest is important since this action helps to raise the hips to a high position. While the students are practicing this leg action in slow motion, stress the fact that the rear leg must always remain straig/lt, the front leg must straighten to its fullest, and the arms must be kept straight. The students should de­velop the habit of straightening the front leg all the way before raising this leg to the handstand position.)

STEP III Learning to raise the front leg to join the rear (Kicking to a % handstand position)

Fig_ 1 Fig. 2

Repeat the leg action as in Step II , but rather than raise the rear leg, SWING it up and straighten the bent leg faster (a small spring from this leg). Fig. 1, Immediately raise this leg to join the rear leg arriving at a % handstand as in figure. 2, ARMS MUST BE KEPT STRAIGHT, HANDS MUST NOT MOVE. On returning the feet to the floor, the students should be told to make their feet land close to their hands. This will automatically force them to take a tuck position resulting in a lighter, controlled landing from the % handstand. Now the students are ready to try the front limber using spotters. The students themselves can do the spotting and can do a very good job_

-29-

STEP IV The front limber using two student spotters

Fig. 1 Fig. 2 Fig_ 3 Fig. 4 Fig. 5

Fig. 1. The performer gets into the lunge position and focuses her eyes on a spot on the floor ahead of her hands and looks there as long as possible when attempting the limber. Two spotters-Spotters stand on each side of the per­former facing each other. Each grasps the other's wrist (wrist of arm closest to the head side of the performer), bends knees slightly and places grasped arms close to high back of performer.

Fig. 2-3_ As the prformer kicks her legs upward, (kick should be harder than in prep) spotters place the fre hand (hand closest to side of legs of performer) under thighs and help raise the legs of the performer to the in­verted position if necessary. Once the performer reaches the handstand position, spotters should take their hands off the thighs and grip the upper arm of the performer. At this point, the spotters must be sure the locked arms are under the small of the back (at the waistline or slightly above the waistline towards the high back of the performer) . The locked arms of be harder than in prep) spotters place the free hand the spotters should never be under the buttocks or thighs of the performer as this would make the per­former top heavy when lowering her legs to the bridge position and harder for the spotters to help raise the performer to her feet_

Fig. 4-5. As the performer arches her back, she should look up (chin away from the chest) as the feet lower to the floor to arrive at the high bridge position . The spotters should assist in helping the performer maintain the arch through the use of the locked arms. As soon as the performers feet touch the floor to arrive at the high bridge, the spotters should lift the upper body by pull ­ing upward and forward with the hand grip on upper arm to help the performer arrive at a standing position _

Students can work in sets of threes rotating turns to exe­'cute the front limber. When they are trying the spotting for the first time, check them over to see that they have the correct arms locked before the performer starts the move. Soon the spotters will know exactly what they have to do. Don't underestimate the talent of 2nd graders.

GIRLS GYMNASTIC WORKBOOK FOR PHYSICAL EDUCATORS By: Helen Schifano Sjursen

This book is written for the elementary and secondary schools for beginners and intermediates. It covers floor exercises, vaulting, uneven bars, ba lance beam and tumbling. The contents include preparatory exer­cises to condition the body for gymnastic skills, contains individual skills and routines (3 floor exercise routines set to musical selections), how to increase "pre-flight" in vaUlting insuring the gymnast's safety and confidence while the spotters perfect their spotting techniques, how you can immediately start squad competitions scoring either in­dividual skills or routines using the simple system of scoring that can make a judge of anyone within minutes. "Motivating interest" and the "incentive to learn" is definitely promoted through competitions whether it be through class competitions or otherwise. Through these squad competitions , you will be able to see the quality of execution of skills, by your students, greatly improve when guided by this workbook. This book is illustrated and may be ordered from Hoctor Records, Waldick, N.J. for $5.00.

Children attending elementary schools having a gymnastic program are most fortunate since they are starting early in life participating in one of the best sports for all-around physical fitness . They are toning up their muscles "while they are growing" developing strong, healthy, shapely bodies plus coordination, grace, sureness, flexibility, control of balance, confidence, endurance and self satisfaction of achievements. As quoted by Helen Sjursen, former National All-around Gymnastics Cham­pion and Olympian bronze medal winner, she regards gymastics as the "Doorway to all-around physical fitness and a must for all students". Get your students involved in gymnastics starting from the elementary schools on up.

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The top routines of the In­dividual event Championships from the 1968 Olympic Games in Mexico City. ORDER FROM :

USGF Women's Olympic Film P.O. Box 771 Santa Monica, Ca. 90406

THE UNITED STATES GYMNASTICS FEDERATION

GYMNASTICS MATERIALS LIST -1969 Age Group Gymnastics Workbook. 1968 Edition. Includes all the basIc routines for boys and girls at various age levels, in­cluding stick figures and assigned values for each port of the routine. Excel lent guide f or classroom teaching as well as age-group competitive prog rams. Ages 6-18 years. Trampol ine included in the 1968 Editi on. 94 Pages. $3.00. F.I.G. Code of Points ... For Men. 196 pages of the international rules for men. The most important book in any gymnasts I ibrary. An absolute must for every teach­er coach and official. All the A-B-C ports with illustrations and the latest rules for every event f or men. The "offic ial FIG rules" in English. $3.50 each. "Interpretations of International Rules for Wamen". .......... Based on the official F.I.G. Code of Points for women. All the inter­national rules . This booklet contains the difficulty ratings for each event as we ll as the rules governing international gymnas­tics events for women. Translated by the USGF Women's Technical Commitee. 50 Pages. $2.00. U.S.G.F. News Service . . . subscription service. Mailings to those carried on the USGF News Service moiling list contain all the latest news on Notional and I nterna­tional Gymnastics. Mailings are mode whenever news deserves attention. Six to twelve mailing per year or more ~s events dictate. Send nome, address, ZIp. $2 .00

'Ne~ti~~~; ' Compulsory Routines for Girls ... a joint project between the U.S.G.F. and the Division of Girls and Women's Sports of AAHPER .. . this booklet contains all the routines now being used in the DGWS Guide and the music and floor diagrams as well. Also includes trampoline and tumbling routines. 50 cents per copy. U.S.G.F. Promotional Items. Special print­ing of Posters (1 1 inches by 17 inches) with mole or female gymnast thereon. Your home meet schedule or special not­ices . .. write f o r prices . Minimum order is 100 posters. May be ordered with just figure and word "Gymnastics lf

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U.S.G.F. Bumper Stickers ... in bright, re­flective papers . . . Red on block or block on red . Word IIgymnostics" in big letters and your school name or meet information carried above and below. Usable as bump­er stickers or wall posters. Guide for Competitions ... published in 1965. 25 pages of instructions on how to run a competitive gymnastics meet, in­cluding what he announcer should soy. De­signed to help the meet director . . forms, checklists, all included. $1.00 each.

Order From: THE UNITED STATES

GYMNASTICS FEDERATION P.O. Box 4699, Tucson, Arizona 85717 USA (602) 622-3865 Make checks to U.S.G.F.

LffiERS SATISFIED, .. BUT ...

The Editor, Mademoiselle Gymnast

Dear Madam, From a satisfied subscriber, best wishes and thanks for

a most interesting magazine. Naturally your national competi· tion res ults are of little interest to us In N.Z. but the reo mainder of the magazine is most va luable for anyone engaged as I am in coaching and judging women's gymnastics. .

May I make one suggestion. Your book review column IS most useful in keeping me in touch with recent books In the field of gymnastics, but may I make the follOWing requests. Could the title of the book be given accurately - In the Mar.· Apr. issue, two books by Helen Sjursen were revielVed. lor· dered these, quoting the title given, only to discover that the books I received were not those reviewed. Secondly, could the name of the publisher be given, as our local bookshops can have some difficulty on obtaining a book where this informat ion is not given. Finally, to have my nervous system when the book arrives, could you kindly quote the U.S. price?

One other matter in which you might be able to assist me. I would appreciate a correspondent in the states lVith whom I could exchange news and gossip of gymnastic matters .

I am a teacher, junior high school area, involved in coach· ing at all levels from beginners to IVhat would be about your intermediate or low advanced level. My judging experience to date is at district and national levels with all grades up to the equivalent of your elite level.

My thanks for any assistance you can give me, and my best wishes to you and for the continued success of your most we lcome magazine.

Dear Sirs,

remain, Yours sincerely.

GYM PROGRAM

Stanley H. Wooding 24 Campbell st. Geraldine, New Zealand

Following is a resume of our gymnastics organization. The Burnsville Gymnastics Activities Association IS a non·

profit, incorporated organization. It is composed of parents of children in Burnsville·Savage School District # 191 who are interested in gymnastics. It was organized in January 1967 and started the first session with seventy·five children and two coaches. The Fall session of this year we irgsterd one hun· dred and fifty children.

The B.G.A.A. rents the gymnastic equipment and gymnasium from the School District. The facilities are used three hours a day, five days a week. There are four eight week sessions during the school year and one or two sessIOns In the sum· mer. The children get a minimum of two hours of gymnastic lessons, pne hour of dance and one hour to Vlork on equip· ment on their OVln, each week.

Last season, 1967-68, Vias our first competitive season and we took girls to meets in Milwaukee, Wisc., Chicago, III.. Northfield, Minn., Dallas, Tex., Des Moines, la., and Nashvine, Tenn . We also sponsored three meets pf our own.

This season we are again sponsoring three meets. The dates of our meets are, February 1, 1969 (Minnesota Openl, March 15, 1969, and an All-around Meet on April 5, 1969.

For information of the meets or clinics please contac!' 10823 - 27th Ave., Burnsville, Minn. 55378 Mrs. Richard Dennison

Meet Director, B.G.A.A. Sincerely, Jean Dennison

1969 YMCA NATIONALS The 1969 Notional YMCA Gymnastic

Championships are t o be hosted by the N ew Orleans YMCA on April 11 , 12, 1969.

The compulsory exercises f or both men and women are now available from :

W. P. Wortman Physical Director-YMCA 936 St. Charles Avenue New Orleans, Louisiana 70 130

OREGON HIGH SCHOOL GYMNASTIC RULES

The Oregon Gymnastics Association .re­cently pub lished their off ic ial 1969 High School Gymnastics Rule Book f or both boys and girls. If you do not have a Gymnastic rule book f or your state or area this guide could be of help to you. Send $1.00 t o:

Official Gymnastics Rules Chuck Messenger, Executi ve Sec. Oregon Gymnastics Association 1195 W. 17th Avenue Eugene, Oregon 97402

SEND FOR FREE COMPLETE

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