Physical Education (first quarter)

1. Gymnastics
BRENDA E. CACHERO
KAYPIAN NATIONAL HIGH SCHOOL

2. Etymology
• The word gymnastics derives from the common Greek
adjective “gymnos” meaning "naked", by way of the related
verb “gymnazo”, whose meaning is "to train naked”.
• The verb had this meaning, because athletes in ancient
times exercised and competed without clothing. It came
into use in the 1570s, from Latin gymnasticus, from Greek
gynmastikos "fond of or skilled in bodily exercise," from
gymnazein "to exercise or train"

3. • In 1569, Girolamo Mercuriale from Forlì (Italy)
wrote Le Arte Gymnastica, which brought
together his study of the attitudes of the
ancients toward diet, exercise and hygiene,
and the use of natural methods for the cure of
disease. Le Arte Gymnastica also explained the
principles of physical therapy and is
considered the first book on sports medicine.
History of Gymnastics

5. • In the late 18th and early 19th century :
- Johann Friedrich GutsMuths and Friedrich
Ludwig Jahn – created exercises for boys and
young men on apparatus they had designed
that ultimately led to what is considered
modern gymnastics. - Don Francisco Amorós y
Ondeano – troduce educative gymnastic in
France. Jahn promoted the use of parallel bars,
rings and high bar in international competition.
History of Gymnastics

7. • 1881 - The Federation of International
Gymnastics (FIG) was founded in Liege. By
the end of the nineteenth century, men's
gymnastics competition was popular
enough to be included in the first
"modern" Olympic Games in 1896.
History of Gymnastics

8. • The Fédération Internationale de
Gymnastique (FIG) or International
Federation of Gymnastics (IFG) is the
governing body of competitive gymnastics.
Its headquarters is in Lausanne, Switzerland.
It was founded on July 23, 1881 in Liège,
Belgium, making it the worlds oldest existing
international sport organisation.
Originally called the European Federation of Gymnastics, it had three member
countries – Belgium, France and the Netherlands – until 1921, when non-
European countries were admitted, and it was renamed to its current name.

9. • From then on until the early 1950s, both
national and international competitions
involved a changing variety of exercises
gathered under the rubric, gymnastics, that
would seem strange to today's audiences
and that included for example,
synchronized team floor calisthenics, rope
climbing, high jumping, running, and
horizontal ladder
History of Gymnastics

10. • During the 1920s, women organized and
participated in gymnastics events. The first
women's Olympic competition was
primitive, only involving synchronized
calisthenics and track and field. These
games were held in 1928, in Amsterdam
History of Gymnastics

11. • By 1954, Olympic Games apparatus and events
for both men and women had been
standardized in modern format, and uniform
grading structures (including a point system
from 1 to 15) had been agreed upon.
- Nadia Comăneci received the first perfect score, at the
1976 Summer Olympics held in Montreal, Canada. She was
coached in Romania by coach, (Hungarian ethnicity), Béla
Károlyi.
History of Gymnastics

13. • In 2006, a new points system for Artistic gymnastics
was put into play. With an A Score (or D score) being
the difficulty score, which as of 2009 is based on the
top 8 high scoring elements in a routine (excluding
Vault). The B Score (or E Score), is the score for
execution, and is given for how well the skills are
performed
History of Gymnastics

14. Equipments for
Gymnatics

15. Still rings - Two parallel rings 50cm apart,
suspended from a cable and straps and held, one in
each hand, for a series of exercises in men's artistic
gymnastics particularly requiring stillness of the
body; also called the "rings".

16. Uneven bars - An apparatus in women's artistic
gymnastics with a top bar 2.4m above the floor and
a lower bar 1.6m high, used for a continuous series
of grip changes, releases, new grasps and other
complex moves.

17. High bar - A bar standing 2.75 metres high, used in
men's artistic gymnastics; also called the
"horizontal bar".

18. Parallel bars (Artistic) - An apparatus consisting of
two wooden rails on uprights, adjustable in height
and used for swinging, vaulting and balancing
exercises in men's artistic gymnastics.

19. Pommel horse - A solid apparatus 115 centimetres
high with two handles, or pommels, on top that
men in artistic gymnastics use for a series of
manoeuvres defined by complex hand placements
and body positions while holding themselves above
the apparatus.

20. Plane - An imaginary surface where moves are
performed, i.e. lateral, frontal, horizontal or diagonal.
Diagonal plane - An imaginary surface at less than a
90-degree angle to the floor, where moves are
performed.
Horizontal plane - An imaginary surface, level with
the ground, where moves are performed.
Lateral plane - An imaginary surface to the side of,
and parallel to, the body, where moves are
performed.
Safety platform - A large, thick mat that sits on the
floor at each end of the trampoline to cushion the
impact if anyone falls from the apparatus.

21. Vault - A solid apparatus similar to the pommel
horse, but lacking handles, and used in men's and
women's artistic gymnastics for a variety of
handsprings from a running approach.

22. Beatboard - The springboard used in the men's and
women's vault.

23. Ball - It is made of either rubber or synthetic material
(pliable plastic) provided it possesses the same
elasticity as rubber. It is from 18 to 20 cm in diameter
and must have a minimum weight of 400g. The ball
can be of any colour and should rest in the gymnast's
hand, not the wrist.

24. Hoop - A hoop is an apparatus in rhythmic
gymnastics and may be made of plastic or wood,
provided that it retains its shape during the routine.
The interior diameter is from 51 to 90 cm, and the
hoop must weigh a minimum of 300g.

25. Ribbon - It is made of satin or another similar material
cloth of any colour and may be multi-coloured as well as
have designs on it. The ribbon itself must be at least 35g (1
oz), 4–6 cm (1.6–2.4") in width and for senior category a
minimum length of 6m (20') (5m (16.25') for juniors).
It is made of satin or another similar material cloth of any colour and may be multi-coloured as well as have designs on it. The ribbon itself must be at least 35g (1 oz), 4–6 cm (1.6–2.4") in width and for senior catego

26. Clubs - The club is built along an internal rod, providing a
base on which a handle made of polyolefin plastic is
wrapped, providing an airspace between it and the internal
rod. This airspace provides flex, cushioning impact, making
the club softer on the hands. Foam ends and knobs further
cushion the club.
It is made of satin or another similar material cloth of any colour and may be multi-coloured as well as have designs on it. The ribbon itself must be at least 35g (1 oz), 4–6 cm (1.6–2.4") in width and for senior catego

27. Clubs - The club is built along an internal rod, providing a
base on which a handle made of polyolefin plastic is
wrapped, providing an airspace between it and the internal
rod. This airspace provides flex, cushioning impact, making
the club softer on the hands. Foam ends and knobs further
cushion the club.

28. Costumes for
Gymnatics

29. Leotards are worn by acrobats, gymnasts,
dancers, figure skaters, athletes, actors, and
circus performers both as practice garments and
performance costumes.
A leotard is a unisex skin-
tight one-piece garment
that covers the torso but
leaves the legs free. It was
made famous by the French
acrobatic performer Jules
Léotard (1838–1870).

30. They are often worn together with ballet
skirts on top and tights or sometimes
bike shorts as underwear. There are
sleeveless, short-sleeved and long-
sleeved leotards. A variation is the
unitard, which also covers the legs. As a
casual garment, a leotard can be worn
with a belt, it can also more commonly
worn under overalls or short skirts.

33. The sole is made of soft, composite rubber so as to
provide both high traction and cushioning, and it
provides excellent protection from skin abrasion as it
covers the entire bottom of the foot.
Acro shoes - They are typically laceless,
slip-on shoes, with tight-fitting leather
uppers that are designed to prevent
the dancer's feet from shifting inside
the shoes. Because of their thin, pliable
leather uppers and split soles, acro
shoes have excellent flexibility, thus
enabling dancers to attain both good
dance form and acrobatic control.

35. Flesh colored foot thongs endow the wearer with the
appearance of having bare feet, while retaining some
degree of the traction, cushioning, and abrasion
protection provided by acro shoes.
Foot thongs - which are
slip-on, partial foot
covers that protect only
the ball of the foot—are
sometimes preferred
over acro shoes for
aesthetic reasons.

37. Strength &
Conditioning for
Gymnatics

38. Arch-ups are the exact
opposite of hollow body.
Lie on your stomach with
your arms above your
head and your legs
straight. Lift your arms
and legs so that your
stomach is the only part of
your body still on the
floor. Lower to the ground
and repeat.

39. Push-ups are the simplest way to work your triceps,
shoulders, and pectorals. A good push-up requires a
straight or hollow core, with the back flat and shoulders
over your hands — the precise position that you’ll need for
great casts on bars and swings on pommel horse.

40. V-ups - Lie flat on the floor
with your arms and legs
extended, and then
simultaneously lift your
arms and legs, touching
your toes over the
midsection of your body to
form a “v.” At the height of
the v-up, you should be
balanced on your lower
back. Extend back to the
floor, and repeat.

41. Sit Ups - Lie down on the floor on your back with your
knees bent or straight, and someone or something
holding your legs or not. Sit up to an upright position.

42. Basic Skills in
Gymnatics

43. • Split - The split “shape” is everywhere in
gymnastics—split leaps, jumps, switch leaps, in the
middle of backwalkovers, etc. The better you can do
your splits on the ground, the better you will be able
to do them in the middle of a skill. You should be
able to do a split on your left leg, your right leg and
a middle split with your legs straight and all the way
to the ground.

45. • Cast - Casting is the most basic bar element and
learning how to cast well early on will help you learn
so many other skills. Body position in the cast is a
hollow body shape. The hollow body shape is
similar to the shape you have in a perfect handstand
other than your back is slightly rounded with your
stomach pulled towards your spine. You will
eventually be casting to handstand so the higher
you can cast with a nice tight body position the
better. You want your legs to be together and
straight, your stomach pulled in, your back rounded
and your eyes looking at the bar.

47. Tap swings on bars, along with casts,
are a building block of bar routines in
all gymnastics levels. A tap swing is a
swing on bars, but at the back of the
swing you should “regrip”. This means
you should come off the bar briefly
and re grab. At the back of the bar
your body should be in a hollow
position, underneath the bar you
should move to a slight arch position
as you “tap” your feet higher in the
front of the bar. This just means that
your feet will come forwards to create
a slight hollow in your body again.

48. • A roundoff is just as important as a backhandspring
to master for tumbling on floor. The roundoff gives
power just like the backhandspring does to the
tumbling pass.

49. The split leap is another
skill that is required in
every floor and beam
routine levels 4-10. To have
a perfect split leap you
want to be able to do your
perfect split position in the
air as high as you can off
the ground. You want your
split to be even also–both
legs should be the same
distance from the ground.

50. A handstand is the act of
supporting the body in a
stable, inverted vertical
position by balancing on
the hands. In a basic
handstand the body is
held straight with arms
and legs fully extended,
with hands spaced
approximately shoulder-
width apart.

51. A cartwheel is a sideways rotary movement of the body. It is
performed by bringing the hands to the floor one at a time
while the body inverts. When both hands are on the floor, the
legs travel over the body and feet return to the floor one at a
time, ending with the performer standing upright.

52. A handspring is an
acrobatic move in which a
person executes a
complete revolution of the
body by lunging headfirst
from an upright position
into a vertical position and
then pushing off from the
floor with the hands so as
to leap back to an upright
position.

53. Safety Rules in
Gymnatics

54. • Overall - Use a spotter when attempting
any new routine or floor technique. This is
especially important for novice gymnasts.
Perform warm-up exercises such as
stretches prior to beginning a routine to
prevent injury. Never attempt a routine or
floor technique that you are not trained
or qualified to do.

55. • Trampoline - Never go under the
trampoline when someone else is using it.
Consistently aim toward the center of the
trampoline when landing. Keep the tarp
of the trampoline free and clear of
anything like clothes, shoes or other
items. Make sure there is a padded safety
zone around the trampoline before using.

56. • Safety Aids - Use wrist straps when
performing bar exercises to prevent injury
and strain on the wrist joints. Wear hand
protectors when performing bar or ring
routines to prevent chafing and burning
of the palms. Use belts with harnesses
when working on ring and bar techniques
to prevent slips and falls.

57. • General Rules of Competition - Gymnasts
are allowed to use bandages or grips on
their hands. Dismounts and final landings
should occur with feet firmly together in a
standing position. Coaching during the
routines is not allowed. Gymnasts are
graded on the skill level of the routine as
well as how well the movements flow.
Points are also awarded or deducted for
appearance, sportsmanship and posture.

58. • General Rules of Gymnastics - Use the
equipment correctly and for its intended
purpose. Wear suitable, fitted clothing
when performing gymnastic routines. Tie
long hair away from the eyes. Be attentive
to your surroundings to avoid colliding
with other gymnasts during routines.
Listen to and follow the coach's directions
closely. Be considerate of fellow gymnasts