TUMBLING DOUBLE BALANCING

Introduction

Instruction in tumbling is considered basic to all work in gymnastics. It should be under­taken rather extensively by all who participate in gymnastics, prior to any apparatus work. From the standpoint of class instruction, tumbling can be conducted efficiently with the entire class; whereas, on the apparatus, instruction must be given more on a squad basis in order to provide reasonable opportunities for participation.

Most students will be reasonably successful in accomplishing the stunts presented in the tumbling section with the exception of the kips, springs, and flips. These stunts require consid­erable aptitude -– they will not be mastered by all students. Spots and assists should be used without fail until the execution of a given stunt is consistent and of acceptable quality.

Recommended Learning Sequence

Tumbling and Doubles Stunts

1. Forward Roll
2. Backward Roll
3. Ankle Lift
4. Pull Partner Over
5. Front Roll Over Partner
6. Kick Partner Over
7. Roll Down Partner's Back
8. Headstand
9. Shoulder Stand on Partner
10. Shoulder Stand on Partner's Knees
11. Head Kip
12. Shoulder Kip
13. Forearm Headstand
14. Tiger Stand
15. Mount to Stand on Partner's Shoulders
16. Low Arm to Arm
17. Handstand
18. Cart Wheel
19. Mount and Roll Down Partner's Chest
20. Assisted Layout Handspring
21. Leg Throw Over
22. Toss Back
23. High Arm to Arm
24. Front Handspring
25. Round Off
26. Front Flip
27. Back Handspring
28. Back Flip

Description of Activities

Stunt (1): FORWARD ROLL PREREQUISITES: None
DESCRIPTION: Simply put the head down and roll straight over to a sitting position. ILLUSTRATION:

MAJOR CUES: Duck the head! Shoulders to the mat! Drag those feet!

TEACHING PROCEDURES: The forward roll is learned best by placing the feet wide apart and the hands on the mat; the hands are placed just inside and in front of the feet. The knees are practically straight and the head down. A position of balance can be maintained at this point. As the pupil begins to execute the roll itself, his head must be ducked, and the arms bent at the elbows (this action, of course, causes the hips to be forced over the head). The head should not touch the mat; contact should be made with the shoulders first. The feet should be kept in contact with the mat as long as possible; thus they tend to drag across the participants face as the roll is executed.

FREQUENT ERRORS: Bending the knees too much, and putting the head in contact with the mat. A third mistake is forcing the feet over the head so that the hips land with force on the mat. Dragging the feet, of course, tends to round the back, and the roll may be executed smoothly.

SAFETY PRECAUTIONS: The participant should be warned to be sure to duck the head so the head will not touch the mat as the roll is executed. Occasionally a little assistance may be given to participants. There are two special precautions which should be observed. Em­phasize the point that the shoulder should be the initial point of contact of the upper torso; secondly, be sure the feet drag across the face, otherwise the feet may be thrown over and occasionally a rough landing will occur.

PROGRESSIONS OR COMBINATIONS: The transfer applications of the forward roll are almost innumerable. It will be used later on the Parallel Bars; and after that in learning front flips on the mats, trampoline, and rings. The movement is basic to all forward rolling stunts.

Advanced Progressions Following the Forward Roll

Once the simple forward roll has been learned, it is desirable to place the hands farther from the feet, the first time about eighteen inches executing the roll in the same manner as dis­cussed above, then gradually placing the hands farther and farther away from the feet. This re­quires the individual to bend the knees and spring by extending the legs vigorously to get enough forward momentum to actually execute the forward roll. This may be continued until the individ­ual is in the regular push-up position, at which time he may execute a push-up, then flex the knees to a full squat position without moving the hands; then by springing and extending the legs duck the head and execute a smooth forward roll. When all participants can execute a forward roll smoothly in this manner it is desirable to begin the progression again from a standing position; that is, stand and place the hands quickly on rhe mat and execute the roll. First the hands should be placed close to the feet and then gradually move them farther and farther away. This will of course lead to learning the dive and roll Since the dive for height and distance do not make any significant contribution to the development of a gymnast, they are therefore not recommended.

Stunt (2): BACKWARD ROLL

PREREQUISITES: Reasonable physical condition and mastery of the forward roil.

DESCRIPTION: From a full squat position roll backwards straight back over the head to the feet. ILLUSTRATION:

MAJOR CUES: First, push away from the mat. Second, be sure to keep the knees close to the shoulders. Third, and very effective, try to stay in a ball.

TEACHING PROCEDURES: There are several ways to learn a backward roll; however, the safest and most effective is described here. Execute a full squat position with the knees out, hands inside the knees in contact with the mat. One should be balanced in this position. While maintaining this position, push backwards and forwards with the hands at the extremes of the point of balance. Practice this movement until a pushaway from the mat can be acquired. In actual execution of the stunt, the individual pushes away from the mat with the hands, al­lows the hips to make contact with the mat first; then keeping shoulders and knees close to­gether and the chin on the chest, the roll is begun. As soon as the hands leave the mat, the hands and arms are placed alongside the head in any position. This will protect the neck. The beginner should not attempt to place the hands so that the palms make contact with the mat as he rolls; however, he may double up his fists. The reason for placing the hands alongside the head is to afford protection for the neck. Students are warned not to throw their heads back as they begin the roll. Likewise, it is a good idea to keep the knees out, since occasionally the knees come in contact with the chin or nose as the roll is completed.

FREQUENT ERRORS: One of the most frequent mistakes, and the most disastrous, is the tend­ency to throw back the head in order to lend speed to the roll. In doing this, of course, the body is made to go erect rather than in a ball, and no roll can be executed.

SAFETY PRECAUTIONS: Keep the hands and arms by the head and keep the knees out.

PROGRESSIONS OR COMBINATIONS: The backward roll, like the forward roll, is basic to any backward motion in which the student might subsequently participate. It is the first back­ward rotation the student experiences, and many more will come -– backward somersault in mid-air on the mat, backward somersault on the trampoline, ankle lift, leg over, toss back, backward roll on the Parallel Bars, and backward roll on the rings. These are but a few of the occasions when backward rotation is utilized.

As proficiency develops, attempt to place the palms on the mat and try an extension of the legs to a momentary handstand; then snap the legs to the mat. Later, the back roll can be done to a headstand and even to a solid handstand.

Stunt (3): ANKLE LIFT (Two man stunt)

PREREQUISITES: A good backward roll.

DESCRIPTION: With assistance in the form of an ankle lift, execute a backward roll from the back to the feet.

ILLUSTRATION:

MAJOR CUES: Kick hard at the thrower's head. Press against the mat. Look at the mat and pull the feet down to it.

TEACHING PROCEDURES: (Top man is the lighter -– bottom man the heavier) With the top man lying on the mat on his back, feet up, legs straight, hands alongside his head touching the mat, the bottom man approaches the legs of the top man and grasps him by the ankles. The bottom man's legs are comfortably apart, one foot slightly in front of the other. Grasping the top man's ankles, the bottom man must be sure that he forces the ankles toward the top man's head so they are directly over his head. The object of the stunt at this point is to elevate the top man by lifting his ankles and throwing them away from the bottom man so he can do a backward roll in the air and land on his feet; thus, timing is essential. Usually the timing is best achieved by having the bottom man count "one, two, three" aloud. The timing is achieved as follows: the bottom man bends his knees slightly and then extends them. When they are extended, the thrower counts "one," and so on. The throw is executed on the count of "three," with the learner kicking hard enough to do the stunt alone.

FREQUENT ERRORS: Not kicking or extending the arms. Not looking for the mat -– thus turn­ing too far or causing an awkward landing.

SAFETY PRECAUTIONS: The best spot is to use one man on each side of the performer, each man grasping the upper arm firmly. Spotters should lift the learner slightly and then hold him at his maximum height to be sure that he has time to get his feet down. Special atten­tion should be devoted to checking the performer in the event he goes too far.

PROGRESSIONS OR COMBINATIONS: This stunt is one of the basic stunts of the backward turn­over type leading to toss backs and back flips. It is very helpful in learning the back roll snap down.

Stunt (4): PULL PARTNER OVER

PREREQUISITES: Backward roll and good physical condition. Partners about equal weight and height.

DESCRIPTION: Partners stand back to back, join hands; one man leans forward and pulls his partner over to his feet.

ILLUSTRATION:

MAJOR CUES: Get under his buttock! Go no lower than 90°!

TEACHING PROCEDURES: Partners stand back to back; reach over head with bent elbows and join hands, any comfortable grip. The bottom man bends his knees and then pulls his partner's arms as he bends forward. When the bottom man's head has descended to the height of his waist, he then waits for the top man to pull his legs over and lands on his feet. Partners should keep their hands joined until the top man has attained good balance.

FREQUENT ERRORS: Failing to get under partner. If the bottom man bends forward too far, the top man may slide off and take a spill.

SAFETY PRECAUTIONS: Warn about bending too far. Spotters should be on each side of the top man grasping his upper arm. Hold your man until he regains his balance.

PROGRESSIONS OR COMBINATIONS: This is one of a series of elementary two man backward rolling stunts that leads to the toss back and assisted back somersault.

From this stunt progress can be made toward the back handspring, if the lifter will grasp the top man by the wrists so he can place the top man's hands on the mats as in a back handspring.

Stunt (5): FRONT ROLL OVER PARTNER

PREREQUISITES: Forward roll.

DESCRIPTION: The top man does a roll kip over the bottom man and lands on his feet. + ILLUSTRATION:

MAJOR CUES: Put your head close to the bottom man's stomach, the mat with the feet. When overbalanced, reach for

TEACHING PROCEDURES: The bottom man lies on his back with knees up and hands and arms up. The top man places his hands on the bottom man's knees, one leg back to throw over­head, the other leg forward to push off with. Bend the arms slightly to allow the head to descend toward the bottom man's belly and at the same time throw the leg overhead and kick off the ground, ducking the head. The bottom man catches the top man high on the back, keeping him high. When the top man's hips are falling on over, the top man should reach hard for the mat, landing on his toes. If done properly, the bottom man's hands make contact at about the time that the top man should reach for the mat with the feet.

FREQUENT ERRORS: Trying to do the stunt without letting the bottom man help. Failure to reach for the floor.

SAFETY PRECAUTIONS: Two spotters should hold the arms above the elbow. Hold on until your man is balanced.

PROGRESSIONS OR COMBINATIONS: This stunt leads to a handspring and the assisted hand­spring from a partner's feet.
Stunt (6): KICK PARTNER OVER

PREREQUISITES: Top man -– a back roll. Bottom man -– enough strength to balance and support the top man.

DESCRIPTION: The top man sits on the bottom man's feet, lies back on the bottom man's hands, and is then kicked on over to his feet.

ILLUSTRATION:

MAJOR CUES: Lie back!! Support shoulders! Look for the mat.

TEACHING PROCEDURES: The bottom man is on his back with his feet and hands up. The top man stands with his heels against the bottom man's buttock and sits on his feet. The bottom man's knees are bent. The up man lies back leaving his feet on the mat. When the bottom man has a secure grip on the top man's shoulders, the top man starts to lift his feet and look for the mat. The bottom man holds his arms in a firm vertical position and straightens his legs as the top man rolls over to alight on the mat.

FREQUENT ERRORS: head.

The bottom man fails to prevent the top man from drifting down toward his

SAFETY PRECAUTIONS: Spotters on each side should grasp the upper arm. Hold on until balance is regained.

PROGRESSIONS OR COMBINATIONS: This is another fundamental stunt involving a backward rotation. It also teaches the importance of timing and combined effort so essential to two-man stunts.

Stunt (7): ROLL DOWN PARTNER'S BACK PREREQUISITES: Backward roll on the mats, and good physical condition.

DESCRIPTION: The bottom man places his head between the top man's legs; the top man lays back and the bottom man lifts. This enables the top man to roll down his back and land on his feet.

ILLUSTRATION:

MAJOR CUES: Hold your partner's shoulders! Look for the mat! Top man leads!

TEACHING PROCEDURES: The top man's back is to the bottom man, legs apart. The bottom man places his head between the top man's legs. The bottom man's legs are bent and his hips low. The top man places his hands on the bottom man's shoulders to provide support when he is upside down. The top man then lies back and looks back. The bottom man waits until the top man's weight is low on his back, then begins to lift and rise to an erect position. The bottom man's hands should be placed so as to catch the top man's shoulders in the event the top man loses his grip. The top man pulls feet over and lands on the mat behind the bottom man.
FREQUENT ERRORS: too soon.

Top man failing to hold the bottom man's shoulders. Bottom man lifting

SAFETY PRECAUTIONS: Two spotters should hold the top man's upper arms. Stay with him until he regains his balance. Warn about holding onto partner's shoulders.

PROGRESSIONS OR COMBINATIONS: This stunt is a relatively safe means of learning backward rotation moves and landing fundamentals. It is a leadup to all backward layout moves.

Stunt (8): THE HEADSTAND

PREREQUISITES: Perhaps the only prerequisite of the headstand is the ability to do a forward roll. This is necessary in the event the student rolls on over.

DESCRIPTION: With balance provided by the hands in contact with the mat, stand inverted on the head.

ILLUSTRATION:

MAJOR CUES: Use a large triangle. Do not put the head between the hands. Straighten the legs so your hips are over the head. Do not push so hard that all the weight leaves the hands. Some weight on the hands is necessary. If the strain is noticeable on the arms, too much weight is on the arms and not enough on the head.

TEACHING PROCEDURES: Start from a kneeling position. The hands should be beside the knees with the knees a comfortable distance apart. Locate a spot in front of the body which serves as the apex of a triangle with its base lying between the hands. The triangle should be equilateral. After marking this spot on the mat, place the head upon it. The knees should then be straightened, thus transferring most of the weight to the head. Next push down on the mat with the hands; raise one foot and leg as high as possible; and, as balance permits, raise the other leg. When both legs are elevated, the hips should be maintained relatively rigid and the back slightly arched. Balance is then maintained between the head and the hands, with most of the weight upon the head; as a matter of fact, only, enough weight is kept upon the hands to maintain balance. If no weight rests on the hands, the individual will fall toward his back.

FREQUENT ERRORS: The weight too far back on the head, thus causing the back to become rounded and balance difficult to maintain. Failure to put the head far enough forward, away from the hands.

SAFETY PRECAUTIONS: Generally speaking, it is best to learn the headstand while employing the buddy system. While one of the students is attempting to do the headstand, his buddy can stand near his head to catch the learner's feet, steady him for a moment, then release him if his balance is sufficiently stable. Stay in close.

PROGRESSIONS OR COMBINATIONS: The headstand is basic to shoulder stands upon a partner, shoulder stands on Parallel Bars. Low arm-to-arm, high arm-to-arm, in double balancing, and it seems to be prerequisite to learning the handstand.

Stunt (9): SHOULDER STAND ON A PARTNER PREREQUISITES: The headstand is essential as a prerequisite for the top man.
DESCRIPTION: With the bottom man on his back, and hands and knees up, the performer main­tains an inverted balance with the shoulders supported by the bottom man's hands, and with the performer's hands on the bottom man's knees for balance.
ILLUSTRATION:

MAJOR CUES: Top man --be sure your arms are straight. Bottom man -– keep your knees steady and your arms straight. Top man -– head up and look at your partner.

TEACHING PROCEDURES: The bottom man lies flat with his back on the mat, legs bent, knees up, feet flat on the floor, arms straight and directly over his shoulders, perpendicular to his body. The bottom man's feet are about 18 inches apart. The top man, facing the bottom man, stands between the bottom man's feet. The top man should bend over and place his hands upon his partner's knees, lean forward (straightening his own arms) until his shoulders fall into his partner's hands. It will be noted that the top man does not have control of his balance in this position, but must give all his weight to the bottom man. Both men should now keep their arms straight. The top man should raise one leg as high as possible and kick against the mat to raise the other leg, so that he is in a shoulder stand on his partner's hands. Balance is maintained in the same manner as in the headstand by pushing upon the bottom man's knees, maintaining a small amount of weight on the hands, and allowing most of the weight to be carried by the bottom man.

FREQUENT ERRORS: The most frequent mistake is that the top man will bend his arms. In doing so, he usually drops his head, and he tends to rotate so that the bottom man cannot control him. Then, too, the weight is too far toward the bottom man's hips, and he cannot reach the top man or support his weight.

SAFETY PRECAUTIONS: A third man should stand astraddle the bottom man's head facing the top man before the top man begins the stunt. From this position, he is able to catch the top man's feet as they come up; and in the event the balance is lost, he can catch the top man. It may be desirable to have him support the top man's feet for a few moments until he learns how to maintain his own balance.
PROGRESSIONS OR Parallel Bars, stand.

COMBINATIONS: This stunt is exactly the same as the stunt done on the It is essential to learning the low arm-to-arm, and is a leadup to the hand-
Stunt (10): SHOULDER STAND ON PARTNERS KNEES

PREREQUISITES: Headstand.

DESCRIPTION: With the bottom man in a crab walk position, the top man does a shoulder stand on the bottom man's thighs.

ILLUSTRATION:

MAJOR CUES: Hold his legs to control your balance. Bottom man, keep the hips high.

TEACHING PROCEDURES: The bottom man starts in a crab walk position with his hips high.

The top man places his head between the bottom man's legs, and rests his shoulders on the bottom man's thighs. The top man's hands grasp the bottom man's legs below the knees, thumbs out. The top man then kicks, hips up, keeping the knees bent; then, after balance is attained, the feet are extended. When balancing, the top man pulls on the bottom man's legs to correct for overbalance and pushes on his legs to correct for underbalance.

FREQUENT ERRORS: Failure to use grip on the bottom man's legs to attain balance. Bottom man's failure to keep his hips high.

SAFETY PRECAUTIONS: Spotters should be on each side to catch the legs and, if necessary, help to achieve balance.

PROGRESSIONS OR COMBINATIONS: This stunt is one of a series intended to familiarize performers with balance while inverted. It also helps develop team work.
Stunt (11): HEAD KIP

PREREQUISITES: A solid headstand and good physical condition.

DESCRIPTION: From a headstand, the performer pikes, overbalances, and whips his legs over to land on his feet.

ILLUSTRATION:

MAJOR CUES: Don't get the head out too far. Be sure you are falling before you reach for the ground. Reach with an all-out effort. Use the top of the head.

TEACHING PROCEDURES: After the secure headstand has been learned, the head kip can be attempted from the headstand. For this stunt, the headstand should be attained with a slightly smaller triangle formed between the hands and head. From the headstand the legs are lowered, and the knees are kept straight by bending at the hips. The hips must, at the same time, be forced over the head to maintain balance. The back is still straight. When the feet can be seen, they should be held at that level and pressure exerted against the mat so as to overbalance and initiate a fall toward the back. When the learner is sure he is falling (the feet must still be visible to the participant), the feet are thrown over the body in a vigorous extension reaching for the mat with the toes. At the same time that the extension is executed, the hands press vigorously against the mat. Beginners usually land on the feet in a semi-squat position.

FREQUENT ERRORS: Perhaps the most frequent mistake is a tendency for beginners to let the legs rise gradually before they expend themselves in an all-out effort to reach for the floor. If the performer cannot see his feet before he extends them vigorously, it will reduce the whipping motion the legs are able to produce, and it will not be possible to execute the stunt properly.

SAFETY PRECAUTIONS: It is wise to use two spotters on this stunt, the learner kneeling between two spotters who hold his upper arm. As the performer attempts to execute the stunt, the spotters assist by lifting his arms so he can land on his feet. It may be desirable to attempt this stunt from an elevated surface, such as a rolled mat. This gives the beginner a little more time to get his feet under him.

PROGRESSIONS OR COMBINATIONS: This stunt is considered a basic kip stunt, perhaps one of the easiest to learn; easier by far than the neck kip from the mat, and it becomes a pre­requisite to kips on the Parallel Bars, high bar, and rings. It can be initiated from a stand­ing position with the feet together.
Stunt (12): SHOULDER KIP

PREREQUISITES: The shoulder kip is easy to learn if either the head kip or headspring has been mastered previously.

DESCRIPTION: From a piked position on the back, kick the legs upward with sufficient force to lift the body; then push with the hands and flex the knees to land on the feet.

ILLUSTRATION:

MAJOR CUES: Be rolling when you reach! Don't roll lower than the shoulder blades! Reach with the toes way back under the hips. Keep the hips high at all times. Push with the hands!

TEACHING PROCEDURES: Lie on the back with hands on the mat above the shoulders, with the fingers extended in toward the body. Raise the legs, knees straight, until the feet are well over the head about eight inches irom the floor. This will place the performer on the shoul­ders with hips well off the floor. From this position roll forward until the mat contacts the back at the base of the shoulder blades. At this instant, the snap-reach movement is exe­cuted. The legs drive upward at a fixed point on an angle of 45° to 60° from the floor. When the legs and hips are fully extended, the back is arched and the knees flexed in preparation for landing on the feet. As the snap-reach is executed, the hands push vigorously on the mats.

FREQUENT ERRORS: Rolling too far so that lower back and even hips contact the mat before the kip is executed. No effort with the hands. Not reaching under the hips with the toes caus­ing the feet to land too far from the hands; the span should be as short as possible.

SAFETY PRECAUTIONS: One spotter should be on each side of the learner grasping his upper arm. If the performer appears to be doing everything correctly and still not quite executing the stunt, he should be assisted a few times. The assist is easiest when the spotter places his hand under the performer's head and lifts as he executes the snap-reach or kip motion.

PROGRESSIONS OR COMBINATIONS: After the individual becomes capable of doing this stunt, he can then learn to do the trick starting from a standing position with the legs spread wide apart. The stunt can then be used in series down the mat.
Stunt (13): FOREARM HEADSTAND

PREREQUISITES: The only prerequisite is the ability to do a solid headstand.

DESCRIPTION: Maintain an inverted headstand with balance support being provided by elbows and forearm in contact with the mat.

ILLUSTRATION:

MAJOR CUES: Be sure that the forearms form the sides of a triangle. The head should be at the apex of the triangle. Place the forehead on the mat between the hands. Push against the mat with the elbows for balance.

TEACHING PROCEDURES: This is a modified headstand which is different from the regular head­stand in that the support that normally comes from the hands must be exerted instead by the elbows. The hands are placed flat on the floor; the thumb and index finger form a triangle in which the forehead is placed. The forearms form the sides of an equilateral triangle. The elbows are about where the hands would be in a regular headstand. It is usually easiest to elevate the body to the vertical position by raising one leg as high as possible, then push­ing off the mat with the other foot with enough pressure to elevate both legs to the vertical position. It is necessary for the performer to arch the back considerably more than neces­sary in the regular headstand, because the elbows are required to support some of the weight; and, without the arch, the elbows are unable to reach the mat.

FREQUENT ERRORS: Perhaps the most frequent mistake is not arching the back sufficiently to enable the elbows to maintain balance.

SAFETY PRECAUTIONS: It is advisable for a spotter to stand by the participant's head to prevent him from rolling over. When the head is in contact with the mat near the forehead, the performer is not in a very advantageous position to execute a forward roll.

PROGRESSIONS OR COMBINATIONS: This stunt leads to the next stunt known as the tiger stand. It contributes to the student's "balance experience" and is useful in free exercise.

Stunt (14): TIGER STAND

PREREQUISITES: Headstand and forearm headstand.

DESCRIPTION: Stand inverted supported only by the forearms and hands.

ILLUSTRATION:

MAJOR CUES: Shift all the weight to the forearms; then raise the head.

TEACHING PROCEDURES: The tiger stand is executed from the forearm headstand. Once balance is maintained in the forearm headstand, the performer shifts all the weight to the elbows and forearms. Then when the weight is supported by the forearms, the head may be raised. It is necessary to exaggerate the arch of the back.

FREQUENT ERRORS: The most frequent mistake is not shifting a sufficient amount of weight to the forearms. Another mistake is raising the head too soon.

SAFETY PRECAUTIONS: Since the head is to be raised, the spotter must be in a good position to prevent the individual from losing his balance and going on over on his back.

PROGRESSIONS OR COMBINATIONS: The primary value of these last two stunts is that they serve to teach the individual how to maintain his balance in an inverted position, and that they ultimately lead to the handstand.

Stunt (15): MOUNT TO STAND ON PARTNERS SHOULDERS
PREREQUISITES: General conditioning. The top man should be lighter than the bottom man.

DESCRIPTION: The top man mounts to the shoulders of the bottom man by stepping on the bottom man's thigh.

ILLUSTRATION:

MAJOR CUES: The top man must stay close to the bottom man. Bottom man keep head back and a firm grip on the top man's legs. Bottom man, give the top man support with your arms on the way up.

TEACHING PROCEDURES: Men begin this stunt by facing one another. Take a hand shake grip with the left hands, then reach over the joined left hands and join the right hands with an inverted grip (or thumbs down). The bottom man turns to the right raising the right arm overhead, so that the top man is on his left and a little behind the bottom man. The bottom man then bends his legs to the quarter-squat position, and the top man places his left foot high on the bottom man's thigh. As the top man's foot and weight are placed on the bottom man's thigh, the bottom man tries to pull the top man in close; and the top man also tries to stay close to the bottom man. The top man then places his right foot on the bottom man's right shoulder and, rising, places his left foot on the bottom man's left shoulder. The bot­tom man must raise his hands to an overhead position to permit the top man to stand. To stand without holding hands, the top man places his shins against the bottom man's head; and the bottom man grasps the back of the top man's legs just below and behind the knee, holding his legs firmly against his head.

FREQUENT ERRORS: Failure to stay in close to the bottom man. Bottom man failing to lift and support with the hands on the way up.

SAFETY PRECAUTIONS: Two stand-by spotters are sufficient. To dismount, the top man can sit on the bottom man's shoulders, and the bottom man then leans forward to ground the top man.

PROGRESSIONS OR COMBINATIONS: The mount can be done to look almost like a jump to the shoulder. It can be done without using the thigh and with the top man starting, sitting on the ground. A similar mount is done from behind, with the top man stepping off the bottom man's calf just as the bottom man straightens the leg.

Stunt (16): LOW ARM-TO-ARM PREREQUISITES: Shoulder stand on partner; shoulder stand on partner's knees.

DESCRIPTION: The top man does an arm-to-arm handstand on the bottom man while the bottom man lies on his back.

ILLUSTRATION:

MAJOR CUES: Pull on the bottom man's arms to correct for overbalance; push to correct for underbalance. Head up!

TEACHING PROCEDURES: The bottom man is on his back with his legs flexed, feet in contact with the top man at his hips. The top man bends over the feet and takes an arm-to-arm grip. The bottom man's thumbs are in the top man's arm pits, hands holding arms just above the biceps. The top man holds the bottom man's arms at his triceps, thumbs out. The bottom man then straightens his legs and the top man straightens his body. The bottom man elevates the top man to a handstand position, then lowers his legs. The bottom man controls the top man by raising his thumbs to correct for overbalance, dropping his thumbs to correct for underbalance, and by moving hands over his head for gross overbalance and toward the hip for gross underbalance. The top man helps by pulling or pushing on the bot­tom man's arms to correct for off-balance.

FREQUENT ERRORS: Bottom man fails to balance the top man. Top man fails to stiffen his hips so he can be balanced.

SAFETY PRECAUTIONS: There should be one spotter at first, standing by the bottom man's head.

PROGRESSIONS OR COMBINATIONS: As skill improves, the top man should learn to roll down to the floor, and then roll kip back up to the arm-to-arm position.
Stunt (17): HANDSTAND

PREREQUISITES: If the following stunts are mastered prior to efforts directed towards accom­plishing the handstand, the handstand can be learned with less time and effort. The head-stand, the shoulder stand on a partner, the low arm-to-arm on the partner, and the knee-elbow balance on the hands are desirable prerequisites for the handstand. If the cart wheel has been mastered, the student will have less difficulty avoiding falls; the same applies to the forward roll.

DESCRIPTION: The performer attempts to stand or balance on his hands, with the legs held straight and overhead. The object is to maintain this position without moving or walking on the hands.

ILLUSTRATION:

Hand Stand Underbalanced Balanced

MAJOR CUES: Keep the head up, and the eyes focused between the hands; press with the fingers for overbalance; bend the arms to correct for underbalance.

TEACHING PROCEDURES: Take a forward lunge position with the hands on the ground near the forward foot; one leg extending to the rear, and the knee relatively straight. The other leg is bent under the body, supporting the weight. To attain the handstand position from this initial position, the bent leg should be straightened gradually, and the straight leg raised at the same time as high as possible above the head. This will cause the weight to be transferred to the hands. After a slight extra exertion against the mat, the bent leg is then raised overhead to join the other leg. In order to maintain this position without walk­ing, the student must be alert to his body position; and when he feels the legs going on over so as to overbalance him, he must press vigorously with his fingers in order to stop this movement. At the same time, he must stiffen his entire body so that the finger pressure can affect the body position. In the event the sensation of underbalance is felt, the individ­ual must bend the arms with the elbows in -– and yet keep the feet overhead. If the elbows are allowed to bend outward, no change in body support is effected; and the individual will not be able to maintain his balance. This point cannot be stressed too much because of all the errors made in attempting to learn the handstand, this one is committed most frequently and thus causes performers to become discouraged in their efforts. Once again, then, to correct for underbalance, bend the arms and pull the elbows in so that as the arms bend, the forearms and the upper arms are parallel to one another.

FREQUENT ERRORS: Putting the head down between the arms or not holding the head up; failing to press with the fingers to correct for overbalance; bending the arms outward in an effort to correct underbalance rather than bending them and pulling them in. If the prerequisites listed on the preceding page have been learned, very little difficulty will be encountered in keeping the hips firm and the legs overhead.

SAFETY PRECAUTIONS: Students should be taught to turn, either to the right or to the left, in the event that they cannot correct for overbalance; thus they will be able to light on their feet facing the opposite direction from that which they were facing when they initiated the handstand. Falling straight on over on the back, of course, should be avoided. Students can work on the handstand in pairs so that one can spot the legs of the other to prevent extreme overbalance. Practicing the handstand against the wall is a very common and help­ful practice.

PROGRESSIONS OR COMBINATIONS: The handstand is one of the basic prerequisites for any advanced or even intermediate achievement in gymnastics.

NOTE: The author has had considerable success in teaching the handstand by making use of a practice box. The box is constructed of wood and resembles a Gable roof; the weight of the student's body prevents the box from tipping. One side of the "roof is removed to make room for the student's hands, and the crest of the other side of the "roof" supports the stu­dent's forearms in much the same way as a student would obtain support from a partner in the low arm-to-arm. (See diagram below.)

Stunt (18): CART WHEEL

PREREQUISITES: Ability to support the body weight on the hands. Being able to stand on one's head seems to help, but the cart wheel can be executed before the student can maintain a handstand.

DESCRIPTION: Rotate the body sideward through the handstand position and back to the feet. ILLUSTRATION:

MAJOR CUES: Try to keep the knees straight while elevated; throw the hands hard and push off the ground with that foot.

TEACHING PROCEDURES: In executing the cart wheel, the individual should stand at right angles to the direction in which he intends to go. Assume that the left shoulder is directed down the mat. The left hand then becomes the leading hand. Both arms are extended sideward, and the individual quickly leans toward the left - - the left hand making contact with the mat first. The right hand is in a straight line down the mat. The individual then goes to a handstand position with the legs wide apart. The right leg then makes contact with the mat, since no attempt is made to maintain balance in the handstand position. It may be better for most individuals to extend the arms sideward, then lean to the right and throw the arms to the left to get initial rotation. The left hand is placed quite close to the left foot, and at the time of contact is actually at the side of the body. At the same time, the right foot is thrown in the same direction as the rotation, just as the left foot leaves the ground. A vigorous push is exerted against the ground by the left foot. And about the same time the left foot leaves the ground, the right hand contacts the mat. Then as the right foot strikes the ground, a vigorous push is exerted against the mat with the right hand. The individual is then able to rise to a standing position. A series of these cart wheels can be executed, and as the sideward rotation is established, the cart wheels usually improve.

FREQUENT ERRORS: Most frequent mistakes involve bending the knees and flexing the legs at the hips. This means that the individual never accomplishes a full extension of the body while on the hands and usually lands in the full squat position on his feet.

SAFETY PRECAUTIONS: Generally it is necessary for the performer to be able to stand on his head prior to attempting this stunt. If the headstand is secure, no spot should be necessary for the cart wheel.

PROGRESSIONS OR COMBINATIONS: There are several times in more advanced gymnastics when the cart wheel movement is desirable; for example, as a dismount from the Parallel Bars. However, it is also a good lead-up activity to the handstand; and it is also a pre­requisite to learning the stunt known as the round-off.

Stunt (19): MOUNT AND ROLL DOWN PARTNER'S CHEST
PREREQUISITES: Pull over partner's back and roll down partner's back. The top man should be considerably lighter than the bottom man.

DESCRIPTION: The top man does a forward roll up the bottom man's chest to a seat on the bot­tom man's hands and shoulders; then he lies back; and, when fully extended the bottom man throws his hips to enable the top man to land on his feet.

ILLUSTRATIONS:

The roll up mount on a partner

The roll down partner's chest

MAJOR CUES: Bottom man -– wait until the top man's head is past your waist before you throw. Top man -– look for the mat and put your feet on it.

TEACHING PROCEDURES: With the bottom man in a one-quarter squat position, the top man ap­proaches from the front, places his hands on the bottom man's knees, and executes a for­ward roll up his chest to a position astride the bottom man's head. The bottom man must catch the top man around the waist with one hand to pull him up; then he must support his hips with the other hand.

Alternate mount: The top man approaches the bottom man and places his hands on his head; then leaps to sit, straddle the bottom man's head, and upon his shoulders. The bottom man supports the top man's weight on his hands in front of his chest. When the balance is steady, the top man lays his head and upper body back, looking for the mat. When the top man's shoulders are about level with the bottom man's waist, the bottom man flexes his legs and pushes the top man up and away so as to rotate his body and allow his feet to come around. The top man lies back and, when he sees the mat, pulls his feet around and alights flexing his knees.

FREQUENT ERRORS: The bottom man tends to throw too soon. The bottom man throws with his arms only (he should use his legs and arms). The top man fails to leave his legs on the bottom man's shoulders, and thus tries to roll back in a pike.

SAFETY PRECAUTIONS: Spotters should be stationed on each side of the top man. Hand spot the back and hips on the straddle mount. Hold the upper arm when doing the roll down. Support your man until he regains his balance.

PROGRESSIONS OR COMBINATIONS: The alternate mount is almost the same as the double cut mount on the Parallel Bars, and the roll down is similar to the cherry drop on the horizontal bar.

Stunt (20): ASSISTED LAYOUT HANDSPRING PREREQUISITES: Headspring and forward roll over a partner.

DESCRIPTION: The top man does a handspring over the bottom man, assisted by the bottom man kicking the top man's hips.

ILLUSTRATION:

MAJOR CUES: Top man arch over. Bottom man pull the top man; then kick, then throw.

TEACHING PROCEDURES: The bottom man lies on his back, knees bent with his feet at the top man's hips, and the hands are joined. The top man lifts the bottom man for timing and then throws one foot high behind him, immediately arching. As the leg is raised, the weight is lunged forward to the hands. As the leg is elevated, the bottom man pulls the top man toward him to get the top man's weight on his hands, and at the same time the bottom man straightens his knees raising the top man's body high. The arms are not allowed to travel so the feet go over the top man's head to the mats; as the top man is about to alight, the bottom man throws the top man's hands upward as hard as he can to help the top man's head to come up. The top man's arms should be kept straight.

FREQUENT ERRORS: Bottom man fails to take control of top man. Poor timing. Top man bends his arms.

SAFETY PRECAUTIONS: Spotters should be placed on each side grasping the top man at the upper arm.

PROGRESSIONS OR COMBINATIONS: This stunt is an aid in learning the handspring.
Stunt (21): LEG THROW-OVER

PREREQUISITES: Roll down partner's back and ankle lift -– with ease and confidence. DESCRIPTION: The bottom man throws the top man over by lifting one hip and one ankle. ILLUSTRATION

MAJOR CUES: hand.

Jump up, then snap the head back and the throw leg pushes against the thrower's

TEACHING PROCEDURES: The top man stands with his right side to the bottom man. The top man then raises his right leg, with knee straight, until it is parallel to the floor. The bot­tom man grasps the top man's right ankle in his right hand and places his left hand under the top man's right hip. The top man's right hand is resting on the bottom man's left shoul­der. Use three counts with slight knee bends for timing. On the third count, the top man jumps as hard as possible from the left leg, keeping the right leg firm so the bottom man can lift. When clear of the ground, the top man throws the head back, looking for the ground; and the bottom man lifts with both hands, then throws the right leg over to enable the top man to land on his feet. Some additional lift can be obtained if the top man will push down on the bottom man's shoulder on the third count.

FREQUENT ERRORS: Top man failing to resist the bottom man's push against his leg.

SAFETY PRECAUTIONS: A spotting belt and two spotters should be used for the preliminary attempts.

PROGRESSIONS OR COMBINATIONS: This stunt leads to the toss-back and the back flip.

Stunt (22): TOSS BACK PREREQUISITES:

Leg throw over with good control.

DESCRIPTION: The top man places his right foot in the bottom man's hands. The bottom man's hands may be joined by grasping the left thumb in the right hand, left hand open. The fin­gers laced grip is also satisfactory. The bottom man throws, and the top man does a layout back flip to his feet.

ILLUSTRATION:

MAJOR CUES: Jump straight up for height, then snap the head back. Bottom man follow through.

Straighten that right leg.

TEACHING PROCEDURES: The two men face one another. The top man places his right foot in the bottom man's hands. The bottom man keeps his back straight, his knees bent, and his feet apart for good balance. The top man's hands are on the bottom man's shoulders. On the third count, the top man jumps and straightens his right knee, then immediately throws his head back looking for the mat. The bottom man straightens his knees, then lifts his hands as high as possible with a follow •through when the foot leaves the hands. The top man pikes to reach the ground and lands as lightly as possible.

FREQUENT ERRORS: Top man fails to straighten his right leg, thus very little height is at­tained. Top man frequently throws his head back too soon -– but better too soon than too late.

SAFETY PRECAUTIONS: A safety belt and two spotters should be provided, mechanic is best. A sawdust pit is very desirable but not essential.

The overhead PROGRESSIONS OR COMBINATIONS: This stunt is used in two-man balancing routines and is a nice lead-up to layout flips on the trampoline and on the mats.

Stunt (23): HIGH ARM-TO-ARM PREREQUISITES: Low arm-to-arm; strong bottom man.
DESCRIPTION: The top man does an arm-to-arm balance on the bottom man while the bottom man is standing.

ILLUSTRATION:

MAJOR CUES: Get that fanny up first! Bottom man turn around if top man gets overbalanced. Top man stay high on bottom man.

TEACHING PROCEDURES: Partners face each other with an arm-to-arm grip and with the bot­tom man's hands on top of the top man's arms, his thumbs in the top man's arm pits. The top man's hands should be just above the bottom man's elbows at the triceps. The top man jumps straight up as the bottom man lifts with straight arms, sits on the bottom man's chest with legs astraddle the bottom man's chest, knees straight.

The top man holds his legs against the bottom man's sides to avoid sliding down as the bottom man bends forward, then swings the top man over his head. The top man keeps his legs close to the bottom man, trying to lift the hips over head to a semi-balanced position before raising the legs. The balance is the same as for the low arm-to-arm. If gross overbalance occurs, the bot­tom man turns around letting the top man down to his feet still facing the bottom man. The bottom man never releases his grip on the top man until the top man is on his feet and balanced.

FREQUENT ERRORS: overbalance.

Top man trying to raise feet before hips. Bottom man fails to turn on

SAFETY PRECAUTIONS: Two stand-by spotters should be provided.

PROGRESSIONS OR COMBINATIONS: Advanced students can execute this stunt, then descend as follows: the top man drops to the bottom man's chest, then returns to a handstand position when the bottom man swings him up again.

Stunt (24): FRONT HANDSPRING PREREQUISITES: Some work on the handstand and the head kip.
DESCRIPTION: Execute a complete forward rotation supporting the body weight on the hands when the body is inverted.
ILLUSTRATION:

Rolled Mat for Spot

MAJOR CUES: Hop on the right foot, then throw the right foot. Throw the arms down hard. Keep the head back and eyes on the mat between the hands. Land on the toes.

TEACHING PROCEDURES: First the run with a hop must be learned. Hop on the right foot, left foot forward; then throw the right foot as the spring is obtained from the left foot. The right foot must be thrown back and up very hard. The hands should be placed near the left foot as the right foot is thrown. Keep the arms straight but not rigid. The head must be kept up, and the eyes kept on the fingers. If the head is dropped the arms will bend, the back cannot arch, and a roll rather than a handspring will result. Reach for the mat with the toes and try to land with the toes as close as possible to the spot where the hands were placed.

FREQUENT ERRORS: Dropping the head.

SAFETY PRECAUTIONS: Roll up a mat and make initial attempts over the mat. Have spotters hold hands to support and lift the performer's shoulders if a rolled up mat is not utilized.

PROGRESSIONS OR COMBINATIONS: Strive to keep the legs as straight as possible and attain as much height as possible by kicking the leg high and lifting the shoulders.
Stunt (25): ROUND OFF PREREQUISITES:

The front handspring is very helpful.

DESCRIPTION: While he is running, the man's hands are placed on the mat in line with the direction of travel; the feet pass overhead, and a half turn is accomplished before the feet land upon the mat.

ILLUSTRATION:

MAJOR CUES: hands.

Hands in line, kick the leg high. Snap those legs down and push off with the

TEACHING PROCEDURES: Run. Hop on the right foot, left foot in front; place the left foot on the mat as the right foot is thrown back and up. As the right foot is thrown, the hands are placed on the mat just in front of the left foot with the left hand first, then the right hand in line with the direction of travel, six inches apart, fingers to the left. As the legs rise, turn the body as in a cart wheel; continue the turn so that the legs can be snapped down after the body has executed a half turn. Bring the legs down close to the hands to facilitate the take-off for the next stunt.

FREQUENT ERRORS: Failure to use the hop take-off as in the handspring, a donkey kick snap down to get the legs down quickly.

Failure to execute

SAFETY PRECAUTIONS: If the performer is ready for this stunt, he need only be warned to avoid falling backwards when learning to utilize the lift or bounce that can be attained when landing at the completion of the round off.

PROGRESSIONS OR COMBINATIONS: This stunt is essential in order to acquire the speed neces­sary for backward tumbling routines. This is the ideal approach to a series of back hand­springs.

Stunt (26): FRONT FLIP

PREREQUISITES: The dive and roll, for both height and distance. Good body control and good physical condition.

DESCRIPTION: The stunt consists of a running front somersault in midair, landing on the feet. ILLUSTRATION:

MAJOR CUES: Use a short hurdle step. Arms up as you hurdle. Throw those arms up for height. Bounce off the floor. Head and arms down together. When you open up, reach for the floor with your toes.

TEACHING PROCEDURES: The front flip is most frequently executed from a running start. It is therefore best learned from a run. The stunt is learned easily by arranging a mat on a sur­face waist high, either by piling mats up, or by holding a mat supported by ropes at the desired height. Initial trials should be high diving front rolls executed on the run onto the elevated surface. About three-quarters maximum speed is best with a diving style hurdle at the end of the run to permit a take-off from both legs. As proficiency and control develop, the running front roll onto the elevated surface should be executed without the hands. When control is assured, the arms are raised sideward as the hurdle is taken; then as the partici­pant leaves the floor on the take-off, the arms are drawn into the chest and thrown straight up to help attain height. The arms and head are then thrown forward, hips and heels lifted to achieve the tuck position. If this is executed properly the learner will land on his feet on the elevated surface. The next progression is to gradually lower the surface until the par­ticipant is executing the stunt on the floor. As the height of the landing surface is lowered, the individual will have to open up from the tuck position in order to stop spinning and land on his feet. The floor is not visible so the time to reach for the floor must be learned by practice and by developing a sensitivity to body position. When the surface is lowered, the student must be constantly reminded to execute a good high take-off. Try to look between the legs for the mat.

FREQUENT ERRORS: Not enough height. Not using the arms. Not tucking tightly enough.

SAFETY PRECAUTIONS: If the elevated surface with a gradual reduction of height is employed, no other device need be used. If no elevation is available, the spotting belt with two spotters running alongside is effective. If hand spots are used after the belt is removed, the spotter must try to contact the participant high on the back just after the head drops under.

PROGRESSIONS OR COMBINATIONS: Front flips are commonly used in tumbling, trampoline, Parallel Bars, and as dismount moves from the high bar and rings. If more height is de­sired, time the arm action so that the arms are low and can be lifted sideward and upward upon take-off. This method of take-off sometimes results in a stall when used by beginners, and for this reason was not mentioned above.

Stunt (27): BACK HANDSPRING

PREREQUISITES: Good physical condition, ability to do a back roll with a high snap-down. Ability to stand on the hands is highly desirable.

DESCRIPTION: If done standing, the performer dives backward, lands on his hands, then snaps his legs down to the floor -– all in one continuous motion.

ILLUSTRATION:

MAJOR CUES: Sit back! Throw those hands back Hard! Head back. Spring with those legs!

TEACHING PROCEDURES: Preliminary: Stand erect with feet a comfortable distance apart, and arms forward. Then swing the straight arms freely down to the sides and back. At the same time, sit back as if sitting on a chair so that when the arms are back at the extreme end of the natural swing, the student is off-balance backwards and must step back or sit on the mat. When this movement is achieved, the student may attempt the stunt using a safety belt and two spotters.

Detailed directions: Stand erect with hands forward and arms straight. The arms are swung down and back as the sit back is executed. When the arms have reached the limit of their backward swing and the student is off-balance backward, the arms are swung in an arc forward, upward, overhead, and on back vigorously, legs extended as if jumping. The arms are kept straight. When the arms reach shoulder height, the head is thrown back with the arms. (Spotters hold ropes close and allow the hands to touch the mat only lightly.) The back is naturally arched at this point, and the hands contact the mat very quickly. As soon as the balance is over the hands, the arch is broken and the feet are snapped to the floor. At the same instant that the feet snap down, a thrust is exerted on the mat with the hands so that the head comes up rapidly (like a back roll, snap-down, and donkey kicks).

FREQUENT ERRORS: Not being off-balance backward on the take-off. Not keeping the arms straight. Not getting the arms back far enough. Bending the knees too much when snapping down. Not getting the head back. Going too high due to not sitting back. If the head is turned to the side, an undesirable twist will result.

SAFETY PRECAUTIONS: Provide a two man spot using the belt. It is frequently desirable for one spotter to help the legs over for the first few tries by lifting back of the thigh. A hand spot on the hip may be used when proficiency in the belt and confidence indicate removal of the safety belt without hazard.

PROGRESSIONS AND COMBINATIONS: This stunt is usually combined in a series after a round off and may be followed by a back flip tuck or layout. Back handsprings are the basis of advanced tumbling routines.

Stunt (28): BACK FLIP (Somersault in Air)

PREREQUISITES: Good physical condition, good spring, and strong abdominal muscles. Students should have mastered the following stunts: back roll, roll down a partner's back, the leg over, and possibly the toss back.

DESCRIPTION: From the standing position, the individual jumps into the air and turns one com­plete revolution backwards before landing again on his feet.

ILLUSTRATION:

MAJOR CUES: Arms up hard! Head back hard! Maintain balance, don't bend forward. Tuck!

TEACHING PROCEDURES: Preliminary: The student should first practice the tuck. Stand erect with arms forward; then sweep the arms in a large circle movement upward, sideward, down; and then spring upward in co-ordination with the upward movement of the arms. At first, just jump straight up for height. Then add the tuck by jumping for height, drawing the knees to the chest, and grasping the shins with the hands, releasing them in time to land on the feet.

Instructions: In the spotting belt using two spotters, stand on the third person's hands. This person will assist the performer by lifting the feet to help attain greater height and a more reliable rotation. With assistant and spotters in position, all is ready for the first attempt. All that must be added to the initial practice is the head snap backward and the simultaneous lift of the knees to the tuck position; look for the ground, land on the toes.

FREQUENT ERRORS: Not jumping high enough. Not tucking. Not throwing the hands hard enough. Not enough snap in throwing the head back.

SAFETY PRECAUTIONS: Illustration of Assistants' Positions:

Belting the Hand

The Assisted Back Flip

The assistant should roll backward as he throws in order to avoid the participant's feet. Spotters should stand behind the participant to allow him free arm movement; keep slack out of the rope. For initial tries, give assistance to assure sufficient height. As profi­ciency develops, eliminate the assistant, then one spotter, then the other spotter, then the belt and use only a lifting hand spot on the seat.

PROGRESSIONS OR COMBINATIONS: This stunt can be done from a round off or from a series of back handsprings. It can also be done in a layout position (see the trampoline section for layouts and twists).

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