RINGS

Introduction

This section contains work on both still and swinging rings. In general, stunts are easier on the swinging rings; but it is safer and more productive to attempt most stunts on the still rings with an assist before making any effort on the swinging rings.

Spotting equipment for the rings is usually best if suspended from the same support as the rings. Spotting apparatus is only required for a few advanced stunts and as a result is not often installed.

Rings and still rings in particular develop and require a strength to weight ratio not neces­sary on other apparatus. This fact causes still rings to be very difficult and flying rings to re­quire close supervision.

Recommended Learning Sequence on Rings

1. Inverted Hang 20. Kip Roll
2. Bent Inverted Hang 21. Roll Down Kip Up
3. "Skin-the-cat" 22. Flange
4. "Skin-the-cat" and Dislocate 23. Fly Away
5. Basket Hang 24. Shoulder Stand
6. Single Cuts and Regrasp 25. Fly Away from Above
7. Dismount from Swinging Rings 26. Double Cut and Regrasp
8. Support Position on Rings 27. Handstand
9. Roll Down Backwards from the Support 28. Flange to Shoulder Stand
10. Forward Roll Down from the Support 29. Muscle Up
11. The Beat on Still Rings 30. Fake Front Lever
12. Double Cut Off 31. Layout Rolls
13. Dislocate 32. Back Lever
14. Inlocate 33. Front Lever
15. Uprise Front Swing 34. Iron Cross
16. Uprise Back Swing 35. Olympic Cross
17. Kip 36. Straight Arm Planch
18. Beat to a Dislocate 37. Inverted Cross
19. Back Rolls while Swinging

Description of Activities

Progression on Rings

Before a beginner is allowed to attempt any stunts on the rings, he must become thoroughly familiar with the fundamental positions on this apparatus.

Stunt (1): INVERTED HANG

ILLUSTRATION:

DESCRIPTION: To attain the inverted hang position, the individual grasps the rings firmly; then lifting the knees and flexing the waist, rotates backwards until inverted. Then extend the legs vertically along the ropes with the head bent forward so as to enable the performer to look up to assure himself that he is in vertical position with straight body. Practice still and swinging. (See Dismounting from Swinging Rings.)

Stunt (2): BENT INVERTED HANG

ILLUSTRATION:

DESCRIPTION: From the inverted hang position, the body is bent at the waist, the hips drop back, and the legs come forward so the knees are approximately above the chest. The knees are kept straight and a position of easy balance is maintained. If the hips are too low, effort will be needed to keep the hips up. If the feet are too low, there will be a noticeable effort required to prevent the feet from going on over. Practice still and swinging.

Stunt (3): SKIN-THE-CAT

ILLUSTRATION:

DESCRIPTION: From the bent inverted hang, allow the feet to go on over the head as far as pos­sible; then return to the bent inverted hang position. This exercise is commonly known as skinning the cat. Still Rings only.

Stunt (4): SKIN-THE-CAT AND DISLOCATE

ILLUSTRATION:

DESCRIPTION: Lower the rings to a height that enables the performer to touch the mat with bent knees while in the skin-the-cat hang position. Straighten the legs to lift the shoulders; then with straight arms bring the rings sideways and forward from behind to in front without changing the grip. This will place the individual in a regular hang position having done a so-called dislocate. Stand on the mat throughout the arm movement. Still rings only.

Stunt (5): BASKET HANG

ILLUSTRATION:

DESCRIPTION: Pull the legs up as in executing the inverted hang; however, before the legs are extended, engage the toes in the rings, then pull the hips on over as in doing the skin-the-cat. This places the body in an arched position facing down, with the toes and hands en­gaged in the rings. Lift the hips and recover. Practice still and swinging.

Stunt (6): SINGLE CUTS AND REGRASP

ILLUSTRATION:

DESCRIPTION: From the bent inverted hang position, roll backwards slightly to an over-balanced position; then roll forward quickly; at the same time, carry the right leg over the right wrist and bear the major portion of the body's weight in the left hand. As the right leg ap­proaches the right wrist, release the right hand grip and, after the leg passes by the ring, regrasp immediately. When the weight is taken by the left hand, the left arm should be bent as much as possible. Practice still and swinging at the back end of the swing.

Stunt (7): DISMOUNT FROM SWINGING RINGS

ILLUSTRATION:

DESCRIPTION: Before individuals are allowed to swing on the rings, they should be taught the proper method of dismounting. It is permissible to drop to the ground at the end of the backward swing, but preferable to dismount in the center of the arc where the rings are closest to the ground. In dismounting at the rear of the swing, the body must be flexed slightly at the waist; the individual must look down at the mats and prepare to land from the height, being sure to flex the knees adequately upon landing. The safest method of dismount­ing is to drop from the rings as the ropes pass the vertical and when the rings are closest to the ground. When the performer drops from the rings, he must be prepared to run for­ward to dissipate his forward momentum. All students should be warned not to dismount from the rings at the forward end of the swing until such time as they are taught an appro­priate dismount.

Stunt (8): SUPPORT POSITION ON RINGS

ILLUSTRATION:

DESCRIPTION: To practice the support position, the rings should be lowered so as to enable the students to attain a position above them with ease. Two basic support positions should be practiced, the first with the rings at the sides, arms straight, body straight and head up. The second support position is with the backs of the hands turned toward the buttocks, thumbs almost touching. Students should learn to go from one support position to the other with ease. Individuals who show an apparent lack of strength should be encouraged to do dips on parallel bars and rings to develop more strength in this position. This sup­port position should be practiced both on still rings and while swinging. Keep the rings close to the sides.

Stunt (9): ROLL DOWN BACKWARD FROM THE SUPPORT

ILLUSTRATION:

DESCRIPTION: The objective of the roll down backward from the support position is to descend from the support position to the bent inverted hang. This is done by flexing at the waist while, at the same time, leaning backwards, exerting terrific pressure upon the rings with the arms slightly bent, as the body, particularly the shoulders, passes below the level of the rings. As the shoulders descend below the level of the rings, the hips should be raised so as to enable the individual to maintain the bent inverted hang position at the completion of the roll down. Practice still first; then try swinging. At the end of the back swing, back roll down. Keep the rings low.

Stunt (10): FORWARD ROLL DOWN FROM THE SUPPORT

ILLUSTRATION:

DESCRIPTION: To roll down forward from the support position, the individual should lift the hips, then bend the arms and lean forward. As this is done, the body should be straightened slightly and care taken to keep the major portion of the body's weight back, or maintain an underbalanced position. The arms are straightened only after the body is in the bent in­verted hang. Practice still and swinging. Warning: Keep the arms bent and do not drop through the rings. May be done at either end of swing.

Stunt (11): THE BEAT ON STILL RINGS

ILLUSTRATION:

DESCRIPTION: The beat is utilized on rings as a timing medium in addition to the lift that can be obtained from it. To initiate the beat, the legs and hips should be lifted as high as possible, then allowed to drop and swing as far back as possible, then as far forward as possible, and so on. When this action is continued, a considerable lift should be experienced at both the front and the back of the swing or beat. The body is usually arched at the back and slightly flexed at the front. The arms should be kept straight at all times, and the rings should be high enough to prevent any contact with the mats. Practice still.

Practice on the above fundamental maneuvers on the rings tends to create considerable confidence on the part of the learner; and, when reasonably well mastered, gives the instructor some assurance that the students are ready for legitimate stunt work on the rings.

Stunt (12): DOUBLE CUT OFF

PREREQUISITES: A good beat and basic orientation.

DESCRIPTION: At the forward swing of the beat, the legs are pulled up and spread wide apart; as the legs meet the hands, the rings are released. The backward rotation continues and the participant alights on his feet.

ILLUSTRATION:

MAJOR CUES: mat.
Pull up hard and throw those rings through your legs! Head back and look for the

TEACHING PROCEDURES: A beat sufficiently high to enable the performer to lift the legs to the rings with ease must be obtained. With a spotter on each side grasping his upper arm, the stunt may be attempted. Taking advantage of the beat, lift the legs, knees straight, upward and rotating backward until the thighs touch the forearms with the legs spread wide and head well back, eyes looking for the mat. When the thighs just touch the forearms, the grip should be released and the performer should prepare to land on his feet. As proficiency develops, the body should be arched when the grip is released to enhance the form value.

FREQUENT ERRORS: Poor beat. Failure to pull all the way. Failure to see the mat.

SAFETY PRECAUTIONS: A hand spot should be provided by two spotters on the arm just below the shoulder. Take a straight two hand grip on the arm but do not interfere with the beat.

PROGRESSIONS OR COMBINATIONS: This dismount can be done still and at the forward end of the swing.
Stunt (13): DISLOCATE

PREREQUISITES: All fundamental positions and familiarity with rings while swinging, on mats with extension. A layout roll on parallel bars is very similar. Back roll

DESCRIPTION: From the bent inverted hang, the body is quickly extended at about a 45° angle and allowed to fall through the rings toward the mats; the rings should be turned so that the body can swing below the rings in a normal hanging position.

Catcti the Ttiigti

Spot Points

ILLUSTRATION:

MAJOR CUES: Extend quickly to an arched position! Arms out and kept straight.

TEACHING PROCEDURES: Start with the student in a bent inverted hang, spotters on each side with one hand on the near thigh, the other hand on the near shoulder. The student is given a target to reach for with his feet, usually a spot on the wall at about a 45° angle. The stu­dent is to reach quickly for the target with his feet and allow the hips to follow the feet all the way. As the reach is executed, the arms are kept straight and forced outward as wide as possible. No effort should be made to turn the rings; they will turn with the arms. As the student executes the reach, the spotters lift the shoulders slightly and catch the thighs holding them high until the student completes the dislocate. The legs are then lowered gently. It usually helps to lift the head as the arms are spread and to think of arching at the same time. The swinging dislocate should be executed at the end of the back swing. The dislocate on the still rings is more difficult than while swinging, so it is advisable to spot all dislocates which beginners perform on the still rings. The first dislocate done without a spot should be performed while swinging.
FREQUENT ERRORS: Failure to allow the hips to follow the feet, sometimes too high.

Reaching at a target too low,

SAFETY PRECAUTIONS: Two spotters should be provided as indicated above. The spotters can spot the swinging dislocate, if the rings are lowered to about 4 feet, by catching the legs as the student executes the dislocate.

PROGRESSIONS OR COMBINATIONS: This stunt is found on all levels of competition and is used as a timing device, a transition move, and to increase swing. It can be done at the front end of the swing, but it is far more difficult there. Prerequisites at the front are the up­rises, kips and kip rolls. When attempting the dislocate at the end of the front swing, ini­tiate very slightly before the dead end of the swing, exaggerate the arch, and go immediately into the bent inverted hang to dissipate the body momentum.

Stunt (14): INLOCATE

PREREQUISITES: A good beat, flexible shoulders, and good orientation. DESCRIPTION: At the back of the beat, roll forward to the bent inverted hang.

 ILLUSTRATION:

MAJOR CUES: Don't bend the knees. Flex at the waist and lift the hips. Look at your feet when you drop your head. Thumbs forward. Arms straight.

TEACHING PROCEDURES: Initiate a vigorous beat; as the legs approach their maximum height at the rear, the head is dropped, the hips lifted by piking at the waist, and the wrists are rotated, thumbs forward. The spotter should assist by lifting the shoulders and catching and supporting the thigh in order to give the student both confidence and time. The student should be able to roll smoothly into the bent inverted hang position.
FREQUENT ERRORS: Bending the arms, or too little beat. Bending the knees. Failure to lift the hips. Too much

SAFETY PRECAUTIONS: Catch the thigh as it reaches maximum height and lend support until the inlocate is complete. Lift the shoulders slightly as the performer goes for the stunt.

PROGRESSIONS OR COMBINATIONS: The stunt can be done still or swinging. It is easiest at the end of the back swing, but should be learned on the still rings first. This stunt can also be done without a pike, that is, layout all the way around. The layout is most often used on the still rings, but may also be done while swinging. To do this stunt while swinging, tim­ing can easily be obtained by dropping from a bent inverted hang as the ropes pass the vertical; thus the heels should be rising high at the end of the back swing. An advanced combination often used is the inlocate kip to a support.

Stunt (15): UPRISE FRONT SWING

PREREQUISITES: Ability to maintain support while swinging and the ability to execute a dip while swinging. A good beat.

DESCRIPTION: Using the forward lift of the beat at the forward end of the swing, rise quickly to the front support.

ILLUSTRATION:

MAJOR CUES: Lift your legs; start up, then stiffen the hips by pressing down on the heels and ride the lift up to the front support.

TEACHING PROCEDURES: To obtain timing for the swinging front uprise at the end of the front swing, lift the legs at the back end of the swing and hold them so as to drop them at the center of the swing with the arch following immediately. The stunt is easier when swinging, but should be attempted still first. Obtain a vigorous beat; then as the feet rise to waist height forward, lean forward, pull up with the arms, and push down on the feet by straighten­ing the body at the hips. This should develop enough lift to enable the student to rise easily to the support position.

FREQUENT ERRORS: waist height.

Timing off. Inadequate beat. Failure to push the legs down as they reach

SAFETY PRECAUTIONS: The prerequisites should be mastered and a stand-by spotter provided. Often a modest assist at the hips helps to get the "feel" of the stunt.

PROGRESSIONS OR COMBINATIONS: The stunt can be done still or swinging. It is often com­bined with a front roll.

Stunt (16): UPRISE BACK SWING PREREQUISITES: A dip while swinging in support position. A good beat.

DESCRIPTION: Using the backward lift of the beat, rise to the front support at the end of the back swing.

ILLUSTRATION:

MAJOR CUES: Wait for the lift, then pull the rings in to you. be prepared to support yourself. Pay close attention to timing and

ILLUSTRATION:

MAJOR CUES: Don't hesitate, explode! Stop the feet just before the body is straight.

TEACHING PROCEDURES: As is the case with most ring stunts, this one is much more difficult still than swinging. However, it is wise to become familiar with the stunt on still rings. After familiarity is attained with the stunt while still, it can be executed well while swinging. From the bent inverted hang, extend the legs vigorously at a point slightly below the vertical. It seems to help most beginners to instruct them to extend explosively; then just before fully extended, stop the legs and use the momentum to lift the body. Taking advantage of the lift, pull and rise to the support position. It is helpful for a spotter to lift the student at the shoulders as he attempts the stunt. Initial attempts are easier with a false grip. (See muscle up.)

FREQUENT ERRORS: above the rings. Extension of the hips; not explosive enough. Failure to elevate the elbows

SAFETY PRECAUTIONS: This is not a dangerous stunt, but the following is recommended for the swinging rings. Provide a stand-by spot in case the student goes over and falls through the rings. In this case spotters try to catch. The performer should release the rings and drop to his feet on the mats. Approach the swinging kip with caution for initial attempts and keep the rings in close.

PROGRESSIONS OR COMBINATIONS: This stunt can be done still or at either end of the swing. When done at the back end of the swing, kick directly up the ropes; at the front end a 45° kick is about right.

Stunt (18): BEAT TO A DISLOCATE

PREREQUISITES: A good straight arm dislocate plus a good beat.

DESCRIPTION: Using a beat timed so as to bring the legs up in the back arch of the swing, pull the legs up to the bent inverted hang and immediately dislocate.

ILLUSTRATION:

MAJOR CUES: Keep the arms straight. While swinging backward, the timing should be such that the body is arched and just starting forward in the beat when the ropes are vertical.

TEACHING PROCEDURES: The timing for this stunt is best attained by dropping from a bent inverted hang at the end of the front swing. At dead center of the swing back, the legs must be moving forward thus enabling the performer to lift the legs to the bent inverted hang and immediately dislocate. The arms must be kept straight. Use the same target for this dislocate as for the regular dislocate.

FREQUENT ERRORS: Bending the arms. Poor timing. Reaching at too high an angle.

SAFETY PRECAUTIONS: A stand-by spotter is all that should be necessary provided that the prerequisites are met.

PROGRESSIONS OR COMBINATIONS: This is a reliable stunt for intermediate and advanced levels. It is excellent for obtaining additional swing. Timing can be taken from a roll down at the front or from a front roll.

Stunt (19): BACK ROLLS WHILE SWINGING

PREREQUISITES: Pull over high bar; back hip circles on high bar. Back roll down while swinging.

DESCRIPTION: The performer goes from a strong beat over the rings with a backward rotation and stops in the bent inverted hang. It is usually executed at the front end of the swing.

MAJOR CUES: Just clear the rings in pull over fashion. Keep a tight pike or tuck. Make it fast right at the end of the swing.

TEACHING PROCEDURES: The beat should be timed early so that the body is fully arched at the center of the swing. Using the forward lift of the beat, pull the legs over the rings as if on a horizontal bar; then, without rising to the support, pull the legs under in a tight pike and roll beneath the rings to the bent inverted hang position. Some students find the stunt easier with the knees bent in a tight tuck, but proper form requires that the knees be kept straight. To keep the knees straight, one must flex at the waist as much as possible (a tight pike). Initial attempts should be taken on the still rings for orientation and safety purposes. Fight to keep the arms bent until settled back in the bent inverted hang.

FREQUENT ERRORS: Inadequate beat. Failure to keep a tight tuck and when more advanced, a tight pike. It is an error to pull too high; just get over the rings without
dislocating.

SAFETY PRECAUTIONS: A stand-by spotter should be provided and a few attempts should be made on the still rings even though the stunt is more difficult on the still rings. On the still rings, spot the shoulders as they come down below the rings again.

PROGRESSIONS OR COMBINATIONS: This is an excellent transition move and is utilized on intermediate and advanced levels. It can be done still or swinging.

Stunt (20): KIP ROLL

PREREQUISITES: The kip and front roll down. A good sense of timing.

DESCRIPTION: The stunt is started from the bent inverted hang. At the forward end of the swing, kip to above the rings, and immediately forward roll down to the bent inverted hang again.
ILLUSTRATION:

Swinging Up Swinging Down

MAJOR CUES: Kip just before you reach the end of .the swing. Don't rise to the support; just get over the rings, roll over and down. When executing the kip, do not fully extend at the hips.

TEACHING PROCEDURES: Just before reaching the dead end of the forward swing, execute a kip; but, rather than rising to the support, simply dive over the rings and immediately roll to the bent inverted hang again. It helps to kick at a target lower than would be appropriate for the kip to a support. Keep the arms bent and stop the feet early to keep a pike. Initial attempts may be made on the still rings, but it is much easier while swinging.

FREQUENT ERRORS: It is an error to rise to a full support; just the shoulders should pass over the rings.

SAFETY PRECAUTIONS: Confidence on the apparatus is the best safety factor. The stunt should be attempted first on the still rings with a supporting spot to slow the roll down.

PROGRESSIONS OR COMBINATIONS: This is an excellent stunt in itself. It leads nicely into the roll kip.

Stunt (21): ROLL DOWN KIP UP PREREQUISITES: Roll down and kip; ability to do both easily and quickly.

DESCRIPTION: At the front end of the swing in the support position, roll down and immediately kip to the front support position again.

ILLUSTRATION:

MAJOR CUES: Initiate just prior to the end of the swing! You must move fast!!

TEACHING PROCEDURES: From the support position just prior to the dead end of front swing, roll down quickly; immediately kip back up to the support position. The kip is easier if the student exaggerates the hip flexion as he rolls down, thus keeping the feet back and provid­ing a better angle for the kip. The tendency is for the feet to fall toward the hang position.

FREQUENT ERRORS: Timing is most often too late.

SAFETY PRECAUTIONS: Practice on the still rings until confident.

PROGRESSIONS OR COMBINATIONS: After learning the kip roll, this is the next step and can be followed by the kip roll kip.

Stunt (22): FLANGE

PREREQUISITES: Pull over the high bar and good orientation on the rings. Ability to do several dips while in the support position. The reverse kip on the end of the parallel bars is very helpful.

DESCRIPTION: Start as if doing a pull over the horizontal bar; then quickly lift the head, arch the body, and rise to the support position with a backward rotation.

ILLUSTRATION:

Lift the head fast to arch the body and rise above the rings. Keep moving, do not
MAJOR CUES: stop.

TEACHING PROCEDURES: From a hang with false grip (see description under muscle up, stunt 31) and arms bent half way, pull the feet up flexing at the hips as if to do a pull over the high bar except that the arms are kept bent. Keep the legs going up at a 45° angle. When the body would rest on an imaginary high bar suspended between the hands, lift the head and shoulders hard to cause the body to arch. If properly done, this will elevate the shoulders to a height that will permit support by the arms and the body will rotate backward to the support position. The performer must attempt to keep the legs moving at the 45° angle with the head and shoulders elevated to achieve the arch.
FREQUENT ERRORS: Failure to keep moving, to lift the head hard and follow through with the arch. If the student always goes on over, the feet should be elevated and the stunt attempted earlier with reference to timing.

SAFETY PRECAUTIONS: shoulder. Stand-by spotting is necessary. It helps to catch the thigh and lift the

PROGRESSIONS OR COMBINATIONS: This is sometimes easier to learn on the still rings with a beat and no false grip. It can be done with a beat at either end of the swing. It may be done at either end of the swing from the bent inverted hang and a false grip. It can be done by dropping backward from the support position, either still or swinging.

Stunt (23): FLY AWAY PREREQUISITES: Good beat; double cut off at front end of swing with good form.

DESCRIPTION: With a vigorous beat timed to give forward lift at the forward end of the swing, lift the body at the front end of the swing until the hips are the height of the hands; then snap the head back, release the rings, and continue backward rotation to land on the feet.

ILLUSTRATION:

MAJOR CUES: Big beat -– Pull back on that head! Hips up! Perfect timing can be established by executing a dislocate at the end of the back swing to establish the beat.

TEACHING PROCEDURES: Start with a vigorous beat and a moderate swing at the end of the for­ward swing -– pull the body up with a backward rotation, hips leading until the hips are the height of the rings, then snap the head back and release the rings. When done on the still rings, the toes lead the hips into this stunt to accelerate the beat; the head is thrown back and the hips lifted at the same time. On the still rings, the layout can be held but a moment. On the flying rings the layout can be held almost all the way. Keep the head back to continue backward rotation and to see the mat. If the rotation is inadequate to bring the feet to the mat, flex at the hips and pull the feet around as required. The primary danger lies in rotat­ing too far. This is caused by pulling too far before releasing.

FREQUENT ERRORS: Releasing too late or too early. Insufficient beat. A tendency to pike be­fore releasing the grip. Holding the rings too long.

SAFETY PRECAUTIONS: If the prerequisites are achieved and the stunt tried first with modest swing and a late release, two free hand spotters should be sufficient with special attention being focused on the shoulders so they can be caught if the student rotates too far. An over­head mechanic suspended from the same beam as the rings is good insurance. Try it first on the still rings in a hand belt. With a high swing a layout is essential and a mechanic advised.

PROGRESSIONS OR COMBINATIONS: This dismount is used on all levels of competition. The fly away is also a reliable dismount for the still rings.
Stunt (24): SHOULDER STAND PREREQUISITES: The headstand and shoulder stand on the parallels.
DESCRIPTION: From the support, lift the hips and roll forward until the shoulders are touching the rings; then elevate the legs and maintain the balance in a shoulder stand position.

ILLUSTRATION:

MAJOR CUES: Elbows out to correct for overbalance. Elbows in to correct for under balance. Try to maintain a slightly underbalanced position.

TEACHING PROCEDURES: From the support position, lift the hips; then lower the head and shoulders so that the shoulders contact the upper edge of the rings; then raise the legs to the vertical position. To maintain the balance, the elbows are moved up or outward to correct for overbalance and back or together to correct for underbalance. When attempted while swinging, correct for underbalance just prior to reaching the end of the back swing and cor­rect for overbalance just before reaching the end of the front swing.

FREQUENT ERRORS: Immobilizing the rings (the rings must be held in such a manner as to allow movement). When swinging, the most common fault is failure to anticipate the change of direction at each end of the swing.

SAFETY PRECAUTIONS: Students should be taught to jackknife in order to kill the swing. Don't fall with a straight body; flex at the hips and roll down when falling back.

PROGRESSIONS OR COMBINATIONS: This stunt is usually learned first while still, then while swinging.

Stunt (25): FLY AWAY FROM ABOVE

PREREQUISITES: Ability to swing while in the support position. Practice in landing from heights.

DESCRIPTION: From the support position swing the legs back, then forward and up as high as possible; then release the hands and snap the head back. Continue backward rotation to land on the feet.

ILLUSTRATION:

MAJOR CUES: Obtain a big swing with only one cast. Lift the feet as high as possible; pop the arch and release the rings. Head back and look for the mat.

TEACHING PROCEDURES: From the front support lift the legs, then the hips; i. e. cast for swing. Swing back, then accelerating the swing pull the legs forward and up. As they ap­proach maximum height, throw the head back and release the grasp. The body should be arched at the same time the head is thrown back, the arch being held as long as possible; then pike and pull the feet to the mat. Look for the mat.

FREQUENT ERRORS: Releasing too soon. Failure to see the mat.

SAFETY PRECAUTIONS: The best procedure is to use an overhead mechanic. This is recom­mended. On preliminary attempts, do not emphasize the arch.

PROGRESSIONS OR COMBINATIONS: This is an excellent dismount for the still rings. It is seldom seen on the flying rings.

Stunt (26): DOUBLE CUT AND REGRASP
PREREQUISITES: Quick reactions; ability to handle one's weight easily.

DESCRIPTION: From the bent inverted hang, roll back, then forward; spread the legs over the arms and when they contact the arms release the hands to allow the legs to pass; immedi­ately regrasp.

ILLUSTRATION:

MAJOR CUES: Roll forward fast! Roll up your arms! Bend the arms as you roll up. Reach overhead for the regrasp. Eyes on the rings.

TEACHING PROCEDURES: Start from the bent inverted hang. Roll back, then quickly roll for­ward with the legs spread; allow the legs to bend slightly as they strike the arms; at the same time continue to roll forward by bending the arms to get the shoulders as close to the rings as possible; then release the grip and as the legs pass the rings, regrasp. Do not roll up on the rings so far that the forward rotation is stalled. The release must occur while there is still considerable forward rotation. When reaching for the regrasp, reach high and keep the eyes on the rings.

FREQUENT ERRORS: regrasp. Failure to rise high and bend the arms before releasing grasp. A slow

AFETY PRECAUTIONS: If failure occurs on the still rings, the student lands on his feet. When swinging, the same is true at the back end of the swing, but occasionally a two hand spot is used directly beneath the student. Hand spot all early attempts. This is very dangerous at the front end of the swing because if missed the performer lands on his back.

PROGRESSIONS OR COMBINATIONS: This is often used at the back end of the swing as a dismount, without the regrasp of course.

Stunt (27): HANDSTAND

PREREQUISITES: Handstand on the parallel bars. A hand-to-hand with a partner if possible. Ability to press the handstand.

DESCRIPTION: Maintain a handstand position on the rings.

ILLUSTRATION:

MAJOR CUES: Move your hands! They must be kept under you. Wrist and arm corrections are not enough on the rings.

TEACHING PROCEDURES: From the support position, lift the hips and press into the handstand position. To maintain the position, one can use the wrists and bend the arms, but this is not usually sufficient. Therefore, one must move the rings in the direction of the anticipated fall to maintain this position. Moving the rings is most necessary when overbalanced. Keep only a modest arch and maintain a slightly underbalanced position. The farther the rings are moved to the side, the more movement of the rings must be used to maintain balance.

FREQUENT ERRORS: Failure to move the rings to maintain balance. Failure to stay slightly underbalanced.

SAFETY PRECAUTIONS: Jackknife when falling on over to kill the swing. Use the legs on the ropes as a crutch.

PROGRESSIONS OR COMBINATIONS: When the stunt is reasonably secure while still, it can be mastered while swinging.

Stunt (28): FLANGE TO SHOULDER STAND

PREREQUISITES: Flange, shoulder stand.

DESCRIPTION: Using the forward lift of the beat, lift the legs and shoot them vertically up the ropes; lift the head and pull the rings in to the shoulders. Maintain balance in the shoulder stand.

ILLUSTRATION:

MAJOR CUES: Shoot straight up the ropes with all you've got!

TEACHING PROCEDURES: From a vigorous beat on the still rings, lift the legs forward as if to do a flange, except that the feet are directed straight up the ropes. As the hips attain the height of the rings, lift the head and shoulders back and pull the rings to the shoulders. If the student passes over the rings as in a flange, he is reaching too low with the legs and the head is probably being lifted too late. If he falls back first, he is reaching at an angle in front of the ropes and lifting the head too soon.

FREQUENT ERRORS: Poor beat. Legs go over too far. Failure to lift the head and arch. Piking too much on the way up.

SAFETY PRECAUTIONS: If the prerequisites are met, this is not at all a hazardous stunt; it is just difficult.

PROGRESSIONS OR COMBINATIONS: The stunt can be executed while swinging, usually at the front end of the swing. The ultimate goal is a flange to the handstand.

Still Rings

Still rings are usually a closed event -– that is, open only to all-around performers. They demand a remarkable combination of strength, balance, and flexibility. The most appealing rou­tines incorporate a change of pace; usually beginning with a fast free flowing series, then a bal­ance, next a series of strength feats followed again by another quick tempo, a display of power, and a snappy dismount.

At the present time, many coaches are looking to the international situation and are trying to do away with competition on the swinging rings. Still rings would then be an open event and provide the only form of competition on rings. In addition to the still work already presented, a few additional moves are described that relate specifically to the still rings.
Stunt (29): MUSCLE UP

ILLUSTRATION:

DESCRIPTION: Obtain a false grip. (Grip with ring crossing the palm of the hand at the base of the thumb to the outside of the wrist. The weight is supported by flexing the wrist, bending the arms, and rotating the hands so the fingers point to the head.) Chin to the rings quickly; then, when at maximum height, throw the elbows over the hands and lunge the head forward. Straighten the arms to attain the support position. Advanced performers hold a pike while executing the move.

Stunt (30): FAKE FRONT LEVER

ILLUSTRATION:

DESCRIPTION: When in an inverted hang, keep the body straight, flex the left leg at the hip, and bend the left leg so as to place the left foot on the right knee. Keeping the body straight, lower (heels leading) slowly until horizontal, and hold. Keep the rings close, arms straight, and the left knee as close to the chest as possible. Strive to learn the stunt with both legs straight. (A front lever.)
 Stunt (31): LAYOUT ROLLS

ILLUSTRATIONS:

DESCRIPTION: This stunt consists of forward and backward rolls done with a straight body.

Fronts are learned by doing a muscle up, then a roll down frontwards, then muscle up again. Backs are learned by slowing down the still flange in a series, then learning to do the series with the body as straight as possible. When done with the body straight, fronts require the equivalent of front levers and backs require a high bent arm lever.

Stunt (32): BACK LEVER

ILLUSTRATION:

DESCRIPTION: From the inverted hang position, arch the body, head back, and slowly lower backwards to the horizontal position. Hold the arch and keep the rings in close. This stunt is easier than it first appears. Think of holding the arch. The grip should allow the thumbs to be in, knuckles down.

Stunt (33): FRONT LEVER

ILLUSTRATION:

DESCRIPTION: From the inverted hang position, lower to a fake front lever, then straighten out the bent leg, and hold. After achieving this in the above fashion, try it
with both legs straight all the way.

Stunt (34): IRON CROSS

ILLUSTRATION:

DESCRIPTION: From the support position, rotate the shoulders forward (lift the hips a little), then keeping the arms straight, lower until the arms are horizontal, and hold. To learn and to warm up have teammates hold the performer's legs and assist. Be warmed up to this stunt carefully. Do not try it after a long lay off. To develop the strength necessary for this stunt, do muscle ups keeping the rings as far apart as possible.

Stunt (35): OLYMPIC CROSS

ILLUSTRATION:

DESCRIPTION: From the support position with arms straight, twist to the right and lower until the arms are horizontal. Arch the back and lean back. Try to face your right hand.

Stunt (36): STRAIGHT ARM PLANCH

ILLUSTRATION:

DESCRIPTION: From the handstand on the still rings, lift the head and slowly lower the feet to­ward the horizontal. As this is done, rotate the hands so the thumbs go out and fight to hold the arch. Balance is maintained by shifting the arms out or back depending on necessity. Do not expect to hold this very long.

Stunt (37): INVERTED CROSS

ILLUSTRATION:

DESCRIPTION: From the handstand (still) position rotate the hands so the thumbs are forward; then with arms straight, carry the hands sideward. When the arms are near the horizontal, try to hold. Balance must be maintained by moving the rings forward or backward as re­quired. Obviously this is a very difficult stunt.

TEACHING PROCEDURES: There are two ways to establish the timing for the uprise. The one illustrated here is easier for the beginner. After the stunt is learned, the timing can be initiated from other stunts. While swinging backward in the bent inverted hang, drop from the bent inverted hang as the rings pass the center. Initial attempts should be made on still rings from a high beat. As the legs rise to the height of the waist, stiffen the hips by piking slightly and pull the rings down to attain the support position. If the pull is initiated too soon, the beat will be lost and its lift dissipated because the arms will be bent.

FREQUENT ERRORS: Inadequate beat. Poor timing.

SAFETY PRECAUTIONS: The only danger is in falling through the rings from above. The stu­dent must know that he should release the rings if he falls through and drop to his feet. An assist can be applied at the chest and thigh on still rings.

PROGRESSIONS OR COMBINATIONS: This stunt is useful in routines on all levels of competition. Seniors usually rise with arms pulled down straight and to the side; this is sometimes called a "butterfly.M

Stunt (17): KIP

PREREQUISITES: Basic orientation above the rings. Strength enough to do several dips on the rings. Basket kip on parallels and kip on high bar.

DESCRIPTION: From the bent inverted hang position, extend at the hips with an explosive effort at an angle slightly below the vertical. Using the lift thus obtained, rise to the support position.

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