HORIZONTAL BAR

Introduction

The horizontal bar is one of the most difficult pieces of apparatus. The requirements of strength, timing, coordination, and daring -– typical of gymnastics -– seem to be somewhat ex­emplified on the horizontal bar. As in all life situations, the element of danger is present but, as with all gymnastics, if approached in a progressive manner the element of danger can be re­duced to the point where the performer will recognize the potential dangers and respect these conditions, but without fears.
The diagrams below illustrate the grips most commonly utilized on the horizontal bar.

Regular Under Mixed Cross

Recommended Learning Sequence on the Horizontal Bar

1. Knee Hang (hock hang) 15. Uprise
2. Knee Mount 16. Reverse Kip
3. Knee Circle 17. Free Seat Circle Backward
4. Pull-over 18. Seat Circles Forward
5. Hip Circles Backward 19. Seat Rise
6. Back Pull-over 20. Seat Circle Forward to Dislocate
7. Little Drop 21. Fly Away
8. Kip 22. Three-quarter Giant
9. Sole Circles 23. Giant Circles -– Front Rotation
10. Hip Circles Frontward 24. Giant Circles -– Back Rotation
11. Knee Circles Backward 25. Grip Changes While Doing Giants (fronts to
12. Cherry Drop backs)
13. Big Drop 26. Grip Changes While Doing Giants (backs to
14. Cast fronts)

Description of Activities

The first six stunts presented are fundamental maneuvers rather than complex stunts as such; for this reason they are not presented in the same detail as those that follow.

Stunt (1): KNEE HANG (Hock Hang)

PREREQUISITES: Ability to raise legs to the bar.

DESCRIPTION: From a hanging position overgrip, flex at the waist and pass the legs through between the hands to engage the legs over the bar. Keeping the legs bent at the knee, hang upside down. To recover, bend at the waist to grasp the bar; then disengage the legs and return to the standing position.

ILLUSTRATION: A

SAFETY PRECAUTIONS: The spotter can hold the feet until assured that the student is capable of keeping his knees bent. The stunt can be taught initially on the low horizontal bar or on the parallel bars.

Stunt (2): KNEE MOUNT PREREQUISITES: The knee hang and an opportunity to sit with one leg over a low bar.

DESCRIPTION: From a hanging position normal grip, pull one leg up and pass it over the bar engaging the back of the knee with the knee bent. By swinging the other leg, generate enough swing to rise above the bar. The important factor in the rise is throwing the elbows up over the bar and lunging forward with the head and chest as the head reaches its maximum height at the end of the back swing. If the student wishes to remain on top of the bar, the bar should be shifted from behind the knee to up high under the leg.

ILLUSTRATION:

SAFETY PRECAUTIONS: A stand-by spotter should help the participant maintain balance while above the bar by steadying the legs.

Stunt (3): KNEE CIRCLE

PREREQUISITES: Knee mount.

DESCRIPTION: After executing a knee mount to above the bar, reverse the grip, lift the body and hook the foot of the engaged leg behind the free leg; keep both legs as straight as possible, and pushing away from the bar, lean forward to go for the stunt. As the body starts to rise, flex at the waist and pull in over the bar.

ILLUSTRATION:

SAFETY PRECAUTIONS: A stand-by spotter should be present to help the performer when he stops the circles.

Stunt (4): PULL-OVER PREREQUISITES: Sufficient strength to execute about five chins.

DESCRIPTION: Execute a chin; then lift the legs and hips vigorously over the bar. At the same time, allow the arms to straighten and the head to drop back. Stay as close to the bar as possible. After proficiency is developed, the pull-over can sometimes be done without the body touching the bar as it passes over. This requires a quick rotation of the hands to above the bar, thus providing support as the body passes over the bar. The stunt is easiest when started by jumping from the mat.

ILLUSTRATION:

SAFETY PRECAUTIONS: A stand-by spotter should be provided.

Stunt (5): HIP CIRCLES BACKWARD
PREREQUISITES: Pull-over.

DESCRIPTION: From the support position (regular grip), swing the legs back, then forward vigorously. Upon contact with the bar, the head and shoulders are dropped back; the arms are kept straight. The momentum of the legs should carry the performer under the bar and back up to the support position. This stunt should be taught before the uprise is attempted.

ILLUSTRATION:

SAFETY PRECAUTIONS: A stand-by spotter should be present.

Stunt (6): BACK PULL-OVER

PREREQUISITES: Knee hang and "skin the cat" (see Rings).

DESCRIPTION: Using the regular grip, pull the legs through between the hands and under the bar; then arch the back over the bar and pull over to a sitting position. Sometimes it helps to bend the knees. Spotters can hold the feet to help maintain balance. It will also be helpful to lift at the shoulders. All performers will not be able to learn this stunt and should not be discouraged if success does not come quickly.

ILLUSTRATION:

SAFETY PRECAUTIONS: Spotters assist and prevent the performer from dropping with any force on either side of the bar.

Stunt (7): LITTLE DROP PREREQUISITES: Knee hang and good orientation on the bar.

DESCRIPTION: Swing while in knee hang position; and, at the end of the swing when the back is up, release the legs and drop to the mat on the feet.

ILLUSTRATION:

MAJOR CUES: Keep the bar securely behind the knee. Straighten the legs quickly at the end of the swing and pull the feet down.

TEACHING PROCEDURES: The fewer swings taken the better. The legs are released when the head is up and the belly down. To obtain swing, lift the arms and trunk; then extend the body away from the bar keeping the head as high as possible before gravity takes over and the swing begins. Initial attempts should be taken by having two spotters swing the student; usually it is best to agree that the release be executed at the end of the third swing; one spotter should count aloud.

FREQUENT ERRORS: Flexing at the hips causing the swing to die. Releasing too soon.

SAFETY PRECAUTIONS: There should be one spotter on each side grasping the upper arm. Help the student obtain swing and hold him until balance is attained.

PROGRESSIONS OR COMBINATIONS: It is possible to turn and catch the bar with the hands in­stead of dropping off. This leads to knee circles without the hands and is a prerequisite to the big drop.

Stunt (8): KIP PREREQUISITES: Pull-over, hip circles backward, and familiarity with the apparatus.

DESCRIPTION: By extending from a pike at the end of the back swing, the performer rises with straight arms to the support position above the bar.

MAJOR CUES: Don't rush the timing! Kick at the end of your back swing, the knees.Feet to the bar, not

TEACHING PROCEDURES: This stunt can be taught in three distinctly different ways; the most fruitful method is presented here. With regular grip, obtain a 90° swing. As the forward swing progresses, arch vigorously; as the body stops prior to swinging backwards, pull the feet to the bar by flexing at the hips. As soon as the feet reach the bar, kick upwards at a 45° angle from the floor. The kick is actually an arch intended to elevate the hips. At the same time, throw the wrists and elbows over the bar so the body can be supported in the support position. No bend in the arms is required; only a downward push against the bar.
FREQUENT ERRORS: Trying to "muscle11 the stunt, bar rather than the feet. Rushing the timing. Lifting the hips to the

SAFETY PRECAUTIONS: This is not a dangerous stunt. Just be sure that the thumbs are hooked in a regular overgrip. Do not permit too much practice at one time because the hands have quite a load and may tear.

Stunt (9): SOLE CIRCLES

PREREQUISITES: The kip, confidence, good orientation, and back hip circles.

DESCRIPTION: From above, with the hands in regular grasp and the soles of the feet on the bar with legs spread wide, drop backwards and complete a circle around the bar.

ILLUSTRATION:

MAJOR CUES: When you drop back, stay away from the bar. As you rise, squat low and pull in above the bar. If you don't make it, release your grip and jump off.

TEACHING PROCEDURES: Lower the bar for easier mounting and spotting. The performer jumps to a front support regular grip, casting feet sharply back. Lift the buttocks and place the feet on the bar wide apart and legs straight. The performer can climb into this position if he prefers. Now drop backward staying as far away from the bar as possible, swing under the bar and as the lift diminishes, pull into the bar and squat back over the bar. To execute a second circle, straighten the legs and push away from the bar as before. Students should be instructed to release the grip, stand on the bar, and jump if they fail to complete the circle. The spotter should catch the upper arm close to the shoulder and prevent a reverse swing. Spotters should practice while performer swings beneath the bar.

FREQUENT ERRORS: Failure to squat as the body nears the maximum height of its lift.

SAFETY PRECAUTIONS: Lower the bar so spotters can catch the student's arm at the shoulder if he should fail to complete the circle and thus find it necessary to jump forward. Prior to the first attempt, hang and swing in the sole circle position to "feel" it out.

PROGRESSIONS OR COMBINATIONS: This can be used as a dismount as follows: extend, and as the body stops on its upward course, release the hands, stand on the bar, and jump to the mat. Some advanced performers pull in from giants to sole circles and then back to giants again. The knees can be kept straight.

Stunt (10): HIP CIRCLES FRONTWARD

PREREQUISITES: Pull-over, kip, and back hip circles.

DESCRIPTION: The performer rotates around the bar from the front support forward to the front support again.

ILLUSTRATION:

MAJOR CUES: Start high! Just before your head passes beneath the bar, leave your legs behind. Throw your elbows over the bar.

TEACHING PROCEDURES: From the front support, overgrip, lift the hips slightly; then lunge forward allowing the legs to follow until the head is almost beneath the bar; then hold the legs motionless if possible and lunge the head forward. The thighs support the body when the performer is changing grip. The performer tries to complete the rotation with his torso, then lets the legs follow. At the outset the head and feet should move at the same speed.
 
FREQUENT ERRORS: Failure to lunge with head and shoulders, elbows over the bar. Failure to get the wrists and
 
SAFETY PRECAUTIONS: No special precautions are necessary except that the thighs must not lose contact with the bar. A spotter should stand by.
PROGRESSIONS OR COMBINATIONS: This is an excellent transition move often used in advanced routines.

Stunt (11): KNEE CIRCLES BACKWARD

PREREQUISITES: Little drop, and thorough familiarity with the bar -– particularly with refer­ence to the grip and direction of rotation.

DESCRIPTION: From a sitting position on the bar execute a complete circle around the bar back­ward.

ILLUSTRATION:

MAJOR CUES: Stay away from the bar on the way down; then, as you rise above the bar, pull in close to it.

TEACHING PROCEDURES: Initial attempts should be made on the low bar. From a sitting posi­tion on the bar, overgrip, slide back to engage the back of the knees; then extend the head and body as far away from the bar as possible. Maintain this position until the speed of rotation begins to diminish; then pull in close to the bar by flexing at the waist and bending the arms. If successive circles are desired, the performer must extend the body while descending, swing beneath the bar, then pull in and over the bar each time.

FREQUENT ERRORS: Failure to get far away from the bar as the stunt is initiated, sit low to complete the stunt.

Failure to

SAFETY PRECAUTIONS: Lower the bar. A spotter should stand by to assist in the
event the at­tempt is not successful. Most students prefer to jump off the bar if they fail rather than rotate contrary to their grip.

PROGRESSIONS OR COMBINATIONS: The next advanced progression is to execute the stunt with­out using the hands. See the Big Drop (Stunt 13).

Stunt (12): CHERRY DROP

PREREQUISITES: Knee rise, back pull-over. Ability to land from the height of the bar and ability to dismount from straddle position on partner's shoulders.

DESCRIPTION: From a sitting position on the bar, lay back and dismount from the bar to land on the feet.

ILLUSTRATION:

MAJOR CUES: Leave your legs on the bar until you see the mat under the bar; then pull them with you quickly.

TEACHING PROCEDURES: From a sitting position on the bar, regular grip, place the bar higher on the buttocks at the fleshiest point; then, still holding the bar, lay back slowly. If the bar is properly placed, the head and torso will be somewhat heavier than the legs, thus causing the head to continue to lower. The legs should remain over the bar until the mat is visible beneath the bar; at this point the legs should be pulled quickly over the bar and, as the but­tocks start to leave the bar, the hands can be released. When proficiency is developed, the hands can be released after the bar is placed properly on the buttocks.
FREQUENT ERRORS: too late. Bar not placed high enough on the buttocks. Pulling legs over too soon or

SAFETY PRECAUTIONS: Initial attempts should be made with hands on the bar. Spotters can hold the feet, then catch the shoulder as the student lies back.

PROGRESSIONS OR COMBINATIONS: This is a simple dismount that helps develop the confidence for more advanced dismounts.

Stunt (13): BIG DROP PREREQUISITES: Knee hang and little drop, back knee circle using the hands, and cherry drop.

DESCRIPTION: Sit on the bar; then slide back, catch behind the knees, and swing down under the bar; at the end of the swing, release the legs and drop to the mat.

ILLUSTRATION:

MAJOR CUES: Straighten the body at the hips. Wait for the end of the swing before releasing. Land on your toes and bend your knees upon landing. Look for the mat!

TEACHING PROCEDURES: The first attempts can be done by holding the bar with the hands while sitting on the bar. Slide the hips back, keeping the head and shoulders high; when the legs are engaged with the bar, release the hands, extend the trunk in an upward and outward manner to obtain swing, swing to the end of the swing, and drop off. The next progression is to slide back flexing at the waist but using no hand hold, extend up and out when the knees engage, swing through and drop. As proficiency develops, the drop of the hips initiating the stunt can be somewhat reduced thus accelerating the velocity of the swing.

FREQUENT ERRORS: Releasing too soon. Failing to straighten the body at the hips before it reaches the inverted vertical position.

SAFETY PRECAUTIONS: Use the overhead mechanic during initial attempts. Spotters should be on each side of the performer with eyes focused on the upper arm arid shoulder; grasp the upper arm on early attempts. As proficiency develops, place the hand on the chest just as the performer releases.

PROGRESSIONS OR COMBINATIONS: This is a prerequisite to the free knee circles, can be done with a turn and catch rather than dropping off.

Stunt (14): CAST PREREQUISITES: Ability to chin oneself easily.

DESCRIPTION: The performer lifts his body forward, upward, and away from the bar; gravity then pulls the body down, and a high swing is initiated.

MAJOR CUES: Chin first. Throw the feet high; then push away from the bar. hips are lifted, the higher the swing.
The higher the

TEACHING PROCEDURES: Lower the bar to chin height and place a rolled up mat just in front of the student while he grasps the bar. Have him jump vertically, then swing under the bar raising his feet over the mat. Then by throwing the bar back over his head and releasing it, he can land on his feet, having cast over the mat. Gradually raise the bar and continue. When the bar is at near maximum height, the cast movement may be executed by jumping to the bar and immediately chinning; then swing under the bar as the legs and hips are lifted and extended vigorously. The bar is then pushed over the head as before, but not released, thus creating a high swing.

FREQUENT ERRORS: Failure to lift the hips. Failure to push the bar back over the head.

SAFETY PRECAUTIONS: Do not permit students to swing back and forth without purpose. The hands will develop needless blisters and the student may peel off the bar. Cast swing back and drop to the mats at the back end of the swing.

PROGRESSIONS OR COMBINATIONS: The stunt most often done from a high cast is the uprise, and its variations.
Stunt (15): UPRISE PREREQUISITES: Excellent cast, kip, thorough familiarity with the bar and back hip circle.

DESCRIPTION: With a high cast, utilize the lift at the back swing and rise to a front support. This stunt is followed by a backward hip circle.

MAJOR CUES: Get a high cast! Pike and pull into the bar!

TEACHING PROCEDURES: Using the regular grip, execute as high a cast as possible. As the vertical position is passed, begin to press down on the bar and pike slightly by flexing at the hips. The velocity of the swing should be adequate to cause the participant to rise to the support position. As soon as possible this stunt should be combined with the back hip circle because the legs come into the bar quite rapidly and the circle is effective as a means of absorbing this momentum. If the attempt fails, be prepared to drop from the bar rather than to swing to and fro.

FREQUENT ERRORS: Inadequate cast. Failure to pike slightly before reaching back of the swing.

SAFETY PRECAUTIONS: Do not permit repeated swings in an attempt to attain more height since this invites peeling off.

PROGRESSIONS OR COMBINATIONS: This is one of the most common mounts used in intermedi­ate competition.

Stunt (16): REVERSE KIP

PREREQUISITES: Ability to lift the legs quickly, and superior orientation. Capacity to recover if attempts are unsuccessful. (Back knee circles should serve as a good test of orientation and ability to recover.)

DESCRIPTION: From a swinging bent inverted hang, the head is lifted and the body rises above the bar, head leading, and back to the bar.

MAJOR CUES: Wait until your head is high before you lift it. and leave your legs where they are. Lift your head to arch your body,

TEACHING PROCEDURES: With the regular grasp, obtain a 90° swing. At the front of the swing, lift the legs quickly and pass them through the arms under the bar. An acceleration of swing should be noticed when the legs are lifted in this manner. Ride the swing forward now and wait until the head is high and the acceleration is starting to diminish; then lift the head and shoulders as hard as possible in order to arch the body. Allow the legs to trail; do not lift them. As the head is lifted, the hands should be quickly rotated above the bar so that they can support the body.

FREQUENT ERRORS: Insufficient swing. Lifting the head too soon. Failure to arch when the head is lifted. (If the student fails to arch, the buttocks will hit the bar and prevent the lift.)

SAFETY PRECAUTIONS: A spotter should stand by to assist if the performer drops from the bar after an unsuccessful attempt. For intermediate and advanced students this stunt is not dangerous. When failure occurs, always drop off the bar to land on the feet.

PROGRESSIONS OR COMBINATIONS: This stunt is often used as a mount, and may be combined with free back seat circles in advanced routines.

Stunt (17): FREE SEAT CIRCLE BACKWARD

PREREQUISITES: Reverse kip. (Although this stunt is relatively easy to learn after mastering the reverse kip, it is seldom learned before the reverse kip.)

DESCRIPTION: From a free sitting position above the bar, drop backwards and completely circle the bar, returning to a free sitting position above the bar.

ILLUSTRATION:

MAJOR CUES: Keep your legs away from your chest. Don't drop your hips back; let your head lead all the way.

TEACHING PROCEDURES: Lower the bar to chin height. Use a free or supported seat position, regular grasp. Keeping the hips forward, the legs at a right angle to the body, and the arms straight, drop backwards; swing under the bar and as the momentum begins to de­crease and the head is high, lift the head and shoulders so as to arch the body. The hands are rotated around the bar quickly as in the reverse kip to provide support as the weight passes over the bar again. Successive circles may be executed by again piking and falling back.

FREQUENT ERRORS: Dropping the hips. Lifting the head too soon.

SAFETY PRECAUTIONS: If the prerequisites are met, the spotter need only stand by. If the student fails, he should drop off the bar. The bar can be lowered for initial attempts to facilitate mounting and spotting.

PROGRESSIONS OR COMBINATIONS: This stunt usually follows the reverse kip when used for a mount.

Stunt (18): SEAT CIRCLES FORWARD

PREREQUISITES: Good orientation, uprise, forward hip circles.

DESCRIPTION: From a supported sitting position above the bar, with the undergrip, lunge for­ward and rotate all the way around the bar to a supported sitting position again.

ILLUSTRATION:

MAJOR CUES: Get as far away from the bar as possible as you descend. Ride your swing. Pull in over the bar.

TEACHING PROCEDURES: From the supported seat above the bar with reverse grip, elbows locked, elevate the hips as high as possible; then still lifting, lean forward to go for the stunt. Keep all the swing possible and use all the lift before lunging and pulling in over the bar. The performers should be prepared to go on over the bar into a second circle. Stu­dents should strive to learn consecutive circles.

FREQUENT ERRORS: Failure to elevate the hips as each successive circle is initiated. Pulling into the bar too soon.

SAFETY PRECAUTIONS: Lower the bar, if possible, for easier mounting and to enable the spot­ter to assist if the performer needs a little help completing the stunt. It is best to catch the performer if he fails to make the stunt on the first few attempts; thereafter he can easily catch the bar behind his knees.

PROGRESSIONS OR COMBINATIONS: The next progression is the seat rise, and then the dis­locate.

Stunt (19): SEAT RISE
PREREQUISITES: Cast, kip, and uprise.

DESCRIPTION: At the end of the forward swing, pass the feet between the hands and, as the swing progresses, rise to a free sitting position above the bar.

MAJOR CUES: Ride the swing out before you lunge forward.

TEACHING PROCEDURES: Using the undergrip, execute a high cast to obtain a good swing. At the end of the forward swing, pull the feet up quickly so as to pass back under the bar in a tight piked position. Ride the swing up as high as possible before lunging forward and over the bar. In the event of failure, catch the bar as in a knee hang. If success occurs and momentum is too great to stop, the performer can either jump or attempt to go around the bar and rise again.

FREQUENT ERRORS: Pulling too soon, and not enough swing.

SAFETY PRECAUTIONS: Hand spot in the event of failure until assured that the performer will catch bar behind the knees. Also spot in the event he goes on over.

PROGRESSIONS OR COMBINATIONS: This stunt leads to forward circles and the dislocate. Most students learn the forward circles first.

Stunt (20): SEAT CIRCLES FORWARD TO DISLOCATE

PREREQUISITES: Seat circles and familiarity with the dislocate grip.

DESCRIPTION: As a forward seat circle is completed, spread the arms, dislocate and swing down beneath the bar.

ILLUSTRATION:

MAJOR CUES: Slide your hands out as you clear the bar; keep your hips as high as possible when you go for the dislocate.

TEACHING PROCEDURES: The dislocate portion of the stunt can be taught separately. Lower the bar to armpit height on the spotter. The student should sit on the bar, reverse grip, swing the legs back, then up hard to lift the hips as high as possible. As soon as the hips leave the bar, the hands can slide outward to a wide grip. As soon as the hips are high, spotters (one on each side) catch the student as the shoulders dislocate. Once the student feels secure, the bar should be raised and the stunt tried with the bar at normal height and spotters standing by. When the student reaches the back end of his swing, he must pull up slightly and change from dislocated grip to regular grip. After confident performance of the above, the student should have little difficulty combining the seat circle and the dislocate, with spotters again on the low bar. The dislocate must be attempted before actually passing over the bar; if not, the hips will be too low and a jerk will result.

FREQUENT ERRORS: Failure to keep hips high. Poor seat circle. Not going for the dislocate before passing over the bar.

SAFETY PRECAUTIONS: Free spotters should be stationed on each side. The seat circle dis­locate can be done first on a low bar with spotters catching the performer just as the dis­locate is executed.

PROGRESSIONS OR COMBINATIONS: This is an advanced stunt and the performer should attempt to master an uprise to terminate the series.

Stunt (21): FLY AWAY

PREREQUISITES: A good cast, sole circle dismount. Back layouts on the trampoline are a big help; good orientation is necessary.

DESCRIPTION: At the end of the forward swing with body extended, release the grip and execute a back flip landing on the feet.

ILLUSTRATION:

MAJOR CUES: Snap the head back and throw the bar away. Look for the mat and pull your feet around to it. Release the grip just before you reach the maximum height of your swing.

TEACHING PROCEDURES: With the student in an overhead mechanic obtain high cast; swing back, then forward, and as the momentum diminishes the head is snapped back, the bar released, and the body arched by a continuing backward pull of the head. The mat should immediately be visible and the attention should be directed at pulling the legs around by piking so as to make a controlled landing. If the cast is inadequate it will be necessary to tuck, that is pull the knees up. The swing can be obtained by starting from above the bar in a front support position, then casting as if going into a handstand. The next step is to learn the stunt out of a back giant (overgrip). The overhead support ropes must be so arranged in relation to the bar as to provide support while executing the fly away. If done out of giants, the body is usually kept arched throughout the swing through, as well as in the fly away.

FREQUENT ERRORS: see the mat. Releasing the grip too early or too late. Pulling into the bar. Failure to

SAFETY PRECAUTIONS: This stunt should be taught in an overhead harness, or at least in a hand safety belt. Initial attempts can be done with a tuck to gain confidence.

PROGRESSIONS OR COMBINATIONS: This is one of the safest and most often utilized of the advanced dismounts. It is sometimes done with a full twist, and occasionally performers tuck and complete a double back flip. It usually looks best in the layout position as illus­trated.

Stunt (22): THREE-QUARTER GIANT PREREQUISITES: Sole circles, back hip circles, uprise, and confidence on the bar.

DESCRIPTION: From a front support, cast the feet back and up. With the swing thus initiated, swing uader, up, and over the bar without touching the bar to the body.

ILLUSTRATION:

MAJOR CUES: Pull over by piking, then arch to stay away from the bar. the hands around on top of the bar for support.
When you arch, rotate

TEACHING PROCEDURES: From the front support using a regular grip, cast the feet back and up as if to do a handstand. With the body fully extended and the arms straight, swing down, and as the vertical position is reached, lift the feet and try to pull them over the bar. As the thighs rise above the height of the bar, arch by looking at the bar and at the same time rotate the hands to a position above the bar to permit support of the body. When one circle is complete, drop to the feet.

FREQUENT ERRORS: Failure to arch or rotate hands. Insufficient swing.

SAFETY PRECAUTIONS: Do not let the bar hit you in the chin. A spotter should stand by to help kill the swing if necessary. The overhead mechanic is recommended.
PROGRESSIONS OR COMBINATIONS: This stunt is presented only because it is so helpful in learning the giant. It develops confidence and enables the instructor to assure himself that the student is ready for giants.

Stunt (23): GIANT CIRCLES -– FRONT ROTATION

PREREQUISITES: Kip with undergrip, uprise, and cast to a handstand on the low bar.

DESCRIPTION: Cast to a handstand from the front support with reverse grip, then circle the bar with heels leading to the handstand position again.

ILLUSTRATION:

MAJOR CUES: Get a handstand, get high, straight arms, buttocks over the bar. Pike all the way up. Try to get your

TEACHING PROCEDURES: Practice cast to the handstand with reverse grip on low bar, get high, straight arms, go on over, turn a drop to the feet. To execute the giant circle, kip to the front support with reverse grip, cast the feet back and up to a handstand, drop the head and swing down with straight arms and body; as the rise begins, initiate a pike by flexing at the hips. Think of lifting the buttocks over the bar. When the balance point is passed, straighten the body and again drop the head to continue another circle. To stop, either pull in and up­rise, or drop off as the swing starts to reverse after purposely failing to make the giant. Sometimes when a giant is failed, it is easy to lunge over the bar with bent arms and then kill the swing.

FREQUENT ERRORS: on the rise. Failure to straighten the arms while in the handstand position. No pike

SAFETY PRECAUTIONS: Use of the overhead mechanic makes the coach feel more comfortable. If the giant is failed it is possible to uprise by pulling into the bar or simply drop off. Spot­ters stand by, be alert, and talk the student around. It is often helpful to have two assistants sit on the bar and help the student on over. Before attempting the giant, cast as for an up­rise; then instead of pulling in, drop to the feet for practice.

PROGRESSIONS OR COMBINATIONS: This stunt is done in all advanced routines, and is a pre­requisite to most senior high school and all college competition.

Stunt (24): GIANT CIRCLES — BACK ROTATION (Overgrip)

PREREQUISITES: Uprise and three-quarter giant, drop from handstand on either side of bar, ability to cast to handstand. The handstand. Front giants should be taught first, but the reverse grip tends to discourage some students

DESCRIPTION: From the front support position, cast the feet back and up to the handstand posi­tion; then swing at arms length all the way around the bar.

ILLUSTRATION:

MAJOR CUES: Cast to a handstand. Swing down without arch, and rotate the hands to above the bar. Pike slightly, pull up, then arch

TEACHING PROCEDURES: Either an overhead harness or the wrist straps may be used. The instructor must be assured that the student can turn out of the handstand position or kill his swing by jackknifing in the event the circle is not completed. Assurance must also be deter­mined regarding dropping off when one circle is complete. These precautions are especially necessary when attempts are made without spotting devices. See Safety Precautions below. From the front support position, cast the feet back and up to attain an underbalanced hand­stand on the bar. Swing down without arch and, as the rise begins, pike slightly pulling the legs upward. When the hips have reached the height of the bar, arch vigorously by looking back at the bar and at the same time rotate the hands to a position above the bar. If suc­cessful, the circle will be completed.

FREQUENT ERRORS: Failure to get a high enough initial cast. Failure to pike slightly on the way up. Failure to arch and shift the hands.

SAFETY PRECAUTIONS: 1. On the low horizontal bar deliberately practice casting to an over­balanced handstand; this requires student to turn off the bar and drop to his feet. If the student fails to complete a giant circle, he is usually in an overbalanced handstand. One of two alternate moves must be taken immediately to avoid the swing back from such a height with an overgrip and the possibility of peeling off. The performer must turn and drop to his feet, or he must drop straight down and jackknife to kill his swing. The jackknife is often taught with wrist straps on, and the turn off taught on a low bar.

THE TURN OFF

THE JACK-KNIFE TO KILL SWING 173
2. To drop to the mat from a back giant, pull the legs down as the giant is completed and look at the mat. Use the bar to help keep the balance but do not continue to swing around it if bailing out. Bend the legs on landing and roll if necessary. Do not pull the legs too far under the bar.

1. It is possible to pull in to hip circles. When one would normally arch hard to complete the giant, pike quickly instead. This will bring the body into the bar and result in a quick hip circle.
2. Without the overhead mechanics, two spotters should assist the performer from on top of the bar, and two men should spot under the bar. Danger occurs when the giant is not completed.

PROGRESSIONS OR COMBINATIONS: This is essential to all senior routine work, progression is to change from front giants to backs. The next
 
Stunt (25): GRIP CHANGES WHILE DOING GIANTS (Fronts to Backs)

PREREQUISITES: Reliable giants and confidence. Ability to come into the bar, drop off, or kill the swing in the event the giant cannot be completed. Some practice on pirouettes in hand­stand.

DESCRIPTION: While doing giants with the undergrip, pirouette in the handstand position and continue doing overgrip giants.

ILLUSTRATION:

MAJOR CUES: Be sure to make the giant. Keep the hands a little closer together than usual.

TEACHING PROCEDURES: To change from front giants (undergrip) to back giants (overgrip), the performer completes the giant to a handstand position, and, as this position is being passed, a half twist or pirouette is executed (either right or left); only one hand is moved. Lean heavily on the pivot hand. The pivot hand never changes, but the hand that is released to execute the pivot must regrasp with an overgrip. Thus both hands will have the overgrip, and front giants may be executed. This grip change is easily mastered on a low bar by casting to the handstand, with undergrip, executing the pirouette and regrasp, then dropping to the feet. When confidence is attained and execution becomes consistent, the change may be attempted. If the swing is crooked after the grip change, correct by moving the pivot hand after the change.

FREQUENT ERRORS: Taking too wide a regrasp causing the back giant to be crooked.

SAFETY PRECAUTIONS: The prerequisites must be mastered, and spotters provided on both sides under the bar.

PROGRESSIONS OR COMBINATIONS: This stunt is essential to so-called senior competition.

Stunt (26): GRIP CHANGES WHILE DOING GIANTS (Backs to
Fronts)

PREREQUISITES: Reliable giants both ways and confidence.

DESCRIPTION: While doing giants with the regular grip; take a cross grip, then, after popping for the giant, turn and take the reverse grip and continue doing giants.

ILLUSTRATION:

MAJOR CUES: Pop for the giant with cross grip, then turn.

TEACHING PROCEDURES: To change from back giants (overgrip) to front giants (undergrip), the performer proceeds as follows: as the giant is completed and the body passes the point of balance above the bar, the right hand is released and passed over the left hand to an im­mediate cross hand grip. The giant is continued as with the regular grip until the arch is executed. The arch must be exaggerated, and the turn should not be anticipated. After the arch is executed, the performer pirouettes quickly to the right and changes the left hand to. an undergrip. This grip change is normally completed just as the balance point is reached. Giants with the undergrip can then be continued.

FREQUENT ERRORS: Failure to make the cross grip giant.

SAFETY PRECAUTIONS: Practice the cast back from the support to a cross hand grip. While in the belt, a few cross hand grip giants should be attempted. After these preliminaries, spotters should stand beneath the bar. The Ponds twisting belt may also be utilized.

PROGRESSIONS OR COMBINATIONS: competitors. This grip change is expected of college and senior

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