ARM - SUPPORT TRAVELS Arm support is support the weight on the hands and lifts the hips off

the floor. Arm support travel is support the weight on the hands and lift the hips off the floor involves releasing and regrasping both bars.

Biomechanical Analysis

3 4 7

Static equilibrium

The combination begins with a handstand position and serves to illustrate the vertical alignment of body segments over the base of support at the hands (frame 1). Static equilibrium exists when the line of gravity is within the base of support. This is secured only when the gymnast's center of gravity is over the base of support.

Static equilibrium is improved when major joints are stabilized by recruiting specific muscle fiber types in particular muscle groups. Stabilizing joints at the elbow, shoulder complex, back, and pelvis are particularly important. The elbow joint is best stabilized when fully extended. This prepares the gymnast for controlling forward swing in frames 2-5. The shoulder girdle (scapula and clavicle) is elevated, and related articulations stabilized, in order to facilitate a hollow chest position. Pelvic alignment is secured by adequate strength in the abdominal and hamstring muscles because these muscle groups reduce anterior pelvic tilt and lumbar hyperextension. This is augmented by proper levels of flexibility in hip flexor and erector spine muscle groups. Consequently, securing a straight handstand in equilibrium is highly dependent on a strength balance between agonist and antagonist muscle groups, along with related connective tissue flexibility.

Body segments and the tap

A beat or tap action at the bottom of the swing (frames 3-4) creates a reaction force from the bars that acts as an upward motive force. The effects of the tap action can accentuate the angular momentum phenomenon when preparatory body segment position occurs. A hollow chest position out of the handstand assists in setting up the tap action. The following are necessary sequential anatomical adjustments when moving into the tap: a) chest leading and legs trailing in order to position the body prior to the bottom of the swing, b) lowering the total center of gravity by relaxing the shoulder girdle into the bottom point of the swing, c) pulling backward on the bar and quickly moving the legs forward out of the swing bottom. Tapping technique follows the point where the chest passes the bottom of the swing. The purpose of the tap is to maximize the relationship between movements of the gymnast's shoulder girdle, bar reaction force, and resulting increased angular velocity of the lower body at the hip joints. The effects of the resistive force of gravity during the forward swing (frame 3) are

reduced when the tap action is well timed. Such relationships are important in implementing sufficient angular momentum for a dynamic stutzkehre forward.

Elbow joint locking mechanism

Parallel bar swing in straight arm support requires that there be anatomical adjustments at the proximal radioulnar and glenohumeral joints. Particular adjustments at these joints provide a locking mechanism for maintenance of full elbow extension. The elbow joint is uniaxial and only allows flexion and extension. This hinge joint does not permit motion around the longitudinal axis; therefore, necessary anatomical adjustments are made at associated articulations.

Necessary preparation occurs through supination of the lower arm at the radioulnar joint and slight outward rotation of the humerus at the shoulder joint. These movements are around the longitudinal axis in the transverse plane. The result is to limit elbow joint flexion created from a buckling action at the bottom point in the swing. This can be problematic when an explosive maneuver is required. The pull of gravity is difficult to control unless the anterior elbow is facing forward immediately prior to and at the bottom of the swing (frame 3). The locking mechanism is particularly relevant when coupled with the effects of high levels of centrifugal force created in angular motion. The gymnast flies away from the axis of rotation when support is lost due to the bucking effect. Consequently, the gymnast's anatomical structure serves to maintain control, at this critical point in the swing, and positions the body segments to receive the inwardly directed centripetal force from the bars in order to counteract centrifugal force.

Maximizing forward angular displacement

Angular displacement on the forward swing (frames 1-5) can be maximized by releasing one bar (frame 5). The result is increased range of motion and a continued ability to control angular momentum (product of the moment of inertia and angular velocity). On the other hand, the anatomical limitation connected with hyperextension occurs at the shoulder joints when holding on too long with both hands. Value in the technique of releasing with one hand, prior to the point of anatomical limitation, cannot be overstated. The effectiveness of a one hand release can be further reinforced by slightly flexing the head at the cervical vertebra (frames 3-5). Neck flexion reduces the tendency to move the shoulder backward beyond the vertical line that passes through the base of support at the hands. The single hand base of support allows the forward swing to continue longer and permits the application of a backwardly directed action force on

the bar. Hand contact with the bar can result in a forwardly directed external reaction force that is crucial to controlling the shoulder position and provides a mechanism for increasing angular momentum. It is more likely that a handstand position can be attained in frame 6 with the release of one hand prior to the position shown in frame 5, rather than simultaneous release of both hands.

Multiaxial rotation

Rotation of the gymnast's body during the stutzkehre is around both the primary mediolateral axis (frames 2-7) and the secondary longitudinal axis (frames 5-7). Maximizing angular momentum about the primary axis is essential if there is to be an acceptable position at the completion of the stutzkehre (frame 7). There must be sufficient transfer of angular momentum from the primary axis to the secondary axis, yet enough continued angular momentum about the primary axis throughout the stutzkehre.

The generated angular momentum shown in frames 2-5 is directly related to the magnitude of that which is produced while in bar support (Kreighbaum and Barthels, 1990). Angular momentum produced in the first part of the combination around the mediolateral axis (frames 15) is dependent on torques external to the gymnast. Utilizing the gravity torque by elongating the body from frame 1 to a point just shy of frame 3, use of the bar relation torque generated from a tap action beginning just prior to frame 3, and reaction torque from pulling on the bars (frames 3-5), are effective mechanisms for producing angular momentum. There must be sufficient angular momentum entering the second phase of the combination (frames 3-7) for rotating effectively around both axes. These techniques should be fully exploited during support because additional angular momentum is not possible once free of support (frame 6).

Rotating the human system during performance of the stutzkehre embodies conservation of angular momentum. This mechanical principle is relevant while in bar support as well as free of support. From the point of releasing one hand, through the point at which both hands recontact the parallel bars, providesan important opportunity for having a positive effect on the rate at which the elongated body rotates around the secondary axis (frames 5-7). While maintaining an extended support arm and torso, the free or unsupported arm can act to reduce the moment of inertia (rotational inertia) by bending at the elbow joint in frame 5.

The moment of inertia can be further decreased while free of support by decreasing the length of both arms in frame 6. This results in greater angular velocity and assists in completing the 180 degree turn in preparation for subsequent gymnastics skills. Angular momentum is the primary principle related to rotating the body and conservation of this vector quantity is essential if insufficient angular momentum exists around the longitudinal axis when free of support. External torque must be present to increase or decrease angular momentum; therefore, conservation of angular momentum occurs in frame 6. Furthermore, the stutzkehre forward will not reach a handstand position (frame 7) unless there is sufficient angular momentum present around the mediolateral axis in the sagittal plane at release (frame 5). Transfer of angular momentum from the mediolateral axis to the longitudinal axis can take place in both support or free of support. However, overall angular momentum cannot be changed while free of support unless there is the presence of external torque. In this case, gravity acts only to reduce angular momentum in frame 6 when the gymnast is dissociated from the bar.

STATIONARY POSITIONS INVOLVING ARM SUPPORT Stability Centre of Gravity (Mass) C Of G

Definition of centre of gravity balance point of body, point about which a body rotates, intersection of 3 primary axis. Position of centre of gravity changes based on body position (distribution of body mass). Base of Support Mechanics (Principles of Stability) a) Centre of Gravity (mass) must remain over the Base of Support to be stationary b) The closer the Centre of Mass is to the Base of Support, the more stable the body is (height) c) The larger the Base of Support, the more stable the body is (size of base) d) The more aligned the body segments are over the Base of Support, the more stable the body is (straight is more stable than disjointed line or arch).

Rules of stability with no motion: Close center of gravity to base, the greater the stability center of gravity must be above the base in order to achieve balance the large the base, the more stable the body when things are segmented, the best arrangement is when the center of gravity of each segment is above the center of gravity of the segment below a segmented body is easier to stabilize when it is held together rigidly (as opposed to loosely)

TYPES OF STATIONARY POSITIONS - Supports - Hangs & inverted hangs - Balances - headstand, handstand

The press-to-handstand from a straddle position

A press-to-handstand from a standing straddle position (Figure 1) in two hand positions: 1) fingers pointing forward and 2) fingers pointing outward (90 supination from the fingers forward position). Four body landmarks (wrist, shoulder, hip and ankle joint centers) were manually digitized to form a three-segment model. The hip, shoulder and torso to horizontal angles were measured the legs were in a horizontal position parallel to the ground when the handstand was held in a steady state . 1) toes off ground to legs horizontal, 2) legs horizontal to legs first together, and 3) toes off ground to legs first together. All angles and temporal variables were determined twice by the same investigator on separate days and the average value of the two measurements was used.

Postural sway in the anteroposterior direction and increased total COP distance travel when performing the press-to-handstand in the fingers forward position. At the legs horizontal position (Figure 1c), the fingers forward position was characterized by a smaller hip angle, greater shoulder angle and smaller torso to horizontal angle. In the steady handstand position, the hip was more extended in the fingers forward position. The shoulder and torso angles during the handstand were similar regardless of hand placement position. Raised legs from the toe-off to the horizontal position faster when using the fingers outward position.

Join Action and Muscle Groups That Involve During Handstand Joint Action / Movement Pattern Muscle Group Related function in the performance of handstand Shoulder girdle abduction Shoulder girdle elevation Rhomboids, trapezius, levator scapulae Push through the shoulder, so there are no gaps between arms, shoulders and ears. Wrist and finger flexion Supinator, pronator teres, brachioradialis, flexor carpi radialis, palmaris longus, flexor carpi ulnaris, extensor carpi radialis longus, extensor carpi radialis brevis, extensor digitorum, extensor carpi ulnaris and pronator quadratus. Posterior pelvic tilt Rectus abdominis (9redominantly), internal and external oblique abdominals, transverse abdominis. Extended hips with slight external hip rotation Gluteus maximus, medius and minimus. Open hips when combined with posterior pelvic tilt, and the kick up. Flattening out of the lower back Employed during balance through the wrist strategy Serratus anterior, pectoralis minor Round back

VAULT IN GYMNASTIC Vault is one of two events in artistic gymnastics that both men and women perform. It's an explosive, exciting event, with very little margin for error. Though a vault is over in a matter of seconds, it has equal weight to the other events in which a gymnast competes. The Vaulting Table: All gymnasts vault over a piece of apparatus called the table, a slightly-inclined, metal piece of equipment with a padded and springy cover. For men it is set at a height of 4 feet 5 inches (135 cm), while for women it is at a height of 4 feet 3 inches (125 cm). In 2001, the apparatus was changed, from a long cylindrical structure (similar to the pommel horse) to the current table. Therefore, it's sometimes still referred to as the vaulting horse. The relatively new vaulting table is designed to be safer for gymnasts because of its large push-off area its length is almost 4 feet and its width about 3 feet. Types of Vaults: Vaults are divided into five different groups, called families. The most common families performed are the front handspring style, the 1/4 turn in pre-flight (Tsukahara), and the round-off entry (Yurchenko-style). In elite competitions, such as the Olympics and US National Championships, gymnasts perform one vault in team and individual all-around events, and two vaults from different families in the individual vault finals and in qualifications to the event finals. Competitors can perform any vault they choose, and usually select the most difficult vault they can perform successfully. 1. Yurchenko The Yurchenko vault is named after Russian gymnast, Natalia Yurchenko, the 1983 World Gymnastics Champion. When performing a Yurchenko vault, a gymnast runs toward the vault and performs a round-off cartwheel onto the springboard. The gymnast then mounts the vault from a back handspring position. A series of twists, flips and other maneuvers are performed once the gymnast's hands hit the vaulting table. Yurchenkos are blind-entry vaults and often include single or double full-twisting layouts.

2. Yurchenko With Twist The newest category of vaults involves a Yurchenko entry, which involves a round-off onto the springboard and a half-turn or more before mounting the vaulting table. From the mount, a gymnast then performs single or full twists and front or back flips. An example of the Yurchencko with a twist is the Khorkina, named after Russian gymnast, Svetlana Khorkina. The vault includes a Yurchenko with a twist entry into a piked back flip. The Khorkina can be performed from a tucked or layout position. 3. Tsukahara Vault Like the handspring vault, a gymnast performs a Tsukahara vault by running toward the springboard and jumping on with both feet. Before mounting the vault, however, the gymnast does a half-twist and mounts the vault backwards. The Phelps is a Tsukahara vault that includes a half-turn after the mount into a front layout. The Tsukahara is named after Japanese gymnast and five-time Olympic gold medalist, Mitsuo Tsukahara. The Phases of a Vault: Gymnasts perform five distinct phases to every vault: 1. The Run The gymnast begins at the end of a runway approximately 82 feet or less from the table. They then run towards the table, building up speed as they go. When the gymnast is about 3-6 feet from the springboard, they perform a hurdle (a low jump from one foot to two feet) or round-off onto the springboard. Though this part of the vault is not officially judged, the gymnast should be running as fast as possible in order to build momentum for her vault. 2. The Pre-Flight This is the time between when a gymnast hits the springboard and when they make contact with the table. Tight form is very important at this stage, because a gymnast doesn't want to lose the power built up from their run. The gymnasts legs should be together and straight, with toes pointed. Their arms should be stretched by their ears.

3. Contact with the Table The gymnast touches the table, and then pushes off with their hands as forcefully as possible to propel their body into the air. As with the pre-flight, it's very important for the gymnast to maintain a tight body position to create as powerful a vault as possible. Think of a pencil versus a wet noodle. The pencil can bounce off the ground on its end, whereas a wet noodle certainly can't.

4. The Post-Flight This is the most exciting part of the vault. The gymnast has pushed off the table and is now in the air, usually performing flips and twists before they lands. Both height and distance are judged, as well as form such as pointed toes and tight-together legs.

5. The Landing The gymnast makes contact with the ground at the completion of the vault.

The ultimate goal of every gymnast is to stick the landing to land without moving their feet. It's also important that the gymnast land between specific boundaries in line with the table. These are marked on the mat.

The Muscle in Vault Gymnastic

Extension is the main knee joint action at the point of takeoff in vaulting (picture above). The quadriceps muscle group serves as the primary mover in this maneuver, around the mediolateral axis and along the sagittal plane. A force diagram in frame A acts as a means of describing the relationship between the resultant quadriceps force (F), angular force component (F1), and the stabilizing force component (F2). The takeoff is a point in the total vaulting skill where the gymnast has an opportunity to increase or decrease angular momentum (Cornelius, 1994). Angular momentum is produced in picture, frame A, for vaulting preflight (frames B-D). The production of angular momentum is dependent upon the magnitude of the overall internal action force established in frame A by muscles crossing the shoulder, hip, knee, and ankle joints. This in turn creates the external reaction force issued from the board. Frame D is the second point in a vault where angular momentum can be influenced by an external force for subsequent post flight. Shoulder girdle elevation is the mechanism for repulsion and is linked with shoulder girdle elevator muscles, such as trapezious 1 and 2, levator scapula, and rhomboids. Consequently, the total vault is highly dependent upon increasing the magnitude of the angular force component (F1) at board takeoff ant at vaulting horse repulsion.

The net force produced by the quadriceps during knee joint extension can be improved by a moveable patella. The patella functions as a mechanical pulley at the knee joint (as picture) and possesses the capacity to change the angle of muscle insertion at the tibial USA Gymnastics Online. Technique: Without this accommodating effect from the patella, there would be reduced joint range of motion in knee flexion and extension and certainly torque about the knee would be reduced. Changing patellar positions can move the angle of muscle insertion to a more favorable resultant (F). This in turn can increase F1 and decrease F2, providing a greater amount of the total force produced by the quadriceps for increasing the angular vector (F1). For example, the quick stretch of the quadriceps musculotendinous unit during knee flexion (frame A) in initial board contact, moves the patella downward in the intercondylar gemoral grove to a position that increases the angle of muscle insertion at the tibial tuberosity. This results in an increase in F1 and improved torque for the explosive takeoff maneuver.

Anatomical Analysis

MOUNT IN GYMNASTIC This term is used to identify the first skill in a routine. Mount meaning to get on the apparatus. Gymnasts have found very inventive ways to get onto the equipment. Front Support Mount The front support mount is typically the first mount a gymnast will learn. As you first practice the technique, its important to keep proper body position and your eyes focused upward. This position is similar to a front support on bars. 1. Hold your body in a front support position, either on a balance beam or bar. 2. While squeezing your body tightly, push up and hollow out your chest. 3. Continue pushing your body up until your knees are at beam- or bar-level. 4. Lower your body to a front support position and repeat.

Straddle L to Endo Press Mount Learning a straddle L to endo press requires a tremendous amount of strength and balance. Once mastered, though, this mount is as exciting to watch as it is to perform due to the amazing amount of body control it requires to pull it off.

Straddle L to Endo Press Explained 1. Stand at the side of the balance beam with your hands on top of the beam. Jump up and press to an L straddle hold. 2. Keep your chin up and eyes forward as you hold your body in the straddle position with straight arms. 3. Keeping your legs in a straddle, push your hips up towards the handstand position, leaning slightly forward to stay balanced. 4. Once your body is in a balanced straddle handstand, bring your legs straight up and together. 5. When you lower your body back to the straddle L, return exactly the same way you entered. Slowly lower your legs and then your body to the beam. To improve your straddle L to endo press mount, try this upper-body strengthening drill: 1. press handstand. 2. Slowly lower your body to the starting position and repeat as many times as possible. 3. Rest and attempt to beat your first number.

MOUNTING AND FALLING

Skill Front mount

Technique & Drills support All gymnasts need to know how to mount the beam safely. Teach this technique, and they will be well on their way! Stand facing the beam. Jump to a front support with fingers cupping the top & opposite side of the beam. Lean slightly forward while swinging 1 leg up & over, & turn slightly to straddle the beam, hands in front. Bend the knees & place feet on top of beam behind bottom. Push down with feet & hands to stand up. Safety falls This is to teach how to fall off the beam safely! Walk along the beam, wobble, and fall off the side. Be sure to keep both arms up above the head during the fall. Roll back as if doing a candlestick with arms by ears. This protects against broken arms. Alternatively, if the fall is in a forward motion, perform a forward roll upon landing, keeping arms by the ears. Drills/Progressions: Start on a floor beam, then work up to higher beams, if fear of heights is an issue.

Spotting Stand behind the gymnast & grasp around waist to assist in the front support & leg swing. If necessary, guide feet to proper positions & give your hand to assist in standing. Some gymnasts will be quite nervous standing up on the beam for the first few times.

ANATOMICAL ANALYSIS

MUSCLE INVOLE

Origin: Clavicle, sternum, and costal cartilage of ribs Insertion: Near the intertubercular groove of the humerus Actions: Flexion, horizontal flexion, internal rotation, adduction Used in bench press, push-up, pull-ups, throwing, tennis serves Origin: Coracoid process of scapula Insertion: Humerus (medial) Actions: Flexion, adduction, horizontal flexion Primarily an assisting muscle

PECTORALIS MAJOR

CORACOBRACHIALIS Origin: Clavicle, scapula Insertion: Deltoid tuberosity of humerus Actions: Abduction Anterior deltoid: horizontal flexion, internal rotation Posterior deltoid: horizontal extension and external rotation Origin: Vertebrae, sacrum, ilium Insertion: Near the intertubercular groove of humerus Actions: Extension (prime mover), adduction, internal rotation, horizontal extension DELTOID

LATISSIMUS DORSI