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Original article
Abstract
Keywords: expression, physical abilities, range of motion, somatotype, high intensity shuttle
run
INTRODUCTION
the data collection procedures. The study and a stadiometer (Seca 710, and Seca
was approved by the Universitys 208, Hamburg, Germany). Body
Institutional Review Board and all composition was estimated by measuring
procedures were in accordance with the the skinfold thickness on two sites of the
Code of Ethics of the World Medical body (subscapular and triceps) using a
Association (Helsinki declaration of 1964, Harpenden skinfold caliper (British
as revised in 2013). Indicator, UK), and the equation of
The current study required the Slaughter et al. (1988) for girls aged less
participants to complete 3 testing sessions than 18 years. Somatotype was determined
at their training facilities, performed 5-7 according to the methodology of Carter
days apart, within-2-3 weeks following the (2002) using the following anthropometric
national championships. The first testing variables: stature, body mass, 4 skinfolds
session included anthropometry (stature, (triceps, subscapular, supraspinal, medial
body mass, 4 skinfolds thickness, 2 bone- calf), 2 bone breadths (biepicondylar
breaths, 2 limp-girths, and arm length) and humerus and femur) and 2 limb girths
familiarization with the physical abilities (arm flexed and calf). All measurements
tests. During the second testing session were taken on the right side of the
one International Gymnastics Federation gymnasts. The mean value of two
(F.I.G) judge (with 30 years of judging consecutive measurements was registered
experience and serving as a Reference for further analysis. A single researcher,
Judge in official competitions), evaluated experienced in kinanthropometry,
gymnasts artistry in a compulsory routine performed all measures in accordance with
without apparatus. A compulsory routine the International Society for Advancement
without apparatus is a pre-requisite for of Kinanthropometry, guidelines.
qualification by the National Gymnastics Static balance was assessed by a
Federation. This routine includes specific rhythmic gymnastics specific test
body elements and is performed following (Kioumourtzoglou, Derri, Mertzanidou, &
a selected music, common for all the Tzetzis, 1997). Gymnasts remained on the
gymnasts of each age category. ball of their foot with their arms held
Furthermore, a routine without apparatus above their head and the free foot at a low
where only body movements are evaluated pass for as long as possible.
is indicating aesthetic proficiency of the Performance was recorded in seconds.
gymnast and consists the basis of further Athletes completed 3 trials and the best
development. The routine was evaluated was used for further analysis. Thirty
by the following criteria according to the seconds of rest were provided between
Rhythmic Gymnastics Code of Points trials. The intra-class correlation
(2012-16): the unity of composition, the coefficient (ICC) for the balance test was
relation of music and movement and the 0.85 (p<0.01).
gymnasts expression. Because the Shoulder flexion was measured
compulsory routine had a predetermined according to the procedures described by
use of space there was no deduction for Sleeper, Kenyon, and Casey (2012). From
this criterion. Errors or failures according a prone position, with the shoulders flexed
to the above criteria resulted in at 180, gymnasts gripped a wooden stick
deductions. In the third testing session, and raised both arms. Shoulder flexion
gymnasts underwent a series of physical was determined by dividing the height
abilities tests (balance, flexibility, attained by the stick with the length of the
muscular power and endurance, and high athletes arm and then taking the arcsine
intensity shuttle run performance). of this ratio. Arm length was measured
Body mass and standing height were from the tip of the acromion to the tip of
measured with a calibrated digital scale the metacarpal bone of the middle finger.
Figure 1. Somatotype distribution of the rhythmic gymnasts. Filled circles are individual data,
while open diamond represents the average somatotype of this group of athletes.
Table 1
Correlations between artistry and its sub-components scores (in deduction points) and
participants anthropometric characteristics.
MeanSD Artistry Unity Music Expression
&
movement
Artistry score (in deduction points) 0.960.26
Unity score 0.320.09 .810**
Music & movement score 0.330.09 .907** .861**
Expression score 0.320.14 .813** .343* .550**
Participants characteristics
Age (years) 9.91.3 -.341* -.245 -.371* -.250
Training experience (years) 2.41.3 -.374* -.199 -.346* -.379**
Anthropometric characteristics
Height (cm) 137.97.7 -.376** -.300* -.372* -.267
Weight (kg) 29.23.9 -.304* -.316* -.338* -.133
Body fat (%) 15.51.7 .357* .465** .438** .130
Body fat (kg) 4.50.7 .052 .044 .104 .052
Lean body mass (kg) 24.73.4 -.353* -.365** -.403** .160
Arm length (cm) 60.13.7 -.253 -.177 -.288 -.165
Supraspinal skinfold (mm) 5.81.4 .441** .356* .460** .331*
Subscapular skinfold (mm) 7.21.2 466** .325* .485** .407**
Triceps skinfold (mm) 8.71.5 .280 .388** .388** .055
Medial calf skinfold (mm) 8.51.9 .323* .410** .367* .145
Humerus biepicond.breadth (cm) 4.80.3 -.242 -.058 -.204 -.277
Femur biepicond. breadth (cm) 7.10.4 -.123 -.032 -.084 -.131
Relaxed arm girth (cm) 19.21.2 -.312* -.280 -.347* -.151
Flexed arm girth (cm) 20.91.3 -.387** -.353* -.443** -.194
Calf girth (cm) 27.91.8 -.286 -.249 -.336* -.152
Endomorphy 2.710.55 .511** .455** .560** .339*
Mesomorphy 2.990.70 .133 .143 .109 .098
Ectomorphy 4.220.88 -.277 .-108 -.215 -.323*
*: p<0.05 and **: p<0.01
Table 2
Correlations between artistry score and its sub-components scores (in deduction points) and
physical fitness parameters.
MeanSD Artistry Unity Music Expression
& movement
Physical fitness parameters
Shoulder flexion () 30.47.3 -.150 -.302* -.187 -.034
Shoulder hyperextension() 37.54.8 -.074 -.108 -.027 -.053
Sit and reach (cm) 16.65.1 -.246 -.130 -.202 -.196
Straight leg raise () 165.113.0 -.477** -.439** -.103 -.277
Sideways leg extension () 154.615.8 -.589** -.586** -.566** -.343*
Spinal flexibility ratio (%) 85.77.5 -.070 -.105 -.634** -.011
Push ups (repetitions) 169 -.154 -.218 -.270 -.001
Abdominal muscular endurance 318 -.339* -.251 -.451** -.216
(repetitions)
Back extension endurance 244 -.401** -.240 -.293* -.436**
(repetitions)
CMJ with 2 legs (cm) 21.12.4 -.035 -.066 -.011 -.129
Drop jump from 40cm (cm) 22.03.1 -.085 -.081 -.157 -.000
High intensity shuttle run 19.541.50 .465** .513** .524** .225
performance (s)
Balance on the ball of the foot 13.9013.22 -.349* -.199 -.364* -.317*
(s)
*: p<0.05 and **: p<0.01
Table 3
Results of the multiple regression analyses using the physical abilities and anthropometric
characteristics as predictors of the scores of artistry, unity, music and movement and
expression (in deduction points).
ARTISTRY Unstandardized SEB Standardized Adjusted R2
coefficient beta coefficient
B
Physical abilities 0.437**
Constant 1.088 .545
Sideways leg extension -.008 .002 -.509**
High intensity shuttle run .061 .020 .348**
performance
UNITY Unstandardized SEB Standardized Adjusted R2
coefficient beta coefficient
B
Physical abilities 0.471**
Constant .286 .176
Sideways leg extension -.003 .001 -.494**
High intensity shuttle run .023 .007 .400**
performance
MUSIC AND Unstandardized SEB Standardized Adjusted R2
MOVEMENT coefficient beta coefficient
B
Physical abilities 0.532**
Constant .337 .166
Sideways leg extension -.003 .001 -.542**
High intensity shuttle run .023 .006 .400**
performance
DISCUSSION
The aim of this study was to examine the gymnasts to move their limb sideways
the association between artistry score, using their hands into its range of motion
physical abilities and anthropometric limit. The execution of sideways leg
characteristics in preadolescent, national extension implies a firm postural control,
level, competitive rhythmic gymnasts. The body alignment and balance in order to
results demonstrated that hip flexibility properly stand while lifting and holding the
(sideways leg extension) and high leg sideways; hence it is a pre-requisite for
intensity shuttle run performance, turning, leaping and landing. Importantly,
accounted for a large part of the variance this test demonstrated the higher
of the artistry score as well as to its contribution to the variance of the artistry
separate sub-components, unity and music score compared to other commonly used
and movement. Results from the lower limb flexibility tests, such as straight
regression analysis revealed that muscular leg raise and sit and reach. However, when
endurance of the back extensors and designing a testing battery for athletes, and
subscapular skinfold significantly especially for well-trained athletes, it is
contributed to the expression score. important that the testing battery provides
Furthermore, this study provides a valid insight into sport-specific
information on values of anthropometric performance (McGuigan, 2014). General
characteristics and physical abilities of tests, do not always correlate well with
preadolescent, competitive rhythmic athletes competitive performance
gymnasts, associated with artistry score, (McGuigan, 2014). For example, in the
thus helping coaches monitoring training present study, sit and reach -which is a
and selection processes. valid and reliable test assessing hamstrings
Sideways leg extension was the and lower back flexibility for physically
variable that demonstrated the higher active individuals- demonstrated no
contribution to the variance of the artistry association with artistry and its sub-
score and its sub-components unity and components (Table 2). This, may be
music and movement (Table 3). Sideways explained by the fact that rhythmic
leg extension includes the combined gymnasts at this age, have already acquired
actions of hip flexion, abduction and a high level of hamstrings and lower back
external rotation (Angioi et al., 2009) and flexibility and sit and reach test is not
is suggested as a specific hip flexibility test sensitive to detect changes in hip
for dancers (Wyon et al., 2007). flexibility associated with complex types
Furthermore, it is recently suggested as a of movement.
lower limb flexibility test in rhythmic One interesting finding of the present
gymnastics (Santos, Lemos, Lebre, & study was that high intensity shuttle run
vila-Carvalho, 2015). Assessment of performance explained a significant part of
passive hip flexibility in this test requires the variance of the scores for artistry, as
well as of the scores for unity and music hyperextend the trunk in balances, leaps
and movement (Table 3). Performance and acrobatic elements, and regain a firm
time during this high intensity shuttle run standing position throughout a competitive
test depends on sprint speed, speed routine. The contribution of the
endurance (Nimphius, 2014) as well as subscapular skinfold to the variance of the
eccentric and concentric power and whole expression score may possibly be due to
body coordination required for the change the fact that in a lean body, movements are
of direction (Hader, Palazzi, & Buchheit, better defined. However, a large
2015). The ability to decelerate, change proportion of the variance in expression
direction and reaccelerate is an essential score remains unaccounted for by the
component of youth sports, influenced by physical abilities and anthropometric
training age, growth and maturation characteristics measured in the present
(Nimphius, 2014). However, despite its study. It is plausible that expression, as an
importance, this physical ability has not act of communicating emotions through
been examined in gymnastics sports. movement, is also related to different
According to the rhythmic gymnastics skills and personality traits and/or is
Code of Points (2012-2016), unity refers to developed at a later age. Furthermore,
developing a unified image with transitions although the music theme in the routine
from one movement to another, including was common for all the gymnasts that
contrasts in the speed, direction and participated in this study, a different music
intensity, without stops and/or hesitation. accompaniment may have led to different
Music and movement is defined as the movement accuracy, expression and
gymnasts ability to express the character interpretation, as also suggested by recent
of the music in accordance with tempo and research (Ahmed, 2016; Gantcheva,
rhythm, through continuous bodywork. 2016).
Both criteria imply the physical attribute of Several authors have pointed out
changing of direction speed while fine- anthropometric characteristics as
tuning body positioning, throughout a contributing factors to rhythmic
gymnastics routine. Furthermore, the gymnastics performance (vila-Carvalho,
duration of the high intensity shuttle run Klentrou, Luz-Palomero, & Lebre, 2012;
performance test in the present study was Di Cagno, et al., 2008; Douda, Toubekis,
~20 s and this time may represent the total Avloniti, & Tokmakidis, 2008).
high intensity part of the 75-90 s routine Nevertheless, the preadolescent, gymnasts
during competition. The association of this study demonstrated a balanced
between high intensity shuttle run ectomorph somatotype, thus confirming
performance with artistry scores warrants previous evidence on the importance of
further investigation, as the present study ectomorphy as a selection criterion
revealed its important contribution to the (Purenovic-Ivanovic & Popovic, 2014;
artistry score. Vernetta, Fernndez, Lpez-Bedoya,
The fact that muscular endurance of Gmez-Landero, & Oa, 2011) (Figure 1).
the back extensors and subscapular A balanced ectomorph somatotype implies
skinfold accounted for a 29.2% of that the ectomorphic component is the
expression may be explained by the dominant one and the remaining two
description of this criterion (Table 3). (endomorphy, mesomorphy) have equal
Gymnasts should create shapes in space prevalence and moderate values
through participation of all body segments (Purenovic-Ivanovic & Popovic, 2014). In
(head, shoulders, trunk, arms, legs) in the present study it was also found a
order to express the idea of the positive correlation of endomorphy with
choreography. Therefore, the endurance of the artistry score -in deductions- (Table 1).
the back extensors is important in order to This finding, in addition to the significant
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