If about rhythmic gymnastics everyone heard that aesthetic gymnastics in our country appeared relatively recently - at the end of the 90s of the twentieth century. Not being Olympic view sports, this discipline, however, has its own tournaments and world championships. What is aesthetic gymnastics, what is its peculiarity? Let's figure it out.
History of appearance
Despite the fact that this sport is not well known, it has more than a century of history. The famous Isadora Duncan is considered the founder of aesthetic gymnastics. It was her "free dances" barefoot, devoid of rigid frames and rigor (which dominated the dance world at that time), laid the foundation for a new direction of gymnastic exercises.
Nowadays, aesthetic gymnastics has many fans. In some countries, such as Estonia and Finland, this type of gymnastics is considered a national sport.
There is the International Federation of Aesthetic Gymnastics, under the auspices of which competitions are held annually.
Rhythmic gymnastics versus aesthetic
Aesthetic gymnastics is often compared to rhythmic gymnastics. Indeed, they have a lot in common. In both disciplines, dance and acrobatic elements are performed to music, both require flexibility and plasticity. But that's where the similarities end.
In aesthetic gymnastics, there are no exercises on the uneven bars, rings, ribbons, hoops are not used. The exercises are not performed alone, but in teams of six to twelve people. At the same time, the commission assesses not the complexity of the elements performed, but the very beauty of the dance, the synchronization of performance and expressiveness.
By the way, rhythmic gymnastics, despite its outward tenderness and sophistication, is a rather tough sport: children with good plasticity and endurance are initially taken to train gymnasts. And due to the strong competition of the program young gymnasts contain every year more and more difficult elements to perform, so often girls have to end their careers at the age of 12-13 due to health problems.
Aesthetic gymnastics- a more gentle sport. Anyone can do it. This sport develops plasticity, keeps muscles in good shape, gives gracefulness and smoothness to movements. This is what is appreciated in aesthetic gymnastics.
Peculiarities
Girls begin to study this discipline from the age of 4, and the higher the age, the higher the level of qualifications. The professional career of girls ends at the age of 25-30, but this does not mean at all that access to this sport is closed for older women.
Unlike rhythmic gymnastics, you can start doing aesthetic gymnastics from any age.
Any element can be performed with some preparation, any exercise is fully correlated with the natural movements of the trained body.
This is not to say that this discipline has no framework at all. To participate in the competition, the performance program must contain certain elements:
- turns;
- jumps;
- jumping;
- support;
- wave movement;
- swing movement;
- dance steps.
But it is not so much the complexity and technicality of the performance that is evaluated here. The laconism and beauty of the movements are important, the extent to which the gymnasts felt their composition.
The synchronicity of the performance is of great importance. Through long trainings, gymnasts achieve absolute identity in the execution of elements, and the group of performers becomes like a single harmonious mechanism moving to the beat of the music, and it looks amazing.
What is the use
For girls, choosing aesthetic gymnastics offers many benefits:
- develops flexibility and endurance;
- teaches to communicate with peers;
- work in a team.
In addition, it also boosts self-esteem, especially after winning tournaments.
For adults, there are also a lot of positive aspects here:
- Flexibility and plastic. It develops gradually with each new occupation. If not all the elements are obtained the first time, then the next one will be successful. Visible results can be assessed after two or three months of training, the body will bend better, and plastic will appear.
- Smoothness. It is not for nothing that only girls are taken into aesthetic gymnastics. This is not discrimination, just all the elements here are full of tenderness and femininity. Long-term training will transfer such femininity into everyday life: movements will become more graceful and graceful. This will be noticed not only by a loved one, but also by all colleagues and friends.
- Calories burned. If the goal is exactly weight loss, then static loads (stretching) are what you need. With this method of training, the red ones do the most work. muscle fibers, namely, they are responsible for burning not carbohydrates, but the ill-fated fat layer. In aesthetic gymnastics great attention assigned to stretch marks, which means that you can reliably throw off a pair extra pounds and centimeters.
- Mood. Physical exercise always have to do with the release of endorphins, and doing exercise with music lifts your mood doubly.
- Communication. In aesthetic gymnastics, there are many supports and joint exercises, this develops trust and will surely start a new strong friendship.
Another plus is that you can do aesthetic gymnastics in the gym and at home. This sport does not require large material costs. All you need is comfortable clothes and dancing slippers.
In addition, aesthetic gymnastics provides an opportunity for self-expression, raises self-esteem. This is a great choice sports activities for girls and a great workout for women of all ages and fitness levels.
V recent times a young sport, aesthetic gymnastics, gained great popularity. What is aesthetic gymnastics and how does it differ from rhythmic gymnastics? The main advantage of this species is its massiveness. Any little girl, teenager, or young woman who wants to can train can, with the help of choreographic exercises in music, maintain an excellent physical fitness all life. There are no serious restrictions on physical fitness and endurance. The main thing is that a person has a sense of rhythm, musicality, plasticity and a desire to become part of the team. V sports schools where they cook rhythmic gymnasts The coaches evaluate girls on many parameters. Not every candidate passes the selection. Out of 10 children who begin to engage in this sport, no more than 2-3 people reach a serious level. By the age of majority, the majority of rhythmic gymnasts end their careers due to failing health (this sport has many occupational diseases, an athlete is prone to numerous injuries) and the inability to perform extremely complex gymnastic elements that 12-13-year-old girls can do. In aesthetic gymnastics, the load on the body is not so strong, there are fewer injuries.
History
The main ideological inspirer of this sport is the wife of Sergei Yesenin, American dancer Isadora Duncan. The American woman expressed the idea that it is “free dances” (without pointe shoes) that fully reveal all the emotions and character of the performer. Performances are performed by a group of gymnasts (from 6 to 10 participants) without the use of any gymnastic apparatus. Performance time from 2 minutes 15 seconds to 2 minutes 45 seconds. Harmony is achieved due to the smooth transition of one element to another, the artistry of the athletes and the synchronization of the performance of the elements. Three parameters affect the scores:
- Number and complexity of elements
- Artistry, musicality
- Technique and synchronicity of performance.
When aesthetic gymnastics competitions are held, each of the parameters is assessed by a separate panel of judges. Although the rules are strictly stipulated, the assessments at the championships are built largely on the subjective perception of the judges. But the subjectivity of assessment is inherent in sports, rhythmic gymnastics, as well as for all dance sports.
This species is not included in Olympic program, however, it has already reached a fairly high level. In Nordic countries such as Estonia and Finland, aesthetic gymnastics has been a national sport for nearly a century.
A bit of history:
- The beginning of the 20th century is the birth of a new direction of gymnastics in the Nordic countries. Aesthetic gymnastics begins not as a sport, but as a dance direction.
- 1950 - The first major national competition was held in Helsinki. Aesthetic gymnastics is approved as sports direction.
- The end of the 20th century - aesthetic gymnastics was born in Russia, the first clubs and groups appeared.
- 2000 - the first World Championship in Helsinki.
- 2002 - the All-Russian Association of Aesthetic Gymnastics - VFEG was created.
- 2003 - the creation of the International Federation of Aesthetic Gymnastics. The Federation organizes world championships, world cups, international tournaments, as well as various competitions for juniors and children. This sport is actively developing in Russia, Sweden, Austria, Canada, Finland, Japan and other countries.
Peculiarities
Despite the fact that the most optimal age to start training is 4 years old, you can start training at an older age. Professional career gymnasts complete at the age of 25-30. Having stopped participating in tournaments, athletes continue their sports activities, doing "for themselves" or training the younger generation. In addition to the elements typical for rhythmic gymnastics, this form includes dance steps, supports, jumps, jumps, turns. First of all, it is not the technical side of the performance that is evaluated, but the beauty of the movements, the ability to feel the music and the ability to work in a team. The group should act as a whole, as one living organism.
This gymnastics teaches choreography for children, so, if necessary, you can later learn almost all types of dance. This sports direction differs from rhythmic gymnastics in that exercises in competitions are carried out in groups and there are no objects - jump ropes, clubs, ball, hoop, ribbon.
You can train at home and in the gym. This hobby does not require large financial investments. Aesthetic gymnastics is good for health and general development: it develops endurance and flexibility, teaches you to communicate with peers and work in a team, and raises the child's self-esteem.
This sport is a great option for parents who want their children to be healthy, flexible, flexible, artistic, and communicate with their peers. The aesthetic gymnastics tournament will give children the opportunity to experience sports competition, and parents will be able to become fans not at the television screen, where strangers perform, but in sports hall where their children compete.
RULES FOR THE SPORT "AESTHETIC GYMNASTICS"
BASIC PROVISIONS
ORGANIZATION AND HOLDING OF COMPETITIONS
The Presidium of the All-Russian Federation of Aesthetic Gymnastics is authorized to monitor compliance with the Competition Rules when holding competitions in aesthetic gymnastics on the territory of the Russian Federation.
The approval of the place and timing of the competition is made by the WFEG Presidium in agreement with the executive authorities of the constituent entities of the Russian Federation in the region physical culture and sports.
The organizers of the competition, together with the VFEG, in the preparation and conduct of the competition, are guided by the Rules of Competitions in Aesthetic Gymnastics, as well as by the current legislation of the Russian Federation in the field of physical culture and sports.
AGE CATEGORIES
The same team, as well as individual gymnasts of the team, cannot take part during the calendar year in other age categories: at the beginning of the year, the team is determined with the age category for participation in competitions of the all-Russian and international level.
For example, a team competing in the Women's World Championships and / or Women's World Cup events cannot compete in the IFAGG Junior Championships and vice versa.
Juniors.
Exceptions: 2 team members can be 1 year younger than the minimum age or 1 gymnast may be 1 year older than the maximum age limit and 1 gymnast 1 year younger.
Women
2 team members may be 1 year younger than the minimum age.
The reserve gymnast is a member of the team.
PARTICIPATION IN THE COMPETITION
Teams representing regional federations of aesthetic gymnastics take part in the competition, guided by the Regulations on the conduct of the competition.
Participation in international competitions is regulated by the International Rules for Aesthetic Gymnastics Competitions. Teams taking part in official international competitions (World Championships and Championships, World Cup stages, etc.) are determined by the decision of the WFEG Presidium based on the results of the past competitions.
APPLICATIONS FOR PARTICIPATION IN THE COMPETITION
Applications for participation in competitions, duly completed, are submitted in writing no later than the date specified in the Regulations on the competition or the official invitation.
TEAM TAKING PART IN THE COMPETITION
The number of gymnasts in the team.
The number of gymnasts in a team, declared to participate in all competitions during a calendar year, can be from 6 to 12 people.
The number of gymnasts participating in a team in each specific competition must be from the number declared for the year, but not less than 6 and not more than 12 people.
The reserve gymnast is a member of the team and is included in this number.
Doping
Gymnastics clothing
The costume may have small decorations such as ribbons, flowers, sequins, etc. Jewelry should not interfere with the exercise. Leotards must be identical (in style and material) and the same color for all gymnasts on the team. However, if swimsuits are made of variegated, patterned materials, slight differences are allowed.
The use of leggings and gymnastic slippers is allowed. Head jewelry, makeup, gymnastic slippers are part of the competition costume. Hats or any other headgear are prohibited.
The costume must not interfere with the performance evaluation.
Competition suit may not harm / insult any religion, nationality, or politics.
Sizes of sponsors' logos, etc. to be placed on suits. governed by the General Rules International Federation aesthetic group gymnastics (IFAGG).
COMPETITION PROGRAM
Duration of the gymnastics program
Extra and missing 5 seconds are allowed (no penalty by the judges). Time starts counting from the beginning of the first movement after the team has taken starting position on the site. The timing stops when the movement of all gymnasts ends.
The exit of the team to the site is carried out without musical accompaniment. The program must begin and end within the competition area.
Music
Music recording must be made on CD, and there must be only one recording on the disc ..
The name of the team, club, country must be clearly written on the CD in Russian (for international competitions in English).
COMPETITION AREA
The size of the competition area is 13 x 13 meters and is covered with a gymnastic carpet.
The boundary line is included in the size of the site.
TECHNICAL VALUE OF THE COMPOSITION
Each gymnast of the team must perform the same technical elements or technical elements of the same level of difficulty. Technical elements must be performed simultaneously, sequentially, or within a short period of time.
The competition program should be varied in the content of various body movements (for example: holistic waves, swings, bends, bends, rotations, stops, lunges, compression, relaxation, etc.), balances and turns, jumps and leaps, jumps, dance steps , movements of the arms and legs, movements on the court, as well as various combinations of all these movements.
MANDATORY PROGRAM ELEMENTS
The following compulsory elements must be included in the gymnastic competition program:
BODY MOVEMENT
The composition should contain versatile and varied body movements performed on different levels(for example: standing or lying on the floor) and directions (horizontally or vertically) with variety in tempo and dynamics.
The composition should contain the following different body movements:
MINIMUM:
2 different integral waves (for example: a wave forward or backward; for the execution technique, see the paragraph "PERFORMANCE")
2 different holistic swings (for example: swing forward or from side to side; for the technique of execution, see the paragraph "EXECUTION")
These movements can be performed in isolation, in a series, or in combination with different groups of movements (for example, with steps, rotations, jumps, arm movements, etc.)
2 A-series of body movements (2 different body movements)
2 B-series of body movements (3 different body movements)
Body movements can vary in combination with other movement groups. When the same movement is performed with the addition of, for example, steps, arm and leg movements, etc. Depending on the variations, this movement of the body can be counted as different. technical movement body.
BALANCE AND ROTATIONS
All balances and turns must be done clearly. The duration of use of the fulcrum must be clearly visible in the equilibria. The shape must be fixed and well defined during balance (photo). The fulcrum can be on one leg, on the knee, or in the form of a "Cossack" (the criteria for A- or B-difficulties are the same with regard to the level of the free leg, the help of the hand for body movements).
In balance, the free leg should be raised at least 90 degrees.
Equilibria must have the following characteristics:
the shape must be fixed and well defined during balance
good amplitude in equilibrium form
good body control during and after balance.
IMPORTANT!: Only one leg can be bent during balancing!
Exception! Both legs can be bent during the turns.
The turns must have the following characteristics:
the rotation during the rotation with the fixed shape must be at least 360º, if the rotation is less than 360º, the element will not be counted as an element of balance.
turns can be performed both on the half-toe and on the whole foot.
The program must include the following mandatory elements of balances:
Two different isolated equilibria (pivots)
One series of at least 2 different balances (turns) A or B of difficulty, performed without or with a change of the supporting leg between the elements.
Difficulties A:
Balance on one leg, free leg raised or bent (attitude) 90 ° forward, to the side or back. If you perform the same balance with the "turn" at least 180 °, then this is counted as another technical element but does not increase the difficulty level.
Balance, free leg forward or to the side (at least 135o) with one or two hands. If you perform the same balance with the "turn" by at least 180 °, then this is counted as another technical element, but does not increase the level of difficulty.
Balance on one leg, free leg 90º-135 ° with one or two arms + body movement (with the required amplitude) will count as an A-difficulty.
Balance on one knee (without support on the hands), lifted the free leg 90º forward, to the side or back.
"Compass", when the amplitude is less than 180 0, can be performed on the entire foot or on a half-finger, the hand should not touch the floor.
Balance on one leg, the free leg is lifted back with the help of the arm of the same name.
Balance on one leg, free leg raised back; the torso is tilted forward and the free leg is on the same line
Examples of turns:
A minimum 360 ° turn, performed on a half toe or full foot, with the free leg raised or bent below the horizontal (90 °) forward, to the side or back.
A minimum 360 ° pivot performed on a half toe or full foot, a free leg 90 ° -135 ° with one or two hands + body movement (with the required amplitude) will count as an A-difficulty. ???
IMPORTANT! Passé balance is not considered a technical element of balance.
Not a difficulty!
Difficulties B:
Some examples of balances:
Balance on one leg, free leg forward or to the side at least 135 o, trunk upright and only one leg can be bent. If the free leg is bent, then the thigh should be at least 135 °, and the lower leg should be parallel to the floor.
Body movement or series of body movements on one leg, only one leg can be bent, free leg at least 90 ° forward or to the side (without using the hands)
Balance on one leg, free leg back at least 135 ° (along the hips), only one leg can be bent (free or supporting).
Movement of the body during balance on one leg, free leg backward 90 ° - 135 ° without arms or with the help of the opposite arm (for example: balance on one leg, free leg in the grip back with the help of the opposite arm (ring), the body should be tilted 45 0 backward or forward)
Body movement or series of body movements on one leg, only one leg can be bent, free leg at least 135 o forward or sideways (using the arms)
Balance on one knee, performed with body movement, the free leg is raised at least 90 ° (see the required range of body movements).
"Compass", when the amplitude is 180 0, can be performed on the whole foot or on a half-finger, the hand should not touch the floor
IMPORTANT! Requirements for the amplitude of body movements during balances:
Back bend: to the leg back in balance on one leg: the crown of the head, hips and shoulders are in line; the whole back may not bend (it is enough to tilt the upper back at least 80 0 from the vertical line);
Forward bend: The back is rounded, the chest and upper back are tilted forward towards the front of the hips;
Side bend: the opposite shoulder (for example, the left shoulder when bending to the right) should be in the same vertical line with the hips (in our example, in the same line with the right thigh); the same criteria when performing balances on one knee.
Compression abdominal muscles: the whole back is rounded and located behind the line of the hips and shoulders;
Incline to the side, forward and backward should be at least 45 0
Twisting the body should be at least 90 ° from the hip line, the shoulders should be in line and turned 90 ° from the hip line.
More examples of balances:
Examples of turns:
Turn at least 360 °, free leg raised straight or bent below the horizontal (90 °) with body movement performed during the turn (see the required range of body movements).
Rotate at least 360 °, free leg raised straight or bent at least 90 ° with or without hands, both legs can be bent
Rotation of at least 720 0, performed on the half toe or on the whole foot, both legs can be bent
JUMPS AND JUMPS
Jumps and jumps must have the following characteristics:
good amplitude and thrust
landing should be light and soft
The same form can be used and scored as another technical element if performed in a jump, and then in a jump or in a jump with a spin in different parts compositions
Shape, push and height during flight affect the difficulty level of the jump or jump.
The program must include the following mandatory jumping elements:
Two different isolated jumps or leaps (A or B difficulty)
One series of at least 2 different jumps or leaps A or B of difficulty
Example 1 (maximum 3 points of support between jumps):
1 2 3
Jump with a jerk of the right leg, landing on left leg, step right foot, second jump with a push of the left leg, landing on the right leg.
Example 2:
Step jump and jump in two rings. Between the jump and the jump after landing directly to jump out - 3 fulcrum points.
General criteria for jumping:
Any jump that has a flight phase and a fixed form with an upright position can be classified as an A-difficulty (see examples below).
All jumps performed with a minimum 180 'twist in the air in a fixed form will be classified as difficulty B.
All jumps during which there is a visible strong movement of the body (see the required amplitude of body movements), for example, bending or squeezing, will also be considered B.
The amplitude of the legs opening does not raise the difficulty of jumping or jumping. Height and shape during flight affects the difficulty level.
Various examples of A- and B-difficulties, all kinds of variations are possible subject to the criteria of paragraphs. 2.3.3.2 and 2.3.3.3.
EXAMPLES OF JUMPS AND JUMPS |
Jump A Jump B
1. Vertical jump, free leg in "pass" The same with a turn of 360 o
2. "Scissors" with bent knees
3. Tuck jump The same with a 360 ° turn
Jump A Jump B
4а Vertical jump free leg forward 90 o The same with the trunk bend forward or backward
4b Vertical jump free leg to the side 90 o The same with an inclination to the side
4c Vertical jump free leg back 90 o Jump with two jumps, ring
One, lower leg straight
Jump A Jump B
5а Leap "Cossack" free leg forward The same with a bend of the trunk
5b Jump "Cossack" free leg to the side The same with an inclination of the trunk
6. Vertical jump in X-position
7. Leap in crouch Leap into the hoop with two legs
Jump A Jump B
8. Leap with step Leap with step bending
The amplitude does not have to be 180 o
8a Leap in a ring
9. Jump with a step to the side. The same with a forward bend of the trunk
10. Jump touching Jump touching bending over
Jump touching the ring
Jump A Jump B
11. Jump "Kitty" The same with an inclination of the body
12a Leap "Cabriole" forward The same with a forward bend of the trunk
12b Leap "Cabriole" to the side The same with the trunk tilted to the side
12c Leap "Cabriole" back The same with a back bend of the trunk
Jump A Jump B
13. Jump "Scissors" with straight legs
14. Leap "Pike" trunk upright The same with an inclination to the legs
Jumping B
Free leg vertical jump 90 о with a turn of 180 о
Flip jump
"Jete en turnan"
Exception: “jete en turnan” in the touching position (deer) is considered as difficulty A
Leap with a change of legs ("split")
90 minimum
Series difficulty level mandatory elements:
A-series = A + A = 0.2 pts.
C-series = A + B or B + A = 0.3 pts.
D-series = B + B = 0.4 pts.
OTHER MOVEMENT
The composition should contain several different movements from the following groups of elements:
Hand movements
Leg movements
Steps, bouncing and jumping.
Calculation of the Technical Value of the composition (A1)
Technical Value consists of the sum of the required elements and additional difficulties.
Mandatory elements and additional difficulties should be drawn up for the whole group.
The value of the required elements (the required minimum in the composition):
cost maximum cost
Balances (turns)
2 different balances (turns) А = 0.1 max 0.4
1 series of equilibria (turns) А = 0.2 max 0.4
(total 0.8)
Jumping and Jumping
2 different jumps or leaps A = 0.1 max 0.4
1 jumping series A = 0.2 max 0.4
(total 0.8)
Body movements
2 different sweeps of the whole body 0.2 0.4
2 A-series of body movements 0.3 0.6
2 B-series of body movements 0.4 0.8
(total 2.2)
Maximum cost of compulsory elements 3.8
Attention: A compulsory element repeated several times during the exercise will be counted only once. However, obligatory waves and swings can be included in the A- or B-series of body movements.
The value of the added complexity of composition
In addition to the compulsory elements, the program must include additional difficulties in order to obtain a higher grade.
Additional composition difficulties should only be performed in combinations of elements from the various groups of movements listed above. For example: Balance + jump, balance + body movement series, turn + jump, jump + body movement series, etc.
However, a combination of 2 jumps or balance + pivot will not count as an additional difficulty.
When performing a combination, one intermediate step is allowed between groups of movements.
The cost of combinations for additional difficulties:
A = A + A A = 0.2
C = A + B or B + A C = 0.3
D = B + B D = 0.5
The maximum cost of additional difficulties can be 2.1
Deductions in Technical Value
Difficulty B can be counted as difficulty A if errors of 0.4-0.5 pts were made during the performance of the difficulty.
Difficulty B will not be counted as a difficulty if errors of 0.6 pts were made during the performance of the difficulty. and more.
Difficulty A will not be counted as a difficulty if errors of 0.5 pts were made during the performance of the difficulty. and more.
Increase bonus + 0.1
A bonus can be added if the program is built with impeccable variety and difficulty of different movement groups.
Calculating the amount of Technical Value
The Technical Value of an exercise must be judged in the following order:
the number of mandatory elements performed by the group is calculated, paying attention to the difficulties of the high level difficulty (maximum 3.8). And the counting begins with the obligatory balances and jumps.
if the difficulties performed at the same time are of different difficulty levels, then the difficulty of the lower level is taken into account.
then the cost of additional difficulties performed by the whole group is added (maximum 2.1)
a bonus is added, if necessary, at the very end.
Maximum Technical Value Score - 6.0
All judges must give their marks independently of each other.
ARTISTIC VALUE OF THE COMPOSITION
MANDATORY REQUIREMENTS FOR ARTISTIC VALUE
COMPOSITIONS.
The skill of gymnasts in composition.
The composition should be performed with an emphasis on the technique of holistic execution of movements, where elements and combinations smoothly and naturally pass from one to another. The composition should show smoothness and continuity of movement. Movements should not consist of separate parts, on the contrary, they should be a single whole, then the series and combinations of movements are smoothly interconnected, emphasizing continuity.
The technique of aesthetic gymnastics should prevail in the movements performed.
The composition must demonstrate bilateral muscular control consistent with the skill level of the gymnasts. The physical capabilities of all gymnasts must be equal.
The composition must demonstrate the skill of the gymnasts, their muscle control, flexibility, strength, agility, speed and endurance.
Consistency, synchronization of the exercise should prevail. Allowed different options soloing or performing in groups (they give a special nuance to the composition), however, they should not dominate the composition.
All gymnasts in the group must perform compulsory elements with good quality performance, otherwise the elements will not be counted as difficulty by the judges of the Technical Value of the composition.
Health aspects must be shown when using elements (balance, turns, jumps and jumps, body movements). The composition should show stretching on both sides of the body (use of stretching the right and left legs in balances and jumps) and variety in the use of elements.
Composition structure
The composition should be a single whole, consisting of versatility of movements and a variety of groups of movements, combinations and series of movements.
The required elements must be varied, at least 3 different types of balances (for example: 1 with a leg forward, 1 turn, 1 leg back), at least 3 different jumps (for example: 1 with a turn, 1 with an incline or bend, 1 push with two legs), at least 3 different body movements (for example: combined with other groups of movements, on the floor, etc.).
The structure of the composition should be multifaceted and varied.
It is necessary to use the space of the site as varied as possible. The transition from one movement or construction to another should be smooth and varied.
The composition must include at least 6 different constructions, movements must be performed in different angles (face, back, sideways, diagonal) and at different levels (low level - on the floor, average level, high level - jumps and jumps).
The composition should include fast and slow movements, as well as various options for using power capabilities.
Originality and expressiveness of the composition
The composition should demonstrate originality as well as expressiveness and aesthetic appeal in movements. The original composition includes unusual elements, combinations of elements and structures, or new rebuilding options.
The idea and expressiveness of the composition should be formed and coordinated together. A well-crafted composition brings style and atmosphere through the entire exercise. Style and expression should be acceptable and natural to the whole team. Expressiveness should be present in movements and combinations, and not separately in the form of forced facial expressions.
The music should be interconnected with the idea and expressiveness of the composition. Musical parts should be varied in rhythm. The composition must use the entire structure of the music, for example, the difference between the background and the main theme of the melody. The movements of the composition, their style and the rhythm of the music must match each other. When the structure of the music is used effectively, a good composition gains variety and expressiveness. The movements of the gymnasts should be shaped in harmony with the music.
The composition should aim at expressing and using differences in tempo and dynamics during the execution of movements and combinations.
Bright, effective elements, climaxes should be present in a successful composition. The climax of the composition can be, for example, giving the impression of movement, support, etc. Highlights are usually memorable, striking, or particularly impressive.
The composition must demonstrate good taste and cannot affect / influence any religious, national characteristics, and also take into account politics.
A bonus can be given if the composition makes (leaves) an artistic impression. Both a separate effective part of a composition and an unforgettable composition as a whole can make an impression.
Penalties for the artistic value of the composition.
Music should be one. If a musical composition is made of different pieces of music, then the different themes and forms should be connected and their relationship should have the maximum possible unity. Monotony or the use of music as a background is not acceptable. No music cut-off or bad connections between two music themes are allowed. The quality of the music recording must be high. The music cannot end before the end of the movements of the gymnasts.
The use of the following vertical lines is prohibited in the composition. acrobatic elements: somersaults with flight, handstands, elbows, headstands. Semi-acrobatic elements and supports are allowed, but they must be smoothly connected with the unity of the composition.
2 gymnasts, if the group consists of 6-8 people, or 3 gymnasts, if the group consists of 9 or more people, can perform one revolution or bridge during the competition program as an aesthetic element. These points have no technical value. Performance and / or artistic value penalties may be applied to these elements if they are poorly executed.
Any part of the program that destroys the unity of the composition can be a composition error. These types of mistakes can be, for example, too long a pause between movements or combinations (expectations, static parts of the composition), poor or illogical movement from one formation to another (for example: ordinary running), incorrectly connected semi-acrobatic elements and supports (if they are not connected part of the composition), unaesthetic, repulsive movements, etc.
If the two-sidedness of muscle control is not demonstrated in the composition, a deduction will follow. Health aspects must be considered. (for example: when performing a jump using one trajectory at the same time, it is necessary to perform on one leg).
The performance cannot affect / influence any religious, national characteristics, and also take into account politics.
Counting the Artistic Value of a composition (A2)
The final score is the sum of the various sectors (3.9) plus the bonus (0.1).
The skill of gymnasts in composition
Technique of holistic movements of aesthetic gymnastics 0.2
Movements are connected to each other smoothly and naturally 0.2
Series of movements are connected to each other smoothly and naturally 0.2
Acceptability (accessibility) of the exercise to the skill level of the gymnasts 0.2
Shows skill, coordination, muscle control, flexibility,
strength, speed, endurance 0.3
Team unity (coordination of joint efforts) dominates 0.2
Composition structure
Composition is consistent and uniform 0.1
The structure of the composition is varied 0.1
Variety in the use of different groups of movements 0.1
Variety in the use of required elements: Body movements 0.1
Equilibrium 0.1
Jumping and jumping 0.1
Diversity in the execution of constructions 0.1
Movements around the site are smooth and varied 0.1
6 constructions 0.1
Variety in the use of planes and levels 0.1
Variety in the use of directions 0.1
Changes to the tempo of the song 0.1
Variety in the use of strength and dynamics of composition 0.1
Total: 1.3
Artistic expressiveness
The composition is expressive (expressive) 0.1
The composition is aesthetic 0.1
Expressiveness and style are available (acceptable) for team 0.1
Style and impression run through the whole composition 0.1
Artistic expressiveness is included in movements and exercises, not
exists separately 0.1
Composition and music are consistent with each other 0.1
Musical accompaniment is changeable in tempo 0.1
Music structure is based on composition 0.1
Unusual and original elements, series or combinations of movements 0.1
Original and interesting use of constructs 0.1
Difference in tempo within movements and series of movements 0.1
Difference in dynamics within movements and series of movements 0.1
The bright effects / climaxes of the composition are highlighted and
underlined 0.1
Total: 1.3
Bonus: for the artistic impression of the composition 0.1
Artistic deductions
Music cuts off abruptly -0.2
Music as background -0.3
Music ends before gymnasts -0.1
Forbidden items -0.5 / each time
Composition errors (static, illogical rebuilds, etc.) -0.1 / every time
Health Aspects (Every Time / Move) -0.1
Health aspects in equilibria (from program -0.1
Health aspects of jumping (from the program) -0.1
Health aspects in body movements (from the program) -0.1
Religious and political influences -0.3
Calculating the amount of Artistic Value
The order of calculating the assessment of the Artistic Value of a composition:
by adding the different parts of the composition (gymnasts' skill, structure, artistic expression), starting from 0 (maximum 3.9)
deduction of deductions related to artistic value.
if necessary, add bonus + 0.1
Maximum Artistic Value Score - 4.0
EXECUTION
Technique for performing body movements
Aesthetic gymnastics is a natural, natural movement of the whole body, where the hips form the main center of movement. A movement performed by one part of the body is transmitted through the entire body. When the hips are pivoted forward, the lower thighs pivot forward and the upper body pivots backward (the hips tilt back). When the hips are pivoted back, the lower thighs pivot back and the upper body pivots forward (the hips tilt forward).
The philosophy of sport is based on harmony, rhythmic and dynamic movements, performed with an economical and natural use of strength and with the least expenditure of energy. Harmonious movements follow smoothly and naturally from one movement to the next, as if they were created by the previous movement. All movements should be performed in one piece, smoothly, continuously. The technique of performance should demonstrate amplitude, variety in dynamics and speed.
Body wave forward
The wave begins with a slight relaxation of the body and continues with strong forward pressure from the pelvis and hips and a reflex thrust of the entire body. The wave travels through the body from the knees to the head. The hips make a full circle during the wave: the hips go backward, downward, forward upward.
Body wave back
The movement begins with forward pressure of the pelvis, the back bends forward. After that, the upper body is lowered chest first, the head moves last. Lifting up occurs with a round back, the head moves last.
Body wave from side to side
In this wave, it is important to guide the hips from side to side, transferring body weight from one leg to the other, extending the opposite leg from the hip. When the hips move from side to side, the upper body and head move with relaxation in the opposite direction. The neck should be relaxed. The knees, pelvis and hips describe a semicircle during the wave.
All waves can be performed with hand movements, steps, or in combination with other movements.
Body sweeps with speed
The swing consists of three parts, such as 1) a stretch followed by an acceleration, 2) a swing of the body when the body is relaxed, and 3) a stretch. It is important to show the difference between stretching and relaxing as between power and lightness. In a full swing, the pre-movement and thrust that induces the swing begins with the legs and hips. A holistic swing ends with the straightening of the body or goes into the next movement.
The body sweep can be performed forward, from side to side, and in a horizontal plane (in a circle).
Compression
The contractions involve the muscles of the abdomen, back, or sides. The calm position of the body naturally turns into compression. Main form: squeezing the abdominal muscles. The pelvis, hips and shoulders move towards each other; the chest is compressed and the shoulders are pushed forward. The back is rounded and the head is tilted back.
Equilibrium
All balances must be performed cleanly. The duration of the use of the balance support must be clearly visible. The form must be fixed and well defined during balance.
Equilibria must have the following characteristics:
the shape is fixed and well defined during balance;
good amplitude of the balance shape
good body control during and after balance
Insufficient shape during rotation reduces the difficulty level to be performed.
Turns
The turns must have the following characteristics:
the shape is fixed and clearly defined during the entire rotation
good swing shape amplitude
good body control during and after turning
turns can be performed at full stop.
Jumps and jumps.
Jumps and jumps must have the following characteristics:
the shape is fixed and well defined during the flight
the shape is fixed and well defined during the rotation in jumps and leaps with a turn in the air
good jump shape amplitude
good height amplitude
good body control during and after a jump or jump
landing good body control during and after should be light and soft
Insufficient form or flight of a jump or leap affects the lowering of the difficulty level. Insufficient form during the twist jump also lowers the difficulty level. Leap B becomes leap A. Leap A does not count as a jump. All jumps and leaps that have shape and flight can be scored as jumps A.
Other performance requirements.
Execution must be uniform and synchronous.
All team members must perform the same elements with the same or equal difficulty level, simultaneously, sequentially, or over a short period of time.
The technique of aesthetic gymnastics should prevail. All movements and combinations of movements should be performed using the technique of holistic movements, when changes and transitions from one body movement or structure to another should be smooth. In the technique of holistic movement, an initial impulse is transmitted to each part of the body when the movement follows either from the center of the body or towards the center. The movements are linked together in a direction where the continuation from one movement to another follows smoothly, emphasizing continuity.
Execution must show good technique, good spread, accuracy of execution of movements, variety of application muscle tension, relaxation and strength, accuracy of constructions and transitions.
The performance must demonstrate good form, coordination, a sense of balance, stability and rhythm.
Execution must show the athletic prowess of the team; flexibility, strength, speed and endurance.
The performance must demonstrate expressiveness and aesthetic appeal.
Gymnasts should perform exercises in accordance with the dynamics and rhythm of the music.
The starting position and ending of the exercise are part of the execution.
Performance assessment
The maximum score for the execution of the exercise is 10.0 points.
Execution - 9.9.
Bonus - 0.1.
Various execution deductions:
The skill of the gymnasts:
Incorrect posture 0.1 every time
Technique of holistic execution of movements 0.3 for the whole exercise
Insufficient pulling 0.1 every time
Group unity and consistency
Small discrepancies in the execution of 0.1 each time
Lack of synchronicity 0.1 every time
Differences in technique of execution of movements 0.1 each time
Body movements
Small defects / inaccuracies / shortcomings of execution 0.1 each time
Non-fixed form 0.1 every time
Extra (unnecessary) movement 0.1 every time
Equilibrium
Unnecessary / unnecessary movement without step or bouncing 0.1 each time
Extra step or bouncing 0.2 every time
Unfixed form 0.1 every time
Loss of balance: with a step, with support on an arm, foot or
Complete loss of balance with a drop of 0.4 each time
Jumping and Jumping
Unfixed form 0.1 every time
Hard landing 0.1 every time
Lack of 0.1 amplitude every time
Insufficient flight (altitude) 0.1 every time
Transitions
Lack of smoothness 0.1 every time
Lack of lightness 0.1 every time
Collisions between gymnasts 0.1 each time
Collisions between gymnasts: a clear violation
Accuracy of movements
Inaccuracy of directions or angles 0.1 each time
Inaccuracy of constructions 0.1 every time
physical characteristics
Small inaccuracy in some area 0.1 every time
Obvious inaccuracy in the same area 0.3 every time / from the whole group
Music and movement
Small discrepancies between movement and rhythm
disadvantages
A little uncertainty about the execution of 0.1 every time
Short-term error with violation of execution 0.2 every time
Penalties from the whole group
The same technical error / movement 3 or more
Gymnast 0.3 every time
Bonus + 0.1
The execution of the exercise forms with an artistic impression of + 0.1.
JUDGING
JURY COMPOSITION
The International Technical Committee announces the judges participating in the judging of international competitions. The coach or choreographer of the competing team cannot be a judge. Only those judges who have passed the exam at the International Aesthetic Gymnastics Judges' Seminar may be allowed to judge international competitions and the World Championships.
Judges who have passed the national seminar and passed the exam are allowed to judge national competitions.
Number of judges
The teams' exercises are evaluated by two panels of judges: one panel evaluates the composition, and the other - the technique of execution.
The panel of judges evaluating the composition, in turn, is divided into two subgroups:
The TC team assessing the Technical Value of the composition may consist of 2-4 judges;
The AC team evaluating the Artistic Value of the composition may consist of 3-4 judges.
In both subgroups, referee # 1 is the referee in his panel.
The Panel of Judges evaluating the Execution of the Exercise (Panel B) may consist of 3-4 judges. One of the referees (referee # 1) is the referee in his panel.
The minimum allowed number of judges in the jury is 8 (5 judges evaluating the composition are divided into 2 subgroups, and 3 judges evaluating the performance).
Meanwhile, for judging the World Championship, the required number of judges must be 12 (8 judges evaluating composition: 4 - Technical Value and 4 - Artistic Value; and 4 judges evaluating performance).
Drawing of lots of judges
The draw of the judges is carried out in accordance with the level of the judge's license / category. Each country declares two judges participating in the draw for judges (for international competitions), in Russian competitions no more than 2 judges from each city are allowed in each team (no more than 1 from the club).
Head Judge or Official Observer.
The IFAGG Technical Committee for the World Championship will appoint the Chief Jury or the Chief Judge or Official Observer of the competition.
For the Championship of Russia Home panel of judges appointed by the decision of the WFEG Presidium.
Line judges.
A minimum of 2, a maximum of 4 line judges must be present, one at each corner of the court. It is the line judge's job to observe and record any violations of the floor area by the gymnasts. They must signal each error with a flag and record the violation in a special protocol provided in this case; at the end of the exercise they send the protocol to the Execution Panel Judge. A deduction will be made from the final Execution score.
CALCULATION OF ESTIMATES
General Provisions
The composition judges (in the A1 and A2 Artistic Value subgroups) and the Execution judges must score independently of each other. The final score is calculated by adding 3 scores: for the Technical Value of the composition, for the Artistic Value of the composition and for the Performance. The marks in each brigade are displayed as the arithmetic mean with or without discarding the highest and lowest marks, according to each specific situation.
The maximum score for the Technical Value of the composition is 6.0
Maximum score for the Artistic Value of the composition 4.0
Maximum score for exercise 10.0
The maximum score for a team in a competition can be 40.0 (20.0 in preliminary competitions and 20.0 in final). The score in the preliminary competition is summed up with the score received in the final to obtain the final result and summarize the results for the occupied places.
Counting the marks of judges assessing the composition
Brigade of the Technical Value of the composition - TC.
The judges of the Technical Value of the Composition (TC) panel give their marks from 0.0 to 6.0. Depending on the number of judges in the panel, the derivation of the final score and the discrepancy between the scores will be calculated as follows:
Panel of 4 judges:
Panel of 3 judges:
0.5 b. between estimates from 0.0 to 3.8
0.3 b. between estimates from 3.9 to 5.9.
Panel of 2 judges:
The arithmetic mean between 2 estimates is displayed.
Discrepancies between estimates cannot be more than:
0.5 b. between estimates from 0.0 to 3.8
0.3 b. between estimates from 3.9 to 5.9.
Increase bonus + 0.1
The bonus can be given separately and is added to the arithmetic mean of the TC only if the majority of the judges (3 / 4.2 / 3.2 / 2) give this bonus.
Brigade of the Artistic Value of the composition - AC.
The judges of the brigade of the Artistic value of the composition (AC) give their marks from 0.0 to 4.0. Depending on the number of judges in the panel, the derivation of the final score and the discrepancy between the scores will be calculated as follows:
Panel of 4 judges:
The highest and lowest grades are discarded, then the arithmetic mean between the two average grades is displayed.
The discrepancy between the average estimates taken into account cannot be more than:
Panel of 3 judges:
The average is displayed arithmetic honey three marks (without dropping the highest and lowest marks).
Discrepancies between estimates cannot be more than:
0.4 b. between estimates from 0.0 to 2.9
0.3 b. between ratings from 3.0 to 3.9.
Increase bonus + 0.1
The bonus can be given separately and is added to the arithmetic mean of the AC only if the majority of the judges (3 / 4.2 / 3) give this bonus.
Calculation of the scores of judges evaluating Execution
The Execution Panel Judges (B) give their marks from 0.0 to 10.0. Depending on the number of judges in the panel, the derivation of the final score and the discrepancy between the scores will be calculated as follows:
Panel of 4 judges:
The highest and lowest grades are discarded, then the arithmetic mean between the two average grades is displayed.
The discrepancy between the average estimates taken into account cannot be more than:
Panel of 3 judges:
The arithmetic mean of honey is displayed with three scores (without discarding the highest and lowest scores).
Discrepancies between estimates cannot be more than:
0.5 b. between estimates from 0.0 to 8.5
0.3 b. between ratings from 8.6 to 10.0.
Increase bonus + 0.1
The bonus can be given separately and is added to the arithmetic average B only if the majority of the judges (3 / 4.2 / 3) give this bonus.
Arbitrator
All judges send their marks to the referee (each panel has its own referee). The arbiter checks if there are any discrepancies between the average marks (all marks given by the judges are subject to settlement). The arbiter brings the judges together if these discrepancies are not resolved; and if the judges cannot come to an agreement, the Chief Judge, Official Observer or Competition Manager is called.
The arbiter applies the penalties for which he / she is responsible and also adds bonuses if the majority of the judges grant those bonuses.
Penalties applied by the referee.
Penalties are deducted from the final score for the Artistic Value of the composition and from the final score for the Performance.
Penalties Applied by the Arbiter for Composition - Artistic Value Panel
Time
The duration of the exercise does not correspond to the regulations (if 6 seconds or more is missing or extra time): deduction 0.1
Gymnastics clothing
Unaesthetic costumes or costumes that do not comply with the regulations: deduction of 0.1 for one gymnast, 0.2 for two or more gymnasts.
Hair jewelry, makeup and gymnastic slippers are all part of the costume. A deduction of 0.1 for each lost item (jewelry for hair, slippers, etc.)
Penalties Applied by the Arbiter for Execution - Execution Panel
The gymnast leaves the area
Each time out of bounds (touching the floor outside the boundary line): deduction of 0.1 each time.
The line judges must record each entry in the special protocol provided in this case; at the end of the exercise they send the protocol to the Execution Panel Judge.
Missing gymnast
For each missing gymnast: a deduction of 0.5. A deduction is also applied if the group starts the exercise with 6 gymnasts and then in the middle of the exercise the gymnast leaves the area for any reason.
TECHNICAL REGULATIONS OF THE COMPETITION
Competition form
Competitions are held in two stages: Preliminaries and Finals.
No more than 2 teams from a country qualify for the final (in international competitions).
Selection of finalists
The composition of the finalists is determined from 8 better results shown in preliminary competitions. Only 2 teams from each country can take part in the Final.
In all-Russian competitions, all teams perform both stages
Competition schedules
The draw for the starting order of performances in preliminary competitions will take place at the technical meeting before the competition.
The order of performances in the Finals is determined by drawing lots after the semi-finals and signed by the referees and the competition manager.
Organization of competitions.
The organizing committee of the competition is responsible for the preparation and availability of all the necessary requirements for the competition, incl. technical staff: secretaries, informants, sound engineers, judges in front of the participants, line judges, timekeepers, couriers responsible for the opening and closing ceremonies, in charge of issuing prizes, etc.
Protocols of results and judges' assessments.
The organizers prepare and distribute to the participating delegations the final protocols of the competition results and judges' marks.
Supervisory Commission
The Presidium of the All-Russian Federation of Aesthetic Gymnastics may appoint a supervisory commission, which, together with the arbiters, the Chief Judge and the Competition Manager, resolves issues and problems that are not reflected in the rules. The supervisory committee consists of 3-4 people.
CHANGES TO THE COMPETITION RULES
The WFEG Executive Committee has the right to amend the Competition Rules. All changes are then approved by the WFEG Presidium.
Sections: School sports and children's health
Sports training in aesthetic gymnastics - a long-term, year-round, specially organized process of comprehensive development, training and education of those involved.
The main goal of training gymnasts is the all-round harmonious development of the body, maintaining health, working capacity and external attractiveness.
A feature of aesthetic gymnastics is that the participants compete in teams. This is a completely team sport in which the technique of performing exercises is assessed not only by an individual gymnast, but by the whole team.
In this regard, the particular purpose of training is to perform bit standards as part of a team, participation not only in competitions, but also in sports events. The emphasis in aesthetic gymnastics has shifted from individual training to group training.
In aesthetic gymnastics classes, a specific range of tasks is solved:
- comprehensive harmonious development of those involved;
- development of the need for movement and plasticity in girls;
- identification and development of students' creative abilities;
- development physical qualities in accordance with the physiological characteristics of the body of girls, girls;
- the development of aesthetic abilities (musicality, dance, expressiveness and artistry);
- shaping correct posture;
- fostering a sense of cohesion and team unity;
- the formation of special skills and abilities required in aesthetic gymnastics;
- formation of skills and abilities of group performance;
- participation in control and official competitions, tournaments, festivals, sports events.
The long-term training of gymnasts is based on a system of specific means and methods applied in stages, taking into account the age characteristics of the trainees.
The long-term training of athletes in aesthetic gymnastics, by analogy with other sports, is usually divided into 4 stages:
I - stage of preliminary preparation: groups initial training, the age of those involved is 5-6, 6-7 years old;
II - the stage of initial sports specialization: educational and training groups of the first - fourth years of study, the age of those involved is 7-12 years;
III - stage of in-depth training: groups of sports perfection, age of those involved in 12-16 years old
IV - stage of sports longevity: groups of the highest sportsmanship, the age of those involved is 16 years and older. (Table 1)
Stage I - preliminary preparation (5-7 years)
The initial training phase covers preschool and junior school age and is the first link in the multi-year training system.
The main goal of early physical education and sports is to create a solid foundation for the upbringing of a healthy, strong and harmoniously developed young generation.
For girls, aesthetic gymnastics is a sport that contributes to the harmonious development of the body from an early age, therefore, it is not difficult to attract the initial contingent as a whole.
The tasks solved in the first years of classes include:
- Health promotion.
- Harmonious development of all organs and systems of the body.
- Formation of correct posture.
- Formation of a gymnastic style (school) of exercise performance.
- Initial development of physical qualities.
Girls of this age are already ready for training and functional improvement with the help of special means of aesthetic, rhythmic, dance gymnastics. There is no need to speed up preliminary training and prematurely enter a narrow specialization against the background of intense loads. This leads to a reduction in the terms of basic training and overestimated requirements for the majority of young trainees, which subsequently affects their number.
Stage II - initial sports specialization (7 12 years)
After classes in mass training groups, girls may be offered admission to the department of rhythmic gymnastics, or to the department of aesthetic gymnastics. When recruiting groups for aesthetic gymnastics at the stage of early specialization, it is necessary to be guided by the level of preparedness of children. The first group may include children who do not have preliminary training, the second - previously engaged in various types of gymnastics or dances. If necessary, the groups can be combined by speeding up some types of preparation at the initial stage.
The main goal at the stage of initial specialization in aesthetic gymnastics is to prepare the team for participation in competitions, sports events, tournaments, festivals, etc.
Taking into account the classification requirements for aesthetic gymnastics, it is possible to determine specific tasks for the training of gymnasts of primary and secondary school age, performing in the age category of 8-10 years old and 10-12 years old:
- Learning and consolidation of basic technical elements.
- Learning and fixing special tools.
- Development of physical qualities.
- Learning and consolidation of the coordinated actions of gymnasts in the group performance of the composition.
- Participation in control, internal and official competitions, sports events, festivals, etc.
Gymnasts of 8-12 years old, practicing at the II stage of preparation, are distinguished by a high plasticity of the body, increased learning abilities and a sensitive period for the development of coordination and dexterity, speed and passive flexibility.
Stage III - in-depth training of gymnasts 12 16 years old
The purpose of the III-rd stage of in-depth training of female gymnasts is a smooth transition from calmly ongoing academic work to intensive training sessions.
Main goals stage of in-depth preparation:
1. Improvement of specially-physical fitness of gymnasts, especially active flexibility and speed-strength qualities.
2. Gradual increase in functional readiness: systematic mastering of new training loads.
3. Improving the reliability (stability) of the basic elements.
5. Improving the quality of performance of all choreographic forms - classical, folk, modern in complicated combinations.
7. Acquisition of experience in the formation of prelaunch "combat readiness", self-regulation, concentration and mobilization.
8. Advanced tactical and theoretical training.
9. Active competitive practice
The main means of in-depth training of gymnasts 12-16 years old are:
1. Training sessions increasing volume and intensity.
3. Special warm-ups of a different nature: parterre, gymnastic, choreographic, folk-characteristic, modern-dance and complex, general and individual.
4. Working out competitive elements and combinations.
5. Complexes of TFP for active flexibility and speed-power qualities.
6. Musical movement lessons
7. Theoretical lessons by type of training.
8. Complexes for the development of plastics, vestibular stability, expressiveness
The third stage of specialized training is characterized by an increase in the volume and intensity of training loads; classes are held 4-5 times a week for 2.5-3 hours. It is necessary to significantly increase the competitive practice up to 4-6 competitions per year.
This stage of preparation can also be addressed to girls who, for various reasons, have completed their careers in rhythmic gymnastics, sports acrobatics, as well as in other types of gymnastics, and who decided to apply the achieved mastery in group gymnastics.
Stage IV - sports longevity 16 years and older
The goal of the IV stage - sports longevity of gymnasts is the transition to the master of sports program, as well as participation in competitions of various ranks.
The main tasks of the stage of sports longevity:
1. Further improvement of special physical fitness in all aspects.
2. Achievement of the optimal level of fitness.
3. Achieving a high level of reliability (stability) performance of elements and connections.
4. Constant search and development of new original movements.
5. Deepening of psychological and tactical knowledge and skills, reaching the maximum level of psychological and tactical readiness for competitions.
6. Improving the musicality and artistry of the performance of the composition.
Fixed assets of the stage of sports improvement:
1. Special warm-ups of a different nature: parterre, gymnastic, choreographic, folk-characteristic, modern-dance and complex, general and individual.
2. Specific exercises of aesthetic gymnastics (balance, turns, bends, jumps, waves, swings, bends, relaxation, compression, twisting, lunges, swings, etc.)
3. Working out competitive elements and combinations.
4. Individual theoretical, psychological and tactical training.
This age is characterized by a high degree of functional perfection; therefore, it is at this age that one can expect intellectual and emotional maturity, plasticity, musicality, and a more complex performance in a figurative sense.
The need for mass involvement of children in gymnastics from an early age introduces new attitudes into the existing training system.
In such sports as volleyball, basketball, athletics, swimming, etc., competitions are held for all categories of practitioners according to the same rules, and at the same time, the range of scatter of the demonstrated results is quite large. In gymnastics, strictly outlined programs and requirements, focused on the training of top athletes, are not fully correlated with the solution of the key problem of attracting broad masses to regular exercises.
It is not about dividing gymnastics into sports and health-improving, but about solving the problems of health improvement with the involvement of sports attitudes - focusing on participating in competitions and striving for high results. The mutual penetration of sports and health-improving directions has found its embodiment in aesthetic gymnastics. Obviously, in order to increase the popularity of this sport, special forms of organization, methods and content of classes are required, which are necessary for the proper motivation of athletes.
It is believed that the founders of this trend in gymnastics are the Finns and Estonians. Having guessed the desire of women, having developed more lightweight rules and requirements, they contributed to the transformation of simple gymnastic shows into competitions.
However, the entire system of competitions at all levels, starting with the school level, is aimed at identifying potential champions and record holders.
The success of international competitions in aesthetic gymnastics in the following years led to the idea of holding world championships. Russia not only takes part in international tournaments, but is a recognized leader.
The focus on high sports results, further complication of technique, and, as a consequence, an increase in the volume and intensity of loads, in the future can transfer aesthetic gymnastics from the category of accessible sports to the category of elite ones, having lost its original purpose - a sport for the harmonious development of women.
Meanwhile, the advantage of aesthetic gymnastics lies precisely in the fact that it has the richest arsenal of exercises from elementary ones, accessible to almost any age and even health-related continent, to the most difficult ones.
In our opinion, we need new priorities, a different structure and program of the competition, and not the old templates - "gilding", victory at any cost.
The coach's task is to introduce hundreds of children into the world of gymnastics, and does not care about identifying talents who can win even in non-prestigious competitions.
It is necessary to return to the old models that were already in gymnastics. In 1984, at the all-Union conference, it was proposed to divide gymnastics into a program of category "A" - the Olympic direction, and category "B" - mass gymnastics, acceptable for everyone who wants to practice "from young to old" and using a variety of available means of influencing the body, and also various forms of conducting classes. The program of category “B” was designed in such a way as to create maximum opportunities for training, eliminate unnecessary conventions in the organization and conduct of competitions, and make it more achievable to fulfill the category standards. It was subdivided into a program for children and a program for adults. For children, a program was offered, consisting of III, II, I categories with individual compulsory and arbitrary (in I category) exercises of increased complexity, built on basic and profiling elements and compounds (6 types of exercises in each category). For adult girls, III, II, I categories were introduced group exercises(III category - 4 types, II - 5 types, I - 6 types). The program for candidates and masters of sports was supposed to be the same for young and adult athletes. It was believed that such a classification program is more accessible for the majority of students.
In aesthetic gymnastics there is every reason for the division into “hard” and “soft” models.
Firstly, aesthetic gymnastics is addressed to girls who, for various reasons, have completed their careers in rhythmic gymnastics, artistic acrobatics, as well as in other types of gymnastics, and who have decided to apply the achieved mastery in group gymnastics.
Secondly, as the research results have shown, the majority of the subjects' individual indicators relevant from the standpoint of high-quality sports selection, namely, about 40%, can be attributed to a low level of development, unpromising for the subsequent achievement of high sports results, about 38% - to the average level. , and only about 22% - to high.
This heterogeneity of the contingent should be taken into account when recruiting groups. It is obvious that the results will be incomparable.
Of course, evolution in gymnastics is an objective and inevitable process leading to the complication of sports technique, but, on the other hand, thanks to a powerful social need, it should also develop according to the principle of “accessible-effective-emotional”.
We have made an attempt to develop two levels of complexity for aesthetic gymnastics programs, which are presented in Table 2. This is only one of the options, in no case is it the ultimate truth, rather information for thought, a way to find like-minded people.
Until the age of 12, they perform according to the RFEG program (Russian Federation of Aesthetic Gymnastics), from 12 years old - according to the IFAG program (International Federation of Aesthetic Gymnastics).
The soft model or category “B” is oppositional. The leading factors on which the trainer should rely are: children's enthusiasm, interest and desire to practice, the desire to imitate. The desire to win at any cost is excluded. For this purpose, a softer rating system was introduced and the identification of winners and prize-winners, of which there may be several. Simplified RFEG and IFAG programs.
Depending on organizational capabilities, they can be held in one or several days. For example, on the first day, sports are held, and on the second, a free style competition is held. Such competitions can rather be attributed to the festival type.
In our opinion, preserving the competitive principles, taking into account their advantages, it is possible to soften the competition, giving the rivalry a more humane form, without taking it to extremes, allowing one to abandon harsh and sometimes cruel manifestations.