It all starts in your mind's eye,
then it goes to your heart,
and finally to your very soul.

The perspective of correct technical execution for any movement inevitably arises out of one's current, yet continuously evolving, concept of what is considered the "ideal model." Relying on available information and experience, the mind's eye attempts to create the very best model it can possibly conceive and then to use that model as the basis for correct technique. As the conceptual model becomes more and more refined, practical execution of the actual skill can more closely approach perfection.

Exacting movement is, of course, an ideal concept.

After all, none of us is perfect. And yet, if a child were to be taught the concept of a straight line, would it not be wise to provide her with as straight a line as possible? Her conceptual model would thus be right on target, providing an accurate framework from which to approximate more closely the desired objective--understanding and drawing a truly straight line.

Consider the print styles used in this article. Notice bolding, italicizing, and underlining are employed in selected areas. Yet these variations in style of print do not determine the reader's ability to comprehend the fundamental meaning of the words. Why? Because the reader relies on an already-learned ideal model for each letter of the alphabet in order to interpret the meaning of the words. Even if this material were written freehand, would not the reader still understand its meaning?

The ability to conceptualize ideal models for technical execution of gymnastics skills is an essential first step toward championship performance.

Interpretations, explanations and evaluations of skill technique should be based upon "ideal-model concepts." Ideal-model conceptualization serves as a basic framework for coaches, judges and gymnasts alike to develop even better ideal models.

Although a working knowledge of biomechanics is essential to understanding and developing ideal models, this in and of itself is not enough. One must be able to employ biomechanical principles not only accurately specific to what has been performed, but also creatively in terms of how it can and should be performed. And this is unquestionably dependent on the quality and correctness of the perceived model.

Always remember:

The true art of gymnastics is in successfully manipulating the science!

May 1, 2010

The sport of gymnastics, perhaps more so than most activities, encompasses a seemingly endless quantity of movement skills. Even more incredible are the numbers and varieties of information put forth in an attempt to define and clarify these movements. One need only compare descriptive analyses of almost any given gymnastics element presented by any number of alleged “authorities” to discover strikingly different interpretations. Some of these presentations might best be described as “works of fiction!” And to further compound this dilemma, skills are often viewed and presented as unique elements, each distinctly different from all others. While such efforts to expand our knowledge and practices in sport technique are indeed commendable, a critical review of contemporary methods leaves little wonder why gymnastics mechanics and techniques appear, at best, to be perplexing!

Actually this should not be the case at all. Unlike many sport activities, a majority of the movements in gymnastics are both symmetrical in pattern and simplistic in nature. Although it might be argued that skills differ according to their objectives, close observation reveals that a vast majority of such differences exist more so in terms of degree and not kind. In fact, the similarities found in gymnastic movement patterns far outweigh the differences. The mechanics involved to execute even the most basic skills are precisely the same as those used at the more advanced levels. Many backward moving skills are merely the mirror image of forward moving skills. The principles employed in landing mechanics are essentially the reciprocal of those seen in take-off mechanics. In this light, the focus of this book is based upon a fundamental premise:

“Gymnastics skills should be conceptualized and taught
according to their technical and mechanical similarities”.