01 ARTISTRY of PERFORMANCE PPT 2025 1018 — Transcript

Full transcript

1. 0:02Hello everybody. My name is Patrick
2. 0:03Keins and in this presentation I
3. 0:06explain, educate and teach the artistry
4. 0:09changes for the cycle 2025 to 2028.
5. 0:14Together with coach and choreographer
6. 0:16Damon Jones, we have put together a
7. 0:18presentation which can be used for
8. 0:21educating judges, coaches and gymnasts
9. 0:24when it concerns artistry for beam and
10. 0:27floor.
11. 0:29Before we start, I would like on behalf
12. 0:31of the W committee and myself pay
13. 0:33respect to the gymnasts who are shown in
14. 0:36the pictures and videos in this
15. 0:38presentation. We are not criticizing any
16. 0:41of the gymnasts on a personal level
17. 0:43because we know that everyone did their
18. 0:46utmost best. We want to learn from the
19. 0:49gymnasts by discussing what was executed
20. 0:53well or what could have been done
21. 0:54different in the examples shown. A big
22. 0:58thank you to all the gymnasts shown in
23. 1:00this presentation. We appreciate that we
24. 1:02can learn from you. Also, this cycle
25. 1:05will work with an artistry checklist for
26. 1:08beam and floor. If the execution of a
27. 1:11certain box is good, acceptable, there
28. 1:15is no deduction. When the execution is
29. 1:18not good enough, we apply 01.
30. 1:23When the execution is weak or poor, we
31. 1:26apply 02.
32. 1:28There is also a possibility to deduct 03
33. 1:32which will be explained in the specific
34. 1:34box where it applies.
35. 1:37In the beam checklist, we see that now
36. 1:41in the first box body posture, a judge
37. 1:44has also the possibility to deduct 02
38. 1:47next to the already existing 0 and 01
39. 1:49deduction. The box insufficient
40. 1:52amplitude of movements was maybe better
41. 1:55known as the box elongation.
42. 1:58In this presentation you will learn that
43. 2:00elongation is actually an aspect of
44. 2:03amplitude of movements and not a box on
45. 2:06its own. Therefore from now on we will
46. 2:09not speak any longer of elongation but
47. 2:12of amplitude of movements. When
48. 2:15elongation is mentioned, we now all know
49. 2:19that with elongation, we are talking
50. 2:21about a part or an aspect of amplitude
51. 2:25of movements. We will also learn what
52. 2:28other aspects can be part of the box
53. 2:30amplitude of movement. So judges can
54. 2:32adequately judge this box mentioned on
55. 2:35the checklist as insufficient amplitude
56. 2:39of the movements.
57. 2:41The box insufficient variation in rhythm
58. 2:43and tempo is now put together with the
59. 2:45box disconnected element and movements.
60. 2:48Lack of fluency.
61. 2:50We will later explain how to judge this.
62. 2:54On the floor checklist, we also see the
63. 2:57possibility to deduct two tense for body
64. 3:00posture next to the already existing
65. 3:02one/10enth.
66. 3:04Also here we talk from now on of the box
67. 3:07insufficient amplitude of the movements
68. 3:09instead of elongation and I repeat it
69. 3:12once more elongation is or can be an
70. 3:15aspect of amplitude of movements.
71. 3:19In the section artistic performance we
72. 3:22have from now on also the box
73. 3:24insufficient complexity of the
74. 3:26movements. In this presentation you will
75. 3:29learn how to judge the difficulty level
76. 3:31of choreographic movements.
77. 3:33The box about poor choreography in the
78. 3:35cornering and missing movement touching
79. 3:38the floor is part of the composition
80. 3:40section.
81. 3:42There will be a separate presentation
82. 3:44about the section musicality. So we will
83. 3:47not talk too much about it in this
84. 3:49presentation.
85. 4:00In this presentation, we focus mainly
86. 4:02but not only on the artistic performance
87. 4:06boxes except from the beam box poor work
88. 4:10and rev. All these boxes should be
89. 4:12judged throughout the routine.
90. 4:16Which means that at the end of the
91. 4:18routine, you have to have the impression
92. 4:20that the gymnast has shown enough of
93. 4:22what is required in each specific box.
94. 4:26It doesn't mean that when the gymnast at
95. 4:28one or two points in the routine doesn't
96. 4:30show what is required, she has the
97. 4:32deduction right away.
98. 4:34But you need to have the idea that when
99. 4:37the routine is finished that you have
100. 4:39seen enough of what was required in that
101. 4:43specific box. That is what we need to
102. 4:47judge.
103. 4:55The best way to explain a good body
104. 4:57posture is to look at the picture on the
105. 5:00right. We can recognize a good body
106. 5:03posture by the following ingredients.
107. 5:06The stomach is in. The rib cage is
108. 5:09lifted and is in front of the stomach.
109. 5:13The shoulders are down. The gymnast has
110. 5:17a long neck and the head is neutral as
111. 5:22an extension of the spine.
112. 5:27Some gymnasts like to lift the head
113. 5:30slightly, which is also fine.
114. 5:43We can also look at it differently in
115. 5:45order to make it more clear. We can look
116. 5:47at four requirements. Up, down, out, in.
117. 5:52Up from head up, down from shoulders
118. 5:55down, out from rib cage out and in from
119. 5:59stomach in, up, down, out, in. It can be
120. 6:03a tool to remember it better. Please
121. 6:06know that when we say head up, it can
122. 6:08also be that the head is neutral as an
123. 6:10extension of the spine.
124. 6:12We need to ask ourself the question,
125. 6:15does the gymnast
126. 6:17use the principles up, down, out, in to
127. 6:22create a standup tall idea
128. 6:26or
129. 6:28to We
130. 6:35don't work
131. 6:38for
132. 6:54Let's have a look at the body posture in
133. 6:57these pictures. Let's first look at the
134. 7:00picture on the left and screen the body
135. 7:03from top to bottom with the principles
136. 7:06up, down, out, in.
137. 7:10We can see right away that the head is
138. 7:14tilted down instead of lifted up. Or we
139. 7:18said already before, the head can also
140. 7:22be neutral as an extension of the spine.
141. 7:26shoulders down is okay. The rib cage can
142. 7:30be lifted more and also the stomach can
143. 7:34be pulled more in. Now let's have a look
144. 7:38at the picture on the right.
145. 7:41We see here a different quality of body
146. 7:43posture. The head is more neutral. The
147. 7:47shoulders could be more down in this
148. 7:50version of body posture.
149. 7:53the rib cage out or lifted is much
150. 7:57better here than in the left picture.
151. 8:01And also the stomach in is better here.
152. 8:05Although I think she could pull the
153. 8:09stomach a little bit more in.
154. 8:17Now let's have a look at the three
155. 8:19pictures in this slide. When we see this
156. 8:22gymnast, we see on the picture on the
157. 8:23left right away when we go from the
158. 8:25principles up, down, out, in that there
159. 8:28are principles missing. The head is not
160. 8:31really lifted. The chest is not up. The
161. 8:35stomach is not in. The shoulders are
162. 8:37down. That is correct. Then in the
163. 8:40middle picture again we see the head
164. 8:42could be lifted more. The shoulders
165. 8:44could be down more. The chest could be
166. 8:46lifted more. The rib cage could be
167. 8:48lifted more or out more. And the stomach
168. 8:50could be pulled more in. And also we see
169. 8:53almost the same in the picture on the
170. 8:55right. Head could be more lifted.
171. 8:58Shoulders down is okay. Chest or rib
172. 9:02cage could be lifted more. And the
173. 9:05stomach could be pulled more in.
174. 9:09So this would qualify for poor or weak
175. 9:14body posture.
176. 9:16In the next slide you see a gymnast in a
177. 9:19body posture. You decide if the body
178. 9:21posture falls in the category A good
179. 9:24acceptable, B not good enough or C weak
180. 9:28poor. After 3 seconds the right answer
181. 9:31will appear after which we will discuss
182. 9:33the principles up down out in. So you
183. 9:36can
184. 9:43[Laughter]
185. 9:55is the body posture you see in the
186. 9:57picture A good acceptable B not good
187. 10:00enough or C weak poor?
188. 10:08If we look at up down out in, we see
189. 10:11that the head is up or neutral. The
190. 10:15shoulders are clearly down.
191. 10:18The
192. 10:21ribs are out or the rib cage is lifted
193. 10:26and the stomach is in. So this body
194. 10:31posture qualifies as good.
195. 10:41In this slide we see the same gymnast in
196. 10:43two different pictures.
197. 10:45First look at the picture on the left
198. 10:47and the side if the body posture falls
199. 10:48in the category good, acceptable, not
200. 10:51good enough, weak or poor. After 5
201. 10:54seconds you will get the answer. Then
202. 10:56look right away at the picture on the
203. 10:58right and do the same. After that we
204. 11:01discuss up, down, out, in.
205. 11:39When we look on the picture on the left,
206. 11:41this body posture would fall in the
207. 11:43category acceptable.
208. 11:46When we look at up, down, out, in, we
209. 11:48can see that the head is up or neutral
210. 11:50as an extension of the spine, that the
211. 11:53shoulders are down, that the rib cage is
212. 11:55out and lifted, but that the stomach can
213. 11:58be more in. So out of the four
214. 12:00requirements, he misses one. So that
215. 12:03means that she's in a category good and
216. 12:05acceptable. If you look at the picture
217. 12:06on the right, we can see that the head
218. 12:09is not lifted. That the shoulders are
219. 12:12not down. That the rib cage is not
220. 12:15really out, but that is a little bit
221. 12:19borderline could be much better. And
222. 12:21that the stomach is not really in. That
223. 12:23could also be much better. So therefore,
224. 12:25this body posture would fall in the
225. 12:27category not good enough. Again, we need
226. 12:31to judge it throughout the routine. Now,
227. 12:34we are only studying two body posture
228. 12:38pictures.
229. 12:54Is the body posture you see in the
230. 12:56picture A good, acceptable, B not good
231. 12:59enough, or C weak, poor.
232. 13:17When we screen this body posture from
233. 13:20top to bottom, we see that the head is
234. 13:22up. that the shoulders are not down but
235. 13:26lifted, that the rib cage is out and
236. 13:29that the stomach is in. So from the four
237. 13:32requirements, this gymnast qualifies for
238. 13:35three. So this is an good body posture
239. 13:40because we saw in the previous slides
240. 13:44that out of the four requirements you
241. 13:46can still miss one requirement in order
242. 13:50to qualify for a good body posture.
243. 14:05In this slide, we see also the same
244. 14:08gymnast in two different pictures.
245. 14:10First, decide if this body posture on
246. 14:12the left is good, acceptable, not good
247. 14:15enough, weak or poor. After 5 seconds,
248. 14:18the right answer will appear. Then try
249. 14:20right away to judge up, down, out, in
250. 14:23for the picture on the left. Then do the
251. 14:26same with the picture on the right.
252. 14:28After we will discuss the body postures.
253. 15:10When we look at the picture on the left,
254. 15:12we can see that the head is not up, that
255. 15:15the shoulders are not down, that the
256. 15:18chest or the rib cage is lifted but not
257. 15:23really lifted. So, it could be much
258. 15:24better. So, therefore, it would be a
259. 15:26borderline for me. and that the stomach
260. 15:29is not really in. When we look at the
261. 15:32picture on the right, we can see that
262. 15:33that is much better. The head is up or
263. 15:36neutral as an extension of the spine.
264. 15:38The shoulders are borderline could be
265. 15:41more down. The chest or the rib cage is
266. 15:46out and lifted and the stomach is in.
267. 15:54So that would
268. 15:59except the body posture.
269. 16:06Let's look at the body posture in the
270. 16:08picture and let's answer the following
271. 16:10question. Would you agree that this body
272. 16:13posture is a very good body posture?
273. 16:18A. Yes.
274. 16:20B. For me it's borderline. or C no it's
275. 16:25very poor.
276. 16:27The right answer of course is yes. When
277. 16:31we look at up down out in we can see
278. 16:34that the head is up or neutral as an
279. 16:37extension of the spine that the
280. 16:39shoulders are down that the rib cage is
281. 16:41lifted or out and that the stomach is
282. 16:44in. So this is a very good learning
283. 16:49material
284. 16:51for us to see
285. 16:55what is
286. 16:57a very good or an excellent
287. 17:03body posture.
288. 17:08When we look at the gymnast in the
289. 17:10picture, I would like you to screen the
290. 17:12body posture from top to bottom for the
291. 17:14principles up, down, out, in. I would
292. 17:18like you to answer the following
293. 17:20question. Although we are looking at an
294. 17:24excellent gymnast, what could this
295. 17:26gymnast do better? A, lift the head a
296. 17:29little bit more to create a longer
297. 17:31neckline. B, lift the head and rib cage
298. 17:35more to create a longer body line. or C
299. 17:38push her shoulders more down or D lift
300. 17:42the head and rib cage more and at the
301. 17:44same time pull the stomach more in. The
302. 17:48right answer is answer D.
303. 17:52When we look at up down out in we can
304. 17:54see that the head could be up a little
305. 17:57bit more. The shoulders are down that is
306. 18:00okay. The rib cage can be more out or
307. 18:04lifted. the stomach can be pulled more
308. 18:08in. Altogether, we are not looking at a
309. 18:11great body posture. And I say this with
310. 18:13all respect for the gymnast because I
311. 18:15know she's an excellent gymnast.
312. 18:18But when we compare this body posture,
313. 18:20for example, with the gymnast in the
314. 18:22last slide, then we can see a clear
315. 18:25difference in creating a standup tall
316. 18:28idea.
317. 18:30Because there is a clear difference in
318. 18:32body posture, there should also be a
319. 18:34clear difference in deduction. The
320. 18:37gymnast on the last slide should get
321. 18:39zero deduction and the gymnast on the
322. 18:41left should at least get 01 deduction
323. 18:45for body posture.
324. 19:00In the next slides, you see some videos
325. 19:02of beam routine so you can practice
326. 19:04judging the body posture throughout the
327. 19:06routine. In the slide after the beam
328. 19:09routine, a question appears and you need
329. 19:11to decide if the body posture throughout
330. 19:13the routine was in the category good,
331. 19:17acceptable,
332. 19:19or not good enough.
333. 20:06the right answer was C. And when we
334. 20:09analyze this body posture from the
335. 20:12principles up, down, out, in, then we
336. 20:15could see that all the components were
337. 20:17not really there. The head was not
338. 20:20lifted. The shoulders were not down. The
339. 20:25rib cage was not out or lifted. And the
340. 20:29stomach was not pulled in.
341. 20:33So this body posture would fall in the
342. 20:36category weak poor.
343. 21:16The right answer is A. This body posture
344. 21:19is good. When we analyze up, down, out,
345. 21:23in. Then we can see that the head is
346. 21:26lifted up, that the shoulders are down,
347. 21:29that the rib cage is out or lifted,
348. 21:32and that the stomach is pulled in.
349. 21:38This gymnast
350. 21:40creates an excellent
351. 21:46and the
352. 21:49idea.
353. 22:20The right answer is C. Weak, poor. When
354. 22:24we analyze this body posture from the
355. 22:27principles up, down, out, in, then we
356. 22:31could see that all the components were
357. 22:33not really there, that the head was not
358. 22:37lifted, that the shoulders were not
359. 22:40down, the rib cage was not out or
360. 22:43lifted, and the stomach was not pulled
361. 22:46in. So this body posture would fall in
362. 22:50the category weak poor. All right.
363. 23:40The right answer is answer B. Not good
364. 23:44enough. Also here with this gymnast, we
365. 23:46can see that everything she does is not
366. 23:49bad, but it's also not great. And when
367. 23:52we analyze the categories up, down, out,
368. 23:55in, then everything is
369. 23:59just not good enough. I would say it is
370. 24:02everything is borderline. So the head up
371. 24:04is not bad. The shoulders down are not
372. 24:06bad. The rib cage out is not bad. The
373. 24:09stomach in is not bad. But it also could
374. 24:12have been done better.
375. 24:30The next box on the checklist is
376. 24:32insufficient amplitude of movements.
377. 24:35When we define this box, we can say the
378. 24:38following. When a movement has
379. 24:40amplitude, it is performed with
380. 24:42qualities such as elongation,
381. 24:45power, strength, accents and or large
382. 24:49movements and steps.
383. 24:51So here we can also see like we
384. 24:54mentioned before in this presentation
385. 24:56that elongation is an aspect or a part
386. 25:01of amplitude of the movements but that
387. 25:04this box also contains other aspects.
388. 25:22The best way to explain elongation is to
389. 25:24first look at a simple pose like in the
390. 25:27picture on the left. When we break it
391. 25:29down, the gymnast stands in a tandu with
392. 25:31one arm up and one arm in front of the
393. 25:34body. We see that the body posture is
394. 25:37acceptable, but there is no elongation.
395. 25:40In order to add elongation, the gymnast
396. 25:43pushes her left arm further forward and
397. 25:46pulls her stomach muscles more in. At
398. 25:49the same time, she pushes her left
399. 25:51shoulder down and lifts her chin.
400. 25:54Because she pushes her left arm forward
401. 25:57as far as possible, she rotates the
402. 25:59trunk and pushes her right arm to the
403. 26:02back. In this way, she makes this pose
404. 26:06as big as possible. And there is your
405. 26:09elongation or amplitude. In the next
406. 26:13three slides, I ask you to look at
407. 26:15elongation and body posture and answer
408. 26:18the question with the possible answers.
409. 26:22The right answer will appear after about
410. 26:2725 seconds. So you have enough time to
411. 26:33read carefully
412. 26:36through the question and look at the
413. 28:15No, this is not an elongated pose.
414. 28:18Therefore, the gymnast would have pushed
415. 28:21her right arm further to the side. It is
416. 28:25a good body posture, but it is not
417. 28:28elongated.
418. 28:48No, this is not an elongated pose
419. 28:51because if it would have been elongated,
420. 28:53she would have moved the trunk more over
421. 28:56to the left in order to reach out with
422. 28:59her left arm to the side as far as
423. 29:02position.
424. 29:24Yes, this is an elongated pose. As the
425. 29:27gymnast reaches out with her left arm as
426. 29:29far to the front as possible, she even
427. 29:32rotates her trunk a little in order to
428. 29:34make the pose as big as possible.
429. 29:51Other aspects of amplitude of movements
430. 29:54can be moving with power and strength,
431. 29:58using strong accents, large movements
432. 30:01and steps. In the next example, you will
433. 30:04see a part of two floor routines, both
434. 30:06performed in the tango style. Try to see
435. 30:08the difference in the power of
436. 30:10movements, the strength of movements,
437. 30:14the use of strong sharp accents, and try
438. 30:17to see if the gymnast moves with large
439. 30:20steps and traveling patterns or that her
440. 30:22movements and steps are small. After you
441. 30:26have observed the routines, we will
442. 30:28review them.
443. 30:33Hey, hey, hey.
444. 30:51[Music]
445. 31:13down.
446. 31:17[Music]
447. 31:20Hey
448. 31:21[Music]
449. 31:31[Applause]
450. 31:34[Music]
451. 31:40Hey,
452. 31:44[Music]
453. 31:53boom.
454. 31:54[Music]
455. 32:33When we look at the first gymnast, we
456. 32:35can see that her movements are not
457. 32:37really powerful or have a lot of
458. 32:39strength to them. She also moves quite
459. 32:42small, which you can see, for example,
460. 32:44when she moves out of the corner after
461. 32:46the first line with three steps.
462. 32:49She could make those steps much bigger
463. 32:51or when I say differently, her traveling
464. 32:53pattern could be much larger. So, this
465. 32:57gymnast could move bigger, sharper,
466. 33:00stronger, and use bigger steps. She also
467. 33:03could elongate more. When we look at the
468. 33:07second gymnast, we see much bigger
469. 33:09movements and much stronger accents,
470. 33:11which also fits the energy of the music
471. 33:14better. Also, her steps are bigger,
472. 33:17which gives her choreography a much more
473. 33:20dynamic feel to it. When we look further
474. 33:24than gymnastics and analyze the
475. 33:26difference between a professional dancer
476. 33:27and a dancer who does dance as a hobby,
477. 33:30we normally see that the professional
478. 33:32dancer is moving stronger, sharper, and
479. 33:35bigger in combination with moving with
480. 33:38larger steps.
481. 33:40So these aspects are for us to look for
482. 33:44when we judge the box. Insufficient
483. 33:48amplitude of the movements.
484. 35:13Ava can perhaps win the allaround. She
485. 35:17would need a perfect 10 to do that.
486. 35:18Maybe tie for the lead. She would need a
487. 35:209.975 to do that. Well, from an American
488. 35:23perspective, move ahead of Sabrina Mars.
489. 35:26She would need a 9.75 to do that. And
490. 35:29she's certainly capable of that. Once
491. 35:31again, we point out her strength, her
492. 35:34great flexibility. Double front
493. 35:36handspring to a double front. Rarely
494. 35:38ever seen in gymnastics, top gymnastics.
495. 35:42Usually we see a lot of back
496. 35:43handsprings, but to do front handstrings
497. 35:45like that is almost unheard of.
498. 35:50Not many doing it. Now, the way the
499. 35:53judging has gone today, a 9.75 would
500. 35:56would mean a pretty major mistake. And
501. 35:58the Soviet gymnasts just don't
502. 36:00frequently make mistakes like that.
503. 36:04>> There's her second tumbling run. Whip
504. 36:05over. Double tuck. Oh, there's a slip
505. 36:09right there. Just a little jarring mo
506. 36:12movement after her double back.
507. 36:19I mentioned she's also playing it a
508. 36:22little bit safe on that second tumbling
509. 36:23run. She does have a full double back.
510. 36:26Let's see if she puts it at the end.
511. 36:41What a long pause there.
512. 36:44Well, in double back, she does do it at
513. 36:46the very end.
514. 36:54Involvement of the body parts. What does
515. 36:57this all mean? First of all, it is a box
516. 37:00which involves body parts throughout the
517. 37:04routine. So, we have to judge it
518. 37:06throughout the routine. Now,
519. 37:08choreography and movement where we just
520. 37:12moving arms is not good enough any
521. 37:14longer. You need to show that you are
522. 37:17using also trunk, ribs, hips, shoulder,
523. 37:22head. So you need to use more body parts
524. 37:24than just arms. Think of body waves,
525. 37:28flat back contractions, hip and shoulder
526. 37:30movements, head movements, etc., etc.
527. 37:34You cannot just show it in one moment of
528. 37:38the routine, but you need to show it at
529. 37:41more places.
530. 37:43When you do show it in one moment of the
531. 37:45routine, you need to clearly do this for
532. 37:48a longer piece or sequence of
533. 37:52choreography.
534. 41:11In the last slides, we have seen several
535. 41:14options of what the gymnast can use in
536. 41:16order to move more body parts. Of
537. 41:19course, there are more possibilities
538. 41:20than the examples shown, but it is just
539. 41:23to give you an idea of what it could
540. 41:26look like.
541. 41:27Now in the next four slides you see a
542. 41:30floor routine and in each floor routine
543. 41:32is written what kind of movement the
544. 41:35gymnast performs. For example,
545. 41:38contraction, body wave, shoulder
546. 41:40movement, back bend etc. In this way you
547. 41:44become really aware of the
548. 41:47implementation of moving body parts.
549. 42:01[Music]
550. 42:04[Applause]
551. 42:07[Music]
552. 42:35Hello.
553. 42:38[Music]
554. 42:52Heat.
555. 42:58Heat.
556. 43:00[Music]
557. 43:11Heat.
558. 43:12[Music]
559. 43:41[Music]
560. 44:07[Music]
561. 44:10Heat. Heat.
562. 44:12Heat. Heat.
563. 44:14[Music]
564. 44:23[Music]
565. 44:33Heat.
566. 44:37[Music]
567. 44:46Heat.
568. 44:49[Music]
569. 45:01[Music]
570. 45:12warrior.
571. 45:17Yeah.
572. 45:19[Music]
573. 45:24[Music]
574. 45:26Wow.
575. 45:27[Applause]
576. 45:31Wow.
577. 45:38[Music]
578. 45:49Heat. Heat.
579. 45:58[Music]
580. 46:11Heat.
581. 46:14[Music]
582. 46:19Heat.
583. 46:24[Music]
584. 46:29Let's
585. 46:32[Applause]
586. 46:36[Music]
587. 46:58go.
588. 46:59[Applause]
589. 47:00[Music]
590. 47:10Come on.
591. 47:16[Music]
592. 47:20Hallelujah.
593. 47:28[Music]
594. 47:35Hallelujah.
595. 47:38[Music]
596. 47:50Heat. Heat.
597. 47:53[Applause]
598. 47:56[Music]
599. 47:57[Applause]
600. 48:02[Music]
601. 48:34Hey,
602. 48:42[Music]
603. 48:55The word rev as we use it in gymnastics
604. 48:59is a position which we will see in the
605. 49:02next slides. The official name for this
606. 49:06position in classical ballet terminology
607. 49:08is not relev but demi point. When the
608. 49:13dancer goes from straight legs to high
609. 49:16on the toes, it is officially called in
610. 49:20ballet terms la. When the dancer goes
611. 49:24high on the toes from plea, then in
612. 49:27ballet terms it is a rev. as literally
613. 49:31translated it means to relift. So rev is
614. 49:35actually a verb but in gymnastics we use
615. 49:40it as a terminology for a position
616. 49:45position high on the toes. So let's make
617. 49:49the agreement that in gymnastics we use
618. 49:52rev for a position.
619. 49:55[Laughter]
620. 50:12A rev in gymnastics is considered a rev
621. 50:16when the gymnast stands high on the toes
622. 50:18on two feet, when one foot in front is
623. 50:23in rev.
624. 50:24When one foot in the back is on rev or
625. 50:29when a foot is curled.
626. 50:52and not
627. 50:56re
628. 51:00forward
629. 51:02to backward
630. 51:05or
631. 51:06sideways.
632. 51:13When judging reves or feet work, we need
633. 51:16to take the following into account. When
634. 51:19you do a rev, it needs to be extended. A
635. 51:23pirouette on rev is an element from the
636. 51:25code and therefore falls under body
637. 51:28shape and not on the artistry.
638. 51:31Turns not from the coat on rev need to
639. 51:34be extended. Also if you do a half turn
640. 51:39in tuxit or in stand on the beam they
641. 51:43need to be extended. No rev is no
642. 51:45deduction.
643. 51:48Feet need to be pointed when lifted off
644. 51:51the beam or off the floor.
645. 51:55Also take in account that there is a
646. 51:58difference between choreography with
647. 52:00intentionally flexed feet and feet
648. 52:03relaxed and not pointed. So it doesn't
649. 52:06mean that you cannot do a choreography
650. 52:08piece or move in with a flexed foot. But
651. 52:11I think we can clearly see the
652. 52:14difference when it's intentionally
653. 52:19flexed
654. 52:22or when it's just
655. 52:27a relaxed
656. 52:29foot.
657. 52:40When we judge a beam routine and we need
658. 52:43to judge the box poor work in rev, we do
659. 52:46not only judge the rev in a pose or in a
660. 52:50choreographic move, but we also need to
661. 52:54look for the turns that are not from the
662. 52:56code.
663. 52:57Very often the gymnast performs a half
664. 53:00turn at the end of the beam in order to
665. 53:03change direction.
666. 53:05For example, turning on two feet in a
667. 53:08high rev or turning on two feet in a
668. 53:11tuxit.
669. 53:13We also see very often a normal half
670. 53:16piouette or a fu turn. All these turns
671. 53:21are not from the code and therefore it
672. 53:25is choreography
673. 53:27and the refe performed in these half
674. 53:31turns also need to be judged in the box.
675. 53:36Poor work in relev Fake.
676. 54:52In the next slides, we see a few
677. 54:55examples of feet work. So, focus on the
678. 54:57feet and see if you would deduct for
679. 55:00this or you would not deduct for this.
680. 55:03After each video, there appears a
681. 55:06question with possible answers and you
682. 55:09need to pick the right answer. And after
683. 59:50When judging leg swings, we need to take
684. 59:52the following rules into account.
685. 59:55Forward leg swings or leg swings
686. 59:57sideways need to be with the foot at
687. 1:00:01head height.
688. 1:00:03Needle kicks needs to be 180°. We see a
689. 1:00:08lot of needle kicks when gymnasts, for
690. 1:00:10example, stand up from a sit position on
691. 1:00:12the beam to a stand position. These
692. 1:00:15needle kicks need to be 180°.
693. 1:00:20An arabesque swing, which is a straight
694. 1:00:23leg to the back, needs to be above the
695. 1:00:26hip.
696. 1:00:28When it is a ring swing, the same rules
697. 1:00:32as ring jumps or ring leaps apply.
698. 1:00:36Leg swings under horizontal are not
699. 1:00:39considered leg swings.
700. 1:00:42When a leg swing is used at preparation
701. 1:00:44into an element, it is also not
702. 1:00:48considered a leg swing.
703. 1:00:51In the next video, you see an example of
704. 1:00:55leg swing and after that a question
705. 1:00:59appears which you need to answer or
706. 1:01:01where you need to pick the right answer.
707. 1:01:05And after 20 seconds, the right answer
708. 1:01:08appears.
709. 1:03:45When judging this box, it is important
710. 1:03:48to take into account that the
711. 1:03:50choreography and elements performed are
712. 1:03:52seamless connected.
713. 1:03:55When it is done well, we see a flowing
714. 1:03:58connection between elements and
715. 1:04:00choreography. Every time the gymnast
716. 1:04:02stops because whatever reason,
717. 1:04:06it means
718. 1:11:03The next artistic performance box is
719. 1:11:07insufficient complexity of movements.
720. 1:11:10Complexity of movements represents
721. 1:11:14well-trained choreography with large
722. 1:11:17movements involving many body parts.
723. 1:11:20levels and movements that stand out as
724. 1:11:25difficult
725. 1:11:27and unique.
726. 1:11:30In the next slide,
727. 1:11:33we will discuss and explain
728. 1:11:38what this means.
729. 1:11:46Let's look at some examples of difficult
730. 1:11:49choreographic movements.
731. 1:11:52Fast coordinative arm movements.
732. 1:11:55Choreography touching the floor for
733. 1:11:58which you can clearly see the gymnast
734. 1:12:01needs to train in order to perform this
735. 1:12:03well.
736. 1:12:05movements with lots of body waves, head
737. 1:12:09releases, high leg swing, changes of
738. 1:12:11directions and or levels.
739. 1:12:15Steps with large moving patterns in
740. 1:12:17combination with direction changes, body
741. 1:12:21waves, leg swings, etc. All the above,
742. 1:12:25separate or in variation, are difficult
743. 1:12:28moves for which you need to train in
744. 1:12:31order to perform it well.
745. 1:12:34We need to understand that nowadays we
746. 1:12:37are looking for a balance of three
747. 1:12:39ingredients. Acrobatic series dance
748. 1:12:43elements and wellexecuted choreography.
749. 1:12:47Missing one of the ingredient means the
750. 1:12:50gymnast is not performing a complete
751. 1:12:52floor routine.
752. 1:12:54In the next three slides you see some
753. 1:12:57cutouts from floor routines as examples
754. 1:13:00of complex choreography.
755. 1:13:03Please read the text first of each
756. 1:13:05video.
757. 1:13:11[Laughter]
758. 1:13:24[Music]
759. 1:13:29How?
760. 1:13:31How?
761. 1:13:33How?
762. 1:13:38[Applause]
763. 1:13:39[Music]
764. 1:13:50[Music]
765. 1:13:52[Applause]
766. 1:13:55[Music]
767. 1:13:59[Applause]
768. 1:14:00[Music]
769. 1:14:45[Music]
770. 1:14:51Yeah.
771. 1:15:03[Music]
772. 1:15:10[Music]
773. 1:15:15As we need to judge the box insufficient
774. 1:15:18complexity of the movements throughout
775. 1:15:21the exercise, let's look and review a
776. 1:15:25full routine.
777. 1:15:27The routine starts right away with a lot
778. 1:15:31of movements in a very short time.
779. 1:15:34[Music]
780. 1:15:36Then towards the corner there is less
781. 1:15:39complexity.
782. 1:15:42We can recognize complexity when there
783. 1:15:44are a lot of difficult different
784. 1:15:47movements level change in body waves in
785. 1:15:49a very short time.
786. 1:15:53Also
787. 1:15:55[Music]
788. 1:15:58here lot of movements following the
789. 1:16:01energy of the music
790. 1:16:05[Music]
791. 1:16:15also here complexity on the floor
792. 1:16:17choreography
793. 1:16:20a lot of difficult
794. 1:16:23different movements in a very short time
795. 1:16:26with level changes and direction
796. 1:16:28changes.
797. 1:16:30Gymnast goes to the corner here with
798. 1:16:32less difficult movements or less complex
799. 1:16:35movement. Can also see she slows down a
800. 1:16:38little bit in the movements.
801. 1:16:44And also here after the last line, there
802. 1:16:47is not a lot happening anymore in the
803. 1:16:49choreography. It all slows down a little
804. 1:16:52bit. Less fast, less complex.
805. 1:16:55So throughout the routine, for sure she
806. 1:16:59qualifies for the box. Complexity in the
807. 1:17:02movements. In the beginning of the
808. 1:17:04routine, there was a lot of complexity
809. 1:17:07and at the end it was a little bit less,
810. 1:17:10but overall very complex choreography.
811. 1:17:26Heat.
812. 1:17:34[Music]
813. 1:17:47Hey, Heat.
814. 1:17:54[Music]
815. 1:18:06[Music]
816. 1:18:13[Music]
817. 1:18:26As we said before in this presentation,
818. 1:18:29we focus on the artistic performance
819. 1:18:31boxes. However, because there is a
820. 1:18:35change in the box poor expressive
821. 1:18:38engagement according to the style of
822. 1:18:41music. I would like to discuss this box
823. 1:18:44a little bit because there are some
824. 1:18:46tools which we discussed last cycle
825. 1:18:49which you still can use today in order
826. 1:18:51to judge this box. But again there will
827. 1:18:55be a separate presentation about the
828. 1:18:58section musicality which will discuss
829. 1:19:01this topic in more detail.
830. 1:19:04The change in this box is that it is now
831. 1:19:08part of musicality
832. 1:19:12and that in this box you can apply 0 01
833. 1:19:1802 or 03 deduction.
834. 1:19:47A performer can only play four emotions.
835. 1:19:52Happy, angry, sad, and fear. A performer
836. 1:19:57could be an actor, singer, or dancer, or
837. 1:20:01in our case, a gymnast.
838. 1:20:04When a performer rehearses a
839. 1:20:05performance, the question can be asked,
840. 1:20:08what emotion is right for which piece of
841. 1:20:12music, text, song, movement, or in our
842. 1:20:17case, choreography.
843. 1:20:20If the music is happy, we want to see
844. 1:20:23happy poses or happy movements.
845. 1:20:26If the music is sad, we want to see the
846. 1:20:29sadness back in the movements and facial
847. 1:20:33expression.
848. 1:20:35So an emotion is a layer which you put
849. 1:20:39over a movement, text, song or again in
850. 1:20:43our case choreography.
851. 1:20:45This layer of emotion changes the way
852. 1:20:49the performer looks out of her eyes and
853. 1:20:53how the performer executes the
854. 1:20:56movements.
855. 1:20:58Emotional involvement shown in the face
856. 1:21:01is facial expression. Emotional
857. 1:21:04involvement shown in the movement is
858. 1:21:07body language.
859. 1:21:10Let's talk about an example to make it
860. 1:21:12more clear. Let's say the choreography
861. 1:21:16is walking just simple walking. If we
862. 1:21:20tell the story walking on a funeral
863. 1:21:24which is a sad event, the performer
864. 1:21:28shows emotion sad in her face and the
865. 1:21:32sadness changes the way the performer
866. 1:21:34walks. The walking will be performed
867. 1:21:37with a different energy.
868. 1:21:40Now imagine the story we tell is walking
869. 1:21:43on a wedding. The emotion will be happy
870. 1:21:48because everybody is in a good mood and
871. 1:21:50is having fun. The way the performer
872. 1:21:54walks looks different now because it is
873. 1:21:57performed with the emotion happy.
874. 1:22:00Also, the facial expression will be
875. 1:22:03happy because it reflects on being
876. 1:22:07in a good
877. 1:22:10mood.
878. 1:22:26So body language means emotion of the
879. 1:22:30music translated to choreography
880. 1:22:34or or and playing a character changes
881. 1:22:39the way the choreography is performed.
882. 1:22:58In the next slides, you will first see a
883. 1:23:00floor routine where there is body
884. 1:23:02language but not enough facial
885. 1:23:06expression.
886. 1:23:08And in the second and third video, you
887. 1:23:10see a great example of a combination
888. 1:23:13between body language and facial
889. 1:23:16expression shown.
890. 1:23:19[Laughter]
891. 1:23:36Yeah,
892. 1:23:40[Music]
893. 1:23:58la.
894. 1:23:59[Music]
895. 1:24:03Hallelujah.
896. 1:24:14[Music]
897. 1:24:42Heat. Heat.
898. 1:24:48Heat. Heat. N.
899. 1:24:53[Music]
900. 1:24:54[Applause]
901. 1:24:56[Music]
902. 1:25:28[Music]
903. 1:25:36La
904. 1:25:39[Music]
905. 1:25:50[Music]
906. 1:25:57da da.
907. 1:25:58I
908. 1:26:01[Music]
909. 1:26:05[Applause]
910. 1:26:07[Music]
911. 1:26:11thought I said I am
912. 1:26:14[Music]
913. 1:26:15[Applause]
914. 1:26:17[Music]
915. 1:26:19my
916. 1:26:26[Music]
917. 1:26:47Never.
918. 1:26:50[Music]
919. 1:27:05[Music]