Course N'o. 2


the!'" are a numoer- of other handstand. 1;hat rill t_ast 70ur p!'oficlonoy. !f 7011 have followed COUl"M#1 o01r<:>fl1117 then the following ~tunh '1'111 not only be easy but will &dd a lot of, fun to your balancing seaaion. The 'Chair-stand' is one such .tunt and is an old favorite Tilth profass lanaI performers. Use an o"dlnar;r kit chen ohair bilt make certein that 1t 19 strong and has a ver:r sturdy back. Place one hand a,,01.ind the front edge of tha chai" and thA othe" un t0l-' of "he Oha:!.r baek (see Fig. l, Page 2.). Le&n well forwEU'd and wlth a sl.1ght jump dro.w IlJe legs up c Loae ,t'o the body and from this poslt10n press up into yOUl' handstand. You l!,Hlf1nd that you have unusuaj powal' and cont""l 1n is grasping the beek of tbe cheir end many eqllil1brl9t. say that thaba_lo.nce is much easier than the regular prea •• up but that it takes more ner-ve , yOUl' head be,ill!!; some forty C1' fifty inches 11'0"' the 1'100".




"M hand bd"noao

the aI'm that

Late!' you should try aOme b0.101no." On high par,al101 bara ~ o"der to accuatom ycu1'self to balances on high objects. I he. ve seen JllSny a good man fail to uecute a ba Ianc e on some high object, although on the ground he was excellent, merely because of fright of tllahigh place 01' simply lack of nOl've. To relate a humerous incident; not 80 long ago ona of our tea,", an expert ba'l.ancen In the gym, ""., coaxed to attempt his hand3tand on the end of the sprlng·board at OUI' swimming pool with all hi3 clothc~ on ••• ne fell in, 7et the balo.nce to him was 80 abaurdly s1mple but the hazard of the water below

(Pase 1.)

-s .' arid I.. . aI'll1S and :lIft the feet off the 1'1001'.jJ:I~h_"~ !\-pi1l'.!merg'enB'l" a 'good .v_srIal. LEAN WELL FORWARD (Page 2. Complete the balance by bringing the feet together • p.o... st.•.thg THE STRADDlE HANDSTAND-is _:n~~on~~~~. Then I h!<v.40il' of.nd.. pe.~~!i~~lY .toulderwldth apart (Fig. ratse the lege overhead. Lean well forward.~ 'seen"a~era$e. up .'<'o.. -110".:lsnce._ hAAi.11 _.I?"rform!.d jj.':P_~rfo~ at great heigh:!:& doing tli!ng~ really danger.I<>-:.l.!.) .:.heimpr'1perlY.". 2).out" r«~t" to fUty .~.l!JBl1:~"rs.1'"".'._t.¢' Jij'ip' you.i"l?e.~ab. ". the thIghs against the insides Of til<l-up.\ge .reet. a.nd "abou!':' _e·l..without· the ~l1ghteat fif~.-1>"" at" this.oUII .4. Without bending the knees but moO"1rlg ·ant 11'ely from the hips.8O'er" '.-4p Unn!'rved him t~t .. between"~e may serve build' ir.01:\to.t .. Spread your"p're..

Page 5) and continue to rsise the l.bent. It takes plenty of strength and flexibility. YOU WON'T FINO MANY chaps who can. as 010s6 to the hands as you ean without. the e'loWllr you do it the harder it is. come back i'rom tho olttreme forward poll1tlon) untll the complete handstand has been seoured.*c~ll"nt strength buHdlng qualities. come ott'-th8 floor (F1g.e feet leave the floor (as indicated by the solid lines 'in Fig. 4B. You muat have perfect control throughoUt the this lever-up. An interesting exerCise.your f. Lean well forward. you are ready for the 'stiff-Arm-Stiff-Legged-Leverand 'bring the fest l'I.egs (Fig. 1s to endeavor to stop Brld maintain a baiance at anyone of the positions between the t160r (star't.rform it on the t100r.~nd1ng the knees (see Fig. Page 4).) . The ra. but should be thoroughly mastered' because of its Q.' THE NEXT BALANGE you should learn is the 'stiff-legged lever-up' with arms. one that will give you IItrongtll md co-ordinat1on. BB.~n performed IImoothly and slowly.the feet aa c Loae to the hands as possible w1thout bending the knee8. 30) the arms are straightened out as 1n the regU1~ pI'ess-up to hand~tand.mt1re movement. position) and the finished handstand. 3A.aoc the hands on the floor abciut liboulder width apar-t 'Up. sol1d 11nell). As your feet come into the v9:roticsl position (Fig.i. keep the elbows stra. incidently.'forwlU'dallowing the elbows to bend until feet. 4Bt dotted lines) from the hipe only. ~Should you not1ce undue strain on the wrists then try this stunt 1. The starting position for the stiff-s~'lititr-legged 111 shown on Page 5. (Page 3. This 1s a beautiful stunt '11i.ight at all times and bring . Keep leaning torward until tr. The closer you can get . Whenyou have mastered this ~t~t.aet to your hands the easier the stuht. 40) you will have to draw your shouldeI's and head back (that is. This 1s a tol.1s1ng of ~he legs takes plaoe entirely i'rom the h1ps (Fig."i."01' a time on the floor-bars. You will learn the control quite well this way but you are not 'considered accomplished until you can pe. Whenthe legs are overhead (Fig.'.. Lean very i'ar. dotted lme's on Page 4 sho . legs partly raised) and the legs remain straight during the entire movement.lSh. 4A.

.-." FJG.3"" -l~~_l~=:__"FI:G ~---.."~U~_J-'_"-' ..01'..:ll.\~-'~~"_~-'J". \ .-...:'" .._. "'Pigi'~"~ -. \ '.FiG:-.1 I ...3C~i _ ~3BIL_-~l . ..I ~ .... i" .. "... :_"'_"" j / t .u~" .1 ''T~ "STlPF-LEG LEVER.


THE 'ROCK-UP' 19 a good prel1minar'J to the more difficult 'Prone-up' or 'Holl'ow-bac:( sa-up! • Pre The 'Prone-1. Froll! thiB position you press up as you would in the regula~ press up. 60) (Page 6.reach the posit1. In the 'Prone-up' it is difficult to show just how much arch 1s required and the exact position to place the hands as each handbalancar is conatructed anatomically different. From this position anap the head for'ne. (About the amourrt anown in the diagr~ on Page 7). The legs should be kept as straight as possible throughout the entire movement but while learning you may have to bend the knees slightly. (About six inches farther back than the position shown in Fig. lying prone (face 1s down) on the floor and plac1ng the hands on the floor in line with the hips. quickly flexing the thigh muac Les causes the legs to 'bounce' orr the floor.) . but should you master the 'Prone-up' you may well consider yourself an expert balancer. There is a little secret to this stunt.ourseyou will find this very simple but. 5A on Page 7). from the hips to the feet. SB) press up into the vertical position (F~.rd and downward at the same time rocking the curved chest on the floor and raising the legs (Fig.:p' performeQ by.. The legs are then raised by arching the back but the chest remains on the floor. (Pig. If you have mastered the movements of the preceding o.. Hold ~he head well back. SA on Page 7. AN INTERESTING STUNT is the 'Rook-up' to handstand. plaoe the hands a few inches below the Pectorel musoles and from this position press the arms out straight keeping the lower part of the body. it is a graoeful handstand when properly executed. first.on shown by the dotted lines arrest the rocking motion and continue to press up intI' the complet~d handstand. flat on the floor as shown in Fig. When the lega. 5B solid lines). in spite of its Simplicity. Lie prone (face down) on the floor. By sheer strength you continue arChing and raising the legs until they are high enough to permit the chest to be pressed free of the floor.

5B FfG.. t: <I' THe "ROCK-UP" TO HA. FlG..far:."DSTAND -"" .. FlG.S}.5C ..

hands.'-thevertical position.~poSs ible as shown in F1g. to the best of my knowledge.ance. By spring1ng up . ~'!he feet much farther any . Have the ringers spread wel. The more flexible yoUr s.or on your partner's head if . . 'llggest that you practiae a few 'iiantlst. 6. you~ bave a team..lIaalateral stability 1s dtl'fioult. I FIG b • Once you bav. 1s 171 (page 8. Start as you '':Would..I!. Tiger-bends take a combina~ tion of strength and co-ordination.t8 or aingle objects of leas -than':aix inohes diameter if need be .l .Bllds y kioklng up both. lapping 'Qver in order to get as much area of' the hands on the £1001' a8:.~from the. "TIGER.have to hit your balance at Ol.ith_ both feet together youbave less ehanee of falling to either side.rid if you learn this it will-go a long way toFirst. -the-other on top of it. Place one. You 11'111 .e done it well by kick.feet b f::t th!l"same. lean well forward afid k1ck up tQ. Lean well forward tand spring up with both feet at >j. "THE HAND-ON-HAND" balance 1s ~Ei:llt a._tbe regular' 'Preu-up' but -:~il.hoUlders the aaa ier th is bal.time.BENDS" have always been the handbalancer's strength test just as chinning and dipping are to the gymnast.1ngup practioe by kicking iip both feet together as msntione'~ at the top of this page.he aame time. I have seen many good handbalanoers do 6 repetition Tiger-bends and there ~re a few that do from 10 to 12 while the record. Whenyou master the 'Hand-on-Hand' 'you'1I'11lbe able to balance on :P05. balance being maintained by their pressure.) . hand on the floor.k1I:ig yOUl' lOne-Handstand! easler.

xtent that very little ws_ight1s felt o!.!. Rock forWard until the for~arms Bre nearly perpapdiculal' to the £100.uld b'e when nearing the completion of thereg'ul"r -prss'e-up 'fumdstand.. This 1s the secret of high rapetit1011 Tiger-bends. 9 THE "PLANCHE" 11. Here are a few pointe'rs to remember. dott"ed lines) until the t'ore.. After you haye Buccessfully.ia.requiring te'rrifie shoulder power.1a handstand inasmuch as you are balancing your body on YOllr hands."! shown in Fig.i'!"-ij. If you rock forward and at the same time allow too muoh bend at the elbows tps ehance a are that :rour ohin w111 come in conteot with the floor.emrllllle depth-ot t'be arch which is ne-oe..) .'7C. do. (page 9. It.ther thay got tbe_ir development from doing the planche or that they could do the pla..-the. This perm1t the head and shoulders to drop below the level of the hands and does not r-equaz-e such a -deep ar-ch . arms to De flexed (bent) too much.made the oomplsted hruadstand drop Clown 'to the t'orearm stand again.J_Elnn.:roba... The straight aM! planche is very very difficult snd few balancers ever accomplish it eorrectly.PLACE l'HE FOREARMS oil. Allow th!3 legs to'tiver1. on Page 10.(F~g. t between two chs1rs or' bencbe e . It is bard to say whe.. 'not a_ll .h18 feat have had powerful upper bodies and l1ght legs.tand'!ls ehown_in_ Fig~ 'lit.. Note the.rchant il... As soon as the o'lt-.bodyweigbt.nche because of their unique bUild. The angle 'between the upper arID -and the_ forearm shculd be as near as poss ible to the "Illouh__t hown in Fig. var. dot1:"d lin03) 1n or dol' to pl'BSS up quiokly and with the least eXpendIture of strength.:l1nes to position '7C.1ihe.arm..·(Examine Fig. 7Bon Page 10).s aNI.relieve the eloows oi'c. Those whom I have seen do t. the floor and kick-up into "the fONe. Che§k-t~e fOI'W"rd motion of the body "nd conmmnoe to press UP._ s(lllid.tion o_r the Tiger-bal)d which 1s rather Simple is to per form' i.e been acoclllPl:1'shed qui'ckly baa rock the ent1re bod! forward (_Fig. '7D..ogj rln much the same position as_it wO.neErrly vel'tical and the b.= elbows assume the s ame po_sU10n_ (in l'ela t ion to the dis tanoe between thee 1bo" a ) then' try a seoond T1ger-bend. '70. 1n'ow-s-. '7B.H'J.l_BJarrOl!to s:.Beary to.. This 18 relatively eaay but #<~-e OBl't. neveI'theless it is a wonile--:rful strengt'h developer . s If it 1s flexed too -lIJIloh you will encounter d1f:f1eu1t:r in the press-up.

FIG 18 FIG 7D .E "TIGER-8 END" FIG 71>0. FIG K '.PIII9U 10 TH.

It 1s almost impossible 1:0 keep the pa Lma flat ----"' . As you progress try to depend less on the support offered by the elbows and wit·h each succeeding attempt straighten the elbows more. The amoun L o!' "1'01. the from the elbows ttrst find you have to bend mor-e thBn t. I suggesb pract LeinS 'II 1th an exagge:r<ated areh then gradually r-educIng the arch until the body 1s straight and horizontal to the floor.8 You may.) . quite close together and by' fore ing the elbows tightly aga1nst the sides. is not a true p. most "uHable for a beginner 1a shown in Fig.. 1t '11111 atrengthen the necessary muscles 1n the lumbar region of the back and the shouJ.dera.9 hands must be extremely flexible.bars .:Oe amount snown FIG. FIG. but".YOUR FIRST ATTEMPT at the planche should be performed on the floor-bara with elbows bent. -"'---on the floor in thIs planohe. I believe a barbell trained man can learn the planche quickly a9 he will have the requIred strength and this stunt takes more strength than an:)' other.U'- but as . This. 9.your strength increases'you need less and less. To do the planche floor as shown Fig.l.. You lill1 find you have to depend" gr-ea deal t on finger stre~gth. at yO"l. I have seen a cr~p perform a very (Page che wIth the f100r.anchein any sense of the word. You will find thet you can do a semblance of' a p'l. 8. of course.

He received ·terrific applause for this variation of t ha s i. As !III example of an interesting variation I saw some y.1' in. After a bit'}f a f10uri. a far off each pin. When' he had sa cured his balanoe an as 9 is·tant quickly pull e d one of the be. (Shown on Page 2.tter balanc. This in Lt se If is diff lcu1 t enough unle s s you are POS!! ea sed of extremely strong fingers. It is a go od Ld.Ieu t for toil t tng your control..e and at the same time lean forward and . When 'Y9ur legs have passed the half-wey mark (ebcut a 45 de_graa arigle) you ano ukd have no diff iaulty acmplet irig "he handstand.. in time.fim€. three or four bottles under the legs. Perform your planche as s:::'ownin Fig. In othor word. try.ake you.downwar-d to counterbalanc.) .86 and pay particular attention tc variation he or they may offer. 1).e a to stuQ_y Lll" rout in" of the next. the . . butthls bal&ncer lifted hls fingers. com. ·force the legs as high as poas tb batt Le s away thus leaving the chair balanced on only three bottles. and w Hhou t addi ti anal bending of the arms. t will A FEW VARIATIONS of the hands band m. s A string was fastened to bne two diagonally cppo s ing each cbhe r .assistant pulled the: other b. good chance of' accomplishing toe preaS-up from planche to handstand.a down slowly leaning well forws:rd to pr-event the feet fr~"i:t drop pine.ott1e away leaving the chair supported on two bottles. IF YOU CAN 0'0 the prone-up or hollow-back press-up as described on Psge 7 of this Second Course you have 8. one ata .boiaut Uul planche on his fist s after he discovered he cpuldnbt do it with hanos flat on the floor. Dropp ing :tram the bands taml into the planehe i5 !i nea maneuver and is exce l.e the legs. too rapidly.g<l-a r I recall ano ther pe r former who d 1d a handstand wi th his p'La'c e d On ten-p 1n3.mple abair s tend. the balanaer placed an 0r'dinery kitohen ahair on tbe tops ~f four beer b ctrt Le. ho W<l ~ bolsnc ing only on his flnger tips. The performer pressed-up neatly into a chalr handstand. . If you have the strength you can do H. Fig. lmockihg them dovm in the proce ss . l:and-balanc lng team you 5. it takes rnorebalancs in this manner but it is worth !l.aars ego. 8 (Page 11) us ing the floorbar-s . Once be had his ba Lanee it mat tered little whether he had two. until he was balancing only on his thumbs! To the best (Page 12.

a device that winds up a weight on a roiler handle. ia placed acrOBS the back. A man who is good at handling heavy dumbells in the overhead exercises generally makas a better balancer. copy tne best or souie of your favorite pI'Ofe9910na1 performers. Floor dipping· is an excellellt l'ree-rumd exe""lse but is fa. that heavy dumbells are more beneficial to handbalancers because of their difficulty of control in the overhead l1:fts. you can. '1'f you have mastered the kick-up.) . such as a barbell and several of the variants of these. When you get into I hand-to-hand' work you will find that about eight presses with a pair of 75 pound dumbel1s is the equivalent of a routine with a 150 pound topmounter. If you have a f. You should do plenty of repetition military presses both with your barbell and a pair of ~eavy dumbe1ls. roller skates and even ice skates. 'each or these stunbs were specialties of that particular performer and designed to create a "pentacle. I believe.ot my knowledge only two haridbalancers have suooeeded in doing this incredible stunt.r more effective it some weight. however. (Page 13. Wrist strength can be 1ncreased by use of the York Wrist Developer. THE "ONE·HAND-ST AND" BEFORE WE GO INTO one hand balancing I would like to touch on some beneficial exercises that will aid you in your work. strong wrists are a requisite of the handbalancer and every effort should be made to increase their strength. As mentioned previously. learn many of these profe'seIonaL balance s. otherlvise.'re for originality you can create new ones yourself. I have seen many -per-f'or-megIve variations of the r-s handstand on rolling objects such as: wheels. balle. the pre. 1n a very short time. If you are fortunate enough to possess a set of adjustable dumbells or a barbell and have used elther c'onecientiously the chances are you will be strong enough for any of the balancing stunts I have outlined in this course.

Since most of us are righthanded we Rill in all probability choose the right hand.Thia direction is illustrated in Fig.l. The accepted method of learning the one hand stand is to go uP.direction of the little finger of the hand on tbe floor.due to the many differences 1n height and physique but if you .FOR EVERY 100 PERSONS who can perform a perfect handst-and there 1s but one who can do a perfect one hand standi I don't wish to seem overly pessimistic about this but from my expar Ierice it takes about one year to leaPn the one hand stand correctly. By thBt I mean: when you lift some heavy object w1th your right hand the muscles involved other than those of the right forearm are on the left side of the body. lOA and lOB. into your regular hendstand and gradually lean over to one slde until the opposite hand is not supporting any weight and can be lifted from the floor. a time element must be taken into cons~deration and you should be able to bold a regular handstand for longer than 30 seconds before trying the one blinder.) . '(ffpther thing. however. Notice that the balanoer 'Cl!)eSn1tust lean to one side but more or less in the j . by all maans try some balances using the left band. It sounds simple enough.kesp in mind the general direction in which to lean you I'f~~. For a right-handed person the muscles on the left side of the body are stronger than those on the rightl The muscles on the left side of the body do the work the right hand -imposes. 11. however. . pay particular attention to the front and side view. Of co~se' thene will be many of you to whom balancing comes easy and you will achieve some sort of a one hand stand after only a feYI month!! practice. THERE ARE TWO DIAGRAMS showing 'the position to fltrive for :l'n learning the one hand stand !~1g.nd error. accomplish the one hand stand liluch more rapidly. Page 15). You w111 note that I said "more or less" f-or. So you Illay find that you have far better balancing control by trying a one hand stand with the left band. it will not take long to find whieh hand will serve you better. I only suggest this during the early stages of your prsctice. (Page 14.~nces. I Mn' t tell you the exac tangle !nvo 1 ved. The single hand on which you wish to balance must be chosen by triale. either press or kick. like many otber inst. The one hand stand is the mark of the finished balancer and when you can do it gracefully and with complete confidence you are one of the chosen few.

Page 17.peotion FIG. hOlfever.FIG. lOA and lOB show the ultimate position in the one·hand stand you should strive ror. Lean thIs di.lde.II . Se. The rree hand may be placed either on the hlp or along the .tOA The above rlgures. 1n the early stages of learn1ng the one hander you use the free hand as an aid to balance. Fig. 12C and D.

t on the opposite hand. for the sudden change in the center of gravity and as a result .y net you a one hand ba Lar. ONE FAULT most beginners have when learning the one hand stand is. Keep leaning until you can maintain a balance with only the finger-tips resting on the floor (Fig. successive try you will r~qulre leas time 1n sPirtlng your weight to the one hand and the result will be a far longer one hand stand.LET US TAKE a st ep by step ane. 12B. Taking th. Your initial try JfJB.they are in too much of a hurry to lift the entire arm.eproper time and care in lifting the free arm from the floor is the most important phase of the one hand standi During your early stages of learning use your free arm as a counterbalance and move it out to the S ide very oarefully (Fig. lOA 70U maintain your equilibrium with.finger-tip pressure just as you do in the regular bandstand. l2C) ther ever so carefully. First: go up into your regular bandstand (I suggest tbat you use the 'kiok-up' . l2D). l2A. (Page 16.fthe orthodox nwthod of learning the one hand stand. The above description explains the usual method of learning th. af.c of only a few seconds or e only a fraction of the ent. When you have reached the stage of performing a balance ss illustrated in Fig.inorder to conserve energy) and securely lock the elbow of the arm to be used in the balance. When you lift the free arm quickly you cannot compensate fast enough. Page 17) at the same time deepening the arch so that the feet move in the d1rElction shown in Fig. (See Fig. Page 1'7) for you will find this extended arm an aid in maintaining a balance.lysis o. lIon PagEl 15. 11ft the fingers free of the floor (Fig. Now slowly and keeping complete control of your balance lean your weight over to the locked avm (Fig. Page 17).) . As you continue to lean in that direction you will have less and leas weigh. l2D. lOA.1xe faU to complete the one handel'.e one handel' but I am going to give you a few suggestions that will speed up your progress. Page 15) it is of no value as a counterbalanoe.ter carefully leaning to the one side and getting to the point where only the finger-tips touch the floor . of time taken for t he movement (about 15 aec onda in most cases) but with each. when placed on the hip as in an expert one hand stand (Fig. however.

~r!lr · ....~U~r~~ ..~ p"1~. . '- ...r'He-®Nt~ANK~iA~D(Rc. . I~. :.

i'ma' required to learn the one haild-· ershould be cut in haH by this method. l:and. w111 permit you to b&lance longer and you w~ll b6tte~be able to study the amount of arch required to balance .l! !li>~ (Page 18.O.lnet.n. b...vored hll.13 PLace the other hand 00 the oppoal te a lde ot the box and kickMUP or pres a-up into!!. Place the te.e'L of tful . O""!' in the dl".ary wooden.u.gel"'-tipc.od. steady pne e ece-e on your :r·in·_· ger-tips. (Fig. tiher-e La little or no control in tbil he._ will prevent fall1ng. .. about the floor with open p. Since your balancing arm is supported on two sides by the box you have onLy one direction 1n which to contl'ol your bale:nce. wfth Bida".O\1 are· 'Wlde. soap or canned goods twalve inches high and plMe on up. until you can let go of the side of the bolt with the other :.h forearm resting In the GET A SOX sucri as an ordlnM box..egular. handstand. (This baLance wl11 otfer no diffi~ul to' if you baV() mastered thoi ehair handM stand mentioned on Page 2 of this Se eond Course) _ Your elbow or· slightly below your e'lbow should now be wedged tightly in the cor-nsr..ri.i'". th'b ff:/c(or stand thi" by ~lightly is pr-act icaJ.l'bahncad' • In the l'eglilar handstand thl~ :. The length of t.Cr fbad. t.~ t.1f<.l(s·~Qr':: teccted a oonu bemt.t the inside 'bottom of the cornet>.. The use of ..of the bO. The same rule holds go.) .".T. pr-e aeur-e of' tho t'1.\e .nd On box wlt. tlon of the cine hand stand . Ina. Onoe you rock back on the heel of the ·haJjd y..·ith ..oat ngo. ir. l'egular handabandj yousho\4d Lean over just flU" enougli t. 13.oJ< "5 de . FIG.).. tol' the one hand stand &s t:J. as in ~~" r.mpos9 ibla bending t:beelboiV~ for but the noy~ee. 1n the One handel'.

First. (Page 19.) . You wl11 notice that you need a slight twist to your body and the elbow is plaoed more agalnst the abdomenthan against the side.t it is far better to learn this way than by holding the legs apart and trying to gain additional control by waving the feet' about in the air a a I have seen many balancer-a do. t~ planohe with the arm bent and resting agsinst the side is relatively simple.nt counterweight and will g'reatly simplify you. ever 'So slight 'Overbalanoe' and have sufficient finger strength to counteract 1t .THE ONE HANDER will come to you suddenly. This stunt can be performed easily . Th. 14.oticing this bent arm planche on the floo:!' extreme flexIbility of the wrists is have mastered the one handstand. fl'om the dlagl'~ that the legs lU'e always shown held together.r control.feet in himdbslancing. 1 have always maintained tha. The opposi te are should be 'ext ended as a count er b'alance.ressure alone'.ie will act as an excelle. for the benefit of the advsnced equilibrlst I will touoh brieflyon the one hand planche. try' the bent arm pl. Keep the elbow as far down the abdomen as possible.ene our-age you to try this method. keep your legs togetller then you w:111 always know where they are.. The men who can do the planche with straight arm can be counted on the fingers of one handl Eowever. It will oome at such a time when you can always lean in the direction that add'itional leaning can be counteracted by finger-tip p. You will notic. The real secret is to have a at r-ong arch for your IOlVerback muscles get a good workout when you try this. the most difficult .hen holding a dumbell in the extended band.anche on your flo·or-bar. as shown in Fig. Of oourae.. the amount of leeway in the one handstand is about ten times le~s than that of th~ r®gular handstand nevertheless. Whenrour legs are apart and moving yo_u_ara continually altering the center of gravity snd it win take far longer to Le ar-n a balance perfectly a~thougb early success may .. Page 20. Another good sUggestion is to practice a few one handel'S holding a ligbt dunibell in the other hand. Whenpl'll. THE "ONE HAND PLANCHE". when you can feel the. Please don't do it.

t to tu side ~t the. "ure of' see Ing it done a number of t irue a but the mell who did it always employed a Blight kick with th~lr legs in order to start the one h~nd prese-up WhiCh 1~ bhe most dlft'ioa... I .llev~. I have had the plo . rds which frees ths body mdrnentarilT from the elbow and the balancer forces hie baok into a deep arch. Should you ever accomplish this $tunt you may well be ~oud of your arm st .._'.. 'I'he secret is not.ordSn" t 1. i. that a number of equ1l1brists hlive suce.Lt part of the feet. however.1fet1m .do b.• 14. I :~aye ae"n1n.t described h a beautiful p1""e of co..eeiI~'~:9. 1m'> 21).d very extraordinary. as I previously ment ioned. (See Fig. (Page 20..'''.d your downward drop and at the "~ time mtlntain complete control of Tour bs Lanc e . The legs are ":lent then kicked upw.ength end balancing ability.t lean in t!i£.•msll pedeatal..t' on·".) .~" Qnd control. THE PLANCHE with arm atralght. to oome down into tha planohe too quickly 'but by strel)gth of arm ret . mua.dera and tll'is.. the lIlOs't <lift' feat in balancing. You. To be able to low. Page. and anyone accomplishing thIs f'eat 1s oonsidere.(1' the floor-bar or a . . 15.'. and presses. direction of your head and ahou:. a_e time.' man perform it with hand on the ·floor. In my l.FIG 14 THERE HAS BEEN a number of' men who have pressed-up into the one h~~d stand from the position shown In Fig .r yourself from the one hand stand to the planohe that I have Ju. keeps his f~et as high a9 pOSSible.

One balancer I know of who does this p'l. . as near as poas fbja .l practice. The other me·thod is to execute your one hand stand and slowly drop into the position.fall kick-with the feet.d by holding a we l. the finisb6d position then do a slight kick-up into the balance. 15. FIG. Do the :"orearm stand using only one arm end eo-ordinate your kick without l1rting your elbow from the floor.. It is n~cessary to kick past the finished poa LtLcn as shown then lowsr down into it. END ~ . by overbalanalng and just as you are about to.THERE ARE TWO METHODS of performing the straight arm planche as shown in' Fig. Some performers can hop as far as twenty feet taking about forty hopsl If you succeed in hopping on one band you might be able to do the one arm tiger-bend.ght in the opposite hand snd gradually kept reducing the poundage used until he no longer required any. }Jostbalancers I ·bave seen.and lift the hand from the floor. This latter method requires terrific strength. THE -.who can hop on one hand use their feet. The usual way is to place the hand on the floor-bar and lean over into. IS It is possible to hop.ancbeon a small pedests. If you have reached the point where you c~n mantain a one bander for over ten seconds you might try the very tifficult stunt of hopping on one hand.

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