Coaching Rhythmic Gymnastics

Coaching Rhythmic
Gymnastics
Wings
Rhythmic
Gymnastics
Club
www.wingsrhythmicgymnastics.com
DISCLAIMER
This rhythmic gymnastics coaching manual is meant to use as a resource to assist qualified club
members. It's goal is to make the information needed for courses available and easy to find.
This resource book doesn't serve as quilifying device for coaching, and it's important to use in line with
the coaching policies of the national and local federations.
This resource book does not substitute any official coaching resources.
Index
Introduction
Coaching Pathway
What is Gymnastics?
What is Rhythmic Gymnastics?
Skill Development
Physical Preparation
Technical Preparation
Flexibility Training
Health and Safety
Injuries
Inclusive Coaching
What is Inclusive Coaching?
Intellectual Disabilities
Learning Difficulties
Physical Disabilities
Ethics
The Athlete-Centered Approach
Safeguarding Basics
Apparatus
Rope
Ball
Hoop
Ribbon
Clubs
Routine Elements
Body Waves
Body Difficulties
Pre-Acrobatics
Apparatus Difficulties
Risks
Collaborations
Glossary
COACHING PATHWAY
The coaching pathway 2017-2020 hasn't been updated yet, so as for now, WRGC assumes this system
is still in place
WHAT IS GYMNASTICS?
Gymnastics is the art
of movement
Gymnastics is a sport that

includes physical exercises
requiring balance, strength,
flexibility, agility,
coordination,dedication and
endurance. The movements
involved in gymnastics contribute
to the development of the arms,
legs, shoulders, back, chest, and
abdominal muscle groups.
Gymnastics evolved from
exercises used by the ancient
Greeks that included skills for
mounting and dismounting a
horse, and from circus
performance skills.
An umbrella term
GYMNASTICS
One common misconception is
Aesthetic Groups that gymnastics is single sport.
Crossfit Men's Artistic Gymnastics Gymnastics is a family of different
Parkour disciplines governed by the FIG
Women's Artistic Gymnastics
(Fédération Internationale de
Gymnastique). There is eight FIG
recognised disciplines and four
Aerobic Gymnastics
Acrobatic Gymnastics non- FIG recognised. What
connects all these disciplines is
Rhythmic Gymnastics their aaesthetic and technical
Trampoline
perfection requirements while
performing skills.
WHAT IS RHYTHMIC
GYMNASTICS?
RG is the juncture of sport and art
Influenced by ballet and modern
dance Performing routines with
music, either as individuals or in
groups,
Astonishing skill as they execute
enormously difficult maneuvers with
hand-held apparatus: Hoop, Ball,
Clubs, Ribbon and Rope.
Flexibility and musical interpretation
are important elements in a
Rhythmic exercise.
However, it is the amount of risk a
gymnast takes, often throwing the
apparatus several meters into the
air and losing sight of it while
performing stunning leaps, turns or
acrobatic maneuvers before
regrasping it - often in impossible-
seeming catches - that sets the
routines apart.
KEY SKILLS
Flexibility Stamina Expression
Dexterity Co-ordination
SKILL DEVELOPMENT
As a coach it is your aim to improve your gymnasts’ ability to acquire and execute, a range of skills
in different contexts. The way in which you provide demonstrations, verbal instruction and feedback
and devise practice sessions all determine how well gymnasts are able to do this. The following
section will address these considerations.
Demonstrations
If a skill is simple, or a gymnast has prior knowledge of it,
there is little need for a demonstration. However, if a skill is
novel or complex a demonstration can be of benefit to
learning. The effectiveness of demonstrations prior to the
execution of sequential skills, such as those incorporated
into gymnastics routines, is well supported. Demonstrations
are useful as they provide gymnasts with a mental blueprint
for the execution of skills. Furthermore, they direct the
gymnast’s attention towards how to execute skills correctly.
It is common for demonstrations to be delivered by expert
models. However, there is also benefit in gymnasts
observing novice demonstrations. This is because the
gymnast is drawn into the problem-solving process and
feels more confident in their ability to execute the skill
themselves.
Discovery learning
Discovery learning relies on a person drawing on previous experience to problem solve or
overcome a challenge. Whilst it is not advisable for you to tell your gymnast what the aim of the
skill is, but not how to achieve it (remember, safety and correct technique development are
paramount), the application of “discovery learning” can apply to the scenario where you
rgymnast has mastered a range of skills and the challenge you set is for them to
combine/link/order in different ways. This promotes active problem solving, independence and
reinforces learning. Whilst there are many benefits to discovery learning it is important
toemphasise that the safety of the gymnast is paramount when employing this approach.
Verbal cues
Verbal cues can be used by both you and the gymnast, to aid the learning and execution of
skills. You can do this by focussing the gymnast’s attention on the correct cues within the
environment, prompting particular actions and reminding gymnasts about the requirements of
the skills they are executing e.g. speed, movement and accuracy. Effective verbal cues should
be brief, invoke key movements and avoid an internal over conscious analysis of skills.
PHYSICAL
PREPARATION
What is it?
• A key aspect of a gymnast’s continued
development and progression
• The strengthening key shapes and
movements
• The development of strength, flexibility and
endurance
Why do we do it?
• Underpins movements, skills and
performance
• Ensure safe participation, training and
development
• Allows for effective use of training time
• Improves gymnast understand of their body,
its capacity and how to move effectively
How do we do it?
• Gymnast-centred approach
• Allow for progression, adaptation, and
regression
• Use of prerequisite movements
• Use of circuit-based activities
TECHNICAL PERPARATION
Technical preparation refers to the application of all relevant learning, correcting,
consolidating, reinforcing and perfecting of gymnastics skills and actions, together with
preparation and development of routines. Technical Preparation consists of:
Technique. The development of a skill according to a sound and competent ‘technical
model’
Specific skill characteristics and movement patterns
Relevance to the Code of Points
Given the wide range and variety of skill-sets within gymnastics, for example, balances and
static hold parts, slow and controlled movements through to dynamic and explosive elements,
the development of good technique has a direct relationship with Physical Preparation.
FLEXIBILITY TRAINING
Flexibility is essential in RG, more so than any other discipline. Hip flexor,
shoulder and back flexibility being the most important.
Stretch vs. flexibility training
In rhythmic gymnastics we differentiate between the warm-up stretch", that prepares the
body for training, and flexibility training, which aims to make the gymnasts more flexible
and tend to be more intense.
Dynamic & Static Flexibility
Both should be practiced every training session. Extension strength is important, but
height during a kick is more important than the ability to hold it.
"Good Pain" vs. "Bad Pain"
Coaches need to teach boundaries when it comes to determination
Bounces & Leg pulling
Bounces and leg-pulling are not encouraged by Gymnastics Ireland. Bounce create micro-
tears in the muscle tissue and we do not encourage it. As for leg pulling, it is proven leg
pulling doesn't improve flexibility long term, but it can be done with consent of the child (we
have to ask first) and stay in communication. We normally do it before shows competition to
make sure the amplitude of their movements is optimal.
PLANNING
Planning is an essential part of the coaching process: Plan, Do, Review.
Poor planning can have short and long-term consequences, including frustrated participants
and parents, and potentially leading to participants dropping out.
Session plans need to consider participant development stages:
Technical: ability to control movements and posture

Physical: preparedness of the body for skills and training
Psychological: perception and understanding of a skill or situation
Goals and objectives should follow SMARTER principles:
S = Specific
M = Measurable
A = Achievable
R = Relevant
T = Time-related
E = Ethical
R = Recorded
TYPES OF TRAINING
There are four main types of training practice:
Fixed - Repeated
Fixed training repeats skills, or parts of them, to ensure consolidation. Typically, this type of
practice involves single or discrete skills, where the focus is very much on quality of movement
and sound motor development.
Variable - Change it
Variable training involves altering or changing the training environment to challenge your
participant.
Distributed - Rest intervals

This type of training involves using rest intervals between activities and will be commonly used
where there is a need to avoid fatigue or allow for mental preparation.
Massed - Repetition with more added

Massed training applies repetition over a period of time for a prescribed purpose. Participants
should perform a number of simpler skills, repeated continuously to replicate the load of a
routine before the dismount or last element.
There are three "ages" of development that should be considered when planning sessions and
fitness programmes:
Biological or developmental age - relates to physical development in reference to

particular age bands e.g. height and weight.
Chronological age - relates to common references to stages of development such as
adult vs child, school year or sports age bandings.
Training age - relates to how long participants have been training and to what level,
intensity and frequency.
Participants may be considered to be part of either the LTAD (Long Term Athlete
Development) or LTPD (Long Term Participant Development) pathways. In addition to these,
some older participants might be preparing for a professional future in gymnastics through a
leadership pathway.
Motivation and success
There are lots of motivations and ways of participating in gymnastics and they are all
important for the future of the sport. Reasons for participation may change as participants
get older or more experienced. Common reasons for participation include:
movement and skill development

flexibility, strength and fitness
dance, display and socialising
awards and competition
performance and high-level competition
leading and helping others
It is hoped that every participant will have the chance to be the best they can be, whatever
their goals. This may be achieved when the training environment meets the participant's
individual needs. You should therefore consider whether the following suit your participants'
individual motivations:
1. Training programme
2. Coach
3. Support available
4. Training environment
COACHING STYLES
There are three main types of coaching style:
Show and tell:

Combine a demonstration with spoken instructions:
Introduce the skill using an appropriate example
Give technical feedback
Use a demonstration to model the skill
Set up and stand back:

Give instructions for an activity and then observe/analyse
with limited intervention:
Set up activities and explain the aims
Observe and provide feedback
Identify individual needs
Question and involve:

Use open questions to determine and improve
participants' understanding
Ask questions to check existing skill knowledge
Question individuals about their performance
Discuss key learning points for the skill
Individuals learn in different ways, so you should vary your

coaching style to suit different learning preferences.
LEARNING STYLES
Your coaching style should consider the following learning styles:
Visual - prefer demonstrations, images or videos

Auditory - like clear spoken instructions and verbal cues
Kinaesthetic - enjoy practice activities and physical experimentation
Global - like to see and try the whole skill
Sequential - prefer to see the skill broken down into its progressions and components
The following stages of learning should also be taken into consideration:
1. Cognitive - recognising and attempting basic shapes and movements

2. Associative - reinforcing, developing and refining shapes and movements
3. Autonomous - shapes and movements are consistent and automatic
HEALTH AND SAFETY
In order to keep classes safe and hazard free, it's importand to understand the following terms:
HAZARD
A hazard is anything that has the potential to cause any harm. Examples of these are
dangerous substances, equipment, manual handling and uneven floor surfaces to mention a
few.
RISK
A risk is defined as an uncertain event or condition that, if occurs, it has an effect on at least
one person or object. Risk assessments are a process that identifies potential hazards,
assesses the level of risk based on the severity or likelihood of an outcome and then puts in
place controls to manage the risk.
CONTROL
A control is something that is put in place to provide protection against a hazard and either
eliminate the risk or minimize the likelihood of it to occur. For instance, assign a warm-up area
for gymnasts far away from the equipment or putting a water station for gymnasts to stay
hydrated.
HOW TO MAKE A SAFETY ASSESMENT
Step 1:
Identify the Step 2:
Common Mistakes:
hazards Identify who
might get Carrying out an assessment to
harmed & how justify a decision that has
already been made,
Only considering the risk for one
Step 5: activity,
Review and Step 3: Using a generic assessment
Revise Evaluate
the risks
when a specific one is needed,
and Not enough detail on the
identify assessment
controls
Step 4:
Record
findings
Likelihood x Outcome = Risk Rating

Risk Rating:
Worst Case Outcome Likelihood Outcome x Likelihood
1 2 3 4 5 1 2 3 4 5 High Medium Low

No Injury
Minor Injury
Very likely
Certain
Fatality
Remote
Lost time
Unlikely
Severe
Likely
injury
Injury
13-25 5-12 1-4
We can all agree most of it is common sense, but we need to be careful not to be subjective
when we are trying to make a zone as safe as possible. Things like:
Carrying out an assessment to justify a decision that has already been made,
Only considering the risk for one activity,
Using a generic assessment when a specific one is needed,
Not enough details on the assessment
GYMNAST SAFETY DURING THE SESSION
Initially you must ensure that the coaching environment (facility and equipment) is free from
hazards and risks. This is normally achieved by completing a risk assessment form which would
identify the impact of the risk in terms of a low, medium or high rating. The rating relates to the
likelihood of the risk leading to an injury and how frequently you believe this could occur. As
the coach you are required to make a decision in relation to the intended action in terms of
eliminating it, or accepting the risk and implementing an approach to safeguard all gymnasts.
Reinforcing safety issues with gymnasts and conveying the code of behaviour will support you
in ensuring safe and effective practice. As a coach you should carry out safety checks with all
gymnasts in terms of their readiness to participate:
Any current or previous injuries or illness
Awareness of asthmatics and where they keep their inhaler • Removal or taping of
jewellery and long hair tied back
Appropriate clothing and footwear
Fluids available to maintain hydration
Activities and progressions appropriate for the group
Reinforcement of rules and safe practice of techniques One of the primary safety issues
within gymnastics is ensuring that techniques are taught correctly and that gymnasts are
ready to learn. There are some key factors that you can implement in order to provide a
safe learning environment at all times, in order to safeguard gymnasts, minimise injury and
reduce risk:
Physical preparation:
• Appropriate general and specific physical preparation prior to attempting to teach
new or more advanced gymnastic elements
• In the early stages of learning, physical preparation should comprise 70% of the total
training time with the other 30% dedicated to technical aspects
Mental preparation:
• Introduce a new skill through a live demonstration, video or diagram to allow the
athlete to develop a visual image and understanding
• Key points of the technique should be identified by you
Pre-requisite skills:
• The majority of gymnastic skills are developed from basic core movement skills.
Therefore, you should ensure that pre-requisite skills are identified and fully learned
prior to progression
Progressive skill learning:
• Teach core skills first and when they are consistently and correctly performed they can
be added together to develop full elements
• You should expect a fall in performance when adding together movements in a
sequence
• Once a skill, combination or sequence has been learned, provide the gymnast with
time to consolidate that stage of learning before progressing.
GYMNAST TO COACH/TEACHER RATIOS
There are a number of diverse factors to consider when making recommendations with regard
to the ratio of participants to coach/teacher in rhythmic gymnastics. These factors might
include: the age and stage of development of the participants, the level and type of activity,
the experience of the participants and coach and the type of facility and equipment
available.
However, the coach in charge must always make an assessment (i.e. a risk assessment) of
each situation and must determine a ratio of participants to coach/es that is reasonable, safe
and effective.
Please note that there should always be at least two responsible

adults in the gymnasium.
Pre-School Classes:
For independent child classes, a ratio of eight participants to one coach is recommended.
This can be increased proportionally to the number of qualified assistant coaches, i.e. 8 per
additional directly supervised assistant coach. For classes where the parent, guardian or
carer is participating with the child, a maximum ratio of 20 children to one coach is
recommended.
Kids and Teen Classes

Suitably qualified level 2 coach (or above) must supervise all gymnastics activities. Where
more than one apparatus/station is to be supervised, the coach in charge must carefully
assess the following:
a) The age, stage of development, experience, varying ability and number and discipline of
the participants.
b) The coaches’ own qualifications and experience.
c) Their ability to observe, advise, support and respond to the difficulties of anyone in the
gymnastics area.
d) The level and type of activity and suitability of the apparatus arrangements.
Normally, one coach would not be expected to supervise more than 16 gymnasts, without
other suitably qualified coaches being in attendance. However, where a directly supervised
and qualified Assistant Coach is used, in addition to the supervising coach, each additional
Assistant Coach may supervise a maximum of 8 participants (i.e. qualified lead coach = 16
gymnasts plus 8 gymnasts with AC = 24 in total)
Disabled People
When working with disabled participants, a competent assessment of the risk to the
individual and other participants must be made when determining the ratio of gymnasts to
coach. Depending on the nature of the disability, one-to-one supervision may be necessary.
INJURIES
There isn't as much research on injuries in rhythmic gymnastics as there is in other sports, but
it is safe to say that feet and spinal injuries are highly prominent in the discipline. According
to Skadefri, an evidence-based resource site that provides information on common sports
injuries, injury risk factors, and specific injury prevention exercises the most common injuries
in rhythmic gymnastics are ankle sprain, patellofemoral pain syndrome, medial tibial stress
syndrome and back pain. These are all very common injuries that athletes and active people
suffer. What's interesting about gymnastics however is the alarmingly high number of
overuse injuries and the cause of these. Research shows that the main cause of injuries is
psychological rather than physical, having more to do with behaviors, cultural values and
unwritten norms influence gymnasts’ attitude towards pain .
Gymnasts have a high pain tolerance and train with some degree of
discomfort on a daily basis, often failing to recognise the difference
between pain from fatigue and pain from overuse, resulting in chronic
overuse injuries.
-APA Sports Physiotherapist Kate Roberts
Spine Injuries
According to an article published by the Australian Physiotherapy Association, some of the

most common injuries of a rhythmic gymnast affect the lumbar spine, with incidence reports
ranging from 10 to 37% of all injuries. One study from the USA found that 86% of RG
participants reported lower back pain. A recent New Zealand study found that 50% of
injuries are classified as acute and 50% as overuse or chronic. They found that injuries to the
spine are more commonly chronic or overuse injuries, and statistics are therefore
underestimated as gymnasts frequently fail to report chronic pain as an injury. The repeated
extreme hyperflexion and hyperextension required for RG is associated with most of the
lumbar spine disorders seen.
What is an overuse injury?
An overuse injury is a term used to describe an injury that occurs from tissue damage
resulting from repetitive demand over a period of time rather than an acute injury such
as a shoulder dislocation or an ankle sprain. Experts sometimes describe it as ‘the
repetitive submaximal loading of the musculoskeletal system when rest is not adequate
to allow for structural adaptation to take place’.
COMMON CAUSES FOR INJURIES
Here are some of the most common reasons for injuries in RG, according to the Australian
Physiotherapy Association's report.
The Female Athlete Triad
The female athlete triad is not exclusive

to rhythmic gymnastics. Every female
athlete is at risk, regardless of their body
build or sport. Consequences of these
clinical conditions aren't always
reversible, so prevention, early diagnosis,
and intervention are vital for the safety
and performance of any gymnast. Experts
suggest that all active females should be
assessed for components of the triad in
order to treat it in time.
Sport Asymmetry
The female athlete triad is not exclusive to rhythmic gymnastics. Every female athlete is at
risk, regardless of their body build or sport. Consequences of these clinical conditions aren't
always reversible, so prevention, early diagnosis, and intervention are vital for the safety and
performance of any gymnast. Experts suggest that all active females should be assessed for
components of the triad in order to treat it in time.
Psychological
Rhythmic Gymnastics is a hard sport. With time, gymnasts develop a high pain tolerance and
learn to train with some degree of discomfort on a daily basis, which in the long run can
make them fail to recognize the difference between pain from fatigue and pain from
overuse, resulting in chronic overuse injuries.
A study made in St Mary’s University and University of Portsmouth, shows that from a
psychological point of view, behaviours of impression management were constantly used by
gymnasts, with the aim of showing their coaches their dedication and passion, as well as for
fear of being scolded or judged weak, causing gymnasts to overwork certain muscle groups.
Other psycho-social factors inﬂuencing the overuse injury process can be linked to the social
environment and to the organizational culture surrounding the athletes and their coaches.
Here are some of the testimonies the researchers heard from gymnasts about pain and
overuse injuries:
“Because if you go you give the impression of
putting more effort into it…if you train despite
the pain, it looks like you are putting more
effort…”
“If you are always telling the coach that you

have pain here and there, it might end up
being…well…it makes you lose some credibility,
and so I try to avoid it.”
“Well, not really being afraid of making them

angry…but maybe if one has got knee pain and
then maybe she starts feeling pain somewhere
else too, then you are afraid they’ll think you
don’t want to train"
Forcing Turnout
Turnout is desired in rhythmic gymnastics;

180 degrees of turnout and 60–70 degrees
of hip external rotation is required to
safely achieve this. Adequate hip turnout
is required to achieve the strength and
balance desired as well as for aesthetic
reasons as it creates a better line in body
work such as attitudes, arabesques,
penches, etc...The problem is that some
gymnasts force their turnout by placing
the feet at 180 degrees on the floor and
screwing the knees to achieve rotation,
causing a number of back injuries and
imbalances.
INJURY PREVENTION TIPS
Research shows that attitudes towards body awareness and injury prevention need to
change. The good news is, that our views on pain management are easier to change than
the anatomy of our body! Here are some tips to keep in mind when coaching or training RG:
1. Mental toughness behaviours have to change and respect our anatomical needs.
2. Poor communication between gymnasts and coaches causes misunderstandings. It's
important to teach gymnasts what "good pain" and "bad pain" is. Coaches need to
teach boundaries when it comes to determination and hard work.
3. It is therefore wise not to stretch to improve flexibility on the day of competition and to
stretch at the end of training rather than at the beginning.
4. Prior to puberty, it is better to work on agility and skills and, as pre-pubescent muscles
have a greater proportion of Type II fibres than Type I fibres, to focus on slow, controlled
low load movements.
5. Injury prevention is better than treatment and correction of technique faults is
paramount to treatment.
6. Exercises must be as specific as possible so it helps to have some knowledge of skills
and bodywork.
7. Periodic screening to monitor weight, uncover pathology and detect any musculoskeletal
imbalances will allow rhythmic gymnasts to correct technique issues to prevent injuries
8. Fitness training for 30 minutes twice a week at a HR of 70–80% MHR has been found to
improve pain management, decrease the risk of injury and increase well-being in
dancers and gymnasts.
9. Progressive exercises and approaches are used in other sports such as artistic
gymnastics that are not as based on repetition as RG is. Although apparatus work such
as Apparatus Difficulties, Risks and basics are repetition based, more progressive
techniques teach correct body positioning, preventing overuse injuries.
10. Avoiding exercising turnout from the foot, and working it from the hips will make our
training safer and more effective.
RESPONDING TO AN INJURY
In the event of an injury or illness then (if required) emergency first aid only should be carried out
and qualified medical attention sought immediately.
What to do in the event of an accident:

• Stop the session and direct other gymnasts away from the incident
• Check the injured gymnast is conscious by talking to them and if not, check that the breathing
rate is stable
• If the gymnast is conscious then ascertain how the accident happened and if there is any pain
• In the event of a suspected spinal injury check to see that there are feelings to touch in the
arms and legs. IF IN DOUBT DO NOT MOVE THE INJURED GYMNAST
• Look for any signs of obvious deformity of the limbs or joints or abnormalities in the motion of a
limb
• Keep the gymnast warm and at ease
• If there is any uncertainty seek the designated first aider in the club, or anyone with a first aid
qualification if they are not around
• Only after ruling out serious injury should the gymnast be moved
• Contact the injured gymnast’s parent/next of kin to inform them of the incident
• If the injured gymnast’s parent/next of kin is not available and they need to be transported to a
hospital, ensure they are accompanied by a responsible and trustworthy adult and one other
person known to the injured gymnast
• Inform the centre management and complete the accident report form
The following information does not constitute a formally recognised first aid qualification. They
are guidelines only, particularly where a specific intervention is mentioned:
Situation Advice
• Have the child sit out, kept warm, supervised and call the
Poorly children
parents/ guardians if required
Wear protective gloves

Blisters, abrasions and cuts should be cleaned with
Injuries to the skin
water and then covered with a clean dressing
Ask if the gymnast is allergic to plaster
Situation Advice
Wear protective gloves

Sit gymnast forward so blood drains away
Ask the gymnast to breathe through their mouth, and
pinch nose just below the bridge
Tell the gymnast not to speak, swallow, cough, spit or
sniff
Provide clean cloth/tissue
Nosebleed (Conscious with
Release pressure to check blood flow; reapply if
fresh bright blood streaming
bleeding persists
from the nose which started
If bleeding persists for longer than 30 minutes, take or
suddenly)
send the gymnast to hospital
Keep your gymnast leaning forward when bleeding has
stopped, while you clean around the nose and mouth
gently with lukewarm water
Advise the gymnast to rest for a few hours without
blowing the nose or making any exertion which will
disturb the clot
Apply ice (not directly to the skin) to reduce swelling •

Bangs and knocks If the accident involves a blow to the head, medical
attention is advocated
Reassure the gymnast

Sit them upright and advise them to breathe slowly, in
Cramps or winded
through the nose and out through the mouth
Keep them calm until normality return
Slightly pulled muscles and tendons or sprains can

normally be treated with RICE (rest, ice, compression,
elevation)
Soft tissue injuries Apply ice without delay for between 10 and 20 minutes
every two hours (ice not directly onto the skin)
A compression bandage should be applied to reduce
swelling and the limb should be elevated and rested
Seek medical help immediately

Provide support for injured area, immobilise and if
suspected spinal injury do not move
Suspected serious injury
Do not allow the injured gymnast to eat or drink
Keep them calm and reassured until medical help
arrives
INCLUSIVE COACHING
The following is a list of factors that you as a coach may have to account for which will affect a
gymnast’s approach, involvement and subsequent performance:
Ability – endurance, strength

Attitude – open to new experiences
Body type – tall, lean, muscular
Cultural background – religion, race
Emotional make-up – fear, joy, excitement
Fitness level
Learning style
Learning preference
Maturation level – above or below chronological age
Motivation – extrinsic, intrinsic
Previous social experiences –
Prior movement experiences – competitive, rec..
By taking into account such factors you will reduce the likelihood of injury, ensure gymnasts have
a better chance of reaching their potential and promote enjoyment and adherence to
gymnastics. One key issue is the stage of development (growth and maturation) which will be
covered in more detail in a following subsection. Other issues such as learning stages, styles
and preferences are also covered later.
Engaging with people with a learning disability
A learning disability is a reduced intellectual ability, normally caused before or shortly after
birth. People with a learning disability need more time to learn new things. Almost all learning
disabilities can impact on a person's life in a number of ways.
A learning disability is not a disease or a mental illness
There is no "cure"
A learning disability is not always diagnosed as a specific condition
With the right support, most people can live independent lives in Ireland
Down's Syndrome
A person with Down's Syndrome (DS) will have some degree of learning disability ranging from
mild to moderate, but the level of ability is different for each individual.
DS is a genetic condition, resulting from either an extra chromosome or extra genetic material
from chromosome 21. Gymnastics is a very popular sport for people with DS, specially those of a
younger age. Anyone with safeguarding level 1 course that is garda vetted can coach people
with DS whilst supervised by a level 2 coach. There is not special qualifications needed.
Children with Down's Syndrome should be checked for athlanto-axial instability
and get medical approval -by a doctor or physio-therapist- for participating in
gymnastics
STRENGHTS AND DIFFICULTIES
Research shows people with DS

learn better when information is
being presented with the support
of pictures, gestures and objects
Strengths Difficulties
Social Development Motor development

Learning with visual supports Expresive language, grammar,
Word reading and speech clarity
Number skills
Copying behaviours
Verbal short-term mentoring
Poor vision and hearing
The Wings Rhythmic Gymnastics Down Syndrome programme aims to maximize the
strengths of participants when learning new skills while being comprehensive towards their
difficulties. This means that situations, while they may face difficulties, won't be avoided, but
rather give the participants to explore them in their own terms. To do this, we organize the
sessions in the following way:
Partner and teamwork are emphasized.
Visual aids like posters, signs pictures, and visual cues are used for a variety of things.
Our rule list is accompanied by symbols, arrows, and props that are put in place for
reference during exercises and pictures of skills are used.
More follow-along exercises are included through games like "Simon says",
choreography follow-along, etc...
Imagery is heavily incorporated to explanations and instructions.
Throughout the term, participants should have exercised all their fundamental moving
skills.
Engaging with people with a learning difficulties
A learning difficulty refers to a difficulty in learning that's more specific and not global. i.e
ADHD, Dyslexia, Dyscalculia, Dysgraphia, etc..
These affect the ability to learn in specific areas and they won't affect a person's overall
intelligence.
ADHD
Attention Deficit Hyperactivity
Disorder characterised by
difficulty paying attention,
excessive activity and acting
without regard of consequences.
Other symptoms include:
Tendency fidget
Easy to distract or often
distracts others
Turns in sloppy or unfinished
work
Can act impulsively or
recklessly
Loses things often
Sometimes forgetful
Some tips to remember dealing with young gymnasts with ADHD are the following:
Be patient. Their capacity to focus is outside their control.
Reward them for good behaviour and highlight their achievements. Children with
ADHD can get frustrated if they feel they are not capable of succeeding and it can
lead to demotivation and low self-esteem. Gymnastics can be a great scape from
academic and social challenges, so it's important to keep children that have been
diagnosed or might have ADHD engaged and happy.
Use peers and buddies to encourage good behaviour. i.e put them in the same
station as a quiet and reserved, hard working students. This can benefit both
gymnasts.
Give them checklists, and quantified exercises. Give them checklists that they can
complete. As they keep completing the tasks, they will get more motivated to finish
their tasks. Instead of giving them a time-frame to practice a skill, give them a
number or repetitions or a quantifiable goal to help them stay engaged.
Allow breaks and self-discovery time. Staying focused can be energy draining for
people struggling with ADHD.
Try to always address the student by name, and use it repetitively until the individual
is paying attention.
Give instructions using a step-by-step process
THE ATHLETE-CENTERED APPROACH
A gymnast-centred approach involves creating the right philosophy and atmosphere in the clubs
– the club should be seen as caring, inclusive, engaging, consultative and democratic. Examples
of how to establish a gymnast-centred environment are to get to know the gymnasts – their first
name, their family, background, interests, motivations, aspirations; ensure the gymnasts and the
parents feel welcome, included and informed (parents want to know what is happening in
sessions and with their child); and ask parents for help (where required) and feedback.
A gymnast-centred approach requires you to involve your gymnasts in the decision making
process, thus empowering them and creating more independent and motivated learners. Based
on age, maturity and experience, you should question your gymnasts, prompting them to identify
their own performance strengths and areas for development and the strategies for improvement.
Gymnasts should understand and buy-in to agreed goals.
The nature of gymnastics requires a certain amount of repetition which, if not managed correctly
can lead to boredom. Your gymnasts need to understand and appreciate why they need to
perform certain skills/activities many times. For example, once mastered, that particular
repetitious skill will unlock other bigger and better skills in the future. Finally, you should adopt a
holistic approach recognising the gymnast as more than just a performer.
Age Gymnast-centered approach
Gymnast directed/very low profile coaching/peer coaching

22 and over Good facilities
Social opportunities/travel
Gymnast directed Gymnast and coach treat each other with mutual
15-16 respect
Space for gymnasts to pursue social objectives
Gymnast wants an even greater say in structure of sessions/activities

Gymnast may have an idea of what they want to achieve through sport
12-14
Sensitivity to physical, psychological and social changes in gymnasts
Friendship, emotional support etc.
Still fun and enjoyment

Gymnast wants a greater say in structure of session/activities
8-11 Lots of games, but greater focus on skill development/physical
preparation
Continue to sample different parts of sport
Fun and enjoyment

Structured session but provide youngster with opportunity to
play/experiment
5-7
Lots of games (which incorporate skills)
Sample different parts of the sport
Ask for feedback
BALL
Understanding the apparatus
Ball exercises are by tradition elegant and lyrical, with flowing rather than fast-paced
movements
The ball should rest in the gymnast’s hand and not against the wrist when held during
the performance
Gripping the ball is not allowed
It is made of either rubber or synthetic material (pliable plastic) provided it possesses
the same elasticity as rubber.
Senior and junior gymnasts is 18 to 20 cm in diameter and must have a minimum weight
of 400g. The ball can be of any color. Fundamental elements of a ball routine include
throwing, bouncing or rolling.
Sizing Grip
Level 9/10: the minimum weight of 400 Ball rests on the palm of the hand
grams Fingers are relaxed, not squeezed
Level 5-8: the minimum weight of 330 together, and follow the shape of the
grams ball
Level 3/4: the minimum weight of 310 Ball is not gripped with the thumb or
grams any other part of the hand
Children’s age division: the minimum Ball does not rest against the wrist or
weight of 200 grams the forearm
Senior and Junior Gymnasts: 18-20
centimeters Ball lends itself well to group activities
Children’s Age Divisions: may be because it is easily exchanged with a
between 14 and 20cm partner or in a group setting. Be
creative with your class organization
and try using different set-ups to
encourage cooperation among your
students.
Bounces from different body parts and various actions
General description
Gymnast bounces the ball, this can be performed creating an upward or downward
rebound after the
bounce occurs in contact with the body part.
Prerequisites
Basic bounces of the ball.
Toss, with rebound (bounce) on the floor before catching, performed forwards,
sideways and backwards.
Throw and catch.
Technique
For bouncing with a downward action after the
rebound on the body
Gymnast holds the ball in the hand
Bounces the ball downward onto the floor
Gymnast moves required body part into the path of the ball, to create a rebound off
said body part and back down to the floor
Once the ball rebounds on the floor the gymnast then collects the ball with the hand,
although multiple bounces can be performed.
For bounces, with an upward action after a rebound on the body
The gymnast usually performs a small toss of the ball
As the ball reaches the apex of the toss, and commences the downward flight path, the
gymnast moves said body part underneath the flight path, to provide the surface upon
which the ball will bounce
Gymnast pushes the body part upwards towards the contact with the ball, to provide
the rebound
Gymnast then catches the ball, usually in the hand
Progressions
For downward bounce action:
Practise bouncing the ball downward to the floor with the hand
Without the ball, practice moving the body part upon which you want to bounce the
ball, directly over the point of contact of the bounce with the floor. For example elbow,
back of the hand, knee, shoulder, chest, back, bottom.
Combine both practises to bounce the ball off the body
For upward bounce action:
Toss the ball upwards, allow it to pass the body, bounce on the floor and catch in the
hand (tracking the ball)
Without the ball, practice moving the body part and using an upward action to control
the bounce, for example two arms in front of the body (volleyball style), cat leap or
passé balance using the knee, back/bottom with the ball overhead, sitting on floor off
legs. • Combine both practises to bounce the ball upwards from the body
Coaching Points
Maintain body tension in body part which is in contact with the ball for the bounce, this
should control the ball
Minimum noise from the contact point between ball and body
For upward bounce, push body upwards into the bounce
Position the body directly under or over the ball, so that the bounce travel directly
vertically from the contact
Problems
Ball makes a large slapping noise at the contact point
Ball after contact flies away at an unmanageable angle
Ball misses body part due to poor tracking of the ball from the gymnast
Ball misses the body part due to weak initial bounce into the floor
Unnecessary body movement
Variations
Perform using different body parts – elbow, leg, foot, feet, back, head, knees, arm/s,
back, bottom
Perform in various positions standing, sitting, laying
Perform in combination – for example swapping from shoulder, to knee to hand etc.
Bounces from different body parts and various actions

General description
Gymnast rolls the ball across open arms, from one hand to the other, behind the head.
Prerequisites
Short roll on body (up front and down back)
Standing with arms to the side (second position)
Flexibility in the wrists – hands and knees, wrists turned in and out
Technique
Holding the ball in the right hand, underneath the ball
Simultaneously lift the left arm up to the side (second position), palm upwards
Lift the right arm up, releasing the fingers from the ball gently pushing from the fingers tops, as
to not grip the ball
Maintaining a straight back, lift the right arm higher so the ball rolls along the right forearm.
Watch the ball along the arm.
As the ball reaches the shoulder the gymnast slightly moves the shoulders forward so that the
ball rolls across the back of the shoulders, behind the head. Turn the head to watch it travel
along the left arm and catch into the left hand.
Lift the left hand higher as the ball reaches the forearm to slow the momentum of the ball.
When caught in the left hand, lift the wrist to enable the ball to stop
Progressions
Stand with arms out to the sides (second position) with head facing directly forwards, the
fingers (moving) should be visible in the peripheral vision without moving the head. This is the
correct position of the arms
Practise rolling the ball along the right arm, and stopping behind the head with the right hand.
Walk with the finger tips, whilst switching hands, to the left shoulders. Release to allow the ball to
roll down the left arm to finish.
Practise with a weighted ball in the hand, lifting the wrist from overgrasp upwards and downwards
to build the strength
Practise with the back to the wall, (almost touching the wall). Roll the ball across the arms and
back, to encourage orientation of the skill. The ball will roll on arms and be in contact with the
wall.
Coaching Points
Maintain a straight body throughout, especially tight back, and shoulders
Strong fingers and wrist especially at the start and end to eliminate cupping the ball
Roll must make contact with both arms and roll smoothly Problems
Body piking (incorrect body position)
Lack of coordination between the arms (steepness of angle to roll ball down) and the lift to stop
the balls rolling momentum
Left palm held incorrectly, not ready for the catch
Ball missing the second arm completely – arm too far back (Fig 4.2) • Ball bouncing due to arms
being too far back or up
Variations
Perform the long roll across the front (chest) o To perform: release the ball and slightly tilt the
body/chest backwards to move the chin out of the way
Perform in wheel plane, over on arm and down back to catch behind back
Perform in wheel plane on two straight arms, starting at both the front and back
Perform in wheel plane with the ball starting above the head, second arm held at shoulder height
forwards – this can be performed with one or both hands
Long roll on body whilst laying
General description
Gymnast rolls the ball up or down body, legs and arms, in various positions on the floor.
Prerequisites
Short roll on body (up front and down back)
Standing roll, from hands, down arms and back
Sitting roll on the body from feet, up body and arms
Flexibility in the shoulders
Dish and arch positions
Technique
Laying on stomach/front, long roll from hands to feet:
Hold the ball with both hands, forehead on the floor
Lift the hands and arms upwards, into an arch position
Gently push the ball with the fingertips, so that it rolls downs the arms, keeping the head down
so the ball rolls down the body
As the ball rolls onto the shoulders, lift the upper body, with the arms to the side (or front)
• The ball rolls on top of the legs, as it rolls on the calf muscles, the gymnast opens the legs to
catch the ball between the feet.
Reverse:
This roll can also be performed in reverse, with the ball starting at the feet, on top of the
legs
Gymnast lifts the feet to initiate the momentum of the roll up body
Head down, arms and hands lifted to slow the ball and catch
Laying on back, long roll from the feet to hands:

As with the seated roll
Ball starts on top of the feet, gymnast sitting
Gymnast lifts the feet to initiate the roll
As the ball reaches the body the gymnast moves the head, Either: o Arch the back and rest
on top of the head, with arms outstretched, the ball rolls up the chest, along the arms and
to the hands o Lay down, turn the head slightly to one side, the ball rolls up the opposite
arm, as the ball passes, gymnast straightens the head and catches the ball in the hands
Laying on back, roll from hands to feet:

Gymnast lays with ball in the hands, above the head, palms near to floor, under the ball
Gymnast lifts the hands to approx. 30 degrees
The arms are ‘squeezed’ together to make a small gap, so the ball rolls on the arms and
not the face
Push the ball gently with fingertips to initial the roll
The ball rolls down arms, chest and down body to feet
As the ball reaches the shins, the gymnast opens the legs slightly to catch the ball
between the feet
Progressions
Shorten the length of the roll by starting with bent arms, placing the ball on the back of
the neck to start, or starting on the chest to roll upwards to hands, or down to feet
Walk the ball slowly with fingertips up/down the body, to gain orientation of the skill,
following the path of the roll
Practise the body positioning, especially when resting on the top of the head, without the
ball, then stay in the position and coach/partner to roll the ball, then gymnast to roll and
make the body position simultaneously
Coaching Points
Push the ball gently from the initial position, lifting too high will create a fast roll, not lifting
enough will not initiate the roll
Roll must make contact with body throughout and roll smoothly
‘Feel’ where the ball is on the body to know when to open the feet or lift the arms to catch
the ball
When starting at the hands, laying on stomach, lift the arms leaving the head down – this
requires shoulder flexibility and strength Problems
Lack of coordination between the arms/feet (steepness of angle to roll ball down) to
initiate the balls rolling momentum
Ball must not be guided by other body parts e.g. Arms during the roll, but roll freely on the
body • Ball rolls on the floor between the legs, as legs apart too early in the roll – ball must
roll on top of the legs
Ball bouncing due to speed being too fast, or arms/legs in incorrect position
When laying on front, arms don’t lift high enough to initiate the roll – practise shoulder
flexibility (opening the shoulder angle)
When laying on front, rolling ball down, ball stops near bottom – lack of momentum,
gymnast needs to lift arms higher at the start, and remain lifted in an arch - practise back
and shoulder flexibility and strength work to maintain position
When laying on front, rolling ball up body from feet to hands the ball stops – practise lifting
feet higher in an arch position and maintain the position.
Variations
Perform with the ball rolling up and down the body, from feet and hands, front and back
Perform with a change in body position as the ball is rolling, for example from laying to
kneeling
Figure of eight, in table plane inwards
General description
Gymnast holds the ball in right hand to the side, swings the ball, in table plane, inwards to create
a small circle, from the elbow, and then a large circle, from the shoulder.
Prerequisites
Large circles with the ball
Circle backbend standing and kneeling
Shoulder strength (to hold and control the ball)
Shoulder rotation flexibility
Technique
Standing with the ball held at shoulder height, in the right hand, to the right side, palm
upwards under the ball
Swing the ball forwards and inwards on table plane, bringing the arm to the front of the
body, remaining at shoulder height
Bend the elbow, continuing the circle towards the chest, leaving the elbow pushed away from
the body
As the ball reaches the chest, turn the hand, to push the ball under the elbow, straightening
the arm forwards with the palm upwards
The shoulders, will be slightly rotated, with the right shoulder forward, to create one line in
front of the left shoulder, through the back and right shoulder, along the arm to the ball. This
line should be directly forward
Once this position is reached, the small, first circle (lower) of the 8 is complete
Continue in the second (upper) larger circle of the 8, by swinging the right arm with the ball,
to the left, creating a complete large circle in table plane, overhead, with rotation from the
shoulder
Finish with the ball held to the side at shoulder height, with the palm upwards, under the ball
Once achieved this should be performed with a circular backbend or waving movement.
Progressions
Without the ball, practise rotating the arm inwards and outward, turning the palm upwards
and downwards
Another exercise for the shoulder rotation could be: practise bridge, sitting in the floor
hands behind the body, fingers pointing away from the gymnast, gymnasts lifts bottom and
rotates hands on the floor, without lifting the hands off the floor to reach the bridge
position.
Standing the stating position, practice rotating the arm, to turn the ball, so that the arm
rotates to an elbow upward position, and then swing back to elbow down position. This is
for control with the ball. Allow the ball to remain in contact with the hand throughout, with
good grip on the ball.
From the starting position, swing the ball inwards to create the first half of the lower circle.
When the ball reaches the chest, reverse the swing back to the starting position.
Without the ball, practise the whole movement, for the gymnast to understand where the
hand and shoulder must go in order for the hand to remain palm upwards throughout and
the ball to remain balanced • Practise the whole movement, slowly with the ball, with a
coach or partner holding the ball on the gymnasts hand
This movement is more easily taught kneeling in the floor, as the gymnast can rest onto the
left hand to balance and gain a large upper circle to keep the ball balanced, less shoulder
and back flexibility is required
Coaching Points
Hold the ball in correct grip throughout, without grasping the ball with the fingers
Maintain the table plane throughout, this should be even and level for the whole of each
circle, without a dip away from the table plane
The movement must be continuous and smooth, showing all positions without stopping in
them, simply passing through them
Ensure the position with upturned elbow, shoulder line, with the ball held directly in front the
body is met every time. This is the most important position of the whole movement to make
correctly.
Problems
Two complete circles, making the complete 8 are not made
The ball does not stay level in the table plane throughout, but dips in and out of the plane –
inaccurate planes
The elbow is bent at the start, end or during the second larger circle
The ball is grasped or gripped in parts or throughout – this makes it easy for the gymnast, as
it appears correct, however this is incorrect and the gymnast has not made the upturned
elbow position correctly, maybe due to lack of shoulder flexibility Variations
Perform inwards and outwards figure of 8
Perform with right and left hand
Perform in various body positions, standing, kneeling, laying, lunging • Figure of 8 in wheel
plane (forward and backward)
Figure of 8 in mirror plane (forward and backward)
Throw from swing
General description
Gymnast throws the ball from a swing into the air. The catch is typically with one hand and
finishes in a preparatory position.
Prerequisites
Toss and catch
Sitting position on heals with arms out straight in front (Cat Curl) for shoulder flexibility
Technique (throw in wheel plane)

Gymnast stands in 6th position on demi-pointe, with the ball held in the hand, arm
directly forwards at shoulder height
The gymnast simultaneously bends the knees (plié) and swings the arm downwards to
just behind the hip, being careful to avoid cupping the ball.
As the ball reaches the bottom of the swing the knees should also be at the bottom of
the bend (plié)
From this point the arm and legs simultaneously extend to full stretch (Fig. 8)
The arm extends upwards quickly and the hand releases the ball.
The release point should be at approx. 30 degrees, and with the hand releasing all
fingers simultaneously, with the palm upwards.
The ball peels off the hand, from the palm, fingers and finally the tip of the middle
finger.
The arm and hand stay in the same position during the flight phase (palms upward)
The body will be at full stretch with the legs straight.
To finish, the hand aim to meet the ball at the earliest opportunity, between the flight
phase and the catch.
The ball makes contact with the hand, finger tip first, then onto the palms, absorbing
the downward momentum from the throw through a plié of the legs and softening of
the arms
The finish, after absorbing the downward momentum, will be to recover the body into
a fully stretched position in 6th with the feet and arms in a preparatory position at the
front
Progressions
Perform a small toss and catch with good control of the ball
Coach or partner, holds the ball, so that gymnast can practise releasing the ball and
receiving the ball, back onto the finger tips first and then into the hand
Control the throw and practise with different heights/power of the throw coming from
the speed of the legs and arms
Practise different directions of throw, by alternating the release point, to enable the
trajectory to be altered
Coaching Points
Maintain a straight body throughout, especially tight back and shoulders
Fast and strong arms and legs to produce the height of the throw – power from the
legs
Maintain a still body position under the throw
Fingers must be tight and fixed during the release
Arm must stop and be fixed during the release point of the throw
During the catch, maintain a strong back and body, absorbing the downward
momentum through the legs
Control the ball at the end, to keep away from body and without cupping
Problems
Ball hitting the wrist or cupping on the swing
Slapping noise when the ball is caught – ensure the ball is caught through the finger
tips and absorbed into the hand
Lack of speed in the gymnasts arms during the throw
Lack of plié during the throw or catch
Release arm missing the release point, and therefore the flight stage catching the
wrong trajectory other than that intended. (Shoulder flexibility inadequate to reach
the release point)
Unnecessary body movement, including jumping during the release phase
Variations
Perform sideways, with the ball swinging in mirror plane and the gymnast releasing
near the head so that the ball’s flightpath is upward and to the side
Perform throwing the ball backwards
Throw: Push throw
General description
Gymnast throws the ball from a push into the air. The catch is typically with one hand and
finishes in a preparatory position.
Prerequisites
Toss and catch
Throw and catch from a swing
Sitting position on heals with arms out straight in front (Cat Curl) for shoulder flexibility
Technique (throw in wheel plane)
Gymnast stands in 6th position on demi-pointe, with the ball held in the hand, arm
directly forwards at shoulder height
The gymnast simultaneously bends the knees (plié) and swings the arm upward and
turns the wrist so that the fingers are pointing backwards, the arm bends to just above
the shoulder, with the elbow forwards.
As the ball reaches the shoulder, the knees should also be at the bottom of the bend
(plié)
From this point the arm and legs simultaneously extend to full stretch (Fig. 10.1)
The arm extends upwards quickly and the hand releases the ball.
The release point should be at approx. 30 degrees, and with the hand releasing all
fingers simultaneously
The ball peels off the hand, from the palm, fingers and finally the tip of the middle
finger, the palm will be forward.
The arm and hand turn during the flight phase, to become palms upward, ready to
receive the ball.
To finish, the hand aim to meet the ball at the earliest opportunity, between the flight
phase and the catch.
The ball makes contact with the hand, finger tip first, then onto the palms, absorbing
the downward momentum from the throw through a plié of the legs and softening of
the arms.
The finish, after absorbing the downward momentum, will be to recover the body into
a fully stretched position in 6th with the feet and arms in a preparatory position at the
front.
Progressions
Practise the arm swing while lifting the ball up and turning the hand
To improve the power from the arm push, practice press ups (the upward phase is
most important).
Whilst sitting in a pike position, a partner stands behind the gymnast, gymnast lifts her
hand/s to the shoulder position with a bent elbow, partner places their hand on top of
the gymnast. The gymnasts presses upwards against resistance from the partner to
build strength in the arm
Perform this technique with a lower/small throw
Build the height of the throw by increasing the speed and power of the pushing arm
Coaching Points
• The arm needs to push strongly in this type of throw, as there is no swinging momentum
behind
the ball, only the arm push which results in a lower throw.
• Maintain a straight body throughout, especially tight back and shoulders
• Fast and strong arms and legs to produce the height of the throw – power from the legs
• Maintain a still body position under the throw
• Fingers must be tight and fixed during the release
• Arm must stop and be fixed during the release point of the throw
• During the catch, maintain a strong back and body, absorbing the downward momentum
through
the legs
• Control the ball at the end, to keep away from body and without cupping
Problems
• Ball hitting the wrist or cupping on the swing
• Slapping noise when the ball is caught – ensure the ball is caught through the finger tips
and
absorbed into the hand
• Lack of speed in the gymnasts arms during the throw
• Lack of plié during the throw or catch
• Release arm missing the release point, and therefore the flight stage catching the wrong
trajectory
other than that intended. (Shoulder flexibility inadequate to reach the release point)
• Unnecessary body movement, including jumping during the release phase
Catch - Basic trap catch with legs
General description
Gymnast catches the ball with a trap using the legs against the floor.
Prerequisites
• Throw and catch in wheel plane, from a swing
• Tuck position on the floor
• Sitting position on heels with arms out straight in front (Cat Curl) for shoulder flexibility
Technique
• Use the throwing techniques as described for throw from a swing.
• These must be secure throws before attempting the catches.
• When the ball is in the air the gymnast needs to track (with the eyes) the trajectory and anticipate
the landing or contact point with the floor from the throw.
• As the ball begins travelling downward in the throw, the gymnast will sit down underneath the
point at which the ball will hit the floor
• The gymnast sits with bent knees (tuck position), positioning the knees under the trajectory of the
ball.
• As the ball gets close to the gymnast, the gymnast opens the knees, without lifting the feet from
the floor, and closes them quickly over or on top of the ball.
• The gymnast can trap from the rebound, or trap the ball by pushing the knees downward to trap
the ball against the floor.
Progressions
• Throw and catch in table plane
• Practise the leg position without the ball or the trap action
• Practise tracking the ball by clapping at the point when the ball will hit the floor
• Practise accurate throwing, by placing a floor spot/cone or marker on the floor, throwing the ball
and aiming to land directly on the marker.
• Gymnast in sitting or standing position ready for catch, and partner or coach drops the ball from a
low height to allow the gymnast to practise the orientation for the trap
• Gradually increase the height of the throw as gymnast confidence increases
Coaching Points
• Maintain a straight body throughout, especially tight back and shoulders
• All coaching points from the throw
• During the flight phase, track the ball in the air
HOOP
A minimum weight of 300 grams can be achieved by wrapping the hoop with plastic or
electrical tape. The “noisemakers” inside the hoop can easily be removed by removing
the staples at the joint, pouring out the contents, and reassembling the hoop. Of course,
official hoops for rhythmic gymnastics are available if you prefer. To find the
appropriate size hoop, stand the hoop on end and measure the top of the hoop
approximately to the hip bone.
Of all the apparatus in Rhythmic Gymnastics, the hoop offers the greatest possible variety of
movements and elements
The hoop must be used on all levels and planes during a routine as it is rolled, rotated, thrown,
caught, swung and circled.
Sizing Grip
Special attention should be paid to the
type of grip used for each skill throughout
the hoop curriculum. For all grips, the
fingers should be together and wrapped
around the hoop tight enough to maintain
the hoop in its proper plane during skill
performance. Various grips include the
following:
Over-grip (palms face downward)
Under-grip (palms face upward)
Outside grip (palms face inward)
Inside grip (palms face outward)
Rotations on other body parts
General description
Gymnast rotates the hoop using different body parts, other than the hand.
Prerequisites
• Rotations of the hoop around the hand in all planes and directions.
Technique
From rotations around the leg from a swing:
• Gymnast holds the hoop in mirror plane, in an over grip, with the thumb pointing downward
• Gymnast simultaneously lifts the leg upward in front of the body (knee bent, foot high) and swings
the hoop in mirror plane, outwards
• The foot goes inside the hoop, near to the hand (still holding the hoop). Once the foot arrives next
to the hand, the gymnast presses the hoop downward (little finger last) to create the rotations
• The hand quickly moves away, leaving the hoop rotating on the leg
For rotations around the leg from rotations around the hand:
• Gymnast performs rotations around the hand in mirror plane in front of the body
• Gymnast waits for the hoop to ‘open’ the circle at the bottom of the swing and quickly lifts the leg
into the ‘opening’, and takes the hand out – leg replaces hand as the axis of the rotation
• Hoop continues to rotate around the leg
• In both movements, ample speed is needed from the hand to create the rotations of the hoop,
and
a gentle rotating movement (almost invisible to the eye) is needed from the leg to maintain the
rotation once on the leg.
Progressions
• Rotations of the hoop in mirror plane on one hand, and switch hands when the ‘opening’ appears –
simultaneous and fast movement
• From standing, lift the foot, to touch the hand at speed
• Standing, practise balancing the hoop on the leg (without rotations) to build strength and
movement orientation
Coaching Points
• Maintain a straight body throughout, especially a tight back and shoulders throughout
• Fast and strong arms and fingers to achieve the rotation in the correct plane
• To continue rotations on the leg, make small circles, almost invisible to the eye, to maintain the
momentum of the hoop
• The leg must be at right angles to the hoop and horizontal to the floor
• Slow the rotations down slightly, to see when and where the circle opens, to allow the exchange
of hand for leg
Problems
• Hoop stops rotating
• Hoop slides off leg
• Leg doesn’t stay high enough
• Unnecessary body movement
Variations
• Perform around different body parts – elbow, leg, foot, feet, neck, waist, knees, arm/s
• Perform in positions on the floor
• Perform in various positions standing
• Perform in combination – for example swapping from one foot to the other
Throw from rotations

General description
Gymnast rotates the hoop around one hand and throws into the air. The catch is typically with
one hand
and finishes in a preparatory position.
Prerequisites
• Rotations around the hand in mirror and wheel plane
• Throw and catch in wheel plane
• Hands and knees position, with wrists turned inwards and outwards (to enable hoop to be held
in
accurate wheel plane)
Technique (throw in wheel plane, from backward rotations of the hoop)
• Gymnast stands in 6th position on demi-pointe, with the hoop rotating backwards in the hand,
and the arm directly forwards at shoulder height
• After two or three preparation rotations, the gymnast simultaneously bends the knees (plié) and
the arm, slowing the rotations of the hoop
• As the hoop hits the bottom of the swing/rotation, the knees should also be at the bottom of
the
bend (plié)
• From this point the arm and legs simultaneously extend to full stretch (Fig. 1)
• The arm extends upwards quickly and the hand releases the hoop
• The release point should be at approx. 30 degrees, and with the hand releasing all fingers
simultaneously, with the palm upwards
• The arm and hand stay in the same position during the flight phase (palms upward)
• The body will be at full stretch with the legs straight, the left arm comes up to meet the right
• To finish, the hand aims to meet the hoop at the earliest opportunity, between the flight phase
and the catch, catching the hoop on the outside or inside of the hoop
As they make contact, the fingers wrap around the hoop absorbing the downward momentum
from the throw, through a plié of the legs and softening of the arms
• The finish, after absorbing the downward momentum, will be to recover the body into a fully
stretched position in 6th with the feet and arms in a preparatory position at the front
Progressions
• Rotate the hoop on one hand
• Perform a small throw with the hoop to practise changing the speed of the rotations
• Control the throw and practise with different heights/power of the throw coming from the speed
of the legs and arms
• Practise different directions of throw, by alternating the release point, to enable the trajectory to
be altered
Coaching Points
• Maintain a straight body throughout, especially a tight back and shoulders
• Hoop must maintain good shape (without vibrations) and not make contact with the floor or body
• Hoop must maintain a good plane (wheel plane)
• During the catch, maintain a strong back and body, absorb the downward momentum through
the
legs
• Control the hoop at the end, to keep away from body and floor
Rotation throw in wheel plane – with forwards rotations
• When performing in wheel plane, with forward rotation, the release point will maintain 30
degrees
with the palm downwards
Rotation throw in mirror plane
• When performing in oblique or mirror plane the wrist will turn, and the arm bend will come in
front
of the body, with the little finger leading into the release
Problems
• Hoop hitting the floor during the release and/or catch
trajectory
• Changing the trajectory of the hoop, incurred through additional body movement and bending
in
the back
• Changing the plane – wrist and hand twisting at the release point
• Hoop vibrates in the air - hand and fingers releasing simultaneously at the release point and stay
strong and tight
Variations
• Perform with forward or backward rotation of the hoop, in wheel plane
• Perform with the hoop in mirror plane, with either inward or outward rotation
• Perform in oblique plane starting from behind the head
Throw in table plane
General description
Gymnast holds the hoop on an table plane and throws the hoop into the air. The catch is
typically with
one hand and finish in a preparatory position.
Prerequisites
• Throw and catch in wheel plane, from a swing
• Swings in table plane
• Hands and knees position, with wrists turned inwards and outwards (to enable hoop to
be held in
accurate wheel plane)
Technique
• Gymnast stands in 6th position on demi-pointe, with the hoop held directly forwards at
shoulder
height, in both hands, with an under grasp of the hoop, which is held in table plane (Fig.
2.1)
• Simultaneously bend the knees (plié) and swing the arms downward maintaining the
table plane
• As the hoop hits the bottom of the swing the knees should also be at the bottom of the
bend (plié)
From this point the arm and legs simultaneously extend to full stretch (Fig.2.3)
• The arms, will bend inward towards the body, on the upward phase of the throw to extend
upward
quickly and the hand releases the hoop.
• The release point should be at approx. 30 degrees in front of the body, and with the hand
releasing
all fingers simultaneously, with the palm downward (Fig.2.3), continuously maintaining table
plane
• The arm and hand stay in the same position during the flight phase (turning the palms upward).
• To finish, the hands aim to meet the hoop at the earliest opportunity, between the flight phase
and
the catch, catching the hoop with an undergrasp
• As they make contact the fingers wrap around the hoop absorbing the downward momentum
from the throw through a plié of the legs, and softening of the arms
• The finish, after absorbing the downward momentum, will be to recover the body into a fully
stretched position in 6th with the feet and arms in a preparatory
2.1 2.2 2.3 2.4

Progressions
• Swings in table plane, moving up and down (preparation stage)
• Control the throw and practise with different heights/power of the throw coming from the speed of
the legs and arms
• Practise different directions of throw, by alternating the release point, to enable the trajectory to
be altered
Coaching Points
• Maintain a straight body throughout, especially a tight back and shoulders
• Hoop must maintain a good shape (without vibrations) and not make contact with the floor or
body
• Hoop must maintain a good plane (table plane)
• During the catch, maintain a strong back and body, absorb the downward momentum through the
legs
• Control the hoop at the end, to keep away from body and floor
Problems
• Hoop hitting the floor during the release and/or catch
trajectory
• Changing the trajectory of the hoop, incurred through additional body movement and
bending in
the back
• Changing the plane – wrist and hand twisting at the release point
• Hoop vibrates in the air - hand and fingers releasing simultaneously at the release point and
stay
strong and tight
Variations
• Perform from a throw in two or one hand
• Catch in one of two hands, or passing through the hoop
Rotation throw or toss in table plane

• The same as for table plane throw, however, when swinging downward, the outer edge of
the hoop
can swing down towards the floor
• At the release point the wrists bend toward the gymnast, creating a rotation of the hoop in
the air
RIBBON
A minimum weight of 300 grams can be achieved by wrapping the hoop with plastic or
electrical tape. The “noisemakers” inside the hoop can easily be removed by removing
the staples at the joint, pouring out the contents, and reassembling the hoop. Of course,
official hoops for rhythmic gymnastics are available if you prefer. To find the
appropriate size hoop, stand the hoop on end and measure the top of the hoop
approximately to the hip bone.
Of all the apparatus in Rhythmic Gymnastics, the hoop offers the greatest possible variety of
movements and elements
The hoop must be used on all levels and planes during a routine as it is rolled, rotated, thrown,
caught, swung and circled.
Sizing Grip
To show correct patterns with the ribbon, it
is necessary to first master the correct grip
The flowing movements of the ribbon can of the ribbon stick. Below are the rules for
deceive observers into thinking that the ribbon
holding the ribbon stick:
is easy to manipulate. On the contrary, ribbon
requires a good amount of arm strength to
Stick is held between the thumb and
properly create the beautiful patters. middle finger
Encourage your students to really “work” the Index finger points down the stick,
ribbon so the whole length can be involved fourth and fifth fingers wrap lightly
around the stick
End of the stick should be hidden in the
palm of the hand
Snakes
General description
The gymnast performs zig-zag movements with the ribbon, this is
called snakes.
Prerequisites
Basic snake movements in front of the body
Technique
Snakes can be performed on each plane and different directions, with both hands.
This variety is required for routine composition.
Snakes – ‘Looped’
• The gymnast holds stick in front of the body, slightly lowers the wrist, and brings the end
of the stick upwards
• The gymnast performs snakes side to side from the wrist only, this produces a ‘looped’
pattern in the air.
Snakes – ‘Waterfall’
• The gymnast start with ribbon behind body, arm upward
• The gymnast brings the arm overhead, and down in front of body whilst snaking the
ribbon – at this point the wrist may be slightly bent upward or backward.
• As the ribbon reaches the bottom, the gymnast turns the wrist to lead with the back of
the hand in an upward movement.
Snakes – Vertical
• The gymnast starts with ribbon to the right side, and low to the floor
• Bring wrist and arm across body in the table plane, with the palm leading, stick behind
• The stick moving vertically to create vertical snakes
• Once the left side is reached, and the arm is across the body, the gymnast will reverse
this so that
the back of the hand now leads, as the arm moves left to right.
Snakes – Overhead/Waterfall
• The gymnast puts the ribbon behind the body, holding the stick up in the air above head.
• Index finger remains pointing along the stick
• The gymnast then creates horizontal snakes behind the body
Progressions
Try with the stick, and no movement of the ribbon
Add movement of the body, this enables the ribbon to move easily
Speed up the movements, so that the gymnast has fast enough movement
of the ribbon to perform still or traveling
Coaching Points
Maintain good body posture
Generally the end of the stick must be hidden by the hand
Maintain the index finger pointed along the stick, to control the ribbon
Straighten the arm as much as possible, to keep the ribbon away from
the body and floor
Problems
Ribbon knots or tangles – move the body to ‘free’ the ribbon, and/or move
the wrist and fingers quicker on the stick
Variations
Perform with different types of movements and
with both hands
Echappe
General description
The gymnast performs a toss of the ribbon stick into the air, this is called an Echappe.
Also known as a toss or small throw and catch
Prerequisites
Basic circles of the ribbon in different directions Knowledge or planes
Technique
Echappe can be performed on each plane and different directions, with both hands.
This variety is required for routine composition.
Echappe – Push from wheel plane
• Perform backward circles in wheel plane
• As the ribbon reaches the top, turn the hand so that the ribbon is behind the body
• The grip changes to have the thumb under the stick, palm upwards, arm slightly bent,
down towards ear
• The gymnast then pushes with the thumb upwards, at the same time, rotating the wrist
using the little finger in the end of stick to create a rotation of the stick
• Simultaneously the arm extends upwards to create a ‘push’ motion upwards into the air
• The ribbon should rotate in the air, maintaining wheel plane
• The gymnast rotates the hand, and catches the stick into the open, palm up hand, and
continues with large circles to keep the ribbon moving
Echappe – Overhead toss in mirror plane
• Holding the ribbon to the side of the body, the gymnasts arms open to the side, the
gymnast can
perform a movement such as circles, spirals or snakes.
• The gymnast turns palm upward, and changes grip so that the stick is resting between
index finger
with the end of the stick resting against the little finger
• The gymnast swings the arm up in mirror plane, from the side to approx. 15 degrees from
the
vertical (above head)
• The gymnast releases the stick to create the toss
The index finger, and wrist pushes the stick inwards, to create a rotation in the air of the stick
and ribbon
• The other arm and hand is waiting to receive the stick, reaching upwards and with the arm
slightly
bent above head, with the palm facing upwards (inside)
• The stick will land into the hand, the elbow softens the catch
• The hand with index finger stretched along the stick, grips the stick, and take the ribbon back
out
to the side, to finish with palm down
Echappe – Backward circle in Wheel plane
• The gymnast performs backward large circles in wheel plane
• As the gymnast brings the arm upwards, the gymnast turns the grip, to palm up (upwards grip),
without changing the line of the circle
• The gymnast then releases upwards (approx.. 15-20 degrees from vertical)
• The gymnast pushes with the wrist and index finger, turning the stick inwards
• This creates a circle or loop in eth air as the ribbon is thrown
• The gymnast prepares to catch by turning the hand, inside, to catch with the index finger
pointing downward towards the floor, heal of the hand upwards
• The gymnast continues the circle of the ribbon by pushing the stick upwards and outwards and
continuing the circles.
ROPE
The rope may be of hemp or any synthetic material. It's height is proportionate to the
height of the gymnast. It has knots rather than handles at the ends.
Technical figures ay be made with the rope either taut or loose, with one or both hands,
with or without change of hands.
The relationship between the apparatus and the gymnast is more explosive than in the
case of ball or ribbon.
Rope exercises include mainly leaps and skipping trough the rope
Other elements as swings throws rotation and figures are also part of the rope
compositions
Rope is only used in Junior competitions (group and Individual) and in Senior group
competitions.
Sizing
The rope should, when held
down by the feet, reach both
of the gymnasts' armpits.
Grip
Throughout the rope
curriculum, proper grip of the
rope should be stressed The
rope is held lightly with the
thumb and index finger
wrapped around the rope just
below the knots.
Gripping the rope too tightly will affect the pattern of the rope and cause the gymnast to
perform skills out of the correct plane.
Notes
• When performing one-handed skills with the rope, the free arm should be placed on the hip
or extended
to the side at all times
• Avoid hitting or brushing the rope against the floor when performing rope skills
• Jumping rope is a terrific conditioning activity. Try placing your rope activity either and the
beginning of
class for a good aerobic warm-up or at the end of class for a strong conditioning exercise.
Apparatus Fundation Table
2-Handed swings What to Look for 1-Handed Swings What to Look for
• Continuous “U”
Side to Side shape of rope Side to Side
Extended arms
• With swing step • Extended arms • With swing step
Uninterrupted swing
• Three step turn • Light grip of the • Three step turn
Frontal plane
R/L rope R/L
• Frontal plane
• Continuous “U” shape of

Front and Back rope • Extended arm
Front and back
• With swing step R/L • Extended arms • Uninterrupted swing
• With swing step R/L
• With arm wrap R/L • Light grip • Sagittal plane
• Sagittal plane
Circles (2-Handed) What to Look for Circles (1-Handed) What to Look for
• Correct plane • Correct plane

Sagittal • Arms extended forward Sagittal R/L • Arms extended forward
• Forward/backward • Hands together • Forward/backward • Hands together
• Figure 8 • Rope circles from wrists • Figure 8 • Rope circles from wrists
only only

Frontal • Arms extended forward Frontal R/L • Arms extended forward
• Clockwise • Hands together • Clockwise • Hands together
• Counterclockwise • Rope circles from wrists • Counterclockwise • Rope circles from wrists
only only

Horizontal • Arms extended upward Horizontal R/L • Arms extended upward
• Clockwise • Hands together • Clockwise • Hands together
• Counterclockwise • Rope circles from wrist • Counterclockwise • Rope circles from wrist
only only
Apparatus Technique
Sails in Mirror Plane
General Description: Sails in mirror plane is a large circle of the rope with movement from
the shoulders.
Prerequisites:
Swinging in mirror plane
Sail in mirror plane without the rope
Arm circles in mirror plane (without the rope)
Transfer of weight through second position.
Technique:
Start with feet in second position and right foot pointed to side.
Left arm is stretched out to the side with right arm bent across the body.
Right extends down towards the floor so both are stretched downwards with strong
wrists
Right foot steps in to second position and the left foot points to the side as right arm
lifts up and rotates behind the body and the left arm follows.
The right arm finishes the rotation behind the body by lifting the arm upwards and
swings downwards in front.
The sail finishes by the right arm completing the swing and finishing stretched out to the
side and left arm bent across the body. The right foot then points side wards whilst in
second position.
Progressions:
Begin with swing in mirror plane
Perform arm circles without the rope, to practice the co-ordination of arms, body
rotation and legs/feet.
Perform the correct technique with movement of the feet and without the rope. If
gymnast struggles then hold/support/guide their arms whilst they perform the sail so
they understand the movement.
Practice by a wall to ensure rope stays in the correct plane (rope should not hit the wall)
Coaching Points:
Rope must be U shaped throughout
Movement comes from shoulders
Arms remain straight
Wrists stay strong
Mantain mirror plane throughout
Knots hidden in hands
Rope stays lifted from the floor and away from the body throughout
Problems:
The rope hits the gymnast. This happens when the plane hasn't been maintained. Return
to the swings and make sure the gymnasts understands the correct plane of movement
of the rope.
The U shape isn't maintained. This happens because the gymnast is not in control of the
rope and moving the wrist or moving too fast. If this happens go back to the swings
encouraging the gymnast to look the shape of the rope.
Lack of co-ordination. For this practice without the rope and circling the arm in variolous
directions.
Variations:
It can be performed on both sides and forwards and backwards.
It can be repeated in wheel frame forwards and backwards.
The sain can be performed whilst travelling.
Swings in Oblique Plane with rotation
General Description: Swinging the rope in oblique plane with rotation is a variation from
the basic swing in mirror plane. The rope is kept in oblique plane throughout the swing and
rotation.
Prerequisites:
Swinging in mirror plane
Swing oblique plane
Chaine without apparatus
Technique:
Start with feet in second position and right foot pointed to side.
Left arm is stretched out to the side with right arm bent across the body.
Right foot steps to side as right arm extends down slightly forward towards the floor and
arms will now be fully stretched to the side and slightly in front
Left foot steps into the right foot to perform a chaine turn whilst lifting arms and making
sure the rope is still in the oblique plane.
Complete the chain turn whilst bringing right arm followed by the left arm.
Pile in 2nd position with both arms down towards the floor and finish in second position
with left foot pointed to the side, left arm rises straight as the right arm bend across the
body.
Progressions:
Begin with swing in wheel plane
Repeat the swing but in oblique plane. This is done by the arms lifting slightly so they are
not pointing directly into the floor. Make sure rope stays in U shape.
Perform the technique as written above but without the rope to ensure the feet and legs
are performing the correct movement.
Now perform the whole skill with the rope
Coaching Points:
Rope must be U shaped throughout
Movement comes from shoulders
Wrists stay strong
Knots hidden in hands
Rope stays lifted from the floor and away from the body throughout
Variations:
This can be done exactly the same on the non-dominant side.
The gymnast can perform a turning jump instead of chainee.
Figure of Eight in helicopter plane
General Description: When the gymnasts performs a small circle followed by a large circle
or vice versa. These circles are performed at different levels.
Prerequisites:
Large circle or the rope with backbend
Small circle of the rope in front
Technique:
Begin with right arm stretched behind with left arm bent across the body and the rope
from the left hand is over the top of the right arm
Swing the right arm forwards and extend to front, bend the arm and form small rotation
underneath and then extend both arms forwards and slightly to the side
Bring the right arm forwards whilst bending the left arm to complete a small rotation of
the left arm
Circle right arm behind with the bend of the truck followed by the left arm
Finish with both arms stretched in front
Coaching Points:
In the large circle the arms are straight and rotation comes from the shoulders
In the small circle rotation comes from the wrists
The rope must stay in helicopter frame
Problems:
The rope doesn't maintain the correct frame. If this happens, go back to the practice of
the frames
If the rope hits the gymnasts, it's because the wrists are either bending too much or the
rope is not in the correct frame
Variations:
Large circle followed by small circle
Small circle followed by large circle
In wheel frame without movement of the rope
Wheel frame
Echappe with half lasso in table plane
General Description: When the gymnasts performs a small circle followed by a large circle
or vice versa. These circles are performed at different levels.
Prerequisites:
Large circle or the rope with backbend
Small circle of the rope in front
Technique:
Begin with right arm stretched behind with left arm bent across the body and the rope
from the left hand is over the top of the right arm
Swing the right arm forwards and extend to front, bend the arm and form small rotation
underneath and then extend both arms forwards and slightly to the side
Bring the right arm forwards whilst bending the left arm to complete a small rotation of
the left arm
Circle right arm behind with the bend of the truck followed by the left arm
Finish with both arms stretched in front
Coaching Points:
In the large circle the arms are straight and rotation comes from the shoulders
In the small circle rotation comes from the wrists
The rope must stay in helicopter frame
Problems:
The rope doesn't maintain the correct frame. If this happens, go back to the practice of
the frames
If the rope hits the gymnasts, it's because the wrists are either bending too much or the
rope is not in the correct frame
Variations:
Large circle followed by small circle
Small circle followed by large circle
In wheel frame without movement of the rope
Wheel frame
Throw from skipping
General description
Gymnast skips and releases the rope into a throw (open rope). The catch is typically with each end
(knot) into each hand, to finish in a preparatory position.
Prerequisites
Throw and catch of folded rope, from forward and backward rotation
Skipping forward and backward
Bridge with straight arms and legs
Sitting position on heels with arms out straight in front (cat curl) for shoulder flexibility
Shoulder flexibility – sitting in pike with arms behind body, hands touching floor and slide bottom
away from hands
Hands and knees position, with wrists turned inwards and outwards (to enable rope to be held in
accurate wheel plane), and over and under
Technique (throw from backward skips)

Gymnast stands in 6th position on demi-pointe, with the rope held in front of the body
Gymnast begins backwards skips through the rope
As the gymnast jumps upwards and over the rope, the rope is pushed downward with narrow arms
to the hips (creating the downward swing)
From this point the legs land, and simultaneously between arms and legs, extend to full stretch, with
the arms swinging upwards and in front of the body
The arms extend upwards and the hands release the rope.
The release point should be at approx. 30 degrees, and with the hands releasing all fingers
simultaneously, with the palms upwards
The arm and hands stay in the same position during the flight phase
The body will be at full stretch with the legs straight
To finish, the hand aims to meet the rope at the earliest opportunity, between the flight phase and
the catch, catching the end (knots) one in the hand
As they make contact, the fingers wrap around the ends (knots) and the rope swings downwards
slightly behind the body, absorbing the downward momentum from the throw through a plié of the
legs and a softening of the arms
The finish, after absorbing the downward momentum, is to recover the body into a fully stretched
position in 6th with the feet, the other end of the rope will then swing through next to the gymnast
in wheel plane, for the gymnast to catch the other end into the hand, finishing with the arms in a
preparatory position at one side
Progressions
Throw of the folded rope from rotation backwards
Back skips, to release the rope, and perform a half rotation of the rope to catch the centre
Coaching Points
Maintain a straight body throughout, especially a tight back and shoulders
Fast and strong arms and legs, to produce the height of the throw – power from the legs
Maintain a still body position under the throw
Fingers must be tight and fixed during the release
Arm must stop and be fixed during the release point of the throw
Rope must maintain a good shape and not make contact with the floor or body
Rope must maintain a good plane (wheel plane)
During the throw/flight phase watch the end (knots) of the throw in the air, not the whole rope, to
achieve a catch directly in the knots
CLUBS
The rope may be of hemp or any synthetic material. It's height is proportionate to the
height of the gymnast. It has knots rather than handles at the ends.
Technical figures ay be made with the rope either taut or loose, with one or both hands,
with or without change of hands.
The relationship between the apparatus and the gymnast is more explosive than in the
case of ball or ribbon.
Rope exercises include mainly leaps and skipping trough the rope
Other elements as swings throws rotation and figures are also part of the rope
compositions
Rope is only used in Junior competitions (group and Individual) and in Senior group
competitions.
Sizing
The rope should, when held
down by the feet, reach both
of the gymnasts' armpits.
Grip
Throughout the rope
curriculum, proper grip of the
rope should be stressed The
rope is held lightly with the
thumb and index finger
wrapped around the rope just
below the knots.
Gripping the rope too tightly will affect the pattern of the rope and cause the gymnast to
perform skills out of the correct plane.
Notes
• When performing one-handed skills with the rope, the free arm should be placed on the hip
or extended
to the side at all times
• Avoid hitting or brushing the rope against the floor when performing rope skills
• Jumping rope is a terrific conditioning activity. Try placing your rope activity either and the
beginning of
class for a good aerobic warm-up or at the end of class for a strong conditioning exercise.
BODY WAVES
A full body wave is a sequential contraction and decontraction of all the muscles in the body
along the chain of body segments like an "electric current" from head to pelvis to the feet, or
vice versa.
Body Waves are a tradition in the history of rhythmic gymnastics, and one of the staples that
make the sport so expressive and artistic.
The exercise should contain minimum 1 Full body wave, possible from the Difficulty Tables
(# 9.5; # 10.14) in the Code of Points or their modifications, provided that the wave is
performed by the
whole body:
• Full wave forward standing or with passing from the floor
• Full wave back standing or with passing to the floor
• Side wave
• Spiral wave on two legs or one leg (spiral turn).
• Full wave performed on the floor.
Waves and spiral turn (the value of which are presented in Tables # 9.5; # 10.14 of DB)
can be
included in the overall calculation of max. 9 elements of Difficulty Body.
Note: It is possible to perform body waves or pre-acrobatic elements connected to Body

Difficulties
in order to enhance body expression and amplitude of the movement.
These waves/pre-acrobatic elements have no additional value for Difficulty of Body but
rather used
for better connections.
Types of Waves
BACKWARDS BODY WAVE

A backwards bodywave makes the body move, as the
name suggests, in a wave like fashion starting with a
backbend and moving the arms in a full backwards circle.
The key to a good bodywave is to ensure that the hips
make their own circular movement around the horizontal
axis and in a backwards bodywave the hips move
forwards in the first instance to allow the back to bend.
Prerequisites:
Standing in relevé with good posture.
Circle arms backwards with good shoulder flexibility
Backbend on the knees.
Technique
Stand in 6th position with good posture with arms extended upwards
Breathe in and extend body upwards
Take the arms in a backwards circle leading with the back of the hand. Take the head and
arch the back with the arms, this will make the hips move forwards.
When the gymnast reaches the fullest bend backwards that they can achieve, plié and
take the hips down and back in a circular motion so that the bottom is now pushed
backwards.
The body moves forward starting at the bottom of the spine and moving each part of the
body in turn forward leaving the head until last. The gymnast should now by leaning
completely forward close to the legs. At this point the arms should be at the lowest part of
the circle.
Turn the hands at the side so that the back of the hand can lead the movement.
As the arms complete the circle the body should roll up with the spine unfurling one
vertebrae at a time.
Finish the bodywave on relevé with the heels squeezed together and the arms fully
extended upwards.
Progressions
Stand sideways on to the ballet bar. One arm lightly placed on the bar the other on the
hip. Perform a backwards bodywave only using the body.
Stand in the centre of the floor. Place both hands on hips and perform a backwards
bodywave using the body only.
Stand sideways on to the ballet bar. One arm lightly placed on the bar the other extended
upwards.
Perform a backwards bodywave using the body and one arm. Turn around and repeat on
the other side with the other arm.
Full backwards bodywave with arm
Coaching Points
Ensure gymnast breathes in at the start and
extends upwards before they begin.
Keep the arms parallel throughout the bodywave
During the backbend keep the arms by the ears
Shoulders must remain down throughout
The wave must flow and not be a series of
separate movements
Start and finish with extension through the knees
Start and finish with body tight with correct
posture
Problems
The body just moves forwards and backwards with no wave or up and down movement of
the hips.
Take the gymnast back to the bar and work on moving the body only pay particular
attention to the
movement the hips make.
Arms do not make a full circle. Check the gymnast has the shoulder flexibility to circle the
arms fully keeping the arms parallel.
The gymnast falls out at the end with a step. Ensure that they are engaging their core
muscles and squeezing their bottom
SIDEWAYS BODY WAVE

A backwards bodywave makes the body move, as the name suggests, in a wave like fashion
starting with a backbend and moving the arms in a full backwards circle. The key to a good
bodywave is to ensure that the hips make their own circular movement around the horizontal
axis and in a backwards bodywave the hips move forwards in the first instance to allow the
back to bend.
Prerequisites
Good posture
Demi-plié in 2nd position
Be able to stand in relevé in 5th position
Technique
Start with feet in 6th tendu right leg to the side
Extend the left arm up past the ear and look
towards the hand.
Demi-plié through 2nd position moving the hips in a half circle downwards and
towards the right leg so that the body weight ends up over the right leg with the
left leg extended. The centre of mass moves across the vertical axis as the
bodywave is being performed.
As the body moves bring the left arm down and take the right arm up in a soft
wave using the hand and the fingers.
The head moves slightly down with the left arm and then picks the right hand up to
finish looks up towards the right hand.
This may be repeated in the other direction.
Finish by bringing the feet together to finish in relevé in 5th position.
Progressions
Place hands on hips. Stand in 6th position and tendu right leg. Demi-plié through second to
extend the left leg. Repeat in the other direction and finish is relevé in 5th position.
Walk around the room in relevé with turn out. Start with the left arm extended wave the arm
down with soft elbows and a movement through the wrists and fingers. Then take the right
arm up again with soft elbows and movement through the wrist and fingers. Use the head
to look at the hand that is extended upwards.
Put the arm movement and the hip movement together to perform a sideways bodywave.
Coaching Points
Ensure the bodywave starts with extension through both knees and the ankle and toes of the
extended leg.
Ensure the gymnast starts with, and maintains, turnout during the bodywave.
The gymnast must transfer the centre of mass from one foot to the other during the body
wave.
Arms need to be soft as the wave action is performed.
Extend through the fingers throughout the wave action.
Ensure the gymnast is using her core muscle strength to maintain her posture throughout the
movement and in to the finish.
The gymnast needs to use their head.
Problems
Gymnasts often arch their backs during this movement which means that their bottoms stick
out during the bodywave. Ensure the gymnast starts with good posture and bottom tucked
under and maintain this during the movement of the wave.
The hips are not moving in a circular motion. The gymnast needs to learn to pull the body up
to allow the hips to move.
TOE DROP
This is a backwards wave of the body that goes over the toes to finish on the gymnast’s knees on
the floor.
Prerequisites
Backwards body wave
Walk over the toes
Good ankle strength without rolling out.
Hold relevé for minimum 1 minute.
Technique
Start in relevé in 5th position with arms
extended up past the ears.
Step forward to stand with the toes folded
underneath.
At the same time take the head, back and arms backwards and push the hips forwards.
Lower the body with control to land on the knees with the upper body arched backwards.
Continue to circle the arms.
Take the hips back and push the body forward from the base of the spine one vertebrae at a
time all the way up and including the head. The body is now in a forwards position.
Lift the body up to finish, again from the base of the spine taking one vertebrae at a time,
with good posture on the knees.
The arms continue their circle to finish back up above the ears at the same time as the body
reaches its final position.
Progressions
Gymnast to place arms on hips. Step forward over their toes and the coach supports the
backbend whilst the body is lowering themselves to finish on their knees. The gymnast then
performs the forward motion of the body wave.
Gymnast repeats above without support.
Gymnast performs backwards body wave with the arms.
Coaching Points
Arms must remain parallel throughout the movement.
When stepping over the toes, make sure the ankles and feet stay in line with the legs and
toes.
The hips must remain forward until the knees are on the floor.
Control the movement down to the knees.
Make sure the head is used.
Problems
This movement must be practised on a mat to provide a safe landing for the knees.
Ensure that this movement is done with control. If the gymnast cannot control the movement
limit the number that they do, so as not to damage the knees.
Inversion (rolling out of the ankles). Strengthen the ankles and work on increasing the
flexibility through the feet by working over the toes.
Gymnasts often do not finish this movement. Ensure they complete the forwards part of the
wave.
TOE RISE
Pre-Requisites
Backward body wave
Good over-toes standing and in a squat
Good ankle strength
Technique
Feet hip width apart and feet turned in.
Puch through the toes so that your knees take off
Push up through hips while arching the back and
making sure that the shoulders, arms, head and rest of
the body follow the line.
Once the legs are straight using the momentum of the
push, swich for standing over the toes to standing on
flat feet.
Coaching Points
Arms must remain parallel throughout the movement.
When stepping over the toes, make sure the ankles and feet stay in line with the legs and toes.
The hips must remain forward until the legs are straight and the gymnast can stand.
Control the movement up.
Make sure the head is used.
TORNNEAU
Turning with feet together or hip-width apart

BODY DIFFICULTIES
Leaps / Jumps Balances Spins/ Pivots
Landings
All landings are in 5th/ 6th releve
JUMPS/ LEAPS
Generalities
Defined and fixed shape during the flight
Height (elevation) of the Jumps or Leaps sufficient to show the corresponding shape
It is possible to perform Jump/Leaps in series
Leaps vs. Jumps
Leaps: Chasse+ Chasse+ Step preparation
Jumps: On the spot. Plie straight into defined shape in the end.
Criteria for a valid leap

A Jump or Leap without a well-defined shape and sufficient height to show a single fixed
shape will need improvement and more practice.
Small deviation of the body Medium deviation of the Major deviation of the body
segments body segments segments
Coaching Tips:
Variety in practice: Use different training systems such as obstacle courses, stations, group
exercises, etc...
Make sure you include strength and flexibility exercises that develop the gymnasts'
technique.
Pay attention to the landings.
Pay attention to the apparatus handling.
Types of leaps:
Series: A series of Jumps/Leaps consists of two or more successive, identical Jumps/
Leaps, performed with or without an intermediary step (depending on the type of Jump).
Each Jump/ Leap in the series is evaluated separately. Each Jump/ Leap in the series
counts as one Jump/ Leap Difficulty.
Combined with other DB's: Combined Body Difficulties with Jump/ Leap may be
performed in the following ways:
1. Jump/Leap +Jump/Leap
2. Jump/Leap +Balance (or vice versa)
3. Jump/Leap +Rotation (or vice versa)
• Without change of support leg or extra step between Difficulties, necessarily

including a plie between the Jump/ Leap and Balance or Rotation (or vice
versa)
• With Balance only in relevé
• With Rotation only in relevé (Pivot)
BALANCES
3 Types of Balance Difficulties
1) Executed on the foot: on the toes (relevé) or flat

foot
Defined and clearly fixed shape
Stop position a minimum of 1 second fixed in the
shape
2) Executed on other different parts of the body

(knee, chest, etc.)
Defined and clearly fixed shape with a stop position
Stop position a minimum of 1 second fixed in the
shape
3) Executed in motion non-stop: “Dynamic Balances”

Clearly defined shape: All relevant parts of the body
are in the correct position at the same moment of
time
Smooth and continuous movements from one shape
to anothe
SPINS/PIVOTS
Rotation Difficulties must have a well-defined shape. This means that the correct shape
taken by the gymnast is held fixed during a minimum basic rotation (360 or 180 degrees)
Pivots could be an inward Pivots - En dedans (Pivot executed in the same direction as
the support leg) or an outward Pivots - En dehors (Pivot executed in the opposite
direction of the support leg). These inward and outward Pivots are the same Difficulties
2 Types of Rotation Difficulties:

1) Rotations on the foot of the support
leg
On the toes (relevé)
On flat foot
2) Rotations on other parts of the body
PRE-ACROBATICS
Walking in the handstand position
Skills with flight
The following groups of pre-acrobatic elements are authorized:
Walkover Forwards
Starting Position: Standing, sitting kneeling,
etc..
Middle Support: One hand, two hands,
elbows, head etc..
Ending Postion: Standing Kneeling, Sitting
Leg Movement: Front split, box split,
clapping/cabriole, switch of the legs, legs
together at any point
Walkover Backwards:
Starting position: Standing, kneeling, sitting,
etc.
Middle support: One hand, two hands,
elbows, head, etc. Ending position: Standing,
kneeling, sitting, etc.
Leg movements: Front split, side split, legs
together in any phase, leg switch, ronde, cab
Cartwheel
Starting position: Standing, kneeling, sitting,
etc.
Middle support: One hand, two hands,
elbows, head, etc. Ending position: Standing,
kneeling, sitting, etc.
Leg movements: Front split, side split, legs
together in any phase, leg switch, ronde, cab
Roll Forwards
Starting position: Technique:
Ending position:
Leg movements: Standing, kneeling, etc. Over the
head, over one shoulder, etc. Standing, kneeling,
sitting, through split, etc. Legs together, successively,
split, etc, with straight or bent knee(s)
Roll backwards
Starting position: Standing, kneeling, sitting, etc
Technique: Over the head, over one shoulder, etc.
Ending position: Standing, kneeling, sitting, through
split, stag position, etc.
Leg movements: Standing, kneeling, sitting, through
split, stag position, etc. Legs together, successively,
split, etc, with straight or bent knee(s)
Chest roll forwards

Starting position: Standing, kneeling, lying flat, etc.
Ending position: Standing, kneeling, through split, etc.
Leg movements: Legs together, successively, split, etc,
with straight or bent knee(s)
Chest roll backwards

Starting position: Standing, kneeling, etc.
Ending position: Lying flat, kneeling, through split, etc.
Leg movements: Legs together, successively, split, etc,
with straight or bent knee(s)
Fish flop forwards

Back arch rolling onto the chest, passing over the
shoulder with kip, rolling over the back
Starting position: Standing, kneeling, etc.
Ending position: Sitting, etc.
Leg movements: Legs together, successively, with
split, cycling, etc, with straight or bent knee(s)
Fish flop backwards
Rolling onto the back, passing over the shoulder with kip,
back arch rolling over the chest
Starting position: Standing, sitting, etc.
Ending position: Lying flat, kneeling, through split, etc.
Leg movements: Legs together, successively, with
split, cycling, etc, with straight or bent knee(s)
Lateral rotation passing through a bridge, ending

with a kick into split
Starting position: Kneeling, standing, etc
Ending position: Standing
Leg movements: Split with back bend to standing
APPARATUS DIFFICULTIES
An Apparatus Difficulty (DA) is a technical apparatus element (“Base”) performed with
specific criteria to the apparatus.
Requirements:
1. Minimum 1, Maximum 20 DA elements will be evaluated in chronological order. Additional
DA elements will not be evaluated.
2. DA Bases include some (but not all) of the Fundamental and Non-Fundamental apparatus
technical elements.
3. DA consists of the following combination of Base(s) and criteria:
apparatus base + minimum 2 criteria

RISKS
A risk (R) is a combination of a high throw, 2 or more dynamic elements with rotation and a
catch of the apparatus
A risk must have three components and will be valid only when all these three components are
met:
1.High throw of the apparatus (more than two heights of the gymnast) performed before
the first rotation or during the first rotation. A small throw is not valid .
2. Minimum two complete dynamic elements of the body rotation (“base rotations”)
A minimum of two base rotation with 360° for each rotation must be performed under
the flight of the apparatus
The two base rotations must be performed without an interruption (defined as additional
steps between the two rotations) in any phase of the R
For additional steps taken before, there are execution deductions
3. Catch of the apparatus after the final rotation or coordinated with any phase of the
final rotation.
Note for Hoop and Ball: the apparatus may be caught directly after a rebound on the
floor, provided that the catch is executed without hands
Note for Ribbon: the stick must be caught to be valid
Base Rotations
Pre-acrobatics: Fwrd roll, bwd roll, cartwheel, walkover, chest roll...

Lateral roll: Scramble, Scramble straddle, pencil roll...
Vertical rotations: Leaps with turn, chainees, etc...
Coaching Points
The angle of trajectory is the path the apparatus takes once it's released into the air to do
our risk.
When we change the angle the path will change as well. Taking the distance, the angle and
time of your throw when practising is what makes the gymnast catch it. However, once it's
practised enough, the muscle memory kicks in and the risk will be perfectly done almost
automatically. Some things to take into account are:
The throwing technique: The arms should be fully extended and the arm should swing
down as the legs perform an parallel plie in preparation for the throw. The apparatus
should be released once it's in front of the nose, keeping the arm straight throughout
and keeping the wrist strong and square. As the apparatus is released, the legs should
stretch and the feet go into releve.
Strength: The arm needs to be strong to reach the desirable height, in order to have
time to perform the two rotations.
Trajectory: The risk needs to be performed in the right trajectory in order to avoid
technical mistakes. Repetition and muscle memory is the only way to get this right. If te
gymnast deviates to the sides, for examples, get them to perform the risk close to the
wall in order to fix this.
Time to perform the rotations: The rotations must be performed with no interruption or
pause at a reasonable speed.
Following the apparatus with the eyes: This makes movements slower, stops the flow
of the rotations. The risks are intended to be done out of the visual field and gymnasts
needs to get used to not have the apparatus in site while executing it.
COLLABORATIONS
Group exercise is defined by cooperative work where each gymnast enters into a relationship
with one or more apparatus and one or more partners
Relationships with each other:

With direct contact
-and/or-
By means of the apparatus
The successful Collaboration depends on:

All 5 gymnasts together or in subgroups (couple. trio etc.)
With a variety of traveling, directions and formations
With or without direct contact
With or without rotation
With possible lifting of one or several gymnasts
With possible support on the apparatus or gymnast
Connections
A connection is a
“link” between two
movements or
Difficulties
All movements
must have a
logical, intentional
relationship
between them so
that one
movement/elemen
t passes into the
next for an
identifiable reason
GLOSSARY
A
Alternating – when referencing circles, executed in the same direction, one arm at a time
Amplitude – refers to the fullness of the movement with respect to flexibility stretch, and height
Apparatus – one of the five pieces of hand-held equipment used in rhythmic gymnastics. They
include rope, hoop, ball, clubs, and ribbon.
Arabesque – a body shape on one leg with the other leg extended behind the body Note: hips
remain square, free leg extends out from the hip socket, torso lifts diagonally forward to make
room for the natural movement of the hip joint.
Asymmetric – movements or positions of the body or apparatus performed simultaneously in
different planes or directions
Axis – an imaginary line about which an object rotates
B
Body Circumduction - a full circle of the torso – body maintains an even degree of bend
throughout.
Body wave – manipulation of the body in a wave-like movement. Includes front, side, and back
body waves
Bridge – an arched position with the hands and feet flat on the floor and the stomach raised
C
Cat Step – a leap from one foot to the other raising the legs one at a time to the front with the
knees bent and turned out.
Chaine Turns – Small steps in releve moving in a straight line and turning 180 degrees with each
step
Chasse – an aerial transfer of weight from one foot to the other closing the legs together during
the flight. Includes forward, sideward, and backward travel.
Contraction – a forward bend of the trunk with the abdominal muscles pulled in, pelvis tucked
under, knees bent, and head down in line with the body
Coordination – the working of all body parts and/or apparatus in harmony
Curtsey – a standing pose on one leg with the free leg pointed backward, knee bent and turned
out
D
Demi-plie – a small bend of the knees. May be done standing on two feet in any position or on
one foot with the free leg in any position.
Direction- defines which way a movement will travel, circle, or rotate Spatial
Directions – right/left, forward/backward
Circular Directions
• Forward/backward refers to circles in the sagittal plane
• Clockwise/counterclockwise refers to circles in the frontal and horizontal planes. Abbreviated
cw/
ccw, these directions are determined by the performer’s point of view of a clock in relation to
the rotating body part or apparatus
Turning Directions
• Right/left refers to all turns of the body. For a right turn, the perfomer turns her head to the
right and the body follows; for a left turn the performer turns her head to the left and the body
follows
Double Turn of the Rope – a single jump with the rope passing under the feet twice
E
Exchange – movement of a piece of apparatus from one hand to the other
F
Figure 8 rotations – two circular movements in the same plane, but on opposite sides of the
body performed in succession
Flexibility – a measure of the range of motion at the joints and the ease with which motion is
achieved
Free Leg – the leg which is not supporting the performer’s body weight. It is “free” to work in
various positions
Frontal Plane – an imaginary surface dividing the body into front and back halves
G
Grip – refers to the manner in which the apparatus is held
H
Hop – a spring from one foot to the same foot. The free leg can be a variety of positions
including parallel passe, passe, and arabesque Horizontal plane – an imaginary surface dividing
the body into top and bottom halves
J
Jump – a spring from two fet to land on one or two feet. The body position may be defined as
straight or given a position to achieve during flight
L
Leap – a spring from one foot to land on the other with a defined body position in the air
Lunge – a standing position with the support leg in demi-plie and the free leg extended
backward, forward, or sideward
O
Opposition – circles performed simultaneously in the same plane, but opposite directions
P
Passe – a position with the toes of the free leg touching the knee of the support leg leg with the
knees facing forward
Pique – the literal translation means “to prick.” A pique step is a quick step u onto releve with
the free leg moving immediately to its defined position.
Pivot – a turn on the ball of one foot with the free leg in a defined position
Planes – an imaginary surface in which the body or apparatus works. There are three planes
corresponding to the three dimensions of space. Movements in a given plane should be
performed next to the body and parallel to that plane.
Pose – an aesthetically pleasing position which is held momentarily
Position – defines the placement of the body, feet, or arms
Body position – at the beginner level, includes tuck, pike, straddle sit, v-sit, split, stag, stride,
arch, contract, etc.
Feet position – includes first, second, third, fourth, and fifth
Arm position – includes first, second, third, fourth, and fifth
Pre-acrobatic elements – an acrobatic skill without flight. This means that the body is always
in contact with the floor. i.e. Cartwheel, rolls, handstands
Presentation – refers to the quality of excitement with which a movement is performed
R
Releve – a rise onto the ball of one or two feet in any position Note: Heels should be high off
the floor, all five toes should be in contact with the floor, and the ankle must maintain a straight
line with the leg
Rhythm – coordination of body and apparatus movements (bounces, steps, etc.) with a definite
beat of the music
Rhythmic Steps – a series of small steps accentuating a rhythmic pattern
Rotation – any turning, spinning, or circling movement of a piece of apparatus
Routine -
S
Sagittal Plane – an imaginary surface dividing the body into right and left halves
Scissor (Hitch kick) – a leap kicking the legs one after the other with the knees straight. May
be perfomed forward or backward
Shoulder Stand – a position in which the body is supported on the back of the shoulders with
the legs extended upward
Simultaneous – arm circles executed at the same time in the same direction
Snakes – a “zig-zag” pattern of the ribbon which can be performed in any plane
Soutenu Turn – a turn on two feet initiated by crossing one leg over the other and spinning in
releve with the feet together
Spin – usually refers to the rotation fo the hoop about the vertical axis
Spiral – a coil pattern of the ribbon made up of a series of small circles
Spotting – during pivots, the positioning of the head which allows the performer to focus on a
single point at eye level
Note: correct spotting technique requires a quick turn of the head at the 180 degree point
of the pivot to keep the focus forward. Chaine turns require a focus point in the direction of
movement. Other turns require a focus to the prescribed finish direction of the body.
Squat jump – a jump with the knees bent and heels tucked under the hips during flight
Straddle Through – a skill which begins in a straddle sit leaning forward. The legs are drawn
through the sides to finish laying on the stomach with legs together
Support leg – The leg which carries the weight of the body
Swing Step – a shifting of body wight from one foot to the other through demi-plie. May be
performed forward, backward, or sideward.
T
Tapping – hitting the clubs together or on the floor to produce a sound.
Turned out – having the legs rotated outward from the hip joint with the knees and toes aligned
PRE-SCHOOL PROGRAMME
Shapes and
positions Variations
Balances Locomotion Pre-acrobatics and waves Ballet and Musicality Apparatus
(e.g. sit, stand, jump,
hanging)
Rope:
Feet position:
Crawls: Swings (2 handed)
Bunny hops Parallel
Straight Star balance (both Crab walks Rotations (1 and 2
Side bunny hop First
sides) Elephant walks handed)
Front bunny hop Second
Walk in al force Skipping introduction
Third
Ball:
Rolls:
Walk Variations: Arm straigh hold
Forward roll Arm positions:
Penguin Walk Roll and catch
Pencil roll First
Tuck Passe parallel (both Releve Bounces on the floor-
Scramble Second
legs) Lunge three
Scramble with extended Third
Chicken Walks Small throw and catch
legs Front middle
(e.g. in all directions) basket arms
Shoulder roll
Roll in parallel arms
Jumps:
Jumping jacks
Bridge and back Hoop:
Scissor jumps
extensions: Plies: Roll and chase after it
Jump side to side
Pike Baby bridge Micro Axis rotation on the
T balance Hopping on one foot
Bridge under yoga ball Demi floor
Full turn (both sides)
Back extension Grand Rotation in wheel nd
Straight jump
(kneeling) mirror plane
Tuck jump
Star jump
Hop Variations:
On one foot L/R Handstand variations:
Transfer of weight:
Straddle Feet together Spotted handstands
6th releve 2nd
Long hops Candlesticks
4th
High hops Crocodile snaps
Side to side
Body Position:
Waves: Present position
Squat Dynamic balance: Skip Variations (e.g.
Baby waves Pretty fingers
Kicks position of leg)
Snail Wave Extended arms
Run Variations:
Changing directions
Jogging Body Position:
Sprints Present position
Front support Backwards Pretty fingers
Deer runs Extended arms
High knees
Kicking bums
Straigh leg runs
Turning & Spinning:

3 chainees in a row
1 passe Clapping and Rhythm:
Landing
½ front leg extension 2/4
(Parallel Plie or
½ arabesque 4/4
Motorbike)
Up to fullturn straight 3/4
jump
Quarters (slow turns)
Chasse Variations:
Both legs
Arch
Side and front
(e.g. same leg or swapping
legs)
Leaps:
Pony
Dish Scissors
Cat leap
Mini split
SPECIAL OLYMPICS
Shapes and
positions Variations
(e.g. sit, stand, jump,
hanging)
Rope:
Feet position:
Crawls: Swings (2 handed)
Bunny hops Parallel
Straight Star balance (both Crab walks Rotations (1 and 2
Side bunny hop First
sides) Elephant walks handed)
Front bunny hop Second
Walk in al force Skipping introduction
Third
Ball:
Rolls:
Walk Variations: Arm straigh hold
Forward roll Arm positions:
Penguin Walk Roll and catch
Pencil roll First
Tuck Passe parallel (both Releve Bounces on the floor-
Scramble Second
legs) Lunge three
Scramble with extended Third
Chicken Walks Small throw and catch
legs Front middle
(e.g. in all directions) basket arms
Shoulder roll
Roll in parallel arms
Jumps:
Jumping jacks
Bridge and back Hoop:
Scissor jumps
extensions: Plies: Roll and chase after it
Jump side to side
Pike Baby bridge Micro Axis rotation on the
T balance Hopping on one foot
Bridge under yoga ball Demi floor
Full turn (both sides)
Back extension Grand Rotation in wheel nd
Straight jump
(kneeling) mirror plane
Tuck jump
Star jump
Hop Variations:
On one foot L/R Handstand variations:
Transfer of weight:
Straddle Feet together Spotted handstands
6th releve 2nd
Long hops Candlesticks
4th
High hops Crocodile snaps
Side to side
Body Position:
Waves: Present position
Squat Dynamic balance: Skip Variations (e.g.
Baby waves Pretty fingers
Kicks position of leg)
Snail Wave Extended arms
Run Variations:
Changing directions
Jogging Body Position:
Sprints Present position
Front support Backwards Pretty fingers
Deer runs Extended arms
High knees
Kicking bums
Straigh leg runs
Turning & Spinning:

3 chainees in a row
1 passe Clapping and Rhythm:
Landing
½ front leg extension 2/4
(Parallel Plie or
½ arabesque 4/4
Motorbike)
Up to fullturn straight 3/4
jump
Chasse Variations:
Both legs
Arch
Side and front
(e.g. same leg or swapping
legs)
Leaps:
Pony
Dish Scissors
Cat leap
Mini split
RECREATIONAL 1 PROGRAMME
Shapes and positions
Variations (e.g. sit, stand, Balances Locomotion Pre-acrobatics and waves Ballet and Musicality Apparatus
jump, hanging)
Straight
Tuck Rope:
Pike Swings (2 handed)
Straddle Rotations (1 and 2
Landing Feet position: handed)- all planes
Crawls:
(Parallel Plie or Bunny hops Parallel Straight jumps
Star balance Crab walks
Motorbike) Side bunny hop First Skipping
(both sides) Elephant walks
Front support Front bunny hop Second Echappe from the floor
Walk in al force
Dish Third Echappe during sail
Arch Tie basic knot
Stag Medium throw and catch
Split on one hand with knot
Froggy split
Ball:
Arm straight hold
Walks and Running
Roll and catch
Variations:
Bounce on the chest
Penguin Walk
Rolls: Three bounces on the
Releve Arm positions:
Forward roll same hand
Lunge First
Pencil roll Side to side bounce
Chicken Walks Second
Passe parallel Scramble Small throw and catch
(e.g. in all directions) Third
(both legs) Scramble with extended basket arms
Sprints Fourth
legs Roll in parallel arms
Backwards Fifth
Shoulder roll Roll on back without
Deer runs Front middle
Chaine roll vision
High knees
Sandwich roll with
Kicking bums
chasse
Straight leg runs
Under chin throw with
back bend
Hoop:
Roll on the floor
Jumps: Bridge and back
transferring weight in
Jump side to side extensions:
Plies: 2nd position
Hopping on one foot Bridge
Micro Axis rotation on the floor
T balance Fullturn (both sides) Bridge rock
Demi Rotation all planes L/R
Straight jump Back extensions
Grand Skipping around ankle
Tuck jump (kneeling)
1/2 pancake throw
Star jump Back extension (standing)
Hula hoop 3 rotations
around waist
Hop Variations:
Handstand variations:
On one foot L/R
Spotted handstands Transfer of weight:
Feet together
6th releve Candlesticks 2nd
Long hops
Crocodile snaps 4th
High hops
Elbow stand against wall
Side to side
Leaps:
Chasses (L/R) Fwrd and
ssideways Waves: Body Position:
Leap preparation- chase+ Baby waves Present position
Dynamic
step Snail Wave Pretty fingers
balance: Kicks
Pony Side wave Extended arms
Scissors Standing wave
Cat leap
Mini split
Turning & Spinning:
2 chainees in a row
½ passe Body Position:
½ front leg extension Present position
½ arabesque Pretty fingers
Up to ½ turn straight Extended arms
jump
Clapping and Rhythm:

2/4
4/4
3/4
RECREATIONAL 1 A PROGRAMME
Shapes and positions
Variations (e.g. sit, stand, Balances Locomotion Pre-acrobatics and waves Ballet and Musicality Apparatus
jump, hanging)
Rope:
Waves:
Passe: Chasse through
Side wave Feet position:
Passe parallel Crawls: Oblique skips
Split Standing wave both Parallel
(releve) Crab walks Echappe under arm
Box split ways First
Passe turn out Elephant walks Double skip
Straight shape One leg in front with Second
(releve) Walk in al force Mills
weight transfer Third
Leaps through rope
Risk with single rotation
Turning & Spinning: Ball:

Rolls:
90 degree leg 5 chainees in a row Arm positions: Full body roll on back
Forward roll
extension on flat Full passe First without vision to catch
Scramble
foot: ½ front leg extension Second with feet
Scramble with extended
Front Full arabesque Third Open armed roll
legs
Side Up to ½ turn straight Fourth High through and catch
Shoulder roll
Arabesque jump Fifth with single arm
Chaine + diveroll
Front middle Bounce on foot
Pick bwd roll
Bounce on elbow
Hoop:
Bridge and back
Roll around hand
Jumps: extensions:
Roll over extended arms
Jump side to side Bridge
Plies: Full pancake throw
Hopping on one foot Bridge rock
Micro Oblique hops through
T balance Fullturn (both sides) Back extensions
Demi hoops
Straight jump (kneeling)
Grand High throw to catch with
Tuck jump Back extension (standing)
single arm
Star jump Backbend
Boomerang
Kickover
Roll on back
Handstand variations:
Spotted handstands
Hop Variations:
Candlesticks
On one foot L/R Ribbon:
Crocodile snaps Transfer of weight:
Cossack Feet together Rotations (all planes,
Elbow stand against arch 2nd
balance Long hops L/R)
Elbow stand stag 4th
High hops Swings
Stag handstand
Side to side
Round off (without
rebound)
Leaps:
Dynamic ssideways Cartwheel: Tendus:
balance: Leap preparation- with Landing on your knees Avant
Front-passe- turn On forearms A la seconde
front fouette Stag Normal Derriere
Scissors
Split
Cossack
Body Position:
Present position
Attitude Pretty fingers
Extended arms
RECREATIONAL 2 PROGRAMME
Shapes and positions Variations
(e.g. sit, stand, jump, hanging)
Rope:
Turning & Spinning: Swings (2 handed)
2 chainees in a row Rotations (1 and 2
Full passe Cartwheel: Feet position: handed)- all planes
Split Passe:
½ front leg extension Landing on your knees Parallel Straight jumps
Box split Passe parallel
½ arabesque On forearms First Skipping
Straight shape Passe turn out
Up to full turn turn Normal Second Echappe from the floor
Straddle fold
straight jump Tripod Third Echappe during sail
Quarters (slow turns) Tie basic knot
Medium throw and catch
on one hand with knot
Ball:
Arm straight hold
Walks and Running
Roll and catch
Variations:
Bounce on the chest
Tuck Penguin Walk Rolls:
Three bounces on the
Pike Releve Forward roll Arm positions:
90 degree leg same hand
Straddle Lunge Pencil roll First
extension on flat Side to side bounce
Landing Chicken Walks Scramble Second
foot: Small throw and catch
(Parallel Plie or Motorbike) (e.g. in all directions) Scramble with extended Third
Front basket arms
Front support Sprints legs Fourth
Side Roll in parallel arms
Dish Backwards Shoulder roll Fifth
Arabesque Roll on back without
Arch Deer runs Chaine + dive roll Front middle
vision
Stag High knees
Sandwich roll with
Kicking bums
chasse
Straight leg runs
Under chin throw with
back bend
Hoop:
Roll on the floor
transferring weight in
2nd position
Jumps: Bridge and back
Axis rotation on the floor
Jump side to side extensions:
Plies: Rotation all planes L/R
Hopping on one foot Bridge
Micro Skipping around ankle
T balance Fullturn (both sides) Bridge rock
Demi 1/2 pancake throw
Straight jump Back extensions
Grand Hula hoop 3 rotations
Tuck jump (kneeling)
around waist
Star jump Back extension (standing)
Roll on back
Basic skip through hoop
Skip around ankle
Medum basic throw
Ribbon:
Hop Variations: Handstand variations:
Rotations (all planes,
On one foot L/R Spotted handstands
Transfer of weight: L/R)
Cosssack Feet together Candlesticks
2nd Swings (all planes, L/R)
balance Long hops Crocodile snaps
4th Spirals (dominant hand)
High hops Elbow stand against wall
Snakes (dominant hand)
Side to side Head stand
Leaps:
ssideways Waves:
Body Position:
Dynamic Leap preparation- chase+ Baby waves
Present position
balance: step Snail Wave
Pretty fingers
Front-passe- Pony Side wave
Extended arms
front fouette Scissors Standing wave (both
Cat leap direction, releve)
Mini split
Cossack
Body Position:
Present position
Pretty fingers
Extended arms
Session planning
Naomi Pegden Head Coach/Lead Maria Foster Coach/Mentor’s

Your Name: Name:
Session information Participant information
30/04/2022 Rhythmic gymnastics

Date of session: Type of session:
Venue details Shoreham Academy Gymnast ‘A’ – new to group.

(name and contact Individual needs:
number):
10am – 11am Development group
Time: Level of ability:
In reception area. 8
First aid provision: Number of participants:
Location of nearest In reception area. 1:8

Participant : Coach ratio
telephone:
To introduce a low turn to coils of the ribbon, progressing from coils in a static position. To ensure that the ribbon maintains the correct shape
during the turn.
To develop the long roll of the ball on the floor, focusing on smooth transition across different body parts without allowing the ball to become
static.
Session goals:
To reinforce the shape of the horizontal balance. With key focus on the shape in side stations including performing the skill on flat foot as well
as releve.
Equipment layouts/side
Time Activity/progressions Key coaching points (including diagrams) stations
General: Clear matted area. Outline the space they have to warm up
10 minute Warm up
Warm up total Looking for space, do not run into each other.
Red: Look for correct 1st position in feet. Heels together. Focus slightly
5 minutes Pulse raiser:
Pulse raiser up so
Traffic light game.
Red = stand on releve chin is lifted.
Amber = jogging on the spot Amber: Correct posture, tension in body.
Green = jogging around the room Green: Look for space.
Review after a couple of rounds and add:
Speed bumps = jumping on spot Speed bumps: Feet together, point feet in air, plie to land.
Round about = change direction Round about: Ensure checking for space.
5 minutes Stretches: General: Ensure gymnasts are well spaced and can clear see and hear
Stretches
Arm circles Clear matted area
Side body stretches instructions/demonstrations.
Flat back Arm circles: Ensure arms are straight and isolation of arm movement
Hamstring stretches
Feet and ankle warm up only, do
not let gymnast have floppy body.
Side body stretch: Ensure body is in a straight line and not leaning
forward.
Flat back: Ensure legs are straight, back is flat and arms are extended
straight,
arms by ears.
Hamstring stretches: Forward fold stretch with body waves (dynamic
stretch).
No bend in knees, body sweeps over legs and comes up to a straight
position,
no arch in back. Toes pointed and turned out.
Feet and ankle stretches: Ensure correct turn out position, toes work
through
point and flex. Upper body in correct posture, shoulders down, chin
lifted.
10 minutes Horizontal balance Ensure that the leg is at 90O, straight knees, foot turned out and toes
skill 1 Progressions Clear matted area pointed. Arms lifted slightly above shoulder height
1) Shape on floor and straight Barre
2 minutes on 2) At barre on flat foot (same technique required for all progressions).
each 3) At barre on releve Do not let the gymnast lean on the barre, they should still hold
progression 4) Center flat foot tension in muscles to keep body up.
5) Centre releve Ensure that the body is slightly over the support leg to take the
centre of mass through the support foot on releve.
Ensure body has good tension before beginning the skill. Horizontal
shape must be met at, at least 90O and held for 3 seconds.
10 minutes Long roll of ball from feet to hands Keep muscles tight and active during skill. Close feet back into 5th
position whilst still on releve.
on floor
skill 2
Progressions Clear matted area
1) Rolling ball up body and then down One ball per gymnast
arms to fingers whilst standing. Ensure that arms are straight and fingers extended to catch the ball
2) Whilst sat in pike position, ball on without gripping or cupping the ball.
top of feet. Lift legs to roll ball to Ensure the sat position is correct with straight knees and pointed
waist, when ball at waist lower legs toes. Do not lift legs too high or the ball will roll too quickly. egs
back to pike. must be lifted enough to give the momentum to the roll.
2 minutes for Ensure that feet and legs stay together as the body leans back. Keep
3) Same as progression 2 but when legs the chin up to allow space on chest for the ball to roll.
each are lifted, lean the body back Ensure that the legs are straights and turned out with pointed toes
slightly and feet together. Ensure the movement is flowing and not jerking to
progression to allow the ball to roll up the allow a smooth roll of the ball. Arms must be straight with fingers
slightly higher than arms to slow the ball to a stop.
body Ensure that the speed of the ball matches the speed that the body is
to the chin. moving in to allow a smooth roll from feet to fingers. The ball should
4) Without ball practice going from not bounce across the body.
pike, to legs lifted, legs lifted with
lean back, back to pike with arms
extended in front of body together.
Ensure that the ribbon stick is being held correctly. Arm at shoulder
5) Try the full skill.
10 minutes Coils with low turn Clear matted area

skill 3 Progressions height, ensure
ribbon per that 4-5 coils are being performed throughout the One
gymnast
1) Coils on spot, arm up length of the ribbon.
2) Coils with walking backwards, arm Ensure that the ribbon is not getting caught around feet whilst
low moving. Arm is up but fingers point down to allow bottom part of
3) No ribbon mimic arm action whilst each coil to touch the floor.
turning Ensure that the gymnast is turning the correct way for the hand they
4) Coils with low turn are using the apparatus with.
Ensure the free arm is up and out of the way to avoid ribbon getting
caught. Smooth turn keeping 4-5 coils throughout ribbon during turn.
WRGC CHILD SAFEGUARDING
STATEMENT 2022
Wings Rhythmic Gymnastics Club is an affiliate of Gymnastics Ireland and provides

sporting activities and opportunities for young people through participation in clubs,
national events and our national teams. We are committed to safeguarding children at all
levels of our organisation under the guidance of our Safeguarding Policies and legal
obligations.
All our volunteers and staff working with our young people, throughout the organisation,
seek to create a safe environment for young people to participate in our activities.
This statement recognises that in accordance with legislation and with the requirements
of our Policies/Procedures that the welfare and interests of children are paramount in all
circumstances. It aims to ensure that all children have a positive, developmental, and
enjoyable experience of Gymnastics and when participating in our activities that they do
so, as far as is practicable, in a safe and enjoyable environment where everyone is
respected.
Principles to safeguard children from harm

Wings Rhythmic Gymnastics Club is committed to safeguarding children and by working
under the guidance of our Safeguarding Policies, our staff, both volunteers and employed,
working with our young people, throughout the organisation, seek to create a safe
environment for young people to grow and develop within sport. The following set of
principles should be adhered to:
Importance of childhood - The importance of childhood should be understood and

valued by everyone involved in sport.
Needs of the child - All children’s sport experiences should be guided by what is best
for children. This means that adults should have a basic understanding of the
emotional, physical and personal needs of young people.
Integrity in relationships - Adults interacting with children in sport are in a position
of trust and influence. They should always ensure that children are treated with
integrity and respect, and the self-esteem of young people is enhanced.
Fair Play - All children’s sport should be conducted in an atmosphere of fair play. The
principles of fair play should always be emphasised, and organisers should give clear
guidelines regarding acceptable standards of behaviour.
Quality atmosphere & ethos - Children’s sport should be conducted in a safe, positive
and encouraging atmosphere.
Competition - Competition is an essential element of sport and should be encouraged
in an age-appropriate manner. A child-centred ethos will help to ensure that
competition and specialisation are kept in their appropriate place.
Equality - All children should be valued and treated in an equitable and fair manner
regardless of ability, age, gender, religion, social and ethnic background or political
persuasion.
Risk Assessment
As per Section 11 (7) of the Children First Act 2015 , we have undertaken a review of our
child safeguarding statement & in conjunction with the review, we conducted a risk
assessment of the potential for harm to children when they are participating in and
attending our activities under the following headings: Club and Coaching Practices;
Complaints & Discipline; Reporting Procedures; Use of Facilities; Recruitment;
Communications/Social Media and a further heading of General Risk of Harm. Below is a
list of areas of risk identified and the list of procedures for managing these risks.
RISK IDENTIFIED POLICY IN PLACE
Risk of harm including assault, ill treatment or Child Safeguarding Policy - reporting
neglect of a child in a manner that seriously procedures for staff & volunteers
affects or Recruitment Policy Child Safeguarding
is likely to seriously affect the child’s health, Training Policy Vetting Policy &
development or welfare or sexual abuse of a Complaints/Disciplinary Rules and
child. Procedures
Risk of harm of abuse when hosting an activity Child Safeguarding Policy - Hosting, Away
or an Trips, Transport, Supervision & Codes of
away trip Conduct, International Travel Policy
Risk of harm of online abuse through social

GI social media Policy
media
Child Safeguarding Policy - Anti-Bullying

Bullying of a child
Policy & Safeguarding Training
Unauthorised photography & recording Photo consent must be approved by
activities parent/guardian
Code of Conduct/ Safeguarding qualified

Behavioural Issues
staff / Complaints & Disciplinary polic
Safeguarding policy / Child Safeguarding

Harm not being recognised
Training
Harm caused by:

Child to child
Coach to child
Safeguarding policy / Child Safeguarding
Volunteer to child
Training
Member to child
Parent to child
Visitor to child
Code of Conduct/ Safeguarding policy /

Issues of Bullying Child Safeguarding Training / Complaints &
Disciplinary policy
Vetting of staff/volunteers Recruitment policy
Lack of adherence with misc procedures in Safeguarding Policy / Complaints &

Safeguarding policy disciplinary policy
Difficulty in raising an issue by child & or

Complaints & Disciplinary procedure/policy
parent
Complaints not being dealt with seriously Complaints & Disciplinary procedure/policy
Lack of knowledge of organisational & Reporting procedures/policy / Recruitment

statutory reporting procedures and Staffing policy/ Code of Conduct
Designated CCO name and picture posted in

Not clear who YP should talk to or report to
high visibility locations around gym
No communication of Child Safeguarding Child Safeguarding Statement (will be

Statement of displayed) / Code of Behaviour (will be
Code of Behaviour to members or visitors distributed and is available upon request)
Our Child Safeguarding Statement has been prepared in accordance with the legislative requirements
contained in the Children First Act 2015, Children’s First: National Guidance for the Protection and Welfare of
Children (2017), the Children (NI) Order 1995, Tusla’s Child Safeguarding: A Guide for Policy, Procedure and
Practice 1995.
In addition to our Risk Assessment document described above, there are further procedures
that support our intention to safeguard children while they are availing of our activities.
Please note that all procedures listed are available on

request
The Wings Rhythmic Gymnastics Mandated Person, who has a legal obligation to report
harm of children as per Children First Act 2015 is :
James Walsh (Club Children’s Officer),

jameswrgc@outlook.com
089-258-3293.
We recognise that implementation is an ongoing process. Our Child Safeguarding

Statement has been prepared in accordance with the requirements contained in the
Children First Act 2015. Gymnastics Ireland is committed to the implementation of this Child
Safeguarding Statement and will be reviewed within 24 months of the date below.
Date: 25/10/22
Signed and approved by:
James Walsh
Children’s Office and Club Secretary
www.wingsrhythmicgymnastics.com
Wings 089 258 3293
Rhythmic Unit D4, Diskin Retail Unit, Athlone
Gymnastics N37 H1F1
Club
Recreational Programme Policy
Wings Rhythmic Gymnastics recreational programme is tailored for those who wish to try out
gymnastics in a fun environment. The programme is game-based and it has three aims:
• Build the fundamental moving skills of participants, and provide them with basic body
literacy.
• Encourage motivation, concentration and work ethics.
• Create an enjoyable atmosphere where participants can have fun and socialise safely.
Gymnastics is a foundation sport that develops fundamental moving skills. This means that
gymnastics will help develop skills in other sports, by giving children a wholesome set of
basic movements that will last for life. This recreational programme will provide participants
with these.
Although our recreational programme is not competition based, we will take the basics and
staples of the rhythmic gymnastics Code of Points 2022-2024 as a foundation for our
choices of skills, feedback, and training methods. The gymnasts have the possibility to
display routines in shows and events, but they won’t be judged or provided with a score.
The progression path onto more competitive programmes is organised as it follows:
International
Recreational Competitive
Squad
Programme Programme
Programme
National
Development Squad
Programme Programme
wingsrg@outlook.com www.wingsrhythmicgymnastics.com
085-854-6353 Unit 4D, Golden Island Retails Park, Athlone
COACHING IN WRGC
Role Description
Our recreational coaches work with beginner gymnasts of different ages in accordance to
our Recreational Rhythmic Gymnastics Policy (see attached), which has three main
goals:
1. Recreational Gymnasts should have fun and find the sport enjoyable by learning
through play.
2. Participants should develop their Fundamental Moving Skills through our
programme and work on their overall physical development and fitness.
3. Participants should at this stage learn basic gym rules and discipline (i.e. Wait for their
turn in line, be respectful to other gymnasts and their coach, follow instructions...)
The coach refines the gymnast’s skills and helps students succeed in the sport of
gymnastics.
Responsibilities
Our coaches are expected to, when possible, participate in workshops and camps and
cover other colleagues.
Coaches should arrive before class time to set up anything they may need during the
lesson, and come with a lesson plan.
The lessons should be in line with our term programme (see attached). This should
make class preparation easier for coaches and give them an idea of what to work on.
Small changes and variations are always welcome to suit the coaches' style and skills
Sick leaves and personal circumstance leaves should be communicated to the head
coach as soon as possible in order to find a cover.
Coaches are expected to keep track of the progress of the gymnasts and modify
lessons for those with specific needs (disabilities, health conditions, mental health,
etc...)
Our coaches should be garda vetted.
Our coaches should have a Safeguarding training level 1. This is not required until a
course is available for them to take part in at the cost of the club.
Coaches should be willing to take part in courses organised by sport partnerships,
Gymnastics Ireland and/or other parties to upskill. Some courses will be optional but
Level 1 coaching qualification courses are compulsory.
Holidays
Annual leave (also called holidays from work) is paid time off work. All employees are
entitled to annual leave, including full-time, part-time, temporary and casual workers.
Annual leave is not affected by other types of statutory leave (that means leave
provided for by law). Time spent on maternity leave, paternity leave, adoptive leave,
parental leave, force majeure leave and the first 13 weeks of carer's leave is treated as
though you have been in employment.
Each coach is entitled to 14 days of paid holidays but they can only be approved to be
used at the same time depending on the circumstances.
If you have worked for at least 8 months, you are entitled to an unbroken period of 2
weeks' annual leave. This means you can get 2 weeks off in a row.
If your pay changes from week to week (for example, because of commission or bonus
payments), your holiday pay is the average of your pay over the 13 weeks before you
take holidays.
Holiday leave must be applied a month in advance where possible.
Pay
Pay varies depending on your
credentials. Without a valid
coaching qualification,
coaches start at €10.50/h,
and as their experience and
qualifications progress, so will
their pay.
Coaches will only start
getting paid after 20 hours of
unpaid shadowing to ensure
they are familiar with the gym
hazards and risks, the level of
participants and the coaching
style we use.
Progression
Recreational coaches start with 20 hours of unpaid shadowing.
After this, they start coaching a recreational class by themselves.
Once they become a level 1 certified coach (or similar) they get a pay rise.
With a Rhythmic Gymnastics Specific level 1 they can coach development.
With a level 2 GymSTART or similar they are eligible for Recreational Programme Head-
Coach.
If coaches specify in other aesthetic disciplines, a plan can be put in place if there is
enough interest found for another department (i.e. Aerobic Gymnastics, Aesthetic
Groups, Dance, Acro, Cheerleading, Ballet, etc...)
Judging courses are available too at the cost of the club (as all other courses). Coaches
with a background in ballet, contemporary or other dance would be suitable for artistry
judging in competitions.
Courses can be fully funded by the club if they are considered essential, of 50% funded
if they are not essential at this point in time.

Coaching Rhythmic Gymnastics

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Coaching Rhythmic Gymnastics

Uploaded by

Copyright:

Available Formats

Coaching Rhythmic

Gymnastics is a sport that

Flexibility Stamina Expression

Stretch vs. flexibility training

Dynamic & Static Flexibility

"Good Pain" vs. "Bad Pain"

Coaches need to teach boundaries when it comes to determination

Bounces & Leg pulling

Session plans need to consider participant development stages:

Technical: ability to control movements and posture

Goals and objectives should follow SMARTER principles:

Distributed - Rest intervals

Massed - Repetition with more added

Biological or developmental age - relates to physical development in reference to

Motivation and success

movement and skill development

Show and tell:

Set up and stand back:

Question and involve:

Individuals learn in different ways, so you should vary your

Visual - prefer demonstrations, images or videos

The following stages of learning should also be taken into consideration:

1. Cognitive - recognising and attempting basic shapes and movements

HOW TO MAKE A SAFETY ASSESMENT

Likelihood x Outcome = Risk Rating

1 2 3 4 5 1 2 3 4 5 High Medium Low

13-25 5-12 1-4

Please note that there should always be at least two responsible

Kids and Teen Classes

-APA Sports Physiotherapist Kate Roberts

According to an article published by the Australian Physiotherapy Association, some of the

What is an overuse injury?

The Female Athlete Triad

The female athlete triad is not exclusive

“If you are always telling the coach that you

“Well, not really being afraid of making them

Turnout is desired in rhythmic gymnastics;

What to do in the event of an accident:

Wear protective gloves

Wear protective gloves

Apply ice (not directly to the skin) to reduce swelling •

Reassure the gymnast

Slightly pulled muscles and tendons or sprains can

Seek medical help immediately

Ability – endurance, strength

Engaging with people with a learning disability

STRENGHTS AND DIFFICULTIES

Research shows people with DS

Social Development Motor development

Age Gymnast-centered approach

Gymnast directed/very low profile coaching/peer coaching

Gymnast wants an even greater say in structure of sessions/activities

Still fun and enjoyment

Fun and enjoyment

Bounces from different body parts and various actions

Long roll on body whilst laying

Laying on back, long roll from the feet to hands:

Laying on back, roll from hands to feet:

Figure of eight, in table plane inwards

Technique (throw in wheel plane)

Throw from rotations

Throw in table plane

2.1 2.2 2.3 2.4

Rotation throw or toss in table plane