Techniques for performing balances in rhythmic gymnastics. Classification of movements in rhythmic gymnastics

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QUESTIONS FOR SELF-CONTROL

1. What exercises are used to control the level of flexibility development?

2. What units exist to measure the level of development of flexibility?

3. What exercises are used to determine joint mobility?

4. What methods exist for determining jumping ability?

5. Describe the design of the goniometer.

6. What tests are used to determine speed?

7. How can you assess strength endurance?

8. What abilities are assessed by the Romberg test?

9. What qualitative methods exist for assessing range of motion?

10. What quantitative methods exist for assessing amplitudes of movements?

11. How is the quality of performing elements of difficulty without an apparatus assessed?

12. How is the duration of quality performance of flexibility exercises assessed?

13. What is the essence of the method of using symbolic notation?

14. Requirements for conducting pedagogical observations.

1. Belokopytova, Zh. A. Rhythmic gymnastics: curriculum for children and youth sports schools, specialized children's and youth schools of the Olympic reserve, schools of higher sports excellence / Zh. A. Belokopytova, L. A. Karpenko, G. G. Romanova. – Kyiv: [b. i.], 1991. – 86 p.

2. Rhythmic gymnastics: a textbook for coaches, teachers and students of the institute physical culture/ ed. L. A. Karpenko. – M.: Vseros. Federation of Artists gymnastics, 2003. – 381 p.

Additional

3. Vishnyakova, S. V. Improvement functionality female athletes at initial stages training in rhythmic gymnastics: textbook. – method. allowance / S. V. Vishnyakova, I. N. Solopov, B. M. Deputy. – Volgograd: [b. i.], 1998. – 54 p.

4. Karpenko, L. A. Methodology for assessing and developing physical abilities in rhythmic gymnastics practitioners: textbook / L. A. Karpenko, I. A. Viner, V. A. Sivitsky. – M.: [b. i.], 2007. – 77 p.

5. Kravchuk, A. I. Physical education of children of early and preschool age(scientific - methodological and organizational foundations of harmonious preschool. complex. physical education). At 3 hours. Parts 2, 3 / A. I. Kravchuk. – Novosibirsk: [b. i.], 1998. – 136 p.

6. Kuvshinnikova, S. A. System for assessing special physical fitness in rhythmic gymnastics: methodological recommendations for students, students of the faculties of advanced training and advanced training of the State Center for Physical Fitness and Physical Education. – M., 1991, – 31 p.

7. Lyakh, V. I. Tests in physical education of schoolchildren: a manual for teachers / V. I. Lyakh. – M.: AST, 1998. – 272 p.

8. Rules for rhythmic gymnastics: current standards for individual and group exercises: FIG, 2009–2012. – [B. m.: b. i.], 2009. – 128 p.

9. Pshenichnikova, G. N. Methodology for assessing the quality of elements performed at the stage initial training in rhythmic gymnastics / G. N. Pshenichnikova, O. P. Vlasova // Current problems in the development of sports dances, aerobics and fitness: collection of proceedings of the All-Russian scientific and practical conference October 28–29, 2010 – 2010. – pp. 129–131 .

CHAPTER 3. GENERAL CHARACTERISTICS AND FUNDAMENTALS OF TECHNIQUE OF ELEMENTS OF STRUCTURAL GROUPS difficulties WITHOUT SUBJECT at the stage of initial training

3.1. Characteristics of jumps in rhythmic gymnastics

Rhythmic gymnastics is a sport where the result of a performance is assessed subjectively, based on the quality of performance: the subject of assessment is exercise technique; criterion – perfection of execution in points. In this sport, which is classified as “artistic,” there is an increasingly acute need for objective methods for quantitative assessment of motor potential and its conditions. best implementation. This is explained primarily by the increasing complexity of competitive programs.

Jumping is one of the most striking elements of composition in rhythmic gymnastics and at the same time one of the most difficult categories of movements, requiring excellent physical data and refined technical preparedness from gymnastics.

Due to their dynamism and emotional coloring, they are an excellent means of expression. The main task when performing a jump is that it be performed easily, gracefully, emphasizing character and expression individual parts musical work. Gymnastics coordination abilities and good physical preparation are one of the main prerequisites for successfully mastering jumps of varying difficulty.

The competitive rhythmic gymnastics program includes many jumping elements. Gymnasts are required not only to have good jumping ability, but also jumping endurance.

The large volume of jumping elements in the compositions makes them tempo, more dynamic and spectacular for perception. Naturally, increased demands are placed on performers, both in terms of technical and speed-strength preparedness.

Structural group "jumping"

Bounce– covering a distance in free flight by pushing off a support. This is the unsupported (flight) position of the gymnast.

The success of a jump is determined by speed-strength qualities, flexibility of the spinal column, mobility in the hip and ankle joints. With age, the level of speed-strength preparedness of young graces gradually increases and reaches a maximum by the age of 17. The most intensive growth of indicators was found in the period from 9 to 12 years.

Jumping elements constitute the main content of free apparatus exercises. For example, one of the main types of all-around is an exercise with a skipping rope, rich in a variety of jumps, the number of which in rhythmic gymnastics is almost unlimited. This is explained by the fact that there are quite a lot of factors that determine the shape of the jump, and the possibility of their combinations in one jump leads to the formation of an infinite number of different movements. For this reason, it is believed that a full classification of jumps is not yet possible today. However, for methodological and practical purposes, classifications that allow you to get a fairly complete picture of jumps are quite suitable.

All the variety of jumps in educational literature classified according to the most characteristic features, taking as a basis the form-building actions, methods of repulsion and landing (Fig. 4, Table 5).

Rice. 4. Classification of jumps (according to T. S. Lisitskaya)

In accordance with the requirements of the competition rules for sports gymnastics, jumps are used in floor exercises (rhythmic gymnastics, sports aerobics, acrobatics, gymnastics), which have significant diversity in their external shape. If in rhythmic gymnastics jumps that make up difficulty groups must be performed with high amplitude both in the spinal column and hip joints, then in sports aerobics it is necessary to exclude large bends back (more than 45°) in accordance with the requirements of complying with the safety warnings of movements according to the competition rules. In this regard, in addition to the basic terminological name of the element, it is necessary to clarify the shaping actions, the method of repulsion and landing (Fig. 5). Thus, despite the variety of form-building actions, we can distinguish general phases of movements in jumps: preparatory, main and final actions. Jumps are performed from a standing position or from a running start.

Table 5. Classification of jumps by methods of take-off and landing

Therefore, in the preparatory actions, a run-up (acceleration phase), a pounce with a swing (or step) and a half-squat (depreciation) are performed, which precedes the take-off. The run-up, as a rule, is performed with stylized steps, leaps, and dance steps in accordance with the nature of the musical work.

When swinging, your arms should move back in the opposite direction. Next, a swing movement of the arms is performed in the direction of the jump, i.e. the swing is performed forward upward or in the direction of the jump for high-distance jumps. Proper use of the arms is important, since there is scientific evidence that about 30% of the height in jumps is provided by the swing of the free links (arms, legs).

Most of the achievement of height (up to 70%) of the flight occurs through rapid push-off with the legs or one leg. It must be remembered that a pre-stretched muscle contracts faster and more powerfully. Therefore, when taking off from a running start, it is recommended to make the last step longer, the swing leg remains behind, followed by extension of the pushing leg and swing of the other (with various options: bending, bending-unbending, straight swing, forward, to the side, forward to the side) repulsion is performed .

Such information must be taken into account when mastering or improving individual elements of jumps, and pay attention to the leading details of the technique.

It is necessary to use speed-strength training as a factor that complements the optimization of the conditions for mastering and improving motor actions associated with jumping elements.

Research and practical experience indicate that choreographic elements should be used as special means for the development of speed and strength qualities of gymnasts.

In particular, it must be taken into account that during push-off it is an error if the heels come off the floor before the depreciation phase ends. Therefore, the method of teaching the elements of repulsion in choreographic jumps is effective.

When teaching profile jumps to young “artists” (bending over, in a single ring, in a step, touching with the ring), the details of the technique indicated above should be taken into account. When mastering and consolidating the technique of performing exercises of structural subgroups, the main ones in the study are the basic and profiling elements. This is necessary to systematize training tools and ease their use in the educational and training process.

Basic elements are the initial ones in a structural subgroup that have characteristics or technical similarities with the main motor action. The run-up refers to the preparatory actions, the push is one of the phases of the main actions, since it is similar to many jumps performed with both a push of two and a push of one. Therefore, the basic exercises for a whole group of jumps are the push and landing (both when pushing with two and one leg). Therefore, it must be remembered that the effectiveness of training will be greater if you teach swinging the leg in different directions with quickly fixing the leg in different positions. But we should not forget another thing: a high swing of the leg during high-distance jumps is a mistake, since the jump is performed with a “roll”, “rocking chair”. Such execution of the jump leads to the impression of lack of “freezing”, which negatively affects the assessment of its quality. One more important detail technique is the need for a sharp stop of the swing leg and arms, which makes it possible to impart movement to the underlying parts of the body.

Jumps that make up various difficulty groups according to the competition rules are studied sequentially: from basic to profiling and then to increasingly complex elements. The form of the jump can be performed in a static mode: on the floor, on the uneven bars, on the gymnastic wall, with the help of “wiring” along the movement, etc. Jumps with a push of one - a swing of the other should be taught when the gymnast has learned the initial simplest choreographic exercises up to 90° swings. When jumping from a running start, you should teach how to swing your leg back - an open jump.

Thus, the simplest basic special jumps include jumps with a push of two and a push of one with a swing of the other in different directions. Compound correct movement arms and legs (swing movements) are an important aspect of learning to jump, since these actions relate to the main phase of jumping.

In order to master jumping faster and better, gymnasts must have a sufficient level of motor fitness, especially coordination abilities:

1) speed-strength qualities (jumping ability);

2) a sufficient level of passive flexibility (the ability to perform splits);

3) the speed of movement of the flywheels of the body;

4) landing in different ways (depreciation);

5) depreciation as a starting position for repulsion when performing elements of the subsequent jump, etc.

This technique turned out to be effective in teaching profiling jumps: bending over, changing legs forward and backward, touching jumps, etc. (Table 6).

Concluding this section, it is necessary to emphasize the following:

1. At the initial preparation stage, it is advisable to use the basic and profiling elements presented in Table 6.

2. The trainer selects from Table 6 the elements to be taught.

3. Focusing on the content of Figure 5, the trainer develops a training “strategy”, distributing special exercises in relation to the individual phases of the jumps being studied: methods of take-off and landing, forms of jumps in easier conditions, elements of “design”. At the same time, we should not forget about the need to teach young gymnasts to swing their legs in different directions.

Table 6. Basic and profiling elements of the “jumps” structural group

When teaching elements of other structural groups, difficulties without an object (balances, turns, tilts) are also recommended to be studied sequentially from basic to profiling (Tables 8, 10, 11).

Table 6 shows various options take-offs and landings in jumps with a straightened body position, which are “transformed” into amplitude jumps in profiling elements.

It is recommended to test the jump form as a model in static mode: on the floor, on uneven bars, gymnastic wall, using “wiring” along the movement. Based on the above, we can conclude that in order to master options for beautifully performing jumps, a gymnast must have a set of qualities: elasticity and strength of the leg muscles (foot, lower leg, thigh), optimal speed of muscle contractions; master the technique of basic movements in various phases of jumps; have good flexibility for the correct “reference” execution of the jump according to the requirements of the competition rules. In addition, we must not forget about the importance of the function of the vestibular analyzer for orientation in space.

3.2. Characteristics of balances in rhythmic gymnastics

Equilibrium- this is a relatively stationary position of the gymnast’s body parts, in which she stands on one or two legs. According to the rules of rhythmic gymnastics competitions, the structural difficulty group of “balance” includes static elements that are performed with a large amplitude of movements in various positions of body parts. The elements of balance received their terminological name based on the position of the body relative to the vertical: vertical, anterior, lateral, posterior. Due to the wide variety of types of equilibria, their name is specified in each individual case (Fig. 6).

To determine the main sign of balance, two words are enough, and the positions of the arms and free leg are indicated additionally. For example, balance on the right, bending the left back (“attitude”); the element is borrowed from classical choreography. Here are the basic terms necessary for communication between specialists and athletes at the initial training stage:

Tilt balance– the body is tilted forward and downward by 45, hands near the floor.

Lateral balance– the performer is positioned sideways to the support, the same hand up, the other behind the back.

Equilibrium of the same name– the arm of the same name as the supporting leg is raised forward upward, the other back.

Opposite equilibrium. A different hand position is indicated. Posterior balance involves the performer turning his back to the support, arms to the sides. A different hand position is indicated.

Frontal balance– one leg is pointed to the side or higher, arms to the sides.

Frontal balance with grip– the leg directed upward is held with the same hand, the other hand is directed upward outward.

Rice. 6. Scheme of options for possible execution of balances in various support positions (according to T. S. Lisitskaya)

High balance (vertical)– the torso is in a vertical position (or close to it), the free leg is laid back, the same arm is to the side, the other is forward or up. It is performed on the toes, with the free leg bent and a different position of the arms, as indicated additionally.

Equilibrium in a half ring – the leg bends back at the level of the head or above, but does not touch the head, arms up outward. A different hand position is indicated.

Ring balance – the leg bent back touches the head with the toe. Usually performed with the hand grasping the ankle joint above the head.

Balance on the knee performed with knee support.

Back balance on the knee- similar to the previous one, but with your back to the support.

Cross balance– performed by moving the unsupported leg to the side and bending forward; The hand of the same name as the supporting leg is directed to the side, the other hand is forward. Twine balance – the leg is pulled back while simultaneously bending forward and grabbing.

Most balances in rhythmic gymnastics are performed on the toes. Variants of these equilibria are presented in Table 7. It also presents the amplitudes of movement of the body parts. In practical activities, the use of both classifications is acceptable, since at the current level of development of rhythmic gymnastics, coaches have at their disposal detailed contourograms of movements in accordance with their difficulty according to the competition rules.

Maintaining balance is easier with technically correct execution of movements. Among the private recommendations, it is necessary to recall some of them. While maintaining balance while standing on your feet, it is recommended to fix your gaze strictly horizontally on any object. It is useful to train balance with eyes closed, because at the same time, the muscle-joint sense and the work of the vestibular analyzer are aggravated. In each specific type of activity, depending on its specifics, one or another analyzer is the leading one.

There is a relationship between people’s physical fitness and balance function indicators. You should pay attention to correct work muscles when performing balances (Fig. 7). So, when performing forward balance, the trapezius muscle of the left supporting side and the latissimus dorsi muscle of the right free side are most tense. When performing posterior balance, the greatest tension is on the torso flexors of the right free side. The working posture of gymnastics when performing static balances on one leg is due to the asymmetrical static tension of the paired muscles of the torso. Therefore, a prerequisite for training is that gymnasts perform exercises on both the right and left legs. Technically correct would be to perform a front balance with the leg moving back, while simultaneously straining the back, slightly raising the head and moving the shoulders back. According to the rules of the competition, a mistake is when the shoulders and legs are lowered down, i.e., the continuous arc-shaped line that should be formed by an arched back with a leg pulled back is broken. To perform posterior balance, you should not start by tilting your head back, as is sometimes observed in practice.

Rice. 7. Asymmetrical muscle work when performing balances (according to the results of electromyographic studies)

Table 7. Classification of balances on one leg

Table 8. Basic and profiling elements of the “equilibrium” structural group

We have developed basic and profiling elements (Table 8), which make it possible to lay the foundation for a strong motor skill in performing elements at relatively small amplitudes.

To increase active flexibility, it is necessary to combine it with the development of strength, because in order to raise the leg to the required height while maintaining the posture in a certain position, a complex of manifestations of psychomotor qualities is necessary: flexibility, strength, static endurance, vestibular stability. The quality of balance performance largely depends on how the gymnast is able to assess the position of the body parts in space.

When fatigued, the spatial assessment of body parts deteriorates and the balance function is disrupted. This is due to the fact that, under the influence of gravity, a moment of force arises that tends to bring the body out of balance, and a tired muscle is not able to counteract this force in space. Learning exercises at a support makes it easier to maintain balance. Experts know that the quality of balance depends on many factors: the correct relative position of the body parts in space (torso and legs); static endurance in this position and the ability to maintain balance with eyes closed. Balances are better and easier to master if you have good general physical fitness. Therefore, during the initial stages of training, special attention should be paid to exercises on strength, flexibility, and static endurance. You need to try to evenly strengthen the main muscle groups that perform different functions when performing balance: strengthening, holding, fixing. So, when balancing on one with a tilt both forward and backward, the moments of gravity for the torso and free leg in all joints are the greatest, the tension of the hip extensor muscles in hip joint free leg, which resist not only the gravity of the entire leg, but also the resistance of the flexors and ligaments of the hip joint, which prevent extension. When performing balance by athletes with poorly developed mobility in the joints, the holding work of the muscles associated with the moments and forces of gravity of the body parts is also supplemented by the resistance of the antagonist muscles. The use of the scheme of motor actions presented in Figure 8 will help the coach in studying “smaller” movements of individual parts of the body, which will subsequently create a solid foundation for the “school of movements.”

The diagram of motor actions presented in Figure 8 by body parts, taking into account amplitudes, shows the main blocks of actions that can be taken as a guide when choosing special exercises for their sequential application when studying exercises of the “balance” structural group. Table 8 presents the basic and profiling elements for the initial training stage. Based on the information indicated in the tables and diagram, you can also make a choice of exercises based on the degree of complexity of the relative position of body parts in space, the amplitudes of the exercises, the nature of the support and taking into account the age characteristics of the participants.

Balance refers to such applied physical abilities of our body, the inability to use which makes a person awkward, angular, and fearful. Balance exercises improve the vestibular apparatus, develop skills and abilities to maintain stability in various body positions, movements and unexpected stops. To do this, a person must have a certain strength and be able to make appropriate compensatory movements in order to correctly maintain the center of gravity of the body above the support area. In this case, the body is in a stable position (static equilibrium). With dynamic balance, this position is constantly disrupted and restored by active muscle work. In this case, the correct position of the head and general posture of a person is important, as well as the ability to move smoothly; without sharp jolts, change the relative position of body parts. Gymnasts learn all this by doing balance exercises.

Among the well-known balance exercises in women's gymnastics, various stands on a reduced area of support, sharp stops after movements, movements with a complicated position of the body and simple turns are used.

Balance exercises are usually divided into static and dynamic.

When performing static exercises, it is necessary to evenly distribute the weight over the entire foot, especially all the toes, avoiding relaxation of the muscles of the legs and torso, and correctly distribute muscle efforts. The latter becomes decisive when performing dynamic balance exercises, such as stopping on the toes after walking, running, jumping, etc. Standing on the toes (toes) can be taken technically in two different ways: stepping on the toe (toes) of a straight leg or rising on the toe(s) are springy, i.e. through a half-squat on the entire foot. The same applies to the technique of making turns. Twists are a form of dynamic balance exercise. They can be simple or very complex in technique. The latter do not have wide application in women's gymnastics, as they require long learning and high level physical qualities. Nevertheless, the balance function is successfully improved by the entire system of exercises in women's gymnastics. This is facilitated by the combinations of walking, running, spring movements, bouncing, jumping and turning that are characteristic of women's gymnastics. In classes they relate to each other and to the dance steps in different ways. Swings, especially swings, as well as turns during jumps, provide a good load for the vestibular apparatus.

Sample exercises

1. Walking along a marked line, on a gymnastic bench, climbing on a gymnastic wall.

2. Fast and deep squats followed by a jump up.

3. Stand on one leg (on the entire foot), the other in various positions. The same, with various movements of the free leg and arms (Fig. 27). The same, in combination with various forms movements.

4. Stand on your toes, arms in different positions. The same after running, spring movements, squats and jumping. The same, with turns of the torso and head, with tilting and changing the position of the torso (Fig. 28, a b).

5. Stand on the toes of one leg (stepping on the toes and standing across the entire foot), the other leg and arms in various positions. The same, with various movements of the free leg and changes in the position of the torso and arms. The same, take a running start and hold the accepted position (Fig. 29).

6. Vertical balance. Same thing, from a running start. The same, through a half squat on one leg. The same, on the toe, standing across the entire foot and stepping on the toe.

7. Front balance. Same thing, from a running start. The same, from a deep squat. Repeat at pace.

8. Round half squat. Same thing, from a running start. Same thing, from a jump. The same, on one leg, the other in different positions.

9. Springing, transferring weight forward and backward, swing your arms forward and upward to stand on your toes.

Rhythmic gymnastics is a complex coordination sport, with a huge number of all kinds of motor actions performed both by the gymnast’s body and by objects (rope, ball, clubs, ribbon, hoop) that have different physical properties. According to the classification of the technical committee for rhythmic gymnastics, reflected in the “Rules for rhythmic gymnastics” (2009-2012), the main group of movements consists of jumps, balances, turns and flexibility/waves.

Jumping in rhythmic gymnastics they are distinguished depending on the amplitude of movement, the position of the body and arms in flight. Additional terms often define the position of the body in flight: straight jump, bending jump, bending jump, tuck jump, step, lunge, split, ring. The flip jump and side tipping jump are also popular in other types of gymnastics. Some jumps have special name- this is a jump, skip and jump - a jump up with a push of one, bending the other leg forward and swinging the arms. Jumps in rhythmic gymnastics are divided into push jumps (push-off from a horizontal support) from two legs and from one. Jumps with a push of two legs differ in the technique of execution: straightening, bending the legs back, touching, “stepping” longitudinally and transversely, etc. Push jumps include: jump, open-closed, step, flip, etc. Jumps can be made by taking off from a place or from a run (the purpose of the run is to achieve the optimal speed for performing a jump).

In exercises with an apparatus, jumps are distinguished by a sufficiently long and high flight - such that the athlete has time to perform other complex movements or manipulations with the apparatus during the flight.

Equilibria are divided into static and dynamic. Static equilibria are divided into vertical and horizontal. Vertical balances are performed with a vertical position of the torso, with various positions of the free leg and arms. Horizontal balances are performed with a horizontal position of the torso and are divided into anterior (the torso is tilted forward), posterior (equilibrium, which is characterized by tilting the torso back while simultaneously lifting the free leg to a horizontal or higher position), lateral (equilibrium, which is characterized by the arrangement of balanced links in the frontal plane). Dynamic equilibria are equilibria with changes in the position of the torso and free leg.

Turns are divided into turns on two legs and one. Turns on two legs - by stepping, crossing 180°, 360°, etc.; on one - the same and different names. The same turns are performed on the right leg in right side, on the left leg - to the left. Opposite turns are performed on the right leg in left side, on the left - to the right, with different positions of the free leg, torso, and arms. An increase in the number of revolutions around a certain axis leads to the complication of an element of a particular structural group.

"Waves" and wave-like movements are characterized by sequential flexion and extension of the joints. “Waves” are performed by the gymnast’s arms and torso. This type of movement is a single combination of flexion-extension actions, which are a holistic dynamic movement. They are characterized by continuity, uniformity and smoothness.

“Other groups” include various movements accompanied by various movements of the arms, head and torso (small jumps, rhythmic steps, swaying, rotations, circular movements, etc.) A special place is occupied by the so-called pre-acrobatic elements: rhythmic gymnastics biomechanical exercise

1. Somersaults - rotational movements of the body with sequential contact with the support and turning over the head;
2. Inversions - rotational movements of the body with complete inversion and intermediate support;
3. Wheel flips, characterized by sequential support with each arm and leg;
4. Rolls - exercises characterized by rotational movement of the body with sequential contact with the support without turning over the head with various types supports (on the chest, forearms, hands).

When performing elements, motor acts such as swings and swings are also performed. Swings are performed with arms, legs and torso. Swinging movements of the body are associated with bending forward, to the side, backward and with turns. Swings with arms and legs are performed in the main and intermediate planes, in different directions, in an arc and in a circle, in the same name, in different names, alternately and sequentially). Swings are performed with the arms, torso (forward and to the side) and the whole body (forward, to the side and with a turn). Swings are characterized by a sharp initial movement in one link and continued movement in other parts of the body. (the sequence of movements is the same as with the “wave”).

Exercises with apparatus are the basis of the classification program in rhythmic gymnastics. The movements of objects can be either free (after throws) or associated with the presence of contact with the gymnast’s body or support (skates, rolls, etc.).

In biomechanics, biological systems are considered as material objects, and to analyze their position in space during movement, they are modeled in the form of a material point or a system of material points. Such models make it possible to fully use the knowledge accumulated in the field of theoretical mechanics. Often, a 14-segment branched kinematic chain is used as a model of the human musculoskeletal system, the links of which, according to their geometric characteristics, correspond to large segments of the human body, and the connection points correspond to the position of the main joints. When studying the movements of gymnasts with developed spinal flexibility, such a model is not entirely adequate in describing movements. Besides, locomotor system human has its own peculiarities of structure and functioning, which do not contradict the laws of mechanics, but impose significant restrictions on the possibility of formal application of mechanical models. The absence (partial or complete) of anatomical and physiological components in mechanical models of the human body, such as muscles, joints, ligaments, tendons, and failure to take into account the speed-strength properties of muscles, leads to the fact that such mechanical systems only resemble human locomotion in their kinematic structure. Modern Computer techologies allow you to simulate structures of any complexity. And in the scientific support of such sports as rhythmic gymnastics, the construction of a formal model of the body in the form of a multi-link structure with adequate inter-link connections, and perhaps complicated by additional elastic connections, could become the subject of a dissertation research.

And with sculpted arms, many of us forget about balance exercises. But balance is one of the basic needs of our body when moving.

Why is it important to do balance exercises?

Once I was talking with one professional football player, and casually asked him: “If you could have only one sporting quality, which one would you choose?” His answer was simple and clear: “Balance.” Note, not strength, not speed, not endurance, but balance.

Being in tune with your balance means always being in control of your center of gravity. And the better you control it, the more productive your workouts will be. Balance is important in morning jogging, in strength training with weights and, of course, in sports games. Balance exercises will help you prevent household injuries, and also strengthen the vestibular system and improve coordination of movements.

Reader Questions

October 18, 2013 How to prevent or mitigate the unpleasant symptoms of motion sickness on the road?

Mountain pose

The exercise is taken from yoga and is basic for training balance. You need to stand in it calmly and motionless, like a mountain. By performing the exercise regularly, you will get rid of and also get excellent prevention of various arthritis, arthrosis and congestion in the calf muscles and thigh muscles. We do the exercise like this:

Stand straight with your feet together. The heels and big toes touch. Shift your body weight to the center of your foot.
Tighten your knees, pull your kneecaps up, lower your tailbone, contract top part thighs and tighten the posterior thigh muscles. Your ankles should be in line.
Pull your stomach in and lift it up. Open your chest forward, stretch your spine up, keep your neck straight.
Stretch your arms up above your head. If this is difficult, keep them down at the sides. Turn your palms towards your hips. Press your fingers together. Make sure your shoulders don't rise.

Body weight shift

Simple and effective exercise, which is useful for coordinating movements and training the core muscles.

Stand straight with your feet shoulder-width apart. Distribute the weight evenly on both legs.
Shift your weight to your right side and lift left leg from the floor to a height of 5-10 cm.
Hold the position for up to 30 seconds.
Return to the starting position and transfer your body weight to the other leg.

Your balance will improve in proportion to the number of repetitions. Try to balance on each leg for up to 1 minute.

Single leg stand

The purpose of this exercise is to learn how to maintain balance from the inside. Do it not only in the gym, but also in Everyday life, for example, while walking or while standing in line. This way you can strengthen the muscles of your legs and feet, work each leg individually, and learn to achieve pelvic stability by strengthening the deep posterior fibers of the gluteus medius muscle.

Stand straight, feet shoulder-width apart, weight distributed evenly on both feet. Place your hands on your hips. Lift your left leg off the floor and bend it at the knee.
Hold the position for 30 seconds.
Return to the starting position and repeat with the other leg.
Do 5 repetitions for each leg.

You can diversify the exercise by extending the toe of the raised leg as far from the body as possible. It is important that the pelvis remains level. Make sure that the movement originates in the hip joint, and not in the knee.

Single leg stand with dumbbells

A great exercise not only for training balance, but for all core muscles.

Get into the starting position as in the previous exercise. Take dumbbells in your hands. Bend your arms with dumbbells at the elbow x so that an angle of 90 degrees is formed. At the same time, lift your right one and bend it at the knee.
Hold the position for up to 30 seconds.
Return to the starting position and repeat the exercise on the other leg.

To make the exercise more challenging, you can balance on one leg while standing on a sandbag.

Archer's stance

We took this exercise from Tai Chi, which for some reason everyone in vain considers gymnastics. Chinese gymnastics Tai Chi has a powerful healing effect on the body. It increases flexibility, strengthens joints, stabilizes the immune and cardiovascular systems.

Tai Chi style lunges help train balance, form a beautiful hip line, and strengthen the calves.

Place your feet shoulder-width apart and extend your arms in front of you at chest level.
Take a long step forward so that your knee is bent at a 45-degree angle (make sure your knee is directly above your ankle). At the same time as you step forward, straighten your arms above your head and place your palms facing each other.
Lock the position. Take 3 deep breaths and exhale, and push off with your front leg to return to the starting position.

Dmitry Belov

We found out that the athlete’s exercise contains from 6 to 9 elements. Of these, at least 2 jumps, 2 balances and 2 turns.

In order for the reader to understand what forms of equilibrium there are, we recommend looking at the table.

Basic characteristics for equilibria:

clearly defined and fixed form (stop position);
performed on relevé, on the entire foot (for some types of balances this is allowed, but the value of the element is reduced by 0.1) or on various parts of the body.

What are the most common mistakes when performing balances?

Fuzzy shape. Equilibrium must be established and maintained for a long period of time, sufficient to show the operation of the item.
If the balance is performed on a relevé, landing on the heel will cancel the value of the element.

Equilibria also include Turlans, Italian fouettés and former elements flexibility and waves.

Turlyan – slow turn on the foot, chest, elbows (until recently, turns on the knee were also performed, but due to the risk of injury they were prohibited).

It is allowed to perform 1 turn on the relevé or on the entire foot in the chosen form. The value of Turlyan is determined by adding 0.10 points to base cost Balances over 180 degrees or more. That is, if an athlete does a 360-degree forward balance turn, its value is calculated in the following way: 0.3 (shape) +0.1*2 (for every 180 degrees) = 0.5.

It is not allowed to perform turlans on the knee, on the forearms and in the “Cossack” position.

Italian fouette - that's at least three different shapes equilibria that are interconnected by a fouetté beat by at least 180 degrees. Each form of balance must be fixed and coordinated with the subject. Counts as one element.

There is also a separate mixed equilibria . These are two or more balances performed without taking support (without lowering onto the heel). The value is determined by the sum of equilibria + 0.1. We will talk about mixed difficulties in more detail later.

As with all elements of the body, the most important requirement is its connection with an element of the subject. That is, in order for the balance to be counted, work must be done by the object during its execution. If the work is not completed, as well as in the event of loss (or error in work) of the item, the element is not counted. We have already talked about this, but it is worth focusing on the work of the object, even for a partial understanding of the picture on the carpet.

What does it take to be able to stand in balance? First of all, developed muscles, good choreographic preparation and developed vestibular apparatus, stretching, flexibility, the ability to coordinate the work of an object and body statics. Balancing on one leg, as well as turning, requires a strong Achilles tendon.

The center of gravity of a person is located in the lower abdomen, because... the weight of the legs is about half the weight of the body. The stability of the body depends on the position of the center of gravity and the size of the support area: the lower the center of gravity and the larger the support area, the more stable the body. The location of the center of gravity relative to the support points affects the balance of the body. A person does not fall as long as a vertical line from the center of gravity passes through the area limited by his feet. It is worth saying here that, due to physiological reasons, it is easier for athletes with short legs to balance and make turns. Training is of great importance: it is important to correctly raise and lower your leg, even hold your arms, shoulders and head.

There is another problem, which, however, concerns not only equilibria. Many coaches, chasing results, teach children to stretch and bend to one side. Physiologically, right-handers are better at stretching to the right side, and left-handers are better at stretching to the left. That is, when a gymnast balances, say, in a ring, she often “skews” to one side (it’s easier this way). These are the majority of elements, and the athlete does each of them dozens of times a day. This is a direct path to scoliosis and various spinal injuries.

Of course, elements made in this way fall into the “fuzzy form” category and are not counted, but, nevertheless, children often do them. Please note: if your child is involved in gymnastics, make sure that the preparation is supervised by a competent specialist, because there are often cases when coaches, hoping to get a quick result, injure children.

IN next material we will introduce you to the concept of turning.

In a side split (the torso should be parallel to the floor):