CODE OF POINTS RHYTHMIC GYMNASTICS - Japan R.G

Code of Points RG – Version 01.01.2007

FEDERATION INTERNATIONALE DE GYMNASTIQUE

FONDEE 1881

CODE OF POINTS RHYTHMIC GYMNASTICS

2005 – 2008

Technical Committee Rhythmic Gymnastics

The French version is the official text

Edition 01.01.2007 – Printed FIG

SPIETH Gymnastic GmbH

Zeppelinstrasse 126 · D-73730 Esslingen

Postfach 100 737 · D-73707 Esslingen

Telefon ++49 (0)711 / 319 710 · Telefax ++49 (0)711 / 319 7111

Internet: www.spieth-gymnastic.com

E-Mail: [email protected]

Official partner of FIG / UEG / DTB

World Championships

Artistic Gymnastics

Stuttgart

World Championships

Rhythmic Gymnastics

Patras

Pan American Games

Rio de Janeiro

World

Gymnaestrada

Dornbirn

Official Supplier 2007

Code of Points RG – Version 01.01.2007 3

TABLE OF CONTENTS

PART ONE – Generalities Norms Applicable to Individual and Group Exercises

Page 5

PART TWO Individual Exercises

Page 15

PART THREE Group Exercises

Page 101

PART FOUR Appendices

Page 129


PART ONE

GENERALITIES

Norms Applicable to Individual and Group Exercises

________________________________________________________________________________________________


PART ONE

GENERALITIES

Norms Applicable to Individual and Group Exercises

1. Competitions and Programs……………………………………….. 1.1 Official Championships of RG…………………………………. 1.2 Competition Programs………………………………………….. 1.3 Program for Individual Gymnasts………………………………1.4 Program for Groups…………………………………………….. 1.5 Timing…………………………………………………………….

Page

7 7 7 7 7 7

2. Juries…………………………………………………………………… 2.1 Jury Composition – Official Championships…………………. 2.2 International Tournaments……………………………………... 2.3 Judges……………………………………………………………. 2.4 Judges' Instruction………………………………………………

7 7 8 8 8

3. Judging Procedures…………………………………………………. 3.1 Degree of Faults…………………………………………………3.2 Distribution and Calculation of Scores………………………... 3.3 Inquiries…………………………………………………………..

8 8 8 9

4. Floor Area…………………………………………………………...…. 4.1 Leaving the Floor Area………………………………………….

9 9

5. Apparatus………………………………………………………………5.1 Norms – Checking………………………………………………. 5.2 Apparatus Placement Around the Floor Area………………... 5.3 Loss and Retrieval of the Apparatus…………………………..5.4 Broken Apparatus or Apparatus Caught in the Small Beams

of the Ceiling…………………………………………………….. 5.5 Contact of the Apparatus with the Ceiling…………………….

9 9 9

10

10 11

6. Dress of the Gymnasts………………………………………………6.1 Individual and Group Gymnasts………………………………. 6.2 Group Gymnasts…………………………………………………

11 11 11

7. Discipline…………………………………………………………….… 7.1 Discipline of the Gymnasts…………………………………….. 7.2 Discipline of the Coaches……………………………………….7.3 Discipline of the Musicians……………………………………..

12 12 12 12

8. Penalties Deducted by the Coordinator Judge………………… 13

PART ONE – GENERALITIES


GENERALITIES

1. COMPETITIONS AND PROGRAMS

1.1. OFFICIAL CHAMPIONSHIPS OF RHYTHMIC GYMNASTICS

• For official FIG Championships and competitions, see Technical Regulations, Section 1, Reg. 2.

• For the other competitions and events, see Technical Regulations, Sect. 1, Reg. 3.

1.2. COMPETITION PROGRAMS

1.2.1. The competition programs are described in detail in Technical Regulations, Section 3, Special Rules for RG.

1.3. PROGRAM FOR INDIVIDUAL GYMNASTS

1.3.1. The program for individual gymnasts usually consists of 4 exercises using 4 of the 5 apparatus in the program (rope, hoop, ball, clubs, and ribbon).

1.3.2. The length of each exercise is from 1'15" to 1'30".

1.4. PROGRAM FOR GROUPS

1.4.1. The program for groups usually consists of 2 exercises: one with one single type of apparatus and the other with several types of apparatus.

1.4.2. The length of each exercise is from 2'15" to 2'30".

1.5. TIMING

1.5.1. The stopwatch will be started as soon as the gymnast or the first gymnast of the group begins to move and will be stopped as soon as the gymnast or the last gymnast of the group is totally motionless.

Penalty:

• 0.05 point for each additional or missing second (Coordinator Judge).

1.6. For any other details, refer to Technical Regulations.

2. JURIES

2.1. JURY COMPOSITION - OFFICIAL CHAMPIONSHIPS AND COMPETITIONS

2.1.1. Each jury (individuals and groups) consists of 3 groups of judges:

• Execution (E) (4 judges) evaluates the execution (technical faults).

• Artistry (A) (ex AV) (4 judges) evaluates the Artistry of the composition: musical accompaniment and choreography (choice of apparatus elements, choice of body movement elements, handling of apparatus, use of body movements, mastery, and originality).

• Difficulty (D) (ex TV) (4 judges) evaluates the technical value of the composition (the number and the level of difficulties from the compulsory group specific to the apparatus and from any other group).

2.1.2 Each jury will be assisted by a judge (Coordinator Judge). This judge will apply the penalties for "leaving the floor area" and for the timing of the exercises, plus all other penalties regarding the discipline (apparatus, leotard, placement on the floor area, etc.)

2.1.3 For any other details concerning the juries, their structure or functions, see Technical Regulations, Section 1, Reg. 7 and 2005 Judges’ Regulations.



2.2. INTERNATIONAL TOURNAMENTS

2.2.1 Each jury will be assisted by a judge (Coordinator Judge). This judge will apply the penalties for "leaving the floor area" and for the timing of the exercises, plus all other penalties regarding the discipline (apparatus, leotard, placement on the floor area, etc.)

2.2.2 The presence of a neutral judge who will assume the duties of a superior jury is required.

2.2.3 A tournament with a high percentage of judges representing the organizing country will not count for the judges' evaluation.

2.3. JUDGES

2.3.1. For details, refer to Technical Regulations and to Judges’ Regulations

2.4. JUDGES' INSTRUCTIONS

2.4.1. Before every official FIG championships or competition, the Technical Committee will organize a meeting to inform the participating judges on the judging organization. Before every tournament, the Organizing Committee will hold a similar meeting.

3. JUDGING PROCEDURES

3.1. DEGREE OF FAULTS

3.1.1. Faults will be penalized according to their degrees as follows:

• 0.10 point for small faults

• 0.20 point for medium faults

• 0.30 point or more for major faults

3.2. DISTRIBUTION AND CALCULATION OF SCORES

3.2.1. Each judge will give a score as follows:

Individual and group competitions Execution judge (E):

• 0 to a maximum of 10 points (the judges give only the total of the penalties)

Artistic judge score (A) (ex AV):

• 0 to a maximum of 10 points (in part by addition)

Difficulty judge score (D) (ex TV)

• 0 to a maximum of 10.00 points (by addition)

3.2.2. Score calculation The final score is obtained as follows:

1. The Execution score (E): Average score, using the 2 middle scores of the 4 judges – a maximum of 10 points.

2. + the final composition score (A+D) divided by 2:

• The Artistic score (A) is obtained by averaging the 2 middle scores of the 4 judges - a maximum of 10.00 points.

• The Difficulty score (D) is obtained by averaging the 2 middle scores of the 4 judges – a maximum of 10 points.

Concerning junior gymnasts, each Continent may further increase the execution value (for example, by adding to the composition value, the total of the 2 middle scores of the execution instead of averaging them).

3.2.3 Judges are responsible for the scores. The scores are final. Protests will not be acknowledged.



3.3 INQUIRIESSee Technical Regulations, Section 1, Reg. 8.4.

4. FLOOR AREA

4.1. LEAVING THE FLOOR AREA (Gymnast or Apparatus)

4.1.1. Individual and Group Exercises: Any crossing of the boundary of the floor area by one or two feet or by any part of the body touching the ground outside the specified area will be penalized.

Penalty:

• 0.20 point each time for an individual gymnast or for each group gymnast at fault (Coordinator Judge).

4.1.2. Any apparatus touching the ground outside the specified boundary of the floor area or leaving the floor area and returning by itself will be penalized.

Penalty:

• 0.20 point each time (Coordinator Judge).

4.1.3. No penalty will be applied if the apparatus passes the boundary of the floor area without touching the ground.

4.1.4. Each exercise will have to be performed entirely on the same floor area:

Penalty:

• 0.50 point if the gymnast changes floor areas or ends her exercise outside the same floor area (Coordinator Judge).

5. APPARATUS

5.1. NORMS - CHECKING 5.1.1. The characteristics of the apparatus are specified in the FIG Apparatus Norms manual.

5.1.2. Apparatus used by a group must all be identical (weight, dimension, and shape); only their colour might be different.

5.1.3. Every apparatus will be checked prior to the entrance of the gymnast in the competition hall. Another control may take place at the end of an exercise at the request of the Superior Jury.

5.1.4. For any use of nonconforming apparatus:

Penalty:

• 0.30 point for individual and group exercises (Coordinator Judge)

5.2. APPARATUS PLACEMENT AROUND THE FLOOR AREA -- REPLACEMENT APPARATUS

5.2.1. Replacement apparatus around the floor area is authorized (1 for individual gymnasts and a maximum of 2 for groups – for clubs 2 and 4 respectively).

Penalty:

• 0.50 point for any additional apparatus (Coordinator Judge)

5.2.2. If the apparatus falls and leaves the floor area, the use of a replacement apparatus is allowed.

Penalties:



• 0.50 point for loss of apparatus, regardless of how far the gymnast is from the replacement apparatus (Execution Judge)

• 0.20 point for apparatus leaving the floor area (Coordinator Judge)

5.2.3. If the apparatus falls but does not leave the floor area, the use of a replacement apparatus is not authorized.

Penalties:

• 0.50 point for loss of apparatus (Execution Judge)

• 0.50 point for use of a replacement apparatus (Coordinator Judge)

5.3. LOSS AND RETRIEVAL OF THE APPARATUS

5.3.1. Any involuntary loss of an apparatus will be penalized by the Execution Judges as follows:

• 0.30 point if the apparatus is retrieved immediately or after short travelling (1 step)

• 0.50 point if the apparatus is retrieved after travelling (more than 1 step) or if the apparatus leaves the floor area.

Note: When both clubs are lost, each penalty is increased by 0.10 point.

5.3.2. The Coordinator Judge's penalties can be added to those listed above, if any:

• the gymnast leaves the floor area (0.20)

• the apparatus leaves the floor area (0.20)

• there is a change of floor areas or the exercise ends in a nonconforming area (0.50)

5.3.3. If the apparatus is lost at the end of the exercise (last movement), the Execution Judgespenalize as follows:

• 0.50 point for the loss of the apparatus, regardless of the distance

• 0.30 point if the gymnast, in her attempt to retrieve the apparatus, does not terminate her exercise together with the music.

• No penalty if the apparatus leaves the floor area after the end of the exercise and the end of the music.

5.4. BROKEN APPARATUS OR APPARATUS CAUGHT IN THE SMALL BEAMS OF THE CEILING

5.4.1. If the apparatus breaks during an exercise or gets caught in the small beams of the ceiling, the gymnast or the group will not be authorized to start the exercise over.

5.4.2. However, the gymnast or the group will not be penalized for the broken apparatus or the apparatus caught in the small beams of the ceiling, but will only be penalized for the consequences

5.4.3. In such a case, the gymnast or the group may:

• either stop the exercise

• or continue the exercise with a replacement apparatus.

Note: No gymnast or group is allowed to continue an exercise with a broken apparatus. If the exercise is continued, it will not be evaluated (0.00 pt).

Penalties:

• If the gymnast or the group stops the exercise, the exercise will not be evaluated.

• If the gymnast or the group resumes the exercise with a replacement apparatus, the penalties will be the same as for loss of the apparatus and use of a replacement apparatus (see Paragraphs 5.2.2. and 5.2.3. above).

5.4.4. If the apparatus breaks at the end of the exercise (last movement) and the gymnast or the group ends the exercise with the broken apparatus or without the apparatus, the penalty is



the same as for the "loss of apparatus at the end of the exercise": 0.50 point (Execution Judge).

5.4.5. Special Case: Group exercise with 2 clubs per gymnast If a gymnast from the group breaks one of the 2 clubs, the same norms as stated in

Paragraphs 5.4.1, 5.4.2, 5.4.3, and 5.4.4 above must be applied. If a gymnast continues her exercise with a broken apparatus, the penalties as stated in Paragraph 5.2.3 should be applied (in all the cases) in addition to the penalty stated in Paragraph 5.4.4.

5.5 CONTACT OF THE APPARATUS WITH THE CEILING

5.5.1 Contact of the apparatus with the ceiling will not be penalized. However, the gymnast will be penalized for the various technical errors which could result from this contact: alteration of the shape formed by the moving apparatus (rope or ribbon), alteration of its trajectory, alteration of its movement (vibrations of the hoop), incorrect catch of the apparatus, loss of the apparatus, loss of rhythm, a stop during the exercise, or absence of one or more requirements.

5.5.2 If the apparatus breaks due to a forceful contact, see Paragraph 5.4 above.

6. DRESS OF GYMNASTS

6.1. INDIVIDUAL AND GROUP GYMNASTS

6.1.1. A correct gymnastic leotard must be in non-transparent material; therefore, leotards that have some part in lace will have to be lined (from the trunk to the chest). The neckline of the front and back of the leotard must be proper (no further than half of the sternum and no further than the lower line of the shoulder blades).

Leotards may be with or without sleeves, but dance leotards with narrow straps are not allowed.

The cut of the leotard at the top of the legs must not go beyond the fold of the crotch (maximum).

The leotard must be skin tight to enable the judges to evaluate the correct position of every part of the body.

NOTES: It is allowed to wear: 1. Long tights down to the ankles, over the leotard. 2. A full-length one-piece leotard (unitard) provided that it is skin tight. 3. The length and color(s) of the fabric covering the legs must be identical on both legs

(the “harlequin” look is forbidden). Only the style (cut or decorations) may be different. 4. A skirt that does not fall further than the pelvic area over the leotard 5. A skirt that does not fall further than the pelvic area over the tights or the unitard. 6. The style of the skirt (cut or decorations) is free, but the skirt must always fall back on

the hips of the gymnast (the look of “ballet tutu” is forbidden).

6.1.2 Gymnasts may perform their exercise with bare feet or gymnastic slippers.

6.1.3 The hairstyle must be neat and trim and the make-up clear and light.

6.1.4 Jewelry of all types and piercings, which could jeopardize the security of the gymnast, are not allowed.

6.2 GROUP GYMNASTS The leotards of group gymnasts must be identical in shape and in colour.



7. DISCIPLINE

7.1. DISCIPLINE OF THE GYMNASTS

7.1.1. Individual gymnasts or groups should be present in the competition area only once they have been called either by microphone or by the Coordinator Judge, or when the green light is showing.

Penalty if the opposite occurs:

• 0.50 point (individual or group exercises - Coordinator Judge).

7.1.2. A penalty of 0.50 point will also be deducted by the Coordinator Judge, if an individual gymnast or the group presents itself late.

7.1.3. It is forbidden to warm up in the competition hall.

Penalty:

• 0.50 point (Coordinator Judge)

7.1.4. A penalty of 0.50 point will be deducted by the Coordinator Judge, if a gymnast or a group does not perform the exercise on the assigned floor area.

7.1.5. During a group exercise, the gymnasts are not allowed to communicate verbally with each other.

Penalty:

• 0.50 point (Coordinator Judge).

7.1.6. Gymnasts and groups are required to participate in the official training on the podium.

Penalty for non participation:

• 0.50 point for the first exercise performed by the concerned gymnast or group (Coordinator Judge).

7.1.7. The gymnast must present the official forms completed clearly and correctly for Artistry (ex AV) and Difficulties (ex TV) of her exercises.

Penalty:

• 0.50 point, if not done (Coordinator Judge)

7.2. DISCIPLINE OF THE COACHES

7.2.1. During an exercise, the coach (or any other member of the delegation) of the gymnast or group may not communicate with the gymnast, the group, or the musician in any manner whatsoever.

Penalty:


7.2.2. Coaches (or any other member of the delegation) of the gymnast or group are not allowed to communicate with any member of the jury during the whole competition, not even during the breaks.

Penalty:


7.3. DISCIPLINE OF THE MUSICIANS

7.3.1. Any delay of the musician will be penalized 0.50 point by the Coordinator Judge.



8. PENALTIES DEDUCTED BY THE COORDINATOR JUDGE

• Length of the exercise not conforming to regulations: 0.05 point for each second under or over time.

• Placing on the floor area not conforming to regulations: 0.20 point (for groups)

• Involuntary interruption of the music during the performance of the exercise: 0.50 point.

• non respect of norms for music recording: 0.50 point

• Apparatus not conforming to the official regulations: 0.30 point.

• Dress of the gymnast not conforming to the regulations: 0.20 point (for individuals).

• Dress of the gymnast not conforming to the regulations: 0.20 or 0.50 point according to the fault (for groups)

• Emblem or publicity not conforming to official norms: 0.20 point

• Passing or leaving the floor area by the gymnast or the apparatus: 0.20 point.

• Gymnast ending her exercise outside the floor area or using another floor area: 0.50 point.

• Gymnast leaving her group during the exercise: 0.50 point (for the group).

• Early or late presentation by the gymnast or by the group: 0.50 point.

• Group gymnasts communicating verbally with each other during the exercise: 0.50 point

• Official form not correctly completed (incorrect difficulty or CAP values; difficulties performed but not listed; successive “slow turns”): 0.50 point.

• Non participation in podium training (individuals and groups): 0.50 point

• Gymnast warming up in the competition hall: 0.50 point.

• Use of a replacement apparatus above the authorized number: 0.50 point for each extra apparatus.

• Use of a replacement apparatus when the lost apparatus remains on the floor area: 0.50 point.

• Coach (or any other member of the delegation) communicating with the musician, the gymnasts or the judges in one way or the other during the exercise: 0.50 point.

• Music not conforming to regulations: 0.50 point

• Lack of discipline by the musician: 0.50 point.

The total of these penalties will be deducted from the final score (execution + composition).

Best Gyma

sts know

where t

o find T

he Best

Les me

illeurs G

ymnaste

s

savent o

ù trouve

r

les meil

leurs pr

oduits

EQUIPEMENTS pour GYMNASTESdu débutant jusqu’au niveau international

LeotardsJUSTAUCORPS

TableControlCONTROLE NORMES FIG

Apparatus

ENGINS

BEAUTY PRECISION QUALITY

LA GYMNASTIQUE DU NOUVEAU MILLENAIRENew Millenium’s Gymnastics

I Gymnastique Rythmique I Gymnastique Artistique I Clubs et AssociationsI Articles homologués Code F.I.G. I Sports Acrobatiques I Scolaires et Universitaires

Email : [email protected]

www.eurogym.fr www.eurogym.fr

EUROGYMINTERNATIONAL

265, 267 boulevard Voltaire

75011 PARIS (France)(Métro NATION)

Tél. : (33) 01 43 72 81 03 (Bureau)

(33) 06 07 27 77 35 (Mobile)

Fax : (33) 01 43 72 81 05

Best Gymasts

know

where to

find The B

estLes m

eilleurs

Gymnastes

savent o

ù trouve

r

les meille

urs prod

uits

EQUIPEMENTS pour GYMNASTESdu débutant jusqu’au niveau international

ShoesCHAUSSONS

Magnesium CarbonateMAGNESIE

Hand-grips

MANIQUES

THE BEST BRANDS THE BEST PRICE THE BEST QUALITY

LA GYMNASTIQUE DU NOUVEAU MILLENAIRENew Millenium’s Gymnastics

I Gymnastique Rythmique I Gymnastique Artistique I Clubs et AssociationsI Articles homologués Code F.I.G. I Sports Acrobatiques I Scolaires et Universitaires

MAGNESIE : Prix Clubs EXCEPTIONNEL (nous consulter)

E-mail : [email protected]

www.eurogym.fr www.eurogym.fr

EUROGYMINTERNATIONAL

265, 267 boulevard Voltaire

75011 PARIS (France)(Métro NATION)

Tél. : (33) 01 43 72 81 03 (Bureau)

(33) 06 07 27 77 35 (Mobile)

Fax : (33) 01 43 72 81 05


PART TWO

INDIVIDUAL EXERCISES

RG Code of Points – Version 01/01/2007 16

PART TWO INDIVIDUAL EXERCISES

1. Execution ………………………………………………………………………….. 1. Technique with the apparatus……………………………………………....

• Rope…………………………………………………………………...….

• Hoop……………………………………………………………………...

• Ball……………………………………………………………………..….

• Clubs……………………………………………………………………...

• Ribbon……………………………………………………………………2. Technique of the Body Movements………………………………………. 3. Music and Movement………………………………………………………. 4. Evaluation of the Execution………………………………….....................

2. Artistry (Artistic Value).................................................................................. 1. Music……………………………………………………………. ……….….. 2. Choreography………………………………………………………………..

2.1 Basic Composition…………………………………………………….2.2 Special Artistic Characteristics (CAP)……………………………….2.3 Use of Apparatus…………………………………….........................2.4 Mastery…………………………………………………………………2.5 Originality………………………………………………………………

3. Penalties………………………………………………………………………4. Evaluation of Artistic Value…………………………………………………

3. Apparatus: General Criteria and Technical Groups………………………...1. Rope………………………………………………………………………….. 2. Hoop………………………………………………………………………….. 3. Ball……………………………………………………………………………..4. Clubs…………………………………………………………………………..5. Ribbon……………………………………………………….……………….. 6. Examples of Catches………………………………………………………..7. Modality for the Completion of the Forms for Artistry…………………….

4. Difficulties (Technical Value)…………………………………………………… 1. Generalities…………………………………………………………………... 2. Value of the Difficulties……………………………………….....................

3. Penalties………………………………………………………... ………….. 4. Evaluation of the Difficulties………………………………………………...5. Groups of Body Movement Elements……………………………………...6. Jumps or Leaps………………………………………………………………7. Balances………………………………………………………………………8. Pivots………………………………………………………………………….9. Flexibility and Waves………………………………………………………...10. Modality for the Completion of the Forms for Difficulty…………………..

Page

17 17 17 18 18 18 19 19 20 20

21 21 22 22 24 24 24 27 27 29

31 33 33 34 34 35 41 45

48 48 49 50 50 51 51 63 74 88 99

PART TWO – INDIVIDUAL EXERCICES


1. EXECUTION

Note: Execution faults must be penalized every time and for each element at fault, except in cases of overall penalties.

1. TECHNIQUE WITH THE APPARATUS

��

��

��

� � ��

��

� ��

��

��

��

��

�

��

��

��

� ��

��

��

��

��

��!��

�

�� !��

��

� �

��

!�� "��"��#��"��!��

"�� #�

� ��

��

� � $��

�

�� $ ��

� ��"��

��

�

%�&��' ��(�

� � %��!��

��

)��*�� + �,��*��

��

&��

�



�

-��

��

!�� %��#��"� �!�� "�� #

� ��

��

� ��!��

�

��

� �� "�� !��

�

�� '�� '��

��

� �

�� $ ��

� ��

��

��( ��(� ��

� &��

!��

!��

��(��

��!��)��* "�� #�

� ��

�

� ��!��

�

�� !��

�

.�/!0

!��

� � ��

��

0�� $ ��

��

� �

%��

� �

�� $ ��

%��+��!��

��

� �

��'�� &��

��#��#��!��

� �

�� $ ��&�� 1�� 1�

� � ��!��!�� ,��

2

� � ��!��!��

�� 3�

� � ��!��!��

��3�

�



�%!!�4

��

!��

%��!��!!��

� -��!��!!��

��

� $��

$��

� � ��

�

%�&��' ��(�

� � %��!��

0��,�� $ ��

��

� �

�� "�

��

� �

�� $ ��

.��!!��

�

�

� � .-4%5/ �6 �- !�78 9�: 9 4�0

��

��

!��

(��

� ' ��!��

��

� '��/��

� �

� ��#��

� �

� � ��!�� 0��

��

� � ��!��

��

��!��

� � � ��!��!��

��2�

� � � .��!��;��

�)��*��

�1��

�

� � 1� ��

��&��

� '��

%��!��

��

��1��

�� 0��

� 1� ��



4�� < �� !" #"$�� %�� &�� '��

� 9/0%. �47 9�: 9 4�

��

9�� = ��&��

�� "�� #

� %!��!��

��

��

2 :��/��%�4 �6 �- > ./�%�4

2,� 3�� ,�

�

�

PART TWO – INDIVIDUAL EXERCISES


2. ARTISTRY (ARTISTIC VALUE)

Artistry has a maximum value of 10 points divided as follows: 1.00 point for music and 9.00 points for choreography.

1. MUSIC -- 1.00 point

1.1. GENERALITIES

1.1.1. All the exercises have to be performed in their totality with a musical accompaniment. However, very short and voluntary stops, motivated by the composition, may be tolerated.

1.1.2. An exercise performed voluntarily during a long period or in its totality without musical accompaniment will not be evaluated.

1.1.3. The music may be interpreted by one or several instruments, including the voice used as an instrument (without words). All instruments are authorized provided that they express music with the characteristics necessary to accompany an RG exercise: clear and well defined in its structure.

1.1.4. The exercise may be accompanied either by one musician or by a musical recording on cassette or on CD (in case of a faulty recording, the Federation of the concerned gymnast will be responsible).

1.1.5. Conditions required for recording:

• It is permitted to record a sound signal at the beginning of the recording, but the name of the gymnast or the apparatus should never be mentioned.

• A different cassette or CD will be used for each exercise.

• The recording must be made at the beginning of the CD or the cassette’s magnetic tape and on one side only of the magnetic tape.

• The following will be marked on the cassette or the CD:

� The name of the gymnast and the 3 capital letters used by the FIG to designate the gymnast's country

� A symbol representing the apparatus used

� The length of the music

� The name(s) of the composer(s) and of the music used.

1.1.6. A musical composition that has to accompany an RG exercise must have the required characteristics for the musical accompaniment of an RG exercise: a character coherent with the development of the exercise and a well and clearly marked rhythm, to emphasize the rhythm of the gymnast’s movements.

1.1.7. Very strict harmony is required between the character and the rhythm of the music and that of the exercise and its movements.

1.1.8. Inappropriate noises are not allowed: engine noises from a car, a motorcycle or an airplane; police siren, noises from breaking objects, etc.

1.1.9. The musical composition may have been written especially for the exercise or may come from the use or modification of already existing music (arrangement). Potpourris are not authorized.

1.1.10. In any case, the music must have a unity and not be a disconnected juxtaposition of various musical fragments.

1.1.11. A musical introduction of a maximum of 8 counts will be allowed.



2. CHOREOGRAPHY -- 9.00 points

2.1. BASIC COMPOSITION -- 2.00 points

2.1.1. Choreography is characterized by a guiding idea performed, from beginning to end, by means of a unified message using all possible movements of the body and the apparatus.

2.1.2. Choice of Elements with Apparatus

2.1.2.1. They must be chosen evenly among all the groups of technical elements for each apparatus mentioned in Chapter 3, Apparatus.

2.1.2.2. At the beginning and the end of the exercise, the gymnast must be in contact with the apparatus.

2.1.2.3. During the exercise, the apparatus must be in constant motion: technical movements with a great variety in shape, amplitudes, directions, planes, and speed. If a gymnast uses an apparatus several times simply standing on the floor or on a part of the body (2 or 3 times, depending on how long it is kept motionless), except for the cases tolerated by the Code of Points, its handling is considered to be insufficient.

2.1.2.4. The apparatus must be handled with as much variety as possible.

2.1.2.5. Apparatus must not be used as decoration, but rather must be included in the body movements: the relationship between gymnast and apparatus must be constant. However, it is also possible to perform original, aesthetic, and different choreographic elements up to a maximum of two times within each composition, provided that these elements be very brief and do not create a break in the continuity of the movements of the apparatus.

2.1.2.6. The apparatus must not be held for more than one movement without performing a clear movement or without being in an unstable position (static), nor be simply lying on the floor.

2.1.3. Choice of Body Elements

2.1.3.1. Elements with apparatus will be coordinated with body movements: different types of travelings, different types of movements of the arms and trunk, jumps or leaps, turns, pivots, balances, elements of flexibility, etc.

2.1.3.2. No body movement group, aside from the compulsory body movement group specific to an apparatus, can be predominant in the composition (overuse of a group of non compulsory body movements).

2.1.3.3. The trunk and the head must be used in a varied manner, which means that they must always follow the movements of the other segments of the body, with small or large movements in different planes, directions, and shapes.

2.1.3.4. The composition must have a gymnastic quality.

2.1.3.5. The gymnast may not remain motionless, while she is momentarily not in contact with the apparatus (for example, throws or rolls).

2.1.3.6. Body movement elements must be as varied as possible.

2.1.3.7. The starting position of the exercise must be justified and used by the initial movements of the apparatus.

2.1.3.8. Each composition must include one series of rhythmic steps at the minimum.

2.1.4. Balance Between Left-hand/Right-hand Work

2.1.4.1. Each exercise must be well balanced between the left-hand and right-hand work.



2.1.5. Acrobatic Elements

2.1.5.1. Only the following groups of acrobatic elements are authorized:

• Forward or backward rolls without flight.

• Forward, backward walkovers or cartwheels, with passing support on one or two hands, without stopping in the vertical position and without flight.

2.1.5.2. The "walkover" or "cartwheel" element is considered as an acrobatic element of "walkover" or "cartwheel" regardless of the starting or ending position or the support used during these elements (chest, forearms, or hands). However each variation is considered as a different acrobatic element.

2.1.5.3. Authorized acrobatic elements may be performed with different starting or ending positions or means of support on the floor.

2.1.5.4. The following elements are authorized but not considered as acrobatic elements:

• Front support on the chest with or without hand support, legs up

• Dorsal support on the shoulders

• Side or front splits on the floor, without any stop in the position

• Support on one or two hands or on the forearms without any other contact with the floor, without walkover/cartwheels and without stopping at the vertical.

2.1.5.5. The following techniques of execution are not authorized:

• Rolls:

� performed with flight

• Forward, backward walkovers and cartwheels:

� performed with a stop in the vertical position

� performed with flight

• Side or front splits on the floor, etc.

� performed with a stop in the position

2.1.5.6. All groups of authorized acrobatic elements and elements not considered as acrobatic may be included in the exercise on condition:

• that they are performed in passing, without stopping in the position and without interrupting the continuity of the exercise;

• that they are combined with a technical element of the apparatus.

2.1.5.7. Case 1. The gymnast holds the apparatus: the element with apparatus can be performed either at the beginning, at the end or during the whole acrobatic element.

2.1.5.8 Case 2. The gymnast is no longer in contact with the apparatus (throws, rolls, etc.); in this case, the gymnast must be in contact with the apparatus at the beginning or at the end of the acrobatic element.

2.1.5.9. Case 3. The gymnast is no longer in contact with the apparatus (throws, rolls, etc.), but the acrobatic element is directly followed by another body element; in this case, the gymnast must be in contact with the apparatus at the beginning or at the end of these linked elements.

2.1.5.10 As for the difficulties, the acrobatic elements cannot be repeated. However, the series of identical acrobatic elements is authorized.

2.1.6. Variety

2.1.6.1. Variety must also include the following features: a. Dynamics (movement speed and intensity) b. Use of space:

• Directions

• Trajectories



• Levels

• Modes

2.2. SPECIAL ARTISTIC CHARACTERISTICS (CAP) 7.00 points

See Paragraphs

• 2.3. Use of Apparatus

• 2.4. Mastery

• 2.5. Originality below.

2.3. USE OF APPARATUS See Apparatus Chapter

2.4. MASTERY (shared by all apparatus)

2. 4. 1 Large Throws or Rethrows/Rebounds

The height of a large throw must be about double the size of the gymnast measured from her head. Only the height of the boomerang throw of the ribbon and of the fully stretched rope may be less. On the other hand, the boomerang throw on the floor must be evaluated according to the criteria for small /medium throws).

For each of the following large throws: 0.10 point (or more)

• Without help of hands

• Outside the visual field

• During an element with rotation on the vertical or horizontal axis of the body (for

example, pivot, illusion, “chaînés”, etc.)

• During a jump/leap

• Below the leg(s)

• Passing through and throw immediately

• Throw with rotation of the apparatus (Hoop: rotation around its axis. Clubs: very fast

rotations

• Throw in a position on the floor (also valid with « support on the knee)

• Rethrow (throw and without a catch, throw again immediately) or push-back: 0.10

each time

• Asymmetric throw (clubs)

• Throw open rope held by the end or in the middle

• Throw in “double cascade” (clubs)

• Throw in « triple cascade » (clubs) (0.20)

2.4.2. Small or medium throws (including boomerang throws on the floor and tosses/”échappés” of the ribbon), rethrows and push backs

The values specified in MASTERY for large throws must be decreased by 0.10. For example, at the minimum two of the following criteria (or twice the same criterion, in succession; for example, throw in rapid succession / in cascade) must be met to receive 0.10 point.

• Without help of hands




• During an element with rotation around the vertical or horizontal axis of the body (for

example, pivot, illusion, « chaînés», etc)



• Passing through the apparatus and re-throw immediately

• Throw of the apparatus with rotation (hoop: rotation around its diameter; clubs: very

fast rotations; ribbon: toss with rotation of the stick of the ribbon)

• Throw from a position on the floor (also valid with «support on the knee »)

• Re-throw (for example, throw and, without catch, re-throw immediately) or push

back

2.4.3. Catch of large throws (including boomerang throws of the ribbon), rethrows and push backs, and catch of an apparatus balanced on one part of the body: 0.10 point each time

• Without the help of hands



example, pivot, illusion, « chaînés», etc )



• Catch while passing (with at least 2 parts of the body) through the apparatus

• Catch in a position on the floor (also valid with « support on the knee »)

• Catch directly with a roll

• Catch on the back of the hand(s) (ball)

• Mixed catch (hand and another part of the body)

2.4.4. Catch of small or medium throws (including tosses/”échappés” of the ribbon), re-throws and push backs

The values specified in MASTERY for catches of large throws must be decreased by 0.10 point. For example, at the minimum two of the following criteria must be met to receive 0.10 point.

• Without the help of the hand


• During an element with rotation on the vertical or horizontal axis of the body (for example,

pivot, illusion, “chaînés”, etc.)


• Below the leg (s)

• Catch while passing (with at least 2 parts of the body) through the apparatus.






Notes valid for all THROWS and CATCHES listed above in Paragraphs 2.4.1. - 2.4.4.1. In all cases of throws/catches of 2 apparatus, the value of the criterion or of the combination

of criteria must be increased by + 0.20 point. 2. The value of large throws/catches performed during a difficulty (represented by the letter A)

from the Compulsory Body Movement Group (GCO) of the apparatus utilized (hoop: from the 4 GCO) is increased by + 0.20 point.

3. The value of small and medium throws/catches during a difficulty from the GCO (A) is calculated according to the same norm as the other criteria. For example, to achieve 0.20point requires at the minimum “A” + one other criterion (A = 0.20 + Criterion 0.10 – 0.10 = 0.20, see Paragraph 2.4.2).

4. In all cases, the GCO difficulty (A), combined with several criteria and performed during the same throw/catch, counts only once.

5. Concerning jumps/leaps, the criterion « during an element of rotation » is only valid for jumps/leaps with a rotation of 180º and 360º (the half-turn of 180º is only valid for jumps/leaps with a rotation of the whole body).

2.4.5. Large throw and catch during or immediately at the end of

� One element or one combination of 2 dynamic elements or more without difficulty, with or without passing on the floor, all with rotations of the body or walkover/cartwheels (rotation on the vertical or horizontal axis of the body).

or or

• 0.10 point for catch during the 1st element with rotation or immediately at the end.

• 0.20 point for catch during the 2nd element with rotation or immediately at the end.

• 0.30 point for catch during the 3rd elements or more with rotation or immediately at the end.

• Plus (+) 0.10 or 0.20 point or more, depending on the difficulty of the catch, if any.

Notes: 1. Any catch facilitating the control of the apparatus cancels the value of the element (see

Apparatus Chapter). 2. If one or more elements (all with rotation) contain GCO difficulties, add an A value plus

an additional 0.20 point to the value. 3. If 2 apparatus are used, the value will be respectively:

- 0.30 pt for catch during the 1st element with rotation or immediately at the end. - 0.40 pt for catch during the 2nd element with rotation or immediately at the end. - 0.50 for catch during the 3rd element or more elements with rotation or immediately

at the end.

2.4.6. Large throw and catch during and immediately at the end

A series of dynamic difficulties (GCO) (3 or more), all with rotation, without passing on the floor:

- A minimum of 0.30 for the throw (large throw during a difficulty with rotation)

- A minimum of 0.30 for the catch (catch of a large throw during a difficulty with rotation)

- 0.10 for an intermediary difficulty or intermediary difficulties with rotation.

- Total: 0.70 point at the minimum.

2.4.7. Except for the apparatus elements mentioned above, see Apparatus Chapter for apparatus elements typical of each apparatus.



2.5. ORIGINALITY

2.5.1. For every novel isolated difficulty (a single initial impulse and continuous motion performed together throughout): 0.30

2.5.2. For every novel relationship between gymnast and apparatus: 0.10

Notes: 1. An original difficulty must be linked to an apparatus. The difficulty will be valid for all

apparatus. However, the "originality" will be awarded only for the difficulty submitted for a specific apparatus.

2. Originality elements are evaluated by the TC and by judges from the FIG pool during the official training on podium (see Difficulty Chapter).

2.6. Every gymnast must submit in advance and in writing the sequence of special artistic elements (CAP) (without adding them up), using the official form and the appropriate symbols, otherwise the gymnast cannot participate in the competition. If there is no official podium training, the official form must be completed by adding the values.

3. PENALTIES

Penalties 0.10 0.20 0.30 or more

Musical Composition

� � ��

� ��

� ��

� ��

��

� � ��

��

��

�

��

��

�

��

��

Choreography ��

��

Choice of Apparatus Elements

��

��

��

� ��

��

�



Penalties ��

Choice of Apparatus Elements

(cont’d)

��

��!�

��

� � �� !�

��

"��

#��

��

�

�� $��

��

�

� ��

�

� � %��

�

Choice of body movement elements

� %��&��

��

"��' ��

��

�� $��

��

��

��

� ��

�

� � %��

Work balance �� '

��$��'��

Acrobatic elements

��(��

��(��

�

� � ��

��

� #�� (�� )�

��

� *��(��

Variety ��

��

�� !��

�

�� !��&� ��

�

�� !��

�

�� !��

�



Note. Every element with Special Artistic Characteristics (CAP) counts only once; therefore, an identical repetition will not count.

4. EVALUATION OF ARTISTRY (A)

4.1. The Artistic Composition Judge must proceed in the following fashion:

• Apply the basic score for music, after having deducted possible penalties.

• Apply the basic score for choreography, after having deducted possible penalties.

• Check the validity of the elements performed by the gymnast regarding the special artistic characteristics (CAP) indicated on the list; cross off any non-valid elements and calculate the value.

• Add the value of the special artistic characteristics (CAP) calculated during the performance of the exercise to the basic score for choreography.

• Add the score for music to the score for choreography.



3. APPARATUS – GENERAL CRITERIA

GENERAL CRITERIA for the handling of apparatus (without throws) with CAP

• Each « basic technical element » of the apparatus has a value of 0.00 pt.

• The technical element the most typical of the apparatus -- usually 1 or 2 elements depending on the type of apparatus -- has a start value of 0.10 point, when coordinated with one of the criteria listed below.

• In the following cases, their value increases each time by 0.10 point (or more):

o If the technical element of the apparatus is coordinated with a body movement difficulty from the GCO (Compulsory Body Movement Group) (Hoop: the 4 GCOs): 0.20 pt;

o If it is coordinated with a body movement element of total body wave: 0.20 pt; o If it is coordinated with a sequence of rhythmic steps (4 steps at the minimum); o If it is coordinated with a body movement element with rotation or walkover/cartwheel; o If it is performed without the help of hands (or on the open hand or on the fingers); o If it is performed outside the visual field (normally this criterion does not apply to the

« Handling » group of the apparatus, except for the unstable balance of the apparatus and the free rotation or roll of the club/clubs);

o If it is performed in a series (3 at the minimum), except for skips/hops into the rope/hoop or rotations of the hoop around the hand or on the floor, for which the series is the actual basis (0.00);

o If it is performed in a position on the floor and this element includes a brief loss of contact with the hands (for example, rolls, rebounds, handlings without the hands, tosses/”échappés” of the rope, etc.) or with the floor (rope);

o For each additional passing through the apparatus or into the rope folded in 2 during the flight time of the same jump/leap;

o If it is performed with a change of plane or a change in the direction of the apparatus or of the gymnast;

o If it is performed with total passing (the whole body) above or through the apparatus; o When the CAP is performed and repeated during two or three successive difficulties of

jumps/leaps or pivots, there will be a 0.20 point increase of the value for each consecutive difficulty. If the jump/leap is coordinated with a toss (“échappé”) of one end of the rope: 0.30 each time

o Passing the apparatus below one or two legs during the flight of a jump/leap (valid for all apparatus) or passing the apparatus without the help of the hand.

Notes valid for all apparatus:

1. Are considered as « rhythmic steps »: - All classical ballet steps - All steps from folkloric dances - All rhythmic steps listed in Physical Education manuals - Rhythmic steps performed on the spot or while traveling - Rhythmic steps in different directions and/or with rotations All rhythmic steps must be entirely tied to the music.

2. Sequence of « rhythmic steps »

• The « typical handling of the apparatus » is not limited to the « Handling » group only, but is also open to all the technical movements of each apparatus.

• The sequence of rhythmic steps may be combined with other uses of the apparatus (CAP). For example :

- Sequence coordinated with a handling of the apparatus without the hand(s) (0.10+0.10) or

- Sequence coordinated with a series of rotations of the hoop around the hand (0.00 + 0.10).



3. An unstable handling of the apparatus is considered as a handling without the hand(s) and

has the following symbols: ( )

4. This symbol indicates a change of plane in the movements of the apparatus:

5. This symbol indicates that the apparatus moves forward and backward:

6. This symbol indicates a backward direction of the apparatus movements:

7. « Partial passing » ( ) « Passing through the apparatus » can be total (passing of the whole body) or partial (passing at the minimum two segments of the body; one segment could be an arm, a leg, or the head-trunk).

8. « Handling without the hands » ( )

During the handling without the hands (any kind of technical movement), the apparatus must perform a autonomous technical movement, which is initiated

• through the impulse from another part of the body ;

• through an initial impulse from the hand(s), but thereafter the apparatus must complete an entire autonomous movement (without the hands).

Simply holding or catching the apparatus without the hands is not equivalent to « handling without hands ». After being held without the hands, the apparatus must « usually » complete a autonomous movement. The apparatus balanced in an unstable position (on a part of the body) is the only exception to this rule; this element remains valid as a technical movement with handling without hands.

9. The rule is to avoid cumulating CAPs or criteria, which means that the value of a CAP or of a criterion cannot be awarded twice.

10. Proper Execution of Mastery/CAPs

To be valid, the elements of Mastery and Handling of the apparatus (CAP) must be performed without technical faults in the handling of the apparatus. Judge A will only invalidate elements poorly performed.

However, in the case of throws and catches with Mastery, a distinction must be made between the following two situations, where possible faults could occur.

On the official form: ( + ) = 0.20 +0.10

• The gymnast loses the apparatus (no contact); the throw has no value either. Judge A: 0.00 + 0.00.

• The gymnast catches the apparatus incorrectly (contact with the apparatus); the throw part still counts. Judge A: 0.20 + 0.00.


RG Code of Points, 01/01/2007 version 33

3. APPARATUS -- TECHNICAL GROUPS

1. ROPE

1.1. Open rope held by both hands, rope turning forward, backward or laterally: jumps or leaps

into the rope

1.2. Open rope held by both hands, rope turning forward, backward or laterally: skips or hops

into the rope

1.3. Throws and catches ↓

1.4. Toss of one end (“échappé”)

1.5. Rotations of the rope

1.6. Handling:

• swings

• circles

• figure eights

• « sails »

• etc.

Notes 1. The rope can be held by both hands or by one hand either open or folded in 2, 3 or 4;

however, the primary technique is with the open rope held at the ends by both hands during the jumps/leaps or skips/hops.

2. It is also possible to perform wrapping, spiral, rebounding, and mills movements. These elements, as well as the movements with the folded or knotted rope, are not typical of this apparatus; therefore, they must not overwhelm the composition.

3. Jumps/leaps or skips/hops into the rope must be performed in all directions: forward, backward, with turns, etc.

2. HOOP

2.1. Rolls:

• Over the body

• On the floor

2.2. Rotations:

• Around one hand or another part of the body

• Around one axis of the hoop : hoop standing on the floor on on a part of the body, or being in suspension

2.3. Throws and catches ↓

2.4. Passing through the hoop

2.5. Elements over the hoops

2.6. Handling:

• Swings

• Circles

• Figure eights

• etc.



3. BALL

3.1 Throws and catches ↓

3. 2 Bounces

3. 3 Free rolls over the body or on the floor

3.4 Handling:

• « Thrusts »

• Swings

• Circles

• Figure eights

• « Flip over» with or without circular movements of the arms (ball balancing on one hand or on a part of the body).

• Rotations of the hand around the ball

• Small rolls

• Accompanied rolls

• Isolated bounces

• etc.

Notes : 1. It is also possible to perform assisted rolls, passive bounces, and spinning movements

with the ball. These movements as well as the ball held with 2 hands are not typical of this apparatus; therefore, they must not overwhelm the composition.

2. The execution of all technical groups with ball supported on the hand is correct only when fingers are joined in a natural manner. A "grasped" ball is considered to be static.

3. The ball held on the hand without autonomous movement of the arm is considered to be static; therefore, it is only allowed with a single body movement.

4. CATCH : The ball is generally caught with one hand. A catch with both hands will lower the value of the CAP element by one tenth. Exception: Catches outside the visual field.

4. CLUBS

4.1. Small circles

4.2. Mills

4.3. Throws with or without rotation(s) of the clubs during the flight of the apparatus (one or

two), asymmetric throws and catches : ↓

4.4. Tapping

4.5. Handling:

• « Thrusts », swings, circles with the arms

• « Thrusts », swings, circles of the apparatus

• Figure eights

• Free rotation of the clubs

• Rolls of the clubs

• etc.

4.6 Asymmetric movements

Notes. 1. Throughout an exercise, 50% of the handling of the clubs must be performed holding

the clubs by the head.



2. Asymmetric movements must be performed with different movements of each club (shape or amplitude and work plane or direction). Small rotations with time delay or performed in different directions are not considered asymmetric movements, because they have the same shape and the same amplitude.

3. Asymmetric throws may be performed with one or 2 hands at the same time. The movements of the two clubs during flight must be of different shape or amplitude (one throw higher than the other), or of different plane or direction.

4. Rolling, rotation, rebounding, or sliding movements as well as holding the clubs by their neck or their body must not overwhelm the composition

5. RIBBON

5.1. Snakes (4-5 waves)

5.2 Spirals (4-5 loops)

5.3 Handling:

• « Thrusts »

• Swings

• Circles

• Figure eights

• Rotation of the hand around the stick

• etc.

5.4 Throws ↓

5.5 Boomerang Throws

5.6 Tosses (“échappé”)

5.7. Passing through or over the pattern formed by the ribbon with the whole body or a part of

the body:

Note : It is also possible to perform rebounds (push backs), wrapping and unwrapping movements with the apparatus. However, as with all elements non specific to the technique of the apparatus, these elements must not overwhelm the composition.

Notes valid for all apparatus:

1. The technical groups for apparatus are all valid for Difficulty (to complement the « Handling » group of each apparatus, see also Chapter 7, « Balance », and the « Notes » in the Apparatus Tables). The technical groups and the « basic technical elements » for Artistry are listed in MASTERY and in the APPARATUS TABLES.

2. Elements not included in the 2005 and 2007 Codes have no Artistic value. Any synchronization between body and apparatus or any particularly interesting use of the apparatus must be submitted for evaluation, according to the specifications for Originalities.

36

APPARATUS TABLES

1. ROPE GCO (Compulsory Body Movement) = Jumps/Leaps

STARTING @: 0.00

GC

O D

iffi

cu

lty

/

Bo

dy

mvm

t to

tal

wa

ve

Fo

r e

ac

h

ad

dit

ion

al

piv

ot

jum

p/l

ea

p

ma

x.

3

Se

qu

en

ce

of

rhy

thm

ic s

tep

s

Se

rie

s

(fo

r a

pp

ara

tus

e

lem

en

ts)

Wit

ho

ut

ha

nd

s

(bo

dy

or

on

op

en

h

an

d)

On

th

e f

loo

r

(wit

h l

os

s o

f c

on

tac

t)

Ou

tsid

e

the

vis

ua

l fi

eld

Ch

an

ge

in

th

e

pla

ne

/dir

ec

tio

n

of

the

ap

pa

ratu

s

To

tal

pas

sin

g

ov

er

the

a

pp

ara

tus

(ju

mp

/lea

p)

or

thro

ug

h

Fo

r e

ac

h

ad

dit

ion

al

pa

ss

ing

in

to t

he

ap

pa

ratu

s d

uri

ng

th

e s

am

e

jum

p/l

ea

p,

or

into

th

e f

old

ed

rop

e

Ro

tati

on

of

the

bo

dy

Pa

ss

ing

th

e

ap

pa

ratu

s

be

low

a j

um

p/le

ap

or

pa

ss

ing

wit

ho

ut

the

ha

nd

s

A AA

AAA

: 0.10Turning forward

0.20 0.20 --- 0.10 *¹0.10

0.10

Turning forward

0.10*20.10 *¹

0.10 0.10

: 0.100.20 0.30 0.10 0.10 0.10 0.10 0.10

0.10 double rotation of the

end

0.10 0.10

0.20 0.10 0.10 0.10 0.10 0.10 0.10 0.10

With the hands

0.20 0.10 0.10 0.10 0.10 0.10

*NOTES :

1. Change in the plane/direction of the apparatus: a. For jumps/leaps or skips/hops, this criterion includes the rope turning in a direction different from the body’s direction. b. In case of a double change (plane and direction), the value doubles (0.10 + 0.10)

2. On the floor: a. Loss of contact means the body loses contact of with the floor. It is possible to perform jumps/leaps with « support on the hands » (jumps/leaps close to the

floor with brief hand support) or skips/hops with bent legs, but not on the knees.

37

APPARATUS TABLES

2. HOOPGCO = the 4 Body Movement Groups

STARTING @ : 0.00

GC

O D

iffi

cu

lty

/

Bo

dy

mvm

t to

tal

wa

ve

Fo

r e

ac

h

ad

dit

ion

al

piv

ot

jum

p/l

ea

p

ma

x.

3

Se

qu

en

ce

of

rhy

thm

ic s

tep

s

Se

rie

s (

for

ap

pa

ratu

s

ele

men

ts)

Wit

ho

ut

ha

nd

s

(bo

dy

or

on

op

en

h

an

d)

On

th

e f

loo

r

(wit

h l

os

s o

f c

on

tac

t)

Ou

t s

ide

th

e

vis

ua

l fi

eld

Ch

an

ge

in

th

e

pla

ne

/dir

ec

tio

n

of

the

ap

pa

ratu

s

To

tal

pas

sin

g

ov

er

the

a

pp

ara

tus

(ju

mp

/lea

p)

or

thro

ug

h

Fo

r e

ac

h

ad

dit

ion

al

pa

ss

ing

in

to t

he

a

pp

ara

tus

du

rin

g

the

sam

e

jum

p/l

ea

p

Ro

tati

on

of

the

bo

dy

Pa

ss

ing

the

ap

pa

ratu

s

be

low

a j

um

p/le

ap

o

r p

as

sin

g w

ith

ou

t

the

ha

nd

s

A AA

AAA

: 0.10 Large free roll over the body (min. 2 segments *1)

with impulse with the hand

0.20 0.10 0.10 0.10 0.10 0.10 0.10

0.10

On the floor. straight forward or backward

0.20 0.10

0.10 0.10 0.10 0.10 0.10

0.10

Rotations around

the hand (series)

0.20 0.10

0.10 for each

0.10

0.10 0.10 Passing without

the hands

Rotations around the axis, on the hand or floor

0.20 0.10

0.10 0.10 0.10 0.10 0.10

0.10

Partial / full (jumps/leaps. skips/hops) with hand(s)

0.20 0.20 0.10

0.10 0.10 0.10

0.10 (with

jumps/leaps or

skips/hops)

0.10 (with jumps/leaps or

skips/hops) 0.10

- partial (with hands) - partial (roll on the floor)

0.20

0.10

0.10 0.10 0.10

0.10

with the hands0.20

0.10 0.10 0.10 0.10

*NOTES : 1.Group : Concerning rolls on arms stretched to the side, the large roll must be performed on both arms.

38

APPARATUS TABLES3. BALLGCO = Flexibility & Waves

STARTING @ : 0.00

GC

O D

iffi

cu

lty

/

Bo

dy

mvm

t to

tal

wa

ve

Fo

r e

ac

h

ad

dit

ion

al

piv

ot

jum

p/l

ea

p m

ax

. 3

Se

qu

en

ce

of

rhy

thm

ic s

tep

s

Se

rie

s (

for

ap

pa

ratu

s

ele

men

ts)

Wit

ho

ut

ha

nd

s

(bo

dy

or

on

op

en

h

an

d)

On

th

e f

loo

r (w

ith

los

s o

f c

on

tac

t)

Ou

tsid

e t

he v

isu

al

fie

ld

Ch

an

ge

in

th

e

pla

n/d

irec

tio

n o

f th

e a

pp

ara

tus

To

tal

pas

sin

g o

ve

r

the

ap

pa

ratu

s(j

um

p/l

ea

p)

or

thro

ug

h

Fo

r e

ac

h a

dd

itio

na

l p

as

sin

g i

nto

th

e

ap

pa

ratu

s d

uri

ng

th

e s

am

e j

um

p/l

ea

p

Ro

tati

on

of

the

bo

dy

Pa

ss

ing

th

e

ap

pa

ratu

s

be

low

a j

um

p/le

ap

o

r p

as

sin

g

wit

ho

ut

the

ha

nd

A AA

AAA

Series 0.20 0.10 0.10 0.10 0.10 0.10*³ 0.10

(1 bounce / rebound)

0.10

:0.10

Large rolls *1(min. 2 segments). impulse with the

hand

0.20 0.10 0.10 0.10 0.10 0.10

0.10

With hands

0.20

0.10 0.10 0.10 0.10*² 0.10

*NOTES :

1. Group : Concerning rolls on stretched arms, the large roll must be performed on both arms stretched to the side.

2. Group : Apparatus change of plane/direction includes the following criteria : - Small successive spirals - Figure eights with change of plane and ample motion of the trunk - Rotations of the hand around the ball - Small successive rolls - Large accompanied roll (2 segments minimum) - Isolated bounce/rebound with the foot or the knee - Etc.

3. Group and the criterion « Change of plane/direction»: a change in the rhythm of the bounces/rebounds is considered as a change of plane/direction.

39

APPARATUS TABLES4. CLUBS GCO = Balance

STARTING

@: 0.00

GC

O D

iffi

cu

lty

/

Bo

dy

mvm

t to

tal

wa

ve

Fo

r e

ac

h

ad

dit

ion

al

piv

ot

jum

p/l

ea

p m

ax

. 3

Se

qu

en

ce

of

rhy

thm

ic s

tep

s

Se

rie

s (

for

ap

pa

ratu

s

ele

men

ts)

Wit

ho

ut

ha

nd

s

(bo

dy

or

on

op

en

h

an

d)

On

th

e f

loo

r

(wit

h l

os

s o

f c

on

tac

t)

Ou

tsid

e t

he

vis

ua

l fi

eld

Ch

an

ge

th

e o

f

pla

ne

/dir

ec

tio

n

of

the

ap

pa

ratu

s

To

tal

pas

sin

g

ov

er

the

a

pp

ara

tus

(ju

mp

/lea

p)

or

thro

ug

h

Fo

r e

ac

h

ad

dit

ion

al

pa

ss

ing

in

to t

he

a

pp

ara

tus

du

rin

g t

he s

am

e

jum

p/l

ea

p

Ro

tati

on

of

the

bo

dy

Pa

ss

ing

th

e

ap

pa

ratu

s b

elo

wa

ju

mp

/le

ap

or

pa

ss

ing

wit

ho

ut

the

ha

nd

A AA

AAA

: 0.10

1 mill (double or triple)

0.20

0.10

0.10 0.10 0.10*³ 0.10

Asymmetric movements 0.20

0.10 0.10 0.10 0.10 0.10 0.10 0.10

With the hands*¹ 0.20 0.10 0.10 0.10 for each

0.10 0.10 0.10 0.10

* NOTES :

1. Le technical group also includes free rotation of the clubs and roll of the clubs.

2. The criterion « Without hands » (with a part of the body or on the open hand) includes the criterion « with the help of one of the two clubs ».

3. Group and the criterion « Change of plane or direction »: A series of mills describing a half-circle (0.10 for each) is considered as a change of plane or direction.

40

APPARATUS TABLES

5. RIBBONGCO = Pivot

STARTING

@: 0.00

GC

O D

iffi

cu

lty

/

Bo

dy

mvm

t to

tal

wa

ve

Fo

r e

ac

h

ad

dit

ion

al

piv

ot

jum

p/l

ea

p m

ax

. 3

Se

qu

en

ce

of

rhy

thm

ic s

tep

s

Se

rie

s (

for

ap

pa

ratu

s

ele

men

t)

Wit

ho

ut

ha

nd

s

(bo

dy

or

on

op

en

h

an

d)

On

th

e f

loo

r

(wit

h l

os

s o

f c

on

tac

t)

Ou

tsid

e t

he

vis

ua

l fi

eld

Ch

an

ge

in

th

e

pla

ne

/dir

ec

tio

n

of

the

ap

pa

ratu

s

To

tal

pas

sin

g

ov

er

the

a

pp

ara

tus

(ju

mp

/lea

p)

or

thro

ug

h

Fo

r e

ac

h

ad

dit

ion

al

pa

ss

ing

in

to t

he

a

pp

ara

tus

du

rin

g t

he s

am

e

jum

p/l

ea

p

Ro

tati

on

of

the

bo

dy

Pa

ss

ing

of

the

ap

pa

ratu

s

be

low

a j

um

p/le

ap

or

p

as

sin

g

wit

ho

ut

the

ha

nd

A AA

AAA

: 0.10 0.20 0.20 0.10 0.20*¹ 0.10 0.10 0.10 0.10

: 0.100.20 0.20 0.10

0.20*¹ 0.10 0.10*³ 0.10 0.10

0.20 0.10 0.10 0.10*³ 0.10 0.10 0.10

*²With hands

0.20 0.10

0.10 0.10 0.10

*NOTES :

1. Groups and and « Series » criterion :

a. The « series » criterion (+0.20) for spirals and snakes inevitably includes « an apparatus change of plane/direction”.

b. The series may also consist of alternating snakes and spirals.

2. The Technical Group also includes the rotation of the hand around the stick of the ribbon and the roll of the stick.

3. Groups and and criterion « Change of plane/direction »: Passing part of the body (for example the arm) through the pattern formed by the ribbon (+ 0.10 if spirals) with total passing of the stick, followed by the toss of the stick without rotating it, is considered a change of plane/direction.



6. Examples of catches of the throws

6.1. Examples of catches behind the back or outside the visual field, with the hand(s)

ROPE HOOP RIBBON BALL CLUBS

1 hand

6.2 Examples of catches behind the back or outside the visual field, without help of hands


6.3 Examples of catches without help of hands


6.4 Examples of mixed catches (hand and other parts of the body)




6.5 Examples of catches below the leg during a jump/leap


6.6 Special cases according to the apparatus

• Rope: catch and passing into the apparatus during the same flight phase of a jump/leap

• Hoop: same as for the rope + immediate catch with roll

• Ribbon: same as for the rope

• Ball: immediate catch with roll


6.7 Examples of catches with gymnast lying on the floor or with back bend of the trunk, without help of hands.




6.8 Apparatus caught and balanced on a part of the body, aside from hands and arms, let sliding down or dropped voluntarily: 0.10 point or 0.20 point for each, depending on the difficulty of the catch (see above Criteria for Catches of Large Throws).


______________________________________________


7. MODALITY FOR THE COMPLETION OF THE FORM

7.1 Modality for the Completion of the Form for Artistry in Individual Exercises

7.1.1 The CAP element must be entered on the left-hand column of the form.

7.1.2 The CAP element or CAP combination must be written in parenthesis and any difficulty outside, on the right of the parenthesis, with the letter A.

Examples:

Clubs: throw one club outside the visual field during a Compulsory Body Movement Group

(GCO) Difficulty ( ) A = 0.30 point.

Hoop: throw with rotation of the hoop, without hands, outside the visual field during a GCO

difficulty with rotation of the body ( ) A = 0.60 point.

Ball: large roll, without hands, outside the visual field during a GCO difficulty

( ) A = (0.10 + 0.10 + 0.10 + 0.20) = 0.50 point.

7.1.3 If there is space in the same box, the elements performed in rapid succession must be listed on the same line.

7.1.4 It is possible to give the value of each component of the composition, but in any case, the final addition is necessary. Example:

Hoop: ( ) A = (0.10 + 0.10 + 0.10 + 0.10 + 0.20) = 0.60 point.

Based on the principles of the 2005 Code which have not changed, it is imperative to specify the following:

7.1.5 For the series of Compulsory Body Movement Group (GCO) difficulties, the various criteria usually count only once.

For example:

• Rope 2005: one jump/leap A passing into the rope, forward = 0.10; 2 jumps/leaps A = 0.20; 3 jumps/leaps A = 0.30.

• One "jeté” leap with a turn passing into the rope, forward = 0.20; 2 “jeté” leaps A = 0.30; 3 “jeté” leaps = A 0.40.

• Rope 2007: one jump/leap A passing into the rope, forward = 0.20 for A plus 0.10 for passing into the rope = 0.30; 2 jump/leaps A = 0.40 for the 2 jumps/leaps plus 0.10 for passing into the rope = 0.50; 3 jump/leaps A = 0.60 for the 3 jumps/leaps plus 0.10 for passing into the rope = 0.70.

• One “jeté” leap with a turn passing into the rope, forward = 0.20 for the leap plus 0.10 for passing into the rope, plus 0.10 for rotation of the body = 0.40; 2 “jeté” leaps A = 0.40 for the 2 leaps plus 0.10 for passing into the rope plus 0.10 for rotation of the body = 0.60; 3 “jeté” leaps A = 0.60 plus 0.10 plus 0.10 = 0.80.


______________________________________________


7.1.6 According to the criteria of the 2005 Code, herewith respected, the value of the CAP difficulties does not change, regardless of their dynamic or static characteristics.

For example:

• For CAP with GCO pivot difficulty: the essence of a pivot is the rotation; therefore the value of the difficulty does not change and remains 0.20.

• For CAPs with balance difficulty, the value of the difficulty is 0.20, even if the balance is on the knee (on the floor).

7.1.7 With regard to “Mastery”, the criteria (Code 2005) are different; for example, for throws and catches, the situation changes if there is a body movement difficulty with rotation or on the floor. In “Mastery” for each artistic characteristic one must add the specified 0.10.



4. DIFFICULTY (D)

1. GENERALITIES

1.1. Each individual exercise can have a maximum of 18 difficulties for a value of 10 points.

1.2 Each difficulty must be entered on the form in its proper “box” and in the order of succession.

1.3 The succession of all difficulties must remain in the order of execution.

1.4 The total value of body movement difficulties is obtained by adding the values of the difficulties belonging to the Compulsory Body Movement Group(s) (GCO) (6 at the minimum) specific to the apparatus, plus the value of a maximum of 2 difficulties, if any, from each of the non-compulsory body movement groups.

1.5 The Compulsory Body Movement Groups (GCO) specific to each apparatus are as follows:

ROPE HOOP BALL CLUBS RIBBON

Jumps/Leaps

4 groups

Flexibility / Waves

Balance Pivots

1.6 The groups of compulsory body movements specific to the hoop (4 groups) must be well balanced. No group can have more than 2 additional difficulties over any other group.

Penalties : 1. If there are more than 18 difficulties on the form/in the exercise: 0.50 point, and only the

first 18 difficulties performed will be evaluated. 2. If there are fewer than 6 difficulties from the compulsory body movement group on the

form/in the exercise: 0.50 point. 3. For each group of non-compulsory body movements represented by more than 2

difficulties: 0.50 point. Only the first 2 difficulties entered by the judge will be evaluated. 4. Hoop: 0.50 point for unequal use of difficulties from the body movement groups. Only the

first difficulties, which conform to the norm and are listed on the official form, will be evaluated.

5. For difficulties performed but not included on the form: 0.50 point for incorrectly completed form (to be passed on to the Coordinator Judge).

6. If during an exercise a gymnast performs more than one “slow turn” over 3 successive difficulties: 0.50 point for incorrect composition (to be passed on to the Coordinator Judge).

1.7 Each gymnast must submit in advance and in writing the sequence of all difficulties, using the official forms and appropriate symbols, entering them in the right-hand column and the artistic CAP elements in the left-hand column without adding the values if there is podium training. Otherwise, the gymnast cannot participate in the competition. If there is no official podium training, the form must be completed by adding the values.

1.8 All original elements must be declared before the Championships and will be evaluated by the TC and the judges during official training. After the Championships, the concerned federation will be required to send the descriptive texts in 2 languages (French and English) with drawings of the originalities accepted as valid. Gymnasts who do not participate in the official Championships can send videos of their originalities to the FIG for evaluation; however, these original elements will only be valid for tournaments, unless they were approved at the first Championships in which the gymnast participated.



2. VALUE OF THE DIFFICULTIES

2.1. The values of the difficulties are as follows:

A = 0.10; B = 0.20; C = 0.30; D = 0.40; E = 0.50; F = 0.60; G = 0.70; H = 0.80; I = 0.90; J = 1.00 or more.

2.2. Each difficulty is counted only once. Therefore, repetition of a difficulty will not be counted, except in the specific cases concerning a series (succession) – (see the various body movement groups).

2.3. The difficulty value is determined by the body movement element. However, all body movement difficulties performed without connection with the apparatus will not count as difficulties.

2.4. A difficulty is in connection with the apparatus:

• if the apparatus is supported on the hand or hands or on another part of the body and performs a technical movement or is placed in an unstable balance position;

• if the apparatus is thrown at the beginning, during, or towards the end of the difficulty;

• if the apparatus is caught at the beginning, during, or towards the end of the difficulty.

2.5. Any difficulty of body movement performed with a static apparatus -- simply held by the hand or hands or with another part of the body, or apparatus simply lying on the floor -- does not count as a difficulty, except in the case of a single static club.

Note: A static apparatus is an apparatus held for a long time. a. "Apparatus held" means that the apparatus is held firmly with one or two hands and/or

by one part or more than one part of the body. b. Apparatus held "for a long time" means that the apparatus is held longer than the

length of one body movement element:

• 2 or more successive traveling or connecting elements

• A preparatory element for the difficulty and the difficulty itself

• Two successive difficulties

2.6. To be valid, a difficulty must be performed without the following technical faults:

• Serious alteration of the basic characteristics specific to each group of body movements

• Loss of the apparatus during the difficulty (with or without throws)

Note: Throw and catch of 2 clubs: if there is a loss of a single club, the difficulty is valid, but there will be an execution penalty.

• Loss of balance during the difficulty, with support of one or two hands on the floor or on the apparatus, or fall.

2.7. Regarding the body movement element, a difficulty not performed as described on the form must be listed and evaluated by the judge according to the execution sequence. Any difficulty performed with a value lower than entered in the form will not count; difficulties performed with a higher value will keep the value indicated on the form – except for pivots (see Individual Exercises - Pivots).



3. PENALTIES

��

� ��

�

��

��

��

��

��

� ��

��

��

��

��

�� !��"��

#��$�

�

�� %��&��'��(�

��)�� !��"�� #��$�

�

4. EVALUATION OF THE DIFFICULTY

4.1. The Difficulty Judge (D) must proceed as follows:

• Follow and check every difficulty according to their performance sequence and add, if necessary, the difficulties not listed on the form.

• Verify that the gymnast performs the difficulties listed on the submitted form in a valid way.

• Apply the corresponding score.

• Deduct the penalties.



5. GROUPS OF BODY MOVEMENT ELEMENTS

5.1. FUNDAMENTAL GROUPS (valid for difficulties)

• Jumps and leaps

• Balances

• Pivots

• Flexibility/waves

5.2. OTHER GROUPS (valid for connecting moves)

• Travelings

• Skips and hops

• Swings and circles

• Turns

• Rhythmic steps

6. JUMPS OR LEAPS

6.1. GENERALITIES

6.1.1 All the difficulties of jumps or leaps must have the following basic characteristics:

• Good height (elevation) of the jumps or leaps

• Shape fixed and well defined during the flight

• Good amplitude in the shape.

6.1.2. A jump or leap without proper height, fixed and well defined shape or sufficient amplitude will not qualify as a difficulty and furthermore will be penalized for Execution.

6.1.3. A jump or leap not coordinated with the apparatus will not qualify as a difficulty.

6.1.4. A series of jumps/leaps consists of a maximum of 3 successive identical jumps/leaps, performed with or without an intermediary step (2 heel supports).

6.1.5. Each component in the series counts as one difficulty.

6.1.6. Only the series of split leaps performed without intermediary steps counts as onedifficulty.

6.2. CRITERIA FOR DEFINING THE VALUES OF THE JUMP/LEAP DIFFICULTIES

+ 0.10 + ring

+ 0.20 + back bend of the trunk (also with ring)

+ 0.10 + take off from both feet – except for stag leaps (also with ring)

+ 0.10 + with ½ turn of the trunk

+ 0.30 + with ½ turn of the whole body (also for “Cossack”, ring, scissors, pike and straddle )

+ 0.20 + for each additional ½ turn (also for “Cossack”, ring, pike and straddle)

+ 0.10 + leg switch (bent leg)

+ 0.20 + leg switch (stretched legs)

+ 0.20 +« Jetés » with turn

« Cossack »

+ 0.10 + leg high up with help

+ 0.20 + leg high up without help

+ 0.20 + take-off and return on the same foot with ring



Ring

+ 0.20 + Ring jump with both legs, take-off from both feet

Scissors legs front legs back

+ 0.10 + legs stretched front higher than the head

+ 0.10 + legs back and bent

« Fouetté » leaps « Entrelacé » leaps

+ 0.10 + splits (also « entrelacé »)

+ 0.10 + one leg with ring (also « entrelacé »)

+ 0.20 + two legs with ring

+ 0.20 + passing with one leg over the other bent

+ 0.30 + passing with one leg over the other leg stretched

+ 0.30 + scissors legs back with ring

+ 0.40 + scissors legs back with ring, feet higher than the head

Pike and straddle jumps

+ 0.10 + straddle jump

+ 0.10 + take off from both feet

+ 0.20 + side straddle, trunk bent forward

Arch Jumps

+ 0.20 + for each ½ turn

« Cabriole »

+ 0.20 + with ½ turn

+ 0.10 + passing through the splits position

Vertical Jumps

+ 0.10 + for each additional ½ turn

Note: Jumps/leaps can also be performed with take-off from two feet, even when it is not specified. In this case, the symbol must be changed (add arrows) but the value of the jump/leap does not change. However they are considered as different jumps/leaps (the gymnast can perform them in the same exercise).



�� # � $�� % � &� �' � (�� ) � *� �+ � ,� �- � .� �� /� �0 � 1��

��

��

� � � • �� !"��

• �� !"��

• ��%+ !"��

• ��%+ !"��

� �

� � � �

��

� �

� �

�� • ��2��

� • ��%+ !"�

�

� � � � � �

�

�

�

��

!��"��

� � � � � � • %��3��

� �

3� � � � � � � � �

�� #��

$��#��

� • �� •�� • ��

� � � � �

� �

� � �

� � � � �

%�� •��4��

•��&��

�

• �� • ��

� � � �

� �

��

� � �

��#��

� � • �� • ��

• ��

� � � �

� � �

� � �

� � �



A 0.10 B 0.20 C 0.30 D 0.40 E 0.50 F 0.60 G 0.70 H 0.80 I 0.90 J 1.00 or more

�� #��

�� • ��4�� • ��&��

• �� • ��

� � �

� � �

� � � �

� �

�� '(�)�*��

��(�)��

� � • +(�)+�� • �567�866�� "�

• ��

� � � �

� � �

� � �

� � � �

�� • ��

• �� 2��

� � �

� � � � �

� �

� � �

�� #��

� ��#�� •�� • ��

• ��

• ��

� � �

� � �

��

� � �

��#��

• 9� �� • ��

• ��

� � � � � �

� �

��

� � � � � �




�� #��,��

� ��-��#��#��

• �� !"�

• �� !"��

• �� !"��

� � � � � �

�

� ��

� � � � � �

�!�� • �� !"�

• �� !"��

• ��2�� !"��

� � � �

� � �

� � �

� � �

�$�� • �� %+ !"�

•�� %+ !"��

•�� %+ !"��

� �

� � � � �

� �

�

� �

�%��.��#�/�0��

�

�

� � � • :��7�� ;��2��<��

� � � � �

� � � �

�

� � � � �



��A 0.10 B 0.20 C 0.30 D 0.40 E 0.50 F 0.60 G 0.70 H 0.80 I 0.90 J 1.00 or more

�� '1��*�(�0��

��'1��*�(�0��

��

� • �� "�

• �� !"�

• ��2��

• ��2�� %+ !"�

� � 2��=��

��

�

� � � �

� � �

�� 3�1��4�

�

� � � � � � • �� $��/�0�� >$��?��3��%+ !�

� � � � � � �

�

�

��

• ��

� • �� "��

• �� !"�

� • ��2�� %+ !"�

� � �

�

�

�

� �

�

�

� � �

��

� • ��

� • �� "��

• �� !"�

� • ��2�� %+ !"�

� �

� �

�

�

� �

�

�

� �

�� 5��#�(�0��

� ��6��#��#�

��

� � •�� !"�

� •��2�� %+ !"�

� � � �

�

� �

�

�

�

� � � �



��A 0.10 B 0.20 C 0.30 D 0.40 E 0.50 F 0.60 G 0.70 H 0.80 I 0.90 J 1.00 or more

�� 5��#�(�0��,��

��#��#��#�

��

• @��

• @��

� •A�� 7�� #��"�

� � � � �

�

� �

�

�

� � � � �

� ��

� � �� • ��2�� !"��"�

• ��2�� !"��

•��2�� %+ !"��

•��2�� %+ !"��

� �

� � � �

� � � �

� �

!�� (�0��

�!��&�� •9��

� � •9�� !"��

� � � 2��7� ��!��""��

� �

� �

�

� � � �

28. ��&��#��#��8��

�

� � � � � � � � �

�%��

��

•9��

��

•9�� 3��

�

� •9��

�

• 9�� 3�� B��

� � � �

� ��

�

� �

� � � �




$�� 3�9��)�4��

��9��)�4�� • 9��

• ��

� �

� �

� � � �

2��=� �� #��$#� ��!�� ""� �� %&'(� �� )� ��*��

�� • �� • ��

� � � �

� � �

� �

� � � �

�� •�� !��

•�� 3�� !��

� � �

� � � �

� �

� � �

%�� 3�:��)�4��

��':��)+��

•9��

•�� •�� 3��

•�� 3��

� � �

�

��

� �

2��=� ��+��$,��!��-��%&'(��)��*��

� �� • >*��8�C�� • �� •��

�

� � �

� � � � � �

�� • ��

� � � � � �

� � �

�

� � � � � �

�



�

�

�� ;�� 1�� <�� 9�� :�� =��!�� >��$�� ?��%�� (��0��

�� -��(�0��"��#��

� ��-��

• ��

�

�

•��

��

�

� •�� !"�

��

�

•�� !"��

�

•�� %+ !"�

��

�

� 2��.� �� %��)�

�!��

� • 9��7��

�

�

•��

�

�

� •�� !"�

�

�

•�� !"��

�

•�� %+ !"�

�

�

� �

�$�� • 9�� • 9��

� � � � �

� �

�

�

�

� � � � �

�� (�0��

�%��/�0�� •�� !"� � • ��%+ !"� � � � � �

�

�

� �

�

�

� � � � �

�� 3�1��4�(�0��

��3�1��4��

��

� •�� !"�

�

• ��

�

� � � � � �



�� ;�� 1�� <�� 9�� :�� =��!�� >��$�� ?��%�� (��0��

�� .��(�0��#��&&��1��07��

�� .��(�0�� !"�

• �� %+ !"�

• �� )' !"�

•��#�� -# !"��

� � � � � �

� � � �

� � � � � �

��#��&��

• �� !"��

• �� %+ !"�

•�� )' !"�

• ��#�� -# !"��

� � � � �

�

� � � � �

� � � � �

��#��

• �� !"��

• �� %+ !"�

•�� )' !"�

• ��#�� -# !"�

� � � � �

�

� � � � �

� � � � �

��#��

• �� !"��

• �� %+ !"�

•�� )' !"��

• ��#�� -# !"�

� � � � �

�

� � � � �

� � � � �

� �� @��(�0��

��@��/�0��D#�� !"�

•@��1�� %+ !"�

•�� )' !"�

•��#�� -# !"�

� � � � � �

� � � �

� � � � � �



�� ;�� 1�� <�� 9�� :�� =��!�� >��$�� ?��%�� (��0��

15. Vertical Jumps with Turn

��A�� • ��%+ !"� • ��)' !"� • ��-# !"� � � � � � �

16. Special case : Butterfly

!��';��&��*�� • ��;��

• ��

Note : « DIVE JUMP or LEAP » is a term used to describe a well known jump/leap of RG, which is often performed in order to pass through an apparatus, as well as for other situations. It is characterized by the absence of height, which is not required, it is aimed directly at the floor– the trunk of the gymnast leaning forward – and it is immediately followed by a roll. Forming a whole with the roll, it should be considered as a type of acrobatic element but not as a difficulty.


Code of Points RG – Version 01/01/2007 63

7. BALANCES

7.1. GENERALITIES

7.1.1. All the difficulties of balance must have the following basic characteristics:

• Be performed on the toes or on one knee;

• Be visibly held for a while;

• Have a fixed and well-defined shape (without moving the free leg or the support leg during the difficulty);

• Have good amplitude in the shape;

• Be coordinated, once the balance position has been taken, with a minimum of two movements of the apparatus.

7.1.2 Any difficulty performed on a flat foot or not visibly held does not count as a balance difficulty. Absence of any of the above requirements will also be penalized for Execution.

7.1.3. If the apparatus is not in motion throughout the duration of the balance difficulty, the difficulty is not valid.

7.1.4. The number of technical movements of the apparatus is 2 for all levels. Absence of any of the required movements cancels the value of the difficulty.

7.1.5. Movements visible and with good amplitude count as one movement. For example: swings of the arms, large throw, high active bounces (at the minimum above the gymnast’s knee), catch of a large throw, roll of the apparatus over one segment of the body, passing the apparatus during an ample and visible movement of the arms, etc.

7.1.6. Series of small movements generally performed by the wrist also count as one movementregardless of their number. For example: circles, rotations, "frappés", snakes (4 or 5 waves), spirals (4 or 5 circles), etc. Therefore, one single rotation around another part of the body, counts as one movement.

7.1.7. The following elements only count as one movement: Small throws with or without rotations, followed with the catch of 1 or 2 apparatus within the same time frame.

7.1.8. Balancing the apparatus on one hand counts as one movement, provided that the whole arm moves. Examples: swings, and "flip over".

7.1.9. Non typical movements (examples: wrappings, spirals, rebounds of the rope; rolls, rotations, push backs, sliding and bouncing of the clubs, etc.) count as one technical movement,

7.1.10. The following elements count as 2 movements: Circles of the arm/arms, toss and catch of the apparatus by one end; apparatus held in an unstable balance on one part of the body (aside from the hands) -- with balance held for a while; apparatus freely rotating on the hand or on the fingers and large free roll over the body, the series of active bounces reaching below the level of the knee, the “mills” of the folded rope made with a series of small circles and performed with wrists close to each other.

7.1.11. The following elements also count as 2 movements: mills (also of the open rope with wrists apart) and asymmetric movements including throws, because they are performed on 2 different levels.

7.1.12. The support leg whether stretched or bent does not change the value of the difficulty.

7.1.13. During the difficulties with "slow turn", it is sufficient to have the apparatus in motion during the whole duration of the balance, regardless of the number and the amplitude of the movements of the apparatus.

7.1.14. The technical movements of the apparatus must be counted from the moment the balance position has been fixed until the time when the position starts to change.



7.2. CRITERIA FOR DEFINING THE VALUES OF BALANCE DIFFICULTIES

7.2.1. Criteria for the following balances:

+ 0.10 + Leg high up front or sideways, without help

+ 0.40 In addition to the start value, for circle of the leg in balance with help (start : balance with help)

+ 0.60 In addition to the start value, for circle of the leg in balance without help (start : balance with help)

+ 0.40 In addition to the start value, for circle of the leg in balance with help (start : balance without help)

+ 0.60 In addition to the start value, for circle of the leg in balance without help (start : balance without help)

+ 0.20 + For each « slow turn » (180°) - valid for all balances of the section

+ 0.20 + Trunk bent backwards

+ 0.10 + Leg high up back or in ring position, with help

+ 0.10 + Ankle on the shoulder, held with hand/apparatus

+ 0.20 + Ankle freely placed on the shoulder, without help of hand/apparatus

+ 0.30 + Leg high up back or in ring position, without help

+ 0.40 + Leg high up with ring, without help, foot higher than the head

+ 0.50 + With ring, thigh in contact with the head

+ 0.10 + Leg and trunk at the horizontal front

+ 0.30 + Trunk at the horizontal front and back splits

+ 0.20 + Leg and trunk at the horizontal sideways

+ 0.30 + Trunk at the horizontal and side splits

+ 0.30 + Trunk back at the horizontal and leg front

+ 0.10 + Support leg bent

+ 0.20 + Support leg bent, free leg high up, without help

+ 0.20 + In addition to the start value, for passing from a stretched to a bent support leg

7.2.2. Balance on the knee

+0.10 + On the knee, leg high up front or sideways without help or back with help

+0.30 + On the knee, leg high up, back bend of the trunk

+0.10 + On the knee, leg with ring with help

+0.30 + On the knee, leg with ring without help

+0.10 + «Slow turn» (360° max.), on the knee.



7.3. LIST OF THE DIFFICULTIES OF BALANCE ( )

Notes: 1. All "slow turns" must be performed as follows: no more than a ¼ rotation at every impulse. The difficulty will not be evaluated, if the rotation is initiated by one

single impulse. 2. The “slow turn” must begin once the position of the difficulty is fixed. 3. It is forbidden to include 2 or 3 successive difficulty elements with “slow turn”. A maximum of one difficulty element out of 3 is allowed with “slow turn”. 4. The FIG/RG/TC does not encourage "slow turns" on the knee. 5. All "slow turns" on the knee of more than 360° have the same value as a 360° turn. 6. All difficulties with ring must have the foot in contact with the head.7. In cases of rings with the leg higher than the head, the leg must be in contact with the head.

��

�� !�� "#��$��%�&��!��!��"''"�"��%�

�(� �"#"� ��)�'"%%*�+��#�,�#�&��!"��!��!��-��"#�

�(��.'"%%*/� � � � � � � � � �

�

� � � � � � � � �

�( 0��1�2��3��&"�4�

� � � � � � � � �

�

� � � � � � � � �

( �" 1�2��4��3��!��1�

� � � � � � � � �

�

� � � � � � � � �

��



6.3 LIST OF DIFFICULTIES OF JUMPS OR LEAPS ( )

Notes : 1. In all difficulties with ring, the foot must be in contact with the head (predominant action of the leg) 2. In all difficulties with back bend of the trunk, the head must be in contact with the leg (predominant action of the trunk) 3. Difficulties with a ½ turn or 1 turn without complete rotation have no value (0 point) 4. The rotation of the whole body during the flight is evaluated after the take-off foot/feet has/have left the floor and before the landing of the foot/feet on the floor5. For all jumps/leaps with rotation of the vertical axis of the trunk, the initial impulse must be forward, and the rotation during the flight must be a minimum of 180º.6. Jumps or leaps combined with more than one main action (for example, stag leap with ring) must be performed in such a way that they create during the flight a single and clearly visible image of a fixed

and well defined shape -- rather than 2 different images and shapes.


1. Split Leaps

�� • ��

• �� •��

•��

� � � � �

�

� ��

��

� � � � �

�� • ��

•��

�

•��

•��

� � � �

� �

� �

�

�

� � � �

��

�

� � � � � � • ��

��

�

� � � � � � �

�

� �

�� • �� !"��

• �� • ��

� � ��

� �

� �

� � �

� � � �



��

� ��

��(�� (�� (�� (�� ( �� (�� (�� (�� (�� (��

�� !�� "#��$��%�&��!��!��"''"�"��%�

�(��5�''��#�,�%�� !�4�

�(�(� � ��#�,�3��

�(��!��!��-��"#� � � • �� • ��

�

�

�

�

�

�

� � � �

(�5'#��%��

• �� • ��

� • ��

� � � �

�

�

�

�

�

�

� � � �

•�� •��

� • ��

� � ��5'#��%� �

�

�

�

�

�

� � �

�(�5'#��%�&��!�!�#'�"�4� �� #��

� � � � • ��

�

� • ��

�

� �

�(�5'#��%�&��!��!�#'�"�4� �� #��

� � � � � • ��

�

� • ��

�

�



�

� � �

��

�� !�� "#��$��%�&��!��!��"''"�"��%�

�(�5�''��#�,�%�� !�4�6 ��748�

�(�(� �� #�,�%�4�&"9%�

�(��!��!��-��"#� � � • �� • ��

�

�

�

�

�

�

� � � �

��(�5'#��%� •�� • ��

� • ��

� � � �

�

�

�

�

�

�

� � � �

��(�5'#��%��

�

� • ��

�

� • ��

�

� • ��

�

� � �

��(�5'#��%�� • �� !��"��#��

�

�

� � • �� !��"�� $�%��"��&��#� ��'�� :"#��;��(��

�



��(�� (�� (�� (�� ( �� (�� (�� (�� (�� (��

�� !�� "#��$��%�&��!��!��"''"�"��%�

�((� ��#�,�%�� !�4�2" 1�

�(��"2�%<�� •( %��)�� •�� •��

�

�

�

�

�

�

� � � �

��(� � � •*��% !#�%��#�

� � � � � �

� � �

�

� � � � � �

� (��" 1�%'#��%� � •�� • �� • ��

� �

�

�

�

�

�

� � �

��(� � � � • �� • �� • ��

� � � �

�

�

�

�

�

�

�(�(� ��#�,�2��2" 1�

��(��4�� • (�� • �� • ��

�

�

�

�

�

�

� � � �

��(� � � •��% !#�%��#�

� � � � � �

� � �

�

� � � � � �



�

��(�� (�� (�� (�� ( �� (�� (�� (�� (�� (��

�� !�� "#��$��%�&��!��!��"''"�"��%�

�(�(� ��#�,�2��2" 1�6 ��748�

��(�=�,��,�'�%�� • *�� • �� • ��

� �

�

�

�

�

�

� � �

��(�=�,��,�'�%��&��!�!�#'� � � � � � � � �

• +��

�

�

• +��

�

� � � � � ��

� � � � � � � �

��(�=�,��,�'�%�� • �� • �� • ��

� � � �

�

�

�

�

�

�

��(�=�,��,�'�%��!�,!��!"��!��!�"4�

� � � • �� • �� • ��

� � � � �

�

�

�

�

�

�(�>��!��,��!�,!�� " ��&��!��!��!�"4�

� � � � • �� • ��

� � � � � �

�

�

�

�

�



��

��

��(�� (�� (�� (�� ( �� (�� (�� (�� (�� (��

�� !�� "#��$��%�&��!��!��"''"�"��%�

(� �0��1�"��!��!��-��"#��

��(��!��!��-��"#� � � • % !#��! ��

�

�

� �

�

� � � � �

� (��!��!��-��"#� � � • ��! �� • �� • ��

� � � � � � � � � ��

�

�

�

�

�

� �

��(��5�4��%'#��%� � � � • ,! ��

� • �� • ��

� � � �

�

�

�

�

�

�

��(��!��!��-��"#� � • ��! �� • �� • ��

� � � � � � � � � ��

�

�

�

�

�

� � �

��(��" 1�%'#��%� � � � • -��! ��% !#��

� • �� • ��

� � � �

�

�

�

�

�

�

�(� ��5�''��#�,�2��

��(��!��!��-��"#� • ��.�� !#�� •,��%��/��"�

• �� •��

� �

��

�

�

� �

�

� � �



�� &��

�� !�� "#��$��%�&��!��!��"''"�"��%�

�(� ��5�''��#�,�2��6 ��748

�(�=�,�!�,!��'�3�� •*�� •,��%��/��"�

• �� •��

� �

� � �

�

�

� � �

�(�=�,�!�,!��'�3�� • *�� •,��%��/��"�

• �� • ��

� � �

��

�

�

� �

�(��!��!��-��"#� � • ��.�� !#�� •,��%��/��"�

• �� • ��

� �

� � �

�

�

� � �

(��!��!��-��"#� � • ��.�� !#��% !#� •,��%��/��"�

• �� • ��

� �

� � �

�

�

� � �

�(��4�� • �� •,��%��/��"�

• �� • ��

� �

� � �

�

�

� � �

� � � � � � � � � �

(�?��!��1��

(�(� ��#�,�3��

(��!��!��-��"#� � � � � � � � � �� •��

�

• ��

�

� � � � � � �



� �� &��

�� !�� "#��$��%�&��!��!��"''"�"��%�

(�?��!��1��6 ��748�

(�(� ��#�,�3��6 ��748�

�(�=�,�!�,!��'�� • �� • ��

� � ��

� �

� � � � � � �

�(�=�,�!�,!��'� � • �� • ��

� � � ��

� �

� � � � � �

�(�=�,�!�,!��'�� • 0 !#�%��#��

� � � � �

� � � �

�

� � � � �

(�(� ��#�,�%�4�&"9%��

�(��!��!��-��"#�

• �� • ��

� � � � � � � � � ��

� �

� � � � � � �

��(��=�,�!�,!��'� • �� • ��

� � � � � � � � � ��

� �

� � � � � � �

��(�=�,�!�,!��'� � • �� • ��

� � � ��

� �

� � � � � �



� �

�� &��

�� !�� "#��$��%�&��!��!��"''"�"��%�

((� ��#�,�%�� !�4�2" 1��

��(��!��!��-��"#��

• (��'�� • ��

�

� �

� � � � � � �

� � � � � � � � � �

�(�=�,�!�,!��'�� • �� • ��

��

� �

� � � � � �

(�(� ��#�,��"��4��,�'�%��

��=�,��"��4�� • 1� �� • ��

� � � � � � � � � ��

� �

� � � � � � �

� (�>��!��,� � • �� • ��

� � � ��

� �

� � � � � �

��>��!��,� � � � • �� • ��

� � � � � ��

� �

� � � �


Code of Points RG – 01/01/2007 74

8. PIVOTS

8.1. GENERALITIES

8.1.1. All the pivot difficulties must have the following basic characteristics:

• Be performed on the toes (heel raised high};

• Have a shape fixed and well defined during the rotation until the end;

• Have a good amplitude in the shape.

8.1.2. Any pivot performed on a flat foot during the entire rotation or part of it or with a shape not well defined does not count as a difficulty. Absence of any of the above requirements will also be penalized for Execution.

8.1.3. In case of an incomplete rotation compared to what was indicated on the official form, the pivot will be evaluated according to the number of rotations performed (this criterion is also valid for “fouetté” pivots).

8.1.4. The amplitude of the shape and/or the level of the rotation determine the level of the difficulty.


8.1.6. The pivot can end with an elevation of the trunk and leg, giving more precision to the end of the difficulty.

8.1.7. An unstable balance of the apparatus on the hand or on another part of the body during a pivot is not considered as statism.

8.1.8. In the series of identical pivots (a maximum of 3), the pivots are performed one after the other without interruption and only with heel support.

8.1.9. Each element in the series counts as one difficulty, except for the combination of identical “fouettés”, which counts as one difficulty.

8.1.10. Pivots with changes of shapes represent a “category”. Each shape included in the pivot must have a minimum rotation of 360º. If one of the shapes of the pivot is not performed with a full rotation (360º), the value of the whole pivot is eliminated.

8.1.11. During pivots with shape change, passing from one shape to another must be performed without heel support and as directly as possible. However, the passing from one shape to another is free.

Notes:

1. Incomplete rotation means that the gymnast stops the rotation or uses heel support on the floor before completing the specified degree levels of the difficulty.

2. Shape not well fixed means that the shape taken by the gymnast is not immobile while it is held and changes slightly = Execution fault. The judge must verify that the free leg goes up as the rotation begins and comes down exactly on the same plane and in the same direction at the end of the rotation. If the shape is not held at all = Composition fault (for example: a pivot with a swing of one leg) and the difficulty loses its full value.



8.2. CRITERIA FOR DEFINING THE VALUES OF PIVOT DIFFICULTIES

8.2.1 Criteria common to all pivots:

+ 0.20 + for each additional rotation (except « passé”)

+ 0.10 + Support leg bending progressively (see tables)

+ 0.20 + From bent leg to stretched leg (see tables)

+ 0.30 + Support leg bending progressively and return, or vice versa (see tables)

8.2.2. “Passé”

+ 0.10 + First additional rotation (from 360° to 72 0°)

+ 0.20 + For each additional rotation (from 720° to 1080° and more)

8.2.3. With leg at the horizontal or high up front or side with help

+ 0.10 + Support leg bent; support leg bent and leg high up with help.

+ 0.20 + Back bend of the trunk with leg in « arabesque » (the head touches the leg) or sideways or in « attitude ».

+ 0.20 + Support leg bent and leg high up without help

+ 0.10 + Leg high up front or side without help or back and with ring with help

+ 0.40 + Leg high up stretched back or with ring without help

+ 0.50 + Leg in ring position without help, foot higher than the head

+ 0.60 + With ring, thigh in contact with the head

+ 0.10 + Trunk and leg at the horizontal or trunk at the horizontal with leg high up with help

+ 0.30 + Trunk at the horizontal and leg high up without help

+ 0.20 + Trunk at the horizontal sideways or with splits with help

+ 0.40 + Trunk horizontal sideways with splits

8.2.4. Pivots with shape change

Ex. ( B C)+ 0.10 In addition to the value of each basic shape, for each linking element

(0.20 + 0.30 + 0.10) = 0.60

Ex. ( B E)+ 0.20 For each additional rotation over the basic ones (0.20 + 0.30 + 0.10 +

0.20) = 0.80 (2 shapes, 3 rotations, one over the basic ones).

Ex. ( B D

C)

+ 0.20 (0.20 + 0.20 + 0.30 + 0.10 + 0.10 + 0.20) = 1.10 (3 shapes, 4 rotations, one over the basic one).

8.2.5. Pivots « fouettés » in « passé »

+ 0.20 + For each additional rotation without heel support

+ 0.10 + With leg stretched at the horizontal or higher than the horizontal (front, side, « arabesque », or « attitude »



8.2.6. Criteria for pivots on the knees: basis = A (Independently from the leg position or the number of rotations).

+ 0.10 + Leg high up front or sideways without help, or back with ring with help

+ 0.20 + Ring without help



8. 3. LIST OF THE DIFFICULTIES OF PIVOTS ( )

NOTES:

1. All pivots of more than 360° performed on the knee always count as 360° turns 2. The FIG/RG/TC does not encourage pivots performed on the knee 3. In all difficulties with ring, the foot must be in contact with the head or be held higher than the head. 4. In cases of ring pivot with leg higher than the head, the leg must be in contact with the head. 5. In pivots with splits and trunk at the horizontal, the trunk must visibly be kept at the horizontal position for the full rotation; a 20º deviation is tolerated. 6. “Cossack” pivots: a start-off impulse with the help of the hand(s) on the floor is valid. The degrees of the rotation count from the moment when the hand(s) leave the

floor. The position is valid even if the gymnast sits on the support heel – heel well raised above the floor. 7. The gymnast can terminate her pivot on the knee of the support leg, but this passing must be controlled and clean.8. Pivot with support leg bending progressively: passing from a stretched support leg to a bent leg must be slow and clearly progressive.9. A little hop or a support on the heel during the rotation interrupts the difficulty.10. Pivots with leg front or leg sideways are different pivots.


1. «Passé» or leg lower than the horizontal, back bend of the trunk

��

� ��

�

�

�

��

�

�

�

��

��

�

�

�

�

�

� � � � �

��

�

�

�

�

�

� � � � �




2. Support leg stretched or bent

2.1. and 2.2. Free leg front or side

�� !��

��

�

� ��

�

�

� ��

�

�

� • �� !�� "�� !��"#��$��#�� $�

�

� �

� � � � � � �

�

� �

"��#��

�� • ��%�&��"#�'��

� �� $��" �� $��

�

� • ��%�&��"#�'�� $��" �� $��

��

�

�

�

�

� �

$��%��!�&��&��&��'�!(�)��!�&��!��*�

� � � � � � �

� � ��

�

�

�

�

�

� � �

+��%��!�&��,��)��!�&��!��(� �

� � � � � � �

� � � ��

�

�

�

�

�

� �





2.1. & 2.2. Free leg front or side (cont’d)

-��%��!�&��&��&��'�!(��&��)��!�&��!��*� � � � � �� • )��

� � � �

�

� � �

.��/��!��!��

�

�

�

�

�

� � � �

�0��%��!�&��1��!�&��&��)��*��!��

� � � � � � �

� � ��

�

�

�

�

�

� � �

��%��!�&��&��&��'�!(�)��!�&��*�

� � � � � � �

� � ��

�

�

�

�

�

� � �

��%��!�&��,��)��!�&��*� � � � � � ��

��%��!�&��&��&��'�!(��&��)��!�&��*� � � � � �� • )��

� � � �

�

�

�

�

�

�



��0��0� 2��0��0� &��*�� 3�0��0� 4��0�"0� /�0�$0� 5�0�+0� 6�0�-0� ��0�.0� 7��00��,��


2.1. and 2.2. Free leg front or side (cont’d)

�� • �� $�

�� +��(�

� � � � � � �

� �

�

� � � � � � �

�"��2��!�&�� !��

�

�

�

�

�

� �

�$��%�!��!��)��*��

�

�

�

�

�

� � �

�+��%��!�&��!�&��&��)��*��!��

�

�

�

�

�

� �

�-��%��!�&��&��&��'�!(�)��!�&��*�

� � � ��

�

�

�

�

�

� �



A 0,10 B 0,20 C 0,30 D 0,40 E 0,50 F 0,60 G 0,70 H 0,80 I 0,90 J 1,00 or more

2.1. and 2.2. Free leg front or side (cont'd)

�.��%��!�&��,��

�

�

�

�

�

�

�0��%��!�&��&��&��'�!(��&�� )��

�

�

�

�

�

2.3. and 2.4. Free leg back (“arabesque” or attitude)

�� !�)8��9��:��8��:*��

�

�

�

�

�

� � � �

��;#��;�!�&��

��

�

��

�

��

� � �

��%��!�&��&��&��'�!(�)��!�&��9��*��

�

�

�

�

�

� � �

��%��!�&��,��)��!�&��9��*��

�

�

�

�

�

� �

�"*�%��!�&��&��&��'�!(��&��)��!�&��9��*�� )��

�

� � �




2.3. and 2.4. Free leg back (“arabesque” or attitude) (cont’d)

�$��2��!�&�� !��8��9��:��

�

�

�

�

�

� �

��+�2��!�&��&��&��'�!(��!�&��8��9��:�

� � � � ��

�

�

�

�

�

�

�-��2��!�&��

��

��• ,��

� �$�� !�� $�� #� ��"#�

� �$��

��

� �

� � �

�

�

��

�

� �

�.��2��!��!��&��!��

�

�

�

�

�

� � �

�0�%��!�&��!�&��&��!��

� � �

��

�

��

�

��

� �




2.3. and 2.4. Free leg back (“arabesque” or attitude) (cont’d)

��%��!�&��&��&��'�!(��

�

�

�

�

�

� �

��%��!�&��,��

�

�

�

�

�

�

��%��!�&��&��&��'�!(��&�� )��

�

�

�

�

��2��!��!��

�

� � � �

�"��<�&��&��!�� • ��

� �$��• -��"��"��

�� $��

� �

� � � � �

� � �

� �




3. Trunk at the horizontal

�$��/��!��

�

�

�

�

�

� � �

�+��2��!�� !�

� � � � ��

�

�

�

�

�

�

�-��%��!��

��

�

��

�

��

� �

�.��%��!�� !��!��

�

�

�

�

�

� �

�0�%��!�� !��!��

�

�

�

�

�




4. Pivots with shape change (Examples)

��+�0=��'�� !�&��

�� !�

� �� • ��%�� .� �'�� $��

• ��%��$ �'��"#�� $��

• /� �� $ �� %�� .� �'��"#�� $�� #�$�� +��(�

� • ��

�

� � � �

� �

� �

�

�

� � � � � � � � � �

��*��+�0=��'��!��

� � � � � • �� $�"��"� �$��

� � �

� � � � � � � � �

��+�0=��'��&��!�� • ��

�� #� �� $ ��"#��

�

� � �




5. «Fouetté», free leg at the horizontal or higher in different positions

��;/��;��+�� 0��10(�

��

��

��

23�� %��1�'��

� 24��

� 2-��

� � � � �

��

�

�

�

�

� ��

��

� �

�"��/��+�� 5��$ 6��1�7�5�� 6��(� � � � � � � �

� � � � • ��%�� 1��'��%��$ �'�+ �"��(��$��5�� 6��+��(��

��

� � � � �

� � � �

�

� � � �

�$�;/��;��+�� (��$ �%�� .� �'��%��$ �'��

� �� 2,�� !��

�� $��

� 2�4��

� 2-��

� � � �

�

�

�

�

��

�

� � � �




6. On the knee

�+�� !��

�

� � � � � � � � �

�

� � � � � � � � �

�-��%�!��

• %�!��

� � � � � � � �

��

�

� � � � � � � �

�.*�� !��

�

� � � � � � � � �

��

� � � � � � � � �

"0��%�!��

• %�!��

� � � � � � � �

��

�

� � � � � � � �

8�*�� .� ��

• 3��

� � � � � � � �

� ��

� � � � � � � �

8�*��$ �� • 9��

• 9��

� � � � � � �

� � ��

� � � � � � �



9. FLEXIBILITY AND WAVES

9.1. GENERALITIES

9.1.1. All the difficulties of flexibility or waves must have the following basic characteristics:

• Be performed with support on one or both feet or on another part of the body.

• Have a shape fixed and well defined (with a visible stop in the position)

• Have a good amplitude in the shape

9.1.2. Difficulties performed with insufficient amplitude or with shape not well fixed do not count as difficulties. Absence of any of the above requirements will also be penalized for Execution.

9.1.3. If the apparatus is not in motion throughout the duration of the difficulty, the difficulty does not count.

9.1.4. Difficulties performed without moving the body or a part of the body must be coordinated with 1 technical movement of the apparatus during the stop in the position.

9.1.5. Also counting as one movement: see Balances section.

9.1.6. The technical movement of the apparatus must be counted from the moment the flexibility position has been fixed until the time when the position starts to change.


Note: Any difficulty of flexibility requiring support on one flat foot, but performed on the toes, will not change the level of the difficulty nor the body movement group (the flexibility difficulty will always remain a “flexibility” difficulty regardless of the execution technique).

9.2. CRITERIA FOR DEFINING THE VALUES OF FLEXIBILITY / WAVES DIFFICULTIES

9.2.1. Common to all elements with « slow turn»

+ 0.10 For elements with 180° basic « slow turn »: for additional « slow turn”

– up to a maximum of 360°

+ 0.10 For all others: each « slow turn » of 180° - up to a maximum of 36 0° (+ 0.20 maximum)

+ 0.50 + Vertical start: front splits + back bend of the trunk + 180° “slow turn”

+ 0.20 + For each additional 180° « slow turn » - u p to a maximum of 360°

9.2.2. Support on one flat foot: ; ; Illusion without full bend of the trunk = A

+ 0.10 + Trunk bending sideways over the leg held side at the horizontal

+ 0.20 + Trunk bending backwards over the leg held back at the horizontal

+ 0.10 + Leg high up front or side without help and slow turn (180°)

+ 0.10 + Leg high up back or with ring with help and slow turn (180°)

+ 0.30 + Leg high up back or with ring without help and slow turn (180°)

+ 0.40 + Leg with ring without help, foot higher than the head and “slow turn”

(180°)

+ 0.50 + With ring, thigh in contact with the head and “slow turn” (180°)

+ 0.10 + Back or side splits with help, trunk at the horizontal + apparatus

movement

+ 0.20 + Back or side splits without help, trunk at the horizontal + apparatus

movement

+ 0.10 + "Penchée" + apparatus movement

+ 0.20 + For each rotation of more than 360° in "penchée" position



+ 0.10 + Leg high up with help + rotation on the axis of the trunk

+ 0.20 + Leg high up with help + circle

+ 0.30 + Leg high up without help + rotation on the axis of the trunk

+ 0.40 + Leg high up without help + circle

+ 0.10 + Vertical start: front splits + back bend of the trunk

+ 0.50 + Back splits with help, with back bend, arriving on the other foot

+ 0.70 + Back splits with help, with back bend, arriving on the other foot and return

+ 0.40 + Vertical start: front splits + back bend of the trunk + rotation of more

than 180°

+ 0.20 + For each additional 180° rotation

+ 0.20 + Start on the floor: front splits + back bend of the trunk

+ 0.20 + Start on the floor or standing, with walkover (also valid for other difficulty categories if the walkover ends in the position of the difficulty concerned) or

+ rotation (less than 360º) around the vertical axis of the body with free leg in different positions (not higher than the horizontal). This rotation must provide the necessary impulse and be directly linked to the difficulty.

+ 0.20 + Illusion backwards

+ 0.10 + backwards illlusion with trunk at the horizontal, maximum

+ 0.20 + For each additional successive illusion

+ 0.10 + For each additional circle of the leg during backward illusions, without full bend of the trunk

9.2.3. On the floor, back bend of the trunk:

+ 0.10 + On the stomach

+ 0.30 + On the chest with help

+ 0.40 + On the chest without help

+ 0.60 + Kip motion between support on the stomach and the chest

+ 0.20 + 1/2 turn on the chest passing the legs high up

+ 0.10 + For each additional 1/2 turn

+ 0.20 + On the forearms with apparatus handling

+ 0.10 + For each 1/2 turn on the forearms up to a maximum of 360°

+ 0.20 + Back splits with rotation on the floor

9.2.4. Waves

+ 0.20 + Total wave from the floor up

+ 0.10 + Spiral wave on both feet – for an additional 360° spiral turn;+ 0.20 for each spiral over the first 2 spiral turns.

+ 0.20 + "Tonneau" (360°) - wave with spiral on one foot

+ 0.20 + For each additional turn of 360° with spiral

9.2.5. Exception: Support on both feet with trunk bent below the horizontal.

Note: All difficulties with trunk at the horizontal must be kept rigorously at this level. When the trunk is higher than the horizontal, the difficulty belongs to the vertical position category; when the trunk is lower than the horizontal, the difficulty belongs to the "penchée" category. Only a 20º difference from the correct position will be tolerated.



9.3 LIST OF DIFFICULTIES OF FLEXIBILITIES AND WAVES

Notes: 1. All "slow turns" must be performed in the following manner: no more than 1/4 rotation at every impulse. The difficulty will not be evaluated, if the rotation is initiated by

one single impulse. 2. The “slow turn” must begin when the position of the difficulty is fixed. 3. 2 or 3 successive difficulty elements with “slow turn” are not permitted. A maximum of one difficulty element out of 3 is allowed with “slow turn”. 4. All difficulties with ring must have the foot in contact with the head5. The “circle” requires passing the leg in two opposite directions (from front to back splits or vice versa)6. Difficulties No. 22 (F and H) and No. 23 (F) must clearly show the positions illustrated in the table and all of them must well fixed, with or without help during the back

bend.

��

��

�� !�"��#��$��%�&�'��$��$��()��'%�(��*(��*(��+�(��,�

��-�&��

�

� � � � � � � � �

��-�&�,(*�.'/,��

�

� � � � � � � �

��-�&�"'+!.'�*,��

�

� � � � � � �



� �

��

��%(�,��%�&�$(&$��

�� 0(�$�1,%�.��2��

��.(�$�$�%�3��

• �� • ��

� �

� � � � � � � �

��.(�$��$�%�4�� •��°� •��

�

� �

� � � � � � �

��(*��,�%(�,�.(�$�$�%�4��

•�� •��

� �

� � � � � � � �

��(*��,�%(�,�.(�$��$�%�� •�� •��

�

� �

� � � � � � �

��'+!�.(�$�$�%�4�� •�� •��

�

� �

� � � � � � �

�



� �

��

��%(�,��%�&�$(&$��5+��6*7�

�� 0(�$�1,%�.��2��5+��8*7�

��'+!��.(�$��$�%�4�� •�� •��

� � �

� �

� � � � �

��9(�&�.(�$�$�%�4�� •�� •��

�

� �

� � � � � � �

��9(�&�.(�$��$�%�4�� •�� • ��

� � �

� �

� � � � �

��-�&�(��(�&��,(�(��$(&$��$'��$��$�'*��

� �

� � � �

��-�&�(��(�&��,(�(��3��$(&$�(��+��'+��.(�$��$��$�'*� � � � � � � ��

� � � � �

� �

� � �

�



�

� �

��

��%(�,��%�&�$(&$��5+��6*7�

�� 0(�$�:�#�:��$��!��%�&�

��0(�$�$�%��;�� !�� "��#�� $� �� "��

� • %��

• !�� • !��

• !��

� � � � �

�

� � � �

� � � � �

� ��0(�$��$�%�� • %�� • !�� • !��

��• !��

� � �

� � �

� � � �

� � �

��0(�$��!�'��$��$��()��'%3�.(�$��+$�(+'%�:�#�:��.(�$�<,%�.��=��

��.(�$�$�%�� • ��

� ��• �� •��

�

� � �

� � � � � �

��.(�$��$�%�� • ��

� ��•�� •��

� �

� � �

� � � � �

�



�

��3�� 3�� 3�� 3�� 3 �� 3�� 3�� 3�� 3�� 3��

��%(�,��%�&�$(&$��5+��6*7�

��0(�$��!�'��$��$��()��'%3�.(�$��+$�(+'%�:�#�:��.(�$�<,%�.��=�� 5+��6*7�

��0(�$�$�%�� • ��

� ��•�� •��

�

� � �

� � � � � ��

��0(�$��$�%�� • ��

� ��•�� • ��

� �

� � �

� � � � �

�� 0(�$��!�"��.'�*3�.(�$��+$�(+'%�:�#�:��.(�$�<,%�.��=��

��1�>��+$?��2� � � � � � � � � �

� • ��

• �� • �� @��

��

� � �

� � � � � �

��9��'�(�� • &�� '��

� • &�� ($�� '��

� � �

� � � �

�

�

�

� � �

�



� �

��

��%(�,��%�&�$(&$��5+��6*7�

�� 0(�$�"'+!�"��*��$��!3��.(�$��+$�(+'%�:�#�:��.(�$�<,%�.��=��

��,�%(�,��• )��"� ��

�

• )��

��

•)�� *� ��"� �� '�"��

�

� • +� ��,��*�,��,�"��"� � ��

�

�

��

• +� ��,��*�,��,�"��"� � �� "��

�

� �

� � � � � � ��

� � �

� � � � � � � � � �

��,�%(�,�� • -��*�,��,�"�,�� . ��*�� ,��,�"� ��

�

�

• )��"� ��

��

�

� •)��"� ��

��

�

�

� � � � � � � � � �

��9��'�(��4�-��,�"�"��"�� • )��"� ��

� ��• )��

•)��"� ��

•)��

�

� � � � �

� � � ��

�

Note. A walkover without a noticeable stop in the splits position (22 D) counts only as an acrobatic element.



��

�� %%�,(��

� ��)�� *�$*��*�� ,�� "��

•��.'�*� � •$�� •�� •/��

�

�

�

�

�

�

�

� � �

$��)�"��#��

• A��

� • $�� • �� • /��

�

�

�

�

�

�

�

� � �

��'+!.'�*,� � � � � � � � � �� • 0��

�

� • $�� • ��

� �

�

�

�

�

�

� � �

��'+!.'�*,��

• 0��

��

� • $��

�

� • ��

�

� � � �

��%%�,(��"'+!.'�*,�.(�$�+(�+%��$��%�&�(��*(��*(��+�(��,3�.(�$��%%�"��*��$��!� � � � � �

• A�� • $�� • ��

� � �

� � � � � � �

�



�

� �

��

��'+!�"��*��$��!3�,��"��$��$��%��

� �� %�.��$��

� ��. ��•�� ,� ��

� � � � � � � �

� �

� � � � � � � �

��A��$��!��,��

• �#� � ��

� • �#� � ��*��

• �#� � ��*��

� • +� ��-�� 1��

� � �

��

�

� �

�

�

� � �

�� • 2�� "�*�� *��

• 2�� "�*�� *��"��

� � � � � �

� �

� �

� � � � � �

��$��'�:,��

•��"��

•��3�� 3��*��

• &��3�� 3��*��

� � � � �

� �

� � �

� � � � �

�� %(�,��$��%��.(�$��'�(��$��"�*/�

��,�%(�,��"��

�

� • -��"��

� � � � � � �

�

�

�

� � � � � � �

�



�

� �

��

�� 0'#�,� �� '%�"�*/�.'#�3��

• " �� • ��

�

�

�

� � � � � � �

��B ��'�B� �, ��*�� , "#�� ($��

� �

�

�

� � � � � �

��1 ��'�2��3��'%�"�*/�.'#��.(�$�,�(�'%�� ($��

�

�

�

� � �

��'��(�&��:�"'+!�,�%(�,�.(�$�$�%�3��'%�"�*/�.'#��.(�$�,�(�'%��>��:�'�%'�&��+��+%��

�

� � � � �

�


Code of Points – Version 01/01/2007 99

10. MODALITY FOR THE COMPLETION OF THE FORMS

10.1. Modality for the Completion of the Form for Difficulty in Individual Exercises

10.1.1. The difficulty must be entered in the right-hand column of the form.

10.1.2. Every difficulty performed during the exercise must be entered in a single box according to the execution order. In addition, the difficulty should match the Artistry elements (performed with or without difficulty) entered in the box on the same line.

10.1.3. Each component of a series of equal jumps/leaps or pivots must be entered in its proper box. It is not necessary to use a check in column D.

10.1.4. Multiple “fouetté” pivot: it is enough to write the basic symbol and follow it with the letter of

the value of each component. Example: AACA = 0.60.


PART THREE

GROUP EXERCISES

Code of Points RG - Version 01/012007 102

PART THREE GROUP EXERCISES

1. Generalities……………………………………………………………………1. Gymnasts……………………………………………………………….…..…

1.1. Number of gymnasts……………………………………………….. 1.2. Reserve gymnasts…………………………………………………..1.3. Dress of the gymnasts………………………………………..…….

2. Entry……………………………………………………………………….…..3. Apparatus……………………………………………………………….…….

3.1. Contact with the apparatus…………………………………………3.2. Loss of the apparatus……………………………………………….3.3. Broken apparatus……………………………………………………

2. Execution (E)…………………………………………………………………

1. Group faults…………………………………………………………..………2. Technique with the apparatus……………………………………….…….. 3. Technique of body movements……………………………………………. 4. Music and movement………………………………………………………..5. Evaluation of the execution. ………………………………………………..

3. Artistry (ex Artistic Value)…………………………………………………….. 1. Music ………………………………………………………………………….2. Choreography………………………………………………………………..

2.1 Basic composition………………………………………………………. 2.2 Special Artistic Characteristics (CAP)…………………………………2.3 Use of apparatus…………………………………………………………2.4 Collaboration among the gymnasts……………………………………2.5 Mastery……………………………………………………………………2.6 Originality…………………………………………………………………

3. Penalties……………………………………………………………………….4. Evaluation of the Artistic Value…………………………………................. 5. Modality for the completion of the Forms for Artistry……………………..

4. Difficulty (ex Technical Value)………………………………………………… 1. Generalities……………………………………………………………………. 2. Value of the Difficulties………………………………………………………

2.1. Difficulties without exchange…………………………………………2.2. Difficulties with exchange……………………………………………. 2.3. Criteria for judging the level of difficulties with an

exchange………………………………………………………………. 2.4. Summary Table………………………………………………………..

3. Penalties………………………………………………………………………4. Evaluation of the difficulties…………………………………………………. 5. Modality for the completion of the Forms for Difficulty……………………

Page

103 103 103 103 103 104 104 104 105 105

107 107 107 110 110 110

111 111 112 112 114 114 114 115 118 119 121 122

123 123 123 123 124

125 126 127 127 128

PART THREE – GROUP EXERCISES


1. GENERALITIES

1. GYMNASTS

1.1. NUMBER OF GYMNASTS

1.1.1. Each group exercise must be performed by 5 gymnasts. A group comprising a different number of gymnasts is not acceptable.

1.1.2. Each federation may enter a minimum of 5 gymnasts and a maximum of 6 gymnasts for the total program of group exercises (2 exercises and 2 finals).

1.1.3. In the case of 6 gymnasts, the gymnasts of the group may be:

• named for the 2 exercises of the program

• named for one exercise and reserve for the other

1.2. RESERVE GYMNASTS (See Technical Regulations)

1.2.1. If during an exercise, a gymnast leaves the group for a valid reason:

• The gymnast may be replaced by a reserve gymnast

Penalties: Coordinator Judge0.20 point for "gymnast leaving the floor area" + 0.50 point for "use of a reserve gymnast"

• The gymnast is not replaced.

Penalties: Artistry Judges:

2.00 points or 1.00 point depending on whether the gymnast left the group during the first half or during the second half of the exercise (set penalty for composition requirements not met because of the absence of one gymnast).

Execution Judges: Possible faults for disruption of general harmony, formations, travelings, etc.

Coordinator Judge:0.20 point for gymnast leaving the floor area.

1.2.2. Reserve gymnasts are not allowed in the competition hall during the performance of the exercise.

1.3. DRESS OF THE GYMNASTS

1.3.1. Leotards must be identical (of the same material, style, and design) and of the same color for the 5 gymnasts of the group. However, if the leotard is made of a patterned material, some slight differences due to the cut may be tolerated.

Penalty (overall):

• 0.50 point, if this rule is not met (Coordinator Judge)

1.3.2. The other norms regarding the dress of the gymnasts are outlined in Part One, Generalities



2. ENTRY

2.1. PLACING OF THE GROUP ON THE FLOOR AREA

2.1.1. The placing of the group on the floor area must be done:

• rapidly and without musical accompaniment

• with the 5 gymnasts each having one apparatus, or one or several gymnasts holding the 5 pieces of apparatus.

Penalty:

• 0.20 point for noncompliance with these norms (Coordinator Judge)

3. APPARATUS

3.1. CONTACT WITH THE APPARATUS

3.1.1. Starting Position:

3.1.1.1. At the start of the exercise, each gymnast may hold an apparatus and be in contact with it, or one or several gymnasts may hold all 5 apparatus, which she or they will throw or pass to her/their partners.

3.1.1.2. In the latter case, the apparatus must be distributed to the partners at the beginning of the exercise and the 5 gymnasts cannot remain without apparatus for longer than 4 movements.

Penalty:

• 0.30 point, if one or several gymnasts remain without apparatus for longer than 4 movements (Artistry Judges).

3.1.1.3. When the apparatus and the gymnasts do not start moving simultaneously, the various moves must follow each other rapidly, within a short period of time to avoid visible immobility of some of the gymnasts (not more than 4 movements).

Penalty:

• 0.30 point for static position of one or more gymnasts (Artistry Judges)

3.1.2. During the Exercise

3.1.2.1. Except under special circumstances, the composition will include a single apparatus per gymnast. During the exercise, it is possible for one or several gymnasts to be in possession of two or more apparatus, their partners having none, under the following conditions:

• Such a situation is only very temporary.

Penalty: 0.30 point if the contrary occurs (Artistry Judges)

• The apparatus are properly handled by the gymnasts who have them, and not simply held.

Penalty: 0.30 point if the apparatus are not moving (Artistry Judges)

3.1.2.2. Any involuntary contact of the apparatus with the body during the exercise will be penalized.

Penalty:

• 0.10 point if the contact alters the trajectory of the apparatus



(Execution Judges)

3.1.3. At the End of the Exercise

3.1.3.1. Each gymnast must hold or be in contact with one of the 5 apparatus; it is allowed for several gymnasts to hold one apparatus or for one gymnast to hold or be in contact with several apparatus.

Penalty:

• 0.30 point if the absence of contact is due to a composition fault (overall penalty) (Artistry Judges).

• 0.50 for each gymnast at fault, if the absence of contact is due to a loss of the apparatus at the end of the exercise (Execution Judges)

See Part One, Generalities.

3.2. LOSS AND RETRIEVAL OF THE APPARATUS See Part One, Generalities.

3.3. BROKEN APPARATUS See Part One, Generalities.

“Iris” and “Kreon” are not just FIG soft and hard springboards

These 2nd generation springboards have a soft spot that covers

almost the entire board

The carbon fibre composite sandwich top, together with the

pyramid shaped coil springs result in a board that returns

almost 98% of the energy over a large area of the board

making the rebound, even with roundoff vaults, predictable.

“Iris” & “Kreon”Developed in Helmond,

Used in Athens

Visit our virtual showroom at:

www.janssenfritsen.com

Top Equipment for Top Gymnasts



2. EXECUTION

Note: Execution faults must be penalized every time.

1. GROUP FAULTS

��

��

��

��

��

��

��

��

��

��

��

� � �� !��

��"��#�

��

2. TECHNIQUE WITH THE APPARATUS

��

�� !"#"�� $��

� �

!��$��%

��

� ��

�� %��#�

� � �� %��#�

�� &

� � ��

��&

� � �� &

�

#��'(�)�� **��(�$��%

� �� $�� %��

�

�� $�� &'(��

��

)��

�

�

�

� �� !��

��"��#�



ROPE

��

+��#��'(� ��

��

�

� ��

�&�

� *�� $��%�

!��,��,��*�$��%

� ��

��

�

"��(��-��**��$��%

� � ��

��

.(�*�/��*��0�*�/��*�$��%

� +��

HOOP

��

+��#��'(� �� ,�

� ��

� ��

�&�

��

�

��

��

�

-� � ��

-� � ��

#��)��$��%

�

��

��

��(��*$��%

� +��

BALL

��

+��#��'(�

��

��.��.

��

�&�

��

� ��

� ��

�

�



CLUBS

��

+��#��'(��

�� &�

��

��

� �

��

� �

#��)��

��

� �

��

��

� �

!��,1��(1�$��%

� ��

��

� �� %��/#��

�2

� � ��

�� &��#��

��

� � ��

��

RIBBON

��

+��#��'(�

� ��

�&

��

�

0��

�� &

*��

$��%

*��

$��%�

��0��*��

� �

��

��#�

��

"��(��)��**��$��%

� � ��

��

#��)��

1��

�



3. TECHNIQUE OF BODY MOVEMENTS

��

��

+��'(�$3��,��1��(*�%

-��

�

� �

�� -��

��

� � �� "��

�� &�

��

��

$��%�

��

�� $��%�

� ��

��2

$��%�

� � �+��

�&��$��%�

.(�*�/��*��

�� -��

�� 2��

!��

��1��

� �� "��

4. MUSIC - MOVEMENT

��

4(��5��

$��%

��

��

� �

� ��

��

��

Note: Execution faults are usually given for each gymnast; all other penalties, which have not been specified in bold letters, are overall penalties, regardless of the number of gymnasts at fault (1 up to 5).

5. EVALUATION OF THE EXECUTION

5.1. Each judge must be aware of any execution fault and give the appropriate penalties.



3. ARTISTRY

Artistry has a maximum value of 10 points divided as follows: 1.00 point for music and 9.00 points for choreography

1. MUSIC 1.00 point

1.1. GENERALITIES

1.1.1. All the exercises have to be performed in their totality with a musical accompaniment. However, very short and voluntary stops, motivated by the composition, may be tolerated.

1.1.2. An exercise performed voluntarily during a long period or in its totality without musical accompaniment will not be evaluated.

1.1.3. The music may be interpreted by one or several instruments, including the voice used as an instrument (without words). All instruments are authorized provided that they express music with the characteristics necessary to accompany an RG exercise: clear and well defined in its structure.

1.1.4. The exercise may be accompanied either by one musician or by a musical recording on cassette or on a CD (in case of a faulty recording, the Federation of the concerned group will be responsible).

1.1.5. Recording requirements:

• It is permitted to record a sound signal at the beginning of the recording, but the name of the group or of the apparatus should never be mentioned.

• A different cassette or CD will be used for each exercise.

• The recording must be made at the beginning of the CD or the cassette’s magnetic tape and on one side only of the magnetic tape.

• The following will be marked on the cassette or the CD:

� The name of the country (the 3 capital letters used by the FIG)

� A symbol representing the apparatus used

� The length of the music

� The name(s) of the composer(s) and of the music used

1.1.6. A musical composition which has to accompany an RG exercise must have the required characteristics for the musical accompaniment of an RG exercise: a character coherent with the development of the exercise and a well and clearly marked rhythm, efficient for accompanying the movements of the gymnasts.

1.1.7. Very strict harmony is required between the character and the rhythm of the music and that of the exercise and its movements.

1.1.8. Inappropriate noises are not allowed: engine noises from a car, a motorcycle or an airplane, police siren, noises from breaking objects, etc.

1.1.9. The musical composition may have been written especially for the exercise or may come from the use or modification of already existing music (arrangement). Potpourris are not authorized.

1.1.10. In any case, the music must have a unity and not be a disconnected juxtaposition of various musical fragments.

1.1.11. A musical introduction of a maximum of 8 counts will be allowed.



2. CHOREOGRAPHY 9.00 points

2.1. BASIC COMPOSITION 2.00 points max.

2.1.1. Choreography is characterized by a guiding idea performed, from beginning to end, by means of a unified message using all possible movements of body and apparatus, as well as all the relationships possible between the gymnasts, between the gymnasts and the apparatus, and between apparatus.

2.1.2. Relationship and Collaboration Among the Gymnasts

2.1.2.1. The typical character of the Group Exercise is the participation of each gymnast in the homogeneous work of the group in a spirit of cooperation. The composition must be conceived in such a manner that the idea of collaboration among all the gymnasts is clearly apparent throughout the exercise.

2.1.2.2. Each composition must have different elements of "relationship or collaboration among the gymnasts" and "group work", in addition to the relationship with exchange of apparatus, and have different types of organization in the collective work:

a. When all gymnasts perform the same movements:

• Organization with synchronized execution

• Organization of execution in rapid succession

• Organization of execution in "canon"

• Organization with "contrasting" execution

b. When all gymnasts or subgroups perform different movements:

• Organization with "choral" execution

• Organization with collaboration in execution

None of these types of organization must overwhelm the composition.

2.1.2.3. Elements of collaboration, with or without physical contact, are those in which the successful performance of each gymnast depends on a perfect coordination with her partner (for example, passing through or over a moving apparatus held by a partner). A group exercise, which in its composition does not sufficiently stress the principle of cooperation (a minimum of 3 elements), loses some of its value.

2.1.2.4. Elements including a relationship between the gymnasts must be chosen according to the essential characteristics of Rhythmic Gymnastics, specifically:

• the handling of apparatus

• the aesthetics of gymnastics

2.1.2.5. General criteria for judging prohibited elements:

• All actions performed or positions maintained by leaning on one or several partners without contact with the floor for a prolonged time

2.1.2.6. Therefore, elements such as:

• carrying a gymnast on the arms or on another part of the body

• dragging a gymnast over the floor for more than one or 2 steps

• walking over one or several gymnasts grouped together (more than one support)

• forming pyramids

• performing several rolls over one or several gymnasts grouped together without contact with the floor area,

must not be utilized, because they do not reflect the spirit of Rhythmic Gymnastics.

2.1.2.7. These prohibited elements will be penalized in the following manner (see Penalty Tables):

a. The same element performed simultaneously by the 5 gymnasts or by subgroups counts as 1 element;



b. The same element performed successively by each of the 5 gymnasts or by subgroups counts as 1 element;

c. The same element performed by various subgroups at different moments in the composition is considered as a repetition; it is, therefore, counted as 1 element each time;

d. However, different elements performed simultaneously by a group of gymnasts count as 1 element.

2.1.2.8. On the other hand, the following are authorized:

a. Collaborative elements when one or several gymnasts give an initial impulse, either directly or with the help of the apparatus, to the movement of one or several partners (rotation movements, jumps/leaps, etc.)

b. Brief passive elements with the help of one or more partners without traveling or with one or two steps at the maximum.

2.1.3. Formations

2.1.3.1. Each group exercise must include a minimum of 6 different formations.

2.1.3.2. Formations may use all 5 gymnasts as well as different subgroups, according to division possibilities.

2.1.3.3. The gymnasts may not stay too long in the same formation.

2.1.3.4. The composition of the group exercise must make use of the whole floor area through variety in the formations, with differences in their amplitude (tight and wide formations), in their position on the floor area, and in the use of varied directions.

2.1.4. Choice of Apparatus Elements

2.1.4.1. The specific characteristics of each apparatus must be respected.

2.1.4.2. Within each technical group, at least one element must be chosen by the gymnasts.

2.1.4.3. During the exercise, the apparatus must be in constant motion: technical movements with a great variety in the shapes, amplitudes, directions, planes, and speeds. There should be as much diversity as possible in the handling of the apparatus

2.1.4.4. Apparatus cannot be used as decoration, but must be included into the body movements: non-technical and decorative elements authorized for individual gymnasts are not allowed for group exercises. However, it is possible to perform different original, aesthetic and choreographic elements, provided that these elements are very brief with an eventual statism of the gymnasts or of the apparatus (lasting no longer than 3 movements), and are coordinated within the collective work of the group.

2.1.4.5. The apparatus cannot be simply held, neither serve as a support for a gymnast or her partner nor be left motionless on the floor (statism) (see Part Two, Individual Exercises).

2.1.5. Choice of Body Movements

2.1.5.1. The general norms guiding individual exercises are also valid for groups, except for Paragraphs 2.1.3.2 and 2.1.3.7 (see Part Two, Individual Exercises - Artistry).

2.1.5.2. In addition, the following norms apply to groups:

• The compulsory body movements group (CGO) for each apparatus is not required for group exercises.

• A gymnast may not remain motionless, when momentarily she is no longer in contact with the apparatus or while she waits for her partner to perform or finish a move.

2.1.6. Balance between Left-hand/Right-hand Work

2.1.6.1. Each exercise must include a balance between the left-hand and right-hand work.



2.1.7. Acrobatic Elements

2.1.7.1. All norms guiding individual exercises are also valid for groups (See Part Two, Individual Exercises - Artistry).

2.1.7.2. Acrobatic elements in a composition will be counted as follows:

a. The same element performed simultaneously by the 5 gymnasts or by subgroups counts as 1 element.

b. The same element performed successively by each of the 5 gymnasts or by subgroups counts as 1 element.

c. The same element performed by various subgroups at different moments in the composition is considered as a repetition; it is therefore counted as one element each time.

d. However, different acrobatic elements performed simultaneously by a group of gymnasts count as 1 element.

2.1.8. Variety

2.1.8.1. Variety must also include the following features:

a. Dynamics b. Use of space:

• Directions

• Trajectories

• Levels

• Modes

2.2. SPECIAL ARTISTIC CHARACTERISTICS (CAP): 7.00 points

See Paragraphs 2.3. Use of Apparatus 2.4. Collaboration Among the Gymnasts 2.5. Mastery 2.6. Originality

below.

2.3. USE OF APPARATUS

2.3.1. For each difficult coordination of body movement/apparatus difficulties without large throw: 0.10, 0.20, 0.30 or 0.40 point according to the difficulty level of the element. (See Part Two, Individual Exercises - Apparatus).

2.4. COLLABORATION AMONG THE GYMNASTS

Definition of “Collaboration”: Gymnasts, totally or in part, in contact either directly or by means of the apparatus, moving in different directions, formations or types of travelings.

All examples from the Code of Points must be evaluated according to the following general criteria:



Types of Collaboration Symbols No. of

gymnasts* Value

��

��

��

��

��

��!��"��#��

��

�� $��

��!��"��#��!��#�%��#��

��

��&��

��!��"��'��

��

��(��)��

* Number of gymnasts = Number of gymnasts participating in the main action of the collaboration.

2.5. MASTERY

2.5.1. Exchange with a throw during a body movement or difficulty with rotation of the body:

� Element with rotation of the body or walkover/cartwheels during the flight of the apparatus and catch immediately:

= 0.10 point

� Difficulty with rotation of the body or walkover/cartwheels during the flight of the

apparatus and catch immediately: A = 0.20 point

2.5.2. Large throws or rethrows and “push backs”:

The height of a large throw must be about double the size of a gymnast measured from her head. Only the height of the boomerang throw of the ribbon and of the fully stretched rope may be less; the boomerang throw on the floor must be evaluated according to the criteria for small/medium throws.

For each of the following criteria: 0.10 point (or more):

• Without help of hands or with the help of another apparatus


• During an element with rotation on the vertical or horizontal axis of the body (for example,

pivot, illusion,” chaînés”, etc.)



• Passing directly through the apparatus and throw immediately

• Throw with rotation of the apparatus (Hoop: rotation around its axis. Clubs: Very fast

rotations)

• Throw in a position on the floor (also valid with “support on the knee)

• Rethrow (throw and without a catch, throw again immediately) or push-back: 0.10 each

• Asymmetric throw with different or identical apparatus



• Throw the open rope held by the end or in the middle

• Throw in “double cascade” (clubs)

• Throw in “triple cascade) (clubs) (0.20 point)

2.5.3. Small or medium throws (including boomerang throws on the floor and tosses/”échappés” of the ribbon), rethrows and push backs

The values specified in MASTERY for large throws must be decreased by 0.10. For example, at the minimum two of the following criteria (or twice the same criterion, in succession; for example, throw in rapid succession /”in cascade”) must be met to receive 0.10 point.

• Without help of hands or with help of another apparatus


• During an element with rotation around the vertical or horizontal axis of the body (for

example, pivot, illusion, « chaînés», etc)



• Passing through the apparatus and throw immediately

• Throw of the apparatus with rotation (Hoop: rotation around its axis. Clubs: very fast

rotations. Ribbon: toss with rotation of the stick of the ribbon)

• Throw from a position on the floor (also valid with «support on the knee »)

• Re-throw (for example, throw and, without catch, re-throw immediately) or push

back .

2.5.4. Catch of large throws (including boomerang throws of the ribbon), rethrows and push backs, and catch of an apparatus balanced on one part of the body: 0.10 point each time

• Without the help of hands



example, pivot, illusion, « chaînés», etc )



• Catch while passing (with at least 2 parts of the body) through the apparatus




• Mixed catch (hand and another part of the body)



2.5.5. Catch of small or medium throws (including tosses/”échappés” of the ribbon), re-throws and push backs

The values specified in MASTERY for catches of large throws must be decreased by 0.10 point. For example, at the minimum two of the following criteria must be met to receive 0.10 point.

• Without the help of the hands



example, pivot, illusion, “chaînés”, etc.)


• Below the leg (s)

• Catch while passing (with at least 2 parts of the body) through the apparatus.




Notes valid for all THROWS and CATCHES listed above in Paragraphs 2.5.2 - 2.5.5.

1. In all cases of throws/catches of 2 apparatus, the value of the criterion or of the combination of criteria must be increased by + 0.20 point.

2. The value of large throws/catches performed during a difficulty, represented by the letter A, is increased by + 0.20 point.

3. The value of small and medium throws/catches during a difficulty A is calculated according to the same norm as the other criteria. For example, to achieve 0.20 point requires at the minimum “A” + one other criterion (A = 0.20 + Criterion 0.10 – 0.10 = 0.20, see Paragraph 2.5.3).

4. In all cases, the difficulty A, combined with several criteria and performed during the same throw/catch, counts only once.

5. Concerning jumps/leaps, the criterion « during an element of rotation » is only valid for jumps/leaps with a rotation of 180º and 360º (the half-turn of 180º is only valid for jumps/leaps with a rotation of the whole body).

2.5.6. Large throw and catch during or immediately at the end of the following element or elements:

One element or a combination with 2 or more dynamic elements without difficulties with or without passing on the floor, all with rotation of the body and/or walkovers/cartwheels (rotation on the vertical or horizontal axis of the body):

, or

• 0.10 point for catch during the 1st element with rotation or immediately at the end.

• 0.20 point for catch during the 2nd element with rotation or immediately at the end.

• 0.30 point for catch during the 3rd element or more element(s) with rotation or immediately at the end.

+ 0.10 or 0.20 point or more depending on the difficulty of the catch, if any.



Notes: 1. Any catch facilitating the control of the apparatus cancels the value of the element (see

Apparatus Chapter). 2. If one or more elements (all with rotation) contain difficulties, add an A value plus an

additional 0.20 pt to the value. 3. If 2 apparatus are used, the value will be respectively:

• 0.30 for catch during the 1st element with rotation or immediately at the end;

• 0.40 for catch during the 2nd element with rotation or immediately at the end;

• 0.50 for catch during the 3rd element or more elements with rotation or immediately at the end.

2.5.7. Large throw and catch during and immediately at the end of:

• A series of dynamic difficulties (3 ore more), all with rotation, and without passing on the floor:

- A minimum of 0.30 for the throw (large throw during a difficulty with rotation)

- A minimum of 0.30 for the catch (catch of a large throw during a difficulty with rotation)

- 0.10 for an intermediary difficulty or intermediary difficulties with rotation.

Total 0.70 point at the minimum

2.5.8. Concerning apparatus elements typical for each apparatus, aside from the throws mentioned above, see Part Two, Individual Exercises - Apparatus.

2.5.9. Exchanges by throws: All the above Mastery elements are also valid for exchanges.

For example:

• Throw behind the back with the hand(s) = 0.10 point

• Throw behind the back without the hands = 0.20 point

• Throw from below the leg(s) = 0.10 point

• Throw with another apparatus without the hands = 0.10 point

2.6. ORIGINALITY

2.6.1. For every novel difficulty with or without exchange: 0.30 point.

2.6.2. For every novel relationship and collaboration gymnast/apparatus and among gymnasts: 0.10 point, or 0.20/0.30 point.

2.6.3. For every novel way of organizing an exchange: 0.10 point

Note:

1. An original difficulty must be linked to an apparatus. The difficulty will be valid for all apparatus; however, the "originality" will be awarded only for the difficulty submitted for a specific apparatus.

2. Originality elements are evaluated by the TC and by judges from the FIG pool during the official podium training (see Part 2, Individual Exercises - Difficulty).

2.7. Every group must submit in advance and in writing the sequence of special artistic elements (CAP) (without adding them up), using the official form and the appropriate symbols, otherwise the group cannot participate in the competition. If there is no official podium training, the form must be completed by adding the values.

2.8. All the above elements concerning special artistic characteristics (CAP) may be of the same type and level for all 5 gymnasts or of different types and levels. However, the easiest element performed by one of the gymnasts will determine the value for the group.



3. PENALTIES

��

��

� � *��+��#��,��#��

�� -��'��

��

�� -��

��

�

�� -��

��

�-��'��

��#��

��

�-��'��'��

��#��

��

�.��)��

� .��"��/��

� �� -��'��

�

��

��!�

� -��0��,��"�

�

��"��

-��

��

-��

��

1��

��

�� +��2��

��'��

��

-��#��'��2��#��

��"�

� �

�#��

� � -��

�� 3��

�4��#��'��

��

�4��#��'��

��

�� 4��

��

� ��"��$��

-��'��#��

�4��

��/��%��

�3��"��

��

�� '��

��



��

� ��

� �5��

�'��

��"��$��&��'�(�

� ��/�

5��'��

��#��

�6��

�

)��"��

� -��2��

��2��

�

� �7��

��2��%��

�

� �8��2��

��

� �-��

��

�

*�� -��#��'��'��

� �

� -��#��'��/��

� �

� -��#��'��/��9��

� �

� -��#��'��/��#��

� �

� -��#��'��/��

� �

)�� "�� +��

��

:'��$��#��

� ��

5��'��$�

��#��

,�� +��

��

:'��

��

� ��

:'��

)�� +��

��

-��

��

-��

:'��#��/��;��/��

��

;��/��



Note. Every element with Special Artistic Characteristics (CAP) counts only once; therefore, an identical repetition will not count.

4. EVALUATION OF ARTISTRY (A)

4.1. The Artistic Composition Judge must proceed in the following fashion:

• Apply the basic score for music, after having deducted possible penalties.

• Apply the basic score for choreography, after having deducted possible penalties.

• Check the validity of the elements performed by the group regarding the special artistic characteristics (CAP) indicated on the list; cross off any non-valid elements.

• Add the value of the special artistic characteristics (CAP) calculated during the performance of the exercise to the basic score for choreography.

• Add the score for music to the score for choreography. �


Code of Point RG -- Version 01/01/2007 122


5.1. Modality for the completion of the form for Artistry in Group Exercises

5.1.1. The CAP element must be entered in the left-hand column of the form.

5.1.2. The CAP element or CAP combination must be written in parenthesis and the eventual difficulty outside, to the right of the parenthesis with a letter A (see « Modality » in Part II, Chapter 3 of Individual Exercises).

5.1.3. Regarding different elements performed by sub-groups, each element must be preceded by a figure indicating the number of gymnasts included in the sub-group. The same information needs to be included to indicate how many gymnasts perform the “risk” element.

5.1.4. All « Artistry » elements performed during an exchange difficulty must be entered in the box reserved for « exchanges ».

Concerning the principles of the 2005 Code which have not changed, it is imperative to specify the following:

5.1.5. For the series of difficulties from the Compulsory Body Movement Group (GCO), the various criteria usually count only once:

For example:

• Rope 2005: one jump/leap A passing in the rope, forward = 0.10; 2 jumps/leaps A = 0.20, 3 jumps/leaps A = 0.30

• One “jeté” leap with a turn passing into the rope, forward = 0.20; 2 “jeté” leaps A = 0.30 ; 3 “jeté” leaps A = 0,40

• Rope 2007: one jump/leap A passing in the rope, forward = 0.20 for A + 0.10 for passing into the rope = 0.30 ; 2 jumps/leaps A = 0.40 for the 2 jumps/leaps + 0.10 for passing into the rope = 0.50; 3 jumps/leaps A = 0.60 for the 3 jumps/leaps + 0.10 for passing into the rope = 0.70

• One “jeté” leap with a turn passing into the rope, forward = 0.20 for the leap + 0.10 for passing into the rope + 0.10 for rotation of the body = 0.40; 2 “jeté” leaps A = 0.40 for the 2 leaps + 0.10 for passing into the rope + 0.10 for rotation of the body = 0.60;

3 “jeté” leaps A = 0.60 + 0.10 + 0.10 = 0.80.

5.1.6. According to the criteria of the 2005 Code, herewith respected, the value for the CAP difficulties does not change, regardless of their dynamic or static characteristics.

For example:

• For CAP with pivot difficulty: the nature of a pivot is the rotation; therefore the value of the difficulty does not change and remains 0.20.

• For CAP with balance difficulty, the value of the difficulty is 0.20, even if the balance is on the knee (on the floor).

5.1.7. With regard to “Mastery”, the criteria (Code 2005) are different. For example, for throws and catches, the situation changes if there is a body movement difficulty with rotation or on the floor. In “Mastery”, the specified 0.10 must be added for each artistic characteristic as well as for exchanges with throws.



4. DIFFICULTY

1. GENERALITIES

1.1. The number of difficulties in each group exercise may contain a maximum of 18 difficulties for a maximum value of 10 points.

1.2. There must be a minimum of 6 exchange difficulties. The exchanges count as 1, 2 or 3 difficulties: if the exchange has one body movement element = 1 difficulty, one body movement difficulty = 2 difficulties, 2 body movement difficulties = 3 difficulties.

Penalty:

• 0.50 point if one or more exchange difficulties are missing on the form.

1.3. Compulsory groups of body movements (GCO) required for each apparatus for individual gymnasts are not compulsory for groups.

1.4. Each group must submit in advance and in writing the sequence of all difficulties using the official form and appropriate symbols, without adding up the values. Otherwise the group cannot participate in the competition. If there is no official podium training, the form must be completed by adding up the values.

1.5. 18 difficulties for a total value of 10 points at the maximum can be entered in the official form for Difficulty.

Penalty:

• 0.50 point if there are more than 18 difficulties on the form/in the exercise for a total value of 10.00 points maximum. Only the first 18 difficulties performed will count.

• For difficulties performed but not listed on the form: 0.50 point for incorrect form (to be passed on to the Coordinator Judge).

1.6 All original elements must be declared before the Championships and will be evaluated by the TC and the judges during official training. After the Championships, the concerned federation will be required to send the descriptive texts in 2 languages (French and English) to the FIG, along with the drawings of the originalities accepted as valid. Groups that do not participate in the official Championships can send videos of their originalities to the FIG for evaluation. However, these original elements will only be valid for tournaments, unless they were approved at the first Championships in which the group participated.

2. VALUE OF THE DIFFICULTIES

2.1. THE VALUE OF THE DIFFICULTIES WITHOUT EXCHANGE is as follows: A = 0.10; B = 0.20; C = 0.30; D = 0.40; E = 0.50; F = 0.60; G = 0.70; H = 0.80; I = 0.90; J = 1.00 or more.

2.1.1. If any of the 5 gymnasts does not perform a difficulty, for whatever reason (composition fault or any of the technical faults listed in Paragraph 2.1.2.), the difficulty will not be valid.

2.1.2. To be valid, a difficulty must be performed without the following technical faults:

• Major alteration of the basic characteristics particular to each group of body movements (see Part II, Chapter 4, Individual Exercises - Difficulty).

• Loss of apparatus during the difficulty (with or without throws).

Note: Throw and catch of 2 clubs: if one single club is lost, the difficulty is valid, but there will be an execution penalty.

• Loss of balance during the difficulty, with support on one or 2 hands on the floor or on the apparatus, or fall.



2.1.3. The difficulty value is determined by the body movement element. However, all body movement difficulties performed without connection with the apparatus will not count as difficulties.

2.1.4. A difficulty is performed in connection with the apparatus:

• if the apparatus is held on the hand or hands or on another part of the body and executes a technical movement, or is placed in an unstable balance position;

• if the apparatus is thrown at the beginning, during or towards the end of the difficulty;

• if the apparatus is caught at the beginning, during or towards the end of the difficulty.

2.1.5. Any difficulty of body movement performed with a static apparatus or with an apparatus simply lying on the floor does not count as a difficulty, except in the case of a single static club (see Part II, Chapter 4, Individual Exercises - Difficulty)

2.1.6. The difficulties may be of the same type and level for all 5 gymnasts or of different types and levels. However, the easiest difficulty performed by one of the gymnasts will determine the value of the difficulty for the group.

2.1.7. In case of a mixed difficulty (exchange and individual difficulty), no more than one individual difficulty may be performed. If the gymnasts perform 2 individual difficulties, only the first difficulty will count; the second will not count and will not be taken into consideration for the limit of 18 difficulties.

2.1.8. All the difficulties listed for individual exercises are also valid for group exercises.

2.1.9. Regarding the body movement element, a difficulty not performed as described on the form must be listed and evaluated by the judge. Any difficulty performed with a value lower than entered in the form will not count; difficulties performed with a higher value will keep the value entered on the form – except for pivots (see Part II, Chapter 4, Individual Exercises - Pivots).

2.2. LEVEL AND VALUE OF DIFFICULTIES WITH EXCHANGE OF APPARATUS

2.2.1. Difficulties with exchange of apparatus have the following value:

• Exchange A=0.30 point (0.10 for difficulty A + 0.20 for exchange difficulty)

• Exchange B=0.40 point (0.20 for difficulty B + 0.20 for exchange difficulty)

• Exchange C=0.50 point (0.30 for difficulty C + 0.20 for exchange difficulty)

• Exchange D=0.60 point (0.40 for difficulty D + 0.20 for exchange difficulty)

• Exchange E=0.70 point (0.50 for difficulty E + 0.20 for exchange difficulty)

• Exchange F=0.80 point (0.60 for difficulty F + 0.20 for exchange difficulty)

• Exchange G=0.90 point (0.70 for difficulty G + 0.20 for exchange difficulty)

• Exchange H=1.00 point (0.80 for difficulty H + 0.20 for exchange difficulty) or more.

2.2.2. Exchanges by throwing are the only ones considered as exchange difficulties.

2.2.3. Exchanges may be performed by subgroups or by the 5 gymnasts, but it is considered an exchange, only if all gymnasts participate in both actions of an exchange – in other words:

• Throwing an apparatus

• Receiving an apparatus from a partner

2.2.4. All other types of exchanges are evaluated by the judges for Artistry.

2.2.5. Exchanges may be performed either simultaneously or in a very rapid succession.

2.2.6. A difficulty with exchange is considered as such, if all the gymnasts perform a difficulty or a body movement and if they keep the required distance (if specified) at the moment of the throw or at the moment of the catch.



2.2.7. The exchanges may be of the same level for all 5 gymnasts or of different levels. However, the easiest exchange performed by one of the gymnasts will determine the value of the exchange for the group.

2.2.8. In exercises with different apparatus of an uneven number (for example, 3 balls and 2 ribbons), exchanges between the same types of apparatus as well as exchanges between different types of apparatus are valid.

2.2.9. Exchanges may be performed with the gymnasts in place or travelling.

2.2.10. A body movement difficulty performed as a difficulty without exchange may be used a second time with an exchange.

2.2.11. The exchange may be coordinated with body movement elements or with difficulties.

2.2.12. If one or several apparatus fall during an exchange, the exchange is no longer valid and there will also be an execution penalty or penalties. Loss of one club during an exchange of 2 clubs follows the general norm for difficulties performed with two clubs. This means that:

• If both clubs fall, the exchange does not count

• If a single club falls, the exchange is valid.

2.3. GENERAL CRITERIA FOR JUDGING THE LEVEL OF DIFFICULTIES WITH AN EXCHANGE

2.3.1. In general, it is the body movement difficulty that determines the level of the exchange.

2.3.1.1. A maximum of 2 body movement difficulties can be performed in coordination with an exchange.

Penalty: 0.50 if the exchange has more than 2 difficulties

2.3.1.2. Body movement difficulties may be performed during the throw, during the flight of the apparatus or during the catch of the apparatus. Difficulties performed immediately before the throw or immediately after the catch are not considered valid exchanges.

2.3.1.3. Obviously if 2 difficulties are performed during the same exchange, the value will be obtained by adding the value of the 2 difficulties (see Summary Table below).

2.3.2. The level of the exchange can be modified according to:

• the distance

Note: More difficult throws and catches or with parts of the body other than the hands (with the foot or feet or with another apparatus) will be evaluated by the Artistry judges(see Part II, Chapters 2 and 3, Individual Exercises).

2.3.3. Exchanges by throwing

2.3.3.1. Elements increasing the value of the difficulties by throwing are the following:

• Distance: 6 meters ( ) = 0.20 point

• Catch on the floor (the gymnast must already be on the floor and not move toward the

floor during the catch): = 0.10 point. During an exchange, a catch on the floor will count only once for Difficulty and cannot be presented nor evaluated another time for Artistry.

2.3.4. Making the catch easier by catching the ball with 2 hands or making it easier for the majority of the gymnasts carries a deduction of 0.10 point from the value of the exchange

2.3.5. If the majority of the gymnasts do not perform the body movement difficulty correctly, the exchange difficulty will not be valid.



2.4. EXCHANGE DIFFICULTIES – SUMMARY TABLE

��

��

1 difficulty (during the throw, the flight or the catch)

E,C E,C //// A

A A A B

B B B C

C C C D

Etc.

1 difficulty, with 6 m. distance min. = + 0.20

E,C E,C B C

A A C D

B B D E

C C E F

Etc.

1 difficulty and catch on the floor = + 0.10

E,C !�� A B

A !�� B C

B !�� C D

C !�� D E

Etc.

1 difficulty + distance + catch on the floor = 0.20 + 0.10 = + 0.30

E,C !�� C D

A !�� D E

B !�� E F

Etc.

2 Difficulties

A A !�� B C

B A !�� C D

B B !�� D E

Etc.

2 difficulties with 6 m. distance min. = + 0.20

A A !�� D E

B A !�� E F

B B !�� F G

Etc.

2 difficulties and catch on the floor = + 0.10

A A !�� C D

B A !�� D E

B B !�� E F

Etc.

2 difficulties + distance + catch on the floor = 0.20 + 0.10 = + 0.30

A A !�� E F

A B !�� F G

B B !�� G H

Etc



Notes regarding the exchanges:

1. An exchange by throwing the rope or the ribbon is valid, only if the apparatus is totally free in space for any length of time.

2. Exchanges with a single club per gymnast follow the same norms as exchanges with any other apparatus.

3. When exchanging the ribbons with a throw, the gymnasts must generally catch the apparatus by the end of the stick. However, it is permitted to wilfully catch the apparatus by the ribbon, provided that the catch is done within a zone of approximately 50 cm. from the attachment.

4. Balance difficulties with exchange cannot be performed during the flight of the apparatus, because it is not possible to perform the technical movements specific to the apparatus.

5. If the gymnast holds the balance during the flight of the apparatus, two technical movements may be considered (throw and flight of the apparatus).

3. PENALTIES

��

"��#�$��

��%��&��

"��#�$��

��'�$��&��

"��$��

�� &��

��(��

��&��(��

)��

4. EVALUATION OF THE DIFFICULTY

4.1. The Composition Judge for Difficulty must proceed as follows:

• Verify that all gymnasts of the group perform the difficulties submitted on the list in a valid fashion, add if necessary the non-listed difficulties, and cross off the non-valid difficulties

• Apply the corresponding score

• Deduct the penalties

PART THREE – GROUP EXERCISE



5.1. Modality for the Completion of the Form for Difficulty in Group Exercises

5.1.1. The difficulty must be entered in the right-hand column of the form.

5.1.2. Every difficulty performed during the exercise must be entered in a single box according to the execution order. In addition, the difficulty should match the Artistry elements (performed with or without difficulty) entered in the same line box of the Artistry column.

5.1.3. Each component of a series of equal jumps/leaps or pivots must be entered in its proper box. It is not necessary to use brackets in column D.

5.1.4. Multiple “fouetté” pivot, it is enough to write the basic symbol and follow it with the letter of

the value of each component. Example: AACA = 0.60.

5.1.5. The exchange must be entered in the same box, even if it counts for more than one difficulty.

5.1.6. On the same line in the “Value” box, an E, the value of the exchange and the number of difficulties counted must be written clearly.

5.1.7. Because it is difficult to enter different types of exchanges among gymnasts in a single box, they can be listed on two different levels joined with a bracket.

5.1.8. Regarding different difficulties performed by sub-groups as well as mixed difficulties, each difficulty must be preceded by a number indicating the number of gymnasts included in the sub-group.


PART FOUR

APPENDICES

INTERNATIONAL FEDERATION OF GYMNASTICS RHYTHMIC GYMNASTICS

Artistry and Difficulty Individual Exercises

JUDGE

ARTISTRY DIFFICULTY Judge No. Date

Country: Gymnast’s Name

Artistry Difficulty Judge Artistry Difficulty Judge Artistry Difficulty Judge

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

TOTAL COACH CAP Diff.

CAP Diff. TOTAL JUDGE

Music Basic Comp.

Penalties

JUDGE’S FINAL SCORE Total A Total D

Coach’s signature.................. Judge’s signature…………..

INTERNATIONAL FEDERATION OF GYMNASTICSRHYTHMIC GYMNASTICS

Artistry and Difficulty Groups

JUDGE

ARTISTRY DIFFICULTY Judge No. Date

Federation

Artistry Difficulty Judge Artistry Difficulty Judge Artistry Difficulty Judge

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

Value Value Value

TOTAL COACH CAP Diff.

CAP Diff. TOTAL JUDGE

Music Basic Comp.

Penalties

JUDGE’S FINAL SCORE Total A Total D

Coach’s signature.................. Judge’s signature…………..

1 type of apparatus

2 types of apparatus

L o n g i n e s B e l l e A r t i

CODE OF POINTS RHYTHMIC GYMNASTICS - Japan R.G

Documents

Transcript of CODE OF POINTS RHYTHMIC GYMNASTICS - Japan R.G