RG CODE OF POINTS 2009 – 2012 Gymnastics Australia RG CODE OF POINTS 2009 – 2012.

Gymnastics Australia

RG CODE OF POINTS 2009 – 2012




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GENERALITIES

Changes to structure of judging panels as follows:

D1 – 2 JudgesMax 10 points by addition

Valid difficulties 1 – 10 points

1 Final score between the two judges

Penalties are deducted from Final Score of D1



D2 – 2 Judges0 – 10 points maximum by addition

1 Final Score between 2 JudgesD1 + D2 – Averaged = 10 points

maximum

GENERALITIES



A – 4 Judges Maximum score 10 points – Total

submitted is penalties

Average two middle scoresE – 4 Judges

Maximum score 10 points – Total submitted is penalties

Average two middle scoresFinal Score = 30 Points

GENERALITIES



Tolerated Differences

Tolerated difference between middle scores

9.50 - 10.00 = 0.10

9.00 - 9.49 = 0.20

8.50 - 8.99 = 0.30

8.00 - 8.49 = 0.40

7.50 - 7.99 = 0.50

Below 7.50 = 0.60



Protests



Only Difficulty score maybe protested. No protests for Artistry and Execution.

Verbal notice immediately after the showing of the score and no later than at the end of the next routine

Written protest given to Technical Committee with fee

Person authorized to receive protest must note the time when it is handed in

Protests



One coach will be accredited on the competition floor to submit protest

There will be a specific area on the podium for coach to view their gymnast’s routine

No late protests acceptedCan only protest your own country’s

performance4 minutes deadline for written protests

Protests



Coach communicating includes oral, gestures, exclamations and clapping

– 0.50

Changes to Technical Deductions from Judge Coordinator



“A” difficulties are primarily regarded as Body Movements

Supplementary “A” difficulties can be considered as Body Movement Elements reflected on Difficulty 1 Sheets

D1 penalties are given at the end of the final score not on each D1 sheet

DIFFICULTY 1



Minimum 8 GCO in an exercise of 10 – 12 difficulties (Senior)

Minimum 6 GCO in an exercise of 9 difficulties (Senior)

Minimum 7 GCO in an exercise of 8 – 10 difficulties (Junior)

Minimum 5 GCO in an exercise of 7 or less (Junior)

DIFFICULTY 1



Plus a maximum of 4 non compulsory Body Movement Groups (NGCO) which can be chosen from 1/2/3 different groups.

Hoop must be represented by all Body Movement Groups with no more than 4 or less than 2 from each group

DIFFICULTY 1



Plus a maximum of 4 non compulsory Body Movement Groups (NGCO) which can be chosen from 1/2/3 different groups.

Hoop must be represented by all Body Movement Groups with no more than 4 or less than 2 from each group.

In rope the following examples are acceptable:-

(8 Leaps/1 balance/1 pivot/ 1 flex)or(8 Leaps/3 pivots/1 balance)or(10 Leaps/2 Flex)or(10 Leaps)

DIFFICULTY 1Examples in Rope of correct use of GCO and NGCO’s



Identical Shape (relationship between body and legs) is counted only once but maybe repeated only in a series. Series is applicable to leaps and pivots.

DIFFICULTY 1Validity of Different Shapes

!



Identical shape between the legs and trunk may not be repeated irrespective on the number of rotations or the starting position

DIFFICULTY 1Validity of Different Shapes

!



In mixed difficulties the shape of each component can be repeated once isolated or in a different combination.

DIFFICULTY 1Mixed Difficulties

!



To be valid all difficulties must be in connection with the apparatus

DIFFICULTY 1Mixed Difficulties

!



Values of difficulties are specified in the Code of Points commencing from A = 0.10 to J = 1.00 however difficulties may exceed this value dependant on the criteria.

All difficulties must be performed with a mastery base. If the base is not present the difficulty is cancelled. The mastery base can be performed at the beginning, during or towards the end of the difficulty

DIFFICULTY 1Values of Difficulties



DIFFICULTY 1Example for Clubs



DIFFICULTY 1Example for Ribbon

Further details of mastery bases will be outlined in D2



Difficulty must be performed without major alteration to the basic characteristics specified to each body groupExamples of major alterations to the difficulty:- Cossack Leaps, Stag Leaps, Split Leaps Front Scale with Back Split Balance, Ring Balance, Slow Turns Fouette Pivots, Progressive Pivots, Attitude Pivots Front Split with Back Bend of the Trunk, Illusions, Walkover with split in different

positions

DIFFICULTY 1Value of Difficulties



Loss of apparatus cancels difficultyLoss of balance with support of one or two hands or fallStatism of the apparatusAny of the above faults will cancel the value of the difficultyIf the difficulty is performed with a lower value it is cancelled

except for rotations in pivots and flexibilities

DIFFICULTY 1Value of Difficulties



Any difficulty performed with a higher value will be given the value reflected on the form

DIFFICULTY 1Examples of Flexibilities with Rotation

!



Follow and check every difficulty according to their performance sequence and add, if necessary the difficulties not listed on the form in chronological order which are a “B: value or higher.

Total the value of the difficulties up to the number reflected on the form. For example, the Form has 12 difficulties; the gymnast performs a B and C difficulty during your evaluation. You add up the first 12 and cross off the last two difficulties.

Penalty = 0.30 for each difficulty “B” value or higher

See page 23 for table of penalties for slow turns, incorrect additions, or value of Difficulties

DIFFICULTY 1Evaluation of Difficulty D1



New values and criteria need to be learnt. Split leap is the base jump of the majority of leaps of jumps. As the

difficulties have been reduced to 12 the Technical Committee did not want to loose the value of the “leg jump” and therefore decided to increase its base value due to its importance.

Any part of the leg may be in contact with the head not just the foot and it must be closed.

DIFFICULTY 1Jumps and Leaps



This is the predominant movement of the trunk and cannot just have the neck bending backwards. The chest and waist must bend. Back bend does not mean the predominant movement of the leg raised high but the predominant movement of the trunk backwards.

Shape needs to be clearly shown in flight. Take off from one foot then there needs to be two movements of the legs, front and back legs one after the other but no see saw allowed. Logically one leg takes off a bit earlier but position should not rock.




Incomplete rotation the difficulty is given no value. Note: The shape is taken when the foot leaves the floor.

Greater value does not change the value of the difficulty Split Leap landing in Back Split “With or Without Help” – New clarification

“Catch of the leg during flight is deleted. Leap does not have to have arch or ring. Even if leap is performed with the backbend it does not change the value.”




Right than left leg take off or

Right - left - right leg take off

These can only be used once in a routine

Two feet take off and then

If the form is from one or two feet is change of form.

DIFFICULTY 1

Jumps and Leaps - Special Cases



New values, symbols and criteria need to be learnt

Any part of the leg may be in contact with the head not just the foot and it must be closed

Tour Lent must be done with a maximum of ¼ heel movement each time. If it is performed with more than a ¼ the slow turn is not evaluated. The commencement of the slow turn must show a fixed balance shape then the tour lent commences. It must be smooth and slow with high releve. Foot position is very important.

DIFFICULTY 1Balances



Upper line of the body must be parallel to the floor with 20 degree tolerance on this upper line only

Trunk at the horizontal with leg high up must show the back flat and the leg full split position

DIFFICULTY 1Balances



Fixed position must be shown at the start and the end with most importantly correct alignment for the difficulty to be given value. Refer to Balance # 30 (F)

2 small continuous heel movements required in the shape of Balance # 34 (H)

DIFFICULTY 1Balances with Circle Movements of the Leg In Suspension



Front Horizontal to Arabesque. The base of the balance is “B” apply criteria to the base value and the difficulty can be performed in any direction on the same level. B +0.40 = F.

Refer to criteria page 36 paragraph 4.2.2

Attitude to Un held Front Split. The base of the balance is “B” apply the criteria to the base value and the difficulty can be performed in any direction. B + 0.50 = G

Refer to criteria page 36 paragraph 4.2.2

DIFFICULTY 1Balances with leg movement in suspension and/or trunk



Note: When performing the change of direction with the leg in suspension on the

same level, the leg must maintain the same level through the hip rotation. Turn out is therefore essential during the entire rotation through the hip.

When performing a change in level and direction with the leg in suspension, the foot may drop down during the progression to achieve the final shape.

DIFFICULTY 1Balances with leg movement in suspension and/or trunk



Italian Fouette # Use criteria Page 36 paragraph 4.2.2 Fouette BalanceContinuous Movement of the leg front, attitude with back bend of the trunk

with ½ turn of the Trunk # 34Front Scale Split With Help # 18Side Scale Split with Help # 21Back Scale with leg High up # 23b (G)

DIFFICULTY 1New balances in Code of Points



Leg high up, sideways, trunk at horizontal, side with help # 41 (C) Leg high up, sideways, trunk at horizontal, side with help # 43 (D) At horizontal, back trunk forward # 45 (B) Leg high up back, with trunk at the horizontal front # 47 (B) Leg in attitude, trunk at the horizontal front # 49 (B)

Kneeling balances are designed to be used with creative choreography

DIFFICULTY 1New Kneeling Balances in Code of Points



Not much change to pivots in this code, however the repetition criteria must be noted.

New values and criteria need to be learnt Rotations evaluated until heel drop Reminder different pivots are pivots with different shape regardless of the number of rotations

performed To complete pivots you may raise the leg to denote the end of the pivot without execution

deduction

DIFFICULTY 1 Pivots



20 degree tolerance with the position of the trunk

Any part of the leg may be in contact with the head not just the foot and it must be closed.

No restriction in the number of rotations performed

Can connect different forms of fouette as category pivots

DIFFICULTY 1 Pivots



Each form can be used separately or in combination

DIFFICULTY 1Example of Acceptable use Combination Pivots verses use of

isolated pivots



Progressive pivots must be performed smoothly and must not end dropping down onto knee. This is incorrect completion of the pivot ( major characteristic) = 0 Value

Progressive pivots must finish in the last shape to be evaluated

Category pivots are the transition from one shape to the other. Before the end of the basic rotation and or the beginning of the following is accepted.

DIFFICULTY 1 Pivots



As long as the transition from one shape to the other is towards the end of the first rotation or at the beginning of the second, the change of shape will be accepted but there must be a minimum total rotation of 720 degrees.

Refer to # 5 (I) Combination pivot and flexibility. Can increase the rotations in the pivot and or the flex.

DIFFICULTY 1 Pivots



Most new flexibility difficulties are regarded as dynamic which means passing through shapes and not showing a stop in a fixed position.

Demi Pointe allowed but does not change the value of the flexibility Errata allows for slow turn +0.20 to be added to any flexibility as long as it

is smooth. Limit the same as for slow turns in Balances, i.e. 1 in 3 Errata +0.10 Total Body Wave which can be added to any shape but

must finish in the requested end position without interruption

DIFFICULTY 1 Flexibilities



Simple flexibilities Lines # 1 -6 in the Code of Points. Must be performed all turned out without dropping the level of the leg during the transition from front

to back. These are referred to as dynamic flexibilities

Lines # 7 – 10 in the Code of Points – Free Movement of the Leg. These are designed for gymnasts who have the same flexibility on the same leg from front to back. These are referred to as dynamic flexibilities.

DIFFICULTY 1 Explanation of how flexibilities are required to be performed



Lines # 11 -15 in the Code of Points. Must show no addition support, no break in movement. Position of the trunk – 20 degree tolerance on horizontal position. If Tour Lent is combined, movement must be smooth and continuous. Must show a fixed shape.

Lines # 16 – 19 in the Code of Points. Can down grade the value due to rotation aspect of these difficulties – refer to lines 17.18 & 19.




Front Split back bend of trunk Do not need to hold back leg for difficulty to be valid. Can increase the value through rotation according to the criteria.

Line # 28 Arch does not need to be as deep as shown in the picture.

Lines # 29 – 31 Need to show shape but must not be fixed for too long.




Errata Note concerning 31D & F. The legs or the body (slow turn) must be one movement. However the amplitude of the leg movements is determined by the type of

apparatus handling. i.e. in the case of an unstable balance of the apparatus on the legs, the legs are stationery.

It the apparatus is not in an unstable position, the legs must move for the difficulty to be valid.




DIFFICULTY 2



To be valid the mastery with or without throws must be performed without technical fault of the apparatus. Each mastery element counts only once, eg identical body movement element and identical handling is

regarded as repetition. Exception to this is the succession of 2/3 identical leaps passing into the rope including skips and hops. The composition of the routine must include elements from the technical groups but not all technical

groups are specified as bases for mastery.

Do not mix up technical groups with mastery bases.

DIFFICULTY 2



Body in space are not necessarily difficulties, it is the position of the body as described on Page 77 of the Code of Points.

If a body movement has two criteria, i.e. flight and rotation they both can be used

However, the rules on body rotation must be adhered to.

Refer to “Notes Valid for Mastery with or Without Throws” – Page 84 in the Code of Points.

DIFFICULTY 2Clarification on Criteria for Mastery Without Throws



Transmission of changing apparatus from one hand to another without sight

Across shoulders is acceptable. It only has to be out of sight at some point where you loose sight

DIFFICULTY 2Clarification on Criteria for Mastery Without Throws



Performed in a Series – This relates to the apparatus handling. There must be a minimum of 2 changes in planes, directions or levels. The exception of the rule is 2 or 3 identical jumps/leaps, skips or hops passing into the rope/hoop and with 2 or 3 identical passing of jumps or leaps into the ribbon provided there is alteration of snakes and spirals.

DIFFICULTY 2Criteria for Series



In the case of identical passing into the rope or hoop with turning split leaps, there is two criteria to be observed (flight and rotation), The value of the mastery criteria related to the passing is also multiplied by the number of leaps performed.




The errata includes skips and hops up to a maximum of 3




New symbol for passing through with skips or hops

Passing through with leaps or jumps. The Technical Committee feels that to pass through the rope in a jete with turn, the rope is already turning backwards and therefore change of direction cannot be claimed. Further errata may still clarify this due to discussion at the course

DIFFICULTY 2Rope

Clarifications



Mills are not included as handling as mastery

Rotation of the folded rope is not valid mastery

Spirals are fast circular movements of the wrist with open rope held in open hand

DIFFICULTY 2Rope

Clarifications



Basic roll is in a straight line. If the body or the arms move, change of direction can be claimed.

No series is required. I single rotation is around the hand is acceptable. However no opportunity to claim a series. See table

Information in brackets have been removed and one or more rotations have been added

DIFFICULTY 2Hoop

Clarifications



Basic roll is in a straight line. If the body or the arms move, change of direction can be claimed.

Additional criterion Rotation of the hand around the apparatus Circular movements of the hand Circles or rotations with balanced ball on one hand

DIFFICULTY 2Ball

Clarifications



Change in Symbol for circles of the clubs

Addition of unstable balance symbol

Rolls includes

DIFFICULTY 2Clubs

Clarifications



If there is less than 4 waves mastery does not count

As gymnast releves the arm may go up to swing the ribbon. During the rotation there should be another circle of the arm and then the criteria is valid.

The succession of 2 or 3 equal passing of leaps and jumps into the ribbon provided there is alteration of snakes and spirals.

DIFFICULTY 2Ribbon

Clarifications



Important Note

If there are two criteria as and unstable balance as two criteria in the difficulty, it is important to recognise the two mastery bases as follows:-

DIFFICULTY 2Ribbon

Clarifications

!



The inclusion of Mastery with throws with and are new.

There are specific Mastery Throws relating to the apparatus on Pages 81/82 with increase in values

There are specific Mastery Catches relating to the apparatus on Page 83

MASTERY WITH THROWS



Catch while passing through the apparatus in flight. Take note of the difference between catch and pass through to the criteria for this mastery catch.

Catch with one hand without sight is a new Mastery Catch

MASTERY WITH THROWS



Note the criteria for small throws and catches together with the specific small throws and catches specific to particular apparatus.

Note the criteria for small throw and small catch in a position of the floor requires change in position on

the floor

MASTERY WITH THROWSMastery with Small Throws



Any description denoting walkover means rotation on the horizontal axis Vertical axis - Chaines, Pivot difficulties, jumps/leaps with 180 degree rotation

etc Horizontal axis – walkovers, cartwheels, illusions forward or backward rolls. Not

shoulder rolls due to sight of the apparatus. Risk is only evaluated once the apparatus is in flight and the body is in rotation

on the vertical/horizontal axis with or without passing on the floor

MASTERY WITH THROWSRisk With Throw



Principle is gymnast must loose sight during the last rotation which must be on the horizontal axis. Risk finishes in the catch of the apparatus but maybe linked to a body movement without interruption of the loss of visual contact. It is important to note that if there is no loss of sight in the last rotation the risk value in its entirety will not be evaluated




Refer to Pages 84/85 of Code of Points where Increase in rotations under the flight of the apparatus

Change in level

Change in axis Catch without sight

Catch with roll

Catch with re throw


Increasing the Value of Risk



This can only be done on the horizontal axis, walkovers, cartwheels, illusions, fish flops etc

The value can be included by commencing on the floor

With rebound of the apparatus

Good examples are rolling of the apparatus over at least two segments during walkover

MASTERY WITH THROWSRisk Without Throw



All Pre Acro elements realised with risk can be repeated a maximum of two times; isolated or in a series

Pre Acro used for risk follow norms for artistry

Pre Acro used outside risk can only be used once; isolated or in a series

If a body difficulty is used in conjunction with the catch of risk, it must be declared on the form

MASTERY WITH THROWSNotes regarding Pre Acro elements and Difficulty Elements with Risk!



Must be perfectly connected to the music and the movement must be interwoven with the music

Appropriately cut music is essential to avoid penalties

3 Fundamentals required – Rhythm, Melody and Harmony

ARTISTRYMusic



This is the structure of the musical piece Easy to identify Body movements must be in accordance with the specific piece of music Not always necessary to be meticulous with all aspects of the rhythm but the choreography should follow of the general rhythm

of the music. Rhythm is the same as the tempo of the music Difficult to find a gymnast who performs perfectly to the music Dance part of the routine must be respected Movements should find the balance between accentuating and creating harmony One of the important aspects of rhythm is the accent Strong accent has more appeal to the audience and this is often reflected in throws and catches

ARTISTRYMusic

Rhythm



This is a succession of notes rhythmically organised which presents an accomplished musical sense Melody represents the part of the music which touches our hearts, which makes us want to sing for example. It represents a leading theme throughout to a conclusion Similar parts of melody are included in rhythm Melody indicates the characteristics of the movement and guides the gymnast in the construction of the routine Melody is constructed to the rules of Western European music – you have to adopt the composition of the music to the

movement, eg a jump could follow an accent (rhythm) Choreography can play between rhythm and the melody to be inventive Musical phrase is part of the melodic line repeated in different forms or tempos Phrase is composed of the melody (the sentence of the music) this is vital to the composition closely related to the harmony.

ARTISTRYMusic

Melody



Harmony, rhythm and melody define the choice of music making it in harmony. Some gymnasts can feel the music which helps with being in harmony with the

music Gymnasts must cover the music with linking movements, no segmentation The gymnasts must convey her sole and the deep feeling of the music Linking between the routine and music is often not there partly because there has

been too much concentration in the difficulties. This must now be retrieved again in the use of music

ARTISTRYMusic

Harmony



This is a unified message using all possible movements of the body and apparatus with a guiding theme from beginning to the end. Far too often choreography has no story to it.

Must utilise sufficient connecting elements, technical, aesthetic and emotional – in relationship with the music, in order to assist to develop the theme of the music

Movements must be logically connected: passing from one movement or movement sequence to another should be logically connected. Often no consistency or continuity to build an image

ARTISTRYChoreography!



Impact of linking not being performed correctly and with unity can lead to 1.00 point deducting being made for “Interruption in the Logical Connections of Movements”

Body movement difficulties must be evenly distributed and not lumped together in one or two sections of the routine

ARTISTRYChoreography



These must not be segmented but should have the participation of all segments. By using these correctly, emotion is determined from here

Expressivity is created by ensuring that body movements are accompanied by movement of the head, arms, extension of shoulders and lengthening of the neck. This is achieved by the connecting elements in the routine and the movement should aim to touch the heart of the audience.

Variety in the choice of body movement elements from types of travelling to different types of arm and trunk movements, jumps, turns, balances etc

There needs to be a reason for the starting position, it conveys the beginning of the story of feeling of the choreography 1


Choice of Body Elements



Variety in the way the apparatus is handled is vital

Different planes, levels, directions and ways of using the apparatus are essential

Throws must have as must variety as possible. Variety in the planes, directions of the throw together with the position the gymnast throws from – on the floor, standing etc.

If there is insufficient variety in throws and catches, for more than two throws/catches in the same plane – direction or the same level or the same mode 0.10 deduction for each predominance ≠

At least 3 Risks are required with a deduction of 0.20 for each missing risk


Choice of Elements with Apparatus



Knowledge of all pre acrobatic elements is important to ensure correct deductions are applied for unauthorized pre acro, or performed with unauthorized technique or without coordination of the apparatus

The repetition rule regarding pre acro elements was covered in our discussions with Difficulty 2


Pre Acrobatic Elements



New Artistry Sheet is a guideline for the applicable deductions

No confirmation if this sheet will be used during competitions

Necessary for judge to complete a check sheet with questions which is considered when evaluating this component of the routine.

Check sheet should denote common deductions, examples below

ARTISTRYChoreographyJudging Artistry



Music Background Yes/No Unity Bad cut of music Character– How many times? Rhythm – How many times?




Choreography Linking Distribution of Difficulties Contact of Apparatus Yes/No Static Risk Acro




Choreography Variety

• Apparatus• Throws • Body• Use of Space

Segmentation Yes/No Segmentation overall Yes/No Unity Dynamics

This check sheet should ensure you obtain the correct penalties for artistry.




EXECUTION



Individual music to movement has been moved to Artistry

Major changes are loss of apparatus and loss of balance .

Important to note that passive bounces if not performed correctly can be regarded as loss

Increase value in deductions in Shape neither fixed or held to 0.20 Height deduction has been removed. Concept is if gymnast can achieve the shape there is sufficient height

EXECUTION



Body Technique – segmentation can be deducted each time to a maximum of 1.00point. No overall deductions any more

Static is well explained on Page 95 “notes”. This is now an execution deduction

Sliding in Pivots is new deduction 0.10

Axis of body in flexibilities not ending in vertical – new deduction 0.30

EXECUTION



Imprecise trajectory value has changed to 0.10 and 0.30

Incorrect handling for each apparatus now has a maximum 1.00 point deduction

In ribbon note the number of deductions for incorrect handling, patterning, snakes and spiral.

The deduction for snap of the ribbon has returned.

EXECUTION



GROUP EXERCISES



GROUP EXERCISESDifficulty 1

Senior 14 Difficulties (Level A or higher) maximum 10 points. Additional A can be used as

per individuals Exchanges minimum 6 (Level A or higher). Must be with a difficulty: Exception 6m

catch on the floor with 2 club throw No GCO’s Easiest difficulty performed by one gymnast will determine the value of the difficulty




Junior 10 Difficulties (Level A or higher) maximum 7.00 points. Maximum 1.00 point

for each difficulty Exchanges 4 minimum NO GCO’s Easiest difficulty performed by one gymnast will determine the value of the

difficulty




Exchanges

Exchanges are valid provided all 5 gymnasts participate in the throwing and catching from a partner. Other types of exchanges are evaluated by D2, eg rolling or bouncing of the apparatus to one another

Exchanges are valid provided gymnast performs body movement difficulty. Keep 6m distance if specified on judging sheet at the moment of the throw or moment of the catch

Cannot perform 3 different difficulties simultaneous with or without exchange, eg 3 gymnasts perform 3 turning leaps, 1 gymnast performs a Cossack leap and I gymnast performs a tonneau. Maximum 2 body difficulties allowed.

Penalty 0.30 and difficulties not evaluated




Exchanges

Value of exchange is determined by the easiest exchange performed by one of the gymnasts. If one apparatus falls during exchange it is no longer valid. Exception for one single club. Refer to Page 106 in Code of Points

Catch with two hands incurs deduction of 0.10 from the value of exchange if performed by the majority of the gymnasts




Validity of Exchanges with Body Movement Difficulty

Exchange can count for 1 or 2 difficulties If exchange is performed with one difficulty = 1 Difficulty If exchange is performed with two difficulties = 2 Difficulties If any gymnast does not perform a difficulty, difficulty is not valid Body movement difficulty maybe performed during the throw, the flight or the catch. Any difficulty

performed before or after is not considered for the value of the exchange Balance difficulty may only be performed during the throw or the catch of the apparatus If a difficulty is not evaluated through error, exchange still counts provided there are other criteria

for the exchange to be valid, i.e. distance or position on the floor



GROUP EXERCISESDifficulty 1Mix Difficulties

Only one difficulty without exchange maybe performed.

If two are performed, first will count and the second is cancelled plus penalty for not respecting rules of 0.30




Same generalities apply for group regarding the technical fault of the apparatus or repetition

Easiest mastery elements performed determines the value for group



GROUP EXERCISESDifficulty 2Collaboration

C Collaboration can be performed with a mastery element with or without throw. Provided the mastery element is performed by all 5 gymnasts

The value of this collaboration is calculated by the value of the mastery plus the value of the collaboration

The collaboration at the lowest value performed by a sub group counts Refer to Page 111 in Code of Points for table denoting collaboration There are notes specifically regarding the minimum and maximum height of apparatus

and gymnasts with regards to passing over or under which must be adhered to.




Risk

All elements with risk for individual exercise are valid for group but cannot be combined with collaboration with risk




Mastery with Exchange

Refer to Page 112, paragraph 2.4.3 for specific mastery with exchange by throw, value 0.10



GROUP EXERCISESDifficulty 2Collaboration

C Collaboration can be performed with a mastery element with or without throw. Provided the mastery element is performed by all 5 gymnasts

The value of this collaboration is calculated by the value of the mastery plus the value of the collaboration

The collaboration at the lowest value performed by a sub group counts Refer to Page 111 in Code of Points for table denoting collaboration There are notes specifically regarding the minimum and maximum height of apparatus

and gymnasts with regards to passing over or under which must be adhered to.



GROUP EXERCISESArtistry

General

Minimum 5 collaborations required. 0.20 for each missing collaboration C

6 different formations. 0.30 for each missing formation

GCO’s not compulsory but minimum of one body element of each body movement group must be performed

Minimum of one apparatus technical group must be performed




Forbidden Elements

Leaning on one or several partners without contact of the floor means 2 or more seconds without contact with the floor

Support of the gymnast is different to being carried.

Support is regarded as the base to manoeuvre the gymnasts without the gymnasts really moving. No more than 2 steps are allowed during the process of supporting the gymnast to move in or out or over the other gymnasts appropriately.

Penalty 0.30 for not being adhered to each time




Judging Artistry for Group Exercises

Set up the same check sheet as for individual but add notes specific to group exercises, eg collaborations, formations etc

During evaluation Denote Collaborations Denote Formations Denote Static Formations Denote variety Absence of body movement or apparatus technical group Submit penalties



GROUP EXERCISESEXECUTION

Identify specific faults for group Synchronisation and harmony – music Synchronisation and harmony – group speed, amplitude and intensity of expression Alteration of the formation Imprecision in the direction and the shape of the formation in travelling Collision Statism




Deductions For Each Gymnasts

Identify the individual deductions applicableFor example

Loss of apparatus Loss of balance Trajectory, knots Wrapping, feet caught in apparatus Loss of one end of the rope Incorrect catch




Overall Execution Deductions Identify the overall deductions

For example Handling Incorrect rolling Incorrect patterning Incomplete movement Segmentation Amplitude Shape Heavy landing Body not ending in vertical Hops during rotation etc



Thank You!

RG CODE OF POINTS 2009 – 2012 Gymnastics Australia RG CODE OF POINTS 2009 – 2012.

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Transcript of RG CODE OF POINTS 2009 – 2012 Gymnastics Australia RG CODE OF POINTS 2009 – 2012.