Explore the vast range of titles available.

Artistic gymnastics is a sport comprising a variety of movements performed on apparatus, connected by the art of movement. The Code of Points is a document that brings together all the rules of this sport; it guides the work of coaches and gymnasts, helping to compose the routines presented in competitions. This study focuses on women's artistic gymnastics and the implementation of its rules, established by the Code of Points 2013-2016. It aims to analyze the elements that composed the gymnasts' routines during the last Olympic Games (Rio 2016) and identify the possible technical relations between the composition of the balance beam and the floor exercises in line with the current Code. For this purpose, we carried out a video analysis of 82 balance beam routines and 82 floor exercise routines, in total 164 routines performed by athletes competing in women's artistic gymnastics at the Rio 2016 Olympic Games qualifying competition. We observed that the Code of Points is still little explored, and gymnasts use only a few of the elements available. In this sense, the International Gymnastics Federation and, more specifically, the Code of Points, which regulates the sport, should devise strategies for better usage of the elements available within the stipulated rules.

A successful high-level gymnastics performance is the result of the coordination and inter-relation of body segments to produce movement prototypes. In this context, the exploration of different movement prototypes, as well as their relations with judges’ scores, can aid coaches to design better learning and practice methodologies. Therefore, we investigate if there are different movement prototypes of the technique of the handspring tucked somersault with a half twist (HTB) on a mini trampoline with a vaulting table and its relations with judges’ scores. We assessed flexion/extension angles of five joints during fifty trials, using an inertial measurement unit system. All trials were scored by international judges for execution. A multivariate time series cluster analysis was performed to identify movement prototypes and their differential association with judges’ scores was statistically assessed. Nine different movement prototypes were identified for the HTB technique, with two of them associated with higher scores. Statistically strong associations were found between scores and movement phases one (i.e., from the last step on the carpet to the initial contact of both feet with the mini trampoline), two (i.e., from the initial contact to the take-off on the mini trampoline) and four (i.e., from the initial contact of both hands with the vaulting table to take-off on the vaulting table) and moderate associations with movement phase six (i.e., from the tucked body position to landing with both feet on the landing mat). Our findings suggest (a) the presence of multiple movement prototypes yielding successful scoring and (b) the moderate-to-strong association of movement variations along phases one, two, four and six with judges’ scores. We suggest and provide guidelines for coaches to encourage movement variability that can lead their gymnasts to functionally adapt their performance and succeed when facing different constraints.

In artistic gymnastics, competition results are determined by judges, whose task is to evaluate the perceived quality of movement as accurately as possible. A comparative analysis of measurable motion data and judges' scores is intended. For this study, video-recorded stretch jumps with turn motion data were analysed and evaluated by judges. A total of 174 videos from 29 female participants, each performing 6 trials, were assessed by three expert judges (national licence, at least 10 years' experience). We hypothesise that, in the comparative analysis of motion analysis data and judges' scores, various movement aspects have different influences on the evaluation. The results show several significant correlations between the judges' scores (deductions for jump height, position, landing) and the parameters of the motion analysis. The strongest Kendall’s tau-b correlation between judges' deductions and motion analysis data was observed for the number of steps (τb = 0.600, p < .001), and a strong negative correlation for jump height (τb = -0.547, p < .001). The results of Krippendorff’s alpha test show a lack of agreement between the experts for the judges' scores, but there is a significant positive correlation between the experts for the judges' scores. We conclude that deductions have a varying influence on the total score, depending on the number of parameters considered and whether the competition rules clearly define the gradation of deductions. V orodni telovadbi rezultate tekmovanj določajo sodniki, katerih naloga je čim bolj natančno oceniti zaznano kakovost gibanja. Izvedena je primerjava merljivih podatkov o gibanju in sodniških ocenah. V tej raziskavi smo razčlenili podatke o gibanju pri iztegnjenih skokih z obratom, posnetih na videu, ter jih dali v ocenjevanje sodnikom. Skupno je bilo ocenjenih 174 videoposnetkov 29 udeleženk, pri čemer je vsaka telovadka izvedla 6 ponovitev. Posnetke so ocenili trije sodniki strokovnjaki (državni rang sodnika z najmanj 10 let izkušenj). Predpostavili smo, da na sodniško oceno ne vplivajo vsi vidiki gibanja enako, ampak imajo nekateri večji vpliv kot drugi in naredili primerjalno razčlenitev. Rezultati kažejo več statistično značilnih povezav med sodniškimi ocenami (odbitek za višino skoka, položaj, doskok) in spremenljivkami razčlenitve gibanja. Najmočnejša Kendallova korelacija tau-b med sodniškimi odbitki in podatki razčlenitve gibanja je bila ugotovljena pri številu korakov (τb = 0,600, p < 0,001), močna negativna povezava pa pri višini skoka (τb = -0,547, p < 0,001). Rezultati testa Krippendorffove alfe kažejo pomanjkanje soglasja med strokovnjaki glede sodniških ocen, vendar je med strokovnjaki prisotna statistično značilna pozitivna povezavaa med sodniškimi ocenami. Sklepamo, da imajo odbitki različen vpliv na končno oceno, odvisno od števila upoštevanih spremenljivk in od tega, ali tekmovalna pravila jasno določajo stopnjevanje odbitkov.

Artistic gymnastics is a sport comprising a variety of movements performed on apparatus, connected by the art of movement. The Code of Points is a document that brings together all the rules of this sport; it guides the work of coaches and gymnasts, helping to compose the routines presented in competitions. This study focuses on women's artistic gymnastics and the implementation of its rules, established by the Code of Points 2013-2016. It aims to analyze the elements that composed the gymnasts' routines during the last Olympic Games (Rio 2016) and identify the possible technical relations between the composition of the balance beam and the floor exercises in line with the current Code. For this purpose, we carried out a video analysis of 82 balance beam routines and 82 floor exercise routines, in total 164 routines performed by athletes competing in women's artistic gymnastics at the Rio 2016 Olympic Games qualifying competition. We observed that the Code of Points is still little explored, and gymnasts use only a few of the elements available. In this sense, the International Gymnastics Federation and, more specifically, the Code of Points, which regulates the sport, should devise strategies for better usage of the elements available within the stipulated rules.

The Rhythmic Gymnastics Code of Points, 2013-2016, was a milestone by allowing vocal music in routines. This study aimed to analyze the impact of this change in the routines, at the RIO 2016 Olympic Games. This is a documentary research, with two types of sources: official International  Federation  of  Gymnastics;  and  videos  of  the  routines.  The  sample  was composed of 26 individual athletes and 14 teams. The analysis was quantitative (incidence parameter) and qualitative (type of music). As a result, we identified that, of the 104 songs of individual routines, 81 were instrumental music (IM) and 23 represented music with voice and words (MVW). Among the IM, 21 were North-American (NA) and 60 from other nationalities (ON). Of the MVW, 11 were NA and 12, from ON. In team routines, of the 28 songs, 17 were IM and 11 were MVW. Of the IM, 6 were NA and 11, from ON. Among the MVW, 6 were NA and 5, from ON. We conclude that most of the gymnasts and teams used this new rule of the Code of Points. This change was effectively incorporated into world prominence delegations, and we verified the strong influence of NA music.

Development and recognition of new gymnastics element is subjected to the evaluation of difficulty and structural complexity of the skill. The authority over the procedure lies with the Technical Committee of International Gymnastics Federation (FIG TC) and thus the classification of an element is a result of the subjective perception of its members. The present article pursued two goals. First, a method of biomechanical modelling was used to present a new gymnastics element “Dimic” on parallel bars. Second, as the element “Dimic” was evaluated with the same difficulty and placed in an identical position as “Bilozerchev” element in the Code of Points tables, the accuracy of the evaluation was tested by comparing kinematical characteristics of both elements. Measured subject was a gymnast AD, who for the purpose of the study performed both elements. Kinematic analysis was performed with the help of APAS 3-D video motion analysis system, using a model with 17 points and 15 segments. A comparison of kinematic characteristics (movement of body centre of gravity and the supporting left hand, the amount of rotation around the longitudinal axis) revealed significant differences in a non-support phase of elements both in structural characteristics and the difficulty of the execution of the skills. It can be concluded that the placement of the “Dimic” skill in the Code of Points seems incorrect. A method used in the study could in future be used in order to more adequately place new skills into the Code of Points. Razvoj in priznavanje novih prvin  je predmet ocenjevanja moške tehnične komisije FIG glede na zahtevnost prvine. Pri tem člani komisije upoštevajo predvsem svoje znanje in tudi subjektivne občutke o težavnosti prvine. Za razvoj prvine »Dimic« je bila uporabljena metoda biomehanske modeliranja. Člani tehnične komisije so prvino  »Dimic ocenili z enako težavnostjo kot prvino \"Bilozerčev\". Narejena je bila 3D kinematična analiza obeh prvin, ki jih je izvedel isti telovadec. Kinematična analiza je bila narejena z APAS sistemom, telo je predstavljal model s 17 točkami in 15 segmentov. Primerjava kinematičnih značilnosti (gibanje telesa težišča in opora z levo roko, količino vrtenja okoli vzdolžne osi) je pokazala velike razlike v brezopornem delu tako v strukturnih značilnosti in zahtevnosti izvedbe od telovadčevih spretnosti. Glede na rezultate je mogoče sklepati, da je ocena težavnosti prvine »Dimic« napačna v primerjavi s prvino »Bilozerčev« in bi morala biti ocenjena kot težja prvina.

The aim of research was to analysis development and age structure of male and female participants at the Olympic Games (OG) and World Championships (WC) from 2003 until 2016. The total number of analyzed WC participants in men's artistic gymnastics (MAG) was 2678 and the women's artistic gymnastics (WAG) was 1981; while at the OG in MAG 391 and in WAG 389. In the last 15 years, there has been identified linear and second-order polynomial-regression increase in the age structure of participants in MAG and WAG in the largest world competitions. In analyzed period of time, MAG and WAG age of gymnasts increased. The male gymnasts from 2003 to 2016 are on average older for 2.3 years and female gymnasts for 3.3 years. In the upcoming period, we do expect (with apparatus specialization) that age will rise. Cilj raziskave je bil ugotoviti spremembo starostne strukture telovadcev in telovadk na olimpijskih igrah in svetovnih prvenstvih od leta 2003 do leta 2016. Skupno število udeležencev v moški tekmovalni orodni telovadbi je bilo 2678 in pri ženskah 1981; medtem ko je bilo na olimpijskih igrah 391 telovadcev in 389 telovadk. V zadnjih 15 letih je bila ugotovljena linearna in polinomska regresija druge stopnje v starostni strukturi udeležencev na največjih svetovnih tekmovanjih. V razčlenjenem obdobju se je povečala starost telovadcev in telovadk. Telovadci so od leta 2003 do leta 2016 v povprečju starejši za 2,3 leta, telovadke pa za 3,3 leta. V prihajajočem obdobju pričakujemo (tudi zaradi dodatnih tekmovanj na posameznih orodjih), da se bo ta starost povečala.

In article we overview 19 years of a 33 year long sporting career of the gymnast Aljaž Pegan. His scores, ranks and exercises on the horizontal bar are presented for each World Championship. Exercises are further broken down into individual elements and descriptions of those elements. They are presented in accordance with the Code of Points published by Federation International Gymnastics, which was in force for a particular four-year period, and a theoretical comparison was made, taking into account all the changes and adjustments, with the Code of Points 2013-2016. Additionally, breakdowns of the seven Codes of Points for the horizontal bar which were in force in the period from 1989 to 2013 are also shown. Adaptation to the changing criteria of the Code of Points can be seen in the exercises through upgraded elements, which Aljaž could grasp due to his exceptional knowledge of basic motor structures such as: free hip circles, giant swings, flights and elements in double el-grip. During his career Aljaž and his coach invented two unique elements that bear his last name in the Code of Points, Pegan on the horizontal bar and on the parallel bars. His greatest success was at the World Championship in Melbourne, Australia in 2005, where he became the World Champion on the horizontal bar. V članku je razčlenjenih 19 let – od 33 letne – tekmovalne kariere telovadca Aljaža Pegana. Njegove ocene, uvrstitve in sestave na drogu so predstavljene za vsako svetovno prvenstvo. Sestave so dodatno razčlenjene na posamezne prvine in njih opise. Predstavljene so v skladu s Pravilnikom za ocenjevanje Mednarodne telovadne zveze, ki so veljala za določeno štiriletno obdobje, in narejena je bila teoretična primerjava ob upoštevanju vseh sprememb in prilagoditev s Pravilnikom za ocenjevanje 2013 -2016. Poleg tega so prikazane razčlenitve sedmih Pravilnikov za ocenjevanje, ki so veljali v obdobju od 1989 do 2013. Prilagoditev spreminjajočim se kriterijem Pravilnika za ocenjevanje je mogoče videti v sestavah s prvinami, ki jih je Aljaž dodajal zaradi izjemnega znanja osnovnih gibanj na drogu, kot so vse vrste točev, letov in prvin v obrnjenem podprijemu. Med svojo kariero sta Aljaž in njegov trener izumila dve prvini, ki nosita njegov priimek v Pravilniku za ocenjevanje, Pegan na drogu in Pegan na bradlji. Njegov največji uspeh je bil na svetovnem prvenstvu leta 2005 v Melbournu v Avstraliji, kjer je postal svetovni prvak na drogu.

The aim of research was to test the quality of spectator’s execution evaluation of gymnast’s performance compared to official judges. For the purpose 91 participants (spectators) evaluated 26 exercises on parallel bars on a scale from 0-10.0 points like it is used in diving (0-Completely failed, 0.5-2.0 – unsatisfactory, 2.5-4.5 – deficient, 5.0-6.5 – satisfactory, 7.0-8.0 – good, 8.5-9.5 - very good, and 10 – excellent). Following analysis were performed: Kolmogorov Smirnov test, Cronbach’s Alpha, Spearmans Rank correlation, cluster analyze (square distance method), and Kruskal Wallis analyze of variance. Spectator’s reliability of judging is same as for official judges; ranking is similar to the official judges and even better. Cluster analysis extracted three groups of spectators – strict ones, medium ones and permissive ones. As an average, they function well. The biggest challenge for spectators is bias towards their local (national) heroes and champions. However, in the spectators is also a group of those who are honest and strict without having biased opinion and they formed quite a big group (one quarter). Namen raziskave je bil ugotoviti, kako gledalci ocenjujejo izvedbo telovadcev ter njihove ocene primerjati z ocenami sodnikov. 91 gledalcev je ocenjevalo 26 sestav na bradlji na lestvici od 0 do 10 točk podobno kot pri skokih v vodo (0-popolnoma neuspešna sestava, 0,5-2,0- zanič sestava, 2,5-4,5-neuspešna sestava, 5,0-6,5-pomanjkljiva sestava, 7,0-8,0-dobra sestava, 8,5-9,5-zelo dobra sestava, 10-odlična sestava). Po vrsti statističnih obdelavah lahko zaključimo, da so gledalci enako zanesljivi kot sodniki, ali tudi boljši. Gledalci so se razdelili v tri skupine: strogi, srednje strogi in blagi, vsi skupaj pa so tvorili dobrega sodnika. Največji izziv gledalcem je bila naklonjenost domačim telovadcem. Skupna strogih gledalcev (ki je predstavljala 25% vseh gledalcev) je tudi domače telovadce razvrstila pravilno.

Over the years gymnastics is changing, difficulty of the routines is improving, the technology and the equipment are developing, Code of Points (COP) is getting new aspects. In 15 years, from the year of 2000 to 2015 COP changed a lot. Two measurements of morphological characteristics of top level male gymnasts were taken and compared, one from the year of 2000 and one from 2015, both from a World Cup Competition in Ljubljana. Our study showed some significant differences in abdomen circumferences and percentage of muscle mass of gymnasts in 15 years. Despite there were no significant differences, the tendency is the increase in body height, with less percentage of body fat and percentage of muscle mass (with the exception of gymnasts competing on floor). With lower percentage of body fat, lower percentage of muscle mass and almost unchanged body weight we can presume bone mass probably increased and with tendency of taller gymnasts also other inner organs, increased weight. V preteklih letih se je tekmovalna orodna telovadba močno spremenila, težavnost sestav se povečuje, tehnologija in oprema se razvijajo, Pravilnik za ocenjevanje se spreminja. V zadnjih 15 letih je Pravilnik za ocenjevanje močno spremenil. Meritve telesnih značilnosti vrhunskih telovadcev leta 200 in leta 2015 v času tekmovanja za Svetovni pokal v Ljubljani so pokazale naslednje značilne spremembe: povečal se je obseg trupa in spremenil odstotek mišične mase. Čeprav ni bilo ostalih značilnih razlik med obema skupinama telovadcev, lahko zaznamo naslednje tendence: povečana telesna višina, manjši odstotek maščobne mase in mišične mase (z izjemo telovadcev na parterju). Z manjšim odstotkom maščobne mase in odstotkom mišične mase ob skoraj nespremenjeni masi telesa, se je verjetno povečal odstotek kostne mase in tudi masa notranjih organov.