2013 Artistry Workshop for Coaches and Judges Antwerp

13-10-10

Presented by Lyn Heward October 2-4, 2013 in Antwerp, Belgium

The Artistic Performance

• The selection and integration of diverse movements, the structuring of choreography with music and the interpretation of this music. The demeanour and attire (costume) of the gymnast…as well as the ‘age appropriateness’ of the exercise. Artistic Composition • The specific performance qualities exhibited by the gymnast(s): style, expression, musicality and other qualities generally attributed to an artistic performance in an otherwise gymnastic exercise. Artistic Performance or ‘Artistry’

1 13-10-10

An Artistic Scorecard

Is the choreography and musical accompaniment ‘age appropriate’ or ‘maturity appropriate’?

Does the music help to establish the theme (or story) and flow of the exercise from an artistic perspective? And, does the structure of the exercise allow the gymnast to use the music effectively and expressively for both gymnastic and dance movement?

Does the gymnast appear to ‘dance’….that is, working within the theme, rhythm, pace and flow of the music? Is there more to the connecting steps than simply walking and running?

Are gymnastic difficulties (tumbling, as well as required difficulties like turns and jump series) threaded (connected) seamlessly throughout the exercise?

An Artistic Scorecard

Does the gymnast exhibit personal style, expression and musicality throughout the exercise?

Does her performance go beyond required elements, structure and execution?

Does the gymnast reach out to and connect with the audience and the jury?

2 13-10-10

Artistic Composition

• Composition can be defined as the movement vocabulary, including the elements of difficulty, required movement series and all other movement connections which are woven into a unique artistic gymnastic exercise. • It therefore includes the choreography as well as the musical selection and the musical interpretation of the performance. • And, while the gymnast performs the exercise, it is most often the coach and the choreographer who have structured this composition.

Choreography

• Choreography can be defined as the mapping out of the body’s movements, both gymnastic and artistic, over space and time and in harmony with the musical selection. • It is also the balancing of elements of difficulty with artistic components in order to create a continuous flow, a cohesive whole and to demonstrate the unique abilities, personality and style of the gymnast within the performance

3 13-10-10

Music and Musical Interpretation

• A good musical selection will help establish the structure, rhythm and pace, as well as the theme and the movements of the exercise. • It will support and highlight the performance of required elements of difficulty and facilitate their execution. It must also be used to inspire the overall choreography and contribute to the style and quality of execution, as well as to the interpretation and expression of the gymnast. • There must be a strong cohesion between the overall performance and the choice of music.

Artistic Performance or ‘Artistry’

• Artistry is the ability of the gymnast to transform the composition from a well-structured routine into an artistic performance. • Therefore, she must demonstrate Musicality, Expression and Style in addition to the impeccable execution of all of the elements of difficulty (required elements of the sport), as well as the Choreography • Artistry is also about finesse, subtlety and modulation, as well as amplitude, complexity and speed.

4 13-10-10

Musicality

• Musicality is the ability of a performer to interpret music and to demonstrate not only its beat, rhythm and tempo, but also its theme, flow, shape, intensity and passion throughout her physical performance.

Expression

• How a gymnast generally presents herself to the jury and the public. • The ability to ‘carry’ a role, character or style throughout the exercise. • The attitude and range of emotion that is expressed not only on the face, but in the body of the gymnast. • The ability to control and manage expression during the performance of the most difficult or complex movements. • Through expression, the ability to transform movements, both gymnastic elements and

choreography, into a singular artistic whole.

5 13-10-10

Style

• The manner of expression characteristic of a particular artist or performer

• The manner of executing a task or performing an act

• The manner or action of a particular performer

• A person’s characteristic bearing, demeanour or manner

• Beauty or striking appearance

Mastery

• Mastery (also called Virtuosity) is the extraordinary interplay of movement, expression, style and musicality demonstrated by a gymnast. It is also the gymnast’s ability to transcend all of the requirements and rules of the sport and to touch or move the audience as well as the jury. • The notion of mastery separates a good performance from an exceptional one and should be taken into consideration in the overall artistic score.

6 13-10-10

General Comments and Suggestions • Entry onto the floor area (including the borders of the carpet and the area in sight of the spectators and judges) should be clean and professional. It was noted that a few ladies wiped their hands on their thighs, shrugged their shoulders, took visibly big breathes and demonstrated other ‘ticks’ before beginning the performance.

• The opening of the exercise is most often a very short sequence (step or steps with arm movement) and does not establish the style, theme, or provide the time necessary for the gymnast to ‘introduce’ herself satisfactorily.

• 4 or 5 tumbling passes (including preparation and incorporating 1 or 2 counting difficulties per pass) and as well as several non- difficulty acrobatics take up 50 to 60% of the allocated exercise time.

General Observations and Suggestions

• Landing of the last difficulty at the end of the tumbling pass must end on 2 feet (without lunge) or with jump. Result: some very unaesthetic jumps with poor direction lead to somewhat ungainly, sometimes dangerous, landings.

• There is still a lot of ‘background’ music which does not support non- gymnastic movement or choreography. Music must help establish the meaningful flow of movements. It is a homogenous unit which also allows the gymnast to divulge her personality and style, and helps to define her expression throughout the exercise.

• The level of gymnastic difficulty is impressive, however, many gymnasts do not use the music in a lyrical and rhythmical manner. They do not appear to ‘dance’…they move from one skill or difficulty to the next, often walking or running. ‘Dancing’ (dance steps, combinations (enchainements) and dance styles) should be encouraged.

• In so far as non-acrobatic movement (dance) is concerned, it is clear that complex jumps and multiple turns are the ones which are awarded as difficulties. However, from a composition perspective, a variety and combination of ‘soft acrobatic skills’ and more advanced dance skills, as well as sequences with changes of level, direction and complexity add both difficulty and ‘artistic’ richness to the performance. How do we reward a balanced and well-executed exercise which meets both the gymnastic and artistic requirements, and satisfies both the jury and the audience? 13-10-10

General Observations and Suggestions

• Feet: what happened to the toe point and working through the entire foot? (Take a look back in the 70’s, 80’s and early 90’s.)

• As with tumbling passes, too much time is spent in the preparation of the pirouettes and turns. They must flow from the proceeding movement(s) and they should flow into the next movement after the precise completion of rotations.

General Observations and Suggestions

•• SomeGreater attention attention should must be givenbe paid to theto theaesthetics arms, ofhands, the leotard fingers in relationand head to theposition. performance These (in details finals ordo individual contribute competition) in a meaningful way to the style, composition and execution of the exercise.

• While generally ‘expressive’ with her body, many competitors do not exude confidence or emotion in their facial expression. Facial expression plays a large role in the interpretation of music. The best gymnasts demonstrate this effortlessly.

• Gymnasts need the time to execute difficulties, to dance, to perform and to connect with the judges and the audience alike.

8 13-10-10

Women’s aristic gnastics has an incredible potential not only to thrill the spectators, but to move and touch them emotionally. And, while the jur has the responsibilit to evaluate each exercise precisely and fairly, the individual judge (and coach) must also view the perforance through the eyes of ‘Everan’ (the spectator), that is, with appreciation and awe for the most talented women in spor.

9 13-10-04

Musicality Workshop Antwerp – October 3-4, 2013 For Coaches

By Lasse Nettum

The problems in artistic gymnastic relative to the music.

 The character changes between the impulses in the acrobatic elements and the “dance elements”.  You can not change the music every time you see a change in character like Vera Caslavska did with her pianist.  You have to work with music editing and “fix and mix”.  To be able to do this in a correct way you have first to learn and understand the “musical rules”!

1 13-10-04

The Code of Points

 What does the Code of Points tell us about music  What does the Code of Points tell us about the relationship between music and exercise

 READ AND LEARN

“On the Beat, in the music”

 To be “on the beat” is the foundation of creating harmony between the music end the exercises.  The acrobatic elements consist of “hard” beats/ impulses.  The “dance elements” consist of “softer beats/ impulses.  It is difficult to find music that in one piece gives you this combination.

2 13-10-04

Artistic Gymnastics

 We are moving in time and space.  Our movements is limited in time and space relative to the apparatus in our sport.  Different apparatus demands different rhythm and technique.  Change in technique means change in the rhythmical patterns.  We are searching for rhythmical harmony.  We are searching for energy flow.

Analysing the Movements

 In biomechanics we are talking about Force.  We have to look for the forces acting in the movement.  The time we see the forces in a movement we call it an Impulse or an Accent.  If there is a complex movement we will see many accents.  The intervals between the accents is the rhythm.

3 13-10-04

Rhythm

Ø Rhythm is a chain of impulses with equal or non-equal intervals Ø If the intervals are equal we call it ground rhythm Ø If the intervals are non-equal we call it melody rhythm Ø The velocity/speed of ground rhythm decides the tempo of the music (metronomic speed; beats per minute) Ø The melody rhythm is “the dance” that brings life to the ground rhythm using different mathematical variations also known as rhythmical patterns

Movement and“Rhythmical Family”

Ø Rhythm is the mother of the movement it gives birth and life to the movement

Ø Tempo is the father of the movement it guides us through the movement

Ø Character and artistry are the children they are dancing, expressing joy or sadness

4 13-10-04

Rhythm and Music

Ø The Rhythm is the foundation of music

Ø Motive, Sequences and Periods are the building blocks of music

Ø Melody and tempo are the heart of music

Ø Their combination gives us the musical character, the musical “feeling”

Rhythmical training: the 2/4

Ø Using “jing Jang”, day night, heartbeat, walking on a weight platform. This is the 2/4 “the mother of the movement and the rhythm”

Ø Impulse, no impulse – Impulse, no impulse

Ø From this simple rhythm comes all the other

Ø To create other rhythms is just a matter of mathematic skill

5 13-10-04

Rhythmical training

Ø Using the rhythm in “2/4 names”. Ø v means accent, - means no accent Ø Roger More (v -) (v -) Ø Nellie Kim (v -) (v -) Ø Justin Beaber (v -) (v -) Ø Dustin Hoffman (v -) (v -)

Ø Try to find a 2/4 name. What about your name?

Rhythmical training

Ø Using the rhythm in “3/4 names” sentences Ø v means accent, - means no accent

Ø Grandmother loves you (v - -) (v - -) Ø Nadya means harmony (v - -) (v - -) Ø Leonella Waterspoon (v - -) (v - -)

Ø Try to find a 3/4 name. What about your name?

6 13-10-04

The Main time signatures

 The 2/4 and the 3/4 are the main time signatures. The rest of the time signatures are combinations. If we have two bars of 3/4 we can count 123, 123. If the second 1 is without an accent it is not a 1 it is a 4. So instead of having two bars in 3/4 we have one bar in 6/4. And we count 123456.  In the time signature 4/4 we have the same! The 4/4 is actually two bars of 2/4 where the second one is without beat. Then we count; 1234.

Terminology

Ø Basic music theory should be required for all FIG disciplines using music. Ø A common understanding of musical terminology is essential. We have to use the same “language ”!

Ø What is: rhythm, phrase, period, sequence,

motive (motif)!

7 13-10-04

8 13-10-04

Coordination

 Our brain has a center for motoric activity.  It`s sending signals to our muscles in different bodyparts so we can move them togheter, in the same way or in different ways.  This is called coordination.  Some of your gymnast are well coordinated some of them are not. You as coaches are responsibel for teaching them coordination.

THE HARMONY and creating Goosebumps!

 To create and find the harmony between music and exercise we have to analyse them both separately.  We talk about analysing music  An exercise consist of a chain of movement elements.  We have to analyse all this elements.

9 13-10-04

Analyse Music and Exercise

 Tempolines  Characterlines/ Dynamic variations  Change in volume  Rhythmical effects  Field choreography

 Exercise individual example

ANALYSING MUSIC

 Is there changes in volume ? (Decibel)  Is there changes in tempo ? (metronomic speed)  Is there changes in character ?  Can we recognize the accents/beats and find the time signature. (2/4, 3/4, 6/8, 5/4...... )  Does the music (especially when it comes with vocal) try to tell us something?

10 13-10-04

The practical tool 1

 Find an exercise and listen to the music. If you haven`t done this before take it easy.  Draw a horizontal line, call it volume line. Each time you find a major change in volume draw a vertical (small) line on the volume line. Find out how many changes.  Do the same with the tempo and call it tempo line. (We talk about major changes!)

The practical tool 2

 The character line. Listen to the music and try to find changes in the character. (If the mood changes, a change in leading instruments, from staccato to legato). Draw the vertical lines.  If you compare the three lines (volume, tempo and character) you will see that very often you will have the same amount of vertical lines.

11 13-10-04

Music is about feelings, culture and taist!

I like, you don`t like. In my culture this music is beautiful. My gymnast like this because she is young and what she likes is what matters. I don`t like music with vocal. Opera has nothing to do with sport. Classical music is the best for artistic gymnastics. I miss the time we had pianists.

TECHNICAL ADVICE

Do not use music with to much bass. If you record your own music, make sure that the lower bass frequencies are cut Many computer programs have an equalizer function that makes this possible In a large hall, for example World Cup in Moscow with many subwoofers, to much bass sounds murky Think of change in volume!!!

12 13-10-04

The objective and correct score!

 As a judge you will never have time to do the analyses of the movements and the music.  A lot of judges are also coaches and they will benefit from the work in the gym.  By using the tools I have mentioned you will as a judge develop the skill of what we can call automatic reaction based on your work in the gym. Judges not having this experience will have a hard time.

What can we do!

 The judges have to use Code of Points and force the coaches to think of music when they are creating exercises.

 This means that if the gymnast is not in harmony with the music and the music does not follow the guidelines in Code , the gymnast must be punished.

 Almost every girl in Gymnastics is born with a feeling for rhythm and music. Let’s concentrate on them. We very often can observe that when we just ask them to dance to music, they are showing musicality, rhythmical sense and expression.  When we ask the same girl to do here exercise, it is easy to observe that “something has happened concerning music”.  Now I want you to listen and observe.

13 13-10-04

Objectivity

 How is it possible to be objective evaluating a subjective impression!  Is it possible to develop an objective tool to evaluate a subjective impression?

We have to concentrate on facts

 We are dealing with variables. If fact shows that one variable is connected to other variables we can eliminate some of the variables. It means that if the fact shows that there is a connection between change of volume, metronomic speed, time signature and change of character/dynamic we can develop a tool/system that can measure this.

14 13-10-04

Musicality Workshop Antwerp – October 3-4, 2013 For Judges

By Lasse Nettum

I am a Judge

 I don`t understand the musical theory.  I hear what I hear and see what I see  This gives me the impression of harmony between music and exercise.  This is my Foundation of setting my score and evaluate the performance against the Code.

 Is this good enough?

1 13-10-04

I don`t think so

 You have as a judge to understand the hard work the gymnast and coaches are doing.  You has as a judge the responsibility to understand the Code of Points and to understand and see if the gymnast and her exercise is following the rules.  To educate yourself as a judge is showing respect for the gymnast, the coach and the Code!

Education for Judges 1

 Find an exercise and listen to the music. If you haven`t done this before take it slowly.  Draw a horizontal line, call it a volume line. Each time you find a major change in volume draw a vertical (small) line on the volume line. Find out how many changes in volume.  Do the same with the tempo and call it a tempo line. (We talk about major changes!)

2 13-10-04

Education for Judges 2

 Are there changes in volume ? (Decibel)  Are there changes in tempo ? (metronomic speed)  Are there changes in character ?  Can we recognize the accents/beats and find the time signature? (2/4, 3/4, 6/8, 5/4...... )  Is the music trying to tell us something?

The problems judging artistic gymnastics relative to the music.  The character changes between the impulses in the acrobatic elements and the “dance elements”.  The music cannot be changed every time you see a change in character as Vera Caslavska did with her pianist.  The coach has to work with music editing and “fixing and mixing”.  To be able to judge this in a correct way you have first to learn and understand the “musical rules”!

3 13-10-04

The Code of Points

 “There must be a direct correlation between the movements and the music. The accompaniment should be personalized to the gymnast and must contribute to the overall artistry and perfection of her performance”.  “Musicality is the ability of the gymnast to interpret the music and to demonstrate not only its rhythm and speed, but its flow, shape, intensity, and passion”.

The Code of Points

 “The music must support the performance and through her movements, the gymnast, must convey the theme of the music to the audience and the jury”.

4 13-10-04

The Code of Points Faults

 No structure to the music  Inhability of the gymnast to follow musical beats, rhythm and tempo  Incorrect selection of movements for particular music. (Tango music to Polka movements)  Background music!!!  Lack of synchronization between the movement and the musical beat at the end of the exercise.

“On the Beat, in the music”

 To be “on the beat” is the foundation of creating harmony between the music and the elements.  The acrobatic elements consist of “hard” beats/ impulses.  The “dance elements” consist of “softer beats/ impulses.  It is difficult to find music that in one piece gives you this combination.

5 13-10-04

Artistic Gymnastics

 We are moving in time and space.  Our movements are limited in time and space relative to the apparatus in our sport.  Different apparatus demands different rhythm and technique.  Change in technique means change in the rhythmical patterns.  We are searching for rhythmical harmony.  We are searching for energy flow.

Analysing the Movements

 In biomechanics we talk about Force.  We have to look for the forces acting in the movement.  When we see the forces in a movement we call it an Impulse or an Accent.  If there is a complex movement we will see many accents.  The intervals between the accents is the rhythm.

6 13-10-04

Rhythm

Movement and“Rhythmical Family”

Ø Rhythm is the mother of movement it gives birth and life to the movement

Ø Tempo is the father of movement it guides us through the movement

Ø Character and artistry are their children they are dancing, expressing joy or sadness

7 13-10-04

Rhythm and Music

Ø Rhythm is the foundation of music

Ø Motive, Sequences and Periods are the building blocks of music

Ø Melody and tempo are the heart of music

Ø Their combination gives us the musical character, the musical “feeling”

Rhythmical training: the 2/4

Ø Using “jing Jang”, day night, heartbeat, walking on a weight platform. This is the 2/4 “the mother of the movement and the rhythm”

Ø Impulse, no impulse – Impulse, no impulse

Ø From this simple rhythm comes all other rhythms

Ø To create other rhythms is just a matter of mathematical skill

8 13-10-04

Rhythmical training

Ø Using the rhythm in “2/4 names”. Ø v means accent, - means no accent Ø Roger More (v -) (v -) Ø Nellie Kim (v -) (v -) Ø Justin Beaber (v -) (v -) Ø Dustin Hoffman (v -) (v -)

Ø Try to find a 2/4 name. What about your name?

Rhythmical training

Ø Using the rhythm in “3/4 names” sentences Ø v means accent, - means no accent

Ø Grandmother loves you (v - -) (v - -) Ø Nadya means harmony (v - -) (v - -) Ø Leonella Waterspoon (v - -) (v - -)

Ø Try to find a 3/4 name. What about your name?

9 13-10-04

The Main time signatures

Terminology

Ø Basic music theory knowledge should be required for all coaches and judges in all FIG disciplines using music. Ø A common understanding of musical terminology is essential. We have to use the same “language ”!

Ø What is: rhythm, phrase, period, sequence,

motive (motif)?

10 13-10-04

11 13-10-04

Coordination

 Our brain has a center for motoric activity.  It`s sending signals to our muscles in different bodyparts so we can move them togheter, in the same way or in different ways.  This is called coordination.  Some gymnast are well coordinated some of them are not. The coaches are responsible for teaching them coordination.  Tje judges have to observe if the gymnast are coordinated

Pactical coordination training

 4 4 4 4  3 3 3 3  2 2 2 2

12 13-10-04

THE HARMONY and creating Goosebumps!

 To create and find the harmony between the music and the exercise we have to analyse them both separately.  We talk about analysing music  An exercise consists of a chain of movement elements.  We have to analyse all these elements.

Music is about feelings, culture and taist!

I like - you don`t like. In my culture this music is beautiful. My gymnast likes this because she is young and what she likes is what matters. I don`t like music with vocals. Opera has nothing to do with sport. Classical music is the best for artistic gymnastics. I miss the time when we had pianists.

13 13-10-04

The objective and correct score!

 As a judge you will never have time during the competition to do the analyses of the movements and the music.  A lot of judges are also coaches and they will benefit from the work in the gym.  By using the tools I have mentioned, you will as a judge, develop the skill of what we can call automatic reaction, based on your work in the gym. Judges not having this experience will have a hard time.

What can we do!

 The judges have to use the Code of Points and force the coaches to think of music when they are creating exercises.

 This means that if the gymnast is not in harmony with the music and the music does not follow the guidelines in Code , the gymnast must be punished.

 Almost every girl in Gymnastics is born with a feeling for rhythm and music. Let’s concentrate on them. We very often can observe that when we just ask them to dance to music, they are showing musicality, rhythmical sense and expression.  When we ask the same girl to do her exercise, it is easy to observe that “something has happened concerning music”.

14 13-10-04

Objectivity

 How is it possible to be objective evaluating a subjective impression!  Is it possible to develop an objective tool to evaluate a subjective impression?

We have to concentrate on facts

15 13-10-10

Musicality & Artistry in Women’s Artistic Gymnastics Antwerp, Belgium ---- October 3 & 4, 2013

A “Workshop” for Coaches: October 3 – 15:00-18:00 Judges: October 4 – 15:00-18:00

Introductory Comments by Hardy Fink Director, FIG Educaon & Academy Programs

Introductory Comments FIG EC & TC concerns and iniaves In all 4 disciplines: oen background music but not integral part of performance super athletes but no connecon with audience. The new world of sport: Sport is an important form of entertainment: must compete with all other sports & forms of entertainment many use gymnascs as base (… has talent, etc.) we must also learn from them. Must resonate with the world audience .

1 13-10-10

Introductory Comments

FIG EC & TC concerns and iniaves – cont’d “Cius, Alus, Forus”. Also “Melius” = Beer (more beauful). More gymnascs ≠ beer gymnascs. Can we have both? I think we can and must. FIG is providing experse & support for all disciplines through seminars, academy curriculum, resource development, etc. for beer gymnascs – “Melius”

Introductory Comments Turn your great competors into performers – turn a roune or an exercise into an arsc performance. No one in this room disagrees. Our collecve problem is how to do this and how to reward this. This seminar is a beginning eﬀort in that direcon. Educaonal objecves of this seminar To sensize, to inform, to inspire, to improve and to learn from examples of the best.

2 13-10-10

Lyn HEWARD Currently: Ø Creave Director on Special Projects for Cirque du Soleil & guest speaker on creavity and its relaon to both human & corporate Previously: Ø Creave Director and Director of Creaon Studios for Cirque du Soleil 2005-2012 Ø President & CEO of Cirque du Soleil’s Creave Content Division 2000-2005 Ø Vice-president of creaon for Cirque du Soleil 1996-2000 Ø Acrobac scoung coordinator for Cirque du Soleil 1992-1995 Ø Technical Director and then Execuve Director of the Quebec Gymnascs Federaon 1986-1992 Ø Arsc gymnascs coach and judge before 1986 Ø Creator of the book “The Spark - Igning the Creave Fire that Lives Within Us All”.

Lasse Harald NETTUM Currently: Ø Working at The Norwegian school of sport sciences. Ø Member of the board in Asker Turnforening Ø Teacher in music for several courses in countries all over the world.

Previously: Ø Working with gymnasts in AG and RG for the last 30 years. Ø Aended two Olympic games, 3 WC WAG, 8 WC RG, 4 EC WAG and 18 EC RG as a musician playing and composing music. Ø Head and member of Technical commiee RG in the Norwegian federaon of gymnascs. Ø Studies in psychology, medicine and music. Ø Music expert for the FIG Academy Program