Gym Coach, Vol.

2 (2008) 15-18 Methodological

Article

Men’s choreography – it is about postural

alignment
Nick Blanton
Notts School of Gymnastics, Nottingham, United Kingdom

ABSTRACT

The artistic and physical preparation requirements of male and female gymnasts are relatively similar, even though they
share so many common traits, there are areas where each code has specific needs. Male gymnasts like female gymnast
benefit greatly from dance, or ballet training. The effects of such training of the postural alignment are undeniable.
However the requirements and demands of male gymnast’s differs substantially from that of female gymnasts. MAG
specific choreographed routines help to develop the postural control (especially in the shoulders and pelvis) and grooming
(tension, leg shape, arm shape, presentation) that is required in the performance of gymnastics. Proper postural alignment
is also fundamental to the learning and performing of gymnastics skills. Basic arm and body positions need to be learned
and understood in order for the gymnast to execute postural corrections during skill performance. The following article
outlines basic guidelines and suggestions for the development of choreographed sequences specific to MAG with emphasis
on arm and body positions.

Key Words: physical preparation, training program, MAG

INTRODUCTION The scope of this article is encourage the incorporation of

‘1, 2, 3, 4 – and - 1, 2, 3, 4’ to most boy’s this repetitive
sequence can only mean one thing… Choreography. If your
male gymnasts are anything like my mine, just mention the
word Ballet, or Choreography training, and watch the
reactions - moans and groans at the thought. Holding onto
the bar with their head held low they ‘go through the
motions’ as if they were robots programmed to be
miserable. It’s these reactions that have prompted me to
explore how to incorporate Men’s Choreography to be
effective and targeted towards the demands of men’s
disciplines within gymnastics.
Don’t get me wrong, I am a huge advocate of traditional
choreography training for men’s gymnastics and I believe
some males in the sport do not appreciate the benefits the
training provides. We as coaches wonder why this is? The
strength, flexibility and stability it provides are enormous.
Elements such as the Plié and the Rond de jambe (or Circle
of the Leg) assist in the teaching of everything from proper
landing position to advanced level flair to handstands on
pommel horse. The issue I am interested in is how far does
traditional choreography need to go to influence men’s
gymnastics before its benefits seem more advantageous
towards the female side of the sport?
postural training though choreographed routines specific
to MAG. These routines should focus on postural
awareness of arm movements, specifically the shoulder
area, and the core muscles in the torso region to target the
athletic demands the current sport possesses. I am not
advocating the lower body be neglected in men’s
development; this article is set out to work alongside
traditional choreography sessions to allow for proper
training of the different demands men’s gymnastics
presents.
METHODOLOGY
There are two categories of positions outlined below,
Standing Arm Positions and Body Positions. Both are
interdependent on each other to provide the necessary
characteristics for postural development.
The Arm Positions help to stabilize the shoulder region of
the body while the Body Positions help to generate stability
of the core muscles of the body in addition to placing load
on the arms. Both work hand-in-hand to coordinate proper
body alignment and should be incorporated in a men’s
choreography program.

©2008 The Gym Press. All rights reserved Gym Coach Vol.2, March, 2008 - 15-
Nick B, Gym Coach, Vol.2 (2008) 15-18 Methodological
Article

Effort must be made to try and squeeze the hands towards

Standing Arms Position the feet when statically holding these
There are five positions associated among this group shapes (figure 1). In other words, do not
(figure 2). Meticulous detail must be given to the postural let the hands and feet slide outwards. To
alignment of each of the positions. Chin up, stomach in, do this, the exercise must be performed
pelvis rotated under, arms straight, fingers straightened - with the toes pointed so the floor is in
all must be maintained throughout to achieve effective contact with the top of the ankle, rather
alignment procedures. If this attention to detail is than the balls of the toes.
overlooked, the corresponding incorrect position will
almost certainly present itself when performing higher-
level elements.

The gymnast should become so familiar with these shapes

that in the training of an element the coach could call a
command and the gymnast would automatically be able to
respond accordingly. For instance, when instructing
gymnasts I have worked with in the past to begin twisting a
straight bodied somersault, I would often use the
command ‘Position 2 on take off, show Position 3, then
perform the subsequent twist’ A gymnast must be so used
to the association between the body positions and the
corresponding number system that consciously they can Figure 1 – Diagrams of the standing arm positions and effective body
create an automated physical response. This physical position exercise progressions
response can be a powerful mechanism for a coach when Routines Choreography
trying to relate the proper pedagogical techniques to his Utilizing the positions previously outlined coaches can
gymnast. begin to incorporate certain movements into a
choreographed routine. An example of a routine is as
A simple game to play to help gymnast begin to memorise follows:
the Arm Positions is called ‘Numbers’. The coach calls out
a certain number, or sequence of numbers and the
Starting position 1
gymnasts must arrive at the positions accordingly.
Rapid arm Rapid arm
swings swings, arm one
Body Positions
upwards and going up to
Body positions are exercises that enforce the mid-section
downwards Position 2, one
to ‘tighten up’ in order to facilitate the pelvic region, in this
between arm going down
case the lower back, the abdominal regions and upper
Positions 1 & 2 to Position 4
thigh areas, to allow for postural alignment. They serve as
a useful progression for the muscles in the lower torso
Starting position 2
region to conform to a straight line. Often times, gymnasts
are not sufficiently strong enough to perform such postural
demands. Body Positions aim to combat this lack of Small, fast arm circles in both directions
strength and provide useful exercises to incorporate in the
training of choreography. Large, slow arm circles in both directions

One common reaction when explaining the concept of

pelvic rotation is confusion, frustration, or the amusing
response of ‘it’s not possible’. A simple exercise is to Starting position 3
instruct the confused participant to lay down flat on his Small, fast backwards arm
belly and try and lift the belly button off the floor. The circles
gymnast must rotate the pelvic region forward in order to Large, slow backwards arm
raise the stomach off the floor. The pelvic tilt, as it is circles
commonly referred to, is a standard component to the Small, fast forwards arm
three shapes involved with Body Positions. circles
Large, slow forwards arm
circles

Starting position 4
Figure 2 - How to perform
©2008 The Gym Press. All rights reserved
body position exercises - 16 -
Nick B, Gym Coach, Vol.2 (2008) 15-18
Article
Arms swing
Small, fast arm upward to
circles in both Position 2 and
directions downward to
Position 4
Starting position Body Tightners –
Moving up and down from starting position, to hips on
floor
The routine provided is meant as a guideline and can
incorporate countless variations and advancements.
Utilizing hand weights, maximizing the repetitions, and
many other creative changes can bring highly challenging
workouts with prosperous results. Again these movements
are intended to go hand-in-hand with traditional
choreography routines.
DISCUSSION
There are two reasons I believe Men’s Choreography
should provide an ulterior motive than women’s. The first
are the demands the two disciplines require. “The main
distinction between men’s and women’s gymnastics is that
women have four pieces of equipment, three of which are
jumping (the vault, beam and free exercises), while the
men have six, of which only two involve jumping.” (1) The
development of the muscle groups from the waistline up in
higher-level men’s gymnastics is more intensive than its
women’s counterpart, as two-thirds of the events require a
high level of strength in the upper body compared to one-
quarter for the women.
The second, involves the expressional differences between
the men’s discipline and women’s discipline:
“Contemporary men’s gymnastics is more athletic, while
women’s is more plastic and expressive, more artistic, even
though it is one and the same sport expressing respectively
the art of men and women.” (1) Women’s gymnastics sets
out to create more of an artistic and expressive thesis in its
aim, where the men stress a more athletic outlook in their
objective. The Women’s FIG points out during the
Components of an Evaluation that “The current philosophy
for exercise content and combination encourages an
emphasis on the mastery of dance and acrobatic
choreography, artistically presented.” (2)
“Perfect alignment is mandatory for high-calibre athletes
in order to prevent injury, excel at their sports and move
©2008 The Gym Press. All rights reserved
Methodological
efficiently.” (3) How many times do we find ourselves as
coaches, spectators or judges yearning to see a perfect line
in a handstand, a perfect straight posture when standing
up, a balanced gymnast poised and steady on his feet, or
hands for that matter?
These characteristics are what make a gymnast ‘strong’.
With them, a solid base can be formed with the structural
sturdiness to layer higher-level awareness in the future.
Without them, the basic foundation will crumble as the
developmental process proceeds.
From a coaching standpoint, getting gymnasts to
understand - what a straight elbow feels like when the
arms are actively pursuing a position, what constitutes the
arms being raised ‘straight’ above the head, where the
arms should be when placed straight out to the side, how
the pelvic region can be tilted forward etc. are invaluable.
Without the conscious understanding of these postural
fundamentals, gymnast’s progress will be hindered along
their development. Whether through lack of strength, or
flexibility, this postural non-development will present
problems for many elements.
CONCLUSIONS
The differences in men’s and women’s gymnastics should
also influence a difference in the delivery of choreography.
I believe choreography is essential to developing strong,
healthy gymnasts. It is vital then to understand the
demands men’s gymnastics present and develop
choreography routines to combat these demands. Men’s
Choreography can be an effective way for gymnasts and
coaches the opportunity to train postural alignment.
Performing choreographed routines daily before the start,
or at the end of each workout can be very beneficial. You
will begin to see much better lines in your gymnasts, which
will correlate into much better fundamental building
blocks to work with. I think this area in gymnastics
development is often over looked and needs to be
addressed. Many times we as coaches encounter problems
in the pedagogical process of our gymnasts, many of these
issues can be resolved with the fine tuning of postural
concepts to facilitate proper advancements.
Making postural alignment the cornerstone of
development will continue to bring Men’s Artistic
Gymnastics delivery safely, progressively and most
importantly - aesthetically pleasing.
Every care is taken to assure the accuracy of the information published
within this article. The views and opinions expressed within this article,
are those of the author/s, and no responsibility can be accepted by The
Gym Press, Gym Coach or the author for the consequences of actions
based on the advice contained herein
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Nick B, Gym Coach, Vol.2 (2008) 15-18 Methodological
Article

Address for correspondence: Blanton N. Notts School of Gymnastics, Nottingham, United Kingdom,
blantonnick@hotmail.com

REFERENCES and RECOMMENDED READINGS

1. L. I. Arkaev & N. G. Suchilin. How to Create Champions The Theory and Methodology of Training Top-Class Gymnasts
Oxford: Meyer & Meyer Sport (UK) Ltd., 2004
2. FÉDÉRATION INTERNATIONALE DE GYMNASTIQUE (2007) Code of Points – Women’s Artistic Gymnastics.
Available from: http://www.fedintgym.com/rules/docs/06-code/02-wag/codewag0701-e.zip
3. Ellen Barrett (2004) Straighten up! Four steps to great posture. American Fitness. Available from:
http://findarticles.com/p/articles/mi_m0675/is_3_22/ai_n6057269/pg_1

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