Artistic Gymnastics: Techniques, Exercises, and Safety

Posted on Nov 20, 2024 in Physical Education

Artistic Gymnastics: An Overview

Artistic gymnastics, an Olympic sport, involves a series of systematic bodily exercises performed on various apparatuses. These exercises challenge a gymnast’s physical qualities, particularly strength, agility, flexibility, and balance, making it a sport that borders on art. It emphasizes the development of motor coordination, creativity, body language, discipline, and organization, which are crucial for child and adolescent development. At a competitive level, gymnasts require immense discipline, willpower, focus, mental practice, repetition, and self-control for optimal performance. While the origins of gymnastics are rooted in natural human movement, modern technological advancements and highly technical movements have introduced a degree of artificiality. This blend of athleticism and artistry is reflected in the term “Artistic Gymnastics.”

Pedagogical Methods

Analytical Procedure: This method involves examining a technical exercise chronologically, dividing it into phases (preparatory, action, end) to prevent errors during execution.

Global Procedure: This approach focuses on performing the entire exercise globally, followed by specific technical corrections.

Genetic Procedure: This method aims to enrich and improve an individual’s motor function by exposing them to diverse situations that encourage adaptation and learning new movement patterns.

Home Lesson

Heating Preparation

• Cardio-pulmonary warm-up
• Joint and muscle conditioning specific to the exercises being studied
• Study of postural alignment and structure placement

Study of Exercises

• Placement of mini-circuits for each skill level in workshops (course activities)
• Strengthening exercises in unusual situations
• Strengthening activities on the main apparatus, if possible, in unusual situations
• Performing the entire exercise globally

Class Conclusion – Improvement of Physical Qualities

• Increase flexibility (range of motion)
• Increase strength (specifically related to the skills and levels being studied)

Solo Exercises

Official Floor Exercise Area

The standard floor exercise area is a 12m x 12m platform, with an additional 1m on each side. This platform is mounted on a 1m high podium and surrounded by a 1m safety margin on each side, which cannot be used by the gymnast during the routine.

Introduction

Floor exercise is the foundation of all other gymnastics disciplines. Basic movements like rolls and handstands are learned first, followed by more complex skills like cartwheels and handsprings. The global, analytical, or genetic methods are used to teach these foundational elements.

Rolling Forward Grouped

Formative Objectives

• Develop adaptability and dynamic body positioning
• Experience the sensation of rolling and regaining balance
• Promote adaptation to rotations

Materials

• Flat grassy area or gymnastics mats
• Swedish bank (incline mat)
• Slope

Figure 1 – Front roll grouped

Technical Description

From a standing position with legs together, bend the knees and hips, placing your hands flat on the ground in front of you, shoulder-width apart, elbows bent, and fingers pointing forward. Flex the head forward, tucking the chin to the chest. Push the body forward by extending the knees, exerting force against the ground. Roll smoothly forward onto the back in a tucked position, keeping the knees together and feet in plantar flexion to leave the ground. In the descending phase, emphasize increasing the body’s lever to maximize momentum for the forward roll. As the body passes through the supine tucked position, the extension phase begins. After completing a 360-degree rotation around the body’s transverse axis, continue forward displacement in the sagittal plane. End the movement in a standing position on the feet, with body segments as close as possible, then extend them fully, rising to a standing position with arms raised and extended.

Assistance Techniques

To prevent neck strain, ensure the gymnast supports their weight on the crown of the head, not the neck. Assist the performer by holding their head at the neck and pushing it down to keep the chin tucked to the chest. Simultaneously, guide the roll by pushing on the back of the thigh with the other hand, following the direction of the rotation.

Suggested Activities

• “Blotter” Roll: Sit on the edge of a mat or on the grass with legs flexed and embraced with arms. Keeping the back rounded, fall backward, maintaining the position, and swing on the back like a “blotter.” After several swings, sit back up continuously (Fig. 2). Variations include ending in a standing position without using hands and incorporating running before and after the roll.

Figure 2 – “Blotter” roll Figure 3 – Roll starting on the bench

• Bench Roll: Position a Swedish bank with a mat at one end. Have students move into a quadruped position on the bench. Upon reaching the end, they should support their hands on the mat, flex their head forward, and roll over their back (Fig. 3). Alternatively, this can be done in pairs, with one student forming a “wheelbarrow” and the other securing their knees. After taking a few steps with their hands, the first student should tuck their chin to their chest and roll onto their back on the mat or grass (Fig. 4).

Figure 4 – Wheelbarrow roll Figure 5 – Rolling on an inclined plane

• Incline Roll: Create a slight incline using a board or a Swedish bank with a thin mat. Have students perform forward and backward rolls, ensuring their chin is tucked to their chest. Finish by standing up without using hands. Assist those who need help by providing hand support at the end of the roll (Fig. 5).
• Targeted Roll: Have students move in a high quadruped position on level grass towards a mat or designated spot. They should perform a roll, supporting their hands and head on a drawn figure on the mat or grass (Fig. 6).

Figure 6 – Rolling with targeted positioning of hands and head

• Assisted Roll: Have students perform a forward roll on the grass or mat, ending without hand support. An assistant (teacher or student) should face the performer and provide hand support at the end of the roll to help them stand up (Fig. 7).

Figure 7 – Forward roll with assistance in finalizing

Other types of rolls include forward roll away, carp roll, backward roll tucked, carpado, and fish jump. Each should be learned progressively, utilizing assistance when necessary. Mastering these elements provides a foundation for more advanced skills like handsprings and other movements involving rotations around the body’s lateral-lateral axis.

Rolling Away from the Front

Figure 8 – Rolling facing away

Bearing Front Carpado

Figure 9 – Bearing front carpado

Rolling or Jumping Fish Jump

Figure 10 – Bearing skipped or fish jump

Rolling Back the Group

Rolling Back Away

Figure 12 – Bearing backs away

Rolling Back Carpado

Figure 13 – Roll back carpado

Handstand or Two Supports

Handstand (Two Supports)

Figure 14 – Handstand (two supports)

Formative Objectives

• Develop static balance
• Recognize the inverted body position
• Gain awareness of body tone (muscle contraction)

Materials

• Flat grassy area or gymnastics mats
• Fabric bags (approx. 10cm x 20cm) filled with sand
• Chalk or hoops (hula hoops, plastic)

Technical Description

From a standing position with arms raised and extended, aligned with the trunk, step forward with one leg in the sagittal plane, supporting your weight on it. Flex the front leg, causing the torso to incline forward, flexing the hip joint on the body’s transverse axis. Support your hands on the ground, shoulder-width apart, throwing the back leg up with the knee extended. The other leg will follow immediately, joining the first in a fully extended, upright position with the foot in plantar flexion. The head should be aligned with the trunk. Maintain this position for two seconds in static equilibrium. Then, lower the legs alternately towards the ground, extending them fully. The first leg to touch the ground will cause a slight knee bend, followed by extension. Lift the trunk, ending in the starting position.

Assistance Techniques

Assist the performer in achieving the inverted position by guiding them by the leg being cast. Upon reaching the handstand position, support them by holding their thighs with both hands (ideally, two people assist, one on each thigh). Then, move one hand from the anterior thigh to the abdomen, supporting the returning leg to the floor. The other hand, supporting the posterior thigh, should help hold the performer’s arm as they raise their trunk at the end of the handstand.

Suggested Activities

• Hip Raises: Accustom children to supporting their weight on their arms by lifting their hips. Activities include:
  • Moving in a quadruped position, prone, and on the teacher’s signal, raising the hips by extending the knees to the maximum.
  • Similar to the previous exercise, but on the signal, students raise one leg extended behind and upwards.
  • Moving in a high quadruped position with legs flexed and taking semi-alternating steps. On the teacher’s signal, students steady their hands on the ground, extend their arms, and with legs together and knees straight, move in small steps by raising and lowering the hips. On the second signal, they return to the starting quadruped position.
  • Each student supports their hands on the ground in front of their body, shoulder-width apart, arms extended. They give short pulses with their legs, bringing the hips up and pulling the feet off the ground. They can also try to clap their feet together while in the inverted position. The more claps, the better their handstand control.

Figure 15 – Hip raise from quadruped

• Hand-Foot Walks: Move forward, alternating the support of hands and feet on the ground with arms outstretched.
• Sandbag Walks: Place a sandbag between the child’s ankles and ask them to move forward, alternating the support of hands and feet on the ground with arms extended (Fig. 16).
• Partner Carry: Perform the previous exercise, but on the signal, the child should hold their sandbag and pick up a partner.
• Sandbag Toss: In a quadruped position, have students toss the sandbag up and forward with their feet. Resting their hands on the ground, shoulder-width apart and with arms extended, they throw their hips up, followed by their legs together, dropping the bag on top of their path, aiming for maximum height (Fig. 16).

Figure 16 – Quadruped with sandbag carry and toss

• Alternating Leg Raises: In a high quadruped position, have students alternately cast their legs extended upwards. Then, ask them to move in this position, alternating the support of hands and feet with arms outstretched, and the leg being released back also extended (Fig. 17).

• Scissor Kicks: Without moving, resting hands on the ground in front, shoulder-width apart, arms extended, and one leg ahead of the other, bend the front leg slightly and throw the back leg extended upward. The other leg follows immediately. The first leg then lowers towards the ground, followed by the other. The movement resembles scissors with legs in the air. Students should perform successive repetitions, alternating legs with arms extended (Fig. 18).
• Handstand Attempts: Perform the previous exercise, but try to balance momentarily in a handstand position, alternating the lowering of the legs and ending in a standing position.

Figure 18 – Handstand kicks Figure 19 – Handstand with hoops

• Hoop Handstands: Draw circles on the ground with chalk (one for each student) or place hoops spread out on the floor. Ask children to walk freely among them. When approaching a circle, they should support their hands inside it and perform “scissors” with legs extended in the air. They then resume their walk (Fig. 19).
• Handstand Rotations: With one student in each circle, ask them to support their hands inside and keep their feet off the ground, one leg ahead of the other. They should lower their legs alternately, trying to rotate to one side. Let them turn to the side they find easier.
• Handstand Preparation: With one leg forward, bend the torso forward, bending the front leg slightly, and rest your hands on the ground, shoulder-width apart, arms extended, and hands flat. Throw the legs extended and alternate back and upward, joining them at the top. The first leg then lowers towards the ground, followed by the other. Finish in the starting position (Fig. 20).

Figure 20 – Handstand preparation

• Handstand Foot Taps: Perform the previous exercise, but try to tap one foot against the other as many times as possible while the legs are extended, then lower to a standing position (Fig. 21).
• Assisted Handstand: Perform a handstand with assistance from the teacher or a colleague (Fig. 22). A wall can also be used for support, focusing on balance in the inverted position.

Figure 21 – Foot taps in handstand Figure 22 – Handstand with assistance

Eighth Handstand

Eighth Handstand: A variation of the handstand starting from a standing position as in a backward roll carpado. When the hands touch the ground, the legs rise to the inverted position (handstand).

Figure 23 – Eighth handstand

Star (Cartwheel)

Figure 24 – Star (cartwheel)

Round-Off (Rolling)

Figure 25 – Round-off

Horse Vault

Official Measurements

• Springboard with Reuther system: 1.20m long x 60cm wide x 20cm high
• Horse: 1.60m long x 35cm wide x 1.20m above the ground

The horse can be substituted by a vaulting table with a height of 1.25m to 1.35m, a width of 95cm, and a length of 1.20m. It is always used longitudinally for both men’s and women’s vaulting. Its contact surface is made of non-slip material for safety.

“Vaulting is a dynamic coordination exercise that involves controlling global movements in time and space. It requires specific coordination linked to balance and postural control: a push. These problem-solving situations can be introduced from the age of four.” (Le Boulch)

Introduction

When learning horse vaulting, it’s important to adapt activities to the springboard, often replaced by a mini-trampoline. Adaptation to the mini-trampoline is crucial and involves free heels and targeted landing on a mat, initially without the horse as an obstacle. Once adapted, preliminary vaults are learned. While simple, they are valuable in the Code of Points and aid in learning more complex vaults. Preliminary vaults can be practiced with minimal equipment, making them suitable for schools and non-specialized settings. Plinths can be used for initial learning.

Emphasize learning each phase of the vault, as proper execution of each part contributes to the overall technical quality.

Features to Develop in Each Phase

• Run-up: Maintain a consistent pace (the last step should be faster). Slightly project the trunk forward until very near the springboard, then slightly backward. Take relatively long strides (increasing).
• Approach and Takeoff: Run onto the springboard, landing with both feet together on the highest part. Accompany this with a slight flexion of the knees and hips. The body assumes a slightly concave shape, with anterior angulation of the vertical passing through the feet (this transforms horizontal speed into vertical jump). Arms should be extended forward at shoulder height. Vigorously extend the hips, knees, and ankles to launch the body into the first flight.
• First Flight: Begins when the feet leave the springboard and ends when the hands contact the horse or plinth. For a single hop (without body reversal), the trunk/legs angle should not exceed 20 degrees above the horizontal passing through the shoulders. More complex vaults require greater angulations.
• Approach to the Horse: Arms should be aligned with the torso, parallel to each other, and elbows fully extended. Dampen the impact on the horse by depressing the shoulder blades and subsequently repulsing the shoulders.
• Shoulder Repulsion: Upon hand contact, immediately push the horse down by lifting the shoulders, keeping elbows extended. This action determines the timing of the second flight, where stunts that characterize the vault are performed.
• Second Flight: Begins when the gymnast leaves the horse and ends with foot contact on the ground. The gymnast should reach a peak height and/or perform complex movements like twists and saltos.
• Landing: Assume a static standing position, cushioning the impact by bending the ankles, knees, and hips. Raise the arms in extension as a final presentation.

Tuck Jump on Plinth or Horse (“Hock” Jump)

Objectives

• Develop specific coordination for the jump
• Develop the skills needed to perform it with or without a springboard

Materials

• Grassy area or gymnastics mats
• Official gymnastics springboard or adapted material
• Mat or sandbox for landing

Technical Description

After a brief run-up and takeoff on the springboard with both feet together, perform the first flight with the body extended. Place your hands on the plinth, standing sideways, keeping elbows extended and arms parallel. Develop shoulder repulsion, pushing the plinth down without bending elbows, bringing knees to chest, and transitioning into a tucked position. After the second flight, quickly extend the body to land on the mat or sandbox, bending the knees to cushion the impact, and assuming a balanced standing position with arms elevated and parallel, elbows extended.

Figure 1 – Tuck jump on the horse

Assistance Techniques

Two assistants, one on each side of the springboard, should hold the performer’s arms and guide them in the direction of the jump by gripping their hamstrings as their feet contact the springboard. (One assistant can also be used).

Suggested Activities

• “Hare’s Leap” on the Ground: From a crouching position, jump forward, extending the body to reach the ground with hands outstretched and arms extended. Bend the knees, bringing the legs forward, and placing the feet between the hands. Quickly leave the ground to start a new “hare’s leap” (Fig. 2).

Figure 2 – “Hare’s leap”

• “Hare’s Leap” over Plinth: Perform the “hare’s leap” over a plinth placed longitudinally, starting with two modules and progressively increasing the height according to the students’ ability.
• Tuck Jump over Plinth: Perform a run-up and takeoff on the ground or springboard, followed by a tuck jump over the plinth, landing on it with the feet, and then jumping extended to the mat or sandbox. The number of plinth modules depends on the takeoff: start with three for ground takeoff and four for springboard takeoff. Increase the plinth height as the class progresses.
• Tuck Jump Translation: Perform a tuck jump over the plinth, initially transversely and later longitudinally, with assistance from the teacher or two students. The assistant(s) should position themselves next to the springboard or takeoff point, holding the performer’s arm with one hand and boosting their body up with the other hand on the back of the thigh. This assistance can be gradually reduced.

Figure 3 – Tuck jump over the plinth

As the tuck jump is mastered, transition to using the official horse for vaulting.

Straddle Jump on Plinth or Horse (“Grätsche” Jump)

Objectives

• Develop specific coordination for the jump
• Develop the skills needed to perform it with or without a springboard

Materials

• Official gymnastics springboard or adapted material
• Mat or sandbox for landing

Technical Description

After a run-up and takeoff on the ground or springboard with feet together, perform the first flight with the body extended. Place both hands on the plinth, arranged crosswise, with arms extended and aligned with the shoulders. Develop shoulder repulsion, pushing the plinth down and performing the second flight with legs apart. As the second flight descends, extend the legs to land in a standing position on the mat or sandbox, cushioning the impact with semi-flexed knees, then extending them.

Figure 4 – Straddle jump on the horse

Assistance Techniques

For both educational activities and the complete straddle jump, assistance should be provided by a single assistant positioned in the landing area (after the horse). The assistant will pull the performer’s arms towards the landing area, starting from the first flight, until they regain balance in the final position. The assistant should move backward to avoid collision with the performer.

Suggested Activities

• “Hare’s Leap” with Leg Separation: Perform the “hare’s leap” described in the tuck jump activities, but with legs spread and extended in the frontal plane. Then, try to exert greater shoulder repulsion on the ground.
• “Pula Saddle” (Leap Frog): In pairs, one student crouches on the ground, and the other, after a short run-up, jumps onto their back, resting their hands on their partner’s back (Fig. 5). They then straddle their legs over their partner’s sides and land on their feet. The crouching student can gradually increase the height of their back. Switch roles after several repetitions (Fig. 5).

Figure 5 – “Pula Saddle” (Leap Frog)

• Straddle Jump from Plinth: From a crouched position at one end of a longitudinally placed plinth, perform a “hare’s leap” with legs apart and extended, resting your hands on the opposite end of the plinth, with arms extended and shoulders aligned. An assistant facing the performer should hold their arms and pull them forward, guiding the exercise until completion on the floor with legs together (Fig. 6).

Figure 6 – Straddle jump starting on the longitudinal plinth

• Assisted Straddle Jump: Perform a run-up and takeoff on the springboard or ground, followed by a straddle jump over the plinth, with assistance from the teacher, supporting the hands and then feet on the plinth, and finishing with an extended jump to the mat or sandbox.
• Straddle Jump Translation: After a run-up and takeoff, perform a complete straddle jump with assistance, only translating over the plinth with hand support.
• Independent Straddle Jump: Students who have developed sufficient skill can perform the straddle jump independently using the official equipment.

Squat Jump

Figure 7 – Squat jump on the horse

Handspring Jump (Übershlag)

Figure 8 – Handspring jump on the horse

Annex (Extra Material)

Trampoline

History

The springboard has existed for centuries. While its exact origin is unknown, precursors existed in the Middle Ages, such as circus acrobats using springboards and trapeze artists utilizing safety nets for new jumps. However, the trampoline as a sport was created in 1936 by George Nissen in the USA. It quickly became part of physical education programs in schools, universities, and military training. Recently, trampolining has gained popularity in health clubs worldwide.

The trampoline arrived in Brazil in 1975, introduced by Professor José Martins de Oliveira. National and regional championships soon followed. In 1990, Brazil participated in its first World Championship in Germany. In 1997, the International Olympic Committee (IOC) announced the inclusion of trampolining in the Olympics. By 1998, the sport was under the authority of the FIT – International Federation of Trampoline. In Brazil, the sport was affiliated with the CBTE – Confederation of Trampoline and Sports Acrobatics. Since 1999, trampoline gymnastics has been under the FIG – International Federation of Gymnastics. Trampolining became an Olympic sport in the 2000 Sydney Olympics. Brazil currently holds the eighth position in the world ranking.

In mid-2003, “Trampoline” was renamed “Trampoline Gymnastics” to avoid confusion with diving. This new name aims to improve recognition of the sport.

Official Apparatus and Accessories

Trampoline Apparatus

The trampoline is a versatile exercise tool that develops coordination, kinesthetic awareness, muscle strength, and self-confidence. Many sports utilize trampolines for training, including gymnastics, diving, and skiing.

Trampoline gymnastics is divided into four events and three apparatuses:

• Trampoline: The most popular event, using a 5m x 3m x 1.15m apparatus known as a “trampoline.” Athletes perform preliminary jumps to gain momentum and stability. This is the only Olympic trampoline event.
• Synchronized Trampoline: Athletes perform simultaneously on separate trampolines, executing elements in unison.
• Double Mini Trampoline: A smaller trampoline where athletes perform two separate technical elements without interruption after a run-up.
• Tumbling: Athletes perform two sets of eight acrobatic exercises similar to floor exercises in gymnastics, executed continuously in a straight line on a runway.

Tumbling and Double Mini-Trampoline

Trampoline

Jumps and Sequence Composition

Trampoline Characteristics

Trampoline gymnastics involves performing tumbling on a trampoline, double mini-trampoline, and/or tumbling track. This sport combines harmony, dexterity, balance, and coordination, attracting athletes of all ages. It requires dedication and extensive training.

Trampoline gymnastics is divided into four events:

Individual Trampoline

Athletes perform bold and harmonious routines, reaching heights of up to 8 feet while executing somersaults, twists, and various skills. Judges evaluate posture and difficulty.

This is the most popular category, using the standard 5m x 3m x 1.15m trampoline.

Modern trampolines are larger and more powerful than their predecessors, far removed from the backyard models commonly found today.

Competition

In official competitions, routines consist of three elements (series).

Trampoline

In each series, the athlete must perform 10 sequenced elements (without interruption) according to FIG rules. Any body part can touch the net, and elements with rotations earn difficulty points.

• Preliminary (Qualifying): Gymnasts perform two routines: 1st and 2nd compulsory.
• Final: Gymnasts perform one free routine.

Trampoline

Synchronized Trampoline

Synchronized trampoline requires the same technical skills as individual trampoline but adds the challenge of precise timing. Two athletes perform identical routines simultaneously on separate trampolines, mirroring each other’s movements for enhanced visual appeal.

Competition

In official competitions, two routines (sets) are performed.

• Preliminary: Gymnasts perform one free routine.
• Final: Gymnasts perform one free routine.

Compulsory Series: Movement sequences are predetermined by regulations.

Free Series: Sequences are designed by coaches and athletes based on their abilities.

Double Mini Trampoline

This relatively new event combines the horizontal run of tumbling with the vertical jumps of trampolining. After a short run, the athlete jumps onto a small trampoline and performs a double salto, emphasizing the second salto, followed immediately by an element that finishes on the landing mat.

Competition

The double mini trampoline event consists of two passes in both the preliminary and final rounds, evaluated for technical execution and difficulty. Jumps must be performed with only the feet touching the trampoline bed; no other body part may touch the apparatus.

The athlete must perform two different skills during each pass, allowing for two or three contacts with the apparatus.

Example: Tuck jump and straddle jump.

• Preliminary: Gymnasts perform two different free passes.
• Final: Gymnasts perform two different free passes.

Passes: When the athlete begins their run-up and performs both jumps on the apparatus, it is considered one pass.

Tumbling

Tumbling is performed on a spring-loaded track that propels acrobats, allowing them to achieve greater heights than on a standard floor. The tumbling track is typically assembled as shown in the diagram below, requiring an area of approximately 40 meters in length to conform to official rules.

Competition

The tumbling event consists of two sets of eight acrobatic exercises, similar to floor exercises in gymnastics. They are performed continuously in a straight line on the runway. In official competitions, the following rounds are held:

• Preliminary: Two runs with eight elements each, according to FIG rules.
• Final: Gymnasts perform two passes without eight elements.

Gymnasts may not repeat their preliminary routines.

Brazilian Gymnastics Confederation

Categories

• Pre-Children: 9 to 10 years
• Children: 11 and 12 years
• Children and Youth: 13 to 14 years
• Youth: 15 to 16 years
• Adults: 17 years and above

Team Composition

Teams consist of three to four gymnasts, with the three best scores counting towards the team total.

Note

In their final year of a category, gymnasts may compete in the next higher category, except for Junior and Elite, where the age restrictions must be respected.

Benefits of Trampolining

• Muscle Development: Jumping on a trampoline develops strength, particularly in the leg muscles and postural muscles.
• Cardiovascular Fitness: While competitive trampolining is primarily anaerobic, training programs involve repeated jumping, providing significant cardiovascular benefits.
• Increased Kinesthetic Awareness: Trampolining improves body awareness in space. This benefit is transferable to other sports that utilize trampolines for training.
• Low Learning Curve: A well-structured trampoline program allows athletes to learn new movements quickly, building self-confidence and overall athleticism.

Safety and Accident Prevention in Trampolining

Most trampoline accidents occur due to improper landings, especially during rotations.

Safe trampolining requires attention to several factors:

• Be cautious when moving the apparatus when it is closed. Ensure the wheels are facing the desired direction.
• Check the assembly of the apparatus and ensure all support points are level with the floor.
• Place mats around the trampoline for protection (regardless of the event: tumbling, double mini, or trampoline).
• Assemble the safety frame (trampoline extension) for competitive clubs.
• DO NOT USE THE TRAMPOLINE IF THE BED HAS ANY TEARS.

Trampoline Accidents

• Equipment and Environment-Related Accidents: Check the apparatus assembly.
  • If training in an environment without walls, allow students to adapt to the space before performing sequences.
  • Avoid outdoor training in strong sunlight, as it can temporarily blind athletes and hinder safe landings.
  • DO NOT USE FLASH PHOTOGRAPHY IN GYMS, AS IT CAN BLIND ATHLETES LIKE THE SUN.
• Accidents Inside the Trampoline:
  • Improper Landing: A bad landing that compromises stability and hinders the continuation of the series. For a good landing, the body part that touches the trampoline bed must be contracted and stable. When the feet touch the bed, they should be hip-width apart.
  • Skin Cuts: Be mindful of potential contact with springs or the frame.
• Accidents Off the Trampoline:
  • Accidents when dismounting the trampoline
  • Falling into the springs
  • Falling onto the trampoline frame
  • Falling completely off the trampoline

To prevent accidents, observe the following rules:

• Never allow beginners to attempt unlearned skills like somersaults.
• Teach appropriate progressions (step-by-step sequences) for each jump before execution.
• Provide adequate spotting and assistance for difficult jumps.
• Organize the class with students assisting in spotting around the trampoline according to the following guidelines.

Tumbling

Tumbling is performed on an elevated track that provides propulsion for acrobats, allowing them to achieve greater heights than on a standard floor. The tumbling track is typically assembled as shown in the diagram below, requiring an area of approximately 40 meters in length to conform to official rules.