LET US ALL BE JUDGES
A Short Guide of Rhythmic Gymnastics Judging
For Spectators of Rhythmic Gymnastics Competitions
Helena Greathouse
Brevet II Judge
Have you ever seen a cultural performance or program, live or on TV, and been disappointed afterwards? If you answered "yes", what were the reasons for your disappointment?
Maybe the performance was not exciting enough
Maybe the performers did not show anything new
Maybe the performers had not rehearsed enough and were making clearly recognizable mistakes
Now realize that when gymnasts compete in a gymnastics competition, they are the performers and their goal is to entertain and hold the attention of the audience. The judges are also a part of the audience. In fact, they are the particularly sophisticated and demanding part of the audience.
I will tell you a secret about judges. Judges are only human and as such they have the same needs as other human beings:
They want to have excitement and they want to be entertained
They want to see new things and they want to be pleasantly surprised
They want to see perfection
They will reward whichever gymnasts will satisfy these human desires of judges.
Artistic Value
Each gymnast is a unique human being: There is no one in the whole world exactly like her. So the goals are to use this uniqueness to one’s advantage, to be original and not to try to copy anybody. Each optional routine should have its own personal touch and show individuality.
For example, Jessica Davis, our 1996 U.S. Individual Olympian, was so
gentle and yet she was able to be so expressive with all of her gentleness. Many other leading gymnasts of her time were perhaps more outgoing, but that was not Jessica’s style. Evidently she realized that. I remember saying to Jessica’s coach: "Please do not try to change her." Her coach replied: "I will not." That was a smart decision. Jessica was unique. She remained true to herself, and she was successful.
Uniqueness is shown by the choice of music for optional exercises. The music must be exciting for the gymnast, not only for her coach and her parents. If the gymnast is really enjoying herself on the floor, it is contagious. Her excitement will flow over to the audience.
The music must be the right "fit" for the gymnast. Otherwise the exercise will always lack something. You cannot very well express your feelings, if you do not have any for your music. Of course, the style of the movements must always correspond to the style of the music. In addition, for each action in the music, there must be a corresponding reaction in the movement. By being in complete harmony with the music, the gymnast can be sure she will entertain the audience, including the judges. And we already know that judges want to be entertained.
The recording of the music must be of superb quality; it must add to the performance and not distract. If cuts are necessary within musical accompaniment, they must be at the end of musical phrases. There is nothing more distracting than to use a very well known musical piece, have the audience humming the melody as you progress through your exercise, and suddenly abruptly change it on them in the middle of a musical phrase.
Technical Value
Uniqueness is also shown by the choice of difficulties. Remember that these are optional exercises, and therefore there is the option to choose those elements the gymnast can do and omit those she cannot. The gymnast must be self-critical in assessing whether she can or cannot perform an element. The goal is to astonish the judges. The judges must say "Wow!" when they see the element performed. Otherwise the judges will not give any technical value credit for it. On top of that, the gymnast will probably lose points on execution, since she will likely be making mistakes and be off the music.
The artistic value of the exercise may also suffer. The gymnast might have interruptions in her routine and therefore might be penalized for static body or static apparatus. The unity and style of the routine might be disrupted, and the choreography might not correspond to musical phrases any more.
In order to receive technical value credit, the execution of the elements must fulfill certain standards. The gymnast must clearly demonstrate her athletic ability.
General Rules for All Types of Difficulties
Whenever a split is required, the deciding factor is to achieve the split from one knee to the other knee [one or both leg(s) can be bent from the knee(s) down.]
Leaps and Jumps Requirements
Height (for all leaps/jumps)
Amplitude ( for some leaps/jumps 180 degree split is required)
Height means that the vertical distance of the hips from the floor must become visibly greater during the leap/jump. This is an absolute must, if one is to receive any technical value credit.
Balances Requirements:
Performed either on toes of one leg or performed on one knee
Held in position for one second (count: "twenty-one")
Free leg must be held in position during the entire balance. Just a kick of the free leg is not acceptable.
Avoid long preparation for balance element (preparation must last less than one second. Otherwise artistic value deductions will be applied.)
Pivots Requirements:
Performed on toes of one leg
Must complete specified degrees of rotation (Degrees of rotation are counted from the time the prescribed free leg position is achieved.)
Free leg must be held in position during the entire rotation. In particular:
For pivots with free leg in horizontal position the deciding portion of the leg is from hip to knee--that portion must be horizontal (it may not be lower).
For pivots in vertical splits -- free leg must be held in position during the entire rotation. Just a kick of free leg is not acceptable.
Flexibilities:
The head must always follow the movement of the trunk.
The gymnast must use the upper part of her body (even in small movements) for frequent changes between arches and contractions. That way she will avoid artistic value deduction for "partial use of trunk".
Some flexibility difficulties require 180 degree split of legs. The split must be visible. Otherwise no technical value credit will be given.
One final comment about technical value: Gymnasts must realize that less sometimes means more. Fewer difficulty elements executed perfectly will give more points than more elements not executed up to the required limits for difficulty credit. Many times if the routine is filled with difficulty elements, the amplitude of movements suffers, leaps are lower, etc. Besides, a routine packed with difficulty elements following each other rapidly does not give enough time for artistic expression.
Execution
When judging execution of an exercise, the judge:
Notes the mistakes made by the gymnast and takes corresponding deductions, and
Keeps in mind the ideal achievable quality of the exercise and takes deductions if this ideal is not achieved – or in some cases awards bonus points if this quality is surpassed.
Examples for Point #1:
Bent knees, toes not pointed, incorrect posture, distorted alignment of body, etc.
Isolated movement of different body parts, i.e., head not taking part in the movement
In balances and pivots:
Vertical axis of body not maintained
Hops during balances or pivots
Falling out of balances or pivots
Loss of balance
Without steps
With steps
With support on apparatus or part of body
With fall
Handling apparatus
Loss of apparatus
Run/Slide to recover apparatus without losing apparatus
Incorrect apparatus technique
Knot in ribbon or rope
Becoming tangled in ribbon or rope
Distortion of pattern
End of routine
Movement does not finish together with music
Gymnast is not in contact with apparatus
Gymnast finishes routine outside of competition area
Examples for Point #2:
Great amplitude of movements (bonus possible). Lack of amplitude is penalized
Lightness – great gymnasts seem to hardly touch the floor. They mostly move on their toes. Heavy landing of leaps is penalized.
Extension and projection
Expression (not only facial, but through movement of the entire body) corresponding to the type of music and style of exercise (bonus possible). Theatrical expression is penalized.
Conclusion
Now that you have all of this information at your disposal, take out a note pad and try to take notes about all these aspects of each routine. Take notes without ever looking at the paper you are writing them on – your eyes must follow the gymnast constantly. If not, you will surely miss something. I guarantee you will be exhausted after judging only a few routines. Judging is extremely strenuous and demands total concentration from the judges.
Don’t you think that after countless hours of totally exhausting work, the judges deserve a little entertainment? It is up to the gymnasts to provide that.
But seriously, the greatest reward for the judges is to observe the gymnasts’ improvement of performance quality from one competition to another. That is why judges continue to judge.
February, 2000