Rhythmic gymnastics combines ballet and creative movements to music, while working with ribbons, balls, hoops, ropes and clubs in a choreographed dance-and-tumble routine. Everything is done on the floor with far different routines and different music.

Rhythmic gymnastics started as an independent competitive sport in the early 1950's by the Russians. Then in 1963 the first rhythmic gymnastics world championship was held in Europe. Even though rhythmic gymnastics has its own world championships it did not become an Olympic medal sport until 1984.

Although it’s quite new as a competitive sport, rhythmic gymnastics is rooted in the very beginning of modern gymnastics. Specifically, it grew out of the Swedish system of free exercise developed in 1814 by Peter Henry Ling.

Ling promoted “aesthetic gymnastics,” in which students expressed their feelings and emotions through bodily movement. The idea was extended by Catherine E. Beecher, founder of the Western Female Institute in Ohio in 1837. In Beecher’s gymnastics program, called “grace without dancing,” young women exercised to music, moving from simple calisthenics to more strenuous activities.

During the 1880s, Emil Dalcroze of Switzerland developed “eurhythmics,” a form of physical training for musicians and dancers, and George Demeny of France created various exercises to music that were designed to promote grace of movement, muscular flexibility, and good posture.

All of those strains were combined, around 1900, into the Swedish school of rhythmic gymnastics, which later added more dance elements from Finland. About the same time, Ernest Idla of Estonia established a degree of difficulty for each movement.

After World War II, scoring methods, based partly on Idla’s degree of difficulty tables, were developed in Europe to create the competitive form of rhythmic gymnastics, which was recognized as a sport by the International Gymnastics Federation (FIG) in 1962.

Although rhythmic gymnastics was introduced to North America in 1906 by a Finnish-Canadian athletic club in Toronto, the sport didn’t gain much popularity. But during the 1960s, Evelyn Koop began taking teams from her Toronto Kalev-Estienne Club on tours of the country, giving exhibitions and conducting clinics.

The sport was then known as “modern gymnastics” in Canada, and the Canadian Modern Gymnastics Federation was founded in 1969 as the national governing body. The first national championships were held the following year. The CMGF was renamed the Canadian Modern Rhythmic Gymnastics Federation in 1971 and the word “modern” was dropped from the group’s name in 1981.

Ten European countries took part in the first world championships, held in 1973 in Budapest, Hungary. Individual rhythmic gymnastics was added to the Olympic program in 1984 and team competition was added at the 1996 Atlanta Games.

The hall
For official events, the hall must have a minimum ceiling height of 8 metres. The floor of 13 x 13 metres must be surrounded by a safety area one metre wide. Flexible and stable at the same time, this floor must be capable of absorbing the energy stemming from the movements, as well as any unexpected shocks. Its covering should not be such as to result in skin damage from rubbing.

All exercises have musical accompaniment. The music and the gymnast should form one integrated whole, avoiding random musical arrangements.

The rope
The rope may be of hemp or any synthetic material. Its length is proportionate to the height of the gymnast. It has knots rather than handles at its ends.

The technical figures may be made with the rope either taut or loose, with one or both hands, with or without change of hand. The relationship between the apparatus and the gymnast is more explosive than in the other cases. The rope often appears as a serpent-like attacker seizing and winding around the gymnast. But suppleness and agility, tinged with elegance, always win out in the end.

The hoop
This is made of wood or plastic, with an inside diameter of 80 cm to 90 cm and a weight of at least 300 gr. It must be rigid, of non-bending material.

The hoop defines a space. This space is used to the utmost by the gymnast, who moves within the circle formed. Handling the hoop requires frequent changes of grip, and the main requirement is good movement coordination. The shape of the hoop favours rolls, passages, rotations and walkovers.

The ball
This is made of rubber or plastic, with a diameter of 18 cm to 20 cm and a weight of at least 400 gr.

The ball is the only apparatus for which no grip is allowed. This means that a more sensuous relationships between the body and the apparatus is required. The ball moves in perfect harmony with the body. Spectacular throws with control and precision in the catches are dynamic elements.

The clubs
These are made of wood or plastic, with a length of 40 cm to 50 cm and a weight of at least 150 gr. each.

Slight of hand ! The gymnast uses the clubs to execute mills, rolls, twists, throws and as many asymmetric figures as possible, combining them with the many figures featured in non-apparatus gymnastics. Exercises with the clubs require a highly developed sense of rhythm, maximum psychomotor coordination and precision up to watchmaking standards. The clubs are particularly suited to ambidextrous gymnasts.

The ribbon
The stick (diameter 1 cm, length of 50 to 60 cm) is usually made of wood, bamboo, plastic or fibreglass. The ribbon is most often of satin, or a non-starched derivative. Its weight must not be more than 35 gr., its width 4 to 6 cm and its length not more than 6 metres.

The ribbon is long and light and may be thrown in all directions. Its function is to create designs in space. Its flights through the air make images and shapes of every kind. Figures of many different sizes are executed at varying rhythms. Snakes, spirals and throws are the essentials of the ribbon?s flight.

Tag: Rhythmic Gymnastics