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Study on the implications of F.I.G. code of points on the composition of floor exercises.

Introduction and research objective

The Code of points is the most important document that provides guidance for the preparation, as well as the basis of objective evaluation and enhances the development of sports. It is developed and changed periodically by the FIG, the Technical Committee (one for boys and one for girls), according to the development of Artistic Gymnastics worldwide and to the guidelines that may result along the years.

The Code of points is based on a "Technical regulation" (RT) and the FIG's decisions in concordance with the trends of evolution in Artistic Gymnastics worldwide (male and female). As a result there is a code for boys and another one for girls, in accordance with the specific of their activities and the assessment of their exercises.

The Code has a gradual systematization of the elements in terms of difficulty, in groups, for each apparatus separately. The purpose of such systematization is to obtain an assessment of the exercises as objective and uniform as possible, both on a national and international level, to raise the level of knowledge of the referees which must know in detail the provisions of the Code and apply them without subjective interpretations), to help both coaches and gymnasts to find the best solutions for the compositions of the exercises.

The Code structure consists of several articles, which provide rules regarding the composition and the type of the juries, the rights and duties of the referees, coaches and gymnasts, the methods for homologating the elements, for calculating the grade, general requirements as well as specific requirements for each apparatus,penalties (performed by persons with different responsibilities; tables with errors--small, medium and large), systematizations of elements depending on their level of difficulty (either devalued or new and original) and their corresponding graphic sign in accordance with the movografic transcription system of the exercises in gymnastics. Choreography as the dynamic expression of the composition, gives sense to carrying out the exercise (E. Abruzzini, 1998, quated by M. Manos, 2002) (V. Grigore, coord, 2002).

The general structure of any choreography includes several parts (fig. no. 1), connected through a relationship of interdependence, thus resulting one the from the other. The choreography design emphasizes composition as a logical engine, precisely ordered from the point of view of motric sequences, the relation Fig no. 1


The choreographycal structure of floor exercises

The objectives of the research: to reveal the main implications of the FIG Code of points for floor exercises in female Artistic Gymnastics.

Hypothesis: the specific requirements for floor exercises as listed in the Code of points in effect at the date of a certain competition have significant effects on the exercises.

Research methods and procedures , results, discussions.

The main research method, the comparative analysis, has been applied for the exercises presented in the floor finals OG in Athens 2004 and Beijing 2008. The objective was to highlight the effects of the new Code

Research results space-time, dynamism and the concordance with the musical accompaniment. upon the characteristics of the composition of floor exercises in comparison with the old code, valid for OG 2004, depending on the specific items choreography of the exercises.

The combination (acrobatic choreography, dance) in which values diversity and creativity, the progressive distribution of elements, rhythm changes, plan, position and direction and use the entire psychomotric space offered by the apparatus in question especially floor, the elements' difficulty and the relantionship with the music.. The combination appears as a factor of assessment solely for the note "B" for which the penalties goes for:

* The lack of creative composition;

* The lack of variety;

* The lack of progressive distribution of the elements leading towards an end correlated with the degree of difficulty of the exercise;

Comparative analysis was made according to the following items: content (acrobatic and gymnic), duration of the dynamic and the slow parts, the duration of the acrobatic and gymnic parts, the elements difficulty, the design of the exercise presented in the contest (the use of the space), variety, creativity, expressiveness.

We present below (table no. 1, charts no. 1-4) research results.




The analysis revealed that the location of technical difficulties (Figure 4, 5) was in accordance with to the level of risk they presented, without neglecting the balanced distribution throughout the area of competition. This enhanced a better visualization of the technical content also managing to avoid the limitations of the carpet according to the official regulations. For every gymnast, the zone 1, 3, 7, and 9, are of major importance. This represent acrobatic diagonals.


We present in Fig. 2.3, the trajectory and location of the acrobatic and gymnic difficulties in the compositions. For better illustration, we divided the area into nine zones corresponding to the which technical difficulties, presented in movement (acrobatics diagonal) and in a fixed position (pirouette, jump, balance, flexibility and value) and the areas where they occur most frequently.


VI. Conclusions

The research confirmed the hypothesis and allowed us to formulate the following conclusions:

--The compositions are related to the specific requirements;

--An increasing level of difficulties of both gymnic and acrobatic elements (especially pirouettes and leaps with turn);

--Compliance with the 0072 general requirements concerning the compositions;

--The increasing similarity with the boys exercises in terms of content;

--High frequency of the same acrobatic and gymnic elements and binding

--Reducing the number of gymnic binding and combinations

--The execution of many movements in the corner of the carpet using especially the arms

--Mainly the use of diagonals

--Uncovering the entire space provided by the apparatus


--Small walking on shorter distances

--Reducing the expression and grace specific to the females

--Poor reflection of the musical theme content through the design map and variations of specific steps.


FIG, Cod de punctaj 2000- 2004

FIG , Cod de punctaj 2006-2008

GRIGORE V., 2002. Gimnastica artistica. Bazele teoretice ale antrenamentului sportiv, Edit. Semne, Bucuresti

GRIGORE V.,(COORD), 2002, Pregatirea artistica in gimnastica de performanta, ANEFS, Bucuresti

MANOS M., 2008, Gimnastica de performanta, Edit. Bren, Bucuresti

GRIGORE VASILICA, PhD prof, National Academy of Physical Education and Sport Bucharest

MANOS MIHAELA, Master of Conference, National Academy of Physical Education and Sport Bucharest E-mail:
Table no. 1

Itemi                                        OG     OG
                                             2004   2008

Content                                  A   70%    60%
Technical elements isolated technical    G   30%    40%
elments and bindings
Parts durations                          D   60%    70%
dynamic and slow with acrobatic
and gymnic content                       L   40%    30%
Degree of difficulty                     A   55%    70%
Technique                                G   45%    30%
Design                                       B      I
levels of work and space covering
Variety                                      FB     B
in the selection and placement of
elements, in alternating the parts
and working levels
Creativity                                   FB     B
the originality of the linkings and
unity with musical background
Artististic expressiveness                   B      B
Artistic and expressive interpretation
of floor composition and musical

The evaluation for the items "design", "variety", "creativity",
"expression" was made according to a three-step scale: insufficient,
good, very good. Grades were awarded points: 1pt. for insufficient,
3pt. for good and 5 pt. for very good.

Fig 4 The value placed on technical difficulties zone
(Catalina Ponor)

1   0,20p    5%
2   0,30p    6%
3   0,40p   10%
4   0,70p   20%
5   0,80p   25%
6   0,60p   15%
7   0,40p   10%
8   0,40p    9%
9            0%

Fig. 5 The value placed on technical difficulties zone
(Sandra Isbasa)

1             0%
2   0,10    2,5%   10%
3   0,10    2,5%
4   0,60p    15%
5      1p    30%
6   0,80p    25%
7   0,40p    10%
8   0,60p    15%
9             0%
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Article Details
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Author:Vasilica, Grigore; Mihaela, Manos
Publication:Ovidius University Annals, Series Physical Education and Sport/Science, Movement and Health
Article Type:Report
Geographic Code:4EXRO
Date:Jun 1, 2009
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