The Aesthetic of Technique in Men’s Artistic Gymnastics: Personal Performance Qualities of Aleksei Nemov (RUSSIA) World and Olympic Champion (1993-2004) C. Palmer 1 and V. Sellers 2 1 Sport Studies Department, Liverpool Hope University, Liverpool, UK 2 Gymnastics Consultant for Sportplan ® : www.sportplan.net, UK Abstract This poster indicates how a recent World and Olympic Champion gymnast, Aleksei Nemov, used a central aesthetic feature of gymnastic protocol; the salute, to great dramatic effect in his Floor exercise. The socio-aesthetic heritage of the saluting action in gymnastics, as in many other cultures both military and civilian, is a shared [international] gesture of friendship and respect. The simplicity of this action communicates a complex message in an instant which for the spectator or recipient of this intended gesture, means a great deal more than a wave or some other choreographed but equally non-descript action with the arms. Aleksei Nemov seemed to understand this aspect of aesthetic material in Men’s Artistic Gymnastics and personalised his performance to assert his personality to great effect within the rules of the sport. This is understood to be an aspect of his performance technique. Introduction – An aesthetic heritage in Men’s artistic Gymnastics The history of gymnastics as a form of structured and challenging exercise reveals an extensive association with military training, used principally by governments and militia to raise the fitness levels of the young in preparation for a combatant career. From this long association some significant aesthetic features have been transferred to the contemporary sport of Men’s Artistic Gymnastics. These are practices of saluting, marching and parading which are militaristic customs for showing respect and discipline and recognising the status and decisions of officials. This aesthetic legacy provides the sport with a structured protocol to manage and present its contests and promotes a formality in outward presentation which may help the spectator to recognise Gymnastics as opposed to, for example, circuit training, dancing, aerobics or yoga. 1976 Montreal Olympics. The gymnast’s will be marched off the podium in a line formation at the end of the ceremony. (Stuart, 1978). At each round of the competition the gymnasts present themselves, in a line and at “attention”, to the judges for that apparatus. In this picture gymnast’s present to contest the Rings final at the 2000 American Cup. (Smith, 2000). British Army Physical Training Instructors at Aldershot, present themselves in a team display of balance that is in line, regimented and ‘at attention’ which is part of the aesthetic presentation for this exercise. (Harvey, 1903). Depicts gymnastics teams marching in rank and file to represent regions within Britain at the Northern Union Gymnastics Championships at Carnegie Hall in 1967. (Prestidge, 1988). British Olympic gymnastic team entering the 1920 Olympic Games at Antwerp. They are marching in a squad formation with a flag bearer, right marker and a guide. (Prestidge, 1988). Above left: Gymnast, Evgeni Podgorny (Russia) starts on Vault at the 1995 World Championships, Sabae, Japan. (Holmes, 1995). Above right: Mark Sohn (U.S.A.) signals that he has completed his Pommels routine by landing cleanly, finishing in a standing position with arms raised. 1992 World Championships, Paris. (Holmes, 1992). Holmes, S.L. (1995) Evgeni Podgorny (Russia)on Vault. Lani’s Gymnastic Picture Site [online]. Available at: http://members.tripod.com/~Scheaholmes/Sb95_podgorny01.JPG [Accessed 10th October 2001]. Holmes, S.L. (1997) Aleksei Bondarenko (Russia) in splits on Floor. Lani’s Gymnastic Picture Site [online]. Available at: http://members.tripod.com/~Scheaholmes/Ls97_bondarenko02.JPG [Accessed 10 th October 2001]. Holmes, S.L. (1998) Aleksei Nemov (Russia) in splits on Floor. Lani’s Gymnastic Picture Site [online]. Available at: http://members.tripod.com/~Scheaholmes/rus98_nemov05.JPG [Accessed 10 th October 2001]. Koppers, E. (2000) Aleksei Nemov, 2000 Olympic Champion. Russian Gymnasts and Gymnastics [online]. Available at: http://www.olympic-eurogym.demon.nl/russia/nem/nem.htm [Accessed 12th May 2001]. Lange, S. (2001) Paul Hamm (USA) World Championships 2001. U.S.A. Gymnastics [online]. Available at: http://www.usa- gymnastics.org/events/2001/worlds/worlds-photo2.html [Accessed 29th November 2001]. Prestidge, J. (1988) The history of British gymnastics. British Amateur Gymnastics Association. Smith, L. (2000), 2000 American Cup - Rings line-up. American Gymnast [online]. Available at: http://www.american- gymnast.com/photogallery/00americancup/pages/ring_lineup.htm [Accessed 10th October 2001]. Stuart, N. (1978) Gymnastics for men. Stanley Paul and Company Limited, London. Williams, S. (1999) Paul Hamm USA. Photo file: US Olympic hopefuls. International Gymnast [online]. Available at: http://www.intlgymnast.com/photofile/2000/usolyhope/index.html [Accessed 11 th October 2001]. Personalised Performance Technique The use of the term technique relates to the individual endeavour of the gymnast to demonstrate how he wishes to satisfy the technical demands of the elements, which he has selected to perform in his personalised routine. Part of the gymnast’s technique may be to execute his chosen elements in a unique and interesting way, which both meets the technical criteria and distinguishes his performance from others. Elements of personal technique may be accentuated by for example, the size and shape of individual gymnasts and where their best areas of performance lie with regard to personal strength, flexibility, and speed. Also aspects of personal signature during a performance may indicate the gymnast’s preference "to do" in a particular way, for example, incorporating pauses, motifs and changes of speed into his routine which could be part of his preferred technique. This might be demonstrated in the speed of flicks, control of flight, and lightness of touch, which may indicate subtle differences between gymnasts. These may be some of the substantive features of technique which help to create the shades of dynamic within a performance, as well as personal and personality features that individuals bring to any solo performance, which in turn may alter the aesthetic appearance of the gymnastic product. Through the constant practice and perfection of the routine as a whole, the gymnast may be able to reveal his performance qualities as he develops his expertise at the highest levels of competition. He can then use his technique to create an impact or aesthetic impression with his routine which sets him apart from other gymnasts and is particular to him. Yang Wei (China) (Black, 2000) Aleksei Bondarenko (Russia) (Holmes, 1997) Paul Hamm (USA) (Williams, 1999) Joo-Hyung (Korea) (Black, 1999) Paul Hamm (USA) (Lange, 2001) Conclusion The position of “Splits” or Straddle Sit which Aleksei Nemov and the other gymnasts featured below are displaying, is intended to demonstrate leg and hip mobility. In this static position a basic choreographic problem arises for the gymnasts in finding something sensible to do with their arms that does not distract the judges from the intended action being scored. That is, the Straddle Sit is the scored element for value in their routine but careless positioning of the arms could affect the overall impression of the performance and reduce the final score. All the gymnasts showing this position have discovered something neat and presentable to do with their arms but fail quite noticeably to achieve the same dramatic effect that Nemov achieves when he salutes from that [sitting] position. (NB: Nemov’s salute is given to the audience mid-routine and cannot be misconstrued with the salute to signal the end of the performance as this is always given to the judges from a standing position.) By doing this he appears to ‘kill two birds with one stone’ as Nemov’s salute is not scored as an element but adds significantly to the overall aesthetic of the Straddle Sit and the routine as a whole. Also, and perhaps importantly, a salute necessitates eye contact, this action being a form of acknowledgement in non-verbal communication. Nemov maintains eye contact in his salute whilst the others seem to avert their eyes and look away. In this manner Nemov asserts his personality during his performance whilst the others fade somewhat due to the comparatively, rather vague arm and head action they use. When 100ths of a mark separate a competitor from the medals these fine details can count enormously at this level of competition. For Aleksei Nemov, the saluting action added greatly to the aesthetic of his Floor performance - this being an important aspect of his personal technique to show to the world his style of gymnastics within the codified rules. Gymnastics reporter Koppers (2000) said, “…Aleksei rests on his arms with stretched body, before setting up a very impressive series of close to the mat work, alternating between Thomas flairs, spindles, Thomas flairs and finally his trademark break-dance shoulder rolls, ending exactly in a straddled sit and striking a classic male gymnastics pose, facing the audience”. Aleksei Nemov salutes the judges and spectators mid- routine whilst in the splits position on Floor. (Hemob, 2000; Holmes 1998) References: Black, D. (1999) Joo-Hyung (Korea) on Floor. 1999 World Championships, Tiajin, China. International Gymnast [online]. Available at: http://www.intlgymnast.com/week/99worlds/99wpics_ment.html [Accessed 1st April 2000]. Black, D. (2000) Photo File: Sydney 2000 Yang Wei (China), International Gymnast [online]. Available at: http://www.intlgymnast.com/photofile2000/olympics/index.html [Accessed 11th October 2001]. Harvey, F.J. (1903) The fighting gladiators or the games and combats of the Greeks and Romans: A short history of physical culture. The Physical Training Publishing Company, Exeter. Hemob, A. (2000) Aleksei Nemov on Floor. The Aleksei Nemov Fansite [online]. Available at: http://13.brinkster.com/anemovsite/ [Accessed 5th October 2001]. Holmes, S.L. (1992) Mark Sohn (U.S.A.) Pommels. Lani’s Gymnastic Picture Site [online]. Available at: http://members.tripod.com/~Scheaholmes/Paris92_sohn02.JPG [Accessed 24th November 2001].