Aim: This study aims at investigating those different aspects characterizing the Score Code evolution. The Olympic Games of London have been considered as the watershed of this analysis. Moreover, a pre- and post- London period has been defined and evaluated through the discussion of the main characteristics of the various Codes, managing to analyse the current one of the four-year period 2013-2016 which prepares for the Games of Rio de Janeiro. Method: In order to accurately develop this technical and artistic comparison among the codes leaving their mark on different generation of gymnasts, we have chosen to begin the work of discussion with the Score Code 2001-2004 making, where possible, reference to the evolution of the discipline also in more remote times (Score Code 1997-2000). The Score Code editions we are making reference to are 2001-2004, 2005-2008, 2009-2012 and 2013-2016; the discussion on the differences of the Codes has been based on the number of the compulsory body difficulties present, on the composition of the juries and on the attribution of the total score, pointing out the main differences in the technical requests of the Individual Speciality within the Codes. Results: The Olympic Games of London 2012 of Gymnastics Artistic has determined the end of a period characterized by an extreme research of technical and body aspects to the detriment of the artistic and expressive component of the discipline. The Score Code 2005-2007, preceding the one in view of London 2012, was characterized by 18 compulsory difficulties for individual compositions, number which has kept reducing in the following four-year periods, arriving at 12 for the Score Code 2009-2012 and at 9 for the current Code. The work of analysis and comparison among codes would like to invite Rhythmic Gymnastics' trainers to rediscover the origin of the discipline and above all to focus on the Rhythmic aspect now compulsorily present in the Code. As fundamental element, the training of this Rhythmic skill since children's earliest years has turned to something absolutely non-negligible. Training towards the rhythm is possible even in a young phase.
The after- London in the Rhythmic Gymnastics
TINTO, Amalia
2014-01-01
Abstract
Aim: This study aims at investigating those different aspects characterizing the Score Code evolution. The Olympic Games of London have been considered as the watershed of this analysis. Moreover, a pre- and post- London period has been defined and evaluated through the discussion of the main characteristics of the various Codes, managing to analyse the current one of the four-year period 2013-2016 which prepares for the Games of Rio de Janeiro. Method: In order to accurately develop this technical and artistic comparison among the codes leaving their mark on different generation of gymnasts, we have chosen to begin the work of discussion with the Score Code 2001-2004 making, where possible, reference to the evolution of the discipline also in more remote times (Score Code 1997-2000). The Score Code editions we are making reference to are 2001-2004, 2005-2008, 2009-2012 and 2013-2016; the discussion on the differences of the Codes has been based on the number of the compulsory body difficulties present, on the composition of the juries and on the attribution of the total score, pointing out the main differences in the technical requests of the Individual Speciality within the Codes. Results: The Olympic Games of London 2012 of Gymnastics Artistic has determined the end of a period characterized by an extreme research of technical and body aspects to the detriment of the artistic and expressive component of the discipline. The Score Code 2005-2007, preceding the one in view of London 2012, was characterized by 18 compulsory difficulties for individual compositions, number which has kept reducing in the following four-year periods, arriving at 12 for the Score Code 2009-2012 and at 9 for the current Code. The work of analysis and comparison among codes would like to invite Rhythmic Gymnastics' trainers to rediscover the origin of the discipline and above all to focus on the Rhythmic aspect now compulsorily present in the Code. As fundamental element, the training of this Rhythmic skill since children's earliest years has turned to something absolutely non-negligible. Training towards the rhythm is possible even in a young phase.
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