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Deputy Ksenia Afanasyeva - I'll not retire from sport

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Lupita translates an article from local news service Tulska Izvestya that confirms the good news of Ksenia Afanasyeva's intention to continue in gymnastics.



DeputyKseniaAfanasyeva: Sofar
 Ihave no intentiontoleavesport
 

Моscow, October 16thSilvermedallist at the2012 LondonOlympics, Ksenia Afanasyeva,will continue her career in artistic gymnastics.

Hermandate as DeputyatthecityelectionsinBogoroditskwon't lead to her leaving gymnastics, statedAfanasyevainaninterviewshe gave to theRussian MinistryofSportswebsite.

"After the end of a sports career, life must go on. I won’t be always in sport. Nevertheless, Idontintendtoquit any time soon. MyfutureaimsaretheRussianChampionships, theEuropeanChampionshipsandthe 2013 Universiade

IwanttobecomeDeputybecauseI want to help people. I’ll have the opportunity to do so in the city’s council. Bogoroditsk is locatedintheTularegion, whereIcomefrom. Ihavefamilieswholivenearthecity. They support me in this enterprise",  said Afanasyeva.
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Maria Paseka Superstyle! - interview

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Maria Paseka and her mum.  Courtesy of Superstyle


Lupita translates an interview with 2012 Olympic silver and bronze medal winning gymnast, Maria Paseka!

Once in four years even those who are not experts talk about sport. During the Olympics everyone suffers and supports unknown athletes. Even if an athlete has grown up not far from you, you know the toll he or she had to pay - childhood, health, going to live far away from parents.  Аnna Klesheva is the mum of silver and bronze medalist Maria Paseka.  She watches all the competitions afterwards, when the results are known.

-  I am so worried about Masha that I am afraid to convey my concern. This is why I watch her vaults once the competition is over.

Anna has been working with us for six years. Маsha is the smiling girl who enjoys visiting us when she is not at training camp or competing. Anna comes to visit us after her victory at the Olympics. Maria is now a well-known athlete who grew up before our very eyes.

She intuitively knows that nothing in our relationship has changed at the editorial offices.  We simply admire her.
 

-  But many people have another kind of relationship with me - they didn’t have time for me, now they phone me.  I find it unpleasant.  As well as when, during the award ceremony, silver medalist Maroney turned aside; I had the feeling I was responsible for her bad performance.  But you could see her landing and the score...



– Masha, I congratulate you once again and I think that after severe surgery, your result is outstanding and, most importantly, promising.

- Thank you. I performed as well as I could, and I am very grateful to my coach, Marina Guanadievna Uliankova and the head coaches – Valentina Rodionenko and Andrei Rodionenko. Andrei Fiodorovich insisted on me learning a second vault for the Olympic final.

— Masha, when you competed, you had the support of many people whom you know and don’t know. And they all want to know how a child begins elite sport, how he or she grows, how he or she lives …




 - For me the most difficult thing was to learn to live without my mum. When I was 13 and I made the national team, I needed a month to adapt. It was very interesting to train for the Olympics, but it was hard after my injury..

- Аre there psychologists helping you to put up with all this?

- There aren’t any. Мy mum helps, I often call her and my “second” mum is Marina Uliankina. And my teammates, of course.

-Do you have time for teenager stuff?



- I love high heels. I buy new shoes wherever I go and I give them to my friends. I cannot wear them due to my injuries.

- Masha, is your life different from that of people of your age who don’t practice sport?

- Some of them study a lot, some do nothing … But I don’t envy them, we’ll have time. I want to read more books. I have had the opportunity to travel around the world, to meet interesting people.

- You have to study between training sessions…

- This is my mum’s favourite subject.

- Anna, could you explain this?

- We had to change schools three times because we changed clubs, аnd the school programme is the same for everyone. In the mornings, Masha went to the gym and I would go to school to deliver the homework she had had time to do.

-Are you happy now that Masha has become a student?

- It’s a shame that her childhood was over so quickly. But it’s easier for me than for other parents.

- Anna, how did Masha become involved in gymnastics?

- She chose it herself.  Once, I went into Masha’s bedroom but the child was not there. 'Mum, find me!'. She was hanging from the ceiling ... I understood that artistic gymnastics was her sport.

- Did you practice gymnastics yourself?

- Not for long. Floor choreography was always difficult for me.

- Маsha, I remember when you quit artistic gymnastics to do acrobatics...

- Yes, my relationship with my coach became difficult and it seemed to me that I didn’t like gymnastics any more. But fortunately, I understood very quickly that artistic gymnastics was my big love.

- Are you going to prepare for Rio de Janeiro?

- I’ll try to make the team and to win. Of course, I’ll have to work hard not to give any ground to the judges. Аnd later I want to open a gym and coach girls...

- Masha, you did grow up after London...

- I think a lot about the future. I’ve almost forgotten my childhood. Still, at home I have my medals, my teddy bears and my Edinorog games... 
















Vladimir School of Gymnastics 50 Years on ... an allegory of Soviet and Russian gymnastics history?

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Nikolai Andrianov and his son Sergei, in 1980.  Courtesy of RIA Novosti

Once upon a time, Vladimir School of Gymnastics was a workhorse of world gymnastics.  Coach Nikolai Tolkachov fostered the talent of a legendarily stubborn, but deeply talented gymnast, Nikolai Andrianov, who went on to become an Olympic champion.  Andrianov was at the vanguard of generations of ambitious young Soviet gymnasts who then went on to dominate world and Olympic competition during the 1980s and early 1990s.

Those who followed him, twice World Champion Yuri Korolev, for example, were no less talented.  Or we could cite Vladimir Artemov, multiple world medallist and all around Olympic champion in 1988.  More recently, Yuri Ryazanov won bronze all around in the 2009 World Championships, before his life was so tragically cut short.

Tolkachov's generous talent brought forth not only great gymnasts, but also great coaches, for example Viktor Firsov who coached Vladimir Artemov.   Vladimir born gymnasts Andrianov, Korolev and Artemov have all achieved significantly in their post competitive careers, Andrianov and Korolev principally in their home countries, and Artemov in America.  You could say that Tolkachov started a dynasty of great gymnastics.  This video, a 1985 news short from Moscow Meridian, includes interviews with Yuri Korolev, and with Liubov Burda-Andrianova, wife of Nikolai.



A few days ago - on the 12th October - there was an event to celebrate fifty years of the Vladimir School of Gymnastics.  The date also coincided more or less with what would have been the 60th birthday of the School's most celebrated gymnast, Nikolai Andrianov.  It was important enough for Russian local TV to produce a short news story, including interviews with Liubov Burda-Andrianova, Aliya Mustafina, Yuri Korolev and Valentina Rodionenko.  Alexander Alexandrov, Ksenia Semenova and Ksenia Afanasyeva were also in attendance.  Andrianov's life was celebrated here, with the great and good providing tributes to his memorial, and people also remembered the youngster Yuri Ryazanov.



Komsomolskaya Pravda (via the RGF website) have also covered this event, and Lupita now provides a translation of this short article.  Just read what Yuri Korolev has to say.

Vladimir born Dmitri Barkalov (left) shakes hands with coach, 1981 and 1985 World Champion Yuri Korolev (right).  Barkalov competed for Belarus at the 2012 Olympics

Friday October 12th
The Nikolai Tolkachov Gymnastics School celebrated its 50th anniversary. Many events were organised and well-known people were invited — World champions of the gymnastics national team, city leaders.
Aliya Mustafina and Ksenia Afanasyeva competed at the last Olympics in London. Aliya won gold and Ksenia won a silver medal. They were in Vladimir not for the anniversary, but to visit Yuri Ryazanov’s tomb.

- Yuri was a very good friend, - told the girls– We couldn’t not come. And we have seen the school. It’s much better than it was when we last visited it.

The school has really improved over the past years. It has been renovated and refurbished. But things are not so easy with the athletes.

- In sport it’s all about cycles, - explained Yuri Korolev, a very well known gymnast from Vladimir, twice all around world champion, who has been coaching our young gymnasts for the past few years. 

- Twenty years ago, the Vladimir School was very prestigious at international level. Currently, it has lost its previous level, although last year it showed a certain trend to improvement. Young gymnast Yulia Tipaeva won the Junior European Cup. We had never had such victories. Among the men, Kirill Prokopev won a Junior championship and made the national team. If he is capable of working as hard as Yuri Ryazanov did, he will go very far.

Yet, this is all about the future. We can talk about problems. For instance, Yuri Korolev intends to leave Vladimir. He is convinced that Vladimir doesn’t need him.

- I was working with a gymnast – Yuri Barkalov, but he’s gone, - said Yuri Korolev. – Currently, I’m unemployed although I earn 20,000 roubles a month. I have prospects. I’ll have to leave my home town.

Yuri Korolev was very harsh on current gymnasts.

- They lack ideals. Now everything valuable is measured in money, аnd not with your country’s prestige, - he said. – By the way, the situation is natural, since we have a group of six rich athletes and the rest works as hard as them but earns much less.

So six young gymnasts have been made rich by their success at this year's competition, while the masses of other equally hard working gymnasts and coaches who might eventually ensure their succession are forgotten?  Note that Korolev complains not of his salary, but of the lack of work available to him.  Olympian Dimitri Barkalov left the Russian team some time ago to find competitive opportunity in Belarus.  It seems that all over Russia, despite the loudly trumpeted capital investment in facilities and events, gymnasts and coaches continue to leave Russia in order to find a way of expressing their talents.

Which is the real face of Russian gymnastics? 
  • Sponsors VTB promote the glamorous face, providing support for big capital projects, publicising the national team members via their excellent website, Club VTB.  They headline with the prospect of Olympic and world medals, benefitting from the internationally recognisable brand associations of excellence, diligence and grace to add personality to their otherwise rather homogenous public image, and to differentiate themselves.  
  • The Russian Ministry of Sport, Youth and Tourism counts medals as a way of measuring their country's international prestige, and encourages the staging of mega events as a way of bringing tourism and visitor income to different parts of their country.  
  • In Lake Krugloye the national coaches bravely attempt to hone the talents of the young gymnasts who come their way from all parts of the Russian Federation.  These are the tip of the iceberg, the internationally visible activity that we all know, love and like to discuss.
  • Meanwhile we have the invisible, perhaps even sub-aqua activities of the small clubs, the home gymnasiums of the talented youth and coaches who feed the national training system.
I would not take Yuri Korolev for a complainer.  One of the greatest gymnasts of the 1980s gracefully accepted the misfortune of missing two Olympics thanks first to political forces (the 1984 Soviet boycott of the LA Olympics) and secondly to serious injury (a ruptured Achilles tendon suffered in the run up to the 1988 Seoul Olympics).  He has always been graceful in movement and behaviour.  Korolev worked abroad in France for some time during the 1990s but has invested much of his career in the future of Russia. 

Andrei Rodionenko says that there is a skills deficit in coaching in Russia, yet a coach of the calibre of Yuri Korolev says he feels 'unemployed'; not because of lack of money* but presumably because of a lack of gymnasts.  His only top level gymnast has left Russia and gone abroad to compete, for lack of opportunity in his home country. 

Is this typical of Russian gymnastics everywhere?  Is the fine tradition of Vladimir School of Gymnastics ebbing away? 

Is the story of Vladimir School of Gymnastics an allegory for the developing history of Russian gymnastics?


*(The salary Yuri Korolev quotes is above average for Russia.  You might expect a man of his prestige to be earning more, but it is a living wage, and presumably ample if the work is rewarding.)

Round Lake National Training Centre

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Tunegym has a great short story about the National Training Centre at Round Lake (Ozero Krugloye), close to Moscow, which draws on some of the materials posted on the VTB site and a video shot as part of the press day there earlier this year.   A really interesting read that I picked up on via the Gymnastics Coaching blog.


It is a really interesting blog in development there - I recommend you take time to read it.

Aliya Mustafina and Viktoria Komova unveil their plans for the new season

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Click on the link 'Читать далее' to listen to the interview.

Aliya Mustafina and Viktoria Komova unveil their plans for the new season

Malakhova Elena, Roman Kosarev
30.10.2012, 17:14
The President of the International gymnastics federation Bruno Grandi retained his post that he has been running since 1996. Grandi was re-elected to his fifth term as president of the International Gymnastics Federation during the FIG Congress held in Mexico.
The President of the International gymnastics federation Bruno Grandi retained his post that he has been running since 1996. Grandi was re-elected to his fifth term as president of the International Gymnastics Federation during the FIG Congress held in Mexico.Grandi easily outvoted two other challengers Adrian Stoica of Romania and Vasiliy Titov of Russia by picking up 68 out of 106 votes. Vasiliy Titov received 24 votes while Adrian Stoica colleceted just 14.

Denis Ablyazin is back in the gym

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A brief news story on RSport tells us that standout Russian Olympian Denis Ablyazin is back in the gym, practicing new elements and routines ready for the new Code. Denis says he doesn't know when his first competition will be.

Picture of Denis Ablyazin, courtesy of RGF

Coaches of the world! Pay attention!

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Vladimir Zaglada drew my attention to a 26th October notice on the RGF website advertising coaching jobs in both the women's and men's divisions of the leading Siberian club in Leninsk-Kuznetsk (named after coach to Maria Filatova, Innokenty Mametiev). 

The advertisement doesn't mention a salary, but the benefits package includes an apartment. 

Any takers?  


2013 European Championships move to Moscow!

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Russia is hosting the forthcoming men's and women's European Gymnastics Championships, scheduled to appear in Moscow (not Kazan, as originally announced) between 17th and 21st April 2013.  You can find more information at the UEG website. 

It is a bumper year for Russian international gymnastics competitions, with the Universiade taking place in the ancient city of Kazan (part of which is a UNESCO World Heritage site) in July. 

St Basil's Cathedral, Moscow, by night


50th anniversary of Vladimir School of Gymnastics - pictures

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The Russian Gymnastics Federation has a gallery of pictures of the recent celebrations of 50 years of the officially named Nikolai Tolkachev School of Gymnastics, Vladimir and what would have been the 60th birthday of Nikolai Andrianov.  You can read more details of the event, and some of the history of the School, here.

Tribute banner to Nikolai Tolkachev (left) who, with his most famous gymnast, 1976 Olympic Champion Nikolai Andrianov (right), looks over as presentations take place.  On stage are (l to r, rear) Russian men's coach Valery Alfosov, 1981 and 1985 World Champion Yuri Korolev, 2008 Olympian Ksenia Semenova (partially concealed); 2011 World Floor Champion, 2008, 2012 Olympian Ksenia Afanasyeva, 2010 World Champion, 2012 Olympic gold medallist Aliya Mustafina, coach Alexander Alexandrov.  Does anybody know who the man at the front is?
Headstone tribute to 1976 Olympic Champion, a pioneer of Soviet gymnastics success, Nikolai Andrianov
Laying flowers at the grave of 2009 world bronze medallist Yuri Ryazanov.  L to R : Aliya Mustafina, Galina Ryazanova, Ksenia Semenova (partially concealed), Ksenia Afanasyeva

Anna Pavlova ... after all these years

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Anna Pavlova, 2004.  Courtesy of Sing Lo

Anna Pavlova, 2004 and 2008 Olympian, is still competing after all these years and put in a grand showing at this weekend's (2nd November) Schiltigheim Tournament in France, placing first ahead of home favourites Amelie Pauffert, Manon Cormoreche and Johanna Cano and established internationals Krystyna Palesova and Marina Kostiuchenko.

Still competing with heavy strapping on her once gravely injured right knee, Pavlova's work has retained its languid and musical presentation but does not have the pace or difficulty of many of today's top performers.  She still manages a whip to triple twist as her first tumble on floor, and her beam shows all of that magical sense of magnetism and balance that has always been characteristic of her work.  

I do not know if Pavlova would be mentally or physically capable of the intensive training and competition undertaken by the Russian team today.  But the nature of her exile from that elite group will always be questioned while so much remains unsaid as to the state of management of the Russian team, and while she can still turn out performances like these: with thanks to Ninalfee.

Full results are available here.


Elena Shevchenko and Viktor Razumovsky

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Elena Shevchenko with 1985 World Champion all around, Oksana Omelianchik.  Picture courtesy Tom Theobald

I read somewhere recently that Moscow's Viktor Razumovsky is now coaching 2012 Olympian Anastasia Grishina ... interesting.  Razumovsky was a leading Soviet personal coach during the 1980s, bringing through such talent as 1988 Olympian Elena Shevchenko, 1987 World Championships team member Elena Gurova, and Soviet international Olga Chudina.  He also had a hand in coaching 1981 World Champion Olga Bicherova.  All renowned for the elegance and spontaneity of their floor work in particular.

It reminded me of the 1988 Olympics, when the Soviet team performed in red, won by a significant margin, and were led off by the placid yet dynamic Shevchenko. I like what Larissa Petrik has to say about her in this interview from GymnForum:

"Elena Shevchenko is my favorite gymnast ... We are similar in spirit, in style and ... in the colour of our hair.  When she goes out onto the floor, Elena very quickly gets the feel of the situation and in her performance she just slightly plays and flirts with the audience.  One senses a femininity in her that is as yet unaware of itself.
"My favorite elements of Shevchenko's program are the floor exercises and the vault.  As we say, Elena uses contrast.  She begins a combination softly, flexibly and then suddenly explodes, unexpectedly transforming the rhythmic pattern.  Elena's feel for rhythm, which very rarely lets her down, helps her achieve tremendous emotional expressiveness."
 Enjoy the video from Olegushko.



And I thought it would be worth linking to this video of Larissa Petrik, on beam at the 1968 Olympics - she is a wonderfully fluid gymnast. I so miss the rhythm and line of a truly balanced and harmonious beam routine.



The atmosphere of black and white

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I have been doing a little research this morning for a book I am planning with Vladimir Zaglada and our translator, Lupita.

Long ago I found a wonderful website that I loved for its photographs and a brief essay on the nature of choreography. One day, I realised I couldn't find it any more.  I thought it had disappeared. It is a sadness to me that much of the history of Soviet gymnastics is disappearing; for example, try searching for pictures of Elena Shevchenko: there are few that really capture the majesty of her floor performances.

So I was very happy this morning, when I found Natasha's website again, in a truncated version, but including some of the old pictures.  I love the atmosphere of black and white and the sense of history they capture.

The site is the resume of now US-based, former Soviet team choreographer, Natasha Matveeva. Well worth a look and a read for the impressive list of gymnasts with whom she once worked.

Natasha Matveeva, her daughter Anya, and 1989 World Champion, three time Olympian Svetlana Boguinskaia, at Lake Krugloye National Training Centre in about 1989


Olga Bicherova - picture and video gallery

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Fishing the internet for black and white pictures of gymnasts, I came across the following images at the RIA Novosti Media Gallery.

1981 World Champion Olga Bicherova is very photogenic, and I love these candid shots.  Soviet champions were often highly praised for their diligence and sense of duty, not just in sports but in everyday life.  Collecting stamps, replying to fan mail and working hard in the classroom all personified the work ethic and high standards which exemplified the perfect Soviet citizen. 

Olga Bicherova replying to a Japanese fan's letter, shortly after winning the 1981 World Championships.  Courtesy of RIA Novosti

Olga Bicherova in practice with choreographer Galina Savarina, in 1982
Olga Bicherova and her stamp collection, 1981
Olga Bicherova, the model schoolgirl, 1981
Tiny Olga Bicherova with coach Boris Orlov in 1978
This brief Soviet television documentary emphasises the personal qualities that made her such a great example for youth.



Olga Bicherova was a gymnast of great charisma, charm and competitive strength.  She is remembered in particular for her tantalizing floor performances, aggressive vaulting and confident beam routines. 

You can find here the floor routine with which Olga won the 1981 World all around title.

And her later, 1983, floor routine, for me a favourite for its personality, expression and the way she flirts with the judges.



There is some doubt over Olga's birthdate: born October 26th, did she turn 14, or 15 (as required to compete in an FIG competition) in 1981?  Even now, some thirty-one years later, there is confusion; for example, age details on some of the Novosti pictures from 1978 and 1979 are confusing.  But with such a time distance, it is easy enough to get someone's age wrong.  Surely, at such a tender age Bicherova would not have been able to change her own credentials.  What remains certain is that Bicherova was one of the best gymnasts in the world during a time when talent and competition were deeper than ever. 

Russia's plans for 2013 : target Worlds, Europeans, Universiade; change the rules!

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2010 World team champion Tatiana Nabieva should compete in Kazan this summer

National coach Valentina Rodionenko has given two interviews recently about Russia's plans for the future.

Here, she explains how next March's Russian Championships will be used as selection for the four gymnasts who will compete at the individual European Championships in April. It's a heavy year's competition with Europeans in the Spring, the Universiade in July, and the World Championships in the autumn.  Aliya Mustafina, Ksenia Afanasyeva, Tatiana Nabieva and Krystyna Goryunova have already been announced as being in contention for the Universiade, which Rodionenko says Russia are treating as a highly important competition and which will take place on home ground in Kazan.

Next year, two juniors will progress to senior level - Evgenia Shelgunova [who will have full competitive eligibility for senior competition] and Maria Kharenkova [who will train alongside the seniors in 2013, but still compete at junior level until 2014].

In a radio interview she adds that the team expects to strengthen itself by adding three or four newcomers in time for the Olympics in 2016.  Many regional and national competitions will take place to try to identify upcoming talent. 

Amendments to the Code of Points have been partly favourable, in particular the downgrading of the Amanar vault and improvements to the beam marking, meaning that fine execution will receive a bonus.  However, Valentina criticises new approaches to rewarding artistry in the floor routines: there is much confusion between judges and coaches as to its meaning.  The new Code has identified 'nicely performed acrobatics with stuck landings' as artistry, but the Russians feel that it is more about quality of performance, eg pointed toes and good lines, than acrobatic connections.  They intend to write a letter to the FIG in the near future to try to persuade them to change the rules as they pertain to floor exercises. 

And I don't blame them. 

You can find the new WAG Code of Points here.

Russia today and tomorrow: Dementyeva, Shelgunova and Kharenkova take gold in Europe

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Evgeniya Shelgunova, courtesy of the UEG

Russia's women gymnasts took gold at two different competitions this weekend, showing an interesting level of development across the generations.  Veteran Anna Dementyeva competed with significantly improved form at the Joaquim Blume Memorial, hitting a 14.75 on beam, while at the annual Massilia Cup in Marseille, France, emerging senior (eligible 2013) Evgeniya Shelgunova led her team to first place, taking the all around title for herself.  Youngster Maria Kharenkova added an exclamation mark to the Russians' performances with an emphatic gold in the floor exercise.

The Russian team's performance was enhanced by tiny Viktoria Kuzmina's silver medal on uneven bars.  The team cumulatively took first place on every piece of apparatus but vault, where their fifth place underlines an urgent need to make improvements.  Even the revaluation of the Amanar vault will not overcome such a deficit whilst competing against a relatively weak field.

Golden Maria Kharenkova, having grown quite a lot since her stunning appearances at this spring's European Championships, was quite magnificent on floor with longer limbs emphasising the height and power of her leaps.  She also showed off some new difficulty, with a one and a half twisting somersault replacing the whip in her second tumble run (ending with double tuck), and adding a stag leap to her final tumble of double pike.  The Russians need a good floor worker or two so it is encouraging to see Maria continue to develop in the midst of a growth spurt. 

It would normally be in the Russians' plans to improve Maria's toe point but considering changes to next year's Code (which defines artistry as good tumbling but makes no mention of line, toe point, harmony or rhythm) they may decide it's not worth the time.

Hey ho.  14 year old Maria's work is still more interesting and aesthetic than the Olympic floor champion's by far, demonstrating that artistry can exist alongside great tumbling without compromising, or robbing the sport of its cultural dimension.  Long live Russian choreographers. 




1976 Montreal Olympic Games - video

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It's hard to believe that it is now 36 years since Nadia fought Nelli at the Montreal Olympics, since Maria unveiled that trademark cheeky charm, since Ludmilla broke her heart and Olga broke ours. The sport has come a long way since those heady days. Turn the clock back another 36 years and we pre-date the beginning of the 'new' era of gymnastics that began with the entry of the Soviet Union into Olympic competition in 1952. In that sense only, the sport was still in its infancy. Just think of all the twists and turns since.

Gymnastics was on the cusp of an acrobatically led revolution. Just look at the bars routines of Saadi, Tourischeva and Grozdova and compare them to those of Filatova, Comaneci and Korbut. Comaneci looks well ahead of the field on bars, but Nelli Kim soars ahead on floor and vault. This video reminds us that Comaneci's victory in Montreal was not as emphatic as the legend may lead us to believe: her floor is unsophisticated and relatively simple (see her compatriot Ungureanu for superior dance and expression though), vault a good effort but lacking the complexity of Kim's outrageous innovation for that time. Kim combines artistry and acrobatics to express the full dimensions of the sport of artistic gymnastics; Comaneci impresses with her daringly confident bars and beam. It is all about who made the most impact with the first ever 'ten' recorded in Olympic gymnastics' history.

It's a great video that has recently become available on Youtube, good quality and with full (Russian language) commentary. Not complete, but the best record many of us have available, with floor music intact - so now we can follow a pivotal part of the gymnastics narrative at almost first hand.

Olga Mostepanova - four perfect tens in one competition

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Olga Mostepanova in training.  Courtesy of RIA Novosti

The joy of that video of the 1976 Olympics sent me into an Olympic reverie, a recollection of perfect tens of the past. 

There is no greater unsung hero than 1983 and 1985 World Champion Olga Mostepanova, who competed at the 1984 Alternative Olympics in Olomouc, but was denied the chance of appearing at the Olympics thanks to larger, world political events that saw the Soviet Union boycott the Los Angeles Games. 

I first saw Olga compete at Wembley in 1981 at the annual Champions All competition.  She was a tiny little thing, wearing a white leotard and with big white ribbons in her hair.  I remember how coach Vladimir Aksenov paid attention to her between each apparatus, holding her hand and leading her through the competition.  But for all her baby looks, Olga was an impressive gymnast, especially on beam where her lines, soft and sharp at the same time, melded with an innate sense of rhythm to create gymnastics of great beauty.

Olga is the only gymnast ever to score ten on all four pieces of apparatus.  She achieved this at Olomouc, the alternative Olympic Games set up for the Eastern bloc countries in 1984.  In Los Angeles, Mary Lou Retton became the first all-American gymnastics star, all air-punching, powerful and grinning white teeth.  In Olomouc Mostepanova became a legend of the purest artistic form seen in world gymnastics - ever.  Those four ten scoring routines remain the Holy Grail of gymnastics, much sought after, but rarely seen in their entirety. 

I had to remind myself that it's 28 years since Olga achieved this amazing feat, and went running again to the wonderful RIA Novosti media gallery where I picked up some matchlessly gorgeous pictures.  You can see the entire selection I have made at RRG's Facebook page.  Savour too the all too brief videos.  Olga's contribution to the sport is becoming a disappearing legacy of the aesthetic, the blurry lines of the video recording reflecting the distance of time and space between her outstanding performances and the disappointingly tangible gymnastics of today.


Olga Mostepanova's perfect beam compulsory from the 1985 World Championships





An all too short fragment of Olga's floor routine from the 1984 Alternative Olympic Games.

Flashback to 1972 ... Olga Korbut wins the BBC's International Sportswoman of the Year Award

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I remember Olga receiving this award back in 1972 ... I was 13 years old. It was before the time of video recorders, personal computers and Youtube, and therefore a rare opportunity to savour those amazing moments from Munich again.

I was so thrilled to see Olga Korbut on my little black and white TV screen, collecting her BBC award as International Sportswoman of the Year. Gymnastics was new to me, Olga had opened my eyes to the sport, they have never closed.

There was something so special about Olga. Those moments from 1972 never lose their freshness.

With many thanks, once again, to Novosti, for reminding me of this great moment.

1980 Olympics WAG All Around video link

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1980 Olympic Champion Elena Davydova at a London display in 1978

This French TV transmission of the historic final at the Moscow Olympics is fascinating for the mix of fluff and routines it presents.  Sadly, we see only two fragments of Nadia Comaneci's routines.  I would be tempted to say that this was a Soviet feed edited for diplomatic purposes, but I remember the BBC live transmission as covering Comaneci in full.

I sat there, glued to my television set as the judges fought out the final rankings.  With Soviet Elena Davydova standing in first place, 1976 champion, the legendary Comaneci, needed a 9.95 on beam to take the gold.  Unfortunately, she took a rather hefty wobble half way through her routine, ending with a mark of 9.85 and the silver medal.  This was an astounding result for a gymnast who had been to hell and back since her former glorious victories in Montreal, but that did not stop Romanian judge Maria Simionescu from fighting and debating the mark with rival Ellen Berger for a full ten minutes.  I watched as the little flashing square in the corner of the TV screen indicated that the transmission was due to be cut, as Davydova and her friends covered their faces in anticipation, as an apparently lonely Comaneci strode the competition floor tensely, but the BBC stayed with gymnastics right until the end.  Davydova was strewn in the air by her jubilant team mates and gold went to the Soviet Union, silver to an apparently defeated Comaneci.  This video is somewhat foreshortened and captures only part of the action, but will remind us oldies of the excitement of that Olympics, and provide some points of reference for those who didn't catch the joy first time round.

The emotion and impact of Comaneci's mark of ten on bars - captured here as a fragmentary playback - is tangible even from a distance of more than thirty years.  Comaneci, denied gold at the two previous World Championships, fought back after a disappointing start in the team competition - falling on bars - to be in contention for gold all around.  The eventual winner, Davydova, has been recorded by history as a lucky first, but I do not think so.  Her routines have a rare touch of lightness, that vault sparkles through the air, the floor routine perfectly exploits the newly introduced opportunities of orchestrated music.  All four of her routines showed original elements, well performed with artistry.  Comaneci gave the gold away with that tremble on the beam, but silver was a victory for her in any event.

We are reminded of the togetherness of this Soviet Olympic team - watch how Maria Filatova shakes her fists in support of Davydova's floor performance, how Elena Naimushina takes Davydova in a stranglehold, Stella Zakharova looking on with those coal-intense eyes.  Blond, glamorous, national coach Polina Astakhova was in the mix there, moving Reuter boards and providing moral support.  Svengali Vladislav Rotstorotski could only watch from the stands, banished there by his gymnast Natalia Shaposhnikova.  If I were to draw a cartoon of Rotstorotski here he would somehow be veiled in an ever increasing, dark fug of depression.  The innovative Shaposhnikova was expected to be the gold medal winner, but was missing something here, and seems rather alienated from the main action of the day.  Interviewed after the competition, Rotstorotski expressed his regret at not overriding his gymnast's wishes and accompanying her to the floor.  I wonder if it would have made any difference against the great performance quality of the rising star, Davydova. 

Elsewhere, enjoy routines from across the competitive field.  Nelli Kim struggles through with her coach Vadim Baidin, looking to be in pain after a fluffed floor routine, with the judges holding up the whole competition for a good five minutes while the rather obvious mark of 9.45 was agreed.  Comaneci's team mate Emilia Eberle looks as skeletal and desolate as she did less than a year before in Forth Worth, but still managed a 9.95 on floor.  We see Germany's Maxi Gnauck, Steffi Kraker and Katharina Rensch, Britain's Suzanne Dando and Susan Cheeseborough, Australia's Sulicich, Bulgaria's Galina Marinova.  Don't forget that this was the Games that the Americans boycotted, four years before the Los Angeles Games that the Soviets boycotted.  All was not well in world sport at the time.  But the quality of the gymnastics in Moscow did not suffer.

Enjoy the video.


Lupita translates : Nelli Kim interview (November 2012)

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Lupita translates a recent Sports Panorama interview:

Nelli Kim: triple back on floor

Nelli Kim at the USSR Display, Wembley, London, 1979.  Courtesy of Finyo.

She considers herself Belarussian, although she lived in Kazakhstan until 1977 and now resides in Belarus, the US and Switzerland.  To be more precise, Nelli Kim has no home in the country of watches, banks and cheese, where she spends many months every year.  Yet, her soul is in Belarus, whose colours she defended during the last years of her fabulous gymnastics career.  Five time Olympic champion and world champion, she was recently in Minsk to brief Belarussian specialists on the new aspects of the next Code of Points.
— The Code of Points will be enacted in 2013. The judges will receive new categories, she explained. I decided to come first to Minsk. To whom do I have to explain the nuances of the new Code other than Belarussian specialists?  I’ll meet with coaches and judges; we’ll talk about new trends in artistic gymnastics during the new quad. It’s a pleasure to meet again people with whom I have spent so many years in sport. Every one of my visits is not only work, but satisfaction from meeting people significant to me. 
In October you were re-elected for the third time as President of the FIG Technical Committee …
— Yes, for the next four years I will be the President of the Women’s Technical Committee. I’ll be responsible for the Olympic competitions, the World Championships, the Code of Points , the judging, the assessment of the judges’ scores at tournaments, sanctioning judges.
— Could you be more precise on this last topic?
— My function is to supervise the scores of a gymnast’s routine. At the end of any championship, we gather and, after a computer assessment, we score the judging of every judge. If someone has not worked well, we sanction her with a red card and we suspend her from the next championships.
— As far as I know, the suspension of a judge is not an easy proceeding. The Disciplinary Commission interferes.
— It is created within the framework of the FIG and comprises three jurists and three gymnastics specialists. We tell them our conclusions and the members of the commission decide upon a judge.  We are amateurs. It’s not about business; it’s sport in an amateur sense.
— Do suspensions happen often?
— After the 2011 World Championships in Tokyo, two judges were suspended. One of them was a Romanian who won an Olympic medal. The Committee decided to suspend them for the London Olympics. Moreover, they will not be allowed to participate in the intercontinental course next year. They will not obtain the D elite category responsible for the most important tournaments.
— What is this intercontinental course about?
— The course will present the new guidelines in judging, that we’ll start applying in the new quad, including the 2016 Olympics. All the concerned persons, indlueint the Belarussian judges as well, must take the course, sit for exams and obtain a judging category. There is now a fight to take part in this process, to influence the trends in gymnastics.
— Could you share with us the innovations in judging [the new Code of Points]?
— We shifted some elements from one group to another, depending on their popularity in the competitions. If an element is often performed, it’s not difficult and it should score less. And, on the contrary, if it is less performed, it means it’s difficult and deserves more points. We pay attention to connections, and still to artistry. We plan to introduce big deductions in floor and beam. We invited representatives from Cirque du Soleil, who trained our specialists how to understand and assess artistry. Тhis happens for the first time. Never have there been so many deductions in this direction. The understanding of art, of music by the judges is more necessary than ever. But there is subjectivism and there will be. Everyone interprets beauty in their own way. But we’ll try to assess something subjective with objective criteria.
— How is that?
— You’ll agree with me that a part of artistry is the body’s position, a music well-suited to the routine, fluid transitions from one part of the routine to the next.
— Don’t you think that sometimes gymnastics competitions become a noisy mess. The audience, not pleased with the scores, create a real scandal. Under their influence, the judges meet, change the scores, and the winners change.
— At the last Olympics, this happened in the men’s competition, when a Ukrainian gymnast lost bronze in a pommel horse routine. Men’s judges have more serious problems than we have because there’s less control over the judges.
The men’s Technical Committee was chaired by Adrian Stoica, from Romania, but he decided to stand as a candidate for President of the FIG and lost. Bruno Grandi was re-elected for the fifth time. Later, Stoica was candidate for the Men’s Technical Committee, but he lost again. The president of the men’s committee is Steve Butcher, the first black president in the history of the FIG.
— To come back to the scores in gymnastics, skating officials have found a way out by including a system of points for the execution of an element, for the level of complexity.
— We have the same system as skating, yet I think that their approach is not good. They drop scores that help assess the situation. We rule out the lowest and the highest scores and we take into account the average scores. They can rule out these scores and keep the highest and the lowest.
What we have in common with ice-skating is that the difficulty elements are classified according to a group from «А» tо «G», аnd now we have also included «H». In the score this is reflected by 0.1 to 0.7, and now 0.8. If gymnasts do a triple back on floor, and, of course, land on their feet, they can get the highest bonus.
So far the women don’t go for this extreme, while the men have been doing this for a long time. When they competed, Valeri Liukin and Sergei Kharkov performed those elements excellently!
— Apart from the seminar, you had time to meet Vladimir Karpovich, President of the Belarussian Gymnastics Federation.
— The unforgettable Vladimir Ilich [Lenin] once said that personnel solve everything. This statement is still true today. If there are no coaches, even with the best equipment, there won’t be results. The passion for gymnastics exists in the Belarussian, Russian and Ukrainian peoples. After finishing their careers, many athletes became good coaches. Right now, most of them former Soviet citizens, are coaching our rivals in the US, Аustralia, Canada, France. Salaries abroad are from 3,000 to 5,000 US dollars!
I was pleased to see that the president of the Association fiercely wants to help gymnastics, He wishes to know my opinion in order to improve the situation. Our meeting was very fruitful.
— Your daughter lives in the US. Where are you more often, in Belarus or in the States?
— Half and half. My ex-husband is a cyclist, Valeri Movchan, a Moscow Olympics champion. He lives in Minsk. My daughter finished her studies at a business school in Chicago and she now wants to study medicine. However, she doesn’t give up amateur sport; she practices different activities.

Мikhail DUBITSKI


This interview took place before recent rumours that the WAG Code of Points will change once again before enactment in 2013, leading to ten skills counting on floor, in order to harmonize with the MAG Code of Points.

I like what Nelli says about artistry in this interview - doubt the judges would be willing or capable of enacting it all fully but the ideas of involving specialists to help train judges in the appreciation of artistry, of the importance of transition from skill to skill, of acknowledging the subjectivity of judgement, seem to be steps in the right direction.  

But then my heart sank when I read of the proposed changes.  Counting ten difficulties on floor, and four dance elements, seems regressive.  Do we want our floor routines to turn into a frantic battle to fit in as many poorly executed tumbles, turns and leaps as quantitatively possible, without consideration of mood, feeling or flow?   Will the music become a mere incidental, background accompaniment, robbed of any significance or relation to the drama of a performance?  If the FIG feels the need to harmonize, why not decrease the number of difficulties in men's gymnastics and emphasise there also the need for artistry and virtuosity?

What do you think?  Please comment ...
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