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Aliya Mustafina - 'I'm glad we didn't hit'

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Speaking on the Nanning official website, Aliya Mustafina had a few words to say about the day's competition:

On being in the first Subdivision:
“That was our strategy, to go first and have it over and done with, so with the qualifications out of the way we can relax and see what other teams are going to do. It is just so much easier when you have already started; it takes the pressure off you.”

On the Russia team performance:
‘I am actually glad we did not hit it perfect today. Now we know what we need to fix and where we need to put in extra work. The team has now been exposed to actual competition; we got to test all the apparatus in real competition, so we can improve further for the finals.”

“We were not tasked with making it to the finals; we just had to do the program we'd tested during the actual competition.“

On Sunday's biggest difficulty:
“It is toughest to finish on the balance beam. The emotions tend to wear thin towards the end of the session and fatigue is catching up with you as well, while you have to be super-focused. That’s a tough call."

On her own performance:
“I am most happy I had a clean workout with no falls.”

On the pressure of being the team leader:
“I do not feel the pressure, in fact the very opposite. It gives me pleasure to help my teammates. It is much easier for me this way.”

Something about this team ...

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There is something about this team I like ... Not that I think they are likely to win masses of medals or anything.  Something more than that.  It's a very balanced team, each gymnast brings something unique to the table both gymnastically and in terms of personality.   And, more than in London, I feel a cohesive team spirit,  perhaps it comes from the cross-generational make up of the team, from Mustafina's leadership?  For me, they have a sense of calm purpose.

The Russian Gymnastics Federation has a lovely picture gallery of the girls training post quals.  There are some striking images, more for their atmosphere than technical brilliance.  My IPad is loaded with copies of them, but there are too many to post here; do visit the website and take some time to look at the album in its entirety - (www.sportgymrus.ru).  In the meantime, in as far as I am capable of choosing highlights, here are a few of them.



    Aliya Mustafina's coach, Raisa Ganina from CSKA Moscow



    
  Kharenkova 's coach, Olga Sagina from Rostov on Don



    National beam coach, Marina Bulashenko, advises Alla Sosnitskaya


    National tumbling and vault coach, Vasily Ivanov
















Mustafina: I like to help the team

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Olympic champion in the 2012 Games in London Aliya Mustafina Russian woman shared her impressions of the team competition at the World Championships Gymnastics in Nanning (China), in which the Russian team won the bronze medal.

"We were frightened of repeating the guys' result of yesterday.  We tried to imagine that there were no marks and results, just to finish our job, to complete our performances beautifully. ... Competition is always very exciting and scary. But today I tried to do everything with confidence ... But competing a whole-around for the second time at this World Championships, I can tell you one thing: I'm tired. Well, there is a day to recover.

I was afraid that the team may be frightened, and may waver. So I tried to help them. Dasha Spiridinova and Masha Kharenkova told me that they really like it when I talk to them during the execution of the exercises. If I am asked for help, I certainly like to help.'

Source : http://www.championat.com/other/news-1948575-mustafina-v-komandnykh-sorevnovanijakh-na-chm-staralas-vsjo-delat-uverennee.html


Kharenkova - I trained in pain

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Speaking in an interview with Allsport today, European beam champion Maria Kharenkova, who contributed Russia's highest beam score today of 15.033, revealed that a leg injury hampered her preparations for the Nanning World Championships.  

"I have a sore leg and trained through the pain" admitted Kharenkova. "But now the pain has gone, I am slowly recovering. I started tumbling just two weeks before the World Championships, and managed to get everything back. Today, almost everything turned out!"

"The first day I was a little nervous, and because of this, I fell off beam. I was shaking from the realization that for the first time I was competing at the World Championships. And today I felt much calmer and more confident.gymnast.  It is true that for some of the time we were a little concerned that we might end up without a medal, but we were able to pull ourselves together. I myself am a little sad that I did not get to the finals on my favourite beam. But what can I do? Now, I'll be rooting for all of our boys and girls!"

Good luck to all the gymnasts as they progress towards individual finals ... Well done to the girls for their bronze medal today, an excellent outcome ... And congratulations to Maria for her great contribution to the team effort!

Latynina says Rodionenko is 'fundamentally wrong' about Russia'sinjuries

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Larissa Latynina, Olympic Champion in 1956 and 1969, former national coach during the 1970s, and for many years a strong supporter of the Russian team, has spoken to Sportbox about the Russian team.  The interview was published prior to today's all around final, in which Aliya Mustafina finished a creditable fourth following some upsetting mistakes on floor.

Nine-time Olympic gymnastics champion Larisa Latynina told Sportbox.ru's correspondent about the first results of the World Championships, frequent injuries in the women's and men's team and the problems and need for a psychologist in the team.

Was bronze success or failure for the current women's team?

'Mustafina pulled the team into third place.  Unfortunately, we don't have any athletes who could take the place of the leader, Mustafina.  In recent years, periodically, there are stars, but they are injured or ill. 

Recently I read an interview with Andrei Rodionenko, in which he says that the coaches can not be responsible for the girls' injury - that the recovery and treatment of athletes was the responsibility of physicians.  I believe that it is fundamentally wrong position. The women mainly get injured in training. Usually an attentive coach will see in advance that an athlete is tired or that she has some problems. Therefore, it seems to me that such a large number of injuries is the result of including errors in the preparation. I did not go to "Round Lake" and did not see how the guys and girls were preparing for the Championships, so I can only judge by what I see as a result. 

I do not know if they work with psychologists. I think it also would benefit from the preparation.'

You have won an Olympic gold medal, and without the help of psychologists.

'For us the personal coach carried out the role of the psychologist. He knows his athletes best. It is important for the coach to work closely with the gymnast as her personal coach.'

Source : http://news.sportbox.ru/Vidy_sporta/gimnastika/spbnews_NI487824_Larisa-Latinina-Komandu-vitaschila-Mustafina



UPDATE 2 : Rodionenko comments : Mustafina unwell for AA final

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Speaking directly after the team competition today, Aliya was quoted on the Nanning website : 


On her expectations for the women’s all-around final:


I did not expect anything. I put too much of myself into the team competition and there was no stamina left in me for my own thing in the women’s individual final.”



On failing to make it to a podium place:


“I simply could not make it. Maybe luck was against me today.”


On her floor routine:


“I had a fall on the floor exercise and I knew that was it for me.”


On the competition:


“I have to give them credit, they were good and I was not at my best today.””



CONGRATULATIONS Aliya; you won 4th place in the World.  It may feel bad today, but we support you and there will always be a tomorrow.


UPDATE :


Mustafina unwell, had temperature.  'this morning I woke up, felt really bad ... On floor, I do not remember how I performed'. She says she hopes to retrieve something over the next two days.


http://www.championat.com/other/news-1950419-mustafina-utrom-prosnulas-pochuvstvovala-sebja-sovsem-plokho.html


Valentina has now spoken ... It is the air con at the hotel.  Apparently the girls are chilled (Google translate :-) )

She says Aliya can't be blamed, she competed with a temperature ... She said lots more nice things about Aliya, and spoke of Sosnitskaya and the younger girls' inexperience.  They have to look at the team's training and see what they need to change.





Insomnia and uncertainty - drama or crisis in Russian women'sgymnastics?

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It is 4 am in London, and I am awake, thinking about the uncertainties and worries of the previous 24 hours.  Primary amongst them is one that I live mostly vicariously, through the voice of this blog.   The sad result of yesterday's competition has disturbed my peace of mind and there are nothing but questions.
  • Can Mustafina find once again the form that saw her win the 2010 World Championships, the zest that led her to win gold at the London Olympics, the genius that saw her grab gold from the ashes of the Antwerp World Championships in 2013? 
  • Can Russian women's gymnastics find its feet once again? 
  • Was Alexandrov's fiery, reluctant resignation the end for the team?

For the last four years, I have followed the fortunes of Russian senior gymnastics, as closely as I can, blog by blog. It hasn't always been easy to find the thread, to follow the reasoning of these charismatic, volatile and often illogical people.  A large part of the emotional energy in maintaining the blog has been put into constant questioning of the political situation surrounding the coaches, and in particular the coaching of the women's team.  

Following the emergence of tensions between the two Rodionenkos, Andrei and Valentina, and the women's team coach, Alexander Alexandrov - well, it was difficult not to take sides.  To put it plainly, Alexandrov's case was so much stronger and clearer than that of the Rodionenkos that there just didn't seem to be much argument at all to support the Rodionenkos.  Alexandrov's interview with this blog was so comprehensive it left little room for the Head Coaches to wriggle out of their rather uncomfortable position.  The entire 'gymternet' community railed against Valentina for some of her clumsier statements, but the gymternet does not decide who will be head coach, or how the gymnasts will be trained.  So despite the strength of argument, and Alexandrov's connections at the Ministry of Sport, the Rodionenkos have still held fast in their positions.  There is still little real reason to believe that their long tenure at the top of Russian gymnastics is at risk to this day.

Latterly, I have preferred to take a back seat, to try to remain neutral.  Part of the problem has been Andrei Rodionenko's stolid silence on the situation; by avoiding defending himself expressly, he has cleverly avoided stepping into the pile of contumely that has increasingly surrounded Alexandrov; his stealth and subtlety at quiet odds with the blunt defensiveness of his outspoken wife.  Recently, one of Rodionenko's allies - a coach who spoke out against Alexandrov at the infamous press conference orchestrated by Rodionenko where the basis of Alexandrov's demotion was laid out - elaborated on circumstances surrounding her gymnast Paseka's selection for the Olympic team.  More of the jigsaw seemed to fall into place.

A problem, though, is that Russian gossip is far more intriguing than the British kind, seems to be almost a way of life and often bears little relationship to the reality of events (except of course, the brutality of the exit route Alexandrov was forced to take, the clear unhappiness etched on the face of Mustafina yesterday, and so on).  Social media has made it accessible to the Western world in a way that hasn't been possible before.  For the blogger and gym fan alike there are intricate problems involved in unravelling what is essentially the natural expressiveness and sensitivity of the 'Russian soul' laid bare to Western eyes (principally, in this case, mine).  You could write a book about it. 

Further rumblings that team spirit had become a problem under Alexandrov - that the girls' nerves were constantly on edge - in light of the happy, almost light-hearted spirit amongst the team now presenting itself in Nanning - seemed to confirm that the light was shining on the other side of the story.  Rodionenko had repeatedly absolved himself of any responsibility for the injury rate of his women's team and, given the world situation of injury left, right and centre, and the historic lack of strength in depth on his team, his claims seemed to have some validity.

However, since the beginning of these Championships, a trio of highly influential women have spoken out, pointing out the weaknesses of the WAG team's performance in Nanning and overall since the Olympics.  You will recognise the names of two of these women - Svetlana Khorkina and Larissa Latynina.  The third should be well known to those who follow this blog carefully - Elena Vaitsekhovskaya.  She is a leading sports journalist in the field of ice skating and gymnastics in particular and is unique amongst Russian journalists in having presented Alexandrov's story in the Russian press.  I believe her to be close to Alexandrov.  Private sources also lead me to speculate that the tide is turning.  Perhaps change is on the way.

So I am up at the ungodly hour of 4 am to bring to you some vital reading on Russian gymnastics, with many thanks to Lauren Cammenga, who has provided the translations from the article by Vaitsekhovskaya, and to Nico whose post on Gymfever woke me up.  Vaitsekhovskaya is particularly interesting because what she implies is that Russia hasn't really made any progress since Alexandrov left.  The benefit of their pre-Olympics training has now expired.  Their time is out, in other words.  No personal criticism of Mustafina is intended - it is all about the coaching.

Elena Vaitsekhovskaya

- Says that she remembers a conversation with Alexandrov, a long time ago.  It was, he said, the most difficult thing, for a gymnast to decide whether to continue with a career, or to finish.  If you continue, everything that was past had to be left behind, and the effort had to begin anew, from scratch.  A gymnast can't continue without being fully dedicated to finding a new level of complexity and physical fitness; the old level that won the first gold medals will only carry a gymnast through for one year, or a maximum of two.

- Doubts the reasons cited by the Russians for Aliya's failure in the all around final.  Alexandrov was right, she says : she does not think that Mustafina has made any actual progress in the two years since London and contends that Mustafina won all of her medals in 2013-2014 on sheer force of will.  In the All Around final she saw what she believes is Mustafina's lessening ability to win medals by the skin of her teeth, to turn determination into medals.  Can Mustafina continue to win medals over the coming years?  She thinks not, because her difficulty level hasn't increased; also because she has failed to win medals at this World Championships.

- Thinks that Mustafina near won Russia's team bronze single-handedly, and she does not agree with Valentina that it was worth as much as gold, because the Chinese and Romanians were so weak that Russian should have been able to beat them easily.  The team final did not bring forward a single performance by a Russian woman that made her gasp, or that demonstrated a new level of complexity.

-  Does not agree that the men's result was a failure, given that two gymnasts are still recovering from surgery, and Denis Ablyazin is seriously injured.  She says that despite the result, the performance was good.

-  Calls into question whether Russia's veterans will ever return.  Thinks a team with Mustafina and Komova would be able to achieve a lot but doubts whether it will happen when a comeback by Komova after a two year absence is almost inconceivable.  She is also not sure whether Mustafina will be around much longer.

-  Says it is worrying that for the last two years Russian gymnastics has survived on the back of one gymnast; and that they have got rid of the only coach who has ever achieved his stated goal (Alexandrov).
'I believe that our gymnasts did not have any stamina, self-confidence.  I must say that even I was very worried last night for all of us. I am very sorry for the completely stupid mistakes that have affected the result of the original.'

On the selection of the team, the absence of Afanasyeva and Komova due to injury, she said : 'So, it's time to leave, perhaps?  We had injuries in our time - we kept them to ourselves, not for the public.'
 
Larissa Latynina

Andrei Rodionenko was 'fundamentally wrong' in his assertion that gymnasts' injuries were not the reasponsibility of the coach.  Most injuries took place during training.  'Usually an attentive coach will see in advance that an athlete is tired or that she has some problems. Therefore, it seems to me that such a large number of injuries is the result of including errors in the preparation. I did not go to "Round Lake" and did not see how the guys and girls were preparing for the Championships, so I can only judge by what I see as a result.'

She went on to suggest that the gymnasts needed to work with psychologists - in her time, this role was fulfilled by the personal coach, who worked closely with the gymnasts.

As I write this, Denis Ablyazin is competing in the men's floor final - and may win a gold medal.  Russian gymnastics is ever in motion ... and always intriguing.

Further reading

Undesirable Alexandrov - Elena Vaitsekhovskaya's commentary post 2012

Alexander Alexandrov in his own words - Part 1 of 4

Nelli Kim - Russian gymnastics has closed in on itself

'Maria - A Victory on the apparatus' Interview with coach Maria Ulyankina in which she discusses the circumstances surrounding Maria Paseka's training and selection for the 2012 Olympics http://m.sovsport.ru/gazeta/article-item/746932
 

Aliya Mustafina wins her tenth World Championships medal!


Sheer delight :-)

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These are really poor photos I took of Aliya in my IPad, off the TV.  But they capture the delight of the moment - an 11th career World Championships medal, bronze on floor, for our Queen, who is one of the bravest, most graceful gymnasts I have ever known in 42 years of watching gymnastics.













Review of Russian WAG at the 2014 World Championships

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The Russians during a team talk in training for the World Championships.  Courtesy RGF
Bronze all the way for Russia then.  Beyond the euphoria and surprise of this morning's competition there doesn't really seem to be much to write home about.

I am delighted for Aliya personally that the efforts she has made to help the team have provided her with some tangible result, but the principal feeling at the end of the competition is that of relief.  As Vaitsekhovskaya said in her article last week, there were no moments of shock and awe from the Russians, and that's what will be needed if they are to compete for gold medals in Rio (translation available here).

Let's consider a timeline of the competition : before, during and after.

BEFORE

The promise of a return to the Worlds stage by Viktoria Komova gave Russia a feeling of optimism pre-Russia Cup.  However, Viktoria's performance at this important competition gave little reason for celebration.  Yes, she had retrieved many of her bar skills, and her beautiful flight still stood out as world-beating.  But under today's Code, that matters little.  Bent legs during her giants and a tendency to brush the lower bar are deductible faults that still remained; after a two year break, why weren't these problems addressed? No upgrades from Viktoria, no beam, no vault and no World Championships.  It seems almost inconceivable that she will now make it back onto the Russian team after an absence of more than two years, at least as an all rounder.

Just prior to the final selection of the team, Valentina Rodionenko suggested that Ksenia Afanasyeva might be in contention for a place on the Worlds team.  This never really seemed likely given the gravity of the injury that had taken her out of training in the first place - Afanasyeva had explained in May that the bone was inflamed, a condition that can quickly lead to osteoarthritis, and the gymnast's own announcement that she would take the year off seemed far more feasible than selection for a major championships.  Sure enough, Rodionenko's hopes for the 2011 World floor champion were dashed within a few short days and the announcement of her rapid comeback appeared to be little more than hot air.

Mustafina, meanwhile, had undergone her own injury hell for long enough.  Investigations in the Munich clinic that is now a second home for many Russian gymnasts revealed nothing serious, but a procedure relieved the heel pain enough for Aliya to look revived and refreshed at the Russia Cup. Furthermore, a now mature Aliya was obviously providing caring motivational leadership for her younger team mates.  It became clear that once again Aliya would come to the rescue of a struggling team.

So in the context of the unavailability and unreadiness of two* of its Olympic stars, the Rodionenkos' strategy was to blood some up and coming young talent - Sosnitskaya, Spiridinova and Kharenkova, who in the spring had won the European beam title - and to complete the team with more experienced, reliable girls - this time Kramarenko, who had competed at the 2008 Olympics, and veteran of the 2010 gold medal winning team, Nabiyeva.  Nabiyeva herself had toyed with retirement earlier that year, preferring to move forward with her happy life as a coach and student in her home city of St Petersburg; but the lure of another competition proved too great to resist.

The team that prepared for Nanning was, largely, the only one available to Russia.  The demographic of Russian women's gymnastics is highly complicated at present, thanks to a slump in government funding and, hence, in youth participation during the Yeltsin years.  So the fact that only a few gymnasts are available to the team is a fact of life; there is not much that the coaches can do about that.  And it is a good thing to bring through youngsters at this stage of the Olympic cycle - how else to develop strength in depth than to give new gymnasts a chance to compete at the highest level?

Yet the strategy adopted by the team coaches seemed to be predicated on the assumption that Russia would need its veterans to win. This strategy was to balance the insecurity of youth with the maturity of experience; not a bad idea, except for that the main aim seemed to be to keep the gymnasts calm and avoid making mistakes.  Perhaps a good way of securing bronze, but not a good way of fighting for gold or silver.

And surely, this was exactly the time when a new generation should enter to challenge and overtake the long standing champions.   For example, in 2010 Alexandrov had led a young team to win the World Championships.  Half of his gymnasts - Mustafina, Nabiyeva and Dementyeva - were first year seniors who had not competed at worlds level before; the most experienced gymnast, Semyonova, had made her Worlds debut in 2007.  With Komova and Grishina due to turn senior over the following two years, it was clear that the new generation was rapidly taking over.

In women's gymnastics, few World Champions continue to win medals at the very top level for more than two or three years.  There are always exceptions, of course - Khorkina is one example - but to expect all gymnasts to emulate Khorkina is clearly unrealistic.  If the Russians' plans for Rio come to fruition, and all their currently active London Olympians participate, it will be a miracle - the team will have a collective senior experience of 24 years - Mustafina six, Komova five, Paseka four, Afanasyeva nine.

More to the point, the youngsters should now be challenging these gymnastically elderly ladies and making it difficult for them to participate in the training squad, let alone be selected for World Championships.  I would love to see Afanasyeva and Mustafina at their third and second Olympics, respectively.  But I would hope that they would be there to lead an exciting, vibrant young team who were at least their gymnastic equals.  It doesn't seem to be too much to ask, considering the level, if not volume, of talent available to Russia.

Before the Championships then, we had a happy looking team, well balanced and obviously emotionally secure and confident within themselves.  The Russian coaches had set modest expectations of them; the consensus was that there was really only Mustafina who would contend for medals.  Gainsayers suggested the team might be poor enough to finish in fifth place, but that was an extreme view.  The team selection was a solid one, with a good distribution of talent across the apparatus, and even though there was a clear weakness on floor, a reasonable show was expected.

DURING

A reasonable show was exactly what we got from the Russians in Nanning.  In podium training and in qualifications the team managed to avoid meltdown, anyway.  The girls had the worst draw of any of the big four countries, competing qualifications in the first subdivision, beginning on floor.  This made World Champion Mustafina almost the first gymnast to compete in the entire WAG competition and, as things turned out, she was also the last.

The young Russian gymnasts are a delight.  Spiridinova is an enchanting gymnast, beautiful in line and technique and clearly able to perform her routines on floor, beam and bars with something approaching ease.  She embodies the Russian enigma - an up and coming gymnast who has the basics to a fine point of perfection, then stops.  Anna Rodionova, who was in contention for this team but didn't quite make it thanks to a small injury, is a similar gymnast.

The Russian system has always had such beautiful, rather erratic gymnasts.  I am not comparing like exactly with like, but Kazakhstan-born Natalia Ilienko, 1981 World Floor Champion, was a remarkably unreliable, remarkably talented gymnast.  World Champion Natalia Yurchenko's career was marked by unfortunate falls until good luck collided with her in 1983.  These gymnasts shared the fundamentally strong basics of such gymnasts as Spiridinova and Rodionova but were tempered by a system that understood that in order to be able to win, one must risk.  Their stunningly original programmes were put together not to provide a comfortable nights' sleep for their coaches, but to challenge for gold medals wherever they went and whenever they competed.  The rather lowly expectations of this year's Russian team were that they would do enough to finish in the top 24 and hence qualify to compete at next year's World Championships, in turn a qualifying event for the Rio Olympics.  The two Natalias were expected to fight for gold, wherever and whenever they competed, and because it was expected of them, they expected it of themselves.

One could say that the circumstances in which the gymnasts compete today are much different, not least the 6-3-3 format which emphasises the need for reliability; and the relative lack of strength in depth in Russia, which means that the coaches are trying their best to maintain the health and strength of their gymnasts for another day.  Russia and the Soviet Union are far from a direct like for like comparison as the Soviet Union covered not only Russia, but also Ukraine, Belarus and a total of 11 other countries.  So the talent and resources base on which they drew was far greater.  Nevertheless, the fundamental laws of training are the same.  I remember reading an interview with Alexander Alexandrov, about two years ago, in which he explained that the time to develop a gymnast's programme was during her early years in the sport.  The gymnast would generally only be able to do at the age of 20 what she could do at a much younger age.  This is rather worrying for the up and coming Russian youngsters, few of whom have much in the way of ground breaking difficulty in their routines, let alone the expectation that they will eventually become Olympic champions. 

There is also the question of why the team were playing a safety game when the targets were so meagre; surely now, when 24th is all that is needed, would be a time to test the young gymnasts and give them some experience?  Some of the selections for the team final seemed questionable.  For example, why not give Alla Sosnitskaya, the team's second all arounder, the opportunity to compete on beam in the place of Kramarenko?  Her scoring potential was greater and in the end putting trust in the greater reliability of a veteran was misplaced; it is easy for anyone to fall from the beam as poor Katya did. Newcomer Alla Sosnitskaya was clearly determined to show her grit at these Championships and could have contributed on the apparatus.  If not Sosnitskaya, why not Spiridinova?  One day she must confront her nerves on this apparatus and realise how talented she is.  The Russians are strong on beam; the coaches need to have confidence in their youngsters, before the youngsters can have confidence in themselves.

Nevertheless, I think that the team's performance was a good one; my criticism is not of the gymnasts, but of the safety-first strategy and the suggestion that gymnasts new to the senior team aren't capable of delivering good gymnastics, when clearly they are.  Kharenkova, for example, had a shaky beginning in beam qualifications, but her performance in finals was great, judging by the 15+ score she achieved.  Yet elsewhere, principally on floor, the feisty girl from Rostov-on-Don seems to have taken a backwards step since 2012; why is this?  It is symptomatic of a system that has regularly failed to see its talented juniors reach their full potential; only in 2010, 2011 and 2012 has the transition from junior to senior appeared to realise the promise of the young.  Where is Shelgunova, why does Rodionova so steadfastly remain in the shadows; why are so few of the youngsters performing more difficult routines than their predecessors?  It's all very well focussing on the need for reliability and consistency when the programme of difficulty isn't good enough to win gold; the gymnasts will only learn to do difficult things by practice.  If top difficulty is the expected norm, few will question it and the most capable will emerge.  As World Champion Yuri Korolev once famously said, 'he who does not risk, cannot win'.

Of course Queen Mustafina's final day performance put a smile on my face, as well as young Dasha's bronze on bars.  But we do have to remember - these were bronze medals from a team that, historically, technically and strategically, should be targeting gold.  Vaitsekhovskaya reported Alexandrov as saying that a gymnast cannot live on her past triumphs; the training of last year can only stand her in good stead for a year, two at most.  I would venture to argue that this applies to teams as well as individuals.  Relying on veterans to shore up the team for two or three years,  without finding a new level of fitness and difficulty, is as likely to be a recipe for failure for the team as a whole as for the individuals concerned.  Despite the desire to be optimistic, to enjoy Aliya's enjoyment of her good fortune, the truth of the matter is that standards have fallen and Russia is now a bronze medal winning team, rather than a potential competitor for gold.  Mustafina says she is going to seek upgrades, but that it will be difficult for her at her advanced age; she is perhaps seeking a new personal coach to help her on the road to Rio.  But what is the rest of the team doing?  How many more times will they need Nabiyeva to come out of retirement?

AN (IMPORTANT) ASIDE

I want at this point to pay tribute to Russia's main rival, the USA.  At present, no one can compete with them.  Simone Biles is a magnificent gymnast: powerful, strong and original.  I'm going to shock you all by saying that I think that the way she performs her particular brand of gymnastics is artistic.expressive, innovative - and unrepeatable by anyone but her.  She is quite the most phenomenal, talented and spontaneous gymnast I have seen in many a year.  I like Kyla Ross rather less; she is the product of this Code, more typical of the American school, a careful, accurate gymnast who makes very few errors, but who is less than inspirational in her presentation and originality.  Nevertheless, she has deserved the medals she has won at this competition because she satisfies the requirements of the Code, and makes so few errors. 

If things continue on this trajectory, the USA will easily win gold in Rio as a team and in the all around, vault and floor.  The Chinese might continue to win on bars, and beam will be as open as it always is.  Leaving a lovely, but slightly disappointing array of bronze medals for our girls to peck away at.

But, you see, I would hate gymnastics to be all about tumbling and Simone Biles, because I don't think there will be another Simone for another forty years at least and I think that her form of artistry is unique to her.  We need Russia for its heritage, philosophy, technical coaching and guts, to compete effectively at the very top level, to round out the picture of artistic gymnastics, before all gymnasts look like poor imitations of Ross or Biles.  Russia's nearest equivalent to Biles, Produnova, never had the self assurance of this year's World Champion, but she did bring at least equal power and innovation to the arena, enriched by the expressiveness and technique of the classical tradition  that is fundamental to all graceful forms of movement.  This is the unique talent of Russia - the ability to combine fierce acrobatic power and originality with stunning artistry and technique; the two are not mutually exclusive.  It is called virtuosity - a very rare, if not completely absent quality in today's gymnastics. 

One further point I should add as an aside is that the environment in which the Russians are competing is far from good.  Even Bruno Grandi has commented that there is a need to overhaul the marking to encourage more rounded, artistic performances by the girls, where difficulty is not the only determinant of medals.  But this was a Grandi speech at a competition press conference, and it is hardly unlike our President to make wild promises that then disappear like a wisp of steam over a boiling kettle, or that if enacted contribute still further confusion and compromise to the creaking Code of Points.  It is unlikely without a wholesale review and change of philosophy, that any short term solution enacted by the FIG will result in an improvement in standards before Rio.

AFTER

I'm not talking about the Banquet ...

If the Russians respond to their defeat - yes, defeat - in Nanning in the right way, this might be considered to be a turning point in their development as significant as the defeat of the Soviet team in 1979.  There is much more work to be done than in 1979, but there is one year more in which to complete the necessary transformation.

The Russian team will now go home and have a well deserved break.  I expect there will be a flurry of interviews by Aliya and the Rodionenkos and then silence will fall.  I hope we will see some of the gymnasts at the Voronin Cup in December, if it is running.  Putinhas just announced new plans for the funding of sport in Russia from 2016, including measures to promote mass participation in sport and physical culture.  They are also recognising the organisation of sporting mega events as a key capability.  I haven't seen any mention of gymnastics in any of the press; this probably isn't surprising as artistic gymnastics is rather small fry in the Russian Federation.  But I will keep my ear to the ground.  I very much hope that VTB Bank's sponsorship of the sport continues, and that the Ministry of Sport also continues to support gymnastics as it has over the past few years. 

I may be alone in considering this week's events to amount to a defeat; Andrei Rodionenko certainly disagrees with me, having summarised the competition as 'a success' for the Russian gymnasts; even if there were mistakes, that's only because the gymnasts are human.  It is hard to disagree.  But he too recognises the need for increased difficulty amongst the team:

We will all have to work very productively in the lead up to the Rio Olympics. We plan to significantly complicate our programmes, and raise the base level of our combinations. Gymnastics is developing very rapidly.  There is especially a boom observed in the men's gymnastics. Competition is growing rapidly, and it will be even harder.  Next year the eight Olympic teams will be selected and it will take an incredible effort for all teams who wish to participate.
I only hope that their incredible efforts will take effect in time to qualify for Rio.

Will there be any lambs to the slaughter as a result of this week's competition?  Influential voices have been raised, but frankly I doubt there will be any movement.  If the Rodionenkos were to leave, who could take their place?  Could a change in strategy be effected sufficiently swiftly to make a substantial change to both the programme and conditioning of the gymnasts before Rio?  What if the Rodionenkos are right, and a conservative approach is more prudent than risking going for gold? 

We will just have to wait and see.

*   Three if one counts the injured Paseka, and four if one thinks of the disappeared Grishina.

Interviews - Mustafina and Khorkina

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There have been lots of requests for translations of these two recent interviews - and I will be publishing them here, to keep the record comprehensive (thanks for permission to Lauren Cammenga, Rachael Livingston and Olya Terentyeva, who are all contributing their work).  

The interviews are both rather important, especially Khorkina's, but I am busy in my lecturing job at University every day.  I am also entrenched in writing another article for this blog which I am trying to get down while the ideas are flowing, so please bear with me for a little while. I will finish and publish my article as soon as I can.

After that will come the translations, and these will basically be republications of the links that you find on the pages linked below.  I might add a little bit of the context if I think it will help.

In the meantime, Lauren's, Rachael's and Olya's good translations are already available on the internet, and I am providing links below, so you won't be missing anything.

Svetlana Khorkina
 
 

Aliya Mustafina

 

 

Vasily Titov elected President of the RGF

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Vasily Titov is First Deputy President and Chairman of the Management Board of Russia's VTB Bank

Sports Minister Mutko has confirmed the election of Vasily Titov to the position of President of the RGF. Titov is replacing Andrei Kostin. Titov has been Vice President of the FIG for the last four years and, like Kostin, is senior in Russian gymnastics' sponsors VTB Bank. 'He faces huge challenges in the run up to the Olympics', says Mutko, 'in general, it is OK, and I take it positively ... It was just a logical decision'. 

According to Titov, there are no problems with the funding of the RGF and this change merely reflects a new management structure being introduced in the RGF as it moves forward to try to develop the sport in Russia.  'Kostin wanted his successor to use his experience of the sport and to move forward with its development', said Titov.

He emphasised that the team will continue to develop for the Olympics as planned under the leadership of Andrei Rodionenko. 

Rodionenko has added that he feels it is important for Titov to work not only nationally but also globally, leveraging the links he has at FIG level.  He  believes it is most important that Titov continues the work begun by Kostin on strengthening the regions, with a particular view to facilitate young gymnasts joining the national team at junior level, and their successful transitioning to seniors.

VTB is majority owned by the Russian government.  Its position as sponsors of Russian gymnastics and other sports reflects President Vladimir Putin's policy of supporting sports development with the goal of re-establishing Russia as a leading sports power, emulating the glory and power of the Soviet era.

Sources

Women's artistic gymnastics at a turning point - revisited

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Elena Produnova, whose powerful gymnastics was performed with great virtuosity


Apparently, Bruno Grandi has been considering his own future, and recently announced that he would not be standing for re-election as President of the FIG following the Rio Olympic Games in 2016.  What a pity, the sport will miss this man who since 1996 has provided such immaculate administrative and creative direction.  Under his leadership, men's artistic gymnastics has gone from strength to strength with strong programmes developing in many countries.   The team, all around and event finals at World Championships were highly competitive and exciting and the sport promises much for the forthcoming Olympics.  There is innovation on every piece of apparatus, and the competitive field is deep and diverse.  The sport is hugely watchable.  Of course, public opinion - the fans, increasingly a mass market rather than the specialist niche that once characterised the gymnastics audience - should guide the direction of the sport - it is, naturally, the only consideration, if maximisation of broadcast income and sponsorship is the aim. 

There is room for criticism, of course: the lack of rhythm in men's floor exercise is one result of a Code that rewards difficulty at the expense of good execution.  On high bar, the spectacular releases that send audiences into paroxysms of delight and prompt judges to give the highest scores, are often performed with rather sloppy technique.  The World vault champion secured his gold medal at the expense of his constantly injured, poorly tended, ankle - but then does that matter when he performs such fantastically difficult and original pyrotechnics?  Gymnastics has always been about stretching the boundaries and in this era of the sport, the boundaries are proving to be very elastic indeed.

For the first time since Olga Korbut sprang to prominence in 1972, men's gymnastics is making the headlines, and women's has become the poor relative. not just in terms of popularity but also the health of the sport itself.  At last week's Arthur Gander Memorial, an annual competition that has been running for as long as I can remember, the only top contender present was world all around silver medallist, Romanian Larissa Iordache.  She looked tired out despite a competition format that allows gymnasts to perform on only two pieces if they so wish.  Her closest rival, Russia's Daria Spiridinova, won the 'all around' with two good bars routines and a competent vault.  The gymnasts do not even compete all four (or six, for the men) apparatus any more in this non-traditional format.  It is a long time since this post-Worlds competition attracted a fuller field of competition-ready champions, and this is not just because of the changing nature of the international gymnastics calendar.  There seems to be an ever-decreasing number of gymnasts performing at the very top level, capable of fuelling deep competition at events of this kind.

Much has been said on this blog about the declining strength in depth of the Russian women's team, but to put that into context a decidedly weak team last month still managed to take a bronze medal at the World Championships.  It was a close match, to within half a point, with a below strength Romanian team, but then again the words 'decidedly weak' and 'below strength' regularly describes women's gymnastics these days, unless you are speaking of the American team.  There is evidently a wider problem internationally in the development of the women's sport than merely a lack of strength in depth on the Russian team; in fact a worldwide lack of strength in depth probably describes it more accurately. 

Looking at the participation in event finals provides a mere snapshot.  Starting with vault, of the 250 competing gymnasts at Worlds (311 for the men), only 28 even bothered preparing two vaults to compete for the eight places in the final.  This is the most athletic piece of the four, with height, power and complexity rewarded royally, and few nations have yet grasped the nettle of encouraging the courage, technique and sheer unalloyed muscle necessary to compete the most difficult vaults.  In the 2012 Olympics the second placed Mackayla Maroney medalled with a fall.  In 2013, the Dominican Republic's Yamilet Pena Abreu qualified to the final thanks to the difficulty value of 7 given to the Produnova vault she competed, but could not land with her full weight on her feet.

Bars is the exception, showing creative and innovative work from many gymnasts and strong competition for places in the final, although even there we see repetitive routines from some of the gymnasts, and as we progress down the ranks an over-reliance on intermediate swings and kips between difficulties. 

Beam has lost its lustre, with staccato, difficulty-filled exercises replacing the languid beauty of the consummate artistic gymnastics we once saw on this piece, that is now long past.  At this Worlds, only two gymnasts were able to complete their work without major errors.  The third placed gymnast, Russia's Aliya Mustafina, won a bronze medal with a routine that missed a requirement but which was still ahead of the rest of the field. 

And on floor - oh, the horror - only Biles, Ferrari and Fragipane could conceivably be considered for top honours, and at least one of them was bound to win.   In the end the best - Simon Biles - did win, and at least she makes a virtue of the power that has become her trademark by performing with verve and confidence the incredibly difficult things that she makes look easy.  Biles is the only true protagonist of the new acrobatic gymnastics that now rules the world, her audacious and spectacular acrobatics at the centre of a unique style that exploits her daring and explosive movements to the full.   This form of the sport will die out after she retires because there is no one else who can emulate her.  There are no other established leaders who can compete on level footing with her, because the Code - whose fundamental premise is, falsely, that artistic gymnastics scores can be calculated objectively - does not have the flexibility to reward alternative styles of gymnastics or give the judges the scope to judge.

While Simone should definitely be rewarded for her extraordinary work, it is worth remembering that similarly talented gymnasts in the past - the indomitable Elena Produnova for example - have had to match their acrobatic talent with artistry to be able to win competitions on such a grand scale, without an over reliance on the tumbling to get across the message.  Under today's Code, with a .7 difficulty advantage for her handspring double front vault, Produnova could easily have won the all around competition of the 1999 World Championships, despite the low landing she took.  In the team final of the 2000 Olympics she performed a floor routine full of original tumbles and outrageous leaps, complemented by fine artistry and a deep musicality.  She was able to hit 180 degrees in her leaps, her toe point was perfect, her posture immaculate.  Yet the 4.9 D value which would be awarded to her work today would see her ranking decline to around 60th in the World.

The aesthetic of such work as Produnova's cannot be explained by a difference in body type.  Both Produnova and Biles share the same powerful body type, lean with strong legs and visible muscle mass.  It is the basic training that made Produnova both powerful and artistic, and since the Code required artistry she had no choice but to provide it if she wanted to contend for medals.  The Code that marked down the execution error on her double front somersault was right, even if it deprived a World Champion standard gymnast of gold.  The Code we work to today - the one that has encouraged the growth of amazing and occasionally reckless difficulty at the expense of the aesthetic - has, meanwhile, wrecked the sport.  Even if the deductions are right, it lacks the appropriate language and scales to facilitate the judgement of the aesthetic, and so the aesthetic has disappeared.  We have been left with a generation of gymnasts who are powerful at best, and ugly at worst.  

Not only has the over emphasis of difficulty proved to be problematic.  Because the Code attempts to calculate rather than to facilitate judgement, execution deductions have become the only way of differentiating routines from the perspective of quality.  The prescriptive nature of the deductions renders judgement impossible and means that judges no longer have the opportunity to evaluate routines as a whole.  In both 2011 and 2012 Viktoria Komova, universally acknowledged to be the finest technician in the sport for many years, lost out in the all around to gymnasts who were technically and artistically her inferior, but who avoided error.  Even the International Gymnast, an American based specialist magazine that normally maintains a stolidly obedient stance to the FIG's marking, remarked that the score for her floor routine in the all around, the best routine of the competition in many people's eyes, was simply 'a joke'.  Komova's unique qualities remain unacknowledgeable under the current Code, while the solid dependability of a well practiced, but rather unexciting gymnast like Kyla Ross can earn her all around and apparatus medals.  This Code is not appropriate for the task of judging a multi-faceted, complex sport like gymnastics. It is like trying to weigh up the difference between an artist and an accountant using a calculator. 

The Code has robbed the sport of gymnastics in depth and diversity.  In 2000, Russia alone had Produnova competing on the same team alongside Lobaznyuk, Zamolodchikova and Khorkina; four completely different styles on one team, without counting the merits of such gymnasts as Raducan, Amanar, Karpenko and Yang Yun.  In 2014 the World could provide only three gymnasts with a genuine chance of making gold on floor exercise, all of them with the same gut-wrenching level of difficulty in the tumbling, but only one of them with anything approaching good technique - Simone Biles.  Ferrari and Fragipane in particular could provide the Soviet team choreographers of old - Elena Kapitanova, for example - with many years work, correcting all that indescribably poor posture, line and harmony.  Both the silver and bronze medallists - Iordache and Mustafina - would probably acknowledge that their performances in the final were not the best of their careers, but they profited as they failed to make errors in their routines, while others erred. 

Yet many of the most memorable gymnasts of the last century - Yurchenko, Ilienko, Davydova - were terribly unreliable and error prone.  They surely only medalled when they pulled out that final, heart-stoppingly perfect performance that made them immortal.  Their perfection was not outlined by the absence of error, however; there were other, more special qualities that marked them out - a level of perfection that could be described as virtuosity, by one way of thinking.  And the difference to today is that there were others - Filatova, Mostepanova, Bicherova, Szabo, Gnauck - who could have taken their place, and that each one of the gymnasts I have mentioned in this paragraph had their own unique, unrepeatable style and sense of innovation.  They led the Code, painted their own routines freehand from within their own sense of creativity guided by their coaches and choreographers, rather than following the limitations of the Code as if they were shopping for rather dowdy and uniform clothes from a catalogue.

I am not the only one who has noticed that women's gymnastics is at a low point in its history, though I don't know exactly what it was that led the soon to be retiring, normally optimistic, Bruno Grandi finally to capitulate so soon after the last World Championships, and to make an announcement to that effect too.  I read it on the All Around's Facebook page on the 12th October, and I am quoting it here verbatim:

'Grandi calls for change

At a press conference this morning during the World Championships in Nanning, FIG President Bruno Grandi called for a radical change in score calculation.  He proposed dividing the difficulty score by two to increase the importance of the E score.  'We need to have artistic gymnastics and now we are penalizing artistry', he said.  'It is not what I wanted when we changed the ... Code of Points.  We have the tendency to perform acrobatics but without the artistic part.'  Grandi repeatedly stressed the importance of execution over difficulty.  'We need to have movements that are well done, not just done.  We need to introduce more detail for deductions - instead of .1, .3, we need .1, .2, .3.  It's not a change of the Code of Points.  It's a change of mentality.''

I am glad to see an acknowledgement of a problem with the Code, and a superficial attempt at problem definition, but what Grandi describes as the solution is far from adequate.  His language also reveals that he has little awareness of his deeply held assumptions about the nature of judgement, which have served gymnastics so poorly over the past years.  This blog has published on the subject of artistry, the aesthetic and the process by which cultural forms develop in response to changes in the environment fairly extensively to date.  I have written critiques of the Code.  This is all work in progress and I do not pretend to have developed anything like a full construct of the ideas as yet, as if that would be possible anyway.  But I would hope that the FIG attempt to analyse the problem in more depth than is suggested by the above statement, and that they don't rush into any sticking plaster solutions that might only make things worse in the long run.

I am providing this introduction here to what I hope will be a useful thread of discussion on the blog about the future of the sport.  I know that many people may not agree with me in what I say, but I would hope that we might explore the problem in a structured and reasoned way.  Please note, this is not an argument about whether Biles is a wonderful person, whether Mustafina should have won bronze on beam, whether Produnova wasn't the best gymnast ever or whether Komova or Douglas should have won the Olympic all around competition.  It is an argument about the form that the sport is taking at present, and how change might be made to improve the aesthetic of the sport.  It is my assumption that the artistic has suffered in the past few years, even to the point of disappearing, and the President of the FIG seems to have agreed too that things have taken a turn for the worse.  You are welcome to disagree with this assumption providing you can do so in an appropriate and well argued manner. 

My personal circumstances are such that I am struggling to find time to blog at present but I am determined to come back to this and write something that I hope will be meaningful, in the next months.  This is only a start.  In the meantime, please find time if you can to revisit some of the links below.  If you would like to contribute to the discussion, please do post a comment. 

I promise to update the blog with the post worlds interview translations in due course, but I think this is actually a far more important discussion at this stage of the game. 

Thank you for reading this far, and I'll look forward to reading your comments!

Just a few of the related postings on this blog:

What is this blog about?  Gymnastics at a turning point

Is Gymnastics Art?

Can judging ever be objective?

Evaluating the artistic - ambiguity and the FIG

Is Gymnastics still Russian?  Includes an interview with coach Vladimir Zaglada about the state of gymnastics.

Artistry and body type - some interesting observations by choreographer Elena Kapitanova

Gymnastics - The State of the Art 2013 - http://rewritingrussiangymnastics.blogspot.co.uk/2013/12/the-state-of-art-gymnastics-in-2013.html

Balandin, Garibov, back to training in January

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MAG team captain, Emin Garibov, will return to full training in January after a break to rehabilitate a shoulder injury

Albert Starobutsev of Tass has confirmed via an interview with head coach Valeri Alfosov the status of gymnasts competing for the senior national team.  In addition to the return of the two stars Garibov and Balandin, he also explained that Russia's only gold medallist at the recent Nanning World Championships, Denis Ablyazin, is resting following an operation on his nose.  He also gave details of Russian participants at some upcoming end of season competitions.

'In April this year, Garibov had an operation on a sore shoulder.  This was a serioussurgical procedureand excluded thepossibilityfor the gymnastto compete this season.Balandinalso has  problems withthe shoulder joint, and had toundergo surgeryshortly beforethe World Championships in China,which was heldin early October.'
 
'Balandinwill beginto trainonlyat the beginningof next year',- saidAlfosov.  'We hopeto see himback on the team in January.He is nowat homeundergoing rehabilitationafter surgeryandis in close contactwith his doctor.As for Garibov, he is nowbased at "Round Lake." He is slowlytrying his handon the equipment, and will be back in full training from January 2015.'


DenisAblyazin is now also missing workouts."He justrecentlyhad surgery on his nasal septumandtonightreturnedfrom Germany', he toldTass.'He is missing the current team camp, butin Decemberwill resume trainingatRound Lake'.

Russian men's team camp began on October 26th.After this, Nikolai Kuksenkov andDavidBelyavski will travel toStuttgart, Germanyto perform at theChallenge Cup. Women's teamleaderAliya Mustafina, and AllaSosnitskaia will also represent the team
.
'Three moreof our athleteswill be performingat the same timein anothertournament, whichwilltake placein Germany.  And we will always have a couple ofthe strongestgymnasts at the DecemberVoroninCupwhich will be heldin Moscow' - added Alfosov.


 

A new framework for evaluating the aesthetic

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1988 Olympic Champion Shushunova, a power gymnast with artistry, who scored three tens in the team final in Seoul.

In 2006 the Code of Points was overhauled and changed, almost beyond recognition to the public eye at least.  The maximum mark of 'ten', the symbol of perfection that was for many the brand of the sport, was lost. It was an inevitable change; a ceiling mark of any number was quite simply no longer practical.  However, the concept of the round ten did bring with it an important principle - the idea that judges were marking whole routines.  

And the loss of that ceiling and of the idea of the mark as a representation of the 'whole' brought with it the possibility of skewing scores in favour of those gymnasts who attempt high levels of difficulty.  I'm fairly certain that this was an unintended consequence.  It is a consequence that makes it possible for girls with a mediocre level of gymnastics to contend for medals, provided they can bash together a reasonably high scoring regime of content.   They don't have to execute well, perform beautifully or be artistic to gain the benefit of their higher D score, they just have to avoid error. 

Even so, the principle of judging whole routines has disappeared from the sport only gradually.   There has always been an extent to which difficulty quotient and execution deductions have been part of the scoring system.   In the 1989 edition of the Code, there is this introductory section:


'It is the responsibility of the judges, based upon the present Code of Points, to grasp in its totality:

  • the construction of the exercises as a whole
  • the difficulty value of elements and connections
  • the flow of the movements
  • the synchronization of the music with the floor exercise

while sufficiently considering, aside from the technical perfection of execution, the harmony and strength of expression as well as the aesthetics of presentation'   


For me this somehow encapsulate so much of what is missing from the current version of the Code.  Today the writers of the Code (who on earth are they?  By whose authority do 'they' write the Code?  A most undemocratic process if you ask me ...) increasingly attempt to deconstruct artistry, in a misguided and bureaucratic effort to make the process of marking seem 'objective'.  


The outcome of this effort is a list of operational examples of artistry.  By their very nature, these examples aren't up to their job.  Gymnastics artistry is a construct of the aesthetic set within a sporting context.  The aesthetic is an intangible concept intricately linked to individual, collective and cultural perceptions.  You can't create a tick list of right and wrong.   Bureaucracy is bound to fail.  What we need is education, and democracy.


And as the Code has become more and more prescriptive, in an attempt to control quality through a bureaucratic process, the judges' freedom to judge whole routines has gradually diminished.  As artistry is a quality embedded in sport, and not an add-on or component part, it has particularly suffered as a consequence of the rather wooden, two-dimensional Code, and poor judging.

I note that the whole of the FIG Executive Committee meeting seems to have passed without much comment on President Grandi's vow to improve the marking system.  I very much doubt anything of consequence will materialise following his announcement shortly after Nanning, that changes were needed to enhance the value of artistry.   But at this stage I did want to revisit a proposal by Dr Clive Palmer for a new framework for judging the aesthetic in men's gymnastics.  This includes a suggestion for quality management by education which I think could be useful for the individual judges, even if the Code doesn't change at all; I also don't see why it shouldn't be applied equally to women's gymnastics.   I am quoting it here verbatim from his 2003 PhD thesis.


"The whole evaluation system should be rethought to include the range of possible evaluation areas : Technical, Aesthetic and Compositional: all three areas considering various levels of aesthetic form in gymnastics performance.   

A technical jury would be analysing, with the applied use of technology, aspects of execution which can be measured in minute detail such as degrees of angles, finishing positions and seconds of hold in each element and combination.  

An aesthetic jury would be assessing aspects of skilfulness and technique in a performance when the gymnast may be able to demonstrate his special ability to individualise a routine, this being a synthesis of his aesthetic persona and a balance in routine construction to demonstrate a wide gymnastic vocabulary.  The aesthetic jury's assessment of form would be considered in a linear fashion when the aggregation of actions makes up the routine.  That is to say they would comsider what elements were performed in relation to the abilities of that gymnast to utilise the space and time on the apparatus available to him.   

A composition jury would be assessing the aesthetic of performance from a deeper sense of form as may result from notions of standards, skilfulness and technique in gymnastics.  They would be observing qualities of composition, structure and design and theme and variation in performance as may become evident from a choreographic process and 'polishing' a performance;.  They would be eager to consider the gymnast's clever use of dynamic rhythm, phrase and use of gesture as these might contribute towards the overall aesthetic effect of performance.  Composition Jury members, being educated and in tune with these areas, would be observing how well a gymnast is able to self-express his gymnastic character to meet the demands of demonstrating unity in variety in gymnastics which may become an aesthetic ideal for this jury to assess their view of performance qualities.

To achieve the latter, judges, coaches and gymnasts need to be educated in aesthetic appreciation.  Aesthetic awareness should be tutored, not just left to be intuitive.  The tutored view will resulted in a reasoned view and it is the status of aesthetic reasons which should be considered valuable for making an evaluation system objective.  The reduction of logical reasoning into numbers (under 10.00) may filter out important facets of reasoning, which could contribute to the aesthetic assessment of performances.  Also, the sensible contribution towards aesthetic reasoning and final judgements which gymnasts and coaches could make should be integrated as it appears that at present (2003) two thirds of expert opinion who attend at competitions may be overlooked.  ...

The FIG should encourage cultural diversity in performance.  Competing nations may want to speak the same gymnastic language but in different ways.  Further research into the aesthetic of gymnastics needs to be carried out and should include investigation of cultural perception, aesthetic value in the sport and motivational drives to compete and perform at the highest level.  This kind of research will inform the educational process and could indicate alternative value systems for ascribing aesthetic value within the sport.

The FIG should not 'throw out the baby with the bath water'.  Some of the old rules were good and worthy of being maintained for the compositional features in performance they appeared to bring about.  ...

The reasons why practitioners seem to reject artistic criteria and artistic notions of qualities in their sport as subjective (perjorative, 'anything goes' sense) may be because they don't see how they relate to their context. This is by no means a travesty or shortcoming ... as similarly artists who paint, sculpt or dance may not understand gymnastic [sic - read 'aesthetic'] criteria as there is no apparent need for them to do so to improve the quality of their work ... in assessing the quality of performance many practitioners utilise informally what they conceive to be artistic notions of understanding to account for and appreciate pleasing qualities of gymnastics.  Therefore, there may be a problem of translating aesthetic emotions and personal aesthetic assessment into a format which can contribute towards formal assessment ... it is a recommendation of this research that the FIG consider further investigation in to the aesthetic understanding of their sport in order to expand their current means of assessment."

Palmer, C (2003) 'A qualitative investigation of aesthetic evaluation in men's artistic gymnastics'


Aliya Mustafina: 'I love children too much to be a coach' - ElenaVaitsekhovskaya interview

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Aliya Mustafina at a recent event to celebrate Gymnastics Day in Moscow.  Courtesy RGF.

Via Sports Express : http://www.sport-express.ru/velena/reviews/50647/
This is a summary/paraphrase of the original interview.



- It seems to me that you have matured greatly since ...

- Rather, I have just learned to work independently, without relying on anyone. 

- To be left without a coach in a sport like gymnastics, is not the simplest test for an athlete.

- First it really was very hard. I could not force myself to work and for a long time was unsettled.

- In a recent interview, you said: "you need to give yourself to this sport, and not perceive it as servitude and abuse". Do you think that way?

- Yes. It was just a year ago. I started to train every day and thought: why do I need it? Everything hurts, everything goes wrong. This went on until I had the surgery to clean my joint. It was then that I realized a simple thing: If you want to continue to train and serve, you just have to love everything that  you do. First of all, you have to change your own consciousness.

- It was a painful process?

- No. I just told myself I would not do it because I have to, but because I like it. And everything fell into place. I really really like gymnastics.  I was thinking about it too much before, and was cheating myself.

- A year ago, Alexandrov went to Brazil, and you broke up with him.

- I never wanted this to happen.  At that time there was a situation that we both understood: Alexandrov couldn't coach me if he didn't have charge of the team.  Alexander Sergeivich then said it would be better for me if he left.

- After the London Games, I remember your coach saying that you both needed to think carefully before you decided to continue to work together. 

- Well, yes.  We thought about it for a long time.

- How did things go at the World Championships in Nanning?

- Those people who said I hadn't increased the difficulty of my programmes were absolutely right. One Olympic gold medal is certainly nice. But just because one medal is already hanging around your neck, no one will give you a second.  I perfectly understand that I will need to complicate things, if I decide to compete in Rio de Janeiro. 

Throughout 2013, I followed a well beaten track - probably, that's OK: it is always hard to start a new Olympic cycle, knowing that four years of hard work are ahead. In addition, I continued to continuously perform at competitions.  My competition training would have been disrupted if I had tried to learn something new, although I was training some new things, just not using them in competition.  

- The 2013 season ended when you became the world champion on the balance beam.

- It was a miracle. In Antwerp, I had a fairly simple exercise, into which I had not added any new moves. And I am well aware that it is unlikely that such luck will ever happen again. So after the Championships I first started working increasing the complexity of the balance beam. Just then suddenly things became very hard.

- What was the problem?

- Probably, that after the Games in London I was really never able to relax. And on top of that fatigue there were too many competitions. I even thought about finishing my career and doing something different. In the end I found a compromise with the coaches: a month and a half of rest.

When I returned to the gym, I tried to at least restore my previous combinations. It almost happened, but I had a very painful leg, the same one on which I had an operation in 2011.  And it was a strange problem: after each difficulty I had to wait a few minutes for the joint to regain mobility. That is, I couldn't really tumble. And beam dismounts turned into infernal torment.

Then I was sent to Germany and there underwent surgery.  Only four weeks after that I started to slowly recover my programme. But before the World Championships there was too little time to think about adding difficulty.

- Maybe you should just not have competed in all those competitions, over the past two years?  

- No one is forced to do that. I just like to compete, like helping the team. If I didn't want to go to some kind of competition, no one could make me.

- You said after the World Champiinships, that you intend to look for a personal coach, by chance do you imply your intent to leave to train in Brazil with Alexandrov?

- No, I'm not leaving Russia.  This subject is complicated ... Things go very well at "Round", but I perfectly understand that Raisa Maksimovna Ganina is more of a choreographer.  Her pieces are floor exercise, balance beam. On the other apparatus I don't know.  I still can't find a person like Alexandrov, and even if I do it will take us both time to adjust, and I will lose time unjustifiably.  Therefore we have decided to leave things as they are with Ganina for the moment.   

- What specific plans do you have for increasing the complexity of your programmes?

- By the way, I never had a rest after the World Cup, I came to the gym on the day after returning from China.  With Raisa I am trying new moves on the balance beam.

-  Just two years ago you were a trendsetter on the uneven bars, and now your work is pretty much the norm.  Does this hurt? 

- No. I knew that my old combination was good for the past Olympic cycle. Now, too many rules have changed, it isn't enough.

- How realistic, by the way, would it be to match the complexity of the current world champion Yao Ziyi? In other words, can the Chinese woman do things that you can't?

- She doesn't do anything special [for a Chinese gymnast].  In China by tradition the gymnasts perform well on the uneven bars.  [She goes on to explain that the Chinese specialise in "turntables", while the Russian specialism is transitions from the bottom to the top bar.]

- Why transitions?

- We call this the Shaposhnikova flight.  Since London the connections between the elements have  been devalued. Other moves [the "turntables"] have increased in value.  The only gymnasts who weren't hurt by this were the Americans.  Sometimes there is a feeling that the rules were purposely made for them.  In London I had a D value of around seven, along with Beth Tweddle, a Chinese gymnast, and Vika Komova, while the American women had around six.  Now their D values have remained at about the same, while the rest of us have fallen to their level.

It is realistic to get close to Yao Ziyi's difficulty, I just need to work on it. I need to focus on the uneven bars because on beam anything can happen.

- What is stopping you increasing the complexity of your vault? Fear of injury?

- It's not about fear. Just after the injury I couldn't tumble and had to wait for things to heal.  For example, I have had two and a half years of back ache - physiotherapy, nothing helps - it only gets worse. I can do the double twisting Yurchenko with no problems. But there is no 2.5.

- Floor exercise - is it the same problem?

- Partly, yes.  But there I have my own strategy - choreography.

- Is it possible to cover the acrobatic gaps with choreography?

- Easily.   I now have a group of "e", two groups of "d" and a "c" difficulty acrobatic combination. And my choreography gives two group "e", group "d" and "c".

- Do you want to say that your choreography is harder than the acrobatics?

- Yes. Although I would not say that I have a weak acrobatics.

- You still want to place emphasis on the all-around?

- Yes. The rule is that you can only call yourself an all arounder if you have at least two strong events and can contend all around and two event finals.   

- How have you changed since becoming Olympic champion?

- I have more responsibility. People who watch gymnastics, absolutely do not care about how many medals we have.   It is just about the impression you make on the podium.  At first I was annoyed by this sense of responsibility, but now I don't think about it at all.  I just realize that I have two years left to serve, to make sure I have no regrets.

- With whom do you consult, if you feel the need?

- I'm always talking to my Dad.  In competition I do not need anyone's support.

- Do you spend most of your time at Round Lake?

- No. Since I got my car, I always go home for the weekend, and during the week when I have only one workout, I will go home.  Psychologically things have become much easier, the feeling that you are bound hand and foot to Round Lake has disappeared.  I passed my driving test, then dad rode with me a couple of times in Moscow, made sure that I can drive safely, then I bought my car.

- And where was the first place you went?

- "Round", of course.

- In which team you were more comfortable - the one where several of your contemporaries compete, as it was in London, or with very young athletes in Nanning?

- I find it easier with the youngsters.  I like to help them, and they like that I am helping. With them I don't get tired of competitions. 

- If we do not take into account sport, what has changed in your life since the Olympics?

- I have no other life than sports, by and large. I understand very well that if you continue seriously with gymnastics there is not much else you can do. Even school. Of course, I am a student at the University, but it is incredible work.

- And what would like to do after Rio?

- I will always have at least one option - to become a coach.. But I love children too much to require from them what is needed in gymnastics. Not so long ago we discussed this topic and came to the conclusion that someone who doesn't like children is much more likely to become a good coach in our sport. 

- You are not going to argue that you don't like your own father? [Mustafina's father is a coach in Greco-Roman wrestling.). But he, as far as I know, has always been on the side of Alexandrov, when you worked with this person.

- Rather, dad was just very worried for Alexandrov, knowing my character. I've never tried coaching, it may well be that I will succeed. But I try not to think about it. It is clear that such thoughts still periodically come to mind: how can I live without training, no gymnastics? 

- You want to be Olympic champion?

- I was Olympic champion two years ago. This is all forgotten.  If I can't surprise people with my performances again and fight for the win, why continue? I'm not the type of person who travels to competitions just to tread water.

'You are in gymnastics' - now with English subtitles

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I woke this morning to find a message from Caroline Teiler telling me about a new, English language subtitled, version of the iconic 1978 Soviet documentary 'You Are In Gymnastics', available on Youtube.  I would like to thank Caroline and Miss Lyra, the originator of this translation, for taking the time and for sharing.  I have pored over the videos of this programme, atmospheric and telling even without the words, and now this translation adds dimensions of the historic and insightful.

The key 'players' you will recognise are senior national coach - Aman Shaniazov, national coach with responsibility for high level difficulty - Vladimir Zaglada, personal coach to Elena Davydova - Gennady Korshunov, Mukhina's personal coach - Mikhail Klimenko, personal coach to Shaposhnikova - Vladislav Rotstorotsky, team pianist - Evsey Vevrik and, last but certainly not least, choreographer - Emilia Sakalova.  At work on the apparatus you see the team in development for the 1980 Olympics (though not all made it): Elena Naimushina, Elena Mukhina, Svetlana Agapova, Natalia Shaposhnikova, a snapshot of a very young Natalia Yurchenko, Maria Filatova, Elena Davydova, Stella Zakharova and others.  All of them up and coming stars.  Nelli Kim, who went on to become World Champion in 1979 and won gold medals at the 1980 Olympics, is not in evidence.

Klimenko explains the context: in 1976 the Romanian star, Nadia Comaneci, wrested the initiative away from the Soviet Union, dominating the competition with high level acrobatics and originality that the artists of the Soviet team just couldn't match.  This film was shot in spring 1978, before Mukhina won her World Champion all around title in Strasbourg and at a time when the Soviets considered themselves to be at risk of losing their dominant position in the sport.  Their way of re-establishing their leadership was to create innovations that only the bravest could attempt.  Much was made in the Soviet media of the idea that women's gymnastics was now approaching men's for its difficulty and athleticism.  The only gymnasts capable of executing such outrageous acts were a new generation for whom the boundaries of the human body and mind were not yet formed.  Their efforts provided the basis of the sport today, in some cases creating skills that have yet to be matched today. Yet the Soviet tradition of grace and artistry flourished alongside the pyrotechnics.  In this era the Golden Gymnastics of the 1980s were conceptualised as the Soviets transformed pure technique and created the aesthetic that transcended mere sport.

Former national coach, Larissa Latynina, lost her job after the 1976 Olympics, and in her place came Aman Shaniazov.  The team had a national coach with responsibility for high complexity acrobatics, Vladimir Zaglada.  We also see here the personal coaches of so many of the gymnasts, the pianist and the choreographer.  There is a discipline and focus in evidence that puts the girls and their efforts first, regardless of any of the 'office politics' that so often imbue such creative enterprises.  No wonder the Soviet Union won so many medals.

If we have lost touch with artistry, this documentary gives us an opportunity to refriend, to understand that toe point, line and so on are basic requirements, that artistry is about feeling and transcends mere technique. 'You are angry!  Don't be in a good mood, you can't be!' choreographer Sakalova urges, as she coaches Zakharova on floor.  Pianist Evsey Vevrik says: 'It's just like they are actresses.  I imagine that every time there is a premiere'.  This is how great performances were made; the full time work the choreographer does with the gymnasts injects an awareness of presence, poise, emotion and drama that goes beyond 'selling' a routine.

The commentator explains that what we are seeing is the day in, day out grind of the life of an elite athlete, at the hardest time of her preparation, just a few days before departing for competition (in this case, the 1978 Moscow News tournament, which Mukhina won).  There are hard times as well as happier moments, tears and laughter.  Zaglada speaks of the importance of mutual respect in the coach-athlete relationship : 'If you aren't going to treat a child with respect, they are going to feel it and there won't be results'.  His lifelong friendships with his gymnasts speak volumes.  On the other hand, the tense atmosphere between Mukhina and Klimenko, the apparently relentless barrage of criticisms raining down on the gymnast, paint a sorry picture.

It is a seminal record of Soviet gymnastics at a time of change.  Thank you Miss Lyra, for making your translation available.

'You are in gymnastics'



RUSSIAN GYMNASTICS NEEDS ...

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Leonid Arkayev!

WHO ELSE DOES RUSSIAN GYMNASTICS NEED?

Your vote, readers!

Mustafina travels to Germany for back treatment

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Picture of Aliya courtesy of her personal Instagram account


Mustafina will skip the World Cup in Glasgow because of back problems

Source: http://www.championat.com/other/news-2001037-mustafina-propustit-jetap-km-v-glazgo-iz-za-problem-so-spinoj.html


Russian gymnastics coach Valentina Rodionenko has said that 2012 Olympic champion, Aliya Mustafina, will not compete at the World Cup in Glasgow due to a back injury.

"Aliya withdrew from the competition in Glasgow due to serious back problems. Now we will send her back to Germany, and the injury will be treated. When doctors advised her to pay attention to her health, she replied that it would be better to put up with it and to compete through the pain. She has an inflammation of the lumbar spine. Today we were deciding what to do with Aliya - to treat her in Russia or Germany. We came to the conclusion that the second option is optimal.

I think Aliya will go to Munich tomorrow. We have an agreement with local experts. She may need to stay in hospital, but we are not expecting her to need surgery.   She will be treated conservatively. I think everything will be fine. I'm sure she will be ready in time for Europeans."

Via Tass

UPDATE : Grebyonkin confirms #gymnasts Afanasyeva, Komova and Kramarenko for Voronin Cup, 15-17 Dec; Mustafina must rest.  http://ria.ru/sport/20141203/1036403604.html

Aliya Mustafina update - treatment will last 7 to 10 days

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A report of 3rd December provides more information on Aliya's back treatment in Germany.  Aliya will stay in Munich for 7 to 10 days and will decide when to resume training on her return to Moscow.  It is likely that she will miss competitions as a result of the long term back injury that she aggravated at the World Cup in Stuttgart, says Valentina Rodionenko.

Source : http://sport.mail.ru/news/gymnastics/20346770/
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