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[Illustration:
A. G. SPALDING
FROM PHOTOGRAPH TAKEN IN SAN FRANCISCO IN NOVEMBER, 1879
]
------------------------------------------------------------------------
SPALDING ATHLETIC LIBRARY
Group XIV. No. 289
Tumbling for Amateurs
[Illustration]
By
JAMES T. GWATHMEY, M.D.
Published by
AMERICAN SPORTS PUBLISHING COMPANY
21 Warren Street, New York
COPYRIGHT, 1910
BY
AMERICAN SPORTS PUBLISHING COMPANY
NEW YORK
------------------------------------------------------------------------
TUMBLING FOR AMATEURS
Teachers, especially in public gymnasia, where the attendance is
voluntary, will welcome anything that will make the exercises more
attractive and do away, as far as possible, with the idea of “work.”
Tumbling should form a part of every system taught in our public
gymnasia, and to those who have not heretofore studied the subject we
submit the following propositions:
1. Tumbling will develop, harmoniously, the whole body without the aid
of any apparatus whatever, or any other set of exercises. A careful
study of the physiques of professional tumblers will verify this
statement.
2. The exercises can be easily graded, so that there will be absolutely
no danger in going from primary to advanced tumbling. In individual
tumbling, the body being always close to the ground, the chances of a
break or a sprain are reduced to a minimum; and in comparison with other
forms of exercise, such as boxing, wrestling, or apparatus work, the
percentage of accidents will be found to compare most favorably.
3. Friends can enter into the keenest competition, urging each other to
the highest possible development and perfection, and never experience
the inconveniences of black eyes and bruises—the usual resultants of
combative exercises.
4. At least 50 per cent. of those entering the gymnasium can participate
in some form of tumbling, either individual or combination; the greatest
progress for adults being attained in the latter, where two or more men
exercise together.
5. No expensive appliances or apparatus is necessary in introducing or
teaching tumbling, the mats absolutely essential in any gymnasium being
all-sufficient for ordinary class work. But if tumbling is to be made a
feature, then a large mat, 15 feet long by 6 feet wide and 2 feet high
and stuffed with straw or hay, will be found a very attractive addition,
as it can be used to great advantage with any gymnastic apparatus.
6. For boys, tumbling is the most natural exercise in the world, as they
are easily interested and held in this form of exercise when a dumb-bell
drill would run them away. Besides the development, they get
co-ordination and control to a remarkable extent, which will be
invaluable to them in any exercise that they may engage in later on.
7. A tumbler easily adapts himself to all gymnastic apparatus, and will
usually be found to be more graceful than an exclusive apparatus worker.
If teachers who have never used tumbling would introduce it, it would do
away, in a great measure, with that stiffness which is so distasteful to
many; and, if as systematically taught as their apparatus work, would
change the product of their gymnasiums from the top-heavy type to a
symmetrical whole.
8. It is the one universal exercise used by the whole human family from
the earliest times to the dawn of the twentieth century, and will
continue in use as long as the world lasts. The millions of babies
tumbling in the world to-day, learning their first physical exercise—to
walk—reminds us that we have all taken a few lessons, at least, in this
most useful art.
9. Tumbling is of more importance than all other exercises, as, _nolens
volens_, we all take a tumble occasionally; and if we know how to
tumble—so as to land on our feet or keep from falling—it will give us a
confidence that we would not otherwise have. There seems to be a very
prevalent idea that if a man has never learned how to tumble before he
is twenty-one he had just as well not start. On the contrary, if a
person has never taken gymnastic exercises, he can make greater
advancement in tumbling than in almost any other form of exercise, if
his physique permits of tumbling at all. After acquiring a few of the
exercises, tumbling can be practiced with pleasure and satisfaction on
any lawn, sand-bar, or sawdust pile, and in this way will prove of more
practical utility than almost any form of gymnastics.
A word of caution might not be out of place: In teaching adults (where a
large mat, such as already described, is not used) the small mats cannot
be piled too high to prevent jars and shocking surprises. If pupils
suffer from dizziness, excuse them from these exercises. In combination
tumbling the belt, or lunger, must always be put on for a first trial,
however simple the exercise may appear.
In the following pages I have depended almost entirely upon the
illustrations, and have intentionally made the text as short and concise
as possible—following the plan of Messrs. Hitchcock and Nelligan’s most
excellent work, “Wrestling.” I am also indebted to Dr. William Anderson,
of Yale University, for many valuable suggestions.
JAMES T. GWATHMEY.
[Illustration]
PRIMARY TUMBLING
1. =The Forward Roll Over.= Double up close, and finish standing erect
on toes. Figs. 1, 2, 3.
2. =The Forward Roll Over=, grasping toes throughout roll. Fig. 4.
3. =The Forward Roll Over=, grasping toes, legs crossed Fig. 5.
4. =The Forward Roll Over=, arms between legs, hands on outside of
ankles. Fig. 6.
5. =The Forward Roll Over=, arms between legs, hands clasped. Fig. 7.
6. =The Forward Roll Over=, arms at side horizontal throughout exercise.
Do not touch mat with hands. Commence standing on right foot, swing the
left to front to get momentum, and then under and back as you roll over
to erect position on right foot again. Figs. 8, 9, 10, 11.
7. =The Forward Roll Over.= Same as No. 6, starting on left foot.
8. =The Forward Roll Over.= To lying flat on back.
9. =The Forward Roll Over=, with half-turn to face downward.
10. =The Forward Roll Over=, feet spread, arms in different positions.
11. =The Forward Roll Over=, arms folded, come to standing position.
[Illustration]
12. =The Backward Roll Over.= Repeat all of the foregoing backwards.
13. =A Dive= is a jump for height or distance, alighting on hands. Bend
arms, duck head, and forward roll over. Never strike middle of back
first. Commence with the forward roll over (Figs. 1, 2, 3), and
gradually increase the height or distance until you can finally go your
full limit without jolting or bumping yourself in the least. The rise is
usually from both feet.
14. =Dive= (1) =for distance=, (2) =for height=.
15. =Combine the Forward Roll Over and Dive for= (1) =Distance=, (2) for
=Height=.
16. =Fall Forward without Bending at Hips=, with knees stiff; catch on
hands.
17. =Fall Backward=, stiff (stage fall).
18. =Fall Forward=, with chest out, and back arched. Turn head to right
or left. Continue rolling, and push over to feet.
19. =Combine Front and Back Roll Over=, making continuous movement by
crossing legs as you finish the front roll.
20. =Combine Back and Front Roll Over.=
21. =Combine Front, Back, and Front Roll Over= in quick succession.
22. =Combine Back, Front, and Back Roll Over= in quick succession.
23. =Roll Over Backward=, straightening body as you go over to
lying-down position on stomach.
24. Lie on back, arms at side horizontal. Bring right hand close to
side, turn head to right, and at same time bend at waist, bringing feet
over head, then snap over quickly on to stomach, facing in opposite
direction.
[Illustration]
25. Hold left toe with right hand and jump right leg through.
26. Hold right toe with left hand and jump left leg through.
27. Hold stick in hands, jump through and back in order to learn to
double up close for back or forward somersault. Fig. 12.
28. =Head Stand.= Place the hands in line on the mat, and the head
between and about 10 inches in advance, forming an equilateral triangle;
throw feet over head, with knees together and toes pointed upward; hold
30 seconds, then forward roll over.
20. =Hand Stand.= Beginners can best learn this by placing the hands on
floor 1½ feet from wall and throwing the feet up against the wall. In
practising hand stands on the floor, come down easy to feet the same way
you threw into position, or pick up right or left hand as you
overbalance and come to feet, or bend arms and roll over. Fig. 13.
30. =Head Stand.= Push up into hand stand without losing balance.
31. =Forward Roll Over into Head Stand.=
32. =Backward Roll Over into Head Stand.=
N. B.—Do not compete in holding head stands for time. Caution boys
especially against this foolish practice.
33. =“Bucking Broncho.”= Throw almost into hand stand, bend knees and
push up hard with hands, throwing head and shoulders up and back, snap
feet to floor and come to standing position; jump to hands again and
repeat.
34. =The Forward Roll Over into Hand Stand.=
35. =The Backward Roll Over into Hand Stand.=
[Illustration]
36. Body stiff, face downward, resting on hands and feet, without
raising either hand, jump between hands to lying-down position on back.
37. =Roll Down.= From hand stand incline head and shoulders forward,
bend arms until chest touches, keep back arched, roll to lying-down
position on mat, then to knees, and jump to feet immediately.
38. =Head Stand and Roll Down.=
39. Lie on back, raise feet up in air, place the hands just above the
hips, with elbows, upper arms and shoulders touching mat, bend and
straighten knees with a snap, thus progressing backward on shoulders.
40. =Head Spring.= Place head (touching upper part of forehead, not the
back of head) between and in advance of hands on mat. As you snap feet
over shove hard from hands and head. Alight in standing position, with
knees bent. Fig. 14.
N. B.—Always place head on mat easily, thus obviating jars.
41. Same as No. 40, only alighting knees stiff and back arched.
42. Same as No. 40, without hands.
43. Repeat No. 40, alight on right foot, and hold balance.
44. Repeat No. 40, alight on left foot, and hold balance.
45. =Twisting Head Spring.= Same as No. 40, only twist the body to right
or left, and land facing starting position.
46. =The Balance Head Spring.= From head stand bend at waist, with knees
stiff, execute head spring without touching feet to floor.
47. Same as No. 46, but with neck spring.
48. =Neck Spring= (snap up). Place back of head and neck on mat between
hands. Same movement as head spring. Fig. 15.
[Illustration]
49. =Neck Spring.= Hands on front of thighs, shove hard with hands and
head as you snap feet over. Fig. 16.
50. =Neck Spring= with arms folded. Fig. 17.
51. =Hand Spring.= Jump from either foot on to hands. Keep the arms
perfectly stiff, and as the feet are thrown quickly over (chest and
stomach well out and head back) shove hard from hands and alight on feet
with bent knees. Figs. 18, 20.
52. =Leaping Hand Spring.= Jump from both feet on to hands. Movement
same as in 51. Touch hands lightly as you go over. Figs. 19, 20.
53. Same as 51, only alight on balls of feet, with knees stiff, back
arched, and perfectly erect position.
54. =The Cart-wheel.= Either right or left side leading, keep the head
back, chest and stomach well out, hands and feet as well separated as
possible. If right side leads, place right hand on floor following with
left, then left foot followed by right. Continue movement by keeping in
a straight line.
55. =Round Off.= Start as in cart-wheel, but hand spring movement, turn,
snap the feet down quickly, and alight facing starting-point.
56. Roll over backward to back of neck and snap up.
57. Jump, turn in air, alight facing starting-point, and back roll over.
58. Combine hand stand (Fig. 13) and snap up (Fig. 15).
59. A row of hand stands and snap ups in quick succession.
60. Combine two, three, or four head springs in quick succession.
61. Combine two, three, or four neck springs in quick succession.
[Illustration]
62. =Alternate Head and Neck Springs= in quick succession.
63. =Hand Walk.= Throw up into hand stand, and as you overbalance take a
step forward with either right or left hand, and continue.
64. =Hand Walk Forward.=
65. =Hand Walk Backward.=
66. =Hand Walk in Circle.=
67. Hand walk forward, turn, and come back to starting-point.
68. Hand walk forward, touching chest at each step.
69. Hand walk, forward roll into hand stand, and repeat.
70. Two head springs into hand stand, roll down (37), pull through (36),
and snap up (48).
71. Dive, back roll into hand stand, to neck, and snap up.
The combinations of the foregoing movements are infinite, and the
inventive teacher can repeat the same exercises in a different order or
combination, making new movements out of the old ones, and thus keeping
up the interest and enthusiasm from day to day. Select ten or twelve
movements from the preceding list, and give as a drill for one lesson.
Change the order, and repeat for next lesson; but give an entirely
different drill for third lesson. As the pupils advance let them put in
their own combinations at the end of each lesson.
[Illustration]
ADVANCED TUMBLING
Note.—Advanced tumbling should never be attempted alone the first time.
A belt, with an assistant on either side, is the usual method of
practising these exercises. Do not hurry. Practise one movement day
after day until you are proficient, remembering that a difficult
movement once mastered is as simple as any other, and that after
learning you can execute them with ease and impunity. It is folly, not
bravery, to attempt movements by yourself that you are not sure of; and
you are the one to decide this, not others.
1. =Back Somersault.= From standing position, hands by the side, spring
straight up (do not bend forward as you stoop for spring), throwing
hands high above head; throw the head back, and, grasping the knees,
pull them well in at the highest point of jump, at the same time kicking
the feet forward; let out, and come down straight. Fig. 21.
2. From a hand stand snap to feet and a back somersault.
3. Round off and a back somersault.
4. Two, three, or four back somersaults in a swing.
5. Forward run and back somersault.
6. Cart-wheel, round off, and back.
7. =Front Somersault.= Run forward, and as you run increase your speed;
spring from either right or left foot a distance of from 8 to 12 feet,
landing on the balls of both feet, hands by the side (Fig. 70), chest
out, and head erect (not forward); jump for height, lifting the body by
a quick upward swing of the arms, and at the highest point of the jump
throw head and hands down with a snap, grasp the legs a short distance
below the knees and pull in close and hard, doubling up close, then
straighten out quickly and alight on balls of feet in erect position.
Fig. 22.
[Illustration]
Note.—Make the jump for height the fastest part of the run, and as you
jump increase your speed so as to get the greatest height attainable,
double into as small a ball as possible, and then let out and come down
perfectly straight, and you have the ideal somersault.
8. =Standing Front Somersault.= Hands by the sides (Fig. 70), spring
straight upward, lifting with arms and shoulders, and as you reach the
limit of your height throw head and hands forward with a snap, grasping
ankles and pulling in close; then let out again quickly.
9. =The Layout Front Somersault.= (Done principally from the
spring-board, although a few exceptionally fine jumpers can do it from
the mat.) As you rise for the somersault throw the hands well out in
front, with arms perfectly stiff, head up, chest out; hold this position
for a second, then make a quick, close double as in the ordinary
somersault; let out and come down straight.
10. =One Foot Front.= Stand on one foot and execute regular somersault.
11. =Knee Front.= From kneeling position raise to feet, regular
somersault.
12. =Head Spring and Front Somersault.=
13. =Hand Spring and Front Somersault.=
14. =Two Front Somersaults in Quick Succession.=
N. B.—A double somersault should never be attempted by amateurs.
[Illustration]
15. =Back Hand Spring, or “Flip”= (the most difficult of all tumbling
exercises). From standing position raise the heels, bend the knees, let
the hands go back past sides, keep the body, from waist up, straight,
stoop until hands can nearly touch the mat; from this position throw the
hands swiftly forward and upward, at the same time raise on toes (but do
not jump at all), arching the back well in, head and arms thrown as far
back as possible; pull the body over by momentum of shoulders, body, and
head. Figs. 23, 24, 25.
16. =Hand Stand, Snap to Feet, and Flip.=
17. =Hand Stand, Snap to Feet, Flip, and Back.=
18. =A Row of Flips; Two or More in Quick Succession.=
19. =Alternate Flips and Backs.=
20. =Round Off and Flip.=
21. =Round Off, Flip, and Back.=
22. =Twisting Flip.= As the hands hit, twist the body and alight facing
in opposite direction from which you started.
23. =A Series of Twisting Flips.= The hands strike about the same place
each time.
24. =Twisting Back.= Regular movement, only throw head hard to right or
left and alight facing opposite direction from which you started. Fig.
74.
25. =Hand Stand, Snap to Feet, and Twisting Flip.=
26. =Round Off and Twisting Back.=
27. =Running Twisting Forward Somersault.= Regular movement, only throw
head hard to right or left, and alight facing direction from which you
started.
28. =Running Side Somersault.= Alight sideways and turn sideways.
Devise, invent, and make up your own combinations.
[Illustration]
COMBINATION TUMBLING
By this is meant a series of combinations by two or more men exercising
together. In these exercises a belt must always be put on for the first
trial (or assistants stand on either side), however simple the exercises
may appear, and must be kept on until the exercise is thoroughly
mastered, which would mean that you have each other’s time and act in
unison. Work with the same men all the time; beware of strangers, even
if both of you understand the exercises. Do not be afraid to use caution
and common sense. Only combinations that can be mastered by business men
with limited time have been put in; the more dangerous ones, requiring
much time, being intentionally omitted. In all of the following
exercises No. 1 is the heaviest or “bottom” man; No. 2, “middle” man;
and No. 3, “top” man (or lightest man).
ELEPHANT WALK.
1. Stand facing each other. No. 2 puts hands on No. 1’s shoulders,
springs up and throws legs around No. 1’s waist, then leans backward and
drops between No. 1’s legs, who then bends forward and places hands on
floor keeping knees stiff; No. 2 places hands on No. 1’s heels and
straightens arms; No. 1 then walks off (also with a small boy on top),
or untwists legs and both do a roll over. Fig. 26.
[Illustration]
WALK OFF.
2. No. 2 makes hand stand, feet well apart; No. 1 steps in, letting legs
rest on hips, and grasps heels of No. 2, who straightens himself, arms
folded; No. 1 then walks off with him. For first part of movement see
Fig. 96.
HAND STAND ROLL.
3. No. 1 stands erect; No. 2 makes hand stand close to No. 1’s heels,
his legs dropping over No. 1’s shoulders, who grasps No. 2’s ankles,
bends forward, quickly pulling No. 2 over to a standing position; No. 1
now does a hand stand and is thrown over by No. 2. Repeat in quick
succession. For first part of movement see Fig. 99.
DOUBLE ROLL.
4. No. 1 lies on back, legs raised to vertical, with knees slightly
bent, and grasps No. 2’s ankles, who stands close to his head and also
grasps No. 1’s ankles; No. 2 dives forward, held back slightly by No. 1
to break his fall; continue roll. Fig. 27.
5. Repeat No. 4 backward.
HANDS BETWEEN LEGS AND PULL OVER.