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5. The Handspring Progression

The arched-back landing for the handspring series which is shown in the illustrations is impossible for the beginner because he does not attain the necessary height until he has prac­ticed for a considerable length of time. Therefore, proper form for the squat landing, which may be considered satisfactory for the beginner in any of the stunts of the handspring series, is il­lustrated in Figure 53.

Each stunt in this progression gets the performer a little higher off the mat. In the first stunt the performer learns how to snap the hips into an arch, even though often he is not able to do a good neckspring. The headspring (Fig. 57) includes about the same fundamentals but also gives the performer a chance to learn how to put his head back to increase his arch.

In the bent-arm handspring (Fig. 59) the performer can con­centrate on coordinating the leg kick with the hip snap into a good arch while still improving his head position. In the more advanced handspring (Fig. 65) the mechanics of the kick and arch should take the performer over onto his feet. He may utilize a shoulder push, but there should be no bend at the elbows. The neck-lift front handspring (Fig. 67) is a popular companion stunt that further stresses the fundamentals.

At this point it is important to stress the fact that the hand­spring fundamentals are just the reverse of those for the rolls or somersaults. In the rolls and somersaults the performer brings his knees to his chest in what is called the "tuck" position. The hips are flexed extremely. In the handspring the hips are hyper-extended with the knees straight. The arched back of the hand­spring is just opposite to a tuck.

NECKSPRING

Fig. 52

ROLL BACK AND PLACE HANDS WELL UNDER SHOULDERS (a);

WEIGHT OF BODY SHOULD BE ON NECK AND SHOULDERS, NOT BACK (a);

TAKE ADVANTAGE OF THE NATURAL REBOUND OF THE BODY;

KICK LEGS VIGOROUSLY UPWARD AND FORWARD AT 45° ANGLE (b);

AT SAME TIME PUSH HARD ON MAT WITH ARMS AND HEAD; BRING FEET UNDER BODY TO LAND (c); LAND BY BENDING AT KNEES, NOT HIPS (d).

NOTE: This stunt is not an easy one to learn. It differs from the headspring and handspring in that in the beginning stages the performer will start from a lying-down position. Persistent practice is nec­essary in order to coordinate the hip snap and the arm and neck push into a good neckspring. Only experienced tumblers will be able to get enough height to land in good form as illustrated above. Doing the neckspring off a rolled-up mat or a pile of mats helps the beginner to get the feeling of the stunt and gives him en­couragement and confidence. This is also a good way for the advanced performer to change from the squat to the arched-back landing if he has trouble with the transition.

NECKSPRING

HINTS TO BEGINNERS: The beginner will have to learn with a squat landing. This more elementary type of landing is ac­ceptable for the novice in any of the stunts of this progres­sion. The squat landing is always used for a series of necksprings, even by the advanced performer. Good form for the squat landing is shown in Figure 53. Several ways of assisting each other in pairs are illustrated below. When helping your partner as illustrated in Figures 55 and 56, be sure to turn your head so that his elbow will not hit you in the face. Two men may assist the performer in the same way that one is doing in Figure 54.

Fig. 53. Good Form for the Squat Landing. [This may be considered good form for beginners in the handspring series.]

FINGERS ON BICEPS

ELBOW RESTS ON KNEE

HAND UNDER SHOULDER

Fig. 54. Assist with Fingers on Biceps.

Fig. 55. Assist with Elbow Rest­ing on Knee.

Fig. 56. Assist with Hand Un­der Shoulder.

VARIATIONS

1. Roll slowly forward to shoulders, and snap to feet with a neckspring. Do a series of these.
   
   
2. Neckspring, pushing with hands on thighs.
   
   
3. Neckspring without using arms.
   
   
4. Forward roll to stand; backward roll to hand balance; chest roll down; jump through to sit; backward roll to neck; neckspring to feet.
   
   
5. Neckspring to hand balance. To do this extend the hips up into an arch to the balance position on hands in­ stead of snapping over onto feet.
   
   
6. Neckspring to hand balance, chest roll down.
   
   
7. Neckspring to hand balance, forward roll down.
   
   
8. Neckspring to hand balance, lower gently to head-and-hand balance.
   
   
9. Neckspring with half-twist.

HEADSPRING

Fig. 57

FROM SQUAT, ROCK FORWARD, PLACING FOREHEAD ON MAT (a);

AS BODY FALLS OFF BALANCE, EXTEND HIPS FORCIBLY (b and c);

LEGS SHOULD BE STRAIGHT AS YOU DO THIS;

AT SAME TIME PUSH HARD WITH ARMS (c), TAKING STRAIN OFF NECK;

ARCH WELL AND BRING FEET UNDER YOU TO LAND (e).

NOTE: Use the squat landing for a series of headsprings.

HINTS TO BEGINNERS: After one has learned the hip snap for the neckspring, the headspring should be comparatively easy to learn. The timing of the hip snap requires concentration. Be sure to rest on the forehead, instead of the top of the head, so that you will not roll over too fast. Almost all the weight is borne by the arms. You must place your forehead just about on a line with the hands so that you will be able to do this. The per­former may be assisted in the headspring by grasping his upper arm, with the fin­gers of the left hand on his biceps, and assisting under the shoulders with the right as illustrated in Figure 58.

Fig. 58. Assist for Headspring.

[Lift under the biceps with one

hand and under the shoulder

with the other.]

VARIATIONS

1. Do a series of headsprings, using the squat landing.
   
   
2. Do a series of alternate headsprings and necksprings.
   
   
3. Forward roll to squat and do a head­ spring.
   
   
4. Do head-and-hand balance and head­ spring to feet.
   
   
5. Backward roll to hand balance; chest roll down; jump through to squat; and headspring to feet.
   
   
6. Neckspring; front roll to squat; headspring to squat; backward roll and snap to hand balance; snap down.

GROUP STUNT NO. 11

1. Jump forward to squat.
   
   
2. Headspring to squat at center circle.
   
   
3. Two backward rolls to neck-and-elbow balance near edge (see Fig. 23).
   
   
4. Bring legs down backward to spread-leg stand.
   
   
5. Roll forward to stand.
   
   
6. Backward roll to hand balance and snap down at edge.

BENT-ARM HANDSPRING

Fig. 59

USE A SHORT RUN WITH A SKIP ON LAST STEP (a);

THROW ARMS DOWN (FLEXING AT HIPS) AND PLACE HANDS NEAR TAKE-OFF FOOT;

KICK BACK LEG UP AS HANDS ARE GOING DOWN (b); LOOK STRAIGHT AHEAD AS LONG AS POSSIBLE (c); PUSH HARD WITH ARMS AS LEGS SNAP OVER (d);

ARCH BACK WELL AND BRING FEET BACK UNDER YOU TO LAND (e).

NOTE: There are two kinds of hand­springs, the bent-arm handspring and the straight-arm handspring. The bent-arm type is similar to the headspring except that it begins from the standing position and is done with the single-leg take-off. The straight-arm handspring is the type preferred for advanced work.

HINTS TO BEGINNERS: The skip or scuff on the last step is very important in this stunt. It is the kind that a child uses when he skips down the street. Its pur­pose is to give the upper body more time to flex so that the hands may be placed close to the feet. When the arms are brought down, be sure that the flexion is at the hips and not at the shoulders. The kick and arm push, rather than your run, should take you over. Some of the popu­lar methods for learning and assisting the handspring are illustrated below.

IMPORTANT: Remember this rule for the handspring, snap down, round off, and back handspring:

THE ARMS SHOULD BE OVERHEAD THROUGHOUT THE PERFORMANCE OF THE STUNT

(except for the landing position of the handsprings).

STRAIGHT-ARM HANDSPRING

Fig. 65

START WITH A SHORT RUN AND USE SKIP OR SCUFF ON LAST STEP (a);

FLEXING AT HIPS, BRING HANDS DOWN CLOSE TO TAKE-OFF FOOT (b);

KICK BACK LEG UP VIGOROUSLY AS HANDS ARE GOING DOWN (b);

KEEP ELBOWS STRAIGHT AND LOOK STRAIGHT AHEAD (b and c);

PUSH HARD WITH SHOULDERS AS LEGS SNAP OVER INTO ARCH (c and d);

LAND BY BENDING AT KNEES, NOT HIPS (e).

NOTE: Hereafter, the word "handspring" will refer to the straight-arm handspring unless otherwise designated.

HINTS TO BEGINNERS: The kick and shoul­der shove alone should take you over in this more advanced form of the handspring. The best way to learn the handspring is to have your partner assist you as illus­trated in Figure 66. With his protection you can concentrate on the three impor­tant fundamentals of the straight-arm handspring without fear of landing on your back. Your first objective should be to learn to lock the elbows straight. Next, stress a harder and higher kick so that you may land in the arched-back position. Last, practice keeping the head up or back by looking forward as long as you can and then holding the head in that position until you land.

VARIATIONS

1. Assisted  straight-arm  handspring (Fig. 66).
   
   
2. Assisted handspring from knees of partner who is sitting (see Fig. 60).
   
   
3. Handspring, backward roll to hand balance, and snap down
   
   
4. Handspring, forward  roll, head-spring, forward roll, neckspring, and forward roll to stand.
   
   
5. One-hand handspring.
   
   
6. Diving   handspring   from   two-foot take-off.

GROUP STUNT NO. 12

1. Step, skip, and handspring diagonally across mat to right.
   
   
2. Backward roll to hand balance.
   
   
3. Snap down.
   
   
4. Dive and roll the rest of the way to edge of mat.

NECK-LIFT FRONT HANDSPRING

BOTTOM MAN

LIFT WITH YOUR LEGS INSTEAD OF YOUR BACK; LIFT STRAIGHT UP — NOT BACK (b to c); KEEP YOUR BACK STRAIGHT AND HEAD UP.

TOP MAN

HELP BOTTOM MAN BY GETTING SLIGHT SPRING FROM GROUND (a);

KEEP CHEST AGAINST BOTTOM MAN AS LONG AS POSSIBLE (c);

PUSH UP FROM BOTTOM MAN'S HIPS (d); ARCH OVER ONTO FEET, THROWING HEAD BACK.

HINTS TO BEGINNERS: This is an easy stunt to do if the top man keeps close to his partner until after he snaps into an arch. The bottom man must check to see that he has not forgotten any of the lifting funda­mentals that were learned for the hand-balance pull over (Fig. 35). Are you keep­ing your back straight and your head up ?

Are you getting well under your partner and lifting with your more powerful leg muscles instead of with your back muscles? Are you lifting straight up, giving the top man enough height so that he can do the handspring by himself? The bottom man must be careful not to step forward dur­ing this stunt.

VARIATIONS

Neck-lift front handspring; both men make half-turn; take position again, and repeat. If both men are of the same size, they may alternate as bottom man.

Top man leapfrogs over bottom man and makes a half-turn just before landing; takes position as top man, and does neck-lift front handspring over partner.

GROUP STUNT NO. 13

( =indicates bottom men; O indicates top men.)

1. Top men do two forward rolls to a cross-legged stand and half-turn right at the center circle.
   
   
2. Bottom men dive and roll to stand in front of partner.
   
   
3. Take position for neck-lift front handspring.
   
   
4. Execute it with top man rolling to cross-legged stand and half turn left at corner.
   
   
5. Bottom man does a hand balance, snaps down, and back rolls to stand at corner.

GRIP NOMENCLATURE

Fig. 68. Hand-Lock Grip.

Fig. 69. Wrist-Lock Grip.

Fig. 70. Handshake Grip.

Fig. 71. Thumb-Lock Grip.

Fig. 72. Foot-to-Hand Grip.

Fig. 73. Arm-to-Arm Grip.

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