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25-407: The more spectacular version of the skill used to be performed on the uneven bars , where the gymnast, from a stand on the high bar, performs a back flip and regrasps the bar. Korbut performed the move at the 1972 Summer Olympics , where it was the first backward release move performed on the uneven bars in international competition. In 1977, Soviet gymnast Elena Mukhina modified the flip by adding

50-409: A cylindrical metal (typically steel ) bar that is rigidly held above and parallel to the floor by a system of cables and stiff vertical supports. Gymnasts typically wear suede leather grips while performing on the bar. The current elite-level competition uses a stainless steel core rail. The gymnastics elements performed on the horizontal bar are regulated by a Code of Points . A bar routine, which

75-480: A full twist. The movement was later modified in the 1980s when it was performed towards the low bar; that is, the gymnast's flip takes place above the low bar. The Code of Points was later modified to ban standing on the high bar during routines. The skill is also performed on the balance beam . The move is performed from a standing position and is landed in a straddled position on the beam. This movement has been modified to include twists and piked or tucked legs and

100-547: A gymnast grasps the horizontal bar is called the grip (not to be confused with the suede leather grips worn on the hands). Each grip is commonly used for a particular set of skills. When gymnasts compete on the horizontal bar, they are often required by the Code of Points to use specific grips. Under the FIG Code of Points for men's artistic gymnastics, horizontal bar routines are dynamic presentations demonstrating "the full potential of

125-438: A result of this change, coaches could set the bars farther apart. Additionally, the bars' circumference decreased, allowing gymnasts to grasp and swing from them with greater ease. As other events in gymnastics increased in difficulty, so did the uneven bars. Gymnasts and coaches began experimenting with elements, attempting more challenging dismounts, and adapting moves from men's horizontal bar . In 1972, Olga Korbut pioneered

150-402: Is a stub . You can help Misplaced Pages by expanding it . This Soviet Union –related article is a stub . You can help Misplaced Pages by expanding it . Uneven bars (gymnastics) The uneven bars or asymmetric bars is an artistic gymnastics apparatus. It is made of a steel frame. The bars are made of fiberglass with wood coating, or less commonly wood . The English abbreviation for

175-472: Is a sequence of several bar skills, usually includes giants with various grips (overgrip, undergrip, dorsal grip, mixed grip), in-bar work, turns, release and regrasp skills, and a dismount. The horizontal bar is often considered one of the most exciting gymnastics events due to the power exhibited by gymnasts during giant swings and spectacular aerial releases and dismounts that frequently include multiple flips or twists and, in some cases, airborne travel over

200-516: Is frequently performed in sequence with other movements. Unlike its counterpart on the uneven bars, the Korbut flip on beam is today considered a relatively simple skill, valued at only a "B" level in the 2017 Code of Points. Other gymnasts who have performed the skill's uneven bars variation include Radka Zemanova (1980), Steffi Kräker (1977), Emily May (1981), Lyubov Bogdanova (1974) and Natalia Shaposhnikova (1976). This article on Gymnastics

225-685: The Korbut Flip , are not permitted under the current Code of Points. In USAG levels 1–5, everyone in the same level performs the same compulsory routine. In levels 1-3, the gymnasts stay only on the low bar. Once the gymnast reaches level 4, she uses both the low and high bars. In levels 6 through elite, gymnasts and coaches make up their own routines within specific requirements using both bars. In Gymnastics Australia , gymnasts in levels 1-6 set routines that are scored out of 10. In levels 7-10 and elite, gymnasts perform optional routines that adhere to set guidelines and meet certain requirements. A routine on

250-451: The Korbut Flip , the first high bar salto release move. Nadia Comăneci continued the trend with her original Comaneci salto at the 1976 Olympic Games in Montreal and advanced handstand elements four years later. The giant swing, the staple of high bar in men's artistic gymnastics (MAG) , was also adopted into the women's Code of Points , and quickly became a basic uneven bars skill. By

275-654: The International Gymnastics Federation Apparatus Norms brochure. Several companies manufacture and sell bars, including AAI in the United States, Jannsen and Fritsen in Europe, and Acromat in Australia. Many gyms also have a single bar or a set of uneven bars over a loose foam pit or soft mat to provide an additional level of safety when learning new skills. Measurements depend on the setting of

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300-543: The apparatus in women's artistic gymnastics (WAG) , uneven bars are probably the ones that have seen the most radical changes. Most elements from the 1950s and '60s bars routines, such as the Hecht dismount and the Radochla somersault, are now entirely obsolete and rarely used; others, such as the once-traditional beats and wraps, are impossible given the current diagonal separation between bars, and still others, such as static holds and

325-536: The apparatus." They consist of the fluid connection of swinging, turning, and flight elements performed without pauses near to and far from the bar in a variety of hand grips. A horizontal bar routine should contain at least one element from all element groups: Gymnasts receive deductions for lack of form and errors. Specific errors on the horizontal bar include bent or separated legs, pauses, low amplitude in flight elements, bent arms, regrips, elements not continuing in their intended direction, and deviations from

350-546: The bar. The horizontal bar was used by acrobats in ancient Greece and Rome and on through the Middle Ages . It was introduced into gymnastics by Johann Christoph Friedrich GutsMuths in his 1793 book Gymnastik für die Jugend , which in turn inspired further use and development by Friedrich Ludwig Jahn in 1811. The mechanical dimensions of the horizontal bar apparatus are specified in FIG 's Apparatus Norms brochure: How

375-598: The bar. Measurements of the bars are provided by the Fédération Internationale de Gymnastique (FIG) in the Apparatus Norms brochure. Routines usually involve a lot of strength, jumping, and swings. They are generally composed of a set of skills, each worth a particular value. The uneven bars apparatus originally consisted of men's parallel bars set to different heights. Consequently, the bars were very close together, and gymnasts could transition from one to

400-460: The bars to ensure gymnasts don't slip off. Unlike high bar and rings in MAG , gymnasts may not be lifted to the uneven bars to begin their routines. They may mount the apparatus with either a simple or a difficult skill on either the high or low bar; running mounts and springboards are permitted. Once the routine has started, the coach may not physically interfere with the athlete. The coach can stand on

425-471: The bars within 30 seconds. Many judges are flexible with this rule, especially if the gymnast took a hard fall and needed a minute to shake it off and regain her focus. Often, the judge or judging assistant will give the gymnast a ten-second warning. A study of competitive collegiate gymnastics injuries found that almost as many injuries occurred on uneven bars as on the floor . Falls from the bars can lead to serious injuries or paralysis; Taylor Lindsay-Noel

450-430: The event in gymnastics scoring is UB or AB , and the apparatus and event are often referred to simply as "bars". The bars are placed at different heights and widths, allowing the gymnast to transition from bar to bar. A gymnast usually adds white chalk to the hands so that they can grip the bar better. Uneven bars used in international gymnastics competitions must conform to the guidelines and specifications set forth by

475-557: The gymnast hits the low bar with her foot/feet (as Beth Tweddle did at the 2008 Olympics bars qualifications, and Viktoria Komova did at the 2012 Olympics bars apparatus finals), a deduction of 0.1 to 0.5 points will occur depending on the severity of the hit. The same deduction occurs when the gymnast hits one or both feet on the floor while performing a skill on the low bar. Gymnasts are permitted to tape their hands or use grips or hand guards on bars level 4 through elite. Their coaches are also permitted to apply chalk and/or water to

500-399: The high bar) and transitions. Release moves also began to come into play, although they were almost entirely limited to transitions between the low and high bars. In the late 1960s/early 1970s, companies began manufacturing uneven bars as a separate specific apparatus. The design was changed slightly to allow the bars to be adjustable, with tension cables that held the apparatus to the floor. As

525-582: The mat during release moves and dismounts. If the gymnast falls on one of these skills, her coach can catch her or break her fall; the coach can also lift her back to the high bar to continue her routine. If a springboard has been used for the mount, the coach is supposed to quickly step in and remove it so that it does not interfere with the routine. If a gymnast falls from the apparatus, she has 30 seconds to re-mount. Within this time limit, she can readjust her grips or chalk her hands again if necessary. However, her routine will be finished if she does not return to

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550-527: The mid-1980s, routines had become so based on swing and release moves that the bars were moved even farther apart. The distance between bars increased even more as gymnasts developed complex transition elements that required space, such as the Pak salto . For international elite-level gymnasts, there is a required distance between the low and high bar, called the FIG setting, where all elite-level gymnasts must compete. Of all

575-422: The other with little difficulty. Routines of the early 1950s chiefly consisted of simple circles, kips , and static balance elements and holds. In the late 1950s, the trend shifted toward fluid motion, and gymnasts began to perform routines composed of more difficult circles, kips, beats (bouncing the body off the low bar while hanging from the high bar), wraps (wrapping the body around the low bar while hanging from

600-411: The uneven bars must consist of: Judges score routines based on difficulty, form, technique, and composition. Deductions are taken for execution errors, poor form, falls, pauses, "empty" swings (extra swings that do not lead into another skill), steps on the dismount, and other mistakes. Falls incur an automatic deduction of 1 full point in the 2009 FIG CoP. For levels 1-10, a fall is 0.5 points. Also, if

625-531: Was paralyzed during an attempted dismount from the apparatus in 2008. On rare occasions, accidents have been fatal. In 2021, Séverine Emeraude Djala Abaka, a Cameroonian gymnast, died shortly before the African Championships , where she had intended to compete, after falling on her neck. Horizontal bar The horizontal bar , also known as the high bar , is an apparatus used by male gymnasts in artistic gymnastics . It traditionally consists of

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