Current Aspects Regarding the Development of Choreographic Routine in High Performance Aerobic Gymnastics

Code of Points

To develop a piece of choreography, the first step is to know in detail the Code requirements for

performance criteria and to capitalize them with the help of the human resource available. Figure 1

shows a diagram of the Code elements conditioning the development of exercise composition,

presented according to our own chronological sequencing.

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Evaluation of gymnast or gymnasts in mixed events

To achieve exceptional choreography, several factors must join together and highlight one another.

This is not always easy for the coach. The relatively low number of good gymnasts in the country does

not enable the coach and choreographer to be highly selective in choosing and distributing athletes for

competition events.

As a general rule, technicians must have a detailed knowledge of the physical, technical and

expression potential of the athlete, in order to direct him/her during the training process towards

achieving the objectives proposed. When the athlete does not match perfectly the ideal anthropometric

or technical-artistic model, the task of the choreographer is much more difficult, given that the exercise

must hide execution and artistic deficiencies. In this case, sometimes the creation process may use the

“trial and error” model to find the optimal version.

Gymnasts for mixed events (Pairs, Trio, Group) are selected depending on the somatic criterion

(height, physical build, motor skills), artistic nature/style and level of executing difficulty elements.

Possible deficient aspects of gymnasts and solutions to avoid composition errors

● low level of power and energy during movement

One must not overuse:

- steps combined with high amplitude movements

- quick changes in the level and direction of movement

- level-3 transitions and links

Also, the sequence of elements must be designed so that dynamic elements, like those in the

difficulty groups “A” and “C”, are not placed at the end of the exercise. During the last part of the

routine, the athlete loses stamina and strength, breathes harder and is unable to execute these elements

at high standards.

● low level of specific strength

Diversity in alternating the effort intensity during exercise (by entering less stressful components,

especially when changing the level of work)

● low level of movement amplitude

One must avoid:

- ample movements (like kicks with 180° amplitude)

- placing high amplitude elements from groups “C” and “D”, and with minimum 170° amplitude, in

plain sight, within point 1 of the competition area

- transitions or constructions forcing the gymnast to maximal range of motion and wrist flexion

- classical music tracks involving mobility and body plasticity

● low level of coordination

One must avoid:

- sequences of steps and arms with multiple changes of planes and directions;

- complex and high-risk changes of direction and work levels

- beat changes during steps, “doubling” generating difficulties for the gymnast in terms of movement

coordination and functional stress

Characteristics of specific competitions for which the choreography is developed

High level senior gymnasts annually participate in minimum 8 competitions, of which 2 are top

competitions, establishing and programming the sports shape of gymnasts.

Strategically, the competition exercise is kept for one year, as it has been developed or with some

changes determined by the competition calendar or other factors. For instance, the first competitions

taking place in March coincide with the initial structure of the composition, which can be modified for

future competitions depending on the scores obtained, audience reaction or subjective perception of the

gymnast during the execution of the exercise.

For specific competitions (World Championships, European Championships, World Games, etc.),

exercise composition reaches its “maximum shape” with high level of difficulty, high level of step

sequences and transitions, spectacular and risky elements, all executed fluidly, easily and expressively.

Structure of choreographic routine – Choreography diagram

After the choreographer and coach have inventoried all factors that must be taken into account in

developing an exercise, the next phase is to lay out the choreography, namely to develop it. In personal

experience, this phase includes:

a.Choosing the music theme

Music theme must match the gymnast’s style and spirit and the trends observed at an international

level, so that the music gives a decisive boost to the gymnast, puts him/her in the mood, provides

him/her with the energy and sensibility required to impress the judges and public. Final decision in

selecting the music track is usually based on the agreement between gymnast and coach. The

choreographic concept is developed by listening several times to the piece of music, in order to

understand all its tones which can be expressed by specific movements.

b.Selecting the difficulty elements

According to the Technical Regulations derived from FIG Code, an exercise includes 10 difficulty

elements from the 4 groups (A, B, C and D). Each group includes several families of elements with

various values. This structure provides a wide range of options in developing exercises, even when

high value gymnasts are using elements with the highest level of difficulty. Sometimes, this determines

an almost identical appearance of exercises, due to the desire of competitors to obtain high scores on

the difficulty criterion.

c. Distribution of elements in the competition area (directions, headings in relation to the judge panel –

“main direction” and balance on work level)

Difficulty elements must be distributed across the entire competition area, and under various

combinations. In order to “view” this spatial distribution, a “map” must be designed to enable proper

allocation of effort during the exercise, high diversity of actions and work formations, these aspects

sometimes opposing the wish of the gymnast to string out difficulty elements or formations one after

another, in the first part of the exercise.

Repeating or keeping the same formation or more than 4x8 music beats leads to monotony and

decreases the audition interest, losing dynamism, intensity and beauty of the choreography.

d.Placing elements to the music – musical diagram

Similar to the spatial criterion, we have previously shown a specific map for the time criterion,

which is required to sequence and synchronize the difficulty elements depending on the music

characteristics. Thus, the choreographer must visualize the placement of 10 elements based on listening

to the piece of music, in order to find the perfect balance between sound and movement.

e.Building interaction of step sequences and transitions with difficulty elements

Developing the step sequences takes into account the need of the gymnast for moving within the

competition arena to a certain musical phrase (with a certain number of beats), as well as the style and

nature of the music. The placement of steps, transitions and difficulty elements must provide the

picture of a coherent whole, without sudden fractures between elements.

f.Developing and selecting constructions (Pairs, Trio, Group)

An exercise must include two different constructions in terms of the resulting shape, which requires

changes in the spatial level and dynamic actions inside each of them (acrobatic elements on various

axes and planes, without total detachment of a component of the construction). Constructions are

placed depending on the music dynamics and expected surprise-effect.

Choreography = a + b + c + d + e + f

The final result of the previously specified phases is represented by the choreographic creation,

namely the entire routine. The following example shows the diagram of an entire exercise, with

different marking of composing structures, indicating a time-space distribution characterized by diversity and dynamism (Fig. 2).

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Although developing a piece of choreography often seems to be the product of momentary

inspiration, successful improvisation, in fact it involves hard work, extraordinary physical and mental

effort and solid knowledge in various adjacent domains.

Changes and improvements of the choreography

One can never say that memorable choreography has been achieved in a single day. Choreography

must be constantly improved, adjusted in its finest details which provide beauty to the artistic act.

Translating this truth in coaching, practice has proven that major changes in the exercise have been

made precisely during the competition calendar, either by changing or rearranging the difficulty

elements, changing the transitions, improving the constructions or increasing the step sequence

complexity. Moreover, the gymnast can progress physically and develop his/her artistic side through

self-discovery and perfecting his/her interpretation.