ready, set, safety ready, set, safety

Transcription

THE 2007 USASF NFINITY CUP POINTS RACE STARTS NOW!
www.allstarcheermag.com FALL 2006 $4.99
THE
WOW
FACTOR
GET THE EDGE WITH
WINNING CHOREOGRAPHY
SPECIAL DANCE SECTION
•TRAINING FOR
COMPETITIVE DANCE
•HOW BALLET CAN
MAKE YOU A STAR
READY, SET,
SAFETY
WAYS TO STAY
6 INJURY FREE
PLUS
MENTALLY
TOUGH
TRAINING TIPS
INTERNATIONAL
UPDATE
THE LATEST
2006-2007
RULES
REPORT ON
3 MID-WEST
TEAMS
å
OFFICIALLY
USASF-SANCTIONED
COMPETITIONS—
THEY’RE
HAPPENING!
PERFORMANCE
MAKEUP DOS
AND DON’TS
HOT NEW
UNIFORM
TRENDS
COVER
MODEL
WINNER!
ToniAnn YULI
CONTENTS
FALL 2006 VOL. 1 ISSUE 3 www.allstarcheermag.com
1-800-532-4337
34
Features
TECHNICAL
16
34 Fitness: It’s All in the Preparation
16 Making a Point: The Cup
Utilizing a complete conditioning program will help your athletes perform at
peak ability and reduce injuries.
By Robb Seahorn
Race Begins Again
The second year for the USASF
Nfinity Cup starts now.
By Lynn Singer
38 Credentialing Spotlight
20 All-Star Cheerleading Makes
A Leap Forward
USASF to officially sanction
competitions.
By ASC Staff
22 Good Choreography: Not Just Routine
With a little creative choreography your
team will electrify the crowd and judges.
By Sharon Biggs Waller
Level 4 Stunt: Kick Full Basket Toss
28
64 USASF Rules
Rules are updated as of September ’06.
Please check usasf.net for updates.
38
28 Dressed to Skill: The Evolution of
the All-Star Uniform
Discover how today’s cheer athletic wear
enchances performance.
By Moira C. Reeve and Ashley Burton
44 Ready, Set, Safety
Keep all-stars going strong with
safe cheer conditions.
By Leigh Vandiver
FALL 2006 | ALL-STAR CHEER MAGAZINE
|3|
CONTENTS
FALL 2006 VOL. 1 ISSUE 3 www.allstarcheermag.com
Departments
6 Action Shots
9 USASF Message
Dramatic Growth Continues
By Jim Chadwick
12 Judges’ Perspective
[Not Just] Young at Heart
Keeping our little girls little.
By Joy Troup
COVER PHOTO BY BILL MASON.
See our cover model ToniAnn Yuli
on page 37.
14 International Update
Competition
New Season of Growth
Further expansion of the sport provides
exciting opportunities worldwide.
By Sarah Toler
48 What I did Last Summer:
Cheer Camp!
Follow along with an
all-star cheer athlete as she
gives a behind-the-scenes
look at cheer camp.
By Vanessa Nemec
58 Parental Guidelines
Getting that Extra Support
A top-notch cheer parent is key to a
well-rounded cheer athlete.
By ASC Staff
12
54 A Winning Look:
Performance Makeup
Put the final touches on your
team with a tasteful touch
of makeup.
By Sharon Biggs Waller
70 All-Star Cheer Q&A
Three Golds, What Next?
An exclusive interview with Jody
Melton of Cheer Athletics.
By Sarabeth Beekman
60 Teams Across America
Cheer In The Heartland
By Lauren Crawford
58
62 Competition Composure
Semi-Tough
Preparing psychologically
can give all-star cheerleaders
an advantage.
By Jessica Pupillo
56
Dance
52 Competitive Dance
Don’t Fear the B-Word
Ballet can transform your
all-star dance and cheer program.
By Lynn Singer
56 Stepping Up: Training
for All-Star Dance
Discover what type of training
the competitive dancer needs
for success.
By Bonnie Spivey, with Lisa Saline
?
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THINKING
WE THINK YOU'RE A VALUABLE PART OF THE
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WILL NOT SHARE YOUR NAME, ADDRESS OR EMAIL OR ANY OTHER
INFORMATION YOU PROVIDE WITH ANYONE.
AND, WE WILL RANDOMLY SELECT FOUR
SURVEY PARTICIPANTS TO RECEIVE A FREE
PAIR OF NFINITY SHOES.
TO BE A PART OF THE ALL-STAR CHEER
MAGAZINE COMMUNITY, PLEASE VISIT US
AT www.allstarcheermag.com
UNIVERSAL EVENT PHOTO
å
“ALL ART IS ABOUT
CONTROL—THE
ENCOUNTER BETWEEN
CONTROL AND THE
UNCONTROLLABLE.”
å
–RICHARD AVEDON
"SKILL AND CONFIDENCE ARE
AN UNCONQUERED ARMY."
–GEORGE HERBERT
USASF Message
DRAMATIC GROWTH
CONTINUES
Expanding international role and addition of Dance to Worlds
helps take USASF to next level.
Our sport is at a turning point as membership in the USASF
continues to grow dramatically. Here is a quick look at the
figures: Last year at this time, the USASF had a total of 282
competition event producers, coaches and athlete members.
By the Cheerleading Worlds in April 2007, we expect to have
nearly 12,000 members including about 100 domestic and
international competition event producers, 1,500 all-star
gyms, 3,100 credentialed coaches, and 7,300 credentialed
athletes. This is tremendous expansion in such a brief time,
and it’s an excellent barometer of how cheer and dance are
continuing to be recognized as legitimate sport. There is still
a long way to go, but no one can deny we are off to a great
start, and we’re doing it together.
The addition of Dance to the Worlds in 2007 is likely to
accelerate the growth of the USASF membership over the next few years.
Interestingly, all-star dance is much larger internationally than all-star cheer.
We believe there will be much synergy between all-star cheer and dance at
home and abroad, and thus this organization is well positioned to accomplish our mission of increasing the number of participants who benefit from
the positive life experiences of all-star cheer and dance.
As the largest governing body for all-star cheer and dance both domestically and internationally, our members around the world have requested
that we create an international name and logo for our collective efforts.
The US All Star Federation will remain the name for our US governance
responsibilities while the name for our international governance responsibilities is the International All Star Federation.
We look forward to our new role in international sport as well as the
opportunity to further elevate the position of all-star cheer and dance
throughout the world.
å
“LOOKING FORWARD TO THINGS
IS HALF THE PLEASURE OF THEM.”
–LUCY MAUD MONTGOMERY
Jim Chadwick (right) and Karl
Olson, a member of the
International Committee.
—By Jim Chadwick, President, USASF
USASF is the national governing authority
for all-star cheerleading
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å
All-Star Cheer Magazine and the
USASF would like to thank the
advertisers who helped make this
magazine possible. They are true
supporters of All-Star cheerleading and are dedicated to the
advancement of the sport.
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Cheer Logistics
BE INFORMED. BE COMPETITIVE. BE UNITED.
Editor-in-Chief
MOIRA C. REEVE
Executive Editor
JOY TROUP
Senior Editor
ELISA JORDAN
Copy Editor
MICAELA MYERS
Contributing Editor
SARA MARMA
Contributors
Sarabeth Beekman, Ashley Burton,
Sharon Biggs Waller, Lauren Crawford,
Janelle Nakano, Jessica Pupillo,
Robb Seahorn, Lynn Singer, Bonnie Spivey,
Sarah Toler, Leigh Vandiver
Special Assignment Photographer
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President USASF
JIM CHADWICK
National Cheerleaders Association / NCA
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Ready Okay
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for Spirit Innovations and America’s Best Championships
KIM BRUNI - Blue Storm All-Stars
GWEN HOLTSCLAW - President Cheer Ltd.
KIM CARROLL - Varsity and CDT Fashions
LES STELLA - USASF Credentialing Director
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Judge’s Perspective
By Joy Troup | Photography by Sharon P. Fibelkorn
Let’s keep our little girls little.
(Not Just) Young at Heart
It happens at every competition. I’ll be judging, let’s say the
mini prep division first thing in the morning. A team will come
out and the little ones’ faces are covered in heavy makeup, their
pale bellies showing from their midriff uniforms and they’re
shaking their bootys to some inappropriate music — andI wince.
These kids are way too young for that sort of thing.
The subject of our youngest cheer girls can be rather touchy.
Not everyone has the same opinion, and people can get “animated” when discussing the topic.
However, we need to look at our industry a little more globally.
No one can refute the argument that as we’re working diligently
to legitimize cheerleading as a sport, one of the first places we
can start is an area that we are criticized in. The general public
can be critical of cheerleading’s image, and things such as fake
hair, too much makeup and 5-year-olds dancing suggestively only
fuel their opinions and give a negative impression.
As a business, coaches desire to grow their gyms efficiently.
How does one do that? One simple way is with homegrown talent: by getting the youngsters in early, training them according
to the coach’s unique program, and ideally keeping them until
they graduate from high school. But it’s often a challenge, particularly for new or young coaches, to fully understand what to do
with those youngsters. Of course, it’s impossible to make a wee
one’s performance look truly athletic, so the other choice is to
make them look cute. But there’s a very fine line between cute
and over-the-top. It’s sad because these tiny tots are only doing
what they are taught to do and are only emulating the big girls,
their role models.
And they love to be like the big girls on the other teams. They
want the midriffs like the 16-year-olds. They want the makeup.
But as a coach, it’s important to understand that at their impressionable age, they will emulate all the people that they look up
to, including you. If you have a lot of youngsters in your program, be cognizant of the fact that you are setting an example
for them.
That doesn’t mean that everything has to be boring or childish. The key here is “age appropriate.” As a judge, I think it’s fine
to have the young girls put on a teeny bit of little glitter eye
shadow and the lightest pink lipstick. You can’t really see at all,
but it makes them feel all grown up, and they feel good in it.
And we know all the reasons why our performers wear makeup
(lighting, etc.), you don’t need that much on the little ones, and
performance makeup companies have plenty of more natural
options, too. Coaches should have a sepa- it really is inappropriate for 10-year-olds,
rate makeup kit for the little girls where
on the verge of adolescence, to be doing
everything is toned down.
the same thing.
We all know programs where the senior
Of course, not everyone will agree, but
Level Five girls have midriff uniforms.
if we are legitimizing cheer as a sport, we
Why not let the youngsters look forward
are fighting to be respected. More emphato the day when they’ve worked toward
sis needs to be placed on the athletic
wearing that uniform? If coaches are
aspect and less on the hair and makeup
looking to keep that talent in their pro(even though we know it’s all part of
grams, shouldn’t they be giving them
being a performer). When we’re judging a
something to look forward to—a little
division, it comes down to ability, skill
perk that keeps the athlete hooked in the
and technique, rather than hair, makeup
program and aspiring to reach
that level?
JUDGES DON’T NEED LITTLE ONES
Age-appropriate material
SHAKING THEIR BOOTYS. SHOW US
doesn’t stop with the cheerleader. Music has to be as well. THE BASICS, THE FUNDAMENTALS,
It’s one thing to have “Born To
SMILE AND HAVE A GOOD TIME.
Be Wild” for 5-year-olds, which
is kind of cute, but it’s another
to have a song with really suggestive
and sexy uniforms. Even with the little
lyrics. Another area is their moves. We
ones, if I see clean forward rolls in a mini
often turn to one another at the judges’
division and clean motions—I’m happy.
table and say, “OK, five point deduction
Judges don’t need little ones shaking
for ‘exotic dancer’ move!” It’s bad enough
their bootys. Show us the basics, the funto see 5-year-olds shaking their hips, but
damentals, smile and have a good time.¢
Joy Troup was a principal performer with Walt Disney's World on Ice for nine years and has more than seven years of cheerleading experience as well as more than 18 years of dance training. She is a judge for competition companies nationally and internationally, an all-star
coach and is the Western regional credentialing director for the USASF.
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2006 | ALL-STAR CHEER MAGAZINE
|13|
All-Star International
By Sarah Toler | Photography by ASC Staff
New Season of Growth
Further expansion of the sport provides exciting opportunities worldwide.
As all-star cheer continues to grow,
with major competitions being held from
Mexico City to Montreal, it faces new and
exciting challenges ahead. Even across
Europe and as far away as China, all-star
cheer’s burgeoning popularity is providing
more athletes with excellent opportunities
to compete and travel abroad.
The U.S. All-Star Federation (USASF)
is making great strides to not only keep
up with the sport’s international expansion, but to lead it worldwide
with a new role and
responsibilities.
Karl Olson, a member of the
USASF’s International
Committee, speaks candidly to
All-Star Cheer magazine to
discuss the latest news and
challenges within the organization and the sport.
ALL-STAR CHEER: What are
some of the biggest obstacles
that the USASF is encountering
in taking all-star cheer international?
KARL OLSON: Funding,
facilities and access to educational resources continue to be
standard issues we face. With
the expanding interest in allstar cheerleading, however,
determined coaches and directors are accessing valuable support systems such as the
Internet, DVDs, world events, educational
programs and conferences, and so we’re
making progress in these areas.
ASC: Is the sport approached differently
by international teams?
KO: The USASF Board of Directors is
currently working toward taking competitive emphasis off of tumbling for international teams and placing that emphasis on
style. International teams are often challenged when it comes to tumbling because
they simply do not have adequate facilities
to train for that event like we do here. We
are making efforts to accommodate international teams and make all-star cheer a positive, life enhancing experience for all the
|14|FALL
athletes and coaches involved in the sport.
ASC: What international events are
coming up?
KO: There are quite a few international
events coming up around the globe.
Europe and parts of Asia have already
started giving Worlds bids at their qualifying events this past summer. Teams from
England, Scotland, Czech Republic,
Germany, Netherlands, Slovenia, Italy,
Sweden and Switzerland have already
received their Worlds bids with a number
of European qualifying events still
remaining. Some of the great Asian teams
have already bid, but the majority of the
continent's events are yet to come.
For the rest of the globe, namely
Oceania (Australia and New Zealand),
South America, Latin America, Mexico,
Canada and Africa, the number of great
events and country representation is
equally impressive. These
continents/countries will host an
enormous quantity of quality events
running September 2006 through spring of
2007. The participation levels are expected
to be quite high, and we suspect these
qualifiers will reach great teams from at
least an additional 20 countries.
Based on this and the addition of Dance
Worlds 2007, we would expect quite a
showing from international teams in 2007.
ASC: Will there be any changes to the
rules that will affect the International
Division at the Worlds 2007?
KO: There have been a few changes to
the rules in the international division that
were based on input we
received from both the
National Advisory Board
and the World Advisory
Board, as well as issues that
USASF members agreed
needed to be tackled. First,
junior divisions will be
added to international divisions in order to accommodate the many countries
where cheerleading is relatively new and very youthoriented. Another change
that will occur at the Worlds
2007 will be that only a limited number of teams per
country will progress from
international prelims to
finals to give the international finals a stronger country versus country focus.
And finally, international
division score sheets will be
adjusted to reflect the predominant international skill capabilities.
The USASF is tremendously excited
about its new global role. As the organization that is leading the way for all-star
cheer around the world and is legitimizing it as a sport, the USASF’s worldwide
members have asked that the organization create a new arm of the association
to reflect its international presence. Now,
in addition to being the USASF, it will
now have its international governing
administration under the umbrella of the
International All-Star Federation. This
will certainly present a promising season
and future for international teams. ¢
Sarah Toler is a freelance writer
based in Texas.
å
COVER FEATURE: By Lynn Singer
MAKING A POINT
THE CUP RACE
BEGINS AGAIN
The Second Year for the USASF Nfinity Cup starts now.
Is your team competing for the 2007 USASF Nfinity Cup? If not, there’s no time like the present to start collecting
points now, since there are great rewards and prestige for this year’s winner.
The first USASF Nfinity Cup was presented last April at The Cheerleading Worlds 2006 to the Small Senior team from
Stingray All-Stars in Marietta, Ga. After accumulating more points than all other USASF member teams last season, the
Stingray team pushed its way to the top of the rankings and claimed the coveted Cup. Each member of the team also
received a beautiful sterling silver and diamond bracelet to commemorate her accomplishment.
The concept of the Cup, dubbed the “great equalizer” of cheerleading competitions, was created by Tate Chalk, president of Nfinity Shoes. This introduced the all-star cheerleading industry to a way of leveling the playing field between
large gyms and small gyms, as well as those with bigger and smaller budgets. “The Cup is so new and different, and it’s a
special way of crowning a year-long high point champion as opposed to just the team that does well on a particular day,”
Tate says. “It awards strategy, consistency and playing up to a higher level. Theoretically, it could even be won by a team
that doesn’t win a bid to The Worlds.”
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MAKING A POINT—
THE CUP RACE BEGINS AGAIN
THE RULES
The USASF Nfinity Cup is to cheerleading what the Nextel Cup is to NASCAR
racing. Just as drivers earn points at every
NASCAR event, all-star cheerleading teams
that are members of USASF earn points for
participating, placing and winning at
USASF member company competitions.
The points chase begins in September 2006
and runs through April 2007, and the high
point champion will be announced at The
Worlds in Orlando, Fla., in April.
An award-winner itself, the USASF
Nfinity Cup was voted “Best New Product
or Service” at the 2005 Spirit Industry
Awards, sponsored by the Spirit Industry
Trade Association (SITA). The award recognized innovation and creativity in a new
product or service that has changed or
enhanced the industry, and was nominated
and voted on by competition and cheerleading product companies. “We knew we
had a great idea,” Tate says, “but to be recognized by the industry was a nice affirmation of what we started.”
How to Join the Points Pursuit
1. Make sure your gym is a member of the
USASF.
2. Attend USASF member company
competitions.
3. There is no fee for entering the Cup race.
Top Three Strategies for Higher
Point Accumulation
1. Compete in the highest ability level your
team is prepared for. “The Multiplier”
(see “The Rules”) earns your team more
points for competing in higher levels.
2. Compete in divisions with more teams.
The more teams you score higher than at
a competition, the more points you earn
toward the Cup.
3. Compete at bigger events for the same
reasons stated above.
Sponsored by Nfinity Shoes, the USASF
Nfinity Cup race for the 2006 - 2007 has
already begun, so make your gym is a
member of USASF in order to start
collecting points! ¢
For more information, visit www.usasf.net
or www.nfinityshoes.com
Lynn Singer is All-Star Cheer magazine’s
regular columnist for Competition Dance.
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Rule 1
Anytime you register, show up and compete at a competition held by the partner
companies of the USASF, you will receive 10
points. It doesn't matter if it is a one or two
day event. (These points are not included in
the multiplier explained in Rule 4.)
Rule 2
Some competitions last one day and some
last two. If you attend a two-day competition
you are rewarded for placing in the top three
on the first day. The most points you can
score for attending a two-day event is 30.
(These points are not included in the multiplier explained in Rule 4.)
Rule 3
The 100 point system is what determines
the points awarded for your final placement.
If a tie occurs at a competition, you will be
awarded the points for a team that has
placed two spots down. Example: If there is a
tie for 1st place, and your team is the next
highest after the tie, then your team will be
awarded the points for a 3rd place team.
(These points are included in the multiplier
explained in Rule 4.)
Rule 4
The Multiplier! This is the USASF's first
step in controlling "sandbagging." If a team
places 5th in a competition at Level 4, then
that team will be awarded 60 points. These
60 points will then be multiplied by four
because this is the level in which they competed. Note that only the points from the
"100 point system" are multiplied, not the
points from Rules 1, 2 or 5.
Rule 5
These points will be awarded for scoring
higher than other teams in your division and
level at a competition. Example: Your team
places 2nd in a division with five other teams
in it. Your team will receive 75 points for
outscoring three other teams (3 x 25 points).
(These points are not included in the
multiplier explained in Rule 4.)
Rule 6
Your team may compete in as many
competitions during the season as they
want. However, only your best seven point
totals will be accumulated for your overall
score for the season.
TOP 25 FOR 2006 USASF NFINITY CUP
1 The Stingray All Stars Small Senior "Orange" GA
2 Top Gun Small Senior Coed FL
3 Stingray All Stars Small Senior Coed "Gold" GA
4 Cheer Tyme Small Advanced Sr PA
5 World Cup Shooting Stars Senior Advanced NJ
6 Cheer Extreme Senior Large Coed NC
7 California All Stars Large Coed CA
8 California All Stars Senior Advanced Small CA
9 Power Small Advanced Senior CA
10 West Coast Mavericks Small Advanced Senior Coed CA
11 Cheer Extreme Large Junior NC
12 World Cup Starlites Junior Coed Large NJ
13 Midwest Cheer Elite Large Advanced Jr OH
14 Celebrity Cheer L Large Junior NH
15 Celebrity Cheer Junior Prep NH
16 Maryland Twisters F Large Senior advanced MD
17 Georgia All-Stars Junior Coed GA
18 Celebrity Cheer Large Senior Coed NH
19 World Cup Twinkles NJ
20 Spirit of Texas Junior Coed Large TX
21 Spirit of Texas Small Coed Large TX
22 Top Gun Senior Coed Large FL
23 Spirit of Kentucky Senior KY
24 World Cup Odyssey Small Senior Coed NJ
25 Top Gun Junior Prep FL
å
USASF Sanctioning Committee : By ASC Staff
USASF is the
national governing
authority for
all-star cheerleading
BENEFITS
BENEFITS OF
OF SANCTIONED
SANCTIONED EVENTS
EVENTS
Q&A
Q&A with
with USASF
USASF President
President Jim
Jim Chadwick
Chadwick
ASC: How does sanctioning improve the sport and help the competition companies?
JC: Sanctioned events improve the public’s perception of all-star as a legitimate sport. For
example, all football games are played on the same size fields. However, not all all-star
competitions are held on the same size floor. There are a multitude of similar discrepancies,
competition to competition, that the new sanctioning standards will address and standardize.
ASC: Why is this such a landmark move for the sport?
JC: Getting the top 20 all-star competition event producers to agree on a structure and standards
for sanctioning all-star competitions is something nobody would have thought possible as recently
as two years ago. It is a true credit to the presidents of these companies that they realized the
give-and-take of committing to these standards would lay a solid foundation for the entire all-star
community's future. It is hard for anyone to give up something now for the future benefit of an
entire community but these presidents did it and their names, and this landmark action, will be
remembered in the history of this sport for a long, long time.
ASC: What are the benefits for the competitors?
JC: Competitors will be able to know the competitive conditions before they get to each competition. Additionally, since the conditions will be much more standardized, they will have confidence
that they can practice in conditions that will exist at the sanctioned competition.
ALL-STAR CHEERLEADING
MAKES A LEAP FORWARD
USASF to officially sanction competitions
Every legitimate sport has “official”
events sanctioned by a governing association. From professional basketball to golf,
from swimming to bowling, each activity
has approved competitions that are overseen by its federation or agency. Why?
Sanctioned events receive a “seal of
approval” from their governing body—they
have agreed to play by the association’s
rules. Sanctioned competitions are good for
any sport’s industry because there is a certain level of excellence, standardization, professionalism, safety and commitment that is
|20|FALL
required of organizers. And that is passed
along to the competitors and fans of the
sport.
All-star cheerleading is finally in a position to sanction its competitions through
the USASF.
“The goal of the USASF is, and always has
been, to be the governing authority for AllStar cheerleading," Jim Chadwick, USASF
president said. "This entails credentialing
coaches and athletes, certifying gyms to provide a safe and legitimate foundation for the
sport, and sanctioning competitions." Last
August, key committee members met in
Dallas, Texas, to discuss how to develop and
maintain the standards for sanctioned allstar competitions.
Even before the meeting took place, a lot
of groundwork had been completed by a
steering committee. Two issues emerged as
the main focus of their efforts. The first was
that basic requirements had to be set in
order for competitions to be sanctioned by
USASF. The second was that a format and
terminology needed to be fully developed
for all USASF sanctioned competitions.
NEW REQUIREMENTS
FOR OFFICIAL EVENTS
Safety standards were at the forefront of
USASF sanctioning requirements.
The committee believed it essential to
standardize safety and performance-area
standards.
Under the proposal, minimum requirements to achieve USASF sanctioning were
set, and after complete discussion a final
proposal was drawn up and approved. The
new basic sanctioning requirements take
effect beginning with the 2007-2008 season
and the details are as follows:
To be an official USASF sanctioned
competition, it must:
• Provide on-site medical personnel
• Possess $1,000,000 in general liability
insurance coverage
• Follow USASF rules
• Offer divisions only from the approved
USASF list
• Follow USASF logo requirements
• Have at least one company representative
attend the annual USASF Rules
Interpretation Meeting
• Provide competitors with a performance
floor of at least 40’ by 40’, matted with 13⁄8”
carpet bonded foam
• Provide competitors with a matted
practice area.
• Hold competitions in a structure that has
an unobstructed ceiling height of 20’ over
the performance floor if Levels 3 and
above are offered
• Provide suitable inclement weather areas If
performance or practice area is outdoors
• Sanitize performance and practice mats
of bodily fluids
NEW RATING SYSTEM
The second item for consideration was a
steering committee proposal that defined
the format for USASF sanctioned competitions. The necessity of a cohesive program is
vital to creating competition legitimacy
because no common understanding of
competition format existed.
A five-star rating system was developed to
define the requirements for five distinct levels of competition. Under the proposal each
competition level will conform to standardized rules and be branded with a logo that
identifies its level of competition. The star
system proposal was debated and approved.
The program details are as follows:
FIVE-STAR RATING MINIMUM
REQUIREMENTS
• Must be a Tier 1 Worlds qualifying event
• A minimum of 125 all-star cheer teams
• 5-year history for specific event
• 2 performances (preliminary and finals
acceptable)
• 54’ by 42’ flat performance area spring
floor and 54’ by 42’, 13⁄8” carpet bonded
foam warm up floors with double wide
spring tumble strip
• If the performance floor is on an entirely
built stage, the stage height must not
exceed 4’ high and must have a minimum
4’ border, including any slope, from the 54’
by 42’ flat performance surface
• Minimum arena, hotel, resort, or convention center venue. High school and below
venues do not qualify
• All coaches of Level 5 teams must be
USASF credentialed and carry a USASF
issued ID card. International teams
exempted until further notice
• Event champion team member awards
• Mandatory division consolidation to create
competition in divisions with only one
team—small, large. Exceptions will follow
FOUR-STAR RATING MINIMUM
REQUIREMENTS
• 100 or more all-star cheer teams.
• 3 year history for specific event.
• 2 performances (preliminaries and finals
acceptable).
floor and 54’ by 42’, 13⁄8” carpet bonded
foam warm up floors with double wide
spring tumble strip.
by 42’ flat performance surface.
• Minimum arena, hotel resort, or
convention center venue. High school
and below venues do not qualify
team – small, medium, large
THREE-STAR RATING MINIMUM
REQUIREMENTS
• 75 or more all-star cheer teams
• 3-year history for specific event
• One day, one performance
floor and warm up floors with double wide
spring tumble strip
by 42’ flat performance surface
team—small, large ¢
|21|
å
Feature: By Sharon Biggs Waller | Photos by ASC Staff
Good Choreography:
NOT JUST ROUTINE
With a little creative choreography your team will electrify both
the crowd and the judges.
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No matter how athletic your stunts, how impressive your dance moves or
how intricate your transitions, if they aren’t organized into an eye-popping,
crowd-pleasing, ooh-ahh routine you’re sunk. And for top competitions you
need to push that creativity even further because it’s the “wow factor” that
makes the difference between a good team and a great team. Choreography is
the buzz word here, and with many competition companies it’s a big part of
the score—up to 40 percent.
“If you don’t have an exciting or fun routine, a judge won’t be interested,”
says noted dance and cheer choreographer Eric Little, from Dana Point, Calif.
“Depending on how the routine is judged, you could score low on creativity or
overall expression, or choreography. It’s important to keep the judge interested,” Little explains. “Even if a team is strong in its stunts, other teams may be
just as talented. But if another team has a better routine, they are going to get
the great score.”
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Creative Choreography
We all know that a routine should always
have great transitions, well-executed stunts
and pyramids, quality dance and motion—but
every element needs to work and fit within the
routine; in other words, be seamless. Making a
routine flow isn’t easy, says Don Collins, a choreographer from competition company All Star
Challenge. “You should look at it like a ballet or
Broadway show. Creating the concept, look
and feel takes a long time to perfect. You can’t
just come at it as though it’s only cheerleading.”
The transition to each element must be creative and almost magical so that the judge
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|22|FALL
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Good Choreography: Not Just Routine
Music Editors Make the Difference
nearly wonders how the cheerleaders
all ended up there. So when athletes
• Diana Miller, a choreographer and transition to a pyramid, they need do it
in a creative way; they can roll into it
coach from Pro Spirit, says that
regardless of level, every team can or tumble into it. Or perhaps the
majority of the team walks in, but three
pick up points by pushing their
dance sequence up to a Level Five. girls will do a walkover into the spot
“I tell all my clients that I’m going to while another girl is lifted to give a little
give them a Level Five dance. There flash. “It doesn’t have to be hard,” says
is no restriction on dance per level. Diana Miller, a choreographer and
They may not be able to do a back
tuck, but they can move their feet
quickly and go for it in dance and
motion.”
• Don’t copy what other teams did
last year. You can get good ideas
from other teams—but just change
it up and make it yours.
• Skills need to be executed flawlessly. The judge must be able to watch
the stunt and not fear for the athlete’s safety.
• If there’s down time in your routine,
the judges will look at their score
sheets and start writing. The judges
should be entertained from beginning to end.
|24|FALL
coach from Pro Spirit in McKinney,
Texas. “But it should be interesting and
fun to watch and do. When your team
is walking they can add arm movements or some kind of little hop or
dance move.”
How to Wow
Miller says that when you create a
routine there should be at least two
SHARON P. FIBELKORN
GETTING GREAT
CHOREOGRAPHY
A music editor takes a song selection submitted by a
coach or choreographer and alters it to fit the team’s
routine and style. A cheer mix should include more than
just the plain song, and it’s the music editor’s job to
“mix it up.” The editor inserts different loops, sound
effects and beats to process the selection and make it
more energetic and entertaining. “These additions
make your cheer mix unique,” says Jeff Rode from PG
Music in Noblesville, Ind. “For instance, multiple beats
or bells replace the drum that goes with the original
version. We’ll also add sound effects that coincide with
the routine, such as a siren as the team hits the top of a
jump or completes a stunt. This technique punctuates
the different aspects of the routine and draws attention
to them.”
When you need to hire a music editor depends on
what you want to accomplish. “Many people assume that
having a music service will help win competitions,” Rode
says. “That’s true to a point, but you need to have the
whole package. You can’t just rely on great music.
However, if you’re a competitive team, having your music
professionally edited can make the difference between
winning and losing.” A creatively edited track of music
also gets the crowd on your side, which can help a judge
make up his or her mind.
To match the right music to your squad, Rode says you
first need to define your team’s identity by considering
their talents and style. For instance, if your team is filled
with graceful, flexible stunters who are capable of a
long, pretty stunt sequence, you want to emphasize that
by using graceful music rather than music with a crazy,
funky beat. On the other hand, if you have a team that
prefers quick, energetic stunts, then choose quick, energetic music. As far as song choice, Rode advises coaches to steer clear of Top 40. “What’s in now will be played
“wow” moments—for example, a creative
formation change or a jump sequence with
elements that have never been done before.
For example, a coed team could have the
girls could do jumps, pikes to splits, and the
guys could do pikes to punch fronts, with
girls being passed over at the same time.
“[The moves] must be creative, interesting
and different,” Miller explains. “If you can
get three wow moments in there, one in the
beginning, middle and end, that will really
keep both the judge and crowd engaged.”
With the new rule changes, the dance
sequence has to include footwork, floor
work and formation changes. But overall,
out in a couple of months. Think about who your audience is. The judges are mainly 30-somethings, and there
are the parents. What’s hot right now is retro music,
1980s rock, such as the Cars and Rick Springfield,
because that appeals to [the judges and parents],” Rode
explains. While the athletes also need to be happy, Rode
points out that even five to 10-year-old music may seem
retro to them.
Younger cheerleaders require careful consideration
when it comes to music selection. “They may be small,
but they are still athletes,” Rode says. “Pop is good, but
stay away from hard core hip hop. I think it’s good to
stay middle of the ground. Listen to the lyrics, and use
your good judgment.”
the dance should be fun to watch. “The
dance should always be very entertaining
and energetic,” Little says. “One team I
worked with did ‘Fame’ this year. It was very
showy, flashy 1980s jazz dancing. Another
did a Bob Fossey-inspired routine. Many
people do choose themes, such as Latin, but
not always. But whatever song you choose,
the dance should be consistent with the
song. This really makes a difference in the
overall picture.”
Fun, entertaining and wow moments
aside, there are many rule updates to consider. And it’s not the choreographer’s job to
know them. The buck stops with the coach.
Many choreographers don’t know the legalities and little changes that occur in our
ever-developing sport. “Choreographers will
have a general idea of what stunts are done
for each level, but may not be abreast of all
the changes,” Miller says.
“Illegal stunts happen all the time,” he
continues. “I’ve even choreographed an illegal stunt for my own team. You have to stay
on top of things.” Although you’re turning
your gym and team over to a choreographer, you still need to observe and be
engaged. Make notes on changes you think
might work, and then share your ideas with
the choreographer.
|25|
Good Choreography: Not Just Routine
Put It Together
When you contact a choreographer
he or she will first ask about your
competition goals. This is an important question because each competition company stresses different things.
“Some will emphasize straightforward,
clean stunts only,” Collins says. “Others
will require all that plus creative choreography, dance and motion.”
Once the choreographer knows your
goals and at what level you plan to
compete, he or she will map out the
routine so that all segments work
together. But nothing is set in stone
until it’s put into practice.
“You can write it on paper all day
long, but you’ll never know what it
looks like until you go to the gym,”
Little says. “There might be an athlete
who ends up in front of the transition
who isn’t the most skilled at that element. You need to then change it so
the more skilled individual is up front
where everything can be seen.”
And how do choreographers come up
with all these unique elements? Collins
says he finds inspiration
outside the world of cheerleading.
“I look at musicals, ice skating and
synchronized swimming,” he explains. “If
people can do great motions under
water, they sure can do them above, too.”
A fantastic routine filled with creative elements and wow moments is
definitely within your squad’s reach.
With the help of a choreographer, you
can highlight your team’s talents,
entertain the crowd and compete with
the best of them. ¢
Sharon Biggs Waller is an award-winning
writer and book author based in Indiana.
A good choreographer understands the goals of the team and works to develop a routine that shows off the squad’s best assets.
|26|FALL
å
COMPETITION FEATURE: By Moira C. Reeve and Ashley Burton
DRESSED TO SKILL: THE
EVOLUTION OF THE
ALL-STAR UNIFORM
Discover how today’s cheer athletic wear enhances performance.
As the sport of all-star cheerleading has become more demanding, uniforms that dress the
athletes have risen to the new challenges. Today’s uniform is not simply an outfit—it is athletic
wear. Dance, tumbling, stunting and cheer styles have changed to keep up with the times, and
uniforms are no exception. Like other performance sports wear, cheer uniforms of today are
built to increase comfort and mobility, wick away moisture and enhance the athlete’s performance. Long gone are the days of the standard thick and itchy polyester uniform. Even the word
“polyester” seems to be synonymous with “dated” or “old school.”
Back in all-star’s early days, less emphasis was placed on uniforms that enhanced the routine.
They simply were designed as cheer costumes. Now, however, freedom of movement and
comfort are the hallmarks of cheer performance wear.
Varsity Spirit Fashions left, center;
Spirit Innovations, right
|28|FALL
Spirit Innovations
Pep Threads
Spirit Innovations
|30|FALL
Turning Point
As all-star cheerleaders became known
not just as performers but as athletes, uniform companies began to adapt their competitive apparel as well.
Back in 2002, Varsity Spirit Fashions
began to move away from the typical “hot
and scratchy” uniforms that did not allow
much mobility and began instead to incorporate an exclusive thinner, softer fabric
called MOTIONFlex. “It hugs the body like
a glove and moves with ease and comfort,”
says Emily Terral, Varsity’s merchandise
manager. Not only is this fabric much softer,
more durable and easier to maintain than
the original fabrics, it also has moisture
wicking properties, which allows team
members to stay dry and cool throughout
their performance.
Uniform companies also began to pay
close attention to fit to reduce bagging,
bunching or riding up. “We know every
cheerleader and dancer isn’t built exactly
alike, so we’ve taken great care in our pattern making and construction to ensure a
great fit for a variety of body types,” says
Lynn Singer, vice president of sales and marketing for Spirit Innovations. “We now have
our lines cut closer to the body—as in the
A-line skirt, tops made of our exclusive
Performance Stretch fabric, and shells made
of polyester on the front and rib knit in the
back for a closer fit.”
Proflex, a heavier weight poly/Lycra blend
available from Pep Threads, is a ribbed
stretch material engineered to conform
while giving a smooth look and is designed
to prevent bra lines from showing through
fabric. A lighter weight Coolflex fabric is a
poly/Spandex blend made to keep the athlete cool and dry, using special technology
to wick away moisture.
Uniformity and Individuality
As more all-star gyms and teams are
building, so is the demand to stand out.
Uniform companies are answering the call
Old News
Lynn Singer, VP of marketing and
sales for Spirit Innovations, says these
have long been retired:
KNIFE PLEAT SKIRTS AND FULL FLY
SKIRTS: “There is so much fabric in
these skirts. They are heavy and there is
too much going on for more advanced
tumbling, stunting and intricate dance
steps.”
RIB KNIT FABRIC: “it was introduced
after polyester to provide more stretch
and more mobility, and it is quickly
being replaced with [other performance
fabrics] that provide better fit, and great
range of motion while performing.”
Spirit Innovations
to create unique, original looks for a variety of teams.
Just in the past year, Varsity has met the requests of
flashiness on the floor, by developing a metallic
MOTIONFlex® and polyester fabric. “We also offer
braid styles in regular poly, metallic, shiny sparkle, and
dot sequin material,” Terral says. To look sharp all
season, Varsity uniforms are VISA treated to keep
whites white and colors popping with vibrancy.
Spirit Innovations also is on the cutting edge of
design. “We have back designs on tops including straps,
cut-outs, halters and angle cuts,” says Singer. “Our Aline skirts have detailing including box pleats, notches,
cut-outs, braid and fabric detailing. We’ll even custom
design logos and lettering for uniform tops.” And Spirit
Innovations was the company to introduce the Cutie
Bootie, a sequin dot brief worn under the skirt, to the
spirit industry in 2003.
Expressing individuality is essential for all-star
teams and is one of the missions of Pep Threads. “
Pep Threads understands that all-star teams want a
unique look all their own,” says Charlyn Abler, the
company’s spokesperson. “That’s why we specialize in
custom uniforms and also offer a large selection of
specialty braids, fabrics and lettering to choose
from. We can create a one-of-a-kind look for
any team—if you can dream it, we can make it.”
Sport Gear
It is not only important to look good, but
comfort is a must for this demanding sport. Varsity
|32|FALL
Varsity Spirit
Fashions
offers a variety of body liners available in
MOTIONFlex specifically for all-star teams,
and last year they introduced the All-Star fit
skirt, a low-rise skirt with a much more slim fit
and attached brief. “The brief allows for teams
with elite tumbling to move all around the floor
without the skirt moving. It stays in place,”
Terral says.
Spirit Innovations, too offers style and
performance blended together. “SI carefully plans
color and braid placement to enhance the visual
effectiveness of choreography,” Lynn Singer says.
“We employ the use of specialty fabrics including
Performance Stretch, Mystic Stretch and Sequin
in design details to add that extra splash without
sacrificing a performer’s ability to move.”
Many new performance features are being
added to uniforms, which enable teams to
make an impression with the judges and crowd.
For an even more stand-out look, teams are
using sequins and shiny materials for whole
panels on their uniforms as well. Many men’s
styles are also being requested. “Boys are wearing Performance Stretch tops—the tighter fits
allows for better movement and more freedom
while tumbling and performing. It’s also a
cleaner, more sleek look on the performance
floor,” says Singer.
Varsity offers the special program of Build a
Body liner. Teams can pick everything from their
front design, back design, sleeve type, neck type,
and length of garment. There are numerous stylish options for the teams that are adamant about
having their own look. This program allows
squads to customize and create their uniforms.
Unique Construction
Like other sports equipment, today’s all-star
uniform has design elements that make it
resilient, comfortable and durable.
Whether it’s double-stitching, reinforcement of zipper panels, or fully-faced
necklines and bust darts, little details
can make a big difference in the
athlete’s performance. And
these small elements can add
up to big points when the
cheerleader is cool and comfortable, performing at his or
her best in a well-made all-star
uniform. ¢
Ashley Burton is a former staff
member for UCA and cheerleader for Florida State University.
Moira C. Reeve is ASC’s editor.
å
FITNESS: By Robb Seahorn | Photography by ASC Staff
IT’S ALL IN THE
PREPARATION
Utilizing a complete conditioning program will help your athletes
perform at peak ability and reduce injuries.
As another competitive cheer
season begins, coaches put the finishing
touches on routines and gear up for competitions. But are your athletes at their
peak physical condition for the season? We
all know that all-star cheerleading is more
competitive than ever. To gain an edge,
savvy coaches have developed thorough
conditioning programs for their athletes to
improve performance and reduce injuries.
A complete conditioning program can
easily become part of your weekly practice
sessions, too. We’ll show you a number of
activities to include and how to incorporate them.
Implementation Schedule
We’ve broken the cheer season into three
time periods, with a conditioning schedule
tailored to each for maximum benefits.
1. Preseason: The time period after
|34|FALL
tryouts leading all the way up to the competition season. This is the time to really concentrate on physical improvement. Dedicate
30 minutes to one hour at least three times
per week to your conditioning program, and
work aggressively on flexibility, strength and
power movements.
2. Competition: During this time period
focus on maintaining the condition athletes
gained during preseason and on staying
healthy to avoid injuries. Include activities
similar to your preseason workouts but
lower the intensity, spending 20 to 40 minutes three times per week.
3. Post Season: This is the recovery period after the competition season, where
athletes focus on healing any injuries and
maintaining basic condition. Focus on
flexibility, low level strength training and
core stability. Spend 20 to 30 minutes once
or twice a week.
Tips for Success
In most cases, it’s best to work on your
strength and conditioning before practice
to allow athletes to concentrate on explosiveness and strength while they are still
fresh. Also, try to keep your conditioning
program fun by mixing things up—you’ll
see better results and more enthusiasm
from the athletes. For example, try giving
team members options during each workout, or organize a competition among
cheerleaders. This can create an environment of excitement and competitiveness.
Finally, it’s important to have support
from your athletes and their parents.
Educate parents on the benefits of conditioning, such as avoiding injury, and
explain why practices may be longer or
why there may be a slight increase in
expense due to added equipment.
(Continued, p. 37)
KEY COMPONENTS TO GOALS
Here are the five physical attributes of the cheerleader, with tips on improving each.
1. FLEXIBILITY: Stretching is one of the most widely recognized areas of performance enhancement in
cheerleading. There are several methods of stretching. Start with static stretches to gain range of motion and to
stretch the muscles and tendons. Static stretches should be held for 20 to 30 seconds and then repeated five to
10 times. As athletes improve flexibility with static stretches (which may take six to eight weeks), have them lightly
contract the muscle being stretched and then move into a deeper stretch. This can be achieved with the help of
a stretching belt or a partner.
Many cheerleaders overstretch one side, setting themselves up for injury, so remind athletes to focus on
stretching both sides of their body evenly. Also encourage athletes to use their breath during stretches.
Throughout each stretch they should practice holding the stretch for five seconds, and then exhaling and moving even deeper into the stretch. Key areas to focus on during stretching include hip flexors, hamstrings, lower
and upper back, groin muscles and shoulders. Flexibility not only improves stunts, it can also help avoid injuries.
EXERCISE EXAMPLE: LEG STRETCH Use a stretching belt to achieve a deeper leg stretch.
PHYSICAL
ATTRIBUTE:
• Flexibility
• Explosive Power
• Strength (Upper/
Lower Body & Core)
• Balance/Coordination
• General Endurance
CHEER
OUTCOME:
Flexible Flyers
Eye-Catching
Tumbling
Rock Solid Stunts
Stick the Landing
Finish Strong
3
2
1
GOALS A cheerleading-specific
conditioning program will address
the following elements to create
performance results:
3. STRENGTH: Many coaches have their cheerleaders perform push
ups and crunches. These two movements are good exercises, but for maximum benefits the entire body needs to be addressed. The cheerleader
needs good upper chest, deltoid, bicep and tricep strength. The rectus
abdominus, oblique abdominal musculature and the lower back muscles
should also be strong. For a stable base when stunting, lower body
strength is critical; the quadriceps, groin, hamstring and calf muscles
must provide this support.
When adding strength training, look to combine movements, which will
work muscles synergistically and make workouts time efficient.
EXERCISE EXAMPLE: SQUAT/LUNGE/PRESS
Athletes can perform a squat with a press movement of the arms, a
lunge while tightening the abdominal muscles and a side lunge while raising the arms. This is a great example of combination strength moves. Add
resistance by using free weights, resistance tubes or simply using your
body weight (a good example of this is a single leg calf raise).
Team members should begin by performing two sets of 10 repetitions
without resistance for two to three weeks, and then add light resistance,
performing three sets of 10 repetitions. Gradually increase resistance as
the athlete gains strength and the exercise becomes less difficult.
1
2
4. BALANCE AND
COORDINATION: Having
1
good balance and coordination is
critical whether a cheerleader is a
base or a flyer. The more stable the
base the more confidence the flyer
will have.
EXERCISE EXAMPLE:
STANDING ON ONE FOOT
Cheerleaders can begin to
improve their balance and coordination by simply standing on one
foot with their eyes closed. To make
this exercise more difficult, change
the surface the athlete is standing
on. For example, there are many
products on the market designed
just for such uses, including balance discs and wooden wobble
boards. If possible, have your flyers
practice their skills on a variety of
surfaces to build body control.
5. GENERAL ENDURANCE: A coach can address overall
than others, but everyone can improve their jumping. To enhance athletes’
explosive power, you must train their “fast twitch” muscle fibers to work
more quickly and to generate extra force. This can be accomplished with
plyometric training. Plyometrics are recommended for older, more mature
athletes (middle to high school age) and athletes previously involved in a
strength program.
Plyometric exercises force the muscle to contract quickly while in a full
stretched position. This produces a spring-like effect. The goals of plyomet-
EXERCISE EXAMPLE: TUCK JUMP
Tuck Jumps (moderate-intensity plyometric):
The athlete should stand with feet about
shoulder width apart and knees slightly bent;
quickly drop the body 10 to 12 inches by flexing the knees; then explode upward, swinging
the arms up as the legs are also brought up
toward the chest. As soon as the feet touch
the ground the athlete will explode upward
again, repeating for a total of 10 repetitions.
Remind athletes to keep their back upright
and breathe regularly when performing this
exercise.
Keep in mind that verbal 2
feedback is very important
when teaching a new exercise. Help your athletes use
correct form by using keywords, such as “Explode!”
when jumping and “Light as a
feather” when landing. These
visualizations will help the
athlete learn the movement
quickly and correctly.
|36|FALL
rics are to help the body move quickly with explosive movements and to
limit what is called the amortization phase (time the foot is in contact with
the ground). By doing so you teach the body to move faster and generate a
more forceful contraction.
In addition, plyometric exercises help prepare muscles better to handle
this type of stress during practice and competitions, potentially reducing
the risk of injury.
These activities should be performed on a firm but forgiving surface,
such as a basketball court or a firm mat.
EXERCISE EXAMPLE:
LATERAL HOPS
1
1
Lateral Hops/Forward and
Backward Hops (low-intensity plyometric): The athlete should explode
upward with a slight bend in the
knees. Keeping the feet together, the
athlete should land softly and immediately jump up again—trying to limit
the amount of time the feet are on the
ground. The exercise should be repeated a total of 10 times and can also be
performed forward and backward.
3
2
The plyometric exercises outlined
here can easily be implemented into
your program. However, advanced
plyometrics should be implemented
only through consultation with a certified strength and conditioning specialist (CSCS) or as part of a professionally designed program. Taking these
precautions will reduce the risk of
injury.
ToniAnn Yuli: ASC Cover Model
(Continued from P. 34): As cheerleading continues to grow and become
more competitive, even small improvements in your team’s conditioning program will not only help your score sheets but also keep your
athletes healthier. If you don’t have much time, decide what your team
needs most, and design a program based on those needs. You can
give your athletes “homework” to perform independently, which will
cover the other areas not being addressed during practice. By incorporating conditioning workouts into our programs, we can make allstar cheerleading a safer and more exciting sport. ¢
Age: 16, Howell, N.J.
ToniAnn Yuli is in excellent physical shape and
when asked how she
stays that way she was
quick to answer that it
takes a combination of
three things—exercise,
diet and rest.
The exercise part of her
formula includes running,
working out at a local
gym, and practicing with
her cheerleading team.
She works out twice a
week at her local gym.
Her workout includes
treadmill walking, crunches and swimming laps.
She runs at a local reservoir jogging track where
she puts in 2.5 miles three
times a week (followed by
walking another 2.5
miles). Her workout at the
Robb Seahorn PT CSCS is a physical therapist and owner of
Championship Sports Training in Knoxville, Tennessee.
BILL MASON
2. EXPLOSIVE POWER: Some athletes have more natural ability
endurance through running or using a stationary bike for extended periods of time to provide an aerobic workout (20 minutes in duration or
greater). However, to be more sport specific the coach may choose to
perform a jog to elevate the heart rate and warm up the athlete. A jog
also keeps heart rates elevated throughout the workout, but make sure to
keep team members moving from one activity to the next. The coach may
even have the athletes cross train by performing on an elliptical machine
or swimming. Swimming is an excellent activity for the cheerleader
because it improves endurance and builds back and hip strength.
cheerleading gym (World Cup
Gym in Freehold, N.J.) takes
place three times a week and
includes intense routine practice for two to three hours per
practice.
Diet is the second part of
her fitness formula. ToniAnn
says she avoids vending
machines as well as any junk
food. Her diet includes a wellbalanced combination of
fruits, vegetables, and proteins
(meat). She also says proper
digestion dictates no eating
after 10 p.m.
Sufficient rest is the third
part of ToniAnn’s fitness plan.
She says a full 8 hours of
sleep is essential to her fitness
program.
“It takes all three things to
stay in shape,” ToniAnn says.
“Anyone can set up a program
for fitness but it should include
exercise, diet and rest. It
works for me, and it can work
for anyone.”
|37|
å
USASF CREDENTIALING PROGRAM:
îLevel 4 StunLts:
KIC K FU L
BASKET
TOSS
USASF is the
national governing
authority for
all-star cheerleading
CREDENTIALING
SPOTLIGHT
Editor's Note: All-Star Cheer Magazine will dedicate at least one story in every issue to the USASF's credentialing program. One
of the primary duties of the USASF is to bring an unparalleled training program to the all-star industry. The credentialing program is
designed to create a safer environment by developing training standards through proper skills progressions for both the athletes and
coaches. The USASF credentialing program strives to bring consistency to the leading competition companies across the country and
across the world through standardized rules, divisions and safety guidelines.
THE USASF CURRENTLY OFFERS
THREE DIFFERENT CREDENTIALING
CATEGORIES (STUNTS, TUMBLING
AND TOSSES), WHICH HAVE DIFFERENT
LEVELS THAT COINCIDE WITH THE
SIX LEVELS OF THE USASF RULES.
HOWEVER, THESE EXAMPLES ARE BY
NO MEANS THE ONLY SKILLS OR
STUNTS ALLOWED IN EACH LEVEL. IT’S
YOUR RESPONSIBILITY AS A COACH,
ALL-STAR DIRECTOR OR GYM OWNER
TO THOROUGHLY EDUCATE YOURSELF
SO YOU UNDERSTAND THE RULES,
LEVELS AND DIVISIONS THAT YOU
COACH, COMPETE AND ARE CREDENTIALED IN. FOR THE MOST UPDATED
USASF RULES, TURN TO PAGE 64 IN THIS
ISSUE OF ALL-STAR CHEER.
This is the third in our series of credentialing
articles. Our featured stunt is the Kick Full
Basket Toss.
COACHING POINT:
WATCH THAT THE TOP
PERSON USES A GOOD
KICK TECHNIQUE SO
THAT THE MOVE DOESN’T
BLEND INTO THE FULL
DOWN. TOP PERSON
SHOULD PULL THE KICK
LEG UP OVER TOP OF
THE BODY.
|38|FALL
Photos and Report by ASC Staff
USASF CREDENTIALING PROGRAM: CREDENTIALING SPOTLIGHT
STEP 1A
STEP 1B
STEP 2A
STEP 3A
STEP 3B
STEP 4A
Step 1 1. The bases, front spot and back
spot will start with the stunt turned threequarters in the opposite direction that the
top person will spin.
2. The top person will start facing the
back.
apart. They will dip down with their knees
facing forward. Bases must keep their
backs upright, as bending forward puts too
much strain on the back. Bases also need
to keep their knees facing forward (turning
the knees out limits the height).
2. The bases’ grip consists of both bases
taking their right hands and grabbing their
own left wrists. Then (while facing the
Step 2 1. The bases should stand with
their legs approximately shoulder-width
other base) they reach forward and grab
the other base’s right wrist. This creates
an interlocked “basket” for the top to
eventually stand on.
3. The front spot will place her hands
under the basket.
4. The back spot should follow top person
into the basket toss (do not assist).
COACHING POINT: TIP: THE BACK SPOT SHOULD NOT PLACE THEIR HANDS
UNDER THE SEAT OF TOP PERSON WHILE TOSSING THE BASKET. ONE IMPORTANT
REASON IS THAT IT OFTEN CREATES BAD HABITS FOR THE TOP PERSON BECAUSE
IT TEACHES HER NOT TO HOLD UP HER OWN WEIGHT.
|40|FALL
USASF CREDENTIALING PROGRAM: CREDENTIALING SPOTLIGHT
(;&((',1*(;3(&7$7,216
STEP 4B
STEP 4C
Step 3 1. As the top loads in, the bases
will dip at the bottom, and then they will
explode up through shoulders.
2. Top person should keep arms locked
as she places her feet (together) onto
the front of the basket.
3. As bases dip, the top person should
keep her head and shoulders up and her
arms locked. Do not bend with the dip of
the bases.
4. As the bases begin their upward
momentum, the top will stand up
through the toss, pushing off the shoulders and reaching with arms.
5. The back spot should place her hands
under the basket and follow the main
throwers through their movement.
6. The front spot will follow the timing of
the other throwers and accelerate
through the toss.
over into the twist using the leg that
kicked to take over the top of the body.
3. Arms should be wrapped across similar to a twisting cradle dismount.
Step 4 1. The top person will ride up and
turn one-quarter then initiate the kick.
2. After the kick portion she should roll
Step 5 1. After toss, rotate bases, front
spot and back spot, as a group, and
quarter turn in the same direction as top
person spins.
2. Bases will leave hands high to slow
the decent of the top person back into
the cradle.
3. Once the rotation is complete the top
person should open up the arms into a
cradle position and hold their own
weight with their arms.
4. Back spot will keep hands high with
hands in fist position and will assist cradle by scooping at the shoulders and
protecting the head of the top person.
5. The front spot should move to the
side in case they may possibly having to
spot, but do not assist on the cradle at
the feet and lower leg area. ¢
STEP 5A
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COACHING POINT: MAKE SURE THE TOP PERSON IS
NOT BENDING IN THE BASKET AS THE BASES ARE
DIPPING TO PREPARE TO THROW. ALSO, BE SURE THE
TOP PERSON IS ABLE TO KEEP HER WEIGHT IN THEIR
ARMS SO THAT IT STAYS OFF THE BASKET.
STEP 5C
|42|FALL
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å
Safety 101
888-600-7677
By Leigh Vandiver | Photos by ASC Staff
www.rossathletic.com
Ready, Set, Safety
Keep all-stars going strong with safe cheer conditions.
You see them at every competition, the athletes on
crutches, in casts or wearing braces and sitting where no
all-star wants to be—on the sidelines. But many cheerrelated injuries can be prevented if cheerleaders, coaches
and parents know how to identify unsafe cheer conditions
before injuries occur.
Practice Smart
Injuries often happen toward the end of a long practice
when a team loses focus or stops paying attention. “I
believe that a significant number of injuries are a result of
over-practicing,” says Gwen Holtsclaw, president of Cheer
Ltd. “[Go ahead] and have a three-hour practice, but be
smart about it.” To reduce injuries caused by fatigue or
overtraining, coaches should focus on the more physically
demanding skills at the beginning of practice, when athletes are more alert. Rather than stunting or tumbling for
long stretches of time, break up practice activities to keep
the team focused. And as any mini or pee-wee coach can
tell you, the younger the team members, the shorter the
attention span.
Not surprisingly, stunting and tumbling are the most
likely to lead to injury. According to Brenda Shields, coordinator of the Cheerleading RIO national cheerleading
injury database, the majority of injured cheerleaders were
hurt while tumbling, basing or catching. Flyers falling out
of a stunt are actually less likely to be injured than bases
or spotters. “I expected to see a lot of falls [reported], but
Leigh Vandiver is a freelance writer based in Texas and former competitive cheerleader. She has held positions as a
collegiate coach, an all-star coach and staff instructor for the National Cheerleader’s Association.
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|44|FALL
888-600-7677 | Call & Order your Spring Floor Today!
SAFETY 101: Ready, Set, Safety
Cheerleading Fully Loaded: The
Benefits of a Spring Floor
Many cheerleading injuries
can be prevented or minimized by use of a spring floor.
The spring floor is more forgiving than a foam mat, which
helps minimize long-term
injuries that can result from
joint damage. “When you tumble on something hard over a
long period of time versus
when you tumble on a spring
floor, you can definitely tell a
long-term difference,” says
Ross Morreale, owner of Ross
Athletic Supply. In addition to
the long-term benefits, spring
floors can reduce acute
injuries from falls by providing
more of a cushion than a mat
alone.
When buying a spring floor,
look for the following factors:
• A sloping border. Spring
floors are generally elevated 7
to 8 inches off the ground so
that a slip or a landing on the
edge can cause a sprained
ankle or worse. Look for a
floor with sloping borders to
prevent these types of injuries.
• Consistency. According to
Scott Roth, senior vice president of gymnastics and cheer
for American Athletic, “Safety
is in the consistency of the
floor.” Soft spots between panels should be avoided. Roth
recommends that gym owners
inspect their floors at least two
to three times a year for poten-
tial damage.
• Floor cohesiveness. Floors made for gymnastics are built with separate panels that work independently of each other. The design of these floors
is meant to hold only one athlete at a time and is
not recommended for cheerleading squads. Look
for a floor that is built to work as a cohesive unit,
rather than a series of separate springs and foam
blocks that can work against each other when
multiple athletes hit the floor.
I haven’t yet,” Shields says. This is likely to
be the result of spotters who are welltrained to catch a flyer before she hits the
ground (so all you healthy flyers out
there, thank your teammates!). Flyers
should be well trained in “safe falling”
techniques to help prevent base and back
spot injuries.
Avoid Overcrowding
Overcrowding can also be a cause of
injury due to the risk of collisions or
other distractions, so it’s important to
make sure every athlete has plenty of
practice space when there are large teams
on the mat or multiple teams practicing
at once. As Holtsclaw says, “If you have
35 kids doing cross-pattern tumbling—
that’s risky. Your timing better be on.”
Crowded or chaotic practices are more
likely to lead to tumbling and stunting
collisions. With a sport like cheerleading
that combines speed, power and multiple
bodies flying through the air at the same
time, a disorganized gym is a recipe for
disaster. Carefully organized practices
|46|FALL
have the benefit of preventing collision
injuries, not to mention making for better
teams and happier parents.
Have Enough Coaches
It’s important that each all-star team
has enough coaches to effectively teach,
spot and observe the number of athletes
on the team. Holtsclaw suggests a coach
to cheerleader ratio of around 1 to 20. In
addition to a sufficient number of coaches, adequate spotters are instrumental in
preventing cheer-related injuries. While
only trained and credentialed coaches
should spot tumbling skills, extra team
members can and should be used to spot
stunts.
When multiple flyers are in the air at
the same time, assign at least one spotter
to each flyer so that everyone in the air is
accounted for. This also avoids collisions
between spotters. Stunt sequences often
have a lot of moving parts, so if every
spotter dives to catch the first flyer to
come down, the next girl to fall is out of
luck. It’s best to avoid that problem by
assigning each spotter a specific flyer to
watch.
Communicate Clearly
Communication is extremely important
when it comes to stunting. Every single
member of a stunt group should know
exactly what the stunt progression and
the counts will be before anyone leaves
the ground. In a noisy gym, a flyer 8 feet
in the air may not be able to hear someone yell, “Don’t cradle!” or “Full it down!”
at the last minute. It only takes one person to not know what’s going on for
somebody to end up with an elbow in the
face. If everyone is well informed, each
member of the group can focus on perfecting the stunt, rather than listening for
last-minute changes or worrying about
counts.
Condition Properly
Conditioning and proper safety training
for the cheerleaders is also an important
aspect of injury prevention (check out
Robb Seahorn’s article, “It’s All in the
Preparation,” on page 34). Proper technique and strength training will help
reduce the stress on joints that comes
from repeated use. As Ross Morreale,
owner of Ross Athletic Supply points out,
“If you get to be 40 years old and you’ve
cheered all the way up through college,
you’re going to feel it if you’ve stressed
those joints.” Use adequate mats and
spring floors whenever possible to minimize the long-term wear and tear on
cheerleaders’ bodies.
Allow Recovery Time
In the unfortunate event that a cheerleader does get injured, it’s best not to
rush back into practice too soon. As a
competitive cheerleader, it’s hard watching the team practice and compete without you, but sitting out for a few weeks is
far better than aggravating an existing
injury and missing the rest of the season.
When athletes get injured, they should
listen to their doctors’ advice and take as
much time as they need to recover.
Reassure them that their spot on the
squad will still be waiting for them when
your injury heals, but they won’t be much
help to their team if they’re competing
injured. If athletes take the time to heal
they can look forward to coming back
stronger than ever. ¢
|47|
å
COVER FEATURE: By Vanessa Nemec | Photography by ASC Staff
WHAT I DID LAST SUMMER:
CHEER CAMP!
Follow along with an all-star cheer athlete as she gives
ASC a behind-the-scenes look at camp.
It’s pretty exciting to be able to chronicle my adventures
at US Spiritleaders Camp. I’m back for my third year and
am looking forward to learning new material, having some
fun and getting closer to all of my fellow teammates. It’s
going to be an exhilarating four days ahead.
Day 1
Camp is being held at a nearby university, so we arrived
earlier this afternoon and unloaded all of our bags. (Most
of our bags, I have to admit, are filled with food and just a
little space left over for the necessities, such as our camp
outfits, bows and cheer shoes.) We had a little time to eat
lunch before getting ready to learn the first day’s material.
|48|FALL
When we got to the field we were all so
excited to be there! Music was booming
over the PA, and the Spiritleaders were
pumping us up for the exciting weekend
ahead. Rey Lozano, the organizer of this
camp, gathered the teams by the stage for
opening ceremonies. We began a competition to show team spirit. Every team on the
field was cheering and chanting over the
others; of course, our team got up and
cheered as loud and as hard as we could!
Next, Rey called us together to tell each
team who their “buddy person” was going
to be for the weekend. The buddy person
helps to prepare and perfect a routine for
evaluation at the rally on the last night of
camp. Our buddy person talked to us
about our skill level and what we wanted to
improve on this summer. Then all teams
were called back together to stretch and
start the first class. My stunt group learned
part of the all-star routine. It looked really
hard but once it was explained and we tried
it, it was actually really fun and easy.
After that, we had a stunt technique evaluation to determine what skills we had and
then a motion-technique evaluation that
was pretty basic. We had to do a combination of a step and a few motions before
being excused for dinner. Time was already
flying by; I was having so much fun and
couldn’t believe it was already time to eat!
After dinner, we learned part of rally beats,
which I think is the most fun routine at
camp because I get to be goofy and be
myself. Then, we learned part of the basket
toss routine and finished off the first night
with orientation where they told us the dos
and don’ts of camp. We went back to our
rooms where we showered and hung out,
and now we’re off to bed knowing we have
a long and busy day ahead of us.
Day 2
My roommate and I woke up early this
morning and shuffled off to breakfast, still
in our pajamas. Then we went back to our
room and got ready for the first official full
day of camp. It started off with rally beats
and a review of the first day’s material, then
headed into a new routine, the cheer dance.
This dance was to a song I had never heard
before, but it was so catchy that by the end
of the day everyone on my squad was
singing it.
After we learned part of the cheer dance
we moved on to the partner stunt routine.
The routine looked so fun that my stunt
group and I wanted to just get up and start
doing it. It was a little harder than it
looked and we kept struggling with the
same part. By the end of the hour, however, we overcame our mistakes and had it
down perfectly.
We’d worked up an appetite by then and
were allowed to dash off to lunch to stuff
our faces. My friends and I couldn’t help
but have three servings of ice cream each.
There was time to relax in our rooms for a
bit before returning to the field for the rest
of the day’s schedule.
We learned another eight-count of the
all-star routine and then headed into the I
Wish Electives where we had the opportunity to attend different classes to improve
on anything we wanted. Specific
Spiritleaders at each group were there to
help us perfect the skill we wished. My
stunt group went to the basket toss class
because we needed to work on our kick
doubles. By the end of the class we not only
perfected our kick double, but we learned
two new basket tosses. We were so proud of
ourselves for accomplishing that much in
only one hour. When that class was over,
we took a quick water break and went right
into learning the first part of the pyramid
routine, which was simple and clean, but
looked really advanced.
We broke for dinner and then returned
for our jump technique class. Spiritleaders
|49|
WHAT I DID LAST SUMMER: CHEER CAMP!
HAPPY CAMPERS
Cheerleading camps are beginning to cater not just to high-school squads, but to all-star
teams. There are a variety of different camps available, each emphasizing different goals,
but all stress fun and teamwork while learning. Contact the cheer camps in your area to
find one that is right for you.
were assigned different jumps and the
cheerleaders chose which jump they wanted
to improve. I went to the pike class with a
few other girls from my team. In this class,
we stretched, showed our jumps and were
critiqued on how to improve them. Next,
we broke off and learned either the jump
routine or standing tumbling routine. Our
squad split in half so that we could learn
both. Once we completed the routine we
were excused to the pool area for the Spirit
Stomp. There was music and dancing and a
fashion show where different girls from
each team were selected to model.
Afterward, the Spiritleaders passed out
spirit sticks to a girl on each squad who
they believed put in extra effort for the day.
When the Spirit Stomp ended, we were off
to our rooms. We played games and ate
snacks for a few hours and now we’re about
to go to bed, because we are all extremely
exhausted.
Day 3
It was a little more difficult to wake up
this morning, but I did—albeit slowly—and
went to breakfast. Today was the rally, so
my friends and I went down to the field and
practiced the material until our coaches
came down. We warmed up with rally beats
and had rotations for the material we
learned the past two days. Then, we finished up the choreography for the cheer
dance and the partner stunt routine, which
my group had down perfectly. There was a
break after lunch so we all went to the
camp store to check out the super cute
clothes they were selling.
During the afternoon, we finished the last
part of the all-star routine and tried it all
|50|FALL
together. It was a little more difficult than
the partner stunt routine but was just as fun
to do. The next class we headed into was
partner stunts where we reviewed and polished the routine. Then our buddy person
helped us with private coaching. This is
where they clean up the one routine we
chose to do for the rally in front of the
entire camp. Of course, we want to do our
absolute best, so we paid close attention to
our buddy person’s corrections, adding little
touches to make it our own.
Our buddy person excused us to dinner,
and we rushed off to eat so we had extra
time to get ready for the rally. When we finished dinner we went back to our rooms
and put our uniforms on, added a touch of
makeup and fixed our hair. We met our
coaches at the gym, where the rally was,
and reviewed a little bit. Once the gym was
open, all of the cheerleaders flooded in to
warm up to music. Then we sat with our
squads and watched all the teams go. When
it was our turn, we performed the tricky
basket toss routine and did an awesome job!
We finished watching the rest of the teams
and cheered them on.
Once everyone had performed, the actual
rally began, with the theme being “Project
Runway.” All of the squads were split up
into three teams to compete for ribbons.
There were tons of contests but the coolest
one was where we got to design an outfit
made out of tinfoil for a Spiritleader. Then,
the Spiritleaders passed out spirit sticks and
we went back to our dorms for a dance
party. We danced through the halls on our
floor for a while and were eventually joined
by the team on the floor above us. Before
we knew it, it was 1:30 a.m. I need some
sleep so I’m off to bed for the night,
pumped that tomorrow we get to perform
everything we’ve learned for our parents!
Day 4
Wow—the last day of camp. These last
few days have been so much fun, making
new friends and learning great routines. I
woke up for breakfast sore and tired but
eager for the day ahead. Once everyone was
on the field we did our usual warm up,
including rally beats (which I can never get
enough of ). Then we reviewed all of the
routines so we would be comfortable performing them in front of our friends and
family who would be coming to see us in
the Spirit Spectacular later in the afternoon.
After everything had been reviewed, we
went to lunch. During our free time we
made sure we were packed and ready so
we could simply pick up our bags after the
Spirit Spectacular ended. I went back to
the field to find my family sitting with the
rest of the parents ready to watch the performances. We did all of the routines well
and were sure to cheer on other teams
too. Then, a short competition took place,
with many categories including best tumbler. We sent people up for all of the competitions and ended up winning “best
tumbler”! When the competitions were
over, our buddy person gave us a trophy
and ribbons as we said our finally goodbyes to the amazing Spiritleaders staff.
This year’s camp experience is etched in
my mind; I’m sort of sad it’s all over. I’ll
never forget some of the wonderful things
that happened, and I already can’t wait
until next year! ¢
Competition Dance
By Lynn Singer | Photography by Sharon P. Fibelkorn
Ballet can transform your all-star
dance and cheer program.
Don’t Fear the B-Word
It’s not stuffy or boring, nor just for pink tights and
black leotard-wearing bun-heads. Yet some do fear the
“b-word”—ballet, that is. However, ballet is the foundation
for all types of dance, and it can transform your all-star
dancers and cheerleaders into strong, lean, flexible and
well-coordinated performers.
Dance teachers from tap to contemporary note that students who start with ballet training or who take ballet in
addition to another style of dance, learn quicker, have
stronger technique and become more versatile performers.
Football players such as Lynn Swann have taken ballet
because they realized a direct correlation between better
on-field performance and the agility, speed, stamina and
flexibility that ballet cultivates.
Probably the biggest overall benefit of ballet training is
that it forces an acute awareness of the body and its movement. Through various exercises, concentration is placed
on strengthening the abdominal and back muscles, or the
“core” muscles, which produces greater control over all
kinds of movement, from dancing, cheering and tumbling,
to walking, standing and sitting.
BALLET BENEFITS
BODY AWARENESS: Ballet creates first a conscious then a
sub-conscious awareness of what the body is doing. The
concentration in class on posture, and how placement
technique develops muscle memory, which makes execution second-nature when
performing.
FLEXIBILITY AND FITNESS: Ballet increases agility and
sculpts and tones muscles without adding bulk.
POSTURE: Ballet improves alignment from head
to toe.
OVERALL COORDINATION: Ballet incorporates upper and
lower body movement, allowing a
performer to both coordinate and separate arm
and leg motion.
BALANCE AND CONTROL: Ballet teaches dancers rhythm,
to connect one movement to the next and
be in command of their bodies.
STAMINA: Ballet provides a great cardiovascular workout.
STRENGTH: Ballet develops powerful leg and
core muscles.
SELF-DISCIPLINE: Ballet encourages mental
concentration.
Lynn Singer is the vice president of sales and marketing for America’s Best and Spirit Innovations and the founder of SpiritDirect.com, which produces
multi-media training resources for dance teams and cheerleaders. She also sits on the USASF National Advisory Board for Affiliate Companies and the
All-Star Dance Committee for the USASF. She has traveled nationally and internationally as a teacher, guest speaker, coordinator adjudicator of dance
and cheerleading events.
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BARRE ESSENTIALS
TRAINING TIME: 20 to 30 minutes, at least twice a week
The four most important barre exercises are plié, tendú, rond de jambe and relevé.
PLIÉ: Bending of the knees with the legs turned out. Demi-plié is a smaller bend of the
knees while the heels remain on the floor. Grand Plié is a deep bend where the heels
come off the floor, and the thighs are almost horizontal to the floor.
BENEFITS: Strengthens hamstrings, stretches groin muscles, encourages core muscle
control and prepares the body to jump.
TENDÚ: A stretching of the pointed foot. The working leg slides straight out from the
body to the front, side and back, with the tip of the toe remaining in contact with the
floor. The action of the toe point is felt in the ankle, not the toes.
BENEFITS: Lengthens the line of the lower body and trains the foot to point with every
movement.
ROND DE JAMBE: Circular movement of the leg. The working leg begins with tendú to
the front, circles to the side and back, and returns to the beginning position. Rond de
jambe can be executed with the working leg circling clockwise or counter-clockwise
and on or off the floor.
BENEFITS: Encourages turnout; increases hip mobility and flexibility; and aids leg
extension and control.
RELEVÉ: Raised. The dancer raises the heels off the floor to balance on the balls of
the foot. May also be executed with a slight spring.
BENEFITS: Teaches balance; strengthens calves and ankles.
IF YOU ONLY
INTRODUCE
ONE ELEMENT
OF BALLET
TRAINING TO
YOUR PROGRAM,
IT SHOULD BE
THE BARRE.
Across the floor combinations teach
dancers spatial awareness and how to
“travel” or move from one point on the
floor to another while executing various
combinations of movements, including
leaps and turns. These exercises help
dancers learn transitions, placement in
formations and formation changes in
routines.
TRAINING TIP: Repeat, repeat, repeat.
All-Star Ballet
One problem with competitive dance
and cheerleading is that many teachers and
coaches rush to teach choreography before
diligently training students in proper technique. No matter how incredible a routine
might be, award-winning performances
also require taking the time to drill technical skills outside of learning choreography.
Ballet provides the technique base performers need, no matter what specialty
they are pursuing.
Adding ballet training to your all-star
program doesn’t necessarily mean following a strict ballet curriculum. You can easily pick and choose—incorporating ballet
basics that train the body for the results
you want (strength, flexibility, stamina,
coordination and technique). Look for a
ballet teacher who is willing to be creative
and put together fun classes that utilize the
ballet essentials most beneficial to your
team’s competitive performance.
Ballet Breakdown
Ballet classes are generally divided into
three components: barre exercises, center
work and across the floor combinations.
Classes begin at the barre, which is a
handrail placed about waist high. It provides support and balance while the
dancer is learning. If you only introduce
one element of ballet training to your
program, it should be the barre (see
“Barre Essentials” above). These exercises
build strength and mobility, train feet to
point every time they leave the floor, and
provide the foundation for correct placement technique. Barre exercises also
warm up the core muscles and prepare
dancers for the next phase of the class:
center work.
Working in the center of the floor
teaches dancers to connect steps and
movements, and trains the body in balance and control. Perfecting turns, learning combinations of eight-counts, and
gaining an increased awareness of placement technique are all accomplished in
center work. Center work also prepares
dancers for the final phase of class: across
the floor combinations.
Making Ballet Fun
Suggest these ideas to your ballet teachers to make the sessions fun for newbie
dancers.
1. Use popular music for the entire class.
Repetitious barre exercises aren’t hard
work if Justin Timberlake or Kelly
Clarkson are providing the tempo.
2. Allow your students to take ballet in
the attire they’re most comfortable we
aring. Whether it’s traditional tights and
leotards or a sports bra and shorts, if your
students feel good in what they’re wearing, they’ll concentrate and learn better.
The only requirement should be that
attire is form fitting, so the teacher can
see and assess proper body alignment and
technique.
3. Add jazz combinations to center work
and across the floor sequences.
4. Vary center work and across the floor
combinations to introduce new steps and
techniques.
5. Integrate barre work into a class
mixed with jazz combinations and tumbling skills. You’ll cover the basics and
encourage versatility in your students. ¢
|53|
å
FEATURE: By Sharon Biggs Waller
A WINNING LOOK:
PERFORMANCE
MAKEUP
ASC STAFF
Consistency is a very important part of all-star cheer. “Which one of these is
not like the others?” should not be your team’s theme. That’s why uniforms, hairstyles, even cheer shoes and shoelaces match.
What’s left? How about your team’s makeup? While it may seem like a no-brainer to slap on some blush and lipstick and be done, there’s more to it. Performance
makeup completes the overall look of a squad and even enhances it, says Pam
Vandenbulck from Team Spirit Cosmetics in Longwood, Florida. “It adds to team
unity,” she says. “If they wear the same hair bows, sneakers and such, they should
wear the same makeup, too.
“Many coaches say they don’t care about the makeup because it’s about the skill,
and while that’s true to a point, there is still a need for uniformity,” Vandenbulck
stresses. “You don’t have to look like a diva or wear crazy makeup. Some [teams]
like to go overboard, but that’s the gym’s particular decision. It’s not so much which
design your team chooses, it’s the fact that you took the time to go the extra mile
and not leave a detail out.”
|54|FALL
Your Team’s Style
Makeup also allows your team to express
itself in a unique way that a uniform cannot.
Think about what style you want your team
to portray. Do you want to broadcast your
spirit? Or do you want to be conservative
and use makeup that enhances your team’s
healthy glow? If you’re unsure, performance
makeup companies such as Razzle Dazzle
and Team Image have consultants on hand
who can help coaches identify a team’s particular look. Team Image offers makeup
packages in three different looks, natural,
glitzy and theatrical, to help make the choices easy. For example, the natural package
includes a bronzer, a natural lipstick and a
matte powder.
When going for a natural look, it may be
tempting to let your girls wear their usual
makeup. However, differing shades will skew
your team’s look as all red lipsticks aren’t the
same shade, or one girl’s blusher may stand
out from a distance and draw attention to
her individuality.
Making it Work
You know those crazy football fans, face
painters, who cover their faces in their
team’s colors? They may be spirited, but
they aren’t exactly pretty. One thing to keep
in mind when applying performance makeup is that it’s easy to go from good to garish.
You don’t want to distract the judges with
clown-like makeup. When applying products, think of Broadway stars who wear theatrical makeup that enhances the features,
not detracts.
Here are a few tips from our experts.
“Don’t wear darker colors on the top of your
face,” Ancheta says. “Dark or super bright
colors make your eyes look really small, so
put the darker colors on your lips and the
lighter colors on your eyes.”
Vandenbulck says that many teams make
the mistake of using the same color on eyes
and lips. “There’s nothing worse than a team
with red on their eyes and lips,” she says.
“They look like clowns. They think they
have to have their team colors all over their
face, but if their colors are red, white and
blue, they should stick with a bit of blue and
white on the eyes, and red on the lips. Also
[unless you’re really skilled], try to keep the
eye design within the brow area and the eye
socket. Avoid taking the makeup from the
temple area to the side of the face.”
Ancheta says that if you want to stick with
the natural look, one trick to make your face
look bright from far away is to use a bronzer
with a bit of sparkle instead of a matte blush.
No matter how much you tell them not
to, little kids have a tendency to pick at their
makeup and bite their lips, so use a more
natural style for the young girls. “You can
always add some shimmer powder to give
some bling,” Vandenbulck says.
And finally, follow all instructions when
putting on the cosmetics. Much of perform-
ASC STAFF
Laura Ancheta from Razzle Dazzle
Cosmetics in Los Angeles, Calif., says makeup is also part of the excitement and experience of the performance. “When everyone
has uniformity the team members can look
at each other and think, ‘Wow, we look
great,’ ” she says. “They also realize this is
something special, a big event. It builds
excitement and confidence. They look bold
and feel bold.”
SHARON P. FIBELKORN
Put the final touches on your team’s
turnout with a tasteful touch of makeup.
ance makeup consists of applying a base of
glue or lotion and then the color on top.
Dab the glitter on with a brush or the appropriate applicator rather than a cotton swab
that will soak up the base.
With a little preparation and forethought,
makeup can be the final touch tying your
team look together. ¢
WHY BUY Performance makeup differs from everyday makeup in that it has
a long-lasting hold designed to stay on, even through sweat. It won’t rub off onto
another person during skin-to-skin contact; for example, when performing a toss.
Good performance makeup is also safe for young, tender skin. Long-lasting
drug-store lip stains can chap lips. Non-cosmetic-grade glitter, found in craft
stores, is made of metal flake and is harmful to use on the skin and on the eyes.
Cosmetic-grade glitter, on the other hand, is made of polyester, and the glue used
to hold the glitter is soft and washes off easily.
|55|
å
FEATURE: By Bonnie Spivey, with Lisa Saline | Photography by ASC Staff
THE HALLMARKS OF
A STELLAR ALL-STAR
DANCE TEAM
STEPPING UP:
• Versatility – ability to perform various
styles, such as pom, jazz, hip hop, lyrical, and funk
• Technique – being disciplined within
each style of dance
• Class appeal & showmanship – taking
pride in the team’s appearance
• Synchronization – working as one,
performing as one
• Sportsmanship – conforming to the
rules of the sport
• Leadership – role models at
school/gyms – community involvement
• Scholarship – achieving academic
success
TRAINING FOR
ALL-STAR DANCE
Discover what type of training the competitive dancer needs for success.
nique that needs to be mastered. Performers
who are good at hip-hop will not necessarily
succeed in jazz unless they have mastered
those specific technical skills. (Perhaps this
is why cheerleaders who crossover are often
successful in the pom category.) In other
styles, such as jazz and lyrical, dancers
require significantly more training in order
to do well.
As a coach, embrace the natural talent of
your performers. If some dancers are better
at one style than another, form sub-groups
for each routine that showcase only the
strongest dancers in each category.
Cheerleading and dance are like night and day—or at least they were.
In today’s all-star cheer competitions, more and more crossover occurs as cheerleaders incorporate dance into their routines. From kick lines to pirouettes, there
are certain elements of dance that are becoming commonplace in all-star cheer
competitions. So what does this mean for competitive performers around the
world? Way more opportunity.
Since dancers and cheerleaders share fundamentals elements of performance—
dedication, athleticism, leadership and teamwork—it’s conceivable that with proper training, cheerleaders could successfully make the transition to the competitive
dance world. In fact, cheer gyms that have already been integrating dance into
their routines or those who have even considered it, have a tremendous opportunity to compete in the all-star dance categories while attending competitions.
Competitive cheerleaders who wish to crossover into competitive dance need to
be trained in the style of dance that they intend to perform in. Simply put, if a team
is competing in the jazz category, performers need to be trained in proper jazz
|56|FALL
technique. As a coach, don’t be afraid to ask
for help if you aren’t an expert in jazz technique or choreography. The most successful
teams take advantage of the resources available to them throughout the community.
Dancers must be able to perform a variety
of styles, such as pom, jazz, hip-hop, lyrical,
kick, funk and military. In order to be a successful dance team, performers must understand the techniques that are unique to each
style of dance, and they must execute them
with precision.
According to Lisa Saline, president of the
United Performing Association Inc. (UPA),
within each style there is a specific tech-
While competitive cheer teams practice
out of cheer gyms, competitive dancers are
generally based out of dance studios. But
this doesn’t necessarily mean that a competitive dance team has to have a studio in
order to succeed. What they do need,
though, is to focus on technique, flexibility,
control and body awareness. The competitive dancer usually attends dance classes one
to two times a week to develop and sharpen
specific techniques. Competitive cheerleaders wishing to crossover should expand their
standard routine to include dance lessons.
Choreography itself varies between the
disciplines. While both dancers and cheerleaders learn routines in counts of eight, the
philosophy behind the choreography is quite
different. Says Lisa Saline, “Choreography of
a dance routine is somewhat like ‘telling a
story,’ with each piece flowing together from
beginning to end. It is the process of setting
up the story, creating the transitions that
flow between sections, and selecting an
appropriate finale or closing. On the whole,
it is much like creating a presentation.
Cheerleading choreography is similar with
the exception that cheer routines grab the
audience and try to get the crowd involved.
Cheer routines are more like creating an
interactive experience rather than a
presentation.”
One aspect is undeniable: Both cheer and
dance are physically and mentally challenging. Both need teamwork, trust, timing and
athleticism. But dance requires a quiet discipline within each performer that only develops from the study of proper technique and
body awareness. All in all, dance crossover
leads to improved performers on the whole
and is a great way to break in to new areas
of competition. ¢
Lisa Saline is president of United
Performing Association (UPA) and serves
on the national board of the USASF. Bonnie
Spivey is a freelance writer from Florida
who is a former competitive dancer and
has served as an officer on an award-winning dance team.
|57|
Parental Guidance
Photos and Text by ASC Staff
Getting That Extra Support
A top-notch cheer parent is key to a well-rounded cheer athlete.
Cheer parents are some of the most supportive moms
and dads in youth sporting events. Just look into the stands of
any competition, and you’ll hear the most screaming and
encouragement, not from fans, but from the parents and grandparents of the cheer athletes. Indeed, kids get a lot of backing
from cheer relatives.
But as a cheer parent, supporting your cheerleader is not just
about holding up cheer signs in the crowd or waving inflatable
spirit sticks. Support starts well before the competition.
Healthy Habits
A cheerleader is an athlete and should be treated as such. In a
parent’s crushingly busy schedule, it may be simpler to head to
the drive-through on the way to competition or practice, but
that doesn’t set up the athlete for success. Parents should get
involved with a nutritional plan for their kids to make sure they
receive the right diet that gives them energy and stamina, and
maintains a healthy body during and post season.
Nutrition doesn’t just stop there—a regular meal schedule is
just as important. Coaches sadly report that cheerleaders often
arrive at practice with nothing in their bellies, and a growing
child with a gnawing emptiness in her stomach is not going be
able to concentrate or perform well.
|58|FALL
Time Table
Support your athlete by bringing her to
practice all the time—and on time. When
your child comes late to practice, it’s
inevitably going to result in having to do
extra laps, or push-ups or sit-ups, and this
can have a great effect on whether he or
she enjoys the sport or not. Picking up
your kid on time is also important,
because if your child is in the final class of
the night, the last thing you want to do is
be the one parent who arrives to see the
kid waiting outside the locked gym door
with the coach. Parents should be
respectful of the coach’s time, because
they are not babysitters.
We know that cheer can take up a lot of
time during the week, so ensure that it
doesn’t affect your child’s schoolwork.
Cheerleaders have school all day, then they
take off for cheer, come back, have dinner,
then finally crack open the books. As parents, help keep their priorities straight so that you don’t have to
fight with them about homework and studying.
Giving More, Letting Go
Some kids are super goal-oriented and will let you know that
they’d love to get better in the sport. You can support them by
enrolling them in extra classes. Every gym offers additional
classes or private lessons where a cheerleader can perfect a difficult move, such as a back handspring or a full. So if you are in a
position to provide them with more, get them the extra help
they might need.
Then there is the opposite situation, where occasionally a
child is not interested in continuing in the sport. It’s important
to pay attention to the signs. If your child is dreading practice
and not putting in the effort that the rest of the teammates are,
the whole squad suffers. Listen to your child, and be honest with
the coach. Work with your coach to determine whether the child
is capable of continuing or not.
It’s rare, however, that a child doesn’t want to stay involved
with a sport as wonderful as cheerleading if the support system
for him or her is well in place. By being there in a variety of
ways, you’ll ensure a healthy, happy cheer athlete for many competition seasons to come. ¢
GOT
INSURANCE?
WE DO
The U.S. All Star Federation is about safety standards. It’s about
providing a safe environment for competitive cheerleaders
across the country. It’s about parents knowing their children
are being taught using safe methods. And, the USASF athlete
credentialing includes catastrophic insurance.
ISN’T IT ABOUT TIME YOUR
ATHLETES ARE CREDENTIALED?
To inquire about USASF athlete credentialing,
contact the regional director in your area below.
WEST COAST
Joy Troup
949.307.6856
MID WEST
Amy Clark
330.482.5900, ext 3
SOUTH WEST
Billy Smith
972.333.0369
SOUTH EAST
Gena Evans
407.547.5119
CENTRAL ATLANTIC
Adam Thomas
980.721.0474
NORTH EAST
Robin Norko
203.214.4645
Teams Across America
By Lauren Crawford
In every issue of All-Star Cheer magazine, numerous deserving
USASF member cheer gyms will be featured. From very small up
to large programs, the gyms highlighted are highly recommended
and screened by our panel of regional experts. This issue
showcases three gyms from the Mid West Region.
Cheer in The Heartland
Here are three gyms in the Mid West region that demonstrate
tremendous spirit and promise.
her team members to get involved in community service projects. Many of the girls
volunteer at nonprofit organizations. Team
projects also include adopting a family at
Christmas and making blankets for the
Iraqi children. “We want [the Iraqi people]
to know that Americans are friendly,”
Domalakes says.
What do the Nebraska All Star Tigers,
Heat Cheer and Ultimate Athletics have in
common? They’re all shining examples of
successful Mid West gyms working their
way to the top, and taking unique
approaches to fun and community. Don’t
be surprised if you see these US All Star
Federation (USASF) teams at next year’s
Worlds.
NEBRASKA ALL STAR TIGERS
OMAHA, NEB.
Ask coach and gym owner Lori
Domalakes what her goal for the Nebraska
All Star Tigers is, and she’ll tell you, “I
want them to be the best in the Mid West.”
With eight teams in place at the start of a
ninth season, the Tigers are ready to claw
their way to the top.
Domalakes has been involved in cheerleading for almost 14 years. Getting her
start coaching a competition dance team
for a non-profit organization, she went on
to start the Nebraska All Star Tigers with
two teams. The program now includes 135
participants, and Domalakes makes sure
|60|FALL
no one is turned away. “Everyone who
walks through my doors makes a team,”
she says.
The Nebraska All Star Tigers attend
about 10 competitions each year and
already have several national championships under their belt. Domalakes is
proud of her teams but not just because of
their titles.
“My proudest moment would be when
we were first nationally recognized,” she
says. “It’s the little things—
watching how much they
have accomplished and how
the program grows.”
Domalakes believes the
most important thing about
cheerleading is having fun.
However, her teams don’t
mind a little work hard either.
Maintaining a high level of
performance and skill, they
hope for a Worlds bid for the
second year in a row.
When not practicing or
competing, Lori encourages
Facts and Stats:
Member of USASF: 1 year
On the USASF: “If you work for me, you are
USASF certified. I love the fact that everyone
has to follow the rules. Rules are always made
for a reason.”
CONTACT: Lori Domalakes
Nebraska All Star Tigers
13823 Industrial Rd.
Omaha, NE 68137
(402) 333-9596 (Gym)
(402) 861-9953 (Office)
HEAT CHEER
HARTLAND, WIS.
Heat Cheer is gearing up for their second competition season. With 69 girls participating, they are ready to bring on the
heat!
Heat Cheer consists of five teams all
with names reflecting fiery origins: Embers
(ages 3 to 5), Sparks (ages 8 and under),
Flames (ages 11 and under), Blaze (ages 14
and under) and finally the Inferno (ages 18
and under). With eight competitions on
the schedule, gym owner and coach Karen
Welch is eager to show what her athletes
are made of.
Being a dance major in college, Welch
has strength in choreography. Ten years
ago, she took an interest in cheerleading.
Noticing how it was becoming a truly athletic sport, she attended clinics to learn
more. As a grade school cheer coach, she
found parents consistently asking for referrals to all-star gyms, but without a program in the area, Welch recognized a need
and took the plunge as director and owner
of Heat Cheer.
As proof of their hard work last season,
Heat Cheer’s senior team took 10th place
at their first national competition. The
placings can only go up from here, and
they hope to one day see themselves at the
top of the UCA Nationals competition.
Welch is impressed with the growth of her
teams. “It’s amazing to see what the kids
can accomplish.”
Facts and Stats:
USASF membership: Inaugural Member
On the USASF: “I’m happy the organization
exists. It helps to standardize things across
the country. Now you can go to a competition,
and they all follow the same rules.”
CONTACT: Karen Welch
Heat Cheer
N77 W3114 Harman Court
Hartland, WI
(262) 264-0693 (Gym)
ULTIMATE ATHLETICS
GURNEE, ILL.
When they met 11 years ago while
cheering together at Northern Illinois
University, Kelly Brouton and Craig El
“WE WANT TO GET ULTIMATE ATHLETICS
READY SO THAT THEY CAN MAKE AN
IMPACT THEIR FIRST TIME AT WORLDS.”
—CRAIG EL
might not have expected how successful
their partnership would be. But knowing
they had an immense amount of competitive cheer experience between them, they
took a leap of faith and opened the doors
to Ultimate Athletics. After five seasons,
their gym now thrives as one of the powerhouse gyms of Illinois, with 125 participants.
Each season their teams attend 11 competitions—four being nationals, and the
remaining local and regional. However, it
won’t be surprising if we find them adding
Worlds to their competition schedule in
the near future. Ultimate Athletics
achieved a Worlds bid last season but
opted not to attend. El hopes this year will
be different. “We want to get them ready
so that they can make an impact their first
time at Worlds,” he says. They aspire to
make their national mark as “a team to be
reckoned with.”
Team building is a major focus for
Ultimate Athletics. While they spend time
connecting as a team, they also take time
to build relationships with other all-star
teams in the area. They host an event
every summer called All Star Summer
Extravaganza. This year 12 teams participated. Gathering for a day of barbeque and
games, they end with a preview of upcoming routines. El and Brouton agree that the
event creates a sense of camaraderie and
sportsmanship. As new friendships flourish between the teams, they can take comfort knowing they have a fan base in the
stands at competitions—even if it is the
competitors themselves.
Facts and Stats:
USASF membership: Inaugural Member
On the USASF: “I really appreciate what they
are doing for this industry. In the future I
would be interested in being a state representative.”
CONTACT: Craig El and Kelly Brouton
Ultimate Athletics
1018 Tristate Parkway
Gurnee, IL 60031
(847) 856-8573 (Gym) ¢
|61|
Competition Composure
By Jessica Pupillo | Photography by Sharon P. Fibelkorn
Semi-Tough
Preparing psychologically for competing can give all-star cheerleaders
a performance advantage—if done properly.
PHRASE THAT
PAYS OFF
“Mental toughness is the
ability to choose thoughts
that set you up for success
Instead of focusing on a mistake,
regardless of your circumpractice
thinking about the correction
stance,” she explains.
and
phrasing
it in your mind the right
Most experts agree that
way, Julie Bell, Ph.D., explains.
mentally tough athletes per“If you’re doing a basket toss, and
severe in the face of difficulyou went into it too much on your
ty or failure, sustain a high
heels and shot backward, that’s a
level of performance over
mistake,” Bell says. “The correction is
time and during competito put your weight on your toes. You
tion, and are self-motivated
have to tell yourself what to do as
opposed to what not to do.”
to practice and compete,
says Colleen Hacker Ph.D.,
through your head determine how you feel
sports psychology consultant to elite athletes, includ- and ultimately how you perform, Bell
explains.
ing the U.S. Women’s
“For example, let’s say you have been in
National Soccer Team.
“Many athletes think you the gym for a couple of hours, and you’ve
have it or you don’t,” Hacker run through your routine five times. In all
says. But that’s not necessar- of that, you had one mistake, say you overrotated on a tumbling pass. While everyily the case, she explains.
“Mental toughness is a psy- thing else you did was great, you just focus
chological skill that
YOUNG AND TOUGH
can be improved
with practice and
According to Colleen Hacker, Ph.D., an
athlete is never too young to start reaping the
systematic
benefits of mental toughness training. But she
training.”
cautions that you have to be developmentally
Practice and talent aren’t the only
The results of mental toughness
sensitive and simplify your message with
factors that determine how a cheerleader
training are exponential when an
young cheerleaders. A coach needs to underperforms. A cheerleader trained in mental entire squad trains together, Bell
stand that cheerleaders are still kids—not
toughness has a distinct advantage over
says. This can build trust and confi- mature adults, not robots.
others, experts say.
dence in the team’s abilities, and
Julie Bell, Ph.D., recommends enlisting the
“When everyone has talent, the differknowing your teammates are menhelp of parents when training younger athletes
ence between skills among athletes is mini- tally strong is reassuring to each
to be mentally strong.
“Parents are either going to reinforce or
mal. Mental toughness is what separates
individual.
undermine
what I’m going to say,” Bell says.
your champions from everyone else,” says
Most cheerleaders need to shift
“If
a
cheerleader
comes home from practice,
Julie Bell, Ph.D., sports psychologist, forhow they think to increase mental
and
the
parent
asks
if she had any falls, the
mer cheerleader and Universal
toughness. Like self-fulfilling
parent is really teaching her how to focus on
Cheerleaders Association instructor.
prophecies, the thoughts running
mistakes instead of her success.”
Jessica Pupillo is an experienced health care writer based in Missouri whose work has appeared in American Academy of Pediatrics News.
|62|FALL
“THE GREATEST
SOURCE OF
STRESS FOR
ATHLETES IS
NOT BAD THINGS
HAPPENING, IT’S
THE UNKNOWN.”
on that mistake. [Because you remember
only the negative], the next time you walk
into the gym, you’re going to be less confident instead of more,” Bell says.
Hacker works with athletes to create
mental “if, then” strategies to decrease
stress and fear during competition and
empower athletes to cope with mistakes,
nerves or other would-be distractions.
“The greatest source of stress for athletes is not bad things happening, it’s the
unknown,” Hacker explains. “We have to
anticipate that these things will happen
and have a plan in place.”
Athletes have different triggers that lead
them down the path of negative thinking,
making them vulnerable, Hacker says. It’s
important to work one-on-one with each
athlete to determine what it is that triggers the negative thoughts.
To reveal how mentally strong a cheerleader is, you might need to place the girl
or boy in a situation that demands more
than ability, Hacker explains. In these situations you can watch how the athlete handles unexpected outcomes.
“When you’re at the top of the competitive ladder all the time, you don’t have the
opportunity to observe for mental toughness,” Hacker says. “Mental toughness is
needed in difficulty, challenge, pressure.”
For mental toughness training to have
the greatest impact, coaches have to start
talking about it and practicing it throughout the competitive season, Hacker notes.
“What do most coaches and teams do?
They only talk about it at the beginning of
the season, or they talk about it right
before the big event,” Hacker says.
“Imagine doing that with any other skill …
you have to target, practice and practice
consistently.” ¢
BE INFORMED. BE COMPETITIVE. BE UNITED.
BE TREATED LIKE THE CHEER ATHLETE YOU ARE!
å
ALL-STAR CHEER THE OFFICIAL MAGAZINE FOR THE
GOVERNING BODY AND AUTHORITY IN THE SPORT OF
COMPETITIVE CHEERLEADING, THE UNITED STATES ALL-STAR
FEDERATION (USASF) FOR CHEER AND DANCE.
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MAIL SUBSCRIPTION TO: All-Star Cheer Magazine, 332 Forest Ave., #23, Laguna Beach, CA 92651.
|63|
å
A complete set of rules may also be downloaded from www.usasf.net
USASF 2006-07 Rules
2006-07 GENERAL SAFETY GUIDELINES
î1. All teams must be supervised during all official functions by a qualified director/coach. î2. Coaches must require proficien-
cy before skill progression. Coaches must consider the individual, group, and team skill levels with regard to proper performance
level placement. î3. All teams, gyms, coaches and directors should have an emergency response plan in the event of an injury.
4. Soft-soled shoes must be worn while competing. No dance shoes/boots, and/or gymnastic slippers (or similar) allowed. Shoes
must have a solid sole. If you can roll it up and put it in your pocket, it’s illegal. î5. Jewelry of any kind including but not limited
to ear, nose, tongue, belly button and facial rings, clear plastic jewelry, bracelets, necklaces and pins on uniforms are prohibited. Jewelry must be removed and may not be taped over. (Exception: medical ID tags/bracelets, and uniform rhinestones.
Rhinestones are illegal when adhered to the skin as opposed to a uniform. Temporary tattoos are also allowed.) î6. Routines
shall not exceed 2 minutes and 30 seconds. Cheerleaders must have at least one foot on the performing surface when the
routine starts. î7. Any height increasing apparatus used to propel a competitor is prohibited. (Exception: spring floor) î8. Flags,
banners, signs, pom pons, and megaphones are the only props allowed. Props with poles or similar support apparatus may not
be used in conjunction with any kind of stunt or tumbling. All props must be safely discarded out of harms way (e.g. throwing a
hard sign across the mat from a stunt would be illegal). Any uniform piece purposefully removed from the body and used for
visual effect will be considered a prop. î9. Casts that are hard and unyielding or have rough edges must be appropriately covered with a padded material. î10. On the level grid, all skills allowed for a particular level encompass all skills allowed in the
preceding level. î11. Required spotters for all levels must be your own team’s members. î12. Drops including but not limited to
knee, seat, thigh, front, back, and split drops from a jump, stunt, or inverted position are prohibited unless the majority of the
weight is first borne on the hands/feet, which breaks the impact of the drop. Shushinovas are allowed.
LEVEL 1 RULES
GENERAL TUMBLING
•A. All tumbling must originate
from and land on the performing surface. (Exception:
Tumbler may [without hip-overhead rotation] rebound from
his/her feet into a stunt transition. Rebounding to a prone
position in a stunt is allowed.)
•B. Tumbling over, under, or
through a stunt, individual, or
prop, is prohibited. (Exception:
forward/backward rolls over a
prop are legal.)
•C. Tumbling while holding or
in contact with any prop is
prohibited.
•D. Spotted, assisted, or
connected tumbling is prohibited. (Example: Double
cartwheels and chorus line
flips are illegal.)
•E. All dive rolls are illegal at
this level.
STANDING/RUNNING
TUMBLING
•A. Skills must involve constant
physical contact with the performing surface. (Exception:
block cartwheels/round offs)
•B. Forward and backward
rolls, front and back
walkovers, and handstands
are allowed.
|64|FALL
•C. Cartwheels and round
offs are allowed.
•D. Front and back
handsprings, and dive
rolls are not allowed.
STUNTS
•A. No extended stunts allowed
(see definition of extended
stunts in glossary). A stunt
may not be held at or pass
through an extended position.
•B. During a transitional stunt,
if the weight of the top person
does not remain within the
vertical axis of the stunt, three
stationary catchers are
required. Physical contact
must be maintained with the
original base(s).
•C. No stunt, pyramid, or
individual may move over or
under another stunt, pyramid
or individua (e.g. shoulder sits
walking under prep).
•D. Single based split catches
are prohibited.
•E. Single leg stunts are
allowed below shoulder
(prep) level.
•F. Transitional stunts may not
involve changing bases. All
bases need to remain in
contact with the stunt.
•G. Twisting mounts are not
allowed.
•H. Base(s) cannot turn while
top person is in upward or
downward motion. Transitions
where one base makes a
1/4 turn to get under stunt
are legal.
•I. No free flipping or assisted
flipping mounts or transitional
stunts allowed.
•J. All stunts at shoulder level
and above (except a shoulder
straddle/sit) require a back
spotter (Example: v-sits, suspended splits, flat-bodied positions, extension preps, etc.)
DISMOUNTS
•A. Cradles from single based
stunts at prep level must have
a spotter with at least one
hand/arm supporting the
head and shoulder area
through the cradle.
•B. Cradles from multi-based
stunts at prep level or above
must have two catchers and a
separate spotter positioned at
the head and shoulder area
through the cradle.
•C. Dismounts to the performing surface from stunts and
pyramids must be assisted by
an original base.
•D. No free flipping or assisted
flipping dismounts allowed.
•E. Tension drops/rolls of any
kind are prohibited.
•F. Only straight pop downs
and basic straight cradles are
allowed.
•G. 1/4 turns are not allowed.
•H. No cradles are allowed
from extended stunts in
pyramids.
RELEASE MOVES
•A. No release moves allowed
other than those permitted in
Level 1 “Stunts” and
“Dismounts.”
•B. Release moves may not
land in a prone position.
INVERSIONS
•A. No inversions allowed.
PYRAMIDS
•A. Pyramids must follow Level
1 "Stunts" and "Dismounts"
rules and are allowed up to
2 high.
•B. Top persons in two leg
extended stunts must be
braced by at least two top
persons at prep level with
hand/arm connection. The
connection must be made at
or below prep level.
•C. One leg stunts at prep level
must be braced by at least
two top persons at prep level
or lower with hand/arm
connection only. The
connection must be made
prior to executing single leg
stunt & must be made at or
below prep level.
•D. No cradles are allowed
from extended stunts in
pyramids.
•E. All stunts at shoulder level
and above (except a shoulder
straddle/sit) require a back
spotter (Example: v-sits,
suspended splits, flat-bodied
positions, extension
preps, etc.)
when passing through the
inverted position.
RUNNING TUMBLING
•A. No flips or aerials allowed.
•B. Airborne skills must involve
hand support with at least
one hand when passing
through th inverted position.
•C. Series front and back handsprings are allowed.
•D. No twisting while airborne.
(Exception: Round offs)
STUNTS
•A. A spotter is required for all
extended stunts.
TOSSES
•B. Single based double
•A. No tosses allowed.
awesomes/cupies require a
•B. Helicopter tosses are not
separate spotter for each top
allowed.
person.
LEVEL 2 RULES
•C. Single leg stunts may not
be held at or pass through an
GENERAL TUMBLING
extended position.
from and land on the perform- •D. Transitional stunts may not
ing surface. (Exception:
involve changing bases.
Tumbler may [without hip-over(Clarification: Leap Frogs
head rotation] rebound from
where the top person moves
his/her feet into a stunt
to a new set of bases is illetransition. Rebounding to a
gal.) All bases need to remain
prone position is allowed.)
in contact with the stunt.
•E. Twisting mounts and transithrough a stunt, individual, or
tions are permitted up to 1/2
twist by the top person.
forward/backward rolls over a •F. Base(s) cannot turn while
prop are legal.)
top is in upward or downward
motion. Transitions where one
base makes a 1/4 turn to get
prohibited.
under stunt are legal.
•D. Spotted, assisted, or con•G. Single based split catches
nected tumbling is prohibited.
are prohibited.
(Example: Double cartwheels
•H. See Level 2 "Pyramids" for
an chorus line flips are illegal.)
further restrictions and/or
•E. Dive rolls performed in a
exceptions.
swan or layout position are
•I. No free flipping or assisted
prohibited.
flipping mounts or transitional
stunts allowed.
STANDING TUMBLING
•J. When catching a transition•A. No flips or aerials allowed.
al stunt that is above prep
•B. Series front and back
level, at least three catchers
handsprings are not allowed.
are required. If the weight of
•C. No jump skills are allowed
the top person does not
in immediate combination
remain within the vertical axis
with a standing handspring.
of the stunt three stationary
(e.g. no toe touch back handcatchers that are not original
springs or back handspring
bases are required.
toe touches)
•D. No twisting while airborne.
DISMOUNTS
(Exception: Round offs)
•E. Airborne skills must involve
hand support with both hands
must have a spotter with at
least one hand/arm supporting the head and shoulder
area through the cradle.
through the cradle.
•C. When cradling single based
double awesomes/cupies 2
catchers must catch each top
person. Catchers and bases
must be stationary prior to the
initiation of the dismount.
•D. Dismounts to the performing surface from stunts and
an original base.
•E. No free flipping or assisted
flipping dismounts allowed.
•F. Tension drops/rolls of any
•G. Only straight pop downs,
basic straight cradles and
quarter turns are allowed.
•H. Twist cradles exceeding
1/4 turn are not allowed. All
other positions (e.g. toe touch,
pike, tuck, etc.) are not
allowed.
RELEASE MOVES
other than those permitted at
Level 2 in "Dismounts" and
"Tosses."
INVERSION
•A. No inversions above ground
level allowed. (Exception:
Transitions from ground level
inversions to non-inverted
positions are allowed.)
(Example: Going from a handstand on the ground to a noninverted stunt such as a
shoulder sit is legal.)
PYRAMIDS
2 "Stunts" and "Dismounts"
rules and are allowed up to 2
high with the following exceptions: Extended single-leg
stunts 1) must be braced by
two top persons at prep level
or below and 2) the connection to the braces can be
hand or foot and must be
established at or below prep
level. Prep level top persons
must have both feet in bases
hands. (Exception: shoulder
sit, double base thigh stand or
shoulder stand)
•B. Top persons must receive
primary support from a base.
(Exception: In hanging pyramids, primary supporting top
person must be at prep level
or below.)
•C. No stunt, pyramid, or individual may move over or
or individual (e.g. shoulder sits
•D. Extended one-legged stunts
may not brace or be braced by
any other extended stunts.
•E. Hanging pyramids must
remain upright. Each top person at the prep level must
have a continuous spotter and
bases must brace the hanging
person(s).
TOSSES
•A. Tosses are allowed up to a
total of 4 tossing bases. One
base must be behind the top
person during the toss and
may assist the top person into
the toss.
•B. Tosses must be performed
from ground level and must
land in a cradle position. Top
person must be caught in a
cradle position by 3 original
bases one of which is positioned at the head and shoulder area of the top person.
Bases must remain stationary
during the toss (i.e. No intentional traveling tosses).
•C. The only body positions
allowed are straight rides.
(Exception: A single full twisting log/barrel roll is allowed
as long as it starts and ends
in a cradle position)
•D. During the straight body
ride, the top person may use
different arm variations such
as a salute or blowing a kiss
but must keep the legs and
body in the straight ride
position.
•E. No stunt, pyramid, individual, or, prop may move over or
|65|
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2006-07 USASF GENERAL SAFETY GUIDELINES
under a toss, and a toss may
not be thrown over, under, or
through stunts, pyramids, individuals, or props.
•F. All types of tosses (i.e. basket, squishy, scrunch and/or
sponge) allowed. Exception:
Helicopter tosses are not
allowed.
pikes, aerial walk overs and
Arabians.
•B. No tumbling is allowed
after a tuck flip. (Exception: a
forward or backward roll is
allowed after a tuck flip —no
tumbling allowed after forward or backward roll)
•C. No twisting while airborne.
(Exception: round offs)
LEVEL 3 RULES
GENERAL TUMBLING
Tumbler may [without hip-overhead rotation] rebound from
his/her feet into a stunt transition. Rebounding to a prone
position is allowed.)
prop are legal.)
•C. Tumbling while holding or in
contact with any prop is
prohibited.
•D. Spotted, assisted, or connected tumbling is prohibited. (Example: Double cartwheels and chorus line flips
are illegal.)
prohibited.
STANDING TUMBLING
•A. No flips or aerials allowed.
•B. Airborne skills must involve
hand support with at least
one hand when passing
through the inverted position.
•C. Series front and back handsprings are allowed.
•D. No twisting while airborne
(Exception: round offs)
RUNNING TUMBLING
•A. Flips may ONLY be performed in tuck position only
from a round off or round off
back handspring(s) entry.
(Exception: aerial cartwheels
and running tuck fronts are
allowed). (The following tumbling skills are examples of
skills not allowed: X-outs, layouts, layout step outs, whips,
|66|FALL
STUNTS
extended stunts.
•B. Single based double awesomes/cupies require a separate spotter for each top
person.
•C. Single based split catches
are prohibited.
•D. When catching a transitional stunt that is above prep
of the stunt, three stationary
catchers that are not original
bases are required. Physical
contact must be maintained
with at least one original base
or with a person at prep level
or below.
•E. No stunt, pyramid, or individual may move over or
•F. Single leg extended stunts
are allowed.
•G. Twisting mounts and transitions are permitted up to one
twist by the top person.
•H. During transitions, at least
one base must remain in contact with the top person.
•I. No free flipping mounts or
transitional stunts allowed.
DISMOUNTS
least one hand/arm supporting the head and shoulder
through the cradle.
an original base.
•E. No free flipping dismounts
allowed.
•G. Only straight pop downs,
basic straight cradles and
quarter turns are allowed from
any single leg stunt.
•H. Up to Single full twists are
allowed from any two legged
stunts.
•I. Up to 1 trick allowed during
a dismount from any two
legged stunt.
RELEASE MOVES
other than those permitted at
Level 3 in "Dismounts" and
"Tosses."
two high.
•B. No stunt, pyramid, or individual may move over or
walking under prep). Illegal:
leap frog pyramids and wolf
wall transitions.
•C. Extended one-legged stunts
•D. Hanging pyramids must
person(s).
•E. During pyramid transition, a
top person may pass above 2
persons high only while in
direct arm-to-arm contact with
at least two top persons at
prep level or below. These
transitions may not involve
changing bases.
•F. Pyramid transitions may not
involve inversions while
released from the bases.
•G. Top persons must receive
or below.)
TOSSES
INVERSIONS
•A. No inverted stunts above
shoulder level. (Exception: doubase must be behind the top
ble base suspended forward
roll dismount to a cradle or the
performing surface is allowed).
the toss.
The connection and support of •B. Tosses must be performed
the top person with the bases
must be at shoulder level or
below. (An arm-and-arm would
be legal at this level.)
•B. Downward inversions may
bases one of which is posionly originate from below prep
tioned at the head and shoullevel. The inverted top person
der area of the top person.
must be assisted by at least
two bases. Top person must
during the toss (i.e. No intenmaintain contact with an origitional traveling tosses).
nal base.
•C. Flipping and traveling tosses are not allowed.
•D. Up to 1 trick allowed during
PYRAMIDS
a toss. (Legal: toe-touch, ball
out, pretty girl, etc…) (Illegal:
3 “Stunts” and "Dismounts"
Switch kick, pretty girl-kick,
rules and are allowed up to
double toe-touch). Tosses may
not exceed 1 twisting rotation.
•E. During a twisting toss, no
skill other than the twist is
allowed. (e.g. kick fulls, 1/2
twist to touches, etc…are not
allowed)
•F. No stunt, pyramid, individual, or, prop may move over or
through stunts, pyramids, individuals, or props.
•G. No inversions allowed.
•H. Other toss positions
besides straight rides are
allowed.
•I. Helicopter tosses are not
allowed.
ly after the jump skill).
ing the head and shoulder
•C. No consecutive flip-flip comarea through the cradle.
binations are allowed (e.g.
back tuck-back tuck, back
tuck-punch front, etc).
must have two catchers and
•D. Skills are allowed up to 1
a separate spotter positioned
flipping and 0 twisting rotaat the head and shoulder
tions. (Exception: aerial cartarea through the cradle.
wheel, Onodi)
•C. When cradling single
based double
awesomes/cupies 2 catchers
RUNNING TUMBLING
must catch each top person.
•A. Skills are allowed up to 1
Catchers and bases must be
flipping and 0 twisting rotastationary prior to the initiations. (Exception: aerial carttion of the dismount.
wheel, Onodi)
•D. Dismounts to the performing surface from stunts
STUNTS
and pyramids must be
assisted by an original base.
extended stunts
•B. Single based split catches
allowed.
LEVEL 4 RULES
are prohibited.
GENERAL TUMBLING
•C. Single based double awekind are prohibited.
somes/cupies require a sep•G. Up to a 1-1/4 twisting
from and land on the performarate spotter for each top
rotation allowed from all sining surface. (Exception:
person.
gle leg stunts.
Tumbler may [without hip-over- •D. When catching a transition•H. Up to a 2-1/4 twisting
al stunt that is above prep
rotation allowed from all two
his/her feet into a stunt tranlevel, at least three catchers
legged stunts.
sition. Rebounding to a prone
•I. During a cradle that
exceeds 1-1/4 twists, no
allowed.
RELEASE MOVES
prop are legal.)
with at least one original base (Release moves do not refer to
pyramid transitions, only free
standing stunts.)
prohibited.
or below.
•A. Release moves are allowed
•D. Spotted, assisted, or con•E. No free flipping mounts or
but must not exceed extended
nected tumbling is prohibittransitional stunts allowed.
arm level (exception: cradles).
ed. (Example: Double cart•F. No stunt, pyramid, or indiIf the base(s) releases stunt,
wheels and chorus line flips
vidual may move over or
then it must come back to
are illegal.)
original base(s). (i.e. Tick-tocks
are permitted.)
prohibited.
•G. Single leg extended stunts
are allowed.
STANDING TUMBLING
•H. Twisting mounts and transi•A. Standing flips and flips
INVERSIONS
tions are permitted up to 1•A. Extended inverted stunts
from a back handspring entry
1/2 twists by the top person.
allowed. Also, see “Stunts”
are allowed.
•I. During transitions, at least
and “Pyramids.”
•B. No jump skills are allowed
one base must remain in con•B. Downward inversions may
in immediate combination
tact with the top person.
only originate from below
with a standing flip (e.g. no
Exception: See "Release
extended level and must be
toe touch back tucks, no
Moves"
assisted by at least two bases
back tuck toe touches, or
positioned at the head and
pike jump front flips, etc.
DISMOUNTS
shoulder area.
However, toe touch back
•C. Downward inversions must
handspring back tucks are
maintain contact with an origiallowed because the flip skill
nal base.
is not connected immediateleast one hand/arm support-
PYRAMIDS
4 “Stunts” and "Dismounts"
rules and are allowed up to 2
high.
•B. No stunt, pyramid, or individual may move over or under
another stunt, pyramid or individual (e.g. shoulder sits walking under prep). Clarification:
All versions of leap frog pyramids are illegal. Exception:
Other pyramids where a top
person travels over a leg or
extremity (e.g. wolf wall transition) would be legal.
•C. Extended one-legged stunts
•D. Hanging pyramids must
person(s).
•E. During a pyramid transition,
a top person may pass above
2 persons high while in direct
physical contact with at least
one person at prep level or
below. Primary weight may not
be borne at second level.
•F. Pyramid transitions may
involve inversions (including
braced flips) while released
from the bases if contact is
maintained with at least 2
persons at prep level or
below and the top person
that has been released from
the bases stays in continuous movement.
•G. Braced inversions (including braced flips) are allowed
up to 1-1/4 flipping rotations,
0 twisting rotations, may not
travel downward while inverted, and may not involve
changing bases.
•H. Non inverted transitional
pyramids may involve changing bases. Physical contact
during transitions must be
maintained with a person at
prep level or below.
•I. Top persons must receive
or below.)
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2006-07 USASF GENERAL SAFETY GUIDELINES
TOSSES
the toss.
•B. Tosses must be performed
during the toss (i.e. No intentional traveling tosses).
Exception: A 1/4 turn is
allowed by bases as in a kick
full basket.
•C. No stunt, pyramid, individual, or, prop may move over or
through stunts, pyramids, individuals, or props
•D. Up to 2 tricks allowed during a toss. (e.g. kick full, full
up toe touch, etc.)
•E. Tosses may not exceed 2
twisting rotations.
•F. During a toss that exceeds
1-1/4 twisting rotations, no
allowed. (e.g. kick doubles are
not allowed)
•G. No flips or inversion are
allowed.
•H. Helicopter tosses are not
allowed.
prohibited.
•D. Spotted, assisted, or connected tumbling is prohibited.
(Example: Double cartwheels
and chorus line flips are illegal.)
prohibited.
STANDING/RUNNING
TUMBLING
flipping and 2 twisting rotations.
STUNTS
extended stunts.
•B. Single based split catches
are prohibited.
•C. When catching a transitional stunt that is above prep
with at least one original base
or below.
•D. Single based double awesomes/cupies require a separate spotter for each top person.
•E. Transitional stunts may
Physical contact during transitions must be maintained with
LEVEL 5 RULES
a person at prep level or
GENERAL TUMBLING
below.
•A. All tumbling must originate •F. Twisting mounts and twistfrom and land on the performing transitions are permitted
ing surface. (Exception:
up to 2 twisting rotations by
Tumbler may [without hip-overthe top person.
•G. No free flipping mounts or
his/her feet into a stunt trantransitional stunts allowed.
sition. Rebounding to a prone
DISMOUNTS
least one hand/arm supportprop are legal.)
ing the head and shoulder
|68|FALL
through the cradle.
an original base.
allowed.
•F. Up to a 2-1/4 twisting rotation allowed from all stunts.
•G. Tension drops/rolls of any
RELEASE MOVES
(Release moves do not refer to
standing stunts.)
•A. Release moves are allowed
but must not exceed more
than 18 inches above extended arm level. If the base(s)
releases stunt, then it must
come back to original base(s).
(i.e. tick-tocks are permitted.)
INVERSIONS
•A. Extended inverted stunts
allowed. Also, see “Stunts”
and “Pyramids.”
•B. Downward inversions are
allowed from an extended
position if assisted by at least
2 bases at the head and
shoulder area.
•C. Downward inversions must
maintain contact with an original base.
during transitions must be
maintained with at least one
person at prep level or below.
•C. Pyramid transitions may
involve inversions (including
braced flips up to 1 and 1/4
flipping rotations) while
released from the bases if
contact is maintained with at
least 1 person at prep level or
below.
•D. Braced Inversions (including braced flips) are allowed
up to 1 and 1/4 flipping rotations and 1 twisting rotation.
•E. Braced inversions (including braced flips) that maintain
contact with only 1 top person
at prep level or below may not
twist and may not change
bases.
•F. Braced inversions (including
braced flips) that maintain
contact with at least 2 top persons at prep level or below
may twist and/or change
bases.
•G. Braced inversions (including braced flips) may not travel downward while inverted.
•H. Pyramids are allowed up to
2 persons high.
•I. During a pyramid transition,
a top person may pass above
2 persons high while in direct
physical contact with at least
one person at prep level or
below. Primary weight may not
be borne at second level.
TOSSES
•A. Tosses must be performed
PYRAMIDS
during the toss (i.e. No inten•A. Hanging pyramids must
tional traveling tosses).
remain upright. Each top per•B. Tosses are allowed up to a
son at the prep level must
person(s).
may assist the top person
•B. Non inverted transitional
into the toss.
pyramids may involve chang•C. No stunt, pyramid,
ing bases. Physical contact
individual, or prop may move
over or under a toss, and a
toss may not be thrown over,
under, or through stunts, pyramids, individuals, or props.
•D. Up to 2-1/4 twisting rotations allowed.
•E. No flipping rotations
allowed.
•F. Helicopters are allowed up
to a 180 degree rotation with
a 1/2 twist and must be
caught by at least 3 catchers,
one of which is positioned at
head and shoulder area of
the top person.
LEVEL 6 RULES
GENERAL TUMBLING
Tumbler may [without hipover-head rotation] rebound
from his/her feet into a stunt
transition. Rebounding to a
prone position is allowed.)
prop, is prohibited.
(Exception: forward/backward rolls over a prop are
legal.)
prohibited.
•D. Spotted, assisted, or connected tumbling is prohibited. (Example: Double cartwheels and chorus line flips
are illegal.)
prohibited.
STANDING/RUNNING
TUMBLING
flipping and 2 twisting
rotations.
STUNTS
•A. Single based split catches
are prohibited.
•B. Single based double
awesomes/cupies require a
separate spotter for each top
person.
•C. Transitional stunts may
•D. Twisting mounts and twisting transitions are allowed up
to 2 twisting rotations by the
top person.
•E. Rewinds must originate
from ground level only and
are allowed up to 1 flipping
and 2 twisting rotations.
DISMOUNTS
•A. Single based cradles that
exceed 1-1/4 twisting rotations must have a spotter
assisting the cradle with at
least one hand/arm supporting the head and shoulder of
the top person. Dismounts to
the performing surface from
stunts and pyramids must be
assisted.
•B. When cradling single
based double
awesomes/cupies 2 catchers
must catch each top person.
Catchers and bases must be
stationary prior to the initiation of the dismount.
•C. Tension drops/rolls of any
•D. Free flipping dismounts to
the performance surface are
prohibited.
•E. Up to a 2-1/4 twist cradle
is allowed from all stunts and
pyramids up to 2 persons
high. Cradles from 2-1/2 high
pyramids are allowed up to 11/4 twist and require 3
catchers. (Exception: 2-1-1
thigh stands may perform 2
twists from a forward facing
stunt only. E.g. extension, liberty, heel stretch).
•F. Free flipping skills are
allowed up to 1 flipping and
0 twisting rotations.
•G. Flips into cradles from
prep level require at least 2
catchers that are original
bases.
•H. Flips that originate above
prep level are prohibited.
(Exception: 3/4 front flip may
occur from a 2-1/2 high pyramid but requires 2 catchers
and an additional spotter
positioned at the head and
shoulder area of the top person. Spotter may stand slightly to the side but must use at
least one hand/arm to catch
under the top person's head
and shoulders.)
RELEASE MOVES
(Release moves do not refer to
standing stunts.)
•A. Release moves are
allowed.
•F. Braced flips are allowed if
direct physical contact is
maintained with at least 1
top person at prep level or
below and must be caught by
at least 2 catchers.
•G. No rewinds on to 2-1/2
high pyramids.
•H. Braced flips are allowed
up to 1 flipping and 1 twisting
rotation.
INVERSIONS
•A. Inverted stunts are allowed TOSSES
up to 2-1/2 persons high and •A. Tosses must be performed
must be braced by at least 1
person at prep level or below.
land in a cradle position by 3
•B. Downward inversions from
bases, one of which is posiabove prep level must be
tioned at the head and shoulassisted by at least 2 bases.
ders area of the top person.
Top person must maintain
(Exception: Helicopter tosscontact with an original base.
es).
•B. Tosses are allowed up to a
PYRAMIDS
•A. For 2-1/2 high pyramids,
there must be a spotter in
front and back for each permay assist the top person
son on the third level, and
into the toss.
the spotter(s) must be in
•C. No stunt, pyramid, individposition the entire time the
ual, or, prop may move over
top person(s) is at the 2-1/2
or under a toss, and a toss
high level(s) Spotters may
may not be thrown over,
stand slightly to the side but
under, or through stunts,
must remain in a position to
pyramids, individuals, or
adequately spot the top perprops.
son. Spotters must maintain
•D. Non-flipping tosses may
visual contact with the top
not exceed 3-1/4 twists.
person the entire time the
•E. Flipping tosses are allowed
top person is at the 2-1/2
up to 1 flipping rotation and
high level. Spotters may not
2 twists.
be a primary support of the
•F. Helicopters are allowed up
pyramid. These spotters (as
to a 180 degree rotation with
well as all spotters for all leva 1/2 twist and must be
els) must be your own team’s
caught by at least 3 catchers,
members.
one of which is positioned at
•B. Braced flips are allowed
head and shoulder area of
up to 1-1/4 flipping and 1
the top person.
twisting rotation.
•G. Top persons tossed to
•C. Pyramids are allowed up to
another set of bases must
2-1/2 high.
be caught in a cradle posi•D. During a pyramid transition by at least 3 stationary
tion, a top person may pass
catchers. Catchers may not
above 2-1/2 persons high
be involved in any other chowhile in direct physical conreography and must have
tact with at least one person
visual contact with top perat prep level or below.
son when the toss is initiat•E. Free-flipping mounts must
ed. The toss is allowed up to
originate from ground level
0 flipping and 1-1/2 twisting
only and are allowed up to 1
rotations. (Exception: 3/4
flipping and 2 twisting
front flips with no twists are
rotations.
allowed)
|69|
All-Star Cheer Q & A
By Sarabeth Beekman | Photo by ASC Staff
Three Golds, What Next?
An exclusive interview with Jody Melton of Cheer Athletics.
All-Star Cheer recently sat down with involved in a lot of other sports, i.e. cycling,
Jody Melton, CEO of Cheer Athletics, the
gym that took home an extraordinary three
golds at the 2006 Cheerleading Worlds last
April. Melton shares his thoughts on the
success of Cheer Athletics, as well as the
future of all-star cheerleading.
All-Star Cheer: What was it like to
come away with that kind of metal from the
2006 Worlds?
Jody Melton: To be honest, it was totally shocking! Our goal was to do as well as
possible, but to win an unprecedented three
golds completely superseded our expectations. To see the pride in our
kids and coaches was so rewarding; it is truly hard to explain
this type of accomplishment.
ASC: How intense was your
preparation for the Worlds?
JM: Timing was an issue for
us, as Worlds falls significantly
later than our last regular season competition. We already
had tryouts for the next year
and found it difficult to keep
our previous year’s teams intact.
We were worried that the teams
were not prepared enough going
into the final month of practice
before Worlds. However, a week before the
event we started to gel, and the routines
really came together. Our team members
really pulled through in the eleventh hour.
ASC: Tell us about what kind of pressure
there is to do even better in 2007. What are
your goals for next year?
JM: It is like an NFL team that wins the
Superbowl; our goal is to win again in 2007.
Would I be disappointed if we didn’t win?—
of course. We are savoring the moment
right now and doing everything we can for
equal success in the future.
ASC: You keep yourself personally
mountain climbing, triathlons. Do you bring
anything from these activities into your position at Cheer Athletics?
JM: For the most part, my extra-curricular activities help me release stress and stay
in shape. Looking back, my activity in football, baseball and basketball during high
school really taught me the most about
teamwork.
ASC: As CEO of Cheer Athletics, you
must have a very busy schedule? What do
you do to unwind?
JM: During competition season, my
hours are much more demanding than a
40-hour a week job. Therefore, after the
season wraps I make sure the other coaches
and myself take some time away from the
gym to relax. My favorite way to unwind is
to spend time with my wife and family; they
keep me grounded, and I am very grateful
for that.
ASC: What is your favorite aspect of the
new season?
JM: I get most excited about starting over
and rebuilding each year, which includes
analyzing what was and was not successful
from last year and making improvements.
Talent wise, I have the strongest teams I
have ever had. Every year the all-star cheerleading competition gets stronger, and it
feels good to know that my teams have
improved more this year than ever before. I
also have a couple of new coaches in the
gym that are going to be great.
ASC: How do you think your program is
helping all-star cheer evolve?
JM: I hope our focus on maximizing
difficulty while enhancing safety has
prompted other gyms to center their attention on the athleticism of the sport. I think
doing so has attracted stronger athletes
into all-star cheerleading that might have
pursued gymnastics or other sports 10
years ago.
ASC: What do you see in the
future for all-star cheerleading?
JM: I think the all-star market
still has as lot of room left to grow,
as we are finally beginning to shed
the negative stereotypes that
cheerleading has had for so long.
The trend is definitely moving
toward athleticism, and I think this
will continue to bring dedicated
athletes into the industry. US All
Star Federation (USASF) will continue to be a vital factor to the
industry’s success. USASF has
streamlined rules and regulations,
and will maintain consistency in the sport,
which eliminates one of the big obstacles to
the industry’s growth.
ASC: What do you think is Cheer
Athletics’ single most important factor to
success?
JM: We have a very loyal coaching staff
with a significant number of veterans in
the ranks. Additionally, more than a
fourth of our coaches are former team
members who we have molded into top
instructors. This tenure provides continuity and commitment—[creating] a solid
culture in the gym. ¢
Sarabeth Beekman was a full-scholarship cheerleader at the University of Tennessee. She has been a judge for the nation’s top
cheerleading companies since 2001 and currently works as a consultant for Spirited Sales Leaders.
|70|FALL