Basic Parallel Bar Support Swing (and the swing to handstand)

The associated graphic (a clock-face illustration) and explanation of what the shoulder girdle (the left and right assembly of clavicles, scapuli and humeri) does during forward and backward swings in support…

In Fig. 1 the forward swing is ending. Here the shoulder blades are retracted (pinched close together) which will lift and open the chest. The heart, hips, and feet and pushed high by hyperextending the shoulders. The optimal position is not for the faint of heart, but being aggressive at this point is critical for success in attaining amplitude and free movement in Stutzes, Diamadov’s, etc.

In Fig. 2 the shoulders are completely relaxed and the deltoid muscles will be pressed upward and inward towards the ears. Particularly here (but also through-out the entire support swing), the hinge of the elbow MUST be turned perpendicular to the rails. Note the position of the lower arm bones in Fig. 6. The concave insides of the elbow joints faces forward - NOT towards one another. The triceps are powerfully contracted to keep the arm extended. As the bars bounce back from depression the shoulder girdle is depressed and…

The shoulder blades retract (Fig. 3) soon afterward. As the body rises (Fig. 4) towards an angle of 45° above horizontal (the “end” of the swing), the upper back is rounded (shoulder girdle rainbow) and lower back flattened. the performer maintains a good portion of body weight on the forward half of the palms. Novices too often transfer body weight backward onto the heels of the hands resulting in a lack of wrist control – and a swing short of the handstand. It is critical that the heart remain over the hands between 10:30 and 12. At 10:30 the shoulder. At this point the shoulders are dynamically opened to a completely aligned position. Again, here a novice will shift the heart rearward to avoid swinging past the handstand – and the downswing will abruptly begin.

In Fig. 5 the handstand has been attained and ALL body segments must be stabilized. Control is achieved using the hand and forearm muscles only. Novices will “check” with elbows, shoulders, hips and more. “Waggling” performers in a handstand is a good fix for developing stability – and control.

BTW - this piece was my take on a discussion I had with my old LSU teammate Jerry George who pointed out that the "shrugged" shoulder girdle position (elevation) at Fig. 2 is identical to the shoulder position in the handstand (Fig. 5) also. He may be correct that as long as the shrug is present at the top (handstand) and the bottom of the swing - all is well...

Another post on P-bar swing and body shapes (shoulder girdle and otherwise). Most of you are familiar with the spinal "rainbow" shape (upper right image) used when dropping into a free hipcircle or performing a candlestick. It is a very powerful arrangement of the skeletal structures not unlike the beautiful old stone arched bridges.

But(!) there is another rainbow that too often is not used by gymnasts. This rainbow (upper left) is formed by the shoulder girdle and is perpendicular to the spinal rainbow. Combining these shapes (at about 45° above horiz) during swing (or cast) to handstands - or on the rising portion of undergrip and overgrip giants and many many other skills provides very strong body shapes and so high potential for transfer of momentum.