41st FIG RG World Championships - Rio de Janeiro | 4 RGI routines Artistry analysis скачать в хорошем качестве

41st FIG RG World Championships - Rio de Janeiro | 4 RGI routines Artistry analysis

Hi there! How amazing are these exercises from Rio? 🤩💛💚💙 I must confess I’ve always wanted to analyze these 4 exercises’ Artistry, as they all are so unique! I’d also love to hear your thoughts about them! ——— 🤸——— A couple clarifications about Artistry with CoP 2025 2028 with relation to the exercises in the video: RIN KEYS 🇺🇸 Hoop 🔹Character: unique details with all body parts are presented throughout the whole exercise with no exception of any missing part, so my deduction cannot be anything else but 0.0; 🔹Dance Steps: the first one is unfortunately 7 seconds long from the moment she starts dancing till the last movement of dance, so the CoP tells us to deduct 0.30 despite the Dance Steps sequence is performed indeed. That sequence can still be consiered a part with Character, though; 🔹 Body / Face Expression: the gymnast has an active involvemen of all body limbs and the face throughout the whole exercise; 🔹 Rhythm: this music features many series of impactful and defined accents that most of times challenge the gymnast’s speed both with the body and the apparatus; 🔹 Connections: we deduct both for abrupt change of direction of the body and abrupt shift of plane/direction of the apparatus. STILIANA NIKOLOVA 🇧🇬 Ball 🔹Character: unique details with all body parts are presented throughout the whole exercise with no exception of any missing part, for 5 parts. The deduction here could have also actually been 0.0 because the variety and quality of each detail both within and outside of S is great and there is no part where the Character appears to be missing. 🔹Body / Face Expression: the gymnast has an active involvemen of all body limbs and the face throughout the whole exercise; 🔹Connections: aside from a possible additional deduction at 2:22 for prolonged preparation of the pivot and unpolished change of plane and direction of the ball, I only deducted for the abrupt placement of the ball from behind the back onto the chest and abrupt change of level, right at the end of the exercise; 🔸Floor area: the gymnast should enter the areas described in the CoP, not just get near them or pass by them, or not even reaching them with their trajectories during the exercise. STILIANA NIKOLOVA 🇧🇬 Clubs (yes, Nikolova again! i initially wanted to do Ikromova’s clubs but I love this exercise so much!) 🔹Character: unique details with all body parts are presented throughout 4 parts only! Despite being great, if it’s only 4 parts, we cannot deduct less than 0.6; 🔹Dance Steps: the second one is unfortunately 7 seconds long from the moment she starts dancing till the last movement of dance, so the CoP tells us to deduct 0.30 despite the Dance Steps sequence is performed indeed. That sequence can still be consiered a part with Character, though; 🔹Body / Face Expression: the gymnast has an active involvemen of all body limbs and the face throughout the majority of the exercise for body and face, with fewer than 4 moments with absent participation; 🔸Floor area: the gymnast should enter the areas described in the CoP, not just get near them or pass by them, or not even reaching them with their trajectories during the exercise. TAISIIA ONOFRIICHUK 🇺🇦 Ribbon 🔹Character: unique details with all body parts are presented throughout the whole exercise with no exception of any missing part, so my deduction cannot be anything else but 0.0; 🔹Dance Steps: the first one is unfortunately 7 seconds long from the moment she starts dancing till the last movement of dance, so the CoP tells us to deduct 0.30 despite the Dance Steps sequence is performed indeed. That sequence can still be consiered a part with Character, though; 🔹Body / Face Expression: the gymnast has an active involvemen of all body limbs and the face throughout the whole exercise; 🔹Dynamic Changes / Effects: the Effect is given by the performance of the three rolls fwd exactly during those 3 particular accents. The Dynamic Change develops throughout the second S; 🔹 Connections: in this exercise, the illogical connections concern the Ribbon (long, abrupt change of plane of the Ribbon pattern) and not the body, with the exception of 6:02. ——— 🤸 ——— I am curious to read your thoughts on this video, so please share them below! 🥰 📷 ‪@ulrichfassbender6186‬