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Amid the waves of outrage from those . who parachute into the sport every four years, the issues have also been smartly dissected by publications including the Balance Beam Situation, which suggested that the score is a bit low, probably should be higher but it is not as clear as her beam dismount, and also the vast historic context provided by Dvora Meyers.Biles is understandably frustrated by a sport that, throughout the last eight years, has at times seemed to endure her success rather than embrace it. The word artistry, an endless discussion point in the sport, has often been weaponised against her style of gymnastics.
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Many prominent figures have made little effort to hide their ambivalence towards her . Considering the former WTC president Nellie Kim has previously expressed her disapproval of “athletic” gymnastics and “the Canadians from Cirque du Soleil [who] teach the whole world” gymnastics, her response in 2019 when asked about Biles elevating the sport was no surprise: “I don’t know if it’s right to say elevated gymnastics. But I can tell you, for sure, that she is using current code of points in full.”What is clear is that Biles’ excellence has exposed the ineptitude of the WTC. Instead of endeavouring to create a code of points that allows a variety of different types of gymnasts to thrive, it has attempted to construct it with its own preferences in mind which almost always centres on nostalgia for gymnastics of the past. The control it exerts on the sport also extends beyond skills to the “modesty” of gymnasts’ make-up.The result is that the Code of Points is illogical, inconsistent and certainly not open-ended, as it has been described since routines were no longer scored out of 10 from 2006. Certain innovative skills are undervalued, as are skills that are biomechanically more difficult than others. One of the frustrating consequences is that routines can often be extremely similar with little room for individuality.Examples of the WTC clamping down on innovation span decades. They squeezed out Liu Xuan’s one-armed giant on uneven bars in 1996. The Croatian gymnast Tanja Delladio, who debuted the unique “snap down” technique on the bars in 2006, elicited a rare, blunt comment from the WTC in its newsletter that underlined its modus operandi: “The WTC is unwilling to encourage this type of elements.” Wevers’ Nabieva ½ variation in June was the most recent example of the inane code in action as her skill is valued the same as objectively less difficult release skills.
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