The use of ribbons in rhythmic gymnastics dates back almost to its beginnings, although it has never become a competition apparatus. Working with ribbons has primarily been used to facilitate and enhance body work, including partial and full body waves, body/object coordination, and range of motion.
The work with ribbons can be done individually or in groups, focusing on the future athletic development of each gymnast or as a means for them to discover which modality they feel most comfortable with.
The ribbon is usually rectangular and measures 1×1.5 meters. The material should be soft and lightweight, such as nylon, silk, or satin.
The technique with the ribbon involves treating it as an extension of the body (arms), so that when performing undulating movements, it affects the entire body. Thus, there must be perfect coordination between the gymnast and the apparatus.
exhibición Marina Lobatch 1989
The video may not be of very high quality, but it is worth watching to see the 1988 Olympic champion choose the ribbon for her performances.
The fundamental principle of working with the ribbon is that it should not touch the body during the movements of both the body and the ribbon itself. Therefore, the emphasis on a wide range of motion, which is essential, will be the foundation for subsequent work with competition apparatuses, especially the ball and the tape. This is because the ribbon requires broad and slow movements that facilitate handling these apparatuses. For the work to be fluid, the music plays a crucial role. It should accompany the ribbon exercises, and given the above, it is clear that slow or moderately-tempo music should be chosen.
For this work, the ribbon can be held in various ways: by the corners of the shorter side of the rectangle, the corners of the longer side, or with one or two hands…
The work with the ribbon is based on groups of movements similar to those used with the official apparatuses:
- Swinging movements
- Serpentines
- Throwing
- Catches
As can be seen, the work on swinging movements and throws is common to all apparatuses, and therefore, this training should be emphasized to support the gymnast’s cognitive development, always considering their future work with the rope, hoop, ball, clubs, and ribbon. Working with the ribbon paves the way for the gymnast’s evolution toward a perfect combination of their movements and the apparatus they handle, sometimes requiring the ribbon to be seen as an extension of their limbs, and at other times highlighting the movement and body work.
This beauty in the rhythmic movement between the gymnast and the ribbon gives rhythmic gymnastics its unique character. There must always be a symbiosis between gymnast, apparatus, and music, without ever letting the ribbon be seen without movement. All of this should always be accompanied by the search for and work on expressiveness through this fundamental apparatus in the individual and collective development of athletes.
Gala 80 aniversario Gª Rítmica en Rusia
It should be noted that the use of ribbons was almost forgotten for a period, but increasingly more clubs are reintegrating it into training for younger gymnasts, showcasing it in Christmas or end-of-year exhibitions.
