Elements of artistic gymnastics are evolving day by day, with continuous technical development. In recent years, on uneven bars in women’s gymnastics, there has been a great change in the form of movement between the high and low bars. Watanabe (2011, p.32) states that the system of techniques that should serve as guidelines for judging and training must consist of elements that are worthy of being handed down to future generations. Therefore, analysis of the value of elements is extremely important as it forms the basis for the systematic analysis of techniques. However, research on the value consciousness in the elements of bar change has not yet been conducted. The aim of this study was to clarify the value of transplantation of movement techniques in uneven bars from the standpoint of “archaeological-structure analysis” in phenomenological movement theory (Kaneko, 2007, pp.70-133).

　The method of archaeological-structure analysis was based on the research methodology of the philosopher Foucault (1969, 1995), and is advanced according to the morphological selection analysis theory advocated by Kaneko (2009, pp.272-288). In the analysis, from the late 1980s, when the swing technique on the high bar began to develop rapidly, we selected and presented successful elements from the performance configurations of the gymnasts who participated in the event finals of the Olympic Games of 2021. We used these materials as the basic materials for our study. In addition to this, the presentation status of other competitions, which cannot be described in this paper due to space limitations, was also considered, and the author checked and recorded from competition videos including Internet distribution.

　As a result of the diachronic selection analysis of history, it was found that in every era, there was a desire to surprise people, and the intention to aim for a higher level of difficulty was maintained. And in recent years, bar change elements have been concretely manifested in the performance composition of the “high-difficulty orientation”. In addition, an analysis focusing on the synchronic selection phenomenon in that era clarified the modern value-added norm from the esthetic point of view and the influence of scoring rules. In this study, the value of the bar change elements was reconfirmed from the analysis of morphological selection in the movement technique of the uneven bars. At the same time, it was possible to provide knowledge that prompted a reconsideration of the conventional way of thinking about movement techniques, and also we were able to contribute in the development of framework structural analysis in gymnastics research.

　„Doppel Kasamatsu gehockt. mit. 1/1 Drehung“ im Sprungpferd wurde erstemal am 25th sommer Universiade (Belgrad 2009) von nordkoreanischen Turner Ri Se Gwang demonstriert.Daraus wurde diese neue Ubung Ri Se Gwang im Wertungsvorschriften Manner 2013 genannt. RiSe Gwang ist nicht nur selten, sondern auch als die hochste Stufe im allen Sprungtechnik auch im heute gultige Wertungsvorschriften Manner 2022 geschatzt.

　Wenn man diese Ubung eignet wollten, solte eine rationalen Lernmethodeik konstruiert werden. Zur Konstruierung der Lernsmethodik solte die ausfuhrlichen Strukturanalyse uber die Ubung geleistet werden.

　Der Zweck dieser Arbeit ist darin, die kinasthetischen Bewustseins von „Doppel Kasamatsu gehockt. mit. 1/1 Drehung“ im Sprungpferd als Voraussetzung fur Lehr ‐ und Lernmethodik vom Standpunkt astesiologischen Morphologie von Prof. Kaneko aus erlautet werden soll.

　Daraus konnten wir die ausfurlichen kinasthetishen Bewustseinsinformationen als Voraussetzung zur Konstruierung der Methodik dieser Ubung dargestellt.

　In volleyball, the setter is said to be the most important player on the team with the most opportunities to touch the ball, as they are responsible for setting the ball, which allows their teammates to attack.

　In addition to theoretical findings revealed by natural scientific methods, practice is essential for the improvement of athletic performance in sports, and it is necessary to accumulate practical research targeting subjective information and sensations when practicing for a competition. Subjective information on the athletic performance of superior athletes in a transferable form will make it possible to present knowledge on how to exercise a superior training regimen.

　This qualitative study aimed to examine the volleyball setting technique of leading Olympic volleyball setters and identify subjective information about unique characteristics of their set, including ball contact. The setting techniques of two Olympic setters, Akihiko Matsuda and Kosuke Tomonaga, were studied.

　The results were as follows.

　While the ball contact of the setters followed the Overhand pass operating principle, they were individually skilled, and Matsuda may have manipulated the ball with an automatic tendency, whereas Tomonaga manipulated it with an active tendency.

　The two research subjects’ intentions and meanings of practicing one-handed sets with the right hand may include the common intention of practicing accuracy and the specific intentions of “tame” against the opponent and “ma” against the ally.

　Both the research subjects have mastered “tame/ma” and manipulate subjective time by raising the set mainly with their right hands slightly above their heads and to the right. The manipulation of subjective time is particularly useful because it is unlikely to be derived from natural scientific methods because it is derived phenomenologically in this research as the construction of setting and attacking tactics to break through the defensive tactics of the opponent.

　As with their ball contact, the backsets of the two research subjects are as individual as the ball contact, and are important in practice in terms of the realization of the setter’s athletic task of raising an accurate set and the manipulation (reduction) of the subjective time (another team’s players) by not allowing the opponent to realize the backsets.

　Subjective information about the set of these top setters was structurally revealed.

　The structure of the practical knowledge of setting presented in the findings of this study will contribute to the field of practice by providing players and leaders insight into better practices.

　In recent years, the “running movement” in basketball has been taught from a technical standpoint in some instances. However, in basketball instruction manuals, terms such as “skill” and “technique” are used to describe rational body movements like dribbling, passing, and shooting with the ball, but not running movements. In the field of sports kinetics, the running movement in ball games has traditionally been viewed as an “adjusting running form,” but this has not been developed as a technical theory and case studies focusing on athletes’ kinesthetic perceptions. This study seeks to develop a technical theory for running movements in basketball by examining this specific skill nature in basketball performance, technical categories of morphology in basketball games, and the direction and progression of skill training from the perspective of the kinetic horizon structures. Results reveal that the skillful nature of the running was captured by the dual meanings and values of “performative technique” accompanied by tactical intent and “mediative movement” aimed at the demonstration of fundamental motor skills. Morphologies were broadly categorized into eight distinct forms, organized under two primary classifications. Specifically, it were classified into two categories: running movements with and without ball possession. Moreover, each category was further subdivided into four morphologies (sprint form, combination form of sprint and change-of-direction, turn form, and jogging form). In technical training, it was made clear that attention must be paid to the player’s kinetic horizon structure , to the reversibility of intentionality, and to posture and coordination of limbs as the knack. Additionally, this study suggests that accumulating case studies focused on the kinesthetic aspects of running skills during training could enhance the efficiency of skill coaching.

　In recent years, artistic gymnastics have tended to seek high scores on the uneven bars by incorporating a sequence of movement techniques into their performances. Hanging on the HB, swinging forward facing the LB, and performing a backward salto stretched between the bars to clear support on the LB (Pak Salto) occupies an important position in incorporating such sequences of movement techniques into performances. This technique is considered to be very effective in increasing the difficulty value points of a performance and is considered to be a technique that should be mastered by current female athletes. However, various kinematic problems are found in the process of learning this technique, and mastering it requires considerable trial and error on the part of athletes and their instructors. Even under such circumstances, however, technical clarification of this technique has not progressed at all, and solutions to the kinematic problems has been left to athletes and their instructors.

　Therefore, in this study, the author sought to obtain basic data from the standpoint of developmental kinematics for clarifying the schematic technique of the Pak Salto by administering phenomenological questionnaires and conducting interviews regarding the kinematic orientation of performers skilled in this technique.

　As a result, the author was able to elucidate the technical elements and core strategies of the Pak Salto.

Background

　With the practical training courses at universities for teacher education, the objective is to teach the basic skills outlined in elementary school academic instruction guidelines. During that learning process, is extremely important to acquire the analysis skills on the sensation of movement. At I University, students are assigned the forward supported rotation as a horizontal bar exercise. In this class, there were many students who gave up on the exercise without ever being able to analyze their own sensation of movement (the feeling resulting from an action). The author believes that the cause of this was insufficient learning of preparatory exercises leading up to the forward supported rotation.

　The purpose of this study is to reconfirm the skill development aimed for through existing preparatory exercises and instruction methods applied towards learning the forward supported rotation, and to propose a new methodology through which learners can undertake on their own initiative.

Method

　Intervention-based instruction was provided for students unable to perform the forward supported rotation until success was achieved. Detailed survey interviews were conducted regarding how the learner was able to learn the forward supported rotation to ascertain their kinesthetic sensation in that moment. An analysis of problem points was conducted by persons with expertise in the forward supported rotation to establish and provide guidance on new preparatory exercises: the thigh brace and a whip-like movement.

Results

　This study seeks to reevaluate the instructional methods outlined for course implementation and provide teacher instruction based on a new “thigh brace, whip” (author’s original term) proposal. This problem allowed learners who had been unable to identify practice methods for advancing to the forward supported rotation to focus on the differences in the sensation of movement, leading to successful support. Also, the “wrist flip” was observed as a necessary skill for returning to and supporting the body in the start position.