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- Barker-Ruchti, Natalie, 1971-
(författare)
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Ballerinas and pixies : a Genealogy of the Changing Female Gymnastics Body
- 2009
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Ingår i: International Journal of the History of Sport. - : Routledge. - 0952-3367 .- 1743-9035. ; 26:1, s. 45-62
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Tidskriftsartikel (refereegranskat)abstract
- Until the late 1960s, women’s artistic gymnastics consisted of mature women performing gentle ballet-type exercises that were emotionally expressive and graceful. During the 1970s, however, the gymnasts’ performances and bodies changed dramatically. Young and sexually undeveloped gymnasts began to execute acrobatic- and risk-driven routines that consisted of complex air-bound combinations of gymnastics elements. The trend to acrobatics emerged in the former Soviet Union. Within this specific political context, a highly competitive, ambitious and ingenious sporting atmosphere fostered the development of the acrobatic trend in the Eastern Bloc countries and later in the West. Analyses of the 1964 and 1975 International Code of Points (Code) and specific descriptions of the physical appearance and winning floor routine of Czechoslovakian Vera Caslavska at the 1968 Olympic Games and that of Romanian Nadia Comaneci at the 1976 Games, demonstrate the differing gymnastics styles. Interviews, academic literature, popular texts and Internet sites help explain the developments. Michel Foucault’s genealogical research methodology and ‘analytic’ of modern relations of power assist in this pursuit, revealing a particular history of social change.
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| 2. |
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| 3. |
- Barker-Ruchti, Natalie, 1971-
(författare)
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"They must be working hard" : An (auto-)ethnographic account of women's artistic gymnastics
- 2008
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Ingår i: Cultural Studies - Critical Methodologies. - : Sage Publications. - 1532-7086 .- 1552-356X. ; 8:3, s. 372-380
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Tidskriftsartikel (refereegranskat)abstract
- This article includes narrative excerpts compiled from field notes the author collected observing six Australian women's elite artistic gymnasts and their two coaches. Using creative nonfiction and auto-ethnography, the stories' plots describe the gymnasts' daily training realities and include personal reflections on the author's gymnastics experiences and reactions to what she saw during the observations. The stories illustrate how, despite differing levels of authority, the coaches', gymnasts', and parts of her own identity and behaviors are shaped by a dominant gymnastics model. This ideal coerces the coaches and gymnasts to regulate their selves and behaviors according to its dominant characteristics. Although potentially beneficial and satisfactory, the training model's discourses and practices can have debilitating effects.
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