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Parallel bars
Parallel bars
Parallel bars
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from Wikipedia
A gymnast performs on the parallel bars
A handstand

Parallel bars are floor apparatus consisting of two wooden bars approximately 350 centimetres (11 feet 6 inches) long and positioned at 200 cm (6 ft 7 in) above the floor. Parallel bars are used in artistic gymnastics and also for physical therapy and home exercise.[1] Gymnasts may optionally wear grips when performing a routine on the parallel bars, although this is uncommon.

Apparatus

[edit]

The apparatus consists of two parallel bars that are held parallel to, and elevated above, the floor by a metal supporting framework. The bars must be elastic and stable, and the surface of the bars must be made of wood or a similar material.[2] Modern bars are typically made of two ash rails reinforced inside with fiberglass.[3] The vertical members of the supporting framework are adjustable so the height of the bars above the floor and distance between the bars can be set optimally for each gymnast.[2]

Dimensions

[edit]

The bars must have the following dimensions:[2]

  • Bar length: 350 centimetres (11.5 ft) ± 1 centimetre (0.39 in)
  • Bar rounded profile: 5 cm (1+31⁄32 in) ± 1 millimetre (0.039 in) vertical by 4 centimetres (1.6 in) ± 1 millimetre (0.039 in) horizontal
  • Height of bar from floor: 200 centimetres (6.6 ft) ± 1 centimetre (0.39 in)
  • Distance between bars: 42 to 52 centimetres (17 to 20 in) (adjustable)

History

[edit]

Johann Christoph Friedrich GutsMuths created an apparatus with bars and beams, though the first edition of his book, Gymnastics for the Youth (German: Gymnastik für die Jugend), published in 1793, did not include drawings of parallel bars. A later edition published in 1847 did.[3] Another early German gymnast named Friedrich Ludwig Jahn is considered to be the inventor of the parallel bars.[4] He created the first known set of parallel bars, based on the vaulting horse with extended handles and no body between them, and installed them in his open-air gymnastics exercise ground, which opened in Berlin in 1811. At the time, they were meant to strengthen the arms for exercises on the vaulting horse, then a substitute for exercises on a real horse.[3]

Jahn later came into conflict with Hugo Rothstein, a proponent of Swedish gymnastics, over the use of the bars. Rothstein, director of the Central Gymnastics Institute founded in 1851, removed both the parallel bar and the horizontal bar from German gymnastics curricula. Emil Heinrich du Bois-Reymond, a German professor of physiology, recommended returning the parallel bars to German gymnastics. They were reinstated into curricula in 1862 or 1863.[3][5]

The first parallel bars could not be adjusted and were bolted into the ground. They sometimes had three bars, particularly in schools focused on health care.[3] In 1819 the first transportable parallel bars were created by a Swiss educator, Phokion Heinrich Clias.[4] However, they were not very popular. Later, Hermann Otto Kluge, a pharmacists, created adjustable bars that used tubes, which he used in his own gym, built in 1856. Others developed new models that emphasized ease of adjustment as well as safety.[3]

In the 1920s, the bars were shorter than modern bars, with their height adjustable from 120 centimetres (3.9 ft) to 170 centimetres (5.6 ft), and up to 3 metres (9.8 ft) long. Various types of bars were available, and exercises easily performed on one set of bars might be impossible on another. Bars made out of wood frequently became damaged and cracked; at the 1952 Summer Olympics, the bars cracked four times. Richard Reuther proposed a new design in 1953 that included elasticity, and he introduced his new type of bars two years later. They could also be adjusted slightly taller and were longer at 3.5 metres (11 ft) long. In 1963, Reuther incorporated fiberglass into the bars, which significantly improved both the flexibility and the durability in the bars; only minor changes have been made in their construction since.[3]

Routines

[edit]

Routines involve swinging both backward and forward, static holds, turns in handstand positions, and somersaults performed while between the bars.[3] Each routine ends with a dismount from either the end or the side of the bars.

International level routines

[edit]

The gymnast must mount the bars by jumping from both feet; a springboard may be used. A routine should contain at least one element from all element groups:[6]

  • I. Elements in support or through support on both bars
  • II. Elements starting in the upper arm position
  • III. Long swings in hang, on 1 or 2 bars, and underswings
  • IV. Dismounts

Scoring and rules

[edit]

Deductions are taken for lack of form and precision of elements performed. There are specific deductions for adjusting the hand position in the handstand and not controlling swing elements; many swing type elements should momentarily show handstand.[6]

See also

[edit]
[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Parallel bars

View on Grokipedia
from Grokipedia
The parallel bars, a core apparatus in men's , consist of two horizontal wooden bars of equal length positioned parallel to each other at the same height, supported by uprights on a stable base frame, allowing gymnasts to perform routines emphasizing swings, balances, strength elements, and precise handstands. Each bar measures 350 cm ± 1 cm in with an oval cross-section of 5 cm ± 0.1 cm vertical axis and 4 cm ± 0.1 cm horizontal axis, set at a of 200 cm ± 1 cm from the , while the distance is adjustable from 42 cm to 52 cm to accommodate individual preferences. Modern constructions feature a core overlaid with a for enhanced elasticity and durability, replacing earlier solid wood designs that were prone to cracking, though the surface remains untreated wood or similar material in natural color for optimal grip. Originating in the early 19th century from exercises developed by German educator Friedrich Ludwig Jahn to refine pommel horse techniques, the parallel bars debuted as an Olympic event at the 1896 Athens Games, where Germany's Alfred Flatow claimed the first gold medal; women briefly competed on a similar setup until the 1930s, after which it evolved into the uneven bars for female gymnasts. Routines, lasting approximately 40 to 50 seconds, are evaluated under the International Gymnastics Federation's Code of Points for difficulty (based on eight or more elements, including required handstand swings and holds) and execution (starting at 10.0 with deductions for form breaks or falls), often concluding with dynamic dismounts like double somersaults. Notable achievements include China's Li Xiaopeng securing Olympic gold in 2008 with a score of 16.450 (9.550 execution, 6.900 difficulty), while the apparatus demands exceptional upper-body strength and body control, as seen in routines by athletes like Japan's Kohei Uchimura and China's , who won Olympic golds in 2020 and 2024, along with titles in 2018 and 2025 (as of November 2025). The setup requires a 20 cm ± 1 cm thick landing mat covering at least 1100 cm x 450 cm to ensure safety, with all adjustments double-locked to prevent movement during performance.

Apparatus

Design and materials

The parallel bars apparatus consists of two symmetrical horizontal bars mounted on adjustable upright supports, enabling to perform swinging, holding, and releasing movements. The design features two bars of equal dimensions running parallel at the same height, each supported by two uprights on a stable base frame, with articulated fixing points that allow for controlled elasticity during use. Historically, the bars were constructed from solid strips of smooth-grained , providing a basic structure but prone to cracking or breaking under stress, which posed safety risks and interrupted routines. Modern standards have evolved to use fiberglass-reinforced or composite materials, such as fiberglass-graphite rails covered in , enhancing elasticity for a trampoline-like effect while improving durability and reducing breakage. These materials maintain the traditional feel for grip but offer greater resilience, as required by Fédération Internationale de Gymnastique () norms. The bars feature an , drop-like cross-section approximately 4 cm wide by 5 cm thick, designed to provide optimal grip and flex without altering along the entire length. The upper surface is made of or a similar hygroscopic, non-slippery , free of defects like knots or fissures, and receives no treatment beyond sanding. The support structure comprises or heavy-duty frames with shock-absorbing bases to prevent slippage and ensure no significant swaying under load. The distance between the attachment points on each bar is 230 cm ± 1 cm. Bars are covered in to facilitate secure hand placement during dynamic movements. Safety features include integration with non-slip flooring via covered base girders and padded landing mats to minimize injury risk, alongside double-locked adjustment devices to avoid unintended shifts. All apparatus must meet certification requirements, including tests for stability, elasticity, and oscillation damping conducted by authorized institutes, ensuring compliance for official competitions.

Dimensions and adjustments

The parallel bars apparatus measures 3.50 meters (11.5 feet) in overall length. For competition, the height of the bars from the floor is fixed at 2.00 meters (6.5 feet), while the total height of the supports extends up to 2.30 meters to allow for adjustability and stability. The distance between the bars is adjustable from 42 cm to 52 cm (16.5–20.5 inches), enabling customization to match the individual shoulder width for optimal performance and safety. The bars must remain exactly parallel and at identical heights throughout use, with no more than 2 cm deviation permitted to ensure fairness and structural integrity. Adjustment mechanisms typically incorporate spring-loaded pins or hydraulic systems for precise width changes, while the height remains fixed for competitions but includes support features for minor leveling on uneven floors. Under the FIG norms (2023 edition, applicable through 2025), the total footprint measures approximately 3.5 m by 2.5 m to fit standard competition layouts. reinforcement in the bars provides necessary flex while adhering to these dimensional constraints.

History

Origins and invention

The origins of the parallel bars trace back to early ideas in German during the late 18th century. , often regarded as a foundational figure in modern , described bar-like apparatus for in his 1793 book Gymnastik für die Jugend (), which laid groundwork for apparatus-based exercises at institutions like the Philanthropinum in Schnepfenthal. These concepts emphasized systematic physical development for , influencing subsequent innovations in gymnastic equipment. The parallel bars were formally invented by in 1811 as part of the Turnen movement, a patriotic initiative to promote and national resilience in following the . Jahn established the first public ground in Berlin's Hasenheide Park on June 19, 1811, where he introduced the apparatus using three wooden trestles fixed into the ground to simulate horse for building upper body strength and balance among young men. This design served a dual purpose: enhancing military preparedness and fostering unity in a war-ravaged society, with exercises drawing crowds of up to 500 participants in early public demonstrations. Early adoption of the parallel bars spread rapidly through Turner societies across in the 1820s, where they became a staple for group training in outdoor settings. Constructed from simple wooden poles or bars—typically 8 feet long and 3 inches high, supported by basic stands embedded 30 cm into the ground with a stabilizing plank—the apparatus was portable and suited to communal use in parks and schools. These societies emphasized non-competitive exercises to develop and vigor, marking the parallel bars' role in the broader Turnen emphasis on holistic . The first detailed documentation of the parallel bars appeared in Jahn's 1816 manual Die Deutsche Turnkunst (The German Art of Gymnastics), co-authored with Eiselen, which illustrated construction methods and specific exercises like swings and balances to promote strength and coordination. This publication codified the apparatus within the Turnen framework, ensuring its standardization and influence on European practices.

Development in competitive gymnastics

Parallel bars made their Olympic debut at the 1896 Games as one of the seven apparatus in men's , where routines primarily featured static strength holds and basic swings to demonstrate upper-body power. The event included both individual and team competitions, with German gymnast Alfred Flatow earning the first Olympic gold in the parallel bars discipline. The Fédération Internationale de Gymnastique (), established in 1881 as the Bureau of the European Gymnastics Federation, began overseeing international standards for apparatus, including parallel bars, to ensure consistency across competitions. By the mid-20th century, specifically the , FIG had standardized the dimensions and setup, transitioning from portable wooden bars to stationary models supported by steel frames for greater stability and safety during events. Material advancements in the 1960s and 1970s introduced cores within the wooden rails, enhancing the bars' springiness and reducing the risk of fractures that had previously caused injuries during high-impact routines. This shift allowed for more dynamic swings and flights without compromising durability. By the 1980s, FIG rules specified an or drop-like cross-section for the bars to optimize grip and elasticity, further supporting advanced aerial elements. Significant rule evolutions occurred at the 1928 Olympics, where parallel bars routines incorporated both compulsory and optional exercises scored out of 30 points per apparatus, with deductions now emphasizing form, , and execution alongside difficulty. Scoring systems continued to refine in the late ; while the perfect 10.0 scale persisted through the with adjustments to increase difficulty thresholds, a major overhaul in 2006 introduced open-ended scoring to better reward complexity and innovation on parallel bars. The apparatus's design influenced women's in the 1930s, inspiring the development of —initially a modified version with one bar raised above the other—but parallel bars have remained exclusive to men's since their competitive . Under the 2025 FIG Apparatus Norms and Code of Points, parallel bars must exhibit uniform elasticity through articulated supports, promoting safer execution of high-flying dynamic skills while maintaining the apparatus's core dimensions of 3.5 meters in length and 42-52 cm apart.

Routines

Structure and requirements

A parallel bars routine in men's lasts approximately 40 to 50 seconds and must start from a still stand, basic stand, or still hang, ending with a dismount to a standing position with legs together. Compositional requirements mandate at least one flight element from Element Groups II or III, such as a or flight over the bar, to demonstrate dynamic movement; additionally, the routine must feature strength holds with a minimum 2-second duration for credit, such as the planche. The distribution of elements requires swings performed in both forward and backward directions to build , incorporation of upper arm swings for transitional variety, and a concluding dismount; static holds require at least 2 seconds for recognition but emphasize continuous motion. Routines begin either with a forward swing to initiate action or directly from a support or hang position, and they conclude with a salto dismount, requiring a clean on the feet to finalize the exercise without additional support. The 2025 FIG Code of Points introduces specific updates for parallel bars, including a repetition limit of a maximum of two front uprise skills to encourage diversity, and a rule that skills must continue in the same direction immediately following certain swings to maintain flow and prevent directional reversals without penalty. The D-score is based on the 8 highest-valued elements, reduced from 10 in previous cycles. Neutral deductions include 1.0 point for each fall during the routine, applied regardless of execution quality; furthermore, elements must connect fluidly without pauses or interruptions, as any hesitations result in deductions for lack of continuity.

Key skills and elements

Parallel bars routines feature a diverse array of skills categorized into families such as swings, flights, holds, transitions, and dismounts, with approximately 144 elements listed in the International Gymnastics Federation (FIG) Code of Points for Men's Artistic Gymnastics (2025-2028). These elements are grouped into four main element groups (EGs): EG I for elements starting in upper arm position, EG II for elements in support or through support on two bars, EG III for long swings in hang on one or two bars and underswings, and EG IV for dismounts, with a key 2025 change swapping the order of the first two EGs to prioritize upper arm and support skills. Difficulty levels range from A (0.1 value) for basic maneuvers to higher letters like F (0.6) or beyond for advanced variations, contributing to the routine's difficulty score when the eight highest-valued elements are selected. Swing elements form the foundational swings of the routine, including forward and backward giants, which involve full circling swings around the bars, typically valued at A to B (0.1-0.2) for basic versions but increasing to C or D (0.3-0.4) with added finishes or turns. Upstarts, such as forward uprise to , and underswings, like backward cut to , are more dynamic swings initiating from support or hang positions, generally classified as C to D (0.3-0.4) and limited to a maximum of two front uprise variations per routine under 2025 rules. These swings build momentum and must often continue in the same direction after forward-to- transitions to meet composition requirements. Flight elements emphasize releases and flights over or between the bars, showcasing aerial control and regrasp. Notable releases include the Kovacs, a backward giant with double salto release and regrasp, valued at E (0.5), and the Tippelt, a forward swing with straddle cut backward salto and regrasp, at D (0.4). Non-flight over-bar elements, such as the Hecht, involve a straight-body flight over one bar without release, typically C (0.3) in basic form. Hold elements demand exceptional static strength, performed in support positions with specific hold times. The planche, a forward-leaning hold with straight arms and body parallel to the ground, is valued at D to E (0.4-0.5) and requires a minimum two-second hold for credit. Advanced holds like the Maltese, a wide-arm horizontal body position near the bars, reach F (0.6) difficulty, testing shoulder and core endurance at elite levels. Transitions connect skill families, often using upper arm swings valued at B to C (0.2-0.3) to shift from hang to support, or pirouettes in support ranging from A to D (0.1-0.4) for turns on the hands while maintaining balance. Dismounts conclude the routine with high-flying somersaults, such as the double front dismount (tucked or piked double forward salto) at D (0.4), or the full-twisting double back (double backward salto with full twist) at E to F (0.5-0.6).

International-level examples

One of the notable performances on parallel bars at the Olympic level came from Chinese gymnast at the 1984 Games, where he placed 6th with a score of 19.775 through a routine blending dynamic swings and strength elements, including advanced holds that highlighted the apparatus's demands for control and precision. Similarly, American Kurt Thomas contributed to the event's growing emphasis on innovative dynamism during the 1976 Montreal Olympics, where his parallel bars routine helped elevate U.S. men's , earning him a seventh-place finish in the all-around while showcasing fluid swings and transitions that influenced subsequent generations. In the modern era, Japan's Kohei Uchimura exemplified mastery on parallel bars during the 2012 London and 2016 Rio Olympics, delivering near-flawless routines in the all-around finals that featured connected release sequences, including Kovacs elements, contributing to his gold medals with totals of 92.690 and 92.365, respectively. Brazilian Arthur Nory also demonstrated high-level execution at the 2016 Rio Olympics, where his team final routine included a challenging dismount with multiple twists, underscoring Brazil's rising prowess in the event amid their silver medal team performance. Recent innovations continue to push boundaries, as seen with British James Hall's debut of a new release skill—a 5/4 straddled salto with a half turn to upper arms—at the 2025 Doha , earning it an E difficulty value (0.5 points) in the FIG Men's Code of Points and marking a fresh advancement in flight elements. In the 2024 Olympic final, American highlighted clean execution in the all-around with a steady parallel bars routine, scoring 14.800 and aiding the U.S. team's effort. Olympic finals routinely showcase high difficulty, with 2024 event scores featuring D-values of 6.5 or higher for top competitors, such as gold medalist Zou Jingyuan's 6.9. Although parallel bars is primarily a men's apparatus, women have adapted it for exhibitions, notably German gymnast , who at age 92 performed a graceful routine on the equipment during the 2017 Ageing Asia Innovation Forum in , emphasizing balance and form in a display of lifelong dedication. This evolution is evident in routine composition: 1956 Olympic performances, like those from Soviet athletes, prioritized static strength holds for stability, whereas 2020s routines shift toward aerial flights and releases for amplitude and connection bonuses.

Scoring and rules

FIG Code of Points

The FIG Code of Points for Men's (MAG) governs the evaluation of parallel bars routines, with the current 2025-2028 edition emphasizing difficulty through eight counting elements while promoting innovation via connection bonuses and element group fulfillment. The overall score combines the D-score for difficulty and the E-score for execution, starting from 10.0 with no upper limit, though elite-level routines typically average 14-16 points. This open-ended system, introduced in 2006, replaced the pre-2006 perfect 10.0 maximum to encourage higher-risk skills and greater variety. The D-score is calculated by summing the values of the eight highest-rated elements, ranging from A (0.1) to J (1.0), plus bonuses for direct connections between elements (0.1 for C+D or D+D links, up to 0.5 for more complex combinations like E+F). Routines must include at least one element from each of four element groups—EG I (long hang swings with/without turns), EG II (flight elements), EG III (in-bar and Adler elements), and EG IV (dismounts)—with 0.5 points added per group fulfilled by a D-value or higher element (0.3 for A-C in some cases). The 2025-2028 code limits repetitions to a maximum of two front uprise through elements and requires at least two connected flights (minimum C+C) to credit a fifth flight in EG II. It details numerous elements across these groups, including new additions like the Hall release (a backward stretched layout with 1/2 twist and regrasp, valued at E). Neutral deductions, applied separately by the D1 judge, include 0.50 for apparatus or spotter assistance, 1.00 for falls from the apparatus, and 0.50 for out-of-bounds landings on dismounts. Incomplete routines receive a 0.50 neutral deduction for failure to perform a dismount; elements performed are still counted toward D-score, though fewer than eight limits maximum difficulty. The FIG publishes the full 2025-2028 MAG Code of Points, which outlines these mechanics in detail for international competitions.

Execution and deductions

The execution score (E-score) for parallel bars routines begins at a perfect 10.0 points and is reduced by deductions assessed by the E-jury for faults in form, , precision, and body alignment during swings, flights, and holds. Amplitude is evaluated for height and extension in swings and flights, with deductions of 0.10 for small deficiencies (e.g., slightly low swings), 0.30 for medium faults (e.g., noticeably insufficient height in giants), and up to 0.50 for large errors (e.g., failure to reach horizontal extension after saltos). Form deductions apply to posture issues such as bent arms or arched back, graded at 0.10 for minor deviations (e.g., slight arm bend under 45°), 0.30 for medium (e.g., pronounced arch affecting alignment), and 0.50 for severe cases (e.g., arms bent over 90° during support elements). Hand placement faults, common in regrasp and transition elements, incur a 0.10 deduction per instance for minor adjustments or brushing the bars, while pauses for re-gripping (e.g., to change hand position) result in a 0.30 penalty to emphasize fluid execution. Hold quality is scrutinized for strength elements like handstands or L-sits, where shaky execution or durations under 2 seconds draw 0.30 deductions, escalating to 0.50 for uncontrolled or absent pauses; body alignment must remain straight, with angular deviations from vertical (e.g., >20°-45°) penalized at 0.30 to reward stability. Landing deductions on dismounts focus on control and position, with 0.10 for small steps or hops, 0.30-0.50 for larger steps, piking, or feet apart beyond shoulder width, and 0.50 for falls to the (execution deduction; separate 1.00 neutral deduction applies to falls from the apparatus during the routine). The 2025-2028 Code of Points introduces stricter enforcement on directional continuity, imposing a 0.30 deduction for reversals after swings to (e.g., switching from forward to backward without a connecting element), alongside heightened emphasis on overall form in E-jury evaluations to promote seamless routines. The E-jury consists of six judges who independently score execution, with the final E-score calculated as the average of the middle four scores after eliminating the highest and lowest; inquiries may adjust this average, and the total routine score integrates the E-score with the difficulty score (D-score) minus neutral deductions.

References

  1. https://www.gymnastics.sport/publicdir/rules/files/en_Apparatus%20Norms.pdf
  2. https://www.olympics.com/en/news/a-bluffer-s-guide-to-artistic-gymnastics-parallel-bars
  3. https://www.gymnastics.sport/site/news/displaynews.php?idNews=3077
  4. https://www.gymnastics.sport/publicdir/rules/files/en_1.1%20-%20MAG%20CoP%202025-2028.pdf
  5. https://www.olympics.com/en/olympic-games/paris-2024/results/artistic-gymnastics/men-parallel-bars
  6. https://www.americanathletic.com/product-category/gymnastics/apparatus/parallel-bars/
  7. https://www.gymnastics-history.com/wp-content/uploads/2022/07/2006-appnorms0701-e.pdf
  8. https://www.american-gymnast.com/product/elite-parallel-bars/
  9. https://www.researchgate.net/publication/393207555_THE_HISTORY_AND_TECHNOLOGICAL_DEVELOPMENT_OF_PARALLEL_BARS
  10. https://www.gymmedia.com/ghent2001/appa/bars/history_ba.htm
  11. https://jahn-museum.de/en/friedrich-ludwig-jahn/
  12. https://history.physio/parallel-bars/
  13. https://olympics.com/en/olympic-games/athens-1896/results/gymnastics-artistic/team-parallel-bars-men
  14. https://gymnasticscoaching.com/2011/03/09/gymnastics-history-of-parallel-bars/
  15. https://greekreporter.com/2025/07/27/history-gymnastics-ancient-greece/
  16. https://gymfinity.com/2011/10/04/history-tuesday-parallel-bars/
  17. https://www.gymmedia.com/ghent2001/appa/unevenbars/history_ub_e.htm
  18. https://law.resource.org/pub/in/bis/S11/is.2462.1981.pdf
  19. https://www.gymnastics-history.com/2022/03/1928-the-rules-for-mens-gymnastics-at-the-olympic-games/
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  22. https://www.britannica.com/sports/uneven-parallel-bars
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  24. https://www.ngja.org/wp-content/uploads/2023/09/Current-Code-Changes-for-2025.pdf
  25. https://www.gymnastics.sport/publicdir/rules/files/en_MAG%20Element%20Symbols%20Booklet.pdf
  26. https://olympics.fandom.com/wiki/Li_Ning
  27. https://vault.si.com/vault/1978/06/26/whirling-with-flair-in-the-air-kurt-thomas-innovator-of-the-thomas-flair-has-clearly-swung-himself-to-the-top-of-gymnastics-in-this-country
  28. https://www.youtube.com/watch?v=zWbjxJEdfy4
  29. https://www.youtube.com/watch?v=fLU45AslIuk
  30. https://www.british-gymnastics.org/articles/introducing-the-hall-
  31. https://www.nbcolympics.com/videos/paul-juda-impresses-parallel-bars-during-all-around-final
  32. https://www.instagram.com/reel/C3Y42AbI80s/
  33. https://www.gymnastics.sport/site/news/displaynews.php?urlNews=4391208
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  35. https://www.flippeddecisions.com/2025-changes-to-the-cop
  36. https://www.nbcolympics.com/news/gymnastics-101-olympic-scoring-rules-and-regulations
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