Level 1 Level 2 Level 3. Play video Hip flexor stretches. Ankle and toe strength in splits. Single-leg bridge. Pelvic mobility. Shoulder overhead stretch. Repeat the series two times on each side. Squat jumps.
Hip extension with elastic. Supine plank. Supine pelvic control. Squat with backwards bend. Spring jumps. Repeat the series three times. Bird dog on toes. Upper back strength.
On top of her regular training, she would travel multiple hours each day to New York City and New Jersey for classes with Steps on Broadway and the Princeton Ballet School, respectively. Her bedroom walls were lined with cutouts from the pages of Dance Spirit , which served as inspiration for her goals. Her mother, Terri Garcia, was a professional dancer in the s she even danced Francisca in the West Side Story tour in , and Garcia-Lee was eager to follow in her footsteps.
Garcia-Lee went to high school at the University of North Carolina School of the Arts, where she studied first ballet and then drama. As a sophomore, she was cast as Graziella in her school's production of West Side Story. The magic of performing Jerome Robbins' iconic choreography never left her. She's been banging on West Side Story 's door ever since. All the while, she held out hope that West Side Story would someday come her way.
In , Garcia-Lee was considered for Graziella in the Broadway revival but didn't get the role after countless callbacks. After that, two more productions didn't cast her as Graziella.
For the Broadway revival, she was only offered the opportunity to audition for the role of Anybodys. She turned down both opportunities in favor of other projects—she would wait for Graziella.
Despite the rejection, she was undeterred. So when Deadline published an article announcing the film remake, Garcia-Lee felt that playing Graziella was meant to be.
At the audition, the casting room was filled with many of her friends and fellow Broadway darlings, like Eloise Kropp Cats and Jonalyn Saxer Mean Girls.
According to the film's choreographer, Justin Peck, Garcia-Lee quickly caught the eye of the creative team. I could sense that from the first audition. At the same time, she was committed to the Broadway run of Moulin Rouge! She spent much of the winter and early spring of trying to figure out how to do it all.
She asked if she could miss some rehearsals and most preview performances including the all-important first preview performance so she could film her scenes in the movie. I'll never forget Steven up on a ladder, then Steven halfway down the ladder, and then Steven on a rolling chair, Steven lying on the floor looking up at [the choreography] this way, Justin tweaking and tweaking.
Rehearsals for the iconic "Dance at the Gym" scene lasted two weeks. Before the work began, Garcia-Lee says, she familiarized herself with Peck's work as much as she could to get a sense of his style.
However, I loved the challenge of it. Once rehearsals wrapped, filming for "Dance at the Gym" lasted six days, and according to Garcia-Lee, her feet never hurt so badly in her entire life.
But that didn't stop her from soaking up the magic. Especially on the day she and her co-star Mike Faist Riff shot their duet. We lost ourselves in the art. We finally got to the end of [the take and] Mike and I fell to the floor. Steven ran over to us, dove on the floor with us and smothered us with love.
It was magic. But all those celebratory can-can kicks came to a crashing halt in March when the pandemic hit, just as she felt she was "stepping into the height of her career. Though she thankfully recovered, she was left wondering what the future would hold.
Several months later, it was announced that West Side Story 's release was going to be pushed back a year. Garcia-Lee spent her days volunteering at a horse stable in Brooklyn. It was the first time in decades she found the time to get back into the saddle like she did as a kid growing up close to the Bucks County farms.
She found solace and comfort around the horses. Then, with the help of her dad, she drove across the country to L. She wanted to focus on acting and find something new to give her purpose. But that doesn't mean she let go of dance.
As studios resumed in-person classes, Garcia-Lee returned to the dance floor. The learning curve right now is having a lot of grace with myself. When it comes to professional work, Garcia-Lee's been auditioning for film and TV projects while cultivating the next phase of her career. She also dreams of playing Roxie in Chicago on Broadway. After a yearlong delay, she is physically and mentally ready to celebrate playing Graziella. The timing is exactly right. Yes No.
Not Helpful 2 Helpful This varies based on your age and your level. A beginner might train for 4 hours a week and an advanced competitive gymnast might train for 4 hours a day. Start with an amount of training that fits with your life and your energy levels and budget. Not Helpful 0 Helpful I am I have done rhythmic gymnastics from the age of 3 to the age of I left gymnastics at the age of Is it a good idea to start it again?
If you've trained for so long, you should continue if you still enjoy it. Not Helpful 11 Helpful A background in dance will certainly help! Work on flexibility and apparatus handling as well. Not Helpful 4 Helpful Is it okay to start rhythmic gymnastics at years-old if I'm already very flexible?
I can do the splits front and middle , oversplits, scorpion, and needle almost. It is always okay to start rhythmic gymnastics! It will definitely help if you are already as flexible as you say - many gymnast work for a long time to achieve the flexibility you naturally? Continue working on your flexibility and enroll in a class!
Not Helpful 7 Helpful How can I can improve the strength of my legs so I can hold my splits in the air? Check out how to strengthen your core and how to build your lower body strength.
Make sure you can do overspills on a mat at least one foot high, and that will make it much easier. Not Helpful 5 Helpful However, can I do rhythmic gymnastics if I don't want to compete or get very successful, just for fun? Doing rhythmic gymnastics can help you get in shape and stay healthy, and is a great form of exercise. Is there a way I can make it to the Olympics if I started rhythmic gymnastics at the age of 13? It will certainly be very challenging. Most rhythmic gymnasts compete in the Olympics from the ages of 16 to You could reach the Olympic level with lots of work, but there is almost no chance you could win a medal unless you are incredibly naturally gifted.
However, if you come from a country where rhythmic gymnastics is not very well-known and is underrepresented, it could be easier to qualify for the Olympics. Not Helpful 15 Helpful I'm 12 years old, I used to be a gymnast, but was never good at doing bars or vault.
Is it too late to start rhythmic gymnastics? It's never too late to start any type of gymnastics. At 12, it may be more difficult to reach a high level, such as the olympics or level 7 or above, but that doesn't mean you cannot do rhythmic gymnastics, nor does it mean that you cannot achieve these levels without hard work. Not Helpful 13 Helpful I'm 9 years old.
I started gymnastics a year ago but I still haven't got my cartwheel. Any tips? Check out How to Do a Cartwheel for more information.
Include your email address to get a message when this question is answered. Practice at home. Unlike artistic gymnastics, many of the elements can be done safely at home. Helpful 0 Not Helpful 0. Submit a Tip All tip submissions are carefully reviewed before being published. With any sport, there is a risk of injury.
In the case of the international and national-team gymnasts, both ballet and technical apparatus work featured prominently in training sessions. Performing parts of competition exercises was the content element least developed by the gymnasts.
Table 5 shows the main evaluation and performance control means used by the coaches. Challenges come above all the others, followed by the technical and physical tests. In the case of the latter, the technical tests were carried out to a largely by the international gymnasts and the national team gymnasts. In the case of the international gymnasts and national teams electronic resources and connectivity were key, while for the gymnasts at regional and national levels availability of spaces and materials as well as the lack of motivation caused by social distancing from their teammates were fundamental.
It is notable that during this period, overloads and injuries did not play a decisive role in the participation of any of the gymnasts. Most of the scientific literature on COVID in sport tackled the direct impact of the pandemic on social, health and organizational aspects or on strategies for the return to training and competition.
However, the training done in confinement, what the conditions were and what the consequences of this period were with regard to rhythmic gymnastics have scarcely been looked at. The results indicate that for most gymnasts the confinement period coincided with the time of the main competitions, which logically could not take place. Most continued to train with a high volume of training in both days and hours, which could be due to the high levels of both coaches and gymnasts. The majority belong to national teams with fundamentally international participation at the highest level, world championships and Olympic Games.
The results described by Bowes et al. In relation to the duration of training sessions, Eirale et al. Ranasinghe et al. The rhythmic gymnasts in our study amply exceed the average of this number of minutes. Of the few studies on training content, Jukic et al. The RG coaches in our study were capable of developing specific exercises such as ballet or body and apparatus technique, whose loads were difficult to monitor, as they mainly oversaw weight and diet.
Eirale et al. Hence, the scant use of monitoring mechanisms in the sample may give rise to this undesired situation. Hagen et al. Physical fitness was the content most used with the rhythmic gymnasts in the study.
Several authors point out that during confinement they worked on strength, overall fitness, endurance training and sports skills Jukic et al. On the other hand, Herrera-Valenzuela et al. Along these lines, Melim et al. Also worthy of highlighting is the importance the RG coaches in the sample place on body and apparatus technique skills, coinciding with the recommendations made by several authors with regard to coaching sport-specific technical skills Jukic et al.
The psychological preparation of the gymnasts in the study was a training content with little consideration at all levels of performance, but the national teams, when the majority of authors refer to the lockdown as an ideal moment for this kind of training Bowes et al.
Studies in the prolonged abstinence from physical training and its psychological effects in athletes, forced to abstain due to injury, show that they are more likely to develop problems such as depression, anxiety, loss of self-esteem and mood swings Melim et al.
Effects that have not been analyzed yet in RG gymnasts across the world and at different levels of performance. Future studies should approach the consequences of the global lockdown to determine the specific effects on gymnasts and to explore if the sport practiced contributed to reduce or increase them.
A study carried out with Italian athletes Di Fronso et al. Esteves et al. Iancheva et al. Furthermore, these authors found different ways of perceiving the consequences of the pandemic in accordance with nationality, which makes it easier to understand some of the results obtained in this study.
Even though psychological training has not been a priority for the coaches during this first world lockdown, it is remarkable that challenges were the main monitoring mechanism used.
Considering that challenges could represent a motivation for gymnast to keep on training gymnastics skills under difficult circumstances, it is to some extent contradictory the results obtained in the two categories: training content and monitoring means.
With regard to the difficulties sportspeople found in continuing their training routines during the confinement, Bowes et al. A high percentage of coaches in this study indicate that they had some gymnast who left due to the difficult circumstances of confinement. The results also show significant differences according to the levels of performance.
For the elite gymnasts extrinsic factors, such as poor connectivity or lack of facilities and materials are the main reasons behind problems in training. For the lower level gymnasts, intrinsic factors including the lack of contact with other gymnasts and the loss of sport goals were determinant.
It is notable that for all performance levels in the study overloads and injuries did not play a decisive role, even though the difficulty of implementing an injury recovery plan with the scant resources available for professional and physical assistance in the home is considered as a limitation Girardi et al. There is no data found in previous studies on athletes abandoning training during the lockdown. Rhythmic Gymnastics is taken up from a very early age, therefore gymnasts will be psychologically immature and their predisposition to doing sport maybe modified by such a long period of confinement.
For youth sports, Breslin et al. Similarly, the type of rhythmic gymnastics most participants do at lower performance levels is in groups five gymnasts together , and this was unfeasible during confinement.
While extrinsic conditions for training in a lockdown situation could improve through sport policies and investment, intrinsic factors should be deal through specific psychological training of the gymnasts. It would be necessary to include other main components of the sport that the gymnasts can practice at home, like choreographic preparation based on ballet, expression and musical rhythm, and mental preparation, using concentration and visualization techniques.
During the period of confinement brought about by the COVID RG training was widely monitored by the coaches in the sample as well as by the gymnasts themselves, although a high percentage of coaches admit that some of their gymnasts gave up the sport altogether. The technological resources used enabled coaches and gymnasts to be in contact and to prescribe and follow training sessions online. This did not occur to the same extent in the monitoring of training, which was scant and somewhat vague.
The training content most used was general and sport-specific physical fitness as well as body and apparatus technique.
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