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1952
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FIELD
Techniques
ILLUSTRATED
PARTE
B 1,333,915
DON CANHAM TYLER MICOLEAU
24
RONALD
SPORTS
LIBRARY
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University of
Michigan
Libraries
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817
ARTES SCIENTIA
VERITA
295
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FIELD
Techniques
ILLUSTRATED

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1
THE TRACK AND FIELD LIBRARY

FIELD
Techniques
ILLUSTRATED

By DON CANHAM
TRACK COACH, UNIVERSITY OF MICHIGAN

DESIGNED AND ILLUSTRATED
By TYLER MICOLEAU
THE RONALD PRESS COMPANY
NEW YORK

Copyright, 1952, by
THE RONALD PRESS COMPANY
All rights reserved. No part of this book may be re-
produced in any form, either wholly or in part, for any
use whatsoever, including radio presentation, without
the written permission of the copyright owner with
the exception of a reviewer who may quote brief
passages in a review printed in a magazine or news-
paper. Manufactured in the United States of America.
2

気
​
CHAPTER
2
3
درا
1 A WORD ON EQUIPMENT.
THE FIELD EVENTS BEGIN WITH TRAINING.. 11
THE RUNNING BROAD JUMP.
THE HIGH JUMP
THE POLE VAULT ..
4
5
6
7
8
9
CONTENTS
10
INTRODUCTION
THE HOP, STEP AND JUMP.
THE SHOT PUT ……..
D
THROWING THE DISCUS
THE HAMMER THROW
THE JAVELIN THROW
GLOSSARY ..
INDEX ...
PAGE
7
8
14
21
32
43
50
62
71
81
92
94

DEDICATED TO
CHARLIE FONVILLE
A WORLD RECORD HOLDER
WHO ACCEPTED DISAPPOINTMENT AS GRACIOUSLY
AS HE DId fame AND SUCCESS

INTRODUCTION
Jumping, throwing and vaulting are as old as the human race, and
in pre-historic times a man's ability to excel in these skills helped deter-
mine his chance to survive. Ancient Greece was the first to glorify the
field event athlete, and Myron's statue "Discobolus" (the Discus Thrower)
is known to every school boy who has studied history. It remained, how-
ever, for the 17th century English to include field events in the regular
track program, and our own programs have been patterned after theirs.
American A.A.U. and collegiate championships were begun in 1876. Since
that year our athletes have dominated the world in the majority of the
field events, and records have been revised at a rapid rate.
Aside from the pleasures and thrills of competition, events in the
field help develop confidence, poise and self reliance in the young men
who take part.
Every boy can find an event in the field where his particular abilities
can serve him to advantage. There are few places in sports where the
individual is rewarded for effort and hard work as he is in the jumping,
vaulting and throwing events. Improvement from month to month and
from year to year is often remarkable. Warmerdam, Fonville, Held and
many other great champions were not outstanding high school athletes.
They achieved stardom and fame following years of conscientious atten-
tion to the details of event technique.
The author presents this text to the high school and college young-
sters who will be the national and international stars of tomorrow. It is
hoped that it will lead to a better understanding of the various field events,
and the techniques involved. Remember that the field athlete is made and
not born. Be analytical, enthusiastic, and above all, be patient.
The wisdom and assistance of several individuals has made this book
possible. The early teachings of two master technicians, Bob Woodruff of
Oak Park, Illinois, and Ken Doherty of Pennsylvania, as well as the en-
couragement given by Don Harshbarger and H. O. "Fritz" Crisler pro-
vided the inspiration.
A real debt of gratitude is owed to Phil Diamond for his loyal sup-
port on many occasions, and his aid in organizing this as well as the
TRACK TECHNIQUES book of this series. Valuable research assistance
was provided by Clarence Robison, coach of Brigham Young University,
and George Dales, who is assisting at Michigan.
7
Chapter 1-A WORD ON EQUIPMENT

Py
The shoes are the most important item of equipment. When com-
petition is keen, shoes often mean the difference between winning and
losing, so they should be of good quality] The type of shoe to buy de-
pends upon the event the athlete intends to enter.
The majority of the nation's jumpers and vaulters now use a regular
sprint shoe in competition. This type of shoe is lighter, more flexible and
is easier to fit to the foot than the spike heeled field shoe. It does, how-
ever, present less protection for the heel, and as a result there are more
heel injuries with this shoe than with the other. When field event men
turn to this shoe, they must protect the heel with rubber or felt.

BUTE!
马​柱
​All weight men use the field shoe (or a modified version of it). This
shoe, while not so light as the track shoe, provides more stability for the
men who use it. In fact, many jumpers and vaulters still use this shoe on
wet or loose runways.
8
A WORD ON EQUIPMENT
9

Another popular type of field shoe is the one-spike heel shoe. It is
usually made with a lightweight leather, and is the closest thing to a
regular track shoe for competition. It provides more traction than a shoe
without heel spikes and for this reason it also is used a great deal on wet
or soft runways. Like the standard field shoe it does not allow the athlete
to drop his heel so low as does a sprint shoe. The inclined plane effect is
thus lost.
There is a definite advantage in
using a make of shoe that comes
with removable spikes. Indoor
meets on dirt tracks usually re-
quire a 3/8" spike and outdoor run-
ways and circles usually require
the longer " spike. For board
track competition a rubber soled
"flat" or a " pin point spike is
used.

A lightweight cotton sock is the
most practical for general use. It
should be white and contain no
dye that might cause infection by
getting into blisters or cuts on the
feet. As the skin becomes tougher
many athletes compete without
socks, as they feel greater freedom
of ankle movement this way. In
any case foot care for the field
man is just as important as it is
for the runner.
10
FIELD TECHNIQUES ILLUSTRATED
21
7
The ideal warm-up suit is made
of wool, as it does the most thor-
ough job of getting and keeping
a man warm. The objection to the
wool suit is often cost, and for
this reason the cotton fleece lined
suit is most widely used.

The track jersey may be of any
light washable material. A light-
weight rayon or cotton is a very
satisfactory material. Most track
shirts are sleeveless like basketball
jerseys, but some schools and ath-
letes prefer T-shirts. Where a
T-shirt is used, it should be large
enough to prevent binding under
the arms.

The supporter should fit snugly
but not tightly. It should be
washed every other day if possi-
ble. A web pouch seems to be less
irritating to the field athlete than
other types. Good supporters come
in small, medium and large sizes,
while the very best may be pur-
chased with exact waist sizes.
The pants, like the shirt or jer-
sey, may be made from any light-
weight material. An elastic waist-
band is preferable to a draw
string, for comfort and durability.
The pants must not fit too tightly
at the waist or crotch, and a par-
tial split up the side for complete
freedom of leg movement is de-
sirable.
J
Chapter 2-THE FIELD EVENTS BEGIN
WITH TRAINING

The training program for events in the field must include five basic
elements. They are:
1. Diet and Elimination.
2. Graduated Physical Work.
3. Sleep and Rest.
4. Absence of Stimulants and Drugs.
5. Mental Conditioning for Competition.
ut
DIET AND ELIMINATION
Moderation is the key to success in all phases of training. Overin-
dulgence at the dinner table is not sensible for any field event man. The
athlete who eats at home, in the dormitory or at the training table usually
receives a substantial, well balanced meal. He should, however, avoid
exceptionally greasy foods, and abstain from eating any others that he has
found to disagree with him. During the competitive season he should not
experiment with new or different dishes.
Regularity in eating habits and elimination, the use of salt tablets
(to compensate for body salt loss due to exercise) and moderation in the
use of candy, liquids and condiments are common sense training practices.
On meet days, the field event man should eat three or four hours
before he is to compete, and he must be certain to chew his food well
to promote easy digestion.
GRADUATED PHYSICAL WORK
To bring the body of the athlete to a state of top condition and
maximum efficiency, a carefully thought-out, gradual training program
must be practiced. This program must be gradual to permit the various
organs and systems of the body to develop proportionately, as the func-.
tions of all parts of the body are inter-related. A training schedule must
be designed for each individual, as each has different problems to face
and different needs to satisfy.
11
12
FIELD TECHNIQUES ILLUSTRATED
SLEEP AND REST
Rest is essential in recuperating from strenuous effort. Sleep and rest
are as basic to good training as any other factor; and from eight to nine
hours of sleep is usually needed by most track athletes. Pressure of jobs
and studies often cuts into the athlete's sleep; when it does, the athlete
should attempt to find extra rest periods before practice or competition.
The average athlete usually has difficulty getting to sleep the night
before competition; and often a warm glass of milk, or a very brief warm
shower, is helpful in promoting sleep. A cool room and a firm mattress
are also aids conducive to sound sleep. The use of sleeping pills or
powders should not even be considered.
DRUGS AND STIMULANTS
The use of tobacco and alcohol is dissipation for the field athlete,
who cannot justify the use of either; a cigarette or a drink of alcohol has
never improved the condition of any field man. Conversely, several studies
have shown that the use of tobacco or alcohol hinders top physical per-
formance. The detrimental effect upon the athlete may be mental or
physical, or both.
The use of sugar or dextrose wafers should be adjusted by the athlete
to his own needs. Many athletes claim they feel the extra energy after
their use of dextrose, but whether the boost is physiological or psycho-
logical is hard to determine. In any event, no harm can come from taking
a dextrose wafer or two, and we do know that so doing helps reduce the
appetite.
MENTAL CONDITIONING FOR COMPETITION
The proper mental approach to an event and to competition is often
the difference between success and failure. A fine state of mind from the
first day of practice until the last day of competition is typical of the
champion athlete. Determination, confidence and desire to win, are the
basic ingredients of success, and without them no athlete can perform up
to capacity. Competent coaching, adequate competition and encourage-
ment are the factors which develop pride and confidence, and the resulting
proper mental attitude. Believing that nothing is impossible, and then
setting out to prove it, is the result of sound mental preparation.
In conclusion, a word must be said concerning over-training. During
the competitive season, the most common cause of athletes not perform-
ing up to ability is staleness. It is extremely doubtful that athletes can
over-train physically. Continued poor performance is much more likely
to be caused by mental rather than physical fatigue, and constant hard
work is usually the direct cause. Complete rest or a lighter training pro-
gram usually gives the athlete a fresh outlook, and improves performance.
It should be quite obvious that there is no such thing as a "burned out"
athlete.
THE FIELD EVENTS BEGIN WITH TRAINING
CONDITIONING EXERCISES FOR THE FIELD EVENTS
Push Ups. Keeping the trunk
straight, lower the body and touch
the chest to the ground; push to
an arms extended position. Repeat.
Abdominal Exercise. Keep the
legs straight and scissor kick them.
Trunk Stretching. Twist the trunk
far to the left, and then repeat to
the other side.
Chinning. Drop down to arm's
length, and then pull up so that
the chin is above the bar. Repeat
as many times as possible.
13



Leg, Trunk and Back Exercise.
Touch alternate toe with the al-
ternate hand. Repeat to the other
side.
Rope Climb. An ideal exercise for
pole vaulters. Go hand over hand
up a rope.
Chapter 3—THE RUNNING BROAD JUMP

Broad jumping has shown remarkable progress since the time it was
used as a military exercise in ancient Greece. Probably due to our tradi-
tionally strong sprinters, America has been outstanding in this event. In
Olympic competition, for instance, the United States has won every broad
jump championship but one since 1896.
In 1876 the first National A.A.U. broad jump championship was won
with a jump of 17 feet 4 inches, but M. W. Ford of New York in 1888
showed the rapid early improvement made in this event when he estab-
lished a world record of 23 feet 3 inches. The famous Alvin Kraenzlein
of Pennsylvania was the first man to better 24 feet, and he did this in
1899. The mark was significant because it introduced the first great sprinter
to broad jumping, and established the fact that great speed is essential
to outstanding jumping. When Ned Gourdin of Harvard jumped better
than 25 feet in 1921 he became the first of a long line of negro champions
in this event.
DeHart Hubbard of the University of Michigan, the 1924 Olympic
champion, was the first American to approach 26 feet. His 25 foot 10%
inch record was set in 1925. The incomparable Jesse Owens of Ohio State
University, probably the greatest track and field athlete in history, showed
the world that a 27 foot jump was not beyond reach. His world record of
26 feet 81/4 inches was also significant because at the time he was the
"world's fastest human."
REQUIREMENTS
The physical requirements necessary for broad jumping do not point
to any particular body type. Three recent 26 foot broad jumpers illustrate
this fact. George Brown of U.C.L.A. was tall and thin, Jesse Owens was
14
THE RUNNING BROAD JUMP
15
of medium height and build, while Chuhei Nambu of Japan was of very
short stature. The main requirements for broad jumping are speed, spring
or bounce and fine coordination.
While speed is paramount, many average sprinters have become fine
broad jumpers by perfecting the techniques of take-off and jumping. It is
sometimes possible for men of average speed to specialize in this event
and become quite proficient. "Bounce" or "spring," however, is essential,
as men who do not get height off the toe (take-off) board cannot hope
for great distance.
The mental requirements of a broad jumper are similar to those of
other jumpers and vaulters. Determination, courage and the ability to
analyze are essential.
12 ft-
RUNWAY
FILL
ZVAL
LTHE PITS
TAKE OFF BOARD
In the college broad jump take-off boards are eight inches wide and
at least four feet long. The N.F.S.H.S.A.A. will accept records from wider
take-off boards. The board must not, however, exceed twenty-four inches
in width for high school competition.

Measurement of any jump should be made at right angles from
the take-off board to the nearest mark on the ground (either in the pit
or outside) that is made by the athlete or his clothing. The pit itself must
be at least six feet wide.
TECHNIQUE
The broad jump is made up of four components:
1. The approach.
2. The take-off.
3. Form in the air.
4. Landing.
THE APPROACH
Broad jumping starts with the run, and the distance covered in this
phase is between 90 and 125 feet. Regardless of the distance to be covered
in the run, the athlete should use two check marks. The first should mark
the starting point of the run, and the second mark should be a minimum
of 45 feet and a maximum of 60 feet from the toe board. The step off
the first mark is with the take-off foot and the second check mark is
reached on the same foot. After constant practice, work and adjustment,
steps should become established, and confidence in these steps can only
be gained by a minimum of change. It takes days and weeks-rather than
hours to determine proper steps. Once determined, the athlete should
never run through or jump without having carefully measured and marked
16
FIELD TECHNIQUES ILLUSTRATED
out his check marks. Some adjustment is, of course, necessary in situations
where surface texture, wind conditions and weather conditions become
a factor.

The athlete must attempt to
reach maximum speed at the sec-
ond check mark, and from that
point on the concentration on the
jump itself must take precedence
over any effort to increase speed.
The "gather" or "settle" necessary for the jumping action takes place
about three strides from the take-off board. This floating action must not
cause a slowing down-it is merely a relaxing action in preparation for
the explosion at the take-off. The last stride or two should be slightly
shorter than preceding strides. At the point of take-off the body must
be directly over the foot. A shorter last stride makes this adjustment
possible.
THE TAKE-OFF
At the take-off the broad jumper must convert part of his forward
momentum to vertical height. Jumpers at the board should jump up and
not out. To gain maximum height off the board the athlete (during final
steps of the run) must be as relaxed as possible to prepare for a rapid
and vigorous extension of the take-off leg,

The take-off foot hits the toe
board almost flat footed. Actu-
ally, the heel touches the ground
slightly before the ball of the foot.
The foot must be planted solidly.
The toes must point directly for-
ward, and the take-off knee is
slightly bent as the athlete gathers
to drive the body upward.
THE RUNNING BROAD JUMP
17
!!
小
​At this point the athlete's cen-
ter of gravity is directly over his
foot, and the slightly shorter last
stride has made this position pos-
sible. A long last step would place
the weight well behind the take-
off foot, while an exceptionally

Coordinated with the exten-
sion of the take-off leg there must
be a raising and upward swing of
the free leg, and a rocking motion
up onto the toes of the take-off
foot. The athlete must concentrate
on driving the chest as high as
possible, and at the take-off the
chest, chin and kicking leg should
be lifted.
short step would place the weight
too far forward at the take-off.

18
FIELD TECHNIQUES ILLUstrated
FORM IN THE AIR
Simple physics tells us that it is impossible to increase body momen-
tum after losing contact with the ground. "Walking in the air" and vari-
ous forms of hitch-kicking are used merely to give the athlete aerial
balance, or to aid in elevating the feet. The most simple and efficient
form in the air is a soaring action with a subsequent extension of the feet
to gain maximum distance.


If the take-off has been executed correctly, the athlete will reach his
maximum height with the chin and chest up, the back slightly arched
and the feet trailing slightly behind the rest of his body. The arms are
used to maintain balance, and are usually forward and out during flight.
As the jumper reaches the crest of his flight, there must be a forward
swing of the hips to make the lifting of the feet less difficult. As the
hips go forward the legs are extended and the feet brought up so the
heels are about level with the hips. With the arms also forward there
is now a slight forward curve of the back in evidence. In this sitting
position in the air, the feet are about a foot apart and the knees are
slightly bent.
LANDING
As the athlete starts toward the pit he must rely on strong abdominal
muscles to keep the feet from dropping. The most practical method of
THE RUNNING BROAD JUMP
19
landing is with the feet spread a foot or so apart so the body may go
between the knees and over the feet when the pit is touched. The athlete
must fall or pass beyond the point where the heel strikes the pit.
The jumper, to get past and over his feet, may do four things as
soon as his heels touch the pit.


1. Drop his chin on his chest.
2. Lean forward from his hips.
3. Flex his knees.
4. Swing his arms downward and backward.
This procedure will prevent the athlete from falling back into a sit-
ting position.
COMPETITIVE TIPS
On the days of competition, the coach and athlete should consider
all conditions that might affect the approach steps. Loose runways, winds
and varying surface materials make slight step adjustments necessary. The
athlete should report to the pit at least an hour before competition to
attend to this important detail.
Where an athlete is competing in another event in addition to the
broad jump, a decision should be made before the meet as to just when
and how many jumps he is to make.
Due to the demands on the legs, it is wise to take as few jumps as
possible in competition. If the athlete is well ahead of his competition
on his first or second jump, it may be wise to call it a day, rather than
risk injury in an unimportant meet.
20
FIELD TECHNIQUES ILLUSTRATED
To perform to capacity, the broad jumper should not feel concern
over an opponent or the distance he jumps. His only concern must be
his own jumping effort.
Where competition is drawn out, the jumper must keep warm be-
tween jumps, and on cool days a blanket is desirable. On hot days the
athlete should avoid sitting in the sun for long periods.
TRAINING FOR THE BROAD JUMP
The main objectives of training in the broad jump are to:
1. Develop greater speed.
2. Develop uniform and even strides.
3. Attain ability to jump high.
4. Develop strong abdominal muscles.
5. Condition the legs to withstand great strain.
To satisfy these needs, a pre-season program of sprint work, hurdling,
high jumping, calisthenics and actual broad jumping must be followed.
Most broad jumpers do not have the opportunity to broad jump enough
once the season starts. A pre-season program, of the above work plus
easy jumping, often pays great dividends. Ron Soble, of Michigan, who
jumped 24 feet 73/4 inches in 1951, improved his best mark by two feet
following a concentrated fall jumping program, and most of the cham-
pions have had similar experiences.
Following is a training schedule for mid-season. It is assumed that
the athlete has had adequate pre-season conditioning.
Monday- Jog a 440 to loosen up, and take calisthenics for ten min-
utes with special attention to abdominal muscles. Work a
little with the high jumpers and finish the work-out with
two laps of wind sprints. Jog and shower.
Tuesday- Jog a 440 to loosen up, and take calisthenics with emphasis
on shoulder girdle work. Measure steps and run through
three times. If there is no soreness in the legs, a jump or
two may be wise. Or take eight form jumps into the pit,
using a short slow run. Work with the hurdlers using uni-
form steps. Jog and shower.
Wednesday-Jog a 440 to loosen up and take calisthenics with emphasis
on stretching. Measure steps and run through three times.
With a 30 foot run take several relaxed jumps into the
pit emphasizing height off the board and not distance.
Work a little with sprinters. Jog and shower.
Thursday- Jog a 440 to loosen up. Take light general calisthenics.
Measure and check through run and steps. Shower.
Complete rest is recommended.
Friday-
Saturday- Meet.
Chapter 4-THE HIGH JUMP

S
TE
Men have been jumping over obstacles for centuries, but it was not
until 1876 that the running high jump appeared as a competitive event
in our National A.A.U. championships. H. E. Ficken, of New York, won
the first National A.A.U. championship in this event at 5 feet 5 inches,
but America's first great jumper arrived ten years later. He was W. B.
Page, Jr., of the University of Pennsylvania, and he set a very creditable
record of 6 feet 4 inches in 1887. The first real contribution to high
jumping style was introduced by "Mike" F. Sweeney, who, in 1895, set
a new world record of 6 feet 5 inches. Until Sweeney's day, jumpers
were using the "scissors" style and clearing the bar in a sitting position.
Employing a scissors with a lay out, Sweeney revolutionized high jumping
by introducing the principle of a lower center of gravity in cross bar
clearance. The form he used eventually became known as the Eastern
Style.
The next great advancement in high jumping style must be credited
to George Horine, of Stanford University. Horine not only approached
the bar from the side opposite that used by "Eastern" style jumpers, but
he also kicked with the outside rather than the inside foot, and cleared
the bar on his side. With the style we now know as the "Western Roll,"
Horine, in 1912, moved the world record up to 6 feet 7 inches, and
showed the world that the ultimate in high jumping had by no means
been attained. Harold Osborn, of Illinois, in 1924 was the first man to
leap better than 6 feet 8 inches, and Walter Marty, of Fresno State Col-
lege, became the first human to reach the "unbelievable" height of 6 feet
9 inches in 1934.
While not the originator, credit for popularizing the now universally
used "Straddle" Style of high jumping must go to Dave Albritton, of Ohio
State. When he leaped 6 feet 93/4 inches in 1936, to tie Cornelius Johnson
for a new world mark, he became the first to show the great possibilities
of this new form. Since that day the great majority of our high school
and college jumpers have switched to this "belly roll" form of high
jumping.
21
22
FIELD TECHNIQUES ILLUSTRATED
Les Steers, of the University of Oregon, gave a concrete illustration
of how efficient "Straddle" jumping could be when he soared 6 feet 11
inches in 1941.
REQUIREMENTS
The first requirement for high jumping is leg spring or bounce. It
is a fact that many well coordinated men of only average height have
done well with this quality alone. Like sprinting speed, a boy usually in-
herits this lightness of foot; however, it is possible through years of
jumping practice to develop it.
While the well coordinated tall man possesses an anatomical ad-
vantage in this event, there have been many men slightly under 6 feet in
height that have jumped 6 feet 6 inches or higher. In fact, Harold Osborn,
who had a best leap of 6 feet 81/4 inches, was less than 6 feet tall. Les
Steers, who jumped 6 feet 11 inches, was just over 6 feet tall. It would
seem, however, that the 7 foot plus high jumper will be a man well over
6 feet in height with good speed, fine coordination and prodigious leg
spring.
High jumpers are usually of slight build and rather light in weight,
but men like Steers and J. Lewis Hall, of Florida, have found success in
the event in spite of their heavier bone and muscle structure.

Alle
222
The minimum dimensions of the high jump pit are sixteen feet wide
and twelve feet long. The cross-bar may be 11 inches in thickness if
square, and 116 inches over each face if triangular in shape. The bar
must rest along the narrow dimension of the flat top standards, and the
standard tops should be 11/2 inches wide and 23% inches deep. The stand-
ards should be placed at least 12 feet apart.
THE HIGH JUMP
23
1. Eastern Style.
2. Western Roll.
3. Straddle Style.
TECHNIQUE
The problem in high jumping is converting most of the forward
momentum into vertical momentum for cross bar clearance. There are
three established methods or styles of doing this. They are:
In this country the Eastern Style, due to its complexity, is rapidly
disappearing. In Europe, however, it still survives as the most popular
form, a fact which might explain the comparative lack of success of Euro-
peans in this event. The style not only is difficult, but it requires the athlete
to gain a higher center of gravity than is required in either of the other
two methods of clearance. For this reason the college athlete will have
greater chance for success with the Western Roll or the Straddle Style.
The high school boy will have more success with the Western Roll due
to its simplicity, and should never use the Straddle until he has mastered
the Western style.
APPROACH
The run or the approach in both the Straddle and Western Roll is
the same. The athlete runs at the bar so that his kicking leg will be his
outside leg at take-off. Thus, the right footed kicker runs from the left
side and vice versa. The approach in most cases should be at a 45° angle
to the bar. The most simple and effective run is the seven step approach
to the bar, with the first step being made by the take-off foot. Starting
or running fast during the approach is not necessary. The emphasis dur-
ing the run is on acceleration and relaxation. The first three steps are
taken rather slowly; the last four are slightly faster, and consequently
longer. During the approach the athlete should not be concerned with
check marks, as they only tend to take his mind from the subject at hand,
which is jumping. The only check mark necessary is the starting point,
or seven strides from the point of take-off. A man thinking about hitting
a check mark two or three strides from the bar usually does not have
time to concentrate on the leap itself. During this run the athlete must
realize the importance of uniform strides, with no hop or skip to break
them up. The smooth, uniform run should be practiced again and again
so that the athlete can be absolutely certain of hitting the take-off point.
FOOT PLANT
The preliminary stage to the take-off is the foot plant. In most cases
the point of take-off is about an arm's length from the bar. The function
of the foot plant is to check forward momentum for the purpose of con-
verting it into vertical motion.
24
FIELD TECHNIQUES ILLUSTRATED


Jumpers who take off more than
an arm's length from the bar usu-
ally do not get their maximum
height over the bar. Viewing the
jumper from the side usually re-
veals whether the take-off is too
close or too far back.
The actual foot plant is a
"heel-ball" rocker action, and
though it may appear to be flat
footed, the heel actually touches
the ground before the ball of the
foot.

The foot is planted
directly in line with
the run (a 45° angle
to the bar). The for-
ward motion of the
body then passes di-
rectly over the toes
of the foot where
the most springing
power can be gener-
ated in the take-off.
THE HIGH JUMP
25

|
TAKE-OFF
During the rocker action the body weight must come forward directly
over the take-off foot. The knee of the take-off leg is bent, as the body
drops down over the foot in preparation for the upward thrust. In an
effort to keep the athlete's center of gravity directly over his foot at the
take-off a slight hunching of the inside (closest to bar) shoulder should
be emphasized. In general arm action at the take-off need not be empha-
sized. The athlete can help keep his weight over his take-off foot by
kicking parallel to the bar or at the far standard. The kicking leg should
be semi-straight to give a pendulum lifting action. A bent lead leg has,
however, been used by athletes with tremendous "lift." As the kick is
made the head must be kept up with the eyes looking in the direction of
the bar. The final action in take-off is the vigorous extension of the bent
left leg and a drive directly up off the toes of the take-off foot. The entire
action is coordinated with the lift received by the pendulum action of the
kicking leg. When taking off for the straddle clearance, the jumper should
make sure his right or outside arm does not come across his body.
26
FIELD TECHNIQUES ILLUSTRATED

Men who lean into the bar at the take-off turn their forward mo-
mentum off the side of the foot and naturally lose the advantage of the
spring from the toes. Turning or leaning in at the take-off is a common
fault with Straddle jumpers. A tendency to turn the chest toward the bar
or to drop the inside shoulder can often be corrected by a return to the
"Western Roll" where proper take-off is more natural. Where all efforts
to correct the fault fail, a foot plant of almost a right angle to the bar
is a compensating device. If the athlete then incorrectly turns his forward
momentum off the line of run, the body still passes over the toes, as the
foot was planted in the direction in which the body has been turned.
Due to the long last step, the take-off leg is extended and the body
slightly behind it when the take-off foot contacts the ground.
THE HIGH JUMP
27

For maximum lift, the jumper
should direct his kick along the
bar, rather than over the center
of it. Men who kick with a semi-
straight leg usually find it easier
to keep the body weight over
the take-off foot.
--

WESTERN ROLL CLEARANCE
On the top of the bar the Western Roll jumper has been turned on
his side by the vigorous kicking action of the outside or lead leg (right
on right footed men). This position (called the "lay-out" position) finds
the kicking leg relatively straight, and the take-off leg is between the body
and the bar in a tucked position. The tucked knee is at about a 45° angle,
and the entire leg is drawn as close to the kicking leg as possible. Clear-
28
FIELD TECHNIQUES ILLUstrated
ance of the bar, and the turn down toward the pit, start with a slight
back kick with the lead leg (right) and a dropping toward the pit of the
left arm. A simultaneous dropping of the head down and slightly back
aids in raising the hips for better clearance. The force necessary to carry
the body across the bar is, of course, the forward momentum built up by
the approach.

Jud
WESTERN ROLL LANDING
In the Western Roll the actual landing takes place on the take-off
foot (left) and both hands.
THE HIGH JUMP
29
STRADDLE STYLE CLEARANCE
As in the Western Roll, a high pendulum kick turns the body toward
the bar. In the Straddle, however, the take-off leg trails and is not tucked
under as it is in the Western Roll.
The athlete actually straddles the bar on his stomach, with the chest
down. The secret in this style is the mastery of hip roll for second leg lift,
as it is the second leg which is most apt to hit the bar in this method of
clearance.

In the Straddle Style, as well as
in the Western Roll, the athlete
should kick along the bar, and not
over the center. He will find that
it helps prevent leaning into the
bar at the take off.

At the top of the jump, the action of the head plays a great part in
the lifting of the left (or trailing) leg. Just before the athlete reaches the
point of maximum height he should turn his head back and slightly down
attempting to look at a spot close to his point of take-off.
30
FIELD TECHNIQUES ILLUSTRATED

At the instant the head turn starts, the straightening of the trailing
leg and a simultaneous turning of the toes of the left foot toward the sky
accomplish the action necessary for second leg bar clearance. Arm action
needs to be emphasized. The athlete should not let the left or inside arm
ever get between his body and the bar at any time during clearance. The
most logical position is with the hand at the jumper's side during clearance.
The right or outside arm should start down toward the pit immediately
after the athlete has attained his maximum height.
STRADDLE STYLE LANDING
In the Straddle Style the landing is made on the kicking foot (right)
and the outside or right hand. The athlete should let his momentum roll
him over on his side into the pit.
COMPETITIVE TIPS
It is essential to learn the Western Roll before the Straddle Style, as
it is much easier to develop the ability to keep the center of gravity over
the foot with this form. In meets it is often wise to take a few jumps with
the Western Roll before switching to the Straddle Style as so doing tends to
"groove" the athlete to the proper take-off. High school boys in general
will jump higher and certainly more consistently in competition if they
jump with the Western Roll rather than with the Straddle Style. Western
roll is a much more simple form to master.
THE HIGH JUMP
31
Most jumpers now use a sprint shoe rather than a field shoe for com-
petition. It enables the athlete to drop lower on his heel, and gives an
inclined plane effect. It is advisable to pad the heel with rubber or felt
to minimize heel bruises.
Weather conditions must be noted on days of competition. A blanket
for a cold day comes in handy to keep the athlete warm between jumps.
On a hot and sunny day he should look for a shady spot to sit in between
jumps. Longer spikes or even field shoes are necessary on wet or loose
take-offs.
The athlete when warm should not take any jumps with his sweat
clothes on. Jumping in sweat clothes alters timing and expends unneces-
sary energy.
TRAINING FOR THE HIGH JUMP
Most jumpers find an early season conditioning program of several
weeks is necessary. A great deal of hurdling, high kicking, rope skipping
and general body building should be done during this period. In addition,
jumpers should jump a great deal during the fall and certainly during early
season for form. Once the season starts, most jumpers find they perform
best with very little work. Most men preparing for a Saturday meet make
Tuesday their day of most concentrated work, and do nothing after
Wednesday. The amount of rest necessary, however, is an individual prob-
lem, and by experimentation the work and rest schedule can be determined.
Following is a mid-season schedule for a jumper planning to compete
on Saturday. In late season, an even lighter program may be followed:
Monday- Jog a few minutes to loosen up. Warm up with easy stretch-
ing and calisthenic work. Measure the check mark used for
competition and run through several times exactly as you
should when jumping. Jump three or four times at low
heights concentrating on proper approach. Take three or
four short sprints and spend five minutes on kicking the lead
leg with a pendulum action. Jog a quarter mile and shower.
Tuesday- Jog and warm up with calisthenics. Measure steps and take
several jumps to warm up. Work the bar up near your maxi-
mum height and jump it several times for approach, form
and confidence. Jog and shower.
Wednesday - Jog and warm up with calisthenics. Measure steps and jump
at low heights for form if necessary. Do some high kicking
exercises. Jog and shower.
Thursday- Jog a little, take some calisthenics and do some relaxed high
kicking. If there is any soreness apply heat or get a rubdown.
Shower.
Friday- Rest and try to avoid excessive walking.
Saturday- Meet.

Chapter 5-THE POLE VAULT
Since 1877 when the first national pole vault championships were
won with a vault of 9 feet 7 inches America has shown remarkable progress
in this event. In fact, no other nation has offered more than a minor threat
as our own vaulters continue to raise their sights and make it appear that
the sky really is the limit.
At the turn of the century an 11 foot vault was considered good, and
the first 13 foot vault was not made until 1912. The most significant early
contribution was not made until 1920 when Frank Foss of Chicago il-
lustrated what a gymnast with running speed could do in this event. When
he set his world record of 13'5" the track world realized that the champion
pole vaulter of the future would possess gymnastic and running ability.
Charles Hoff of Norway must receive credit for bringing the event
to the attention of the public. His record breaking vaulting was a feature
of many meets in this country in the early 1920's. It remained for Sabin
Carr of Yale in 1927 to be the first man in history to vault 14 feet. The
first real approach to the magic 15' height was made by Bill Sefton and
Earl Meadows, both of Southern California. In 1937 they cleared 14′11″,
and the 15 foot pole vault came within reach. It remained for Cornelius
"Dutch" Warmerdam to attain this magic height in 1940. When he pushed
the record up to 15'73/4" outdoors, and 15'81/2" indoors, he determined
that vaulters of the future will vault 16'.
REQUIREMENTS
A distinct advantage in pole vaulting is enjoyed by tall men, for they
can hold the pole at a higher point during the vault with less effort. In
addition, their usually longer arms enable them to push their bodies higher
during the final stage of the vault.
Along with the size, the pole vaulter must have leg speed, coordination
and exceptional arm and shoulder strength. While there have been several
32
THE POLE VAULT
33
big 14'6" plus pole vaulters such as Bill Sefton and Don Laz of Illinois,
there have been few really heavy, bulky men who have been successful in
this event. Men of this type do not usually possess the quickness, speed
and agility so necessary for great pole vaulting.
Although height is an advantage, there have been several top vaulters
who were under 6' in height (e.g. Lee Barnes and Reverend Bob Richards).
There have been surprisingly few who were less than 5'10" tall.
The 16' vaulter will no doubt be well over 6' tall, a reasonably good
sprinter with gymnastic ability and great shoulder girdle strength.


A
B
C
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There are three types of poles in
use today.
A. The steel pole is the most
popular and most practical
one on the market.
B. The bamboo pole is ideal if
the athlete is fortunate
enough to locate one of
good quality.
C. The rigid aluminum is sat-
isfactory for beginners, and
will stand hard use. It is
not the pole for the cham-
pion to use, however.
The minimum width of the pole vault pit should be sixteen feet. The
minimum length should be twelve feet. The standards should be placed
a minimum of twelve feet apart. The cross bar dimensions are the same
as those described in the chapter on high jumping.
34
FIELD TECHNIQUES ILLustrated

an of 1 day regret the jeten te per
THE GRIP
Pole vaulting must start with a grip on the pole; for beginners this
may be as low as 7 feet, and for the champion it may be as high as 13 feet
or more. Regardless of the point of hand hold, the vaulter must first deter-
mine the location of his take off by placing the pole tip in the vaulting box,
extending the pole with both hands over his head. The right handed vaulter
should have his right hand as the top hand, with the left hand two to four
inches below the right. When the vaulter stands with his arms extended, a
line drawn at right angles to the runway should touch the heels, the back
of the head and the knuckles of the right hand.
As the vaulter gains more speed and strength he may raise his grip,
but with a beginning vaulter the grip should not be raised until the athlete
is getting his body well above his hands during the vault.
THE POLE VAULT
35

2
ME
POLE CARRY
When the exact location of
the top hand is determined the ath-
lete should carry the pole so that
the tip is about head high. A
slightly higher or lower carry is
sometimes used, but the head high
position seems to allow for a
smoother shift.

In the actual pole carry the
hands may be from 24" to 36″
apart; the exact distance is de-
termined by experimentation with
various hand spreads. The right
arm is extended back and down
while the left arm is across the
body with the left hand about at
the waist. In this position the right
palm is facing up and the left
palm is facing down as the hands
grip the pole.
BODY ALIGNMENT
During the run the athlete
must keep his body, and particu-
larly his shoulders, parallel to the
cross bar. In recent years several
vaulters have found that carrying
the pole slightly across the body
during all but the last few strides
of the run enables them to come
down the runway faster. With be-
ginners, however, the tip of the
pole should always be pointed in
the direction of the run to assure
shoulder alignment.
36
FIELD TECHNIQUES ILLustrated

THE RUN
The champion pole vaulter usually comes down the runway at a
speed equal to that of a man running 100 yards in 11 seconds. Though
this is not possible for the average vaulter, it should illustrate the great
emphasis now placed on speed during the run.
The approach cannot begin until the vaulter has check marks, and
there is a simple, sure way of locating these for beginners.
It is not necessary to have more than two check marks, one at the
start of the run, and the other about half way down the runway. With
pole in hand the vaulter should stand on a mark 100 feet from the vaulting
box. He steps forward with his left foot (the take off foot for right handed
vaulters) and covers about 50 feet at vaulting speed. He does this several
times each day for several days and on every run through, the spot that
the left foot lands at about 50 feet from the start is marked. The spot
hit most often becomes the second check mark. In this manner a constant
run for approximately 50 feet can be determined. When a full run is used
beyond this check mark, and the athlete is in too close or back too far at
the take off, it is a simple matter to pick up both of the previously located
check marks and move them the same distance backward or forward that
is necessary to adjust for proper take off.
When the athlete becomes more proficient his final step adjustments.
can be made. Most vaulters run between 90 and 125 feet, although runs
up to 150 have been used. In any case, the second check mark is usually
in the vicinity of 60 feet from the vaulting box.
The actual speed of the run should be dependent upon the athlete's
ability to incorporate speed into the vault. Beginners can sometimes run too
fast for their vaulting ability. On the other hand, many proficient vaulters
fail to realize that a faster run might allow them a higher grip and greater
vaulting height as a result.
THE POLE VAULT
37

THE SHIFT
The shift is accomplished by thrusting the right hand forward and
upward just off the hip until the arms are extended over the head, with
the elbows slightly bent. This causes the pole to slide through the left hand
until the distance between hands is about 4 inches when the pole is over
the head.


THE POLE PLANT
There are two basic methods of planting the pole; one is the under-
hand plant, and the other is the overhand plant. Most of the successful
present day vaulters plant the pole with a hip level underhand motion. It
is the most natural method of hitting the box, and seems to be the most
efficient style for the average vaulter. The right hand (holding the pole
firmly) is brought forward past the hip, and the pole continues to move
forward and upward through the left hand until the pole and arms are over
the vaulter's head. In planting the pole with the overhand method the
basic difference is that the vaulter's right hand (holding the pole firmly)
moves upward and forward over the vaulter's head more directly than
with the underhand pole plant. In both cases the pole is shifted through
the left hand until the hands are from two to four inches apart.
38
FIELD TECHNIQUES ILLUstrated

THE TAKE-OFF
To initiate the swing the hips
must drop slightly forward as the
vaulter raises his right knee to add
upward momentum to the swing.
The upward driving action at the
take-off starts the pole on the way
to its final vertical position.
THE SWING
G
With the arms and legs ex-
tended the pendulum swing of the
body now follows. While many
great vaulters claim that they pull
slightly at the start of the swing
so doing is not recommended for
beginners, as their common fault
is a tendency to pull too soon.
THE POLE VAULT
39

THE PULL
The pull up to raise the body
should start at the end of the
swing. Or when the athlete's hips
are level with his shoulders. This
takes advantage of the momentum
generated by forward and upward
body swing. A complete pull-up
occurs where the left armpit comes
up to the right hand, which at the
start of the pull-up was overhead.
During the swing and the pull-up
the vaulter should remain on his
back.

At the start of the pull, with
the pole near the vertical position,
the hips and knees flex and the
right thigh should come back and
slightly across the chest. If it does,
the right foot can be carried up
and along the pole during the
pull, and the vaulter can get into
the modified hand stand that is
a requirement for outstanding
vaulting.
40
FIELD TECHNIQUES ILLUstrated


THE PUSH UP
The action of the right thigh coming back and slightly across the
chest is the first step in the athlete's turn so that he may go over with his
chest toward the bar. If the swing and pull have been correct the right
foot is well above the athlete's hands, and a scissors action of the legs,
plus the turning of the right toe down, puts the vaulter in a hand stand
position on the pole. Ideal form finds the vaulter with his right foot high
and both the foot and the shoulder still quite close to the pole. The left
leg is slightly lower. At this stage the push-off (which is actually a push up
to assist in forcing the body higher in the air) starts. At the instant the
push-off starts the left leg starts to drop toward the pit. The left leg drop
serves two functions in bar clearance:
1.
It initiates a downward force at the top of the vault, making a
quick and sustained push off easier.
2. It flexes the hips and actually lifts them just before they cross
the bar.
As the vaulter completes the push-off and the arms are fully extended,
the right leg follows the left toward the pit, for the shoulders have been
forced as high as possible and gravity now starts the athlete down.

THE POLE VAULT
41
BAR CLEARANCE
"
In the final clearance action,
the vaulter releases the left hand
from the pole first, and the final
force is exerted by the strong right
arm as it leaves the pole. In both
instances, the action of the hands
is important in clearance, for a
downward and backward action of
the thumbs rotates the elbows out
and away from the bar. It then be-
comes much easier to lift the arms
over the bar.
3

LANDING
There is a rotation of the
body in descent, because the left
arm was taken from the vaulting
pole before the right. The athlete
should not fight this rotation, but
should rather relax and prepare
himself for the jar that follows
any drop from ten to fifteen feet.
Landing pits should be filled with
wood shavings rather than sand;
the shavings should be piled as
high as three or four feet above
the ground. The University of
Michigan uses a reinforced sheet
aluminum pit that is on wheels. It
may be moved from the indoor to
the outdoor track without great
effort. Filled with shavings, it is
not only safe, but practical.
COMPETITIVE TIPS
During competition, the placement of the standards may be a deciding
factor. At low heights the vaulter's standards are often set a foot or so
from the back of the box. As the height of the bar increases the vaulter
must move them closer to the box. The coach, or a fellow athlete, must
observe the vaulter from the side to determine if this placement of the
standards is correct. Men who get their height in front of the bar should
take advantage of this situation by moving the standards closer.
42
FIELD TECHNIQUES ILLUSTRATED
Due to the nature of pole vaulting, a great deal of energy is expended
during competition. Every means to conserve this energy should be em-
ployed. Vaulting in a sweat suit requires more energy than vaulting with-
out it, and also changes the vaulter's timing. Use the sweat suit to warm up
and to keep warm in, and not to vault in. It is, of course, imperative that
the athlete take as few vaults during the meet as possible, so that he will
not be fatigued when he is called upon for his greatest effort. Attempting
to clear every height on the first vault and not starting to vault at very low
heights are the best methods of conserving energy.
Where the field is very large and competition is drawn out over a
long period, keeping warm is often a problem. A blanket to wrap one's self
in between vaults and calisthenics before each vault help keep the athlete
warm, for the actual effort. On very hot days it is wise to remain in a
shaded spot between vaults.
Concentration is the final requirement for good competitive vaulting.
Watching and worrying about the opponent doesn't win contests. The only
concern should be over the correction of faults and the expenditure of
maximum effort on each vault.
TRAINING FOR THE POLE VAULT
It is a definite help for pole vaulters to vault during the off season.
The fall of the year is a fine time to do a great deal of vaulting, and only
by much vaulting can a man become proficient. The fall of the year should
also be the time for a general body building program. Gymnastics, rope
climbing and parallel bar work are ideal for the vaulter. In addition, the
vaulter must attempt to improve his running speed. A great deal of pre-
season sprinting with and without the pole is essential.
Following is a mid-season training schedule. It is assumed that the
athlete has had a fall or at least an early season conditioning program.
Monday- Jog a 440 to loosen up. Calisthenics and stretching. Measure
steps and vault at a foot or 18 inches below your maximum
height for form. Do some horizontal bar work, jog and
shower.
Tuesday- Jog a 440 and do some calisthenics. Measure steps and vault
for form at six to eight inches below maximum height.
Work with sprinters. Shower.
Wednesday-Jog a 440 and do some calisthenics. Measure steps and run
through several times. A vault or two for form at Monday's
height if condition is good. Jog and shower.
Thursday- Report to the gym and take some light bar work, or just
warm up easily on the track. Shower.
Friday- Rest or light warm up.
Saturday- Meet.
Chapter 6-THE HOP, STEP AND JUMP

One of the few field events in which Americans do not excel is the
hop, step and jump. Due to the fact that few of our high schools and
colleges compete regularly in this event we have had relatively mediocre
performances. Between 1896 and 1904 the United States dominated the
world in hop, step and jump with three straight Olympic championships,
but since that time Britain, the Scandinavian countries and Japan have
consistently outperformed our American athletes.
Since E. B. Bloss won the National A.A.U. championship in 1893
with a jump of 48 feet 6 inches, we have shown little progress, and almost
half of our subsequent national champions have failed to jump as well as
Bloss did more than a half century ago. To be sure, we have had a few
outstanding men such as Dan Ahearn, who jumped 50 feet 111/8 inches in
1909. Our only other 50 foot jumpers have been Levi Casey, of Los An-
geles, Roland Romero, Loyola University (La.) and Billy Brown, of
Louisiana State. Since Brown in 1941 we have had no jumpers who could
match the Japanese or the outstanding Europeans, and we have never had
an athlete who could approach Tajima's (Japan) 1936 jump of 52 feet
5/8 inches, or deSilva's (Brazil) jump of 52 61/4″ made in 1951.
Many coaches feel that this event should be made a part of high school
and college programs. It is a regular Olympic Games event, and it has much
to offer the athlete. If serious competition is confined only to the Olympic
year, as is generally the case, it is not likely that our athletes will excel
in this event.
43
44
FIELD TECHNIQUES ILLUSTRATED
REQUIREMENTS
The first requirement for hop, step and jump success is the ability to
broad jump. While some fine hop, step and jump men have not been out-
standing broad jumpers, the champions and world record holders have
been much better than average broad jumpers. Obviously, speed on the
runway is a definite requirement for championship performance. Further-
more, since the complete action requires a take-off from alternate legs, it
is a distinct advantage to have the ability to jump off either foot.
Hop, step and jumpers need not be of any particular body type. Billy
Brown, for example, was well over six feet in height, while DeHart
Hubbard of the University of Michigan (a two time national hop, step
and jump champion) was less than 5 feet 9 inches tall.
i k
HOP
STEP


JUMP
TECHNIQUE
Following the run, the complete action starts with the hop, with the
landing at the end of the hop made on the take-off foot; then the athlete
glides into a step, landing on the opposite foot. The final phase is a broad
jump from that foot, landing on both feet in the pit.
THE APPROACH
The approach in the hop, step and jump is similar to that used in
broad jumping. The run varies with the individual, but is usually from
70 to more than 125 feet. In any case only two check marks should be
used. The first should mark the starting point of the run, and the second
should be between 45 and 60 feet from the toe board (take-off). Prior
to any run-through, steps should be measured and marked by the athlete.
In actual competition some adjustment may be necessary to compensate for
wind conditions and runway surface texture. The speed that must be built
up to carry the athlete through the three phases of the hop, step and
jump should reach its maximum at the second check mark. From that
point the concentration on the jumping action must take precedence over
thinking about additional speed. A "gather" or "settle" for the jumping
action should take place about three strides from the take-off, but the
athlete must not slow down as he relaxes preparatory to "planting" the
foot for the hop. When steps are proper and relaxation is present the
athlete will find that his last few steps are slightly shorter than the previous
ones, and the body is directly over the foot at point of take-off.
THE HOP, STEP AND JUMP
45

}
The athlete hits the board on his strong foot (i.e., left foot in right-
handed men) as he will then use this leg in the first two phases of the
three part action.


THE TAKE-OFF
The hop, step and jump take-off is slightly different from the broad
jump take-off, because the objective is different. In broad jumping, maxi-
mum height is desirable; in the hop, step and jump, maximum height is
not desired, as the athlete is not trying to get maximum distance on the
hop. He is attempting to maintain forward speed while remaining over
his jumping legs so as to distribute his forward momentum over the step
and jump.
46
FIELD TECHNIQUES ILLustrated
Too long a hop destroys momentum and results in a loss of
position. The remaining two phases tend to drop off badly.
proper
A high school boy attempting to hop, step and jump 40 feet should
hop close to 17 feet, step at least 8 feet and jump close to 15 feet. The
hop should constitute roughly 40% of the total distance covered. With
little emphasis on height, the take-off foot should be drawn up and the
speed generated on the runway should be the factor that determines the
distance to be covered during the hop.

The position at the end of
the hop finds the athlete over a
bent knee, with the angle of the
body slightly forward. The land-
ing on the take-off is not flat
footed as is often thought, but
rather on the toes. A slight drop
of the heel follows and then a
quick spring action to maintain
forward momentum.
THE STEP
The term "step" in this phase is rather misleading. While the action
that takes place is a step, the execution of the "step" is a glide over to
the other foot. A right footed athlete, who has hopped off his left foot
and landed on that same foot, now goes over onto his right foot. In doing
this, however, the athlete must not step down, but should rather think of
stepping up. This is best accomplished by swinging the lead (right)
knee up.
THE HOP, STEP AND JUMP
47

The feeling should be that of
floating through the air with the
knee up, body angle slightly for-
ward and the original take-off
foot trailing.
The most common mistake in the step phase is the failure to raise the
lead knee. Erkki Koutonen of the University of Michigan, the winner of
the 1948 American Olympic trials in this event with a mark of 48 feet
113/4 inches lacked speed on the runway, but he had so perfected the step
phase of the event that he could maintain perfect balance and forward
momentum, and consequently he was in good position for the jump. It was
mastery of this phase that enabled him to qualify for the games in London.

THE JUMP
When the right foot touches the runway at the end of the hop the
athlete is ready for the "jump" phase. Due to the fact that the athlete has
48
FIELD TECHNIQUES ILLUstrated
taken advantage of the stronger jumping leg at the take-off for the hop
and take-off for the step, the jump must be made off the weaker leg (usu-
ally the right).
Men who jump well from either foot have an advantage but all
hop, step and jump men must do a great deal of practice broad jumping
off the right foot if they hope to improve their hop, step and jump marks.
Even the best athletes are limited in this phase.

Tajima of Japan, when he jumped 52 feet 5% inches, used a hop
of 20 feet 4 inches, a step of 13 feet 11/2 inches and a jump of 19 feet.
Many men equal his hop and step standards, but drop down as low as
15 to 16 feet on the jump. The jumping action is the same as is used in
the broad jump, but several factors limit the distance that is attained
in this phase. The fact that the athlete is taking off from his weak leg
(right rather than left), that he has had to hold more forward body
lean than a broad jumper and that he has spent much of his forward
momentum in the first two phases, limits the distance covered. He should
attempt, however, to develop good broad jumping form.

LANDING
The landing is made as in the broad jump, with the feet slightly
apart. When the heels hit the pit the hips and knees flex and the athlete
goes forward between and over his feet.
THE HOP, STEP AND JUMP
49
COMPETITIVE TIPS
The hop, step and jump is a demanding event, and few men can or
should do much hard jumping. In practice the jumping should be limited
to Monday and Tuesday before a Saturday meet. In competition the athlete
should not take any more jumps than necessary as the legs take a tremen-
dous jar.
Injuries can be minimized by placing rubber pads in each heel, by
making certain a good warm up program is followed, and by avoiding
unnecessary "maximum" jumps in practice. (Also see broad jump tips.)
TRAINING
Since little jumping can be done during the season, it is wise to have
a thorough pre-season training program. The athlete should jump almost
daily with a short run, working on form and feel and not for distance. It
is very important in this period that the athlete work on a grass surface,
as he can take many jumps without the usual tiring jars. The fall of the
year is the ideal time for hop, step and jumpers to work hard on form.
Following is a training schedule for hop, step and jumpers during
mid-season. It is assumed that a pre-season program has been followed.
Monday- Jog a 440 to loosen up. Calisthenics emphasizing abdominal
muscles, work and bounding exercises. Measure steps and
run through several times. Using a 30 foot run take a few
easy broad jumps off the jumping foot. Run a few relaxed
wind sprints. Jog and shower.
Tuesday- Jog a 440. Calisthenics and easy stretching. Measure steps
and run through once or twice. If legs feel good, take two
or three jumps (but no more), measuring carefully the dis-
tance covered in each phase. A few easy broad jumps (using
a 30 foot run) off the right foot. Jog and shower.
Wednesday-Jog a 440. Calisthenics and easy stretching. Measure and
run through steps three or four times. Use a short run off
grass and go through the action two or three times. Work
with the sprinters out of the blocks four or five times. Jog
and shower.
Friday-
Saturday-
Thursday- Jog and warm up with calisthenics. Measure and run
through the steps two or three times if it is necessary. If
not, shower.
Rest and avoid a great deal of walking.
Meet.
Chapter 7-THE SHOT PUT

i
Shot putting, as we know it today, was originated by the Celts, and
gained its popularity in Ireland and Scotland where it was first referred
to as "putting the stone.”
The first iron shot was used at Dublin University, and the first major
competition in the event in the country was in 1876 at the I.C.A.A.A. meet.
The winning throw in that meet was 32 feet 5 inches, made with a
16 pound ball from the still standard 7 foot circle. America's first 40 foot
shot put was made by F. L. Lambrecht in the early 1880's.
In world competition two University of Michigan athletes have
played a major part in the tremendous shot put advancement since the
day the 40 foot put was considered good. Ralph Rose became the world's
first 50 foot shot putter, and in 1909 set a record of 51 feet that stood for
19 years. The second Michigan athlete to make a contribution was Charles
Fonville, who in 1948 became the world's first 58 foot shot putter. Be-
tween Rose and Fonville, John Lyman of Stanford with a 54 foot put
in 1930, and Jack Torrance with a 57 foot 1 inch put in 1934, maintained
American shot put supremacy.
Since Fonville's 1948 put of 58 feet 3/8 inch, shot putting has reached
new levels. In the past few years such men as Thompson, Delaney,
Lampert, Chandler and O'Brien have been classified as 56 foot shot putters,
and James Fuchs of Yale served notice that the 60 foot put is on the
horizon when he heaved the ball 58 feet 101½ inches in 1950.
REQUIREMENTS
When we consider typical shot putters, we have long been inclined
to think in terms of men well over six feet in height who weigh two
hundred and twenty pounds or more. Big men like Ralph Rose, John
50
THE SHOT PUT
51
Lyman, Jack Torrance, Elmer Hackney, Al Blozis and Jim Fuchs seem to
typify the shot putters of outstanding ability. Some of the world's best shot
putters, however, do not fall into this category of giants. Clarence Houser
and Charlie Fonville were less than 200 pounds in weight.
The most important requirements for outstanding shot putting are
strength, speed and coordination, but capacity for work, determination and
ambition are close behind in importance.
As in any other field event, the ability to analyze is a definite asset.

7 FOOT CIRCLE
Mamm
TOE
BOARD
The toe board must be four
inches high, and borders the front
edge of the circle for four feet.
The limiting edge of the circle
shall be the inside edge of the
band marking the circle.
Measurement of the put is
made from the nearest edge of
the mark made by the shot to the
point of the circumference of the
circle nearest this mark.
TECHNIQUE
Colleges and Universities use a 16 pound shot, high schools a 12
pound and junior high schools or grade schools compete with an 8 pound
implement. Regardless of weight, the problems of form, technique and
training are identical.
The object of putting the shot is to push the sphere from the shoulder,
not throw it. To add momentum to the thrust the athlete travels across the
seven foot circle before releasing the shot.
Outstanding shot putting form is that which permits the greatest pos-
sible power to be applied with the greatest possible speed. The basic prob-
lem is to maintain a powerful body position while accumulating momentum
in the drive across the circle.
52
FIELD TECHNIQUES ILLUSTRATED

J
EN
THE HAND HOLD
Shot putting starts with the
placement of the shot in the hand.
The shot should be cradled in the
fingers with the thumb at the side
for balance. The three middle fin-
gers are comfortably spread be-
hind the shot at all times. The
shot is carried a little above and
directly in front of the shoulder,
with the forearm directly under
the hand and shot. The tip of the
elbow is from 8 to 10 inches.
from the athlete's side. The right
handed athlete, standing with his
left side facing in the direction of
throw, should be able to glance
down and see the palm of his hand
which also faces in the direction
the shot is to travel. The hand
should be allowed to drop back
(with weight of the shot) with the
wrist relaxed, not rigid.
THE SHOT PUT
53
STANCE IN THE REAR OF THE CIRCLE
When the athlete steps into the circle his object is to get the shot (as
well as the body) in a position that requires a minimum amount of alter-
ation, from starting stance to delivery. For this reason the stance at the
rear of the circle is characterized by a 1/8 backward turn of the
which must be maintained during the hop.
upper trunk

The body weight is on the
athlete's right leg with the right
foot planted solidly, the toes point-
ing slightly toward the rear of the
circle. The body is erect, with the
back straight; the chin and chest
are up and the eyes are looking
parallel to the ground. The shoul-
ders are level with the right shoul-
der well back. The shot rests on
the base of the middle three fin-
gers. The right elbow is held away
from the body with the forearm
at about a 40° angle to the body,
so that once the arm thrust starts,
the forearm will be directly behind
the shot. The generally inactive
left arm is held below shoulder
height and is bent at the elbow.
The left forearm is across the chest approximately a foot in front of
the body. Its position aids in placing the athlete in a "closed" position with
the right shoulder and hip back. The left foot (carrying little weight)
touches the ground a few inches ahead and to the left of the right foot. The
athlete now has initial position and is ready to exert maximum speed and
force as he starts across the circle. He must be conscious of holding the
specified upper trunk position until the actual thrust or arm drive on the
shot begins.
54
FIELD TECHNIQUES ILLUSTRATED
THE HOP
Movement across the circle is designed to accelerate the shot, and
any pause, hitch or cocking action defeats the purpose of the movement
across the circle. Once the shot starts forward, its forward movement must
be constant and uninterrupted. The athlete must not make the mistake of
thinking of the action in stages; the hop and the actual put must blend
together in one continuous process. In addition, all force and movement
of the shot putter must take place along and above an imaginary line
through the center of the circle from back to front. The shot itself must
move from the rear of the circle to the point of landing in the plane.
directly over this line and its extension.

The "hop" or movement
across the circle begins with a defi-
nite body lean toward the toe
board. This lean is initiated by a
slight drop of the left shoulder
and a definite drop of the left hip.
It is supplemented by the vigorous
drive from the bent right leg. A
detailed account of the hop starts
as the left leg is raised forward
along the imaginary center line,
and lowered to the side of the
right foot. As this is done the left
hip drops and the right leg flexes
at the knee. The athlete in a sense
is now falling forward toward the
toe-board. The coordinated for-
ward swing of the left leg and the
drive from the straightening rear
leg add force to the move across
the circle.
THE SHOT PUT
55

て
​As the body moves (along the center line) the right foot hops under
it. Actually, the movement of the right foot is not a hop at all but a gliding
action that is so low that the spikes of the right shoe usually graze the
ground. The right foot reaches the center of the circle (it travels about
36 inches) an instant before the left foot touches the front of the circle.
The athlete at the end of the "hop" has the shot in the same position (on
his shoulder) as when he started. The right leg is under the body and
bent, the left leg extended forward and slightly bent. There has been no
twist or hitch backward of the right shoulder. The athlete attained the
"cocked" position of the upper trunk, with the right shoulder back in the
preliminary stance; and he has merely maintained it throughout his glide
or "hop" across the circle. This vital point of form tends to eliminate any
momentary "cocking" pause in the center of the circle which prevents the
necessary continuous acceleration of the shot.
The final point of emphasis is on the action of the left leg during the
"hop." Any preliminary swing of the leg should be along the center line
in the plane which the body and shot will travel. During the "hop" this
leg should not be raised high, for a high lift usually causes a greater than
normal knee bend and results in the left foot landing farther to the left of
the toe board than is desirable. A foot "in the bucket" makes the "closed
stance" impossible and faces the athlete forward too soon. The left foot
should land against the toe board with the tip of the left shoe on the
imaginary center line.
56
FIELD TECHNIQUES ILLUSTRATED
PUTTING STANCE
The arrival at the center of the circle with great momentum in a posi-
tion where maximum force can be exerted against the shot (due to proper
alignment of all body parts) places the athlete in putting stance. In ideal
form the athlete reaches the center of the circle with the right knee bent
and the right foot planted solidly and flatly. The toes of the right foot
should be pointed 45° to the rear of the circle. The right hip is tucked or
flexed, and the left hip is still facing the direction in which the shot will
travel. The back is straight, chest and chin are up, and the head still faces
slightly to the rear of the circle. The eyes, however, are looking slightly
forward. The left arm is still relaxed and slightly below the shoulders.
The upper body and the all-
important right shoulder are still
well back. If the athlete were to
drop the shot at this point, it
would graze the right knee and
land just outside the center of the
right foot.

KIT
THE SHOT PUT
57
THE PUT OR THRUST
The actual putting or thrusting action is the application of additional
(greater) force to an object already in motion.
To apply this force to the shot the athlete must have reached the
center of the circle in a powerful putting position and with great momen-
tum. The acceleration of the shot must be increased during this phase of
the put. The body weight is over the right leg and foot when the actual
put begins.

The putting action is a lifting (rather than a twisting action) of the
entire right side of the body, as the power and weight of the body is
driven up and over the semi-straight left leg. Even the chest and chin lift
and go into the put as the upward drive off the right leg lifts and transmits
the power through the hips to the shoulders, and then to the smaller but
faster muscles of the arm and hand.
58
FIELD TECHNIQUES ILLUSTRATED
During the instant that the
final wrist-flick is performed, the
athlete's weight is passing over
the left leg and the extension of
the leg adds additional force to the
put.
During this final drive "into"
the shot, the left leg not only
serves as a fulcrum which the
athlete uses to assist him in con-
verting some of the forward mo-
tion into upward motion, but it
also gets into the final put and
serves as a base and power unit.

THE SHOT PUT
59
As the shot leaves the hand,
the fingers are extended with the
palm down. The arm is extended
in line with the put; the head and
chest are up with the back slightly
arched. The last contact as the shot
leaves the hand is off the index
finger.

The putter should show a
definite high raise on the toes of
his left foot as the shot leaves his
hand.
Movies of Charlie Fonville of
Michigan indicate that the great
explosive action was made possi-
ble in part by the use he made of
his left leg in the final instant be-
fore the shot left his hand.
To take advantage of the left
leg, the putter must anchor it at
the center of the toe board and not
"in the bucket" to the left.
60
FIELD TECHNIQUES ILLUSTRATED

THE REVERSE
After the shot has left the
hand, a quick movement reversing
the position of the feet transfers
the body weight onto the right
foot.
An extension of this foot
tends to stop the forward motion
of the body, and in turn prevents
a foul. In no case should the re-
verse be used in the putting action.
It is merely a recovery mechanism
following the release of the shot.
\
This phase of the put should be the last part of the follow through.
The movement across the circle and the putting action have generated so
much forward momentum that the extended left leg alone cannot com-
pletely check the body and prevent the athlete from passing over the toe
board and fouling.
COMPETITIVE TIPS
Competitive strategy in the shot put is directed mainly toward the
prevention of fouling. Often during competition the excitement, tension
and desire to put the shot a "country mile" will destroy relaxation and
block good performance. A thorough warm up and a calm discussion with
the coach before competition relieve tension and tend to relax the high
strung athlete. Great care should be taken to see that the athlete does not
foul on his first competitive put. A relaxed put not necessarily up to
capacity often gets the athlete started in the right frame of mind.
THE SHOT PUT
61
Making sure that the shot put circle area is smooth and even before
each put is wise procedure. It eliminates the danger of hopping onto a low
or rough spot made by the previous competitor.
Such factors as weather conditions, surface texture of the circle area
and the number of competitors should be noted prior to competition. Spike
length, shelter between puts and amount of warm up desirable during
competition should then be determined.
TRAINING SCHEDULE
A fall, and certainly an adequate pre-season training schedule is an
asset for the shot putter. As in the other "heavy" throwing events, it is
doubtful if an athlete can work too much before competition gets under
way. There is no danger of becoming muscle bound or even slowing re-
action time by putting the shot with great concentrated effort. The only
possible danger is that the athlete will lose enthusiasm for the event.
A general body development program must be followed prior to
competition, and concentrated work on leg, abdominal, trunk, shoulder
girdle and hand muscles should be done. A great deal of shot putting is
advisable as long as the athlete emphasizes quickness, intensity, relaxation,
and above all, proper form.
Following is a weekly training schedule for the shot putter. It is as-
sumed that he has had an adequate pre-season conditioning program. In
the event the athlete also competes in the discus, he usually should con-
clude his shot put work prior to starting his discus work.
Monday- Jog a 440 and take calisthenics emphasizing chinning, push
ups and abdominal work. Put 15 times from a stand em-
phasizing good position. Come across the circle 15 or more
times concentrating on form. Put three or four times for
distance while maintaining speed and form.
Tuesday- Jog a 440 and take calisthenic exercises to stretch and loosen
the trunk. Put 15 times from a stand, emphasizing upward
drive off the rear leg. Take 15 or more puts for form using
the entire circle. Put several times hard and maintain posi-
tion. Constantly attempt to increase speed across the circle.
Work with the sprinters. Jog and shower.
Wednesday-Jog a 440 and take some stretching and shoulder girdle
exercises. Put 20 or more times from a stand. Work across
the circle 20 times emphasizing position and speed. Put 20
times from a stand. Sprint, jog and shower.
Thursday- Jog a 440 and take light calisthenics. Put five times from a
stand and work across the circle five or six times, putting
Friday-
Saturday-
rather hard. Jog and shower.
Light warm up or rest.
Meet.
Chapter 8-THROWING THE DISCUS

Discus throwing has been a popular field event since ancient times.
Present discus champions, however, have so refined the art that the famous
Greek athletes would scarcely recognize the event.
Despite the fact that the discus throw did not appear in our Na-
tional Championships until 1897, American athletes have consistently ex-
celled at the event in Olympic and world competition.
America's first great discus thrower was Martin J. Sheridan, who
appeared at the turn of the century and dominated the event for the next
ten years. So proficient was this giant that he dominated the world in the
event from 1901 to 1911. He had a still creditable record throw of 141
feet 43/4 inches from a small 7 foot circle.
In 1912 when the larger 8 foot 21/2 inch circle was put into use, discus
throwing came of age, and J. Duncan astounded the track world with a
mighty heave of 156 feet 13 inches.
Harold Anderson of Sweden was the world's first 170 foot discus
thrower, but Ken Carpenter of Southern California was the first American
to attain 170 feet.
While California athletes have won the major share of discus titles
in this country it remained for two Minnesota discus throwers to give the
event its most recent advancement. Emphasizing far more speed than ever
before used, Bob Fitch and Fortune Gordien were the first two men to go
beyond the 180 foot mark. When the fabulous 200 foot throw is made it
will be due to the contribution made by these two American athletes.
62
THROWING THE DISCUS
63
In most high schools a discus weighing 3 pounds 9 ounces is used
rather than the standard 4 pound 6.4 ounce discus. The form and problems,
however, remain the same.

REQUIREMENTS
Discus throwers are usually tall men, and the champions are usually
190 pounds or more. There have been remarkably few small men who have
done much more than score dual meet points for their teams in the discus
throw.
A large, strong hand, to hold and control the discus, and a well de-
veloped arm and shoulder girdle are usually found in the champion
thrower. In addition, coordination and agility, as well as a long arm, are
prerequisites for success with the discus.
Since many muscles are used in the various phases of throwing, it is
imperative that discus throwers strive for all around body development.
The legs and thighs as well as the abdomen are important areas to con-
centrate upon.
Measurement of a discus throw is
taken from the nearest edge of the
mark made by the discus to the
point of the circumference of the
circle nearest this mark.

8FT 21/2 INCH
CIRCLE
90°
All throws, to be valid, must fall within a 90 degree sector marked on the
ground. Once the athlete begins a throw, he must not touch the circle rim,
nor any areas outside the circle, with his body or clothing.
64
FIELD TECHNIQUES ILLUSTRATED
раконие
TECHNIQUE
Discus throwing is merely the use of a turn with acceleration to reach
a position where momentum and body strength can be applied to the discus.
Acceleration, momentum and strength are useless unless the athlete
reaches a powerful position, and unless the coach and athlete know and
work on position, results will be disappointing.

HOLDING THE DISCUS
Discus throwing starts with learning how to hold and scale the discus.
The platter is placed in the palm of the hand with the first joint of all
fingers except the thumb over the edge. Fingers should be slightly spread.
The discus is released off the index finger (with the palm of the hand
down) and should turn clockwise for a right handed thrower, and counter-
clockwise for a left handed thrower. During flight the discus should sail
without wobble, as it should cut through the air offering as little air resist-
ance as possible...
Some discus throwers prefer holding the palm away from the face
of the discus (the so-called talon grip) but greater success has been
achieved with the palm of the hand flat against the discus. The distance
between fingers on the discus can only be determined by trying various
positions and deciding on the grip which allows most control. The location
of the thumb is along the side of the discus at about a 45° angle to the
index finger.

SWINGING THE DISCUS
श्र
The throwing arm and discus
should swing two or three times
for relaxation, balance and rhythm
before the start of the turn With
the trunk twisted to the rear and
the discus at the end of the back-
ward swing, the turn is begun.
THROWING THE DISCUS
65
THE TURN
In modern discus throwing the "pivot" turn or so called "spin" turn
has become outdated. Emphasis on speed, and what is even more important,
acceleration, has introduced more "hop" into the present method of
turning.
Theoretically at least, the athlete's body during the turn follows a
straight line through the center of the circle from back to front. The
athlete stands in the rear of the circle, the feet 12 to 18 inches apart.

En

The rear foot (right in right
handed throwers) is on the imag-
inary center line with the front or
left foot slightly to the right of
this line. The body is faced about
45° to the rear. The head and eyes
are parallel to the ground and
likewise at a 45° angle to the rear.
The knees are bent slightly with
most of the weight on the right
foot. The trunk is erect with the
right hip back.
66
FIELD TECHNIQUES ILLUSTRATED
リ
​With the discus trailing the
hip and right shoulder, the ath-
lete's body starts a definite lean to-
ward the front of the circle.

To begin the turn the weight
is transferred from the right foot
to the ball of the left foot.

The right foot leaves the
ground to come over and around
the pivotal left foot, which in turn
leaves the ground as the athlete
hops down onto the bent right leg.

At this stage the right shoul-
der, the discus and the hip must
remain back. The right foot should
land slightly to the left of the
center line and about 36 inches
from the rear of the circle.
THROWING THE DISCUS
67

With the turn completed
the right leg is still bent with
the left leg semi-straight ready
to receive the transfer of body
weight during the final phase of
the throw. The feet are about
36 inches apart, and the discus
and throwing arm are still well
back with the discus face almost
parallel to the ground.
As the momentum contin-
ues to turn the body, the left
foot hits the front of the circle
approximately on the imaginary
center line.

:4
At this point the throwing
arm is carried about half way
between the hip and shoulder.
Care must be taken to see that
the discus does not drop too low
at this stage.
68
FIELD TECHNIQUES ILLUSTRATED

The drive into the throw
begins with the violent ex-
tension of the right leg,
and the simultaneous rais-
ing and forward rotation
of the hips. With this ac-
tion, the transfer of weight
to the left leg begins.

The shoulders rotate and
the arm follows with a
steady rapid pull.
The final impetus is given
by the left leg as it gets
into the throw and by the
right wrist snap and finger
force as the discus is re-
leased.
THROWING THE DISCUS
69
THE REVERSE
The reverse is the final
phase of the discus throw, in
which the feet are reversed to as-
sist in recovery from the throw-
ing action. There has been some
difference of opinion among
coaches as to the necessity of
the reverse, or its place in the
throwing action. Today, how-
ever, the majority of the better
discus throwers reverse the feet
following the release of the dis-
cus. This aids in maintenance of
momentum until the throw is
completed, helps the follow
through and minimizes fouling.

STRATEGY
Where athletes are confined to a circle during the competitive action
the problem of fouling is always present. Competitive strategy should
recognize this problem above all others. Most athletes have little difficulty
staying in the circle during practice sessions, but find themselves fouling
in competition. The excitement, tension and desire to "throw it a mile" are
the causes. A thorough warm-up and a calm discussion with the coach
before competition often relieve the tension. Following the basic principle
that the athlete's first competitive throw must be a relaxed safe throw and
not for maximum distance will "groove" the athlete for maximum effort
on succeeding throws.
70
FIELD TECHNIQUES ILLUSTRATED
The discus circle takes more hard wear than any other single com-
petitive area. The athlete should always smooth the area before he enters
the circle. Stepping or turning in a low spot made by previous competitors
does not lead to efficient throwing nor good performance.
TRAINING SCHEDULE
Due to the complexity of discus throwing, it is imperative that the
athlete start practice as early as possible in the school year. The majority
of the great discus throwers begin practice in the fall of the year in prepara-
tion for a spring track season.
There seem to be two distinct types of discus throwers; those who feel
they need constant hard work during the competitive season and those
that need two or three days of rest before each meet. Physiology, however,
seems to indicate that some rest is necessary for the maximum performance
of any muscle or group of muscles.
Discus throwers cannot become "muscle bound" by constant throwing.
It is difficult for an athlete to throw too much during a practice session as
long as he and the coach agree that his form is correct. Roland Nilsson, of
the University of Michigan (the former Swedish champion) threw for an
hour or more daily until mid-season when the program would taper off.
For good discus throwing the athlete must carry on a general
conditioning program, including sprinting and other work designed to
strengthen the legs.
Following is a program for the discus thrower during mid-season.
Where the athlete also competes in the shot put, the discus practice should
follow the shot practice. The coach and the athlete should decide where
the emphasis should be placed.
As the season progresses the following program may be lightened.
Monday- Jog a 440 to loosen up. Take calisthenics emphasizing ab-
dominal and shoulder girdle work. Throw several from a
stand. Work from the circle on any form difficulty uncov-
ered at the previous meet. Finish the work-out with three
or four hard throws with good form. Jog 10 minutes and
shower.
Tuesday- Jog and warm-up with calisthentics. Start throwing the dis-
cus from a stand, then work from the circle for form. Work
on the track with the dash men. Jog 10 minutes and shower.
Wednesday-Jog and warm-up with calisthenics. Work from the circle
for form and then take several hard throws without fouling.
Do a few wind sprints and shower.
Thursday- Jog and warm-up with calisthenics. Throw a little from the
circle emphasizing form. Shower.
Friday- Rest or light warm-up, but no throwing.
Saturday- Meet.
Chapter 9-THE HAMMER THROW

21]
};
The sport of throwing the hammer was originated by the Celts. Scot-
land and Ireland popularized the event. The most popular weight hammers
in use in America are the 12 pound for high school use and the 16 pound
for major competition. Since 1920 only the 16 pound hammer has been
used in Olympic competition.
There have been few changes in hammer throwing technique since
Flannagan and McGrath of the New York Police Force were setting world
records in the first decade of the 20th century. Following the example of
these two men, Pat Ryan of the Irish American A. C. in 1913 established
a world mark of 189 feet 61½ inches that was not officially bettered until
Blask of Germany heaved the ball 193 feet 6 inches in 1938.
Ryan's record was so remarkable that only one American, Fred Tootell
of Bowdoin (later coach of many outstanding hammer throwers), was
able to approach this mark during the next twenty years. Americans,
however, dominated the Olympic games in this event until 1928 when
Pat O'Callaghan of Ireland won the Olympics and started a foreign re-
vival of interest and success in the hammer throw.
Imry Nemeth of Hungary indicated the possibility of the 200 foot
throw when he achieved a mark of 196 feet 51½ inches in 1950.
With men like Bob Bennett of Maine, Henry Dwyer of the N.Y.A.C.
and Sam Felton of Harvard leading the way, Americans have started a
movement of their own to regain world supremacy in the 16 pound hammer
throw.
REQUIREMENTS
Hammer throwing is usually restricted to big men, and most of the
great hammer throwers of the past and present weigh 200 pounds or more.
Size and sheer power are not quite enough, however, as the intricate turn-
71
72
FIELD TECHNIQUES ILLUSTRATED
ing action requires fine balance, coordination and speed. Long arms, strong
hands and wrists and well developed legs are absolute essentials for those
who aspire to be champions.
As in most field events, it requires years, not days and months, to
become proficient with the hammer, so perseverance is also a desirable
quality.
TECHNIQUE
The hammer is thrown from a circle 7 feet in diameter and the athlete
must turn his body to give momentum to the hammer. The distance the
hammer will travel upon release is dependent upon the velocity the athlete
has given it by use of body turns.


THE HAND HOLD
The most popular hand hold or grasp has the second joint of the
fingers of the left hand on the handle, with the right hand over the left.
THE INITIAL STANCE
The most successful ham-
mer throwers stand at the rear
of the circle, with their backs
turned toward the direction of
the throw. The athlete's feet
must be firmly on the ground,
comfortably apart (18 to 21
inches) with the knees slightly
bent. The toes should be point-
ing slightly outward. The ham-
mer rests on the ground to the
right of the thrower. From the
initial stance the athlete is ready
to begin a smooth, coordinated
swing.

THE HAMMER THROW
73
THE SWING
Hammer throwing starts with a series of swings, and mastery of a
relaxed swing is a beginner's first step. The early practice on the swing
must be done in a stationary position and no effort should be made to turn
during this stage of learning.
As each swing is made (with gradually increasing speed) the arms
are extended forward with the low point of the hammer's arc, which is
just off the outside of the right foot and from 6 inches to a foot off the
ground. The arms must remain relaxed at all times and should be straight
when the hammer is to the right of the thrower, and bent when it is to
his left. When the actual turn starts, however, the arms should never be
bent. The hammer should climb upward on the athlete's left and descend
to his right.

At the top of the swing the sphere is high in the air above and behind
the head and left shoulder. The hands, however, pass across the face and
not over the head as the hammer goes to the top of the arc. For balance
the trunk should be erect with the main body, weight slightly forward
and on the left foot. As the hammer starts the last preliminary swing and
is moving in a downward motion from right to left, the athlete is ready
for the first of three turns he will make before release of the implement.
Many beginners in fact throw in competition with one or two turns until
they master three turn form.
74
FIELD TECHNIQUES ILLUSTRATED

THE OF THE THREAT THERE AND THERE
رل
THE PIVOT
The turn is initiated by hammer acceleration and the pivot on the
left foot. Two methods of left foot pivot are generally used. The more
widely used is the "heel-toe" pivot. The second is the "toe" pivot, but be-
cause progression across the circle is not so uniform with this method
it is not so practical as the "heel-toe" pivot. In the "heel-toe" pivot the
athlete is enabled more easily to maintain position for succeeding turns,
for he keeps his left foot in contact with the ground at all times.
THE HAMMER THROW
75
THE FIRST TURN
The first turn should begin
slowly, with constantly increasing
acceleration. When the hammer
reaches the low point of the arc
to the right of the right toe, arms
extended, the athlete starts his first
180° turn on the outside of the
heel of his left foot.


During the entire turn the
head and eyes should face the
hammer. At this stage, the ham-
mer is leading the thrower, but it
is imperative that before the turn
is completed the athlete's body
must lead the hammer.

While the right foot remains
on the ground as long as is prac-
tical, once it starts up, it must get
up, around and down as rapidly
as possible to give the body a lead
on the hammer.
76
FIELD TECHNIQUES ILLUSTRATED
The toes of the right foot must touch first and then the heel.

As the pivot is completed (on the outside and then on the toes of
the left foot) the right foot has completed the step over and the athlete
while advanced about 24 inches across the circle is in the same relative
position he was in when he started the turn. (Each turn advances him
about two feet.)

At no time during the turn has his left foot lost contact with the
ground. He is now ready for the second turn of the action.
THE HAMMER THROW
77
THE SECOND TURN
The second turn duplicates the first, but several points must be men-
tioned concerning it. The beginning hammer thrower must become pro-
ficient with one turn before he considers two or three. In any turn the
athlete should attempt to increase the arc made by the hammer by keeping
it as far from the body as possible. Acceleration of the hammer through
force exerted by the feet, and leg action, help force the hammer away
from the athlete, and at no time should the athlete alter this situation by
bringing the hands close to the body during a turn. The most important
technique involved is again allowing the hammer to "lead" the athlete
into the next turn. Following the rapid body action on the first turn, the
athlete is leading the hammer when he is in position to start the second
turn. For this reason he must pause until the hammer again is to the right
of his right foot. This pause or wait for the hammer is necessary on each
turn. Due to the fact, however, that the hammer is gaining momentum
and speed the pause is of shorter duration on each turn, and is often not
visible to a marked degree. The athlete must be cautioned not to stop
during the so-called "pause" period. Actually, his speed of turn becomes
slightly slower than the speed of the hammer and the sphere immediately
takes the lead.

THE THIRD TURN
Since the hammer has been accelerating throughout the first two turns,
and continues to gain speed in the last turn, the most difficulty is experi-
enced on this turn. An erect trunk, a uniform hammer swing, a short and
rapid right leg step-over and the getting ahead of the hammer should
characterize the third turn as the previous ones. Again, the arms must be
relaxed so that momentum can keep the hammer as far from the body
as possible.
78
FIELD TECHNIQUES ILLUstrated

At the end of the third turn,
the thrower should carry his body
weight mainly over his left foot,
even though the hammer is still to
the right of his right foot. The
body weight is thus working
against the force of the hammer.
The shifting of the weight over
the left foot is started when 3/4
of the third turn is completed.
The athlete accomplishes this
weight shift by leaning to the left
of the center line before the right
foot reaches the ground.
1111
By the time the third turn is
completed the body weight should
be over the bent left leg with the
right leg used to turn the body
for throwing position.
DELIVERY OR THROW
At the end of the third turn
a simple letting go of the hammer
would insure a good throw thanks
to the great force built up by the
turns. In fact, beginning throwers
often release in this manner.
THE HAMMER THROW
79

As a hammer thrower be-
comes more experienced he should
attempt to exert additional force
on the hammer by a vigorous lift-
ing motion with legs, trunk, chest
and arms.
The hammer is released off
the left shoulder at about a 45°
angle to the ground, but the ath-
lete should attempt to drive ver-
tically. The force of the hammer's
momentum turns the athlete in the
direction of the throw.


THE REVERSE
Some hammer throwers do not go over onto their right foot after the
throw to maintain balance or prevent fouling, but in most cases this is the
most practical finish. In any case, there must be a pivot on the left foot
as the body turns toward the direction of throw.
80
FIELD TECHNIQUES ILLUSTRATED
COMPETITIVE TIPS
Competitive conditions are similar to those of the shot put and discus
throw, and the athlete should refer to the section of this book concerning
the discus throw tips.
Such important details as warm-up, spike lengths, circle surface
and weather conditions should be taken into consideration on days of
competition.
TRAINING
Throwing the hammer is a form event in every sense of the word.
It is probably the most difficult of all field events to master completely,
yet it is surprising how rapidly an athlete can improve if he is able to
spend time on the event during the summer or fall of the year.
A concentrated general conditioning program should be followed
before working with the implement, and at least two weeks of easy
hammer throwing away from the circle must be done before the athlete
can go to work in earnest.
Champion hammer throwers work practically the year around with
the hammer. Where this is not possible, an off-season schedule of body
building with emphasis on push-ups, pull-ups, sit-ups, bar bell work and
a great deal of sprinting on the track should be followed.
Following is a mid-season training schedule for the hammer thrower
who will compete on Saturday. It is assumed that pre-season work has
been done.
Monday- Jog a 440 and take 20 minutes of body building exercise.
Swing the hammer. Work 15 minutes on turns without
delivery. Throw 20 minutes for form with one, two or
three turns depending upon stage of proficiency. Sprint.
Jog and shower.
Tuesday- Jog a 440 and do 20 minutes of body building exercises.
Work an hour on the complete hammer action, emphasizing
form. End up with three or four good throws holding form.
Sprint. Jog and shower.
Wednesday-Jog a 440 and do 20 minutes of body building exercises.
Return to form work started Tuesday. Throw for about an
hour. Run over some hurdles. Jog and shower.
Thursday- Jog a 440 and do 20 minutes of body building exercises.
Throw a few minutes for form. Jog and shower.
Rest or take a light warm up.
Friday-
Saturday- Meet.
Chapter 10-THE JAVELIN THROW

Throwing the javelin has evolved into its present form from the
primitive practice of spearing fish and animals for food. Later a spear
similar to our present javelins was used as a weapon for Persian soldiers,
and during the Middle Ages armies often held competition in throwing
spears for accuracy and distance.
The Swedes were the first to introduce the javelin to modern athletic
programs, and the Finns soon followed their lead. Since that time the
Swedes and Finns-particularly the Finns have dominated the world in
javelin throwing.
The javelin was introduced to the modern Olympic games at Athens
in 1906, and Eric Lemming of Sweden was the winner with a throw of
175 feet 6 inches. Finland's first outstanding javelin thrower was Jonni
Myyra, who won the 1920 Olympic title with a fine throw of 215 feet
93/4 inches. He not only established the Finns as the leading exponents of
the art of javelin throwing, but he gave the world a sound basis for
javelin throwing technique. While the Finns and the Swedes were making
great forward strides, the Americans were progressing slowly in this event.
It was not until 1909 that the javelin throw was first placed on our National
A.A.U. program. Ralph Rose, the former Michigan shot putter, became
America's first javelin champion with a toss of slightly more than 141
feet. Eleven years later M. S. Angier of the Illinois Athletic Club became
America's first 200 foot javelin thrower. America's first javelin thrower
to approach the Scandinavians was James DeMers of Oregon University.
In 1930 DeMers won the National A.A.U. championship with a throw
of 222 feet 63/4 inches to become the first native with a throw better than
220 feet.
81
82
FIELD TECHNIQUES ILLUSTRATED
While this improvement was taking place in America, Penthla of
Finland and Lundquist of Sweden were moving the world record up to
and beyond 230 feet. It was Matti Jarvinen of Finland, who in 1934
caused the revision of distance estimates in the javelin, when he set a
world mark of 253 feet 41½ inches. In 1939 Yrjo Nikkanen became the
first to approach 260 feet, as he set his world mark of 258 feet 23/8 inches.
In recent years America has made tremendous strides in javelin
throwing, mainly due to the adoption of the Finnish methods. Such men.
as Larry Bell of Miami (Ohio), Bob Peoples of Southern California,
Dr. Steve Seymour of the Los Angeles A.C. and Frank Held of Stanford
indicate that Americans are rapidly closing the gap on the European javelin
throwers. In fact, Held and Seymour have had throws less than ten feet
from the world's best.
REQUIREMENTS
Champion javelin throwers come in all shapes and sizes. There have
been many fine javelin men who weighed 160 pounds or less, but it ap-
pears that the larger, more powerful man should have an advantage.
A strong throwing arm is of course necessary, but a well developed
body is absolutely essential to good throwing. The large muscles of the
body play an important part in giving velocity to the javelin, and without
exception the great javelin throwers possess strong legs and well developed
upper bodies.
Coordination must be present in any athlete who aspires to succeed
at javelin throwing. Often, however, months and years of practice develop
the thrower's skill of movement beyond original expectations. Gymnastic
work is one of the best methods of developing body coordination.
Leg and body speed are important insofar as the athlete is able (by
body coordination) to apply this speed to the javelin throughout the action.

23/4 inch
12 ft
DEUTU TAPA
The total weight of the javelin, with metal tip, must not be less than
1.765 pounds. The grip formed by the 6.3 inch binding is wrapped over
the javelin's center of gravity.
THE JAVELIN THROW
83
No javelin throw is counted if the point of the javelin does not hit the
ground first. The throw is measured at right angles from the scratch line
(or this line extended) to the mark made by the javelin tip.
TECHNIQUE
The principle of javelin throwing is the application of a constant
forward force on the spear. The forward momentum built up by the
approach and the smooth application of body and arm power in delivery
supply this force or velocity to the javelin.)
The Finnish method of throwing, when properly executed, is the
most efficient and practical form in use today. In this style the athlete
carries the javelin over the shoulder for running ease, and uses a front
cross-step to turn the trunk to a powerful throwing position.
High school and college beginners find a simple underarm carry and
a short hop into throwing position the easiest style to learn. In addition
this method enables the athlete to perform well enough while building
background for future application to the more complicated Finnish
"front-cross."
HAND HOLD

«
One finger grip
Rece
Two finger grip
Regardless of form used, the grip on the cord of the javelin is the
same. The two basic grips used are the one finger and the two finger with
their variations. In both grips the javelin is placed diagonally across the
palm of the hand, from the base of the index finger to the heel of the
hand. The javelin must be held firmly enough for control, but in no case
should it be held rigid.
84
FIELD TECHNIQUES ILLUSTRATED
THROWING FROM A STANDING POSITION
The most satisfactory way of learning correct javelin delivery is from
a standing position. After this phase has been mastered the athlete can
begin to use forward momentum to assist him in exerting additional force
on the javelin. The throwing position at the end of the approach should
be identical with that learned and practiced from the standing position

THE UNDERARM CARRY
The javelin carry is merely the position in which the javelin is held
during the approach, The beginner should start with the underarm carry,
as it provides the easiest method of getting trunk and arm position for
delivery. The two limiting features of this carry are:
(1) It prevents an easy, natural run, as the arm is in an unnatural
position.
(2) It makes it difficult for the athlete to control javelin alignment
during the run and delivery.
THE SHOULDER CARRY
The more advanced javelin throwers will have greater success with
the front shoulder carry than they will with an underarm carry. The arm
action during the run is much more natural and results in more relaxation
and greater acceleration.
THE JAVELIN THROW
85

(This carry also enables the
athlete to keep the javelin aligned
in the direction of the run and
throw with less difficulty.
The shoulder carry is, how-
ever, more difficult than other
methods to incorporate into the
delivery. If executed properly it
offers a minimum loss of forward
momentum. If not done properly
it completely destroys rhythm and
acceleration.
THE APPROACH
The purpose of the approach is to initiate and accelerate the forward
velocity of the javelin. The approach must be rhythmical, smooth and
accurate before any thought of greater speed is considered.
The world's first 280 foot javelin thrower will be one who has ex-
ploited the approach to a much greater degree than is now thought pos-
sible. He will no doubt use a longer and a much faster run. The limiting
factor on greater speed during the run is, of course, throwing position.
For speed is of no value if the athlete cannot use it while still getting
into proper position for delivery.
Present day approaches vary from 65 to about 100 feet in length.
Most javelin throwers use three check marks, with the first mark being
the starting point of the run. The second check mark is usually eight
strides from the first and the third six strides beyond the second check
The distance from the third check mark to, the foul line depends upon
the style used and the particular individual. An athlete using the simple
American hop style should hit his third check mark with the left foot,
and allow from eighteen to twenty-two feet for the hop and delivery.
The athlete using the Finnish front cross step should hit the third
check mark with the right foot and allow from twenty-eight to thirty-
four feet for the cross step and delivery.
In any method of run used the athlete must remain relaxed so he
is able to coordinate the run with the alteration of body and arm position
prior to the delivery.
86
FIELD TECHNIQUES ILLUSTRATED

When the third check mark is reached further and more drastic
preparation for the throw takes place. The javelin must be lowered and
drawn back, and either a hop or a cross step is made as the body is
turned to the right (right handed men) for a powerful throwing position,
Regardless of form used, a smooth rhythmical shift into throwing position
must take place. During the shift the javelin should not lose forward
velocity, forward acceleration must continue.

THE AMERICAN HOP
High school boys in particular have turned to this method of getting
the body into throwing position. Men using this style usually use the
simple underarm carry, as it eliminates shifting the javelin from the
shoulder to the throwing position.
THE JAVELIN THROW
87
THE FRONT CROSS STEP
C
To the experienced javelin thrower the front cross step style offers
the greatest potential of any method in use. Any athlete who aspires to
become a champion should eventually attempt to master this method. The
athletes who do use this form usually use the front shoulder carry due
to the lack of restriction it places on the run! The front cross-step com-
bined with the front shoulder carry permits the maximum amount of
momentum during the approach. The coach and athlete, however, must
be certain that good throwing position is always in evidence.

K
*****
THROWING POSITION
In both styles the body has reached a powerful position from which
the athlete can exert maximum (additional forward) force on the javelin.
Regardless of style used, the start of the delivery must find the body
weight over the bent right leg, with the left leg planted firmly forward.
The left side of the body is facing the direction of the throw. The throw-
ing arm is drawn well back and the point of the javelin lies across the
chest, at a 45° angle to the ground. The javelin must be in alignment
with the intended line of flight. The body has a slight backward lean
from the hips at this point, and the head and eyes are facing forward
and upward.
88
FIELD TECHNIQUES ILLUSTRATED
THE DELIVERY
The additional body
force applied to the
javelin, to increase its
forward velocity, actu-
ally starts an instant be-
fore the left foot drops
to the final throwing
position. This is due to
a slight raising and
bending of the elbow
of the throwing arm.

With the left foot plant the
forward momentum of the
lowe body has been partially
checked, and the trunk con-
tinues to move forward in a
whip action. At the same in-
stant body power is trans-
mitted to the javelin through
the upward and forward ex-
tension of the right leg, the
forward and upward rota-
tion of the hips and the ro-
tational pull of the left side
of the body.
The left shoulder must not
be pulled down. Simultane-
ously with the above action,
the throwing arm (bent at
the elbow) pulls the javelin
forward, elbow leading the
hand causing it to pass over
the shoulder between the
elbow and the head. The
head has rotated to the left
as the strong trunk and
shoulder girdle muscles have
pulled the left side of the
body to the left and back
(not down).

THE JAVELIN THROW
89

With the body weight now up
on the left leg, the javelin leaves
the hand about a foot over the ath-
lete's head, in front of the right
shoulder and at a 45° angle to the
ground. The final impetus is pro-
vided by a wrist snap as the javelin
is released.

THE RECOVERY
Due to forward force that is
built up by the approach and de-
livery a recovery action is neces-
sary. To check forward momen-
tum and to maintain balance the
athlete's weight goes over onto
the right leg that has come for-
ward after the javelin has left the
hand.
THE JAVELIN COUNT
Due to the complexity of javelin throwing, and the need for rhythm
and smoothness, most throwers learn and compete using a "count" system.
Following is one method of counting for each of the styles already dis-
cussed in FIELD TECHNIQUES ILLUSTRATED.
In the front cross-over method of javelin throwing a count is the
most simple method of explaining and learning the style. The following
action should be associated and executed with the count.
90
FIELD TECHNIQUES ILLUSTRATED
Count #1-Right foot hits final check mark with toes facing forward—
javelin point up.
#2-Left foot lands with toes pointing to the right.
#3—The right foot crosses over in front of the left foot and lands
with the foot parallel to the toe board-javelin starts for-
ward-elbow leading.
#4—The left foot goes into a long step and lands with the toes
pointing forward in line with the throw.
When the right-handed athlete hits the third and final check mark
with his left foot preparatory to the hop, an audible count (at least in
beginners) should be started. The following action must be associated
and executed with the count.
#5—The javelin is pulled forward over and close to the head,
and is released in front of the body.
Count #1—The left foot hits the third check mark toes pointing forward.
#2-The right foot comes down with toes pointing silghtly to
the right.
#3-The body is turned a quarter turn to the right as the athlete
hops forward on the right foot; the javelin remains well
back in throwing position. The weight is over the right foot,
and the javelin starts forward elbow leading.
#4-The left foot reaches forward and is planted in line with
the throw, with the toes pointing slightly to the right. Head
and eyes are directed forward and upward.
#5-The upper body is still going forward, but the left leg has
checked the lower body and a whip action of the upper trunk
is taking place. The javelin is pulled forward at about a
45° angle. The path of the javelin is over the right biceps
muscle, and it is released in front of and above the right
shoulder.
ge
COMPETITIVE TIPS
# * #
Jakash Pass
• ALL
any
The major point of javelin strategy concerns competitive attitude.
The athlete must enter competition relaxed and free from tenseness. A
thorough warm-up and a few words from the coach often relieve tension
that may be present. The first competitive throw should usually not be
one for maximum distance; a relaxed safe throw often "grooves" the
athlete for maximum effort on succeeding throws.
There are several minor competitive tips that should be mentioned.
(1) The athlete must carry long and short spikes to meets in prepara-
tion for weather changes and different throwing surfaces.
THE JAVELIN THROW
91
(2) The javelin should be thrown low into a head wind and high
with a tail wind.
(3) Two javelins must be taken to meets to allow for possible breakage.
(4) The entire body (not just the arm and shoulder) must be kept
warm between throws.
(5) The athlete should remain out of the sun between throws on very
hot days.
TRAINING SCHEDULE
Good javelin throwing is dependent upon general body development
and any training program must consider general conditioning. Pre-season
work must include exercises and activities that develop leg speed and
strength, back and abdominal muscles, plus arm and shoulder girdle
strength.
A pre-season throwing program is essential. The fall of the year is
often an ideal time to develop basic form. Javelin throwing takes years
to perfect and because throwing is limited during the competitive season
the champions have found that off-season throwing pays dividends.
Following is a mid-season training schedule for the javelin thrower;
it is assumed that a pre-season conditioning program has been followed.
Monday- Jog a 440 and warm up thoroughly with twisting and
stretching exercises. Throw the javelin from a standing po-
sition eight or ten times. Measure check marks and run
through several times without actual javelin delivery. Take
four or five throws for form and finish up with two or
three relatively good throws. Work with sprinters 10 min-
utes. Shower.
Tuesday- Jog a 440 and warm up as on Monday. Take several throws
into the ground. Measure and run through the approach
with emphasis on form. Throw easily several times, and
work twenty minutes of form throwing. Take three or four
hard throws maintaining form. Jog and shower.
Wednesday-Jog a 440 and warm up with calisthenics. Work with the
hurdlers and sprinters for ten or fifteen minutes. Work 15
minutes on form and refrain from any hard throwing. Jog
and shower.
Thursday- Jog a 440 and warm up with calisthenics. Work with the
sprinters or jumpers for a brief period. Throw several times
with a full run, but do not exert maximum effort—merely
emphasize form. If there is any soreness present, forget
the javelin until Saturday. Best performance comes from
rested throwing muscles.
Light warm-up or rest.
Friday-
Saturday- Meet.
GLOSSARY
A.A.U.-Amateur Athletic Union.
ACCELERATION-Increasing speed of body motion.
AMERICAN HOP-A method of getting the body into position for throwing the javelin.
Angle of DelIVERY-Angle to the ground at which an implement is released.
APPROACH-The run and/or adjustments made by the athlete prior to the actual competitive
effort.
BOTTOM-Basic conditioning or basic stamina.
Box-The container in which pole vaulters plant the tips of their poles before taking off.
Calisthenics-Simple exercises done to warm up and prepare the body for activity.
Center of GRAVITY-Point on which the body can be balanced.
CIRCLE-Competitive area for the shot, discus and hammer.
Clearance-Distance or area between the body and an object (usually a cross bar).
CLOSED POSITION-A powerful throwing position for shot and discus men in which the right
shoulder and hip are back.
COORDINATION-Well adjusted and efficient muscle movements.
DRIVE LEG-The leg exerting the force during stride or take-off.
Eastern Style-A once popular method of high jumping.
ENDURANCE-Strength and ability to perform work over a long period.
FIELD-Area of participation, as contrasted with the running track.
FLAT-Level ground.
FLAT FOOTED-Landing on heel and ball of foot simultaneously.
FLATS-Track or field shoes without spikes.
FLYAWAY-Act of leaving the pole at the height of a vault.
FOUL-A competitive effort wasted due to an infraction of a rule.
Front Cross-Finnish method of getting the body into position for javelin throwing.
GATHER-Composure for additional greater effort, as in the broad jump take-off.
GRIP-Hand hold on an implement.
HEAD WIND-Wind blowing toward the athlete.
I.C.A.A.A.A.—Intercollegiate Association of Amateur Athletes of America.
INTERCOLLEGIAte CompetitioN-Competition between institutions at the college level.
INTERSCHOLASTIC COMPETITION-Competition between institutions on the secondary level.
JOGGING Easy bounding running at a very slow pace.
LAYOUT-Extension of the body with no flexion.
LEAD LEG-The first leg, or kicking leg, in jumpers.
MARKS-An athlete's starting point and points of check during approach.
METER-39.37 inches.
MOMENTUM-Force possessed by an athlete in motion.
N.C.A.A.-National Collegiate Athletic Association.
N.F.S.H.S.A.A.-National Federation of State High School Athletic Associations.
PASSING-Not taking one's jump or vault as it comes up.
Pulled Muscle-The pulling apart of muscle fiber.
PULL-UP-Raising, by pulling, of the body in pole vaulting.
PUSHER-A chamois toe sock.
PUSH-OFF-Pushing up and away from the vaulting pole at the top of the vault.
REACTION TIME-Latent time between stimulus and first move.
RECOVERY LEG-The non-driving leg during runner's stride.
REFLEX-Automatic and involuntary muscle reaction.
REVERSE-The follow through after a put or throw.
RHYTHM-Uniform well-coordinated running action.
Scissors Style-Style involving a scissors-like action of the legs.
SCRATCH-To remove an athlete from competition.
SETTLE-See "gather."
SHAVINGS-Wood chips (as contrasted with sawdust) so widely used in vaulting and jumping
pits.
SHIFT Moving the vaulting pole from the carry position into the vaulting box.
SHIN SPLINTS-Sore shin bone muscles.
SHOT-Iron or brass spheres 8, 12 or 16 pounds in weight that are used for competition.
SPRING-Bounce or "lightness of foot" found in good jumpers, etc.
STANCE-Particular starting position of an athlete.
STANDARDS-Upright objects used to hold cross-bars during jumping or vaulting contests.
92
GLOSSARY
93
Straddle-A method of high jumping by straddling the bar, face down.
STRIDE-The distance covered by a leg cycle while running.
SWING-Pendulum action of the body or a part of the body.
TAKE-OFF-Act of leaving ground for a jump or vault.
TAKE-OFF FOOT-Foot that drives athlete from the ground.
Take-off MaRK-Spot at which athlete leaves the ground.
TECHNIQUE-Specific detailed method of executing an action of the body.
THRUST-Force exerted upon an implement by the athlete.
TIMING Coordination between various body movements.
TOE BOARD-A restraining board for certain field events, such as the shot put and broad jump.
TYING UP-Over-tenseness due to fatigue (mental or physical) during competition.
VELOCITY-Rate of motion.
WARM-UP-Gradual process of raising the body temperature, etc., prior to strenuous exercise
or competition.
WESTERN ROLL-A method of high jumping, clearing the bar on the side or back.


INDEX
A.A.U., 7, 14, 21, 43, 81
Ahearn, Dan, 43
Albritton, Dave, 21
American Hop, 86, 90
Anderson, Harold, 62
Angier, M. S., 81
Barnes, Lee, 33
Bell, Larry, 82
"Belly roll," 21
Bennett, Bob, 71
Blask, E., 71
Bloss, E. B., 43
Blozis, Al, 51
Bowdoin College, 71
Brigham Young University, 7
Broad Jump, The, 14-20
approach, 15
arm action, 18
board dimensions, 15
center of gravity, 17
check marks, 15, 16
competitive tips, 19
foot plant, 17
form in air, 18
gather, 16
hip swing, 18
hitch kick, 18
kicking leg, 17
landing, 18
measurement, 15
requirements, 14
run, the, 15
take-off, 16
technique, 15
training schedule, 20
Brown, Bill, 43, 44
Brown, George, 14
"Burned-out," 12
California University at Los Angeles, 14
Carpenter, Ken, 62
Carr, Sabin, 32
Casey, Levi, 43
Chandler, Otis, 50
Chicago University, 32
Crisler, H. O. “Fritz,” 7
Dales, George, 7
Delaney, Francis, 50
DeMers, James, 81
de Silva, Adhemar, 43
Diamond, Phil, 7
Discobolus, 7
Discus, Throwing The, 62-70
competitive tips, 69
discus weights, 63
hand hold, 64
hop, the, 65
measuring throws, 63
release, the, 68
requirements, 63
reverse, 69
swing, the, 64
technique, 64
training schedule, 70
turning, 65
Doherty, Ken, 7
Dublin University, 50
Duncan, J., 62
Dwyer, Henry, 71
Eastern Style, 21, 23
Equipment, 8-10
jerseys, 10
pants, 10
shoes, 8-9
socks, 10
spikes, 9
supporters, 10
warm-up suits, 10
Exercises, 13
Felton, Sam, 71
Ficken, H. E., 21
Fitch, Bob, 62
Flannagan, J. J., 71
Fonville, Charles, 7, 50, 51, 59
Ford, M. W., 14
Foss, Frank, 32
Fresno State College, 21
Front Cross Step, 87, 90
Fuchs, James, 50, 51
Gordien, Fortune, 62
Gourdin, Ned, 14
Hackney, Elmer, 51
Hall, J. Lewis, 22
Hammer Throw, The, 71-80
competitive tips, 80
delivery, 78, 79
first turn, 75
hammer swing, 73
hand hold, 72
initial stance, 72
pivot, the, 74
requirements, 71, 72
reverse, the, 79
second turn, 77
technique, 72
third turn, 77, 78
training, 80
Harshbarger, Don, 7
Harvard University, 14, 71
Held, Frank, 7, 82
High Jump, The, 21-31
approach, 23
check marks, 23
competitive tips, 30-31
cross bar dimensions, 22
Eastern Style, 21, 23
foot plant, 23, 24
lead leg, 25
lean in, 25
pit dimensions, 22
requirements, 22
run, the, 23
Straddle Style, 21, 23, 26
arm position, 30
clearance, 29
head turn, 29
94
INDEX
95
kick, 27, 29
landing, 30
trailing leg, 30
take-off, 25
technique, 23
training schedule, 31
Western Roll, 21, 23, 26, 27, 28
clearance, 27
head drop, 28
kick, 27, 28
landing, 28
Hoff, Charles, 32
Hop, Step and Jump, The, 43-49
approach, 44
competitive tips, 49
hop, the, 45, 46
jump, the, 47, 48
landing, 48
requirements, 44
step, the, 46
take-off, 45
technique, 44
training schedule, 49
Horine, George, 21
Houser, Clarence, 51
Hubbard, DeHart, 14, 44
I.C.A.A.A.A., 50
Illinois Athletic Club, 81
Illinois University, 21, 33
Irish American A.C., 71
Jarvinen, Matti, 82
Javelin Throw, The, 81-91
American Hop, 86
approach, 85
competitive tips, 90, 91
delivery, 88
finger grips, 83
front cross step, 87
hand hold, 83
javelin count, 89, 90
javelin specifications, 82
measurement, 83
recovery, 89
requirements, 82
shoulder carry, 84, 85
technique, 83
throwing position, 84, 87
training schedule, 91
underarm carry, 84
Jersey, 10
Johnson, Cornelius, 21
Koutonen, Erkki, 47
Kraenzlein, Alvin, 14
Lambrecht, F. L., 50
Lampert, Stanley, 50
Laz, Don, 33
Lemming, Eric, 81
Los Angeles A.C., 82
Louisiana State, 43
Loyola University (La.), 43
Lundquist, E. H., 82
Lyman, John, 50, 51
Maine University, 71
Marty, Walter, 21
McGrath, Matt, 71
Meadows, Earl, 32
Miami University (Ohio), 82
Michigan, University of, 7, 14, 41, 44,
47, 50
Minnesota University, 62
Myyra, Jonni, 81
Nambu, Chuhei, 15
Nemeth, Irmy, 71
New York A.C., 71
New York Police Force, 71
Nikkanen, Yrjo, 82
Nilsson, Roland, 70
.
O'Brien, Perry, 50
O'Callaghan, Dr. P., 71
Ohio State University, 14, 21
Olympic Games, 43, 71, 81
Oregon University, 22, 81
Osborn, Harold, 21, 22
Owens, Jesse, 14
Page, W. B., Jr., 21
Pennsylvania University, 7, 14, 21
Penthla, Eino, 82
Peoples, Bob, 82
Pole Vault, The, 32-42
bar clearance, 41
body alignment, 35
competitive tips, 41
grip, 34, 36
landing, 41
pit dimensions, 33
pole carry, 35
pole plant, 37
poles, 33
aluminum, 33
bamboo, 33
steel, 33
pull, 39
push-up, 40
requirements, 32, 33 ·
run, the, 36
shift, 37
standard placement, 33
swing, the, 38
take-off, 38
training schedule, 42
Richards, Reverend Bob, 33
Robison, Clarence, 7
Romero, Roland, 43
Rose, Ralph, 50, 81
Ryan, Pat, 71
Scissors Style, 21
Sefton, William, 32, 33
Seymour, Dr. Steve, 82
Sheridan, Martin J., 62
Shoes, 8-9, 31
field, 8
one spike heel, 9
rubber flat, 9
sprint, 8
96
INDEX
Shot Put, The, 50-61
competitive tips, 60, 61
hand hold, 52
hop, the, 54
initial stance, 53
measurement of put, 51
put, the, 57, 58
putting stance, 56
release, 59
reverse, 60
technique, 51
toe board, 51
training schedule, 61
Socks, 10
Southern California, University of, 32, 82
Spikes, 9
Stanford University, 21, 50
Steers, Les, 22
Supporter, 10
Sweeney, "Mike" F., 21
Tajima, Naoto, 43, 48
Thompson, Wilbur "Moose," 50
Tootell, Fred, 71
Torrance, Jack, 50, 51
Training, 11-13
"burned-out," 12
diet and elimination, 11
drugs and stimulants, 12
exercises, 13
mental conditioning, 12
physical work, 11
Vaulting poles, 33
Warmerdam, Cornelius "Dutch," 7, 32
Warm-up suit, 10
Western Roll, 21, 23, 26, 27, 28
Woodruff, Bob, 7
Yale University, 32, 50

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