Rhythmic gymnastics 대회 및 연맹 관리

Rhythmic gymnastics is a sport in which gymnasts perform individually or in groups on a floor with an apparatus: hoop, ball, clubs, ribbon and rope. The sport combines elements of gymnastics, dance and calisthenics; gymnasts must be strong, flexible, agile, dexterous and coordinated. Rhythmic gymnastics is governed by World Gymnastics, which first recognized it as a sport in 1963. At the international level, rhythmic gymnastics is a women-only sport.

Rhythmic gymnastics became an Olympic sport in 1984, when the individual all-around event was first competed, and the group competition was added to the Olympics in 1996. World Gymnastics-recognized competitions, besides the Olympic Games, include the World Championships, continental championships (European Championships, Asian Championships, Pan American Championships, African Championships, and Oceanian Championships), and the World Cup series. At competitions, gymnasts are judged on their artistry, execution of skills, and difficulty of skills. They perform leaps, balances, and rotations (spins) along with handling the apparatus.

Rhythmic gymnastics grew out of the ideas of Jean-Georges Noverre (1727–1810), François Delsarte (1811–1871), and Rudolf Bode (1881–1970), who all believed in movement expression, where one used to dance to express oneself and exercise various body parts. From 1834, Pehr Henrik Ling further developed this idea in his 19th-century Swedish system of free exercise, which promoted "aesthetic gymnastics", in which students expressed their feelings and emotions through body movement.

Swedish-style group gymnastics became increasingly popular for women from the mid-19th century through to the early 20th century. Although sports became associated with masculinity, group gymnastics were performed in indoor, private spaces and focused on correctly performing movements before an instructor, which fit societal ideals for women. Women's gymnastics began to focus on qualities perceived as feminine, such as grace and expressiveness.

Ling's ideas were extended by Catharine Beecher, who founded the Western Female Institute in Cincinnati, Ohio, United States, in 1837. She developed a program where pupils exercised to music, moving from simple calisthenics that could be done in a classroom to more strenuous activities. While she promoted the exercises as being for all children, she emphasized that girls were especially lacking in exercise and that their health suffered for it.

François Delsarte created a system of movement which was focused on creating expressive acting with natural poses, but it became a popular form of women's gymnastics for developing grace. In 1885, an American student of Delsarte, Genevieve Stebbins, published her first book, The Delsarte System of Expression. She soon began to perform popular solo dances, and she went on to combine Delsarte's ideas with Ling's and to develop her own gymnastics system. Dubbed "harmonic gymnastics", it encouraged late nineteenth-century American women to engage in physical culture and expression, in defiance of traditional gender norms. Stebbins provided the means, rationale, and model for exercise for middle-class women.

During the 1880s, Émile Jaques-Dalcroze of Switzerland developed eurhythmics, a form of physical training for musicians and dancers. Robert Bode trained at the Dalcroze Eurythmic College and went on to found his own school. George Demeny of France created exercises to music that were designed to promote grace of movement, muscular flexibility, and good posture, and some exercises included apparatuses.

The dancer Isadora Duncan was significant in the development of rhythmic gymnastics. Influenced by Delsarte, Jaques-Dalcroze, and possibly by Stebbins, she developed her own theory of dance that departed from more rigid traditions like that of ballet. Her free dancing style incorporated running and jumping movements.

In 1929, Hinrich Medau, who graduated from the Bode School, founded The Medau School in Berlin to train gymnasts in "modern gymnastics". He focused on using the entire body in movement and developed the use of apparatuses, particularly balls, hoops, and clubs. Influenced by German teachers, several Finnish and Swedish gymnastics teachers, such as Elli Björkstén, Elin Falk, and Maja Carlquist, began to develop their own system of gymnastics. They felt the Ling approach was too rigid and dull and sought freer styles of movements. Scandinavian gymnastics emphasized developing partner and group work and use of apparatuses, and many Scandinavian gymnastics groups toured abroad.

The teachings of Duncan, Jacques-Dalcroze, Delsarte, and Demeny were brought together at the Soviet Union's High School of Artistic Movement when it was founded in 1932, and soon thereafter, an early version of rhythmic gymnastics was established as a sport for girls. The first competition was held in 1939 in Leningrad on International Women's Day. Beginning in 1947, All-Soviet Union competitions were held yearly in various locations across the Soviet Union, and the sport began to spread to other countries in Europe.

From 1928 through 1956, group events with apparatuses were sometimes performed as events in women's artistic gymnastics, such as club performances at the World Artistic Gymnastics Championships. There were two team portable apparatus events at the 1952 and 1956 Olympics, which used similar apparatuses to modern rhythmic gymnastics, before it was decided that it should be a separate discipline. The portable apparatus events were only performed as a group and lasted between four and five minutes, much longer than a modern group routine. They were performed to music, and the rules did not specify the apparatuses used, only that each gymnast should have one and that they did not need to be all the same.

World Gymnastics (abbreviated FIG, as it was previously named the Fédération Internationale de Gymnastique, or International Gymnastics Federation) formally reco