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Gymnastics

Gymnastics is a type of sport that includes physical exercises requiring balance, strength, flexibility, agility, coordination, artistry and endurance. The movements involved in gymnastics contribute to the development of the arms, legs, shoulders, back, chest, and abdominal muscle groups. Gymnastics evolved from exercises used by the ancient Greeks that included skills for mounting and dismounting a horse, and from circus performance skills.

The most common form of competitive gymnastics is artistic gymnastics (AG), which consists of, for women (WAG), the events floor, vault, uneven bars, and beam; and for men (MAG), the events floor, vault, rings, pommel horse, parallel bars, and horizontal bar.

The governing body for competition in gymnastics throughout the world is the Fédération Internationale de Gymnastique (FIG). Eight sports are governed by the FIG, including gymnastics for all, men's and women's artistic gymnastics, rhythmic gymnastics, trampolining (including double mini-trampoline), tumbling, acrobatic, aerobic, and parkour. Disciplines not recognized by FIG include wheel gymnastics, aesthetic group gymnastics, TeamGym, and mallakhamba.

Participants in gymnastics-related sports include young children, recreational-level athletes, and competitive athletes at all levels of skill.

Etymology
The word gymnastics derives from the common Greek adjective γυμνός (gymnos), by way of the related verb γυμνάζω (gymnazo), whose meaning is to "train naked", "train in gymnastic exercise", generally "to train, to exercise". The verb had this meaning because athletes in ancient times exercised and competed without clothing.

History
Gymnastics can be traced to exercise to ancient Greece specifically to Sparta and Athens. Exercise of that time was documented by Philostratus' work Gymnastics: The Ethics of an Athletic Aesthetic. The original term for the practice of gymnastics is from the related Greek verb γυμνάζω (gumnázō), which translates as "to train naked or nude" because young men exercising trained without clothing. In ancient Greece, physical fitness was a highly valued attribute in both men and women. It was not until after the Romans conquered Greece in 146BC that gymnastics became more formalized and used to train men in warfare. Based on Philostratus' claim that gymnastics is a form of wisdom, comparable to philosophy, poetry, music, geometry, and astronomy, Athens combined this more physical training with the education of the mind. At the Palestra, a physical education training center, the discipline of educating the body and the mind were combined allowing for a form of gymnastics that was more aesthetic and individual and that left behind the focus on strictness, discipline, the emphasis on defeating records, and a focus on strength.

Don Francisco Amorós y Ondeano, a Spanish colonel, born on February 19, 1770, in Valencia and who died on August 8, 1848, in Paris, was the first person to introduce educative gymnastics in France. The German Friedrich Ludwig Jahn began the German gymnastics movement 1811 in Berlin which led to the invention of the parallel bars, rings, high bar, the pommel horse and the vault horse.

Germans Charles Beck and Charles Follen and American John Neal brought the first wave of gymnastics to the United States in the 1820s. Beck opened the first gymnasium in the US in 1825 at the Round Hill School in Northampton, Massachusetts. Follen opened the first college gymnasium and the first public gymnasium in the US in 1826 at Harvard College and in Boston, Massachusetts, respectively. Neal was the first American to open a public gymnasium in the US in Portland, Maine in 1827. He also documented and promoted these early efforts in the American Journal of Education and The Yankee, helping to establish the American branch of the movement.

The Federation of International Gymnastics (FIG) was founded in Liege in 1881. By the end of the nineteenth century, men's gymnastics competition was popular enough to be included in the first modern Olympic Games in 1896. From then on until the early 1950s, both national and international competitions involved a changing variety of exercises gathered under the rubric, gymnastics, that included, for example, synchronized team floor calisthenics, rope climbing, high jumping, running, and horizontal ladder. During the 1920s, women organized and participated in gymnastics events. The first women's Olympic competition was limited, only involving synchronized calisthenics and track and field. These games were held in 1928 in Amsterdam. By 1954, Olympic Games apparatus and events for both men and women had been standardized in modern format, and uniform grading structures (including a point system from 1 to 15) had been agreed upon. In 1930, the first UK mass movement organisation of women in gymnastics, the Women's League of Health and Beauty, was founded by Mary Bagot Stack in London. At this time, Soviet gymnasts astounded the world with highly disciplined and difficult performances, setting a precedent that continues. Television has helped publicize and initiate a modern age of gymnastics. Both men's and women's gymnastics now attract considerable international interest, and excellent gymnasts can be found on every continent.

In 2006, a new points system for Artistic gymnastics was put into play. With an A Score (or D score) being the difficulty score, which as of 2009 is based on the top 8 high scoring elements in a routine (excluding Vault). The B Score (or E Score), is the score for execution and is given for how well the skills are performed.

FIG-recognized disciplines
The following disciplines are governed by FIG.

Artistic gymnastics

Artistic Gymnastics is usually divided into Men's and Women's Gymnastics. Men compete on six events: Floor Exercise, Pommel Horse, Still Rings, Vault, Parallel Bars, and Horizontal Bar, while women compete on four: Vault, Uneven Bars, Balance Beam, and Floor Exercise. In some countries, women at one time competed on the rings, high bar, and parallel bars (for example, in the 1950s in the USSR).

In 2006, FIG introduced a new point system for Artistic gymnastics in which scores are no longer limited to 10 points. The system is used in the US for elite level competition. Unlike the old code of points, there are two separate scores, an execution score and a difficulty score. In the previous system, the execution score was the only score. It was and still is out of 10.00, except for short exercises. During the gymnast's performance, the judges deduct this score only. A fall, on or off the event, is a 1.00 deduction, in elite level gymnastics. The introduction of the difficulty score is a significant change. The gymnast's difficulty score is based on what elements they perform and is subject to change if they do not perform or complete all the skills, or they do not connect a skill meant to be connected to another. Connection bonuses are where deviation happens most commonly between the intended and actual difficulty scores, as it can be difficult to connect multiple flight elements. It is very hard to connect skills if the first skill is not performed correctly. The new code of points allows the gymnasts to gain higher scores based on the difficulty of the skills they perform as well as their execution. There is no maximum score for difficulty, as it can keep increasing as the difficulty of the skills increase.

Vault
In the vaulting events, gymnasts sprint down a 25 m runway, to take off onto a vault board (or perform a roundoff or handspring entry onto a vault board),  to land momentarily inverted on the hands on the vaulting horse or vaulting table (pre-flight segment), then propel themselves forward or backward off that platform to a two-footed landing (post-flight segment). Every gymnast starts at a different point on the vault runway depending on their height and strength. The post-flight segment may include one or more multiple saltos, or twisting movements. A round-off entry vault, called a Yurchenko, is a commonly performed vault in the higher levels in gymnastics. When performing a Yurchenko, gymnasts round-off so their hands are on the runway while their feet land on the vault board. From the round-off position, the gymnast travels backward so that the hands land on the vaulting table. The gymnast then blocks off the vaulting platform into various twisting and/or somersaulting combinations. The post-flight segment brings the gymnast to her feet. Less difficult vaults include taking off from the vault board with both feet at the same time and either doing a front handspring or round-off onto the vaulting table.

In 2001, the traditional vaulting horse was replaced with a new apparatus, sometimes known as a tongue, horse, or vaulting table. The new apparatus is more stable, wider, and longer than the older vaulting horse, approximately 1 m in length and 1 m in width, giving gymnasts a larger blocking surface. This apparatus is thus considered safer than the vaulting horse used in the past. With the addition of this new, safer vaulting table, gymnasts are attempting more difficult vaults.

Uneven bars
On the uneven bars, the gymnast performs a timed routine on two parallel horizontal bars set at different heights. These bars are made of fiberglass covered in wood laminate, to prevent them from breaking. In the past, bars were made of wood, but the bars were prone to breaking, providing an incentive to switch to newer technologies. The height of the bars may be adjusted by 5 cm to the size needed by individual gymnasts, although the distance between bars cannot be changed for individual gymnasts in elite competition. In the past, the uneven parallel bars were closer together. The bars have been moved increasingly further apart, allowing gymnasts to perform swinging, circling, transitional, and release moves that may pass over, under, and between the two bars. At the Elite level, movements must pass through the handstand. Gymnasts often mount the uneven bars using a springboard or a small mat. Gymnasts may use chalk (MgCO3) and grips (a leather strip with holes for fingers to protect hands and improve performance) when performing this event. The chalk helps take the moisture out of gymnasts' hands to decrease friction and prevent rips (tears to the skin of the hands); dowel grips help gymnasts grip the bar.

Balance beam

The gymnast performs a choreographed routine of up to 90 seconds in length consisting of leaps, acrobatic skills, somersaults, turns and dance elements on a padded beam. The beam is 125 cm from the ground, 5 m long, and 10.16 cm wide. This stationary object can also be adjusted, to be raised higher or lower. The gymnast begins the 70–90 seconds exercise by mounting the beam by either a vault or a jump. The event requires balance, flexibility, grace, poise, and strength.

Floor

The event in gymnastics performed on the floor is called floor exercise. The English abbreviation for the event in gymnastics scoring is FX. In the past, the floor exercise event was executed on the bare floor or mats such as wrestling mats. The floor event now occurs on a carpeted 12m × 12m square, usually consisting of hard foam over a layer of plywood, which is supported by springs generally called a spring floor. This provides a firm surface that provides extra bounce or spring when compressed, allowing gymnasts to achieve greater height and a softer landing after the composed skill. Gymnasts perform a choreographed routine for up to 90 seconds in the floor exercise event. Depending on the level, the gymnast may choose their own routine; however some levels have compulsory routines, where default music must be played. Levels three to six the music is the same for each levels along with the skills within the routine. However, recently, the levels have switched. Now, levels 6–10 are optional levels and they get to have custom routines made. In the optional levels (levels six to ten) there are skill requirements for the routine but the athlete is able to pick her own music without any words. The routine should consist of tumbling passes, series of jumps, leaps, dance elements, acrobatic skills, and turns, or pivots, on one foot. A gymnast can perform up to four tumbling passes, each of which usually includes at least one flight element without hand support. Each level of gymnastics requires the athlete to perform a different number of tumbling passes. In level 7 in the United States, a gymnast is required to do 2–3, and in levels 8–10, at least 3–4 tumbling passes are required.

Scoring
Scoring for both Junior Olympic and NCAA level gymnastics uses a 10.0 scale. Levels below Level 9 start from a 10.0 automatically if all requirements for an event are met. Levels 9 and 10, and NCAA gymnastics all start below a 10.0 and require gymnastics to acquire bonus points through connections and skills to increase their start value to a 10.0. During a routine, deductions will be made by the judges for flaws in the form of the technique of a skill. For example, steps on landings or flexed feet can range from .05–.1 off, depending on the severity of the mistake.

Floor
Male gymnasts also perform on a 12meter x 12meter spring floor. A series of tumbling passes are performed to demonstrate flexibility, strength, and balance. Strength skills include circles, scales, and press handstands. Men's floor routines usually have multiple passes that have to total between 60–70 seconds and are performed without music, unlike the women's event. Rules require that male gymnasts touch each corner of the floor at least once during their routine.

Pommel horse
A typical pommel horse exercise involves both single leg and double leg work. Single leg skills are generally found in the form of scissors, an element often done on the pommels. Double leg work, however, is the main staple of this event. The gymnast swings both legs in a circular motion (clockwise or counterclockwise depending on preference) and performs such skills on all parts of the apparatus. To make the exercise more challenging, gymnasts will often include variations on a typical circling skill by turning (moores and spindles) or by straddling their legs (Flares). Routines end when the gymnast performs a dismount, either by swinging his body over the horse or landing after a handstand variation.

Still rings
The rings are suspended on wire cable from a point 5.75 meters from the floor. The gymnasts must perform a routine demonstrating balance, strength, power, and dynamic motion while preventing the rings themselves from swinging. At least one static strength move is required, but some gymnasts may include two or three. A routine ends with a dismount.

Vault
Gymnasts sprint down a runway, which is a maximum of 25 meters in length, before hurdling onto a springboard. The gymnast is allowed to choose where they start on the runway. The body position is maintained while punching (blocking using only a shoulder movement) the vaulting platform. The gymnast then rotates to a standing position. In advanced gymnastics, multiple twists and somersaults may be added before landing. Successful vaults depend on the speed of the run, the length of the hurdle, the power the gymnast generates from the legs and shoulder girdle, the kinesthetic awareness in the air, how well they stuck the landing, and the speed of rotation in the case of more difficult and complex vaults.

Parallel bars
Men perform on two bars executing a series of swings, balances, and releases that require great strength and coordination. The width between the bars is adjustable depending upon the actual needs of the gymnasts and usually 2 m high.

Horizontal bar
A 2.8 cm thick steel or fiberglass bar raised 2.5 m above the landing area is all the gymnast has to hold onto as he performs giant swings or giants (forward or backward revolutions around the bar in the handstand position), release skills, twists, and changes of direction. By using all of the momentum from giants and then releasing at the proper point, enough height can be achieved for spectacular dismounts, such as a triple-back salto. Leather grips are usually used to help maintain a grip on the bar, and to prevent rips. While training for this event, straps are often used to ensure that the gymnast does not fall off the bar as they are learning new skills.

As with women, male gymnasts are also judged on all of their events including their execution, degree of difficulty, and overall presentation skills.

Rhythmic gymnastics

According to FIG rules, only women compete in rhythmic gymnastics. This is a sport that combines elements of ballet, gymnastics, dance, and apparatus manipulation. The sport involves the performance of five separate routines with the use of five apparatus; ball, ribbon, hoop, clubs, rope—on a floor area, with a much greater emphasis on the aesthetic rather than the acrobatic. There are also group routines consisting of 5 gymnasts and 5 apparatuses of their choice. Rhythmic routines are scored out of a possible 30 points; the score for artistry (choreography and music) is averaged with the score for the difficulty of the moves and then added to the score for execution.

International competitions are split between Juniors, under sixteen by their year of birth; and Seniors, for women sixteen and over again by their year of birth. Gymnasts in Russia and Europe typically start training at a very young age and those at their peak are typically in their late teens (15–19) or early twenties. The largest events in the sport are the Olympic Games, World Championships, European Championships, World Cup and Grand-Prix Series. The first World Championships were held in 1963 with its first appearance at the Olympics in 1984.

Rhythmic gymnastics apparatus

 * Ball:The ball is made of either rubber or synthetic material (pliable plastic) provided it possesses the same elasticity as rubber. It is from 18 to 20 cm in diameter and must have a minimum weight of 400g. The ball can be of any color and should rest in the gymnast's hand, not the wrist. Fundamental elements of a ball routine include throwing, bouncing, and rolling. The gymnast must use both hands and work on the whole floor area while showing continuous flowing movement. The ball is to emphasize the gymnast's flowing lines and body difficulty.
 * Hoop: A hoop is an apparatus in rhythmic gymnastics and may be made of plastic or wood, provided that it retains its shape during the routine. The interior diameter is from 51 to 90 cm and the hoop must weigh a minimum of 300g. The hoop may be of natural color or be part of fully covered by one or several colors, and it may be covered with adhesive tape either of the same or different colors as the hoop. Fundamental requirements of a hoop routine include rotation around the hand or body and rolling, as well as swings, circles, throws, and passes through and over the hoop. The routines in hoop involve mastery in both apparatus handling and body difficulties like leaps, jumps, and pivots.
 * Ribbon: The ribbon is made of satin or another similar material cloth of any color and may be multi-colored as well as have designs on it. The ribbon itself must be at least 35 g (1 oz), 4–6 cm (1.6–2.4") in width and for senior category a minimum length of 6m (20') (5m (16.25') for juniors). The ribbon must be in one piece. The end that is attached to the stick is doubled for a maximum length of 1 m (3'). This is stitched down both sides. At the top, a very thin reinforcement or rows of machine stitching for a maximum length of 5 cm is authorized. This extremity may end in a strap, or have an eyelet (a small hole, edged with buttonhole stitch or a metal circle), to permit attaching the ribbon. The ribbon is fixed to the stick by means of a supple attachment such as thread, nylon cord, or a series of articulated rings. The attachment has a maximum length of 7 cm (2.8"), not counting the strap or metal ring at the end of the stick where it will be fastened. Compulsory elements for the ribbon include flicks, circles, snakes and spirals, and throws. It requires a high degree of co-ordination to form the spirals and circles as any knots which may accidentally form in the ribbon are penalised. During a ribbon routine, large, smooth and flowing movements are looked for.
 * Clubs: Multi-piece clubs are the most popular clubs. The club is built along an internal rod, providing a base on which a handle made of polyolefin plastic is wrapped, providing an airspace between it and the internal rod. This airspace provides flex, cushioning impact, making the club softer on the hands. Foam ends and knobs further cushion the club. Multi-piece clubs are made in both a thin European style or larger bodied American style and in various lengths, generally ranging from 19 to 21 inches (480 to 530 mm). The handles and bodies are typically wrapped with decorative plastics and tapes. The skills involved are apparatus mastery and body elements, Clubs are thrown from alternate hands; each passes underneath the other clubs and is caught in the opposite hand to the one from which it was thrown. At its simplest, each club rotates once per throw, the handle moving down and away from the throwing hand at first. However, double and triple spins are frequently performed, allowing the club to be thrown higher for more advanced patterns and to allow tricks such as 360s to be performed underneath.
 * Rope: This apparatus may be made of hemp or a synthetic material which retains the qualities of lightness and suppleness. Its length is in proportion to the size of the gymnast. The rope should, when held down by the feet, reach both of the gymnasts' armpits. One or two knots at each end are for keeping hold of the rope while doing the routine. At the ends (to the exclusion of all other parts of the rope) an anti-slip material, either coloured or neutral may cover a maximum of 10 cm (3.94 in). The rope must be coloured, either all or partially and may either be of a uniform diameter or be progressively thicker in the center provided that this thickening is of the same material as the rope. The fundamental requirements of a rope routine include leaps and skipping. Other elements include swings, throws, circles, rotations and figures of eight. In 2011, the FIG decided to remove the use of rope from the program of senior individual competitions. It is still used in junior competitions and occasionally on the program for senior group competitions (eg. 2017–2018).

Men's rhythmic gymnastics
Men's rhythmic gymnastics is related to both men's artistic gymnastics and wushu martial arts. It emerged in Japan from stick gymnastics. Stick gymnastics has been taught and performed for many years with the aim of improving physical strength and health. Male athletes are judged on some of the same physical abilities and skills as their female counterparts, such as hand/body-eye co-ordination, but tumbling, strength, power, and martial arts skills are the main focus, as opposed to flexibility and dance in women's rhythmic gymnastics. There are a growing number of participants, competing alone and on a team; it is most popular in Asia, especially in Japan where high school and university teams compete fiercely. , there were 1000 men's rhythmic gymnasts in Japan.

The technical rules for the Japanese version of men's rhythmic gymnastics came around the 1970s. For individuals, only four types of apparatus are used: the double rings, the stick, the rope, and the clubs. Groups do not use any apparatus. The Japanese version includes tumbling performed on a spring floor. Points are awarded based a 10-point scale that measures the level of difficulty of the tumbling and apparatus handling. On November 27–29, 2003, Japan hosted first edition of the Men's Rhythmic Gymnastics World Championship.

The events consist of:
 * Stick
 * Clubs
 * Rope
 * Double Rings
 * Group

Along with the Japanese version of Men's Rhythmic there is a Spanish version which uses the same format and rules as the FIG recognized form of Women's Rhythmic Gymnastics.

Trampolining
Trampolining and tumbling consists of four events, individual and synchronized trampoline, double mini trampoline, and tumbling (also known as power tumbling or rod floor). Since 2000, individual trampoline has been included in the Olympic Games. The first World Championships were held in 1964.

Individual trampoline
Individual routines in trampolining involve a build-up phase during which the gymnast jumps repeatedly to achieve height, followed by a sequence of ten bounces without pause during which the gymnast performs a sequence of aerial skills. Routines are marked out of a maximum score of 10 points. Additional points (with no maximum at the highest levels of competition) can be earned depending on the difficulty of the moves and the length of time taken to complete the ten skills which is an indication of the average height of the jumps. In high level competitions, there are two preliminary routines, one which has only two moves scored for difficulty and one where the athlete is free to perform any routine. This is followed by a final routine which is optional. Some competitions restart the score from zero for the finals, other add the final score to the preliminary results.

Synchronized trampoline
Synchronized trampoline is similar except that both competitors must perform the routine together and marks are awarded for synchronization as well as the form and difficulty of the moves.

Double-mini trampoline
Double mini trampoline involves a smaller trampoline with a run-up, two scoring moves are performed per routine. Moves cannot be repeated in the same order on the double-mini during a competition. Skills can be repeated if a skill is competed as a mounter in one routine and a dismount in another. The scores are marked in a similar manner to individual trampoline.

Tumbling
In Tumbling, athletes perform an explosive series of flips and twists down a sprung tumbling track. Scoring is similar to trampolining. Tumbling was originally contested as one of the events in Men's Artistic Gymnastics at the 1932 Summer Olympics, and in 1955 and 1959 at the Pan American Games. From 1974 to 1998 it was included as an event for both genders at the Acrobatic Gymnastics World Championships. The event has also been contested since 1976 at the Trampoline and Tumbling World Championships.

Tumbling is competed along a 25 metre sprung tack with a 10 metre run up. A tumbling pass or run is a combination of 8 skills, with an entry skill, normally a round-off, to whips and into an end skill. Usually the end skill is the hardest skill of the pass. At the highest level, gymnasts perform transitional skills. These are skills which are not whips, but are double or triple somersaults (usually competed at the end of the run), but now competed in the middle of the run connected before and after by either a whip or a flick.

Competition is made up of a qualifying round and a finals round. There are two different types of competition in tumbling, individual and team. In the team event three gymnasts out of a team of four compete one run each, if one run fails the final member of the team is allowed to compete with the three highest scores being counted. In the individual event qualification, the competitor will compete two runs, one a straight pass (including double and triple somersaults) and a twisting pass (including full twisting whips and combination skills such as a full twisting double straight ’full in back’). In the final of the individual event, the competitor must compete two different runs which can be either twisting or straight but each run normally uses both types (using transition skills).

Acrobatic gymnastics

Acrobatic gymnastics (formerly Sport Acrobatics), often referred to as acro if involved with the sport, acrobatic sports or simply sports acro, is a group gymnastic discipline for both men and women. Acrobats in groups of two, three and four perform routines with the heads, hands and feet of their partners. They may, subject to regulations (e.g. no lyrics), pick their own music.

There are four international age categories: 11–16, 12–18, 13–19, and Senior (15+), which are used in the World Championships and many other events around the world, including the European Championships and the World Games.

All levels require a balance and dynamic routine; 12–18, 13–19, and Seniors are also required to perform a final (combined) routine.

Currently, acrobatic gymnastics score is marked out of 30.00 for juniors, and can be higher at Senior FIG level based on difficulty:
 * Difficulty – An open score, which is the sum of the difficulty values of elements (valued from the tables of difficulties) successfully performed in an exercise, divided by 100. This score is unlimited in senior competitions.
 * Execution – Judges give a score out of 10.00 for technical performance (how well the skills are executed), which is then doubled to emphasize its importance.
 * Artistic – Judges give a score out of 10.00 for artistry (the overall performance of the routine, namely choreography)

There are five competitive event categories:
 * Women's Pairs
 * Mixed Pairs
 * Men's Pairs
 * Women's Groups (3 Woman)
 * Men's Groups (4 Men)

The World Championships have been held since 1974.

Aerobic gymnastics
Aerobic gymnastics (formally Sport Aerobics) involves the performance of routines by individuals, pairs, trios, groups with 5 people, and aerobic dance and aerobic step(8 people). Strength, flexibility, and aerobic fitness rather than acrobatic or balance skills are emphasized. Routines are performed for all individuals on a 7x7m floor and also for 12–14 and 15–17 trios and mixed pairs. From 2009, all senior trios and mixed pairs were required to be on the larger floor (10x10m), all groups also perform on this floor. Routines generally last 60–90 seconds depending on age of participant and routine category. The World Championships have been held since 1995.

The events consist of:
 * Individual Women
 * Individual Men
 * Mixed Pairs
 * Trios
 * Groups
 * Dance
 * Step

Parkour
On January 28, 2018 Parkour, also known as freerunning, was given the go ahead to begin development as a FIG sport. The FIG is planning to run World Cup competitions from 2018 onwards and will hold the first Parkour World Championships in 2020.

The events consist of:
 * Speedrun
 * Freestyle

Women's gymnastics

 * Simone Biles – American gymnast known for her incredible difficulty and execution, multiple-time World and Olympic champion.
 * Nadia Comăneci – The first gymnast to score a perfect 10 in the Olympics (1976).
 * Gabby Douglas – American gymnast who won the individual all-around champion at the 2012 Olympics.
 * Svetlana Khorkina – Russian gymnast known for her artistry and numerous World titles.
 * Olga Korbut – Known as the "Sparrow from Minsk," she gained international fame at the 1972 Munich Olympics.
 * Sunisa Lee – Huong-American gymnast, multiple-time medalist.
 * Catalina Ponor – Romanian gymnast, multiple-time Olympic champion.
 * Aly Raisman – American gymnast, two-time Olympian, and multiple-time medalist.
 * Mary Lou Retton – The first American woman to win an Olympic all-around title (1984).

Men's gymnastics

 * Yuri Chechi – Italian gymnast, known as the "Lord of the Rings" for his success in the rings event.
 * Bart Conner – American gymnast, two-time Olympic gold medalist.
 * Paul Hamm – First American male gymnast to win the Olympic all-around title.
 * Sawao Kato – Japanese gymnast, one of the most successful athletes in the history of the Olympics.
 * Li Xiaopeng – Chinese gymnast, multiple-time World and Olympic champion.
 * Alexei Nemov – Russian gymnast known for his charisma and 12 Olympic medals.
 * Vitaly Scherbo – Belarusian gymnast who won six gold medals at the 1992 Olympics.
 * Kohei Uchimura – Japanese gymnast, often considered the greatest male gymnast of all time.

Other disciplines
The following disciplines are not currently recognized by the Fédération Internationale de Gymnastique.

Aesthetic group gymnastics
Aesthetic Group Gymnastics (AGG) was developed from the Finnish "naisvoimistelu". It differs from Rhythmic Gymnastics in that body movement is large and continuous and teams are larger. Athletes do not use apparatus in international AGG competitions compared to Rhythmic Gymnastics where ball, ribbon, hoop and clubs are used on the floor area. The sport requires physical qualities such as flexibility, balance, speed, strength, coordination and sense of rhythm where movements of the body are emphasized through the flow, expression and aesthetic appeal. A good performance is characterized by uniformity and simultaneity. The competition program consists of versatile and varied body movements, such as body waves, swings, balances, pivots, jumps and leaps, dance steps, and lifts. The International Federation of Aesthetic Group Gymnastics (IFAGG) was established in 2003. The first Aesthetic Group Gymnastics World Championships was held in 2000.

TeamGym
TeamGym is a form of competition created by the European Union of Gymnastics, named originally EuroTeam. The first official competition was held in Finland in 1996. TeamGym events consist of three sections: women, men and mixed teams. Athletes compete in three different disciplines: floor, tumbling and trampette. In common for the performance is effective teamwork, good technique in the elements and spectacular acrobatic skills. There is no World Championships however there has been a European Championships held since 2010.

Wheel gymnastics
Wheel gymnasts do exercises in a large wheel known as the Rhönrad, gymnastics wheel, gym wheel, or German wheel, in the beginning also known as ayro wheel, aero wheel, and Rhon rod.

There are four core categories of exercise: straight line, spiral, vault and cyr wheel. The first World Championships was held in 1995.

Mallakhamba
Mallakhamba (Marathi: मल्लखम्ब) is a traditional Indian sport in which a gymnast performs feats and poses in concert with a vertical wooden pole or rope. The word also refers to the pole used in the sport.

Mallakhamba derives from the terms malla which denotes a wrestler and khamba which means a pole. Mallakhamba can therefore be translated to English as "pole gymnastics". On April 9, 2013, the Indian state of Madhya Pradesh declared mallakhamba as the state sport. In February 2019 the first Mallahkhamb World Championship was held in Mumbai

Non-competitive gymnastics
General gymnastics also known as Gymnastics for All enables people of all ages and abilities to participate in performance groups of 6 to more than 150 athletes. They can perform synchronized, choreographed routines. Troupes may consist of both genders and are separated into age divisions. The largest general gymnastics exhibition is the quadrennial World Gymnaestrada which was first held in 1939. In 1984 Gymnastics for All was officially recognized first as a Sport Program by the FIG (International Gymnastic Federation), and subsequently by national gymnastic federations worldwide with participants that now number 30 million. Non-competitive gymnastics is considered useful for its health benefits.

Levels
In the US, gymnastics levels for women called the Junior Olympic (JO) Program begins at 1 and goes to 10. The two kinds of levels are Compulsory (levels 1-5) and Optional (levels 6-10). Each level (1-10) has its own set of unique rules that ascend in difficulty level to level. Elite can follow 10 and is generally considered Olympic level. Men's gymnastics or The Junior Olympic Program consists of ten levels of training or competition with multiple age groups at each level creating opportunities for athletes and coaches to participate and or compete.

Since 2015, Canada has adopted the women’s JO Program, with some modifications, for use in the Provinces and Territories.

Scoring (code of points)
An artistic gymnast's score comes from deductions taken from the start value of a routine's elements. The start value of a routine is based on the difficulty of the elements the gymnast attempts and whether or not the gymnast meets composition requirements. The composition requirements are different for each apparatus. This score is called the D score. Deductions in execution and artistry are taken from a maximum of 10.0. This score is called the E score. The final score is calculated by adding the D and E score.

The current method of scoring, by adding D and E score to give the final score has been in place since 2006. The current method is called "open-end" scoring because there is no theoretical cap (although there is practical cap) to the D-score and hence the total possible score for a routine. Before 2006, a gymnast's final score is deducted from a possible maximum of 10 for a routine.

A Code of Points or guidelines of scoring a routine's difficulty and execution is slightly revised for each quadrennium, or period of four years culminating in the Olympics year.

Landing
In a tumbling pass, dismount, or vault, landing is the final phase, following take-off and flight This is a critical skill in terms of execution in competition scores, general performance, and injury occurrence. Without the necessary magnitude of energy dissipation during impact, the risk of sustaining injuries during somersaulting increases. These injuries commonly occur at the lower extremities such as cartilage lesions, ligament tears, and bone bruises/fractures. To avoid such injuries, and to receive a high-performance score, proper technique must be used by the gymnast. "The subsequent ground contact or impact landing phase must be achieved using a safe, aesthetic, and well-executed double foot landing." A successful landing in gymnastics is classified as soft, meaning the knee and hip joints are at greater than 63 degrees of flexion.

A higher flight phase results in a higher vertical ground reaction force. Vertical ground reaction force (vGRF) represents an external force which the gymnasts have to overcome with their muscle force and affects the gymnasts' linear and angular momentum. Another important variable that affects linear and angular momentum is the time the landing takes. Gymnasts can decrease the impact force by increasing the time taken to perform the landing. Gymnasts can achieve this by increasing hip, knee and ankle amplitude.

Rope climbing
Generally, competitors climbed either a 6m (6.1 m = 20 ft in the US) or an 8m (7.6 m = 25  ft in the US), 38  mm diameter (1.5-inch) natural fiber rope for speed, starting from a seated position on the floor and using only the hands and arms. Kicking the legs in a kind of "tride" was normally permitted. Many gymnasts can do this in the straddle or pike position, which eliminates the help generated from the legs though it can be done with legs as well.

Flying rings
Flying rings was an event similar to still rings, but with the performer executing a series of stunts while swinging. It was a gymnastic event sanctioned by both the NCAA and the AAU until the early 1960s.

Club swinging
Club swinging, a.k.a. Indian clubs, was an event in Men's Artistic Gymnastics sometime up until the 1950s. It was similar to the clubs in both Women's and Men's Rhythmic Gymnastics but much simpler with few throws allowed. It was practice. It was included in the 1904 and 1932 Summer Olympic Games.

Other (men's artistic)

 * Team horizontal bar and parallel bar in the 1896 Summer Olympics
 * Team free and Swedish system in the 1912 and 1920 Summer Olympics
 * Combined and triathlon in the 1904 Summer Olympics
 * Side horse vault in 1924 Summer Olympics
 * Tumbling in the 1932 Summer Olympics

Other (women's artistic)

 * Team exercise at the 1928, 1936, and 1948 Summer Olympics
 * Parallel bars at the 1938 World Championships
 * Team portable apparatus at the 1952 and 1956 Summer Olympics

Health and safety
Gymnastics is one of the most dangerous sports, with a very high injury rate seen in girls age 11 to 18. Some gymnastic movements which were allowed in past competitions are now banned for safety reasons.

Physical injuries
Compared to athletes who play other sports, gymnasts are at higher than average risk of overuse injuries and injuries caused by early sports specialization among children and young adults. Gymnasts are at particular risk of foot and wrist injuries. Strength training can help prevent injuries.

Abuse
There have also been recorded cases of emotional and sexual abuse.

Height concerns
Gymnasts tend to have short stature, but it is unlikely that the sport affects their growth. Parents of gymnasts tend also to be shorter than average.

title: Gymnastics


text:
Great auk

The great auk (Pinguinus impennis) is a species of flightless alcid that became extinct in the mid-19th century. It was the only modern species in the genus Pinguinus. It is not closely related to the Southern Hemisphere birds now known as penguins, which were discovered later by Europeans and so named by sailors because of their physical resemblance to the great auk, which were called penguins.

It bred on rocky, remote islands with easy access to the ocean and a plentiful food supply, a rarity in nature that provided only a few breeding sites for the great auks. When not breeding, they spent their time foraging in the waters of the North Atlantic, ranging as far south as northern Spain and along the coastlines of Canada, Greenland, Iceland, the Faroe Islands, Norway, Ireland, and Great Britain.

The bird was 75 to 85 cm tall and weighed about 5 kg, making it the largest alcid to survive into the modern era, and the second-largest member of the alcid family overall (the prehistoric Miomancalla was larger). It had a black back and a white belly. The black beak was heavy and hooked, with grooves on its surface. During summer, great auk plumage showed a white patch over each eye. During winter, the great auk lost these patches, instead developing a white band stretching between the eyes. The wings were only 15 cm long, rendering the bird flightless. Instead, the great auk was a powerful swimmer, a trait that it used in hunting. Its favourite prey were fish, including Atlantic menhaden and capelin, and crustaceans. Although agile in the water, it was clumsy on land. Great auk pairs mated for life. They nested in extremely dense and social colonies, laying one egg on bare rock. The egg was white with variable brown marbling. Both parents participated in the incubation of the egg for around six weeks before the young hatched. The young left the nest site after two to three weeks, although the parents continued to care for it.

The great auk was an important part of many Native American cultures, both as a food source and as a symbolic item. Many Maritime Archaic people were buried with great auk bones. One burial discovered included someone covered by more than 200 great auk beaks, which are presumed to be the remnants of a cloak made of great auks' skins. Early European explorers to the Americas used the great auk as a convenient food source or as fishing bait, reducing its numbers. The bird's down was in high demand in Europe, a factor that largely eliminated the European populations by the mid-16th century. Scientists soon began to realize that the great auk was disappearing and it became the beneficiary of many early environmental laws, but these proved ineffectual.

Its growing rarity increased interest from European museums and private collectors in obtaining skins and eggs of the bird. On 3 June 1844, the last two confirmed specimens were killed on Eldey, off the coast of Iceland, ending the last known breeding attempt. Later reports of roaming individuals being seen or caught are unconfirmed. A report of one great auk in 1852 is considered by some to be the last sighting of a member of the species. The great auk is mentioned in several novels, and the scientific journal of the American Ornithological Society was named The Auk (now Ornithology) in honour of the bird until 2021.

Taxonomy and evolution
Analysis of mtDNA sequences has confirmed morphological and biogeographical studies suggesting that the razorbill is the closest living relative of the great auk. The great auk also was related closely to the little auk or dovekie, which underwent a radically different evolution compared to Pinguinus. Due to its outward similarity to the razorbill (apart from flightlessness and size), the great auk often was placed in the genus Alca, following Linnaeus.

The fossil record (especially the sister species, Pinguinus alfrednewtoni) and molecular evidence show that the three closely related genera diverged soon after their common ancestor, a bird probably similar to a stout Xantus's murrelet, had spread to the coasts of the Atlantic. Apparently, by that time, the murres, or Atlantic guillemots, already had split from the other Atlantic alcids. Razorbill-like birds were common in the Atlantic during the Pliocene, but the evolution of the little auk is sparsely documented. The molecular data are compatible with either possibility, but the weight of evidence suggests placing the great auk in a distinct genus. Some ornithologists still believe it is more appropriate to retain the species in the genus Alca. It is the only recorded British bird made extinct in historic times. The following cladogram shows the placement of the great auk among its closest relatives, based on a 2004 genetic study:

Pinguinus alfrednewtoni was a larger, and also flightless, member of the genus Pinguinus that lived during the Early Pliocene. Known from bones found in the Yorktown Formation of the Lee Creek Mine in North Carolina, it is believed to have split, along with the great auk, from a common ancestor. Pinguinus alfrednewtoni lived in the western Atlantic, while the great auk lived in the eastern Atlantic. After the former died out following the Pliocene, the great auk took over its territory. The great auk was not related closely to the other extinct genera of flightless alcids, Mancalla, Praemancalla, and Alcodes.

Etymology
The great auk was one of the 4,400 animal species formally described by Carl Linnaeus in his eighteenth-century work Systema Naturae, in which it was given the binomial Alca impennis. The name Alca is a Latin derivative of the Scandinavian word for razorbills and their relatives. The bird was known in literature even before this and was described by Charles d'Ecluse in 1605 as Mergus Americanus. This also included a woodcut which represents the oldest unambiguous visual depictions of the bird.

The species was not placed in its own scientific genus, Pinguinus, until 1791. The generic name is derived from the Spanish, Portuguese and French name for the species, in turn from Latin pinguis meaning "plump", and the specific name, impennis, is from Latin and refers to the lack of flight feathers, or pennae.

The Irish name for the great auk is falcóg mhór, meaning "big seabird/auk". The Basque name is arponaz, meaning "spearbill". Its early French name was apponatz, while modern French uses grand pingouin. The Norse called the great auk geirfugl, which means "spearbird". This has led to an alternative English common name for the bird, garefowl or gairfowl. The Inuit name for the great auk was isarukitsok, which meant "little wing".

The word "penguin" first appears in the sixteenth century as a synonym for "great auk". Although the etymology is debated, the generic name "penguin" may be derived from the Welsh pen gwyn "white head", either because the birds lived in New Brunswick on White Head Island (Pen Gwyn in Welsh) or because the great auk had such large white circles on its head. When European explorers discovered what today are known as penguins in the Southern Hemisphere, they noticed their similar appearance to the great auk and named them after this bird, although biologically, they are not closely related. Whalers also lumped the northern and southern birds together under the common name "woggins".

Description
Standing about 75 to 85 cm tall and weighing approximately 5 kg as adult birds, the flightless great auk was the second-largest member of both its family and the order Charadriiformes overall, surpassed only by the mancalline Miomancalla. It is, however, the largest species to survive into modern times. The great auks that lived farther north averaged larger in size than the more southerly members of the species. Males and females were similar in plumage, although there is evidence for differences in size, particularly in the bill and femur length. The back was primarily a glossy black, and the belly was white. The neck and legs were short, and the head and wings small. During summer, it developed a wide white eye patch over each eye, which had a hazel or chestnut iris. Auks are known for their close resemblance to penguins, their webbed feet and countershading are a result of convergent evolution in the water. During winter the great auk moulted and lost this eye patch, which was replaced with a wide white band and a gray line of feathers that stretched from the eye to the ear. During the summer, its chin and throat were blackish-brown and the inside of the mouth was yellow. In winter, the throat became white. Some individuals reportedly had grey plumage on their flanks, but the purpose, seasonal duration, and frequency of this variation is unknown. The bill was large at 11 cm long and curved downward at the top; the bill also had deep white grooves in both the upper and lower mandibles, up to seven on the upper mandible and twelve on the lower mandible in summer, although there were fewer in winter. The wings were only 15 cm in length and the longest wing feathers were only 10 cm long. Its feet and short claws were black, while the webbed skin between the toes was brownish black. The legs were far back on the bird's body, which gave it powerful swimming and diving abilities. Hatchlings were described as grey and downy, but their exact appearance is unknown, since no skins exist today. Juvenile birds had fewer prominent grooves in their beaks than adults and they had mottled white and black necks, while the eye spot found in adults was not present; instead, a grey line ran through the eyes (which still had white eye rings) to just below the ears.

Great Auk calls included low croaking and a hoarse scream. A captive great auk was observed making a gurgling noise when anxious. It is not known what its other vocalizations were, but it is believed that they were similar to those of the razorbill, only louder and deeper.

Distribution and habitat
The great auk was found in the cold North Atlantic coastal waters along the coasts of Canada, the northeastern United States, Norway, Greenland, Iceland, the Faroe Islands, Ireland, Great Britain, France, and the Iberian Peninsula. Pleistocene fossils indicate the great auk also inhabited Southern France, Italy, and other coasts of the Mediterranean basin. It was common on the Grand Banks of Newfoundland. In recorded history, the great auk typically did not go farther south than Massachusetts Bay in the winter. Great auk bones have been found as far south as Florida, where it may have been present during four periods: approximately 1000 BC and 1000 AD, as well as during the fifteenth century and the seventeenth century. It has been suggested that some of the bones discovered in Florida may be the result of aboriginal trading. In the eastern Atlantic, the southernmost records of this species are two isolated bones, one from Madeira and another from the Neolithic site of El Harhoura 2 in Morocco.

The great auk left the North Atlantic waters for land only to breed, even roosting at sea when not breeding. The rookeries of the great auk were found from Baffin Bay to the Gulf of St. Lawrence, across the far northern Atlantic, including Iceland, and in Norway and the British Isles in Europe. For their nesting colonies the great auks required rocky islands with sloping shorelines that provided access to the sea. These were very limiting requirements and it is believed that the great auk never had more than 20 breeding colonies. The nesting sites also needed to be close to rich feeding areas and to be far enough from the mainland to discourage visitation by predators such as humans and polar bears. The localities of only seven former breeding colonies are known: Papa Westray in the Orkney Islands, St. Kilda off Scotland, Grimsey Island, Eldey Island, Geirfuglasker near Iceland, Funk Island near Newfoundland, and the Bird Rocks (Rochers-aux-Oiseaux) in the Gulf of St. Lawrence. Records suggest that this species may have bred on Cape Cod in Massachusetts. By the late eighteenth and early nineteenth centuries, the breeding range of the great auk was restricted to Funk Island, Grimsey Island, Eldey Island, the Gulf of St. Lawrence, and the St. Kilda islands. Funk Island was the largest known breeding colony. After the chicks fledged, the great auk migrated north and south away from the breeding colonies and they tended to go southward during late autumn and winter.

Ecology and behaviour
The great auk was never observed and described by modern scientists during its existence and is only known from the accounts of laymen, such as sailors, so its behaviour is not well known and difficult to reconstruct. Much may be inferred from its close, living relative, the razorbill, as well as from remaining soft tissue.

Great auks walked slowly and sometimes used their wings to help them traverse rough terrain. When they did run, it was awkwardly and with short steps in a straight line. They had few natural predators, mainly large marine mammals, such as the orca, and white-tailed eagles. Polar bears preyed on nesting colonies of the great auk. Reportedly, this species had no innate fear of human beings, and their flightlessness and awkwardness on land compounded their vulnerability. Humans preyed upon them as food, for feathers, and as specimens for museums and private collections. Great auks reacted to noises, but were rarely frightened by the sight of something. They used their bills aggressively both in the dense nesting sites and when threatened or captured by humans. These birds are believed to have had a life span of approximately 20 to 25 years. During the winter, the great auk migrated south, either in pairs or in small groups, but never with the entire nesting colony.

The great auk was generally an excellent swimmer, using its wings to propel itself underwater. While swimming, the head was held up but the neck was drawn in. This species was capable of banking, veering, and turning underwater. The great auk was known to dive to depths of 75 m and it has been claimed that the species was able to dive to depths of 1 km. To conserve energy, most dives were shallow. It also could hold its breath for 15 minutes, longer than a seal. Its ability to dive so deeply reduced competition with other alcid species. The great auk was capable of accelerating underwater, then shooting out of the water to land on a rocky ledge above the ocean's surface.

Diet
This alcid typically fed in shoaling waters that were shallower than those frequented by other alcids, although after the breeding season, they had been sighted as far as 500 km from land. They are believed to have fed cooperatively in flocks. Their main food was fish, usually 12 to 20 cm in length and weighing 40 to 50 g, but occasionally their prey was up to half the bird's own length. Based on remains associated with great auk bones found on Funk Island and on ecological and morphological considerations, it seems that Atlantic menhaden and capelin were their favoured prey. Other fish suggested as potential prey include lumpsuckers, shorthorn sculpins, cod, sand lance, as well as crustaceans. The young of the great auk are believed to have eaten plankton and, possibly, fish and crustaceans regurgitated by adults.

Reproduction
Historical descriptions of the great auk breeding behaviour are somewhat unreliable. Great Auks began pairing in early and mid-May. They are believed to have mated for life (although some theorize that great auks could have mated outside their pair, a trait seen in the razorbill). Once paired, they nested at the base of cliffs in colonies, likely where they copulated. Mated pairs had a social display in which they bobbed their heads and displayed their white eye patch, bill markings, and yellow mouth. These colonies were extremely crowded and dense, with some estimates stating that there was a nesting great auk for every 1 m2 of land. These colonies were very social. When the colonies included other species of alcid, the great auks were dominant due to their size. Female great auks would lay only one egg each year, between late May and early June, although they could lay a replacement egg if the first one was lost. In years when there was a shortage of food, the great auks did not breed. A single egg was laid on bare ground up to 100 m from shore. The egg was ovate and elongate in shape, and it averaged 12.4 cm in length and 7.6 cm across at the widest point. The egg was yellowish white to light ochre with a varying pattern of black, brown, or greyish spots and lines that often were congregated on the large end. It is believed that the variation in the egg streaks enabled the parents to recognize their egg among those in the vast colony. The pair took turns incubating the egg in an upright position for the 39 to 44 days before the egg hatched, typically in June, although eggs could be present at the colonies as late as August.

The parents also took turns feeding their chick. According to one account, the chick was covered with grey down. The young bird took only two or three weeks to mature enough to abandon the nest and land for the water, typically around the middle of July. The parents cared for their young after they fledged, and adults would be seen swimming with their young perched on their backs. Great auks matured sexually when they were four to seven years old.

Relationship with humans

The great auk was a food source for Neanderthals more than 100,000 years ago, as evidenced by well-cleaned bones found by their campfires. Images believed to depict the great auk also were carved into the walls of the El Pendo Cave in Camargo, Spain, and Paglicci, Italy, more than 35,000 years ago, and cave paintings 20,000 years old have been found in France's Grotte Cosquer.

Native Americans valued the great auk as a food source during the winter and as an important cultural symbol. Images of the great auk have been found in bone necklaces. A person buried at the Maritime Archaic site at Port au Choix, Newfoundland, dating to about 2000 BC, was found surrounded by more than 200 great auk beaks, which are believed to have been part of a suit made from their skins, with the heads left attached as decoration. Nearly half of the bird bones found in graves at this site were of the great auk, suggesting that it had great cultural significance for the Maritime Archaic people. The extinct Beothuks of Newfoundland made pudding out of the eggs of the great auk. The Dorset Eskimos also hunted it. The Saqqaq in Greenland overhunted the species, causing a local reduction in range.

Later, European sailors used the great auks as a navigational beacon, as the presence of these birds signalled that the Grand Banks of Newfoundland were near.

This species is estimated to have had a maximum population in the millions. The great auk was hunted on a significant scale for food, eggs, and its down feathers from at least the eighth century. Prior to that, hunting by local natives may be documented from Late Stone Age Scandinavia and eastern North America, as well as from early fifth century Labrador, where the bird seems to have occurred only as stragglers. Early explorers, including Jacques Cartier, and numerous ships attempting to find gold on Baffin Island were not provisioned with food for the journey home, and therefore, used great auks as both a convenient food source and bait for fishing. Reportedly, some of the later vessels anchored next to a colony and ran out planks to the land. The sailors then herded hundreds of great auks onto the ships, where they were slaughtered. Some authors have questioned the reports of this hunting method and whether it was successful. Great auk eggs were also a valued food source, as the eggs were three times the size of a murre's and had a large yolk. These sailors also introduced rats onto the islands which preyed upon nests.

Extinction
The Little Ice Age may have reduced the population of the great auk by exposing more of their breeding islands to predation by polar bears, but massive exploitation by humans for their down drastically reduced the population, with recent evidence indicating the latter alone is likely the primary driver of its extinction. By the mid-sixteenth century, the nesting colonies along the European side of the Atlantic were nearly all eliminated by humans killing this bird for its down, which was used to make pillows. In 1553, the great auk received its first official protection. In 1794, Great Britain banned the killing of this species for its feathers. In St. John's, those violating a 1775 law banning hunting the great auk for its feathers or eggs were publicly flogged, though hunting for use as fishing bait was still permitted. On the North American side, eider down initially was preferred, but once the eiders were nearly driven to extinction in the 1770s, down collectors switched to the great auk at the same time that hunting for food, fishing bait, and oil decreased.

The great auk had disappeared from Funk Island by 1800. An account by Aaron Thomas of HMS Boston from 1794 described how the bird had been slaughtered systematically until then:

"If you come for their Feathers you do not give yourself the trouble of killing them, but lay hold of one and pluck the best of the Feathers. You then turn the poor Penguin adrift, with his skin half naked and torn off, to perish at his leasure. This is not a very humane method but it is the common practize. While you abide on this island you are in the constant practice of horrid cruelties for you not only skin them Alive, but you burn them Alive also to cook their Bodies with. You take a kettle with you into which you put a Penguin or two, you kindle a fire under it, and this fire is absolutely made of the unfortunate Penguins themselves. Their bodies being oily soon produce a Flame; there is no wood on the island."

With its increasing rarity, specimens of the great auk and its eggs became collectible and highly prized by rich Europeans, and the loss of a large number of its eggs to collection contributed to the demise of the species. Eggers, individuals who visited the nesting sites of the great auk to collect their eggs, quickly realized that the birds did not all lay their eggs on the same day, so they could make return visits to the same breeding colony. Eggers only collected the eggs without embryos and typically, discarded the eggs with embryos growing inside of them.

On the islet of Stac an Armin, St. Kilda, Scotland, in July 1840, the last great auk seen in Britain was caught and killed. Three men from St. Kilda caught a single "garefowl", noticing its little wings and the large white spot on its head. They tied it up and kept it alive for three days, until a large storm arose. Believing that the bird was a witch and was causing the storm, they then killed it by beating it with a stick.

The last colony of great auks lived on Geirfuglasker (the "Great Auk Rock") off Iceland. This islet was a volcanic rock surrounded by cliffs that made it inaccessible to humans, but in 1830, the islet submerged after a volcanic eruption, and the birds moved to the nearby island of Eldey, which was accessible from a single side. When the colony initially was discovered in 1835, nearly fifty birds were present. Museums, desiring the skins of the great auk for preservation and display, quickly began collecting birds from the colony. The last pair, found incubating an egg, was killed there on 3 June 1844, on request from a merchant who wanted specimens, with Jón Brandsson and Sigurður Ísleifsson strangling the adults and Ketill Ketilsson smashing the egg with his boot.

Great auk specialist John Wolley interviewed the two men who killed the last birds, and Sigurður described the act as follows:

"The rocks were covered with blackbirds [referring to Guillemots] and there were the Geirfugles ... They walked slowly. Jón Brandsson crept up with his arms open. The bird that Jón got went into a corner but [mine] was going to the edge of the cliff. It walked like a man ... but moved its feet quickly. [I] caught it close to the edge – a precipice many fathoms deep. Its wings lay close to the sides – not hanging out. I took him by the neck and he flapped his wings. He made no cry. I strangled him."

A later claim of a live individual sighted in 1852 on the Grand Banks of Newfoundland has been accepted by the International Union for Conservation of Nature and Natural Resources (IUCN).

There is an ongoing discussion about the possibilities for reviving the great auk using its DNA from specimens collected. This possibility is controversial.

Preserved specimens

Today, 78 skins of the great auk remain, mostly in museum collections, along with approximately 75 eggs and 24 complete skeletons. All but four of the surviving skins are in summer plumage, and only two of these are immature. No hatchling specimens exist. Each egg and skin has been assigned a number by specialists. Although thousands of isolated bones were collected from nineteenth century Funk Island to Neolithic middens, only a few complete skeletons exist. Natural mummies also are known from Funk Island, and the eyes and internal organs of the last two birds from 1844 are stored in the Zoological Museum, Copenhagen. The whereabouts of the skins from the last two individuals has been unknown for more than a hundred years, but that mystery has been partly resolved using DNA extracted from the organs of the last individuals and the skins of the candidate specimens suggested by Errol Fuller (those in Übersee-Museum Bremen, Royal Belgian Institute of Natural Sciences, Zoological Museum of Kiel University, Los Angeles County Museum of Natural History, and Landesmuseum Natur und Mensch Oldenburg). A positive match was found between the organs from the male individual and the skin now in the Royal Belgian Institute of Natural Sciences in Brussels. No match was found between the female organs and a specimen from Fuller's list, but authors speculate that the skin in Cincinnati Museum of Natural History and Science may be a potential candidate due to a common history with the L.A. specimen.

Following the bird's extinction, remains of the great auk increased dramatically in value, and auctions of specimens created intense interest in Victorian Britain, where 15 specimens are now located, the largest number of any country. A specimen was bought in 1971 by the Icelandic Museum of National History for £9000, which placed it in the Guinness Book of Records as the most expensive stuffed bird ever sold. The price of its eggs sometimes reached up to 11 times the amount earned by a skilled worker in a year. The present whereabouts of six of the eggs are unknown. Several other eggs have been destroyed accidentally. Two mounted skins were destroyed in the twentieth century, one in the Mainz Museum during the Second World War, and one in the Museu Bocage, Lisbon that was destroyed by a fire in 1978.

Children's books
The great auk is one of the more frequently referenced extinct birds in literature, much like the famous dodo. It appears in many works of children's literature.

Charles Kingsley's The Water-Babies, A Fairy Tale for a Land Baby includes a great auk telling the tale of the extinction of its species.

Enid Blyton's The Island of Adventure sends one of the protagonists on a failed search for what he believes is a lost colony of the species.

Literature
The great auk also is present in a wide variety of other works of fiction.

In the short story The Harbor-Master by Robert W. Chambers, the discovery and attempted recovery of the last known pair of great auks is central to the plot (which also involves a proto-Lovecraftian element of suspense). The story first appeared in Ainslee's Magazine (August 1898) and was slightly revised to become the first five chapters of Chambers' episodic novel In Search of the Unknown, (Harper and Brothers Publishers, New York, 1904).

In his novel Ulysses, James Joyce mentions the bird while the novel's main character is drifting into sleep. He associates the great auk with the mythical roc as a method of formally returning the main character to a sleepy land of fantasy and memory.

Penguin Island, a 1908 French satirical novel by the Nobel Prize winning author Anatole France, narrates the fictional history of a great auk population that is mistakenly baptized by a nearsighted missionary.

A great auk is collected by fictional naturalist Stephen Maturin in the Patrick O'Brian historical novel The Surgeon's Mate. This work also details the harvesting of a colony of auks.

The great auk is the subject of The Last Great Auk, a novel by Allen Eckert, which tells of the events leading to the extinction of the great auk as seen from the perspective of the last one alive.

Farley Mowat devotes the first section, "Spearbill", of his book Sea of Slaughter to the history of the great auk.

Ogden Nash warns that humans could suffer the same fate as the great auk in his short poem "A Caution to Everybody".

W. S. Merwin mentions the great auk in a short litany of extinct animals in his poem "For a Coming Extinction", one of the seminal poems from his 1967 collection, "The Lice".

Night of the Auk, a 1956 Broadway drama by Arch Oboler, depicts a group of astronauts returning from the Moon to discover that a full-blown nuclear war has broken out. Obeler draws a parallel between the anthropogenic extinction of the great auk and of the story's nuclear extinction of humankind.

Audio drama
The Doctor Who audio drama Last Chance, produced by Big Finish Productions, depicts the killing of the final breeding pair in 1844.

Performing arts
This bird also is featured in a variety of other media.

It is the subject of a ballet, Still Life at the Penguin Café, and a song, "A Dream Too Far", in the ecological musical Rockford's Rock Opera.

A great auk appears as a prized possession of Baba the Turk in Igor Stravinsky's opera The Rake's Progress (libretto by W. H. Auden and Chester Kallman).

Mascots
The great auk is the mascot of the Archmere Academy in Claymont, Delaware, and the Adelaide University Choral Society (AUCS) in Australia.

The great auk was formerly the mascot of the Lindsay Frost campus of Sir Sandford Fleming College in Ontario. In 2012, the two separate sports programs of Fleming College were combined and the great auk mascot went extinct. The Lindsay Frost campus student owned bar, student center, and lounge is still known as the Auk's Lodge.

It was also the mascot of the now ended Knowledge Masters educational competition.

Names
The scientific journal of the American Ornithologists' Union, Ornithology , was named The Auk until 2021 in honor of this bird.

According to Homer Hickam's memoir, Rocket Boys, and its film production, October Sky, the early rockets he and his friends built, ironically were named "Auk".

A cigarette company, the British Great Auk Cigarettes, was named after this bird.

Fine arts
Walton Ford, the American painter, has featured great auks in two paintings: The Witch of St. Kilda and Funk Island.

The English painter and writer Errol Fuller produced Last Stand for his monograph on the species.

The great auk also appeared on one stamp in a set of five depicting extinct birds issued by Cuba in 1974.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Great auk


text:
Glorantha

Glorantha is a fantasy world created by Greg Stafford.

Overview
It was first introduced in the board game White Bear and Red Moon (1975) by Chaosium and then in a number of other board, roleplaying and computer games, including RuneQuest and HeroQuest, as well as several works of fiction and the computer strategy game King of Dragon Pass. The Gloranthan world is characterised by its complex use of mythology, heavily influenced by the universalist approaches of Joseph Campbell and Mircea Eliade, its sword and sorcery ethos, its long and distinctive history as a setting for role-playing games, its community development and expansion, and its relative lack of Tolkienesque influence, which is uncommon among early American fantasy role-playing games.

Stafford first wrote about in Glorantha in 1966 as a way to deepen his own understanding of mythology. He founded the company Chaosium to publish the board wargame White Bear and Red Moon in 1975, which was set in Glorantha. Chaosium later published other games in the setting, including the critically acclaimed RuneQuest. Various later editions of RuneQuest, the narrative role-playing game HeroQuest (the first edition of which was published as Hero Wars), and the video game King of Dragon Pass were also set in Glorantha, as were several prominent fan efforts. Stafford has also explored the Gloranthan setting in the fantasy novel King of Sartar and a number of unfinished works published under the collective name of "the Stafford Library".

In Glorantha, magic operates from the everyday level of prayers and charms to the creation and maintenance of the world. Heroes make their way in the world, and may also venture into metaphysical realms to gain knowledge and power, at the risk of body and soul. In the more recent material, competing magical outlooks (such as theism, shamanism and mysticism) exist to explain the world. Within each metaphysical system, adherents may also compete, such as when theistic worshipers of rival gods battle each other. The world is flat, with a dome-like sky, and it has been shaped in large and small ways by the mythic actions of the gods. The 'historical' world of Glorantha is in a more or less fallen state, having recovered only partially from a universal battle against Chaos in the mythic Godtime.

Humans are the dominant race, but other sentient beings abound. Some, such as the mystic dragonewts, are unique to Glorantha. Familiar nonhuman races, such as elves and dwarves, are distinct from their common, Tolkienesque portrayals.

Early development (1960s–1970s)
Glorantha's origins lie in experiments with mythology, storytelling, recreation, and the blending of ancient societies. It is unlike its contemporary, Dungeons & Dragons which has its roots in wargaming.

Stafford's first imaginings of Glorantha date back to 1966, when he began his studies at Beloit College, as a vehicle for him to deepen his own understanding of mythology by creating his own mythology. Stafford was greatly influenced by the ideas on the mythology of Joseph Campbell, and echoes of Campbell's work are to be found in many aspects of Glorantha; for instance, the story of the "God Learners" can be seen as an exercise on the implications of Campbell's idea of a unifying monomyth, and the story of Prince Argrath an exploration of Campbell's The Hero with a Thousand Faces (1949). More abstractly, Campbell's idea that myths are how we shape our lives deeply informs the picture of life in Glorantha throughout the game world's publication history.

The first game set in Glorantha was the board game White Bear and Red Moon. The game details a time of constant war between the land of Sartar and the Lunar Empire during the reign of Argrath Dragontooth. Its board details an area called Dragon Pass, while the rulebook provides details of the warring factions, their lands, and leaders. In addition, it provides a large-scale map titled the Greater Lunar Empire, showing a larger world in which Dragon Pass is placed. The White Bear and Red Moon does not disclose the name of the world.

Nomad Gods, a second board game, published by Chaosium in 1978, and based on the raids and wars between the beast-riding, spirit-worshiping tribes of Prax, a cursed land located east of Dragon Pass. It also did not mention the world by name.

In 1978, after the publication of Nomad Gods, and prior to the publication of RuneQuest, the name Glorantha appeared in print for the first time. Wyrm's Footnotes #4 contained three articles on Glorantha and a map of the world itself.

In role-playing games (late 1970s – 1990s)
The first edition of the role-playing game RuneQuest was released in 1978. Here, the world was referred to as "Glorontha". Several later editions were made; the second edition ("RuneQuest 2") in 1979 introduced many sophisticated game aids, such as Cults of Prax and Cults of Terror, and polished campaign packs such as Griffin Mountain. Using materials such as Cults of Prax, players aligned their characters with any of a number of religions, grounding those characters in the political, cultural, and metaphysical conflicts of the setting. Each religion offered a distinct worldview and cultural outlook, none of which considered objectively correct out-of-character. This approach of offering competing mythical histories and value systems continues in current Glorantha material. Cults of Terror focused on the worship of evil gods and adversaries, such as Vivamort, a vampire cult, and Lunar and Chaos cults.

In 1993, Stafford published his first major expansion of Gloranthan mythology, the novel King of Sartar. This was a departure from previous Gloranthan material, which had all been targeted at a tabletop role-playing game audience.

In an attempt to leverage the power of a much bigger gaming company, a third edition of RuneQuest, was published with Avalon Hill in 1984. The default setting for this edition was given as the "Dark Ages of fantasy Europe", but it also included a booklet allowing use in Glorantha. Later supplements such as Gods of Glorantha expanded religious aspects, while Glorantha: Genertela, Crucible of the Hero Wars did the same for culture and geography.

In the mid 1990s, Avalon Hill began work on a fourth edition of RuneQuest, subtitled ''Adventures in Glorantha';. Stafford did not approve of the project and it was canceled. RuneQuest did not prosper with its association with Avalon Hill, and the relationship between Chaosium, who held the rights to Glorantha, and Avalon Hill, who held the rights to RuneQuest, broke down completely in 1995. Following the break with Chaosium, Avalon Hill began to assert their trademark to the RuneQuest name, began work on RuneQuest: Slayers. This was unrelated to Glorantha and the third edition rules. The project was canceled just before printing in 1998.

During this period of breakdown, Glorantha continued to evolve. The advent of the Internet caused a boom in fan creations for Glorantha. This was supported by several unofficial business ventures, such as Reaching Moon Megacorp, and a lively convention scene. Loren Miller proposed his Maximum Game Fun principle as a basis for gaming in Glorantha; this soon became a game system in its own right. David Dunham proposed his PenDragon Pass system, a nearly freeform game system, and several ambitious freeform games were played at conventions. One such game, Home of the Bold, hosted up to eighty participants.

The video game King of Dragon Pass was released by A Sharp in 1999. The player assumes the role of an Orlanthi hero who seeks to unite the clans and tribes of Dragon Pass into a single kingdom. The game features exceptional depth of coverage of the area of Dragon Pass, and featured the first compelling public view of Stafford's ideas about the hero's quest. Stafford was also self publishing additional material at this time about the history and mythology of Glorantha in non-game form in The Glorious (Re)Ascent of Yelm.

21st century
In 2000, Issaries, Inc. published Hero Wars, a new Gloranthan role-playing game unrelated to RuneQuest. Its next iteration in 2003 was named HeroQuest and later in 2008, Moon Design Publications published an updated second edition. 2016 saw Moon Design publish HeroQuest Glorantha, completely integrating Glorantha into the rules. 2006 saw RuneQuest licensed from Issaries by Mongoose Publishing with a second edition in 2010. In 2012, The Design Mechanism published the sixth edition of RuneQuest, with no Gloranthan content. Glorantha returned in 2018 with Chaosium publishing RuneQuest - Roleplaying in Glorantha.

Hero Wars and HeroQuest
The HeroQuest game system, written by Robin Laws in collaboration with Greg Stafford, is a complete departure from RuneQuest. The former skews to the narrativist aspects of role-playing. In contrast, RuneQuest emphasized simulationist principles. Owing to this approach, in approach some RuneQuest fans found it difficult to adjust to HeroQuest. Other long-term fans felt that the game fit Glorantha far better than RuneQuest. A rewritten second edition was published in Spring 2009 by Moon Design Publications. It was supported with comprehensive Gloranthan sourcebooks Sartar: Kingdom of Heroes (2009), Sartar Companion (2010) and Pavis: Gateway to Adventure (2012).

RuneQuest
In 2006, RuneQuest was licensed to Mongoose Publishing by Issaries. Their new edition of the rules, were not set in Glorantha, and required a further supplemement, Glorantha – The Second Age to play. Written by Robin Laws, it was set in the Second Age of Gloratha's history against the backdrop of The God Learner empire and the Empire of Wyrm's Friend. In this edition, Mongoose produced 17 supplements and adventures based in Glorantha, alongside their generic fantasy background.

A second edition Mongoose RuneQuest II was published in January 2010, but Mongoose Publishing's licence for Gloranthan material lapsed in May 2011. The RuneQuest II game system has been retitled "Legend", and contains no Gloranthan material. A new company, The Design Mechanism, was formed by the authors of RuneQuest II, and ownership of the Gloranthan supplements produced for the "RuneQuest II" line was transferred to them (PDF versions continued to be sold). There are close links between The Design Mechanism and Moon Design Publications, with The Design Mechanism founders writing material for both companies. Their new edition of the RuneQuest rules, RuneQuest: Sixth Edition, did not have a Gloranthan setting.

In 2018 Chaosium published RuneQuest - Roleplaying in Glorantha. Wholly set in Glorantha, it advanced the in-game date to 1625, and focuses once again on Dragon Pass. Along with its two slipcase companions, it provides a complete overview of this region. Again the village of Apple Lane in the homeland of Sartar is used as a starting adventure setting, but updated to the year 1625. Two further supplements concentrate on specific areas within Dragon Pass.

The World of Glorantha
The Glorantha website introduces Glorantha as follows:

Glorantha is an action-packed world of adventure. Gods and Goddesses struggle here, with nations of people nothing but their pawns. The stormy barbarians with their brutal but honest Storm God struggle against the Lunar Empire, led by the imperial Sun God and devious Moon Goddess.

Glorantha is an exciting world of heroes. Legends are being made by great individuals, many who are not even human beings. Some work with the deities, other heroes and heroines fight against them.

Glorantha is colorful and full of magic. Supernatural animals are found, ranging from unicorns to seven types of merfolk and the Goddess of Lions.

Glorantha is immense. If explored, it has different worlds and dimensions, whole realms where Gods, spirits and sorcerous powers come from. Unlike many fantasy settings, Glorantha emphasises religion, myth and belief to a level rarely seen in role-playing or fantasy fiction elsewhere.

Glorantha shares some fantasy tropes such as dwarves, elves, trolls, giants, but has developed them differently to the more conventional versions based on the work of Tolkien. Dwarves are literally made of stone and exist as manifest rigid inflexible laws of creation, while elves are intelligent, mobile plants. Glorantha is full of surprises.

Glorantha is as deep as you want it to be, or not. Hackers and choppers have what they want, while scholars and mythologists have a vast playground of new stories, legends and myths to enjoy.

It has various cultures analogous to Earth spread over two major landmasses and a wide archipelago. The northern continent of Genertela has a caste society of roughly Vedic type to the west, an autocratic Oriental society to the east and a classical-style Bronze Age culture in the center. The southern continent of Pamaltela is analogous to Africa/

Creatures of Glorantha
Broos are creatures of chaos. As they can fruitfully mate with anything, they have the body of a man and features of their animal parent, often deer, goats, antelope, cattle, and sheep. The animal parent normally dies when the child eats its way out of the host at full gestation. They worship Malia, the Mother of Disease, and Thed, the goddess of rape and mother of Chaos.

Scorpionmen are belligerent and resemble scorpion-human centaur. They are stupid, vicious and live in violent matriarchies with a religious emphasis on devouring. They are chaotic in nature.

Ducks or Durulz are flightless humanoid duck-like creatures who have arms rather than wings (or men cursed with feathers and webbed feet. They have unknown ancestry and may descend from cursed humans or cursed ducks. They reside around rivers, mainly in Sartar, and have an unexplained mystical affinity with Death.

Aldryami or Gloranthan elves, are plant people. They worship nature and the sun and Aldrya, deity of plants, specifically. In contrast to Tolkienesque elves, they are alien, physically plant-like and unfriendly to "meat men" (humans). Like many other fantasy fictional elf races, they are excellent archers.

Mostali are machine-like dwarves. They are xenophobic, orthodox and insular. They have invented iron, which has many extraordinary magical properties in Glorantha, contrasting to the primary metal used bronze.

Uz, the trolls, are the race of darkness, large, intelligent, astoundingly omnivorous, with a very developed sonar-like sense (darksense). Their societies are matriarchal, and they worship, among others, a goddess of darkness called Kyger Litor, mother of the Trolls, and the more violent and sinister Zorak Zoran.

Dragonewts are a magical race made up of forms of neotenic dragons. They are engaged in a cycle of self-improving reincarnation. They are alien, with an incomprehensible mindset. They must have oral surgery in order to speak human languages.

Multimedia Glorantha
Glorantha has been the background for a number of different media, and numerous pieces of myth and fiction created by the Glorantha community, featured in magazines such as Tales of the Reaching Moon. Several hundred gaming miniatures by various licensees and about a dozen plush toys have also been produced at various times.

Board games

 * White Bear and Red Moon/Dragon Pass
 * Nomad Gods
 * Khan of Khans
 * Glorantha: The Gods War

Tabletop role-playing games

 * RuneQuest
 * HeroQuest
 * 13th Age Glorantha

Video games

 * King of Dragon Pass by A Sharp
 * Six Ages: Ride Like The Wind by A Sharp
 * Six Ages 2: Lights Going Out by A Sharp

Prose fiction and comics

 * King of Sartar by Greg Stafford
 * The Collected/Complete Griselda by Oliver Dickinson
 * Gloranthan Visions by various authors
 * The Widow's Tale and Eurhol's Vale and Other Tales by Penelope Love
 * Path of the Damned, a comic book series

Fanzines

 * Tales of the Reaching Moon
 * Hearts in Glorantha

title: Glorantha


text:
Gram (disambiguation)

Gram is a unit of mass.

Gram may also refer to:

Mythology and fiction

 * Gram (mythology), a sword in Norse mythology
 * Gram of Denmark, a legendary king
 * Mount Gram (Middle-earth), a fictional place in Tolkien's writings
 * The lance of Gallantmon in the Japanese anime television series Digimon Tamers

People

 * Gram (surname), a list of people
 * Gram Parsons (1946–1973), American singer and musician
 * Short for grandmother

Places

 * Gram, Denmark, a town
 * Gram Municipality, a former municipality in Denmark
 * Gram panchayat, a local government division in India

Plants

 * Gram, a type of chickpea
 * Gram, an abbreviation of Grammatophyllum, an orchid genus

Science and technology

 * Gram, a Hewlett Packard subsidiary formed from their acquisition of Palm, Inc.
 * Grand River Aseptic Manufacturing, a sterile pharmaceutical contract manufacturer
 * Gram stain

Other uses

 * Grand Rapids Art Museum (GRAM), Michigan
 * Gramin Agriculture Markets (GrAM), in India
 * Slang term for Instagram, a social media photo-sharing service

title: Gram (disambiguation)


text:
Garnet Bailey

Garnet Edward "Ace" Bailey (June 13, 1948 – September 11, 2001) was a Canadian professional ice hockey player and scout who was a member of Stanley Cup and Memorial Cup-winning teams. He died at the age of 53 while aboard United Airlines Flight 175, which was deliberately crashed into the South Tower of the World Trade Center in New York City during the September 11 attacks.

Career
At the time of his death, Bailey was the Los Angeles Kings' director of pro scouting.

Death and legacy

Bailey died when the plane in which he was travelling, United Airlines Flight 175, was hijacked and deliberately crashed into the South Tower of the World Trade Center in New York City during the September 11 attacks. Bailey and amateur scout Mark Bavis were travelling from Boston to Los Angeles when the flight was hijacked. They had been in Manchester visiting the Los Angeles Kings' AHL affiliate, the Monarchs.

Bailey and Bavis are mentioned in the Boston-based Dropkick Murphys song "Your Spirit's Alive." Denis Leary wore a Bailey memorial T-shirt as the character Tommy Gavin in the season 1 episode "Immortal" and the fourth-season episode "Pussified" in the TV series Rescue Me. In his memory, the Los Angeles Kings named their new mascot "Bailey".

Bailey's family founded the Ace Bailey Children's Foundation in his memory. The foundation raises funds to benefit hospitalized children, infants and their families.

At the National September 11 Memorial, Bailey and Bavis are memorialized at the South Pool, on Panel S-3. On October 14, 2012, the Kings brought the Stanley Cup, which the team had just won in June, to the memorial and placed it on panels featuring Bailey and Bavis's names so that the families of Bailey and Bavis could "[have] their day with the Stanley Cup", continuing a hockey tradition whereby players and personnel of the reigning Cup champion team each get a personal day with the trophy. The Kings' general manager Dean Lombardi was also in attendance.

Regular season and playoffs

 * Source: NHL.com

title: Garnet Bailey