Kalev-History

HISTORY OF RG & KALEV

Page index:	What is Rhythmic Gymnastics?
	Who created RG?
	Evelyn Koop and Kalev

Champions and Canadian participation in these events:	Canadian National Championships
	World Championships
	Olympic Games
	World Gymnaestradas

Rhythmic gymnastics was brought to Canada by Evelyn Koop (photo), a graduate of the Institute of Physical Education and specializing in rhythmics at Ernst Idla's government sponsored school in Sweden. It was not a competitive sport at first. For a look at Kalev's performance teams since 1951, click here.

Video clip! - from the Elite Provincials 1995
(download VLC player - free - here:
http://vlc-media-player.en.softonic.com/)

Kalev celebrated 60 years of RG in Canada in 2011!

WHAT IS RG?

Modern rhythmic gymnastics began as a non-competitive sport in Eastern Europe at the beginning of the 20th century and originally emerged as a criticism of the gymnastics of the time, which did not distinguish between gymnastics for men and for women. It may, however, be regarded as a movement specifically aimed at women's physical fitness, because it was developed on the basis of their biological and physiological characteristics. But over time, it has also had an impact on men's gymnastics by modernizing and reforming it.

The sport consists of exercises of movement, which are arranged to music, combining dance and athletics with the aim of displaying an aesthetic harmony by control of body movement. It is developed from the natural movements of walking and running, coupled with grace, flexibility, endurance and self-expression. Rhythmic gymnastics is still primarily a European sport but has spread across the world.

Rhythmic gymnastics can be seen as divided in two sections:

a) Rhythmics, which consists of group exercises with natural and harmonic movements, carried out to music. It develops coordination, flexibility, strength and balance through movements that are reciprocal, alternating contraction and relaxation. It emphasizes fluidity and connections between moves, so that in lifting the arm the movement travels from the centre of the body all the way out to the fingertips. Apparatus, e.g. balls, hoops, ribbons, are used to develop coordination. It is from this branch that the Aesthetic Group Gymnastics ("AGG") is developed.

b) Competitive (which did not develop until the 1960's), where the gymnasts are judged on technical merit, expression and composition. Each routine, which is accompanied by music, is between 75 and 90 seconds in length for individual routines, 120-150 seconds for group routines. During this time the gymnast must perform certain compulsory elements as well as optional, original elements that can give bonus points for creativity.

The rhythmic apparatus:
.......The use of ribbon grew out of China, and Russian dancers and gymnasts were the first to use it. Click HERE for a video from 1940. It was first used in RG at the Worlds in Cuba 1971 and introduced to Canada by Maria Patocska, Hungary, the same year.)
....... Clubs were used in male gymnastics events as early as the 1860's.
....... Hoop and.Ball were introduced by Medau in the late 1920's.
........Rope was first used by a Swedish group in the 1930's.

..... Rhythmic gymnastics was practiced in many countries by 1920. In Sweden, many female artistic gymnasts also competed and performed with hand apparatus. Swedish women gymnasts medalled at the Olympics in Helsinki 1952 (where Russian Maria Gorokhovskaya won gold in Vault, Parallel bars, Balance beam, Floor exercise and Team Hand Apparatus!), and placed second at the games in Melbourne 1956. (For a complete list of all modern Olympic Games, and RG winners, click here!)

.......The "Idla Girls" ("Idlaflickorna", see below) also became very popular and both they and the artistic team travelled and performed around the world.

... Rhythmic gymnastics was recognized as an international sport by FIG in 1962 and the first World Championships were held in Budapest the following year with 28 contestants from nine European countries. (In the first "Worlds", the gymnasts performed one free routine and one with apparatus).

.......The "Worlds" are held every two years, and by 1969, in Varna, Bulgaria, there were 42 individuals from 14 European countries and from Cuba, Japan and Korea. There were also visitors from Tunis, Israel, Spain and USA. In Havana, Cuba, 1971, 15 countries participated with Canada taking part for the first time. (For a complete list of all World Championships and winners, click here!)

WHO CREATED RG?

Many people contributed to the development of the sport, the origins of which stretch back to ancient Greece with the concepts of natural flowing movement, harmonious mind/body development and total physical exercise, through the natural gymnastics of Jean Jacques Rousseau and Johann Guts-Muths (the grandfather of gymnastics) in the eighteenth century and on. Jean George Noverre (1722-1810) also advocated the expression of art through movement.

Much of it grew out of the Swedish system of free exercise developed in 1814 by Per Henrik Ling, who promoted "aesthetic gymnastics", in which students expressed their feelings and emotions through bodily movement. Francois Delsarte (1811-1871) in particular is considered to be the founder of one of the first systems preceding Rhythmic Gymnastics.

During the last years of the 19th century, George Demeney (1850 -1917), a French physiologist, began to take an interest in the problems of physical culture. After thoroughly studying the current systems of gymnastics, particularly the Swedish, he came to the conclusion that it was not built upon a sufficiently scientific foundation and that its movements were unnatural and static. He created various exercises to music that were designed to promote grace of movement, muscular flexibility, and good posture.

Emile Jacques Dalcroze (1865 - 1950), teacher of music at the Geneva Conservatory, followed with his "eurhythmics", which in his opinion, was absolutely necessary for the preparation of musicians as well as for dancers and other artists.

Elli Björksten (1870 - 1947) incorporated Dalcrocze's eurhythmics and Demeney's achievements into the Swedish schools. The Finnish movement of gymnastics for women was influenced by these new trends and Hilma Jalkanen (1889 - 1964), building on the work of Elli Björksten, incorporated dance elements and expressive movements into a new Finnish school of gymnastics.

Rudolf von Laban (1879) and Marie Wigmann (1888), are other important names to mention on the road to the creation of Rhythmic Gymnastics. But above all is the famous dancer Isadora Duncan, whose rebellion against the dogmas of the classical ballet changed the direction of development of both the art and the sport.

In Germany, Rudolf Bode (b. 1881 - 1970) produced some valuable additions to the women's gymnastics in the form of body waves and expressive body movements, and Heinrich Medau introduced hand apparatus (ball, ropes and tambourines) and in 1929 established a school in Berlin to train the new leaders of what he called "modern gymnastics".

This term was officially recognized in 1951 and the World Modern Gymnastics Federation was established. After World War II, scoring methods, based partly on Idla's degree of difficulty tables, were developed in Europe to create the competitive form of rhythmic gymnastics, which was recognized as a sport by the International Gymnastics Federation (FIG) in 1962. FIG changed the official name to "Modern Rhythmic Gymnastics" in 1973, to "Rhythmic Sportive Gymnastics" in 1977, simplified to "Rhythmic Gymnastics" in 1998.

Ernst Idla (1901 - 1980), an Estonian who studied Physical Education and Medicine at the University of Berlin, developed in his home country an original style of rhythmic gymnastics, combining his own ideas with those of Bode and Norwegian Nils Bukhil . His work became internationally known in the thirties. In 1944, he came as a refugee to Sweden, where he founded a school of modern rhythmic gymnastics, the Idla Institute, supported by the Swedish government. International performances (e.g. at the Olympic games in Mexico 1968) and his students working in more than 30 countries (e.g. Canada, U.S.A., New Zealand, Brazil, Mexico) contributed to the growing popularity of the ideas of Idla.

The "Idla method" may be defined as a choreo-rhythmic kinesiology, graduated as to degree of difficulty, designed for men, women and children. It is a method built on scientific principles where rhythm, both for individuals and groups, is of great importance. The basic training in the Idla system affects motor qualities such as endurance, coordination, strength, elasticity, speed and balance. At advanced levels, the Idla training progresses to choreo-rhythmic and dance forms.
Ernst Idla tried to build a bridge between art and sport (physical activity) and his entire effort was a striving for harmony in movement in time and space.

Evelyn Koop (left)
in a group being
taught by Idla

EVELYN KOOP & KALEV

      Rhythmic gymnastics in Canada simply would not be if it weren't for the efforts of Evelyn Koop, known as the "godmother" of the sport in Canada and recognized as the one who brought this sport to North America. In the forties and fifties, there were many ethnic groups in Toronto, which started rhythmic gymnastics movements and groups. Among them was the Kalev Sport Club, which had men's gymnastics, folk dance and, so called, “modern gymnastics” on the program.
        Having arrived in Canada, Evelyn Koop obtained a Canadian dance and arts degree. She became a member of the Estonian Sports Club, Kalev , first as a gymnast, then as a coach. Out of this club, she organized the Kalev Estienne Rhythmic Gymnastics Club. The other “modern gymnastics” programs no longer exist, but Kalev still goes on strong.
  .. She has taught Physical Education courses in Rhythmic Gymnastics, then called "Modern Gymnastics", at the Universities of Toronto, McMaster and McGill, authored the books "Basic Rhythmics" and "Judging", developed Technical Manuals, By-laws, and Constitutions for Rhythmic Gymnastics. She has trained nearly a thousand teachers and instructors in the sport in Ontario, and created awareness of the sport through endless touring with her gymnasts throughout Canada and the States. The US tours

at the end of the 1970's were arranged by Mildred Purchel and Andrea Boda-Schmidt and took in universities and colleges in several states. It was a great honour for Canada, when Evelyn Koop was given the task of introducing the sport to China. (See below)
.....Some of her students moved to other provinces and she helped them start RG in their new areas. In Quebec, the movement was started by Reeli Meristo, whose student, Hilja Paul, later created the Questo club. In Alberta, Adele Spence, one of Evelyn Koop's students, started RG and was followed by Malle Vasara. In B.C., it was her student Helve Raun, and in Manitoba she assisted Zlatica Stauder in setting up RG. In Nova Scotia, her student Anthea Bellemare began and was followed by another of her students, Carolyn Slade.
.... Evelyn Koop has enabled Kalev coaches to take over sections of the original club to run as separate clubs in the Toronto area, each with their own venue and membership. Some recent examples are Mississauga Newnorth, York Rhythmics, Rhythmic Elite Centre, and Rhythmic Expressions. In total, Evelyn Koop is responsible for creating around 20 RG clubs in Ontario. (See Kalev Estienne- Former Coaches.)


The first Canadian Judges: (from left) Jutta Müller, Evelyn Koop, Tamara Bompa, Marta Selmeczi, Anu Joe, (?), (?), Reet Altosaar, Zlatica Stauder

..... In 1970, Evelyn Koop with Ruth Timson, Anu Joe, Mille Goudsmit and Harold Wiese formed the Modern Gymnastics Federation which was recognized and affiliated with the Canadian Gymnastics Federation the following year. Since very little financial support was forthcoming via the CGF, the Canadian MGF became independent in 1974. The Provincial federation was formed around the same time, and she was elected president of both Federations, remaining in that position until 1980..
......For the same reason, she began in 1991 “The Worlds Best” international invitational competition, for which she was honoured by the Canadian Gymnastics Federation by naming the meet “Koop Cup”.
In Cuba, 1971, Evelyn Koop received international standing as a judge, and was later awarded Brevet 2 level (currently, the only one in Canada). She was a member (so far, the only Canadian) of the World Rhythmic Gymnastics Technical Committee (FIG) 1976-80, and is now an Honorary Member of this organization.

In 1971, Marta Selmeczi told her about the Hungarian gymnast Maria Patocska who was visiting Canada. To help develop the competitive component of the sport, Evelyn Koop toured several of the Provinces with her own gymnasts plus Maria, who also showed a ribbon routine - the first time the apparatus was brought to Canada.

.....In June, the same year, she held a competition to select a Canadian National team for the World Championships in Cuba 1972 and gymnasts from Kalev and Marta Selmeczi's club were chosen. Tamara Bompa came from Romania to help coach and develop routines. At the Worlds, they found that they lost points for insufficient skills, so she brought Madame Ivanka Tchakarova to Canada to teach the Rules and give the first RG judging course here. Later, she brought Liliana Dimitrova to coach RSG to Kalev gymnasts. Both were from Bulgaria, the leading country in "Modern Gymnastics" at the time.
... . Evelyn Koop initiated the first International competition in Canada at York University 1975. Participating countries were New Zealand, USA and Canada. She then began The Maple Leaf international meet in 1976. It was held for four consecutive years. In 1978 she created the Pan-Pacific Championships, which later became the Four Continents Championships. This was done to give Canadians an opportunity to achieve higher honours than possible at the World Championships.
......In 1971, Kalev formed the first Canadian National Team to represent the country at the World Championships in Cuba,

placing 8th of 14 countries. Since then, Kalev has been represented at every World Championship except three. Kalev girls have always been members of the Canadian National Team. Evelyn Koop, Lori Fung
Evelyn Koop was the choreographer for the opening ceremonies of the 1976 Olympics and, by demonstrating rhythmic gymnastics, opened the door for it becoming an Olympic sport. The first Olympic competition, in 1984, was won by a former Kalev athlete, Lori Fung (at right, with Evelyn Koop). Kalev's Adrienne Dunnett was also at those Olympic Games. Evelyn Koop has had the honour of being selected world level judge, including the Olympic Games in Atlanta 1996, when she also had the honour of sending Camille Martens from Kalev , as Canada's only competitor in rhythmic gymnastics. And in Sydney 2000, Kalev's Emilie Livingston represented all of the Americas! Camille and Emilie both trained with Ludmila ("Lusi") Dimitrova, a world-renowned coach, one of many brought to Canada by Evelyn Koop.

Internationally, Evelyn Koop has been honoured with the Queen Elizabeth 25th Jubilee Award 1977,Finland's Women's Sports Awards 1974, a Presidential award from her birth country, Estonia, in 2007, the FIG Medal for Achievement from China for introducing the sport to that country 1978, the FIG Honorary Diploma "in recognition of long-term distinguished service as in International Judge at the World level" 1998 (see below) and the Russian Federation Award 2008.

At home, she has been recognized with the Governor General's Award 1968, Government of Ontario Achievement Award 1971, 1972, 1974, Ontario Place Award 1972, Air Canada Sports Executive of the Year award 1977, Gymnastics Ontario Life Member 1980, Gymnastics Canada Life Member 1982, Gymnastics Ontario Key Builder Award 1991, Sports Federation Award 1998, Gymnastics Canada Rhythmic Gymnastics Program Awards 2006 (since renamed the "Evelyn Koop Rhythmic Gymnastics Program Award"), Ontario Government Volunteer Service Award 2007, Ministry of Citizenship Award for over 50 years as a volunteer working to promote Rhythmic Gymnastics..

<-- With Pierre Trudeau

With Queen Elizabeth II

Here are excerpts from a letter by the Canadian Ambassador to China, Arthur Menzies, in May 1978:
   " The troupe ... gave two public performances to full houses, ... at the Workers' Stadium (capacity 15,000) and the Peking Indoor Stadium (capacity 6,000). They also conducted a series of seminars and practices for gymnastics instructors and coaches ...
     Both on and off the gymnasium floor, the troupe served as excellent unofficial emissaries of Canadian youth. The Chinese audiences' reaction to their performances began with initial puzzlement, then growing enjoyment and finally sincere appreciation. Most of the impact, however, was through the working sessions for which the Chinese hosts collected some thirty gymnastic coaches from all over China. They videotaped and filmed large portions of both the working sessions and the performances. The Chinese were particularly impressed by the girls' balance, a weak point they admit in their own gymnasts....
     ... their visit here has been a success both from a public relations and professional gymnastics standpoint and I would be glad if you would convey my congratulations to Mrs. Koop and the other officials of the Kalev Estienne Troupe."

At the Gymnastics Canada Gymnastique Annual Awards Banquet in June 2006, Evelyn Koop received the Rhythmic Gymnastics Program Award.

This award has now been renamed in her honour and will, as of now, be known as the "Evelyn Koop Rhythmic Gymnastics Program Award"!

Here with Jean-Paul Caron, President and CEO of Gymnastics Canada.


Adrienne Arnold, head of RG Federation, presents the diplomas to Evelyn Koop and Tamara Bompa.

Evelyn Koop received the volunteer service award from the Ontario Government in 2007.

And she received a medal in 2007 from the President of Estonia for services to her country by promoting fitness and the Estonian form of rhythmic gymnastics.