Uneven bars

The uneven bars, also known as asymmetric bars, are a central apparatus in women's artistic gymnastics.

This apparatus consists of two bars set at different heights and widths. This specific design allows gymnasts to transition between the bars using various swinging and flight movements. Gymnasts often apply white chalk to their hands to improve their grip. Some athletes may also use hand guards, grips, or even tape to protect their hands. Coaches may even apply water or diluted honey to the grips to prevent slipping.

The physical structure of the bars is built for strength and precision. The bars are held by a steel frame and are typically made of fiberglass with a wood coating. Occasionally, they are made entirely of wood. To ensure safety and stability, many gyms place the apparatus over soft mats or loose foam pits. For international competitions, the equipment must follow strict guidelines from the International Gymnastics Federation (FIG). These rules dictate specific measurements for the height of the high and low bars, the diameter of the bars, and the diagonal distance between them.

Gymnastics routines on the uneven bars are complex sequences of skills. These routines require significant strength, jumping, and swinging motions. A routine must include specific elements to be complete. For example, a gymnast must perform a flight element between the high and low bars. They must also include a flight element on a single bar. Other requirements include using at least two different grips, performing a close bar circle, and executing a non-flight move like a turn in a handstand. Every routine concludes with a dismount.

The history of the uneven bars shows a dramatic evolution in both design and skill. Originally, the apparatus used men's parallel bars set at different heights. Because these bars were very close together, the routines of the early 1950s were simple. They mostly consisted of static holds, kips, and basic circles. By the late 1950s, gymnasts moved toward more fluid motions. They began using techniques like wraps, where the body wraps around the low bar, and beats, where the gymnast bounces off the low bar.

In the late 1960s and early 1970s, the uneven bars became a specialized apparatus. Manufacturers began using tension cables to secure the frame to the floor. This innovation allowed coaches to set the bars much farther apart. As the bars moved apart, the circumference of the bars decreased to make swinging easier. This change allowed for much more difficult moves. In 1972, Olga Korbut pioneered the Korbut Flip, which was the first salto release move on the high bar.

Later, Nadia Comaneci introduced the Comaneci salto at the 1976 Montreal Olympics.

As gymnasts developed even more complex transitions, such as the Pak salto, the bars were moved even further apart. This led to many older moves becoming obsolete. For instance, the Hecht dismount and the Radochla somersault are rarely used today. Some older moves, like the Korbut Flip, are actually prohibited under the current Code of Points. Today, elite gymnasts must compete using a specific required distance between the bars known as the FIG setting.

Scoring is a rigorous process based on difficulty, technique, and composition. Judges look for execution errors, such as poor form or "empty" swings that do not lead into a skill. Mistakes like stepping on a dismount or hitting the low bar with the feet result in deductions. In the 2009 FIG Code of Points, a fall results in an automatic 1.0 point deduction. For levels 1 through 10, a fall results in a 0.5 point deduction.

If a gymnast falls, she has 30 seconds to remount the apparatus to continue her routine.

While the uneven bars are a display of incredible skill, they also present physical risks. Studies of collegiate gymnastics show that injuries occur on the bars almost as often as on the floor. Falls can lead to serious injuries, including paralysis. Because the sport requires such high levels of intensity and movement, safety remains a constant focus for coaches and gymnasts alike.