Bess Kargman, Lucy Walker, “Defying Gravity: The Untold Story of Women’s Gymnastics (Episode 2: Uneven Bars – The Closest Thing to Flying)” (September 2020)
Of the four apparatus used in women’s artistic gymnastics, the uneven bars (also known as asymmetric bars) apparatus is the most spectacular but also perhaps the most punishing with regard to its demands on gymnasts’ hands, body types and limitations, and the consequences that arise and which can have devastating effects on the athletes’ psyches and overall health. Originating from the men’s parallel bars with the aim of demonstrating balance, poise and balletic or static moves, the apparatus has undergone tremendous and radical changes: starting in the 1960s, the emphasis quickly shifted from routines of linked static poses to exercises of near-continuous fluid moves based on kips, beats, wraps and release moves from one bar to the other. From the late 1960s on, uneven bars started being manufactured separately from the parallel bars and their design was changed with the addition of tension cables that allowed the bars to be adjusted for width, allowing them to be moved farther apart. Such a change enabled experimentation with new skills, especially release skills, and elements borrowed from the men’s high bar apparatus that stress continuous movement approaching flight (and which put pressure on gymnasts to maintain a particular body / weight ratio to remain light). Soviet gymnast Olga Korbut pioneered the Korbut flip, the first upper bar somersault release skill at the 1972 Munich Olympics and Romanian gymnast Nadia Comaneci followed suit at the 1976 Montreal Olympics with her famous forward somersault release from top bar to top bar and her dismount.
As in other episodes of this series, interviews with various US-based gymnasts and ex-gymnasts drive the episode’s themes which encompass not only the uneven bars’ evolution and the demands it makes on gymnasts’ bodies but also the issue of eating disorders in gymnasts and how the gymnastics culture has encouraged, at times even demanded unhealthy eating, with disastrous effects for individual gymnasts. Former gymnast Vanessa Atler’s personal story in battling her bulimia and personal hoodoo with the uneven bars, and the unsympathetic treatment she received from gymnastics coaches (not necessarily her own) and officials, is shocking; likewise Cathy Rigby, a former gymnast herself before becoming an actor, recounts her experiences with eating disorders. Kathy Johnson correctly identifies the toxic culture surrounding gymnastics as a leading if not the main contributor to gymnasts’ eating disorders though she could have gone further (she probably did but the harsher criticism might have been edited) in condemning international and national gymnastics organisations and their officials for doing very little about the issue and closing their eyes to individual girls’ suffering.
Curiously the tragic story of Christy Henrich, who died from anorexia nervosa at the age of 22 years in 1994, is not mentioned. One result of the publicity around her death was that Johnson, Rigby and others came out publicly about their struggles, TV stations in the US and outside stopped commenting on gymnasts’ weight and educational programs on proper eating and nutrition for gymnasts were launched. The episode also does not mention these changes which I consider quite a serious oversight.
The rest of the episode focuses on current US gymnasts Olivia Greaves and Riley McCusker on their personal journeys in the sport and their particular relationships with the uneven bars. Other famous athletes like Comaneci, her husband Bart Conner, Laurie Hernandez and Olga Korbut add their own insights and perspectives on uneven bars and the issue of eating disorders. As in the other episodes I have seen, there’s a lot to take in (the use of archival film footage to illustrate interviews helps) and directors Kargman and Walker do a good job of segueing smoothly from one topic to the next … almost like a bars routine!