top of page

Rocker over the T-BOW®

Technical Analysis

Xavier García-Navarro, Daniel Picó-Benet, Leticia Pelegrín-Fernández and David Ribera-Nebot




(adaptado de L. Abaurrea-Alfaro, 2000, Iniciación a la Gimnasia Artística)

  • Starting position: sitting in the center of the mat and in a longitudinal direction with the legs bent and together, arms hugging them at knee height (1-2).

  • Throw yourself back rolling on your back (2-3-4) and regain the starting position, without losing the starting position (5-6-7).

  • Common exercise for back and forth.


    • Rolling a ball is a fundamental initiation exercise to learn the transverse turning back and forth on the well-rounded back.

    • The performance of this exercise is correct when the body does not open, or does not move to the sides leaving the vertical plane to the ground.

    • To do this, it is necessary to keep your head attached with your chin attached to your chest and holding your knees with your hands.

    • This exercise allows group work by placing the students next to each other.


  • It is advisable to practice the action of moving from the squatting position to sitting on the floor, noting that the action itself involves a backward displacement.

  • It is important to avoid throwing your back in the previous action.

  • Once you are sitting on the floor, it is advisable to take your knees to rediscover the sensations of sway on your back.

  • Every time you return from the "go and go" you have to throw your arms to the front in search of the starting position.

  • The help of the partner is of a relative need depending on the more or less correct execution of the exercise.

  • Whenever there is help, it is advisable to indicate that it is the one who turns around who must look for the assistant and never the other way around.


(Designed by Xavier García-Navarro, Ganesh School, 2009)




  • The rocker over the T-BOW® in a stable position is an adaptation of the classic "Vaivén sobre la Espalda" in which the "vaivén" develops almost entirely on the convexity of the T-BOW® and a small part continues on the ground, with the possibility of grasping or not on the sides of the arch.

  • From an initial sitting position in the T-BOW®, head attached with a chin attached to the chest and holding with the hands on the sides of the arch, the turning backwards begin, when reaching the declined part of the arch (down) the body acquires greater rotation speed, and then the upper part of the back must contact the floor followed by the neck-head, with the body Restart the cycle. In both the final phase of the backward turn and the forward turn phase, several static or dynamic continuation postures can be adopted. Likewise, the flipping phase allows variability.

  • A breathing option can be: inhale in the sitting position, maintain apnea in the backward turn ("embracing" to stabilize trunk-string), exhale at the end of the turn back, inhale and apnea during the forward turn and breathe in the initial position, to restart the cycle. It is essential to vary the ways of breathing to enrich motor optimization.

  • From the perspective of YOGA it is a vertebral preparation for the practice of asanas, dynamically mobilizes the entire spine facilitating vertebral unlocking, stabilizes the "middle zone" or "core", and is a balance that brings well-being by balancing the emotional-volitive system.

  • From the perspective of motor education, the Rocker over the T-BOW® is a variant of the "Vaivén sobre la espalda", one of the basic motor actions of general dynamic coordination.


    • The T-BOW® provides an inclined plane that on the one hand facilitates rotation and on the other increases the perception of the bearing on the back.

    • The perception of turns is a fundamental starting point for all backward acrobatics.

    • Turning on the convexity of the T-BOW® with the back well rounded (convexity with convexity) reduces the contact surface of the back (compared to the realization on a flat floor), increasing the tactile sensitivity of the contact of each vertebra with the arc and the perception of the bearing on the back.

    • The contact of the back with the T-BOW® mat is pleasant enough, but very reactive, providing fast tactile feedback to accurately maintain movement adjustments.

    • Turning with a well-rounded back over the convexity of the T-BOW® "massages" the spine with sequences of reduced contact points, which facilitates its static-dynamic relaxation.

  • If a Yoga mat is placed on the flat and hard floor, the contrast of the tactile sensitivity of the back in the arc-floor transition (that is, T-BOW® mat - Yoga mat) is minimal. Here the kinesthetic-postural contrast of the speed change is more significant.

  • Being able to grip with your hands on the sides of the T-BOW® allows you to control lateral imbalances so that the body does not move to the sides and thus achieve better control of the dynamic posture. It also allows you to slow down or push the body during the flip, being of special help during the ascent phase in beginners.

  • The convexity of the T-BOW® can accelerate the rotation of the body (down or backward rotation phase) or slow it down (up or forward turning phase). The game of accelerating and decelerating the rotation of the body is mainly controlled with the flexion-extension of the trunk and legs (set of counterweights and radius of the system) and with the control of the hand grip on the sides.

  • The T-BOW® arch allows you to play with different hip heights in the starting position. This is essential to adjust the backward reversal to the length of the back and that when you reach the ground you contact the upper part of the back (back shoulder belt) in a fluid way.

  • The convexity of the T-BOW® arc (a little more than the typical and very stable and reactive lumbar physiological curvature) allows greater amplitudes of dynamic mobilization of the spine in flexo-extension, compared to those made on flat soil. On the other hand, it makes it easier for the lumbar spine to remain well physiologically balanced during the turning forward (uphill) and that a possible extension of the legs at high speed does not cause a sudden and harmful arch at the lumbar level.

  • With these successive sway, a special feeling of well-being is achieved, by being able to turn on a single well-balanced axis of rotation that provides stable vestibular discrimination (similar to the swaying of a baby taken by his mother) and a tactile-kinesthetic differentiation in the spine.

  • Safety

    • A) During the arc-floor transition when turning backwards (downhill, when you take more speed) you have to avoid first contacting the neck-head on the ground and impacting abruptly. To do this, the first realizations must be slow and controlled with the lateral grips, to accurately measure the arrival on the ground with the upper part of the back and the soft continuation of the neck-head support, thus adjusting this arch-floor transition with fluidity and safe support.

    • B) Avoid lateral imbalances during the forward and backward turning (priority), using the side grips of the T-BOW® until you notice great control of the flipping, without moving sideways and without leaving the vertical plane of the ground.


    • Vary the static position at the beginning of the rocker (or end of the forward flipping phase) and the static posture of the end of the backward turning phase; as well as converting such postures into dynamic situations (e.g. a jump at the end of the forward flipping or a backward flip at the end of the backward turn).

    • A methodological alternative to control the speed of turning back and forth, can be by varying the grip time of the hands on the sides of the T-BOW® (during the entire phase of the flipping, only in certain phases, without grip) and changing the folding amplitudes (body more/less open), that is, the flexo-extension between trunk and legs.

    • Alternate executions of the "Vaivén sobre la Espalda" on flat ground with executions of the "Balancín sobre el T-BOW®", to create situations of perceptive contrast of bearing on the back.

    • Change every 1-2 repetitions, with little pause time, the folding amplitudes of the body and the turning speeds back and forth by means of the grips on the side of the T-BOW® (optimization of kinaesthetic-touch and vestibular discrimination).

    • From above the T-BOW®, in a "bead" position (arms attached to the knees), start a small back and forth, to continue with others of increasing amplitude (it may require the help of a partner by the shoulders), and then with others of decreasing amplitude. Repeat the cycle several times (very fine optimization of kinesthetic-táctil and vestibular discrimination).

  • Divide the rocker into subtasks and create rhythm optimizations, such as variability, discrimination, adaptation and rhythmic sense.

  • Create situations of optimization of static-dynamic relaxation during the flipping and in final rotation situations, interacting perception capacities and tonic control (global and segmental).

  • Interact with different ways of breathing during the development of the Rocker with coordinative, rhythmic and relaxation variations.

  • Convert the Rocker over the T-BOW® (general dynamic coordination task) into a special dynamic coordination task, performing it with a mobile (e.g. with a ball, pike, hoop or rope) that is kept in contact with the body, mobilized, launched-hit and/or is received.

  • Create optimization situations by interacting cognitive, coordinative, conditional, socio-affective, emotional-volitive, expressive-creative and mental priorities.


6 views0 comments


Ancla 1
bottom of page