Dimensions

Measurements depend on the setting of the bar. Measurements of the bars are provided by the Fédération Internationale de Gymnastique (FIG) in the Apparatus Norms brochure.

• Height:
  • High bar: 250 centimetres (8.2 ft)^[1]
  • Low bar: 170 centimetres (5.6 ft)^[1]
• Diameter of bar: 4 centimetres (1.6 in)^[2]
• Length of the bars: 240 centimetres (7.9 ft)^[2]
• Diagonal distance between the two bars: varies, 130 centimetres (4.3 ft)–190 centimetres (6.2 ft) (adjustable)^[2]

Evolution

The uneven bars apparatus originally consisted of men's parallel bars set to different heights. Consequently, the bars were very close together, and gymnasts could transition from one to the other with little difficulty. Routines of the early 1950s chiefly consisted of simple circles, kips, and static balance elements and holds. In the late 1950s the trend shifted toward fluid motion, and gymnasts began to perform routines composed of more difficult circles, kips, beats (bouncing the body off the low bar while hanging from the high bar), wraps (wrapping the body around the low bar while hanging from the high bar) and transitions. Release moves also began to come into play, although they were almost entirely limited to transitions between the low and high bars. In the late 1960s/early 1970s, companies began manufacturing uneven bars as a separate specific apparatus. The design was changed slightly to allow the bars to be adjustable, with tension cables that held the apparatus to the floor. As a result of this change, coaches could set the bars farther apart. Additionally, the circumference of the bars themselves decreased, allowing gymnasts to grasp and swing from them with greater ease.

As other events in gymnastics increased in difficulty, so did the uneven bars. Gymnasts and coaches began experimenting with elements, attempting more challenging dismounts, and adapting moves from men's horizontal bar. In 1972, Olga Korbut pioneered the Korbut Flip, the first high bar salto release move. Nadia Comăneci continued the trend with her original Comaneci salto at the 1976 Olympic Games in Montreal and advanced handstand elements four years later. The giant swing, the staple of high bar in men's artistic gymnastics (MAG), was also adopted into the women's Code of Points, and quickly became a basic uneven bars skill.

By the mid 1980s, routines had become so based on swing and release moves that the bars were moved even farther apart. The distance between bars increased even more as gymnasts developed difficult transition elements that required space, such as the Pak salto.

For international elite level gymnasts, there is a required distance between the low and high bar, called FIG setting, where all elite level gymnasts must compete.

Of all the apparatus in women's artistic gymnastics (WAG), uneven bars is probably the one that has seen the most radical changes. Most elements from 1950s and 60s bars routines, such as the Hecht dismount and the Radochla somersault, are now completely obsolete and almost never used; others, such as the once-traditional beats and wraps, are impossible given the current diagonal separation between bars; and still others, such as static holds and the Korbut Flip, are not permitted under the current Code of Points. In USAG levels 1–5, everyone in the same level performs the same compulsory routine. In levels 1-3 the gymnasts stay only on the low bar. Once the gymnast reaches level 4, she uses both the low and high bar. In levels 6 through Elite, gymnasts and coaches make up their own routines within specific requirements using both of the bars.

In Gymnastics Australia gymnasts in levels 1-6 set routines that are scored out of 10. In levels 7-10, and elite, gymnasts perform optional routines that adhere to set guidelines that meet certain requirements.

International level routines

A routine on the uneven bars must consist of:^[3]

• Flight element from high bar to low bar and vice versa
• Flight element on the same bar
• At least two different grips, and a close bar circle element
• Non flight with a turn on the bar, for example turning handstands
• Dismount

Scoring and rules

Judges score routines based on difficulty, form, technique, and composition. Deductions are taken for execution errors, poor form, falls, pauses, "empty" swings (extra swings that do not lead into another skill), steps on the dismount, and other mistakes. Falls incur an automatic deduction of 1 full point in the 2009 FIG CoP. For levels 1-10 a fall is 0.5 points. Also, if the gymnast hits the low bar with her foot/feet (as Beth Tweddle did at the 2008 Olympics bars qualifications, and Viktoria Komova did at the 2012 Olympics bars apparatus finals), a deduction of 0.1 to 0.5 points will occur depending on the severity of the hit. The same deduction occurs when the gymnast hits one or both feet on the floor while performing a skill on the low bar.^[4]