History Bits #2

Fresco seen at the Palace of Knossos in the Greek island of Crete
(Circa 1600 BC)

World’s First Gymnast?

Throughout Roots, one finds a little figure of a charging bull with a man upside down on the bull’s back. This little symbol was derived from an original fresco shown above in color. It is clear that there are three humans in the fresco; one at either end of the charging bull and the other atop the bull. The left-hand figure seems to be grasping the bull’s horns while the second, on the right, seems to be reaching towards the bull. Also important to note is the lightness of the skin of the “Helper” figures in the fresco and the browner skin of the performer. What’s happening here? Perhaps we will never know for sure but I, along with others, have some ideas about it.

People over the centuries have been fascinated with attempts of various kinds to touch bulls without being gored or trampled. In a recent movie, Wild Hogs (2007), the characters participate in a game called “Bull Slap” i.e. sneak up on the bull, slap him and RUN! Bull fights have carried “Bull Touching” to an extreme, often with dire consequences to the participants. The same is true of “Running the Bulls” in Spain. Rodeo clowns serve as distractions for bulls that have thrown a rider. They protect the riders who may be seriously injured or trampled and perform some risky tricks themselves. Our ancient bull rider/jumper/performer is among the first true gymnasts in my view.

What is a gymnast? One of the best definitions comes from an original Hall of Fame honoree, Frank Cumiskey, “A gymnast is someone who ‘outstunts’ the other guy.” Accordingly, the quest of the gymnast is to establish his or her place in history by attempting and mastering some element or elements that define their daring and challenges others to even greater feats. The International Gymnastics Federation memorializes gymnasts who are first to perform an element in international, open competitions. Koszuta’s conception, shown below, is surely implausible, particularly when one notes that the bull in the original fresco seems to be charging!
 

Koszuta’s conception of bull play.

My explanation about the real story behind the fresco requires a few assumptions:

1. The fresco, if true to life, would separate the two assistants as shown in the diagram below. The ancient artist had limited space on the wall given to him and condensed his conception accordingly.

2. The assistants colored their skin white in order to be better seen by the bull.

3. The performer did not color his skin but tried rather to blend in with the environment. He (or she) as some have suggested would have been able to do a cartwheel over some object.

In the chart above (not drawn to scale):

1. With assistants standing approximately 50 yards apart, the one on left makes noise with bells, shouts etc. to attract the bull’s attention.

2. When the bull begins to charge, the assistant on the right attracts the bull by making loud noises causing the bull to turn and charge. The idea is to have the bull run in a straight line.

3. The performer at point D (perpendicular to the path of the bull) waits for an opportunity then, suddenly and silently, runs quickly to the side of the bull and cartwheels over its back. Thompson’s investigations indicate that the jump or cartwheel might be easier with the use of a mound or rock to gain more height at take-off

Thus we have an explanation of bull leaping, or vaulting, that is clearly gymnastic in nature and a logo to honor our ancient roots.

References:

Koszuta, L. E., “Gymnastics Through the Ages.” Indianapolis, IN: USA Gymnastics, March-April, 1986, pp. 10-11+ (The “Hornspring” drawing was used in the article. Artist unknown).

Thompson, James G., “The Bull-Jumping Exhibition at Mallia.” Archaeology News XVI, 1-4, 1985 pp. 1-8.

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