Cold War Gymnastics

From Nadia Comaneci and the Secret Police: A Cold War Escape, by Stejarel Olaru (Bloomsbury, 2023), Kindle pp. 46-48:

More than two decades later, in 2001, Nellie Kim was to recall the Montréal Games and her clash with Nadia Comăneci in an interview with Jean-Christophe Klotz, the presenter of Les Grands Duels du Sport on the Franco-German Arte channel. Even after so many years the disappointment Kim had felt at the time obviously still rankled when she said that while Nadia was a great gymnast and almost perfect, she was by no means superior to anybody in the Soviet team. ‘I can’t say that she was better than we were. Her routines were as difficult as those of Turishcheva, Korbut and myself. On a few apparatuses she was better than Turishcheva and Korbut, but on others, not quite. But the press turned her into the “goddess of gymnastics”,’ she said, suggesting that it was not so much Nadia’s performance that had counted, but the influence of Western journalists, who deliberately exaggerated her prowess.

Kim’s opinion is only partly justified. Given that the Cold War was still at its height, Western journalists must have felt a bias towards anybody able to rock the myth of Soviet sporting invincibility. This had been the case of Olympic, World and European champion Věra Čáslavská, who at the 1968 Mexico City Olympics was done an injustice by the judges: the Czechoslovak gymnast had been forced to share the top of the podium with Larisa Petrik of the U.S.S.R. and had bowed her head and turned it to the right when the Soviet national anthem was played. Čáslavská was protesting not at the unfairness of the scoring to which she had fallen victim during the competition, but at the fact that her country had fallen victim to an invasion by the Soviet army just weeks before.

And the Western journalists loved her for it. But four years later, they also fell in love with little Soviet gymnast Olga Korbut at the Munich Olympics, recognising even then the decisive rôle she was to play in gymnastics. They dubbed her ‘the darling of Munich’, so captivating was her performance, which gives us to believe that regardless of political circumstances or personal sympathies, the international press was still able to preserve its objectivity in the face of obvious talent.

By the time of the 1976 Montréal Olympics, Romania had indeed gained its own separate image internationally, as Czechoslovakia had in 1968. The country was part of the Communist bloc, but a number of past political gestures on the part of Nicolae Ceauşescu had created the impression that Romania distanced itself from and sometimes even defied Moscow, an impression that was also bolstered by Bucharest’s closer and closer ties with Washington and other Western capitals. Which is why the sympathy towards Nadia Comăneci on the part of both press and public could be viewed as all the more genuine.

But political circumstances could have no influence on how Nadia’s performance was judged, where technique and artistic elements that were all that counted, and journalists could not award points in place of the judges. It was the fullness of Nadia’s performance that was her secret, and it distinguished her from the Soviets, as Cathy Rigby remarked in her commentary for ABC: ‘Oh look at that amplitude!’ Nadia controlled her body in a way that stood out, without any tremor to betray hesitation, and with the ambition to control her balance to the utmost degree. She was fast, but at the same time elegant and certain, which made some of her movements seem unreal. The elements in the routines that won her scores of ten were achieved with flawless poise, seamlessly combined, in a style that Nadia was to make uniquely her own.

The International Gymnastics Federation’s scoring code for the uneven parallel bars now includes the Comăneci Salto and Comăneci Dismount, named after the moves Nadia pioneered at Montréal. In the first, ‘the gymnast begins in a support position on the high bar. She casts away from the bar and performs a straddled front somersault and regrasps the same bar’ – an element deemed to be of an extremely high level of difficulty. In the second, the ‘gymnast begins in a handstand on the high bar and then pikes her feet onto the bar and does a sole circle swing around the bar. She then releases the bar first with her feet and then with her hands as she performs a half-twist immediately into a back somersault dismount.’ Such moves are only a few of those that were to inspire future generations of gymnasts, leading them to tackle elements of increasing complexity and even risk. In Munich in 1972, Olga Korbut had done the same thing. Likewise, Japanese gymnast Mitsuo Tsukahara revolutionised gymnastics with the spectacular vault that now bears his name. To this day, each generation of gymnasts takes inspiration from the daring of their predecessors.

The impact around the world of Nadia Comăneci’s achievements at Montréal was remarkable. The popularity of the sport suddenly increased, and Nadia became an inspiration not only for younger gymnasts and even those of her generation, but also for countless little girls who dreamed of becoming like her. Some of those little girls went on to become champions, such as Mary Lou Retton, who watched Nadia at Montréal on television and was electrified by her refinement and natural grace.