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China Interviews & Profiles MAG

Li Jing: “I Am Who I Am!”

Li Jing belonged to one of the strongest generations in Chinese men’s gymnastics, but he never wanted to be known simply as another member of the “Li family.” As the careers of Li Yuejiu, Li Xiaoping, and Li Ning captured international attention, fans often remarked that Li Jing even looked like Li Ning, the legendary “Gymnastics Prince.” His response was characteristically direct: “I am who I am—a lively, stubborn son of Hunan.”

That independent spirit defined both his personality and his gymnastics. A six-time world champion and three-time Olympic silver medalist, Li built his reputation on extraordinary difficulty and originality. Chinese writers of the era described his name as virtually synonymous with high-difficulty gymnastics, pointing to the remarkable range of difficult elements and combinations he introduced into his routines soon after joining the national team. Several of those combinations—especially on horizontal bar and parallel bars—were regarded by contemporaries as among the most demanding ever attempted, even if they were never adopted into the Code of Points as eponymous skills.

Yet Li’s career was far from inevitable. Born into a poor family in Hengyang, he nearly abandoned gymnastics after experts concluded that his small hands and short fingers made him unsuited for the sport. Only the persistence of his first coach, Zhou Xin, who convinced him to return to training and build on his exceptional upper-body strength and aptitude for release skills, kept his dream alive. Years of training barefoot in an unheated gym, falling repeatedly from homemade apparatus, and refusing to give up transformed the frail boy who once hung a homemade “World Champion” medallion around his neck into one of China’s greatest gymnasts.

Li Jing, 1992 Olympics, Copyright: imago/WEREK
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1987 Interviews & Profiles MAG USSR

Valeri Liukin: The Triple Back and the Temptation to Quit

Valeri Liukin emerged as one of the Soviet Union’s leading gymnasts in 1987. During the first half of the year, he won the European and USSR all-around titles and established himself as a contender for the World Championships. His breakthrough coincided with one of the sport’s defining moments of the decade: the successful introduction of the triple back on floor exercise, a feat that immediately secured his place in gymnastics history.

The three articles translated here capture Liukin at that turning point. Rather than looking back from the perspective of his later career—or of his daughter Nastia’s Olympic success—they present him as contemporaries saw him in 1987: a fearless young gymnast from Kazakhstan whose daring, technical innovation, and close partnership with coach Eduard Yarov had made him one of the Soviet Union’s brightest stars. Together, they trace the development of the triple salto, explore the coach-athlete relationship behind his success, and reveal the expectations surrounding his first World Championships in Rotterdam—along with his repeated flirtation with quitting the sport.

Note: For more on the triple back salto, see the appendix in this post.

Valeri Liukin, 1988 Olympics, Copyright: imago/ITAR-TASS
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China Interviews & Profiles MAG

Li Chunyang: “The King of the Horizontal Bar”

By the end of 1991, Li Chunyang had established himself as the world’s premier horizontal bar specialist. He won back-to-back world titles in Stuttgart (1989) and Indianapolis (1991), helped China to consecutive World Championship team silver medals, the men’s team gold at the 1990 Asian Games, and Olympic team silver at Barcelona in 1992.

This profile appeared in New Sports in early 1990, shortly after Li’s breakthrough victory in Stuttgart. Rather than focusing on the competition itself, it traces the making of a champion—from his discovery as a schoolboy in Shantou and his development under Gao Jian and Huang Yubin to his emergence as the new “King of the Horizontal Bar.” Along the way, it also captures a defining feature of Chinese gymnastics in the 1980s: its determination to match and surpass the Soviet Union in technical innovation, exemplified by Li’s pursuit of the triple back on floor exercise after seeing Valeri Liukin debut the skill in Europe.

Li Chunyang, 1992 Olympics, Copyright: imago/WEREK
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1984 1988 China Interviews & Profiles MAG

The Making and Remaking of Lou Yun, 1984–2008

Within the gymnastics community, Lou Yun is best known for winning back-to-back Olympic vault titles in 1984 and 1988. Two of his innovations—a handspring rudi on vault and a double side salto with a ¾ twist on floor exercise—appear in the FIG Code of Points under his name. Outside the competitive arena, however, he has repeatedly reinvented himself. Spanning nearly twenty-five years, the articles translated here trace his evolution from Olympic champion to entrepreneur and eventually to one of the public faces of China’s Olympic movement. Although they do not constitute a complete biography, they offer a far fuller portrait of Lou Yun’s life compared to his remarkably sparse Wikipedia page.

Lou Yun, 1984 Olympics, Copyright: imago/WEREK
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China Interviews & Profiles MAG

Li Xiaoping between China and America

The two texts translated here—a 2001 profile from New Sports and a 2004 Sina.com chat transcript—capture former Chinese gymnast Li Xiaoping during a new phase of his life. One of the world’s leading pommel horse specialists in the early 1980s, Li won the world title in 1981, helped China to its first men’s team world championship in 1983, and earned an Olympic team silver medal at Los Angeles in 1984 before retiring because of injury. By the time these pieces appeared, he and his wife, Wen Jia, herself a former member of the Chinese national team, had built a successful gymnastics club in Southern California while raising a family far from the country where they had made their names.

The New Sports article introduces the couple through Beijing’s successful bid for the 2008 Olympics, describing Li’s emotional reaction to the announcement before recounting their move to the United States, years of financial struggle, and eventual success as gymnastics coaches. The later Sina.com interview is more conversational, allowing Li and Wen Jia to reflect on immigration, entrepreneurship, family life, and their enduring ties to China. Together, the two pieces provide an unusually personal look at two former elite athletes as they navigated life after competition while remaining closely connected to the sport—and to the country—that had shaped them.

Note: Li Xiaoping and Li Xiaopeng are two different gymnasts. Newspaper articles and photo archives often confuse the two. To make matters more confusing, Li Xiaoping is the father-in-law of Li Xiaopeng. Li Xiaopeng, the 2000 and 2008 gold medalist on parallel bars, married Li “Angel” Anqi, who is one of Li Xiaoping’s daughters.

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1981 FIG Bulletin World Championships

1981: Moving the World Championships from Mexico to Moscow

The 1981 World Gymnastics Championships were rife with scandal—a positive doping test and age falsification that even concerned the IOC. But another story has been largely forgotten: the championships were never supposed to take place in Moscow at all. They were supposed to be held in Mexico.

In March 1981, Mexico formally withdrew as host, citing what officials diplomatically termed “serious difficulties beyond their control.” The reality was more prosaic: according to Mexican sports press, the president of the Mexican Gymnastics Federation had done virtually no preparatory work. With the championships scheduled for late 1981 and no viable host, FIG President Yuri Titov faced a crisis. The solution was expedient but politically fraught—moving the competition to Moscow, which still had all the facilities from the 1980 Summer Olympics. 

For Mexican gymnasts who had trained intensely for what was supposed to be a home championship, the relocation was devastating. By October, their coach was publicly pleading with Mexican sports authorities to send the team to Moscow, noting that athletes had “sacrificed a year of studies and work” preparing for a competition that would now take place in the Soviet Union instead of their own country. In the end, three Mexican men and three Mexican women competed in Moscow.

What follows is a short overview of what happened.

The Palace of Sport in Luzhniki, Moscow, 1980
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1980 Books Japan MAG

1980: Tsukahara Sustains a Cervical Sprain on a Roll-Out Skill

Tsukahara Mitsuo opens his autobiography not with triumph but with catastrophe. Rather than beginning with his eponymous vault or the dismount that made him famous, or with any of his five Olympic gold medals, he begins in February 1980, when he sustained a cervical spine injury, which effectively ended his bid for a fourth consecutive Olympic Games.

The excerpt translated here follows him through the accident itself, the frustrating weeks of rehabilitation, his increasingly desperate attempt to recover in time for Japan’s Olympic trials, and the painful realization that his competitive career had come to an end. They also reveal a personality familiar from the earlier chapters of this autobiography: a gymnast whose greatest strength was often indistinguishable from his greatest weakness. Again and again, he acknowledges that his determination to finish routines no matter the circumstances and his willingness to accept risks others would avoid had become both the source of his success and the cause of his injuries.

One aspect of the accident is worth noting. The skill that caused Tsukahara’s injury was a roll-out skill: an Arabian 1¾. Only months later, Elena Mukhina would be paralyzed attempting a more difficult version of the skill. Roll-out skills have since been banned from FIG competition.

The excerpt below is Tsukahara’s account of how that ending unfolded.

Tsukahara Mitsuo and Kathy Johnson, 1977 American Cup
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1972 Books Japan MAG

Tsukahara on the Origin of the Moon Salto

Coaches and gymnasts rarely leave detailed accounts of the failed attempts, incremental breakthroughs, and training methods that transform an idea into an eponymous skill. As a result, the origins of even the sport’s most famous elements are often reduced to little more than a date and the name of a competition.

This excerpt from Tsukahara Mitsuo’s autobiography is a rare exception. He takes the reader through the entire process of learning the Moon Salto (i.e., a half-in, half-out): discovering an unfamiliar trampoline skill, adapting it for high bar, devising progressions, repeating elementary drills hundreds of times, confronting crippling fear, and gradually convincing himself that the impossible might actually be possible.

Along the way, Tsukahara shares memorable anecdotes that illuminate how gymnasts trained before modern training methods became commonplace. He explains, for example, that he first practiced a double back dismount from the horizontal bar not in a gymnasium, but by landing in an outdoor sandpit, which resulted in a gash on his face. Later, while working toward the Moon Salto, he waited until everyone else had left the gym before attempting it, preferring to work on the skill with complete focus.

More than half a century later, the Moon Salto is rarely performed in men’s gymnastics and now carries a modest C rating. Yet its significance extends far beyond its current difficulty value. It opened the door to an entirely new family of skills, and before long, gymnasts were taking full-twisting double back somersaults to events such as floor exercise and still rings. Gymnastics advances by building on the innovations of one’s predecessors. I hope you enjoy Tsukahara’s story.

MUNICH, GERMANY – SEPTEMBER 01: Mitsuo Tsukahara of Japan competes in the Horizontal Bar apparatus final of the Artistic Gymnastics during the Munich Summer Olympic Games on September 1, 1972 in Munich, Germany. (Photo by The Asahi Shimbun via Getty Images)
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1970 Books Japan MAG World Championships

Tsukahara on the Origin of the Tsukahara Vault

Few skills in artistic gymnastics are as recognizable as the Tsukahara vault. More than fifty years after its debut, it remains a cornerstone of international gymnastics. Yet remarkably little is known about how it was created. (See Tsukahara’s skeletal Wikipedia page.)

Most histories reduce its origins to a single sentence: Tsukahara Mitsuo unveiled a new vault at the 1970 World Championships in Ljubljana, and it soon entered the Code of Points bearing his name. This excerpt from Tsukahara’s autobiography, Endless Challenge, offers the fullest account we have from the inventor himself. He describes an accidental beginning, experimenting with the vault after watching a university teammate perform it on the women’s side horse vault in training. At first, he regarded the skill as little more than a curiosity—awkward and lacking the “grandeur” expected of a competition vault. He then recounts months of persistence as nearly everyone around him dismissed the idea as impractical. Only after discovering that the skill worked better piked than tucked did he begin to believe it had competitive potential.

This account provides an invaluable window into how Tsukahara himself understood the creation of the vault that would bear his name. It does not, however, tell the whole story. American gymnast Hal Shaw performed the same vault at the 1968 NCAA Championships, where it was known in the United States as the “O-Shaw.” The two histories have rarely been considered together, and the relationship between Shaw’s vault and Tsukahara’s remains unclear. Whether the two men arrived at the idea independently, or whether knowledge of Shaw’s vault somehow reached Japan before Tsukahara began experimenting with it, remains impossible to determine.

For that reason, this chapter should be read not as the definitive history of the Tsukahara vault but as one essential piece of a larger puzzle. It is the closest thing we possess to an inventor’s notebook: a story of experimentation, stubbornness, failure, and gradual refinement, told by the gymnast whose name ultimately became attached to one of the sport’s most influential skills.

Tsukahara Mitsuo, 1970 World Championships, Ljubljana
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China Interviews & Profiles WAG

Four Contemporary Profiles of Wu Jiani, 1980–1983

Wu Jiani was one of the most accomplished gymnasts of the early 1980s. At sixteen, she won three gold medals at the 1982 Asian Games and received the only perfect 10 awarded in the women’s competition. A year earlier, she had claimed a bronze medal on balance beam at the World Championships in Moscow, and her shoulder-destroying uneven bars release—commonly called the “Jiani Leap”— was recognized by the International Gymnastics Federation. She would later help China earn its first Olympic team medal in women’s artistic gymnastics, taking bronze at the 1984 Los Angeles Games.

The four profiles translated here, written between 1980 and 1983, are less interested in those achievements than in explaining how they became possible. Each returns to her unlikely beginning in the sport. Wu arrived at the national team with protruding knee joints, stiff ankles, and legs so weak that coaches compared them to those of a child recovering from polio. She failed to finish among the top thirty at her first national championships. Coaches reportedly decided three separate times to send her home, only to relent after watching her climb back onto the apparatus following yet another fall. Again and again, the articles attribute her transformation not to extraordinary talent but to extraordinary persistence: endless repetitions, late-night conditioning sessions, and an almost preternatural refusal to complain.

Read together, the profiles reveal something larger than the career of a single gymnast. They belong to a recognizable genre of Chinese sports writing in which athletic excellence serves as evidence of moral character. Wu’s story—frail child, repeated setbacks, silent perseverance, eventual triumph—was a narrative that readers would have recognized from countless profiles of elite athletes during the reform era. The details vary from article to article, but the structure remains remarkably consistent.

The differences are equally revealing. Three of the profiles were written for readers inside China and dwell on physical shortcomings, repeated failure, and the harsh demands of elite training. The fourth profile appeared in the English-language edition of China Pictorial, a Chinese state magazine published for overseas readers. Unlike the domestic profiles, it smooths away many of the rough edges. The malformed joints disappear, the coaches no longer contemplate sending her home, and the emphasis shifts to a determined girl practicing on a log in her bedroom before emerging as an international champion. Read side by side, the four articles offer not only a portrait of one of China’s pioneering gymnasts but also a glimpse of how the country chose to tell different versions of the same sporting success to domestic and international audiences.

Wu Jiani, 1984 Olympics, Copyright: imago/WEREK
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