1. CATEGORIES AND TIMES OF CHOREOGRAPHIES
It is determined by "calendar age", meaning it will depend on the year of birth of the participants and is calculated as follows:
Current year – Year of birth = Calendar age. E.g.: 2020 – 1987 = 33 years
SOLO/DUOS/PAIRS/TRIOS
CATEGORY | AGE |
---|---|
BABY | 3 TO 6 YEARS |
INFANTILE A | 7 TO 9 YEARS |
INFANTILE B | 10 TO 12 YEARS |
YOUTH A | 13 TO 15 YEARS OLD |
YOUTH B | 16 TO 18 YEARS OLD |
ADULT A | 19 TO 25 YEARS OLD |
ADULT B | 26 TO 35 YEARS OLD |
SENIOR A | 35 TO 45 YEARS OLD |
SENIOR B | + 46 YEARS OLD |
YOUNG TEACHERS | 18 TO 30 YEARS OLD |
ADULT TEACHERS | + 31 YEARS OLD |
MIX | MIX OF AGES |
ROUTINE TIMES
Routine times will be given by age category and level (The level is explained later in the regulations, according to the mandatory and prohibited exercises).
The following are the minimum and maximum times:
MODE | MINIMUM TIMES | MAXIMUM TIMES |
---|---|---|
BABY CATEGORY – SOLO/DUO/DOUBLE/TRIO | 1:30 Minutes | 2:30 Minutes |
BABY CATEGORY – GROUP | 1:30 Minutes | 2:30 Minutes |
AMATEUR LEVEL – SOLO/DUO/DOUBLE/TRIO | 2:00 Minutes | 3:30 Minutes |
AMATEUR LEVEL – GROUP | 2:00 Minutes | 3:30 Minutes |
PROFESSIONAL LEVEL – SOLO/DUO/DOUBLE/TRIO | 2:00 Minutes | 4:00 Minutes |
PROFESSIONAL LEVEL – GROUP | 2:00 Minutes | 4:00 Minutes |
TYPES OF ELEMENTS
RIGID ELEMENTS
MANDATORY MOVEMENTS
AMATEUR
● On the floor (no contact with the element): Dance or body language/theatrical performance, or gymnastic or acrobatic element. Maximum 35 seconds.
● Inversions with legs bent (passé developpe)
● 2 flexibility figures.
● 1 strength figure
● 2 different grips/holds in which the hands do not have contact with the element (e.g. wrists, armpits, elbow flexor or forearm, hamstrings or popliteal fossa, insteps, heels, neck)
PROFESSIONAL
● On the floor (no contact with the element): Dance or body language/theatrical performance, or gymnastic or acrobatic element. Maximum 35 seconds.
● Inverted with legs extended.
● 3 flexibility figures.
● 3 force figures
● 3 different grips/holds in which the hands do not have contact with the element (e.g. wrists, armpits, elbow flexor, hamstrings or popliteal fossa, insteps, heels, neck)
FLEXIBLE ELEMENTS
MANDATORY MOVEMENTS
AMATEUR
● On the floor (no contact with the element): Dance or body language/theatrical performance, or gymnastic or acrobatic element. Maximum 35 seconds.
● Inversions with legs bent (passé developpe)
● 2 flexibility figures.
● 1 strength figure
● Escape/fall
PROFESSIONAL
● On the floor (no contact with the element): Dance or body language/theatrical performance, or gymnastic or acrobatic element. Maximum 35 seconds.
● Inverted with legs extended.
● 3 flexibility figures.
● 3 force figures
● Escape/fall
2. CLOTHING, ACCESSORIES AND EQUIPMENT/WEAR
Any type of elements may be used in the choreography (as long as they do not pose a risk). They may enter and exit the stage, move, change location, etc. There are no restrictions regarding the creation of elements in the space, costumes, props, and other items deemed appropriate and appropriate. The evaluation will be made of whether these elements accompany and are a functional part of the choreography, since both costumes and stage elements represent a symbol.
3. MUSIC
Harmonious conjunction of each of the movements and the music.
You should not let more than 1 complete set of 8 beats go by without dancing, even if there is only one artist on stage.
Here, both the speed and execution of the movements will be considered. They must be intense and precise, at the right angle and with clear definition, which implies controlled limb mobility and precise energy at every moment of the choreography (this must be the same for all members).
Only style-specific movements should be shown, demonstrating a high level of each quality. Arm lines should explore all possibilities; for adult groups, more complex variations will be expected, so the choreographer can avoid repeating movements or sequences of movements.
The correct execution and physical awareness of the artists within the style will be evaluated.
Group coordination of neat group movements, observing beginnings, connections to other movements, and endings.
I. Remove all swearing or other inappropriate language from your music.
II. A judge will deduct 1 point for each inappropriate choreography related to the music. The choreography and musical selection must be appropriate for viewing and listening by the entire family.
III. For competitions held at the Teatro Español in Lomas de Zamora, music will be sent to the Production Department several days in advance for the production of music videos with their institutional logos in the background of the choreographies they present.
We're already pursuing this idea: they'll dedicate the necessary time to rehearsals and group support, and have one less administrative process on the day of the competition, in addition to illustrating their choreographies.
IV. In the event of performances in other theaters, unless we indicate otherwise using the same method as in point III of this document, your music must be sent by email to the address indicated by the regional representative.
You must also bring two pen drives as backup copies on the day of the event, labeled in the same way.
It is always recommended to have a backup copy (1) per choreography on another device (cell phone, tablet, notebook).
V. The organization is not responsible for bad recordings or recordings homemade.
4. GROUP MANAGEMENT
The group's behavior on stage and backstage will be observed, as well as during rehearsal (if applicable). During this competition, they may have one rehearsal or a maximum of one minute of reconnaissance time.
5. USE OF SPACE
As for the floor, it is suggested that the choreography be used dynamically and cover as much surface area as possible throughout the performance.
As many escapes as desired may be used, as long as they are in keeping with the stage proposal.
The transition between the floor and the aerial device must be harmonious, ensuring there is no interruption between the two. For example, interrupting the fluidity and dynamics of the floor work to simply walk onto the screen and step up. This section will be evaluated as another transition within the choreography, allowing the user to step up and down from the element as many times as deemed appropriate.
6. ACCESSORIES AND EQUIPMENT
Usable and manageable items are permitted in all divisions and may be removed and discarded from the body.
Props/Accessories such as: chairs, benches, ladders, boxes, steps, etc.
7. CREATIVITY AND ASSEMBLY
You will be able to create musical tempos through the movement of your movements, and this will be evaluated under the guidance of qualified individuals with experience and an understanding of these rules. By observing and practicing these types of modalities, you can surprise others by fusing music, movement, and feeling.
As stated above, the timing of the routine will begin with the first choreographic movement or musical note. It will end with the last choreographic movement or musical note, whichever it ends with.
Once the performance is over, the dancers may leave in an orderly manner or cheering, but they will not be evaluated.
8. STAGE SPIRIT/CHARISMA
We will observe the group and individual energy of each member and the feeling in relation to the chosen music and choreography.
If people associated with the organization observe inappropriate behavior or disrespect from anyone (including coaches, dancers, family members, fans, etc.), that person from the organization has the authority to notify and enforce a 1-point deduction as a penalty against the associated team.
Multiple unsportsmanlike and/or inappropriate behavior will result in disqualification and exclusion from future events.
9. MUSICAL ADAPTATION
Because this is a competition where creativity is prioritized, choreographers will have no restrictions regarding their musical selection. Beyond a successful musical selection (which will be evaluated in the musicalization section), this section will also examine how the choreography and costumes adapt to the musical selection presented by each choreographer.
10. OF THE CLASSIFIED CHOREOGRAPHIES
For those choreographies eligible to participate in the World Cup, it is suggested that they modify their choreography based on the judges' feedback during the Qualifying Tournament. However, they may choose to change their costumes, routine, and music if they wish. Qualifiers cannot change the element or category they initially entered.
Participants in Duo or Trio choreographies that have qualified for the final stage can be replaced, but new choreographies CANNOT be added without having gone through a qualifying stage.
11. RESPONSIBILITY OF THE TEACHER OR CHOREOGRAPHER
He is civilly responsible for each of his students and for himself.
You must sign a Declaration Act certifying that you have read and accepted these Regulations.
You must submit all required documentation for each participant: a photocopy of their ID or equivalent, and parental permission if they are minors.
12. FEES FOR PRESENTATION OF CHOREOGRAPHIES
The attached registration form contains the fee for the presentation of the choreographies.

IMPORTANT: For categories with two or fewer participants, the decision to group categories by age is at the discretion of the local representative, who will be notified after the registration deadline and prior to the event.
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