Group Aerial Dance is a performance discipline that combines the language of contemporary, theatrical, and stylized dance with the use of aerial devices such as the silk screen, the lyre, the trapeze, and other alternative structures. In this modality, the choreographic proposal is constructed through collective work, prioritizing the connection between performers, spatial composition, and the integration of the aerial and terrestrial.

Unlike individual routines, the group version expects a staged interpretation where the group acts as a single body, with synchronization, use of space, and interaction between performers playing a central role. Formations, entrances and exits to the element, and the transition between floor and air must be carefully designed to reflect cohesion, dynamics, and narrative.

Each proposal must take into account both technical execution and artistic expression, ensuring that the aerial resources used serve a clear choreographic idea, not merely a collection of tricks. Particular attention will be paid to the integration of the different levels of the stage space (floor, mid-height, and aerial height), the conscious use of rhythm and music, and the development of a unique aesthetic identity.

Group productions not only allow for simultaneous or canonical sequences, but also role-playing, energy contrasts, moments of individual or collective prominence, and the incorporation of theatrical or thematic resources. The challenge lies in achieving a proposal that balances the technical with the creative, the group with the individual, and the aerial with the choreographic.

These rules establish objective evaluation criteria, differentiated by level (Baby, Amateur, and Professional), and consider both traditional and alternative devices. Consistency, safety, innovation, and staging will be fundamental pillars when evaluating each performance.

It is determined by Calendar Age, that is, it will depend on the year of birth of the participants and is calculated as follows:

The times of routine iswill be determined by the type of tournament the participant signs up for and their level (The level is explained later in the regulations, according to the mandatory and prohibited exercises). The Routine includes both Floor Work and Element Work.

The following are the Minimum and Maximum Routine times:

There will be a tolerance of 10 seconds.

In the event of not complying with the regulatory time

may lead to the disqualification of the group.

Please cooperate, keep your time well.

In all cases the timing of the routine will begin

with the 1st choreographic movement or musical note and will end in the same way.

Group proposals are organized into three levels, defined by the age of the participants and the required level of technical difficulty. Each level has specific criteria regarding permitted aerial resources, minimum requirements, and use of equipment.

Baby (3 to 9 years)

✅ No minimum aerial skill requirement.

✅ A knot close to the floor can be used when working with fabric.

✅ Creativity, group expression, and playful use of space will be valued.

Amateur Level (7 years and older)

✅ No minimum aerial skill requirement.

✅ The use of high-risk aerial resources, such as flips, regrips, or somersaults, is not permitted.

✅ A knot close to the floor cannot be used in routines with fabric.

✅Fluency, control, and aesthetic coherence will be prioritized over acrobatic difficulty.

Professional Level (7 years and older)

✅ A minimum of one (1) aerial difficulty trick is required, which can be a flip (360° turn), a regrip (releasing and grabbing the device again) or a somersault.

✅ The complexity of resource connections, technical clarity, and airspace control will be assessed.

IMPORTANT:

If devices other than the cloth are used (such as a lyre, trapeze, cube, etc.), the dimensions and height will be communicated in advance by tournament representatives.

If the group wishes to use an unusual device (such as a spiral, umbrella, chair, aerial pole, or other alternative stage element), the choreographer must coordinate in advance with the organization to determine its feasibility and installation.

Technique in Group Aerial Dance is one of the fundamental pillars of the discipline. This item evaluates the quality of execution of both aerial and ground movements, with special emphasis on work with the acrotela, a central device in this modality.

AlsoThe possibility of using other aerial elements (such as lyre, trapeze, cube, among others) is not contemplated, provided that they have been previously authorized and coordinated with the organization.

1.1 Execution of movements (10 points)

Precision, control and clarity in the execution of technical resources are evaluated, especially in acrotela.

Movements must demonstrate mastery of the body in relation to the fabric: rises, falls, locks, figures and poses must be executed with confidence and fluidity.

Cleanliness will be assessed in the development of sequences both at height and in contact with the floor.

In floor work, the execution must remain consistent with the overall aesthetics of the proposal.

If another aerial device is used, the same technical criteria will apply.

Both individual execution and group technical coherence will be assessed in shared or mirrored sequences.

1.2 Transitions (10 points)

The fluidity and safety of transitions between the floor, the fabric, and the different heights are analyzed.

Entrances and exits must be carried out with control, avoiding abrupt interruptions or disconnections from the choreographic rhythm.

The use of linked combinations that maintain the dynamic will be valued, both on the acrotela and in the scenic passages on the ground.

Long pauses without scenic intention, mechanical repetitions or disorganized transitions will be penalized.

Transitions must be coordinated and organized to reinforce the visual and rhythmic cohesion of the team.

1.3 Body control (10 points)

Physical control, body alignment and stability are assessed during aerial and ground performance.

In canvas, a conscious use of axis, center, and body weight is expected to support figures securely and fluidly.

The ability to hold positions, control turns, avoid uneven swings, and descend in a controlled manner will be assessed.

In floor work, an active, connected, and expressive body is expected to accompany the proposal.

Uniformity in body control will be analyzed, seeking technical consistency among the different performers.

Group Aerial Dance choreography must articulate aerial and ground movements within a coherent and expressive performance. Creativity in composition, integration between spatial levels, and the design of sequences based on the group as a unit will be evaluated.

2.1 Creativity and Originality (10 points)

The ability to create a choreographic proposal that stands out for its originality, without losing the aesthetic identity of the aerial language, is evaluated.

The design of innovative sequences using acrotela, the unconventional use of space, and group effects that generate visual impact will be valued.

The proposal may incorporate theatrical, symbolic or thematic elements that enrich the overall narrative.

Creativity in group dynamics will also be considered: use of canon, contrasts, formations, and role-playing.

Repetitive proposals with predictable structures or without clear choreographic development will be penalized.

2.2 Technical Complexity (10 points)

The overall difficulty level of the choreography is analyzed, both in the air and in the use of the floor, evaluating whether it is well resolved in its execution.

The fluid combination of aerial resources (turns, inversions, poses, entrances, links) with expressive stage movements is expected.

The complexity should be based on the declared level (Amateur or Professional), without overtaxing the group or affecting the cleanliness of the performance.

The effects of simultaneity, mirror interactions, crossovers, and group use of multiple devices will be assessed.

Monotonous or unbalanced structures between choreographic parts will be penalized.

2.3 Use of Space (10 points)

Evaluate the use of space on its three levels: floor, mid-height and air.

A strategic distribution of actions on stage is expected, avoiding accumulations or empty areas.

Floor work must be dynamic and functional, connected to the entrances and exits to the fabric.

The balance between the heights used, the movements and the group synchronicity will be assessed.

The composition must generate a complete visual journey for the viewer.

Musicality is the link between movement and sound. In Group Aerial Dance, the group's ability to interpret the rhythmic and emotional structure of music, integrating it into the execution of movements both in the air and on the ground, will be evaluated.

3.1 Musical Performance (10 points)

The group's ability to synchronize its movements with the accents, pauses, changes in intensity, and dynamics of the chosen music is evaluated.

A clear musical reading is expected, with moments of emphasis, silences, changes in tempo or energy that are reflected in the choreography.

The use of aerial resources should respond to the musical climate, generating contrasts between explosive, sustained, or soft sequences.

The choreographic design must be thought out in terms of the musical structure: introduction, development, climax and conclusion.

Routines that are disconnected from the music, lack rhythmic intent, or use music only as background without real performance will be penalized.

This section assesses group cohesion, collective technical quality, and visual harmony throughout the presentation. In the group format, scenic unity is key to achieving a solid, impactful, and professional performance.

4.1 Synchronization and Cohesion (10 points)

Evaluates group coordination and uniformity in the execution of movements, ensuring that the whole group looks cohesive and visually balanced.

The group is expected to maintain precise synchronization throughout their ascents, descents, movements, formation changes, and aerial sequences, creating a harmonious and fluid performance.

Group cohesion is key to achieving a clear and aesthetic structure, both in the air and on the ground.

All members must execute the movements with the same intention, projection, and level of control, avoiding noticeable differences in the quality of execution.

The uniformity of the distribution of space, the handling of musical accents, and the intensity of the ensemble's performance will be analyzed.

Mismatches in timing, energy differences, or individual performances that disrupt group harmony will be penalized.

4.3 Uniformity (5 points)

Evaluate the homogeneity in the technical execution, posture and energy of all performers.

Consistency in body alignment, range of motion, and technical control will be measured, ensuring the group maintains a solid visual image.

The intensity of movement, expressiveness and tonicity must be balanced between all members.

Movements and positions in space are expected to be precise and well-structured.

Visible differences in execution, energy imbalances, or contrasts that create an uneven stage reading will be penalized.

Visual impact is a key component of Group Aerial Dance, as it complements the artistic proposal and reinforces the choreography's stage identity. This item evaluates the coherence of the group's costumes, characterization, and overall aesthetics in relation to the choreographic concept.

5.1 Costume and Characterization (10 points)

Evaluate the aesthetic harmony between the group's visual proposal and the stage idea represented.

Clothing should be functional and allow freedom of movement, without compromising safety on the device (especially in fabric).

Creativity in the choice of colors, shapes, and textures will be valued, always in harmony with the artistic and musical concept.

The use of makeup, hairstyling, or stage props should enhance the group's identity without visually overloading the performance.

In group choreography, uniformity or visual coordination among members is expected, either through the use of identical costumes or through a common aesthetic palette.

Visual elements that hinder the use of the device, create distractions, or are inconsistent with the choreographic style will be penalized.

Emotional connection is an essential aspect of Group Aerial Dance, as it allows for conveying a narrative, generating sensorial impact, and establishing an authentic connection with the audience. This item assesses the group's expressive capacity, both individually and collectively, throughout the entire performance.

6.1 Stage Projection (5 points)

Evaluate the presence, attitude and collective expressiveness of the group on stage.

Each member is expected to project a clear and sustained intention, in keeping with the music, style, and concept of the choreography.

Stage presence must be maintained throughout the performance, from entry to closing, avoiding moments of disconnection or loss of focus.

Emotional connection isn't limited to the face: it's also expressed through the body, breathing, internal rhythm, and the energy projected onto the device and in the space.

All members will be valued for maintaining a uniform expressive quality, projecting a coherent and powerful stage reading.

Forced expressions, lack of intention, or marked contrasts in the projection between members will be penalized.

To ensure fairness and compliance with competition standards, deductions will be applied if participants fail to meet certain technical or structural aspects of their presentation.

Deductions will be subtracted from the total score obtained in the evaluation and will apply to soloists, duos, trios, teams, groups, and mega groups.

7.1 Time Exceeded (3 points will be deducted for every 10 seconds over the maximum time allowed.)

Each category has a set time limit for submission.

If the total choreography time exceeds the maximum allowed, 3 points will be deducted for every additional 10 seconds.

The duration must strictly adhere to tournament regulations to avoid penalties.

Suggestion: It is advisable to rehearse with a stopwatch to ensure that the choreography does not exceed the time limit.

7.2 Abrupt Musical Editing (5 points will be deducted if the music ends abruptly.)

The music editing should be clean and fluid, ensuring that the track ends naturally or with a proper closure.

If the music cuts off suddenly or without a fade out, a 5-point deduction will be applied.

The editing must be aligned with the choreographic concept, avoiding cuts that disrupt the performance experience.

Suggestion: It is recommended to review the track edition before the event and ensure it has a clean finish.

Key Elements to Avoid Deductions

Check the duration of the choreography: Make sure the music doesn't exceed the time limit.

Edit music correctly: Avoid abrupt cuts or unexpected terminations.

Rehearse with the final track: Check that the musical version fits well with the choreography before the competition.

Important Note:

Restriction of Dangerous Movements:

The use of whiplash and whiplash is prohibited in the Baby and Children categories.

In the other categories, it is recommended to pay special attention to the choice of movements, always prioritizing the safety of the dancers.

Use of Elements and Accessories on Stage:

The choice of music should be related to the elements used and the story you want to tell or develop in the choreography.

It is recommended to create situations and construct narratives that can be adapted to the group, taking into account the age and profile of the dancers.

The use of adult stories in children's choreography is discouraged.

Rules on the Use of Scenic Elements:

There will be no restrictions on the use of props, as long as they are not watery or remain on the stage after the performance, as they could interfere with the next act.

The use of fire, flares, or flammable materials is prohibited, as they pose a risk to the safety of participants and the public.

If props are used, the group must remove them during the blackout to ensure the continuity of the event.

Consideration of Skills:

Skills from other disciplines or dance styles outside the competition will not be evaluated.

The evaluation process is based on a detailed form covering various aspects of the presentation. The items evaluated and their corresponding scores are detailed below:

Technique (30 points):

Precision, control, and technical quality in the execution of movements are assessed, including fluid transitions and body control.

Choreography (30 points):

Creativity and originality.

Technical complexity.

Efficient use of stage space.

Musicality (10 points):

Precise interpretation and connection with the rhythmic and dynamic elements of the music.

Execution (15 points):

Soloists (15 points):

Stage presence, individual projection, and the ability to maintain precision and expressiveness throughout the performance are valued.

Duos, Trios, Teams, Groups and Mega Groups (15 points):

It includes synchronization, cohesion and uniformity among the members, ensuring a homogeneous collective performance.

Visual Impact (10 points):

Costumes and characterization, aligned with the style and artistic proposal of the choreography.

Emotional Connection (5 points):

Ability to convey emotions, stage projection and connection with the audience.

Total: 100 points

Deductions:

Time exceeded: -3 points for every 10 seconds additional to the maximum allowed time (after the 10-second tolerance).

Abrupt musical edition: -5 points if the music ends abruptly.

The teacher is responsible for the entry and exit of his students on stage, and for reviewing the manner of exit and entry.

He is legally responsible for each of his students and himself, and must sign a participation agreement before the event and present the documentation, including photocopies of the under-18 age categories, with the authorization of the parents.

The organization requires the instructor to take out liability insurance for their equipment, students, assistants, or companions, in case of injuries or any other damages that participants under their care may suffer. Otherwise, the instructor will be held responsible for any inconveniences arising from such incidents.

The teacher must have read and understood these regulations. I am only directing this to teachers who handle and use dance techniques with their students, understanding that they may be re-categorized depending on whether or not their presentation has the corresponding technique, and they may never discuss the jury's decision.

IMPORTANT: Children under 2 (two) years old do not pay admission, but neither do OCCUPY SEAT, otherwise they will have to pay the same.

It is prohibited to occupy the aisles, standing or sitting, for whatever reason.

Each person must remain in their seat throughout the entire show.

It is the teacher's obligation to transmit these rules to his or her participating audience.

At the time of the awards ceremony, only the teacher representing his or her school will go up.

Only the instructor and one adult, duly identified by the production company, will be allowed into the dressing rooms. In the case of a group of more than 30 people, mostly children, one additional adult will be allowed in.

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