Folklore in Azul Fest It is a tribute to cultural roots and the richness of popular traditions. This space celebrates dances that tell the history and spirit of people, highlighting the authenticity, connection to roots, and passion that characterize this genre.

Each Folklore performance must reflect the essence of the traditions, with precise movements and a conscious use of rhythm, space, and traditional costumes. Authenticity in the performance, energetic transitions, and the ability to convey the pride and emotional depth of each dance are valued, whether in classical styles or modern fusions.

The goal of Folklore at Azul Fest is to highlight the diversity and beauty of cultural expressions through dance, providing a space where traditions are honored while simultaneously promoting creativity and connection with the public.

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

Each group will vary in the weighting of the evaluation criteria. For example:

In Malambo and Mexican zapateo, The precision, power and complexity of foot strikes will be prioritized.

In Northern Sounds and Dances, interpretation, use of space and connection as a couple will be valued.

In Projection and Stage Dances, technique, creativity and staging will be analyzed.

Technique in folk dance is a fundamental pillar to ensure the correct execution of steps, the authenticity of the style, and respect for the traditions of each region. This section will evaluate precision, body control, fluidity of movement, and correct rhythmic marking in each style.

1.1 Execution of movements (10 points)

Evaluates technical quality, clarity of movement, and correct application of the style performed.

Argentine Folklore: Clean footwork, precise turns, upright posture, and strength in movement will be analyzed. In styles such as zamba and chacarera, fluidity with the handkerchief and expressiveness in marking will be assessed.

Mexican Folklore: The power of the footwork in Jarabe Tapatío, Son Jarocho, and Huapango will be evaluated, ensuring that the strikes are precise and well-defined. In dances such as the Danza del Venado, energy, agility, and use of space will be assessed.

Central American Folklore: Hip mobility will be analyzed in rhythms such as Punta Garifuna, the coordination between arm movements and feet in the Dance of the Devils, and the rhythmic marking in Central American mazurkas and polkas.

Uncontrolled performances, imprecise movements, or movements that do not reflect the essence of the folklore performed will be penalized.

For soloists: The ability to execute each movement with control and fidelity to style, while maintaining a clear and expressive interpretation, will be assessed.

For duos, trios, teams, groups and mega groups: Uniformity in execution and the correct application of the style as a whole will be analyzed.

1.2 Transitions (10 points)

The fluidity between movements is analyzed, ensuring that transitions are natural and well-integrated.

Argentine Folklore: In styles such as chacarera and oculto, the transitions between zapateo and cepillo should be clean and well connected.

Mexican Folklore: The transition between different zapateado sequences in the huapangos will be evaluated, ensuring a fluid and uninterrupted execution.

Central American Folklore: In Punta Garifuna, the transitions between hip movements must be continuous and without loss of energy.

Abrupt cuts or movements that disrupt the flow of the choreography will be penalized.

For soloists: Each transition is expected to complement the performance without creating unnecessary pauses.

For duos, trios, teams, groups and mega groups: Transitions must be synchronized and maintain the cohesion of the whole.

1.3 Body control (10 points)

Evaluates posture, alignment and stability in the execution of movements.

Argentine Folklore: A firm and elegant posture is expected, with proper core activation to sustain footwork and turns.

Mexican Folklore: In Jarabe Tapatío and Huapango, the posture must be kept upright, with control in the jumps and footwork.

Central American Folklore: Stability will be analyzed in dances with hip movements, ensuring that the posture remains aligned and free of unnecessary tension.

Slouching postures, lack of core control, and body alignment misalignments will be penalized.

For soloists: The ability to maintain a strong posture and balanced execution at all times will be measured.

For duos, trios, teams, groups and mega groups: The uniformity of posture and body control of the members will be evaluated.

Folklore choreography should reflect authenticity, a connection to the music, and fluid performance. Creativity in composition, use of space, and integration of movements with the tradition of the style being performed will be evaluated.

2.1 Creativity and Originality (10 points)

It assesses the choreographer's ability to design a proposal that respects the essence of folklore, incorporating variations that enrich the staging without distorting the style.

Argentine Folklore: In styles such as zamba and chacarera, the combination of traditional steps with elements of stage projection will be valued, always respecting the essence of the dance.

Mexican Folklore: In dances such as Jarabe Tapatío and Son Jarocho, the integration of choreographic figures that highlight musicality and group dynamics will be evaluated.

Central American Folklore: In rhythms such as Punta Garifuna and Mazurkas, expression and energy in the composition will be valued, ensuring the fluidity of the dance.

Choreographies that lose the essence of folklore or lack a clear and coherent structure will be penalized.

For soloists: Originality in individual performance will be analyzed, ensuring that each step is intentional and consistent with the music.

For duos, trios, teams, groups and mega groups: The interaction between dancers and how the choreography enhances group connection will be evaluated.

2.2 Technical Complexity (10 points)

Analyze the difficulty level of the choreography in relation to the correct execution of the steps and their integration with the music.

Argentine Folklore: The inclusion of tapping sequences with changes in rhythm and precise timing is expected.

Mexican Folklore: In Jarabe Tapatío and Huapango, the complexity of the footwork and turns will be evaluated, ensuring that they are performed with precision.

Central American Folklore: Emphasis will be placed on the combination of hip movements and wide movements, maintaining control and expressiveness.

Choreographies that do not present an adequate technical challenge or that contain movements outside the folkloric aesthetic will be penalized.

For soloists: The ability to interpret technical sequences with control and expressiveness will be assessed.

For duos, trios, teams, groups and mega groups: Group execution and the integration of movements with the dynamics of the group will be analyzed.

2.3 Use of Space (10 points)

Evaluates the distribution and use of stage space within the choreography, ensuring a balanced and attractive staging.

Argentine Folklore: Ample movement is expected for dances such as Malambo and Zamba, ensuring that the routes are strategic.

Mexican Folklore: In Huapango and Son Jarocho, the distribution of dancers and the use of formation changes will be analyzed.

Central American Folklore: In dances such as Punta Garífuna, the use of space with enveloping and expressive movements will be evaluated.

Choreographies that do not utilize space effectively, creating empty areas or a lack of dynamism in the staging, will be penalized.

For soloists: The dancer will be assessed on how effectively he or she explores space, ensuring an expressive and well-projected performance.

For duos, trios, teams, groups and mega groups: The interaction between the dancers and the way in which the spatial distribution reinforces the choreographic proposal will be analyzed.

Musicality is an essential aspect of folk dance, as each has a specific rhythmic structure that must be respected and reflected in the performance. The dancers' ability to synchronize movements with musical accents, interpret dynamic changes, and project the rhythmic essence of the style will be evaluated.

3.1 Musical Performance (10 points)

Evaluate the relationship between movements and musical structure, ensuring that the choreography is aligned with the energy and rhythm of the folklore performed.

Argentine Folklore: In dances such as the Chacarera, the Escondido, and the Zamba, a fluid musical performance is expected, with precise marking of strong beats and a clear connection to the changes in intensity in the music.

Mexican Folklore: In styles such as Jarabe Tapatío, Huapango, and Son Jarocho, rhythmic precision in the footwork will be valued, ensuring that the beats are clear and well aligned with the beats of the music.

Central American Folklore: In Punta Garifuna and Central American Polkas, the relationship between movement, rhythmic marking, and percussion will be evaluated, ensuring that the movement highlights musical nuances.

Performances that lack a connection to the music, are performed out of time, or are disconnected from musical accents will be penalized.

For soloists: The dancer's ability to interpret music with rhythmic precision and maintain the energy of the dance in every measure will be analyzed.

For duos, trios, teams, groups and mega groups: Group synchronization in musical performance will be assessed, ensuring that the musicianship is consistent and well-executed throughout the team.

Key Elements of Musicality in Folklore

Rhythmic precision: Each movement must be aligned with the accents and changes of the music.

Use of pauses and energy contrasts: The dancers' ability to play with strategic silences and changes in intensity will be assessed.

Connection with melody and percussion: Performers must project the essence of folklore, respecting its musical structure.

Group Sync: All performers must reflect the rhythm changes in the music evenly.

This block evaluates the quality of the dancer's or group's performance, ensuring precision, uniformity, and visual coherence within the choreography.

For soloists, the ability to perform with quality, control and stage presence, maintaining consistency from beginning to end, is measured.

For duos, trios, teams, groups and mega groups, group synchronization and cohesion are assessed, ensuring that movements are performed with collective uniformity and precision.

4.1 Individual Performance (Soloists) (15 points)

Evaluates the dancer's precision, control, and projection throughout their entire performance.

Argentine Folklore: The dancer is expected to demonstrate firmness in the execution of footwork, turns, and movements, maintaining posture and connection to the music.

Mexican Folklore: In dances such as Jarabe Tapatío and Son Jarocho, the strength of the footwork, the coordination between arms and feet, and the stage attitude will be analyzed.

Central American Folklore: In Punta Garifuna and Polkas, expressiveness and energy in the performance will be evaluated, ensuring that the execution is clear and dynamic.

Errors in movement precision, lack of control in turns, or unstable movements will be penalized.

For soloists: Endurance, precision, and consistency in the execution of movements are valued, ensuring quality from start to finish.

4.2 Synchronization and Cohesion (Duos, Trios, Teams, Groups and Mega Groups) (10 points)

Coordination between dancers is analyzed, ensuring that everyone maintains the same timing and rhythm without any discrepancies.

Argentine Folklore: In group choreographies of chacarera, oculto, or malambo, synchronization in the footwork and turns is essential.

Mexican Folklore: In couple and group dances, such as Jarabe Tapatío, precision in formation changes and group footwork will be valued.

Central American Folklore: At Punta Garífuna, cohesion in hip work and the use of space must be maintained uniformly throughout the group.

Differences in timing, disorderly formation changes, and movements that disrupt the harmony of the ensemble will be penalized.

For duos, trios, teams, groups and mega groups: Uniformity and precision in joint performance will be assessed, ensuring that each dancer contributes to group cohesion.

4.3 Uniformity (Only for Duos, Trios, Teams, Groups and Mega Groups) (5 points)

Evaluates the homogeneity in the execution of movements, ensuring that all performers maintain the same quality and technical level.

Symmetry in movements, posture, and quality of movement will be analyzed, ensuring that the group remains cohesive at all times.

In group sequences, intensity and energy must be kept balanced among all members.

Movements are expected to be precise and well-structured, avoiding imbalances that affect the visual harmony of the group.

Differences in performance between dancers, as well as variations in intensity or energy that disrupt the team's uniformity, will be penalized.

Key Elements of Folklore Performance

Definition and cleanliness in the movements: Each step must be executed with clarity, alignment and control.

Group Sync: Cohesion in movement and rhythm is essential in group choreography.

Expressiveness and connection with music: The interpretation must reflect the character of each folk dance.

Constant energy: The execution must be maintained with the same intensity from start to finish.

The visual impact of folklore is a key component of each dance performance, as it highlights cultural identity and reinforces the artistic proposal. Elements such as costumes, makeup, and the overall aesthetic of the performance will be evaluated, ensuring that they complement the performance without affecting the technical execution.

5.1 Costume and Characterization (10 points)

Evaluate the aesthetic coherence of the costumes and accessories in relation to the authenticity of the folkloric style performed.

Argentine Folklore: Traditional attire appropriate for each dance is expected. For example:

Zamba and Chacarera: Wide skirts and scarves for the dancers, country breeches and shirts for the male dancers.

Malambo: Traditional clothing with colt boots or tap shoes, sashes, and optional hat.

Mexican Folklore: The fidelity to the typical costume of each style will be evaluated, including:

Tapatío Syrup: Brightly colored dresses with embroidery, full skirts, and shawls; charro outfits for the dancers.

They are Jarocho: White clothing with lace details, scarves, and wide-brimmed hats.

Central American Folklore: The representation of traditional costumes will be analyzed, such as:

Garifuna Point: Colorful clothing with light skirts and loose blouses for women; loose pants and shirts for men.

Dance of the Devils: Handcrafted masks and costumes that reflect the dance tradition.

Inappropriate attire that does not respect the cultural identity of the style or that interferes with technical execution will be penalized.

For soloists: The costumes are expected to enhance the dancer's stage presence and maintain harmony with the music and tradition of the style being performed.

For duos, trios, teams, groups and mega groups: The uniformity of the team's attire will be evaluated, ensuring that it reinforces the group's aesthetic without losing authenticity.

Key Elements of Visual Impact in Folklore

Authenticity: The costume must be aligned with the cultural tradition of the style performed.

Functionality: Clothing and accessories should not restrict mobility or affect technical execution.

Aesthetics and presentation: The neatness of the costumes will be valued, ensuring that every detail reinforces the artistic proposal.

Group uniformity: In group presentations, colors, shapes and textures should generate visual harmony.

Emotional connection is a fundamental aspect of folklore, as each dance conveys a story, tradition, or emotion unique to the culture it represents. Performers will be evaluated on their ability to project energy, connect with the audience, and reinforce the artistic narrative of the choreography.

6.1 Stage Projection (5 points)

Evaluate the presence, attitude, and expressiveness of the dancer or group on stage, ensuring that each movement reflects the essence of the folklore performed.

Argentine Folklore: In dances like the Zamba and the Chacarera, the emotional connection must be reflected in the gaze, the handling of the handkerchief, and the interaction between the dancers.

Mexican Folklore: At Jarabe Tapatío and Son Jarocho, expect a vibrant and festive expression, with genuine smiles and a mastery of stage energy.

Central American Folklore: In Punta Garífuna and the Dance of the Devils, the intensity of body language and performance will be assessed.

Flat performances, those lacking clear intention or a lack of connection with the audience will be penalized.

For soloists: The evaluation will assess how the dancer manages to fill the stage with their presence and how their individual performance impacts the audience.

For duos, trios, teams, groups and mega groups: All members will be assessed to ensure they project the same energy, avoiding differences in intensity that could disrupt group cohesion.

Key Elements in the Stage Projection of Folklore

Emotional authenticity: Performers must reflect genuine emotions in their movements.

Stage presence: Attitude and energy must be constant and consistent throughout the routine.

Interaction with the audience and among the dancers: Folk dance is about communication; expression must reinforce the message of the choreography.

Group cohesion: In groups, the emotional connection must be uniform, projecting itself as a synchronized team.

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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