COMPETITION REGULATIONS
Reviewed by members of the organization March 2021.
The official regulations of the Open Dance Fest are detailed below:
Article 1.1:
The authority over these Regulations corresponds to the competition’s organization, which is based in Costa Rica. This authority entails carrying out the following tasks:
- Ensure the periodic review of these Regulations and keep them active. Therefore, they will be adapted to current needs.
- Establish supplementary rules and authorize exceptions whenever deemed appropriate.
- Ensure their enforcement.
- Assess possible violations and impose the corresponding sanctions.
Article 1.2:
Dancers implicitly consent for their personal data and image rights to be automatically incorporated into the competition organization’s database, for use in different competitions. Therefore, they release the organization from all liability regarding the use of this data in various advertising media, social networks, and any type of communication.
Article 1.3:
The Open Dance Fest organization reserves the right to allow or deny the participation of any dancer or academy, at its sole discretion, without this having any legal or media repercussions. If, for this reason, the affected person or academy makes any comment or action that, in the organization’s judgment, is dangerous and/or offensive to the image of the organization or the competition, it shall proceed to exercise its corresponding legal rights.
Article 1.4:
The competition is open to participants from all countries. All academies and participants, whether individuals or legal entities, who register to participate in events organized by Open Dance Fest are subject to the mandatory compliance with the provisions contained in these Regulations, as this is an essential requirement to take part in said events.
Article 2.1: AMATEUR:
Amateur and hobbyist are synonymous and refer to people who practice or develop in any area of knowledge and activity, doing so out of love or personal interest. They may have greater or lesser ability than a professional in this area, so an amateur can be as skilled as a professional; however, their main motivation is the love for dance. Intermediate-advanced level solo participants, with previous competition experience, regular classes, and solid technical training. Considered as having more than 4 years of experience. A dancer with an advanced technical level in their modality. May belong to a dance company. Competes regularly. Assists the instructor in dance classes. May receive financial compensation, but it is not their main source of income. A dancer who works in companies for artistic performances.
Article 2.2: PROFESSIONAL:
Defined as a dancer who is dedicated to dance and earns their main income as an instructor, performer, competitor, or dance judge. The professional dancer must be at least 19 years old. Dancers registered at the Professional level cannot switch to the Amateur level. If they register in other competitions as professionals, they must register in our competition as a professional.
Article 2.3: PRO-AM:
Defined as a professional dancer (instructor) who dances with an amateur dancer (student) who does not work as an instructor, performer, competitor, or dance judge, and who has never earned money from these activities.
Article 2.4: RISING STAR:
Defined as a pre-professional dancer in the adult age category. Rising Star dancers cannot switch to the Amateur level. The organization reserves the right to determine a dancer as Rising Star.
Article 2.5: NEW COMER:
Defined as a student (dancer) with a maximum of 3 years of training and who will not participate in special mentions.
Article 3.1: SOCIAL, SINGLE DANCE, TANGO SALON AND MILONGA:
Defined as a category where all couples dance together at the same time on the floor and the music is selected by the organization. Lifts are not allowed.
Article 3.2: SHOWDANCE:
Defined as a category where the couple, soloist, team, or groups perform a prepared routine with their own music.
Article 3.3: CABARET/EXHIBITION:
Defined as a category where lifts are allowed.
Article 3.4: SHINES:
In the Shines category, steps and movements are danced without a partner; it is the moment in the dance where the athlete performs their individual interpretation of the music. In this category, two or more athletes dance, and they may be mixed-gender or of the same gender.
Article 3.5 – Open
The Open category allows the registration of participants without technical level restriction, meaning dancers of any level—Newcomer, Amateur, or Professional—may register, according to the conditions established in this regulation.
Application in Performing Dances:
- This category is only available for Duo/Trio and Team modalities.
- It does not apply to professional dancers in the Duo/Trio modality, as established in Article 2.3.
- In the Team modality, the participation of 1 professional dancer is allowed for every 4 Newcomer or Amateur dancers registered in the group. This ratio must be maintained in the total team composition.
Failure to comply with these provisions may lead to disqualification by the technical committee, according to the regulatory review procedure.
Article 4.1: AGES
The age categories are indicated on each registration form. The age of the participant on the day of the competition will be considered.
- The Junior, Juvenile, and Youth categories may move up an age category if the technical level allows it.
- The Adult B categories and above may move down an age category, subject to evaluation and approval by the organization.
Article 4.2: DIFFERENT AGES IN DUO/TRIO, TEAM AND GROUPS
In group competitions (duos, trios, teams, and groups), the oldest athlete will determine the age category in which the group must compete.
It is allowed for an athlete to be younger than the corresponding age for the assigned category.
Article 4.3: DANCING OUTSIDE YOUR AGE CATEGORY IN TEAM
Each team may include athletes from different age categories: Mini, Juvenile, Junior, Youth, and Adult.
To define the team’s age category:
- For every 4 dancers from the same age category, 1 dancer outside that range is allowed.
- If this ratio is not met, the oldest athlete will determine the category.
Article 4.4: AGE GROUPING
If there are fewer than three competitors in an age category, the organization may group different ages and/or technical divisions to ensure the competition takes place.
Article 4.5: AGE DIVISIONS AND COMPETITION LEVELS
Participants will be grouped according to their age and technical level, as shown in the following table:
| Category | Age range | Technical division |
|---|---|---|
| Minis | 4 to 6 years | New Comer |
| Juvenile I | 7 to 9 years | New Comer / Amateur |
| Juvenile II | 10 to 11 years | New Comer / Amateur |
| Junior | 12 to 14 years | New Comer / Amateur |
| Youth | 15 to 18 years | New Comer / Amateur |
| Adult A | 19 to 35 years | New Comer / Amateur / Professional |
| Adult B | 36 to 49 years | Amateur / Professional |
| Adult C | 50 years and older | Amateur / Professional |
Article 4.6: DEFINITION OF TECHNICAL DIVISIONS
- Open: A category level where New Comer and Amateur may join in duos/trios and groups.
- New Comer: Solo participants with little stage experience, competing for the first time or with up to 3 years of experience in technical training or competitions.
- Amateur: Solo participants at an intermediate-advanced level, with prior competition experience, regular classes, and consolidated technical training. Considered to have more than 4 years of experience.
These are the different dances divided by general technical characteristics that are part of our regulations:
Article 5.1: COSTA RICAN FOLK DANCE:
Traditional Salsa, Merengue, Bolero (classic, pirateado, criollo, son) and Criollo Swing. *See attached regulations
Article 5.2: SALSA:
Salsa is one of the Afro-Caribbean rhythms fused with jazz and other styles: in Salsa on 1 and 2, the difference in dancing is that in the first we accentuate beat 1 and 5 and in the second we accentuate 2 and 6, and Salsa Cabaret is a division within salsa where lifts are permitted. Salsa on 1 and 2, Salsa Cabaret, Traditional Salsa and In-Line Salsa.
Article 5.3: BACHATA:
Bachata is a sensual and seductive dance, much like tango and kizomba.
Over the years, several styles or ways of dancing have developed. Initially, the traditional (or Dominican) style, with shorter, faster steps and much more separation from the partner; where footwork and hip movement count for a lot. Later, the sensual style was born, attributed to Korke Escalona and Judith (Spanish dancers), with influences from tango and zouk, among others. Recently, new combinations have emerged such as bachata fusion, which could include steps from urban genres and bachatango.
Article 5.4: JAZZ:
The Jazz style incorporates technical elements of Modern Dance and Classical Ballet, without losing its own identity, characterized by specific technical work and a defined stylistic structure. Among its foundations are abdominal contractions, floor work, and the particular way of entering and exiting the floor, which bring dynamism and expressive force to the performance.
This style covers a wide range of variants, including:
- Broadway Jazz
- Funk Jazz
- Modern Jazz
- Contemporary Jazz, among others.
Each sub-style preserves the essence of jazz, adapting it to different scenic, musical, and choreographic contexts.
Article 5.5: CONTEMPORARY JAZZ
Contemporary Jazz in dance is a fusion between Classical Jazz—with roots in African-American culture, musical theater, and stage performance—and the techniques of Contemporary Dance.
Technical characteristics:
- Emphasis is placed on the use of body weight, gravity, floor work, and freedom of movement.
- The technique combines the rhythmic precision of jazz with the fluidity and expressiveness of contemporary.
- Greater exploration of the stage space is allowed, with organic transitions and the use of varied levels.
Interpretation and style:
- The style promotes free emotional interpretation, where the dancer can explore their individuality within the choreographic structure.
- Musicality, artistic intention, and emotional connection with the audience are valued.
Article 5.6 – Latin Jazz
Latin Jazz is a stylistic fusion that combines the technique and language of Jazz dance with rhythms, accents, and dynamics typical of Latin genres such as salsa, mambo, cha-cha-chá, rumba, among others. This category is characterized by the incorporation of fluid, syncopated, and energetic movements, with an emphasis on musicality, body isolation, and rhythmic expression.
The style must reflect a clear influence of Latin dance in both the musical selection and the choreographic execution, allowing the integration of technical jazz elements (such as kicks, turns, leaps) with the cadence and characteristic flavor of Latin rhythms.
Mandatory attire:
For this category, the use of Latin dance shoes (Latin ballroom type) is mandatory. They must have an appropriate heel, flexible sole, and a closed or semi-open design that allows for the required technical and aesthetic support.
Article 5.7: CONTEMPORARY
Contemporary Dance is an artistic discipline characterized by freedom of movement, bodily exploration, and deep emotional expression. Like Classical Ballet, it seeks to convey ideas, feelings, or emotions, but does so through a freer, more organic, and personal physical language.
5.7.1 Technical foundations
- It uses principles such as the use of body weight, gravity, floor work, and breath as the engine of movement.
- It relies on techniques such as release, floorwork, contraction and relaxation, and improvised movement, which allow for a more direct connection between the body and the artistic intention.
- Movement can be fluid, abrupt, angular, or expansive, depending on the choreographic narrative.
5.7.2 Style and expression
- Contemporary dance promotes the individuality of the performer, allowing each dancer to explore their own body vocabulary.
- Emotional intention, authentic interpretation, and the ability to communicate through the body without rigid structures are valued.
- Choreographies can address abstract, social, personal, or symbolic themes, with an artistic and reflective approach.
5.7.3 Use of space and musicality
- The stage space is used comprehensively, including the floor, high levels, and multidirectional transitions.
- Musicality can be traditional or experimental, and is not always based on marked rhythms; sometimes, movement is generated from silence or ambient sound.
Article 5.8: BALLET REPERTOIRE OR FRAGMENT:
Repertoires and/or classical fragments from world-renowned Classical Ballet companies, such as Swan Lake, Coppélia, The Nutcracker, among others.
The interpretation must respect the traditional roots of the work, although simplifying the technique by using only demi-pointe is permitted.
The costume must be appropriate for the choreography, maintaining the aesthetics and style of the interpreted piece.
Article 5.9: FREESTYLE BALLET:
Free repertoires of steps and technique from Classical Ballet. The choreographies may be of original creation, but must be based on ballet technique.
Choreographies based on existing works are not permitted, in order to encourage originality and avoid copyright conflicts.
Article 5.10: NEOCLASSICAL
The Neoclassical category is based on the technical foundations of Classical Ballet but is distinguished by its creative freedom and contemporary approach. Unlike Classical Ballet, where movement is completely codified and subject to a rigid structure, Neoclassical breaks free from that creative constraint, allowing for greater exploration of the body, space, and musicality.
5.10.1 Main characteristics
- It combines the academic technique of ballet with freer and more expressive elements, typical of modern styles.
- Greater flexibility is allowed in body lines, the use of the torso, spatial directions, and movement dynamics.
- Choreographies may include innovations in musical structure, costume, and stage narrative.
5.10.2 Style and aesthetics
- Neoclassical preserves the elegance and precision of ballet but incorporates stylistic breaks, such as weight shifts, unexpected turns, and fluid transitions.
- Artistic interpretation, choreographic originality, and the dancer's ability to convey emotions through a polished but not limited technique are valued.
Article 5.11: LYRICAL
The Lyrical style is a form of dance that fuses the techniques of Jazz, Ballet, and Contemporary Dance, creating a profoundly emotional and technical artistic expression. This style is characterized by its ability to convey feelings, tell stories, and connect with the audience through movement.
Main characteristics:
- Emotional expressiveness: The main focus of lyrical is interpretation. Dancers use gestures, glances, and fluid movements to communicate emotions such as love, sadness, hope, or nostalgia.
- Refined technique: It requires a solid technical foundation in ballet (alignment, control, extensions) and jazz (isolations, dynamism), complemented by the freedom and fluidity of contemporary dance.
- Musicality: Movements are closely synchronized with the music, emphasizing lyrics, melodic phrases, and rhythm changes to reinforce the emotional message.
- Smooth transitions: The lyrical style is distinguished by its elegant transitions between steps, with an emphasis on the continuity of movement and the use of space.
- Body narrative: Each choreography usually has an underlying story or message, which the dancer interprets with sensitivity and depth.
Artistic objective:
The purpose of lyrical is not only to show technical skill but to move the spectator, creating an aesthetic and emotional experience. It is a dance that speaks from the soul, where every gesture has intention and every step tells a part of the story.
Article 5.12: MUSICAL THEATRICAL:
In the context of a musical work or an artistic interpretation, the music can remain faithful to the original piece but can also include mixes or variations to adapt it or give it a modern touch, depending on the creative vision of the performer. It is common to use elements from other influences or genres to enrich the original piece and make it more interesting or accessible to a diverse audience.
As for the choreography, it does not need to be an exact replica of the original. Adaptations or reinterpretations can be made that maintain the essence of the work, but one can also innovate with new or stylistically different movements, as long as the message or tone of the original number is preserved. Creative freedom in choreography allows for something unique and personal to be made, without losing the essence of the piece.
Article 5.13: URBAN DANCES
Urban Dances comprise a set of styles born in street, social, and cultural contexts, mainly in Afro-descendant and Latino communities. Each style has its own body vocabulary, a specific cultural history, and a unique form of expression. In competition, the authenticity of the style as well as the technical execution, musicality, and stage presence will be valued.
5.13.1 Included styles
This category includes, among others, the following styles:
- Hip-Hop Freestyle
- Locking
- Popping
- Waacking
- Krump
- House Dance
- Vogue
- Dancehall
- Breaking (Breakdance)
- Urban Showdance
Each style must be respected in its essence, technique, and musicality. The fusion of styles is permitted as long as choreographic coherence is maintained and the main base is clearly identified.
5.13.2 Technical foundations
- Mastery of specific techniques such as isolations, bounces, contractions, footwork, grooves, and transitions.
- Use of the body as a rhythmic instrument, with emphasis on musicality, flow, and energy.
- Improvisation will be valued in styles that allow it, as well as choreographic creativity.
5.13.3 Style and presentation
- The costume must reflect the urban character of the chosen style, without interfering with technical execution.
- Stage attitude is fundamental: presence, confidence, and connection with the audience are expected.
- The music must be representative of the style, respecting its cultural and rhythmic roots.
Article 5.14: BREAKING:
BBoy: 1 vs 1, BGirl: 1 vs 1, Crew vs Crew, an athletic style of Street Dance, also known by the name of BBoying or BGirling. It consists of four movements such as Toprock, Footwork, Power Moves, and Freezes.
Article 5.15: ARGENTINE TANGO:
Tango is a musical genre and a dance, characteristic of the Río de la Plata region and its area of influence, but mainly of the cities of Buenos Aires (in Argentina) and Montevideo (in Uruguay).
Tango dancing is built on four basic components: the close embrace, the walk, the 'corte' and the 'quebrada', with the latter two classic terms understood as the axis of improvisation and the choreographic figures that adorn the dance, known by the generic name "firulete". But above all, tango must be danced as a body language through which personal emotions are transmitted to the partner.
In Salon Tango, the couple must perform figures, pauses, and improvised movements, called "cortes, quebradas, and firuletes", different for each of them, without letting go. It is the embrace that makes it complicated to combine the improvisations of both in a single choreography.
Stage Tango is a choreographic Tango prepared by the couple or coach and they dance it to their chosen music.
Article 5.16: ORIENTAL DANCES:
The movements of oriental dance are very sensual, personal and are different depending on several factors. The first depends on the music. In the case of pop, hip and belly movements are used, with sharp and short hits, as well as the use of a veil; in Arab flamenco, leg and arm movements stand out; in fusion dance, fluid belly and hip movements stand out; and in percussion, the whole body moves with sharp and strong hits, especially the chest, hips, and belly.
Another influencing factor is the objects with which one dances, that is, one does not dance the same with a sword or a cane as with a veil, Isis wings, or fans.
The clothing is also influential. With mermaid skirts, the movements are mainly of the hips. Due to the shape, leg movements are not used. With wide skirts or Arab folklore skirts, legs, hips, and belly move. The dancers create waves that simulate the desert dunes with these skirts. Finally, harem pants allow all kinds of movements thanks to their comfort. Furthermore, depending on the region, people dance differently. One does not dance the same in Egypt as in Morocco. On the other hand, each dancer ends up having her own style, her own technique, and her own movements, as this dance is very personal.
Article 5.17: TAP
Tap Dance is a discipline characterized by the use of the feet as a rhythmic instrument, using special shoes with metal plates on the toe and heel, which allow for the generation of percussive sounds when hitting the floor. For this competition, all forms of tap will compete against each other, including styles such as Broadway Tap, Rhythm Tap, Street Tap, among others.
5.17.1 Technique and execution
- The quality of the hits against the floor must be clear, rhythmic, and in harmony with the music.
- Control of sound, rhythmic precision, and the variety of step combinations will be valued.
- The dancer must demonstrate mastery of techniques such as shuffles, flaps, pullbacks, wings, time steps, and rhythmic improvisation.
Article 5.18: WHEELCHAIR DANCES:
It consists of the following dance modalities.
In this category, a single level is maintained for all participants.
Article 5.19: BALLROOM DANCE:
- Int. Latin: Cha Cha, Samba, Rumba, Paso Doble, and Jive.
- American Rhythm: Cha Cha, Rumba, A. Swing, Bolero, and Mambo.
- Int. Standard: Waltz, Int. Tango, V. Waltz, Foxtrot, and Quickstep.
- American Smooth: Waltz, Int. Tango, Foxtrot, V. Waltz.
Article 5.20: FOLKLORE:
Folkloric Sport Dance is a specialty that is danced in groups or in pairs, based on the general canons of traditional Folkloric dances, with typical music and costumes or those inspired by typical costumes. The music and costume are inseparable and linked to the expression and execution.
Article 5.21: SPANISH DANCES
Spanish Dances comprise a diverse set of dances originating from Spain, each with its own characteristics that reflect the cultural, historical, and regional identity of the country. These dances represent the most significant festive, religious, and social acts of each locality, and are transmitted as part of the Spanish cultural heritage.
5.21.1 Stylistic classification
Spanish dances are divided into several styles, among which the following stand out:
- Regional Folklore: Includes traditional dances such as the Aragonese jota, the Galician muñeira, the Andalusian fandango, the Basque zortziko, among others. Each is distinguished by its music, costume, and characteristic steps.
- Escuela Bolera: A refined style that combines ballet technique with traditional Spanish steps, including the use of castanets and stylized footwork (zapateado).
- Flamenco: A profoundly emotional artistic expression that includes cante (singing), toque (guitar), and baile (dance). It is characterized by footwork (zapateado), arm work (braceo), the use of rhythm (compás), and intense interpretation.
- Stylized Dance: A fusion of folkloric and flamenco elements with academic techniques, adapted for the stage with a more theatrical aesthetic.
Article 5.22: ETHNIC DANCES
Ethnic Dances comprise a set of traditional dances originating from various cultures around the world. Each dance reflects the historical, social, and spiritual identity of its community, and is distinguished by its characteristic steps, native rhythms, and traditional costumes. This category celebrates cultural diversity and promotes respect for the roots and artistic expressions of each people.
5.22.1 Representative styles
Among the most common ethnic dances are:
- Indian Dance (such as Bharatanatyam, Kathak, Bhangra)
- Brazilian Samba
- African Dances
- Polynesian Dances (such as Hula and Tahitian)
- Arab Dances (such as belly dance)
- Andean and Latin American Dances
- Chinese, Japanese, and Southeast Asian Dances
- Traditional European Dances (such as the Italian tarantella or Spanish flamenco)
5.22.2 Technical and cultural elements
- Each dance must respect the authentic movements, traditional musical rhythm, and representative costume of the culture of origin.
- The use of typical instruments, scenic elements (such as fans, veils, drums, masks), and precision in the execution of traditional steps will be valued.
- The choreography can be adapted for the stage, as long as it preserves the cultural essence and does not distort the original meaning of the dance.
5.22.3 Stage presentation
- The costume must be faithful to the traditional style, taking care of aesthetics, cultural respect, and functionality for technical execution.
- The use of makeup, hairstyles, and accessories that complement the cultural representation is permitted.
Article 5.23: REGGAETON:
Reggaeton is an urban style that combines Latin rhythms with influences from Hip Hop, Dancehall, and electronic music. It is characterized by its energy, sensuality, and direct connection with the musical rhythm. In the competitive context, a technical execution that maintains the essence of the style without losing body control or artistic intention is sought.
5.23.1 Technical characteristics
- Hip movements, isolations, bounces, and displacements marked by the dembow rhythm.
- Use of urban steps, body language, and stage attitude.
- Choreographies that may include elements of improvisation, group interaction, and theatricality.
5.23.2 Style and presentation
- Rhythmic strength, urban attitude, and connection with the music will be valued.
- The costume must reflect the urban style and allow freedom of movement.
- The interpretation can be sensual, energetic, or thematic, always within the limits of stage respect.
Article 5.24: ACRODANCE
Acrodance is a style that fuses the technique of classical and contemporary dance with acrobatic elements, creating a fluid, athletic, and visually stunning choreography. It is characterized by its athletic nature, its technical precision, and the harmonious integration between dance movement and acrobatic skills.
5.24.1 Technical foundations
- The execution must show smooth transitions between dance and acrobatics, avoiding abrupt cuts or isolated movements.
- Mastery of pirouettes, jumps, balances, acrobatic turns, and floor movements will be valued, always integrated within the choreographic structure.
- The dance technique must be solid, with an emphasis on body alignment, core control, and musicality.
5.24.2 Safety and control
- Performing incorrect, unsafe, or poorly executed acrobatic movements that could put the dancer's physical integrity at risk is not allowed.
- All acrobatic elements must be controlled, precise, and adapted to the technical level of the performer.
- It is recommended to avoid high-risk acrobatics if one does not have adequate training or if they cannot be executed safely.
5.24.3 Style and presentation
- The choreography must maintain an aesthetic coherence, where acrobatics complement the artistic narrative and are not used solely as an impact resource.
- The costume must allow freedom of movement and not interfere with the technical execution or the safety of the dancer.
Article 5.25: COMMERCIAL DANCE:
Commercial Dance is a versatile and contemporary style that is mainly developed in commercial contexts such as music videos, concerts, television, advertising, and live shows. This style fuses elements of Jazz, Hip Hop, Street Dance, and Modern Dance, with a scenic and visually impactful focus.
5.25.1 Technical characteristics
- Dynamic, precise choreographies designed to capture the viewer's attention.
- Use of stylized movements, marked poses, rapid transitions, and theatrical gestures.
- Direct influence from the entertainment industry, with an emphasis on the stage presence and charisma of the performer.
5.25.2 Style and presentation
- Energy, attitude, and the visual interpretation of the dancer will be valued.
- The costume can be modern, urban, or glamorous, depending on the concept of the choreography.
- The music used is usually commercial, current, and has a high rhythmic impact.
Article 5.26: KIZOMBA:
This dance exudes sensuality and romanticism. It combines Caribbean and African rhythms. It is danced closely with a partner. The Kizomba category may include the Semba and Urbankiz categories.
Article 5.27: 1 vs 1 BATTLES:
This is a 1 on 1 Battle competition and is open to all male and female dancers. The dancers will improvise to the rhythm of the music selected by the DJ (In 1 vs 1 urban, any of the urban dance styles are allowed).
The judges will evaluate the quality of the performance, technical musicality of the dance, and the personality of the performer. The music can change for each dancer, but it is not necessary. Each round will consist of 2 solo dancers who battle face to face. We will have a minimum of 8 competitors and before the start of the event, we will hold a draw to form the battles that will compete to do their demonstration. The judges will indicate who continues in the competition by pointing with their hands so that the new battles are formed again, and so on until two winners compete in the final.
Repechage: If the judges are in agreement, a repechage is held where all the participants who were eliminated in the first and second rounds will compete in the same previous manner, with only 1 participant remaining who will compete for third place.
Penalty: Any type of aggressive physical contact towards another competitor, or offensive words, obscene gestures, and racism are not allowed, which will be punished with the disqualification of the offender.
Article 5.28: TEAM MATCH:
Each group or academy forms a team of 4 couples (8 participants). The director of the group or academy chooses the couple that will dance the rhythm assigned by the organization.
The couples of each rhythm from all the groups or academies will dance at the same time, that is, as in the social categories, and their maximum time per couple is one minute and 30 seconds.
Points such as: Creativity, musicality, skill as a couple, and team spirit will be evaluated.
Article 5.29: SALSA RUEDA DE CASINO:
The minimum age to participate is 14 years old, the groups must be formed by a minimum of 4 couples, the groups must present a dance choreography in its salsa modality, they can dance in any of the timings, a greater command of the timing is important, it is possible to change to another timing voluntarily or randomly.
Article 5.30: CHALLENGE:
This is an open category where couples or soloists face each other at the same time on the floor. Competitors must socially dance to the music chosen by the organization.
Article 5.31: CHOREOGRAPHIC:
Dances of multiple styles, invented choreographies that do not fit into any previous category.
Article 5.32: ACROBATICS:
An acrobatic movement is one in which the body flips around the sagittal or frontal axis, for example, somersaults or cartwheels.
5.32.1 Acrobatics are permitted except in disciplines where they are expressly prohibited,
5.32.2 Acrobatics should never be gymnastic elements, except in Acrodance.
5.32.3 An acrobatic move will never improve the score as a difficulty element; on the contrary, poorly executed technical elements can harm the total performance of the group, except in Acrodance.
Article 5.33: IMPROVISATION:
5.33.1 Characteristics and Movement:
5.33.1.2 The "improvisation" category allows solo dancers to develop freely to music not previously announced.
5.33.1.3 Dancers must interpret the music through dance, reducing their expression to physicality without a fixed choreography.
5.33.1.4 Improvisation should be based primarily on the techniques and variations of the performing arts of Ballet, Jazz, Modern, and Contemporary.
5.33.2 Acrobatic Movements:
5.33.2.1 Acrobatic movements are permitted.
5.33.2.2 However, they do not always improve the dancer's performance and may result in a lower evaluation if not performed correctly from a technical point of view.
5.33.2.3 Gymnastic lines (gymnastic tricks) are not permitted.
5.33.2.4 Improvisation should not resemble an acrobatic dance routine.
Article 5.34: K-POP:
The performance piece must be a K-Pop dance cover. The performance piece, including the dance, music, and outfits, must be appropriate for all ages. Offensive, explicit, or inappropriate content is strictly prohibited. The music used in the performance must be from K-Pop artists. Covers of non-K-Pop songs or performances that include music from non-K-Pop artists are not allowed. If your team includes original choreography, it must be limited to less than 1 minute of the total performance. The majority of the dance routine must consist of recognizable K-Pop dance moves.
Article 5.35: BEST OF THE BEST:
All adult solo winners of the CR OPEN can participate for free in the BEST OF THE BEST category, which is the last category of the competition.
The category is divided into Adult Amateur and Professional.
They must confirm their participation at reception after winning their category.
Article 5.36: LIFTS:
A lift is a movement in which an athlete has both feet off the ground and is supported by a partner or another athlete.
5.36.1 The Chairperson may disqualify any group if a lift, which is not typical of the dance being represented, is performed during that group's execution.
Article 5.37: AFRO DANCE:
Afro dance (also known as Afro dance, Afrodance or Afro-dance) refers to the various dance styles originating from sub-Saharan Africa. These dances are deeply linked to the traditional rhythms and musical expressions of the region, forming an essential part of community life.
Music and dance not only serve an artistic function but are vital elements in many traditional African societies. Through them, social values are taught and transmitted, important events and transcendental moments of life are celebrated, oral history is preserved, and spiritual experiences are lived.
Afro dance is characterized by the use of polyrhythm (superposition of several rhythms) and by total body articulation, in which the entire body actively participates in the movement. In addition, these dances are usually collective in nature, performed in a group and with significant interaction between the dancers and the spectators.
These regulations seek to promote respect and fidelity to these cultural roots, establishing clear criteria to evaluate both the technical quality and the cultural and expressive value of each presentation.
Article 5.38: HEELS:
Heels dance (also known as stiletto dance or simply heels) is a style of dance performed wearing high-heeled shoes, typically stilettos. It is a dynamic and expressive form that incorporates elements from various dance styles, such as hip-hop, jazz, and contemporary, with a focus on precise movements, footwork, and body control.
Heels dance is characterized by dancing in high heels, usually stilettos, which adds a unique dimension to the movement.
It fuses different dance styles, creating a unique and expressive art form.
It focuses on sharp and precise movements, detailed use of the feet, and a high level of body control.
It has its roots in burlesque and in the traditions of showgirls.
It has evolved with influences from various dance genres.
Article 5.39: ALL STAR
The All Star category is a competition modality designed for soloists of stage dances who possess an advanced level of interpretation, stage presence, and artistic creativity. This category allows the participation of dancers representing different styles, with the aim of highlighting the best individual stage performance, beyond the specific technique of each style.
5.39.1 Permitted modalities
Participants can present choreographies in the following stage styles:
- Jazz
- Lyrical
- Contemporary
- Classical Ballet
- Neoclassical
5.39.2 Division by age
Competitors will be grouped by age ranges, allowing for a fair evaluation within each age group, in accordance with the official age table of the regulations.
This category is aimed at Amateur level dancers with consolidated stage experience.
Article 6.1: SOLO:
Athletes will compete individually and can be male or female.
Article 6.2: COUPLES:
One male athlete with one female athlete.
Article 6.3: SAME GENDER:
Two athletes of the same gender.
Article 6.4: DUOS:
Teams are composed of two athletes of different genders or the same gender.
Article 6.5: TRIO:
Teams are formed by three athletes of different genders or the same gender.
Article 6.6: TEAM/GROUP:
Teams are made up of four or more athletes. The organization may decide to separate them into small or large teams at its own discretion.
Article 6.7: INDIVIDUAL, COUPLE AND COMBI:
These are the divisions in the Wheelchair Dance categories.
Article 7.1:
The music must be in accordance with the routine and cannot contain inappropriate language (obscene, offensive, or discriminatory).
Article 7.2:
The duration of the music track must not exceed the choreographic time indicated in the regulations; however, for all levels, there will be a tolerance of plus (+) or minus (-) 20 seconds.
Article 7.3:
The music must be sent before the competition, as indicated by the organization. We recommend bringing your music to the competition on a USB or drive.
Article 7.4: PROBLEMS WITH THE MUSIC TRACK:
Only if technical failures in the event's audio are confirmed, the participant(s) may perform at the end of the corresponding competition block. If the music exceeds the time limit, the organization has the authority to cut it; otherwise, the participating choreography will be sanctioned with disqualification from the event.
Article 7.5:
The Competition organization has the authority to make decisions different from the above regarding the music, without this leading to legal or image-related problems.
Article 7.6: SHOWDANCE TIME LIMIT:
|
Modality |
Minimum time |
Maximum time |
|
Solo |
1:30 |
2:30 |
|
Duo/Trio |
1:30 |
2:30 |
|
Couples |
1:30 |
2:30 |
|
Same Gender |
1:30 |
2:30 |
|
Team |
2:30 |
3:00 |
|
Small Team (Folklore) |
2:30 |
3:00 |
|
Medium Team (Folklore) |
2:30 |
3:00 |
|
Large Team (Folklore) |
3:00 |
5:00 |
|
Mega Crew |
3:00 |
5:00 |
Article 7.7:
The use of scenic elements is permitted as long as they are set up and taken down within the indicated times. Stagehands may be used for setup and takedown. The floor must be left completely clean within the time allotted for setup. The time will start counting the moment the first person involved in setup enters and will end when the last person leaves the competition floor.
7.7.1 Elements that could damage the floor or be a danger to the athletes, for example, any type of liquid, are not permitted.
7.7.2 The use of any type of live animal is not permitted.
|
Setup time |
Takedown time |
|
|
Solo, Duos, Trios |
20 seconds |
20 seconds |
|
Small groups |
30 seconds |
30 seconds |
|
Large groups |
40 seconds |
40 seconds |
EXCEPTIONS
Article 7.8 TIME LIMIT IN STAGE ARGENTINE TANGO AND ARABIC DANCES:
The complete musical piece will be allowed; however, it cannot last more than 5 minutes.
Article 7.9: TIME LIMIT IN SALON ARGENTINE TANGO AND MILONGA:
The music is selected by the organization, and they will have to dance to three complete tango musical themes.
Article 7.10: TIME LIMIT IN SOCIAL, SINGLE DANCE, MULTIDANCE, NOVICE, CHAMPIONSHIP AND OPEN LATIN:
The time is usually 1:30 min. maximum; the music is selected by the organization.
Article 7.11: SMOOTH/BALLROOM/RHYTHM/LATIN RHYTHMS:
|
Rhythms: |
International |
American |
Pro/Am |
|
Bronze |
|||
|
Waltz |
28-31 |
28-30 |
30-32 |
|
Viennese Waltz |
56-60 |
54-56 |
54-58 |
|
Tango |
32-34 |
30-32 |
30-32 |
|
Foxtrot |
28-30 |
30-32 |
30-34 |
|
Quickstep |
50-52 |
||
|
Cha Cha |
32-34 |
28-30 |
30-32 |
|
Samba |
48-50 |
54-56 |
54-56 |
|
Paso Doble |
60-62 |
58-60 |
58-60 |
|
Rumba |
27-29 |
32 |
32-36 |
|
Bolero |
24 |
24-26 |
|
|
Mambo |
47 |
48-51 |
|
|
Jive |
44-52 |
||
|
East Coast Swing |
34-36 |
||
|
West Coast Swing |
34-36 |
Article 7.12: TIME LIMIT IN TAP DANCES:
The music must not contain pre-recorded tap sounds. Personal amplification devices are not permitted. No more than 30 seconds of a cappella or tacet (silence) may be used in any routine. "A Cappella" is an open phrase of multiple measures in length, but completely absent (silent) of any type of music.
Article 7.13: TIME LIMIT IN BALLET REPERTOIRE:
In the context of ballet repertoire, musical pieces are allowed to be shorter than one and a half minutes.
Article 7.14: TIME LIMIT IN IMPROVISATION:
Each performance will last for 1 minute. The music for each round and heat is chosen at random from a list that will be shared one month in advance on our website.
The music selection will include different tempos and styles such as Lyrical Jazz, Modern Jazz, Funky Jazz, Pop, among others.
Article 7.15:
The competitor must perform their choreography within the time allotted for their category and modality.
In the event that, for any reason, the competitor interrupts the routine, it cannot be repeated and will be evaluated solely based on what was performed up to the moment of interruption.
Every competitor must have a personal contingency plan in case of serious emergencies, in order to ensure their safety and the continuity of the event.
Article 8.1: General costume rules for all disciplines
Costume decoration or the use of accessories containing symbols with religious, political, or offensive references to public morals is not permitted, except in those disciplines where such symbols are historically necessary and provided they are used respectfully, without offending or harming any person or group.
The costume must adequately cover the athlete's private parts. Therefore, the following garments are prohibited: hot culottes, thongs, and transparent inserts in the areas corresponding to intimate apparel.
a) If shorts are worn, they must comply with the same requirements as underwear established in these Regulations.
b) If a problem occurs that fully or partially invalidates the costume during the competition, the athlete must inform the Chairman of the need to replace it and obtain authorization before making any change.
c) The Chairman may require an athlete or group to change all or part of their costume or accessories if he/she considers that they contravene the provisions of this rule.
d) Accessories are permitted, understood as decorative objects integrated into the costume, such as: jewelry, gloves, bags, hats, belts, scarves, watches, sunglasses, pins, ribbons, leg warmers, and orthodontic appliances.
e) During the competition, no element of the presentation may be modified: costume, music, or choreography must remain unchanged throughout the competition to ensure equality among all participants.
This process will be carried out exclusively by the director or legal representative of the competitor. Underage participants must have the authorization of their parents or legal guardians, and adult competitors will participate on their own behalf or in representation of the institution or team to which they belong.
Article 9.1: DOCUMENTATION:
You must submit the necessary documentation on the dates and through the means established for the event (this information is detailed in the registration section). The organization has the authority to decide whether to accept registrations received after the deadlines. Registrations sent by phone or any other unofficial means will not be accepted. Late registrations and payments will not be considered for special awards.
Article 9.2: DIGITAL REGISTRATION SYSTEM:
Academies must complete their registrations through the PodiumSystem digital system, in which they must:
- Create the academy's user account on the platform.
- Register the corresponding performances.
- Register all competitors.
- Upload the music tracks for each performance.
- Upload the duly signed release forms.
- Attach a copy of the ID card or identity document of each participant.
The correct and complete use of this platform will be an essential requirement for the registration to be accepted.
Article 9.3: PAYMENT:
You must make the participation payment on the dates established by the event organization. Payments after the deadline do not guarantee acceptance of the registration. The organization does not issue refunds under any circumstances. Registration changes after the deadline will incur an additional cost.
Article 9.4: REFUNDS:
Once the registration is completed, the organization DOES NOT ISSUE ANY REFUNDS. In situations of natural events (earthquake, fire, health situations, among others), the money will not be returned, but it may be frozen to be applied to the next edition, depending on the feasibility of holding the event.
Article 9.5: INSURANCE FOR INTERNATIONAL EVENTS:
In international events, it will be mandatory for all participants to have, at their own expense, traveler's insurance.
Article 10.1 (RELEASE):
All directors and/or instructors must be familiar with the medical history of their delegation members and have an emergency plan in case of any eventualities during the event. They must sign the release form provided by the organization and send it by email to the organization before the competition. For minors, the form must be signed by their direct guardians.
Article 10.2 (INJURY LIABILITY):
- Dance to Shine Production and Danza Deportiva SA are not responsible for injuries or accidents that may occur during the competitions.
- For each underage participant, their parents, legal guardians, or academy/group directors will be held responsible.
- Participation in the competitions organized by Dance to Shine Production and Danza Deportiva SA is completely voluntary.
- The organization is not obligated to provide medical attention to participants in case of injuries during the competition.
- If a participant cannot repeat their performance due to injuries, the organization will not assume any responsibility for it.
- If an injured participant wishes to repeat their performance, they must request it through the director, who will consult with the competition chairman to determine if it is possible.
Article 11.1:
The registration of the same dancer, couple, or team in more than one choreography in the same category is prohibited. You cannot compete against yourself.
Article 11.2:
Directors, choreographers, and participants are prohibited from having verbal contact with the judges during the competition.
Article 11.3:
Directors, choreographers, or any member of the school are prohibited from going on stage before, during, or after the participating choreography (They may only go up when called for the awards ceremony).
Article 11.4:
Filming: recording personal videos, filming, or photographing during the event will not be permitted. Professional videographers and photographers will be available at the event.
Article 11.5:
Athletes and participants in general are prohibited from using elements that endanger people's health and the order and cleanliness of the facilities, such as, for example: paint, powders, liquids, fire, stones, helium-filled balloons without weights, sharp tools, firearms, among others.
Article 12.1: WRONG MODALITY AND AGE CATEGORY:
The Open Dance Fest will deduct points from the dancer or group that registers in the wrong age category and/or performs a technique different from the one for which they registered.
Article 12.2: PERFORMANCE TIMES:
In case of not being present when called to participate, the organization reserves the right to disqualify the participant and will not accept any claims. (You must check in 2 hours before your assigned time).
Article 12.3: COMPETITION SCHEDULE:
The program may run early or late depending on the progress of the competition, without this giving rise to claims from persons external to the competition organization. For this reason, dancers are requested to arrive early.
Article 12.4: LATE ARRIVAL TO THE STAGE:
The Open Dance Fest will deduct points from the dancer or group for arriving late or not showing up for their performance.
Article 12.5: ATHLETE CONDUCT:
All athletes must behave responsibly and with good sportsmanship. This includes respecting other athletes, with absolutely no offensive or threatening behavior. All athletes must abide by the current legislation of Costa Rica regarding the prohibition of smoking (Law 9028), not consuming alcoholic beverages (Law 9047), and not consuming drugs (Law 7786).
Article 13.1:
This is a celebratory act and awards gala where the corresponding prizes and special mentions of the event are presented.
Article 13.2:
The competition organization reserves the right to move the event's awards ceremonies earlier or later as needed, so athletes must be committed to being present and attentive throughout their competition day.
Article 13.3:
If for any reason the athlete(s) are not present at the time of the awards ceremony, they can collect their prize, with a valid ID, at the organization's offices within 15 business days after the competition.
Article 13.4:
Under no circumstances will prizes be given to third parties. If they are minors, they must be accompanied by an adult. If a group is the winner, the prize may be given to their teacher.
Article 14.1 – Special Awards
The following recognitions will be presented on the last day of the competition. The awards are non-transferable and will be granted only to groups, academies, and/or independent dancers who have completed their registration and payment within the deadline stipulated by the organization.
- Studio of the Year: It will be awarded to the studio that achieves the highest number of podium finishes throughout the entire competition, with a minimum of 21 entries.
- Teacher of the Year: It will be awarded to the choreographer whose performance has received the highest score in the entire competition, with a minimum of 3 performances.
- Team of the Year: It will be awarded to the team that obtains the highest score of the entire competition.
- Student of the Year: It will be awarded to a soloist in the Amateur category who obtains the highest score of the entire competition.
- Professional Dancer of the Year: It will be awarded to a soloist in the Professional category who obtains the highest score of the entire competition.
- Duo/Trio of the Year: It will be awarded to the Duo/Trio that obtains the highest score of the entire competition.
- Team Match: A rotating trophy will be awarded to the winning team of this modality.
Article 14.2: Awarding Criterion
The presentation of these awards is at the sole and exclusive discretion of the organization, based on an internal evaluation that considers the items mentioned above.
Therefore, no claims will be accepted from persons external to the official members of the organization.
Article 14.3: PRO/AM Awards
In the Pro/Am modality, only the Amateur dancer will be awarded.
The accompanying professional will not receive an award but may request a certificate of participation if they wish.
Article 14.4: Awards per Performance
- 1st place: The performance that obtains the highest score within its category will be awarded.
- 2nd place: The performance with the second-highest score will be awarded, and so on for the following places.
The organization recognizes and values the effort of all participants, and therefore awards:
- A participation medal to each dancer.
- A certificate of participation for all registrants.
- A champion's certificate to the first place of each category.
Article 15.1:
Depending on the number of participants in the competitions, the organization may hold preliminary rounds, ending in a final round that will consist of between 6 and 8 participants. In the preliminary rounds, the number of participants must be reduced by half in each round.
Article 15.2:
For disciplines in which the competition is performed using the groups' or teams' own music, depending on the number of registered competition units, at the discretion of the Chairperson and unless this causes a delay in the competition, the eliminations will occur according to the table below:
- Up to 8 participants: Direct Final
- From 9 to 25 participants: Semifinal and Final
- More than 26 participants: Quarterfinals, Semifinal, and Final
Article 15.3:
In the final, the judges must place the best couple, group, or team in the first position and each of the remaining participants in the successive positions according to their performance compared to each of the other participants. The same position cannot be awarded to more than one participant.
Article 15.4:
Open Dance Fest has different elements to consider and evaluate according to each genre and level of the performance. These elements are:
1. Technical Qualities: (40%)
- 1.1 Posture/Poise
- 1.2 Holds
- 1.3 Balances
- 1.4 Footwork
- 1.5 Movement Elements
- 1.6 Body Actions
- 1.7 Turns
- 1.8 Isolations and Coordination
- 1.9 Dynamics
- 1.10 Lines and Extensions
2. Movement with Music: (30%)
- 2.1 Timing/Shuffle Timing
- 2.2 Rhythm
- 2.3 Musical Structure
- 2.4 Physical Communication
- 2.5 Overbalance/Counterbalance/Holds/Drops
- 2.6 Use of Space
- 2.7 Synchronization
- 2.8 Consistency
3. Artistic Qualities: (30%)
- 3.1 Choreography and Presentation
- 3.2 Non-verbal Communication
- 3.3 Spatial Positioning
- 3.4 Representation
- 3.5 Characterization
- 3.6 Interpretation
- 3.7 Use of Energy
- 3.8 Atmosphere
- 3.9 Musicality
- 3.10 Intention
Article 15.5:
Scoring and judging are the responsibility of the judges, who have sufficient technical knowledge to evaluate any dancer in their different styles. The competition organization is the sole existing authority able to review, together with the jury, any related issues, thus excluding any external person, be it the academy or the dancer.
Article 15.6:
The final results are processed by software which provides data faithful to the scores entered by the jury. The results generated by the software are the only ones that are disclosed.
Article 15.7:
Under no circumstances may the results be shown to external persons or those not directly or indirectly involved in the competition. This data is of a legal nature and remains audited and in custody at the Open Dance Fest offices.
Article 15.8:
The results will be published on the competition's website a maximum of 1 week after the event. The organization has the right to make these publications after this time when any circumstance of force majeure so requires, and this does not give rise to claims or sanctions from competitors, teachers, judges, or persons external to the organization.
Article 15.9:
Claims from parents will not be accepted during or after the competition. Claims are only accepted from directors and directly with the competition Chairman. The organization or the Chairman may sanction a dancer for claims made by parents. Claims will not be accepted via any social network, but only through the official competition email. Starting 24 hours after the results are published and for a maximum of 7 days, no claims will be accepted under any exception.
Article 15.10:
The organization may advance or delay the schedule as needed and without prior notice.
Article 16.1:
The judges who are part of the Open Dance Fest are fully qualified individuals to perform the function for which their presence has been requested. They are professionals in their field, and international guests with the same required qualities also form part of the jury.
Article 16.2:
At Open Dance Fest, the evaluation systems and metrics are completely different and exclusive, so the jury, regardless of their expertise, is fully capable of evaluating the styles and genres for which they were convened.
Article 16.3:
The Open Dance Fest has complete freedom to choose the judges for each heat as it deems appropriate. If in any heat a judge is directly or indirectly part of the dancers on the floor, this does not interfere with their work, and they can proceed with their evaluation without it being detrimental to any of the participants. It is assumed that the athlete(s) performing should not be affected by a single judge's score when the panel is composed of several members, and each one provides an independent evaluation.
Article 16.4:
The jury will be composed of a minimum of three (3) people:
- At least two (2) judges specialized in the technical part.
- At least one (1) judge specialized in the artistic and expressive part, including interpretation, stage presence, and connection with the audience.
- Each judge will evaluate according to their area of expertise, using the established criteria table.
- The jury's decision will be final.
Article 17.1: SUBSTITUTES:
A maximum of two substitutes are permitted in small and large groups. The substitution of a member for a substitute must be communicated to the Chairperson, along with the reason for the change. The only permitted reasons are injury or any other reason that prevents them from continuing in the competition. Replacements as a sports tactic will not be allowed.
17.1.1: In solos, duos, and trios, substitutes are not permitted.
Article 17.2: LOSS OR THEFT:
Neither the competition organization nor the venue representatives are responsible for the loss or theft of any belongings of the participants and the general public, nor for injuries that the dancers may suffer. A release form must be filled out before the competition.
Article 17.3: EXTRAORDINARY CASES:
The organization reserves the right to modify the order of participation without prior notice.
Article 17.4: REGARDING THESE REGULATIONS:
17.4.1: All members of the Open Dance Fest organization, Board of Directors, judges, Staff, scrutineers, athletes, parents of athletes, participants in general, and others, attest to their acceptance and knowledge of these regulations and all their implications.
17.4.2: The Open Dance Fest organization has the authority to vary these regulations without prior notice, according to adverse circumstances of the event and its unforeseen incidents; this can be done without legal implications.
Article 17.5: BEST OF THE BEST:
Only soloists in the Adult category (over 19 years of age) may participate.
Amateur and professional soloists will compete together in the same classification.
Participation will be exclusive to the winners of their heat, provided that there were at least three participants in that Showdance heat.
This category will be held only at the CR Open Dance Fest.
The "Best of the Best" competition will be held as the last heat on Sunday of the event.
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