MODALITY AND TIME OF MUSIC

SECTION 5: COMPETITION MODALITIES, STUNTS AND CARRIAGES

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.

SECTION 6: COMPETITION UNITS

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.

SECTION 7: MUSIC TIME

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.

Regulations updated May, 2023 // c/c OPEN DANCE FEST Archive // Published