RULES
Article 14 Competitions and their order
Before the competition, based on entries and entry fees in the competition; traditional tango, tango waltz and tango milonga, the main judge divides the participants into groups. If the competition is multi-stage, the draw of pairs into groups takes place before each successive degree/level of competition.
The group consists of up to 10 couples. The number of groups depends on the number of starters.
After determining the number of groups, a draw takes place; pairs consisting in assigning them to the appropriate group and starting numbers.
In the competition of stage tango and dance formations, the order of performances is drawn. If the number of pairs or formations is large, a two-stage qualification can be used, in which case 8 teams will advance to the final.
The following order is established for the categories: juniors go first,
then seniors.
The order of the categories is established as follows: traditional tango, stage tango, tango waltz, tango milonga and dance formations
Depending on the number of competitors, there can be a maximum of four degrees/levels of competition: eliminations, quarter-finals, semi-finals and finals in each competition.
In each degree of competition, 50% of the starting pairs go to the next step/level, unless the number of pairs starting in the competition is less than 10, then all pairs will advance, and the winners will be determined by adding up the points from the two performances.
Participants may not contact or communicate in any way with the judging team.
Article 15
Movement during performance
- In the traditional tango, milonga and waltz competition, pairs of competitors:
- as in the case of a real dance hall, will dance around the perimeter of the dance floor, the so-called roundabout and will have to constantly move counter-clockwise without going backwards. - if necessary, it is allowed to go one or two steps back, but always in the space of the pair.
- the couple must be aware of and respect their space as well as that of other couples in the roundabout, so as not to disturb the harmony of movement.
- if a pair performs more than two phrases in the same place, making it difficult for others to move on the court, the Jury may consider lowering their score.
- if one pair stops the movement on the floor, other pairs cannot pass them. When pairs line up, the Jury may find it necessary to start a new tango to resolve the inconvenience.
In the competition of stage tango and dance formations:
- use the entire space of the parquet. When preparing the choreography, the size of the dance floor should be taken into account.
- If any item/element is included in the choreography which is optional (e.g. hats, chairs, fans) it must be used in a way that makes sense in the choreography.
- it is forbidden to use harmful materials such as powders, liquids or fire.
- if the stage is littered with props or participants' costumes, it must be cleaned immediately after the end of the performance.
Chapter IV
Evaluation of individual competitions
Article 15
Scoring
Competitions
traditional tango
stage tango
tango
waltz
tango
milonga
Dance formations
Evaluation criteria
Technique
musicality
Improvisation
Style
Couple dialogue
Choreography / Composition
• Choreography.
• Preserving the character of Tango (Style). • Using the space of the dance floor (stage). • Synchronicity of the pair (Dialogue in a couple) • Choreographic effects. • Musical interpretation (Improvisation). • Musical accuracy (Musicality)
• Outfits
1. TRADITIONAL TANGO (tango de pista)
It is conceived as a social dance, in which the most important are: musicality, improvisation, tango embrace and relationship in a couple.
DANCE TECHNICAL REQUIREMENTS:
- after the music starts playing, the couple in the tango embrace cannot separate. For an embrace to be considered correct, at least one member of the pair must have an arm around the other. It is acceptable and understandable that this may be flexible in some figures, but not for the entire duration of the dance. All movements and figures must be performed within the space allowed by the couple's embrace so as not to disturb other dancing couples. The leader leads forward and sideways, avoiding steps backwards beyond the pair space. Partners do not have to break the embrace between tangos.
JUDGMENT CRITERIA
1. A couple may perform any of the commonly used "social" tango figures, including "barridas" (sweeping), "sacadas al piso" (pulling to the floor), "enrosques" (twisting), "ganchos" (hooks), "boleos", etc., as well as embellishments always in their own space, without disturbing other dancing couples. 2. Neither member of the pair may lift their legs beyond the knee line. Decorations are allowed within the following limit. 3. Jumps, figures consisting in lifting both feet off the ground and any other choreographic possibilities typical of Stage Tango are completely prohibited.
4. The jury will take into account their own interpretation of the tango style as the basis for the assessment. They will also deal with musicality, an elegant style of walking, but above all, the relationship between partners and the search for one's own expression. When assessing, it will also be very important to skillfully match the dynamics and speed of the dance to the tango piece being played.
5. Costumes: Costumes will not be considered for judging, but dancers should dress smartly. When choosing your outfit, hairstyle and makeup, remember that Tango de Pista is a ballroom dance, not a stage dance.
2. STAGE TANGO (stage tango):
DANCE TECHNICAL REQUIREMENTS:
Each pair will propose an individual performance with a song of their choice, no longer than four (4) minutes.
In case of problems with the choreography, the couple will decide whether to continue dancing or not, and the judges will judge how they solved the situation. The couple will not be able to repeat the performance.
In the event of a technical problem during the pair's performance, the organizer together with the judges will decide on its replay. It will take place at the end of the performances in this competition.
EVALUATION CRITERIA
Participants will be able to express themselves in the Argentine tango dance. This means that couples will be able to perform movements, figures and ornaments that are not directly related to traditional tango. But the choreography must include the traditional tango elements: ochos, giros, caminata, boleo, ganchos, all in a tango abrazo.
Couples will be allowed to break the embrace and use techniques from other dance disciplines, as long as they are justified and enrich the performance of the dancers.
Elements performed in the air and movements from other dance disciplines must not be predominant. This means that they must not exceed one-third of the performance.
The pair must perform a sequence of moves using the entire surface of the dance floor.
Outfits may be taken into account when judging.
The following points will be taken into account:
• Choreography.
• Retaining the character of the Tango. • Using the space of the (stage) dance floor. • Synchronicity of the couple. • Choreographic effects. • Musical interpretation. • Musical accuracy.
3. MILONGA.
Couples will compete in groups, dancing a (social) milonga to three pieces selected by the Committee in advance.
DANCE RULES:
- Couples, like in a real dance hall, must constantly move counter-clockwise and avoid staying too long in the same place to avoid pairs' queue.
- Once a couple forms a tango embrace, the partners cannot separate as long as the music continues. This means that they cannot break the embrace, which is considered the basic Tango dance position. For the position to be considered correct, the partners must constantly embrace each other (closed embrace is recommended).
It is understood that in some figures this may be flexible; but not in the whole song. All movements should be performed within the space that the pair's embrace allows. Within these guidelines, participants may perform any commonly used figures. Ganchos (hooks), somersaults (jumps), trepadas (climbs) and any other typically scenic possibilities are completely out of the question. Dancers may not lift their legs beyond the knee line. Decorations are allowed within this limit. The judges give particular importance to musicality, fluidity, personality and especially the rhythm of the Milonga as the primary evaluation points. Costumes will not be considered as a special evaluation point in this category.
4. TANGO VALS
PRINCIPLES OF DANCE
- Couples, like in a real dance hall, must constantly move counter-clockwise and avoid staying too long in the same place to avoid pairs' queue.
- Once a couple forms a tango embrace, the partners cannot separate as long as the music continues. This means that they cannot break the embrace, which is considered the basic Tango dance position. For the position to be considered correct, the partners must constantly embrace each other (closed embrace is recommended). It
is understood that this may be flexible in some figures; but not in the whole song. All movements must be performed within the space that the couple's embrace allows. Within these guidelines, participants may perform any figure commonly used, especially those specific to the Waltz, such as twists, circles, syncopated walking, axle pains, etc.
Somersaults (jumps), trepadas (climbs) and any other tango typical stage possibilities are completely excluded.
Dancers are not allowed to lift their legs beyond the knee line. Decorations are allowed within this limit. The judges will give the importance of fluidity in the dance, the specific description of the rhythm (syncopation for the Waltz) and the interpretation of the music as the primary points of judging.
Costumes will not be considered as a special evaluation point in this category.