CONTENT:

1.GENERAL PROVISIONS2.ORGANIZATIONAL STRUCTURE3.RIGHTS AND OBLIGATIONS OF MEMBERS of the CC4.DELEGATION OF CC- members5.RULES OF COMPETITORS, TRAINERS AND ACCOMPANIES

BATON section – abbrev. BAT POMPON section – abbrev. POM

MIX section – abbrev. MIX BATONFLAG section – abbrev. FLAG DRUMMERS section – abbrev. DRUM CLASSIC MAJORETTES BATON- section abbrev. CLASSIC BATON MACE MAJORETTES-abbrev MACE CLASSIC MAJORETTES POM-PON-abbrev. CLASSCI POM-PON Other props in all sections

a)Competition participants b)Age categories c)Disciplines within the competition d)Parade marching e)Stage choreography f)Required parts in POM section g)Evaluation criteria

CHOREOGRAPHY, COMPOSITION MOVEMENT TECHNIQUE WORK WITH EQUIPMENT a)Required elements in BAT section

b)Required elements in FLAG section c)Bonification for work with equipment TECHNICAL PENALIZATION

Official persons of competition Prizes for World and European Championship Course of the competition Music for competition programs Costumes, outfit of competitors

6.FINAL PROVISIONS7. Gymnastic and acrobatic elements in sport majorettes and levels priamyd

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GENERAL PROVISIONS § l

COMPETITION Rulebook defines the principles of work of competitors of MWF, trainers of MWF, and their accompanists. Define procedures for their qualification and classification at competitions and championships, their behavior before, during and after competitions.

§ 2

The Competition Rulebook is a part of the competition rule-system of MWF which include formal rules of the Articles of Association of MWF, and rules of judging too.

§ 3

The main acts of the trial in majorette dancing in MWF are: Competition Rulebook, Judges Rulebook and Code of Judges and Delegates. These three acts have the same power.

• ORGANIZATIONAL STRUCTURE

§ 4

In accordance with the provisions of the Articles of Federation- MWF, Competitors’ Committee- MWF performs the following tasks:

• Introduction and annually review of Competition Rulebook • Preparation for modifications, submitting for MWF- Board • Categorization of competitions • Organization and execution of seminars for trainers • Analysis of trials

• RIGHTS AND OBLIGATIONS OF CC-MWF MEMBERS• 5

Obligations for CC- members-MWF are:• Annual meeting of Competitors’ Committee takes place after the World Championship

of Majorette sport, at the latest date of 15th May. To prepare and annually review Competition Rulebook – MWF.

• To attend every year at regular Committee-meeting, with preparatory work at home, in accordance with aim of national association and MWF too.

• The person, who is in charge of updating the Competition Rulebook-MWF, is current President of Competitors’ Committee

• Deadline to finish updated edition of CR is 30 days after the annual meeting of CC .

§ 6

CC-Members lose their rights if:

• Don’t attend event for which he/she was appointed, or fail to report justifiable absence timely to the President of Competitors’ Committee

• membership of the chosen nations obtained for a period of 4 years

• DELEGATION OF CC- members § 7

In every four years each MWF- members have the right to delegate 1 person-as their national representative- to Competitors’ Committee. The committee works with 5 members.

If national association is not satisfied with the work of its nominee, recalls and sets new person in place.

If a committee-member country doesn’t perform his duties for a calendar year, Management Board of MWF may appoint a new member to replace.

§ 8

Members of Competitors’ Committee should get total coasts of travelling (cheapest solution calculated), accommodation and meal for 1 day, once a year for annual meeting, paid by MWF, at the end of the meeting. With the validity from 01.01.2013.

• RULES OF COMPETITORS, TRAINERS AND ACCOMPANIES

Sections of competition

1. BATON Section2. POMPON Section• SHOW Section • MIX Section • BATONFLAG Section• DRUM MAJORETTES Section• CLASSIC BATON Section• MACE Section• CLASSIC POM-PON Section

Equipment

• BATON section – abbrev. BAT

One or two BATONS per one majorette

Two –baton solo discipline for seniorsNo other equipment (scarves etc) is allowed in the BAT competition program

• POMPON section – abbrev. POM

1. Two basic pieces of pom-pom per one competitor2. In the course of competition performance, a pompon can be exchanged for a one of a different colour.3. Additional equipment, however, cannot be placed in the competition area or next to it.

MIX section – abbrev. MIXIn one performance a combination of 2 different equipment must be used

BAT and POM BAT and FLAG POM and FLAG

Stage choreography for mini-formations (4-7 members)and teams ( 8-25 members)

The equipment should be used in a balanced ratio of BAT:POM or BAT:FLAG or POM:FLAG

They must work all the time with both types of equipment, an exchange of different types of equipment is required between the members of the formation.

The norms of field „C“– work with equipment are still valid for the evaluation of contact with both equipment.

Rating of equipment-technique is on the basis of „C“-field Required elements are determined by the two used equipment always (in case of

mix BAT: POM all compulsories of BAT and POM are required, in case of BAT :FLAG no elements of POM are required, etc).

In case of competitors are in odd numbers, captain is not obliged to change equipment.

2) MINI MIX

The choreography must contain the required elements of both used equipment that are required in the body technique and technology equipment, and any (optional), which required elements POM group performs - (wave pattern, lifting). In the case of BAT/FLAG is also

an optional type of throwing and a number of exchanges. In the case of inclusion of a larger amount of elements of higher quality and more variations from the above is preferably in the evaluation.

BATONFLAG section – abbrev. FLAG

• One or two baton-flags per one majorette • Flag can be one- (baton 70-80 cm long) or two ended• the length of two-ended baton-flag is not limited• Longer flags can be used too, which size is not limited• Maximum 30% of members of the team or mini formation can use bigger flag in

choreographies• No other equipment is allowed in the FLAG competition program • Stage choreography for mini-formations (4-7 members) and teams ( 8-25 members) • In FLAG mini formation they may start maximum 3 boys

DRUMMERS / DRUM MAJORETTES – abbrev. DRUM

The choreography on the podium is reserved for groups of majorettes The drum (possibly in a different configuration) for each of the majorettes Two drum sticks for each majorette It is allowed to have extra drumsticks to replace the originals in case they fall during a

performance (they should be placed either in a special pouch that attaches to the belt or the boot of the majorettes)

It is allowed to use additional props (for example a Drum-Major, flags, etc.) for the soloist. But additional props cannot be put on the podium during a performance.

The drum should be in a suspended position during the performance. It is not allowed to place the drum on the podium and perform a dancing number without the drum.

The entry and exit of the scene should be done without music and drum accompaniment.

Before the beginning of the composition the participants have to stand in the 'stop figure' . After the composition, they have to stand in the 'stop position' as well.

The participants are not allowed to be in a static position during the time of the performance. The participants have to move constantly and the same time perform on the drums.

During the time of the performance there has to be a rhythmic drum pattern, twirling, dance combinations and marching.

The ratio for the required elements during the execution of the performance: A rhythmic pattern by the Drummers - 50% Twirling 20% Choreographic Composition 30%

Musical Accompaniment - Any (It is possible for the group to perform without musical accompaniment. In this case, the music is drum rolls, performed by members of the group)

The costumes and make up have to be corresponding to the nature and theme of the musical composition.

Participants of the Championship:Groups: 8-25 peopleBoys are allowed to participate in the following proportions:

8 -12 people 1 boy,

13-17 people 2 boys, 18-22 people 3 boys, 23-25 and more people 4 boys

Age Categories: Juniors - from 12 to 14 Seniors 15 years and higher

Age Restrictions:In the juniors category it is allowed for up to 20% of the the participants to be from the higher age category. The age of the participants from the senior category should not be over two years older the maximum age of the junior category (the maximum age is 16)Limit of the participation of seniors in the juniors category:

8-12 juniors = 2 seniors 13-17 juniors = 3 seniors 18-22 juniors = 4 seniors 22-25 juniors = 5 seniors

Disciplines in the championship:Stage choreography: Size of the stage: 12х12 metersA protective zone of 2 meters on all sides of the stage, along the whole perimeter of the the stage.Performance time: 2.30-3.00 minutes (does not include the time for entry and exit)

WORK WITH EQUIPMENT- section of Drummers:A) TwirlingLevel 1:

• The rotation the drumstick without throwing (separately with the right and left hand) Level 2:

• Simple throws with the drumsticks (the vertical "candle" and horizontal "balance beam"

• twirling the drumstick without throwing (separately with the right and left hand) Level 3:

• Throwing the drumsticks with a rotation (with right or left hand)• rotation of drum sticks between two fingers on hands (with right or left hand)

Level 4:• Playing on the neighbor's drums• Throwing the drumsticks to each other in pairs,• throwing the drumsticks to each other to the side in a circle

Level 5:• Throwing the drumsticks over their heads back to their partner• Throwing of a stick one hand while other hand plays drums• twirling the stick between their fingers(4 fingers)

OBLIGATORY ELEMENTS In equipment Drum :

For Juniors (4 elements of twirling)• 2 x simple throws of the drumsticks (all members,) • 1 x throw with twirling of the stick (all members,) • 1 x throwing of the stick to each other (all members,)

At the same time, use 4 rhythmic drum patterns and 4 dance compositionsAll components must be used in combinations

For seniors ( 6 elements of twirling):• 2 x throwing the drumsticks with a rotation (all members) • 2 x throwing the drumsticks over their heads back to their partner( 1 х all members, 1х

subgroup) • 1 x throwing the drumsticks to each other to the side in a circle(all members) • 1 x throwing of a stick one hand while other hand plays drums(all members)

At the same time, use 6 rhythmic drum patterns and 7 dance compositionsAll components must be used in combinations

The Jury's Ratings:The maximum score is 10 points:

The Jury:- The Jury : 3 to 5 judges - The system of the jury: Each member of the jury evaluates the performance by the following system: A. Choreography and Composition B. Movement Technique C. Work with props In the Jury there must be a drummer-musician present, who evaluates the execution of the rhythmic drum patterns. The ratings of this jury member are added to the average estimate of all the members of the jury.

The Jury's Ratings by level of difficulty (points):

Level 1 _______________________ 7.50

Level 2 _______________________ 8.00

Level 3 _______________________ 9.00

Level 4 _______________________ 9.40

Level 5 _______________________ 10.00

In case additional elements are performed (more than what is required), the jury will evaluate the complexity and synchronism of these elements, giving 0.5 points for every additional twirling and the music judge will give 0.3 points for every additional rhythmic pattern. The loss of a drumstick is estimated at -0.2 points. The drumstick can be picked up or be left on the podium (using the extra) if its presence on the podium is not dangerous for the performers.

CLASSIC BATON MAJORETTES – abbrev. CLASSIC BATON

• age category: cadets, juniors, seniors• only teams• only stage choreography

• time limit: 2:30 – 3:00 minutes• music: marching songs and their remakes

• costumes: characteristic majorette uniform (hat/cap, skirt, coat/jacket, boots). For cadets boots aren’t obligated!

Obligated modulation captain eg. different color uniforms captain.• choreography: ! The formation must have a captain who has a leading position and majorettes choreography must be carried out under the leadership of captain at least 50% of the choreography.

• no acrobatic elements allowed, marching step is obligated in combination with simple dance forms. Work with baton in 1., 2., and 3. level only. Diversity of elements in those levels. Coming in and out of the stage without music.

judge evaluate formations and shapes diversity in choreography, precision of performance, team work

• Other props in all sections:

Other props are mascots, flags, banners, boards with the name of the competitors, city, state, sponsor, eventually other objects that are not a part of the competition performance.None of these props must be placed in the route of the marching parade, in the competition area or in their protective zones. They can be placed only in the spectator zone. But even there they must not interfere with the competition performance or obstruct the view of the jurors. If such a case occurs, the result will be the penalization of the competing formation.

• basically one or two equipment per majorette• In POM section equipment must not be put down, except in favour of the safety of lifting or movement element or quick exchanges• continuous contact with any equipment in the course of choreography• it is permitted when one or more competitors have 2 or more pieces of equipment at the expense of their partners- just in short term and really manipulation with of all equipment- not just hold it• at the end of the choreography competitors must hold the equipment or be in contact to a body part

MACE GROUP CATEGORY/Abbreviation - MACE

1. General Informationa. Age category for MACE: juniors, seniors

i. Juniors – age of 12 – 14 yearsii. Seniors – age of 15 years and more

b. The number of group- members and the limit for the older ones in the MACE category are as follows:

i. 8 - 12 members, number of older ones allowed = 2ii. 13 - 17 members, number of older ones allowed = 3

iii. 18 - 22 members, number of older ones allowed = 4iv. 23 - 25 members, number of older ones allowed = 5

c. MACE can only be displayed in a stage choreography d. Solo, Duo, Trio, Mini and Large Formation categories

i. Solo MACE for Female participants ii. Duo or Trio MACE for Female participants

iii. Mini formations 4 – 7 Female participantsiv. Large formations 8 – 25 Female participants

e. The same majorette can compete only once in each discipline (e.g. solo, duo-trio, mini with MACE equipment.)

f. Time Limitations:i. Solo; Duo; Trio and Mini Formations Display time: between 1:15 and 1:30

minutes (not including time for entrance and exit).ii. Large Formations time limit: Between 2:30 and 3:00 minutes (excluding

time for entrance and exit).iii. Time of the stage choreography is measured without the time for the

march-on and march-off times.iv. Time measurement of the stage choreography commence at the start of

the display music. g. Choreography: no acrobatic elements allowed, marching in step is obligated in

combination with dance forms. 2. Competition Area

a. Stage choreography:i. stage:12 x 12 metres

ii. the protective zone is 2 metres along the side lines of all sides of the stageb. The competition field must be marked with a clearly visible line.c. All teams shall assemble in the check area before the appropriate time as

stipulated in the programme. d.

3. Equipment/Propsa. Mace Equipment/Prop to be used in this categoryb. Mace (Equipment) sizes:

i. Senior Category – minimum length of 1 meter

ii. Junior Category – minimum length of 80 cm

c. Diagram of the equipment (MACE) below:

Senior Group

1 000mm(1.0m) minimum

Junior Group

800mm(0.8m) minimum

MWF Mace sizes

4. Audioa. Music is not allowed for entering or leaving competition area. b. Pre-recorded audio is compulsory during the display (cd/memory stick).c. Proceed without music to stage when announced by announcer.d. Opening position before music starts.e.f. Stop in final position at the end of the music.g. Leaving (without music).

5. Stage Performancea. Entering of stage

i. Proceed without music to stage only after announced by announcerii. Penalisation for early entry.

iii. March-on has to be short, quick and simpleiv. When on the stage, starting position for performance to be formed. The

starting position before the choreography itself is considered to be a

greeting; it can be a salute, dance bow, bow of head, movement of arm, pose, etc.

b. Display or stage choreographyi. Choreographic composition with MACE as prop or equipment.

ii. Music for performance must end simultaneously with the end of choreography, it must not continue, or be interrupted.

iii. The choreography has to correspond perfectly with the display music. A clash between the music of the display, the body and prop movements, and the shapes and sizes of the display is considered to be an imperfection of choreography.

iv. The competition choreography is terminated by the stopping of the music and the movement of the Team Members when taking up the final position.

v. Final position may include a military salute, dance bow, bow of head, motion of arm or pose etc.

c. Inclusion of dancing and gymnastic elements:i. The composition may include components and themes of social or folklore

dancing, if it corresponds with the theme of music.ii. Gymnastic elements (for example elements of equilibrium, suppleness,

skips, jumps, pirouettes) may be included in the display/program, if they are performed without influencing the smooth display flow.

iii. If gymnastic elements are performed by only a few Team members in a group or solo formation, the other Team members must not be in a static or waiting position, but continue with body and prop movement.

iv. Lifting of competitors in MACE choreography is permitted only as an element of the final pose at the end of the display/program.

v. Gymnastic elements are allowed in MACE section at the end choreography , for example, a split is allowed at the end, however

vi. Acrobatic elements are prohibited!d. Time measurement

i. Time measurement starts, as soon as the Team members are in the start position with the start of the music for the display/program.

ii. Time measurement ends, as soon as the competitors take up their final position and music for competition display/program ends.

iii. Discrepancy between the end of music and termination of display/program is considered to be a choreography mistake.

e. Leaving the stagei. Leaving the stage must be without music. Leaving the display area with

music is penalised.ii. Leaving of the display area has to be short, quick and simple; it serves only

for leaving the competition area it must not be a further choreography.6. Uniform

a. Headwear - some cap-imitation or head gear is required (obligatory).b. Dress (no trousers allowed), can be sleeveless, but chest-, belly- and back covered

with costume.

c. Boots (Obligatory for Juniors and Seniors).d. Acceptability of uniform to be checked in the check area. e. Transparent materials such as lace, skin nylon etc. without under layers is not

allowed. f. Inappropriate costume will be penalised.

7. Hairstyle and make-upa. Hairstyle and make-up must be appropriate to the age of competitors and

character of the performance.b. Unified hairstyle and make-up contribute to the overall aesthetic impression.

8. Adjudication/Judicial Criteriaa. Evaluation criteria

Criteria for evaluation of MACE are defined and the adjudicator has to evaluate and award the points for all the substantial attributes of the competition choreography that is being performed.

Essential for awarding the points is the composition of choreography and how it is performed.

Awarding points for the display are based on mistakes and faults, but also on positive aspects that are observed.

If there is any doubt, the decision is in favour of the competitors.

b. Criteria of the A field Score sheet i. Choreography and Composition

a) Variety and diversity Selection and diversity of elements, patterns and shapes

(circles, squares, rows, lines, diagonals etc.) Changes in shapes and patterns. Utilisation of dancing components. Synchronised execution of the body and prop movements,

shapes and patterns by all Team members in the same way, or in different subgroups.

Originality.b) Area utilisation

From a choreographic point of view, the display has to be composed so that the entire competition area is utilised. An adjudicator assesses the utilisation of:

Various directions (forwards, backwards, sideward’s). Various trajectories (straight line, curved line, wavy line,

spiral, broken line) moving patterns.

c) Diversity in pace/speeds and sizes

Monotonous, unchanging pace/speeds of body and prop movement and formations/shapes represent choreographic imperfection. The Team members should change formations and shapes frequently. Adjudicators will assess the following:

Assessment of the display according to musical genres, the frequency and variety of body and prop movements.

Music variety and speeds to enhance the choreography of formations and body and prop movements.

Diversity of pace/speeds, e.g. changing of faster and slower music.

d) Overall impressionThe adjudicator assesses:

Suitability and effect of the music for the age category. Whether the structure of the stage choreography (coming

– stopping – display – stopping - leaving) was observed. The teamwork and interaction among participants in

performance and execution. The synchronised technical perfection and maturity of

movement of Team members. The display/program as a whole has to be executed

effortlessly (Difficulty and effort must not be obvious/visible).

The display must be performed with pleasure and entertainment.

Contact with spectators. Display to leave impression. Facial expressions to enhance the entertainment of the

display without being forced or the use of theatrical expressions (mime, singing etc.).

Impact and functionality of the uniform should be suitability for the category, character of the MACE and theme or selection of music.

MACE teams are not allowed to wear trousers. Hairstyle and make-up should be suitability for category,

equipment and discipline, and theme or selection of music.

e) Basic mistakes in choreography

Mistakes in the composition of display: Insufficient diversity and variety of the elements. No

variety of shapes and speeds (Monotonous pace/speed). Insufficient area utilisation (directions, routes). One-sided twirling or MACE work. Dancing or body movements lack diversity. Too many elements of floor exercise. Use of forbidden elements of floor exercise in MACE

groups (pyramids not permitted). Trousers not permitted in MACE group.

Decorations and backdrops not permitted. (No mascots, flags, boards, banners etc).

Mistakes in musical selection: Music that is not appropriate for the age group or

discipline. Incongruous mixture of music, disharmonic sequence of

musical elements. When the music stops unexpectedly in the middle of the

musical sequence. Unplanned interruption or stop of music or when the

music volume is gradually fading until complete silence is reached.

Character of stage choreography is lost when: Entering the stage when music is already playing (opening

position is absent). Final pose position is absent. (The Team leaves the

display area when the music is still playing without a final pose).

Leaving the stage too slowly, or executing additional choreography when leaving the stage area.

Mistakes in performance: Unbalanced or inaccurate lines, rows, circles, diagonals. Part of the choreography is performed outside the

competition area.

f) Beneficiation for choreography performance

The adjudicator can award beneficiation points for the following criteria:

Original choreography, music and costume to enhance a theme with complimentary shapes and changes.

Contact with the audience, leaves excellent overall impression.

c. Criteria of B field Score sheet i. Movement Technique

The adjudicator takes the degree of difficulty (body and prop movements) of the display and the size of the group into account when rhythm, coordination and synchronisation are evaluated.

ii. Body technique and step technique

Body posture and rhythmic step represent principal features of aesthetic appeal of the majorette sport.The following factors are evaluated: Posture of body. Forward bent back, hanging shoulders and non-flexibility are considered

to be errors. Posture and movements in execution of arms.

o Arm movement without rhythm, clenched fist, loose or limp arms

during movement and turns, arm stretching forward above the level of shoulders are considered to be errors.

Unnatural head posture without an effect is considered to be a mistake. Steps are executed to the rhythm of music. The non-compliance with

rhythm (March on right foot) is considered to be an incorrect execution. Positions of feet to be parallel to one another, toes apart from each other

or towards each other during marching are considered to be an incorrect execution.

Various national schools (styles and interpretations) are respected for different knee raising, the height of raising the knee’s or heel’s is not decisive, knee raising has to be balanced on both sides, high raising of left leg and mere closing the right leg (limping) is incorrect, also uneven raising, accentuating of one foot.

The execution of rhythm of dancing elements has to correspond to the element of the dance.

iii. Rhythmic co-ordination and synchrony

The execution of the display by all competitors has to be in time with the music. All the body and prop/equipment movement must be in time and on the rhythm of the music to compliment the use of the music.Rhythmic co-ordination of all Team members with the music represents a perfect harmony of motion and synchronised execution.An Adjudicator will assess the following: Expression of the music through movement. Precision, exactness and smoothness of shape/pattern changes and

moving patterns. Precision and execution of movements during fast changing sequences of

body and prop (equipment).

iv. Basic mistakes in movement technique

Repeated and collective mistakes can be penalised after the performance is finished. mistakes in body technique and bad body posture bad arm movement bad head movement bad step techniques coordination and synchronization mistakes out of rhythm step or arm movements Bad execution when performing a quick sequence of elements The Team members do not stop a movement at the same time in the stop

position. The Body and Prop/equipment movement and music do not finish at the

same time.

v. Beneficiation for movement technique

An adjudicator can award beneficiation points for the following:

Perfect synchronisation of the Team members’ movement. Graceful movement of Team Members during the performance.

d. Criteria of the C field Score Sheet

Work with equipment/props

Work with the MACE prop/equipment defines the nature of majorette sport and its aesthetics. It is assessed by taking the age category into account.Juniors and Seniors must perform different types of elements in order to achieve the highest mark for their MACE display.

MACE levels:i. LEVEL 1

· dead MACE release slide swing· sway· lifting, lowering invert· arm-

round· Pretzel

ii. LEVEL 2 · Horizontal rotation· Vertical rotation with one hand („eight“)· All variations of these rotations , in different directions, with right or

left hand· Rh/lh vertical wrist twirl Rh/lh horizontal wrist twirl· figure 8 Rh/lh vertical figure 8· Rh/lh vertical reverse figure 8, Rh/lh horizontal figure 8

iii.iv. LEVEL 3

Includes rotations like:· Vertical rotation with both hands („sun“), in all body positions (in front

of the body, behind the head, above a head, next to the body).· Vertical rotation with drawing a circle in front of the body - with one

hand („star“). It can be simple, fast, with turns, in all directions.· Figures of low and simple floating of the MACE with easy throw and

easy catch (in one moment MACE is not in contact with any part of the body).

Aerials:· Low throw - below 2 m· Rotation of the MACE in the air is not requiredStandard releases:· Open hand: either flat or vertical, right or left hand· Throw toss: releasing the MACE on for the ball or the tip- endStandard Catching:· Catching: Receiving the MACE palm up.· Grabbing: Receiving the MACE palm

down.· Exchange: vertical, horizontal.

· Variety of releases, catches with all members,

v. LEVEL 4 · Twirling between fingers vertically or horizontally, in front of the

body, above the head Single rolls, simple combination of rolls, wraps.· Figures of low and hard floating with hard throw or catch

(underneath leg, behind back).· Figures of simple and easy exchange of the MACE are between Team

members.· Palm twirling

Finger twirls Wrap (Shoulder wrap, Leg wrap, Waist wrap) Rolls

Single elements: - One rotation of a MACE at any part of the body. E.g:

hand, wrist, arm, elbow, neck, leg- hand rolls forward and reverse- elbow rolls forward and

reverse- open arm roll

Figures of high and hard floating of the MACE with easy throw and easy catch- High throw - over 2 m- Rotation of the MACE in the air is

required Standard releases:- Open hand: either flat or vertical, right or left hand. - Throw toss: releasing the MACE for a ball or a tip end. Standard receptions:- Catching: Receiving the MACE (and) palm up. - Grabbing: Receiving the MACE (hand) palm down.

Figures of low and hard floating with hard throw or catch- Hard releases:

under arm under leg behind back

- Hard catches: Back catch: at the waist level, behind the back Leg catch: reception under the leg Side catch: LH catch on R side of body at the waist

level, or reverse for RH

vi. LEVEL 5

Includes hard figures and rotations like:a) Aerials with body movement

Types of body movement during the aerial mode:· On the move - performing movements in motion during aerial

throws· Stationary - remaining in one place· Spin: Rotation of body on one leg, with a minimum of 360o

rotation.

· Multiple Spin, Interrupted Spin, Forward than reverse direction Spins

b) Aerials with 3- (release, spin, catch), 4 elements (release, spin, pose, catch) or with multi-combination (release, 2 spin, pose, catch)

High Aerials with hard release and catch- High throw - over 2 m

Hard releases on the 5th level:- Back hand flip: by using the wrist snap, releasing MACE in reverse

direction. Hard catches on the 5th level:- Back hand catch: reception by reversing the hand - Continuous rolls - marked by without interruption in space, time or

sequence, continuous repetition of the same roll (fish, 4- elbow)

vii. OBLIGATORY ELEMENTS In equipment MACE

For Juniors 5 elements- 2 x high throw without turn 1x all members, 1 x minimum subgroup - 1 x high throw with spin (360) all members - 1 x long distance exchange by throwing between all members (at the

same time)- using at least 7 different twirling elements from level I-IV, both left and

right hands balanced - twirling elements must be used from continuous twirl, in

combinations, throwing done from continuous twirl- A minimum sixteen (16) throws overall. A maximum team penalty

will apply if this is not achieved.- Executable obligatory elements must be performed in MACE

solo, duo/trio Mini and Large Formations.- Missing obligatory elements are penalised.

For Seniors 7 elements - 2 x high throw without turn 1x all members, 1 x minimum subgroup - 2 x high throw with spin (360) 1x all members, 1 x minimum subgroup - 2 x long distance exchange by throwing (once between all members (at the

same time), once between subgroups)- using at least 7 different twirling elements ( including level I-IV and flips)

both left and right hands balanced - A minimum of twenty (20) throws overall. A maximum team penalty will

apply if this is not achieved. - Executable obligatory elements must be performed in MACE solo,

duo/trio Mini and Large Formations.- Missing obligatory elements are penalised.

e. Criteria within the D field Score Sheet i. Technical Penalisation:

a) Time limitsFor every second over the time limit: in stage choreography of groups below 2:30, over 3:00.

in stage choreography of solo-formations below 1:15, over 1:30.

b) Penalised: Every individual with a drop of the prop/equipment. Disrupting the shape when retrieving fallen equipment

(evaluated in section A – Choreography) equipment not retrieved until the end of performance, if it is not a case of a drop just before the finish of the performance.

Using other equipment.

c) Not penalised: Equipment/prop leaves the competition area. Overstepping the stage area when retrieving the equipment. When the equipment is handed over by another competitor or

a non-competing person.

d) Penalisation for incorrect use of the competition area Competitors are not ready for competition after it has

been announced by the speaker. Entering the stage before the speaker’s announcement. Music is not ready to play. Unauthorised means of communication between competitors

– whistle, counting out loud, sing etc. Unauthorised communication between leaders – giving

instructions to competitors during performance. Incorrect costumes of MACE teams. Missing boots in Junior and Senior MACE team. Incoming / outgoing with music missing stop figure. Performance out of competition area. Missing compulsory elements.

CLASSIC MAJORETTES POM-PON/ Abbrev. – CLASSIC POM

Age categories: cadets, juniors, seniors

only teams only choreography

Time limit: 2:30 - 3: 00 minutes (arrival and departure without music)

ChoreographyThe formation must have a captain who has a leading position and majorettes choreography must be carried out under the leadership of captain at least 50% of the choreography. No acrobatic elements such as lifting majorettes are not allowed, marching step is obligated in combination with the artistic value of choreography:

- the complexity and diversity,- number of different elements,- the number of changes shapes and formations,

- the difficulty of dance steps.

Arrival and departure on stage without music.

Judge evaluate the selection and variety of elements, formations and patterns in the choreography, accuracy, performance, teamwork.

MusicThe music must be in 2/4 or 4/4 time signature. Music selection must be chosen so that it could play a dance and brass bands. Music must not contain elements of synthetic music. Music must not sound artificial synthesizer tones.

CostumesCharacteristic majorette uniform (hat/cap, jacket/skirt, boots). For cadet boots are not obligated. All costumes has to be identical. Costumes as a whole must make an impression of a uniform. Particular parts of the uniform can be various. Obligated modulation captain eg. different color uniforms captain.

Working with POMMajorettes can work with utensils POM only use these elements: shaking, throwing, exchange, wave, pattern, cascade. POM utensils should not be placed on the ground.

Competition areasA- choreographyB- movement techniqueC- work with equipment

In each area, a maximum of 10 points.

Technical penalization

- for each prohibited element made with equipment POM precipitates judges choreographed by 1 point,

- for non-compliance leading positions captain (50%) precipitates judges choreographed by 1 point,

- for the missing boots in the category of juniors and seniors condenses technical judges 0.3 points,

- for unsalted captain collides technical judges 1 point,- for arrivals and departures with music collides technical judges 1 point,- for each POM lying on the ground condenses technical judges 0.1 points,- POM for a fall to the ground condenses technical judges 0.05 points.

Bonification for work with equipment POM

for original choreography, for perfect synchronization, for working with colors.

COMPETITION PARTICIPANTS

Groups

8 -25 members Only girls may participate in BAT section. In POM, SHOW, MIX and FLAG section if a group has more than 12 members, 1/6 of

them may be boys.

SOLO FORMATIONS

Solo baton for girls and boys (junior and senior) duo or trio only for girls mini formation 4 – 7 persons in FLAG mini formation they may start maximum 3 boys

AGE CATEGORIES

cadets – age of 6 – 11 years juniors – age of 12 – 14 years seniors – age of 15 years and more

a) Age in solo-formations

In solo- formations (solo, duo-trio and mini formation) the age of the competitors must comply with the relevant age category.

The same majorette can compete only once in each discipline (e.g. solo, duo-trio, mini with BAT equipment.)

b) Age in groups

In case of groups, the age of the competitors must comply with the relevant age category with the following discount: for cadets and juniors, the 20% rate of oldermajorettes in one group is allowed. The responsibility about keeping rule of 20% belongs to organizer of competition on national level. In case of international competitions the president of national association, who signs and sends the national nomination .

The number of group- members and the limit for the older ones are as follows:

• 8 - 12 members, number of older ones allowed = 2 • 13 - 17 members, number of older ones allowed = 3 • 18 - 22 members, number of older ones allowed = 4 • 23 - 25 members, number of older ones allowed = 5

If the age limit is exceeded:• the group can register and compete in the category for the oldest members • group can change the number of majorettes

A competitor can be younger • juniors 8-11 years

• seniors 12-14 yearsor older only by one age category

The age- composition of a group can affect the overall impression and compactness.Subgroup: in case of teams at least 30¨% persons mean a subgroup, in case of mini formation at least 2 persons mean a subgroup in all age category

Disciplines within the competition

a) Groups

BAT, POM parade marching

Competition route: 100 meters long, 6 meters wide Route can have up to 4 bends

Protective zone is 2 meters along the side lines and additional space behind the finish line for the conclusion of marchingTime: 3 minutes maximum

b) Stage formation BAT, POM, MIX, FLAG, DRUM, CLASSIC BATON, CLASSIC POM-PON, MACE

Stage: 12x12 meters.

Protective zone is 2 meters along the side lines of all the sides of stageTime: Between 2:30 and 3:00 minutes (excluding time for entrance and exit)

• Combination of parade marching + stage in BAT, POM groups

Every competing BAT, POM group must do the parade marching and stage choreography. Parade marching and stage choreography must be performed by the same competitors.

For organizational and technical reasons, one of the disciplines can be cancelled and the results will then be calculated as for a completed discipline

Solo-formations

• Solo BAT, POM • Solo with 2 batons (2BAT) for seniors • Duo-trio BAT, POM Mini formation: BAT, POM, MIX, FLAG

Stage choreography:

stage:12x12 metres the protective zone is 2 metres along the side lines of all sides of the stage time: between 1:15 and 1:30 minutes (not including time for entrance and exit)

Parade marching

Structure of the performance

preparation on start marching passing the finishing line final position, stop figure

Commencement of the marching

coming of the group starting group stands prepared in front of the starting line further groups must not stand immediately behind it and disturb competition

performance by warming up time measurement the duration of parade marching is measured since the moment when

accompanying music starts playing stepping over the starting line before is penalized

Parade marching performance

discipline character marching realization, mainly with advance step in baton discipline- défilé majorette steps (marching) should be dominant basic element, e.g. marching step should performed always in the direction of

marching movement technique and step technique have to comply with music and express correctly the discipline character

elements of floor exercise are not allowed during the parade marching with baton

gymnastic elements are allowed in BAT section only at the end choreography , for example deleted that split is allowed only at the end, however acrobatic elements to do are prohibited!

b) cruising

parade marching has to have a balanced pace during whole competition route, it is not allowed to use long jumps in order to „close the gap“

stopping and performing the choreography on the spot is not allowed a short stopping or movement in opposite direction is allowed only to change

a shape, pattern step technique the step has to comply with rhythm and beat of the music

various national schools (styles and interpretations) are respected for knee raising, the height of raising the knees or heels (stretching legs backward) is not decisive, however, the knee raising has to be balanced on both sides

the knees have to be released during the step, ankles and insteps controlled, so that the step is soft and smooth

soles have to be laid parallel, treading on tips or pads of soles

Conclusion of parade marching

a) going through the whole route

the group has to come through whole competition route and leave it behind the finishing line

if whole group or some competitors remain on the route, it is considered to be an imperfection of choreography or incorrect execution_ penal for eveery person who not finis the line

b) time measurement

time measurement is terminated by the moment of group stopping behind the finishing line, competitors take up the final position and the music for competition composition finishes.

decisive moment is stopping of the final position

c) termination of parade marching

the parade marching is terminated by the moment of group stopping behind the finishing line and turning back, towards spectators and jury

discrepancy between the end of music and termination of parade marching is considered to be a mistake of choreography

Stage choreography

Composition of competition performance

1. coming without music, always when announced by speaker2. stopping, opening position (stop figure)3. competition program4. stopping, end of music, final position (stop figure)5. leaving (without music)

Coming for stagea) characterization of coming

• competitors can come to the area of performance only after being announced by the announcer

b) Penalization for ahead of time coming.• the coming is performed without musical (acoustic) accompaniment

• it has to be short, quick and simple; it serves only for taking up the starting position for performance

• it must not be a further „small choreography“ • the coming is terminated by the stopping of competitors, it has to be distinctly

separated from the competition program • taking up the basic waiting position before the choreography itself is considered to be

a greeting, it may be dealing also with military salute, dance bow, bow of head, movement of arm, etc.

c) time measurement at the start

• time of the stage choreography is measured without the time for coming • time measurement of the stage choreography is commenced at the moment of the beginning of accompanying music.

Performance of stage choreography

a) characterization

• the choreographic composition with baton has to include a sequence of bars with majorette step, different kind of dance steps may include a higher proportion

• music for performance must end simultaneously with the end of choreography, it must not continue, without interruption, as an accompaniment for leaving

• the conclusion of choreography has to correspond perfectly with the conclusion of music discrepancy of music and conclusion of program is considered to be a imperfection of choreography

• competition choreography is terminated by the stopping of competitors and taking up the final position, and it has to be clearly separated (from the point of view of movement and also music) from the leaving

• final position may include military salute, dance bow, bow of head, motion of arm etc.

b) inclusion of dancing and gymnastic elements

• the composition may include components and motifs of social or folkloric dancing, if they correspond with the character of music

• gymnastic elements (for example elements of equilibrium, sup,pleness, skips,hops, leaps, jumps, pirouettes) may be included in the program, if they are performed without disturbing the program smoothness, if they are not performed to be an end in itself, but in the connection with an element, with equipment, with shapes and patterns

• if gymnastic elements are performed only by several competitors in a group or solo formation, other members must not be in a static, waiting position

• lifting of competitors in baton choreography is permitted only as an element of final pose at the conclusion of the program

• acrobatic elements to do are prohibited!

c) time measurement at the end

• time measurement ends, as soon as the competitors take up their final position and music for competition program ends

• discrepancy between the end of music and termination of program is considered to be a mistake of choreography

• Leaving the stage

a) leaving the stage must be without music (acoustic) accompaniment. leaving with music is penalized b) the leaving has to be short, quick and simple; it serves only for leaving the competition area it must not be a further „small choreography“

1) Required parts in POM-POM section

Cadet:in stage choreography required to perform:

• 3 elements of floor exercise gymnastic / jumps /, acrobatic elements of flexibility – must be performed by 30%( of mini, formation in the same time!)

• lifting n the cadets is not obligated, but is allowed to lift one competitor to the height level 1, when lifting the competitior must be 1 security, (body)throwing no contact with other dancers is prohibited

Junior and senior: both in parade march and stage choreography required to perform:

• 3 elements of floor exercise, jumps and elements of flexibility - must be performed by 30% of formation in the same time!

• one moving combination of 2 different elements in junior, combination of 3 different in senior - minimal 30% of the dancers has to perform obligatory acrobatic and gymnastic elements must be performed by 30% (of mini, formation in the same time!)

• combination of elements contains max 3 elements

• lifting or (body)-throwing and/ or pyramid, 2 times for team, 1 time for mini formation (4 sec) on stage, in parade march 1 time only on the end coroeography,

• lifting with the help of two or more companions at 1. level for juniors (in senior age 2.level is accepted)

• Maximizes the lift: retain control of up to two levels, the 2nd level begins on the base’s palm while the base’s arm is held high

• body throwing is allowed (for juniors and seniors)• three-levelled pyramid is prohibited • somersault forward and backward in the place are prohibited• The choreographer must use a rescue- member for high lifting• missing safety person is penalized• The trainer has full responsibility of accidents and injuries during trainings and

competition program• In pom category (sen) all compettitors have to exchange pom pons between them

(except captain) In cadets and juniors it is not obligatory but can be bonificated!

IN ALL AGE CATEGORIES:POM stage discipline:

• all kind of elements gymnastic and acrobatic of floor exercise are allowed

• Only correctly performed items can be accepted • excellent quality of equipment necessary (fallen pieces-deduction)• Pompon must not be put down, except in favour of the safety of lifting and movement

elements or quick changes of equipment• Pompon must move all the time • On the begining and the end choreography all competitors must bee in contact with

pom pons

POM choreography:

• dance-forms at least 50 %of performance (elements of floor exercise cannot be longer, than 30% of time)- it’s dance-sport!

• Used dance technique of performance must be clearly visible and used • Some kind of Pictures/ shapes • Snake/ Wave with pompons is at least 2 times required for teams, once for

miniformation, connected with music (rapid development, accurate implementation)• In pom category(cad, jun, sen) in team formation must have minimum 2 time picture

and in mini formation must have minimum 1 time picture• the wave and picture are not required elements of the POM solo and duo/trio

category

2) Work with equipment POMI. LEVEL

• dead (stationary), pom-poms, contestant just holds pom-poms in hand and does not work with it

• contestant performs dance elements, vibrations, circles and vibrations with arms, jumps, steps, movements, march, kick offs and holds pom - poms only in the hand

• shaking pom - poms during the whole performanceII. LEVEL

• Low and easy ejection of one or both of the pom-pom and catching in front of your body - 1 m

• Ejection of pom-pom and spin • Ejection of pom- pom, pose and catching • Simple Exchange of pom-poms from one hand to another and vice versa • short exchange in mini formation in a group /subgroup • Ejection around one part of the body (around stretched arm, around leg)

III. LEVEL• Any turning around any part of the body (wrap and rolls) - around the waist,

arms, legs ... • Swap and exchange of pom-pom between right and left hand using gymnastic

and acrobatic elements • Swap or (a) exchange of pom-pom between all members (except Captain) • Playing with colours of pom-poms • Slipping or sliding of the pom - pom / scrolling pom-pom along the back, over

the length of the hand, over the leg, over the body ... / • High ejection of pom-pom and move to another place and catch (travelling) • High ejection of pom-pom, gymnastic and acrobatic element or capture (aerials) • Throwing pom-pom and heavy grasp - catching under the legs, behind the back,

behind the head, by the side • Multiple spin • All challenging elements of work with pom-pom

3) Rating for work with equipment pom-pomFor the work with pom-pom we can give maximum of 10 points and minimum 8,50 in the following way: if the most used elements are from:

• I. Level: 8,50 + bonus, maximum 9,00 points can be given, • II. Level: 9,00 + bonus, maximum 9,50 points can be given, • III. Level: 9,50 + bonus, maximum 10,00 points can be given

4) Bonus for work with equipmentJuror can give bonus:

• original element with the use of pom-pom • flawless work performance with equipment connected with more demanding

gymnastic or acrobatic element • if the contestant does with pom-pom what we have not seen before, if she comes

with a new idea • amazing and unique play with pom-pom colours especially in the group

When scoring a decision-making juror must take into account and consider the use of compulsory elements. Only properly executed element can be recognized. When doubts and misunderstandings occur the decision is in favour of the competitor.

5) OBLIGATORY ELEMENTS in equipment BATON

For Cadets 3 elements 2 x simple, low throw 1x all members, 1 x minimum subgroup (30% in big

formation, 2 in mini formation) 1 x short distance exchange between all members using at least 5 different 1-2-3. levelled elements both left and right hands

balanced For Juniors 4 elements

- 2 x high throw without turn 1x all members, 1 x minimum subgroup (30% in big formation, 2 in mini formation)

- 1 x high throw with spin (360) all members - 1 x long distance exchange by throwing between all members - using at least 7 different twirling elements from level I-IV, both left and right

hands balanced - twirling elements must be used from continuous twirl, in combinations, throwing

done from continuous twirlFor seniors 6 elements

- 2 x high throw without turn 1x all members, 1 x minimum subgroup (30% in big formation, 2 in mini formation)

- 2 x high throw with spin (360) 1x all members, 1x minimum subgroup (30% in big formation, 2 in mini formation)

- 2 x long distance exchange by throwing (once between all members, once between subgroups(30% in big formation, 2 in mini formation)

- using at least 7 different twirling elements ( including level I-IV and flips) both left and right hands balanced

- twirling elements must be used in combinations, throwing done from continuous twirl, catching with continuous twirl

Missing obligatory elements are penalized.

6) Criteria ratings for the work with equipment in section BATSection - abbrev. BAT

Level I - 7.5 points Level II - 8.0 points Level III - 9.0 points

Level IV - 9.4 points Level V - 10.0 points

7) Bonification for work with equipment

Awarded only when the elements are performed without mistakes or nearly without mistakes, performed by all groups or subgroups. Juror can award bonification for every criterion individually.

original, new element, new implementation of the element performance with multiple spins, with additional or linking element synchronized performance, perfect co-operation of all competitors in formation imaginative and effective interpretation by equipment of the theme in SHOW Originality and creativity in POM Perfect coordination between body and equipment in POM Invisible change of pom-pom

8) Characterization of criteria within the C field

WORK WITH EQUIPMENTWork with equipment defines the nature of majorette sport and its aesthetics. It is assessed taking into account the age category.While the cadets should not present a full range of elements with baton, juniors and seniors must perform all types of elements in order to achieve the highest mark. Baton is always connected with competitor

Twirling levels- BatonI. LEVEL dead batondead stick release slide swingswaylifting, lowering invertarm- round PretzelArm- holding, hand-holding, conducted arms

II. LEVELHorizontal rotationVertical rotation with one hand („eight“)And all variations of these rotations , in different directions, with right or left hand 1. loopRh/lh vertical wrist twirl Rh/lh horizontal wrist twirl

2. figure 8 Rh/lh vertical figure 8Rh/lh vertical reverse figure 8, Rh/lh horizontal figure 8Rh/lh horizontal reverse figure 8 flourish whiprh/lh flourish whip,rh/lh reverse flourish, reverse whipIII. LEVEL Includes simple rotations like:Vertical rotation with both hands („sun“), in all body positions (in front of the body, behind the head, above a head, next to the body...)Vertical rotation with drawing a circle in front of the body - with one hand („star“) . It can be simple, fast, with turns, in all directions...Figures of low and simple floating of the baton with easy throw and easy catch (in one moment baton is not in contact with any part of the body)Aerials:Low throw - below 2 mRotation of the baton in the air is not requiredStandard releases:Open hand: either flat or vertical, right or left handThrow toss: releasing the baton for the ball or the tip- endStandard receptions:

· Catching: Receiving the baton palm up · Grabbing: Receiving the baton palm down

Exchange: · vertical, horizontal · variety of releases, catches · with all members, · time delays…

IV. LEVELTwirling between fingers vertically or horizontally, in front of the body, above the head Single rolls, simple combination of rolls, wrapsFigures of high and hard floating of the baton with easy throw and easy catch (example: floating of the horizontal rotation or lanse)Figures of low and hard floating with hard throw or catch ( underneath leg, behind back) Figures of simple and easy exchange of the batons between majorettespalm twirl1. Finger twirls

rh / lh vertical 4 fingers rh / lh horizontal 4 fingers rh / lh vert 2 fingers rh / lh hor 2 fingers

rh / lh vert 8 fingers 2. Wrap (Shoulder wrap, Leg wrap, Waist wrap…)3. RollsSingle elements: One rotation of a baton at any part of the body. E.g: hand, wrist, arm, elbow, neck, leg a.) hand rolls forward and reverseb.) elbow rolls forward and reverse c.) open arm rollSimple combination rolls:d.) ½ fish forward and reversee.) snake (hand and elbow or elbow and hand) forward and reverseFigures of high and hard floating of the baton with easy throw and easy catchHigh throw - over 2 mRotation of the baton in the air is required Standard releases:

Open hand: either flat or vertical, right or left hand. Throw toss: releasing the baton for a ball or a tip end.

Standard receptions: Catching: Receiving the baton (and) palm up. Grabbing: Receiving the baton (hand) palm down.

6. Figures of low and hard floating with hard throw or catchHard releases:

under arm under leg behind back

Hard catches: Back catch: at the waist level, behind the back Leg catch: reception under the leg Head catch: reception above head Side catch: LH catch on R side of body at the waist level, or reverse for RH Under Arm: reception under arm

7. Rotation on palm

V. LEVELIncludes very hard figures and rotations like:

c) Aerials with body movement types of body movement during the aerial mode:

Travelling - performing movements in motion during aerial (defile, change-tour) Stationary - remaining in one place („attention”,arabesque) Spin :Rotation of body on one leg, with a minimum of 360o rotation. (Multiple Spin, Interrupted Spin, Forward than reverse direction Spins)d) Aerials with 3- (release, spin, catch), 4 elements (release, spin, pose, catch) or

with multi-combination (release, 2 spin, pose, catch)High Aerials with hard release and catchHigh throw - over 2 mHard releases on the 5th level:

Thumb flip: The baton turns over the thumb to leave the hand (executed from the centre of the baton either flat or vertical, right or left hand).

Back hand flip: by using the wrist snap, releasing baton in reverse direction, 1 revolution, reception by palm facing upward.

Thumb toss: releasing with thumb flip, more than 2 revolution in the air Backhand toss: releasing with backhand flip, more than 2 revolution in the air

Hard catches on the 5th level: Back hand catch: reception by reversing the hand Blind catch: reception above shoulder, without looking at a baton. flip = constant support of low floating rotation over the thumb Twirling with two batons – doing figure of at least third level with continuous

twirl of both batons (not second dead baton) Combination of rolls - to merge 2 or more elements together (snake with

layout, elbow-hand-hand-elbow…) Continuous rolls - marked by without interruption in space, time or sequence,

continuous repetition of the same roll (fish, 4- elbow…)

9) OBLIGATORY ELEMENTS in equipment FLAG

For Juniors 4 elements 2 x high throw without turn 1x all members, 1 x minimum subgroup(30% in

formation, 2 in mini formation) 1 x high throw with spin (360) all members 1 x long distance exchange by throwing between all members (at the same time) using at least 7 different twirling elements from level I-IV both left and right hands balanced

For seniors 6 elements 2 x high throw without turn 1x all members, 1 x minimum subgroup(30% in

formation, 2 in mini formation) 2 x high throw with spin (360) 1x all members, 1x minimum subgroup(30% in

formation, 2 in mini formation) 2 x long distance exchange by throwing (once between all members (at the same

time) once between subgroups(30% in formation, 2 in mini formation) using at least 7 different twirling elements (including level I-IV and flip) both left and right hands balanced

Selection, diversity and difficulty of elements

A juror assess, to which extent the composition of program includes:a) twirling, specific twirling, other manipulation basic twirling, circles, swings,

eights, tapping, sliding, shifting and winding around various parts of body, pushing and holding under knee, etc.

b) position and involvement of hands, when arms are downward, sideward or

upward, c) with both hands with passing the baton to the second hand, d) utilization of right and left hand e) utilization of other parts of body, winding, rolling around the waist, over calf,

around neck f) throwing up and catching, exchanges of equipment throwing of one baton or two batons, throwing without rotation, simple throwing

up vertical rotation, horizontal rotation, synchronized rotation (is considered to be

a virtuosity), also the speed is assessed during the rotation consequential or sequential execution, over a subgroup, between two majorettes,

between sub-groups, during the changes of shape or pattern exchange by means of laying to ground, exchange by handing over, exchange by

throwing distance of competitors during the change, short distance-below do 2 m, long distance -over 2m

height of throw and the way of catching, low throw - below 2 m, high throw - over 2 m, catching in front of body, behind body, under leg etc., the baton may be caught at its head or body execution with multiple spin, pirouette or other element during throw and flight of the equipment,

catching after spin, pirouette or other element g) cooperation and position of competitors

face to face, side to side, back to back, simultaneous execution by whole group or solo formation execution in quick sequence or during a change in shape, during moving pattern involvement of connecting and accompanying elements – the composition of

program should not represent only a sequence of isolated elements with equipment during execution of which the competitors just wait for the equipment

the elements with equipment should be choreographically completed with movement, dance or gymnastic components on the beginning, end or in the course

Assuredness of execution

A juror assesses:a) the influence of equipment fall to further program execution

disruption of group or individual execution the extent of utilization of auxiliary dance elements (sidestep, knee band,

forward bend, steps, drift from shape, etc.), the equipment was picked up immediately after the fall, or it was picked up later

or remained not picked up till the end of choreography b) frequency of falls

isolated or repeated fall, individual or mass, the mistakes are made by individuals, subgroup or whole group

c) circumstances of fall technically not managed element extraordinary technical difficulty of the element performed climate influences (wind, rain, cold, sun) or technical parameters of

surroundings (slippery area, lighting) the possibility to pick up the equipment in the case of fall on an elevated stage

d) picking up with assistance other competitor(s) may hand it in co-operation; other competitors have to be

members of the group, which just performs the competition choreographye) The equipment lost remains on competition area

Other competitor(s) may hand it in co-operation; other competitors have to be members of the group, which just performs the competition choreography

it can be passed by assistant to organizer, namely in such way, that he or she lays it on the edge of stage in the place, where it was found

the person handing the equipment must not wave it, roll it over the stage, run around the stage or in another way disturb the jury’s field of vision

it is tolerated, when an random spectator hands the equipmentf) contact with equipment in the course of choreography

in the course of the choreography it is permitted when one or more competitors have 2 or more pieces of equipment at the expense of their partners, if such situation is only temporary and if the competitors really manipulate this equipment, not just hold it

baton is always connected with competitor, must not put it on the floor g) contact with equipment at the conclusion of choreography

the competitors have to conclude the choreography that they hold the equipment or are in contact with it with some part of body

it is permitted that one piece of equipment is hold by several competitors or is in contact with them, or that one competitor holds or is in contact with several pieces of equipment

10) WORK WITH EQUIPMENT- Baton-flag (FLAG)

I. LEVELdead- flag dead stick release slide swing sway lifting, lowering invert arm- round Pretzel Arm- holding, hand-holding, conducted arms

II. LEVEL 1)loop

Rh/lh vertical wrist twirl Rh/lh horizontal wrist twirl 2)figure 8 holding ball-endRh/lh vertical figure 8 Rh/lh vertical reverse figure 8, Rh/lh horizontal figure 8 Rh/lh horizontal reverse figure 8 3)3. flourish whiprh/lh flourish whip, rh/lh reverse flourish, reverse whip

III. LEVELIncludes simple rotations like:„star“, figures of low and simple floating of the flag with easy throw and easy catch (in one moment baton is not in contact with any part of the body)Aerials:Low throw - below 2 mRotation of the flag in the air is not requiredStandard releases:

Open hand: either flat or vertical, right or left hand Throw toss: releasing the flag for the ball

Standard receptions: Catching: Receiving the flag palm up

Grabbing: Receiving the flag palm down Exchange: can be· vertical, horizontal · variety of releases, catches · with all members, · time delays…

IV. LEVELSingle rolls, simple combination of rolls, wrapsFigures of high and hard floating of the flag with easy throw and easy catch (example: floating of the horizontal rotation or lance)Figures of low and hard floating with hard throw or catch ( underneath leg, behind back) Figures of simple and easy exchange of the flags between majorettesWrap ( Shoulder wrap, Leg wrap, Waist wrap…) RollsSingle elements: One rotation of a flag at any part of the body. E.g.: hand, wrist, arm, elbow, neck, leg

hand rolls forward and reverse elbow rolls forward and reverse open arm roll

Figures of high and hard floating of the flag with easy throw and easy catchHigh throw - over 2 m

Rotation of the flag in the air is requiredStandard releases:

(Open hand: either flat or vertical, right or left hand.) Throw toss: releasing the flag for a ball

endStandard receptions:

Catching: Receiving the flag palm up. Grabbing: Receiving the flag palm down.

Figures of low and hard floating with hard throw or catch Hard releases:

under arm under leg behind back Hard catches : Back catch: at the waist level, behind the back Leg catch: reception under the leg Head catch: reception above head Side catch: LH catch on R side of body at the waist level, or reverse for RH Under Arm: reception under arm

V. LEVEL Includes very hard figures and rotations like:1. Aerials with body movementtypes of body movement during the aerial mode:

Travelling - performing movements in motion during aerial (defile, change-tour) Stationary - remaining in one place („attention”, arabesque) Spin : Rotation of body on one leg, with a minimum of 360o rotation.

(Multiple Spin, Interrupted Spin, Reverse Direction Spins) 2. Aerials with 3- (release, spin, catch), 4 elements (release, spin, pose, catch) or with multi-combination (release, 2 spin, pose, catch)3. High Aerials with hard release and catch High throw - over 2 mHard releases on the 5th level:

Thumb flip: The flag turns over the thumb to leave the hand (executed from the centre of the closed flag either flat or vertical, right or left hand).

Back hand flip: by using the wrist snap, releasing baton in reverse direction, 1 revolution, reception by palm facing upward.

Thumb toss: releasing with thumb flip, more than 2 revolution in the air, while flag is opening

Backhand toss: releasing with backhand flip, more than 2 revolution in the air Hard catches on the 5th level:

Back hand catch: reception by reversing the hand

Blind catch: reception above shoulder, without looking at the flag.Twirling with two flags – doig of at least third level with continuous twirl of both flags.Combination of rolls – to merge 2 or more elements together (elbow-hand-hand-elbow…)Continuous rolls

11) Basic mistakes when working with equipment

Repeated and collective mistakes subject to additional penalization after the performance is finished.1) Mistakes in performance:

Catching with side-step, knee-bend, forward bend Catching with change of the shape of formation – steps, run-out Different sequence of movement while manipulating and changing the

equipment Incorrect position of the hand during the manipulation of equipment Loss of contact with the equipment – when the equipment is on the ground for

too long (not instant picking up after falling) Chaotic and uncoordinated changing of equipment in SHOW

2) Insufficient complexity low variety of manipulation, low diversity of elements, monotonous equipment

incomplete repertoire of twirling and manipulations missing required elements

12) Characterization of criteria within the A field

CHOREOGRAPHY, COMPOSITIONWhen juror assesses expectations and group performance of choreography, he takes into account the size of the group. Only size of the group is not a reason for low or high remuneration.1. Variety and diversity a) diversity of elementsA juror assesses:

selection and diversity of elements, patterns and shapes (circles, squares, rows, lines, diagonals etc.)

changes in shapes and patterns utilization of dancing and gymnastic components if the elements, shapes and patterns are executed by all competitors in the same

way, or in different ways in subgroups originality

b) diversity in area utilizationFrom choreographic point of view, the program has to be composed so that whole competition area is utilized.

A juror assesses the utilization of:

various directions (forwards, backwards, sideward) various trajectories (straight line, curved line, wavy line, spiral, broken line)

moving patterns 2. Diversity in pace

Monotonous, unchanging pace represents a choreographic imperfection. The competitors should not remain in the same formation, shape, or pattern too long (more than one musical motif).A juror assesses:

segmentation of the program according to musical phrases, frequency of variations after certain number of bars

expression of music character, variability in dynamics and pace of choreography according to music

diversity of pace, e.g. changing of fast and slow parts 3. Overall impression, expression juror assesses:

suitability of the music for the age category an effect of the age composition of the group. whether the structure of parade marching (start – marching – final position) was

observed whether the structure of stage choreography (coming – stopping – program –

stopping - leaving) was observed the level of co-operation among competitors in unified compact performance, in

group execution the same technical perfection and motion maturity of all members – the program

as a whole has to be executed lightly, its difficulty and effort must not be obvious, the choreography seems to be performed simply and with pleasure

contact with spectators the expression has to remain in the sphere of sport, without overplay and

affectation, not using theatrical expressions, facial gestures, pantomime, sing etc.; when assessing the expression, the aesthetic expression differs from mere visual impression

outfit (costume) suitability for category, character of equipment and discipline, character of

music Bat teams mustn’t use trousers, seniors must wear boots for defile hairstyle and make-up - suitability for category, character of equipment and discipline, character of

music age balance or heterogeneity of a group or solo formation

4. Basic mistakes in choreography and its performanceRepeated and collective mistakes subject to additional penalization after the performance is finished.

a. Mistakes in composition: Insufficient diversity and variety of the elements. The shapes are not sufficiently

varied Monotonous pace Insufficient area utilization (directions, routes) One-sided twirling Dancing performance lacks diversity Too many elements of floor exercise Use of forbidden elements of floor exercise in BAT groups not permitted

pyramid or lifting

Not permitted type of trousers in BAT group Not permitted decorations scenes and props (mascot, flag, boards, banners etc)

b. Mistakes in musical accompaniment: music that is not appropriate for the age of competitors and for the discipline incongruous mixture of music, disharmonic sequence of musical motifs and

individual sounds (horns, drumming, clattering, whistling, screeching sounds etc.)

when the music stops in the middle of the musical motif, violent interruption or stoppage of music or when the volume of music is gradually turned down until complete silence is reached

c. Character of parade marching is lost: long choreography at a halt during the performance long choreography after

reaching the finishing line long jumps and leaps in order to gain time marching backwards for too long

routines in BAT when competitor(s) is/are lifted or carried by other competitor(s)

excessive use of routines in POM when competitor(s) is/are lifted or carried by other competitor(s)

d. Character of stage choreography is lost: entering the stage when music is already on opening position is missing final position is missing, the competitors leave right after they finish their

choreography leaving the stage when music is still on leaving the stage too slowly, or employing additional choreography when

leaving the stage inclusion of elements of floor exercise BAT e. Mistakes in performance:

imbalance and inaccuracy in lines, rows, circles, diagonals wobbly pyramids (two-degree) the end of the music does not correspond with

the end of the performance the competitors do not reach the finish line part of the choreography is performed outside the competition area (subgroup)

lengthy or uncoordinated exchange of the equipment in SHOW groups insufficient expression of the musical accompaniment through movements

interruption of the performance by competitors themselves – see also chapter on Course of the Competition, Repetition of the competition performances

13) Bonification for choreography and its performanceThe juror can award bonification for every criterion individually:

original choreography, music or costume when working with the theme high accuracy, balance of the shapes and changes

impressive contact with the audience, excellent overall impression In POM category (cadet, junior) all compettitors exchange pom pons between

them (except captain) can be bonificated

14) Characterization of criteria within the B field

MOVEMENT TECHNIQUEWhen juror awards rhythm coordination and synchrony, he takes into account how difficult the performance is concerning the size of the group. Only size of the group is not a reason for low or high remuneration.Body technique and step technique Posture and rhythmic step represent principal features of aesthetic appeal of majorette sport.Especially following factors are decisive for their assessment:

posture of trunk bent back, shoulders forward, movement in forward bend, stiffness are

considered to be errors

posture and movements of arms movement of arms out of rhythm, clenched fist, „limp“ arms during moves

and turns, stretching forward arm over the level of shoulders are considered to be errors

posture and movements of head- unnatural head posture is considered to be a mistake (backward bend, sideward bend, forward bend with sight down to legs)

step rhythm- the step is connected to the rhythm of music; especially in parade marching the non-compliance with rhythm (march on right feet) is considered to be a incorrect execution

execution of tread- the tread should be executed over the tip or pad, the tread over heel is considered to be an incorrect execution, unless it is dealing with a dancing element

position of soles- the soles has to be parallel one to another, tips apart each other

or towards each other during marching are considered to be an incorrect execution

knee raising- various national schools (styles and interpretations) are respected

for knee raising, the height of raising the knees or heels (stretching legs backward) is not decisive, knee raising has to be balanced on both sides, high raising of left leg and mere closing the

right leg (limping) is incorrect, also uneven raising, accentuation of one foot rhythm of dancing elements execution has to correspond to the nature of the dance gymnastic elements precision, extent and assuredness of execution, connection with an element,

with equipment or with a change of shape, pattern

Rhythmic co-ordination and synchronyThe execution of the program by all competitors has to be connected with the music, so that the nature of movement of body and equipment has very accurate connection to the nature and rhythmic components of music accompaniment.Rhythmic co-ordination represents a perfect harmony of motion of all competitors with music, synchronous execution, group feeling of bars and motion in rhythm.A juror assesses:

expression of music via movement precision, distinctness and smoothness of changes in shapes and patterns

compactness of moving patterns precision and link-up of movements during chain actions in speedy sequence

and stop actions same continuity of movement at work with equipment, during equipment changes.

Basic mistakes in movement technique Repeated and collective mistakes can be included as additional penalizations after the performance is finished Mistakes in body technique bad posture of the trunk bad posture and movement of the arms bad posture and movement of the head bad technique of steps mistakes in performing elements of floor exercise – see appendix „aids in

teaching elements of floor exercise“ mistakes of coordination and synchronization falling out of the rhythm – steps or arm movements imprecision when

performing the dance elements imprecision when performing chain elements in quick sequence the competitors do not stop moving at the same time in the stop position

incompact and imprecise movement patterns the movement and music do not finish at the same time missing collective feeling of rhythm and beat, discordance between the

movement of all the competitors and the music

15) Bonification for movement technique

Juror can award bonification for every criterion individually: perfect synchronization and the movement of all competitors is sequenced elegant movement of all competitors during the performance

16) Evaluation criteria

Criteria for evaluation and awarding points are defined, so the juror has to evaluate and award the points for all the substantial attributes of the competition choreography that is being performed.

• It is not decisive whether the choreography is performed in classic or contemporary style

• Essential for awarding the points is the composition of choreography and how it is performed

• Awarding the points must be based on the mistakes, faults and also positive aspects that are observed

• If there is any doubt, the decision is in favour of the competitors

17) Characterization of criteria within the D field

TECHNICAL PENALIZATION

Not keeping the timeFor every second over the limit

• in parade marching over 3:00 • in stage choreography of groups below 2:30, over 3:00 • in stage choreography of solo-formations below 1:15, over 1:30

Penalized:• every individual fall of the equipment • disrupting the shape when retrieving fallen equipment (evaluated in section A –

Choreography) equipment not retrieved until the end of performance, if it is not a case of a fall just before the finish of the performance

• using more other annoying equipment Not penalized:

• the equipment leaves the competition area • overstepping the stage area when retrieving the equipment • when the equipment is handed over by another competitor or a non-competing

person Penalization for incorrect course of the competition

• Competitors are not ready for competition after it has been announced by the speaker

• Entering the stage before the speaker’s announcement• Music is not ready

• Transcription of music is low technical quality Performance interrupted by competitors Unauthorized music player, MC

• Unauthorized means of communication between competitors – whistle, counting out loud, sing etc.

• Unauthorized communication between leaders – giving instructions to competitors during performance

• incorrect costumes of bat teams • missing boots in senior bat team • in show using scenography • judge crossing lines, overstepping competition area • incoming / outgoing with music missing stop figure • performance out of competition area • missing compulsory elements • parade march: not crossing finish line by all members • parade march: stopping in front of jury, choreography in one place

18) Official persons of competition:• 5-7 judges jurors ( one of them chief judge)

• delegate• competition secretary, PC operator• linemen

19) Prizes for World and European ChampionshipIn every category, equipment (and discipline by solo-formations) the prizes are given for:

• 1st place, Champion of World • 2nd place, 1st runner-up to champion of World • 3rd place, 2nd runner-up to champion of World • For teams: 1-2-3 cups and medals, diploma; 4-5-6 diploma • For soloists 1-2-3 medals, diploma; 4-5-6 diploma

When there is the same number of points for more than one competitor, the prize is given to everybody who got the number of points.

Placement of jury

• The jury is placed on the side of the marching route, or in front of the area where stage choreography is performed.

• Individual jurors can be placed alongside the marching route or around the area where stage choreography is performed.

20) Course of the competition

• A club or team cannot start with the same choreography twice on World Championships. WC- Qualification quota of MWF member-countries is 95 pieces in 2016.

• Decision about „free“-places- which are not filled by some members- is the power of organizer country.

• The main organizer of WC must discuss about quotas of competitors with national presidents.

a) Starting lists

• Starting order is prepared either by manual lot or with using of random number generator software

• The order for marching parade is firstly decided by lots • Starting lists for stage choreography must be elaborated in reverse order

b) Behavior of competitors

• The competitors have to be prepared to open the competition performance as per the order given in the starting list and instructions by organizers, speaker

• Insufficient readiness and delayed coming are, as the case may be, penalized and means a loss of starting order

• The competitors in the category of juniors and seniors are not allowed to communicate during competition performance loudly by words or by means of other acoustic signals (whistle, sing etc.)

c) Behavior of leaders

• During competition program, the leader or their assistants must not control or give instructions to the competitors from defined route for parade marching and from protective area of stage choreography; this stipulation does not apply to area for spectators

• During the competition program, e.g. in the course of competition performances, the breaks among competition performances and after termination of individual competition performances, the leaders or assistants must not communicate with members of team, which processes results; not permitted communication is penalized.

d) Disruption / Interruption of competition

The following is considered an interruption of the competition and unfair behavior of competitors, leaders, their representatives or assistants or accompanying people:

• verbal or physical assault, threatening jurors, organizers or members of the staff that work with results etc.

• disregard or belittlement of the competition, results, evaluation, jurors and other members of competition officials either in place where competition is held or in media including the internet.

If such a case occurs, the chief judge can disqualify all the competitors of the club that caused the interruption and annul their results, which can also be done summarily.

e) Behavior of jurors

During the competition, e.g. in the course of competition performances, the breaks among competition performances and after termination of individual competition performances, juror

must not communicate with choreographers, assistants and competitors. Delegate keeps contact.

f) Health indisposition before the competition

The sudden health indisposition of an individual competitor before the performance begins is not grounds for changing the starting order.

The organizer can interrupt the competition for 5 minutes, depending on the circumstances. After this time is up, the leader may either keep the place in the formation empty, give it to a substitute or cancel the performance.

g) Health indisposition during the competition

The sudden health indisposition of an individual competitor during the course of competition is not grounds for repeating the performance.

h) Leaving the competition area

If an individual competitor from a group or from a solo-formation interrupts the performance and leaves the competition area before the performance is over, the evaluation is annulled. Such a group or solo-formation cannot repeat the formation.

I) Changing of costumes

• The need to change the costumes between the performances is not grounds for changing the starting order.

• The organizer can adjust the sequence of disciplines in solo-formations or he can interrupt the competition for 5 minutes.

J) Repeating of a competition performance

• A group or solo-formation that had to interrupt their performance due to circumstances beyond their control (e.g. blackout, malfunction of audio system, bad weather, interruption by strange people who enter the competition area etc) can repeat their performance.

• The group or solo-formation that interrupts their performance for other reasons than those described cannot repeat their performance.

K) Continuous announcement of points awarded

• After publication of the results, organizer should announce or show the scores awarded continuously to present also a penalty and score for each criterion separately and the latest time: before the final ceremony organizer must give printed results to national presidents.

• After the competition organizer must send jury’s scores, with judges names on, by e-mail to all participated national associations. Publication of results with scores - after announcements of results- during the competition is required too

• The points as announced cannot be changed, with the exception of a mistake by speaker or recorder and a protest accepted

L) Protests, objections

Protests against the assessment, marks and jury verdict are not allowable

Other protests can be made in 60 minutes after the competition performance, but at the latest 10 minutes before declaration of result.

Fee of every protestation is 50,00€. This amount shall be deposited at the delegate.

Protest can be given against such competitor, which they are meant, namely because of:

• non-compliance with age limit

• different composition of the group during parade marching and stage choreography

• not permitted utilization of props

Such protests are made by a leader of group or solo formation or his authorized representative to the delegate-

• The information on making a protest and its settlement is announced in public • The protests are attended by the delegate, who consult the matter with judges.

• If a protest is find to be entitled, the chief judge will order respective single penalization, which is deducted from total points awarded to the competitor, to the detriment of which the protest was accepted.

• If a protest is made after processing the results, it is rejected.

21) Music for competition programs a) Common stipulations

• All programs have to be performed whole with music accompaniment • Interpretation of pieces may be either orchestral ones or with accompaniment, so-

called sung pieces • Suitability of the music for the age category is awarded in the section of general

impression. Whole pieces or their parts may be used • In the case of music mix, individual musical motifs (parts) have to be interconnected

correctly from musical and technical point of view; incorrectly realized link-up (technically bad transition from one motif to another) is reason for points deduction

b) Audio media

• Music is played back from compact disks (CD) • It is not permitted to use music on cassette MC

• Utilization of live music (own orchestra) is possible only when approved by organizers, however the orchestra must not march together with a group during marching parade, it has to stand on a spot

c) Music for parade marching

• A piece (2/4 or 4/4) with emphasized regular rhythm, in orchestral rendition (brass orchestra, symphony orchestra, etc.), it can be also song

• March, polka are considered to be a primary music accompaniment • Also music of different rhythm may be used for modern style, always it must

correspond to marching nature of the discipline • Records of group in techno, heavy-metal and similar styles are not permitted for

parade marching with batons

d) Music for stage

• Pace and rhythm of music are not prescribed, however they must ensure, that a passage (section) of so-called classic majorette step may be included in the choreography

• Music in heavy metal style, techno, funky, hip-hop or music of similar styles is admissible only when newly arranged and recorded by an orchestra – suitability of this music is assessed by jurors- taking into account the choreography and the age of competitors

22) Costumes, outfit of competitors

1. Generally

• The costumes of competitors, their hairstyle and make-up should correspond with the age category, character of musical accompaniment and the equipment used.

• Colours and their combinations can be chosen as competitors like, they can be different in subgroups or in costumes of leaders (captains) or in costumes of certain majorettes.

In style creations the juror can evaluate aesthetic impression and appropriateness of costumes, hairstyles or make-up for each age group and music.

2. Costumes in baton section

• Transparent materials such as lace, skin nylon etc. without under layer are not allowed on the blouse.

• They must include some elements of traditional majorette clothing

• Individual modifications, various folk motifs, elements taken from national folk costume are allowed.

• It may not have the form of an overall, gymnastic slip, body or swimsuit and it also cannot have the character of a POM costume.

• In the BAT section any costume can be used in order to express a specific original theme and music character – but there always must be concordance between music, costume and choreography. Appropriateness and aesthetic impression is always evaluated in overall impression criterion.

• In BAT team choreographies • Boots are obligatory for senior baton teams, offered for juniors and cadets • not trousers are allowed • dress: can be sleeveless, but chest-, belly- and back covered with costume

• some cap-imitation(aplication) on the head is required in solo, duo-trip and mini formation.

• hat is obligated to wear in baton choreography and parade marching (for cadets, juniors and seniors!)

• inappropriate costume causes penalization

3. Costume in POM,MIX,FLAG section

• The nature of pom-pom disciplines allows the use of any costume, outfits of show type, disco dance type etc.

• The costume may, but does not have to, include elements of traditional majorette clothing. Determinate by music, dance style and the theme

4. Hairstyle and make-up

• They must be appropriate to the age of competitors and character of the performance.

• Unified hairstyle and make-up contribute to the overall aesthetic impression.

23) Video records of competition

Choreographies on World Championships, and international competitions can be made only for your own use. Video tapes about other groups can be made also for your own use, public viewing- except for official MWF training- and subject to the Internet, only with permission of the group is allowed

FINAL PROVISIONS

§ 9

Required interpretation and explanation of certain provisions this rulebook gives the Competitors’ Committee- MWF.

Appendix.

24) Gymnastic and acrobatic elements in sport majorettes

1. Systematics of exercises in gymnastics

a ) gymnastic exercises are divided shaping:• Head and neck ( bend, turns )• Arms and shoulder belt ( lifting , letting down, folding, raising, prancing, swings,

cirlcling, turns, bends)• Trunk ( bending, tilting, turns, rotating, raising )• Legs ( stand tiptoe, step stands ,step out stand , straddle stand, defence stand, half

balance and lying balance, squat support, half squat suport, knnelings, leap, hop, jumps )

b ) starting positions for gymnastics:

Starting position or final placement of the body that the practitioner takes before or after exercise. Due to the height from the center of gravity positions of the output divided into three types:

• The first group starting positions are positions of high( basic position, straddle stand, step stand, floating stand ; changing the position of the legs and hands can create another subgroup starting positions for example: turns trunk can make the position : straddle stand – arms to the side, on the hip or neck

• The second group includes positions half-high( squat and knnelings positions with their variations, for example: squat support, defence stand support, knnelings, half knnelings, knneling suport,left/right knneling balance support.

• The third group consists positions low( sitting and lying positions with their variations for example: long seats, bent or tuck seats, front/back lying, side lying, and front/back support, left/right side support, bridge ).

2. Gymnastic elements

Leaps, Jumps, & Hops with turns are in increments of:· 180° for Floor exercise (split, straddle and ring elements)· 360° for Floor exerciseVarious techniques of jumps, leaps and hops with turns are permitted; piking, tucking or straddling the legs may be in the beginning, middle or end of the turn.

Definition:Leaps – take off from 1 foot to land on other or 2 feet

• side leap, split leap, side split leap, straddle leap, ring leap, cat leap, switch leap ( leg change), switch ring leap (leg change), switch leap to side split/straddle pike (Johnson),tour jete

Hops – take off from 1 foot and land on the same foot or 2 feet (180° leg separation is not required)

• stretched 180°/360° turn , tuck , wolf , Fouetté-hop to land in arabesque, Hop with ½ turn (180°/360°) free leg extended above horizontal.

Jumps – take off from 2 feet and land on 1 or 2 feet• split jump, side split jump, stag jump, pike jump, tuck jump, wolf jump, straddle pike

jump, sheep/ring jump ,sissone, stag ring jump.

3. Acrobatic elements

• Acrobatic elements called such exerciese that you can perform front and back by dynamic jumping feet to hands and feet and feet to feet , also rolls and static acrobatic elements such handstands, standing on head.

• To acrobatic elements include (attachment drawings):

1. roll forward, 2.roll backward, 3.head stand, 4.handstand, 5. bridge/backbend with lying or stand, 6. cartwheel, 7. front walkover, 8.back walkover, 9.valdez from exstended tuck-walkover backward sit, 10.forward handspring, 11. flic-flac/back handspring, 12. front walkower with leg change, 13.backward walkower with leg chnage , rys 14. flic-flac with step out, 15. Forward handspring with leg change, 16. round off, 17. aerial cartwheel, 18. aerial walkover.

All acrobatic elements may be performer in various combinations and can be combined with gymnastic elements.

2. Gymnastic elements

Leaps, Jumps, & Hops with turns are in increments of: 180° for Floor exercise (split, straddle and ring elements) 360° for Floor exerciseVarious techniques of jumps, leaps and hops with turns are permitted; piking, tucking or straddling the legs may be in the beginning, middle or end of the turn.

Definition:Leaps – take off from 1 foot to land on other or 2 feet

To gymnastics elements include (attachment drawings):

1.side split leap, 2. split leap ,3.split leap with½ turn , 4. straddle leap, 5. split ring leap,6. cat leap, 7.switch leap ( leg change), 8.switch ring leap (leg change), 9.switch leap to side split/straddle pike (Johnson),10.tour jete

1) side split leap

2) split leap ( leg seperation 180 )

3) split leap with ½ turn (180°)

4) Straddle leap

5) Split ring leap

6) switch leap

7) cat Leap

8) switch Ring Leap

9) switch leap to side split/straddle pike (Johnson)

10) tour jeté

Hops – take off from 1 foot and land on the same foot or 2 feet (180° leg separation is not required)

11. stretched hop with 180°/360° turn ,12. tuck hop, 13.tuck hop with 1/1 turn (360°) ,14. wolf hop , 15.fouetté-hop to land in arabesque,16. hop with ½ turn (180°/360°) free leg extended above horizontal.

11) stretched hop with 180°/360° turn

12) tuck hop

13) tuck hop with 1/1 turn (360°)

14) wolf hop

15) fouetté-hop to land in arabesque

16) hop with ½ turn (180°) free leg extended above horizontal

Jumps – take off from 2 feet and land on 1 or 2 feet 17.tuck jump, 18.pike jump,19. split jump, 20.side split jump, 21. stag jump, 22.wolf

jump, 23.sheep/ring jump ,24. sissone, 25.stag ring jump,26. ring jump/

17) tuck Jump

18) pike jump (hip < 90°)

19) split jump(leg separation 180°)

20) side split jump – straddle jump

21) stag jump

22) wolf Jump

23) sheep jump

24) sissone

25) stag ring jump

26) ring jump

turns: turn recognition in dance elements. The turn must be completed exactly. The position of the shoulders and hips are decisive otherwise another element.Turn Considerations: Must be performed on the toes. Have a fixed and well defined shape throughout the turn. The support leg whether stretched or bent (choreography) doesnot change . Degree of rotation is determined once the heel of the support leg drops (turn is considered finished) .For turns on 1 leg requiring the free leg to be at a specificposition, the position must be maintained throughout the turn.

27) 1/1 turn (360°) on one leg- free leg optional below horizontal

28) 2/1 turn (720° and 1080°) on one leg- free leg optional below horizontal

29) 1/1 turn (360°) and (720°) with heel of free leg forward at horizontal throughout turn ( suport and free leg may be straight or bent

30) 1/1 turn 360°) and ( 720°) with free leg held upward in 180°split position throughout turn

31) 1/1 turn (360°) and ( 720°) in bach attitude ( knee og free leg athorizontal throughout turn)

32) 1/1 turn ( 360°) with free leg held backward/upward throughout turn

33) 1/1 illusion turn ( 360°) and ( 720°) through standing split without touchingfloor with hand

34) 1/1 turn ( 360°) in tuck stand on one leg- free leg straight or bent

35) 2/1 turn (720°) or more on back in kip position

Staggering pyramid to the photograph:1.GROUND FLOOR - allowed to perform cadets, juniors and seniors2.FIRST FLOOR – allowed to perform cadets, juniors and seniors3.SECOND FLOOR – allowed to perform seniors

Penalty for illegal use of the pyramid in terms of age and age is -0.40.