1. The Choreography Composition – Max. 4 Points

In the choreography composition we evaluate WHAT, HOW and WHERE the following are made:
- Aerobic movement patterns
- Difficulty Elements
- Transitions and linking
- Lifts (MP/TR/GR)
- Partnership (MP/TR/GR)

The artistic judges will evaluate the connection from/to: Elements, AMP, Lifts, Partnership, (Physical interactions, Formations, Relationship). The connection between the movements must be dynamic, smooth and fluent.

This means that all the movements that are presented in the routine, are linked without any unnecessary pauses, smoothly, in a dynamic way, with energy, with vigour, performed easily, without showing fatigue (laborious/hesitant) or heavily, showing agility and with a high intensity level.

Dynamic and fluent routines will be those that demonstrate the connection of all the routine components (AMP, elements, and partnership) using the transitions and linking with energy, agility, vigour, without excessive pauses, etc. In order to perform dynamic and fluent routines the performers will need as a pre-requisite an excellent physical condition and an excellent skill technique which allows the gymnasts to perform the routine without interruption, hesitation, and smoothly throughout the whole routine, without showing fatigue.

Common Errors (examples)
- Stop before or after a movement
- Making excessive poses on the floor and/or on the surface
- Not connecting the three competition levels in a dynamic way or diminish the intensity, endurance, speed and frequency of movements
- The members of a MP-TR-GR do not change formations and the position in the formations fluently
- Mounting and dismounting from lifts not fluent or showing hesitation or pause

SCALE

The movements are complex when they are composed of many interconnected parts and they are so complicated or intricate and are hard to perform or deal with.

A creative composition of the routine means that it has been constructed and is performed creating meaningful new ideas, forms, interpretations, originality, progressiveness, or imagination, with unique and creative characteristics avoiding copying and monotony.

It is more difficult to perform complex and creative movements than simples ones. It requires more coordination, more physical conditioning, better body control, etc.

A simple movement is one that you can do immediately after seeing it, without any training. A complex and creative movement is one that you need a certain period of time to perform and requires coordination and a previous preparation (physical conditioning, biomechanical analysis, analytic and systematic analysis, progressions…..)

The artistic score should reflect the complexity and creativity level of all these movements. When a movement is more complex and creative than others,
- It requires more coordination:
- more body parts are involved
-the use of asymmetry
- change of plane and levels
- change of orientation
- formation changes in MP, TR and GR
- has rhythm changes and different rhythm between upper and lower body
- It needs more PHYSICAL CAPACITIES training (it requires more physical capacities to perform it)
- It is faster. Needs more energy and is more dynamic
- Has more frequency
- It is different to other movements (It is easier to perform movements showing only one physical capacity) - It is sudden. Unpredictable

Complex and creative routines are very hard to perform, and they should be more highly awarded. The athlete who takes this option should benefit.
- Easier movements = lower score
- More complex and creative movements = higher score

The artistic judges will evaluate under these criteria the following movements:
- Transitions
- Linking
- Physical Interaction
- Lifts
- Formations
- Partnership


The complexity and creativity of AMP sequences will be evaluated under the point 2 Aerobic Content.

The complexity of the Difficulty elements are evaluated by the difficulty tables and is by Difficulty judges.

Complex and creative routines will be those that shown a high level of body coordination, technical skill and physical capacities of the performers.

The complexity and creativity level of the movements must be shown by all the members of the MP, TR and GR, and be demonstrated in all the movements included in the competition routine (linking, transition, physical interaction, lifts and formation)

Complex and creative routines include many details to enhance the quality of the routine, integration of all members in MP-TR-GR.

Special requirement for Complex / Creative lifts

In order to have Complex / Creative lifts; judges will apply the following criteria

Base: the competitor who is holding another competitor
Top: the competitor who is being held by his/her partner

• A lift can be different from another if the position of the top(s) and base(s) are different in each lift (i.e. base standing, kneeling, seating, lying, front support, etc…., and top in straddle support, planche, vertical split, frontal split, etc….)
• If the position of the top(s) change during the lift • If the position of the base(s) change during the lift
• Varying the number of bases in each lift (i.e. in trio 1st lift 1 partner lift 2 partners, 2nd lift 2 partners lift 1 partner, 3rd lift two partners lift 1 partner but alternatively without the lifted person touching the floor until the completion of the lift.

1. Showing different levels of the lifted partner in relation to the shoulder axis (under or above the shoulders).
2. Showing the strength and/or flexibility and/or balance of the competitors.
3. Changing the form during the movement: the position of a lifted person(s) shows various forms. • Varying the kind of lifts (static lifts vs dynamic lifts)


Common Errors (examples)
• Showing complex / creative movements only in the upper limbs while at the same time the leg action is not complex;
• Transitions that require only the use of one single physical capacity (example Strength)
• Performing in the routine only complex / creative transitions from the floor to surface and showing simple transitions from the surface/airborne to floor (the competitor only goes to the floor using difficulty elements landing in PU or split positions)
• The movements are easily executed by other competitors after seeing them only once.
• The linking between difficulty elements is simple
• The transitions for changing levels are easy • Copying
• No creative partnership and physical interactions
• Connecting elements from/to AMP without complex / creative transitions or linking
• Connecting elements together without complex / creative transitions or linking
• Changing levels only with difficulty elements
• Use of simple lifts

SCALE

The Variety of AMP Sequences will be evaluated under Aerobic Content.

The Artistic judges evaluate the variety of:
- Transitions
- Linking
- Formations
- Lifts
- Physical Interactions
- Partnership

Aerobic gymnastics routines must show a well balanced selection of all movements, in order to enhance the routine and the competitor(s) Characteristics and style.

To evaluate the variety of the routines, the artistic judges will take into consideration that all of these movements must be without repetition or reiteration of the same or similar types of movements.

All of them should include different actions, different forms, and different types of movements, different physical capacities, during the performing of the transitions, linking, lifts, partnerships, and physical interactions and other moves.

Excellent routines must show a great amount of different types of movements

Common Errors (examples)
- Repetition of the same kind of transitions (they are similar or look very similar)
- Repetition of the same kind of lifts without using the criteria
- Monotonous movements
- Repetition of poses (they are similar or look very similar)
- Repetition of partnership
- Repeating sim i l ar types of transitions or linking
- Repetition of similar types of lifts

SCALE

1. The competition area must be effectively used throughout the routine with balance and frequency of travelling. Not only the corners and the centre of the competition space but all areas of the competition space.

2. Throughout the routine, travelling must be shown in all directions (forward, backward, laterally, diagonally and circular) and long and short distances, with as little repetition of traces/tracks (this means For example trying to go in one direction travelling laterally from right to left and then later to do another lateral travel from left to right, this will be ok, if it is repeated again right to left in lateral travelling, this will not be good. The same with diagonals, etc……)

3. All three levels (floor-work, standing, airborne) of the competition space must be used, without any predominating level throughout the routine

4. The movements must be distributed in a balanced way in the competition space (this means for example if you have 4 floor work in your routine, put it in different places)

The movements must be placed throughout the routine in a balanced way.

Excellent routines must use effectively the competition spa ce (to the maxi m u m) in al l the aspe cts mentioned above, in a balanced way, using the distance between competitors (far – close) in the competition spa ce (MP-TR-GR)


Common Errors (examples)
- Performing only in the narrow range area without making effective use of the space.
- A predominated use of the competition area
- Many similar travelling traces/tracks (locus) are seen.
- With aerobic movement patterns, the competitor(s) did not travel in a variety of distances in different directions.
- Performing in one level for a long time.
- Predominating in one level.

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