The Artistic Tournament is the flagship proposal of Azul Fest conceived as a space to showcase performance, creativity, and stage storytelling at their highest expression. This format focuses on the artists’ ability to convey emotions and narratives, blending aerial technique with a deeply interpretative approach.

In the Artistic Tournament, we invite each participant to immerse themselves in the story they wish to portray using movement, music, and stage resources to build a unique visual narrative. Evaluation prioritizes artistic skills—such as interpretation, theatricality, and emotional connection with the audience—over the technical difficulty of the movements.

The objective is to highlight creativity, artistic sensitivity, and stage coherence of each performance, understanding technique as a support for the narrative rather than the central focus of the proposal.

For this reason, the tournament is organized into two levels:

• Amateur Artistic Tournament

• Professional Artistic Tournament

Within this format, artists may use the aerial apparatus of their choice, such as aerial silks, aerial hoop, trapeze, aerial hammock, or any of the so-called novel apparatus, including straps, ropes, cubes, chains, or other scenic devices .

The choice of apparatus is a fundamental part of the artistic proposal, as it allows the narrative to be enhanced and new forms of expression to be explored within the performance.

It is determined by “Calendar Age”, meaning that it will depend on the participants’ year of birth and is calculated as follows:

SOLO: A participant in an element.

DÚO: Dos participantes en distintos elementos (solamente en Telas y Hamaca Aerea).

PAIR: Two participants in the same element.

TRIO: Tres participantes en distintos elementos (solamente en Telas y Hamaca Aerea).

REMEMBER:

A participant may register for as many routines as they wish, provided they belong to different tournament types, different styles, or different apparatus.

For example, María registered for a Solo Aerial Silks routine in both the Sports Tournament and the Artistic Tournament.

For example, Pedro registered in the Sports Tournament in Amateur Aerial Hoop Solo and Elite Aerial Silks Solo.

Routine times will be determined by the general regulations of the Artistic Tournament.

The routine should include both floor work and work on the element, respecting the established times.

The following are the minimum and maximum times allowed for routines:

VERY IMPORTANT:

Failure to comply with the Regulation Time may lead to Disqualification.

Please cooperate, keep your time well.

In all cases the timing of the routine will begin with the 1st choreographic movement or musical note and will end in the same way.

The Amateur Artistic Tournament focuses on the development of a clear stage narrative, where movement, music, and recorded text are integrated to convey an emotion, idea, or dramatic situation.

At this level, the performer is expected to explore the construction of a clear and understandable scene, using interpretive resources that are accessible and consistent with the artistic proposal.

Helper / Assistant

The performer may use an assistant or partner to resolve accessory situations, such as helping them climb onto the aerial apparatus.

The presence of the assistant is not mandatory, nor does it necessarily have to be part of the stage narrative.

ABOUT THE AMATEUR LEVEL:

The Amateur level within the Artistic Tournament should not be interpreted as a category of lesser value. This level offers a freer and more experimental creative space, where the performer can explore stage ideas, characters, and narratives with greater flexibility.

The goal is to encourage artistic expression, creativity, and stage construction, allowing each artist to develop their proposal authentically within the universe of the Azul Fest Artistic Tournament.

1. Floor - Apparatus Connection

The transitions between the floor and the aerial apparatus must be organic, fluid, and coherent with the narrative of the performance.

The moments on the floor and in the air must be integrated within the stage logic of the proposal.

Example:

A character representing a butterfly could begin on the floor, simulating being trapped before “flying” toward the aerial apparatus.

However, the narrative logic may justify other situations.

For example, if within the story it is established that "the floor is lava and the character dies when touching it", contact with the floor may have a negative meaning within the scene and still be valid.

2. Mandatory Recorded Narrative

The performance must include a recorded narrative integrated into the music file.

This resource aims to reinforce the atmosphere and emotional depth of the stage proposal.

The History

Must be included in the music track submitted by the participant.

It may be part of the song or added within the same file.

It should not literally explain the choreography or narrate the action step by step.

Its function is to accompany the emotional or conceptual meaning of the scene.

It is allowed to use:

original texts

poetic phrases

movie excerpts

popular culture references

Example:

A voice that says:

"The forest holds secrets that only the wind can reveal"

in a choreography that represents a journey through a natural landscape.

3. Stage Expression

The movements, facial expression, and body attitude must be aligned with the character, metaphor, or stage intention proposed by the performer.

The ability to convey emotions and build a comprehensible scene will be evaluated.

At this level, the use of mimesis as a resource is allowed to resolve simple stage situations.

Example:

A character inspired by popular culture, such as a television host or a recognizable public figure, may be used to build a humorous scene.

It may also involve an emotional situation without an explicit character.

Example:

A performance about grief may use slow, expressive movements with an introspective attitude that conveys melancholy. In this case, there is not necessarily a defined character, but there is a clear emotional intention expressed through the artist’s body.

4. Props / Stage Object

At this level, it is mandatory to use at least one object or prop that has a direct relationship with the narrative of the performance.

The object must be part of the stage development and not be used only as decoration.

5. Musicality

The music file must accompany and enhance the overall narrative of the performance.

The track may include:

music with rhythm changes that create dramatic moments

combinations of music and text

theatrical or narrative excerpts

compositions with minimal use of music

The sound structure must contribute to building the stage meaning of the performance.

The Amateur Artistic Tournament is evaluated through a structured evaluation system based on different criteria that assess stage construction, interpretation, and the resources used throughout the performance.

Each judge will evaluate aspects related to the narrative, the performer's acting, the use of the stage space, the musicality, and the creativity of the performance.

Each of these criteria has a maximum score assigned, and the sum of all scores determines the final performance score.

JUDGES' FEEDBACK

The judges will have a dedicated section on the evaluation form to provide feedback to the participants.

In this section, they may identify weaknesses that resulted in score deductions, technical or stage aspects to improve, as well as highlight strengths or positive elements of the performance that should be maintained.

Likewise, the judges may provide suggestions, propose improvements, or recommend possible adjustments to the choreography that may be beneficial for the participant’s artistic development, especially if they qualify for the World Finals.

ABOUT THE PROFESSIONAL LEVEL:

The Professional Level within the Artistic Tournament is intended for stage proposals featuring greater dramaturgical development and a more complex integration of the resources used on stage.

At this level, a more elaborate narrative construction is expected, in which interpretation, movement, music, recorded narration, and stage interaction work together coherently to create a solid artistic experience.

The objective is for the performance to present a clear stage proposal, with a defined narrative structure and meaningful interaction among the different elements that form part of the scene.

1. Floor-to-Apparatus Connection

The transitions between the floor and the aerial apparatus must be organic, fluid, and aligned with the narrative, the use of space, and the construction of the character or driving force within the complete stage proposal.

Example: a character representing a butterfly could begin on the floor, pretending to be trapped before “flying” onto the aerial apparatus.

However, the performance may include different situations within its own dramatic logic. For example, if the narrative establishes that “the floor is lava and the character dies upon touching it,” the use of the floor may carry a negative meaning within the scene while still remaining entirely valid as part of the artistic proposal.

2 – Mandatory Recorded Narration

This resource enhances the atmosphere and adds emotional depth to the stage proposal.

The recorded narration must be included within the music track submitted by the participant. It may form part of the song or be incorporated as a separate resource within the same file.

The recorded narration must not explain the choreography or describe the narrative literally, but rather complement the proposal with an emotional, poetic, or conceptual tone.

It may include original dramatic texts, literary excerpts, poetry, theatrical texts, or references drawn from popular culture, myths, or legends.

3 – Acting and Stage Expression

The movements performed both on the floor and on the aerial apparatus, as well as the facial expression and stage attitude, must be aligned with the character, driving force, metaphor, or proposed dramatic meaning.

The ability to convey emotions through the body and the capacity to embody a role or dramatic situation constitute the performer’s main focus at this level.

Example: an act about grief could include slow and expressive movements, with a facial expression conveying introspection or melancholy. A clearly defined character is not necessarily required, but there must be a clear sense of meaning expressed through the artist’s body.

4 – Stage Design

Stage design includes the set of material elements that shape the stage space (for example: chairs, tables, boxes, mirrors, partition panels, or other objects).

These elements may serve technical or poetic functions within the stage proposal. Stage design may also incorporate resources such as props, makeup, costumes, and elements used to create dramatic effects on stage.

All stage-design resources must be coherently integrated into the narrative of the performance.

Example: un paraguas podría simbolizar protección o vulnerabilidad dependiendo del contexto de la escena, pudiendo utilizarse tanto en el suelo como en el elemento aéreo.

5 – Musicality

The music track must complement the overall narrative of the performance.

It may include recorded narration integrated into the track or use combinations of music, silence, or sound resources that expand the expressive possibilities of the stage proposal.

Proposals that make effective use of changes in rhythm, musical accents, or sound variations to reinforce the dramatic moments of the scene will be valued.

6 – Stage Partner (Mandatory)

At the Professional level, the performance must mandatorily include the participation of a stage partner.

Every person who appears within the stage space must have a clear connection to the narrative proposal and must not serve solely as technical assistance.

The stage partner may remain on stage or take part through entrances and exits, provided that these actions are coherent with the dramatic development of the performance.

JUDGES' FEEDBACK

The judges will have a dedicated section on the evaluation form to provide feedback to the participants.

In this section, they may identify weaknesses that resulted in score deductions, technical or stage aspects to improve, as well as highlight strengths or positive elements of the performance that should be maintained.

Likewise, the judges may provide suggestions, propose improvements, or recommend possible adjustments to the choreography that may be beneficial for the participant’s artistic development, especially if they qualify for the World Finals.

KEY FACT:

For those choreographies eligible to participate in the World Cup, it is suggested that they modify their choreography based on the judges' feedback during the Qualifying Tournament. However, they may choose to change their costumes, routine, and music if they wish. Qualifiers cannot change the element or category they initially entered.

Participants in Duo or Trio choreographies that have qualified for the final stage can be replaced, but new choreographies CANNOT be added without having gone through a qualifying stage.

The teacher is responsible for the entry and exit of his students on stage, and for reviewing the manner of exit and entry.

He is legally responsible for each of his students and himself, and must sign a participation agreement before the event and present the documentation, including photocopies of the under-18 age categories, with the authorization of the parents.

The teacher must have read and understood these regulations, which are addressed only to teachers who handle and use aerial acrobatics techniques with their students, understanding that they may be re-categorized depending on whether or not their presentation has the corresponding technique, and they may never dispute the jury's decision.

Disqualifications: The athlete or school in question will be immediately disqualified in cases of unsportsmanlike conduct or disrespect towards other athletes, jury members or any other person present at the event, at the discretion of the organization or the jury, as well as in cases of attitudes that incite violence, crime or illegal consumption on or off the stage at the discretion of the organization or the jury, attitudes with a high sexual content or that violate the morals and privacy of people at the discretion of the organization or the jury.

Athletes waive any legal action against The Organization, its members, members of the jury, The Theater or Establishment, its staff and related parties for any loss, damage, injury or harm that may arise from their participation in the competition or that is related to participation in the competition, including transportation to and from the venue where the competition is held.

The attached registration form contains the fee for the presentation of the choreographies.

We are now available to answer any questions you may have.

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