The "International Rules of Aesthetic Group Gymnastics Competition" are published by IFAAG, the International Federation for Aesthetic Group Gymnastics. This manual was created June 17, 2005, has been updated several times, most recently January 28, 2010.

IFAGG also publishes "Rules of Aesthetic Group Gymnastics Competition Children". Click HERE.

CHECK FOR UPDATES BEFORE USING THIS MANUAL!

1. GENERALITIES

1.1 COMPETITION ARRANGEMENTS

See IFAGG General Rules.

1.2 COMPETITION CATEGORIES

If the group has participated in the IFAGG Junior Championships /Challenge Cup it can not
participate in the World Cup Competitions/ World Championships during the same year or
vice versa.

1.2.1 Junior Category girls age 14 – 16 (gymnasts during competition year 14, 15, 16 years old)
Exception alternatives for age limits:
- two (2) members of group may be one (1) year younger than the minimum given
age OR
- one (1) gymnast may be one (1) year older than the official maximum age and one
(1) gymnast one (1) year younger than the minimum age
- group consists of 6 – 12 gymnasts and reserve gymnast belongs to the group.
- nomination to each competition (preliminaries and finals) must be done among
nominated group

1.2.2 Women Category women over 16 years old.
Exception alternative for age limits:
- 2 members of the group may be one (1) year younger than the given minimum age
- Group consists of 6 – 12 nominated gymnasts (possible reserve gymnast belongs
to the group – maximum 12 gymnasts)
- nomination to each competition (preliminaries and finals) must be done among
nominated group

1.3 COMPETING GROUP

1.3.1 Women Category women over 16 years old.
Exception alternative for age limits:
- 2 members of the group may be one (1) year younger than the given minimum age
- Group consists of 6 – 12 nominated gymnasts (possible reserve gymnast belongs
to the group – maximum 12 gymnasts)
- nomination to each competition (preliminaries and finals) must be done among
nominated group

1.3.2 Doping
See IFAGG General Rules.
As a condition for participating in IFAGG events, a person must follow the anti-doping
rules. All gymnasts, coaches, assistants of the gymnasts, and officials are required to
become acquainted with the doping rules. Information about the banned substances and
methods can be found from the WADA pages: www.wada-ama.org/ .

Girls 12 - 14 (see HERE)

Girls age 12 – 14 years old (gymnasts during competition year 12, 13 and 14 years old)

Exception alternatives:
- two (2) members of group may be one (1) year younger than the minimum given age OR
- one (1) gymnast may be one (1) year older than the official maximum age and one (1) gymnast one (1) year younger than the minimum age

Group consists of 6 – 14 gymnasts and reserve gymnast belongs to the group

Girls 10 - 12 (see HERE)

Girls age 10 – 12 years old (gymnasts during competition year 10, 11 and 12 years old)

Exception alternatives:
- two (2) members of group may be one (1) year younger than the minimum given age OR
- one (1) gymnast may be one (1) year older than the official maximum age and one (1) gymnast one (1) year younger than the minimum age

Group consists of 6 – 14 gymnasts and reserve gymnast belongs to the group

(1.3.3 Removed)

1.3.4 Dress of gymnasts

The competition dress of a group must be a leotard with aesthetic appeal appreciating a
spirit of competitive sport. A correct gymnastic leotard must be in nontransparent material.
Arms, back and chest can be transparent. The cut of the gymnastics suit at the top of the
legs must not go beyond the fold of the crotch (maximum).

The suit may have small decoration such as ribbons, rhinestones, rosettes. The
decorations must not disturb the execution and must always be aesthetic. Leotards must
be identical (material and style) and the same color for the gymnasts of the group.
However, if the leotard is made of a patterned material, some slight differences due to the
cut may be tolerated.

Gymnastic slippers and tights are permitted. Also hair decorations, make-up and
gymnastics slippers are part of competition dress. Hat or any other headgear is forbidden.
Costumes must not disturb evaluating of the execution.

Competition dress can not hurt/insult any religion, nationality or take of an attitude
politically. Logos see IFAGG General Rules.

1.4 COMPETITION PROGRAMME

1.4.1. The length of the gymnastics programme

The permitted programme length is from 2 min 15 sec to 2 min and 45 sec. An over- or underrun of 5 sec is permitted. Timing will start from the beginning of the first movement after the group has taken its starting position on the competition area. Timing will stop as soon as all gymnasts are totally motionless. The group's entrance to the starting position may not be accompanied by music. The program must start and end in the competition area.

1.4.2. Music

Choice of the music is free. There must be one piece of music/CD. The group name and/or
club name as well as country of the group must be clearly marked in English on the CD.

1.5. COMPETITION AREA

The size of the competition area is 13 m x 13 m. It includes the borderline. The competition area is covered with a gymnastics carpet.

2. TECHNICAL VALUE

Every gymnast in a group must execute the same technical elements or the same level technical elements. Technical elements must be executed at the same time, in canon, or within a short period of time.

The competition programme must be varied containing different body movements (for example body waves, swings, bends, rotations, leans, lunges, contractions, etc.) balances, jumps and leaps, skips and hops, arm movements, leg movements, steps and different combinations.

REQUIRED ELEMENTS OF THE PROGRAMME

The following required elements must be included in the gymnastics programme.

2.1. BODY MOVEMENTS

The composition must contain versatile and varied body movements performed in different planes (for example standing or in a low position on the floor) and directions (for example horizontal, vertical) and with variety in the dynamics.

The composition must contain different body movements.

Minimum:

2.1.1 . Two different total body waves (for example forward and backward: see the technique under Section 4, Execution)
2.1.2. Two different total body swings (for example forward and from side to side; see the technique under Section 4, Execution)

The movements can be performed single, in series or combined with different movement groups (for example with steps, turns, skips, arm movements etc.).

2.1.3. Two body movements A-series (2 different body movements)
2.1.4. Two body movements B-series (3 different body movements)

Total body waves and total body swings can be included in body movement series.

Body movements can be varied with different movement groups and when performing the
same body movement with variation (for example with steps, arm movements, skips etc.) it
becomes and it is counted as another technical body movement.

2.2. BALANCES

Balances

All balances must be performed clearly. The duration of the use of support surface
in balance movements must be clearly visible. Shape must be fixed and well defined
during the balance (“photo”). Support surface can be on one leg, on knee or “cossack”
position (A – and B –criterias are the same concerning free leg level, hand support and
body movement.) On balance, the free leg must be raised at least 90º.
Balances must have the following characteristics:
- shape fixed and well defined during the balance
- good amplitude in the shape
- good control in the body during and after balance.
Notice! Only one leg can be bended concerning balances (exception balances: pivots)

Pivots

Pivots must have following characteristics:
- the minimum of 360º should be rounded with the fixed shape if the rotation is less
than 360 º the element is not counted as a balance
- pivots can be performed both with a flat foot or relevé.

Exception! Two legs can be bended concerning pivots.

The following required balances must be included in the composition:

2.2.1. Two different balances

2.2.2. One balance series: A minimum of 2 different balances (A or B) performed successive or with change of supporting leg.

A-difficulties:

Some Examples of Balances

- 1. Balance on one leg, free leg raised straight or bended at the horizontal (90º) front, back
or side. When performing the same balance with the same shape and with turn (tourlean
180 º minimum) it becomes, and it is counted, as an another technical element (variation).
(Some examples under)


- 2. Front or side splits (free leg min. 135º) free leg held with one or two hands.
When performing the same balance with the same shape and with turn (tourlean 180 º
minimum) it becomes, and it is counted, as an another technical element (variation).

- Balance on one leg, free leg 90º-135° with held one or two hands + body movement (with
required amplitude) will be counted A-difficulty balance.
(Some examples under)

- Balance on one knee (without support on the hands), free leg raised at the horizontal 90º:
front, back or side
- Illusion, when the amplitude is less than 180º, can be done either on the flat foot or relevé,
hand must not touch the floor

- Balance on the one leg, free leg razed backward, supported with the same hand
Pictures ………………………………(will be presented soon)

- Balance on the one leg, free leg razed backward, body and leg in the same line
Pictures ………………………………(will be presented soon)

Notice! Passé -position will not be counted as an A-difficulty balance

Not a difficulty!

Pivots Examples

- Pivots min. 360° performed on relevé or at flat foot, free leg raised or bended under horizontal
(90º): front, back or side during the pivot, both legs can be bended (Some examples under)
- Pivots min 360° performed on relevé or at flat foot, free leg 90º-135° with held one or two
hands + body movement (with required amplitude) will be counted A-difficulty balance.

B-difficulties:

Some Examples of Balances

3. Balance on one leg, free leg in front or side, min 135°, body vertical and only one leg
can be bended. If the free leg is bended, must the leg (shinbone) be min 90°.
(Some examples under)

- Body movement or body movement series on one leg, only one leg can be bent, free leg at the horizontal (thigh 90 degrees); front or side. (Some examples under)

Balance on one leg, free leg minimum 135°, backward, only one leg can be bended (supporting
leg or free leg).

Body movement during the balance on one leg, free leg is backward (90° – 135°) without hand or
with the help of opposite hand.

Notice! Required amplitude of body movements in balances:

- Bending forward; back rounded, chest and upper back bends to the front side of the hips
(Some examples below)


- Bending backward; balance on one leg behind, top of the head on the same line as hips and shoulders on the same plane. Balance on one leg in front, chest (breastbone) bends min. 80 degrees from vertical line, the whole back must not bend (upper back is enough)
(Some examples below)



- Bending to the side; the opposite shoulder joint (left shoulder joint when bending to the
right) on the same vertical line than the hips (to the same line with the right hip) (same
criteria when performed on one knee) (Some examples below)



- Contraction of the stomach muscles; the whole back rounds to behind the line of hips and shoulders
- Inclination to the side; backward and forward, 45 degrees
- Circulation must coil min. 90 degrees from the line of the hips, shoulders on the same line and 90 degrees from the line of the hips.

- Balance on one knee with body movement, free leg minimum horizontal (see required
amplitude of body movements)
- Illusion, when the amplitude is 180°, can be done either on the toes or on the flat foot,
hand must not touch the floor

Some Pivot Examples
- Pivot 360° minimum free leg can be less than horizontal (90°), raised straight or bended,
with body movement during pivot (see required amplitude of body movements)
- Pivot 360° free leg raised straight or bended at the horizontal (min 90°) with or without help of the hands, both legs can be bended (Some examples under)

Pivots min 720° both legs can be bended.

2.3. JUMPS AND LEAPS

Jumps and leaps must have the following characteristics:

- shape fixed and well defined during the flight
- shape fixed and well defined during the rotation of the turning jumps and leaps
- good amplitude in the shape
- good amplitude in the height and elevation
- good control of the body during and after jump or leap
- landing must be light and soft

The same body shape could be used and counted as another technical element if it is
performed in a jump or leap or in a jump with the turning in different parts of the
composition.

Shape, height and elevation during the flight define the level of a jump or a leap.

The following required jumps and lips must be included in the composition:

2.3.1. Two (2) different jumps or leaps (A or B).

2.3.2. One jump or leap series: a minimum of 2 different jumps or leaps (A or B)
Notice! Between 2 jumps or leaps in same series is allowed maximum 3 supports on the
floor.

Difficulty-levels of the series:
A-series = A+A
C-series = A+B or B+A
D-series = B+B

Example 1:
Two (2) different leaps with MAXIMUM 3 supports on the floor.

Leap from right leg, landing to left leg, step with right leg, leap from left leg, landing to right leg.

Example:
Split leap and ring jump. Between leap and jump after coming down directly to jump (3 supports)

2.3.3. Clarifications of A- and B-jumps and leaps

2.3.3.1. All jumps and leaps which include turn min 180° in fixed shape are also classed B-jumps,
except jumps 1, 2 and 3 which must turn min 360°. Vertical jump free leg at horizontal passé
position is classed B-jumps when turning 360° or 180° with body movement.
2.3.3.2. When a jump includes a strong body movement (see required amplitude of body
movement) during the flight (for ex. bending or contraction), it is classed as a B -jump.
2.3.3.3. The amplitude of legs is not raising the difficulty of jumps or leaps. Height, elevation and
shape during the flight are relevant.
2.3.3.4 Different A- and B-jumps (examples), all kinds of variations are possible according to
2.3.3.1. and 2.3.3.2.
Some examples of jumps and leaps:

6. Vertical jump with X-position

B-jumps

15. Vertical jump free leg at the horizontal with a turn 180 degrees.

16. Capriole with a turn 180 degrees

17. Tour jete

18. Split leap with change of legs

19 Other jumps or leaps that meet the requirements comparing to previous jumps or leaps.

2.4. OTHER MOVEMENTS

Composition must contain several varied movements from the following groups:

2.4.1. Arm movements
For example: swings, pushes, waves, figure eights, lifts, extensions, rotations, circles, etc.

2.4.2. Leg movements
For example: swings, plies, lifts, extensions etc.

2.4.3. Steps, skips and hops
For example: walking, running, rhythmic steps, turning, etc.

2.5 TECHNICAL VALUE (TV) AND EVALUATION

The Technical Value is given by the required elements and supplementary difficulties.
Required elements and supplementary difficulties must be composed for the whole group.

Technical value is 0 - 6.0.
Total points of different sectors are 5.9
Bonus point +0.1.

The value of required elements (minimum requirements of the composition)

2.5.1. Body movements

2.5.2. Balances

2.5.3. Jumps and leaps

The maximum score of the required elements is 3.8

NOTE: The required element repeated several times in an exercise will count only one
time. However, the required body waves and swings may be included in body movement A
– or B –series.

Supplementary difficulties

In addition to required elements the programme must include supplementary difficulties to
get full scores. The supplementary difficulties must be combined to a series of two different
movement groups (body movement A or B –series, A or B –balances, A or B –jumps or
leaps). In a series one step between the movement groups is allowed.

Value

The maximum score of the supplementary difficulties can be 2.1

2.5.4. Deductions of Technical Value

- B-difficulty will be counted as an A-difficulty if there are 0.4 - 0.5 deductions in
execution of the difficulty.
- B-difficulty will not be counted at all as a difficulty if there are 0.6 or more
deductions in execution of the difficulty.
- A-difficulty will not be counted at all as a difficulty if there are 0.5 or more
deductions in execution of the difficulty.

2.5.5. Bonus-points + 0.1
The formations of the programme are made with exceptional variety and with difficulties of
different movement groups.

2.5.6. Evaluation of the Technical Value
The Composition judge of the Technical Value must proceed in the following manner:
- count the number of required elements performed by the group paying attention
to the difficulties at the highest level (max. score 3.8) and starting from highest
level required balances and jumps/leaps
- TV judge must mark all the technical elements from the whole programme
before she stars to count difficulties. After that judge must count the TV
according “Scoring the point / Technical value”
- if the simultaneously performed difficulties are of different level, the difficulty
level valued by the lower difficulty level
- add the value of the supplementary difficulties performed by the group awarding
a maximum of 2.1
- by adding the bonus point, if any, at the end +0.1

SCORING THE POINT / TECHNICAL VALUE

1. Count the number of required elements
- difficulties at the highest level (maximum score 3.8)

First: required balance elements or required jumps and leaps
- minimum 2 different balances and 1 balance series
- minimum 2 different jumps or leaps and 1 jump/leap series

Second: required body movements
- minimum 2 different body waves (may be included in body movement A or B
series)
- minimum 2 different body swings (may be included in body movement A or B
series)
- 2 body movement A series (including 2 different body movements)
- 2 body movement B series (including 3 different body movements)

2. After counting required elements
Count the number of supplementary difficulties (maximum score of
supplementary difficulties can be 2.1)

3. Add the bonus point, if any, at the end.

The maximum score of the Technical Value is 6.0

3. ARTISTIC VALUE

REQUIRED ARTISTIC ELEMENTS OF THE COMPOSITION

3.1. Gymnastics Quality of the composition

1. The composition must be performed by total movement technique, where elements and combinations flow naturally. The composition must show continuity and fluency of the movements. The movements must not be separate parts but they must form totality where the movement series and combinations are linked fluently, underlining continuity.

2. The technique of aesthetic group gymnastics must be predominate in the movements being performed.

3. The composition must show bilateral muscle control of gymnasts and correspond to the skill level of the gymnasts. The physical capabilities of all the gymnasts in the group must be comparable.

4. The composition must show the gymnast's skills, muscle control, flexibility, strength, speed and endurance.

5. Unity (doing together as a team) of the group is predominate. Different kinds of solos or canons give nuance for the composition, but they must not be predominate.

6. The whole group must perform required element with good quality or it cannot be considered as a difficulty of the Technical Value.

7. Healthy aspects must be shown by using the elements (balances, jumps, leaps and body movements). The composition must show bilateral movements (legs, bends, etc.) and variety in the use of elements.

3.2. The structure of the composition

1. The composition must form a totality, that consists of versatile movements and a variety of movement groups, combinations and movement series.

2. The required elements must be versatile, minimum 3 different kinds of balances (e.g. 1 leg front, 1 pivot, 1 leg back), minimum 3 different jumps and leaps (e.g. 1 turning, 1 with bending, 1 jump with two legs), minimum 3 different body movements, (e.g. combined with another movement group, on the floor, etc.).

3. The structure of the composition must be versatile and have variety.

4. There must be variety in the use of space. Changes from one movement or formation to another must be fluent and varied.

5. The composition must include 6 different formations and the movements must be performed in different planes (low level -> on the floor, medium level and high level -> jumps and leaps) and in several directions (forward, backward, lateral, oblique).

6. The composition must include fast and slow movements and variations in the use of strength.

3.3. The originality and expressiveness of the composition

1. The composition must show originality as well as expressiveness and aesthetic appeal in the movements. An original composition includes novel elements and novel formations or novel ways to attain these formations.

2. The idea and the expressiveness of the composition must form a consistent unity. A successful composition carries the style and atmosphere thorough the whole composition. The style and expression must be suitable and natural for the group and the expression must be developed through movements and combinations, not through separate and constrained expression and gesture.

3. The music must correspond to the idea and the expressiveness of the composition. The music must be rhythmically varied. The composition must exploit the structure of the music, for instance varied use between the background rhythm and melody. The composition's movements, style and rhythm of the music must fit together. Using the music's structure effectively and well the composition attains variety and expressiveness. The movements of the gymnasts must form a unity within the music.

4. The composition must aim to express and exploit changes in tempo and in the dynamics within the movements and combinations.

5. The highlights come up clearly in a successful composition. The highlights of the composition could be for instance impressive movements, canons. The highlights are usually unforgettable, startling or especially impressive.

6. The composition must show good taste and cannot hurt/insult any religion, nationality or take an attitude politically.

Bonus

Bonus points can be given if the composition shows an artistic impression. The impression could come from the single impressive part of the composition or unforgettable totality of the composition.

3.4. Deductions from the artistic value

1. The music must be a unity. If the music is made up of different musical pieces, the different themes and modes must be linked and their coexistence must have maximum unity possible. A monotonous background music is not allowed. A stop in the music, or the poor linking between two musical themes are not authorized. The quality of the music dubbing must be good. Music cannot end before the gymnasts.

2. The composition may not include the following vertical acrobatic movements: somersaults, hand-, head-, or elbow stands. The permitted pre-acrobatic movements and lifts must be linked fluently to the unity of composition.

3. 2 gymnasts when the groups size is 6 - 8 gymnasts, or 3 gymnasts when the group size is 9 or more gymnasts, can perform one bridge or one cartwheel during a competition programme as an artistic element. These movements do not have any technical value. Deductions in execution and/or artistic value can be made if these movements are performed poorly. Starting and final positions are counted as part of the composition.

4. An error in composition will be any part of the programme that disturbingly breaks up the unity of the composition. These kinds of errors could be, for instance, a too long pause between movements or combinations (waits, static parts or the composition), poor or illogical movements from one formation to another (i.e. ordinary running), poorly unified pre-acrobatic movements and lifts (that are not unified and fluently part of the composition), unaesthetic movements, etc.

5. If the bilateral muscle control cannot be seen in the composition - deduction. Healthy aspects must be appreciated (e.g. the whole group does a leap with the same leg.)

6. The choreography of the competition programme cannot hurt/insult any religion or nationality, nor make a political statement.

4. EVALUATION

A composition requires two characteristics:

- Technical Value (A1)
- Artistic Value (A2)

4.1 TECHNICAL VALUE A1

The Technical Value is given by the required elements and supplementary difficulties.
Required elements and supplementary difficulties must be composed for the whole group.

The value of required elements (minimum requirements of the composition)

4.1.1. Body movements

4.1.2. Balances

4.1.3. Jumps and leaps

The maximum score of the required elements is 3.8

NOTE: The required element repeated several times in an exercise will count only one time. However, the required body waves and swings may be included in body movement A - or B - series.

Supplementary difficulties

In addition to the required elements, the programme must include supplementary difficulties to get full scores. The supplementary difficulties must be combined to a series of two different movement groups (body movement A - or B - series, A - or B - balances, A - or B- jumps or leaps). In a series, one step between the movement groups is allowed.

Value

The maximum score of the supplementary difficulties can be 2.1.

4.1.4. Deductions of Technical Value

- B-difficulty will be counted as an A-difficulty if there are 0.4 - 0.5 deductions in execution of the difficulty.
- B-difficulty will not be counted at all as a difficulty if there are 0.6 or more deductions in execution of the difficulty.
- A-difficulty will not be counted at all as a difficulty if there are 0.5 or more deductions in execution of the difficulty.

4.1.5. Bonus points + 0.1

The formations of the programme are made with exceptional variety and with difficulties of different movement groups.

4.1.6. Evaluation of the Technical Value

The Composition judge of the Technical Value must proceed in the following manner.
- count the number of required elements performed by the group, paying attention to the difficulties at the highest level (maximum score 3.8)
- if the simultaneously performed difficulties are of different levels, the difficulty level is valued by the lower difficulty level
- add the value of the supplementary difficulties performed by the group awarding a maximum of 2.1
- by adding the bonus point, if any, at the end

The maximum score of the Technical Value is 6.0

All the judges must give their scores independently of each other.

4.2. ARTISTIC VALUE OF THE COMPOSITION AV

Artistic Value is 0 - 4.0. Total points of different sectors are 3.9 and bonus point 0.1.

4.2.1. The gymnastics quality of the composition

4.2.2. Structure of the composition

4.2.3. Artistic expression

4.2.4. Deductions of the artistic value

4.2.5. Evaluation of the Artistic Value

The Composition judge of the Artistic Value must proceed in the following manner:
- by adding different parts (gymnastics quality, structure, artistic expression) of composition starting score 0 (max. 3.9)
- after that, deductions of from the artistic value
- by adding the bonus point, if any, at the end 0.1

Maximum score of the Artistic Value is 4.0

5. EXECUTION

5.1. TECHNIQUE OF BODY MOVEMENTS

Aesthetic group gymnastics is stylized, natural total body movement where the hips form the basic movement centre. A movement performed with one part of the body reflects in the whole body. When hips turn forward, the lower part of the hips turns forward and the upper part turns backward (hips lean backwards). When hips turn backward, the lower part of the hips turns backwards and the upper part turns forwards (hips lean forward).

The philosophy of the sport is founded on harmonious, rhythmic and dynamic movements performed with economic and natural use of strength. Harmonious movements flow naturally from one movement to the next as if they were created by the previous movement. All movements must be performed fluently. Execution must show amplitude, variety in the dynamics and variety in the speed.

5.1.1. Body wave forward (basic form)

The wave starts with a little relaxation in the body and hips go a little bit backwards, gathering speed. Then hips turn strongly forwards and start the body wave forward and up. The wave goes through the body from the ankles to the head and reflects also to the arms. Wave stops to extension.

5.1.2. Body wave backwards (basic form)

The motion starts with turning hips backwards, chest goes forward and head bends backwards. Wave goes through the body down. Head comes last. Rising up happens with rounded back, forward turned hips, contraction in the abdominals and head last. Wave stops to extension.

5.1.3. Body wave from side to side (basic form)

The wave starts with a little relaxation in the body, weight on one leg. Weight transfer to other leg starts and, at the same time, a strong push from the hips to side and up. Upper body and head balance the movement by relaxing to the opposite side. Neck must be relaxed. Wave goes through the body side and up. Extension continues until the whole body is extended.

All waves can be performed with arm movements, steps or combined to the other movements.

5.1.4. Body swings with speed

A swing consists of three parts which are 1) gathering of speed by stretching, 2) the swing when the body is released, and 3) extension. The importance in this motion is alternation between extension and relaxation as well as between power and lightness. Body swing can be done forward, from side to side, and in a horizontal stage.

5.1.5. Contractions

In contractions the abdominals, back or flank muscles are active. The rest of the body reflects naturally to the contraction. Basic form in contraction of the abdominals: hips are turned forward, chest pressed in and shoulders pushed forward. Back rounds up and head bends back.

5.2. BALANCES

All balances must be performed clearly. The duration of the use of support surface in balance movements must be clearly visible. Shape must be fixed and well defined during the balance.

Balances must have the following characteristics:

- shape fixed and well defined during the balance
- good amplitude in the shape
- good control in the body during and after balance

Insufficient shape during the rotation lowers the level of difficulty.

5.2.1. Pivots

Pivots must have the following characteristics:

- shape fixed and well defined during the pivot
- good amplitude in the shape
- good control in the body during and after pivot
- pivots can be performed on flat foot or releve.

5.3. JUMPS AND LEAPS

Jumps and leaps must have the following characteristics:

- shape fixed and well defined during the flight
- shape fixed and well defined during the rotation of the turning jumps and leaps
- good amplitude in the shape
- good amplitude in the height and elevation
- good control of the body during and after jump or leap
- landing must be light and soft

An insufficient shape or flight of the jump or leap results in the lowering of the level of difficulty. Insufficient shape during the rotation of running jumps and leaps lowers the level of difficulty. B-jump becomes A-jump. A-jump is not considered as a jump. All jumps and leaps that considered flight and shape can be noticed as an A-jump.

5.4. OTHER EXECUTION REQUIREMENTS

1. The execution must be unified and synchronous.

2. All team members must perform the same elements with same of equal degree of difficulty, either simultaneously, successively or within a short space of time.

3. The technique of aesthetic group gymnastics must be predominate. All movements and movement combinations must be performed by total movement technique where changes from one body movement or formation to another must be fluent. In total movement technique, the leading movement reflects in every part of the body when movement flows either from the centre of the body, hips backwards or to the centre. The movements are tied together in such a way that the flow continues from one movement to the next.

4. The execution must show good technique, good extensions, accuracy of movements, variations in the use of muscular tension, relaxation and strength and preciseness of formations and transitions.

5. The execution must show good posture, co-ordination, balance, stability and rhythm.

6. The execution must show the group's athletic skills; flexibility, strength, speed and endurance.

7. The execution must show expressiveness and aesthetic appeal.

8. Gymnasts must perform the execution according to the dynamics and rhythm of the music.

9. Starting and ending positions are part of the execution.

5.5. VALUE OF EXECUTION

Maximum points of the execution are 10.0
- execution 9.9
- bonus points 0.1

Different parts of the execution:

5.5.1. Gymnastics quality:

5.5.2. Unity of the Group

5.5.3. Movements of the body

5.5.4 Balances

5.5.5. Jump and leaps

5.5.6. Travelling

5.5.7. Movement accuracy

5.5.8. Physical characteristics

5.5.9. Music and movement

5.5.10. Missing

5.5.11 Deductions for the whole group

5.5.12. Bonus points +0.1

6. JUDGING

6.1. COMPOSITION OF THE JURY

The Technical Committee names judges to the Jury. A coach or a choreographer of a competing group cannot judge. Judge has to pass an International Aesthetic Group Gymnastics Judges' Course and examination to be qualified to judge in AGG.

6.1.1. Evaluating Judges

The groups will be evaluated by two panels of judges: one for composition and one for execution.

The first panel of judges (Jury - Composition) is divided into two subgroups:
- Composition - Technical Value (TV) may consist of 2 - 4 judges
- Composition - Artistic Value (AV) may consist of 3 - 4 judges
- In both subgroups one of the evaluating judges (1st) will be the head-judge of the jury concerned.

The second panel of judges (Jury - Execution Exe) may consist of 3 - 4 judges. One of the evaluating judges (1st) will be the head judge of the jury concerned.

The tolerated minimum number of judges for a jury is 8 (5 composition judges split into two subgroups and 3 execution judges). However, at the World Championships, the number of judges is 12 (8 composition judges - 4 for Technical Value and 4 for Artistic Value - and 4 execution judges).

6.1.2. Draw of the judges

The draw of the judges is done according to judge's licence list and when judges have the same licence, each country names the 1st and the 2nd judge to participate in the draw of judges.

6.1.3. Superior Jury or Official Observer

At the World Championships the Technical Committee of Aesthetic Group Gymnastics can name a Superior Jury or a Superior Judge or an Official Observer for the competition.

6.1.4. Line judges

There must be 4 line judges: one in each corner or the floor area. The role of the line judges is to observe and note any passing of the boundary of the floor area by the gymnasts. They will signal each fault with a flag and record each of them on a special slip provided for that purpose; in the end of the exercise they will send it to the Head judge of the Execution Jury. Deduction will be taken from the average score of the execution.

7. SCORING THE POINTS

7.1 General

The judges for the composition (in subgroups Technical Value TV and Artistic Value AV) and judges for the execution (Exe) must give their score independently. The final score will be calculated by adding the three partial scores: Composition - Technical Value, Composition - Artistic Value, and Execution. The partial score will be the average score either with or without eliminating the highest and the lowest scores, according to each case:

Maximum score for the Composition - Technical Value 6.0
Maximum score for the Composition - Artistic Value ...4.0
Maximum score for the Execution......................... 10.0

Maximum score for the group in the preliminaries and finals can be 20.0 and in the finals results (ranking) 40.0 points. Score from the preliminaries will be counted together with the score from finals in order to get the final results and ranking.

7.2. SCORING THE POINTS, COMPOSITION JURYS

7.2.1. The jury for the Composition - Technical Value (TV)

The jury for the Technical Value (TV) will give their points 0.0 - 6.0. Depending on the number of the judges, the average of the points and differences between scores will be calculated as follows:

Jury of 4 judges

The highest and the lowest scores will be eliminated and the average of the two middle scores is the partial score

The difference between the middle scores taken into account may not be greater than
- 0.5 points for scores between 0.0 and 3.8
- 0.3 points for scores between 3.9 and 5.9

Jury of 3 judges

The average will be calculated from all three partial scores (without eliminating the highest and the lowest scores).

The difference between all partial scores may not be greater than:
- 0.5 points for scores between 0.0 and 3.8
- 0.3 points for scores between 3.9 and 5.9

Jury of 2 judges

The average will be calculated from the two partial scores.

The difference between the partial scores may not be greater than:
- 0.5 points for scores between 0.0 and 3.8
- 0.3 points for scores between 3.9 and 5.9

Bonus Points +0.1

Bonus points +0.1 are given separately and added to the average A1 score only if the majority (3/4, 2/3 or 2/2) of judges gave the bonus point.

7.2.2. The jury for the Composition - Artistic Value

The jury for Artistic Value (AV) will give their points 0.0. - 4.0. Depending on the number of the judges the average of the points and differences between scores will be calculated as follows:

Jury of 4 judges

The highest and the lowest score will be eliminated and the average of the two middle scores is the partial score.

The difference between the middle scores taken into account may not be greater than:
- 0.4 points for the scores between 0.0 and 2.9
- 0.3 points for the scores between 3.0 and 3.9

Jury of 3 judges

The average will be calculated from all three partial scores (without eliminating the highest and the lowest scores).

The difference between all partial scores may not be greater than:
- 0.4 points for the scores between 0.0 and 2.9
- 0.3 points for the scores between 3.0 and 3.9

Bonus Points +0.1

Bonus points +0.1 are given separately and added to the average A2 score only if the majority (3/4, 2/3 or 2/2) of judges gave the bonus point.

6.3. SCORING THE POINTS, EXECUTION JURY

The jury for the Execution (Exe) will give their points 0.0 - 10.0. Depending on the number of judges, the average of the points and differences between the scores will be calculated as follows:

Jury of 4 judges

The highest and the lowest scores will be eliminated and the average of the two middle scores is the partial score.

The difference between all partial scores may not be greater than:
- 0.5 points for the scores between 0.0 and 8.5
- 0.3 points for the scores between 8.6 and 10.0.

Jury of 3 judges

The average will be calculated from all three partial scores (without eliminating the highest and the lowest scores).

The difference between all partial scores may not be greater than:
- 0.5 points for the scores between 0.0 - 8.5
- 0.3 points for the scores between 8.6 - 10.0

Bonus Points +0.1

Bonus points +0.1 are given separately and added to the average Exe score only if the majority (3/4, 2/3 or 2/2) of judges gave the bonus point.

Head Judge

All judges will send their points to the head judge. Head judge checks whether the difference between the two middle scores /all partial scores given by the judges conforms to the regulations. Head judge calls the judges together, if this difference does not conform to the regulations, and calls on the Superior Jury, Official Observer or Competition Manager if the judges cannot come to an agreement.

The head judge applies penalties for which s/he is responsible and also adds the bonus points if the majority of judges has given it.

7.4. PENALTIES DEDUCTED BY THE HEAD JUDGES

Penalties will be taken from the final score of Composition Jury - Artistic Value and from the final score of Execution Jury.

7.4.1. Penalties deducted by the head judge of the Composition Jury - Artistic Value and from the final score of the Execution Jury.

Time

Length of the exercise not conforming to the regulations (if under- or over run is 6 seconds or more): deduction 0.1 points.

Dress of gymnasts

Un-anesthetic dress or dress not conforming to the regulations: deduction 0.1 for one gymnast and 0.2 for two or more gymnasts. Hair decorations, make-up and gymnastics slippers are part of the dress. Deduction 0.1 for each loose item (hair decoration, slipper, etc.). Deduction 0.1 for each loose item (hair decoration, slipper, etc.).

7.4.2. Penalties deducted by the head judge of the Execution Jury

Gymnast out of the floor area

Each gymnast out of the boundary of the floor area (touching over the borderline of the floor): deduction 0.1 point every time.

Line judges will record each out of boundary on a special slip provided for that purpose; at the end of the exercise they will send it to the head judge concerned.

Missing gymnast

For every missing gymnast: deduction 0.5 points. The deduction will be taken also if the groups starts the exercise with 6 gymnasts, and in the middle of the exercise a gymnast drops out for any reason.

8. COMPETITION'S TECHNICAL ARRANGEMENTS
See more information in the Manual for competition organizers.

8.1. COMPETITION FORM

Preliminaries and Finals are to be arranged in the competition.
A maximum of 2 teams/country in the Finals

8.1.1. Choice of the finalists

10 groups from the all-around competition will compete in the finals. Only two groups from each country are accepted.

8.2. STARTING ORDER

The starting order of the preliminaries will be drawn at the technical meeting before the competition.

8.3. COMPETITION ORGANIZATION

The organizer has to have enough officials to see to the arrangements of the competition: secretaries, announcer, a person responsible for the sound engineering, training and performance supervisor, line judge, time judge, prize-awarding responsible, messengers, etc.

8.4. RESULTS AND JUDGES SCORE TABLES

The organizer takes care of the results and judges score tables to the delegations.

7.6. OBSERVER GROUP

Technical Committee can nominate an Observer Group that, together with the head judges and Competition Manager, during the competition solves problems that are not mentioned in the rules. Observer group has 3 - 4 members. See 6.1.3 Superior JuRy or Official Observer.

9. CHANGING THE RULES

Technical Committee of Aesthetic Group Gymnastics is responsible for changing the rules.

ADDENDUM

SCORING THE POINT / TECHNICAL VALUE

1. Count the number of required elements

- difficulties at the highest level (maximum score 3.8

First: required balance elements or required jumps and leaps

- minimum 2 different balances or required jumps and leaps
- minimum 2 different jumps or leaps and 1 jump / leap series

Second: required body movements

- minimum 2 different body waves (may be included in body movement A or B series)
- minimum 2 different body swings (may be included in body movements A or B series)
- 2 body movement A series (including 2 different body movements)
- 2 body movement B series (including 3 different body movements)

2. After counting required elements

Count the number of supplementary difficulties (maximum score of supplementary difficulties can be 2.1)

3. Add the bonus point, if any, at the end.