Recommendations from the Jury of Choreographic Competitions and Style-Specific Guidance Based on the Experience of the International Cycle of Small Dance Forms Festivals-Competitions for Children and Youth “Ruch Młodych”, Warsaw – Kraków – Wrocław, 2025
GENERAL RECOMMENDATIONS
First of all, the jury pays attention to whether the performance corresponds to the age category of the performers. Very often situations arise when the technique, choreographic composition or stage image are either too complex or, on the contrary, too simple for the age of the dancers. Both excessive technical difficulty and excessive simplification equally reduce the artistic value of the performance. It is important that the movement material, tempo, amplitude, character and manner of presentation correspond to the physical and emotional capabilities of the performers.
The jury also frequently notes a lack of coordination between music and movement. In many productions the musical accompaniment is dynamic and energetic, with wide amplitude and clear rhythmic development, while the dance itself remains static: poor spatial design, low jumps, knees not lifted, rounded backs, and relaxed feet. Music and movement should be in dialogue — the dance should “sound” through the body as actively as the musical accompaniment itself.
Special attention should also be paid to the content of the musical piece if it includes lyrics. The text should be appropriate for the age of the participants and must under no circumstances contain vulgar language or inappropriate meanings, regardless of the dance style, including genres such as street dance and related forms.
Synchronization is one of the first elements the jury notices, as it immediately demonstrates the real level of preparation of the ensemble. Even the best dancers in the front line cannot “save” a performance if the entire group does not work as one organism. The key to good synchronization is conscious and systematic work: rehearsing choreography at different tempos (from slow, through working tempo, to performance tempo), controlling spatial formations, and regularly analysing video recordings. The camera quickly reveals differences in lines, movement angles and execution quality, teaches responsibility and helps eliminate chaos and unnecessary tension in movement.
Special attention should also be paid to costumes. In folk and folkloric genres it is extremely important to preserve traditional elements of cut, colour and style. In the case of stylised folk dance, the costume may be stylised, but it should logically support the idea of the choreography and the chosen style rather than contradict them. At the same time, elements of the costume must not restrict the dancer’s movement, as this distracts the performer, the audience and the jury alike. Costumes should not loosen, open or shift during the performance, and elements of headwear and jewellery must remain securely in place throughout the dance. It is also important to choose appropriate stage underwear that will not be visible and will not negatively affect the aesthetics or comfort of the performance.
The jury’s attention is very often drawn to technical details that determine the overall perception of the performance: footwork, leg lines, knee positions, arm positions and the stability of the back. Relaxed feet, dropped heels or the absence of clear toe articulation immediately reduce the aesthetic quality of movement — regardless of dance style. Similarly, an uneven back line, a collapsed or overextended torso and “floating” shoulders cause even well-constructed choreography to lose clarity and expressive strength. Arms and legs must work consciously, with clearly defined positions and directions, creating a cohesive, clean movement line and reinforcing the choreographic message rather than creating chaos.
For this reason, mastering one’s own body in any dance style begins with strong technical foundations provided by classical dance. Classical dance is the foundation of all choreography regardless of the chosen style. Barre work, correct posture, conscious foot placement, straight knees, a stable torso and good movement coordination build control, lightness and confidence in dance. Without these elements it is difficult to speak about high movement quality, clean execution and stage freedom in any genre — from folk dance, through stage and contemporary dance, to street dance or experimental forms. Classical dance is not the goal in breakdance or street dance, but it is an effective tool for developing body control, without which even the most “free” style loses its quality (body control, line and safety, conscious arm work).
STYLE-SPECIFIC RECOMMENDATIONS
Classical Dance
Particular attention should be paid to the purity of technique, posture of the torso, work of the legs and feet, coordination of the arms and position of the head. Classical dance requires discipline, balance and systematic work at the barre. One should not strive to perform highly complex elements at the expense of their quality.
Folk Dance and Authentic Folklore
Stylistic authenticity, character of movement, rhythm and consistency with regional traditions are key. Movement should be energetic, “grounded”, with expressive work of the legs and torso. The costume should emphasise authenticity rather than simplify it.
Stylisation and Adaptation of Folk Dance
Modern interpretation is acceptable, but the basic movement vocabulary of folk dance should remain recognisable. It is important to preserve the character of the dance and logically combine traditional elements with contemporary ones. The stylised costume should be artistically considered and functional.
Dances of the Peoples of the World
It is essential to strictly follow the stylistic and rhythmic characteristics of the chosen culture. Superficial imitation without understanding the character of a particular dance significantly lowers the level of performance. Work on the stage image and authentic movement accents is important.
Stage Dance
The jury expects dynamics, energy, a readable spatial pattern and stage charisma. The performance should have a narrative structure: a clear introduction, development and climax. Stage dance should tell a story. Attention should be paid to synchronization, spatial logic and a complete, coherent compositional form.
Contemporary Dance (modern, contemporary, lyrical, improvisation)
Important elements include awareness of movement, work with the floor and breath, the quality of transitions and the logic of choreographic development. Contemporary dance is not chaotic movement but a conscious structure built on emotion and the inner motivation of each gesture.
Street Dance (hip-hop, breakdance, house)
Attention should be paid to groove, rhythm, clarity of basic elements and stylistic authenticity. Street genres require freedom but also a high level of technical training, body control and stage confidence.
Ballroom Dance (standard and Latin)
Particularly important are connection within the pair, correct frame, leading technique and musicality. Choreography should clearly include basic steps and characteristic technique of the specific dance (for example cha-cha-cha, rumba, samba, jive), rather than only show elements performed “to music”. If the performance departs from the canon and relies mainly on stage effects or free interpretation, a more appropriate category is Show Dance / Showcase rather than Ballroom Dance.
Character Dance
This genre requires clearly defined character, dynamics and stylistic precision. The stage image should be understandable from the very first seconds of the performance.
Historical Dance
Attention should be paid to stylistic correspondence with the historical era, the manner of movement, costume and restraint of form. This is a genre where culture of presentation and form play a key role.
Stage Dance, Dance Theatre, Choreographic Miniatures
The most important elements are idea, composition and dramaturgy. Every movement should have meaning and serve the construction of an image or narrative.
Acrobatic Dance
Acrobatic elements should be technically clean and logically integrated into the choreography rather than existing independently of the dance. Safety and movement control are essential.
Fantasy Dance / Fairy-Tale Interpretation
Particular attention should be paid to character creation, stage composition and acting interpretation. The dance should not be “lost” in an excess of decorations or costumes. The performance should have a narrative structure: a clear introduction, development and climax.
Show Dance / Showcase Programme
The jury evaluates the integrity of the performance, spectacle, audience engagement and the level of stage culture.
Experimental / Author’s Choreography
Freedom of experimentation is welcome, but it should be based on a clear idea and logical structure. Experiment must be conscious rather than random. It is important to maintain moderation and a sense of proportion, especially in competitions involving children and youth. Experimental form should not “overwhelm the audience” with excessive expressive means or dominate the quality of movement and clarity of the message. Experiment should inspire, expand the choreographic language and develop the artistic sensitivity of young performers rather than introduce chaos or unnecessary tension in perception.
K-pop, High Heels, Bellydance Styles
Acrobatic elements should be technically clean and logically integrated into the choreography rather than existing independently of the dance. Safety and movement control are essential.
