The information provided here is for the use of the judges and competitors on the judging criteria for UKPPC and should be read thoroughly.
Competitors should consider these criteria carefully prior to composing their competition routines for both the video entry and the final.
Judges are requested to familiarise themselves with this document prior to the Video Heat judging and email any questions to Kassia Portas. It may also be useful to continually refer to this document while judging.
- UKPPC will have 6 highly-experience judges from the pole dancing community.
- Judges will be the same for the Video Heat and Grand Final, provided that no unforeseen circumstances prevent attendance.
- Judges will be announced on the website prior to the closing date for the Video Heat.
- In the event of one of the judges being unable to attend, a substitute judge will take their place. Competitors will be notified of any such changes as soon as a substitute is confirmed.
All competitors will be judged on the following elements, regardless of their category of entry:
- Technical – 40%
- Presentation – 30%
- Composition – 30%
The following sections outline what judges should consider when awarding marks for each of the 3 elements. Note that guidelines are not exclusive but are provided to give examples of what to consider when awarding marks in each for each sub-element.
IMPORTANT: Judges are not expected to mark each sub-element separately; each sub-element is only to assist in balancing the allocation of total marks for the element.
The Technical element is primarily concerned with range and standard of tricks performed.
|Strength||Has the competitor used moves that require a high level of static strength?|
Has the competitor used moves that require a high level of dynamic strength? E.g. Fonji or somersaults
Has the competitor used difficult/complex combinations or transitions?
|Flexibility||Has the competitor demonstrated a high level of flexibility?|
Has the competitor demonstrated flexibility in more than one area?
Has the competitor performed flexibility tricks that require more complex entry and exit?
|Execution||Are tricks solid and controlled?|
Does the competitor transition in and out of moves cleanly and with control?
Does the competitor demonstrate good technique?
Do spins have good momentum and form, with smooth transitions in spin combinations?
The Presentation element is primarily concerned with the aesthetics of the performance.
|Lines & Form||Does the competitor demonstrate good lines and form in their moves|
This includes arm, wrist, and leg lines, or the lines through the shape of a move.
Are toes pointed or aesthetically matching to the theme?
Are hands soft or aesthetically matching to the theme?
Are lines consistently clean throughout the routine
|Stage Presence||Does the competitor perform to the audience?|
Does the competitor engage the audience?
Does the competitor have charisma?
Does the competitor ‘own’ the stage?
Does the competitor make good use of the performance space?
Final only does the performance include full use of the 360 stage?
|Flow||Does the competitor move smoothly between tricks on the pole? |
Does the competitor move smoothly between the pole and the floor?Are movements precise e.g. without surplus footsteps, hand adjustments, knee re-grips?
|Movement Elements||Has the competitor used a variety of pole-based movements?|
Has the competitor used a variety of floor-based movements?
Are their movements elements well executed?
Has the competitor used any innovative movements on and off the pole?
The Composition element is primarily concerned with how well the routine has been constructed and the overall performance.
|Style||Are the tricks appropriate for the chosen style of performance? Are the movement elements appropriate for the chosen style of performance?|
Has the competitor adopted an unusual or unique style?
Has the style of the performance been consistently maintained throughout?
|Costume/Props||Is the costume appropriate to theme or tone of the performance? Are props used effectively?|
|Musicality||Does the music reflect the style of the performance?|
Has the music been appropriately interpreted?
Does the competitor use the music effectively?
Are ‘highs’ and ‘lows’ of the music reflected in the routine?
|Overall Composition||Do all parts of the routine tie together well?|
Does the competitor use contrast, or variations in tone, speed, mood?
Did the performance hold your attention throughout?
- All judges will be given a copy of the judging guidelines and a judging form to fill in for each competitor.
- Judges will award a mark out of 10 for each element on each competitor’s judging form.
- The total mark awarded by each judge will then be calculated on a score sheet based on the weightings detailed above.
- The highest and lowest of the 6 judges’ marks will then be excluded, and the total score will be calculated from the remaining 4 marks.
An example judging sheet for ‘Claire’ is provided in this pack for reference. An example score sheet for competitor ‘Claire’ is provided below.
|Judge||Technical 40%||Presentation 30%||Composition 30%||Mark|
FINAL SCORE 57.0%
To calculate the mark from Judge 3, for example, the marks for each element would be multiplied according to their weighting as follows:
6.7 x 4 + 2.4 x 3 + 4.6 x 3 = 47.8
In this case, the marks from Judge 2 (highest) and Judge 1 (lowest) will be excluded, and the total score out of 400 would be:
47.8 + 77.2 + 50.7 + 52.3 = 228.0
This would then be divided by 4 to give an average of 57.0/100 i.e. 57.0%.
In the event of two or more competitors tying for first place in the Grand Final, the judges will deliberate and decide which competitor will win.
Example Judging Sheet
|Some nice unique transitions! I would really have liked some more strength tricks at this level. Although, tricks were generally well-executed and controlled. The main area that needs work is transitioning in and out of moves but you are controlled in the move itself. Try not to ‘collapse’ out of tricks – you should be working throughout. |
Try to use a broader variety of tricks, for example, different methods of inverting rather than the standard aerial invert every time, or using different climbs. There were some nice interesting combos in there though, and I liked your Reverse Grab variation!
|Try to relax your hands. It’s distracting when you have to flex your foot to put into a flexibility trick, although generally your toes were nicely pointed. There was a slight sickle at times, so this is something to work on. Try to pay attention to the overall lines of the trick, rather than just the line of an individual limb. Tricks like Flatline Scorpio look MUCH better when the lines through the shape are clean. In this trick you had a lovely straight extended leg, but you weren’t straight through the hip, leading to a broken line. Nice use of off the pole movements, and good use of the performance space. Try to project your personality a bit more. Movements between floor and pole looked a bit stunted – try not to wipe your hands (it was almost sneaky enough not to be seen, but not quite!).||5.5|
|Great Musicality! Nice costume, but it didn’t really match the tone of the routine). The tricks really worked for this routine, although I’m not sure about the off the pole movements – they didn’t match the music as well as it could. I thought the use of different speeds of movement were great! I just thought that the difference in tone between the 2 pieces of music was too extreme and it didn’t quite work.||6.2|