4 ROUTINES ARTISTRY ANALYSIS WITH EXPLANATIONS | WCC Cluj-Napoca 2025

Описание: Hi there! For this video, I had the pleasure to work with my friend judge, so the A2 scores you see are from them! 😎

📌Comments and explanations

TARA DRAGAS - HOOP 🇮🇹

Character (no deduction): despite having a very few moments without Character, the impression is that the full exercise (not any single part) presents Character details, both with the arms and the whole body;

Body expression - 0.30: the gymnast has minimum 2 parts with fully developed body expression and some other isolated moments here and there with very good body participation. There are several moments and a few parts though where the body expression, though never completely absent, could be further developed (i.e the whole body participating and not only the arm(s))

Face expression - 0.30: though the music sounds mysterious and tense, the gymnast has a convincing full participation of the face only during the Dance Steps, while she doesn’t seem to actively adapt her face in the rest of the exercise, despite the fact we could use less intense participation during the remaining of the exercise (beyond 2 parts);

Rhythm: very good underlining of the most striking accents with the arms and body movements, leading to a reduced total deduction in rhythm;

Connections: mainly due to abrupt change of plane of the hoop + long preparations before DBs.


JOSEPHINE JUUL MØLLER - BALL 🇳🇴

Character (no deduction): beautiful details throughout the exercise, both with the arm(s) and the whole body creating many parts with clear details;


Body expression - 0.30: the gymnast has minimum 3-4 parts with fully developed body expression and some other isolated moments here and there with good body participation. There are several moments and a few parts though where the body expression, though never completely absent, could be further developed (i.e the whole body participating and not only the arm(s))

Face expression - 0.30: the gymnast never really shows a convincing full participation of the face throughout the full exercise;

Dance Steps - 0.30: the first S, from the moment she starts actually dancing till the beginning of the DA is 7 seconds long.

Connections - 0.20: preparation to the first R (irregular movement of the ball from up above till back to prepare the throw) and abrupt change of direction after the walkover backwards;


AMALIA LICA - CLUBS 🇷🇴

Character - 0.30: amazing variety of details for more than 4 parts, though many isolated moments don’t show any Character, interrupting the sequence of elements with Character and preventing the evaluation of full parts;

Body expression - 0.30: very nicely developed body expression throughout the exercise, with the exception of several moments or a few parts with insufficient participation;

Face expression (no deduction): the face is fully involved from the beginning to the end of the exercise, with maximum intensity during a few parts;

Lack of harmony between music and movements at the end of the exercise - 0.30: it’s hard to tell if there is actually a fading of the music or not, but my impression is that she catches the club after the end of the last note + possible fading;

Connections - 0.20: preparation of R with clear stop + abrupt change of level at the end of the exercise;


MARIA EDUARDA ALEXANDRE - RIBBON 🇧🇷

Character - 0.30: amazing variety of details for far more than 4 parts, with the exception of one part without Character after the brief interruption given by the wrong trajectory of the throw;

Body expression - 0.30: very nicely developed body expression throughout the Dance Steps and a couple parts more, while for the rest of the exercise the body expression could be better developed;

Face expression - 0.30: the face is fully involved during the Dance Steps, but as for the rest of the exercise, the face doesn’t really adapt to the music + more than 3 moments with a concentrated face;

Interruption of continuity (no deduction): less than 4 seconds of interruption prevents us from deduction 0.60 for interruption of the choreography, so we only deduct for rhythm during the interruption.

Connections - 0.20: preparation of R with simple steps forward + irregular change of plane of the Ribbon and simple stepping before performing the fouetté pivot after catching the Ribbon.


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