POSA Code of Points 2020 Aerial

POLE SPORT & ARTS WORLD FEDERATION
CODE OF POINTS 2020
AERIAL HOOP & SILK

Approved by the POSA Executive Committee in November 2019
www.posaworld.org
For POSA Aerial competitions at
World Championships
Intercontinental Championships
In competitions for national level, as well as for Amateur Competitions,
modified competition rules may be appropriately designed by international or national technical authorities.
The Code of Points is the property of the POSA.

Translation and copying are prohibited without prior written approval by POSA.
Where there is a difference among the languages, the English text shall be considered correct.
POSA ─ Pole Sport & Aerial CODE OF POINTS 2 VERSION 2020

IMPRESSIUM
President Davide Lacagnina ITA
1st Vice President Tamas Katus HUN
2nd Vice President Mariana Eichelbaum FRA
Head of Technical Committee Olga Maresova CZE
Member of Technical Committee Vanessa Costa BRA
Member of Technical Committee Alessandra Marchetti ITA
Member of Technical Committee Natalia Guseva RUS
Member of Technical Committee Sara Henriques POR
Member of Technical Committee Raquel Narciso POR
Anti-Doping Jyrki Rantanen/ World Heavy Events FIN

Association
Original illustrations Manuela Badessi, Angelica Porrari & ITA- SWE

Anna Maija Nyman
Editing Davide Lacagnina/ Cosma Rizzi ITA
Aerial Veronika Pavlova, Darina Lyushenko RUS

Alexey Weber
CODE UPDATES
After new version of code is announced, a newsletter which includes:
– all new elements and variations with a number and illustration

– all relevant changes to the rules
The updated code will be sent by the POSA Secretary to all affiliated federations, including the effective
date, from which time it is valid for all further POSA competitions.
This code is expanded by the Rules & Regulations.
ROADMAP
POSA is engaged in improving the code of points to serve the athletes and organizers in a best possible
way. On upcoming updates, POSA aims to:
 Add more lower level moves for amateur, junior and master athletes to choose from
 Add descriptions for all difficulty elements in the elements table
 Simplify the declaring process and eliminate the need of declaring combinations
 Apply downgrade option to flexibility moves in the group A (regarding opening of the legs
degrees)

ABBREVIATIONS
Committees
EC Executive Committee
LOC Local Organizing Committee
TC Technical Committee
HTC Head of Technical Committee
NTC National Technical Committee
HNTC Head of National Technical Committee
POSA Pole Sports & Arts World Federation
WHEA World Heavy Event Association
Documents
COP Code of Points (Code)
TR Technical Regulations
Judging
AJ Artistic Judge
DJ Difficulty Judge
EJ Execution Judge
HJ Head Judge
SJ Superior Jury
Categories and Divisions
VAR Varsity
JUA Junior A
JUB Junior B
SEN Senior
MAS Masters
IND Individual
DOUB Doubles
COMP Competetive
AMAT Amateurs
Evaluation
DS Difficulty Sheet
DE Difficulty Element
CB Combination Bonus
ADB Additional Difficulty Bonus
RFB Risk Factor Bonus
CBRF Could Be Risk Factor
DEFINITIONS is included at the end of the code.

1 Summary
2 Code of Points ......................................................................................................................................... 10
 General purpose .................................................................................................................................. 10
 Technical hierarchy.............................................................................................................................. 10
 Updates to the Code of Points ............................................................................................................. 10
2.1.1 Submitting new elements ......................................................................................................... 10
3 aerial Sport............................................................................................................................................... 10
3.1.1 Composition of a competition routine ...................................................................................... 11
 Level of regionality ............................................................................................................................... 11
 Competition season ............................................................................................................................. 11
 Categories............................................................................................................................................ 11
3.1.2 Safety in the Junior categories ................................................................................................ 12
 Divisions............................................................................................................................................... 13
3.1.3 Official divisions ....................................................................................................................... 13
4 Regulations for competitions ................................................................................................................... 14
 Work Plan ............................................................................................................................................ 14
4.1.1 Local Organizing Committee (LOC)......................................................................................... 14
 Competition schedule .......................................................................................................................... 14
4.1.2 Starting order ........................................................................................................................... 14
4.1.3 Fail to appear on stage on time ............................................................................................... 14
4.1.4 Extraordinary circumstances ................................................................................................... 15
4.1.5 Recovery period between routines .......................................................................................... 15
4.1.6 Results ..................................................................................................................................... 15
4.1.7 Cancellation ............................................................................................................................. 15
4.1.8 Final rehearsal ......................................................................................................................... 16
 Facilites ................................................................................................................................................ 16
4.1.9 Dressing rooms ........................................................................................................................ 16
4.1.10 Warm Up area.......................................................................................................................... 16
4.1.11 Waiting area ............................................................................................................................. 16

4.1.12 Stage and floor......................................................................................................................... 16
4.1.14 Competition hoop and silks. Safety during the routine ............................................................ 16
5 Regulations for athletes ........................................................................................................................... 17
 General ................................................................................................................................................ 17
 Responsibilities of the athlete .............................................................................................................. 17
 Anti-doping ........................................................................................................................................... 18
 Nationality ............................................................................................................................................ 18
 Dress code ........................................................................................................................................... 18
5.1.1 National tracksuit ..................................................................................................................... 18
5.1.2 Competition attire ..................................................................................................................... 18
 Athletes oath ........................................................................................................................................ 20
6 Regulations for coaches .......................................................................................................................... 20
 Responsibilities for the coaches .......................................................................................................... 20
7 Regulations for national delegations ....................................................................................................... 21
 Responsibilites for national delegations .............................................................................................. 21
8 Determination of score ............................................................................................................................. 21
 Judging panel ...................................................................................................................................... 21
8.1.1 Artistic Judges (A-J) ................................................................................................................. 21
8.1.2 Execution Judges (E-J) ............................................................................................................ 21
8.1.3 Difficulty Judges (D-J) .............................................................................................................. 21
8.1.4 Head Judge.............................................................................................................................. 21
 Superior jury......................................................................................................................................... 22
 Final score calculation EXAMPLE ....................................................................................................... 22
 Tie breaking rules ................................................................................................................................ 22
 Inquiries ............................................................................................................................................... 22
9 Difficulty judging ....................................................................................................................................... 23
 Deduction for missing a group or element ........................................................................................... 23
9.1.1 Disqualification for missing elements ...................................................................................... 23
 Deduction for incorrectly filled difficulty sheet ...................................................................................... 23

 Scoring of elements ............................................................................................................................. 24
9.1.2 Benefit of Doubt ....................................................................................................................... 24
 General requirements .......................................................................................................................... 24
9.1.8 A – Flexibility elements ............................................................................................................ 24
9.1.9 B – Strength elements ............................................................................................................. 24
9.1.10 C – Balance elements .............................................................................................................. 24
9.1.11 D – Dynamic elements ............................................................................................................. 24
9.1.12 E – Spinning elements ............................................................................................................. 24
 20° Tolerance (Flexibility Elements) .................................................................................................... 24
 Downgrade of value (Group A & B elements Pole only) ..................................................................... 24
 Choosing the elements ........................................................................................................................ 25
9.1.13 Level of Difficulty ...................................................................................................................... 25
 Levels of execution in elements .......................................................................................................... 26
9.1.14 Number of difficulty elements .................................................................................................. 26
9.1.15 Order of the elements .............................................................................................................. 26
 Combination Bonus (CB) and Additional Difficulty Bonus (ADB) aka super bonus .......................... 277
9.1.16 Additional Difficulty Bonus (or Super Bonus) ......................................................................... 277
 Risk Factor Bonus (RFB) ................................................................................................................... 277
 Incorrectly filled difficulty sheet .......................................................................................................... 277
 Summary of Difficulty deductions ...................................................................................................... 277
10 Execution judging ................................................................................................................................ 28
 Technical MISTAKES .......................................................................................................................... 28
10.1.1 Poor execution ......................................................................................................................... 28
10.1.2 Poor transitions between elements.......................................................................................... 29
10.1.3 Lack of uniformity or synchronicity (Doubles Only) ................................................................. 29
10.1.4 Bad angle of the move ............................................................................................................. 29
10.1.5 A slip or loss of balance ........................................................................................................... 29
10.1.6 Drying hands on costume, body, pole\hoop\silks or floor and/or fidgeting with hair or costume
29

10.1.7 A Fall ........................................................................................................................................ 29
 General MISTAKES ............................................................................................................................. 29
10.1.8 Not using all potential of the hoop or silk ................................................................................. 29
10.1.9 Using less than 70% of the silks .............................................................................................. 29
10.1.10 Lack of uniformity or synchronicity (Doubles only) .............................................................. 30
11 Artistic judging ..................................................................................................................................... 30
 Scale of artistic scoring ........................................................................................................................ 30
 Scoring sections in artistic evaluation .................................................................................................. 30
11.1.1 Creativity and complexity of the choreography........................................................................ 30
11.1.2 Creativity and complexity of transitions and elements ............................................................ 30
11.1.3 Interpretation of the music, body and facial expressions ........................................................ 31
11.1.4 Stage Presence and Charisma ................................................................................................ 31
11.1.5 Declared Lifts (Doubles Only) .................................................................................................. 31
11.1.6 Balance choreography ............................................................................................................. 37
11.1.7 Balance elements (Singles Only)............................................................................................. 37
11.1.8 Dynamic and Flow ................................................................................................................... 37
11.1.9 Confidence ............................................................................................................................... 37
11.1.10 Intensity................................................................................................................................ 37
11.1.11 Use of the space .................................................................................................................. 37
11.1.12 Difficulty of the floor work ..................................................................................................... 37
11.1.13 Difficulty of the acrobatic element ........................................................................................ 37
 Artistic deductions ................................................................................................................................ 41
11.1.14 No logical beginning or end of the performance .................................................................. 41
11.1.15 Causing distraction by uttering vocals ................................................................................. 41
11.1.16 Costume not corresponding to the routine’s theme ............................................................. 41
12 Head judge penalties ........................................................................................................................... 41
 Summary of deductions, warnings and disqualifications made by Head Judge: ................................ 41
13 Definitions .......................................................................................................................................... 433
Code of Points, Silk Code ...........................................................................................................................44

Code of Points, Aerial Hoop ............................................................................................................................84

2 CODE OF POINTS
 GENERAL PURPOSE
The Code of Points provides
 the means of guaranteeing the most objective evaluation of routines in Pole Sport & Aerial at all levels
of regional, national, and international competitions
 standardize the judging of Aerial competitions
 guide coaches and athletes in the composition of competition routine
 provides information about the source of other technical information and regulations frequently
needed at competitions by judges, coaches, and athletes
 TECHNICAL HIERARCHY
The Code of Points is provided by the POSA authorities in Technical Committee. In case of disagreement,
the Head of the Technical Committee will decide the correct interpretation of the rules.
In national level the National Technical Committee and the Head of the National Technical Committee are
the highest authority over the Local Organizing Committee.
 UPDATES TO THE CODE OF POINTS

Official documents can be downloaded from the POSA website or requested from the local organizer.
2.1.1 Submitting new elements
Classification of new difficulty elements can only be made by POSA Pole Sport Technical Committee.
Applications must be sent to the POSA Secretary by email contact@posaworld.org .
Difficulty elements submitted for evaluation must:
– have written description

– be filmed from two camera angles from the front and the side
Accepted elements will be added to the next version of code of points and the videos will be uploaded to
POSA Video Archive.
3 AERIAL SPORT
Aerial– sports routine, performed on a music with choreographic and artistic components, demanding
physical strength, flexibility, dexterity and coordination on the air apparatus: poles, silk, hoop.
Aerial athlete – a spotsman, performing aerial routine.
 POLE SPORT
Routines on poles mean the abilty to perform a complex of technically high-level movements on static and
dynamic poles (that is spins onstatic and dynamic poles, dynamic elements, movements showing strenghth
and flexibility). Routines are performed to a piece of music with choreographic and artistic components.
 SILKS
Routines on silk mean the abilty to perform a complex of technically high-level movements on silk (dynamic
and balance elements, movements showing strenghth and flexibility. Routines are performed to a piece of
music with choreographic and artistic components.

 HOOP
Routines on hoop mean the abilty to perform a complex of technically high-level movements on hoop
(dynamic and balance elements, movements showing strenghth and flexibility. Routines are performed to a
piece of music with choreographic and artistic components.
3.1.1 Composition of a competition routine
3.1.1.1 LENGTH OF ROUTINE
In all amateur and parapol divisions routine is 3:20 to 3:30 minutes. In competitive division the length is 3:20
to 3:30 for junior athletes and 3:50 to 4:00 for seniors and masters. Music length violating the requirements
will be deducted by Head Judge.
First tone of the music identifies start of the routine; last tone of the music identifies end of the routine.
Category Amateur Competitive Parapole athletes
Varsity, Junior A, Junior B 3:20 – 3:30 3:20 – 3:30 3:20 – 3:30
Seniors, Masters 3:20 – 3:30 3:50 – 4:00 3:20 – 3:30
3.1.1.2 CHOICE OF MUSIC

Music can be selected from any style and can contain lyrics. One or more pieces may be mixed. Original
music and sound effects are allowed. The recording must meet professional standards regarding sound
reproduction.
It is not allowed to use lyrics containing sexual, violent, politic or any other offensive content. Music violating
the requirements will cause the athlete to receive a deduction by the Head Judge.
Music should be sent to the appropriate email as defined by the deadline date in the official work plan. Files
must be sent in MP3 format. The title, artist and composer should also be sent with your music file to the
competition organizer.
 LEVEL OF REGIONALITY
POSA recognizes different levels of regionality:
– World Championships
– Intercontinental Championships
– Continental Championships
– National Championships
– Regional Competitions (such as qualifiers for National championship)
– Local Competitions
In competitions for national level, as well as for amateur competitions, modified competition rules may be
appropriately designed by national technical authorities and these modified rules will take precedence over
Code of Points.
NOTICE: The Pole Sport World Championship is reserved exclusively to the Competitive categories.
Any variation for the Aerial Sport World Championship will be communicated directly by the POSA.
 COMPETITION SEASON
POSA competition season starts at 1st of January and ends with Aerial & Pole Sport World Championships
in late November or December.
 CATEGORIES
In all POSA competitions, athletes are divided in categories based on their age and gender. Age is
determinated based on the year of birth.
Athlete enrolled in the wrong category will be disqualified by Head Judge.

In doubles, both athletes must be from same category, same-sex or mixed gender. Only in Doubles Juniors
Mix athletes must be from different categories: one of them Junior A (10-14) and the other one Junior B (15-
17). Athlete can participate as individual and as double in same competition.
Categories by ages opened for the competitive year 2020:
Category Year of birth Age
Varsity (mixed) 2011-2013 6-9 years
Junior A (men / women) 2006-2010 10-14 years
Junior B (men / women / doubles) 2003-2005 15-17 years
Senior (men / women/ doubles) 2002 or before over 18 years
Masters 40+ (men / women) 1979 or before over 40 years
Masters 50+ (men / women) 1969 or before over 50 years
Note: Athletes over 40 years can participate in the Senior Category provided that their technical level
is enough.
Note: An individual mixed Varsity Category may only be arranged in national level competitions,
except for different provisions issued directly by the International Federation.
3.1.2 Safety in the Junior categories

3.1.2.1 LEGAL GUARDIAN
All athletes under 18 must have a parent/legal guardian present at the competitions. If the parent/legal
guardian is unable to attend, he/she need to provide notarized document of temporary guardianship in free
form in English to the responsible person (friend, family member, coach or other member of the national
delegation).
3.1.2.2 USE OF SPOTTER
a) Spotters are required on the stage for every performance in Varsity category. In Junior categories (A
and B) spotters are not mandatory (but are recommended).

b) Spotters may stand at the back of the stage during the performance and move closer to the athlete
in high risk moves.
c) No contact or verbal instructions are allowed during the performance unless in the event an of
accident. All contact is deducted by the Head judge.
d) In case of an accident where spotter is required to intervene, the Head Judge may either stop and
disqualify the performance or give a deduction of 5 points.
e) In case of disqualification a clear mark is given to the athlete and the music will be stopped. Spotter
may also stop the performance if they see it necessary.
 DIVISIONS
Division defines the level of difficulty of the performance. Divisions may be divided based on experience,
ranking, previous competition results or other suitable methods.
Divisions may not be restricted by athletes age, occupation or previous sports background or any other non-
Aerial or Pole related achievement. Invitationals are allowed, but they are to be held purely on showcase
manner and the results are not accepted in official ranking or as results.
3.1.3 Official divisions
– Amateurs
– Competitive
– Parapole
A competition can contain one or multiple divisions.

In national level competitions custom divisions (such as semi-professional) are allowed but any new divisions
and their rules should be informed to POSA for inspection.
3.1.3.1 PARAPOLE ATHLETES
Athletes with physical or visual impairments can compete in parapole division. In parapole division no
difficulty elements are declared or evaluated.
Athletes must prove their disability by medical certificate or invalidity card.
Minimum impairment criteria
 Vision impairment
Vision is impacted by either an impairment of the eye structure, optical nerves or optical pathways,
or visual cortex of the central brain.
 Impaired muscle power
Impairments in this category have in common that there is reduced force generated by the
contraction of a muscle or muscle groups, such as muscles of one limb, one side of the body or the
lower half of the body. Examples of conditions included in this category are paraplegia and
quadriplegia, muscular dystrophy, post poliomyelitis and spina bifida.
 Impaired passive range of movement
The range of movement in one or more joint is reduced in systematically way, for example due to
arthrogryposis. However, hypermobility of joints, joint instability, and acute conditions causing
reduced range of movement, such as arthritis, are not considered eligible impairments.
 Limb deficiency
There is a total or partial absence of bones or joints as a consequence of trauma (e.g. traumatic
amputation), illness (e.g. bone cancer) or congenital limb deficiency (e.g. dysmelia)
 Leg length difference
Due to congenital deficiency or trauma, bone shortening occurs in one leg.
 Short stature
The standing height is reduced due to aberrant dimensions of bones of upper and lower limbs or
trunk, for example due to Achondroplasia or growth hormone dysfunction.
 Hypertonia
Hypertonia is a condition marked by an abnormal increase in muscle tension and a reduced ability of
a muscle to stretch. Hypertonia may result from injury, illness, or conditions that involve damage to
the central nervous system. When the condition occurs in children under the age of two (2), the term

cerebral palsy is often used, but it also can be due to brain injury (e.g. stroke, trauma) or multiple
sclerosis.
 Ataxia
Ataxia is a neurological sign and symptom that consists of a lack of co-ordination of muscle
movements. When the condition occurs in children under the age of two (2), the term cerebral palsy
is often used, but it also can be due to brain injury (e.g. stroke, trauma) or multiple sclerosis.
 Athetosis
can vary from mild to severe motor dysfunction. It is generally characterised by unbalanced,
involuntary movements and a difficulty in maintaining a symmetrical posture. When the condition
occurs in children under the age of two (2), the term cerebral palsy is often used, but it also can be
due to brain injury (e.g. stroke, trauma).
4 REGULATIONS FOR COMPETITIONS

Any official POSA competition must follow requirements set on the Code of Points. In competitions for
national level, as well as for Amateur Competitions, modified competition rules may be appropriately
designed by international or national technical authorities.
 WORK PLAN
All details about the competition schedule, used equipment, qualification procedures and other aspects that
effect the athletes must are included in the Competition Work Plan. Work Plan should not be published later
than four months before the competition.
4.1.1 Local Organizing Committee (LOC)
Local organizing committee consists of the people responsible for hosting the competition. The organizing
committee is responsible for all communications to the athletes and must keep Work Plan up to date.
Note: A person, who is part of the organizing committee may not participate in the competition
as athlete, judge or coach. There cannot be a conflict of interest when competing or judging.
 COMPETITION SCHEDULE
The competitions must not start earlier than 10.00 hours or finish later than 23.00 hours and the schedule
must be published in the Work Plan.
4.1.2 Starting order
a) Starting order is decided by draw.

b) The drawing will take place within two weeks after the deadline of the definitive entry.
c) The lots shall be drawn by a “neutral” person or by computer.
d) Head of technical committee or nominated committee member must be present during the draw.
Note: At international competitions the national federations will be informed by the General Secretary
at least one month beforehand of the time and place of the drawing of lots and they will be entitled to
be present at the draw.
The media will be informed and allowed to send representatives and the local authority, in whose area
the draw will be held, will be invited to send representatives.
4.1.3 Fail to appear on stage on time

Should a competitor fail to appear on stage within 20 seconds after being called, a deduction of 1.0 point
shall be made by the Head Judge.

Should a competitor fail to appear on stage within 60 seconds after being called, the start will be deemed
as a Walk Over. Upon announcement of such a Walk Over the competitor loses his right to participate in the
category in question.
In case of EXTRAORDINARY CIRCUMSTANCES, refer to next chapter.
4.1.4 Extraordinary circumstances
Extraordinary circumstances include, but are not limited to, the following situations:
a) Incorrect music is cued.

b) Music problems due to the malfunction of the equipment.
c) Disturbances caused by general equipment failure - lighting, stage, venue.
d) The introduction of any foreign object into the performance area by an individual or means other than
by the competitor.
e) Extraordinary circumstances causing a walk-over out of the competitor’s control.
It is the responsibility of the competitor to stop the routine immediately if an extraordinary circumstance as
mentioned above arises. A protest after the completion of a routine will not be accepted.
Upon the decision of the Head Judge, the competitor may restart the routine after the problem has been
corrected. Any scores previously given will be disregarded. Where situations not stated above may arise,
they will be resolved by a review of the circumstances by the Superior Jury. The decision of the Superior
Jury is final.
4.1.5 Recovery period between routines
For the health and safety of athletes, POSA has accepted that athletes competing in multiple finals require
minimum 10 minutes to recover before competing again. This recovery period has been translated to equal
to minimum 2 competition performances.
The draw will be adjusted according to this principle. If an athlete or doubles compete 7 th in one rotation and
are drawn in positions 1-3 in the next rotation the new starting position will become 4th. If an athlete or
doubles compete last in a rotation and are drawn in positions 1-4 in the next rotation the new starting position
will be 5th.
This adjustment, if necessary, will be made by the Superior Jury President and once the qualifying athletes
are determined an adjusted draw and start list will be produced by Timer Judge. This principle applies for all
following rotations and final competitions.
4.1.6 Results
a) After each routine, total scores (A, E and D scores), penalties, final score and the rank must be
displayed to the public. Athletes are also given the evaluated difficulty sheets with judge’s notes.
b) After the Qualification round, each participating member federation must receive a complete copy of
the results.
c) At the end of the competition, a complete set of all detailed results must be given to each
participating member federation.
4.1.7 Cancellation
a) Athletes may only cancel participation a maximum of 15 working days prior to the competition.
Exceptions include medical reasons and emergencies in which medical documentation and proof of
travel ticket must be provided to the organizing committee for confirmation a minimum of one day
prior to the competition.
b) Athletes not showing on the day of registration due to an emergency will have a maximum of seven
days after the competition has ended to provide necessary proof of documentation.
c) In the case of an athlete not presenting themselves to registration without a legitimate reason, the
athlete will be banned from all POSA recognized competitions for a period of one year. Names of
banned athletes will be published on http://www.posaworld.org.

4.1.8 Final rehearsal
All athletes must have the opportunity to have a final rehearsal at the competition venue with the full sizes
competition floor and sports equipments. Access to the floor is given by a rotation schedule set up by the
organizing committee and approved by the POSA Technical Committee.
 FACILITES
4.1.9 Dressing rooms
Men and women must have separated dressing rooms with toilet facilities which are separate from those
being used by judges and spectators.
Barrier-free rooms and toilet facilities should be provided for Parapole.
4.1.10 Warm Up area
A designated warm up area should be connected to the dressing rooms and It is only to be used by the
athletes and their coaches.
4.1.11 Waiting area
A designated area connected to the podium is referred to as the Waiting Area. It is only to be used by the
athletes and their coaches of the next two starts. The area is not allowed to be used by any other person.
4.1.12 Stage and floor
The podium should be at least 8 m x 8 m in size and no more than 10 m x 10 m. The competition floor must
be in wood or linoleum.
a) If the competition is in a sports arena, the podium on which the competition takes place, can be 80 to
140 cm high and closed off at the rear with a background.
b) If the competition is in an auditorium, theatre or other suitable structure for the smooth running of the
competition, the stage must have the same minimum measurements required for an organized
competition in a sports arena.
The lights must be fixed, clear, white and blue, to allow the best view of the Judges. Strobe lights are not
permitted in any POSA competition.
4.1.13 Competition hoop and silks. Safety during the routine
Routines on silk and hoop.
The stage must be covered with mat or judo mat or it may be restricted area with different floor covering,
comfortable for athletes.
If an athlete intentionally swings hoop or silk, he gets head judje’s penalty “-3”.Swinging can lead to fall
beyond the bounds of mats.
It is forbidden for Junior varsity category to do the routine higher than 6 metres on the silk.If this rule is
broken, an athlete gets head judje’s penalty “-3”.
There must be special area in the centre of the stage and under the sling which is covered with mat or judo
mat. The size of mats is 2*2 metres and they mustn’t be thinner than 20 sm. The sling must be fixed at a
hight of 8 metres. The sling includes windlass (automatic or mechanic) suitable for periodic change of aerial
apparatus. The distance from mats to the edge of the stage (front, back and both sides of the stage) must be
2-3 metres. There mustn’t be any foreign objects on the stage.
Aerial apparatus can be either provided by organizers, or athletes can compete using their own aerial hoop
or silk satisfying the requirements given below.
Silk: consists of strong fabric of middle elasticity, from 1,5 to 2,8 metres wide and from 6 to 10 mertres long,
lateral hemline of the fabric mustn’t be cut nd must have only manufactory working.
Hoop: consists of stainless steel, diamenter of the hoop is from 80 to 110 sm, diameter of the hoop tube is
from 23 to 30 mm
If necessary, an athlete’s coach or an observer of the organizing committee is standing on the stage with an
athlete and belay him. During all routines of Junior varsity and Junior A categories the presence of a
coach/observer is mandatory. A coach must wear a tracksuit.

A coach/observer must follow the rules:
a) Stand behind/on mats, behind silk/hoop and don’t disturb judjes from judjing.
b) A coach can come to an athlete when he/she is performing elements with high risk.
c) A coach must not interfere when there is no risk of accident. For any verbal, oral instructions and any
physical contact with a coach, an athlete gets head judje’s penalty in each case.
d) A coach can move on the stage and put his hands to belay an athlete without physical contact.
e) In case when a coach/observer must interfere, a head judje can stop the routine and disqualify an
athlete or he can give a penalty “-5”. In case of disqualification a sign is given and music stops.A
coach can also stop the routine if necessary.
5. Regulations for athletes

 GENERAL
The athlete has the right to:
a) Have their performance judged correctly, fairly, and in accordance with the stipulations of the Code
of Points.
b) Have their score publicly displayed immediately following their performance or in accordance with
the specific regulations governing that competition.
c) Repeat their entire routine (without deduction) with the approval of the Head Judge if the exercise
has been interrupted for reasons beyond their control or responsibility.
Note: An athlete may repeat the entire exercise at the end of the rotation, or if she is the last athlete in
the rotation, at a time at the discretion of the Head Judge.
d) Receive through their delegation leader the correct result output, showing all their scores received in
the competition.
Receive relevant information about pole sport, hoop & silks and stage used in the competition at least two
months before the competition.
e) Try out the competition hoop, silks and podium at the venue prior to the competition.
f) Apply grip to their hands, feet’s and body only. All grips must be applied to the skin and skin only.
Grip gloves may only be used with medical documentation.
Routines on silk and hoop. The sling must be installed by a special person responsible for installing. After the
sling is installed the athlete can come and check it but it must be done before he was called on the stage. If
necessary, the athlete can ask to reinstall it and make more convenient. But it can be done only once.
Note: All athletes wishing to use grip gloves are required to produce a written letter from their doctor
confirming that the athlete suffers from hyperhidrosis (sweaty hands) or similar condition.
Note: Gorilla Grips, Rosin, stickum, dance pitch or any form of aerosolized gripping products which
could affect performances of other athletes or causing allergy are not allowed. Athlete must inform the
organizer for any new or unconventional gripping solutions in advance, so they can be tested and
approved.
 RESPONSIBILITIES OF THE ATHLETE

a) To know the Code of Points and conduct themselves accordingly.
b) Athletes under the age of 18 must have an approved guardian (parent/authorized legal
representative/coach) with signatory authority.
c) Provide information about their legal gender and age. A copy of their birth certificate must be
submitted upon request.
d) To carry health insurance and identification documents to the competition.

e) To be fully responsible for their personal health condition and ability to compete. To avoid injury, all
athletes must not undertake elements they are not fully confident and secure in.
f) To be fit, healthy and not knowingly pregnant. Upon request the athlete may be required to produce
documentation from a doctor as confirmation of good health and fitness level. All information will be
held confidentially.
g) Sign the POSA antidoping program with WHEA at least three months before the competition (It is
advisable to sign it every year in January, to be "covered" by the program for the whole year).
h) To wear the official national tracksuit during the competition.
i) Appear to the stage in time when announced.
 ANTI-DOPING
POSA antidoping rules follow the World Heavy Events Association (WHEA) antidoping program.
The athlete must sign antidoping contract with WHEA within a minimum of 3 months prior to the first
international competition. From 2019 onward, this rule will also be enforced for all national and regional
competitions.
With the contract athlete commits to the antidoping program and the rules it includes (for example WADA
CODE and National anti-doping regulations). The contract puts the athlete under doping monitoring, and
he/she can be tested in competitions and training season without pre-notice by WADA officials in each
country.
More information on WADA and WHEA can be found on
https://www.posaworld.org/anti-doping/ and https://www.wada-ama.org .
 NATIONALITY
Athletes may only represent a country they have citizenship and/or permanent residency (minimum of 90
days of residency). In the case of dual citizenship, athlete may represent either one of them, as he may
elect. However, after having represented one country in the international, intercontinental or national
championships recognised by POSA, he may not represent another country.
Athletes wishing to change their country of representation must allow for one competitive year before the
changeover. Changes of nationality are dealt with by the POSA Executive Committee.
 DRESS CODE
A neat and proper athletic appearance is always mandatory. Attire violating the dress code will be deducted
by Head Judge.
4.1.14 National tracksuit
National delegations must ensure that all their athletes have matching official national tracksuit according
to the following requirements:
a) Tracksuits must include trousers (leggings are allowed on stage), t-shirt or tank top and a jacket in
color and design of choice.
b) Tracksuits must have the name and/or logo flag of nation represented by the delegation. The name
of the country must be written on the tracksuit and t-shirt/tank top.
c) One individual sponsor’s logo may be worn on the jacket and up to ten (10) sponsor logos may be
worn on the t-shirt/tank top. The size of the logos cannot be more than 10x10cm.
d) National federation logos can be worn. The size of the logo cannot be more than 10x10cm.
For more information, please refer to the Official POSA Rules & Regulations.
During internationals POSA Aerial competitions the athlete must wear their official national tracksuit at the
Opening and Closing ceremony and competition attire for Medal award ceremonies.
4.1.14.1 ATHLETES WITHOUT NATIONAL DELEGATION
If athlete is not part any official national delegation the athlete can to wear black trousers, white t-shirt or tank
top and black jacket.
4.1.15 Competition attire

 Silk and hoop. Women attire
1- Women (Seniors) and girls (Juniors) must wear unitary costume. Sparkles are allowed. Net fabric is
allowed only at the top part of the sternum or on sleeves
2- The neckline of the front must be no further than half of the sternum
3- The cut at the top of the legs must not go higher than the waist and the outside seam must pass
through the crest of ilium
4- The costume can’t be made of lether or any other fabric which can improve or worsen coupling with
hoop or silk
5- The costume can’t be modified during the
routine
6- Short parts of a costume can be done (for
example skirt, rouche) if they are not longer
than 30 sm. см
7- The costume must fit athlets’ body to give
judges an opportunity to correctly evaluate
the right position of different parts of body
 Men’s attire
1- Men may wear leotard, jumpsuit or trousers

2- Sparkles are allowed
3- 3/4 leggings are allowed
4- The costume can’t be made of lether or any other fabric
which can improve or worsen coupling with hoop or silk
5- The costume can’t be modified during the routine
6- The costume must fit athlets’ body to give judges an
opportunity to correctly evaluate the right position of different
parts of body

4.1.15.1 NATIONAL EMBLEM AND ADVERTISING
During competitions the athlete must wear a national emblem on the costume.
a) Emblem must be between 2 cm x 4 cm and 4 cm x 8 cm in diameter.

b) Emblem must only be sewn on
 front side of the costume,
 at the hip or on the top of the costume (chest or shoulder). Any place other than the
eligible spaces of the costume will be penalized by the Head Judge with 3 points
(Incorrect attire).
c) Emblem must be clearly visible and easily separated from the fabric and embellishments.
d) No logos advertising or sponsorships identifiers are permitted in the competition attire.
e) Advertising logos or sponsorships identifilters are allowed on the national tracksuit only.
4.1.15.2 HAIR, MAKE-UP AND OTHER RESTRICTIONS
a) Hair must be secured close to the head, pigtail or ponytail is allowed, but its length must not exceed
the shoulders. Face must be clearly visible without any disturbing element.
b) The competitors cannot wear any kind of shoes; only bare feet are permitted.
c) Make-up can be for both men and women but used sparingly, the face must be visible, the makeup
cannot completely cover the face, but it must be limited to the area of the eyes and the upper part of
the cheeks.
d) Loose and additional items to the attire are not allowed. Strass, sequins and other types of sewn or
glued embellishments may be attached to the attire.
e) Jewellery or piercings must not be worn.
f) Torn or ripped costume and/or undergarments must not be shown during a performance.
g) National emblem must be worn in all international competitions.
h) Leather, latex, PVC or rubber are not suitable materials for the attire. Attire must be in non-
transparent material in intimate parts (chest, groin and buttocks).
i) Swimwear or bikinis are not allowed.
j) Attire depicting war, violence or religious themes is forbidden.
k) Body painting is not allowed.
 ATHLETES OATH
"In the name of all competitors, I promise we shall take part in these World Championships (or any other
official POSA event), respecting and abiding by the rules which govern them, committing ourselves to a sport
without doping and without drugs, in the spirit of true sportsmanship, for the glory of sport and the honour of
our teams."
5 REGULATIONS FOR COACHES

In the case that an athlete has no coach or other representative such as parent or guardian, the duties and
responsibilities of the coach fall to the athlete herself/himself.
The coach has the right to:
a) Assist athlete during the competition and access to dressing rooms, warm up and waiting area.
b) Act as spotter for junior athletes during their performance.
c) Receive athletes scores after the performance.
 RESPONSIBILITIES FOR THE COACHES

a) To know the Code of Points and conduct themselves accordingly.
b) To wear the official national tracksuit during the competition.
Note: A person who has operating ban from WADA or WHEA may not act as a coach.

6 REGULATIONS FOR NATIONAL DELEGATIONS
In the case an athlete is not part of the national delegation the duties and responsibilities of the delegation
fall to the athlete herself/himself or to their representative such as coach, parent or guardian.
National delegations have rights to
a) Have athletes represent their country in international competitions.

b) Make inquiries about the difficulty scores of an athlete when Superior Jury is present at the
competition.
 RESPONSIBILITES FOR NATIONAL DELEGATIONS

a) All members of the delegation must act in professional manner during the event. All complaints
against POSA or the competition organizer must be made with email.
b) Ensure all delegation wears matching national tracksuit (including coaches and guardians)
7 DETERMINATION OF SCORE
Routines are scored based on artistry, execution and difficulty.
 JUDGING PANEL
The POSA believes the duty of judges is to act impartially in Pole Sport & Aerial competitions. This duty
carries with it an obligation to perform with accuracy, fairness, and objectivity through an overriding sense of
integrity.
Depending of the level of the competition, the judging panel may consist of five to thirteen judges. There
should always be if possible, at least five artistic and five execution judges, so the scores can be calculated
as average where highest and lowest value are ignored.
7.1.1 Artistic Judges (A-J)
a) They will be awarding points on dynamic movements, combinations, artistry, and level of difficulties
of all moves performed in the routine.
b) Can award up to 60 points.
7.1.2 Execution Judges (E-J)
a) They will be deducting points on the technical aspects of all movements performed including correct
lines, falls and much more.
b) They may deduct up to 75 points.
7.1.3 Difficulty Judges (D-J)
a) They will confirm difficulty moves and bonuses have been performed to the minimum requirements.
b) They will deduct if a difficulty move has not been attempted.
c) They will deduct if the difficulty moves have been performed in the incorrect sequence.
7.1.4 Head Judge

The head judge is responsible for overseeing all the judging.
Head Judge will,
a) work with the judges to make sure their judging experience is as smooth and as impartial as possible
b) with the judging systems coordinator to make sure scores are correctly input

The Head Judge is responsible for answering all questions raised by judges, coaches and members of the
public should they arise.
 SUPERIOR JURY
The Superior Jury is responsible for controlling the work of all judges and the Head Judge according to the
rules and to guarantee a correct publication of the final scores. It registers the deviations of the judges'
scores. If there are repeated deviations, the Superior Jury has the right to warn and replace a judge.
Violations of instructions from the Superior Jury or the Head Judge may result in sanctions, as declared by
the President of the POSA and the International Judges Coordinator.
Superior Jury is mandatory only at international competitions.
 FINAL SCORE CALCULATION EXAMPLE

Artistic Score 39 points
Execution Score 75-30 points = 45 points
Difficulty Score (for individuals) 0.5 + 0.5 + 0.5 + 0.5 + 0.5 + 0.5 + 0.5 + 0.5 + 0.5 + 0.5
= 5 points
Difficulty Score (for doubles) 0.5 + 0.5 + 0.5 + 0.5 + 0.5

= 2.5 x 2
= 5 points
Difficulty Deductions -4 points (two missing element categories)
Difficulty Bonuses +2 points (two combination bonuses)
Head Judge Deductions -3 points (extra acrobatic element)
Final Score 39+45+5-4-3 = 84 points
Note: For doubles the Difficulty Score is multiplied by two (total score only without bonuses) to make
individuals and doubles scores are comparable.
 TIE BREAKING RULES

In case of a tie, the tie will be broken based on the following criteria in this order:
1. the highest total score in Execution

2. the highest total score in Artistic
3. the highest total score in Difficulty
 INQUIRIES
An inquiry is a verbal challenge of the score of an athlete’s routine, valid only between the time the athletes
final score is posted and before the end of the next athletes routine.
Inquiries must be made to the head of the Superior Jury and confirmed in writing within four minutes of the
verbal inquiry. Inquire is made by the head of the national delegation.
Inquiries are only allowed for difficulty scores in competitions where Superior Jury controls the
judging. If Superior Jury has not been placed for competition, all results are final.
Everything is specified in the Work Plan.

8 DIFFICULTY JUDGING
The difficulty of the routine is determinated by Difficulty Elements evaluated by the Difficulty Judge. Elements
are valued from 0.1 to 1 and divided to five groups:
Routines on hoop and silk:

Group A – Flexibility elements
Group B – Strength elements
Group C – Balance elements
Group D – Dynamic elements
Group E – Spining elements
Routine must include at least one difficulty element from each group. For doubles, all difficulty elements
must be performed in synchronization and without contact to the other athlete.
Exception: In doubles difficulty elements can be performed by only one athlete because of specificity
of hoop and silk.
The Difficulty Judge evaluates only the minimum requirements of the elements. These requirements and
the technical values could be found from the elements table. Element groups have general requirements that
affect all the elements in that group. Some elements also have specific requirements.
 DEDUCTION FOR MISSING A GROUP OR ELEMENT

a) If athlete fails to perform any element in a group to an acceptable degree and therefore, does not get
any points from that category, athlete is penalized 2 points (individuals) / 1 point (doubles) for
missing.
b) If declared element is not performed at all, athlete is penalized 3 points for missing element.
Note: Element is interpreted as missing if the judge cannot see the athlete perform or even attempt to
perform the element. Element is not missing if it is performed but does not meet the minimum
requirements and is therefore not scored.
Element is also interpreted as missing, if it has not been declared at all. For example, athlete has only
declared 9 moves. 10th move will be missing since it has not been declared.
8.1.1 Disqualification for missing elements

If athlete does not perform any of their declared elements, their performance is disqualified and will not be
evaluated.
Note: In case athlete returns a difficulty sheet without any elements, the Head Judge must give the
athlete a warning, deduction of 3.0 points and a possibility to select elements before the competition
starts. At least one element must be chosen to be allowed to compete.
 DEDUCTION FOR INCORRECTLY FILLED DIFFICULTY SHEET

If the sheet is filled incorrectly, the Head Judge will ask the athlete to modify their sheet and the athlete is
deducted 3 points. This type of deduction is assigned in case the athlete has delivered the hand-written
Difficulty Sheet, or if the athlete has declared one or more elements not provided for in his/her own range of
choice, or in case of incorrect declaration of Combinations Bonuses (for example if the athlete declares 5
combinations, etc.)

 SCORING OF ELEMENTS
a) When athlete performs a difficulty element and all the requirements are fulfilled, the element is
valued, and the value of the element is added to her difficulty score.
b) In some elements, value of the move may be downgraded by 0.2 or 0.4 points, if the move is
executed correctly, but is slightly above or under the correct line.
c) If minimum requirements are not fulfilled, element is valued 0.
8.1.2 Benefit of Doubt

Judges must ensure that all the minimum requirements are fulfilled. In cases of doubt, the benefit of that
doubt must be given to the athlete and the element must be valued.
Note: In case the element is performed in such angle that the judges cannot see it clearly, no benefit
of the doubt is given, and the element is valued 0.
 GENERAL REQUIREMENTS
SILKS AND HOOP
8.1.3 A – Flexibility elements
Elements must be held in fixed position for at least 2 seconds.
8.1.4 B – Strength elements
Elements must be held in fixed position for at least 2 seconds.
8.1.5 C – Balance elements
Elements must be held in fixed position for at least 3 seconds, there is no contact with the floor.
8.1.6 D – Dynamic elements
All elements must have an aerial phase and dynamism. Drops on the silk must be performed at the hight of
two sizes of the athlete’s height.
8.1.7 E – Spinning elements
Element must meet all original minimum requirements and have a minimum 720° rotation in fixed position.
 20° TOLERANCE (FLEXIBILITY ELEMENTS)

For athletes in masters 50+ category a tolerance of 20° is given to flexibility elements having a
requirement of 180° opening of the legs,
a) if the move does not have option for 160° opening.

b) Moves that do have different levels of execution (such as jade or chopstick) are evaluated without
tolerance
 DOWNGRADE OF VALUE (GROUP A & B, C ELEMENTS HOOP ONLY)

Elements from the A & B groups have option for downgrade. Downgrade refers to the slight deviation in the
execution of parallel line to the floor only. Deviation must be within allowed tolerance 20° or 30°. Need for
downgrade is evaluated by the Difficulty Judge during the performance and is not declared in advance.
For example, if element in group A or B has a minimum requirement of horizontal line to the floor and the
athlete performs the element in otherwise correct way, but unfortunately slightly above or below the
horizontal line, the value of the element will be added to the difficulty score but with downgrade of 0.2 or 0.4
points depending on the level of the deviation.
a) If the line is within 20° tolerance, element will undergo a downgrade of 0.2 (1.0 becomes 0.8)
b) If the line is between 20° and 30°, it will be downgraded to 0.4 (1.0 becomes 0.6)

Note: The downgrade option refers only to the horizontal line specified in the elements table.
Any other fault in the minimum requirements and the element will be valued 0 points.
No downgrading 0.2 downgrading 0.4 downgrading Not recognized, value 0.0
 CHOOSING THE ELEMENTS

8.1.8 Level of Difficulty
Athletes must choose their difficulty elements from the allowed range. Range is restricted based on category
and division. Elements that are not from the allowed range are not evaluated and will be given value 0.
Each element may only be chosen once. Flexibility elements with different levels on execution are
considered as a same element. See more at section 8.7.
Category Amateurs Competitive
Varsity 0.1 – 0.3 + 6h element 0.4 or 0.1 – 0.6

higher
Junior A Ind. & 0.1 – 0.4 + 6h element 0.5 or 0.1 – 0.7 + Athlete may declare an element with a value higher
Doubles higher than 0.7
Junior B Ind. & 0.1 – 0.5 + 6h element 0.6 or 0.2 – 0.9 + Athlete may declare an element with a value higher
Doubles higher than 0.9
Junior Doubles Mix 0.1 – 0.5 + 6h element 0.6 or 0.2 – 0.9 + Athlete may declare an element with a value higher
higher than 0.9
Senior 0.1 – 0.5 + 6h element 0.6 or 0.3 – 1.0

higher
Masters 40+ 0.1 – 0.5 + 6h element 0.6 or 0.2 – 0.7

higher

Masters 50+ 0.1 – 0.4 + 6h element 0.5 or 0.2 – 1.0
higher
Note: These restrictions effect only to the difficulty elements. Athletes can perform lower or higher
scored elements, but these cannot be declared as difficulty elements.
8.1.8.1 EXCEPTIONS FOR AMATEUR DIVISION

In Amateur division athletes may declare one extra element (6th element). 6th element is not mandatory,
but it must be valued higher than the normal maximum value of the category. For example:
a) In Amateur Junior A category athlete may have one additional element from range 0.5 to 1.0
b) In Amateur Junior B category athlete may have one additional element from range 0.6 to 1.0
8.1.8.2 EXCEPTIONS FOR COMPETITIVE JUNIOR CATEGORIES

In Competitive Junior A and B categories ONE of the elements can have higher value.
c) In Competitive Junior A category athlete may have one element from range 0.7 to 1.0
d) In Competitive Junior B category athlete may have one element from range 0.9 to 1.0
 LEVELS OF EXECUTION IN ELEMENTS

Elements with multiple levels of execution (SA012 (160) and SA013 (180)) are considered as same element
and cannot be declared in same routine. If same element or different level of element is declared more
than ones, only the first will be evaluated and the rest will receive 0 points.
Elements with different levels of execution are marked on the elements table.
8.1.9 Number of difficulty elements
Athlete must choose five or ten difficulty elements, depending on the division. All element groups must be
selected at least once. A deduction will be given for every missing element (-3 points) and element group (-2
points).
Category Amateurs Competitive Paraathletes
Individual 5-6 elements 10 elements No elements
Doubles 5-6 elements 5 elements No elements
8.1.10 Order of the elements

Athlete must declare the elements in the order she or he is going to perform them in the routine. A deduction
will be given if athlete fails to follow the declared order (-1 point).
For example: If athlete declares moves A, B, C and performs them in order B, C, A. There will be a deduction
-1 for the incorrect order of the first move (A).

 COMBINATION BONUS (CB) AND ADDITIONAL DIFFICULTY BONUS
(ADB) AKA SUPER BONUS
Maximum 5.0 points can be achieved with combinations.
A bonus of 1 point is given, when.
a) athlete combines two difficulty elements from different element groups and
b) both of elements meets the minimum requirements (fully or downgraded) and
c) direct transition between the two elements is executed without stop or hesitation.
If combination is not recognized (it does not meet the requirements listed above), both elements could still
receive their value, but no additional deduction is given. Athlete must declare all bonuses in the difficulty
sheet. There is no deduction for unaccepted combinations.
Combination bonus may be received maximum three times.
8.1.11 Additional Difficulty Bonus (or Super Bonus)
Athlete may also declare one extra combination between two elements valued 1.0. Combination is
evaluated based on same minimum requirements as regular combination bonus.
Combining two high level moves is rewarded with 1.0 points for the combination plus 1.0 for the additional
difficulty (2.0 points in total). This additional bonus can only be received once. This type of Bonus applies
only to the following categories: Senior Women, Senior Men, Senior Doubles, Master +50.
 RISK FACTOR BONUS (RFB)

A bonus of 1.0 point is given, when:
a) athlete performs difficulty element in a way that includes a higher risk, such as high at the pole, in
spinning pole or with high level of dynamism
b) the element meets all the minimum requirements
Risk Factor Bonus may be received for maximum two times. Risk Factor Bonus is assigned by the Difficulty
Judge and is not declared by the athlete.
Note: Examples on the silk: element from group C (balance elements) with the value higher than 0,6
performed at the height not lower than 70%.
Examples on the hoop: element with the high level of dynamism in rotation.
 INCORRECTLY FILLED DIFFICULTY SHEET

If athlete fails to follow the instructions given by the code of points, local organizer or the Head Judge and it
requires corrections, a deduction of 3 points is given by the Head Judge.
Such errors include, but are not limited to:
a) Missing element in any group

b) Forbidden combination
c) Incorrect amount of difficulty elements
d) Elements selected are not from the allowed range
Athletes may be allowed to make changes to their sheet when errors are pointed out or they might choose to
continue without any changes and accept the deductions this will cause to their difficulty score.
Note: POSA recommends local organizers to offer preliminary checks for difficulty sheets. Deductions
should not be given, if the athlete provides new correctly filled sheet before the competition starts.
 SUMMARY OF DIFFICULTY DEDUCTIONS

a) Element performed not in order of appearance: -1 each time;

b) Missing Group of the Element Pool: -2 each time (-1 for Doubles);
c) Missing an element declared: -3 each time
d) Incorrectly filled difficulty sheet: -3 one time
9 EXECUTION JUDGING
The Execution Judges evaluate the technical execution of all movements including pole, silks, hoop
elements, transitions and floor work. For Doubles judges will also evaluate the timing and uniformity of all
movements, as well as the ability to execute the routine as a single unit in synchronization.
Note: Uniformity means, that the doubles should strive to perform the elements identically, with same
level of flexibility, strength and technical skill and therefore appear as equals.
The athletes are expected to include in the routine, only elements that they can perform with complete safety
and with a high degree of aesthetic and technical skill and with perfect execution.
Each athlete has the possibility to get 75 points from execution. Each error is deducted from the starting
amount. At the end, whatever is left of the 75 points is the athletes total execution score.
Maximum amount of deductions is 75 points. If athlete receives more deductions the total amount of
execution score is still 0. The total execution score cannot be a negative value.
 TECHNICAL MISTAKES
Any deviation from perfect execution is deducted by the Difficulty Judges. The number of points deducted is
dependent on the level of infringement.
Small Medium Large Very

Large
0.5 1.0 2.0 5.0
9.1.1 Poor execution 0.5

Any inability to perform movements with perfect technique in maximum
precision, correct posture, body alignment or inadequate physical
capacities (such as active and passive flexibility, strength, amplitude,
power or endurance).
Examples of poor execution:
– Knee and toe alignment: The knee and toe should be aligned.
There should be straight line from the kneecap to the big toe.
The foot and toe should be pointed. The toes should not be
clenched or showing tension. No unnecessary grabbing or
gripping the silks\hoop.
– Clean lines: The legs and arms should be correctly positioned
and at full extension, feet and toes should be pointed. Fingers
and toes should not show tension and feet should not be
flexed unless performing an aerial walk or if it is a
choreography choice.
– Extension: Legs, arms, back, neck wrist and torso line should
be fully lengthened. The shoulders and/or back should not be
rounded and the head should be high showing no strain.
– Posture: Correct body alignment should be used on and off

the silks\hoop. No uncontrolled movements.
9.1.2 Poor transitions between elements 1.0

The transitions from element to another must be executed with ease
and grace without hesitation, re-grips or rebalancing. Transitions
should appear effortless.
9.1.3 Lack of uniformity or synchronicity (Doubles Only) 1.0

Inability to execute all movements as a unit, with identical range of
motion, start and finish at the same time and be of the same quality.
This also includes choreographic movements; each movement should
be precise and identical.
9.1.4 Bad angle of the move 1.0

Performing any element in the routine at an unfavourable angle. When
working on the silk or on the hoop, the athlete must demonstrate
absolute control to avoid the stop of silk or hoop in the element with
unfavourable angle.
9.1.5 A slip or loss of balance 2.0

A temporary loss of control on the silks\hoop or a clear loss of balance
during a choreographic element. A minor slip or loss of balance is
considered as poor execution. In minor case the slip is not affecting
the flow of the performance and athletes is able to continue as
planned.
9.1.6 Drying hands on costume, body, hoop\silks or floor 2.0

and/or fidgeting with hair or costume
9.1.7 A Fall 5.0

Sudden rapid uncontrolled and catastrofic drop onto the floor. This can
be from any position on or off the silks\hoop.
If athlete can regain her/his control before landing, the error is
considered as a slip.
 GENERAL MISTAKES
General misteakes are deducted at the end of the performance. These deductions are made only once.
Depending on the level of error a deduction of 3.0 or 5.0 is given.
Large Very
Large
3.0 5.0
9.1.8 Not using all potential of the hoop or silk 3.0

When the athlete is performing on the silk, he/she must work both on joint and separate
silks and show different elements (knots, different grips etc).
An athlete can use a middle crossbar if there is one on the hoop.
9.1.9 Using less than 70% of the silks 3.0

The athlete will incur deduction points if they fail to use 70% of the height of both silks
during their performance. For doubles, at least one of the athletes must use the full
height of the silks.

Full height is used when athlete’s hands or feet’s reach above the 70% part of the silks.
9.1.10 Lack of uniformity or synchronicity (Doubles only) 5.0

If majority of the performance is not in synchronicity, doubles will incur an additional
deduction. This deduction is given, when three single deductions have been given for
synchronicity in technical errors.
10 ARTISTIC JUDGING
This section is to judge the athlete’s artistic presentation, interpretation and stage routine.
Artistic presentation is the way in which the athlete expresses and presents him or herself to the judges. The
judges will assess the athlete’s ability to convey emotion and expression through movement. They should be
confident, engaging, entertaining and show a high level of stage presence in each element of their routine on
and off the silks\hoop. The athlete should create an original routine and display a unique style. The overall
routine should flow seamlessly and effortlessly ensuring that highs and lows (shades) are demonstrated.
Choreography presentation is defined by all moves undertaken around the silks\hoop, stage area, or stage
surface, but not in contact with the pole\silks\hoop. The judges will assess the athlete’s ability to undertake
dance and acrobatic choreography that is executed with imagination, flow, and flair.
 SCALE OF ARTISTIC SCORING

Athletes will be awarded points based on overall level of each section in the routine.
0-0.5 = Unacceptable
1-1.5 = Poor
2-2.5 = Satisfactory
3-3.5 = Good
4-4.5 = Very good
5 = Excellent
Maximum score for each section is five points. Maximum total score in artistic is 60 points.
 SCORING SECTIONS IN ARTISTIC EVALUATION

10.1.1 Creativity and complexity of the choreography
This refers to the originality of the overall presentation including the theme, music choice, costume and the
originality of choreography throughout the entire routine.
Athlete should create surprising and emotional choreography, that is original and memorable. Routine should
create a character or persona and a story.
Examples of poor creativity and complexity in overall presentation
 There is no artistry, routine is purely an athletic sequence of elements.

 Choreography does not tell a clear story.
 Athletes movements do not reflect the story or the music.
 Selected music is worn out or unimaginative.
 Choreography is repetitive, flat and does not develop during the performance.
 There are no especially impressive moments or surprising twists to the performance, routine
is predictable.
 Choreography requires very little technical skill or is executed in very poor manner.
 Different sections of the choreography appear unconnected.
10.1.2 Creativity and complexity of transitions and elements

Level of creativity, originality and complexity in all elements, transitions and combinations in the entire
routine. The athlete should create new and original movements for their transitions in and out of elements
and on and off the silks\hoop.

Examples of poor creativity and complexity in transitions and elements
 Athlete shows no creativity or originality, variations are simple and well-known.

 The routine repeats itself, elements, climbs, inverts and/or lifts are or look similar.
 Athlete shows no technical skill. Chosen elements do not require coordination or physical
capabilities.
 Athlete clearly does not have enough technical skill or physical capabilities for the chosen
elements. Execution is messy and insecure.
 Athlete only performs difficulty elements on the silks\hoop (lack of transitions).
10.1.3 Interpretation of the music, body and facial expressions

Interpretation refers to the athlete’s ability to interpret the music, their facial expressions, their emotions,
choreography and the creation of a character or persona and story. The athlete should create choreography
that shows the light, shade, feeling and emotion of the music and their movements. They should connect
with the music and show expression through their costume, body and facial movements.
There should be strong cohesion between the overall choreograph and the choice of music. Music should
support and highlight the performance. The athlete should interpret the music and demonstrate not only its
rhythm and speed and stay in time with beats and phrases, but its flow, shape, intensity and passion within
her physical performance.
Examples of poor creativity interpretation
- Athlete does not perform to the right rhythm or misses the beats when they were clearly
trying to perform to them.
- Music acts only as a background and is not part of the routine.
- Athlete forgets to perform, when executing parts of the choreography (usually on silks\hoop).
- Stress and the challenges of the choreography are shown in their facial expressions.
- Emotions do not match the theme or the story, or there is none.
- Athlete only uses her face or part or their body to express and not their entire body.
10.1.4 Stage Presence and Charisma

The athlete should command the stage. He or she should be in total control of their performance and carry
him or herself with an impressive style or manner, which is both engaging and charismatic.
10.1.5 Declared Lifts (Doubles Only)
Doubles, in addition to the five difficulty elements to declare, must also declare the level of their lifts. Lifts are
interconnected partner moves executed on the pole or floor where both partners are in substantial role.
Usually one of the partners acts as flyer and other as base. Partners can lift, hang or balance on each other.
Lifts are not predeterminated, instead the doubles will have to use their creativity to invent their own lifts.
Doubles must declare four (4) silk/hoop lifts and one floor (1) lift.
10.1.5.1 LIFT TYPES
Strength/Strength: When both athletes perform a strength move together, both are in a position that
requires force, strength of the arms, core or legs, holding and controlling their position.
Flex/Flex: When both athletes perform a flexibility move together, both are performing a move that requires
flexibility of the legs, back, or shoulders, performing it with full motion and extension.
Strength/Flex: When one athlete is in a position of flexibility and the other is in a position of strength,
holding and controlling both positions together, in contact with each other
Interlocking: When both athletes perform a move that requires them to be interlocked by hooking or joining
arms, elbows, legs, knees, backs, etc. Both athletes are executing the same position in either the same
direction, in mirror horizontally (left and right) or in mirror vertically (upside-down, upside-down).
Balance: When both athletes are in a position together that requires them to combine balance, strength and
flexibility to maintain the position. This position is impossible to do without one of the athletes, it is only
possible when both are in the right position because they require the weight, counterbalance, and the help of

the other partner to stay in position. It is a balance, counterpoise and combined forces move that involves
both athletes as one.
Base supported: When one athlete is totally supporting the other by holding on the silks\hoop. Both can
have contact with the silks\hoop, but only one is supporting the other, and the other is suspended, hanging. It
is not mandatory that the supported athlete is in a lower position.
Floor: Concerns all the lifts performed on the floor, without touching the silks\hoop.
10.1.5.2 VALUE AND ASSESSMENT:
Lifts are valued on three levels: 0.5, 0.8 and 1.0. The individual elements at the code of points serves as a
guide to assess this level.
Lover level (0.5): athletes can follow the examples given (see below) or can perform movements that have
maximum value of 0.6 in the code of points (at least one partner must be in a position that has those points);
Medium level (0.8): athletes can perform movements that have value between 0.7 and 0.8 points in the
code of points (at least one partner must be in a position that has those points).
Higher level (1.0): athletes can perform movements that have value between 0.9 and 1.0 points in the code
of points (at least one partner must be in a position that has those points).
10.1.5.3 DECLARING LIFTS
The Doubles will have to state in their Difficulty Sheet, the level of the lifts by indicating the level (0.5-0.8-1.0)
and the type of the lift. Artistic Judge will evaluate during the performance if the lift fulfils declared level.
10.1.5.4 EXAMPLES OF LIFTS
Strength/Strength 0.5
0.8

1.0
An athlete performs a strength
element value 1.0 from the table of
mandatory elements
Flex/Flex 0.5 Athletes perform the

flexibility elements value
of 0.5 and 0.6 of the
table of mandatory
elements.
0.8
1.0

Strength / Flex 0.5
0.8
1.0
Interlocking 0.5
0.8
1.0

Base supported 0.5
0.8
1.0
Balance 0.5
0.8

1.0
Floor 0.5
0.8
1.0

10.1.6 Balance choreography
The athlete should create a balanced routine of different types of moves e.g. floor-work, transitions, in and
out of silks\hoop integrating these into a choreography with stage presence and artistic content. When
performing on the silk or on the hoop an athlete must use all their potential. On the silk an anathlete must
perform both on joint and separate silks and show different kids of elements (legs in the knots, different grips
etc). An athlete can use a middle crossbar on the hoop. Elements and choreography should be performed at
all levels: floor level, medium level and aerial (higher than 70% of the pole\silks).
Examples of poor balance of choreography
- An athlete does not use the whole height of the silk, does all elements in the low level, close
to the floor.
- There is visibly difference between skill level in different sections of the choreography. For
example, floor work is much more advanced than silks\hoop work.
- Athlete does not control the spinning silks\hoop, or the spinning motion is powerless.
- Not performing any physical interactions (Doubles).
10.1.7 Balance elements (Singles Only)

Balance refers to the athlete’s ability to create a well-balanced routine that has an equal number of various
elements. The athlete should create a balanced routine of different types of elements as flexibility, strength,
spins and dynamic movements. Athlete should appear evenly skilled in these capabilities.
Examples of poor balance of elements
- Athlete does not perform movements from a single element group or is clearly less capable
in one.
10.1.8 Dynamic and Flow

Flow refers to the athlete’s ability to create a seamless and effortless routine. The athlete should show a flow
off the silks\hoop, from floor to silks\hoop, and from floor to standing or from standing to floor. The
sequences, moves, transitions, choreography and/or acrobatic movements should flow in a seamless,
smooth, natural, flawless, and graceful way. Movement in and out of moves should continue to the next
move faultlessly. The routine should not look disjointed in any way. An athlete should be marked down if they
perform moves and wait for applause.
10.1.9 Confidence
Confidence refers to the athlete’s level of confidence in his or her routine. The athlete should not show
nerves, but rather carry him or herself with confidence and be engaging, command the stage and the
audience’s attention, making their routine look believable throughout.
10.1.10 Intensity
Intensity refers to the level of coronary intensity of the routine, the level of body use (body segments), the
intensity level of transitions, and the choreographic dynamism of the athlete.
10.1.11 Use of the space
For routines on the silk: Use of stage refers to the athlete’s use of all the stage. The athlete should use the
whole stage, back, front, and next to the mats and the whole silk (as minimum of 70%).
For routines on the hoop: Use of stage refers to the athlete’s use of all the stage. The athlete should use the
whole stage, back, front, and next to the mats and the whole hoop.
10.1.12 Difficulty of the floor work

Difficulty of the floor work refers to a choreographed combination of dance steps and moves executed on the
floor with no contact to the pole\silks\hoop. The athlete should create dance movements that work with the
beat of the music, which are reflective of their routine and are engaging and entertaining.
10.1.13 Difficulty of the acrobatic element

Difficulty of the acrobatic element refers to an acrobatic move executed on the floor with no contact to the
silks\hoop. Acrobatic element is not mandatory.
Note: Only one acrobatic element is allowed during the routine! Additional acrobatic elements
will receive 3.0 points deduction (each time) from the Head Judge.
Definition of Acrobatic Move on the floor:
It defines "Acrobatic Moves", all those elements on the floor (without touching the silks\hoop),
with:
1 - An aerial phase in which the whole body is completely detached from the floor with a
complete rotation (360 °), of the body forward, backward or to the side;
2- A floor-based phase, in which the whole body makes a complete rotation (360°) with a
passage of the pelvis above the head, forward, backward or to the side (are included all those
elements typical of rhythmic gymnastics that include a complete rotation also on the elbows or
chest, as for example, the “fish”). Simple rolls forward / backward on the back of the neck, with
or without the aid of the hands are not considered an acrobatic element.
3 - All those static movements on the floor without an aerial phase (for example, a handstand, a
cartwheel, etc.)
Note: In static elements on the floor, such as handstand and forearm stand, additional 0.5 points can
be given for variations requiring exceptional flexibility and balance (for example Mexican handstand).
Note: All the elements, if performed incorrectly from the point of view of execution (legs bent, incorrect
lines, unbalanced hold.) should be downgraded by 0.5 points. Example: if an athlete performs a
backward walkover with bent legs 3.0 must be downgraded to 2.5.
Note: If an athlete falls during the aerial phase or otherwise fails the landing, the acrobatic element will
receive maximum 2.5 points.
10.1.13.1 SCORING FOR ACROBATIC MOVES

All images and descriptions of the elements are based on the definitions from Fédération Internationale de
Gymnastique and are used here with permission from FIG. Pictures, videos and descriptions of the elements
and variations can be found on www.fig-aerobic.com.
All acrobatic elements that are not in this list, will be considered as choreograph.
Dynamic acrobatic elements

Handstand 1.0 (if it is passing);
1.5 (if exit to forward
roll);
2.0 (if minimum 2s
hold);
3.0 (press or push up)
Forearm stand 0.5 (if it is passing);

The body is supported by both arms with 1.0 (if minimum 2s
only the hands in contact with the floor. hold);
2.0 (if press up)
Cartwheel 1.0;
0.5 (elbow);
1.5 (on one arm);
Round off 3.0;

3.5 (if it is split
landing);
Walkover (forward) 2.5;
Walkover (backward) 3.0;

3.5 (if it is split landing
or Wenson landing);
Headspring 4.0;
4.5 (if it is split landing)
Handspring (forward) 4.0;

Flic Flac 4.5;

Salto 360° (forward, backward or 5.0

sideways)
Saltos with more than 360° or with twists
are not allowed.

Flair 3.5;
From a straddle support on both hands, legs 4.0 (if performed
circle straddle around the body. Legs must sequentially)
not touch the floor during the circle.
Static acrobatic elements
L-support 2.0
Both hands are placed at the side of the
body close to the hips. Legs closed. The
body is supported by both arms with only the
hands in contact with the floor.
Straddle Support 3.0

The body is supported by both arms with
only the hands in contact with the floor. Both
hands are placed in front of the body.
Straddle V-Support 3,0

The body is supported by both arms with
only the hands in contact with the floor. Both
hands are placed behind the body.
Full Support Lever 3.0;

A support where the body is supported over 3.5 (on one hand)
the elbows and Triceps with only the hands
in contact with the floor. Legs may be closed,
straddle or any other position.
Planche 3.5
A support in which the body is supported on
both hands with straight arms. Legs may be
closed, straddle or in other position.
Wenson 3.5
One leg is supported on the upper part of the
Triceps of the same side. The rear leg is
lifted off the floor.
10.1.13.2 PROHIBITED ACROBATIC ELEMENTS
Following acrobatic elements and combinations are not allowed in POSA competitions:
 Salto more than 360° with or without twist

 Salto 360° with twist
 Combination of two or more dynamic acrobatic elements (for example flick flack to back walkover), a
single static acrobatic element may be combined to a dynamic acrobatic element (such as handstand) as start
or end position
All prohibited moves and combinations will receive 5.0 points deduction from the Head Judge.
 ARTISTIC DEDUCTIONS
Medium Large
1.0 3.0
10.1.14 No logical beginning or end of the performance 1.0

It is important that the athlete edits his or her music so that it corresponds with the start
and finish of the choreography. There should be a logical beginning and end to the routine
that fits to the music. Athletes must begin and end their routine in a position on the stage
visible by the judges.
10.1.15 Causing distraction by uttering vocals 1.0

The definition of vocals is grunting, whooping, cheering, and mouthing words as it causes
a distraction.
10.1.16 Costume not corresponding to the routine’s theme 3.0

When the athlete's costume clearly conflicts the theme of the routine.
11 HEAD JUDGE PENALTIES

When Superior Jury is not present, Head Judge is also responsible for the following acts:
– Extraordinary circumstances
 SUMMARY OF DEDUCTIONS, WARNINGS AND DISQUALIFICATIONS

MADE BY HEAD JUDGE:
a) Presentation fault: -1 one time
b) Incorrect attire (jewellery, ornaments, body glitter/painting, national identity, etc.): -3 one time
c) Improper behaviour on stage: -3 each time
d) Failure to appear on the competition area within 20 seconds: -1 one time
e) Prohibited moves: -5 each time
f) 2nd or more of acrobatic elements: -3 each time
g) Interruption of performance for 2-10 seconds: -2 each time
h) Stop of performance more than 10 seconds: -3 one time
i) Wrong length of music:
music is more/less than 3 seconds: -1 one time
j) Incorrectly filled difficulty sheets: -3 one time
k) Verbal queues from the coach: -5 each time
l) Contact or verbal instructions between spotter and athlete: -5 each time
m) Themes in contravention of the Olympic Charter and the Code of Ethics: -10 one time
n) Presence in prohibited area: warning
o) Improper behaviour / manners: warning / disqualification

p) National tracksuit or emblem not being worn warning
q) Competition attire not being worn at medal award ceremony: warning
r) Missing all difficulty elements: disqualification
s) Drop out: disqualification
t) Walk-over: disqualification
u) Serious breach of the POSA Statutes, Rules & Regulations or Code of Points: disqualification
v) Unsportsmanlike conduct against athletes: disqualification
w) Disrespectful behaviour towards the Head Judge and Jury: disqualification

12 DEFINITIONS
Moves not performed at angles clearly visible for
Correct angle in splits
the judges to see full execution, will be deducted
points.
The angle/degree of a split is measured by the
lines formed by the inner thighs in alignment with Transitions
the hips to the knees.
A transition is a linking move between spins, floor
20° (degree) tolerance
work, inverts and lifts.
The compulsory move will still be valid if the Floor work
executed angle/degree of the body varies
no more than maximum 20° to the required Floor work is defined as a part of a performance
angle/degree. If allowed, this will be indicated in where the athlete has no contact to the silks\hoop.
the minimum requirements. E.g. a strength moves Floor work is every movement performed on the
with a requirement of a 90° body angle to the pole floor in a lying, crawling, kneeling or acrobatic
and parallel to the floor is executed at a 70° angle, manner.
body not fully parallel to the
Use of Space
floor will still be valid and awarded points.
However, points will be deducted by the deduction
for poor execution. Stage work is every movement performed around
the stage in an upright position without touching
*Please note: Masters 50+ are allowed a 20° the silks\hoop.
tolerance on all angles and splits for Group A and
B (flexibility and strength move).
Holding a position for two seconds

Synchronization (Doubles)
A compulsory move will be counted from the time
the athlete is in the required position. The position Synchronization refers to the synchronization of
must be fixed for two seconds (for balance the overall performance. This includes on and off
elements – 3 seconds). The transition in and out the silks\hoop, around the pole\silks\hoop and the
of the compulsory move will not be counted stage area as well as how well the partners work
towards the holding of a position. Please note this together throughout the whole performance.
is intended for fair judging, enabling athletes to Synchronization also refers to the execution level
show correct form, body execution and strength of the partner tricks or combinations.
on compulsory moves but not to deter from flow of
movement. This can either be both athletes on one silks\hoop
or on two separate poles undertaking a mirror
Spin image of the trick or combination
Sрins on the dynamic pole and also rotations on
the hoop/silk must be 720°. The transition in and Lifts (Doubles)
out of the difficulty spin will not count towards the
required minimum rotation. Lifts are interconnected partner moves executed
on the silks\hoop or floor where both partners are
Correct angle of an element in substantial role.

POLE SPORT & ARTS WORLD FEDERATION
CODE OF POINTS
AERIAL SPORTS
SILKS CODE

14. SILKS ELEMENTS TABLE
Note: Elements pictures table, are only instructional and should not be interpret as the only correct
execution. An athlete must execute elements observing minimal requirements written in the table even if they
the contradict pictures. General Minimum requirements are written in the beginning of each section of the
elements table, individual requirements (specific requirements) are written in elements boxes.
Abbreviations and definitions:
Legs and body positions

Ext. / Extended Legs extended straight in knees
Pike Legs together, body bend in half from hips
Straddle Legs spread wide to each side in V-shape
Tuck Legs bend to the chest
Legs together, body and legs make one line, no

Pencil
bend on the hips
Flag Body in horizontal level, side towards floor.
Body on horizontal level, back towards floor or

Plank
ceiling.

Grips and knots
Basic Grip
Arms span – thumb up without twist.
Twisted Grip
Arms span – twisted wrist, palm toward you.
Knot
Spiral wrapping
Loop knot

14.1 Group A – Flexibility Elements
General Requirement: All flexibility elements must be held in fixed position for 2 seconds.
Note: In masters +50 category a tolerance of 20° is given for the requirement to open the legs to 180° if there
is no 160° variation for the move. Moves, that do have different levels of execution are without tolerance. A
tolerance of 20° is given for the requirement parallel to the floor.
Value Element Code Requirements
Layback on the knots

- Elbows are fully extended
0.1 SA014 - Only one footstep and hands in contact with the
silk
0.1 SA001 Split on the knots 160°

-Opening of the legs 160°
- Legs in the knots
Levels of execution:
SA001 Split on the knots 160°
0.1 SA003 Layback

– One leg in the knot
- Elbows fully extended
– Only one footstep and hands in contact with the
silk
0.2 SA002 Split on the knots 180°

- Legs in the knots
0.2 SA004 Split with wrapping 160°

-Lower footstep is in the knot
SA004 Split with wrapping 160°

0.2 SA006 «T» Split 160°
-Opening of the legs 160° or more
- Opening Straddle Split
- Hands not in contact with the silk or legs
SA006 «Т» Split 160°
0.2 SA015 Box
- Back is bent
0.3 SA008 «Т» Split on separate silks 160°

-Body parallel to the floor
-Opening Straddle Split
SA008 «Т» Split on separate silks 160°
0.3 SA007 «T» Split 180°

-Hands not in contact with the silk or legs
Levels of execution

0.3 SA005 Split with wrapping 180°
0.3 SA010 Reversed candle 160°

– Opening of the legs 160° or more
– Spirally wrapping
– Arm is holding free leg behind the head
SA010 Reversed candle 160°
0.3 SA012 Pin 160°

–Opening of the legs 160°
–Leg in spirally wrapping above the knee
–Free arm holding leg
SA012 Pin 160°
SA013 Pin 180°
0.3 SA022 Torch

Back is bent
0.3 SA047 Peter Pan in layback

- Only legs in contact with the silk
- Arms are holding the leg behind the
head
0.3 SA043 Bow and arrows 160
- Opening of the legs 160° or more

- Upper leg in spiral wrapping
SA043 Bow and arrows 160°


0.4 SA009 «Т» Split on separate silks 180°
0.4 SА040 Split «Needle» 180°

- Lower leg in the knot
- Arms are holding leg
- Body in contact with the leg
0.4 SA011 Reversed candle 180°

– Opening of the legs 180° or more
– Spirally wrapping
– Arm is holding free leg behind the head
Sling 180°
0.4 SA029

- Upper leg in single spiral wrapping
on the footstep or ankle
- Legs are fully extended
0.4 SA013 Pin 180°

–Opening of the legs 180° or more
–Leg in spirally wrapping above the knee
–Free arm holding leg
SA012 Pin 160°
SA013 Pin 180°

0.4 SА016 Cupid 180°
-Shoulders above the line of hips
-Lower footstep in the knot
-Elbows are extended
-Arms in basic grip
0.4 SА017 Cupid on separate silks 180°

-Shoulders above the line of hips
-Legs in spirally wrapping
-Elbows extended
-Arms in basic grip
0.4 SА044 Ring (legs in contact with head

- Legs in spirally wrapping
- Feet in contact with the head
SA044 Ring (legs in contact with head)
SA019 Ring (legs in contact with shoulders)
0.5 SА018 Candle in middle split 180°

-Middle split
-Opposite arm is holding upper leg behind the head
-Arms not in contact with the silk
-Lower leg in knot
0.5 SA030 Bow and arrows 180

- Upper leg in spiral wrapping
- Right hand is holding right leg (Left
hand is holding left leg)


0.5 SА019 Ring (legs in contact with shoulders)
- Feet in contact with shoulders
SA044 Ring (legs in contact with head)
SA019 Ring (legs in contact with shoulders)
0.5 SА021 Scales 180°

-Elbows extended
-Arms in basic grip
0.6 SА020 Hang «Lever» 180°

-Upper leg in knot
-Hand similar with the front leg is holding the silk
behind the extended leg
0.6 SA031 Swan 180

- Forward split
- Legs fully extended
- Lower leg ion the knot
- Arms not in contact with silk
Split in the layback 180

0.6 SA032
- Opposite arm is holding the leg
behind head
- Head in contact with the leg
Snake 180°
0.6 SA033
- Arms are holding leg behind head
- Head in contact with leg
 Legs are fully extended

Cocon 160°
0.6 SА026
- Opening of the legs 160 or more
- Lower leg in spirally wrapping
SA026 Cocon 160°
SA038 Cocon 180° (extended)
0.7 SА023 Bilman 160°

-Lower leg in the knot
-Opposite arm is holding the leg behind the head
and the silk
- Hands not in contact with silk
0.7 SА024 Crossbow 180°

-Forward split
- Only feet, shoulder and 1 hand in contact with silk
Unicorn 180°
0.7 SA034
- Head in contact with hips
- Upper leg in spirally wrapping
SA041
0.7 Tulip 180°
RFB - Opening of the legs 180 or more
- Leg in single spirally wrapping
SA041 Tulip 180
SA042 Tulip extended 180

Peacock 180°
0.7 SA035
- Forward split
SA035 Peacock 180
SA036 Peacock is extended180
0.8 SА025 Cupid with the leg grabbed 180°

-Forward split
-Arms are fully extended
-Hand similar with the upper leg is holding it
- Head in contact with leg or silk
0.8 SА038 Cocoon 180° (extended)

-Lower leg in spirally wrapping
-Arms are holding leg behind head
- Lower leg and arms are fully extended
- Head in contact with hip
SA026 Cocon 160°
SA038 Cocon 180° (extended)
0.8 SА027 Tie 180°

-Arms holding the leg behind the head
-Lower leg in contact with the head
SA027 Tie 180°
SA039 Tie (extended) 180°
0.8 SА028 Andreeva 180°

-Lower leg in the knot
-Arm is holding leg behind head
-Legs are fully extended

0.9 SA045 Split in back laying 180°

- -Hand similar with the upper leg is
holding it
0.9 SA042 Tulip extended 180°

RFB - Opening of the legs 180 or more
- Leg in single spirally wrapping
- Upper leg is fully extended
SA041 Tulip 180
SA042 Tulip extended 180
Peacock extended 180°
1.0 SA036
RFB - Lower leg in the knot
SA035 Peacock 180
SA036 Peacock extended180
1.0 SA037 Droplet

- Legs in wrapping “8”
1.0 SА039 Tie (extended) 180°

-Lower leg in knot
-Arms holding the leg behind the head
- Lower leg in contact with the head
SA027 Tie 180°
SA039 Tie (extended) 180°

SА046
1.0 Masalova noose

- Head in contact with hips

14.2 Group b – Strength Elements
General Requirement: All Strength elements must be held in fixed position for 2 seconds.
Note: Masters +50 category a tolerance of 20° is given for the requirement to open the legs to 180° if there is
no 160° variation for the move. No tolerance for moves with different levels of execution. A tolerance of 20°
is given for the requirement parallel to the floor.
0.1 SB001 Hang «Cross» diagonal

-Arms line is 45° in relation to body
-Elbows fully extended
-Arms in single spiral wrapping
SB001 Hang «Cross» diagonal
SB002 Hang «Cross» straight
-Legs in V position
0.1 SB052
Разножка
 Ноги в позиции Ви
Таз выше уровня плечей
Peter Pan with support

0.1 SB049
- Lower leg fully extended
- Only legs and one hand in contact
with silk
SВ049 Peter Pan with support
SВ050 Peter Pan
0.2 SB051 Inside leg hang

- Extended leg parallel or lower
than parallel to the floor
- One hand is holding silk,
second hand not in contact
with silk

0.2 SB003 Children’s horizon
-Body and legs parallel to the floor in
«Horizon» position
-Legs fully extended
-Silks are crossed at the level of belly
0.3 SB002 Вис «Крест» прямой
 Руки параллельны полу

 Локти выпрямлены
 Руки в одинарной спиральной
намотке
Уровни сложности исполнения:
SВ001 Вис «Крест» диагональный
SВ002 Вис «Крест» прямой
0.3 SB002 Hang «Cross» straight

-Arms parallel to the floor
-Arms in single spiral wrapping
SB001 Hang «Cross» diagonal
SB002 Hang «Cross» straight
0.3 SB004 Laying

-Legs and body in «Pike» position
-Legs together and fully extended
-Only one arm in contact with silk
0.3 SB006 Flag

-Arms fully extended
SB006 Flag
SВ039 One arm flag

Peter Pan
0.3 SB050
- Lower leg fully extended
- Only legs in contact with silk
SВ049 Peter Pan with support
SВ050 Peter Pan
0.3 SB053 Haand-rail in tuck position

-Supporting arm extended
-Legs in tuck position
-Only one arm, belly and in contact with silk
SВ053 Haand-rail in tuck position
SВ011 Haand-rail
0.4 SB015 Gallows on separated silks

-Silk holding neck and in contact with
hindneck
-Body and legs in “Pencil” positon
One arm flag

0.4 SB039
 Supporting arm fully extended
 Only one arm and back in contact
with silk
Leves of execution:
SB006 Flag
SВ039 One arm flag
0.4 SB009 Belly Support Plank

– Body parallel to the floor
- Legs in tuck position
- Belly directed to the floor

0.4 SB010 Back Support Tuck
– Body parallel to the floor
- Legs are in position tuck
- Back directed to the floor
0.4 SB031 Butterfly

 Lower arm in spirally wrapping
 Only arms, shoulder, neck and
footstep in contact with silk
SB031 Butterfly
SВ040 One arm butterfly
0.4 SB048 Split «Arrow»
 Forward split
 Basic grip of one hand
 Only one hand and leg in contact with
silk
 Free arm holding leg
0.4 SB046 Rodionova Starfish (Spirally wrapping)
 Body parallel to the floor

 One hand not in contact with silk
SB046 Rodionova Starfish (spirally wrapping)
SВ047 Rodionova Starfish
0.5 SB011 Haand-rail

-Supporting arm extended
-Legs in position pencil and fully extended
-Body and leg position «Pike»
-Only one hand, belly and hips in contact with
silk
SВ053 Haand-rail in tuck position
SВ011 Haand-rail

0.4 SB007 Pendent
- Only hands in contact with silk
0.5 SB008
Triangle
-Arms in basic grip or in single spiral wrapping
-Legs and arms fully extended
-Body parallel to the floor or higher than
parallel
0.5 SB040 One arm butterfly

 Lower arm in spirally wrapping
 Only 1 arm, shoulder, neck and
footstep in contact with silk
SB031 Butterfly
SВ040 One arm butterfly
0.5 SB029 Split horizon

 Legs and arms fully extended
0.5 SB013
Tuck horizon

0.5 SB014
Reversed tuck horizon
0.6 SB030
Gallows on joined silks
-Silk holding neck and in contact with
hindneck
- Silk joined
0.6 SB016
Toreador
-Supporting arm in spiral wrapping is
extended
- Only one arm in contact with silk
Levvels of execution:
SВ016 Toreador
SВ041 Toreador (arm parallel to the floor)
0.6 SB047 Rodionova Starfish

 One hand not in contact with silk
 Lower arm in basic grip
SB046 Rodionova Starfish (spirally wrapping)
SВ047 Rodionova Starfish
0.6 SB045 Kite
 Body, arms and legs in one flatness


0.6 SB044 Spy
 Only one hand and two footsteps in

contact with silk
 Legs and supporting arm fully
extended
0.7 SB012
Back Laying
- Only one arm and back in contact with silk
0.7 SB017
Hang «String»
RFB
- Arms fully extended
- Only hands and one footstep in contact with
silk
0.7 SB018
V- back horizon
- Body parallel to the floor
- Legs in position V and parallel to the floor
- Supporting arm under loin
0.7 SB019
Belly Support Plank V-position
- Legs in position V and parallel to the floor
- Supporting arm on belly

0.7 SB043 Deadlift basic grip
 Upper hand in basic grip

 No momentum
 Hold end position: 2 seconds,
back not in contact with arm and
silk
0.7 SB041
Toreador (arm parallel to the floor)
-Supporting arm in spiral wrapping is
extended and parallel to the floor
- Only one arm in contact with silk
Levvels of execution:
SВ016 Toreador
SВ041 Toreador (arm parallel to the floor)
0.7 SB033 Vetruvian V

 Legs in V position
SВ033 Vetruvian V
SВ035 Vetruvian (legs together)
0.8 SB038 Deadlift basic grip (legs fully extended)
 Upper hand in basic grip

 No momentum
 Legs fully extended
 Hold end position: 2 seconds,
back not in contact with arm and
silk
0.8 SB020
Back horizon
- Body and legs parallel to the floor in pencil
position
- Supporting arm under loin

0.8 SB021
Belly Support Plank
- Body and legs parallel to the floor in pencil
position
- Supporting arm on belly
0.8 SB022
V-horizon
-Legs fully extended in V position
- Body and legs parallel to the floor
0.8 SB023
Reversed V-horizon
-Legs fully extended in V position
- Arms fully extended
-Body and legs parallel to the floor
0.8 SB032 Spiral

 Hand and opposite leg in contact with
silk
 Supporting arm and leg fully extended
 Cyclic wrapping on arm and leg
 2 or more turnovers
0.8 SB035 Vetruvian (legs together)

 Legs together and fully extended
SВ033 Vetruvian V
SВ035 Vetruvian (legs together)

0.9 SB024
Back laying to laying transition
-Both positions must be held 2 seconds each
-Free hand doesn’t help in transition
- No contact with floor
- No momentum
0.9 SB025
Reversed horizon (one leg bent)
-Body and one leg parallel to the floor
-One leg bent
0.9 SB036 Rodionova 180°

 Opening of the legs 180°
 Leg in the knot
 Arms fully extended and holding silk
behind leg
 Legs and body parallel to the floor
 Silk joined
1.0 SB034 Deadlift “Skewer”

 Two or more turnovers
 Start position: from silk (not from
floor)
 End position:back laying
 No momentum
1.0 SB026
Pencil horizon
-Body and legs parallel to the floor in pencil
position

1.0 SB027
Reverse horizon feet together
-Body and legs parallel to the floor and in
pencil position
1.0 SB028
Roll up
-Element is performed from hang but not from
floor
-Arms in spiral wrapping and fully extended
-Legs and body in pike position
-Element is count only if two or more rotations
are performed
- No momentum
1.0 SB042
Transition fron “laying” to “back laying”
 Both positions must be held 2
seconds each
 Free hand doesn’t help in transition
 No momentum
 No contact with floor
1.0 SB037 Upper horizon

 Arms and legs fully extended
 Legs and body parallel to the floor

14.3 Group C – Balance elements
Requirement: All elements must be held in fixed position for 2 seconds. No contact with the floor.
is no 160° variation for the move. No tolerance for moves with different levels of execution. A tolerance of
20° is given for the requirement parallel to the floor.
0.1 SC001
Reversed split
 - Forward split
0.1 SC002
Lying candle
- Legs in forward split
-Opposite arm is holding leg
0.2 SC039 Stretching in the knot 160

- Leg on the knot
0.2 SC003
Stretching 160°

- Leg in the knot

0.2 SC015
Handstand in the knot
- Arms and legs fully

extended
SC012 String in the knot

 Body and legs in pencil position
 Arms not in contact with silk
0.3
0.3 SC038 Supporting triangle
 Legs parallel to the floor or higher

0.3 SC004
«Reversed balance» 180°
-Forward split
-Arm in basic grip
-Elbow of supporting arm is fully
extended
SC004 «Reversed balance»
SC005 « Reversed balance» with leg
held
0.4 SC006
«Reversed stretching» 160°
-Legs and arms fully extended

0.4 SC020 Balance Deer 180°

- Back leg fully extended
- Front leg bent at an angle less
than 90°
0.5 SC009 Handstand in spirally wrapping 160
 Opening of the legs 160 or more

in V position
 Arms fully extended in spirally
wrapping
 Hips, shoulders and hands in
same vertical flatness
0.5 SC029
«Russian Split» 160°
- Supporting leg fully extended
SC029 Russian split 160°

SC007 «Russian Split» 180°
SC008 « Russian Split» (body parallel to
the floor)180°
0.5 SC005
«Reversed balance» 180° with leg held
- Arm is holding leg
-Elbow of supporting arm is fully
extended
SC004 «Reversed balance»
SC005 « Reversed balance» with leg
held
0.5 SC010
Handstand in bend
- Leg parallel to the floor or lower
- Arms in basic grip
- Arms and free leg fully extended

0.5 SC037 Stretching in the knot 180°
 Opening of the legs 180° or more

 Supporting leg fully extended
0.6 SC007
«Russian Split» 180°
- Supporting leg fully extended

the floor)180°
0.6 SC021 Balance in bend
 Ankles in spirally wrapping
 Opposite arm is holding leg
behind head
0.6 SC011
Forward split balance in spiral
wrapping 180°
- Ankles are wrapped
- Only ankles in contact with silk
0.6 SC023
Aim 180°
 Opposite arm is holding leg in
front of you

0.6 SC032
Pin (two hands) 180°
 The same arm is holding silk
behind leg
SC031 Pin 180°
SC032 Pin (two hands) 180°
0.7 SC031
Pin (two hands) 180°
 The same arm is holding silk
behind leg
 Only belly, hip and hand in
contact with silk
SC031 Pin 180°
SC032 Pin (two hands) 180°
0.7 SC013
Middle split balance balance in spiral
wrapping 180°
- Middle split
- Ankles are wrapped
- Only ankles in contact with silk
0.7 SC008
«Russian Split» 180° (body parallel to
the floor)

the floor)180°
0.7 SC022 Handstand Ring

RFB  Arms in spirally wrapping, fully
extended and directed to the floor
 Legs in contact with head or
shoulders
Levels of executions:
SC022 Handstand Ring
SC024 Handstand Ring(arms directed
sideways)

0.7 SC036
Mandrikova Balance
 Legs fully extended in split
0.8 SC024 Handstand Ring

RFB  Arms in spirally wrapping, fully
extended and parallel to the floor
 Legs in contact with head or
shoulders
Levels of executions:
SC022 Handstand Ring
SC024 Handstand Ring(arms directed
sideways)
0.8 SC025 Swings 180°

RFB  Front leg in the knot
 Back leg in noose
 Only legs in contact with silk
0.8 SC014
RFB
Forward split balance in knots 180°
- Forward split
- Legs in knots
-Arms not in contact with silk
0.8 SC016 One arm balance 180°

 Arm in splrally wrapping and
directed to the floor
 Front leg parallel to the floor
 Only one arm, back and hip in
contact with silk

0.8 SC018
«Boat» 180°
- Forward split
- Arm in spiral wrapping
- Elbow of supporting arm fully extended
0.9 SC035 Dolphin

RFB  Back in bend
 One arm in spirally wrapping,
second not in contact with silk
 Legs fully extended and parallel
to the floor or lower than parallel
0.9 SC017
Middle split balance balance in knot
RFB
180°
- Middle split
- Legs in knots
0.9 SC027 Transition from forward to middle split

RFB in spirally wrapping 180°
 Legs in spirally wrapping
 Holding end position for three
seconds
0.9 SC026 Goryacheva Crocodile V-position

RFB  Body parallel to the floor
 Legs fully extended in V-position
 Only arms and side part of body
in contact with silk
SC026 Goryacheva Crocodile V-position
SC030 Goryacheva Crocodile(legs together)

0.9 SC019
Transition to split 180°
RFB
- Standing starting position legs together
- Holding final position for 3 seconds
1.0 SC028 Transition from forward to middle split

RFB in knots 180°
 Legs in knots
 Holding end position for three
seconds
1.0 SC033
Transition to middle split 180°
RFB
- Standing starting position legs together
SC034
1.0 Transition to forward split 180° with
turnover
RFB
- Standing starting position, front leg is
opposite the leg in final spit position
- Turn the body for 180° during transition
1.0 SC030 Goryacheva Crocodile (legs together)
RFB  Body and legs parallel to the floor
in pencil position
 Only 1 arm and side part of body
in contact with silk
SC026 Goryacheva Crocodile V-position
SC030 Goryacheva Crocodile(legs together)

1.0 SC040 Surdonkina Crab
 Legs are between arms
 Shoulders in the same flatness
with hips or higher

14.4 Group D – Dynamic elements
Note: All dynamic elements must show a clear aerial phase and dynamism. Drops are performed at the level
of 2 athlete’s heights.
Value Element Code and requirements
0.1
SD001 Drop «Figure of 8 knot»
- Starting position: standing head
upwards, legs fully extended and wrapped
by figure of 8 knot
- Final position: upside down, body fully
extended, arms not in contact with silk
- Body in pencil position during transition
SD002 Drop 1 turnover

0.1
- Rotation 360° around its radial axis
- Starting and final position upside down
SD028 Drop to the hang

0.1  One arm not in contact with silk
0.2
SD003 Drop 1 turnover with phase
change (Forward)
- Starting position: right side up
- 1st phase: half of turnover forward 180°
- 2nd phase: tunover around its radial axis
on 360°
- Final position: upside down

0.3
SD004 Drop 2 turnovers
- 720° rotation around its radial axis
0.3 SD013 Turnover Butterfly

 Starting position: legs in single
wrapping
 Final positon: cross
 No contact with the floor
0.3 SD027 Drop in hang in the knot

 1 ore more metres drop
during the drop
0.4
SD005 Drop 2 turnovers with phase
change (Forward)
- Starting position: right side up
- 1st phase: half of turnover forward 180°
on 720°
- Final position: upside dwon
0.4
SD006 Drop back flip
- Starting position: wrapping on the leg
above the knee, pencil position
- Back flip with grab of silk
- Final position: Wrapped leg fully
extended

0.4
SD012 Slip
- Drop 1 metre or more
0.4 SD029 Turnover forward with arm

extended
 Supporting arm and legs fully

extended
0.5
SD007 Drop 1 turnover with phase
change (Backwards)
– Starting position: right side up
-1st phase: half of turnover backwards
180°
-2nd phase: tunover around its radial axis
on 360°
-Final position: upside down
0.5
SD011 Drop «Figure of 8 knot» with 0.5
turnover
-Starting position: right side up, legs
extended and and wrapped by 8 knots
- Final position: upside down, arms not in
contact with silk
- Body in pencil position during performing
the element

0.5  SD023 Slip Harakiri
 Legs extended in V-position
 1 metre or more slip
0.5
SD009 Drop 1,5 turnovers from «8
knot» under knees
- Tunover around its radial axis on 540°
- Final position: upside down
0.5 SD026 Back flip (floor based)

 Starting and final position on the
floor
 Back flip
 Arms not in contact withj the floor
0.6
SD008 Drop 2 turnovers with phase
change (Backwards)
– Starting position: right side up
- 1st phase: half of turnover backwards
180°
on 720°
0.7
SD010 Drop 3 turnovers

0.7
SD014 Drop with regrip of the silk
behind back
- Starting position: Position “Side plank”
- Drop phase: turnover backwards around
its radial axis in horizontal flatness
- Regrip of the silk behind back
0.7 SD025 Back flip to the floor
 Starting position: on the silk
 Back flip
 Final position: on the legs to the
floor
0.7 SD016 Windmill 720
 Starting positon:body in side

plank
0.8
SD015 Drop 2 blanches backwards
- Starting and final position upside dwon
- Legs and body in pencil position
- 2 or more turnovers backwards
0.8 SD024 Windmill 1080
 Starting positon:body in side

plank

0.9 SD022 Throw-out catching
RFB
- Starting position: hand without
wrapping upside down legs in V-
position
- Flying phase:: throwing out from
the silk, legs are going though V-
position
- Final position: on the silk
- No contact with the floor
0.9 SD021 Back flip on the silk

RFB
 Starting and final position: on the
silk
 Back flip
0.9 SD020 Drop 2 blanches forward

- Starting and final position upside dwon
- Legs and body in pencil position
- 2 or more turnovers forward
1.0 SD019 Screw front under the knees

RFB
- Starting position: silk
under the knees
 Tunover around its radial axis on
360 in horizontal flatness
 Final position on the silk
1.0 SD018 Koziorova Screw

RFB
 Performed in the noose
 Tunover around its radial axis in
horizontal flatness
 Final position: hang in armpits in
the noose

1.0 SD017 Belgian Screw
RFB
 Starting position: noose around
body
 Flying phase: throwing out of the
legs, screw around its radial axis
 Final position: wrapping around
body and body in tuckposition
15.5 Group E – Rotation (Spin)

Athlete can choose any element from groups A (flexibility elements) or B (Strength elements) and declare it
as rotation. The code of the element must be changed from SA001 to SA001/E, from SB001 to SB001/E or
SC001 to SC001/E.
A- Element must fill the original requirements described on the elements table
B- Rotation (spin) minimum 720° on fixed position
Note: Elements from D group cannot be used as Group E

POLE SPORTS & ARTS WORLD
FEDERATION
CODE OF POINTS
AERIAL HOOP

16. ELEMENTS TABLE HOOP
Note: Pictures at the elements table are only instructional and should not be interpret as the only correct
execution. An athlete must do elements observing minimal requirements written in the table even if they the
contradict pictures. Minimal requirements are given before the elements table, individual requirements are
given in boxes with elements.
Abbreviations and definitions:
Legs and body positions
Ext. / Extended Legs extended straight in knees
Pike Legs together, body bend in half from hips
Straddle Legs spread wide to each side in V-shape
Tuck Legs bend to the chest
Legs together, body and legs make one line, no

Pencil
bend on the hips
Flag Body in horizontal level, side towards floor.
Body on horizontal level, back towards floor or

Plank
ceiling.

16.1 Group A – Flexibility Elements
Requirement: All flexibility elements must be held in fixed position for 2 seconds, no contact with the floor.
is no 160° variation for the move. No tolerance to the moves with different levels of execution. A tolerance of
Оценка Элемент Код Требования
0.1 HA001 Middle split hang 160°

-Opening of legs 160° or more
-Legs fully extended in middle split
-Arms not in contact with hoop
HA001 Middle split hang 160°
0.1 HA055 Basket

• Back is in bend
0.2 HA002 Middle split hang 180°

-Legs fully extended in middle split
-Arms not in contact with hoop
0.2 HA003 Split, arms not in contact with hoop 160°

-Only armpits, back and toe in contact with
hoop
HA003 Split, arms not in contact with hoop
160°
180°

0.2 HA005 Boat (V-position) 160°
- V-position
-Only armpits and back in contact with hoop
-Arms and legs fully extended
0.3 HA038 Yudina 160°

• Opening of the legs 160 or more
• Only one hand and hip in contact
with hoop
• Free arm is hlding leg
HA038 Yudina 160°
HA039 Yudina 180°
0.3 HA018 Swan 160°

 Arms in basic grip
HA018 Swan 160°
HA019 Swan in bilman 160°
0.3 HA006 Chinese chopsticks (leg bent) 160°

-Similar hand is holding leg
-Only armpits in contact with hoop
HA006 Chinese chopsticks (leg bent) 160°
0.3 HA052 Batman 160°

 Opening of legs 160° or more
 Only hand and leg in contact
with hoop
HA052 Batman 160°
HA051 Btman 180°

0.3 HA053 Parachutist
 Back in bend
HA053 Parachutist
HA054 Super Parachutist
0.4 HA007 Chinese chopsticks (leg bent) 180°

-Opening of legs 180°
0.4 HA008 Elbow split 160°

-Upper hand is holding straight leg
-Only elbow in contact with hoop
HA008 Elbow split 160°
0.4 HA019 Swan in bilman 160°

 Head in contact with back leg
HA018 Swan 160°
HA019 Swan in bilman 160°
0.4 HA020 Karma

 Arms and legs fully extended

0.4 HA021 Vertical split 180°
 Legs fully extended in forward split
0.4 HA004 Split, arms not in contact with hoop 180°

-Only armpit, back and toe in contact with
hoop
160°
180°
0.4 HA023 Ring upside down 160°

 Both arms are hiolding leg
HA023 Ring upside down 160°
0.4 HA050 Russian split 160°
- Opening of legs 160° or more

- Forward split
- Body is directed to the front leg
- Only hands and one footstep in
contact with hoop
HA050 Russian split 160°
0.4 HA051 Batman 180°

 Only hand and leg in contact
with hoop
 Opposite arm is holding leg
HA052 Batman 160°
HA051 Btman 180°

0.4 HA049 Unicorn 160°
 Only hand, back, shoulder and neck
in contact with hoop
 Arm is holding leg
HA049 Unicorn 160°
HA048 Unicorn 180°
0.4 HA054 Super Parachutist

 Back in bend
 Footsteps in contact with head or
shoulders
HA053 Parachutist
HA054 Super Parachutist
0.5 HA012 Iguana

- Legs are between arms and under upper
pole of the hoop
- Knees higher than the level of shoulders
– Arms in reversed grab
HA012 Iguana
HA013 Iguana (locked)
0.5 HA034 Ring upside down 180°

 Both arms are holding leg
0.5 HA024 Bilman in forearm 160°

 Only elbows in contact with hoop
 Arms are holding legs behind head
HA024 Bilman in forearm 160°

0.5 HA009 Elbow split 180°
-Upper hand is holding straight leg
-Only elbow in contact with hoop
0.5 HA011 Supportive split 180°

-Only one arm, toe and back in contact with
hoop
-Free arm is holding the leg
HA011 Supportive split 180°
HA036 Supportive split 180° (extended)
0.5 HA022 Bird of paradise 160°

- Forward split
- Back and elbow on the lower part of
hoop
HA022 Bird of paradise 160°
0.6 HA048 Unicorn 180°

 Only hand, back, shoulder and neck
 Arm is holding extended leg
HA049 Unicorn 160°
HA048 Unicorn 180°
0.6 HA026 Bilman upside down 160°

 Both arms are holding leg behind
head
 Head in contact with leg
Levels of execution
HA026 Bilman upside down 160°

0.6 HA027 Bilman in forearm 180°
 Only elbows in contact with hoop
 Arms are holding legs behind head
Bird of paradise 180°

0.6 HA028
- Forward split
- Back and elbow on the lower part of
hoop
0.6 HA010 Chinese chopsticks 180°

-Both legs fully extended
0.6 HA047 Split “Four” 180°

-Upper leg in contact with hoop and between
legs
0.6 HA046 Clip 180°

Opposite arm is holding leg behind
shoulder
 Only armpit in contact with hoop

0.7 HA037 Bilman upside down 180°

head
 Head in contact with hip
Levels of execution
0.7 HA029 Aim 180°

 Arms are holding leg behind head
 Both arms and straight leg fully
extended
HA029 Aim 180°
HA035 Aim 180° (legs fully extended)
0.7 HA036 Supportive split 180° (extended)

-Only one arm, toe and back in contact with
hoop
-Free arm is holding the leg
HA011 Supportive split 180°
HA036 Supportive split 180° (extended)
0.7 HA025 Cocon

 Straight leg fully extended between
arms and in front of hoop
 Head in contact with hoop
0.7 HA013 Iguana (locked)

- Legs are between arms and under upper
pole of the hoop
- Knees higher than the level of shoulders
– Arms in reversed grab
-Footsteps in contact with head or shoulders
HA012 Iguana
HA013 Iguana (locked)

0.7 HA014 Boat 180°
-Arms and legs fully extended
-Forward split
0.7 HA045 Russian split 180°

- Body is directed to the front leg
0.7 HA044 Boomerang 180°

- Opposite arm is holding leg
- Only hand in contact with hoop
0.7 HA043 Spiderman 180°

- L:ower arm is holding the ankle
0.7 HA042 Comet 180°

- Arms are holding extended leg behind
head

0.8 HA015 Bilman 180°
 Both hands are holding leg behind
leg
 Only shoulders and neck in contact
with hoop
HA015 Bilman 180°
HA016 Bilman 180° (вытянутый)
0.8 HA030 Forward split on the hip 180°

 Forward split
 Similar with legs hands are holdind
similar legs
 Only one hip and lower part of belly
0.8 HA039 Yudina 180°

• Opening of the legs 180 or more
• Only one hand and hip in contact
with hoop
• Free arm is hlding leg
• Head in contact with leg
HA038 Yudina 160°
HA039 Yudina 180°
0.8 HA041 UFOs 180°

 Legs fully extended and directed to
different sides of hoop
 Back in bend
 Arm is holding leg
0.9 HA035 Aim 180° (legs extended)

 Forward split
 Arms are holding leg behind head
 Both arms and legs and straight leg
fully extended
HA029 Aim 180°
HA035 Aim 180° (legs fully extended)

0.9 HA031 Peacock
 Only hands and footstep in contact
with hoop
 Leg fully extended between arms
and hoop
HA031 Peacock
HA033 Super Peaccock
0.9 HA017 Tulip 180°

-Leg is grabbed behind head
-Ankle and wrists in contact with hoop
-Head in contact with leg
1.0 HA040 Twister 180°
 Only one hand in contact with hoop

 Opposite arm is holding leg behind
shoulder
 Chest is directed for 160° to the
other side from the lower leg
1.0 HA016 Bilman 180° (extended)

 Both hands are holding extended leg
behind leg
 Only shoulders and neck in contact
with hoop
HA015 Bilman 180°
HA016 Bilman 180° (вытянутый)
1.0 HA032 Droplet

 Head in contact with hips

1.0 HA033 Super Peacock
with hoop
 Leg fully extended between arms
and hoop
HA031 Peacock
HA033 Super Peaccock
1.0 HА056 Snail 180°

• Openin of legs 180 or more
• Leg behind head, in contact with
hoop
16.2 Group B – strength elements

Requirement: All Strength elements must be held in fixed position for 2 seconds.
is no 160° variation for the move. No tolerance to that moves with different levels of execution. A tolerance of
0.1 HB001 Hang «Arrow»

-Arm in in support
-Only one hand, shoulder and back in contact
with hoop

0.1 HB002 Elbow hang
 -Only one elbow and one hand can

be in contact with hoop
0.1 HB003 Straddle

 Hips higher than shoulders
 Legs in V-position
HB034 Angle
 Legs parallel to the floor

0.1 HB033 Angel
 Only armpits and back in contact with

hoop
0.1 HB032 Knee hang with spport

 Only one knee and one hand in
contact with hoop

0.2 HB019 Shrimp
 Only one knee and two hands in

contact with hoop
 Arms fully extended
0.2 HB004 Knee hang

 Only one knee in contact with hoop
 Free leg fully extended, parallel or
lower than parallel to the floor
0.2 HB031 Elbow hang
 Only one elbowin contact with hoop
0.3 HB020 “Four”
 Only legs in contact with hoop

 One leg extended upwards
 Head directed to the floor
0.3 HB005 Lizard

- Only legs in contact with hoop
- Head directed to the floor

0.4 HB006 Elbow Hang «Deer»
– Only elbow in contact with hoop
– Similar arm holding leg, knee fully extended
0.4 HB021 Split horizon

 Legs fully extended in split
 Body parallel to th floor
 Leg is between arms
0.4 HB007 Layng

-Legs and body in “pike” position
-Legs together and fully extended
-Only one arm in contact with hoop
0.4 HB022 Footseps hang in bend

 Back in bend
0.5 HB008 «Horizon» (legs bent)

0.5 HB009 «Reversed horizon» (legs bent)
- Legs in tuck position
0.6 HB023 Footsteps hang

 Only footsteps in contact with hoop
0.6 HB010 Hang «Three»

-Only ankles and hands in contact with hoop
0.7 HB024 Satellite

 Only footsteps and hands in contact
with hoop
0.7 HB011 Reversed laying

- Only one hand in contact with hoop
0.8 HB026 Superpain
 Only one footstep in contact with
hoop
0.8 HB014 «Horizon» («V»)

- Legs fully extended in V-position
- Legs and body parallel to the floor
0.8 HB015 «Reversed horizon» V-positiion

- Legsfuly extended in V-position
0.9 HB027 Hang «Crescent»

 Only ankles in contact with hoop
 Legs and arms flly extended
0.9 HB012 Reversed laying with leg in bilman

- Free arm hold leg behind head
HB012 Reversed laying with leg in biellman
HB029 Reversed laying with leg in extended
biellman
0.9 HB013 «Horizon» (one leg bent)
-Body and extended leg parallel to the floor
-One leg in bent
0.9 HB028 «Reversed horizon» (one leg bent)

- Body and straight leg parallel to the floor
- One leg bent
0.9 HB025 Hang on the back of the head

 Only back of the haed is in contact
with hoop
1.0 HB016 Transition from “Reversed laying” to

“Laying”
-Basic grip
-Free arm doesn’t help during transition
-Hold starting and final position for 2 seconds
each
1.0 HB029 Reversed laying with leg in extended

biellman
- Free arm is holding extended leg behind
head
HB012 Reversed laying with leg in biellman
HB029 Reversed laying with leg in extended
biellman
1.0 HB017 «Horizon»
- Joint legs fully extended
1.0 HB018 «Reversed horizon»

- Joint legs fully extended
1.0 HB030 Superpain in bilman

RFB  Only one footstep in contact with
hoop
 Both arms are holding free leg in
biellman
16.3 Group C– Balance elements

Requirement: All elements must be held in fixed position for 3 seconds. No contact with the floor.
is no 160° variation for the move. No tolerance to the moves with different levels of execution. A tolerance of
Оценка Элемент Код Требования
0.1 HC002 Shrimp

 Only hips, slegs and shoulders in
contact with hoop
 Legs are crossed
0.1 HC038 Parrot
 Only hips can be in contactwith hoop
0.1 HC001 Balance «Welcome»

- Hips in with hoop
- Shoulders higher than parallel to the floor
0.2 HC003 Balance “Angle”

- Only back and footsteps in contact with hoop
0.2 HC004 Ninja

0.3 HC005 Coin

- Only toes and back in contact with hoop
- Head directed to the floor
0.3 HC016 Shoulders handstand
 Shoulders, neck, arms and legs in

contact with hoop
 Legs fully extended in middle split
HC016 Shoulders handstand
HC021 Shoulders handstand (legs from one side)
0.3 HC006 Balance in bend

- Only low back in contact with hoop
- Back in bend
0.3 HC017 Pin

 Only one shoulder, neck, hands and
legs in contact with hoop
HC017 Pin
HC023 Pin in V-position
0.4 HC007 Sling

 Only shoulder and hands in contact
with hoop
 Hips and back not in contact with
lower arm
0.4 HC018 Hip balance 160°

 Opposite arm is holding leg behind
head
 Only hip in contact with hoop
HC018 Hip balance 160°
HC025 Hip balance (no hands) 180°
0.5 HC008 Rider

- Only back in contact with spanset
- Head directed upwards
0.5 HC019 Shoulders support (legs from different

sides)
 Legs fully extended in V-position from
different sides of hoop
 Only hands, shoulders and legs can
be in contact with hoop
HC019 Shoulders support (legs from different
sides)
HC026 Shoulders support (legs from one side)
0.5 HC020 Scorpion 160°

 Back leg bent and directed to the head
HC020 Scorpion 160°
HC024 Scorpion (locked) 180°
0.5 HC021 Shoulders handstand (legs from one side)
 Shoulders, neck and arms in contact

with hoop
 Legs fully extended in middle split
 Legs from one side of hoop
HC016 Shoulders handstand
HC021 Shoulders handstand (legs from one side)
0.6 HC022 Balance “Angle”

 Only arms, shoulders and neck can be
 Joint legs fully extended and parallel
to the floor
0.6 HC036 Bow
with hoop
 Back is in bend
0.7 HC037 Machinegun

with hoop
 Legs in split position
 Upper leg goes between arms behind
back
0.7 HC023 Pin in V-position

 Only one shoulder, neck and hands in
contact with hoop
HC017 Pin
HC023 Pin in V-position
0.7 HC024 Scorpion (locked) 180°

 Back leg I contact with head
HC020 Scorpion 160°
HC024 Scorpion (locked) 180°
0.7 HC010 Mermaid

- Only shoulder and hands in contact with
hoop
- Leg is in bend
- Hips not in contact with arms
0.7 HC011 Helicopter
- Legs fully extended in forward split
- Only shoulders and arms in contact with
hoop
- Hands not in contact with hoop
HC011 Helicopter
HC012 Super helicopter 180°
0.7 HC025 Hip balance (no hands) 180°

 Arms not in contact with legs
 Only hip in contact with hoop
HC018 Hip balance 160°
HC025 Hip balance (no hands) 180°
0.7 HC034 Crossbow

RFB  Ankle and chest in contact with hoop
 Both hands are holding leg
HC034 Crossbow
HC035 Crossbow extended
0.8 HC012 Super helicopter 180

RFB - Opening of legs 180 or more
- Only shoulders in contact with hoop
- Hands not in contact with hoop
HC011 Helicopter
HC012 Super helicopter 180°
0.8 HC026 Shoulders support (legs from one side)
 Legs fully extended in V-position from
one side of hoop
 Only hands and shoulders can be in
contact with hoop
HC019 Shoulders support (legs from different
sides)
HC026 Shoulders support (legs from one side)
0.8 HC014 Bat
 Only ankles in contact with hoop

 Arms not in contact with leg
HC014 Bat
HC029 One leg bat
0.9 HC027 V-Crocodile

RFB
HC027 V-crocodile
HC030 Crocodile legs joint
0.9 HC029 One leg bat
 Only one ankle in contact with hoop

 Arms not in contact with leg
HC014 Bat
HC029 One leg bat
0.9 HC035 Crossbow extended

RFB  Ankle and chest in contact with hoop
 Both hands are holding leg behind
head
HC034 Crossbow
HC035 Crossbow extended
0.9 HC009 Venson Split with support
 Legs fully extended in split position

Levels of execution
HС009 Venson Split wih support
HС013 Venson Split
1.0 HC028 Crab
 Only hands in ontact with hoop

 Legs fully extended behind shoulders
1.0 HC015 Bilman Balance 180°

 Forward split
head
1.0 HC030 Crocodile legs joint

RFB
 Bodyand legs parallel to the floor
 Legs and body in pencil position
HC027 V-crocodile
HC030 Crocodile legs joint
1.0 HC031 Bat in biellman

RFB
 Only one ankle in contact with hoop
 Both hands are holding free leg in
biellman
1.0 HС033 Bokhan Stretching
1.0 HС032 Barabanova Brilliant

RFB • Only ankle in contact with hoop
• Arms are holding leg behind head
1.0 HС013 Venson Split
 Legs fully extended in split position

 Only hands in contact with hoop
Levels of execution
HС009 Venson Split wih support
HС013 Venson Split
16.4 Group D – Dynamic elements
Note: All dynamic elements must show a clear aerial phase and dynamism.
Value Element Minimum requirements
0.1 HD016 Knee drop

 Starting position: Hang in middle split
 Final position: knee hang
 Arms not in contact with hoop
0.2 HD001 Turnover forward

- One leg bent
- Two turnovers or more
- Rotation forward
- Starting and final position head direted upwards
0.3 HD018 Clock forward

 Starting and final position head direted
upwards
 Two turnovers or more
 Rotation forward
0.3 HD002 Turnover backwards

- One leg bent
- Rotation backwards
- Starting and final position head direted upwards
0.4 HD019 Clock backwards
 Starting and final position head direted
upwards
 Two turnovers or more
 Rotation backwards
0.4 HD003 Drop from upper to lower perch

- Starting position “Pencil”
- Basic grip
0.4 HD006 Turnover forward in pike position

- Starting position: “Pencil”, elbows extended
- Turnover forward through pike position
0.5 HD004 Drop from upper to lower perch V-

position
- Legs extended in V-position
-Starting and final position: legs parallel to the floor
or higher
0.5 HD005 Turnover forward drop, legs in V-position

- Starting and final position: legs and arms fully
extended
- Turnover forward
- Legs in V-position
- No contact with the flor
0.6 HD007 Turnover forward in pike position with no
hands
- Starting position: “Pencil”, elbows extended
- Turnover backwards through pike position
- Arms not in contact with hoop during rotation
0.6 HD017 Barabanova Drop

 Starting position: knee hang in upper perch
 Throwing out forward
 Final position: one leg is holding hoop
behind head
0.7 HD008 Turnover on hips

- Starting position: “Pencil”, hips in contact with hoop
- Tuck position during rotation
0.7 HD009 Rotation (Spin) «Queen»

- Starting position: back, elbow and leg in contact
with hoop
- Two or more turnovers
0.7 HD010 Backwards flip from lower perch

- Starting position: knee hang
- Arms not in contact with hoop
- Flip backwards
- Arms not in contact with floor when landing
0.7 HD020 Sea regrip
 Starting position: joint legs parallel to
the floor, fully extended and between
arms
 Final position: hips higher than the
level of shoulders, legs in V-position
0.8 HD011 Elbows turnover

- Starting position: back and elbows in contact with
hoop, legs fully extended upwards
- Two or more turnovers
0.8 HD012 Backwards flip from lower perch in angle

position
- Starting position: knee hang
- Arms not in contact with hoop
- Flip backwards in angle position
- Arms not in contact with floor when landing
0.8 HD013 Armpit drop

- Starting position: elbows hang on upper perch
- Drop to lower perch
- Final position: armpit hang
0.9 HD014 Drop from the back of the footsteps hang

to the knee hang
 Starting position: back of he footsteps
hang
 Drop to the lower perch of the hoop
 Arms not in contact with hoop
 Final position: knee hang
1.0 HD015 Back flip with half of twist
 Starting position: knee hang
 Back flip with half of twist
 Final position: extended arms hang
1.0 HD022 Back flip in elbows

 Starting position: sitting on the hoop,
arms not in contact with hoop
 Back flip
 Final position: elbow hang
17.1 Group E – Rotation (Spin)
Athlete can choose any element from groups A (flexibility elements) or B (Strength elements) and declare it
as rotation (Spin). The code of the element must be changed from HA001 to HA001/E, from HB001 to
HB001/E or HC001 to HC001/E.
A. Element must fill the original requirements described on the elements table
B. Rotation minimum 720° on fixed position
Note: Elements from D group cannot be used here

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POLE SPORT & ARTS WORLD FEDERATION

CODE OF POINTS 2020

AERIAL HOOP & SILK

The Code of Points is the property of the POSA.

POSA ─ Pole Sport & Aerial CODE OF POINTS 2 VERSION 2020

President Davide Lacagnina ITA

1st Vice President Tamas Katus HUN

2nd Vice President Mariana Eichelbaum FRA

Head of Technical Committee Olga Maresova CZE

Member of Technical Committee Vanessa Costa BRA

Member of Technical Committee Alessandra Marchetti ITA

Member of Technical Committee Natalia Guseva RUS

Member of Technical Committee Sara Henriques POR

Member of Technical Committee Raquel Narciso POR

Anti-Doping Jyrki Rantanen/ World Heavy Events FIN

Original illustrations Manuela Badessi, Angelica Porrari & ITA- SWE

Editing Davide Lacagnina/ Cosma Rizzi ITA

Aerial Veronika Pavlova, Darina Lyushenko RUS

– all new elements and variations with a number and illustration

POSA ─ Pole Sport & Aerial CODE OF POINTS 3 VERSION 2020

POSA ─ Pole Sport & Aerial CODE OF POINTS 4 VERSION 2020

 General purpose .................................................................................................................................. 10

 Updates to the Code of Points ............................................................................................................. 10

2.1.1 Submitting new elements ......................................................................................................... 10

3.1.1 Composition of a competition routine ...................................................................................... 11

 Level of regionality ............................................................................................................................... 11

 Competition season ............................................................................................................................. 11

3.1.2 Safety in the Junior categories ................................................................................................ 12

3.1.3 Official divisions ....................................................................................................................... 13

4 Regulations for competitions ................................................................................................................... 14

 Work Plan ............................................................................................................................................ 14

4.1.1 Local Organizing Committee (LOC)......................................................................................... 14

 Competition schedule .......................................................................................................................... 14

4.1.2 Starting order ........................................................................................................................... 14

4.1.3 Fail to appear on stage on time ............................................................................................... 14

4.1.4 Extraordinary circumstances ................................................................................................... 15

4.1.5 Recovery period between routines .......................................................................................... 15

4.1.6 Results ..................................................................................................................................... 15

4.1.7 Cancellation ............................................................................................................................. 15

4.1.8 Final rehearsal ......................................................................................................................... 16

4.1.9 Dressing rooms ........................................................................................................................ 16

4.1.10 Warm Up area.......................................................................................................................... 16

4.1.11 Waiting area ............................................................................................................................. 16

POSA ─ Pole Sport & Aerial CODE OF POINTS 5 VERSION 2020

5 Regulations for athletes ........................................................................................................................... 17

 Responsibilities of the athlete .............................................................................................................. 17

 Dress code ........................................................................................................................................... 18

5.1.1 National tracksuit ..................................................................................................................... 18

5.1.2 Competition attire ..................................................................................................................... 18

 Athletes oath ........................................................................................................................................ 20

6 Regulations for coaches .......................................................................................................................... 20

 Responsibilities for the coaches .......................................................................................................... 20

7 Regulations for national delegations ....................................................................................................... 21

 Responsibilites for national delegations .............................................................................................. 21

8 Determination of score ............................................................................................................................. 21

 Judging panel ...................................................................................................................................... 21

8.1.1 Artistic Judges (A-J) ................................................................................................................. 21

8.1.2 Execution Judges (E-J) ............................................................................................................ 21

8.1.3 Difficulty Judges (D-J) .............................................................................................................. 21