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Elements and Performance Criteria

Required Skills

Required skills

communication skills to

work collaboratively as part of an ensemble and with independence as a soloist

respond appropriately to feedback on own skill development and performance

consult with peers and mentors including interpersonal skills relating to listening questioning gaining feedback and giving information

initiative and enterprise skills to

work creatively with music and dance

dance with artistry and assurance

communicate mood style and grace through dance

learning skills to

perfect classical ballet techniques through

practising complex movements and sequences

a positive attitude to dancing

excel at a personal physical conditioning program

planning and organising skills to

prepare for performances auditions and competitions

plan practice time

selfmanagement skills to demonstrate professional work ethic

technical dance skills to

execute high level of competency in each section of class work including technical requirements such as

transference of weight

placement and coordination of body parts

strength and stability

employ physical control throughout solo performances

maintain correct posture weight placement and alignment in fully rotated turnout position

retain and reproduce complex movement sequences

show alignment and extensions in combinations of a high level of difficulty

reproduce complex movement sequences on both sides of the body

show facility and speed in directional changes

demonstrate a high level of spatial awareness including floor patterns and aerial pathways

exhibit a high level and range of coordination of limbs torso and head

exhibit confidence in creating movement sequences

observe and interpret the physical body

show a consistent level of commitment

Required knowledge

advanced technique as it applies to each section of dance work including

centre practice

principles underlying dance movements and advanced techniques including

spatial awareness

successional movement

control of movement

muscular strength and flexibility

transference of weight

anatomical foundations including

articulation of the spine

articulation of the feet

bases of support including feet legs hands arms and torso

range of motion of the joints

differentiation of the legs and pelvis

risk factors in ballet for the physical body

ballet terminology

musical rhythms including

time signatures

history of ballet

principles of advanced classical ballet

Evidence Required

The evidence guide provides advice on assessment and must be read in conjunction with the performance criteria required skills and knowledge range statement and the Assessment Guidelines for the Training Package

Overview of assessment

Critical aspects for assessment and evidence required to demonstrate competency in this unit

Evidence of the ability to execute

advanced ballet techniques with precision and artistry

advanced enchanements with accuracy speed and clarity at a professional standard

personal presentation and artistry through the refinement of individual artistic qualities and expressive interpretation of ballet sequences

effective solo performances from selected repertoire at a professional level

Context of and specific resources for assessment

Assessment must ensure access to

fully equipped dance studios

appropriate music or accompanists

Method of assessment

A range of assessment methods should be used to assess practical skills and knowledge The following examples are appropriate for this unit

observation of practice and performance through full practical demonstration

verbal or written questioning to test knowledge as listed in the required skills and knowledge section of this unit

video recordings of performances or practice sessions

case studies and scenarios as a basis for discussing components of advanced classical ballet technique

Assessment methods should closely reflect workplace demands eg literacy and the needs of particular groups eg people with disabilities and people who may have literacy or numeracy difficulties such as speakers of languages other than English remote communities and those with interrupted schooling

Guidance information for assessment

Holistic assessment with other units relevant to the industry sector workplace and job role is recommended for example

CUADANA Extend ballet technique to a professional level

CUADAN603A Extend ballet technique to a professional level

CUADANA Extend ballet performance skills to a professional level

CUADAN604A Extend ballet performance skills to a professional level

CUADANA Extend pointe work techniques to a professional level

CUADAN606A Extend pointe work techniques to a professional level

CUAINDA Work professionally in the creative arts industry

CUAIND601A Work professionally in the creative arts industry.

Range Statement

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.

Risk factors may relate to:	consistency of a physical fitness regime own ambition expectations of others injury-prevention strategies gender issues body image and eating disorders insufficient hydration poor nutrition incorrectly fitting footwear gender-appropriate performance techniques.
Warm-up and cool-down may include:	stretching joint-mobility exercises flexibility exercises aerobic activities anaerobic exercises coordinated breathing activities floor work.
Section of class work may include:	stretching barre: passé par terre en tournant in demi-plié to the grand poses battement tendu jeté in all directions with ⅛ and ¼ turns in ½ counts (5 in a series) double battement fondu in all directions to 45 degrees in 1 count battement soutenu in all directions to 90 degrees in 1 count rond de jambe en l’air single in ¼ counts battement fondu in all directions with ½ turns in 1 count battement frappé in all directions to pointe tendu and 25 degrees in ¼ counts battement développé passé in all directions at 90 degrees with a full turn développé d’ici-delà en dehors and en dedans with a grand rond grand battement jeté piqué to 90 degrees with a full rond grandes pirouettes from grand plié tours passé with a double turn centre practice: temps lié en l’air to 90 degrees in the grand poses temps lié en l’air to 90 degrees proceeded by a single pirouette and with tours in the grand poses 2nd, 3rd and 4th Russian ports de bras executed in the grand poses grand plié with double grandes pirouettes rond de jambe en l’air with ⅛ turns rond de jambe en l’air with ¼ turns tours passé with a double turn grand fouetté relevé en dehors and en dedans grand rond de jambe on the demi-pointe grand fouetté effacé en face, en dehors and en dedans triple pirouettes from 5th position consecutive grandes pirouettes with plié-relevé with double turns tours piqué and tours jeté with double turns in a series fouetté rond de jambe en dehors (up to 32 in series, including double turns) allegro and batterie: bournonville brisé gargouillade grande sissonne relevée grand jeté fouetté six de volé temps levé saute à la seconde with a full turn en dedans brisé télémaque double rond de jambe saute envelope (male students only) grand fouetté saute with a full turn landing in attitude or arabesque double grand jeté passé en avant (male students only) grand jeté en tournant in a series en manège (male students only) double saute de basque to arabesque (male students only) cool down.
Performance attributesmay include:	strength, flexibility, coordination and cardiovascular endurance detailed musicality with attention to nuances of interpretation movement qualities to movement sequences strong sense of individuality and 'presence' in the execution of sequences sensibility in sequences of increasing difficulty alternative and structurally changing musical time signatures and phrasing for extended sequences different expressive qualities applied to movement sequences extensive and changing expressive qualities applied to movement sequences assured artistic interpretations of sequences and variations.
Footworkmay include:	sequences executed at the barre and in the centre multiple turns in adage and travelling configurations sequences specific to the professional female repertoire enchaînements that require the full range of movement executed on and off pointe in all directions of the dance.
Repertoire may include:	romantic classical modern ballet original choreography.
Physical learning and adaptability may include:	set exercises or sequences unseen exercises or sequences sequences from a range of techniques, such as: Royal Academy of Dance (RAD) Cecchetti Vaganova French Balanchine execution of extended sequences to right and left sides without prompting self-correction.
Male-specific vocabulary may include:	pirouettes batterie grand allegro.
Chosen solo may include:	Sleeping Beauty Act 3 Don Quixote Act 3 (Nureyev) La Fille Mal Gardée (combination of Act 2 and 3 pas de deux) Flower Festival of Genzano Sylvia Le Corsaire Flames of Paris Nutcracker Act 2 Coppelia Act 3 (Van Praagh) Blue Bird pas de deux: Sleeping Beauty Act 3 Peasant pas de deux: Giselle Act 1 new choreography.
Professional work ethicmay refer to:	attentive behaviour in creative practice awareness of: substance abuse addictive behaviours expectations of others eating disorders effective management of personal finances balanced diet energy levels and personal limitations stage and theatre etiquette developing strategies to: cope with performance anxiety maintain motivation effective personal hygiene habits, such as: clean and short nails clean and tied-up hair clean hands ongoing dedication to a physical conditioning exercise program maintaining concentration, focus and physical alertness in all performance activities maintaining costumes and other apparel maintaining a work-life balance punctuality and reliability working creatively with individual differences.
Extending scope of performance practice may include:	working effectively with tutor or coach participating in professional development and other learning opportunities undertaking training courses practising systemically participating in relevant groups or associations experimenting with own performance communicating with peers being involved in a range of relevant performance activities viewing and reviewing relevant performance events and activities.
Regimes and artistic strategies may include:	lectures seminars conferences symposiums master classes professional organisations practical workshops performance rehearsals individual training.