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Elements and Performance Criteria

  1. Excel at a physical conditioning program
  2. Execute a professional level of artistry and presentation
  3. Demonstrate advanced partnering techniques
  4. Execute complex ballet repertoire
  5. Develop professional practice

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 plan practice time

selfmanagement skills to

arrive punctually at classes and rehearsals

dress appropriately

observe dance discipline and follow direction

apply safe dance practices and identify risk factors

demonstrate professional work ethic

teamwork skills to work collaboratively with others involved in dance classes and performances

technical dance skills to

execute high level of competency in each section of class work

employ physical control throughout performances including pas de deux

respond to different time signatures

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 in group movements 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

articulate a comprehensive knowledge of the philosophical nature of the discipline

show a consistent level of commitment

Required knowledge

welldeveloped knowledge of each section of dance work including

stretching

barre

centre practice

adage

pirouettes

allegro

batterie

grand allegro

cool down

principles underlying dance movements and techniques such as

relationship with gravity

spatial awareness

successional movement

use of breath

folding

extending

rotating

shifting weight

anatomical foundations including

articulation of the spine

engagement 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

stage geography and directions

musical rhythms including

time signatures

beat

tempo

syncopation

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 physical and conceptual understanding of the fundamental technical principles in classical ballet

demonstrate through the execution of sequences fundamental dance skills including

alignment and extensions in combinations of a high level of difficulty

reproduction of complex movement sequences on both sides of the body

facility and speed in directional changes

a high level of spatial awareness in group movements

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

develop professional practice

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 classical ballet technique and repertoire

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 performance skills to a professional level

CUADAN604A Extend ballet performance skills to a professional level

CUADANA Perform pas de deux at a professional level

CUADAN605A Perform pas de deux at 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.

Ballet techniquemay include:

embodiment of the principles of alignment in combinations of increasing difficulty

controlled balances in a wide range of positions:

ouvert

croisé

á la seconde

effacé

ecarté

multiple turns in open and closed positions of increased difficulty

self-correction and concentrated response to feedback

high levels of ongoing strength, flexibility, coordination and cardiovascular endurance

spatial awareness in relation to self and others with a greater depth and range.

Section of class work may include:

stretching

barre:

complex footwork in transition to and from pirouettes and balances

coordination of épaulement throughout the barre

advanced adages

turns in open positions

sustained balances in open and closed positions

battement tendu jeté in all directions with and without plié in ¼ counts

battement tendu jeté in all directions with ⅛ and ¼ turns in ½ counts (3 in a series)

battement tendu for batterie in 1 count

battement piqué en rond in ½ counts

rond de jambe par terre with ½ turns in 1 count

rond de jambe par terre combined with soutenu en tournant in 1 count

battement fondu in all directions to 90 degrees in 1 count

battement fondu with tombé en tournant in 2 counts

battement fondu with fouetté in 1 count

double battement fondu in all directions at 45 degrees in 1 count

½ tours in all open positions at 45 and 90 degrees in 1 count

single and double battement frappé in all directions in ½ counts

single and double battement frappé in all directions with ¼ and ½ turns in 1 count

petit battement serré sur le cou-de-pied en fondu

battement battu serré devant and derrière

grand temps relevé en tournant to the grand poses

flic flac en tournant to the grand poses

développé in all directions preceded by a single pirouette

développé passé in all directions in 1 count

développé passé en tournant in all directions

développé ballotté in all directions in 2 counts

développé balancé in all directions in 2 counts

grand fouetté in 1 count

grand rond de jambe in 2 counts

passé par terre en tournant at 90 degrees

grand battement jeté balançoire in 1 count

grand battement jeté développé and enveloppé in all directions in 1 count

grand battement jeté piqué with demi-rond in 1 count

grand battement jeté with grand fouetté in 1 count

single pirouettes finished in the grand poses

double pirouettes sur le cou-de-pied and retiré (also finished in the small and grand poses)

single tours piqué en dehors and single tours jeté en dedans

battement tendu jeté on the demi-pointe in all directions in ½ counts

grand rond de jambe jeté with relevé in 1 count

battement fondu in all directions to 45 or 90 degrees with ¼ turns and ½ turns

battement frappé to à la seconde only in ¼ counts

triple frappés in all forms as double frappé

temps relevé en tournant with a double turn at the discretion of the teacher

temps relevé en tournant in the grand poses

arabesque penchée and en arrière on the demi-pointe

développé in all directions preceded by a double pirouette

développé d’ici-delà on the demi-pointe

grand battement jeté with full rond en dehors and en dedans to 90 degrees in 2 counts

double pirouettes finished in the grand poses

double pirouettes sur le cou-de-pied and retiré from grand plié

up to 32 in series

centre practice:

rond de jambe par terre with ½ turns in 1 count

single and double battement frappé in all directions with ⅛ turns in 1 count

flic flac en tournant finishing demi-pointe

arabesque penchée in 4th arabesque

développé passé in 1 count

développé en tournant to effacé devant

grand fouetté with ½ and ¾ turns in 1 count

grand fouetté écarté in 2 counts

grand rond de jambe in 2 counts

double pirouettes into double tour passé

double grandes pirouettes

single and double grandes pirouettes finished with a fouetté

consecutive grandes pirouettes with plié-relevé (up to 16 in a series)

grande pirouette sautillée in all the grand poses (up to 16 counts)

gouetté rond de jambe en dehors (up to 16 in series)

grand battement jeté in all forms as at the barre for this level excluding grand battement jeté balançoire

temps lié en tournant en l’air from grand plié in 8 counts

grand plié with double pirouettes (also finished in the grand poses)

grand plié with single grandes pirouettes

grand fouetté écarté in 2 counts (16 in a series)

demi rond de jambe on the demi-pointe

battements divisés en quatre in all directions and alignments with a ½ turns

triple pirouettes en dehors and en dedans

pirouettes en dehors and en dedans finished in all open positions on the demi-pointe

fouetté rond de jambe en dehors

adage:

difficult balances in closed and open positions

high level of basic port de bras

further extension in the 'line' of the body through épaulement

pirouettes:

multiple turns to open positions

sustained endings in most open positions

double turn diagonally and around the room sequences

sustained fouettés (women)

sustained pirouettes à la seconde (men)

allegro and batterie:

extended sequences of jumps with musicality and 'presence' demonstrating correct épaulement

all types of jumps with equal ease

execution of multiple beats

pas assemblé with ½ turns

assemblé battu with ½ turns

double assemblé battu

jeté battu with ½ turns

brisé volé (2 in a series, 1 = volé front and back)

pas ballonné en tournant

ballotté at 90 degrees

rond de jambe saute en tournant

double rond de jambe saute

sissonne collée

grand pas de chat

six de volé

grande sissonne ouverte en tournant

fouetté saute from de côté to de côté

grand fouetté effacé saute

grand jeté passé développé

grand jeté renversé

grand jeté en tournant to croisé or effacé

grande cabriole fermée and ouverte in all directions at 90 degrees

temps levé à la seconde with a ½ turn en dedans

renversé saute

pas ciseaux en avant and en arrière

jeté élancé en diagonale and en manège

revérence

temps de poisson

brisé volé (4 in a series, 1 = volé front and back)

double sissonne en tournant, also finished in open poses (male students only)

double sissonne tombée en tournant (male students only)

fouetté saute battu

grand fouetté saute with ½ and ¾ turns

grand fouetté saute battu (male students only)

grand jeté entrelacé with fouetté

grand jeté entrelacé battu

double tours en l’air to the knee (male students only)

double grand assemblé en tournant (male students only)

double saut de basque (male students only)

double demi-caractère saut de basque (male students only)

saut de biche

grand rond de jambe saute

grand allegro

cool down.

Performance attributes may 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.

Teaching methods may include:

Russian

French

Cecchetti

RAD.

Male-specific vocabulary may include:

pirouettes

batterie

grand allegro.

Pas de deuxmay include:

aesthetics of complementary partnering

professional variations involving pirouettes, balances, promenades and lifts

repertoire from the classics and contemporary ballets

ease in adapting technical requirements when changing partners

strengthening and stamina exercises for men.

Ballet styles and genres may include:

contemporary ballet

modern ballet

neoclassical

ballet-masquerade

ballet-melodramatique

romantic

imperial.

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.