Dancers who apply improvisational techniques to an advanced dance sequence use the skills and knowledge outlined in this unit. They could be performing improvised sequences in dance classes, auditions and rehearsals, or in live performances.
At this level improvisations would be relatively complex in nature and could be applied to a variety of dance styles, such as tap, jazz, contemporary, street and cultural forms of dance.
Work is usually undertaken under supervision, though some autonomy and judgement can be expected given the nature of improvisation.
Not applicable.
1. Refine knowledge of improvisational techniques used in dance | 1.1. Identify concepts involved in complex improvised dance performances 1.2. Evaluate the artistic, creative and technical procedures of improvised works within various dance styles 1.3. Confirm requirements for an improvised performance brief |
2. Prepare the body for dance | 2.1. Perform warm-up and cool-down activities 2.2. Adhere to injury-prevention techniques 2.3. Apply good judgement to prevent common health concerns for dancers |
3. Develop complex improvisational skills using a variety of stimuli | 3.1. Identify typical movement and travel associated with various stimuli 3.2. Explore and communicate natural physical and emotional response (authentic movement) with various stimuli applying advanced dance technique 3.3. Select a dance style appropriate to the given stimuli 3.4. Introduce a repeated motif created during improvisation that reflects given stimuli 3.5. Demonstrate an expressive interpretation of the stimuli through dance |
4. Rehearse and perform improvised sequence | 4.1. Set movement boundaries for individual improvisational pieces within a set timeframe displaying appropriate level of dance technique 4.2. Introduce movement dynamics and partner work 4.3. Vary performance environment 4.4. Rehearse and perform improvised sequence with a complex dance sequence 4.5. Organise performance to be recorded for evaluation purposes 4.6. Evaluate improvised work related to choreographic potential and gain feedback from relevant personnel 4.7. Apply feedback to future performances |
Required skills
communication and teamwork skills to:
work collaboratively with others in an improvisational environment
communicate mood and emotion of various stimuli through dance
receive constructive feedback and apply it to future work
initiative, creativity and problem-solving skills to:
create improvisation using various stimuli
interpret and respond to stimuli, such as music, words, text or silent space
apply appropriate styles or interpretations
work creatively with others
follow through with own individual style or idea
planning and organising skills to collect information about various styles of dance and improvisation
self-management and learning skills to:
plan own practice time
evaluate and seek feedback for improvisations
provide feedback to others
improve performance through experimentation and practice
apply health and safety techniques to dance
respond appropriately to pressures of performance
technical skills to:
perform appropriate stretches, exercises and breathing techniques to warm up and cool down the body
display varying responses to movement boundaries
use a range of improvisational techniques using complex stimuli
display appropriate emotions through movement, facial expressions and dance.
Required knowledge
characteristics of chosen dance styles and techniques for improvisation within those styles
techniques for expression through dance
vocabulary relevant to chosen dance styles
issues and challenges that arise in the context of developing improvisational skills
own individual interpretation in response to movement boundaries
OHS practices, procedures and standards as they apply to working with recorded music, lighting and staging.
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: perform an improvised sequence within a complex dance sequence adhere to movement boundaries established for the improvisation incorporate movement dynamics and partner work into performances. |
Context of and specific resources for assessment | Assessment must ensure access to: relevant stimuli equipment to ensure safety. |
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 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 issues in performance of improvisation portfolios or other documentation that demonstrate the reflective processes used in improvisation. Assessment methods should closely reflect workplace demands (e.g. literacy) and the needs of particular groups (e.g. 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: CUADAN303A Develop dance partnering techniques CUADAN407A Develop expertise in dance performance skills CUAPRF404A Refine movement skills for performance. |
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.
Concepts | using imagination interpreting and responding to stimuli, such as music, words or text following through with own individual style or idea allowing one’s own movement to flow uninterrupted recreating certain style, genre or era listening effectively to identify and incorporate various rhythms interpreting stimuli appropriately for improvisation using aural and other stimuli to develop themes in movement and performance. |
Dance styles may include: | ballet jazz tap street modern contemporary cultural social. |
Requirements may include: | dance style equipment, such as: mirrors sprung floors music facilities barre stimuli music silence length of piece. |
Warm-up activities | deepening stretches joint-mobility exercises flexibility exercises aerobic activities coordinated breathing activities. |
Cool-down activities | floor work stretching. |
Injury-prevention techniques | warming up and cooling down before and after class and performance wearing appropriate clothing, such as form fitting clothing that allows full range of movement footwear appropriate to the style applying intent and focus while dancing not overstretching wearing appropriate bandaging and bracing where appropriate to support body appropriate diet and rest using appropriate equipment, such as barre, mirror and sprung floors attention to teacher. |
Common health concerns | lack of rest poor diet lack of understanding of basic anatomy and physiology of dance lack of warming up and cooling down properly overstraining the muscles dehydration. |
Stimuli | music, such as: any type of musical style, like jazz, hip-hop and world vocal instrumental percussion, such as: drums hands feet stamps percussion instruments word motivation, such as: wobble, twitch, freeze vault, twirl, collapse pause, swell, jerk vibrate, bound, creep technical equipment, such as: lighting audiovisual fog machines scaffolding other props, objects and materials, such as: fabric instruments puppets or dolls piece of clothing ladder or chair boxes flowers footwear hat lipstick silent space various texts, such as: poetry newspaper articles lyrics advertisements. |
Motif | a rhythm an expression a body part a statue a movement patter. |
Movement boundaries | limited or extended space incorporating props movement limited to specific body parts musical restrictions with added vocal improvisation limited timeframe addition of other improvising bodies (vary number) addition of other improvising bodies incorporating contact use of multiple props. |
Movement dynamics | speed of movement rhythm variations tension quality. |
Performance environment | internal, such as: dance studio theatre house pavilion sports stadium external, such as: beach bush cemetery gardens church. |
Ways to | looking at the: emotional response composition balance appropriate level of dance technique other movement boundaries limitations working with other improvising dancers in the performance space choreography and its potential for further development. |
Relevant personnel | teacher director producer choreographer agent. |
Performing arts - dance
This unit contains employability skills.
No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.