This unit applies to those who are consolidating their career in contexts where complex ballet technique is required across commercial or competition settings. Dancers are usually performing as members of an ensemble, but some solo work can also be expected.
At this level, dancers are challenging themselves with dance pieces, variations and repertoire of increasing technical and physical complexity. While some supervision and guidance are provided in practice sessions and rehearsals, dancers are expected to be self-directed and display a high level of motivation and sense of responsibility for themselves and others.
Not applicable.
1. Maintain a physical conditioning program | 1.1. Set realistic physical conditioning goals aimed at improving own dance technique 1.2. Apply a range of techniques to improve stamina, strength and flexibility 1.3. Identify risk factors that may inhibit the achievement of goals and seek professional advice as required 1.4. Take fatigue, personal limitations and boundaries into account when undertaking physical conditioning program 1.5. Always perform warm-up and cool-down activities in conjunction with dance activities |
2. Practise ballet technique of increasing difficulty | 2.1. Apply increasingly difficult ballet technique across each section of class work 2.2. Develop increasingly complex performance attributes 2.3. Show developed strength and complexity in footwork, including pointe work as required 2.4. Execute complex variations of 2.5. Exhibit physical learning and adaptability 2.6. Reveal increasing levels of strength and stamina in male-specific vocabulary |
3. Develop partnering technique for pas de deux | 3.1. Show cooperation and consideration for partner 3.2. Develop appreciation of timing and weight centring in accomplishing adage, pirouettes, promenades and lifts 3.3. Exhibit rapport and eye contact with partner 3.4. Execute lifts and counterbalances with surety and understanding 3.5. Perform in a partnership that demonstrates strong technique, balance and control 3.6. Apply the flexibility, sense of line and clear positions essential to the form |
4. Present variations and repertoire of a high level of difficulty | 4.1. Display variations and repertoire of increased difficulty and technical articulation 4.2. Convey a high level of spatial awareness appropriate to solo and group work 4.3. Execute group work with a high sense of cohesion 4.4. Accomplish solo work with a developing sense of musical individuality 4.5. Present variations and repertoire with a high level of artistry and assurance across |
5. Apply technique in performances | 5.1. Undertake preparations appropriate to performance contexts 5.2. Ensure that personal presentation is appropriate to performance contexts 5.3. Prepare for competitions and auditions as required 5.4. Apply performance psychology techniques to preparations 5.5. Rehearse dance sequences to be performed 5.6. Sustain focus and concentration to produce performances that show well-developed understanding of, and sensitivity to, rhythm and musicality 5.7. Convey choreographic intent of dances through confident and precise execution of ballet dance techniques 5.8. Contribute to debriefing sessions to evaluate the quality of performances and to discuss ways of improving individual or ensemble technique |
6. Maintain expertise | 6.1. Apply professional work ethic to all practice and performance activities 6.2. Incorporate injury-prevention techniques into all dance and movement activities 6.3. Use feedback from teachers and mentors to identify and develop ways to improve own ballet dance technique as well as group work 6.4. Regularly view performances by industry practitioners as a way of sourcing new ideas and trends, maintaining motivation, and improving own technique |
Required skills
communication skills to:
work collaboratively as part of an ensemble
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:
develop strong ballet techniques through:
practising complex movements and sequences
a positive attitude to dancing
develop and implement a personal physical conditioning program
planning and organising skills to:
prepare for performances, auditions and competitions
plan practice time
self-management skills to:
observe dance discipline and follow direction
apply safe dance practices and identify risk factors common to dancers
demonstrate professional work ethic
teamwork skills to work collaboratively with others involved in dance classes and performances
technical dance skills to:
execute a 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 turn-out 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
develop 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
articulate a comprehensive knowledge of the philosophical nature of the discipline
show a consistent level of commitment.
Required knowledge
well-developed knowledge of each section of dance work, such as:
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 body
ballet terminology
stage geography and directions
musical rhythms, including:
time signatures
beat
tempo
syncopation
ways to prepare for auditions and competitions, including performance psychology techniques
main periods in the history of ballet
principles of classical ballet.
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 complex combinations of classical ballet technique consistently over time, including pas de deux using: muscular strength and flexibility control of movement classical line quality and breadth of movement individual artistic qualities and personalities more complex enchaînements analysis of pointe work technique combinations of spatial organisations with pirouettes, balances and jumps of increasing difficulty and dynamic continuity prepare mentally and physically for semi-professional performances, including a demonstrated commitment to dance and professional work ethic use correct dance terminology. |
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 (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: CUADAN501A Refine ballet technique CUADAN503A Perform repertoire for corps de ballet CUADAN509A Refine pointe work techniques CUAOHS501A Maintain a high level of fitness for performance CUAPRF503A Prepare for and perform in a competitive environment. |
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 technique | 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 saute de basque (male students only) double demi-caractère saute de basque (male students only) saute de biche grand rond de jambe saute grand allegro cool down. |
Performance attributes | 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 musical time signatures and phrasing as the structural basis of the exercises different expressive qualities applied to movement sequences reliance on individual interpretation inclusion of repertoire in class work. |
Footwork | greater assurance in completing multiple turns on pointe sequences that demonstrate a developed capacity to transfer weight in all pathway directions enchaînements with style and confidence. |
Repertoire may include: | romantic classical modern ballet original choreography. |
Physical learning and adaptability may include: | set exercises and sequences unseen exercises and 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. |
Teaching methods may include: | Russian French Cecchetti RAD. |
Male-specific vocabulary may include: | pirouettes batterie grand allegro. |
Ballet style or genre may include: | contemporary ballet modern ballet neoclassical ballet-masquerade ballet-melodramatique romantic imperial. |
Preparations | familiarisation with performance environment (space, location, size) and audience preparation of space to ensure safety of self and others mental preparation immediate physical preparation rehearsal appropriate to audience awareness of time lines leading up to and immediately before performance props costumes or clothing make-up equipment appropriate footwear scores sheet music tapes competitions and auditions: rules judging criteria, including: general appearance costumes technique execution showmanship entertainment value (the ‘x’ factor) level of difficulty originality and creativity choreography synchronisation versatility. |
Performance contexts may include: | professional production solo ensemble corps de ballet audition competition. |
Personal presentation | costumes accessories make-up hair posture way of moving. |
Performance psychology techniques | visualisations affirmations relaxation techniques mental rehearsal maintaining a work-life balance. |
Professional work ethic | 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-lifework-life balance punctuality and reliability working creatively with individual differences. |
Injury-prevention techniques | warming up and cooling down before and after class and performance wearing appropriate clothing and footwear 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. |
Performing arts - dance
This unit contains employability skills.
No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.