Unit of competency details

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CUADAN504A

This version first released with CUA11 Live Performance Training Package version 1.0

Element 

Performance Criteria 

Elements describe the essential outcomes of a unit of competency.

Performance criteria describe the performance needed to demonstrate achievement of the element. Where bold italicised text is used, further information is detailed in the required skills and knowledge section and the range statement. Assessment of performance is to be consistent with the evidence guide.

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  ballet repertoire  with accuracy

2.5. Exhibit physical learning and adaptability  to incorporate unseen combinations with speed and verve across different  teaching methods 

3. Practise a solo from the defined classical ballet repertoire

3.1. Analyse the context of the chosen solo  piece

3.2. Display variations and repertoire of complexity and technical articulation

3.3. Convey a high level of spatial awareness appropriate to solo work

3.4. Accomplish solo work with a developing sense of musical individuality and expression

3.5. Present variations and repertoire with a high level of artistry and assurance across  ballet styles and genres 

3.6. Reveal increasing levels of muscularity, strength and stamina across the ballet vocabulary (male only)

3.7. Exhibit accomplishments in male-specific vocabulary  pirouettes, batterie and grand allegro as required

4. Apply technique in performances

4.1. Undertake preparations  appropriate to performance contexts 

4.2. Ensure that personal presentation  is appropriate to performance contexts

4.3. Prepare for competitions and auditions as required

4.4. Apply performance psychology techniques  to preparations

4.5. Rehearse solo dance sequences to be performed

4.6. Sustain focus and concentration to produce solo performances that show well-developed understanding of, and sensitivity to, rhythm and musicality

4.7. Convey choreographic intent of dance through expression and precise execution of ballet dance techniques

4.8. Contribute to debriefing sessions to evaluate the quality of performances and to discuss ways of improving individual technique

5. Maintain expertise

5.1. Apply professional work ethic  to all practice and performance activities

5.2. Incorporate injury-prevention techniques  into all dance and movement activities

5.3. Use feedback from teachers and mentors to identify and develop ways to improve own ballet dance technique as well as group work

5.4. Regularly view performances by industry practitioners as a way of sourcing new ideas and trends, maintaining motivation, and improving own technique

Overview of assessment 

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

Evidence of the ability to:

• analyse, describe and perform a solo piece
• demonstrate technical requirements of solo pieces, such as:

• transference of weight
• placement and coordination of body parts
• muscular strength and flexibility
• appropriate posture, balance and rotation
• control of movement
• classical line
• quality and breadth of movement
• individual artistic qualities and personalities
• combinations of spatial organisations with pirouettes, balances and jumps of increasing difficulty and dynamic continuity

• prepare mentally and physically for solo performances, including a demonstrated commitment to dance and professional work ethic
• apply correct ballet dance terminology to solo work.

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 especially those particularly develop for solo performances.

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
• CUADAN502A Refine ballet performance skills
• CUAOHS501A Maintain a high level of fitness for performance
• CUAPRF503A Prepare for and perform in a competitive environment.

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  may 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 é paulement 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  may include:

• 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  may include:

• 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.

Chosen solo  may include:

• female:

• La Bayadere:

• Kingdom of the Shades, 1st, 2nd and 3rd Shade
• Gamzetti’s Act 2 variation

• Cinderella:

• Summer Fairy Act 1
• Winter Fairy Act 1

• Le Corsaire (from the pas de deux)
• Don Quixote (Bridesmaids Act 3)
• The Nutcracker (Sugar Plum Fairy Act 2)
• Raymonda:

• Act 1 pizzicato
• Dream
• first friend’s dream
• Raymonda’s Act 2 variation
• first friend’s variation Act 2

• Paquita
• The Sleeping Beauty:

• Aurora Act 1 and 3
• Lilac Fairy Prologue

• male:

• La Bayadere (Solor Act 2)
• Coppelia (Franz Act 3)
• Le Corsaire (from pas de deux)
• Flower Festival at Genzano
• Giselle:

• Albrecht Act 2
• 1st and 2nd (Peasant Act 1)

• The Sleeping Beauty (Desire Act 3)
• Swan Lake:

• pas de trois Act 1
• Siegfried Act 3.

Ballet styles and genres  may include:

• contemporary ballet
• modern ballet
• neoclassical
• ballet-masquerade
• ballet-melodramatique
• romantic
• imperial.

Male-specific vocabulary  may include:

• pirouettes
• batterie
• grand allegro.

Preparations  may include:

• 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 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:

• pre-professional production
• solo
• audition
• competition.

Personal presentation  may include:

• costumes
• accessories
• make-up
• hair
• posture
• way of moving.

Performance psychology techniques  may include:

• visualisations
• affirmations
• relaxation techniques
• mental rehearsal
• maintaining a work-life balance.

Professional work ethic  may 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.

Injury-prevention techniques  may include: 

• 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.