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Unit of competency details

CUADAN604A - Extend ballet performance skills to a professional level (Release 1)

Summary

Usage recommendation:
Superseded
Mapping:
MappingNotesDate
Is superseded by and equivalent to CUADAN604 - Extend ballet performance skills to a professional levelUpdated to meet Standards for Training Packages. Content of former elements 2-4 streamlined into a single element. 20/Nov/2013

Releases:
ReleaseRelease date
1 1 (this release) 06/Oct/2011

Classifications

SchemeCodeClassification value
ASCED Module/Unit of Competency Field of Education Identifier 100105 Dance  

Classification history

SchemeCodeClassification valueStart dateEnd date
ASCED Module/Unit of Competency Field of Education Identifier 100105 Dance  12/Apr/2012 
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Modification History

Version 

Comments 

CUADAN604A

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

Unit Descriptor

This unit describes the performance outcomes, skills and knowledge required to perform complex ballet technique demonstrating range, depth, precision and artistry across classical and contemporary repertoire at the professional level.

Application of the Unit

This unit applies to dancers who are moving towards professional careers in contexts where complex ballet technique and versatility are required for performing as members of a professional dance company as an ensemble or soloist dancer.

At this level, dancers are constantly refining their technique and perfecting their artistry across complex dance sequences and repertoire, including pas de deux repertoire and solo and group performances to convey the story and mood of the dance.

While some supervision and guidance are provided in practice sessions and rehearsals, dancers are expected to display a high level of motivation and sense of responsibility for themselves and others during practice sessions, rehearsals and live performances.

Licensing/Regulatory Information

No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.

Pre-Requisites

Not applicable.

Employability Skills Information

This unit contains employability skills.

Elements and Performance Criteria Pre-Content

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.

Elements and Performance Criteria

1. Excel at a physical conditioning program

1.1. Continuously meet physical conditioning requirements of professional dance work

1.2. Demonstrate ongoing stamina, strength, cardiovascular endurance and flexibility

1.3. Minimise risk factors  that inhibit the achievement of goals and seek professional assistance when required

1.4. Always perform warm-up and cool-down  activities in conjunction with dance activities

2. Execute a professional level of artistry and presentation

2.1. Refine extended  ballet technique  across each  section of class work 

2.2. Demonstrate complex performance attributes  and quality of movement in sequences of extended difficulty 

2.3. Show strength, precision and complexity in all aspects of footwork , including pointe work as required

2.4. Execute complex variations of  ballet repertoire  with accuracy and precision

2.5. Exhibit a professional level of physical learning and adaptability  to incorporate unseen combinations across different  teaching methods 

2.6. Demonstrate through ongoing technical strength, diversity and refinement, evidence of advanced self-correction and concentrated response to feedback

2.7. Demonstrate muscularity, strength and stamina in male-specific vocabulary  as required

3. Demonstrate advanced partnering techniques

3.1. Demonstrate advanced ability to cooperate and show consideration for partner

3.2. Consistently show timing and weight centring in accomplishing adage, pirouettes, promenades and lifts

3.3. Perform complex lifts and counterbalances with grace, balance and control

3.4. Apply the flexibility, sense of line and clear positions essential to the form

3.5. Emulate the style and intention of pas de deux  repertoire through partnering techniques

4. Execute complex ballet repertoire

4.1. Execute variations and repertoire of complexity with a high level of technical accuracy

4.2. Convey a high level of spatial awareness appropriate to solo and group work

4.3. Execute group work with a professional sense of cohesion and solo work with a professional sense of musical individuality

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

5. Perform at a professional level

5.1. Undertake preparations  appropriate to performance contexts 

5.2. Ensure that personal presentation  is appropriate to performance contexts

5.3. Apply performance psychology techniques  to preparations

5.4. Rehearse performances repeatedly until perfected

5.5. Sustain focus and concentration to produce performances that show artistry, rhythm and musicality and convey the story and mood of the dance

5.6. Convey choreographic intent of dances through confident and precise execution of ballet dance techniques

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

6. Develop professional practice

6.1. Develop and refine professional work ethic 

6.2. Develop realistic parameters as a basis for extending scope of performance practice 

6.3. Identify regimes and artistic strategies  that will refine own performance technique

Required Skills and Knowledge

This section describes the skills and knowledge required for this unit.

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
  • self-management skills to:
  • arrive punctually at classes, rehearsals and performances
  • 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 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
  • 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 

  • well-developed 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, including:
  • 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 Guide

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, repertoire and performance skills.

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:

  • CUADAN603A Extend ballet technique to a professional level
  • CUADAN605A Perform pas de deux at a professional level
  • 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 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:

  • 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.

Footwork  may 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 deux  may 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.

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 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  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.

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.

Unit Sector(s)

Performing arts - dance

Custom Content Section

Not applicable.