Google Links

Follow the links below to find material targeted to the unit's elements, performance criteria, required skills and knowledge

Elements and Performance Criteria

Required Skills

Required skills

communication skills to

work collaboratively as part of partnership

demonstrate cooperation consideration and develop rapport with partner

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 and pas de deux techniques through

practising complex movements and sequences repeatedly with partner

a positive attitude to dancing

excel at a personal physical conditioning program

planning and organising skills to

research and analyse pas de deux from classical and contemporary ballets

prepare for performances auditions and competitions

plan practice time

selfmanagement 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 partner in dance classes and performances

technical dance skills to

execute high level of technical and performance skills in a partnership situation

employ physical control throughout performances including pas de deux

demonstrate timing and weight centring techniques with partner applying them to lifts and counterbalances

demonstrate a high level of spatial awareness in partnering including floor patterns and aerial pathways

sense needs of partner and adapt appropriately

emulate the style and intention of pas de deux repertoire through partnering techniques

Required knowledge

specialised knowledge of pas de deux repertoire and performances

principles underlying dance movements and techniques such as

relationship with gravity

spatial awareness

successional movement

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 partnering techniques

performance contexts including staging and personal presentation

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 as they relate to pas de deux

demonstrate advanced partnering skills including travelling steps supported adagio and pirouettes and lifts to the professional level

synchronise instinctively in a duo situation

work with a partner harmoniously and with rapport and confidence

apply 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 and partnering skills as they relate to pas de deux

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 technique to a professional level

CUADAN603A Extend ballet technique to a professional level

CUADANA Extend ballet performance skills to a professional level

CUADAN604A Extend ballet performance skills to 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.

Pas de deux works may include:	Sleeping Beauty Act 3 Don Quixote Act 3 (Nureyev) La Fille Mal Gardée (combination of Act 2 and 3 pas de deux) Flower Festival of Genzano Sylvia Le Corsaire Flames of Paris Tchaikovsky pas de deux Nutcracker Act 2 Coppelia Act 3 (Van Praagh) Esmerelda (Garth Welch) Giselle Act 1 (Van Praagh) Blue Bird pas de deux: Sleeping Beauty Act 3 Peasant pas de deux: Giselle Act 1 newly created 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.
Technical requirements may include:	placement and coordination of body parts strength and stability posture hand grips and hand placement for balance relationship between partners.
Performance attributesmay 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.
Ballet styles and genres may include:	contemporary ballet modern ballet neoclassical ballet-masquerade ballet-melodramatique romantic imperial.
Preparationsmay 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 techniquesmay include:	visualisations affirmations relaxation techniques mental rehearsal maintaining a work-life balance.
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.