Application
This unit describes the performance outcomes, skills and knowledge required to teach Cecchetti Ballet classes at Advanced
This unit is part of a three-year apprenticeship using self-assessment and liaison with a mentor. External studies, including anatomy, childhood development, musicology, first aid and business studies, are also undertaken during the apprenticeship. The knowledge gained from these external studies is applied to the development of lesson plans and delivery, student assessments and the daily running of a ballet school.
This unit was developed by Cecchetti Ballet Australia Inc. and is reproduced with permission in the CUA Creative Arts and Culture Training Package. Registered training organisations wishing to deliver this unit must be licensed to do so by Cecchetti Ballet Australia Inc.
Elements and Performance Criteria
Elements Elements describe the essential outcomes. | Performance Criteria Performance criteria describe the performance needed to demonstrate achievement of the element. |
1. Analyse and interpret the Advanced 1 syllabus | 1.1 Discuss aspects of the Advanced 1 syllabus 1.2 Analyse anatomical limitations that may affect students’ technique 1.3 Support the qualities and principles of Cecchetti Ballet work as laid out in the Cecchetti Ballet manual |
2. Teach Advanced | 2.1 Distinguish male-specific exercises in the Advanced 2.2 Design and apply exercises that maximise injury prevention specific to males 2.3 Define male dancer’s virtuosity 2.4 Distinguish female-specific exercises in the Advanced 1 syllabus and explain why they are gender-specific 2.5 Design and apply exercises that maximise injury prevention specific to females 2.6 Design exercises to strengthen and complement pointe work in the Advanced 1 syllabus 2.7 Instruct students according to individual physical and emotional needs 2.8 Encourage class participants to perform as a group |
Evidence of Performance
Evidence of the ability to:
demonstrate effective and appropriate posture, placement and control through the body and legs to the best of their ability, relevant to the Cecchetti Ballet Advanced 1 level
demonstrate an ability to analyse and interpret the Cecchetti Ballet Advanced 1 syllabus
design exercises that maximise injury prevention in both genders.
Note: If a specific volume or frequency is not stated, then evidence must be provided for each of the above points at least once.
Evidence of Knowledge
To complete the unit requirements the individual must:
in the context of demonstrating the Cecchetti Ballet method, explain the significance of the following anatomical foundations:
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
describe:
key principles in the Australian Guidelines for Dance Teachers and Dance Industry Code of Ethics
history and background of the Cecchetti Ballet method
issues and challenges that arise when teaching the Cecchetti Ballet syllabus
key aspects of safe dance practice relevant to a teaching context
key stages in physical and mental development in people aged 15 to 20
protocols associated with teaching dance
requirements and application of Advanced 1 Cecchetti Ballet syllabus to the teaching of a class
requirements of Advanced 1 Cecchetti Ballet examination.
Assessment Conditions
Assessment must be conducted in a safe environment where evidence gathered demonstrates consistent performance of typical activities experienced in creative arts industry environments. The assessment environment must include access to:
a simulated or real class situation with a group of appropriate level students who have a basic knowledge of the male and female syllabus
relevant resources and equipment.
Assessors of this unit must satisfy the requirements for assessors in applicable vocational educational and training legislation, frameworks and/or standards.
Foundation Skills
This section describes language, literacy, numeracy and employment skills incorporated in the performance criteria that are required for competent performance.
Skill | Performance Criteria | Description |
Reading | 1.1, 1.3, 2.1 | Analyses and interprets information from written sources |
Oral communication | 1.1, 2.1, 2.7, 2.8 | Obtains information by listening and questioning |
Navigate the world of work | 1.1, 1.2, 1.3, 2.1, 2.4, 2.6 | Applies organisational procedures when teaching the Cecchetti Ballet method and meets expectations associated with own role |
Interact with others | 1.1, 2.1, 2.7, 2.8 | Builds rapport with and motivates students |
Get the work done | 1.2, 2.2, 2.3, 2.4, 2.5, 2.6 | Adopts a methodical and logical approach to planning and teaching sessions in line with Cecchetti Ballet Advanced 1 syllabus requirements |
Range Statement
This section specifies different work environments and conditions that may affect performance. Essential operating conditions that may be present (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) are included.
Aspects must include: | Advanced 1 syllabus barre: establishing and maintaining ballet posture maintaining turnout and body placement throughout with poise and control sustaining stretched legs and feet centring the body to be sustained showing transfer of weight with ease coordinating head and arm movements at all times demonstrating correct height of limb as appropriate to the syllabus Advanced 1 syllabus port de bras and centre practice: position and shapes shown musically and expressively with flow, breadth, line and continuity eye focus and head used appropriately movement transitions shown with ease posture, turnout and placement maintained with upper body quality and poise stability, strength and control maintained well-articulated feet Advanced 1 syllabus adage: placement of body parts maintained accurate interpretation of Cecchetti Ballet qualities as appropriate to each adage ability to demonstrate and sustain line maintenance of stability and rotation strength and control transfer of weight shown with ease maintenance of turnout on working and supporting sides maintenance of height of leg Advanced 1 syllabus pirouettes: correct use of the head and eyes centring of the body accuracy in demonstration well-pulled up body and legs correctly placed arms correct force of impetus rhythm established so that musicality is maintained for multiple pirouettes Advanced 1 syllabus allegro: petit allegro: well-articulated feet use of demi-plié turnout maintained with well-stretched legs and feet precision of footwork well-defined beats demonstrated understanding of the petit allegro concept use of ballon grand allegro: well-articulated feet correct use of demi-plié turnout maintained with well-stretched legs and feet spatial awareness diverse movement and dynamic qualities as appropriate upper body coordination, including the use of head and arms elevation joy of movement maintenance of balanced line throughout every phrase of every movement transition Advanced 1 syllabus pointe work: well-placed body and legs en pointe established and maintained throughout correct alignment of foot demonstrated en pointe and correct rising and lowering through the foot freedom of movement en pointe with appropriate dynamic qualities maintenance of energy. |
Male-specific exercises must include: | exercises au milieu: rond de jambe with single tour en l’air ending adage: trois relevés grand rond de jambe en dehors et en dedans study for promenades en arabesque and á la seconde deux grands ronds de jambe avec arabesque coupé et fouetté temps lié saute pirouettes 1 to 7 as detailed in the male syllabus allegro: grands jetés en attitude and á la seconde entrechat cinq entrechat six entrechat six de cote double tour en l’air sissonne battue dessus, dessous, en avant and en arrière pas de basque en avant et en arrière set enchaînements 1 to 18 as detailed in the male syllabus. |
Female-specific exercises must include: | adage: cinq relevés pas de Chaconne temps de courante Cecchetti pirouettes: fouetté rond de jambe allegro: basic steps: coupé fouetté raccourci brisé dessous cabriole derrière jeté battu á la seconde temps de cuisse dessus and dessous set enchaînements: assembles soutenu and de suite glissade assemblé, temp levé en arabesque, pas de bourrée dessous, pas de bourrée en tournant, rond de jambe saute, pas de bourrée en tournant, grand changement ballonné a trois temps and pas de basque en avant pas de bourrée en avant, en arrière, devant, derrière, dessous, dessus, en tournant, en dehors et en dedans chassé, temps levé, pas de bourrée, grand jeté en tournant glissade derrière, cabriole devant éffacé, glissade en arrière, cabriole derrière; temps levé chassé, pas de bourrée dessous, using first port de bras temps levé with rond de jambe movement into chassé, pas de bourrée dessous, deux pas de chats chassé, temps levé in first arabesque, balance en tournant, two posé tours, taken across three sides of a square and across the diagonal temps de pointe: entire section as detailed in the female syllabus. |
Sectors
Performing arts – dance teaching and management