Unit of competency Outline
Date retreived
22/07/2026 10:05 PM AWST
22/07/2026 10:05 PM AWST
Whilst all efforts are made to provide accurate and timely information from the relevant source/documentation, please be aware that the information supplied may not be the most current version. The accuracy of the detail has not been confirmed by the Department and therefore should not be relied upon without first confirming the contents.
Research and experiment with techniques to produce performance art
Research and experiment with techniques to produce performance art
Unit of competency
National Code
CUVVSP38B
CUVVSP38B
State Code
D1760
D1760
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
18/09/2008
Field of Education
100301 - Fine Arts
Original Release Date
18/09/2008
Nominal Hours
40
Description
This unit describes the skills and knowledge required to research and experiment with various techniques and media for the realisation of performance work. It outlines the way performance art is produced through the use of experimentation and ongoing refinement. It is a specialisation unit and refers to a specific art form. Performance art generally uses or combines one or more media art forms and skills in those art forms would be required. This work would usually be carried out independently, although guidance would be available if required.No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.
Notes
Elements and Performance Criteria
1 Inform work through experimentation with performance techniques and media.
- 1.1 Evaluate the potential for new approaches to performance work based on capabilities of techniques already used.1.2 Select, adapt or introduce new materials, tools, equipment or technology for the achievement of different effects.
- 1.3 Extend the capabilities of performance techniques through experimentation to inform practice.1.4 Take account of particular safety or environmental issues associated with the use of different techniques and media.1.5 Research, adapt and use relevant ideas and approaches from other practitioners with consideration of intellectual property, moral rights and copyright requirements.
2 Develop and refine a conceptual vision for the performance work.
- 2.1 Develop a conceptual vision for the performance work based on a knowledge and understanding of different performance techniques.2.2 Consider the criteria for selecting techniques, material, tools and equipment based on results of experimentation.2.3 Establish criteria which are most likely to facilitate the achievement of the conceptual vision.2.4 Select approach to work which meets established criteria.2.5 Refine the conceptual vision based on ongoing experimentation and analysis of performance techniques.
3 Determine and organise resource requirements for new work.
- 3.1 Assess specific resource requirements which arise from the use of techniques and experimental approaches.3.2 Research and access potential sources of supply for resources used in performance work.3.3 Evaluate cost or other constraints which may impact on the development of work.3.4 Set up or co-ordinate resource requirements in accordance with safety or other workplace requirements.
4 Realise the performance work.
- 4.1 Realise the performance work using techniques and media selected from research and experimentation to meet the conceptual vision.4.2 Evaluate and respond to the potential for changes in the use of techniques, materials, tools or equipment.4.3 Refine the conceptual vision based on ongoing experiences with the production of work.4.4 Use safe working practices throughout the production of the performance work.
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.
Within this unit the candidate would generally demonstrate a command of a broad range of techniques as the basis for experimentation and innovation. Techniques for the production of a performance work may include the selection of a range of techniques from any medium or art form, or a combination of art forms. These may include:
digital, photography, electronic art
dramatic art, dance, movement, pantomime
drawing, painting, calligraphy; printing
fibre/textile art
sculpture, glass, ceramics
sound (natural, electronic, vocal, instrumental).
Materials may include:
film, darkroom chemicals and emulsions
glues
make-up
nails, screws, bolts
natural and synthetic fibres, range of fabrics, e.g. cotton, linen, silk, synthetic fabrics, tapa cloth, papers, other processed plant fibres
water and oil based paints, extenders and binders, gesso, tempera, coloured pencils, pastels, inks, charcoal
wood, clay, sand, metals, rubber, plastics, glass, perspex, latex.
Tools and equipment may include:
computer, scanner, VHS and DVD, software programs, electrical cabling, multiple screens, monitors, editing suite
engravers, grinding and polishing equipment, compressors, pliers, tongs, hammers, cutters
enlargers and other wet darkroom equipment, 35mm camera, digital camera
looms, moulds and deckles, vacuum table, press
microphones, speakers, associated cabling
protective clothing
sound recording and synthesising equipment, associated cabling
stage lighting, associated cabling
vats, baths.
Extending capabilities through:
experimentation encourages the exploration of the full potential of the art form and involves innovation.
Particular safety or environmental issues may include:
audience safety
Federal, State and Territory legislation, regulations and standards
personal protection
recycling
safe disposal of waste.
Research may involve:
approaching individuals with relevant expertise
attending lectures and talks
conducting material and technical experiments and tests
seeking out information in books, journals, newspapers
visiting exhibitions, museums, theatres.
Intellectual property, moral rights and copyright requirements may relate to:
extent to which the work may be used
procedures for seeking permission to use the work of others, including systems for the administration of copyright
protocols for the adaptation of work by others.
The conceptual vision may be determined by:
elements and principles of design
the relationship of the work to a theoretical and historical context
the subject matter or theme for the performance work, e.g. the body; identity; land and place; political, cultural, social issues; spiritual concerns.
Refining the conceptual vision may include:
adjustment to consideration of elements and principles of design
adjustment to subject matter or theme
adjustment to utilise the extended capabilities of the technique
no change.
Sources of supply may include:
commercial outlets
found objects or materials
manufacturing or factory waste
nature.
Cost and other constraints may relate to:
availability of materials and tools
availability of space
budgeting
requirements to seek approval
sponsorship
timeframe.
Workplace requirements may include:
lighting
performance specific requirements
ventilation
wet and dry areas.
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.
Within this unit the candidate would generally demonstrate a command of a broad range of techniques as the basis for experimentation and innovation. Techniques for the production of a performance work may include the selection of a range of techniques from any medium or art form, or a combination of art forms. These may include:
digital, photography, electronic art
dramatic art, dance, movement, pantomime
drawing, painting, calligraphy; printing
fibre/textile art
sculpture, glass, ceramics
sound (natural, electronic, vocal, instrumental).
Materials may include:
film, darkroom chemicals and emulsions
glues
make-up
nails, screws, bolts
natural and synthetic fibres, range of fabrics, e.g. cotton, linen, silk, synthetic fabrics, tapa cloth, papers, other processed plant fibres
water and oil based paints, extenders and binders, gesso, tempera, coloured pencils, pastels, inks, charcoal
wood, clay, sand, metals, rubber, plastics, glass, perspex, latex.
Tools and equipment may include:
computer, scanner, VHS and DVD, software programs, electrical cabling, multiple screens, monitors, editing suite
engravers, grinding and polishing equipment, compressors, pliers, tongs, hammers, cutters
enlargers and other wet darkroom equipment, 35mm camera, digital camera
looms, moulds and deckles, vacuum table, press
microphones, speakers, associated cabling
protective clothing
sound recording and synthesising equipment, associated cabling
stage lighting, associated cabling
vats, baths.
Extending capabilities through:
experimentation encourages the exploration of the full potential of the art form and involves innovation.
Particular safety or environmental issues may include:
audience safety
Federal, State and Territory legislation, regulations and standards
personal protection
recycling
safe disposal of waste.
Research may involve:
approaching individuals with relevant expertise
attending lectures and talks
conducting material and technical experiments and tests
seeking out information in books, journals, newspapers
visiting exhibitions, museums, theatres.
Intellectual property, moral rights and copyright requirements may relate to:
extent to which the work may be used
procedures for seeking permission to use the work of others, including systems for the administration of copyright
protocols for the adaptation of work by others.
The conceptual vision may be determined by:
elements and principles of design
the relationship of the work to a theoretical and historical context
the subject matter or theme for the performance work, e.g. the body; identity; land and place; political, cultural, social issues; spiritual concerns.
Refining the conceptual vision may include:
adjustment to consideration of elements and principles of design
adjustment to subject matter or theme
adjustment to utilise the extended capabilities of the technique
no change.
Sources of supply may include:
commercial outlets
found objects or materials
manufacturing or factory waste
nature.
Cost and other constraints may relate to:
availability of materials and tools
availability of space
budgeting
requirements to seek approval
sponsorship
timeframe.
Workplace requirements may include:
lighting
performance specific requirements
ventilation
wet and dry areas.
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.
Critical aspects for assessment and evidence required to demonstrate competency in this unit in this unit
The following evidence is critical to the judgement of competence in this unit:
production of performance work which demonstrates a highly developed command of the selected techniques and which is consistent with the conceptual vision
in depth knowledge of techniques, materials and tools and the ways they may be adapted and extended.
Context of and specific resources for assessment
The assessment context must provide for:
evaluation of visual language and technical execution of work pieces produced by the candidate
practical demonstration of skills using required tools, equipment and materials needed to produce a complex performance piece.
Method of assessment
Assessment may incorporate a range of methods to assess performance and the application of essential underpinning knowledge, and might include:
direct observation of performance work in preparation, including exploration of and experimentation with techniques
questioning and discussion about candidates intentions and the work outcome
verbal and written reports
review of portfolios of evidence
third party workplace reports of performance by the candidate.
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 a speakers of languages other than English, remote communities and those with interrupted schooling).
Assessment of this unit requires access to the materials and resources needed to realise performance work.
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.
Critical aspects for assessment and evidence required to demonstrate competency in this unit in this unit
The following evidence is critical to the judgement of competence in this unit:
production of performance work which demonstrates a highly developed command of the selected techniques and which is consistent with the conceptual vision
in depth knowledge of techniques, materials and tools and the ways they may be adapted and extended.
Context of and specific resources for assessment
The assessment context must provide for:
evaluation of visual language and technical execution of work pieces produced by the candidate
practical demonstration of skills using required tools, equipment and materials needed to produce a complex performance piece.
Method of assessment
Assessment may incorporate a range of methods to assess performance and the application of essential underpinning knowledge, and might include:
direct observation of performance work in preparation, including exploration of and experimentation with techniques
questioning and discussion about candidates intentions and the work outcome
verbal and written reports
review of portfolios of evidence
third party workplace reports of performance by the candidate.
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 a speakers of languages other than English, remote communities and those with interrupted schooling).
Assessment of this unit requires access to the materials and resources needed to realise performance work.
Replaces
| State Code | National Code | Title | Type |
|---|---|---|---|
| C6562 | CUVVSP38A | Research and experiment with techniques to produce performance art | Unit of competency |
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| S7705 | CUVPER401A | Experiment with techniques to produce performance art | Unit of competency |
