Unit of competency Outline
Date retreived
24/07/2026 1:46 AM AWST
24/07/2026 1:46 AM 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.
Perform basic ballet technique
Perform basic ballet technique
Unit of competency
National Code
CUADAN206A
CUADAN206A
State Code
S7541
S7541
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
14/03/2012
Field of Education
100105 - Dance
Original Release Date
14/03/2012
Nominal Hours
45
Description
This unit describes the performance outcomes, skills and knowledge required to appreciate ballet as an art form and to perform basic ballet techniques in a learning environment.
Notes
Elements and Performance Criteria
1. Develop an understanding of ballet as an art form
- 1.1. Become familiar with the main historical periods of classical and contemporary ballet
- 1.2. Apply knowledge of the French vocabulary used to describe ballet movements and exercises in classes and discussions
- 1.3. Discuss with relevant personnel the elements that define ballet as a genre
2. Develop basic ballet performance skills
- 2.1. Under the guidance of mentors or teachers, practise a range of basic exercises at the barre
- 2.2. Under the guidance of mentors or teachers, practise a range of basic centre exercises
- 2.3. Reproduce simple sequences combining a variety of discrete movements
- 2.4. Practise techniques for performing port de bras
- 2.5. Practise techniques for performing controlled pirouettes
- 2.6. Apply safe dance practicesat all times to prevent injury to self and others
- 2.7. Follow advice from others about ways to improve own ballet technique
3. Perform short dance sequences
- 3.1. Discuss the intention and key aspects of sequences with relevant personnel
- 3.2. Apply basic make-up and wear appropriate costumes for performances
- 3.3. Perform simple sequences combining a variety of discrete movements in ensemble or individually
- 3.4. Use props effectively and confidently as required
- 3.5. Observe direction from relevant personnel
- 3.6. Observe and follow dictates of music or rhythm
- 3.7. Synchronise movements with ensemble where required
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.
Historical periods include:
Italian Renaissance courts of the 15th and 16th centuries
French court of Catherine de Medici
French court of Louis XIV in the 17th century
Imperial Ballet of the Russian Empire
Ballets Russes in the early 20th century
formation of major ballet companies in the 20th century in:
England
Europe
Australia
Canada
USA.
Relevant personnel may include:
choreographers
community members
manager
mentors
performers
representatives of dance societies
supervisor
teachers.
Elements may include:
styles, such as:
classical
neoclassical
contemporary
ballet d’action
romantic
principles, such as:
symmetry
flexibility
stability
coordination
angles and lines of the body and form
gracefulness
extension
balance
musicality.
Exercises at the barre may include:
pliés
battement tendus
battement tendus with demi-pliés
battement tendus jetés
pas soutenus
rond de jambe á terre
battement fondu
battement frappé
petit battement sur le cou-de-pied
rond de jambe en l’air
développés
demi-grands rond de jambe with rond de jambe en l’air
fouetté of adage
grands battements
grands battements en cloche
stretches
demi pointe, such as:
rises in 1st and 2nd positions
relevés in 1st, 2nd and 5th positions
échappés relevés in 2nd position
temps lié in 2nd position.
Centre exercises may include:
pliés
battement fondu
échappé relevé
temps lié
chassés
grands battements
simple balances, such as:
arabesque
attitude
allegro, such as:
changements
changements en tournant
échappés
glissades
pas de bourrées devant and derrière
assembles dessus and dessous
assembles en avant
jetés ordinaires
sissones fermèes en avant, en arrière, dessus and dessous.
Techniques for performing port de bras involve:
correct posture and placing of the body
correct placing of arm and arabesque lines
showing poise and presentation with focus of eyes and head
correct breathing
flow of movement
balanced and harmonious arm lines
incorporating musicality.
Techniques for performing controlled pirouettes involve:
correct placing and control in adage
clear alignment and balanced arm lines
applying an understanding of rotation
correct preparations and finishes
showing a spotting head
incorporating musicality and presentation.
Safe dance practices relate to:
understanding the body’s capabilities and limitations, including:
alignment
flexibility (mobility)
strength (stability)
cardiorespiratory endurance
muscular endurance
warm-up and cool-down activities, such as:
gentle stretches
aerobic exercises
anaerobic exercises
breathing exercises
doing exercises and performing routines on flooring appropriate to genre and style of dance, such as:
sprung softwood
tarkett
sprung parquet
tongue and groove hardwood
resined for ballroom and Latin dance
non-slip for ballet
wood for tap and Spanish
correct execution of dance steps
appropriate clothing and footwear
nutrition and diet.
Aspects may include:
audience characteristics
costume requirements
length of performances
make-up
props
number of performances.
Basic make-up may include:
face make-up
body paint
theatre make-up.
Costumes may include:
designer
streetwear
sportswear.
Historical periods include:
Italian Renaissance courts of the 15th and 16th centuries
French court of Catherine de Medici
French court of Louis XIV in the 17th century
Imperial Ballet of the Russian Empire
Ballets Russes in the early 20th century
formation of major ballet companies in the 20th century in:
England
Europe
Australia
Canada
USA.
Relevant personnel may include:
choreographers
community members
manager
mentors
performers
representatives of dance societies
supervisor
teachers.
Elements may include:
styles, such as:
classical
neoclassical
contemporary
ballet d’action
romantic
principles, such as:
symmetry
flexibility
stability
coordination
angles and lines of the body and form
gracefulness
extension
balance
musicality.
Exercises at the barre may include:
pliés
battement tendus
battement tendus with demi-pliés
battement tendus jetés
pas soutenus
rond de jambe á terre
battement fondu
battement frappé
petit battement sur le cou-de-pied
rond de jambe en l’air
développés
demi-grands rond de jambe with rond de jambe en l’air
fouetté of adage
grands battements
grands battements en cloche
stretches
demi pointe, such as:
rises in 1st and 2nd positions
relevés in 1st, 2nd and 5th positions
échappés relevés in 2nd position
temps lié in 2nd position.
Centre exercises may include:
pliés
battement fondu
échappé relevé
temps lié
chassés
grands battements
simple balances, such as:
arabesque
attitude
allegro, such as:
changements
changements en tournant
échappés
glissades
pas de bourrées devant and derrière
assembles dessus and dessous
assembles en avant
jetés ordinaires
sissones fermèes en avant, en arrière, dessus and dessous.
Techniques for performing port de bras involve:
correct posture and placing of the body
correct placing of arm and arabesque lines
showing poise and presentation with focus of eyes and head
correct breathing
flow of movement
balanced and harmonious arm lines
incorporating musicality.
Techniques for performing controlled pirouettes involve:
correct placing and control in adage
clear alignment and balanced arm lines
applying an understanding of rotation
correct preparations and finishes
showing a spotting head
incorporating musicality and presentation.
Safe dance practices relate to:
understanding the body’s capabilities and limitations, including:
alignment
flexibility (mobility)
strength (stability)
cardiorespiratory endurance
muscular endurance
warm-up and cool-down activities, such as:
gentle stretches
aerobic exercises
anaerobic exercises
breathing exercises
doing exercises and performing routines on flooring appropriate to genre and style of dance, such as:
sprung softwood
tarkett
sprung parquet
tongue and groove hardwood
resined for ballroom and Latin dance
non-slip for ballet
wood for tap and Spanish
correct execution of dance steps
appropriate clothing and footwear
nutrition and diet.
Aspects may include:
audience characteristics
costume requirements
length of performances
make-up
props
number of performances.
Basic make-up may include:
face make-up
body paint
theatre make-up.
Costumes may include:
designer
streetwear
sportswear.
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:
reproduce ballet exercises and sequences, within personal capabilities
perform at least two basic ballet sequences in a group or individually that demonstrate:
neat technique with flow of movement
coordinated use of arms and legs
musicality, style and presentation
spatial awareness
respond appropriately to constructive feedback on own performance.
Context of and specific resources for assessment
Assessment must ensure access to appropriate dance performance areas or spaces.
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:
direct questioning combined with review of portfolios of evidence
third-party workplace reports of on-the-job performance evaluation of performance of dance skills
verbal or written questioning to test knowledge as listed in the required skills and knowledge section of this unit
review of candidate’s dance performances by peers and colleagues
direct observation or video recording of dance performance.
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:
CUADAN201A Develop basic dance techniques
CUADAN202A Incorporate artistic expression into basic dance performances
CUAPRF201A Prepare self for performances.
Overview of assessment
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the ability to:
reproduce ballet exercises and sequences, within personal capabilities
perform at least two basic ballet sequences in a group or individually that demonstrate:
neat technique with flow of movement
coordinated use of arms and legs
musicality, style and presentation
spatial awareness
respond appropriately to constructive feedback on own performance.
Context of and specific resources for assessment
Assessment must ensure access to appropriate dance performance areas or spaces.
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:
direct questioning combined with review of portfolios of evidence
third-party workplace reports of on-the-job performance evaluation of performance of dance skills
verbal or written questioning to test knowledge as listed in the required skills and knowledge section of this unit
review of candidate’s dance performances by peers and colleagues
direct observation or video recording of dance performance.
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:
CUADAN201A Develop basic dance techniques
CUADAN202A Incorporate artistic expression into basic dance performances
CUAPRF201A Prepare self for performances.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| WI037 | CUADAN206 | Perform basic ballet technique | Unit of competency |
