Elements and Performance Criteria

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.

Cultural values and principlesmay include:
sensitive cultural values and principles, including:
acceptance within and by the community as an Aboriginal and Torres Strait Islander person
understanding and maintenance of own lore, land and traditions (cultural identity issues)
internal family and community construction politics
levels of acknowledgement and respect for:
customs
cultural values
religious expression
personal and group responsibility and dignity
social and cultural differences, including:
structure of community representation and powers of delegation
differing approaches to the concept of respect
particular individual and community circumstances and histories:
place or geographical location
access to services, such as education, health and transport
language, such as Aboriginal English, Torres Strait Kriol, and traditional languages
cultural diversity
cultural groupings
skin, country and language groups
family structures
kinship
women’s roles
men’s roles
relationship to land and customs
racism and discrimination
issues that may affect an individual’s cultural identity
relationships between land, sea, lore, law, family and ancestors
recognition, respect and compliance with Indigenous laws and economy
nature of performing arts, including:
significance of cultural arts within a given community
ways in which performance of dance is culturally appropriately promoted and distributed.
economic significance, including:
positive impacts on local community economy
role of the arts within community development
link between the arts and other areas of economic activity, such as tourism.
Relevant personnelmay include:
choreographers
community members
custodians
elders
managers
mentors
performers
supervisors.
Customary lawmay include:
rules, values, traditions and protocols governing behaviour in Aboriginal and Torres Strait Islander communities and contexts
customs and protocols as required in particular locations and situations, such as:
access to information
use of signs, symbols, movement or musical sequences
communication protocols expected to be followed
beliefs and traditions related to land, sea, lore, law, family and ancestors.
Differences betweencultural tourism, cultural heritage and performing arts industriesmay include:
local, state and federal industry structures, codes, ethics, roles and markets within the tourism industry
natural heritage, culture and tourism as a public domain and the maintenance of cultural integrity
role of cultural heritage for local Indigenous and non-Indigenous communities
tourism markets and their relevance to industry sectors, including employment and career opportunities
ways of working within the Indigenous Australian context, in particular customary law, values and beliefs
understanding the needs and rights of all relevant parties.
Musical elements may refer to:
acoustics
aesthetic qualities
beat
cultural context
dynamics
expression
form or structure
genre
harmony and chords
interpretation
melody
notation
nuance
ornamentation
phrasing
pitch
rhythm
scales
sound production
tempo
timbre or tone colour
time signatures
tonality.
Performance techniques may include:
application of stagecraft, for example stage directions, such as:
back of stage
centre of stage
down stage
appropriate timing
breathing
communication with audience
coordinated symmetrical and asymmetrical movements
demonstrated awareness of performance practice in the style or musical context
improvisation
musical interpretation of rhythm and style
spatial awareness
stage presence and dramatic nuance
using strength and agility relevant to dance form.
Cultural protocols:
must include:
rules of behaviour governing communication, access to and use of cultural information and practices that form the heritage of the diverse range of Aboriginal societies and Torres Strait Islander societies
full set of protocols of a particular community or cultural grouping, which is likely to be unique
following community protocols and rules of behaviour, including:
obtaining and sharing information and materials
visiting individuals and communities and requesting permission for activities
strategies may include:
non-verbal techniques, such as gestures
display of positive regard and respect
non-judgemental approaches
forming partnerships with all cultural groups to achieve particular work goals
monitoring and reflecting on own actions to ensure cultural values are not imposed on others.
Mentoring plan must include:
agreed reporting mechanisms
agreed timeframes
monitoring and review strategies
objectives
purpose
rights and responsibilities of each party
roles, including cultural, personal and professional.
Choreographic techniques may refer to:
imposition
improvisation
dance composition
notation
cultural and aesthetic aspects of Indigenous Australian dance performance, such as:
body paint
make-up
hair
costuming
sets
scenery
stagecraft
venue
maximising cultural maintenance in choreography and performance of dance for multicultural expression.
Body movement activities may include:
upper and lower body movements:
adaptation and development for body movement
combining movement sequences using leaps, jumps, swinging, stretching, turning in position and moving
combining weight transfer and non-weight transfer techniques
working in even or uneven timing and uncommon metre
executing sequences with frequent changes of facing
direction
coordinating movement with others
moving with safety and consideration for others
balanced positions, including:
elevation of steps
body positions
transitions while in motion and while stationary.
Cultural and aesthetic aspectsmay include:
application of physical, spiritual and conceptual perspectives of choreography
lore emanating from land, landscape or location that encapsulates and defines movement, including:
mimicry
body markings and painting
make-up
costuming
use of props, sets and scenes
interpretation and application of music or song
roles
expression of emotion and meaning
traditional gender roles and responsibilities in relation to dance performance
children’s dances
what may be imparted to particular audiences and how
improvisational techniques.
Techniques, language and movement may include:
knowledge of physical, spiritual and conceptual perspectives on the choreography of traditional dance form
visualisation
appropriate timing, posture and attitude
rhythm and style
improvisation
footwork
coordination and eye focus appropriate to the form
kinaesthetic awareness
physical alignment
musicality
dance forms, including:
styles or kinds of dance performance characteristic of particular language groups, regions or cultural purpose, or gender or age of dancers
use of community-appropriate:
body or face marking
vocal and speech patterns
body language
humour
costuming
props
music
knowledge
Aboriginal and Torres Strait Islander dance sequences must include:
documented consideration of the relationship and contribution of cultural identity and personal politics to choreographic interpretation, characterisation and performance
structured performance parameters
target audience and venue parameters.
Cultural maintenancemust include:
protection and sustainability of:
natural and cultural integrity
stories
song lines
spiritual practices
artefacts
sites of significance
language
responsibilities and obligations to individuals, country and the community
authentic replication of approved:
cultural stories
music in the dance form for demonstration of culture outside the community environment
issues relating to protection and appropriate exploitation of cultural heritage material, including:
Indigenous communal rights
Indigenous cultural and intellectual property
laws relating to fraud and forgery
import and export of culturally significant objects
issues that may threaten beliefs and knowledge related to traditional land, sea, lore, law, family and ancestors.
OHS must include:
identifying hazards and assessing risks
using flooring that is maintained, sufficiently spaced and appropriate for full body activities
lighting, heating and air-conditioning that meet regulations
legislation and regulation of OHS for the entertainment industry
appropriate workwear
adequate footcare and use of appropriate footwear
awareness of repetitive movement, fatigue and prevention of injuries
manual handling
identifying and addressing specific health implications
maintaining a physical conditioning program.
Environmentally friendlymust include:
maintenance of sustainable environment, including:
applying measures to reduce energy consumption, such as:
light emitting diode (LED) lights or fluorescent light bulbs
turning lights off when not in use
recycling materials
reducing water usage, such as sweeping rather than hosing
maintaining biodiversity and protecting habitat from damage
being aware of air quality and noise.
Personal 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 costumes and other apparel
maintaining a work-life balance
punctuality and reliability
working creatively with individual differences.
Opportunities to enhance cultural and technical skillsmay include:
audience feedback
implementing continuous improvement strategies
ongoing evaluation as per mentoring plan
research
affiliations with industry and community bodies and professional dance organisations
ongoing implementation of strategies to maintain peak performance
ongoing practice of dance techniques.

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:
express knowledge of the context and structure of cultural systems within relevant Aboriginal and Torres Strait Islander communities, including the role of dance, story-telling, music and body painting as expressions of cultural systems
discuss the implications of cultural heritage, cultural tourism and performing arts industries on the context and performance of Indigenous Australian dance sequences
apply Aboriginal and Torres Strait Islander community cultural beliefs and protocols when working with people from various communities
develop a mentoring relationship, including the ability to negotiate the terms of a professional relationship
safely and cooperatively execute basic dance movement appropriate to Indigenous Australian dance forms.
Context of and specific resources for assessment
Assessment may take place on the job, off the job (for example in communities and training organisations) or a combination of on and off the job.
This unit requires access to:
Aboriginal and Torres Strait Islander elders, custodians and other culturally knowledgeable people authorised by their communities to act as mentors in performance disciplines
appropriate dance performance areas or spaces, including outdoor locations
relevant instruments, sets, props, costuming and other equipment
music, stories, and dance ensembles
performance opportunities.
Trainers and assessors in this unit should be Aboriginal and Torres Strait Islander people validated by the Community Advisory Board set up to oversee implementation of this training. They must ensure that the cultural and intellectual property rights of Aboriginal and Torres Strait Islander peoples are protected.
Method of assessment
While the knowledge can be tested in written and oral assignments, performance evidence needs to be collected in actual or realistic simulated situations. It also needs to be assessed on a number of occasions.
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
group discussion
evaluation of live or recorded performances
journal work, including recording and evaluating the dance methodology, and evaluating the performance
verbal or written questioning to test knowledge as listed in the required skills and knowledge section of this unit
case studies and scenarios as a basis for discussion of issues and challenges that arise in the context of developing dance performance skills
direct observation of candidate in rehearsals and performances.
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).
Training and assessment can be undertaken in conjunction with Aboriginal and Torres Strait Islander persons.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUADAN301A Explore rhythm in the context of dance or movement technique
CUAOHS301A Condition the body for dance performances.