Cecchetti Ballet Australia Inc. RTO 21211cecchettiballet.org/pdf/licunits.pdf · Cecchetti Ballet Australia Inc. RTO 21211 Units VBP478, VBP479, VBP480,VU20017 & VBP482 Modules VBP483

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Cecchetti Ballet Australia Inc. RTO 21211

Units VBP478, VBP479, VBP480,VU20017 & VBP482

Modules VBP483 – VBP484

Course in Teaching the Licentiate Qualification of Cecchetti Classical Ballet

Course Code 22028VIC

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VBP478

DESIGN A BALLET CLASS

Unit Descriptor

This unit covers the knowledge and skills to design a ballet class, to meet the needs of all students, while identifying the problems of individuals and facilitating the necessary corrections within the class structure

This unit is designed to be assessed with units VBP479, VBP480, VBP482, VU20017.

No licensing, legislative, regulatory or certification requirements apply to this unit at the time of publication.

Employability Skills Not applicable

Pre-requisite Unit(s)

N/A

Application of the Unit

This unit equips ballet teachers of the Cecchetti Method to design and conduct a class, which meets the needs of adolescents and young adults.

ELEMENT PERFORMANCE CRITERIA

Elements describe the essential outcomes of a unit of competency.

Performance criteria describe the required performance needed to demonstrate achievement of the element. Where bold italicised text is used, further information is detailed in the required skills and knowledge and/or the range statement. Assessment of performance is to be consistent with the evidence guide.

1 Analyse the range of factors that impact the students’ ability to learn.

1.1 Anatomical variations are analysed

1.2 Learning limitations are distinguished

1.3 Growth related problems and medical conditions are detected

2 Transmit knowledge of anatomical variations to prevent injury during class

2.1

2.2

An adequate warm up is specified

Encourage combined strategies for flexibility

2.3 Development and maintenance of appropriate strength is monitored

2.4 Development and maintenance of correct dance technique is encouraged

3 Develop outline of class to enable students to correct faults

3.1

Appropriate analogies to assist with visualisation to correct faults are described

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faults 3.2

Knowledge of anatomy to identify faults is applied

3.3 Faults which require referral to a professional are detected

4 Plan sequence to achieve a well-balanced ballet class

4.1 Key components of a well balanced ballet class are specified

4.2 Appropriate timeframes for each component of the class are allocated

4.3 Specific outcomes to achieve a well balanced ballet class are formulated

4.4 Exercises to meet these specific outcomes are designed

4.5 Strategies to encourage flexibility are incorporated

4.6 Strategies to monitor the development and maintenance of appropriate strength are combined

4.7 Strategies to encourage the development and maintenance of correct dance technique are formulated

4.8 Musical requirements in consultation with pianist are specified

5 Apply communication strategies appropriate to the level of students both individually and as a class

5.1 5.2

Strategies which encourage rapport, mutual cooperation and enjoyment to enhance learning are designed

Instructions using age/culture/ appropriate analogies are designed

5.3 Constructive corrections in a positive and sensitive manner are applied

6 Analyse the breakdown of more complex movements

6.1 Individual components of the final movement are described

6.2 Exercises to facilitate the execution of movements are constructed

6.3 Instructions for the exercises either verbally or by demonstration are developed

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REQUIRED SKILLS AND KNOWLEDGE

This describes the essential skills and knowledge and their level, required for this unit. • Application of knowledge of technique and anatomical variations to correct the performance of ballet steps.

• Application of major stages of social, psychological and physiological development to the developing

adolescent, with particular acknowledgement of the differences arising from gender.

• Planning and time management skills to include sufficient rest periods and peaking.

• Ability to assess all situations with relation to safety and prevention of injury

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.

Anatomical Variations Leg length Torso length Turn out Foot structure Learning Limitations Intellectual disabilities Injury Physical restrictions Gender Number of students Individual differences Key components of the class Barre work Port de bras Centre practice Adage, pirouettes, Allegro, Pointe work / boys virtuosity

EVIDENCE GUIDE The evidence guide provides advice on assessment and must be read in conjunction with the Performance Criteria, Required Skills and Knowledge, the Range Statement and the Assessment section in Section B of the accreditation submission.

Overview of Assessment

• A person who demonstrates competency in this unit will be able to perform the outcomes described in the Elements to the required level detailed in the Performance Criteria. The knowledge and skill requirements described in the Range Statement must also be demonstrated. The application of Cecchetti principles to the design of a ballet class, to meet the needs of all students, while identifying the problems of individuals and facilitating the necessary corrections within the class structure is required to be demonstrated.

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Critical aspects for assessment and evidence required to demonstrate competency in this unit

All performance criteria must be met, but particular attention needs to be given in the assessment process to evidence of: • Analysis of learning needs and anatomical variations in the

development of a ballet class which meets the needs of all class members

• Formulate class sequence to correct faults and achieve balance

• Combining appropriate warm up, steps and music to achieve a balanced class Combine a range of communication strategies to support both individual and group instruction.

Context of and specific resources for assessment

• Competency is demonstrated by performance of all stated criteria, with particular attention to the critical aspects of evidence and the knowledge and skills elaborated in the Evidence Guide, within the scope of the Range Statement

• Assessment of Performance requirements in this unit should be undertaken in a simulated class situation with a group of Advanced 1 level students who have a working knowledge of the relevant syllabus.

Method of assessment

• Direct observation via the practical demonstration of class

• Oral questioning relating to the breakdown analysis of more complex movements demonstrated in the class

Guidance information for assessment

• Evidence should be collated from annual self-assessment of own teaching reflected in student’s performance in examination preparation and from student results for the past 5 sessions.

• Evidence will also be collected at the examination where the candidate will be required to apply their experience to a set of unknown students

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VBP479

CORRECT GENDER SPECIFIC CHARACTERISTICS

Unit Descriptor

This unit covers the skills and knowledge required to enable candidates to identify the differences and problems that may arise in the developing adolescent male and female.

This unit is designed to be assessed with units VBP478, VBP480, VBP482 & VU20017.




N/A


This unit equips ballet teachers of the Cecchetti Method to correct gender specific characteristics in adolescents and young adults




1 Analyse the differences and developmental problems of the male and female adolescent

1.1 Typical developmental differences between genders are specified

1.2 Gender differences as they relate to ballet technique are recognised

1.3 Gender specific teaching strategies are formulated

2 Analyse faults in physique and give corrections to facilitate improvement in performance

2.1

2.2

Anatomical characteristics for individual students are detected

Appropriate correctional teaching strategies are planned

2.3 Corrections for individuals to rectify faults in physique are formulated

2.4 Need for specialist assistance is accessed

2.5 Extra-curricula activities to facilitate improvements in an attempt to rectify faults are specified

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This describes the essential skills and knowledge and their level, required for this unit. • Application of knowledge of technique and anatomy to correct the performance of ballet steps.

• Application of major stages of social, psychological and physiological development to the developing

adolescent, with particular acknowledgement of the differences arising from gender.

• Ability to assess all situations with relation to safety and prevention of injury

• Knowledge of common conditions and acceptance of the teachers’ limitations to diagnose and treat these conditions.


Developmental differences Excessive growth spurts in males Paced development of strength in adolescent males Tightening of hips and pelvis in females in puberty Anatomical characteristics Rolling ankles Round shoulders Sway back Osgoods Schlatters condition Correctional Teaching Strategies Stretching exercises Strengthening exercises Avoid strain Monitor pain barrier Abdominal exercises Extra Curricular activities Yoga Pilates Floor barre Gym work in males for developing upper body strength for pas deux EVIDENCE GUIDE The evidence guide provides advice on assessment and must be read in conjunction with the Performance Criteria, Required Skills and Knowledge, the Range Statement and the Assessment section in Section B of the accreditation submission.


A person who demonstrates competency in this unit will be able to perform the outcomes described in the Elements to the required level detailed in the Performance Criteria. The knowledge and skill requirements described in the Range Statement must also be demonstrated. The analysis of gender specific characteristics and the

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formulation of appropriate corrections is also required to be demonstrated.


All performance criteria must be met, but particular attention needs to be given in the assessment process to evidence of: • Analysis of gender specific characteristics in order to detect

developmental problems of the male and female adolescent

• Specific corrections to facilitate improvement in performance.





• Direct observation via the practical demonstration of class • Oral questioning relating to the analysis of faults in physique and

corrections given to facilitate improvement in performance Guidance information for assessment



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VBP480

DESIGN ARRANGEMENTS OF CLASSICAL ENCHAINEMENTS TO INCORPORATE MUSICALITY

Unit Descriptor

This unit covers the skills and knowledge required to design classical enchaînements to appropriate music, incorporating a sense of musicality.





N/A


This unit equips ballet teachers of the Cecchetti Method to select and use music appropriately




1 Analyse the time signatures in music and apply to enchaînements

1.1 Time signatures appropriate to the enchaînements are specified

1.2 Appropriate steps to time signatures are formulated

1.3 Enchaînements to reflect time signature and mood of music are designed

2 Detect the musical accent and use to enhance the enchaînements

2.1

2.2

Accent in music is detected Relate musical accent to assist with the performance of the enchaînements

2.3 Enchaînements to reflect musical accent are designed

3 Contrast the differences in phrasing in music and apply to enchaînements

3.1 3.2

Phrasing in music is contrasted Musical phrasing to assist with the performance of the enchaînements is specified

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3.3 Enchaînements to incorporate phrasing are designed


This describes the essential skills and knowledge and their level, required for this unit. • Application of knowledge of time signature, phasing, accent and mood of the music. • Application of knowledge of enchaînements within classical ballet. • Application of knowledge to design enchaînements suitable to the ability of the individual students.


Time Signatures 3/4 2/4 4/4 6/8 Accent On-beat Off-beat Syncopated Phrasing Staccato Broken Flowing

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EVIDENCE GUIDE The evidence guide provides advice on assessment and must be read in conjunction with the Performance Criteria, Required Skills and Knowledge, the Range Statement and the Assessment section in Section B of the accreditation submission.


A person who demonstrates competency in this unit will be able to perform the outcomes described in the Elements to the required level detailed in the Performance Criteria. The knowledge and skill requirements described in the Range Statement must also be demonstrated. The analysis of classical enchaînements to appropriate music, incorporating a sense of musicality is also required to be demonstrated


All performance criteria must be met, but particular attention needs to be given in the assessment process to evidence of:

• Analyse and contrast time signature, accent and musical phrasing to design arrangements of classical enchaînements to incorporate musicality.





• Direct observation via the practical demonstration of class • Oral questioning relating to the analysis of time signatures in

relation to the enchaînements, detection of accents and contrasting.

Guidance information for assessment



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VU20017

APPLY KNOWLEDGE OF THE TRADITIONAL CECCHETTI ADVANCED 1 SYLLABUS TO THE TEACHING OF CLASSICAL BALLET

Unit Descriptor

This unit covers the skills and knowledge required to teach a classical ballet class based on the knowledge acquired in the teaching of the Cecchetti Advanced 1 Syllabus

This unit is designed to be assessed with units VBP478, VBP479, VBP480 & VBP482




N/A


This unit formulates sound knowledge of the Cecchetti Principles and Method as it applies to the Cecchetti Advanced 1 Syllabus




1 Combine elements of the teaching qualities of the Advanced 1 Cecchetti set work

1.1 1.2

Set works are combined within the Advanced 1 Cecchetti Syllabus Musical qualities are combined within each exercise of the Advanced 1 Cecchetti set work

2 Adapt the requirements of the set Advanced 1 Cecchetti syllabus to the teaching of a male and female ballet students

2.1 2.2

Different requirements for boys and girls within the Advanced 1 Cecchetti syllabus are distinguished Differences between the male and female syllabi are supported

2.3 Strategies appropriate to the gender of the student are selected and justified

3 Employ effective teaching skills to teach the Cecchetti Principles

3.1 3.2

Each class is conducted in accordance with the Cecchetti principles Cecchetti Principles are delivered in an engaging and relevant manner.

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3.3 Group facilitation skills ensuring effective participation and monitoring of individual and group progress are applied

3.4 Interpersonal skills which maintain appropriate relationships and ensure inclusivity are used

3.5 Artistic interpretation by individual students is fostered


This describes the essential skills and knowledge and their level, required for this unit. • Apply a knowledge of where each exercise fits within the structure and sequence of the class

• Apply a knowledge of the Cecchetti principles to each and every exercise of the class

• Apply knowledge of basic French vocabulary as related to dance

• Apply teaching knowledge and skills.


Advanced 1 Cecchetti Syllabus Barre work Port de bras Centre practice Pirouettes, Petit Allegro / Grande Allegro, Pointe work / boys virtuosity. Cecchetti Principles Position of the feet (as documented in Movements of the foot the Cecchetti Manual Study of the legs Pages 21 –32 Study of the hand and the Associate Booklet Position of the arms 2010) Theory of port de bras Positions of the head Movement of the head Epaulement Study of the body Attitudes Arabesques Movements of dancing Directions of the body EVIDENCE GUIDE The evidence guide provides advice on assessment and must be read in conjunction with the Performance Criteria, Required Skills and Knowledge, the Range Statement and the Assessment section in Section B of the accreditation submission.

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A person who demonstrates competency in this unit will be able to perform the outcomes described in the Elements to the required level detailed in the Performance Criteria. The knowledge and skill requirements described in the Range Statement must also be demonstrated. The application of Cecchetti principles to all movements is also required to be demonstrated.


All performance criteria must be met, but particular attention needs to be given in the assessment process to evidence of: • Integrate a knowledge of the Cecchetti Advanced 1 syllabus to

the teaching of a classical ballet class. • Analyse the requirements of class members to combine to

specific gender needs within the set works.

• Integrate a range of strategies to teach the Cecchetti principles Context of and specific resources for assessment




• Direct observation via the practical demonstration of class • Oral questioning to ascertain a sound knowledge and

understanding of the Cecchetti Principles Guidance information for assessment



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VBP482

SELECT APPROPRIATE MUSIC FOR A CLASSICAL BALLET CLASS

Unit Descriptor

This unit covers the skills and knowledge to be able to select appropriate music for classical ballet classes.





N/A


This unit equips ballet teachers with the skills and knowledge to select appropriate music.




1 Plan and organise sequence of an Advanced 1 ballet class to inform selection of music

1.1 Key components of an Advanced 1 ballet class are analysed

1.2 Types of exercises that need to be incorporated in each segment are specified

1.3 Time management of class is incorporated

1.4 Balance of the class is ensured

2 Justify musical requirements to pianist

2.1 Time signature and tempo required is identified

2.2 Phrasing and expressions of quality are discussed

2.3 Modifications to speed are identified

3 Specify appropriate music 3.1 Time signatures, tempo, accent and style are contrasted

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3.2 Recorded music available is specified

3.3 Appropriate sections of recorded music are detected

4 Formulate exercise 4.1 Aspects of technique to incorporate in exercise are selected

4.2 An enchaînement to highlight the chosen aspect of technique is choreographed

4.3 Strategies to highlight musical phasing, accent etc to the students are formulated


This describes the essential skills and knowledge and their level, required for this unit. • Application of knowledge of time signatures, tempo, accent and style and how these qualities affect the

movement.

• Application of knowledge of the Cecchetti Syllabus and the appropriate accompanying music.


Key components of an Barre work Advanced 1Ballet Class Port de bras Centre practice Adage, Pirouettes, Pettit Allegro / Grande Allegro, Pointe work / boys virtuosity. Time signatures 3/4 2/4 4/4 6/8 Tempos Galops Polkas Waltzes Minuet Tango March Landler Polonaise Tarantella Jig Phrasing Staccato Broken Flowing

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Expressions of quality Brillante Con brio Con esperissione Con Forza Con Gracia Con Moto Da Capo Dolce Modifications of speed Accelerando Andante A tempo Ritardando Legato Animato Accent On-beat Off-beat Syncopated Style Romantic Classical Modern EVIDENCE GUIDE The evidence guide provides advice on assessment and must be read in conjunction with the Performance Criteria, Required Skills and Knowledge, the Range Statement and the Assessment section in Section B of the accreditation submission.


A person who demonstrates competency in this unit will be able to perform the outcomes described in the Elements to the required level detailed in the Performance Criteria. The knowledge and skill requirements described in the Range Statement must also be demonstrated. The analysis of musical time, tempo, accent and style is also required to be demonstrated.


All performance criteria must be met, but particular attention needs to be given in the assessment process to evidence of:

• Plan a sequence for an Advanced 1 ballet class which combines the use of appropriate music and exercises which develop musicality and apply Cecchetti principles




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• Direct observation via the practical demonstration of class • Oral questioning relating to the selection of the chosen music

and the justification used. Guidance information for assessment



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Cecchetti Ballet Australia Inc.

RTO 21211

Anatomy Module VBP483

ANATOMY AND PHYSIOLOGY OF A CLASSICAL DANCER

22028VIC Course in Teaching the Licentiate Qualification in Cecchetti Classical Ballet

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MODULE DETAILS

Module Name Anatomy and Physiology of a Classical Dancer

Module Code VBP483

MODULE PURPOSE This module provides participants with an introduction to the principles of posture for dance. Including an introduction to basic human anatomy for the dancer and the principles of nutrition for the dancer.

PRE-REQUISITES N/A

CO-REQUISITES N/A

SUMMARY OF LEARNING OUTCOMES

1. Formulate knowledge of good posture for the dancer. 2. Specify a knowledge of connective tissue elements and their

functions. 3. Formulate knowledge of the structure and function of principle

bones of the human skeleton. 4. Combine a knowledge of the different types of body joints and

their function in dance. 5. Analyse the major muscle groups and describe their basic

structure and function in dance. 6. Apply knowledge of the basic function of the nervous system

in relation to movement. 7. Combine the basic principles of nutrition with the requirements

of a dancer. 8. Discuss the function of the body's systems.

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Learning Outcome 1 Formulate knowledge of good posture for the dancer.

Assessment Criteria

1.1 Analyse the principles of good posture with particular reference to ballet

1.2 Discuss the principles of good posture in relation to "pull up" in parallel position.

Learning Outcome 2

Specify a knowledge of connective tissue elements and their functions

Assessment Criteria 2.1 Analyse the major connective tissues of the human body

2.2 Contrast the function of connective tissues, with particular reference to a dancer's alignment

Learning Outcome 3

Formulate knowledge of the structure and function of principle bones of the human skeleton

Assessment Criteria 3.1 Specify the structure and function of the human skeleton with particular reference to the principles of alignment for the dancer

3.2 Analyse the principle bones of the human skeleton 3.3 Discuss the principle superficial bony landmarks on the human

body. Learning Outcome 4

Combine a knowledge of the different types of body joints and their function in dance

Assessment Criteria 4.1 Specify the four major types of joints found in the human body.

4.2 Discuss the major body joints and describe the function and stabilising factors of each, with particular reference to dance movement (e.g. plié, hip rotation).

Learning Outcome 5

Analyse the major muscle groups and describe their basic structure and function in dance.

Assessment Criteria 5.1 Specify the three types of muscle found in the human body. 5.2 Contrast the structure and function of Skeletal muscle. 5.3 Contrast the major muscle groups and describe their

attachments and actions, with particular reference to dance steps (e.g. plié, relevé, turnout).

5.4 Specify the surface anatomy of the superficial musculature Learning Outcome 6

Apply knowledge of the basic function of the nervous system in relation to movement

Assessment Criteria 6.1 Discuss in general terms, the structure of nervous system in the human body.

6.2 Discuss how the motor unit produces muscular contraction. 6.3 Analyse the principles of neuromuscular co-ordination with

particular reference to dance steps (e.g. balancing on demi-pointe, relevé)

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Learning Outcome 7

Combine the basic principles of nutrition with the requirements of a dancer

Assessment Criteria 7.1 Discuss the four major food groups and the types of food in each group.

7.2 Justify the daily requirements from each group that would comprise a healthy diet for a dancer.

7.3 Analyse the value of food in relation to body repair. 7.4 Specify the effects of good and bad nutritional habits on a

dancer's well being. 7.5 Analyse the importance of maintaining an adequate level of

hydration when exercising. 7.6 Categorise the elements that need to be addressed by a dancer

with a vegetarian or vegan diet. 7.7 Specify an appropriate daily diet for a day of dance classes

and/or rehearsals- 7.8 Specify appropriate pre-performance dietary requirements 7.9 Discuss appropriate dietary requirements that allow recovery

from class work, rehearsals and performances Learning Outcome 8

Discuss the function of the body's systems

Assessment Criteria 8.1 List general terminology related to the systems of the body 8.2 Analyse the structure and function of the systems of the body

with particular reference to dance.

REQUIRED KNOWLEDGE

This provides a summary of the essential knowledge and level required for this module. • Application of knowledge of technique and anatomy to the classical dancer.

• Ability to assess all situations with relation to safety and prevention of injury • Application of knowledge of how the dancer's body functions to perform a tendu or plié in a

classical ballet class, and • Application of knowledge of how the dancer's body functions to control a fall to the floor in a

classical ballet class.

• Application of knowledge of technique and anatomy as it relates to posture and "ideal alignment", and how the dancer works to achieve this.

• Literacy skills sufficient to undertake the written examinations.

• Research skills and the ability to acquire technical terminology.

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RANGE STATEMENT The Range Statement relates to the module as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording in the Assessment Criteria is detailed below. Add any essential operating conditions that may be present with training and assessment depending on the situation, needs of the candidate, accessibility of the item, and local industry and regional contexts.

Posture • Alignment • Stance • Correction of individual anomalies • Movement Planes

Body structure • Skeleton • Joints • Muscles • Connective tissue

Major types of joints • Synovial joints • Fibrous joints • Cartilaginous joints • Fibrocartilaginous joints

Types of Muscle • Skeletal muscle • Smooth muscle • Cardiac muscle

Structure of nervous system • Peripheral nervous system • Central nervous system • Autonomic system • Motor nerve • Sensory nerve

Principles of neuromuscular co-ordination • Motor unit • Sensory receptors • Joint receptors • Muscle spindles • Golgi tendon organs • Neural reflexes (including stretch reflex) • Stretch reflex (myotatic reflex) • Inverse myotatic reflex • Reciprocal innervation • Co-activation/co-contraction • Control of alignment • Visual receptors • Vestibular receptors (balance, equilibrium) • Proprioceptors (position sense) • Central nervous system

Nutrition • Energy demands of classical dance

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• Food groups • water and hydration • body repair

Systems of the body • cardiovascular system • nervous system • circulatory system • digestive system respiratory system.

EVIDENCE GUIDE The evidence guide provides advice on assessment and must be read in conjunction with the Assessment Criteria, Required Skills and Knowledge, the Range Statement and the Assessment section in Section B of the accreditation submission.


• Assessment will take the form of a 2-hour examination in two 1-hour sections, and the preparation of a 2500 word essay. The 2-hour examination will be assessed by a single Assessor and the essay by dual Assessors.

Critical aspects for assessment and evidence required to demonstrate achievement of the learning outcomes in this module

• The ability to demonstrate knowledge of the stresses and strains on the human body and injury prevention when performing/instructing the art of classical ballet


OH&S requirements The principles of OH&S must be incorporated wherever relevant to work practice. The following must be available

• Sprung floor, preferably timber. If surface is slippery tarket or equivalent should be laid.

• Appropriately secured barre • Climate control • Encourage hydration throughout class • Awareness of basic first aid and appropriate kit • Work within the boundaries of student’s

physical/medical conditions Specialised facilities and equipment

• Mirrored walls (optional) • Sprung floor, preferably timber. If surface is slippery

tarket or equivalent should be laid. • Appropriately secured barre • Climate control • Piano or music stereo system • Toilets and dressing room area • Rosin (where necessary) • First aid kit

Guest Speakers • Physiotherapists • Doctors

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• Nutritionist • Mentor

Method of assessment .

• Part 1. 2 x 1hour short answer, written examinations in full examination conditions, assessed by single assessor

• The topic for Part 2, 2500 word essay may be selected from the suggested topic list or the candidate may submit a dance related anatomy topic of his or her own choice and is assessed by dual assessors

• Part 1 and Part 2 are each marked out of 100. (5

short answer questions in Part 1 Section 1, worth 10 marks each, 2-detailed answer questions in Part 1 Section 2, worth 25 marks each.) Part 1, Sections 1 and 2 are each 1 hour examinations with 15 minutes reading time prior to commencement, the candidate will be given a ½ break between sections. Total score out of 200 where a mark of 130+ is required for a PASS in this module. Candidates result issued on completion of Part 1 and Part 2, not individually.

• Prior to submission of the Part 2 Essay, the

candidate is required to submit a 200 word outline to their State allocated Mentor for suitability assessment

• Candidates have the option to submit their Part 2 –

2500 word essay at the time of the written Part 1 examination or submit Part 2 within 12 months of the written examination. Where Part 1 and Part 2 are submitted individually, Part 1 must be submitted prior to Part 2.

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Cecchetti Ballet Australia Inc.

RTO 21211

History Module VBP484

THE HISTORY OF CLASSICAL BALLET

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MODULE DETAILS

Module Name The History of Classical Ballet

Module Code VBP484

MODULE PURPOSE This module provides participants with the knowledge underpinning the development of Classical Ballet.

PRE-REQUISITES N/A

CO-REQUISITES N/A

SUMMARY OF LEARNING OUTCOMES

1. Analyse the evolution of classical ballet

2. Specify the development of Ballet after 1900

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Learning Outcome 1

Analyse the evolution of classical ballet

Assessment Criteria

1.1 Analyse the impact of a chosen Period(s) on the evolution of classical ballet

1.2 Formulate a structured argument that demonstrates research of that period(s)

1.3 Discuss the effect of the chosen period(s) on the evolution of classical ballet.

Learning Outcome 2

Trace the development of Ballet after 1900

Assessment Criteria 2.1 Discuss a selected theme trend in ballet after 1900 2.2 Analyse key influences on the development of ballet in the

20th Century

REQUIRED KNOWLEDGE

This provides a summary of the essential knowledge and level required for this module.

• An understanding of the relevant movement and its subsequent influence on ballet

• Demonstrated knowledge of the changes in ballet style over time

• Research and tracking skills to produce a timeline

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RANGE STATEMENT The Range Statement relates to the module as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording in the Assessment Criteria is detailed below. Add any essential operating conditions that may be present with training and assessment depending on the situation, needs of the candidate, accessibility of the item, and local industry and regional contexts.

Chosen Period: • the joint birth of opera and ballet in the

Renaissance • the effect of French courtly patronage on the

development of ballet/opera • the codification of classical ballet terms and its

teaching at the Court of Louis XIV • the development of ballet as an art in the public

theatre independent of opera • the spread of Ballet from France and Italy

throughout Europe up to the end of the 19th Century

• the romantic movement in ballet and its sister arts (painting, music and literature) and their effect on each other

• the Petipa era in Russia and its influence on ballet today.

Select a theme trend: • the state of ballet as an art form c.1900 • the reformation of ballet under the leadership of

Serge Diaghilev • the renewal of ballet and its re-development in

France, Great Britain, the United States and elsewhere

• the emergence of Modern Dance, its effect on Ballet and the interaction between the two dance forms

• the development of dance in Australia from the arrival of the first Europeans to the present time

• the establishment of ballet in Australia; including the emergence of the State Ballet Companies and the Aboriginal and Modern Dance Companies

• the foundation of The Australian Ballet as a national company and its place in the life of the nation

Key Influences: • Periods in the development of the creative arts e.g.

Renaissance, Romantic • Carlo Blasis • Enrico Cecchetti • Lucie Saronova • Anna Pavlova • Vaslav Nijinsky • Marie Camargo • Marie Salle • The Taglioni Family

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• The Petipa Dynasty • Jules Perrot • Fanny Cerrito • Fanny Elssler • Lucille Grahn • Carlotta Grisi • Tamara Platonovna Karsavina • Mararet Craske

EVIDENCE GUIDE The evidence guide provides advice on assessment and must be read in conjunction with the Assessment Criteria, Required Skills and Knowledge, the Range Statement and the Assessment section in Section B of the accreditation submission.


• Assessment will take the form of two written research papers per learning outcome of between 1000 – 2000 words each and an additional research paper covering one of the learning outcomes of between 3500 – 5000 words.

Critical aspects for assessment and evidence required to demonstrate achievement of the learning outcomes in this module

• An ability to identify the origin and characteristics of classical ballet over time.


• Access to Mentor via email/face to face meetings • Access to reference material such as: • Prescribed text • General dance history books. • Videos • Dance magazines and journals • Theatre programs • Newspapers • Lecture notes • Opportunities to attend live performances relevant to the

history and ballet styles covered in the module • Internet • Access to a Cecchetti Classical Ballet Dictionary or

equivalent.

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Method of assessment .

• Candidates will submit research papers on 4 pre selected topics (2 from each learning outcome) from which they must write 4 1000 – 2000 word essays. These papers are assessed by a single assessor.

• Candidates will submit a research paper on 1 of 10 topics of 3500- 5000 words. This paper is assessed by dual assessors.

• Candidates have the option to submit both Part A (all 4 essays) and Part B together or submit Part B within 12 months of the submission of the Part A papers. If Part A and Part B are submitted individually, Part A must be submitted prior to Part B.

• Part A and Part B of the History module are each marked out of 100. (Part A, 4 pre selected essays [1000 - 2000 words each] worth 25marks each and Part B, 3500 – 5000 word essay worth 100 marks) Total score out of 200 where a mark of 130+ is required for a PASS in this module. Candidates result issued on completion of Part A and Part B, not individually

Documents

Cecchetti Ballet Australia Inc. RTO 21211cecchettiballet.org/pdf/licunits.pdf · Cecchetti Ballet Australia Inc. RTO 21211 Units VBP478, VBP479, VBP480,VU20017 & VBP482 Modules VBP483