1imperial Classical Ballet Syllabus Outline

IMPERIAL SOCIETY OF TEACHERS OF DANCING

Imperial Classical Ballet Faculty

SYLLABUS OUTLINE OF IMPERIAL CLASSICAL BALLET EXAMINATIONS

MAY 2011

ISTD HEADQUARTERS

22/26 PAUL STREET

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2 | I S T D I m p e r i a l C l a s s i c a l B a l l e t

CONTENTS

Imperial Classical Ballet Assessments .......................................................................................................... 3

Assessment: Pre - Primary Standard ...................................................................................................................... 7

Assessment: Primary Standard ............................................................................................................................... 8

Assessment: Standard 1 ......................................................................................................................................... 9

Assessment: Standard 2 ....................................................................................................................................... 10






Performance Awards ........................................................................................................................................... 23

Primary Graded Examination .............................................................................................................................. 33

Graded Examinations: Grades 1 - 6 ............................................................................................................ 27

Grade 1 ................................................................................................................................................................. 35

Grade 2 ................................................................................................................................................................. 38

Grade 3 ................................................................................................................................................................. 40

Grade 4 ................................................................................................................................................................. 42

Grade 5 ................................................................................................................................................................. 44

Grade 6 ................................................................................................................................................................. 48

Vocational Graded Examinations .............................................................................................................. 57

Intermediate Foundation ..................................................................................................................................... 64

Intermediate ......................................................................................................................................................... 67

Advanced 1 ........................................................................................................................................................... 70

Advanced 2 ........................................................................................................................................................... 73

Professional Teaching Examinations International (Outside Europe) .......................................................... 79

Associate ............................................................................................................................................................... 79

Associate Diploma ................................................................................................................................................ 83

Professional Qualifications (Europe & UK) .......................................................................................................... 85

Higher Professional Qualifications (UK, Europe & International) ...................................................................... 86

Licentiate .............................................................................................................................................................. 86

Fellowship ............................................................................................................................................................. 87

Candidates with Reasonable Adjustment Requirements ............................................................................ 89

Results and Certification ........................................................................................................................... 90

Re-takes .................................................................................................................................................. 90

OFQUAL Qualification Accreditation Numbers ........................................................................................... 91


ISTD IMPERIAL CLASSICAL BALLET DANCE EXAMINATIONS

IMPERIAL CLASSICAL BALLET ASSESSMENTS

INTRODUCTION

RATIONALE

The aim of Imperial Ballet Assessments is to provide an assessment scheme for dance, which gives the basis for

the measurement of the individual candidate's progress and development. There are nine practical assessment

standards, starting with Pre-Primary , Primary, Standards 1 to 6, and Higher Standards 7 &8, in order to

indicate the increasing order of difficulty (8 represents the highest level of attainment).

The syllabus is pre-arranged by the Imperial Ballet Faculty, to music commissioned to stimulate and educate

the child's musical knowledge, and feeling of interpretation.

The Assessments can also be used in conjunction with the Graded Examinations to allow consolidation of

technique before embarking on the next grade. This is especially beneficial for the more demanding higher

grades where greater strength and maturity are required.

AIMS

To educate by providing a progressive awareness of the culture and technique of Classical Ballet through a

graded programme of training and assessment

To provide a form of physical training that is safe, working both sides of the body evenly, alongside the

development of artistic and musical appreciation

To provide a structured examination system that can be followed by children who are studying Classical Ballet primarily as a recreational pursuit. However, this does not preclude the child who wishes to progress to vocational training in Classical Ballet and other theatrical dance forms

OBJECTIVES

The objectives of the Imperial Assessments are set out below:

A sense of performance which incorporates a suitable awareness of style and expression

Use of space in relation to the other members of the group and the dance area available

Rhythmic awareness and a suitable interpretation of the musical qualities

Correct alignment and placing of the body to the best of the individual physical facility


Appropriate use of limbs, with an understanding of the purpose of each exercise, thus developing motor

skills

Sense of line and co-ordination of movement

An appreciation of artistry, both in own movement and that of others

Consideration and respect

Creativity within a disciplined environment

ENTRY CONDITIONS AND GENERAL INFORMATION

The Assessments are taken in groups of four children; their teacher is in the examination studio with them and

gives all the necessary instructions.

Each child will receive an individual report and result which will reflect their own achievement gained. The

examination structure contains, apart from the mainly classically based work, a group mime, enchaînements

danced ensemble and character work again danced ensemble; these sections promote an awareness of

working together as a performance unit, showing consideration to fellow members in the group.

Higher standards 7 and 8 are a development of the Assessments; these candidates are examined in groups of

three, with the teacher no longer present as the examiner conducts the examination.

The teacher will conduct the examination and introduce each candidate by name to the Examiner. The order of

the syllabus should be reasonably adhered to. The teacher may conduct the examination in the candidates'

own language. In Standards 5 and 6 the teacher has the choice of conducting the examination or requesting

that the examination is conducted by the examiner. In Standards 7 and 8 the examination will be conducted by

the Examiner.

Each candidate will wear a number on the front of their leotard and stand with the lowest number to the

Examiner's left

Teachers entering candidates must provide their own pianist. Set music must be used in the examination.

Recorded music may not be used for any part of the examination.

Under no circumstances should amateur adult candidates be entered for an examination in the same

group as the children

Detailed notation of the syllabi and set exercises are available in the Imperial Classical Ballet Faculty

Technical Specifications for the Assessments, available from the Sales Department at ISTD Headquarters


AGE LIMITS

Children can commence the Pre-Primary at the age of 5, moving on to the Higher Standards, where there is no

upper age limit. The Higher Standards 7 and 8 have a more sophisticated structure appealing to those not

wishing to pursue the rigours of Vocational Graded work but wishing to continue with their examination

achievements.

Assessment Minimum age

Pre- Primary 5 years

Primary 5 years

Standard 1 6 years

Standards 2 7 years

Standards 3 and 4 8 years



Under no circumstances and at none of the levels should adults be entered in the same group as children.

Details of current procedures for entering candidates plus examination fees etc. are available from the

Examinations Department at the ISTD.

Pregnant candidates may not enter any ISTD examination.

TIME LIMIT/NUMBER OF CANDIDATES

Ideally, candidates should be entered in groups of 4. Males are entered with Females and the teacher should

adapt the syllabus work for Male candidates

Assessment 1 or 2 Candidates 3 or 4 Candidates 5 Candidates

Pre- Primary, Primary, Standard 1

20 minutes 25 minutes 25 minutes

Standard 2 25 minutes 30 minutes 30 minutes

Standards 3 and 4 30 minutes 40 minutes 40 minutes




The time allowance for each class is 5 minutes less than the examination time allowance, which includes 5

minutes writing time.

MUSICAL ACCOMPANIMENT

Teachers entering candidates must provide their own pianist. Set music must be used in the examination.

Recorded music may not be used for any part of the examination.

DRESS REQUIREMENTS

Female:

Pre-Primary and Primary

Approved leotard with matching circular skirt, pink ballet socks, unblocked pink ballet shoes with elastic for

Pre-Primary, ribbons for Primary

Standard 1-3

Approved leotard, pink ballet socks or pink tights, unblocked pink ballet shoes with ribbons

Standard 4-8

Approved leotard, pink ballet tights, unblocked pink ballet shoes with ribbons, character skirt and shoes where

applicable.

Male:

Pre-Primary, Primary, Standard 1-2

White leotard, navy blue or black shorts with white ballet socks, black or white ballet shoes with white elastic.

Standard 3-8

White leotard, with tights, white socks to be worn over the tights, black or white ballet shoes with white

elastic.

No make-up may be worn by candidates entering Pre-Primary to Standard 6 inclusive. Hair should be

suitably groomed for classical ballet and no jewellery may be worn

Although marks are not awarded for grooming, it is considered to be an essential part of the training, and

can only help the dancer to feel correctly prepared for his or her work.


SYLLABUS CONTENT

ASSESSMENT – PRE- PRIMARY STANDARD

Females should hold skirt and males place hands on waist throughout exercises and steps.

All exercises are set unless otherwise stated

Introductory

Movements

Running in

Skipping

Walking on the toes

Run to places for introduction of children

Exercises

Foot exercise

Sailing boats

Knee bends

Point to the front and close

Transference of weight (Females)

Transference of weight (Males)

Puppet

Arms

Set exercise (Female)

Set exercise (Male)

Steps

Bouncing the ball

Pas de cheval and galops

Claps and gallops

Music

Ponies and farmers

Responding to pitch

Marking time and marching

Mime

Group mime (Teacher's choice of subject)

Dance


Group dance (Teacher's arrangement with mime to the set music)

Curtsey

Or Bow

Teacher's choice

Running out

ASSESSMENT – PRIMARY STANDARD

Females should hold skirt and males place hands on waist throughout exercises and steps.

All exercises are set unless otherwise stated.

Introductory

Movements

Running in

Walks forward and introduction of candidates

Exercises

Walking round the room

Knee bends

Point to the front and close

Step to side and point in front

Hand & Arm

Exercises

Hand ripples

Arm exercise (set)

Arm exercise (Teacher's choice)

Expressive

Movement

Rises

Walking or running

Steps

Skipping

Springs in 1st position

Spring points

Galops sideways with partner

Galops forward with partner


Music

Mimetic gestures to 3/4 and 4/4 Time Signatures

Mime

Group mime (Teacher's choice of subject)

Dance

Group dance (Teacher's arrangement to the set music)

Curtsey

Or Bow

Teacher's choice

Running out

ASSESSMENT – STANDARD 1

Knowledge of 1st, 2nd and 3rd positions of the feet is required. Females should hold skirt and males place hands on waist throughout exercises and steps. All exercises are set unless otherwise stated. Introductory Movements

Running in and introduction of candidates Exercises

Demi pliés and dégagés Points to the front Point, lift, point, close

Arm & Hand Exercises

Arm waves Arm exercise (Teacher's Choice) Hand ripples

Adage

Transference of weight

Movement

& Placing


Step, close, step, curtsy. Walks from the corner Running into picture

Steps

Changement Free enchaînement to include:- Posé temps leve´ devant and derrière Petit jete´s devant and derrière Preparation for polka

Enchaînement

Music Percussion

a) 4/4 b) 2/4 polka c) Group percussion

Mime

Group mime (Teacher's choice of subject) Dance

Group dance (Teacher's arrangement to the set music)

Curtsey Or Bow

Teacher's choice Running out


All exercises are set unless otherwise stated The vocabulary of previous syllabi should be known Introductory Movements

Running in and introduction of candidates Barre

Pliés Battements tendus and retirés Grands battements devant Grands battements derrière

Arms

Arm exercise (set)


Arm exercise (Teacher's choice) Adage

Transference of weight Arabesque Set enchaînement

Allegro

Allegro warm up Two free enchaînements to include:- Jete´s derrière Retiré sauté en arrière Pas de chat Echappés sautés Polka enchaînement (set) Patterned enchaînement

Music

Occupational gestures 2/4 and 6/8 Musical phrasing

Mime

Group mime (Teacher's choice) Dance

Group dance (Teacher's arrangement to the set music) Curtsey Or Bow



All exercises are set unless otherwise stated The vocabulary of previous syllabi should be known Introductory Movement


Pliés


Battements tendus Ronds de jambe a terre Grands battements (Teacher's choice) Demi pointe work (Teacher's choice)

Port De Bras

Set Port de bras Port de bras (Teacher's choice)

Adage

Set adage Arabesque

Allegro

Warm up Two free enchaînements to include:- Jete´s devant Glissades devant and derrière Assemblés over Pas de basque sauté en avant Soubresauts

Character Steps

Teacher's arrangement to the set music including steps listed in the official notes Dance

Teacher's arrangement to one of the set pieces of music Curtsey Or Bow



All exercises are set unless otherwise stated The vocabulary of previous syllabi should be known Introductory Movements



Pliés Battements tendus and grands battements (Teacher's choice) Battements frappés Assemblés soutenus Adage enchaînement Demi pointe enchaînement

Centre Practice

Set exercise Port De Bras

Set exercise Adage

Transference of weight Preparation for assemblé soutenu en tournant

Allegro

Warm up Two free enchaînements to include:- Sissonne ouverte Pas de bourrée under Polka Simple coupe´s under and over Assemblé under Group enchaînement

Character Steps

Tarantella steps (Teacher's arrangement to the set music including steps listed in the official notes)

Dance

Teacher's arrangement to one of the set pieces of music. Curtsey Or Bow




The vocabulary of previous syllabi should be known. Introductory Movements


Pliés (set exercise) Battements tendus and battements glissés (set exercise) Ronds de jambe a terre (set exercise) Battements frappés (set exercise) Adage (set exercise) Grands Battements (set exercise) Demi pointe enchaînement (set exercise)

Centre Practice


Set exercise (Females) Set exercise (Males)

Adage

Set exercise Pirouettes


Allegro

Warm up (set exercise) Enchaînement No. 1 Enchaînement No. 2 (Females) Enchaînement No. 2 (Males)

Petite Batterie

Preparation for petite batterie Classical Solo

Enchaînement No. 3 (Females) Enchaînement No. 3 (Males)

Character


Steps Barre exercise No. 1 Barre exercise No. 2

Dance

(Teacher's arrangement to the set music including steps listed in the official notes) Character Bow


The vocabulary of previous syllabi should be known. Introductory Movement


Pliés (set exercise) Battements tendus (set exercise) Battements glissés (set exercise) Battements frappés (set exercise) Battements fondus (set exercise) Adage (set exercise) Grands Battements (set exercise)

Centre Practice & Port de bras

Set exercise Adage


Pirouettes

Set exercise Demi pointe & posé turns exercise (Females)

Allegro

Warm up Enchaînement No. 1 Enchaînement No. 2

Petite Batterie

Set exercise


Classical Solo Enchaînement No. 3

Character

Exercise No. 1 Steps

Exercise No. 2 Group enchaînement (Teacher's arrangement to the set music including steps listed in the official notes)

Dance Character dance (Teacher's arrangement to the set music including steps listed in the official

notes) Character Bow


The vocabulary of the previous syllabi should be known. Barre exercises will be seen together and all other arrangements individually. Barre

Pliés (set exercise) Battements tendus (set exercise) Port de bras & adage (set exercise)

Centre Practice & Adage


Set exercise Allegro

Warm up (set exercise) Enchaînement (Females) Enchaînement (Males)

Choreography

Candidates own arrangement to one of the set pieces of music Character Steps


Hungarian (set exercise) Group enchaînement arranged by the teacher or the candidates to the set music.

Character Bow


The vocabulary of previous syllabi should be known. Barre exercises will be seen together and all other arrangements individually. Barre

Pliés (set exercise) Battements tendus and grands battements

Adage

Set exercise Allegro

Warm up (set exercise) Enchaînement (Females) Enchaînement (Males)

Choreography

Candidates own arrangement to one of the set pieces of music or to a poem. Character Steps

Polish (set exercise) Group enchaînement arranged by the teacher or the candidates to the set music.

Character Bow


ASSESSMENT - IMPERIAL CLASSICAL BALLET ASSESSMENTS

MARK SCHEME

PRE-PRIMARY STANDARD

TECHNIQUE

Title of component Marks attainable

Poise of body, placement and use of legs and feet 20

Section Total 20

PRESENTATION


Sense of performance, mime and dance 20

Response and spatial awareness 20

Section Total 40

MUSICALITY


Music section and timing 20

Rhythm and sense of movement 20

Section Total 40

Total 100


PRIMARY AND STANDARD 1

TECHNIQUE


Poise of body 10

Port de bras 10

Placement and use of legs 10

Placement and use of feet 10

Section Total 40

PRESENTATION


Sense of performance 10

Mime 10

Spatial awareness, group enchaînement and dance 10

Response 10

Section Total 40

MUSICALITY


Music section and timing 10

Rhythm and sense of movement 10

Section Total 20

Total 100


STANDARDS 2, 3 AND 4

TECHNIQUE


Barre 10

Port de bras 10

Adage 10

Allegro 10

Section Total 40

PRESENTATION


Performance/artistry 10


Character section/mime 10

Dance and group enchaînement 10

Section Total 40

MUSICALITY


Rhythmic awareness, sense of timing and music section 10

Interpretation of musical qualities 10

Section Total 20

Total 100


STANDARD 5 AND 6

TECHNIQUE


Barre 10

Port de bras 10

Adage 10

Pirouettes 10

Allegro and Petite Batterie 10

Character section and Dance 10

Section Total 60

PRESENTATION


Performance/artistry 10


Section Total 20

MUSICALITY


Rhythmic awareness and sense of timing 10

Interpretation of musical qualities 10

Section Total 20

Total 100


METHOD OF ASSESSMENT

Imperial Classical Ballet Assessments are assessed externally by visiting examiners recruited and trained by the

ISTD.

The examinations are divided into Sections and each Section is composed of several components which are

separately assessed and aggregated to give the Section total. The titles of these components and marks

attainable are detailed above.

Candidates must gain at least 25% of the marks attainable in each Section in order to pass the examination

overall. In cases where 25% of the marks attainable does not come to a round figure, e.g. 12 ½ , the pass mark

for the Section is lowered to the nearest round figure, in this example, 12.

The Section totals are aggregated and the overall mark is given out of 100. If all Sections are passed, then the

overall result is indicated as follows:

Grade Marks

Distinction 80-100 marks

Merit 60-79 marks

Pass 40-59 marks

Not Attained 0-39 marks

However, if the candidate is unsuccessful in one or more Sections, as explained above, the total mark given out

of 100 will not correspond to the result indicators in the chart. In this circumstance, whatever the overall

numerical mark may be, the result given will be `Not Attained'.

ASSESSMENT GUIDANCE

Candidates are assessed on their ability to show:

A sense of performance which incorporates a suitable awareness of style, expression and enjoyment.

Use of space in relation to the other members of the group and the dance area available.

A rhythmic awareness and a suitable interpretation of the musical qualities.

An understanding of correct stance and placement with an application of classical technique.


PERFORMANCE AWARDS

INTRODUCTION

RATIONALE

The purposes of the Performance Awards are:

To educate by providing a progressive awareness of the culture and technique of Classical Ballet

To develop style and a sense of performance alongside the artistic and musical appreciation

To give both teachers and students the opportunity to develop and enhance performance skills, whilst

retaining and consolidating technical development

To encourage the student to use the Classical Ballet technique as a basis for expressing and developing a

characterisation or style of dance

After passing Grade 3, the Performance Awards may be entered. The Performance Awards give the

opportunity for the candidate to perfect variations and solos with emphasis on presentation, style and

dynamics.

Further Performance Awards may be entered after subsequent grade or levels have been achieved. The

advantage to be gained when following this course of study can revitalise both teacher and pupil after the

intensity of examination preparations, bringing back the pure enjoyment of ``dance'' which can become lost as

the technical demands increase at the higher levels.

OBJECTIVES

The objectives of the Imperial Ballet Performance Awards syllabus are set out below:

An assured and confident sense of performance

Technical accuracy, whether based upon classical or character work

Spatial awareness

Where applicable, involvement within the character with convincing mime and assured use of properties


Appropriate use of limbs, with an understanding of the purpose of each exercise, thus developing motor

skills

Sense of line and co-ordination of movement

Rhythmic and musical awareness

An appreciation of artistry, both in own movement and that of others





AGE LIMITS

1 Minimum age 8 years

2 a) Candidates must have been successful in either Grade 3 or Class Examination Level 3 to enter

for the Grade 3 Performance Award

b) Candidates must have been successful in either Grade 4 or Class Examination Level 4 to enter for the

Grade 4 Performance Award

c) Candidates must have been successful in either Grade 5 or Class Examination Level 5 to enter for the


d) Candidates must have been successful in either Grade 6 or Class Examination Level 6 to enter for the


3 Males may be examined with Females and candidates taking different Performance Award levels may

be examined together


1. The candidate is required to perform the following:

a) Teacher's choice of one of the relevant Set Variations for the Grade. The examiner may request that

this is danced in pairs.

b) Teacher's choice of own arrangement of a Ballet Solo or one of the past Ballet Award Dances (not

more than 1 minutes duration)

c) Teacher's choice of own arrangement of a demi-character, character or national solo, including mime

(not more than 1 minutes duration)

(b) and (c) will be danced individually

2. Dances may not include pointe work nor be dances currently being used in the Imperial Ballet Awards. The

use of Set Dances of any other Society or Faculty is not permitted

3. Candidates must be warmed-up prior to entering the examination studio, and will not leave the studio

during the Performance Award


TIME ALLOCATIONS/NUMBER OF CANDIDATES

Candidates are examined in groups of 4 or less. Duration times of examinations are as follows:

4 candidates 3 candidates 2 candidates 1 candidate

25 minutes 20 minutes 15 minutes 10 minutes


Candidates must provide their own cassettes/compact disc or other digital audio equipment and provide and

operate a player in the examination room.

DRESS REQUIREMENTS

The Set Variation and Ballet Solo must be shown in approved examination wear. The candidate may change

shoes and, if required, add a skirt for the other Solo provided this can be achieved speedily and unaided.

No theatrical make up or jewellery may be worn.

The hair must be suitably dressed for classical ballet.

ASSESSMENT - IMPERIAL CLASSICAL BALLET PERFORMANCE AWARDS

MARK SCHEME

PERFORMANCE AWARDS


Variation 25

Dance 1 25

Dance 2 25

Technical Standard Overall 25

Total 100



The Performance Awards are assessed externally by visiting examiners recruited and trained by the ISTD.


separately assessed and aggregated to give the Section total. The titles of these components and the marks

attainable for the Imperial Graded Examinations are detailed above.


overall. In cases where 25% of the marks attainable does not come to a round figure, eg 12 ½ , the pass mark




Grade Marks


Merit 60-79 marks

Pass 40-59 marks





ASSESSMENT GUIDANCE


An assured and confident sense of performance.

Technical accuracy, whether based upon classical or character work.

An appropriate sense of style and well co-ordinated movements.

An instinctive musicality and a highly developed rhythmic awareness.

Spatial awareness.

Where applicable, involvement within the character with convincing mime and assured use of properties.


GRADED EXAMINATIONS: PRIMARY AND GRADES 1 - 6

INTRODUCTION

RATIONALE

Imperial Classical Ballet makes a distinctive contribution to the education of all students, through using

movement, which is one of the fundamental modes of human expression. It offers a range of learning

opportunities and enables participants to enjoy physical expression as well as develop intellectual sensibilities.

As they work together in Imperial Classical Ballet, candidates learn about co-operation and develop an

understanding of the shaping of movement into artistic forms of expression.

Graded Examinations in Imperial Classical Ballet are concerned with progressive mastery in defined stages

within the context of safe dance practice.

AIMS

The aim of Graded Examinations is to provide an assessment scheme for dance, which gives the basis for the

measurement of the individual candidate's progress and development, whether the candidate is pursuing

dance as a leisure activity or as preparation for a professional career as a dance teacher or performer. There

are six practical examination grades, numbered from 1 to 6, in order to indicate the increasing order of

difficulty (6 represents the highest level of attainment).

OBJECTIVES

The objectives of the Imperial graded examination syllabus are set out below:

Educate by providing a progressive awareness of the culture and technique of Imperial Classical Ballet through a graded programme of training and assessment

Provide a form of physical training that is safe, working both sides of the body evenly, alongside the development of artistic and musical appreciation

LEARNING AND PROGRESSION

Candidates develop the skill and understanding of Imperial Classical Ballet, at the same time as building a

sound technique, by developing the physical ability to communicate through movement in an expressive and

artistic way.

A clearly defined structure allows learning to take place in the context of safe dance practice. The Graded

Examinations build up progressively, ensuring that steps and skills learned at lower levels prepare for more

complex movements as the candidate progresses.

Each Imperial Ballet Graded Examination allows candidates to progress to the next higher grade in the Imperial

Classical Ballet genre. Also, a range of transfers to other dance genres becomes possible as the candidate


develops physically and learns common skills such as running, use of arms, posture, timing and rhythmic

awareness. In this way, with additional teaching input, the candidate is able to develop a broad base of dancing

skills.

Following on from the Graded Examinations, candidates may wish to progress to the Vocational Graded

Examinations as preparation for employment as a professional dancer or as preparation for dance teaching

qualifications.

The Graded Examinations in Imperial Classical Ballet also allow for those participating solely for recreational

purposes to produce quality work in a safe dance context.


AGE LIMITS

Children and adults should not be entered at the same time.


PRIOR LEARNING

The Graded Examinations in Imperial Classical Ballet are intended to be taken consecutively and most

candidates will wish to progress through them in sequence in order to develop and demonstrate the requisite

skills. However, in cases where examinations are undertaken without success at the previous grade, the

candidate needs to be at an appropriate level of physical and artistic development. Before a candidate enrols

Examination Age limits

Primary 6 years

Grade 1 7 years and no maximum







in a class leading to a Graded Examination, teachers are under a particular duty, therefore, to assess the

achievement of the candidate, particularly with regard to safe dance practice.

GENDER DISTINCTIONS

Male and female candidates may be examined together at all Grade levels.

The syllabus is suitable for both male and female candidates as it is designed to develop all -round strengths

and abilities. There are some separate exercises for males and females that are intended to develop the

differing physical strengths and capabilities to the advantage of the gender, and are not intended to limit

opportunities for access.

Such variations are designed within the context industry needs and in particular, health and safety in dance.

It is therefore advisable for candidates to follow the relevant syllabi where available.

TIME ALLOWANCES/NUMBER OF CANDIDATES

Candidates should be entered in pairs. Where an odd number of candidates are involved, the extra candidate

should be entered with a pair, thereby making a group of three. If a male candidate is entered with a female

candidate an extra 5 minutes should be added to the length of the examination for Grade 4 and an extra 10

minutes for Grades 5 and 6

1 or 2 candidates 3 candidates

Primary and Grade 1 20 minutes 25 minutes

Grade 2 30 minutes 35 minutes






A pianist is required for all examinations using the set music composed by Paul Stobart. The set dances may be

performed to either live or recorded piano accompaniment.


DRESS REQUIREMENTS

Primary

Female:

Approved leotard with skirt, ballet socks and unblocked pink ballet shoes.

Male:

White leotard or t-shirt with navy blue or black shorts, white socks, black or white shoes with elastic.

Grades 1-6

Female:

Approved leotard, ballet socks or pink tights, unblocked pink shoes with ribbons.

Male:

White leotard or t-shirt with navy blue or black shorts or with tights and white socks (to be worn over

tights at Grades 1-6), black or white shoes with white elastic.

Hair should be suitably groomed for classical ballet. Make-up or jewellery must not be worn.

GRADED EXAMINATIONS AND THE QUALIFICATIONS AND CREDIT FRAMEWORK (QCF)

The Graded Examinations in Dance are accredited on the Qualifications and Credit Framework (QCF) for

England, Wales and Northern Ireland as shown below.

General Qualifications

(for comparability)

QCF Level ISTD Grade Credit value

Certificate of (educational)

achievement

Entry Level (1 - 3) N/A

GCSE Grades D-G Level 1 Grade 1

Grade 2

Grade 3

7 credits

GCSE Grades A*-C

Level 2 Grade 4

Grade 5

10 credits

A/AS level Level 3 Grade 6 13 credits


The following level descriptors explain what is required of candidates at each level of this framework. All

performances should demonstrate compliance with the principles of safe dance practice and candidates should

demonstrate an appropriate approach to the examination in relation to their conduct and overall presentation.

QCF LEVEL DESCRIPTORS

QCF LEVEL 1 (GRADES 1, 2 AND 3)

Achievement at level 1 reflects the ability to understand and use and apply relevant knowledge, understanding and skills in relation to an increasing vocabulary of movement and artistic awareness.

Knowledge and understanding Application and action Autonomy and accountability

Candidates demonstrate knowledge and understanding of technique, music and performance which is reflected in the ability to co-ordinate simple movements to produce combinations of steps with appropriate precision and control.

Candidates demonstrate basic techniques through using an increasing vocabulary of movement in their chosen dance discipline/genre.

Candidates demonstrate the ability to interpret music with a sense of appropriate timing and rhythm for their chosen dance discipline/genre.

Candidates demonstrate performance with an increasing confidence and responsiveness to an audience.

Candidates demonstrate an awareness of their own health and safety and safe dance practice.

QCF LEVEL 2 (GRADES 4 AND 5)

Achievement at level 2 reflects the ability to build upon skills, knowledge and understanding in relation to an increasing vocabulary of movement and artistic understanding showing an increased confidence and assurance in application.


Candidates demonstrate a clear knowledge and understanding of technique, music and performance which is reflected in the ability to co-ordinate more complex movements to produce combinations of steps with increasing precision and control.

Candidates demonstrate an increasing consolidation of technical skills in their chosen dance discipline/genre.

Candidates demonstrate an increased ability to interpret music and display sensitivity to musical content and style appropriate to

Candidates demonstrate an understanding of and responsibility for their own health and safety and safe dance practice.


the dance discipline/genre.

Candidates demonstrate an increased range of movements in sequences of greater length and complexity and the ability to sustain an appropriate sense of style of the dance discipline/genre. They demonstrate confidence in performing the movement.

QCF LEVEL 3 (GRADE 6)

Achievement at Level 3 reflects the ability to build upon a range of skills, knowledge and understanding in relation to an increasingly refined vocabulary of movement and artistic interpretation showing an increased confidence, assurance and sensitivity in application.


Candidates demonstrate a sound and established knowledge and understanding of the technique and music of a particular dance discipline/genre.

They demonstrate an increased awareness of performance and an increased understanding of the relationship between performer and audience.

Candidates demonstrate a wide range of movements performed consistently and confidently with technical accuracy and control.

Candidates demonstrate an increased sensitivity to a range of musical content and style appropriate to the dance discipline/genre.

Candidates demonstrate dynamics and fluidity of movement incorporating the use of space and a maturity and individuality in interpretation and expression.

Candidates demonstrate a clear understanding of and responsibility for their own health and safety and safe dance practice.


PRIMARY GRADED EXAMINATION

IMPERIAL CLASSICAL BALLET SYLLABUS CONTENT

PRIMARY GRADE

Females should hold skirts and Males place hands on waist throughout exercises and steps.

Exercises

Knee bend exercise

Rises with arm movement (Females)

Rises with arm movement (Males)

Step to side and lift

Step, close, step and point

Step, close, step and hop

Arms

Hands opening and closing

Wrists bending up and down

Port de bras

Set arm exercise (Females)

Set arm exercise (Males)

Steps Taken Round the Room

Walking

Lifted walks

Walking on demi-pointe

Running

Skipping

Steps of Elevation

Springs in 1st position

Springs to 2nd position and back to 1st position

Spring points

Springs from foot to foot

2 Galops to the side, step and point


2 Galops to the side, step and hop

Steps

Run, point and Port de bras (Females)

Run, point and Port de bras (Males)

Music

Clap, recognise and count

Waltz and Polka

Walking 4, clapping 4

Walking 3 and clapping 1

Set Dance

Teacher's choice of one of the following:

A) Twilight Elf

B) Puddles are for Jumping

C) My Piggy Bank

D) Waiting for the Postman

Curtsey or Bow - Teacher's choice

ASSESSMENT - IMPERIAL CLASSICAL BALLET GRADED EXAMINATION - PRIMARY

MARK SCHEME

Primary

TECHNIQUE


Stance and placement 10

Line and quality of Port de bras 10

Control through body and legs 10

Quality of ballon, footwork and co-ordination 10


Section Total 40

PRESENTATION, MUSICALITY AND RESPONSE


Sense of performance 10

Rhythmic awareness 10

Music section 10

Sense of timing 10

Response and syllabus knowledge 10

Section Total 50

PERFORMANCE

Dance 10

Section Total 10

Total 100

IMPERIAL CLASSICAL BALLET SYLLABUS CONTENT

GRADES 1, 2, & 3 (QCF LEVEL 1)

Candidates demonstrate an increasing vocabulary of movement in the chosen technique. An understanding of

the technique is reflected in the ability to coordinate simple movements to produce combinations of steps and

quality of movement ie. precision and control within the range of their own physical capacity.

Candidates communicate an increasing confidence in performance. They are able to interpret music and

display sensitivity to musical content and style. Candidates' performances show a developing spatial

awareness, an ability to work with others and responsiveness to an audience.

GRADE 1 FEMALE

Candidates are expected to combine any movements contained in the syllabus into simple sequences set by

the examiner and have a knowledge of the French terms used, knowledge of the 5 positions of the feet and the

following arm positions - bras bas, en avant, en couronne, attitude, à la seconde, demi bras and demi-seconde.


Barre

Demi plié in 1st and grand plié in 2nd combined with rises in 1st and 2nd - set exercise

Battements tendus en croix - in 4 counts

Retirés

Grands battements en croix - in 4 counts

Port de bras -

Set Port de bras

Adage

Walks

Dégagés devant, derrière and à la seconde

Chassés en avant and à la seconde - in 4 counts – set exercise

Posés on the whole foot - set exercise

Allegro

Skips

Galops en avant and de côté

Runs

Spring points

Polka en avant and de côté – also set exercise

Petits jetés devant and derrière

Retirés sautés en arrière

Posé, temps levé in attitude devant

Sautés in 1st

Changements

Music

Recognise, clap and count the Waltz, Polka and March

Dance

Teacher's choice of one of the following set dances:

A) Picking Blackberries

B) Has anybody seen my mouse?

C) Collecting conkers

D) Freezing in winter

Reverence


GRADE 1 MALE

Candidates are expected to combine any movements contained in the syllabus into simple sequences set by

the examiner and have a knowledge of the French terms used, knowledge of the 5 positions of the feet and the

following arm positions - bras bas, en avant, en couronne, attitude, à la seconde, demi bras and demi-seconde.

Barre

Demi plié in 1st and grand plié in 2nd combined with rises in 1st and 2nd - set exercise

Battements tendus en croix - in 4 counts

Retirés


Port de bras -

Set port de bras

Adage

Walks

Dégagés devant, derrière and à la seconde

Chassés en avant and à la seconde - in 4 counts – set exercise

Posés on the whole foot - set exercise

Allegro

Skips

Galops en avant and de côté

Runs

Spring points

Polka en avant and de côté – also set exercise

Petits jetés devant and derrière

Retirés sautés en arrière

Posé, temps levé in attitude devant

Sautés in 1st

Changements

Music

Recognise, clap and count the Waltz, Polka and March

Dance


A) Picking Blackberries

B) Has anybody seen my mouse?

C) Collecting conkers

D) Freezing in winter


Reverence

GRADE 2 FEMALE

Candidates are expected to combine any movements contained in this and previous syllabi into simple

sequences set by the examiner and have a knowledge of the French terms used, knowledge of directions -

croisé, en face, ouvert and the following additional arm positions - bras croisé, attitude grecque and 3rd

arabesque.

Barre

Demi plié, grand plié and rises in 1st, 2nd and 3rd - set exercise

Battements tendus in 4 counts

Ronds de jambe à terre en dehors and en dedans in 4 counts

Assemblés soutenus in 4 counts - set exercise

Retirés with relevé in 5th - set exercise


Port de bras

Set port de bras

Adage

Chassés passés en avant and en arrière - in 4 counts

1st arabesque à terre and en l'air – set exercise

Demi-détourné with relevé in 5th - set exercise

Allegro

Jetés ordinaires devant and derrière

Glissades devant and derrière

Assemblés over and under

Pas de basque glissés en avant

Pas de chat

Balancé de côté - set exercise

Soubresauts

Echappé sautés à la seconde

Music

Recognise, clap and know the value of semi breves, minims, crochets and quavers

Dance


A) Ballet solo

B) I hate homework

C) Flying my kite


D) The Storm

Reverence

GRADE 2 MALE


sequences set by the examiner and have a knowledge of the French terms used, knowledge of directions -

croisé, en face, ouvert and the following additional arm positions - bras croisé, attitude grecque and 3rd

arabesque.

Barre

Demi plié, grand plié and rises in 1st, 2nd and 3rd - set exercise




Retirés with relevé in 5th - set exercise


Port de bras -

Set port de bras

Adage

Chassés passés en avant and en arrière - in 4 counts

1st arabesque à terre and en l'air – set exercise

Demi-détourné with relevé in 5th - set exercise

Allegro

Jetés ordinaires devant and derrière

Glissades devant and derrière

Assemblés over and under

Pas de basque glissés en avant

Pas de chat

Balancé de côté - set exercise

Soubresauts

Echappé sautés à la seconde

Music

Recognise, clap and know the value of semi breves, minims, crochets and quavers

Dance


A) I hate homework


B) Flying my kite

C) The Storm

Reverence

GRADE 3 FEMALE


sequences set by the examiner. Candidates are also expected to have knowledge of the French terms used.

Barre

Demi plié, grand plié and rises in 1st, 2nd, 3rd and 4th ouvert - set exercise

Battements tendus with demi-plié en croix using simple Port de bras - set exercise



Battements frappés to 2nd

Développés en croix in 4 counts

Grands battements in 2 counts

Echappés en demi-pointe à la seconde

Port de bras -

Simple amalgamation set by the examiner using the arm positions and directions which were studied

in previous grades

Adage

Chassés passés en arrière - in 2 counts

Attitude ordinaire à terre and en l'air

Posés en demi-pointe - set exercise

Allegro

Assemblés devant and derrière

Simple coupés over and under

Sissonne ouverte en avant

Pas de basque sautés en avant

Pas de bourrées devant and derrière with either foot, and under with the back foot (one to a bar)

Petit assemblé

Echappés sautés en croix

Balancés - set exercise

Set Variations


A) Polka

B) Hornpipe


C) Waltz

D) A day at the races

Reverence

GRADE 3 MALE



Barre

Demi plié, grand plié and rises in 1st, 2nd, 3rd and 4th ouvert - set exercise

Battements tendus with demi-plié en croix using simple Port de bras - set exercise




Développés en croix in 4 counts


Echappés en demi-pointe à la seconde

Port de bras -

Simple amalgamation set by the examiner using the arm positions and directions which were studied

in previous grades

Adage

Chassés passés en arrière - in 2 counts

Attitude ordinaire à terre and en l'air

Posés en demi-pointe - set exercise

Allegro

Assemblés devant and derrière

Simple coupés over and under

Sissonne ouverte en avant

Pas de basque sautés en avant

Pas de bourrées devant and derrière with either foot, and under with the back foot (one to a bar)

Petit assemblé

Echappés sautés en croix

Set enchaînement

Set Variations



A) Hornpipe

B) Waltz

C) A day at the races

Reverence

GRADES 4 AND 5 (QCF LEVEL 2)

Candidates demonstrate consolidated technical skills and an increased range of movements in sequences of

increased length and complexity. They show a clear understanding of mechanics and purpose of the required

vocabulary.

Candidates show the ability to sustain an appropriate sense of style throughout more complex sequences and

an increased sensitivity to varying musical qualities. Technical facility and improved spatial awareness lead to

an increased assurance of presentation.

GRADE 4 FEMALE



Barre

Demi plié, grande plié and rises in 1st, 2nd, 3rd and 4th croisé - set exercise

Battements tendus and grands battements en croix - set exercise

Ronds de jambe à terre en dehors and en dedans in 1 and 2 counts - set exercise

Battements fondus en croix à terre

Petits battements sur le cou-de pied (single)

Développés en croix

Relevés devant, derrière and passé devant and derrière

Echappés en croix en demi-pointe

Port de bras

Simple amalgamation set by the examiner using transference of weight (chassés, walks and technical

transference of weight) and the arm positions and directions which were studied in previous grades

Adage

Temps Lié en avant à terre - set exercise

Dégagés with use of épaulement

2nd arabesque à terre and en l'air

Posé, assemblé soutenu en tournant


Demi-Pointe

Work

Echappés to 2nd

Relevés in 5th

Allegro

Glissades over and under

Pas de bourrées over and under with either foot (two to a bar)

Ballonnés simples en avant

Pas de basque glissés and sautés en arrière

Sissonne changée ouverte

Demi-contretemps

Chassé, coupé, chassé temps levé in arabesque or pirouette position derrière

Chassé, coupé, chassé temps levé in 3rd arabesque - set exercise

Petite Batterie

Echappé sautés battus fermés

Set Variations


A) Female

B) Male or Female

C) Male or Female

Reverence

GRADE 4 MALE



Barre

Demi plié, grande plié and rises in 1st, 2nd, 3rd and 4th croisé - set exercise

Battements tendus and grands battements en croix in 2 counts - set exercise

Ronds de jambe à terre en dehors and en dedans in 1 and 2 counts - set exercise


Petits battements sur le cou-de pied (single)

Développés en croix

Relevés devant, derrière and passé devant and derrière

Echappés en croix en demi-pointe


Port de bras -

Simple amalgamation set by the examiner using transference of weight (chassés, walks and technical

transference of weight) and the arm positions and directions which were studied in previous grades

Adage

Temps Lié en avant à terre - set exercise

Dégagés with use of épaulement

2nd arabesque à terre and en l'air

Posé, assemblé soutenu en tournant

Allegro

Glissades over and under

Pas de bourrées over and under with either foot (two to a bar)

Ballonnés simples en avant

Pas de basque glissés and sautés en arrière

Sissonne changée ouverte

Demi-contretemps

Chassé, coupé, chassé temps levé in arabesque or pirouette position derrière

Set enchaînement

Petite Batterie

Echappé sautés battus fermés

Set Variations


A) Male

B) Male or Female

C) Male or Female

Reverence

GRADE 5 FEMALE



Barre

Demi plié, grand plié and rises in 1st, 2nd, 5th and 4th croisé and ouvert with forward and sideways

Port de bras - set exercise


Battements glissés in 2nd from 1st


Battements fondus en croix en l'air


Battements frappés fouettés

Ronds de jambe en l'air en dehors and en dedans (single) - set exercise

Développé to 2nd and fouetté to arabesque - set exercise


Centre Practice

Demi-plié in 1st and 2nd, grand plié in 2nd

Rises in 1st and 2nd

Battements tendus en croix in 2 counts

Grand battement in 2 counts

Port de bras

Amalgamation set by the examiner to include the reverse movement

Adage

Temps Lié à terre en avant and en arrière

Développés

Attitude devant in opposition à terre and en l'air

Attitude devant and derrière à deux bras à terre and en l'air

3rd arabesque à terre and en l'air

Demi-Pointe

Work

Echappés en croix

Relevé devant, derrière and passes devant and derrière

Pirouettes

Singles en dehors from 5th

Relevés passés by half turns

Posé assemblé soutenu en tournant - set exercise

Allegro

Jetés ordinaires en avant, en arrière and decôte´

Grands jetés en tournant

Full contretemps

Ballonnés composés en avant

Sissonnes ordinaires devant, derrière, and passé devant and derrière

Sissonnes doublée under

Sissonnes fermé en avant

Coupé, chassé pas de bourrée under

Petite Batterie


Echappé sautés battus

Entrechat quatre

Set Variations


A) Female

B) Male or Female

C) Male or Female

D)‚Female

Reverence

GRADE 5 MALE


sequences set by the examiner and have knowledge of the French terms used.

Barre




Battements glissés in 2nd from 1st



Battements frappés fouettés

Ronds de jambe en l'air en dehors and en dedans (single) - set exercise

Développé to 2nd and fouetté to arabesque - set exercise


Centre Practice

Demi-plié in 1st and 2nd, grand plié in 2nd with

Rises in 1st and 2nd

Battements tendus en croix in 2 counts

Grand battement in 2 counts

Port de bras

Amalgamation set by the examiner to include the reverse movement

Adage

Temps Lié à terre en arrière - set exercise

Développés

Attitude devant in opposition à terre and en l'air

Attitude devant and derrière à deux bras à terre and en l'air

3rd arabesque à terre and en l'air


Demi-Pointe

Work Relevé devant, derrière and passe´ devant and derrière

Pirouettes

Singles en dehors from 5th and 2nd

Allegro

Jetés ordinaires en avant, en arrière and decôte´

Grands jetés en tournant

Full contretemps

Ballonnés composés en avant

Sissonnes ordinaires devant, derrière, and passé devant and derrière

Sissonnes doublée under

Sissonnes fermé en avant

Coupé, chassé pas de bourrée under

Preparatory exercise for tour en l'air (using 1⁄2 turn)

Set enchaînement

Petite Batterie

Echappé sautés battus

Entrechat quatre

Set Variations


A) Male

B) Male or Female

C) Male or Female

Reverence

GRADE 6 (QCF LEVEL 3)

Candidates demonstrate a comprehensive knowledge and understanding of the vocabulary of a particular style

through a wide range of movements performed with technical strength. Along with confidence, candidates

convey self-awareness, resulting in a sensitive personal interpretation of musical mood.

Candidates demonstrate a mature awareness of audience as well as subtleties of performance combined with

expression and fluidity of movement involving dynamics and use of space.


GRADE 6 FEMALE



Barre




Battements glissés en clôche


Battements frappés en demi-pointe

Battements frappés fouettés en demi-pointe

Petits battements sur le cou-de-pied (single)

Single rond de jambe en l'air

Demi grands ronds de jambe en dehors and en dedans


Fouetté rond de jambe en tournant - set exercise

Relevés from one foot to one foot en croix

Centre Practice


Battements frappes to 2nd in 1 count


Port de bras

Amalgamation set by the examiner to include any circular movement or the circular Port de bras with

transfer of weight

Adage

Temps Lié en l'air en avant and en arrière - set exercise

Fouetté of Adage

Demi-Pointe

Work

Posés coupés en avant in any direction

Posé into 1st arabesque

Coupé fouetté raccourci

Pirouettes

Singles en dehors from 4th and 5th

Singles en dedans prepared by chassé

Posé turns en dedans en diagonale


Allegro

Glissades en avant and en arrière

Assemblés en avant and en arrière

Grands jetés en avant

Sissonnes fermées de côté, over, under and en arrière

Sissonnes doublée over

Waltz turns

Choice of set enchaînement

A) Polka

B) Waltz

Petite Batterie

Changements battus

Entrechat trios derrière

Set Variations


A) Female

B) Male or Female

C) Male or Female

D) Female

Pointe

Facing the Barre:

Rises in 1st

Relevés in 5th

Echappés to 2nd and en croix

Courus sur place

Centre

Cool down amalgamation set by the examiner to include Port de bras with appropriate movements

such as walks, runs, balancé and waltz turns

Reverence

GRADE 6 MALE


sequences set by the examiner and have knowledge of the French terms used.

Barre





Battements glissés en clôche

Battements fondus en croix de l'air

Battements frappés en demi-pointe

Battements frappés fouettés en demi-pointe

Petits battements sur le cou-de-pied (single)

Single rond de jambe en l'air

Demi grands ronds de jambe en dehors and en dedans


Relevés from one foot to one foot en croix

Centre Practice


Battements frappes to 2nd in 1 count


Port de bras

Amalgamation set by the examiner to include any circular movement or the circular Port de bras with

transfer of weight

Adage

Temps Lié en l'air en avant and en arrière - set exercise

Fouetté of Adage

Demi-Pointe

Work

Posé into 1st arabesque

Pirouettes

Singles en dehors from 4th, 5th and 2nd

Singles en dedans prepared by chasse

Allegro

Glissades en avant and en arrière

Assemblés en avant and en arrière

Grands jetés en avant

Sissonnes fermées de côté, over, under and en arrière

Sissonnes doublée over

Waltz turns

Single tour en l'air - set exercise

Set enchaînement

Petite Batterie


Changements battus

Entrechat trios derrière

Set Variations


A) Male

B) Male or Female

C) Male or Female

Reverence

ASSESSMENT - IMPERIAL CLASSICAL BALLET GRADED EXAMINATIONS

MARK SCHEME

GRADES 1, 2, & 3

TECHNIQUE


Barre 10

Port de bras throughout the examination 10

Adage 10

Allegro 10

Co-ordination of movement 10

Section Total 50



Artistry 10

Rhythmic awareness and interpretation of the various musical qualities 10

Sense of timing and music section 10

Response to free work, syllabus knowledge and theory 10


Section Total 40

PERFORMANCE

Dance/variation 10

Section Total 10

Total 100

GRADE 4

TECHNIQUE


Barre 10


Adage 10

Petit allegro and petite batterie 10

Allegro 10

Co-ordination of movement 10

Section Total 60



Artistry 10



Section Total 30

PERFORMANCE

Variation 10

Section Total 10

Total 100


GRADE 5

TECHNIQUE


Barre and centre practice 10


Adage 10

Pirouettes 10

Petit allegro and petite batterie 10

Allegro 10

Section Total 60



Artistry 10



Section Total 30

PERFORMANCE

Variation 10

Section Total 10

Total 100


GRADE 6

TECHNIQUE


Barre and centre practice 10


Adage 10

Pirouettes 10

Allegro 10

Petite batterie and pointe work/Males' virtuosity 10

Section Total 60



Artistry 10



Section Total 30

PERFORMANCE

Variation 10

Section Total 10

Total 100



Graded Examinations are assessed externally by visiting examiners recruited and trained by the ISTD.


separately assessed and aggregated to give the Section total. The titles of these components and the marks

attainable for the Imperial Graded Examinations are detailed above


overall. In cases where 25% of the marks attainable does not come to a round figure, eg 12 ½ , the pass mark




Grade Marks


Merit 60-79 marks

Pass 40-59 marks





CLASSIFICATION OF RESULTS

The principle of best fit is applied in deciding the appropriate classification for each candidate. It is not to be

expected that a candidate in a particular category will necessarily demonstrate all of the characteristics listed

in that category.

A candidate who achieves a ‘Distinction’ classification (80-100 marks) is one who demonstrates the following

attributes in performance:

Flair, vitality and skill

Fully appropriate style

Incisively-focused dancing

Precision in the technique of the genre

Consistent, highly developed musicality

Confident and accurate responses to questions asked and/or tasks set


A candidate who achieves a 'Merit' classification (60-79 marks) is one who demonstrates the following


Skill and proficiency

Largely appropriate style

Focused dancing

Competence in the technique of the genre

Evidence of developing musicality

Relevant and appropriate responses to questions asked and/or tasks set

A candidate who achieves a 'Pass' classification (40-59 marks) is one who demonstrates the following


Competence

Basic ability to carry out the required movements

Periodic moments of convincing focus

Basic competence in most aspects of the technique of the genre

Basic musicality

Broadly relevant and appropriate response to questions asked and/or tasks set, but some prompting may

be required

A candidate who achieves an insufficient level of achievement 'Not Attained' classification (00-39 marks) is one

who has not yet demonstrated attributes required to gain at least a `Pass' classification.

ASSESSMENT GUIDANCE


Technical accuracy with correct placement to the best of their physical facility

Appropriate use of limbs showing an understanding of the purpose or significance of each movement or

sequence of movements

A sense of line and well co-ordinated movements

An assured performance showing the different qualities of movement required by each section of the

examination structure

Musicality and rhythmic awareness


VOCATIONAL GRADED EXAMINATIONS

INTRODUCTION

RATIONALE

The Vocational Graded Examinations in Imperial Classical Ballet, from Intermediate Foundation through to

Advanced 2, develop the candidate's expertise in such a way as to provide the basis for either professional

employment as a dancer or further training as a dance teacher.

Throughout the study of the syllabus, candidates are following a vocational path, requiring a high level of

commitment and with an increasing emphasis on safe dance practice. Successful candidates at this level should

show virtuosity in performance, a high standard of technique and a sound knowledge and understanding of the

Imperial Ballet genre, including an understanding of reference and context. Candidates undertaking a study of

the Imperial Ballet vocational graded syllabus should also typically display a sense of self-awareness and be

self-motivated in terms of their personal development. As distinct from the general graded examinations, a

greater degree of personal interpretation is encouraged and the candidate is expected to show the potential to

communicate effectively with an audience.

Candidates will need to show the qualities of professionalism, commitment and focus, with the ability to

manage a greater workload than that required for the general graded examinations. This would typically result

in a successful candidate spending significant additional time each week in lessons, in practising and in studying

independently.

The Vocational Graded Examinations are offered as vocationally-related qualifications on the Qualifications

and Credit Framework (QCF). Intermediate Foundation is located at Level 2; Intermediate is located at Level 3;

and Advanced 1 and Advanced 2 are located at Level 4.

AIM

The aim of the ISTD Vocational Graded Examinations in Imperial Ballet is to provide an assessment scheme,

which gives the basis for the measurement of the individual candidate's progress and development, in

preparing to be a professional dance performer or teacher. There are four practical examinations graded to

measure appropriate stages of development from a general standard of Imperial Ballet education to that of

professional competence and readiness.


OBJECTIVES

The syllabus objectives of the Imperial Vocational Graded Examinations develop candidates’:


Controlled and appropriate use of limbs, with an understanding of the purpose of each exercise

Strength and stamina

Good sense of line and co-ordination of movement

Highly developed rhythmic and musical awareness

Artistry and an appreciation of the nuances of style, both in own movement and that of others

Spatial awareness



LEARNING AND PROGRESSION

All Imperial Ballet Graded Examinations are concerned with progressive mastery in defined stages. They also

develop and demonstrate competence and artistry in, and communication through, the Imperial Ballet

technique. The vocational graded examinations are concerned specifically with the mastery of technique and

underpinning understanding, to a level sufficient to prepare candidates for further vocational training and

match current expectations in the employment sector.


AGE LIMITS

Intermediate Foundation 11 years

Intermediate 12 years

Advanced 1 14 years

Advanced 2 14 years


PRIOR LEARNING

Intermediate Foundation is an optional examination; otherwise these examinations must be taken

consecutively. Each qualification, other than Intermediate Foundation, must be achieved as an entry

requirement to the following examination.

GENDER DISTINCTIONS

Male candidates may not be examined at the same time as female candidates.

The syllabus is suitable for both male and female candidates as it is designed to develop all -round strengths

and abilities. There are some separate exercises for males and females that are intended to develop the

differing physical strengths and capabilities to the advantage of the gender, and are not intended to limit

opportunities for access.

Such variations are designed within the context of industry needs and in particular, health and safety in

dance. It is therefore advisable for candidates to follow the relevant syllabi where available.


TIME ALLOWANCES/NUMBER OF CANDIDATES

Candidates should normally be entered in pairs. Where there is an odd number of candidates, a group of

three may be entered.

Examination 1 candidate 2 candidates 3 candidates

Intermediate Foundation 60 minutes 75 minutes 75 minutes

Intermediate 75 minutes 75 minutes 90 minutes

Advanced 1 75 minutes 90 minutes 105 minutes

Advanced 2 90 minutes 105 minutes 120 minutes


The official sheet music for the Intermediate Foundation, Intermediate and Advanced 1 and 2 must be used for

these examinations.

The use of cassettes/CDs/other digital audio equipment is not permitted, except for the set variations and the

Advanced 2 solo.


DRESS REQUIREMENTS

Female:

Intermediate Foundation and Intermediate

Approved leotard, pink tights, soft-blocked or unblocked pink satin shoes with ribbons and blocked shoes for

pointe work. The hair should be suitably groomed for classical ballet.

Advanced 1 and Advanced 2

Approved leotard, pink tights, soft-blocked pink satin shoes and blocked shoes for pointe work. Tutu skirt

optional for Advanced 2 solo. The hair should be suitably groomed for classical ballet.

Male:

White sleeveless or short-sleeved leotard with tights or unitard, white socks to be worn over tights, black or

white ballet shoes with elastic.

Jewellery must not be worn by male or female candidates.

VOCATIONAL GRADED EXAMINATIONS AND THE QUALIFICATIONS AND CREDIT

FRAMEWORK (QCF)

The Vocational Graded Examinations in Dance are accredited on the Qualifications and Credit Framework (QCF)

for England, Wales and Northern Ireland as shown below:


(for comparability)

QCF Level ISTD Vocational Grade Credit value


achievement


GCSE Grades D-G Level 1 N/A

GCSE Grades A*-C Level 2 Intermediate Foundation 28 credits

A/AS level Level 3 Intermediate 28 credits

Higher level qualification Level 4 Advanced 1 33 credits

Advanced 2 38 credits

The following descriptors explain what is required of candidates at each level of this framework. This should be

read positively with regard to safe dance practice, with an increasing personal responsibility on the candidate.

Candidates’ ability to respond in an examination situation will also be noted.


QCF LEVEL DESCRIPTORS

QCF LEVEL 2 (INTERMEDIATE FOUNDATION)

Achievement at Level 2 reflects the ways in which candidates will begin to make the transition from expressive

and personal motivation for dance to a disciplined attitude necessary for a dance professional. Candidates will

build upon skills, knowledge and understanding in relation to an increasing vocabulary of movement and artistic

understanding showing increased confidence and assurance


Candidates will demonstrate a clear

knowledge and understanding of

technique, music and performance

within the chosen discipline/genre

in relation to mood, dynamics and

rhythm and the mechanics and

purposes of the required

vocabulary.

Candidates show a developing

awareness of the professional

context of dance.

Candidates demonstrate technical

accuracy through:

the appropriate physicality, core stability and flexibility required to execute the work

a clear sense of line and style

the execution of appropriately demanding pre-set steps, movements and sequences

the use of appropriate technical and artistic language

Candidates demonstrate an

increased sensitivity to varying

musical qualities with technical

facility.

Candidates demonstrate an

increased assuredness of

presentation and performance

through:

the use of developing musical and artistic skills

improved spatial awareness

an ability to communicate directly with an audience

underpinning interpretation with reference to key aspects of the genre

the confidence and ability to follow directions within their chosen dance discipline/genre

Candidates will demonstrate an

awareness of their individual

physicality in relation to safe dance

practice.

Candidates will demonstrate the

ability to work with others within a

discipline/genre framework and to

take responsibility for themselves


QCF LEVEL 3 (INTERMEDIATE)

Achievement at Level 3 reflects the ways in which candidates make the transition from expressive and personal

motivation for dance to a disciplined attitude necessary for a dance professional. Candidates build upon a

range of skills, knowledge and understanding in relation to an increasingly refined vocabulary of movement and

artistic interpretation showing an increased confidence, assurance and sensitivity.

In addition an increasing understanding of professional contexts will be demonstrated and applied in

performance and practice.


Candidates will demonstrate a

sound and established knowledge

and understanding of the

technique and vocabulary required

within the chosen dance genre.

They will be able to apply a broad

knowledge and understanding of

their genre to their own work and

demonstrate knowledge of the role

of a dance professional and the

need for safe and healthy working

practices and the professional

context for dance.

Candidates will demonstrate

consolidated technical skills

through:

The fluent use of the dance movement vocabulary

the acquisition of an increased range of movements in sequences of increased length and complexity

an ability to sustain an appropriate sense of style throughout more complex sequences

those additional elements of movement vocabulary and/or technique required for progression to professional work


enhanced musical and artistic

qualities through:

greater understanding of mood, dynamics and rhythm

a sensitive personal interpretation of musical mood


performance through:

the execution of appropriately demanding pre-set steps,

Candidates will demonstrate the

ability to accept the feedback and

direction required for professional

development. They will

demonstrate an awareness of own

abilities and aptitudes in relation to

their professional aspirations


movements and sequences

expression and fluidity of movement involving dynamics and use of space

the confidence and ability to individually interpret directions within their chosen dance discipline/genre and use the performance skills necessary to engage an audience.

LEVEL 4 (ADVANCED 1 AND ADVANCED 2)

Achievement at Level 4 reflects the ways in which candidates build upon a range of skills, knowledge and

understanding to demonstrate the disciplined attitude necessary for a dance professional. Candidates will

demonstrate an increasingly sophisticated vocabulary of movement and artistry showing confidence, assurance

and professional awareness in application.

In addition, a thorough understanding of professional contexts will be demonstrated and applied in performance

and practice.



comprehensive knowledge of the

repertoire and vocabulary of their

chosen dance genre. They will

demonstrate the ability to comment

critically on others’ work with

reference to the broader context of

dance provision. They will

demonstrate knowledge of the

world of dance and its relationship

to the aspects of choreography and

direction that underpin professional

development as a dancer and the

ability to relate this to working in

professional contexts.


evidence of personal style and

technical mastery through:

a wide range of movements performed with stamina and safely developed technical strength

the use of an extensive dance movement vocabulary


assured musicality and artistry

through:

a highly developed understanding of mood, dynamics and rhythm

an increasingly mature

Candidates will demonstrate insight

into the demands and opportunities

of professional production and

employment, and the ability to

confidently and imaginatively

interpret the demands posed by

different situations and to create

responses that are appropriate to

both audience and context.

They will be able to demonstrate

accepting, reflecting on and taking

responsibility for acting

appropriately on feedback and take

the initiative to improve their own

performance.

Achievement at Level 4 reflects the


interpretation of the music


performance as a coherent entity in

a confident and assured manner

through:

the ability to integrate personal knowledge and experience with the repertoire required in their chosen dance discipline/genre, using this as the basis for improvisation in their work.

subtleties of performance

evidence of more varied and challenging work being undertaken

the ability to communicate subtleties of interpretation effectively (both solo and/or ensemble)

the ability to interpret the repertoire for their chosen dance discipline/genre with a developing sense of individuality and style

an adaptable, self-confident approach to performance skills.

ways in which candidates build

upon a range of skills, knowledge

and understanding to demonstrate

the disciplined attitude necessary

for a dance professional. Candidates

will demonstrate an increasingly

sophisticated vocabulary of

movement and artistry showing

confidence, assurance and

professional awareness in

application.

VOCATIONAL GRADED EXAMINATIONS SYLLABUS CONTENT

INTERMEDIATE FOUNDATION

Barre

Pliés Battements tendus and battements glissés Ronds de jambe a terre en dehors and en dedans Battements soutenus and assemblés soutenus Battements fondus, a terre and en l'air Battements frappés and battement frappés fouettés Retirés Développés Demi grand rond de jambe en dehors and en dedans Preparatory exercise for fouetté of adage Grands battements


Demi pointe Rises Echappés en croix Relevés Demi-de´tournés Posés and posés coupés Pas de bourrée piqué under (female) Also Set Exercises

Centre Practice

Demi-plié and rises Battements tendus and glissés Ronds de jambe à terre en dehors and en dedans Battements soutenus Battements fondus a terre Battements frappés Also Set Exercises

Port de bras

Basic arm lines which may be combined with walks, chassés and transference of weight Set Port de bras enchaînement (female) Nos 1 and 2 Set Port de bras enchaînement (male) Nos 1 and 2

Adage

Retirés Développés Demi grand rond de jambe en dehors and en dedans Arabesques - 1st, 2nd and 3rd Attitudes ordinaire devant and derrière in opposition, à deux bras a terre and en l'air Chasse´s Coupés De´tournés Posés assemblés soutenus en tournant en dedans Temps lié Fouette´ of adage Set adage enchaînement (female) Set adage enchaînement (male)

Pirouettes Single pirouettes en dehors and en dedans En diagonale: Emboîtés relevés en tournant (female) Allegro

Sautés in 1st and 2nd Changements Soubresauts Echappés sautés to 2nd and 4th


Temps levés Glissades - devant, derrière, over and under Pas de bourrées - devant, derrière, over and under with either foot Petits jete´s devant and derrière Jete´s ordinaires - devant, derrière, en avant, en arrière and de côté Assemblés devant, derrière, over, under, petit assemblé devant and derrière Sissonnes ordinaire devant, derrière and passées Sissonnes ouverte and changées en avant Sissonnes fermées en avant and en arrière Pas de basque glissés en avant and en arrière Pas de basque sautés en avant and en arrière Pas de chat Demi-contretemps Balancés and waltz turns Demi-pointe - as Barre Set allegro enchaînement (female) Nos 1 and 2 Set allegro enchaînement (male) Nos 1 and 2

Petite Batterie

Echappés sautés fermés battus Entrechats quatre Changements battus Petite batterie enchaînement

Grand Allegro

Coupé chassé pas de bourrée under Posé temps leve´ in arabesque or pirouette position derrière Grand jete´ en avant Single tour en l'air prepared by relevé 5th (male) Tour en l'air exercise (male) Set grand allegro enchaînement (female) Set grand allegro enchaînement (male)

Set Variation (male and female) Pointe Work (female) Facing Barre

Rises in all positions Pas de bourrée piqué under Courus sur place

Sideways to Barre

Echappés to 2nd and 4th Demi-de´tournés Relevés 5

th


Centre

Echappés to 2nd and 4th Relevés 5th Set pointe enchaînement

Reverence

INTERMEDIATE Barre

Pliés-demi, grand, forward, side and back Port de bras Battements tendus and battements glissés Ronds de jambe à terre en dehors and en dedans Battements soutenus and assemblés soutenus Battements fondus Battements frappés and battements frappés fouettés Petits battements Ronds de jambe en l'air en dehors and en dedans Retirés Développés and de´veloppé passé Demi grand rond de jambe en dehors and en dedans Grand rond de jambe en dehors and en dedans Fouetté of adage with pivots Tombé en avant Rotation with pivots Rotation en demi-pointe (male) Grands battements Fouetté rond de jambe en tournant (female) Battement en cloche Demi Pointe Rises Echappés en croix Relevés Posés Demi-de´tourné Coupé fouetté raccourci (female) Pas de bourrées piqué under and over (female) Relevés passés with 1⁄2 turn (female) Emboîte´s (female) Posé into arabesque (female) Posé into arabesque and attitude (male) Also Set Exercises

Centre Practice

Pliés Battements tendus and battements glissés


Ronds de jambe à terre en dehors and en dedans Assemblés soutenus and battements soutenus Battements fondus Battements frappés Ronds de jambe en l'air en dehors and en dedans Grands battements Also Set Exercises

Port De Bras

Basic arm lines which may be combined with walks, chassés and transference of weight Circular Port de bras with transference of weight (no backbend) Forward Port de bras - grand 4th Sideways Port de bras (female)

Set Port de bras enchaînement (female) Nos 1 and 2

Set Port de bras enchaînement (male) Nos 1 and 2

Adage

Temps lié Fouetté of adage Retirés Développés and de´veloppés passés Demi grand rond de jambe en dehors and en dedans Grand rond de jambe en dehors and en dedans Tombé en avant Coupés Attitudes - devant and derrière, ordinaire, opposition, à deux bras, grecque, à terre and en

l'air Arabesques - 1st, 2nd, 3rd and à dos Rotation a terre Rotation en l'air (male) Posé, assemblé soutenu en tournant en dedans De´tournés

Set adage enchaînement (female) Nos 1, 2 and 3

Set adage enchaînement (male) Nos 1, 2 and 3

Pirouettes

Single and double pirouettes en dehors and en dedans En diagonale:

Posé turns en dedans (female) Relevés passés by half turn (female) Emboîte´s relevés en tournant (female) Chaîne´s (male)

Allegro

Sautés in 1st, 2nd and 4th Changements Soubresauts Echappés sautés to 2nd and 4th Glissades - devant, derrière, over, under, en avant, en arrière


Pas de bourrées - devant, derrière, over, under commenced with either foot, en avant and en arrière Assemblés - devant, derrière, over, under, en avant, en arrière, petit assemblé devant and

derrière Jete´s - petit jete´ devant, derrière and by half turn; jete´ ordinaire devant, derrière, en avant, en arrière and de côté Sissonnes - ordinaire devant, derrière, passées, ouverte en avant, en arrière and de côté, ouverte changée en avant and en arrière, fermée en avant, en arrière, over and under, double over and under Pas de basque glissés en avant and en arrière Pas de basque sautés en avant and en arrière Ballonnés simple - devant, derrière and de côté Ballonnés compose´ - en avant, en arrière and de côté (using front foot) Pas de chat Coupé fouetté raccourci sauté Balancés Waltz turns (female) Demi-contretemps Failli Demi-pointe (female), as Barre, except relevés 1-1 Demi-pointe (male), as Barre Also Set allegro enchaînements

Petite Batterie

Echappés sautés battus Entrechats quatre Changements battus Entrechats trois devant and derrière Brise´s, devant, derrière, over Assemblés battus, over, under

Set petite batterie enchaînement (female)

Set petite batterie enchaînement (male)

Grand Allegro

Coupé chassé pas de bourrée under Posés temps leve´ in arabesque or pirouette position derrière Full contretemps Grand jete´ en avant Grand jete´ en tournant preceded by 3 runs Jete´ by full turn - (male) Tour en l'air exercises (male) Grand pirouettes (set exercise male) Set grand allegro enchaînement (Male) Set variation (Female) Set variation

Pointe Work (Female)

Barre


Rises Relevés 2 - 2 Echappés en croix in 2 and 4 counts Relevés 2-1 Posés coupé, en avant, en arrière, and de côté with straight or petit de´veloppé extension and posé into arabesque Demi-de´tourné Coupé fouetté raccourci Pas de bourrée piqué, also with half turn Relevé passé with half turn Emboîtés Courus - sur place, en avant, en arrière, de côté, and en tournant Centre Echappés en croix in 2 and 4 counts and to 2nd en tournant Relevés in 5th Posés coupé, en avant, en arrière and de côté with straight extension or petit de´veloppé and posé into arabesque Pas de bourrée piqué under Coupé fouetté raccourci Relevés 2-2 and 2-1 Courus sur place, en avant, en arrière, de côté and en tournant Posé, assemblé soutenu en tournant en dedans Set pointe enchaînements Nos 1 and 2

Reverence

ADVANCED 1 Candidates must be conversant with previous syllabi Barre

Pliés - grand (2 counts) and circular Port de bras Battements tendus and glisse´s - with transfer of weight (4 counts) piqués en croix, and battements tendu relevés in 2nd Petits retirés Rond de jambe à terre en dehors and en dedans en fondu and in half counts Battements frappés - doubles to de´gage´, doubles en croix and singles and doubles with fondu sur le cou-de-pied Battements frappe´s fouettés with fondu and relevé Petits battements sur le cou-de-pied accented, with fondu or en demi-pointe, serrés with fondu or en demi-pointe Ronds de jambe en l'air Battements fondus en l'air with rise and free Port de bras Set adage enchaînement Grands battements with use of demi pointe, en rond, piqué, fouetté, développé - also with rise or fondu Grands battements en cloche with piqué and in varying counts Also Set Exercises


Centre Practice

Free enchaînements Port de bras

Free enchaînements including grand circular or forward, back and side Port de bras Set port de bras (female) Set port de bras (male)

Adage

Arabesques with pivot en dehors and en dedans Arabesques - allongée and penchée Attitudes with pivots en dehors and en dedans Grand rond de jambe en dehors and en dedans with use of alignment Rotation en l'air in 4 or 2 counts Temps lié Set adage enchaînement No. 1 Set adage enchaînement No. 2 (female) Set adage enchaînement No. 2 (male)

Pirouettes

Doubles en dehors finishing in open positions (set exercise) Doubles en dedans finishing in attitude and arabesque (set exercise) 7 Fouettés ronds de jambe en tournant en dehors (Females) En diagonale Posés turns en dehors (female) Petits pas de basque en tournant (female) Emboîtes relevés en tournant (female) Chaîne´s (female and male)

Allegro

Jetés battements - en avant, en arrière Pas de bourrées - couru ending with demi-plié or dégagé, en première and en avant and en arrière, en tournant en dehors and en dedans, a quatre, a cinq pas and renversé with relevé and fondu Temps de cuisse in 2 counts, (French) en avant, en arrière, over and under and (Italian) over and under Jetés ronds de jambe sautés - singles only, en dehors and en dedans Temps de flêche Sissonnes fermée changée - en avant and en arrière

Petite Batterie

Brisés (24) Assemblés battu over and under Brisé telemaque in 3 or 4 counts Coupé brisé devant and derrière Entrechats cinq devant and derrière


Jetés battu devant and derrière Coupé fouetté raccourci battu Set petit brisé en tournant (male) Set petite batterie enchaînement

Grand Allegro

Assemblés porté devant, derrière, over, under, en avant and en arrière Demi-contretemps fouetté relevé or sauté Coupé posé fouetté relevé or sauté en tournant Pas de bourrée fouetté relevé or sauté en tournant Grand fouetté relevé or sauté en tournant Grand pas de basque Sauts de basque Grand jeté devant and derrière Grand pirouette (set exercise male) Set grand allegro enchaînement (female) Set allegro enchaînement (male)

Set Variation (Male) Pointe Work (Female) Barre

Amalgamated exercises to include relevés 1 to 1 Centre Relevés 1 to 1 Full détourne´ Posés to open positions -- arabesque and attitude Set pointe enchaînement En diagonale: Posés turns en dedans Petits pas de basque en tournant Relevés passés by half turn

Set Variation (Female) Reverence


ADVANCED 2 Candidates must be conversant with previous syllabi Barre The following exercises may be combined in free amalgamations

Pliés (set exercise) Battements tendus piqués en rond Ronds de jambe à terre en dehors and en dedans with rise Battements frappés en croix extending with fondu Petits frappés (female) Ronds de jambe en l'air extending with fondu Grands battements en fondu Grands battements retiré, also with rise Grands battements en cloche with développé passé Grand rond de jambe en fondu or en demi-pointe

Centre Practice

Free enchaînements which may include ronds de jambe à terre en dehors and en dedans en tournant

Port De Bras

Free amalgamations Set Port de bras Nos. 1 and 2 (female) Set Port de bras (male)

Adage

Ballottés à terre and en l'air Pivots in 2nd en l'air Set adage enchaînements (male) Nos. 1 and 2 Set adage enchaînements (female) Nos. 3 and 4

Pirouettes

Single and double en dehors and en dedans in attitude and arabesque Triple pirouettes en dehors and en dedans Set exercise A – Tango and B – Blusey Hoedown Set enchaînement – Jazz Waltz

Petit and Grand Allegro

Sissonnes en tournant Ballottés sautés Jetés rond de jambe sautés (to include doubles) Gargouillades (female) Assemblés en tournant, over and derrière Set allegro enchaînements Nos. 1 and 2 (female) Double tour en l'air Temps de poisson (male)


Set grand allegro enchaînement (male) Grand pirouette (male) Ronds de jambe sauté from 1 or 2 feet single (female), double (male) Grand pas de basque en tournant Rond de Jqmbe Sauté and Sissonnes en tournant set exercise (male) Assemblé en tournant set exercise (male)

En manège Jeté Coupé and Chassé Coupé Jeté en Tournant (set exercise) Batterie

Cabrioles -- ouvert and ferme´, devant, derrière, de côté and cabriole fouette´ Grands jeté battu en tournant Entrechat six Entrechat six de vôlé Brise´s vôlés Sissonne doublée battue over and under Sissonne battue ouverte and fermée Double échappés battue ouverte and fermée (male) Petit Batterie Enchaînement (male)

Solo A classical solo from one of the following ballets:

Swan Lake

Sleeping Beauty

Giselle

Les Sylphides

Coppélia

La Sylphide Pointe Work (Female)

Relevés on 1 foot Sissonnes en avant, en arrière and de côté Fouetté relevé Ronds de jambe relevé Renversé Single pirouette en dehors, en dedans in attitude or arabesque Single or double pirouettes en dehors and en dedans 7 Fouettés ronds de jambe en tournant en dehors Emboîtes relevés en tournant Chaîne´s Amalgamation of turns en diagonale Développé and rotation en tournant with relevé or posé Posés turns en dedans en manège Petits pas de basques en tournant en manège Set pointe enchaînement Coda

Solo A classical solo from one of the following ballets:

Swan Lake


Sleeping Beauty

Giselle

Les Sylphides

Coppélia

La Sylphide

Reverence

ASSESSMENT - IMPERIAL CLASSICAL BALLET VOCATIONAL GRADED EXAMINATIONS

MARK SCHEME

INTERMEDIATE FOUNDATION, INTERMEDIATE, ADVANCED 1 AND ADVANCED 2

TECHNIQUE


Barre and centre practice 10 marks

Port de bras throughout the examination 10 marks

Adage 10 marks

Pirouettes 10 marks

Allegro 10 marks

Batterie 10 marks

Pointe work/Male's virtuosity 10 marks

Section Total 70



Variation 10 marks

Artistry and musicality 10 marks

Approach to free work, syllabus knowledge and theory 10 marks

Section Total 30

Total 100



Vocational Graded Examinations are assessed externally by visiting examiners recruited and trained by the

ISTD. Assessment is carried out by means of a practical demonstration of the knowledge, understanding

and skills required.

The examination is divided into units and each unit is composed of several components, which are

separately assessed and aggregated to give the unit total out of 100.

Candidates will, however, be unsuccessful if:

1. 20% of the marks attainable or below are given for any one component

2. 40% of the marks attainable or below are given for any three components This reflects the need to

ensure competence across a wide range of components.

Results are indicated using the following attainment bands:

Grade Mark

Distinction 80-100

Merit 65-79

Pass 50-64

Not Attained 00-49

CLASSIFICATION OF RESULTS

The principle of best fit is applied in deciding the appropriate classification for each candidate. It is not to

be expected that a candidate in a particular category will necessarily demonstrate all of the characteristics

listed in that category.

A candidate who achieves a `Distinction' classification (80-100 marks) is one who demonstrates the

following attributes in performance:

Flair, vitality and skill

Fully appropriate style

Incisively-focussed dancing

Precision in the technique of the genre

Consistent, highly developed musicality

Confident and accurate responses to questions asked and/or tasks set


A candidate who achieves a `Merit' classification (65-79 marks) is one who demonstrates the following


Skill and proficiency

Largely appropriate style

Focused dancing

Competence in the technique of the genre

Evidence of developing musicality

Relevant and appropriate responses to questions asked and/or tasks set

A candidate who achieves a `Pass' classification (50-64 marks) is one who demonstrates the following


Competence

Basic ability to carry out the required movements

Periodic moments of convincing focus

Basic competence in most aspects of the technique of the genre

Basic musicality

Broadly relevant and appropriate response to questions asked and/or asks set, but some prompting may

be required

A candidate who achieves a `Not attained' classification (00-49 marks) is one who has not yet demonstrated

the attributes required to gain at least a `Pass' classification.

ASSESSMENT GUIDANCE

Candidates are assessed on their ability to demonstrate:

Technical accuracy with correct placement to the best of their physical facility. An appropriate use of limbs

showing an understanding of the purpose of each exercise

A sense of line and well co-ordinated movement

An assured performance showing the differing qualities of movement required by each section of the

examination


An instinctive musicality and a highly developed rhythmic awareness

REASONABLE ADJUSTMENTS FOR VOCATIONAL GRADED EXAMINATIONS

The Vocational Graded Examinations are designed for those who are intending to pursue a career in dance,

either as a performer or as a teacher. It is, therefore, very unlikely that a potential performer will require

reasonable adjustments. However, a potential teacher must be able to demonstrate all movements precisely,

in order to teach them effectively.

As the ‘Intermediate’ examination is also now included as a unit within the Diploma in Dance Instruction, it is

likely some candidates will apply for adjustments. This is because they are:

Those candidates who are possibly already teaching and who do not have the stamina or muscular

strength that is normally required at this level, and it would be deemed to be unsafe to require them to

perform using the same degree of strength and stamina as a younger dancer.

Candidates who do not have sufficient physical facility to perform the movements at speed to the required

standard, but who can nevertheless demonstrate them at a slower pace.

Candidates who, through their physical make up, would be causing injury to themselves, e.g. very stiff feet.

The same criteria apply to candidates at Advanced 1 and 2 levels.

Such candidates must apply to the Customer Services and Quality Assurance Department, using the Application

for Reasonable Adjustments form, at least three weeks prior to the examination entry, giving detailed reasons

for the request. This will be processed giving the Faculty opportunity to refuse adjustments, recommend

additional examination time, or give further detailed guidance. In principle, the examination must not be

weighted to give an advantage to either the candidate with reasonable adjustments or the able bodied

candidate. The demands on both must be equal.

Reasonable adjustments will be generally granted for certain specific sections of the examination, and

candidates should indicate which of the sections might be affected. Candidates should attempt all movements

and throughout, must dance to the best of their own physical ability. In the interests of safety and to facilitate

accuracy of movement, some candidates may indicate their own tempo and may take extra pauses for breath

as necessary. If required, questions may be asked, and these will be phrased in such a way as to clarify the

knowledge of the mechanics of the movement. Questioning is not permitted for every section of the

examination and would normally be used in a maximum of two sections.

The following sets out guidelines on the format of examinations where reasonable adjustments might be

applied.

Stance, placement and the line of limbs must be accurate even though the candidate may have physical

difficulties. Therefore, the Barre, Centre Practice and Adage sections will be examined in the normal manner,

although they may be supplemented by questioning. The same applies to Port de Bras, as placement, balanced

and co-ordinated use of arms demonstrated with quality and style is important.


PROFESSIONAL TEACHING EXAMINATIONS INTERNATIONAL

OUTSIDE EUROPE

ASSOCIATE

Duration of examination: 90 minutes

Candidates will be examined singly by 1 examiner

INTRODUCTION

AIMS

To educate by providing a progressive awareness of the culture and technique of Classical Ballet

To develop the teacher’s understanding and ability to impart the technique, artistry and musicality of

Classical Ballet

To provide the teachers with a sound understanding of safe dance practice through an increased

knowledge of anatomy and physiology

Purpose of the Professional Syllabus

To provide a structured examination system that can be followed by aspiring and established teachers to

develop and enhance their teaching skills

To stimulate teachers to increase and broaden their expertise

To stimulate teachers to inspire children and students to appreciate Classical Ballet either as performers or

as an observer

The syllabus aims are as set out below:

Analysis and understanding of movement

Methods of teaching

Adaptation to differing physiques

Adaptation to different gender

Observation and correction of technical faults

Development of rhythm and musicality in the students

Development of artistry in the students

Class construction and balance

Construction of enchaînements

Confident musical instructions and guidance


ADVICE FOR CANDIDATES

In the Associate the candidate demonstrates their theoretical approach to teaching and in the Associate

Diploma this knowledge is demonstrated practically. Both examinations are conducted by one examiner.

The Associate is taken in the order of a class, commencing with the Barre work and then progressing through

the Centre Practice, Port de Bras, Adage, Pirouettes, Allegro, Petite Batterie and Pointe work. The set variations

are usually shown at the end of the examination. The variations which the candidate has prepared will be

shown in the relevant section.

In each section the candidate will be asked about their knowledge and understanding of the development of

movements. Set exercises and movements will be demonstrated and analysed, methods of teaching discussed

and enchaînements arranged. If not specified these enchaînements are ‘typical’ examination arrangements,

however the examiner might request an arrangement for a certain circumstance, for instance a training

exercise to develop a particular aspect of the work.

The candidate is expected to be able to communicate with the pianist the tempo, dynamics and quality of the

music that is required. Normally if the candidate counts clearly, using vocal highlights and the correct tempo,

this will produce the desired result. The examiner may question the candidate about the music chosen and

other relevant questions, however the candidate’s instructions to the pianist should respect the musician’s

expertise.

REQUIREMENTS FOR ENTRY

Candidates must:

a) have reached the age of 18 years*

b) have been successful in Imperial Ballet Intermediate or have been successful in Cecchetti Intermediate followed by Imperial Ballet Advanced 1


* In special circumstances the examination may be entered under this age if approved by the Chairman of the

Imperial Classical Ballet Faculty, after written application to Customer Services and Quality Assurance at HQ by

the principal of the school entering the candidate.

On successfully completing the Associate examination the candidate is entitled to enrol as an Associate of the

ISTD on payment of the enrolment fee and subscription.

If he/she wishes to enter candidates for examinations he/she is entitled to apply for provisional registration.

On being granted provisional registration the teacher must:

a) Enter candidates for ISTD examinations within 12 months and regularly thereafter.

b) Complete the requirements for full registration within 3 years.


ASSOCIATE SYLLABUS

At the examination

Candidates will be examined on their knowledge of:

a) Girls Girls’ and boys’ grade syllabi – Primary to Grade 4 inclusive, (no

boys’ set enchainment in Grade 3 or 4) and girls’ work only for Grades 5, 6

and Intermediate (own choice of Grade 6 set enchaînement)

b) Boys Boys’ and girls’ grade syllabi – Primary to Grade 4 inclusive and a

choice of either boys’ or girls’ work for Grades 5, 6 and Intermediate

Candidates will be asked, from the teaching aspect, to demonstrate any of the following:

a) the development of the technique through the Grades to Intermediate

b) the understanding of correct stance and the correction of common faults

c) the approach to the teaching of pointe work

d) the approach to the teaching of boys

e) the ability to count rhythmically, in the correct time signature and tempo, any of the syllabus set

work, conveying the relevant quality

f) the ability to communicate with the pianist using basic musical terminology and the use of phrasing to

enhance movement

g) the arrangement of free enchaînements to any standard to any given time signature

h) one set dance from either Primary, Grade 1 or 2

i) one of the set variations for boys from either Grade 3 or 4

j) one of the set variations for girls from either Grade 5 or 6

k) three variations that have been arranged by the candidate. There should be one variation suitable for

each of the following: Grades 2, 4 and 6. These pre-arranged variations may be for either girls or boys.

The music chosen for these variations should use a range of rhythms and differing qualities of music. It

is permissible, but not essential to vary the quality within one variation. The length does depend on

the tempo of the music, but as a rough guide the Grade 2 variation should be 30-45 seconds, Grade 4

40-60 seconds and Grade 6 60-75 seconds. Sheet music, which must be clearly marked, or recorded

piano music, may be used. In each case the suitability of the arrangement, content of steps and the

interpretive quality of the movement and musicality will be taken into consideration.


Voice, manner and the general approach of the candidate will be assessed throughout.

Dress

Female Teaching dress or leotard and skirt, tights and suitable teaching shoes

Male Leotard or T-shirt with tights or trousers and shoes suitable for teaching

ASSESSMENT

The Associate examination is divided into several components, which are separately assessed with a mark as

shown below.


Knowledge of the content and development through the syllabus 30 marks

Analysis and understanding of movements 30 marks

Methods of teaching and awareness of adaptation to differing physiques and

gender

30 marks

Technical accuracy of demonstration 20 marks

Musicality and artistry of demonstration 20 marks

Free enchaînements and musical instructions 20 marks

Pre-arranged variations 20 marks

Manner and approach to the dance discipline 10 marks

Tonal quality and rhythmic counting 10 marks

Set dances and variations 10 marks

Total 200

These marks are aggregated and the overall mark is given out of 200 as follows:

Awarded 130+ marks

Not Awarded 0-129 marks


ASSOCIATE DIPLOMA

Duration of examination: 90 minutes

Candidates will be examined singly by 1 examiner

ADVICE FOR CANDIDATES

The Associate Diploma commences with a class using the candidate’s own students. It is helpful if the teachers

introduces the dancers to the examiner at the beginning of the class and uses their names as much as possible,

so that there is no need for them to wear name badges. This is meant to be a training class and not a

demonstration, so that the candidate can show a full range of their teaching skills.

If the students are working on a higher grade or Intermediate the candidate is not expected to include every

section within the initial class, but to try to show a balance of work covered. It is important that the dancer’s

are seen to improve during the class, so candidates are advised to concentrate on a few areas to work on.

The second part of the examination is directed by the examiner and the candidate will be asked to teach the

same group of dancers. The examiner can ask for movements or exercises to be coached with regard to specific

technical, artistic or anatomical elements or the candidate might be asked to teach new vocabulary. If, due to

the constraints of time, the candidate was not able to cover all sections, then the examiner will ask the

candidate to cover some of the remaining areas during the second part. The examiners would prefer that the

teacher works in their usual teaching language for these classes, so that the dancers have as ‘normal’

experience as possible.

After the second part there is time for a discussion between the examiner and candidate. This discussion will

focus upon the anatomical aspects of teaching, especially with regard to some of the dancers in the class. If the

candidate’s English is not up to this type of discussion, then the examiner will include the assessment of this

aspect within the class.

The group arrangement may use different dancers to those who participated. Usually this group is he finale to

the examination; however it can be shown at any convenient time during the examination if circumstances

dictate. The teacher will be asked to let the dancers run the piece once and then the teacher can make any

quick corrections before the performance.


Candidates must:

a) have reached the age of 21 years

b) hold the Associate qualification in the Faculty

c) have completed 3 years of responsible teaching in the Faculty



ASSESSMENT

On successfully completing the Associate Diploma examination the candidate will become a fully registered

member of the ISTD.

This examination can either be taken at the candidate’s own studio or a Centre. In either case the candidate

must provide the dancers and pianist.

The candidate will be required to

a) Either

Conduct a class (minimum of 6 pupils) based on syllabus work at any standard from Grade or Level

2 upwards – candidate’s own choice (45 minutes)

Or

Conduct a class (minimum of 4 students) at Intermediate level (45 minutes)

b) Coach/teach selected exercises or movements as requested by the examiner, using the same group of dancers as above.

c) Discuss the approach to teaching and general corrections

d) Show imaginative use of the syllabus, at any level, for 3 or more dancers. This group should not be a solo danced by 3 pupils, but should show varied pattern and interaction of the performers. This group may be performed by dancers of a different level from that of the class.

Duration, maximum 2 minutes

Method of assessment

This examination is either Awarded or Not Awarded. In the event of the Associate Diploma not being awarded

the candidate will receive a short written report highlighting the areas that were not satisfactory.

Performance criteria

1 Observation and methods of teaching

2 Communication of technical, musical and artistic advice

3 Suitability and arrangement of enchaînements

4 Rapport with dancers and musician

5 Manner and approach to dance discipline

6 Improvement of dancer’s performance


PROFESSIONAL QUALIFICATIONS

UK AND EUROPE

A separate Syllabus Outline is available from ISTD Headquarters for the:

Level 3 Diploma in Dance Instruction (Imperial Classical Ballet)

Level 4 Diploma in Dance Education (Imperial Classical Ballet)

The syllabus for Licentiate and Fellowship is given on the following pages.

PROFESSIONAL QUALIFICATIONS AND THE QUALIFICATIONS AND CREDIT FRAMEWORK (QCF)

The Level 3 Diploma in Dance Instruction and Level 4 Diploma in Dance Education are accredited on the

Qualifications and Credit Framework (QCF) for England, Wales and Northern Ireland as shown below:


(for comparability)

QCF Level ISTD Vocational Grade Credit value


achievement


GCSE Grades D-G Level 1 N/A

GCSE Grades A*-C Level 2 N/A

A/AS level Level 3 Diploma in Dance Instruction 68 credits

Higher level qualification Level 4 Diploma in Dance Education 92 credits


HIGHER PROFESSIONAL QUALIFICATIONS

UK, EUROPE & INTERNATIONAL

LICENTIATE Duration of examination - 2 hours 15 minutes Candidates will be examined individually by one examiner.


Candidates should:

Have reached the age of 23 years

Hold the Certificate in Dance Education or Associate Diploma in the Faculty

Have passed the Advanced 1 Examination in Imperial Classical Ballet

It is recommended that candidates have five years teaching experience or more.


Vocational Graded Specialisation (Option A)

Candidates will be required to:

1. Conduct a coaching class on the Intermediate Foundation, Intermediate or Advanced 1 syllabus using three or four students that they teach regularly. The class should be balanced in content to include all sections of the syllabus. Duration of class -- 1 ½ hours Intermediate and Advanced 1, 1 ¼ hours Intermediate Foundation

2. Discuss the principles of teaching (arising in part from the class)

3. Show their knowledge of all the boys' and girls' work up to and including the Advanced 1 syllabus in demonstration and theoretical explanation

4. Show two set variations (candidates choice)

(a) Intermediate -- either females’ or males’

(b) Advanced 1 -- either females’ or males’

5. Demonstrate throughout the examination their knowledge and understanding of basic anatomy

Children's Specialisation (Option B)

Candidates will be required to:

1. Conduct a coaching class on the Grade 5 or Grade 6 syllabus using four children that they teach regularly. The class should be balanced in content to include all sections of the syllabus. Duration of class -1 and 1⁄4 hour

2. Discuss the principles of teaching (arising in part from the class)


3. Show their knowledge of all the boys' and girls' work up to and including the Advanced 1 syllabus in demonstration and theoretical explanation

4. Show two set dances or variations (candidate's choice) (a) one set dance selected from Primary - Grade 3 (b) one set variation selected from Grade 4 - Grade 6

5. Demonstrate throughout the examination their knowledge and understanding of basic anatomy

MARK SCHEME

LICENTIATE


Class content and balance 20 marks

Suitability of exercises and enchaînements 20 marks

Manner and clarity of instruction 20 marks

Observation and methods of technical instruction 30 marks

Observation and methods of artistic and musical development 30 marks

Rapport with students and pianists 20 marks

Syllabus knowledge 20 marks

Analysis of movement 20 marks

Methods of teaching and awareness of adaptation to differing physiques and gender

20 marks

Total 200


Awarded 130 +

Not Awarded 0-12

FELLOWSHIP The Fellowship is the highest qualification awarded by the ISTD. Candidates will, therefore, be expected to show a secure depth of technical knowledge and artistry, also a high standard of teaching. Duration of examination: 2 hours and 30 minutes. Candidates will be examined individually by two examiners.



Candidates should:

a) have reached the age of 28

b) hold Licentiate status in the Faculty

c) have successfully entered for the Advanced 2 Examination in the Faculty

d) Have completed 8 years responsible teaching in the Imperial Classical Ballet faculty

e) forward the typed notes of the Advanced 2 Classical Solo arranged for this examination to Headquarters

with their entry form

At the Examination Centre

Section 1

The examination will be conducted in the following manner:

a) A brief discussion will take place between the examiners and the candidate on his/her teaching experience

b) The candidate will be required to conduct a class of one and a half hours, at Advanced 2 standard, of up to three female students provided by the ISTD. They will be asked to focus in particular on the training of specific movements, details of which will be given to the candidate 15 minutes before the beginning of the examination. Candidates should teach a balanced class and not just coach the specified movements, so showing their ability to train technique, artistry and musicality.

c) This class should relate to the training in preparation for the Advanced 2 syllabus and therefore does not need to contain any set work.

Section 2

Candidates will be expected to demonstrate from the teaching aspect:

a) Principles of teaching (arising in part from the class)

b) Knowledge of the Female and Male work up to and including Advanced 2, both in the analysis and in the demonstration as a teacher

c) Practical knowledge of anatomy as applied to the dancer

d) Present their own arrangement of an Advanced 2 solo (Classical Ballet). A pupil or student, trained by the candidate, may perform this dance, which may be arranged for either a Male or girl. Overseas candidates may bring a recording of this solo danced by one of their students.


MARK SCHEME

FELLOWSHIP


Suitability of exercises and enchaînements 20 marks

Manner and clarity of instruction 20 marks

Observation and methods of technical instruction 30 marks

Observation and methods of artistic and musical development 30 marks

Rapport with students and pianists 20 marks

Syllabus knowledge 20 marks

Analysis of movement 20 marks

Methods of teaching and awareness of adaptation to differing physiques and gender

20 marks

Dance and clarity of notes 20 marks

Total 200


Awarded 130 +

Not Awarded 0-129

CANDIDATES WITH REASONABLE ADJUSTMENT REQUIREMENTS

The ISTD is committed to promoting an environment where all individuals are encouraged to achieve their full

potential and develop their skills, encouraging its teachers to maintain an open approach towards the different

talents and abilities offered by all their students. It is, therefore, required of all ISTD teaching members that

they do not discriminate, either directly or indirectly, marital status or sexuality, and pupils with disabilities

should not be treated less or more favourably than able-bodied pupils simply because of their disability.

The ISTD recognises that some students with a mental/physical handicap or disability may need special

assessment conditions to allow them to demonstrate their knowledge in dance.

If a teacher wishes to enter a pupil with disabilities for an examination, the ISTD would like to make it clear that

although pupils with disabilities may require extra time in examinations or special aids (e.g. flash cards if the

child is deaf), in order to perform to the best of their ability, the quality of the performance in an examination

is to be equal to that of an able-bodied candidate.


The candidate cannot be marked on different criteria because of the restrictions the disability may cause them.

This is mandatory in order to achieve a true and fair dance award.

If a candidate with a disability is to be submitted for an examination, the teacher must apply to the Customer

Services and Quality Assurance Department for an ‘Application for Reasonable Adjustments form’ or download

it from the Customer Service section of the ISTD website, www.istd.org. This should be completed and

returned to the Customer Services and Quality Assurance department, a minimum of three weeks prior to the

examination entries being sent in with the fees, together with a doctor's letter if relevant. This form may be

submitted to the appropriate Faculty. This will be processed giving the Faculty opportunity to refuse

adjustments, recommend additional time or give further detailed guidance.

Candidates with temporary medical conditions should also use the same form and procedure, detailing the

nature of the condition and how this will affect the candidate in the examination, to determine if any

consideration of assessment conditions may be necessary.

If accepted for examination, the examiner will be informed of any reasonable adjustments.

If further guidance is required, please contact the Customer Services and Quality Assurance Department.

[email protected]

RESULTS AND CERTIFICATION

All ISTD examinations are single performance at one moment in time, with a detailed marking system awarded

according to the assessment criteria and attainment descriptors given for each examination.

Examiners return the results and report sheets as soon as possible after the examination. The report sheets for

each candidate are individually checked within the Quality Assurance department for administrative accuracy.

Under normal circumstances the report sheets will be issued to the teacher within 21 working days of the

examination. Any errors found are corrected by the examiner prior to further processing of the whole

examination session, and may therefore extend these timings, although the department will make every effort

to process these as rapidly as possible.

All results are entered by Sections, and checked for achieving the minimum pass levels, per Section and in total,

and correct levels of attainment against the total mark achieved.

Results are then cleared for certificate issue, which is undertaken by the Customer Services and Quality

Assurance department, and should be within 6 to 8 weeks of the examination. Copies of all report sheets and

results are held on archive for reference as necessary.

RE-TAKES

Candidates who are not successful may not re-take the examination until 3 months after the original

examination.

mailto:[email protected]


OFQUAL QUALIFICATION ACCREDITATION NUMBERS

501/0755/0 ISTD Level 1 Award in Graded Examination in Dance: Grade 1 (Imperial Classical Ballet)





501/0758/6 ISTD Level 3 Certificate in Graded Examination in Dance: Grade 6 (Imperial Classical Ballet)

501/0764/1 ISTD Level 2 Certificate in Vocational Graded Examination in Dance: Intermediate Foundation

(Imperial Classical Ballet)

501/0728/8 ISTD Level 3 Certificate in Vocational Graded Examination in Dance: Intermediate (Imperial

Classical Ballet)

501/0760/4 ISTD Level 4 Certificate in Vocational Graded Examination in Dance: Advanced 1 (Imperial

Classical Ballet)

501/0761/6 ISTD Level 4 Diploma in Vocational Graded Examination in Dance: Advanced 2 (Imperial

Classical Ballet)

501/1002/0 ISTD Level 3 Diploma in Dance Instruction (Imperial Classical Ballet)

501/0750/1 ISTD Level 4 Diploma in Dance Education (Imperial Classical Ballet)

Documents

1imperial Classical Ballet Syllabus Outline