ART201_RAD Vocational Graded Handbook for Teachers - Final - Print

8/10/2019 ART201_RAD Vocational Graded Handbook for Teachers - Final - Print

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Handbook for TeachersVocational Graded Examinations

Royal Academy of Dance® is a Charity Registered in England No.312826





Handbook for TeachersVocational Graded Examinations

August 2007





(Part 2continued)

Results and Post-Result Procedures

• Result classifications

• Processing and issue of results

• Replacing lost or incorrect certificates

• Result Enquiry Service

• Appeals procedure

• Malpractice

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Part 3 EXAMINATION SYLLABUS CONTENT

General

Vocabulary and Examination Content• Intermediate Foundation to Advanced 2

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Part 4 THE MARKING SYSTEM

Understanding the Marking System

Mark Allocation

• Intermediate Foundation to Advanced 2

Marking Guidance

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Part 5 CUSTOMER SERVICE STATEMENT 57

Part 6 SOLO SEAL AWARD

General Information

Content

Timing and Organisation of the Solo Seal Award

Assessment

Uniform

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Part 7 APPENDICES

Appendix 1 – National Qualifications Framework

Appendix 2 – Framework Level Descriptors

Appendix 3 – Learning Outcomes

Appendix 4 – Assessment Criteria

Appendix 5 – Definitions of Terms Used in The Marking System

Appendix 6 – Ethnic Group Classifications

Appendix 7 – Sample Result Form

Appendix 8 – Attainment Descriptors

Appendix 9 – List of Other Awarding Bodies

Appendix 10 – Teaching Certificate Conversion Programme

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Purpose of Handbook

This handbook is designed for teachers enteringcandidates for Royal Academy of Dance VocationalGraded examinations. It includes the rules andregulations of entry to examinations, the content of thesyllabus and details of the marking system.





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The Royal Academy of Dance (RAD) is an international teacher education and awardingbody for dance. It was established in 1920 with the aim of developing and maintainingthe highest possible standard of teaching. This remains its objective today.

The Royal Academy of Dance maintains a register of teachers which consists of teacherswho have been awarded RAD Registered Teacher Status (RAD RTS) and teachers fromother awarding bodies whose qualification has been mutually recognised.

Teachers on the register are required, as a condition of membership and registration, touphold the RAD’s Code of Conduct and Professional Practice for Teachers registeredwith the Royal Academy of Dance. Teachers following the Royal Academy of Danceexamination system are expected to encourage students to achieve their personal best inthe understanding, appreciation and performance of Classical Ballet.

Whatever age or stage they may have reached, students who study with a Royal Academy of Dance Registered Teacher or a Mutually Recognised Teacher can beconfident that they are receiving a comprehensive, well structured and relevant educationin Classical Ballet. They can be sure that they will be taught according to safe teachingprinciples with the opportunity to be externally assessed through progressively structuredexaminations.

The Royal Academy of Dance has an International Panel of Examiners residentthroughout the world. Examiners undergo a rigorous selection process and trainingprogramme before being appointed to the Panel. Their professional expertise, togetherwith the ability to create a welcoming and reassuring environment in the examinationstudio, will ensure the necessary personal qualities and high professional standardsexpected of the Panel of Examiners.

The Royal Academy of Dance is an equal opportunities organisation that fully supportsopen access to examinations. The Equal Opportunities and Diversity Policy statement isshown below:

The Royal Academy of Dance is fully committed to eliminating discrimination andactively promoting equality of opportunity where prejudice and harassment arenot accepted for the enhancement of performance and achievement.

The Royal Academy of Dance aims to ensure equal opportunities for allemployees, potential employees, students, potential students, examinationcandidates, clients and customers irrespective of those matters covered by

legislation, namely: race or ethnic origin, gender, transgender, marital status,disability, part-time status, age, sexual orientation and religion/belief.

The Royal Academy of Dance will also not discriminate on other matters whichare not currently covered by legislation, such as socio-economic status or politicalbelief.

The full Equal Opportunities and Diversity Policy can be found on the websitewww.rad.org.uk .

1.1 Royal Academy of Dance



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1.2 Syllabi Offered

The RAD currently provides two examination syllabi in Classical Ballet, and a series ofnon-assessed Presentation Classes, as follows:

• Vocational Graded Examinations in Dance (Classical Ballet)•

Graded Examinations in Dance (Classical Ballet) • Presentation Classes (not accredited by QCA) based on the Graded Examination

syllabus• Pre-School Dance Curriculum and Demonstration Classes

In all cases syllabus content is structured progressively to ensure that the level oftechnical, musical and artistic expertise required is within the grasp of the student andthat safe dance practice is assured.

1.3 Aims and Broad Objectives of Vocational GradedExaminations

Study for these examinations will provide students with:

• A means to further their knowledge and understanding of Classical Ballet• A progressive measure of attainment against specific criteria• A sound Classical Ballet base for vocational dance training programmes• An opportunity to gain internationally recognised qualifications

1.4 Vocational Graded Examination Syllabus

The Vocational Graded examination syllabus is designed for students wishing to make anin-depth study of classical ballet, with a view to pursuing a career in dance or dancerelated subjects. Pointe work is included for female students.

Students wishing to study for Vocational Graded examinations should have the maturityand technical aptitude to enable them to respond to demanding study. For example, arelatively proportionate, flexible physique with a degree of rotation in the hip socketsnecessary for the increased range of movement.

This series of examinations consists of six levels commencing with IntermediateFoundation and culminating in the Solo Seal Award - refer to Part 6 .

Further details of the Vocational Graded Syllabus content can be found in the Syllabusbooks which include Benesh Movement Notation and are available at each level.

For detailed descriptions of Classical Ballet technique, teachers are strongly advised torefer to The Foundations of Classical Ballet Technique and The Progressions of ClassicalBallet Technique.

The above publications are available from Royal Academy of Dance Enterprises Ltdthrough mail order, personal shopping or online from the websitewww.radenterprises.co.uk .



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1.5 Accreditation of Vocational Graded Examinations in Dance

The Royal Academy of Dance is an awarding body recognised by the Qualifications andCurriculum Authority (QCA) in England, the Department for Education Lifelong Learningand Skills (DELLS) in Wales and the Council for the Curriculum, Examinations and

Assessment (CCEA) in Northern Ireland.

QCA, DELLS and CCEA have accredited the Academy’s Vocational GradedExaminations. This accreditation places these qualifications on the NationalQualifications Framework for England, Wales and Northern Ireland. This Frameworkincludes qualifications in all fields of study. It places dance examinations within thecontext of other qualifications, and recognises equivalence in the levels of knowledge,skills and understanding required for their attainment – refer to Appendix 1. It does not,however, mean that dance examinations will be regarded as interchangeable with thecorresponding national school examinations.

The framework consists of nine levels and the Academy’s Vocational Gradedqualifications fall into two of these levels. Examinations at Intermediate Foundation andIntermediate are accredited at Level 2 and Advanced Foundation, Advanced 1 and

Advanced 2 are accredited at Level 3 (the Solo Seal Award has not been submitted foraccreditation).

Qualification Framework Level Accreditation No:Intermediate FoundationIntermediate

Level 2 100/1340/4

Advanced Foundation Advanced 1

Advanced 2

Level 3 100/1339/8



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Part 2

GENERAL INFORMATION INCLUDINGEXAMINATION REGULATIONS



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2.1 Preparing and entering candidates for Vocational GradedExaminations

2.1.1 Teachers eligibility to enter candidates for Vocational GradedExaminations

The Royal Academy of Dance recognises that the safety of the student is paramount, andthat good teaching will bring benefits. Therefore, only teachers who hold RAD RegisteredTeacher Status (RAD RTS) or Mutually Recognised Teachers may enter candidates forexaminations.

Examination entries cannot be accepted from teachers whose subscription to the Academy for the current membership year is unpaid.

2.1.2 Where and when examinations are held

Examinations take place at Academy Approved Venues. The number of Approved

Venues varies from country to country and from area to area, depending on the numberof candidates.

Examinations take place within specified dates published by the Academy, which arereferred to as examination sessions. Depending on the country, there may be one ormore examination sessions a year. Each examination session has a closing date bywhich examination entry forms must be received. Closing dates for examination sessionsare published by the Academy, are available online, from Examinations Departments, atheadquarters and from national and local offices. The contact details for these offices arepublished in dance gazette, diary and online .

2.1.3 Length of training requiredThe length of training for each student should be at the discretion of the teacher. It isrecommended, however, that students studying for Vocational Graded examinationsshould expect to take a minimum of two syllabus classes a week at the lower levels,increasing as the student progresses towards the higher levels. The speed ofdevelopment of individual students may vary, and extra time spent, particularly whengrowth spurts occur, can only be beneficial in the long term.

2.1.4 Minimum age for entry

In the interests of safe dance practice all candidates worldwide must have reached the

minimum age requirement by 31 December of the year of the examination .Examination Level Minimum AgeIntermediate Foundation 11 years and overIntermediate 12 years and over

Advanced Foundation 13 years and over Advanced 1 14 years and over Advanced 2 15 years and overSolo Seal Award 15 years and over

There are no maximum age limits for any of the Vocational Graded examinations.



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2.1.5 Pre-requisites for entry

Candidates must have passed the previous examination before taking the subsequentone, with the exception of the Intermediate Foundation and Advanced Foundation, asthese are optional.

1. Intermediate Foundation Optional

2. Intermediate3. Advanced Foundation Optional4. Advanced 15. Advanced 26. Solo Seal Award Distinction in Advanced 2 is a pre-requisite

Candidates may take the Academy’s Advanced Foundation, Advanced 1 and Advanced 2examinations if they hold the equivalent pre-requisite Vocational Graded qualification inClassical Ballet from other Awarding Bodies – refer to Appendix 9.

Candidates may re-take RAD examinations as many times as they wish, regardless ofthe result. Repeat examinations may not take place in the same session. A lower

examination cannot be re-taken for the purposes of eligibility for a Bursary or Award if thecandidate has entered for a higher level of examination.

2.1.6 Entry for two examinations in the same session

This practice is strongly discouraged. Candidates normally enter for only one level ofexamination in any one session. If it is essential for a candidate to enter examinations attwo levels in one session, it must be understood that the result of the lower examinationwill not be released before the higher examination is taken. If a candidate isunsuccessful in the lower examination the result of the higher examination will becomeinvalid and not issued. No refund of the fee paid will be made.

Candidates may not enter for Advanced 2 and the Solo Seal Award in the same sessionas they must have received the required result of Distinction for Advanced 2 before theSolo Seal entry is accepted.

2.1.7 Reasonable Adjustments

Classical Ballet, by its very nature, is a precise physical art concerned with shape, line,co-ordination, musical and performance qualities. It is within these parameters that the

Academy welcomes disabled candidates for Vocational Graded examinations.

It is recognised that candidates who have a permanent/temporary disability/condition who

are entered for examinations may need special arrangements/aids to enable them toperform to the best of their ability. In these cases, the Academy will make reasonableadjustments if necessary. It is emphasised that all candidates will be assessed againstthe same criteria and no concession will be made in order to safeguard the integrity of theaward.

For the purposes of the Academy’s examinations the term ‘disabled’ encompasses anyphysical, mental, learning or behavioural impairment (permanent or temporary) which islikely to affect the candidate’s ability to perform well in the examination. A ‘condition’which is normally temporary may still be such that it is appropriate for the Academy to bemade aware of in advance of the examination.



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A teacher who intends entering a candidate with a permanent/temporarydisability/condition, should complete a Request for Reasonable Adjustments Form(VEF/GEF12). These are available online, from Examinations Departments, atheadquarters and from national and local offices. The contact details for these offices arepublished in dance gazette, diary and online . The completed form should be returned toeither the Examinations Manager at Academy headquarters or National Administrators.

Applications should be made at least four weeks prior to the closing date of the session inwhich the entry is to be made, to enable the Academy to make any special arrangementsthat may be necessary to ensure that the candidate’s particular requirements are met.

2.2 Procedure for entering students for examinations

2.2.1 Registration of schools and candidates

Schools must register with the Academy and obtain a unique Centre Identification (ID)number before entering candidates for examinations. A Centre Registration form VEF5

(Part A), is available online, from the Examinations Departments, at headquarters and atnational and local offices. The contact details of these offices are published in dancegazette, diary and online. The Centre ID number must be quoted on the entry formVEF1.

To assist with the processing of results, it is essential that all students who are likely totake Vocational Graded examinations are registered in advance. Teachers will annuallyreceive a list of all their currently registered students for review; new students can beregistered then or at any other time during the year. Online facilities for Centre andCandidate registration will be available in due course to school and teachers. Allstudents are allocated a unique Candidate Identification (ID) number which must bequoted when entering them for examinations. Candidate Registration Forms VEF 5(Part B) are available online, from the Examinations Departments, headquarters and atnational and local offices. The contact details for these offices are published in dancegazette, diary and online .

A database is maintained of all students who take examinations, and a record ofcandidates’ results is kept throughout their examination history. This information isconfidential to the school and candidate, but may be made available to governmentbodies and other third parties for statistical purposes.

2.2.2 Completion of entry forms

(a) Entry formsIt is the responsibility of the teacher to enter candidates for Vocational Gradedexaminations; entries will not be accepted from candidates directly, unless they hold RADRTS or are a Mutually Recognised Teacher. This applies to a school Principal providedthat teacher number 1 holds either RAD RTS or is a Mutually Recognised Teacher. It isacceptable to indicate on the form that more than one teacher has taught the candidate,provided that membership numbers are quoted, so that results can be credited to theappropriate person.

Entry Forms come in two parts (VEF1 and VEF2) which are available online, from theExaminations Departments, headquarters and from national and local offices. Thecontact details for these offices are published in dance gazette, diary and online .

Instructions for completion of the entry forms are printed on the reverse side. Entry formsmust be completed correctly and must be accompanied by a copy of the certificate of thepre-requisite qualification if this was taken with an awarding body other than the RAD.Teachers can indicate any dates within the published session when it is impossible for



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the candidate(s) to be examined (eg, previously booked holidays, school commitmentssuch as examinations and performances). Teachers are responsible for checking thesedates before entering candidates for examinations and should also ensure that parentshave requested a candidate's absence from school. The Academy will endeavour toaccede to the impossible dates given but there is no guarantee that these can be met.

The section concerning coaching by Vocational Graded examiners must be completed forall candidates.

Entry forms must be signed by either the Principal of the school, or teacher number 1 ifdifferent, signifying that they have read and agree to abide by the rules and regulations ofentry pertaining to Royal Academy of Dance Vocational Graded examinations.Completed forms should be sent to the UK Vocational Graded Examinations Officer orNational Administrator, as appropriate, to arrive by the closing date. The Academyreserves the right to refuse entries that are not received by the closing date, or to imposea late entry surcharge, where applicable. All correspondence concerning examinationarrangements and results will be sent to the correspondence address stated on the entryform.

(b) Data collectionThe United Kingdom government requires that awarding bodies collect certaininformation from teachers about their candidates. In addition to the names and dates ofbirth of candidates, the Royal Academy of Dance is required to record the gender andethnic origin. This information is collected to ensure that the Academy’s examinationsare open to all individuals regardless of gender and ethnicity and teachers are thereforestrongly encouraged to provide this information - refer to Appendix 6.

The Academy uses the same entry forms worldwide. Teachers entering candidatesoutside the United Kingdom are requested to complete the information about gender butdo not need to complete the information on ethnic origin, unless it is a requirement in theirown country.

All forms are available online, from Examinations Departments, headquarters and fromnational and local offices. The contact details for these offices are published in dancegazette, diary and online .

2.2.3 Examination Fees

Fees must be enclosed with the entry forms, paid by one cheque, money order orappropriate financial instrument. Cheques from students are not acceptable forVocational Graded examinations as the contract is between the Academy and theSchool/Registered Teacher/Mutually Recognised Teacher.

Fees are reviewed annually and details are published in advance and are availableonline, from the Examinations Departments, headquarters and from national and localoffices. The contact details for these offices are published in dance gazette, diary and online .

Candidates holding Vocational Graded qualifications are eligible for membership of theRoyal Academy of Dance - refer to section 2.4.1 . Discounted examination fees areavailable to members who are fully paid-up on or before the closing date for entries.



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2.2.4 Acceptance of entry

Entries for examinations can be accepted by the Academy only in accordance with theconditions and regulations set out herein, and on the understanding that in all matters,the decision of the Academy is accepted as final. The Academy reserves the right torefuse an entry if these conditions and regulations are not met.

The Academy will communicate either with the school or teacher as indicated on theentry form, in all matters relating to the examinations. Please note that receipt of entryforms will not be acknowledged.

The Academy reserves the right to invalidate the examination of any candidate enteredincorrectly. Care must be taken to enter candidates' names correctly on the pupilregistration forms and examination entry forms as this information is used for results andcertificates. A fee will be charged for replacing certificates where names have beenmisspelt by the teacher.

The Academy cannot accept any responsibility for non-receipt of entry forms or for entriesthat do not arrive until after the closing date due to insufficient postage.

Acceptance of entries and fee payments does not guarantee that a tour or session will goahead exactly as planned. The Academy reserves the right to postpone or cancel a touror session in extreme circumstances – refer to section 2.2.5.

2.2.5 Cancellation, withdrawal, illness or absence

No refunds will be given for candidates who withdraw from examinations for any reasonother than illness/injury, nor may fees normally be carried forward to the next sessionexcept in the case of illness/injury, whereby 50% of the fees may be held over until thenext session. Special consideration may be given to candidates who are unable to sit anexamination due to unforeseen circumstances beyond their control (eg, the suddenserious illness or death of a close relative) but not for clashes with school examinations,performances or holidays, which should have been foreseen at the time of entry.

In the case of the absence of a candidate through illness, a medical certificate and awritten application for a refund of fees must be sent to the Academy by the end of thesession. A 50% refund of the fee will be made following the completion of theexamination session, and will be payable to the school or teacher number 1 as instructed.The candidate will forfeit any refund if the procedure is not followed.

Notification of absences prior to or on the examination day should be made toExaminations Departments, headquarters and/or national offices. Medical certificates or

letters must not be handed to the examiner, doorkeeper or pianist.

No refund will be given for a candidate who withdraws during an examination.

A refund will not be made for a candidate who enters examinations at two levels and isunsuccessful at the lower level, thus rendering the higher level result invalid – refer tosection 2.1.6.

In the event that a tour or examination session is cancelled by the Academy after thereceipt of entries and fees (eg, because of the outbreak of war, threat of terrorism,epidemic of serious illness, sudden unavailability of the intended examiner), the Academywill normally refund fees in full, unless a tour is able to be re-scheduled within the

following 4 months, in which case the fees will be retained and carried over to the revisedexamination session. Any teacher unable to accommodate the revised examinationdates may apply for a refund.



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2.2.6 Leaving the examination room

Candidates who feel unwell during an examination or suffer an injury resulting in them notbeing able to continue, should, in the interests of health and safety and the concentrationof the other candidates, withdraw and leave the studio.

Candidates may only leave the examination temporarily in exceptional circumstances.

This should be for as brief a time as possible, during which the examination will bestopped and the remaining candidates advised to keep warm. If, having left theexamination, the candidate is unwell and not able to return within approximately threeminutes, the examiner should be informed immediately by the doorkeeper, so that theexamination can be resumed as soon as possible.

If a candidate is unable to complete an examination either due to illness/injury or anyother reason, the following procedures will be adopted:

• Where generic marks are awarded over several sections, such as for music andperformance, these marks cannot be awarded if any of the sections or parts ofsections have been missed. In all cases where marks cannot be awarded, a mark of

zero will be given and it will be noted on the examiner’s mark sheet that the sectionwas ‘not shown’ or ‘not complete’.

• At all levels, with the exception of Advanced 1 and Advanced 2 in which all sectionsmust be passed in order to achieve an overall pass, it is possible for a candidate tobe successful in an examination even if some sections have not been shown,provided that the marks awarded for the completed sections add up to at least theminimum pass mark.

2.2.7 Special considerations

If, in extenuating circumstances an incident occurs during the examination which causes

interruption/distraction, such as fire, earthquake etc, where appropriate candidates will beoffered a re-examination free of charge.

2.2.8 Examinations timetable notification

Candidate notifications, stating the time, date and venue, will be sent at least two weeksbefore the beginning of the session to the school or teacher number 1 as indicated on theentry form. Teachers are requested not to contact the Academy to ask for dates as thiswill delay the process of sending out notification to all teachers.

2.2.9 Recommended uniform for examinations

The recommended uniform for all examinations is listed overleaf; however, if candidatesare unable to obtain this, a suitable alternative may be worn (with the exception offootwear). All uniform should be clean and well fitting , and underwear should not bevisible.

Ribbons should be firmly sewn on shoes in the correct position and securely fastenedbefore entering the studio. Hair should be neatly groomed and appropriately styled offthe face and neck in order that the line is not obscured. Spectacles may be worn ifrequired. In the interest of health and safety jewellery should not be worn, unless forreligious or cultural reasons.

Flesh or white coloured leg or wrist supports may be worn during examinations. Theexaminer will make no concession in the case of candidates wearing a support.



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Recommended Uniform

Intermediate Foundation to Advanced 2

Female Candidates Male Candidates

•

sleeveless leotard - black, navy blueor meryl grey

• waistband (optional) - 2-cm black,navy blue or grey elastic (to be thesame colour as leotard)

• tights - pink

• head ribbons (optional) - velvet and inthe following colours:Intermediate Foundation - soft pinkIntermediate - royal blue

Advanced Foundation - maroon red Advanced 1 - maroon red Advanced 2 – black, navy blue ormeryl grey

• soft pointe shoes – pink with ribbons

• pointe shoes (pointe selection) – pinkwith ribbons

Only Intermediate Foundation candidatesmay ware pink soft ballet shoes withribbons

Soft pointe-shoes must be worn for all otherVocational Graded examinations.

Soft split sole shoes may not be worn forany Vocational Graded examinations.

•

white leotard or a short sleevedwhite T-shirt worn inside tights

• tights - black or navy blue

• white socks worn over the tights

• black or white shoes with whiteelastic

The Academy reserves the right to refuse entry to any candidate wearingincorrect footwear (effective from January 2009).

Approved Manufacturers Freed of London Ltd Leotards and clothing uniform including male tightsTunics Ltd LeotardsMondor of Canada Leotards and clothing uniformBloch International Soft Toe Ballet ShoesGio-Debut Ballet tights, fully fashioned seamlessCoppélia Ballet tights



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2.3 The Examination Day

2.3.1 Examination Venue

The examination Venue will be arranged by the Academy. Normally the Venue will beopen one hour before the start of the examinations and closed half an hour after the endof the examinations.

Studios are expected to meet the following requirements:

Minimum size Recommended size10m x 10m (107.64 sq ft) 13m x 13m or larger (139.93 sq ft)

An Academy representative will be present at the Venue to greet and register thecandidates. An area will normally be available at the Venue for candidates to warm-upbefore the examination.

Teachers and parents attending the Venue with their candidates are not allowed into thewarm-up room.

Rosin will be provided for candidates if appropriate.

Under normal circumstance only the examiner and pianist are present during theexamination; however, as part the Academy’s aim to provide high quality examinationsglobally, additional examiners and or pianists will, from time to time, be present in theexaminations for the purpose of standardisation and/or training. This is considered to bepart of the terms and conditions of entry to examinations. In these instances teachers willbe notified in advance and in the interest of quality assurance, are requested toco-operate.

2.3.2 Examination sets and timing of examinations

Male and Female candidates are examined separately and in sets as follows:

No of candidates Minimum in Set Maximum in SetIntermediate Foundation 1 4Intermediate 1 4

Advanced Foundation 1 4 Advanced 1 1 3 Advanced 2 1 3

Examination TimingThe time allowed for each set of candidates is as follows:

Examination Level DurationIntermediate Foundation 1h 10mIntermediate 1h 20m

Advanced Foundation 1h 25m Advanced 1 1h 35m Advanced 2 1h 40m

During the day there will be regular intervals for coffee, lunch and tea breaks, for theexaminer and pianist. This may differ in some countries where it is customary to have a

long break in the middle of the day and where arrangements, more convenient to thearea, may be made.



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2.3.3 Identification of candidates and order in the studio

Candidates are given a pre-allocated number when they arrive at the venue to register.This number is worn throughout the examination as a means of identification. Thenumbers will be in sequential order, representing the total number of students to beexamined on a day. Candidates should be aware that if other candidates fail to arrive orhave cancelled after the timetable has been issued; the numbers will not run in sequential

order and the original allocated numbers will remain.

At the barre, candidates stand in sequential order with the lowest number in front.

In the centre, candidates will be placed in sequential order in a formation in which theycan be seen best by the examiner (as shown below).

Candidate1

Candidate2

Candidate3

Candidate4

EXAMINER

2.3.4 Procedure for the start of examinationsCandidates should be ready to begin their examination at least ten (10) minutes beforethe scheduled start time. No candidate may enter the studio after the examination hasstarted.

Candidates can take a small plastic bottle of water and hand towel into the examinationstudio. Normally water should only be drunk during official rest breaks.

Candidates who require asthma pumps and sprays are allowed to take these into theexamination studio.

Female candidates will be required to take their pointe shoes into the studio and will begiven time to change before the pointe section.

The examiner will ring the bell when s/he wishes the examination to begin. Candidatesshould enter the studio in sequential number order and form a line across the studio,make a simple révérence and greet the examiner. This may either be in English or thecandidate's own language.

The examiner will then check the name and number of each candidate and guide themthrough the examination.

Candidates should be encouraged to move naturally and swiftly from one place toanother. It is not necessary for them to walk with stretched feet in a formal manner.

2.4 Result and Post-Result Procedures

2.4.1 Result classifications

Candidates receive a final mark (expressed as a percentage) and a classification. Thereare three pass classifications (Pass, Merit and Distinction). Candidates who do not reachthe required standard for award of a Pass will receive a Standard Not Attained result.Each classification covers a band of marks, as follows:

Distinction 75% – 100%Merit 55% – 74%Pass 40% – 54%Standard Not Attained 0% – 39%



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In Intermediate Foundation, Intermediate and Advanced Foundation candidates’ resultsare classified on the basis of their total mark. In Advanced 1 and Advanced 2, candidatesmust reach the minimum pass mark in the required sections, as shown below, in order toachieve an overall pass. Candidates who do not pass in each of the required sectionswill receive a Standard Not Attained classification, even if their total mark is in excessof 39%.

Level Required Sections MinimumPass mark

Port de bras, Centre Practice and Pirouettes; Adage; Allegro; Free Enchaînements

16 overall

Pointe 4

Music 8 overall

Performance 4

Advanced 1 Female

Dance 8 overall

Port de bras, Centre Practice and Pirouettes; Adage; Allegro; Free Enchaînements

16 overall

Pointe 4

Music 8 overall

Performance 4

Advanced 2 Female

Dance 8 overall

Port de bras, Centre Practice and Pirouettes; Adage; Allegro 1 & 2; Free Enchaînements

20 overall

Grand Allegro enchainement 8 overallMusic 8 overall

Advanced 1 Male

Performance 4

Port de bras, Centre Practice and Pirouettes; Adage; Allegro 1 & 2; Free Enchaînements

20 overall

Music 8 overall

Performance 4

Advanced 2 Male

Variation 8 overall

All examination candidates will receive a Result Form - refer to Appendix 7.

Certificates will be awarded to all successful candidates, and will specify the Level inwhich they have been examined and the Classification.

Broad descriptions are available of the qualities that candidates will typically demonstratefor each of the result classifications (Attainment Descriptors) - refer to Appendix 8.

Results will be credited to the teachers listed on the entry form.

Affiliate and Full Membership

Candidates who are successful at Intermediate Foundation, Intermediate and or Advanced Foundation are eligible to become Affiliate Members of the Royal Academy ofDance. Candidates who have been successful at Advanced 1 or Advanced 2 are eligibleto become Full Members of the Royal Academy of Dance. As a member, discountedexamination fees are available for Advanced Foundation and above.



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2.4.2 Processing and issuing of results

The examiner reports directly to the Academy and may not give any informationregarding examination results to any other person or persons. The Academy is not ableto give any examination results over the telephone.

Results for all Vocational Graded examinations are issued centrally. This is to allow

quality control procedures to be carried out to ensure that results are consistent acrossexaminers, teachers and countries. The Academy undertakes to issue results within four(4) weeks of the end of an examination tour/session.

Result Forms and Certificates will be mailed to the school or teacher number 1, asindicated on the entry form. It is the responsibility of the teacher to ensure thatcandidates receive their Result Forms and Certificates, and therefore s/he should ensurethat the address on the entry form is valid for mail during school holidays as well asterm-time. The Result Form and the Certificate are the property of the candidate, andfailure by the teacher to deliver them will be regarded as Malpractice - refer tosection 2.4.6.

The Academy does not accept responsibility for the non-receipt of any Result Form orCertificate after its despatch by post.

2.4.3 Replacing lost or incorrect certificates

Teachers should notify the issuing office of the Academy of any factual errors on ResultForms and Certificates, such as mis-spelling of the candidate’s name, within one monthof receipt. If the error has been caused by the Academy a revised Result Form andCertificate will be issued free of charge, but if the error has been caused by an incorrectentry or registration form, a fee will be charged for re-issue. In all cases the originalcertificate must be returned before a replacement can be issued.

Lost certificates relating to examinations which took place after September 2001 can bereplaced, subject to the payment of a fee.

Lost certificates relating to examinations which took place before September 2001 cannotbe replaced. However, provided that a record of the examination can be found, anextract from the Register of Examinations attesting to the candidate’s achievement canbe supplied, on payment of the published fee. In both instances UK teachers shouldcontact the Examinations Department at headquarters. Teachers outside the UK shouldcontact their national or local offices.

2.4.4 Result Enquiry Service

With a criterion-based marking system in place, teachers and schools should be able tosee clearly the main areas of their students’ strengths and weaknesses, as evidenced onthe day of the examination. In the vast majority of cases, this should provide sufficientfeedback. There may, however, be instances where a greater level of detail is requiredand the Result Enquiry Service is tailored to meet this need.

Teachers should note that this service is separate from the Appeals Procedure, whichmay be used only where there has been a procedural error or where previously unknowncircumstances have come to light since the examination was taken.

Results will not be changed as a consequence of a result enquiry except in the event of aclerical/arithmetical error being found (in which case the enquiry fee would be refunded).



17

Type of Enquiry

• Individual candidate report

This involves a re-check to ensure that no clerical or arithmetical error has occurredand the preparation by the examiner of a written report on the candidate’s work, basedon the notes which s/he took at the time. The report will include comments under eachof the assessment criteria.

• Group report

This involves a re-check to ensure that no clerical or arithmetical error has occurred,and the preparation by the examiner of a written report on the work of a group ofcandidates (who must all have been entered for the same level of examination butneed not have been examined in the same set), based on the notes which s/he took atthe time. Whilst there may be some comments about each individual student, thereport will focus on the work of the candidates as a group and will draw attention tocommon areas of strength and weakness. The report will cover all the assessmentcriteria.

Reports will normally be written in English. In the case of non-English-speaking teachersthe Academy may be able to assist in the translation of the report.

FeesResult Enquiry Fees are available online, from the Examinations Departments,headquarters and from national and local offices. The contact details for these offices arepublished in dance gazette, diary and online .

Procedure for applying for a Result EnquiryResult enquiries will only be accepted from the candidate’s school principal or teacher;they cannot be accepted from candidates or their parents, with the exception ofcandidates who hold RAD RTS or Mutually Recognised Teachers who have enteredthemselves. For examinations in the UK, all enquiries must be accompanied by a chequefor the appropriate amount, made payable to the Royal Academy of Dance and should beaddressed to the Examinations Manager. For examinations outside the UK, requests forreports should be submitted to the national office and should be accompanied by the feein the appropriate local currency.

Forms for requesting result enquiries are normally enclosed with the despatch of resultsand are also available online. All enquiries must be received within one month of theissue of results. The Academy will endeavour to process and despatch all reports within

four working weeks of receipt, although this may not be possible in cases where theexaminer in question is out of the country or otherwise absent.

Once a report has been issued, no further correspondence will be entered into.



18

2.4.5 Appeals procedure

It is the policy of the Royal Academy of Dance to act fairly, legally and without bias orprejudice in all its dealings with examination candidates and their teachers. Candidatesand teachers who choose to lodge an Appeal will not be disadvantaged by so doing. The

Academy will endeavour to resolve all problems amicably and informally without recourse

to the formal appeals procedure, and aims to deal with all properly lodged Appeals in anefficient, impartial and transparent manner.

The Academy operates rigorous quality assurance procedures in relation to therecruitment, training and monitoring of its examiners, thus ensuring that, in principle,there is consistency of assessment across the Examining Panel. Entry for a VocationalGraded examination is deemed to constitute acceptance of the artistic judgement of theexaminer.

• Grounds for Appeal

A candidate or teacher has grounds for appeal if s/he can establish that:

(i) There have been irregular procedures on the part of the examiner or an irregularityoccurred during the examination which was outside the examiner’s or candidate’scontrol.

(ii) There was evidence of bias or prejudice on the part of the examiner.

(iii) There were circumstances seriously affecting the candidate that were not known tothe Academy at the time the examination result was issued and which could providereasonable doubt that the same result would have been made in light of this newevidence.

• Method of Appeal All appeals must be made through the Principal of the school, or teacher who entered thecandidate.

(i) First Level of Appeal An Appeal must be made in writing by the Principal of the school or teacher (not theparent or candidate) who entered the candidate and sent by post to the ExaminationsManager, Royal Academy of Dance, 36 Battersea Square, London, SW11 3RA or [email protected]. The grounds for the Appeal must be clearly stated and the lettershould be accompanied by the Result Form.

An Appeal should be postmarked no later than fourteen (14) days after the result hasbeen issued to the Centre or after a Result Enquiry Service report has been received.The Academy will acknowledge the Appeal within seven (7) working days of receipt.

The Examinations Manager will make a decision after considering the comments of theexaminer and consulting any other appropriate person(s). The Academy will aim toresolve the Appeal within fifteen (15) working days of the date of receipt. It may,however, be necessary to extend this time if the examiner concerned is either residentoverseas or away on business. If this is the case the Appellant will be notified in writing.

An Appeal will either be upheld or denied. There is no charge for an Appeal at this level.







21

Part 3

EXAMINATION SYLLABUS CONTENT



22

3.1 General

Candidates will be assessed at each level through the performance of the prescribedcontent, a selection of which will be seen in the examination. However, all theexamination content should be prepared, except where choices are indicated.Candidates are expected to acquire and retain knowledge of the vocabulary listed for

each level.

At all levels there are separate syllabi and examinations for male and female candidates.Detailed notes of the examination content are published in the relevant syllabus bookswhich may be purchased from Royal Academy of Dance Enterprises Ltd. through mailorder, at headquarters or from the website www.radenterprises.co.uk .

The examination content will be performed to the official syllabus music, which may bepurchased from Royal Academy of Dance Enterprises Ltd. through mail order, personalshopping or online from the website www.radenterprises.co.uk . In the examination, themusic will be played by a pianist provided by the Academy.

Note: For examinations, candidates are normally seen in groups of three or four,according to the level. However, candidates should be prepared to dance in anycombination of groups or solo, at the request of the examiner.

3.2 Vocabulary and Examination Content

3.2.1 Intermediate Foundation Vocabulary

Candidates are expected to have knowledge of the following vocabulary:

Female Male

Arabesques1 st and 3 rd arabesques en l'air2nd arabesque à terre

Assemblés Assemblés dessus and dessousPetits assemblés devant and derrière

Assemblés Assemblés dessus and dessousPetits assemblés devant and derrière

Assemblé soutenu Assemblé soutenu en tournant endedans

BalancésBalancés en avant and de côté

Changement Changement

ChassésChassés en avant, en arrière,à la seconde and passés en avant

ChassésChassés en avant, en arrière,à la seconde and passés en avant

Classical walk Classical walk

CoupésCoupés dessus and dessous

CoupésCoupés dessus and dessous



23

(Intermediate Foundation Vocabulary continued)

Female Male

DéveloppésDéveloppés devant, derrièreand à la seconde

DéveloppésDéveloppés devant, derrièreand à la seconde

EchappésEchappé relevé to 2 nd positionEchappé sauté to 2 nd positionEchappé sauté battu fermé

EchappésEchappé relevé to 2 nd positionEchappé sauté to 2 nd positionEchappé sauté battu fermé

FouettéFouetté à terre

FouettéFouetté à terre

Galop

GlissadesGlissades devant, derrière, dessus anddessous and passés en avant

GlissadesGlissades devant, derrière, dessus anddessous

Grand rond de jambeDemi-grand rond de jambe en dehors

Grand rond de jambeDemi-grand rond de jambe en dehors

JetésPetit jeté derrièreJetés ordinaires devant and derrière

JetésPetit jeté derrièreJetés ordinaires devant and derrière

Pas de bourréePas de bourrée devant, derrière,dessus and dessous

Pas de bourréePas de bourrée devant, derrière,dessus and dessous

Pas de chat Pas de chatPirouettesEn dehors: singles from 4 th position

En dedans: singles from 4 th positionen fondu

PirouettesEn dehors: singles from 2 nd , 4 th and5 th positionEn dedans: singles from 4 th positionen fondu

RelevésRelevés in 1 st , 2 nd and 5 th positionRelevés devant and derrièreRelevés passés devant and derrière

RelevésRelevés in 1 st , 2 nd and 5 th positionRelevés devant and derrièreRelevés passés devant and derrière

SautésSautés in 1st and 2nd position

SautésSautés in 1st and 2nd position

SissonnesSissonnes ordinaires devant and derrièreSissonnes fermées de côté dessus anddessous

SissonnesSissonnes ordinaires devant and derrièreSissonnes fermées de côté dessus anddessous

Soubresaut Soubresaut

Temps levésTemps levés in arabesque and retiré

Temps levésTemps levés in arabesque and retiré

Tour en l'airSingle tour en l'air



24

3.2.2 Intermediate Foundation Examination Content

Candidates should prepare all the examination content listed, a selection of which will beseen in the examination.

Female Male

BARRE BARRE

Pliés PliésBattements tendus Battements tendusBattements glissés Battements glissésRonds de jambe à terre Ronds de jambe à terreDemi-assemblés soutenus à terre Demi-assemblés soutenus à terreBattements fondus à terre Battements fondus à terreBattements frappés Battements frappésPetits battements sur le cou-de-pied Petits battements sur le cou-de-piedRetirés passés with développés Retirés passés with développésDemi-grands ronds de jambe en l'air Demi-grands ronds de jambe en l'airGrands battements Grands battementsGrands battements en cloche Grands battements en clochePort de bras A Port de bras APort de bras B Port de bras B Relevés in 5 th position Relevés in 5 th positionEchappés relevés to 2 nd position Exercise for pirouettesRelevés devant, derrière and passés Relevés devant, derrière and passésPosés Echappés sautés to 2 nd position with

relevés to 5 th

CENTRE CENTRE

Port de bras

1st

Port de bras2nd Port de bras

Port de bras

1st

Port de bras2nd Port de bras

Centre PracticeTemps liéTransfer of weight with port de brasBattements tendusChassésGrands battements

Centre PracticeTemps liéBattements tendusChassésGrands battements

PirouettesPirouettes en dehors from 4 th position

Pirouettes en dedans

PirouettesPirouettes en dehors from 4 th position

Single pirouettes en dehors from5 th position and 2 nd positionPirouettes en dedans

Adage1 st , 2 nd and 3 rd arabesque Fouetté of adageDéveloppés

Adage1 st and 2 nd arabesqueFouetté of adageDéveloppés

AllegroGlissades devant and derrièreGlissades dessus and dessousPas de bourréeSautés in 1 st positionEchappés sautés to 2 nd positionChangements and soubresautsSissonnes ordinaries ( A and B )

Allegro 1Glissades devant and derrièreGlissades dessus and dessousPas de bourréeSautés in 1 st positionEchappés sautés to 2 nd positionSoubresauts and changementsSissonnes ordinaries ( A and B )



25

(Intermediate Foundation Examination Content continued)

Female Male

(Allegro continued)Petits jetésFree enchaînementEchappés sautés battus fermés

(Allegro 1 contined)Petits jetés Preparation for tours en l'airEchappés sautés battus fermés

Allegro 2Free enchaînementJetés and galopsEchappés sautés

Dance Study Dance Enchaînement

POINTE WORK

BarreRises in 1 st and 2 nd positionRelevés in 1 st and 2 nd positionEchappés relevés to 2 nd positionTemps lié

CentreRelevés in 5 th positionEchappés relevés to 2 nd position

Révérence Révérence



26

3.2.3 Intermediate Vocabulary

Candidates are expected to have knowledge of the following vocabulary in addition to thevocabulary listed for Intermediate Foundation.

Female Male

Arabesque2nd arabesque en l'air

Assemblés Assemblés derrière and devant Assemblés battus dessus and dessous

Assemblés Assemblés derrière and devant Assemblés battus dessus and dessous

Assemblé soutenu Assemblé soutenu en tournant endedans

Attitudes Attitudes devant and derrière

Attitudes Attitudes devant and derrière

BalancéBalancé en arrière

BalancéBalancé de côté

BriséBrisé dessus from 2 feet to 2 feet

BriséBrisé dessus from 2 feet to 2 feet

ChangementChangement battu

ChangementChangement battu

ChasséChassé passé en arrière

ChasséChassé passé en arrière

ContretempsDemi-contretempsFull contretemps

ContretempsDemi-contretempsFull contretemps

CourusCourus en avant, en arrière, sur place,de côté and en tournant

Entrechat quatre Entrechat quatre

EchappésEchappé relevé to 4 th positionEchappé sauté to 4 th position

Echappé sauté battu fermé changé

EchappésEchappé relevé to 4 th positionEchappé sauté to 4 th position

Echappé sauté battu fermé changé FouettésFouetté en l'airCoupés fouettés raccourcis relevé andsauté

FouettésFouetté en l'airCoupé fouetté raccourci sauté

JetésPetit jeté devantJetés ordinaires en avant, en arrière andde côtéGrand jeté en avant

JetésPetit jeté devantJetés ordinaires en avant, en arrièreand de côtéGrand jeté en avant

Pas de basquePas de basque glissés en avant and enarrière

Pas de basquePas de basque glissés en avant and enarrièrePas de basque sautés en avant and enarrière



27

(Intermediate Vocabulary continued)

Female Male

Pas de bourréePas de bourrée piqué dessousPetit pas de bourrée piqué dessous

Pas de valsePas de valse en tournant

PirouettesEn dehors: singles from 5 th positionEn dehors: doubles from 4 th positionEn dedans: doubles from 4 th position enfonduPosé pirouette

PirouettesEn dehors: doubles from 2nd & 4 th positionEn dedans: doubles from 4 th position enfondu

PosésPosé en avant

Posé passé en avant

PosésPosé en avant into 5 th position

RelevéRelevé in 4 th position

RelevéRelevé in 4 th position

RotationRotation à terre

RotationRotation à terre

SissonnesSissonnes ordinaires passées devantand derrièreSissonnes fermées en avant and arrièreSissonnes ouverte en avant

SissonnesSissonnes ordinaires passées devantand derrièreSissonnes fermées en avant and arrière

Tombé

3.2.4 Intermediate Examination Content


Female Male

BARRE BARRE

Pliés PliésBattements tendus Battements tendusBattements glissés Battements glissésBattements jetés Battements jetésRonds de jambe à terre Ronds de jambe à terre

Assemblés soutenus à terre Assemblés soutenus à terreBattements fondus Battements fondusBattements frappés Battements frappésBattements frappés fouettés Battements frappés fouettésRonds de jambe en l'air Ronds de jambe en l'airPetits battements sur le cou-de-pied Petits battements sur le cou-de-piedDéveloppés passés A Développés passés A

Développés passés B Développés passés BGrands ronds de jambe en l'air Grands ronds de jambe en l'airExercise for fouetté of adage Exercise for fouetté of adageGrands battements Grands battementsGrands battements en cloche Grands battements en cloche



28

(Intermediate Examination Content continued)

Female Male

(BARRE continued) (BARRE continued)Port de bras A Port de bras APort de bras B Port de bras BEchappés relevés Echappés sautés and relevésRelevés devant and derrière Relevés devant and derrière

Posés to 5 th position

CENTRE CENTRE

Port de bras Port de bras1 st Port de bras ( A and B ) 1 st Port de bras ( A and B )2nd Port de bras 2 nd Port de bras

Centre Practice Centre PracticeTemps lié Temps liéBattements tendus ( A and B ) Battements tendus ( A and B )Chassés with rotation and fouettés à terre Battements jetésGrands battements Chassés with rotation and fouettés à terre

Grands battementsPirouettesSingle pirouettes en dehors from5 th positionDouble pirouettes en dehors from4 th positionPirouettes en dedans

Posés pirouettes en dedans

PirouettesSingle pirouettes en dehors from5 th positionDouble pirouettes en dehors from4 th positionDouble pirouettes en dehors from2nd positionPirouettes en dedans

AdageDéveloppés devant and derrière ( A and B )Demi-grands ronds de jambeFouetté of adage

AdageDéveloppés devant and derrière ( A and B )Demi-grands ronds de jambeFouetté of adage

AllegroPetits changementsPas de bourréeEchappés sautés en croixJetés ordinairesSissonnes ordinaires passéesPas de basque glissés en avantPas de basque glissés en arrièreFree enchaînementEchappés sautés battus fermésEntrechats quatreBrisésGrands jetés en avantFull contretemps

Allegro 1Petits changementsPas de bourréeEchappés sautés en croixJetés ordinairesSissonnes ordinaires passéesPas de basque glissés en avantPas de basque glissés en arrièrePas de basque sautésEchappés sautés battus fermésEntrechats quatreBrisés

Dance Study Allegro 2Free enchaînementChassés temps levés en manègePosé temps levé en manègeTours en l'airPas balancéFull contretempsGrands jetés enchaînement



29

(Intermediate Examination Content continued)

Female Male

POINTE WORK

BarreRises in 1 st and 2 nd position

Echappés relevés to 4th

and 2nd

positionRelevés devant and derrièreRelevés passésPosés de côtéPosés en avant ( A and B ) Coupes fouettes raccourcis

CentreTemps liéEchappés relevésRelevés devant and derrièrePas de bourrée piqués

Courus




30

3.2.5 Advanced Foundation Vocabulary

Candidates are expected to have knowledge of the following vocabulary in addition to thevocabulary listed for Intermediate Foundation and Intermediate.

Female Male

Arabesques2nd arabesque en fondu

Assemblés Assemblés en avant and en arrière Assemblés de côté dessus and dessous Assemblé piqué dessus en pointe

Assemblés Assemblés en avant and en arrière Assemblés de côté dessus and dessous

Ballonn és Ballonnés composés en avant,en arrière and de côté

Ballonn és Ballonnés composés en avant,en arrière and de côté

Brisé

Brisé dessous from 2 feet to 2 feet

Brisé

Brisé dessous from 2 feet to 2 feet

EmboîtéEmboîté en pointe

EntrechatsEntrechats trois devant and derrièreEntrechats cinq devant and derrière

EntrechatsEntrechats trois devant and derrièreEntrechats cinq devant and derrière

Failli Failli

FouettésFouettés relevés de côté with half turn

GlissadesGlissades en avant and en arrière

GlissadesGlissades en avant and en arrière

JetésJeté battement en avantGrand jeté en tournant

JetésJeté battement en avantGrand jeté en tournantPetit jeté devantPetit jeté devant with half turn

Pas de basquePas de basque sautés en avant anden arrière

Pas de bourréePas de bourrée en avant and en arrièrePas de bourrée dessus and dessous entournant

Pas de bourréePas de bourrée en avant and en arrièrePas de bourrée dessus and dessous entournantPas de bourrée courus devant andderriére écarté

PirouettesEn dehors: doubles finished in 4 th position en fonduEn dehors: singles en pointe closingin 5 th positionEn dedans: singles en pointe withoutfouettéPosés pirouettes en pointe

PirouettesEn dehors: doubles finished in 4 th position en fondu



31

(Advanced Foundation Vocabulary continued)

Female Male

PivotsPivot en dedans in attitude

PivotsPivots en dehors in arabesque and2nd position

Pivots en dedans in attitude,arabesque and 2 nd position

PosésPosés coupés en avant and en arrièreen pointePosé passé en pointePosés en avant in 1 st arabesque andattitudePosés en avant in 1 st arabesqueen pointe

PosésPosés en avant in 1 st arabesque andattitude

RelevéRelevé passé derrière en pointe

RotationRotation en l'air

RotationRotation en l'air

SissonnesSissonnes ouvertes en arrière and decôtéSissonnes doublées dessus, dessous,en avant and en arrière

SissonnesSissonnes ouvertes en avant, enarrière and de côtéSissonnes doublées dessus, dessous,en avant and en arrièreSissonne passé devant with half turn

SoutenuPetits soutenu en tournant en pointe

Temps de cuisseFrench temps de cuisse dessus

Temps de cuisseFrench temps de cuisse dessus

Tombé

Tour en l'airDouble tour en l'air



32

3.2.6 Advanced Foundation Examination Content


Female Male

BARRE BARRE

Pliés PliésBattements tendus with petits retirés Battements tendus with petits retirésBattements glissés with battementsglissés en cloche

Battements glissés

Ronds de jambe à terre Ronds de jambe à terreBattements fondus Battements fondusBattements frappés Battements frappésRonds de jambe en l'air Ronds de jambe en l'airPetits battements serrés Petits battements serrésDéveloppés sur la demi-pointeGrands battements

Grands battements en cloche

Développés en demi-pointeGrands battements

Grands battements en cloche

CENTRE CENTRE

Port de bras Port de brasPort de bras Port de bras

Centre Practice Centre PracticeTemps lié

Battements tendus and battementsglissés with pirouettesRonds de jambe à terreBattements fondusGrands battements ( A and B )

Temps liéPliésBattements tendus and battementsglissés with pirouettesRonds de jambe à terreBattements fondusGrands battements ( A and B )

PirouettesPirouettes en dehors

Pirouettes en dehors and en dedans

PirouettesPirouettes en dehorsPirouettes en dedansPirouettes en dehors and en dedans

Adage1 st Adage ( A and B )2nd Adage

Adage1 st Adage ( A and B )2nd Adage

Allegro Allegro 1Petits changements Petits changementsJetés battements Jetés battementsPas de bourrée en avant, en arrière, anden tournant

Pas de bourrée

Failli Echappés sautés and soubresautsJetés ordinaires with temps levés

Free enchaînement Entrechats trois and cinqBrisés

Entrechats trois and cinq Allegro 2Brisés dessus Sissonnes ouvertes to arabesqueBrisés dessous Allegro enchaînementSissonnes ouvertes to arabesque Free enchainementGrands jetés en avant and en tournant Tours en l'air

Enchaînement en diagonale

Grand allegro enchaînement



33

(Advanced Foundation Examination Content continued)

Female Male

POINTE WORK

BarreWarm-up exercise

Assemblés piqués and battements glissésPosés de côté and relevésPosés into arabesqueSissonnes fermées relevéesExercise for fouetté of adage

CentreTemps liéEchappés and relevésPas de bourréeCourusPosés passés

Assemblés piqués and emboîtésPirouettes en dehorsPirouettes en dedansPetits soutenusPosés pirouettes en dedans

Dance Studies Waltz or Galop




34

3.2.7 Advanced 1 Vocabulary

Candidates are expected to have knowledge of the following vocabulary in addition to thevocabulary listed for Intermediate Foundation, Intermediate and Advanced Foundation.

Female Male

Arabesque

Arabesque penchée Ballonnés simplesBallonnés simples en avant anden arrièreBallonné simple de côté

Ballonnés simplesBallonnés simples en avant anden arrièreBallonné simple de côté

Ballottés sautésBallottés sautés dessous and dessus

BallottésBallottés sautés dessous and dessus

BriséCoupé brisé derrière

BrisésCoupés brisés devant and derrièreBrisés dessous and dessus

ChaînéChaîné en diagonale en pointe

ChaînéChaîné en diagonale

CoupéCoupé dessous en tournant

FouettésCoupé fouetté raccourci battuFouetté rond de jambe en tournantFouetté sauté

FouettésCoupé fouetté raccourci battuFouetté sauté and fouetté sautéen tournant

Jetés

Jeté battement en arrièreJeté battu derrière

Jetés

Jeté battement en arrièreJeté battu derrière

Pas de bourréePas de bourrée courus en avant, enarrière and de côtéPas de bourrée à quatre and cinq pas

Pas de bourréePas de bourrée courus en avant anden arrière

PirouettesEn dehors: doubles finishing in attitudeand arabesqueEn dehors: singles en pointe finishing in4 th positon en fonduEn dedans: singles en pointe with fouetté

PirouettesEn dehors: doubles finishing in attitudeand arabesque, 2 nd position en l'airEn dehors: triples finishing in 4 th position en fonduEn dehors: multiple pirouettes finishingin 4 th position en fonduEn dehors: grands pirouettes in 2 nd position with petits sautésEn dehors: singles in 2 nd positionEn dedans: triples finishing in 5 th position

PivotPivots en dehors and en dedans inarabesque

PivotPivot en dehors in attitude

Ronds de jambeGrands ronds de jambe en dehors anden dedans

Ronds de jambeGrands ronds de jambe en dehors anden dedans

Saut de basque



(Advanced 1 Vocabulary continued)

35

Female MaleSissonnes SissonnesSissonnes fermées relevées de côtédevant, derrière, dessus and dessous,en pointe

Sissonne fermée battue dessus

Sissonnes fermées relevées en avant and

en arrière en pointe

Sissonne ordinaire devant en tournant

Sissonnes ouvertes relevées en avantand en arrière en pointe

Sissonnes ouvertes en avant and enarrière into arabesque and attitude

Sissonne fermée battue dessus Sissonnes ouvertes changées en avantand en arrière into arabesque and attitude

Sissonnes ouvertes en avant and enarrière into arabesque or attitude

Sissonnes doublées with développédessus and dessous

Sissonnes ouvertes changées en avantand en arrière into arabesque or attitude

Sissonnes ouvertes changées en arrière

Temps de cuisse Temps de cuisseFrench temps de cuisse dessous French temps de cuisse dessous

French temps de cuisse en avant and enarrière French temps de cuisse en avant and enarrière

3.2.8 Advanced 1 Examination Content


Female MaleBARRE BARREPliés PliésBattements tendus Battements tendus with petits retirésBattements glissés with battementspiqués

Battements tendus with use of alternatelegs

Battements fouettés Battements glissésRonds de jambe à terre Battements jetésRonds de jambe jetés Ronds de jambe à terreBattements fondus Battements fondusBattements frappés Battements frappésBattements frappés fouettés Battements frappés fouettésRonds de jambe en l'air Ronds de jambe en l'airPetits battements Petits battementsFouettés and rotations Fouettés and rotationsBattements lents Battements lentsGrands battements sur la demi-pointe Grands battementsGrands battements en cloche Grands battements en cloche

CENTRE CENTREPort de bras Port de brasPort de bras Port de bras

Centre Practice Centre PracticeTemps lié en avant Temps lié en avantTemps lié en arrière Temps lié en arrièreBattements tendus with pirouettes PliésRonds de jambe à terre with pirouettes Battements tendus with battements

glissés and battements jetésBattements fondus Battements tendus with pirouettesGrands battements Ronds de jambe à terre with pirouettes

Battements fondusGrands battements



36

(Advanced 1 Examination Content continued)

Female Male

Pirouettes PirouettesPirouettes prepared by temps levé chassépas de bourrée

Triple pirouettes en dehors and endedans

Pirouettes finishing in attitude andarabesque

Pirouettes finishing in attitude andarabesque

Posé pirouette en dehors Pirouette enchaînementFouettés ronds de jambe en tournant Pirouettes in 2 nd position

Chaînés

Adage AdageGrands ronds de jambe Grands ronds de jambePivots in arabesque Pivots

Adage study Adage study

Allegro Allegro 1Petits changements Petits sautésJetés battements Jetés battementsFree enchaînement Ballonnés composésBallonnés composés Ballonnés simplesBallonnés simples Ballottés sautésSissonnes doublées ( A and B) Sissonnes doublées ( A and B) Ballottés sautés Entrechats trois and cinqEntrechats trois and cinq BrisésCoupés fouettés raccourcis battus andsissonnes fermées battues

Jetés battus and coupés brisés

Brisés dessus Free medium enchaînementBrisés dessousJetés battus and coupés brisés Allegro 2

Tours en l'air en diagonaleEnchaînement en diagonaleSauts de basqueFree grand allegro enchaînement

Free grand allegro enchaînement Grand allegro enchaînement

POINTE WORK

BarreWarm-up exerciseBattements glissés relevésRelevésRelevés in attitude and arabesqueDéveloppés en croixGrands battements

CentreTemps liéEchappés and relevésFree enchaînementPirouettes en dehors with courusPirouettes en dedansPetits soutenus and posés pirouettes endedansChaînés

Dance Studies Waltz or Galop




37

3.2.9 Advanced 2 Vocabulary

Candidates are expected to have knowledge of the following vocabulary in addition to thevocabulary listed for Intermediate Foundation, Intermediate, Advanced Foundationand Advanced 1.

Female Male

Arabesque Arabesque allongée

Arabesque Arabesque penchée

Assemblé Assemblé dessus en tournant

AssembléDouble assemblé dessus en tournant

BallottésBallottés en demi-pointe and en pointe

Brisés BrisésBrisés dessus and dessous 2 feet to 1foot, 1 foot to 1 foot, 1 foot to 2 feet

Brisés en avant and en arrière 2 feet to2 feet, 2 feet to 1 foot, 1 foot to 1 foot,1 foot to 2 feet

Brisés devant and derrière 2 feet to 2 feet,2 feet to 1 foot, 1 foot to 1 foot, 1 foot to2 feet

Brisés dessous and dessus 1 foot to 1foot, 1 foot to 2 feet

Brisés en avant and en arrière 2 feet to2 feet, 2 feet to 1 foot, 1 foot to 1 foot,1 foot to 2 feet

Brisé derrière en tournant 1 foot to1 foot

Brisés volés devant and derrière Brisé dessus en tournant 1 foot to 1 footBrisés devant and derrière 2 feet to 2feet, 2 feet to 1 foot, 1 foot to 1 foot,1 foot to 2 feetBrisés volés devant and derrière

CabriolesCabrioles ouvertes devant, derrière andde côtéCabrioles fermées devant, derrière and decôté

CabriolesCabrioles fermées devant (single anddouble) derrière and de côtéCabrioles ouvertes devant (single anddouble) derrière and de côté

ChangementChangement en pointe

EmboîteEmboîté saute en tournant

EchappésEchappés sautés ouverts and ferméswith beat of entrechat six

Entrechats EntrechatsEntrechat six Entrechat sixEntrechat six de volées de côté Entrechat six de volées de côté

Fouettés FouettésCoupé fouetté raccourci battu en tournant Coupé fouetté raccourci battus en

tournantFouettés relevés en demi-pointe and enpointe

Fouetté relevé en tournant

Grands fouettés relevés en tournant endemi-pointe and en pointe Fouetté sauté battu and fouetté sautébattu en tournantGrand fouetté sauté en tournant Grand fouetté relevé en tournantFouetté sauté battu Grand fouetté sauté en tournant



38


Female Male

(Fouettés continued) (Fouettés continued) Fouetté sauté en tournant Grand fouetté sauté battu en tournantFouetté sauté battu en tournantFouetté rond de jambe en tournant enpointe

GargouilladesGargouillade en dehorsGargouillade en dedans to dégagé

Jetés JetésPetits jetés devant and derrière en pointe Petits jetés battus devant and derrièrePetits jetés battus devant and derrière Jeté battu devantJeté élancé en tournant Jetés élancés en tournant, en diagonale

and en manègeCoupé jeté en tournant en manège Grand jeté battu en tournant

Grand jetés en avant with développé Grand jeté en avant en tournant inattitudeGrand jeté battu en tournant Grand jeté en avant with développéGrand jeté en avant en tournant in attitude Jetés passés derrière in attitude and

arabesqueJetés ronds de jambes sautés en dehorsand en dedans

Jetés ronds de jambe sautés en dehorsand en dedans

Jetés passés derrière in attitude andarabesque

Pas de basque Pas de basqueGrands pas de basque en tournant Pas de basque battus en avant and en

arrièrePetits pas de basque en manège enpointe

Grands pas de basque en tournant

Pas de basque battus en avant and enarrière

Pas de bourrée Pas de bourréePas de bourrée courus en première Pas de bourrée piqués dessous en

tournantPas de bourrée piqués dessous entournant en pointe

Pirouettes PirouettesEn dehors: singles and doubles endemi-pointe in attitude

En dehors: triple pirouettes finishing inopen positions

En dehors: doubles en demi-pointefinishing in effacé devant en l'air

En dehors: double pirouettes in 2 nd position

En dehors: triples en demi-pointe En dehors: single and double pirouettesin arabesque

En dehors: posé pirouette en pointe En dehors: double pirouettes in attitudeEn dedans: singles and doubles endemi-pointe and en pointe in attitude and1 st arabesque

En dehors: grandes pirouettes toinclude turns in 2 nd position and attitude

En dedans: singles en demi-pointe in 2 nd position

En dedans: triple pirouettes finishing inopen positions

En dedans: triples en demi-pointe En dedans: double pirouettes in 2 nd

positionEn dedans: double posé pirouette enpointe

En dedans: single and doublepirouettes in arabesque



39


Female Male

(Pirouettes continued) En dedans: doubles finishing inarabesque de côté

(Pirouettes continued) En dedans: double pirouette in attitude

En dedans: posé pirouette into anyopen position

PolkaPolka en pointe

RelevéRelevé développé

Renversés RenversésRenversés en dehors with relevé endemi-pointe and en pointe

Renversés en dehors relevés andsautés

Renversé en dehors sauté

Retiré Retiré

Petit retiré sauté passé Retiré sauté passéRonds de jambe sautésRond de jambe sauté en dehorsRond de jambe sauté en dedans

Rotations RotationsPosé rotation with développé Rotation en l'airRotation relevé with développé en pointe Rotation with relevé

Saut de basque Saut de basqueDouble saut de basque

SautéSauté en pointe

Sissonnes SissonnesSissonnes fermées battues en avant anden arrière

Sissonnes développées en avant,en arrière, passées devant, passéesderrière and de côté

Sissonnes ouvertes battues en avant, enarrière, devant and derrière

Sissonnes doublées battues dessous,dessus, en avant and en arrière

Sissonnes ouvertes changées battues enavant and en arrière

Sissonnes doublées with développéand développé passé en avant anden arrière

Sissonnes fermées changées battues enavant, en arrière and en tournant Sissonnes fermées battues dessous,devant, derrière, en avant anden arrière

Sissonnes doublées with développédessus, dessous, en avant and en arrière

Sissonnes fermées changées battuesen avant, en arrière and en tournant

Sissonnes doublées battues dessus anddessous

Sissonnes ordinaires en tournant(single and double) devant, derrière,passées devant and passées derrière,en dehors and en dedans

Sissonnes ouvertes changées en tournantin attitude and arabesque

Sissonnes ouvertes battues devant,derrière, en avant and en arrière

Sissonnes ordinaires en tournant devant,

derrière, passées devant and passéesderrière, en dehors and en dedans

Sissonnes ouvertes changées

en tournant in attitude and arabesque

Sissonnes développées en avant,en arrière, passées devant, passéesderrière and de côté

Sissonnes ouvertes changées battuesen avant and en arrière



40


Female MaleSoutenuPetit soutenu en tournant en pointe

Temps de cuisse Temps de cuisse

Italian temps de cuisse dessus, dessous Italian temps de cuisse dessousand dessus

Temps de flêche Temps de flêche

Temps de poisson Temps de poisson

3.2.10 Advanced 2 Examination Content


Female Male

BARRE BARREPliés PliésBattements tendus with transfer of weight Battements tendus with transfer of weightBattements tendus with rises and petitsretirés passés

Battements tendus with rises and petitsretirés passés

Battements glissés with battementspiqués

Battements glissés with battementspiqués

Battements jetés Battements jetésRonds de jambe à terre with ronds de

jambe jetésRonds de jambe à terre with développéspassés

Battements fondus Battements fondusBattements frappés - doubles with flic flacen tournant

Battements frappés - doubles with flic flacen tournant

Ronds de jambe en l'air with fouetté rondde jambe en tournant

Ronds de jambe en l'air

Petits battements Petits battements and battements frappésfouettés

Développés and tombés Développés and tombésGrands ronds de jambe Grands ronds de jambeGrands battements with grandsbattements développés

Grands battements with grandsbattements développé

Grands battements en cloche Grands battements en clocheCENTRE CENTRE

Ports de Bras Ports de Bras1 st Port de bras 1 st Port de bras2nd Port de bras 2nd Port de bras

Centre Practice Centre PracticeBattements tendus and glissés Battements tendus with battements

glissés and battements jetésBattements fondus and ronds de jambeen l'air

Ronds de jambe à terre with pirouettes

Petits battements and petits battementsbattus Battements fondus and ronds de jambeen l'air ( A and B )Grands battements Grands battements



41

(Advanced 2 Examination Content continued)

Female Male

Pirouettes PirouettesExercise with pirouette en dedans in2nd position

Pirouettes en dehors in arabesque andà la seconde

Exercise with pirouette en dehors inattitude

Pirouette enchaînement

Grands pirouettes

Adage Adage1st Adage 1st Adage2nd Adage 2nd Adage

Allegro Allegro 1Warm-up exercise ChangementsRonds de jambe sautés Ronds de jambe sautésGargouillades and sissonnes battues Sissonnes développées passéesFree batterie enchaînement Allegro enchaînement

Entrechats six and entrechats six devolées de côtéJetés élancés en tournant en diagonale Allegro 2Coupés jetés en tournant en manège Free batterie enchaînement

Sissonnes battues and brisés volésFree grand allegro enchaînement Petits brisés en tournant

Echappés sautés battus with toursen l'airEnchaînement en diagonaleEntrechats six and entrechats six devolées de côté

Free grand allegro enchaînementVariation

POINTE WORK

BarreWarm-up exerciseBallottés and fouettésGrands battements relevésSautés en pointe

CentreEchappés and relevés

Temps liés en avant and en arrièrePirouettes prepared by temps levé chassépas de bourrée

Free enchaînement

Relevés to 4 th devant en l'air andarabesquePetits pas de basque en manègePetits soutenus en manègeFouettés rond de jambe en tournant

Dance Studies

PolkaWaltz or Galop




42



43

Part 4

THE MARKING SYSTEM



44

4.1 Understanding the Marking System

In order to understand exactly what examiners will be looking for at each examinationlevel, teachers should study these stages sequentially.

The Framework Level Descriptors, Learning Outcomes and Assessment Criteria can be

found in Appendices 2, 3 and 4, and should be read first, before proceeding to the Mark Allocation and Marking Guidance, which appear on the following pages of this section.

In Vocational Graded examinations, assessment is made on the technical elementswhich contribute to the overall dancer, i.e. co-ordination, control, line, spatial awareness,dynamic values, music, performance and the specific study of Pointe for Females and

Allegro for Males. These elements require a sound classical technique incorporatingcorrect posture, weight placement and use of turnout. For a detailed explanation of theelements – refer to Appendix 5.

There are five sequential stages to the marking system:

Stage

1 Framework LevelDescriptors

(Appendix 2)

These are broad descriptions of the expectations ofcandidates at each level on the NationalQualifications Framework, and cover all forms ofdance. They are common to all dance awardingbodies in the UK.

2 LearningOutcomes

(Appendix 3)

These arise from the Level Descriptors and arespecific to the Academy’s examinations. Theyindicate what the student should have learnt by the

end of study of the group of examinations at eachlevel on the Framework.

3 AssessmentCriteria

(Appendix 4)

These arise directly out of the Learning Outcomes,and specify the abilities on which candidates will beassessed in the examination.

4 Mark Allocation This is based on the Assessment Criteria, andspecifies, for each level, the specific areas to whichmarks are allocated.

5 Marking Guidance This shows the precise way in which marks areallocated.



45

4.2 Mark Allocation

4.2.1 Intermediate Foundation: Female TECHNIQUE: BARRE • Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values

10

TECHNIQUE: PORT DE BRAS, CENTRE PRACTICE AND PIROUETTES• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values

10

TECHNIQUE: ADAGE • Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values

10

TECHNIQUE: ALLEGRO (including Free Enchaînement)• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation• Ability to perform enchaînement consistently as set

10

TECHNIQUE: POINTE • Correct posture and weight placement• Articulated footwork

10

MUSIC (generic: including Pointe but excluding Dance)• Timing and rhythm• Responsiveness to music

1010

PERFORMANCE (generic: including Pointe but excluding Dance) • Expression, interpretation, communication and projection

10

DANCETechnique• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic valuesKey features:• Ability to co-ordinate a varied range of movements with changes of direction and use

of épaulement • Ability to contrast the soft flowing quality at the start with the faster moving and

dynamic middle and final sections Music and Performance (as above)

10

10

TOTAL 100



46

4.2.2 Intermediate: Female

TECHNIQUE: BARRE • Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values

10


10


10

TECHNIQUE: ALLEGRO (including Free Enchaînement)• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation• Ability to perform enchaînement consistently as set

10

TECHNIQUE : POINTE • Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values

10


1010


10

DANCETechnique• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic valuesMusic and Performance (as above)

Key features:• Ability to show suspension, waltz

movements, a lightly elevated middlesection and use of épaulement

• Ability to perform a strong sequenceof steps en manège, concluding witha dynamic series of diagonal turns

10

10

TOTAL 100



47

4.2.3 Advanced Foundation: Female

TECHNIQUE: BARRE• Correct posture and weight placement• Co-ordination• Control

• Line• Spatial awareness• Dynamic values

10

TECHNIQUE: PORT DE BRAS, CENTRE PRACTICE AND PIROUETTES• Correct posture and weight placement• Co-ordination• Control


10

TECHNIQUE: ADAGE • Co-ordination• Correct posture and weight placement• Control


10

TECHNIQUE: ALLEGRO (including Free Enchaînement)• Correct posture and weight placement• Co-ordination• Control• Line

• Spatial awareness• Dynamic values• Use of elevation• Ability to perform enchaînement

consistently as set

10

TECHNIQUE: POINTE • Correct posture and weight placement• Co-ordination• Control


10


1010


10

DANCE (Waltz or Galop) Technique• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values

Key features for Waltz• Ability to contrast varied rhythmic structures • Ability to combine lilting movements with suspension, elevation and broad use of

space

Key features for Galop• Ability to portray varied dynamic qualities• Ability to demonstrate speed of movement and sustained positions en pointe

Music and Performance (as above)

10

10

TOTAL 100



48

4.2.4 Advanced 1: Female

MaxMark

PassMark

TECHNIQUE: PORT DE BRAS, CENTRE PRACTICE AND PIROUETTES 10• Correct posture and weight placement• Co-ordination• Control


TECHNIQUE: ADAGE • Correct posture and weight placement• Co-ordination• Control


10

TECHNIQUE: ALLEGRO (excluding Free Enchaînement)• Correct posture and weight placement• Co-ordination• Control

• Line• Spatial awareness• Dynamic values• Use of elevation

10

TECHNIQUE: FREE WORK (excluding Pointe)• Correct posture and weight placement• Co-ordination• Control• Line

• Spatial awareness• Dynamic values• Use of elevation• Ability to perform enchaînements

consistently as set

10

16

POINTE (including Barre and Free Enchaînement)• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness

• Dynamic values • Ability to perform free

enchaînement consistently as set • Music (see below) • Performance (see below)

10 4

MUSIC (generic: excluding Dance and Pointe)• Timing and rhythm• Responsiveness to music

1010

8

PERFORMANCE (generic: excluding Dance and Pointe) • Expression, interpretation, communication and projection

10 4

DANCE (Waltz or Galop)

Technique • Correct posture and weight placement• Co-ordination• Control•

Line• Spatial awareness• Dynamic values

Key features for Waltz• Ability to contrast varied rhythmic structures• Ability to combine lilting movements with suspension, elevation, full use of the body

and broad use of space

Key features for Galop• Ability to portray varied dynamic qualities• Ability to demonstrate speed of movement, sustained positions en pointe and full

use of the body


10

10

8

TOTAL 100





50

4.2.6 Intermediate Foundation: Male

TECHNIQUE: BARRE • Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values

10


10


10

TECHNIQUE: ALLEGRO 1• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation

10

TECHNIQUE: ALLEGRO 2 (including Free Enchaînement)• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation• Ability to perform enchaînement consistently as set

10

MUSIC (generic – excluding Dance Encha î nement)• Timing and rhythm• Responsiveness to music

1010

PERFORMANCE (generic – excluding Dance Encha î nement) • Expression, interpretation, communication and projection

10

DANCE ENCHAINEMENTTechnique• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values


10

10

TOTAL 100



51

4.2.7 Intermediate: Male

TECHNIQUE: BARRE • Correct posture and weight placement• Co-ordination• Control• Line•

Spatial awareness• Dynamic values

10


10


10

TECHNIQUE: ALLEGRO 1• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation

10

TECHNIQUE: ALLEGRO 2 (including Free Enchaînement)• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation• Ability to perform enchaînement consistently as set

10

MUSIC (generic – excluding Grand Jeté Encha î nement)• Timing and rhythm• Responsiveness to music

1010

PERFORMANCE (generic – excluding Grand Jeté Encha î nement) • Expression, interpretation, communication and projection

10

GRAND JETE ENCHAINEMENTTechnique• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values • Use of elevation


10

10

TOTAL 100





53

4.2.9 Advanced 1: Male

MaxMark

PassMark


10


10

TECHNIQUE: ALLEGRO 1 (excluding Free Enchaînements)• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation

10

TECHNIQUE: ALLEGRO 2 (excluding Grand Allegro Enchaînement)• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation

10

TECHNIQUE: FREE ENCHAINEMENTS• Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Use of elevation• Ability to perform enchainements consistently as set

10

20

MUSIC (generic, excluding Grand Allegro Enchaînement)• Timing and rhythm• Responsiveness to music

1010

8

PERFORMANCE (generic, excluding Grand Allegro Enchaînement) • Expression, interpretation, communication and projection

10 4

GRAND ALLEGRO ENCHAINEMENTTechnique • Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values • Use of elevation Music and Performance (as above)

10

10

8

TOTAL 100



54

4.2.10 Advanced 2: Male

MaxMark

PassMark

TECHNIQUE: PORT DE BRAS, CENTRE PRACTICE AND PIROUETTES 10• Correct posture and weight placement• Co-ordination• Control


TECHNIQUE: ADAGE• Correct posture and weight placement• Co-ordination• Control


10

TECHNIQUE: ALLEGRO 1 (excluding Free Enchaînements)• Correct posture and weight placement• Co-ordination• Control• Line

• Spatial awareness• Dynamic values• Use of elevation

10

TECHNIQUE: ALLEGRO 2 (excluding Free Enchaînements)•

Correct posture and weight placement• Co-ordination• Control• Line

•

Spatial awareness• Dynamic values• Use of elevation

10

TECHNIQUE: FREE ENCHAINEMENTS• Correct posture and weight placement• Co-ordination• Control• Line

• Spatial awareness• Dynamic values• Use of elevation• Ability to perform

enchaînements consistentlyas set

10

20

MUSIC (generic: excluding Variation)• Timing and rhythm• Responsiveness to music

10

10

8

PERFORMANCE (generic: excluding Variation) • Expression, interpretation, communication and projection

10 4

VARIATIONTechnique • Correct posture and weight placement• Co-ordination• Control• Line• Spatial awareness• Dynamic values• Ability to perform a contrasting range of movements within a strongly accented waltz

rhythm covering space and incorporating varied levels of elevation, batterie, aerialturns, multiple pirouettes, finishing with a powerful and dynamic manege


10

10

8

TOTAL 100



55

4.3 Marking Guidance

TABLE A - Technique

0 marks The work was not shown.

1 – 3 marks The candidate showed little ability to demonstrate the elements assessed

4 marks The candidate showed some ability to demonstrate the elements assessed, butthis was limited and inconsistent. Some elements may be stronger than others.

5 – 6 marks The candidate’s demonstration of the elements assessed was secure at times,but this was not sustained throughout all the exercises. Some elements may bestronger than others.

7 – 8 marks The candidate’s demonstration of the elements assessed was generally securefor more than half the exercises, although one or two elements may be lessstrong than others.

9 – 10 marks The candidate’s demonstration of the elements assessed was secure and

sustained throughout nearly all the exercises.

TABLE B – MUSIC: Timing and rhythm0 marks The work was not shown.

1 – 3 marks The candidate performed the steps in time with the music for a few exercisesand showed a very limited ability to respond to varying rhythms.

4 marks The candidate performed the steps in time with the music for some of theexamination but showed very limited ability to respond to varying rhythms.

5 – 6 marks The candidate performed the steps in time with the music for over half of theexamination and showed ability to respond to varying rhythms at times.

7 – 8 marks The candidate performed the steps in time with the music throughout almost allthe examination and showed good ability to respond to varying rhythms attimes.

9 – 10 marks The candidate performed the steps in time with the music throughout almost allthe examination and showed very good ability to respond to varying rhythms.

TABLE C – MUSIC: Responsiveness to music0 marks The work was not shown.

1 – 3 marks The candidate showed almost no responsiveness to music.

4 marks The candidate showed occasional responsiveness to music.

5 – 6 marks The candidate showed responsiveness to music in some parts of theexamination.

7 – 8 marks The candidate showed responsiveness to music in over half of theexamination.

9 – 10 marks The candidate showed very good responsiveness to music in almost all of theexamination.



56

(Marking Guidance continued)

TABLE D – PERFORMANCE:Expression, Interpretation, Communication and Projection


1 – 3 marks The candidate showed little expression or ability to communicate with anaudience.

4 marks The candidate showed some expressive qualities but a limited ability tocommunicate with an audience OR the candidate showed some ability tocommunicate with an audience but limited expressive qualities.

5 – 6 marks The candidate showed some expressive qualities and some ability tocommunicate with an audience.

7 – 8 marks The candidate showed good expressive qualities and a reasonable ability tocommunicate with an audience OR the candidate showed a well developedability to communicate with an audience and a reasonable level of expression.

9 – 10 marks The candidate showed good expressive qualities and a well developed abilityto communicate with an audience.

TABLE E – DANCE/ENCHAINEMENT/VARIATION:Music and Performance


1 – 3 marks The candidate showed little awareness of music or performance.

4 marks The candidate showed some musical awareness and sense of performance,although one element may be a little stronger than the other.

5 – 6 marks The candidate showed a fairly good musical awareness and sense of

performance, although one element may be a little stronger than the other.7 – 8 marks The candidate showed a good musical awareness and good sense of

performance, although one element may be a little stronger than the other.

9 – 10 marks The candidate showed a very good musical awareness and a real sense ofperformance.



57

Part 5

CUSTOMER SERVICE STATEMENT



58

5.1 Customer Service Statement

The Royal Academy of Dance Examinations Board promotes knowledge, understandingand practice of dance internationally. We seek to accomplish our mission through theprovision of an examination system, which is comprehensive, safe and progressivelystructured.

All staff are expected to provide a courteous, helpful and efficient service to all andcustomer feedback and consultation on all examination services is encouraged andevaluated. Examiners are specifically trained to create a welcoming and reassuringenvironment in the examination studio.

Customer Services has a designated telephone line +44 (0)20 7326 8005 and emailaddress:[email protected].

Customer Expectation

The Royal Academy of Dance (RAD) aims to: • Provide a helpful, courteous and quick response to all enquirers and visitors.• Answer the headquarters switchboard within six rings and transfer callers to the

appropriate extension or voicemail.• Answer direct line calls within six rings. Callers will have the opportunity to leave

voicemail messages after the six rings.• Respond to all voicemail messages within 24 hours on working days.• Respond to all correspondence (including emails and faxes) within seven working

days. An acknowledgement will be sent within seven working days if a full reply is notimmediately possible. This refers to all correspondence, including complaints.

Resources

Handbook for Teachers – Vocational Graded Examinations , is also available online atwww.rad.org.uk , or on CD from the Marketing, Communications and MembershipDepartment, Royal Academy of Dance, 36 Battersea Square, London, SW11 3RA andnational offices.

Vocational Graded examination syllabi, sheet music, CDs and Videos/DVDs for each ofthe Vocational Graded examination levels are available from Royal Academy of DanceEnterprises Limited, 36 Battersea Square, London, SW11 3RA, online fromwww.radenterprises.co.uk or by mail order by telephoning + 44 (0)20 7326 8080 andselected national offices.

The Vocational Graded Examination Syllabus is supported by two texts:Ryman R (ed) 1997 The Foundations of Classical Ballet Technique. London: Royal

Academy of Dancing (Trading) Ltd.Ryman R (ed) 2002 The Progressions of Classical Ballet Technique . London: Royal

Academy of Dance Enterprises Ltd.

The Royal Academy of Dance publishes a range of leaflets and course material, whichare readily available on request. It also publishes a tri-annual membership magazinedance gazette . The Technical Supplement published annually with dance gazette isdesigned to update teachers on any changes in syllabus content, assessment criteria,administrative and or procedural processes. Details of examination session dates and

locations can be found in local copies of diary ( title and frequency of publication can varyfrom country to country).



59

Information and Contact Details

Information on the Royal Academy of Dance examinations can be obtained fromExaminations Departments, headquarters, national and local offices, or as shown below:

• Online www.rad.org.uk

• Email [email protected] for Examinations

or [email protected] for Customer Services• Write to Examinations Department

Royal Academy of Dance36 Battersea SquareLondon, SW11 3RAUnited Kingdom

• Telephone + 44 (0) 20 7326 8000• Fax + 44 (0) 20 7924 2311• Personal visits

Examination Registration Forms, Entry Forms, Request for Reasonable AdjustmentsForms and full details of the procedure for entering candidates for Vocational Gradedexaminations are available online, from Examinations Departments, headquarters, andfrom national and local offices. The contact details for these offices are published indance gazette, diary and online .

Examination Fees

Worldwide examination fees are published annually in a Fees booklet which is availableonline, from Examinations Departments, headquarters, national and local offices.

Complaints

We aim to ensure that you have no cause to make a complaint about the service receivedfrom Examinations Departments but in the event of a complaint being made it will bedealt with in an efficient, impartial and courteous manner in accordance with theCustomer Complaints Procedure.

It is the policy of the RAD to act fairly, legally and without bias or prejudice in all itsdealings with all its customers and students. Those who make a complaint will not bedisadvantaged or suffer any detriment.

Complaint types:

(a) Examination procedures, rules and regulations

Complaints concerning examinations and examination rules and regulationsshould be made in writing to the Examinations Manager, Royal Academy of Dance,36 Battersea Square, London SW11 3RAemai l: [email protected], te l: + 44 (0)20 7326 8057, fax : +44 (0)20 7924 2311

(b) Examination Results

Where teachers require a greater level of detail concerning their results they areencouraged to use the Result Enquiry Service - refer to section 2.4.4.

Results will not be changed as a consequence of a Result Enquiry or complaint.However, where there have been procedural irregularities, evidence of bias or

prejudice on the part of the examiner or circumstances seriously affecting thecandidate that was not known to the Academy at the time the result was issued,teachers may have the right of appeal - refer to section 2.4.5.



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(c) Complaints against Teachers

Complaints concerning a member or Registered Teacher should be made to theHead of Marketing Communications and Membership;email : [email protected], tel :+ 44 (0)207326 8003, fax :+44 (0)20 7924 3129

(d) Examiners

Complaints about examiner conduct should be made to the Human ResourcesManager;email : [email protected], tel :+ 44 (0)20 7326 8005, fax : +44 (0)20 7326 8060

(e) Complaints against the service you received

Complaints about the service that you received from the Examinations Departmentshould be sent to the Customer Services Department;email : [email protected], tel : + 44 (0)20 7326 8005, fax : +44 (0)20 7326 8060

All complaints will be acknowledged within seven working days. We will investigate yourcomplaint and do our best to respond as soon as we can and within three months of the

complaints being received.

If you are dissatisfied with the response received you may write to the Chief Executive atRoyal Academy of Dance, 36 Battersea Square, London, SW11 3RA, in London, usingthe contact details stated above.

Customer Feedback and Evaluation

Teachers, parents and candidates are encouraged to provide feedback on theexamination services provided and may if they wish, use the Your Comments formwhich is readily available online or from Customer Services at the Royal Academy ofDance, 36 Battersea Square, London, SW11 3RA.

Monitoring

Comprehensive procedures are in place to monitor your feedback to ensure that you arereceiving the level of service that we aim to deliver.



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Part 6

THE SOLO SEAL AWARD

Please note that this qualification has not been submittedfor accreditation by the Qualifications and CurriculumAuthority and is not therefore included in the NationalQualifications Framework for England, Wales andNorthern Ireland.



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6.1 General Information

The Solo Seal Award is the highest performance examination of the Royal Academy ofDance. Candidates must have gained Distinction in an Advanced 2 Vocational Gradedballet examination from one of the awarding bodies listed in Appendix 9.

Dates and fees are published in advance in diary in the UK, Australia, New Zealand,South Africa, Canada and the US. A minimum of 2 candidates is normally required for aSolo Seal performance to take place.

The Solo Seal Award takes the form of a series of solo performances in front of a paneland audience of teachers, parents and other guests who are encouraged to applaud eachsolo. The panel normally consists of a Vocational Grades examiner and professionaldancer or former dancer from a ballet company. Candidates are assessed against thepublished criteria.

Following the performances, the judges confer and make their decision. All candidateswill be sent an individual letter sent via their teacher informing them of their results;

Awarded or Not Awarded. Successful candidates will be sent a certificate.

Teachers who would like further detail on their candidate’s performance may apply for aResult Enquiry report; full details can be found in the Fees booklet and diary .

The Royal Academy of Dance reserves the right to cancel a Solo Seal performance ifthere are fewer than two candidates entered.

Full details of the Solo Seal syllabus content can be found in the syllabus book obtainablefrom Royal Academy of Dance Enterprises Ltd. through mail order, personal shopping oronline from the website www.radenterprises.co.uk .

6.2 Content

Candidates should prepare all of the content listed below, except where a choice isindicated:

Female Male

Genée Port de Bras Largo

Adage Variation I – Classical

Variation Classiqueor Variation Demi Caractère(candidates choice)

Variation II – Demi Caractère

Finales:Finale 1Finale 2Finale 3Finale 4

Finale



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6.3 Timing and Organisation of the Solo Seal Award

The timing for the examination is as follows:

1 hour for 4 candidates1 ¼ hours for 5 candidates

If there is a mixed set of candidates, the arrangement of the work is normally as follows:

Solos• Genée Port de Bras• Male Largo• Female Adage• Male Classical Variation• Female Variation• Male Demi Caractère Variation• Female Finales 1 and 2• Male Finale•

Female Finales 3 and 4

6.4 Assessment

The criteria for the Award follows:

AWARDED

The student will demonstrate a high level of accomplishment showing the ability toperform contrasting styles, qualities and response to atmosphere. There may be one ortwo variations where the criteria are not wholly maintained, but this may be compensatedby others in which the achievement is excellent.

NOT AWARDED

The candidate has not performed to the appropriate level as set out in the criteria.

6.4.1 Female

The following are assessed in all variations:

Technical Proficiency incorporating:

• Correct posture, weight placement and use of turnout.• Ability to show control and different qualities performed with ease.• Co-ordination of the whole body, through the harmonious relationship of torso, limbs,

head and eye focus in movement.• Spatial awareness, dynamic values and a refined range of lines.• Secure, assured movements en pointe.

Music

• Correct timing and rhythmical accuracy• Response to phrasing, dynamics and atmosphere

Performance

• Expression, interpretation• Communication and projection



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Genée Port de Bras Ability to perform lyrical movements with continuous flow and ease showing clearlydefined lines as in the Romantic period, use of épaulement, peripheral space, alignment,smooth transitions and a calm quality.

Adage

Ability to show smooth, co-ordinated continuous movements performed with ease, clearlydefined elegant lines performed with subtle and calm quality throughout with composureon ending.

Variation Classique Ability to show breadth of movement, use of épaulement, peripheral and performancespace, light first section, strong use of elevation in second section, controlled series ofdiagonal turns with strong ending, lyrical and joyful quality with contrasting musicaldynamics.

Variation Demi Caractère

Ability to show neat precise footwork, use of épaulement, strong use of head and eyefocus, contrasting dynamics within speed of movements, response to musical accentsand dynamics, vivacious and light quality.

Finales Ability to show virtuosity in a series of classical codas.

Finale 1Secure co-ordinated turning action in fouetté rond de jambe en tournant with controlledending.

Finale 2Secure co-ordinated turning action in posés pirouettes en dehors and en dedans, full useof performance space en manège.

Finale 3Clearly articulated footwork in brisé dessus and entrechat quatre, concluding withco-ordinated turning action in petit pas de basque and chaînée with secure ending.

Finale 4Use of grand elevation, clearly defined batterie and movement dynamics, full use ofperformance space en manège.



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6.4.2 Male

The following are assessed in all variations:

Technical Proficiency incorporating:• Correct posture, weight placement and use of turnout.• Co-ordination of the whole body (ability to show control and a refined range of lines)

through the harmonious relationship of torso, limbs, head and eye focus in movement.• Spatial awareness and dynamic values

Music• Correct timing and rhythmical accuracy• Response to phrasing, dynamics and atmosphere

Performance• Expression, interpretation• Communication and projection

Largo Ability to show control and balance in Adagio movements, correct alignment and refinedlines, strong use of upper body, controlled pirouettes and allegro movements with gooduse of peripheral and performance space.

Variation I – Classical Ability to show controlled pirouettes, strong elevation with clearly defined beating actionsand contrasting movement dynamics.

Variation II – Demi Caractère

Ability to show strong use of performance and peripheral space in first section, precisefootwork executed with speed, strong and controlled use of upper body, clear diagonalsall performed in demi-character style within mazurka rhythm.

Finale Ability to show broad, expansive movements, controlled second section incorporatingpirouettes, strong use of suspension in grand elevation and aerial turns with sustainedlandings, good use of performance space on final manège with clearly defined lines allperformed with energy and vitality.

6.5 Uniform

Solo Seal AwardFemale Male

The regulation wear is the same as forVocational Graded examinations, exceptthat a black, navy blue or meryl grey skirtof soft chiffon (mid calf length) should beworn for the Port de bras and Adage

A black, navy blue or grey tutu skirt to

match the choice of leotard should beworn for the Variation and Finales

The regulation wear is the same as forVocational Graded Examinations, exceptthat character shoes or boots should beworn for the Demi Caractère Variation

For uniform requirements for Vocational Graded examinations – refer to section 2.2.9.



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67

APPENDICES

APPENDIX 1

NATIONAL QUALIFICATIONS FRAMEWORKS

There are 9 levels in the National Qualifications Framework (NQF), entry level to level 8.Levels 4 to 8 align with the five levels of the Framework for Higher Education (HEQF).This enables progression between NQF qualifications and university-awardedqualifications. Learners will be able to make well-informed judgements about thequalifications they need. They will be able to plan clear routes to their chosen career.This will promote access to education and training as well as motivation andachievement. The NQF is broadly in line with the Scottish and Irish frameworks andbroadly compatible with developments in Europe.

This table shows how the RAD Graded and Vocational Graded Qualifications map to theNQF for England, Wales and Northern Ireland.

NQF RAD Qualifications8 Vocational diplomas

7Key skillsVocational certificates and diplomas[NVQ 5]

6 Vocational certificates and diplomas

5 Key skillsVocational certificates and diplomas[NVQ 4]

4 Vocational certificates and diplomas

3 Key skillsVocational certificates and diplomas

A Levels[NVQ 3]

Advanced 2 Advanced 1 Advanced Foundation

Grades 6 to 8

2

Key skillsVocational certificates and diplomasGCSE (Grades A*-C)[NVQ 2]

IntermediateIntermediate Foundation

Grades 4 & 5

1

Key skillsVocational certificates and diplomasBasic skillsGCSE (Grades D-G)[NVQ 1]

Grades 1 to 3

Entrylevel

Basic skillsEntry level certificates



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APPENDIX 2

FRAMEWORK LEVEL DESCRIPTORS

These examinations are provided either as a contribution to the training of a dancer,dance teacher or for future employment in other areas of the profession. In comparisonwith Graded Examinations in Dance, there is a much deeper understanding of the chosendance genre and an increase in the physical demands placed on the candidate.

Candidates should approach the examination with the appropriate professionalism, whichalso takes account of safe dance practice.

Each level has an expectation of the candidate, and these are shown below.

Level 2 – Intermediate Foundation and Intermediate

Candidates demonstrate a sound knowledge and understanding of the fundamentaltechnique within the chosen genre and show the appropriate physicality and flexibilityrequired to execute the work. Candidates perform with precision and technical accuracyshowing core stability and a fluent use of the dance movement vocabulary. A clear senseof line and style with an awareness of space is shown. Candidates exhibit a knowledgeand understanding of mood, dynamics and rhythm leading to an assured musical andartistic performance.

Demonstration is mainly through the execution of pre-set steps, movements andsequences. Candidates also show these qualities through the performance of workarranged by the examiner.

Level 3 – Advanced Foundation, Advanced 1 and 2

Building on the achievements of Intermediate level, candidates demonstrate acomprehensive knowledge, an understanding of the technique within the chosen dancegenre. Execution is considerably more refined than at Intermediate level with use of anextensive dance movement vocabulary. The performance is presented as a coherententity in a confident and assured manner incorporating enhanced musical and artisticqualities through a greater understanding of mood, dynamics and rhythm.

Candidates demonstrate their knowledge and skills mainly through the execution ofappropriately demanding pre-set steps, movements and sequences, as well as more

varied and challenging work arranged by the examiner.



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APPENDIX 3

LEARNING OUTCOMES

Female Candidates

Level 2 - Intermediate Foundation and Intermediate

By the end of Intermediate Foundation and Intermediate, a female student will be able to:

Technique• Show technical proficiency achieved through Intermediate study• Demonstrate a sound level of co-ordination, control and accuracy in a range of

sequences• Perform with an awareness of line• Perform with spatial awareness of the body in travelling movements and turning

actions• Show an awareness of the appropriate dynamic values in the performance of the

vocabulary• Perform a range of movements en pointe with control

Music• Perform a range of movements within different rhythmical frameworks• Perform, responding to phrasing and dynamics of the music

Performance• Perform, showing a sound level of understanding of interpretation and expression • Demonstrate communication and projection in performance

Level 3 - Advanced Foundation, Advanced 1 and Advanced 2

By the end of Advanced Foundation, Advanced 1 and Advanced 2, a female student willbe able to:

Technique• Show technical proficiency achieved through Advanced study• Demonstrate with ease complex exercises, which demand the combination of

Advanced vocabulary• Perform with a high level of control showing a refinement of line• Perform with a high level of competency in the body moving through space and within

space• Perform a breadth of vocabulary enhanced by the appropriate dynamic value• Perform a range of movements en pointe with fluidity and control

Music• Show acute sensitivity to the rhythmical structures, melody, texture and dynamic

expression of the music

Performance• Show a high level of understanding of interpretation and expression colouring the

performance • Show an assured and confident performance with a high level of engagement



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Male Candidates

Level 2 - Intermediate Foundation and Intermediate

By the end of Intermediate Foundation and Intermediate, a male student will be able to:

Technique• Show technical proficiency achieved through Intermediate study• Demonstrate a sound level of co-ordination, control and accuracy in a range of

sequences• Perform with awareness of line• Demonstrate control of the body during turning actions• Show awareness of the appropriate dynamic values in the performance of the

vocabulary• Perform with spatial awareness of the body in allegro sequences, both sur place and

travelling

Music• Perform a range of movements within the different rhythmical frameworks • Perform, responding to phrasing and the dynamics of the music

Performance• Perform, showing a sound level of understanding of interpretation and expression• Demonstrate communication and projection in performance

Level 3 - Advanced Foundation, Advanced 1 and Advanced 2

By the end of Advanced Foundation, Advanced 1 and Advanced 2, a male student will beable to:

Technique• Show technical proficiency achieved through Advanced study • Demonstrate with ease , complex exercises which demand the combination of

Advanced vocabulary • Perform with high level of control showing a refinement of line • Perform with a high level of control, in the body moving through space and within

space • Perform a breadth of vocabulary enhanced by the appropriate dynamic value • Perform a range of movements with control, eloquence, vitality and power in Allegro

and turning sequences (enchaînements)

Music• Show an acute sensitivity to the rhythmical structures, melody, texture and dynamic

expression of the music

Performance• Show a high level of understanding of interpretation and expression colouring the

performance• Show an assured and confident performance with a high level of engagement



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APPENDIX 4

ASSESSMENT CRITERIA

Classical Ballet consists of three interrelated areas - Technique, Music and Performance- which are reflected throughout the Assessment Criteria.

Each area includes a number of elements, which are also interrelated, and some of whichare added as the examinations increase in complexity, thus making further demands onthe students at each stage of their learning.

In the examination, candidates will be assessed on their ability to:

1. perform a series of prepared Classical Ballet exercises which require the ability todemonstrate secure posture, correct weight placement, co-ordination of the wholebody, control, line, spatial awareness, dynamic values, and (for female candidates),

the ability to successfully perform movements en pointe, or (for male candidates) theability to perform varied levels of elevation with exuberance, agility and use of space;

2. dance, throughout the examination, in time to the music and show responsiveness tothe music;

3. dance, throughout the examination, with expression, interpretation, communicationand projection;

4. perform one or more unprepared enchaînements in accordance with the examiner’sinstructions, demonstrating all the above aspects of Technique, Music andPerformance;

5. perform a Classical Dance/set enchaînement/variation which requires all the aboveaspects of Technique, Music and Performance.





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APPENDIX 6

ETHNIC GROUP CLASSIFICATIONS

The UK Government uses the following standard classifications.

England and Wales Northern Ireland ScotlandWhite: White:

01 British 21 White 41 Scottish02 Irish 22 Chinese 42 British03 Any other White background 23 Irish traveller 43 Irish

Mixed: 24 Indian 44 Any other White background04 White and Black Caribbean 25 Pakistani Mixed:05 White and Black African 26 Bangladeshi 45 Any mixed background06 White and Asian 27 Black Caribbean07 Any other mixed background 28 Black African

Asian, Asian Scottish orAsian British:

Asian or Asian British: 29 Black other 46 Indian08 Indian 30 Mixed ethnic group 47 Pakistani09 Pakistani 31 Any other ethnic group 48 Bangladeshi10 Bangladeshi 49 Chinese11 Any other Asian background 50 Any other Asian background

Black or Black British:12 Caribbean

Black, Black Scottish orBlack British:

13 African 51 Caribbean14 Any other Black background 52 African

Chinese or other ethnic 53 Any other Black backgroundgroup: 54 Any other ethnic group

15 Chinese16 Any other ethnic group



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APPENDIX 7

S AMPLE RESULT FORM

VOCATIONAL GRADED EXAMINATIONS IN DANCE

RESULT FORM

Candidate Name: Candidate ID No:

Examiner: Centre:

Date:

INTERMEDIATE FOUNDATION - FEMALE

Marks Attainable

Marks Awarded

Technique – Barre 10

Technique – Port de bras, Centre Practice and Pirouettes 10

Technique – Adage 10

Technique – Allegro 10

Technique – Pointe 10

Music – Timing and Rhythm 10

Music – Responsiveness to the music 10

Performance 10

Dance – Technique 10

Dance – Music and Performance 10

TOTAL MARKS 100

RESULT

0 - 39 Standard Not Attained

40 - 54 Pass

55 - 74 Merit

75 - 100 Distinction



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APPENDIX 8

ATTAINMENT DESCRIPTORS

Examiners assess each candidate against the marking criteria in order to award theappropriate mark for each element of the examination. The final total will fall into one ofthree mark bands which equate to three different pass categories. The following arebroad descriptions of the qualities that the candidate will typically demonstrate in each ofthese categories.

Distinction: 75 – 100 marks

Secure and precise technique throughout most of the sections, with an ability todemonstrate contrast in style. Musicality is highly developed most of the time andperformance shows appropriate expression and communication.

Merit: 55 – 74 marksProficient technique in many of the sections, although it is probably stronger in some thanothers. Musical qualities are evident, although they could sometimes be a little moreconsistent. Performance shows expression and communication, although these aspectscould be more sustained.

Pass: 40 – 54 marks

A basic competence in the technical aspects of the work, although some areas arestronger than others. Some musicality is evident although there are limitations in certainareas. A basic ability to show some expression and communication in performance isevident.

Standard Not Attained: 0 – 39 marks

Little awareness of technique is shown in most sections. Musical and performancequalities are very rarely evident.



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APPENDIX 9

LIST OF OTHER AWARDING BODIES

British Ballet Organization (BBO)

British Theatre Dance Association (BTDA)

Imperial Society of Teachers of Dancing (ISTD)

International Dance Teachers Association (IDTA)

Correct at August 2007

APPENDIX 10

TEACHING CERTIFICATE CONVERSION P ROGRAMME

Teachers enrolled on the Teaching Certificate Conversion Programme are required tohave two tutorials during their enrolment period. These will be scheduled within theexamination session, and if required should be indicated on Form VEF1. The tutorial willbe scheduled on the same day as the teacher's examination candidates, but after all theirexaminations have been completed. Form VEF1 should also indicate which candidates

should be used for the tutorial.Teachers enrolled on the Teaching Certificate Conversion Programme may not enterstudents for examinations higher than Intermediate.

All Conversion Examinations and Tutorials must be completed by December 2007





Royal Academy of Dance36 Battersea SquareLondon, SW11 3RAUK

tel : +44 (0)20 7326 8000fax : +44 (0)20 7924 3129email : [email protected]

Documents

ART201_RAD Vocational Graded Handbook for Teachers - Final - Print