1imperial Classical Ballet Syllabus Outline

IMPERIAL SOCIETY OF TEACHERS OF DANCING Imperial Classical Ballet Faculty
SYLLABUS OUTLINE OF IMPERIAL CLASSICAL BALLET EXAMINATIONS
MAY 2011
ISTD HEADQUARTERS 22/26 PAUL STREET LONDON EC2A 4QE TEL: +44 (0)20 7377 1577 WWW.ISTD.ORG
CONTENTS Imperial Classical Ballet Assessments ..........................................................................................................3 Assessment: Pre - Primary Standard ...................................................................................................................... 7 Assessment: Primary Standard ............................................................................................................................... 8 Assessment: Standard 1 ......................................................................................................................................... 9 Assessment: Standard 2 ....................................................................................................................................... 10 Assessment: Standard 3 ....................................................................................................................................... 11 Assessment: Standard 5 ....................................................................................................................................... 14 Assessment: Standard 6 ....................................................................................................................................... 15 Assessment: Standard 7 ....................................................................................................................................... 16 Assessment: Standard 8 ....................................................................................................................................... 17 Performance Awards ........................................................................................................................................... 23 Primary Graded Examination .............................................................................................................................. 33 Graded Examinations: Grades 1 - 6............................................................................................................ 27 Grade 1 ................................................................................................................................................................. 35 Grade 2 ................................................................................................................................................................. 38 Grade 3 ................................................................................................................................................................. 40 Grade 4 ................................................................................................................................................................. 42 Grade 5 ................................................................................................................................................................. 44 Grade 6 ................................................................................................................................................................. 48 Vocational Graded Examinations .............................................................................................................. 57 Intermediate Foundation ..................................................................................................................................... 64 Intermediate ......................................................................................................................................................... 67 Advanced 1 ........................................................................................................................................................... 70 Advanced 2 ........................................................................................................................................................... 73 Professional Teaching Examinations International (Outside Europe) .......................................................... 79 Associate............................................................................................................................................................... 79 Associate Diploma ................................................................................................................................................ 83 Professional Qualifications (Europe & UK) .......................................................................................................... 85 Higher Professional Qualifications (UK, Europe & International) ...................................................................... 86 Licentiate .............................................................................................................................................................. 86 Fellowship ............................................................................................................................................................. 87 Candidates with Reasonable Adjustment Requirements ............................................................................ 89 Results and Certification ........................................................................................................................... 90 Re-takes .................................................................................................................................................. 90 OFQUAL Qualification Accreditation Numbers ........................................................................................... 91 2|I S T D I m p e r i a l C l a s s i c a l B a l l e t
ISTD IMPERIAL CLASSICAL BALLET DANCE EXAMINATIONS
IMPERIAL CLASSICAL BALLET ASSESSMENTS

INTRODUCTION
RATIONALE The aim of Imperial Ballet Assessments is to provide an assessment scheme for dance, which gives the basis for the measurement of the individual candidate's progress and development. There are nine practical assessment standards, starting with Pre-Primary , Primary, Standards 1 to 6, and Higher Standards 7 &8, in order to indicate the increasing order of difficulty (8 represents the highest level of attainment). The syllabus is pre-arranged by the Imperial Ballet Faculty, to music commissioned to stimulate and educate the child's musical knowledge, and feeling of interpretation. The Assessments can also be used in conjunction with the Graded Examinations to allow consolidation of technique before embarking on the next grade. This is especially beneficial for the more demanding higher grades where greater strength and maturity are required. AIMS To educate by providing a progressive awareness of the culture and technique of Classical Ballet through a graded programme of training and assessment To provide a form of physical training that is safe, working both sides of the body evenly, alongside the development of artistic and musical appreciation To provide a structured examination system that can be followed by children who are studying Classical Ballet primarily as a recreational pursuit. However, this does not preclude the child who wishes to progress to vocational training in Classical Ballet and other theatrical dance forms
OBJECTIVES The objectives of the Imperial Assessments are set out below: A sense of performance which incorporates a suitable awareness of style and expression Use of space in relation to the other members of the group and the dance area available Rhythmic awareness and a suitable interpretation of the musical qualities Correct alignment and placing of the body to the best of the individual physical facility 3|I S T D I m p e r i a l C l a s s i c a l B a l l e t
Appropriate use of limbs, with an understanding of the purpose of each exercise, thus developing motor skills Sense of line and co-ordination of movement An appreciation of artistry, both in own movement and that of others Consideration and respect Creativity within a disciplined environment
ENTRY CONDITIONS AND GENERAL INFORMATION

The Assessments are taken in groups of four children; their teacher is in the examination studio with them and gives all the necessary instructions. Each child will receive an individual report and result which will reflect their own achievement gained. The examination structure contains, apart from the mainly classically based work, a group mime, enchanements danced ensemble and character work again danced ensemble; these sections promote an awareness of working together as a performance unit, showing consideration to fellow members in the group. Higher standards 7 and 8 are a development of the Assessments; these candidates are examined in groups of three, with the teacher no longer present as the examiner conducts the examination. The teacher will conduct the examination and introduce each candidate by name to the Examiner. The order of the syllabus should be reasonably adhered to. The teacher may conduct the examination in the candidates' own language. In Standards 5 and 6 the teacher has the choice of conducting the examination or requesting that the examination is conducted by the examiner. In Standards 7 and 8 the examination will be conducted by the Examiner. Each candidate will wear a number on the front of their leotard and stand with the lowest number to the Examiner's left Teachers entering candidates must provide their own pianist. Set music must be used in the examination. Recorded music may not be used for any part of the examination. Under no circumstances should amateur adult candidates be entered for an examination in the same group as the children Detailed notation of the syllabi and set exercises are available in the Imperial Classical Ballet Faculty Technical Specifications for the Assessments, available from the Sales Department at ISTD Headquarters
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AGE LIMITS Children can commence the Pre-Primary at the age of 5, moving on to the Higher Standards, where there is no upper age limit. The Higher Standards 7 and 8 have a more sophisticated structure appealing to those not wishing to pursue the rigours of Vocational Graded work but wishing to continue with their examination achievements.
Assessment Pre- Primary Primary Standard 1 Standards 2 Standards 3 and 4 Standards 5 and 6 Standards 7 and 8 Minimum age 5 years 5 years 6 years 7 years 8 years 9 years 13 years
Under no circumstances and at none of the levels should adults be entered in the same group as children. Details of current procedures for entering candidates plus examination fees etc. are available from the Examinations Department at the ISTD. Pregnant candidates may not enter any ISTD examination. TIME LIMIT/NUMBER OF CANDIDATES Ideally, candidates should be entered in groups of 4. Males are entered with Females and the teacher should adapt the syllabus work for Male candidates
Assessment Pre- Primary, Primary, Standard 1 Standard 2 Standards 3 and 4 Standards 5 and 6 Standards 7 and 8 1 or 2 Candidates 20 minutes 25 minutes 30 minutes 35 minutes 25 minutes 3 or 4 Candidates 25 minutes 30 minutes 40 minutes 45 minutes 30 minutes 5 Candidates 25 minutes 30 minutes 40 minutes 45 minutes 35 minutes
The time allowance for each class is 5 minutes less than the examination time allowance, which includes 5 minutes writing time. MUSICAL ACCOMPANIMENT Teachers entering candidates must provide their own pianist. Set music must be used in the examination. Recorded music may not be used for any part of the examination. DRESS REQUIREMENTS Female: Pre-Primary and Primary Approved leotard with matching circular skirt, pink ballet socks, unblocked pink ballet shoes with elastic for Pre-Primary, ribbons for Primary Standard 1-3 Approved leotard, pink ballet socks or pink tights, unblocked pink ballet shoes with ribbons Standard 4-8 Approved leotard, pink ballet tights, unblocked pink ballet shoes with ribbons, character skirt and shoes where applicable.
Male: Pre-Primary, Primary, Standard 1-2 White leotard, navy blue or black shorts with white ballet socks, black or white ballet shoes with white elastic.
Standard 3-8 White leotard, with tights, white socks to be worn over the tights, black or white ballet shoes with white elastic.
No make-up may be worn by candidates entering Pre-Primary to Standard 6 inclusive. Hair should be suitably groomed for classical ballet and no jewellery may be worn Although marks are not awarded for grooming, it is considered to be an essential part of the training, and can only help the dancer to feel correctly prepared for his or her work.
SYLLABUS CONTENT
ASSESSMENT PRE- PRIMARY STANDARD Females should hold skirt and males place hands on waist throughout exercises and steps. All exercises are set unless otherwise stated
Introductory Movements Running in Skipping Walking on the toes Run to places for introduction of children Exercises Foot exercise Sailing boats Knee bends Point to the front and close Transference of weight (Females) Transference of weight (Males) Puppet Arms Set exercise (Female) Set exercise (Male) Steps Bouncing the ball Pas de cheval and galops Claps and gallops Music Ponies and farmers Responding to pitch Marking time and marching Mime Group mime (Teacher's choice of subject) Dance 7|I S T D I m p e r i a l C l a s s i c a l B a l l e t
Group dance (Teacher's arrangement with mime to the set music) Curtsey Or Bow Teacher's choice Running out
ASSESSMENT PRIMARY STANDARD Females should hold skirt and males place hands on waist throughout exercises and steps. All exercises are set unless otherwise stated.
Introductory Movements Running in Walks forward and introduction of candidates Exercises Walking round the room Knee bends Point to the front and close Step to side and point in front Hand & Arm Exercises Hand ripples Arm exercise (set) Arm exercise (Teacher's choice) Expressive Movement Rises Walking or running Steps Skipping Springs in 1st position Spring points Galops sideways with partner Galops forward with partner 8|I S T D I m p e r i a l C l a s s i c a l B a l l e t
Music Mimetic gestures to 3/4 and 4/4 Time Signatures Mime Group mime (Teacher's choice of subject) Dance Group dance (Teacher's arrangement to the set music) Curtsey Or Bow Teacher's choice Running out
ASSESSMENT STANDARD 1 Knowledge of 1st, 2nd and 3rd positions of the feet is required. Females should hold skirt and males place hands on waist throughout exercises and steps. All exercises are set unless otherwise stated.
Introductory Movements Running in and introduction of candidates Exercises Demi plis and dgags Points to the front Point, lift, point, close Arm & Hand Exercises Arm waves Arm exercise (Teacher's Choice) Hand ripples
Adage Transference of weight Movement & Placing 9|I S T D I m p e r i a l C l a s s i c a l B a l l e t
Step, close, step, curtsy. Walks from the corner Running into picture Steps Changement Free enchanement to include:Pos temps leve devant and derrire Petit jetes devant and derrire Preparation for polka Enchanement Music Percussion a) 4/4 b) 2/4 polka c) Group percussion Mime Group mime (Teacher's choice of subject) Dance Group dance (Teacher's arrangement to the set music) Curtsey Or Bow Teacher's choice Running out
ASSESSMENT STANDARD 2 All exercises are set unless otherwise stated The vocabulary of previous syllabi should be known Introductory Movements Running in and introduction of candidates Barre Plis Battements tendus and retirs Grands battements devant Grands battements derrire Arms Arm exercise (set) 10 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Arm exercise (Teacher's choice) Adage Transference of weight Arabesque Set enchanement Allegro Allegro warm up Two free enchanements to include:Jetes derrire Retir saut en arrire Pas de chat Echapps sauts Polka enchanement (set) Patterned enchanement Music Occupational gestures 2/4 and 6/8 Musical phrasing Mime Group mime (Teacher's choice) Dance Group dance (Teacher's arrangement to the set music) Curtsey Or Bow Teacher's choice Running out
ASSESSMENT STANDARD 3 All exercises are set unless otherwise stated The vocabulary of previous syllabi should be known Introductory Movement Running in and introduction of candidates Barre Plis 11 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Battements tendus Ronds de jambe a terre Grands battements (Teacher's choice) Demi pointe work (Teacher's choice) Port De Bras Set Port de bras Port de bras (Teacher's choice) Adage Set adage Arabesque Allegro Warm up Two free enchanements to include:Jetes devant Glissades devant and derrire Assembls over Pas de basque saut en avant Soubresauts Character Steps Teacher's arrangement to the set music including steps listed in the official notes Dance Teacher's arrangement to one of the set pieces of music Curtsey Or Bow Teacher's choice Running out
ASSESSMENT STANDARD 4 All exercises are set unless otherwise stated The vocabulary of previous syllabi should be known Introductory Movements 12 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Running in and introduction of candidates Barre Plis Battements tendus and grands battements (Teacher's choice) Battements frapps Assembls soutenus Adage enchanement Demi pointe enchanement Centre Practice Set exercise
Port De Bras Set exercise Adage Transference of weight Preparation for assembl soutenu en tournant Allegro Warm up Two free enchanements to include:Sissonne ouverte Pas de bourre under Polka Simple coupes under and over Assembl under Group enchanement Character Steps Tarantella steps (Teacher's arrangement to the set music including steps listed in the official notes) Dance Teacher's arrangement to one of the set pieces of music. Curtsey Or Bow Teacher's choice Running out
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ASSESSMENT STANDARD 5
The vocabulary of previous syllabi should be known. Introductory Movements Running in and introduction of candidates Barre Plis (set exercise) Battements tendus and battements glisss (set exercise) Ronds de jambe a terre (set exercise) Battements frapps (set exercise) Adage (set exercise) Grands Battements (set exercise) Demi pointe enchanement (set exercise) Centre Practice Set exercise Port De Bras Set exercise (Females) Set exercise (Males) Adage Set exercise Pirouettes Set exercise (Females) Set exercise (Males) Allegro Warm up (set exercise) Enchanement No. 1 Enchanement No. 2 (Females) Enchanement No. 2 (Males) Petite Batterie Preparation for petite batterie Classical Solo Enchanement No. 3 (Females) Enchanement No. 3 (Males) Character
Steps Barre exercise No. 1 Barre exercise No. 2 Dance (Teacher's arrangement to the set music including steps listed in the official notes) Character Bow
ASSESSMENT STANDARD 6 The vocabulary of previous syllabi should be known. Introductory Movement Running in and introduction of candidates Barre Plis (set exercise) Battements tendus (set exercise) Battements glisss (set exercise) Battements frapps (set exercise) Battements fondus (set exercise) Adage (set exercise) Grands Battements (set exercise) Centre Practice & Port de bras Set exercise Adage Set exercise (Females) Set exercise (Males) Pirouettes Set exercise Demi pointe & pos turns exercise (Females) Allegro Warm up Enchanement No. 1 Enchanement No. 2 Petite Batterie Set exercise
Classical Solo Enchanement No. 3 Character Exercise No. 1 Steps Exercise No. 2 Group enchanement (Teacher's arrangement to the set music including steps listed in the official notes) Dance Character dance (Teacher's arrangement to the set music including steps listed in the official notes) Character Bow
ASSESSMENT STANDARD 7 The vocabulary of the previous syllabi should be known. Barre exercises will be seen together and all other arrangements individually. Barre Plis (set exercise) Battements tendus (set exercise) Port de bras & adage (set exercise) Centre Practice & Adage Set exercise Port De Bras Set exercise Allegro Warm up (set exercise) Enchanement (Females) Enchanement (Males) Choreography Candidates own arrangement to one of the set pieces of music Character Steps 16 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Hungarian (set exercise) Group enchanement arranged by the teacher or the candidates to the set music. Character Bow
ASSESSMENT STANDARD 8 The vocabulary of previous syllabi should be known. Barre exercises will be seen together and all other arrangements individually. Barre Plis (set exercise) Battements tendus and grands battements Adage Set exercise Allegro Warm up (set exercise) Enchanement (Females) Enchanement (Males) Choreography Candidates own arrangement to one of the set pieces of music or to a poem. Character Steps Polish (set exercise) Group enchanement arranged by the teacher or the candidates to the set music. Character Bow
ASSESSMENT - IMPERIAL CLASSICAL BALLET ASSESSMENTS

MARK SCHEME PRE-PRIMARY STANDARD
TECHNIQUE
Title of component Poise of body, placement and use of legs and feet Section Total
PRESENTATION
Marks attainable 20 20
Title of component Sense of performance, mime and dance Response and spatial awareness Section Total
MUSICALITY
Marks attainable 20 20 40
Title of component Music section and timing Rhythm and sense of movement Section Total Total
Marks attainable 20 20 40 100
PRIMARY AND STANDARD 1 TECHNIQUE Title of component Poise of body Port de bras Placement and use of legs Placement and use of feet Section Total PRESENTATION Title of component Sense of performance Mime Spatial awareness, group enchanement and dance Response Section Total MUSICALITY Title of component Music section and timing Rhythm and sense of movement Section Total Total Marks attainable 10 10 20 100 Marks attainable 10 10 10 10 40 Marks attainable 10 10 10 10 40
STANDARDS 2, 3 AND 4
TECHNIQUE
Title of component Barre Port de bras Adage Allegro Section Total

PRESENTATION
Marks attainable 10 10 10 10 40
Title of component Performance/artistry Response and spatial awareness Character section/mime Dance and group enchanement Section Total
MUSICALITY
Marks attainable 10 10 10 10 40
Title of component Rhythmic awareness, sense of timing and music section Interpretation of musical qualities Section Total Total
STANDARD 5 AND 6
TECHNIQUE
Title of component Barre Port de bras Adage Pirouettes Allegro and Petite Batterie Character section and Dance Section Total
PRESENTATION
Marks attainable 10 10 10 10 10 10 60
Title of component Performance/artistry Response and spatial awareness Section Total

MUSICALITY
Marks attainable 10 10 20
Title of component Rhythmic awareness and sense of timing Interpretation of musical qualities Section Total Total
METHOD OF ASSESSMENT Imperial Classical Ballet Assessments are assessed externally by visiting examiners recruited and trained by the ISTD. The examinations are divided into Sections and each Section is composed of several components which are separately assessed and aggregated to give the Section total. The titles of these components and marks attainable are detailed above. Candidates must gain at least 25% of the marks attainable in each Section in order to pass the examination overall. In cases where 25% of the marks attainable does not come to a round figure, e.g. 12 , the pass mark for the Section is lowered to the nearest round figure, in this example, 12. The Section totals are aggregated and the overall mark is given out of 100. If all Sections are passed, then the overall result is indicated as follows:
Grade Distinction Merit Pass Not Attained Marks 80-100 marks 60-79 marks 40-59 marks 0-39 marks
However, if the candidate is unsuccessful in one or more Sections, as explained above, the total mark given out of 100 will not correspond to the result indicators in the chart. In this circumstance, whatever the overall numerical mark may be, the result given will be ` Not Attained'. ASSESSMENT GUIDANCE Candidates are assessed on their ability to show: A sense of performance which incorporates a suitable awareness of style, expression and enjoyment. Use of space in relation to the other members of the group and the dance area available. A rhythmic awareness and a suitable interpretation of the musical qualities. An understanding of correct stance and placement with an application of classical technique.
PERFORMANCE AWARDS
INTRODUCTION
RATIONALE The purposes of the Performance Awards are: To educate by providing a progressive awareness of the culture and technique of Classical Ballet To develop style and a sense of performance alongside the artistic and musical appreciation To give both teachers and students the opportunity to develop and enhance performance skills, whilst retaining and consolidating technical development To encourage the student to use the Classical Ballet technique as a basis for expressing and developing a characterisation or style of dance After passing Grade 3, the Performance Awards may be entered. The Performance Awards give the opportunity for the candidate to perfect variations and solos with emphasis on presentation, style and dynamics. Further Performance Awards may be entered after subsequent grade or levels have been achieved. The advantage to be gained when following this course of study can revitalise both teacher and pupil after the intensity of examination preparations, bringing back the pure enjoyment of ``dance'' which can become lost as the technical demands increase at the higher levels. OBJECTIVES The objectives of the Imperial Ballet Performance Awards syllabus are set out below: An assured and confident sense of performance Technical accuracy, whether based upon classical or character work Spatial awareness Where applicable, involvement within the character with convincing mime and assured use of properties Correct alignment and placing of the body to the best of the individual physical facility Appropriate use of limbs, with an understanding of the purpose of each exercise, thus developing motor skills Sense of line and co-ordination of movement Rhythmic and musical awareness An appreciation of artistry, both in own movement and that of others Consideration and respect 23 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Creativity within a disciplined environment

AGE LIMITS 1 Minimum age 8 years
2 a) Candidates must have been successful in either Grade 3 or Class Examination Level 3 to enter for the Grade 3 Performance Award b) Candidates must have been successful in either Grade 4 or Class Examination Level 4 to enter for the Grade 4 Performance Award c) Candidates must have been successful in either Grade 5 or Class Examination Level 5 to enter for the Grade 5 Performance Award d) Candidates must have been successful in either Grade 6 or Class Examination Level 6 to enter for the Grade 6 Performance Award 3 Males may be examined with Females and candidates taking different Performance Award levels may be examined together Pregnant candidates may not enter any ISTD examination.
1. The candidate is required to perform the following: a) Teacher's choice of one of the relevant Set Variations for the Grade. The examiner may request that this is danced in pairs. b) Teacher's choice of own arrangement of a Ballet Solo or one of the past Ballet Award Dances (not more than 1 minutes duration) c) Teacher's choice of own arrangement of a demi-character, character or national solo, including mime (not more than 1 minutes duration) (b) and (c) will be danced individually 2. Dances may not include pointe work nor be dances currently being used in the Imperial Ballet Awards. The use of Set Dances of any other Society or Faculty is not permitted Candidates must be warmed-up prior to entering the examination studio, and will not leave the studio during the Performance Award
3.
TIME ALLOCATIONS/NUMBER OF CANDIDATES Candidates are examined in groups of 4 or less. Duration times of examinations are as follows:
4 candidates 25 minutes 3 candidates 20 minutes 2 candidates 15 minutes 1 candidate 10 minutes
MUSICAL ACCOMPANIMENT Candidates must provide their own cassettes/compact disc or other digital audio equipment and provide and operate a player in the examination room.
DRESS REQUIREMENTS The Set Variation and Ballet Solo must be shown in approved examination wear. The candidate may change shoes and, if required, add a skirt for the other Solo provided this can be achieved speedily and unaided. No theatrical make up or jewellery may be worn. The hair must be suitably dressed for classical ballet.
ASSESSMENT - IMPERIAL CLASSICAL BALLET PERFORMANCE AWARDS

MARK SCHEME PERFORMANCE AWARDS Title of component Variation Dance 1 Dance 2 Technical Standard Overall Total Marks attainable 25 25 25 25 100
METHOD OF ASSESSMENT The Performance Awards are assessed externally by visiting examiners recruited and trained by the ISTD. The examinations are divided into Sections and each Section is composed of several components which are separately assessed and aggregated to give the Section total. The titles of these components and the marks attainable for the Imperial Graded Examinations are detailed above. Candidates must gain at least 25% of the marks attainable in each Section in order to pass the examination overall. In cases where 25% of the marks attainable does not come to a round figure, eg 12 , the pass mark for the Section is lowered to the nearest round figure, in this example, 12. The Section totals are aggregated and the overall mark is given out of 100. If all Sections are passed, then the overall result is indicated as follows:
However, if the candidate is unsuccessful in one or more Sections, as explained above, the total mark given out of 100 will not correspond to the result indicators in the chart. In this circumstance, whatever the overall numerical mark may be, the result given will be ` Not Attained'. ASSESSMENT GUIDANCE Candidates are assessed on their ability to show: An assured and confident sense of performance. Technical accuracy, whether based upon classical or character work. An appropriate sense of style and well co-ordinated movements. An instinctive musicality and a highly developed rhythmic awareness. Spatial awareness. Where applicable, involvement within the character with convincing mime and assured use of properties.
GRADED EXAMINATIONS: PRIMARY AND GRADES 1 - 6

INTRODUCTION
RATIONALE Imperial Classical Ballet makes a distinctive contribution to the education of all students, through using movement, which is one of the fundamental modes of human expression. It offers a range of learning opportunities and enables participants to enjoy physical expression as well as develop intellectual sensibilities. As they work together in Imperial Classical Ballet, candidates learn about co-operation and develop an understanding of the shaping of movement into artistic forms of expression. Graded Examinations in Imperial Classical Ballet are concerned with progressive mastery in defined stages within the context of safe dance practice. AIMS The aim of Graded Examinations is to provide an assessment scheme for dance, which gives the basis for the measurement of the individual candidate's progress and development, whether the candidate is pursuing dance as a leisure activity or as preparation for a professional career as a dance teacher or performer. There are six practical examination grades, numbered from 1 to 6, in order to indicate the increasing order of difficulty (6 represents the highest level of attainment). OBJECTIVES The objectives of the Imperial graded examination syllabus are set out below: Educate by providing a progressive awareness of the culture and technique of Imperial Classical Ballet through a graded programme of training and assessment Provide a form of physical training that is safe, working both sides of the body evenly, alongside the development of artistic and musical appreciation
LEARNING AND PROGRESSION Candidates develop the skill and understanding of Imperial Classical Ballet, at the same time as building a sound technique, by developing the physical ability to communicate through movement in an expressive and artistic way. A clearly defined structure allows learning to take place in the context of safe dance practice. The Graded Examinations build up progressively, ensuring that steps and skills learned at lower levels prepare for more complex movements as the candidate progresses. Each Imperial Ballet Graded Examination allows candidates to progress to the next higher grade in the Imperial Classical Ballet genre. Also, a range of transfers to other dance genres becomes possible as the candidate 27 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
develops physically and learns common skills such as running, use of arms, posture, timing and rhythmic awareness. In this way, with additional teaching input, the candidate is able to develop a broad base of dancing skills. Following on from the Graded Examinations, candidates may wish to progress to the Vocational Graded Examinations as preparation for employment as a professional dancer or as preparation for dance teaching qualifications. The Graded Examinations in Imperial Classical Ballet also allow for those participating solely for recreational purposes to produce quality work in a safe dance context.

AGE LIMITS
Examination Primary Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6
Age limits 6 years 7 years and no maximum 7 years and no maximum 7 years and no maximum 9 years and no maximum 9 years and no maximum 9 years and no maximum
Children and adults should not be entered at the same time. Pregnant candidates may not enter any ISTD examination. PRIOR LEARNING The Graded Examinations in Imperial Classical Ballet are intended to be taken consecutively and most candidates will wish to progress through them in sequence in order to develop and demonstrate the requisite skills. However, in cases where examinations are undertaken without success at the previous grade, the candidate needs to be at an appropriate level of physical and artistic development. Before a candidate enrols
in a class leading to a Graded Examination, teachers are under a particular duty, therefore, to assess the achievement of the candidate, particularly with regard to safe dance practice. GENDER DISTINCTIONS
Male and female candidates may be examined together at all Grade levels. The syllabus is suitable for both male and female candidates as it is designed to develop all -round strengths and abilities. There are some separate exercises for males and females that are intended to develop the differing physical strengths and capabilities to the advantage of the gender, and are not intended to limit opportunities for access. Such variations are designed within the context industry needs and in particular, health and safety in dance. It is therefore advisable for candidates to follow the relevant syllabi where available. TIME ALLOWANCES/NUMBER OF CANDIDATES Candidates should be entered in pairs. Where an odd number of candidates are involved, the extra candidate should be entered with a pair, thereby making a group of three. If a male candidate is entered with a female candidate an extra 5 minutes should be added to the length of the examination for Grade 4 and an extra 10 minutes for Grades 5 and 6
1 or 2 candidates Primary and Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 20 minutes 30 minutes 35 minutes 40 minutes 45 minutes 55 minutes 3 candidates 25 minutes 35 minutes 40 minutes 45 minutes 50 minutes 60 minutes
MUSICAL ACCOMPANIMENT A pianist is required for all examinations using the set music composed by Paul Stobart. The set dances may be performed to either live or recorded piano accompaniment.
DRESS REQUIREMENTS Primary Female: Approved leotard with skirt, ballet socks and unblocked pink ballet shoes. Male: White leotard or t-shirt with navy blue or black shorts, white socks, black or white shoes with elastic.
Grades 1-6 Female: Approved leotard, ballet socks or pink tights, unblocked pink shoes with ribbons.
Male: White leotard or t-shirt with navy blue or black shorts or with tights and white socks (to be worn over tights at Grades 1-6), black or white shoes with white elastic.
Hair should be suitably groomed for classical ballet. Make-up or jewellery must not be worn.
GRADED EXAMINATIONS AND THE QUALIFICATIONS AND CREDIT FRAMEWORK (QCF)

The Graded Examinations in Dance are accredited on the Qualifications and Credit Framework (QCF) for England, Wales and Northern Ireland as shown below.
General Qualifications (for comparability) Certificate of (educational) achievement GCSE Grades D-G Entry Level (1 - 3) N/A QCF Level ISTD Grade Credit value
Level 1
Grade 1 Grade 2 Grade 3
7 credits
Level 2 GCSE Grades A*-C
Grade 4 Grade 5
10 credits
A/AS level
Level 3
Grade 6
13 credits
The following level descriptors explain what is required of candidates at each level of this framework. All performances should demonstrate compliance with the principles of safe dance practice and candidates should demonstrate an appropriate approach to the examination in relation to their conduct and overall presentation. QCF LEVEL DESCRIPTORS QCF LEVEL 1 (GRADES 1, 2 AND 3) Achievement at level 1 reflects the ability to understand and use and apply relevant knowledge, understanding and skills in relation to an increasing vocabulary of movement and artistic awareness. Knowledge and understanding Candidates demonstrate knowledge and understanding of technique, music and performance which is reflected in the ability to coordinate simple movements to produce combinations of steps with appropriate precision and control. Application and action Candidates demonstrate basic techniques through using an increasing vocabulary of movement in their chosen dance discipline/genre. Candidates demonstrate the ability to interpret music with a sense of appropriate timing and rhythm for their chosen dance discipline/genre. Candidates demonstrate performance with an increasing confidence and responsiveness to an audience. Autonomy and accountability Candidates demonstrate an awareness of their own health and safety and safe dance practice.
QCF LEVEL 2 (GRADES 4 AND 5) Achievement at level 2 reflects the ability to build upon skills, knowledge and understanding in relation to an increasing vocabulary of movement and artistic understanding showing an increased confidence and assurance in application. Knowledge and understanding Application and action Autonomy and accountability
Candidates demonstrate a clear knowledge and understanding of technique, music and performance which is reflected in the ability to co-ordinate more complex movements to produce combinations of steps with increasing precision and control.
Candidates demonstrate an increasing consolidation of technical skills in their chosen dance discipline/genre. Candidates demonstrate an increased ability to interpret music and display sensitivity to musical content and style appropriate to
Candidates demonstrate an understanding of and responsibility for their own health and safety and safe dance practice.
the dance discipline/genre. Candidates demonstrate an increased range of movements in sequences of greater length and complexity and the ability to sustain an appropriate sense of style of the dance discipline/genre. They demonstrate confidence in performing the movement.
QCF LEVEL 3 (GRADE 6) Achievement at Level 3 reflects the ability to build upon a range of skills, knowledge and understanding in relation to an increasingly refined vocabulary of movement and artistic interpretation showing an increased confidence, assurance and sensitivity in application. Knowledge and understanding Candidates demonstrate a sound and established knowledge and understanding of the technique and music of a particular dance discipline/genre. They demonstrate an increased awareness of performance and an increased understanding of the relationship between performer and audience. Application and action Candidates demonstrate a wide range of movements performed consistently and confidently with technical accuracy and control. Candidates demonstrate an increased sensitivity to a range of musical content and style appropriate to the dance discipline/genre. Candidates demonstrate dynamics and fluidity of movement incorporating the use of space and a maturity and individuality in interpretation and expression. Autonomy and accountability Candidates demonstrate a clear understanding of and responsibility for their own health and safety and safe dance practice.
PRIMARY GRADED EXAMINATION

IMPERIAL CLASSICAL BALLET SYLLABUS CONTENT PRIMARY GRADE
Females should hold skirts and Males place hands on waist throughout exercises and steps. Exercises Knee bend exercise Rises with arm movement (Females) Rises with arm movement (Males) Step to side and lift Step, close, step and point Step, close, step and hop Arms Hands opening and closing Wrists bending up and down
Port de bras Set arm exercise (Females) Set arm exercise (Males)
Steps Taken Round the Room Walking Lifted walks Walking on demi-pointe Running Skipping
Steps of Elevation Springs in 1st position Springs to 2nd position and back to 1st position Spring points Springs from foot to foot 2 Galops to the side, step and point 33 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
2 Galops to the side, step and hop
Steps Run, point and Port de bras (Females) Run, point and Port de bras (Males)
Music Clap, recognise and count Waltz and Polka Walking 4, clapping 4 Walking 3 and clapping 1
Set Dance Teacher's choice of one of the following: A) Twilight Elf B) Puddles are for Jumping C) My Piggy Bank D) Waiting for the Postman
Curtsey or Bow - Teacher's choice
ASSESSMENT - IMPERIAL CLASSICAL BALLET GRADED EXAMINATION - PRIMARY

MARK SCHEME
Primary
TECHNIQUE
Title of component Stance and placement Line and quality of Port de bras Control through body and legs Quality of ballon, footwork and co-ordination
Section Total
PRESENTATION, MUSICALITY AND RESPONSE
40
Title of component Sense of performance Rhythmic awareness Music section Sense of timing Response and syllabus knowledge Section Total
PERFORMANCE
Marks attainable 10 10 10 10 10 50
Dance Section Total Total
10 10 100
IMPERIAL CLASSICAL BALLET SYLLABUS CONTENT GRADES 1, 2, & 3 (QCF LEVEL 1)

Candidates demonstrate an increasing vocabulary of movement in the chosen technique. An understanding of the technique is reflected in the ability to coordinate simple movements to produce combinations of steps and quality of movement ie. precision and control within the range of their own physical capacity. Candidates communicate an increasing confidence in performance. They are able to interpret music and display sensitivity to musical content and style. Candidates' performances show a developing spatial awareness, an ability to work with others and responsiveness to an audience.
GRADE 1 FEMALE
Candidates are expected to combine any movements contained in the syllabus into simple sequences set by the examiner and have a knowledge of the French terms used, knowledge of the 5 positions of the feet and the following arm positions - bras bas, en avant, en couronne, attitude, la seconde, demi bras and demi-seconde.
Barre Demi pli in 1st and grand pli in 2nd combined with rises in 1st and 2nd - set exercise Battements tendus en croix - in 4 counts Retirs Grands battements en croix - in 4 counts Port de bras Set Port de bras Adage Walks Dgags devant, derrire and la seconde Chasss en avant and la seconde - in 4 counts set exercise Poss on the whole foot - set exercise Allegro Skips Galops en avant and de ct Runs Spring points Polka en avant and de ct also set exercise Petits jets devant and derrire Retirs sauts en arrire Pos, temps lev in attitude devant Sauts in 1st Changements Music Recognise, clap and count the Waltz, Polka and March Dance Teacher's choice of one of the following set dances: A) Picking Blackberries B) Has anybody seen my mouse? C) Collecting conkers D) Freezing in winter Reverence
GRADE 1 MALE
Candidates are expected to combine any movements contained in the syllabus into simple sequences set by the examiner and have a knowledge of the French terms used, knowledge of the 5 positions of the feet and the following arm positions - bras bas, en avant, en couronne, attitude, la seconde, demi bras and demi-seconde. Barre Demi pli in 1st and grand pli in 2nd combined with rises in 1st and 2nd - set exercise Battements tendus en croix - in 4 counts Retirs Grands battements en croix - in 4 counts Port de bras Set port de bras Adage Walks Dgags devant, derrire and la seconde Chasss en avant and la seconde - in 4 counts set exercise Poss on the whole foot - set exercise Allegro Skips Galops en avant and de ct Runs Spring points Polka en avant and de ct also set exercise Petits jets devant and derrire Retirs sauts en arrire Pos, temps lev in attitude devant Sauts in 1st Changements Music Recognise, clap and count the Waltz, Polka and March Dance Teacher's choice of one of the following set dances: A) Picking Blackberries B) Has anybody seen my mouse? C) Collecting conkers D) Freezing in winter
Reverence
GRADE 2 FEMALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner and have a knowledge of the French terms used, knowledge of directions crois, en face, ouvert and the following additional arm positions - bras crois, attitude grecque and 3rd arabesque. Barre Demi pli, grand pli and rises in 1st, 2nd and 3rd - set exercise Battements tendus in 4 counts Ronds de jambe terre en dehors and en dedans in 4 counts Assembls soutenus in 4 counts - set exercise Retirs with relev in 5th - set exercise Grands battements en croix - in 2 counts Port de bras Set port de bras Adage Chasss passs en avant and en arrire - in 4 counts 1st arabesque terre and en l'air set exercise Demi-dtourn with relev in 5th - set exercise Allegro Jets ordinaires devant and derrire Glissades devant and derrire Assembls over and under Pas de basque glisss en avant Pas de chat Balanc de ct - set exercise Soubresauts Echapp sauts la seconde Music Recognise, clap and know the value of semi breves, minims, crochets and quavers Dance Teacher's choice of one of the following set dances: A) Ballet solo B) I hate homework C) Flying my kite 38 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
D) The Storm Reverence
GRADE 2 MALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner and have a knowledge of the French terms used, knowledge of directions crois, en face, ouvert and the following additional arm positions - bras crois, attitude grecque and 3rd arabesque. Barre Demi pli, grand pli and rises in 1st, 2nd and 3rd - set exercise Battements tendus in 4 counts Ronds de jambe terre en dehors and en dedans in 4 counts Assembls soutenus in 4 counts - set exercise Retirs with relev in 5th - set exercise Grands battements en croix - in 2 counts Port de bras Set port de bras Adage Chasss passs en avant and en arrire - in 4 counts 1st arabesque terre and en l'air set exercise Demi-dtourn with relev in 5th - set exercise Allegro Jets ordinaires devant and derrire Glissades devant and derrire Assembls over and under Pas de basque glisss en avant Pas de chat Balanc de ct - set exercise Soubresauts Echapp sauts la seconde Music Recognise, clap and know the value of semi breves, minims, crochets and quavers Dance Teacher's choice of one of the following set dances: A) I hate homework 39 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
B) Flying my kite C) The Storm Reverence
GRADE 3 FEMALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner. Candidates are also expected to have knowledge of the French terms used. Barre Demi pli, grand pli and rises in 1st, 2nd, 3rd and 4th ouvert - set exercise Battements tendus with demi-pli en croix using simple Port de bras - set exercise Ronds de jambe terre en dehors and en dedans in 2 counts Assembls soutenus in 2 counts - set exercise Battements frapps to 2nd Dvelopps en croix in 4 counts Grands battements in 2 counts Echapps en demi-pointe la seconde Port de bras Simple amalgamation set by the examiner using the arm positions and directions which were studied in previous grades Adage Chasss passs en arrire - in 2 counts Attitude ordinaire terre and en l'air Poss en demi-pointe - set exercise Allegro Assembls devant and derrire Simple coups over and under Sissonne ouverte en avant Pas de basque sauts en avant Pas de bourres devant and derrire with either foot, and under with the back foot (one to a bar) Petit assembl Echapps sauts en croix Balancs - set exercise Set Variations Teacher's choice of one of the following set dances: A) Polka B) Hornpipe 40 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
C) Waltz D) A day at the races Reverence
GRADE 3 MALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner. Candidates are also expected to have knowledge of the French terms used. Barre Demi pli, grand pli and rises in 1st, 2nd, 3rd and 4th ouvert - set exercise Battements tendus with demi-pli en croix using simple Port de bras - set exercise Ronds de jambe terre en dehors and en dedans in 2 counts Assembls soutenus in 2 counts - set exercise Battements frapps to 2nd Dvelopps en croix in 4 counts Grands battements in 2 counts Echapps en demi-pointe la seconde Port de bras -
Simple amalgamation set by the examiner using the arm positions and directions which were studied in previous grades Adage Chasss passs en arrire - in 2 counts Attitude ordinaire terre and en l'air Poss en demi-pointe - set exercise Allegro Assembls devant and derrire Simple coups over and under Sissonne ouverte en avant Pas de basque sauts en avant Pas de bourres devant and derrire with either foot, and under with the back foot (one to a bar) Petit assembl Echapps sauts en croix Set enchanement Set Variations 41 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Teacher's choice of one of the following set dances: A) Hornpipe B) Waltz C) A day at the races
Reverence
GRADES 4 AND 5 (QCF LEVEL 2)

Candidates demonstrate consolidated technical skills and an increased range of movements in sequences of increased length and complexity. They show a clear understanding of mechanics and purpose of the required vocabulary. Candidates show the ability to sustain an appropriate sense of style throughout more complex sequences and an increased sensitivity to varying musical qualities. Technical facility and improved spatial awareness lead to an increased assurance of presentation.
GRADE 4 FEMALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner. Candidates are also expected to have knowledge of the French terms used. Barre Demi pli, grande pli and rises in 1st, 2nd, 3rd and 4th crois - set exercise Battements tendus and grands battements en croix - set exercise Ronds de jambe terre en dehors and en dedans in 1 and 2 counts - set exercise Battements fondus en croix terre Petits battements sur le cou-de pied (single) Dvelopps en croix Relevs devant, derrire and pass devant and derrire Echapps en croix en demi-pointe Port de bras Simple amalgamation set by the examiner using transference of weight (chasss, walks and technical transference of weight) and the arm positions and directions which were studied in previous grades Adage Temps Li en avant terre - set exercise Dgags with use of paulement 2nd arabesque terre and en l'air Pos, assembl soutenu en tournant 42 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Demi-Pointe Work Echapps to 2nd th Relevs in 5 Allegro Glissades over and under Pas de bourres over and under with either foot (two to a bar) Ballonns simples en avant Pas de basque glisss and sauts en arrire Sissonne change ouverte Demi-contretemps Chass, coup, chass temps lev in arabesque or pirouette position derrire Chass, coup, chass temps lev in 3rd arabesque - set exercise Petite Batterie Echapp sauts battus ferms Set Variations Teacher's choice of one of the following set dances: A) Female B) Male or Female C) Male or Female Reverence
GRADE 4 MALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner. Candidates are also expected to have knowledge of the French terms used. Barre Demi pli, grande pli and rises in 1st, 2nd, 3rd and 4th crois - set exercise Battements tendus and grands battements en croix in 2 counts - set exercise Ronds de jambe terre en dehors and en dedans in 1 and 2 counts - set exercise Battements fondus en croix terre Petits battements sur le cou-de pied (single) Dvelopps en croix Relevs devant, derrire and pass devant and derrire Echapps en croix en demi-pointe
Port de bras Simple amalgamation set by the examiner using transference of weight (chasss, walks and technical transference of weight) and the arm positions and directions which were studied in previous grades Adage Temps Li en avant terre - set exercise Dgags with use of paulement 2nd arabesque terre and en l'air Pos, assembl soutenu en tournant Allegro Glissades over and under Pas de bourres over and under with either foot (two to a bar) Ballonns simples en avant Pas de basque glisss and sauts en arrire Sissonne change ouverte Demi-contretemps Chass, coup, chass temps lev in arabesque or pirouette position derrire Set enchanement Petite Batterie Echapp sauts battus ferms Set Variations Teacher's choice of one of the following set dances: A) Male B) Male or Female C) Male or Female Reverence
GRADE 5 FEMALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner. Candidates are also expected to have knowledge of the French terms used.
Barre Demi pli, grand pli and rises in 1st, 2nd, 5th and 4th crois and ouvert with forward and sideways Port de bras - set exercise Battements tendus in 2 counts Battements glisss in 2nd from 1st
Battements fondus en croix en l'air Battements frapps to 2nd Battements frapps fouetts Ronds de jambe en l'air en dehors and en dedans (single) - set exercise Dvelopp to 2nd and fouett to arabesque - set exercise Grands battements in 2 counts
Centre Practice Demi-pli in 1st and 2nd, grand pli in 2nd Rises in 1st and 2nd Battements tendus en croix in 2 counts Grand battement in 2 counts Port de bras Amalgamation set by the examiner to include the reverse movement Adage Temps Li terre en avant and en arrire Dvelopps Attitude devant in opposition terre and en l'air Attitude devant and derrire deux bras terre and en l'air 3rd arabesque terre and en l'air Demi-Pointe Work Echapps en croix Relev devant, derrire and passes devant and derrire Pirouettes Singles en dehors from 5th Relevs passs by half turns Pos assembl soutenu en tournant - set exercise Allegro Jets ordinaires en avant, en arrire and decte Grands jets en tournant Full contretemps Ballonns composs en avant Sissonnes ordinaires devant, derrire, and pass devant and derrire Sissonnes double under Sissonnes ferm en avant Coup, chass pas de bourre under Petite Batterie 45 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Echapp sauts battus Entrechat quatre Set Variations Teacher's choice of one of the following set dances: A) Female B) Male or Female C) Male or Female D)Female Reverence
GRADE 5 MALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner and have knowledge of the French terms used. Barre Demi pli, grand pli and rises in 1st, 2nd, 5th and 4th crois and ouvert with forward and sideways Port de bras - set exercise Battements tendus in 2 counts Battements glisss in 2nd from 1st Battements fondus en croix en l'air Battements frapps to 2nd Battements frapps fouetts Ronds de jambe en l'air en dehors and en dedans (single) - set exercise Dvelopp to 2nd and fouett to arabesque - set exercise Grands battements in 2 counts Centre Practice Demi-pli in 1st and 2nd, grand pli in 2nd with Rises in 1st and 2nd Battements tendus en croix in 2 counts Grand battement in 2 counts Port de bras Amalgamation set by the examiner to include the reverse movement Adage Temps Li terre en arrire - set exercise Dvelopps Attitude devant in opposition terre and en l'air Attitude devant and derrire deux bras terre and en l'air 3rd arabesque terre and en l'air
Demi-Pointe Work
Relev devant, derrire and passe devant and derrire
Pirouettes nd Singles en dehors from 5th and 2 Allegro Jets ordinaires en avant, en arrire and decte Grands jets en tournant Full contretemps Ballonns composs en avant Sissonnes ordinaires devant, derrire, and pass devant and derrire Sissonnes double under Sissonnes ferm en avant Coup, chass pas de bourre under Preparatory exercise for tour en l'air (using 12 turn) Set enchanement Petite Batterie Echapp sauts battus Entrechat quatre Set Variations Teacher's choice of one of the following set dances: A) Male B) Male or Female C) Male or Female Reverence
GRADE 6 (QCF LEVEL 3)

Candidates demonstrate a comprehensive knowledge and understanding of the vocabulary of a particular style through a wide range of movements performed with technical strength. Along with confidence, candidates convey self-awareness, resulting in a sensitive personal interpretation of musical mood. Candidates demonstrate a mature awareness of audience as well as subtleties of performance combined with expression and fluidity of movement involving dynamics and use of space.
GRADE 6 FEMALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner. Candidates are also expected to have knowledge of the French terms used.
Barre Demi pli, grand pli and rises in 1st, 2nd, 5th and 4th crois and ouvert with forward and sideways Port de bras - set exercise Battements tendus in 2 counts Battements glisss en clche Battements fondus en croix en l'air Battements frapps en demi-pointe Battements frapps fouetts en demi-pointe Petits battements sur le cou-de-pied (single) Single rond de jambe en l'air Demi grands ronds de jambe en dehors and en dedans Grands battements in 2 counts Fouett rond de jambe en tournant - set exercise Relevs from one foot to one foot en croix Centre Practice Ronds de jambe terre en dehors and en dedans in 2 counts Battements frappes to 2nd in 1 count Battements fondus en croix terre Port de bras Amalgamation set by the examiner to include any circular movement or the circular Port de bras with transfer of weight Adage Temps Li en l'air en avant and en arrire - set exercise Fouett of Adage Demi-Pointe Work Poss coups en avant in any direction Pos into 1st arabesque Coup fouett raccourci Pirouettes Singles en dehors from 4th and 5th Singles en dedans prepared by chass Pos turns en dedans en diagonale
Allegro Glissades en avant and en arrire Assembls en avant and en arrire Grands jets en avant Sissonnes fermes de ct, over, under and en arrire Sissonnes double over Waltz turns Choice of set enchanement A) Polka B) Waltz Petite Batterie Changements battus Entrechat trios derrire Set Variations Teacher's choice of one of the following set dances: A) Female B) Male or Female C) Male or Female D) Female Pointe Facing the Barre: Rises in 1st Relevs in 5th Echapps to 2nd and en croix Courus sur place Centre Cool down amalgamation set by the examiner to include Port de bras with appropriate movements such as walks, runs, balanc and waltz turns Reverence
GRADE 6 MALE
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences set by the examiner and have knowledge of the French terms used. Barre
Demi pli, grand pli and rises in 1st, 2nd, 5th and 4th crois and ouvert with forward and sideways Port de bras - set exercise Battements tendus in 2 counts Battements glisss en clche Battements fondus en croix de l'air Battements frapps en demi-pointe Battements frapps fouetts en demi-pointe Petits battements sur le cou-de-pied (single) Single rond de jambe en l'air Demi grands ronds de jambe en dehors and en dedans Grands battements in 2 counts Relevs from one foot to one foot en croix Centre Practice Ronds de jambe terre en dehors and en dedans in 2 counts Battements frappes to 2nd in 1 count Battements fondus en croix terre Port de bras Amalgamation set by the examiner to include any circular movement or the circular Port de bras with transfer of weight Adage Temps Li en l'air en avant and en arrire - set exercise Fouett of Adage Demi-Pointe Work Pos into 1st arabesque Pirouettes Singles en dehors from 4th, 5th and 2nd Singles en dedans prepared by chasse Allegro Glissades en avant and en arrire Assembls en avant and en arrire Grands jets en avant Sissonnes fermes de ct, over, under and en arrire Sissonnes double over Waltz turns Single tour en l'air - set exercise Set enchanement Petite Batterie 50 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Changements battus Entrechat trios derrire Set Variations Teacher's choice of one of the following set dances: A) Male B) Male or Female C) Male or Female Reverence
ASSESSMENT - IMPERIAL CLASSICAL BALLET GRADED EXAMINATIONS

MARK SCHEME GRADES 1, 2, & 3
TECHNIQUE
Title of component Barre Port de bras throughout the examination Adage Allegro Co-ordination of movement Section Total
Marks attainable 10 10 10 10 10 50
Title of component Artistry Rhythmic awareness and interpretation of the various musical qualities Sense of timing and music section Response to free work, syllabus knowledge and theory
Section Total
PERFORMANCE
40
Dance/variation Section Total Total
10 10 100
GRADE 4
TECHNIQUE
Title of component Barre Port de bras throughout the examination Adage Petit allegro and petite batterie Allegro Co-ordination of movement Section Total
Title of component Artistry Rhythmic awareness and interpretation of the various musical qualities Response to free work, syllabus knowledge and theory Section Total
PERFORMANCE
Variation Section Total Total
10 10 100
GRADE 5
TECHNIQUE
Title of component Barre and centre practice Port de bras throughout the examination Adage Pirouettes Petit allegro and petite batterie Allegro Section Total
PERFORMANCE
10 10 100
GRADE 6
TECHNIQUE
Title of component Barre and centre practice Port de bras throughout the examination Adage Pirouettes Allegro Petite batterie and pointe work/Males' virtuosity Section Total
PERFORMANCE
10 10 100
METHOD OF ASSESSMENT Graded Examinations are assessed externally by visiting examiners recruited and trained by the ISTD. The examinations are divided into Sections and each Section is composed of several components which are separately assessed and aggregated to give the Section total. The titles of these components and the marks attainable for the Imperial Graded Examinations are detailed above Candidates must gain at least 25% of the marks attainable in each Section in order to pass the examination overall. In cases where 25% of the marks attainable does not come to a round figure, eg 12 , the pass mark for the Section is lowered to the nearest round figure, in this example, 12. The Section totals are aggregated and the overall mark is given out of 100. If all Sections are passed, then the overall result is indicated as follows:
However, if the candidate is unsuccessful in one or more Sections, as explained above, the total mark given out of 100 will not correspond to the result indicators in the chart. In this circumstance, whatever the overall numerical mark may be, the result given will be ` Not Attained'. CLASSIFICATION OF RESULTS The principle of best fit is applied in deciding the appropriate classification for each candidate. It is not to be expected that a candidate in a particular category will necessarily demonstrate all of the characteristics listed in that category. A candidate who achieves a Distinction classification (80-100 marks) is one who demonstrates the following attributes in performance: Flair, vitality and skill Fully appropriate style Incisively-focused dancing Precision in the technique of the genre Consistent, highly developed musicality Confident and accurate responses to questions asked and/or tasks set
A candidate who achieves a 'Merit' classification (60-79 marks) is one who demonstrates the following attributes in performance: Skill and proficiency Largely appropriate style Focused dancing Competence in the technique of the genre Evidence of developing musicality Relevant and appropriate responses to questions asked and/or tasks set
A candidate who achieves a 'Pass' classification (40-59 marks) is one who demonstrates the following attributes in performance: Competence Basic ability to carry out the required movements Periodic moments of convincing focus Basic competence in most aspects of the technique of the genre Basic musicality Broadly relevant and appropriate response to questions asked and/or tasks set, but some prompting may be required
A candidate who achieves an insufficient level of achievement 'Not Attained' classification (00-39 marks) is one who has not yet demonstrated attributes required to gain at least a `Pass' classification.
ASSESSMENT GUIDANCE Candidates are assessed on their ability to show: Technical accuracy with correct placement to the best of their physical facility Appropriate use of limbs showing an understanding of the purpose or significance of each movement or sequence of movements A sense of line and well co-ordinated movements An assured performance showing the different qualities of movement required by each section of the examination structure Musicality and rhythmic awareness 56 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
VOCATIONAL GRADED EXAMINATIONS
INTRODUCTION
RATIONALE The Vocational Graded Examinations in Imperial Classical Ballet, from Intermediate Foundation through to Advanced 2, develop the candidate's expertise in such a way as to provide the basis for either professional employment as a dancer or further training as a dance teacher. Throughout the study of the syllabus, candidates are following a vocational path, requiring a high level of commitment and with an increasing emphasis on safe dance practice. Successful candidates at this level should show virtuosity in performance, a high standard of technique and a sound knowledge and understanding of the Imperial Ballet genre, including an understanding of reference and context. Candidates undertaking a study of the Imperial Ballet vocational graded syllabus should also typically display a sense of self-awareness and be self-motivated in terms of their personal development. As distinct from the general graded examinations, a greater degree of personal interpretation is encouraged and the candidate is expected to show the potential to communicate effectively with an audience. Candidates will need to show the qualities of professionalism, commitment and focus, with the ability to manage a greater workload than that required for the general graded examinations. This would typically result in a successful candidate spending significant additional time each week in lessons, in practising and in studying independently. The Vocational Graded Examinations are offered as vocationally-related qualifications on the Qualifications and Credit Framework (QCF). Intermediate Foundation is located at Level 2; Intermediate is located at Level 3; and Advanced 1 and Advanced 2 are located at Level 4. AIM The aim of the ISTD Vocational Graded Examinations in Imperial Ballet is to provide an assessment scheme, which gives the basis for the measurement of the individual candidate's progress and development, in preparing to be a professional dance performer or teacher. There are four practical examinations graded to measure appropriate stages of development from a general standard of Imperial Ballet education to that of professional competence and readiness.
OBJECTIVES The syllabus objectives of the Imperial Vocational Graded Examinations develop candidates: Correct alignment and placing of the body to the best of the individual physical facility Controlled and appropriate use of limbs, with an understanding of the purpose of each exercise Strength and stamina Good sense of line and co-ordination of movement Highly developed rhythmic and musical awareness Artistry and an appreciation of the nuances of style, both in own movement and that of others Spatial awareness Consideration and respect Creativity within a disciplined environment
LEARNING AND PROGRESSION All Imperial Ballet Graded Examinations are concerned with progressive mastery in defined stages. They also develop and demonstrate competence and artistry in, and communication through, the Imperial Ballet technique. The vocational graded examinations are concerned specifically with the mastery of technique and underpinning understanding, to a level sufficient to prepare candidates for further vocational training and match current expectations in the employment sector.

AGE LIMITS
Intermediate Foundation Intermediate Advanced 1 Advanced 2 11 years 12 years 14 years 14 years
PRIOR LEARNING Intermediate Foundation is an optional examination; otherwise these examinations must be taken consecutively. Each qualification, other than Intermediate Foundation, must be achieved as an entry requirement to the following examination. GENDER DISTINCTIONS Male candidates may not be examined at the same time as female candidates. The syllabus is suitable for both male and female candidates as it is designed to develop all -round strengths and abilities. There are some separate exercises for males and females that are intended to develop the differing physical strengths and capabilities to the advantage of the gender, and are not intended to limit opportunities for access. Such variations are designed within the context of industry needs and in particular, health and safety in dance. It is therefore advisable for candidates to follow the relevant syllabi where available. Pregnant candidates may not enter any ISTD examination. TIME ALLOWANCES/NUMBER OF CANDIDATES Candidates should normally be entered in pairs. Where there is an odd number of candidates, a group of three may be entered.
Examination Intermediate Foundation Intermediate Advanced 1 Advanced 2 1 candidate 60 minutes 75 minutes 75 minutes 90 minutes 2 candidates 75 minutes 75 minutes 90 minutes 105 minutes 3 candidates 75 minutes 90 minutes 105 minutes 120 minutes
MUSICAL ACCOMPANIMENT The official sheet music for the Intermediate Foundation, Intermediate and Advanced 1 and 2 must be used for these examinations. The use of cassettes/CDs/other digital audio equipment is not permitted, except for the set variations and the Advanced 2 solo.
DRESS REQUIREMENTS Female: Intermediate Foundation and Intermediate Approved leotard, pink tights, soft-blocked or unblocked pink satin shoes with ribbons and blocked shoes for pointe work. The hair should be suitably groomed for classical ballet. Advanced 1 and Advanced 2 Approved leotard, pink tights, soft-blocked pink satin shoes and blocked shoes for pointe work. Tutu skirt optional for Advanced 2 solo. The hair should be suitably groomed for classical ballet. Male: White sleeveless or short-sleeved leotard with tights or unitard, white socks to be worn over tights, black or white ballet shoes with elastic. Jewellery must not be worn by male or female candidates.
VOCATIONAL GRADED EXAMINATIONS AND THE QUALIFICATIONS AND CREDIT FRAMEWORK (QCF)
The Vocational Graded Examinations in Dance are accredited on the Qualifications and Credit Framework (QCF) for England, Wales and Northern Ireland as shown below:
General Qualifications (for comparability) Certificate of (educational) achievement GCSE Grades D-G QCF Level Entry Level (1 - 3) ISTD Vocational Grade N/A Credit value
Level 1
N/A
Level 2 GCSE Grades A*-C A/AS level Higher level qualification Level 3 Level 4
Intermediate Foundation
28 credits
Intermediate Advanced 1 Advanced 2
28 credits 33 credits 38 credits
The following descriptors explain what is required of candidates at each level of this framework. This should be read positively with regard to safe dance practice, with an increasing personal responsibility on the candidate. Candidates ability to respond in an examination situation will also be noted.
QCF LEVEL DESCRIPTORS QCF LEVEL 2 (INTERMEDIATE FOUNDATION) Achievement at Level 2 reflects the ways in which candidates will begin to make the transition from expressive and personal motivation for dance to a disciplined attitude necessary for a dance professional. Candidates will build upon skills, knowledge and understanding in relation to an increasing vocabulary of movement and artistic understanding showing increased confidence and assurance Knowledge and understanding Candidates will demonstrate a clear knowledge and understanding of technique, music and performance within the chosen discipline/genre in relation to mood, dynamics and rhythm and the mechanics and purposes of the required vocabulary. Candidates show a developing awareness of the professional context of dance. Application and action Candidates demonstrate technical accuracy through: the appropriate physicality, core stability and flexibility required to execute the work a clear sense of line and style the execution of appropriately demanding pre-set steps, movements and sequences the use of appropriate technical and artistic language Autonomy and accountability Candidates will demonstrate an awareness of their individual physicality in relation to safe dance practice. Candidates will demonstrate the ability to work with others within a discipline/genre framework and to take responsibility for themselves
Candidates demonstrate an increased sensitivity to varying musical qualities with technical facility. Candidates demonstrate an increased assuredness of presentation and performance through: the use of developing musical and artistic skills improved spatial awareness an ability to communicate directly with an audience underpinning interpretation with reference to key aspects of the genre the confidence and ability to follow directions within their chosen dance discipline/genre 61 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
QCF LEVEL 3 (INTERMEDIATE)
Achievement at Level 3 reflects the ways in which candidates make the transition from expressive and personal motivation for dance to a disciplined attitude necessary for a dance professional. Candidates build upon a range of skills, knowledge and understanding in relation to an increasingly refined vocabulary of movement and artistic interpretation showing an increased confidence, assurance and sensitivity. In addition an increasing understanding of professional contexts will be demonstrated and applied in performance and practice. Knowledge and understanding Candidates will demonstrate a sound and established knowledge and understanding of the technique and vocabulary required within the chosen dance genre. They will be able to apply a broad knowledge and understanding of their genre to their own work and demonstrate knowledge of the role of a dance professional and the need for safe and healthy working practices and the professional context for dance. Application and action Candidates will demonstrate consolidated technical skills through: The fluent use of the dance movement vocabulary the acquisition of an increased range of movements in sequences of increased length and complexity an ability to sustain an appropriate sense of style throughout more complex sequences those additional elements of movement vocabulary and/or technique required for progression to professional work Autonomy and accountability Candidates will demonstrate the ability to accept the feedback and direction required for professional development. They will demonstrate an awareness of own abilities and aptitudes in relation to their professional aspirations
Candidates will demonstrate enhanced musical and artistic qualities through: greater understanding of mood, dynamics and rhythm a sensitive personal interpretation of musical mood
Candidates will demonstrate performance through: the execution of appropriately demanding pre-set steps, 62 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
movements and sequences expression and fluidity of movement involving dynamics and use of space the confidence and ability to individually interpret directions within their chosen dance discipline/genre and use the performance skills necessary to engage an audience.
LEVEL 4 (ADVANCED 1 AND ADVANCED 2)
Achievement at Level 4 reflects the ways in which candidates build upon a range of skills, knowledge and understanding to demonstrate the disciplined attitude necessary for a dance professional. Candidates will demonstrate an increasingly sophisticated vocabulary of movement and artistry showing confidence, assurance and professional awareness in application. In addition, a thorough understanding of professional contexts will be demonstrated and applied in performance and practice. Knowledge and understanding Candidates will demonstrate a comprehensive knowledge of the repertoire and vocabulary of their chosen dance genre. They will demonstrate the ability to comment critically on others work with reference to the broader context of dance provision. They will demonstrate knowledge of the world of dance and its relationship to the aspects of choreography and direction that underpin professional development as a dancer and the ability to relate this to working in professional contexts. Application and action Candidates will demonstrate evidence of personal style and technical mastery through: a wide range of movements performed with stamina and safely developed technical strength the use of an extensive dance movement vocabulary Autonomy and accountability Candidates will demonstrate insight into the demands and opportunities of professional production and employment, and the ability to confidently and imaginatively interpret the demands posed by different situations and to create responses that are appropriate to both audience and context. They will be able to demonstrate accepting, reflecting on and taking responsibility for acting appropriately on feedback and take the initiative to improve their own performance. Achievement at Level 4 reflects the
Candidates will demonstrate assured musicality and artistry through: a highly developed understanding of mood, dynamics and rhythm an increasingly mature
interpretation of the music Candidates will demonstrate a performance as a coherent entity in a confident and assured manner through: the ability to integrate personal knowledge and experience with the repertoire required in their chosen dance discipline/genre, using this as the basis for improvisation in their work. subtleties of performance evidence of more varied and challenging work being undertaken the ability to communicate subtleties of interpretation effectively (both solo and/or ensemble) the ability to interpret the repertoire for their chosen dance discipline/genre with a developing sense of individuality and style an adaptable, self-confident approach to performance skills.
ways in which candidates build upon a range of skills, knowledge and understanding to demonstrate the disciplined attitude necessary for a dance professional. Candidates will demonstrate an increasingly sophisticated vocabulary of movement and artistry showing confidence, assurance and professional awareness in application.
VOCATIONAL GRADED EXAMINATIONS SYLLABUS CONTENT INTERMEDIATE FOUNDATION
Barre Plis Battements tendus and battements glisss Ronds de jambe a terre en dehors and en dedans Battements soutenus and assembls soutenus Battements fondus, a terre and en l'air Battements frapps and battement frapps fouetts Retirs Dvelopps Demi grand rond de jambe en dehors and en dedans Preparatory exercise for fouett of adage Grands battements 64 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Demi pointe Rises Echapps en croix Relevs Demi-detourns Poss and poss coups Pas de bourre piqu under (female) Also Set Exercises Centre Practice Demi-pli and rises Battements tendus and glisss Ronds de jambe terre en dehors and en dedans Battements soutenus Battements fondus a terre Battements frapps Also Set Exercises Port de bras Basic arm lines which may be combined with walks, chasss and transference of weight Set Port de bras enchanement (female) Nos 1 and 2 Set Port de bras enchanement (male) Nos 1 and 2
Adage Retirs Dvelopps Demi grand rond de jambe en dehors and en dedans Arabesques - 1st, 2nd and 3rd Attitudes ordinaire devant and derrire in opposition, deux bras a terre and en l'air Chasses Coups Detourns Poss assembls soutenus en tournant en dedans Temps li Fouette of adage Set adage enchanement (female) Set adage enchanement (male)
Pirouettes En diagonale: Allegro Sauts in 1st and 2nd Changements Soubresauts Echapps sauts to 2nd and 4th 65 | I S T D I m p e r i a l C l a s s i c a l B a l l e t Single pirouettes en dehors and en dedans Embots relevs en tournant (female)
Temps levs Glissades - devant, derrire, over and under Pas de bourres - devant, derrire, over and under with either foot Petits jetes devant and derrire Jetes ordinaires - devant, derrire, en avant, en arrire and de ct Assembls devant, derrire, over, under, petit assembl devant and derrire Sissonnes ordinaire devant, derrire and passes Sissonnes ouverte and changes en avant Sissonnes fermes en avant and en arrire Pas de basque glisss en avant and en arrire Pas de basque sauts en avant and en arrire Pas de chat Demi-contretemps Balancs and waltz turns Demi-pointe - as Barre Set allegro enchanement (female) Nos 1 and 2 Set allegro enchanement (male) Nos 1 and 2
Petite Batterie Echapps sauts ferms battus Entrechats quatre Changements battus Petite batterie enchanement Grand Allegro Coup chass pas de bourre under Pos temps leve in arabesque or pirouette position derrire Grand jete en avant Single tour en l'air prepared by relev 5th (male) Tour en l'air exercise (male) Set grand allegro enchanement (female) Set grand allegro enchanement (male) Set Variation (male and female) Pointe Work (female) Facing Barre Rises in all positions Pas de bourre piqu under Courus sur place Sideways to Barre Echapps to 2nd and 4th Demi-detourns th Relevs 5 66 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Centre Echapps to 2nd and 4th Relevs 5th Set pointe enchanement Reverence
INTERMEDIATE
Barre Plis-demi, grand, forward, side and back Port de bras Battements tendus and battements glisss Ronds de jambe terre en dehors and en dedans Battements soutenus and assembls soutenus Battements fondus Battements frapps and battements frapps fouetts Petits battements Ronds de jambe en l'air en dehors and en dedans Retirs Dvelopps and developp pass Demi grand rond de jambe en dehors and en dedans Grand rond de jambe en dehors and en dedans Fouett of adage with pivots Tomb en avant Rotation with pivots Rotation en demi-pointe (male) Grands battements Fouett rond de jambe en tournant (female) Battement en cloche Demi Pointe Rises Echapps en croix Relevs Poss Demi-detourn Coup fouett raccourci (female) Pas de bourres piqu under and over (female) Relevs passs with 12 turn (female) Embotes (female) Pos into arabesque (female) Pos into arabesque and attitude (male) Also Set Exercises Centre Practice Plis Battements tendus and battements glisss 67 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Ronds de jambe terre en dehors and en dedans Assembls soutenus and battements soutenus Battements fondus Battements frapps Ronds de jambe en l'air en dehors and en dedans Grands battements Also Set Exercises Port De Bras Basic arm lines which may be combined with walks, chasss and transference of weight Circular Port de bras with transference of weight (no backbend) Forward Port de bras - grand 4th Sideways Port de bras (female) Set Port de bras enchanement (female) Nos 1 and 2 Set Port de bras enchanement (male) Nos 1 and 2 Adage Temps li Fouett of adage Retirs Dvelopps and developps passs Demi grand rond de jambe en dehors and en dedans Grand rond de jambe en dehors and en dedans Tomb en avant Coups Attitudes - devant and derrire, ordinaire, opposition, deux bras, grecque, terre and en l'air Arabesques - 1st, 2nd, 3rd and dos Rotation a terre Rotation en l'air (male) Pos, assembl soutenu en tournant en dedans Detourns Set adage enchanement (female) Nos 1, 2 and 3 Set adage enchanement (male) Nos 1, 2 and 3 Pirouettes Single and double pirouettes en dehors and en dedans En diagonale: Pos turns en dedans (female) Relevs passs by half turn (female) Embotes relevs en tournant (female) Chanes (male) Allegro Sauts in 1st, 2nd and 4th Changements Soubresauts Echapps sauts to 2nd and 4th Glissades - devant, derrire, over, under, en avant, en arrire
Pas de bourres - devant, derrire, over, under commenced with either foot, en avant and en arrire Assembls - devant, derrire, over, under, en avant, en arrire, petit assembl devant and derrire Jetes - petit jete devant, derrire and by half turn; jete ordinaire devant, derrire, en avant, en arrire and de ct Sissonnes - ordinaire devant, derrire, passes, ouverte en avant, en arrire and de ct, ouverte change en avant and en arrire, ferme en avant, en arrire, over and under, double over and under Pas de basque glisss en avant and en arrire Pas de basque sauts en avant and en arrire Ballonns simple - devant, derrire and de ct Ballonns compose - en avant, en arrire and de ct (using front foot) Pas de chat Coup fouett raccourci saut Balancs Waltz turns (female) Demi-contretemps Failli Demi-pointe (female), as Barre, except relevs 1-1 Demi-pointe (male), as Barre Also Set allegro enchanements Petite Batterie Echapps sauts battus Entrechats quatre Changements battus Entrechats trois devant and derrire Brises, devant, derrire, over Assembls battus, over, under Set petite batterie enchanement (female) Set petite batterie enchanement (male) Grand Allegro Coup chass pas de bourre under Poss temps leve in arabesque or pirouette position derrire Full contretemps Grand jete en avant Grand jete en tournant preceded by 3 runs Jete by full turn - (male) Tour en l'air exercises (male) Grand pirouettes (set exercise male) Set grand allegro enchanement (Male) Set variation (Female) Set variation Pointe Work (Female) Barre 69 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Rises Relevs 2 - 2 Echapps en croix in 2 and 4 counts Relevs 2-1 Poss coup, en avant, en arrire, and de ct with straight or petit developp extension and pos into arabesque Demi-detourn Coup fouett raccourci Pas de bourre piqu, also with half turn Relev pass with half turn Embots Courus - sur place, en avant, en arrire, de ct, and en tournant Centre Echapps en croix in 2 and 4 counts and to 2nd en tournant Relevs in 5th Poss coup, en avant, en arrire and de ct with straight extension or petit developp and pos into arabesque Pas de bourre piqu under Coup fouett raccourci Relevs 2-2 and 2-1 Courus sur place, en avant, en arrire, de ct and en tournant Pos, assembl soutenu en tournant en dedans Set pointe enchanements Nos 1 and 2 Reverence
ADVANCED 1
Candidates must be conversant with previous syllabi Barre Plis - grand (2 counts) and circular Port de bras Battements tendus and glisses - with transfer of weight (4 counts) piqus en croix, and battements tendu relevs in 2nd Petits retirs Rond de jambe terre en dehors and en dedans en fondu and in half counts Battements frapps - doubles to degage, doubles en croix and singles and doubles with fondu sur le cou-de-pied Battements frappes fouetts with fondu and relev Petits battements sur le cou-de-pied accented, with fondu or en demi-pointe, serrs with fondu or en demi-pointe Ronds de jambe en l'air Battements fondus en l'air with rise and free Port de bras Set adage enchanement Grands battements with use of demi pointe, en rond, piqu, fouett, dvelopp - also with rise or fondu Grands battements en cloche with piqu and in varying counts Also Set Exercises 70 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Centre Practice Free enchanements Port de bras Free enchanements including grand circular or forward, back and side Port de bras Set port de bras (female) Set port de bras (male) Adage Arabesques with pivot en dehors and en dedans Arabesques - allonge and penche Attitudes with pivots en dehors and en dedans Grand rond de jambe en dehors and en dedans with use of alignment Rotation en l'air in 4 or 2 counts Temps li Set adage enchanement No. 1 Set adage enchanement No. 2 (female) Set adage enchanement No. 2 (male) Pirouettes Doubles en dehors finishing in open positions (set exercise) Doubles en dedans finishing in attitude and arabesque (set exercise) 7 Fouetts ronds de jambe en tournant en dehors (Females) En diagonale Poss turns en dehors (female) Petits pas de basque en tournant (female) Embotes relevs en tournant (female) Chanes (female and male) Allegro Jets battements - en avant, en arrire Pas de bourres - couru ending with demi-pli or dgag, en premire and en avant and en arrire, en tournant en dehors and en dedans, a quatre, a cinq pas and renvers with relev and fondu Temps de cuisse in 2 counts, (French) en avant, en arrire, over and under and (Italian) over and under Jets ronds de jambe sauts - singles only, en dehors and en dedans Temps de flche Sissonnes ferme change - en avant and en arrire
Petite Batterie Briss (24) Assembls battu over and under Bris telemaque in 3 or 4 counts Coup bris devant and derrire Entrechats cinq devant and derrire 71 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Jets battu devant and derrire Coup fouett raccourci battu Set petit bris en tournant (male) Set petite batterie enchanement Grand Allegro Assembls port devant, derrire, over, under, en avant and en arrire Demi-contretemps fouett relev or saut Coup pos fouett relev or saut en tournant Pas de bourre fouett relev or saut en tournant Grand fouett relev or saut en tournant Grand pas de basque Sauts de basque Grand jet devant and derrire Grand pirouette (set exercise male) Set grand allegro enchanement (female) Set allegro enchanement (male) Set Variation (Male) Pointe Work (Female) Barre Amalgamated exercises to include relevs 1 to 1 Centre Relevs 1 to 1 Full dtourne Poss to open positions -- arabesque and attitude Set pointe enchanement En diagonale: Poss turns en dedans Petits pas de basque en tournant Relevs passs by half turn Set Variation (Female) Reverence
ADVANCED 2
Candidates must be conversant with previous syllabi Barre The following exercises may be combined in free amalgamations Plis (set exercise) Battements tendus piqus en rond Ronds de jambe terre en dehors and en dedans with rise Battements frapps en croix extending with fondu Petits frapps (female) Ronds de jambe en l'air extending with fondu Grands battements en fondu Grands battements retir, also with rise Grands battements en cloche with dvelopp pass Grand rond de jambe en fondu or en demi-pointe Centre Practice Free enchanements which may include ronds de jambe terre en dehors and en dedans en tournant Port De Bras Free amalgamations Set Port de bras Nos. 1 and 2 (female) Set Port de bras (male) Adage Ballotts terre and en l'air Pivots in 2nd en l'air Set adage enchanements (male) Nos. 1 and 2 Set adage enchanements (female) Nos. 3 and 4 Pirouettes Single and double en dehors and en dedans in attitude and arabesque Triple pirouettes en dehors and en dedans Set exercise A Tango and B Blusey Hoedown Set enchanement Jazz Waltz Petit and Grand Allegro Sissonnes en tournant Ballotts sauts Jets rond de jambe sauts (to include doubles) Gargouillades (female) Assembls en tournant, over and derrire Set allegro enchanements Nos. 1 and 2 (female) Double tour en l'air Temps de poisson (male) 73 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
En mange Batterie
Set grand allegro enchanement (male) Grand pirouette (male) Ronds de jambe saut from 1 or 2 feet single (female), double (male) Grand pas de basque en tournant Rond de Jqmbe Saut and Sissonnes en tournant set exercise (male) Assembl en tournant set exercise (male) Jet Coup and Chass Coup Jet en Tournant (set exercise)
Cabrioles -- ouvert and ferme, devant, derrire, de ct and cabriole fouette Grands jet battu en tournant Entrechat six Entrechat six de vl Brises vls Sissonne double battue over and under Sissonne battue ouverte and ferme Double chapps battue ouverte and ferme (male) Petit Batterie Enchanement (male) Solo A classical solo from one of the following ballets: Pointe Work (Female) Relevs on 1 foot Sissonnes en avant, en arrire and de ct Fouett relev Ronds de jambe relev Renvers Single pirouette en dehors, en dedans in attitude or arabesque Single or double pirouettes en dehors and en dedans 7 Fouetts ronds de jambe en tournant en dehors Embotes relevs en tournant Chanes Amalgamation of turns en diagonale Dvelopp and rotation en tournant with relev or pos Poss turns en dedans en mange Petits pas de basques en tournant en mange Set pointe enchanement Coda Solo A classical solo from one of the following ballets: Swan Lake Swan Lake Sleeping Beauty Giselle Les Sylphides Copplia La Sylphide
Reverence
Sleeping Beauty Giselle Les Sylphides Copplia La Sylphide
ASSESSMENT - IMPERIAL CLASSICAL BALLET VOCATIONAL GRADED EXAMINATIONS

MARK SCHEME INTERMEDIATE FOUNDATION, INTERMEDIATE, ADVANCED 1 AND ADVANCED 2 TECHNIQUE Title of component Barre and centre practice Port de bras throughout the examination Adage Pirouettes Allegro Batterie Pointe work/Male's virtuosity Section Total PRESENTATION, MUSICALITY AND RESPONSE Title of component Variation Artistry and musicality Approach to free work, syllabus knowledge and theory Section Total Total Marks attainable 10 marks 10 marks 10 marks 30 100 Marks attainable 10 marks 10 marks 10 marks 10 marks 10 marks 10 marks 10 marks 70
METHOD OF ASSESSMENT Vocational Graded Examinations are assessed externally by visiting examiners recruited and trained by the ISTD. Assessment is carried out by means of a practical demonstration of the knowledge, understanding and skills required. The examination is divided into units and each unit is composed of several components, which are separately assessed and aggregated to give the unit total out of 100. Candidates will, however, be unsuccessful if: 1. 20% of the marks attainable or below are given for any one component 2. 40% of the marks attainable or below are given for any three components This reflects the need to ensure competence across a wide range of components. Results are indicated using the following attainment bands:
Grade Distinction Merit Pass Not Attained Mark 80-100 65-79 50-64 00-49
CLASSIFICATION OF RESULTS The principle of best fit is applied in deciding the appropriate classification for each candidate. It is not to be expected that a candidate in a particular category will necessarily demonstrate all of the characteristics listed in that category. A candidate who achieves a `Distinction' classification (80-100 marks) is one who demonstrates the following attributes in performance: Flair, vitality and skill Fully appropriate style Incisively-focussed dancing Precision in the technique of the genre Consistent, highly developed musicality Confident and accurate responses to questions asked and/or tasks set
A candidate who achieves a `Merit' classification (65-79 marks) is one who demonstrates the following attributes in performance: Skill and proficiency Largely appropriate style Focused dancing Competence in the technique of the genre Evidence of developing musicality Relevant and appropriate responses to questions asked and/or tasks set
A candidate who achieves a `Pass' classification (50-64 marks) is one who demonstrates the following attributes in performance: Competence Basic ability to carry out the required movements Periodic moments of convincing focus Basic competence in most aspects of the technique of the genre Basic musicality Broadly relevant and appropriate response to questions asked and/or asks set, but some prompting may be required
A candidate who achieves a `Not attained' classification (00-49 marks) is one who has not yet demonstrated the attributes required to gain at least a `Pass' classification.
ASSESSMENT GUIDANCE Candidates are assessed on their ability to demonstrate: Technical accuracy with correct placement to the best of their physical facility. An appropriate use of limbs showing an understanding of the purpose of each exercise A sense of line and well co-ordinated movement An assured performance showing the differing qualities of movement required by each section of the examination
An instinctive musicality and a highly developed rhythmic awareness
REASONABLE ADJUSTMENTS FOR VOCATIONAL GRADED EXAMINATIONS The Vocational Graded Examinations are designed for those who are intending to pursue a career in dance, either as a performer or as a teacher. It is, therefore, very unlikely that a potential performer will require reasonable adjustments. However, a potential teacher must be able to demonstrate all movements precisely, in order to teach them effectively. As the Intermediate examination is also now included as a unit within the Diploma in Dance Instruction, it is likely some candidates will apply for adjustments. This is because they are: Those candidates who are possibly already teaching and who do not have the stamina or muscular strength that is normally required at this level, and it would be deemed to be unsafe to require them to perform using the same degree of strength and stamina as a younger dancer. Candidates who do not have sufficient physical facility to perform the movements at speed to the required standard, but who can nevertheless demonstrate them at a slower pace. Candidates who, through their physical make up, would be causing injury to themselves, e.g. very stiff feet.
The same criteria apply to candidates at Advanced 1 and 2 levels. Such candidates must apply to the Customer Services and Quality Assurance Department, using the Application for Reasonable Adjustments form, at least three weeks prior to the examination entry, giving detailed reasons for the request. This will be processed giving the Faculty opportunity to refuse adjustments, recommend additional examination time, or give further detailed guidance. In principle, the examination must not be weighted to give an advantage to either the candidate with reasonable adjustments or the able bodied candidate. The demands on both must be equal. Reasonable adjustments will be generally granted for certain specific sections of the examination, and candidates should indicate which of the sections might be affected. Candidates should attempt all movements and throughout, must dance to the best of their own physical ability. In the interests of safety and to facilitate accuracy of movement, some candidates may indicate their own tempo and may take extra pauses for breath as necessary. If required, questions may be asked, and these will be phrased in such a way as to clarify the knowledge of the mechanics of the movement. Questioning is not permitted for every section of the examination and would normally be used in a maximum of two sections. The following sets out guidelines on the format of examinations where reasonable adjustments might be applied. Stance, placement and the line of limbs must be accurate even though the candidate may have physical difficulties. Therefore, the Barre, Centre Practice and Adage sections will be examined in the normal manner, although they may be supplemented by questioning. The same applies to Port de Bras, as placement, balanced and co-ordinated use of arms demonstrated with quality and style is important.
PROFESSIONAL TEACHING EXAMINATIONS INTERNATIONAL

OUTSIDE EUROPE
ASSOCIATE
Duration of examination: 90 minutes Candidates will be examined singly by 1 examiner
INTRODUCTION
AIMS To educate by providing a progressive awareness of the culture and technique of Classical Ballet To develop the teachers understanding and ability to impart the technique, artistry and musicality of Classical Ballet To provide the teachers with a sound understanding of safe dance practice through an increased knowledge of anatomy and physiology
Purpose of the Professional Syllabus To provide a structured examination system that can be followed by aspiring and established teachers to develop and enhance their teaching skills To stimulate teachers to increase and broaden their expertise To stimulate teachers to inspire children and students to appreciate Classical Ballet either as performers or as an observer
The syllabus aims are as set out below: Analysis and understanding of movement Methods of teaching Adaptation to differing physiques Adaptation to different gender Observation and correction of technical faults Development of rhythm and musicality in the students Development of artistry in the students Class construction and balance Construction of enchanements Confident musical instructions and guidance
ADVICE FOR CANDIDATES In the Associate the candidate demonstrates their theoretical approach to teaching and in the Associate Diploma this knowledge is demonstrated practically. Both examinations are conducted by one examiner. The Associate is taken in the order of a class, commencing with the Barre work and then progressing through the Centre Practice, Port de Bras, Adage, Pirouettes, Allegro, Petite Batterie and Pointe work. The set variations are usually shown at the end of the examination. The variations which the candidate has prepared will be shown in the relevant section. In each section the candidate will be asked about their knowledge and understanding of the development of movements. Set exercises and movements will be demonstrated and analysed, methods of teaching discussed and enchanements arranged. If not specified these enchanements are typical examination arrangements, however the examiner might request an arrangement for a certain circumstance, for instance a training exercise to develop a particular aspect of the work. The candidate is expected to be able to communicate with the pianist the tempo, dynamics and quality of the music that is required. Normally if the candidate counts clearly, using vocal highlights and the correct tempo, this will produce the desired result. The examiner may question the candidate about the music chosen and other relevant questions, however the candidates instructions to the pianist should respect the musicians expertise. REQUIREMENTS FOR ENTRY Candidates must: a) have reached the age of 18 years*
b) have been successful in Imperial Ballet Intermediate or have been successful in Cecchetti Intermediate followed by Imperial Ballet Advanced 1 Pregnant candidates may not enter any ISTD examination. * In special circumstances the examination may be entered under this age if approved by the Chairman of the Imperial Classical Ballet Faculty, after written application to Customer Services and Quality Assurance at HQ by the principal of the school entering the candidate. On successfully completing the Associate examination the candidate is entitled to enrol as an Associate of the ISTD on payment of the enrolment fee and subscription. If he/she wishes to enter candidates for examinations he/she is entitled to apply for provisional registration. On being granted provisional registration the teacher must: a) Enter candidates for ISTD examinations within 12 months and regularly thereafter. b) Complete the requirements for full registration within 3 years.
ASSOCIATE SYLLABUS
At the examination Candidates will be examined on their knowledge of: a) Girls Girls and boys grade syllabi Primary to Grade 4 inclusive, (no boys set enchainment in Grade 3 or 4) and girls work only for and Intermediate (own choice of Grade 6 set enchanement)
Grades 5, 6
b)
Boys Boys and girls grade syllabi Primary to Grade 4 inclusive and a choice of either boys or girls work for Grades 5, 6 and
Intermediate
Candidates will be asked, from the teaching aspect, to demonstrate any of the following: a) the development of the technique through the Grades to Intermediate
b) the understanding of correct stance and the correction of common faults c) the approach to the teaching of pointe work
d) the approach to the teaching of boys e) the ability to count rhythmically, in the correct time signature and tempo, any of the syllabus set work, conveying the relevant quality the ability to communicate with the pianist using basic musical terminology and the use of phrasing to enhance movement the arrangement of free enchanements to any standard to any given time signature
f)
g)
h) one set dance from either Primary, Grade 1 or 2 i) j) k) one of the set variations for boys from either Grade 3 or 4 one of the set variations for girls from either Grade 5 or 6 three variations that have been arranged by the candidate. There should be one variation suitable for each of the following: Grades 2, 4 and 6. These pre-arranged variations may be for either girls or boys. The music chosen for these variations should use a range of rhythms and differing qualities of music. It is permissible, but not essential to vary the quality within one variation. The length does depend on the tempo of the music, but as a rough guide the Grade 2 variation should be 30-45 seconds, Grade 4 40-60 seconds and Grade 6 60-75 seconds. Sheet music, which must be clearly marked, or recorded piano music, may be used. In each case the suitability of the arrangement, content of steps and the interpretive quality of the movement and musicality will be taken into consideration.
Voice, manner and the general approach of the candidate will be assessed throughout. Dress
Female Male ASSESSMENT
Teaching dress or leotard and skirt, tights and suitable teaching shoes Leotard or T-shirt with tights or trousers and shoes suitable for teaching
The Associate examination is divided into several components, which are separately assessed with a mark as shown below. Title of component Knowledge of the content and development through the syllabus Analysis and understanding of movements Methods of teaching and awareness of adaptation to differing physiques and gender Technical accuracy of demonstration Musicality and artistry of demonstration Free enchanements and musical instructions Pre-arranged variations Manner and approach to the dance discipline Tonal quality and rhythmic counting Set dances and variations Total Marks attainable 30 marks 30 marks 30 marks
20 marks 20 marks 20 marks 20 marks 10 marks 10 marks 10 marks 200
These marks are aggregated and the overall mark is given out of 200 as follows: Awarded Not Awarded 130+ marks 0-129 marks
ASSOCIATE DIPLOMA
Duration of examination: 90 minutes Candidates will be examined singly by 1 examiner ADVICE FOR CANDIDATES The Associate Diploma commences with a class using the candidates own students. It is helpful if the teachers introduces the dancers to the examiner at the beginning of the class and uses their names as much as possible, so that there is no need for them to wear name badges. This is meant to be a training class and not a demonstration, so that the candidate can show a full range of their teaching skills. If the students are working on a higher grade or Intermediate the candidate is not expected to include every section within the initial class, but to try to show a balance of work covered. It is important that the dancers are seen to improve during the class, so candidates are advised to concentrate on a few areas to work on. The second part of the examination is directed by the examiner and the candidate will be asked to teach the same group of dancers. The examiner can ask for movements or exercises to be coached with regard to specific technical, artistic or anatomical elements or the candidate might be asked to teach new vocabulary. If, due to the constraints of time, the candidate was not able to cover all sections, then the examiner will ask the candidate to cover some of the remaining areas during the second part. The examiners would prefer that the teacher works in their usual teaching language for these classes, so that the dancers have as normal experience as possible. After the second part there is time for a discussion between the examiner and candidate. This discussion will focus upon the anatomical aspects of teaching, especially with regard to some of the dancers in the class. If the candidates English is not up to this type of discussion, then the examiner will include the assessment of this aspect within the class. The group arrangement may use different dancers to those who participated. Usually this group is he finale to the examination; however it can be shown at any convenient time during the examination if circumstances dictate. The teacher will be asked to let the dancers run the piece once and then the teacher can make any quick corrections before the performance.
REQUIREMENTS FOR ENTRY Candidates must: a) b) c) have reached the age of 21 years hold the Associate qualification in the Faculty have completed 3 years of responsible teaching in the Faculty 83 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
Pregnant candidates may not enter any ISTD examination. ASSESSMENT On successfully completing the Associate Diploma examination the candidate will become a fully registered member of the ISTD. This examination can either be taken at the candidates own studio or a Centre. In either case the candidate must provide the dancers and pianist. The candidate will be required to a) Either Conduct a class (minimum of 6 pupils) based on syllabus work at any standard from Grade or Level 2 upwards candidates own choice (45 minutes) Or Conduct a class (minimum of 4 students) at Intermediate level (45 minutes) b) Coach/teach selected exercises or movements as requested by the examiner, using the same group of dancers as above. Discuss the approach to teaching and general corrections Show imaginative use of the syllabus, at any level, for 3 or more dancers. This group should not be a solo danced by 3 pupils, but should show varied pattern and interaction of the performers. This group may be performed by dancers of a different level from that of the class. Duration, maximum 2 minutes Method of assessment This examination is either Awarded or Not Awarded. In the event of the Associate Diploma not being awarded the candidate will receive a short written report highlighting the areas that were not satisfactory. Performance criteria 1 2 3 4 5 6 Observation and methods of teaching Communication of technical, musical and artistic advice Suitability and arrangement of enchanements Rapport with dancers and musician Manner and approach to dance discipline Improvement of dancers performance
c) d)
PROFESSIONAL QUALIFICATIONS
UK AND EUROPE
A separate Syllabus Outline is available from ISTD Headquarters for the: Level 3 Diploma in Dance Instruction (Imperial Classical Ballet) Level 4 Diploma in Dance Education (Imperial Classical Ballet) The syllabus for Licentiate and Fellowship is given on the following pages. PROFESSIONAL QUALIFICATIONS AND THE QUALIFICATIONS AND CREDIT FRAMEWORK (QCF) The Level 3 Diploma in Dance Instruction and Level 4 Diploma in Dance Education are accredited on the Qualifications and Credit Framework (QCF) for England, Wales and Northern Ireland as shown below:
General Qualifications (for comparability) Certificate of (educational) achievement GCSE Grades D-G GCSE Grades A*-C A/AS level Higher level qualification QCF Level ISTD Vocational Grade Credit value
Entry Level (1 - 3)
N/A
Level 1 Level 2 Level 3 Level 4
N/A N/A Diploma in Dance Instruction Diploma in Dance Education 68 credits 92 credits
HIGHER PROFESSIONAL QUALIFICATIONS

UK, EUROPE & INTERNATIONAL
LICENTIATE
Duration of examination - 2 hours 15 minutes Candidates will be examined individually by one examiner. REQUIREMENTS FOR ENTRY Candidates should: Have reached the age of 23 years Hold the Certificate in Dance Education or Associate Diploma in the Faculty Have passed the Advanced 1 Examination in Imperial Classical Ballet It is recommended that candidates have five years teaching experience or more.
Pregnant candidates may not enter any ISTD examination.
Vocational Graded Specialisation (Option A) Candidates will be required to: 1. Conduct a coaching class on the Intermediate Foundation, Intermediate or Advanced 1 syllabus using three or four students that they teach regularly. The class should be balanced in content to include all sections of the syllabus. Duration of class -- 1 hours Intermediate and Advanced 1, 1 hours Intermediate Foundation Discuss the principles of teaching (arising in part from the class) Show their knowledge of all the boys' and girls' work up to and including the Advanced 1 syllabus in demonstration and theoretical explanation Show two set variations (candidates choice) (a) Intermediate -- either females or males (b) Advanced 1 -- either females or males 5. Demonstrate throughout the examination their knowledge and understanding of basic anatomy
2. 3. 4.
Children's Specialisation (Option B) Candidates will be required to: 1. Conduct a coaching class on the Grade 5 or Grade 6 syllabus using four children that they teach regularly. The class should be balanced in content to include all sections of the syllabus. Duration of class -1 and 14 hour Discuss the principles of teaching (arising in part from the class) 86 | I S T D I m p e r i a l C l a s s i c a l B a l l e t
2.
3. 4.
5.
Show their knowledge of all the boys' and girls' work up to and including the Advanced 1 syllabus in demonstration and theoretical explanation Show two set dances or variations (candidate's choice) (a) one set dance selected from Primary - Grade 3 (b) one set variation selected from Grade 4 - Grade 6 Demonstrate throughout the examination their knowledge and understanding of basic anatomy
MARK SCHEME LICENTIATE Title of component Class content and balance Suitability of exercises and enchanements Manner and clarity of instruction Observation and methods of technical instruction Observation and methods of artistic and musical development Rapport with students and pianists Syllabus knowledge Analysis of movement Methods of teaching and awareness of adaptation to differing physiques and gender Total These marks are aggregated and the overall mark is given out of 200 as follows: Awarded 130 + Not Awarded 0-12 Marks attainable 20 marks 20 marks 20 marks 30 marks 30 marks 20 marks 20 marks 20 marks 20 marks 200
FELLOWSHIP
The Fellowship is the highest qualification awarded by the ISTD. Candidates will, therefore, be expected to show a secure depth of technical knowledge and artistry, also a high standard of teaching. Duration of examination: 2 hours and 30 minutes. Candidates will be examined individually by two examiners.
REQUIREMENTS FOR ENTRY Candidates should: a) have reached the age of 28 b) hold Licentiate status in the Faculty c) have successfully entered for the Advanced 2 Examination in the Faculty
d) Have completed 8 years responsible teaching in the Imperial Classical Ballet faculty e) forward the typed notes of the Advanced 2 Classical Solo arranged for this examination to Headquarters with their entry form At the Examination Centre Section 1 The examination will be conducted in the following manner: a) A brief discussion will take place between the examiners and the candidate on his/her teaching experience
b) The candidate will be required to conduct a class of one and a half hours, at Advanced 2 standard, of up to three female students provided by the ISTD. They will be asked to focus in particular on the training of specific movements, details of which will be given to the candidate 15 minutes before the beginning of the examination. Candidates should teach a balanced class and not just coach the specified movements, so showing their ability to train technique, artistry and musicality. c) This class should relate to the training in preparation for the Advanced 2 syllabus and therefore does not need to contain any set work.
Section 2 Candidates will be expected to demonstrate from the teaching aspect: a) Principles of teaching (arising in part from the class)
b) Knowledge of the Female and Male work up to and including Advanced 2, both in the analysis and in the demonstration as a teacher c) Practical knowledge of anatomy as applied to the dancer
d) Present their own arrangement of an Advanced 2 solo (Classical Ballet). A pupil or student, trained by the candidate, may perform this dance, which may be arranged for either a Male or girl. Overseas candidates may bring a recording of this solo danced by one of their students.
MARK SCHEME FELLOWSHIP Title of component Suitability of exercises and enchanements Manner and clarity of instruction Observation and methods of technical instruction Observation and methods of artistic and musical development Rapport with students and pianists Syllabus knowledge Analysis of movement Methods of teaching and awareness of adaptation to differing physiques and gender Dance and clarity of notes Total These marks are aggregated and the overall mark is given out of 200 as follows: Awarded 130 + Not Awarded 0-129 Marks attainable 20 marks 20 marks 30 marks 30 marks 20 marks 20 marks 20 marks 20 marks 20 marks 200
CANDIDATES WITH REASONABLE ADJUSTMENT REQUIREMENTS The ISTD is committed to promoting an environment where all individuals are encouraged to achieve their full potential and develop their skills, encouraging its teachers to maintain an open approach towards the different talents and abilities offered by all their students. It is, therefore, required of all ISTD teaching members that they do not discriminate, either directly or indirectly, marital status or sexuality, and pupils with disabilities should not be treated less or more favourably than able-bodied pupils simply because of their disability. The ISTD recognises that some students with a mental/physical handicap or disability may need special assessment conditions to allow them to demonstrate their knowledge in dance. If a teacher wishes to enter a pupil with disabilities for an examination, the ISTD would like to make it clear that although pupils with disabilities may require extra time in examinations or special aids (e.g. flash cards if the child is deaf), in order to perform to the best of their ability, the quality of the performance in an examination is to be equal to that of an able-bodied candidate.
The candidate cannot be marked on different criteria because of the restrictions the disability may cause them. This is mandatory in order to achieve a true and fair dance award. If a candidate with a disability is to be submitted for an examination, the teacher must apply to the Customer Services and Quality Assurance Department for an Application for Reasonable Adjustments form or download it from the Customer Service section of the ISTD website, www.istd.org. This should be completed and returned to the Customer Services and Quality Assurance department, a minimum of three weeks prior to the examination entries being sent in with the fees, together with a doctor's letter if relevant. This form may be submitted to the appropriate Faculty. This will be processed giving the Faculty opportunity to refuse adjustments, recommend additional time or give further detailed guidance. Candidates with temporary medical conditions should also use the same form and procedure, detailing the nature of the condition and how this will affect the candidate in the examination, to determine if any consideration of assessment conditions may be necessary. If accepted for examination, the examiner will be informed of any reasonable adjustments. If further guidance is required, please contact the Customer Services and Quality Assurance Department. customerservices@istd.org
RESULTS AND CERTIFICATION All ISTD examinations are single performance at one moment in time, with a detailed marking system awarded according to the assessment criteria and attainment descriptors given for each examination. Examiners return the results and report sheets as soon as possible after the examination. The report sheets for each candidate are individually checked within the Quality Assurance department for administrative accuracy. Under normal circumstances the report sheets will be issued to the teacher within 21 working days of the examination. Any errors found are corrected by the examiner prior to further processing of the whole examination session, and may therefore extend these timings, although the department will make every effort to process these as rapidly as possible. All results are entered by Sections, and checked for achieving the minimum pass levels, per Section and in total, and correct levels of attainment against the total mark achieved. Results are then cleared for certificate issue, which is undertaken by the Customer Services and Quality Assurance department, and should be within 6 to 8 weeks of the examination. Copies of all report sheets and results are held on archive for reference as necessary. RE-TAKES Candidates who are not successful may not re-take the examination until 3 months after the original examination.
OFQUAL QUALIFICATION ACCREDITATION NUMBERS 501/0755/0 ISTD Level 1 Award in Graded Examination in Dance: Grade 1 (Imperial Classical Ballet) 501/0753/7 ISTD Level 1 Award in Graded Examination in Dance: Grade 2 (Imperial Classical Ballet) 501/0754/9 ISTD Level 1 Award in Graded Examination in Dance: Grade 3 (Imperial Classical Ballet) 501/0756/2 ISTD Level 2 Award in Graded Examination in Dance: Grade 4 (Imperial Classical Ballet) 501/0757/4 ISTD Level 2 Award in Graded Examination in Dance: Grade 5 (Imperial Classical Ballet) 501/0758/6 ISTD Level 3 Certificate in Graded Examination in Dance: Grade 6 (Imperial Classical Ballet)
501/0764/1 ISTD Level 2 Certificate in Vocational Graded Examination in Dance: Intermediate Foundation (Imperial Classical Ballet) 501/0728/8 ISTD Level 3 Certificate in Vocational Graded Examination in Dance: Intermediate (Imperial Classical Ballet) 501/0760/4 ISTD Level 4 Certificate in Vocational Graded Examination in Dance: Advanced 1 (Imperial Classical Ballet) 501/0761/6 ISTD Level 4 Diploma in Vocational Graded Examination in Dance: Advanced 2 (Imperial Classical Ballet)
501/1002/0 ISTD Level 3 Diploma in Dance Instruction (Imperial Classical Ballet) 501/0750/1 ISTD Level 4 Diploma in Dance Education (Imperial Classical Ballet)

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IMPERIAL SOCIETY OF TEACHERS OF DANCING Imperial Classical Ballet Faculty

SYLLABUS OUTLINE OF IMPERIAL CLASSICAL BALLET EXAMINATIONS

ISTD IMPERIAL CLASSICAL BALLET DANCE EXAMINATIONS

IMPERIAL CLASSICAL BALLET ASSESSMENTS

ENTRY CONDITIONS AND GENERAL INFORMATION

Adage Transference of weight Movement & Placing 9|I S T D I m p e r i a l C l a s s i c a l B a l l e t

ASSESSMENT - IMPERIAL CLASSICAL BALLET ASSESSMENTS

Marks attainable 20 20 40 100

Title of component Barre Port de bras Adage Allegro Section Total

Marks attainable 10 10 20 100

Title of component Performance/artistry Response and spatial awareness Section Total

Marks attainable 10 10 20 100

Creativity within a disciplined environment

ENTRY CONDITIONS AND GENERAL INFORMATION

ASSESSMENT - IMPERIAL CLASSICAL BALLET PERFORMANCE AWARDS

GRADED EXAMINATIONS: PRIMARY AND GRADES 1 - 6

ENTRY CONDITIONS AND GENERAL INFORMATION

Examination Primary Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6

GRADED EXAMINATIONS AND THE QUALIFICATIONS AND CREDIT FRAMEWORK (QCF)

Grade 1 Grade 2 Grade 3

Level 2 GCSE Grades A*-C

PRIMARY GRADED EXAMINATION

2 Galops to the side, step and hop

Curtsey or Bow - Teacher's choice

ASSESSMENT - IMPERIAL CLASSICAL BALLET GRADED EXAMINATION - PRIMARY

Dance Section Total Total

IMPERIAL CLASSICAL BALLET SYLLABUS CONTENT GRADES 1, 2, & 3 (QCF LEVEL 1)

D) The Storm Reverence

B) Flying my kite C) The Storm Reverence

C) Waltz D) A day at the races Reverence

GRADES 4 AND 5 (QCF LEVEL 2)

Relev devant, derrire and passe devant and derrire

GRADE 6 (QCF LEVEL 3)

ASSESSMENT - IMPERIAL CLASSICAL BALLET GRADED EXAMINATIONS

Dance/variation Section Total Total

Variation Section Total Total

Variation Section Total Total

Variation Section Total Total

VOCATIONAL GRADED EXAMINATIONS

ENTRY CONDITIONS AND GENERAL INFORMATION

Intermediate Advanced 1 Advanced 2

28 credits 33 credits 38 credits

QCF LEVEL 3 (INTERMEDIATE)

LEVEL 4 (ADVANCED 1 AND ADVANCED 2)

VOCATIONAL GRADED EXAMINATIONS SYLLABUS CONTENT INTERMEDIATE FOUNDATION

Sleeping Beauty Giselle Les Sylphides Copplia La Sylphide

ASSESSMENT - IMPERIAL CLASSICAL BALLET VOCATIONAL GRADED EXAMINATIONS

An instinctive musicality and a highly developed rhythmic awareness

PROFESSIONAL TEACHING EXAMINATIONS INTERNATIONAL

Female Male ASSESSMENT

20 marks 20 marks 20 marks 20 marks 10 marks 10 marks 10 marks 200

Level 1 Level 2 Level 3 Level 4

HIGHER PROFESSIONAL QUALIFICATIONS

Pregnant candidates may not enter any ISTD examination.

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