Handbook : Unit informationEdith Cowan University

School: Western Australian Academy of Performing Arts

This unit information may be updated and amended immediately prior to semester. To ensure you have the correct outline, please check it again at the beginning of semester.

• Unit Title

  Ballet 3

• Unit Code

  DAN3221

• Year

  2016

• Enrolment Period

  1

• Version

  1

• Credit Points

  25

• Full Year Unit

  Y

• Mode of Delivery

  On Campus
  

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Description

In this unit, students engage in practical technique classes in classical ballet including barre, pirouettes and centre practice at an advanced level. The importance of daily class is emphasised as is the development of reflective practice. Safe dance principles are promoted through an emphasis on correct alignment and increased kinaesthetic awareness. The importance of physical, social and cultural sustainability relating to artform practice and professional career paths is also embraced in this unit through: the choice of repertoire; engagement with industry partners; building social and cultural confidence via exposure to diverse performance environments locally, nationally, regionally and internationally.

Prerequisite Rule

Students must pass 1 units from DAN2121

Equivalent Rule

Unit was previously coded AWD2201

Learning Outcomes

On completion of this unit students should be able to:

1. Articulate principles of alignment and functionality involved in the exercises with an advanced level of detail.
2. Demonstrate a high level of physical and conceptual understanding of the technical principles in classical ballet.
3. Demonstrate an advanced level of spatial awareness.
4. Demonstrate physical alignment and balance appropriate to the technique developed to a professional level.
5. Demonstrate refined self correction techniques, responsivity to feedback and ability to absorb new and complex material.
6. Design, set and teach complex classroom exercises using technical terms and describing the functional and meaning-making aspects of the exercise.
7. Embody advanced levels of strength, flexibility, coordination and cardio-vascular endurance.
8. Embody an advanced level of musicality.
9. Embody movement qualities at an advanced level.
10. Engage in self-assessment processes that indicate an advanced level of critical analysis of the technique.
11. Execute each section of class work - warm-up, barre, centre practice, turns, travelling sequences, jumps and warm down - at an advanced level of achievement.
12. Execute rhythmic and spatial precision in performance.
13. Physically adapt to a range of technical variations and teaching methods expected by the profession.

Unit Content

1. A wide range of contrasting rhythmic and a-rhythmic structures in class work and performance.
2. Advanced level of self-correction and concentrated response to feedback for the ongoing development of technical strength, diversity and refinement.
3. Control and balance in all variations of the technique's positions.
4. Development of an adaptability to a range of techniques and different teaching methods.
5. Exploration of spatial awareness in relation to self and others at a professional level.
6. Practice of advanced levels of movement qualities in sequences of extended difficulty.
7. Practice, at an advanced level of understanding, classical ballet technique, warm-up, barre, centre practice, turns, travelling sequences, jumps and warm down.
8. Practices of musicality with the detail expected of the profession.
9. Practices to gain advanced levels of strength, flexibility, coordination and cardio-vascular endurance.
10. Presentation of complex culturally specific rhythmic patterns, eg Indian and Spanish dance.
11. Study of alignment principles through complex combinations.
12. Transforming mathematical structures into meaningful musical phrasing and its integration into performance.

Additional Learning Experience Information

Practical classes, work with guest teachers, classroom tasks and individual assignments.

Assessment

GS1 GRADING SCHEMA 1 Used for standard coursework units

Students please note: The marks and grades received by students on assessments may be subject to further moderation. All marks and grades are to be considered provisional until endorsed by the relevant Board of Examiners.

Due to the professional competency skill development associated with this Unit, student attendance/participation within listed in-class activities and/or online activities including discussion boards is compulsory. Students failing to meet participation standards as outlined in the unit plan may be awarded an I Grade (Fail - incomplete). Students who are unable to meet this requirement for medical or other reasons must seek the approval of the unit coordinator.

Text References

• Wooliiams, A. (1978). Ballet studio: An inside view. Australia: Ure Smith, & Paul Hamlyn Pty Ltd.
• Golovkina, S. (1991). Lessons in classical dance. London: Dance Books,
• Grieg, V. (1994). Inside ballet technique: Separating anatomical fact from fiction in the ballet class. Pennington, NJ: Princeton Book Co.
• Kostrovitskaya, V., & Pisarev, A, (1978). School of classical dance. Moscow: Progress Publishers.
• Lawson, J. (1980). The principles of classical dance. NY: Alfred A Knopf,
• Lee, C. (2002). Ballet in western culture. Routledge.
• Repertoire videos. Swan Lake, Giselle, Raymonda, Napoli, Sleeping Beauty, Nutcracker, La Fille Mal Gardee...
• (1985). Video dictionary of classical ballet. NJ: Kulter International Films, Sea Bright.
• The Australian Ballet. (2000). Rudolf Nureyev's film of Don Quixote. ABC restoration.
• Royal Danish Ballet., & English National Ballet. (1995). Silence is the end of our song (choreography by Christopher Bruce). UK: Polygram.
• Foy, P. (1989). Margot Fonteyn. Sydney, NSW: ABC.
• Glasstone, R. (1990). Ballet for boys: Some ideas for teaching boys and young men. London: Ross Alley Promotions.
• (1993). Essential ballet: Stars of Russian Ballet from The Royal Opera House, Covent Gardens and Red Square, Moscow.
• Bourne, M. (1996). Swan Lake. UK: BBC and NVC Arts.
• Wulff, H. (1998). Ballet across borders: Career and culture in the world of dancers. Oxford: Berg.
• Beaumont, C.W. (1980). A French-English dictionary of technical terms used in classical ballet. London: ISTD,
• Warren, G.W. (2008). Classical ballet technique: Paw Prints.
• Ward-Warren, G. (1989). Classical ballet technique. Tampa, Florida: University of South Florida Press.
• Vaganova, A. (1969). Basic Principles of classical ballet. NY: Dover Publications Inc.
• Tarasov, Nikolai. I. (1985). Ballet technique for the male dancer. Garden City, NY: Doubleday.
• Sparger, C. (1970). Anatomy and ballet. London: Black.
• Schorer, S. (1999). Suki Schorer on Balanchine technique. London: Dance Books,
• Prudhommeau, G. (1976). The book of ballet. New Jersey: Prentice-Hall Inc.
• Paskevska, A. (2002). Ballet: From the first plie to mastery: An eight year course. Routledge.
• Minden, A.G. (2005). The ballet companion; A dancer's guide to technique: Fireside.

Other References

• American Ballet Theatre. (1998). American ballet theatre now. London: Dance Videos. Note: VIDEO
• (1983). Backstage of the Kirov: Armand Hammer.
• ABC Commercial Release. A thousand encores - Ballet Russes in Australia; Firebird and other legends: Konopy. Note: DVD
• (1996). Foot Notes: The classics of ballet complete series: Kultur Video. Note: DVD
• (2004). Highlights from the Royal Ballet: Warner Music Vision. Note: DVD
• (2004). The trilogy of ballet: A Bolshoi collection: Kultur Video. Note: DVD

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