Imperial Classical Ballet Faculty

Syllabus Outline
Contents
General Introduction 2

General Graded Examinations

Introduction 4
Entry Conditions and General Information 4
National Qualifications Framework 6
Primary Grade 7
Grade 1 – Female 8
Grade 1 – Male 9
Grade 2 – Female 10
Grade 2 – Male 11
Grade 3 – Female 12
Grade 3 – Male 13
Grade 4 – Female 14
Grade 4 – Male 15
Grade 5 – Female 16
Grade 5 – Male 17
Grade 6 – Female 18
Grade 6 – Male 20
Method of Assessment 21

Performance Awards
Introduction 26
Entry Conditions and General Information 26
Method of Assessment 28

Class Examinations
Introduction 29
Entry Conditions and General Information 29
Pre-Primary 32
Primary 33
Level 1 34
Level 2 35
Level 3 36
Level 4 37
Level 5 38
Level 6 39
Higher Standards 7 and 8 40
Method of Assessment 41

Vocational Graded Examinations

Introduction 43
Entry Conditions and General Information 44
National Qualifications Framework 45
Intermediate Foundation 46
Intermediate 48
Advanced 1 51
Advanced 2 53
Method of Assessment 55

Professional Examinations
FDI and CDE 57
Licentiate 57
Fellowship 58

Special Adjustments 60
Results and Certification 61
Accreditation Numbers 61
General Introduction
The Imperial Classical Ballet Faculty offers a variety of executant examinations enabling teachers in differing
situations to provide a safe and structured training programme.

The General Graded Examinations range from Primary, which can be taken from the age of six, and move upwards
through Grade 1, 2, 3, 4, 5 and Grade 6, where there is no upper age limit. The system of General Graded
Examinations provides a sound foundation from which children with ability can progress to the Vocational Graded
Examinations whilst still allowing those participating for recreational purposes to produce quality work.

In the General Graded Examinations, two children are entered together, dancing some of the exercises together
and others on their own. The examination structure is in part made up of set work which will have been rehearsed
with the teacher, and part free work. The free work is set by the examiner who will use only vocabulary from
previous or the present grade being taken. The teacher will have perfected the individual steps to the best of the
children's ability, thus enabling them to dance a short combination of steps linked together by their examiner, with
confidence. The music accompanying all grade examinations has been composed to promote a musical awareness
in the candidate, and to be entirely compatible with the mood and rhythm of the dance sequences.

The Class Examinations are taken in groups of four children; their teacher is in the examination studio with them
and gives all the necessary instructions. 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. Each child will
receive an individual report and result which will reflect their own achievement gained. The examination structure
contains, apart from the mainly classically based work, a group mime, enchaînements danced ensemble and
character work again danced ensemble; these sections promote an awareness of working together as a
performance unit, showing consideration to fellow members in the group.

The Class Examinations start with Pre-Primary progressing to Primary, and then on to Levels 1, 2, 3, 4, 5 and 6.
Higher standards 7 and 8 are a development of the class examinations; the candidates are examined in groups of
three, no longer with the teacher present as the examiner conducts the examination.

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.

The Class Examinations can also be used in conjunction with the General Grades 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.

After passing Grade or Level 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 has 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.

Thus teachers have a vast spread of resources from which to draw, this diversity offers also the elements of
structured success to which children are already accustomed in the ever changing world of technology and
communications.

Where parts of a syllabus are indicated as gender specific, these should be taken by the relevant gender. Such
variations are designed to reflect the differing physical strengths and capabilities of the gender, and are not
intended to contravene any equal opportunity for access.

The Vocational Graded Examinations are specifically structured for those wishing to pursue a career, either as a
dancer or teacher. The syllabi have been carefully devised to give the student mastery in their chosen field. The set
music, which again has been specially composed, has a wide and varied use of time signatures and rhythms,
consolidating an artistic, musical interpretative quality which began in the very early stages of the dancers' training
programme.

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Intermediate Foundation is an optional examination, which provides a large pool of material to study, and
introduces the format of the Professional Examination, thus bridging the gap between the General Grades to
Intermediate. Unlike Higher Standards 7 and 8 it is not intended to be used as a recreational examination.

The Professional Teaching Examinations are structured to enable and encourage both prospective and
experienced teachers to develop and consolidate all aspects of their expertise. Candidates entering for the
Foundation in Dance Instruction and Certificate in Dance Education qualifications are supported by a structured,
tutored, teacher training programme. Licentiate and Fellowship qualifications are available to teachers who
demonstrate greater practical experience and increased mastery of their understanding and communication of this
art form.

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General Graded Examinations
Introduction
Rationale

Imperial Classical Ballet makes a distinctive contribution to the education of all students, in that it uses movement,
which is the fundamental mode 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 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.

Aim
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 Ballet Graded Examinations syllabi are 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

Learning Outcomes 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 Imperial Ballet.
Also, a range of transfers to other dance genres becomes possible as the candidate develops physically and learns
common skills such as running, uses 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.

Entry Conditions and General Information

Age Limits
Primary:
6 years and under 11 years
Grades 1-3:
7 years and under 17 years
Grades 4-6:
9 years and no upper limit

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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
In Grades 3-6 inclusive, male candidates may not be examined with female candidates.

Time Allowances/Number of Candidates

Candidates should be entered in pairs. Where an odd number of candidates is involved, the extra candidate should
be entered with a pair, thereby making a group of three.

1 or 2 candidates 3 candidates
Primary & Grade 1 20 minutes 25 minutes
Grade 2 30 minutes 35 minutes
Grade 3 35 minutes 40 minutes
Grade 4 40 minutes 45 minutes
Grade 5 45 minutes 50 minutes
Grade 6 55 minutes 60 minutes

Use of CDs, Musical Accompaniment

A pianist is required for all examinations and the set music must be used in the examination. Until August 2008
teachers have the choice of using the music written by either John Harrison, Paul Stobart or Anthony Twiner, but
should not use a combination of music by different composers within one examination. From September 2008 only
the music composed by Paul Stobart may be used. 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.

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National Qualifications Framework and Level Descriptors
The Graded Examinations in Dance are accredited on the National Qualifications Framework (NQF) for England,
Wales and Northern Ireland as shown below.

NQF level General Qualifications ISTD Grade

Level 5 Higher level qualification N/A
Level 4 Higher level qualification N/A
Level 3(Advanced) A/AS level Grade 6
Grade 5
Level 2(Intermediate) GCSE Grades A*-C
Grade 4
Grade 3
Level 1(Foundation) GCSE Grades D-G Grade 2
Grade 1
Entry Level Certificate of (educational) achievement N/A

The following QCA-approved 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.

Level 1 (Grades 1, 2 and 3)

Candidates demonstrate an increasing vocabulary of movement in the chosen technique. An understanding of the
technique is reflected in the ability to co-ordinate 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.

Level 2 (Grades 4 and 5)

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.

Level 3 (Grade 6)
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.

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Primary Grade
Girls should hold skirts and boys place hands on waist throughout exercises and steps.

Exercises Knee bend exercise

Rises with arm movement (Girls)
Rises with arm movement (Boys)
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 (Girls)

Set arm exercise (Boys)

Steps Taken Walking

Round the Room Lifted walks
Walking on demi-pointe
Running
Skipping

Steps of Elevation Springs in 1st position

Springs to 2nd position and back to 1st position
Spring points
Springs from foot to foot
2 Galops to the side, step and point
2 Galops to the side, step and hop

Steps Run, point and port de bras (Girls)

Run, point and port de bras (Boys)

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

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Grade 1 Female
Candidates are expected to combine any movements contained in the syllabus into simple sequences set by the
examiner and have a knowledge of the French terms used, knowledge of the 5 positions of the feet and the
following arm positions - bras bas, en avant, en couronne, attitude, à la seconde, demi bras and demi-seconde.

Barre Demi plié in 1st and grand plié in 2nd combined with rises in 1st and 2nd – set
exercise
Battements tendus en croix - in 4 counts
Retirés
Grands battements en croix - in 4 counts

Port de Bras Set port de bras

Adage Walks
Dégagés devant, derrière and à la seconde
Chassés en avant, and à la seconde - in 4 counts
Posés on the whole foot - set exercise

Allegro Skips
Galops en avant and de côté
Runs
Spring points
Polka en avant and de côté
Petits jetés devant and derrière
Retirés sautés en arrière
Posé, temps levé in attitude devant
Sautés in 1st
Changements

Music Recognise, clap and count the Waltz, Polka and March

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

A) Picking Blackberries
B) Has anybody seen my mouse?
C) Collecting conkers
D) Freezing in winter

Reverence

8
Grade 1 Male
Candidates are expected to combine any movements contained in the syllabus into simple sequences set by the
examiner and have a knowledge of the French terms used, knowledge of the 5 positions of the feet and the
following arm positions - bras bas, en avant, en couronne, attitude, à la seconde, demi bras and demi-seconde.

Barre Demi plié in 1st and grand plié in 2nd combined with rises in 1st and 2nd - set
exercise
Battements tendus en croix - in 4 counts
Retirés
Grands battements en croix - in 4 counts

Port de Bras Set port de bras

Adage Walks
Dégagés devant, derrière and à la seconde
Chassés en avant, and à la seconde - in 4 counts
Posés on the whole foot - set exercise

Allegro Skips
Galops en avant and de côté
Runs
Spring points
Polka en avant and de côté
Petits jetés devant and derrière
Retirés sautés en arrière
Posé, temps levé in attitude devant
Sautés in 1st
Changements

Music Recognise, clap and count the Waltz, Polka and March

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

A) Picking Blackberries
B) Has anybody seen my mouse?
C) Collecting conkers
D) Freezing in winter

Reverence

9
Grade 2 Female
Candidates are expected to combine any movements contained in this and previous syllabi into simple sequences
set by the examiner and have a knowledge of the French terms used, knowledge of directions - croisé, en face,
ouvert and the following additional arm positions - bras croisé, attitude grecque and 3rd arabesque.

Barre Demi plié, grand plié and rises in 1st, 2nd and 3rd - set exercise
Battements tendus in 4 counts
Ronds de jambe à terre en dehors and en dedans in 4 counts
Assemblés soutenus in 4 counts - set exercise
Retirés with relevé in 5th - set exercise
Grands battements en croix - in 2 counts

Port de Bras Set port de bras

Adage Chassés passés en avant and en arrière - in 4 counts

1st arabesque à terre and en l'air
Demi-détourné with relevé in 5th - set exercise

Allegro Jetés ordinaires devant and derrière

Glissades devant and derrière
Assemblés over and under
Pas de basque glissés en avant
Pas de chat
Balancé de côté - set exercise
Soubresauts
Echappé sautés à la seconde

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

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

A) Ballet solo
B) I hate homework
C) Flying my kite
D) The Storm

Reverence

10
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 - croisé, en face,
ouvert and the following additional arm positions - bras croisé, attitude grecque and 3rd arabesque.

Barre Demi plié, grand plié and rises in 1st, 2nd and 3rd - set exercise
Battements tendus in 4 counts
Ronds de jambe à terre en dehors and en dedans in 4 counts
Assemblés soutenus in 4 counts - set exercise
Retirés with relevé in 5th - set exercise
Grands battements en croix - in 2 counts

Port de Bras Set port de bras

Adage Chassés passés en avant and en arrière - in 4 counts

1st arabesque à terre and en l'air
Demi-détourné with relevé in 5th - set exercise

Allegro Jetés ordinaires devant and derrière

Glissades devant and derrière
Assemblés over and under
Pas de basque glissés en avant
Pas de chat
Balancé de côté - set exercise
Soubresauts
Echappé sautés à la seconde

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

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

A) I hate homework
B) Flying my kite
C) The Storm

Reverence

11
Grade 3 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.

Barre Demi plié, grand plié and rises in 1st, 2nd, 3rd and 4th ouvert - set exercise
Battements tendus with demi-plié en croix using simple port de bras - set
exercise
Ronds de jambe à terre en dehors and en dedans in 2 counts
Assemblés soutenus in 2 counts - set exercise
Battements frappés to 2nd
Développés en croix in 4 counts
Grands battements in 2 counts
Echappés en demi-pointe à la seconde

Port de Bras Simple amalgamation set by the examiner using the arm positions and
directions which were studied in previous grades

Adage Chassés passés en arrière - in 2 counts

Attitude ordinaire à terre and en l'air
Posés en demi-pointe - set exercise

Allegro Assemblés devant and derrière

Simple coupés over and under
Sissonne ouverte en avant
Pas de basque sautés en avant
Pas de bourrées devant and derrière with either foot, and under with the back
foot (one to a bar)
Petit assemblé
Echappés sautés en croix
Balancés - set exercise

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

A) Polka
B) Hornpipe
C) Waltz
D) A day at the races

Reverence

12
Grade 3 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.

Barre Demi plié, grand plié and rises in 1st, 2nd, 3rd and 4th ouvert - set exercise
Battements tendus with demi-plié en croix using simple port de bras - set
exercise
Ronds de jambe à terre en dehors and en dedans in 2 counts
Assemblés soutenus in 2 counts - set exercise
Battements frappés to 2nd
Développés en croix in 4 counts
Grands battements in 2 counts
Echappés en demi-pointe à la seconde

Port de Bras Simple amalgamation set by the examiner using the arm positions and
directions which were studied in previous grades

Adage Chassés passés en arrière - in 2 counts

Attitude ordinaire à terre and en l'air
Posés en demi-pointe - set exercise

Allegro Assemblés devant and derrière

Simple coupés over and under
Sissonne ouverte en avant
Pas de basque sautés en avant
Pas de bourrées devant and derrière with either foot, and under with the back
foot (one to a bar)
Petit assemblé
Echappés sautés en croix
Set enchaînement

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

A) Hornpipe
B) Waltz
C) A day at the races

Reverence

13
Grade 4 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.

Barre Demi plié, grande plié and rises in 1st, 2nd, 3rd and 4th croisé - set exercise
Battements tendus and grands battements en croix - set exercise
Ronds de jambe à terre en dehors and en dedans in 1 and 2 counts - set
exercise
Battements fondus en croix à terre
Petits battements sur le cou-de pied (single)
Développés en croix
Relevés devant, derrière and passé devant and derrière
Echappés en croix en demi-pointe

Port de Bras Simple amalgamation set by the examiner using transference of weight (chassés,
walks and technical transference of weight) and the arm positions and directions
which were studied in previous grades

Adage Temps Lié en avant à terre - set exercise

Dégagés with use of épaulement
2nd arabesque à terre and en l'air
Posé, assemblé soutenu en tournant

Demi-Pointe Work Echappés to 2nd

th
Relevés in 5

Allegro Glissades over and under

Pas de bourrées over and under with either foot (two to a bar)
Ballonnés simples en avant
Pas de basque glissés and sautés en arrière
Sissonne changée ouverte
Demi-contretemps
Chassé, coupé, chassé temps levé in arabesque or pirouette position derrière
Chassé, coupé, chassé temps levé in 3rd arabesque - set exercise

Petite Batterie Echappé sautés battus fermés

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

A) Female
B) Male or Female
C) Male or Female

Reverence

14
Grade 4 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.

Barre Demi plié, grande plié and rises in 1st, 2nd, 3rd and 4th croisé - set exercise
Battements tendus and grands battements en croix in 2 counts - set exercise
Ronds de jambe à terre en dehors and en dedans in 1 and 2 counts - set
exercise
Battements fondus en croix à terre
Petits battements sur le cou-de pied (single)
Développés en croix
Relevés devant, derrière and passé devant and derrière
Echappés en croix en demi-pointe

Port de Bras Simple amalgamation set by the examiner using transference of weight
(chassés, walks and technical transference of weight) and the arm positions and
directions which were studied in previous grades

Adage Temps Lié en avant à terre - set exercise

Dégagés with use of épaulement
2nd arabesque à terre and en l'air
Posé, assemblé soutenu en tournant

Allegro Glissades over and under

Pas de bourrées over and under with either foot (two to a bar)
Ballonnés simples en avant
Pas de basque glissés and sautés en arrière
Sissonne changée ouverte
Demi-contretemps
Chassé, coupé, chassé temps levé in arabesque or pirouette position derrière
Set enchaînement

Petite Batterie Echappé sautés battus fermés

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

A) Male
B) Male or Female
C) Male or Female

Reverence

15
Grade 5 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.

Barre Demi plié, grand plié and rises in 1st, 2nd, 5th and 4th croisé and ouvert with
forward and sideways port de bras - set exercise
Battements tendus in 2 counts
Battements glissés in 2nd from 1st
Battements fondus en croix en l'air
Battements frappés to 2nd
Battements frappés fouettés
Ronds de jambe en l'air en dehors and en dedans (single) - set exercise
Développé to 2nd and turn to arabesque - set exercise
Grands battements in 2 counts

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

Rises in 1st and 2nd
Battements tendus en croix in 2 counts
Grand battement in 2 counts

Port de Bras Amalgamation set by the examiner to include the reverse movement

Adage Temps Lié à terre en avant and en arrière

Développés
Attitude devant in opposition à terre and en l'air
Attitude devant and derrière à deux bras à terre and en l'air
3rd arabesque à terre and en l'air

Demi-Pointe Work Echappés en croix

Relevé devant, derrière and passes devant and derrière
Pirouettes Singles en dehors from 5th
Relevés passés by half turns
Posé assemblé soutenu en tournant - set exercise

Allegro Jetés ordinaires en avant, en arrière and decôté

Grands jetés en tournant
Full contretemps
Ballonnés composés en avant
Sissonnes ordinaires devant, derrière, and passé devant and derrière
Sissonnes doublée under
Sissonnes fermé en avant
Coupé, chassé pas de bourrée under

Petite Batterie Echappé sautés battus

Entrechat quatre

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

A) Female
B) Male or Female
C) Male or Female
D) Female

Reverence

16
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 a knowledge of the French terms used.

Barre Demi plié, grand plié and rises in 1st, 2nd, 5th and 4th croisé and ouvert with
forward and sideways port de bras - set exercise
Battements tendus in 2 counts
Battements glissés in 2nd from 1st
Battements fondus en croix en l'air
Battements frappés to 2nd
Battements frappés fouettés
Ronds de jambe en l'air en dehors and en dedans (single) - set exercise
Développé to 2nd and turn to arabesque - set exercise
Grands battements in 2 counts

Centre Practice Demi-plié in 1st and 2nd, grand plié in 2nd with
Rises in 1st and 2nd
Battements tendus en croix in 2 counts
Grand battement in 2 counts

Port de Bras Amalgamation set by the examiner to include the reverse movement

Adage Temps Lié à terre en arrière - set exercise

Développés
Attitude devant in opposition à terre and en l'air
Attitude devant and derrière à deux bras à terre and en l'air
3rd arabesque à terre and en l'air

Demi-Pointe Work Relevé devant, derrière and passe´ devant and derrière

Pirouettes Singles en dehors from 5th and 2nd

Allegro Jetés ordinaires en avant, en arrière and decôté

Grands jetés en tournant
Full contretemps
Ballonnés composés en avant
Sissonnes ordinaires devant, derrière, and passé devant and derrière
Sissonnes doublée under
Sissonnes fermé en avant
Coupé, chassé pas de bourrée under
Preparatory exercise for tour en l'air (using ½ turn)
Set enchaînement

Petite Batterie Echappé sautés 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

17
Grade 6 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.

Barre Demi plié, grand plié and rises in 1st, 2nd, 5th and 4th croisé and ouvert with
forward and sideways port de bras - set exercise
Battements tendus in 2 counts
Battements glissés en clôche
Battements fondus en croix en l'air
Battements frappés en demi-pointe
Battements frappés fouettés en demi-pointe
Petits battements sur le cou-de-pied (single)
Single rond de jambe en l'air
Demi grands ronds de jambe en dehors and en dedans
Grands battements in 2 counts
Fouetté rond de jambe en tournant - set exercise
Relevés from one foot to one foot en croix

Centre Practice Ronds de jambe à terre en dehors and en dedans in 2 counts

Battements frappes to 2nd in 1 count
Battements fondus en croix à 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 Lié en l'air en avant and en arrière - set exercise

Fouetté of Adage

Demi-Pointe Work Posés coupés en avant in any direction

Posé into 1st arabesque
Coupé fouetté raccourci

Pirouettes Singles en dehors from 4th and 5th

Singles en dedans prepared by chassé
Posé turns en dedans en diagonale

Allegro Glissades en avant and en arrière

Assemblés en avant and en arrière
Grands jetés en avant
Sissonnes fermées de côté, over, under and en arrière
Sissonnes doublée over
Waltz turns
Choice of set enchaînement
A) Polka
B) Waltz

Petite Batterie Changements battus

Entrechat trios derrière

Set Variations 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
Relevés in 5th
Echappés to 2nd and en croix
Courus sur place

18
Centre Cool down amalgamation set by the examiner to include port de bras with
appropriate movements such as walks, runs, balancé and waltz turns

Reverence

19
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 a knowledge of the French terms used.

Barre Demi plié, grand plié and rises in 1st, 2nd, 5th and 4th croisé and ouvert with
forward and sideways port de bras - set exercise
Battements tendus in 2 counts
Battements glissés en clôche
Battements fondus en croix de l'air
Battements frappés en demi-pointe
Battements frappés fouettés en demi-pointe
Petits battements sur le cou-de-pied (single)
Single rond de jambe en l'air
Demi grands ronds de jambe en dehors and en dedans
Grands battements in 2 counts
Fouetté rond de jambe en tournant - set exercise
Relevés from one foot to one foot en croix

Centre Practice Ronds de jambe à terre en dehors and en dedans in 2 counts

Battements frappes to 2nd in 1 count
Battements fondus en croix à 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 Lié en l'air en avant and en arrière - set exercise

Fouetté of Adage

Demi-Pointe Work Posé into 1st arabesque

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

Singles en dedans prepared by chasse

Allegro Glissades en avant and en arrière

Assemblés en avant and en arrière
Grands jetés en avant
Sissonnes fermées de côté, over, under and en arrière
Sissonnes doublée over
Waltz turns
Single tour en l'air - set exercise
Set enchaînement

Petite Batterie Changements battus

Entrechat trios derrière

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

A) Male
B) Male or Female
C) Male or Female

Reverence

20
Method of Assessment
Graded Examinations are assessed externally by visiting examiners recruited and trained by the ISTD.

The examinations are divided into units and each unit is composed of several components which are separately
assessed and aggregated to give the unit total. The titles of these components and the marks attainable for the
Imperial Ballet Graded Examinations are given on Page 22.

Candidates must gain at least 25% of the marks attainable in each unit in order to pass the examination overall. In
cases where 25% of the marks attainable does not come to a round figure, eg 12½, the pass mark for the units is
lowered to the nearest round figure, in this example, 12.

The unit totals are aggregated and the overall mark is given out of 100. If all units are passed, then the overall
result is indicated as follows:

A (Distinction) 80-100 marks

B (Merit) 60-79 marks
C (Pass) 40-59 marks
N (Standard Not Yet Attained) 0-39 marks

However, if the candidate is unsuccessful in one or more units, as explained above, the total mark given out of 100
will not correspond to the alphabetical result indicators in the chart. In this circumstance, whatever the overall
numerical mark may be, the result given will be `N'.

Assessment Criteria

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

21
Mark Scheme

Primary

Unit title: Technique

Title of component Marks attainable
Stance and placement 10
Line and quality of Port de Bras 10
Control through body and legs 10
Quality of ballon, footwork and co-ordination 10
Unit Total 40

Unit title: Presentation, Musicality and Response

Title of component Marks attainable
Dance 10
Sense of performance 10
Rhythmic awareness 10
Music section 10
Sense of timing 10
Response and syllabus knowledge 10
Unit Total 60

Overall Total 100

Grades 1, 2 & 3

Unit title: Technique

Title of component Marks attainable
Barre 10
Port de Bras throughout the examination 10
Adage 10
Allegro 10
Co-ordination of movement 10
Unit Total 50

22
 Unit title: Presentation, Musicality and Response
Title of component Marks attainable
Dance/variation 10
Performance/artistry 10
Rhythmic awareness and quality of movement 10
Sense of timing and music section 10
Response to free work, syllabus knowledge and theory 10
Unit Total 50

Overall Total 100

Grade 4

Unit title: Technique

Title of component Marks attainable
Barre 10
Port de Bras throughout the examination 10
Adage 10
Petit allegro and Petite Batterie 10
Allegro 10
Co-ordination of movement 10
Unit Total 60

Unit title: Presentation, Musicality and Response

Title of component Marks attainable
Variation 10
Artistry 10
Rhythmic awareness and interpretation of the various musical qualities 10
Response to free work, syllabus knowledge and theory 10
Unit Total 40

Overall Total 100

23
Grade 5

Unit title: Technique

Title of component Marks attainable
Barre and Centre Practice 10
Port de Bras throughout the examination 10
Adage 10
Pirouettes 10
Petit allegro and Petite Batterie 10
Allegro 10
Unit Total 60

Unit title: Presentation, Musicality and Response

Title of component Marks attainable
Variation 10
Artistry 10
Rhythmic awareness and interpretation of the various musical qualities 10
Response to free work, syllabus knowledge and theory 10
Unit Total 40

Overall Total 100

Grade 6

Unit title: Technique

Title of component Marks attainable
Barre and Centre Practice 10
Port de Bras throughout the examination 10
Adage 10
Pirouettes 10
Allegro 10
Petite Batterie and Pointe Work/Boys' virtuosity 10
Unit Total 60

Unit title: Presentation, Musicality and Response

Title of component Marks attainable
Variation 10
Artistry 10
Rhythmic awareness and interpretation of the various musical qualities 10
Response to free work, syllabus knowledge and theory 10
Unit Total 40

Overall Total 100

24
Attainment Descriptors

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 an `A' 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 `B' classification (60-79 marks) is one who demonstrates the following attributes in
performance:
• skill and proficiency
• largely appropriate style
• focussed 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 `C' 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 `N' classification (00-39 marks) is one who has not yet demonstrated the attributes
required to gain at least a `C' classification

25
Performance Awards
Introduction

Aims and Objectives of the Imperial Classical Ballet Performance Awards

• 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

Purpose of the Performance Awards

• 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

Learning Outcomes
• 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
• Creativity within a disciplined environment

Entry Conditions and General Information

Age Limits

Age 8 years and under 17 years

Prior Learning

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

Gender Distinctions

Boys may be examined with Girls and candidates taking different Performance Award levels may be examined
together

Time Allowances/Number of Candidates

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

4 candidates 3 candidates 2 candidates 1 candidate

25 minutes 20 minutes 15 minutes 10 minutes

26
Use of CDs, Musical Accompaniment

Candidates must provide their own cassettes or compact disc and provide and operate a player in the examination
room.

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 1½ minutes duration)
c) Teacher's choice of own arrangement of a demi-character, character or national solo, including mime
(not more than 1½ minutes duration)
(b) and (c) will be danced individually

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.

Other Requirements

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

27
Method of Assessment
Each unit is composed of several components which are separately assessed and aggregated to give the unit total.
Candidates must reach at least 25% of the marks attainable in each unit in order to pass the examination overall.

In cases where 25% of the marks attainable does not come to a round figure, eg 12½, the pass mark for the unit is
lowered to the nearest round figure, in this example, 12.

The marks are aggregated and the overall mark is given out of 100. If all units are passed, then the overall result is
indicated as follows:

A (Distinction) 80-100 marks

B (Merit) 60-79 marks
C (Pass) 40-59 marks
N (Standard Not Yet Attained) 0-39 marks

However, if the candidate is unsuccessful in one or more of the units, as explained above, the total mark given out
of 100 will not correspond to the alphabetical result indicators in the chart. In this circumstance, whatever the
overall numerical mark may be, the result given will be ``N''.

Performance Criteria
1 An assured and confident sense of performance.
2 Technical accuracy, whether based upon classical or character work.
3 An appropriate sense of style and well co-ordinated movements.
4 An instinctive musicality and a highly developed rhythmic awareness.
5 Spatial awareness.
6 Where applicable, involvement within the character with convincing mime and assured use of properties.

Mark Scheme

Variation 25 marks
Dance 1 25 marks
Dance 2 25 marks
Technical standard overall 25 marks

28
Class Examinations

Introduction
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

Purpose of the Class Examination Syllabus

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

Learning Outcomes
• A sense of performance which incorporates a suitable awareness of style and expression
• Use of space in relation to the other members of the group and the dance area available
• Rhythmic awareness and a suitable interpretation of the musical qualities
• Correct alignment and placing of the body to the best of the individual physical facility
• Appropriate use of limbs, with an understanding of the purpose of each exercise, thus developing motor skills
• Sense of line and co-ordination of movement
• An appreciation of artistry, both in own movement and that of others
• Consideration and respect
• Creativity within a disciplined environment

Entry Conditions and General Information:

1 Age limits
Pre-Primary 5 years and under 8 years
Primary 5 years and under 11 years
Level 1 6 years and under 18 years
Level 2 7 years and under 18 years
Levels 3 and 4 8 years and no maximum
Levels 5 and 6 8 years and no maximum
Higher standards 7 and 8 13 years and no maximum

2 Boys are entered with girls and the teacher should adapt the syllabus work for boy candidates

3 Examination time allowances

Pre-Primary and Primary 30 minutes

Levels 1 and 2 30 minutes
Levels 3 and 4 40 minutes
Levels 5 and 6 45 minutes
Higher Standards 7 and 8 45 minutes

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

29
4 Number of candidates

Pre-Primary, Primary and Levels 1-2

4 one group – recommended number

5 one group
6 two groups of three
7 one group of four and one of three
8 two groups of four
9 one group of four and one of five
10 groups of five
11 two groups and one of three
12 three groups of four

Levels 3, 4, 5 and 6

3 one group - minimum number

4 one group – recommended numer
5 one group
6 groups of three
7 one group of four and one of three
8 groups of four
9 one group of four and one of five
10 one group of four and two of three
11 two groups of four and one of three
12 three groups of four

Higher Standards 7 and 8

3 one group
4 one group
5 one group of three and one of two

5 Dress Requirements

Girls 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

Levels 1-3
Approved leotard with matching circular skirt, pink ballet socks or pink tights, unblocked
pink ballet shoes with ribbons

Levels 4-6 and Higher Standards 7 and 8

Approved leotard with optional wrap-over matching skirt, pink ballet tights, unblocked pink
ballet shoes with ribbons, character skirt and shoes where applicable.

30
 Boys Pre-Primary, Primary, Levels 1-2
White leotard, navy blue or black shorts with white ballet socks, black or white ballet shoes
with white elastic

Levels 3-6 and Higher Standards 7 and 8

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

6. No make-up may be worn by candidates entering Pre-Primary to Level 6 inclusive. Hair should be suitably
groomed for classical ballet and no jewellery may be worn

7 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

8 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 Levels 5 and 6 the teacher has the choice of conducting the examination or
requesting that the examination is conducted by the examiner. In Higher Standards 7 and 8 the
examination will be conducted by the Examiner

9 Each candidate will wear a number on the front of their leotard and stand with the lowest number to the
Examiner's left

10 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.

11 Under no circumstances should amateur adult candidates be entered for an examination in the same group
as the children

12 Detailed notation of the syllabi and set exercises are available in the Imperial Classical Ballet Faculty
Technical Specifications for the Class Examinations, available from the Sales Department at ISTD
Headquarters

31
Syllabus Content

Class Examination Pre-Primary

Girls should hold skirt and boys 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 (Girls)
Transference of weight (Boys)
Puppet

Arms Set exercise (Girls)

Set exercise (Boys)

Steps Bouncing the ball

Pas de cheval and galops
Claps and gallops

Music Ponies and farmers

Responding to pitch
Marking time and marching

Mime Group mime (Teacher's choice of subject)

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

Curtsey or Bow Teacher's choice

Running out

32
Class Examination Primary
Girls should hold skirt and boys place hands on waist throughout exercises and steps.

All exercises are set unless otherwise stated.

Introductory Movements Running in

Walks forward and introduction of candidates

Exercises Walking round the room

Knee bends
Point to the front and close
Step to side and point in front

Hand & Arm Exercises Hand ripples

Arm exercise (set)
Arm exercise (Teacher's choice)

Expressive Movement Rises

Walking or running

Steps Skipping
Springs in 1st position
Spring points
Galops sideways with partner
Galops forward with partner

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

Mime Group mime (Teacher's choice of subject)

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

Curtsey or Bow Teacher's choice

Running out

33
Class Examination Level 1
Knowledge of 1st, 2nd and 3rd positions of the feet is required.

Girls should hold skirt and boys place hands on waist throughout exercises and steps.

All exercises are set unless otherwise stated.

Introductory Movements Running in and introduction of candidates

Exercises Demi pliés and dégagés

Points to the front
Point, lift, point, close

Arm & Hand Exercises Arm waves

Arm exercise (Teacher's Choice)
Hand ripples

Adage Transference of weight

Movement & Placing Step, close, step, curtsy.

Walks from the corner
Running into picture

Steps Changement
Free enchaînement to include:-
Posé temps levé devant and derrière
Petit jetés devant and derrière
Preparation for polka
Group enchaînement

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

Mime Group mime (Teacher's choice of subject)

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

Curtsey or Bow Teacher's choice

Running out

34
Class Examination Level 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 Pliés
Battements tendus and retirés
Grands battements devant
Grands battements derrière

Arms Arm exercise (set)

Arm exercise (Teacher's choice)

Adage Transference of weight

Arabesque
Set enchaînement

Allegro Allegro warm up

Two free enchaînements to include:-
JetéS derrière
Retiré sauté en arrière
Pas de chat
Echappés sautés
Polka enchaînement (set)
Patterned enchaînement

Music Occupational gestures 2/4 and 6/8

Musical phrasing

Mime Group mime (Teacher's choice)

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

Curtsey or Bow Teacher's choice

Running out

35
Class Examination Level 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 Pliés
Battements tendus
Ronds de jambe à terre
Grands battements (Teacher's choice)
Demi pointe work (Teacher's choice)

Port de Bras Set port de bras

Port de bras (Teacher's choice)

Adage Set adage

Arabesque

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

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

Dance Teacher's arrangement to one of the set pieces of music

Curtsey or Bow Teacher's choice

Running out

36
Class Examination Level 4
All exercises are set unless otherwise stated

The vocabulary of previous syllabi should be known

Introductory Movements Running in and introduction of candidates

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

Centre Practice Set exercise

Port de Bras Set exercise

Adage Transference of weight

Preparation for assemblé soutenu en tournant

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

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

Dance Teacher's arrangement to one of the set pieces of music.

Curtsey or Bow Teacher's choice

Running out

37
Class Examination Level 5
The vocabulary of previous syllabi should be known.

Introductory Movements Running in and introduction of candidates

Barre Pliés (set exercise)

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

Centre Practice Set exercise

Port de Bras Set exercise (Girls)

Set exercise (Boys)

Adage Set exercise

Pirouettes Set exercise (Girls)

Set exercise (Boys)

Allegro Warm up (set exercise)

Enchaînement No. 1
Enchaînement No. 2 (Girls)
Enchaînement No. 2 (Boys)

Petite Batterie Preparation for petite batterie

Classical Solo Enchaînement No. 3 (Girls)

Enchaînement No. 3 (Boys)

Character Steps Barre exercise No. 1

Barre exercise No. 2
Polka enchaînement

Dance Character dance (Teacher's arrangement to the set music including

steps listed in the official notes)

Character Bow

38
Class Examination Level 6
The vocabulary of previous syllabi should be known.

Introductory Movement Running in and introduction of candidates

Barre Pliés (set exercise)

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

Centre Practice Set exercise

& Port De Bras

Adage Set exercise (Girls)

Set exercise (Boys)

Pirouettes Set exercise

Demi pointe & posé turns exercise (Girls)

Allegro Warm up
Enchaînement No. 1
Enchaînement No. 2

Petite Batterie Set exercise

Classical Solo Enchaînement No. 3

Character Steps Exercise No. 1

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

Dance Character dance (Teacher's arrangement to the set music including

steps listed in the official notes)

Character Bow

39
Class Examination Higher Standard 7
The vocabulary of the previous syllabi should be known.

Barre exercises will be seen together and all other arrangements individually.

Barre Pliés (set exercise)

Battements tendus (set exercise)
Port de Bras & adage (set exercise)

Centre Practice Set exercise

& Adage

Port de Bras Set exercise

Allegro Warm up (set exercise)

Enchaînement (Girls)
Enchaînement (Boys)

Choreography Candidates own arrangement to one of the set pieces of music

Character Steps Hungarian (set exercise)

Group enchaînement arranged by the teacher or the candidates to the
set music.

Character Bow

Class Examination Higher Standard 8

The vocabulary of previous syllabi should be known.

Barre exercises will be seen together and all other arrangements individually.

Barre Pliés (set exercise)

Battements tendus and grands battements

Adage Set exercise

Allegro Warm up (set exercise)

Enchaînement (Girls)
Enchaînement (Boys)

Choreography Candidates own arrangement to one of the set pieces of music or to a

poem.

Character Steps Polish (set exercise)

Group enchaînement arranged by the teacher or the candidates to the
set music.

Character Bow

40
Method of Assessment
Each unit is composed of several components which are separately assessed and aggregated to give the unit total.
Candidates must reach at least 25% of the marks attainable in each unit in order to pass the examination overall.

In cases where 25% of the marks attainable does not come to a round figure, eg 12½, the pass mark for the unit is
lowered to the nearest round figure, in this example, 12.

The marks are aggregated and the overall mark is given out of 100. If all units are passed, then the overall result is
indicated as follows:

A (Distinction) 80-100 marks

B (Merit) 60-79 marks
C (Pass) 40-59 marks
N (Standard Not Yet Attained) 0-39 marks

However, if the candidate is unsuccessful in one or more of the units, as explained above, the total mark given out
of 100 will not correspond to the alphabetical result indicators in the chart. In this circumstance, whatever the
overall numerical mark may be, the result given will be ``N''.

Performance Criteria
1 A sense of performance which incorporates a suitable awareness of style and expression
2 Use of space in relation to the other members of the group and the dance area available
3 A rhythmic awareness and a suitable interpretation of the musical qualities
4 An understanding of correct stance and placement with an application of classical technique

Mark scheme

Pre-Primary
Technique
Poise of body, placement and use of legs and feet 20 marks
Presentation
Sense of performance, mime and dance 20 marks
Response and spatial awareness 20 marks
Musicality
Music section and timing 20 marks
Rhythm and sense of movement 20 marks

Primary and Level 1

Technique
Poise of body 10 marks
Port de Bras 10 marks
Placement and use of legs 10 marks
Placement and use of feet 10 marks
Presentation
Sense of performance 10 marks
Mime 10 marks
Spatial awareness, group enchaînement and dance 10 marks
Response 10 marks

41
Musicality
Music section and timing 10 marks
Rhythm and sense of movement 10 marks

Levels 2, 3 and 4
Technique
Barre 10 marks
Port de Bras 10 marks
Adage 10 marks
Allegro 10 marks
Presentation
Performance/artistry 10 marks
Response and spatial awareness 10 marks
Character section/mime 10 marks
Dance and group enchaînement 10 marks
Musicality
Rhythmic awareness, sense of timing and music section 10 marks
Interpretation of musical qualities 10 marks

Levels 5 and 6
Technique
Barre 10 marks
Port de Bras 10 marks
Adage 10 marks
Pirouettes 10 marks
Allegro and Petite Batterie 10 marks
Character section and Dance 10 marks
Presentation
Performance/artistry 10 marks
Response and spatial awareness 10 marks
Musicalitv
Rhythmic awareness and sense of timing 10 marks
Interpretation of musical qualities 10 marks

Higher Standards 7 and 8

Technique 20 marks
Performance/artistry 20 marks
Musicality 20 marks
Choreography 20 marks
Character section 20 marks

42
Vocational Graded Examinations
Introduction
Rationale

The Vocational Graded Examinations in Imperial 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 in the National Qualifications
Framework. Intermediate Foundation and Intermediate are located at Level 2; Advanced 1 and Advanced 2 are
located at Level 3.

Vocational Graded Examinations in Dance promote the ethos of key skills, especially the improvement of one's
own learning and performance, problem solving and working with others, which are intrinsic to each dance genre at
every level of study and performance. Candidates, however, are unlikely to gain evidence towards key skills
qualifications through Vocational Graded Examinations in Dance.

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 objectives of the Imperial Ballet Vocational Graded Examination syllabus are to ensure that candidates gain:
• correct alignment and placing of the body to the best of the individual's 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 Outcomes 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.

43
Entry Conditions and General Information

Age Limits

Intermediate Foundation 11 years and no maximum

Intermediate 12 years and no maximum
Advanced 1 14 years and no maximum
Advanced 2 14 years and no maximum

Prior Learning
Intermediate Foundation is an optional examination, otherwise these examinations must be taken in order. Each
qualification, other than Intermediate Foundation, must be achieved as an entry requirement to the following
examination. It will be deemed that the pre-requisite qualification has been gained if certificated by a) the ISTD
Headquarters in London or b) another awarding body with the same qualifications accredited by the QCA (BBO,
RAD and BTDA).

Gender Distinctions
Male candidates may not be examined with female candidates.

Time Allowances/Number of Candidates

Candidates should be entered in pairs. Where an odd number of candidates is involved, the extra candidate may
be entered with a pair if the studio is large enough, thereby making a group of three.

Examination 1 candidate 2 candidates 3 candidates

Intermediate
60 minutes 75 minutes 75 minutes
Foundation
Intermediate 75 minutes 75 minutes 90 minutes
Advanced 1 75 minutes 90 minutes 105 minutes
Advanced 2 90 minutes 105 minutes 120 minutes

Use of CDs, Musical Accompaniment

Set music must be used in the examinations. Except for the set variations and the Advanced 2 solo, the use of
cassettes/CDs is not permitted. Piano, CD or cassette permissible for the set variations and Advanced 2 solo.

Dress Requirements
Jewellery must not be worn by male or female candidates

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.

44
National Qualifications Framework and Level Descriptors
The Vocational Graded Examinations in Dance are accredited in the National Qualifications Framework (NQF) for
England, Wales and Northern Ireland as shown below:

NQF Level General Qualifications ISTD Vocational Grade

Advanced GNVQ and
Level 3 Advanced 2 Advanced 1
Vocational ‘A’ level
Intermediate
Level 2 Intermediate GNVQ
Intermediate Foundation

The following QCA-approved 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.

Level 2 (Intermediate Foundation and Intermediate)

Candidates will demonstrate consolidated technical skills and the acquisition of an increased range of movements
in sequences of increased length and complexity. They should show a clear understanding of the mechanics and
purposes of the required vocabulary and an ability to perform these.

Candidates will show an ability to sustain an appropriate sense of style throughout more complex sequences and
an increased sensitivity to varying musical qualities with technical facility. Improved spatial awareness leads to an
increased assurance of presentation.

Candidates will be able to demonstrate some additional elements of movement vocabulary, allied to a willingness
to communicate directly with an audience. They will understand the professional context for dance. Interpretation is
underpinned with reference to key aspects of the genre and candidates will use appropriate technical and artistic
language in discussion.

Level 3 (Advanced 1 and Advanced 2)

Candidates will demonstrate a comprehensive knowledge and understanding of the vocabulary of a particular
genre through a wide range of movements performed with well-developed and safely developed technical strength.
Along with confidence, candidates will convey self-awareness, which will result in a sensitive personal
interpretation of musical mood.

Candidates should 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.

Candidates will be able to demonstrate those additional elements of vocabulary and/or technique required by
progression to professional work. Engaging the audience, they communicate their interpretation effectively (both
solo and ensemble) with evidence of personal style and technical mastery. A well-grounded awareness of
candidates' own abilities and aptitudes is related to their professional aspirations, including insight into the
demands and opportunities of professional production and employment. Candidates can also apply a broad
knowledge and understanding of their genre to their own work, commenting critically on others' work with reference
to the broader context of dance provision.

45
Intermediate Foundation

Barre Pliés
Battements tendus and battements glissés
Ronds de jambe à terre en dehors and en dedans
Battements soutenus and assemblés soutenus
Battements fondus, à terre and en l'air
Battements frappés and battement frappés fouettés
Retirés
Développés
Demi grand rond de jambe en dehors and en dedans
Preparatory exercise for fouetté of adage
Grands battements
Demi pointe
Rises
Echappés en croix
Relevés
Demi-détournés
Posés and posés coupés
Pas de bourrée piqué under (female)
Also Set Exercises

Centre Practice Demi-plié and rises

Battements tendus and glissés
Ronds de jambe à terre en dehors and en dedans
Battements soutenus
Battements fondus à terre
Battements frappés
Also Set Exercises

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

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

Pirouettes Single pirouettes en dehors and en dedans

En diagonale:
Emboîtés relevés en tournant (female)

46
Allegro Sautés in 1st and 2nd
Changements
Soubresauts
Echappés sautés to 2nd and 4th
Temps levés
Glissades - devant, derrière, over and under
Pas de bourrées - devant, derrière, over and under with either foot
Petits jetés devant and derrière
Jetés ordinaires - devant, derrière, en avant, en arrière and de côté
Assemblés devant, derrière, over, under, petit
assemblé devant and derrière
Sissonnes ordinaire devant, derrière and passées
Sissonnes ouverte and changées en avant
Sissonnes fermées en avant and en arrière
Pas de basque glissés en avant and en arrière
Pas de basque sautés en avant and en arrière
Pas de chat
Demi-contretemps
Balancés and waltz turns
Demi-pointe - as barre
Set allegro enchaînement (female) Nos 1 and 2
Set allegro enchaînement (male) Nos 1 and 2

Petite Batterie Echappés sautés fermés battus

Entrechats quatre
Changements battus
Petite batterie enchaînement

Grand Allegro Coupé chassé pas de bourrée under

Posé temps levé in arabesque or pirouette position derrière
Grand jeté en avant
Single tour en l'air prepared by relevé 5th (male)
Tour en l'air exercise (male)
Set grand allegro enchaînement (female)
Set grand allegro enchaînement (male)

Set Variation

Pointe Work
(girls)

Facing Barre Rises in all positions

Pas de bourrée piqué under
Courus sur place

Sideways to Barre Echappés to 2nd and 4th

Demi-détournés
th
Relevés 5

Centre Echappés to 2nd and 4th

Relevés 5th
Set pointe enchaînement

Reverence

47
Intermediate

Barre Pliés-demi, grand, forward, side and back port de bras

Battements tendus and battements glissés
Ronds de jambe à terre en dehors and en dedans
Battements soutenus and assemblés soutenus
Battements fondus
Battements frappés and battements frappés fouettés
Petits battements
Ronds de jambe en l'air en dehors and en dedans
Retirés
Développés and développé passé
Demi grand rond de jambe en dehors and en dedans
Grand rond de jambe en dehors and en dedans
Fouetté of adage with pivots
Tombé en avant
Rotation with pivots
Rotation en demi-pointe (male)
Grands battements
Fouetté rond de jambe en tournant (female)
Battement en cloche

Demi Pointe
Rises
Echappés en croix
Relevés
Posés
Demi-détourné
Coupé fouetté raccourci (female)
Pas de bourrées piqué under and over (female)
Relevés passés with 1⁄2 turn (female)
Emboîte´s (female)
Posé into arabesque (female)
Posé into arabesque and attitude (male)
Also Set Exercises

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

Port de Bras Basic arm lines which may be combined with walks, chassés and transference
of weight
Circular port de bras with transference of weight (no backbend)
Forward port de bras - grand 4th
Sideways port de bras (female)
Set port de bras enchaînements (female) Nos 1 and 2
Set port de bras enchaînements (male) Nos 1 and 2

48
Adage Temps lié
Fouetté of adage
Retirés
Développés and développés passés
Demi grand rond de jambe en dehors and en dedans
Grand rond de jambe en dehors and en dedans
Tombé en avant
Coupés
Attitudes - devant and derrière, ordinaire, opposition, à deux bras, grecque, à
terre and en l'air
Arabesques - 1st, 2nd, 3rd and à dos
Rotation à terre
Rotation en l'air (male)
Posé, assemblé soutenu en tournant en dedans
De´tournés
Set adage enchaînements (female) Nos 1, 2 and 3
Set adage enchaînements (male) Nos 1, 2 and 3

Pirouettes Single and double pirouettes en dehors and en dedans

En diagonale:
Posé turns en dedans (female)
Relevés passés by half turn (female)
Emboîtés relevés en tournant (female)
Chaînés (male)

Allegro Sautés in 1st, 2nd and 4th

Changements
Soubresauts
Echappés sautés to 2nd and 4th
Glissades - devant, derrière, over, under, en avant, en arrière
Pas de bourrées - devant, derrière, over, under commenced with either foot, en
avant and en arrière
Assemblés - devant, derrière, over, under, en avant, en arrière, petit
assemblé devant and derrière
Jetés - petit jeté devant, derrière and by half turn; jeté ordinaire devant, derrière,
en avant, en arrière and de côté
Sissonnes - ordinaire devant, derrière, passées, ouverte en avant, en arrière
and de côté, ouverte changée en avant and en arrière, fermée en avant, en
arrière, over and under, double over and under
Pas de basque glissés en avant and en arrière
Pas de basque sautés en avant and en arrière
Ballonnés simple - devant, derrière and de côté
Ballonnés composé - en avant, en arrière and de côté (using front foot)
Pas de chat
Coupé fouetté raccourci sauté
Balancés
Waltz turns (female)
Demi-contretemps
Failli
Demi-pointe (female), as barre, except relevés 1-1
Demi-pointe (male), as barre
Also Set allegro enchaînements

Petite Batterie Echappés sautés battus

Entrechats quatre
Changements battus
Entrechats trois devant and derrière
Brisés, devant, derrière, over
Assemblés battus, over, under
Set petite batterie enchaînement (female)
Set petite batterie enchaînement (male)

49
Grand Allegro Coupé chassé pas de bourrée under
Posés temps levé in arabesque or pirouette position derrière
Full contretemps
Grand jeté en avant
Grand jeté en tournant preceded by 3 runs
Jeté by full turn - (male)
Tour en l'air exercises (male)
Set grand allegro enchaînement
(male)

Set Variation (female)

Set Variation (male)

Pointe Work
(girls)

Barre Rises
Relevés 2 - 2
Echappés en croix in 2 and 4 counts
Relevés 2-1
Posés coupé, en avant, en arrière, and de côté with straight or petit développé
extension and posé into arabesque
Demi-détourné
Coupé fouetté raccourci
Pas de bourrée piqué, also with half turn
Relevé passé with half turn
Emboîtés
Courus - sur place, en avant, en arrière, de côté, and en tournant

Centre Echappés en croix in 2 and 4 counts and to 2nd en tournant

Relevés in 5th
Posés coupé, en avant, en arrière and de côté with straight extension or petit
développé and posé into arabesque
Pas de bourrée piqué under
Coupé fouetté raccourci
Relevés 2-2 and 2-1
Courus sur place, en avant, en arrière, de côté and en tournant
Posé, assemblé soutenu en tournant en dedans
Set pointe enchaînements Nos 1 and 2

Reverence

50
Advanced 1
Candidates must be conversant with previous syllabi

Barre Pliés - grand (2 counts) and circular port de bras

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

Centre Practice Free enchaînements

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

Adage Arabesques with pivot en dehors and en dedans

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

Pirouettes Doubles en dehors finishing in open positions (set exercise)

Doubles en dedans finishing in attitude and arabesque (set exercise)
7 Fouettés ronds de jambe en tournant en dehors (girls)
En diagonale :
Posés turns en dehors (female)
Petits pas de basque en tournant (female)
Emboîtes relevés en tournant (female)
Chaînés (female and male)

Allegro Jetés battements - en avant, en arrière

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

51
Petite Batterie Brisés (24)
Assemblés battu over and under
Brisé telemaque in 3 or 4 counts
Coupé brisé devant and derrière
Entrechats cinq devant and derrière
Jetés battu devant and derrière
Coupé fouetté raccourci battu
Set petit brisé en tournant (male)
Set petite batterie enchaînement

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

Set Variation
(male)

Pointe
Work
(girls)

Barre Amalgamated exercises to include relevés 1 to 1

Centre Relevés 1 to 1
Full détourné
Posés to open positions -- arabesque and attitude
Set pointe enchaînement

En diagonale Posés turns en dedans

Petits pas de basque en tournant
Relevés passés by half turn

Set Variation
(Female)

Reverence

52
Advanced 2
Candidates must be conversant with previous syllabi

Barre The following exercises may be combined in free amalgamations

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

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

Port de Bras Free amalgamations

Set port de bras Nos. 1 and 2 (female)

Adage Ballottés à terre and en l'air

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

Pirouettes Double en dehors from full plié (male)

Double en dehors and en dedans in attitude, attitude grecque and
arabesque with set preparation
Single, double and triple en dehors with set preparation
Double and triple en dedans with set preparation

Petit and Sissonnes en tournant

Grand Allegro Ballottés sautés
Jetés rond de jambe sautés (to include doubles)
Gargouillades (female)
Assemblés en tournant, over and derrière
Set allegro enchaînements Nos. 1 and 2 (female)
Double tour en l'air
Temps de poisson (male)
Set allegro enchaînements No. 1 and 2 (male)
Grand pirouette in 2nd (male)

En diagonale

Ronds de jambe sauté from 1 or 2 feet single (female), double (male)

Grand pas de basque en tournant
Coupé chassé pas de bourrée jeté en tournant (or en manège)
(female)
Coupé chassé coupé jeté en tournant or en manège set exercise
(male)
Sissonnes en tournant set exercise (male)

Batterie Cabrioles - ouvert and fermé, devant, derrière, de côté and

cabriole fouetté
Grands jeté battu en tournant
Entrechat six
Entrechat six de vôlé
Brisés vôlés
Sissonne doublée battue over and under
Sissonne battue ouverte and fermée
Double échappés battue ouverte and fermée (male)

53
Solo Male - arranged by the candidate or teacher

Pointe Work Relevés on 1 foot

(girls) Sissonnes en avant, en arrière and de côté
Fouetté relevé
Ronds de jambe relevé
Renversé
Single pirouette en dehors, en dedans in attitude or arabesque
Single or double pirouettes en dehors and en dedans
7 Fouettés ronds de jambe en tournant en dehors
Emboîtes relevés en tournant
Chaînés
Amalgamation of turns en diagonale
Développé and rotation en tournant with relevé or posé
Posés turns en dedans en manège
Petits pas de basques en tournant en manège
Set pointe enchaînement

Solo Female - arranged by the candidate or teacher

Reverence

54
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:

A (Distinction) 80-100
B (Merit) 65-79
C (Pass) 50-64
N (Standard Not Yet Attained) 00-49

Full attainment descriptors are given on Page 56.

Assessment Criteria
Candidates are assessed on their ability to show
1. 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
2. A sense of line and well co-ordinated movement
3. An assured performance showing the differing qualities of movement required by each section of the
examination
4. An instinctive musicality and a highly developed rhythmic awareness

Mark Scheme
Intermediate Foundation, Intermediate, Advanced 1 and Advanced 2

Technique
Barre and centre practice 10 marks
Port de Bras throughout the examination 10 marks
Adage 10 marks
Pirouettes 10 marks
Allegro 10 marks
Batterie 10 marks
Pointe work/boy's virtuosity 10 marks
Unit Total 70 marks

Presentation, musicality and response

Variation 10 marks
Artistry and musicality 10 marks
Approach to free work, syllabus knowledgeand theory 10 marks
Unit Total 30 marks

Overall Total 100 marks

55
Attainment Descriptors

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 an `A' 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 `B' classification (65-79 marks) is one who demonstrates the following attributes in
performance:
• skill and proficiency
• largely appropriate style
• focussed 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 `C' 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 tasks set, but some prompting may be
required

A candidate who achieves an `N' classification (00-49 marks) is one who has not yet demonstrated the attributes
required to gain at least a `C' classification.

56
Professional Examinations
UK and Europe
A separate Syllabus Outline is available from ISTD Headquarters for the:
Foundation in Dance Instruction
Certificate in Dance Education

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

International (outside Europe)

Teachers and candidates who require the syllabus for the Associate and Associate Diploma outside of Europe
should contact the International Department at the ISTD.

Licentiate
Duration of examination - 2 hours 15 minutes

Candidates will be examined singly by one examiner

Requirements for Entry

Candidates should:
a) have reached the age of 23 years
b) hold the Associate Diploma or Certificate in Dance Education in the Faculty
c) have successfully entered for the Advanced 1 Examination in the Faculty
d) have completed five years' teaching experience in a responsible position in the Faculty

At the Examination Centre

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

Vocational Graded Specialisation (Option A)

Candidates will be required to:
1 conduct a coaching class on the Advanced 1 syllabus using up to three students (female) provided by the
ISTD. The class should be balanced in content to include all sections of the syllabus. Duration of class -
1½ hours
2 discuss the principles of teaching (arising in part from the class)
3 show their knowledge of all the boys' and girls' work up to and including the Advanced 1 syllabus in
demonstration and theoretical explanation
4 show two set variations (candidates choice)
(a) Intermediate - either girl's or boy's
(b) Advanced 1 - either girl's or boy's
5 demonstrate throughout the examination their knowledge and understanding of basic anatomy

Children's Specialisation (Option B)

Candidates will be required to:
1 conduct a coaching class on the Grade 5 syllabus using up to three children (girls) provided by the ISTD.
The class should be balanced in content to include all sections of the syllabus. Duration of class -
1¼ hours
2 discuss the principles of teaching (arising in part from the class)
3 show their knowledge of all the boys' and girls' work up to and including the Advanced 1 syllabus in
demonstration and theoretical explanation

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4 show two set dances or variations (candidate's choice)
(a) one set dance selected from Primary - Grade 3
(b) one set variation selected from Grade 4 - Grade 6
5 demonstrate throughout the examination their knowledge and understanding of basic anatomy

Method of Assessment

Class content and balance 20 marks

Suitability of exercises and enchaînements 20 marks
Manner and clarity of instruction 20 marks
Observation and methods of technical instruction 30 marks
Observation and methods of artistic and musical development 30 marks
Rapport with students and pianists 20 marks
Syllabus knowledge 20 marks
Analysis of movement 20 marks
Methods of teaching and awareness of adaptation to differing physiques and gender 20 marks

The marks given for each component of the Licentiate examination will be aggregated and an overall mark will be
given out of 200. The results given will then be as follows:

Awarded 130+ marks

Not Awarded 0-129 marks

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 singly by two examiners.

Requirements for Entry

Candidates should:
a) have reached the age of 28
b) hold Licentiate status in the Faculty
c) have completed 8 years' teaching experience in a responsible position in the Faculty
d) have successfully entered for the Advanced 2 Examination in the 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 coaching class, at Advanced 2 standard, of up to three female
students provided by the ISTD. A list of syllabus content required to be taught will be handed to the
candidate. The time allocated for this class is 1¼ hours which is preceeded by the candidate's own choice
of a warm-up barre of approximately fifteen minutes' duration. The remainder of the class will be in
accordance with the written instructions.

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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
boy or girl. Overseas candidates may bring a recording of this solo danced by one of their students.

Method of Assessment

Suitability of exercises and enchaînements 20 marks

Manner and clarity of instruction 20 marks
Observation and methods of technical instruction 30 marks
Observation and methods of artistic and musical development 30 marks
Rapport with students and pianists 20 marks
Syllabus knowledge 20 marks
Analysis of movement 20 marks
Methods of teaching and awareness of adaptation to differing physiques and gender 20 marks
Dances and clarity of notes 20 marks

The marks given for each component of the Fellowship examination will be aggregated and an overall mark will be
given out of 200. The results given will then be as follows:

Awarded 130+ marks

Not Awarded 0-129 marks

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Candidates Who May Require Special Adjustments to the Assessment

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, on the grounds of colour, race, nationality, ethnic origin, gender, mental
or physical disability, 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.

Disability takes the form of mental or physical impairments or both, and may be long or short term. The ISTD
recognises that some students with a mental or physical impairment may need special adjustments to assessment
conditions to allow them to demonstrate their knowledge in dance. The procedure should be used in all cases,
every time the candidate enters for an examination, as the conditions, and necessary adjustments, may change.

If a teacher wishes to enter such a pupil for an examination, the ISTD would like to make it clear that although
pupils with mental or physical impairments may require extra time in an examination, or special aids (e.g. special
headphones 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 restriction the impairment may cause them. This is mandatory in order to achieve a true and
fair dance award.

If such a candidate is to be submitted for an examination, the teacher must apply to the Customer Services and
Quality Assurance department for an `Application for Special Arrangements' form, or download it from the
Customer Service section of the ISTD website, www.istd.org. This should be completed and returned, with a
doctor's letter if relevant, to the Customer Services and Quality Assurance department, a minimum of two weeks
prior to the examination entries being sent in to the Examinations Department. This form will be submitted to the
Faculty, who will make a final decision on the requirements within 7 days, giving a reasoned written response for
any rejection, and the teacher will be informed of the decision.

This procedure applies to all ISTD examinations, in the UK and internationally, and should be used in all cases
where the candidate has a short or long term impairment, even if alterations to assessment conditions are not
requested by the teacher. The ISTD will consider if, in their opinion, any changes should nevertheless be made, in
the interests of the health and safety of the candidate, and also will inform the examiner of the candidate's situation
in all cases.

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Results and Certification
All ISTD examinations are single performances 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 unit, and checked for achieving the minimum pass levels, per unit 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 Examinations 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.

Accreditation Numbers
Grades 1, 2 and 3 100/1347/7
Grades 4 and 5 100/1348/9
Grade 6 100/1349/0
Intermediate Foundation and Intermediate 100/1354/4
Advanced 1 and Advanced 2 100/1355/6

The ISTD is an approved awarding body and, as such, adheres to the criteria laid down for the accreditation of its
qualifications by the Regulatory Authorities (the Qualifications and Curriculum Authority for England, the
Qualifications and Curriculum Assessment Authority for Wales and, for Northern Ireland, the Council for
Curriculum, Examinations and Assessment). Teachers in other countries should note that while the ISTD and all
ISTD accredited examinations must meet these criteria, the Regulatory Authorities themselves have no remit
outside England, Wales and Northern Ireland.

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