Handbook for Teachers

Graded Examinations and Presentation Classes

Formerly known as Examinations and Presentation Classes of the Royal Academy of Dance

Effective from 1 January 2004

INDEX
Page Part 1 INTRODUCTION Syllabi offered Accreditation of Graded Examinations Part 2 GENERAL INFORMATION FOR TEACHERS Preparing and entering candidates for Examinations and Presentation Classes
Length of training Teachers eligibility to enter candidates When and where examinations are held Special examinations Facilities required Minimum age for entry Pre-requisites for entry Candidates with disabilities Presentation Classes

1 2 4 6 7

Procedure for entering students for Examinations or Presentation Classes

Registration of candidates and schools Completion of entry forms Examination sets and timing of examinations Fees Cancellation, withdrawal, illness or absence Dates of examination Acceptance of entry

11

The examination day

Preparation of the facilities Grooming of candidates and uniform Identification of candidates and examination order Procedure for the start of examinations Procedure for Presentation Classes

15

Results and post-result procedures

Result classifications Processing and issue of results Replacing lost or incorrect certificates The Result Enquiry Service The Appeals Procedure Malpractice

20

Part 3

EXAMINATION AND PRESENTATION CLASS CONTENT Pre-Primary to Grade 8

25

Part 4

THE MARKING SYSTEM Mark Allocation: Primary to Grade 8 Marking Guidance

35 37 47 49

Part 5

CUSTOMER SERVICE STATEMENT APPENDICES Appendix 1 The National Qualifications Framework Appendix 2 Framework Level Descriptors Appendix 3 Learning Outcomes Appendix 4 Assessment Criteria for Grades 1-8 Appendix 5 Definitions of terms used Appendix 6 Progression of Assessment Criteria Appendix 7 Data Collection Classifications Appendix 8 Sample Result Form Appendix 9 Attainment Descriptors

52 53 54 58 59 61 64 65 66

Part 1 INTRODUCTION
This handbook is designed primarily for teachers wishing to enter candidates for the Royal Academy of Dances Graded examinations or Presentation Classes. It is also for use by Examiners.

The Royal Academy of Dance

The Royal Academy of Dance is an international teacher education and awarding body for Classical Ballet. It was established in 1920 with the aim of developing and maintaining the highest possible standard of teaching. This remains its objective today. Teachers following the Royal Academy of Dance system encourage students to achieve their personal best in the understanding, appreciation and performance of Classical Ballet. Whatever age or stage they may have reached, students who study with a Royal Academy of Dance trained teacher can be confident that they are receiving a comprehensive, well structured and relevant education in Classical Ballet. They can be sure that they will be taught according to safe teaching principles and that they will be evaluated through progressively structured graded examinations. The Royal Academy of Dance has an international Board of Examiners resident throughout the world. Examiners, who are experienced and respected teachers, must undergo a rigorous selection process and training programme before being appointed as an Examiner. Their professional expertise, together with the ability to create a welcoming and reassuring environment in the examination studio, will ensure the necessary personal qualities and high professional standards expected of the Examining Board.

Syllabi offered

The Royal Academy of Dance provides two examination syllabi in Classical Ballet, and a series of non-assessed Presentation Classes, as follows: Graded Examinations in Dance Vocational Graded Examinations in Dance Presentation Classes, based on the Graded Examination syllabus (not assessed)

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

1.1

Graded Examinations in Dance Syllabus

The Graded Examinations in Dance syllabus consists of three dance disciplines - Classical Ballet, Free Movement and Character. Classical Ballet is the foundation and the most important part of the Syllabus Free Movement has been influenced by and incorporates movements in common with other dance styles such as Natural Movement, Contemporary and Classical Greek Dance. Character is the theatrical presentation of national dance using original ethnic dance and music, which has been freely adapted for the theatre. The three styles Hungarian, Russian and Polish were selected because of their historic importance in the development of the nineteenth century full-length Classical Ballets.

Free Movement and Character have been included to supplement and assist the training of Classical Ballet, thus providing a broadly based dance education.

There are nine grades of examination numbered progressively in order of complexity, from Primary to Grade 8 Award. Students may progress throughout the Graded syllabus or may transfer to the Vocational Graded syllabus at an appropriate point. The examinations up to Grade 5 are open to both male and female candidates. Grades 6, 7 and 8 Award are currently for female candidates only (male syllabi are in development; it is anticipated that they will be available in 2005). Further details of the Graded Examinations and Presentation Class syllabus are contained on pages 25-34 of this Handbook. Booklets containing the full syllabus and settings are available from the Academy, as follows: Graded Examinations in Dance & Presentation Classes Pre-Primary, Primary Male and Female Grade 1-3 Male and Female Grade 4-5 Male and Female Grade 6 Female Grade 7 Female Grade 8 Award Female Classical Ballet technique is described in The Foundations of Classical Ballet Technique, available from Royal Academy of Dance Enterprises Ltd. through mail order, personal shopping or from its website www.radenterprises.co.uk.

1.2

Presentation Class Syllabus (formerly known as Grade Assessments)

The Presentation Class syllabus is a programme of work based wholly or partly on the Graded Examination in Dance syllabus with optional modifications. It is a non-assessed syllabus, performed in front of the Academys Examiner and conducted by the teacher, and is rewarded with a certificate of participation. There are ten levels of Presentation Classes named or numbered progressively in order of complexity from Pre-Primary to Grade 8. Further details of the Presentation Class syllabus can be found on pages 25-34 of this handbook and in the syllabus booklets (see paragraph 1.1 above)

1.3

Vocational Graded Examinations in Dance Syllabus

The Vocational Graded Examinations in Dance syllabus develops the study of Classical Ballet with the introduction of Pointe work for female candidates. This examination syllabus has been designed to provide a highly focused and relevant training for students wishing to study seriously with a view to pursuing a performing or teaching career in dance or dance related subjects. Further details of the Vocational Graded syllabi will be found in the Vocational Graded Examinations Handbook, to be issued in September 2004. In the interim, details can be found in the Vocational Graded sections of Examinations and Presentation Classes of the Royal Academy of Dance, which remain valid until replaced by the Vocational Graded Examinations Handbook.

1.4

Pre-School Dance Curriculum and Demonstration Classes

Information about the Pre-School Dance Curriculum and optional Demonstration Classes will be found in the resource pack available from Royal Academy of Dance Enterprises Ltd, through mail order, personal shopping or via the website www.radenterprises.co.uk.

1.5

Aims and Broad Objectives of the Graded Examinations in Dance

The aims of these qualifications are to: promote the study of Classical Ballet and related dance disciplines as a leisure and/or vocational activity provide a means of measuring the acquisition of technical, musical and performance skills in Classical Ballet and related dance disciplines promote and encourage enjoyment of movement as a form of physical exercise provide children and young people with an opportunity of experiencing various dance disciplines with their accompanying music encourage self-confidence through the experience of dancing solo, in partners and in small groups develop a general appreciation of music through dancing to various rhythms and styles of music provide a means of motivating students through the availability and acquisition of carefully staged goals which have been structured to reflect the principles of Safe Dance Practice provide teachers with a vehicle to measure the individual progress of their students

Study for these examinations provides students with: an increasing ability to demonstrate practical knowledge of the dance disciplines of Classical Ballet, Free Movement and Character with the appropriate technique, musicality and performance qualities a graduated measure of attainment against specific criteria increased self-confidence through the learning, memorising and performing of prescribed sequences of movement, studies and dances awareness and understanding of working with others an appreciation, through practical experience, of three contrasting dance disciplines with their accompanying music

1.6

Accreditation of Graded Examinations

The Royal Academy of Dance is an awarding body accredited by the Qualifications and Curriculum Authority (QCA) in England, the Curriculum and Assessment Authority for Wales (ACCAC) and, in Northern Ireland, the Council for the Curriculum, Examinations and Assessment (CCEA). QCA, ACCAC and CCEA have accredited the Academys Graded and Vocational Graded examinations. This accreditation places the Academys qualifications in the National Qualifications Framework for England, Wales and Northern Ireland. This Framework establishes a map of approved General, Vocational and Occupational qualifications in all fields of study. It places dance examinations within the context of other qualifications, and recognises equivalence in the levels of knowledge, skills and understanding required for their attainment (see Appendix 1). It does not, however, mean that dance examinations will be regarded as interchangeable with the corresponding national school examinations.

The framework consists of six levels. The Academys qualifications fall into three of these levels Foundation, Intermediate and Advanced. Examinations at Grades 1 to 3 are accredited at Foundation level, Grades 4 and 5 at Intermediate level and Grades 6 to Grade 8 Award at Advanced level. Primary has not been submitted for accreditation.

Part 2 GENERAL INFORMATION FOR TEACHERS

2.1

Preparing and entering candidates for Examinations and Presentation Classes

2.1.1 For how long should students train before entering?

It is recommended that the training commitment for students studying for a Graded Examination or Presentation Class should be a minimum of one syllabus class a week. Extra coaching in the period leading up to the examination or class may be necessary, particularly as the student progresses towards the higher levels. The speed of development of individual students may vary, so extra time spent, particularly when growth spurts occur, can only be beneficial in the long term.

2.1.2 Who is eligible to enter students for Examinations or Presentation Classes?

The Royal Academy of Dance recognises that the safety of the child is paramount, and that good teaching will bring benefits. Therefore only teachers who hold Registered Teacher status (RAD RTS) or those enrolled on the Academys Teaching Certificate programme (which is in the process of being phased out) may enter candidates for Examinations and Presentation Classes. Full membership of the Academy does not on its own confer Registered Teacher Status, neither does success in the Student Teaching Certificate (unless converted to the full Teaching Certificate). Teachers who are enrolled on the Academys Certificate in Ballet Teaching Studies or on any of the Academys degree or diploma courses may not enter candidates until they have completed their qualification and applied for Registered Teacher Status. The Royal Academy of Dance maintains a Register of teachers who hold Registered Teacher status. All teachers on the Register will have acquired RAD RTS either through Approved Prior Experiential Learning (APEL) or will have qualified with an Academy teaching qualification. Registered Teachers follow a voluntary Code of Professional Conduct endorsed by the Council for Dance Education and Training (UK) and other leading dance organisations. Examination entries will not normally be accepted from teachers whose registration is not current or who are not up to date with their membership/registration fees.

2.1.3 When and where are examinations held?

Graded Examinations take place at centres in over 60 countries in the world, usually on the teachers own premises or premises which the teacher has hired. Teachers must normally have a minimum of three hours of Examinations and Presentation Classes in order to qualify for a visit from an Examiner; if they have less than the minimum number of hours, they will be asked to join with another teacher in the same area when the tour is organised (or, from 2005, pay additional fees where there is a published minimum in order to secure a visit from an examiner.) Examinations take place within specified dates published by the Academy, which are referred to as examination sessions. Depending on the country, there may be one or more examination sessions a year. Each examination session has a closing date. The closing date is the date by which the examination entry forms must be submitted. Closing dates for examination sessions are published by the Academy, and are available from National Administrators, Regional Administrators, Area Organisers and also direct from the Academy's Headquarters. In the UK, the Republic of Ireland, Australia, New Zealand, South Africa, Canada and the US they are published three times a year, in the Diary.

When submitting the entry form, teachers are requested to provide at least three alternative dates for their examinations and to indicate any dates within the published session dates when it is impossible for the examinations to be held. The Academy will endeavour to accede to teachers' requests for specific dates, but there is no guarantee that requests can be met, as the length of the tour in a particular area depends on the number of entries submitted, the number of requests for the same dates, and the geographical allocation of tour dates. In the UK (and in some other countries), a pre-booking system operates, whereby teachers are asked to indicate to the Regional (or National) Administrator several months in advance of the closing date that they will have candidates for a forthcoming examination session. Using the pre-booking system allows teachers to request, and have confirmed in advance, specific dates for their examinations, and allows the Academy to start planning the examiners tour much earlier than would otherwise have been possible. Teachers who do not pre-book their examination dates may find on submitting their entries that their preferred dates are no longer available, and will then be required to accept alternative dates.

2.1.3 What are Special Examinations?

In certain countries, where a sufficient number of Examiners are resident, Special Graded examinations can be requested for any dates outside the published session dates, provided the teacher has a minimum of 4 hours examining. The closing date is 2 months before the date requested. The Academy will endeavour to fulfil the request, but cannot guarantee the availability of an Examiner; Examiners allocated for Special examinations will almost always be resident in the same area or country as the teacher requesting the examination. Special examinations are subject to an additional fee as these sessions involve administrative time to arrange and to contract Examiners. Examiners hotel expenses (where appropriate) are also payable by the teacher. Teachers wishing to request Special Graded examinations should contact their National Administrator if outside the UK or follow the instructions in the Diary if within the UK or the Republic of Ireland.

2.1.5 What facilities examinations?

must

teachers

provide

in

order

to

hold

No minimum studio size is specified for Primary to Grade 5 examinations, although 9 x 9 metres is recommended. For Grades 6 to 8, a minimum 9 x 9 metres is essential. The studio must have a fixed or portable barre and be able to accommodate up to four candidates for examination (and if including Presentation Classes up to eight). The barre must be of sufficient length for four candidates (for eight candidates if including Presentation Classes) to use together. (Note: chairs are not acceptable for use as a barre.) The studio should be quiet, clean, well lit and at an appropriate working temperature. The premises used must have access to toilet facilities for candidates, the Examiner and the pianist. Entrances to the studio must have doors, not curtains. Schools should be aware that inappropriate dance studios may seriously disadvantage candidates. Schools must provide a pianist to play for the examinations; recorded music may not be used under any circumstances. The teacher may act as the accompanist, if desired. If the pianist does not normally play for the candidates, it is recommended that s/he should have at least one rehearsal before the day of the examination. Electronic keyboards may be used, provided they have a full-sized keyboard, touch-sensitive keys and a foot pedal.

2.1.6 How old must students be to enter an Examination or Presentation Class?

For reasons of safe dance practice, candidates must normally have achieved the minimum age listed below by the end of the published examination session dates. In some countries, National Administrators may at their discretion - admit candidates who have reached the minimum age by the end of the academic or calendar year. There are no maximum age limits for any of the Graded Examinations or Presentation Classes. Examination Grades and Presentation Classes Grade 8 Award Grade 7 Grade 6 Grade 5 Grade 4 Grade 3 Grade 2 Grade 1 Primary Pre-Primary (Presentation Class only) Minimum Age for Entry

11 years or over

7 years or over

6 years or over 5 years or over

2.1.7 Must candidates have passed the previous grade(s)?

No. It is recognised that many candidates will have passed previous Graded Examinations, but this is not essential provided they satisfy the minimum age requirements and have achieved the specified level of competence. Candidates may re-take an examination as many times as they wish, regardless of the result. Repeat examinations may not take place in the same session.

2.1.8 What if a candidate has a physical disability or other impairment?

The Royal Academy of Dance is an equal opportunities organisation and has a policy of open access to Examinations and Presentation Classes regardless of sex, sexual orientation, marital status, religion, socio-economic background, colour, race, nationality, ethnic origin, sensory or physical disability. Classical Ballet, by its very nature, is a precise physical art concerned with shape, line, coordination, musical and performance qualities. It is within these parameters that the Academy welcomes disabled* candidates for Graded examinations. It is recognised that some disabled candidates who are entered for examinations may need extra time or special aids to enable them to perform to the best of their ability and, if possible, the Academy will make the appropriate arrangements. It is, however, emphasised that all disabled candidates will be assessed against exactly the same criteria as non-disabled candidates, and that no special concessions will be made in the assessment. If a teacher anticipates entering a disabled candidate for an examination or presentation class, s/he should complete the appropriate application form available from National Administrators or the Academys Examinations Department and send it either to the Examinations Manager at Academy Headquarters or to the appropriate National Administrator. Application should be made at least four weeks prior to the closing date of the session in which the entry is to be made, to enable the Academy to make any special arrangements that may be necessary to ensure that the candidates particular requirements are met.

If there is any doubt about a students ability to fulfil the assessment criteria for a Graded examination, he/she may be entered for a Presentation Class which is conducted by the teacher and non-assessed. The procedure for entry is the same as for examinations. * For the purposes of the Academys examinations the term disabled encompasses any physical, mental or behavioural impairment (permanent or temporary) which is likely to affect the candidates ability to perform well in the examination or presentation class.

2.1.9 What is the nature and purpose of Presentation Classes?

Presentation Classes, with the exception of Grade 8, differ from examinations in that the class is conducted by the teacher, and the students are not assessed; the Examiner acts as an invited audience, before whom the students present their work. At the discretion of the teacher, a limited number of guests (eg parents) may also be invited to form part of the audience and observe the proceedings. All students are rewarded by the presentation of a certificate of participation. Presentation Classes are appropriate for: Students attending schools where Classical Ballet tuition is included in the curriculum and where the time allocated is generally less than in a specialist ballet school Students whose attendance has been irregular due to a variety of circumstances Late starters Schools where, for a variety of reasons, the teacher has not been able to devote the usual amount of time required for examination preparation Use as a preparation for the equivalent examination.

Study for Presentation Classes aims to: Encourage students to appreciate dance as an art form Promote the study of Classical Ballet and related dance disciplines primarily as a leisure or recreational activity Promote and encourage enjoyment of dance movement as a form of physical exercise Develop a general appreciation of music

Content and Conduct of Presentation Classes (a) Pre-Primary to Grade 7

In order to allow as much flexibility in teaching approach as possible, teachers may choose either of the following options, provided that they do not exceed the maximum time specified in paragraph 2.2.2(d) for the Presentation Class: They may present exactly the same work as the corresponding examination syllabus, probably omitting certain exercises because of limitations of time; or They may present a selection of exercises from the examination syllabus, plus a selection of those exercises which are specific to Presentation Classes (see pages 25-34)

The final choice of exercises is entirely at the discretion of the teacher, providing that the work is chosen from the three sections of the syllabus and no exercise is chosen from a different level. Presentation Classes are conducted by the teacher. Teachers may engage an assistant to help prepare students. The assistant may also conduct the Presentation Class on behalf of the teacher, but s/he should have worked with the students on a regular basis. Only one teacher/ assistant may conduct the Presentation Class and be in the room with the students. It is not essential that the assistant holds Registered Teacher Status, as long as the main teacher does.

10

Subject to the size of the studio, teachers may if they wish invite a maximum of 2 guests per child to form part of the audience and observe the Presentation Class with the Examiner. This is entirely a matter for the teacher to decide, and should not be attempted if facilities are not suitable. If guests are to be invited, the following rules must be observed (and communicated to guests in writing in advance): There must be no more than 2 guests per child No children under 12 years of age may be admitted as guests No photography or video recording is allowed No food or drink is allowed in the studio No smoking is allowed in the studio Guests must not attempt to speak to or otherwise distract their child Guests must remain silent during the Presentation Class Mobile phones must be switched off No opportunity will be given for guests to discuss the class with the Examiner Guests will not be admitted once the class has started Guests must enter and leave the studio quickly so as not to disrupt the examination timetable and may not leave until the end of the Presentation Class No fees may be charged by the teacher for observing the Presentation Class

Students are not issued with a result, as Presentation Classes are not assessed. However all students are awarded a certificate of participation. These certificates are normally presented by the Examiner at the end of the Presentation Class before the students leave the studio. Teachers are requested to instruct students and guests to remain in their positions at the end of the Rvrence for the presentation of certificates. If, for any reason, the teacher does not wish the Examiner to present the certificates at the end of the Class, they can be left with the teacher. (b) Grade 8

The procedure will be exactly the same as examinations, except that candidates will not be assessed. There will be a maximum of four candidates in each group. (See Page 19 para, 2.3.6)

2.2

Procedure for entering students for Examinations or Presentation Classes

2.2.1 Registration of candidates and schools

Each school entering candidates for examinations will be given an Approved Centre unique identifier number. Approved Centre status applies to all dance studios or locations belonging to a school. Schools which do not already have an identification number must complete the Centre Registration form (Part A), which is obtainable from National Administrators or the Examination Department at the Academys Headquarters. The centre ID number must be quoted on the entry form GEF1. A database is maintained of all students who take examinations and presentation classes, and a record of candidates results is kept throughout their examination history. This information is confidential to the candidate, but may be made available to government bodies for statistical purposes. In order to speed up the processing of results, it is essential that all students likely to take Graded examinations and presentation classes are registered in advance on the database. Teachers will be sent annually a list of all currently registered students for checking; new students can be registered then or at any other time during the year by requesting a copy of form GEF5 (Part B) from the Examinations Department or their National Administrator. All students are allocated a unique ID number which must be quoted when entering them for examinations.

11

2.2.2 Completion of entry forms, examination sets and timing of examinations

(a) Entry forms

Entry Forms are available from the Academy's National Administrators, Regional Administrators, Area Organisers and also direct from the Academy's Headquarters. Entry forms, which come in three parts - GEF1, GEF2 and GEF3 - must be completed fully and correctly and be received by the closing date for the entries to be accepted. Late and incorrect entries will be subject to a surcharge. A maximum of six hours examining is permitted on any one day (excluding breaks). Instructions for completion of the entry forms can be found on the reverse side of the forms. All teachers listed on the entry form must hold Registered Teacher Status (or be enrolled on the Academys Teaching Certificate programme). It is not however necessary for the Principal of a school to be a Registered Teacher, provided that Teacher 1 is. It is acceptable to indicate on the form that more than one teacher has taught candidates, provided that membership numbers are quoted, so that results can be credited to the appropriate person. Entry forms must be signed by either the Principal of the school and/or teacher No 1 if different, signifying that they have read and agree to abide by the rules and regulations of entry pertaining to Royal Academy of Dance Graded Examinations, and sent to the National Administrator/ Regional Co-ordinator or Area Organiser to arrive by the closing date. If two teachers, each with their own candidates, are sharing a studio for the purposes of the examination, each teacher must submit separate entry forms GEF1 and GEF2. Failure to do this will mean that the results of the second teacher will be included with the first teachers results. When completing form GEF1 the second teacher must enter his/her own details in Parts 1 and 3, but list the studio of the first teacher as the examination venue in Part 2. It must be absolutely clear on all the entry forms which candidates belong to which teacher, so that results may be correctly despatched. If forms are not clearly and correctly completed, the Academy cannot accept responsibility if results are misaddressed. (b) Impossible dates

Entry forms must indicate any dates within the published session when it would be impossible to hold examinations (eg unavailability of pianist or studio; candidates previously booked holidays; academic school commitments). Teachers are responsible for checking these matters before entering candidates for examinations, and should also ensure that parents have requested a candidate's absence from school. Teachers should remember that their preferred dates may not be available, and a different date scheduled. This should be made clear to candidates and their parents so that this eventuality can be anticipated. (c) Candidate sets

Candidates must be entered in sets, using the least possible number of sets. For all examinations, the minimum number of candidates per set is 1, and the maximum 4. For Presentation Classes, the minimum number of candidates is 1 and the maximum is 8 except for Grade 8 in which the maximum is 4. Male and female candidates are examined together at all levels up to Grade 5. The examinations at Grades 6, 7 and 8 Award are currently for female candidates only.

12

(d)

Timing

Examinations and Presentation classes must be timed in accordance with the tables below. Note: The time allowed for each set of candidates differs according to the Grade and the number of candidates in the set. Examinations No of candidates in set Grade 8 Award Grade 7 Grade 6 Grade 5 Grade 4 Grade 3 Grade 2 Grade 1 Primary 1 35 35 35 30 30 25 20 15 15 2 3 Time in minutes 40 50 40 50 40 50 35 45 35 45 30 40 25 35 20 30 20 25 4 60 55 55 50 50 45 40 35 30

Presentation Classes No of students in set Grade 8 Grade 7 Grade 6 Grade 5 Grade 4 Grade 3 Grade 2 Grade 1 Primary Pre-Primary 1-2 35-40 35 35 30 30 25 25 20 15 15 3-4 Time in minutes 50-60 40 40 35 35 30 30 25 20 20 5-8 N/A 50 50 45 45 40 40 35 30 30

During the day there will be time allocated for coffee, lunch and tea breaks. In some countries where it is customary to have a long break in the middle of the day, arrangements consistent with this practice may have been made. (e) Data collection

The United Kingdom government requires that awarding bodies collect certain information from teachers about their candidates. In addition to the names and dates of birth of candidates and students, the Royal Academy of Dance is required to record the gender and ethnic origin. This latter information is collected to ensure that the Academys examinations are open to all individuals regardless of gender and ethnicity. See Appendix 7 for appropriate codes. The Academy uses multi-purpose entry forms, which have sections for this information. Teachers entering candidates outside of the United Kingdom are requested to complete the information about gender but do not need to complete the information on ethnic origin, unless it is a requirement in their own country.

13

2.2.3 Examination Fees

Fees must be enclosed with the entry forms, and must be paid by one cheque, money order or appropriate financial instrument. Fees are reviewed annually and details are published in advance. They are available from Academy's National Administrators, Regional Administrators, Area Organisers and also direct from the Academy's Headquarters, as well as from the Academy's website. Fees for the UK, the Republic of Ireland and the Big 5 countries (Australia, New Zealand, Canada, the US and South Africa) are published in the Diary, issued 3 times a year to all Registered Teachers.

2.2.4 Cancellation, withdrawal, illness or absence

No refunds will be given for candidates who withdraw from examinations for any reason other than illness, nor may fees normally be carried forward to the next session except in the case of illness. Special consideration may be given to candidates who are unable to sit an examination for unforeseen circumstances beyond their control (eg the sudden serious illness or death of a close relative) but not for clashes with school examinations or holidays, which should have been foreseen at the time of entry. The school or teacher should notify the Academy of any absences which become known before they have received confirmation of the timetable. Absences on the day should be notified to the examiner. The Academy may permit a substitution at the same level of absence, but in no circumstances can a substitution be allowed after the detailed timetable has been issued. In the case of absence of a candidate through illness, a medical certificate and a written application for a refund of fees must be sent to the Academy by the end of the session. 50% of the fee will be refunded following the completion of the examination tour, and will be payable to the school or Teacher No 1 as instructed. The candidate will forfeit any refund if the procedure is not followed. Medical certificates or letters must not be handed to the Examiner. Teachers who cancel their examination session due to their own illness must inform the Academy immediately, followed by a medical certificate and a written application for a refund of fees. 90% of the fees will be refunded following the completion of the examination tour, and will be payable to the school or Teacher No 1 as instructed. The Academy will not normally allow fees to be refunded or carried over to the next session for any reason other than the illness of the teacher, but in exceptional circumstances application may be made to the Director of Finance and Administration. In the event that a tour is cancelled by the Academy after the receipt of entries and fees (eg because of the outbreak of war, threat of terrorism, epidemic of serious illness, sudden unavailability of the intended Examiner), the Academy will normally refund fees in full, unless a tour is able to be re-scheduled within the following 4 months, in which case the fees will be retained and carried over to the revised examination session. Any teacher unable to accommodate the revised examination dates may apply for a refund.

2.2.5 Dates of examinations

After the closing date has passed, the Administrator will arrange the Examination schedule, by allocating dates to all teachers. This is known collectively as an examining tour. Teachers who are unable to provide the minimum number of hours required for an Examiner to visit will be required to join with other schools or teachers or to attend an Academy centre in premises arranged by the Royal Academy of Dance (or, from 2005, to pay additional fees where there is a published minimum, in order to secure a visit from an examiner). A teacher's individual examination timetable, stating the date, time, venue and name of Examiner will be sent as soon as possible to the school or teacher, as indicated on the entry form. Teachers should refrain from contacting the Academy for dates as this will only slow down the process of sending out notifications to all teachers. 14

15

2.2.6 Acceptance of entry

Entries for examinations can be accepted by the Academy only in accordance with the conditions and regulations set out herein and contained on the back of the entry forms, and on the understanding that in all matters, the decision of the Academy is accepted as final. The Academy reserves the right to refuse an entry if these conditions and regulations are not met. Receipt of entry forms will not be acknowledged. The Academy will communicate either with the school or teacher, as indicated on the entry form, in all matters relating to the examinations. The Academy reserves the right to invalidate the examination of any candidate entered incorrectly. Care must be taken to enter candidates' names correctly on the registration forms and entry forms as these are used for results and certificates; a fee will be charged for replacing certificates where names have been mis-spelled by the teacher. The Academy does not accept any responsibility for the non-receipt of entries for examinations or for entries which do not arrive until after the closing date because of insufficient postage. Acceptance of entry forms and fee payments does not guarantee that a tour will go ahead exactly as planned; the Academy reserves the right to postpone or cancel a tour in extreme circumstances (see Cancellation, withdrawal, illness or absence above), or to ask a teacher to accept dates which are not of his or her choice.

2.3 The examination day

2.3.1 Preparation of the facilities
The Examiner will arrive approximately 15 minutes before the start of the first examination. The teacher should introduce her/himself and the accompanist, and show the Examiner the studio and facilities. Someone should be available to act as doorkeeper outside the studio (this may be the teacher). No Entry Signs should be placed at the entrance to the studio to prevent interruption and noise. Any mirrors in the studio must be covered so they do not distract candidates. Rosin should be available for candidates where appropriate. Chairs for the Grade 2 Character Dance should be placed in the studio at the start of the day. A writing-table and a comfortable chair must be provided for the Examiner. The writing-table should be firm and large enough to enable the Examiner to process paperwork of A3 (ie large) size. The table should be placed so as to avoid extremes of glare, sunlight and temperature changes and with a clear view of the entire performing space. A bell, a jug of water and glass should be placed on the table. Normally only the Examiner and accompanist may be present during an examination. The Academy may at its discretion permit more than one Examiner in the studio, for example during standardisation visits (if an additional Examiner is to be present, the teacher will be notified in advance). Schools and teachers must provide their own accompanist, and the teacher may act as such. The accompanist may remain in the studio only whilst actually engaged in accompanying, and must make no attempt to discuss proceedings with either the examiner or candidates (unless asked to assist with translation). The accompanist should leave the studio during the mid-morning, lunch and afternoon breaks so that the Examiner can complete paperwork without being disturbed. The piano must be placed so that the pianist can see both the Examiner and the candidates.

16

Tea or coffee should be offered to the Examiner during the scheduled breaks, and it would be appreciated if teachers could provide a light lunch. This, of course, is not obligatory, but it will enable the Examiner to continue the paperwork in situ.

2.3.2 Grooming of candidates and uniform

The uniform to be worn for all examinations and Presentation Classes is described below, but where this is not possible a suitable alternative may be worn. This should be clean, well fitting and underwear should not be visible. Elastic or ribbons should be firmly sewn on shoes in the correct position and securely fastened before entering the studio. Hair should be neatly groomed and appropriately styled off the face and neck in order that the line of the head and neck is not obscured. Spectacles may be worn. Jewellery must not be worn, unless required for religious or cultural reasons. Candidates for Graded examinations are not normally expected to wear make-up, although a light make-up may be worn for those candidates in later teenage years if desired. Candidates who require asthma pumps, sprays and water may take these into the studio. Water should be taken only during official rest breaks. Candidates may wear arm or leg supports during Grade Examinations and Presentation Classes, if necessary. These should be white or flesh coloured. The Examiner will make no concession in the case of candidates wearing a support. The following is the Academys recommended uniform for both Examinations and Presentation Classes: Female Candidates Pre-Primary and Primary Sleeveless or short sleeved scooped neck PCL leotard, with matching spotted voile skirt in White, Pale Pink or Pale Blue. Pink soft ballet shoes in satin, canvas or leather, with pink elastic. Option of short pink socks or pink nylon tights.
Note: The length of the skirt should be halfway between mid-thigh and the knee., bearing in mind that the holding of the skirt is in preparation for the line of demi-seconde of the arms

Male Candidates

White short sleeved PCL leotard with Navy twill shorts (or wellfitting white T-shirt if leotard felt to be unsuitable). Tights may also be worn instead of shorts. White ballet shoes in canvas or leather, with white elastic. Short white socks.

Grades 1 and 2 Sleeveless or short sleeved scooped neck PCL leotard in White, Pale Pink, Pale Blue, Navy, or Lavender, with matching elasticised belt. Pink soft ballet shoes in satin, canvas or leather, with pink elastic. Option of short pink socks or pink nylon tights. White short sleeved PCL leotard with Navy Lycra shorts with brown leather belt, approximately 1 inch in width. (or well fitting white T-shirt if leotard felt to be unsuitable). Tights may also be worn instead of shorts. White ballet shoes in canvas or leather, with white elastic. Short white socks.

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Grade 3 to 5 Sleeveless or short sleeved scooped neck PCL leotard in Pale Pink, Pale Blue, Red, Mulberry/Fuschia, Navy, Lavender, Burgundy or Dark Green, with matching elasticised belt. Pink soft ballet shoes in satin, canvas or leather with either pink elastic or pink ribbons. Option of pink nylon tights or short pink socks. Short white socks. Short sleeved or sleeveless white PCL leotard (or well fitting white T-shirt if leotard felt to be unsuitable). Navy PCL or Lycra stirrup tights. White ballet shoes in canvas or leather with white elastic.

Female Candidates Grades 6, 7 and Grade 8 Award Any classic style of leotard in Cotton Lycra in any colour. The skirt (worn after the barre work) should be in a soft, flimsy, lightweight material, such as georgette or chiffon and approximately mid-calf length, and in any colour. Circular skirts are the most flattering, but gathered at the waist is acceptable. A short skirt may also be worn for the barre work of Grade 8 Award exams, if candidates prefer. A light silk scarf of no more than 1m x 2m of any colour. The colour of the leotard, skirt and scarf should match or tone with each other. Pink soft satin, canvas or leather shoes with either elastic or ribbons. (Soft pointe shoes should not be worn, but split soles can be.)

There is a separate uniform which should be worn for the Character work: Female Candidates Character skirts should be in black cotton material, with braiding, which complements the colour of the leotard and either circular in style or gathered at the waist, although the former is preferable. The hem of the skirt should be approximately 3 inches below the knee. Character shoes must be worn from Grade 1 and should ideally be black canvas. These are available in two heel sizes - low heel in sizes 3 - 7 (including half sizes) and the Cuban in sizes 2 - 8 (including half sizes). The Cuban heel should ideally be worn from Grade 3 onwards. Standard black leather Character shoes are acceptable as an alternative. Other colours may be worn Pink elastic should be worn across the arch. Male Candidates The male uniform remains the same throughout all Examinations and Presentation Classes except for the shoes. Laced up Character shoes should be worn.

Grades 1 - 8 Award Character Uniform

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Freed of London Ltd Tunics Ltd Mondor of Canada Katz Dancewear Ltd Bloch International Gio-Debut

Approved Manufacturers Leotards and clothing uniform including Boys tights Leotards Leotards and clothing uniform Syllabus Character shoes Soft Toe Ballet Shoes Ballet tights

2.3.3 Identification of candidates and order in the studio

Candidates must be presented in the studio in the order in which they are listed on the Entry Form. Examination candidates are required to wear a coloured ribbon or badge, which must be supplied by the teacher. Each candidate for each examination set should be given a colour, in the following order: Pink, Blue, White and Yellow. This also indicates their position in the studio. At the Barre, the Pink candidate is in front followed by the Blue, White and Yellow candidates. In the Centre, the order is as follows PINK BLUE WHITE EXAMINER Presentation Class candidates must wear numbers, from 1 to 8. YELLOW

2.3.4 Procedure for the start of examinations

Candidates should be ready to begin their examination at least 10 minutes before the scheduled start time. (Note: If for any reason the teacher wishes to advance or delay the start of an examination or class for example because of the non-arrival of candidates this must be discussed with the Examiner, who may ask the teacher to sign a note on the entry form agreeing to the change of time.) No child may enter the studio after the examination has started. A few minutes before the start time, the doorkeeper should line the candidates up in the correct order outside the studio door; they should all be wearing their coloured ribbon or badge. Candidates from Grades 1 to 7 should have with them their character skirts and shoes and any props needed (eg scarves, handkerchiefs, flags) if these have not already been placed in the studio. The Examiner will ring the bell when s/he wishes the examination to begin. Candidates should enter the studio in order Pink, Blue, White, Yellow, make a simple rvrence and greet the Examiner. This may be either in English or the candidate's own language. The Examiner will check the name and badge of each candidate. Candidates should be encouraged to run or walk naturally when moving to an upstage corner to show an exercise en diagonale. It is not necessary for them to walk with stretched feet in a formal manner.

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2.3.5 Procedure for Presentation Classes

If there are to be invited guests, they must be asked to arrive in good time, and reminded that neither they nor their child will be allowed to enter the studio once the Presentation Class has started. Guests must be reminded of the regulations governing the observation of Presentation Classes (see paragraph 2.1.9). They may be asked to carry their chairs into and out of the studio if it has not been possible to set up the chairs in advance. Teachers may choose to have the certificates presented to the students by the Examiner immediately after each Presentation Class or left for the teacher to present at a later date. Before the start of the Presentation Classes, teachers should inform the Examiner of their preference and if the certificates are to be presented by the Examiner, teachers should state how they would like this to be done. Candidates should be ready to begin their Presentation Class at least 10 minutes before the scheduled start time. No child may enter the studio after the class has started. A few minutes before the start time, the doorkeeper should line the candidates up in the correct order outside the studio door. Presentation Class candidates should be wearing numbers from 1 to 8. Candidates from Grades 1 to 7 should have with them their character skirts and shoes and any props needed (eg scarves, handkerchiefs, flags) if these have not already been placed in the studio. The Examiner will ring the bell when s/he wishes the Presentation Class to begin. For Pre-Primary and Primary Presentation Classes the teacher should lead the students into the studio in the order on the entry form and introduce them individually to the Examiner. The teacher may choose whether or not the students shake hands with the Examiner. Grade 1 to 7 Presentation Class students should enter the room in numerical order, make a simple rvrence and greet the Examiner. This may be either in English or the candidate's own language. After the Examiner has checked the students' names, the teacher can conduct the class in his/her own manner. The teacher may interject and remind the students from time to time, but should refrain from demonstrating or counting throughout the exercises. Teachers may move around the room as felt necessary, but the Examiner's view should not be obscured. Generally, standing near the piano or at one of the downstage corners is the most comfortable position from which to conduct the class. The Examiner may ask to see an exercise a second time, and may speak to the students from time to time. The Presentation Class must be kept within the stated time limit. Teachers can bring either the syllabus or a list of the exercises into the studio as an aidememoire.

2.3.6 Procedure for Grade 8 Award Examination and Presentation Class

The Examiner will ring the bell when s/he wishes the examination to begin. Candidates should enter the studio in order Pink, Blue, White, Yellow, make a simple rvrence and greet the Examiner. This may be either in English or the candidate's own language. The barre work, which is conducted by the examiner, is performed together, and at the end of the barre the candidates leave the studio and change into calf-length skirts (if they have not worn them at the barre). All candidates then return to perform the Entre Polonaise together, and then leave the studio.

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The Pink candidate then enters the studio alone for Etude Lyrique, after which she leaves; followed individually in turn by the Blue, White and Yellow candidates. This continues for each of the chosen Classical, Free Movement and Character Solos. Finally all candidates return for the Finale Polonaise and Rvrence, which is performed together. If there are only one or two candidates in a set, the pauses between Solos will be a little longer. For one candidate the above procedure will be followed except that she will remain in the studio after the Entre Polonaise before performing Etude Lyrique and after the Character Solo before performing the Finale Polonaise and Rvrence. This award should be presented as a stage performance. Candidates will make their entrances and exits as if entering and exiting from a stage. The Examiner will not cue the pianist or student(s) at the start of each piece. Having entered, the students will place themselves in the correct starting position and the pianist will take his or her cue from them. At the end of each solo there is no need for a curtsey or 'thank you' to the Examiner or pianist as the "Finale Polonaise and Rvrence" serves this purpose.

2.4

Results and post-result procedures

2.4.1 Result classifications

In the examinations candidates receive both a final mark (expressed as a percentage) and a classification. There are three pass classifications (Pass, Merit and Distinction). Candidates who do not reach the required standard for award of a Pass will receive a Standard Not Attained result. Each classification covers a band of marks, as follows: Distinction Merit Pass Standard Not Attained 75% - 100% 55% - 74% 40% 54% 0% 39%

For examinations at Primary to Grade 7, there is no requirement to pass any specific section of the examination; the 40% marks required to pass may come from any section. For Grade 8, candidates are required to achieve a minimum of 40% (ie 8 marks out of 20) for each dance in order to pass overall (Note: there is no requirement to pass both the Technique and the Music and Performance sections in order to pass the dance as a whole). Candidates who achieve a mark of 40% or above but have not reached the pass mark in one or more of the dances, will receive a Standard Not Attained result. All examination candidates will receive a Result Form, an example of which will be found in Appendix 5, as well as a Certificate. Certificates will be awarded to all successful examination candidates, and will specify the Grade in which they have been examined and the level of achievement. Certificates of Participation will be issued to students who have not achieved the required standard. Broad descriptions of the qualities that candidates will typically demonstrate in each of the result classifications (Attainment Descriptors) will be found in Appendix 9. Results will be credited to the teacher(s) listed on the entry form, provided their membership is current and they hold Registered Teacher Status (or are enrolled on the Academys Teaching Certificate programme).

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Affiliate Student Membership Candidates who have been successful in Grades 6,7 and 8 Award are eligible to apply to become Affiliate Student Members of the Royal Academy of Dance.

2.4.2 Processing and Issue of results

The Examiner reports directly to the Academy and is not permitted to give any information regarding the examination results to any other person or persons. The Academy is not able to give any examination results over the telephone. Result Forms, giving details of the marks awarded, and Certificates will be issued some time after the examination, as soon as the marks have been processed and monitoring procedures have been completed. Result Forms and Certificates will be posted to the school or teacher No 1, as indicated on the entry form, usually via the National Administrator where examinations take place outside the UK. It is the responsibility of the teacher to ensure the candidates receive their Results and Certificates, and therefore s/he should ensure that the address on the entry form is valid for mail during school holidays as well as term-time. The Result Forms and the Certificates are the property of the candidate, and any failure by the teacher to deliver them may be regarded as malpractice (see paragraph 2.4.6). The Academy does not accept responsibility for the non-receipt of any Result Form or Certificate after its despatch by post. Results and certificates for all Graded examinations are issued by the Examinations Department at Headquarters for all countries except Australia, New Zealand, South Africa, Canada and the United States, where they are issued by the national office. This is to allow quality control procedures to be carried out to ensure that results are consistent across Examiners, teachers and countries. In cases where the results of an examining tour are found to be out of line, the Academy reserves the right to adjust all the marks in that tour before issue. The Academy undertakes to issue results within 4 weeks of the end of an examination session, although in some cases it may be possible to work to an earlier deadline. At peak times, a list of results may be issued to each teacher to minimise the waiting period, with the certificates and individual result forms following within a few weeks.

2.4.3 Replacing lost or incorrect certificates

Teachers should notify the issuing office of the Academy of any factual errors on Result Forms and Certificates, such as mis-spelling of the candidates name, within one month of receipt. If the error has been caused by the Academy a revised Result Form and Certificate will be re-issued, but if the error has been caused by an incorrect entry or registration form, a fee will be charged for re-issue. In all cases the original certificate must be returned before a replacement can be issued. Lost certificates relating to examinations which took place after September 2001 may be replaced, subject to the payment of a fee. Teachers should contact their National Administrator in the first instance (UK teachers should contact the Examinations Department at Headquarters). Lost certificates relating to examinations which took place before September 2001 cannot normally be replaced. However, provided that a record of the examination can be found, an extract from the Register of Examinations attesting to the candidates achievement can be supplied, on payment of a fee. Again, teachers should contact their National Administrator or the Examinations Department at Headquarters.

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2.4.4 The Result Enquiry Service

With a criterion-based marking system in place, teachers and schools should be able to see clearly the main areas of their students strengths and weaknesses, as evidenced on the day of the examination. In the vast majority of cases, this should provide sufficient feedback. There may, however, be instances where a greater level of detail is required in order to explain an unexpected result or set of results, and the Result Enquiry Service is tailored to meet that need. Teachers should note that this service is quite separate from the Appeals procedure, which may be invoked only where there has been a procedural error or where previously unknown circumstances have come to light since the examination was taken. Except in the event of a clerical/arithmetical error being found (in which case the enquiry fee would be refunded), no result will be changed as a consequence of a result enquiry. (a) (i) Services available Individual candidate report. This involves a re-check to ensure that no clerical or arithmetical error has occurred, and the preparation by the Examiner of a written report on the candidates work, based on the notes which he or she took at the time. The report will include comments under each of the assessment criteria. Group report. This involves a re-check to ensure that no clerical or arithmetical error has occurred, and the preparation by the Examiner of a written report on the work of a group of students (who must all be entered for the same level of examination but need not have been examined in the same set), based on the notes which he or she took at the time. Whilst there may be some comments about each individual student, the report will focus on the work of the students as a group and will draw attention to common areas of strength and weakness. The report will cover all the assessment criteria.

(ii)

Reports will only be available for Examinations (not Presentation Classes). Reports will normally be written in English. In the case of non-English-speaking countries, it is hoped that branch offices or National Administrators will be able to assist teachers, students and parents if they are unable to understand the report. (b) Fees

The fees are structured into two bands, to reflect the levels on the UK National Qualifications Framework: Examinations at Foundation level (Grades 1-3) Examinations at Intermediate and Advanced level (Grades 4-8) Details of fees are available from National Administrators for countries outside the UK, and the Examinations Department at Academy Headquarters for the UK. They are also published in the Diary for teachers in the UK and the Republic of Ireland. (c) Procedure

Result enquiries will only be accepted from the candidates school or teacher; they cannot be accepted from candidates themselves or their parents. For examinations in the UK, all enquiries must be accompanied by a cheque for the appropriate amount made payable to the Royal Academy of Dance and should be addressed to the Examinations Manager. For examinations outside the UK, requests for reports should be submitted to the branch office or National Administrator for onward transmission to the Examinations Manager, and should be accompanied by the fee in the appropriate local currency.

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Forms for requesting result enquiries are enclosed with the despatch of results. All enquiries must be received within one month of the issue of results. The Academy will endeavour to process and despatch all reports within four working weeks of receipt, although this may not be possible in cases where the Examiner in question is out of the country or otherwise absent. Once a report has been issued, no further correspondence will be entered into.

2.4.5 The Appeals Procedure

It is the policy of the Royal Academy of Dance to act fairly, legally and without bias or prejudice in all its dealings with examination candidates and their teachers. Candidates and teachers who choose to lodge an Appeal will not be disadvantaged by so doing. The Academy will endeavour to resolve all problems amicably and informally without recourse to the formal appeals procedure, and aims to deal with all properly lodged Appeals in an efficient, impartial and transparent manner. The Academy operates rigorous quality assurance procedures in relation to the recruitment, training and monitoring of its Examiners, thus ensuring that, in principle, there is consistency of assessment across the Examining Board. Entry for Graded examinations is deemed to constitute acceptance of the artistic judgement of the Examiner (a) Grounds for Appeal

A candidate or teacher has grounds for appeal if he/she can establish that: There have been irregular procedures on the part of the Examiner or an irregularity occurred during the examination which was outside the examiners or candidates control. There was evidence of bias or prejudice on the part of the Examiner. There were circumstances seriously affecting the candidate that were not known to the Academy at the time the examination result was issued and which could provide reasonable doubt that the same result would have been made in the light of this new evidence.

No other grounds for appeal will be considered admissible and appeals which question the artistic judgement of the Examiner (ie the marks awarded) will not be accepted. This is because the nature of dance examinations is such that candidates are assessed on a performance which does not produce lasting evidence, thus making it difficult to make a fair investigation into such an appeal. (b) Method of Appeal

The person making the Appeal must be the Principal of the school or teacher (not the parent or candidate) who entered the candidate. First Level of Appeal

An Appeal must be made in writing by the Principal of the school or teacher (not the parent or candidate) who entered the candidate and sent by post or email to the Examinations Manager, Royal Academy of Dance, 36 Battersea Square, London, SW11 3RA. The grounds for the Appeal must be clearly stated and the letter should be accompanied by the Result Form. . An Appeal should be postmarked no later than fourteen (14) days after the result has been issued to the Centre or after a Result Enquiry Service report has been received, and the Academy will acknowledge the Appeal within seven (7) working days of receipt.

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The Examinations Manager will make a decision after considering the comments of the Examiner and consulting any other appropriate person(s). The Academy will aim to resolve the Appeal within fifteen (15) working days of the date of receipt. It may, however, be necessary to extend this time if the Examiner concerned is either resident overseas or away on business. If this is the case the Appellant will be notified in writing. An Appeal will either be upheld or denied. There is no charge for an Appeal at this level. Second Level of Appeal

Those who are not satisfied with the first decision and who have not been offered a reexamination may proceed to a second level of Appeal. These Appeals should be accompanied by further justification and sent to the Chief Executive, Royal Academy of Dance, 36 Battersea Square, London SW11 3RA, stating the grounds on which the first decision is being challenged. They should be postmarked no later than fourteen (14) days from the date of receipt of the previous decision. A Second Level Appeal will follow the same procedure as a First Level Appeal except that it will be considered by a specially convened Appeals Committee normally comprising the Chief Executive, Artistic Director, Examinations Manager, Member of the Artistic Committee of the Academy, Director of Education and one independent member. The Head of the Centre (Principal of the School) or teacher of the candidate if not the same person may be invited to attend the hearing. A fee of 100 or equivalent is chargeable for each candidate, subject to a maximum. (c) Outcome

In the event of the Appeal being upheld, at either first or second level, a re-examination will be offered free of charge, as soon as possible. The Appellant will be asked to respond within fourteen (14) days of receiving such an offer. The offer of a re-examination terminates the Appeal procedure, regardless of whether or not it is accepted, and no further action can be taken. In the event of a Second Level of Appeal being upheld, the fee will be returned in full. The Examiner for a re-examination will not be the Examiner who conducted the original examination.

2.4.6 Malpractice
Any reported cases of malpractice on the part of a candidate or registered teacher will be investigated fully by the Director of Finance and Administration, Artistic Director and Examinations Manager. Teachers found guilty of malpractice are liable to have their membership and Registered Teacher Status removed. Candidates found guilty of malpractice are likely to be barred from entering RAD examinations in the future. Any such cases occurring in the UK will be reported to the regulatory authorities, and may also be pursued through legal channels. The Academy reserves the right in all cases to publish the names of those found guilty of malpractice. Any such cases occurring outside the UK may be reported to an appropriate regulatory authority and may also be pursued through legal channels. Malpractice encompasses the following: Impersonating a candidate, or conniving at impersonation Falsifying result listings, result forms or certificates Holding examinations purporting to be by the RAD when not Issuing false certificates or result forms purporting to emanate from the RAD Deliberately withholding results and/or certificates from candidates

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Part 3 EXAMINATION AND PRESENTATION CLASS CONTENT

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3.1

General

Candidates will be examined at each Grade level through the performance of the prescribed examination content, all of which should be prepared except where choices are indicated. Detailed notes of all the required set exercises, studies and dances for each Grade are published in the relevant Graded Examinations in Dance and Presentation Classes Syllabus (see paragraph 1.1) which may be purchased from Royal Academy of Dance Enterprises Ltd. through mail order, personal shopping or from its website www.radenterprises.co.uk . The examination content must be danced to the official piano music, which may be purchased from Royal Academy of Dance Enterprises Ltd, through mail order, personal shopping or from the website www.radenterprises.co.uk. The music must be played by an accompanist; CDs may not be used in examinations or Presentation Classes. For Presentation Classes, teachers may choose to prepare the same exercises as for the examination syllabus (omitting some if time does not permit) or a selection of the examination exercises and those which may only be used for Presentation Classes, listed at the end of each examination syllabus content. Studies and Character Dances may be presented if the teacher so wishes. Note: For examinations, candidates are normally seen in groups of four; however if the total number being entered for any one grade is not divisible by four, smaller groups may be accepted (see paragraph 2.2.2 (c) on page 12). Candidates should be prepared to dance in any combination of groups, i.e. one, two, three or four at a time, at the request of the Examiner.

3.2

Pre-Primary (Presentation Class only)

Classical Exercises Running in a circle Exercise for feet Curling and stretching Sensitive hands Sharp hands Running en diagonale Demi-plis Rises Point and close Bend and jump Bounces Claps and marches Skips Group mime Rhythm Pony galops or Pony galops with skipping rope Enchanements teachers choice of the examples in the syllabus or own arrangement Curtsey or bow

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3.3

Primary (Examination or Presentation Class)

For the examination, all exercises are compulsory, although teachers may use their own choreography for the Dance. Classical Exercises Skips Exercise for feet Exercise for hands Exercise for hand and arm extensions Demi-plis Point and close Walks and point Step close step point Stork" walks Sauts Galops and spring points Skip change of step Free Movement Exercises Run and pause Swaying Rhythm Exercises Rhythm in 2/4 time Rhythm in 3/4 time Dance to be performed in pairs on the same side or as a solo. Teachers may prepare their students to perform the example dance as printed in the Syllabus or choreograph their own dance using the same music or alternative music supplied. Curtsey or Bow Optional Exercises for Presentation Class Enchainement teachers own arrangement Props required: small square scarf (Male or Female) or flag (Male) for Free Movement

3.4

Grade 1 (Examination or Presentation Class)

For the examination, all exercises are compulsory. Classical Exercises Skip change of step Barre Exercise for feet with rises Demi-plies Centre Port de bras Transfer of Weight Battements Tendus with preparation for Grands Battements Classical Walks - Male and Female separate exercises Sauts and Echapps Sauts Spring Points and Petits Jets Skips and Pony Galops

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Classical Study to be performed as a solo (or, for Presentation Classes only, in pairs) Polka - Female Hornpipe - Male Free Movement Exercises Exercise for Poise Run and Pause with Rise Swaying and Spinning Rhythm and Character Steps (based on Hungarian Peasant Style) Rhythm in 2/4 time Rhythm in 3/4 time Picked-up Runs Character Dance (based on Hungarian Peasant Style) to be performed in pairs on the same side or as a solo Male and Female separate dances Rvrence Optional Exercises for Presentation Class Sauts Character Enchainement Props required: small square scarf (Male or Female) or flag (Male) for Free Movement, handkerchief (Female) or sickle (Male) for Character Dance.

3.5

Grade 2 (Examination or Presentation Class)

For the examination, all exercises are compulsory, but there is a choice of Classical or Free Movement Study. Classical Exercises Skip change of step and galops Barre Plis Battements Tendus la seconde and devant from 3rd position Battements Tendus derrire Exercise for Battements Fondus Grands Battements devant Rises Centre Port de Bras Battements Tendus with Transfer of Weight Classical walks with or without Change of Direction - Male and Female separate exercises Sauts nd Echapps Sauts to 2 and Changements Male and Female separate exercises Galops and Coups with or without a Change of Direction Classical Study (or Free Movement Study) to be performed as a solo (or, for Presentation Classes only, in pairs) Male and Female separate studies Free Movement Exercises Exercise for relaxation Sways with arm circles Step and hop forward and back Free Movement Study (or Classical Study) to be performed as a solo (or, for Presentation Classes only, in pairs) 29

Rhythm and Character Steps (based on Hungarian Peasant Style) Rhythm in 2/4 time Rhythm in 3/4 time Pas de Basques and Cifras in 3/4 time Character Dance (based on Hungarian Peasant Style) to be performed in pairs on the same side or as a solo. Male and Female separate dances Rvrence Optional Exercises for Presentation Class Battements tendus devant and derriere from 1st position Character Enchainement Props required: cushion (Female), box and hammer (Male) and chairs for Character Dance

3.6

Grade 3 (Examination or Presentation Class)

For the examination, all exercises are compulsory, but there is a choice of Classical or Free Movement Study. Classical Exercises Barre Plis Battements Tendus Battements Glisss Ronds de jambe terre Battements fondus Dvelopps Grands battements devant and la seconde Grands battements derrire Centre Port de Bras Male and Female separate exercises Battements Tendus and Demi-Dtourns Classical Walks with Arabesque Changements Balancs de Ct Male and Female separate exercises Pas de Chat Changements and Echapps Sauts Male exercise only Exercise for Grand Allegro Classical Study (or Free Movement Study) to be performed as a solo (or, for Presentation Classes only, in pairs) Male and Female separate studies Free Movement Exercises Exercise for Relaxation Triple Runs Step Hop and Run Free Movement Study (or Classical Study) to be performed as a solo (or, for Presentation Classes only, in pairs) Rhythm and Character Exercises (Russian) Rhythm in 2/4 time Rhythm in 3/4 time Dotting steps Hop steps 30

Character Dance (Russian) may be performed as a duet on opposite sides, as a pair on the same side or as a solo Rvrence Optional Exercises for Presentation Class Plis for Presentation Class Promenades Character Enchainement Props required: None

3.7

Grade 4 (Examination or Presentation Class)

For the examination, all exercises are compulsory, but there is a choice of Classical or Free Movement Study. Classical Exercises Barre Plis Battements tendus Battements glisss Ronds de jambes terre Battements fondus terre Developps devant - Male and Female separate exercises Developps la seconde and exercise for Arabesque en lair Grands battements Relevs passs devant and derrire Centre Port de Bras Male and Female separate exercises Battements tendus in alignment Exercise for pirouette en dehors Male and Female separate exercises Pas de bourres Glissades Sauts and changements Balancs en avant and en arrire - with or without change of direction - Male and Female separate exercises Assembls Pos temps lev in arabesque Allegro Male exercise only Classical Study (or Free Movement Study) to be performed as a solo (or, for Presentation Classes only, in pairs) Male and Female separate Studies Free Movement Exercises Exercise for relaxation Running with change of direction Flying hop and run Free Movement Study (or Classical Study) to be performed as a solo (or, for Presentation Classes only, in pairs) Rhythm and Character Exercises (Russian) Rhythm in 2/4 time Pivot step Quick promenade 31

Character Dance (Russian) to be performed as a duet on opposite sides, in pairs on the same side or as a solo Rvrence Optional Exercises for Presentation Class Echapps relevs Character Enchainement Props required: None

3.8

Grade 5 (Examination or Presentation Class)

For the examination, all exercises are compulsory, but there is a choice of Classical or Free Movement Study. Female candidates choosing the Classical Study have a further choice of two Studies. There is a separate Classical and Free Movement Study for male candidates. Classical Exercises Barre Plis Battements tendus with transfer of weight Battements glisss and petits retirs Battements fondus terre and ronds de jambe terre Dvelopps with fouett of adage Grands battements Port de bras Male and Female separate exercises Centre Port de bras Male and Female separate exercises Battements tendus with transfer of weight Adage study Pirouette en dehors Male and Female separate exercises Glissades Sauts and chapps sauts 1st allegro 2nd allegro Balancs Female exercise only Exercise for tour en lair Male exercise only Grand allegro Dance Study (or Free Movement Study) to be performed as a solo (or, for Presentation Classes only, in pairs) Tarantella Male and Female or Classical Male and Female separate Studies Free Movement Exercises Exercise for relaxation Triple runs and spin Flying hop with change of direction Step and hop with body turn Male exercise only Free Movement Study (or Dance Study) to be performed as a solo (or, for Presentation Classes only, in pairs) Male and Female separate Studies Rhythm and Character Exercises Hop heel hop toe and galops Pivot and half break Holubetz in 3/4 time Stamp and clap with galops 32

Character Dance (Polish) to be performed as a duet on opposite sides, in pairs on the same side or as a solo Optional Exercises for Presentation Class Assembls soutenus terre Echapps relevs to 2nd with relevs to 5th Character enchainement Rvrence Props Required: None

3.9

Grade 6 (Examination or Presentation Class)

For the examination, all exercises are compulsory, but there is a choice of Classical, Free Movement or Character Dance. Classical Exercises Barre Plis Battements tendus and battements glisss Ronds de jambe terre and battements fondus Battements frapps Exercise for ronds de jambe en l'air with port de bras Adage Grands battements and battements en cloche Demi-pointe enchanement Centre st nd 1 Port de bras or 2 Port de bras Exercise for temps lis Pirouette en dehors Pirouette en dedans Adage study Soubresauts and echapps sauts to 4th position Pas de bourres Petit allegro Waltz enchanement To be performed as a solo candidates choice of sides Classical Dance (or Free Movement or Character Dance) To be performed as a solo Classical Rvrence Free Movement Sequences Exercise for upper back Exercise for elevation and use of space Free Movement Dance (or Classical or Character Dance ) To be performed as a solo Character Enchanements (Polish) Polonaise Polish Mazurka and Pas March Krakoviak

33

Character Dance - Polish Mazurka (or Classical or Free Movement Dance ) To be performed as a duet on opposite sides or as a solo Character Rvrence Props required: long silk scarf for Free Movement Optional Exercises for Presentation Class - None

3.10

Grade 7 (Examination or Presentation Class)

For the examination, all exercises are compulsory, but there is a choice of Classical, Free Movement or Character Dance. Classical Exercises Barre Plis Battements tendus and battements glisss Ronds de jambe terre and battements fondus Battements frapps Ronds de jambe en l'air Adage study Grands battements and battements en cloche Coup fouett raccourci Centre Port de bras Pirouette enchanement Adage Petit allegro Allegro Grand Allegro To be performed as a solo candidates choice of sides Classical Dance (or Free Movement or Character Dance ) To be performed as a solo Classical Rvrence Free Movement Sequences Study in stillness and gravity Study for upper back Free Movement Dance (or Classical or Character Dance ) To be performed as a solo Character Enchanements (Hungarian Court) Letj and promenades Cabrioles and quick letj Retirs and pas de bourres Character Dance - Czardas (or Free Movement or Classical Dance ) To be performed as a duet on opposite sides or as a solo Character Rvrence Props required: long silk scarf for Free Movement Optional Exercises for Presentation Class: None 34

3.11

Grade 8 Award (Examination or Presentation Class)

The Grade 8 Award develops solo performance as a culmination of the Graded Examination syllabus. Candidates are required to perform solos in the three styles of dance previously studied - Classical, Free Movement and Character - preceded by a short warm up barre. The first dance (Etude Lyrique) is compulsory, but in all other sections there is a choice of dance. Barre Plis Battements tendus and battements glisss Ronds de jambe terre and battements fondus Battements frapps Adage Grands battements Entre Polonaise Solos Classical Etude Lyrique Valse Printemps or Demi-Caractre Free Movement Mouvement Libre Potique or Mouvement Libre Dramatique Character Mazurka de Salon or Danse Russe Finale Polonaise and Rvrence Props required: long silk scarf for Free Movement, small handkerchief for Danse Russe

35

Part 4 THE MARKING SYSTEM

36

4.1

Introduction

In order for the Academys qualifications to be accredited by QCA and admitted to the National Qualifications Framework for England, Wales and Northern Ireland, a new Marking System had to be devised, which was transparent, reliable and valid. This marking system, first published in 2001, was reviewed and amended in the light of feedback from teachers and Examiners, and the revised version was implemented worldwide from January 2004. There are a number of sequential stages to the marking system:

Stage 1 Framework Level Descriptors These are broad descriptions of the expectations of candidates at each level on the National Qualifications Framework, and cover all forms of dance. They are common to all dance awarding bodies in the UK. These arise from the Level Descriptors and are specific to the Academys examinations. They indicate what the student should have learnt by the end of study of the group of examinations at each level on the Framework. These arise directly out of the Learning Outcomes, and specify the abilities on which candidates will be assessed in the examination This is based on the Assessment Criteria, and specifies, for each Grade, the specific areas to which marks are allocated. This shows the precise way in which marks are allocated.

Learning Outcomes

Assessment Criteria

Mark Allocation

Marking Guidance

4.2

Understanding the marking system

In order to understand exactly what Examiners will be looking for at each examination level, teachers should study these stages sequentially. The Framework Level Descriptors, Learning Outcomes and Assessment Criteria will be found in Appendices 2, 3 and 4, and should be read first, before proceeding to the Mark Allocation and Marking Criteria, which appear on the following pages of this section. Classical Ballet, Free Movement and Character consist of three interrelated areas Technique, Music and Performance - which are reflected throughout the Assessment Criteria. Each area includes a number of elements, which are also interrelated, and some of which are added as the examinations increase in complexity, thus making further demands on the students at each stage of their learning. The way in which the Assessment Criteria progress and develop can be seen in Appendix 6.

37

4.3

Mark Allocation and Marking Guidance

Primary (see page 47-48 for Marking Guidance)

CLASSICAL SECTION Mark allocation CLASSICAL TECHNIQUE 1 (Table A) Correct weight placement Controlled use of the turnout CLASSICAL TECHNIQUE 2 (Table A) Co-ordination of the whole body Accurate alignment Use of space MUSIC (Table B) Correct timing Responsiveness to the music PRESENTATION (Table PR1) Expression OTHER SECTIONS FREE MOVEMENT EXERCISES (Table D) Relaxation Transference of weight Suspension Free-flowing movement Co-ordination of the whole body RHYTHM EXERCISES (Table D) Firm hold of body Correct arm placement Co-ordination of clapping and leg actions 10 Use of small scarf or flag Correct timing Responsiveness to the music Expression 10 Correct timing Responsiveness to the music Expression 10 10 40 Firmly held body Open and relaxed shoulders 10

10 Ability to shape arms Elevation with controlled landings Correct use of legs and feet 10 40

10

CLASSICAL DANCE TECHNIQUE (As Classical Technique 1 and 2) (Table A) MUSIC AND PRESENTATION (Table PR2) Correct timing Responsiveness to the music Expression

TOTAL

(Scaled to 100)

80

38

Grade 1 (see page 47-48 for Marking Guidance) CLASSICAL SECTION

Mark allocation CLASSICAL TECHNIQUE 1 (Table A) Secure posture Correct weight placement CLASSICAL TECHNIQUE 2 (Table A) Co-ordination of the whole body Accurate alignment Use of space Ability to shape arms CLASSICAL TECHNIQUE 3 (Table A) Secure stretched leg extensions Elevation with controlled landings Articulated footwork MUSIC (Table B) Correct timing Responsiveness to the music PERFORMANCE (Table C) Expression Communication CLASSICAL STUDY (Table A) TECHNIQUE (As for Classical Technique 1, 2 and 3) MUSIC AND PERFORMANCE (Table E) Correct Timing Responsiveness to the music Expression Communication 10

10

10 70 10

10

10 10

FREE MOVEMENT SECTION

FREE MOVEMENT EXERCISES (Table D) Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Co-ordination of the whole body Use of space

Use of gravity Controlled endings Use of scarf or flag Correct timing Responsiveness to the music Expression Communication

10

10

CHARACTER SECTION
RHYTHM AND CHARACTER EXERCISES Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu (Table D) Correct timing Responsiveness to the music Rhythmical accuracy Expression Communication 10

20 10

CHARACTER DANCE (Technique, Music, Performance) (Table D) As for Rhythm and Character Exercises, plus: Appropriate use of props Convincing mime

TOTAL

100

39

Grade 2 (see page 47-48 for Marking Guidance) CLASSICAL SECTION

Mark allocation

CLASSICAL TECHNIQUE 1 (Table A) Secure posture Correct weight placement CLASSICAL TECHNIQUE 2 (Table A) Co-ordination of the whole body Accurate alignment Use of space Ability to shape arms CLASSICAL TECHNIQUE 3 (Table A) Secure stretched leg extensions Elevation with controlled landings Articulated footwork MUSIC (Table B) Correct timing Responsiveness to the music PERFORMANCE (Table C) Expression Communication

10

10

10

50

10

10

FREE MOVEMENT SECTION

FREE MOVEMENT EXERCISES (Table D) Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Elevation Co-ordination of the whole body

(* assessed separately for Study)

10 Use of space Use of gravity Controlled endings Correct timing* Responsiveness to the music* Expression* Communication*

10

STUDY (Classical or Free Movement)

TECHNIQUE (As Classical Technique 1, 2 and 3 or Free Movement) (Table A) Key feature for Classical Study: Steps turning or travelling backwards 10 Expression Communication MUSIC AND PERFORMANCE (Table E) Correct Timing Responsiveness to the music 10 20

CHARACTER SECTION
RHYTHM AND CHARACTER EXERCISES Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu (Table D) Correct timing Responsiveness to the music Rhythmical accuracy Expression Communication 10

20

CHARACTER DANCE As for Rhythm and Character Exercises (Table D), plus: Appropriate use of props Convincing mime TOTAL 40

10

100

Grade 3 (see page 47-48 for Marking Guidance) CLASSICAL SECTION

Mark allocation

CLASSICAL TECHNIQUE 1 (Table A) Secure posture Correct weight placement CLASSICAL TECHNIQUE 2 (Table A) Co-ordination of the whole body Accurate alignment Use of space Ability to show line through the body CLASSICAL TECHNIQUE 3 (Table A) Secure stretched leg extensions Elevation with controlled landings Articulated footwork MUSIC (Table B) Correct timing Responsiveness to the music PERFORMANCE (Table C) Expression Communication

10

10

10

50

10

10

FREE MOVEMENT SECTION

FREE MOVEMENT EXERCISES (Table D) Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Elevation Co-ordination of the whole body

(* assessed separately for Study)

10 Use of space Use of gravity Controlled endings Correct timing* Responsiveness to the music* Expression* Communication*

10

STUDY (Classical or Free Movement)

TECHNIQUE (As Classical Technique 1, 2 and 3 or Free Movement) (Table A) Key feature for Classical Study: Ability to demonstrate changes of direction (male: within strongly defined movements 10 Expression Communication 10 20

MUSIC AND PERFORMANCE (Table E) Correct Timing Responsiveness to the music

CHARACTER SECTION
RHYTHM AND CHARACTER EXERCISES Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu (Table D) Use of paulement Correct timing Responsiveness to the music Rhythmical accuracy Expression Communication 10

20

CHARACTER DANCE As for Rhythm and Character Exercises (Table D) TOTAL

10 100

41

Grade 4 (see page 47-48 for Marking Guidance) CLASSICAL SECTION

Mark allocation

CLASSICAL TECHNIQUE 1 (Table A) Secure posture Correct weight placement CLASSICAL TECHNIQUE 2 (Table A) Co-ordination of the whole body Accurate alignment Use of space Ability to show line through the body CLASSICAL TECHNIQUE 3 (Table A) Secure stretched leg extensions Elevation with controlled landings Articulated footwork MUSIC (Table B) Correct timing Responsiveness to the music PERFORMANCE (Table C) Expression Communication

10

10

10

50

10

10

FREE MOVEMENT SECTION

FREE MOVEMENT EXERCISES (Table D) Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Elevation Co-ordination of the whole body

(* assessed separately for Study)

10 Use of space Use of gravity Controlled endings Correct timing* Responsiveness to the music* Expression* Communication*

10

STUDY (Classical or Free Movement)

TECHNIQUE (As Classical Technique 1, 2 and 3 or Free Movement) (Table A) MUSIC AND PERFORMANCE (Table E) Correct Timing Responsiveness to the music Expression Communication 10 10 20

CHARACTER SECTION
RHYTHM AND CHARACTER EXERCISES Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu Use of paulement Convincing mime 100 (Table D) Co-ordinated turning action Correct timing Responsiveness to the music Rhythmical accuracy Expression Communication 10

20

CHARACTER DANCE As for Rhythm and Character Exercises (Table D), plus:

10

TOTAL

42

Grade 5 (see page 47-48 for Marking Guidance) CLASSICAL SECTION

Mark allocation

CLASSICAL TECHNIQUE 1 (Table A) Secure posture Correct weight placement CLASSICAL TECHNIQUE 2 (Table A) Co-ordination of the whole body Accurate alignment Use of space Ability to show line through the body Co-ordinated turning action CLASSICAL TECHNIQUE 3 (Table A) Secure stretched leg extensions Elevation with controlled landings Articulated footwork MUSIC (Table B) Correct timing Responsiveness to the music PERFORMANCE (Table C) Expression Communication

10

10

50 10

10

10

FREE MOVEMENT SECTION

FREE MOVEMENT EXERCISES (Table D) Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Elevation Co-ordination of the whole body

(* assessed separately for Study)

10 Use of space Use of gravity Controlled endings Correct timing* Responsiveness to the music* Expression* Communication*

10

STUDY (Classical or Free Movement)

TECHNIQUE (As Classical Technique 1, 2 and 3 or Free Movement) (Table A) MUSIC AND PERFORMANCE (Table E) Correct Timing Responsiveness to the music Expression Communication 10 10 20

CHARACTER SECTION
RHYTHM AND CHARACTER EXERCISES Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu Co-ordinated turning action (Table D) Use of paulement Correct timing Responsiveness to the music Rhythmical accuracy Expression Communication 10 20

CHARACTER DANCE As for Rhythm and Character Exercises (Table D) TOTAL

10 100

43

Grade 6 (see page 47-48 for Marking Guidance) CLASSICAL SECTION

Mark allocation

CLASSICAL TECHNIQUE 1 (Table A) Secure posture CLASSICAL TECHNIQUE 2 (Table A) Co-ordination of the whole body Accurate alignment Use of space Ability to show line through the body CLASSICAL TECHNIQUE 3 (Table A) Secure stretched leg extensions Elevation with controlled landings MUSIC (Table B) Correct timing PERFORMANCE (Table C) Expression

10 Correct weight placement 10 Co-ordinated turning action Use of paulement

10 Articulated footwork 10 Responsiveness to the music 10 Communication 10

60

WALTZ ENCHAINEMENT (As for Classical Technique 1, 2 and 3, Music and Performance) (Table D)

FREE MOVEMENT AND CHARACTER SECTIONS

FREE MOVEMENT SEQUENCES (Table D) Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Elevation Co-ordination of the whole body Use of upper back CHARACTER ENCHAINEMENTS (Table D) Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu Use of paulement

(* marked separately for Dance)

10 Use of space Use of gravity Controlled endings Use of scarf Correct timing* Responsiveness to the music* Expression* Communication* 10 Co-ordinated turning action Correct timing* Responsiveness to the music* Rhythmical accuracy* Expression* Communication*

20

DANCE (Classical, Free Movement or Character)

TECHNIQUE (As for Classical Technique 1, 2 and 3 or Free Movement Sequences or Character Enchainements) (Table A), plus For Classical Dance: Balances sustained on demi-pointe, and speed of footwork with changes of direction For Free Movement Dance: Use of spiral action in upper back, and clarity in spiralling floor patterns MUSIC AND PERFORMANCE (Table E) Correct timing Responsiveness to the music Rhythmical accuracy (Character only) TOTAL 44 Expression Communication 10

20

10

100

Grade 7 (see page 47-48 for Marking Guidance) CLASSICAL SECTION

Mark allocation

CLASSICAL TECHNIQUE 1 (Table A) Secure posture CLASSICAL TECHNIQUE 2 (Table A) Co-ordination of the whole body Accurate alignment Use of space Ability to show line through the body CLASSICAL TECHNIQUE 3 (Table A) Secure stretched leg extensions Elevation with controlled landings MUSIC (Table B) Correct timing PERFORMANCE (Table C) Expression Communication

10 Correct weight placement 10 Co-ordinated turning action Use of paulement

10 Articulated footwork 10 Responsiveness to the music Ability to incorporate the Romantic ballet style into exercises, where required 10

60

GRAND ALLEGRO (As for Classical Technique 1, 2 and 3, Music and Performance) (Table D)

10

FREE MOVEMENT AND CHARACTER SECTIONS

FREE MOVEMENT SEQUENCES (Table D) Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Elevation (Dance only) Co-ordination of the whole body Use of upper back CHARACTER ENCHAINEMENTS (Table D) Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu Use of paulement

(* marked separately for Dance)

10 Use of space Use of gravity Controlled endings Use of scarf Correct timing* Responsiveness to the music* Expression* Communication* 10 Co-ordinated turning action Correct timing* Responsiveness to the music* Rhythmical accuracy* Expression* Communication*

20

DANCE (Classical, Free Movement or Character)

TECHNIQUE (As for Classical Technique 1, 2 and 3 or Free Movement Sequences or Character Enchainements) (Table A), plus For Classical Dance: Lyrical flowing quality and clarity of port de bras, contrasted with precise footwork For Character Dance: Broad, expansive movements contrasted with neat, fast movements MUSIC AND PERFORMANCE (Table E) Correct timing Responsiveness to the music Rhythmical accuracy (Character only) TOTAL 45 Expression Communication 10

20 10

100

Grade 8 (see page 47-48 for Marking Guidance)

Note: The Barre, the Entre Polonaise and the Finale Polonaise are not marked. Candidates are required to pass each Dance in order to pass the examination as a whole.
Mark allocation

ETUDE LYRIQUE
TECHNIQUE (Table A) Secure posture Correct weight placement Co-ordination of the whole body Accurate alignment Use of space Ability to show line through the body Co-ordinated turning action Use of paulement MUSIC AND PERFORMANCE (Table E) Correct timing Responsiveness to the music 10 Secure stretched leg extensions Articulated footwork

Key features: Ability to show contrasts between light, quick movements and composure in the sustained passages Fluid and lyrical movements Suspension 10 Expression Communication

20

VALSE PRINTEMPS/DEMI-CARACTERE
TECHNIQUE (Table A) Secure posture Correct weight placement Co-ordination of the whole body Accurate alignment Use of space Ability to show line through the body Co-ordinated turning action Use of paulement Secure stretched leg extensions Elevation with controlled landings Articulated footwork MUSIC AND PERFORMANCE (Table E) Correct timing Responsiveness to the music Key features for Valse printemps: Light, springing and darting qualities
Key features for Demi-Caractere:

10

Speed and agility retaining economy of movement Rapid changes of direction

20

10 Expression Communication

MOUVEMENT LIBRE POETIQUE / MOUVEMENT LIBRE DRAMATIQUE

TECHNIQUE (Table A) Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Elevation Co-ordination of the whole body Use of upper back Use of space Use of gravity MUSIC AND PERFORMANCE (Table E) Correct timing Responsiveness to the music Expression Communication Controlled endings Use of scarf 10

Key features for Mouvement Libre Potique Ability to sustain and extend movements Ability to show contrast of movement dynamics Key features for Mouvement Libre Dramatique Ability to show contrast of movement dynamics 10 Key features for Mouvement Libre Dramatique Ability to show complex rhythmical structures throughout the fast moving and elevated passages 46

20

MAZURKA / DANSE RUSSE

TECHNIQUE (Table A) Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu Use of paulement Co-ordinated turning action MUSIC AND PERFORMANCE (Table E) Correct timing Responsiveness to the music Rhythmical accuracy Expression Communication 10 Key features for Mazurka Ability to sustain the movement dynamics throughout
Key features for Danse Russe

Contained, smooth, gliding quality Delicate use of arms

20

10 Key features for Mazurka

Elegant and expressive Court style

TOTAL

(Scaled to 100)

80

47

Marking Guidance: Primary and Grades 1-8

TABLE A: Classical Technique 1, 2 and 3; Technique for Classical or FM Study in Grades 1-5; Technique for Classical, FM or Character Dance in Grades 6-8 0 marks 1 3 marks 4 marks 5 6 marks 7 8 marks The work was not shown. The candidate showed little awareness of many of the elements assessed. The candidate was able to demonstrate the elements assessed some of the time. Technique was often not well established. The candidate showed a fairly good ability to demonstrate the elements assessed, although some may be stronger than others. Technique was fairly well established. The candidate showed a generally good ability to demonstrate the elements assessed, although one or two may be less strong than others. Technique was mostly secure. The candidate was able to demonstrate the elements assessed almost all the time, although one or two may be less strong than others. Technique was secure.

9 10 marks

TABLE B: Music (Classical) 0 marks 1 3 marks 4 marks 5 6 marks 7 8 marks 9 10 marks The work was not shown. The candidate was seldom in time with the music. The candidate was in time with the music for more than half the exercises but showed only occasional ability to respond to the music. The candidate was in time with the music for more than half the exercises and was able to respond to the music fairly well. The candidate was in time with the music for almost all the exercises and showed a generally good response to the music. The candidate was in time with the music for almost all the exercises and was able to respond to the music very well.

TABLE C: Performance (Classical) 0 marks 1 3 marks 4 marks 5 6 marks 7 8 marks 9 10 marks The work was not shown. The candidate showed little sense of performance, or appeared very unsure. The candidate occasionally showed a sense of performance. The candidate showed a fairly good sense of performance. The candidate showed a generally good sense of performance. The candidate showed a very good sense of performance.

48

TABLE D: All Free Movement and Character exercises; Character Dance in Grades 15; Grade 6 Waltz enchainement; Grade 7 Grand Allegro (includes Music and Performance) 0 marks 1 3 marks 4 marks 5 6 marks 7 8 marks 9 10 marks The work was not shown. The candidate showed little awareness of many of the elements assessed. The candidate was able to demonstrate the elements assessed some of the time. The candidate showed a fairly good ability to demonstrate the elements assessed, although some may be stronger than others. The candidate showed a generally good ability to demonstrate the elements assessed, although one or two may be less strong than others. The candidate was able to demonstrate the elements assessed almost all the time, although one or two may be less strong than others.

Table E: STUDY/DANCE: Music and Performance 0 marks 1 3 marks 4 marks 5 6 marks 7 8 marks 9 10 marks The work was not shown. The candidate showed little awareness of music or performance. The candidate showed some musical awareness and sense of performance, although one element may be a little stronger than the other. The candidate showed a fairly good musical awareness and sense of performance, although one element may be a little stronger than the other. The candidate showed a good musical awareness and good sense of performance, although one element may be a little stronger than the other. The candidate showed a very good musical awareness and a real sense of performance.

Table PR1: Presentation (Classical) PRIMARY ONLY 0 marks 1 3 marks 4 marks 5 6 marks 7 8 marks 9 10 marks The work was not shown. The candidate showed little expression throughout the examination or appeared nervous or hesitant. The candidate occasionally showed some expression. The candidate showed expression but with no variation. The candidate showed expression with some variation. The candidate showed varied expression and succeeded in communicating real enjoyment of dancing.

Table PR2: Classical Dance - Music and Presentation PRIMARY ONLY 0 marks 1 3 marks 4 marks 5 6 marks 7 8 marks 9 10 marks The work was not shown. The candidate showed little awareness of music or presentation. The candidate showed some musical awareness and sense of presentation, although one element may be stronger than the other. The candidate showed a fairly good musical awareness and sense of presentation, although one element may be stronger than the other. The candidate showed good musical awareness and a good sense of presentation, although one element may be a little stronger than the other. The candidate showed very good musical awareness and a real sense of presentation. 49

Part 5 CUSTOMER SERVICE STATEMENT

50

The Royal Academy of Dance exists to develop and promote knowledge, understanding and practice of dance internationally. We seek to promote life long learning, raise skill levels and realise ambitions. We aim to provide a courteous helpful and efficient service to everyone at all times and we encourage customer feedback on our services, programmes and merchandise. We regard customer service as of prime importance and all staff receive regular training in customer service skills. Services Membership of two professional bodies, the Royal Academy of Dance and the Benesh Institute with associated benefits and services A list of teachers with Royal Academy of Dance Registered Teacher status Conferences and Seminars Publications Telephone Help-lines Training Advice and lobbying

Programmes Programmes of study leading to certificate, diploma and degree qualifications Professional short courses Graded Dance Examinations in Classical Ballet at General and Vocational levels Presentation and Demonstration Classes and the Pre-School Dance Curriculum Dance Classes at Headquarters in London

Merchandise Royal Academy of Dance Enterprises Ltd. offers the full range of examination Syllabus notes and music in printed, recorded, video and CD formats, recommended examination uniform, teaching aids, books, Benesh manuscript paper and gifts. All products are available through personal shopping, mail order and on-line www.radenterprises.co.uk. Information Information on the Royal Academy of Dance can be obtained in the following ways: Visit the Academys website www.rad.org.uk Email info@rad.org.uk for General information exams@rad.org.uk for Examinations membership@rad.org.uk for Membership Services cs@rad.org.uk for Customer Services beneshinstitute@rad.org.uk Write to Royal Academy of Dance 36 Battersea Square London, SW11 3RA United Kingdom + 44 (0) 20 7326 8000 + 44 (0) 20 7924 3129

Telephone Facsimile Personal visits

The Royal Academy of Dance publishes membership magazines Dance Gazette (with a Diary and accompanying inserts in Feb, June and October), Benesh News (October) and BenTech (June) in addition to a wide range of leaflets, brochures and prospectuses, which are readily available on request.

51

Names and contact details of National Administrators, Regional Administrators and Area Organisers are published in the Dance Gazette, Diary and Academy websites. Examination fees are also published in the Diary and on the website. Customer Expectation The Royal Academy of Dance aims to: Provide a helpful, courteous and quick response to all enquirers and visitors Answer the Headquarters switchboard within six rings and transfer callers to the appropriate extension or voicemail. Answer direct line calls within three rings. Callers will have the opportunity to leave voicemail messages after the third ring. Respond to all voicemail messages within 24 hours on working days Respond to all correspondence (including emails and faxes) within seven working days. An acknowledgement will be sent within seven working days if a full reply is not immediately possible. This refers to all correspondence, including complaints. Publish and despatch the Dance Gazette, Benesh News and BenTech within publication and country delivery dates Despatch mail orders within ten working days, subject to receipt of correct order instruction, payment and stock availability.

Customer Feedback You are encouraged to provide feedback and may if you wish, use the Your Comments form which is readily available from the Academy, our website and Customer Services. Complaints We aim to ensure that you have no cause to make a complaint. However, if you do, you should write to Customer Services at the Academys office in London, using the contact details stated above. The Customer Service email address is cs@rad.org.uk All complaints will be acknowledged within seven working days. complaint and do our best to respond as soon as we can. We will look into your

If you are dissatisfied with the response received you may write to the Chief Executive at the Academys office in London, using the contact details stated above. This procedure is appropriate if you have a complaint. We have a number of other procedures, which deal with particular matters including appeals in relation to Membership, Registered Teachers, Graded examinations and Faculty of Education programmes of study. Where we have specific procedures in place the above will not apply. Monitoring We monitor your feedback to ensure that you are receiving the level of service and quality of product and merchandise that we aim to deliver.

52

Appendix 1

THE UK NATIONAL QUALIFICATIONS FRAMEWORK

Note: it is important that this framework should be read horizontally, not vertically. Although, for example, Grade 8 Award appears at the same framework level as GCE A Level, this does not mean that the two qualifications can be considered as equivalent or interchangeable.

Level of qualification 5

General Qualifications

Vocationally Related Qualifications

Occupational Qualifications Level 5 NVQ

Higher-level qualifications 4 3 Advanced GCE A/AS level Graded examinations in Dance: Grades 6, 7 and 8. Vocational A Level (Advanced GNVQ) Vocational Graded Examinations in Dance: Advanced Foundation, Advanced 1 and 2 Intermediate GNVQ Vocational Graded Examinations in Dance: Intermediate Foundation and Intermediate Foundation GNVQ Level 1 NVQ Level 2 NVQ Level 4 NVQ Level 3 NVQ

2 Intermediate

GCSE Grades A* - C Graded examinations in Dance: Grades 4 and 5.

1 Foundation

GCSE Grades D G Graded examinations in Dance: Grades 1, 2 and 3

Entry level

53

Appendix 2

FRAMEWORK LEVEL DESCRIPTORS FOR GRADED EXAMINATIONS IN DANCE

Candidates are expected to demonstrate an appropriate approach to the examinations, and compliance with health and safety principles. Each level has an expectation of the candidate, and these are shown below. Level 1 Grades 1 to 3 Candidates demonstrate an increasing vocabulary in the chosen dance technique. An understanding of the technique is reflected in the ability to co-ordinate simple movements to produce combination of steps, and quality of movement i.e. 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 a developing 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 to 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 the mechanics and purpose of the required vocabulary. Candidates show the ability to sustain an appropriate sense of the 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 Grades 6 to 8 Candidates demonstrate a comprehensive knowledge and understanding of the vocabulary of a particular style through the wide range of movements performed with technical strength. Along with confidence, candidates convey self-awareness, resulting in a sensitive personal Responsiveness to the 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.

54

Appendix 3

LEARNING OUTCOMES
Primary By the end of Primary, students will be able to: Classical Technique Show an awareness of correct posture and weight placement with controlled use of turnout Perform basic steps with co-ordination of the whole body Show correct use of the feet Show an ability to shape the arms Show accurate alignment Show simple steps of elevation with controlled landings Show use of space Music Perform with correct timing and responsiveness to the music Presentation Perform with expression Free Movement Technique Perform simple exercises with free flowing movement, co-ordination and an understanding of basic weight transference Show relaxation of upper body into a movement and suspension at the end of a movement Show appropriate use of small scarf or flag Music Perform with correct timing and responsiveness to the music Presentation Perform with expression Rhythm Exercises Perform simple exercises with a firmly held body, correct arm placement, timing and coordination of clapping and leg actions

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Level 1 Grades 1 to 3 By the end of Grades 1, 2 and 3, students will be able to: Classical Technique Show secure posture and correct weight placement Show an ability to move with co-ordination of the whole body Show well stretched legs and articulated footwork Show line through the body and ability to shape arms Demonstrate an ability to perform movements with accurate alignment and use of space Show elevation with controlled landings Music Perform with correct timing and responsiveness to the music. Performance Perform with expression and communication Free Movement Technique Perform simple steps with free flowing movement, use of space and co-ordination of the whole body showing an understanding of weight transference, use of gravity, suspension at the climax of a movement and controlled endings Show relaxation of upper back to project movements into space Demonstrate an ability to show simple lines through the whole body with and without turn from the waist Show elevation with spring off one leg and strong turn from the waist Show appropriate use of scarf or flag Music Perform with correct timing and responsiveness to the music. Performance Perform with expression and communication Character Technique Perform simple steps showing firm hold of the body upper back and head, correct arm and hand placement, use of fondu, use of space and articulated footwork relevant to the style Music Perform with correct timing, rhythmical accuracy and responsiveness to the music. Perform exercises with varied note values Performance Perform with expression and communication

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Level 2 Grades 4 and 5 By the end of Grades 4 and 5, students will be able to: Classical Technique Show secure posture and correct weight placement while performing movements of increased complexity Demonstrate an ability to perform an increased range of movements with co-ordination of the whole body, well stretched legs and articulated footwork Show line through the body Demonstrate an ability to perform an increased range of movements with accurate alignment and use of space Show a co-ordinated turning action with correct use of supporting leg and placement of working leg Demonstrate elevation with controlled landings in steps of increased complexity Music Perform with correct timing and responsiveness to the music. Performance Perform with expression and communication Free Movement Technique Perform more complex steps with free flowing movement, use of space and co-ordination of the whole body, showing a secure understanding of weight transference, use of gravity, suspension at the climax of a movement and controlled endings Show use of gravity and relaxation of upper back to project movements into and through space Demonstrate an ability to show varying lines through the whole body Show varying heights of elevation with spring off one leg Music Perform with correct timing and responsiveness to the music. Performance Perform with expression and communication Character Technique Perform more complex steps with firm hold of the body, upper back and head, correct arm and hand placement, use of fondu, use of space and articulated footwork appropriate to the style Perform a co-ordinated turning action Music Perform with correct timing, rhythmical accuracy and responsiveness to the music. Perform exercises with increased rhythmical complexity Performance Perform with expression and communication

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Level 3 Grades 6 to 8 By the end of Grades 6, 7 and 8, students will be able to: Classical Technique Show secure posture and correct weight placement in the performance of a wide range of more complex movements Show an ability to perform a wide range of complex movements with co-ordination of the whole body, well stretched legs and articulated footwork Show line through the body and use of paulement Demonstrate an ability to perform more complex movements with accurate alignment and use of space Show well co-ordinated turning actions with correct use of supporting leg and placement of working leg Demonstrate elevation with controlled landings in a wide range of more complex steps Music Perform with correct timing and responsiveness to the music. Performance Perform with expression and communication Free Movement Technique Perform a wide variety of simple and complex steps with free flowing movement, use of space and co-ordination of the whole body, showing a secure understanding of weight transference, use of gravity, suspension at the climax of a movement and controlled endings Show use of gravity and relaxation of upper back to project more complex movements into and through space Demonstrate an ability to show a variety of lines through the whole body using a wide range of complex movements Show varying heights of elevation with spring off one leg in more complex movements Show proficient use of long scarf with flexibility of upper back using a wide range of complex movements Music Perform with correct timing and responsiveness to the music. Performance Perform with expression and communication Character Technique Perform a wide range of complex steps with firm hold of the body, upper back and head, accurate placement of the arms and hands, use of deep fondu, use of space and articulated footwork relevant to the style, use of paulement Show an ability to contrast differing qualities of movements and steps Show a more complex co-ordinated turning action Music Perform with correct timing, rhythmical accuracy and responsiveness to the music. Show an ability to perform a variety of steps with complex rhythmic structures Performance Perform with expression and communication

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Appendix 4

ASSESSMENT CRITERIA FOR GRADED EXAMINATIONS: GRADES 1 - 8

Classical Ballet, Free Movement and Character consist of three interrelated areas Technique, Music and Performance - which are reflected throughout the Assessment Criteria. Each area includes a number of elements, which are also interrelated, and some of which are added as the examinations increase in complexity, thus making further demands on the students at each stage of their learning (see Progression of the Assessment Criteria in Appendix 6). In the examination, candidates will be assessed on their ability to: 1 perform a series of Classical Ballet exercises which require secure posture, correct weight placement, co-ordination of the whole body, accurate alignment, use of space, secure stretched leg extensions, elevation with controlled landings, articulated footwork, the ability to show line through the body (or, for Grades 1 and 2, the ability to shape arms), co-ordinated turning action (for Grades 5-8) and (for Grades 6-8) use of paulement; perform a series of Free Movement exercises which require relaxation, transference of weight, suspension, ability to show line through the body, free-flowing movement, elevation (for Grades 2-8), co-ordination of the whole body, use of space, use of gravity, controlled endings, use of the upper back (Grades 6-8), and (for Grades 1, 6, 7 and 8) use of a scarf; perform a series of Rhythm and Character exercises which require a firm hold of the body and upper back, confident carriage of the head, correct arm and hand placement, articulated footwork, use of space, use of fondu, co-ordinated turning action (for Grades 4-8), and use of paulement (for Grades 3-8); dance, throughout the examination, in time to the music and show responsiveness to the music, and (for Character sections only) show rhythmical accuracy; dance, throughout the examination, with expression and communication and (for Grade 7) incorporate the Romantic ballet style into the Classical exercises; perform a Classical Study or Dance and/or a Free Movement Study or Dance and/or a Character Dance which requires all the above aspects of Technique, Music and Performance and any key features listed in the mark allocation tables.

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Appendix 5

DEFINITIONS
Classical Technique The following is an explanation of the elements that are assessed in Classical Technique: Secure Posture Secure use of torso incorporating turnout. (Refer to Page 8 of The Foundations of Classical Ballet Technique) Correct Weight Placement The body weight centred over one or two legs or transferring with ease from one to two legs and two to one leg sur place or in travelling movements. The harmonious relationship of torso, limbs, head and eye focus in movement. The body facing the appropriate direction for the movement; the correct alignment of the limbs in relation to each other and the torso; travelling in the appropriate direction for the movement. Effective use of the peripheral space and performance space appropriate to the movement. The ability to create harmonious lines through the coordinated use of torso, limbs, head and eye focus. Ability to form the arms in the appropriate shape, according to the position. Well held and stretched legs in extensions terre and en lair. Elevation with controlled landings appropriate to safe dance practice. Articulated movements of the feet appropriate to the exercise. The ability to show co-ordinated use of legs, arms and head during a turning action. (Refer to Page 73 of The Foundations of Classical Ballet Technique) Use of paulement The ability to show a rotary action in the upper torso, combined with the use of head and eye focus.

Co-ordination of the whole body Accurate Alignment

Use of Space Ability to show line through the body Ability to shape arms Secure, Stretched Leg Extensions Elevation with controlled landings Articulated footwork Co-ordinated turning action

Free Movement Technique Relaxation Transference of weight Suspension Ability to show line through the body The partial release of the muscles, mainly of the neck and upper back, either preceding or following certain movements. The ability to transfer the weight from two feet to one foot, one foot to two feet and one foot to the other. A slight hesitation at the climax of a movement. A line which is created through the use of the body, limbs, head and eye focus, often with the body turned in opposition to the front leg.

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Free flowing movement Elevation Use of gravity Controlled endings

A feeling of moving freely through space in travelling movements. The ability to jump off one leg, with the appropriate dynamics. A downward action assisted by gravity which gives weight to a movement. The ability to control the endings of exercises, sequences, Studies and Dances.

Character Technique Definitions are either the same as for Classical Technique or the terms are considered to be self-explanatory.

Music The points listed under this heading emphasise that there is more to being musical than merely dancing on the beat. The following is an explanation of the elements that are assessed for Music: Correct Timing Responsiveness to the music Rhythmical Accuracy (Character section only) The ability to synchronise the movement with the music on the correct beat. The ability to demonstrate the appropriate movement dynamics, reflecting the quality, phrasing, atmosphere and rhythm of the music. The ability to demonstrate rhythmic pattern of differing combinations of note values.

Performance The following is an explanation of the elements that are assessed for Performance: Expression Communication Expression reflected in face, body and movement. Appropriate engagement with the audience.

The Foundations of Classical Ballet Technique referred to above is available from Royal Academy of Dance Enterprises Ltd. through mail order, personal shopping or from its website www.radenterprises.co.uk.

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Appendix 6

PROGRESSION OF ASSESSMENT CRITERIA: GRADES 1-8

Technique (Classical) and Study (Classical)

The following aspects are assessed throughout Grades 1-8: Secure posture Correct weight placement Co-ordination of the whole body Accurate alignment Use of space Secure stretched leg extension Elevation with controlled landings Articulated footwork

In addition, the following are assessed: In Grades 1 and 2: Ability to shape arms In Grades 3 4: Ability to show line through the body In Grade 5: Ability to show line through the body Co-ordinated turning action In Grades 6-8: Ability to show line through the body Co-ordinated turning action Use of paulement

Music (Classical)
The following aspects are assessed throughout Grades 1 8: Correct timing Responsiveness to the music

Performance (Classical)
The following aspects are assessed throughout Grades 1 to 8: Expression Communication

In addition, the following are assessed: In Grade 7: the ability to incorporate Romantic ballet style into exercises where required

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Free Movement Exercises/Sequences and Free Movement Study

The following aspects are assessed throughout Grades 1 to 8: Technique Relaxation Transference of weight Suspension Ability to show line through the body Free-flowing movement Co-ordination of the whole body Use of space Use of gravity Controlled endings In addition, the following are assessed: In Grades 2-8: Elevation In Grades 1, 6, 7 and 8: Use of scarf In Grades 6, 7 and 8: Use of upper back Music Correct timing Responsiveness to the music Performance Expression Communication

Rhythm and Character exercises/Character enchanements and Character Dance

The following aspects are assessed throughout Grades 1-8: Technique Firm hold of body and upper back Confident carriage of head Correct arm and hand placement Articulated footwork Use of space Use of fondu The following are also assessed: From Grades 4 to 8: co-ordinated turning action From Grades 3 to 8: use of paulement

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Music Correct timing Responsiveness to the music Rhythmical accuracy Performance Expression Communication

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Appendix 7

DATA COLLECTION
The UK Government uses the following standard classifications.

10 White, UK heritage 11 White, European 12 White, other (known) 19 White, type not known 20 Black, Caribbean heritage 21 Black, African heritage 22 Black, other 30 Indian 40 Pakistani 50 Bangladeshi 60 Chinese 80 Mixed Race 90 Other (known) 98 Parent/pupil preferred not to say 99 Ethnic group information not sought

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Appendix 8

EXAMPLE OF RESULT FORM

GRADED EXAMINATIONS IN DANCE CLASSICAL BALLET RESULT FORM

Candidate Name ____________________________ Candidate ID _______________ Examiner __________________________________ Date ______________________

GRADE 3
Marks Attainable CLASSICAL TECHNIQUE 1 CLASSICAL TECHNIQUE 2 CLASSICAL TECHNIQUE 3 MUSIC Classical PERFORMANCE Classical FREE MOVEMENT EXERCISES STUDY Technique STUDY Music and Performance RHYTHM AND CHARACTER EXERCISES CHARACTER DANCE Marks Awarded

10 10 10 10 10 10 10 10 10 10 100

TOTAL MARKS

0 - 39 Standard Not Atained 40 - 54 Pass 75 & over Distinction

55 - 74 Merit

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Appendix 9

ATTAINMENT DESCRIPTORS
Examiners assess each candidate against the marking criteria in order to award the appropriate mark for each element of the examination. The final total will fall into one of three mark bands which equate to three different pass categories. The following are broad descriptions of the qualities that the candidate will typically demonstrate in each of these categories. Distinction: 75 100 marks Secure and precise technique throughout most of the sections, with an ability to demonstrate contrast in style between the three dance disciplines. Musicality is highly developed most of the time and performance shows appropriate expression and communication. Merit: 55 74 marks Proficient technique in many of the sections, although it is probably stronger in some than others. Musical qualities are evident, although they could sometimes be a little more consistent. Performance shows expression and communication, although these aspects could be more sustained. Pass: 40 54 marks A basic competence in the technical aspects of the work, although some areas are stronger than others. Some musicality is evident although there are limitations in certain areas. A basic ability to show some expression and communication in performance is evident. Standard Not Attained: 0 39 marks Little awareness of technique is shown in most sections. Musical and performance qualities are very rarely evident.

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