RAD Graded Examination in Dance: Grade 1 (Creative Training: Ballet) — Royal Academy of Dance Performing Arts Graded Examination Dance & Performing Arts Revision

    This subtopic focuses on developing foundational classical ballet technique at the Grade 1 level, where learners expand their movement vocabulary through s

    Topic Synopsis

    This subtopic focuses on developing foundational classical ballet technique at the Grade 1 level, where learners expand their movement vocabulary through structured exercises that emphasise correct posture, alignment, and coordination. Practical application centres on the integration of basic ballet movements with musicality, enabling students to perform with a sense of timing and rhythm, while also building confidence to engage an audience through controlled, expressive performance.

    Key Concepts & Core Principles

    Exam Tips & Revision Strategies

    Common Misconceptions & Mistakes to Avoid

    Examiner Marking Points

    RAD Graded Examination in Dance: Grade 1 (Creative Training: Ballet)

    ROYAL ACADEMY OF DANCE
    vocational

    This subtopic focuses on developing foundational classical ballet technique at the Grade 1 level, where learners expand their movement vocabulary through structured exercises that emphasise correct posture, alignment, and coordination. Practical application centres on the integration of basic ballet movements with musicality, enabling students to perform with a sense of timing and rhythm, while also building confidence to engage an audience through controlled, expressive performance.

    1
    Learning Outcomes
    6
    Assessment Guidance
    5
    Key Skills
    1
    Key Terms
    6
    Assessment Criteria

    Assessment criteria

    RAD Level 1 Award in Graded Examination in Dance: Grade 1 (Creative Training)

    Topic Overview

    The RAD Level 1 Award in Graded Examination in Dance: Grade 1 (Creative Training) is an introductory qualification designed for young dancers aged 5–7 who are beginning their formal training in ballet and creative movement. This grade focuses on developing basic ballet technique, musicality, and expressive movement through structured exercises and imaginative tasks. Students learn fundamental positions of the feet and arms, simple jumps, and basic port de bras, all while exploring rhythm and dynamics through creative exercises that encourage individuality and confidence.

    This qualification is part of the Royal Academy of Dance's graded syllabus, which provides a progressive pathway from Pre-Primary through to vocational levels. Grade 1 builds on the foundational skills from Pre-Primary and Primary, introducing more formal ballet vocabulary and structured sequences. The creative training element is unique to this level, allowing students to respond to music and stimuli with their own movements, fostering creativity alongside technical development. Success in this grade demonstrates a solid understanding of basic ballet principles and the ability to perform with joy and expression.

    Mastering Grade 1 is crucial for building a strong technical and artistic foundation. It prepares students for the more demanding work of Grade 2 and beyond, where greater precision, coordination, and performance quality are expected. The creative component also nurtures a lifelong love of dance, encouraging students to think imaginatively and move with freedom. For many, this is their first experience of formal assessment, so the focus is on positive achievement and building confidence in a supportive environment.

    Key Concepts

    Core ideas you must understand for this topic

    • →Basic positions of the feet (1st, 2nd, and 3rd) and arms (bras bas, 1st, 2nd, and 5th en avant) must be memorised and executed with correct alignment.
    • →Simple jumps (sautés) in 1st and 2nd positions, with controlled landings and use of demi-plié to absorb shock.
    • →Basic port de bras (movement of the arms) and head movements, coordinating with simple steps like walks, runs, and gallops.
    • →Understanding of rhythm and musical phrasing, including ability to move in time to 2/4, 3/4, and 4/4 time signatures.
    • →Creative exploration: responding to a given stimulus (e.g., a story, piece of music, or image) with original movement sequences, demonstrating imagination and spatial awareness.

    Learning Objectives

    What you need to know and understand

    • LO1: Demonstrate basic techniques through using an increasing vocabulary of movement in classical ballet technique. LO2: Demonstrate the ability to interpret music with a sense of appropriate timing and rhythm for classical ballet technique. LO3: Demonstrate performance with an increasing confidence and responsiveness to an audience

    Assessment Criteria

    Key criteria assessors look for in your portfolio

    • Award credit for demonstrating correct posture, with spine elongated, shoulders relaxed, and pelvis neutral throughout all exercises.
    • Expect clear articulation of feet and legs, including consistent pointing and stretching in battements tendus and jetés as appropriate to Grade 1 syllabus.
    • Look for accurate musical timing, with movements starting and finishing precisely on the beat in all set exercises and dances.
    • Credit should be given for the ability to sustain focus and projection towards the examiner or audience, showing an emerging sense of performance quality.
    • Assess coordination of port de bras with leg and body movements, ensuring arms maintain a rounded shape and flow with the music.
    • Reward the use of dynamic contrast, such as light jumps versus sustained rises, to reflect the character of the music.

    Assessment Guidance

    Guidance for achieving higher grades

    • 💡Practise each exercise with the official RAD music recording to internalise the rhythm and cue points before the examination.
    • 💡Focus on the details: even in simple steps like pliés, ensure heels are firmly on the floor in demi-plié and legs fully stretched in relevé.
    • 💡Develop a ‘performance mindset’ from the first lesson – imagine an audience even in rehearsals to build natural confidence.
    • 💡Use the free arm in a coordinated, fluid manner, as it enhances the artistic impression and demonstrates overall body awareness.
    • 💡Warm up thoroughly to encourage relaxed yet poised presentation; tension often arises from cold muscles or nerves.
    • 💡Record your practice sessions to self-assess alignment, musicality, and expression, then set specific goals for improvement.
    • 💡Practise the set exercises with different tempos and dynamics. For example, perform a simple port de bras slowly and expressively, then faster with more energy. This builds adaptability and musicality.
    • 💡In the creative section, use the full space available. Avoid staying in one spot; travel in different directions and levels (high, medium, low) to show spatial awareness and variety.
    • 💡Always finish a movement with a clear ending. Whether it's a pose or a final step, hold it for a moment to show control and confidence. This leaves a strong impression on the examiner.

    Common Mistakes

    Common errors to avoid in your coursework

    • Collapsing the supporting hip in exercises like battement tendu à la seconde, leading to poor turnout and balance.
    • Rushing ahead of the music or failing to hold end positions, resulting in a lack of synchronisation with the accompaniment.
    • Stiffness in the upper body or fixed gaze, which detracts from the expressive quality and prevents natural breathing.
    • Incorrect weight placement on the foot, such as sickling in relevé or rolling inwards, undermining stability and line.
    • Memorising movements without understanding their dynamic, leading to a robotic rather than sensitive interpretation.
    • Misconception: 'Creative training means I can just make up any movement without structure.' Correction: While creative exercises encourage originality, they still require clear shapes, use of space, and musicality. Movements should be intentional and show awareness of the body.
    • Misconception: 'I don't need to worry about turnout in Grade 1.' Correction: Even at this level, correct alignment and a gentle rotation from the hips are important. Forcing turnout is not required, but natural rotation should be maintained in all positions.
    • Misconception: 'The exam is just about remembering the exercises.' Correction: The examiner also looks for performance quality, expression, and enjoyment. Smiling, engaging with the music, and showing confidence are key to achieving high marks.

    Frequently Asked Questions

    Common questions students ask about this topic

    Before You Start

    Prior knowledge that will help with this topic

    • •Completion of RAD Pre-Primary and Primary in Dance (or equivalent foundational movement experience) is recommended, as Grade 1 assumes basic familiarity with classroom etiquette, simple steps, and following a teacher's instructions.
    • •Basic understanding of counting music (e.g., being able to clap in time to a simple beat) helps students grasp rhythmic exercises more quickly.
    • •No formal ballet training is required, but some experience of creative movement or dance classes is beneficial for the creative training component.

    Key Terminology

    Essential terms to know

    • LO1: Demonstrate basic techniques through using an increasing vocabulary of movement in classical ballet technique. LO2: Demonstrate the ability to interpret music with a sense of appropriate timing and rhythm for classical ballet technique. LO3: Demonstrate performance with an increasing confidence and responsiveness to an audience

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