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Study guide


The National Ballet Academy has adopted the six nationally endorsed competencies of the dancer profile according to the 'Dance Education Profile', while reformulating the study qualifications according to its own vision. Concrete behavioral indicators were then linked to the study qualifications in terms of noticeable behavior, so that professional requirements referred to in the qualifications can be easily tested. Below is an overview of the competencies (I, II, etc.) and final qualifications (1, 2, etc.) that guide the content of education at the Academy of Theatre and Dance (ATD). 

I. Creative competence
The graduate ballet dancer is able to give meaning to a choreographic work that is consistent with the choreographer's vision.

The graduate ballet dancer                                           
1. translates ideas into movement through (physical) interpretation.                                                                                
2. makes connections between specialist knowledge and skills in the field of classical dance/ballet and his performance.
3. knows the practice within the repertory company and finds his way in it.
4. prepares his performances well and acts as expected before, during and after the performance.           
5. places his work in a context of classical ballet history. 

II. Technical competence  
The graduate ballet dancer can apply his/her physical and mental skills and knowledge professionally in his/her work.

The graduate ballet dancer                                       
1. possesses proper body control and body awareness, and demonstrates this through strength, flexibility, musicality, endurance and dynamics. 
2. masters international ballet vocabulary.
3. masters the associated dance techniques necessary to perform a wide range of (classical) dance repertoire at a high level.
4. learns new choreography quickly and efficiently.
5. stays healthy and fit / prevents injuries, also with a view to long-term health
6. is able to reproduce and apply his knowledge of the history of classical dance.

III. Problem solving ability
The graduate ballet dancer is able to deal with a wide range of sometimes problematic situations and contribute to their resolution.

The graduate ballet dancer:
1. can perform under (great) pressure.
2. can cope well with changes and adjustments in the work process or choreography.
3. actively seeks ways to make the work process run smoothly.
4. assumes a constructive attitude in a variety of professional situations.
5. acts in case of injury.

IV. Communicative competence 
The graduate ballet dancer can communicate effectively in the professional ballet context.

The graduate ballet dancer:
1. communicates inside and outside the studio and on and around the stage with colleagues, rehearsers, grime & costume staff, theater technicians, medical staff and management and - if necessary - with press and audience. 
Communicates with (future) employers about their own skills by means of CV, portfolio, etc.

V. Learning and development competencies 
The graduate ballet dancer can continuously develop as an artist and professional, contributing to each specific production and to the professional ballet field.

The graduate ballet dancer 
1. is open to ideas, acquires new knowledge, insights and skills to keep developing and practicing his profession at a high level.
2. analyzes his/her own performance and improves it where necessary. 
3. gives and receives feedback from colleagues and supervisors and knows how to use this feedback for his personal development
4. observes the performance of colleagues and learns from it
5. knows how to maintain and improve his technical skills.

VI. Competence to work together 
The graduate ballet dancer can, through his/her function in the process, contribute to the realization of the artistic product or process in question.

The graduate ballet dancer:
1. knows his/her own qualities and identity and uses them effectively within collaborative relationships.
2. collaborates with colleagues, choreographers and rehearsers to achieve an optimal result.
3. bears responsibility in and around the studio/stage for the quality of his/her own performance and that of the ensemble as a whole.
4. gives constructive feedback.