SYLLABUS SPECIFICATIO

Level 4 Diplomas in
Music and Performing Arts
Syllabus Specification

August 2019

Rockschool | Performance Arts Awards | Vocational Qualifications

2
Acknowledgements

Academic Team (2019)

Director of Academic
Tim Bennett-Hart

Syllabus Specification design & development 2019

Tim Bennett-Hart & Sarah Perryman

Syllabus Specification proof reading & typesetting

Calum Harrison
Anna Cook

Executive Producers

Norton York
John Simpson

Development Team

Primary Syllabus Consultant

Rachael Meech

Syllabus Consultants
Anna Cook, Diane Widdison, Joanna Walling and Andy Gleadhill

Repertoire Advisors
Eva Brandt (Vocals and Music Theatre), Bruce Darlington
(Guitar, Bass and Drums) and Glen Capra (Piano and Keys)

Contact
RSL
Harlequin House Ground Floor
7 High Street
Teddington
Middlesex
TW11 8EE

Website: www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: [email protected]

Cover photograph: John Matychuk / Unsplash

3
CONTENTS
3…………….Acknowledgements
5…………….Foreword
6…………… Introduction

REGULATORY INFORMATION Candidate Access and Registration

Overview 16…………...Access and Registration
16………….. Recommended Prior Learning
8…………… Qualification Overview
8…………… Unit Overview
9…………… Assessment Overview Further Information and Contact
17………….. Approval of Repertoire
17………….. International Learners
Qualification Summary
17………….. Complaints and Appeals
10…………..Aims & Broad Objectives
17………….. Equal Opportunites
10…………..Progression
18………….. Contact for Help and Support
10…………..Entry Requirements
60………… Revision History

Assessment Information
11…………... Assessment Methodology
11…………... Assessment Methodology - Units
13…………...Assessment Methodology – Qualification
15………….. Accesssing Data and Information
15………….. Expectations of Kowledge, Skills and
Understanding
15………….. Quality Assurance

UNIT SPECIFICATIONS

20 Advanced Repertoire and Technical Skills 39 Enterprise and Entrepreneurship

(Double) 42 Inclusive Learning
23 Advanced Repertoire and Technical Skills (Single) 45 Planning, Facilitating and Evaluating Learning
26 Advanced Repertoire and Technical Skills (Second 48 Assessment
Discipline) 51 Understanding Learning
29 Artist Analysis 54 Self-Care for Creative Professionals
33 Collaborative Production 57 Safe Teaching
36 Marketing yourself as a Creative Professional

60
 FOREWORD
RSL’s Level 4 Professional Diploma Syllabus 2019 has been designed to build upon RSL’s graded examinations in both Music and
Performing Arts. It is aimed at candidates already working in the music and performing arts industry with the evidence required
being based on each candidate’s individual industry practice. This has resulted in an accessible and relevant qualification that
offers the opportunity for learners to self-study and achieve units at a pace that fits with their professional and other educational
commitments.

This specification guide serves three purposes:

To provide regulatory information surrounding the qualification

To provide an overview of qualification structure and content
To provide content and assessment specification relevant to the qualification

RSL’s Level 4 Professional Diploma continues to provide a progressive mastery approach to music and performing arts and an
enjoyable experience for all learners.

5
 INTRODUCTION
Welcome to the RSL 2019 syllabus for Professional Diplomas at Level 4. This syllabus guide is designed to give candidates
practical information on the Level 4 Professional Diploma qualification run by RSL.

The RSL website www.rslawards.com has detailed information on all aspects of our qualifications, including repertoire lists,
downloadable templates for case studies and evaluations and registration information.

This Syllabus Guide outlines the following qualification:

RSL Level 4 Professional Diploma (DipRSL)

The Value of RSL Qualifications

RSL advocates an open access approach to qualifications, providing a range of syllabi, designed to accommodate a wide variety
of candidates of different ages, experience and levels of achievement. RSL qualifications are listed on the Regulated
Qualifications Framework (RQF) in England and Northern Ireland by the Office of Qualifications and Examinations Regulation
(Ofqual), in Wales by Qualifications Wales and in Scotland by the Scottish Qualifications Authority. RSL is committed to
maintaining and improving its reputation for excellence by providing high quality education and training through its syllabi,
examinations, music and resources.

Period of Operation

This syllabus specification covers Diploma qualifications from May 2019.

6
Qualification Pathways
RSL offers three pathways for Diploma at Level 4: Performance, Creative Enterprise and Teaching. Candidates are permitted to
study one Level 4 Diploma pathway as part of their Level 4 Professional Diploma.

PERFORMANCE CREATIVE ENTERPRISE TEACHING

Two Core (compulsory) Units Three Core (compulsory) Units

Advanced Repertoire and Technical Skills

Collaborative Production Understanding Learning
(Double)

Marketing Yourself as a Creative Planning, Facilitating and Evaluating

Artist Analysis
Professional Learning

Enterprise and Entrepreneurship Inclusive Learning

One choice of optional unit from the following list

Advanced Repertoire and Technical Advanced Repertoire and Technical Advanced Repertoire and Technical
Skills (Second Discipline) Skills (Single) Skills (Single)

Assessment Artist Analysis Artist Analysis

Collaborative Production Assessment Assessment

Enterprise and Entrepreneurship Inclusive Learning Collaborative Production

Planning, Facilitating and Evaluating

Inclusive Learning Enterprise and Entrepreneurship
Learning

Marketing Yourself as a Creative Marketing Yourself as a Creative

Safe Teaching
Professional Professional

Planning, Facilitating and Evaluating

Self Care for Creative Professionals Safe Teaching
Learning

Self Care for Creative Professionals Understanding Learning Self Care for Creative Professionals

Safe Teaching

Understanding Learning

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OVERVIEW
QUALIFICATION OVERVIEW
GUIDED TOTAL
TOTAL NO.
QUALIFICATION TITLE QAN LEARNING CREDIT QUALIFICATION
OF UNITS
HOURS TIME

RSL Level 4 Professional Diploma

603/4854/9 3/4 40 40 400
(DipRSL)

UNIT OVERVIEW
GUIDED TOTAL
UNIT TITLE UNIT CODE LEARNING CREDIT QUALIFICATION
HOURS TIME
Advanced Repertoire and Technical Skills
PD401 20 20 200
(Double)

Advanced Repertoire and Technical Skills

PD402 10 10 100
(Single)

Advanced Repertoire and Technical Skills

PD403 10 10 100
(Second Discipline)

Artist Analysis PD404 10 10 100

Collaborative Production PD405 10 10 100

Marketing Yourself as a Creative Professional PD406 10 10 100

Enterprise and Entrepreneurship PD407 10 10 100

Inclusive Learning PD408 10 10 100

Planning, Facilitating and Evaluating Learning PD409 10 10 100

Assessment PD410 10 10 100

Understanding Learning PD411 10 10 100

Self Care for Creative Professionals PD412 10 10 100

Safe Teaching PD413 10 10 100

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ASSESSMENT OVERVIEW

ASSESSMENT

All assessments are carried out by external examiners. Candidates

Form of Assessment are required to carry out a combination of practical tasks and
underpinning theoretical assessments.

Unit specifications contain the title, unit code, credit level, credit
Unit Format value, learning outcomes, assessment criteria, grade descriptor, and
types of evidence required for the unit.

There are four bands of attainment (distinction, merit, pass and

Bands of Attainment
unclassified) for the qualification as a whole.

Evidence limits are set to give an indication of the typically required

Evidence Limits amount of information to achieve the learning outcomes. Candidates
may exceed the limits by 20%.

Quality Assurance ensures that all assessments are carried out to the
same standard by objective sampling and re-assessment of
Quality Assurance
candidates’ work. A team of external examiners is appointed, trained
and standardised by RSL.

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 QUALIFICATION SUMMARY
AIMS & BROAD OBJECTIVES
The aims of Diploma qualifications at levels 4 and 6 are:

To provide progression from the graded examinations progressive mastery framework.

To provide opportunities for learners to develop skills, knowledge and understanding of specialist areas such as
teaching or working in the creative industries.
To provide progression within the Diploma pathways for management and/or higher level technical and professional
skills, knowledge and understanding.

Diploma qualifications in Performing and Creative Enterprise are suitable for candidates in the pre-16, 16–18, 19+ age groups.
Diploma qualifications in Teaching are suitable for candidates aged 18+.

PROGRESSION

The Diploma qualifications are designed to allow opportunities for flexible progression routes through the choice of optional
units which will allow learners to tailor qualifications to meet their own specific needs for either working within the creative
industries or for further progression to further training or education.

ENTRY REQUIREMENTS

There are no entry requirements for these qualifications. However, candidates should be aware that there will be an expectation
of technical knowledge and understanding covered in previous qualifications.

Applicants for the Teaching pathway must be 18 years of age or older at the time of certification, and must send a scanned copy
of their birth certificate/passport/other proof of date of birth with their entry. Applicants under 18 years of age choosing the
Performance or Creative Enterprise pathways may choose elective units from the teaching pathway.

It is recommended that candidates have some experience of teaching theory and practice prior to taking units with a teaching
and learning focus as these units will require evidence of the candidate’s teaching practice.

For further details on assessment and fees and to apply for your Professional Diploma qualification please visit the RSL website
at www.rslawards.com

10
 ASSESSMENT INFORMATION
ASSESSMENT METHODOLOGY
The Level 4 Professional Diploma is assessed remotely and assessment evidence must be submitted digitally. Learners can
submit assessment evidence for single units or for the entire Diploma. A full Level 4 Professional Diploma requires assessment
evidence to be submitted for four units (three for the Performance pathway).

All assessment of these qualifications is external and is undertaken by RSL Examiners.

ASSESSMENT METHODOLOGY - UNITS

The grade awarded to each learner in each unit will depend in practice upon whether the learner has met the grading criteria
overall. Learners will need to fulfil all of the learning outcomes contained within the unit in order to be eligible for grading at pass
level or above.

All assessment is criterion referenced, based on the achievement of the specified learning outcomes (LOs). The grading criteria
relating to each unit will be used to grade work submitted. The following table provides the possible combinations of grades
awarded for learning outcomes, and how these are aggregated into a grade for the unit:

Total Learning Outcomes: 1

TOTAL PASSES TOTAL MERITS TOTAL DISTINCTIONS UNIT GRADE

1 0 0 Pass

0 1 0 Merit

0 0 1 Distinction

Total Learning Outcomes: 2

TOTAL
TOTAL PASSES TOTAL MERITS UNIT GRADE
DISTINCTIONS

2 0 0 Pass

0 2 0 Merit

1 0 1 Merit

1 1 0 Merit

0 0 2 Distinction

0 1 1 Distinction

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Total Learning Outcomes: 3

TOTAL PASSES TOTAL MERITS TOTAL DISTINCTIONS UNIT GRADE

2 1 0 Pass

3 0 0 Pass

1 1 1 Merit

1 2 0 Merit

2 0 1 Merit

0 2 1 Merit

0 3 0 Merit

1 0 2 Distinction

0 0 3 Distinction

0 1 2 Distinction

RETAKING UNIT ASSESSMENTS

On receipt of summative assessment unit results, learners are permitted one further attempt (at an additional charge) for any or
all learning outcomes within any assessed unit. This is uncapped and is available to any learner, regardless of the original grade
awarded.

12
ASSESSMENT METHODOLOGY - QUALIFICATION

Learners will need to pass all of the units contained within the qualification in order to be eligible for grading at pass level or
above. To work out the grade that is achieved for the qualification, the following methodology is used.

The credit value of the unit divided by 4 and multiplied by the Grade Multiplier giving a unit score:

Grade Multiplier
Pass = 2
Merit = 3
Distinction = 4

e.g. Unit credit value ÷ 4 x Grade Multiplier = Unit Score

10 ÷ 4 x 3 (merit) = 7.5

The total unit scores are combined and divided by the sum of the total credits available for the qualification. In the case of
diplomas this is 40. This gives the total qualification score which can be made into a percentage.

86%—100% Distinction
63%—85% Merit
50%—62% Pass

GRADE FOR
UNIT 1 UNIT 2 UNIT 3 UNIT 4
QUALIFICATION
Pass Merit Distinction Pass Merit

Unit Credit ÷ 4 x Unit Credit ÷ 4 x Unit Credit ÷ 4 x Unit Credit ÷ 4 x Total Unit Score ÷ 40
Grade Multiplier Grade Multiplier Grade Multiplier Grade Multiplier = Qualification Score

5 + 7.5 + 10 + 5 = 27.5

Then divide the total

(10 ÷ 4) x 2 = 5 (10 ÷ 4) x 3 = 7.5 (10 ÷ 4) x 4 = 10 (10 ÷ 4) x 2 = 5
sum by 40

27.5 ÷ 40 = 69%

13
The following tables provide some examples of possible combinations of grades awarded for units, and how these should be
aggregated into a grade for the qualification:

CREATIVE ENTERPRISE & TEACHING

GRADE FOR
UNIT 1 UNIT 2 UNIT 3 UNIT 4
QUALIFICATION
Pass Merit Pass Pass Pass

(10 ÷ 4) x 2 = 5 (10 ÷ 4) x 3 = 7.5 (10 ÷ 4) x 2 = 5 (10 ÷ 4) x 2 = 5 22.5 ÷ 40 = 56%

Unclassified Pass Pass Distinction Unclassified

0 - - - -

Merit Merit Distinction Distinction Distinction

(10 ÷ 4) x 3 = 7.5 (10 ÷ 4) x 3 = 7.5 (10 ÷ 4) x 4 = 10 (10 ÷ 4) x 4 = 10 35 ÷ 40 = 88%

Pass Pass Merit Merit Merit

(10 ÷ 4) x 2=5 (10 ÷ 4) x 2 = 5 (10 ÷ 4) x 3 = 7.5 (10 ÷ 4) x 3 = 7.5 25 ÷ 40 = 63%

PERFORMANCE

GRADE FOR
UNIT 1 (DOUBLE) UNIT 2 UNIT 3
QUALIFICATION
Merit Pass Merit Merit

(20 ÷ 4) x 3 = 15 (10 ÷ 4) x 2 = 5 (10 ÷ 4) x 3 = 7.5 27.5 ÷ 40 = 69%

Pass Pass Merit Pass

(20 ÷ 4) x 2 = 10 (10 ÷ 4) x 2 = 5 (10 ÷ 4) x 3 = 7.5 22.5 ÷ 40 = 56%

Distinction Merit Pass Merit

(20 ÷ 4) x 4 = 20 (10 ÷ 4) x 3 = 7.5 (10 ÷ 4) x 2 = 5 32.5 ÷ 40 = 81%

Unclassified Pass Distinction Unclassified

0 - -

Merit Distinction Distinction Distinction

(20 ÷ 4) x 3 = 15 (10 ÷ 4) x 4 = 10 (10 ÷ 4) x 4 = 10 37.5 ÷ 40 = 94%

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ACCESSING DATA AND INFORMATION

Learners will be able to review their progress of their study through the learner pages. These are learner specific and can be
accessed through a personal password system, which will allow a learner to look at their own records of unit registration and
achievement but not those of any other learner.

EXPECTATIONS OF KNOWLEDGE, SKILLS & UNDERSTANDING

The Level 4 Professional Diploma will contain assessment outcomes at Level 4 which is broadly equivalent to the first year of an
undergraduate Degree. Learners will need to ensure that they can access the appropriate training or learning opportunities to
gain the skills, knowledge and understanding required for this level.

Learners can complete this qualification at their own pace and no specific form of training is required. However, it is
recommended that learners contact a suitable trainer or mentor who will be able to provide them with opportunities for learning
and practical application of skills.

QUALITY ASSURANCE
All RSL qualifications are standardised in accordance with the processes and procedures laid down by RSL.

15
 CANDIDATE ACCESS AND REGISTRATION
ACCESS AND REGISTRATION

The qualifications will:

be available to everyone who is capable of reaching the required standards.

be free from any barriers that restrict access and progression.
offer equal opportunities for all wishing to access the qualifications.

At the point of application, RSL will ensure that all candidates are fully informed about the requirements and demands
of the qualification.

Candidates may enter online for any of the qualifications. Candidates are encouraged to complete the qualification in 1 year from
the date of registration. Extensions to this time can be applied for by directly contacting RSL awards at [email protected].

RECOMMENDED PRIOR LEARNING

Learners are not required to have any prior learning for these qualifications. However, learners should ensure that they are aware
of the requirements and expectations of the qualifications before entering for an assessment.

16
FURTHER INFORMATION AND CONTACT

APPROVAL OF REPERTOIRE
All repertoire should be agreed at least 6 weeks in advance of the submission of the video with RSL. Chosen repertoire will be
checked to ensure that it is comparable to the standard of the indicative repertoire lists and approval will be given once this
check is complete.

You must submit complete programmes and may send in only one complete programme for approval at any time. We are unable
to consider approval of individual pieces. RSL will aim to approve programmes within 15 working days. If RSL is unable to
approve programmes within this time you will be notified accordingly.

If the proposed repertoire is agreed, RSL will issue a permission statement, which will remain valid for six months. You should
submit the evidence for this unit within this timescale.

If the proposed repertoire is not agreed, RSL will contact the learner by email. The learner should then change piece(s) as
necessary and re-submit the whole programme (or replace the whole programme with pieces from the relevant repertoire list).

In approving programme proposals, we do not consider either timing or balance. The approval is simply in terms of technical and
musical difficulty, and it is the learner’s responsibility to design an appropriate and balanced programme that complies with the
stipulated timings.

RSL cannot accept responsibility if you submit evidence for this unit before requesting approval for your programme.
RSL’s decision on approval of any item or programme is final.

INTERNATIONAL LEARNERS

Units in this syllabus document are drafted to take account of legislation and regulations applicable in the UK. If studying outside
of the UK, please indicate the relevant legislation and regulations for the country in which you reside, including links to websites
or other resources as appropriate.

COMPLAINTS & APPEALS

All procedural complaints and appeals, including malpractice and requests for reasonable adjustments/special considerations, can
be found on the RSL website www.rslawards.com.

EQUAL OPPORTUNITIES

RSL’s Equal Opportunities policy can be found on the RSL website

www.rslawards.com.

17
CONTACT FOR HELP & SUPPORT

All correspondence should be directed to:

RSL
Harlequin House
Ground Floor
7 High Street
Teddington
Middlesex
TW11 8EE

Or [email protected]

18
UNIT
SPECIFICATIONS

19
ADVANCED REPERTOIRE AND TECHNICAL SKILLS
(DOUBLE)

Unit Code: PD401

GLH: 20
Total time for the unit: 200

AIMS/PURPOSE

This unit follows the progressive mastery framework of graded examinations at Grades 1-8 and vocational graded
examinations in dance at Intermediate and Advanced Foundation. The aim of this unit is to further develop advanced technical
skills beyond the standard required for Grade 8/Advanced Foundation and present these through a practical performance.

UNIT CONTENT

WHAT ARE ADVANCED TECHNICAL SKILLS?

These are skills that would be considered to be more complex than those demonstrated for Grade 8/Intermediate/Advanced
Foundation.

Broadly speaking, these skills include:

The ability to show technical mastery and personal style in performance.

The use of an extensive vocabulary of musical skills and/or dance movements and/or acting skills
Assured musicality and artistry
The ability to demonstrate a performance as a coherent entity in a confident and assured manner through:
§ Integrating personal knowledge and experience with the repertoire required in your chosen discipline/genre.
§ Appropriate subtleties of performance
§ Evidence of varied and challenging work being undertaken
§ The ability to communicate subtleties of interpretation effectively
§ The ability to interpret the repertoire for your chosen discipline/genre with a developing sense of
individuality and style
An adaptable, self-confident approach to performance skills.

The content of the performance is dictated by the complexity of the repertoire chosen for an individual discipline/genre. You
may choose one of the following genre/disciplines which is offered by RSL.

Music – Electric guitar, bass, drums, piano, keyboards, acoustic guitar, vocals, ukulele.
Dance – Street, Jazz
Performing arts – Musical Theatre/acting disciplines (acting and/or singing and/or dancing) – you will need to specify which
disciplines you will be demonstrating as part of your rationale for the choice of repertoire.

You will be expected to perform a programme of own choice pieces with a minimum duration of 25 minutes.

20
LIVE PERFORMANCE TO AN AUDIENCE

The pieces chosen for this unit can be performed either as solo or accompanied. The accompaniment can be live or via a
backing track. If a backing track is used, another person can be present to operate any technical equipment.

The audience for the performance should be a minimum of 2 people who are at the performance for the purpose of viewing it.
The audience should not include others involved in the production of the performance including the teacher/tutor.

CHOOSING APPROPRIATE REPERTOIRE

You should compile/choreograph and perform a varied and contrasting programme around a theme of your own choosing. The
programme should be of the required duration and result in a balanced performance.

All programmes must consist of a minimum of two pieces. These can be own choice pieces or drawn from the indicative
repertoire lists. The choice of pieces should be agreed in advance with RSL. Guidance on the choice of pieces at an appropriate
standard is available.

Please note that repertoire chosen should be suitable for a particular discipline or genre and that a performance in multiple
genre or disciplines is not appropriate for this unit.

APPROVAL OF REPERTOIRE

Please see this specification for information about RSL’s process for the approval of repertoire.

USE OF NOTES DURING THE PERFORMANCE

You may keep choreographic or musical notes with you during the performance if you wish to refer to these between pieces.
However, these must not interfere with the performance or the level of audience engagements.

LEARNING OUTCOMES

Through completion of this unit, you will:

1. Plan a performance of advanced technical skills

2. Demonstrate an advanced level of technical skills through performance
3. Evaluate the performance

21
ASSESSMENT EVIDENCE

This unit will be assessed through the demonstration of performance. You should provide:

A video of the performance of a minimum duration of 25 minutes.

An evaluation of your performance. The evaluation should include:
§ The rationale for the pieces chosen, including the technical skills to be demonstrated and the theme.
§ A description of the preparation/rehearsal for the performance.
§ Identification of own technical strengths and areas for development with reference to specific elements of
the performance.
§ An evaluation of the performance itself.

Please note that the video should show a continuous performance with no excessive breaks between pieces.

Evidence of planning and evaluation may be presented as; written work, video presentation, or podcast. Total written evidence
must not exceed 1500 words Total audio/visual evidence must not exceed 10 minutes.

GRADING CRITERIA

You showed knowledge and a broadly confident understanding of the context and complexity
of the repertoire chosen, giving a clear explanation of the rationale and theme for the
performance and your preparation for it. The performance demonstrated mostly secure and
PASS clearly grasped structural features and complex elements of the repertoire with a little
hesitation and some minor slips shown at points during the performance. You demonstrated a
sound and secure understanding of musical interpretation and a developed awareness of the
subtleties of performance and engagement with the audience. You provided a relevant and
clear evaluation of the performance, your technical strengths and areas for development.

You showed a thorough and confident knowledge and understanding of the context and
complexity of the repertoire chosen, giving a clear and thorough explanation of the rationale
and theme for the performance and a detailed account of your preparation for it. The
performance demonstrated secure, confident and clearly grasped structural features and
MERIT complex elements of the repertoire with very minor hesitation and the occasional slip shown
at points during the performance. You demonstrated a secure and confident understanding
of musical interpretation and an understanding of the subtleties of performance and
engagement with the audience. You presented a detailed and thoughtful evaluation of the
performance, your technical strengths and areas for development.

You showed a comprehensive and convincing knowledge and understanding of the context
and complexity of the repertoire chosen, giving a detailed and well thought through
explanation of the rationale and theme for the performance and an insightful and confident
account of your preparation for it. The performance demonstrated highly secure and
DISTINCTION sustained structural features and complex elements of the repertoire throughout the
performance. You demonstrated a highly secure and confident understanding of musical
interpretation and a highly developed understanding of the subtleties of performance and
engagement with the audience. You presented a comprehensive evaluation of the
performance, and your technical strengths and areas for development.

22
ADVANCED REPERTOIRE AND TECHNICAL SKILLS
(SINGLE)

Unit Code: PD402

GLH: 10
Total time for the unit: 100

AIMS/PURPOSE

This unit follows the progressive mastery framework of graded examinations at Grades 1-8 and vocational graded
examinations in dance at Intermediate and Advanced Foundation. The aim of this unit is to further develop advanced technical
skills beyond the standard required for Grade 8/Advanced Foundation and present these through a practical performance.

UNIT CONTENT

WHAT ARE ADVANCED TECHNICAL SKILLS?

These are skills that would be considered to be more complex than those demonstrated for Grade 8/Intermediate/Advanced
Foundation.

Broadly speaking, these skills include:

The ability to show technical mastery and personal style in performance.

The use of an extensive vocabulary of musical skills and/or dance movements and/or acting skills
Assured musicality and artistry
The ability to demonstrate a performance as a coherent entity in a confident and assured manner through:
§ Integrating personal knowledge and experience with the repertoire required in your chosen discipline/genre.
§ Appropriate subtleties of performance
§ Evidence of varied and challenging work being undertaken
§ The ability to communicate subtleties of interpretation effectively
§ The ability to interpret the repertoire for your chosen discipline/genre with a developing sense of
individuality and style
An adaptable, self-confident approach to performance skills.

The content of the performance is dictated by the complexity of the repertoire chosen for an individual discipline/genre.
Learners may choose one of the following genre/disciplines which is offered by RSL:

Music - Electric guitar, bass, drums, piano, keyboards, acoustic guitar, vocals, ukulele
Dance – Street, Jazz
Performing arts – Musical Theatre disciplines (acting and/or singing and/or dancing) – you will need to specify which disciplines
you will be demonstrating as part of your rationale for the choice of repertoire.

Learners will be expected to perform a programme of own choice pieces with a minimum duration of 15 minutes.

23
LIVE PERFORMANCE TO AN AUDIENCE

The pieces chosen for this unit can be performed either as solo or accompanied. The accompaniment can be live or via a
backing track. If a backing track is used, another person can be present to operate any technical equipment.

The audience for the performance should be a minimum of 2 people who are at the performance for the purpose of viewing it.
The audience should not include others involved in the production of the performance including the teacher/tutor.

CHOOSING APPROPRIATE REPERTOIRE

You should compile/choreograph and perform a short programme around a theme of your own choosing. The programme
should be of the required duration and result in a balanced performance.

All programmes must consist of a minimum of one piece. These can be own choice pieces or drawn from the indicative
repertoire lists. The choice of pieces should be agreed in advance with RSL. Guidance on the choice of pieces at an appropriate
standard is available.

Please note that repertoire chosen should be suitable for a particular discipline or genre and that a performance in multiple
genre or disciplines is not appropriate for this unit.

APPROVAL OF REPERTOIRE

Please see information in this specification about RSL’s process for the approval of repertoire.

USE OF NOTES DURING THE PERFORMANCE

You may keep choreographic or musical notes with you during the performance if you wish to refer to these between pieces.
However, these must not interfere with the performance or the level of audience engagement.

LEARNING OUTCOMES

Through completion of this unit, you will:

1. Plan a performance of advanced technical skills

2. Demonstrate advanced level technical skills through performance
3. Evaluate the performance

24
ASSESSMENT EVIDENCE

This unit will be assessed through the demonstration of performance. You should provide:

A video of the performance of a minimum duration of 15 minutes.

An evaluation of your performance. The evaluation should include:
§ The rationale for the pieces chosen, including the technical skills to be demonstrated and the theme.
§ A description of the preparation/rehearsal for the performance.
§ Identification of own technical strengths and areas for development with reference to specific elements of
the performance.
§ An evaluation of the performance itself.

Please note that the video should show a continuous performance with no excessive breaks between pieces.

Evidence of planning and evaluation may be presented as; written work, video presentation, or podcast. Total written evidence
must not exceed 1000 words Total audio/visual evidence must not exceed 10 minutes.

GRADING CRITERIA

You showed a knowledge and a broadly confident understanding of the context and
complexity of the repertoire chosen, giving a clear explanation of the rationale and theme for
the performance and your preparation for it. The performance demonstrated mostly secure
and clearly grasped structural features and complex elements of the repertoire with a little
PASS hesitation and some minor slips shown at points during the performance. You demonstrated a
sound and secure understanding of musical interpretation and a developed awareness of the
subtleties of performance and engagement with the audience. You provided a relevant and
clear evaluation of the performance, your technical strengths and areas for development.

You showed a confident knowledge and understanding of the context and complexity of the
repertoire chosen, giving a clear and thorough explanation of the rationale and theme for the
performance and a detailed account of your preparation for it. The performance
demonstrated secure, confident and clearly grasped structural features and complex elements
MERIT of the repertoire with very minor hesitation and the occasional slip shown at points during the
performance. You demonstrated a secure and confident understanding of musical
interpretation and an understanding of the subtleties of performance and engagement with
the audience. You presented a detailed and thoughtful evaluation of the performance, your
technical strengths and areas for development.

You showed a comprehensive and convincing knowledge and understanding of the context
and complexity of the repertoire chosen, giving a detailed and well thought through
explanation of the rationale and theme for the performance and an insightful and confident
account of your preparation for it. The performance demonstrated highly secure and
DISTINCTION sustained structural features and complex elements of the repertoire throughout the
performance. You demonstrated a highly secure and confident understanding of musical
interpretation and a highly developed understanding of the subtleties of performance and
engagement with the audience. You presented a comprehensive evaluation of the
performance, and your technical strengths and areas for development.

25
 ADVANCED REPERTOIRE AND TECHNICAL SKILLS
(SECOND DISCIPLINE)
Unit Code: PD403
GLH: 10
Total hours for this unit: 100

AIMS/PURPOSE

This unit follows the progressive mastery framework of graded examinations at Grades 1-8 and vocational graded
examinations in dance at Intermediate and Advanced Foundation. The aim of this unit is for you to demonstrate your
understanding of further disciplines at a standard equivalent to Grade 6 and to present these through a practical performance.

This unit is for learners wishing to add a second discipline to their level 4 Diploma and should be taken in addition to the
Advanced Technical Skills unit (either single or double unit).

UNIT CONTENT

WHAT TECHNICAL SKILLS ARE REQUIRED FOR THIS UNIT?

The skills required for this unit are equivalent to Grade 6 in standard. Please refer to the appropriate RSL syllabus or the PAA
repertoire list for indicative repertoire of an appropriate standard.

The content of the performance is dictated by the complexity of the repertoire chosen for an individual discipline/genre. You
may choose one of the following genre/disciplines which is offered by RSL:

Music - Electric guitar, bass, drums, piano, keyboards, acoustic guitar, vocals, ukulele.
Dance – Street, Jazz
Performing arts – Musical Theatre disciplines (acting, singing, dancing)

You should choose a different discipline to that chosen for your Advanced Technical Skills unit. This should be:
For Music – a different instrument
For Dance – a different dance genre
For Performing Arts – a different skills area (acting, singing, dancing)

You will be expected to perform a programme of own choice pieces with a minimum duration of 15 minutes.

CHOOSING APPROPRIATE REPERTOIRE

You should compile/choreograph and perform a short programme around a theme of your own choosing. The programme
should be of the required duration and result in a balanced performance.

All programmes must consist of a minimum of one piece. These can be own choice pieces or drawn from the indicative
repertoire lists for Grade 6. The choice of pieces should be agreed in advance with RSL. Guidance on the choice of pieces at an
appropriate standard is available.

Please note that repertoire chosen should be suitable for a particular discipline or genre and that a performance in multiple
genre or disciplines is not appropriate for this unit.

26
APPROVAL OF REPERTOIRE

Please see information in this specification about RSL’s process for the approval of repertoire.

USE OF NOTES DURING THE PERFORMANCE

You may keep choreographic or musical notes with you during the performance if you wish to refer to these between pieces.
However, these must not interfere with the performance or the level of audience engagement.

LEARNING OUTCOMES

Through completion of this unit, you will:

1. Plan a performance of demonstrating technical skills to the appropriate standard

2. Demonstrate the appropriate level of technical skills during the performance
3. Evaluate the performance

ASSESSMENT EVIDENCE

This unit will be assessed through the demonstration of performance. You should provide:

A video of the performance of minimum of 15 minutes duration.

An evaluation of your performance. The evaluation should include:
§ The rationale for the piece(s) chosen and the theme.
§ A description of the preparation/rehearsal for the performance.
§ Identification of own technical strengths and areas for development.
§ An evaluation of the performance itself.

Please note that the video should show a continuous performance with no excessive breaks.

Evidence of planning and evaluation may be presented as; written work, video presentation, or podcast. Total written evidence
for this learning outcome must not exceed 1000 words Total audio/visual evidence for the evaluation must not exceed 10
minutes.

27
GRADING CRITERIA

You showed knowledge and a broadly confident understanding of the context and complexity
of the repertoire chosen, giving a clear explanation of the rationale and theme for the
performance and their preparation for it. The performance demonstrated mostly secure and
clearly grasped structural features and complex elements of the repertoire with a little
PASS hesitation and some minor slips shown at points during the performance. You demonstrated a
sound and secure understanding of musical interpretation and a developed awareness of the
subtleties of performance and engagement with the audience. You provided a relevant and
clear evaluation of the performance, your technical strengths and areas for development.

You showed a thorough and confident knowledge and understanding of the context and
complexity of the repertoire chosen, giving a clear and thorough explanation of the rationale
and theme for the performance and a detailed account of their preparation for it. The
performance demonstrated secure, confident and clearly grasped structural features and
MERIT complex elements of the repertoire with very minor hesitation and the occasional slip shown
at points during the performance. You demonstrated a sound and secure understanding of
musical interpretation and a secure understanding of the subtleties of performance and
engagement with the audience. You presented a detailed and thoughtful evaluation of the
performance, your technical strengths and areas for development.

You showed a comprehensive and convincing knowledge and understanding of the context
and complexity of the repertoire chosen, giving a detailed and well thought through
explanation of the rationale and theme for the performance and an insightful and confident
account of their preparation for it. The performance demonstrated highly secure and
DISTINCTION sustained structural features and complex elements of the repertoire throughout the
performance. You demonstrated a sound and secure understanding of musical interpretation
and a highly developed understanding of the subtleties of performance and engagement with
the audience. You presented a comprehensive evaluation of the performance, and your
technical strengths and areas for development.

28
 ARTIST ANALYSIS
Unit Code: PD404
Unit Title: Artist Development
GLH: 10
Total time for the unit: 100

AIMS/PURPOSE

It is important for artists to be able to evaluate and analyse the influences on their personal style and how these have
developed. A greater understanding of the lineage and development of performing arts genres from the past can lead to a
greater understanding of themselves as performers or technicians in the creative industries.

This unit focuses on the ways in which your development as an artist is influenced by key individuals and how you interpret and
respond to their influences in your own development and work.

UNIT CONTENT

KEY INDIVIDUALS

These are individuals who are likely to have influenced your work in a particular discipline. In particular, these may be:

Musicians
Dancers
Singers
Actors
Choreographers
Directors
Composers

AURAL AND INDIVIDUAL SKILLS

You will need to use a range of aural and visual skills to identify characteristics and styles of artists. These include:

Stylistic traits and influences

Instrumentation, choreography, arrangements etc.
Tone, pitch, key, mood, rhythm, musicality, timing, diction, projection etc.

HOW INDIVIDUALS HAVE INFLUENCED YOUR WORK

You need to think about how the individual has influenced your work, in particular:

THE TYPE OF INFLUENCE THE ARTIST HAS

Historical and contemporary influences, subliminal influences (cultural etc.), mimetic influences, cultural, social etc. Wider
influences such as film, social media, video etc.

29
ANALYSIS OF THEIR INDIVIDUAL STYLE

e.g. key, instrumentation, use of instrumentation, style, use of chords, melody use, scales, projection, diction, rhythm, musicality,
technical proficiency, stage presence, audience engagement, personal style etc.
The relative effect of the performance (e.g. mood, message etc.)

ARTIST BACKGROUND

Artist’s background and childhood

Artist’s cultural, social and economic influences
Artist’s stated influences

and think about the following questions:

What is it in particular that you admire about their work?

How has your style developed and how has this been influenced by them?
How would you interpret or reimagine their style?

INTERPRETING THE STYLE OF AN ARTIST

You will need to put together a performance which shows how you interpret the style of the individual. You may choose one of
the following genre/disciplines which is offered by RSL:

Music - Electric guitar, bass, drums, piano, keyboards, acoustic guitar, vocals, ukulele
Dance – Street, Jazz
Performing arts – Musical Theatre disciplines (acting and/or singing and/or dancing) – you will need to specify which disciplines
you will be demonstrating as part of your rationale for the choice of repertoire.

You will be expected to perform a programme with a minimum duration of 15 minutes.

LIVE PERFORMANCE TO AN AUDIENCE

The pieces chosen for this unit can be performed either as solo or accompanied. The accompaniment can be live or via a
backing track. If a backing track is used another person can be present to operate any technical equipment.

The audience for the performance should be a minimum of 2 people who are at the performance for the purpose of viewing it.
The audience should not include others involved in the production of the performance including the teacher/tutor.

CHOOSING APPROPRIATE REPERTOIRE

You should compile/choreograph and perform a short programme of original or inspired work showing the influence of the
individual being analysed.
All programmes must consist of a minimum of one piece.

USE OF NOTES DURING THE EXAM

You may keep choreographic or musical notes with you during the performance if you wish to refer to these between pieces.
However, these must not interfere with the performance or the level of audience engagement.

30
LEARNING OUTCOMES

Through completion of this unit, you will:

1. Analyse the work and influence of a key individual

2. Interpret their work through a performance of your own creation
3. Evaluate the performance

ASSESSMENT EVIDENCE

This unit will be assessed through the demonstration of performance. You should provide:

An analysis of the work of a key individual and how they have influenced your own work
A video of the performance of a minimum duration of 15 minutes.
An evaluation of your performance. The evaluation should include:
§ The rationale for the pieces chosen including the technical skills to be shown and the link to the key
individual’s work (e.g. how have you chosen to interpret the work).
§ An evaluation of the performance itself and how the individual’s influence has been interpreted.

Please note that the video should show a continuous performance with no excessive breaks between pieces.

Evidence may be presented as; written work, video presentation, or podcast. Total written evidence must not exceed 1000
words Total audio/visual evidence must not exceed 10 minutes.

31
GRADING CRITERIA

You are able to analyse the influences of an artist on your work, showing knowledge and a
broadly confident understanding of the context and complexity of the repertoire chosen,
giving a clear explanation of how and why you chose it and how you choose to interpret it. The
performance demonstrated mostly secure and clearly grasped structural features and
PASS complex elements of the repertoire with a little hesitation and some minor slips shown at
points during the performance. You demonstrated a sound and secure understanding of
interpretation and a developed awareness of the subtleties of performance and engagement
with the audience. You provided a relevant and clear evaluation of the performance, the
interpretation and your technical strengths and areas for development.

You showed a confident ability to analyse the influences of an artist on your work, showing
knowledge and understanding of the context and complexity of the repertoire chosen, giving
a clear and thorough explanation of how and why you chose it and how you choose to
interpret it. The performance demonstrated secure, confident and clearly grasped structural
features and complex elements of the repertoire with very minor hesitation and the
MERIT occasional slip shown at points during the performance. You demonstrated a secure and
confident understanding of interpretation and an understanding of the subtleties of
performance and engagement with the audience. You presented a detailed and thoughtful
evaluation of the performance, the interpretation and your technical strengths and areas for
development.

You showed a comprehensive and convincing ability to analyse the influences of an artist on
your work, showing knowledge and understanding of the context and complexity of the
repertoire chosen, giving a detailed and well thought through explanation of how and why you
chose it and how you choose to interpret it. The performance demonstrated highly secure and
DISTINCTION sustained structural features and complex elements of the repertoire throughout the
performance. You demonstrated a highly secure and confident understanding of
interpretation and a highly developed understanding of the subtleties of performance and
engagement with the audience. You presented a comprehensive evaluation of the
performance, the interpretation and your technical strengths and areas for development.

32
COLLABORATIVE PRODUCTION
Unit Code: PD405
GLH: 10
Total hours for this unit: 100

AIMS/PURPOSE

Planning and executing a performing arts production as part of a group is a key skill to master. During your career, most
musicians, dancers and actors are likely to have a variety of roles in group performances, as well as those working in technical
theatre and production roles.

Being part of a group production requires an awareness of your own role and how it contributes to the overall group, working
with others to construct and deliver a coherent and balanced production. It also requires an understanding of the rehearsal
process and working together as a team to develop and master a production.

In this unit, you will demonstrate how you contribute to planning, designing and rehearsing a live performance production to a
chosen theme in any style, take part in or support a live group performance to an audience and evaluate your individual
contribution.

UNIT CONTENT

WHAT IS GROUP PRODUCTION?

A group production is anything which includes more than two performers and technical and support roles. Groups can be made
up of a variety of performers including actors, musicians and dancers, or be a group performing within a single discipline.

ROLES AND RESPONSIBILITIES WITHIN THE GROUP PRODUCTION

You may undertake one or more roles within the group, including:

Performer (actor, dancer, musician)

Producer
Technical roles (lighting, sound etc)
Promotion (marketing etc)
Choreographer/musical director
Director

SKILLS WITHIN THE GROUP PERFORMANCE

You will need to demonstrate not only technical skills but skills for working in teams including:

Leadership and facilitation skills

Motivating others
Active listening
Giving and receiving feedback
Team roles
Own strengths in team working

33
LIVE PERFORMANCE TO AN AUDIENCE

If you are submitting a live performance this means that evidence for the performance should be submitted as a performance,
which is between 10 and 30 minutes duration.

If you are presenting an edited performance (for example a full show which you have edited to show your contributions) please
ensure that this is clearly labelled and that only the edited sections are presented. RSL will not be able to assess more than the
stated maximum duration of 30 minutes of the performance.

The audience for the performance should be a minimum of 2 people who are at the performance for the purpose of viewing it.
The audience should not include others involved in the production of the performance including the teacher/tutor.

CHOICE OF REPERTOIRE/THEME

You should compile/choreograph and perform and/or provide technical support for a balanced performance around a theme of
your own choosing. You may choose to present a full show performance in which you have played a role but which is longer
than the stated duration. If this is the case please clearly label the edited sections.

All performances must consist of a minimum of one piece. This can be own choice pieces or drawn from the indicative
repertoire lists. The choice of pieces should be agreed in advance with RSL. Guidance on the choice of pieces at an appropriate
standard is available.

APPROVAL OF REPERTOIRE

Please see the specification for details about RSL’s approval process for repertoire.

ASSESSMENT EVIDENCE

You should submit:

A performance/rehearsal plan in your own words which includes information about:

§ Who is in the group and their roles
§ The choice of repertoire for the performance
§ A rehearsal schedule for the performance
§ Requirements for the performance (e.g. venue, equipment etc)

A video submission of a live performance of a minimum of between 10 and 30 minutes.

§ If you have a technical role you will need submit an annotated script/ plot detailing personal responsibilities
during the performance i.e. lighting cues, sound effects, set change.

§ If you had neither a performing or technical role you will need to submit either an annotated script/ plot i.e.
choreography notes or business plan for the production.

An evaluation of both your individual responsibilities and your role within the group.

Evidence for the performance/rehearsal plan and evaluation may be presented as; written work, video presentation, or podcast.
Total written evidence for each piece of evidence must not exceed 1000 words Total audio/visual evidence for each piece of
evidence must not exceed 10 minutes.

34
LEARNING OUTCOMES

Through completion of this unit, you will:

Understand how to plan, contribute to and evaluate a group production.

GRADING CRITERIA

You showed knowledge and a broadly confident understanding of the repertoire chosen,
giving a clear explanation of the rationale and theme for the performance and your role in the
preparation and planning of the group production. Your individual role in the production
PASS demonstrated that you had clearly grasped the technical skills required for your role and
showed secure teamworking skills. You provided a relevant and clear evaluation of the
performance, your role in it and your technical strengths and areas for development.

You showed a thorough and confident knowledge and understanding of the repertoire
chosen, giving a clear and thorough explanation of the rationale and theme for the
performance and a detailed account of your role in the preparation and planning of the group
production. The performance demonstrated that you had secure, confident and clearly
MERIT grasped technical skills required for your role and showed a consistent level of teamworking
and support for other members of the group. You presented a detailed and thoughtful
evaluation of the performance, your role in it and your technical strengths and areas for
development.

You showed a comprehensive and convincing knowledge and understanding of the repertoire
chosen, giving a detailed and well thought through explanation of the rationale and theme for
the performance and an insightful and confident account of your role in the preparation and
DISTINCTION planning of the group production. You demonstrated highly secure and sustained technical
skills required for your role throughout the production and highly developed teamworking
skills. You presented a comprehensive evaluation of the performance, your role in it and your
technical strengths and areas for development.

35
 MARKETING YOURSELF AS A CREATIVE PROFESSIONAL
Unit Code: PD406
GLH: 10
Total time for this unit: 100

AIMS/PURPOSE

The creative industries can be a challenging place to find work which will develop your career as a creative professional. There
are a large number of individuals seeking work at any one time which means that competition can sometimes be fierce. So how
do you get yourself and your work noticed and build your own brand within the sector?

This unit will give you opportunities to gain an understanding of the ways in which you can market and ‘sell’ your brand within
the creative industries and develop skills in marketing and promoting yourself and your work.

UNIT CONTENT
This unit is about developing your knowledge, skills and understanding about the ways in which you can build your ‘brand’ and
how to market this to different audiences.

BUILDING YOUR CREATIVE IDEAS AND YOUR ‘BRAND’

Within the creative industries it is important to understand the ways in which you can promote and market yourself as a
creative professional. This could be as a performer, a peripatetic teacher or in another creative role.

Questions to ask include:

What are my skills and who needs them? How do I present my skills?
What experience do I have and how do I present this?
How do I get started in promoting myself and my ‘brand’ – who do I need to go to and what do I need to do?

MARKETING AND PROMOTING YOUR ‘BRAND’

Once you have developed your ideas and your work, you will need to market and promote that to a range of potential
audiences. This could be employers, parents, students, music, dance or musical theatre organisations, agents etc.

You will need to build material which showcases not only your skills but also your brand identity. You’ll also need to think about
who needs to be sent or see the marketing materials – different types of materials will be useful in different situations. These
could include:

Pictures of you/your band/performances you have taken part in

Video of your performances or show reels
Showcases
Biographies or summaries of your skills and experience
Reviews of your performances
Your teaching experience and feedback from parents and students

36
You’ll need to think about how you send out your material to potential audiences and how to build and communicate with your
contacts and networks. This could be via social media (Facebook, Twitter, Instagram etc.) or more formal communications like
e-mail. It could even be face to face.

CONTINUOUS PROFESSIONAL DEVELOPMENT (CPD)

Alongside marketing and promoting your brand you will need to ensure that your skills, knowledge and understanding are up to
date to keep your brand as current and relevant as possible.

CPD can be offered by a number of organisations and it is important to know how to select appropriate CPD that you can
attend and which will be of benefit to you in the short, medium or long term.

RESOURCES

The following websites contain useful information for performers and those working in the creative industries.

www.spotlight.com
www.equity.org.uk
www.musiciansunion.org.uk
www.soundcloud.com
www.feutraining.org – free resources on all aspects of a freelance career - free for members of Equity and the Musicians’ Union

LEARNING OUTCOMES

Through completion of this unit, you will:

1. Understand how to market yourself as a creative professional.

2. Understand how to manage your brand and professional development.

ASSESSMENT EVIDENCE

You will provide:

A marketing proposal which includes:

A CV which gives details of yourself, your skills and experience

Evidence of research into your potential audience
How you will carry out your marketing and promotional activities

A short self-tape or show reel (minimum of 5 minutes) which demonstrates your skills to one of the potential audiences
identified in your marketing proposal. The self-tape could be a performance or an introduction to your work as a teacher or
other creative professional.

A CPD plan showing how you have researched the steps you will take to keep your skills, knowledge and understanding and
brand up to date and relevant.

Evidence for the marketing proposal and CPD plan may be presented as; written work, video presentation, or podcast. Total
written evidence for the marketing proposal and CPD plan must not exceed 1000 words each. Total audio/visual evidence for
the marketing proposal and CPD plan must not exceed 10 minutes each.

37
GRADING CRITERIA

You are able to provide a marketing proposal which includes details about yourself, your skills
and experience. Your marketing proposal will include research into your potential audience
and a profile of who your intended audiences will be. The proposal will provide an explanation
PASS of how you will carry out your marketing and promotion. Your self-tape/show reel will provide
a concise and relevant overview of your ‘brand’ and what you can offer to the potential
audience identified in the proposal. You are able to identify potential options for your personal
development and assess the benefits of these options for your professional career.

You are able to provide a detailed and well thought through marketing proposal which
includes information about yourself, your skills and experience. Your marketing proposal will
include detailed and well thought through research into your potential audience and a profile
of the most likely intended audience. Your proposal will include creative ideas within your
MERIT analysis of marketing and promotional activities. Your self-tape/show reel will provide a
confident and creative overview of your ‘brand’ and what you can offer to the potential
audience identified in the proposal. You are able to show consideration in the identification of
potential options for your personal development and an informed assessment of the benefits
of these for your professional career.

You are able to provide a comprehensive marketing proposal which includes a creative and
insightful approach to the information about yourself, your skills and experience. Your
marketing proposal will include insightful and well-informed research into your potential
audience and a well informed profile of the most likely intended audience. Your proposal will
include highly creative and insightful ideas within your analysis of marketing and promotional
DISTINCTION activities. Your self-tape/show reel will provide a highly confident, creative and innovative
overview of your ‘brand’ and what you can offer to the potential audience identified in the
proposal. You are able to show a high level of personal and professional awareness in the
identification of potential options for your personal development and an insightful and well-
informed assessment of the benefits of these for your professional career.

38
 ENTERPRISE AND ENTREPRENEURSHIP
Unit Code: PD407
GLH: 10
Total time for this unit: 100

AIMS/PURPOSE

Working in the creative industries is likely to mean that you run your own business, are a freelancer, are employed by one of the
many micro-businesses which operate across the sector or a combination of some or all of these. This means that it is vital to
understand how to plan and run your own business, whether as a teacher, performer or another role within the creative
industries. In this unit you will have opportunities to show your understanding of business planning, finance and legislation
relating to setting up and running a business. You will also demonstrate an understanding of how to be entrepreneurial in the
creative industries, generating new ideas and turning these into business opportunities.

UNIT CONTENT

This unit is about developing your knowledge, skills and understanding in entrepreneurship and starting your own business.

ENTREPRENEURSHIP

Creativity and entrepreneurship go hand in hand. All entrepreneurs will need to be creative but in the creative industries,
entrepreneurship focuses on how you invest in your own talent. As an entrepreneur you will need to be focused, willing to see
the possibilities and be adaptable, all under pressure. You will also need to be inventive, creative and persuasive when seeking
out opportunities or embarking on ventures, all whilst working under pressure.

Things to think about:

How do I generate new ideas and turn them into new products and services?
What is the best way of connecting and working with partners, clients, and other significant players in my network?
How do I identify opportunities in the marketplace to turn ideas into products and profits?

ENTERPRISE

Once you have decided on your creative ideas, you need to create business opportunities, either by starting your own business
or working with the many small and micro businesses within the sector. In the creative industries almost 95% of businesses are
micro businesses (defined as having fewer than 10 employees). The sector also has one of the highest proportions of self-
employed workers, 35% compared with 15% across the workforce as a whole. Of these, freelancers (individuals who work for a
range of clients) make up a significant proportion. Therefore, working in the creative industries is very likely to be as a
freelancer, in another self-employed capacity, as a sole trader or microbusiness with a portfolio career.

Being able to set up and run a business as a freelancer can be challenging as you are responsible for all aspects of the business
including marketing, sales and finance. Some of the issues you might need to take into account include:

Setting yourself up as a sole trader or company

Registering with HMRC as self-employed or registering your company
Completing your tax returns annually
Managing your income and expenditure
Networking and marketing yourself
Managing your workload

39
Once you have established your business, you may also want to think about how you maintain yourself as a freelancer, how to
grow your business and how you can plan and manage your longer-term work.

You might need to set and revise your goals on a regular basis and set up some of the following:
Structure
Policies, Procedures and Processes
Business plan
Financial plan
Marketing/growth plan

LEARNING OUTCOMES

Through completion of this unit, you will:

Understand how to set up a micro or freelance business.

ASSESSMENT EVIDENCE

You will need to produce:

A business proposal which shows the first year of a new business start up. The proposal will include:

What type of business are you proposing to establish? How will it be run (as a limited company or a sole trader)?
What legislation do you need to take account of and what measures need to be in place (risk assessment, insurances,
DBS, policies etc)
What are you offering?
What are your creative ideas?
What is the current competition?
Identification of strengths and weaknesses, opportunities and threats (SWOT analysis)
Marketing and promotion of the business
Identification of risks and contingency planning
Finance and budget
How and when you will review the proposal

Evidence for this unit may be presented as; written work, video presentation, or podcast. Total written evidence for this learning
outcome must not exceed 1000 words Total audio/visual evidence for the evidence must not exceed 10 minutes.

40
GRADING CRITERIA

You are able to provide an explanation of your creative ideas and detail the activities you will
need to undertake to establish your business. Your business proposal will include an analysis
PASS of how you will market and promote your ideas and an identification of potential risks and
threats to your operation.

You are able to provide a detailed and well thought through explanation of your creative ideas.
You are able to provide a detailed explanation of the activities you will need to undertake, in
MERIT order to establish your business. Your business proposal will include creative ideas within your
analysis of your marketing and promotional activities and a thorough and detailed
identification and analysis of potential risks and threats to your operation.

You are able to provide a comprehensive business proposal which includes a thorough
explanation of your creative ideas and the activities you will need to undertake, in order to
DISTINCTION establish your business. The business proposal will include insightful and well informed
analysis of your marketing and promotional activities and a comprehensive identification and
analysis of potential risks and threats to your operation.

41
 INCLUSIVE LEARNING
Unit Code: PD408
GLH: 10
Total time for the unit: 100

AIMS/PURPOSE

A key principle of teaching is that of inclusivity. You may deliver to students from a wide range of backgrounds, age groups and
levels of skill and ability. Therefore, inclusivity becomes integral to planning, delivering and evaluating the learning process. You
need to be able to understand, promote and champion diversity, equality and inclusion both within your own teaching practice
and more widely in music and performing arts. This unit gives you the opportunity to develop your understanding of inclusive
learning and how to promote positive behaviour through practical activities which are drawn from your own teaching
experience.

UNIT CONTENT

This unit is about developing your knowledge, skills and understanding of inclusivity and how it is applied in teaching practice.

Inclusivity has tended to focus on students with special educational needs (SEN). You are an important factor for the planning,
management and evaluation of learning. However, inclusive learning is, in its broadest sense, about considering the diverse
needs and backgrounds of all students to create a learning environment where they feel valued and have equal access to learn.

LEGISLATION RELATED TO INCLUSIVITY

Teachers need to be aware of the legislation which is related to inclusivity, most importantly the Equality Act (2010). The Act is
based around the two key concepts of personal characteristics, protected by the law and prohibited conduct.

PERSONAL CHARACTERISTICS

Age, Disability, Gender Reassignment, Marriage and Civil Partnership, Pregnancy and Maternity, Race, Religion or Belief, Sex,
Sexual Orientation

PROHIBITED CONDUCT

Direct Discrimination is treating one person worse than another because of a protected characteristic and includes
discrimination by association and perception. This sort of discrimination is never justifiable.
Indirect Discrimination is putting in place a rule or policy or practice that has a worse impact on someone with a
protected characteristic than someone without one, and that person suffers disadvantage. This sort of discrimination
might be justifiable and can be deemed NOT to have taken place if it can be shown that the treatment is a
proportionate means of achieving a legitimate aim.
Discrimination arising from Disability happens when a person is treated unfavorably because of something arising as a
consequence of the disability. This is different from direct and indirect discrimination. It can be deemed not to have
taken place if it can be shown that the treatment is a proportionate means of achieving a legitimate aim or if the
person did not know and could not reasonable have been expected to know about the disability.
Victimisation
Harassment

42
INCLUSIVE PRACTICE

Inclusivity is not just restricted to delivering lessons to students. It needs to be a key factor in the planning and evaluation of
learning as well. Inclusive practice may take the following forms:

PLANNING LEARNING

Ensuring that goals for students are achievable

Planning individual learning goals for students
Carrying out formative assessment of students’ skills and abilities
Taking into account any disabilities or learning difficulties which may require different methods of delivery or
teaching styles to be incorporated
Ensuring appropriate choice of repertoire (e.g. age, cultural or religious background etc.)

DELIVERING TEACHING SESSIONS

Identifying any particular needs for students before a class

Managing the teaching session so that everyone feels included
Communicating clearly with everyone and ensuring that everyone has understood instructions
Identifying any additional support needed during a class

EVALUATING LEARNING

Identifying individual progress and needs for future sessions

Evaluating lesson plans and identifying any changes needed
Talking to students about your progress and getting feedback on your needs

STUDENTS WITH SPECIAL EDUCATIONAL NEEDS (SEN)

Teachers need to be aware of the range of special educational needs that students may have and how students with special
educational needs can learn and make progress.

Special educational needs include students with disabilities and/or learning difficulties. The Equality Act defines disability as ‘a
physical or mental impairment which has a substantial and long-term adverse effect on a person’s ability to carry out normal
day-to-day activities’. These can fall into four broad categories:
Cognition and Learning Needs
E.g. general and/or specific learning difficulties (such as Dyscalculia and Dyslexia)

Communication and Interaction Needs

E.g. Autistic Spectrum Disorder (ASD), speech, language and communication needs

Sensory and Physical Needs

E.g. hearing impairment, multi-sensory impairment, physical disability, vision impairment

Social, Mental and Emotional Needs

E.g. Attention Deficit Disorder (ADD), Attention Deficit Hyperactivity Disorder (ADHD), mental health conditions

Teachers need to be aware of the Special Educational Needs Code of Practice (2015), which provides statutory guidance on
duties, policies and procedures relating to Part 3 of the Children and Families Act (2014) and associated regulations.

43
LEARNING OUTCOMES

Through completion of this unit, you will:

1. Demonstrate inclusive practice when teaching

2. Reflect on your inclusive practice

ASSESSMENT EVIDENCE

You will need to provide:

A case study demonstrating your own approach to inclusive practice with one individual or group of students. The case study
should cover how you plan and manage teaching of this individual or group and how the needs of students are identified and
incorporated into planning and teaching. The case study should also include a reflection on the ways in which teaching styles
have been used to ensure that the individual or all students in the group are engaged and motivated.

Evidence may be presented as; written work, video presentation, or podcast. Total written evidence must not exceed 1000
words Total audio/visual evidence must not exceed 10 minutes

GRADING CRITERIA

You are able show understanding through your research into inclusive practice and how this
relates to your own teaching practice. You show understanding of relevant legislation, and can
PASS explain how you practise inclusive learning and incorporate it into the planning, management
and evaluation of your teaching. You are able to evaluate the effectiveness of your inclusive
practice.

You show a sensitivity and level of self awareness through your research into inclusive
practice, making a clear connection with your own teaching practice. You show clear
understanding of relevant legislation and are able to give a thoughtful and informed
MERIT explanation of how you practise inclusive learning and incorporate it into the planning,
management and evaluation of your teaching. You are able to show a thoughtful and
informed evaluation of the effectiveness of your inclusive practice.

You show a mature, sensitive and highly self aware approach through your research into of
inclusive practice, making a clear connection with your own teaching practice. You show and
detailed understanding of relevant legislation and are able to give a well informed and
DISTINCTION insightful explanation of how you practise inclusive learning and incorporate it into the
planning, management and evaluation of your teaching. You are able to show a high level of
personal and professional awareness in your evaluation of the effectiveness of your inclusive
practice.

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PLANNING, FACILITATING AND EVALUATING LEARNING

Unit Code: PD409

GLH: 10
Total time for the unit: 100

AIMS/PURPOSE

The ability to plan and facilitate learning is at the core of good teaching practice. In the creative arts, teachers need to consider
how to create inspiring and motivating lessons which will engage and encourage students. This unit will give you the
opportunity to show how you plan and carry out lessons with your students and evaluate your teaching practice and the
learning process.

UNIT CONTENT

This unit is about developing your knowledge, skills and understanding of planning, facilitating and evaluating teaching and
learning.

Evidence of planning, facilitating and evaluating learning should be drawn from your own teaching practice for individuals or
groups working up to level 3 (Grade 8/Intermediate).

PLANNING LEARNING

Individuals and groups need a structured programme of learning to achieve their goals. Therefore, lesson planning is an
important part of teaching practice. You need to be able to put together structured plans for teaching sessions and classes
which show progression towards an identified goal. This is particularly important for teachers of graded examinations, where
the abilities of individuals and groups of students will normally dictate the rate of progress, and some will progress faster than
others.

There are a number of methods to use when planning learning:

Schemes of work – these can be useful tools to provide detail of the content and structure of a set of lessons which can
identify content coverage and plan out the time required to reach the identified goal.
Lesson plans – for each individual lesson, a detailed plan can be helpful to ensure that the required content for that lesson is
covered and that students are making progress with each lesson.

What to think about when planning learning

Initial assessment – where are the students in terms of their learning and achievement?
What is the goal they are working towards – exam, performance, show, recital?
What will need to be covered and in what order?
Will you need to build in time to practice/refresh learning/prepare for the examination?
If you have groups, do any students have particular needs?
How can you bring in opportunities for creativity (e.g. improvisation and student-led activities)?

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FACILITATING PLANNING

When facilitating learning, you need to be aware of:

Motivating and encouraging students – what methods can you use to keep them motivated and engaged?
Communication – what methods can you use to communicate effectively with individuals and groups?
Demonstration – showing students the syllabus elements
Using resources – using props or other resources to explain or demonstrate to students
Feedback – how do you feed back to your students on their progress?

EVALUATING LEARNING

Reflection and evaluation of how students are learning and progressing are an essential part of monitoring schemes of work
and lesson plans and making appropriate changes to plans and lessons to ensure that students are progressing appropriately.

LEARNING OUTCOMES

Through completion of this unit, you will:

1. Plan lessons within a scheme of work

2. Demonstrate a range of teaching techniques
3. Evaluate teaching practice

ASSESSMENT EVIDENCE

You should submit:

An outline of the scheme of work for one individual or group of students

Lesson plans for five consecutive lessons within the scheme of work
A video submission of one 20 minute minimum lesson in action (this must be one of the 5 planned lessons)
An evaluation of the submitted lesson which includes student feedback

Evaluation evidence may be presented as; written work, video presentation, or podcast. Total written evidence must not
exceed 1000 words Total audio/visual evidence must not exceed 10 minutes.

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GRADING CRITERIA

You can outline a scheme of work and plan five lessons for a chosen group or individual
student. Overall, your management of the class was satisfactory with clear selection of
PASS teaching techniques and overall a good level of communication maintained with students. You
can evaluate your teaching practice.

You can produce a clear and structured outline for a scheme of work and provide a detailed
plan of five lessons for a chosen group or individual student. Overall, your management of the
class was good with a considered and well thought through selection of teaching techniques
MERIT and overall a very good level of communication maintained with students. You reflected well
on your teaching practice, giving thoughtful insight into your progress and the ability to adopt
good practice into your own teaching.

You can produce a clear, structured and well thought through outline for a scheme of work,
and a comprehensive plan of five sessions for a chosen group or individual student. Overall,
the management of the class was excellent and with a selection of teaching techniques that
show real understanding of the needs and level of the class. You maintained an excellent level
DISTINCTION of communication with the students in the class meaning a consistent and very good level of
engagement and motivation was shown throughout the class. You provided a detailed
reflection on your teaching practice, showing a clear understanding of your teaching ability
and learning.

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 ASSESSMENT
Unit Code: PD410
GLH: 10
Total time for the unit: 100

AIMS/PURPOSE

In this unit you will develop an understanding of the principles of formative and summative assessment, and the ability to
identify student needs, track progress, make clear and robust assessment decisions and give appropriate and constructive
feedback to your students.

UNIT CONTENT

PRINCIPLES OF ASSESSMENT

Assessment can be defined as a process of making judgments of learners’ knowledge, skills and competence against set
criteria. There are two key forms of assessment, formative and summative.

Formative assessment is about measuring the progress of students through a course of study by providing ongoing feedback
to improve performance.

Summative assessment is about measuring achievement and outcomes at the end of a course of study.

The principles of assessment include:

The ability to make valid and reliable judgements (i.e. that you are assessing the right things and that you can
make repeatable judgements in the same way)
The kinds of evidence to take into account when making assessment decisions
How evidence can be authentic (i.e the student’s own work), sufficient (detailed and clear enough to meet the
criterion) and current (up to date)
The importance of objectivity and fairness to students in making assessment decisions
The importance of transparency for the students both in the decision made and the feedback given

TYPES OF ASSESSMENT AND EVIDENCE

These could include:

Discussion with the student

Observation of performance
Written evidence from the student
Written test

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CARRYING OUT ASSESSMENT ACTIVITIES

In carrying out formative or summative assessments you will need to be able to:

Prepare for assessment including:

§ Identifying student needs

§ Choosing the appropriate method of assessment
§ Communicating the requirements to the student(s)

Carry out the assessment including:

§ Conducting the assessment

§ Making assessment decisions
§ Comparing the assessment with the standards or progress measures you are using
§ Recording the assessment decisions
§ Feeding back to students

LEARNING OUTCOMES

Through completion of this unit, you will:

1. Plan and carry out assessment activities.

ASSESSMENT EVIDENCE

You will need to submit:

A case study of either formative or summative assessment that you have carried out. This should include:

How you planned the assessment activity – formative or summative, what type of assessment and the
methodology you chose.
How you carried out the assessment – what preparations and resources you needed to have in place, how you
conducted the assessment and how you managed the process.
How you gave feedback to the student(s) – what format you choose, how you delivered the feedback (formal or
informal, verbal or non-verbal), how it was received and how you delivered constructive feedback which gave
information about both strengths and areas for improvement or achievement based on the standards
An evaluation of your assessment practice – identifying your strengths and areas for improvement, how you
managed the assessment process, any learning and development needed for the future.

Evidence may be presented as; written work, video presentation, or podcast. Total written evidence must not exceed 1000
words Total audio/visual evidence must not exceed 10 minutes.

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GRADING CRITERIA

You were able to show clear planning of the assessment activity, giving sufficient detail about
the type and nature of the activity and why you chose the methodology. You were able to
explain how you carried out the assessment and managed the assessment process. You were
PASS able to give relevant feedback to student(s). You were able to evaluate your practice,
identifying some of your strengths and areas for improvement and the way in which you
managed the assessment process.

You were able to show clear and accurate planning of the assessment activity, giving relevant
and sufficient detail about the type and nature of the activity and why you chose the
methodology. You were able to give a clear explanation about how you carried out the
MERIT assessment and managed the assessment process. You were able to give constructive and
relevant feedback to student(s) and delivered this in an appropriate way. You were able to
evaluate your practice, giving a clear identification of your strengths and areas for
improvement and the way in which you managed the assessment process.

You were able to exemplify clear and accurate planning of the assessment activity, giving
relevant and highly detailed information about the type and nature of the activity and why you
chose the methodology. You were able to give a thorough explanation about how you carried
out the assessment and managed the assessment process. You were able to give constructive
DISTINCTION and relevant feedback to student(s) that not only reflected on student work but also fed
forward information about how students improve. You were able to evaluate and reflect on
your practice, giving a clear identification of your strengths and areas for improvement and
the way in which you managed the assessment process.

50
 UNDERSTANDING LEARNING
Unit Code: PD411
GLH: 10
Total time for the unit: 100

AIMS/PURPOSE

The learning process is at the heart of teaching. It is vital that teachers understand how learning takes place and how
pedagogical approaches can influence learning. Teaching in music and performing arts areas also brings its own set of
influences in the motivation and engagement of learners. In this unit, you will understand how pedagogical approaches can be
applied to your own teaching, how different learner groups develop and how this affects the selection of repertoire and
teaching styles.

UNIT CONTENT

This unit is about developing your knowledge, skills and understanding of pedagogical approaches to learning.

PEDAGOGICAL APPROACHES

Pedagogy relates to the “how”, or practice of educating. It concerns the interaction between teacher and learner, whilst
recognising that how children learn and develop is not only subject to what is intended to be taught, but also how it is facilitated.

There are a wide range of pedagogical approaches, used both within the UK and internationally. Learners need to be able to
consider the range of approaches commonly used in teaching in the performing arts and consider how these can be applied to
your own practice in teaching music and the performing arts.

Pedagogical approaches could include:

Creative pedagogy
Enquiry-based learning
Reflective learning
Collaborative learning
Learning through play
Learning through demonstration
Effective communication

EDUCATION IN THE CREATIVE ARTS

Understanding how learners engage in the music and performing arts is important for teachers. The performing arts can often
be used as a way of motivating and engaging those learners who find traditional educational approaches more challenging.
Many learners are engaged by practical delivery and a sense of achievement through the development of technical, musical and
performance skills.

Learners who enter graded examinations will also have to demonstrate self motivation and self-reliance as teachers will often
have a limited amount of teaching time to deliver the skills, knowledge and understanding required.

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COGNITIVE DEVELOPMENT

Teaching depends on the understanding of how children develop and how the stages of development that can influence
teaching styles. Teachers of music and performing arts will often deliver lessons to a diverse range of learners, from the very
young to the very old. A secure understanding of the needs of different age groups is therefore important. Factors affecting
cognitive development could include:

The emotional development of children and adolescents

Identity and self-esteem
Body esteem and body image
Difficult feelings for dancers and how to manage them
Challenge, motivation, support and encouragement
Fostering creativity
Individuality and difference
Self-care and responsibility for learning
The needs of children and adults with learning difficulties and/or disabilities

SELECTION OF REPERTOIRE

The selection of challenging yet appropriate repertoire will be largely dependent on the learners age groups, skill levels and
individual needs. You will need to be aware of the following considerations when selecting repertoire:

Physical stamina and development

Vocal/physical health
Suitability of material for younger learners
Complexity of material
Cultural sensitivity and awareness
Needs of individual learners

LEARNING OUTCOMES

Through completion of this unit, you will:

1. Understand how different pedagogical approaches meet the needs of music and performing arts learners
2. Understand learner development and the selection of appropriate and relevant repertoire
3. Understand how to reflect on your own teaching practice

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ASSESSMENT EVIDENCE

You should provide the following evidence for assessment:

A case study which includes:

Analysis of at least two pedagogical practices

How these relate to your own practice
The needs of a particular group of learners in relation to their cognitive development – the group of learners
should be drawn from your own experience
How the needs of learners you teach influence the selection of repertoire
A reflection on your own practice including what you have learned about your teaching style, your strengths and
what you could improve on

Evidence may be presented as; written work, video presentation, or podcast. Total written evidence must not exceed 1000
words Total audio/visual evidence must not exceed 10 minutes.

GRADING CRITERIA

You are able to analyse at least two pedagogical practices and explain how these relate to your
own practice. You are able to analyse the needs of a particular group of learners and how their
PASS cognitive development influences teaching styles and repertoire selection. You are able to
reflect on your teaching practice and the classes you have taught and evaluate your strengths
and areas for improvement.

You are able to provide an in depth analysis of at least two pedagogical practices and a
detailed explanation of how these relate to your own practice, showing some insight and
thought in your explanation. You are able to critically analyse the needs of a particular group
MERIT of learners and show clearly how their cognitive development influences teaching styles and
repertoire selection. You are able to provide thoughtful and detailed reflection on your
teaching practice and the classes you have taught, and evaluate your strengths and areas for
improvement.

You are able to provide a comprehensive analysis of at least two pedagogical practices and an
insightful explanation of how these relate to your own practice. You are able to critically
analyse the needs of a particular group of learners and justify how their cognitive
DISTINCTION development influences teaching styles and repertoire selection. You are able to provide a
comprehensive and insightful reflection on your teaching practice and the classes you have
taught and evaluate your strengths and areas for improvement.

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 SELF-CARE FOR CREATIVE PROFESSIONALS

Unit Code: PD412

GLH: 10
Total time for the unit: 100

AIMS/PURPOSE

This unit enables you to critically evaluate the impact of working life in the creative arts, on your physical and mental
health, and to develop strategies to manage your health and wellbeing.

UNIT CONTENT

This unit is about developing your knowledge, skills and understanding in health and wellbeing for those working in the creative
industries.

PHYSICAL WELLBEING

Performing can be stressful on the body and you should understand how to manage your physical health as performers.
This could be through:

Developing strategies to improve and maintain fitness

Eating a balanced diet
Keeping hydrated
Looking after your body
Getting enough sleep and rest
What to do in the case of injuries and accidents

MENTAL WELLBEING

Performers can work in stressful situations and managing a freelance career alongside work uncertainty and unsociable
hours can take its toll on mental wellbeing. This could be:

Anxiety
Depression
Low self-esteem
Eating disorders
Obsessive compulsive disorders

You will need to know where and when to get help. A list of useful resources is provided below.

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RESOURCES

There are a number of organisations which support workers in the creative industries. A few are listed below:

Equity www.equity.org.uk
Musicians’ Union www.musiciansunion.org.uk
ArtsMinds (supported by Equity and The Stage) http://www.artsminds.co.uk/
British Association for Performing Arts Medicine www.bapam.org.uk
National Institute for Dance Medicine and Science (NIDMS) www.nidms.co.uk
OneDance UK www.onedanceuk.org
People Dancing www.communitydance.org.uk
Help Musicians www.helpmusicians.org.uk/

All these organisations provide a range of support and information services for dancers, actors and musicians.

LEARNING OUTCOMES

Through completion of this unit, you will:

1. Review the risks and impacts on the wellbeing of creative artists.

2. Understand how to manage your health and care needs

ASSESSMENT EVIDENCE

You should provide:

A review of literature related to the risks and impacts on the health and wellbeing of those working in the creative
industries and a critical evaluation of how these can relate to your own situation.
A personal self-care plan relevant to your creative career which shows how you have researched a range of ways
in which you can manage your own health and wellbeing

Evidence may be presented as; written work, video presentation, or podcast. Total written evidence must not exceed 1000
words. Total audio/visual evidence must not exceed 10 minutes

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GRADING CRITERIA

You are able to evidence that you have carried out research into a range of health and care
options within the sector and made an assessment of your own health and care needs. You are
PASS able to show how your assessment links to the ways in which you can manage your own
health and care needs.

You are able to evidence that you have carried out research into the options within the sector
which directly feeds into your own health and care needs, showing a sensitivity and level of
MERIT self awareness when assessing your own health and care needs. You are able to make
thoughtful and informed decisions about ways in which you can manage your own health and
care needs.

You show a mature, sensitive and highly self aware approach to researching the ways in which
you can managed your own health and care needs, making an informed and mature
DISTINCTION assessment of your own health and care needs, and clearly relating these to your
understanding of the wider industry. You are able to make well informed and insightful
decisions about ways in which you can manage your own health and care needs.

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 SAFE TEACHING
Unit Code: PD413
GLH: 10
Total time for the unit: 100

AIMS/PURPOSE

This unit provides you with an overview of the key areas of legislation and good practice that you will need to be aware of if you
are teaching either privately or within educational institutions (schools, colleges etc). It is vital that you are aware of and comply
with the requirements so that you may demonstrate your responsibilities and your duty of care for the wellbeing and safety of
the students you teach.

UNIT CONTENT

Legislation applicable to teaching (in any setting) in the UK.

HEALTH AND SAFETY

You need to be aware of the requirements of the Health and Safety at Work Act 1974 and how this affects your own situation.
This is particularly important if you teach in a range of settings or own your own premises. You will need to understand how to
ensure that students are safe when you have responsibility for them and that you are aware of any potential risks to health and
safety in the venue or premises you teach in.

You will also need to understand how public liability and/or professional indemnity insurance applies to your work as a teacher.

SAFEGUARDING AND CHILD PROTECTION

The NSPCC defines Safeguarding as ‘the action that is taken to promote the welfare of children and protect them from harm’.
Safeguarding can also be used more widely to include anyone who is at risk of abuse or neglect. For example, vulnerable adults
or individuals with learning difficulties or disabilities.

Child protection is part of the safeguarding process. It focuses on protecting individual children identified as suffering or likely
to suffer significant harm. This includes child protection procedures which detail how to respond to concerns about a child.
In tandem with safeguarding and child protection is also an awareness of the Equality Act 2010 and the rights of individuals to
be treated fairly and equally.

As a teacher you will need to be aware of your responsibilities in relation to safeguarding and child protection which includes:

How to ensure that children and/or vulnerable adults are protected and safe when in your care.
How to report any suspected safeguarding and/or child protection concerns and to whom.

Whilst it is not mandatory to have a check with the Disclosure and Barring Service (DBS), it is recommended that you
understand what this is and what it means.

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QUESTIONS TO ASK YOURSELF ABOUT SAFE PRACTICE

How do you make sure that your teaching is inclusive? What are the challenges and issues to be addressed?
How do you make sure that you are aware of health and safety requirements?
What sort of measures do you have in place for safeguarding/child protection?
How do you make sure you are protecting children you are teaching?
How do you make sure you are insured against any potential risks?

RESOURCES

There are a number of websites which give information about health and safety and responsibilities. Some useful sources
include:
http://www.hse.gov.uk/legislation/hswa.htm
http://www.hse.gov.uk
http://www.simplybusiness.co.uk/knowledge/articles/2008/04/2008-04-29-why-public-liability-insurance-is-essential--5/

WEBSITES RELATING TO CHILD PROTECTION AND SAFEGUARDING

http://www.nspcc.org.uk/Inform/research/questions/child_protection_legislation_in_the_uk_wda48946.html
http://www.anti-bullyingalliance.org.uk/ - Information on how to identify and tackle bullying
https://www.gov.uk/government/organisations/disclosure-and-barring-service/about - Information about the Disclosure and
Barring Service

www.educare.co.uk/ - Offers online courses in safeguarding and child protection.

LEARNING OUTCOMES

Through completion of this unit, the learner will:

1. Assess and manage risk when teaching

2. Manage safe practice when teaching
3. Reflect on your own practice

ASSESSMENT EVIDENCE

You should provide:

A case study explaining how you manage safe practice when teaching. This should include how you assess risk, manage health
and safety issues and safeguarding/child protection, and how you reflect on your own practice.

Evidence may be presented as; written work, video presentation, or podcast. Total written evidence must not exceed 1000
words Total audio/visual evidence must not exceed 10 minutes

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GRADING CRITERIA

You can demonstrate that you take account of and practice effective safe teaching. You can
identify key risks in a chosen area of teaching practice, assess the level and impact of risks
PASS identified and identify actions and mitigations for the risks identified. You can explain how safe
practice is managed in a chosen area of teaching practice and reflect on the effectiveness of
your management of safe practice.

You can demonstrate that you have a detailed understanding of effective safe teaching which
you apply consistently to your practice. You can identify a range of key risks in a chosen area
of teaching practice, assess the level and impact of risks identified and identify a range of
MERIT actions and mitigations for the risks identified. You can provide a detailed explanation on how
safe practice is managed in a chosen area of teaching practice and give a well thought through
reflection on the effectiveness of your management of safe practice.

You can demonstrate that you have a comprehensive and insightful understanding of
effective safe teaching, which you apply rigorously and consistently to your practice. You can
provide a comprehensive risk assessment which gives a detailed assessment of each risk and
DISTINCTION well informed actions and mitigations. You can provide a thorough and detailed explanation of
how safe practice is managed in a chosen area of teaching practice and give reflection on the
effectiveness of your management of safe practice showing a high level of insight and self
awareness.

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 REVISION HISTORY
June 12th 2020
Assessment Overview page 9
The table has been updated to include information on evidence limits.

July 10th 2020

Ukulele has been added to the list of optional instruments within all repertoire units.

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