DTS502: RAD Grade 3 Ballet Lesson Plan with Teaching Strategies

This assignment presents a detailed lesson plan for RAD Grade 3 ballet, designed for a class of 10 students. The plan outlines three lessons, each with specific objectives, content, teaching methods, and strategies for inclusion and differentiation. Lesson 1 focuses on warm-up exercises and basic ballet movements, while Lesson 2 delves into barre work, including plies and tendus. Lesson 3 centers on center practice, combining port de bras, adage, and grand allegro. The plan emphasizes the importance of student discipline, commitment, and a well-structured lesson for successful RAD assessments. The assignment also includes a reflection on the lesson's effectiveness, highlighting areas of mastery and challenges encountered, such as student attendance and the number of exercises in lesson three. It references relevant academic sources to support the pedagogical approach. The lesson plan incorporates inclusive teaching strategies and differentiation to cater to students' varying needs and abilities, with a focus on preparing students for a mock exam.

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Name of student:
Name of tutor:
Name of institution:
Course:
Date:
Ballet lesson plan for RAD grade 3
Ballet is a program where the participants/ students pursue their special skills to improve
on their stage performance and the Royal Academy of Dance scores during the assessment
(Taylor-Spann). Below is a sample plan for RAD grade 3 with 10 participants.
Date: Lesson 1,2, and 3 Participants :s10
The venue: RAD headquarters Additional needs: The students are well bodied with
no additional needs. For those having medical
conditions have approval for exercises with awareness
of their exercise capacity.
Lesson one aims Lesson objectives
To put in practice a range of dance activities
that help to develop physical being and
enhance creativity among the participants
To respond to the stimuli and ability to create
combinations.

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(Soot 448-456). To achieve increased movement and
flexibility through all the joints (Bloomfield
and Anne).
Time Content and
resources
Teaching methods and
strategies Inclusion/differentiation
Lesson 1
(5 mins)
General warm-up:
The participants to
alternate their feet
from demi-pointe to
demi-pointe to warm
up their feet.
Perform petite
jumps.
Perform hamstring
stretches.
Ensure the student
focus on their
posture.
Method:
Use of guided practice
approach.
Strategies:
For successful development of
the teaching method, apply the
following:
Warm up
Participants to stand on the bar
while performing movements
that will warm up their feet
and their hamstrings stretch
with petite jumps to get up the
heart rates.
Basic arms the bra bar, first,
demi second, and fifth.
Basic feet the first, second,
Inclusions
The students are expected
to follow the exam
content and procedures
and uphold the methods
being used.
Introduction to the
examiner is very essential
as it enables the examiner
to provide inclusion
where necessary
throughout the whole
program.

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and the third.
Lesson 2
(30 mins)
The participants to
perform Barre work
Plies and Tendus
both from grade 3
syllabus
Method:
Use of guided practice
For the plies and tendus;
Place the participants on the
barre and ensure they are well
spaced. Ensure they know the
positions while going through
the first, second, and third
using the pressure of the floor
while maintaining proper body
position and posture during
these movements.
Differentiation
During the exercise from
first, second, and third all
the barre arm and leg
movements change
(Butterworth 115-132).
Inclusion
Some participants
experienced difficulties
in placement of feet and
arms. To overcome this it
was suggested that they
slowly repeat the exercise
with keenness while
being observed by verbal
feedback by the teacher.
Lesson 3
(30 mins)
Centre practice
Port de bras
Rond de jambe
Adage
Grand allegro
Combination of practice
teaching styles.
Place the students in lines
where they are well spaced
where be seen clearly during
each exercise.
Differentiation
Before performing the
port de bras, re-
emphasize the head
position and the meaning

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of the term.
Inclusion
Use of tactile feedback
only if agreed upon by
the students.
5 mins Cool-down
Reverence and
discuss
The participants to slowly
perform cool-down exercises,
slowly stretch the muscles to
prevent damage to the worked
joints.
Inclusions
Discuss the participant’s
general behaviour
throughout the lesson and
the next session’s
expectations.
To some extent of higher degree l can ascertain that the plan enabled the learners to meet
the outcomes as the teaching methods and strategies are accommodative to all the learners both
the slow and the first learners (Dias Pereira dos Santos 183-191). Lesson one and two were fairly
mastered by most students as most exercises went well due to enough time for several
repetitions. According to (Tower), this calls for a high standard of discipline, hard work, and
commitment from the students taking the ballet classes. Moreover, for students taking the RAD
assessments, registration must be completed within the given time and all the participants learn
the work whether they complete the assessment or not. The choreography put in place teaches
recall, the student’s attention to detail, performance quality. For this to take place, a properly
prepared lesson plan must be put in place to ensure the smooth running of the training session
through to the assessment exams (Aujla 80-85).

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However, most learners had trouble in mastering lesson three due to a slightly high
number of exercises conducted in lesson three. Several repetitions with keen monitoring and
demonstration had to be implemented for the learners to master the port de bras performance
among other exercises (Konar and Amit 269-272). It was observed that the participants did not
show consistency in their attendance of the lessons, which was a challenge to the trainer, and the
examiner as there was lack of uniformity in mastering the ballet dances. This could easily lead to
ignorance of the trainer due to the lack of interest in some participants.
Works Cited
Aujla, Imogen J, and Redding, Emma. "Barriers to dance training for young people with
disabilities." British Journal of Special Education 40.2 (2013): 80-85.

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Baxter, Charles. "You're really something." Baxter, Charles. Bringing the Devil to his Knees.
Michigan: The University of Michigan Press, 1999. 91-105.
Bloomfield, Anne, and Childs, John. Teaching integrated arts in the primary school: Dance,
drama, music, and the visual arts. Routledge, 2013.
Butterworth, Jo. "Too many cooks? A framework for dance making and devising."
Contemporary Choreography. Routledge, 2017. 115-132.
Dias Pereira dos Santos, Augusto and Yacef, Kalina and Martinez-Maldonado, Roberto. "Let's
dance: how to build a user model for dance students using wearable technology."
Proceedings of the 25th Conference on User Modeling, Adaptation and Personalization.
ACM, 2017. 183-191.
Konar, Amit, and Saha, Sriparna. "Conclusions and Future Directions." Gesture Recognition.
Springer, 2018. 269-272.
Soot, Anu and Leijen, {\"A}li. "Designing support for reflection activities in tertiary dance
education." Procedia-Social and Behavioral Sciences 45 (2012): 448-456.
Taylor-Spann, Rose. "Classical Ballet Pre-pointe Education: An Analysis of the Pedagogy for
the Training of Young Dancers." (2016).
Tower, Hydesville. "More Able \& Talented Policy." policy (2017).