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National Dance , Modelling and Speech and Drama

National Dance
The National Dance Performance syllabus is structured to safely develop technique, performance and knowledge skills.

The syllabus is based on the traditions and cultures of many countries throughout the world. The traditional dance forms within the countries is studied together with their traditional dress. It is intended to make students aware of the origins of dance and how their influences can be seen in dance forms, as we know them today.

The graded examinations in National Dance Performance are achievable by those individuals who study purely for enjoyment as well as being a sound training for those who wish to pursue a career in National Dance Performance either as a performer or as a teacher.

Modelling
The Modelling syllabus is a progressive syllabus that is structured to develop technique, performance and catwalk skills in a safe manner.

Modelling is a wonderful subject to introduce to the dancer as it can only help to enhance other subjects as well as enforce the need for discipline. It is designed on the professional aspect of modelling and is divided in to four parts:

Interview - To develop the student's communication skills

Technical - Working on the placing of the feet, body and arm lines

Catwalk - This uses patterning and helps with the co-ordination and development of technical skills in performance

Fashion - The grades develop through all types of attire including daywear, swimwear, evening wear, etc…

Studying the Modelling syllabus can help to build the student's confidence, awareness and development of working in a team. The syllabus can be started at any age at Junior, Intermediate or Senior levels.

Speech and Drama
Is there an ideal drama teacher? We would say "yes there is", but emphasise that in work of the kind described here that it is the attitude of the drama teacher, rather than any formal dramatic training, that defines this ideal.

A large number of teachers say that to do drama would be "great" and then
they say "but of course I don't have any training in the subject" as if assuming that the subject matter learnt, voice production and the movement are the
vital factors.

Arguably if Speech and Drama could be seen more simply as 'a way of doing something', a flexible framework in which things can happen then perhaps more people would realise that they already have the experience from their own respective childhood on which to draw.

The hardest task for a teacher is to strike a balance between working freely within a structure which is flexible but secure, and doing Speech and Drama
to a rigid formula.

The excitement of Speech and Drama lies in the richness and variety of its resources. Arguably it would be tempting to compare the various approaches but this has deliberately and purposely been avoided, though not through a lack of conviction, but because the job rightly belongs to the teacher. It is his/her job to search, test and evaluate the ideas in relationship to the children being taught.

Although it can be argues that too much planning will rob drama of its qualities
of freshness and spontaneity, a programme of some kind must be prepared.
By preparing and planning, development can be observed and examined.

Lessons in Speech and Drama extend throughout a child's school life from birth to adulthood. This means that over the years a huge amount of dramatic material will be extracted and digested. So a wide variety of dramatic activities should be attempted and explored.

The BTDA Speech and Drama Syllabus should enable the teacher and student
to be free to approach the subject from where they feel happiest and most confident. This will enable them discover new challenges.

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