Ballet pedagogy encompasses various methods, each with its own system of training and evaluation. The Russian Vaganova method is renowned for producing world-class dancers, yet it differs fundamentally from systems like the Royal Academy of Dance (RAD) or Cecchetti in how student progress is assessed. Notably, the Vaganova method does not operate under an overarching external examination board or standardized certification authority as RAD does. Instead, its tradition of student evaluation is rooted in rigorous institutional training and professional merit demonstrated through auditions and performance. This article explores how the Vaganova system functions without a global exam syllabus, contrasts it with exam-based methods, and explains how students and schools outside Russia might obtain formal recognition of training through alternatives like the International Dance Council (CID – UNESCO) certification program.
Vaganova Method and its Institutional Heritage
The Vaganova method was developed in the early 20th century by Agrippina Vaganova at the Imperial Ballet School in St. Petersburg (now the Vaganova Ballet Academy). It blends French ballet principles with the scientific rigour of the Cecchetti approach, forming a comprehensive Russian training system. Crucially, the method evolved within a state-supported academy rather than as a private syllabus for widespread franchising. The Vaganova Academy in St. Petersburg became the method’s foremost institution, adhering closely to Vaganova’s codified curriculum and high technical standards. Historically, this academy (and others in Russia) served as a pipeline directly into professional ballet companies, which shaped how student achievement was measured.
Unlike the RAD or Cecchetti methods that emerged in the West, the Vaganova system did not need a separate exam board to unify teaching across many private studios. Instead, consistency was maintained by the academy’s own faculty and the state ballet institutions. As an official history notes, acceptance into the Vaganova Academy is extremely competitive and only a few dozen students complete the full 8-year program each generation; those who persevere typically join leading ballet companies in Russia or abroad upon graduation. In other words, the ultimate credential of a Vaganova-trained dancer has traditionally been a contract with a prestigious ballet company rather than a graded certificate.
No Centralized Examination Board or Graded Syllabus
A defining feature of RAD, Cecchetti, and similar methods is the presence of a centralized examining authority and a tiered syllabus of exams. The Royal Academy of Dance, for example, is a globally recognized examination board founded in 1920 specifically to standardize ballet training and exams. RAD administers graded and vocational examinations around the world, issuing certificates for each level passed. The Cecchetti method likewise developed formal graded syllabi and examinations, often through organizations like the ISTD or national Cecchetti societies. Students in these systems progress by preparing set exercises for each grade and being evaluated by external examiners against universal criteria.
In stark contrast, the Vaganova method has no universal graded exam system or independent governing board dictating a syllabus. There is no “Vaganova Grade 1, 2, … 8” with uniform exams administered worldwide by external examiners. Instead, Vaganova training is typically divided into classes or levels within a school’s own curriculum (for instance, the Vaganova Academy’s eight-year program) rather than discrete exam grades. Progression is determined by mastery of technique and the teacher’s judgment, not by meeting an external examiner’s rubric at set intervals. As one analysis summarizes, “The Vaganova method does not have a standardised grading system like RAD and Cecchetti. Instead, it focuses on a more individualized approach… Students’ progress is typically evaluated through periodic examinations or assessments conducted by their teachers or the school.”. In other words, assessment is internally driven and tailored to each cohort’s development rather than through a one-size-fits-all exam syllabus.
Because there is no single international Vaganova examining body, there is also no global certificate or diploma that one earns at each level of Vaganova training akin to the RAD Grade or Cecchetti Certificate. No overarching authority issues “Vaganova method” credentials to students outside of the diplomas conferred by individual institutions. It is worth noting that in the absence of a central exam board, some independent organizations have devised their own Vaganova-based syllabi and examinations on a regional scale. For example, the Society of Classical Ballet (Vaganova Method) in Canada offers examinations for students and teacher certification following Vaganova principles. Likewise, certain private conservatories (e.g. the Australian Conservatoire of Ballet) have implemented a Vaganova-influenced exam syllabus. However, these are localized initiatives and not part of any official, worldwide Vaganova examination system. There remains no equivalent to the RAD or Cecchetti global governing body for the Vaganova method.
Student Evaluation and Merit in the Vaganova System
In the Vaganova training model, a student’s level and advancement are determined by institutional evaluations and practical accomplishments rather than standardized test scores. Within major Vaganova-based schools (such as the Vaganova Academy or Bolshoi Ballet Academy), students do undergo regular assessments – class examinations, juried showings, and end-of-year exams – but these are conducted internally by the school’s own faculty. The culmination of a Vaganova education is typically a graduation performance or final exam class in front of the artistic staff and often representatives of ballet companies, rather than a written or universal practical exam paper. At the Vaganova Academy, for instance, graduating students perform a full program (the “graduation concert”) to demonstrate the results of their training. Following this, they participate in a formal ceremony (historically held at venues like the Catherine Palace) where they receive their diplomas as confirmation of completing the course. These diplomas are academic/professional qualifications issued by the academy itself, not by an outside board. They indicate that the student has successfully mastered the demanding Vaganova curriculum.
Crucially, the merit of Vaganova-trained dancers is proven in auditions and company placements, not in exam certificates. Top Russian ballet academies have long measured their success by how many graduates secure contracts with professional companies. The logic is that if a dancer has truly reached the required standard, they will be hired into a renowned troupe or accepted into a top conservatory for further training. Indeed, the Vaganova Academy boasts that virtually all students who complete its program go on to join major ballet companies. Their performance ability and artistry – refined through years of rigorous classes – serve as their credentials. In professional auditions, directors evaluate these dancers on technical mastery, artistic quality, and potential rather than on which exam grades they have passed. As one experienced educator observed, directors of elite ballet companies “couldn’t care less what style or syllabus students have learned” – what matters is the dancer’s skill and whether they meet the company’s needs. In other words, a Vaganova student proves their worth by dancing at a high level, not by presenting a portfolio of exam results. This philosophy is deeply ingrained in the Vaganova system.
Another aspect of evaluation in Vaganova training is its holistic, ongoing nature. Teachers continuously monitor and correct students, often working with the same class of students for multiple years. This allows for individualized feedback and tailored development rather than the student being one of dozens briefly seen by an external examiner. The absence of external exams means there is less emphasis on drilling set combinations for a test and more emphasis on comprehensive technique and performance preparation. Students typically progress to the next level only when they are truly ready, as determined by their teachers, and promotion may even depend on physical and artistic maturity rather than an exam score at a fixed age. This flexible, mentorship-driven progression is a hallmark of the Vaganova approach.
Comparison with RAD and Cecchetti Examination Systems
It is instructive to compare the Vaganova approach with the more exam-focused systems like RAD and Cecchetti, which many ballet schools around the world follow. The Royal Academy of Dance (RAD) exemplifies the exam-board model: it is a unified examining body that provides a syllabus from beginner to advanced levels and sends out trained examiners to evaluate students globally. Students in RAD programs typically take graded exams (Primary, Grades 1–8, etc.) and vocational exams (Intermediate Foundation through Advanced 2) on a yearly or biennial schedule. Successful candidates receive official RAD certificates and records of their marks. This standardization ensures that a Grade 5 in one country represents the same achievement as a Grade 5 elsewhere. The Cecchetti method, similarly, has long had structured examinations. Enrico Cecchetti’s approach was systematized into progressive levels, and today organizations such as the ISTD (Imperial Society of Teachers of Dancing) administer Cecchetti exams worldwide. Just like RAD, the Cecchetti syllabus is divided into set grades and professional levels, with students mastering defined content and then taking an exam for each level under an accredited examiner. Both RAD and Cecchetti systems thus provide an external benchmark and certification for students’ progress, which can be useful for students moving between schools or countries, or for teachers to validate their training methods.
The Vaganova method’s distinctiveness lies in not interfacing with this paradigm. There is no Vaganova International Examining Society sending examiners to studios, and no standardized syllabi book that independent schools must follow to be “Vaganova certified.” In fact, outside the official Russian academies, what constitutes “Vaganova method” teaching can vary in quality – it depends largely on a teacher’s own training and interpretation of Agrippina Vaganova’s principles, rather than adherence to a codified exam syllabus. This is why the reputation of a Vaganova-style school often rests on the lineage and credentials of its instructors (e.g. if they graduated from Vaganova Academy or Bolshoi Academy) and on the achievements of its alumni, rather than on an external accreditation. By contrast, an RAD school anywhere in the world is expected to teach the RAD syllabus and enter students for RAD exams, ensuring a baseline consistency and giving students a transferrable record of attainment.
It’s important to note that neither model is inherently “better” – they reflect different philosophies and historical circumstances. RAD’s exam system grew out of a need to standardize and improve ballet teaching in numerous private studios across the British Commonwealth in the 20th century. Vaganova training grew out of the Russian imperial and Soviet model of centralized ballet schools feeding state-supported companies, with no need for an outside credential. The result is that Vaganova is a method of training and a school curriculum, whereas RAD (and similar bodies) function as both a method and an examination authority. Even today, one can view RAD primarily as an exam board for dance education, while Vaganova remains a pedagogical approach tied to certain institutions. Some dancers quip that comparing Vaganova to RAD is like comparing a conservatory program to a standardized test – they serve different ends. For aspiring professional dancers, Vaganova’s intensive conservatory model aims to produce artists ready for the stage, whereas RAD provides a broad framework for training and assessing dancers who may or may not pursue professional careers.
Benefits and Challenges of the Vaganova Approach
The absence of an external exam system in the Vaganova method carries both benefits and challenges for students and schools. On the positive side, teachers have tremendous flexibility to adjust pacing and focus on the class’s needs without “teaching to the test.” The curriculum can be expansive – including character dance, historical dance, acting, etc. – without worrying about fitting into a narrow exam syllabus. Students can spend extra time mastering fundamentals (for example, staying an extra year in a level if needed) instead of being pushed to take an exam because of age. The training places equal importance on artistry, musicality, and stamina, not just checking technical requirements for an examiner. This approach has undeniably produced dancers of remarkable strength and expressiveness, celebrated across the world. The names of Vaganova-trained luminaries (from Anna Pavlova and Rudolf Nureyev to Diana Vishneva and Svetlana Zakharova) speak to the efficacy of the method in crafting elite artists.
However, the lack of a formal certification pathway can pose difficulties, especially outside Russia. For students who do not proceed to a professional ballet career, there is no easily quantifiable credential of their level attained. In an exam-based system, such a student might have a certificate saying “RAD Advanced 1” or “Cecchetti Grade 6” which could later be useful if they audition for another school, apply to a dance college, or simply as a personal achievement. Vaganova-trained students might only have a letter of completion or nothing at all in terms of documentation unless they finished the entire program. For teachers, too, it can be harder to advertise the level of training offered without the shorthand of exam levels – this is why many “Vaganova method” schools are founded by graduates of the Vaganova Academy or similarly prestigious institutions, so their diploma serves as the credential validating the school’s standard.
The insular nature of Vaganova training also means quality control relies heavily on the teacher’s expertise. In RAD or Cecchetti, a poorly trained teacher might be caught out when their students consistently fail external exams, whereas a poorly trained “Vaganova” teacher has no such check – the proof of their training quality might only emerge years later in whether their students can get into companies or not. This has led some to caution that outside the top Russian schools, the label “Vaganova method” is not a guarantee of excellence on its own. Ultimately, whether a student flourishes depends on the skill of the instructor and the student’s dedication, regardless of method.
Certification Alternatives for Vaganova Students Outside Russia
For ballet schools outside Russia that teach with a Vaganova approach, the lack of an official exam or diploma system has prompted creative solutions to provide students with tangible recognition of their training. One increasingly popular option is the International Dance Council (CID) certification program under UNESCO. The CID, which is an official worldwide dance organization recognized by UNESCO, offers the International Certification of Dance Studies as a form of validation for students’ dance education. Unlike traditional exams, the CID program grants certificates purely based on accumulated hours of study in a given dance form, with no artistic or technical examination required. For each 150 hours of instruction completed in a specific style (e.g. classical ballet), the student is eligible to receive an internationally recognized certificate issued by CID. The teacher or school (which must be a CID members) simply submits a declaration that the student has finished the required hours, and CID provides a formal parchment certificate that is valid worldwide and endorsed by this UNESCO-partner organization. Students can progress through multiple levels in this scheme (Level 1 for the first 150 hours, Level 2 for the next, and so on), accumulating certificates as they continue training.
This CID certification does not test the student’s ability; rather, it acknowledges the commitment of time and study. For Vaganova-focused schools, it offers a way to give students something official-looking to mark their milestones, without compromising the Vaganova philosophy by inserting external exams. A student training for several years in a Vaganova program could, for example, receive a “Level 3 International Certification in Ballet” after 450 hours of classes, which might correspond roughly to completing an intermediate level. While this is not a skills examination, it is globally recognized and can be a useful document for students’ portfolios – especially when applying to summer programs, universities, or if they shift to another dance school that wants proof of prior training. It provides parents and students reassurance that the hours of work put in have an acknowledged value beyond the studio. As one Vaganova-method school describes it, the UNESCO-backed certificate helps dancers gain “greater mobility and validation of their skills worldwide” by formally documenting their training hours.
To implement the CID program, a school simply joins the International Dance Council and registers its students. The cost is minimal (the CID charges no fee for the certificates beyond membership dues), and the prestige is considerable, given CID’s international standing. It is a flexible framework that can overlay onto any dance curriculum. Thus, for Vaganova method schools abroad, the CID certification has become an attractive solution to the lack of an indigenous exam system. It’s important to note, however, that this certification is hour-based, not competency-based – it does not evaluate how well the Vaganova technique is learned, only that the student has pursued a certain volume of training. Some schools may choose to combine this with their own internal exams or an assessment before awarding the CID certificate (CID leaves such decisions to the school’s discretion ). In any case, the CID program offers a universally accepted form of documentation without altering the non-exam nature of Vaganova education.
Conclusion
The Vaganova method stands as a distinctive model in ballet education – one that prioritizes comprehensive, institutionally guided training and the cultivation of professional-calibre dancers over standardized testing. Without an overarching exam board or global grading syllabus, the Vaganova system relies on the authority of its schools and teachers, and on the ultimate test of auditions and performance to gauge success. This approach is rooted in a rich history of conservatory-style instruction, from the Imperial Russian ballet schools to today’s academies, where the focus is on dance mastery rather than exam metrics. In contrast, methods like RAD and Cecchetti have built extensive examination infrastructures to serve different needs, offering portability of qualifications and broad-based assessments. Both paradigms have their place in the ballet world, and each reflects a unique philosophy of how best to educate a dancer.
For the global ballet community, understanding this difference is crucial. A student trained in the Vaganova method may not have a stack of certificates to show, but their technical foundation and artistry – proven by the roles they can perform and the companies or conservatories that accept them – speak louder than any exam report. At the same time, in an international context, it is natural for students and parents to desire some form of official recognition of their hard work. Programs like the CID–UNESCO International Certification of Dance Studies provide one bridge between the Vaganova ethos and the credential-driven expectations of the modern world, by acknowledging training through hours rather than exams.
In summary, the Vaganova method’s lack of a centralized examination board is not a void in its system but a reflection of its unique strength: a time-honoured, performance-focused training model that has consistently produced dancers of the highest calibre. Its values of discipline, musicality, and expressive technique are validated on the world’s stages instead of in examination studios. As ballet continues to be a global art form, students and teachers alike can appreciate that while exams and certificates have their uses, the true measure of a dancer in the Vaganova tradition is the artistry and excellence they achieve, recognized in the moment they step in front of an audience or an audition panel. In the words of Agrippina Vaganova herself, “Perfect control over the arms is an immediate indication of a good school.” Likewise, the success of the Vaganova method is ultimately indicated not by paperwork, but by the quality of the dancers it produces and their contributions to the art of ballet worldwide.
Sources:
- Vaganova Ballet Academy – History of the Academy (on selectivity and career outcomes)
- Talk Ballet To Me – Comparison of RAD, Cecchetti, Vaganova methods (on grading systems and syllabi differences)
- Dance Informa Magazine – “Ballet: Method to Method” (on RAD as an international exam board)
- Society of Classical Ballet (Vaganova Method) – About Us (on independent Vaganova exams in North America)
- Balanced Ballerinas blog – “Choosing Between Vaganova, RAD or Cecchetti” (on auditions outweighing syllabus background)
- International Dance Council (CID – UNESCO) – Certification Program Outline (on 150-hour level certification and UNESCO recognition)
- Ballet Classique School (Singapore) – FAQ on CID Certification (on internationally recognized certificates for hours of study)
- Melmoth Ballet Blog – “Vaganova Academy grade system explained” (on internal graduations and diplomas at Vaganova Academy)
- Vaganova Academy News – Graduation Performance 2024 (on graduates demonstrating training results in performance)
