Pre-Ballet Level 4 | All Stars

PRE-BALLET LEVEL 4 LESSON PLANS & TEACHING MANUAL All Stars 1st Grade

Lesson 4LEVEL Plans FOR USE WITH “Ballet Arts for Young Children: Level 4”

Contents Level 4 - First Quarter 3 Lesson Plan 1 3 Lesson Plan 2 4 Lesson Plan 3 5 Lesson Plan 4 6 Level 4 - Second Quarter 7 Lesson Plan 1 7 Lesson Plan 2 8 Lesson Plan 3 9 Lesson Plan 4 10 Level 4 - Third Quarter 11 Lesson Plan 1 11 Lesson Plan 2 12 Lesson Plan 3 13 Lesson Plan 4 14 Level 4 - Fourth Quarter 15 Lesson Plan 1 15 Lesson Plan 2 16 Lesson Plan 3 17 Lesson Plan 4 18 Level 4 Year At a Glance 19

Level 4 - First Quarter Lesson Plan 1 I. Welcome, Warmup 1. Skipping (Track 1, pg. 19) II. Floor Exercises for Warming Up 1. Using Feet and Ankles (Track 4, pg. 20) III. Creative 1. Rocks, Stars, Fireworks (Track 6, pg. 22) IV. Center Barre 1. Positions of the Feet (Track 9, pg. 23) 2. Demi Plié in Parallel and First (Track 10, pg. 24) 3. Demi Pointe Walks (Track 12, pg. 25) V. Port de Bras 1. Beginning Port de Bras (Track 17, pg. 27) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Ballet Walks (Track 24, pg. 31) 2. Four Spring Points (Track 27, pg. 32) VIII. Allegro--Jumping Steps 1. Sauté in Parallel (Track 31, pg. 34) IX. Allegro--Traveling Steps 1. Point and Gallop (Track 35, pg. 36) X. Enchainement 1. Enchainement #1: Skips and Points (Track 41, pg. 39) XI. Curtsey or Bow (Track 40, pg. 38)

Lesson Plan 2 I. Welcome, Warmup X. Enchainement 1. Skipping (Track 1, pg. 19) 1. Enchainement #1: Skips and Points (Track 41, pg. 39) II. Floor Exercises for Warming Up XI. Curtsey or Bow (Track 40, pg. 38) 1. Using Feet and Ankles (Track 4, pg. 20) III. Creative 1. Rocks, Stars, Fireworks (Track 6, pg. 22) IV. Center Barre 1. Positions of the Feet (Track 9, pg. 23) 2. Demi Plié in Parallel and First (Track 10, pg. 24) 3. Battement Tendu to 2nd (Track 13, pg. 26) 4. Parallel Retirés (Track 15, pg. 26) V. Port de Bras 1. Beginning Port de Bras (Track 17, pg. 27) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Four Spring Points (Track 27, pg. 32) 2. Step, Close, Step, Point (Track 28, pg. 33) VIII. Allegro--Jumping Steps 1. Sauté in Parallel (Track 31, pg. 34) IX. Allegro--Traveling Steps 1. Ballet Runs and Pose (Track 34, pg. 36)

Lesson Plan 3 I. Welcome, Warmup XI. Dances 1. Skipping (Track 1, pg. 19) 1. My Favorite Dance (Track 46, pg.41) II. Floor Exercises for Warming Up XII. Curtsey or Bow (Track 40, pg. 38) 1. Using Feet and Ankles (Track 4, pg. 20) III. Creative 1. Rocks, Stars, Fireworks (Track 6, pg. 22) IV. Center Barre 1. Positions of the Feet (Track 9, pg. 23) 2. Demi Plié in Parallel and First (Track 10, pg. 24) 3. Demi Pointe Walks (Track 12, pg. 25) V. Port de Bras 1. Beginning Port de Bras (Track 17, pg. 27) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Ballet Walks (Track 24, pg. 31) 2. Four Spring Points (Track 27, pg. 32) VIII. Allegro--Jumping Steps 1. Sauté in First Position (Track 31, pg. 34) IX. Allegro--Traveling Steps 1. Ballet Runs and Pose (Track 34, pg. 36) 2. Point and Gallop (Track 35, pg. 36) X. Enchainement 1. Enchainement #2: Spring Points (Track 42, pg. 39)

Lesson Plan 4 I. Welcome, Warmup X. Enchainement 1. Skipping (Track 1, pg. 19) 1. Enchainement #2: Spring Points (Track 42, pg. 39) II. Floor Exercises for Warming Up XI. Dances 1. Using Feet and Ankles (Track 4, pg. 20) 1. My Favorite Dance (Track 46, pg.41) III. Creative XII. Curtsey or Bow (Track 40, pg. 38) 1. Rocks, Stars, Fireworks (Track 6, pg. 22) IV. Center Barre 1. Positions of the Feet (Track 9, pg. 23) 2. Demi Plié in Parallel and First (Track 10, pg. 24) 3. Battement Tendu to 2nd (Track 13, pg. 26) 4. Parallel Retirés (Track 15, pg. 26) V. Port de Bras 1. Beginning Port de Bras (Track 17, pg. 27) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Four Spring Points (Track 27, pg. 32) 2. Step, Close, Step, Point (Track 28, pg. 33) VIII. Allegro--Jumping Steps 1. Sauté in First Position (Track 31, pg. 34) IX. Allegro--Traveling Steps 1. Ballet Runs and Pose (Track 34, pg. 36) 2. Point and Gallop (Track 35, pg. 36)

Level 4 - Second Quarter Lesson Plan 1 I. Welcome, Warmup IX. Allegro--Traveling Steps 1. Skipping (Track 1, pg. 19) 1. Four Gallops, Change Feet (Track 36, pg. 37) II. Floor Exercises for Warming Up X. Enchainement 1. Using Feet and Ankles (Track 4, pg. 20) 1. Enchainement #3: Jumps and Turns (Track 43, pg. 39) III. Creative XI. Dances 1. Pushing the Clouds Away (Track 7/51, pg. 22) 1. Performing Dinosaurs (Track 49, pg.45) IV. Center Barre XII. Curtsey or Bow (Track 40, pg. 38) 1. Positions of the Feet (Track 9, pg. 23) 2. Demi Plié in First and Second (Track 10, pg. 24) 3. Rises in Parallel (Track 11, pg. 25) V. Port de Bras 1. Classical Port de Bras (Track 18, pg. 28) 2. Swaying (Track 21/52, pg. 29) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Ballet Walks with Point (Track 24, pg. 31) 2. Step, Close, Step, Point (Track 28, pg. 33) VIII. Allegro--Jumping Steps 1. Taking Turns with Sautés (Track 32, pg. 35)

Lesson Plan 2 I. Welcome, Warmup X. Enchainement 1. Skipping (Track 1, pg. 19) 1. Enchainement #3: Jumps and Turns (Track 43, pg. 39) II. Floor Exercises for Warming Up XI. Dances 1. Using Feet and Ankles (Track 4, pg. 20) 1. Performing Dinosaurs (Track 49, pg.45) III. Creative XII. Curtsey or Bow (Track 40, pg. 38) 1. Pushing the Clouds Away (Track 7/51, pg. 22) IV. Center Barre 1. Positions of the Feet (Track 9, pg. 23) 2. Demi Plié in First and Second (Track 10, pg. 24) 3. Rises in Parallel (Track 11, pg. 25) 4. Battement Tendu Devant (Track 13, pg. 26) V. Port de Bras 1. Classical Port de Bras (Track 18, pg. 28) 2. Swaying (Track 21/52, pg. 29) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Ballet Walks with Point (Track 24, pg. 31) 2. Dinosaur Walks (Track 25, pg. 31) 3. Two Spring Points (Track 27/54, pg. 32) VIII. Allegro--Turning Steps 1. Jump and Spot (Track 29, pg. 33) IX. Allegro--Traveling Steps 1. Side Gallops (Track 38, pg. 37)

Lesson Plan 3 I. Welcome, Warmup IX. Allegro--Traveling Steps 1. Skipping (Track 1, pg. 19) 1. Four Gallops, Change Feet (Track 36, pg. 37) II. Floor Exercises for Warming Up 2. Side Gallops (Track 38, pg. 37) 1. Using Feet and Ankles (Track 4, pg. X. Enchainement 20) 1. Enchainement #3: Jumps and Turns III. Creative (Track 43, pg. 39) 1. Pushing the Clouds Away (Track 7/51, XI. Dances pg. 22) 1. Performing Dinosaurs (Track 49, IV. Center Barre pg.45) 1. Positions of the Feet (Track 9, pg. 23) XII. Curtsey or Bow (Track 40, pg. 38) 2. Demi Plié in First and Second (Track 10, pg. 24) 3. Battement Tendu Devant (Track 13, pg. 26) 4. Parallel Retirés (Track 15, pg. 26) V. Port de Bras 1. Classical Port de Bras (Track 18, pg. 28) 2. Swaying (Track 21/52, pg. 29) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Dinosaur Walks (Track 25, pg. 31) 2. Two Spring Points (Track 27/54, pg. 32) 3. Step, Close, Step, Point (Track 28, pg. 33) VIII. Allegro--Turning Steps 1. Jump and Spot (Track 29, pg. 33)

Lesson Plan 4 I. Welcome, Warmup X. Enchainement 1. Skipping (Track 1, pg. 19) 1. Enchainement #3: Jumps and Turns (Track 43, pg. 39) II. Floor Exercises for Warming Up XI. Dances 1. Using Feet and Ankles (Track 4, pg. 20) 1. Performing Dinosaurs (Track 49, pg.45) III. Creative XII. Curtsey or Bow (Track 40, pg. 38) 1. Pushing the Clouds Away (Track 7/51, pg. 22) IV. Center Barre 1. Demi Plié in First and Second (Track 10, pg. 24) 2. Rises in Parallel (Track 11, pg. 25) 3. Battement Tendu Devant (Track 13, pg. 26) 4. Parallel Retirés (Track 15, pg. 26) V. Port de Bras 1. Classical Port de Bras (Track 18, pg. 28) 2. Swaying (Track 21/52, pg. 29) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Ballet Walks with Point (Track 24, pg. 31) 2. Step, Close, Step, Point (Track 28, pg. 33) VIII. Allegro--Jumping Steps 1. Sautés Taking Turns (Track 32, pg. 35) IX. Allegro--Traveling Steps 1. Four Gallops, Change Feet (Track 36, pg. 37)

Level 4 - Third Quarter Lesson Plan 1 I. Welcome, Warmup X. Enchainement 1. Marching (Track 2/50, pg. 20) 1. Enchainement #4: Hops and Gallops (Track 44, pg. 40) II. Floor Exercises for Warming Up XI. Dances 1. Turning Out Legs (Track 5, pg. 20) 1. Jack and Jill (Track 47, pg. 42) III. Creative XII. Curtsey or Bow (Track 40, pg. 38) 1. Head Positions (Track 8, pg. 23) IV. Center Barre 1. Demi Plié in Third Position (Track 10, pg. 25) 2. Rises in First Position (Track 11, pg. 25) 3. Battement Tendu with Fondu (Track 14, pg. 26) 4. Learning Grand Battement (Track 16, pg. 27) V. Port de Bras 1. Positions of the Arms (Track 20, pg. 29) 2. Swaying with a Hop (Track 21/52, pg. 30) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Flamingo Walks (Track 26/53, pg. 32) VIII. Allegro--Turning Steps 1. Walking Turns (Track 30/55, pg. 33) IX. Allegro--Traveling Steps 1. Side Gallops with a Partner (Track 38, pg. 37)

Lesson Plan 2 I. Welcome, Warmup X. Enchainement 1. Marching (Track 2/50, pg. 20) 1. Enchainement #4: Hops and Gallops (Track 44, pg. 40) II. Floor Exercises for Warming Up XI. Dances 1. Turning Out Legs (Track 5, pg. 20) 1. Jack and Jill (Track 47, pg. 42) III. Creative XII. Curtsey or Bow (Track 40, pg. 38) 1. Head Positions (Track 8, pg. 23) IV. Center Barre 1. Positions of the Feet (Track 9, pg. 23) 2. Battement Tendu with Fondu (Track 14, pg. 26) 3. Learning Grand Battement (Track 16, pg. 27) V. Port de Bras 1. Positions of the Arms (Track 20, pg. 29) 2. Swaying with a Hop (Track 21/52, pg. 30) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Flamingo Walks (Track 26/53, pg. 32) VIII. Allegro--Turning Steps 1. Jump and Spot (Track 29, pg. 33) 2. Walking Turns (Track 30/55, pg. 33) IX. Allegro-Jumping Steps 1. Learning Échappé Sauté (Track 32, pg. 35)

Lesson Plan 3 I. Welcome, Warmup XI. Enchainement 1. Marching (Track 2/50, pg. 20) 1. Enchainement #5: Tightrope Walker (Track 45, pg. 40) II. Floor Exercises for Warming Up XII. Dances 1. Turning Out Legs (Track 5, pg. 20) 1. Jack and Jill (Track 47, pg. 42) III. Creative XIII. Curtsey or Bow (Track 40, pg. 38) 1. Head Positions (Track 8, pg. 23) IV. Center Barre 1. Demi Plié in Third Position (Track 10, pg. 25) 2. Battement Tendu with Fondu (Track 14, pg. 26) 3. Learning Grand Battement (Track 16, pg. 27) V. Port de Bras 1. Positions of the Arms (Track 20, pg. 29) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Flamingo Walks (Track 26/53, pg. 32) VIII. Allegro--Turning Steps 1. Walking Turns (Track 30/55, pg. 33) IX. Allegro-Jumping Steps 1. Learning Échappé Sauté (Track 32, pg. 35) X. Allegro--Traveling Steps 1. Side Gallops with a Partner (Track 38, pg. 37)

Lesson Plan 4 I. Welcome, Warmup XI. Enchainement 1. Marching (Track 2/50, pg. 20) 1. Enchainement #5: Tightrope Walker (Track 45, pg. 40) II. Floor Exercises for Warming Up XII. Dances 1. Turning Out Legs (Track 5, pg. 20) 1. Jack and Jill (Track 47, pg. 42) III. Creative XIII. Curtsey or Bow (Track 40, pg. 38) 1. Head Positions (Track 8, pg. 23) IV. Center Barre 1. Positions of the Feet (Track 9, pg. 25) 2. Demi Plié in Third Position (Track 10, pg. 25) 3. Battement Tendu with Fondu (Track 14, pg. 26) 4. Learning Grand Battement (Track 16, pg. 27) V. Port de Bras 1. Sway and Hop (Track 21/52, pg. 30) VI. Floor Exercise to Rest Legs 1. Kitty Kat Stretch (Track 23, pg. 30) VII. Center Steps 1. Flamingo Walks (Track 26/53, pg. 32) or Dinosaur Walks (Track 25, pg. 31) VIII. Allegro--Turning Steps 1. Walking Turns (Track 30/55, pg. 33) IX. Allegro-Jumping Steps 1. Échappé Sauté (Track 33, pg. 35) X. Allegro--Traveling Steps 1. Forward Gallops (Track 37, pg. 37)

Level 4 - Fourth Quarter Lesson Plan 1 I. Welcome, Warmup IX. Dances 1. Prances or Pony Trots (Track 3, pg. 1. The Scarf Dance (Track 48, pg. 44) 20) 2. Recital Preparation II. Floor Exercises for Warming Up X. Curtsey or Bow (Track 40, pg. 38) 1. Turning Out While Standing (Track 5, pg. 21) III. Center Barre 1. Demi Plié in Third Position (Track 10, pg. 25) 2. Rises in First Position (Track 11, pg. 25) 3. Learning Attitude Devant (Track 16, pg. 27) IV. Port de Bras 1. Creative Port de Bras (Track 19, pg. 28) V. Center Steps 1. Flamingo Walks (Track 26/53, pg. 32) VI. Allegro--Turning Steps 1. Three Walking Turns (Track 30/55, pg. 34) VII. Allegro-Jumping Steps 1. Soubresaut in Third (Track 31, pg. 35) 2. Échappé Sauté, Faster (Track 33, pg. 35) VIII. Allegro--Traveling Steps 1. Forward Gallops (Track 37, pg. 37)

Lesson Plan 2 I. Welcome, Warmup 1. Prances or Pony Trots (Track 3, pg. 20) II. Floor Exercises for Warming Up 1. Turning Out While Standing (Track 5, pg. 21) III. Center Barre 1. Demi Plié in Third Position (Track 10, pg. 25) 2. Rises in First Position (Track 11, pg. 25) 3. Learning Attitude Devant (Track 16, pg. 27) IV. Port de Bras 1. Swaying with a Partner (Track 21/52, pg. 30) 2. Arabesque a Terre (Track 22, pg. 30) V. Allegro--Turning Steps 1. Three Walking Turns (Track 30/55, pg. 34) VI. Allegro-Jumping Steps 1. Soubresaut in Third (Track 31, pg. 35) 2. Échappé Sauté, Faster (Track 33, pg. 35) VII. Allegro--Traveling Steps 1. Forward Polka (Track 39, pg. 38) VIII. Dances 1. The Scarf Dance (Track 48, pg. 44) 2. Recital Preparation IX. Curtsey or Bow (Track 40, pg. 38)

Lesson Plan 3 I. Welcome, Warmup 1. Prances or Pony Trots (Track 3, pg. 20) II. Floor Exercises for Warming Up 1. Turning Out While Standing (Track 5, pg. 21) III. Center Barre 1. Demi Plié in Third Position (Track 10, pg. 25) 2. Rises in First Position (Track 11, pg. 25) IV. Port de Bras 1. Arabesque a Terre (Track 22, pg. 30) V. Allegro--Turning Steps 1. Three Walking Turns (Track 30/55, pg. 34) VI. Allegro-Jumping Steps 1. Soubresaut in Third (Track 31, pg. 35) 2. Échappé Sauté with Claps (Track 33, pg. 36) VII. Allegro--Traveling Steps 1. Side Gallops with Spring Points (Track 38, pg. 38) 2. Forward Gallops (Track 37, pg. 37) VIII. Dances 1. The Scarf Dance (Track 48, pg. 44) 2. Recital Preparation IX. Curtsey or Bow (Track 40, pg. 38)

Lesson Plan 4 I. Welcome, Warmup 1. Any of the Warm Up Exercises: Skips, Marches or Prances II. Center Barre 1. Demi Plié in Third Position (Track 10, pg. 25) 2. Rises in First Position (Track 11, pg. 25) III. Port de Bras 1. Swaying with a Partner (Track 21/52, pg. 30) IV. Allegro--Turning Steps 1. Three Walking Turns (Track 30/55, pg. 34) V. Allegro-Jumping Steps 1. Échappé Sauté with Claps (Track 33, pg. 36) VI. Allegro--Traveling Steps 1. Side Gallops with Spring Points (Track 38, pg. 38) 2. Forward Polka (Track 39, pg. 38) VII. Dances 1. Recital Preparation VIII. Curtsey or Bow (Track 40, pg. 38)

Level 4 Year At a Glance First Quarter Second Quarter • Skipping • Skipping • Feet and Ankles • Feet and Ankles • Rocks, Stars, Fireworks • Pushing the Clouds Away • Positions of the Feet • Positions of the Feet • Demi Plié in Parallel and 1st • Demi Plié in 1st and 2nd • Demi Pointe Walks • Rises in Parallel • Battement Tendu to 2nd • Demi Pointe Walks • Parallel Retirés • Battement Tendu Devant • Beginning Port de Bras • Parallel Retirés • Kitty Kat Stretch • Classical Port de Bras • Ballet Walks • Swaying with a Scarf • Four Spring Points • Kitty Kay Stretch • Step, Close, Step, Point • Ballet Walks with Point • Sauté and Soubresaut • Dinosaur Walks • Run and Pose, Ballet Runs • Two Spring Points • Four Points, Four Gallops • Step, Close, Step, Point • Enchainement #1 and #2 • Jump and Spot • My Favorite Dance • Taking Turns with Sautés • Four Gallops, Change Feet Third Quarter • Side Gallops • Enchainement #3 • Marching • Performing Dinosaurs • Turning Out Legs • Head Positions Fourth Quarter • Positions of the Feet • Demi Plié in 3rd Position • Pony Trots or Prances • Rises in 1st Position • Turning Out Legs While Standing • Battement Tendu with Fondu • Demi Plié in 3rd • Learning Grand Battement • Rises in 1st • Positions of the Arms • Learning Attitude Devant • Swaying with a Hop • Creative Port de Bras • Kitty Kat Stretch • Swaying with a Partner • Flamingo Walks • Arabesque a Terre • Walking Turns • Flamingo Walks • Learning Échappé Sauté • Three Walking Turns • Échappé Sauté • Soubresaut in Third • Side Gallops with a Partner • Échappé Sauté, Faster • Enchainement #4 and #5 • Échappé Sauté with Claps • Jack and Jill • Forward Polka • Side Gallops with Spring Points • Scarf Dance

Ballet Arts 4LEVEL for Young Children Classwork and Teaching Helps for the Ballet Teacher of Children Ages 7 to 10 Ruth H. Brinkerho , B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance

The Teacher Must Decide The Ballet Arts For Young Children manuals, (Level 1, 2, and 3) provide information, activities and suggestions for the teacher of ballet to children of preschool and kindergarten ages. The materials in these books have worked well for the author, and for other teachers of her acquaintance. However, the author cannot know what approach or which physical activities will be appropriate and safe for any particular teacher, class, or student. It is the responsibility of each ballet teacher to use his or her best judgment in applying the information and teaching suggestions contained herein, and in using the activities, enchainements, dances and teaching materials contained in the Ballet Arts for Young Children manuals.

Index 4 I. Preparing to Teach 5 10 Welcome to Ballet Arts Level 4 13 Ballet Takes Time 15 Can They Skip? 16 Learning Spring Points Classical Direction 18 II. In The Classroom 19 47 Choreography for Level 4 Class 53 Teaching Notes For Ballet Basics 56 Notes About the Steps Music and Activity List 57 III. Students and Their Dancing Needs 58 60 Characteristics of Seven Year Olds 62 Characteristics of Eight & Nine Year Olds 68 Managing Behavior 71 Growth As It Relates To Ballet Lessons Expectations for Level 4 73 IV. Teaching Materials 74 75 Using the Teaching Materials 76 Where to Point the Feet for Battement Tendus 78 Positions of the Feet Diagrams 79 Positions of the Arms 80 Positions of the Arms Chart 81 Dinosaur Illustrations 82 The Geometry of the Dancer’s Circle 83 Stage Directions Music List and Credits for Level 4

I. Preparing to Teach 5 10 Welcome to Ballet Arts Level 4 13 Ballet Takes Time 15 Can They Skip? 16 Learning Spring Points Classical Direction GO TO INDEX 4 THEBALLETSOURCE.COM

Welcome to Ballet Arts Level 4 Some items from Ballet Arts for Young The ballet styling was added by adult Children Level 3 are included for dancers, whose basic movement and review, and for those who are just coordination skills were complete, and beginning to dance. in place. Children were not considered old enough for ballet lessons until ages There is enough material here for at 8 to 10. Again, the basic skills were least two years of classes. Choose one well developed by then. fourth to one half of the items to use this year. Next year, you could use a When the student has a good base of different selection for your next Level natural movement and coordination 4 class. skills, the ballet technique is much easier to learn. Teachers, please feel free to adapt, to make changes in, or create variations In previous generations, dancers were on these activities, so long as the main far more physically active outside of ideas and basic skills are not lost. class than they can be now. We need to make up for this by adding experiences If there are seven year olds in your of natural movement, warming up, class, remember to include a floor gentle floor stretches, and an occasional exercise or other short break every aerobic type exercise. ten minutes, to rest their legs. A barre can be used for the “Center Barre” The Formal Ballet Class exercises. If using a barre, have them face the barre with both hands on it, This class introduces students to the fingers and thumbs on top of the barre, arrangement of a formal ballet class. arms and hands shoulder width apart. Not all teachers include all of the parts that are included here. Scientific Be sure they stand with their weight research of the last thirty years or correctly centered over the supporting so tells us that in addition to the leg, or legs. The barre height should be traditional barre work, dancers need a about halfway between shoulders and good warmup time before doing plies, waist — and never higher than about and some time during the class for four inches below the shoulders. gentle floor stretches. Why Natural Movement? Historically, ballet styling and But, there are no floor stretches in this technique developed slowly from that class? Look again. Sitting with legs of folk dances and court dances. crossed for the mimes, or between exercises, or while teacher is giving GO TO INDEX 5 THEBALLETSOURCE.COM

instruction encourages the ballet established classes. Any changes in turnout to happen within the hip class content or procedure should be joints, gently, without stress. done gradually, a little at a time, so the students have time to get used to the Sitting tall with legs straight out in new material and procedures. front gently stretches the lower back, and teaches correct hip alignment Whenever you plan to teach or do and hip joint articulation for grand something in a different way from battements, developpés and leaps before, be sure to present it as a step (grand jetés) to the front. upward in maturity or advancement. Motivate their acceptance of the Some Things May Be New changes by telling them that it is a more advanced way of doing things, or Ballet Arts teaching manuals are a more “grown-up” way, or a way that intended to take some of the guesswork will help them to become a stronger, out of teaching ballet, and to provide a better dancer. logical sequence for teaching the things to be learned. Teaching Ballet Terms Some things in the Ballet Arts books For help in teaching the ballet terms, may be new to you and your already we suggest you get “Ballet Is Spoken GO TO INDEX 6 THEBALLETSOURCE.COM

Here!”, the set of two student books disturbed when a barre is used too and a teacher’s manual. much or too soon. A Place Of Their Own To Dance Positions of the Arms Traditionally, ballet is a disciplined The arm positions used in the art. Classroom behavior, rules and choreography in this manual are the procedures, are important. They enable classical ballet positions as currently the class to progress faster. named by the Royal Academy of Dance. We recommend that each student If your names for the arm positions are have an assigned place to dance, and different, you might want to make the an assigned place to return to between needed changes in the choreographic exercises. Take the time to do this at notes now, to avoid confusion later. For their first class. If doing it for the first charts of the arm positions, see pages time with an established class, tell 78-79. them they are ready for a more mature way of performing the class. Where Beginners Should Put Their Feet You might compare it to the teamwork needed for performing in a ballet Beginners should use moderate company, where everyone must be turnout, even if they are loose enough in their proper place in order for the to turn further. Strengthening the performance to look good. Assigning a muscles in the natural parallel place to each student gives the class a positions, and in the moderate turnout look and feel of order and discipline. positions will help prevent injuries Having a place that is theirs helps later. students feel secure in class. For best technical development, You can have them keep the same especially in the outward rotators, place for several weeks, or change their beginners should use the open fourth places each week. Do what works best position for battement tendus devant for you. and derriere. See page 75. Using the Barre Effectively Clarifications: A beginning class age eight and older Abbreviations used in choreographic can use the barre, but it should be very notes: limited during the first few months. Their sense of balance should first be R = right established without the barre. Equal L = left use of the tiny muscles holding the Fwd = forward vertebrae in correct alignment, is GO TO INDEX 7 THEBALLETSOURCE.COM

Bk = back, or in back for fun should be in each and every class. Sometimes the fun can also be a Positions of arms and feet are written learning experience. in short form: 1st, 2nd, 3rd, demi 2nd, etc. If there are things you still cannot justify, then perhaps you should A “tip toe” or demi pointe turn is done reconsider doing them. with tiny fast steps on the balls of the feet, with little or no turnout. It isn’t Another way to check your plans: a formal bourrée yet, just a rhythmic and feeling preparation for that type of A. What will I teach this week? movement. 1. What activities will I include? Stage Directions are diagramed on page 82. 2. How will I present the new learnings? Can these be related to DR = downstage right; what the students already know? DL = downstage left; UR = upstage right; 3. How will I present improvements UL = upstage left; on things they do know? DC = downstage center; UC = upstage center; B. What will I need during the class? R = stage right; L = stage left; 4. How will I get their attention? C = center stage 5. How will I check on their Planning Your Lessons learning? Dance teachers don’t have time to do 6. What equipment and teaching detailed planning for all classes every materials will I need? time. C. Are my expectations reasonable One way to occasionally check your for this class, this age, this level of teaching plans: advancement? Make a list of the activities you want Attention getting ideas: to use. Write the purpose next to each one. This will help you to see your • Any change inthe teacher’s goals and expectations. speech—suddenly quieter, or louder, suddenly silent. There is nothing wrong with doing something for “fun.” A few things just • A question they have to think about, quizzes, posters, wall charts, handouts, flash cards. • Music for them to create to, props GO TO INDEX 8 THEBALLETSOURCE.COM

to use, a single costume idea, such Mistakes are a part of learning. If you as a tiara, or ears to represent an or the students cannot make mistakes, animal. you cannot make much progress. Perfection is an ongoing process. • Posture idea—paperback books to balance on their head while doing And finally, trust your instincts. Your the ballet walk. teaching must fit your own personal style as well. Generally, when the • Short videos sequences, taking teacher enjoys teaching, the students video of them for one activity then enjoy learning, whatever the method. playing it back. Attitudes Are Contagious • Relating movements to a favorite TV, toy, or cartoon character. Encourage your students. Compliment them for trying as well as for Students come with many different improving. Be excited when they can learning styles. The “right brain/left do something they had trouble with brain” idea is an oversimplification of a before. Explain things to them in very complex reality. Each student will simple terms. have their favorite way of learning. Express your love of dancing, and of It helps to try to reach as many of their teaching. Let them know you are on dancing senses as you can—moving, their side in this game of learning to seeing, hearing, feeling. dance. Involve their thinking skills as well— As you feel positive and excited about how steps relate to each other, which the classwork, your students will ones go best with a certain piece of very likely pick up your attitude and music, what steps express a given feel good about what they are doing feeling, etc. in dance class. Good luck! May your classes be happy and fun! If a variety of approaches is used in your teaching, every student should be able to find something that appeals to their learning instincts. Every student is different, every class is different. GO TO INDEX 9 THEBALLETSOURCE.COM

Ballet Takes Time The Best Ballet Takes Time 3. WAIT until age ten or eleven, with two or more years of good ballet, Parents and students sometimes feel before using full turnout ability. students need to be “forced” in order to Forcing the feet and legs out too soon progress. Ballet takes time. can overstretch important protective ligaments in the foot, ankle, knee and Correct ballet is built upon natural hip, limiting strength. movements. The great ballet schools of the world start their beginners with a Take The Time For It To Happen review of basic natural movements, and Right work into the classical technique from there. 1. It will take most students two years to learn the basics contained in the Often we seek the finished product without beginning grades of ballet. Good ballet, wanting to allow the process to take place! and bad ballet, is like money in the bank. The notes mature at about age 15 Ballet technique was originally to 16. Then you get back the quality of developed on and for adult dancers. what has been put in. The imitative abilities of children mislead us into thinking they can do 2. One of the most disappointing more than is good for them to do. things that so often shows up in mid teens in those who study ballet is the Three suggestions: overdevelopment of muscles which were worked too hard and/or too soon 1. WAIT until age twelve to fourteen to on technical ballet. begin pointe work. Starting sooner can damage growth plates in feet, ankles, Young dancers need to be taught knees. without stress. For safety and effectiveness, limit the number of 2. WAIT until about age fourteen to repetitions of any one movement sixteen to do any serious “flexibility” without rest. Use the length of the type exercises. Keep the legs off the exercises in this manual as an example barre until the hips have acquired of how long the exercises should be for their adult size, or nearly so. Splits most beginners. may look cute, but they can be a very damaging activity. It is very rewarding to see the beautiful results that can happen from taking Ballet requires strength to go along things at a correct pace: the graceful with flexibility. The ballet exercises shaping of the muscles, the graceful themselves are designed to encourage movements that are possible after six to a parallel increase in flexibility and eight years of consistently good ballet. strength. GO TO INDEX 10 THEBALLETSOURCE.COM

Placement and Posture positions on the stage. 1. Muscle use is important. The correct The Ballet Walk never replaces the combination of muscular effort and natural walk, but is built upon it. It relaxation produces the desired should be this way with all ballet appearance for ballet positions and movements. Nature is not destroyed, movements. just improved. Posture and placement are the results Beginners Can Look Good of correct muscle use. Expectations need to be appropriate for 2. Particularly for beginners, a ballet the age, experience, and natural ability position can look right and be wrong; of the student. it can also look wrong and be right. Correct muscle use is what we need to Excellence in ballet is a pathway to teach. travel. It is not a place where we arrive and stop. Good Classical Ballet Is Built Upon a Strong Base of Natural Movement This means a student can be excellent at every level of learning. Beginners can Ballet should ideally be an and should look excellent for where enhancement and refinement of they are. natural movement. It did evolve from folk and court dances. It has a They will not have the same excellence foundation in natural movement. you would see in a professional, but it is just as valuable to the young dancer As an example, the Ballet Walk begins as the more advanced perfection is to with a natural walk, learning to step the professional! in time with the music. After a few weeks, beginners can walk reaching There is a path of continual forward with their toes. Later they can improvement that must be traveled in learn to use changes of direction, and order to arrive at this final destination. changes in arm positions during the In order for you, as a teacher, to take walk. the student there, you must find out where they are, and work with them at Eventually the walk is used as a that place. connecting step between harder movements, and in relating to other Teaching should produce learning. dancers. The artistic use of head and Learning should produce progress arms, ballet posture, and the technical towards a goal of expertise or skill can be placed on the foundation excellence in the subject. of a well developed natural walk. It becomes a graceful way of entering Reaching Their Motivation and leaving the stage, and of changing 1. Teach, don’t “punish” or “embarrass.” GO TO INDEX 11 THEBALLETSOURCE.COM

Use the positive ideas of improving Challenging Your Students and progressing, rather than the more negative terms of correct and criticize. A challenge is a difficulty to overcome that is reasonably possible. Challenges 2. Improve, don’t criticize or correct. above the student’s learning level are Give students the concept of becoming frustrations and should not be given. more advanced in how they do something—improving it—moving A good rule to follow: If the class does upward in excellence. not learn the item within two or three sessions, it may be that they are not Correct skeletal alignment and the quite ready for it. Drop it for a few correct use of the muscles improves weeks, then try again. performance in all activities. More importantly, it goes a long way towards Do give mental challenges; memory reducing injuries. challenges; physical challenges of enchainements with known Coordination movements, and, with non-technical, natural movement. 1. Coordination can be encouraged to happen with a generous dose of Do give creative challenges: finding uncorrected natural movement. It new poses to make, adding ballet cannot be taught, because it is not a styling to natural movements, places to skill, it is a neuromuscular response, a put hands, arms, head. foundation for skills. Do give listening challenges: 2. Skill is a movement pattern practiced responding to rhythms, phrasing, and until it is smooth and automatic. changes in music; adapting known steps to different rhythms; describing 3. Introduce any change in technique the pictures or feelings music creates as a movement upward, an increase in in the mind. ability, a more advanced way of doing it, a new challenge to overcome. GO TO INDEX 12 THEBALLETSOURCE.COM

Can They Skip? Skipping requires balance, symmetry in 9. Marching: lift knees to the muscle use, and natural coordination. horizontal, arms swinging freely in It is used as an indicator of “readiness any pattern. to learn” in Kindergarten. It is an advanced coordination composed of 10. Hopping on one leg: 6 to 8 on several basic movement skills. each leg without losing balance, hands on waist. 12 Basic Pre-Skipping Skills 11. Forward Gallops: able to use 1. Standing: evenly on two feet, feet either foot in front, arms held in matched, arms relaxed at sides. demi second position. 2. Walking: smooth action, steps of 12. Side Gallops: able to go both equal length; equal use of both legs; directions, arms in natural second. arms relaxed and freely moving in any pattern. The ability to perform the above skills prepares the child for the ability to skip 3. Running: smoothly, with equal use nicely on both legs. No specific use of of both legs, arms moving freely for arms or legs should be taught, and no balance. variations on the skip itself. 4. Crawling (on hands & knees): Evaluating Where They Are knees are picked up, not dragged, equal use of both sides of body, good Review the entire class on these pre- sense of balance shown skipping skills, informally, in fun settings. Watch to see which skills the 5. Jumping on two feet: equal use of “non-skippers” have difficulty with. both legs, correct knee action, weight Work these basics into the activities for equal on both feet, can stay in place. the entire class for a few weeks. 6. Arms: can swing them forward Students who are ready for Ballet 1 and back, in unison or alternating; should be able to skip. A few may need can lift them sideways to the a little help. horizontal, showing symmetry. Helping the Ones Who Can’t Skip 7. Head: generally held upright and level; can do basic head movements It is best to not single students out of up, down, turning. for individual corrections or help as this age is very sensitive to making 8. Feet: can flex and extend ankle “mistakes.” They need to know they are joints, same or alternating. adequate and can do things right. GO TO INDEX 13 THEBALLETSOURCE.COM

If these skills seem OK, and a child fun challenge. Put each weak skipper is still not skipping, try having them between two strong ones. hold hands and skip with an assigned partner who is a strong skipper. Ask them to “match feet” with partners, so all three of them are using Have everyone skip with assigned their feet the same. Show enthusiasm, partners at this time; don’t draw make it fun! attention to what one or two children “can’t do”. How To Join Hands for Three Dancers: The one sided skip may appear first. The weaker leg takes longer to skip 1. The two on the outside reach their because it is less strong and less inside hands across in front of the coordinated. Allowing the one sided middle dancer and join hands. skip helps the weaker side to progress. It sometimes helps to practice hopping 2. The middle dancer puts arms in on the weaker leg. demi 2nd, on top of the joined hands. Take several lessons to teach various 3. The two outside dancers each take skipping activities. the closest hand of the middle dancer in their outside, free hand. Have them skip in trios. Learning to do the “skaters arms” in threes is a GO TO INDEX 14 THEBALLETSOURCE.COM

Learning Spring Points The picture shows the correct position for: a. Step and point exercises b. Landing from a spring point. Spring points are challenging to learn because it is always more difficult to do a step where the two legs do different things at the same time. In this example, the supporting leg is bent, while the extended leg is straight. It may take considerable practice to get the spring points strong and steady, up off the floor, and looking good. Some exercises for praciticing Spring When they can do spring points Points: without wobbling, work on holding arms quietly in demi second all during A. Step, Point, Hop, Hop the exercises. Holding a skirt, real or imaginary, helps them find demi 1 Step to the R, second. 2 Point L foot devant while doing a fondu (demi plié) on the R leg. Keep posture correct by keeping head 3 Hop on R leg, keeping the L leg level, and the spine vertical. and foot stretched (pointed) 4 Hop on R foot again Spring points are seen in many classical 5-8 Repeat, starting to the left. ballets at the professional level, such as the original version of the Black Swan B. Four Right, Four Left variation in Swan Lake, the variation in Paquita, etc. 1-4 Four spring points with the R foot in front. Spring Points can also be done to 2nd 5-8 Repeat with the L leg position. C. Two Sautés, Two Springs Spring points are seen in traditional Highland Dancing, such as the Sword 1-2 Two sautés in first position Dance where the dancer performs in 3-4 Two spring points with R foot in the open spaces made by two crossed front. swords on the ground. 5-6 Two sautés in first position 7-8 Two spring points with L foot in front. GO TO INDEX 15 THEBALLETSOURCE.COM

Classical Direction The Beginnings of Ballet Technique Adding Classical Direction Hips Classical Direction added to natural Beginners can learn to keep hips level movement teaches the beginnings on pointing exercises and on transfers of technique without the stress of of weight. Tell them their leg goes ballet exercises being placed on the visiting while their hips stay home! still soft and growing bones, muscles, ligaments and growth plates. It gives On movements to the side movements a wonderful, graceful effect to the the hips, body, shoulders and head natural movements. should move all at once, in one piece. “Don’t let your hips get ahead of you. We begin with stretching the feet for Make them wait for you so you can go the ballet walk, and with adding the together.” parallel retiré to marching, and to skipping. When they can add the classical direction to a movement it becomes Parallel Retiré is Classical Direction a ballet step. It is no longer just a basic movement skill, it is a ballet 1. The knee of the lifted leg must lift movement. straight forward to a nearly horizontal position. About “Bumpy Knees” 2. The lifted foot must point and make Some children have “bumpy knees” and the parallel retiré, with the toes next to need to leave a space between the heels the other knee, and the lifted knee in a in first position to give their knees straight forward alignment. room to stand as straight and even as possible. 3. The parallel retiré is used in skipping and marching. The knee joints in children around age seven appear overly large. This is due 4. It is also used in the Flamingo to the natural process of growth in the Walks, where it must be held for a legs. The knees are only temporarily musical count. out of proportion to the legs. 5. The retiré takes on some turnout It is not good to put the heels together when the Attitude Devant is learned when this causes the temporarily as a variation on the Grand Battement. oversized knee joints to lap, one over (Exercise 16.b.) the other. The lapping of knees may cause posture problems, uneven hip Classical Direction Means Level alignment, and poor ankle and foot GO TO INDEX 16 THEBALLETSOURCE.COM

alignment. control is finally there, the old habits will persist. As they grow their legs will lengthen and the muscles will get stronger. The Teach Them About Muscles That size of the knee joint will no longer Turn Out the Legs appear to be too large in relation to the length of the leg. Their stronger leg They need to learn about, and muscles will be able to hold the legs consciously use, the sartorius muscle. straighter. The space between the heels This muscle is important to turnout should gradually disappear. and is easy for students to locate. When sitting, doing the “Turning Out Legs” Technique Without Stress (Exercise 5, pg. 20) they can see this muscle and find the insertion just Ballet movements, positions and steps inside the knee joint. will be correct only when the muscle use is correct. Until a muscle is mature They can see and feel it work as they enough to be consciously controlled, rotate their legs in and out, and as they they really cannot learn the correct lift them. Then, they can be aware of way of using that muscle for ballet. it, and begin to use it in demi pliés, fondus, and sautés. Incorrect muscle habits are nearly impossible to change as the student gets older. Even when the muscular GO TO INDEX 17 THEBALLETSOURCE.COM

II. In The Classroom 19 47 Choreography for Level 4 Class 53 Teaching Notes For Ballet Basics 56 Notes About the Steps Music and Activity List GO TO INDEX 18 THEBALLETSOURCE.COM

Choreography for Level 4 Class It is a good policy to have an established way of beginning the class. As each class begins, give a few seconds of individual contact and recognition to the students before beginning the actual classwork. One way to do this is to mark the roll, and to say one short word of welcome to each student as you do so. These short moments of personal attention help the students to feel accepted and recognized by the teacher. This can go a long way towards eliminating some behavior problems. Usually, beginners should not be given arm or hand movements to do while the legs and feet are working. They do best with only one thing to concentrate on at a time. Once the feet are learned, a few changes of arm positions can be tried. See page 81 for an explanation of the Dancer’s Circle. Ballet is a performing art. Teach them to start promptly on the first beat after the introduction, and to stop neatly with the music. This musical awareness needs to be taught with all dance exercises. “We already know that!” “Good! Your feet can only practice what your head already knows. When your head knows what to do, then your head can teach your muscles, and make them practice, and make them get even better.” (Muscles cannot practice what the head doesn’t know!) About the music: “Met.” indicates the metronome timing for quarter notes. To calculate the dotted quarter Met. value for 6/8 meter, divide by 3, then multiply by 2. The music is especially arranged to help beginners move in time with the music, and to learn how to count the basic musical meters of 2/4, 4/4, 3/4, and 6/8. This means the rhythms are in some cases more obvious than in the original classic and semi-classic compositions. I. Warming Up Around the Room 1 1. Skipping 2/4, 2 cts/m, Done in a circle CCW around the room. Arms should move naturally 2m intro, 32m for warmups. Students can place them in demi 2nd or on waist for other activities and for performances. Met. 92 Intro: 1-3 Be ready, standing tall, feet together, arms relaxed. 1-8 Begin skipping with a hop on the left foot, 1-64 64 skips around the room. GO TO INDEX 19 THEBALLETSOURCE.COM

2/50 2. Marching 4/4, 4 cts/m, This is done in a circle CCW around the room, hands freely 1m intro, 16m swinging, a natural march on the whole foot. For variety, clapping or mimes can be alternated with the marching step: 8 counts marching, Met. 108 then stand still for 8 counts clapping or miming. Intro: 1-3 Be ready, standing tall, feet together, arms relaxed. 4 Begin lifting the right foot, ready to step on it on count 1. 1-64 64 marching steps around the Dancer’s Circle 3 3. Pony Trots or Prances 4/8, 4 cts/m, Pony Trots are quick running steps picking knees up high in front, 2m intro, 16m and pointing the picked up foot towards the floor. Hands are on waist, or holding imaginary pony reins. Met. 84 Intro: 1-3 Be ready, standing tall, feet together, arms relaxed. 4 Lift R foot, ready to leap onto it on count 1, place hands on waist. 1-64 64 pony trots, lifting knees high and jumping lightly from foot to foot. II. Floor Exercises for Warming Up 4 4. Using Feet and Ankles 2/4, 2 cts/m, Begin sitting, legs straight in front, hands on floor next to hips for 2m intro, 16m support. Sit tall, use ankles fully in both directions. Stretch the knees straight, but keep the heels in contact with the floor, to avoid Met. 92 overextending and weakening the knee joints. Intro: 1-4 Be ready, ankles flexed, feet pulled up. 1-2 Stretch ankles, pointing feet away. 3-4 Flex ankles, pulling toes up, hold. 5-32 Continue through the music. 5 5.a. Turning Out Legs 2/4, 2 cts/m, Beginners can learn something about the muscles of the legs and 4m intro, 48m what they do. An awareness of the muscles that produce turnout Met. 88&80 will help them to use their muscles more effectively. Point out the location of the sartorius muscle, and have them feel its insertion GO TO INDEX 20 THEBALLETSOURCE.COM

point just inside the knee. Then they can consciously send a message to that muscle when they want to use it. Children usually enjoy learning about their muscles and what each one can do. Our students called it the dinosaur muscle because the name sartorius sounded like a dinosaur to them! Intro: 1-8 Sitting on floor, hands relaxed at sides, back stretched tall, legs straight in front, feet pointed. Stretch knees straight, but keep heels in contact with· the floor, to avoid 1-2 overextending and weakening the knee joints. 3-4 5-8 Rotate legs in, 9-12 13-16 Rotate legs out, Coda: 1-2 3-4 Rotate legs again, in, out; 5-8 Lift R leg a few inches, and lower; Lift L leg, and lower; 1-24 Lift R leg, and lower; Lift L leg, and lower; Lift arms sideways through 2nd to open 5th; Bend forward over legs, gracefully, like a swan resting on the water, wrists crossed over ankles, or close to them; Lift body and arms up again; lower arms through 2nd, ready to repeat. Repeat all. 5 5.b. Turning Out While Standing 2/4, 2 cts/m, Have them stand and do the same exercise, rotating the legs from a 4m intro, 48m small parallel 2nd to 1st position, and brushing the leg to just a few Met. 88&80 inches off the floor for the leg lifts. See diagram on page Intro: 1-8 Standing in a small parallel 2nd position, hands on waist. Stand tall. 1-2 Rotate legs in to 1st position, 3-4 Rotate legs back out to small parallel 2nd position, 5-8 Rotate legs again, in to 1st, out to parallel 2nd 9-12 Lift R leg a few inches, and lower; Lift L leg, and lower; 13-16 Lift R leg, and lower; Lift L leg, and lower; For the coda, lift arms, then relax arms and body forward and down, taking the head down first so that the back is rounded. Roll up through the back, starting at the base of the spine, and the head and arms coming up last, then lower the arms to second, then hands return to waist. GO TO INDEX 21 THEBALLETSOURCE.COM

III. Creative 6 6. Rocks, Stars, Fireworks—Mime 4/4, 4 cts/m, Sit on floor, legs crossed, or bent underneath. Hold hands close to 1/2m intro, 48m chest for rocks. Met. 88 Intro: 1-4 Wait for the three chords. 1-4 5-8 Make fists with your hands “Let’s make rocks!” 9-16 1-8 Open hands, lift in front, and stretch fingers out; “Let’s make stars!” 9-11 Repeat the rocks and stars; Repeat. 12 Stretch and arch hands, join wrists, roll through hands to finger tips, pull hands apart then make “rocks”again, 13-16 Lift fists high, representing the unexploded fireworks “Light the fuse and send it up” 1-32 going up; The fireworks explode—Look up and suddenly open hands, stretching fingers, like fireworks exploding. Hold through the count (12) The fireworks sparkle, (wiggle fingers) then the pieces float gently to the ground (hands lower slowly, fingers still “sparkling”. Repeat all. 7/51 7. Pushing Clouds Away 4/4, 4 cts/m, A gentle, flexible use of hands will help with correct styling in Port 1m intro, 16m de Bras. Met. 92 Intro: 1-4 Sitting, legs crossed, wait; two chords and two short pickup notes, 1-4 5-8 2 small pushes, both arms pushing forward, one big push, 1-8 Push both arms to R side, twice, then one big push, (“Oh, oh, the front clouds are too 1-16 close again!”) Give clouds one great big push forward, two small pushes L, a big push L. Repeat all GO TO INDEX 22 THEBALLETSOURCE.COM

8 8. Head Positions 4/4, 4 cts/m, This teaches the 3 basic head positions and the movements used in 1m intro, 12m ballet. It also teaches the idea of communicating through movement, Met. 92&78 without speaking. Start sitting, legs crossed, hands on knees, back tall. Intro: 1-4 Sit tall, wait. 1-8 Turn head to look R, L, R, L, saying “no” without words. 9-12 Turn head quickly, saying “no” a little faster. 13-16 Straighten head, look at teacher and smile. 1-16 Repeat, moving head up and down this time to say “yes” without words. During this next part, the dancers are to incline the head without turning it. Suggest: “your ear looks at your shoulder.” Words in quotes are spoken. 1-2 Incline head to R, “Maybe,” 3-4 Incline head L, “I’ll think about it.” 5-6 Incline head R, “Perhaps.” 7-8 Incline head L, “I might.” 1-4 Incline head R, then L, “But then again.” 5-8 Bring head straight, look at teacher, fold arms, smile. “I might not!” IV. Center Barre Have them learn the “barre” exercises in the center, facing you, hands on waist with fingers forward, without the barre. Later they face the barre and try it on their own. Add the music when the movement is understood. Doing the barre work in the center helps young students learn to shift their weight correctly, and to balance well during the movements. It encourages the muscles in the back to strengthen more equally on both sides. Using a barre too soon can cause posture problems later. 9 9. Positions of the Feet 3/4, 1 ct/m, These counts are dancer’s counts. It is also correct to use the actual 2m intro, 24m musical counts. Dancers need to eventually learn both methods of counting the music. Met. 112 GO TO INDEX 23 THEBALLETSOURCE.COM

Intro: 1-2 Start with feet together, parallel 1st position, hands on waist “First Position” or on barre: “Second Position” 1-2 Open toes to 1st, hold, “Third Position” 3-4 Step R to 2nd, hold, “Fourth is front” 5-6 Close to 3rd, hold, “Heel to toe makes 5th.” 7-8 Forward to 4th, hold, 9-10 Close to 5th, hold, 11-12 Return feet to parallel position. 1-12 Repeat using L foot. 10 10.a. Demi Plié in Parallel and 1st 4/4, 4 cts/m, Demi pliés in parallel positions are an important part of 1m intro, 16m strengthening the legs for ballet. For a class of seven year olds, twelve demi pliés are a bit tiring, so stop the music halfway through, or Met. 68 divide the class and have them take turns. Older students can usually do the longer version. Later, more positions could be included in one exercise. Intro: 1-4 Stand tall, hands on waist, or on the barre. 1-2 Feet parallel, bend knees for a demi plié. 3-4 Straighten knees 5-12 Do two more demi pliés 13-16 Turn feet out in first. 1-12 Three demi pliés in 1st position. 13-16 Turn feet to parallel position 1-32 Repeat all, or stop the music here, or a second group can perform. 10 10.b. Demi Plié in 1 st and 2nd 4/4, 4 cts/m, Same as (a) but using first and second positions. 1m intro, 16m Met. 68 GO TO INDEX 24 THEBALLETSOURCE.COM

10 10.c. Demi Plié in Third 4/4, 4 cts/m, When turnout is strong enough, demi plié in third can be learned. 1m intro, 16m Don’t use fourth or fifth positions at this level. These more advanced positions can disturb the muscle balance in the back and hips and Met. 68 cause placement problems later. Do three with right foot front, change with a tendu, then 3 with the left foot in front, and change feet again. 11 11. Rises 6/8, 2 cts/m, This exercise strengthens the ankles and feet. Rises are done in 1m intro, 8m parallel position. Point out to the dancers that the toes bend as the heels lift. It will help them to not rise too high. When the parallel Met. 72 rises are strong, add rises in a turned out first position. Be sure the weight is centered on the feet, all five toes sharing the pressure equally. Intro: 1-2 Feet together, stand tall, hands on waist, or on the barre. 1-2 Rise smoothly on two feet by lifting heels to the quarter or demi pointe. 3-4 Lower heels smoothly to the floor. 5-16 Repeat through the music. 12 12. Demi Pointe Walks 2/4, 2 cts/m, The heel lifts teach the concept of the toes bending for the demi 2m intro, 18m pointe position. Met. 80 Intro: 1-4 Feet together, stand tall, hands on waist 1-2 Lift R heel slowly, bending R toes, making demi or quarter pointe 3-4 Lower heel. 5-8 Repeat with L foot. 9-16 Repeat with heel lifts. 1-4 Rise on both feet to demi or quarter pointe. 1-16 Do 16 demi pointe walks in a small, individual circle, lower heels to finish. (Different walking patterns can be used.) GO TO INDEX 25 THEBALLETSOURCE.COM

13 13.a. Battement Tendu to 2nd 2/4, 2 cts/m, Stroke the floor with your foot. Pretend your foot is petting a big dog, 2m intro, 16m or other large animal. Showing the use of the foot is easiest in 2nd position. See page 75 for alignment. For all movements of the foot Met. 80 from a closed position: “Five toes slide out, five toes slide in.” Intro: 1-4 Feet in first position, stand tall, hands on waist or on the barre. 1-2 Slide R out to 2nd, using metatarsal joint, showing demi pointe, 3-4 Continue, stretching toes to a full point, in line with other toes; 5-8 Relax foot, slide back to 1st, showing use of the metatarsal joint, as above. 9-16 Repeat L. 1-16 Repeat all. 13 13.b. Battement Tendu Devant, and/or Derriere 2/4, 2 cts/m, Same as (a), but forward or back to an open fourth; (see drawings on 2m intro, 16m page 75). Met. 80 14 14. Battement Tendu With Fondu 2/4, 2 cts/m, Fondu is easiest to the front. Again, use the open fourth. 2m intro, 16m Intro: 1-4 Feet together, stand tall, hands on waist. Met. 80 1-2 Slide R foot out to a tendu or degagé in front, knees straight; 3-4 Fondu, (demi plié on L leg only) letting R foot go a bit further; 5-6 Straighten L knee, letting R foot return to the tendu position. 7-8 Close R foot to 1st. 9-32 Repeat with L leg, then repeat all. 15 15. Parallel Retirés 4/4, 4 cts/m, Hands on waist, feet parallel. Lift knees high, stretching feet. (Level 3 1m intro, 8+4m has a preparatory floor exercise for learning retirés.) When parallel is learned, work on the turned out retiré. Met. 108 Intro: 1-4 Feet together, stand tall, hands on waist, or on the barre. 1-4 Lift knee, hold, making sure foot is pointed next to standing knee, 5-8 Put foot down, hold. 9-32 Using alternate legs, continue through the music 1-16 Repeat twice as fast, or, do skips or marches showing the retiré. GO TO INDEX 26 THEBALLETSOURCE.COM

16 16.a. Learning Grand Battement 2/4, 2 cts/m, 2m intro, 16m Intro: 1-4 Feet in 1st, stand tall, hands on waist. (Learn this one in the center) 1 Point R foot devant Met. 68 2 Lift R leg a few inches off the floor, keeping posture steady; (Up to 45º) 3 Lower R toes to the floor; 4 Close R foot to 1st. 5-8 Repeat with the L leg. 9-32 Continue through the music. 16 16.b. Learning Attitude Devant 2/4, 2 cts/m, Same as (a), but on count 2 lift the leg to a low front attitude, about 2m intro, 16m 45°. Straighten knee and lower toes to floor on count 3, close on 4. Met. 68 V. Port de Bras 17 17. Beginning Port de Bras 6/8, 2 cts/m, Prepare arms to demi 2nd, feet in first. The “baby first” or “low first” 2m intro, 16m position, halfway between bras bas and first, is an important position for quick transitions later on. The muscles need to practice this Met. 72 position. See pages 78-79 for the arm positions. Intro: 1-4 Feet together or in 1st, stand tall, arms in bras bas or a Cecchetti first. 1-2 Lift R arm to a “baby 1st”, lower to bras bas; 3-4 Lift R arm through “baby 1st”, to 1st; 5-6 Open R arm to 2nd, looking at hand; 7-8 Lower R arm through demi 2nd to bras bas, looking front. 9-16 Repeat all with L arm. Alternate version: for learning demi 2nd, substitute demi 2nd for the low 1st on counts 1-2; lift to first on counts 3-4, then continue as above. GO TO INDEX 27 THEBALLETSOURCE.COM

18 18. Classical Port de Bras 3/4, 3 cts/m, Learn one half of this exercise at a time. Combine after both halves 2m intro, 32m are learned. Note that the musical counts are used in this exercise. Met. 92 Intro: 1-6 Feet in 1st, standing tall, arms in bras bas or Cecchetti 1st. 1-2-3 Lift both arms to 1st. 4-5-6 Open both arms to 2nd (look R the first time through, L the second time) 7-8-9 Lower both arms to demi 2nd. 10-11-12 Lower both arms to bras bas. 1-12 Repeat first half. 1-2-3 Lift both arms to 1st, 4-5-6 Open R to 2nd, following R hand with eyes and head, 7-8-9 Open L to 2nd, following L hand with eyes and head, 10-11-12 Lower both arms to bras bas, 1-12 Repeat second half of the exercise. 19 19. Creative Port de Bras 2/4, 2 cts/m, Teach this one later in the year. It has a strong, dramatic feel rather 2m intro, 16m than the usual delicate feel of a port de bras. “R arm forward, on the waist; L arm forward, on the waist; both arms forward and listen Met. 64 close.” This exercise can be used to check their knowledge of arm positions. Intro: 1-4 Feet together or in 1st, stand tall. Hands start on waist, fingers “Right arm forward. forward,” 1-2 R arm opens diagonally fwd, palm up, look out over hand, hold; “On the waist.” 3-4 Replace R hand on waist; 5-6 L arm opens diagonally fwd, palm up, look out over hand, hold; “Left arm forward,” 7-8 Replace L hand on waist. 9-12 Open both arms as above, hold. “On the waist.” “Both arms foward, listen close.” GO TO INDEX 28 THEBALLETSOURCE.COM

13-16 Quickly put hands wherever teacher says, (such as, “first position,” or “behind your back,” “your position”, etc.) and hold. 1-16 Repeat all. Note: When using “your position”, take time beforehand for students to plan a position of their own (ballet or creative). 20 20. Positions of the Arms 3/4, 1 ct/m, Begin with arms in bras bas, feet in first. To help their memory, have 2m intro, 16m them say the names of the positions as they are shown. Use this exercise to teach them to use first position as the “gate” when going Met. 120 from one position to another. Intro: 1-4 Feet together or in 1st, stand tall, arms in bras bas or a Cecchetti 1st. 1-2 Lift arms to 1st, open to 2nd, 3-4 Bring R arm in to 3rd, hold, 5-6 Both arms to 1st, hold, 7-8 R arm to 4th, hold, 9-10 L arm to 5th, hold, 11-12 Lower to 2nd, hold, 13-14 Lower to demi 2nd, hold, 15-16 Lower to bras bas or Cecchetti 1st, hold. 21/52 21.a. Swaying With a Scarf 2/4, 2 cts/m, Swaying is transferring weight from side to side, from one foot to the 2m intro, 32m other, with feet in second position, going through a demi plié. Weight goes entirely onto one foot, the other somewhat extended at the end Met. 60 of each sway. Arm circles follow the flow of the sway, circling up in front of dancer, down, and out to the side again. Work for a smooth transfer of the weight. Intro: 1-4 Feet in 2nd, stand tall, arms relaxed, scarf in R hand. 1-4 2 sways, to R, to L. 5-8 Full arm circle to the R, weight on R foot, hold. 9-16 Repeat starting L. 1-16 Repeat both sides. GO TO INDEX 29 THEBALLETSOURCE.COM

21/52 21.b. Sway and Hop 2/4, 2 cts/m, If the dancer turns to face the downstage corner on the third sway, 2m intro, 32m and brings both arms front, the hop becomes a rudimentary sauté in 3rd arabesque. Met. 60 Intro: 1-4 Feet in 2nd, stand tall, arms relaxed 1-3 3 sways, R, L, R, 4 Hop, holding scarf diagonally up to R 5-8 Repeat starting L, and switching scarf to L hand on the first count. 9-16 Repeat all. 21/52 21.c. Swaying With a Partner 2/4, 2 cts/m, 2m intro, 32m Intro: 1-4 Feet in 2nd, stand tall, side by side with partner, about three feet apart, arms demi 2nd. 1-2 Sway towards and look at partner, arms gently reaching towards partner, Met. 60 3-4 Sway away, looking away from partner. 5-16 Continue through the music. 22 22. Arabesque a Terre 3/4, 3 cts/m, 2m intro, 16m Intro: 1-6 Feet in 1st, stand tall, arms bras bas. 1-2 Lift arms to 1st. 4m coda 3-4 Step fwd towards DR, opening R arm fwd, L arm side, palms down, L foot extended back Met. 92 (beginngers 1st arabesque) 5-6 Hold, adjusting posture and placement 7-8 Close feet to starting position, en face. 9-16 Repeat all to the other side. Coda: 1-4 Step and curtsey to each side, or as choreographed by the teacher or students. VI. Floor Exercise to Rest Legs 23 23. Kitty Kat Stretch 2/4, 2 cts/m, This floor exercise is a fun way to rest the leg and back muscles, 2m intro, 16m and to strengthen the abdominal muscles. Add other creative mime elements at your discretion. Met. 64 GO TO INDEX 30 THEBALLETSOURCE.COM