Pre-Ballet Level 4 Manual | All Stars

Intro: 1-4 Start sitting on feet, arms relaxed. 1-4 Bring hands up in front of chest, like paws, (cat is ready). 5-8 Move forward onto hands & knees, let stomach sag, (lazy cat). 9-12 Lift stomach and arch back, head down, (startled cat). 13-14 Stretch R leg straight back, staying on hands and L knee. Replace R knee on floor. 15-16 Repeat the stretch with L leg, and replace it. 1-16 Repeat all. VII. Center Steps 24 24.a. Ballet Walks 2/4, 2 cts/m, This can be done in a circle or diagonally. First learn continuous 2m intro, 32m walks without pointing the feet. When the continuous walks are steady and on the music, have them point their feet as they reach Met. 68 forward. Intro: 1-4 Feet together, or in 1st, open arms to demi 2nd, and point R foot forward. 1-32 Continuous walks through the music. 24 24.b. Ballet Walks With Point & Fondu 2/4, 2 cts/m, 2m intro, 32m Intro: 1-4 Feet together, or in 1st, open arms to demi 2nd, and point R foot forward. 1-4 Walk R, L, R, then point L in front; (and fondu when strong enough.) Met. 68 5-8 Repeat, starting with L, and pointing R in front. 9-32 Continue through the music. 25 25. Dinosaur Walks 2/4, 2 cts/m, For the Stegosaur, (first 8 cts) lean forward somewhat with slightly 2m intro, 32m rounded back, arms hanging limply at sides, sway slightly from side to side while walking. Walks can be in a circle, on the diagonal, or Met. 80 freely anywhere (but don’t bump another dancer). The dinosaur that reaches up into the tree might use demi pointe to get leaves off trees, first one hand, then the other. See page 80 for dinosaur diagrams. Intro: 1-4 Feet together, arms relaxed, lean slightly forward, letting arms dangle. 1-8 Eight dinosaur walks leaning forward, letting arms swing from side to side (the Stegosaur walk). GO TO INDEX 31 THEBALLETSOURCE.COM

9-16 Become a different dinosaur (the Struthiomimus). Walk upright, reaching up to get leaves off trees, first one hand, then the other. 17-24 Become a raptor type dinosaur, and walk stealthily, looking for food. Or, a flying type dinosaur, such as Pteranodon,using arms as wings and moving forward with short leaping steps. 25-32 Repeat either the Stegosaur or the Struthiomimus. 1-32 Repeat all. 26/53 26. Flamingo Walks, or Walking Retirés 4/4, 2 cts/m, Reach out and step forward, bringing other leg to parallel retiré. 2m intro, 8m Hands are on waist for learning. Other arm positions can be used when the step is well learned. Do continuous slow walks around the Met. 120 Dancer’s Circle, lifting knee quickly to the parallel retiré, showing the lifted position on the main beat of the music. 1-4 Feet together, hands on waist; start reaching forward with R foot on ct 4. 1 Step forward, quickly lifting L leg to parallel retire 2 Hold 3-16 Continue through the music. 27 27.a. Four Spring Points 4/4, 4 cts/m, See page 15 for details. Can use Track 54 as an alternate. 1m intro, 4m 1-4 Feet in 1st position, arms demi 2nd. Met. 104 1-4 4 springs, pointing R in front, 5-8 Repeat, pointing L forward, 54 9-16 Repeat all. 4/4, 4 cts/m, 1m intro, 8m 27.b. Two Spring Points Met. 104 Intro: 1-4 Feet in 1st position, arms in demi 2nd 1-2 2 springs pointing L foot in front 27 3-4 2 springs pointing R foot in front 4/4, 4 cts/m, 5-8 2 spring points R, 2 spring points L 1m intro, 4m 9-16 Second group performs. Met. 104 54 4/4, 4 cts/m, 1m intro, 8m Met. 104 GO TO INDEX 32 THEBALLETSOURCE.COM

28 28. Step, Close, Step, Point 3/8, 1 ct/m, At first, do a series of four side closes each way for a few weeks. 4m intro, 32m Then add the point on count four. This prepares for the walking turn. Some children have trouble keeping their balance on movements to Met. 92 the side. Facing a partner holding both hands is fun, and helps the balancing problem. Partners use opposite feet, mirroring each other. Intro: 1-4 Feet in 1st position, arms demi 2nd. 1 Step R to 2nd 2 Close L to 1st, 3 Step R to 2nd, 4 Point L devant; a fondu can be added when dancers are strong enough. 5-8 Repeat to L, pointing R. 9-16 Repeat all. VIII. Turning Steps 29 29. Jump and Spot 2/4, 2 cts/m, Feet are parallel, hands on waist. Encourage correct spotting by 2m intro, 16m telling them, “Look where you sre going!” To teach the directions of the room, also practice facing and turning from and to the corners of Met. 80 the room instead of the walls. To help with this, put numbers on the walls and corners at eye level. Intro: 1-4 Feet together, hands on waist 1-4 Bounce knees twice, then jump and 1/4 turn R to face the wall at Stage R. 5-16 Repeat through the music, ending en face. 1-16 Replay the music for the L side. 30/55 30.a. Walking Turn, Point Front 6/8, 2 cts/m, This prepares for chainé turns. Put hands on waist, or in first, or 2m intro, 32m put fingertips on shoulders. Use feet naturally, not worrying about turnout. Most beginners do best if they learn the turns going straight Met. 108 across the room, rather than diagonally. The walls give them a more secure place to spot. The head spots, or turns quickly, with the second half of each turn. GO TO INDEX 33 THEBALLETSOURCE.COM

Intro: 1-4 Feet in 1st position, hands on waist 1-3 Walk three steps on a straight line toward stage R, making one full turn watching a spot on the wall. Tell them, “Look where you are going.” 4 Look front, point L foot in front with fondu. 5-8 Repeat to L. 9-16 Repeat both sides. Continue through the music, with dancers or groups of dancers taking turns. 30/55 30.b. Three Walking Turns, Point Front 6/8, 2 cts/m, 2m intro, 32m Intro: 1-4 Feet in 1st position, hands on waist 1-7 Met. 108 Walk seven steps towards stage R, turning three times, making 1/2 turn with each step 8 (one full turn takes two steps) 9-16 Point front with L foot, with or without a fondu. Repeat to the L, point R foot in front on count 16 Continue through the music, dancers or groups taking turns. IX. Allegro—Jumping Steps At first, limit jumping exercises to no more than 8 jumps at a time. Gradually work up to 12, and 16 by the end of the year if they are strong enough. Tired muscles quickly lose their ability to turn out, and to land correctly. 31 31.a. Sauté 2/4, 1 ct/m, Practice in parallel position helps to strengthen ankles and feet. 2m intro, 8m When parallel is correct, they learn 1st position. Then 2nd position. Be sure knees go exactly over the feet, especially in 2nd. For Met. 92 variation, on the second 8 cts, 4 claps, 4 sautés. Challenge: mix two different positions of sautés, doing 4 of each; or 2 of each, repeated. Intro: 1-4 Feet in 1st position, hands on waist, demi plie on ct. 4 1-8 8 sautes in 1st. 1-8 Step R, point L in front, step L, point R, taldng 2cts for each movement. GO TO INDEX 34 THEBALLETSOURCE.COM

31 31.b. Soubresaut in Third 2/4, 1 ct/m, 2m intro, 8m Intro: 1-4 Feet in 1st position, hands on waist, demi plié on ct. 4 1-4 4 sautés in 3rd, R foot in front Met. 92 5-8 Change feet with battement tendu 9-16 Repeat with the L foot in front. 32 32. Sautés Taking Turns 2/4, 1 ct/m, Each of four dancers or groups do 8 sautés, in turn. This is good for 2m intro, 32m learning to count music, for working together, and for entering on the right part of the music. Met. 92 32 33.a. Échappé Sauté 6/8, 2 cts/m, Teach échappé sauté from first to second when they have good sautés 2m intro, 16m in both of these positions! During the hold, they need to show their best turned out demi plié. Met. 128 Intro: 1-4 Feet in 1st position, hands on waist, demi plié on ct. 4. 1-2 Jump from 1st to 2nd, hold in 2nd. 3-4 Jump back to 1st, hold in 1st. 5-16 Continue through the music. 1-16 Second group performs. 33 33.b. Échappé Sauté, Faster 6/8, 2 cts/m, The first exercise (33.a.) was slow, for learning the jump, finding 2m intro, 16m where to put feet, and for getting knees out over feet each time. When they are ready, double the speed of the jumps, doing 4 échappé Met. 128 sautés in 8 cts. For a harder mental challenge, try mixing sautés in 1st with échappé sautés from 1st to 2nd: 4 Sautés, one échappé sauté, rest 2 cts, repeat. Intro: 1-4 Feet in 1st position, hands on waist, demi plie on ct. 4 1 Jump to 2nd. 2 Jump t.o 1st. 3-8 Continue. 9-16 Second group performs. GO TO INDEX 35 THEBALLETSOURCE.COM

33 33.c. Échappé Sauté With Claps 6/8, 2 cts/m, For some classes, this exercise might be helpful. 2m intro, 16m Intro: 1-4 Feet in 1st position, hands on waist. On ct. 4, release hands, ready to clap. Met. 128 1-4& Four claps, demi plié on ct. 4, jump on & 5-8 2 échappé sautés, arms in 2nd, then on ct. 8, get ready to clap. 9-32 Continue through the music. X. Allegro—Traveling Steps 34 34. Run and Pose, The Ballet Run 2/4, 2 cts/m, This is done on the diagonal, one or two dancers at a time. A scarf or 2m intro, 32m ribbon is fun to use. Different positions or poses can be used at the end of the run. Dancers could choose their own position to stop in. Met. 108 The ballet run: small, quick steps on the balls of the feet, with feet and ankles relaxed and flexible. Intro: 1-4 Feet together, arms down; release R foot, reach forward with it on ct. 4 1-4 From UL, run forward on the diagonal, using arms naturally. 5-8 Stop DR in 1st position (hands and feet), or another assigned position; 1-4 Next dancer runs while the first dancer turns to R and runs or walks to UR Repeat through the music. 35 35. Point and Gallop 6/8, 2 cts/m, Exercises 35 and 36 are lead up exercises for those who have not 2m intro, 16m learned how to do gallop changing legs every four counts. In the Dancer’s Circle: Met. 144 1-4 Feet in 1st position, hands on waist, Point R forward on ct. 4 1-4 4 points with R (tap R toes in 4th front) &5-8 Hop, 4 gallops forward on R foot; 9-16 Repeat with L foot. 1-16 Repeat all. GO TO INDEX 36 THEBALLETSOURCE.COM

36 36. Gallop and Change Feet 6/8, 2 cts/m, 2m intro, 16m Intro: 1-4 Feet in 1st position, hands on waist, Point R forward on ct. 4 &1-4 Hop, four gallops forward Met. 144 5-8 Change feet on the two chords 9-32 Continue through the music 37 37. Forward Gallops 6/8, 2 cts/m, Continuous galloping around the circle, changing feet on the hop 2m intro, 32m after each 4th gallop. This is fun with a partner! Dancers are side by side, holding crossed hands in “skaters’ grip” (right hands joined on Met. 144 top, left hands joined underneath), both use same foot. Intro: 1-4 1st position, point R forward on ct. 4 &1-4 Hop, 4 gallops with R in front, &5-8 Hop, 4 gallops with L in front 9-32 Continue through the music. 38 38.a. Side Gallops 6/8, 2 cts/m, 2m intro, 32m Intro: 1-4 Feet in 1st position, face into the circle, close enough to grab hands. &1-8 Clap the gallop rhythm 8x, then point R foot to the side & grab hands. Met. 144 &9-16 Hop, to start 8 side gallops CCW (counter clockwise) &1-8 Clap rhythm 8x, point L foot to side, grab hands, &9-64 Hop, to start 8 side gallops CW (Clockwise) Then repeat all. 38 38.b. Side Gallops with a Partner 6/8, 2 cts/m, 2m intro, 32m Intro: 1-4 Feet in 1st position, starting at UL, face partner, hold both partner’s hands in 2nd position, point downstage foot to 2nd on ct. 4. Met. 144 &1-8 &9-16 Hop, 8 side gallops, travel diagonally from UL to DR As the next two dancers gallop, the first two run to the next corner, UR, to wait their turn on the second diagonal. Repeat through the music GO TO INDEX 37 THEBALLETSOURCE.COM

38 38.c. Side Gallops with Spring Points 6/8, 2 cts/m, 2m intro, 32m Intro: 1-4 Feet in 1st position, facing front, hands on waist, point R foot to side on ct. 4 1-4 Four side gallops to the R Met. 144 5-8 Two spring points R, two spring points L 9-16 Repeat to the L. Continue through the music. 39 39. Forward Polka 2/4, 2 cts/m, The forward Polka is simply doing gallops in twos instead of fours. 2m intro, 32m Change feet every two gallops. The Polka has a more lifting feel, a lighter feel than the gallop. When changing feet, swing the leg Met. 88 through naturally. Reach forward the with toes each time. Polkas can be done in combinations with gallops, skips, claps, walks, etc. Intro: 1-4 Feet in 1st position, hands on waist, point R forward on ct. 4. &1-2 Hop lightly on L, forward polka with R &3-4 Hop lightly on R, forward polka with L 5-64 Continue through the music. XI. Reverence 40 40.a. Curtsey (For the girls.) 2/4, 2 cts/m, 1m intro, 8m Intro: 1-4 Feet in 1st position, arms demi 2nd, or hold skirt 1-2 Step to R, tuck L foot demi point in back, reach R arm to audience Met. 60 3-4 Fondu (curtsey), straighten, 5-8 Repeat to left 9-12 3 walks forward, reach R arm to audience, close feet to 1st; L arm to audience, 13-16 Bow from waist, dropping arms to sides, straighten. 40 40.b. Bow (For the boys.) 2/4, 2 cts/m, 1m intro, 8m Intro: 1-4 Feet in 1st position, arms relaxed 1-2 Step to R, reach R arm to audience, close L foot relaxed, Met. 60 3-4 Bend upper body forward, lowering arm, straighten. 5-8 Repeat to left 9-16 Same as girls: Bow from waist, dropping arms to sides, straighten. GO TO INDEX 38 THEBALLETSOURCE.COM

XII. Enchainements 41 41. Enchainement #1: Skips & Points 2/4, 2 cts/m, 2m intro, 16m Intro: 1-4 Feet in 1st position, arms relaxed, facing CCW on the Dancer’s Circle: 1-4 4 skips forward, Met. 92 5-8 4 skips turning once to right, 9-12 Step R point L front, step L, point R front, arms demi 2nd 13-15 Close feet parallel position, rise on both feet, lifting arms diagonally up, 16 Lower arms to 2nd and lower heels, ready to repeat. 1-16 Repeat. 42 42. Enchainement #2: Spring Points 6/8, 2 cts/m, This exercise strengthens the jumping muscles. 2m intro, 16m Intro: 1-4 Feet in 1st position, arms demi 2nd. Met. 128 1-4 Step R, close, step R, point L foot forward. 5-8 Four spring points with the L foot. 9-16 Repeat, starting L and pointing R. 1-16 Repeat all. 43 43. Enchainement #3: Jumps & Turns 2/4, 2 cts/m, The change of arm positions during this enchainement will be a 2m intro, 16m challenge for beginners. Met. 92 Intro: 1-4 Feet in 1st position, arms demi 2nd. 1-4 2 echappé sautés. 5-8 4 skips back. 9-12 Tip toe turn R, R arm third. 13-16 Step R, curtsey with arms demi 2nd, close feet to 1st. 1-16 Repeat, doing the tip toe turn to the L this time. GO TO INDEX 39 THEBALLETSOURCE.COM

44 44. Enchainement #4: Hops & Gallops 2/4, 2 cts/m, This one is for strengthening the hops, helping the skips to be 2m intro, 16m stronger and higher. Met. 100 Intro: 1-4 Feet in 1st position, hands on waist. 1-4 4 hops on the L leg 5-8 4 gallops forward on R leg 9-12 4 claps 13-16 4 skips forward 1-16 Repeat all, hopping on R and galloping with L the second time through. 45 45. Enchainement #5: Tightrope Walker 6/8, 2 cts/m, Hold hands in front as if holding a balancing pole, or pretend to hold 2m intro, 16m a parasol. Each walking step is slow, as if putting the foot carefully across the tightrope. This helps the legs to learn to turn out during Met. 80 the ballet walks. Intro: 1-4 Feet in 3rd position, arms forward holding imaginary pole, or in 2nd, or holding an imaginary parasol for balance. 1-4 4 ballet walks. 5-8 4 flamingo walks; on the last count, bring feet to 3rd for the port de bras. 9-12 Port de bras with R arm: 1st, 2nd, bras bas, eyes following hand. 13-16 Port de bras with L arm: 1st, 2nd, bras bas, eyes following hand. 1-16 Repeat all. One Way to Teach Enchainements: 1. Teach the individual steps. 2. Teach the feet without the music. 3. Have them try just the feet with the music. 4. Teach the arms without the music. 5. With the music, add the arms and perform it with expression. Note: There is more material here than could ever be used in a single year of lessons. Teachers should feel free to create their own versions and to put their own personal touch on this work. It is not to be taken as the “final word” on what to teach. It is a place to start; an example of things this age group can learn. Choose the items that work best for you, for your school, and for the class you are teaching. Last of all, have fun with the work, and fun with your students! GO TO INDEX 40 THEBALLETSOURCE.COM

46 46. My Favorite Dance 6/8, 2 cts/m, 2m intro, 48m Intro: 1-4 Hold, off stage L, at back. 8m tag Step I (Met. 132, 8m) Met. 132 & 120 1-16 Enter with 16 skips, demi 2nd arms, forming a circle, then continuing into a line facing front. Step II (Met. 120, 8m) 1-8 Step R, Close, Step R, Point L forward; repeat to L. 1-8 Repeat, getting ready for polkas on last 2 cts. Step III (Met. 132, 8m) 1-16 8 forward polkas with (or without) partner travelling CCW around a circle, finishing in the line where they started. Step IV (16m) 1-8 Arms demi 2nd, 8 spring points 2R, 2L, 2R, 2L; 1-8 Two “tippy toe” turns in place, to L, arms 3rd or 5th. (a demi pointe walk, done turning in place) 1-16 Repeat. (Same side or other side.) Step V (Met. 112, 8m) 1-2 Step R. 3-4 Curtsey with L in back. 5-8 Step L, Curtsey with R in back. 1-2 All hold hands. 3-4 Lift arms to open 5th, R foot pointed in front. 5-6 Hold. 7-8 Bow. Tag (Met. 132, 4m) 1-8 Skip or polka off stage L. GO TO INDEX 41 THEBALLETSOURCE.COM

47 47. Jack and Jill 2/4, 2 cts/m, Choreography by Jennifer Barnhurst 4m intro, 57m Prop: Each pair of dancers has a small plastic bucket about 6-8 in. high 8m tag Met. 98 Intro: 1-8 Wait off stage R, at back corner. Step I 1-8 From stage USR corner, skip in holding bucket between partners, Jack on L. Set buckets down upstage. 1-4 4 skips to front of stage, holding partner’s hand. 5-8 Holding both of partner’s hands, 4 skips turning once to R. Step II Jills hold skirt out and wait while . . . Jacks do 2 echappé sautés, hands on waist. 1-4 Jacks do 4 skips back: L, R, L, R. 1-8 Jacks do 2 echappé sautés, 1-4 Jacks put R hand up, bow. 5-8 Step III Jacks stand 1st position, hands on waist and wait, while . . . Jills step R to 2nd, arms demi 2nd, close L to 1st. 1-2 Step R to 2nd, hop R with L in front attitude, R arm 3rd. 3-4 Repeat to L. 5-8 4 spring points traveling back: L, R, L, R 1-4 Turn to partner, prepare for turning polka, arms in closed dance position. Jack is on inside 5-8 of circular path, facing out of the circle, Jill facing into the circle. Step IV Eight turning polkas with partner (Each two polka steps make one turn to R (CW), while 1-16 dancers progress CCW around the stage. Be sure to spot: “Look where you are going”. GO TO INDEX 42 THEBALLETSOURCE.COM

Step V (Music changes here.) 1-4 Run and get buckets 5-6 Face front holding buckets between partners 7-8 Jacks let go of bucket, Jills wait holding buckets. 1-8 Jacks do 2 échappé sautés, 3 skips back, then using hands to break fall, slide carefully to moderate straddle sit (about 90°) put arms diagonally up, hold. Step VI 1-8 Jacks stand up, Jills dust them off. 1-4 Holding buckets between them, 4 skips to front. 5-8 4 skips turning, as in Step I 1-8 Jacks do 3 échappé sauté, kneel on L knee, hands on waist. 1-8 Jills do 4 spring points, then sit on Jack’s knee, bucket in R hand, L hand on Jack’s shoulder, Jack puts R arm up. 4 cts. (2 measures) of silence. Tag 16 cts Stand and skip off stage R, holding bucket between partners. GO TO INDEX 43 THEBALLETSOURCE.COM

48 48. Scarf Dance 2/4, 2 cts/m, 2m intro, 32m Part A 5m coda 1-2 Sway R, scarf in R hand, reaching out beyond the sway Met. 92 3-4 Sway L, 5-6 Sway R, 7-8 Hop on R, reaching up to R corner with scarf 9-16 Repeat to L Part B 4 skips back, holding scarf in front, travelling towards UL Short run forward on same path, scarf high overhead. 1-4 Lower scarf behind head to shoulders, like a cape: 8 polkas travelling towards DL, 5-8 Repeat Part B, using diagonal towards UL, and circling to end near upstage left. 1-8 1-16 Part C Hold scarf in R hand, arms 2nd: 4 ballet walks towards DR 1-4 Demi Pointe turn R, arms in arabesque position 5-8 Repeat, same side. 9-16 Part D: Repeat Part A 1-2 Sway R, scarf in R hand, reaching out beyond the sway 3-4 Sway L, 5-6 Sway R, 7-8 Hop on R, reaching up to R corner with scarf 9-16 Repeat to L Coda: 1-4 Four ballet walks to DR 5-6 Step into arabesque a terre on RL, facing DR, holding scarf forward and up in both hands. 7-8 Kneel on L, bring scarf across in front of body, look towards audience. 9-10 Hold GO TO INDEX 44 THEBALLETSOURCE.COM

49 49. Performing Dinosaurs 4/4, 4 cts/m, Choreographer: Earlet Meiners Music from Prelude in G minor, by 2m intro, 61m Rachmaninoff. See dinosaur illustrations on page 80. Three 2m interludes 2/4 interludes, 2 cts.* Intro 1-8 Wait off Stage L. Walks 1-16 Met. 92 In a line following each other, holding hands (R fwd & L back), leaning slightly fwd, dinosaur walks in single file, arms low, swinging arms *2/4 meas. 1-2 from side to side, circling stage CW. Gallops 1-16 End facing out of the circle, holding hands. Arabesques 1-4 5-8 4 side gallops to the R around the circle (CW), step R, point L fwd, *2/4 meas. 1-2 2 spring points L. Repeat to the L, drop hands & face front of stage, Tricks 1-8 forming two curved or staggered lines instead of a circle. 9-16 Step into Arabesques a terre to R, to L. 17-24 Demi pointe turn R with R arm in 3rd. Runs 1-8 Look at partner and nod twice. Sways & Hold 1-6 First trick with partner: “A” kneels on L knee with arms demi 2nd; 7-8 “B” points R foot fwd, arms 5th. 1-14 15-16 Second trick: “A” moves onto hands & knees; “B” puts one foot gently on hip of “A”, and holds hands up by ears, elbows bent. Gallops 1-16 Arabesques 1-8 Third trick: “A” rises to L knee again, with hands by ears; “B” lifts L leg *2/4 meas. 1-2 in front attitude, arms demi 2nd. Tricks, Runs 1-32 Take partner by R hand do 8 runs around each other, kicking feet up in back, end side by side facing front. Three slow (2 cts. each) sways towards partner, away, towards. Hold, leaning towards partner, hands by ears, nod head twice. Repeat starting with a sway away from partner. On last 2 cts., form circle, holding hands, facing out. (Dance starts over) Repeat the first step, gallops and spring points. Arabesque a terre to R, to L, demi pointe turn R with R arm 3rd; Look at partner and nod twice. Repeat the three tricks with partner; and the runs around each other GO TO INDEX 45 THEBALLETSOURCE.COM

Sways & Hold 1-6 Three slow (2 cts. each) sways towards partner, away, towards. Walks 7-8 Hold, leaning towards partner, hands by ears, nod twice. 9-16 Repeat starting with swaying away, and end ready for next step. 1-24 Grab hands, do dinosaur walks as at the beginning, circling stage clockwise and going off stage L. (see alternate version below) Wait 1-12 Wait off stage Run, Bow 1-6 Run on again, holding hands, single line, end facing audience. 7-9 Lift arms then bow on first chord of last measure, (ct. 9). 10-12 Hold (cts. 11-12 are silent) Alternate idea: Dinosaurs could be arranged in an interesting “picture” of poses around the stage; curtain opens and lights come up slowly during the introduction. Use 16 introductory counts for this version, and do dinosaur walks with partner to places on the circle in just 8 cts. For last walks, they circle the stage once, then return to the beginning picture and hold. On tag, all run forward to single line for the final bow. Either way, this dance is a challenge for this level! GO TO INDEX 46 THEBALLETSOURCE.COM

Teaching Notes For Ballet Basics Greeting the Students needed for pirouettes and diagonal turns. Suggestion: Have the dancers sit in staggered rows in their assigned places After the warmup, use one or two floor for center work. They “sit like dancers” exercises before doing barre work. Use with legs folded (feet crossed and knees three or four barre exercises, one or out), backs straight, heads up, and two port de bras, two or three center hands on knees, hopefully with a smile. steps, one or two creative activities, one This avoids slouching at the barre. turning exercise, one or two moving steps, and one or two jumping steps. Give a few words of greeting, and mark the roll. You can use these first Finish the class by reviewing new few minutes of class time as a mental material, things you especially want warmup to dancing by reviewing a them to remember, and things you few things they should know, and for want them to practice at home. giving a few seconds of individual attention to each student. General Teaching Hints Starting the Class Demonstrate at their level. Show the correct amount of turnout for them, Next, the students stand for the which is 90°. Lift your leg only as high warmup activity for that day. as you want theirs to go, about 45° when standing, and five or six inches Use skips, claps, runs, marches, etc. when sitting on the floor. Sometimes give an easy enchainement to do in the circle. The rhythm of an exercise is helped if you “sing” words to the music, such as For a fun challenge, have them learn “point and lift and point and close”. a warmup enchainement around the circle forward, then try repeating it Telling is not enough: any movement or backwards. This nearly always brings a procedure wanted must be rehearsed, bit of humor into the class. many times, or it won’t happen. Skips and polkas done backward is Too many words may frustrate and a useful dance skill. It teaches the confuse them. Keep directions short control of balance in reverse, a good and simple. Use short sentences. Show, preparation for advanced ballet steps say, ask them to try. When they have that travel backwards. been successful with your help, then let them try it without you. Finally, let Keeping one’s equilibrium while going them show it by turns—one or two at a backwards is also related to the skills time, or small groups. GO TO INDEX 47 THEBALLETSOURCE.COM

Never ask them whether they like or what is listed during the first semester. want to do something or not! That is an Choose the easiest forms of each invitation for them to say “no”. Instead, exercise. tell them something about what is coming next, give them a clue to guess The second half of the year drop one from, or give them a choice between item and add a new one each week or two items. so. You don’t have to use everything every year. Motivation Is it Time to Go Home? We like to do what we do well. Children are no different; they need to Just past the middle of any class, any learn a movement, and feel comfortable level, any length is a “dead spot”. with it before they can really like it. Students need something to grab their attention at this point—something Seven year olds are especially insecure different and fun, for 4-6 minutes. with new movements, or things they The rest of the class will go better if are not familiar with. Eight to ten year something relaxing and fun is planned olds are usually more willing to try for the “dead spot” in the class. new things. Improving Their Work Use the children’s ideas for mimes and dances when appropriate. Eight to ten When an improvement (formerly called year olds might be ready to form their “correction”) is needed, make it to the own enchainements occasionally, once class, rather than to an individual. they know some steps to put in them. Then everyone tries the exercise again, Make a large set of flash cards with the adding the improvement. Make only steps they know. Assign partners. Give one improvement on any one item. each pair one of the cards. They create Your teaching will be more effective! a four count enchainement which includes the assigned step. Discuss what is wanted, how to make it better. Show them, let them try, Level 4 “needs to be fun and interesting compliment their efforts. Sometimes to the students. It is the teacher’s show the wrong way and ask them to responsibility to make it so. Teach with fix it for you. love and care.” (Hazel Durrant) It is best not to give individual How much to teach? criticism, as some students will be very sensitive about making mistakes. Talk It is tempting to try to teach everything about what looks good for ballet, and right away. This is too much for them. what doesn’t. Have the entire class try Teach about one fourth to one third of the “improvement.” Keep it positive! GO TO INDEX 48 THEBALLETSOURCE.COM

The Dancer’s Circle Use 90° only, and be sure the knees are acting as “umbrellas for the toes!” Draw and explain the geometry of Knees should bend directly over the the circle: how each dancer must go centers of the feet. Feet in first make slightly to the outside of the one in the “corner of a box.” front, or else they are cutting the circle and making it smaller (see page 81). Posture Memory Posture is of first importance. Try to get them to understand the need for For enchainements, use short control in their movements, that their sequences of steps they do well. Once backs need to be strong and their arms a step is learned, give them simple steady. enchainements such as four sautes, four gallops. Once they know some Heads should not involve the neck steps, give one enchainement every when they move. Example: imagine a lesson. book on your head, and turn your head underneath it. Your best time for memory is the last thing done in class. Next best time is Weight Placement the first thing done; third best is the second thing done. Weight placement and balance must be correct to avoid injury later. Teach the It takes 12 weeks for a skill to become three points of the foot, and how to firmly established in the muscles balance everything above the feet: hips, and the memory, and to build good shoulders, head. technical habits. Be enthusiastic, and imaginative, and they will have fun! Technique Short repetitions or reminders, spaced Attention to detail at this level lays throughout the class will help more the groundwork for more advanced than a long series of repetitions all at excellence later. A sense of dance once. quality or feeling, and beautiful placement are the foundations of When choreographing your own Level classical ballet. 4 dances, keep the dance short, tell a story, and use a prop when possible. Leave a space between the heels in first position to allow the knees to be even Turnout and straight. Explain to them that, as their legs grow and strengthen, the This is controlled from the hips; keep space will disappear. it where the child can do it correctly and well. Suggest that the knees are To help sway backed knees, be sure to umbrellas, keeping raindrops off the keep the heels in contact with the floor toes. when doing the floor exercises for feet. GO TO INDEX 49 THEBALLETSOURCE.COM

Second position needs to be correctly Space aligned, with toes in line, and equal turnout in both legs, to encourage Dancers need to have an awareness of correct use of muscles, and good filling the space that they dance in. technique later. Dancers don’t bump into each other; but they do fill the space available. Footwork Creativity They need strong hops; hopefully high enough to stretch the underneath foot. Creating to music: Give them some ideas—talk about how the music All gallops, skips, polkas, start with a sounds, feels, the speed, etc. Try hop on the back foot. The hop must moving to it using only arms, only feet, be off the floor. They must hop when only head. Then put the 3 together. changing feet in a gallop sequence. Polkas seem to be learned best on the Free Movement is dancing without diagonal, especially turning ones. Turns turnout, to give a more free feeling must be spotted to stay in control. to the movement, and a feeling of expression in movement. No turnout Their footwork must be neat now, or it is used, but specific steps should be won’t be later, either. Legs must show learned, and footwork should be neat an understanding of turnout on points and carefully done. forward, spring points, and gallops. They need to have expression when Performance Quality they dance. Have them act out little stories with hands and facial Presentation or a sense of dance expressions. Possible ideas: use mice, artistry— the feeling of dance—is squirrels, rainbows, bubble gum, etc. important. Feeling must be balanced with technique. Both are needed. Musicality Take the time to teach and practice Musicality involves being in time with careful beginnings and endings. Ballet the music, especially on starts and is a performing art. Every exercise stops. should be a miniature performance. Musicality involves a feeling response To encourage a light, ballet like quality, to the music. rise slightly and breathe in just before starting the ballet run. Use different music at least once in each class. They need to learn to listen For fun, combine gallops with to the elements of the music—meter, soubresauts. pitch, rhythm, dynamics, etc. GO TO INDEX 50 THEBALLETSOURCE.COM

Demi Pointe very good for the abdominal muscles. Encourage them to keep those muscles For demi pointe walks, and for rises, pulled in, gently, all the while that it helps to explain that the toes bend. they are moving down and up. This If heel lifts are learned first, they will will improve their ballet posture. In understand about “bending the toes” pre-ballet we called this the “Rag Doll for demi pointe. Stretch.” Use a natural walk, on “tip toe,” with Chainé Turns the heels lifted off the floor to about quarter pointe. Knees and ankles Use the walking turn, then the should be relaxed and natural. walking with three turns. Concentrate on spotting this first year. Keep arms in No Flat Backs! one place; don’t try to coordinate arms at this level, or make any technical When doing the Coda of the “Turnout corrections on feet. Let them walk and Lift” exercise, #5, while standing: naturally for awhile. Relax the body forward, head going The ability to fully coordinate the down first, and the back being rounded very complex elements of a finished and relaxed. On the recovery, be sure chaine turn, a certain maturity in the they roll up, starting from the lower neuromuscular system is required. This back, with the head coming up last. usually appears at about age eleven They might like to imagine that they or twelve, after two or more years of are stacking the vertebrae like building ballet. blocks, one at a time. Beginners can learn to do walking The traditional “flat back” is now turns and to spot the turns. At first known to destroy the natural shock they learn best “on the square,” moving absorbing curves in the back, which straight across the room rather than in turn leads to injuries of the lower diagonally. back. Start your beginners right. No flat backs. Leaps (Grand Jetés) Roll down, head leading and eyes Leaping safely requires strong legs, looking at knees. Roll up, not worrying strong ankles with good skeletal about posture, with the lower back alignment, and strong feet. Leave this coming up first, then middle of the activity until the second year, and back, then upper back and shoulders, then only for fun, with no technical and finally the head. In succeeding corrections. Warm up to it with jumps grades, some technical styling will be on two feet, and small, low leaps. Put a added to this movement to make it book or similar object on the floor for look beautiful, and and classical. them to leap over as they take turns on the diagonal. This way of doing the exercise is GO TO INDEX 51 THEBALLETSOURCE.COM

The Three Bears Story This story is for teaching the footwork needed for the polka step. The description of movements is given as for the teacher’s demonstration when facing the class. “One morning the 3 bears decided to go for a walk in the forest. First there was Papa Bear (step L to the side), and then Mama Bear, (close R foot to L foot), and finally Baby Bear. (Step L foot to L again) But Baby Bear couldn’t keep up with his little short legs, so he hitched a ride on Papa Bear’s back!” (Snatch R foot quickly to back of L calf ) Repeat the story, going the other way. The following week, do the story as above, but add: “And guess what? Today, Baby Bear has the hiccups!” (Add the hop.) Music for teaching the Three Bears step is in “Ballet Arts For Young Children, Level 3”. Or, it can be done to the Step, Close, Step, Hop music. GO TO INDEX 52 THEBALLETSOURCE.COM

Notes About the Steps Skipping introduction. Legs are lifted as high as possible in a slightly turned out front Skip counterclockwise in a circle. Work attitude. first for a light, off the floor feeling, with arms swinging freely. Then add Exercise For Feet the same technical improvements as for marches. Begin sitting, legs straight forward; hands are placed next to hips on floor Start by hopping on the last beat of the for support. introduction. Hop high, knee lifted, with the lifted foot in parallel retire, Ankle joints need to move in toe to side of knee. alignment, in both directions, teaching the correct use of calf and shin Marching muscles. Flexing (dorsiflexion) is just as important and should receive just as First get a natural feel to the marches, much attention as extension (plantar with arms swinging freely. Arms flexion). should move as a natural result of the marching. Correct pliés and safe sautés are impossible without correct use of the First get the knees to lift high in front, ankle joints and the muscles of the exactly forward, not crossed over, and lower leg. not opened outward. Then teach them the parallel retire for the lifted foot, Turn Out and Lift Legs or use the parallel attitude, with leg hanging straight down from the lifted This is an excellent exercise for thigh. learning about the sartorius muscle, which is a prime mover in turning out Usually the arms will swing naturally the thighs and in lifting the leg to the in opposition to the legs, forward front and side for developpés and for and back. If a child swings them the grand battements. Legs must be turned other way, don’t correct it. Arms in out, and back held perpendicular to the unison with legs is an important floor in order for this muscle to work. developmental phase of coordination, and should be accepted as correct. Demi Pliés Pony Trots Can be in 1st position, or can be parallel for the beginning class. For a smooth beginning, lift the Turnout at this level should not exceed right leg on the last count of the 45° for each foot. More turnout can put GO TO INDEX 53 THEBALLETSOURCE.COM

muscles at the wrong angle for correct • When doing the fondu: “step strengthening for ballet. and close and step and make a window;” Learning it first without the barre helps their balance, weight placement, Walking on Demi Pointe posture, and turnout. If hands are placed on hips with elbows straight Point out to them that the toes bend out, knees are more likely to open as during a rise. It can then be related to they bend. the plié, and the undesirable rising all the way to the tips of the toes is not as Demi Pliés are done: likely. • for muscular strengthening, We bend our knees to make a plié, and • for an awareness of the we bend our toes to make a rise. If a child still rises to full pointe, stop and movement itself, the bending and correct that. Tell them their toe bones straightening of the knees, are still soft, and will grow into ugly • for encouraging knee action on shapes if they stand on them before the jumps, bones are strong enough. • for training the knees to bend directly over the toes. Lift the heels off the floor; the whole body rising in space a few inches. They need a sense of musical timing: Knees are held naturally, not tight but same time to come up as to go down. straight. To keep backs straight, have them try Walking the plié with a paper book balanced on their head. Work first for a natural feel to the walk, arms hanging freely at sides, If a child does not have the muscular feet stepping on the music. Then add control to open the knees yet, have that reaching forward with toes so the toes child do pliés with parallel feet. come to the floor before the heel. Step, Close, Step, Point The walk should have a natural look and feel to it, and posture should not On count 4, go directly to fourth be disturbed. front. Teach the two directions of the movement: stepping side and pointing Following the musical beat is hard to forward. This leads to the walking do: “play the piano with your feet”. turn, which prepares for chainé turns. Verbal clues to give: Clap the beats, then step on the beats in place, then try walking on the beats. • To teach the two directions of the movement: “step to the side, then point in front.” GO TO INDEX 54 THEBALLETSOURCE.COM

Transfer of Weight a demi plié with feet against the wall, and push off the wall, sliding back on Feet begin in 1st position. This can the seat. be presented first as a simple step to second, close in first, omitting the To get them on the music, do only the pointing of the foot until the direction first sauté, then rest seven counts for of the exercise has been well learned. awhile. Then do two. Work up to six or eight. Remember to teach only one thing at a time. Moving sideways with turned out Sautés and Échappé Sautés feet is a whole new thing to be learned. Second position is only as wide as they Beginners age seven and older can can do well. Maybe only a “first and a learn to keep hips level on transfer of half’, is OK until they get stronger. weight. Show it right, show it wrong. Let them try. Forward Polka Hips must be level, and not slouch Start in 1st, bras bas; prepare on the when shifting weight. They must have introduction. Has a more lifting feel even turnout, and matched feet in first than the gallop, and it’s more forward and second. Lift the body over the leg moving than gallops. Swing leg when transferring from one foot to the through naturally; no petit developpés. other. Add the plié when it is learned. It looks nice to end the last one with a spring, closing the feet to parallel. Walking on Demi Pointe Enchainements They need relaxed knees and ankles. They are learning about levels, and Keep it simple, easy to remember. strengthening the use of ankles and Some short, easy ones to start with: metatarsals. It is a natural walk, with heels lifted off floor, but not in a high • 2 side closes, 3 sautés, repeat other demi pointe position. Knees and ankles way. For variety, they can turn the should be relaxed and natural. jumps. Sautés • 2 step points, 4 skips forward; 2 step points, 4 skips back. Be sure they get their heels down as they land. Stress the elasticity of the • 4 skips forward, 4 claps, step R demi plié and the stretch of the legs curtsey, step L curtsey. and feet in the air. To practice the stretch of knees and feet in the air, sit on the floor making GO TO INDEX 55 THEBALLETSOURCE.COM

Music and Activity List Most teachers want traditional piano music for ballet classes. Most of these selections are piano only. In a few cases, additional tracks with other instruments were included as they seemed to express the feeling of the exercise. This music was arranged from classical and traditional folk music. The arrangements are designed to meet the needs of young and beginning students. These dancers need music that will help them to move in time with the music. The rhythm must be clear and consistent, so that even the “non-musical” beginner can follow the music on their own. Exercises are numbered to correspond to the album tracks. Tracks with alternate music sounds are listed with the exercises. When a number is followed by a letter, it means that more than one exercise is done to the music on that track number. I. Warming Up 25 25. Dinosaur Walks 1 1. Skipping 26/53 26. Flamingo Walks 2/50 2. Marching 27/54 27.a. Four Spring Points 3 3. Prancing 27.b. Two Spring Points 4 4. Feet and Ankles 28 27.c. Spring Points and Run 5 5.a. Turning Out Legs 28. Step, Close, Point 29 VI. Turning Steps 5.b. Turing Out Legs While Standing 30/55 29. Jump and Spot II. Creative 30.a. Walking Turns 6 6. Rocks, Stars, Fireworks 31 30.b. Three Walking Turns 7/51 7. Pushing the Clouds Away VII. Allegro - Jumping Steps 8 8. Head Positions 32 31.a. Sauté and Soubresaut III. Center Barre 33 31.b. Soubresaut in Third 9 9. Positions of the Feet 32. Taking Turns with Sautés 10 10.a. Demi Plié in Parallel and First 34 33.a. Learning Échappé Sauté 10.b. Demi Plié in First and Second 35 33.b. Échappé Sauté 10.c. Demi Plié in Third 36 33.c. Échappé Sauté with Claps 11 11. Rises 37 VIII. Allegro - Travelling Steps 12 12. Demi Pointe Walks 38 34. Run and Pose, Ballet Runs 13 13.a. Battement Tendu to 2nd 35. Four Points, Four Gallops 13.b. Battement Tendu Devant 39 36. Four Gallops, Change Feet 14 14. Battement Tendu with Fondu 40 37. Galloping Forward 15 15. Parallel Retirés 38.a. Side Gallops 16 16.a. Learning Grand Battment 41 38.b. Side Gallops with Partner 16.b. Learning Attitude Devant 42 38.c. Side Gallops and Spring Points IV. Port de Bras 43 39. Forward Polka 17 17. Beginning Port de Bras 44 40. Reverence 18 18. Classical Port de Bras 45 IX. Enchainments 19 19. Creative Port de Bras 41. Enchainement #1: Skips & Points 20 20. Positions of the Arms 46/56 42. Enchainement #2: Spring Points 21/52 21.a. Swaying 47 43. Enchainement #3: Jumps & Turns 21.b. Sway and Hop 48 44. Enchaingment #4: Hops & Gallops 21.c. Swaying with a Partner 49 45. Enchainement #5: Tightrope Walker 22 22. Arabesque a Terre X. Dances V. Floor Exercises to Rest Legs 46. Favorite Dance 23 23. Kitty Kat Stretch 47. Jack and Jill VI. Center Steps 48. Scarf Dance 24 24.a. Ballet Walks 49. Performing Dinosaurs 24.b. Ballet Walks with a Point

III. Students and Their Dancing Needs Characteristics of Seven Year Olds 58 Characteristics of Eight & Nine Year Olds 60 Managing Behavior 62 Growth As It Relates To Ballet Lessons 68 Expectations for Level 4 71 GO TO INDEX 57 THEBALLETSOURCE.COM

Characteristics of Seven Year Olds Physical Characteristics want time to complete what they are doing. Seven year olds need to firm up existing skills. They are growing very They like to collect things and tell rapidly, with legs and arms lengthening about them. They are beginning to noticeably. They are more clumsy than favor reality in stories, but still like at six. Continued practice of familiar fantasy and make-believe. Sevens skills in slightly different settings will understand the passage of time, but help them overcome the clumsiness. It have trouble understanding that other is temporary, brought on by the rapid things, such as the time to go to dance growth and changing body size. class, won’t wait for them! With an increased sense of balance Social and Emotional Characteristics sevens can begin learning technical skills. They like active games using The seven year old plays mainly in large muscles. They are full of energy groups. He or she likes to have a special for short periods of time, then need to friend, though who it is may change. rest. They are sometimes restless and There is less interaction between boys fidgety. and girls now; they prefer playing with friends of their own age and their own Intellectual Characteristics sex. Sevens are eager to learn! They like to Sevens want peer approval, want to show off their accomplishments. Most please peers, and want to be with develop a few favorite interests. others of their own age and sex. They also like to play quietly alone, They are beginning to think seriously sometimes, and can be dreamy, and reflectively. They can solve more withdrawn, inhibited, and cautious. complex problems, are beginning to use some logic, and are beginning Sevens like to be given responsibility to understand cause and effect and independence. They can be relationships. perfectionists, both of self and of others. They tend to be critical of self, They have good attention spans, can but dislike criticism from others. concentrate longer on one assignment, and repeat things more willingly than They are aware of right and wrong, and previously. can sometimes know the difference. They want reassurance that what they They like to be challenged within their are doing is “right.” They dislike being ability, but cannot handle failure very outdone. well. They tend to work slowly, and GO TO INDEX 58 THEBALLETSOURCE.COM

Sevens are sensitive to feelings of self The age of seven is second only to and of others. They are less impulsive the junior high ages for frequency of and self centered than at six. They children wanting to quit their dance need to know what is going to happen, lessons. Understand their needs, and and what is required of them before adjust your approach to meet those attempting new things. They are often needs. afraid to try for fear of failing. They are physically stronger than They can become frustrated with new six year olds, but tire much faster, so skills and want to quit when something they may work best in a dance class is hard. They may say it is “boring” to with eights rather than with younger avoid admitting that it is a bit too hard children. for them. They get genuinely tired and need to Implications for Dance Class rest often. Be ready with short rest times and floor activities when you see The implications of these them beginning to tire in dance class. characteristics in dance class are enormous! New learnings need to be Sevens can be great fun once you get carefully structured step by step to used to their ways, and can give them eliminate failure. Take the time to do the support and encouragement that this, and more of your sevens will stick they need to get through what is a veiy with dancing. awkward time of life, both physically and socially. GO TO INDEX 59 THEBALLETSOURCE.COM

Characteristics of Eight & Nine Year Olds Characteristics of Eight Year Olds and to expand his knowledge. Has general good health; has had most Hero worship is common. of the childhood diseases, and has built up an immunity to them. Increasingly interested in group play with simple rules. Has a great deal of physical energy, often works or plays to the point of Friendly, outgoing, cooperative, exhaustion. but may also be careless, noisy, argumentative. Is developing the use of smaller muscles. Has a strong need for independence, and a great need to rely on adults for Shows an increase in manipulative guidance and security. skills. Exhibits skill and grace in bodily movement. Tends to be careless, Still loves to dramatize; still very though, and may have many accidents. sensitive to criticism. Has fairly well developed eye-hand Characteristics of Nine Year Olds coordination. (This also means they can more readily copy movement Continues to have generally good patterns that they see, and with more health, and has an even rate of growth understanding than formerly.) in height and weight. Is consistently active. Works and plays to the peak of Is increasing in ability to focus eyes, his capacity. Becomes overstimulated both near and far. easily and has difficulty in slowing down. Growth has slowed down some, and coordination is improving, but legs are Continues to need activities to develop still growing rapidly. large muscles, although displays increased skill in motor coordination Plays more organized games. Still and enjoys exhibiting motor skills. wiggles and squirms some. Finds it difficult to keep from twisting and turning when sitting because of Attention span is good if interest is muscular growth. captured. Can concentrate well on studies. Active, rough and tumble play is normal, especially for boys. Interested Needs to be involved. in team games. Has good body control; can learn technical skills well; is Learns best when concepts are developing strength and speed. associated with experiences of daily living. Exhibits increased skill in the use of fine muscles. Evidences proficiency in Wants to know the reasons for things, GO TO INDEX 60 THEBALLETSOURCE.COM

use of tools through detail of finished Is group and club oriented, but likes product. to be with own sex. Sometimes silly in group interaction. May have some Shows increase in eye-hand behavior problems, especially if not coordination. well accepted by peers. Likes complicated crafts and shop Very conscious of being fair, is highly work. Exhibits ability to adjust eyes competitive, will argue over fairness. near and far without undue strain. Knows right and wrong, but sometimes overreacts or rebels. Has difficulty Has definite interests and lively admitting mistakes, but is taking curiosity. Seeks facts. Capable of responsibility for his actions. prolonged interest. Is becoming independent, dependable, Can do abstract thinking and reasoning. and trustworthy. Likes to memorize. Likes reading, writing, keeping records and accounts. Interested in community, country, and other countries. Not so interested in fantasy as before. Likes to collect things. Likes history. GO TO INDEX 61 THEBALLETSOURCE.COM

Managing Behavior Dancers Start With the Right Foot! Position Beginners in this age group are just The open fourth position is sometimes learning how to distinguish right from forgotten, and not specifically taught. left. There will be some who still have trouble with this. Be patient. Tell them It is the very best place for beginners once the brain knows something, it to do battement tendus and dégagés or takes awhile for the brain to teach it glissés. to the muscles. When requiring them to know right from left, give them the It is in this open fourth position that time it takes them to think it through. the turnout muscles can work at their best. One thing that you might explain: non- It is the only correct place for the leg dancers always start marching with when it is in the air, as for developpés the left foot. Dancers are a different and grand battements. Having only one category; they always start with the fourth position to use when the leg is right foot. It might be helpful to stretched forward either on the floor sometimes start the warmup marches or lifted, simplifies the learning for the with the left foot, so they learn to beginner. do it both ways. That will help their awareness of right and left. Home Practice Feet—Turnout and Positions About 10 minutes at a time, on three different days, is enough practice for Strength is needed for safe turnout. most beginners. Practice should be fun, and not feel forced if they are to Beginners, regardless of their flexibility, keep their enthusiasm. should not turn their feet out more than 90°. To dance safely, they first Caution parents that siblings and need strength in the natural alignment, friends should not be allowed to and in the moderately turned out observe home practice, or lessons, position. as children watching will often make negative or teasing comments, Knees must always be in strict unknown to the parents, which may alignment with feet. A knee joint out of cause the dancer to feel embarrassed alignment is like a fruit jar lid with its about the dance lessons, and perhaps grooves stripped—it does not hold well, unwilling to continue. and will give out easily. Decisions Beginners Use the Open Fourth GO TO INDEX 62 THEBALLETSOURCE.COM

It is not a good idea to have students 1. No one learns as well with observers make the decisions in class. That is the present. Students are easily and quickly teacher’s responsibility. In doing work distracted by any movement or noise in with partners, use partner cards, or the room. have a rotating system worked out that eventually gets everyone dancing with A student of any age usually feels everyone else. awkward about the possibility of making mistakes whenever there are Working with Parents observers present. And mistakes are a part of learning! A most common comment from a child or mother who has come from It is sometimes important for a teacher another school is that “Her other to accept a student’s mistake, when teacher did thus and so, and it worked it is a transition towards the desired so wonderfully!” (Such comments are learning. A parent or sibling not rude for a parent or student to make, realizing that the mistake is a part of but it happens.) the child’s progress, and not wrong for that time, will often try to correct Your possible reply: “I’m glad she the student from the sidelines! This enjoyed her other dance class. This one is really not helpful, as it tends to will be a little different. It may take embarrass the dancer. some time for her to get used to a new dance school and a new dance teacher. If a parent feels that “their child” We will have fun, here, too, and we doesn’t mind them watching all the will be learning new things that you time, they need to remember that the will enjoy.” other children might mind! Never feel that you have to “compete” Legal issue: never let a child “watch with another teacher in any way. Each the class” without an attending adult teacher is different. Each one brings present. You become legally responsible her own unique personality and talents for that child. You cannot keep track to the dance classroom. of the behavior and safety of visitors while teaching. Students can benefit from and enjoy all teaching styles! Some like some styles My experience was that if a friend more than others. This is in no way came to watch, their attention span a reflection on the ability or talent or lasted about ten minutes. Then they value of any teacher. became a problem, as they looked for something else to do. Our rule Visitors Can Be A Negative became: friends coming to watch had Influence to participate in the class, and if they GO TO INDEX 63 THEBALLETSOURCE.COM

came more than once, they paid for the that goes with it. It involves a love of class. communicating with the arts, to an audience, or perhaps just to oneself. We 2. Lessons need to be calm, quiet, and can dance for ourselves, for others, or free from distractions. Only then can for both. children learn the discipline of intense concentration on what they are doing. Try to build this love in your students. This is one of the benefits of ballet Show them short video sequenes of training which can carry over to other professional dancers doing one of the areas. movements the students are learning, in among the more advanced ones. 3. The teacher is never at her best with Have them find it. extra movements, noise, and people in the room. His or her concentration and Behavior In Class—Courtesy Is ability to respond well to the needs of Important the children suffer when visitors are there too often. The purpose of a dance class is for learning, and for fun. Parents are It is wise for the teacher to adopt a paying you to teach their children definite “visiting” policy, and stick to ballet. Both you and the children need it. Parents do feel a need to make sure to respect that financial obligation. their child is treated well, but that need not involve watching every minute I have sometimes sat a somewhat of every class. And they do enjoy unruly class down in a circle with me watching their child perform! and said, “Your parents are not paying me to babysit you. They are paying me Have visiting policies that provide for to teach you to dance. So, please, don’t parents’ needs as well as for your needs behave as if you need a babysitter! If and the learning needs of the students. the work is too hard for you, we do have easier classes that you can take.” 4. Observation day is a time to show That usually works. what the students know and do well. Then parents can clearly see “It’s too easy. I already know that.” the improvement from the previous observation day. You might even have When a student doesn’t do something, visitors applaud for the dancers on or does it poorly, saying, “It’s too easy,” observation day. you say, “Well, if you don’t do it, or do it poorly, I will think it is too hard for Attitudes you, and that you can’t do it. Then I will think you need a younger class.” It takes perseverence to learn ballet. It takes a love of classical music, a love of Idea #1: movement, a love of expressing your feelings with movement: your feelings In dance, once our brains know about the music and the story or idea something we have the very large job of teaching it to our muscles, of GO TO INDEX 64 THEBALLETSOURCE.COM

making it become a habit within those Demonstrating muscles. That takes a lot of repetition. Demonstrate facing your class, using Name a famous sports or gymnastics the mirror image method. This eliminates the students having to “cross star they are familiar with, and tell think” what they see. If you want to use the same foot as the class, turn them didn’t get where they your back to them. This will work if you are facing a mirror where you can are by refusing to practice the easy see what they are doing. Another way is to have your assistant do it with his stuff. They knew that the easy stuff is or her back to the class, while you watch the class. what makes harder stuff possible. The real purpose of teaching is to Idea #2: enable the student to perform without the aid of the teacher. This means that Compare reading with ballet. First you most of us teachers demonstrate too learn to read short easy words like much! “the”, “dog”, “and”, “it”, “we”, etc. Do we ever leave these words behind, and Once the class has something shown, no longer read them? No, they are explained, and they try it successfully always used, even in the most advanced with you, they should be allowed to college books. So it is with dance. The try it on their own. Then you can see if easier the movement, the more it is they really did understand the lesson. used as we learn more advanced things to put with it. Mirrors There are many classical ballets that When there are mirrors behind the incorporate folk dance steps, natural barre, it helps beginning classes movements such as walks, runs, skips, because they can face the barre, polkas, gallops, and beginning ballet and see the teacher, and follow her steps in the choreography. Simple steps instructions. are never left behind. Dancers must always be able to do everything they have ever learned, and to do it well. Again, if you can, use a short video segment to illustrate this. Idea #3: Generally, it is not a good idea to have beginners face a mirror for work in If you can reach their idea of what is the center. It can make them feel important, and explain how what you insecure. It takes away the awareness of are doing relates to what they might the size of the space there is to dance want to do later, they will be willing in, by removing the wall! Another to do it your way. Remind them that problem: they will usually look in the dance is a fun way of staying physically mirror instead of where they should fit. GO TO INDEX 65 THEBALLETSOURCE.COM

look, spoiling a part of the classic line approval. You’ll be glad you did. required for good ballet. Why This Behavior? A third problem: they often use mirrors to compare themselves with Psychologists tell us that behaviors each other, and then some may feel do not continue unless they are they are not good enough to be in the reinforced. The reinforcement is from class. the student’s point of view, not the teacher’s. Just Teaching Them to Dance? Reinforcement is constantly going on— Often, in teacher workshops, I’ve had if the teacher smiles, nods, even looks teachers say, “I just want to teach them at a student during an exercise, that is a little dancing. I don’t want to bother positive reinforcement. with anything else.” We can direct the reinforcement, plan Each student is a whole person, and it when planning is needed, or, we can they cannot just bring their muscles just “let it happen.” to class and nothing else. A teacher or caretaker of children in any setting is, Behavior is learned. How we respond to whether they consciously choose to a student’s behavior will reinforce it in or not, teaching the “whole child”, the some way, positive, or negative. “whole person.” Behavior can be influenced by people, When we try to ignore social behavior, objects, activities, environmental it can become a serious problem in a conditions, and by the student’s ability dance class. Sometimes teachers ignore to understand and to learn. and tune out the undesirable behaviors, so it doesn’t bother them. But what This tells us that with some effort on about the interaction that occurs at the our part as teachers, in nearly every feeling level between students? case: Teachers need to know that they are an 1. Acceptable behavior can be influence in every student’s life. They encouraged, and maintained. can and should teach courtesy, respect, 2. New behaviors can be taught. and correct behavior and speech along 3. Undesirable behaviors can be with the dancing. You do this as the changed. need arises. Looking at behavior from the student’s You expect correctness in their point of view, we see that they behavior, and compliance with your behave in ways they believe will get rules. If this happens, give them some them what they want, need, or feel positive reinforcement, some tiny satisfaction from. minutes of individual attention and Secondly, the student will use behaviors GO TO INDEX 66 THEBALLETSOURCE.COM

in dance class that have worked for • Be immediate them before in other settings. • Be in line with the student’s value They also behave in certain ways that system they feel will terminate a condition they feel to be distressful, painful, or in Planning Reinforcements some way undesirable to them. Select the behavior or skill, then teach Teachers, it is the student’s point of it. Have the students rehearse it and view that we must understand and practice it as a class, and as individuals. work with in order to change their behavior. This applies to social behavior as well as to dance skills. Be sure the students Ways to Affect Motivation understand what is expected. Have them practice under your guidance • Positive Reinforcement anything that might not he clear. • Negative Reinforcement • Punishment Reinforce immediately and specifically • Ignoring when they produce what you want. • Scheduling Just a smile, or saying something like • Environmental conditions “way to go” or “awesome” can do this. Obviously, the positive reinforcement is At the end of class, take a minute to the tool we want to use in dance class, tell them what you enjoyed about their whenever possible. It’s the one that behavior, both dance skills and social, feels more pleasant to all concerned. that day. This sends them home with a psychological lift, a desire to come Strengthening Desirable Behaviors back. Positive reinforcement occurs when it accompanies or immediately follows and is connected to the behavior in the student’s mind. We can think we are giving this reinforcement, but if the student sees it otherwise, we are not. When attempting to encourage a behavior or dance skill: • Be specific GO TO INDEX 67 THEBALLETSOURCE.COM

Growth As It Relates To Ballet Lessons Bones Central Nervous System At birth, the skeleton is largely Children vary some in their motor cartilage, not true bone. This means control and neurological development, that all during the growing years, but most come fairly close to the until about age twenty, the bones are general stages that are expected at their still in the process of hardening, and chronological ages. some parts of them are soft, and can be pushed out of their intended shapes. Motor control development is believed to be encouraged by a child’s attempts The plate of cartilage, referred to as the to master and perfect basic movements. growth plate, located between the shaft Children in a well taught dance class and the epiphyses does not become seem to acquire coordination earlier, bone until about age twenty. with a more refined control over their immature muscles. Once the basic At about age seven or eight the pelvis movements are controlled and smooth, finally develops its true shape and fuchnical skills can be successfully functionality. At about the same time learned. the lumbar vertebrae lengthen. The development of these two structures Ligaments gives more room in the abdomen for the viscera, and some beginning Ligaments protect the joint, hold the posture training can be given. bones and other components in place, and offer little resistance to normal At this time, the shoulder girdle and movement. Ligaments are not elastic rib cage form their adult relationship like muscles. When ligaments are and the child is finally able to use the stretched beyond their intended length, adult methods of respiration and arm they do not return to their normal movement, which are so important to length. ballet. This is why beginning students must Pointe Work (Toe Shoes) not be “stretched,” especially by putting legs up on a barre, or by another Considering bones, ligaments, joints, person manipulating their legs, or by pointe work is a risk at any age. Experts trying to do splits. recommend waiting at least until age twelve. Some students whose skeletal Structures of the body are necessarily growth is a bit slower should wait somewhat soft during the growing longer. years. When the stretching of muscles is attempted, it is not just the muscles GO TO INDEX 68 THEBALLETSOURCE.COM

that give. The ligaments and the soft Even After Eight growth plates mentioned earlier are soft, and can be stretched along with 1. The pelvis is just now fully shaped, the muscles. Stretching too soon, or but not as strong as it will be later. too forcefully can distort the growth plates within the joints, and overstretch 2. The knee joints are stronger, but the ligaments which hold the joints still soft, and growth plates can still be together. damaged, and the protective ligaments overstretched. When students continually overturn their feet, ligaments are gradually 3. Abdominal muscles are beginning stretched. to work. Exercises such as the “Kitty Kat Stretch” can help encourage these Growing joints and muscles must not muscles to start firming up. be forcefully stretched. Any stretching done should not involve mechanical 4. Shoulder joints are more mature. assistance (i.e. barres), and should not The smaller auxiliary joints used in involve pain. classical port de bras are functional and can begin to learn the technique It is helpful when dance teachers needed for ballet. are aware of the expected growth patterns, and plan classwork that fits 5. A balanced strengthening of the the students capabilities and maturity. muscles without turnout is needed This increases the comfort, enjoyment, for correct joint formation. In the benefit and success of the beginning beginning classes and all classes before ballet class. teens, occasional work without turnout is valuable. It gives stability to the Turnout joints and makes the ballet technique better. A few minutes of this type of Correct ballet turnout happens in the dance should be included in every hip joint. No outward rotation for class. ballet should take place at the knee or ankle joints. The muscular control For Beginners, and Ages 7-9 required for correct turnout is usually acquired at about age eight, but is not 1. Do no splits, and only gentle under the child’s full control until ten limbering. or twelve. 2. Take care to see that turnout is Most children can use a 90° turnout actually happening in the hip joints, comfortably by seven. After eight, and not in knees or ankles. one year of good ballet, the turnout can be increased gradually as the muscles 3. Limit the turnout to 90° for the first strengthen. year, longer if needed. GO TO INDEX 69 THEBALLETSOURCE.COM

4. Lift legs only to about 45° the first also involve movements at other joints year. in the shoulder girdle. 5. Knees should be straightened, but Raising the arm to shoulder level takes not pushed back. Any needed space place mainly at the shoulder joint between heels should be left in first alone, but as the arm moves above position, so knees can be brought shoulder height, the joints of the together without overlapping. scapula, clavicle and humerus are also needed. 6. Do movements of the ankles in both directions, both flexing and extending. In children under eight, the shoulder This strengthens feet and ankles for joints are immature and the auxiliary ballet. The flexing and extending needs joints are not able to be used. Because to be through the center of the foot, so of this, seven year old children may the muscles learn to hold the foot in arch the back when lifting their arms line with the knee. above shoulder height! This makes a correct fifth position of the arms Pain is a Danger Signal impossible! Pain is the body’s way of signaling Keep the use of the fifth and fourth that damage, or potential damage is positions of the arms to a minimum, occurring. if this happens. During a port de bras exercise you can observe which If the classwork is suited to the age, students are able to move their arms experience, and physical condition without involving the shoulders. Those of the students, they will not feel are the ones ready to learn correct discomfort. The ballet will flow quite posture during port de bras. naturally, and progress will happen without stress and strain. Sometimes in the early teens, students seem to lose control of the shoulders Chronic or extreme discomfort should during port de bras. Their shoulder be referred to a doctor or other person blades stick out, and the back arches. with medical expertise. The muscle action in pushups will help to flatten those shoulder blades again. Arm Movements Let them do the pushups from the knees, or while standing and leaning In classical ballet, the arm moves forward, using the barre as the floor. freely from the shoulder joint with The muscle action in the upper back a great range of motion. In an adult, and shoulders is the same. movements in the main shoulder joint GO TO INDEX 70 THEBALLETSOURCE.COM

Expectations for Level 4 Classroom Protocol music. • Can understand and respond to the • Should be able to dance without the teacher always joining in or leading introductions and finishes of the them. music. • Has a good sense of the rhythm and • Can promptly form lines and circles feel of the movement and of how it in cooperation with other dancers. fits with the music. • Should be able to follow the beats in • Should take responsibility for the music, if the tempo is clear. practicing the assigned items at • Can count the movements in a home. phrase of music—such as counting out eight skips or eight gallops and • Should have a desire to “get it stopping on the end of the musical right” when told how to perform a phrase. technical exercise. Classwork—Technical Skills • Should be willing to work with assigned partners congenially. • Shows correct muscle use and has the strength needed for each exercise • Should understand how to take turns and step. properly, and to wait courteously for their turn. • Shows correct body stance and skeletal alignment appropriate for Classwork—Memorization the age and advancement of the student (i.e. no arches rolling over, • Can show an exact execution of no knees turning in, no leaning back the parts of and exercise, such as a from the waist, etc.). battement tendu. • Accurately shows the various • Can strart and finish the exercises positions of feet, arms, legs, head. correctly. • Knows basic ballet rules, such as • Can tell the names of steps, and be arms not crossing the center of the able to show them when the teacher body. says the names of familiar steps and exercises. • Stands consistently tall while performing ballet movements. • Can memorize simple enchainements of 2, 3, or 4 steps strung together. • Is able to pull knees gently straight and hold them straight in the • Should quite naturally memorize the exercises where that is required. order of exercises in class, and enjoy doing the “set class.” • Can show a 90° turnout, and consistently uses it in the basic barre Musicality movements. • Can put each movement exactly where it is intended to be in the GO TO INDEX 71 THEBALLETSOURCE.COM

Classwork—Performing Skills • Displays courtesy and good behavior. Knows how to conduct themselves in the audience, backstage, and on stage during a performance. • The entrance and finish of the performance is confidently and smoothly performed. • Shows ability to space appropriately for the size of the performing area, the choreography, and in relation to other dancers. • Performs exercises and dances with expression, and style, and a feeling of “freedom of movement.” • Should be able to perform mimes containing a variety of ideas, and with cleariy identifiable actions. • Girls should be able to do a curtsey, with one foot in back, and the boys to do a formal bow from the waist. GO TO INDEX 72 THEBALLETSOURCE.COM

IV. Teaching Materials Using the Teaching Materials 74 Where to Point the Feet for Battement Tendus 75 Positions of the Feet Diagrams 76 Positions of the Arms 78 Positions of the Arms Chart 79 Dinosaur Illustrations 80 The Geometry of the Dancer’s Circle 81 Stage Directions 82 Music List and Credits for Level 4 83 GO TO INDEX 73 THEBALLETSOURCE.COM

Using the Teaching Materials Positions of the Feet The illustrations can be used as is for home practice. Enlarged, they can These charts show the amount of become a poster for your classroom. turnout to use with beginning students. If a student complains of pain from Dinosaur Pictures putting his or her feet in one of these positions, let them adjust their feet to a Thse may be copied to give as handouts, position they can do comfortably. or enlarged to make classroom posters. Students with more natural turnout These are a very helpful companion than the 90° that is shown should not when teaching the “Dinosaur Walks” turn out any further during their first exercise. Use these illustrations to show year of ballet. Turning further before the different postures and movement strengthening the muscles involved styles of each dinosaur. could weaken their more advanced work later on. The Dancer’s Circle Ideas: This shows how to keep the circle the same size. Study it, and then you 1. Enlarge the foot positions to life can explain it to your class. Use the size then copy onto poster board. drawings provided, or draw it yourself They can take turns putting their as you explain it. feet on the footprints as instructed during class. Stage Directions 2. Copy these pages onto paper A diagram of each stage direction and give each student a set to take referred to in this curriculum book, home and use for practice. Copies of including its abbreviation. pages 78-79 can be used as a study guide for a class quiz to check their © 2015 The Ballet Source knowledge. The purchaser/owner of this manual is granted permission to copy items in the Teaching Arm Positions Materials section for me in teaching his or her ballet classes. No other use or permission of the materials in this manual is granted or implied. Under no circumstances is this material to be copied for profit, or claimed as the work of anyone other than the copyright holder. The Arm Positions Chart shows the arm positions in the RAD, Cecchetti and French methods. You may choose to print this page and make copies for class. GO TO INDEX 74 THEBALLETSOURCE.COM

Where to Point the Feet LR R for Battement Tendus LRR Second Position, or A La Seconde LL LR The toes are in line with the toes of the supporting foot. Turnout must remain LR exactly the same in both legs for correct muscle development. This may not R RR R look fully “correct”, but it is correct forL beginners. L Devant, or to the Front L The leg goes straight forward from First LL Position. Working heel is still in line with the supporting heel; toes touch L the floor in line with the working leg, and supporting heel. Turnout remains exactly the same in both legs for correct muscle use. Derriere, or to the Back The leg goes straight back; working heel is still in line with the supporting heel; toes touch the floor in line with the working leg. Turnout must remain exactly the same in both legs for corrRect R muscle use. Derriere is the most difficult position. If you teach battement tendu derriere to your beginners, they need to keep the entire body well lifted, and the hips in place, hip bones facing squarely front, not turning as the leg moves back. There’s a sense of the toes being underneath the leg. GO TO INDEX 75 THEBALLETSOURCE.COM

Positions of the Feet Diagrams Closed Positions LR L R L Parallel First Position R L RLL Right Third Position Left Third Position R RL Left Fifth Position Right Fifth Position

Open Positions L R L Second Position L R R Right Fourth Position Left Fourth Position

Positions of the Arms Bras Bas Hands on Waist Low First Position First Position or “Baby First Position” Second Position Demi Seconde Position Third Position Fourth Position or Fourth Crossed Position Fifth Position Open Fifth Position Arabesque or, Arms Diagonally Up

Positions of the Arms Chart RAD: First Bras Bas Hands on Waist Third Second Cecchetti: First Second French: Second Preparatory RAD: First Third Fourth En Avant Cecchetti: Fifth En Avant Demi Second Open Fifth Bras Croisé French: First RAD: Attitude Fifth Fourth Cecchetti: Fourth En Haut Fifth En Haut Fourth Croisé French: Third Fifth Fourth

Dinosaur Illustrations Triceratops Ankylosaurus (ANG-KI-LO-SAWR-ES) Trachodon Stegosaur Tyrannosaurus Rex Struthiomimus STRUH-THEE-OM-MIH-MUS