Pre-Ballet Level 3 | Kinderstars Lesson Plans

Music List for Level Three The first section of recorded music contains the entire list of musical selections recorded with piano. Following this basic section, some items are repeated with other instruments and special effects. These can be used to give additional variety to classwork and performances. Starter Class Music Includes: Classical Basics Music Includes: Track Number Title Track Number Title 1 2.a. Warmup, Arm Swings and Runs 1 2.b. Warmup, Arm Swings and Runs 2 3. Stretching Up and Standing Tall 2 3. Stretching Up and Standing Tall 3 4.a. Walking on the Dancer’s Circle 3 4.c. The Ballet Walk 4 4.b. High and Low Walks 4 4.d. Demi Pointe Walks 5 4.c. The Ballet Walk 5 5. The Ballet Run 6 5. The Ballet Run 6 6.c. The Ballet Skip 7 6.a. Jumps and Hops, Learning to Skip 7 7.c. Galloping with a Partner 8/60 6.b. Skipping 8 7.d. Learning the Polka 9 7.a. (1) 4 Points, 4 Gallops, Change Feet 9 9.b. Feet and Arms 10 7.a. (2) 4 Gallops, Change Feet 10 10.b. Retirés 11 7.a. (3) 4 Points, 4 Gallops 11 11.c. Turn Out and Lift Legs 12/61 7.b. Galloping in 4’s 12 12.c. Three Positions of the Feet 13/62 8. Beautiful Arms 13 12.d. Five Positions of the Feet 14 9.a. Toes and Heels 14 13.c. Finding Third Position of the Arms 15 10.a. Learning Retirés 15 13.d. Three Arm Positions 16 11.a. Lifting Legs 16 13.e. Fourth and Fifth Positions of the Arms 17 11.b. Turning Out for Ballet 17 14.b. Six Demi Pliés 18 12.a. First and Second Positions of the Feet 18 14.c. Demi Pliés and Rises 19 12.b. First and Third Positions of the Feet 19 15.b. Heel Lifts and Demi Pointe Walks 20 12.c. Three Positions of the Feet 20 15.c. Rises 21 13.a. Finding First Position of the Arms 21 16.c. Step, Point with Fondu 22 13.b. Finding Second Position of the Arms 22 17. Step, Point with Hops 23 13.c. Finding Third Position of the Arms 23 18. Point, Lift, Point, Close 24 14.a. Demi Pliés 24 19.b. Classical Port de Bras 25 15.a. Heel Lifts and Rises 25 19.c. The Fairy Swing 26 16.a. Step, Point 26 19.d. Using Bras Bas to Find First Position 27 16.b. Learning Fondu with Step, Point 27 19.e. Sailor or Prince Port de Bras 28/63 19.a. A Bird Learning to Fly 28 20.a. Bend and Jump 29/64 20.a. Bend and Jump 29 20.c. Sautés by Turns 30 20.b. Sautés 30 A. Rag Doll Stretch (long version) 31/65 A. Rag Doll Stretch (short version) 31 D. Dancing with a Scarf 32/66 B. Teddy Bear Fun 32 E. The Ice Cream Cone 33/67 C. Humpty Dumpty 33 21.d. Sewing a Button 34 21.a. Washing Windows 34 21.e. The Fishpond 35 21.b. Planting a Seed 35 23.b. Turtles 36 21.c. Dancing with Our Heads 36/62 24.b. The Squirrel (crawling) 37 23.a. Curling into a Ball 37/63 25.b. Marching with Retiré 38/68 24.a. The Dinosaur (crawling) 38 25.c. Marching with Step, Cross, Turn 39 25.a. Marching in a Circle or in a Row 39/64 26.a. Making Shapes 40 25.b. Marching with Retiré 40 26.d. Side Gallops with Skips 41 26.a. Making Shapes 41 27. Pony Trots or Prances 42 26.b.c. Side Gallops/Gallops with a Partner 42 28. Picked Up Gallops, or Pony Gallops 43/70 27. Pony Trots or Prances 43 29.b. Swaying 44 29.a. Rocking 44 29.c. Penguin Rocks and Penguin Walks 45 30.a. Side Close 45/46 30.b. The Three Bears Step 46 31.a. (1) 3 Side Gallops and Clap 47 30.c. Side, Close with Step, Cross, Turn 47 31.a. (2) 4 Gallops, 3 Claps 48 31.f. Heel Together 48 31.a. (3) 4 Gallops, 4 Claps 49 31.g. Pony Trots and Claps 49 31.b. Down and Up 50 31.h. Sautés and Claps 50 31.c. Skip and Turn 51 31.i. Picked Up Gallops 51 31.d. Marching Turn 52 31.j. Jump, Walk, Skip 52 31.e. Three Points, Port de Bras 53 31.k. Jump, Walk, Skip (in a circle, holding hands) 53 31.f. Heel Together 54 32. Kitty Kat Exercise 54/71 32. Kitty Kat Exercise 55/65 33. Floating on a Cloud 55/72 F. My Umbrella 56/66 J. Ponies on the Merry Go Round 56/73 G. The Marching Band 57/67 K. Twinkly Stars 57/74 H. Dance with Me 58/68 L. Sailor Dance 58/75 I. Daffodils 59/69 M. Penguin Parade 59 34. Curtsey or Bow 60/70 N. The Wolf 61 35. Curtsey or Bow

III. Managing Children’s Behavior Characteristics of Five Year Olds 84 Characteristics of Six Year Olds 87 Characteristics of Seven Year Olds 89 Expectations For Ballet Arts Level 3 91 Managing Their Behavior 93 83

Characteristics of Five Year Olds Physical Characteristics and pretend. Fives love to pretend and dramatize. They Learn about grown This age is physically very active. Has up roles through play. Pretending is a good development of large muscles. developmental stage that is necessary Has good sense of balance when for the child to go through towards moving forward. Can kick a ball, walk dealing with and understanding reality. a straight line, hop, skip, march, gallop, jump, run. climb. Likes movement and This age is very teachable, ready to active games. Cannot sit still for very learn, curious, and eager for facts. long without moving. Their attention span it still short, but increasing. They can concentrate on Fives like rules to follow in physical and get involved in things they like to activities, such as in simple folk games, do. They will memorize very quickly singing games, folk songs. within their ability. This age is improving in fine motor They are not ready for academic coordination. They enjoy using pencils, learning that requires reasoning. They crayons. They like learning to tie shoes, can memorize what they are taught, fasten coats, put on boots, etc. but they do not symbolize abstracts such as phonics, and math. Intellectual Characteristics They can learn complex things by The five year old likes to see what to do learning one small part at a time, and before doing it. They like to be given a by memorizing the information. They definite task. They are uncomfortable do not reason, and cannot transfer when having to choose for themselves. concepts from one setting to another. The five year old is talkative, using sentences that are well defined and They are starting to understand the longer. Their questions, comments and passage of time. They recognize that answers are more relevant than at four. time comes in sections or blocks that are assigned to certain activities. They They like to pretend to read and write. can understand and appreciate “ten They like learning to write their name. minutes left” or “time to” warnings They know some letters, numbers, and when changing activities. words and enjoy learning more. Social Characteristics They like stories, songs, and poetry at their level. They love fairy tales and Five year olds are friendly, eager to other imaginative stories. They are please, and cooperative. They cooperate beginning to distinguish between real quickly with adult expectations when 84

they understand exactly what to do. Emotional Characteristics They are ready to learn to share, but they must “own” something before The center of interest for fives is still they can share it with others! very much home and family, but they are beginning to have an interest in They are learning to care about others. others. Fives often show affection They do not like negative attention, towards adults, they respond to or teasing, or threats to their personal affection, and feel a need for it. They space or belongings, but they can be expect to be loved. They are usually very forgiving, and very sympathetic. very forgiving of your anger. They are, by nature, independent, dependable, They are beginning to enjoy group obedient, serene, and happy. play and simple organized games. Fives can include others in their play. The five year old is easily embarrassed, They enjoy having a best friend. They especially by his or her own mistakes. are not ready for team sports, or for They are very critical of anyone not competition. conforming to established rules or customs. They say things like, “I’m Children at this age learn social skills better,” “Mine’s better,” and “You did it by interacting with peers and adults wrong.” in many different real life situations. Courtesy, getting along with others, The five year old is aware of the and how to approach and make friends qualities of right and wrong, but not are skills they need for life. clear as to what makes the difference. They will do right because you tell Children at five and six enjoy humor, them it is right, but they don’t know giggle a lot at what they think is funny, how to make their own evaluations. but they cannot laugh at themselves. They want to be good. They may tell untruths or blame others because of an They enjoy taking responsibilities intense desire to be good, and to please. within their ability if they are shown how! For example, they will overdo the Implications for Dance Class use of soap, paint, etc., if not shown exactly how much to use. The use of big muscles is the basis for most activities in a dance class. Dance They like special events, holiday& and class is an organization of physical birthdays. The world seems very big to activity. Control over the constant a five year old. Fives like the idea of urge to move is structured by having belonging to an accomplishment “club” places for them to return to after each with a badge to show what they have exercise. Movement tasks are specific, learned to do. For example, a “shoe and have rules about how to perform tying club.” them. 85

For small muscles, there are mimes and the membership rules are possible exercises for feet. Other possibilities for everyone to accomplish! Feeling include pictures to color, stickers to inadequate or left out can be very attach to an attendance chart, and traumatic at this age. props to use while moving. Dance class uses many simple stories Dance class provides a wealth of new and pretending experiences. Self- facts for the young child to learn, a expression has a place. Holidays and new setting to learn in, a new teacher, birthdays are fun for special class and new friends to make. The child’s themes. Recognize birthdays in some interest in reading and writing is met way. At this age, each birthday is a very by the use of charts, flash cards, and important milestone towards becoming pictures with words to take home and more grown up. color. Dance class can help them to become Dance class uses time concepts such as more tolerant of mistakes both in “it’s time to go to dancing,” “It’s time to themselves and in others. Avoid start,” “It’s time to practice our dance,” individual criticisms. Discuss the and “It’s time to go home.” Equally desired behaviors with the class. important are the “not time to” phrases Expect compliance, and you will nearly such as, “It’s not time to get drinks. We always get it. They expect to be treated get drinks after class. Now it is time to fairly; they must have “their turn” at dance.” everything. Self esteem is heightened as they They cannot distinguish kidding from learn to give courtesy and respect to lying. So don’t let them tease each classmates and teacher. Dance class other, and don’t let adults tease them, can give the child ownership of space either. Adults and older children must and belongings. Teacher sharing props not tease, laugh at, or embarrass them. with children gives the example of Instruct your assistants and visitors sharing, and teaches them to care for gently on these points. the belongings of others. Express to the children how much Using partner cards helps them learn to you enjoy teaching them, and that be friends with all of their classmates, you do like them. Give sincere and to work with each other in compliments to the class. Teach them movement activities. The dance class what is appropriate in behavior, speech, is a structured experience in working attitude, caring about others, courtesy, with a group physically and socially. care of belongings and equipment, respect for the property of others, how Dance class can provide to take turns, how to wait for turns, accomplishment clubs. Ideas: “The and how to be nice to each other! Eight Hops Club,” “The Skipping Club,” “The Enchainement Club.” Be sure 86

Characteristics of Six Year Olds Physical Characteristics words whether they understand them or not. They like reading and writing. The six year old is very active; possesses Their attention span is improving. limitless energy; is often noisy, restless, Simple flash cards are appropriate. and boisterous in play. In dance class, you need to be aware of their tendency Sixes still have difficulty with to get out of control and calm them decisions, but they are learning to down before they are completely out of make some choices, with guidance. order! Social Characteristics The six year old has good basic locomotor skills, and is ready for This age interacts with playmates, but enchainements. Sixes enjoy the is still somewhat self-centered. Sixes challenge of learning to do some want to be treated well, equally, fairly. movements backwards, such as walks, They like group activities. They love runs, skips. Provide for this in the games involving make believe. dance class sometimes. Their friendships are constantly They like to participate, and dislike changing. They still need help in being a spectator, unless they know making and keeping friends. They need their turn is coming soon. They will guidance in learning to help others. not be so interested in what another They are self-assertive and aggressive at child is doing as in how soon it will be times. They are sometimes unkind to their turn! peers. They tire easily, especially as they A six year old likes to win. He or she approach their seventh birthday. They enjoys competition only if they are like to use small muscles, though they successful. They will try to change the may still be a bit clumsy. rules to meet this need. Intellectual Characteristics Emotional Characteristics Sixes are teachable and eager to learn. Six year olds are eager for approval. They understand and think more They are boastful, and they may complex thoughts. Concepts still need exaggerate. They will criticize others to be taught in concrete terms. Memory if they don’t conform. They are very is lengthening and improving. concerned with good and bad behavior, and will blame others for wrongdoings, They are talkative, like to ask many including their own. questions, and use big words or new 87

Sixes are easily excited, giggly, silly, class. Managing their energies, ignoring generous, affectionate, compatible, and their exaggerations, keeping the class moody. They like stories, poems, songs, on a positive note, using stories and drama, and pretending. They need songs where appropriate, providing for help in learning to control the giggles. make believe experiences, all of these needs are very similar for the two ages. Their energies need to be channeled The mimes with hands and arms give in the right direction. In dance class, fine muscle experience as well as a they are similar to fives, but more chance for pretending. aggressive, and a little quicker to learn. Sixes are more able to perform short Remember that sixes are a bit more enchainements, and to stay with music. aggressive, a bit quicker mentally, and may look down on the fives. Keep Sixes may talk down to the fives, saying children apart in class who need to be they are not as smart, not as good, etc. separated. What works with fives will most likely work with sixes as well. Implications for the Dance Class Generally five year olds and six year olds get along well in the same dance 88

Characteristics of Seven Year Olds Physical Characteristics fantasy and make believe. Sevens will take the time to complete a task, but Seven year olds need to firm up they tend to work very slowly. They existing skills. They are growing very understand the passage of time, but rapidly, with legs and arms lengthening have trouble understanding that other noticeably. They are more clumsy than things, such as the time to go to dance at six. Continued practice of familiar class, won’t wait for them! skills in harder settings will help them overcome the clumsiness. It is Social and Emotional temporary, brought on by the rapid Characteristics growth and changing body size. The seven year old plays mainly in Sevens can begin learning technical groups. He or she likes to have a special skills. They like active games using friend, though who it is may change. large muscles. They are full of energy There is less interaction between for short periods of time, then need to boys and girls now. Sevens want peer rest. They are sometimes restless and approval, want to please peers, and fidgety. want to be with others of their own age and sex. They also like to play quietly Intellectual Characteristics alone, sometimes, and can be dreamy, withdrawn, inhibited, and cautious. Sevens are eager to learn! They like to show off their accomplishments. Sevens like to be given responsibility They are beginning to think seriously and independence. They can be and reflectively. They can solve more perfectionists, both of self and of complex problems, are beginning to others. They tend to be critical of self, use some logic, and are beginning but they very much dislike criticism to understand cause and effect from others. They are aware of right relationships. and wrong, and can sometimes know the difference. They want assurance They have good attention spans, can that what they are doing is “right.” concentrate longer on one assignment, They dislike being outdone. like practicing a dance in class. They like to be challenged within their Sevens are sensitive to feelings. They ability, but cannot handle failure very are less impulsive and self centered well. than at six. They need to know what is going to happen, and what is required They like to collect things and tell of them before attempting new things. about them. They are beginning to They are often afraid to try for fear of favor reality in stories, but still like 89

failing. They often become frustrated lessons. Understand their needs, and with new skills and want to quit when adjust your approach to meet those something is hard. They may say it is needs. “boring” to avoid admitting that it is too hard for them. They are physically stronger than six year olds, but tire much faster, so they Implications for Dance Class may work best in a dance class with eights. It might embarrass them to not The implications of these be able to keep up with the sixes. They characteristics in dance class are get genuinely tired and need to rest enormous! often. Be ready with short rest times end floor exercises when you see them New learnings need to be carefully beginning to tire in dance class. structured step by step to eliminate failure. Teachers, take the time to do Sevens can be great fun, once you get this, and your sevens will stick with used to their ways and can give them dancing. the support and encouragement that they need to get through what is a very The age of seven is second only to awkward time of life, both physically the junior high ages for frequency of and socially. children wanting to quit their dance 90

Expectations For Ballet Arts Level 3 Should be able to dance without the Should consistently stand tall as they teacher always joining in or leading perform ballet movements. But do not them. correct “tummies” yet! -- their muscles aren’t ready. Should have a concept of standing in lines, and forming circles. Should be able to flex and extend both the ankles and the toes now. Should be able to tell the names of steps they know, and be able to show Should be able to hold legs reasonably steps when the teacher says the names straight in the exercises where that is of familiar steps and exercises. required. Should be able to memorize simple Should be able to count how many enchainements of 2 or 3 steps strung times to do a movement in a phrase of together. music, such as counting out eight skips or eight gallops and stopping at the end Should take a beginning of of the musical phrase, while the music responsibility for practicing ONE continues on, or another student or assigned item at home. another part of the class performs the step. Should be able to perform mimes containing a variety of ideas, and with Keep the counting to 8’s at first as this clearly identifiable sections. is easier than shorter numbers, and longer is too long. Match the counts to Should have a desire to “get it right” the phrasing in the music. when told how to perform a technical exercise. Should be able to put neat starts and finishes on exercises and dances. Should now be able to follow the beats in the music, if the tempo is clear, and Should quite naturally memorize the at their natural speed of movement. order of exercises in class, and enjoy doing the “set class.” Should be willing to work with assigned partners congenially. Be careful not to change the order of what is done from week to week very Should understand how to take turns much. properly, and to wait courteously for their turn. Introduce interest and variety by the imagery, or reasons for doing things— Should be able to understand and use a let them in on more advanced “secrets” clear introduction in music. about an exercise from time to time, 91

or, tell them they are “ready to do it a more advanced way, now” or, “they are stronger and can do it like this now.” Girls should be able to do a real curtsey now, with one foot in back, and the boys to do a formal bow from the waist. Strength, coordination, physical skills, mental skills, social skills, all are increasing very rapidly this year. Keep them happy and secure! Talk to them about things that interest their age, and use those things in imagery to help the dance steps come alive for them. 92

Managing Their Behavior Dealing With Occasional Behavior Problems Begin With a Feeling of Order Children may seem to understand your words, but their later actions can show Teach them to sit in their places, and that their understanding was very to keep their hands and voices to incomplete. Correct behavior must be themselves while waiting for turns or walked through, practiced and repeated for the next activity, or while listening to be understood. Children learn best to their teacher explain something. through practiced actions. Have them fold their legs, with lower legs crossed. This keeps their feet still, Give Them a Little Attention and gives a gentle encouragement to the turnout muscles for later. Call it, “I’m so glad you came today. I’ve got “sitting like a dancer.” some fun things planned. Go sit in your place so we can start.” Children Hands need to be kept still also. Some need to feel a sense of ownership of teachers like to have them rest their their own place in class, their own hands on their knees for the “sit like belongings, their own turn to perform. a dancer” position. Others have them They need to feel that they are an fold their arms. Use whatever works important part of the class. for your group to keep their hands in order. Their Feelings Are Fragile! Use clear, short, polite sentences. Avoid Children can be crushed easily by using the word “don’t”. Say instead, direct criticism. It is humiliating at this “Let’s dance!” age to be wrong. Reflect their feelings, distract them, stick to your standards. State your rules, your expectations; keep rules simple, easy to understand, Don’t laugh at their attempts to learn based on courtesy, and safety, and a skill. Don’t let others laugh at their maintaining a learning atmosphere. efforts, either. Their feelings are fragile. They will work to their ability so long Children enjoy being right. Lead as their feelings and efforts are treated them, teach them, encourage them. with respect. Give simple, sincere Give them a chance to practice what words of encouragement. they need to know, to act it out. Five minutes of fun practice of a social skill Acting out sometimes happens because may give them some badly needed a child feels very inadequate, very self confidence, and should turn an unable to do right. So they deliberately unhappy time into a happy one. choose wrong behavior. Their 93

unconscious logic? “I don’t know for Children in this age group do know sure what to do, so l’m going to mess what “smarting off” is, and what up anyhow, so I might as well make it a silly is. They can be asked politely good mess up, then at least I’ll be good and firmly to not do those things. at something.” Most respond well when told it is not the thing to do in dance class. Avoid Children need nurturing, guidance, showing any emotional reaction to and training. They have very limited such behaviors. experiences, and do not know or understand things as adults do. It All behavior is learned, and has an is best if you can anticipate their underlying cause. Children will try concerns and take care of their feelings with you what has worked for them before frustration sets in. with others in order to get what they want most at that moment. If a Set Limits For Them, Limits Feel behavior is learned, then a different Secure behavior can also be learned! They need to obey reasonable rules and Understanding how much children authority for their own safety and for need to learn to relate to others helps their own happiness. with knowing what to do about minor upsets. Activities must not be random. Random leads to out of order. The Teacher Is In Charge Structured movement leads to self discipline. This gives them a feeling The dance class is your domain, not or security. They like to know that the theirs. You make the rules for dance adult in charge really is in charge! class. You do not make the rules for school, home, and other places, but in If the adult is not in charge, then the the dance setting, they cannot argue kids are, and that is scary to them. Kids with you because it is your territory, an can’t keep bad things from happening. extension of your home, and they are Kids sometimes hurt each other. Kids your guests. They must keep your rules trust that adults will protect them. while in your territory. It is up to the teacher to discourage Some examples they may relate to: inappropriate talk and behavior. Tell they keep Grandma’s rules when at them how it is. Do not give them a Grandma’s house. They keep their choice. Tell them what is and what Mom’s and Dad’s rules when they are is not acceptable in your dance class. at home. And they keep school rules Examples: “We do not say rude words when they are at school. in my dance class.” “We do not talk while the teacher is talking.” Children are not born with self control, patience, courtesy, judgment, 94

knowledge of appropriate language needs to be able to do her part and behavior awareness of danger, uninterrupted! The children need to be awareness of possible harm to others. listening, not putting their attention on By the time they are five, six, and thinking up questions to ask. seven, most of these things are partly learned. But realize that the learnings Stay Neutral, Stay Positive, Stay are very incomplete. Often the child’s Calm idea of what is correct is not quite right. Avoid having an emotional response to their complaint. Child can get a As one who is an influence in the lives type of control over adults by causing of young children, you need to be the adults to become upset, confused, gentle, kind, and committed to correct frustrated , angry, etc. They enjoy learnings in all areas applying to the watching to see what the adult will do! dance class. Ignore their little “tests” of rules and Stick to the Lesson authority whenever possible. Go right on with what you are saying, right Questions asked should be a part of on with the next activity. Usually the lesson. They should pertain to this works. If not, sit the class down and contribute to their learning of the and deal with it as matter-of-factly as material. Avoid asking them questions possible. involving choice. Usually, for example, you wouldn’t ask them whether they Expect compliance and expect courtesy. like something or not. That is an Show a good example of correct invitation for a “no!” behavior. Use words that denote courtesy like “please”, “thank you” i.e. Avoid answering their questions unless “we don’t do that in this class,” and it is absolutely necessary. Answering “not in my class, please” lots of questions interrupts the flow of the class, and prevents progress. You Out of Order? Fix It Before It Gets might say, “I will answer your question Bad a bit later. Right now it’s time to” or, “No questions right now, please. Wait A single child out of order can be asked until talking time.” to sit out one turn, or one exercise. If several are out of order, stop it while While their mind is busy forming it is still mild. Don’t threaten. If the a question to ask, their attention is rule has been explained, no warning not on the lesson! They need to learn is needed. Misbehaviors need to be to listen and follow instructions. stopped promptly. All questions about what to do are answered by the time the presentation Minor misbehaviors often stop if they of the item is finished. The teacher are ignored, and special attention is 95

given to those who are doing what they and to not interrupt the lesson with are supposed to do. If ignoring doesn’t unnecessary complaints. Don’t try to work, take action. soIve the complaint. Use a light touch of sympathy and a change of activity. One quiet method: take the child by “Oh, I’m sorry that happened. Sit in the hand and have them next to you your place. It’s time for some floor while the others get to continue the exercises.” activity. Don’t talk to or look at the child. Avoid giving direct attention to Never trouble or upset a child on the them. word of another child or parent. Watch and be aware. If it was truly something If more than one child is out of order, will most likely happen again. Then turn off the music, “Sit in your places! you can talk to the class about the Sit like a dancer! Thank you! Oh, that behavior you expect of them, and why. looks so nice. This is such a good class. You are fun to teach. But, we were All of this may sound a bit like this getting a little too excited, so let’s sit age group will be difficult to handle. down a minute and get our breath. Are Actually, this is the age where problems we all calmed down now? Good. Let’s are few, and fairly easy to handle if you do Beautiful Arms next.” realize where the children are coming from. Sitting them down calms them down. Changing the activity takes the Learn to handle the group, and you attention off the problem. Keep it as have a good base for handling the older friendly and as happy as possible while students as well because the principles still keeping your standards of behavior. are the same for all ages. Use positive reinforcement; behavior Good class management, like good modification; logical consequences. teaching requires constant decision If safety rules are broken, the child making. Every teacher wants to hit it must sit out one activity. If they bump right every time, but few if any can someone or hurt someone’s feelings, be 100% correct! So, if you “blow it” they must help them to feel better by sometimes, don’t despair, you are in showing sympathy and by saying “I’m good company! sorry, I didn’t mean it” and by not doing it again. Guidelines For Relating to Children Tattling and Complaining 1. Children must not be allowed to hit, Children of this age tend to tattle kick, bite, or scratch other children. and complain a lot. Ignore what can be ignored. They need to learn to 2. Never assign blame to anyone. “We follow procedures in dance class, are sorry this happened. We need to 96

get on with class.” Separate the two 9. Accept each child as doing the children if needed. Watch to prevent best they can at that moment, and further aggression. give them credit for effort and accomplishment. 3. Separate special friends, and keep them separated until they are able to 10. Let them learn. Let them sometimes interact with others in the class also. experiment with finding how to make their muscles do the 4. Assign partners, places in class, movements. Children need room to turns to dance, etc. Children must be make mistakes. This is how they treated equally, and must KNOW that learn. they are treated equally. 11. Props that are argued or fought over, 5. Discourage “showing off.” It is the even for an instant, are put away and selfish side of performing. the activity discontinued for that week. No comment need be made. 6. Children must respect each other’s They will know why. places in class and in taking turns. Watch to be sure things happen 12. Treats to eat are not a good idea in correctly. dance class. Sweets on top of exercise are not good for anyone’s muscles. 7. Teach them to help each other to feel Some children may have diabetes, or better. “Mabel didn’t mean to bump food allergies which can be serious. you. Mabel, tell her you are sorry A sticker for attendance, given out you bumped. Myra, tell her it’s OK.” at the end of class is OK. Other ideas include handouts to take home 8. Let a shy child have the right to be and color, and short homework shy. Don’t label them shy, just accept assignments attractively written them as they are. The less attention or drawn will be appreciated and that is given to their being different, remembered. the happier they will be. 97

IV. The Dancing Needs of Children Dance Lessons Need to Cooperate With How Children Grow! 99 About Coordination 103 Posture, Using the Barre, Arabesque, Pointe Shoes 107 98

Dance Lessons Need to Cooperate With How Children Grow! A brief discussion of children’s physical growth as it relates to ballet training Bones exaggerated, very flexible spinal curves, and a tummy that protrudes. This At birth, the skeleton is largely “Baby Posture” should not be corrected cartilage, not true bone. The cartilage in a dance class. It needs to be left gradually ossifies into bones as the entirely alone. child grows, becoming firmer and sturdier. Ossification begins in the The child can be encouraged lo stand center of the bone, and works its way tall, but should not be given any outward towards the ends and outer specific corrections, (such as pulling surfaces of the bone. The secondary in the tummy), because there is not growth centers form the epiphyses. enough room yet for the viscera to be There is a plate of cartilage, referred to pulled in, and, the abdominal muscles as the growth plate, located between are not mature enough to pull the the shaft and the epiphyses. This tummy in correctly even if there was growth plate does not become bone room! until about age twenty. Central Nervous System At about age seven or eight, the pelvis finally develops to true shape and In the central nervous system, the functionality. At about the same time initial growth spurt that began before the lumbar vertebrae lengthen. The birth continues to age five. By age development of these two structures six the brain reaches its adult weight. gives more room in the abdomen for Children vary some in their motor the viscera. control and neurological development, but most come fairly close to the Also at this time the shoulder general stages that are expected at their girdle and rib cage form their adult chronological ages. relationship. With this, the child is finally able to use adult methods of Motor control development is believed respiration and arm movement. to be encouraged by a child’s attempts to master and perfect basic movements. Before this age most children have Children in a well-taught dance class 99

seem to acquire coordination earlier, For similar reasons, the strong pulling with a more refined control over their up of knees and abdominal muscles immature muscles. needs to wait until age eight, nine or ten. Ligaments Attempts to stretch the muscles of Ligaments protect the joint, hold the young, growing students may stretch bones and other components in place, the ligaments and distort the growth and offer little resistance to normal plates in the joints, and will not movement. Ligaments are not elastic likely be stretching the muscles as is like muscles. When ligaments are intended. Just because the child does stretched beyond their intended length, not complain of pain is no assurance they do not return to their normal that damage is not happening. length. This is why children must not be stretched, especially by putting legs It is helpful when dance teachers are up on the barre, or by another person aware of the usually expected patterns manipulating their legs, or by trying to of growth. Planning classwork that fits do splits. the students’ capabilities and maturity increases the comfort, enjoyment, The muscles of young children are benefit and success of the dance class. soft, and when the stretching of their muscles is attempted, it is not just Turnout the muscles that give. The ligaments and the soft growth plates mentioned Correct ballet turnout comes entirely earlier are soft, and can be stretched from the hip joint. Outward rotation along with the young muscles. for ballet should not take place at the Stretching will not result in more knee or ankle joint. The muscular elasticity in the muscles. Instead, it will control required for correct turnout distort the growth plates within the develops very slowly, beginning at age joints, and overstretch the ligaments five. which hold the joints together. Full use of the muscles that turn the The over stretching of ligaments can leg is usually acquired at about age do great damage to the knee and ankle eight, but is not under the child’s joints when students continually full control until ten or twelve. overturn their feet. It is not the feet Most children can use a 90º turnout that need to turn out for ballet, but the comfortably by six or seven. After eight thighs. the turnout can be increased gradually as the muscles strengthen. Children’s joints and muscles must not be forcefully stretched. Any stretching Before Age Eight done should be “self inflicted,” should not involve mechanical assistance (i.e. 1. The pelvis is not fully shaped, not barres), and should not involve pain. strong. 100

2. The muscles cannot work the same forceful stretching should be done. as in an adult due to not having stable, solid fulcrum of both to work 9. Do movements of the ankles in from. both directions, both flexing and extending. 3. The knee joints are still quite soft, and growth plates easily damaged. Pain is a Danger Signal 4. Spine is too short to give sufficient Pain is not a sign of “gain” or progress! space for viscera, so abdominal Pain is the body’s way of signaling muscles cannot work well; not that damage, or potential damage is enough space. occurring. 5. Shoulder joints are immature. The If the classwork is suited to the age, smaller auxiliary joints used in experience, and physical condition classical port de bras are not yet of the students, they will not feel functional. discomfort. The ballet will flow quite naturally, and progress will happen 6. Growth plates and ligaments are soft. without stress and strain. 7. Muscle balance without turnout is Chronic or extreme discomfort should needed for correct joint formation. be referred to a doctor or other person with medical expertise. Therefore . . . Arm Movements 1. Do no limbering or stretching or splits. In classical ballet, the arm moves freely from the shoulder joint with 2. Use no forceful turnout. a great range of motion. In an adult, movements in the glenohumeral 3. Turnout limited to up to 90º. or main shoulder joint also involve movements at other joints in the 4. No attempt to lift legs above 45º. shoulder girdle. Raising the arm to shoulder level takes place mainly at the 5. Knees are not to be “pulled up” all shoulder joint alone, but as the arm the way, but only straighten gently. moves above shoulder height, the joints of the scapula, clavicle and humerus 6. Tummy may portrude somewhat, but are also needed. should not be “pulled in.” Young children with undeveloped 7. Full port de bras through 5th should muscles, joints, and bones are not not be practiced. Arms can be lifted able to do some types of movements correctly above shoulders if done at correctly. The shoulder joints are the sides, through 2nd to an open immature in children under eight. 5th. 8. No technical use of muscles, no 101

Young children can only lift the arms to fifth by making an incorrect adjustment in the spine. This means that the young child will arch the back when lifting his or her arms above shoulder height. This does not build correct stance and it makes a correct fifth position of the arms impossible! Because of this immaturity in the shoulders, children under eight should not be practicing fifth position of the arms. They can learn where this position is, and use it occasionally in a dance but should not do it on a regular basis in class. Classical port de bras above shoulder level at ages below eight can be expected to cause an incorrect use of the shoulder and upper back muscles. This will create poor posture habits, which will make it very difficult for the student to align his or her arms correctly for classical ballet later on. 102

About Coordination Dance teachers can help students to be more coordinated Ballet skills are built upon the base of movement experience in the pre-school natural skills that have been developed years, children can be expected to learn within the person. This is why intellectual skills sooner and easier, as extensive experience with fundamental well as being better at learning physical movement skills is important for a skills. A lack of movement experiences ballet class or young children. It is can affect academic learning as well as surprising how many small pieces of physical skills and coordination. growth and development do affect the child’s ability to perform classical The Basic Stage of Coordination movements correctly! The bones, muscles, and nervous system must be Coordination builds confidence and mature enough to allow it to happen. performing ability. The basis of all coordination is symmetry. This involves All Coordination Is Not Equal! a muscle balance between the two sides of the body, sometimes known as There are three basic stages of bilateral coordination. Two categories coordination development that nature of movement belong to symmetry: intends children to grow through during the first seven or eight years of 1. Movements that are symmetrical in life. If these stages have occurred, there appearance: jumping on two feet, will be a base of natural coordination swinging arms in unison, doing with which to work, and physical skills forward rolls on a tumbling mat, and techniques can be successfully lifting arms to second position, taught. doing sit-ups, the “down, back, in, jump up” exercise, jump apart jump In our computerized, mechanized together, nodding head up and down, world, few children are physically parallel knee bends, rises on two active enough to fully develop their feet, etc. coordination potential. 2. Movements involving an immediate Do not confuse training with reversal, and continuously coordination. A child can be trained to alternating use of the two sides of perform almost any set of movements, the body such as walking, running, whether they really have the maturity skipping, point together, heel for those particular movements or not. together, shuffle step changing feet, turning head from side to side, etc. The movement experiences of young children have been found to directly To improve coordination at any affect their intellectual as well as their age, include movements that use physical development. Given a full one or both of these categories. An 103

ability to learn classical ballet is perform. built by strengthening the base of all coordination, which is symmetry. A child needs to be well into this final stage in order to be successful in The Transitional Stage learning correct technique for classical ballet. Forcing a child to perform at The second phase of coordination this higher level before they have is a transitional stage known naturally arrived there can cause as asymmetrical, or unilateral coordination problems later on. The coordination. This is often seen in a stages of coordination overlap. Lower three or four year old’s first efforts to stages support and make possible the march. The arm and leg on the same higher stage of coordination. Lack of side of the body move in unison, rather coordination generally indicates a than in opposition. lack of natural movement experiences. Providing these experiences should This is not a mistake, it is a transitional improve the coordination. stage of coordination. It should not be corrected or commented on. It Dominance, or handedness settles will become an important part of the in at about age 7. Dominance and person’s total coordination package. coordination are somehow related. Forcing correct responses of right and This middle phase overlaps the basic left, and forcing adherence to exact and the final stages. It is a part of the movement patterns before the child finished product. It needs to be firmly is ready may interfere with the full established within the neuromuscular development of dominance, and the system. balance between the two sides of the brain. A secure presence of this transitional stage enables the older dancer to Crawling on hands and knees quickly and easily produce any and all (creeping) encourages coordination of the various arm and head positions to happen. Children need to not drag that can be used with any given the knees, but to “walk” with them. movement. No particular timing or coordination of arms with knees should be taught. The Final Stage Specific movements, timings and methods in creeping are sometimes Contralateral or cross lateral used by therapists to correct certain coordination is the use of arms in problems. Dance teachers are not opposition when walking and running. therapists and should not attempt to do This phase includes both the basic and any “corrective physical therapy.” transitional stages. The person now has almost unlimited variation in the The child of five or six or seven coordination patterns they can learn to 104

who still swings arms randomly forward polkas can all help. when walking, running, etc. should be allowed to do so. With very few The final shaping of the bones, joints, exceptions, they will eventually ligaments and muscles is brought progress to the transitional stage, and about partly by genetics, and partly go from there to the natural use of by the way gravity and muscles exert arms in opposition. pressures on the soft, young, still growing bones, joints and ligaments. It is normal for all three stages of Correct skeletal alignment is very coordination to be seen in a child important during the growing years. during the same dance class. A child A balance of strength between the using arms in opposition is not various muscle groups is needed for necessarily fully developed to this correct joint alignment and for correct higher level. We should not teach the articulation of the joints. stages of coordination. They should happen naturally as the person gets Turning out feet too far, lifting legs enough natural movement experiences. too high, and other technical ballet moves can damage the growth plates, Uncoordinated Older Dancers overstretch the ligamenss, and teach incorrect muscle use. The teacher and Older students who have difficulty the parents must pay attention to and with coordination should work with be patient with the growth process their arms freely moving, or in demi if the child is to benefit from dance 2nd until they establish a strong lessons, and not be ruined by them. base of symmetry. They should do all barre work facing the barre, or facing Strength, steadiness, and turnout directly away from it, to encourage are best developed by very gradually the strengthening of symmetry and increasing the level of difficulty and muscle balance. When doing exercises the degree of technique taught over on one leg, they should do only one a period of years, while keeping the or two repetitions before changing alignment as correct as possible. legs. This should stimulate progress in coordination. Correct alignment for children and beginners differs considerably from The best way to help children and older that which is considered correct at students become more coordinated the advanced and professional levels. is to provide an abundance of natural Children must begin with “natural movement experiences and let nature alignment,” the alignment intended by take its course. Marching with arms nature. If the natural use of bones and swinging freely, walking to music, muscles is not built up to a strong level running, skipping, forward gallops, and before technique is required, the ballet skills will never be strong. 105

Summary Ballet training, at its best, will enhance the natural development of the child. It will increase the potential for physical coordination and artistic expression. Correct skeletal alignment must be preserved and the natural growth patterns acknowledged and protected throughout the growing years. Teachers should use good judgment when teaching ballet to children who are still growing. Teach only what their bodies are mature enough to do safely and correctly. We know so much more about such things than previously. Let’s pay attention to what the researchers and physical therapists are telling us about the dangers of learning “too much too soon.” Correct and successful instruction for children involves understanding the growth process, and working with natures intended patterns rather than against them. 106

Posture, Using the Barre, Arabesque, Pointe Shoes Posture for Level 3 sure they stand evenly. Do only 2 or 3 things at the barre. A portable barre set Encourage them to: in the center so they can face you best. • Stand evenly on both feet, • Lengthen the back, Doing Arabesques • Relax the shoulders and arms, • Hold their head high and level, Yes, arabesque is basic to ballet. It is a • Stand with hips level. beautiful pose, and one we all want our students to perform well. Waiting until Using a Barre the proper age before teaching this can mean better arabesques in the end. Children younger than eight do not need a barre, and cannot really benefit Children under eight should not do any from its use. They progress better in lifting of the leg to the back. The pelvis posture, balance, and ability to do ballet and lower back need to mature more by working in the center. Hands can be before putting this kind of stress on the placed on waist, or arms held in demi growth plates and ligaments. Splits and second position. backbends are not a good idea at this age, either. Standing at the barre tends to unbalance the postural muscles If children insist on doing arabesque, resulting in difficulties with balance because they have seen them done and posture later on. Standing sideways by older dancers, teach them to do a to the barre is especially damaging. “gentle” arabesque. At seven and a half to eight, children 1. Both arms are forward, or one can start doing 2 or 3 things facing forward and one to the side. No arm the barre. They should not stand goes back. sideways to it as this will use the postural muscles unequally. Under no 2. They do not arch the back. Instead, circumstances should they be allowed they lean the upper body forward to to put a leg on the barre for stretching. counterbalance the weight of the leg in back. If for some reason you feel that you need to use a barre for a class under 3. The leg in back stays below 45°. see eight, do everything facing the bane, with both hands on it. Be sure 4. The position is not held, but is the barre is low enough that their moved into and out of within a short hands are below the shoulder joint. Be time. 107

5. After doing arabesque, they relax the dancers learn to perform on pointe. lower back with Turtles, Rag Dolls, They spend several years learning to etc. dance on demi pointe first. Explaining Pointe Shoes (Toe Shoes) It will help parents to understand if you tell them it can damage the growth Many young children are strong plates in the feet, ankles and lower enough to rise to the ends of their backs. The feet have to become bone, toes. Do not let them do this in class. not cartilage, and be almost fully grown Discourage them from doing it at all. before starting to dance on pointe. Explain to them that their toe bones are still soft, like the cartilage in their It may help little girls to be willing to ears, and that standing on them will wait such a longtime for pointe shoes bend them out of shape, and make ugly if they can be sure they are moving in feet. Dancers need pretty feet. that direction by Have them feel how soft their ears 1. Dancing on demi pointe. are. They are cartilage, not bone. This is what their toes are made of while 2. Learning good demi pliés and sautés. their feet are still growing. If they stand on these soft toes, it will bend 3. Learning to use their feet correctly. them out of shape. Then they won’t be able to wear those pretty toe shoes 4. Building their strength by doing they want so much. Their feet will not hops, jumpsw, skips, and gallops. be grown up enough to wear toe shoes until they are at least twelve years old. They need to understand that standing on toes too soon will spoil their feet for In the meantime, they are to dance dancing, and for other activities they on the balls of their feet. This will may want to do later on. make the feet stronger. This is how all 108

V. Teaching Materials 110 111 Using the Teaching Materials 112 The Geometry of the Dancer’s Circle 113 Stage Directions 114 Positions of the Feet for Level Three Positions of the Arms for Level Three 109

Using the Teaching Materials The Dancers Circle You can make shapes or illustrations onto two sides of an index card. Cut This shows how to keep the circle the card in half. For example, draw two the same size. Study it, and then you hearts on an index card, one on each can explain it t.o your class. Use the side, then cut the card in half and fold drawings provided, or draw it yourself the two pieces. as you explain it. Mix the cards. Look around at the class, Stage Directions but say nothing. Count the student then count the cards, to attract their This information is included as a attention and curiosity. You might say, reference for any teachers who might “I have to be sure these cards are well be unfamiliar with these terms. mixed.” Positions of the Feet Then, let each one choose a card. Good courtesy is to be observed: one at a This chart shows the amount of time, no grabbing. To make sure two turnout to use with children this boys do not get each other as partners, age. If a child complains of pain from make one stack with no duplicates. putting his or her feet in one of these Have the boys choose first from that positions, create a chart for that child stack. Combine the stacks for the girls using a version of the positions that to choose from. the child can do comfortably. Children with more natural turnout than is Say, “Open your card. Find the person shown still use only what is on the who has a card exactly like yours. charts. More could weaken their high That is your partner for today. When extensions later on. you find your partner, bring me your cards.” Arm Positions It’s fun to have some cards that have a These can be used one at a time, special character on it, like a cat and giving each child a copy of that a ghost. Whoever draws the cat gets week’s position to learn. When several a special privilege, like going first. positions are learned, gjve each child a Whover draws the ghost gets to dance chart of those positions. Or, enlarged, with an “imaginary partner”, with an they can become a poster for your assistant, or with the teacher. classroom. Other Teaching Material Ideas: Partner cards are a fun and fair way to assign partners. 110

The Geometry of the Dancer’s Circle Why Is It So Hard to Keep the Figure 1 Circle the Same Size? Figure 2 Figure 3 When we dance around a circle, we like Figure 4 to follow the dancer just ahead of us. This works very well if we are going in a straight line. But if we do this on the circle, the circle continually gets smaller and smaller as the corners move around it. Look at Figure 1. It shows still dancers (the x’s) ready to gallop around the circle. Figure 2 shows them each following the dancer in front of them. Note that they have all cut little slices off the circle. The circle has become smaller. Look at Figure 3 to see where the circle is now! If they continue to do this, the circle gets smaller still, as in Figure 4. Dancers have to be smart enough to keep this from happening. They learn to go a little to the outside, or to the right side, of the dancer just ahead of them on the circle. Look at Figure 5 to see how this works. Try it! It really does make the circle stay nice and big when you travel a little to the right of the person in front of you. Figure 5 111

Stage Directions The areas of the stage are named from the performer’s point of view when facing the audience. UR UC UL R Students L C DR DC DL Audience or Teacher C = Center stage R = Stage Right, to the performer’s right L = Stage Left, to the performer’s left U = Upstage, the back of the stage, the side furthest from the audience D = downstage, the front of the stage, the part nearest the audience UR = Upstage right, the back right corner UL = Upstage left, the back left corner DR = Downstage right, the front right corner DL = Downstage left, the front left corner 112

Positions of the Feet for Level Three Parallel or Feet Together First Position Second Position Third Position Fourth Position Fifth Position

Positions of the Arms for Level Three Arms Down Hands on Waist Demi Second Arms Forward Arms Back Bras Bas Open Fifth First Position Second Position Third Position