SCHOLARS ACADEMY

DANCE SYLLABUS – 4TH

Dance at Scholars Academy is designed to teach the discipline of multiple art forms including but not limited to and Jazz. Level I is an introductory course focusing on vocabulary, general principles and movement. Students will learn how to perform beginning movements, develop kinesthetic awareness and execute level appropriate combinations. Level II and III are Beginning/Intermediate level continuing the progression of vocabulary while reemphasizing Level I technique. Level IV continue focusing on vocabulary, refining movement and technique and is for the ADVANCED dancer. All of these courses will acquaint the dancers with dance class etiquette, vocabulary, history of their style and legends of the dance world, pantomime, anatomy, proper health & nutrition, strength & conditioning, musical relationships, production elements in relation to dance, real-world applications of dance in their future, and elements of performance. In order to achieve the goals of these courses, the dancer-student MUST strive to conduct themselves in a respectful way at ALL times. Self-discipline, confidence, dedication and humbleness are extremely necessary for all participants. Remember dance is a physical activity with physical risks and teacher may often use physical contact for corrections.

OBJECTIVES 1.To learn self-discipline, self-confidence and dedication through dance using the body as an expressive instrument. (Including but not limited to consistent energy, concentration and preparedness, productive work habits, willingness and ability to apply and retain corrections, sustained technical progress, ability to adapt, positive contributions to atmosphere in class, display a neat classical appearance.) 2.To work on strong technical development as a dancer (including but not limited to placement/alignment, strength, flexibility, use of arms/epaulement, awareness of line/use of legs, use of feet, connectedness of upper & lower body, physical stamina, elevation/ballone) 3.To develop kinesthetic awareness. 4.To develop an understanding of these historical techniques through movement, lectures, video, readings, and performing. 5.To develop a ballet and jazz vocabulary with proper spelling. 6.To understand proper conditioning and stretching principles. 7.To understand proper health and nutrition and body awareness. 8.To understand basic anatomy and gain the ability to apply such knowledge to class activities. 9.To be able to find rhythm of music, understand basic time signatures and musical applications to dance. 10.To improve artistic and expressive nature, memorization, and execution as a performer (including but not limited to musicality, special clarity, clarity of movement, projection, performance, expressiveness, ability to pick-up combinations) 11.To look at future options in dance or its application and impact in daily lives.

EXPECTATIONS OF STUDENTS 1.Be dressed correctly for class each day and participate fully. 2.Bring journal and writing utensil to class each day. 3.Spend time rehearsing materials learned in class and be prepared each day. 4.Be responsible for knowing and obeying all rules and regulations. 5.Be responsible for personal belongings. 6.Learn movements, vocabulary, and journal assignments missed in class due to ANY absences. 7.IN the studio no later than five minutes after the tardy bell, ready to dance.

GENERAL EXPECTATIONS FOR A DANCE CLASS Dancers show respect for themselves by: 1. Being prompt for class. 2. Being dressed properly for class, according to the dress code. 3. Practice stretches and exercises before class, during breaks

Dancers show respect for the teacher and others by: 1. Being ready in order to prepare to begin class on time. 2. Listening respectfully and attentively to the instructor. Quiet in class 3. Listening and learning from corrections offered to other students. 4. Waiting quietly when others are having turns. 5. Being prepared when it is your turn. 6. Asking before leaving the room for any reason or stepping out of participation. 7. Applauding the teacher and each other at the end of class or for work well done. 8. Following dance class etiquette as explained by teacher throughout the year.

Dancers show respect for the facilities by: 1. Not chewing gum in the studio. 2. No food or drink, except for water. 3. Depositing trash in baskets. 4. Using the ballet properly. 5. Keeping hands and bodies away from the mirrors. 6. Not touching the stereo equipment. 7. Photos/video, equipment remain property of the dance department. 8. No Cell Phone usage.

Grading/Evaluation

40% - Attendance/Daily Participation/Dress Code . Students will receive a weekly grade for participation. This grade will be based on adherence to the dress code and participation in dance class. Repeated dress code infractions &/or choosing to sit out of class will lower your final grade. 20% - Vocabulary Testing . Students will be introduced to dance vocabulary, history and fitness principles during class. A minimum of one will be administered each year. 10% - Dance Project . Students will be given a project during the spring. Details, timeline and evaluation criteria will be distributed prior to the project deadline. 30% - Skills Evaluation . This is based on the Instructor’s determination of the student’s level of proficiency of required technical elements for each level.

TEKS COVERED during the course of this school year In all classes through daily technique: *Dance Levels I, II, III, and IV:1a, 1b, 1c, 1d - The student develops awareness of the body's movement using sensory information while dancing. *Dance Levels I, II, III, and IV: 2a, 2b, 2c, 2d, - The student applies body sciences and fitness principles to dance. *Dance Levels I, II, III, and IV: 3a, 3b, 3c, 3d - The student develops knowledge and skills of dance elements and of choreographic processes and forms in a variety of dance styles. *Dance Levels I, II, III, and IV: 4a, 4b, 4c - The student demonstrates an understanding of cultural, historical and and artistic diversity. *Dance Levels I, II, III, and IV: 5a, 5b, 5c, 5d - The student makes informed judgements about dance's form, meaning and role in society.

Dance classes at Scholars Academy are designed to teach the discipline of this dynamic performing art form. This class is an introduction to the vocabulary, general principles and movement of dance. Students learn how to perform beginning movements, develop kinesthetic sense of the body and create short dance phrases. This course will acquaint dancers with dance history and legends of the dance world. Ballet and jazz classes will cover different styles of this form, vocab, history, choreographers, real world applications, choreography, health, nutrition, anatomy, as well as technique. Concerts in the community and class performances are required. In order to achieve the goals of the course, the dancer must strive to conduct themselves in a respectful way both towards the instructor and the other dancers. Exemplary conduct is expected at all times. Self-discipline, confidence, dedication, and humbleness are extremely necessary for all participants.

NOTES ON TEACHING There are many different teaching styles with focus on slightly different methodology-Westwood focuses on Vagonova. Knowledge of what you teach is imperative so that you can explain when terminology/concepts are different (RAD, Frennch, Cecchetti)-this helps round out their education. Be sure to use proper terminology and make sure students understand proper pronunciation and spelling. When unsure, be sure to refer to Gail Grant Dictionary. Although you will not be able to address everything in each class, be sure you give an overall balanced diet -barre work, turns, jumps, adagio, allegro etc. To reach each student be sure to use different ways of giving corrections and/or teaching new information-analogies, direct corrections, general corrections, demonstrations, physical manipulation, praise. Teach a technical and fundamental base over stylistically and choreographically-use style after they have a technical base. Be sure to follow proper class format. Use of handouts, visual aides, activities, tests, projects, special days, and other material can be used to aid in learning.

Turn out is the result of hip rotation. Emphasis should be on the rotation (the process) and not the turn out (the product). Teach the process correctly and the product will be clear and won’t cause injury. Rotation is individual and shouldn’t be forced-through proper work habits and stretching rotation can be increased and strengthened.

To achieve squareness of body and proper alignment, body parts should be like stacking blocks one on top of the other. Head resting naturally, neck elongated, spine lengthened, rib cage closed, back expanded, abdominals in and pulled up, pelvis in neutral, rotation from hip, arches lifted, weight towards balls of feet, shoulder blades flat, elbows lifted, shoulders down, forearm rotated to lift pinky finger.

Stretching and flexibility is important for aesthetic reasons and for proper executions of many different steps in ballet. It will also help decrease injuries. Try to giving some stretching in each lesson and plan days for longer exposure to stretches they can do on their own. Same can be said about strengthening exercises-give exposure to many techniques they can do at home. Boys especially need upper body strength for partnering and girls need ankle/feet strength for pointe work. BALLET 1 Ballet 1 requires no previous knowledge or skills in dance. In this level, students should gain an understanding of the following vocabulary/concepts/steps, be able to perform simple combinations to music, and feel confident within these movements. When planning lessons be sure to consider the points below. This syllabus does not contain all the vocabulary in -especially in the upper levels. Be sure to teach etiquette and class structure. Students usually require 2-3 years within the same level to gain a full understanding of the work asked of them before moving onto the next level. It is important to realize each student progresses at their own pace and as an instructor it is vital to support each student’s growth within this art. All feet, arm, arabesque, port de bras, corners, taught from but should understand that there are different methods Breakdown steps into smaller parts before the whole part Everything is taught at the barre first Everything is taught facing the barre first, then 1 hand Everything is taught on 2 feet flat, then 2 feet releve, then 1 foot flat, then 1 foot releve Teach 3rd before working to 5th Everything is taught from 1st, then 5th Everything taught demi before grand Everything taught a terre before en l’air Everything may not be covered every year May take multiple years at this level to move on the next level

BEGINNING WORK/PRE-BARRE Class etiquette Class structure Posture Alignment Plomb line Ballet-d’action, classique, romantique Barre Center Ballerina Cavalier Danseur Danseuse Balletomane Ballet d’école /mistress Balletomania Choreographer Choreography Minuet Marking 5 movements of the head- 1 erect 2 raised 3 lowered 4 inclined 5 turned 7 movements of dance- 1 bending (plier) 2 stretching (étendre) 3 rising (relever) 4 gliding (glisser) 5 darting (élancer) 6 turning (tourner) 7 jumping (sauter) Understand concept of space 1 directions- up/down-vertical/frontal/coronal side/side-horizontal/axial, transverse forwards/backwards-sagital/lateral diagonal 2 levels- low medium high 3 size- big medium small 4 pathways straight curved bent/zig-zag combination 5 general space vs self space Understand concept of movement qualities/Effort Weight- Speed-Direction-Flow 1 light vs heavy 2 quick vs sustained 3 direct vs indirect 4 bound vs free 5 Ballet efforts such as-grace, flow, attack, precision, ballon, smooth, connected Understand concept of shape 1 round vs angular 3 body parts 4 directional movement-spoke, arc 5 quality-shrink, grow, expand 6 self vs group 7 size 8 level 9 flow-shivering, waving 10 symmetry vs asymmetry Understand rhythm 1 rhythm 2 tempo 3 quality 4 8 count rhythm Understand 7 basic locomotor skills 1 walking 2 running 3 skipping 4 galloping 5 gliding 6 hopping (one foot, both feet) 7 leaping (one foot to the other)

Weight transfer Opposition Turn out Parallel Pronation/roll in Supination/roll out Inside Outside Working leg Supporting leg Streches Strengthening exercises Pantomime Sickling

BARRE WORK Streches Strengthening exercises Lunge Flat back Roll up Preparation Barre arm placement Barre/body placement Vaganova-Russian Cechetti-Italian RAD-English French Balanchine 1st position feet 2nd position feet 3rd position feet Positions with Low 3rd arms 4th position feet 5th position feet 6th position feet-parallel Balancing on 1 and 2 feet Port de bras En bas/bra bas Mains 1st position arms 2nd position arms Low 3rd position arms High 3rd position arms 4th position arms 5th position arms Position of fingers Demi Grand Demi Plié -all positions Grand Plié -all positions Positions with High 3rd arms Cambré -devant, de coté Point Flex Tendu-devant, à la seconde, derrière, en cloche Battement Degage-devant, à la seconde, derrière, en cloche Devant À la seconde Derrière En croix Relevé Elevé Coupé –(action) devant, de coté, derrière Sur le cou de pied (position)-wrapped Pas de cheval Battement Piqué -devant, à la seconde, derrière En cloche Sous-sus Passé –(action) dessous, dessus Dessous Dessus Retiré – (position) devant, de coté, derrière Rond de jambe-en dehors, en dedans En dehors En dedans Passé de jambe Temps lié Demi rond de jambe en l’air-en dehors, en dedans Grand rond de jambe en l’air-en dehors, en dedans À terre En l’air Battement Fondu-coupé, passé, développé, 45 and 90, devant, à la seconde, derrière, tendu Battement Développé -devant, à la seconde, derrière Battement Frappé -(flexed) devant, à la seconde, derrière Arabesque-1st, 2nd, 3rd, 4th, Cechetti 3rd, en l’air, à terre Pas de bourré -dessous, dessus, tendu, coupé, pique passé Sous-sus springs Échappé springs Piqué passé Bourré Pirouette preparation Soutenu 5 jump concepts 1. 2-2 2. 1-1 same foot (temps leve) 3. 2-1 4. 1-2 5. 1-1 switching feet (leap) Sauté s-1st, 2nd 3rd/5th Échappés Changement Jump preparations-sautés, échappés, changement, glissade, assemblé, jeté, pas de chat Grand battement-devant, à la seconde, derrière, developpé, en cloche Barre stretch 4 5 6 CENTER (Learn movements first at the barre) Stretches 3 Corners 7 Strengthening exercises Where to stand in center 2 1 8 Windows Front of room How to switch lines/take turns Counting self in En face Corners 1-8 À la quatrieme devant (a) À la quatrieme derrière (b) a b c d e À la seconde (de côté) (c) Croisé devant (d) Croisé derrière (e) Battement Tendu-above positions, marché Port de Bras Arabesque-1st, 2nd, 3rd, 4th, Cechetti 3rd, en l’air, à terre Adagio-port de bras, developpé, passé, promenande, balance Promenade-passé, coupé, en dehors, en dedans Balancé Pas de bourré -dessous Bourré -parallel, turned out, 5th Petit allégro Sautés-1st, 2nd, 5th Échappé -from 1st and 5th, to 2nd and 4th Changement de pieds Pas Pas de chat-to 1st and 5th, dessous, dessous, changé, pas changé Assemblé - to 1st and 5th, dessous, dessous, changé, pas changé, de côté Jeté - dessous, dessous, de côté Glissade- to 1st and 5th, dessous, dessous, changé, pas changé, de côté Sissonne-simple, to 1st and 5th, dessous, dessous, changé, pas changé, de côté Pirouette preparation Pirouettes-en dehors from 4th, en dedans from 4th lunge

ACROSS (Learn movements first at the barre) Floor pattern Where to stand How to take turns Counting self in Ballet walks Ballet runs Marches Skips Slides Chassés-in 1st and 5th Pas de valse/Brush waltz Chaînés Piqué passés Piqué sous-sus Piqué soutenu en tournant Bourrés-en tournant from all positions Piqué turns Tombé Tombé pas de bourré Emboîté-dégagé front, grand Polonaise-brush waltz Sauté passés-flat first, single, then alternating Sauté arabesques-flat first, single then alternating Chassé, arabesque/passé sauté alternating Grand jeté-continuous, run run, chasse, tombé pas de bourré Saut de chat leaps-continuous, run run, chassé, tombé pas de bourré Reverence

BALLET 2 Ballet 2 requires placement audition for this level. Previous knowledge of ballet and Ballet 1 syllabus mastery is required. The movements listed below are the new movements/vocabulary to be added to the Ballet 1 syllabus. In this level, students should gain an understanding of the following vocabulary/concepts/steps, be able to perform simple-intermediate combinations to music, and feel confident within these movements. When planning lessons be sure to consider the points below. This syllabus does not contain all the vocabulary in ballet technique-especially in the upper levels. Students usually require 2-3 years within the same level to gain a full understanding of the work asked of them before moving onto the next level. It is important to realize each student progresses at their own pace and as an instructor it is vital to support each student’s growth within this art. All feet, arm, arabesque, port de bras, corners, taught from Vaganova method but should understand that there are different methods Breakdown steps into smaller parts before the whole part Everything is taught at the barre first Everything is taught flat before relevé Everything is taught without a beat before adding beats Begin to add different directions Being to add different placement of the feet Begin to add double turns Everything taught demi before grand Everything taught a terre before en l’air Everything may not be covered every year May take multiple years at this level to move on the next level

PRE-BARRE Add to stretches-including all splits Add to strengthening exercises-include yoga, pilates, theraband, floor barre Entrée Ballerina-, Prima, Principal, Danseur-premier, premiere danseur étoile, noble Danseuse-première, première danseuse étoile, travestie Décor Défilé Gallop Gavotte Pas d.action

BARRE Add double-pirouettes, piqué turns, Add relevé to-tendu, degagé, rond de jambe, fondu, frappé, developpé, petit battement, grand battement, Allongé Attitude-devant, à la seconde, derrière Battement fondu- on relevé, Battement raccourci/retire Battement relevé lent Cambré-derrière facing barre with 2 hands, simple circular Enveloppé Épaulment Extension Grand battement-relevé, développé Grand rond de jambe-en dehors, en dedans Pas de bourée-derrière, en tournant, coupé, degage, tendu, piqué Petit battement-bal of foot, pointed, double, all directions, relevé, sur le talon Piqué arabesque Piqué en arrière/en avant

CENTER Arabesque fondue Assemblé coupe- devant, à la seconde, derrière Assemblé- devant, derrière, grand Assemblé soutenu-de face, en tournant- devant, derrière Balancé en tournant Changé Changé Changement de pieds en tournant Demi 2nd arms Demi bras Écarté derrièrre Écarté devant Échappé- battu, en tournant Effacé derrière Effacé devant Élevation En tournant Entrechat quatre En arrière En avant Epaulé derrière Epaulé devant Fermé Full circular port de bras Glissade-all directions/positions Jeté-all directions/positions Ouvert Piqué turn en dehors/Lame duck Promenade-arabesque, leg lifted devant, à la seconde Royale Sans changé Sissonne-all directions/positions, ouvert, fermé, tournant, détournée Soubresaut Tour Tournant Work on batterie ACROSS Emboîté-coupé devant/derrière, entournant Mazurka Polka Saut de basque Pas de bourée-derrière, en tournant, coupe, degage, tendu, en arrière, en avant

BALLET 3 Ballet 3 requires placement audition for this level. This level may be combined with level 2 or 4. Be sure to address all the various levels of students within your class. Two options for movements may be given. Previous knowledge of ballet and Ballet 1, 2 syllabus mastery is required. The movements listed below are the new movements/vocabulary to be added to the Ballet 1, 2 syllabus. In this level, students should gain an understanding of the following vocabulary/concepts/steps, be able to perform intermediate-advanced combinations to music, and feel confident within these movements. When planning lessons be sure to consider the points below. This syllabus does not contain all the vocabulary in ballet technique-especially in the upper levels. Students usually require 2-3 years within the same level to gain a full understanding of the work asked of them before moving onto the next level. It is important to realize each student progresses at their own pace and as an instructor it is vital to support each student’s growth within this art. All feet, arm, arabesque, port de bras, corners, taught from Vaganova method but should understand that there are different methods Breakdown steps into smaller parts before the whole part Everything is taught flat before relevé Everything is taught without a beat before adding beats Begin to add different directions Being to add different placement of the feet Begin to add multiple to all turns, beats, jumps Everything may not be covered every year May take multiple years at this level to move on the next level Work on increased strength, flexibility, stamina, height of legs, height of jumps

PRE-BARRE Add to stretches-including all splits Add to strengthening exercises-include yoga, pilates, theraband, floor barre Pre-pointe work may be added de deux-entrée, adage, for the danseur, variation for the danseuse, coda Winging

BARRE À la hauter À la demi-hauter Add doubles-frappé, petit battement, grand battement, rond de jambe, Attitude-all positions Ballon Ballotté Battement développé tombé Battement fondu-double Battement serré Doublé Flic flac-en tournant en dehors, en dedans Grand battement-fini piqué, fondu Grand circular port de bras/port de corps Passé de jambe Penché-arabesque Rond de jambe en l’air

CENTER / ACROSS Simple barrework in center Arabesque en tournant Arabesque voyagé Assemblé - battu Assemblé-grand, de suite, élancé Ballon Ballotté Battement développé tombé Cabriole-devant derrière, petite, grand Chaînés papillon Ciseaux Coda Compound step Coupé-chassé en tournant Danse de caractère Demi contretemps Élancé En arrière En avant Enchaînement Entrechat trios-dessous, dessus Falli Fouetté-sauté, piqué relevé Glissade- battu Grand battement in center Grand(Russian) Pas de chat Jeté - battu Pas ballonné-simple, petit, grand, all directions Pas de basque-glissé, en arrière, en avant, sauté , trios, quatre Piqué détourné-full, demi Pirouette in different positions Promenade-all positions Quarré Royale fermée/ouvert Saut de basque en tournant Sissonne-battu, en développé Temps de flèche Tour jeté/Grand jeté en tournant Work on ballon Work on batterie

BALLET 4 Ballet 4 requires placement audition for this level and is for the advanced dancer only. Previous knowledge of ballet and Ballet 1-3 syllabus mastery is required. The movements listed below are the new movements/vocabulary to be added to the Ballet 1-3 syllabus. In this level, students should gain an understanding of the following vocabulary/concepts/steps, be able to perform advanced combinations to music, and feel confident within these movements. When planning lessons be sure to consider the points below. This syllabus does not contain all the vocabulary in ballet technique-especially in the upper levels. Pointe work and partnering can be added at this level. Students usually require 2-3 years within the same level to gain a full understanding of the work asked of them. It is important to realize each student progresses at their own pace and as an instructor it is vital to support each student’s growth within this art. All feet, arm, arabesque, port de bras, corners, taught from Vaganova method but should understand that there are different methods Breakdown steps into smaller parts before the whole part Everything is taught flat before relevé Everything is taught without a beat before adding beats Add different directions; different placement of the feet; add multiple to all turns, beats, jumps Work on increased strength, flexibility, stamina, height of legs, height of jumps Everything may not be covered every year

PRE-BARRE Add to stretches-including all splits Add to strengthening exercises-include yoga, pilates, theraband, floor barre Pointe work may be added Labanotation Régisseur En descendant En remontant En travesty Variation

BARRE Ablomb Add relevé-tendu, degage, rond de jambe, fondu, développé, frappe, petit battement, grand battement, any variation Arrondi-battement, grand Attitude-en tournant, grecque Double rond de jambe en l’air En balançoire Grand battement-fondu développé Penché-arabesque, attitude, à la seconde, devant Pieds dans la main/Détiré À rebours

CENTER / ACROSS À droite À gauch À la seconde turns Add Battu-assemblé, jeté, sissonne, tour jeté, saut de basque Tour jeté= Grand jeté dessus en tournant (French), grand jeté en tournant en arrière (Cecchettti), jeté entrelacé Add-double, triples, multiples to all turns, beats, frappés All barre work in center Arabesque-en tournant, fondu, incline, étirée, à lyre, croisé, allongée à terre Ballonné arrondi Ballonné battu/Fouetté battu Ballonné compose/à trios temps Brisé- vole, dessous, dessus, en avant, en arrière, en tournant, télémaque Cabriole-fermée, fouetté, italienne Changing spot piqué turns Chassé en tournant Cinquième Coupé-Chassé-Coupé-jeté entournant/jeté élancé en ménage Coupé-fouetté raccourci Détourné En tire-bouchon Entrechat cinq, six, sept, huit, neuf, dix Entrechat cinq-fermé, ouvert, Fouetté en tournant Fouetté-plié relevé Gargouillades Grand assemble en tournant Grand fouetté en tournant Grand pirouette Menège=autour de la salle Pas de basque-glissé, en arrière, en avant, sauté, en tournant, grand, battu Pas de bourrée couru Pas de bourée jeté en tournant Pas de ciseaux Pas de papillon Piétiner Piqué ballonné Pirouette from 2nd position grand plié Pirouette in all positions, directions Relevé d’adage de face en dehors/en dedans Relevé d’adage de par quart de tour Renversé-flat, relevé, en tournant, en écarté Rond de jambe sauté Rond de jambe balance Rond de jambe en l’air sauté Sissonne-ouvert en tournant Temps de cuisse Temps de l’ange Tour en l’air Turns with extensions-piqué, pirouettes, lame duck, Work on ballon Work on batterie

POINTE All barre, center, across movements in pointe shoes and many sur la pointe Add sur la pointe-relevé, ballonné, changement, échappé, passé, coupe, turns, sous-sus, emboîté, sissonne Pas couru/pas de bourré suivi ¼ point Demi pointe ¾ pointe Click Spring ups Roll ups Pointe Sautillé Temps de pointes

PARTNERING Enlèvement Finger turns Fish dive Arabesque-incliné, étirée Porté Supported pirouette

MEN’S STEPS À la seconde turns Entrechat cinq, six, sept, huit, neuf, dix Grand pirouette Grand pirouette sautillée Hortensia Pas de ciseaux Pas de poisson Pirouette from 2nd position grand plié Rivoltade Tour de reins Tour en l’air