DOCSLIB.ORG

Ballet and Jazz Attendance and Attire Rules 2020-2021 Season This

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ballet and Jazz Attendance and Attire Rules 2020-2021 Season This Ballet and Jazz Attendance and Attire Rules 2020-2021 Season This document has been altered to accommodate the current pandemic situation that we are in. We are hoping that dancers who can come to class will come and those that shouldn’t won’t come. These rules will be taken on a case-by-case basis should issues arise. We are sure that dancers will participate as much as they can. The following paragraph is last year’s wording and applies only to the extent it can be enforced during the pandemic. We will not be strict on this but still believe in it: Dancers must attend class if they want to be in an upper level class. Both ballet and our placement jazz classes have dancers separated by skill - ballet dancers are placed by the instructors, placement jazz is by audition. It is an honor to be in a higher level class in either style and dancers should want to attend to continue learning and improving. Attendance Policy for both Ballet and Jazz Your dancer should not come to class if s/he displays ANY Covid-19 symptoms as listed in our Roadmap to Recovery/Back to Dance Protocols or has had a positive result on a test within the last 14 days. Quarantine if you have to and stay home. Let us know by NOON on your class day if you need us to livestream the class. Those that must take the class virtually (due to Coronavirus, flu, or other sicknesses or injury) will be counted as attending the class like normal and you are ON YOUR HONOR to be actually doing the class during the livestream or, in the event the class must be recorded and posted instead, the dancer is on their honor that they’ve actually done the class before their next class. Thanks! Any dancer who misses six classes will be moved down a level. Normally, there would be no exceptions to this, but because of Covid, we will deal with this on an individual basis. We feel that a dancer must be present if they can be. All dancers should WANT to be there either in person or virtually. We do not want to get bogged down in the "excused or not excused" type of absence. Just know that if a dancer misses because of a mandatory school event or activity, that type of absence will not count. Injury or sickness FOR BALLET SPECIFICALLY, our instructors ask that if your dancer cannot participate due to injury or sickness, your dancer should not attend in person but virtually instead. This is because, in ballet, the dancers are not working on learning choreography each week but are focusing on technique. It is very hard for even the most advanced dancer to improve their technique if they are not able to perform the moves, but we feel watching and trying from home virtually is better than doing nothing. FOR JAZZ SPECIFICALLY, it is a little different. We want the dancer to be able to participate in each class, of course, but if he or she is able to physically be there (as long as they are not contagious), it is better to be there and watch and listen than to not be there at all. This is because in jazz class the class is working on learning choreography much of the time. It's important that a dancer even just be there to see how the team moves through the formations (if any during the pandemic) so she can put herself into it mentally and next week be able to execute the flow and possibly some of the choreography. Also, another reason a dancer should come even if she cannot participate (meaning an injury or a non-contagious sickness) is that the instructor is consistently talking about how to break things down and a dancer may hear something that helps her figure out the move. Therefore, if your dancer is sick or injured and cannot participate in class but can physically be there, sit in the back and watch and listen, it will not be counted as an absence. If the dancer shows any symptoms of Covid-19 or has received a positive test, he or she should stay home for the necessary allotted time and take the class virtually. Please notify us by NOON on the day of your dancer’s class that the class needs to be live streamed for your dancer. Know that our other classes - Kix, Hip Hop, Lyrical, Tap - are not leveled by skill so anyone can be in them. We are not instilling any kind of attendance policies or dress codes for these classes, but we will highly recommend great attendance and proper dancewear. This is the Just For Kix policy. However, the home office encourages us to set policies for placement classes and we feel like we MUST do this for ballet and jazz because the dancers need to treat these classes differently than their others. ************************** Ballet Dress Code Female dancers should wear a black leotard, pink or tan tights, ballet slippers and have their hair pulled backed neatly and secured in a bun. Male dancers should wear form-fitting ballet attire that is made for men and secure any longhair away from the face and neck. Visit JTs Dancewear in White Bear Lake for idea and/or to purchase shoes or ballet attire. - A ballerina wears a leotard and tights, and the male ballet dancer wears form-fitted attire, so that the teacher can easily see the placement of the pelvis and muscles of the legs and how they work together to properly turn-out. - For females, a sheer, short dance skirt (usually made of chiffon or georgette material) may be worn but jazz shorts, which are opaque and prevent the teacher from seeing the hip joint MAY NOT be worn. On cold days a snug fitting sweater and an extra pair of leggings may be worn. Hoodies, sweatshirts, sweatpants and loose fitting t-shirts hide the body so the teacher cannot see the dancer's placement and may not be worn in class. - Ballet slippers are designed to work well for all steps performed in ballet. Slippers have a little bit of grip that aids the dancer when executing adagio (slow sustained movements), balances and petite allegro (small quick jumps). Socks are too slippery and hinder the dancer's ability to dance these moves. Ballet slippers are just smooth enough that dancers can perform turns easily and in a controlled manner. Socks are too slippery and can cause falls. Bare feet grip too much and can trip a ballet dancer. The flat, thin sole of ballet slippers allow the ballerina to stand in correct placement and easily move in and out of releve. Jazz shoes were developed specifically for the needs of the jazz dance. Their thicker sole and slight heel, although perfect for jazz, hinders the ballerina's ability to releve and changes body alignment. Ballet slippers are a ballet dancer’s equipment and need to be worn at every class. - Male dancers should wear their hair in a way that does not inhibit their movement in class - long hair should be pulled back into a bun and/or long bangs should be pinned back. - Female ballet dancers traditionally wear hair in a bun. There are two reasons for this. First, when performing turns, if the hair is long or in a ponytail it can whip around and hit the dancer in the face and the eyes where injury to the eye can happen. Second, as dancers become more advanced in ballet we begin to work on the placement of the head in relation to the shoulders. This is called epaulement. If you have ever seen a ballerina and noticed the long graceful look of their neck it is not because they have a longer neck, it is because they have learned how to hold their upper body in a graceful manner. For this skill to be taught and improved upon the teacher must be able to see the dancers shoulders and neck without the distraction of long hair or extra clothing (another reason a leotard is to be worn). Dress Code for Jazz Class Dancers should wear tight-fitting, stretchy clothes in BLACK (or any color the instructor wants but they all should be the same) to class every week. - The tight-fitting clothing helps the instructor see the body better and can correct the dancer more accurately. - When the team wears the same colors it helps the instructor see team placement in formations. - Both things - wearing tight-fitting clothing and wearing the same colors - also helps make sure the dancers are all doing the same thing at the same time in the same way. - Jazz is a competitive class, so precision is a must. - When a dancer is great at ballet, it will help the dancers do more in the same way - it makes our jazz teams much more precise and more competitive. All of those phenomenal jazz classes you see at our competitions have dancers with a lot of ballet background in them. We DO NOT want to have to enforce the above-listed dress codes for ballet and jazz. The dancers should WANT to be dressed properly so they can be corrected and aligned properly so they can improve. However, if dancers begin to wear baggy clothing, jazz shorts instead of leotards, etc, to ballet, we WILL count each time as an absence and you, the parent, will be informed. Our older dancers (junior level, senior level) should be setting a great example by coming properly dressed and prepared each week.
Load more

Recommended publications
  • Study of the Body Dimensions of Elite Professional Ballet Dancers
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE Documento descargado de http://www.apunts.org el 25/01/2011. Copia para uso personal, se prohíbe la transmisión de este documento por cualquier medio o formato. provided by Revistes Catalanes amb Accés Obert 3 ORIGINAL ARTICLES Study of the body dimensions of elite professional ballet dancers HAMLET BETANCOURT LEÓNa, JULIETA ARÉCHIGA VIRAMONTESb, CARLOS MANUEL RAMÍREZ GARCÍAc AND MARIA ELENA DÍAZ SÁNCHEZd aAutonomous Metropolitan University. Iztapalapa Unit. México. bInstitute of Anthropological Research. UNAM. Mexico. bNational Technical Institute. Mexico. cInstitute of Nutrition and Food Hygiene. Cuba. ABstract RESUMEN The similarities and differences in the body dimensions of a Las diferencias o similitudes referidas a los tamaños absolu- group of ballet dancers compared with those of modern or tos de un grupo de bailarines de ballet frente a bailarines de folklore dances are indicators of corporal heterogeneity or danza moderna y folclórica son indicadores de variabilidad homogeneity and of the spatial volume occupied by a group o de la homogeneidad corporal y de la expresión del volu- of dancers. The present study aimed to analyze the kinan- men espacial que ocupa un grupo de danzantes. Este traba- thropometric similarities and differences among elite pro- jo se propuso analizar las similitudes y las diferencias ci- fessional ballet dancers compared with modern and folk- neantropométricas de los tamaños absolutos entre los lore dancers. The anthropometric profiles of dancers from bailarines profesionales de elite de ballet respecto a los de the National Ballet, National Dance and National Folkloric danza moderna y folclórica.
    [Show full text]
  • 'In Ballet You Need to Be Perfect'
    ‘In ballet you need to be perfect’ Ivan Vasiliev Rudolph Nureyev Ivan Vasiliev is a Russian ballet dancer. He is the principal dancer with the American Ballet Theatre. I live in a flat in St Petersburg with my girlfriend. I usually get up at about nine and then I have a shower. In my job I often stay in hotels. When you have a shower in the morning in a hotel you can leave your towel on the floor. I love that! I always have a good breakfast, and I love eggs. When I am very hungry, I sometimes eat five. I like sausages, too. Classes start at 10.30. I practise all morning without a break. I sometimes have lunch, but not always. In the afternoon, I practise more. Of course in ballet, you need to be perfect. Nureyev is my favourite dancer. I have a pair of his ballet shoes. After work I want to eat. I love meat. My favourite is a big steak. No vegetables. Only steak. English File third edition Beginner • Student’s Book • Unit 6B, p.37 © Oxford University Press 2015 1 In the evening we sometimes go out. Before we go out my girlfriend looks at my clothes and she usually says: “No, Ivan. Change!” I’m not interested in clothes, but I love watches. I have seven, including a Montblanc, three Rolexes, and a Maurice Lacroix. Sometimes, I don’t go to bed until 1.00 or 2.00. It’s often difficult to sleep. I have a lot of things in my head.
    [Show full text]
  • Romantic Ballet
    ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS.
    [Show full text]
  • How Cuba Produces Some of the Best Ballet Dancers in the World by Noël Duan December 14, 2015 9:01 PM
    http://news.yahoo.com/how-cuba-produces-some-of-the-best-ballet-dancers-020100947.html How Cuba Produces Some of the Best Ballet Dancers in the World By Noël Duan December 14, 2015 9:01 PM Recent graduates of the Ballet Nacional de Cuba School performing at the National Theater of Cuba in Havana in February 2015. (Photo: Getty Images) This story is part of a weeklong Yahoo series marking one year since the opening of relations between the United States and Cuba. Cuba is well known for many forms of dance, from the mambo and the tango to salsa, the cha- cha and the rumba. But only ballet enthusiasts know that the dance form is one of the country’s biggest cultural exports. In Cuba, ballet is just as popular as baseball, a sport where players from the Cuban national team regularly defect to the major leagues in the United States. Unlike in the United States, where ballet is generally considered highbrow art and Misty Copeland is the only ballerina with a household name, the Cuban government funds ballet training and subsidizes tickets to ballet performances. “Taxi drivers know who the principal dancers are,” Lester Tomé, a dance professor at Smith College and former dance critic in Cuba and Chile, tells Yahoo Beauty. Like Cuban baseball players, Cuban ballet dancers have made international marks around the world, from Xiomara Reyes, the recently retired principal dancer at New York City’s American Ballet Theatre to London’s English National Ballet ballet master Loipa Araújo, regarded as one of the “four jewels of Cuban ballet.” In September 2005, Erika Kinetz wrote in the New York Times that “training, especially Cuban training, has been a key driver of the Latinization of ballet,” an important note, considering that European ballet companies dominated the dance world for decades.
    [Show full text]
  • Student Matinee Study Guide Ballet History, Trivia and Test Your Knowledge
    Student Matinee Study Guide BALLET HISTORY, TRIVIA AND TEST YOUR KNOWLEDGE BALLET TIME LINE Renaissance Period This era was all about also included a solo for each of them and a coda (a short, entertainment. The ballet de court was performed by quick finale). The classic tutu (stiff skirt) became popular; aristocrats from the royal courts of Europe. Ballet was many ballets were choreographed such as Swan Lake, brought in from Italy to France in the 1530’s when Italian The Sleeping Beauty, and The Nutcracker, which are still Catherine Medici married Henry II of France. In 1661, performed today. Baroque Period: 1710 – 1770 Maria Camargo the first ballet school opened in France. It was begun by In 1909, a Russian impresario Louis XIV and called Académie de Royale Danse. The five The Ballet Russes (a person who produces ballets, operas, and basic foot positions were named and are the basis for all concerts) named Sergei Diaghilev created the Ballet classical ballet steps. At first, only men were allowed to Russes and brought them to Paris. They traveled all dance. Women were allowed in 1681 but had to wear full throughout Europe, bringing with them innovative length gowns. new choreography, costumes, and scenery designed by Baroque Period In this era, it was common to master artists. combine opera, ballet, and music into one performance Ballet continued to grow throughout to tell a story. Ballet in Europe Europe, and today we have the Royal Ballet in London Romantic Ballet: 1831 – 1848 Classical Period This era occurred during the late and the Royal Danish Ballet in Copenhagen.
    [Show full text]
  • Guide to Dance 2019-2020 Study Guide
    Dancers: Grace-Anne Powers and Leiland Charles | Photo: Jennifer Zmuda GUIDE TO DANCE 2019-2020 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2019 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ........................................................................................................................
    [Show full text]
  • The History of Russian Ballet
    Pet’ko Ludmyla, Ph.D., Associate Professor, Dragomanov National Pedagogical University Savina Kateryna Dragomanov National Pedagogical University Institute of Arts, student THE HISTORY OF RUSSIAN BALLET Петько Людмила к.пед.н., доцент НПУ имени М.П.Драгоманова (Украина, г.Киев) Савина Екатерина Национальный педагогический университет имени М.П.Драгоманова (Украина, г.Киев), Інститут искусствб студентка Annotation This article is devoted to describing of history of Russian ballet. The aim of the article is to provide the reader some materials on developing of ballet in Russia, its influence on the development of ballet schools in the world and its leading role in the world ballet art. The authors characterize the main periods of history of Russian ballet and its famous representatives. Key words: Russian ballet, choreographers, dancers, classical ballet, ballet techniques. 1. Introduction. Russian ballet is a form of ballet characteristic of or originating from Russia. In the early 19th century, the theatres were opened up to anyone who could afford a ticket. There was a seating section called a rayok, or «paradise gallery», which consisted of simple wooden benches. This allowed non- wealthy people access to the ballet, because tickets in this section were inexpensive. It is considered one of the most rigorous dance schools and it came to Russia from France. The specific cultural traits of this country allowed to this technique to evolve very fast reach his most perfect state of beauty and performing [4; 22]. II. The aim of work is to investigate theoretical material and to study ballet works on this theme. To achieve the aim we have defined such tasks: 1.
    [Show full text]
  • Ballet West Student In-Theater Presentations
    Ballet West for Children Presents Ballet and The Sleeping Beauty Dancers: Soloist Katie Critchlow, First Soloist Sayaka Ohtaki, Principal Artist Emily Adams, First Soloist Katlyn Addison, Demi-Soloist Lindsay Bond Photo by Beau Pearson Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Marius Petipa Photo: Quinn Farley Costumes: David Heuvel Dear Dance enthusiast, Ballet West is pleased that you are viewing a Ballet West for Children Presentation as a virtual learning experience. Enclosed you will find the following information concerning this performance: 1. Letter from Artistic Director, Adam Sklute. 2. Letter to the parent/guardian of the students who will be viewing. 3. Specific Information on this Performance, including information on the ballet, music, choreography, follow-up projects and other pertinent material has also been compiled for the teacher's information. 4. We report to the Utah State Board of Education each year on our educational programs, and need your help. Usually, we gather information from teachers as to how the student reacted and what they may have learned from their experience. We’d love to hear from you by filling out our short Survey Monkey listed on our virtual learning page. We don’t have a way to track who and how many people are taking advantage of this opportunity and this will help us to know how we’re doing. You can always email me directly. Thank you very much for your interest in the educational programs of Ballet West. Please call if I may provide any additional information or assistance to you and your school. I can be reached at 801-869-6911 or by email at [email protected].
    [Show full text]
  • Kirsova Ballet 1941-1944 2
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID KIRSOVA BALLET IN AUSTRALIA 1941-1944 PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 Helene Kirsova came to Australia in 1936 with the Monte Carlo Russian Ballet. Born Ellen Wittrup in Denmark, she had trained with Europe’s leading ballet teachers and had reached prima ballerina status dancing with major European companies and working with choreographers such as Leonide Massine and Michel Fokine. Kirsova received star billing for the 1936 Australian tour which was entrepreneured by Colonel W. de Basil. De Basil brought more companies to Australia in 1938 and 1940 which further opened up a world of exotic and dazzling ballet to Australian audiences. The advent of these ‘Ballets Russes’ companies also had a lasting legacy in the form of members of the companies who elected to stay in Australia. Two of the most prominent of these were Edouard Borovansky and Helene Kirsova both of whom formed companies of their own which had lasting influences on the development of ballet in Australia. Kirsova initially returned to England with the Monte Carlo Russian ballet in 1937 but returned early in 1938 when she married the Danish Vice Consul in Sydney, Erik Fischer. She soon established a ballet school developing local Australian dancers as well as engaging other dancers from the de Basil companies who remained in Australia. She formed her own company in 1941. Based in Sydney, the company also successfully toured Australia in spite of the difficulties of movement around the country in wartime, as well as the constant threat of male dancers being enlisted into wartime duty.
    [Show full text]
  • Basic Black Or Whatever It Was That Other Boys Did
    Basic Black or whatever it was that other boys did. It was at this time that I started wearing a dance belt, but the kind for boys without the thong. Instead they are thick nylon and elastic tighty- whities, Spanx for your junk. Ian Spencer Bell In tights I was aware of my body, entirely. I could feel my saggy middle over the Capezio I was seven or eight when I first put on a pair waistband, the two seams that made lines up of tights. It would have been about 1985. I re- the backs of my legs, the seam that went into member the tights well: black Capezio footed, my behind, and the gather of nylon around my seamed nylon tights, the kind Baryshnikov privates, now no longer so private. It was like supposedly wore. Men’s tights sizes have al- being in a pageant, in the spotlight. I imag- ways been confusing to me. When I was at my ined myself on a float or in a parade or sign- thinnest, I wore Large, sometimes XL, to fit ing autographs, like Nureyev. my longish, muscular legs. There was always I grew up managing the sizes and lengths lots of extra material at the top to roll down, of tights, ingrown hair, and finding the best and to keep them up I wore a belt I’d made tights for my body. Mirella men’s tights felt from a short piece of white elastic knotted to- like a gift from heaven, unlike Capezio’s Ba - gether at the ends.
    [Show full text]
  • Ballet Fundamentals Study Guide
    River City Youth Ballet Ensemble Educational Work Packet for Teachers & Students Table of Contents Mission Statement............................................................................................ 2 What is Dance/Ballet........................................................................................3 Some Ballet Terms……………………………………………………………………………5 Who is Behind the Scenes..............................................................................8 Attending a Live Performance (Theater Etiquette) ................................9 Preshow Activities………………………………………………………………….…………10 Postshow Activities…………….…….………………………………………………………15 Fun Facts and Activities……………………………………………………………………18 References………………….………………………….…………………………………………21 1 River City Youth Ballet Ensemble Providing West Virginia youth with a high-quality dance education while giving our communities access to the live arts. The River City Youth Ballet Ensemble, the Official Youth Ballet of WV, is a pre-professional performing company for dancers ages 12-21. It was founded in 1995 in Charleston with the mission of giving talented dancers the opportunity to learn and grow in the performing arts. RCYBE prides itself on providing members a sound, quality dance education that includes valuable performance opportunities. It also gives dancers a forum to share their talent and education in the arts throughout the community by way of outreach and collaboration. RCYBE is a registered non-profit organization with the WV Secretary of State. Audition and Class Information
    [Show full text]
  • 22 Handbook Baxter Village
    2021-2022 Handbook Baxter Village This Student Handbook belongs to: ______________________________ Welcome to Miller Street Dance Academy On behalf of our staff and faculty, I want to welcome you to Miller Street Dance Academy (MSDA). Thank you for bringing your dancer to us! This will be a fun filled year with loads of new dance steps and exercise. This handbook is a resource to help you and your dancer succeed and grow at our studio. If you have any questions or concerns, please don’t hesitate to ask. We look forward to teaching your dancer and getting to know them. Dancing Wishes, Michelle Soutier Miller Street Dance Academy 967 Market Street, Suite 100 Fort Mill, SC 29708 803-396-JAZZ (5299) Fax: 803 396-5296 [email protected] Office Hours: Monday-Saturday Please check our website or call for specific hours of operation www.millerstreetdanceacademy.com TABLE OF CONTENTS Class Descriptions Page 2 Tuition Rates & Fees Page 3 Important Dates Studio Dates Page 4 Recital Dates Page 4 Advanced and Summer Classes Competition Team Page 5 Technique Classes Page 5 Summer Camps Page 5 Ballet Program Mission Statement Page 6 Ballet Levels Page 6 Class Attire Page 6 It’s More Than Just Dance Service Society Page 7 Bands for Liberia Page 7 Dancers Against Cancer Page 7 Homework Area Page 7 Honorable Dancers Page 7 Studio Policies Tuition and Registration Fees Page 8 Class Schedule Page 8 Schedule Changes Page 8 Waitlists Page 8 Student Class Placement Page 9 Student/Parent/Teacher Relations Page 9 Parent Portal Page 9 Absenteeism
    [Show full text]