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Home , Aplomb, Ballet technique, Barre (ballet), Classical ballet, Historical dance, Pas de deux

I Course at a Glance 2020-2021 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II Duration 8 lessons 8 lessons 20 lessons 8 lessons 20 lessons 4 lessons

Technique/ -Classroom -Movement Actions of the -Correct use of arms in all -Role of -Positions of the head at -Composition Vocabulary etiquette Joints port de bras -Dance from the courts and center – eyes -Analysis -Correct use of -Identifications are not -Classical position of hand to the theater follow the hand -Theme turn-out in all limited to those listed -Directions of studio/stage -King Louis XIV -Begin work on facial - positions and below: -Arm in motion - expressions Cohesion common errors Anterior Front -Correct transfer of weight - -Épaulement -Evaluation -Correct classical from two legs to one-weight -Development of -Directions of the body – Á -Interpretation Posterior Back stance and distribution Ballet la quatrième devant and -Criteria Medial alignment -Positions of the arms and -Dance Mania derrière, croisé, and éffacé -Critique -Correct way to Lateral common errors – 3rd, 4th, and -Introductory “breath” -Critic Proximal th hold the barre 5 en haut and en bas movement -Evidence -Use of the Distal -Correct use of arms in all -Concept of en dehors and -Synthesis -Use of the hand Superior port de bras en dedans -Paraphrase -Pointing of the Interior -Balancing on the ball of the -Tendu batterie foot Flexion Extension foot -Dégagé piqué -Alignment Adduction Movement -Cambré forward and back -Dégagé en cloche -Positions of the Abduction Movement -Correct stretching with leg -Pas de cheval feet Circumduction Pronation on the barre -Positions sur le cou-de- -Positions of the Supination -Clean line in low extensions pied and coupé arms – first and Skeletal Identifications (arabesque and attitude 45 and (wrapped/conditional) second 70 degrees) Human skeleton consists -Élevé -Reverance -Cambré forward and back of 206 bones -Fondu coupé -Stage Directions -Correct stretching with leg -Attitude devant Identifications are not on the barre -Arabesque derrière - low -Clean line in low extensions limited to those listed -Linking steps and (arabesque and attitude 45 and below: connecting movements 70 degrees) Axial skeleton -Pas de bourrée de coté, en -Opening and closing the foot avant, piqué, tombé Appendicular skeleton th from 5 position -Temps lié, chassé, glissade Cranium/skull orbit -Correct placement of leg/foot -Simple piqué pose in Mandible in tendu devant, à la seconde coupé, passé, arabesque 45 Clavicle and derrière degrees Vertebrae -Relevé - Triplets Scapula -Grand -Polonaise Acromion -Frappé - Humerus -Rond de Jambe à terre Allegro Radius -Retiré -Sissonne fermé at 45 -Passé Ulna degrees -Piqués from corner-no turn Femur Baltimore County Public Schools Office of Music and Dance Education 1 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II Tibia -Standard ballet run Échappé to 4th petite and Fibula -Balancé from corner grand Ischium -Sauté – first and second Grand jetés - Coccyx -Gallops Petite assemblé side Sacrum -Skips -Sauté arabesque -Emboîté Ilium -Standard ballet walk Patella -Walk on high demi pointe -Grand jeté Tarsals Allégro -Grand saut de chat -Temps levé 1st, 2nd, 5th Metatarsals -Changement de pied Phalanges -Échappé sauté à la seconde Carpals -Petite jeté Metacarpals -Soubresaut Pubis -Pas de chat Ribs Sternum Xiphoid process Talus Cuboid calcaneus Navicular

History -Role of Dance -Dance from the courts to the theater -King Louis XIV -Renaissance -Baroque -Development of Ballet -Dance Mania Critical Analysis Students will Students will assess where Students complete a self- Discuss issues The characteristics of a Aesthetics complete a postural they need to improve their reflection to analyze the concerning various 'good' performance include The characteristics of a analysis taking practice with respect to following: stereotypes related to but are not limited to: 'good' dancer should proper ballet Cross Training, Injury -Ability to make correction dance i.e. ethnicity, -Smooth running include: placement into Prevention, and Nutrition. -Ability to focus, concentrate gender, social and -No sudden stops, starts, or -Ability to apply correction

consideration. They will set a goal (or -Strength economic class, age, technical difficulties. -Ability to focus/concentrate two) and journal/document -Flexibility and physical condition -Polished performance - no -Strength the steps they take to -Endurance obvious errors in memory, -Flexibility improve upon their -Grace or Coordination Identify and describe accuracy, execution, etc.---- -Endurance personal practice. -Self-discipline the significance of -Cohesive - the look -Grace/coordination -Ability to project energy major historical dance like they belong together or -Self-discipline -Ability to use expressive events are unified -Ability to project energy musicality Baltimore County Public Schools Office of Music and Dance Education 2 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II -Good carriage/ Discuss and analyze -Holds the audience -Ability to use expressive -Ability to learn quickly the role of dance in interest, is varied, musicality -Ability to adapt to different relation to the social entertaining -Good carriage/aplomb styles, and genres and political climate of -The difficulty of the dance -Ability to learn quickly -Cooperative attitude various times and is suitable to the ability of -Ability to adapt to different -Ability to collaborate with places the dancers. styles, and genres others -The dancers are able to -Cooperative attitude affect the audience, making -Ability to collaborate with them feel something from others the performance. -The performance makes the audience 'think' or ponder an issue from a different perspective. Creative Students create a “healthy Students create a piece that Composition dancer” cross training plan displays the foundational technique learned throughout the course of the year.

Portfolio Document goals and Document and collect video submit for archival throughout the course, purposes submit for archival purposes

Enduring Establishing Skeletal Anatomy and Dancers benefit from Dance is an expression Dancers benefit from How do we use correction Understandings appropriate stance, Injury Prevention corrections and constructive and reflection of a corrections and constructive and constructive criticism in aplomb and vertical Building a dancer's criticism which a dance people’s culture, criticism which a dance dance to improve? alignment of the awareness of the body's teacher provides during class. beliefs, traditions, and teacher provides during spine is the first structures and organization values. Studying the class. Teachers use constant How does discipline differ step in training the helps them to understand Teachers use constant historical development formative assessment from self-discipline? Why body for ballet the necessity of dancing formative assessment through of ballet in the through observation in are you or aren't you able to technique. with proper alignment, observation in order to clarify Romantic period gives order to clarify objectives focus and concentrate for 90 correct use of turn-out, objectives and refine the students an and refine performance. minutes during your Learning ballet and anatomically correct performance. appreciation of the art Feedback may be directed technique class? What are technique follows a technique in order to within the context of to an individual or to the some of the distractions that slow and prevent injury and entire group. The teacher Feedback may be directed to 19th Century Europe. prevent you from doing so? methodical promote longevity in will allow time for practice an individual or to the entire How can you ensure that sequence of dance. of the skills with the new group. you are are fully prepared progression from information and repetition for every ballet class? simple and of the exercise, hopefully Nutrition for the Dancer The teacher will allow time foundational Adolescent dancers have with better performance and for practice of the skills with movements which specific and individual understanding of the skills. the new information and Baltimore County Public Schools Office of Music and Dance Education 3 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II build with needs in the areas of repetition of the exercise, All students should apply repetition and over nutritional and caloric hopefully with better all corrections as their own time to attain new intake, vitamins and performance and so that the entire class will skills. minerals, water understanding of the skills. benefit from this constant consumption and feedback and improve sleep. Attention to these All students should apply all performance. needs will have a direct corrections as their own so impact upon the dancer’s that the entire class will Transitional Movement strength, energy, benefit from this constant Transitions are the glue endurance and general feedback and improve which holds the technique health which manifests performance. and artistry together in itself during performance dance. Attention must be in class, rehearsal and on General Principles given to all details of stage. Aplomb and alignment are performance in transitional essential components to the steps including articulation overall presentation of ballet of the feet, rotation of the technique. The way a dancer legs, weight distribution and Cross Training carries their body identifies exchange, body position in them as dancers and must be space, carriage of the arms and upper body and specific Cross training for a dancer taught, repeated, then is recommended. Some internalized so that it becomes movement or position of the recommended activities a natural physical feature of head, arms, and hands. may include Pilates, yoga, their presentation. stretching or flexibility Turns training, specific weight Proper alignment of the bones Successful completion of training, breathing must come first in a dancer's turns is a complex physical techniques, training and then dance and mental process. A massage, swimming and vocabulary layered on dancer must understand and water therapy, work with top, after the dancer is capable be able to exhibit the therabands, of aligning the bones properly correct alignment, spotting, bicycling, rhythmic to achieve balance, a sound core strength, and rhythm gymnastics and technical base and injury repeatedly in order to others. Cross-training prevention. achieve consistent success activities should be in turns. specifically geared toward External rotation of the femur enhancing a dancer's head within the acetabulum Petite Allegro aerobic capacity, strength, without displacing the pelvis Every step in ballet is endurance and is an unnatural learned comprised of the flexibility with careful skill. Each dancer must find movements required in attention to performance their own 'turn-out' and not be performance of 'plie' and in excess which can lead concerned with immediate 'tendu'. This is most to injury and/or achievement of a 180-degree evident in the performance Baltimore County Public Schools Office of Music and Dance Education 4 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II limit mobility in the rotation so that they will be of small jumps and dancer. able to keep correct alignment beats. When a dancer of the bones and prevent focuses on performing injury to the joints of the these two movements lower extremities. within their jumps, excellent execution usually Articulation of the feet, head, follows. and hands along with attention to detail in all Assemble is a beginning aspects of technical allegro movement which performance will help the combines all the necessary dancer to achieve a clean and skills for jumping: use of polished performance. plie, ballon, brush off and push off the floor, strength Barre Work and coordination of both Barre exercises lay the legs. Successful foundation for the technical performance of this step skills which will be required will lead a dancer to success in the center practice and in in all allegro combinations. performance of . These should Grand Allegro be directly related to the Dancers are often justifiably objectives within the center characterized as work. athletes. The dancer however, unlike the athlete The teacher should model and must mask the difficulty and explain the relationship exertion necessary in between the barre skills and completion of difficult center practice so that physical feats and make students understand the them appear effortless. This rational for the exercise and is clearly evident in the its motivation for more performance of grand complex performance. allegro. As beginning dancers are learning to perform large jumps which Center work travel through space, they Musicality and its accompanying rhythmic must utilize control and expression and interpretation strength in order to maintain aplomb, grace and the ballet is practiced through the barre aesthetic while displaying and center exercises. athleticism.

Baltimore County Public Schools Office of Music and Dance Education 5 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II Discrimination and Spatial Awareness understanding of the dynamic It can be difficult for changes in performance dancers to distinguish of adagio and allegro exercises between the open positions allows the dancer to practice of efface and the closed or interpretation of movement crossed positions in within a teacher's croise. Understanding and choreographed exercises. demonstrating these lines of the body will enable the Pointe work student to perform with Performance of ballet on spatial organization, pointe necessitates absolutely precision and to achieve the correct technical performance aesthetic of body position. of skills. Without correct alignment, flexibility and Musical Awareness technical strength the dancer A dancer must be able to will either fall off pointe or adapt to a variety of musical not be able to get over their styles in order to become a box and risk injury. For these valuable performer. reasons, pointe work is Dancer's never know what learned in a slow progressive type of music they will be fashion first with two hands performing to and should facing the barre, then with one develop skills in using hand on the barre and later syncopation, a variety of moving to the center floor. time signatures (regular and irregular) and accent in movement. These skills are first developed in class and then utilized in performing

situations.

Projection in Performance Projection of energy and expression is natural for some dancers and taught to everyone else. While technique class is essentially the practice and development of technical skills, the practice of projection should not be overlooked. The dancer

Baltimore County Public Schools Office of Music and Dance Education 6 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II should rehearse their performance in the studio or on camera exactly as they will perform it on stage in order to continuously develop their performance skills and to ensure a consistency in performance. Essential Class Decorum Skeletal Anatomy and What are the essential What is 'dance mania' What are the essential How do we use correction Questions Why are you or Injury Prevention characteristics of a 'good' and how does this characteristics of a 'good' and constructive criticism in aren't you able to What can you do while dancer? phenomenon manifest dancer? a 'good' dance to improve? focus and training in dance to itself in our time? performance? concentrate for 90 prevent injuries? How do we apply principles What are the essential minutes during of 'aplomb' in our practice of What is dance? How do we apply principles characteristics of a 'good' your technique How does your knowledge ? of 'aplomb' in our practice dancer? a 'good' class? of the joints and skeletal How did dance in of ballet technique? performance? system impact your What does the body look like King Louis' XIV court when it is properly aligned? What does the body look What are some of performance in dance influence Why is it important to use like when it is properly the distractions that class? political status? multiple sources and a How does this alignment help aligned? prevent you from bibliography when doing us to balance? doing so? Nutrition for the Dancer research? Can you think of any How does this alignment What are your personal political leader who How can you needs in the areas of In which part of the body help us to balance? should the initiate has been as supportive In which part of the body ensure that you are nutrition, caloric intake, from? of dance or the arts, as should the turnout initiate fully prepared for vitamins and minerals, King Louis XIV of from? every ballet class? water, and sleep to How can we tell the France? maintain your strength, How does energy, endurance and difference between forced and How can we tell the aligned turnout? difference between forced discipline differ general health as a dancer? and aligned turnout? from self- How can you find your discipline? Cross Training turnout and why is it How can you find your What are the direct and important for your career to turnout and why is it Rehearsal indirect benefits of cross- do so? important for your career to Etiquette training for a dancer? do so? What impact could What do we mean by an undisciplined, articulation and why is it What do we mean by disrespectful class important? articulation and why is it have on the ability important? to present How does the barre warm-up prepare us for the center combinations? Baltimore County Public Schools Office of Music and Dance Education 7 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II choreography for How does the barre warm- performance? How can a dancer get 'the up prepare us for the center most' from every barre combinations? How is the combination so that they will development and be ready for center work? How can a dancer get 'the rehearsal of most' from every barre choreography a combination so that they collaborative will be ready for center effort? work?

How are stage rehearsals different from studio rehearsals different from virtual rehearsals?

Performance Skills How can you express yourself during a group performance?

How do we communicate with an audience?

What is the ultimate goal of performing for an audience? Culturally Traditional Examine and discuss Ballet technique should Examine and discuss Discuss diversity in ballet Encourage students to add Responsive etiquette in a ballet cultural and familial progress in direct correlation diversity in Ballet and programs who are their own corrections to the Curriculum class requires practices/traditions that with the attainment of skills making concerted efforts to class. Peer critique, video students to be silent influence approaches to for each group and each Review and increase representation of critique and personal observers and wellness student. acknowledge “Firsts” minority groups. Look at perceptions of what is performers, while Ex: First Latinx current events/articles needed to grow as the teacher directs at which address and confront individuals and as a class their learning. This NYC Ballet this issue. should be included as expectation comes assessment of student out of Eurocentric understanding of content Baltimore County Public Schools Office of Music and Dance Education 8 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II traditional Suggested resource: and their ability to think practices. Make Breaking Barriers on critically about their work. space in your class Stage: African for learning American Ballet Providing a forum for their traditions from a dancers who made voices will encourage self- variety of cultures. history motivation. This may include allowing students to direct their own learning or group work which allows for socialization and peer support mechanisms. Summative The student will The student will analyze The Ballet I student will The student will The Ballet I student will The student will critically Assessment demonstrate an and collect data in order to demonstrate adherence to complete the Ballet I demonstrate adherence to analyze, evaluate, and understanding of self-assess their daily class guidelines in order History Assessment in daily class guidelines in interpret a live dance the dancer performance on various to develop the decorum and order to demonstrate order to develop the performance in order to expectations at both cross training activities. discipline needed for ballet understanding of the decorum and discipline construct a written the technical training. Romantic and needed for ballet training. performance critique. rehearsals and the Cross-Training Data Classical period. performance Analysis and FITT Testing The Ballet I student will The Ballet I student will Performance Critique through their Score Sheet (Schoology) perform selected Ballet I History perform selected (Schoology) behaviors, combinations from class with Written Assessment combinations from class preparation, and Cross-Training Data attention to the skills and (Schoology) with attention to the skills Performance Critique Rubric contributions at Analysis and FITT Testing concepts presented in the and concepts presented in (Schoology) these required Student Sheet (Schoology) course. The student will the course. events. respond to writing The student will evaluate Dancer Wellness Performance skills assessment prompts and journal Performance Skills their own progress and the

Assessment Form prompts in order to Assessment progress of their peers in The student will (Schoology) demonstrate order to set immediate and demonstrate an personalized future goals. understanding of The student will craft a understanding of the videography role, origins, and statement articulating why Peer-Evaluation Student through submission definition of dance. of a “movement cross-training is valuable Resource Sheet (Schoology) biography” to dancers and how knowledge of their current Definition of Dance Self-Evaluation Student fitness levels will impact Writing Prompt Resource Sheet (Schoology) their own cross-training Rubric (Schoology) practices.

Baltimore County Public Schools Office of Music and Dance Education 9 8/10/2020 Unit Introduction to Dancer Wellness Foundational Skills: History: Then & Foundational Skills: Critical Analysis Ballet I Part I Now Part II Cross-training Oral Origins and Role of Presentation or Podcast Dance Journal Prompt Rubric (Schoology) Rubric (Schoology)

Cross-training Written The student will Statement Rubric perform the Tarantella (Schoology) dance with attention to detail and style as The student will log their dictated by the time food intake in order to period, culture, and analyze their findings and social constraints. design future nutritional goals. Tarantella Performance Rubric Nutritional Analysis Score (Schoology) Sheet (Schoology) The student will work cooperatively and collaboratively to construct meaning related to a selected dance through subsequent research.

Ballet I Dance Mania Group Research Rubric (Schoology)

Ballet I Dance Mania Performance Rubric (Schoology) Standards Aligned MFA Dance MFA Dance Standards: MFA Dance Standards: MFA Dance MFA Dance Standards: MFA Dance Standards: to this Unit Standards: Presenting 5A, 5B, 5C Presenting 4A Standards: Presenting 4A Creating 1A, 1B Presenting 6A, 6B, Presenting 5A, 5B, 5C Responding 7A, 7B Presenting 5A, 5B, 5C Creating 2A, 2B 6C Presenting 6A, 6B Responding 8A Presenting 6A, 6B Creating 3A, 3B, 3C Responding 7A, 7B Responding 9A, 9B Connecting 11A, 11B, Responding 9A, 9B Connecting 10A, 11C 10B

Baltimore County Public Schools Office of Music and Dance Education 10 8/10/2020 Ballet II Course at a Glance 2020-2021

Unit Dimensions of Technique Dimensions of Wellness History Critical Analysis the Profession And Composition Duration 4 lessons 40-42 lessons 14 lessons 8-10 lessons 8-10 lessons

Technique/ • See Ballet II Skill Sheet and Vocabulary • Muscular system • Romanticism • Composition Vocabulary List • Personal Nutrition o The French • Analysis • Bournonville • Conditioning and cross Revolution • Theme • Alignment, coordination of the body training o Dancing sur le • Variation parts, Épaulement pointes • Cohesive • 9 Positions of the Body • Taglioni family • Evaluation • Weight transfer and transitional • Classicism • Interpretation

movement • Romanticism • Criteria • Turning – balance, alignment and torque • Libretto • Critique • Expressive musicality and adagio • Bourgeoisie • Critic • Petite Allegro • Folklore • Evidence • Grand Allegro • Entrepreneur • Paraphrase • Synthesis

History Major choreographers: Research Techniques , Arthur Saint Leon • library resources Notable dancers: Fanny • periodicals

Ellsler, Marie Taglioni, • online resources Lucille Grahn, Fanny • interviews Cerrito, Jules Perrot, • citations , Lucien Petipa

Critical Analysis Perform Self-Assessment Self-Assessment Research paper and/or oral choreography for the presentations (included in annual dance concert. the history unit)

Portfolio Collection of Upload assessment documents, videos and Upload research papers, Upload papers, reflections, Artifacts, video, photos assessments, projects videos, and artist statements photographs, documents Enduring Dance performance is Coordination, epaulement and expression Overall: In order for a dancer Dance is an expression and Choreographers speak not Understandings the culminating event to have longevity in the art reflection of a people’s only for themselves, but for to the study of Use of epaulement (head, shoulders and form they must learn to know culture, beliefs, traditions, their generation. technique and reflects arms) gives the dancer a polished appearance and appreciate and values. Studying the the accomplishments and makes the dance more expressive. the bodies capabilities and historical development of Artists are keen observers of of the individual Weight transfer limitations. Since the body is ballet in the Romantic the world around them who the instrument of the art, a period gives the students an express ideas and concepts Baltimore County Public Schools Office of Music and Dance Education 1 8/10/2020 Ballet II Course at a Glance 2020-2021

dancer within a class The ability to smoothly and student should have a general appreciation of the art within which are understood collaboration. gracefully transfer the weight is essential in understanding of nutrition, the context of 19th Century differently through the arts. developing seamless transitions. Transitional general wellness, cross- Europe. Students must movements take on many forms and training techniques, skeletal Personal preferences, learn and practice the ultimately are the glue holding choreography and muscular anatomy. Ballet technique is an art popular culture and appropriate together and must be performed with seamless form rooted deep in rich experiences influence our behaviors, respect, flow of energy and precise application of Dance can put an enormous traditions of historical and understanding and and etiquette required technical skill. amount of stress of the spine, social significance. appreciation of artistic in order to efficiently especially in the segments that work. and effectively Expressive musicality have the most mobility. produce a work for Learning to use the entire Dance training combines the live stage Practice of adagio movement allows the spine and balance stability and physical, mental, spiritual, performance. dancer to develop the control, strength, and flexibility can improve your and emotional capacities of emotional expression within a slow controlled performance skills and reduce an individual into a visual musicality. Skills in alignment, aplomb, your risk of injury. art form. The student must balance and strength are essential for use critical thinking skills in completion of adagio exercises and are In ballet technique, the order to assess their transferrable to every other aspect of center outward rotation of the femur performance and the practice and stage performance. may be the most unnatural and performance of others in a recognizable feature of the meaningful way. They will Turning technique. The muscles of the develop skills in legs work in opposition in communication, Performance of tours (two foot, one order to stabilize and maintain collaboration, and problem foot, en ¾ pointe, en l’aire) requires complex this rotation in any and every solving through this coordination of the body parts (head, core and position. Opposition of forces process. limbs) while maintaining balance, body plays into balance and support alignment and core strength. Because of the as well in the elongation of the complexity of this process as well as axial skeleton and push away changeable physical factors such as inner ear from gravity in the legs and and sinus health, fluctuation in the quality of feet. performance is normal and expected. Proper technique and multiple means of correction As a dancer progresses toward are required in order to overcome these advanced technique, correction changeable factors. becomes increasingly detailed and refined. Knowledge and Allegro understanding of the inner workings of the body give the Performing petite allegro combinations dancer more tools for isolation involves knowledge of, memorization and and activation of particular physical practice of the vocabulary to the point muscle groups and placement of instant recognition so that when put into a of the bones. combination the dancer can quickly coordinate the body and mind into a successful A dancer should be aware of performance. Drill, practice and repetition are their own nutritional needs, Baltimore County Public Schools Office of Music and Dance Education 2 8/10/2020 Ballet II Course at a Glance 2020-2021

needed in order to perform this component of good and bad eating habits, ballet technique. stamina, strength and weaknesses. Developing and Travelling and Ballon enacting a plan for health and well-being will enable Grand allegro movement synthesizes the student's bodies to work practice of alignment, classical line, efficiently and effectively in epaulement and musical expression along with dance. strength and muscular coordination. Students apply the concepts of momentum, thrust, propulsion, gravity, power, force, and center of gravity from physics to improve their performance.

Pointe technique and

Pointe work and pas de deux require all of the same skills as ballet technique with the additional strength of the alignment, core, limbs and particularly the feet and ankles (for women), and upper body strength (for men). Both of these are appropriate for high level technicians and lend themselves to advanced performance of ballet. Essential Who are you Overall - How can you develop the physical Overall: Will the dancers What contributions from What are some similarities Questions responsible to as a and artistic skills demanded of the human understand the capabilities and dancers, choreographers, and differences between dancer and why is body and mind in the practice of ballet limitations of the human body and significant dance works expression in dance and that obligation technique? through the study of topics within the Romantic period expression in other art important to the including the muscular and are most applicable to forms? success of the overall Coordination, Epaulement and Expression skeletal systems, nutrition, current training methods? production? general wellness, and cross- How can another artists’ What are the nine body positions for ballet and training in order to develop a work inspire a How does how does this practice of epaulement enhance greater sense of self-awareness How did the ballerinas of choreographic theme? collaboration occur our dancing as a whole? in performance of movement? the embody between dancer and the characteristics and How do parameters and the choreographer in the How can the practice of epaulement within the How and why is the principle aesthetics of Romanticism? use of structure help or creation of 9 body positions help us to communicate of 'opposition' applied to ballet hinder creative choices? choreographed meaning through dance? technique? works? What are the advantages to Weight Transfer How does knowing your bones creating dances using How does your and muscles help you to established form and performance reflect Why is graceful transfer of weight a necessary become a better dancer? structure? not only your ability skill for dancers in every genre? as a dancer and but Baltimore County Public Schools Office of Music and Dance Education 3 8/10/2020 Ballet II Course at a Glance 2020-2021

also, you as a How can we apply the person? What skills are necessary in order properties of physics to Analyze the structure of a to gracefully transfer the weight? improve our ballon? variety of dance forms and distinguish among them Adagio Why is additional strength and technique required when Identify, compare, and dancing on pointe and/or in What are the most difficult aspects of contrast choreographic performing adagio movement and what skills ballet partnering? approaches within dance are necessary in order to overcome these styles and form difficulties?

How does accomplishment of these skills transfer into practice of other center exercises

(allegro, , pirouette) and performance of dance?

How can the expression of a dancer in an adagio demonstrate a range of emotions?

Turning

Why does our ability to turn successfully, fluctuate from class to class?

What can we do to stabilize our performance of tours so that they can be more consistent?

Allegro

How can we prepare our brains and body for the complex performance of petite allegro combinations?

Travelling and Ballon

How can we apply the properties of physics to improve our ballon?

Pointe Technique and Pas de Deux

Summative The student will Execute proper body placement and alignment The student will demonstrate The student will perform Apply aesthetic principles, Assessment demonstrate an understanding of content constructed phrases such as unity, variety, and understanding of the developed through the use Baltimore County Public Schools Office of Music and Dance Education 4 8/10/2020 Ballet II Course at a Glance 2020-2021

dancer expectations at Explain how the range of movement affects knowledge by completing the of Pas de Quatre as contrast to dance both the technical the intent of dance Spinal Anatomy Quiz. inspiration for movement compositions rehearsals and • Spinal Anatomy Quiz vocabulary with the performance(s) The student will respond to unit concepts and (Schoology) Romantic aesthetic. Compare and contrast through their objectives as presented and explored in class • Spinal Anatomy Quiz • Ballet II Romantic expression in dance with behaviors, through reflective journal writing. KEY (Schoology) Ballet Performance expression in other art forms preparation, and • Journal Prompt Daily Objective Rubric (Schoology) contributions at these (Schoology) The student will apply their Experience and then discuss required events. • Journal Prompt Epaulment understanding of anatomical The student will choose a the interrelationship of

(Schoology) principles to technical training significant figure, dancer, dance with other arts forms Scoring Tools: • Journal Prompt Weight Transfer through their construction of a choreographer, or writer Performance Rubric (Schoology) journal entry based on a from the Romantic era of for 2 Performances Create an interdisciplinary • prompt. ballet and will complete a (Schoology) project that combines dance The student will perform skills from the Ballet • Journal Prompt wiki post that is an extended with one or more other II Technique unit in order to demonstrate Proper Alignment reflection of the significance Performance Rubric subject area(s) understanding of line, technique, (Schoology) of student chosen topic. for 3 Performances memorization, timing, and performance • Ballet II (Schoology) Romanticism Develop a theme by qualities. combining dance with • Discuss how the well-trained Extended Student Rehearsal Performance Skills elements of other art forms Assessment (Schoology) body extends potential for Reflection and Performance Rubric (Schoology) • Performance Skills Assessment movement and the creative Rubric (Schoology) The student will use critical Rubric (Schoology) process and affects the ability The student will construct a analysis of video to perform response on Romanticism performance in order to using a journal prompt. evaluate their progress as a

• dancer and determine Ballet II Journal Prompt appropriate goals for future Romanticism improvement. (Schoology) • Ballet II Self Evaluation (Schoology) • Ballet II Peer Evaluation (Schoology) The student will respond to live dance performance through the construction of a performance critique. • Ballet II Performance Critique (Schoology)

Baltimore County Public Schools Office of Music and Dance Education 5 8/10/2020 Ballet II Course at a Glance 2020-2021

• Ballet II Performance Critique Rubric (Schoology) Culturally How are ballet companies Discuss issues concerning Discuss ways that culture is Responsive taking steps to diversify the various stereotypes related reflected through social, Curriculum next generation of ballet to dance i.e. ethnicity, ceremonial, ritual, and dancers? gender, social and economic class, age, and physical Push for Diversity in Ballet condition Describe the role of dance in Turns to Training the Next various world cultures and Generation Discuss and analyze the role ways that they relate to of dance in relation to the American dance social and political climate Project Plié: Bringing Color To of various times and places Ballet's Corps

Summative Presenting 5B Presenting 5C Presenting 5B Responding 7A, B Responding 9A Assessment Presenting 6A Presenting 6A, B Connecting 11A Connecting 11A Aligned Standards

MFA Dance MFA Dance Standards: MFA Dance Standards MFA Dance Standards: MFA Dance Standards: Standards Standards: Presenting 4A Presenting 5B Responding 8A Responding 7A, 7B Aligned to this Presenting 4A Presenting 5A, B Presenting 5C Connecting 11A, 11B, 11C Responding 8A Unit Presenting 5A, 5B, Responding 9A 5C, 5D Presenting 6A Literacy Literacy Literacy Literacy Literacy Write using a journal Analyze the structure and meaning of dances Write using a journal on Apply vocabulary, concepts Read, write and think on application of representing multiple genres, cultures and eras application of feedback or and imagery to describe critically about the ways in feedback or readings readings for personal growth movement in writing and to which dance influences and for personal growth perform movement with is influenced by other accuracy, evidence of contextual factors personal growth, and meaning P21Life and Career P21Social and Cross-Cultural Skills P21Critical Thinking and P21Critical Thinking and P21Information Skills Work effectively in diverse teams Problem Solving Problem Solving Evaluate information Manage Goals and Analyze how parts of the Analyze how parts of the critically and competently Time whole interact with each other whole interact with each ICTLiteracy to produce overall outcomes other to produce overall Apply technology outcomes effectively

Baltimore County Public Schools Office of Music and Dance Education 6 8/10/2020 Ballet III Course at a Glance 2020-2021

Unit Dimensions of the Technique History Critical Analysis Creative Profession Composition Duration 16-20 lessons embedded 60 lessons throughout the entire year 6 lessons Embedded 6-8 lessons throughout the year Technique Pilates method of • Review and reinforcement of previously learned style and Discussion, observation, conditioning skills. influence on ballet and critique of Classical • Embody combinations with increased complexity technique Ballet repertoire 6 Principles of Pilates performed quickly on both sides and reversed • Emphasis on • Concentration with minimal teacher intervention. virtuosity • Center • Ensure all extensions are secure at 90 degrees or • Advances in pointe • Fluidity higher. shoe technology for • • Breath Incorporate weight transfer to extensions at 90 sustained pointe • Control degrees work. • Precision • Perform turns in all directions from a variety of • Classical pas de preparations and grande tour with working leg in a variety of open positions landing securely to deux, partnering and both one and two feet. role of men. • Perform longer and more complex Allegro • More prominent combinations, landing securely with one foot en epaulement and l’aire, adding turns. bravura. • Perform sequential turns on plie’, flat, releve’ and en’laire with clarity and precision. • Increase emphasis on artistry and performance expression. • Develop varying dynamics to convey intention and expression. • Work with partnering and weight sharing. History Make connections Reflection on personal Create original ballet between the monarchy in development through variations using the form Russia and France and Classical repertoire. originated by Marius the excesses in Classical Petipa. Ballet productions.

Classicism – Notable Figures

• • • Enrico Ceccetti • Carlos Blasis • Auguste Vestris • Baltimore County Public Schools Office of Music and Dance Education 1 8/9/2020 Ballet III Course at a Glance 2020-2021

• Carlotta Brianza

Critical Perform choreography for Self-Assessment Observe discuss and Analysis the annual dance concert. critique classical which may include:

• Raymonda • • Sleeping Beauty • • La Bayadere •

Concert Performance Reflection Portfolio Collection of Artifacts, Upload assessment documents, videos, and photos Upload research papers, Upload papers, reflections Upload videos, artist video, photographs, assessments, projects statements documents Enduring Somatic practices provide Dance satisfies a basic human need to move The classical era of ballet Choreographers speak not Analyzing and creating Understandings cross-training which expressively and communicate with the physical body was an important time of only for themselves, but dances with a specific enhances dancer core in conjunction and coordination with the world around technical development for their generation. form or structure enables strength and body you. and a new aesthetic in dancers to work quickly awareness. The principles dance production. Artists are keen observers in creative assignments. of Pilates align with the Dance students should demonstrate physical and of the world around them A simple structure principles of dance intellectual strength, flexibility, coordination, and With advances in the who express ideas and produces a cohesive training. agility. there was a concepts which are dance. new emphasis on understood differently The professionalism of a Dance is the integration of the body with energy virtuosity of pointe through the arts. Improvisation opens the dancer is reflected in their (dynamics) in space and time. technique and mind to original ideas everyday approach to the athleticism. Personal preferences, which stem from an process of learning, Knowledge of the inner workings of the body enables popular culture, and unconscious inner creating, developing, and the dance student to make intelligent, thoughtful Discomfort is the best experiences influence our impulse in the body. It performing dance. A choices in conjunction with the abilities and way to grow the art of understanding and creates greater awareness positive spirit of limitations of the human form. dance. Choreographers appreciation of artistic of body/mind connections cooperation and who challenge work. and allows the dancers to collaboration with each It is essential for a dancer to become aware of assumptions push dance use intuition and member of a group being body/mind connections in order to apply corrections forward. imagination while a vital component to the with ease, learn efficiently and effectively in the dance moving spontaneously. success of the class class and develop into artists. enables the work to be All choreographed dances productive, enjoyable and Ballet dancers must master the vertical alignment and should be driven by successful. elongation of the spine before working off balance and intention. The intention off the vertical axis. need not be a narrative, Baltimore County Public Schools Office of Music and Dance Education 2 8/9/2020 Ballet III Course at a Glance 2020-2021

but may be an idea, a In order to achieve the highest standards in dance, a process, or an exploration student must exhibit passion, persistence, strength of of any aspect of B.E.S.T. character, self-confidence and self-discipline.

The structure of a dance class is purposely methodical beginning with warm-up activities to begin blood flow, short, small repetitive movements to engage the muscles, broader movements to stretch the muscles and then larger more complex movements when the body is fully engaged.

Self-reflection and personal evaluation are essential for dancers in order to set goals for future objectives. Essential How do somatic practices What are healthful practices and how do they Why do audiences in our What makes a How do parameters and Questions and cross-training, such influence my progress in dance? time continue to love the choreographer great? the use of structure help as Pilates, enable me to classical ballets? or hinder creative become my personal best What does body/mind awareness mean, and how does How does personal choices? in dance? it help me develop my dance skills? preference, popular culture and prior experience What are the advantages Why are the professional Why is it important to demonstrate dynamics in determine what you value to creating dances using competencies so movement? as an audience member? established form and important during the structure? process of rehearsing, Do we have to dance with music? refining and performing dance? What makes a good dancer into a great dancer?

How does structure in a dance class allow for establishing proper etiquette, healthful practice, strength building, skill building, flexibility training, body/mind connections, and building performance competencies? Summative Pilates performance Performance Skills Assessments (Major and Minor Graded Discussion on the Critical Analysis of self, Solo, small group Assessment assessment summative) development of peer, professional choreography projects. Concert Performance Assessment Classicism performances

Review a classical ballet Comparative research, production in this century discussion, debate Culturally Explain and discuss the Suggested readings and videos of dancers of color Suggestions for viewing Allow ample time and a Create or contribute to a Responsive origin of Pilates in the including: classical ballets safe space for discussion social justice piece for Curriculum health and physical Llanchie Stevenson Li Cunxin performed by diverse around diversity in ballet. ballet genre. therapy fields, its move Janet Collins Carlos Acosta companies: Baltimore County Public Schools Office of Music and Dance Education 3 8/9/2020 Ballet III Course at a Glance 2020-2021

into the dance community Paloma Herrera Fernando Bujones • National Ballet of Discuss alternative and and its rise in popularity Fumi Kaneko Cuba, “Don contemporary productions today. Raven Wilkinson Quixote” of classical ballets, Alison Stroming • National Ballet of bringing the classics into the 21st Century. China, “Swan Lake” Ballet Hispanico • Ballet X Matthew Bourne – Ballet Black remaking the classics Dance Theatre of Harlem (Swan Lake – male ensemble)

Summative Presenting 5B Presenting 5C Responding 7A, 7B Responding 9A Creating 1B Assessment Presenting 6A Presenting 6A, 6B Connecting 11A Connecting 11A Creating 3C

Aligned Standards MFA Dance Standards: MFA Dance Standards: MFA Dance Standards: MFA Dance Standards: MFA Dance Standards: Standards Presenting 4A Presenting 4A Responding 8A Responding 7A, B Creating 1B Aligned to this Presenting 5A, 5B, 5C, Presenting 5A, 5B Connecting 11A, 11B, Responding 8A Creating 2A Unit 5D 11C Responding 9A Creating 3A, 3C Presenting 6A Literacy Literacy Literacy Literacy Literacy Write using a journal on Analyze the structure and meaning of dances Apply vocabulary, Read, write and think Create a movement study, application of feedback or representing multiple genres, cultures and eras concepts and imagery to critically about the ways phrase, or composition readings for personal describe movement in in which dance influences growth writing and to perform and is influenced by other Write a reflection on movement with accuracy, contextual factors one’s own creative evidence of personal process growth, and meaning P21Life and Career P21Social and Cross-Cultural Skills P21Critical Thinking P21Information P21Collaboration Skills Work effectively in diverse teams and Problem Solving Evaluate information Demonstrate the ability to Manage Goals and Time Analyze how parts of the critically and competently work effectively with whole interact with each others other to produce overall ICTLiteracy outcomes Apply technology Creativity and effectively Innovation Use a wide range of idea creation techniques

Baltimore County Public Schools Office of Music and Dance Education 4 8/9/2020 Ballet IV Course at a Glance 2020-2021

Unit Dimensions of the Technique History Critical Analysis Creative Profession Composition Duration 16-20 lessons 60 lessons throughout the entire year 6 lessons Embedded 6-8 lessons embedded throughout the year Technique Conditioning for • Review and reinforcement of previously learned skills. Self and Peer Creating a warm-up Dancers: • Perform faster and slower more complex combinations at assessment for the class. barre and in center. • Use of imagery • Demonstration of clear performance quality added to all Creating and Relating • Use of breath combinations. - barre to center floor • Developing • Perform with increased artistry without sacrificing precision. sensory awareness • Execute all extensions securely at 90 degrees or higher • Perform with increased stamina for petit and grand allegro. • Ability to maintain turnout consistently in complex combinations. • Ability to perform combinations with beats and in reverse. • Comprehend the relationship between barre and center practice. • Ability to work on releve for all barre and center exercises. • Ability to balances en releve’ in open pose at 90 degrees + • Perform tours, adage, and allegro ending on balance and with open poses at 45-90 degrees. • Ability to perform grand pirouettes, double piques, all forms of batterie. (see skill level requirements document for details) History Perform a solo variation from the Ballet Russe repertoire. The Ballet Russe: Notable Ballets: • Serge Diaghilev and his • Petrouchka revolutionary vision for • Firebird dance. • Afternoon of a Faune Notable Figures: • The Rite of Spring • Parade • Baby ballerinas • Gaite Parisienne • Indian ballerinas • Le Tricorn • Agnes De Mille • Les Noces • Leonide Massine • The Prodigal Son • • Appollon • Michel Fokine Musagete • • • Rene Blum Baltimore County Public Schools Office of Music and Dance Education 1 8/9/2020 Ballet IV Course at a Glance 2020-2021

• Vassili De Basil

Critical Resumés for dancers Research paper on a Ballet Critical Analysis of a Analysis Russe Choreographer ballet from the Ballet Cover Letter Russe repertoire. Current Events – Report on companies performing the Ballet Russe Repertoire

Portfolio Collection of Artifacts, Upload assessment documents, videos and photos Upload research papers, Upload papers, Upload videos, artist video, photographs, assessments, projects reflections statements documents Enduring Mind-body Through ballet technique, a dancer’s overall awareness of their Serge Diaghilev was a Critiques of one’s own The creative Understandings conditioning is physical form in relation to the elements of dance (BEST) will visionary impresario of the performance and of process is the act of developing an mature. arts. He was able to draw others creative works making new awareness of the talent in all artistic fields to require critical thinking connections between natural intelligence of A student’s understanding and application of anatomical his company through a strong skills and support old ideas. Thus, we the body and finding a principles, ability to access and manipulate energy, spatial vision of the arts existing in literacy. can say that dynamic alignment and relationships, strength and control in performing advanced true collaborative production creative thinking is balance within the vocabulary and ability to quickly learn and reverse combinations of dance, music, literature the task of body through should advance. These accumulated skills, along with expressive and art. His company awareness and musicality allow the advanced technician to become an artist. redefined these arts. He was recognizing experience. fully committed to this vision relationships between Students in cooperation with a choreographer will discuss, refine, and revolutionized dance in concepts. problem-solve, analyze, and critique the work throughout the the process. Building a resume process. Professional competencies include; promptness, implies that a student preparation, reliability, cooperation, listening skills, positive will accumulate cooperate attitude, decision making, goal setting, self-awareness, educational flexibility, self-motivation, organization, and ability to set experiences, training, priorities. performance opportunities and The professionalism of a dancer is reflected in their everyday professional attributes approach to the process of learning, creating, developing and over time. performing, dance. A spirit of cooperation and collaboration with each member of the group being a vital component to the success of the class.

Self-reflection and personal evaluation are essential for dancers in order to set goals for future objectives.

Baltimore County Public Schools Office of Music and Dance Education 2 8/9/2020 Ballet IV Course at a Glance 2020-2021

Essential What does it mean to How and why does a dancer harness and manipulate energy? Why were artists drawn to the Why would it be How does learning Questions say that balance is Ballet Russes and away from helpful to research a the works of the past active? How are where Why are professional competencies so important during the their pasts? performance prior to inform and influence would you apply this process of rehearsing, refining and performing dance? attending it for the the creative ideas we concept? How would Serge Diaghilev purpose of writing a have today? What are healthful practices and how do they influence my define a successful work of critique? What does it mean to progress in dance? art? Why are professional listen to your body and Why is it more competencies so why should you learn Why is it advantageous to maintain turn-out when performing Why did the Ballet Russes productive to frame a important during the to do this? ballet? survive the death of critique in a positive process of rehearsing, Diaghilev? light? refining and What are some of the When might it be necessary for the pelvis to tilt in ballet? performing dance? habits and roadblocks which prevent us from What are the distinguishing characteristics of strong, smooth recognizing the transitions? connection between the mind and body? Where do you find the strength and control for complex tours?

How can you build a What does body/mind awareness mean and how does it help me resume which reflects develop my dance skills? all of your education, experiences and What specific connections exist between barre and center professional attributes? exercises? Summative Resume Performance Skills Assessments (Major and Minor summative) Research Paper Critical Analysis of a Combination creating Assessment Concert Performance Assessment work from the Ballet and delivery Application of Russe assessment conditioning concepts assessment Self-evaluation Relating barre and Peer-evaluation center exercises assessment.

Culturally There are many ways Discuss discrimination in the Ballet Russe company: Discuss collaborative arts Allow ample time and a Social justice piece Responsive to format a resume, productions by BIPOC artists. safe space for for ballet genre either Curriculum with a variety of Janet Collins – accepted if she wore white-face. She refused. discussion around student, teacher or templates available. Raven Wilkinson – African American Identify BIPOC arts leaders diversity in ballet. guest artist generated. Even the style of the – Native American in dance, music, visual arts, resume speaks to the and literature. Discuss alternative and personality of the contemporary student. Allow for productions of classical student choice, but ballets, bringing the stress readability, classics into the 21st neatness, and concise Century.

Baltimore County Public Schools Office of Music and Dance Education 3 8/9/2020 Ballet IV Course at a Glance 2020-2021

presentation of information. Summative Presenting 5B Presenting 5C Responding 7AB Responding 9A Creating 1B Assessment Presenting 6C Presenting 6B Connecting 11A Connecting 11A Creating 3C

Aligned Standards Standards MFA Dance MFA Dance Standards: MFA Dance Standards: MFA Dance MFA Dance Aligned to this Standards: Presenting 4A Responding 8A Standards: Standards: Unit Presenting 4A Presenting 5A, 5B, 5D Connecting 11A, 11B, 11C Responding 7A, 7B Creating 1B Presenting 5A, 5B, 5C, Responding 8A Creating 2A 5D Responding 9A Creating 3A, 3C Presenting 6A, 6C Literacy Literacy Literacy Literacy Literacy Write using a journal Analyze the structure and meaning of dances representing Apply vocabulary, concepts Read, write and think Create a movement on application of multiple genres, cultures and eras and imagery to describe critically about the study, phrase, or feedback or readings movement in writing and to ways in which dance composition for personal growth perform movement with influences and is accuracy, evidence of influenced by other Write a reflection on personal growth, and contextual factors one’s own creative meaning process P21Life and Career P21Social and Cross-Cultural Skills P21Critical Thinking and P21Information P21Collaboration Skills Work effectively in diverse teams Problem Solving Evaluate information Demonstrate the Manage Goals and Analyze how parts of the critically and ability to work Time whole interact with each competently effectively with others other to produce overall ICTLiteracy Creativity and outcomes Apply technology Innovation effectively Use a wide range of idea creation techniques

Baltimore County Public Schools Office of Music and Dance Education 4 8/9/2020