BALLET 1

SCHOLARS ACADEMY
DANCE SYLLABUS – 6TH
Dance at Scholars Academy is designed to teach the discipline of multiple art forms including but not limited to Ballet 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 barre 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 ballet technique-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 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 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
Ballet master/mistress
Balletomania
Choreographer
Choreography
Minuet
Marking
5 movements of the head1 erect
2 raised
3 lowered
4 inclined
5 turned
7 movements of dance1 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 directionsup/down-vertical/frontal/coronal
side/side-horizontal/axial, transverse
forwards/backwards-sagital/lateral
diagonal
2 levelslow
medium
high
3 sizebig
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
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
Positions with Low 3rd arms
Demi
Grand
Demi Plié -all positions
Grand Plié -all positions
Positions with High 3rd arms
Cambré -devant, de coté
Point
Flex
Battement 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
CENTER
6
(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
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
d
e
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
Ballet blanc
Corps de ballet
Entrée
Ballerina-Prima ballerina assoluta, Prima, Principal, soloist
Danseur-premier, premiere danseur étoile, noble
Danseuse-première, première danseuse étoile, travestie
Décor
Défilé
Gallop
Gavotte
Pas d.action
Tutu
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
Divertissement
Grand pas de deux-entrée, adage, variation 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
Pas de deux, 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