weekly lesson plan - angelina ballerina academy

Angelina Ballerina™ ©2012 HIT Entertainment Limited

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Week13WeeklyLessonPlanLevel2:Ages4½‐6 FocusBook:Angelina’sNewPartner(Pages78‐80) PropsNeeded:MatsSong:OneTwoThreeFourFive ClassLength:45Minutes

SectionofClass

MusicCD;Track#;Approx.Time

Props Exercise Description CountsMiscellaneousThingstoConsider

Greeting,Story&Etiquette

3minutes RollBook Greeting&Roll Gatherdancersintoacircleawayfromthedancearea.Witheveryoneseatedonthefloor,greetdancersandtakeroll.

N/A

Allow4‐5minutes

StoryBook ReadingofStoryCheckforunderstandingbyaskingquestions

Angelina’sNewPartner(pages78‐80)After reading, check for understanding bydiscussingthefollowingwiththedancers.

1. What didMs.Mimi do when shesaw A.Z. and Angelina dancingtogether?(Hereyeslitupandshepraised them for workingsplendidlytogether.)

2. What did A.Z. suggest toeveryone? (Pointed to the stageand asked if anyone wanted todancehip‐hopwithhim.)

3. What did A.Z. teach Angelina?(Howtojumphigh.)

4. What did Angelina teach A.Z.?(Howtopasdechat.)

5. What was it that Angelinapositively couldn’t wait to do?(Danceintherecitalwithhernewfriend,A.Z.)

N/A *Encourage all of the dancerstoparticipateintheQ&A.*For shy, non‐verbal youngdancers, ask yes/noquestionstoencourageinteraction.

1minute None DanceEtiquetteReview

Askdancerstotellyouthethreethingstheyneedtorememberwhiletakingclass.

1. Eyesontheteacher.2. Handstoyourself.3. Beafirsttimelistener.

N/A *Ask the dancers to alwayslisten carefully when theteacheristalking.*Remind them to always lookat their teacher when theyhearhervoice.


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*Reminddancerstokeeptheirhandstothemselves.

Warm‐Up

1matincenterofcircle

SettingupforWarm‐Up

Place one Angelina mat in the center of theroom.Gatherdancersintoacirclearoundthemat.Havedancersholdhandstoformacircleand then ask them to wiggle their fingers astheyplacethemontheirhips.Next,askthemtoplacetheirshoestogether(theirfeetwillbeinparallel).

N/A *Have the class assistantstanddirectlyacross fromtheteacher. If a child is havingdifficulty focusing orremaining in the circle, placethat dancer directly on thesideoftheclassassistant.

ClassCD;Warm‐upCircle;Track#1;3:51


TravelAroundtheCircle.

*The dancers will stand two and a time andgallopwiththeirpartnerinaforwarddirectionaround the circle. The dancers can choosewhich leg they would prefer to gallop with.Assign the partners before beginning theexercise.*Teach the skater’s hold to dancers: askdancerstofacetheirpartnerandshakehandswith their partner. While shaking hands askdancers to take their opposite hands andshakeatthesametime.Whileholdinghands,turn bodies so that their shoulders aretouching side by side. Have the dancerspracticeskater’sholdwiththeirpartners.*The teacher and her partner begin first andtheneachpairofdancershasaturntravelingaround the circle as the remaining dancersclap to the beat of themusic. Take time tofully explain the exercise before beginning sothedancersunderstandthesequence.*ListenforAngelina’swelcome*Eachdancerwill:

1. Standlikeadancer.2. Travel around the circle with

partnerperformingthegivenstep.Today the dancers will gallopforwardinskater’shold.

3. Curtsey once they arrive back in

GreetingIntroAmountoftimewillvarydependingonnumberofdancers.Oncealldancers

*Allow the dancers to choosetheir own step to representballetorhip‐hop.*Remindallseateddancerstohelp with the music bycontinuingtoclapthebeat.


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theiroriginalplaceinthecircle.4. Sitlikedancers.5. Begin to clap to the beat of the

music while everyone else gets aturn. Clap hands together andthen clap hands to top of knees.Keeprepeatingthispattern.

6. Onceeveryonehasaturn,askthedancers to tap variousbodypartsto the beat of the music. Namethebodypartssothedancerscanlearn the names of the parts oftheirbody.Addtempochangestothis portion of the exercise: Tapslowlyfor4andquicklyfor8.

haveaturnworkoncrossbodyclapping&tappingsequencesuntilendofmusic.

ClassCD;Stretching;Track#2;2:16

None CurlandStretchwithportdebras

Incorporate different port de bras during theopeningupsections.Askthedancerstofollowalongandrepeatthenamesofallportdebras.Review 1st, 2nd, 3rd, 4th, & 5th positions of thearms. Mix the port de bras positions up andsee if the dancers can recognize and namethem.Curl,Stretch,andPortdebras*Ask Dancers to curl into a small shapewiththeir legs curled with knees into chest andback rounded with arms hugging knees.Dancers try tomake their bodies into a tightball.*Gracefullyopenupcurvedtightshapeintoastretched straight shape with legs extendedforward, back sitting tall and straight, witharmsopeningupoverheadjustlikeaflower.*Whilesittingtallmovearmsthroughvariousport de bras saying the correct name of theport de bras while the dancers repeat afteryou.Leadthedancersthroughthe5positionsofthearms.*Repeatentiresequencevaryingportdebras*Repeatentire sequencebut slowly curlback

Intro4–3’s4–3’s8–3’s16–3’s16–3’s

*Move gracefully from onestretch to another. Reminddancers to take deep breathsandtoreachasfarastheycanwiththeirbodies.


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to a straight shape on back on floor and askdancers to reach and curl forward workingabdominals.*Repeat curl and stretch to floor (a littlefaster), but this time roll over to tummy andpretend to swim arms and legs as eyes lookstraighttofloorthenrollover intheoppositedirectionand swim, roll over toback and rollupreachingacrosstodanceronoppositesideofcircleusingabdominalstocurlup.

16–3’s

ClassCD;Flex&Pointe;Track#3;1:19

None Flexing&PointingAnkles/RotatingLegsInward&Outward

Sitting with legs stretched out in front withhandsrestingontopofknees.*Alternateflexing&pointingtheankles/feet.Incorporate tempo by doing 2 slow, 2 quick,and1slowflexesofankles.Repeat.*Bendoveratthehipsandreachasfardownlegsaspossible.Havedancerscountto8andthenrollup.*While sitting tall, rotate legs outward andtheninward4times.*Bendoveratthehipsandreachasfardownlegs as possible. Have dancers countbackwardsfrom8andthenrollup.*Havedancersstandoncemusicends.

Intro16cts16cts16cts16cts

*Remind dancers to sit tallwithatall,straightback.*Remind dancers to stretchtheir knees as they flex andpoint&rotatelegsinwardandoutward.*Reminddancerstokeeptheirlegs straight as they bendforward at hips to reachtowardtheirtoes.

CenterBarre

None TransitiontoCenterBarre

Dancerswill formoneor two lines facing thefrontofthestudio.Theassistantandteacherwillturnandfacethestudentstodemonstratetheexercisesandtokeepeyecontactwithallstudents. Have the dancers stand and placetheirfeettogetherparallel.

*Ask dancers to check forspacing by extending theirarms out to the side andmakingsuretheydonottouchtheirneighbors.

ClassCD;Plié;Track#5;2:29

None Demi‐PliéinParallel,1stPosition,and2ndpositionPlié=tobendDemi=halfPortdebras=

Review 2nd position of the feet with thedancers. Reviewhowtodoademi‐plié in2ndposition. Remind dancers to keep backsstraightandkneesovertoes.*Legsparallelwitharmsenbas:*2 demi‐pliés; arms gently open to demi‐seconde from en bas each time the knees

Intro4–3’s

*Focusonteachingdancerstomakecurvedshapeswiththeirarms.*Pointouttothedancershowperforming a plié changeslevel.*Reminddancerstokeeptheirknees over their toes when


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movementofthearms

bend closing back to en bas as the kneesstraighten*Portdebrasarms:1st,5th,2nd,enbas,2nd,5th,1st,enbas*Rotateopento1stpositionandrepeatall*Tenduà la secondeand lowerheel. Repeatpliéandportdebrasin2ndposition*2grandpliéswithhandsonhips*Tendu closing 1st position, rotate legsparallel, elevé (rise to demi‐pointe withstraightlegs)andbalancefor4measures.*Lowerheelsandfinishwitharmsenbasandhead slightly turned at a 45‐degree angle.Holdthispositionforacountof3.

4–3’s8–3’s8–3’s4–3’s4–3’s

performingaplié.*Reminddancerstokeeptheirbacksstraightduringexercise.

ClassCD;Tendu;Track#6;1:19

None TendufromParallel&1stpositionTendu=tostretch

Handsonhipswithlegsinparallel:*Tendu,stretchingrightfoot/legtothefront(devant)andclosingparallelforatotalof3tendus*Withlegsparallel,snapfingers,claphands,snapfingers*1tendurightleg,closeparallel*Snapfingers,claphands,snapfingers*1tendurightleg,closeparallel*Snapfingers,claphands,snapfingers*Repeatentireexerciseonleft,paralleldevant.*Quicklyrotatelegsto1stposition.*Repeatentireexercisewithtenduàlasecondeonrightandleft.*Finishfor3.

Intro6cts2cts2cts2cts2cts2cts16cts32cts

*Reminddancerstokeeptheirtummies very still whileperformingtendu.*Remind dancers to keep allten toes on the floor whenthey rotate their legs into 1stposition. Watch for dancersover‐rotating.*Remind dancers whenperforming their tendu à laseconde to keep both hipsfacing front and to keepbothlegsstraight.*Not all children will be ableto snap their fingers andcreate sound. Review withthem on how to place theirfingersandgive them time topractice. Encourage them topractice their finger snappingathome.

ClassCD;Dégagé;Track#7;1:32

None Dégagé&TombéTombé=tofall;transferweight

Handsonhipswithlegsinparallel:*Dégagérightdevant&closeparallel–2X’s*Dégagérightlegdevant;tombédevant;liftto3”offfloor;closeparallel

Intro4cts4cts

*In tombé, the weight shiftsonto the extended leg as theknee bends leaving the otherleg extended. Gently push


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*Repeataboveonleftleg*Repeatbothrightandleft*Finishfor3

8cts16cts

back onto the other leg torecover.*Reminddancerstobrushthefloorduringeachdégagé.

ClassCD;Piqué;Track#8;:28;OptionalRepeat

None Piqué Handsonhipswithlegsinparallel:*Piqué right leg/foot forward tapping floor3X’sandhold(count1anda2)*Repeatabove2moreX’s*Liftrightkneetopasséretiréandthenlowertoparalleltoclose*Repeatpatternonleftleg/foot*Repeatall*Finishfor3

Intro2cts4cts2cts8cts16cts

*Focus on quietly & sharplylifting & lowering toes fromfloorwithstraightleg.

Center *Dancersremaininlinesforcenterwork.

ClassCD;Sauté;Track#11;:33;OptionalRepeat

None SautéwithPasséRetiré

Legsparallelwithhandsonhips:*Plié,sauté(jump),plié,straightenlegs*Plié,sauté(jump),plié,straightenlegs*Passéretirérightfootbalance*Plié,sauté(jump),plié,straightenlegs*Repeat all of combination abovewith otherleg*Finishfor3


*Remind dancers to stretchtheir legs as they jump in theair.*Remind dancers to alwayslandinapliéaftertheyjump.

TravelingSteps

None Transitiontotravelingsteps

Placedancersinrow/linesononesideofroom.With theassistant leading,dancerswill travelfromonesideoftheroomtotheother.Manyexerciseswillberepeated.

N/A *Repeat the confirming ofwhichgroupeachdancer is inasinthepreviouslessons.Itisveryimportanttoworkonthisconceptso theyoungdancerslearnhowtofindtheirplaceinline as they travel from oneside of the room to the next.Ask them to look to one sideandthentheothersotheycansee which one of their dancefriends they are dancing nextto.


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ClassCD;Skips;Track#17;1:51;OptionalRepeat

None;(+ME)

StepPassé&StepPasséHop

*In the story, Angelina’s New Partner,Angelina and A.Z. had step passé and steppassé hop in their choreography. They bothhad so much fun doing the step. Let’s allpractice the same step just as Angelina andA.Z.did.*Havedancerstendurightlegdevanttowardscenterofstudiowiththeirleftarmforward.*4Steppassétravelingforward*4Steppasséhopstravelingforward*Keeprepeatingacrossstudio*Every16countsanewrowbegins*Repeat combination traveling from theoppositesideofstudio,BUTthistimeperformthemovementsbackwards.

Intro8cts8cts16ctsKeepRepeating

*Remind dancers to bringtheir foot all theway to theirkneeeachtime*Remind dancers to let eachleg have a turn. As thecombinationgetsfaster,somedancers may not alternatetheirknees.*When the dancers aremoving backwards, remindthem to look straight forwardat something and to keeptheir tummies lined up withtheir focal point. This allowsdancerstomovebackwardsinastraightline.

ClassCD;Gallop;Track#18;2:27;Repeat

None;(+ME)

GallopingSidewayswith½Turns

*WhenAngelinaissuperexcitedshelikestodoa½ turnwhilegalloping. Ibetyouwill like itjustlikeAngelina.Let’sstartwithourtummiesfacingthefrontofthestudiobutendwithourtummiesfacingthebackofthestudio.*Dancers begin facing the front of the roomwiththeirlegintenduàlasecondetowardthestudio.Handsonhips.*Dancers will gallop sideways 3X’s; On count4,stepskipturning½wayaroundendingwiththeirtummyfacingthebackoftheroom.*Gallop3X’s facing thebackof the room;Oncount4,stepskipwitha½turntofacethefrontoftheroom.*Continueacrossstudio.*Once everyone has had a turn, repeatstartingfromtheotherside.*Continuepatternacrossstudio*Repeat exercise starting from opposite sideofroom.


*3gallopsand1skipwitha½turn.*Givedancers a verbal cueoftummy to the front andtummytotheback.*Remind dancers that themagic number is 4 – that istheskipwitha½turncount.*Askdancerstocount:1,2,3,4,1,2,3,4…Emphasizecount4.Makeitaspecialnumber

CreativeMovement

None TransitiontoCreative

*Ask dancers to come to the center of thestudio.

N/A The creative movementportion of the class is


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Movement designed toallow thechild toexploremovementbasedonagiven concept. The childrencreate their own movementwithinthestructureofagivenconcept.

AngelinaSaysCreativeMovementCD;Winter;Track#5;1:57

None;(+ME)

Winter Discuss with the dancers how some places itsnows during winter. Talk about how eachand every snowflake is different. Ask thedancers to create a special shape with theirbody. Havethemlookaroundtheroomtobesuretheydonotlookliketheirclassmates.Askthedancerstokeepcreatingnewanddifferentshapes with their body as they move to thewintermusic.*Ask dancers to listen carefully as AngelinaBallerina describes the season of winter inChippingCheddar.*As Angelina describes winter, have thedancersinterpretmovementfor:

Coldwindblowingthroughthetrees Sparklingsnowflakesgentlyfalling Snowflakesarealldifferent

*Oncemusicstarts,havedancersslowlymovewhile creating beautiful shapes just likedancingsnowflakes.*Atendofmusic,havedancersfreezeintheiruniquesnowflakeshape.Goaroundroomandcomment on each shape the dancers havecreated. Thedancerscanonlyunfreezeonceyou have said something about theirsnowflake.

ListenandfollowalongwithAngelina’sdescriptionsofwinter.Danceslowlytothemusic.Eachdancerwillchoosehowtheyinterpretthemusic.

*Discuss with the dancershowitsnowsinsomepartsofthe world but not others.Everyone still has the seasonof winter but it can bedifferentdependingonwhereyoulive.*Encourage dancers to createdifferent shapes than theirclassmates or the classassistant.

Angelina’sDance

Spendapproximately5minutesworkingonlyricsandchoreography

EachweekspendtimeteachingchoreographytoaspecialAngelinaBallerinasong. Intermixgiven choreography to special words withinthe song while allowing other parts of thesongtobeusedforthedancerstocreatetheirownchoreography(freedanceatthisage).

This exercise will allow forboth teacher directed andchild directed movement.This combination is anexcellent technique to use attheendofeachdanceclass.


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Angelina’sSong&DanceCD;12345;Track#3;1:01

None;(+ME)

AngelinaChoreography

Repeat last week’s lesson: Review all lyricsand choreography for the Angelina song –12345.OneTwoThreeFourFiveStartwithfeetparallelandhandsonhipsDidyouknowthatGesture–takinghandsfromhips,circlingwristtofinishpalmsupinfrontofbodywithelbowsatwaist.CountingcanbefunSwayrightandleft,handsremainasaboveLetsbeginasongwithSwayrightandleft,handsremainasaboveNumberoneGesturenumber1withrighthandaslefthandgoestohip;continueswayingbodyThennumberstwoandthreecomeGesturenumber2and3withfingers;continueswayingbodyNextinlineandsoonyou’llseeJumpfeetopenandclosewithhandsonhipsThatthemagicQuicklymarchforward4asarmsportdebras1stto5thHasbegunContinuequicklymarching inplace4 as armsopento2ndwithpalmsup.NumberfourtoGesture number four with fingers with feettogetherparallelMoveitrightalongArms port de bras 5th to 2nd; feet togetherparallelThenextpositioninourTendudevantparallelwithonefootCountingsongTendudevantparallelwiththeotherfootAndthenthenumberfivewillFeet together and gesture number 5 with

Intro4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts

Each week the dancers willwork a few minutes on theirAngelinaDance.FocusonthedancersusingimaginativeplayastheypretendtobeAngelinaBallerinaperforminghersong.


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fingersBringyourballetshoesaliveBourrée very vigorously in place; with armsdemi‐secondePlaceseveryContinuewithbourréebutslowingabitOneforeveryBourréeturnonetimewitharms5thBalleri‐FreeDanceNajustbe‐FreeDanceForetheypointatoeFreeDanceMustknowtheirFreeDanceNumbersFreeDanceOnetoFreeDanceFiveFreeDanceAndwiththeseStand in1stposition (minimal turnout);handsonhipsFivepo‐si‐Tenduto2ndposition(minimalturnout);handsonhipstionsyou’llbeTendu seconde and close 3rd position(minimalturnout);handsonhipsReadyfortheshowTendu forward to fourth position (minimalturnout);handsonhipsAndyou’reba‐Tenduforwardandclose5thposition(minimalturnout);handsonhipslletwillRisetodemi‐pointandbourréeturn,legsturn

4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts4cts

Note: For some youngdancers it may be tooconfusing to learn the five‐foot positions at this time.Third, fourth, and fifthpositionsarecomplicatedandit is important to keep thispart of the song fun for thedancers. If you are seeingfrustration – have them freedance.


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parallel;armsportdebrasto5thCometolifeContinueturningLetscounttoLowertoparallelasarmsopen2ndGe‐therBringhandforwardandgesturewithfingers12341,2,3,4,55Stepcurtseyrightandlefttoend.

4cts4cts4cts4cts4cts

Good‐bye

Have dancers return to their circle formation

inthemiddleofthestudio. *Itisimportanttoestablisha

good‐byeritualwithyouryoungstudents.Thisportionofclasswillremainbasicallythesamethroughoutthecurriculum.

ClassCD;Révérence;Track#22;1:19

None;(+ME)

Curtsey/Révérence Feetin1stwitharmsenbas*Portdebraswithrightarm–1st,5th,2nd&enbas*Repeatwithleftarm*Repeat with both arms turning head rightandthenleft*Bourréeturnrightwitharms5thto2nd

*CoupéandBourréeturnleftwitharms5thto2nd*Steptorightandbringleftbackandcurtsey*Step left and bring right foot back andcurtsey*Finishfor3&listenforAngelina’sfarewell

Intro4cts4cts8cts4cts4cts4cts4cts

*Dancers say thank you andgood‐bye to their teacherswithacurtsey.*Teacherscurtseyalongtosaygood‐bye and thank thedancersforworkinghard.

2‐3Minutes Stickers Stickers&Handouts

*Linethedancersupatthedoor.*Remindeveryonetopracticeathome.*Giveoutanyhandoutsyoumayhavetogivethem.*Go down the line and call each dancer by

*A duty of the assistant is tostaywithanychildthathasn’tbeen promptly picked up.Advise the assistant to beready to distract and comfort


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nameandthankthemforworkingsohardandfor being such a good listener. Place anAngelinaBallerinastickeronthehandofeachdancerasyouspeaktothemindividually.*Open the studio door and see that thechildrengettotheircaregiver.

a child in this situation. Formanyyoungchildren,theyareeasily upset if they don’t seeMommy/Daddy or thecaregiverrightaway.

Teacher’sNotes:


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Week14WeeklyLessonPlanLevel2:Ages4½‐6 FocusBook:TheNutcrackerSweet(Pages83‐91) PropsNeeded:Mats&ScarvesSong:It’sHolidayTime ClassLength:45minutes

SectionofClass





N/A

Allow4‐5minutes


TheNutcrackerSweet(pages83‐91)After reading, check for understanding bydiscussingthefollowingwiththedancers.

1. What is Angelina’s favorite Ballet?(TheNutcracker)

2. What was Angelina’s part in theholidayshowcase?(SugarPlumFairy)

3. What was Mrs. Mouseling going tobake with Angelina and her friends?(GingerbreadHouseandcookies)

4. WhatdidMrs.ThimblegiveAngelinaandherfriend?(Candycanes)

5. What did Marco know about candycanes? (The largest candy cane isover58feet.)

N/A *Encourage all of the dancerstoparticipateintheQ&A.*For shy, non‐verbal youngdancers, ask yes/no questionstoencourageinteraction.




N/A *Ask the dancers to alwayslisten carefully when theteacheristalking.*Remind them to always lookattheirteacherwhentheyhearhervoice.*Reminddancers tokeep theirhandstothemselves.


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Warm‐Up



Place one Angelinamat in the center of theroom. Gather dancers into a circle aroundthemat.Havedancersholdhandstoformacircle and then ask them to wiggle theirfingers as they place them on their hips.Next,askthemtoplacetheirshoestogether(theirfeetwillbeinparallel).

N/A *Have theclassassistantstanddirectly across from theteacher. If a child is havingdifficulty focusingor remainingin the circle, place that dancerdirectlyonthesideoftheclassassistant.



TravelAroundtheCircle

*The dancers will stand two at a time andpretend to skate with their partner in aforward direction around the circle. Assignthe partners (every two dancers seated nextto one another) before beginning theexercise.*Teach the skater’s hold to dancers: askdancerstofacetheirpartnerandshakehandswith their partner. While shakinghandsaskdancers to take their opposite hands andshake at the same time. While holdinghands,turnbodiessothattheirshouldersaretouching side by side. Have the dancerspracticeskater’sholdwiththeirpartners.*Theteacherandherpartnerbeginfirstandtheneachpairofdancershasaturntravelingaround the circle as the remaining dancersclap to thebeat of themusic. Take time tofullyexplaintheexercisebeforebeginningsothedancersunderstandthesequence.*ListenforAngelina’swelcome*Eachdancerwill:

1. Standlikeadancer.2. Travelaroundthecirclewithpartner

performingthegivenstep.Todaythedancers will skate in a forwarddirectioninskater’shold.

3. Curtseyoncetheyarrivebackintheiroriginalplaceinthecircle.

4. Sitlikedancers.5. Begintoclaptothebeatofthemusic

GreetingIntroAmountoftimewillvarydependingonnumberofdancers.Oncealldancershaveaturnworkon

*Remind all seated dancers tohelp with the music bycontinuingtoclapthebeat.*Thepurposeof pretending tobe skating is to have thedancers work on sliding onefoot forward and pushing offthe back foot and stretchingthrough their toes beforeslidingthatfootforward.*Continue tohave thedancershold their partner’s hands in askater’shold.*CreatethepretendplaysceneofAngelina andher friendVikiskating around the big roundpondtogether.


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whileeveryoneelsegetsaturn.Claphands together and then clap handsto topofknees. Keeprepeating thispattern.

6. Once everyone has a turn, ask thedancers to tap variousbodyparts tothe beat of the music. Name thebody parts so the dancers can learnthenamesofthepartsoftheirbody.Addtempochangestothisportionofthe exercise: Tap slowly for 4 andquicklyfor8.

crossbodyclapping&tappingsequencesuntilendofmusic.



Incorporatedifferentportdebrasduring theopening up sections. Ask the dancers tofollowalongandrepeatthenamesofallportde bras. Review 1st, 2nd, 3rd, 4th, & 5thpositions of the arms. Mix the port de braspositions up and see if the dancers canrecognizeandnamethem.Curl,Stretch,andPortdebras*AskDancers tocurl intoa small shapewiththeir legs curled with knees into chest andback rounded with arms hugging knees.Dancerstrytomaketheirbodies intoatightball.Seenotetoright.*Gracefullyopenupcurvedtightshapeintoastretched straight shape with legs extendedforward, back sitting tall and straight, witharmsopeningupoverheadjustlikeaflower.*Whilesittingtallmovearmsthroughvariousport de bras saying the correct nameof theport de bras while the dancers repeat afteryou. Lead the dancers through the 5positionsofthearms.*Repeatentiresequencevaryingportdebras*Repeatentiresequencebutslowlycurlbacktoa straight shapeonbackon floorandaskdancers to reach and curl forward workingabdominals.

Intro4–3’s4–3’s8–3’s16–3’s16–3’s

*Move gracefully from onestretch to another. Reminddancers to take deep breathsandtoreachasfarastheycanwiththeirbodies.*Ask the dancers to take theirfeet off the floor in the curlportion of the exercise. Thiswill engage their abdominalsmore as they explore theirbalance with only theirbottomstouchingthefloor.


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*Repeat curl and stretch to floor (a littlefaster),but this timerollover totummyandpretend to swimarms and legs as eyes lookstraighttofloorthenrolloverintheoppositedirectionandswim,rollovertobackandrollupreachingacrosstodanceronoppositesideofcircleusingabdominalstocurlup.

16–3’s



Sitting with legs stretched out in front withhandsrestingontopofknees.*Alternateflexing&pointingtheankles/feet.Incorporate tempobydoing2 slow,2quick,and1slowflexesofankles.Repeat.*Bendoveratthehipsandreachasfardownlegsaspossible.Havedancerscountto8andthenrollup.*While sitting tall, rotate legs outward andtheninward4times.*Bendoveratthehipsandreachasfardownlegs as possible. Have dancers countbackwardsfrom8andthenrollup.*Havedancersstandoncemusicends.


*Reminddancerstosittallwithatall,straightback.*Remind dancers to stretchtheir knees as they flex andpoint& rotate legs inwardandoutward.*Reminddancers tokeep theirlegs straight as they bendforward at hips to reachtowardtheirtoes.

CenterBarre


Dancerswillformoneortwolinesfacingthefrontofthestudio.Theassistantandteacherwill turn and face the students todemonstrate the exercises and to keep eyecontact with all students. Have the dancersstandandplacetheirfeettogetherparallel.

*Ask dancers to check forspacingbyextendingtheirarmsouttothesideandmakingsurethey do not touch theirneighbors.


None Demi‐PliéinParallel,1stPosition,and2ndpositionPlié=tobendDemi=halfPortdebras=movementofthearms

Review 2nd position of the feet with thedancers.Reviewhowtodoademi‐pliéin2ndposition. Remind dancers to keep backsstraightandkneesovertoes. Onceyouhavereviewedademipliéin2ndposition,introducea grand plié in 2nd position. See notes toright.*Legsparallelwitharmsenbas:*2 demi‐pliés; arms gently open to demi‐seconde from en bas each time the knees

Intro4–3’s

*Focus on teaching dancers tomake curved shapeswith theirarms.*Point out to thedancers howperformingapliéchangeslevel.* Teach the dancers that theirbottoms will never go belowtheir knees in a grand plié.Havethedancerspretendtheyareinaverynarrowroomwithwalls that have just been


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bend closing back to en bas as the kneesstraighten*Port de bras arms: 1st, 5th, 2nd, en bas, 2nd,5th,1st,enbas*Rotateopento1stpositionandrepeatall*Tenduàlasecondeandlowerheel.Repeatpliéandportdebrasin2ndposition*Placehandsonhipsandbegin2grandpliésin2ndposition.*Tendu closing 1st position, rotate legsparallel, elevé (rise to demi‐pointe withstraightlegs)andbalancefor4measures.*Lowerheelsandfinishwitharmsenbasandhead slightly turned at a 45‐degree angle.Holdthispositionforacountof3.

4–3’s8–3’s8–3’s4–3’s4–3’s

painted. One wall is 3” fromtheirnoseandtheotherwallis3”fromtheirbackside.Astheygrand plié, remind them thatthey must remain free fromwetpaint.*Reminddancers tokeep theirknees over their toes whenperformingaplié.*Reminddancers tokeep theirbacksstraightduringexercise.





*Reminddancers tokeep theirtummies very still whileperformingtendu.*Remind dancers to keep alltentoesonthefloorwhentheyrotate their legs into 1stposition. Watch for dancersover‐rotating.*Remind dancers whenperforming their tendu à laseconde to keep both hipsfacing front and to keep bothlegsstraight.*Notallchildrenwillbeabletosnap their fingers and createsound. Review with them onhow to place their fingers andgive them time to practice.Encourage them to practicetheirfingersnappingathome.


None Dégagé&TombéTombé=tofall;transferweight

Handsonhipswithlegsinparallel:*Dégagérightdevant&closeparallel–2X’s*Dégagérightlegdevant;tombédevant;liftto3”offfloor;closeparallel

Intro4cts4cts

*In tombé, the weight shiftsonto the extended leg as theknee bends leaving the otherleg extended. Gently push


196

*Repeataboveonleftleg*Repeatbothrightandleft*Finishfor3

8cts16cts

back onto the other leg torecover.*Remind dancers to brush thefloorduringeachdégagé.


None Piqué Armsenbaswithlegsinparallel–portdebras1stand3rd(leavingleftarmdevantwhileopeningrightarmto2nd)*Piqué right leg/foot forward tapping floor3X’s(count1and2)–armsin3rd*Repeat above 2more X’s – arms remain in3rd*Lift right knee to passé retiré (as left armslifts to overhead) and then lower to paralleltoclose(asleftarmsopensto2nd)*Repeat pattern on left leg/foot withoppositearm(tobeginpiquékeepleftarmin2nd and bring right arm devant into 3rdposition)*Repeatall*Finishfor3


*Focus on quietly & sharplylifting & lowering toes fromfloorwithstraightleg.*If arms confuse the youngdancers, simplify them byhaving both rounded forwardin 1st position for piques thenopen to 2nd position for passéretire.



None

SautéwithPasséRetiré

Legsparallelwithhandsonhips:*Plié,sauté(jump),plié,straightenlegs*Plié,sauté(jump),plié,straightenlegs*Plié,Passéretirérightfootbalancewithleftlegverystraightasarmsportdebras–1stto2ndandbacktohipsasfootlowerstoparallel*Repeatallofcombinationabovewithotherleg*Finishfor3


*Remind dancers to stretchtheir legs as they jump in theair.*Remind dancers to alwayslandinapliéaftertheyjump.*Asking dancers to balancerightafterjumpingreallyworkstheirbalance.Remindthemtokeeptheirsidesoftheirbodiesniceandstraight.

TravelingSteps


Place dancers in row/lines on one side ofroom.Withtheassistantleading,dancerswilltravelfromonesideoftheroomtotheother.Manyexerciseswillberepeated.

N/A *Repeat the confirming ofwhich group each dancer is inas in theprevious lessons. It isvery important toworkon thisconcept so the young dancers


197

learnhowtofindtheirplaceinline as they travel from oneside of the room to the next.Ask them to look to one sideandthentheothersotheycansee which one of their dancefriends they are dancing nextto.

ClassCD;Bourrée:Track#16;1:21OrOptionaltoPlay:TheSugarPlumFairyVariationfromtheballet,TheNutcracker(thismusicisnotincludedwithcurriculum)

None;(+ME)

Bourrée Angelinawas very excited to be dancing thepart of The Sugar Plum Fairy in CamembertAcademy’sHolidayShowcase.Ms.MimiwasveryexcitedtoseehowAngelinacoulddanceso light and airy as she listened to the lightandairymusic. Let’salldance lightandairyjustasAngelinadidinrehearsalaswematchourmovementstothebeautifulmusic.*Feet together parallel with arms in demi‐seconde.*Risetodemi‐pointe,bourréeforwardastheright arm floats up to allongé high (left armremainsstill)*Bourréeturnright(towardliftedarm)*Plié as the right arm lowers to demi‐seconde.*Bring right leg passé retiré (options: keeparmsdemisecondeorportdebrasto1st,5th,2nd).Closeparallelonct8.*Repeatwith left armmoving and right armremaining still; bourrée turn to left; pliéparallel;balancewithleftlegpasséretiré*Keep repeating exercise traveling acrossstudio

Intro4cts3cts1ct8cts8ctsKeepRepeating

*Remind dancers to take tinylittle steps high on their demipointesastheybourrée.*Remind dancers to be lightandairyastheyfloatacrossthefloor.*Give the dancers specificdirectionsfortheirturnsuchas“turnlefttowardthemirror”or“turn right toward thestereo.”Do not just say turn right orturnleft.*Remind dancers they will beturning toward their liftedarmand their arm will go first ineachturn.

ClassCD:PasdeChat;Track#13;:35;RepeatedOrOptionaltoPlay:

None(+ME)

Pasdechat&GallopsPasdechat=stepofthecat

*One of Angelina’s favorite steps is pas dechat. Just as she performed themwith A.Z.lastweek,shealso lovedperformingtheminTheNutcrackerHolidayShowcase.BesuretomakeyourpasdechatslightandairyjustlikeAngelina*Legsparallelwithhandsonhips.

Intro

*The dancers in class willreview from last week themovement quality of a pas dechat. Legs will remain inparallel; lift right leg to passéand pretend to jump over asmall fence, landing on the


198

TheSugarPlumFairyVariationfromtheballet,TheNutcracker(thismusicisnotincludedwithcurriculum)

*4slowpasdechatwithlegsparallel.*Gallop forward the rest of the way acrossthestudio.*Nextgroupstarts.*Repeat traveling across the floor in theopposite direction. Remind dancers to usetheir other leg for the pas de chats andgallops.

8cts8cts16cts

rightfootastheleftfootcomestopassé,closelefttoparallel.*Remind dancers to land assoftlyasacat.


None;(+ME)

StepPassé&StepPasséHop(Inadirectionalpattern)

*In the story, Nutcracker Sweet, Angelina,MarcoandA.Z.wereveryexcitedaboutgoingto Angelina’s house to bake sweets afterrehearsal.Theyalldecidedtodancetheirwayto Mrs. Thimble’s store to get their bakingsupplies. Let’sallpracticethesamestepthethreemouselings did as they traveled to thestore.*Have dancers tendu right leg devanttowards center of studiowith their left armforward.*4Steppassétravelingforward*4Steppassé‐hopstravelingforward*4Steppassétravelingbackward*4Steppassé‐hopstravelingbackward*Keeprepeatingacrossstudio*Every32countsanewrowbegins*Repeat combination traveling from theoppositesideofstudio

Intro8cts8cts8cts8ctsKeepRepeating

*Reminddancerstobringtheirfoot all the way to their kneeeachtime.*Remind dancers to let eachleg have a turn. As thecombination gets faster, somedancersmaynotalternatetheirknees.*Whenthedancersaremovingbackwards, remind them tolook straight forward atsomething and to keep theirtummies lined up with theirfocalpoint.Thisallowsdancersto move backwards in astraightline.*Dancers will naturally takebigger steps forward thanbackward so they willeventually be able to make itacrossthedancespace.*Remind dancers to keep thepassé‐hop as two separatemovements and NOT to try tomakeitaskipyet.

CreativeMovement

None TransitiontoCreativeMovement


N/A Thecreativemovementportionoftheclassisdesignedtoallowthechild toexploremovementbasedonagivenconcept. Thechildren create their own


199

movementwithinthestructureofagivenconcept.


1scarfpertwodancers;(+ME)

Winter *Thedancerswillrepeattheirwinterexercisefrom lastweek;however, thisweek theywillrepeat the exercise with a partner. Discusswith the dancers how snowflakes can sticktogether but they are still each individuallyunique in their shape. Ask the dancers toremain connecting to their partner with thescarf and to dance as individual snowflakesconnected.Discusswiththedancershow insomeplacesitsnowsduringwinter.Talkabouthoweachand every snowflake is different. Ask thedancers to create a special shape with theirbody.Havethemlookaroundtheroomtobesure they do not look like their classmates.Ask the dancers to keep creating new anddifferentshapeswiththeirbodyastheymovetothewintermusic.*Ask dancers to listen carefully as AngelinaBallerina describes the season of winter inChippingCheddar.*As Angelina describes winter, have thedancersinterpretmovementfor:

Coldwindblowingthroughthetrees Sparklingsnowflakesgentlyfalling Snowflakesarealldifferent

*Once music starts, have dancers slowlymovewhilecreatingbeautifulshapesjustlikedancingsnowflakes.*Atendofmusic,havedancersfreezeintheirunique snowflake shape. Go around roomand comment on each shape the dancershavecreated.Thedancerscanonlyunfreezeonce you have said something about theirsnowflake.


*Discusswiththedancershowit snows in some parts of theworldbutnotothers.Everyonestill has the season of winterbut it can be differentdependingonwhereyoulive.*Encourage dancers to createdifferent shapes than theirclassmates or the classassistant.


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Angelina’sDance


Each week spend time teachingchoreography to a special Angelina Ballerinasong.Intermixgivenchoreographytospecialwords within the song while allowing otherpartsof thesong tobeused for thedancerstocreatetheirownchoreography(freedanceatthisage).

Thisexercisewillallowforbothteacher directed and childdirected movement. Thiscombination is an excellenttechnique touseat theendofeachdanceclass.

Angelina’sSong&DanceCD;It’sHolidayTime;Track#4;:45

None;(+ME)


Teach lyrics first and then choreography fortheAngelinasong–It’sHolidayTimeIt’sHolidayTime

Beginwithfeetparallel;armsdemi‐secondeBourréeforwardBourréeturningDemiPliéparallel;placehandsonhips

It’shere;it’shere,2parallelsauté;handsonhips

thismagictimeofyear1echappésauté;handsonhips

WhenthecandlesburnsobrightFeetparallel;Portdebras:1st,5th,2nd,enbas

Surprise,surprise,Pantomime “surprise” by bringing openhandswithpalmsforwardnearshoulders;doone slightly looking right and the otherslightlylookingleftjustopenupyoureyesPantomime“openupyoureyes”bybringinghands near eyes and performmovement ofhandsashugeeyelashesopeningup

SeecandycanesallredandwhitePantomime “candy cane” by taking palmstogether in front of chest and reachingwitharmstogetheroverheadandthenbendingto

Intro–8cts

2cts

2cts

4cts

2cts2cts

4cts

Each week the dancers willwork a few minutes on theirAngelina Dance. Focus on thedancers using imaginative playastheypretendtobeAngelinaBallerinaperforminghersong.


201

onesidemakingtheshapeofacandycane.

Good‐bye

Havedancersreturntotheircircleformation




None;(+ME)

Curtsey/Révérence Feetin1stwitharmsenbas*Port debraswith right arm–1st, 5th, 2nd&enbas*Repeatwithleftarm*Repeat with both arms turning head rightandthenleft*Bourréeturnrightwitharms5thto2nd

*CoupéandBourréeturnleftwitharms5thto2nd*Steptorightandbringleftbackandcurtsey*Step left and bring right foot back andcurtsey*Finishfor3&listenforAngelina’sfarewell


*Dancers say thank you andgood‐byetotheirteacherswithacurtsey.*Teachers curtsey along to saygood‐bye and thank thedancersforworkinghard.


*Linethedancersupatthedoor.*Remindeveryonetopracticeathome.*Giveoutanyhandoutsyoumayhavetogivethem.*Go down the line and call each dancer byname and thank them for working so hardand for being such a good listener. Place anAngelinaBallerinastickeronthehandofeachdancerasyouspeaktothemindividually.*Open the studio door and see that thechildrengettotheircaregiver.

*A duty of the assistant is tostay with any child that hasn’tbeen promptly picked up.Advisetheassistanttobereadyto distract and comfort a childin this situation. For manyyoung children, they are easilyupset if they don’t seeMommy/Daddy or thecaregiverrightaway.


202

Teacher’sNotes:


203

Week15 WeeklyLessonPlanLevel2:Ages4½‐6 FocusBook:TheNutcrackerSweet(Pages92‐99) PropsNeeded:Mats&ScarvesSong:It’sHolidayTime ClassLength:45minutes

SectionofClass





N/A

Allow4‐5minutes


NutcrackerSweet(pages92‐99)After reading, check for understanding bydiscussingthefollowingwiththedancers.

1. WhatdidAngelina&Marcodowhilebaking cookies? (Eat a lot ofcookies.)

2. What did A. Z. eat while bakingcookies?(Anapple).

3. How did Angelina & Marco feelbefore their holiday showcase?(Theyfeltsicktotheirtummies.)

4. WhatinstrumentdidMarcoplayforthe holiday showcase? (A Celeste –looks like a piano but sounds likebells.)





N/A *Ask the dancers to alwayslisten carefully when theteacheristalking.*Remind them to always lookattheirteacherwhentheyhearhervoice.*Reminddancers tokeep theirhandstothemselves.


204

Warm‐Up



PlaceoneAngelinamat inthecenteroftheroom. Gather dancers into a circle aroundthemat.Havedancersholdhandstoformacircle and then ask them to wiggle theirfingers as they place them on their hips.Next,askthemtoplacetheirshoestogether(theirfeetwillbeinparallel).





*AsAngelinarehearsedherSugarPlumFairydance her teacher reminded her to be lightand airy. Angelinawas not feeling so lightand airy and her tummywas feeling funny.Have the dancers stand two at a time andhaveoneofthempretendtodancelightandairywhiletheotherpretendstobeAngelinaunable to dance light and airy due to howshefeltandcanonlydanceveryheavily.Atthe half way around the circle ask thepartnertoswitchtheirroles.*Theteacherandherpartnerbeginfirstandthen each pair of dancers take a turntravelingaroundthecircleas theremainingdancersclaptothebeatofthemusic.Taketime to fully explain the exercise beforebeginning so the dancers understand thesequence.*ListenforAngelina’swelcome*Eachdancerwill:

1. Standlikeadancer.2. Travelaroundthecirclewithpartner

performing the given step. Todaythe dancers will take turns dancinglight and airy while their partnerdancesveryheavily. Switchrolesatthe half way point. Curtsey oncethey arrive back in their originalplaceinthecircle.

3. Sitlikedancers.4. Begin to clap to the beat of the

GreetingIntroAmountoftimewillvarydependingonnumberofdancers.Oncealldancers

*Remind all seated dancers tohelp with the music bycontinuingtoclapthebeat.*Thepurposeof pretending tobe skating is to have thedancers work on sliding onefoot forward and pushing offthe back foot and stretchingthrough their toes beforeslidingthatfootforward.*Continue tohave thedancershold their partner’s hands in askater’shold.*CreatethepretendplaysceneofAngelina andher friendVikiskating around the big roundpondtogether.


205

music while everyone else gets aturn. Claphandstogetherandthenclap hands to top of knees. Keeprepeatingthispattern.

5. Once everyone has a turn, ask thedancerstotapvariousbodypartstothe beat of the music. Name thebodypartssothedancerscan learnthenamesofthepartsoftheirbody.Add tempo changes to this portionoftheexercise:Tapslowlyfor4andquicklyfor8.

haveaturnworkoncrossbodyclapping&tappingsequencesuntilendofmusic.



Incorporatedifferentportdebrasduringtheopening up sections. Ask the dancers tofollow along and repeat the names of allport de bras. Review 1st, 2nd, 3rd, 4th, & 5thpositions of the arms.Mix the port de braspositions up and see if the dancers canrecognizeandnamethem.Curl,Stretch,andPortdebras*AskDancerstocurlintoasmallshapewiththeir legs curled with knees into chest andback rounded with arms hugging knees.Dancerstrytomaketheirbodiesintoatightball.Seenotetoright.*Gracefullyopenupcurvedtightshapeintoa stretched straight shape with legsextended forward, back sitting tall andstraight,witharmsopeningupoverheadjustlikeaflower.*While sitting tall move arms throughvariousportdebrassayingthecorrectnameoftheportdebraswhilethedancersrepeatafter you. Lead the dancers through the 5positionsofthearms.*Repeat entire sequence varying port debras*Havedancersbalanceon their bottomsastheylifttheirlegsandfeetfromthefloorat

Intro4–3’s4–3’s8–3’s16–3’s8–3’s



206

the same time as their arms float up. Thedancers will gently sway their limbs as ifthey are a flower in thewind or perhaps apieceofseaweedfloatingintheocean.*Roll to floor and roll over to tummy andpretendtoswimarmsandlegsaseyeslookstraight to floor then roll over in theopposite direction and swim, roll over toback and roll up reaching across to danceron opposite side of circle using abdominalstocurlup.*Repeatswayingandtummyswimming

8–3’s16–3’s



Sittingwith legs stretchedout in frontwithhands restingon topof knees. Createnewpatterns and combinations of themovements*Alternate flexing & pointing theankles/feet.Incorporatetempovariations.*Bend over at the hips and reach as fardown legsaspossible. Havedancers countto8andthenrollup.*While sitting tall, rotate legs outward andtheninward4times.*Bend over at the hips and reach as fardown legsaspossible. Havedancers countbackwardsfrom8andthenrollup.*Havedancersstandoncemusicends.



CenterBarre


Dancerswillformoneortwolinesfacingthefront of the studio. The assistant andteacher will turn and face the students todemonstrate the exercises and to keep eyecontactwith all students.Have thedancersstandandplacetheirfeettogetherparallel.



None Demi‐PliéinParallel,1stPosition,and2ndposition

Review 2nd position of the feet with thedancers.Reviewhowtodoademi‐pliéin2ndposition. Remind dancers to keep backsstraightandkneesovertoes.Onceyouhave

*Focus on teaching dancers tomake curved shapeswith theirarms.*Point out to thedancers how


207

Plié=tobendDemi=halfPortdebras=movementofthearms

reviewed a demi plié in 2nd position,introduce a grand plié in 2nd position. Seenotestoright.*Legsparallelwitharmsenbas:*2 demi‐pliés; arms gently open to demi‐seconde from en bas each time the kneesbend closing back to en bas as the kneesstraighten*Portdebrasarms:1st,5th,2nd,enbas,2nd,5th,1st,enbas*Rotateopento1stpositionandrepeatall*Tenduàlasecondeandlowerheel.Repeatpliéandportdebrasin2ndposition*Placehandsonhipsandbegin3grandpliésin2ndposition.*Tendu closing 1st position, rotate legsparallel, elevé (rise to demi‐pointe withstraightlegs)andbalancefor4measures.*Lower heels and finish with arms en basand head slightly turned at a 45‐degreeangle.Holdthispositionforacountof3.

Intro4–3’s4–3’s8–3’s8–3’s4–3’s4–3’s

performingapliéchangeslevel.* Teach the dancers that theirbottoms will never go belowtheir knees in a grand plié.Havethedancerspretendtheyareinaverynarrowroomwithwalls that have just beenpainted. One wall is 3” fromtheirnoseandtheotherwallis3” from their back side. Asthey grand plié, remind themthat they must remain freefromwetpaint.*Reminddancers tokeep theirknees over their toes whenperformingaplié.*Reminddancers tokeep theirbacksstraightduringexercise.





*Reminddancers tokeep theirtummies very still whileperformingtendu.*Remind dancers to keep alltentoesonthefloorwhentheyrotate their legs into 1stposition. Watch for dancersover‐rotating.*Remind dancers whenperforming their tendu à laseconde to keep both hipsfacing front and to keep bothlegsstraight.*Notallchildrenwillbeabletosnap their fingers and createsound. Review with them onhow to place their fingers and


208

give them time to practice.Encourage them to practicetheirfingersnappingathome.


None Dégagé

Handsonhipswithlegsinparallel:*Dégagérightdevant&closeparallel–2X’s*Dégagérightlegdevant;rotatelegoutward;rotatelegparallel;closeparallel*Repeataboveonleftleg*Repeatbothrightandleft*Finishfor3


*Discusswith thedancershowthe legbone rotates in thehipand the hip remains still. Askthe dancers to keep theirleotards very still as their legmoves.*Remind dancers to brush thefloorduringeachdégagé.


None Piqué Armsenbaswithlegsinparallel–portdebras1stand3rd(leavingleftarmdevantwhileopeningrightarmto2nd)*Piqué right leg/foot forward tapping floor3X’s(count1and2)–armsin3rd*Repeatabove2moreX’s–armsremainin3rd*Lift rightknee topassé retiré (as leftarmsliftstooverhead)andthenlowertoparalleltoclose(asleftarmsopensto2nd)*Repeat pattern on left leg/foot withoppositearm (tobeginpiquékeep left armin 2nd and bring right arm devant into 3rdposition)*Repeatall*Finishfor3





None SautéwithPasséRetiré

Legsparallelwithhandsonhips:*Plié,sauté(jump),plié,straightenlegs*Plié,sauté(jump),plié,straightenlegs*Plié, Passé retiré right foot balance withleft legverystraightasarmsportdebras–1st to2ndandbacktohipsas foot lowerstoparallel*Repeatallofcombinationabovewithotherleg


*Remind dancers to stretchtheir legs as they jump in theair.*Remind dancers to alwayslandinapliéaftertheyjump.*Asking dancers to balancerightafterjumpingreallyworkstheirbalance.Remindthemtokeeptheirsidesoftheirbodies


209

*Finishfor3 niceandstraight.

TravelingSteps


Place dancers in row/lines on one side ofroom. With the assistant leading, dancerswill travel fromonesideof the roomto theother.Manyexerciseswillberepeated.

N/A *Repeat the confirming ofwhich group each dancer is inas in theprevious lessons. It isvery important toworkon thisconcept so the young dancerslearnhowtofindtheirplaceinline as they travel from oneside of the room to the next.Ask them to look to one sideandthentheothersotheycansee which one of their dancefriends they are dancing nextto.


None;(+ME)

Bourrée AngelinawasveryexcitedtobedancingthepartofTheSugarPlumFairy inCamembertAcademy’s Holiday Showcase. Ms. Mimiwasveryexcited to seehowAngelina coulddancesolightandairyasshelistenedtothelightandairymusic.Let’salldancelightandairy just as Angelina did in rehearsal aswematch our movements to the beautifulmusic.*Feet together parallel with arms in demi‐seconde.*Rise to demi‐pointe, bourrée forward asthe right arm floats up to allongéhigh (leftarmremainsstill)*Bourréeturnright(towardliftedarm)*Plié as the right arm lowers to demi‐seconde.*Repeatwithleftarmmovingandrightarmremaining still; bourrée turn to left; pliéparallel*Keep repeating exercise traveling acrossstudio

Intro4cts3cts1ct8ctsKeepRepeating

*Remind dancers to take tinylittle steps high on their demipointesastheybourrée.*Remind dancers to be lightandairyastheyfloatacrossthefloor.*Give the dancers specificdirectionsfortheirturnsuchas“turnlefttowardthemirror”or“turn right toward thestereo.”Do not just say turn right orturnleft.*Remind dancers they will beturning toward their liftedarmand their arm will go first ineachturn.


210

ClassCD:PasdeChat;Track#13;:35;RepeatedOrOptionaltoPlay:TheSugarPlumFairyVariationfromtheballet,TheNutcracker(thismusicisnotincludedwithcurriculum)

None(+ME)


*One ofAngelina’s favorite steps is pas dechat. Justas sheperformed themwithA.Z.lastweek,shealsolovedperformingtheminTheNutcrackerHolidayShowcase.Besuretomake your pas de chats light and airy justlikeAngelina*Legsparallelwithhandsonhips.*4slowpasdechatwithlegsparallel.*Gallop forward the rest of theway acrossthestudio.*Nextgroupstarts.*Repeat traveling across the floor in theopposite direction. Remind dancers to usetheir other leg for the pas de chats andgallops.

Intro8cts8cts16cts

*The dancers in class willreview from last week themovement quality of a pas dechat. Legs will remain inparallel; lift right leg to passéand pretend to jump over asmall fence, landing on therightfootastheleftfootcomestopassé,closelefttoparallel.*Remind dancers to land assoftlyasacat.


None;Optional–2scarvespergroup(+ME)

Step Passé & StepPassé Hop (In adirectionalpattern)

*In the story, Nutcracker Sweet, Angelina,Marco and A.Z. were very excited aboutgoing to Angelina’s house to bake sweetsafter rehearsal. They all decided to dancetheirwaytoMrs.Thimble’sstoretogettheirbaking supplies. Let’s all practice the samestep the three mouselings did as theytraveledtothestore.**Foravariation,have thedancersdividedinto groups of three representing Angelina,Marco and A.Z. Have them hold handsORhold each end of a scarf between them asthey remain lined up shoulder to shoulderperformingthestepscrossingthefloor.*Have dancers tendu right leg devanttowardscenterofstudiowiththeir leftarmforward.*4Steppassétravelingforward*4Steppassé‐hopstravelingforward*4Steppassétravelingbackward

Intro8cts8cts8cts

*Reminddancerstobringtheirfoot all the way to their kneeeachtime*Remind dancers to let eachleg have a turn. As thecombination gets faster, somedancersmaynotalternatetheirknees.*Whenthedancersaremovingbackwards, remind them tolook straight forward atsomething and to keep theirtummies lined up with theirfocalpoint.Thisallowsdancersto move backwards in astraightline.*Dancers will naturally takebigger steps forward thanbackward so they willeventually be able to make it


211

*4Steppassé‐hopstravelingbackward*Keeprepeatingacrossstudio*Every32countsanewrowbegins*Repeat combination traveling from theoppositesideofstudio

8ctsKeepRepeating

acrossthedancespace.*Remind dancers to keep thepassé‐hop as two separatemovements and NOT to try tomakeitaskipyet.

ClassCD;Skips;Track#17;1:27;Repeat

Painter’sTapeorAngelinaMatstomarkthehalfwaymarkofthedancespace

Skips–slowin½ofspaceandfasterintheother½

Inthestory,NutcrackerSweet,Angelinaandherfriendswereexcitedtostartbaking.Thelast step (previous exercise) they did tookthemawhiletogettothestoresotheycameupwithawonderfulideatospeedthingsup.TheyhadtwomoreblockstotraveltoarriveatMrs.Thimble’s store. Foroneblock theywouldpractice their skipsniceandbigwithpointedfeet.Thentheydecidedtogoasfastas they can on the last block whileperformingtheirskipswithpointedtoesandhighknees.Dancersdon’tforgettoopenthedoor to Mrs. Thimble’s store at the end ofyourskips.*Start with one foot pointed devant andhandsonhips.*Step passé hop in a smooth connectedmovement creating a slow skip to reachcenterline.*After crossing the centerline, withoutstopping, continue skipping across theremainingportionofthefloor.*Pantomime opening a door and walkingthroughit.*Thenextrowbegins

IntroLengthofcountsofeachwilldependonthesizeofthespacethedanceriscrossing.

*Place eithermats or painter’stapeonthe floor tosignify thecenterlineof theroom. This iswhere the dancerswill changetheirspeedoftheirskips.*Reminddancerstopointtheirfeet and to lift their knee highwitheachskip.*Remind dancers to give eachleg a turn. This may be achallenge for some of theyoungerdancers.Justletthemexplore the movement; theywill skip when they aredevelopmentally ready. Keepthefuninthemovement!!!

CreativeMovement



N/A Thecreativemovementportionoftheclassisdesignedtoallowthechild toexploremovementbasedonagivenconcept. Thechildren create their ownmovementwithinthestructureofagivenconcept.


212


1scarfpertwodancers;(+ME)

SkatinginWinter *The dancerswill focus on skating across afrozenpondinwinter.Skatingisverysimilartodancingbutwithiceskateson.*Ask dancers to listen carefully as AngelinaBallerina describes the season of winter inChippingCheddar.*As Angelina describes winter, have thedancersinterpretskatingmovementsfor:

Coldwindblowingthroughthetrees Sparkling snowflakes gently falling

fromthesky*Once music starts, have dancers begin bycarefully stepping onto a frozen pond andbegin to slowly move while creatingbeautifulshapesjustlikeskatingsnowflakes.


*Discusswiththedancershowit snows in some parts of theworldbutnotothers.Everyonestill has the season of winterbut it can be differentdependingonwhereyoulive.*Discuss with the dancers thedifferences between skatingand dancing. What are thesimilarities?

Angelina’sDance


Each week spend time teachingchoreographytoaspecialAngelinaBallerinasong. Intermix given choreography tospecialwordswithinthesongwhileallowingother parts of the song to be used for thedancers to create their own choreography(freedanceatthisage).

Thisexercisewillallowforbothteacher directed and childdirected movement. Thiscombination is an excellenttechnique touseat theendofeachdanceclass.


None;(+ME)


Teach lyrics firstandthenchoreographyfortheAngelinasong–It’sHolidayTimeIt’sHolidayTimeBeginwithfeetparallel;armsdemi‐secondeBourréeforwardBourréeturningDemiPliéparallel;placehandsonhipsIt’shere;it’shere,2parallelsauté;handsonhipsthismagictimeofyear1echappésauté;handsonhips

Intro–8cts2cts2cts

Each week the dancers willwork a few minutes on theirAngelina Dance. Focus on thedancers using imaginative playastheypretendtobeAngelinaBallerinaperforminghersong.


213

WhenthecandlesburnsobrightFeetparallel;Portdebras:1st,5th,2nd,enbasSurprise,surprise,Pantomime “surprise” by bringing openhands with palms forward near shoulders;do one slightly looking right and the otherslightlylookingleftjustopenupyoureyesPantomime“openupyoureyes”bybringinghandsneareyesandperformmovementofhandsashugeeyelashesopeningupSeecandycanesallredandwhitePantomime “candy cane” by taking palmstogetherinfrontofchestandreachingwitharms together overhead and then bendingto one side making the shape of a candycaneTeachnewlyricsandchoreographyPresentsaroundtheholidaytreeWalk quickly on demi‐pointe in own circlepantomiminglookingatbeautifulpresents.They’llbesomeforyouandmeFace forward with legs together parallel;gesture arms/hands “you” (extending armswith palms up to audience) and “me”(bringing thumbof righthandtochestwithlefthandonhip)

4cts2cts2cts4cts4cts4cts

Good‐bye





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None;(+ME)

Curtsey/Révérence Feetin1stwitharmsenbas*Portdebraswithrightarm–1st,5th,2nd&enbas*Repeatwithleftarm*Repeatwith both arms turning head rightandthenleft*Bourréeturnrightwitharms5thto2nd

*CoupéandBourrée turn leftwitharms5thto2nd*Step to right and bring left back andcurtsey*Step left and bring right foot back andcurtsey*Finishfor3&listenforAngelina’sfarewell




*Linethedancersupatthedoor.*Remindeveryonetopracticeathome.*Give out any handouts you may have togivethem.*Go down the line and call each dancer byname and thank them for working so hardandforbeingsuchagoodlistener.PlaceanAngelina Ballerina sticker on the hand ofeach dancer as you speak to themindividually.*Open the studio door and see that thechildrengettotheircaregiver.


Teacher’sNotes:


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Week16 WeeklyLessonPlanLevel2:Ages4½‐6 FocusBook:TheNutcrackerSweet(Pages100‐104) PropsNeeded:Mats&ScarvesSong:It’sHolidayTime ClassLength:45minutes

SectionofClass





N/A

Allow4‐5minutes


NutcrackerSweet(pages100‐104)After reading, check for understanding bydiscussingthefollowingwiththedancers.

1. How did Angelina feel whiledancing? (She felt like she wasdancing in mud with rocks in herslippers.)

2. How did Angelina feel about herperformance? (She felt sad. Itmade her heart ache, just like hertummy.)

3. What did the dancers do after theperformance?(Haveapartyandeatgoodies.)

4. What did Marco & Angelina doduringtheparty?(Sitandwatchtheothermouselingseat.)

5. HowmanycandycanesdoAngelina& Marco plan to eat next holidayseason?(Only1each)





N/A *Ask the dancers to alwayslisten carefully when theteacheristalking.*Remind them to always lookattheirteacherwhentheyhearhervoice.


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*Reminddancers tokeep theirhandstothemselves.

Warm‐Up



PlaceoneAngelinamat inthecenteroftheroom. Gather dancers into a circle aroundthemat.Havedancersholdhandstoformacircle and then ask them to wiggle theirfingers as they place them on their hips.Next,askthemtoplacetheirshoestogether(theirfeetwillbeinparallel).





*Angelina wasn’t feeling so well due to allthesweetssheate.Itmadeherfeellikeshewasdancinginmudwithrocksinhershoes*Have the dancers create their ownmovementsaroundthecircleasiftheyweretrying to dance in mud with rocks in theirshoes.**ListenforAngelina’swelcome*Eachdancerwill:

1. Standlikeadancer.2. Travel around the circle creating

theirowninterpretationofwhatitislike to dance in mud with rocks inyourshoes.Curtseyoncetheyarriveback in their original place in thecircle.

3. Sitlikedancers.4. Begin to clap to the beat of the

music while everyone else gets aturn. Claphandstogetherandthenclap hands to top of knees. Keeprepeatingthispattern.

5. Once everyone has a turn, ask thedancerstotapvariousbodypartstothe beat of themusic. Add tempochanges to this portion of theexercise: Tap slowly for 4 andquicklyfor8.

Greeting;theamountofmusicforeachdancerwilldependonthesizeofthecircle.Besuretoendwithrhythmicandcross‐bodytapping.

*Remind all seated dancers tohelp with the music bycontinuingtoclapthebeat.*Allow the dancers to createtheir own interpretation ofwhat it is like to dance inmudwithrocksintheirshoes.Thereis nowrongway – this is theirinterpretation. Beforebeginningexercise, discussandexplore the many possibilitiesof what the heavy movementwilllookandfeellike.


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Incorporatedifferentportdebrasduringtheopening up sections. Ask the dancers tofollow along and repeat the names of allport de bras. Review 1st, 2nd, 3rd, 4th, & 5thpositions of the arms.Mix the port de braspositions up and see if the dancers canrecognizeandnamethem.Curl,Stretch,andPortdebras*AskDancerstocurlintoasmallshapewiththeir legs curled with knees into chest andback rounded with arms hugging knees.Dancerstrytomaketheirbodiesintoatightball.Seenotetoright.*Gracefullyopenupcurvedtightshapeintoa stretched straight shape with legsextended forward, back sitting tall andstraight,witharmsopeningupoverheadjustlikeaflower.*While sitting tall move arms throughvariousportdebrassayingthecorrectnameoftheportdebraswhilethedancersrepeatafter you. Lead the dancers through the 5positionsofthearms.*Repeat entire sequence varying port debras*Variation: Havedancersbalanceon theirbottomsasthey lifttheir legsandfeetfromtheflooratthesametimeastheirarmsfloatup.Thedancerswillgentlyswaytheirlimbsasiftheyareaflowerinthewindorperhapsapieceofseaweedfloatingintheocean.*Roll to floor and roll over to tummy andpretendtoswimarmsandlegsaseyeslookstraight to floor then roll over in theopposite direction and swim, roll over toback and roll up reaching across to danceron opposite side of circle using abdominalstocurlup.*Repeatswayingandtummyswimming

Intro4–3’s4–3’s8–3’s16–3’s8–3’s8–3’s16–3’s



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Sittingwith legs stretchedout in frontwithhands restingon topofknees. Createnewpatterns and combinations of themovements*Alternate flexing & pointing theankles/feet.Incorporatetempovariations.*Bend over at the hips and reach as fardown legsaspossible. Havedancers countto8andthenrollup.*While sitting tall, rotate legs outward andtheninward4times.*Bend over at the hips and reach as fardown legsaspossible. Havedancers countbackwardsfrom8andthenrollup.*Havedancersstandoncemusicends.



CenterBarre


Dancerswillformoneortwolinesfacingthefront of the studio. The assistant andteacher will turn and face the students todemonstrate the exercises and to keep eyecontactwith all students.Have thedancersstandandplacetheirfeettogetherparallel.



None Demi‐PliéinParallel,1stPosition,and2ndpositionPlié=tobendDemi=halfPortdebras=movementofthearms

Review 2nd position of the feet with thedancers.Reviewhowtodoademi‐pliéin2ndposition. Remind dancers to keep backsstraightandkneesovertoes.Onceyouhavereviewed a demi plié in 2nd position,introduce a grand plié in 2nd position. Seenotestoright.*Legsparallelwitharmsenbas:*2 demi‐pliés; arms gently open to demi‐seconde from en bas each time the kneesbend closing back to en bas as the kneesstraighten*Portdebrasarms:1st,5th,2nd,enbas,2nd,5th,1st,enbas*Rotateopento1stpositionandrepeatall

Intro4–3’s4–3’s8–3’s

*Focus on teaching dancers tomake curved shapeswith theirarms.*Point out to thedancers howperformingapliéchangeslevel.* Teach the dancers that theirbottoms will never go belowtheir knees in a grand plié.Havethedancerspretendtheyareinaverynarrowroomwithwalls that have just beenpainted. One wall is 3” fromtheirnoseandtheotherwallis3”fromtheirbackside.Astheygrand plié, remind them thatthey must remain free from


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*Tenduàlasecondeandlowerheel.Repeatpliéandportdebrasin2ndposition*Placehandsonhipsandbegin3grandpliésin2ndposition.*Tendu closing 1st position, rotate legsparallel, elevé (rise to demi‐pointe withstraightlegs)andbalancefor4measures.*Lower heels and finish with arms en basand head slightly turned at a 45‐degreeangle.Holdthispositionforacountof3.

8–3’s4–3’s4–3’s

wetpaint.*Reminddancers tokeep theirknees over their toes whenperformingaplié.*Reminddancers tokeep theirbacksstraightduringexercise.





*Reminddancers tokeep theirtummies very still whileperformingtendu.*Remind dancers to keep alltentoesonthefloorwhentheyrotate their legs into 1stposition. Watch for dancersover‐rotating.*Remind dancers whenperforming their tendu à laseconde to keep both hipsfacing front and to keep bothlegsstraight.*Notallchildrenwillbeabletosnap their fingers and createsound. Review with them onhow to place their fingers andgive them time to practice.Encourage them to practicetheirfingersnappingathome.


None Dégagé

Handsonhipswithlegsinparallel:*Dégagérightdevant&closeparallel–2X’s*Dégagérightlegdevant;rotatelegoutward;rotatelegparallel;closeparallel*Repeataboveonleftleg*Repeatbothrightandleft*Finishfor3


*Discusswith thedancershowthe legbone rotates in thehipand the hip remains still. Askthe dancers to keep theirleotards very still as their legmoves.*Remind dancers to brush thefloorduringeachdégagé.


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None Piqué Armsenbaswithlegsinparallel–portdebras1stand3rd(leavingleftarmdevantwhileopeningrightarmto2nd)*Piqué right leg/foot forward tapping floor3X’s(count1and2)–armsin3rd*Repeatabove2moreX’s–armsremainin3rd*Lift rightknee topassé retiré (as leftarmsliftstooverhead)andthenlowertoparalleltoclose(asleftarmopensto2nd)*Repeat pattern on left leg/foot withoppositearm (tobeginpiquékeep left armin 2nd and bring right arm devant into 3rdposition)*Repeatall*Finishfor3





None Sautéwithapartner

*Pair dancers and have them face eachother with their legs in parallel and theirhandsontheirhips*Plié,sauté(jump),plié,straightenlegs*3 quick hand claps (ownhands)& 3 quickpartnerhandclaps(1&2;3&4)*Plié,sauté(jump),plié,straightenlegs*3 quick hand claps (ownhands)& 3 quickpartnerhandclaps*Repeatsauté&claps*Take hold of partner’s hand and rise todemi‐pointe and bourrée sideways inparallel around with partner changingplaces.*Finishfor3*Play music and again repeating all ofcombinationfinishingbackinoriginalplace

Intro4cts4cts4cts4cts8cts16ctsRepeatmusic

*Remind dancers to stretchtheir legs as they jump in theair.*Remind dancers to alwayslandinapliéaftertheyjump.*Reminddancerstogentlyclaptheirpartner’shands.*During the traveling bourrée,have the dancers only travelenough to change places andnotmake a full rotation. Thatwillcomenextweek!


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TravelingSteps


Place dancers in row/lines on one side ofroom. With the assistant leading, dancerswill travel fromonesideof the roomto theother.Manyexerciseswillberepeated.

N/A *Repeat the confirming ofwhich group each dancer is inas in theprevious lessons. It isvery important toworkon thisconcept so the young dancerslearnhowtofindtheirplaceinline as they travel from oneside of the room to the next.Ask them to look to one sideandthentheothersotheycansee which one of their dancefriends they are dancing nextto.


Painter’sTapetodividestudioinhalfORplaceanAngelinamatatthehalf‐waypointforeachdancerintherow(+ME)

Bourrée&LightDancerRuns

*Placea longpiece of painter’s tape (or anAngelinamat for each dancer) on the floortodividethestudiofloorinhalf**Angelina was very excited to be dancingthe part of The Sugar Plum Fairy inCamembert Academy’s Holiday Showcase.Ms. Mimi was very excited to see howAngelinacoulddancesolightandairyasshelistenedtothelightandairymusic.Let’salldance light and airy just as Angelina did inrehearsal as we match our movements tothebeautifulmusic.*Feet together parallel with arms in demi‐seconde.*Rise to demi‐pointe, bourrée forward asbotharmsfloatuptoahighV*Pliéonthepainter’stapeasarmslowertodemi‐seconde*Risetodemi‐pointeandhold*Very lightly, run like a dancer the rest ofthewayacrossthedancefloor

Intro8cts**2cts2cts4cts**

*Remind dancers to take tinylittle steps high on their demipointesastheybourrée.*Remind dancers to be lightandairyastheyfloatacrossthefloor.*Give the dancers specificdirectionsfortheirturnsuchas“turnlefttowardthemirror”or“turn right toward thestereo.”Do not just say turn right orturnleft.*Remind dancers they will beturning toward their liftedarmand their arm will go first ineachturn.**The counts of this exercisecanvarydependingonthesizeof the room. Please adjustaccordingly.


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ClassCD:PasdeChat;Track#13;:35;Repeated

None(+ME)


*Angelinahasbeenpracticingherpasdechats and gallops quite a bit. She did sowell that Ms. Mimi decided to change thecombinationtogiveAngelinaalittlemoreofa challenge. Let’s do the same and nowperform2pasdechatsandthen4gallops.*Legsparallelwithhandsonhips.*2slowpasdechatwithlegsparallel.*4Gallopforwardtherestofthewayacrossthestudio.*Nextgroupstarts.*Repeat traveling across the floor in theopposite direction. Remind dancers to usetheir other leg for the pas de chats andgallops.

Intro4cts4ctsKeeprepeating

*Remindthedancerstocountandtolistentotheirmusic.*Askthedancerstoexplaintoyouhowtodoapasdechatcorrectly?


None;Optional–2scarvespergroup(+ME)

Step Passé & StepPasséHop&Skips

*In the beginning of the story, NutcrackerSweet, Angelina was very excited aboutbeing able to dance the role of The SugarPlum Fairy. Have the dancer’s perform thefollowingexercisejustasAngelinaimaginedshewouldhaveperformedher rolehad shenoteatentoomanysweets.Thefocusonthemovements are to be light and airy andexactlywiththemusic.*Have dancers tendu right leg devanttowardscenterofstudiowiththeir leftarmforward.*4Steppassétravelingforward*4Steppassé‐hopstravelingforward*Continuousskipsacrossthefloor**Keeprepeatingacrossstudio*Every32countsanewrowbegins*Repeat combination traveling from theoppositesideofstudio


*Reminddancerstobringtheirfoot all the way to their kneeeachtime*Remind dancers to let eachleg have a turn. As thecombination gets faster, somedancersmaynotalternatetheirknees.*Remind dancers to keep thepassé‐hop as two separatemovements and NOT to try tomakeitaskipyet.*Askthedancerstoexplainthedifferences between the threemovements. What are thesimilarities?

CreativeMovement



N/A Thecreativemovementportionoftheclassisdesignedtoallowthechild toexploremovementbasedonagivenconcept. The


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children create their ownmovementwithinthestructureofagivenconcept.

AngelinaSaysCreativeMovementCD;Emotions;Track#9;1:57

None;(+ME)

Emotions *Learning to express emotions throughmovementisanextremelyimportantpartofbecoming a dancer. To begin this exercisethedancerswillsitinacircleandsitontheirhands. The dancers will listen to Angelinaand dance the emotions using their facialmusclesonly.*Dancers begin in a circle, sitting cross‐legged with their hands under theirbottoms. (This is so they don’tmove theirarms and isolate their body creatingmovementonlywiththeirfacialmuscles.)*ListentoAngelinaasshecallsoutdifferentemotions. Ask dancers to express theemotionusingonlytheirface.

ListenandfollowalongwithAngelinaasshecallsoutdifferentemotions.

*Discusswiththedancerswhatthe different emotions mean.How do we know whensomeone ishappy?When theyaresad?*Themost difficult part of thisexercise if for the dancers toisolate their movements toonly using their facialmuscles.They are going towant to usetheir hands and upper bodies,but for now, have them sit ontheir hands to help them limitthe muscles used in theexercise.*Remember,manychildrenarejust learning what an emotionis and by connecting themovements of their bodies tothe words, helps them tounderstand how they naturallyexperience different emotionsandwhatthewordistodefinehowtheyarefeeling.

Angelina’sDance


Each week spend time teachingchoreographytoaspecialAngelinaBallerinasong. Intermix given choreography tospecialwordswithinthesongwhileallowingother parts of the song to be used for thedancers to create their own choreography(freedanceatthisage).

*Each week the dancers willwork a few minutes on theirAngelinaDance.*Adjust choreography asneeded to fit the level of yourspecificclass.


224


None;(+ME)


Teach lyrics firstandthenchoreographyfortheAngelinasong–It’sHolidayTimeIt’sHolidayTimeBeginwithfeetparallel;armsdemi‐secondeBourréeforwardBourréeturningDemiPliéparallel;placehandsonhipsIt’shere;it’shere,2parallelsauté;handsonhipsthismagictimeofyear1echappésauté;handsonhipsWhenthecandlesburnsobrightFeetparallel;Portdebras:1st,5th,2nd,enbasSurprise,surprise,Pantomime “surprise” by bringing openhands with palms forward near shoulders;do one slightly looking right and the otherslightlylookingleftjustopenupyoureyesPantomime“openupyoureyes”bybringinghandsneareyesandperformmovementofhandsashugeeyelashesopeningupSeecandycanesallredandwhitePantomime “candy cane” by taking palmstogetherinfrontofchestandreachingwitharms together overhead and then bendingto one side making the shape of a candycanePresentsaroundtheholidaytreeWalk quickly on demi‐pointe in own circlepantomiminglookingatbeautifulpresents.

Intro–8cts2cts2cts4cts2cts2cts4cts4cts

*Keepitfun!


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They’llbesomeforyouandmeFace forward with legs together parallel;gesture arms/hands “you” (extending armswith palms up to audience) and “me”(bringing thumbof righthandtochestwithlefthandonhip)Teachnewlyrics&choreography:Yesit’sholidaytime,thebesttimeofyear4sidegallopstotheright;We love holiday time‐when everybody’shere4sidegallopstotheleftYes, it’s holiday time‐C’mon let’s shout acheer7quickprance runs (withheels up inback)inowncircle;jumptogetherparallelHiphoorayforholidaytime!4 quick sauté parallel; showing excitementclappinghandstogetherinfrontofchestInstrumentalRise parallel with full port de bras; finishwith arms demi seconde; standing flat inparallel

4cts4cts4cts4cts4cts4cts

Good‐bye





226


None;(+ME)

Curtsey/Révérence Feetin1stwitharmsenbas*Portdebraswithrightarm–1st,5th,2nd&enbas*Repeatwithleftarm*Repeatwith both arms turning head rightandthenleft*Bourréeturnrightwitharms5thto2nd

*CoupéandBourrée turn leftwitharms5thto2nd*Step to right and bring left back andcurtsey*Step left and bring right foot back andcurtsey*Finishfor3&listenforAngelina’sfarewell




*Linethedancersupatthedoor.*Remindeveryonetopracticeathome.*Give out any handouts you may have togivethem.*Go down the line and call each dancer byname and thank them for working so hardandforbeingsuchagoodlistener.PlaceanAngelina Ballerina sticker on the hand ofeach dancer as you speak to themindividually.*Open the studio door and see that thechildrengettotheircaregiver.


Teacher’sNotes:

weekly lesson plan - angelina ballerina academy

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