LEVEL

SAMPL
E
Ballet Arts 2
for
Young Children
Classwork & Teaching Helps for the
Ballet Teacher of Children Ages 4 & 5

Ruth H. Brinkerhoff, B.A.

Former Director, Utah Ballet Academy
Registered Teacher, Royal Academy of Dance
The Teacher Must Decide:

The Ballet Arts for Young Children manuals provide information, activities and suggestions for
the teaching of ballet to children of pre-school and kindergarten ages. The materials in the these
books have worked well for the author, and for other teachers of her acquaintance. However, the
author cannot know what approach or which physical activities will be appropriate and safe for
any particular teacher, class, or student. It is the responsibility of each ballet teacher to use his or
her best judgment in applying the information and teaching suggestions contained herein, and in
using the activities, enchainements, dances and teaching materials contained in the Ballet Arts for
Young Children series.
Index
I. Preparing To Teach 4
Using Ballet Arts for Young Children 5
Teaching Fours Can Be Fun! 7
Planning Helps Things to Happen 12
Talking Effectively With Children 14
Learning To Skip 16

II. What To Teach Them? 18

Ballet Fundamentals for Fours 19
A Ballet Class for Fours 30
Level 2 Choreography for Class [SAMPLE] 32
Teaching Notes for Level 2
Level Two Class List
Level Two Music List

III. Managing Children’s Behavior

Characteristics of Four Year Olds
Skills for Children in Dance Class
Managing Behavior with Consequences
The Well Behaved Class
Understanding Today’s Children

IV. The Dancing Needs of Children

Principles of Classical Ballet for the Young Child
Classical Direction
Improving Coordination
Posture, Choreography and Music Tips

V. Teaching Materials
Positions of the Feet for Level Two
Positions of the Arms for Level Two

Links 39

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I. Preparing To Teach
Using Ballet Arts for Young Children 5
Teaching Fours Can Be Fun! 7
Planning Helps Things to Happen 12
Talking Effectively With Children 14
Learning To Skip 16

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Using Ballet Arts for Young Children
Why Ballet Arts? group. Work up gradually.

Even the youngest ballet students Learn the system along with your
deserve to be taught things they can students. Dance teachers are busy.
understand and succeed at doing. They They have little time for reading and
deserve to be comfortable and happy in practicing new things. So, make your
their dance class. They deserve a correct time count. Learn with your class.
start along the road to classical ballet:
• a correction foundation for technical 1. Get Acquainted With the Manual
excellence Section I will give you a feel for what
• a beginning in the use of artistry is involved in teaching the four year
• a beginning in being able to respond old age group. Make notes or mark the
well to music with both movement things that are new to you, that you
and expression don’t know already. Don’t be afraid
• a sense of confidence in their to use written plans or notes in the
performing. classroom. The best teachers do use
notes or reminders of some kind.
They deserve to be respected for what
they can learn, and for what they can do Section II tells what is appropriate for
as young dancers. They deserve to not be the four year olds to be learning and
taught things that are not really designed practicing. The first part explains the
for their very young bodies and minds, work in terms of expectations, how to
things that frustrate them. present it, and where it leads in ballet.

They deserve a teacher who cares The second part of Section II gives you
about them as individuals, and who a wealth of choreographed activities and
understands where they are coming dances to use in your Level 2 classes.
from. The music for Level 2 will match the
choreography of this part.
Dance Teachers Are Busy!
2. Start Using Ballet Arts
Ballet Arts can give the caring and
creative teacher the material and At this point, you can begin to
information he or she needs for creating incorporate some or all of the Ballet Arts
an excellent and effective pre-ballet course into your teaching.
course in their ballet or dance school. Choose which activities to use first. Go
If this is your first experience with Ballet over these at home once or twice, or
Arts for Young Children, go slowly. Use until you feel comfortable with teaching
it in only one class at first, preferably them. Review the teaching suggestions,
your youngest, or your newest pre-ballet and choose which ones you will try first.

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Note that Section V contains some Sections III and IV give some insights
teaching tools that you might find into managing the children’s behavior,
useful. seeing where they are in maturity and
capacity, and in what kinds of progress
Give yourself and your class about six you can be watching for and expecting
weeks to become familiar with the from them.
things you are using.
Mark those ideas you want to
3. Learn As You Go remember. Make a list of those you
Did the actual use of the material want to try in class. Learn about the
help you to understand the principles Ballet Arts course as you teach. Have
behind them? Are you becoming more fun, teach your dancing children a love
at ease with this method of teaching? of dancing!
Are you beginning to see the gradual
process of your students in terms of
strength, coordination, and artistry at
their level?

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Teaching Fours Can Be Fun!
Fours are much more capable in dance friends. The dance class can help
class than threes. They can walk, run, them. Fours are moving from parallel
jump, gallop, climb, learn to skip, copy play to interaction with friends. The
many movements that they see, and supervision and discipline of a dance
learn simple enchainements of basic class provides opportunities for
movements. group interaction that are structured,
supervised and safer than free play.
They can do longer dances, and act out
longer story lines than threes. Fours Fours sometimes need to be free to
are more cooperative with each other express their feelings, such as, “I don’t
than threes for short periods of time. If like you!” They are looking for a big
taught in a class with threes, they can shocked reaction from the adult. Stay
be helpful as leaders. calm, and answer with friendliness,
“That’s OK. You don’t have to like me
Create a Secure Class but I like you anyway.”
Some fours are still scared of leaving Class should feel fun and safe. Laughter
Mom. Mom’s fears and apprehensions is good so long as it is not constant, and
about her child’s success and happiness so long as it is not at the expense of a
in class are sensed by the child. The child’s feelings. Keep them happy. Be
child imitates these feelings in a flexible in following your lesson plans.
childlike way. For example, if Mom is Change your plans when it seems best
afraid that the child may not like dance for the class.
class, the child may sense this and
decide Mom doesn’t want her to like Young children trust adults to
it! Young children lack the wisdom to • keep them safe,
make accurate value judgments. • teach them proper behavior,
• teach them proper language,
Some are not ready for dance class. • teach them proper attitudes and
Being in a group involves interacting feelings,
with peers, and this can be a bit scary • praise their accomplishments,
at this age. Give the child the freedom however small,
to choose to come or not come. This • show them a correct example,
choice is not given on a weekly basis, • tell them what is true,
but should last for a few months. They • help them learn about dancing.
can try dance class again.
Teach With Consistency
Fours feel the need of friends, but
have no social skills for making Behaviors should not be forced, but

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encouraged. Rules are to be followed. A home.
calm, quiet attitude and a non-personal,
matter-of-fact enforcement of rules They can learn to take turns, and share,
using logical consequences works best. but supervision is needed. In dance
class, use some group interaction, but
1. Toys or props misused are promptly be a part of the group with them. Don’t
and calmly removed. If more than use partner activities very much, and
one child is offending this rule, take be sure you are the one to choose the
the props from the entire class. You partners. It is usually best to separate
might say, “We’ll try that again next “best friends”, but each situation is
week, when you are a little older, different. Use wisdom and fairness.
and can use the scarves correctly.”
They cannot share an object, toy, space,
2. Time out can be used occasionally activity, or concept unless they feel
for non-compliance with activities, they also OWN it, that it first belongs
or for aggressive behavior. Keep it to them.
very short. Having them miss one
activity is long enough. Then try Children are not little adults. They are
again. Don’t overdo it. You don’t anxious to please, cry easily, and strike
want dance class to become a out emotionally when frustrated, hurt
punishment center! or confused.

3. If the piece of tape or poster marking Intellectually, children don’t know a

their dancing spot is played with, the fraction of what we take for granted.
teacher removes it. The child is likely They have:
to cry because having your own place • no concept development,
in class is very important! The rule • no experience,
of not playing with it is repeated, • very little reasoning ability,
and the child’s promise to follow it • no ability to transfer learnings,
is elicited. The tape is replaced, and • trouble associating cause with
the teacher, as quickly as possible, effect.
gets the entire class’s attention onto Fours do want to please and will try
something else, such as lining up their best unless they fear failing.
and sitting down for the Mountain
Dance. Consider Having An Assistant
4. Continued misbehavior should be Common problems that fours have in
referred calmly and quietly to the dance class may include, being hungry,
parent. Let them deal with it at being genuinely tired, needing to go

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potty. how much time they take. The limits
help them learn about sharing time
Having an assistant really helps. The with other persons, and with other
assistant learns the classwork, and activities.
helps lead the class in it. The assistant
helps the children to find their places Teach With Wisdom and Fairness
in class. The assistant can help with
props, visual aids and music. Large muscle activity is very important.
Use their energy on dance activities
The assistant takes a child to the that move.
bathroom when needed. (They should
not be sent on their own at this age.) They can deal mainly with the five
senses and do not easily comprehend
The assistant comforts an upset child, abstract ideas, or objects that are not
and may take a disruptive or crying right there. Avoid using abstract ideas.
child out of the room for a few Use books, pictures, and objects to be
minutes to calm them down. sure they understand what you are
talking about.
Fours Love to Talk!
Their attention span is about four
They will invent things to say when minutes, but can be longer if they like
they run out of facts to talk about. what is happening. They have a very
They love to imagine, and do not stop vague awareness of the passage of time.
to consider which is real, and which is Today, right now, is understood. But
pretending. talking about any other time, or an
They boast, because they do not want event that happened earlier in the day
to be outdone. They cannot stand not may confuse them.
being successful. Your demonstration of dance
They love to ask questions, often movements should be an example of
unrelated to the subject, and will what they are capable of doing at their
expend a lot of mental energy thinking level of development. For example,
up a question to ask. Any question will instead of using your own best turnout,
do, and the more attention it brings show only the amount of turnout you
from Mom, the other children, or from want them to use.
their lovely dance teacher, the better! Don’t give them very many choices.
They need a small chance to talk and Any choices they have must be limited.
to interact with the teacher. At the Remain in charge of the class. They
beginning or middle of class, sit them expect this.
in a circle with you for five minutes of They can become confused about what
“talking time”. They must be limited in is real and what is pretend. Teach

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them the difference. Some have a real If you show an extreme reaction to
problem with this. a mistake in language or behavior,
they will think that this is how they
Be sure you assign any partners, groups should respond when they don’t like
to work in, or special privileges such something.
as passing out scarves, or leading the
marches. Rotate the children so all get They may learn a rule just fine for the
equal turns throughout the year. They exact situation in which it is taught.
will remember, so keep track of your But they do not transfer this learning
attendance record. to any other situation, person, or place.
The teaching must be repeated for
Their feelings are sensitive. Avoid every situation.
any direct criticism of individuals.
Corrections to the class need to be There is no such thing as “just teaching
positive. Example: “My, your muscles them a little dancing.” Whether you
are working hard on those marches. intend it or not, they are also learning
Let’s do it again and see if we can lift social and emotional behaviors from
our knees even higher.” your example and from how you
respond to them.
Behaviors are Learned,
Attitudes are Learned, How you respond to their behavior,
words, attitudes, and feelings tells them
Feelings are Learned.
how you are evaluating these things
Children are not born with attitudes in terms of right and wrong. They do
and feelings. These things are learned want to please. They do want to get it
gradually throughout childhood. They right.
need guidance at every step of the way
if they are to learn correct responses to Dance teachers are teaching
the events of life. children
Fours are aware that there is such a • Behavior,
thing as right and wrong, but they • Attitudes and feelings,
are not always sure which is which. • Courtesy,
They want to do right, but often feel • Respect for others, their space,
incapable. They have trouble making their person, their belongings
decisions or value judgments. • Language habits,
• Knowing truth from fantasy,
Fours like to imitate adult behavior. • Self esteem and confidence,
Whatever they see, they may try to do. • Obedience to rules,
Show them the best example possible, • To work cooperatively with
especially with feelings, attitudes, teacher, with classmates as a group,
courtesies, responses to wrong with classmates as individuals, and
behavior, etc. finally . . . To dance!

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Footnote:
If they ask about dancing on their toes,
or if they do it, or talk about toe shoes,
show them what you do want them to
do, not what you don’t want.
“I want you to dance on half-toe, like
this. I don’t want to see any funny toes
in this class.”
But don’t show the wrong toes!

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Planning Helps Things to Happen
I. What will I teach this week? success and fun of the class in some
way?
It is important to balance your class.
Balance learning with fun. Balance D. Make reasonable expectations for
pretending with real things. Balance them. Expect their best efforts within
work on their legs with work sitting their abilities. Then the class will feel
down. Keep new work in perspective. successful to you, and to them!
The children will love repeating what
Do: Write the expectations you have
they know and feel confident doing.
next to the items you listed in part I.
Build on their strengths. After the very
first lesson, include approximately III. How will I present each item?
these percentages:
A. Most things will be the same each
A. New steps or skills (0%-5%) week. This provides structure, security,
consistency.
B. Practice of known skills, and new
ways of using the skills they know. B. Use variety in some presentations,
(70%-90%) such as story ideas, imagery, different
ways of telling them what to do. Try
C. Creating with learned skills (5%-10%) repeating an activity with a challenge,
D. Fun things: mimes, pretending, story such as, “Let’s do that again, and jump
dances, talking time. (5%-20%) even higher this time.”

Do: Make a list of the activities you C. Follow up intended learnings.

plan to use. Sometimes use simple games, short
notes of homework to do, drawings to
II. What do I expect the children to color at home, etc.
learn, to do, or to improve? Do: Review in your mind how you
Consider the limitations of their age: plan to use each item on your list. Have
• emotional development, ready any notes or drawings you want
• physical development, them to take home.
• intellectual development,
IV. What materials will I need?
• social development.
A. CDs, iPods or mp3 players
B. Consider their learnings so far, and
containing the music you need. Create
their limited dance background. What
playlists and arrange songs in the order
do they know how to do?
you plan to use them.
C. Consider your eventual goals for
B. Machines that work. Backups if
them. Will this activity prepare them
needed.
for ballet? Will it contribute to the

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C. Your teaching notes. The best D. Put the qualities of comfort, fun, and
teachers DO use notes in class. courtesy into your teaching.
D. Visual aids and props that are E. Finish the class neatly and on time,
simple, easy to understand, and that even if you started late.
actually contribute to the learning
or the fun. Have them ready, but not Do: Read the suggestions on keeping
accessible to the children until needed. their attention and talking to them.
You will not be able to put all of those
Do: Arrange your materials ahead of suggestions into your teaching all at
time. once, especially at first. Reading them
again every so often will help.
V. Create informal checkups for the
children: VII. Evaluate your lesson afterwards!
A. What should they be able to tell me? A. What worked? Why?

B. What should they be able to show B. What did not work? Why? Was it
me? too abstract? Too complicated? Too far
above their level of understanding?
Do: Choose a few things to ask them. Too wordy? Were the children tired?
Ask things they will know. Ask to see Hungry? Were they distracted by
things they know how to do. This is a visitors or the misbehaviors of others?
checkup on what you think you have
taught them. Sometimes it’s fun to ask C. Were all of the children included in
them at the start of the class what was your attention giving?
done last week.
D. What positive things were
IV. Teach the children by using the accomplished?
lesson to meet their learning needs. Do: Decide on one area at a time to
improve.
A. Be willing to drop an item that
Do: Take pride in your success!
is not succeeding and move on to
Do: Be yourself. Adjust the suggested
something else.
presentations and explanations to suit
B. Use a positive, calm, accepting your own way of saying and doing
attitude. Be truthful. Don’t give untrue things. Meet the children’s needs by
compliments. using your own strengths and talents.

C. Help them to recognize reality, as

opposed to pretending. State pretending
for what it is.

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Talking Effectively With Children
It may take time for you to feel dance next?” SInce there may be
comfortable using any ideas that a difference of opinion, plan to do
are new to you. How we phrase our both. They simply choose which
feelings and intents in language is built comes first.
on a lifetime of habits! This does not
change overnight. 3. In pretending, avoid the suggestion
to “be” something; such as, “let’s be
The time you spend in changing some elephants.” Instead, suggest “Let’s
old habits will pay off in happier, better pretend we are elephants” or “Let’s
behaved classes. move like an elephant would move.”
To young children, it matters. Always
In dealing with young children, how label pretending for what it is.
we say things and what we feel about 4. Avoid using conditional tenses, long
what we say makes a big difference in phrases, and questions. Questions
how they react to us. are often seen by children as an
Fours do not understand the spoken invitation to say “no”! Speak in
word as well as we think they do! They simple, declarative sentences. Tell
have a large vocabulary of words and them what they are going to do.
phrases, but the exact meanings are not Good, clear communication of
always clear to them! expectations makes happier, more
secure children.
They still respond to moods,
movements and other clues first, Getting Their Attention is Important.
and then they evaluate the actual Plan For It to Happen.
spoken words in terms of their other
perceptions. Get their attention before trying to
teach them. Do or say some little
Some very specific suggestions to thing that they don’t expect, or that
follow: stimulates their curiosity.
1. Avoid the phrase “Do you want to...?” Have them always return to and sit on
Instead, say, “We are going to . . .” their spots (in their places) when they
or “It’s time to . . .” They need the finish an activity. Have a specific signal
security of knowing that the teacher for attention.
is in charge and knows what to do
next! Present things at their level. Use
simple, declarative sentences. Avoid
2. Avoid open-ended questions, such giving choices.
as “What dance shall we do?”
Occasional choices between two Give directions simply and clearly.
items are OK, such as, “Shall we Use the child’s name, and one or two
do the doll dance or the turtle simple instructions, such as: “Julie,

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come and sit by me.” Use your hands Thoughts on Self Esteem
to clarify the meaning of your words
when it is appropriate. Self esteem is an internalizing of who
and what you are; it is not dependent
Listen to the children once in awhile. upon talents, clothes, appearance, etc.
Don’t overreact to what they say.
And don’t accept inappropriate or The teacher’s attitude speaks loudly.
discourteous language or ideas. Let Teachers must have self esteem and
them know what is correct, and that confidence. They are the role model.
you expect correct behavior. If they are Each person is in individual and is
given a “turn” to talk to you, even a unique. It is all right for the outgoing
very short one, they are more willing child to be outgoing. It is all right for
to respect your turn. the shy child to be shy. It is necessary
The Value of Dance Lessons for both of them to be themselves in
order to have self esteem.
Dance lessons can help the child
develop posture and coordination Each person needs to be allowed to do
a little faster than would otherwise for themselves what they reasonably
happen. can do for themselves. Adults need
to be supporters of children, but not
Dance lessons can help the child “rescuers”.
to develop an understanding
of movement, and a movement The joy of accomplishment is
vocabulary. It can help them to discover important to self esteem. If your
what their muscles can do. Having standards for the children are too high,
control over one’s self builds self- they will feel frustrated, pressured and
esteem. probably act out. If your expectations
are too low, they may get the message
Dance lessons help social and that you don’t think they are capable.
emotional maturity. Associating
with peers in a carefully structured Children who are “shy” should be
dance class helps children to be more allowed to be shy, and should not have
cooperative. Knowing that they can unnecessary attention drawn to them
do what other children do helps What you are is more important than
build their confidence in playing and what you do. Dancing is a process. It
working with peers. takes time to become good at it.

Self esteem can be a big side effect of Accomplishment should be a tool for
dance lessons. If the teacher uses a the development of self esteem, but
positive, encouraging approach, and should not become self esteem itself.
the children are praised for what they Learning to have courtesy and respect
accomplish, they will feel capable, and for others will tend to create respect
accepted. for oneself as well.

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Learning To Skip
Skipping requires balance, symmetry in arms moving naturally to help the
muscle use, and natural coordination. running action.
It is a complex movement dependent
upon many other previously learned 4. Crawling: Child crawls with knees
skills. Students at age four and five are picked up, an equal use of both sides
usually able to learn to skip. of the body, and a good sense of
balance shown.
As you teach, notice which movement
skills some children have difficulty 5. Jumps on two feet: Child can jump
with. Give the entire class extra with equal use of both legs, correct
practice on these skills for a few weeks. knee action, symmetrical use of feet,
and can stay in place.
It is best to not point out who needs
help. Children at this level need to 6. Arms: While standing in place, child
know they are adequate, and can do can swing them forward and back, in
things right. They do not respond well unison or alternating, and can make
to corrections or criticism. But the class arm circles at sides and in front.
may benefit from information designed 7. Head: Child generally holds head
to reassure them of their adequacy. upright and level, and can do basic
Example: “Everyone has a stronger leg head movements.
and a weaker leg. My left leg isn’t as 8. Feet: Child can flex and extend ankle
strong as my right one. Our stronger joints, same or alternating. Can do a
legs learn to skip first. Weaker legs take few quarter point rises.
a little longer, but they will learn, too.”
9. Marching: Child can march lifting
Twelve Pre-Skipping Skills knees to a horizontal position, arms
swinging freely.
1. Stand: Child can stand with weight
balanced evenly on two feet, arms 10. Hops on one leg: Child can do six
relaxed at sides. continuous hops on either leg, then
repeat on the other leg.
2. Walk: Child walks smoothly with
steps of equal length, with equal 11. Forward gallops: Child should be
use of both legs. Arms are relaxed, able to use either foot in front.
moving naturally.
12. Side Gallops: Child is able to gallop
3. Run: Child runs smoothly with equal in both directions, although one side
use of both legs, with a light, darting may be easier.
feeling, a good use of feet, and

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An ability to perform the above twelve children can’t do. Show enthusiasm.
skills is usually needed before children Make it fun!
will skip nicely on both legs.
Notice that skipping could be defined
The one sided skip may happen first. as “marching in the air,” or “marching
The weaker leg takes longer to skip with hops.”
because it is less strong and less
coordinated. Allowing the one sided Even after they have all learned to skip
skip helps the weaker leg to learn. nicely, no specific use of arms should
It sometimes helps to have the class be taught or required, and no variations
practice extra hops on their weaker on the performance of the skip itself,
legs. other than eventually adding the
parallel retire.
If these skills seem to be place, and a
child is still not skipping, try taking *Note: The teacher should assign the
them by the hand and skipping with partners. Rotate them from week to
them. Give a slight lift to the hand at week to be sure they get to dance with
the time of the hop. everyone in the class. If students are
allowed to choose their partners, it
Have the child skip with another child becomes a social thing and can lead
who is a strong skipper.* Have everyone to hurt feelings and a loss of their
skip with partners at this time. Don’t attention.
draw attention to what one or two

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II. What To Teach Them?
Ballet Fundamentals for Fours 19
A Ballet Class for Fours 30
Level 2 Choreography for Class 32
Teaching Notes for Level 2 58
Level Two Class List 62
Level Two Music List 63

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Ballet Fundamentals for Fours
I. Starting the Class - Welcome and II. Moving in place for an awareness
Warming Up of self, and a sense of balance.
Children sit in a small circle with the Awareness of self is the beginning of a
teacher. She welcomes the children, dancer’s kinesthetic sense. This is the
takes roll, assigns spots or places with inner muscle sense that tells a dancer
them. exactly what they are doing as they
dance.
1. Learning the Names of Classmates
3. Three Points, Feet Together
The teacher puts a hand on the
shoulder or knee of the first student Fours are stronger and can do three
and says to the class, “This is Melissa. repetitions before changing feet.
Can you say Melissa’s name?” They Tapping the toes or heels 3 times in
practice it once. Teacher says, “Melissa, front requires more strength and
we’re glad you came today. Let’s say ‘Hi’ balance than doing it only once.
to Melissa.” Class responds saying, “Hi,
Melissa!” with the teacher. Ask, “Can you count to three? Good.
But can your toes count to three? Let’s
Go through the entire class. If the class try it.” They follow you as you tap your
is large, divide them into two circles, toes in front and count aloud to three.
with your assistant leading the second
group. After a few lessons, see if they “That’s right. Let’s count to three with
can respond without being told the our other foot. Good. Our feet know
child’s name. Tell them the name if how to count. Let’s try it with the
they hesitate. Then everyone says “Hi” music.”
as before. Counting out loud as their toes tap the
2. Arm Movements floor helps them to match the music.
Fours should continue to use the single
This is a warm up exercise, with two point and close occasionally, so that
versions. Learn one version well before this skill is not lost.
starting the second one. Young children
remember things better if there are 4. Three Heels, Feet Together
words to sing or say. It helps to learn The standing leg will quite naturally
the actions without the music first. do a slight fondu as the working heel
Music is added after they know what to touches the floor. They may also need
do. to lean slightly forward to keep control
of their balance.
Teaching notes for #3 and #4:

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Teach them to move just the leg, and on the balls of their feet. This is called
to not poke the hip forward when demi pointe.” It may help to have them
the foot goes forward. Pat the front of look at what their foot is doing each
the hip gently and say, “Is this your time.
foot?” They will probably giggle at that.
“No, it’s your hip isn’t it? Your foot is Heel lifts prepare them for demi-pointe
supposed to do the three points and walks, and for running, skipping and
close, not your hip.” Keep it fun, not galloping on the balls of the feet. It
critical. “Hips have to help us keep strengthens the feet gently.
our balance. So they have to stay still Many children at this age are strong
while our feet do the dancing.” Repeat enough to rise to the ends of the toes.
the exercise, saying, “Let’s see if we Discourage them from doing this. Tell
can keep our hips still while our feet them it will make their toes ugly. (They
dance.” may giggle at this idea. Or they may
Later in the year they can try these two look very serious. Both responses show
exercises from 1st position. The toes or that they listened.)
heel should still tap to the front. Use an 7. Down, Back, In, Jump Up
open fourth. They will balance better.
This is an extension of the “Down and
5. Jump Apart, Jump Together Up” exercise from Level 1. Hands go
down to the floor, knees bend between
Fours cannot control their legs well the arms. They shoot their feet back to
enough to use turnout when jumping. a pushup position, then spring their
They need to do all of their jumps feet in to the squat position again. To
in the parallel positions. They can finish, they jump up to a standing
coordinate their arms on this one. position, reaching arms up to the
When feet are together, arms are down ceiling.
at sides; when feet are apart, arms lift
to second. Most children love this exercise. It is a
bit challenging for them, but it moves
6. Lifting Heels with energy.
This is a new skill. “Lift your heel III. For an awareness of space, their
and bend your toes.” Point out to the
place in space, coordination.
children that when their heel lifts, they
are bending their toes. 8. Walk and Make a Shape
They may need some gentle “hands on” If they have had Level 1, making shapes
help in learning to bend the toes as will be familiar and fun. Making Shapes
they lift their heels. “Dancers have to and The Dancer’s Circle were learned
know how to bend their toes and stand in Level 1. This year, we add movement

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between the shapes, and do the exercise Have them stand in the circle. Have
in the dancer’s circle. They do eight them walk from the circle to one of the
walks, then stop, make the shape and lines you have put on the floor. Help
hold it four counts. You can have them them as needed. Work with them in
change the shapes during the exercise this way without the music at first.
by calling out the one you want them
to do. (These must be shapes they have Making group formations to dance in
practiced.) or from will encourage their awareness
of space, how to share it with other
Shapes can be a ballet position; a dancers, and how to control their
descriptive idea such as round, square, movements to fit the formations and
long, tall, big, small; or shapes can the movements of their classmates. It
express feelings such as happy, sad and is teamwork. Four year olds are just
funny. Tell children to hold the shape barely ready for this! They are in a
or picture steady so you can “take a social transition, moving from parallel
picture of it.” play to interactive play.
Fours can usually think up some poses Give each dancer clearly marked places
of their own. For variety, you could call to move from and to. As they go from a
out the first three shapes, then let them spot on one line to a spot on the other
do any shape they like for the last one. line, and make straight rows, they are
learning to share places in space with
9. Dancing in a Row other dancers. This is no small thing
for a four or five year old to do.
This is a new way of spacing the class
in the room. Take the time to be sure Sharing space and using space are
they are not confused with this new important dance concepts. If they
idea. The Dancer’s Circle is a circle. All are taught now how to do this,
In A Row is a straight line. Draw these you will have a much easier time
two things on paper for them. choreographing stage patterns for them
when they are nine or ten or older.
Children will need two clearly defined
lines to dance from and to stop on. Do take the time to approach these
Mark two lines on the floor with chalk concepts slowly, and in small enough
or colored tape. Make the lines long doses so that the children won’t feel
enough for all of the children to stand pressured, but will have fun doing it!
on comfortably. The lines should be
about ten feet apart. After working 10. Marching
with your class, you can adjust the Marching is done on the Dancer’s
distance to where they can perform Circle, or In a Row. The whole foot
best. must make a natural contact with
the floor. Arms must be allowed to

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swing in whatever pattern is natural Walking around something, like a
to each child. Three general patterns fish pond, or a campfire, or a flower,
are usually seen: both arms swinging will make the walks more interesting.
together, arms swinging in unison with Ballet arms in demi second can be used
legs, or arms swinging in opposition to sometimes.
legs. All three are correct at this level.
12. Running
The freely swinging arms are
progressing towards contralateral Runs, like walks, help children to
coordination. When the child’s nervous recognize musical tempos, and to
system is ready to do that, you will see improve their basic coordination. Use
it happen without instruction. arms as birds, butterflies, airplanes, etc.
They will also enjoy swinging a small
Fours can learn to combine marches scarf as they run.
with another movement, such as: “Do 8
marches, stop and do 8 claps.” Runs are done on the dancer’s circle,
or in a line straight across the room.
If the class is well disciplined, you The running steps are short and fast, a
could occasionally use rhythm “ballet run.”
instruments with marches. They can
learn to “March 8 counts, then stop and Encourage them to run on the balls of
play your instrument 8 counts.” their feet this year. When running on
demi pointe, their knees and ankles
11. Walking should be relaxed and use naturally.
Walks help them to recognize musical IV. Floor Exercises for Music, Use of
tempos. They help coordination. Muscles, Expression
Walks low and high are for awareness
of levels. Walks “reaching with toes” 13. Beautiful Arms
introduce the “ballet walk” for their
This is for expression, for music, and
level. Arms are allowed to move freely.
for learning the pathway of the ballet
Most fours are ready to learn the idea port de bras. Begin sitting sideways on
of reaching forward with their toes the left hip, feet and knees bent back
when they walk. Some may be able to to the right, weight partially resting
get the steps on the music. Some will on the left arm. The right arm works
not have this control yet. Following alone. At the end, switch to the other
the teacher or demonstrator who is side and repeat, moving the left arm.
walking with the music will help them Be sure to always do both sides of this
to eventually move in time to the exercise.
music.

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They mime picking a flower, lifting it foot, leaving it more prone to injury. It
(first to fifth), showing it to a friend works best to tell them to “point your
(fifth to second), then putting it in a foot” and not even mention the toes.
basket (second to demi second). This
introduces the pathway of a normal Heels should remain on the floor as
ballet port de bras with a story idea. the foot is stretched. Knees should not
be “pulled up” this year, as this could
When the ballet port de bras is cause sway backed knees.
introduced in the abstract, by simply
naming the positions, it is very hard 15. Lifting Legs
for young children to remember the Start sitting, legs straight out in front.
pathway, the names, and exactly where Lift one leg about six inches off the
in space each position is. Using a floor, then lower it. Place hands on the
mimed story brings it down to their floor a little in back for support. Do not
level of understanding. have them hold their legs in the air.
By having them sit, we eliminate the Holding a position stresses the joints. It
posture problems that occur when does not strengthen the movement.
young children begin to do port de 16. Parallel Retires
bras. Their shoulders and backs are
not stable enough to do port de bras This is a new movement, and a new
comfortably and correctly while position. Start sitting on the floor, legs
standing. out in front, hands on the floor and
little in back.
14. Ankles and Feet
Slide right foot up the left knee,
They say, “hello, toes” when toes are making a parallel retiré, then lift the
pointed ‘towards their noses’ and heel to make a pointed foot*. Slide
“goodbye, toes” when the toes are the foot out again and straighten the
pointed away. knee. Repeat with the left foot. Do not
Begin sitting, legs straight in front, let them turn the leg out. The knees
hands on floor slightly in back for should point up to the ceiling.
support. Sit tall. They should have When they can do the retirés fairly
straighter backs, and straighter legs this well, this position can be added to the
year. marches. Later, it can added to skips,
Be sure the toes stretch no further than trots, and other steps.
straight away from the dancer. Toes Parallel retirés can also be done lying
should not point down to the floor on the back with arms relaxed at sides.
when the ankle is stretched. Pointing
toes too hard could overstretch the Both methods are helpful. Use sitting
protective ligaments on the top of the for the first term. When sitting, the

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child can see what their legs and feet 19. Knee Bends or Demi Pliés
are doing. Use lying on the back the
second term. This gives the feel of the Do demi plié in two counts. Saying
retiré as it is used in marching and “Bend, and straight” gives about the
skipping. right speed. Use the Feet Together
position, or parallel feet. Hands are on
*It is natural for all of leg joints to want to waist.
bend at the same time, and to straighten at the
same time. i.e., When the knee bends, the ankle Later in the year, try first position. If
automatically wants to bend also. In ballet, we
they can open the knees to match the
isolate the movements of the two leg joints.
This is hard to do. Putting attention on just feet, use it. If not, stick to the parallel
one of the joints at a time helps the muscles to feet.
learn to do this.
Allowing the knees to fall inward can
do damage to the joints in the knees,
V. “Ballet Technique”
ankles, and feet of young children.
17. Positions of the Feet Children who cannot open the knees
to match the turnout of the feet need
The Ballet Positions of the feet and to keep the feet parallel pliés, rises and
arms are put to music this year, and jumps.
included in the ballet section of the
class. 20. Rises

Use the “Positions of the Feet” chart Present rises about half way though the
at the end of this manual to teach the year, after they can do the Heel Lifts
positions, and the amount of turnout fairly well. Start Feet Together, arms
to use. Third position is optional this free to help balance.
year. Have them learn it if you wish,
Rises are gentle, to about a quarter
but they should not dance from third.
pointe. Balance may be a problem
The muscular balance in the back and
at first. If needed, the teacher or an
legs is not mature enough to resist the
assistant can hold their hands to help
one sidedness of working from third
them maintain balance at first.
position.
Do not insist on perfectly straight
18. Port de Bras
knees this year. Turnout is not used.
The idea of a beach ball is used to help Four year old feet and ankles are
them understand about rounding their not strong enough to hold correct
arms for ballet. Some children will alignment against the turnout.
be able to round the arms. Some will
Do not be tempted to use a barre.
not. Don’t be too concerned, or draw
Young children’s muscles still need a
attention to those who cannot do it yet.
good deal of experience in balancing
The important thing is that the idea is
without the assistance of a barre.
being presented and understood.

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Relate rises to the concept of up and on their own as soon as possible. Give
down by showing them that when they assistance for only as long as they need
bend both knees, as in demi plié, they it for hops, rises, and other difficult
go down lower. But when they bend steps requiring balance. Challenge
both sets of toes, as in rises, it makes them to do it on their own. This kind
them go higher. of a challenge helps them to progress.
21. Fast Jumps VI. Floor Exercises for rest, musical
Do not worry about the feet. Correct rhythm, coordination, expression
knee action needs to come first. They Specific muscle use can be developed
may not be on the music yet. Fast better with floor exercises than when
jumps gives practice for the rhythm standing, as balance is not a factor.
and feel of the continuous jumps. Time permitting, use all of these
22. Big Jumps (Slow Jumps) exercises in every class, but only one
version of each.
At the slower speed, more attention can
be given to the correct use of the knees: 24. Turtles (curling and stretching the
bend on the floor, straighten in the air. body)
Slow jumps help the legs learn to push This exercise helps the abdominal
the dancer higher into the air. At this muscles, and practices the pointing of
level, it is OK for them to use arms and feet with knees bent. Start sitting, legs
bodies naturally in attempting to jump straight out in front, arms in second.
higher. The turtle is out of his shell. A cat
23. Hops on One Leg frightens the turtle. He quickly hides
in his shell to be safe.
Hops on one leg develop balance
and leg strength. Good hops are very Next, slowly stretch out, arms to 2nd,
necessary for learning to skip. Be sure legs straight in front, body sitting tall.
both legs are practiced. If children need (Turtle comes out to look around.) The
help balancing at first, hold both their teacher could pretend to be the Cat.
hands as they hop. With some direction, a child could do
the part the cat. Children can usually
Do not expect them to match musical match this activity to the music.
beats. Hearing the rhythm and feel of
the music will encourage them to do When they know the exercise, add the
so when they can. They need to build pointed feet. Their feet should stay
strength and balance in their hops. stretched throughout the exercise,
abilities permitting.
Children need to be able to balance
25. Using Hands, Heads, Arms for

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 Expression They can follow your lead, or keep
time to a short piece of music with a
We can express a story or idea with strong, clear beat.
our hands, arms and faces. They can
do longer stories and show more 27. Crawling (creeping)
expression this year. Have them show
you their ideas, too. Once a story is Crawling on hands and knees builds
learned, the movements can be phrased coordination and helps build the
with the music. This helps with music abdominal muscles. It helps legs to
awareness in the children. learn to move directly forward from
the hip joint.
Appropriate finger plays and hand
games may be fun for them as well. Notice that the shape of the legs as
Their ability to count is important in used in crawling is the same as that
dance. Learning to count by holding used in marching and skipping when
up fingers helps their hand control and the knees are nicely lifted.
their counting ability. Put the crawling activity into the story
26. Rhythm Study form. Change the story occasionally for
variety. Knees should be picked up, not
Children sit with legs folded, hands on dragged. They must take “steps” with
knees to begin. Use clapping, a drum, their hands and knees, and not slide on
rhythm instruments, etc. to teach the floor.
them to hear and follow the different
rhythms: 2/4, 3/4 and 4/4. They can VII. Creative Fun
learn about different tempos: fast, slow, The creative sequences are a little
etc. longer and more complicated this year.
To begin, children can learn the simple Two of them are designed specifically
musical rhythms with their hands. to help with posture development: The
Slap hands on floor saying “One!” Slap Sailboat, and Rag Dolls.
hands on floor saying “Two!” Your class may also like to continue
The floor makes a louder sound, doing one or two favorites from last
giving the “loud, soft” quality to the year. There is nothing wrong with
sound they hear. Do it several times this. In fact, you might be able to add
to represent the 2/4 meter. For 3/4, something to the favorite to make it a
add clapping hands in front of chest, bit harder.
saying “Three!” For 4/4, add a hand clap For instance, if Balloons is a favorite,
overhead saying, “Four!” double the music. On the second half,
Use rhythm instruments occasionally. the balloon gets loose, we have to chase

GO TO INDEX 26 THEBALLETSOURCE.COM
it, catch it by its string, tie it to our polka, glissade, pas de bourrée, chainé
waist, and skip home with it. turns, and grand jeté en tournant, to
name just a few.
VIII. Dance Steps
30. Pony Trots or Prances (On My
Dance steps are a more complex use Bicycle)
of the fundamental movement skills.
Some simple enchainements are Pretending to ride a bicycle is fun. The
included this year. feet are picked up with a slight hop
each time, resembling prances or pony
28. Rocking (from side to side) trots. This can also be “picked up feet”.
Rocking with Feet Apart leads to Note that the rhythm of pony trots is
swaying and to transfer of weight. even. Gallops have an uneven rhythm.
Fours enjoy swinging scarves from Even so, this movement does prepare
side to side as they rock. They enjoy them for the picked up gallops forward,
pretending to rock a doll or a baby to and eventually, for pas de chat!
sleep.
31. Forward Gallops
To do swaying, introduce a slight
softening or bending of the knees as Galloping is done around the
they go from one foot to the other. dancer’s circle. Gallops, like marches,
Rocking and swaying lead to all of the are important builders of natural
moving to the side steps in ballet, such coordination. Most children love to do
as glissade and pas de bourrée. them. So do them often.

29. Side, Close Some children may still turn slightly

sideways when they gallop forward.
Moving sideways is not natural Some exercises that may help them
to people. This exercise uses the learn to move the leg straight forward
leg muscles in a way that forward of the hip are leg lefts, parallel retirés,
movement does not. If they have done crawling, and marching.
Level 1, the Level 2 versions should be
fairly easy for them. Fours can do this Correct muscle use is not just a matter
step in straight lines, as well as in the of teaching. First, the child’s age greatly
circle. affects the amount of control they
have over their movement. Second,
Side, close involves moving in space. the child’s movement experience from
Four side closes to the right, and four birth to now is a major factor. It takes
to the left should put us right back movement experience to learn more
where we started! advanced movements. The repetition
This skill helps side gallops, turning of the more basic movements paves
the way for the muscles to learn

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new movement skills and to progress in each one in turn, needed or not, so no one
coordination. feels left out of the extra attention.
Third, young muscles are busy getting 33. Skipping
stronger. Muscle strength is a factor in
skill development. The necessary strength See page 16 for help with the pre-skipping
must be there if a movement is to be skills. Nearly all fours and fives can skip
learned. by the end of this year. But don’t push it.
Let them do whatever their legs naturally
New skills are built upon the skills the do in place of the skip: gallop, one legged
child already has. You cannot teach a new skip, etc.
skill very easily when the foundation for
it is not secure. Sometimes the learning For assistance, teacher or an assistant can
can forced with persistence, but the hold both of the child’s hands up over the
end result is not a step toward the next child’s head and slightly forward. Be sure
level. Instead, it may well become and the child is comfortable with this position.
impediment to further progress in that Have the child stand on one leg and hop,
direction. then step to the other leg and hop. Give a
slight lift to the hands when they should
Some children at this level may not hop.
be abel to gallop on their weaker keg.
You will see them changing back to the 34. Talking Time (no music)
stronger leg as soon as they start to gallop. Their legs need a rest, and they will enjoy
Be sure they get the weaker leg started a short chance to talk to and to listen to
forward at the right time. When this leg their teacher.
strengthens enough, they will begin to
gallop on it. IX. Dance Sequences, Enchainements
32. Side Gallops The Mountain Dance has three sides this
year. This is to help them to increase their
Hold hands with them in a circle, and ability to remember enchainements. Three
gently pull them in the right direction. A items is a lot for fours, but not so hard for
few may get their feet mixed up at first, fives. Choose only one sequence to work
but this direct approach usually works on at a time. Let them learn it rather well
best. before going on to another one.
Don’t try to explain to them how it is
X. Dances
done. Too much information can confuse
them, and make the movement harder There is a good variety of new dances, at
to learn. If some need more help getting about the right length for this level. It is
started, face one child, take hold of both suggested that you not use too many of An
their hands, and gallop with them. Help

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these in any one year. Their memories do
have a limit.

35. Curtsey or Bow

Keep the feet together and parallel. Do not
put the working foot in back. Putting one
foot behind the other is very awkward for
a four year old. They lose their sense of
balance.
With feet together and parallel, lift the right
heel. The right toes can be slipped back next
to the middle of the left foot. Now bend
both knees. Arms are held in demi second.
If they wear a skirt, they can hold it.
Boys bow from the waist. Right arm is held
in front of the waist, left arm in back.

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A Ballet Class for Fours
An Orderly Class Is More Fun! Right or Left?
Fours understand class rules, but they Fours are still not ready to differentiate
also tend to “test”. They need firm right from left while they are moving.
guidance and structure from the teacher. Accept either foot this year. Show
They need to be assigned a place or the one that is wanted, but make no
“spot” for the class, marked with a piece comment if a child uses the other foot.
of colored tape, chalk, etc.
They Are Sensitive!
When not actually performing, they
return to and sit on their “spots” with Fours find criticism or correction
their legs folded, and their hands on difficult to deal with. They are very
their knees. This helps to build the quick to hand it out, but lose confidence
disciplined feeling so characteristic of a in their ability when it is given to
traditional ballet class. them. Avoid pointing out things
that an individual child cannot do.
An Orderly Class Is Easier To Teach! Improvements need to be addressed
to the class as a whole, and need to be
The teacher or demonstrator should positive and encouraging.
stand facing the class, and have them
follow the movements in mirror Keep It Simple!
image fashion. When the children are
to use the right foot, the teacher or Simplicity is very important. There are
demonstrator uses the left foot. story ideas to use or words to say or sing
with almost every activity. It may seem
This method allows the teacher to see like a wonderful set of motivators at first.
the entire class at all times. It enables But don’t use all of them. Only use a few.
the teacher to see how the children
are responding, and how well they are The children do need to learn individual
preforming. It is very helpful for keeping steps in the pure, isolated form.
the class in order. Otherwise, they may have learned the
story or the words, but not the step.
The mirror image method of leading
movement helps the children to After several weeks of their knowing the
concentrate on the lesson to be learned. step, and being able to do it without the
Since their brains don’t have to spend a teacher’s help, then use the story idea to
part of their concentration on reversing give additional motivation.
what they see, they are totally free to Also, if you keep the use of stories
take in the information being presented. during the skill sections to a minimum,

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the creative activities and dances will 2. Their arms need to move freely
seem more enticing to the children. in order for their neuromuscular
Use the best motivators with the things systems to be able to improve in
you want them to be most excited coordination. Holding the arms still
about. Ballet is a performing art. on a barre with tend to inhibit any
improvement in coordination.
What About Barre?
3. Young children need the security
Not yet. of facing their dance teacher. Seeing
1. Children at this level still need a lot their teacher in a mirror is not quite
of improvement in their sense of the same.
balance. This does not happen when Not using a barre will not hold back
they use a barre. The barre acts as a their learning of ballet. Working
substitute for strength, for muscular without a barre will greatly help
balance, and for a sense of balance their progress in balance, strength,
against gravity. coordination and muscle use.

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Level 2 Choreography for Class
This collection of activities and dances appropriate for teaching at Level 2 cannot
all be done in any one class period. The teacher will need to choose which
things to use each term. Keep in mind that young children need consistency and
repetition. When a new term starts, change some material, but not all. Keep the
general format, procedures and rules of the class the same for the entire year. For
more detail about teaching these activities, see pp. 19 through 29. For questions
about “standing on toes”, see page 88.
Please note that the musical counts and descriptions are for the teacher’s
information. It is not intended that the children be expected to count music as
they dance, not at this level. Musical counts must, in some cases, be considered
approximate, because most four year olds lack the muscular control needed to
stay with the musical counts all of the time. Have them change steps on the
phrases when they cannot follow the beats. Don’t worry very much about exactly
how many of everything they do, or which foot they use. They are learning to
listen to and follow the music at their level of ability. Their abilities will improve
as they are allowed to perform the best they can.
Some exercises are numbered in groups showing the teaching progressions for
certain skills. The bold numbers in the left column are the CD tracks, to help in
finding the correct music. Unless stated otherwise, the starting position is held
through the introduction.

I. Starting the Class - Welcome and Warm Up

1. Learning the Names of Classmates
Learning each other’s names give positive individual attention right
at the beginning of the class. It encourages students to become
acquainted with their classmates, and to be friends with each other
in class. It gives the teacher a chance to spark their enthusiasm about
whatever is planned for the day’s class, and to build her rapport with
the children. Giving children a little special attention as class begins
helps them to feel secure and cooperative during the lesson.

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 1/66 2.a. Second Position with Front Circles
6/8, 2 cts/m, These exercises for the arms are intended as a warmup, and can be
2 m intro, 16 m done with or without music. They can name the positions as they
do them, or sing or say the accompanying words. Arms start relaxed
down at sides. Dancers stand in Feet Together position. The spins can
be on whole foot, or with the heels lifted.

1-4 Lift arms to a natural 2nd, lower “It’s a beautiful day for dancing,
5-8 Repeat “The sun is shining, the wind is
blowing. . .,
9-12 Circle both arms in front, crossing and “It blows our arms in a circle up high
uncrossing, stopping in a natural open 5th, hold
13-16 Lower slowly. “And lets them down again.”
1-16 Repeat all.

2 2.b. Demi Second Position with Spins

6/8, 2 cts/m,
2 m intro, 8 m 1-4 Arms lift to demi second, then lower to sides, repeat. “It’s rain . . . ing, it’s rain . . . ing.
5-8 Open slowly to demi second and hold. “Let’s open our umbrella
1-4 Spin around in place, arms steady. “It’s nice and round, it sheds the
rain,
5-8 Carefully kneel, then sit on feet, arms still in demi “Down to . . . the . . . ground.”
second

II. Moving in place for an awareness of self,

and a sense of balance
Four year olds are still not ready to differentiate right from left while they are
moving. Show the correct foot, but accept whichever foot they choose.
3. Three Points, Feet Together
3 Start standing in place, feet together, hands on waist or arms relaxed
2/4, 2cts/m, at sides.
2m intro, 8m
1-3 Stretch ankle and tap toes on the floor in front 3 times with the right foot.
4 Bring foot back to Feet Together position.

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 5-8 Repeat with left foot.
9-12 Repeat all.

4 4. Three Heels, Feet Together

2/4, 2cts/m, Start standing in place, Feet Together, hands on waist or arms relaxed
2m intro, 16m at sides. When heel is extended forward, the supporting leg will need
to bend slightly.

1-3 Flex ankle and tap heel on the floor in front 3 times with the right foot.
4 Bring foot back to Feet Together position.
5-8 Repeat with the left foot.
9-12 Continue through the music.

5 5.a. Jump Apart, Jump Together

2/4, 2 cts/m, This can also be called “Jump Out, Jump In.” Start Feet Together,
2m intro, 8m arms relaxed at sides. *Arms movements are added after the feet are
learned and practiced for a while.

1 Jump to 2nd position of Feet Apart, *lifting arms to 2nd

2 Hold.
3 Jump to Feet Together, arms down at sides.
4 Hold.
5-16 Continue through the music.

6 5.b. Jump Apart, Jump Together, at a faster speed

2/4, 2cts/m, Start Feet Together, arms relaxed at sides.
2m intro, 8m
1-2 Jump to a parallel 2nd position, lifting arms to 2nd.
3-4 Jump to Feet Together, arms down at sides.
5-16 Continue through the music.

GO TO INDEX 34 THEBALLETSOURCE.COM
 7 6. Lifting Heels
4/4, 2cts/m, This prepares for the demi pointe walk, for rises, and for running,
1m intro, 8m skipping and galloping on the balls of the feet. It strengthens the feet
gently. Many children at this age are strong enough to rise to the ends
of the toes. Discourage this. (See p. 88.)

1-2 Lift right heel off the floor bending toes, ball of foot “Lift your heel and bend your toes
on floor.
3-4 Lower heel to the floor. “Put it down again.”
5-6 Lift left heel off the floor.
7-8 Lower heel to the floor.
1-8 Repeat through the music.

8/67 7. Down, Back, In, Jump Up

2/4, 2 cts/m, Start standing, Feet Together, arms relaxed at sides. Use only half the
2m intro, 16m music at first.

1 Squat down and place hands on floor in front, knees between arms.
2 Put weight on arms and “jump” the feet back into the “pushup position”.
3 “Jump” the feet forward into the squat position again.
4 Spring up to a standing position, lifting arms up towards the ceiling.
5-32 Repeat through the music.

III. Moving around the room for awareness of space, their place
in space, and for coordination.
9 8. Walk and Make a Shape
4/4, 4 cts/m, Begin standing in the Dancer’s Circle. Decide on the shapes to make
1m intro, 16m before starting the exercise. It is best if the teacher chooses the shapes
for them at first. Making Shapes and The Dancer’s Circle were both
learned in Level 1. Review these items if you have dancers that have
not done them.

1-8 Eight walks around the circle. “Walk around the circle . . .
9-16 Stop, make a shape and hold it. “Stop and make a picture.”
17-64 Continue through the music.

GO TO INDEX 35 THEBALLETSOURCE.COM
 10 9. Dancing in a Row, or “Clap and Go”
4/4, 4 cts/m, Children will need two clearly defined lines to dance from and to
no intro, 24m stop on. Mark two lines on the floor with chalk or colored tape. Make
the lines long enough for all of the children to stand on comfortably.
The lines should be about 10-12 feet apart. After working with your
class, you can adjust the distance to where they perform the best.
At first, you will need to stop between each action and gently
straighten the alignment of the children. It will take a while for them
to keep the line straight without help. The word “line” can be used in
place of “row”, if preferred.

Start sitting or kneeling side by side on a line. Hands are on knees or

in lap.

1-4 Stand.
5-8 Clap four times.
1-8 Do 8 gallops to the other line and stop on the line.
1-2 Turn around to face the first line.
3-6 Kneel or sit as at the beginning.
7-8 Hold.
1-72 Repeat through the music, including the introduction; done 4 times in all.

11/68 10.a. Marching in a Circle

4/4, 4 cts/m, Marching is done on the Dancer’s Circle, or in rows from one line
2m intro, 16m to another. Arms should swing naturally, in any pattern. Marching
is one of the best ways to improve coordination when the arms are
allowed to swing naturally.

1-64 Continuous marches, swinging arms, lifting thighs to the horizontal

12/69 10.b. Marching in a Row

2/4, 2 cts/m,
2m intro, 32m 1-12 Twelve marches forward from one line to the other line.
13-16 Stop, turn around to face the other way. (Teacher’s choice of how they turn.)
17-64 Repeat through the music.

GO TO INDEX 36 THEBALLETSOURCE.COM
 13 10.c. Marching with Retiré
4/4, 4cts/m, The music is played at a slower speed to give them a little more time
2m intro, 8m to make the parallel retirés.

1-32 32 continuous marches, lifting foot to parallel retiré each time.

14 11.a. Walking, and the Ballet Walk

3/4, 3 cts/m, Walks and runs help with musical tempos, and with coordination.
1m intro, 16m The natural walk to music should be practiced for a few weeks before
the Ballet Walks are introduced.

Ballet Walks are done “reaching with toes” and putting the toes down
softly, then the heels. Arms should be allowed to move naturally until
they are able to do the walks with the music. Then arms can be in
demi 2nd, or hands on waist with fingers forward.

1-48 48 walks around the Dancer’s Circle, using a natural walk, or

48 Ballet Walks, reaching forward with the toes.

15 11.b. High and Low Walks

4/4, 4cts/m, High and Low Walks do not involved any specific use of the feet.
1m intro, 8m They are natural walks done in levels. The high walks can be on
“tip-toe” (quarter pointe). High and low walks are for an awareness of
moving at different levels.

1-8 Walk low, as if hiding behind something.

9-16 Walk high, as if trying to see over a fence.
17-32 Continue through the music.

16 12.a. Running in a Circle

2/4, 2 cts/m, They can use arms as birds, butterflies, airplanes, etc., or use a scarf.
2m intro, 16m Runs are done on the balls of the feet (knees and ankles relaxed and
used naturally). Remind them to use the short, fast steps of a “ballet
run”, not the big steps of a “playground run”.

1-32 Continuous runs on the Dancer’s Circle, or as choreographed by the teacher.

GO TO INDEX 37 THEBALLETSOURCE.COM
 17 12.b. Running in a Row
2/4, 2 cts/m, Running can also be done in a straight line, moving across the room to
2m intro, 16m another line. This formation is more difficult. Suggestion: try it with
partners holding a ribbon or scarf between them. Gradually add more
dancers to the line as they are able to stay together.

1-6 Run across the room from one line to the other.
7-8 Stop and turn around.
1-6 Run back across the room.
7-8 Stop and turn around.
1-16 Repeat all.

GO TO INDEX 38 THEBALLETSOURCE.COM
Thank you!
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