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Davenport School of the Arts
 Dance Department

Welcome to Class!

The Bones Song & Dance

10-26-10/30 Bones Dance & Bones Worksheets

Bones Guru Pt 1 & 2

This page will offer parents and students information on Dance Techinique, Exercises, Homework, and Study Guides.  The intent is for the student to become self-directed in their dance studies.  You may open links for study resources, information, and homework such as exercises to practice.

Mrs. Harvie teaches a graded discipline of Dance Technique which is a combination of The Graceful French, The Cecchetti Methods, and American Ballet.  Mrs. Harvie has developed a spiral curriculum based on researched based practices, professional teaching experience, and accomplished practices.  

Units of Study

Unit 1- Protocols, Etiquette, and Appearance

Unit 2- The 11 Principles of Dance

Unit 3- Dance Theory

Unit 4-Muscles, Bones, Nutrition

Unit 5-Dance Companies, Dance History, Ballets

Unit 6-World Dance & Time Signatures

Unit 7- The Art of Production

Unit 8-Performance and Dance Critique

Unit 9-Choreography and Developing the Student Choreographer

Focus and Emphasis in Level 1

During the third year of study the subtleties of the classical training begin to be addressed. Corrections will be more probing and awareness of correct line will become a part of the measure of progress. Again there is a period of review before the new material for the year is introduced.

Coordination between arms and legs is emphasized, both at the barre and during the adagio section in center. Another emphasis is on the upper body. The positioning of the arms in 2nd position is central to the correct development of muscles of the torso. The shoulders should remain down, the shoulder blades flat against the back and not contracted either downward or towards each other; in other words a natural, upright stance is encouraged. When the shoulders are positioned in this manner, the chest can be open and slightly uplifted. From this stance the muscles of the back are engaged and support the arms.

It is difficult but essential task to make the students understand that it is not necessary to tense the surface muscles, such as the deltoid or biceps in order to hold the arms in position. Rather, these muscles need to “lie quietly “ on the bones and by this refusal to be activated allow other muscles such as the latissimus dorsi and the supraspinatus to perform the job of holding up the arms. When an untrained person is asked to raise an arm, the movement usually occurs from the shoulder. Ballet training teaches the student to isolate muscular actions selecting the muscles that can be used most efficiently to perform a specific motion. This process of isolation and selection is the core of learning neuromuscular response.

Exercises at the barre are essential components of classical dance education. Each exercise conditions and strengthens a specific area of the body; by the end of the barre each major joint (ankle, knee, hip, and shoulder) has been used in two ways as a supporter and as a prime mover. As the supporter its strength has been tested; as a prime mover its flexibility or mobility has been explored. Both of these functions are necessary to produce motion. The technique is designed to promote movement not to inhibit it. Thus beyond the mechanics the total benefit of a wall balanced barre includes the fostering of a specific neuromuscular response.

Heel down. As children we did not appreciate the importance of this correction often perceiving it merely as an impediment to getting quickly from one place to the next. But the action of placing the heel firmly back on the floor each time the working leg returns to a closed position (3rd or 5th) conditions the body for a quick weight changes in the execution of petite allegro provides the necessary traction during preparations for pirouettes ensures a safe landing in grand allegro and promotes “clean” execution. The benefits do not stop there. The most important function of placing the heel down in that it provides a release of the muscles at the back of the leg (calf and hamstrings) essential to maintaining a healthy musculature. When I was a young student, problems with the Achilles’ tendon and tendonitis were not common ailments among dancers. If this basic habit is fostered early in training, these ailments can totally be avoided.

Turn out. The enforcement of turning out correction from the hip joint needs to be closely supervised at the barre. In this year, turn out can be increased but not yet stressed if the knees are not completely straight or if there is pronation. Avoidance of tucking under during grand plie and during extensions such as developpe is on way of promoting correct turn out.

Temps lies introduce the concept of weight transference the oppositional use of arms and coordination between arms and legs. The adagio can be longer and more complex, and the allegro enchainment can use two or three steps with in one combination.

Remember when doing Vocabulary that French prefixes like En or De will not help you find the word...look up Croix for En Croix...or Dedans for En dedance.

Click the videos to learn about Ballet History and Important Artists

Grading becomes more challenging each nine weeks.  During the 1st nine weeks, you are expected to develop skills and develop organization, responsibility, and etiquette.  During the 2nd nine weeks, you are expected to take what was presented during the 1st nine weeks, and expand, grow, and master even further.  Because the dance concert happens during the 3rd nine weeks, this time period offers the highest stakes.  You are expected to use your mastered skills and present them on a pre-professional level.  The 4th nine weeks is a time when you will create your own work, step out using your acquired skills, prepare for auditions, and demonstrate mastery of the coursework for the year.


First Nine Weeks Concepts & Study Materials

Majors will cover the following concepts and standards during the first nine weeks:

Appearance, Protocols, & Etiquette

Self-discipline, Self-correction, & Constructive Criticism

Barre Protocols

Barre Exercises for weeks 1-6

Barre Exercises for weeks 7-10

Center (Au milieu) Protocols

Port de Bras



Reverance & Dance Traditions

Dance Genres & Historical Overviews

Room & Stage Directions

Basic French Vocabulary & Dance Terminology

5 Positions of the Feet (note we study & practice 4th open, not crossed)

5 Position of the Arms Checkpoints

11 Foundation Principles of Dance 

Positions of the Body

Learning Goals, and Lesson Objectives for first nine weeks:

Objectives- Students will be able to:

Cognitive Domain-

  • Identify and say new ballet terms;
  • Translate action words to ballet terminology;
  • Follow directions given for performance of exercises and steps; and
  • Apply principles, rules, and protocols to class work.
  • Execute classical foot and arm positions, First and Second port de bras;
  • Perform the following barre exercises; demi-plie, battement tend, battement tendu with demi-plie, battement degage, rond de jambe a terre, foot exercises; pointe and flex, foot presses and pedals; and grand battement;
  • Execute the following center steps; coupe, pas de bourree, walk, chasse, reverence;
  • Perform appropriate barre and center protocols; and
  • Transpose the same step to the other side.
  • Attend to directions given by teacher,
  • Cooperate in class activities, and
  • Understand and demonstrate basic ballet protocols.

Performance Test Content

Principles and Rules-The student will demonstrate

  • Unit I principles: alignment, stance, turn-out, distribution of weight, transfer of weight, and balance; and
  • Unit I barre and center rules and protocols.

At the Barre- Students will be able to demonstrate the following

  1. Classical foot positions
  2. Demi-plie
  3. Battement tendu
  4. Battement degage (modified)
  5. Point and flex the foot
  6. Foot Presses and Pedals
  7. Grande Battement

In the Center- Students will demonstrate the following

  1. Stage directions
  2. Room directions
  3. First and Second port de bras
  4. Four battement tendu en croix
  5. Coupe
  6. Pas de bouree
  7. Ballet walks
  8. Chasse
  9. Reverence (not tested)

Written Examination- See Unit 1 Study Guide

This nine weeks we will be using guided discovery to understand Choreographic principles, structures, and devices.  Choreographers use creative processes to create new movement through experimentation, improvisation, and their "toolbox" to create new dance works.  Students will participate in individual and peer assessment, performances, and go through the audition process with immediate feedback.  Click the title to download the entire project.