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Simple Barre Work For Six Year Old Children

Type:

Teacher article

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None

Promenade, Entrance and Curtsey\Bow

3\4 (1 count per bar)

Students enter with a promenade to music around the room, finishing in lines to curtsey\bow to the teacher, then walk to the barre.

BARRE

(NOTE: All barre work may first be done facing the barre then later as the students get stronger one hand on the barre)

1. DEMI PLIE AND RISES

Prepare: 1st position, facing front

Introduction: Port de bras 1st to 2nd

1- 2 Demi plie in 1st position

3- 4 Straighten knees

5-6 Rise to demi pointe

7- 8 Lower heels to floor with tight knees

1- 4 Demi plie in 1st position, stretch knees

5- 8 Degage de cote, place in 2nd position

Repeat exercise in 2nd position, closing back to 1st at end.

Repeat to end of music, lower arm to bras bas, head turn center

2. BATTEMENT TENDU

Prepare: 1st position, facing front

Introduction: Port de bras 1st to 2nd

1- 2 Battement tendu de cote

3- 4 Repeat battement tendu de cote

5- 8 Port de bras to the barre, arm to 5th position and recover opening arm to 2nd

Repeat to end of music, lower arm to bras bas, head turn center

3. BATTEMENT GLISSE AND RETIRE

Prepare: 1st position, facing front

Introduction: Port de bras 1st to 2nd

1 Battement glisse de cote

2 Degage

3 Close to 1st position

4 Hold in 1st position

5-8 Repeat

1-2 Place working toe to the floor (petit retire a terre)

3-4 Slide working foot to retire de cote

5-6 Lower toe to floor (petit retire a terre)

7-8 Lower foot back to 1st position

Repeat to end of music, lower arm to bras bas, head turn center

  1. FIVE POSITIONS OF THE FEET

Prepare: 1st position

Introduction: Port de bras 1st to 2nd

1-3 Degage de cote

4-6 Lower to 2nd position

1-3 Degage in 2nd

4-6 Close 3rd position devant

1-3 Degage en avant

4-6 Lower 4th position devant

1-3 Degage in 4th position

4-6 Close 5th position

1-6 Lower working arm to bras bra

1-6 Port de bras 1st to 5th

1-6 port de bras to 2nd position

1-4 Degage de cote

4-6 Close 1st position

Repeat the exercise, lower arm to bras bras , head turn center

(OR alternative exercise facing the barre using only three positions of the feet)

  1. DIVIDED GRAND BATTEMENT DEVANT

Prepare: 1st or 3rd position feet

Introduction: Port de bras 1st to 2nd

1-2 Degage devant

3-4 Grand battement devant

5-6 Degage a terre

7-8 Close 1st \3rd position

1-16 Repeat grand battement twice

1-7 Port de bras through bras bra, 1st to second with use of the head

Repeat the exercise, lower arm to bras bras , head 1\4 turn center

Author

Alisa Finney

Alisa Finney

Alisa Finney re launched the Melbourne Ballet Company in 2007 and she carries responsibilities in artistic direction, programming and professional development for the company. Her successful career as a Principal ballet teacher at Gay Wightman School of Ballet for over 20 years is ably supported with an Advanced Diploma in Dance Teaching from the Australian Ballet School (Distinction), Borovansky Memorial Australian Academy of Dancing Diploma, Australian Institute of Classical Dance Licenciate Diploma, Bachelor of Applied Science (RMIT) and Bachelor of Business Administration (RMIT), plus multiple certificates in pedagogical studies that enhance her career in dance education. As Principal of the Gay Wightman School of Ballet she puts on 3 student productions annually with over 400 performers, teaches the Vaganova based BMAAD syllabus from Pre-Primary to Solo Seal and is a teacher of VCE and VET Dance as well as private coaching. Alisa has developed a 13 level elite student dance program- the Melbourne Ballet Company Coaching School, and she delivers and co- ordinates teachers development days in this system of training. Students are submitted in exams for this through the Australasian Dance Assessment. A vision to create a ballet company has been hers for many years. As a manager of a performing arts organisation she has taken the primary role to initiate and develop the Melbourne Ballet Company, securing its clear direction and future through bringing in key alliances and ensuring a stable management structure for the company. To maintain the momentum of a professional company that is high in integrity with committed and loyal personnel in the competitive environment that is Melbournes arts scene has earned her great respect within the industry and abroad. Now in its fourth year of operation, and with nine successful performance seasons, Alisa has provided a surety for Melbourne Ballet Company’s future.

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