CCDC Dance Classes
- CREATIVE MOVEMENT / "DANCE IN MY PANTS!"
- (Ages 3-4) Designed to cultivate and celebrate
the inner dancer in every child. Movement games, simple stretching, introduction
to rhythms, follow the leader and coordination development. Introduction to dance as play.
- (Ages 5-6) Designed to cultivate and celebrate the inner dancer
in every child. More joy of movement, simple stretching, rhythm, coordination and
timing development. Takes advantage of increasing mental and physical awareness to explore
basic movements and musicality. Begins exposure to ballet basics.
"We are all dancers...the difference is the
quality of our training."
- BALLET 1
- (Ages 6-7) A journey of a thousand smiles begins
with the introduction
of a few basic steps. Introduction to classical barre and center work and
Development of motor skills, continued stretching and warming-up. Introduction
to most basic foot positions, arm positions, other poses, traveling moves and
small jumps. Discovery of turn-out.
- BALLET 2
- (Ages 7-8) Exploration of classical barre work and
introduction of more terminology. Continued development of motor and dance
skills. More stretching, lengthening and strengthening exercises at the barre
and in center. Implementation and strengthening of placement and turn-out.
- BALLET 3
- (Ages 8-11) Development of barre and center exercises.
Introduction to eight classical body positions. Lays the ground work for
turning out to turn and lengthening to balance. More vocabulary of small
and medium jumps, other traveling moves and poses.
- BALLET 4/POINTE 1
- (Ages 10 and up) Mastery of ten contemporary
body positions, four Russian arabesques and five arm positions and transitions.
Introduction to inside and outside turns. Introduction to beats, more
complicated small, medium and big jumps. Prepointe and beginning pointe
work at the barre and limited center for girls. Introduction to tour
en l'air and grande pirouettes for boys.
- BALLET 5/POINTE 2
- (Ages 11 and up) Mastery of complicated
turns at barre, flic flac, traveling away from barre and more advanced center work.
Multiple turns, introduction to fouette' turns, more complicated big jumps.
Introduction to turning jumps and jumps that turn. More complicated barre
and center work on pointe for girls. Multiple air turns, big traveling steps,
development of ballon and battu for boys. Some students may never advance
beyond this level.
- BALLET 6/POINTE 3
- (Ages 13 and up) By invitation only. For elite students
considering professional careers. Partnering, classical and contemporary choreography
and female repertory for girls. Partnering, male variations and classical and
contemporary choreography for boys.
"Five things are required to become a
professional dancer at the highest level: good body,
good mind, good spirit, good training and...
- OPEN DIVISION
For the recreational dancer and the student who dances for the joy of movement.
Excellent for gymnasts, skaters, cheerleaders, actors, singers and others
looking to strengthen their dance basics. Or just busy people! Dance when you
- PREPROFESSIONAL TRACK
- For the dance student contemplating a
professional career or post-secondary training. Or for anyone who wants to be
held to the highest standards and eventually aspires to dance at a level far
beyond the basics. Students from other dance programs may be allowed to
supplement their training after individual evaluation. Otherwise, more
rigorous attendance requirements, but, it’s not hard work if you love to dance!
- POSTSECONDARY PROGRAM
- Intensive training for selected recent High School
graduates in preparation for professional or college auditions.
It's not hard work if you love what you're doing.
"*Good luck = preparation + opportunity"
- TAP A
- (Ages 8-11) America’s great contribution to the dance
world. Introduction to Broadway and contemporary tap. Brushes, steps, ball-
change, toe taps, shuffles, sugars, heel drops, slaps/flaps, stamps/stomps,
etcetera. Beginning traveling steps. Intro to improvisation. Learning to
listen to and reproduce simple tap steps.
- TAP B
- (Ages 10 and up) More complicated, syncopated Broadway
and contemporary tap. Scuffles, riffles, buffalos, Irishes, Maxie Fords, stomp
turns, cramp rolls, flams, etcetera. More intricate traveling and turning
steps. Intro to basic time steps and theory of doubling and tripling time
steps and other basic tap. More improvisation. Learning to listen to and
reproduce intermediate tap steps.
- TAP C
- (Ages 11 and up) Mastery of Broadway and contemporary
tap. Exposure to other forms and traditions of tap. Single, double and
triple rhythm, cramp roll, stomp, shuffle and other time steps. Introduction
and mastery of single, double, triple and syncopated wings. Developing the
ability to single, double, triple and syncopate all basic and advanced tap
steps while turning and traveling. Learning to listen to and reproduce
intricate tap choreography. Tap improvisation and tap challenge.
"Proper preparation is the key to execution."
- MODERN A
- (Ages 8-11) Introduction to basic forms of Modern
dance. Beginning floor work. Discovering and exploring the non-classical
vocabulary of movement. Use of world rhythms and music to initiate dance steps.
- MODERN B
- (Ages 10 and up) Exploration of intermediate forms of
Modern dance. Making and moving shapes to different rhythms and music. Floor
work, graining, contraction/release and use of breath. Investigation of
emotion in motion and ideas as movements. Developing improvisational skills.
- MODERN C
- (Ages 11 and up) Especially recommended for students
considering majoring in dance at colleges or universities. More floor work,
isolations, shaping, contraction/release and use of breath to initiate and
sustain movement. Exposure to major different styles of contemporary and post
contemporary dance in America. Graham, Limon, Horton, etcetera. Developing
comfort with improvisation, structured and unstructured dance games and modern
"Excellence comes from good work habits.
Practice makes perfect."
- JAZZ A
- (Ages 8-11) Introduction to Broadway style Jazz
Dance. Isolations, contractions, hinges, jazz turns and jumps. Developing the
strength and technique to perform Show dancing. How do I get to “the Great
White Way”? Start right here! (Age appropriate movement)
- JAZZ B
- (Ages 10 and up) Development of Broadway style Jazz
Dance skills. More complicated isolations, intro to popping and locking, lay-outs,
multiple jazz turns and more complicated jumps. Jazz jumps that turn and Jazz
turns that jump. Honing performance skills. (Age appropriate movement)
- JAZZ C
- (Ages 11 and up) Mastery of Broadway style Jazz Dance
skills. More complicated jazz choreography incorporating some popping,
locking and hip-hop. Multiple jazz turns and more spectacular jumps that
turn and turns that jump. Developing the ability to own the stage and “sell”
a performance. Teachers will be sensitive to age appropriate movement.
"Commitment to discipline and hard work create the
foundation for true freedom of artistic expression."
- LYRICAL A
- (Ages 8-11) Introduction to Lyrical Jazz Dance.
What’s that? Lyrical is as lyrical does. The best of ballet, modern and jazz
set to slower tempo music. Think long, beautiful poses and languid movement.
Training for control, extension and balance in execution of poses, turns and
- LYRICAL B
- (Ages 10 and up) Development of Lyrical Jazz Dance skills. What’s that? Lyrical is as lyrical does. The best of ballet, modern and jazz set to slower tempi music. Think long, beautiful poses and languid movement. Training for more control, extension and balance in execution of poses, turns and jumps.
- LYRICAL C
- (Ages 11 and up) Mastery of Lyrical Jazz Dance skills. What’s that? Lyrical is as lyrical does. The best of ballet, modern and jazz set to slower tempi music. Think long, beautiful poses and languid movement. Training for more control, extension and balance in execution of poses, turns and jumps.
"To truly inspire...you must first truly prespire!"
- HIP HOP A
- (Ages 8-11) Introduction to a more “funk” oriented form of Jazz Dance. Lots of isolations, contractions and interconnected popping and locking to rap-oriented music. Introduction to “B-boy” and “rocker-locker” street-style, urban-contemporary “kewl” choreography. More athletic and gymnastic than traditional Jazz dance. (Age appropriate movement)
- HIP HOP B
- (Ages 10 and up) Exploration of a “funkier” form of Jazz Dance. More complicated isolations, contractions and faster, cleaner popping and locking to rap-oriented music. More “B-boy” and “rocker-locker” moves. Street style, urban-gritty, “in your face” dancing. (Age appropriate movement)
- HIP HOP C
- (Ages 11 and up) Mastery and development of signature Hip Hop dance moves. Improvisation, innovative choreography and dance challenges. More athletic and gymnastic movements incorporated into “street dance” sequences set to “cutting edge” urban music. Teachers will be sensitive to age-appropriate movement.
"It's not hard work...if you love what you're doing."
- MUSICAL THEATER
- Movement for musicals! Singing, acting and dancing at the same time are a lot harder than you think! Dance moves with an eye on staging, performance and “hitting your marks” without hitting other dancers!
Highly recommended for actor/singer/dancer wanna-be’s.
"To teach adults, you must reach the mind
and hope the body will follow. To teach children, you must teach the body and
hope the mind will follow..."
- Exploration of dramatic expression. Creating and portraying a convincing character through speech and movement. Finding the part of you that’s in “the part”. Highly recommended for all dancers.
"...There is a limited window of opportunity when the mind is strong and the body is still flexible that I call 'the golden age'. This is when the greatest gains can be made."
Friday 6:30-7:30(includes the following)
- Highland Fling:
- The movements of the Highland Fling are very old.
Tradition says that it was a dance of victory that ancient clansmen and warriors
traditionally performed on the small round shield or Targ that they carried into battle.
The need for close and nimble footwork is apparent when one realizes that most Targs
contained a sharp steel point projecting from the center. The dancer is expected to
execute crisp, precise movements with foot pointed, knee turned out, arms held steady
and the apron, or front of the kilt, hanging flat.
- Ghillie Callum (Sword Dance):
- As the ancient dance of war of the Scottish
Gael, the Sword Dance is said to date back to King Malcolm Canmore. After defeating one of
MacBeth’s generals, Malcolm placed his sword over that of his enemy and performed a dance of
victory. The name Ghillie Callum means “Servant of Malcolm.” The tradition of dancing over
crossed swords is very old in the Highlands. Legend says that warriors would perform a dance
over them in order to predict the outcome of the next day’s battle. If the dancer finished
without touching the swords, he was assured of victory. Because the dancer is representing
a warrior, the steps must be executed with strength and conviction. No room for uncertainty
as one jumps or points over a two-sided blade.
- Seann Truibhas:
- Pronounced “shawn trews,” it is Gaelic for “old trousers.”
After the English defeated the rebelling Scottish clans in 1746, the wearing of the kilt was
forbidden, and trousers or “trews” had to be worn instead. This humiliation was enforced
almost 40 years. The slower tempo of the beginning steps suggests the disgust at the wearing
of the trousers and the attempt to kick them off. The final quick steps celebrate the real
and the symbolic freedom of the kilt. The Seann Truibhas calls for elevation and upward grace
of line. The Dancer’s bearing must demonstrate the strain and anger of wearing trews,
the anticipation of kicking them off, then the joy of the kilt’s freedom. Many consider
this Highland dance to be the proof of a dancer’s ability because it calls for athletic
strength, yet balletic ease.
- Strathspey & Highland Reel:
- This group dance is performed in a very basic
Scottish dance pattern called a figure-eight. It is said the quick-time reel portion evolved
out of dances done by cold parishioners waiting for their tardy clergymen on drab, gray Sunday
mornings. The slower tempo of the Strathspey allowed cold muscles to warm up. The figure-eight
pattern let the dancers greet one another, then each dancer could demonstrate whatever Fling
step they did best. Finally, they clapped to tell the piper to speed it up so they could move
quickly through the reel, probably with onlookers hooting encouragement. The Strathspey
“traveling step” is executed with precision and grace just as the Fling step is performed
aggressively as a challenge to the other dancers to do better.
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