CCDC Dance Classes

2016-2017 Season Calendar
Pre-Professional / Post-Secondary Program
Young Children Division
Open Division
Open Division Tuition Table

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(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."
(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 beginning terminology. 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.

(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.

(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.

(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.

(Ages 11 and up) Mastery of complicated barre work: 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.

(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... good luck*!"
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 wanna!

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!

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"
(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.

(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.

(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."
(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.

(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.

(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 choreography.

"Excellence comes from good work habits.
Practice makes perfect."

(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)

(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)

(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."
(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 jumps.

(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.

(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 must first truly prespire!"
(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)

(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)

(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."
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."

Highland Dancing:
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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