|
HOME |
|
ABOUT US |
|
CONTACT US |
|
CLASS SCHEDULE |
|
H.B. SANDS CLASSES |
|
MONTHLY CALENDAR |
|
COMPETITIONS 2010 |
|
MEET OUR INSTRUCTORS |
|
SEE US SHINE PHOTOS |
|
JAZZ BEGINNING, 1 & 2 |
|
JAZZ 3 - 4 - 5 SYLLABUS |
|
LEAPS & TURNS SYLLABUS |
|
SCS DRESS REQUIREMENTS |
|
Building Confidence & Poise… 1 Step at a Time! |
|
New students only….. 1st Week Classes Free!
Come try Our State of the Art Studio! |
|
|
|
|
|
Ballet Steps Level: Jazz Four
All dancers enrolled in Jazz 4 should be taking a minimum of (1) ballet class / week. More complicated petite allégro All previous steps listed in prior jazz syllabi Continued work for leg extension Ponche’ into needle stretch Developpe’ en croix Developpe’ into front and side leg holds Continued
Jazz Warm-Up/Conditioning More intense and faster combinations of previous steps Start adding choreography into basic stretch Elevated splits (make sure back of knee is supported) Effort to make the warm-up more fluid to get heart rate up and encourage better body awareness Drills in conditioning and flexibility exercises that cross train different muscle groups
Jazz Steps All 3 splits Dancer’s understanding of and ability to fix turn-out of hips Leg Holds ( legs split and straight) Tilt developpé no arms Mastering tilt turning leg hold Working on front turning leg hold Mastering fast chaine’ turns in progression across floor (adding a change of spot and ability to hold a releve’) Pique’ turns (doubles and changing spot) Adding in choreography of arms or leg extensions following a sequence of turns Back Attitude Turns (single mastered, working on double) Double Front Attitude (outside turn) Triple Coupe’ turns Triple pirouette (mastered), working on mastering Quad pirouette (with high releve’) Increase quantity of turns a la seconde adding more pirouettes and different types of arms Turns in second changing spots Changing spots mastered (turning to the outside rotation) Dancers working to master changing spots in the reverse direction Mastering fast arm combinations (emphasizing coordination and sharpness) Continue working on the “reach” (por de bras) with arms and using arms in different places to understand the difference between the “feeling” of a movement Combining technique moves in across the floor progressions to increase ability to pick-up choreography and allow movements in and out of leaps and turns to look fluid and clean Incorporate much more style at this level to help encourage variety for a dancer so that they are introduced to many different styles of choreography and can adapt well to whatever style may be asked of them Right, left, and middle leaps (with full split and proper alignment)- working to use different arm & head placement Reverse leaps Working to have different arm and head placement Turn Leaps Mastered traditional turn leaps (both legs straight in split) Working on attitude turn leaps (calypso) with proper por de bras, arm placement, attitude placement, and landing Working for a fluid entrance and exit out of leap: incorporate turns or “off center” moves before or after turn leaps Working on switch leaps (russians), and possibly middle switch (if dancer has enough strength) Tilt jumps (prepping from two feet) Turning middle leap
Tricks Unique floorwork (shoulder rolls, cartwheels, etc.) Mastering ability to make floorwork flow easily into upright choreography for a smooth transition Any variety of illusions (double illusion, illusion into a tilt kick, etc) Helps dancers better their use of core Increases fiexibility
Showmanship Ability to capture choreography and style of music with artistry and dancer’s individual style Ability to learn different styles and meet the choreographer’s expectations and desire for style and feel |
|
Surf City Stars Dance Academy |
|
Ballet Steps Level: Jazz Five
|
|
|
|
All dancers enrolled in Jazz 5 should be taking a minimum of (1) ballet class / week. |
|
|
All previous steps, skills, and variations on prior syllabi |
|
|
Working for improved articulation of the feet and extension through the legs. |
|
|
Continued work with petit allegro working for faster speed and precise movements |
|
|
Exercises to encourage a full use of por de bras (reaching from the middle of the back) |
|
|
Ballet exercises and drills in the center while incorporating the use of “off center” upper body movements
|
|
Jazz Warm-Up/Conditioning |
|
|
|
Even faster and more complicated variations of previous steps |
|
|
Attention to continued conditioning and injury prevention. Dancers are attempting more difficult steps and usually training more hours per week at this level. Thus, a definitive conditioning sequence needs to be incorporated into their classes so that dancers remain healthy and uninjured. |
|
|
Leg lifts (from sitting and laying positions) |
|
|
Variations of abdominal crunches
|
|
Jazz Steps
|
|
|
|
Triple Back Attitude Turn (outside and inside rotation) |
|
|
Triple Front Attitude Turn (outside and inside rotation) |
|
|
Quad coupe’ turns |
|
|
Inside double coupe’ into arabesque’ hold |
|
|
Inside double turn into tilt kick |
|
|
Quad Pirouette with high releve’ and proper arm placement with arms in first position or wherever choreography asks arm placement to be. |
|
|
Working on 5 clean rotations in pirouettes (high releve’) |
|
|
Different variations of pirouettes and spots Perfecting turns off center Perfecting turns with arms placed differently than 1st position |
|
|
Increased quantity of turns in 2+ variations |
|
|
Single turning leg hold (working for double) |
|
|
Double pirouette into leg extension turn <rotating clockwise>. (Turned out leg with opposite arm in high fifth)- bring the leg up as you are turning two rotations. |
|
|
Fast arm combinations with understanding how to control and place arms. |
|
|
Ability to incorporate dancer’s ballet, lyrical, or modern training into their jazz style and technical execution. |
|
|
Performance competency across the floor…taking the next step and performing the combos across the floor…”dancing them” and not just doing steps with attention to technique. Incorporating an individual artistic style, grace, and fluidity.
|
|
Showmanship |
|
|
|
The ability to pick up skills and choreography faster |
|
|
Performing with a style, character, and facial expressions as dancers learn- not just after the choreography has been perfected. |
|
|
Adapting to different styles of jazz with ease and grace (i.e. musical theatre, character, contemporary, intense, flowy, etc.) |
|
|
Understands how to “feel” the music / capture the musicality of many different styles of the music |
|
Ballet Steps Level: Jazz Three
|
|
|
|
All dancers enrolled in Jazz 3 should be taking a minimum of (1) ballet class / week. |
|
|
All Previous steps listed on prior syllabi |
|
|
Explanation of what adagio and allégro mean |
|
|
Introducing petite allégro |
|
|
Exercises to encourage articulation of foot muscles/trying to better dancer’s point and extension through leg muscles
|
|
Jazz Warm-Up/Conditioning |
|
|
|
Increase quantity of previous exercises More drills in different ways Holding stretches for a longer stretch (minimum of 30 seconds) |
|
|
Laying on back extending leg to chest (increases flexibility- works turn out from hips) |
|
|
Laying on back: leg beats with legs extended to ceiling |
|
|
Needle stretch
|
|
Jazz Steps |
|
|
|
At least two splits (any two of: right, left, or middle) |
|
|
High Kicks to the front and side (with proper turn out) |
|
|
Tilt / pitch kicks |
|
|
Front leg hold (with both legs straight) |
|
|
Working on tilt leg hold and releasing arms (control of upper body so as not to hinge forward) |
|
|
Tilt turning leg hold |
|
|
Variations of high and low chainés |
|
|
Combine pique’ and chainés in turn progressions |
|
|
High chaine’, low chaine’, fan kick, illusion, split jump |
|
|
Mastering fast chaine’ turns in progression across floor (starting to incorporate different arm placement) |
|
|
Mastering drag turn (in releve’ or plie’) |
|
|
Tour en láir |
|
|
Coupe’ turns (double,triple) |
|
|
Introducing extension from the back muscles and encouraging more fluid movements to better the back muscles |
|
|
Attitude Turns (single) |
|
|
Double pirouette (mastered), working on triple pirouette (with high releve’ and proper arm placement) |
|
|
Double pirouette helicopter splits |
|
|
Single Pique’ Turns Working on Double pique’ turns |
|
|
Working on calypso (jump not a leap) |
|
|
Building up strength in legs by trying to do more turns in second every time; be careful of proper technique |
|
|
Fast arm combinations (emphasizing coordination and sharpness) / working for the same timing as a class or team |
|
|
Mastering right, left, and middle leaps Making sure upper body is pulling up out of core and |
|
|
Reverse’ leaps |
|
|
Working on switch leaps |
|
|
Working on the “reach” with arms and using arms in different places to understand the difference between the “feeling” of a movement |
|
Floorwork |
|
|
|
Fan kick with back flat on floor (toes should “reach” to touch floor in second) |
|
|
Shoulder roll (different variations of legs) |
|
|
Turn Leap off the floor landing on feet or knees |
|
Tricks |
|
|
|
Illusion Combinations |
|
|
Flexibility tricks and exercises to “show off” and better a dancer’s flexibility |
|
Showmanship |
|
|
|
Introducing the use of emotion in dancing (not just facial expressions- but emotion) |
|
|
Encourage projection to the audience- trying to make a connection with the audience, not just perform for them |