Week
1
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
School
(pages
1‐13)
Song:
I
Will
Be
A
Star
Section
of
Class
Music
CD;
Track
#;
Approx.
Time
Greeting,
Story
&
3
minutes
Etiquette
(8‐10
minutes
total)
Props
Needed:
Mats
&
Scarves
Class
Length:
45
Minutes
Props
Needed
Exercise
Description
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
N/A
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers,
introduce
assistant
and
take
roll.
Reading
of
Story
Check
for
understanding
by
asking
questions
Angelina’s
New
School
(pages
1
–
13)
N/A
Introduce
the
focus
book
the
dancers
will
be
reading
over
the
next
few
weeks.
Read
pages
1
–
13.
Be
sure
to
show
the
dancers
the
pictures
as
you
read.
After
reading,
check
for
understanding
by
discussing
the
following
with
the
dancers.
1. Why
is
Angelina
so
excited
today?
(It
is
the
first
day
at
her
new
dance
school.)
2. What
did
Angelina
say
when
she
saw
her
new
school?
(“It’s
absolutely,
positively
beautiful!”)
3. Who
did
Angelina
meet
at
her
new
school?
(Her
new
friends
Marco,
Gracie
and
Viki.)
4. Gracie
showed
Angelina
the
big
stage.
What
did
Angelina
say
about
the
stage?
(“What
a
stupendous
stage!”)
Because
this
Story
Book
is
the
first
class,
this
section
will
take
longer
than
future
classes.
Allow
4
‐
5
minutes
for
reading
&
discussion.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Counts
Miscellaneous
Things
to
Consider
*It
may
be
helpful
for
dancers
to
wear
nametags
on
the
first
day
of
class.
It
is
important
for
the
teacher
to
be
able
to
call
children
by
their
name.
*Some
dancers
will
be
more
verbal
than
others.
Encourage
the
shy
child
by
asking
yes/no
questions
during
story
discussion.
*Many
of
your
students
are
experiencing
the
same
feelings
of
excitement
and
uncertainty
as
they
come
to
a
new
studio
for
their
first
dance
class.
There
also
may
be
students
in
your
class
that
were
anxious
when
they
separated
from
their
parent.
This
is
normal.
Angelina’s
dad
gave
her
a
kiss
and
told
her
good‐bye
and
she
went
to
meet
her
new
friends.
Some
of
your
student
will
do
exactly
that
29
Spend
approx.
None
1
‐
2
minutes
on
explaining
Dancer
Etiquette
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Take
time
in
this
first
class
to
review
two
very
N/A
important
rules.
Ask
the
dancers
to
repeat
the
dancer
rules
back
to
you.
1. Eyes
on
the
teachers.
2. Keep
hands
to
self.
while
others
may
be
a
little
clingy
to
their
caregiver.
Distract
the
young
apprehensive
dancer
and
try
to
refocus
her
attention
by
talking
about
Angelina
as
you
show
her
one
of
the
storybooks.
*As
the
year
progresses
more
etiquette
will
be
added
to
class.
When
reminding
dancers
about
keeping
their
eyes
on
the
teacher
(say
your
name)
and
point
to
your
eyes
and
ask
that
they
do
the
same.
Later
on
this
can
become
a
visual
cue
without
actually
having
to
say
the
words.
It
is
also
a
technique
the
class
assistant
can
use,
by
looking
or
lightly
touching
the
distracted
child
on
the
shoulder,
and
then
the
assistant
points
to
her
eyes
and
then
toward
the
teacher.
Teach
the
children
to
point
to
their
own
eyes
when
the
assistant
or
teacher
does.
*It
is
also
advised
to
give
the
young
dancers
something
to
do
with
their
hands
by
asking
them
to
wiggle
their
fingertips,
clasp
their
hands
together,
or
put
them
on
their
hips
while
30
Warm‐Up
Spend
approximately
1‐2
minutes
explaining
&
setting
up
1
Angelina
Mat
to
be
used
during
all
circle
exercises
Setting
up
for
Warm‐Up
Place
one
Angelina
mat
in
the
center
of
the
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
wiggle
their
fingers
as
they
place
them
on
their
hips.
Next,
ask
them
to
place
their
shoes
together
(their
feet
will
be
in
parallel).
Class
CD;
Circle
Warm‐
Up;
Track
#1;
3:51
None
Rhythmic
Clapping,
Tapping
&
Marching
Legs
parallel,
hands
on
hips
in
large
circle
*Listen
for
Angelina’s
welcome
*Dancers
tap
toes
1
foot
at
time
to
the
beat
of
the
music
–
right
foot
then
left
foot.
*Change
taps
to
marches,
adding
handclaps.
*Feet
together,
begin
rhythmically
tapping
body
parts
called
out
by
teacher.
Include
same
side
and
cross‐body
tapping.
*Keep
repeating,
alternating
marches
and
tapping
Angelina Ballerina™ ©2012 HIT Entertainment Limited
they
are
waiting.
*Do
not
expect
the
young
dancers
to
know
how
to
behave
in
a
dance
class.
For
many,
this
may
be
their
first
experience
in
a
group
setting.
Tell
them
what
you
want
them
to
do
so
they
can
learn
proper
dance
class
etiquette.
N/A
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*Do
not
stop
the
music
during
any
part
of
the
warm‐up;
keep
the
dancers
engaged
by
moving
from
one
exercise
to
the
next.
Remember
to
teach
with
smiles
and
imaginative
play!
*Add
variety
by
turning
&
Greeting
traveling
marches.
Try
to
4
–
8cts
tap
as
many
different
body
parts
as
possible,
4
–
8cts
reinforcing
the
names
of
8
–
8cts
the
parts.
Have
the
dancers
repeat
after
you
as
you
say
Keep
the
name
of
each
body
repeating
part.
Focus
on
keeping
a
until
end
of
steady
tempo.
music
31
As
music
changes
None
Class
CD;
None
Stretching;
Track
#2;
2:16
Sitting
like
Angelina
Ballerina
Have
dancers
follow
along
as
everyone
sits
on
the
floor
just
like
Angelina
Ballerina.
Curl
&
Stretch
Curl,
Stretch,
and
Port
de
bras
with
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
*Sitting
Like
Angelina
Ballerina:
slide
one
knee
back
to
kneel;
place
both
knees
side
by
side;
gracefully
drop
seat
to
floor;
swing
legs
around
to
sit
cross
legged;
remind
dancers
to
keep
back
long
and
straight;
place
hands
on
knees.
*Move
gracefully
from
one
stretch
to
another.
Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
*This
exercise
has
a
tremendous
amount
of
beneficial
motor
development
work
going
on.
‐Emphasize
the
contrast
of
squeezing
in
curl
and
stretching
in
stretch
‐Sitting
tall
to
work
back
and
abdominals
‐Rolling
down
and
up
strengthening
abdominals.
Dancers
may
need
help
with
this
in
beginning.
‐Prone
swimming
strengthens
entire
body
and
promotes
coordination.
32
Class
CD;
Flex
None
&
Pointe;
Track
#3;
1:19
Center
Barre
Keep
1
Angelina
Mat
in
center
of
circle
for
center
barre
exercises
Flexing
&
Pointing
Ankles
Sitting
with
legs
stretched
out
in
front
with
hands
resting
on
top
of
knees;
*Alternate
flexing
&
pointing
the
ankles/feet
*Bend
over
at
the
hips
and
walking
fingertips
down
legs
stretching
hamstrings;
hold
stretch;
walk
fingertips
all
the
way
up
body
and
reach
up
stretching
over
head
*Repeat
all
Transition
to
Center
Barre
Dancers
remain
in
a
circle
formation
in
the
middle
of
the
room
for
center
barre.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
*Explain
to
the
dancers
that
Angelina
Ballerina
and
all
ballerinas
always
start
dance
class
with
pliés
and
other
exercises.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4‐8’s
4‐8’s
8‐8’s
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
try
to
keep
legs
straight
as
they
bend
forward
at
the
hips.
Do
not
say
touch
toes
because
it
will
be
impossible
for
some
dancers
to
do
so
–
cue
with
reach
as
far
as
you
can.
*3
&
4
Year
Olds
are
learning
the
awareness
of
their
body
in
space
and
discovering
their
sense
of
balance
during
movement.
Center
barre
exercises
are
extremely
helpful
to
increasing
a
young
child’s
ability
to
balance.
Do
not
use
the
actual
barre
because
young
children
will
depend
on
it
too
much
and
fail
to
increase
their
ability
to
balance.
Using
a
barre
before
a
young
child
is
ready
also
develops
bad
habits
that
later
have
to
be
corrected.
*Ask
dancers
to
always
“finish”
all
of
their
center
barre
and
center
exercises
in
a
still
position.
Young
dancers
enjoy
calling
this
“freeze
for
3”
meaning
they
hold
still
while
they
count
to
3
in
their
head.
A
33
“finished
position‐”
in
ballet
is
with
the
head
slightly
turned
to
a
45‐degreed
angle,
arms
en
bas,
and
feet
in
the
required
position.
This
can
be
done
in
silence
or
with
remaining
music.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
Have
dancers
repeat
(saying)
level
of
arms
with
you
–
low,
medium,
high,
open.
Later
on
this
will
be
changed
to
the
actual
names
of
the
port
de
bras.
*Using
pretend
play,
ask
the
dancers
to
share
the
color
of
their
imaginary
balloon.
*At
this
age,
focus
is
for
the
dancers
to
bring
the
leg
to
their
front
with
the
foot
extended
toward
the
center
mat.
Do
not
expect
to
see
a
technically
correct
tendu
at
this
age.
Class
CD;
Plié;
None
Track
#5;
2:29
Demi‐Plié
Plié
=
to
bend
Demi
=
half
Port
de
bras
=
movement
of
the
arms
*Legs
parallel
with
hands
on
hips:
*4
demi‐pliés:
parallel
with
hands
on
hips
*Port
de
bras:
Circle
low
(en
bas),
middle
(1st),
high
(5th),
open
(2nd)
*Bend
over
at
hips
and
pretend
to
pick
up
a
huge
round
balloon
and
bring
it
overhead
and
let
it
go
to
fly
away
as
arms
open
to
2nd
and
then
place
hands
on
hips.
*Repeat
above
*Finish
for
3.
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
Class
CD;
Tendu;
Track
#6;
1:19
None
Tendu
Tendu
=
to
stretch
Legs
parallel
with
hands
on
hips:
*Tendu,
stretching
right
foot/leg
to
the
front
(center
of
circle)
and
close
parallel
*Repeat
on
left
foot
and
then
again
on
right
foot
*With
legs
together,
clap
hands
2
times
*Repeat
on
left,
right,
left,
clap
2
*Finish
for
3.
Intro
2
cts
4
cts
2
cts
8
cts
Class
CD;
Piqué;
Track
#8;
:
28;
optional
to
repeat
Piqué
Piqué
=
to
prick
Intro
8
cts
8
cts
Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
Legs
parallel
with
hands
on
hips:
*Stretch
right
foot
to
the
front
and
lightly
tap
leg/foot
on
the
floor
6Xs;
close
parallel;
*Repeat
on
left
leg;
*Finish
for
3.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
34
Center
Give
1
scarf
to
each
dancer
Transition
to
Center
Work
Class
CD;
Temp
lié;
Track
#10;
1:06
1
scarf
per
dancer
Rocking
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
to
repeat
None
Sauté
Sauté
=
to
jump
None
Transition
to
traveling
steps
Traveling
Steps
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*For
now,
keep
the
dancers
in
a
circle
formation
for
the
center
work.
*Have
the
assistant
help
you
hand
out
the
scarves
to
the
dancers.
Show
the
dancers
how
to
hold
the
scarf
in
the
center
so
it
doesn’t
touch
the
floor.
Legs
in
2nd
position
with
scarf
in
right
hand
and
left
hand
on
hip
*Plié
&
rock
to
right
as
scarf
swings
to
right
*Plié
&
rock
to
left
as
scarf
swings
to
left
*Plié
&
rock
to
right
as
scarf
swings
to
right
*Hold
last
position
and
freeze;
change
scarf
to
left
hand
*Repeat
all
starting
left
*Repeat
all
*Finish
for
3
–
ask
dancers
to
freeze
in
their
chosen
position
with
scarf
held
high.
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Repeat
2
more
times
*Balance:
Stretch
arms
overhead,
rise
on
demi‐
pointe,
and
making
huge
#1
shape,
lower
*Finish
for
3.
Place
dancers
in
row/lines
on
one
side
of
room.
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
Intro
1
–
3
1
–
3
1
–
3
1
–
3
4
–
3’s
8
–
3’s
Use
minimal
rotation
in
2nd.
Hold
scarf
in
middle.
Remind
dancers
to
make
scarf
gracefully
dance.
Have
assistant
pick
up
scarves
after
exercise.
Intro
4
cts
8
cts
8
cts
4
cts
Teach
dancers
to
push
through
floor
on
jumps
&
balances.
Keep
bodies
long,
straight
&
still
in
balance
N/A
*Depending
on
the
number
of
dancers
within
the
class,
place
them
in
1,
2,
or
3
groups.
Lightly
touch
the
top
of
their
head
and
say
the
number
group
they
are
in.
After
signifying
who
is
in
what
group,
ask
the
dancers
in‐group
1
to
raise
their
hand.
Ask
them
which
group
they
are
in.
Tell
them
to
lower
their
hands
and
then
repeat
with
all
35
Class
CD;
Bourrée;
Track
#16;
1:21;
Optional
Repeat
2
mats
per
dancer
in
row;
1
scarf
per
dancer
(+ME)
Bourrée
Bourrée/couru
=
very
small
running‐like
steps
on
demi‐pointe
Class
CD;
Marching;
Track
#15;
2:48
Repeated
1
scarf
per
2
dancers
(+ME)
Marching
with
My
New
Friend
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Place
2
mats
for
each
dancer
in
row
equally
spaced
across
studio.
*Have
the
students
choose
whether
they
want
to
be
Angelina,
Marco,
Viki
or
Gracie
as
they
dance
across
the
floor.
Have
the
dancers
pretend
they
are
in
Camembert
Academy
taking
class
with
Ms.
Mimi.
*Legs
parallel
with
scarf
in
right
hand
(demi‐
seconde)
and
left
hand
on
hip
*Rise
to
demi‐pointe,
bourrée
forward
as
right
arm
&
scarf
float
upward
–
can
be
forward
or
to
the
side.
*Plié
parallel
on
mat
as
scarf
arm
lowers
and
dancer
places
scarf
in
other
hand.
*Repeat
pattern
across
floor
*Bourrée
off
as
next
group
starts
*Repeat
exercise
traveling
across
floor
from
other
direction.
*Place
dancers
side
by
side
in
pairs,
preferably
with
someone
they
just
met
for
the
first
time.
Have
the
dancers
tell
each
other
their
names
just
like
Viki,
Gracie,
Marco
and
Angelina
did
when
they
first
met.
*Have
the
dancers
each
hold
one
end
of
the
same
scarf
as
they
march
side
by
side
across
the
dance
space.
*Every
8
counts
ask
a
new
pair
to
start
Intro
8
cts
8
cts
16
cts
Keep
Repeating
Intro
8
cts
other
groups.
Ask
the
dancers
to
look
to
each
side
to
see
who
they
are
standing
next
to.
Dancers
in
this
age
group
are
learning
awareness
of
their
bodies
in
space
and
by
taking
the
time
to
do
these
techniques
will
save
time
later
on
in
class.
Remind
dancers
to
*Take
tiny
little
steps
as
they
bourrée
*Make
their
scarves
gracefully
float
and
dance
*Plié
and
change
scarf
arms
while
standing
on
mat
*Have
assistant
pick
up
scarves
and
mats
at
completion
of
exercise.
*The
assistant
and
one
dancer
will
begin
marching.
*The
assistant
will
be
responsible
for
helping
the
dancers
to
form
their
line
once
they
arrive
at
the
other
end
of
the
classroom.
36
Creative
Movement
1
Angelina
Mat
in
center
of
room
Transition
to
Creative
Movement
Angelina
Says
Creative
Movement
CD;
Place;
Track
#1;
2:03
1
Angelina
Mat
per
dancer
(+ME)
Place
Angelina Ballerina™ ©2012 HIT Entertainment Limited
marching.
*Change
partners
and
have
the
dancers
meet
and
dance
with
somebody
else
on
the
return
march.
*Place
a
mat
in
the
center
of
the
room
and
ask
the
dancers
to
form
a
circle
around
it.
Keep
Repeating
*The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Place
a
mat
on
the
floor
in
front
of
each
Follow
the
*Place
is
a
basic
movement
dancer.
directions
concept.
When
young
*Ask
the
dancers
to
step
on
the
mats.
from
dancers
are
learning
about
*Without
music,
explain
to
the
dancers
that
Angelina’s
movement
the
concept
of
sometimes
we
dance
moving
in
one
place
and
voice
on
place
will
help
them
to
other
times
we
dance
while
moving
all
over
the
CD.
Remind
understand
that
dance
is
space.
dancers
to
performed
either
in
one
*When
the
music
is
turned
on
the
dancers
are
listen
place
or
all
around
space.
going
to
play
a
game
with
Angelina
Ballerina.
carefully
This
is
an
important
first
She
is
going
to
call
out
whether
she
wants
them
for
concept
to
learn
so
the
to
dance
in
one
place
on
top
of
their
special
mat
instructions
dancers
understand
that
or
traveling
all
around
the
space.
The
dancers
and
to
dance
such
as
plié
and
can
choose
to
do
any
type
of
movement
as
they
freeze
tendu
is
performed
in
one
explore
dancing
in
one
place
or
all
about
the
when
they
place
while
leaps
and
space.
do
not
hear
gallops
are
performed
*When
the
music
stops
playing
the
dancers
are
any
music.
moving
all
around
the
to
freeze
and
listen
carefully
for
Angelina
to
tell
space.
them
what
to
do
next.
*Discuss
with
the
dancers
different
type
of
things
that
move
in
one
place
such
as
a
tree
or
flower
blowing
in
the
wind
and
things
that
move
all
about
the
space
37
Angelina’s
Dance
Angelina’s
None
Song
&
Dance
(+ME)
CD;
I
Will
Be
A
Star;
Track
#1;
:
47
Transition
to
Choreography
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Refer
to
the
Video
Companion
Guide
on
the
Angelina
Ballerina
Dance
Academy
website
for
actual
demonstration
of
choreography.
Teach
words
to
song
first
then
teach
first
steps.
Allow
children
to
free
dance
the
rest
of
the
song.
I
Will
Be
A
Star
Begin
standing
1st;
arms
port
de
bras
demi‐
seconde
I
can
see
what
my
futures
going
to
be
Point
to
self
then
eyes;
port
de
bras
1st
then
arms
open
palms
up
If
I
practice
at
the
barre
Pretend
to
place
L
hand
on
barre;
port
de
bras
R
hand
and
do
a
plié
No
time
for
rest,
Step
look
right;
step
look
left
If
I’m
to
be
the
best
March
in
place
4Xs
Only
then
I’ll
be
a
star
Walk
forward
4Xs
as
arms
port
de
bras
through
1st,
5th,
finishing
allongé
5th
with
palms
facing
in
Intro
8
cts
8
cts
4
cts
4
cts
8
cts
like
a
bird
or
a
horse.
*This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
*Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
*Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
*Each
week
the
dancers
will
learn
more
choreography
to
complete
their
dance
at
the
end
of
the
four
weeks
38
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None
(+ME)
Curtsey
2‐3
minutes
Stickers
Stickers
&
Handouts
Teacher’s
Notes:
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
N/A
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy
or
the
caregiver
right
away.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
39
Angelina Ballerina™ ©2012 HIT Entertainment Limited
40
Week
2
Weekly
Lesson
Plan
Level
1:
Ages
3
–4
½
Focus
Book:
Angelina’s
New
School
(pages
14
‐
21)
Props
Needed:
Mats
&
Scarves
Song:
I
Will
Be
A
Star
Class
Length:
45
Minutes
*The
2nd
class
lesson
plan
will
be
very
similar
to
the
1st
class
so
that
the
dancers
can
learn
the
structure
of
class
and
become
familiar
with
their
teachers,
classmates,
and
what
they
are
to
do
as
they
learn
to
dance
with
Angelina.
Repetition
and
structure
are
very
important
in
the
learning
process.
The
following
lesson
plan
should
require
less
verbal
instruction
from
the
teacher,
which
will
result
in
more
dance
time
from
the
previous
lesson.
Section
of
Music
CD;
Props
Exercise
Description
Counts
Miscellaneous
Things
to
Class
Track
#;
Needed
Consider
Approx.
Time
Greeting,
3
minutes
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
dance
N/A
*Depending
on
the
size
of
Story
&
area.
With
everyone
seated
on
the
floor,
greet
the
class
and
how
many
Etiquette
dancers,
introduce
assistant
and
take
roll.
new
students’
names
you
are
learning
in
a
week,
it
may
be
helpful
to
use
nametags
one
more
time.
Allow
4‐5
Story
Book
Reading
of
Story
Angelina’s
New
School
(pages
14‐21)
N/A
*Encourage
all
of
the
minutes
After
reading,
check
for
understanding
by
dancers
to
participate
in
the
Check
for
discussing
the
following
with
the
dancers.
Q
&
A.
understanding
by
1. Angelina
was
so
excited
to
be
at
her
new
*
For
shy,
non‐verbal
young
asking
questions
school
that
she
tripped
and
______?
(She
dancers,
ask
yes/no
fell
down.)
questions
to
encourage
2. Who
helped
Angelina
stand?
(Gracie)
interaction.
3. Who
were
the
dancers
waiting
for?
(Ms.
*For
many
students
in
your
Mimi)
class,
they
may
be
just
like
4. What
did
they
do
while
they
waited?
Angelina
and
be
unfamiliar
(They
practiced)
with
Irish
and
Jazz
dancing.
5. What
did
Marco
play?
(The
violin).
6. What
kind
of
dance
did
Viki
dance?
(An
Irish
jig)
7. What
did
Gracie
dance?
(Jazz)
8. What
did
Angelina
want
to
dance?
(Ballet)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
41
1
minute
None
Dancer
Etiquette
1
Angelina
Mat
to
be
used
during
all
circle
exercises
Setting
up
for
Warm‐Up
Class
CD;
Circle
Warm‐Up;
Track
#1;
3:51
None
Rhythmic
Clapping,
Tapping
&
Marching
Legs
parallel,
hands
on
hips
in
large
circle
*Listen
for
Angelina’s
welcome
*Dancers
tap
toes
1
foot
at
time
to
the
beat
of
the
music
–
right
foot
then
left
foot.
*Change
taps
to
marches,
adding
handclaps.
*Feet
together,
begin
rhythmically
tapping
body
parts
called
out
by
teacher.
Include
same
side
and
cross‐body
tapping.
*Keep
repeating,
alternating
marches
and
tapping
As
music
changes
None
Sitting
like
Angelina
Ballerina
Have
dancers
follow
along
as
everyone
sits
on
the
floor
just
like
Angelina
Ballerina.
Warm‐Up
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Ask
the
dancers
to
tell
you
about
the
two
special
N/A
dance
etiquette
rules
they
learned
last
week.
1. Eyes
on
the
teacher.
2. Hands
to
yourself.
Add
this
week’s
dance
etiquette
rule.
3.
Be
a
first
time
listener.
Place
one
Angelina
mat
in
the
center
of
the
room.
N/A
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
wiggle
their
fingers
as
they
place
them
on
their
hips.
Next,
ask
them
to
place
their
shoes
together
(their
feet
will
be
in
parallel).
*Ask
the
dancers
to
always
listen
carefully
when
the
teacher
is
talking.
Remind
them
to
always
look
at
their
teacher
when
they
hear
her
voice.
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*Do
not
stop
the
music
during
any
part
of
the
warm‐up;
keep
the
dancers
engaged
by
moving
from
one
exercise
to
the
next.
Remember
to
teach
with
smiles
and
imaginative
play!
*Add
variety
by
turning
&
Greeting
traveling
marches.
4
–
8cts
*Try
to
tap
as
many
different
body
parts
as
4
–
8cts
possible,
reinforcing
the
8
–
8cts
names
of
the
parts.
*Have
the
dancers
repeat
after
you
as
you
say
the
Keep
name
of
each
body
part.
repeating
*Focus
on
keeping
a
steady
until
end
of
tempo.
music
N/A
*Sitting
Like
Angelina
Ballerina:
slide
one
knee
back
to
kneel;
place
both
knees
side
by
side;
42
Class
CD;
Stretching
with
port
de
bras;
Track
#2;
2:16
Class
CD;
Flex
&
Pointe;
Track
#3;
1:19
None
None
Curl
&
Stretch
Curl,
Stretch,
and
Port
de
bras
with
port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Flexing
&
Sitting
with
legs
stretched
out
in
front
with
hands
Pointing
resting
on
top
of
knees;
Ankles
*Alternate
flexing
&
pointing
the
ankles/feet
*Bend
over
at
the
hips
and
walk
fingertips
down
legs
stretching
hamstrings;
hold
stretch;
walk
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
Intro
4‐8’s
4‐8’s
gracefully
drop
seat
to
floor;
swing
legs
around
to
sit
cross
legged;
remind
dancers
to
keep
back
long
and
straight;
place
hands
on
knees.
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
43
Center
Barre
Keep
1
Angelina
Mat
in
center
of
circle
for
center
barre
exercises
Transition
to
Center
Barre
None
Demi‐Plié
Plié
=
to
bend
Demi
=
half
Port
de
bras
=
movement
of
the
arms
Class
CD;
Plié;
Track
#
5;
2:29
Angelina Ballerina™ ©2012 HIT Entertainment Limited
fingertips
all
the
way
up
body
and
reach
up
stretching
over
head
*Repeat
all
8‐8’s
Dancers
remain
in
a
circle
formation
in
the
N/A
middle
of
the
room
for
center
barre.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
*Explain
to
the
dancers
that
Angelina
Ballerina
always
starts
her
dance
class
with
plié
and
other
exercises.
*Legs
parallel
with
hands
on
hips:
*4
demi‐pliés:
parallel
with
hands
on
hips
*Port
de
bras:
Circle
low
(en
bas),
middle
(1st),
high
(5th),
open
(2nd)
*Bend
over
at
hips
and
pretend
to
pick
up
a
huge
round
balloon
and
bring
it
overhead
and
let
it
go
to
fly
away
as
arms
open
to
2nd
and
then
place
hands
on
hips.
*Repeat
above
*Finish
for
3
Intro
4‐3’s
4‐3’s
8‐3’s
16‐3’s
*3
&
4
Year
Olds
are
learning
the
awareness
of
their
body
in
space
and
discovering
their
sense
of
balance
during
movement.
Center
barre
exercises
are
extremely
helpful
to
increasing
a
young
child’s
ability
to
balance.
Do
not
use
the
actual
barre
because
young
children
will
depend
on
it
too
much
and
fail
to
increase
their
ability
to
balance.
Using
a
barre
before
a
young
child
is
ready
also
develops
bad
habits
that
later
have
to
be
corrected.
*Teach
dancers
the
name
of
simple
French
terms
and
the
definitions.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
Have
dancers
repeat
(saying)
level
of
arms
with
you
–
low,
medium,
high,
open.
Later
on
this
will
be
changed
to
the
actual
names
of
the
port
de
bras.
44
Class
CD;
None
Tendu;
Track
#6;
1:19
Tendu
Tendu
=
to
stretch
Class
CD;
Piqué;
Track
#8;
:
28;
Repeat
Optional
None
Piqué
Piqué
=
to
prick
Hand
out
Scarves
–
1
per
dancer
Transition
to
Center
Work
Class
CD;
Temp
lié;
Track
#10;
1:06
1
scarf
per
dancer
Rocking
Class
CD;
Sauté;
Track
#11;
:
33;
Repeat
Optional
None
Sauté
Sauté
=
to
jump
Center
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Legs
parallel
with
hands
on
hips:
*Tendu,
stretching
right
foot/leg
to
the
front
(center
of
circle)
and
close
parallel.
*Repeat
with
left
foot
and
then
again
on
right
foot.
*With
legs
together,
clap
hands
2
times
*Repeat
left,
right,
left,
clap
2
*Finish
for
3
Legs
parallel
with
hands
on
hips:
*Stretch
right
foot
to
the
front
and
lightly
tap
leg/foot
on
the
floor
6Xs;
close
parallel;
*Repeat
on
left
leg;
*Finish
for
3
*For
now,
keep
the
dancers
in
a
circle
formation
for
the
center
work.
*Have
the
assistant
help
you
hand
out
the
scarves
to
the
dancers.
Show
the
dancers
how
to
hold
the
scarf
in
the
center
so
it
doesn’t
touch
the
floor.
Legs
in
2nd
position
with
scarf
in
right
hand
and
left
hand
on
hip
*Plié
&
rock
to
right
as
scarf
swings
to
right
*Plié
&
rock
to
left
as
scarf
swings
to
left
*Plié
&
rock
to
right
as
scarf
swings
to
right
*Hold
last
position
and
freeze;
change
scarf
to
left
hand
*Repeat
all
starting
left
*Finish
for
3
–
ask
dancers
to
freeze
in
their
chosen
position
with
scarf
held
high
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Repeat
2
more
times
*Balance:
Stretch
arms
overhead,
rise
on
demi‐
pointe,
and
making
huge
#1
shape,
lower
*Finish
for
3
Intro
2
cts
4
cts
2
cts
8
cts
*At
this
age,
focus
is
for
the
dancers
to
bring
the
leg
to
their
front
with
the
foot
extended
toward
the
center
mat.
Do
not
expect
to
see
a
technically
correct
tendu
at
this
age.
Intro
8
cts
8
cts
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
Intro
1‐3
cts
1‐3
cts
1‐3
cts
1‐3
cts
4‐3
cts
*Use
minimal
rotation
in
2nd.
*Hold
scarf
in
middle.
Remind
dancers
to
make
scarf
gracefully
dance.
*Have
assistant
pick
up
scarves
after
exercise.
Intro
4
cts
8
cts
4
cts
Teach
dancers
to
push
through
floor
on
jumps
&
balances.
Keep
bodies
long,
straight
&
still
in
balance
45
Traveling
Steps
N/A
(+ME)
Transition
to
traveling
steps
Place
dancers
in
row/lines
on
one
side
of
room.
N/A
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
Class
CD;
Bourrée;
Track
#16;
1:21;
Repeat
2
mats
per
dancer
in
row;
1
scarf
per
dancer;
(+ME)
Bourrée
with
Scarves
&
Mats
Bourrée/couru
=
very
small
running‐like
steps
on
demi‐pointe
*Place
2
mats
for
each
dancer
in
row
equally
spaced
across
studio.
*Have
the
students
choose
whether
they
want
to
be
Angelina,
Marco,
Viki
or
Gracie
as
they
dance
across
the
floor.
Have
the
dancers
pretend
they
are
in
Camembert
Academy
taking
class
with
Ms.
Mimi.
This
exercise
is
a
repeat
of
the
previous
week.
However,
this
time
ask
the
dancers
to
pretend
to
be
a
different
character.
Ask
the
young
dancers
how
will
they
move
differently
as
another
mouseling?
*Legs
parallel
with
scarf
in
right
hand
(demi‐
seconde)
and
left
hand
on
hip
*Rise
to
demi‐pointe,
bourrée
forward
as
right
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
8
cts
*Depending
on
the
number
of
dancers
within
the
class,
place
them
in
1,
2,
or
3
groups.
Lightly
touch
the
top
of
their
head
and
say
the
number
group
they
are
in.
After
signifying
who
is
in
what
group,
ask
the
dancers
in
group
1
to
raise
their
hand.
Ask
them
which
group
they
are
in.
Tell
them
to
lower
their
hands
and
then
repeat
with
all
other
groups.
Ask
the
dancers
to
look
to
each
side
to
see
who
they
are
standing
next
to.
Dancers
in
this
age
group
are
learning
awareness
of
their
bodies
in
space
and
by
taking
the
time
to
do
these
techniques
will
save
time
later
on
in
class.
*Remind
dancers
to
‐‐‐Take
tiny
little
steps
as
they
bourrée
‐‐‐Make
their
scarves
gracefully
float
and
dance
‐‐‐Plié
and
change
scarf
arms
while
standing
on
mat
*Have
assistant
pick
up
scarves
and
mats
at
completion
of
exercise.
46
Class
CD;
1
scarf
per
2
Marching;
dancers
Track
#15;
(+ME)
2:48;
Repeat
Optional
Marching
with
My
New
Friend
Creative
Movement
1
mat
in
center
of
studio
Transition
to
Creative
Movement
Angelina
Says
Creative
Movement
CD;
Place;
1
mat
per
dancer;
(+ME)
Place
(Variation)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
arm
&
scarf
float
upward
–
can
be
forward
or
to
the
side.
*Plié
parallel
on
mat
as
scarf
arm
lowers
and
dancer
places
scarf
in
other
hand.
*Repeat
pattern
across
floor
*Bourrée
off
as
next
group
starts
*Repeat
exercise
traveling
across
floor
from
other
direction.
*Place
dancers
side
by
side
in
pairs,
preferably
with
someone
they
just
met
for
the
first
time.
Have
the
dancers
tell
each
other
their
names
just
like
Viki,
Gracie,
Marco
and
Angelina
did
when
they
first
met.
*Have
the
dancers
each
hold
one
end
of
the
same
scarf
as
they
march
side
by
side
across
the
dance
space.
*Every
8
counts
ask
a
new
pair
to
start
marching.
*Change
partners
and
have
the
dancers
meet
and
dance
with
somebody
else
on
the
return
march.
*Place
a
mat
in
the
center
of
the
room
and
ask
the
dancers
to
form
a
circle
around
it.
8
cts
16
cts
Keep
Repeating
*Place
a
mat
on
the
floor
in
front
of
each
dancer.
*Ask
the
dancers
to
step
on
the
mats.
*Without
music,
explain
to
the
dancers
that
sometimes
we
dance
moving
in
one
place
and
other
times
we
dance
while
moving
all
over
the
Follow
directions
from
Angelina’s
voice
on
Intro
8
cts
Keep
Repeating
*The
assistant
and
one
dancer
will
begin
marching.
*The
assistant
will
be
responsible
for
helping
the
dancers
to
form
their
line
once
they
arrive
at
the
other
end
of
the
classroom.
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Place
is
a
basic
movement
concept.
When
young
dancers
are
learning
about
movement
the
concept
of
place
will
help
them
to
47
Track
#1;
2:03
Angelina Ballerina™ ©2012 HIT Entertainment Limited
space.
*When
the
music
is
turned
on
they
are
going
to
play
a
game
with
Angelina
Ballerina.
She
is
going
to
call
out
whether
she
wants
them
to
dance
in
one
place
on
top
of
their
special
mat
or
traveling
all
around
the
space.
The
dancers
can
choose
to
do
any
type
of
movement
as
they
explore
dancing
in
one
place
or
all
about
the
space.
*When
the
music
stops
playing
the
dancers
are
to
freeze
and
listen
carefully
for
Angelina
to
tell
them
what
to
do
next.
Variation:
*In
keeping
with
the
book
focus
and
learning
about
different
forms
of
dance
have
the
dancers
dance
Irish
in
one
place
and
Jazz
when
Angelina
calls
all
about
space
out.
Review
with
the
dancers
an
Irish
jig
step
that
remains
in
one
place
and
then
show
the
dancers
a
Jazz
styled
dance
step
for
all
about
space.
Remember
to
keep
both
the
Irish
and
Jazz
styled
movements
extremely
simple
so
that
a
3
year
old
can
be
somewhat
successful
performing
them.
*Discuss
with
the
dancers
the
differences
in
ballet,
jazz,
and
Irish.
Talk
about
how
Irish
dancers
keep
their
arms
straight
and
still
down
by
their
sides,
ballet
dancers
have
graceful
rounded
arms
and
jazz
dancers
have
strong
and
powerful
arms.
While
standing
in
one
place
have
the
dancers
copy
moving
their
arms
as
you
guide
them
through
the
differences.
CD.
Remind
dancers
to
listen
carefully
for
instructions
and
to
freeze
when
they
do
not
hear
any
music.
understand
that
dance
is
performed
either
in
one
place
or
all
around
space.
This
is
an
important
first
concept
to
learn
so
the
dancers
understand
that
dance
such
as
plié
and
tendu
is
performed
in
one
place
while
leaps
and
gallops
are
performed
moving
all
around
the
space.
*Discuss
with
the
dancers
different
type
of
things
that
move
in
one
place
such
as
a
tree
or
flower
blowing
in
the
wind
and
things
that
move
all
about
the
space
like
a
bird
or
a
horse.
Variation:
*3
–
4
½
year
olds
are
too
young
to
be
expected
to
perform
technically
correct
Irish
and
Jazz
style
dance.
However,
introducing
them
to
the
concept
that
each
dance
style
looks
and
feels
different
will
lay
the
foundation
for
later
study.
This
will
also
help
them
to
understand
why
Angelina
felt
like
she
did
when
she
tried
to
perform
something
different
than
ballet.
48
Angelina’s
Dance
4
Minutes‐
(Music
+
instruction
Transition
to
Choreography
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Angelina’s
Song
&
Dance
CD;
I
Will
Be
A
Star;
Track
#1;
:47
None
(+ME)
Angelina
Choreography
Review
lyrics
and
choreography
that
was
taught
last
week
and
add
another
step
to
the
dance.
I
Will
Be
A
Star
Intro
Begin
standing
1st;
arms
port
de
bras
demi‐
seconde
I
can
see
what
my
futures
going
to
be
8
cts
Point
to
self
then
eyes;
port
de
bras
1st
then
arms
open
palms
up
If
I
practice
at
the
barre
8
cts
Pretend
to
place
L
hand
on
barre;
port
de
bras
R
hand
and
do
a
plié
No
time
for
rest,
4
cts
Step
look
right;
step
look
left
If
I’m
to
be
the
best
4
cts
March
in
place
4Xs
Only
then
I’ll
be
a
star
8
cts
Walk
forward
4Xs
as
arms
port
de
bras
through
1st,
5th,
finishing
allongé
5th
with
palms
facing
in
Teach
new
lyrics
and
choreography:
Imagine
how
they’ll
4
cts
Dancer’s
Free
Dance
cheer
when
I
Dancer’s
Free
Dance
Angelina Ballerina™ ©2012 HIT Entertainment Limited
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
4
cts
49
finally
a‐
Dancer’s
Free
Dance
ppear,
I
will
Dancer’s
Free
Dance
be
a
star
Dancer’s
Free
Dance
leaping
in
the
air
Ask
Dancer’s
to
do
their
favorite
leaps
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None
(+ME)
Curtsey
2‐3
minutes
Stickers
Stickers
&
Handouts
Angelina Ballerina™ ©2012 HIT Entertainment Limited
4
cts
4
cts
4
cts
4
cts
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
*Feet
together
parallel
with
arms
en
bas
Intro
*Port
de
bras
with
right
arm
–
center,
overhead,
4
cts
open
side
and
back
to
en
bas
*Repeat
with
left
arm
4
cts
*First
Port
de
bras
both
arms
2
Xs;
looking
right
8
cts
then
left
*Bourrée
turn
right
and
left
8
cts
*Bring
right
back
and
curtsey
4
cts
*Step
together
and
bring
left
foot
back
and
4
cts
curtsey
*Listen
for
Angelina’s
farewell
Farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy
or
the
caregiver
right
away.
50
Teacher’s
Notes:
Angelina Ballerina™ ©2012 HIT Entertainment Limited
51
Angelina Ballerina™ ©2012 HIT Entertainment Limited
52
Week
3
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
School
(pages
22‐28)
Props
Needed:
Mats
&
Scarves
Song:
I
Will
Be
A
Star
Class
Length:
45
Minutes
There
are
a
few
changes
in
specific
exercise
patterns
within
the
Week
3
Lesson
Plan;
however,
there
are
still
many
exercises
that
will
remain
very
similar.
Children
learn
through
repetition.
The
format
and
structure
of
class
will
always
remain
the
same.
The
creative
movement
section
will
change
each
week.
Section
of
Class
Music
CD;
Props
Exercise
Description
Counts
Miscellaneous
Things
to
Track
#;
Consider
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
N/A
&
Etiquette
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Allow
4‐5
Story
Book
Reading
of
Story
Angelina’s
New
School
(pages
22‐28)
N/A
*Encourage
all
of
the
minutes
After
reading,
check
for
understanding
by
dancers
to
participate
in
discussing
the
following
with
the
dancers.
the
Q
&
A.
Check
for
1. How
is
Ms.
Mimi’s
school
different
*For
shy,
non‐verbal
young
understanding
from
Angelina’s
other
school?
dancers,
ask
yes/no
by
asking
(Different
types
of
dance
are
taught
at
questions
to
encourage
questions
Ms.
Mimi’s
school,
not
just
ballet.)
interaction.
2. What
did
Angelina
forget
at
home?
(Her
lunch.)
3. Who
brought
her
lunch
to
her?
(Her
Mother,
Mrs.
Mouseling
and
her
sister
Polly.)
4. What
did
Angelina
tell
her
mother
about
her
first
day
of
school?
(That
no
one
dances
ballet
and
she
is
afraid
no
one
will
like
her
because
she
is
different.)
5. What
did
Polly
do
for
Angelina?
(Drew
a
picture
of
her
dancing.)
6. What
did
Angelina
decide
to
do?
(To
continue
to
dance
ballet
even
if
it
makes
her
different.)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
53
1
minute
None
Dancer
Etiquette
Ask
the
dancers
to
tell
you
about
the
three
special
dance
etiquette
rules
they
learned
last
week.
1. Eyes
on
the
teacher.
2. Hands
to
yourself.
3. Be
a
first
time
listener.
N/A
Warm‐Up
1
mat
in
center
of
studio
Setting
up
for
Warm‐Up
Place
one
Angelina
mat
in
the
center
of
the
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
wiggle
their
fingers
as
they
place
them
on
their
hips.
Next,
ask
them
to
place
their
shoes
together
(their
feet
will
be
in
parallel).
N/A
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Ask
the
dancers
to
always
listen
carefully
when
the
teacher
is
talking.
Remind
them
to
always
look
at
their
teacher
when
they
hear
her
voice.
*Reinforce
how
dancers
are
to
listen
carefully
to
the
teacher
so
they
know
how
to
move.
For
example:
pliés
are
performed
in
one
place
while
gallops
are
performed
all
around
the
space.
Remind
the
dancers
to
listen
carefully
so
they
know
when
they
are
to
dance
in
one
place
and
when
they
are
to
travel
all
around
the
space.
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*Do
not
stop
the
music
during
any
part
of
the
warm‐up;
keep
the
dancers
engaged
by
moving
from
one
exercise
to
the
next.
Remember
to
teach
with
smiles
and
imaginative
play!
54
Class
CD;
Circle
Warm‐
Up;
Track
#1;
3:51
None
Class
CD;
None
Stretching;
Track
#2;
2:16
Rhythmic
Clapping,
Tapping
&
Marching
Curl
&
Stretch
Curl,
Stretch,
and
Port
de
bras
with
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Legs
parallel,
hands
on
hips
in
large
circle
*Listen
for
Angelina’s
welcome
*Dancers
tap
toes
1
foot
at
time
to
the
beat
of
the
music
–
right
foot
then
left
foot.
*Change
taps
to
marches,
adding
handclaps.
*Feet
together,
begin
rhythmically
tapping
body
parts
called
out
by
teacher.
Include
same
side
and
cross‐body
tapping.
*Keep
repeating,
alternating
marches
and
tapping
*As
last
note
plays,
have
dancers
sit
like
Angelina
Ballerina
Greeting
4
–
8cts
4
–
8cts
8
–
8cts
Keep
repeating
until
end
of
music
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
*Add
variety
by
turning
&
traveling
marches.
Try
to
tap
as
many
different
body
parts
as
possible,
reinforcing
the
names
of
the
parts.
Have
the
dancers
repeat
after
you
as
you
say
the
name
of
each
body
part.
Focus
on
keeping
a
steady
tempo.
*Sitting
Like
Angelina
Ballerina:
slide
one
knee
back
to
kneel;
place
both
knees
side
by
side;
gracefully
drop
seat
to
floor;
swing
legs
around
to
sit
cross
legged;
remind
dancers
to
keep
back
long
and
straight;
place
hands
on
knees.
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
55
Class
CD;
None
Flex/Pointe;
Track
#3;
1:19
Flexing
&
Pointing
Ankles
Center
Barre
Class
CD;
Plié;
None
Track
#5;
2:29
Demi‐Plié
Plié
=
to
bend
Demi
=
half
Port
de
bras
=
movement
of
the
arms
Angelina Ballerina™ ©2012 HIT Entertainment Limited
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Sitting
with
legs
stretched
out
in
front
with
hands
resting
on
top
of
knees;
*Alternate
flexing
&
pointing
the
ankles/feet
*Bend
over
at
the
hips
and
walking
fingertips
down
legs
stretching
hamstrings;
hold
stretch;
walk
fingertips
all
the
way
up
body
and
reach
up
stretching
over
head
*Repeat
all
Dancers
remain
in
a
circle
formation
in
the
middle
of
the
room
for
center
barre.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
16
–
3’s
*Legs
parallel
with
hands
on
hips:
*2
demi‐pliés:
parallel
with
hands
on
hips
*Port
de
bras
with
one
arm:
middle,
high,
open,
place
hand
on
hip
*Repeat
above
plié;
port
de
bras
with
other
arm:
middle,
high,
open,
place
hand
on
hip
*Repeat
above,
but
use
both
arms
to
port
de
bras
Intro
4
cts
4
cts
4
cts
4
cts
Intro
4‐8’s
4‐8’s
8‐8’s
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Explain
to
the
dancers
that
center
barre
exercises
are
performed
in
1
place
–
their
bodies
will
move
but
they
will
not
change
places
in
the
room.
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
Have
dancers
repeat
(saying)
level
of
arms
with
you
–
low,
medium,
high,
open.
Later
on
this
will
be
changed
to
the
actual
56
*Freeze
for
3
Class
CD;
Tendu;
Track
#6;
1:19
Center
None
Tendu
Tendu
=
to
stretch
Class
CD;
None
Piqué;
Track
#
8;
:
28;
Optional
Repeat
Piqué
Piqué
=
to
prick
Class
CD;
None
Rocking‐Temp
lié;
Track
#10;
1:06
Rocking
–
Shifting
Weight
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Legs
parallel
with
hands
on
hips:
*Tendu,
stretching
right
foot/leg
to
the
front
(center
of
circle)
and
close
parallel.
*Repeat
with
left
foot
and
then
again
on
right
foot.
*With
legs
together,
clap
hands
2
times
*Repeat
left,
right,
left,
clap
2
*Finish
for
3
Legs
parallel
with
hands
on
hips:
*Stretch
right
foot
to
the
front
and
lightly
tap
leg/foot
on
the
floor
6Xs;
close
parallel;
*Repeat
on
left
leg;
*Finish
for
3
*For
now,
keep
the
dancers
in
a
circle
formation
for
the
center
work.
Intro
2
cts
4
cts
2
cts
8
cts
Legs
in
2nd
position
with
minimal
turnout;
hands
on
hips
(no
scarves
today)
*Plié
&
rock
to
right
*Plié
&
rock
to
left
*Repeat
R,
L,
R,
L,
R,
L
*Plié
&
rock
to
right;
bring
arms
to
right
and
draw
little
circles,
pushing
away
for
3
times
*Plié
&
rock
to
left
as
the
arms
swing
left
and
draw
little
circles,
pushing
away
for
3
times
names
of
the
port
de
bras.
*Do
not
be
concerned
as
to
which
hand
the
dancers
use
first.
When
they
are
in
a
circle
facing
the
teacher,
it
can
be
confusing
and
they
are
too
young
to
distinguish
between
right
and
left.
*At
this
age,
focus
is
for
the
dancers
to
bring
the
leg
to
their
front
with
the
foot
extended
toward
the
center
mat.
Do
not
expect
to
see
a
technically
correct
tendu
at
this
age.
Intro
8
cts
8
cts
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
Intro
1‐3
cts
1‐3
cts
6‐3
cts
4‐3
cts
4‐3
cts
*Use
minimal
rotation
in
2nd.
*On
the
rocks
with
the
hands
on
the
hips;
emphasize
plié
in
the
middle
then
shifting
of
weight
to
one
leg
as
the
other
stretches
in
the
opposite
direction
*On
the
arms
circles,
remind
dancers
to
never
57
Class
CD;
Sauté;
Track
#11;
:33;
Repeat
Optional
Traveling
Steps
None
Sauté
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Clap
3
times
&
place
hands
on
hips
–
Call
out
where
the
dancers
are
to
clap
*Plié,
sauté
(jump),
plié,
straighten
legs
*Clap
3
times
&
place
hands
on
hips
–
call
out
where
the
dancers
are
to
clap
*Repeat
all
Transition
to
traveling
steps
Place
dancers
in
row/lines
on
one
side
of
room.
N/A
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4
cts
4
cts
4
cts
4
cts
16
cts
cover
their
face.
*The
dancers
are
not
capable
of
understanding
right
and
left
yet
and
will
probably
be
rocking
in
different
directions.
As
long
as
they
are
not
hitting
each
other,
do
not
worry
about
it.
Just
allow
them
to
have
fun
being
graceful.
*For
variety,
call
out
different
ways
for
the
dancers
to
clap.
For
example:
high,
low,
middle,
behind
back,
etc.
Dancers
are
required
to
listen
carefully
for
new
directions
and
to
quickly
respond.
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
58
Class
CD;
Bourrée;
Track
#16;
1:21;
Repeat
Optional
1
scarf
per
dancer;
(+ME)
Bourrée
with
Scarves
Bourrée/couru
=
very
small
running‐like
steps
on
demi‐pointe
Class
CD;
Marching;
Track
#15;
2:48
None
(+ME)
Marching
(Place)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Repeat
the
Bourrée
and
Scarf
exercise
from
the
last
two
weeks
but
without
the
help
of
the
mats.
The
dancers
will
softly
count
the
music
with
you
and
plié
on
the
magic
number
7.
*Have
the
students
choose
whether
they
want
to
be
Angelina,
Marco,
Viki
or
Gracie
as
they
dance
across
the
floor.
Have
the
dancers
pretend
they
are
in
Camembert
Academy
taking
class
with
Ms.
Mimi.
This
exercise
is
a
repeat
of
the
previous
2
weeks.
However,
this
time
ask
the
dancers
to
pretend
to
be
a
different
character
than
the
previous
2
weeks.
Ask
the
young
dancers
how
will
they
move
differently
as
another
mouseling?
*Legs
parallel
with
scarf
in
right
hand
(demi‐
seconde)
and
left
hand
on
hip
*Rise
to
demi‐pointe,
bourrée
forward
as
right
arm
&
scarf
float
upward
–
can
be
forward
or
to
the
side.
*Plié
parallel
on
count
7
as
scarf
arm
lowers
and
dancer
places
scarf
in
other
hand
on
count
8.
*Repeat
pattern
across
floor
*Bourrée
off
as
next
group
starts
*Repeat
exercise
traveling
across
floor
from
other
direction.
Line
the
dancers
up
in
a
single
file
line.
The
assistant
will
lead
the
line.
*Just
as
in
the
story,
Angelina’s
New
School,
have
the
dancers
reenact
Polly
marching
to
Camembert
Academy
to
bring
Angelina
her
forgotten
lunch.
Ask
the
dancers
to
pantomime
taking
Mrs.
Mouseling’s
hand
before
beginning
their
march.
The
dancers
can
act
out
waiting
for
traffic
to
pass
while
marching
in
place.
Be
sure
to
remind
dancers
to
look
both
ways
before
beginning
their
forward
march
across
Intro
6
cts
2
cts
8
cts
Keep
Repeating
Remind
dancers
to
*softly
count
the
music
along
with
you.
*take
tiny
little
steps
as
they
bourrée
*make
their
scarves
gracefully
float
and
dance
*change
scarf
hands
during
the
plié
Have
assistant
pick
up
scarves.
*The
focus
is
on
the
difference
in
marching
in
one
place
and
all
around
space.
*The
other
focus
is
remaining
in
a
follow‐the‐
leader
line
formation
while
marching.
*Have
the
assistant
lead
and
the
teacher
remain
at
the
end
of
the
line
to
59
the
street.
*Pretend
to
take
Mrs.
Mouselings
hand.
*All
dancers
will
march
in
one
place
for
8
counts.
*All
dancers
will
march
while
traveling
forward
for
8
counts.
*Keep
repeating
sequence
Intro
8
cts
8
cts
16
cts
Keep
Repeating
Creative
Movement
1
mat
in
center
of
circle
Transition
to
Creative
Movement
*Place
a
mat
in
the
center
of
the
room
and
ask
the
dancers
to
form
a
circle
around
it.
Class
CD;
Waltz;
Track
#20;
1:42
1
mat
for
every
two
dancers;
(+ME)
Similar
and
Different
with
Place
*Quickly
go
down
the
line
and
ask
the
dancers
their
favorite
flavor
of
ice
cream.
*Place
the
dancers
into
pairs
but
try
to
place
them
together
based
on
liking
different
flavors
of
ice
cream.
For
example,
do
not
place
two
vanilla
lovers
together.
The
assistant
and
teacher
can
also
be
placed
so
that
the
divisions
work
out.
*Point
out
to
the
dancers
that
they
are
similar
but
different.
They
are
similar
because
they
all
love
to
dance
like
Angelina
Ballerina
but
they
are
different
because
they
favorite
ice
cream
Angelina Ballerina™ ©2012 HIT Entertainment Limited
redirect
any
young
dancers
having
difficulty
remaining
in
the
follow‐the‐leader
line.
*Have
the
assistant
make
many
turns
and
curves
around
the
room
so
the
dancers
are
challenged
to
remain
in
line
*Remind
the
dancers
to
respect
each
others
space
in
line
and
to
keep
their
hands
to
themselves.
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*The
dancers
are
to
create
their
own
movements
as
they
remain
within
the
structure
of
either
dancing
in
one
place
or
all
around.
*Remind
the
dancers
of
what
happened
in
their
story
and
how
Angelina
and
her
new
friends
Viki
and
Gracie
all
loved
to
dance,
but
loved
different
styles
of
dance.
60
Angelina’s
Dance
Angelina’s
None
Song
&
Dance
(+ME)
CD;
I
Will
Be
A
Star;
Track
#1;
:47
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
flavor
is
different
than
their
partner.
*Place
one
Angelina
mat
down
for
each
pair.
Spread
the
dancers
out
all
around
the
studio.
*As
one‐partner
dances
in
place
on
the
mat
the
other
partner
must
dance
all
around
the
mat
(and
partner).
They
are
both
dancers
(the
same),
but
are
dancing
differently.
*The
dancers
must
listen
for
the
teacher’s
cue
to
switch
places.
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
*Review
choreography
that
was
taught
last
2
weeks
and
add
another
step
to
the
dance.
Refer
to
last
weeks
lesson
plans
for
lyrics
and
choreography.
I
Will
Be
A
Star
Begin
standing
1st;
arms
port
de
bras
demi‐
seconde
I
can
see
what
my
futures
going
to
be
Point
to
self
then
eyes;
port
de
bras
1st
then
arms
open
palms
up
If
I
practice
at
the
barre
Pretend
to
place
L
hand
on
barre;
port
de
bras
R
hand
and
do
a
plié
No
time
for
rest,
Step
look
right;
step
look
left
If
I’m
to
be
the
best
March
in
place
4Xs
Only
then
I’ll
be
a
star
Walk
forward
4Xs
as
arms
port
de
bras
through
Intro
16
–
3
cts
Switch
16
–
3
cts
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Intro
8
cts
8
cts
4
cts
4
cts
8
cts
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
61
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None;
(+ME)
Curtsey
Angelina Ballerina™ ©2012 HIT Entertainment Limited
1st,
5th,
finishing
allongé
5th
with
palms
facing
in
Imagine
how
they’ll
Dancer’s
Free
Dance
cheer
when
I
Dancer’s
Free
Dance
finally
a‐
Dancer’s
Free
Dance
ppear,
I
will
Dancer’s
Free
Dance
be
a
star
Dancer’s
Free
Dance
leaping
in
the
air,
I
will
Ask
Dancer’s
to
do
their
favorite
leaps
*Teach
new
lyrics
and
choreography
be
a
star
en
Bourrée
turn
to
the
right
pointe
without
a
care
coupe,
Bourrée
turn
to
the
left
*Have
dancers
practice
the
song
and
dance
from
beginning
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
4
cts
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
*It
is
important
to
establish
a
good‐bye
ritual
with
your
young
students.
This
portion
of
class
will
remain
basically
the
same
throughout
the
curriculum.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
62
2‐3
Minutes
Stickers
Stickers
&
Handouts
Teacher’s
Notes:
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
4
cts
4
cts
Farewell
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
63
Angelina Ballerina™ ©2012 HIT Entertainment Limited
64
Week
4
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
School
(pages
29‐32)
Song:
I
Will
Be
A
Star
Section
of
Class
Music
CD;
Props
Exercise
Description
Track
#;
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
&
Etiquette
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Allow
4‐5
Story
Book
Reading
of
Story
Angelina’s
New
School
(pages
29‐32)
minutes
After
reading,
check
for
understanding
by
discussing
the
following
with
the
dancers.
Check
for
1. What
did
Angelina
do
on
her
new
understanding
school’s
stage?
(She
danced
ballet
by
asking
with
leaps
and
twirls.)
questions
2. What
did
the
audience
do?
(They
clapped
and
cheered
because
they
liked
her
performance.)
3. What
did
Angelina’s
new
friends
give
her
after
she
danced
ballet?
(A
yellow
rose.)
4. What
did
Angelina
think
about
her
new
school
after
she
danced
ballet
for
her
friends?
(She
thought
her
new
school
was
wonderful!)
1
minute
N/A
Dance
Etiquette
1. Eyes
on
the
teacher.
Review
2. Hands
to
yourself.
3. Be
a
first
time
listener.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Props
Needed:
Mats
&
Scarves
Class
Length:
45
Minutes
Counts
Miscellaneous
Things
to
Consider
N/A
N/A
*Encourage
all
of
the
dancers
to
participate
in
the
Q
&
A.
*For
shy,
non‐verbal
young
dancers,
ask
yes/no
questions
to
encourage
interaction.
N/A
*Ask
the
dancers
to
always
listen
carefully
when
the
teacher
is
talking.
*Remind
them
to
always
look
at
their
teacher
when
they
hear
her
voice.
*Remind
dancers
to
keep
their
hands
to
themselves.
65
Warm‐Up
1
mat
in
center
of
circle
Setting
up
for
Warm‐Up
While
setting
up‐
introduce
the
concept
of
level.
Place
one
Angelina
mat
in
the
center
of
the
N/A
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
wiggle
their
fingers
as
they
place
them
on
their
hips.
Next,
ask
them
to
place
their
shoes
together
(their
feet
will
be
in
parallel).
*Introduce
the
concept
of
level
to
dancers.
Talk
about
how
dancers
can
dance
at
low,
medium,
or
high
levels.
As
you
go
through
the
class,
comment
on
whether
the
exercise
is
at
a
low,
medium,
or
high
level.
Try
to
vary
the
level
of
the
exercises
as
much
as
possible
throughout
the
class.
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
None
Rhythmic
Clapping,
Tapping
&
Marching
Legs
parallel,
hands
on
hips
in
large
circle
*Listen
for
Angelina’s
welcome
*Dancers
tap
toes
1
foot
at
time
to
the
beat
of
the
music
–
right
foot
then
left
foot.
*Change
taps
to
marches,
adding
handclaps.
 Vary
the
level
of
marching
from
low
in
a
plié
to
high
on
demi‐pointe.
*Feet
together,
begin
rhythmically
tapping
body
parts
called
out
by
teacher.
Include
same
side
and
cross‐body
tapping.
*Keep
repeating,
alternating
marches
and
tapping
*As
last
note
plays,
have
dancers
sit
like
Angelina
Ballerina
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*Do
not
stop
the
music
during
any
part
of
the
warm‐up;
keep
the
dancers
engaged
by
moving
from
one
exercise
to
the
next.
Remember
to
teach
with
smiles
and
imaginative
play!
*Add
variety
by
turning
&
Greeting
traveling
marches.
Try
to
4
–
8cts
tap
as
many
different
body
parts
as
possible,
4
–
8cts
reinforcing
the
names
of
the
parts.
Have
the
dancers
repeat
after
you
as
8
–
8cts
you
say
the
name
of
each
body
part.
Focus
on
Keep
keeping
a
steady
tempo.
repeating
*Incorporate
level
into
the
until
end
of
marches
and
clapping.
music
Point
out
to
the
dancers
at
what
level
they
are
clapping
their
hands
and/or
marching.
*Sitting
Like
Angelina
Ballerina:
slide
one
knee
66
Class
CD;
None
Stretching;
Track
#2;
2:16
Curl
&
Stretch
Curl,
Stretch,
and
Port
de
bras
with
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
back
to
kneel;
place
both
knees
side
by
side;
gracefully
drop
seat
to
floor;
swing
legs
around
to
sit
cross
legged;
remind
dancers
to
keep
back
long
and
straight;
place
hands
on
knees.
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
67
Center
Barre
Class
CD;
None
Flex/Pointe;
Track
#3;
1:19
Flexing
&
Pointing
Ankles
Transition
to
Center
Barre
1
mat
in
center
of
circle
Class
CD;
Plié;
None
Track
#5;
2:29
Class
CD;
Tendu;
Track
#6;
1:19
None
Intro
4‐8’s
4‐8’s
8‐8’s
Dancers
remain
in
a
circle
formation
in
the
middle
of
the
room
for
center
barre.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié
*Legs
parallel
with
hands
on
hips:
*2
demi‐pliés:
parallel
with
hands
on
hips
Plié
=
to
bend
*Port
de
bras
with
one
arm:
middle,
high,
Demi
=
half
open,
place
hand
on
hip
Port
de
bras
=
*Repeat
above
plié;
port
de
bras
with
other
movement
of
the
arm:
middle,
high,
open,
place
hand
on
hip
arms
*Repeat
above,
but
use
both
arms
to
port
de
bras
*Rise
onto
demi‐pointe
and
balance
for
8
cts.
*Freeze
for
3
Tendu
Tendu
=
to
stretch
Intro
2
cts
2
cts
2
cts
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Sitting
with
legs
stretched
out
in
front
with
hands
resting
on
top
of
knees;
*Alternate
flexing
&
pointing
the
ankles/feet
*Bend
over
at
the
hips
and
walking
fingertips
down
legs
stretching
hamstrings;
hold
stretch;
walk
fingertips
all
the
way
up
body
and
reach
up
stretching
over
head
*Repeat
all
Legs
parallel
with
hands
on
hips:
*Tendu,
stretching
right
foot
forward
and
close.
*Tendu,
stretching
left
foot
forward
and
close.
*Tendu,
stretching
right
foot
forward
and
close.
Intro
4
cts
4
cts
4
cts
4
cts
8
cts
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
stretch
their
knees
as
they
flex
and
point.
*Remind
dancers
to
keep
their
legs
straight
as
they
bend
forward
at
hips
to
reach
toward
their
toes
with
their
fingers.
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
Have
dancers
repeat
(saying)
level
of
arms
with
you
–
low,
medium,
high,
open.
Later
on
this
will
be
changed
to
the
actual
names
of
the
port
de
bras.
*Point
out
to
the
dancers
how
performing
a
plié
or
a
rise
onto
demi‐pointe
changes
level.
*Ask
dancers
if
they
are
in
one
place
or
all
around
*Remind
dancers
to
keep
their
tummies
very
still
while
performing
tendu.
68
Class
CD;
Piqué;
Track
#8;
:
28;
Optional
Repeat
Center
None
Piqué
Piqué
=
to
prick
Transition
to
Center
Work
Class
CD;
Rocking;
#10;
1:06
None
Rocking
–
Shifting
Weight
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*With
feet
parallel,
clap
hands
3
times
and
then
place
hands
on
hips.
 On
each
repeat,
call
out
a
new
level
for
the
dancers
to
clap
their
hands
at;
for
example:
low
(bend
over
and
clap
right
next
to
the
floor);
middle
(even
with
their
tummy);
high
(over
their
head).
*Freeze
for
3
Legs
parallel
with
hands
on
hips:
*Stretch
right
foot
to
the
front
on
and
count
and
lightly
tap
leg/foot
on
the
floor
4Xs;
*Close
parallel
ct
5;
Clap
hands
to
thighs
2
Xs;
hands
on
hips
count
8
*Repeat
on
left
leg
*Repeat
all
*Freeze
for
3
*For
now,
keep
the
dancers
in
a
circle
formation
for
the
center
work.
Legs
in
2nd
position
with
minimal
turnout;
hands
on
hips
(no
scarves
today)
*Plié
&
rock
to
right
*Plié
&
rock
to
left
*Repeat
R,
L,
R,
L,
R,
L,
*Plié
&
rock
to
right;
bring
arms
to
right
and
draw
little
circles,
pushing
away
for
3
times
*Plié
&
rock
to
left
as
the
arms
swing
left
and
draw
little
circles,
pushing
away
for
3
times
2
cts
8
cts
Intro
4
cts
4
cts
8
cts
16
cts
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
Intro
1
–
3
ct
1
–
3
ct
6
–
3
ct
4
–
3
ct
4
–
3
ct
*Use
minimal
rotation
in
2nd.
*On
the
rocks
with
the
hands
on
the
hips;
emphasize
plié
in
the
middle
then
shifting
of
weight
to
one
leg
as
the
other
stretches
in
the
opposite
direction
*On
the
arms
circles,
remind
dancers
to
never
cover
their
face.
*Explain
to
the
dancers
how
each
rock
changes
level.
The
plié
is
low
and
the
stretch
is
high.
69
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
Repeat
None
Sauté
Traveling
Steps
N/A
Transition
to
traveling
steps
1
scarf
per
dancer;
(+ME)
Bourrée
with
Scarves
Bourrée/couru
=
very
small
running‐like
steps
on
demi‐
pointe
Class
CD;
Bourrée;
Track
#16;
1:21;
Optional
Repeat
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Rise
to
demi‐pointe
parallel
*Repeat
till
end
of
music
Intro
4
cts
4
cts
4
cts
4
cts
Place
dancers
in
row/lines
on
one
side
of
room.
N/A
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
Repeat
the
Bourrée
and
Scarf
exercise
from
the
last
week.
The
dancers
will
softly
count
the
music
with
you
and
plié
on
the
magic
number
7.
*As
in
the
story,
Angelina’s
New
School,
have
the
dancers
imagine
they
are
Angelina
performing
on
the
stage
for
the
first
time
at
Camembert
Academy.
Once
the
dancers
have
repeated
the
bourrée
pattern
two
times
across
the
floor,
have
them
free
dance
at
the
opposite
end
of
the
studio
for
8
counts.
Angelina
was
excited
to
show
her
new
friends
how
she
could
leap
and
twirl.
Have
the
young
dancers
do
the
same.
Remind
the
dancers
to
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
Remind
dancers
to
*softly
count
the
music
along
with
you.
*take
tiny
little
steps
as
they
bourrée
*make
their
scarves
gracefully
float
and
dance
*change
scarf
hands
during
the
plié
Have
assistant
pick
up
scarves.
70
Class
CD;
Marching;
Track
#15;
2:48
None;
(+ME)
Marching
(Place
&
Level)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
freeze
at
the
end
of
their
8
counts.
*Legs
parallel
with
scarf
in
right
hand
(demi‐
seconde)
and
left
hand
on
hip
*Rise
to
demi‐pointe,
bourrée
forward
as
right
arm
&
scarf
floats
upward
–
can
be
forward
or
to
the
side.
*Plié
parallel
on
count
7
as
scarf
arm
lowers
and
dancer
places
scarf
in
other
hand.
*Repeat
pattern
across
floor
*Free
dance
for
8
counts
*Hold
ending
pose
as
next
group
starts
*Repeat
‐
traveling
from
other
direction.
Line
the
dancers
up
in
a
single
file
line.
The
assistant
will
lead
the
line.
*All
dancers
will
march
in
place
at
a
low
level
for
8
counts.
(Keeping
back
straight
and
bending
knees
as
much
as
possible)
*All
dancers
will
march
while
traveling
forward
at
a
high
level
for
8
counts.
(Stretching
head
and
body
as
high
as
possible)
*Keep
repeating
sequence
Intro
6
cts
2
cts
8
cts
8
cts
Keep
Repeating
Intro
8
cts
8
cts
16
cts
Keep
Repeating
*The
focus
is
on
the
difference
in
marching
in
one
place
and
all
around
space.
*The
other
focus
is
remaining
in
a
follow‐the‐
leader
line
formation
while
marching.
*Have
the
assistant
lead
and
the
teacher
remain
at
the
end
of
the
line
to
redirect
any
young
dancers
having
difficulty
remaining
in
the
follow‐the‐leader
line.
*Have
the
assistant
make
many
turns
and
curves
around
the
room
so
the
dancers
are
challenged
to
remain
in
line
*Remind
the
dancers
to
respect
each
others
space
in
line
and
to
keep
their
hands
to
themselves.
71
Creative
Movement
Angelina’s
Dance
1
mat
in
center
of
circle
Transition
to
Creative
Movement
Ask
dancers
to
come
to
the
center
of
the
studio
and
form
a
circle.
Angelina
Says
None;
Creative
(+ME)
Movement
CD;
Level;
Track
#2;
4:05
Level
*Ask
dancers
to
spread
out
all
around
the
studio
space.
*Ask
dancers
to
listen
carefully
as
Angelina
Ballerina
will
guide
them
through
dancing
at
different
levels.
*When
Angelina
calls
out
low,
the
dancers
must
dance
as
close
to
the
floor
as
possible.
*When
Angelina
calls
out
medium,
the
dancers
must
dance
in
between
low
and
high
at
a
middle
level.
*When
Angelina
calls
out
high,
the
dancers
must
dance
high
on
their
toes
with
their
arms
reaching
up
as
much
as
possible.
Ask
them
to
reach
for
the
sky.
Transition
to
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Remind
dancers
to
freeze
in
the
position
they
were
in
when
the
music
stopped
and
to
listen
carefully
for
Angelina
to
call
out
the
next
level.
Follow
directions
from
Angelina’s
voice
on
CD.
Remind
dancers
to
listen
carefully
for
instructions
and
to
freeze
when
they
do
not
hear
any
music.
Each
week
spend
time
teaching
choreography
This
exercise
will
allow
for
to
a
special
Angelina
Ballerina
song.
Intermix
both
teacher
directed
and
given
choreography
to
special
words
within
child
directed
movement.
the
song
while
allowing
other
parts
of
the
song
This
combination
is
an
to
be
used
for
the
dancers
to
create
their
own
excellent
technique
to
use
choreography
(free
dance
at
this
age).
at
the
end
of
each
dance
class.
72
Angelina’s
None;
Song
&
Dance
(+ME)
CD;
I
Will
Be
A
Star;
Track
#1;
:47
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Review
lyrics
and
choreography
that
was
previously
taught.
I
Will
Be
A
Star
Begin
standing
1st;
arms
port
de
bras
demi‐
seconde
I
can
see
what
my
futures
going
to
be
Point
to
self
then
eyes;
port
de
bras
1st
then
arms
open
palms
up
If
I
practice
at
the
barre
Pretend
to
place
L
hand
on
barre;
port
de
bras
R
hand
and
do
a
plié
No
time
for
rest,
Step
look
right;
step
look
left
If
I’m
to
be
the
best
March
in
place
4Xs
Only
then
I’ll
be
a
star
Walk
forward
4Xs
as
arms
port
de
bras
through
1st,
5th,
finishing
allongé
5th
with
palms
facing
in
Imagine
how
they’ll
Dancer’s
Free
Dance
cheer
when
I
Dancer’s
Free
Dance
finally
a‐
Dancer’s
Free
Dance
ppear,
I
will
Dancer’s
Free
Dance
be
a
star
Dancer’s
Free
Dance
leaping
in
the
air,
I
will
Ask
Dancer’s
to
do
their
favorite
leaps
be
a
star
en
Bourrée
turn
to
the
right
pointe
without
a
care,
I
will
coupe,
Bourrée
turn
to
the
left
*Teach
new
lyrics
and
choreography
Intro
8
cts
8
cts
4
cts
4
cts
8
cts
4
cts
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
*Have
dancers
practice
the
song
and
dance
from
the
beginning.
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
73
be
a
star,
They’ll
throw
step
right
and
curtsey
flowers
everywhere
pretend
to
throw
flowers
and
curtsey
again
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
4
cts
4
cts
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None
(+ME)
Curtsey
*Feet
together
parallel
with
arms
en
bas
*Just
as
Angelina
received
a
marvelous
yellow
rose
from
her
new
friends
at
Camembert
Academy,
have
the
dancers
pantomime
they
too
are
receiving
and
thanking
their
friends
for
a
beautiful
rose.
Be
sure
to
remind
the
dancers
of
how
happy
and
thankful
Angelina
is
to
be
dancing
with
her
new
friends.
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
2‐3
Minutes
None
Stickers
&
Handouts
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*How
to
pantomime
receiving
a
rose:
1. Slowly
move
through
the
motions
of
receiving
the
rose.
2. Be
sure
to
look
at
the
imaginary
rose
3. Be
sure
to
smell
the
rose
4. Hold
the
rose
close
to
body
during
curtsey.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
74
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
Teacher’s
Notes:
Angelina Ballerina™ ©2012 HIT Entertainment Limited
75
Angelina Ballerina™ ©2012 HIT Entertainment Limited
76
Week
5
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
Dance
(pages
35‐42)
Props
Needed:
Mats,
Scarves
&
Maracas
Song:
I
Will
Be
A
Star
Class
Length:
45
Minutes
Section
of
Class
Music
CD;
Props
Exercise
Description
Counts
Miscellaneous
Things
to
Track
#;
Consider
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
N/A
&
Etiquette
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Allow
4‐5
Story
Book
Reading
of
Story
Angelina’s
New
Dance
(Pages
35‐42)
N/A
*Encourage
all
of
the
minutes
After
reading,
check
for
understanding
by
dancers
to
participate
in
Check
for
discussing
the
following
with
the
dancers.
the
Q
&
A.
understanding
1. Why
were
there
boxes
all
over
*For
shy,
non‐verbal
young
by
asking
Angelina’s
house?
(Her
family
had
just
dancers,
ask
yes/no
questions
moved
into
a
new
house.)
questions
to
encourage
2. Why
was
Angelina
nervous
about
her
interaction.
new
school?
(She
was
afraid
all
of
the
other
dancers
would
be
much
better
dancers
than
her.)
3. What
couldn’t
Angelina
find?
(Her
music
and
music
player.)
4. What
did
Polly
almost
forget
to
give
to
Angelina?
(A
letter
that
had
come
in
the
mail.)
1
minute
N/A
Dance
Etiquette
Ask
the
dancers
to
tell
you
three
things
they
N/A
*Ask
the
dancers
to
always
Review
need
to
remember
while
taking
class.
listen
carefully
when
the
1. Eyes
on
the
teacher.
teacher
is
talking.
1. Hands
to
yourself.
*Remind
them
to
always
2. Be
a
first
time
listener.
look
at
their
teacher
when
they
hear
her
voice.
*Remind
dancers
to
keep
their
hands
to
themselves.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
77
Warm‐Up
1
mat
in
center
of
circle
Setting
up
for
Warm‐Up
Introduce
the
importance
of
music
to
dance.
Place
one
Angelina
mat
in
the
center
of
the
N/A
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
wiggle
their
fingers
as
they
place
them
on
their
hips.
Next,
ask
them
to
place
their
shoes
together
(their
feet
will
be
in
parallel).
Introduce
the
importance
of
music
to
the
dancers.
The
dancers
will
focus
on
listening
to
their
music
today
and
playing
a
maraca
as
they
dance.
Stress
to
the
dancers
how
they
will
play
the
same
beat
with
their
maraca
that
they
are
hearing
in
the
music.
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
1
maraca
for
each
dancer.
Place
maracas
around
center
mat.
Rhythmic
Clapping,
Tapping
&
Marching
Each
dancer
picks
up
one
maraca
and
holds
in
right
hand.
Legs
parallel,
with
left
hand
on
hip
in
large
circle
*Listen
for
Angelina’s
welcome
*Have
dancers
shake
maraca
to
the
beat
of
the
music
as
they
tap
toes
on
right
foot.
Focus
on
the
beat
of
the
music.
Switch
maraca
hand
when
tapping
foot
switches.
*Have
dancers
continue
to
play
maraca
as
they
march.
Replace
handclaps
with
maraca
playing.
 Vary
the
level
of
marching
from
low
in
a
plié
to
high
on
demi‐pointe.
*Place
maraca
down
where
they
picked
it
up
from
and
put
feet
together,
begin
rhythmically
tapping
body
parts
called
out
by
teacher.
Include
same
side
and
cross‐body
tapping.
*
Pick
up
maraca
and
play
while
marching
again.
Keep
repeating,
alternating
marches
and
tapping.
*Have
dancers
place
their
maraca
on
the
floor
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Greeting
4
–
8cts
4
–
8cts
8
–
8cts
Keep
repeating
until
end
of
music
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*Do
not
stop
the
music
during
any
part
of
the
warm‐up;
keep
the
dancers
engaged
by
moving
from
one
exercise
to
the
next.
Remember
to
teach
with
smiles
and
imaginative
play!
*Add
variety
by
turning
&
traveling
marches.
Focus
on
keeping
a
steady
tempo.
*Focus
on
the
tempo
and
beat
of
music.
Ask
dancers
to
play
their
maraca
as
they
march.
This
may
be
challenging
for
some
dancers
in
this
age
group.
Positive
reinforcement
to
the
dancers
is
crucial
throughout
the
exercise.
78
Class
CD;
None
Stretching;
Track
#2;
2:16
Class
CD;
1
maraca
per
Flex/Pointe;
dancer
Track
#3;
1:19
in
front
of
them.
*As
last
note
plays,
have
dancers
sit
like
Angelina
Ballerina
Curl
&
Stretch
Curl,
Stretch,
and
Port
de
bras
with
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Flexing
&
Sitting
with
legs
stretched
out
in
front
with
1
Pointing
hand
resting
on
top
of
knee
and
the
other
Ankles
hand
holding
the
maraca.
*Alternate
flexing
&
pointing
the
ankles/feet.
Incorporate
tempo
by
doing
2
slow
and
4
quick
ankle
flexes
while
playing
maraca
2
times
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
Intro
4‐8’s
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
stretch
their
knees
as
they
flex
and
point.
*Remind
dancers
to
keep
79
slowly
and
4
times
quickly.
Repeat
4
times.
*Bend
over
at
the
hips
and
shake
maraca
to
tempo
while
reaching
toward
toes.
Hold
stretch
while
shaking
maraca
as
quickly
as
possible
while
reaching
as
far
down
near
the
toes
as
possible.
Shake
the
maraca
at
tempo
as
the
arms
reach
up
the
body
and
stretch
over
head
with
4
slow
shakes
of
the
maraca
*Repeat
all
Ask
dancers
to
place
maracas
on
center
mat.
Center
Barre
1
mat
remains
in
center
of
circle
Class
CD;
Plié;
None
Track
#5;
2:29
Transition
to
Center
Barre
Dancers
remain
in
a
circle
formation
in
the
middle
of
the
room
for
center
barre.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié
*Legs
parallel
with
hands
on
hips:
*2
demi‐pliés:
parallel
with
hands
on
hips
Plié
=
to
bend
*Port
de
bras
with
one
arm:
middle,
high,
Demi
=
half
open,
place
hand
on
hip
Port
de
bras
=
*Repeat
above
plié;
port
de
bras
with
other
movement
of
the
arm:
middle,
high,
open,
place
hand
on
hip
arms
*Repeat
above,
but
use
both
arms
to
port
de
bras
*Rise
onto
demi‐pointe
and
balance
for
8
cts.
*Freeze
for
3
Angelina Ballerina™ ©2012 HIT Entertainment Limited
4‐8’s
8‐8’s
Intro
4
cts
4
cts
4
cts
4
cts
8
cts
their
legs
straight
as
they
bend
forward
at
hips
to
reach
toward
their
toes.
*The
dancers
will
be
adding
another
layer
of
difficulty
by
playing
their
maraca
while
performing
the
exercise.
Some
will
get
the
concept
of
playing
the
maraca
at
different
tempos
and
others
may
encounter
a
greater
challenge
with
combining
both
concepts.
*Have
class
assistant
help
students
place
maracas
on
center
mat.
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
Have
dancers
repeat
(saying)
level
of
arms
with
you
–
low,
medium,
high,
open.
Later
on
this
will
be
changed
to
the
actual
names
of
the
port
de
bras.
*Point
out
to
the
dancers
how
performing
a
plié
or
a
rise
onto
demi‐pointe
changes
level.
80
Class
CD;
Tendu;
Track
#6;
1:19
1
maraca
per
student.
Pick
up
maraca
from
center
mat.
Tendu
Tendu
=
to
stretch
Class
CD;
Piqué;
Track
#8;
:
28;
Optional
Repeat
1
maraca
per
student
Piqué
Piqué
=
to
prick
None
Rocking
–
Shifting
Weight
Center
Class
CD;
Rocking;
#10;
1:06
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Hold
maraca
in
right
hand;
legs
parallel
with
both
hands
on
hips:
*Tendu,
stretching
right
foot
forward
and
close
–
3
times
*With
feet
parallel,
shake
maraca
3
times
and
then
place
maraca
in
left
hand
and
place
both
hands
on
hips.
*Repeat
all
of
above
with
left
hand
and
foot
*Freeze
for
3
Hold
maraca
in
right
hand;
legs
parallel
with
both
hands
on
hips:
*Stretch
right
foot
to
the
front
on
and
count
and
lightly
tap
leg/foot
on
the
floor
3Xs;
close
parallel
ct
4;
*With
feet
together
parallel
shake
maraca
in
right
hand
5,
6,
7;
switch
hands
on
count
8
&
place
hands
on
hips
*Repeat
on
left
leg
*Repeat
all
but
play
maraca
double
time.
*Freeze
for
3
*For
now,
keep
the
dancers
in
a
circle
formation
for
the
center
work.
Intro
6
cts
2
cts
8
cts
*Remind
dancers
to
keep
their
tummies
very
still
while
performing
tendu.
*Point
out
to
the
dancers
that
the
foot
that
does
the
tendus
and
the
hand
playing
the
maraca
is
on
the
same
side
of
the
body.
Intro
4
cts
4
cts
8
cts
16
cts
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
*Have
class
assistant
pick
up
maracas
and
place
near
stereo
for
later
use.
Legs
in
2nd
position
with
minimal
turnout;
hands
on
hips
(no
scarves
today)
*Plié
&
rock
to
right
*Plié
&
rock
to
left
*Repeat
R,
L,
R,
L,
R,
L,
*Plié
&
rock
to
right;
bring
arms
to
right
and
draw
little
circles,
pushing
away
for
3
times
*Plié
&
rock
to
left
as
the
arms
swing
left
and
draw
little
circles,
pushing
away
for
3
times
Intro
1
–
3
ct
1
–
3
ct
6
–
3
ct
4
–
3
ct
4
–
3
ct
*Use
minimal
rotation
in
2nd.
*On
the
rocks
with
the
hands
on
the
hips;
emphasize
plié
in
the
middle
then
shifting
of
weight
to
one
leg
as
the
other
stretches
in
the
opposite
direction
*On
the
arm
circles,
remind
dancers
to
never
cover
their
face.
*Explain
to
the
dancers
81
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
Repeat
None
Sauté
Traveling
Steps
N/A
Transition
to
traveling
steps
1
maraca
per
dancer;
(+ME)
Bourrée
with
Maraca
Bourrée/couru
=
very
small
running‐like
steps
on
demi‐
pointe
Class
CD;
Bourrée;
Track
#16;
1:21;
Optional
Repeat
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Rise
to
demi‐pointe
*Repeat
till
end
of
music
Intro
4
cts
4
cts
4
cts
4
cts
Place
dancers
in
row/lines
on
one
side
of
room.
N/A
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
Repeat
the
Bourrée
exercise
from
the
last
week
but
instead
of
holding
a
scarf
the
dancers
will
hold
a
maraca
and
play
it
for
7
counts
when
the
legs
are
frozen.
*Angelina’s
friend
Marco
is
a
percussionist.
He
loves
to
play
maracas.
In
this
exercise
have
the
dancers
practice
finding
the
beat
of
the
music
with
their
maraca
before
beginning
the
movement.
*Legs
parallel
with
maraca
in
right
hand
and
both
hands
on
hips
Intro
6
cts
how
each
rock
changes
level.
The
plié
is
low
and
the
stretch
is
high.
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
Remind
dancers
to
*softly
count
the
music
along
with
you.
*take
tiny
little
steps
as
they
bourrée
*gradually
move
arm
taking
7
counts
to
create
one
circle.
82
Class
CD;
Marching;
Track
#15;
2:48
1
maraca
per
dancer;
Mats
(+ME)
Marching
(Place,
level
&
playing
a
maraca)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Rise
to
demi‐pointe,
bourrée
forward
with
hands
on
hips.
*Plié
parallel
on
count
7
and
straighten
on
count
8.
*Draw
one
big
circle
with
right
arm
and
hand
as
the
dancer
plays
the
maraca
7
times;
switch
hands
on
8
and
place
on
hips
*Repeat
pattern
across
floor
*Bourrée
off
as
next
group
starts
*Repeat
exercise
traveling
across
floor
from
other
direction.
Line
the
dancers
up
into
two
single
file
lines.
The
assistant
will
lead
one
line
and
the
teacher
will
lead
the
other.
Stress
to
the
dancers
that
they
are
to
remain
in
line
with
their
assigned
leader.
Have
each
dancer
hold
the
maraca
in
their
right
hand.
*As
in
the
story,
Angelina’s
New
Dance,
have
the
dancers
imagine
they
are
in
Angelina’s
house
and
they
are
marching
and
traveling
around
all
of
the
boxes
that
are
left
to
unpack.
(Place
mats
randomly
around
room
so
the
dancers
can
visualize
the
mats
as
boxes)
Have
the
assistant
make
many
turns
and
curves
around
the
room
so
the
dancers
are
challenged
to
remain
in
line
as
they
travel
around
all
of
the
big
boxes.
*Have
all
the
dancers
march
forward
for
8
counts
while
following
their
leader.
Keep
maracas
silent.
*Have
the
dancers
march
in
place
for
8
counts
while
playing
their
maraca
8
times.
*All
dancers
will
march
while
traveling
forward
at
a
high
level
for
8
counts.
(Stretching
head
and
body
as
high
as
possible)
Keep
maracas
silent.
*Have
all
dancers
march
in
place
at
a
low
level
2
cts
8
cts
Keep
Repeating
Intro
8
cts
8
cts
8
cts
8
cts
32
cts.
This
exercise
has
3
main
focuses:
1. the
difference
in
marching
in
one
place
and
all
around
space
2. remaining
in
a
follow‐the‐leader
line
formation
while
marching
3. playing
a
maraca
to
the
beat
of
the
music
*Remind
the
dancers
to
respect
each
others
space
in
line
and
to
keep
their
hands
to
themselves.
83
Creative
Movement
1
mat
in
center
of
circle
Transition
to
Creative
Movement
Angelina
Says
Creative
Movement
CD;
Level;
Track
#2;
4:05
1
scarf
per
pair
of
dancers;
(+ME)
Level
(with
a
partner)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
for
8
counts
while
playing
their
maraca
8
times
*Switch
maraca
hands
and
keep
repeating
sequence.
*Place
a
mat
in
the
center
of
the
room
and
ask
the
dancers
to
form
a
circle
around
it.
*Pair
dancers
and
ask
them
to
spread
out
all
around
the
studio
space.
They
will
begin
facing
their
partner
holding
the
opposite
ends
of
a
scarf.
The
dancers
will
repeat
the
exercise
from
last
week
but
this
time
they
must
face
their
partner
and
remain
attached
by
holding
a
scarf
and
dancing
together.
*As
in
the
story,
Angelina’s
New
Dance,
each
pair
of
dancers
will
dance
together
similar
to
how
Angelina
and
Polly
did
while
dancing
in
their
new
purple
studio
inside
their
new
home.
*Ask
dancers
to
listen
carefully
as
Angelina
Ballerina
will
guide
them
through
dancing
at
different
levels.
*When
Angelina
calls
out
low,
the
dancers
must
dance
as
close
to
the
floor
as
possible.
*When
Angelina
calls
out
medium,
the
dancers
must
dance
in
between
low
and
high
at
a
middle
level.
*When
Angelina
calls
out
high,
the
dancers
must
dance
high
on
their
toes
with
their
arms
reaching
up
as
much
as
possible.
Ask
them
to
reach
for
the
sky.
Follow
directions
from
Angelina’s
voice
on
CD.
Remind
dancers
to
listen
carefully
for
instructions
and
to
freeze
when
they
do
not
hear
any
music.
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Remind
dancers
to
freeze
in
the
position
they
were
in
when
the
music
stopped
and
to
listen
carefully
for
Angelina
to
call
out
the
next
level.
84
Angelina’s
Dance
Angelina’s
None;
Song
&
Dance
(+ME)
CD;
I
Will
Be
A
Star;
Track
#1;
:47
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
*Review
choreography
that
was
taught
the
last
4
weeks
and
add
another
step
to
the
dance.
I
Will
Be
A
Star
Begin
standing
1st;
arms
port
de
bras
demi‐
seconde
I
can
see
what
my
futures
going
to
be
Point
to
self
then
eyes;
port
de
bras
1st
then
arms
open
palms
up
If
I
practice
at
the
barre
Pretend
to
place
L
hand
on
barre;
port
de
bras
R
hand
and
do
a
plié
No
time
for
rest,
Step
look
right;
step
look
left
If
I’m
to
be
the
best
March
in
place
4Xs
Only
then
I’ll
be
a
star
Walk
forward
4Xs
as
arms
port
de
bras
through
1st,
5th,
finishing
allongé
5th
with
palms
facing
in
Imagine
how
they’ll
Dancer’s
Free
Dance
cheer
when
I
Dancer’s
Free
Dance
finally
a‐
Dancer’s
Free
Dance
ppear,
I
will
Dancer’s
Free
Dance
Intro
8
cts
8
cts
4
cts
4
cts
8
cts
4
cts
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
*Have
dancers
practice
the
song
and
dance
from
beginning
through
the
end.
4
cts
4
cts
4
cts
85
Good‐bye
Class
CD;
Révérence;
Track
#22;
None;
(+ME)
Curtsey
Angelina Ballerina™ ©2012 HIT Entertainment Limited
be
a
star
Dancer’s
Free
Dance
leaping
in
the
air,
I
will
Ask
Dancer’s
to
do
their
favorite
leaps
be
a
star
en
Bourrée
turn
to
the
right
pointe
without
a
care,
I
will
coupe,
Bourrée
turn
to
the
left
be
a
star,
They’ll
throw
step
right
and
curtsey
flowers
everywhere,
yes
pretend
to
throw
flowers
and
curtsey
*Teach
new
lyrics
and
choreography
I
will
be
a
Coupé,
bourrée
to
the
right
with
arms
swaying
overhead
star;
I
know
Continue
bourrée
I
will
be
a
1
bourrée
turn
to
the
right
as
arms
open
to
second
position
star.
Finish
1st
position;
port
de
bras
arms
1st,
5th,
to
allongé
5th
with
palms
facing
in
Step
curtsey
right
and
left
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
*Feet
together
parallel
with
arms
en
bas
Intro
*Port
de
bras
with
right
arm
–
center,
4
cts
overhead,
open
side
and
back
to
en
bas
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
86
1:19
2‐3
Minutes
Stickers
Stickers
&
Handouts
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
Teacher’s
Notes
Angelina Ballerina™ ©2012 HIT Entertainment Limited
87
Angelina Ballerina™ ©2012 HIT Entertainment Limited
88
Week
6
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
Dance
(pages
43‐48)
Props
Needed:
Mats,
Scarves
&
Maracas
(optional
Autumn
leaves)
Song:
Dancing
Butterfly
Class
Length:
45
Minutes
Section
of
Class
Music
CD;
Props
Exercise
Description
Counts
Miscellaneous
Things
to
Track
#;
Consider
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
N/A
&
Etiquette
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Allow
4‐5
Story
Book
Reading
of
Story
Angelina’s
New
Dance
(pages
43‐48)
N/A
*Encourage
all
of
the
minutes
After
reading,
check
for
understanding
by
dancers
to
participate
in
Check
for
discussing
the
following
with
the
dancers.
the
Q
&
A.
understanding
1. Who
sent
the
letter
to
Angelina?
*For
shy,
non‐verbal
young
by
asking
2. (Camembert
Academy)
dancers,
ask
yes/no
questions
3. What
did
Angelina
imagine
when
she
questions
to
encourage
closed
her
eyes?
(Tripping
and
falling
interaction.
to
the
floor
while
dancing
at
her
new
school)
4. Who
did
Angelina
call
on
the
phone?
(Her
new
dance
school)
5. What
did
Polly
find
while
walking?
(A
ballet
shop)
6. 1
minute
N/A
Dance
Etiquette
Ask
the
dancers
to
tell
you
three
things
they
N/A
*Ask
the
dancers
to
always
Review
need
to
remember
while
taking
class.
listen
carefully
when
the
1. Eye
on
the
teacher.
teacher
is
talking.
2. Hands
to
yourself.
*Remind
them
to
always
3. Be
a
first
time
listener
look
at
their
teacher
when
1. they
hear
her
voice.
*Remind
dancers
to
keep
their
hands
to
themselves.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
89
Warm‐Up
1
mat
in
center
of
circle
Setting
up
for
Warm‐Up
Place
one
Angelina
mat
in
the
center
of
the
N/A
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
wiggle
their
fingers
as
they
place
them
on
their
hips.
Next,
ask
them
to
place
their
shoes
together
(their
feet
will
be
in
parallel).
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
1
maraca
per
dancer
Rhythmic
Clapping,
Tapping
&
Marching
Repeat
maraca
warm‐up
from
previous
week.
Each
dancer
picks
up
one
maraca
and
holds
in
right
hand.
Legs
parallel,
with
left
hand
on
hip
in
large
circle
*Listen
for
Angelina’s
welcome
*Have
dancers
shake
maraca
to
the
beat
of
the
music
as
they
tap
toes
on
right
foot.
Focus
on
the
beat
of
the
music.
Switch
maraca
hand
when
tapping
foot
switches.
*Have
dancers
continue
to
play
maraca
as
they
march.
Replace
handclaps
with
maraca
playing.
 Vary
the
level
of
marching
from
low
in
a
plié
to
high
on
demi‐pointe.
*Place
maraca
down
where
they
picked
it
up
from
and
put
feet
together,
begin
rhythmically
tapping
body
parts
called
out
by
teacher.
Include
same
side
and
cross‐body
tapping.
*
Pick
up
maraca
and
play
while
marching
again.
Keep
repeating,
alternating
marches
and
tapping.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Greeting
4
–
8cts
4
–
8cts
8
–
8cts
Keep
repeating
until
end
of
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*Do
not
stop
the
music
during
any
part
of
the
warm‐up;
keep
the
dancers
engaged
by
moving
from
one
exercise
to
the
next.
Remember
to
teach
with
smiles
and
imaginative
play!
*Add
variety
by
turning
&
traveling
marches.
Focus
on
keeping
a
steady
tempo.
*Focus
on
the
tempo
and
beat
of
music.
Ask
dancers
to
play
their
maraca
as
they
march.
This
may
be
challenging
for
some
dancers
in
this
age
group.
Positive
reinforcement
to
the
dancers
is
crucial
throughout
the
exercise.
90
Class
CD;
None
Stretching;
Track
#2;
2:16
Class
CD;
1
maraca
per
Flex/Pointe;
dancer
Track
#3;
1:19
*Have
dancers
place
their
maraca
on
the
floor
in
front
of
them.
*As
last
note
plays,
have
dancers
sit
like
Angelina
Ballerina
Curl
&
Stretch
Curl,
Stretch,
and
Port
de
bras
with
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Flexing
&
Sitting
with
legs
stretched
out
in
front
with
1
Pointing
hand
resting
on
top
of
knee
and
the
other
Ankles
hand
holding
the
maraca.
*Alternate
flexing
&
pointing
the
ankles/feet.
Incorporate
tempo
by
doing
2
slow
and
4
quick
Angelina Ballerina™ ©2012 HIT Entertainment Limited
music
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
Intro
4‐8’s
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
stretch
their
knees
as
they
flex
and
point.
91
ankle
flexes
while
playing
maraca
2
times
slowly
and
4
times
quickly.
Repeat
4
times.
*Bend
over
at
the
hips
and
shake
maraca
to
tempo
while
reaching
toward
toes.
Hold
stretch
while
shaking
maraca
as
quickly
as
possible
while
reaching
as
far
down
near
the
toes
as
possible.
Shake
the
maraca
at
tempo
as
the
arms
reach
up
the
body
and
stretch
over
head
with
4
slow
shakes
of
the
maraca
*Repeat
all
Ask
dancers
to
place
maracas
on
center
mat.
Center
Barre
None
Class
CD;
Plié;
None
Track
#5;
2:29
Transition
to
Center
Barre
Dancers
remain
in
a
circle
formation
in
the
middle
of
the
room
for
center
barre.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié
with
*Legs
parallel
with
hands
on
hips:
Balloon
Port
de
*4
demi‐pliés:
parallel
with
hands
on
hips
bras
*Balloon
Port
de
bras:
Dancers
pretend
to
bend
over
and
pick
up
a
special
balloon
from
a
Plié
=
to
bend
balloon
garden.
Bring
imaginary
balloon
Demi
=
half
overhead
creating
a
circle
overhead.
Ask
Port
de
bras
=
dancers
to
take
a
breath
and
pretend
to
gently
movement
of
the
blow
balloon
away
as
the
arms
open
to
second
arms
and
then
back
to
hips.
*Repeat
above
plié
and
balloon
port
de
bras
*Rise
onto
demi‐pointe
parallel
and
balance
for
8
cts.
*Freeze
for
3
Angelina Ballerina™ ©2012 HIT Entertainment Limited
4‐8’s
8‐8’s
N/A
Intro
8
cts
8
cts
16
cts
8
cts
*Remind
dancers
to
keep
their
legs
straight
as
they
bend
forward
at
hips
to
reach
toward
their
toes.
*The
dancers
will
be
adding
another
layer
of
difficulty
by
playing
their
maraca
while
performing
the
exercise.
Some
will
get
the
concept
of
playing
the
maraca
at
different
tempos
and
others
may
encounter
a
greater
challenge
with
combining
both
concepts.
*Have
class
assistant
help
students
place
maracas
on
center
mat.
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
*Point
out
to
the
dancers
how
performing
a
plié
or
a
rise
onto
demi‐pointe
changes
level.
*Ask
dancers
if
they
are
in
one
place
or
all
around
92
Class
CD;
Tendu;
Track
#6;
1:19
None
Tendu
Tendu
=
to
stretch
Class
CD;
Piqué;
Track
#8;
:
28;
Optional
Repeat
None
Piqué
Piqué
=
to
prick
Class
CD;
Cou
de
pied/Passé;
Track
#9;
:
44
None
None
Center
Class
CD;
Rocking;
Track
#10;
1:06
1
scarf
per
dancer
Feet
parallel
with
hands
on
hips.
*1
Tendu,
stretching
right
foot
forward
parallel
and
closing
parallel
*2
Tendu,
stretching
right
foot
forward
parallel
and
closing
parallel
*Clap
hands:
slow,
slow,
quick,
quick,
quick,
slow,
slow,
quick,
quick,
quick
*Repeat
all
of
above
*Freeze
for
3
Legs
parallel
with
both
hands
on
hips:
*Dégagé
right
foot
front
and
piqué
7
times
closing
parallel
on
count
8
*Repeat
on
left
leg
*Repeat
all.
*Freeze
for
3
Intro
4
cts
4
cts
8
cts
16
cts
*Remind
dancers
to
keep
their
legs
and
feet
stretched.
*Remind
dancers
to
keep
their
bodies
(leotard)
very
still
while
performing
their
tendus.
Intro
8
cts
8
cts
16
cts
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
Passé
Legs
parallel
with
hands
on
hips.
*Parallel
passé
right
leg
to
knee
and
back
to
parallel
–
4
times
*With
feet
parallel
bring
arms
down
and
up
3
X’s
as
if
a
flamingo
flapping
its
wings.
Put
hands
on
hips
on
count
8.
*Repeat
all
with
left.
*Finish
for
3
Intro
8
cts
8
cts
16
cts
Transition
to
Center
Work
Rocking
–
Shifting
Weight
*For
now,
keep
the
dancers
in
a
circle
formation
for
the
center
work.
Place
dancers
in
pairs
and
have
them
face
each
other.
Dancers
will
share
holding
each
end
of
two
scarves.
Legs
in
2nd
position
with
minimal
turnout;
*Plié
&
rock
to
right
&
left
for
a
total
of
6
rocks
*Freeze
legs
and
lift
scarves
up
on
count
7.2.3
and
lower
scarf
on
8.2.3
N/A
*Remind
dancers
to
keep
their
tummies
tight
as
they
perform
their
passé.
*Remind
dancers
to
look
straight
forward
as
they
stand
on
one
leg.
*Remind
dancers
to
stretch
their
arms
just
like
a
flamingo
showing
off
their
beautiful
feathers.
Intro
6
–
3
cts
2
–
3
cts
*Use
minimal
rotation
in
2nd.
*Remind
dancers
to
work
as
a
team
and
to
count
so
they
know
when
to
lift
their
scarves
on
the
magic
number
of
7.2.3
Angelina Ballerina™ ©2012 HIT Entertainment Limited
93
*Repeat
all
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
Repeat
None
Sauté
Traveling
Steps
None
Transition
to
Traveling
Steps
1
maraca
per
dancer;
(+ME)
Bourrée
with
Maraca
Bourrée/couru
=
very
small
running‐like
steps
on
demi‐
pointe
Class
CD;
Bourrée;
Track
#16;
1:21;
Optional
Repeat
Angelina Ballerina™ ©2012 HIT Entertainment Limited
8
–
3
cts
Legs
parallel
with
hands
on
hips:
Intro
*Plié,
sauté
(jump),
plié,
straighten
legs
4
cts
*Plié,
sauté
(jump),
plié,
straighten
legs
4
cts
*Plié,
sauté
(jump),
plié,
straighten
legs
4
cts
*Rise
to
demi‐pointe
and
lower
parallel
4
cts
*Repeat
till
end
of
music
Place
dancers
in
row/lines
on
one
side
of
room.
N/A
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
Repeat
the
Bourrée
exercise
from
last
week.
*Angelina’s
friend
Marco
is
a
percussionist.
He
loves
to
play
maracas.
In
this
exercise
have
the
dancers
practice
finding
the
beat
of
the
music
with
their
maraca
before
beginning
the
movement
portion
of
the
exercise.
*Legs
parallel
with
maraca
in
right
hand
and
both
hands
on
hips
*Rise
to
demi‐pointe,
bourrée
forward
with
hands
on
hips.
Intro
6
cts
*Explain
to
the
dancers
how
each
rock
changes
level.
The
plié
is
low
and
the
stretch
is
high.
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
Remind
dancers
to
*softly
count
the
music
along
with
you.
*take
tiny
little
steps
as
they
bourrée
*gradually
move
arm
taking
7
counts
to
create
one
circle.
94
Class
CD;
Marching;
Track
#15;
2:48
1
maraca
per
dancer;
(+ME)
Marching
in
Chipping
Cheddar
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Plié
parallel
on
count
7
and
straighten
on
count
8.
*Draw
one
big
circle
with
right
arm
and
hand
as
the
dancer
plays
the
maraca
7
times;
switch
hands
on
8
and
place
on
hips
*Repeat
pattern
across
floor
*Bourrée
off
as
next
group
starts
*Repeat
exercise
traveling
across
floor
from
other
direction.
Divide
the
dancers
into
pairs.
Line
them
up
side
by
side
to
form
two
lines.
As
in
the
story,
Angelina’s
New
Dance,
have
the
dancers
imagine
they
are
Polly
and
Angelina
marching
through
their
new
neighborhood.
Angelina
and
Polly
were
so
happy
to
explore
the
beautiful
sights
in
Chipping
Cheddar.
The
dancers
will
hold
each
other’s
hand
and
hold
their
maracas
in
their
outside
hand.
Every
16
counts
a
new
pair
will
start
marching
*The
first
pair
will
march
for
8
counts
with
their
outside
hand
on
their
hips
and
then
freeze
their
legs
and
play
their
maracas
for
8
counts.
They
will
repeat
this
pattern
until
they
have
crossed
the
studio.
Once
the
pair
arrives
on
the
other
side
of
the
room
have
them
pretend
they
are
looking
into
the
window
of
a
beautiful
ballet
shop
just
like
in
the
story.
Ask
the
dancers
to
find
something
very
special
in
the
window.
*Every
16
counts
the
next
pair
of
dancers
in
line
will
begin
marching.
This
continues
until
everyone
has
had
a
turn.
*Once
everyone
has
crossed
ask
the
dancers
to
share
with
their
classmates
the
color
of
their
imaginary
tutu
they
can
see
in
the
window.
2
cts
8
cts
Keep
Repeating
Intro
16
cts
Keep
Repeating
*All
dancers
in
line
will
play
their
maracas
at
the
same
time
the
marching
dancers
play
their
maracas.
*Remind
dancers
to
stay
side‐by‐side
to
their
partner
while
marching.
95
Creative
Movement
1
mat
in
center
of
circle
Transition
to
Creative
Movement
*Place
a
mat
in
the
center
of
the
room
and
ask
N/A
the
dancers
to
form
a
circle
around
it.
Angelina
Says
Creative
Movement
CD;
Autumn;
Track
#3;
1:24
1
mat
per
dancer;
(+ME)
Optional
Prop:
Cut
4
–
6”
leaf
shapes
from
orange
and
red
construction
paper
or
purchase
autumn
leaves
from
a
local
store.
Autumn
Leaves
Ask
dancers
to
spread
out
across
the
studio
and
have
the
class
assistant
place
1
Angelina
mat
on
the
floor
for
each
dancer
to
stand
on.
*Ask
the
dancers
to
envision
how
Angelina
would
play
and
dance
in
her
back
yard
in
the
village
of
Chipping
Cheddar
during
the
season
of
Autumn.
During
Autumn
the
leaves
on
the
trees
turn
to
gorgeous
shades
of
orange,
yellow,
and
red.
When
leaves
fall
to
the
ground
they
dance
and
flutter
just
like
ballerina.
*Ask
the
dancers
to
make
as
small
a
shape
as
possible
on
top
of
their
mat.
When
the
music
starts
the
dancers
will
begin
to
grow
up
and
out
pretending
to
be
a
tree
with
branches.
*The
wind
begins
to
blow
and
the
tree
limbs
and
leaves
begin
to
sway
side‐to‐side
and
forward
and
backward.
*Suddenly
it
is
Autumn
and
the
dancers
magically
turn
into
falling
leaves
as
they
step
off
their
mat
and
pretend
the
wind
is
taking
them
on
a
journey.
Allow
the
dancers
to
create
their
own
leaf
dance.
*As
the
music
ends
the
dancers
gracefully
dance
to
the
floor
and
freeze
in
a
position
similar
to
a
fallen
leaf.
Incorporating
optional
prop:
Give
each
dancer
two
leaves
to
hold.
The
dancers
begin
on
their
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
16
Cts
or
less
16
Cts
or
less
16
Cts
or
less
16
Cts
or
less
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Discuss
with
the
dancers
what
Autumn
is
and
how
the
leaves
on
the
trees
turn
to
beautiful
shades
of
red
and
orange
and
then
fall
gracefully
to
the
ground.
*Have
the
dancers
listen
to
Angelina’s
description
of
Autumn
and
then
dance
along
pretending
to
be
an
Autumn
leaf
twirling
just
like
Angelina
loves
to
do.
96
Angelina’s
Dance
Angelina’s
1
scarf
per
Song
&
Dance
dancer;
CD;
Dancing
(+ME)
Butterfly;
Track
#2;
:49
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
mat
with
their
leaves
hidden.
As
they
grow
into
a
tree
they
reach
their
leaves
out
and
just
before
they
go
to
the
floor
at
the
end
of
the
exercise,
ask
the
dancers
to
release
their
leaves
allowing
them
to
flutter
to
the
floor.
The
dancers
are
to
try
to
copy
the
same
fluttering
movement
with
their
body
to
the
floor.
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Teach
lyrics
first
and
then
choreography
for
Dancing
Butterfly.
Hold
scarf
in
right
hand.
Ask
dancers
to
pretend
their
scarf
is
part
of
their
butterfly
wings.
Instrumental
Introduction
Standing
in
1st
with
scarf
in
right
hand;
Rock
right
and
left
with
scarf
going
right
and
left;
bring
feet
to
parallel
as
the
scarf
draws
a
big
circle
right,
up,
left,
and
down
to
right
See
me
dancing
Bourrée
on
demi
pointe
in
a
circle
with
butterfly
wing
arms
(1/2
the
circle)
Like
a
butterfly
Continue
above
(finish
the
circle)
Open
my
wings,
and
Temp
lié
(rocking)
forward
with
wings
opening
16
cts
4
cts
4
cts
4
cts
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
97
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None
Curtsey
Angelina Ballerina™ ©2012 HIT Entertainment Limited
I’m
floating
thro’
the
sky
Temp
lie
(rocking)
backwards
with
wings
closing
to
body
Twirling,
Swirling
Bourrée
turn
2Xs
with
arms
opening
and
closing
like
butterfly
wings
That’s
me
I’m
never
Shy,
Oh
Free
Dance
No,
Cus
I’m
your
Free
Dance
Dancing
Butter‐
Free
Dance
Fly
Free
Dance
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
Discuss
with
dancers
how
a
butterfly
moves
and
how
they
can
dance
and
pantomime
to
look
like
a
butterfly.
Be
sure
to
allow
dancers
to
create
their
own
free
dance
choreography.
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
98
2‐3
Minutes
Teacher’s
Notes:
Stickers
Stickers
&
Handouts
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
99
Angelina Ballerina™ ©2012 HIT Entertainment Limited
100
Week
7
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
Dance
(pages
49‐52)
Song:
Dancing
Butterfly
Section
of
Class
Music
CD;
Props
Exercise
Track
#;
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
&
Etiquette
Allow
4‐5
minutes
Story
Book
1
minute
N/A
Description
Props
Needed:
Mats,
Scarves
&
Maracas
Class
Length:
45
minutes
Counts
Miscellaneous
Things
to
Consider
Gather
dancers
into
a
circle
away
from
the
N/A
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Reading
of
Story
Angelina’s
New
Dance
(pages
49‐52)
N/A
After
reading,
check
for
understanding
by
Check
for
discussing
the
following
with
the
dancers.
understanding
1.
What
did
Angelina
find
when
she
by
asking
arrived
home?
(Miss
Lilly,
her
old
questions
ballet
teacher
had
sent
her
flowers
&
balloons.)
2. Who
was
Miss
Lilly’s
friend?
(Angelina’s
new
ballet
teacher
at
Camembert
Academy)
3. What
was
the
surprise
Angelina’s
Dad
had
been
working
on?
(Her
Dad
had
made
a
dance
studio
in
her
bedroom.)
4. What
color
was
Angelina’s
new
room?
(Purple)
Dance
Etiquette
Ask
the
dancers
to
tell
you
three
things
they
N/A
Review
need
to
remember
while
taking
class.
1. Eyes
on
the
teacher.
2. Hands
to
yourself.
3. Be
a
first
time
listener.
5. 6. Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Encourage
all
of
the
dancers
to
participate
in
the
Q
&
A.
*For
shy,
non‐verbal
young
dancers,
ask
yes/no
questions
to
encourage
interaction.
*Ask
the
dancers
to
always
listen
carefully
when
the
teacher
is
talking.
*Remind
them
to
always
look
at
their
teacher
when
they
hear
her
voice.
*Remind
dancers
to
keep
their
hands
to
themselves.
101
Warm‐Up
1
mat
in
center
of
circle
Setting
up
for
Warm‐Up
Place
one
Angelina
mat
in
the
center
of
the
N/A
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
wiggle
their
fingers
as
they
place
them
on
their
hips.
Next,
ask
them
to
place
their
shoes
together
(their
feet
will
be
in
parallel).
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
1
maraca
per
dancer
Rhythmic
Clapping,
Tapping
&
Marching
Repeat
maraca
warm‐up
from
previous
week.
Each
dancer
picks
up
one
maraca
and
holds
in
right
hand.
Legs
parallel,
with
left
hand
on
hip
in
large
circle
*Listen
for
Angelina’s
welcome
*Have
dancers
shake
maraca
to
the
beat
of
the
music
as
they
tap
toes
on
right
foot.
Focus
on
the
beat
of
the
music.
Switch
maraca
hand
when
tapping
foot
switches.
*Have
dancers
continue
to
play
maraca
as
they
march.
Replace
handclaps
with
maraca
playing.
 Vary
the
level
of
marching
from
low
in
a
plié
to
high
on
demi‐pointe.
*Place
maraca
down
where
they
picked
it
up
from
and
put
feet
together,
begin
rhythmically
tapping
body
parts
called
out
by
teacher.
Include
same
side
and
cross‐body
tapping.
*
Pick
up
maraca
and
play
while
marching
again.
Keep
repeating,
alternating
marches
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Greeting
4
–
8cts
4
–
8cts
8
–
8cts
Keep
repeating
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*Do
not
stop
the
music
during
any
part
of
the
warm‐up;
keep
the
dancers
engaged
by
moving
from
one
exercise
to
the
next.
Remember
to
teach
with
smiles
and
imaginative
play!
*Add
variety
by
turning
&
traveling
marches.
Focus
on
keeping
a
steady
tempo.
*Focus
on
the
tempo
and
beat
of
music.
Ask
dancers
to
play
their
maraca
as
they
march.
This
may
be
challenging
for
some
dancers
in
this
age
group.
Positive
reinforcement
to
the
dancers
is
crucial
throughout
the
exercise.
102
Class
CD;
None
Stretching;
Track
#2;
2:16
and
tapping.
*Have
dancers
place
their
maraca
on
the
floor
in
front
of
them.
*As
last
note
plays,
have
dancers
sit
like
Angelina
Ballerina
Curl
&
Stretch
Keep
exercise
concept
the
same
but
vary
the
with
Port
de
bras
port
de
bras;
begin
teaching
dancers
the
names
of
basic
port
de
bras
Curl,
Stretch,
and
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
until
end
of
music
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
103
Class
CD;
1
maraca
per
Flex/Pointe;
dancer
Track
#3;
1:19
Flexing
&
Pointing
Ankles
Transition
to
Center
Barre
Center
Barre
None
Class
CD;
Plié;
None
Track
#5;
2:29
Dancers
remain
in
a
circle
formation
in
the
middle
of
the
room
for
center
barre.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié
with
*Legs
parallel
with
hands
on
hips:
Balloon
Port
de
*4
demi‐pliés:
parallel
with
hands
on
hips
bras
*Balloon
Port
de
bras:
Dancers
pretend
to
bend
over
and
pick
up
a
special
balloon
from
a
Plié
=
to
bend
balloon
garden.
Bring
imaginary
balloon
Demi
=
half
overhead
creating
a
circle
overhead.
Ask
Port
de
bras
=
dancers
to
take
a
breath
and
pretend
to
gently
movement
of
the
blow
balloon
away
as
the
arms
open
to
arms
second
and
then
back
to
hips.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Sitting
with
legs
stretched
out
in
front
with
1
hand
resting
on
top
of
knee
and
the
other
hand
holding
the
maraca.
*Alternate
flexing
&
pointing
the
ankles/feet.
Incorporate
tempo
by
doing
2
slow
and
4
quick
ankle
flexes
while
playing
maraca
2
times
slowly
and
4
times
quickly.
Repeat
4
times.
*Bend
over
at
the
hips
and
shake
maraca
to
tempo
while
reaching
toward
toes.
Hold
stretch
while
shaking
maraca
as
quickly
as
possible
while
reaching
as
far
down
near
the
toes
as
possible.
Shake
the
maraca
at
tempo
as
the
arms
reach
up
the
body
and
stretch
over
head
with
4
slow
shakes
of
the
maraca
*Repeat
all
Ask
dancers
to
place
maracas
on
center
mat.
Intro
4‐8’s
4‐8’s
8‐8’s
N/A
Intro
8
cts
8
cts
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
stretch
their
knees
as
they
flex
and
point.
*Remind
dancers
to
keep
their
legs
straight
as
they
bend
forward
at
hips
to
reach
toward
their
toes.
*The
dancers
will
be
adding
another
layer
of
difficulty
by
playing
their
maraca
while
performing
the
exercise.
Some
will
get
the
concept
of
playing
the
maraca
at
different
tempos
and
others
may
encounter
a
greater
challenge
with
combining
both
concepts.
*Have
class
assistant
help
students
place
maracas
on
center
mat.
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
*Point
out
to
the
dancers
how
performing
a
plié
or
a
rise
onto
demi‐pointe
changes
level.
*Ask
dancers
if
they
are
in
one
place
or
all
around
104
*Repeat
above
plié
and
balloon
port
de
bras
*Rise
onto
demi‐pointe
parallel
and
balance
for
8
cts.
*Freeze
for
3
Feet
parallel
with
hands
on
hips.
*1
Tendu,
stretching
right
foot
forward
parallel
and
closing
parallel
*2
Tendu,
stretching
right
foot
forward
parallel
and
closing
parallel
*Clap
hands:
slow,
slow,
quick,
quick,
quick,
slow,
slow,
quick,
quick,
quick
*Repeat
all
of
above
*Freeze
for
3
Legs
parallel
with
both
hands
on
hips:
*Dégagé
right
foot
front
and
piqué
7
times
closing
parallel
on
count
8
*Repeat
on
left
leg
*Repeat
all.
*Freeze
for
3
16
cts
8
cts
Class
CD;
Tendu;
Track
#6;
1:19
None
Tendu
Tendu
=
to
stretch
Class
CD;
Piqué;
Track
#8;
:
28;
Optional
Repeat
None
Piqué
Piqué
=
to
prick
Class
CD;
Cou
de
pied/Passé;
Track
#9;
:
44
None
Passé
Legs
parallel
with
hands
on
hips.
*Parallel
passé
right
leg
to
knee
and
back
to
parallel
–
4
times
*With
feet
parallel
bring
arms
down
and
up
3
X’s
as
if
a
flamingo
flapping
its
wings.
Put
hands
on
hips
on
count
8.
*Repeat
all
with
left.
*Finish
for
3
None
Transition
to
Center
Work
*For
now,
keep
the
dancers
in
a
circle
N/A
formation
for
the
center
work.
Center
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4
cts
4
cts
8
cts
16
cts
*Remind
dancers
to
keep
their
legs
and
feet
stretched.
*Remind
dancers
to
keep
their
bodies
(leotard)
very
still
while
performing
their
tendus.
Intro
8
cts
8
cts
16
cts
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
Intro
8
cts
8
cts
16
cts
*Remind
dancers
to
keep
their
tummies
tight
as
they
perform
their
passé.
*Remind
dancers
to
look
straight
forward
as
they
stand
on
one
leg.
*Remind
dancers
to
stretch
their
arms
just
like
a
flamingo
showing
off
their
beautiful
feathers.
105
Class
CD;
Rocking;
Track
#10;
1:06
1
scarf
per
dancer
Rocking
–
Shifting
Weight
Place
dancers
in
pairs
and
have
them
face
each
other.
Dancers
will
share
holding
each
end
of
two
scarves.
Legs
in
2nd
position
with
minimal
turnout;
*Plié
&
rock
to
right
&
left
for
a
total
of
6
rocks
*Freeze
legs
and
lift
scarves
up
on
count
7.2.3
and
lower
scarf
on
8.2.3
*Repeat
all
Intro
6
–
3
cts
2
–
3
cts
8
–
3
cts
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
Repeat
None
Sauté
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Port
de
bras
arms
1st,
5th,
2nd,
hands
on
hips
*Plié,
sauté
(jump),
plié,
straighten
legs
*Repeat
sequence:
sauté,
sauté,
port
de
bras,
sauté
Intro
4
cts
4
cts
4
cts
4
cts
16
cts
None
Transition
to
traveling
steps
Place
dancers
in
row/lines
on
one
side
of
N/A
room.
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
Traveling
Steps
N/A
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Use
minimal
rotation
in
2nd.
*Remind
dancers
to
work
as
a
team
and
to
count
so
they
know
when
to
lift
their
scarves
on
the
magic
number
of
7.2.3
*Explain
to
the
dancers
how
each
rock
changes
level.
The
plié
is
low
and
the
stretch
is
high.
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
106
Class
CD;
Bourrée;
Track
#16;
1:21;
Optional
Repeat
1
maraca
per
dancer;
(+ME)
Bourrée
with
Maraca
Bourrée/couru
=
very
small
running‐like
steps
on
demi‐
pointe
Class
CD;
Marching;
Track
#15;
2:48
1
maraca
per
dancer;
(+ME)
Marching
in
Chipping
Cheddar
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Repeat
the
Bourrée
exercise
from
last
week.
*Angelina’s
friend
Marco
is
a
percussionist.
He
loves
to
play
maracas.
In
this
exercise
have
the
dancers
practice
finding
the
beat
of
the
music
with
their
maraca
before
beginning
the
movement
portion
of
the
exercise.
Add
a
variation
of
*Legs
parallel
with
maraca
in
right
hand
and
both
hands
on
hip
*Rise
to
demi‐pointe,
bourrée
forward
with
hands
on
hips.
*Plié
parallel
on
count
7
and
straighten
on
count
8.
*Draw
one
big
circle
with
right
arm
and
hand
as
the
dancer
plays
the
maraca
7
times
(1
&
2
&
3
&
4;
*Draw
another
big
circle
and
shake
maraca
playing
continuously
(5
&
6
&)
and
switching
hands
on
7
&
and
placing
both
on
hips
on
count
8.
*Repeat
pattern
across
floor
*Bourrée
off
as
next
group
starts
*Repeat
exercise
traveling
across
floor
from
other
direction.
Divide
the
dancers
into
pairs.
Line
them
up
side
by
side
to
form
two
lines.
As
in
the
story,
Angelina’s
New
Dance,
have
the
dancers
imagine
they
are
Polly
and
Angelina
marching
through
their
new
neighborhood.
Angelina
and
Polly
were
so
happy
to
explore
the
beautiful
sights
in
Chipping
Cheddar.
The
dancers
will
hold
each
other’s
hand
and
hold
their
maracas
in
their
outside
hand.
Every
16
counts
a
new
pair
will
start
marching
*The
first
pair
will
march
for
8
counts
with
their
outside
hand
on
their
hips
and
then
freeze
their
legs
and
play
their
maracas
for
8
Intro
6
cts
2
cts
4
cts
4
cts
Keep
Repeating
Intro
16
cts
Remind
dancers
to
*softly
count
the
music
along
with
you.
*take
tiny
little
steps
as
they
bourrée
*gradually
move
arm
taking
7
counts
to
create
one
circle.
*All
dancers
in
line
will
play
their
maracas
at
the
same
time
the
marching
dancers
play
their
maracas.
*Remind
dancers
to
stay
side‐by‐side
to
their
partner
while
marching.
107
Creative
Movement
1
mat
in
center
of
circle
Angelina
Says
None
Creative
(+ME)
Movement
CD;
Autumn;
Track
#3;
1:24
Transition
to
Creative
Movement
Autumn
Activities
Angelina Ballerina™ ©2012 HIT Entertainment Limited
counts.
They
will
repeat
this
pattern
until
they
have
crossed
the
studio.
Once
the
pair
arrives
on
the
other
side
of
the
room
have
them
pretend
they
are
looking
into
the
window
of
a
beautiful
ballet
shop
just
like
in
the
story.
Ask
the
dancers
to
find
something
very
special
in
the
window.
*Every
16
counts
the
next
pair
of
dancers
in
line
will
begin
marching.
This
continues
until
everyone
has
had
a
turn.
*Once
everyone
has
crossed
ask
the
dancers
to
share
with
their
classmates
the
color
of
their
imaginary
tutu
they
can
see
in
the
window.
*Place
a
mat
in
the
center
of
the
room
and
ask
the
dancers
to
form
a
circle
around
it.
Ask
dancers
to
name
different
activities
that
are
unique
to
Autumn.
Ideas
to
explore
are
watching
beautiful
colored
leaves
fall,
raking
leaves,
jumping
into
a
pile
of
leaves,
throwing
leaves
into
the
air,
jumping
over
a
large
pumpkin,
pretending
to
be
a
scarecrow,
etc.
*Divide
dancers
into
two
groups.
The
class
assistant
will
lead
one
group
and
the
teacher
will
lead
the
other
group.
*Working
as
a
group,
decide
on
three
different
Autumn
activities
to
act
out
in
a
dance.
Have
the
group
leaders
help
the
young
dancers
decide
on
how
they
will
dance
their
16
cts
Keep
Repeating
N/A
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Remind
the
dancers
that
Dancers
Autumn
is
a
season
of
the
freeze
year
and
is
sometimes
also
during
called
Fall.
Angelina’s
*Since
each
group
will
intro
and
decide
the
choreography,
then
begin
they
will
also
decide
how
their
special
to
use
their
music..
autumn
dance
during
music.
Each
group
can
108
Angelina’s
Dance
Angelina’s
1
Scarf
per
Song
&
Dance
dancer;
CD;
Dancing
(+ME)
Butterfly;
Track
#2;
:49
Transition
to
Choreography
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
story.
*One
group
will
act
as
the
audience
and
the
other
group
will
act
as
the
performers.
*Have
the
groups
take
turns
performing
their
Autumn
activities
for
each
other.
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Review
lyrics
first
and
choreography
from
last
lesson.
Dancing
Butterfly
Instrumental
Introduction
Standing
in
1st
with
scarf
in
right
hand;
Rock
right
and
left
with
scarf
going
right
and
left;
bring
feet
to
parallel
as
the
scarf
draws
a
big
circle
right,
up,
left,
and
down
to
right
See
me
dancing
Bourrée
on
demi
pointe
in
a
circle
with
butterfly
wing
arms
(1/2
the
circle)
Like
a
butterfly
Continue
above
(finish
the
circle)
Open
my
wings,
and
Temp
lié
(rocking)
forward
with
wings
opening
I’m
floating
thro’
the
sky
Temp
lie
(rocking)
backwards
with
wings
closing
to
body
Twirling,
Swirling
Bourrée
turn
2Xs
with
arms
opening
and
closing
like
butterfly
wings
That’s
me
I’m
never
Shy,
Oh
have
16
–
32
cts
to
act
out
their
pantomime.
16
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
109
Free
Dance
No,
Cus
I’m
your
Free
Dance
Dancing
Butter‐
Free
Dance
Fly
Free
Dance
Teach
new
lyrics
&
choreography
I’ll
be
dancing
Pas
de
couru
forward
as
arms
float
forward
Like
a
butterfly
Plié
parallel
and
swing
arms
down
and
open
side
(like
a
butterfly)
With
each
flutter
Rise
and
bourrée
in
place
as
arms
make
tiny
butterfly
movements
above
and
below
shoulder
height
I
try
to
catch
your
eye
Pose
with
arms
down
and
back,
slightly
bent
at
hips,
feet
parallel
When
I’m
swooping
Run
in
a
circle
making
large
swooping
movements
I’m
really
saying
Hi;
That’s
Continue
swooping
in
circle
me;
I
am
your
Facing
forward,
legs
parallel;
point
to
self
Dancing
Butter‐
Free
Dance
Angelina Ballerina™ ©2012 HIT Entertainment Limited
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
Encourage
child
directed
free
dance.
Encourage
child
directed
110
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None;
(+ME)
Curtsey
2‐3
Minutes
Stickers
Stickers
&
Handouts
Teacher’s
Notes:
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Fly
I
am
your
Free
Dance
Dancing
Butterfly
Free
Dance
like
a
butterfly
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
4
cts
4
cts
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
free
dance.
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
111
Angelina Ballerina™ ©2012 HIT Entertainment Limited
112
Week
8
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
Dance
(pages
53‐55)
Song:
Dancing
Butterfly
Section
of
Class
Music
CD;
Props
Exercise
Track
#;
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
&
Etiquette
Allow
4‐5
minutes
Story
Book
1
minute
N/A
Description
Counts
Miscellaneous
Things
to
Consider
Gather
dancers
into
a
circle
away
from
the
N/A
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Reading
of
Story
Angelina’s
New
Dance
(pages
53‐55)
N/A
After
reading,
check
for
understanding
by
Check
for
discussing
the
following
with
the
dancers.
understanding
1. What
did
Angelina
hand
to
her
Mom
by
asking
and
Dad?
(The
letter
from
Camembert
questions
Academy.)
2. What
did
Angelina
confess
to
her
parents?
(That
she
had
called
the
academy
to
say
she
wasn’t
coming.)
3. What
did
Angelina
say
she
was
afraid
of?
(Not
being
a
good
dancer
at
her
new
school.)
4. What
did
Polly
say
to
Angelina?
(That
she
was
the
best
dancer
in
the
whole
world.)
5. What
did
Angelina
and
Polly
do
in
the
living
room?
(They
practiced
dancing.)
Dance
Etiquette
Ask
the
dancers
to
tell
you
three
things
they
N/A
Review
need
to
remember
while
taking
class.
1. Eyes
on
the
teacher.
2. Hands
to
yourself.
3. Be
a
first
time
listener.
7. 8. Angelina Ballerina™ ©2012 HIT Entertainment Limited
Props
Needed:
Mats,
Scarves
&
Maracas
(optional
Autumn
leaves)
Class
Length:
45
minutes
*Encourage
all
of
the
dancers
to
participate
in
the
Q
&
A.
*For
shy,
non‐verbal
young
dancers,
ask
yes/no
questions
to
encourage
interaction.
*Ask
the
dancers
to
always
listen
carefully
when
the
teacher
is
talking.
*Remind
them
to
always
look
at
their
teacher
when
they
hear
her
voice.
*Remind
dancers
to
keep
113
Warm‐Up
1
mat
in
center
of
circle
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
1
mat
in
center
of
circle
their
hands
to
themselves.
Setting
up
for
Place
one
Angelina
mat
in
the
center
of
the
N/A
*Have
the
class
assistant
Warm‐Up
room.
Gather
dancers
into
a
circle
around
the
stand
directly
across
from
mat.
Have
dancers
hold
hands
to
form
a
circle
the
teacher.
If
a
child
is
and
then
ask
them
to
stretch
their
arms
open
having
difficulty
focusing
or
wide
making
sure
they
are
not
touching
their
remaining
in
the
circle,
neighbor.
Ask
them
to
sit
like
Angelina
place
that
dancer
directly
Ballerina.
on
the
side
of
the
class
assistant.
Travel
Around
*The
teacher
begins
first
and
then
each
dancer
*There
are
many
benefits
the
Circle
has
a
turn
traveling
alone
around
the
circle
as
to
this
exercise:
the
remaining
dancers
clap
to
the
beat
of
the
1.
The
teacher
can
assess
if
*This
exercise
music.
Take
time
to
fully
explain
the
exercise
the
dancers
can
perform
will
take
time
to
before
beginning
so
the
dancers
understand
any
type
of
traveling
teach.
It
may
be
the
sequence.
movement
they
have
been
necessary
to
skip
*Listen
for
Angelina’s
welcome
Greeting
called
upon
to
do.
the
next
warm‐
*Each
dancer
will:
2.
Gives
the
dancers
a
up
so
the
class
1. Stand
like
a
dancer.
Amount
of
sense
of
accomplishment
can
stay
on
2. Travel
around
the
circle
alone
time
will
by
traveling
around
the
schedule.
performing
the
given
step.
Today
the
vary
circle
alone.
If
a
dancer
is
dancers
will
gallop
as
if
they
are
riding
depending
showing
signs
of
being
too
a
horse.
on
number
shy
to
go
alone,
have
the
3. Curtsey
once
she
arrives
back
in
their
of
dancers.
assistant
travel
with
them.
original
place
in
the
circle.
Once
all
3.
Encourages
musical
4. Sit
like
a
dancer.
dancers
awareness
by
clapping
to
5. Begin
to
clap
to
the
beat
of
the
music
have
a
turn
the
beat
of
the
music.
while
everyone
else
gets
a
turn.
Clap
work
on
4.
Requires
the
dancer
to
hands
together
and
then
clap
hands
to
cross
body
follow
a
sequence
of
tasks.
top
of
knees.
Keep
repeating
this
clapping
&
*Give
dancers
verbal
pattern.
tapping
guidance
on
what
to
do
6. Once
everyone
has
a
turn,
ask
the
sequences
and
cue
the
next
dancer
to
dancers
to
tap
various
body
parts
to
until
end
of
stand.
the
beat
of
the
music.
Name
the
body
music.
parts
so
the
dancers
can
learn
the
names
of
the
parts
of
their
body.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
114
Class
CD;
None
Stretching;
Track
#2;
2:16
Center
Barre
None
Curl
&
Stretch
Keep
exercise
concept
the
same
but
vary
the
with
Port
de
bras
port
de
bras;
begin
teaching
dancers
the
names
of
basic
port
de
bras
Curl,
Stretch,
and
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
None
*Change
dancers
to
line
formation.
Dancers
will
form
one
or
two
lines
facing
the
front
of
the
studio.
The
assistant
and
teacher
will
turn
and
face
the
students
to
demonstrate
the
exercises
and
to
keep
eye
contact
with
all
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
N/A
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
115
Class
CD;
Plié;
None
Track
#5;
2:29
Class
CD;
Tendu;
Track
#6;
1:19
None
Class
CD;
Piqué;
Track
#8;
:28;
Optional
Repeat
None
students.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié
with
*Legs
parallel
with
hands
on
hips:
Balloon
Port
de
*4
demi‐pliés:
parallel
with
hands
on
hips
bras
*Balloon
Port
de
bras:
Dancers
pretend
to
bend
over
and
pick
up
a
special
balloon
from
a
Plié
=
to
bend
balloon
garden.
Bring
imaginary
balloon
Demi
=
half
overhead
creating
a
circle
overhead.
Ask
Port
de
bras
=
dancers
to
take
a
breath
and
pretend
to
gently
movement
of
the
blow
balloon
away
as
the
arms
open
to
second
arms
and
then
back
to
hips.
*Repeat
above
plié
and
balloon
port
de
bras
*Rise
onto
demi‐pointe
parallel
and
balance
for
8
cts.
*Freeze
for
3
Tendu
Feet
parallel
with
hands
on
hips.
*1
Tendu,
stretching
right
foot
forward
parallel
Tendu
=
to
and
closing
parallel
stretch
*2
Tendu,
stretching
right
foot
forward
parallel
and
closing
parallel
*Clap
hands:
slow,
slow,
quick,
quick,
quick,
slow,
slow,
quick,
quick,
quick
*Repeat
all
of
above
*Freeze
for
3
Piqué
Legs
parallel
with
both
hands
on
hips:
*Dégagé
right
foot
front
and
piqué
7
times
Piqué
=
to
prick
closing
parallel
on
count
8
*Repeat
on
left
leg
*Repeat
all.
*Freeze
for
3
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
8
cts
8
cts
16
cts
8
cts
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
*Point
out
to
the
dancers
how
performing
a
plié
or
a
rise
onto
demi‐pointe
changes
level.
*Ask
dancers
if
they
are
in
one
place
or
all
around
Intro
4
cts
4
cts
8
cts
16
cts
*Remind
dancers
to
keep
their
legs
and
feet
stretched.
*Remind
dancers
to
keep
their
bodies
(leotard)
very
still
while
performing
their
tendus.
Intro
8
cts
8
cts
16
cts
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
116
Class
CD;
Cou
de
pied/Passé;
Track
#9;
:
44
None
Passé
Legs
parallel
with
hands
on
hips.
*Parallel
passé
right
leg
to
knee
and
back
to
parallel
–
4
times
*With
feet
parallel
bring
arms
down
and
up
3
X’s
as
if
a
flamingo
flapping
its
wings.
Put
hands
on
hips
on
count
8.
*Repeat
all
with
left.
*Finish
for
3
Intro
8
cts
8
cts
16
cts
*Remind
dancers
to
keep
their
tummies
tight
as
they
perform
their
passé.
*Remind
dancers
to
look
straight
forward
as
they
stand
on
one
leg.
*Remind
dancers
to
stretch
their
arms
just
like
a
flamingo
showing
off
their
beautiful
feathers.
Center
Class
CD;
Rocking;
Track
#10;
1:06
None
Transition
to
Center
Work
Keep
dancers
in
line
formations.
N/A
1
scarf
per
dancer
Rocking
–
Shifting
Weight
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
Repeat
None
Sauté
Sauté
=
to
jump
Intro
6
–
3
cts
2
–
3
cts
8
–
3
cts
Intro
4
cts
4
cts
4
cts
4
cts
16
cts
*Use
minimal
rotation
in
2nd.
*Remind
dancers
to
work
as
a
team
and
to
count
so
they
know
when
to
lift
their
scarves
on
the
magic
number
of
7.2.3
*Remind
dancers
they
are
to
change
levels
as
they
rock.
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
None
Transition
to
traveling
steps
Place
dancers
in
pairs
and
have
them
face
each
other.
Dancers
will
share
holding
each
end
of
two
scarves.
Legs
in
2nd
position
with
minimal
turnout;
*Plié
&
rock
to
right
&
left
for
a
total
of
6
rocks
*Freeze
legs
and
lift
scarves
up
on
count
7.2.3
and
lower
scarf
on
8.2.3
*Repeat
all
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Port
de
bras
arms
1st,
5th,
2nd,
hands
on
hips
*Plié,
sauté
(jump),
plié,
straighten
legs
*Repeat
sequence:
sauté,
sauté,
port
de
bras,
sauté
Place
dancers
in
row/lines
on
one
side
of
room.
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
N/A
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
Traveling
Steps
Angelina Ballerina™ ©2012 HIT Entertainment Limited
117
Class
CD;
Bourrée;
Track
#16;
1:21;
Optional
Repeat
1
maraca
per
dancer;
(+ME)
Bourrée
&
Sauté
with
Maraca
in
New
Ballet
Room
Bourrée/couru
=
very
small
running‐like
steps
on
demi‐
pointe
Sauté
=
to
jump
Angelina Ballerina™ ©2012 HIT Entertainment Limited
In
the
story,
Angelina’s
New
Dance,
Angelina
and
Polly
were
very
excited
about
their
brand
new
purple
dance
space
at
the
top
of
the
stairs
in
their
new
home
in
Chipping
Cheddar.
Ask
the
dancers
to
use
their
imagination
and
pretend
their
studio
is
purple
as
they
dance
across
the
floor.
*Place
dancers
in
pairs
of
two.
Ask
dancers
to
move
and
travel
while
remaining
side
by
side
to
their
partner.
*Legs
parallel
with
maraca
in
right
hand
and
both
hands
on
hip
*Rise
to
demi‐pointe,
bourrée
forward
with
hands
on
hips
for
8
counts.
*Plié
parallel
on
count
1
and
sauté
parallel
on
count
2
*With
legs
parallel
–
play
maraca
counts
3‐4
*Plié
parallel
on
count
5
and
sauté
parallel
on
count
6
*With
legs
parallel
–
play
maraca
counts
7
‐
8
**Repeat
pattern
across
floor
*Repeat
exercise
traveling
across
floor
from
other
direction.
Intro
8
cts
2
cts
2
cts
2
cts
2cts
Keep
Repeating
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
Remind
dancers
to
*softly
count
the
music
along
with
you.
*take
tiny
little
steps
as
they
bourrée
*to
push
to
point
their
toes
as
they
jump
*to
count
their
music
along
with
the
teacher
118
Class
CD;
Marching;
Track
#15;
2:48
1
maraca
per
dancers;
(+ME)
Marching
Mouselings
(Forward
and
Turning)
Creative
Movement
1
mat
in
center
of
circle
Transition
to
Creative
Movement
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Place
4
dancers
in
a
row.
The
assistant
and
teacher
can
make
up
the
difference
if
the
students
do
not
equally
divide
into
4.
*In
the
story,
Angelina’s
New
Dance,
Polly
turned
on
the
music
player
and
the
family
danced
to
Angelina’s
favorite
piece
of
music
in
their
living
room.
The
young
dancers
are
going
to
imagine
they
are
the
Mouseling
family
of
Mr.
Mouseling,
Mrs.
Mouseling,
Angelina
and
Polly.
Ask
dancers
to
keep
their
shoulders
even
with
their
neighbors’
shoulders
creating
a
long
line
of
marching
mouselings.
Dancers
will
hold
their
maraca
in
their
right
hand.
The
first
row
of
4
mouseling
dancers
begin
*March
forward
for
8
counts
while
shaking
and
playing
the
maraca
8
counts
*March
turning
toward
the
maraca
hand
while
shaking
and
playing
for
8
counts.
*Keep
repeating
across
studio.
*The
next
row
of
dancers
can
begin
after
16
counts.
Intro
8
cts
8
cts
16
cts
Keep
repeating
*Place
a
mat
in
the
center
of
the
room
and
ask
N/A
the
dancers
to
form
a
circle
around
it.
*Give
the
dancers
a
visual
cue
such
as
turn
tummies
toward
the
mirrors.
*Ask
dancers
to
repeat
exercise
returning
to
their
original
side.
Have
the
dancers
hold
the
maraca
in
their
opposite
hand
on
the
return.
*The
dancers
have
many
different
things
to
think
about
1. how
to
march
2. how
to
play
the
maraca
3. how
many
counts
of
each
4. which
direction
to
turn
5. hearing
and
dancing
to
the
beat
of
the
music
*Have
the
class
assistant
act
as
Mr.
Mouseling.
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
119
Angelina
Says
Creative
Movement
CD;
Autumn;
Track
#3;
1:24
(+ME)
Autumn
Leaves
Optional
Prop:
incorporate
paper
or
fabric
autumn
leaves.
Angelina’s
Dance
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Ask
dancers
to
spread
out
across
the
studio
and
have
the
class
assistant
place
1
Angelina
mat
on
the
floor
for
each
dancer
to
stand
on.
*Ask
the
dancers
to
make
as
small
a
shape
as
possible
on
top
of
their
mat.
When
the
music
starts
the
dancers
will
begin
to
grow
up
and
out
pretending
to
be
a
tree
with
branches.
*The
wind
begins
to
blow
and
the
tree
limbs
and
leaves
begin
to
sway
side‐to‐side
and
forward
and
backward.
*Suddenly
it
is
Autumn
and
the
dancers
magically
turn
into
falling
leaves
as
they
step
off
their
mat
and
pretend
the
wind
is
taking
them
on
a
journey.
Allow
the
dancers
to
create
their
own
leaf
dance.
*As
the
music
ends
the
dancers
gracefully
dance
to
the
floor
and
freeze
in
a
position
similar
to
a
fallen
leaf.
Incorporating
optional
prop:
Give
each
dancer
two
large
fabric
or
paper
leaves
to
hold.
The
dancers
begin
on
their
mat
with
their
leaves
hidden.
As
they
grow
into
a
tree
they
reach
their
leaves
out
and
just
before
they
go
to
the
floor
at
the
end
of
the
exercise,
ask
the
dancers
to
release
their
leaves
allowing
them
to
flutter
to
the
floor.
The
dancers
are
to
try
to
copy
the
same
fluttering
movement
with
their
body
to
the
floor.
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Intro
8
–
16
cts
8
–
16
cts
16
cts
16
cts
*Discuss
with
the
dancers
what
Autumn
is
and
how
the
leaves
on
the
trees
turn
to
beautiful
shades
of
red
and
orange
and
then
fall
gracefully
to
the
ground.
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
120
Angelina’s
1
Scarf
per
Song
&
Dance
dancer;
CD;
Dancing
(+ME)
Butterfly;
Track
#3;
:49
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Review
lyrics
first
and
choreography
for
Dancing
Butterfly
Instrumental
Introduction
Standing
in
1st
with
scarf
in
right
hand;
Rock
right
and
left
with
scarf
going
right
and
left;
bring
feet
to
parallel
as
the
scarf
draws
a
big
circle
right,
up,
left,
and
down
to
right
See
me
dancing
Bourrée
on
demi
pointe
in
a
circle
with
butterfly
wing
arms
(1/2
the
circle)
Like
a
butterfly
Continue
above
(finish
the
circle)
Open
my
wings,
and
Temp
lié
(rocking)
forward
with
wings
opening
I’m
floating
thro’
the
sky
Temp
lie
(rocking)
backwards
with
wings
closing
to
body
Twirling,
Swirling
Bourrée
turn
2Xs
with
arms
opening
and
closing
like
butterfly
wings
That’s
me
I’m
never
Shy,
Oh
Free
Dance
No,
Cus
I’m
your
Free
Dance
Dancing
Butter‐
Free
Dance
Fly
Free
Dance
I’ll
be
dancing
Pas
de
couru
forward
as
arms
float
forward
Like
a
butterfly
Plié
parallel
and
swing
arms
down
and
open
side
(like
a
butterfly)
With
each
flutter
Rise
and
bourrée
in
place
as
arms
make
tiny
butterfly
movements
above
and
below
shoulder
height
16
cts
4
cts
4
cts
4
cts
4
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
121
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None;
(+ME)
Curtsey
2‐3
Minutes
None
Stickers
&
Handouts
Angelina Ballerina™ ©2012 HIT Entertainment Limited
I
try
to
catch
your
eye
Pose
with
arms
down
and
back,
slightly
bent
at
hips,
feet
parallel
When
I’m
swooping
Run
in
a
circle
making
large
swooping
movements
I’m
really
saying
Hi;
That’s
Continue
swooping
in
circle
me;
I
am
your
Facing
forward,
legs
parallel;
point
to
self
Dancing
Butter‐
Free
Dance
Fly
I
am
your
Free
Dance
Dancing
Butterfly
Free
Dance
like
a
butterfly
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
122
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
Teacher’s
Notes:
Angelina Ballerina™ ©2012 HIT Entertainment Limited
123
Angelina Ballerina™ ©2012 HIT Entertainment Limited
124
Week
9
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
Partner
(pages
58‐63)
Props
Needed:
Mats
&
Scarves
Song:
Dancing
Butterfly
Class
Length:
45
minutes
Section
of
Class
Music
CD;
Props
Exercise
Description
Counts
Miscellaneous
Things
to
Track
#;
Consider
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
N/A
&
Etiquette
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Allow
4‐5
Story
Book
Reading
of
Story
Angelina’s
New
Partner
(pages
58‐63)
N/A
*Encourage
all
of
the
minutes
After
reading,
check
for
understanding
by
dancers
to
participate
in
Check
for
discussing
the
following
with
the
dancers.
the
Q
&
A.
understanding
1. Besides
dancing,
what
did
Angelina
*For
shy,
non‐verbal
young
by
asking
like
to
do?
(Play
with
her
friends)
dancers,
ask
yes/no
questions
2. Why
was
Gracie
and
Angelina
excited?
questions
to
encourage
(Because
there
was
a
new
student
at
interaction.
Camembert
Academy)
3. What
was
the
new
student’s
name?
(A.Z.)
4. What
was
his
favorite
type
of
dance?
(Hip
hop)
5. What
did
A.Z.
offer
to
do?
(Teach
Viki
and
her
friends
how
to
hip‐hop)
1
minute
N/A
Dance
Etiquette
Ask
the
dancers
to
tell
you
three
things
they
N/A
*Ask
the
dancers
to
always
Review
need
to
remember
while
taking
class.
listen
carefully
when
the
1. Eyes
on
the
teacher.
teacher
is
talking.
2. Hands
to
yourself.
*Remind
them
to
always
3. Be
a
first
time
listener.
look
at
their
teacher
when
they
hear
her
voice.
7. *Remind
dancers
to
keep
their
hands
to
themselves.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
125
Warm‐Up
1
mat
in
center
of
circle
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
1
mat
in
center
of
circle
Setting
up
for
Warm‐Up
Travel
Around
the
Circle
.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Place
one
Angelina
mat
in
the
center
of
the
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
stretch
their
arms
open
wide
making
sure
they
are
not
touching
their
neighbor.
Ask
them
to
sit
like
Angelina
Ballerina.
Review
all
steps
in
circle
exercise
before
beginning.
*The
teacher
begins
first
and
then
each
dancer
has
a
turn
traveling
alone
around
the
circle
as
the
remaining
dancers
clap
to
the
beat
of
the
music.
Take
time
to
fully
explain
the
exercise
before
beginning
so
the
dancers
understand
the
sequence.
*Listen
for
Angelina’s
welcome
*Each
dancer
will:
1.
Stand
like
a
dancer.
2.
Travel
around
the
circle
alone
performing
the
given
step.
Today
the
dancers
will
gallop
as
if
they
are
riding
a
horse.
3.
Curtsey
once
she
arrives
back
in
her
original
place
in
the
circle.
4.
Sit
like
a
dancer.
5.
Begin
to
clap
to
the
beat
of
the
music
while
everyone
else
gets
a
turn.
Clap
hands
together
and
then
clap
hands
to
top
of
knees.
Keep
repeating
this
pattern.
6.
Once
everyone
has
a
turn,
ask
the
dancers
to
tap
various
body
parts
to
the
beat
of
the
music.
Name
the
body
parts
so
the
dancers
can
learn
the
names
of
the
parts
of
their
body.
N/A
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*There
are
many
benefits
to
this
exercise:
1.
The
teacher
can
assess
if
the
dancers
can
perform
any
type
of
traveling
movement
they
have
been
called
upon
to
do.
2.
Gives
the
dancers
a
Greeting
sense
of
accomplishment
by
traveling
around
the
Amount
of
circle
alone.
If
a
dancer
is
time
will
showing
signs
of
being
too
vary
shy
to
go
alone,
have
the
depending
assistant
travel
with
them.
on
number
3.
Encourages
musical
of
dancers.
awareness
by
clapping
to
Once
all
the
beat
of
the
music.
dancers
4.
Requires
the
dancer
to
have
a
turn
follow
a
sequence
of
tasks.
work
on
*Give
dancers
verbal
cross
body
guidance
on
what
to
do
clapping
&
and
cue
the
next
dancer
to
tapping
stand.
sequences
until
end
of
music.
126
Class
CD;
None
Stretching;
Track
#2;
2:16
Class
CD;
None
Flex/Pointe;
Track
#3;
1:19
Curl
&
Stretch
Keep
exercise
concept
the
same
but
vary
the
with
Port
de
bras
port
de
bras;
begin
teaching
dancers
the
names
of
basic
port
de
bras
Curl,
Stretch,
and
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Flexing
&
Sitting
with
legs
stretched
out
in
front
with
Pointing
hands
resting
on
top
of
knees.
Ankles
*Alternate
flexing
&
pointing
the
ankles/feet.
*Walk
fingertips
down
legs
while
reaching
toward
toes.
Hold
stretch
while
counting
to
8
and
reaching
far
down
near
the
toes
as
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
Intro
1‐8’s
2‐8’s
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
stretch
their
knees
as
they
flex
and
point.
*Remind
dancers
to
keep
127
Center
Barre
None
Class
CD;
Plié;
None
Track
#5;
2:29
Class
CD;
Tendu;
Track
#6;
1:19
None
possible.
*Walk
fingertips
quickly
up
the
legs
and
body
and
reach
overhead
and
clap
two
times.
*Repeat
all
None
*Change
dancers
to
line
formation.
Dancers
will
form
one
or
two
lines
facing
the
front
of
the
studio.
The
assistant
and
teacher
will
turn
and
face
the
students
to
demonstrate
the
exercises
and
to
keep
eye
contact
with
all
students.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié
with
*Legs
parallel
with
hands
on
hips:
Balloon
Port
de
*2
demi‐pliés:
parallel
with
hands
on
hips
bras
*Port
de
bras
1st,
5th,
2nd,
hands
on
hips
*Open
legs/feet
to
small
1st
position
(barely
Plié
=
to
bend
turned
out)
Demi
=
half
*Port
de
bras
1st,
5th,
2nd,
hands
on
hips
Port
de
bras
=
*Turn
legs/feet
to
parallel,
rise
to
demi‐pointe
movement
of
the
and
balance
for
8
cts.
arms
*Freeze
for
3
Tendu
Tendu
=
to
stretch
Angelina Ballerina™ ©2012 HIT Entertainment Limited
1‐8’s
4‐8’s
N/A
Intro
8
cts
8
cts
8
cts
8
cts
8
cts
Feet
parallel
with
hands
on
hips.
Intro
*3
Tendu,
stretching
right
foot
forward
parallel
6
cts
and
closing
parallel
*Teacher
calls
out
a
body
part
such
as
2
cts
shoulders,
knees,
tummy,
or
elbow
and
dancers
tap
the
called
out
body
part
for
3.
*Repeat
on
left
foot
8
cts
*Repeat
all
of
above
16
cts
*Freeze
for
3
their
legs
straight
as
they
bend
forward
at
hips
to
reach
toward
their
toes.
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
*Introduce
1st
position
of
the
feet/legs.
Remind
dancers
to
keep
knees
over
toes
during
plié.
When
the
dancers
plié
the
legs
will
make
a
diamond
shape.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
*Remind
dancers
to
keep
their
legs
and
feet
stretched.
*Remind
dancers
to
keep
their
bodies
(leotard)
very
still
while
performing
their
tendus.
128
Center
Class
CD;
Piqué;
Track
#8;
:
28;
Optional
Repeat
None
Piqué
Piqué
=
to
prick
Legs
parallel
with
both
hands
on
hips:
*Dégagé
right
foot
front
and
piqué
7
times
closing
parallel
on
count
8
*Repeat
on
left
leg
*Repeat
all
*Freeze
for
3
Intro
8
cts
8
cts
16
cts
Class
CD;
Cou
de
pied/Passé;
Track
#9;
:
44
None
Passé
Legs
parallel
with
hands
on
hips.
*Parallel
passé
right
leg
to
knee
and
back
to
parallel
–
3
times
*With
feet
parallel
brings
arms
up
and
down
1
time
as
if
a
flamingo
flapping
its
wings.
*Repeat
all
with
left.
*Finish
for
3
Intro
3‐8’s
1‐8’s
4‐8’s
None
None
Transition
to
Center
Work
Sauté
N/A
Intro
4
cts
4
cts
4
cts
4
cts
16
cts
None
Transition
to
Traveling
Steps
Keep
dancers
in
line
formations.
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Port
de
bras
arms
1st,
5th,
2nd,
hands
on
hips
*Plié,
sauté
(jump),
plié,
straighten
legs
*Repeat
sequence:
sauté,
sauté,
port
de
bras,
sauté
Place
dancers
in
row/lines
on
one
side
of
room.
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
Repeat
Traveling
Steps
N/A
Angelina Ballerina™ ©2012 HIT Entertainment Limited
N/A
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
*Remind
dancers
to
keep
their
tummies
tight
as
they
perform
their
passé.
*Remind
dancers
to
look
straight
forward
as
they
stand
on
one
leg.
*Remind
dancers
to
stretch
their
arms
just
like
a
flamingo
showing
off
their
beautiful
feathers.
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
129
Class
CD;
Dancer
Walks;
Track
#14;
1:51
None;
(+ME)
Dancer
Walks
Class
CD;
Marching;
Track
#15;
2:48
None;
(+ME)
Marching
Like
A.Z.
(Forward
and
Backward)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Angelina
loves
to
practice
her
dancing.
She
also
loves
being
with
her
friends.
Angelina
and
her
friend
Gracie
walked
outside
to
meet
the
new
student
A.Z.
Have
the
dancers
walk
with
their
toes
reaching
and
stretching
with
every
step,
just
like
Angelina
and
Gracie.
*Line
dancers
up
in
rows
on
one
side
of
studio.
One
line
will
cross
at
a
time.
*All
dancers
begin
with
their
right
foot
pointed
forward
and
their
arms
in
demi‐seconde
(making
sure
they
do
not
smash
their
beautiful
princess
tutu)
*Dancers
begin
by
walking
forward
for
8
steps
with
pointed
feet.
*Dancers
wave
to
A.Z.
on
their
right
with
their
right
arm
and
then
to
Viki
on
their
left
with
their
left
arm.
*Continue
pattern
across
studio.
*The
second
line
will
begin
16
cts
after
1st
line.
Intro
8
cts.
8
cts
16
cts
Keep
repeating
Have
the
dancers
march
like
A.Z.
Instruct
dancers
to
pick
up
their
knees
high
and
move
with
lots
of
energy.
Feet
parallel
with
hands
on
hips.
Intro
The
first
row
of
dancers
begin
*March
forward
for
8
counts
*March
backward
for
4
counts
8
cts
*March
in
place
for
4
counts
4
cts
*Keep
repeating
across
studio.
Once
dancers
4
cts
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
*Remind
dancers
to
walk
with
their
toes
first
just
like
Angelina
Ballerina.
*This
exercise
helps
dancers
learn
to
count
and
to
count
their
music.
*Discuss
with
the
dancers
what
part
of
their
body
goes
first
when
they
march
forward
(their
tummy)
and
what
goes
first
with
they
march
backwards
(their
back).
*Ask
the
dancers
to
help
you
count.
130
have
reached
the
other
side
have
them
high
five
their
neighbor
just
like
A.Z.
likes
to
do.
*The
next
row
of
dancers
can
begin
after
16
cts.
Creative
Movement
1
mat
in
center
of
circle
Angelina
Says
None;
Creative
(+ME)
Movement
CD;
Tempo;
Track
#4;
2:22
Transition
to
Creative
Movement
Tempo
Angelina Ballerina™ ©2012 HIT Entertainment Limited
16
cts
Keep
Repeating
*Place
a
mat
in
the
center
of
the
room
and
ask
N/A
the
dancers
to
form
a
circle
around
it.
*Ask
dancers
to
listen
carefully
as
Angelina
Ballerina
will
guide
them
through
dancing
at
different
tempos.
*When
Angelina
calls
out
slow,
the
dancers
must
dance
as
slow
as
possible.
*When
Angelina
calls
out
moderate,
the
dancer
must
move
not
too
fast
or
too
slow.
*When
Angelina
calls
out
fast,
the
dancers
must
move
quickly
just
like
A.Z.
does
when
he
dances
fast.
*The
dancers
are
creating
a
pattern.
*Have
them
try
with
their
hands
on
their
hips
and
then
with
their
arms
swinging
in
opposition.
*A.Z.
is
a
hip‐hop
dancer
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
Follow
*Remind
dancers
to
freeze
directions
in
the
position
they
were
in
from
when
the
music
stopped
Angelina’s
and
to
listen
carefully
for
voice
on
Angelina
to
call
out
the
CD.
next
tempo.
Remind
*Tempo
refers
to
the
dancers
to
speed
of
the
music
and
listen
movement.
Dancers
will
carefully
explore
dancing
to
the
for
following
three
tempos:
instructions
slow,
moderate,
and
fast.
and
to
*Remind
dancers
to
listen
freeze
to
the
music
so
they
can
when
they
match
the
same
do
not
hear
speed/tempo
of
their
any
music.
bodies
to
the
sound.
131
Angelina’s
Dance
None
Angelina’s
1
Scarf
per
Song
&
Dance
dancer;
CD;
Dancing
(+ME)
Butterfly;
Track
#2;
:49
Transition
to
Choreography
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Review
lyrics
first
and
then
choreography
for
Dancing
Butterfly.
With
the
help
of
the
assistant,
have
the
dancers
perform
their
song
and
dance
for
the
teacher.
Dancing
Butterfly
Instrumental
Introduction
Standing
in
1st
with
scarf
in
right
hand;
Rock
right
and
left
with
scarf
going
right
and
left;
bring
feet
to
parallel
as
the
scarf
draws
a
big
circle
right,
up,
left,
and
down
to
right
See
me
dancing
Bourrée
on
demi
pointe
in
a
circle
with
butterfly
wing
arms
(1/2
the
circle)
Like
a
butterfly
Continue
above
(finish
the
circle)
Open
my
wings,
and
Temp
lié
(rocking)
forward
with
wings
opening
I’m
floating
thro’
the
sky
Temp
lie
(rocking)
backwards
with
wings
closing
to
body
Twirling,
Swirling
Bourrée
turn
2Xs
with
arms
opening
and
closing
like
butterfly
wings
That’s
me
I’m
never
Shy,
Oh
Free
Dance
No,
Cus
I’m
your
Free
Dance
Dancing
Butter‐
16
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
132
Good‐bye
4
Minutes
Total
(Music
+
Instruction)
Class
CD;
Révérence;
Track
#22;
1:19
None;
(+ME)
Curtsey
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Free
Dance
Fly
Free
Dance
I’ll
be
dancing
Pas
de
couru
forward
as
arms
float
forward
Like
a
butterfly
Plié
parallel
and
swing
arms
down
and
open
side
(like
a
butterfly)
With
each
flutter
Rise
and
bourrée
in
place
as
arms
make
tiny
butterfly
movements
above
and
below
shoulder
height
I
try
to
catch
your
eye
Pose
with
arms
down
and
back,
slightly
bent
at
hips,
feet
parallel
When
I’m
swooping
Run
in
a
circle
making
large
swooping
movements
I’m
really
saying
Hi;
That’s
Continue
swooping
in
circle
me;
I
am
your
Facing
forward,
legs
parallel;
point
to
self
Dancing
Butter‐
Free
Dance
Fly
I
am
your
Free
Dance
Dancing
Butterfly
Free
Dance
like
a
Butterfly
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
Intro
4
cts
4
cts
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
133
2‐3
Minutes
Teacher’s
Notes:
None
Stickers
&
Handouts
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
8
cts
8
cts
4
cts
4
cts
Farewell
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
134
Week
10
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
Partner
(pages
64‐67)
Song:
12345
Section
of
Class
Music
CD;
Props
Exercise
Track
#;
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
&
Etiquette
Allow
4‐5
minutes
Story
Book
1
minute
N/A
Gather
dancers
into
a
circle
away
from
the
N/A
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Reading
of
Story
Angelina’s
New
Partner
(pages
64‐67)
N/A
After
reading,
check
for
understanding
by
Check
for
discussing
the
following
with
the
dancers.
understanding
1. Who
was
the
new
student
in
ballet
by
asking
class?
(A.Z.)
questions
2. What
exercise
did
Ms.
Mimi
ask
the
class
3. to
begin
with?
(Pliés)
4. What
was
Ms.
Mimi’s
surprise
announcement?
(The
class
would
perform
in
a
pas
de
deux
recital
next
week.)
5. What
is
a
pas
de
deux?
(A
dance
for
two)
6. What
was
Angelina
worried
about?
(She
was
afraid
she
would
have
A.Z.
as
a
partner
and
have
to
do
hip‐hop.)
Dance
Etiquette
Ask
the
dancers
to
tell
you
three
things
they
N/A
Review
need
to
remember
while
taking
class.
1. Eyes
on
the
teacher.
2. Hands
to
yourself.
3. Be
a
first
time
listener.
1. Angelina Ballerina™ ©2012 HIT Entertainment Limited
Props
Needed:
Mats
Class
Length:
45
minutes
Description
Counts
Miscellaneous
Things
to
Consider
*Encourage
all
of
the
dancers
to
participate
in
the
Q
&
A.
*For
shy,
non‐verbal
young
dancers,
ask
yes/no
questions
to
encourage
interaction.
*Ask
the
dancers
to
always
listen
carefully
when
the
teacher
is
talking.
*Remind
them
to
always
look
at
their
teacher
when
they
hear
her
voice.
*Remind
dancers
to
keep
their
hands
to
themselves.
135
Warm‐Up
1
mat
in
center
of
circle
Setting
up
for
Warm‐Up
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
1
mat
in
center
of
circle
Travel
Around
the
Circle
.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Place
one
Angelina
mat
in
the
center
of
the
N/A
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
stretch
their
arms
open
wide
making
sure
they
are
not
touching
their
neighbor.
Ask
them
to
sit
like
Angelina
Ballerina.
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
In
keeping
with
today’s
story,
have
the
dancers
*There
are
many
benefits
choose
whether
they
do
a
ballet
movement
or
to
this
exercise:
a
hip‐hop
movement
before
galloping
around
1.
The
teacher
can
assess
if
the
circle.
For
example,
if
they
choose
ballet
–
the
dancers
can
perform
they
could
perform
a
ballet
turn.
If
they
any
type
of
traveling
choose
hip‐hop
they
could
do
some
type
of
hip‐ movement
they
have
been
hop
move.
Only
give
4
counts
of
music
for
called
upon
to
do.
each
dancer
to
do
their
particular
movement.
2.
Gives
the
dancers
a
sense
of
accomplishment
*The
teacher
begins
first
and
then
each
dancer
by
traveling
around
the
has
a
turn
traveling
alone
around
the
circle
as
circle
alone.
If
a
dancer
is
the
remaining
dancers
clap
to
the
beat
of
the
showing
signs
of
being
too
music.
Take
time
to
fully
explain
the
exercise
shy
to
go
alone,
have
the
before
beginning
so
the
dancers
understand
assistant
travel
with
them.
the
sequence.
3.
Encourages
musical
*Listen
for
Angelina’s
welcome
Greeting
awareness
by
clapping
and
*Each
dancer
will:
tapping
to
the
beat
of
the
1. Stand
like
a
dancer.
Amount
of
music.
2. Travel
around
the
circle
alone
time
will
4.
Requires
the
dancer
to
performing
the
given
step.
Today
the
vary
follow
a
sequence
of
tasks.
dancers
will
choose
between
a
ballet
depending
*Give
dancers
verbal
movement
or
a
hip‐hop
movement
and
on
number
guidance
on
what
to
do
then
gallop
around
the
circle
as
if
they
of
dancers.
and
cue
the
next
dancer
to
are
riding
a
horse.
Once
all
stand.
3. Curtsey
once
she
arrives
back
in
their
dancers
original
place
in
the
circle.
have
a
turn
4. Sit
like
a
dancer.
work
on
136
Class
CD;
None
Stretching;
Track
#2;
2:16
5. Begin
to
clap
to
the
beat
of
the
music
while
everyone
else
gets
a
turn.
Clap
hands
together
and
then
clap
hands
to
top
of
knees.
Keep
repeating
this
pattern.
6. Once
everyone
has
a
turn,
ask
the
dancers
to
tap
various
body
parts
to
the
beat
of
the
music.
Name
the
body
parts
so
the
dancers
can
learn
the
names
of
the
parts
of
their
body.
Curl
&
Stretch
Keep
exercise
concept
the
same
but
vary
the
with
Port
de
bras
port
de
bras;
begin
teaching
dancers
the
names
of
basic
port
de
bras
Curl,
Stretch,
and
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
Angelina Ballerina™ ©2012 HIT Entertainment Limited
cross
body
clapping
&
tapping
sequences
until
end
of
music.
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
137
Class
CD;
None
Flex/Pointe;
Track
#3;
1:19
Center
Barre
(5
minutes
total
(music
+
instruction)
None
Class
CD;
Plié;
None
Track
#5;
2:29
Class
CD;
Tendu;
Track
#6;
1:19
None
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Flexing
&
Sitting
with
legs
stretched
out
in
front
with
Pointing
hands
resting
on
top
of
knees.
Ankles
*Alternate
flexing
&
pointing
the
ankles/feet.
*Walk
fingertips
down
legs
while
reaching
toward
toes.
Hold
stretch
while
counting
to
8
and
reaching
far
down
near
the
toes
as
possible.
*Walk
fingertips
quickly
up
the
legs
and
body
and
reach
overhead
and
clap
two
times.
*Repeat
all
None
*Change
dancers
to
line
formation.
Dancers
will
form
one
or
two
lines
facing
the
front
of
the
studio.
The
assistant
and
teacher
will
turn
and
face
the
students
to
demonstrate
the
exercises
and
to
keep
eye
contact
with
all
students.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié
–
*Legs
parallel
with
hands
on
hips:
st
Parallel
and
in
1 *2
demi‐pliés:
parallel
with
hands
on
hips
Position
*Port
de
bras
1st,
5th,
2nd,
hands
on
hips
*Open
legs/feet
to
small
1st
position
(barely
Plié
=
to
bend
turned
out)
Demi
=
half
*Port
de
bras
1st,
5th,
2nd,
hands
on
hips
Port
de
bras
=
*Turn
legs/feet
to
parallel,
rise
to
demi‐pointe
movement
of
the
and
balance
for
8
cts.
arms
*Freeze
for
3
Tendu
Feet
parallel
with
hands
on
hips.
*3
Tendu,
stretching
right
foot
forward
parallel
Tendu
=
to
and
closing
parallel
stretch
*Teacher
calls
out
a
body
part
such
as
shoulders,
knees,
tummy,
or
elbow
and
dancers
tap
the
called
out
body
part
for
3.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
1‐8’s
2‐8’s
1‐8’s
4‐8’s
N/A
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
stretch
their
knees
as
they
flex
and
point.
*Remind
dancers
to
keep
their
legs
straight
as
they
bend
forward
at
hips
to
reach
toward
their
toes.
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
Intro
8
cts
8
cts
8
cts
8
cts
8
cts
Intro
6
cts
2
cts
*Introduce
1st
position
of
the
feet/legs.
Remind
dancers
to
keep
knees
over
toes
during
plié.
When
the
dancers
plié
the
legs
will
make
a
diamond
shape.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
*Remind
dancers
to
keep
their
legs
and
feet
stretched.
*Remind
dancers
to
keep
their
bodies
(leotard)
very
still
while
performing
their
138
*Repeat
on
left
foot
*Repeat
all
of
above
*Freeze
for
3
Center
Class
CD;
Piqué;
Track
#8;
:
28;
Optional
Repeat
None
Piqué
Piqué
=
to
prick
Class
CD;
Cou
de
pied/Passé;
Track
#9;
:
44
None
Passé
None
Transition
to
Center
Work
Keep
dancers
in
line
formations.
N/A
Class
CD;
Sauté;
Track
#11;
:33;
Optional
Repeat
None
Sauté
with
Tempo
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
quickly
4
X’s;
*Stretch
legs
and
circle
arms
overhead
*Repeat
sequence
of
2
slow
sautés,
4
quick
sautés
and
port
de
bras
Intro
4
cts
4
cts
4
cts
4
cts
16
cts
Angelina Ballerina™ ©2012 HIT Entertainment Limited
8
cts
16
cts
Legs
parallel
with
both
hands
on
hips:
Intro
*Dégagé
right
foot
front
and
piqué
5
times
6
cts
closing
parallel
on
count
6
*With
legs
parallel,
clap
hands
2
times
2
cts
*Repeat
on
left
leg
8
cts
*Repeat
all
16
cts
*Freeze
for
3
Legs
parallel
with
hands
on
hips.
Intro
*Parallel
passé
right
leg
to
knee
and
back
to
3‐8’s
parallel
–
3
times
*With
feet
parallel
brings
arms
up
and
down
1
1‐8’s’
time
as
if
a
flamingo
flapping
its
wings.
*Repeat
all
with
left.
4‐8’s
*Finish
for
3
tendus.
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
*Remind
dancers
to
keep
their
tummies
tight
as
they
perform
their
passé.
*Remind
dancers
to
look
straight
forward
as
they
stand
on
one
leg.
*Remind
dancers
to
stretch
their
arms
just
like
a
flamingo
showing
off
their
beautiful
feathers.
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
*Remind
the
dancers
about
how
they
can
change
their
tempo
and
move
slowly
or
quickly.
139
Traveling
Steps
N/A
Class
CD;
Dancer
Walks;
Track
#14;
1:51
None
Transition
to
traveling
steps
Place
dancers
in
row/lines
on
one
side
of
room.
N/A
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
None;
(+ME)
Dancer
Walks
(Changing
tempo)
As
in
the
story,
Angelina’s
New
Partner,
the
dancers
will
walk
just
like
Angelina
and
her
friend
Gracie
did
when
they
went
to
meet
the
new
student,
A.Z.
Ballet
dancers
walk
with
their
toes
reaching
and
stretching
with
every
step.
*Line
dancers
up
in
rows
on
one
side
of
studio.
One
line
will
cross
at
a
time.
*All
dancers
begin
with
their
right
foot
pointed
forward
and
their
arms
in
demi‐seconde
(making
sure
they
do
not
smash
their
beautiful
princess
tutu)
*Dancers
begin
by
walking
forward
for
8
steps
with
pointed
feet.
*Dancers
wave
like
a
princess
to
A.Z.
on
their
right
with
their
right
arm
and
then
to
Viki
on
their
left
with
their
left
arm.
*Continue
pattern
across
studio.
*The
second
line
will
begin
16
cts
after
1st
line.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
8
cts.
8
cts
8
cts
Keep
repeating
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
*Remind
dancers
to
walk
with
their
toes
reaching
first
just
like
a
ballerina.
*Ask
dancers
to
perform
exercise
just
like
last
week
and
then
do
the
same
exercise
at
a
faster
tempo.
*Discuss
with
dancers
about
how
tempo
can
make
dance
fun
to
do
and
interesting
to
watch.
140
Class
CD;
Marching;
Track
#15;
2:48
None
Marching
Like
A.Z.
(Forward
changing
tempo)
Creative
Movement
1
mat
in
center
of
circle
Transition
to
Creative
Movement
Angelina
Says
None;
Creative
(+ME)
Movement
CD;
Tempo;
Track
#4;
2:22
Intro
8
cts
4
cts
4
cts
16
cts
Keep
Repeating
N/A
Tempo
with
a
Divide
the
dancers
into
pairs.
Ask
the
dancers
Follow
Partner
(A.Z.
and
to
move
like
the
characters
–
Angelina
the
directions
Angelina)
Ballerina
and
A.Z.
the
hip‐hop
dancer.
The
from
dancers
will
take
turns
moving
at
the
same
Angelina’s
time
with
one
moving
as
a
ballerina
while
the
voice
on
other
moves
as
a
hip‐hop
dancer.
Have
each
CD.
partner
hold
the
opposite
end
of
the
same
Remind
scarf.
The
dancers
will
repeat
last
week’s
dancers
to
tempo
exercise
but
this
time
they
will
work
as
listen
a
team
with
another
dancer
as
they
move
carefully
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Have
the
dancers
march
like
A.Z.
Instruct
dancers
to
pick
up
their
knees
high,
swing
their
arms
to
and
fro,
and
move
with
lots
of
energy.
Feet
parallel
with
hands
on
hips.
The
first
row
of
dancers
begin
*March
forward
for
8
counts
(swing
arms
with
each
step)
*March
backward
for
4
counts
(continue
swinging
arms)
*March
in
place
for
4
counts
(continue
swinging
arms)
*Keep
repeating
across
studio.
Once
dancers
have
reached
the
other
side
have
them
high
five
their
neighbor
just
like
A.Z.
likes
to
do.
*The
next
row
of
dancers
can
begin
after
16
cts.
*Place
a
mat
in
the
center
of
the
room
and
ask
the
dancers
to
form
a
circle
around
it.
*Ask
the
dancers
to
help
you
count.
*Have
them
try
with
their
hands
on
their
hips
and
then
with
their
arms
swinging
in
opposition.
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Remind
dancers
to
freeze
in
the
position
they
were
in
when
the
music
stopped
and
to
listen
carefully
for
Angelina
to
call
out
the
next
tempo.
*Tempo
refers
to
the
speed
of
the
music
and
movement.
Dancers
will
explore
dancing
to
the
141
Angelina’s
Dance
None
Transition
to
Choreography
Angelina’s
None;
Song
&
Dance
(+ME)
CD;
12345;
Track
#3;
1:01
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
differently
at
the
same
time.
Be
sure
to
call
out
switch
½
way
through
the
exercise
so
the
dancers
can
experience
moving
like
the
other
type
of
dancer.
*Ask
dancers
to
spread
out
all
around
the
studio
space.
*Ask
dancers
to
listen
carefully
as
Angelina
Ballerina
will
guide
them
through
dancing
at
different
tempos.
*When
Angelina
calls
out
slow,
the
dancers
must
dance
as
slow
as
possible.
*When
Angelina
calls
out
moderate,
the
dancers
must
dance
in
between
fast
and
slow
at
a
moderate
tempo.
*When
Angelina
calls
out
fast,
the
dancers
must
dance
very
quickly.
*Talk
about
how
the
dancers
move
differently
when
they
are
one
character
compared
to
the
other.
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Teach
lyrics
first
and
then
choreography
for
the
Angelina
song
–
12345.
One
Two
Three
Four
Five
Start
with
feet
parallel
and
hands
on
hips
Did
you
know
that
Gesture
–
taking
hands
from
hips,
circling
wrist
to
finish
palms
up
in
front
of
body
with
elbows
at
waist.
Counting
can
be
fun
for
instructions
and
to
freeze
when
they
do
not
hear
any
music.
following
three
tempos:
slow,
moderate,
and
fast.
*Remind
dancers
to
listen
to
the
music
so
they
can
match
the
same
speed/tempo
of
their
bodies
to
the
sound.
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
*Use
a
combination
of
Intro
(none)
4
cts
4
cts
142
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None;
(+ME)
Curtsey
2‐3
Minutes
None
Stickers
&
Handouts
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Sway
right
and
left,
hands
remain
as
above
Lets
begin
a
song
with
Sway
right
and
left,
hands
remain
as
abov
Number
one
Gesture
number
1
with
right
hand
as
left
hand
goes
to
hip;
continue
swaying
body
Then
numbers
two
and
three
come
Gesture
number
2
and
3
with
fingers;
continue
swaying
body
Next
in
line
and
soon
you’ll
see
Sauté
parallel
2
Xs
with
hands
on
hips
That
the
magic
March
forward
2
as
arms
port
de
bras
1st
to
5th
Has
begun
Continue
marching
forward
2
as
arms
open
to
2nd
with
palms
up.
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
choreography
and
free
dance.
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
143
Teacher’s
Notes:
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
144
Week
11
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
Partner
(pages
68‐72)
Props
Needed:
Mats,
Scarves
&
Maracas
Song:
12345
Class
Length:
45
minutes
Section
of
Class
Music
CD;
Props
Exercise
Description
Counts
Miscellaneous
Things
to
Track
#;
Consider
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
N/A
&
Etiquette
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Allow
4‐5
Story
Book
Reading
of
Story
Angelina’s
New
Partner
(pages
68‐72)
N/A
*Encourage
all
of
the
minutes
After
reading,
check
for
understanding
by
dancers
to
participate
in
Check
for
discussing
the
following
with
the
dancers.
the
Q
&
A.
understanding
1. What
instruments
were
Polly
and
Mrs.
*For
shy,
non‐verbal
young
by
asking
Mouseling
playing
when
Angelina
dancers,
ask
yes/no
questions
arrived
home?
(The
xylophone
and
questions
to
encourage
the
bongos)
interaction.
2. Who
did
Angelina
want
for
her
partner?
(Gracie)
3. Why?
(She
wanted
a
real
ballet
partner)
4. Who
did
Ms.
Mimi
assign
to
Angelina?
(A.Z.)
1
minute
N/A
Dance
Etiquette
Ask
the
dancers
to
tell
you
three
things
they
N/A
*Ask
the
dancers
to
always
Review
need
to
remember
while
taking
class.
listen
carefully
when
the
1. Eyes
on
the
teacher.
teacher
is
talking.
2. Hands
to
yourself.
*Remind
them
to
always
3. Be
a
first
time
listener.
look
at
their
teacher
when
2. they
hear
her
voice.
3. *Remind
dancers
to
keep
their
hands
to
themselves.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
145
Warm‐Up
1
mat
in
center
of
circle
Setting
up
for
Warm‐Up
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
1
mat
in
center
of
circle
Travel
Around
the
Circle
with
Tempo
.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Place
one
Angelina
mat
in
the
center
of
the
N/A
room.
Gather
dancers
into
a
circle
around
the
mat.
Have
dancers
hold
hands
to
form
a
circle
and
then
ask
them
to
stretch
their
arms
open
wide
making
sure
they
are
not
touching
their
neighbor.
Ask
them
to
sit
like
Angelina
Ballerina.
*Have
the
class
assistant
stand
directly
across
from
the
teacher.
If
a
child
is
having
difficulty
focusing
or
remaining
in
the
circle,
place
that
dancer
directly
on
the
side
of
the
class
assistant.
Ask
the
dancers
to
gallop
around
the
circle
in
*There
are
many
benefits
two
different
tempos.
They
will
gallop
slowly
to
this
exercise:
for
½
way
around
the
circle
and
then
quickly
1.
The
teacher
can
assess
if
for
the
2nd
½
of
the
circle.
the
dancers
can
perform
*The
teacher
begins
first
and
then
each
dancer
any
type
of
traveling
has
a
turn
traveling
alone
around
the
circle
as
movement
they
have
been
the
remaining
dancers
clap
to
the
beat
of
the
called
upon
to
do.
music.
Take
time
to
fully
explain
the
exercise
2.
Gives
the
dancers
a
before
beginning
so
the
dancers
understand
sense
of
accomplishment
the
sequence.
by
traveling
around
the
*Listen
for
Angelina’s
welcome
Greeting
circle
alone.
If
a
dancer
is
*Each
dancer
will:
showing
signs
of
being
too
1.
Stand
like
a
dancer.
Amount
of
shy
to
go
alone,
have
the
2.
Travel
around
the
circle
alone
performing
time
will
assistant
travel
with
them.
the
given
step.
Today
the
dancers
will
choose
vary
3.
Encourages
musical
between
a
ballet
movement
or
a
hip‐hop
depending
awareness
by
clapping
and
movement
and
then
gallop
around
the
circle
as
on
number
tapping
to
the
beat
of
the
if
they
are
riding
a
horse.
of
dancers.
music.
3.
Curtsey
once
she
arrives
back
in
their
Once
all
4.
Requires
the
dancer
to
original
place
in
the
circle.
dancers
follow
a
sequence
of
tasks.
4.
Sit
like
a
dancer.
have
a
turn
*Give
dancers
verbal
5.
Begin
to
clap
to
the
beat
of
the
music
while
work
on
guidance
on
what
to
do
everyone
else
gets
a
turn.
Clap
hands
cross
body
and
cue
the
next
dancer
to
together
and
then
clap
hands
to
top
of
knees.
clapping
&
stand.
Keep
repeating
this
pattern.
tapping
6.
Once
everyone
has
a
turn,
ask
the
dancers
sequences
to
tap
various
body
parts
to
the
beat
of
the
until
end
of
146
Class
CD;
None
Stretching;
Track
#2;
2:16
music.
Name
the
body
parts
so
the
dancers
can
learn
the
names
of
the
parts
of
their
body.
Add
tempo
changes
to
this
portion
of
the
exercise:
Tap
slowly
for
4
and
quickly
for
8.
Curl
&
Stretch
Keep
exercise
concept
the
same
but
vary
the
with
Port
de
bras
port
de
bras;
begin
teaching
dancers
the
names
of
basic
port
de
bras
Curl,
Stretch,
and
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
music.
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
as
far
as
they
can
with
their
bodies.
147
Class
CD;
None
Flex/Pointe;
Track
#3;
1:19
Center
Barre
None
Class
CD;
Plié;
None
Track
#5;
2:29
Flexing
&
Pointing
Ankles
(with
Tempo)
Add
tempo
to
the
exercise
by
asking
dancers
to
flex
and
point
slowly
and
then
quickly.
Also
ask
them
to
slowly
walk
their
fingers
down
their
legs
for
2
then
quickly
for
4.
Continue
all
the
way
down
and
all
the
way
up.
Sitting
with
legs
stretched
out
in
front
with
hands
resting
on
top
of
knees.
*Alternate
flexing
&
pointing
the
ankles/feet.
*Walk
fingertips
down
legs
while
reaching
toward
toes.
Hold
stretch
while
counting
to
8
and
reaching
far
down
near
the
toes
as
possible.
*Walk
fingertips
quickly
up
the
legs
and
body
and
reach
overhead
and
clap
two
times.
*Repeat
all
None
*Change
dancers
to
line
formation.
Dancers
will
form
one
or
two
lines
facing
the
front
of
the
studio.
The
assistant
and
teacher
will
turn
and
face
the
students
to
demonstrate
the
exercises
and
to
keep
eye
contact
with
all
students.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié:
*Legs
parallel
with
hands
on
hips:
st
Parallel
and
1 *2
demi‐pliés:
parallel
with
hands
on
hips
Position
*Port
de
bras
1st,
5th,
2nd,
hands
on
hips
*Open
legs/feet
to
small
1st
position
(barely
Plié
=
to
bend
turned
out)
Demi
=
half
*Port
de
bras
1st,
5th,
2nd,
hands
on
hips
Port
de
bras
=
*Turn
legs/feet
to
parallel,
rise
to
demi‐pointe
movement
of
the
and
balance
for
8
cts.
arms
*Freeze
for
3
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
1‐8’s
2‐8’s
1‐8’s
4‐8’s
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
stretch
their
knees
as
they
flex
and
point.
*Remind
dancers
to
keep
their
legs
straight
as
they
bend
forward
at
hips
to
reach
toward
their
toes.
N/A
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
Intro
8
cts
8
cts
8
cts
8
cts
8
cts
*Introduce
1st
position
of
the
feet/legs.
Remind
dancers
to
keep
knees
over
toes
during
plié.
When
the
dancers
plié
the
legs
will
make
a
diamond
shape.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
148
Class
CD;
Tendu;
Track
#6;
1:19
None
Tendu
changing
Tempo
Tendu
=
to
stretch
Class
CD;
Piqué;
Track
#8;
:
28;
Optional
Repeat
None
Piqué
Piqué
=
to
prick
Class
CD;
Cou
de
pied/
Passé;
Track
#9;
:
44
None
Passé
Feet
parallel
with
hands
on
hips.
*1
Slow
Tendu,
stretching
right
foot
forward
parallel
and
closing
parallel
*1
Quick
Tendu
on
the
right
*2
claps
*Repeat
on
left
foot
*Repeat
all
of
above
*Freeze
for
3
Legs
parallel
with
both
hands
on
hips:
*Dégagé
right
foot
front
and
piqué
5
times
closing
parallel
on
count
6
*With
legs
parallel,
clap
hands
2
times
*Repeat
on
left
leg
*Repeat
all
*Freeze
for
3
Legs
parallel
with
hands
on
hips.
*Parallel
passé
right
leg
to
knee
and
back
to
parallel
–
3
times
*With
feet
parallel
brings
arms
up
and
down
1
time
as
if
a
flamingo
flapping
its
wings.
*Repeat
all
with
left.
*Finish
for
3
Intro
4
cts
2
cts
2
cts
8
cts
16
cts
Intro
6
cts
2
cts
8
cts
16
cts
Intro
3‐8’s
1‐8’s
4‐8’s
Center
None
Keep
dancers
in
line
formations.
N/A
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
Repeat
None
Sauté
with
Tempo
Legs
parallel
with
hands
on
hips:
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
(jump),
plié,
straighten
legs
*Plié,
sauté
quickly
4
X’s;
*Stretch
legs
and
circle
arms
overhead
*Repeat
sequence
of
2
slow
sautés,
4
quick
sautés
and
port
de
bras
Intro
4
cts
4
cts
4
cts
4
cts
16
cts
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Remind
dancers
to
keep
their
legs
and
feet
stretched.
*Remind
dancers
to
keep
their
bodies
(leotard)
very
still
while
performing
their
tendus.
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
*Remind
dancers
to
keep
their
tummies
tight
as
they
perform
their
passé.
*Remind
dancers
to
look
straight
forward
as
they
stand
on
one
leg.
*Remind
dancers
to
stretch
their
arms
just
like
a
flamingo
showing
off
their
beautiful
feathers.
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
*Remind
the
dancers
149
Traveling
Steps
N/A
None
Transition
to
traveling
steps
Place
dancers
in
row/lines
on
one
side
of
room.
N/A
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
None;
(+ME)
Ballet
Walks
versus
Hip‐Hop
Walks
Angelina
and
A.Z.
both
love
to
dance.
Angelina
loves
to
dance
ballet
and
A.Z.
loves
to
dance
hip‐hop.
Dancers
will
first
walk
like
Angelina
the
ballerina
and
then
as
A.Z.
the
hip‐hop
dancer.
*Dancers
will
walk
½
way
across
the
studio
as
if
they
are
a
dancer
with
their
toes
reaching
first
*Dancers
will
walk
the
2nd
½
as
if
they
are
a
hip‐hop
dancer
reaching
their
heels
first
with
a
bit
of
a
bounce
in
their
step
*The
next
group
of
dancers
begin
Class
CD;
Dancer
Walks;
Track
#14;
1:51
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
8
cts.
8
cts
16
cts
about
how
they
can
change
their
tempo
and
move
slowly
or
quickly.
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
*Remind
dancers
to
walk
with
their
toes
reaching
first
just
like
a
ballerina.
*Remind
dancers
to
walk
with
their
heels
reaching
first
just
like
a
hip‐hop
dancer.
*Signify
to
the
dancers
where
the
½
way
point
is
in
the
studio.
150
Class
CD;
Galloping;
Track
#18;
2:48;
Repeated
None;
(+ME)
Galloping
(sideways)
Creative
Movement
1
mat
in
center
of
circle
Transition
to
Creative
Movement
Angelina
Says
Creative
Movement
CD;
Tempo;
1
scarf
per
dancer;
2
mats
–
1
in
Tempo
in
a
large
group
(A.Z.
and
Angelina)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Share
the
following
story
with
the
dancers:
Galloping
is
one
of
Angelina’s
favorite
exercises.
She
loves
galloping
all
the
way
home,
especially
when
she
is
so
excited
to
show
her
parents,
Mr.
&
Mrs.
Mouseling,
the
fun
and
beautiful
steps
she
learned
in
dance
class
that
day.
Aren’t
you
excited
to
tell
your
parents
about
your
day
in
class,
too?
Just
like
Angelina,
show
how
you
would
gallop
back
home
with
your
exciting
news.
*Ask
dancers
to
turn
their
tummies
to
the
front
of
the
room
and
help
them
to
line
up
one
behind
another.
*Feet
parallel
with
hands
on
hips.
Tendu
leg
to
the
center
of
studio.
The
first
row
of
dancers
begin
*Gallop
sideways
across
the
studio
*The
next
row
of
dancers
begin
after
the
previous
line
has
crossed
the
studio
*Have
the
dancers
return
one
row
at
a
time
using
their
opposite
leg.
*Place
a
mat
in
the
center
of
the
room
and
ask
the
dancers
to
form
a
circle
around
it.
Intro
8
cts
8
cts
Keep
Repeating
*Ask
dancers
to
think
of
kissing
their
shoes
together
in
the
air.
*Another
idea
that
can
help
young
dancers
to
gallop
is
to
ask
them
to
pretend
their
tendu
leg
is
a
mouse
and
their
standing
leg
is
a
cat.
The
cat
is
trying
to
kiss
the
mouse
but
the
mouse
keeps
getting
away.
*Remind
dancers
to
keep
their
tummy
to
their
front.
*One
leg
may
be
more
of
a
challenge
than
the
other
to
gallop.
N/A
*Divide
the
dancers
into
two
groups.
The
teacher
will
lead
one
group
and
the
class
assistant
will
lead
the
other
group.
The
dancers
will
be
connected
by
sharing
a
scarf
Follow
directions
from
Angelina’s
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Remind
dancers
to
freeze
in
the
position
they
were
in
when
the
music
stopped
and
to
listen
carefully
for
151
Track
#4;
2:22
the
middle
of
each
large
circle;
(+ME)
Angelina’s
Dance
Angelina’s
None;
Song
&
Dance
(+ME)
CD;
12345;
Track
#3;
1:01
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
with
the
dancer
to
the
right
and
left.
The
voice
on
dancers
will
need
to
work
as
a
team
to
remain
CD.
connected
and
to
keep
from
pulling
on
each
Remind
other.
dancers
to
*Have
one
group
of
dancers
move
like
A.Z.
listen
with
very
sharp
and
high‐energy
movements.
carefully
Have
the
other
group
move
like
Angelina
with
for
very
graceful
movements
at
different
tempos.
instructions
About
half
way
through
the
exercise,
have
the
and
to
groups
of
dancers
switch
characters.
freeze
*Ask
dancers
to
listen
carefully
as
Angelina
when
they
Ballerina
will
guide
them
through
dancing
at
do
not
hear
different
tempos.
any
music.
*When
Angelina
calls
out
slow,
the
dancers
must
dance
as
slow
as
possible.
*When
Angelina
calls
out
moderate,
the
dancers
must
dance
in
between
fast
and
slow
at
a
moderate
tempo.
*When
Angelina
calls
out
fast,
the
dancers
must
dance
very
quickly.
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Review
lyrics
and
choreography
learned
last
lesson
for
the
Angelina
song
–
12345.
One
Two
Three
Four
Five
Start
with
feet
parallel
and
hands
on
hips
Did
you
know
that
Gesture
–
taking
hands
from
hips,
circling
wrist
to
finish
palms
up
in
front
of
body
with
elbows
at
waist.
Counting
can
be
fun
Intro
(none)
4
cts
4
cts
Angelina
to
call
out
the
next
tempo.
*Tempo
refers
to
the
speed
of
the
music
and
movement.
Dancers
will
explore
dancing
to
the
following
three
tempos:
slow,
moderate,
and
fast.
*Remind
dancers
to
listen
to
the
music
so
they
can
match
the
same
speed/tempo
of
their
bodies
to
the
sound.
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
*Use
a
combination
of
152
Sway
right
and
left,
hands
remain
as
above
Lets
begin
a
song
with
Sway
right
and
left,
hands
remain
as
above
Number
one
Gesture
number
1
with
right
hand
as
left
hand
goes
to
hip;
continue
swaying
body
Then
numbers
two
and
three
come
Gesture
number
2
and
3
with
fingers;
continue
swaying
body
Next
in
line
and
soon
you’ll
see
Jump
feet
open
and
close
with
hands
on
hips
That
the
magic
Quickly
march
forward
4
as
arms
port
de
bras
1st
to
5th
Has
begun
Continue
quickly
marching
in
place
4
as
arms
open
to
2nd
with
palms
up.
Teach
new
lyrics
and
choreography
for
this
week:
Number
four
to
Gesture
number
four
with
fingers
with
feet
together
parallel
Move
it
right
along
Arms
port
de
bras
5th
to
2nd;
feet
together
parallel
The
next
position
in
our
Tendu
devant
parallel
with
one
foot
Counting
song
Tendu
devant
parallel
with
the
other
foot
And
then
the
number
five
will
Feet
together
and
gesture
number
5
with
Angelina Ballerina™ ©2012 HIT Entertainment Limited
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
choreography
and
free
dance.
*This
song
is
about
the
five‐foot
positions
in
ballet.
However,
young
dancers
at
this
age
are
not
ready
to
try
to
perform
the
five
positions
as
quickly
as
they
are
sung
in
the
song.
With
the
choreography
the
dancers
will
focus
on
having
fun
while
counting
1
through
5.
Counting
is
very
important
to
dancers
because
all
dancers
must
count
their
music
when
they
dance.
At
the
end
of
the
song,
the
dancers
can
copy
the
assistant
following
along
placing
their
feet
in
the
five‐foot
positions.
153
Good‐bye
Angelina Ballerina™ ©2012 HIT Entertainment Limited
fingers
Bring
your
ballet
shoes
alive
Bourrée
very
vigorously
in
place;
with
arms
demi‐seconde
Places
every
Continue
with
bourrée
but
slowing
a
bit
One
for
every
Bourrée
turn
one
time
with
arms
5th
Balleri‐
Free
Dance
Na
just
be‐
Free
Dance
Fore
they
point
a
toe
Free
Dance
Must
know
their
Free
Dance
Numbers
Free
Dance
One
to
Free
Dance
Five
Free
Dance
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
154
Class
CD;
Révérence;
Track
#22;
1:19
None
Curtsey
2‐3
Minutes
Stickers
Stickers
&
Handouts
Teacher’s
Notes:
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
155
Angelina Ballerina™ ©2012 HIT Entertainment Limited
156
Week
12
Weekly
Lesson
Plan
Level
1:
Ages
3
–
4½
Focus
Book:
Angelina’s
New
Partner
(pages
73‐75)
Props
Needed:
Mats
Song:
12345
Class
Length:
45
minutes
Section
of
Class
Music
CD;
Props
Exercise
Description
Counts
Miscellaneous
Things
to
Track
#;
Consider
Approx.
Time
Greeting,
Story
3
minutes
Roll
Book
Greeting
&
Roll
Gather
dancers
into
a
circle
away
from
the
N/A
&
Etiquette
dance
area.
With
everyone
seated
on
the
floor,
greet
dancers
and
take
roll.
Allow
4‐5
Story
Book
Reading
of
Story
Angelina’s
New
Partner
(pages
73‐75)
N/A
*Encourage
all
of
the
minutes
After
reading,
check
for
understanding
by
dancers
to
participate
in
Check
for
discussing
the
following
with
the
dancers.
the
Q
&
A.
understanding
1. What
was
Angelina
worried
about?
*For
shy,
non‐verbal
young
by
asking
(She
was
worried
that
A.Z.
would
turn
dancers,
ask
yes/no
questions
their
pas
de
chat
into
a
pas
de
hip‐hop)
questions
to
encourage
2. What
did
Angelina
ask
A.Z.
to
stop
interaction.
doing?
(Snapping
his
fingers.)
3. What
did
A.Z.
show
Angelina
to
help
her
leap
higher?
(To
press
her
feet
down
into
the
ground
to
jump)
1
minute
N/A
Dance
Etiquette
Ask
the
dancers
to
tell
you
three
things
they
N/A
*Ask
the
dancers
to
always
Review
need
to
remember
while
taking
class.
listen
carefully
when
the
1. Eyes
on
the
teacher.
teacher
is
talking.
2. Hands
to
yourself.
*Remind
them
to
always
3. Be
a
first
time
listener.
look
at
their
teacher
when
they
hear
her
voice.
1. *Remind
dancers
to
keep
their
hands
to
themselves.
Warm‐Up
1
mat
in
Setting
up
for
Place
one
Angelina
mat
in
the
center
of
the
N/A
*Have
the
class
assistant
center
of
Warm‐Up
room.
Gather
dancers
into
a
circle
around
the
stand
directly
across
from
circle
mat.
Have
dancers
to
hold
hands
to
form
a
the
teacher.
If
a
child
is
circle
and
then
ask
them
stretch
their
arms
having
difficulty
focusing
or
open
wide
making
sure
they
are
not
touching
remaining
in
the
circle,
Angelina Ballerina™ ©2012 HIT Entertainment Limited
157
Class
CD;
Circle
Warm‐
up;
Track
#1;
3:51
1
mat
in
center
of
circle
Class
CD;
None
Stretching;
Track
#2;
2:16
Travel
Around
the
Circle
.
their
neighbor.
Ask
them
to
sit
like
Angelina
Ballerina.
Ask
the
dancers
to
gallop
in
a
forward
direction
around
the
circle.
They
dancers
can
choose
which
leg
they
would
prefer
to
gallop
with.
*The
teacher
begins
first
and
then
each
dancer
has
a
turn
traveling
alone
around
the
circle
as
the
remaining
dancers
clap
to
the
beat
of
the
music.
Take
time
to
fully
explain
the
exercise
before
beginning
so
the
dancers
understand
the
sequence.
*Listen
for
Angelina’s
welcome
*Each
dancer
will:
1.
Stand
like
a
dancer.
2.
Travel
around
the
circle
alone
performing
the
given
step.
Today
the
dancers
will
gallop
forward
around
the
circle.
3.
Curtsey
once
she
arrives
back
in
their
original
place
in
the
circle.
4.
Sit
like
a
dancer.
5.
Begin
to
clap
to
the
beat
of
the
music
while
everyone
else
gets
a
turn.
Clap
hands
together
and
then
clap
hands
to
top
of
knees.
Keep
repeating
this
pattern.
6.
Once
everyone
has
a
turn,
ask
the
dancers
to
tap
various
body
parts
to
the
beat
of
the
music.
Name
the
body
parts
so
the
dancers
can
learn
the
names
of
the
parts
of
their
body.
Be
sure
to
add
cross
body
movements
in
this
section.
The
right
hand
will
touch
somewhere
on
the
left
side
of
the
body
and
vice‐versa.
Curl
&
Stretch
Keep
exercise
concept
the
same
but
vary
the
with
Port
de
bras
port
de
bras;
begin
teaching
dancers
the
names
of
basic
port
de
bras;
Ask
dancers
to
port
de
bras
at
different
tempos
Angelina Ballerina™ ©2012 HIT Entertainment Limited
place
that
dancer
directly
on
the
side
of
the
class
assistant.
*There
are
many
benefits
to
this
exercise:
1.
The
teacher
can
assess
if
the
dancers
can
perform
any
type
of
traveling
movement
they
have
been
called
upon
to
do.
2.
Gives
the
dancers
a
sense
of
accomplishment
by
traveling
around
the
Greeting
circle
alone.
If
a
dancer
is
showing
signs
of
being
too
Amount
of
shy
to
go
alone,
have
the
time
will
assistant
travel
with
them.
vary
3.
Encourages
musical
depending
awareness
by
clapping
and
on
number
tapping
to
the
beat
of
the
of
dancers.
music.
Once
all
4.
Requires
the
dancer
to
dancers
follow
a
sequence
of
tasks.
have
a
turn
*Give
dancers
verbal
work
on
guidance
on
what
to
do
cross
body
and
cue
the
next
dancer
to
clapping
&
stand.
tapping
*Be
sure
to
incorporate
sequences
cross
body
tapping
into
the
until
end
of
rhythmic
section
at
the
music.
end.
*Move
gracefully
from
one
stretch
to
another.
*Remind
dancers
to
take
deep
breaths
and
to
reach
158
Class
CD;
None
Flex/Pointe;
Track
#3;
1:19
Flexing
&
Pointing
Ankles
(with
Tempo)
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Curl,
Stretch,
and
Port
de
bras
*Ask
Dancers
to
curl
into
a
small
shape
with
their
legs
curled
with
knees
into
chest
and
back
rounded
with
arms
hugging
knees.
Dancers
try
to
make
their
bodies
into
a
tight
ball.
*Gracefully
open
up
curved
tight
shape
into
a
stretched
straight
shape
with
legs
extended
forward,
back
sitting
tall
and
straight,
with
arms
opening
up
overhead
just
like
a
flower.
*While
sitting
tall
move
arms
through
various
port
de
bras
saying
the
level
of
the
arms
in
each
port
de
bras.
For
example,
low
for
en
bas;
middle
for
1st;
high
for
5th;
and
open
for
2nd.
Vary
the
tempo
of
the
port
de
bras
*Repeat
entire
sequence
varying
the
sequence
of
the
port
de
bras.
*Repeat
entire
sequence
but
slowly
curl
back
to
a
straight
shape
on
back
onto
floor
and
ask
dancers
to
reach
and
curl
up
and
forward
working
abdominals.
*Repeat
curl
and
stretch
to
floor
(a
little
faster),
but
this
time
roll
over
to
tummy
and
pretend
to
swim
arms
and
legs
as
eyes
look
straight
to
floor
then
roll
over
in
the
opposite
direction
and
swim,
roll
over
to
back
and
roll
up
reaching
across
to
dancer
on
opposite
side
of
circle
using
abdominals
to
curl
up.
Add
tempo
to
the
exercise
by
asking
dancers
to
flex
and
point
slowly
and
then
quickly.
Also
ask
them
to
slowly
walk
their
fingers
down
their
legs
for
2
then
quickly
for
4.
Continue
all
the
way
down
and
all
the
way
up.
Sitting
with
legs
stretched
out
in
front
with
hands
resting
on
top
of
knees.
*Alternate
flexing
&
pointing
the
ankles/feet.
*Walk
fingertips
down
legs
while
reaching
Intro
4
–
3’s
4
–
3’s
8
–
3’s
16
–
3’s
16
–
3’s
16
–
3’s
as
far
as
they
can
with
their
bodies.
*Vary
the
tempo
of
the
port
de
bras
–
perform
slowly
and
then
quickly.
Intro
1‐8’s
2‐8’s
*Remind
dancers
to
sit
tall
with
a
tall,
straight
back.
*Remind
dancers
to
stretch
their
knees
as
they
flex
and
point.
*Remind
dancers
to
keep
their
legs
straight
as
they
bend
forward
at
hips
to
reach
toward
their
toes.
159
toward
toes.
Hold
stretch
while
counting
to
8
and
reaching
far
down
near
the
toes
as
possible.
*Walk
fingertips
quickly
up
the
legs
and
body
and
reach
overhead
and
clap
two
times.
*Repeat
all
Center
Barre
None
Class
CD;
Plié;
None
Track
#5;
2:29
Class
CD;
Tendu;
Track
#6;
1:19
None
None
*Change
dancers
to
line
formation.
Dancers
will
form
one
or
two
lines
facing
the
front
of
the
studio.
The
assistant
and
teacher
will
turn
and
face
the
students
to
demonstrate
the
exercises
and
to
keep
eye
contact
with
all
students.
Have
the
dancers
stand
and
place
their
feet
together
parallel.
Demi‐Plié:
*Legs
parallel
with
hands
on
hips:
Parallel
and
1st
*2
demi‐pliés:
parallel
with
arms
opening
to
Position
demi‐seconde
on
the
bend
and
closing
to
en
bas
on
the
straightening.
Plié
=
to
bend
*Port
de
bras
1st,
5th,
2nd,
hands
on
hips
Demi
=
half
*Repeat
above
in
parallel
Port
de
bras
=
*Open
legs/feet
to
small
1st
position
(barely
movement
of
the
turned
out)
–
open
arms
to
demi‐seconde
on
arms
bend
and
return
to
en
bas
on
straightening
*Port
de
bras
1st,
5th,
2nd,
hands
on
hips
*Repeat
above
in
1st
position
*Freeze
for
3
in
1st
position
with
arms
en
bas
and
head
turned.
Tendu
changing
Feet
parallel
with
hands
on
hips.
Tempo
*1
Slow
Tendu,
stretching
right
foot
forward
parallel
and
closing
parallel
Tendu
=
to
*1
Quick
Tendu
on
the
right
stretch
*2
claps
*Repeat
on
left
foot
*Repeat
all
of
above
*Freeze
for
3
Angelina Ballerina™ ©2012 HIT Entertainment Limited
1‐8’s
4‐8’s
N/A
*Explain
to
the
dancers
that
it
is
important
for
them
to
listen
carefully
so
they
will
learn
to
dance
just
like
Angelina
Ballerina.
Intro
8
cts
8
cts
16
cts
8
cts
8
cts
16
cts
Intro
4
cts
2
cts
2
cts
8
cts
16
cts
*Introduce
1st
position
of
the
feet/legs.
Remind
dancers
to
keep
knees
over
toes
during
plié.
When
the
dancers
plié
the
legs
will
make
a
diamond
shape.
*Focus
on
teaching
dancers
to
make
curved
shapes
with
their
arms.
*Remind
dancers
to
keep
their
legs
and
feet
stretched.
*Remind
dancers
to
keep
their
bodies
(leotard)
very
still
while
performing
their
tendus.
160
Center
Class
CD;
Piqué;
Track
#8;
:
28;
Optional
Repeat
None
Piqué
Piqué
=
to
prick
Class
CD;
Cou
de
pied
/Passé;
Track
#9;
:
44
None
Passé
None
None
Sauté
with
Tempo
Class
CD;
Sauté;
Track
#11;
:
33;
Optional
Repeat
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Legs
parallel
with
both
hands
on
hips:
*Dégagé
right
foot
front
and
piqué
5
times
closing
parallel
on
count
6
*With
legs
parallel,
clap
hands
2
times
*Repeat
on
left
leg
*Repeat
all
*Freeze
for
3
Legs
parallel
with
hands
on
hips.
*Parallel
passé
right
leg
to
knee
ct
1,
hold
3
*Lower
right
back
to
parallel
&
demi‐plié
*Repeat
on
left
leg
*Repeat
on
right
leg
*1
full
port
de
bras
–
1st,
5th,
2nd,
en
bas,
and
back
to
hips
*Repeat
all
starting
with
left
leg
*Finish
for
3
Keep
dancers
in
line
formations.
Intro
6
cts
2
cts
8
cts
16
cts
Intro
4
cts
4
cts
8
cts
8
cts
8
cts
32
cts
N/A
Legs
parallel
with
hands
on
hips:
Intro
*Plié,
sauté
(jump),
plié,
straighten
legs
4
cts
*Plié,
sauté
(jump),
plié,
straighten
legs
4
cts
*Plié,
sauté
quickly
4
X’s;
4
cts
*Stretch
legs
and
circle
arms
overhead
4
cts
*Repeat
sequence
of
2
slow
sautés,
4
quick
16
cts
sautés
and
port
de
bras
*Focus
on
quietly
&
sharply
lifting
&
lowering
toes
from
floor
with
straight
leg.
*Ask
the
dancers
to
count
their
taps
(Piqués)
along
with
you.
*Remind
dancers
to
keep
their
tummies
tight
as
they
perform
their
passé.
*Remind
dancers
to
look
straight
forward
as
they
stand
on
one
leg.
*Some
dancers
may
have
difficulty
holding
their
leg
up
for
3
counts.
Continue
to
encourage
them
and
remind
them
to
keep
their
bodies
strong
and
to
look
straight
ahead.
*Ask
dancers
about
when
they
are
at
the
lowest
level
and
the
highest
level
while
doing
this
exercise.
*Remind
dancers
to
keep
tummies
tight
and
legs/ankles
together
*Remind
the
dancers
about
how
they
can
change
their
tempo
and
move
slowly
or
quickly.
161
Traveling
Steps
N/A
Class
CD;
Dancer
Walks;
Track
#14;
1:51
None
Transition
to
traveling
steps
Place
dancers
in
row/lines
on
one
side
of
room.
N/A
With
the
assistant
leading,
dancers
will
travel
from
one
side
of
the
room
to
the
other.
Many
exercises
will
be
repeated.
None;
(+ME)
Ballet
Walks
versus
Hip‐Hop
Walks
Dancers
will
walk
like
Angelina
and
then
like
A.Z.
Point
out
to
the
dancers
the
differences
in
the
two
styles
of
walking
*Dancers
will
walk
½
way
across
the
studio
as
if
they
are
a
ballet
dancer
with
their
toes
reaching
first
*Dancers
will
walk
the
2nd
½
as
if
they
are
a
hip‐hop
dancer
reaching
their
heels
first
with
a
bit
of
a
bounce
in
their
step
*The
next
group
of
dancers
begin
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Intro
8
cts.
8
cts
16
cts
*Repeat
the
confirming
of
which
group
each
dancer
is
in
as
in
the
previous
two
lessons.
It
is
very
important
to
work
on
this
concept
so
the
young
dancers
learn
how
to
find
their
place
in
line
as
they
travel
from
one
side
of
the
room
to
the
next.
Ask
them
to
look
to
one
side
and
then
the
other
so
they
can
see
which
one
of
their
dance
friends
they
are
dancing
next
to.
*Remind
dancers
to
walk
with
their
toes
reaching
first
just
like
a
ballerina.
*Remind
dancers
to
walk
with
their
heels
reaching
first
just
like
a
hip‐hop
dancer.
*Signify
to
the
dancers
where
the
½
waypoint
is
in
the
studio
by
placing
an
Angelina
Ballerina
mat
on
the
floor.
162
Class
CD;
Galloping;
Track
#18;
2:48;
Repeated
None;
(+ME)
Galloping
(sideways)
Creative
Movement
1
mat
in
center
of
circle
Transition
to
Creative
Movement
Angelina
Says
None;
Creative
(+ME)
Movement
CD;
Tempo;
Track
#4;
2:22
Tempo
at
a
Low
Level
Angelina Ballerina™ ©2012 HIT Entertainment Limited
*Share
the
following
story
with
the
dancers:
Galloping
is
one
of
Angelina’s
favorite
exercises.
She
loves
galloping
all
the
way
home,
especially
when
she
is
so
excited
to
show
her
parents,
Mr.
&
Mrs.
Mouseling,
the
fun
and
beautiful
steps
she
learned
in
dance
class
that
day.
Aren’t
you
excited
to
tell
your
parents
about
your
day
in
class,
too?
Just
like
Angelina,
show
how
you
would
gallop
back
home
with
your
exciting
news.
*Ask
dancers
to
turn
their
tummies
to
the
front
of
the
room
and
help
them
to
line
up
one
behind
another.
Feet
parallel
with
hands
on
hips.
Tendu
leg
to
the
center
of
studio.
The
first
row
of
dancers
begin
*Gallop
sideways
across
the
studio
*The
next
row
of
dancers
begin
after
the
previous
line
has
crossed
the
studio
*Have
the
dancers
return
one
row
at
a
time
using
their
opposite
leg.
*Place
a
mat
in
the
center
of
the
room
and
ask
the
dancers
to
form
a
circle
around
it.
Intro
8
cts
8
cts
Keep
Repeating
N/A
Ask
the
dancers
to
dance
all
of
the
tempo
exercise
at
a
low
level.
The
highest
level
the
dancers
may
go
is
on
their
knees.
They
can
dance
sitting,
lying
or
kneeling
on
the
floor.
*Ask
dancers
to
listen
carefully
as
Angelina
Follow
directions
from
Angelina’s
voice
on
*Ask
dancers
to
think
of
kissing
their
shoes
together
in
the
air.
*Another
idea
that
can
help
young
dancers
to
gallop
is
to
ask
them
to
pretend
their
tendu
leg
is
a
mouse
and
their
standing
leg
is
a
cat.
The
cat
is
trying
to
kiss
the
mouse
but
the
mouse
keeps
getting
away.
*Remind
dancers
to
keep
their
tummy
to
their
front.
*One
leg
may
be
more
of
a
challenge
than
the
other
to
gallop.
The
creative
movement
portion
of
the
class
is
designed
to
allow
the
child
to
explore
movement
based
on
a
given
concept.
The
children
create
their
own
movement
within
the
structure
of
a
given
concept.
*Remind
dancers
to
freeze
in
the
position
they
were
in
when
the
music
stopped
and
to
listen
carefully
for
Angelina
to
call
out
the
163
Ballerina
will
guide
them
through
dancing
at
different
tempos.
*When
Angelina
calls
out
slow,
the
dancers
must
dance
as
slow
as
possible.
*When
Angelina
calls
out
moderate,
the
dancers
must
dance
in
between
fast
and
slow
at
a
moderate
tempo.
*When
Angelina
calls
out
fast,
the
dancers
must
dance
very
quickly.
Angelina’s
Dance
Angelina’s
None;
Song
&
Dance
(+ME)
CD;
12345;
Track
#3;
1:01
Transition
to
Choreography
Angelina
Choreography
Angelina Ballerina™ ©2012 HIT Entertainment Limited
CD.
Remind
dancers
to
listen
carefully
for
instructions
and
to
freeze
when
they
do
not
hear
any
music.
Each
week
spend
time
teaching
choreography
to
a
special
Angelina
Ballerina
song.
Intermix
given
choreography
to
special
words
within
the
song
while
allowing
other
parts
of
the
song
to
be
used
for
the
dancers
to
create
their
own
choreography
(free
dance
at
this
age).
Repeat
last
week’s
lesson:
Review
lyrics
first
and
then
choreography
for
the
Angelina
song
–
12345.
One
Two
Three
Four
Five
Intro
Start
with
feet
parallel
and
hands
on
hips
(none)
Did
you
know
that
4
cts
Gesture
–
taking
hands
from
hips,
circling
wrist
to
finish
palms
up
in
front
of
body
with
elbows
at
waist.
Counting
can
be
fun
4
cts
Sway
right
and
left,
hands
remain
as
above
Lets
begin
a
song
with
4
cts
Sway
right
and
left,
hands
remain
as
above
Number
one
4
cts
Gesture
number
1
with
right
hand
as
left
hand
goes
to
hip;
continue
swaying
body
next
tempo.
*Tempo
refers
to
the
speed
of
the
music
and
movement.
Dancers
will
explore
dancing
to
the
following
three
tempos:
slow,
moderate,
and
fast.
*Remind
dancers
to
listen
to
the
music
so
they
can
match
the
same
speed/tempo
of
their
bodies
to
the
sound.
This
exercise
will
allow
for
both
teacher
directed
and
child
directed
movement.
This
combination
is
an
excellent
technique
to
use
at
the
end
of
each
dance
class.
Each
week
the
dancers
will
work
a
few
minutes
on
their
Angelina
Dance.
Focus
on
the
dancers
using
imaginative
play
as
they
pretend
to
be
Angelina
Ballerina
performing
her
song.
*Use
a
combination
of
choreography
and
free
dance.
164
Then
numbers
two
and
three
come
Gesture
number
2
and
3
with
fingers;
continue
swaying
body
Next
in
line
and
soon
you’ll
see
Jump
feet
open
and
close
with
hands
on
hips
That
the
magic
Quickly
march
forward
4
as
arms
port
de
bras
1st
to
5th
Has
begun
Continue
quickly
marching
in
place
4
as
arms
open
to
2nd
with
palms
up.
Number
four
to
Gesture
number
four
with
fingers
with
feet
together
parallel
Move
it
right
along
Arms
port
de
bras
5th
to
2nd;
feet
together
parallel
The
next
position
in
our
Tendu
devant
parallel
with
one
foot
Counting
song
Tendu
devant
parallel
with
the
other
foot
And
then
the
number
five
will
Feet
together
and
gesture
number
5
with
fingers
Bring
your
ballet
shoes
alive
Bourrée
very
vigorously
in
place;
with
arms
demi‐seconde
Places
every
Continue
with
bourrée
but
slowing
a
bit
One
for
every
Bourrée
turn
one
time
with
arms
5th
Balleri‐
Free
Dance
Na
just
be‐
Free
Dance
Fore
they
point
a
toe
Free
Dance
Angelina Ballerina™ ©2012 HIT Entertainment Limited
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
4
cts
165
Must
know
their
Free
Dance
Numbers
Free
Dance
One
to
Free
Dance
Five
Free
Dance
4
cts
4
cts
4
cts
4
cts
Teach
new
lyrics
and
choreography
for
week
And
with
these
4
cts
st
Stand
in
1 position
(minimal
turnout);
hands
on
hips
Five
po‐si‐
4
cts
Tendu
to
2nd
position
(minimal
turnout);
hands
on
hips
tions
you’ll
be
4
cts
Tendu
seconde
and
close
3rd
position
(minimal
turnout);
hands
on
hips
Ready
for
the
show
4
cts
Tendu
forward
to
fourth
position
(minimal
turnout);
hands
on
hips
And
you’re
ba‐
4
cts
th
Tendu
forward
and
close
5 position
(minimal
turnout);
hands
on
hips
llet
will
4
cts
Rise
to
demi‐point
and
bourrée
turn,
legs
turn
parallel;
arms
port
de
bras
to
5th
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Come
to
life
Continue
turning
4
cts
Lets
count
to
4
cts
Teacher
Note:
For
some
young
dancers
it
may
be
too
confusing
to
learn
the
five‐foot
positions
at
this
time.
Third,
fourth,
and
166
Lower
to
parallel
as
arms
open
2nd
Ge‐ther
Bring
hand
forward
and
gesture
with
fingers
4
cts
1234
1,
2,
3,
4,
5
5
4
cts
4
cts
fifth
positions
are
complicated
and
it
is
important
to
keep
this
part
of
the
song
fun
for
the
dancers.
If
you
are
seeing
frustration
–
have
them
free
dance.
Good‐bye
Class
CD;
Révérence;
Track
#22;
1:19
None;
(+ME)
Curtsey
2‐3
Minutes
Stickers
Stickers
&
Handouts
Angelina Ballerina™ ©2012 HIT Entertainment Limited
Step
curtsey
right
and
left
to
end.
Have
dancers
return
to
their
circle
formation
in
the
middle
of
the
studio.
*Feet
together
parallel
with
arms
en
bas
*Port
de
bras
with
right
arm
–
center,
overhead,
open
side
and
back
to
en
bas
*Repeat
with
left
arm
*First
Port
de
bras
both
arms
2
Xs;
looking
right
then
left
*Bourrée
turn
right
and
left
*Bring
right
back
and
curtsey
*Step
together
and
bring
left
foot
back
and
curtsey
*Listen
for
Angelina’s
farewell
*Line
the
dancers
up
at
the
door.
*Remind
everyone
to
practice
at
home.
*Give
out
any
handouts
you
may
have
to
give
them.
*Go
down
the
line
and
call
each
dancer
by
name
and
thank
them
for
working
so
hard
and
for
being
such
a
good
listener.
Place
an
Angelina
Ballerina
sticker
on
the
hand
of
each
dancer
as
you
speak
to
them
individually.
*Open
the
studio
door
and
see
that
the
children
get
to
their
caregiver.
Intro
4
cts
4
cts
8
cts
8
cts
4
cts
4
cts
Farewell
*Time
to
say
good‐bye
and
thank
you
with
curtsey
and
stickers.
*Dancers
say
thank
you
and
good‐bye
to
their
teachers
with
a
curtsey.
*Teachers
curtsey
along
to
say
good‐bye
and
thank
the
dancers
for
working
hard.
*A
duty
of
the
assistant
is
to
stay
with
any
child
that
hasn’t
been
promptly
picked
up.
Advise
the
assistant
to
be
ready
to
distract
and
comfort
a
child
in
this
situation.
For
many
young
children,
they
are
easily
upset
if
they
don’t
see
Mommy/Daddy
or
the
caregiver
right
away.
167
Teacher’s
Notes:
Angelina Ballerina™ ©2012 HIT Entertainment Limited
168
Coming
Soon:
Lessons
13
–
34
will
be
distributed
at
a
later
date.
Angelina Ballerina™ ©2012 HIT Entertainment Limited
169