Approved by Faculty Senate March 30, 2009
Course ID: 002582 THAD 157 03 Ballet 1
Fall Semester 2008
Winona State University – 1 credit
Location: Memorial 300 Studio
Instructor: Carissa Zieske
Email: zieskece@hotmail.com
Phone: 507/450-7787
Office Hours: By Appointment
Time: W 12:30pm-1:50pm
COURSE REQUIREMENTS: A notebook
NO CLASS: Wed, Nov. 26 (Thanksgiving Break)
CATALOGUE DESCRIPTION: This course is the study of the basic barre and centre technique
used in ballet. Additionally, it serves as an introduction to ballet as a craft and as an art. The
course work is centered around developing physical competence in dance technique. Grade
only. May be repeated once for credit.
This course is designed to satisfy the University studies requirements in: Fine and
Performing Arts, and includes requirements and learning activities that promote
students’ abilities to:
a. Explore the language, skills, and materials of an artistic discipline: Through the
knowledge and practice of basic ballet movements, the student will have a direct encounter
with ballet as a living, breathing art form. Students will be introduced to basic ballet
vocabulary (spoken and executed) and gain an understanding of ballet aesthetics including
traditional ballet music, and dress. They will be introduced to principles of alignment, and will
deepen awareness of their body through repetition of movements in tandem with guided
imagery and attention.
b. Use methods of an arts practitioner to actively engage in creative process or
interpretive performances: Students will have the experience of creating and performing an
original ballet sequence (1 – 1 1/2 minutes) based on ballet aesthetics and vocabulary learned
in class. In groups of 2 – 3, students will select an arrangement of movements in combination
with music and underlying theme/motivation to create an artistic whole. The composition will
be performed for the class as a final project.
c. To understand the cultural and gender contexts of artistic expression: Through
video, lecture and discussion, students will be exposed to the history of ballet and the
changing roles of men and women throughout its evolution. Students will view ballets that are
products of different cultures and historical periods, providing a context for them to appreciate
the roots of the discipline to which they are currently being exposed.
d. Engage in reflective analysis of their own work or interpretive performance and
respond to the work of others: Students will view, discuss, and respond in written form to
ballets experienced through a live professional performance and video format. Students will
also reflect upon and assess, in written form, their own creative process and product.
Course activities and assignments that address these Fine and Performing Arts
Requirements will be identified in the syllabus by letter (a), (b), (c), (d)
COURSE OBJECTIVES
A. The student will develop an appreciation for the art of ballet as both performer and
audience. (a,b, d)
B. The student will gain an understanding of the basic anatomical and mechanical
principles of movement that support ballet technique and theory. (a)
C. The student will develop body awareness, performance skills, musicality, coordination,
flexibility, strength and self-discipline. (a, b)
D. The student will become familiar with the evolution and history of classical ballet as a
theatrical dance form. (a,c)
E. The student will develop a general knowledge of ballet terminology. (a)
BASIC INSTRUCTIONAL PLAN AND METHODS (a,b,c,d)
Class consists of lecture demonstration, pre-warm up, barre work, center work, and
across the floor sequences. Videos of professional ballets will be viewed, discussed,
and critiqued.
Course Outline
I.
Class Structure will include: (a)
a. Pre-warm-up: to be done individually before the start of class
b.Barre work: including an introduction to the five positions of the feet, port de
bras, plié, tendu, degagé, rond de jambe, frappé, fondu, grand battement,
stretches, alignment
c. Center work: including port de bras, tendu, body positions, arabesque,
performing technique, simple adagio combinations, preparation for turns.
d.Allegro work: basic jumps and locomotion movement across the floor
including sauté, temp leve, jete, balancé
e. Réveránce : cool down
II.
Additional Learning Experiences: (a,c)
a.
b.
c.
d.
Viewing and discussing films of contemporary and traditional ballets by
U.S. and/or European Companies
Defining classical ballet through its history and evolution as an art form
Exploring the relationship of ballet to other theatrical dance styles
(modern, jazz, and tap)
Culminating ballet knowledge in a choreographic piece of art
ASSESSMENT : COURSE REQUIREMENTS AND EVALUATION (a,b,c,d)
a.
b.
c.
d.
e.
65% attendance and participation (a,b,c,d)
5% typed response to a selected professional dance video shown in class (c,d)
Wednesday September 24 due by Wednesday, October 1
10% MIDTERM 2-3 page Response paper to Compania Flamenco Jose Porcel
October 8 SMU Page Theatre at 7:30 p.m. (c,d) due Wednesday, October 15
5% quiz on ballet terminology (a) Wednesday, November 12
15% FINAL original ballet sequence (1 – 1 1/2 minute) done in class in groups of 2 or
3, assessed by self and class (a,b,d) Wednesday, December 10
REFERENCES AND BIBLIOGRAPHY
Anderson, Jack. Ballet and Modern Dance, A Concise History. Princeton, NJ: Princeton Book
Company, 1986
Kersley and Sinclair. A Dictionary of Ballet Terms. New York, NY: Da Capo Press, Inc., 1981
Paskevska, Anna. Both Sides of the Mirror; The Science and Art of Ballet. New York, NY:
Dance Horizons, 1981
GRADING EXPLANATIONS
A=work of outstanding nature that exceeds course standards and depicts a deep and thorough
understanding of subject matter
B=work that is above average in quality and thoroughness and depicts a mastery of the
subject matter
C=Work of a satisfactory nature in quality and thoroughness and depicts a basic
understanding of subject matter
D=Work that is substandard in nature and depicts a limited understanding of subject matter
DRESS Students dance in ballet shoes or barefoot, leotard and tights with hair pinned off of
face and neck. Neat fitting sweats or dance pants and a close fitting top are acceptable.
ATTENDANCE and class participation is required, of course. No absences, please. Students
are responsible to let the instructor know why you were absent, and catch up on class
material, consulting with classmates as needed. **Illness is not an excused absence,
even with a doctor’s note.
*You are allowed 2 absences without affecting your grade and no need to provide
documentation.
Excessive absences will affect your grade in two ways:
1. It will affect the percentages of your grade designated for Attendance and Class
Participation, dropping one letter for each class missed beyond 2. For example 3
absences=B, 4=C etc.
2. More than 2 absences will also drop your total class grade ONE LETTER for
each class missed. For example, with 3 absences the highest total class grade you
can achieve is a B.
*Exceptions will be made for university sponsored events with appropriate documentation.
Tardiness: Being late to class 2x is equivalent to 1 absence, if the lateness is less than 10
minutes. If you are more than 10 minutes late to a dance class without having notified the
instructor in advance you may not participate in the class and that class will be counted as 1
absence.
*Be sure to speak with the instructor after class if you come in late so your presence can be
recorded, the student is responsible to be marked for attendance once names have been
called or the sign in clipboard has been passed around class.
*If you forget to sign in during class you will be marked as absent for that class period.
*If you need to leave class early, it will count as a ½ absence if more than 10 minutes and
please alert instructor ahead of time.
Active Observation Without Participation: You are responsible for assessing your own
state of health in consultation with your doctor. If you are unable to dance, you may actively
observe up to 3 classes without participating. This active observation will include describing
and commenting on class content and movement components. Handwritten documentation on
movement observations and class content will be handed in to the instructor at the end of the
class period.
Makeup Classes: DUE: 1 WEEK AFTER MAKEUP, up until the last week of classes for
the semester
*Students are allowed 3 makeup classes maximum.
Makeup class approval must be requested from your instructor ahead of time to ensure it is an
appropriate substitute. Request permission via email from makeup class instructor and
introduce yourself when you arrive for class. Obtain a signature from the makeup class
instructor with the date of attendance, and hand that in, along with a 1 paragraph typed
written summary of movement aspects you experienced in class and your response.
Appropriate makeup classes: See Mem 300 studio door for days and times of current THAD
dance classes and THAD website for faculty email contact info.
Students are encouraged to notify the instructor in advance if class is to be missed and are
responsible to contact a classmate for missed notes and material.
Injury Policy: Credit for all classes is contingent upon participation. If a student has or incurs
an injury in the course of study resulting in more than 3 classes from active participation, it
is the student's responsibility to consult with the teacher as to creative options for the learning
process or withdrawal from the class.
PARTICIPATION GUIDELINES: All students are expected to come to class prepared and
focused, with an open and respectful attitude towards the instructor, their peers and
themselves. Students are also expected to contribute to a safe and trusting environment,
including a nonjudgmental approach towards learning, a willingness to take risks, make
mistakes, ask questions, and support one another.
Students are also responsible for tracking their own attendance, and all content
covered in class, including retention of material from week to week.
When you arrive for class, please prepare by spending time warming up, reviewing class
material or focusing yourself. Once class begins, maintain a focused attentive concentration
on class material and participate fully in every aspect of class including creative exercises,
assignments, research, projects and discussions.
*Quality of class participation includes: good energy level each class, attentiveness to
lectures and videos, contributions to class discussions and group work, completion of in class
writings or exercises, full participation in movement aspects of class including both physical
and creative components.
EXTRA CREDIT: DUE: 1 WEEK AFTER EVENT /up until the last week of class for the
semester Students may earn extra credit by attending an additional event, and handing in a
typewritten summary response, 1 full page minimum, discussing dance/movement related
aspects and proof of attendance.
*Each student may do 2 EC assignments worth 1 point each, for a max. of 2 points
added to your final class grade.
See “Area Dance Performance Calendar 2007-08” on D2L, WSU Update, class announcements
or consult instructor if find alternative event.
*WSU Arts & Lectures Portal at http://www.winona.edu/arts has a full calendar of arts events
on campus including: Lyceum Series, CLASP Series, Athenaeum and much more!
WRITING CENTER INFO: Call 457-5505 or email wcenter@winona.edu for appointments
and information and visit the Writing Center website for writing resources and the “Online
Tutor” service.
DISABILITY ACCOMMODATION: If you have a documented disability and wish to discuss
academic accommodations, please contact the instructor as soon as possible.
ACADEMIC HONESTY: All work produced by a student must represent that student’s
personal effort, unless the instructor specifically permits or requires that it be done by a
group. Papers and other work which a student prepares for class will contain only the
student’s own words or, if the material originated with someone else, will enclose the quoted
words in quotation marks and supply the complete bibliographical information in a footnote or
endnote. Summaries or paraphrases of the words and ideas of other people must also be
documented in this fashion. Work that does not exhibit these characteristics is a form of
academic dishonesty known as plagiarism. This will result in strict sanctions including an
automatic F for the course.
INCLUSIVE EXCELLENCE
Commitment to Inclusive Excellence: WSU recognizes that our individual differences can
deepen our understanding of one another and the world around us, rather than divide us. In
this class, people of all ethnicities, genders, religions, ages, sexual orientations, disabilities,
socioeconomic backgrounds, regions, and nationalities are strongly encouraged to share their
rich array of perspectives and experiences. If you feel your differences may in some way
isolate you from WSU’s community or if you have a need of any specific accommodations,
please speak with the instructor early in the semester about your concerns and what we can
do together to help you become an active and engaged member of our class and community.
Campus Resources

Student Support Services, Howell Hall 133, 457-5465
(www.winona.edu/studentsupportservices/)

Inclusion and Diversity Office, Kryzsko Commons Room 122, 457-5595
(www.winona.edu/culturaldiversity/)

Disability Resource Center, Maxwell 331, 457-2391 (www.winona.edu/disabilityservices/)

Counseling Center, Wabasha Hall 220, 457-5330 (www.winona.edu/counselingcenter/)

Writing Center, Minné Hall 348, 457-5505 (www.winona.edu/writingcenter/)

GLBTA Advocate, Wabasha Hall 220, 457-5330 (www.winona.edu/counselingcenter/)

Advising and Retention, Maxwell 308, 457-5600 (www.winona.edu/advising/)
Details about Campus Resources

Two good places to help you find resources of all kinds on campus are Student Support
Services and the Inclusion and Diversity Office. Both offices are dedicated to helping
students of all races, ethnicities, economic backgrounds, nationalities, and sexual
orientations. They can facilitate tutoring and point you to a wide range of resources.
Student Support Services is in Howell Hall 133, and they can be reached at 457-5465.
The Inclusion and Diversity Office is in Kryzsko Commons Room 122, and they can be
reached at 457-5595.

If you have a disability, the Disability Resource Center (DRC) can document it for your
professors and facilitate accommodation. Their office is in Maxwell Hall, 3rd floor, and they
can be reached at 457-2391. If you have a documented disability that requires
accommodation, please let me know as soon as possible. If you suspect you may have a
disability, you are encouraged to visit the DRC as soon as possible.

College can be very stressful. The Counseling Center is there to help you with a wide
range of difficulties, ranging from sexual assault, depression, and grief after the loss of a
loved one to stress management, anxiety, general adjustment to college, and many
others. Their office is located in Wabasha Hall 220, and they can be reached at 457-5330.

For help with writing and the development of papers, the English department has a Writing
Center available to students and staffed by trained graduate students pursuing their
Master’s degree in English. The Writing Center is located in Minné Hall 348. You can
make an appointment on the sign-up sheet on the door or call 457-5505.
The GLBTA Advocate is responsible for documenting homophobic incidents on campus and
working with the appropriate channels to get these incidents resolved. In addition, the
advocate can direct people to GLBT resources on campus and in Winona. Contact the
Counseling Center for the name and number of the current GLBTA Advocate. (Wabasha Hall
220, 457-5330)
WHAT IS A RESPONSE ASSIGNMENT? Midterm-Compania Flamenco Jose
Porcel, and In-class video performance
It’s your processed reflective response to the viewing and experience of the dance.
Midterm: (2-3 pages, double-spaced, 12 point font) Write about what you have
experienced honestly using language that clearly describes the movement and ideas
and feelings that you witnessed in the work. Go beyond merely stating an opinion or
passing judgment on the work. Substantiate your opinions with reference to specific
movement phrases in the dance. Choose a "point of view". Use concepts and
terminology learned in class. Be creative and articulate! ***Additionally, because this
is not an exclusive ballet performance, mention a few elements of the work that
exhibit ballet movements and/or concepts.(a),(d)
In-class video response paper: follows the same criteria but is only 1-2 pages, doublespaced, 12 point font.
Here are some tips for your critiques:
There are certain elements to keep in mind when viewing a dance performance. It isn’t
just about a response, but an analysis of details such as technique, tempo, space,
choreography, and energy. Ask yourself the following questions:







How are the dancers using the space?
What is the feel/tone of the music?
Is the choreography reliant on musicality and rhythm, or is it the opposite?
Whose work does the choreography remind you of?
Do you have a kinesthetic response to the dance piece (does it make you want
to get up and dance)?
Is the performance an ensemble piece of different dances and dancers, or does
it tell a story?
What are the technical strengths of the dancers? What are the weaknesses?

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
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Do the dancers possess the element of musicality and rhythm, and do they
evoke feeling in their movements?
Do the dancers convey artistry in their bodies and their faces?
What did you like about the show? Why?
What did you dislike about the show? Why?
These are not required for your critique, but they might give you some ideas for what to
look for when going to a performance. You can love, hate, and/or dismay the
performance you see, just make sure you tell me why!
(Guidelines for FINAL tba)
Basic Ballet Vocabulary
Alignment: Refers to the relationship of body parts to one another.
Turnout: Classical ballet is based on turnout. 90 degree by right foot and 90
degree by the left foot. The turnout starts at the hip (pelvic area) and not at the
knees. A full 180 degree turnout is not required in order to be a good dancer.
Basic Leg Positions:
1st Position: Heels together, 180 degree. The feet form one line. This is varied
for beginners.
2nd Position: The feet still form one line but with a space of 1 1/2 individual's
foot between the heels.
3rd Position: Not very common in classical ballet. One foot in front of the
other. The front heel is in midpoint of the back foot.
5th Position: One foot in front of the other as the 3rd position, but crossed
further. The heel of the front foot touches the big toe of the back foot.
4th Position: Same as the 5th position with a space of one individual's foot
between the feet.
6th Position: Not very commonly used, this position is described best as feet
together, making two parallel lines.
6 Basic Positions of the Arm:
En bas: Preparatory, small finger barely touches outside of thigh.
1st Position: Same as the en bas but slightly higher, and hands in front of the
navel.
2nd Position: Arms extended outward, making an open circle form shoulder to
shoulder.
5th Position: Hands above the head but visible to the individual's eyes (not
directly above the head).
3rd Position: Combining 5th and 2nd position. One hand above the head and
the other in the 2nd position.
4th Position: Hands are both in front. One is below the eye level and the other
above the navel.
Basic Steps:
Plie: Bending of the knees.
a)demi-plie: heels on the floor.
b)grand-plie: heels off the floor.
Demi-Point: Standing on the ball of the foot, giving an image of floating.
Battement tendu: Most important exercise, standing on one foot and
stretching the other to a variety of positions while touching the floor with the
free foot.
Battement degage:"Separate". Described exactly as battement tendu but the
free foot is not touching the floor.
Grand battement: Same as battement tendu but larger action of the leg to the
variety of positions.
Battement frappe:"Strike"
Petit battement:"Small beat"
Battement fondu:"To melt"
Rond de Jambe a Terre:"Circle on the floor"
Grand Rond de Jambe en L'air:"Bit circular motion in the air with free leg."
Develope:"To unfold," "to develop"
Releve:"To rise"
http://www.100megsfree4.com/ballet/balletterms.html