Sonoma Ballet Conservatory Policies
This information is also available in the Student Handbook

Use these links to navigate this area easily or scroll down to read all of our policies.

VIEWING POLICY

Parents and others wishing to observe a student’s lesson may do so during the first week of classes every month. This policy is in place to ensure the progress of students. Students are easily distracted by what is happening in the waiting area and so we limit observation in order to allow pupils to fully concentrate on the class work. In this way, you will also better notice your child’s progression from month to month and observation class can become a special occasion for the students to practice their performance skills. Relatives visiting from out-of-town will be welcome to view classes at any time during the month (please limit to no more than 5 at a time).

TUITION POLICIES

Sonoma Ballet Conservatory’s school year at the end of August, ends in mid-July and has 41 weeks of classes. Tuition is billed monthly from September through June. Payments are due by the 1st of the month and considered late by the 15th. A late fee of $10 or 10% of amount due (whichever is less) is added to tuition paid after the 15th. Summer Intensive tuition is billed separately (see page 26 for more information).

An annual registration fee of $25 is payable at the time of registration and thereafter every September. This fee is pro-rated for any students joining later in the School Year.

Tuition, registration and costume fees are non-refundable. A tuition adjustment is only available for extended absences accompanied by a doctor’s note. Students are expected to make up missed classes as soon as possible. Holidays and months with 3 or 5 weeks are duly accounted for in the annual total. Students who are behind on their tuition will not be able to participate in the class.

A $25 charge is assessed for all returned checks. No sibling discount is available. There are no discounts available for early or bulk payments.

There is a work-study scholarship available for famlies in need of tuition assistance. Please inquire at the Office.

Current tuition fees are listed on Sonoma Ballet Conservatory’s Schedule of Classes and are subject to change.

SCHOOL RULES

Dance Instruction at Sonoma Ballet Conservatory is a privilege, not a right. As such, we expect our students to treat the school, its faculty and staff, parents, each other and themselves with respect. Students and parents are expected to know and abide by the rules and regulations of SBC. Please advise your child and others who will be responsible for your child accordingly.

• Please respect the school year that SBC follows as well as the minimum number of weekly classes for your student’s level. Our curriculum is designed to give students progressive dance instruction in a safe, caring manner. Extended periods of absence from classes affect the student’s progress and self-esteem and can increase the possibility of injuries.
  
  
• If a student must miss class for any reason, the Office should be informed.
  
  
• Periodically, students will be given notes during class. We ask that you make sure that these notes get from your dancer to you.
  
  
• Students must remain inside the School at all times unless being picked up or dropped off by an authorized adult. SBC cannot take responsibility for regulating pick-ups and drop-offs.
  
  
• Students should wear appropriate cover-ups when outside the studio, as dance clothes could provoke unwanted attention.
  
  
• Dance shoes are NOT to be worn outside.
  
  
• Please arrive 10 minutes early so students can dress, go to the bathroom and prepare for class. A student who arrives late to class misses important warm-ups, which can result in serious cramping or injury. Late-arriving students should watch class and take notes.
  
  
• The School uniform is required for all classes. SBC offers these items for sale at the school for your convenience.
  
  
• Due to the layout of SBC, it is imperative we keep the enitre building (lobby area and dance studio) a QUIET ZONE when classes are in session. Please restrict visiting and cell phone use to outside the building.
  
  
• Students and instructors only are allowed on the dance floor during class times unless special arrangements have been made with the instructor.
  
  
• It is best for students to interact with the teacher alone. PLEASE DO NOT CO-TEACH.
  
  
• Non-enrolled children may not be left unattended by their parent in or around the Conservatory.
  
  
• Only water is allowed within the Conservatory and should be consumed only during scheduled breaks.
  
  
• Respect others and their belongings.
  
  
• Violence or roughhousing of any sort is prohibited on the premises, in or out of class.

Harassment of any kind (whether in jest or anger) is explicitly prohibited and may result in dismissal from SBC. There are many forms of harassment, some of which include gender (negative remarks to anyone about societal roles based on gender) and sexual (negative remarks to anyone with reference to sexuality, including homosexuality). Other types of harassment include verbally threatening behavior and ethnic/racial harassment. “Treat others as you would like to be treated.”

Sonoma Ballet Conservatory reserves the right to suspend or dismiss any student whose attitude, conduct or attendance is found disruptive to the class or the school.

Hair: Hair for all classes and levels must be secured in a classical bun. Hair that is too short for a bun must be pulled up and away from face and neck. There are instructions regarding how to make a classic bun in the Summer Intensive section of this booklet.

Jewelry: Jewelry can be distracting to students and should not be worn during class with the exception of small post earrings. In addition to being distracting, long earrings risk catching on something and tearing the ear.

Cover-ups: Students should not wear cover-ups in class. Cover-ups distract from the teacher’s ability to most easily see technical faults that will need correction. They also distract from the student’s ability to see and correct his/her own technique.

General Uniform: As an added service for our clients, uniform components are available for sale at Sonoma Ballet Conservatory. We have a leotard exchange program so parents can “exchange” leotards as children outgrow their current one, providing the leotard is still in serviceable condition. See the Office for details.

GIRLS —

Pink footed tights and pink ballet shoes with bows tucked inside. Leotard requirements are listed below. Shoes must be worn as socks can “polish” the floor.

Joy of Movement I through III and Threshold: Pale baby blue short-sleeved leotard with an attached double-layer chiffon skirt.

Elementary I through Intermediate I: Navy blue tank leotard with hip alignment belt.

Notes:
Students graduating from Threshold to Elementary I may use their skirted leotard until it is outgrown. Beginning with Elementary II, girls should start wearing only tights underneath their leotards (panties impede the ballet line of the leg and are unnecessary extra coverage). Also beginning with Elementary II, pre-pointe shoes will be used in place of ballet slippers.

Intermediate II and Advanced: Navy blue tank leotard or dark solid-colored leotard of dancer’s choice (subject to insructor's approval) with hip alignment belt. Pre-pointe shoes and pointe shoes appropriate to student’s needs.

We assume Intermediate II students are able to make appropriate choices for a leotard because they have had the guidelines in lower levels.

Pointe: Pink soft pointe shoes with attached ribbons (and elastic if needed) for students promoted to pointe work. Softer pointe shoes allow the foot to work and strengthen versus a harder shoe that might allow for the student to rely on the shoe rather than her own muscles. The preferred brand of Sonoma Ballet Conservatory is Freed. All pointe shoes should be checked with the instructor prior to sewing on ribbons and elastic. Promotion to pointe usually occurs at the Intermediate I level at approximately age 11, thereby allowing for sufficient muscle and bone development and a thorough grasp of technique.

BOYS —

All Ballet Levels: White short-sleeve T-shirt, black tights or leggings, white socks, black or white shoes with bows tucked inside. A dance belt should be worn no later than age 14.

EXTRACURRICULAR CLASSES —

Jazz: School uniform, black jazz pants and black jazz shoes. A T-shirt may be worn with instructor’s approval.

Modern: School uniform with bare feet or ballet shoes. Black leggings may be worn with instructor’s approval.

Flamenco: School uniform and black character shoes (hard-soles). Girls wear a full skirt provided by the instructor or may bring their own.

Character: School uniform and black character shoes. Girls wear a dark-colored character or other full skirt.

Acting: Attire that is easy to move in and meets the instructor’s approval.. Ask at the Office for examples.

The ages stated below are typical for our various levels. SBC places students in the level deemed most appropriate for his/her ability. Age is neither the sole nor most important factor for class placement. SAFETY is our primary goal. We always seek to ensure that students do not suffer physical injury or injury to self-esteem. In order to ensure student safety and timely progression through his/her training, we recommended a minimum number of weekly ballet classes, which is also listed below. Middle and Upper Division students who exceed the minimum requirements and/or supplement their ballet studies with the extracurricular dance styles also offered at SBC may be expected to progress through the levels more quickly than those who do not.

Especially for students in Elementary I and higher, continuity of training is essential. Beginning with Elementary I, students will be expected to complete a minimum of two years at each level due to the amount of work that will need to be mastered and they will be expected to complete a minimum of 90% of scheduled classes each year. If a student misses class, the Conservatory assumes that upon the student’s return missed classes will be made up by attendance at lower-level classes.

All students are encouraged to continue training during the summer, enrolling either in the complete Summer Intensive or a modified Summer Intensive schedule. This is so that they will not lose all the technique gained during the school year and also so that they can make significant strides during this time of concentrated dance study. Again, this is especially true for students in Elementary I and higher.

A saying in the dance world that pertains to missing classes goes, “One day off, your body knows it; 2 days, off your teacher knows it; 3 days off, the audience knows it.”

Sonoma Ballet Conservatory expects all students to follow, or be taught to follow, basic class requirements found in most other educational environments. Additional age-appropriate expectations for the older levels are included below and should be revisited as the child progresses to each level. Consequences for not following a level’s behavioral expectations can include being asked to sit out and observe the rest of class. The student may return to dance class when s/he is ready to follow the expectations of their level. If behavior does not improve, a meeting between the Director, student, parent and teacher(s) will be scheduled. A student might also be pulled from current performance opportunities. If behavior still does not improve, the student will be suspended from SBC for an appropriate amount of time. Should behavior still not be deemed workable upon return from a suspension, the student will be expelled from the SBC dance program.

LOWER DIVISION

Joy of Movement I: Age 3 years by Dec. 31 of current school year
Joy of Movement II: Age 4 years by Dec. 31 of current school year
Joy of Movement III: Age 5 years by Dec. 31 of current school year
Joy of Movement I-III: 1 class/week

• Watch when movements are demonstrated.
  
  
• Students should not have anything in their mouth during class (i.e., gum, hard candy).
  
  
• Students should use the bathroom before or after class or during designated “potty” breaks, if possible.
  
  
• Students will be quiet upon entering the building. This includes while waiting for their class to begin.

MIDDLE DIVISION
In addition to the Lower Division expectations -

Threshold: Age 6 years by December 31 of current school year; 1 class/week

• Attend ballet class once per week. Students are encouraged to attend weekly or monthly extracurricular classes where appropriate.
  
  
• Students arriving more than 10 minutes late will not be allowed to participate in class that day.
  
  
• Students will be quiet upon entering the building. This includes while waiting for their class to begin.

Elementary I: Minimum age 7 years by December 31 of current school year; 1 class/week

• Attend ballet class at least once per week. Students are encouraged to attend twice per week, as well as to attend weekly or monthly extracurricular classes.
  
  
• Listen to the music.
  
  
• Take coaching/corrections with grace.
  
  
• Practice carefully and accurately.
  
  
• Watch when movements are demonstrated and when other members of the class are working and you are resting; also any other dancing available.
  
  
• Read anything available, but find out what is true and reliable. Dance books and magazines are available for checkout. Ask Office for details.
  
  
• Students will be quiet upon entering the building. This includes while waiting for their class to begin.

Elementary II: Minimum age 9 years by December 31 of current school year; 2 classes/week

• Attend ballet class a minimum of twice per week. This is required of dancers wishing to advance to pointe work in Intermediate I. Students are encouraged to attend extracurricular and lower-level ballet classes.
  
  
• Take coaching/corrections and try to apply them immediately.
  
  
• Practice carefully and accurately with an aim of improving with each class—not to mention each combination.
  
  
• “Potty” talk and body humor is not allowed.
  
  
• Students will be quiet upon entering the building. This includes while waiting for their class to begin.

Pre-Pointe: Preparation for the rigors of pointe work requires a minimum of two ballet classes per week for a minimum of two years beginning no later than Elementary II. For safety reasons, only those who have met this requirement will be considered for pointe shoes upon entering Intermediate I.

UPPER DIVISION
In addition to the Lower and Middle Division expectations -

Intermediate I: Minimum age 11 years by December 31 of current school year; 3 classes/week

Intermediate II: Minimum age 13 years by December 31 of current school year; 4 classes/week

Advanced: Minimum age 15 years by December 31 of current school year; 4 classes/week

Pointe: Pointe students must meet the minimum requirements for attendance at their level. For safety reasons, only those choosing to do so will continue pointe studies.

Pre-Professional Training: SBC also offers pre-professional training including choreography, pas de deux, coaching and audition assistance at the discretion of the Artistic Director and SBC faculty.

Intermediate I through Advanced (ages 11+ years):

• Attend ballet class a minimum of three times per week at Intermediate I if wishing to begin or remain working on pointe. Students in Intermediate II and Advanced will need to attend ballet class a minimum of four times per week to maintain the privilege of dancing on pointe.
  
  
• Remember corrections for the duration of class and try to remember them from class-to-class and style-to-style.
  
  
• Students will arrive ready to learn by bringing all required dance supplies, arriving on time, being dressed for class on time, drinking water only during scheduled breaks, leaving class only when excused, etc.
  
  
• Students will show respectful attention to all teachers’ comments and understand the importance of being a role model to the younger students.
  
  
• Attend dance, music and theater performances, audition for summer dance programs, visit art museums and absorb as much as possible about the arts.
  
  
• Students will be quiet upon entering the building. This includes while waiting for their class to begin.

EXTRACURRICULAR CLASSES
Extracurricular classes are offered for Middle and Upper Division students and may require additional uniform requirements.

Classes are offered in Jazz, Modern, Flamenco, Character, Drama and Private Coaching.

CLASS DESCRIPTIONS

OVERVIEW
Sonoma Ballet Conservatory has a syllabus in place for our Preballet and Classical Ballet Levels, thus ensuring a safe and coordinated progression throughout a student’s training here. The simplest way of doing any exercise is essential at the beginning but progressions are kept in mind in order to increase the standard while still maintaining the familiar.

Along with brain and body development, self-esteem grows in all our classes, a confidence that catapults young people high above the average. Children need to succeed. Our syllabus is designed to help them succeed in an age-appropriate way. As our students feel their bodies getting stronger and finding a new balance, their joy and excitement leads them further forward. Small successes lead to larger ones. Confidence grows and as it grows, students try even harder. And the harder they work, the more skillful they become. It is a gradual and exciting process of which we here at Sonoma Ballet Conservatory are honored to be a part.

LOWER DIVISION

Joy of Movement I-III

From birth, children use movement to learn, explore their surroundings and express their emotions. It is our first language. Using a unique combination of concepts drawn from the Royal Academy of Dance (RAD) preballet syllabus, international folk dance and experience with preschoolers in dance studios, nursery schools and kindergartens, Sonoma Ballet Conservatory’s Joy of Movement dance classes introduce, uphold and emphasize basic developmental and curriculum skills as well as language and concepts critical to success in educational settings. The class uses several styles of learning, often at the same time, in a multi-layered approach to encourage success for every child.

Each class is comprised of basic concepts to introduce the child to his or her place in space and nurtures the development of spatial awareness, related language and the understanding of the ways the body can move. Several concepts such as cross-lateral movements, crossing the body, opposition and mirroring are crucial to greater mind-body awareness and the development of left-right brain connections. This approach to dance helps children develop not just movement skills but conceptual ideas, tracking (preparation for reading and writing), counting and bundling (preparation for math) as well as the skills needed for working in a group: patience, cooperation, focus and filtering distractions. Our Joy of Movement classes encourage children to discover and tap into their emotional range and develop an understanding of their self-expression in a welcoming and comfortable environment. Skills are introduced gradually for several weeks and systematically revisited as the child develops understanding and ability. Awareness of early childhood development emphasizes safety and nurtures the child to thrive and succeed. To that end, only parallel leg movements are used until children get stronger; ballet “turn-out” is not introduced until at least age 5 and then only minimally with demonstration of back, abdominal and leg strength. The concept of gradations (colors, quality, size, etc.), as well as more fantastical imagery and stories, is introduced to older preschoolers.

The body is the child’s connection to the world, and physical well-being is essential to all other aspects of development. A sensitive, strong, flexible and coordinated body allows a child to function competently in the world. Like all other areas of development, physical development can be enhanced by the right kinds of early experiences. Every child can benefit from early, positive moving experiences.

Children are inspired and delighted as they develop new skills, coordination and confidence in using their bodies. They are encouraged in fun and age-appropriate ways to perform their exercises with correct form. For example, pupils are reminded to “hide their belly buttons” as a way of helping them to learn the posture needed for Classical Ballet. At Sonoma Ballet Conservatory, students are provided with activities that challenge them and develop strength, skill and, most of all, creativity. Creativity does not develop in a vacuum, and so our Joy of Movement Program provides the kind of structure that helps creativity to flourish.

Exercises are based on stories and ideas suitable for the age of the class, using actions representing natural or inanimate objects with which the children can identify and have an opportunity to observe. Class activities aim at increasing knowledge of “themes” and the pupil’s own development of awareness of his or her body and its capabilities as well as providing a foundation for the basic technique of ballet and the good manners expected of all Conservatory students. Knowing that very young children enjoy familiarity and repetition, a basic class plan is followed each week. This also allows the child to gain confidence with each class.

The Royal Academy of Dance Pre-Primary Syllabus is covered in Joy of Movement III.

CONCEPTS: Forward-back-sideways, close-open, in-out, up-down, high-low

QUALITIES: Fast-slow, happy-angry-sad, wiggly-strong, soft-hard, loud-quiet

PHYSICAL SKILLS: Walk, run, march, bounce, jump, hop, skip, tiptoe walks and runs. Open-close, forward-back-side and cross-lateral movements are emphasized depending upon age and strength of child. Ballet-based curriculum concepts that are introduced in an age- and ability-appropriate manner include but are not limited to point and flex, sautés, chassés, gallops, grands battements, parallel pas de chats (pony gallops), retirés, assemblés, sissonnes, échappés, tours en l’air, battements tendus, plies and relevés.

NUMBERS: 1-20 depending upon age

COLORS: Depending on age and with concrete examples: red, yellow, green, blue, orange, white, black, brown, pink, purple; concept of shades introduced to older children

LETTERS: I, X, T, Y, V, O, S, C, L, letters in their name

SHAPES: Circle, triangle, square

DIRECTIONS: Up, down, forward, sideways, backwards, turn around, return to place, right, left

PATTERNS: Circle, line, semi-circle, diagonal line, zigzag, square, parallel, messy line

BODY PARTS: Toes, ankles, knees, abdominals, spine, neck, elbows, eyes, mouth, ears, hands, fingers, waist and hips

MUSIC: The time signatures 4/4, 2/4, 3/4 and 6/8, concepts of emotion in music, introduction to different instruments and music of different cultures, introduction to storyline, companion idea of big-small movements and loud-quiet music, matching stories to appropriate music

GUIDED FREE MOVEMENT: Child-stimulated and teacher-guided free movement gives the child the opportunity to explore his or her abilities and feelings within an imaginative structure.

STORIES: Incorporate concrete and fantastical imagery depending upon age of child and type of class. Use of props, pantomime and associated music encourage the child to creatively express a story through gross motor rather than verbal skills. The story may continue several lessons to encourage memory retention and attention span and may culminate in a “performance” that introduces the child to the ideas of audience, rehearsal and performing.

Progression of Selected Exercises:

Joy of Movement I: Point and Flex feet simultaneously
Joy of Movement II: One foot flexed, one foot pointed, change over simultaneously
Joy of Movement III: Stretch feet quickly on count 1, flex feet slowly on counts 2, 3, 4

Joy of Movement I: Marching, possibly while pretending to be in a parade
Joy of Movement II: Teacher giving “rides,” encouraging the student to hop with each march
Joy of Movement III: Skipping, encouraging the lifted toe to touch the knee

Joy of Movement I: Demi-pliés in parallel, usually performed in a circle
Joy of Movement II: Demi-pliés in parallel or a small 1st position, performed in a circle or in a straight line
Joy of Movement III: Demi-pliés in 1st and 2nd positions with natural use of turnout

Joy of Movement I: Walking, encouraged to do so as demonstrated by the teacher
Joy of Movement II: Walking as demonstrated by the teacher (demi-pointe or with a stretched foot)
Joy of Movement III: Walk on demi-pointe four counts, with a stretched foot four counts

Joy of Movement I: Hops on two feet, encouraged to keep feet touching throughout
Joy of Movement II: Hops on two feet with legs parallel and feet touching throughout
Joy of Movement III: As Joy of Movement II, performing 16 (use of counting)

Joy of Movement I: Following the teacher and/or the assistant
Joy of Movement II: One movement at a time exercises
Joy of Movement III: Exercises may be comprised of more than one movement

MIDDLE DIVISION

Threshold

Threshold is Sonoma Ballet Conservatory’s highest level of Preballet. Dance vocabulary introduced in the Lower Division is perfected. Students will learn all arm positions (with the exception of arabesques) and 1st, 2nd and 3rd positions of the legs. Skips and spring points are introduced backwards. The repertoire of jumps is expanded to include sautés in 1st position and échappés sautés. Royal Academy of Dance Primary Syllabus is incorporated into the Threshold class.

Elementary I

It is at this level that Classical Ballet training in its simplest form begins. Barre work is introduced for the first time and almost all exercises are performed with use of turnout of approximately 45°. Students learn all exercises with an eye toward perfection. Use of the abdominal and pelvic muscles is stressed so that students learn proper posture and use of turnout muscles—paramount for safe physical development and their eventual progression through Upper Division levels. Students can expect to spend a minimum of two years at this level. Royal Academy of Dance Grades 1 and 2 Syllabi are covered in the Elementary I class.

Elementary II

At this level, students who are wishing to progress to pointe work are required to attend two 90-minute ballet technique classes per week. The training and expectations (both technical and behavioral) intensifies. The study of pirouettes begins. Students can expect to spend a minimum of two years at this level. Students in their second year, work in a 3rd position that prepares them for the 5th position used in Intermediate I. Ballet slippers are replaced with pre-pointe shoes in order to strengthen the feet muscles in anticipation of pointe work in Intermediate I. Royal Academy of Dance Grades 3 and 4 Syllabi are covered in the Elementary II class.

UPPER DIVISION

Intermediate I

Students perform specific foot exercises with the view to working in pointe shoes within a few months of promotion to this level. They are accompanied by the Director to San Francisco Dancewear on a class field trip to have their first pointe shoe fitting. Students are then taught the art of sewing their own ribbons and elastics on their pointe shoes for their first “pointe class.” After that, basic pointe exercises are incorporated into lesson plans. Once again, students can expect to spend a minimum of two years at this level. Dance vocabulary at this level includes single pirouettes en dehors and en dedans, batterie and grand allegro. Second-year students who are ready will be encouraged to enter their Royal Academy of Dance Intermediate Foundation Examination. Royal Academy of Dance Grades 5 and 6 and Intermediate Foundation Syllabi are covered in the Intermediate I class.

Intermediate II

A sampling of the expanded vocabulary includes: double pirouettes en dehors and en dedans en demi-pointe and single pirouettes en dehors and en dedans en pointe; batterie that now includes brisés and entrechats trios and cinq; and grand allegro that incorporates grands jetés en avant and en tournant and tours en l’air. Students can expect to spend a minimum of two years at this level. Students who are ready will be encouraged to enter their Royal Academy of Dance Intermediate and Advanced Foundation Examinations. Royal Academy of Dance Grade 7, Intermediate and Advanced Foundation Syllabi are covered in the Intermediate II class.

Advanced

Students who progress to this level will be performing at a pre-professional level and will have been introduced to every step in the Royal Academy of Dance syllabi. A sampling of the expanded vocabularly includes: triple pirouettes en demi-pointe and fouette ronds de jambes en tournant en pointe; hops en pointe; batterie that now includes entrechats six and six de volé; and grand allegro that incorporates grands fouettés relevés en tournant en demi-pointe, en pointe and sauté as well as fouetté sauté en tournant and with battu. Students who are ready will be encouraged to enter their Royal Academy of Dance Advanced 1 and 2 Examinations. Royal Academy of Dance Grade 8, Advanced 1 and Advanced 2 Syllabi are covered in the Advanced class.

BECOMING A PROFESSIONAL —

Becoming a professional dancer can be extremely challenging but also very rewarding. Ballet is one of only a few professions that requires a great deal of dedication at an early age. Many dancers gladly give up the things that are common for the American teenager like parties, dates, the prom and even vacations. Indeed, some students even separate from their families and travel to other cities, either alone or with a parent, to continue their studies with ballet schools and companies.

If your child is considering becoming a professional dancer, s/he must understand the commitment needed. As the career of a dancer is relatively short, academic studies must be as important as dance studies. An increased dance class load is required and takes precedence over sports or other activities. There is a saying in the dance world that pertains to missing classes, “One day off, your body knows it; 2 days off, your teacher knows it; 3 days off, the audience knows it.” A serious dancer watches and reads everything possible to absorb as much information about the arts as possible. Professional dancers also learn many different styles as many ballet companies and choreographers have an incredibly diverse repertory. In addition, a smart dancer never, ever abuses his/her body and treats it with the respect a beautiful instrument deserves.

— OR NOT

Many students choose not to become professional dancers, but they will always keep the knowledge and appreciation of what dance brought into their lives. Most dancers who have studied ballet seriously are excellent students who know how to budget their time accordingly and are familiar with hard work and discipline.

Regardless of their future, all dancers at SBC are in a positive, nurturing environment that stimulates their skills and their senses and expands their self-expression.

EXPECTATIONS FOR STUDENTS WISHING TO DANCE PROFESSIONALLY

A professional career in dance is not for everyone. For those students who are considering a professional career, the following are guidelines that will make attaining a dance career possible:

• Exceed the minimum class requirements of your current level and all the basic expectations stated for your level.
  
  
• Eat healthy foods with a minimum of “junk” food. Drink plenty of water and cut down on sugary drinks.
  
  
• Join Sonoma Ballet Theatre to gain experience dancing in front of audiences and to learn many pieces of choreography.
  
  
• Attend classes in other dance styles, including styles you may not like.
  
  
• Attend lower-level classes to gain mastery of your technique. If you dance on pointe, wear pointe shoes to these classes with the teacher’s permission.
  
  
• Attend professional performances and consult your teachers about auditioning for summer dance programs.
  
  
• Study a musical instrument or voice if possible. Do so until such time that the lessons and practices conflict with your dance training, then continue to play/practice on your own to maintain your skills.
  
  
• Because they train the wrong muscles for Classical Ballet, avoid joining or doing such activities as team sports, skating, downhill skiing, horseback riding, etc.
  
  
• If possible, substitute dance classes for your P.E. class in school. Ask the Office for details.
  
  
• Because of the time commitment, avoid extracurricular activities.

SONOMA BALLET THEATRE

Sonoma Ballet Theatre is the performing wing of Sonoma Ballet Conservatory and offers students the opportunity to gain valuable learning experiences by performing in professional and semi-professional venues for social service organizations and festivals. SBT is open to students in Intermediate I and above who are willing to make the commitment needed to participate.

SBC charges a nominal rehearsal fee, which is modest in comparison to many other ballet schools in the Bay Area. This fee is in addition to regular tuition. When Conservatory costumes are used in performances, a $10 per piece costume rental fee is charged to cover costume maintenance expenses.

Rehearsals and performing are in addition to regular technique classes, and dancers must attend the minimum number of classes for their level. It is suggested that students also enroll in extracurricular classes as many performances include those styles, and students unfamiliar with the style may be unable to learn or perform them.

At times, opportunities arise to perform with professional groups around the Bay Area. Ms. O’Reilly’s students have performed with Oakland Ballet’s The Nutcracker, Khadra International Dance Theatre’s The Snow Maiden, and Golden Gate Opera’s Hansel and Gretel. Casting is then open to all students of the school as needed by the choreographer and director and is only for that production.

EXPECTATIONS FOR STUDENTS INVOLVED IN A PRODUCTION

• All participants will be expected to read, understand, agree to and sign a contract underscoring the commitment required.
  
  
• Dancers must attend the FIRST rehearsal and the LAST TWO WEEKS of rehearsals to be in the production—no exceptions.
  
  
• The Office must be notified of all absences or conflicts at least 2 weeks in advance.
  
  
• Absence from rehearsals will be excused only for illness or family emergency.
  
  
• More than two (2) absences during the rehearsal period will result in exclusion from the current production. Unexcused tardiness may be counted as an absence.
  
  
• Dancers will be expected to bring a note to excuse absences and tardiness.
  
  
• Inability to participate in a performance will not affect participation in SBC classes; however, inability to participate in regularly scheduled classes may affect participation in productions.
  
  
• Dancers will be expected to learn and demonstrate basic theater conduct. See Theatre Rules on pages 29-30.
  
  
• All students shall maintain their grade level and consider academic studies and dance classes very important.

As representatives of Sonoma Ballet Conservatory, dancers will be expected to follow standard rules of conduct when involved in SBC, SBT or related performances. It is expected that all dancers arrive with their school uniform underneath their street clothes and hair and makeup already done. All shoes, costume pieces, extra uniform components and hair accessories should be in their dance bag. Any costume pieces should be returned to SBC after the performance. All areas used by dancers shall be left clean and clear of clutter. For more information about hair and makeup, please see pages 31-34.

SUMMER INTENSIVE PROGRAM

The Summer Intensive is designed to give students (particularly those enrolled in the Middle and Upper Divisions) an age-appropriate idea of the life of a professional dancer with multiple classes nearly every day with different faculty. The Intensive culminates with a public performance. Many students attend auditions and travel out-of-town to study at different schools. At Sonoma Ballet Conservatory, it is possible to remain at home and still receive an excellent dance education from top-level instructors, many of whom have trained and/or performed internationally. To introduce an educational aspect to the Summer Intensive, students in Elementary II through Advanced will also receive book report/essay guidelines, ballet crossword and vocabulary list as appropriate.

SCHEDULE
Sonoma Ballet Conservatory takes into account that many parents are looking for activities for their children in the summer. SBC’s five-week Summer Intensive Program can accommodate that need as well as offering single, drop-in classes that may work better with your family’s other summer plans. We are willing to be so flexible when it comes to scheduling because it is much better that your child does not completely stop dance studies during the summer months, thereby losing valuable technique they have worked so hard to gain during the School Year.

The Summer Intensive is five weeks long—four weeks of instruction and one week of rehearsals for the Workshop Performance. Students should keep their schedules flexible during the final rehearsal week as attendance is MANDATORY for all dancers participating in the performance and may have a different schedule. Dancers who are not participating in the Workshop Performance do not need to attend the final week of rehearsals.

A Summer Intensive schedule will be available no later than May 1.

TUITION
The Summer Intensive is billed separately. Those students not performing will only be charged for 4 weeks of class instruction and do not participate in the final rehearsal week. To ensure a place for your student, please make your deposit by the end of May and payment in full by the end of June. Arrangements can be made to break up the payments, but if there is an outstanding balance on the first day of the Workshop Performance’s rehearsal week, the student will not be allowed in class and might not be able to participate in the Performance.

WORKSHOP PERFORMANCE
During the Summer Intensive, students interested in performing in the Workshop Performance will be strongly encouraged not to miss scheduled classes or rehearsals except for extreme emergencies. Any missed ballet classes will need to be made up. Missed rehearsals and extracurricular classes cannot be made up, and the student runs the risk of being “choreographed out” of sections or all of the dance. Final casting will be at the discretion of the choreographers and instructors.

All performance participants will be expected to read, understand, agree to and sign a contract, which underlines the important commitment they are making. See Theatre Rules on page 29-30. The performance includes dances from ballet classes and extracurricular classes.

COSTUME
Any costumes needed for the Workshop Performance will be announced as soon as possible. When Conservatory costumes are used in performances, a $10 per piece costume rental fee is charged to cover costume maintenance expenses.


PERFORMANCE REQUIREMENTS
Joy of Movement I through III: Attend all of the Summer Intensive and the final week of rehearsals.

Threshold, Elementary I and Elementary II: Attend ALL scheduled ballet technique classes weekly along with any scheduled rehearsals and/or one ballet technique plus extracurricular class(es) to be considered for those dances. Attend final week of rehearsals.

The Threshold and Elementary I ballet dance will usually be learned as part of class. Extracurricular dances will be learned as part of class.

Intermediate I: Attend a minimum of three ballet technique classes weekly to be considered for the ballet dance and/or two ballet technique classes weekly plus extracurricular class(es) to be considered for those dances. Attend final week of rehearsals. Ballet dance(s) will be learned during rehearsal time. Extracurricular dance(s) will be learned as part of class.

Intermediate II and Advanced: Attend a minimum of five ballet technique classes weekly to be in a ballet dance and/or three ballet technique classes weekly plus extracurricular class(es) to be in those dances. Attend final week of rehearsals. Ballet dances will be learned during rehearsal time. Extracurricular dances will be learned as part of class.

Note: Students interested in extracurricular classes during the Summer Intensive are strongly encouraged to enroll in those classes as soon as possible during the regular School Year to familiarize themselves with those dance styles.

PERFORMANCE DAY
On the day of the Workshop Performance, all participants will need to arrive at the theatre early for a blocking rehearsal before the performance. Attendance is mandatory and extremely important so all the students can perform comfortably and safely in a new environment. Students should bring healthy snacks and plenty of water. All students should bring everything needed to do hair and make-up; older students should bring extra tights and shoes.

PLEASE NOTE: Following standard theatre policy, videotaping and photography during the performance are not allowed. Flash photography can distract a dancer and cause an accident, leading to possible injury. Arrangements for a professional videographer are made by SBC, and you may order copies through that company. This ensures a quality product and the knowledge that your child has your undivided attention during the Performance.

THEATRE RULES

• All borrowed costume pieces are to be returned in good condition to Sonoma Ballet Conservatory after the performance.
  
  
• NEVER eat or drink in costume.
  
  
• Absolutely no jewelry is to be worn on stage. No earrings, necklaces, watches, etc. The best policy is to leave all jewelry at home rather than risk losing it backstage.
  
  
• Girls should wear hair in a bun to the theatre as well as all rehearsals at Sonoma Ballet Conservatory—NO bows, big hair clips, etc. Please come to classes and/or rehearsals with hair up and have your hairstyle checked by the Director as soon as possible.
  
  
• Girls in Joy of Movement I, II and III and Threshold should wear pink tights (with no panties) and pale blue leotard with attached skirt to the theatre for the dress rehearsal and the performance.
  
  
• Girls in Elementary I and above should wear pink tights (with no panties) and navy blue leotard underneath street clothes to the theatre for the dress rehearsal and the performance.
  
  
• Girls should bring pink ballet slippers and extra hair pins and make-up in a dance bag. If applicable, bring character shoes, jazz shoes, pointe shoes, and character skirt.
  
  
• ONLY essential AND quiet talking once the performance has started.
  
  
• No food or beverage anywhere in the building except in the lobby.
  
  
• No food or drink backstage, except water in leakproof containers.
  
  
• No smoking anywhere in the building at anytime.
  
  
• No flash photography or videotaping allowed during the performance. (This is a standard theatre policy. Sonoma Ballet Conservatory will make arrangements for recording the show. Parents will be informed how to obtain a copy.)
  
  
• Theatre seats will be treated with care (no feet or shoes on the backs or cushions of the seats).
  
  
• Facilities (auditorium, stage, dressing room, lobby) will be left in an orderly fashion. All trash shall be disposed of after the dress rehearsal and after the performance.
  
  
• As parking may be a challenge, please allow sufficient time for parking.
  
  
• Parents, meet your dancer in the front row of the theatre AFTER the show. Parents and dancers, please let Patty and/or the other backstage help know that you are leaving so that we can be sure that each dancer is safe and with the right person.
  

HAIR, MAKEUP AND COSTUMES

It is important that dancers learn to sew their own elastics and ribbons, apply their own stage makeup and care for their costumes as professionals do not have their mothers do it for them! Female dancers also have to learn to do their own hair. Below are instructions for the basic classical bun as well as for simple stage makeup. Any “character” or unusual makeup will be applied by SBC faculty or representatives.

HAIR
A bun allows the dancer to concentrate more effectively on class work rather than needing to fiddle with her hair as it gets in her eyes or otherwise bothers her. Students dance and pay attention better when their hair is worn appropriately for class.

To Make A Ballet Bun
Make a ponytail at the top of the occipital bone and secure with a ponytail holder. Twist around the base of the ponytail, securing now and then with bobby pins. Place a hair net the same color as your hair around the bun and secure with more bobby pins. It is common to use less bobby pins than needed, so we recommend you make your bun and then, when you think you’re done, add 6-10 more bobby pins. Don’t forget to pin up the hair wisps around your face and neck as well. Use bobby pins that are closed (as opposed to the open kind) and pack a little bag full of replacement hair things, travel brush and hair spray.

MAKEUP
The best thing to do is practice at home before you need to apply makeup for a performance. Pull your hair back and look at yourself in the mirror. Look at where the bones of your skull are more prominent (highlights) and where their absence creates shadow (lowlights). Well-done stage makeup will intensify these aspects of your face so that, from the audience, all the parts of your face can be visible and still look normal.

What You Will Need and How To Apply It:
Base (also called foundation) in your skin tone and appropriate for your skin type. Base is the background; it will help even out the skin tone so you can create the look you need. Apply it evenly over your entire face, going into the hairline, ear area and down the neck slightly.

Translucent powder (face powder). After applying base, lightly and evenly brush translucent powder over your whole face and neck. This will help “set” the makeup so it doesn’t smear. Powder your lips before putting on lipstick. Powder again after you have finished applying all of your makeup.

Eyebrow pencil in light to dark brown or black. Following the natural line of your eyebrow, lightly darken your eyebrows with short hair-length strokes of the pencil. Extend slightly past your natural length.

Eyeliner in dark brown or black, liquid or pencil. An exaggerated eye will look like a normal eye to the audience. Line upper lid heavily, following the natural curve of the eye and extending slightly past the outside of the eye. Line lower lid lightly at the lash line and following the natural line of the eye. Powder carefully.

Mascara in brown or black. Do the top of the lashes first, underneath second. Stroke the top and bottom lashes gently with the wand, following the natural length and lifting up slightly at the end.

Eyeshadow in grays and browns for lowlight, brighter colors for highlights. With the gray or brown, accentuate the lowlight areas by following the natural line of the eye socket. With the brighter color, accentuate the full part of the eyelid. Some dancers like to place a sequin-size dot of gold or silver eyeshadow for more emphasis. Similarly, they also apply gold or silver to the orbital ridge below the eyebrow.

Blush in a color appropriate for your skin tone. Apply the blush to the front cheeks to simulate color from the sun. DO NOT streak the color from mouth to ear as this gives you a ghoulish appearance.

Lipliner in a color one shade darker than your lipstick. Carefully line the entire mouth, following the natural curve of the lips.

Lipstick in a color slightly darker and brighter than the inside of your lower lip. Carefully color in the lips without extending past the lipliner.

Note:
After your lipstick is applied, stick a finger inside your mouth, gently close your lips around it and slowly draw out your finger. This removes any excess lipstick that could have ended up on your teeth!

White eyeliner. Some dancers like to add a little white eyeliner to the inside of the bottom eyelid and the orbital ridge. This helps widen the eyes and makes them “pop” to the audience. Some dancers also add a lighter color to the center of the bottom lip to make it look fuller.

COSTUMES
Always apply your makeup and wash your hands BEFORE putting on your costume, so the costume doesn’t get dirty. For that same reason, refrain from eating or drinking in your costume (plus you’ll have to reapply some makeup if you do!). Girls wearing tutus cannot sit down or they risk smashing the tutu’s delicate structure. This is one reason costumes are put on last! Also, as many times the costume is borrowed or on loan from the Conservatory or another ballet company, it is important that dancers respect the time and effort put into creating a costume.

A costume is to show off the dancer and advance the storyline of the ballet. It is unimportant whether the dancer likes the costume or not, but if not, it is important to refrain from saying so or complaining. If you need help or something doesn’t fit, calmly tell the instructor or costume person and they will help you. Complaining and whining does not create a good working environment. All costumes should be hung up or folded after use and should be returned in the same condition as they were given. A fine of $10 per costume piece (in addition to the $10 rental fee) may be charged to students who have handled costumes disrespectfully.

SEWING
Dancers spend hours sewing ribbons and elastics and darning their pointe shoes. Even the male dancer sews his own shoe elastics and repairs his own tights. By no later than Intermediate I, students should be able to sew their own elastics and ribbons. Sewing pointe shoe ribbons and darning the tips will be introduced in the pre-pointe and pointe classes. A beginning sewing class would be put to good use.

Q. & A.

My 3 year old wants to take ballet. Why don’t you teach “real ballet” to that age?

The bodies of very young children grow so quickly that it’s actually very easy for even the most conscientious teacher to train their bodies in the wrong ways, ways that can lead to injuries. Three year-olds are still learning about what their bodies can do and need a safe responsible learning environment. Please see our brochure about Preschool Movement Education.

My child doesn’t want to be a dancer. Can s/he still take dance classes?

Of course! Many children (and adults) take ballet and dance classes for fun, exercise or a great way to stay fit. We at SBC think that if you are going to do something, you should learn to do it correctly and in the best way possible. Remember, not everyone will be mathematicians, but we all learn correct math skills anyway and try to excel at them.

Don’t a lot of dancers get eating disorders?

Smart dancers never, ever abuse their bodies or their minds in any way; that includes drugs, cigarettes, alcohol and negative thinking. While a slender body is important for dance and other sports, so is a healthy and strong one! Professional dancers burn so many calories they actually eat a lot, just healthy things and lots of vegetables, protein and water. Unfortunately, eating disorders are not limited to dance, gymnastics, skating or even to girls. Many male wrestlers deal with eating disorders because they have to gain and lose weight rapidly for meets.

My son wants to take ballet but his father doesn’t like the idea. What can I do?

Edward Villela, Principal Dancer with New York City Ballet and currently Artistic Director of Miami City Ballet, was a boxer and a football player as a boy. He often commented that dancing was harder work, especially since he had to make it look easy! There is nothing “wrong” or “sissy” about boys who want to dance.

Dance is an athletic activity that requires incredible strength, concentration, accuracy, total body training, musicality, focus, balance, and incredible spatial awareness. Many professional athletes have discovered the benefits of studying ballet (Oakland A’s, Pittsburgh Steelers). Boys have an advantage over girls in that they don’t go on pointe so they can start their dance studies at a later age and many start with jazz. In most cultures’ folk dances, it is the men who show off their dance ability.

Why do the upper-division students have to take so many classes?

A pianist practices scales every day, and a dancer is constantly practicing with his/her instrument, except theirs is their own body. Human bodies being what they are, just a few days without a dance class will affect your dancing. Higher-level students must keep practicing just to maintain their achievements let alone make progress. Dancers are constantly striving to improve and perfect their artistry and technique, which requires consistent hard work and dedication.

Why do dancers always wear buns? Why can’t I wear jewelry in class?

While some performances allow dancers to have loose hair or ponytails, in class it is imperative that nothing distract the dancer when they are turning and jumping. Even one hair in the eye can cause a dancer to falter in the middle of a jump and a ponytail whipped in one’s face while turning can also create the potential for injury. Necklaces and long earrings are not allowed for the same reason.

Why do you require a uniform?

Most serious schools require some sort of uniform look that helps reinforce the discipline and respect inherent to the art. Dance is a visual art and the dancer needs to see what is correct and incorrect and learn to apply it to their body. Baggy clothes and wild patterns make it difficult for the instructor to make corrections, which could then lead to incorrect technique and injuries. In addition, a uniform look in class reflects a corps de ballet, and encourages the dancer to start identifying the patterns and staging of the dances. Pink tights extend the line of the leg and allow the teacher to see the development of important leg muscles, which makes it easier for the instructor to spot technical faults that need correction.

When can I go on pointe?

While some dancers go on pointe around 11 years old, age is not the only criteria. Pointe work demands incredible balance and strength throughout the whole body, so dancers must reach a certain level of training. Some dancers take a little bit longer to achieve this, especially those students who have missed a lot of classes or haven’t taken the recommended amount needed to safely go on pointe. Pointe shoes on very young children or weak dancers can cause serious damage and even deformities. Some studies have shown that improper pointe training as a child can lead to chronic low-back pain as an adult.

Why don’t you offer tap?

Tap is a wonderful dance style, but it requires a loose ankle to learn it correctly and that is just not conducive to the strong ankles and pointed feet that ballet technique teaches young children. We offer Flamenco as an alternative to the rhythms and percussive qualities inherent in tap. In addition, many ballets such as Swan Lake, Don Quixote and The Nutcracker use the techniques and attitudes found in this exciting Spanish style. In our Summer Intensive, we also offer Character Dance classes for the same reason.

All of my daughter’s friends moved up to the next level.
Why can’t she?

People learn at different rates; bodies develop at different rates. Sometimes the body just isn’t ready for the additional rigors of the next level. If she has grown a lot recently, it can affect balance, strength and flexibility to an enormous degree and pushing a body already stressed by rapid growth can create serious problems and injuries. Also, has she missed lots of classes? Has she been sick a lot? Is she taking the recommended amount of classes? If her body needs additional strengthening, is she attending any lower-level classes? Does her behavior or attitude need improvement?

Some instructors are hesitant to move a disruptive or unenthusiastic student to the next level. Calmly talk to the Director about your concerns, but remember it is the job of the Director and the teacher to instruct your child in the safest and most appropriate class for her.

Why don’t you like sports?

On the contrary, we don’t ban any student from playing sports or doing athletic activities. However, seasonal sports require a huge time commitment that often affects other activities and any possible improvement. We suggest that once dancers reach a certain level where they can start to excel, a decision should be made as to what the role of dance will be in their lives. This happens in gymnastics, skating, football, skiing and other sports.

Some sports strengthen the wrong muscles for dance that often require careful retraining to only return to the same level of ballet before the sports training began. This can decrease the opportunity to advance to the next Classical Ballet level while increasing frustration and the chance of injury. In addition, many sports programs still have inadequate warm-ups and cool-downs and seasonal sports do not give the child the opportunity to remain fit and active throughout the year.

Why do you only have a summer performance?

Sonoma Ballet Conservatory values the learning process as much as the presentation of dance.   Multiple performances a year interrupt the student’s ability to steadily improve as much-needed class time is taken away to learn and perfect dance routines for a performance. Over the years it has been our experience that the traditional times for studios to present large performances and recitals conflict with the times families traditionally get together (i.e., holidays and graduation/end of school). Performances require 110% of a child’s time and energy, parent volunteers to keep the event safe and running smoothly, extra financial costs and often results in great stress and frustration for all involved. We have chosen NOT to put additional strain on our students and their parents by offering in-studio showings in May and a performance at the end of the Summer Intensive when students can proudly present what they have learned during the year. This way, students are not compromising the learning process and have the opportunity to understand that a performance is a special event.

My child just wants to take ballet. What are “extracurricular classes” and why should my child take them?

At Sonoma Ballet Conservatory we strive to develop a well-rounded dancer, artist and person by exposing the student to other dance styles and performing arts. For the aspiring professional dancer it is crucial that dance studies include other styles as there is no ballet company in the world that does not include Modern, Character, Spanish or Jazz inspired choreography. Like ballet, early training in these styles is important as they each have different physical and verbal vocabularies. For the student who merely dances for love, learning different dance styles helps you discover facets about yourself that you may not have known. Modern Dance encourages risk-taking and self-exploration through self-choreography; Jazz stimulates quick learning and performance qualities; Character teaches about other cultures and customs; Flamenco requires excellent rhythm and uses time signatures not often heard in Western music. Often workshops are offered in these styles as well as Yoga, Feldenkrais, Acting and Musical Theatre. By stimulating a child’s mind and body, we hope to create dancers and people who are inquisitive and proud of their abilities.

My child is involved in a lot of activities. What’s so bad about missing a few classes while she does these other things?

Children are involved in a great many (some would say too many) activities nowadays. While it is important to help a child discover what is enjoyable to them, sometimes being overscheduled can limit the level of excellence a child can achieve. Often we can develop life lessons from seemingly unrelated things; dancers learn that accomplishments are achieved over time and with hard work and dedication, a lesson that is not lost on them when it comes to schoolwork and, often, postgraduate studies. By missing classes your child does not hear important information, must always catch up to the level of the other students and may not understand the importance of focusing energy and completing a task.   Every activity—gymnastics, sports, academics—requires an increasing level of participation as the child matures. Dance is no different, and we expect nothing less than what other activities demand. We as parents must help our children to make often difficult decision in cases of conflicting activities.