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How to Draw Ballet Shoes

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Learn how to draw a great looking Ballet Shoes with easy, step-by-step drawing instructions, and video tutorial.

By following the simple steps, you too can easily draw a beautiful Ballet Shoes.

Jump to the step-by-step instructions.

Complete Ballet Shoes drawing

Ballet, or danse d'cole is a type of theatrical dance. Ballet was developed as entertainment for the royal courts of Italy during the Italian Renaissance, during the 1500s.

France soon became the center of this artistic movement.

Ballerinas or ballet dancers practice for years in order to master this art. In fact, most professional dancers begin training when they are 6 to 8 years old.

Along with the tutu, ballet shoes are part of the traditional ballet costume. A ballerina begins with soft, flat shoes made of leather or satin.

Later, they graduate to pointe shoes, as pictured in this drawing guide. These shoes have a hard toe, called the toe box, that allows the dancer to dance en pointe, or on the tips of the toes.

Pointe work was first developed in 1795.

Scroll down for a downloadable PDF of this tutorial.

Would you like to draw a pair of ballet slippers? This easy, step-by-step cartoon drawing tutorial is here to show you how. All you will need is a pen, pencil, marker, or crayon and a sheet of paper.

If you liked this tutorial, see also the following drawing guides: Ballerina, Feet, and Shoe.

Step-by-Step Instructions for Drawing Ballet Shoes

How to Draw a Great Looking Ballet Shoes for Kids, Beginners, and Adults - Step 1

1. Begin by outlining the first leg and foot. Use two long curved lines. Notice how the lines generally curve in the same direction. Connect them at the top with a curved line and at the bottom with a straight line.

Easy Ballet Shoes Drawing - Step 2

2. Outline the remaining foot and lower leg. Use a long curved line, doubled back upon itself, to outline the top and bottom of the foot. Extend a curved line upward to form the back of the lower leg, and connect it to the first leg with a curved line.

Easy Ballet Shoes Drawing - Step 3

3. Draw a curved line across the first foot, outline the opening of the ballet shoe.

Easy Ballet Shoes Drawing - Step 4

4. Draw a curved line across the length of the second foot, again outlining the top of the slipper.

Easy Ballet Shoes Drawing - Step 5

5. Draw another curved line down the length of the second shoe, not connecting it at the top. This outlines the bottom or sole of the shoe.

Easy Ballet Shoes Drawing - Step 6

6. Draw a pair of parallel curved lines across the first leg. Then, parallel lines above and below these, as if they are passing behind it. This indicates the ribbons used to lace up the shoes.

Easy Ballet Shoes Drawing - Step 7

7. Draw two sets of parallel curved lines across the second leg, indicating the ribbons.

Add More Details to Your Ballet Shoes Picture - Step 8

8. Draw a curved line above the ribbons on the first leg. This outlines yet another ribbon.

Complete the Outline of Your Ballet Shoes Drawing - Step 9

9. Draw a curved line above the ribbons on the second leg.

Color Your Ballet Shoes Drawing

Color your cartoon ballet slippers. Classically, ballet shoes are a soft pink or rose color. They may be any color to match the ballet outfit.

Who will dance in these ballet shoes? Learn to draw your own cartoon character.

For more great Back to School drawing tutorials, see the 39 Cute Back to School Designs post.

Easy, step by step Ballet Shoes drawing tutorial

Click HERE to save the tutorial to Pinterest!

Ballet Shoes Drawing Tutorial - Easy & Fun Printable Pages

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A Closer Look at Edgar Degas' Ballet Dancers

“A painting requires a little mystery, some vagueness, and some fantasy.” Edgar Degas

Let’s take a closer look at Edgar Degas’ ballet dancers. It’s a large body of work, containing around 1,500 paintings, sketches, pastels, and sculptures. Degas sums them up nicely in the above quote. I cover:

  • A Study of Movement and Life
  • Use of Line to Reiterate Forms and Outline Subjects
  • Degas the Colorist
  • Dancer Studies and Sketches
  • Compositions
  • Key Takeaways
  • Other Resources
  • Thanks for Reading!
Edgar Degas, Ballet at the Paris Opera, 1877

A Study of Movement and Life

Degas spent most of his life painting dancers, but perhaps it was as a means of studying movement rather than an innate interest in ballet. In his own words:

“People call me the painter of dancing girls. It has never occurred to them that my chief interest in dancers lies in rendering movement and painting pretty clothes.” Edgar Degas

I cannot think of a better demonstration of movement than ballet. The dancers twist, turn, and pivot effortlessly through space. What a wonderfully impossible challenge to capture this on a flat surface. Especially given we artists don’t have the benefit of multiple frames in time like in film or even photography. We must create the illusion of movement with a single image.

Degas wasn’t the only artist to paint the same or similar subject over and over again. Claude Monet did it with water lilies, the Rouen Cathedral, the Waterloo Bridge. Vincent van Gogh did it with olive trees and sunflowers. Painting the same subject allows you to gain a more intimate understanding of it. The constant subject also allows you to better observe changes in other elements such as color and light, which was Monet’s chief concern.

Anyway, back to Degas. Below is Ballet at the Paris Opera. Notice how the dancers’ movement is shadowed by the surrounding brushwork. This is an effective technique for reiterating movement if used correctly, but careful not to overdo it. Less is more here.

There are also several implied lines created by the dancers and audience looking around. Implied lines being lines that don’t physically exist but are merely implied or suggested. A line of vision is an implied line. We want to look where others are looking. In this case, the lines of vision help direct us through the painting.

Edgar Degas, Ballet at the Paris Opera, 1877

Refer to my draw-over below. I’ve indicated the strokes shadowing key movements and the implied lines. Notice the sweeping movement created by the implied lines first to the right, then back to the left, and finishing at the main dancer who looks back in the midst of a pose.

Dancer With a Bouquet of Flowers captures the dancer in the middle of a movement. Her arms span wide, one leg kicks up, and the other pivots. There’s a wonderful sense of balance about it.

Degas didn’t try to inject movement into the dancer with energetic brushwork. He didn’t need to. Movement is inherent in the dance.

Edgar Degas, Dancer With a Bouquet of Flowers, 1878

Stage Rehearsal is a busy painting. It feels like a rehearsal. People are moving, dancing, pointing, and talking. Again, movement is inherent in this scene, so Degas didn’t need to rely on painting techniques to inject movement into the painting.

Edgar Degas, Stage Rehearsal, c.1878-79

Deux Danseuses, on the other hand, is a relatively still scene. There’s no dancing, swinging, pivoting, instructing, talking. Just two dancers resting and stretching on the bench. In this case, Degas did inject a sense of movement and life using scratchy brushwork and lines.

Edgar Degas, Deux Danseuses, 1879

Use of Line to Reiterate Forms and Outline Subjects

Degas relied on line to reiterate forms and outline key objects, as opposed to the delicate rendering of light and shadow. The result is an illustrator-like effect. Van Gogh did a similar thing, though he was more overt with his linework.

Below is a great example. Strange use of color though, perhaps due to Degas’ failing eyesight in his later years. This painting demonstrates the power of outlining to transform flat planes of color into distinct shapes and forms.

Edgar Degas, A Group of Dancers, 1890

Below is an earlier painting by Degas featuring similar use of outlining. Though this one is more sophisticated and the colors more appealing, to me anyway.

Edgar Degas, Pink and Green, 1853

Degas’ sketches provide insight into how he thought about and used line, without the added complexity of color. Below are a few, plus some key observations:

  • Lines follow the contours of the shapes and forms.
  • Line density is used for rendering light and shadow.
  • More pressure=darker strokes.
  • Less rendered=less focus.
Edgar Degas, Sketch Edgar Degas, Danseuse debout, c. 1877 Edgar Degas, Dancer Resting

Degas the Colorist

“I am a colorist with line.” Edgar Degas

Degas was diverse in his use of color. Sometimes bold and vibrant. Sometimes soft and pastel. Sometimes gray and muted. He never got caught in his own ways.

Unfortunately, his eyesight started failing from around 1880. As you can probably tell from his later work, which although beautiful, features some odd colors. A similar thing happened to Claude Monet. Life can be cruel.

Below is perhaps my favorite Degas painting, Dancer Posing for a Photographer. It’s a wonderful play between the dark interior and the moonlit city in the background.

Edgar Degas, Dancer Posing for a Photographer, 1875

In Ballet Dancer, the dancer’s vibrant colors merge with the background. Her dress seems to be the key feature, with the most vibrant reds, oranges, and intricate patterns. Compare this to her understated face, hair, and arm. Degas himself said he was interested in “painting pretty clothes”.

Tip: As the artist, you decide what’s important.

Edgar Degas, Ballet Dancer

Ballet Rehearsal on Stage (below) is a grisaille painting, which is a fancy word to describe it’s lack of color. It was exhibited at the first Impressionist exhibition in 1874. Some critics considered it a drawing rather than a painting. Refer to artist Giuseppe De Nittis’ description of the painting in a letter to a friend:

“I remember a drawing that must have been of a dance rehearsal […] and I can tell you it was extremely beautiful: the muslin costumes were so diaphanous, and the movements so true to life that it has to be seen to be believed; it is just impossible to describe.”

Edgar Degas, Ballet Rehearsal on Stage, 1874

Below is one of Degas’ later paintings, Dancers at the Barre, done in 1900. The two dancers are depicted with pale blues and grays against a vivid orange background. Usually, we see rich and vivid colors used for the main subject, not the background. Degas flipped the switch here.

The painting is held by The Phillips Collection and was restored in 2007. There’s some interesting commentary in this article published on their website.

Edgar Degas, Dancers at the Barre, Early 1880s-c.1900

Degas did a similar thing with Ballet Dancer With Arms Crossed. Vivid reds frame the delicate and understated dancer. Black outlines help distinguish the two areas.

Edgar Degas, Ballet Dancer With Arms Crossed

(See the supplies page for details about what I use and recommend.)

Dancer Studies and Sketches

Degas frequently visited the Paris Opera, though he rarely created studies there. He preferred working in his studio from memory or models.

“It is very good to copy what one sees; it is much better to draw what you can’t see anymore but is in your memory. It is a transformation in which imagination and memory work together. You only reproduce what struck you; that is to say, the necessary. ” Edgar Degas via Understanding Art by Lois Fichner-Rathus

Edgar Degas, Dancer Stretching at the Bar, c.1877-78 Edgar Degas, Sheet with Sketches of Hands and a Ballet Dancer on the Bow, 1885 Edgar Degas, Ballet Dancers Rehearsing, c.1877 Edgar Degas, Seated Dancer Adjusting Her Shoes Edgar Degas, Dancer Adjusting Her Slipper, 1885 Edgar Degas, Dancer With a Fan

Compositions

Degas’ compositions are interesting, unconventional, and break many “rules”. Often candid snapshots of active scenes, as if his subjects weren’t aware they were being painted. This may have been the influence of photography.

Below is The Dance Lesson. It has unusual dimensions, being much wider than it is tall. This allowed Degas to cover a large area of the room without the ceiling and floor taking up much space in the painting.

The girl sitting hunched over in the bottom left corner is partially cropped out. Theory warns against this, but I find it works in this case. It adds to the candid nature of the scene and ensures this girl is not the key focus. Rather, she’s a part of the whole.

As with many of Degas’ paintings, instead of having a single dominant focal point, he opts for several lesser points of interest. This gives our eyes a number of different places to jump between.

The painting has a strong sense of depth and perspective. The girls get smaller in the distance, the colors weaker, and the detail softer. The vivid red on the nearest girl is an exclamation point.

Finally, a quick point on simplification. Notice how Degas didn’t detail the framed image hanging on the wall. You just get a faint suggestion of some colors and shapes. Though this is just a minor aspect of this painting, it’s an important lesson in general. Artists simplify the world; we don’t add more detail.

Edgar Degas, The Dance Lesson, c.1879

In the appropriately named Waiting (below), there’s a pleasant balance between positive and negative space. Positive being the dancer and who is perhaps her mother waiting on the bench. Negative being the surrounding floor and wall. Notice how the relatively small area of contrast, color, and detail is balanced against the larger “quiet” area.

Edgar Degas, Waiting, c.1880-1882

The Dancing Class features a similar balance between positive and negative space. Had Degas used intricate detail for the background and floor, our attention would be diluted.

The black-suited violinist acts as a dark accent and a point of contrast for the delicate and white-dressed dancers. The mirror also adds an interesting dimension to the painting. It reminds me of Édouard Manet’s A Bar at the Folies-Bergère, which I wrote about in the Manet artist spotlight post.

Edgar Degas, The Dancing Class, 1871

Here’s Manet’s painting for reference. Is that a mirror on the right, or is it a double-sided bar? I remember there being some interesting discussion on this in the comments.

Édouard Manet, A Bar at the Folies-Bergère, 1882

Below is Ballet Rehearsal (I can sense Degas was struggling to come up with different names for all these dancer paintings). The architecture, namely the grand windows in the back, provides a foundation of linear perspective. Notice how the lines in the room converge towards the same invisible point on the horizon line. This contrasts against the people in the room who are organic, dancing, living, moving. There is a subtle bridge between the rigid architecture and the dancers-look how the extended arms and legs of a few dancers reiterate the room’s perspective lines.

Edgar Degas, Ballet Rehearsal, 1873

Key Takeaways

  • Keeping the subject consistent allows you to better observe changes in other variables. Degas painted dancers over and over again in his study of movement.
  • Movement is implied in some subjects. Think of something pointing, running, dancing. In “still” subjects, you need to rely on suggestive brushwork, line, contours, and color to create the illusion of movement and life.
  • Line is a powerful visual element for outlining an object, creating a sense of movement, or reiterating shapes and forms.
  • Use studies to gain a more intimate understanding of the subject before embarking on a larger studio piece.
  • Composition rules and theory are merely there as a guideline, not a strict rulebook. Feel free to break the rules if it makes sense, as Degas did in many of his paintings.
Edgar Degas, Ballet Dancers

Other Resources

  • More Painting Breakdown Posts
  • How to Capture Movement in Art
  • Wikiart – A complete list of Degas’ artworks.
  • Painting Academy – My fundamentals course.
  • Master Artist Ebook Bundle – Get PDF ebooks of my best posts. Yours to download, print, and annotate.

Thanks for Reading!

Thanks for taking the time to read this post. I appreciate it! Feel free to share with friends. If you want more painting tips, check out my Painting Academy course.

Happy painting!

Dan Scott

Draw Paint Academy

Olga Libo's ideal bathroom and dance life

As a child, she was very fond of drawing, inventing and sewing clothes and constantly dancing. And even then I decided that this is what I will do for the rest of my life. She is a person with a wild imagination and always clearly understands what she wants and how it will look like. A few years ago she opened a dance school "PRO-Movement", but did not stop there. And now he creates clothes for dances and gymnastics under his own brand "Libo".

Olga, you are a very stylish and fashionable girl. Your brainchild dance school "PRO-Movement" is known, many admire your work, costumes, performances. Give your definition of a "stylish person".

I have never looked at myself from the outside in terms of whether I am stylishly dressed or not. It seems to me that a person looks stylish if what he is wearing is in harmony with his inner state, emphasizes his individuality! And of course, clothes should correspond to the situation or event. The main thing is the person himself, and clothes should be an addition that only helps to create an image. And of course, clothes give us the opportunity to be different, which means interesting and intriguing, not like others! nine0003

What kind of bathroom do you have now? Why did she do it this way?

The design of the entire apartment, as well as the bathroom, is made in the ECO LOFT style. I love the feeling of space and air - it's a kind of feeling of freedom! A minimum of walls, furniture, unnecessary details. Emphasis on texture, natural materials, natural natural colors! Combined with simple shapes in furniture and sanitary ware.

And if you dream, what is your ideal bathroom? nine0006

What you live in, like what you wear - you should be happy in it!!! I am very happy! I hope my beloved husband does too. (smiles) I try to do everything the way I dream, without exchanging for some temporary options, leaving the dream for later!

Despite the fact that the implementation of the plan takes more time with such a position. So my bathroom is the bathroom of my dreams!

Do you think that a stylish person should always contact an interior designer to make everything perfect? Or is it better to create the interior yourself, so that they reflect exactly your vision and be 100% your creation? nine0006

Designing your interior on your own or with the help of a professional is a personal matter for everyone. We are all different. I am a person with a wild imagination and always have a clear idea of ​​what I want and how it will look like! Nevertheless, I felt it necessary to turn to a professional! We are good each in our field and can not know everything! A designer is a person who can finalize your ideas and turn them into reality! This is a person who knows how to do it correctly, where to find unusual interior items, good materials and will also help solve many nuances in the process of creating an interior! nine0003

The main thing is that you and this person should be on the same taste wave:) I have found my person! Our man! Thanks to Elena Litvyakova! We have been working with her for several years! She is a great professional! And a person with taste in everything - in design, in life, and in personal style!

What helps you to keep "creative" form?

What helps me fuel my "creative form"? First of all, mutual understanding and support of a loved one and our family! So creativity takes a lot of time and even more than a lot! There can be no talk of any free time! It's just a way of life - you are constantly looking for interesting solutions, new solutions, learning, new reasons for inspiration and ways of development 24 hours a day. And if this is also more than one type of activity, then sometimes you catch yourself thinking - why is there so little time in the day! Therefore, in this lifestyle there is no place for everyday moments! And it depends only on your close people and support them! I am very grateful to my family and husband! For the fact that they do not hold a grudge and treat with understanding! nine0003

The second very important point that helps to stay in shape! This is a regular training and with regards to my dance sphere - now there are a lot of training camps, master classes! Which you need to visit and practice! Here you get acquainted with new directions, new people and get inspiration from what you see or from what you could do for yourself!

And since recently I started to fulfill my second dream - fashion design! Started initially developing the LIBO clothing line for dance, gymnastics and acrobatics! In the near future, I hope to develop a line of women's clothing! nine0003

That's why now I try to get training in the field of fashion, business in this industry. Every summer I try to dedicate it to learning!

Well, there are moments that also inspire me a lot - these are travels, concerts, theater, music, interesting people, beautiful cinema!

How did you manage to create not just a dance teaching business, but a large team of enthusiastic like-minded people, a family. How did you manage that? How much time do you spend at work? nine0006

In fact, everything starts with a dream. Since childhood, I embody what I thought and dreamed about as a child. As a child, she loved to draw, invent and sew clothes and constantly danced. And I decided even then that this is what I will do for the rest of my life. Well, when I got an education, I got a competent understanding of how to build and develop my dreams. And when you have a clear understanding of what you want to live, it's easier to move forward!

I have never treated what I do as a business! This is creativity! And if you are a person who is passionate about your work, the same like-minded people and workaholics quietly join you! I work 12 hours, sometimes more. After all, we still need to find time for sports! And your own development! But I would say that I am not "working", but I am in a constant creative process, self-development and search! nine0003

How do you choose girls for dance school? Can every student become a star?

In our PRO school, I call us the PRO GANG, not only girls are involved, there are also boys in our company, there is no selection! More precisely, this is natural selection - over time, only hardworking, creative people remain, for whom this is a whole life, not fitness! And we have many such children. What I'm really proud of! Several students work with me. A new generation of assistants is growing up. There are children who have already decided to make this their profession! nine0003

I don't like stars! I prefer the word "professional". We strive to bring up such adult qualities in children.

Do you think success in dancing is only talent or is it talent plus imaginative thinking and all this multiplied by diligence?

The key to success in any business is hard work! Talent can certainly be a nice bonus. (Smiling) But diligence, determination and strength of character are the fundamental qualities of a person for successful development in any direction! nine0003

You recently launched your own clothing brand “Libo”, did you dream of becoming a designer as a child?

As I said earlier, since childhood I had two passions: dancing and beautiful clothes! So I consider myself a happy person, because I immediately understood in which direction I would move and what I would do! This is what I live! It is very interesting to create beautiful things whether it is clothes or a dance performance! And if someone else likes it or arouses interest or admiration - it's doubly nice! nine0003

Photo from Olga Libo's personal archive.

Benefits of dancing for children

Dance classes bring a lot of benefits to children. Dancing to the music, the kids not only have fun and get a charge of positive emotions, but also develop harmoniously and diversified. We will talk with you today about the benefits of dancing classes for preschoolers, and at what age you can send your child to dance lessons.

Physical development of children through dance

Children who regularly attend dance classes enjoy good health. Properly selected physical activity and activity during the lessons contribute to:

  • Strengthening of all muscle groups;
  • Formation of correct posture;
  • Development of endurance;
  • Improving the functioning of the heart and lungs, strengthening blood vessels;
  • Development of coordination of movements, "muscle memory";
  • Development of flexibility and plasticity; nine0108
  • Development of dexterity and speed of reaction.

The correct execution of dance movements requires school and considerable physical effort, but, unlike sports, dance lessons are practically not traumatic and have no contraindications.

Intellectual development of children

It may seem that active activities have little effect on the intellectual development of children. But this is absolutely not true! Learning movements and their combinations perfectly trains the memory of preschoolers, and the need to constantly monitor the music, the teacher and comrades in the lesson perfectly develops attention. Lessons at the dance school form spatial thinking, the baby quickly learns to perceive the concepts of "top", "bottom", "right", "left", "side", "in the middle", "above", "under", "before", " for" and so on. To transform into the image necessary for the dance, the child actively uses the imagination. In general, intelligence is the ability to adapt to new conditions and learn quickly. In the classroom, children not only perform pre-prepared dances, but also often improvise. Knowing himself and the possibilities of his body, the baby creates a fundamental basis for new discoveries. nine0003

Artistic and aesthetic development at the dance school

Dancing instills in preschoolers a love of art, a sense of beauty, and also opens up a new way of perceiving the world through music and movement. The variety of forms of conveying feelings is formed in the dance school due to immersion in various images. With the help of plasticity and artistic movement, children learn to express their creative ideas, moods, and thoughts. Toddlers also develop an ear for music and a sense of rhythm. Dance lessons undoubtedly contribute to the artistic and aesthetic development of preschool children. nine0003

The unity of movements and music is a special way of perceiving the world, which opens up before the baby during dancing and stays with him for life.

Development of personal qualities

Listening to music makes a great contribution to the development of a child's personality, including his emotional sphere, because it contains many experiences, emotions, feelings, events. Thanks to dancing, children recognize themselves, orient themselves well in their inner world. In addition, babies develop such qualities as:

  • Artistry;
  • Creativity;
  • Public speaking skills;
  • Activity;
  • Self-confidence;
  • Self-monitoring;
  • Discipline;
  • Purposefulness;
  • Perseverance.

We can say that this is a whole school of life.

Development of communication skills

Dance lessons help children improve their communication skills. Kids usually make new acquaintances without difficulty, because the atmosphere that reigns in the dance school is conducive to close emotional communication. Even shy and unsociable children are liberated and quickly join the team. Basically, dancing is a teamwork, so preschoolers develop a sense of trust in others, as well as develop interaction skills with other people, the ability to find a common language with peers in the classroom. In choreography classes, children are taught to express their emotions through facial expressions and gestures, and this greatly helps them to better understand how other people feel. nine0003

At what age can dance lessons start?

Every parent wants his baby to develop actively and fully, therefore, almost from the very birth of the baby, he thinks about which circle to send the child to, which will better prepare him for school. Most sections enroll children over 4 years old. But dancing is exactly the kind of activity that is suitable for kids from 2-3 years old. This is due to the level of physical development of children of this age and their needs. At 2 years old, children usually love everything that has to do with movement. They can run, jump, overcome obstacles almost without stopping. As the vestibular apparatus develops, the ability to maintain balance develops. By the age of 3, movements become more precise and coordinated, and the reaction rate increases. From the age of 4-5, preschoolers have access to complex motor skills that require good physical fitness, dexterity, flexibility and responsiveness. Of course, preschool children, in most cases, cannot master complex choreography and achieve high results. But dancing classes under the guidance of a professional and attentive teacher will allow the kid to express himself and fully satisfy his need to be in motion, as well as prepare the basis for future victories. To accurately determine whether the baby is ready for dance classes, you can ask yourself the following questions:

  • How does the child prefer to spend their free time? Does he like active or quiet games?
  • How does the baby tolerate physical activity?
  • Will he be able to listen to the teacher of the school and fulfill his requirements?
  • And most importantly: does the child like to dance? To find out, you can simply watch the baby or invite him to dance with you.

Toddlers 2-4 years old, along with older preschoolers, can be safely sent to dance lessons, since active physical development takes place at this stage, but the individual characteristics of the child must always be taken into account. nine0003

Conclusions

When parents are faced with the choice of which section or circle to send their baby to, many choose the dance school. And this is exactly what children of early and preschool age need. Dance classes make a great contribution to the physical, intellectual, personal, social and aesthetic development of the child. Children involved in dancing develop self-control skills, the ability to work in a team and cooperate with peers, and listen to the teacher. Going to school for lessons, the child will be psychologically prepared for new conditions for him. nine0003

Conclusion

In the Montessori club "Constellation" dance classes are held for boys and girls from 2 to 7 years old. Pupils of the younger group learn to work harmoniously in a team and master the lessons of the simplest movements. Senior dancers learn more complex compositions, get acquainted with such expressive means as plasticity, pantomime and facial expressions. In addition to artistic moments, we pay great attention to the development of general physical fitness, stimulate coordination of movements, flexibility and endurance.

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