AcADeMic HAnDbook - Central Pennsylvania Youth Ballet

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WelcomeCPYB students performingWaltz Bluette in JuneSeries 2012.Welcome to the Central Pennsylvania Youth Ballet (CPYB), an internationally renowned classical ballet schooland performing company based in Carlisle, Pennsylvania. Since 1955, CPYB has provided exceptional dancetraining for beginning to pre-professional dancers in central Pennsylvania and enhanced the cultural climate ofthe region through ballet performances.The philosophy of CPYB is that students are dancers in the making. Our goal is to develop technical proficiencyat a professional level while creating future artists with a sound work ethic, who possess the character traits ofcourtesy, promptness, forgiveness, self-control, self-discipline, responsibility, diligence, courage, generosity, andmagnanimity. Good behavior is expected of all students and will not be specially rewarded. The reward is foundin the esteem the student earns from teachers and fellow students. The information presented in this handbookis directed toward the common good of CPYB and serves to establish and maintain CPYB as a place ofprofessional ballet training. At CPYB, we believe that habits of behavior play a significant part in forming habitsof dancers. The teachers and staff at CPYB will make every effort to enforce the rules consistently, informatively,and with the student’s overall well-being in mind.While studying at CPYB, students and their families are expected to make the most of their training andperformance opportunities by recognizing the benefits of mutual encouragement, respect, courtesy, andhelpfulness. One can appreciate that the environment significantly contributes to the good of the overall schoolcommunity making CPYB a desirable place to dance.We recognize that we are all human and, at times, act inappropriately or make mistakes. While many suchsituations can be resolved through open discussion, there are certain actions that can be disruptive to otherstudents, teachers and the studio at large. Therefore, to maintain a productive and rich studio environment, itis necessary to discuss school expectations and consequences so that both students and families have a clearunderstanding of them.CPYB’s guiding principle is to be fair and consistent with consequences for inappropriate behavior. Theguidelines for discipline set forth in this handbook are not intended to be exhaustive. The school reserves theright to exercise reasonable consequences for all actions and behaviors deemed inappropriate.If you have any questions, or if there is something we can do to help you succeed at CPYB, our door is alwaysopen to you. Nothing contained herein shall be deemed to form the basis of a contract with CPYB, nor mayany of the terms contained in this handbook be relied upon as the basis for any claims. Further, any mattersdiscussed in this handbook are subject to change, amendment or deletion by CPYB in its sole discretion.2013-2014 Academic Handbook & Student Policies | Updated 9.30.132home

Contact InformationMain contact information for all CPYB studios:717.245.1190 | info@cpyb.org | CPYB.orgLocationsAdministrative Officesand CPYB Warehouse Studios5 North Orange Street, Suite 3Carlisle, PA 17013-2727P: 717.245.1190 | F: 717.245.1189CPYB Barn Studios107 Meetinghouse Road | Carlisle, PA 17013P: 717.249.3959 (Emergencies only. All other calls should goto 717.245.1190.)Grace Milliman Pollock Performing Arts Center340 North 21st Street | Camp Hill, PA 17011P: 717.254.5074 (Emergencies only. All other calls should goto 717.245.1190.)Executive & Administrative StaffAlan Hinelinehineline@cpyb.orgChief Executive Officer 717.245.1129Charlie Hoppeshoppes@cpyb.orgAssistant to the CEO 717.245.1129Bonnie Schulteschulte@cpyb.orgDirector of Strategic Marketing 717.245.1191Jason Reedreed@cpyb.orgDirector of Educational Outreach 717.245.1183Nancie Imlerimler@cpyb.orgLogistics Team Manager 717.245.1195Jessica Serettiseretti@cpyb.orgMarketing Manager 717.254.8986Amy Wardward@cpyb.orgFinance Manager 717.245.1192Brigette Plummerplummer@cpyb.orgRelationship Manager 717.254.8477Brittany McQuaidmcquaid@cpyb.orgCompany Manager/Receptionist 717.245.1184Antonio Polsellipolselli@cpyb.orgFacilities Manager/Production Assistant 717.245.1149Jeanete Rickabaughrickabaugh@cpyb.orgAdministrative Assistant 717.245.1099Artistic leadershipMarcia Dale WearyFounding Artistic DirectorDarla HooverAssociate Artistic DirectorAlan HinelineResident ChoreographerNicholas AdeSchool Principal | ade@cpyb.org |717.245.1190FacultyMarcia Dale WearyNicholas AdeTheresa CrawfordTanya DoporcykKaren Eriksson-LeeAnn FieldsSara GelbaughAlecia Good-BoresowAlan HinelineDarla HooverMelinda HoweRe Rabassi-DavisBruce ThorntonPermanent Guest FacultyRafael GrigorianGennadi Vostrikovartists in residenceWes ChapmanYuri ZhukovProduction StaffDavid Nash, Production ManagerJosh Monroe, Lighting DesignerScott Summers, Technical DirectorBetty Smith, Costume DirectorPerformance TicketsFor Family Performance Discount information, please contactBonnie Schulte at 717.245.1191 or schulte@cpyb.org. For singletickets please call Whitaker Center Box Office at 717.214.ARTS(2787) or Hershey Theatre Box Office at 717.534.3405.Alison CrouseCustomer Service RepresentativeKatelynn DoddsCustomer Service RepresentativeCassidy WatsonCustomer Service Representativecrouse@cpyb.orgdodds@cpyb.orgwatson@cpyb.org2013-2014 Academic Handbook & Student Policies | Updated 9.30.133home

About CPYBMissionEstablished in 1955 by Founding ArtisticDirector Marcia Dale Weary, CentralPennsylvania Youth Ballet is a nationallyand internationally recognized school ofclassical ballet headquartered in Carlisle,PA. Our threefold mission is to inspire,educate and enrich the lives of ourstudents and the region through trainingin and the performance of classical ballet.Board of DirectorsHugh Aberman, PresidentMarissa J. Shollenberger, Vice PresidentJohn Steffee, TreasurerTeresa N. Slocomb, SecretaryMarcia Dale Weary, Founding ArtisticDirectorChris BaldrigeRobert GoodlingDarla Hoover,* Associate Artistic DirectorPatricia HottensteinJohn KunkelAmanda J. Lavis, M.B.A., EsquireKristen Olewine MilkeMarilyn WarrellCarole YonMembers EmeritusAndre de Ribere (1915-2011)J. Robert GregorDavid Hukill, EsquireGeneral CounselVictor P. Stabile, EsquireDilworth Paxson LLP*CPYB Alumna/AlumnusProfileCentral Pennsylvania Youth Ballet is acelebrated leader in the world of classicalballet. Embracing an attitude of lifelonglearning, Founding Artistic DirectorMarcia Dale Weary envisioned a schoolmore than 58 years ago where childrenwould have the opportunity to receiveexceptional ballet training. Today CPYBis an internationally recognized schoolof classical ballet with an outstandingreputation for training young men andwomen. The school’s renowned teachingmethodology couples performanceopportunities with innovative educationalinitiatives, an esteemed faculty, and aproven syllabus – all in an environmentthat promotes the acquisition of the lifeskills crucial to a child’s development.Thousands of young people havepassed through Central PennsylvaniaYouth Ballet’s esteemed studios. CPYBalumni continually occupy top positionsin the leading ballet companies fromSan Francisco and Miami to New York,London and beyond.Through the organization’s threefoldmission – to inspire, educate and enrich– the legacy of Marcia Dale Wearyand Central Pennsylvania Youth Balletredefines the art form, preserves itshistory and shapes its future.In addition to the Ballet Program, CPYB’sPreschool Division offers a variety ofclasses for children ages two to six. TheOpen Program, open to the community,offers classes to students age 13 and upin various dance disciplines such as hiphop, tap and ballet.As resident ballet company of WhitakerCenter for Science and the Arts inHarrisburg, CPYB performing company’sseason includes performances in thewinter, spring, and in June. CPYB,honored as the only pre-professionalcompany in the country licensed toperform George Balanchine’s TheNutcracker, performs the holidayclassic at Whitaker Center and at thehistoric Hershey Theatre with live musicby a recognized symphony orchestra.CPYB performs other classical andcontemporary ballets and many nationallyrecognized choreographers have alsopremiered works on the company.As a school, CPYB has produced anincredible number of professionaldancers who have worked with or arecurrently performing with top companiesin the world. Others have continued onin dance-related fields such as balletteaching and arts administration. CPYBalumni, no matter what their vocation,are enthusiastic audience members andarts advocates in our communities.The New York Times dance criticJoseph Carman said, “London, Paris,St. Petersburg, and New York arewell known for their first-rate balletacademies, training many of the bestdancers in the classical form. Add to thatlist Carlisle, PA, a town with fewer than20,000 people and a modest economydriven by state government jobs and thedefense industry...Marcia Dale Weary andher Central Pennsylvania Youth Ballethave produced dancers well known inthe ballet world.”Featured on the cover of Dance Teachermagazine and in the article entitled“Marcia’s Magic,” Kristin Lewis wrote,“She produces students who have thewhole package—attention to detail, earlytechnical development, and a broadsocialization into the arts. It seems agiven that companies nationwide willcontinue to be stocked with her dancersfor many years to come.”The StudiosCPYB has 10 studios in Carlisle, featuringsix state-of-the-art studios at CPYBWarehouse Studios, and only blocksaway, four historic Barn studios. CPYBWarehouse Studios has wooden sprungfloors and 22-foot ceilings with skylights.CPYB also holds classes in Camp Hill atthe Grace Milliman Pollock PerformingArts Center. In addition to CPYB’s Carlisleand Camp Hill studios, CPYB’s SummerProgram utilizes several studios on theDickinson College campus.Class ObservationOut of respect for the instructor andstudents, CPYB requests that you pleaseask permission of the instructor prior tothe class. If the instructor grants permissionyou need to see a staff member in theCPYB office to obtain a visitor’s badge inorder to observe the class.CPYB Corp de BalletVolunteer ProgramCPYB’s Corps de Ballet volunteers areessential to our success beyond theclassroom and the stage. Parents, familiesand community members alike playan active role in many aspects of theschool. The program helps defray manyof the general operating costs associatedwith training our young dancers andproducing the highest quality balletproductions.Whether you can contribute a fewhours each year or a few hours eachday, there are opportunities for you asa CPYB Corps de Ballet volunteer. Fromraising public awareness of CPYB andsupporting special events to assistingstaff and production personnel backstageand more, we strive to provide you withappropriate assignments based on anawareness of how your individual skillscan most effectively benefit both youand CPYB. For more information contactBrigette Plummer at 717.254.8477 orplummer@cpyb.org.2013-2014 Academic Handbook & Student Policies | Updated 9.30.134home

Artistic and Executive LeadershipMarcia Dale Weary, FoundingArtistic DirectorMs. Weary began her teaching careerin Carlisle, Pennsylvania in 1955 afterher own studies with Thalia Maraand Arthur Mahoney at the School ofBallet Repertory in New York City. Herunequaled dedication to her school,students, and instructors, and herunique teaching style have broughtCentral Pennsylvania Youth Ballet tothe top of the dance field. The NewYork Times stated in 1989 that Wearyis “considered one of the country’s foremost ballet teachers.”Ms. Weary is the recipient of many awards and distinctionsover the past two decades, including the 1992 DistinguishedService to the Arts Award for Central Pennsylvania; 2000 CarlisleRegional Arts Award, of which she was the first recipient; 2007Pennsylvania Governor’s Award for the Arts for OutstandingLeadershp and Service to Youth; 2009 Distinguished Citizen ofthe Commonwealth Award; Central Penn Business Journal 2010Women of Influence Award for her leadership, integrity andaccomplishments; and most recently an honorary Doctor ofPerforming Arts degree from Dickinson College in recognitionof her contribution to the performing arts. She and CPYB havebeen featured in leading newspapers and magazines, televisionnews and features, and in the award-winning documentary filmpresented on national public television, Children with a Dream.Darla Hoover, AssociateArtistic DirectorMs. Hoover was trained at therenowned Central PennsylvaniaYouth Ballet under the direction ofMarcia Dale Weary and completedher studies on a full scholarship at theSchool of American Ballet. In 1980,after choreographing a solo for her inthe New York City Opera productionof Bourgeois Gentilhomme, GeorgeBalanchine invited Darla to becomea member of his New York CityBallet. From 1980-1991, Ms. Hooverappeared as a featured soloist in ballets such as Balanchine’sLa Valse, Chaconne, Harlequinade, Ballo della Regina, as wellas Peter Martins’ Eight Easy Pieces, Rossini Quartets, Sonatadi Scarlatti, and Jerome Robbins’ Fanfare. Ms. Hoover hasnow focused her attentions on teaching and staging ballets. Inaddition to her positions as Associate Artistic Director of theCentral Pennsylvania Youth Ballet and Associate Artistic Directorof Ballet Academy East’s graded children’s program in Manhattan,Ms. Hoover guest teaches all over the world. Working as adistinguished répétiteur, Ms. Hoover stages works for the GeorgeBalanchine Trust and for Peter Martins, Ballet Master-in-Chief ofthe New York City Ballet. Recent stagings have included GeorgeBalanchine’s The Nutcracker, Raymonda Variations, Serenade,Divertimento #15, Valse Fantaisie, Allegro Brillante, Stars andStripes and Rubies as well as Peter Martins’ Eight Easy Pieces andFearful Symmetries.Alan Hineline, CEO andResident ChoreographerMr. Hineline brings a rare blendof business acumen and artisticexpertise to one of the nation’sleading schools of classical ballet. Hecomes directly to Central PennsylvaniaYouth Ballet after serving as artisticdirector and chief operating officer(COO) of Ballet Philippines inManila. With his extensive artsmanagement experience, he hasoutlined a strategy to expand CPYB’simage, while continuing to developfinancial support for the organization’s educational, performanceand outreach initiatives. Dedicated to represent CPYB andestablishing partnerships with individuals and organizations,he has become an active participant in the region’s artistic andsocial communities.A sought-after choreographer and ballet master, Hineline’s workhas appeared in the repertories of many companies in NorthAmerica and has been received enthusiastically in performancesaround the globe. In 1997, at the invitation of Artistic DirectorMarcia Dale Weary, Hineline was named resident choreographerof Central Pennsylvania Youth Ballet. During the last 15 years, hehas created numerous ballets for this internationally acclaimedschool and company. Additionally, his body of work can be seenin the repertories of American Ballet Theatre Studio Company,Pennsylvania Ballet, Atlanta Ballet, and The Juilliard DanceEnsemble, among many others. His work has been performedat the New York International Ballet Competition, the AoyamaInternational Ballet Festival in Tokyo, and the International BalletCompetition in Jackson, Mississippi.As a teacher, Mr. Hineline has instructed every level of dancer,from beginner through professional. He is part of CentralPennsylvania Youth Ballet’s faculty and has been a guest facultymember for, among others, Ballet Academy East and The JuilliardSchool. Along with these fine schools he has taught at theJackson International Ballet Competition, Aoyama Ballet Festival,and Jacob’s Pillow Summer Dance Festival. Hineline’s careeras a dancer has spanned a broad spectrum of traditions andstyles. He trained primarily in Ohio with Dance Theatre Daytonand Dayton Contemporary Dance Company, and afterwardswith Milton Myers and David Howard. His company affiliationsranged from classical with Eglevsky Ballet and Nashville Ballet,to modern with Joyce Trisler Danscompany and Michael MaoDance, to post-modern with Laura Dean Dancers and Musicians.Mr. Hineline sits on the national advisory board of RegionalDance America. He is the founder of Central PennsylvaniaYouth Ballet’s choreographic initiative, ChoreoPlan. Among hismany awards is the Choo-San GohAward for Choreography from theChoo-San Goh and H. Robert MageeFoundation, as well as multipleNational Choreography Awards fromRegional Dance America.Nicholas Ade, School Principal,originally from Los Angeles, California,trained at San Francisco Ballet Schooland the University of North CarolinaSchool of the Arts. He danced withthe Pacific Northwest Ballet (PNB)2013-2014 Academic Handbook & Student Policies | Updated 9.30.135home

CPYB Facultyfrom 1996-2006 under Francia Russell, Kent Stowell and PeterBoal. While with PNB, Ade performed leading roles in GeorgeBalanchine’s The Four Temperaments and A Midsummer Night’sDream; Ronald Hynd’s The Merry Widow; and Kent Stowell’sThe Tragedy of Romeo and Juliet. He has also been featured inBalanchine’s La Valse, Prodigal Son, Symphony in C, Symphonyin Three Movements, and Who Cares?; and Peter Martins’ FearfulSymmetries. He originated featured roles in Val Caniparoli’sTorque and Nicolo Fonte’s Almost Tango and Within/Without.Prior to joining Central Pennsylvania Youth Ballet as schoolprincipal, Ade served as principal of the Pacific Northwest BalletSchool’s Francia Russell Center, PNB’s Eastside School, underArtistic Director Peter Boal from 2006 through 2012. Ade alsoserves as permanent guest faculty at Ballet Academy East inNew York City under Darla Hoover and Julia Dubno. He hastaught throughout Europe and North America, including the IlievFoundation in Bulgaria. Ade has also taught at Tri-Cities Academyof Ballet, Utah Regional Ballet, and the University of NorthCarolina School of the Arts. He also has been on faculty at severalnational and regional festivals for Regional Dance America (RDA).Ade’s relationship with RDA has also extended into adjudicatingin 2010; as well as serving as host to the Craft of ChoreographyConference (CCC) and Summer Intensive from 2007-2009 andhas been on the faculty of the CCC from 2004 through 2009. Hehas served as host of PNB’s Eyes on Dance and Discover Danceoutreach performances and has been Project Coordinator for PNB’sNEXT STEP (formerly Choreographers’ Showcase) since 2005.Founding Artistic DirectorMarcia Dale WearyFacultyCPYB’s exceptional faculty is chaired by Marcia Dale Weary,Founding Artistic Director. More than 21,000 students havepassed through the esteemed institution. CPYB’s yearroundprograms are augmented by outstanding teachingprofessionals from the larger dance world. CPYB’s averageteacher to student ratio is 1:20 during the academic year.Faculty members may be helped by student assistants in Level 1A,especially in September and January. Experienced and responsiblestudent teachers, with the Artistic Director’s approval, also mayteach class throughout the year.Marcia Dale Weary (see bio page 5)Darla Hoover (see bio page 5)Alan Hineline (see bio page 5)Nicholas Ade (see bio page 5)Theresa Crawford has over 40years of experience teaching classicalballet to children. She was trained asa teacher by her aunt, Marcia DaleWeary, Founding Artistic Director ofthe Central Pennsylvania Youth Ballet.While still a student, Ms. Crawford wasencouraged to begin studying heraunt’s original and highly successfulteaching methods. She founded andmanaged her own schools as well as anon-profit children’s ballet company inMichigan. She was the Principal of Orlando Ballet’s largest feederschool in Orlando, Florida. Most recently she was on the facultyof the Georgia Ballet where she began an intensive programfor talented young students and was also instrumental in thefoundation of Dance-Ability, a program for children with specialneeds. Ms. Crawford’s background includes 12 years on thepermanent faculty of CPYB and teaching at the organization’snationally renowned summer course continuously since1979. Several of Ms. Crawford’s students have or are currentlyperforming with well-knowncompanies in Europe, Canada andthe United States. She is a certifiedPilates instructor and studied underAnthony Rabara in Princeton, NewJersey. Ms. Crawford has beenteaching mat and reformer classessince 1997. She privately coaches alllevels of ballet students, and has beena guest instructor in Florida, Georgia,Michigan, Missouri, Pennsylvania,Virginia and West Virginia.Tanya Doporcyk began her formal training at CPYB underthe direction of Marcia Dale Weary. She went on to teach at theSchool of Music and Dance in Hanover, PA. Shortly after, Tanyafounded The Walnut Bottom School of Dance which she hasowned and operated for 19 years before returning to CPYB toteach young children and adults for Marcia.2013-2014 Academic Handbook & Student Policies | Updated 9.30.136home

CPYB FacultyKaren Eriksson-Lee received herBachelor of Science degree in dancefrom Shenandoah University in1987. Shortly after she founded TheNorthern Virginia Academy of Balletin Front Royal, VA, which she directedfor the past 22 years. She has beenwith Central Pennsylvania YouthBallet for 25 years, first as a studentand now as a teacher.Ann Fields is an alumna of CentralPennsylvania Youth Ballet. She has aBachelor of Fine Arts in ballet fromthe University of Utah and has dancedwith Lake Erie Ballet in conjunctionwith Mercyhurst College and with theUtah Ballet. Ms. Fields has attendedthe Governor’s School for the Arts onfull scholarship, Ballet Iowa’s summerprogram on full scholarship, and theSchool of the Washington Ballet. Shehas certifications in New York CityBallet Workout and Pilates Mat. Ms. Fields is an adjunct professorat Messiah College where she teaches ballet.Sara Gelbaugh, originally fromBuffalo, New York, is an alumnaof the Central Pennsylvania YouthBallet. She first studied the CecchettiMethod of Ballet, and is I.S.T.D.certified for levels 1 through 4 andElementary work. She has performedwith the Buffalo Ballet Theater, the1000 Islands Festival Ballet Companyand the Lake Erie Ballet. She has alsoparticipated as a dancer in the CarlisleProject Choreography Workshops. Sheis certified by New York City Ballet to teach the New York CityBallet Workout. In addition to teaching for CPYB, Ms. Gelbaughwas formerly on the faculty of the Cincinnati Ballet and TanzePerforming Arts Center while living in Ohio.Alecia Good-Boresow, former directorof the Kansas City Youth Ballet, returnedto her roots in Carlisle to join the facultyof Central Pennsylvania Youth Balletin 2011. Ms. Good-Boresow began herdancing career with Marcia Dale Wearyat the age of five and went on to studyat the School of American Ballet, Joffrey,and the Pennsylvania Ballet beforejoining the Kansas City Ballet in 1983under the directorship of Todd Bolender.Ms. Good-Boresow danced with theKansas City Ballet for 13 years as a principal dancer performingnumerous lead roles in the Nutcracker, Coppélia, and SleepingBeauty. In addition, Ms. Good-Boresow danced principal rolesin George Balanchine’s Firebird, Concerto Barocco, Apollo, andWestern Symphony. Ms. Good-Boresow has been featured in severalHallmark Ballerina calendars as well as in Who’s Who in America’sTeachers. Ms. Good-Boresow has taught in the CPYB 5-WeekSummer Ballet Program for the past 19 years, the Kansas City Ballet,Miller-Marley School of Dance, Shari Shell-True Dance Academy inLincoln, Nebraska, and Dance St. Louis summer programs.Melinda Howe has served on thefaculty of the Central PennsylvaniaYouth Ballet for more than 25 years,where she began her own trainingunder the direction of Marcia DaleWeary. She received her Bachelorof Fine Arts degree from The NorthCarolina School of the Arts and thenreturned to Carlisle to work with Ms.Weary. Her growth as a teacher ledher to choreograph and her balletsVivaldi, Esprit and Blue Moon Waltzhave been shown at the Northeast Regional Festivals for Dance.In 2000 Andante won her the prestigious Monticello Award forChoreography. At CPYB, along with her teaching, she assists withthe 5-Week Summer Ballet Program and the Teachers Workshop.She is proud of the many students she has helped train over theyears, and you can see the current future professionals in herballets in the June Series.Re Rabassi-Davis has a Bachelorof Arts degree in Ballet Education,trained as an apprentice teacherwith the Royal Winnipeg Ballet andcompleted the teacher’s trainingcourse with Jacques d’Amboise’sNational Dance Institute. Formerlythe founder and director of theGettysburg School of Ballet, she alsoserved on the faculty of Mt. St. Mary’sCollege and the Harrisburg ArtsMagnet School. During this time, shecreated and implemented the Creative Movement and Pre-Balletcurriculum used at CPYB from 1985 to 1995 and developed thefoundation for the current CPYB Arts in Education and Outreachprograms. She also created the dance curriculum for theCapital Area School of the Arts and the Milton Hershey School.Additionally, Ms. Rabassi-Davis holds a M.Ed. from ShippensburgUniversity in Counseling and an M.S. in Business Ethics andLeadership from Duquesne University. She currently teachesDrama and Dance at Milton Hershey School while serving aspermanent faculty for both the academic and summer programsat CPYB since 1984. Ms. Rabassi-Davis is also the artisticcoordinator for CPYB’s DiscoverDance program.Bruce Thornton received his dancetraining in his native Seattle, WA atthe Cornish Institute and then withCentral Pennsylvania Youth Ballet. Hewas most recently a soloist with theMiami City Ballet and danced a rangeof roles with the company; including:the “Blue” gentleman from JeromeRobbins’ Dances at a Gathering,the principal “walking” pas de deuxfrom Emeralds, the Elegie principalfrom Serenade, the principal male in Concerto Barrocco andElegie, the role of Death in La Valse as well as the “turning”2013-2014 Academic Handbook & Student Policies | Updated 9.30.137home

Facultyprincipal in La Valse, the Baron in La Sonnambula, the secondpas de trois from Agon, the first and third themes from The FourTemperaments, all by Balanchine. He has a wide variety ofexperience with other choreographers, such as: Paul Taylor, LynnTaylor Corbett, Richard Tanner, Margo Sappington, Sir FrederickAshton, August Bournonville, Richard Weiss and Edward Villella.He has performed as a guest artist for the Carolina Ballet in theirtelevised performances of Romeo and Juliet, and Lynn TaylorCorbett’s Cabaret at Café Marcovici. He performed for theformer president of the United States, William Jefferson Clinton,in a televised performance of The Kennedy Center Honors, inhonor of the award to Edward Villella. Mr. Thornton brings hisexpertise in the Balanchine repertoire through his work with thegreat Edward Villella, as well as his 15 years of professional workto Central Pennsylvania Youth Ballet as a member of the faculty.PERMANENT GUEST FACULTYRafael Grigorian trained at the BakuChoreographic Institute and at theKirov Ballet School in Leningrad underthe instruction of A.I. Pushkin. For 20years, he was a principal dancer withthe Baku Theater of Opera and Ballet.In 1980, Mr. Grigorian was awardedLaureate of the State of the USSR, andhe received the title of the People’sArtist of Azerbaijan, SSR in 1982, bothvery prestigious honors. He has touredextensively in Europe and Asia withthe stars of the Kirov and Bolshoi Ballet Theaters. He served asinstructor of the Moscow Ballet Festival under the leadership ofBolshoi Ballet soloist S. Radchenko. From 1986 until 1991, he heldthe title of Choreographer for the Moscow School of Ice Dancing.Several of his students are Olympic and World competition goldand silver ice dancing medalists. In 1991, he opened RafaelGrigorian’s School of Classical Ballet in Corning and Elmira, NewYork, and has since opened a branch of his school in Binghamton,New York. Mr. Grigorian is also the Founder and Artistic Directorof the Rafael Grigorian Ballet Theatre. In 1996, Mr. Grigorianreceived the prestigious Arts Partnership Award from the Arts ofthe Southern Finger Lakes for his outstanding contribution to thearts of the Southern Tier communities.Gennadi Vostrikov was born inSiberia, Russia and received his earlytraining in Perm. Mr. Vostrikov studiedwith the renowned ballet teachersPlaht and Asaular. Mr. Gennadi wasawarded the first degree diploma inthe Leningrad Ballet Competition.Upon graduation, he was asked to jointhe Moiseyev Classical Ballet Company.While with the Moiseyev Company hewas coached by the legendary balletmasters, Igor Moiseyev, Asaff Messererand Sulamif Messerer. The Moiseyev Classical Ballet Companytraveled worldwide. It was during one of their many tours that Mr.Vostrikov saw the possibility for freedom and defected while inMexico. The Mexico Ballet Company prompted him to join theircompany as a principal and teacher. Nicholas Petrov, PittsburghBallet Theatre (PBT) director, heard about his defection andrequested that he join PBT. While with PBT, Gennadi performednumerous principal roles in such ballets as Nutcracker, PrinceIgor, Rite of Spring, Swan Lake, Les Sylphide, Romeo and Juliet,Corsaire Pas de Deux, La Bayadere, and Don Quixote, as wellas having performed with the Pittsburgh Opera. Mr. Vostrikov alsowas a principal with Chicago Ballet and Milwaukee Ballet. Mr.Gennadi was an associate professor of dance with the Universityof Alabama in Birmingham, Shenandoah University, as well asDirector of Ballet Zulia in Maracaibo, Venezuela. Mr. Vostrikovis currently director of the Virginia Youth Ballet and Vostrikov’sAcademy of Ballet. He is also a guest teacher and choreographerwith Cumberland Ballet, New Castle Ballet, Williamsburg ChamberBallet, Louisiana Dance Theatre, Pittsburgh Ballet Theatre School,Pittsburgh Youth Ballet, Central Pennsylvania Youth Ballet andmaster teacher with National and Regional Ballet Festivals.OPEN PROGRAM FACULTYTanya Doporcyk (see Faculty bio)Sara Gelbaugh (see Faculty bio)Laura Hargrave has danced professionally with ballet companiesthroughout the United States including Alabama Ballet, LouisvilleBallet, Eugene Ballet and Texas Ballet Concerto. Among hermany roles, some of her favorites were the leads in Balanchine’smasterwork, Serenade (Russian Girl, Dark Angel and Waltz Girl)and First Regiment Lead in Stars and Stripes. Her additionalBalanchine roles include, The Nutcracker as Hot ChocolatePrincipal, Concerto Barocco and Allegro Brillante. Ms. Hargravedanced principal and soloist roles in many classical ballets such asSwan Lake, Sleeping Beauty, Giselle, La Bayadere and Les Sylphides,among others. She originated roles in new contemporary workswith such noted choreographers as Alan Hineline, Tony Pimble,John Summers, Teri Wexler and Gail Gilbert. Ms. Hargrave has alsoperformed various character roles including the Nurse in Romeoand Juliet and Miss Clavel in Alan Hineline’s Madeline. She lastperformed with Central Pennsylvania Youth Ballet in Cinderellaas the Evil Stepmother. Ms. Hargrave began her ballet trainingin San Antonio, Texas with Mayra Worthen. She subsequentlyattended The Alabama School of Fine Arts under the direction ofDame Sonia Arova and Thor Sutowski. Additionally, she receivedfull-scholarship summer intensive training at San Francisco BalletSchool and Dance Aspen. Ms. Hargrave holds a Royal Academyof Dance Teaching Certification and has taught ballet at CPYB,Alabama Ballet and Samford University, among other schools.Jason Reed began taking his first dance class at CentralPennsylvania Youth Ballet when he was 18. By the time he was21, he was attending his first year at The Juilliard School, enrollingin a four-year program, where he graduated in 2000 receiving hisBachelor of Fine Arts Degree in Dance. Since graduating, Jasonhas taken on many more skills than just dancing. He currentlyproduces, directs, choreographs, teaches and performs withdifferent companies, various shows, schools and ensembles.Jason has worked and choreographed under the artistic directionof Marcia Dale Weary at CPYB, the late International BalletStar Rebecca Wright and at Ballet Tech with Eliot Feld and inconjunction with The New York City Public School for Dance andThe NYC Department of Education.2013-2014 Academic Handbook & Student Policies | Updated 9.30.138home

CPYB Artist in Residence ProgramThe CPYB Artist in Residence Program will utilize some of the dance world’s most influential talents to share their knowledge,experience and passion with CPYB students. As part of CPYB’s renowned faculty, the artist in residence will teach classes and participatein community outreach through CPYB’s MasterSeries program. International classical ballet teacher, coach and répétiteur Wes Chapmanis scheduled to teach in the fall 2013 semester and celebrated former dancer and ballet master Yuri Zhukov will teach in spring 2014.Wes Chapman, a native of UnionSprings, Ala., graduated from AlabamaSchool of Fine Arts in 1983 with theDuane Dushion Award and the Prixd’excellence de Danse Award. Afterdancing for Alabama Ballet for oneseason Chapman joined AmericanBallet Theatre (ABT) in 1984 as amember of the corps de ballet. Hewas promoted to soloist in 1987 andto principal dancer in 1989. With ABT,he performed all the leading roles in the ballet repertoire and inworks by many of the twentieth century’s master choreographers,including George Balanchine, Agnes de Mille, Jiri Kylian, FredrickAshton, Mats Ek, Twyla Tharp, Mark Morris, Merce Cunninghamand Antony Tudor. He also created leading roles in ClarkTippet’s Bruch Violin Concerto No. 1 and Twyla Tharp’s TheElements. Chapman has appeared in Dance in America, the film“Dancers” and the documentary Ballet, as well as numeroustelevision shows and featured on national news broadcasts.In 1993, he joined the Bavarian National Ballet as a principaldancer before returning to ABT in 1995. Chapman appeared withHamburg Ballet, English National Ballet, Teatro Colon in BuenosAires and Finnish National Ballet as a guest star.In 1996, Chapman was named artistic director of AlabamaBallet. During his leadership, the company grew from 16 to44 professional and apprentice dancers. He also founded theAlabama Ballet School, the apprentice pre-professional trainingprogram, Alabama Ballet Summer Program and Gorham’s BluffSummer Residency. Chapman received the Distinguished CareerAward from the University of Alabama in 1998, BirminghamBusiness Journal Top 40 Under 40 in 2004, and was namedAlabama Arts Ambassador by Governor Bill Riley in 2007.Chapman restaged for Alabama Ballet many of the full-lengthclassical ballets including Swan Lake, Don Quixote, SleepingBeauty, Giselle and Coppélia as well as various one act workssuch as Paquita, Raymonda Act III and Carnival in Venice.Chapman acquired Balanchine’s ‘The Nutcracker’, starred inAlabama Public Television’s Jekyll and Hyde, and the Making ofRomeo and Juliet.Yuri Zhukov began his dance studiesat the Vaganova Ballet Academy inSt. Petersburg, Russia, and dancedprofessionally with The KirovBallet, The San Francisco Ballet,and The Birmingham Royal Ballet.Over the course of his career heperformed leading roles in classicalballets such as Giselle, Swan Lake,Sleeping Beauty, Cinderella andNutcracker, Balanchine’s Agon,Serenade, Symphony in C, The Four Temperaments and others,and in dance works by Jerome Robbins, Helgi Tomasson, JamesKudelka and David Bintley.Zhukov was engaged as a ballet master at the Royal SwedishBallet (2000-2003) and as a guest teacher with Cullberg Ballet,Gotenberg Ballet, Carte Blanche, Monte-Carlo Ballet and SanFrancisco Ballet. In 2008 he founded Zhukov Dance Theatre,new contemporary dance company in San Francisco.Zhukov designed sets for the Firebird, La Valse, ClassicalSymphony (Y. Possokhov choreographer) for the San FranciscoBallet and Oregon Ballet Theatre, as well as for his ownproductions for Zhukov Dance Theatre.He choreographed for the 59 North - Touring Group of the RoyalSwedish Ballet, the Royal Birmingham Ballet, the BirminghamContemporary Music Group, the English Dance Youth Company,City Youth Ballet/City Ballet School of San Francisco and ZhukovDance Theatre.Mr. Chapman returned to ABT as ballet master in 2006 beforebeing named Artistic Director of ABT II in 2007-2011. Chapmanoversaw the ABT Summer Intensive at the University of TexasAustin, hosted ABT’s Works and Process at the GuggenheimMuseum, Young People’s Ballet Workshop and ABTKids. Healso performed with ABT in various character roles and taughtcompany class on a regular basis. Additionally he serves as anational spokesperson for Regional Dance America and as danceadvisor for “Angelina Ballerina.” Beginning in January 2012-April2013 Chapman was engaged as Artistic Advisor for Ballet SanJose in California where he oversaw all artistic aspects of theorganization.2013-2014 Academic Handbook & Student Policies | Updated 9.30.139home

Admissions PolicyCPYB students rehearse George Balanchine’s Divertmento No. 15 for June Series 2013.ApplicantsAll applicants seeking admission to the CPYB Academic YearProgram must register through the online registration form atCPYB.org/school/registration. Once registered, access is grantedto CPYB’s Family Portal where you can manage your family’scontact and payment information, add student registrationsand more. All students must be registered prior totaking classes. Open registration periods for the Academic YearProgram occur in August and December, although an applicantmay apply at any time.CPYB strongly encourages applicants considering relocation toCarlisle to enroll in the 5-Week Summer Ballet Program and/orthe two-week August Course prior to making a commitment toattend the Academic Year Program.Placement ProcessRegistered applicants ranging in ages two to six are generallyplaced in the Preschool Division without further evaluation.Registered applicants ages six or older with little or no formaldance training are generally placed in the Primary Division.Registered applicants with formal dance training will bescheduled for a placement class for the purpose of evaluationby the CPYB teaching staff. This evaluation is conducted todetermine the level of dance training and the placement level inthe school’s Primary or Pre-Professional Divisions. Placement in aCPYB division/level is based solely on ability, not age.Applicants requesting participation in the Dickinson CollegeCredit Program may take ballet for either .5 credit per each 13-to 14-week semester, fall or spring. Applicants should initiallyregister for classes through the Theatre and Dance Departmentat Dickinson College. Courses are listed in the Dickinson CourseOfferings Booklet each semester. Dickinson students registeredin the credit program are emailed the placement/orientationdate and time by the Logistics Manager. At orientation they mustcomplete the CPYB academic year registration form.Student OrientationAll CPYB students in the Primary or Pre-Professional Divisionsof the Academic Year Program must attend a CPYB orientationmeeting at the start of each academic year. The orientationagenda includes an introduction to staff and faculty, a review ofschool policy, guidelines, rules, and a discussion of acceptableclassroom and performance behavior. Parental participation inthe orientation is requested.carlisle area school districtAcademic Ballet ProgramCPYB students attending the Carlisle Area School District canselect the Academic Ballet Program in their class schedulingprocess. Dancers who are part of this program receive equivalentcredit in physical education and the humanities for their balletstudy at CPYB. This credit is based on class attendance andbehavior. If you are interested in attending CPYB’s academic yearprogram in conjunction with public school please contactade@cpyb.org.College CreditCentral Pennsylvania Youth Ballet is pleased to provideDickinson College students with the highest quality ballettraining for college credit. Students take ballet for .5 credit pereach 13- to 14-week semester, fall or spring. Students shouldinitially register for classes through the Theatre and DanceDepartment at Dickinson College. Courses are listed in theDickinson Course Offerings booklet each semester.Students will also be provided a syllabus for the course that thestudent is taking. Attendance is very important, and it is requiredthat each student maintain personal attendance records in orderto ensure proper credit.Dickinson students registered in the credit program are emailedthe placement/orientation date and time by the Registrar. Atorientation they must complete the CPYB registration form.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1310home

preschool divisionCentral Pennsylvania Youth Ballet’s Preschool Divisionintroduces students to the world of dance throughmusic and movement. Students learn coordination,ballet vocabulary and classroom etiquette, in additionto developing life-long skills of focus and discipline.Mommy & Me (Ages 2 to 4)Parents/caregivers participate with childAn introduction to the art of dance in a nurturingenvironment ideal for children ages two to four yearsof age who are toilet trained. Imaginative exercisespresent an outlet for an active mind and satisfy achild’s natural instinct for movement. Classical, folkand traditional music are used to inspire songand movement.Creative Movement I (Age 3)Creative Movement II (Ages 4 to 5)A special class designed for children who are ready toseparate from their parent and dance independently.Children are introduced to the world of dance through acombination of classical, folk and traditional music. Exercisespromote early childhood development focusing on bodyawareness, gross motor skills, and individual expression.intro to dance (Ages 3 to 6)An introduction to the world of dance, this classcombines Pre-Ballet and Tap into an energy-filled hourof instruction. Students will be exposed to classical, folkand traditional musical styles while learning exercises thatdevelop balance, flexibility, rhythm and coordination.Tap (Ages 3 to 6)Tap class helps improve the student’s posture anddevelop rhythm and coordination. As tudents learnto put dance steps together in a variety of ways, theyimprove cognitive thinking skills. Precise musicalityand classroom etiquette are emphasized.Academic Divisionsprimary division(LEVELS 1 & 2)The Primary Division features the beginning levels forlearning ballet technique. This division consists of levels1A, 1B, 2A and 2B. As standard procedure, students of allages begin in Level 1A, learning the basic ballet positions,the progression of a standard ballet barre and the Frenchvocabulary that defines all of the steps in ballet. Thesestudents also move into beginning centre work, away fromthe support of the ballet barre.Students progress through these levels as through gradesin any school; however, all students move at differentrates. Some spend more than two years in one levelwhile the mind and the body learn to work together;some may progress much faster. When the student haslearned the ballet technique appropriate for each leveland when the student’s body has become strong enoughto accomplish those movements, then, at the discretion ofthe Artistic Director, the student is moved to the next level.Advancement is based on ability, not age. In this way, thestudent begins to assimilate the layers of knowledge thatform the foundation of ballet. Indeed, the primary levelsare the most important levels in ballet as they solidlyprepare the student for the rigors of performance.It is recommended that students, at a minimum, invest thefollowing amount of time into their ballet studies per week:Level 1A - 2 hoursLevel 1B - 4 hoursLevel 2A - 8 hoursLevel 2B - 10 hoursIn order to advance in comparison to other students, oneusually must take more than the above recommendednumber of hours; attending class five or six days per weekis not uncommon among 1A students.Pre-Ballet (Kindergarten, Ages 5 to 6)A prelude to formal ballet instruction, students will developa foundation for ballet technique in a non-competitivelearning environment fostering a love for dance and music.Exercises promote correct posture, technique and flexibility,while expanding gross motor skills and developing balanceand strength. Students begin learning French vocabulary,movement expression, and proper ballet etiquette.Photo: Amy Spangler.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1311home

Academic DivisionsPRE-PROFESSIONALdivision(LEVELS 3-7)Students in the Pre-Professional Division have earned theirplacement in this level with hard work, determinationand discipline. Those who have achieved propertechnique may qualify to participate in pointe, pas dedeux, variations, and men’s class, in addition to theregular technique classes. The amount of time spentin a level depends solely on the student’s individualimprovement and is determined by the Artistic Director.Guest teachers and permanent guest faculty are invited toteach the pre-professional levels on a regular basis.It is recommended that students, at a minimum, invest thefollowing amount of time into their ballet studies per week:Level 3 – 16 hoursLevel 4 – 18 hoursLevels 5, 6 and 7 – 22 hoursCPYB Pre-Professional studentsperforming Pas de Quatre at June Series 2013.Men’s ProgramThe Central Pennsylvania Youth Ballet Men’s Program is part ofthe Pre-Professional Division. The Men’s Program curriculumcombines comprehensive training with performance experienceto train and develop male dancers. Each program componentbuilds upon the previous to culminate in the creation of a strong,well-rounded dancer poised for success in the dance world.Students in the Men’s Program take a complement of technique,men’s, and partnering classes. In addition, strength trainingclass prepares the dancer for the physical requirements of theart form, and performance opportunities provide students withexperience in working with choreographers across a broad rangeof repertory.Gold’s Gym Carlisle is the CPYB Men’s Program conditioningaffiliate.NOTE: If because of pointe classes, intermediate andadvanced male students find it impossible to take therecommended number of hours at their level each week,they should fill in with classes below their level.open programQuality dance training designed for the recreational studentage 13 and up. Open Program classes enhance each student’sexperience to the fullest in a stimulating and creativeatmosphere. Casual attire. Flexible attendance. New classes areadded as interest dictates. In addition to the classes below, OpenProgram offerings include Ballet, Tap, and Hip Hop. Visit CPYB.org for class schedules.Special Dress Code NoteOpen Program students may wear loose, comfortable clothing suchas an overshirt with tights or leggings, or students may wear regularCPYB dress code attire. Depending on the class, ballet slippers,jazz shoes or dance sneakers may be worn. All attire must be neat.Students from CPYB’s Pre-Professional Division MUST wear CPYBdress code at all times, even in Open Program classes.Exception: It is recommended that students do not wear ballet attirefor hip hop. Instead, loose, comfortable clothing is suggested. Hairmay be down if students lie on their backs for a substantial part ofthe class and appropriate shoes may be worn (hip hop, jazz, etc).Sweatpants or shorts may be worn for hip hop classes only.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1312home

Class Levels & Makeup | Private Class PoliciesThe division of students into levels is based solely on ability,not age. The CPYB Artistic Director places students in the levelwhere they will benefit the most. Normally there are studentsof a broad range of ages in each class. The levels are taughtaccording to the ability of the students in the level and notaccording to a certain syllabus for the level.Unless informed otherwise by the Artistic Director, the minimumnumber of hours per week recommended at each level in orderto keep up with the class is as follows:Level 1A - 2 hoursLevel 1B - 4 hoursLevel 2A - 8 hoursLevel 2B - 10 hoursLevel 3 - 16 hoursLevel 4 - 18 hoursLevels 5, 6 and 7 - 22 hoursClass Make-Up PolicyAny primary or pre-professional division student who missesclasses for any reason must call the CPYB Office at 717-245-1190to report the absence. Missed classes must be made up if thestudent wishes to maintain the level achieved. Limitations placedon the student by a physician are respected, but all classesmissed must be made up as quickly as is reasonably possible.Make-up sheets must be completed and returned to the CPYBOffice showing which classes were taken to make up the missedclasses. Attendance* is taken in “hours,” therefore, classes mustalso be made up in “hours.” Students who are injured may begiven credit for properly completing an observation form whileobserving his/her class. Students who are ill should be restingand are not permitted to observe class.If students in the Pre-Professional Division levels 3 through 7plan to miss any classes for personal reasons, they must applyfor permission to be excused by the Artistic Director. ExcusedAbsence Requests are available in the wall racks in the lobby ofCPYB Warehouse Studio. The student must return the completedsheet to the office a minimum of one week prior to theplanned absence. The student is only excused if the ExcusedAbsence Request is returned to the student with the ArtisticDirector’s approval. These Excused Absence Requests will bekept on file in the office. Excused absences must be made up.There are no excused absences for rehearsals once thestudent has been cast in a ballet and/or has agreed to bein a performance. Please note that if the dancer misses arehearsal for any reason, that dancer will most likely beremoved from the performance.*Parents can check their child’s attendance through the FamilyPortal on CPYB.org.private class policiesStudents participating in private lessons must arrange for thelessons through the instructor. The studio rental fee of $12 iscollected electronically. The teachers set their own rate and arepaid directly at the time of the lesson.For private classes with visiting guest faculty, the sameregistration process is required but the studio rental collectedis $15.Private classes cannot conflict with regular classes at any time,nor be used as make-up hours for missed regular CPYB classes.Studio rentals, like tuition and other fees, must be paid by anautomatic charge against the credit card or bank draft in theFamily Portal. Bank drafts or credit card authorization returnedfor declined transactions incur a $35 transaction fee.Please note that CPYB’s regular classroom program is consideredby CPYB’s Artistic Director to offer complete training. CPYBcannot subsidize the taking of private classes by grantingscholarship aid to students who wish to take private classes on aregular basis, either within or outside of CPYB. It is recognized,however, that some students can benefit from occasional privateinstruction to focus on a particular problem. Therefore, studentswho are receiving scholarship aid will be permitted to take oneone-hour private class per month or 10 one-hour private classesfrom September through June with CPYB faculty. Please notethat if one student in a family is receiving scholarship aid, thenthe entire family is limited to one one-hour private per month ora total of ten one-hour private classes from September throughJune. Scholarship students and their families are limited to twoone-hour private classes during the Summer Program. CPYB willnot subsidize the taking of private classes by granting scholarshipto students who choose to study outside of CPYB.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1313home

Performance Policiesperformance companyIn order to qualify as a member of the CPYB performingcompany, students must comply with the following:• Maintain regular attendance and meet all requirements oftheir assigned level;• Attend all appropriate rehearsals;• Maintain an appropriate weight level.The Artistic Director may invite students at any level to perform.Usually this privilege is available to those who maintain therecommended number of classes for their level. To be eligibleto perform in the season-end June Series, students are requiredto take the minimum recommended number of hours for theirlevels. (Exception: Students in Level 1A should regularly take aminimum of three hours a week in order to be eligible toperform.)Students cast for a role in a ballet must attend all scheduledrehearsals and be able to take part in all performances ofthat ballet throughout the academic year. Please note thatbecause CPYB choreographers usually work elsewhere duringthe week, performing often involves Saturday and sometimesSunday choreographic sessions and rehearsals. If a studentknows beforehand that he or she will not be available for allperformances and rehearsals, the student should not accept therole. No Excused Absence Forms will be accepted once CPYB isin rehearsal for a performance. If unforeseen circumstances arisethat prevent a student from keeping a rehearsal or performancecommitment, the Artistic Director and the CPYB Office should beinformed immediately.costuming• Costumes are provided by CPYB, however, dancers areresponsible for the costumes while they are wearing them.• Tights and shoes: Female dancers must provide their own pinktights without seams, and shoes (ballet, pointe and character).Male dancers must provide their own white or black tights andwhite and black shoes.• Female students must provide flesh-toned body suits of anapproved style. (Consult the Costume Director.)• Dancers should attend all rehearsals and performanceswearing their regular dancewear.• Students should not sit in costumes or eat or drink while in acostume. If necessary, water can be consumed.• If something is wrong with a costume or if it is damaged,tell the Costume Director immediately.• The Costume Director may draft and implement other rulesas she sees fit to protect the costumes and dancers as wellas to ensure that the backstage area runs smoothly andsafely.Students are responsible for knowing the rehearsal schedule,which is posted on the studio bulletin boards. Students may alsocheck the Web Calendar at www.cpyb.org under “Calendar.”Observers to rehearsals may be limited, depending upon thechoreographer and the studio in which the rehearsal is takingplace. Theatre rehearsals are open to parents only from the thirdfloor balcony of Whitaker or the second floor balcony of theHershey Theatre.Parents who wish to see their children in performance shouldpurchase tickets to all of the shows they wish to see. Sincecasting decisions are often made close to the performance dates,parents are encouraged to become CPYB season subscriberswho may exchange tickets.Ticket sales and tuition are the two main sources of CPYBincome. Since tuition alone does not cover the cost of CPYBschool expenses, CPYB depends on ticket sales to help fill thatgap. CPYB needs and appreciates your support.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1314home

dress codeAll students must furnish their ownclothing and shoes for classes, andshoes and tights for performances. Theschool provides costumes for school andcompany performances. By the end ofthe first two weeks, students should bedressed as follows for class (unless toldotherwise by the Artistic Director). Note:the CPYB dress code also applies to allprivate lessons.Students who fulfill certain requirementsover extended periods of time may havesome additional flexibility in dress. If thestudent at any time fails to comply withthe requirements for these privileges,however, the privileges may be escinded.The requirements are subject to change.PreschoolFemales• Pink leotard, conservative traditional styles(unadorned, no low-cut backs, no mesh, halters,high-cut legs or strap designs).• Pink tights with feet worn in the shoes.• Pink ballet shoes with elastic strap.• Hair in a bun or similar style if possible; shorthair secured with a band; all bangs neatlypinned or sprayed back.Males• White leotard or plain white T-shirt tucked intights.• Black tights.• Black ballet shoes with elastic strap.• White socks (short).• Hair neatly combed back out of face andsecured.PrimaryFemales• Black leotard, conservative traditional styles(unadorned, no low-cut backs, no mesh, halters,high-cut legs or strap designs).• Pink tights with feet worn in the shoes.• Black ballet shoes with elastic strap.• Bra (if appropriate).• Underclothing, including bra straps, must notshow.• Hair in a bun or similar style if possible; shorthair secured with a band; all bangs neatlypinned or sprayed back.• Pink shoes: Level 2B, at least 10 hours a week,classes at least five days a week.• Pointe shoes: Level 2B or 3, age 9, appropriateweight, strong enough back, legs and feet, 10hours a week in addition to pointe classes.Males• White leotard or plain whiteT-shirt tucked in tights.• Black tights.• Black ballet shoes with elastic strap.• White socks (short).• Black or tan dance belt (athleticsupporter) if necessary.• Hair neatly combed back out of face andsecured.Pre-ProfessionalFemales• Black leotard, conservative traditional styles(unadorned, no lowcut backs, no mesh, halters,high-cut legs or strap designs).• Pink tights with feet worn in the shoes.• Pink ballet shoes with elastic strap.• Bra (if appropriate).• Underclothing, including bra straps, must notshow.• Hair in a bun or similar style if possible; shorthair secured with a band; all bangs neatlypinned or sprayed back.• Pointe shoes: Level 2B or 3, age 9, appropriateweight, strong enough back, legs and feet, 10hours a week in addition to pointe classes.• Sheer, full (complete circle), short demi-skirts(only certain styles and worn at the waistline):Level 3, at least 16 hours a week, classes atleast six days a week.• Elastic around waist: Level 4, at least 18 classesa week, classes at least six days a week.• Pink ribbons for ballet shoes: Level 4, at least 18hours a week, classes at least six days a week.• Blue leotard (Wednesday, Friday, Saturday andSunday only): Level 5, at least 22 hours a week,classes at least six days a week.• Colored leotards (Friday, Saturday and Sundayonly): Level 6 and 7, at least 22 hours a week,classes at least six days a week.Males• White leotard or plain whiteT-shirt tucked in tights.• Black tights.• Black ballet shoes with elastic strap.• White socks (short).• Black or tan dance belt (athletic supporter).• Hair neatly combed back out of face andsecured.• Must be clean shaven.• White shoes: Level 3, at least 16 hours a week,classes at least six days a week.• Gray or dark blue tights (Wednesday, Friday,Saturday, and Sunday only): Level 5, 6 or 7, atleast 22 hours a week, classes at least six days aweek.IMPORTANT NOTES:• If students miss even one class, they may notwear blue leotards and skirts, colored leotardsand skirts, or gray or dark blue tights until theclass is made up.• No support bandages or support braces of anykind can be worn in class.• All clothing and shoes should be marked withthe student’s name.• Only natural-looking make-up and fingernailpolish may be worn in class.• No jewelry (except small earrings), leg warmersor extra clothing of any kind may be worn toclass.• Holes that appear in leotards, tights and skirtsshould be mended immediately.• Long-sleeved leotards (not sweaters) are appropriatein cold weather.• For the safety of the children, eyeglasses are notpermitted.• Bobby pins, safety pins, and bandaids will not beprovided.Dress Code forOutside ClassesCentral Pennsylvania Youth Ballethas an international and professionallevelreputation. We ask all of ourstudents to dress appropriately whenarriving and departing class andduring rehearsal periods in the theatre.Dancewear is not appropriate attirefor the street and students must wearstreet clothing over their leotards andtights.Dance SuppliesDance supplies can be purchasedin the area, including but notlimited to the following locations:360 Dance Fitters29 W. High StreetCarlisle, PA 17013717.249.7313The Dancer’s Pointe665 Market StreetLemoyne, PA 17043717.731.5400Dress Code201 W. Main StreetHummelstown, PA 17036717.583.1820Dance Distributors1.800.33.DANCE (32623)Deka Dance & Sportswear433 York StreetHanover, PA 17332 .632.21392013-2014 Academic Handbook & Student Policies | Updated 9.30.1315home

2013-2014 Schedule of EventsWednesday, September 4 | CPYB Warehouse Studios4:30 - 5:30 p.m. Placement class for CPYB previous levels 1A-2Band new beginners5:30 - 6:30 p.m. Orientation for students and parents6:30 - 8:00 p.m. Placement class for new students withsubstantial dance trainingThursday, September 5 | CPYB Warehouse Studios5:30 - 7:00 p.m. Placement class for CPYB previous levels 3-77:00 - 8:00 p.m. Orientation for students and parentsFriday, September 6 |CPYB Warehouse Studios and CPYB Barn StudiosClasses beginFriday, September 6 |Grace Milliman Pollock Performing Arts Center Studio4:30 p.m. Placement class for Primary Division students5:30 - 6:30 p.m. Orientation for students and parentsMonday, September 9 |Grace Milliman Pollock Performing Arts Center StudioClasses beginFriday, September 27 | MasterSeriesFriday, October 18 | Welcome to the BarreAnita Tuvin Schlecter Auditorium on the campus ofDickinson CollegeSaturday, October 19 | An Evening at the Barre, a galabenefitting CPYB studentsHolland Union Building and Anita Tuvin Schlecter Auditorium onthe campus of Dickinson CollegeWednesday, November 27-Monday, December 2 |Thanksgiving break: all studios closedFriday, December 6 |OpenRehearsal: George Balanchine’s The NutcrackerCPYB Warehouse StudiosFriday, December 13 - Sunday, December 15 |George Balanchine’s The NutcrackerWhitaker Center for Sciences and the ArtsSchool day performances, 10 a.m. & 12:30 p.m., December 13Performances, 1 & 5 p.m., December 14Performance, 2 p.m., December 15Friday, March 28 |OpenRehearsal: The Legend of Sleepy HollowCPYB Warehouse StudiosFriday, April 11 – Sunday, April 13 |The Legend of Sleepy HollowWhitaker Center for Sciences and the ArtsSchool day performances, 10 a.m. & 12 p.m., April 11Performances, 1 & 7 p.m., April 12Performance, 2 p.m., April 13Wednesday, April 16 - Monday, April 21 |Spring break: all studios closedSaturday, May 17 | No Place Like HomeCPYB Warehouse Studios, 3 & 5 p.m.Tuesday, May 20 | Performances at The Pollock CenterThe Grace Milliman Pollock Performing Arts Center, times to beannouncedFriday, May 23 – Monday, May 26 |Memorial Day break: all studios closedFriday, June 13 | Last day of classes, The Pollock CenterWednesday, June 18 – Saturday, June 21 | June SeriesWhitaker Center for Sciences and the ArtsSaturday, June 21 | Last day of classes, studios in CarlisleLast day of classes for all programs. Classes end at noon.Saturday, June 21 – Saturday, July 26 |5-Week Summer Ballet ProgramCPYB Warehouse Studios and CPYB Barn StudiosSaturday, June 28 | Benefit ProductionWhitaker Center for Sciences and the ArtsMonday, August 4 – Friday, August 15 | August CourseCPYB Warehouse Studios and CPYB Barn StudiosMonday, August 11 – Friday, August 15 |Teachers WorkshopCPYB Warehouse Studios and CPYB Barn StudiosSchedule subject to change.Saturday, December 21 - Sunday, December 22 |George Balanchine’s The NutcrackerHershey TheatrePerformances, 1 & 5 p.m., December 21Performance, 2 p.m., December 22Monday, December 23 – Sunday, January 5 |Winter break: all studios closedThursday, January 23 – Saturday, February 1 |FirstSteps 2014CPYB Warehouse Studios2013-2014 Academic Handbook & Student Policies | Updated 9.30.1316home

TuitionPreSchool DivisionRegistration Fee (Annual) $35Tuition Per MonthOne class/week $60Two or more classes/week $80Primary Division (Levels 1 & 2)Registration Fee (Annual) $35Security Fee $30Tuition Per MonthLevel 1A: 2 or more hours/week $95Level 1B: 4 or more hours/week $126Level 2A: 8 or more hours/week $180Level 2B: 10 or more hours/week $222Payment of tuition entitles Primary Division students totake all ballet classes scheduled at their level or below.Pre-Professional Division(Levels 3 through 7)Registration Fee (Annual) $35Security Fee $30Tuition Per MonthLevel 3: 16 or more hours/week $314Level 4: 18 or more hours/week $320Levels 5 through 7: 22 or more hours/week $334Payment of tuition entitles Pre-Professional Division studentsto take all ballet classes scheduled at their level or below.Important Notes on Tuition• The Registration Fee and the secruity fee are due only onetime per student each September through August year, andpayable at the time of registration.• There is a sibling discount of 10% for each additionalstudent for the academic year. The discount is taken off thelowest tuition rate.• Balances paid by auto pay and bank draft will be processedthe first of the month.• Bank draft or credit card authorization returned for declinedtransactions incur a $35 transaction fee.• Tuition for new students who start after the first week ofthe month will be pro-rated: 1st-15th, full month’s tuition;16th-30th, one half month’s tuition.• CPYB accepts the following types of payment: Bank draft,MasterCard, Visa, or Discover.• CPYB encourages families with more than one studentenrolled to apply for scholarship aid if necessary.• No refunds are given for classes missed because of illness,injury, vacation or weather.• Any student who takes even one class in a month must payfor the entire month.Open Program (Ages 13 and up)Registration Fee (Annual) $35Class Card Rates– 10 Class Card $100Any teen or adult already registered in CPYB’s Primary orPre-Professional Divisions may take Open Classes at a 50%discount per class card. Students must enroll in the OpenProgram initially by completing the electronic registration formon CPYB.org. Additional Open Program class cards can beobtained through the Family Portal account. Once purchased, thephysical Open Program class card can be picked up at the CPYBWarehouse Studios lobby reception desk.• Please notify CPYB by email through the Family Portal onCPYB.org if the student intends to stop taking classes forany length of time within 10 days prior. The studentcontinues to accrue charges unless CPYB is notified throughthis process.Private ClassesStudio rental fee with CPYB instructor $12Studio rental fee with guest instructor $15Instructors set their own rate, and are paid directly at the time ofthe lesson. Studio rental is electronically collected via credit cardor bank draft through the Family Portal. Private classes may bearranged/scheduled through the instructor.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1317home

ScholarshipsCPYB is pleased to offer scholarships to qualified academic yearstudents. The Changing Lives Scholarship is a financial needbased,work/study scholarship program ensuring broad-basedaccessibility to world-class ballet training regardless of financialresources. Students can only be considered for scholarship aidafter an application and all required documents are submitted.CPYB scholarships are in effect from September 1 throughJune 24 of the following year.The CPYB Scholarship Committee reviews and awards CPYB’sscholarship aid from its operating budget. Following theselection process, CPYB notifies the recipients of their awardvalue by email as soon as possible. Upon receipt of the signedscholarship contract, tuition scholarship awards are credited tothe receiving student’s tuition account for the appropriate CPYBprogram in September.CPYB Scholarship Programs are open to Primary Division andPre-Professional Division students seeking admission to theCPYB Academic Year Program who meet the prescribed criteriafor each scholarship.DiscoverDanceDiscoverDance, an outreach program of CPYB, furthers theschool’s mission to inspire, educate and enrich the lives ofcommunity members; specifically young students and theirfamilies. The program’s four-tiered framework provides childrenof various socioeconomic backgrounds an opportunity to see,experience and then train as a dancer. The first level bringselementary school students in the region to a theatre for aballet performance. The second tier specifically targets firstand second grade students and provides an interactive dancelesson in their elementary schools. Students from the secondtier who are recommended by their teachers, counselors and/or the CPYB faculty are invited to participate in the third tier, atuition-free 12-week program at CPYB’s Carlisle studios. Studentswho successfully complete the third tier of DiscoverDance andare recommended by the DiscoverDance instructor, may chooseto continue their dance education in CPYB’s Academic YearProgram and/or 5-Week Summer Ballet Program with tuitionassistance, pending CPYB evaluation. For further informationabout DiscoverDance, contact Jason Reed, Director ofEducational Outreach at the CPYB administrative offices.The scholarship programs are not applicable to the CPYB OpenProgram for teens and adults, the Two-Week August Course, orthe Preschool Division.In order to maintain any CPYB scholarship award, recipients areexpected to be model students. Recipients must attend therecommended number of classes for the class level as well asfulfilling their performing responsibilities. CPYB has a zerotolerance policy for drug and alcohol use as these actionsendanger the safety and well-being of the offending student andothers. Scholarships can be withdrawn anytime at the discretionof CPYB.Non-performance of contract stipulations in CPYB’s scholarshipprogram will result in termination and repayment of all receivedscholarship monies to the CPYB scholarship program fund.Most scholarship aid is based on financial need and the student’spotential for success in ballet. New applicants must requestscholarship assistance on the electronic registration form andwill be provided a link to the electronic Scholarship AssistanceRegistration Form for completion. The IRS Form 1040 must beprovided for the previous year.CPYB Principal Faculty Bruce Thornton leads students. © Maria BarnettCPYB’s scholarship program is available for male and femaledancers and is based on financial need and student potential.Students who receive a scholarship award are required to carryout age-appropriate assigned tasks, which must be completedwithout reminder. If a student is unable to execute the assignedtask because of illness, absence or a performance, the studentmust find a substitute to complete the assigned task at theappropriate time. Infractions will be addressed as per the termsof the Scholarship Contract.Merit scholarships are awarded by the Artistic Director at herdiscretion on a case-by-case basis.Note: Students awarded scholarship at CPYB are notpermitted to study outside of CPYB within a 25 mileradius.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1318home

CPYB School Rules1. Students are expected to behave respectfully andcourteously at all times toward CPYB faculty and staff, andeach other.2. Students must follow dress code for all classes andrehearsals.3. If students are present in the studios and there is a class oftheir level being taught, they must take that class.4. All missed classes must be made up promptly at thestudent’s level or a lower level.5. No food or drink (except water) is permitted in any CPYBstudios or lobby.6. Students who have permission to take medication may notoffer that medicine to anyone else. Students may not takemedication from anyone except a parent or guardian.7. Students must show respect for the property of others andfor the facilities: leave the lunches and dance bags of othersalone; help keep studio buildings and grounds clean andneat by putting waste paper and drink containers in theappropriate waste cans. CPYB does recycle.8. Students should put their belongings neatly in the placesprovided for them.9. CPYB is not responsible for any lost or stolen items.10. CPYB shall not be liable in any way for injuries sustainedduring attendance at the ballet school or any of its relatedfunctions.11. Animals in CPYB buildings, other than service animals, arenot permitted.12. No one may smoke, chew gum or use bad language,alcohol or drugs in or near the dance studios. PA lawprohibits drinking alcohol for those under age 21.13. The burning of candles is not allowed.14. Fireworks, explosives and highly flammable materials areprohibited.15. The use or possession of weapons of any type is notpermitted.16. All public displays of affection are inappropriate.17. In keeping with the honor system, students who witnessinfractions of rules must report them immediately to theappropriate staff person. Those who do not may be subjectto disciplinary action.18. No student is allowed in the faculty lounge.19. If a child is not in a scheduled class, a parent/guardian mustbe present to supervise the child.20. Pre-professional training at CPYB includes adherence toproper and healthy nutrition. Students are expected to bemindful of this to not engage in any behavior that could bedeemed dangerous or unhealthy. Students should seek outproper counseling from appropriate professionals if theyfeel they are in need of assistance in this area.CPYB may discipline or dismiss any student fromCPYB for breaking the rules, being uncooperative,disruptive or destructive, or for endangering thehealth, safety and welfare of him/herself and/or others.Emergency ClosingsAt times, emergencies such as severe weather, fires, powerfailures, or earthquakes can disrupt operations. In extreme cases,these circumstances may require the closing of CPYB’s studiosor the facilities where the company rehearses or performs.Parents and students should watch local TV channels (abc27,CBS21,or CW15) for announcements of closings. If there isno announcement, check the web calendar to verify that thestudios are open. Information will be available by 1 p.m. It isunderstood that when roads are bad, many parents cannot,should not or prefer not to drive, but all classes missed becauseof bad weather should be made up as soon as possible.Carlisle open and preschool classes are delayed orcancelled in accordance with the Carlisle Area SchoolDistrict. When the Carlisle Area School District has atwo-hour delay, Preschool and Open classes that arescheduled before noon will be cancelled. All classesafter 12 p.m. will continue as scheduled. In theevent the Camp Hill School District cancels schoolfor weather-related or other emergencies, CentralPennsylvania Youth Ballet classes at The Pollock Centerwill also be cancelled.WEB CALENDARCPYB reserves the right to change or add classes and classinstructors as needed. Please watch the bulletin boardsposted in the studio lobbies or check the web calendar formore information at CPYB.org under “Calendar.”The web calendar only shows changes to the regularschedule.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1319home

Arriving to and Departing from the StudiosStudiosStudents age 12 and under should be picked up inside ina timely fashion, within 10 minutes of the end of their lastclass. CPYB personnel cannot be responsible for studentsleft beyond this time. Studio clocks, which are set via satelliteto the World Clock will be used to track this time. No oneregardless of age should be waiting outside after dark.Do not use any handicapped parking spots unless youhave a handicapped sticker on your vehicle. Do notpark in faculty and staff designated parking spaces.CPYB Barn StudiosFor the safety of the children and the residents of the area,the police and CPYB ask that children be dropped offand picked up on the Barn side of the road (coming fromLouther Street, not North Street). They also have askedthat parents keep the vehicle moving, not double park,and not leave their cars unattended unless they are parkedcorrectly. It is recommended that parked cars be locked.If you park in the alley, park on CPYB property. Do notgo past the wire fence and do not block access to theneighbors’ driveway, the garage or the rest of the alley.Grace Milliman Pollock PerformingArts Center StudioThe Grace Milliman Pollock Performing Arts Center Studio islocated at the site of Eisenhower Elementary School at 340North 21st Street, Camp Hill, PA 17011. Entrance and parkingfor the studio is located on the West side of the building.Contacting a Student at the StudioBecause the office is not always open when classes arein session, please call the main studio numbers listedin the front of this handbook. Calls to these numbersdo interrupt, so they should be made only whenabsolutely necessary. Likewise, students should makeoutgoing local calls only when necessary and shouldlimit calls to one minute. Calls outside the local studioarea must be made collect or with a calling card.CPYB Warehouse StudiosUse the parking lot entrance off Orange Street to access theWarehouse Studios. Enter so you drop your student off withpassenger door to the stairs. Exit between parking lanes.Do not park in exit lanes – an open space must be left socars may exit. Dickinson College personnel request thatyou do not use the alleys that connect to Louther Street.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1320home

Directions to CPYBCPYB Warehouse Studios5 North Orange Street, Suite 3, CarlisleFrom Turnpike (Route 76):• Get off at exit #226 (Carlisle, Chambersburg).• Stay in most right hand lane and toll booth.• After going through the toll booth, bear right to Carlisle exit.• The exit will put you on Harrisburg Pike/North HanoverStreet/Route 11.• Stay on this street all the way into town.• At the second traffic light after railroad tracks turn right ontoWest Louther Street.• Take West Louther Street to North Orange Street.• Turn left onto North Orange Street.• Turn left in towards the warehouses. If you go under anoverpass, you have just missed the entrance.• Follow along warehouses on right (past water tank) untilyou see our largemaroon awning with Central Pennsylvania Youth Ballet writtenon the front.From the north on Route 81:• Get off at exit #49 (High Street) and turn right at end of ramp.• Take High Street all the way into town to the square (crossstreets of High and Hanover).• Go through intersection and continue on High Street; gopast Dickinson athletic field on left.• At 641 West (North Orange Street), turn right. Go underunderpass and continue straight on Orange Street.• On right is the warehouse complex of which we are a part.Turn right in towards the warehouses. If you come to a stopsign, you have just missed the entrance.• Follow along warehouses on right (past water tank) untilyou see our large maroon awning with Central PennsylvaniaYouth Ballet written on the front.From the south on Route 81:• Get off at exit #44 (Plainfield), and turn left at the end of theramp (Route 465, Allen Drive).• At the light by the Sheetz, turn right (Route 11, Ritner Highway).• Take Route 11 toward Carlisle.• At the light at the intersection of Route 11 and NorthOrange Street (641), turn left. Go under underpass and continuestraight.• On right is the warehouse complex of which we are a part.Turn right in towards the warehouses. If you come to a stopsign, you have just missed the entrance.• Follow along warehouses on right (past water tank) untilyou see our large maroon awning with Central PennsylvaniaYouth Ballet written on the front.CPYB Barn Studios107 Meetinghouse Road, Carlisle• Follow above south on Route 81 directions until NorthOrange Street.• Rather than turning immediately into the parking lot, turn leftat the next stop sign onto Louther Street.• Follow Louther Street until it dead-ends. Turn right ontoMeetinghouse Road.• Turn right into the Barn parking lot.Grace Milliman PollockPerforming Arts Center Studio340 N. 21st Street, Camp HillFrom the West Shore• 581 East towards I-83/11• Take Camp Hill exit 5A onto 15 North towards Camp Hill• Turn right onto North 21st Street• Eisenhower Elementary School and The Pollock Center willbe on your rightFrom the East Shore (Hershey)• 322 West to I-83 South/581• Continue onto 581 West• Take Camp Hill exit 5A onto 15 North towards Camp Hill• Turn right onto North 21st Street• Eisenhower Elementary School and The Pollock Center willbe on your rightFrom the East Shore (Harrisburg)• Forster Street to the Harvey Taylor Bridge• Continue over the Harvey Taylor Bridge onto the Camp HillBypass• Turn left onto North 21st Street• Eisenhower Elementary School and The Pollock Center willbe on your right2013-2014 Academic Handbook & Student Policies | Updated 9.30.1321home

Student Policies“Rising Stars” PhilosophyJust as there are many stars in the sky, there are many opportunities for students at CPYB to shine at each level. Whether in a majorperformance, such as George Balanchine’s The Nutcracker; or an in-house studio performance, students represent the school andstandards of CPYB at every level.CPYB is a pre-professional school that requires a minimum amount of hours for students. Sometimes the balance between family andrequired hours may create conflict. YOU ARE NOT REQUIRED TO GO BEYOND THE MINIMUM. However, there are children, regardlessof age, who show a passion and commitment beyond their years to push beyond the minimum requirements. These students will beencouraged to follow their dream and thus reap the rewards at an earlier age. Just as in the academic world, those who read beyondtheir grade level are given books at their level, or as mathematical high achievers will study the next level of mathematics, so it is withballet. However, in dance, the body, as with any athletic endeavor, progresses at a rate that is unique and individual to each student. Tobetter understand this, please consider the following:Class ScheduleTakes minimumrequired hoursTakes less thanrequired hoursTakes morethan requiredhoursOutcome• Will progress to next level when technical proficiency of thecurrent level is reached.• May or may not be chosen for main stage performancesdue to casting considerations, costume availability,choreographer preference, technical readiness for the role,supply and demand of proficient performers, and artisticreasons.• Will progress at a slower rate than those who take therequired hours.• Will progress to next level when technical proficiency of thecurrent level is reached.• Limited, if any, performance opportunities.• Will generally progress at a faster rate than those who takethe required hours.• Will progress to next level when technical proficiency of thecurrent level is reached.• Performance opportunities increase exponentially due toincreased hours.Ballet training is a process and performances are a part of the process. Per-formances serve the process and the students onlywhen achieved by reaching set standards. Passion, commitment, a strong work ethic and attendance are valued but do notnecessarily guarantee all the anticipated or hoped for roles. And finally, advancement and roles are solely the discretion of theArtistic Director. Since CPYB is a pre-professional setting, this too, is a lesson in the training of a dancer. Every role is integral tothe whole and should be valued as such.Please note that injuries or unforeseen circumstances that interrupt the class/training process will have an impacton performance opportunities.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1322home

Student Policies: Professional ExpectationsAttendance and PunctualityComing to class on time and regular attendance is expected ofall students. Excessive absenteeism or tardiness is disrespectfulof the faculty and your fellow students. We recognize that anoccasional illness or extenuating personal reason may causeunavoidable absence or tardiness, but it is our philosophy thatsuch circumstances must be kept to a minimum in order to be atrue “rising star”. Other than the 4:30 class, any student enteringa class 15 or more minutes late will be required to make upthe class. (Extenuating circumstances are exempt from thisrequirement).If you fail to maintain an acceptable attendance record, you maybe subject to immediate disciplinary action, up to and includingexpulsion.Cell Phones and CamerasCPYB understands the importance of maintaining communicationwith family members in the event of an emergency. However,all cell phones and electronic devices should be turned tomute or vibrate during the time that a student is in class. Calls,texting, e-mailing and use of social media platforms are notpermitted in class or rehearsal. Electronic devices will be takenfrom the student and kept in the office until the end of the day.Calls to parents may be made from the office.To the extent that your cell phone has a camera or recordingcapability, those features may not be used at any time in class,dressing rooms, bathrooms, rehearsal facilities, or theatres whereCPYB performs. If you are found to be using a photographicor recording device in violation of this policy, the device maybe confiscated and returned to your parent or guardian andyou may be subject to immediate disciplinary action, up to andincluding expulsion.CPYB is fortunate to have been selected to perform prizedchoreography, such as George Balanchine’s The Nutcracker.However, it is ILLEGAL to record such choreography on anymedium and violators will be subject to fines in accordancewith the Balanchine Trust. Anyone discovered videotapingor photographing a Balanchine ballet will be removed fromperforming in the ballet and may be expelled from the school.The removal of the dancer also applies to situations where thevideotaping or photography was done by the dancer’s familyand/or friends. Other choreography may be similarly protected;therefore, we prohibit photographic or recording of anyrehearsals or performances.Dance Bags and Personal ItemsDance bags and personal items needed for class (includinginhalers and medical needs) should be placed on the carpetedparts of the warehouse studios or in the perimeter of a room in anon “danceable” area.Electronic Music DevicesStudents may use iPods or other portable music devices inthe studio during non-class times if they are used with iBuds,headsets or earphones.Drug and Alcohol UseIt is CPYB’s desire to provide a drug-free, healthful, and safeenvironment for its students, faculty and staff. While on CPYB’spremises and while affiliated with CPYB off of CPYB’s premises,you may not use, possess, distribute, sell, or be under theinfluence of alcohol or illegal drugs. Any student found to be inviolation of this policy, including providing drugs or alcohol toanother student, may be subject to immediate disciplinary action,up to and including expulsion.Other Controlled ItemsControlled items such as pocket knives, weapons, or sexuallyexplicit material are prohibited at all times on CPYB’s premisesor any theatres where CPYB performs. Any student found tobe in possession of such items may be subject to immediatedisciplinary action, up to and including expulsion.CommunicationsDue to the nature of the program at CPYB, students, parents,faculty, and staff tend to become a large, extended family. Aswith any family, there is the potential for dysfunctional behaviorsto arise, such as gossip, bias and slander. CPYB hasno tolerance for such behaviors, as they all create a negativeenvironment. When in doubt, follow the Golden Rule of treatingothers the way you want them to treat you. Keep your personalbiases to yourself. We all bring different values and backgroundsto the ballet. We need to concentrate on our commonality, andrespect our differences. Slandering anyone is unacceptable,especially an adult parent or guardian slandering a student.Anyone unable to adhere to this policy will be subject toappropriate sanctions up to and including a request to leave theschool or performance venue.SmokingIn accordance with Pennsylvania law, CPYB facilities are allsmoke-free. Smoking is not allowed in CPYB’s studios, offices,or anywhere where CPYB operates or performs. Further, inconjunction with state law that prohibits anyone under the ageof 18 to purchase or use tobacco, smoking is prohibited forall students under the age of 18 whether within or outside ofCPYB’s facilities. Willful disregard of this policy will result inimmediate disciplinary action.Fire and Evacuation ProceduresPlease see procedures posted at the theatres and studios.Visitors in the WorkplaceTo provide for the safety of employees and students at CPYB, theefficient operation of our school, and the security of the facilitiesin which we work, only authorized visitors are allowed on ourpremises. Restricting unauthorized visitors also protects againsttheft or damage to equipment, protects confidential information,safeguards employee and student welfare, and avoids potentialdistractions and disturbances. If you observe an unauthorizedor unaccompanied individual or anyone loitering on CPYB’spremises, immediately notify a faculty or staff member.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1323home

Student Policies: General ConductGeneral Conduct ProhibitionsDancers are expected to behave in a manner that does notinterfere with the smooth operations at the theatre and studio.Dancers are expected to show respect for faculty, staff andothers, and respond appropriately to instructions and decisionsby faculty and staff. CPYB has deemed that any of the followingactions may be just cause for immediate expulsion from theschool:• Physical intimidation, violent or threateningbehavior (bullying, harassingconduct, hazing and fighting), sexual assault.• Disruptive or disorderly conduct.• Possession, consumption or distribution ofalcohol and/or illegal drugs.• Possession of over-the-counter or prescriptiondrugs for non-medical purposes and/ordistribution thereof.• Sexual harassment/inappropriate sexual activityincluding but not limited to filming, recordingor photographing in the change areas orbathrooms.• Child abuse.• Firearms or weapons of any kind.• Theft.In addition, the following actions will not be tolerated and will,in appropriate circumstances, be subject to appropriate disciplinein the sole discretion of CPYB:• Class misconduct.• Chewing gum.• Defiance of authority of CPYB faculty or staff.• Disregard or disobedience of school rules andregulations as outlined in this Academic YearHandbook and Student Policies.• Dress code violations.• Improper use of cell phones, cameras or musicdevices.• Theft.• Persistent absenteeism that is not due tocertifiable medical illness or disability.• Persistent tardiness.• Obscene language.• Failure to perform scholarship duties.• Self-destructive behavior such as eatingdisorders or cutting.• Willful destruction or misuse of CPYB’s or anotherperson’s property.• Failure to accept or abide by the decisions of theArtistic Director as to disciplinary action.In cases where the student has committed a crime or violationof local, state or federal law, law enforcement authorities may benotified.No DiscriminationIn order to provide equal opportunities to all students, decisionsat CPYB are based on merit, technique and ability. CPYB doesnot discriminate in opportunities or practices on the basis ofrace, color, religion, sex, national origin, age, disability, genetictrait, sexual orientation, or any other characteristic protectedby applicable law. Any students or parents with questions orconcerns about any type of purported discrimination at CPYBare encouraged to bring these issues to the attention of theappropriate person(s) in our reporting hierarchy. Students andparents can raise concerns and make reports without fear ofreprisal. Anyone found to be engaging in any type of unlawfuldiscrimination, or found to be retaliating against someone formaking or supporting a complaint of discrimination, will besubject to disciplinary action, up to and including dismissal fromCPYB.Sexual and Other Unlawful HarassmentCPYB is committed to providing an educational environment thatis free from all forms of discrimination and conduct that can beconsidered harassing, coercive, or disruptive, including sexualharassment. Actions, words, jokes, or comments based on anindividual’s sex, race, color, national origin, age, religion, disability,genetic trait, sexual orientation, or any other legally protectedcharacteristic will not be tolerated. CPYB’s policy is one of ZEROTOLERANCE.Sexual harassment is defined as unwanted sexual advances, orvisual, verbal, or physical conduct of a sexual nature. This definitionincludes many forms of offensive behavior and includes genderbasedharassment of a person of the same sex as the harasser or ofthe opposite sex. It could be behavior among students or involvingCPYB faculty, staff or third parties on our premises. The following isa partial list of examples which may constitute sexual harassment:• Unwanted sexual advances.• Offering benefits in exchange for sexual favors.• Making or threatening reprisals after a negativeresponse to sexual advances.• Visual conduct that includes leering, making sexualgestures, or displaying of sexually suggestiveobjects or pictures, cartoons or posters.• Verbal conduct that includes making or usingderogatory comments, epithets, slurs, or jokes.• Verbal sexual advances or propositions.• Verbal abuse of a sexual nature, graphic verbalcommentaries about an individual’s body,sexually degrading words used to describe anindividual, or suggestive or obscene letters,notes, or invitations.• Filming, recording or photographing othersin various states of undress while in changingareas or bathrooms, or otherwise spying onsomeone while showering or dressing.• Physical conduct that includes inappropriatetouching, assaulting, or impeding or blockingmovements.It is no defense to violations of this policy that the victimconsented to or acquiesced in the behavior. All students, faculty,2013-2014 Academic Handbook & Student Policies | Updated 9.30.1324home

Student Policies: General Conductand staff are expected to take appropriate measures within theirindividual authority to prevent violations of this policy.CPYB asks any student who experiences or witnesses sexual orother unlawful harassment – whether of themselves, a fellowstudent or parent, or an employee – to report it immediately to theappropriate person(s) according to the reporting hierarchy. Students(and their parents) may raise concerns, make reports and participatein investigations without fear of reprisal or retaliation.CPYB will attempt to quickly and discreetly investigate allallegations of sexual harassment and to protect the confidentialityof those involved to the greatest extent possible. Students (andtheir parents) who utilize this procedure for lodging a complaintwill be promptly informed of the outcome of any investigationupon its completion.Anyone found to have engaged in sexual or other unlawfulharassment will be subject to disciplinary action, up toand including dismissal from the school or termination ofemployment. Likewise, anyone found to have retaliated againsta student for complaining about sexual or other unlawfulharassment, or participating in an investigation about suchharassment, will also be subject to discipline, up to and includingdismissal from the school or termination of employment.NOTE: This policy applies specifically to actions of a sexualnature or based on a person’s protected characteristics, such asrace and ethnicity. This policy shall NOT be deemed violatedwhere a faculty member corrects a dancer’s posture or alignment,or appropriate partnering is taking place between two studentsor a student and a faculty member. Ballet teaching and trainingrequires a hands-on approach and is done in the presence of theclass.HazingHazing, solicitation to engage in hazing, or aiding and abettinganother person who is engaged in hazing is strictly prohibited.This policy applies to all students. “Hazing” is defined as anyintentional, knowing or reckless act committed by one or morestudents toward another student in which both of the followingapply:• The act is committed as an initiation into anaffiliation with any inferred or known group;and• The act creates a substantial risk of, or actuallycauses, physical injury, mental harm, or personaldegradation.It is no defense to a violation of this policy if the victimconsented to or acquiesced in the hazing activities. All students,faculty, and staff shall take reasonable measures within the scopeof their individual authority to prevent violations of this policy.CPYB asks any student who experiences or witnesses hazing asdefined in this policy to report it immediately to the appropriateperson(s) according to the reporting hierarchy. Students (andtheir parents) may raise concerns, make reports and participatein investigations without fear of reprisal or retaliation.CPYB will attempt to quickly and discreetly investigate allallegations of hazing and to protect the confidentiality of thoseinvolved to the greatest extent possible. Students (and theirparents) who utilize this procedure for lodging a complaint willbe promptly informed of the outcome of any investigation uponits completion.Anyone found to have engaged in hazing will be subject todisciplinary action, up to and including dismissal from the school.Likewise, anyone found to have retaliated against a student forcomplaining about hazing, or participating in an investigationabout such hazing, will also be subject to discipline, up to andincluding dismissal from the school. Where hazing has beenfound to occur, the school will report such incidents to lawenforcement agencies or authorities as appropriate.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1325home

Student Policies: DisciplineOpen Door PolicyWe believe that open communication is the cornerstone ofsuccessful relationships. Our experience has shown that whenthere is open discussion of problems and concerns, we canavoid misunderstandings, hurt feelings and other potentiallydisruptive attitudes. Accordingly, we encourage you to reach outto any faculty or staff member if there is ever an issue related toyour studies at CPYB that cause you any concern. We recognizethat it is not always possible to resolve a problem to everyone’ssatisfaction but we firmly believe that through open discussionof problems, we can develop confidence in each other. Thisconfidence is important to the operation of an efficient andharmonious environment and helps to ensure the success of ourstudents.Reporting HierarchyComplaintsThe following guidelines shall govern the reporting of issuesthat occur outside the realm of performance venues.Students, parents and faculty should report complaints to oneof the following:• School Principal• CEOPerformance Venue ComplaintsThe following guidelines shall govern reporting of issues at aperformance venue.Students and parents should report complaints to one of thefollowing:• On-site faculty• Stage ManagerOn-site faculty and Stage Manager will report complaints to oneof the following:• School Principal• CEODisciplineThe following are types of discipline that may be exercised in thesole discretion of CPYB:• WARNING – A notice, orally or in writing.Incident report filed.• PROBATION – May continue classes but possibleforfeit of performanceopportunities; possible recommendation orrequirement for outside counseling.• SUSPENSION – May or may not continue withclasses. No performance opportunity for adesignated period of time.• INTERIM SUSPENSION – A temporarysuspension until facts are collected. An InterimSuspension may be implemented for thefollowing:• To insure the safety and well-being ofstudents.• To insure the physical or emotional safetyand well-being of the accused.• EXPULSION – Will be asked to leave the school.In cases of inappropriate behavior observed by faculty orstaff, the employee has the obligation to file an incident reportwith the office. The parent/legal guardian will be notified (byphone or in writing) of the behavior problem and the correctivemeasures taken. In the case of suspension, the parent/guardianwill be notified in writing and will be required to attend aconference with the student and the school prior tore-admission. The parent/legal guardian shall be held liable forall damages caused by a student.Because every act of misbehavior cannot be anticipated, theArtistic Director may be required to make a judgment in handlingcertain acts of misconduct not covered in the behavior code.Once reported, the Artistic Director will decide the appropriatesanction for the behavior in question. Once this is decided,the incident will be considered closed.No tuition which has already been paid will be reimbursedduring the time in which discipline is being observed.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1326home

Theatre Procedures & Rules of EtiquetteArrival and DepartureWhen arriving at the theatre for rehearsal or performance,students are required to “sign in” on the daily sheet posted onthe bulletin board by highlighting their name. The board issupervised by Security. At the end of the evening, students willsimply cross out their name when leaving the theatre. Studentsare also required to “sign out” and “sign in” between same-dayperformances. During performance runs, studentsunder 18 years of age are not permitted to leave the theatreat any time without authorization in writing from a parent orguardian and signing out at the desk.VisitorsPerformers may have visitors at the theatre with the approval ofthe Backstage Coordinator, Costumer and Security. All visitors,including students who are taking warm-up class but notperforming, must leave the backstage area prior to the start ofany performance.Dressing RoomsDressing room assignments are made by the Costumer and willbe based on a variety of factors including the age and genderof the performers, whether they are in lead or corps roles, andthe proximity of each dressing room to the stage with regardto show order. The Costumer has complete discretion overassignments and changes to assignments will only be entertainedwhere a true hardship to the performer exists.Performers are to remain in their ASSIGNED dressing roomsduring performances until called to the stage. Performers arenot to be in any other dressing rooms during performances.Performers may use iPods or other portable music players whilein the dressing rooms as long as they utilize iBuds, earphones orheadsets to demonstrate respect for your fellow performers andothers backstage.The dressing rooms are designated as your personal space forthe duration of the performance. Therefore, you are responsibleto leave this area as you found it upon your arrival, neat andclean. You may not bring objects to the theatre considered to bedangerous to other people and/or disruptive to the performanceprocess. If you have any questions regarding what items mightbe prohibited by this policy, please discuss the item with theCostumer or any on-site faculty member.Rehearsals and PerformancesUpon arriving at the theatre, students should place theirbelongings in their designated dressing rooms and immediatelyreport to the stage for a warm-up class. At the end of theperformance warm-up class, performers will return to theirdressing rooms where they will remain until called to the stage.At the end of a rehearsal warm-up class, all cast members mustsit in the orchestra. Non-performers must go to the front of theHouse where they may watch rehearsal from the Orchestrasection.Students who are performing in alternate casts should be in theHouse at all times when their part, regardless of which cast,is being rehearsed. If sitting in the House during rehearsals,students may quietly leave for restroom breaks in small groups touse the restrooms in their designated dressing areas.House RulesWhen seated in the House, the following rules apply:1. Although the theatre provides a beautiful as well as acomfortable setting, it is not your living room. Pleaseremember that when sitting down, it is appropriate to pushthe seat of your theatre seat down with your hand prior tobeing seated. In order to keep the seats comfortable andfunctioning properly for everyone, sitting on the top edgeof the seat and then sitting down is inappropriate and putsundue pressure on the seat mechanism. Also, make sure thatyou stand to permit others to enter and exit your row. DONOT PUT YOUR FEET ON THE SEATS IN FRONT OF YOU.DO NOT WALK OVER OR ON THE SEATS.2. Please wait to carry on lengthy conversations until you leavethe House. You are in the House to watch rehearsal, note thecorrections and be available immediately when required.3. Watches with alarms, cell phone ringers and beepers aredistracting and annoying to everyone. Please be considerateto your fellow students and faculty by turning off allelectronic devices before entering the theatre. If you mustkeep a cell phone on, please put it in silent vibration mode.CPYB may confiscate any device that emits an audible soundin violation of this policy for the duration of the rehearsal orperformance.4. Some people are allergic to perfume and cologne. If youmust use these items, please go lightly in respect of others.5. All photography of performances, whether stills or video,is strictly prohibited. Many works that CPYB performs arecopyrighted, thus making it a federal offense to record theseperformances without written consent from the owner ofthe copyright. Accordingly, to protect against any possibleviolations, NO CAMERAS, PHOTOGRAPHY OR RECORDINGDEVICES ARE PERMITTED IN THE THEATRE AT ANYTIME. To the extent that your cell phone has photographicor recording capabilities, you are expressly forbidden fromusing it in the theatre.6. No food or drinks are permitted in the House.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1327home

Theatre Procedures & Rules of EtiquettePerformancesAs stated above, all performers will sign in, place theirbelongings in their designated dressing rooms and report to thestage for warm-up class.Volunteer chaperones will be stationed outside the adult andyoung adult dressing rooms at all times. Young dancers willremain with chaperones at all times. Any problemdancers will be moved to an area with a parent or volunteerchaperone.Performers will report to their dressing rooms and REMAIN thereuntil called to the stage. No one may be in a room other than theone to which they are assigned. All other areas of the theatre areoff-limits during a performance.Anyone performing in the opening act of a performanceshould be onstage as soon as the first call is given for the topof the show. There is no excuse for being late at the top of aperformance or the top of the second act.Whether or not you are performing at the top of an act, you are toIMMEDIATELY report to the stage area as soon as you are calledthe first time. There should never be a need for a second call.When performers are called to the stage, they will be checkedoff of a call list by a faculty member before entering the stagearea. After that, all performers will adhere to the “performancetriangle” – that is, performers onstage, those next to comeonstage are backstage in the wings, and those to come onstagethereafter are at the stage door.When waiting to go on stage, remain quiet and stay well behindthe legs and wings. Do not sit on the prop tables or equipment.Also, it can be easy to get overeager in anticipating an entranceor watching those already onstage. However, a good rule toremember is that if you can see the audience, they can see you.After you have finished your part and exited the stage, you maynot remain in the wings unless expressly requested by the ArtisticStaff. You should immediately exit the stage area and return toyour assigned dressing room.Part of the magic of performance is the transformation fromstudent in street clothes to costumed performer. Accordingly,other than onstage, no performer is to be seen by any audiencemember while in costume and makeup. Please uphold yourpart in maintaining the magic. No performer may watch aperformance from the audience unless he/she has finishedperforming for that show and has completely removed allmakeup and changed back into street clothing.CostumesAll costumes are the property of CPYB. You will need to provideonly regular dance attire such as tights, ballet slippers, nudies, etc.Costumes are expensive and labor intensive to make. Pleaseshow your appreciation to our Costumer and her assistants andyour respect to your art form by taking care of your costumewhile in your possession, according to the following guidelines:While in costume –• No eating or drinking (except water).• Do not sit on the floor.• Do not sit or lean on rough or unclean surfaces.• Be careful of makeup smears.When not in costume –• Hang up costumes and all parts thereof on designated clothesracks when not in use. No costume should be on the floor orthrown on a chair, countertop, etc.• Report any costume mishaps or necessary repairs immediatelyto the Costumer.• Should any costume be found on the floor and/or damaged, theperformer assigned to that costume for that show will be finedthe cost of the cleaning and/or repairs.PropsAll props are the property of CPYB. Under no circumstances maya performer remove a prop from backstage or the theatre.Props can be found in a designated area on the prop tablebackstage. Props will be picked up from the prop table for useon stage and must be returned to the prop table when not inuse. DO NOT TAKE THEM OFFSTAGE WITH YOU.As with costumes, props are to be used with care. CPYB studentsare notoriously hard on props. Brand new props have beenbroken AFTER instructions on use have been given. Therefore,damaged or broken props will be examined by the CompanyManager and the student(s) found responsible will be finedaccording to the degree of damage.Ice Machine – WhitakerIn accordance with Pennsylvania law, no one is permittedto remove ice from the ice machine with his/her hands. YouMUST use the scoop in the ice bin and use ALL the ice you putin the scoop or throw what you do not need away in the nearbyutility sink.Performers are permitted to take photographs of each other incostume before and after performances. However, all camerasmust be offstage when “places” is called. Video that in any waycaptures choreography is strictly prohibited.2013-2014 Academic Handbook & Student Policies | Updated 9.30.1328home

Notes2013-2014 Academic Handbook & Student Policies | Updated 9.30.1329home

CPYB.orgFounding Artistic Director, Marcia Dale WearyAssociate Artistic Director, Darla Hoover717.245.1190 | info@cpyb.org | 5 North Orange Street, Suite 3, Carlisle, PA 17013-2727