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Certifications & Trainings

A team of fitness, dance and medical professionals all contributed to the content of IBBFA Certifications and Training material to make it safe, well rounded and most effective Barre training available anywhere. The content, exercises, and training concepts have been extensively tested in our studios across the US, Canada and Europe, over many years to give you the most comprehensive and fundamental material available in an easy to follow format. Only the very best and most effective material that stood the test of time with thousands of clients and hundreds of instructors, was put together to create IBBFA Certification and Training programs.

By signing up for IBBFA certification training, our students make a significant investment in their future. Through IBBFA Certified programs, not only do our students learn all the latest Barre techniques, they also receive the very best foundational Barre Training available in the process.

For some IBBFA Certified programs, such as the Barre Certification, qualified students with no dance background or training are able to learn and fully utilize all aspects of the program. By the time our students earn IBBFA Certification, they are ready to start teaching and sharing your passion for Barre with the world.

Having joined our family of IBBFA certified instructors, you will always be able to find the guidance and advice needed to help you develop your business and improve your skills.

 

Barre Certification

IBBFA Barre Certification program is the most comprehensive online Barre training available in the world. Every aspect of the program is thoroughly examined to give the best tools needed to teach a safe, fun and effective Barre Workout Class.

IBBFA Barre Certification program includes guidance in modifications and in-depth understanding of physiology to challenge people of all fitness levels in your Barre Workout Class.

With IBBFA Barre Certification program, you will access a complete solution: with the provided materials, upon completion of the program you will have everything you need to start teaching Barre Workout Classes to all fitness levels.

  • Requirements (Pilates Mat Certification, Primary Group Fitness Certification, Personal Trainer, Yoga Certification, Accredited Dance Instructor or approval of IBBFA Ballerobica staff, minimum of a High School Diploma or a GED, basic computer knowledge and access).

 

Ballerobica® Level 1 Instructor

A total body workout that combines the fundamentals of ballet with cardio and strength training. The ballet barre is used to support the body in both static and dynamic movement, which leads to long, lean muscles. The cardio revs up your metabolic rate for an increased calorie burn, and the strength training tones and tightens. This hybrid workout burns fat and produces perky booties, toned arms, lean thighs, and flat abs. The end result is a leaner more graceful body that has been toned and tightened in all the right areas. Ballerobica® classes are set to inspiring music and follow a vigorous pace moving through specific exercise sequences designed to shape and lift the entire body. Immediately following each sequence the target muscle group is stretch thoroughly to elongate and lengthen the muscle. This technique allows you to work and strengthen your muscles without the bulk. Not only will you achieve a longer, leaner look, but you will also gain increased flexibility.

 

Upon receiving your certification, you will have access to the growing community of Ballerobica®, enabling you to share information and have continuing support. Frequent updates, new combinations, and new toning options will be made available, allowing you to sustain class motivation and remain on the cutting-edge of group fitness. Also, annual master classes are a great way to add to your knowledge base and mingle with fellow Ballerobica® instructors.  You will also receive access to business cards template, logo template and marketing material to use with your clients.

All instructors will receive a certificate of completion and cannot teach Ballerobica® until they have received it. Upon receiving your certification, you may teach Ballerobica® classes anywhere without licensing fees. Online Ballet Barre Training and Certification is easy and it is designed for all.

  • Requirements: (Pilates Mat Certification, Primary Group Fitness Certification, Personal Trainer, Yoga Certification, Accredited Dance Instructor or approval of IBBFA Ballerobica staff, minimum of a High School Diploma or a GED, basic computer knowledge and access).

Links

These online resources offer reliable sources of information on Ballet Barre topics

The School of American Ballet
https://www.sab.org/

New York City Ballet
http://www.nycballet.com/

New York Choreographic Institute
http://www.nycballet.com/About/New-York-Choreographic-Institute.aspx

American Ballet Theater Dictionary
http://www.abt.org/education/dictionary/

http://ballethub.com/ballet-lesson/

Publications

Some of the print resources contained in this list may be out of print. They have been included because they may still be available from libraries, bookshops and private collections.
At the time of publication the URLs (website addresses) cited were checked for accuracy and appropriateness of content. However, due to the transient nature of material placed on the web, their continuing accuracy cannot be verified. Teachers are strongly advised to prepare their own indexes of sites that are suitable and applicable to the courses they teach, and to check these addresses prior to allowing student access.

Special thanks to Hallie Edmonds, M.A., Dr. Blake Martin and Victorian Curriculum and Assessment Authority in aiding the compilation of the list below.

Solomon, R., Solomon J., & Minton S. C. (Eds.). (2005). Preventing dance injuries
(2nd ed.). Champaign, IL: Human Kinetics Books.
Arnheim, D. (1985). Modern principles of athletic training (6th ed.). St. Louis: Mosby College Publishing.
Arnheim, D. (1991). Dance injuries: Their prevention and care (3rd ed.). Princeton, NJ: Princeton Books.
Bartenieff, I., with Lewis, D. (1980). Body movement: Coping with the environment. New York: Gordon and Breach, Science Publishers.
Clippinger, K. (2006). Dance anatomy and kinesiology. Champaign, IL: Human Kinetics.
Dowd, I. (1990). Taking root to fly (2nd ed.). North Hampton, MA: Contact Collaborations.
Franklin, E. (1996). Dynamic alignment through imagery. Champaign, IL: Human Kinetics.
Friedman, P., & Eisen, G. (1980). The Pilates method of physical and mental conditioning. Garden City, NY: Doubleday and Company.
Hamilton, N., Weimar, W., & Luttgens, K. (2008). Kinesiology: Scientific basis of human motion (11th ed.). Boston, MA: McGraw-Hill.
Knight, K. L., & Draper, D. O. (2008). Orthopedic injury, immediate care, and healing. In Therapeutic modalities. (pp. 38-89). Baltimore, MD: Lippincott, Williams, & Wilkins.
McArdle, W., Katch, F. & Katch, V. (2001). Exercise physiology: Energy, nutrition and human performance (5th ed.). Philadelphia/London: Lippincott, Williams & Wilkins.
Rasch, P. J., & Burke, R. R. (1978). Kinesiology and applied anatomy. Philadelphia: Lea & Febiger.

Ryan, A. J., & Stephens, R. E. (1987). The healthy dancer: Dance medicine for dancers. Princeton, NJ: Dance Horizon Books.
2 hell, C. G. (Ed.). (1986). The dancer as athlete. Champaign, IL: Human Kinetics Publishers, Inc.
Sweigard, L. E. (1974). Human movement potential: Its ideokinetic facilitation. Lanham, MD: University Press of America.
Todd, M. E. (1937). The thinking body: A study of balancing forces of dynamic man. New York: Paul B. Hoeber, Medical Book Department of Harper & Brothers.
Watkins, A., & Clarkson, P. M. (1990). Dancing longer, dancing stronger. Princeton, NJ: Princeton Book Company
Agur, Anne M.R., & Dalley, Arthur F. (2012). Grant’s Atlas of Anatomy 13th Ed.; LLW
Clarkson, P. M., & Skrinar, M. (1988). Science ofdance training. Champaign, IL: Human Kinetics Publishers.
Franklin, E. (2004). Conditioning for dance: Training for peak performance in all dance forms. Champaign, IL: Human Kinetics
Franklin, E. (1996). Dance imagery for technique and performance. Champaign, IL: Human Kinetics
Franklin, E. (1996). Dynamic alignment through imagery. Champaign, IL: Human Kinetics
Greene Haas, J. (2010). Dance anatomy. Champaign, IL: Human Kinetics Grant, Gail (1982). Technical Manual and Dictionary of Classical Ballet.
Dover Publications, Inc. Third Revised Edition.
Grieg, V. (1994). Inside ballet technique: Separating anatomical fact from fiction in
the ballet class. Highstown, NJ: Princeton Book Company.
Moore, Keith L. & Dalley, Arthur F. (2009). Clinically Oriented Anatomy 6th
Ed. Lippincott Williams and Wilkins.
Paskevska, A. (1988). Both sides of the mirror: The science and art of ballet. (2nd
ed.). Highstown, NJ: Princeton Book Company.
Thomasen, E., & Rist, R. (1996). Anatomy and kinesiology for ballet teachers. London: Dance Books Ltd.
American Ballet Theatre Ballet Dictionary: http://www .abt.org/education/dictionary/

DOWNLADABLE ARTICLES
Balancing the Brain through Movement Awareness www.wellnesscke.net/downloadables/spins.pdf
Relax to Focus: Movement Activities to Connect Different Pathways in the Brain
www.wellnesscke.net/downloadables/relax-to-focus.pdf
Using Movement to Teach about Erosion and Recycling
www.wellnesscke.net/downloadables/CKE-Recycling.pdf
Conflict Resolution and the Body
www.wellnesscke.net/downloadables/Body-Cues-Conflict.pdf
“Dance Science and the Dance Technique Class” Donna Krasnow, MS, York University; Steven J. Chatfield, PhD, University of Oregon http://www.citraining.com/pdfs/Dance-Science-and-Dance-Technique-Class.pdf

BOOKS
General
Boorman, J 1973, Dance and Language Experiences with Children, Longman, Canada.
Cohen, R 1986, The Dance Workshop, Gaia, London, UK.
Defrantz, T 2004, Dancing revelations: Alvin Ailey’s embodiment of African American culture. Oxford University Press , New York, USA.
De Mille, A 1991, Martha: The Life and Work of Martha Graham, Random House, New York, USA.
Dennison, P 1975, Brain Gym, Edu-Kinesthetics Inc, Glendale, Canada.
Ellis, B 1994, Teaching Academics through movement: a handbook for regular education and specila education teachers K–6, Teaching Dance Education Org, USA.
Faelli, R 2006, The beat of the drum: African rhythms. Blake Education, Clayton South, Vic.
Gibbons, P 1993, Learning to Learn in a Second Language, Heineman, Portsmouth, NH.
Gilbert, AG 1998, Brain – Compatible dance education, The American Alliance for Health, Physical Education, Recreation and Dance, USA.
Gilbert, AG 1998, Creative Dance for all ages, The American Alliance for Health, Physical Education, Recreation and Dance, USA.

Griss, S 1998, Minds in Motion: A kinesthetic approach to teaching elementary curriculum, Heinemann, New Hampshire, USA.
Hanaford, C 1995, Smart Moves, Great Ocean Publishers, Arlington, USA.
Hatchett, F &Myers Gitlin, N 1994, Frank Hatchett’s Jazz Dance, Dance Books, London. UK.
Howard, P 2007, AQA GCSE Performing Arts: Dance, Phillip Allan Updates, London, UK.
Jensen, E 1998, Teaching with the brain in mind, Great Ocean Publishers, Alexandria, USA.
Jensen, E 2000, Learning with the body in mind, The Brain Store, San Diego, USA.
Kaufmann, K 2006, Inclusive creative movement and dance, Human Kinetics, Champaign, IL, USA.
Krashen, S 1982, Principles and Practice in Second Language Acquisition, Language Teaching Methodology Series, Oxford, UK.
McGreevy –Nichols, S, Scheff, S & Sprague, M, 2006, Dance about anything (includes a CD-ROM), Human Kinetics, Champaign, IL, USA.
Noisette, P 2011, Talk about contemporary dance, Flamarion, New York, NY, USA.
Patterson, MN 1997, Everybody can learn, Zephyr Press, Tucson, USA.
Redfern, B 1973, Concept in Modern Educational Dance, Henry Kimpton, London, UK.
Ross, A & Rose, T (ed.) 1994, Microphone Fiends: Youth Music and Youth Culture, Routledge, London, UK.
Russell, J 1963, Creative Dance in the Primary School, Macdonald and Evans Ltd, London, UK.
Russell, J 1963, Creative Dance in the Secondary School, Macdonald and Evans Ltd, London, UK.
Selmon, S 1999, Let’s Lindy, Dance Books, London, UK.
Smith-Autad, JM 2002, The art of dance in education, Black, London, UK.
Zakkai, JD 1997, Dance as a way of knowing, Stenhouse Publishers, Maine, USA.
Dance technique
Abbs, P (ed.) 1987, Living Powers: The Arts in Educations, The Falmer Press, London, UK.
Adshead, J 1988, Dance Analysis: Theory and Practice, Dance Books Ltd, Hampshire, UK.
Adshead, J 1981, The Study of Dance, Dance Books Ltd, Hampshire, London, UK.
Ashley, L 2002, The Essential Guide to Dance, 2nd edn, Hodder Arnold, London, UK.
Au, S 2002, Ballet and Modern Dance, 2nd edn, Thames & Hudson, London, UK.
Austin, R 1982, The Art of the Dancer, Barrie & Jenkins, UK.
Banes, S 1987, Terpsichore in Sneakers: Post-Modern Dance, Wesleyan University Press, New England.
Brasch, N 2005, Dance. Port Heinemann Library, Melbourne, Vic.
Cohan, R 1986, The Dance Workshop: A Guide to the Fundamentals of Movement, Simon & Schuster Inc., New York.
Craig, A (ed.) 1996, Mike Jackson’s Bush Dance: 30 best-loved bush and folk dances, Bluegum Music, Mt. Gravatt, QLD, Australia.
Cutcher, J 2004, Gotta dance!: the rhythms of jazz and tap. Rosen Central, New York, USA.
Dodd, C 1996, Bluff Your Way in Ballet, Schirmer, New York, USA.
Dufort, A 1990, Ballet Steps: Practice to Performance, Clarkson Potter, London, UK.
Fitt, SS 1996, Dance Kinesiology, Schirmer (first published 1988), New York, USA.
Franklin, E 1996, Dance Imagery for Technique and Performance, Human Kinetics, Illinois, USA.
Franklin, EN 2004, Conditioning for Dance: Training for peak performance in all dance forms, Human Kinetics, USA.
Frawley, L 1988, Black dance: From 1619 to today, Princeton Book Company, Pennington, New Jersey, USA.
Giordano, G 1978, Jazz Dance Class. Beginning thru Advanced, Orion publishing, Evanston, Illinois, USA.
Glasstone, R 1975, Classical Ballet Terms: An Illustrated Dictionary, Orion publishing, Evanston, Illinois, USA.
Grieg, V 1994, Inside Ballet Technique: Separating Anatomical Fact from Fiction in the Ballet Class, Princeton Book Company, Pennington, New Jersey, USA.
Harrison, K, Leyton, J & Morris, M 1989, Bright Ideas – Dance and Movement, Leamington Spa, Scholastic, UK.
Harrison, K 2002, Dancework: Introducing dance skills. User Friendly Resources, Annandale, NSW.
Hodgson, J 2001, Mastering Movement: The Life and Work of Rudolf Laban, Methuen Publishing, London, UK.
Jordan, S 1992, Striding Out: Aspects of Contemporary and New Dance in Britain, Dance Books Ltd, Hampshire, UK.
Kerner, M 1990, Barefoot to Balanchine: How to watch dance, Anchor Books, New York, USA.
Laird, W 1994, The Ballroom Dance Pack, DK Publishing, New York, USA (includes CD, step card and feet templates).
Levien, J 1991, Duncan Dance: A guide for young people ages 6–16, Princeton Book Company, Pennington, New Jersey, USA.
Luigi, L, Person Kriegel, L & Roach FJ 1997, Luigis Jazz Warm up and Introduction to Jazz Style and Technique, Chichester: John Wiley & Sons, London, UK.
Lockhart, AS & Pease, EE 1982, Modern Dance: Building and Teaching Lessons, William Brown, Dubuque, Iowa, USA.
Mettler, B 1972, Basic Movement Exercises, Mettler Studios, Tuscon, Arizona, USA.
Moody, W 1990, Artistic Intelligences Implications for Education, New York Teachers’ College Press, New York, USA.
Morgenroth, J 1987, Dance Improvisations, University of Pittsburgh Press, Pittsburgh, USA.
Octigan, S 1990, That’s Dancin’, ABC Books, Melbourne, Australia.
Partsch-bergsohn, I 1993, Modern dance in Germany and the United States: Cross currents and influences, Harwood Academic Publishers, Philadelphia, USA.
Penrod, J & Plastino, J 1998, The Dancer Prepares: Modern Dance for Beginners, 5th edn, Mayfield Publishing, California, USA.
Perces, M, Forsythe, AM & Bell, C 1992, The Dance Technique of Lester Horton, Princeton Book Company, Pennington, New Jersey, USA.
Redfern, B 1983, Dance, Art and Aesthetics, Dance Books Ltd, London, UK.
Reeve, J 2011, Dance Improvisations, Human Kinetics.
Reynolds, N & Reimer, S 1991, Dance Classics: A Viewer’s Guide to the Best-Loved Ballets and Modern Dances, A Capella Books, Chicago, USA.
Schonberg, B 1993, World ballet and dance 1992–1993 (vol. 4), Dance Books Ltd, London, UK.
Sherbon, E, 1975, On the Count of One: Modern Dance Methods, Mayfield, California, USA.
Shurr, G & Yocom, RD 1980, Modern Dance Techniques and Teaching, Princeton Book Company, Pennington, New Jersey, USA.
Silvester, V 1974, Modern Ballroom Dancing: History and Practice, Barrie & Jenkins, UK.
Silvester, V 2005, Modern Ballroom Dancing, Trafalgar Square Publishing, USA.
Snook, B 2004, Dance…Count me in, McGraw Hill, Sydney, Australia.
Spurgeon, D 1991, Dance Moves – From Improvisation to Dance, Harcourt Brace Jovanovich Group, Marrickville, NSW, Australia.
Teck, K 1990, Movement to Music: Musicians in the Dance Studio, Greenwood Press, New York, USA.
Weikart, PS 2003, Teaching Movement & Dance: A Sequential Approach to Rhythmic Movement, 5th edn, High Scope Press, Michigan, USA.
Wright, JP 2002, Social Dance: Steps to Success, 2nd edn, Human Kinetics, Champaign, Illinois, USA (includes CD audio).
Dance perspectives – History
Al-Rawi, R 2001, Belly dancing: unlock the secret power of ancient dance, Robinson, London, UK.
Anderson, J 1993, Ballet and Modern Dance: A Concise History, 2nd edn, Princeton Book Company, Pennington, New Jersey, USA.
Arbeau, T 1995, Orchesography: Treatise in the format of a dialogue, Dover Publishing, New York, USA.
Au, S 2002, Ballet and Modern Dance, 2nd edn, Thames & Hudson, London, UK.
Barton, L 1961, Historic Costume for the Stage, Baker, Boston, USA.
Binney, E 1985, Glories of the Romantic Ballet, Dance Books Ltd., London, UK.
Cheney, G 1989, Basic Concepts in Modern Dance: A Creative Approach, 3rd edn, Princeton Book Company, Pennington, New Jersey, USA.
Clark, M & Crisp, C 1981, The History of Dance, Crown Publishing Group, New York, USA.
Erkert, J 2003, Harnessing the Wind, The Art of Teaching Modern Dance, Human Kinetics, Leeds, UK.
Fonteyn, M 1984, The Magic of Dance, Knopf, New York, USA.
Giordano, G, 1975, Anthology of American Jazz Dance, Orion publishing, Evanston, Illinois, USA.
Hatchett, F & Nmyers-Gillin, N 2000, Jazz Dance, Human Kinetics, Leeds, UK.
Kassing, G 2007, History of dance: an interactive arts approach, Human Kinetics, Champaign, IL, USA.
Koegler, H (ed.) 1982, The Concise Oxford Dictionary of Ballet, Oxford Paperbacks, Oxford University Press, Oxford.
Kraus, R, Hilsendager, S & Dixon, B 1991, History of the Dance in Art and Education, Prentice Hall, Englewood Cliffs, New Jersey, USA.
Mazo, JH 2000, Prime Movers: The Makers of Modern Dance in America, 2nd edn, Princeton Book Company, Pennington, New Jersey, USA.
Oliver, W 2010, Writing about Dance, Human Kinetics.
Potter, M 1997, A Passion for Dance, National Library of Australia, Canberra, ACT, Australia.
Preston-Dunlop, V 1998, Looking at Dances: A Choreological Perspective on Choreography, Ightham: Verve, Great Britain.
Pask, EH 1979, Enter the Colonies Dancing: A History of Dance in Australia 1835–1940, Oxford University Press, Melbourne, Australia.
Quirey, B 1987, May I Have the Pleasure? The Story of Popular Dancing, London, UK.
Roseman, JL 2001, Dance Masters: Interviews with Legends of Dance, Routledge, New York, USA.
Shapiro, S 1998, Dance, Power and Difference: Critical and Feminist Perspectives on Dance Education, Human Kinetics, Leeds, UK.
Siegel, MB 1993, Days on Earth: The Dance of Doris Humphrey, Duke University Press, Durham, North Carolina, USA.
Steeh, J 1982, History of Ballet and Modern Dance, Bison Books Ltd, London, UK.
Waters, R, 2007, Hip-hop: a short history, Mason Crest Publishers, Broomall, PA.
Dance perspectives – Anatomy
Anderson, B 2000, Stretching, Shelter Publications Inc., California, USA.
Arnheim, D 1991, Dance Injuries: Their Prevention and Cure, 3rd edn, Princeton Book Company, Pennington, New Jersey, USA.
Berardi, G 2005, Finding Balance: Fitness, Training and Health for a Lifetime in Dance, 2nd edn, Princeton Book Company, Pennington, New Jersey, USA.
Blakey, W.P, 1992, The Muscle Book, Stafford: Bibliotek.
Clippinger, K 2007, Dance Anatomy and Kinesiology, Human Kinetics.
Ellsworth, A 2009, Pilates Anatomy, Hinkler Books, Victoria, Australia.
Fitt, SS 1996, Dance Kinesiology, 2nd edn, Wadsworth Publishing, London, UK.
Franklin, E 1996, Dynamic Alignment Through Imagery, Human Kinetics, Europe.
Franklin, E 2004, Conditioning for Dance: Training for peak performance in all dance forms, Human Kinetics.
Geeves, T 1990, Safe Dance Project Report: A report on dance injury prevention and management in Australia, AADE, Canberra.
Hass, Jacqui Green 2010, Dance Anatomy, Human Kinetics, Australia.
Howse, J & Hancock, S 1992, Dance Technique and Injury Prevention, 2nd edn, A&C Black, London, UK.
Kapit, W & Elson, LM 2001, The Anatomy Colouring Book, 3rd edn, Benjamin Cummings, Pearson Education, London, UK.
Kennedy, P 1970, The Moving Body, Faber and Faber, London, UK.
Levy, F 2005, Dance Movement Therapy: A Healing Heart, National Dance Association, Virginia, USA.
Olson, A 1998, Bodystories: A Guide to Experimental Anatomy, Barrytown, New York, USA.
Ryan, AJ, & Stephens, RE (eds) 1989, The Healthy Dancer: Dance medicine for dancers, Princeton Book Company, Pennington, New Jersey, USA.
Spilken, T 1990, The Dancer’s Foot Book: A Complete Guide to Foot Care, A Dance Horizons Book, Princeton Book Company, Pennington, New Jersey, USA.
Sutcliffe, J & Eckersley, R 1999, The Body Maintenance Manual, Reader’s Digest Assn, Ltd., London, UK.
Watkins, A & Clarkson, P 1990, Dancing Longer, Dancing Stronger: A Dancer’s Guide to Improving Technique and Preventing Injury, Princeton Book Company, Pennington, New Jersey, USA.
Dance – Choreography
Adshead, J 1987, Choreography Principles and Practice, NRCD, London, UK.
Anderson Sofras, P 2006 Dance Composition Basics, Human Kinetics.
Banes, S 1987, Terpsichore in Sneakers: Post-Modern Dance, Wesleyan University Press, New England.
Berkson, R 1990, Musical Theatre Choreography: A Practical Method for Preparing and Staging Dance in a Musical Show, A&C Black, London, UK.
Blom, LA & Chaplin, LT 1982, The Intimate Act of Choreography, University of Pittsburgh Press, Pittsburgh, PA.
Blom, LA & Chaplan, LT 1988, The Moment of Movement: Dance Improvisation, University of Pittsburgh Press, Pittsburgh, PA.
Cohan, R, 1986, The Dance Workshop, Gaia, London, UK.
Cheney, G 1989, Basic Concepts in Modern Dance: A Creative Approach, 3rd edn, Princeton Book Company, Pennington, New Jersey, USA.
Cooper, S 1998, Staging Dance, A & C Black, London, UK.
DooLittle, L & Flynn, A 2000, Dancing bodies, living histories: new writings about dance and culture, Banff, AB: Banff Centre, USA.
Duffy, NW 1982, Modern Dance: An Adult Beginners’ Guide, Prentice Hall, New York, USA.
Ellfeldt, L 1988, A Primer for Choreographers, Waveland Press Inc., Illinois, USA.
Friedman, L 2003, Alvin Ailey dance moves!: A new way to exercise, Stewart, Tabori and Chang, New York, USA.
Harrison,K & Auty, J 1991, Dance Ideas for Teachers, Students and Children, Hodder & Stoughton, London, UK.
Hayes, E 1993, Dance Composition and Production, 2nd edn, Princeton Book Company, Pennington, New Jersey, USA.
H’Doubler, MN 1998, Dance: A Creative Art Experience, 2nd edn, University of Wisconsin Press, Madison.
Hinkley, C 1980, Creativity in Dance, Alternative Publishing, Chippendale.
Humphrey, D & Pollack, D 2007, The Art of Making Dances, Dance Books (first published 1959), London, UK.
Hutern, D 2007, The Rough Guide to Choreography, Dance Books, London, UK.
Jones, M 1998, God’s people on the Move: A manual for leading congregations in dance and movement, Christian Dance Fellowship of Australia.
Laban, R & Ullmann, L (ed.) 1988, Modern Educational Dance, Northcote House Educational Publishers, Plymouth.
Meri, La 1965, Dance Composition: The Basic Elements, Jacob’s Pillow Dance Festival, Lee, Massachusetts, USA,
Leitch, A 1999, Concise Definitions of Universal Dance Terms, 2nd edn, Geelong School Suppliers, Geelong, Victoria.
Martyn, L 1985, Let Them Dance, Astam, Stanmore, NSW, Australia.
McGreevy-Nichols, S, Scheff, H & Sprague, M 2005, Building Dances: A Guide to Putting Movements Together (2nd edn), Human Kinetics, Champaign, IL, USA.
Mettler, B 1979, Materials of Dance as a Creative Art Activity, Mettler Studios, Tuscon, Arizona.
Minton, SC 1997, Choreography: A Basic Approach Using Improvisation, 2nd edn, Human Kinetics, Europe.
Morgenroth, J, 2004, Speaking of Dance: Twelve contemporary choreographers on their craft, Lee, Massachusetts, USA.
Preston-Dunlop, V 1995, Dance Words, Chur, Harwood, Switzerland.
Preston-Dunlop, V 1998, Looking at Dances: A Choreological Perspective on Choreography, Verve Publishing, London, UK.
Redfern, B 1982, Concepts of Modern Educational Dance, Princeton Book Company, Pennington, New Jersey, USA.
Scheff, H, Sprague, M & McGreevy-Nichols, S 2010, Exploring Dance Forms and Style, Human Kinetics.
Schlaich, J, Du Pont, B & Sande, R (eds) 1999, Dance: The Art of Production, 3rd edn, Princeton Book Company, Pennington, New Jersey, USA.
Schrader, CA 2004, A Sense of Dance: Exploring Your Movement Potential, 2nd edn, Human Kinetics, Champaign, Illinois, USA.
Sherbon, E 1982, On the Count of One: Modern Dance Methods, Mayfield Publishing Company, Mountain View, California, USA.
Smith-Autard, J 2004, Dance Composition: A Practical Guide for Teachers, A&C Black, London, UK.
Sunderland, M 1999, Choreographing the Stage Musical, Cressrelles Publishing Company Ltd, UK.
Tufnell, M & Crickmay, C 1993, Body Space Image, Dance Books (first published 1990), London, UK.
Dance – Safety
Blakey, WP 1992, Stretching Without Pain, Stafford: Biblotek.
Howse, J 1992, Dance Technique and Injury Prevention, A&C Black (first published 1977), London, UK.
Koutedakis, Y & Sharp, NCC 1999, The Fit and Healthy Dancer, Chicester: John, Wiley & Sons, London, UK.
Norris, CM 1999, Complete Guide to Stretching, A&C Black, London, UK.
Vincent, MD 1980, The Dancers’ Book of Health, Dance Books, London, UK.

Professional Resources

IBBFA is one of the World’s foremost organizations in establishing Barre Fitness standards of safe, effective, and quality workout regime. We associate to promote excellence in instruction, choreography, performance and teaching. IBBFA nurtures the growth of Barre Fitness education and appreciation of Ballet Barre based workout thought local and international communities.
As such, IBBFA is proud to offer Professional Resources in support and development of Barre Fitness Education.

If you’d like to have your professional resources considered for inclusion on this site, please contact us at info@ibbfa.org with your request.

Code of Ethical Conduct

Code of Ethical Conduct

IBBFA upholds the highest Ethical standards of the Fitness Industry. All those participating or associated with IBBFA are required to abide by principles of professional conduct whether working with clients, the public or other health and fitness professionals. The Code of Ethics is founded on honesty, veracity, confidentiality, justice, respect and autonomy. This Code does not replace the principles and procedures adopted by employing bodies, relevant legislation nor do they deny other rights within society not specifically mentioned.

All those associated with IBBFA will:
• Provide safe and effective instruction.
• Provide equal and fair treatment to all clients.
• Maintain clear and transparent records for the information of clients, legal purposes, and to record fitness services.
• Stay up-to-date on the latest health and fitness research and understand its practical application.
• Comply with all applicable business, employment and intellectual property laws.
• Uphold and enhance public appreciation and trust for the health and fitness industry.
• Maintain the confidentiality of all client information.
• Refer clients to more qualified health or medical professionals when appropriate.
• Establish and maintain clear professional boundaries.

A violation of IBBFA Code of Ethical Practice may result in probation, with more grieve violations, or repeated offenses, resulting in the loss of certification.

Board of Directors

Board of Directors

Hallie Edmonds, MA, PhD candidate. Hallie is pursuing her PhD in physical anthropology with a concentration in biomechanics and anatomy. Halle is a biological anthropologist who studies biomechanics and functional anatomy.

Andrea L. Alden

Lisa Juliet

Emily Porter

Governance

Governance

Directors provide logistical support for the main IBBFA functions; they update the IBBFA website; they write and maintain registration and scoring for the certification programs; they maintain a membership database; they develop marketing materials such as business cards and advertising brochures; they produce and distribute to members a quarterly newsletter; they develop artwork for merchandise; they manage an online store; they answer emails; they review legal documents and contracts; they manage finances, pay bills, file taxes, deposit checks, keep records; they attend meetings; they develop policies for running competitions and for managing the organization. Different directors do different tasks. Each director serves on one or more of several committees. Committee members report to committee chairs. The board elects officers including a president. The president provides organizational vision and ensures that all necessary tasks get done.

Vision

Vision

IBBFA originated in a shared believe that anyone should be able to experience the joy of dance, and connect with the grace, discipline and health benefits of safe and effective ballet inspired workout.
Consumers will demand services only from individuals credentialed by programs meeting Institute for Credentialing Excellence recognized standards.

IBBFA seeks to be recognized as the world leader in providing accessible, quality, advanced Ballet Barre fitness education and personal training certification to the motivated, non-traditional learner/professional who seeks to be a leader in the emerging Ballet Barre fitness industry-a fast-growing market sector of the global economy. IBBFA is known for providing new levels of access to motivated, non-traditional students who have not had the opportunity for advanced fitness education and personal trainer certification for reasons of time, money, or geography. IBBFA is a leader in the innovative use of technology that creates new standards in assessment and achievement of academic excellence. IBBFA has earned a reputation for understanding and meeting the changing needs of its students, their clients, and their communities, as well as for excellence in student and alumni services and support.

IBBFA is currently focus on providing expanded access to the highest quality Ballet Barre fitness education programs available. Currently our industry is not regulated on a city, state, federal or international level; at IBBFA we want to expand the vision of Barre Fitness as a safe, effective, workout showing immediate results, and give qualified Barre Fitness students access not only to excellent Barre Fitness Teachers, but also a chance to earn Barre Fitness Certification and in turn become teachers themselves, sharing their passion for Ballet Barre worldwide.

IBBFA is leading organization in delivering comprehensive cognitive and practical distance education for Ballet Barre fitness professionals, grounded in industry research, using both traditional and innovative modalities. IBBFA upholds Basic Exercise Standards and Guidelines for safe fitness practices.

In view of our leadership role as Barre fitness educators, we are also unconditionally committed to advancing Ballet Barre Fitness industry as a whole and to developing greater access to career opportunities for those who share our vision of helping others live a healthier life. Our overall objective is to provide a continuum of education in order to bring recognition and excellence to Barre Fitness as a whole.

Mission

Mission

The Mission of IBBFA is to advances credentialing through education, standards, research, and advocacy to ensure excellence in Ballet Barre Fitness. Only the very best and most effective material that stood the test of time with thousands of clients and hundreds of instructors, was put together to create highest quality programing for IBBFA certified Barre Fitness workouts.

IBBFA firmly believes that the health and fitness of numerous people can be significantly improved by access to safe, effective and qualified Ballet Barre Fitness workout. We strive to encourage the population to adapt an effective workout routine, and believe Ballet Barre, presented as a safe and effective, certified fitness regiment, will not only show quick results that will encourage the students to continue to work out, but would do so in a supportive, encouraging and fun atmosphere. Our mission is to inspire each and every Barre Certified Teacher to share the passion for Ballet Barre and to positively impact the quality of life of each individual with whom they come in contact.

As a distance education institution and certifying agency, IBBFA is unconditionally committed to providing the highest quality distance education programs available, advancing Ballet Barre Fitness as a whole, and developing greater access to career opportunities for those who share our mission of Creating a Stronger, Healthier World.

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