What is it like in choreography? Classic Verstat
People stop dancing because they are getting old,
They grow old because they stop dancing.
“What does choreography and classical dance have to do with it!?” - you will say, having finished reading this side. And I’ll explain this to you right away.
Whatever the family, whatever the view, there is a basis for mysticism. So, you can perform different dance forms directly, but the basis will be the same – choreographic.
And I respect not the clarity of the choreographic knowledge itself, which includes all the subtleties of complex mastery, but the knowledge of the basic techniques and rules.
And it’s not scary at all, since in childhood you didn’t study ballet or anything like that before. It is entirely enough to learn the most important points and learn to follow them when learning Arabic (or any other type) dance.
I would like to suggest that more often than not (for example, once a week) you should engage in classical choreography, or body ballet, which is an easier option for beginners.
In the dance, the position of the arms, legs and body is important (the main positions and positions), as well as the pointed toe, the extended foot and knee (the basics of twisting).
The established technique of classical choreography will help you to successfully master folding arms and joints (for example, turns with a swing of the head), and also by doing exercises to develop the correct coordination of the body in the space and time of trimming the movements. novagu.
If you have no experience of classical dance, their dressing would definitely be of benefit to you. It’s not like you’re going to get too embarrassed because of this extravagance! You can completely live without them:))) Knowing the choreographic basis undoubtedly raises your dance to a more serious level, approaching it to a professional level.
BASICS OF CLASSICAL CHOREOGRAPHY
CHOREOGRAPHY(Greek choreia - dance and grapho - writing) -
1) record of the dance (pochatkove meaning);
2) dance mystique in all its varieties.
Choreographic mystique is based on the musically organized, mental, figurative structures of the human body. It is at first synthetic, because the pose is like music, which enhances the expressiveness of dance plasticity, which gives it an emotional and rhythmic basis, it cannot be ignored.
At the same time, choreography is a visual mysticism, where the significance arises as the time-consuming and spacious composition of the dance, the visible image of the dances (including the role of costume, decorative design, etc.).
The main form of choreography is ballet, which is also a different type of musical theater. Throughout its history, the professional mystique of choreography has evolved into folk dance, incorporating and introducing a wealth of elements.
Today's choreography includes everyday dance (folk and ballroom) and stage dance (variety and ballet). In ballet, choreography is the center of the synthesis of mysticism, organically incorporating music and theater.
The system of classical dance has divided positions of the legs, arms, body and head, and also strictly demarcates a number of groups of arms, which include the following concepts:
zginati (plier - plie),
vityaguvati (etendre - etander),
raise (relever - releve),
kovzati (glisser-glise),
stribati (sauter – soti),
kidati (elancer - elans),
turn (tourner-tour).
For a mechanical sense, a classical dance involves a transition from one position to another with the help of transfers of arms.
The viconn of dance rights "beau verstat" (French exercice a la barre, English exercise at the bar) brings great vigor, stability and balance. Right at the verstat the lesson of classical and characteristic dances begins.
VIVORITY- the dancer’s position is up to the full throat of the neck from the front to the tips of the fingers (the foot is parallel to the line of the shoulders).
Curiosity can be innate, which lies with the head rank in the form of kulshovyh corners, or added with the way to the right.
Virtuality is a necessary intellectual element of classical dance, because bending the legs in a ball joint significantly expands the versatility of the human body.
Pose- the song is placed on the body, legs, arms and head.
The main positions of classical dance: croisee, effacee, ecartee and arabesques. The poses are divided into great and small, lying down, including raising the leg or being on the underside. There are options for poses that can be created by changing the position of the hands and the position of the head.
POSITIONS- the basic position of the legs (or more precisely, the position of the feet on the underside) and hands in classical dance.
The positions ensure that all dancers have the correct appearance of the skin pas, coordinate the harmonious movement of the figure in the open space, and indicate the grace and expressiveness of the dance. Positions were established in dance practice starting from the 17th century. From the main positions, the absence of secondary provisions is established. Positions are based on the principle of rotation.
FINGERS- position of one or two feet on the underside,
When the heel is raised, the body is on the front of the foot. Toes can be low, medium or high.
ABC OF CLASSICAL DANCE
Basic positions of classical dance
In all these positions, it is important to respect that the support sits on the offending legs step by step.
I position- feet, with their heels pressed together, spread out with scallops on their sides, creating a straight line on the underside (180°).
2nd position- legs are on the same foot side, one foot at a time, with the scallops apart (180°).
ІІІ position- the heels of one foot are placed to the middle of the foot of the other leg, the heels are spread apart (180°).
IV position- one leg is in front of the other on the instep of one foot; the toe of the foot that stands in front is opposite the heel of the foot that stands behind.
V position- the feet, tightly fitting, close each other (the heel of one foot touches the toe of the other).
All listed positions are called “open positions”. There are also direct, open and closed positions.
Basic hand positions in classical dance
Iposition- Rounded in the elbows and hands, the arms are lowered down at the same level as the diaphragms, lightly strengthened against the body.
2nd position- Arms spread to the sides at the same level as the shoulders.
ІІІ position- The arms are rounded at the elbows and raised high above the head.
From the main positions, the absence of secondary provisions is established.
Basic positions in classical dance
Riven building- the ridge is at the physiological stage.
Nakhil ahead- The ridge is curved at the transverse section, the body lies in front of the waist.
Nahil back- The body extends from the waist to the back.
Nakhil ubik- Body from the waist to the edges (to the right or to the left).
Tulub twisting- Rotate the upper part of the tollub in relation to the lower part, along the later axis.
BASIC UNDERSTANDINGS OF CLASSICAL DANCE
Twist- open the hip joint and gomilkovostopny suglobakh.
Support leg- the leg, which transfers the center of gravity to the dancer’s body, is independent of the arm.
Practicing leg- a leg that is stretched against the heaviness of the body and rests the arm on the underside or in the wind, if the heaviness of the body falls on the supporting leg.
Vytyagnuti- stiffens when the legs are straightened at the knees and hips for an hour.
Raise- stand up when lifting your legs with the instantaneous indication of the position of the knee and the riser.
Put- stiffens when the foot is placed on the toe or heel without transferring the heaviness to the body.
Vіdvesti- the legs stiffen under the hour of movement (to the right and to the left), then back, back to the right and back to the left.
Let us know(Foot to toe) - when moving, it is possible to position the leg to the supporting leg without transferring the heaviness of the body to the supporting leg. The roc can be twisted without a screw under the lining or with a raised foot.
Conduct- stand up under the hour and move your foot behind three straight lines: forward, forward-right, forward-left, weight on the body on the supporting nose.
Raise- stiffens when the leg is slightly raised from the designated position of the knee and the heel.
Put it on(Foot to toe) - it becomes stagnant when the weight of the body is divided on the offended legs for one hour.
Substitute(Foot to toe) - stiffens when the weight of the body is transferred for one hour to the leg that is being presented.
Step over- stand on the spot, with a small amount of movement, when placing the leg that is working, up to the supporting leg, with the immediate transfer of heaviness to the body.
Jump over- You get stuck when replacing your legs with another haircut.
Jump up (jump up)- it becomes stagnant with a small, perhaps tricky trim on two or one nose (it is possible to jump from prodding).
Stomp- stiffening when the weight of the body is transferred for one hour to the leg, which hits the frame.
Vdarity- stiffen when a blow is thrown without transferring the heaviness of the body to the leg that hits.
The leg is twisted- the leg is bent at the knees and on the hips.
Leg bent- Squatted position.
Kick- stiffens when the legs are raised suddenly or violently.
Vipad- one gets stuck in the hour of collapse, which has the character of falling on a crippled leg with the instantaneous bending of the knee of the working leg.
Stribok- stand up for the great haircut: on the spot or with the prosuvannyam.
Croc on the foot- Stiffness, if the leg was raised before the croque.
Krok foot- Rukh, when the body is suddenly crippled, the body is transferred to the crippling leg.
The staircase is retracted- the leg is stretched at the heel, the toes are stretched.
The rise of shortenings- the leg is very shortened at the heel, the toe is raised.
Position of the beveled bottom- the foot is retracted and turned into a flat-footed angle with the toe in the middle.
Leg on the rib of the foot- position, when the foot is placed on the edge of the outer or inner side of the foot.
Low toes- a few heels are separated from subtexts.
Middle fingers- the heel is raised above the heel.
High toes- the heels are raised high above the bottom.
Leg on the nose- the foot stands on the tip of the great toe, with the heel extended.
Fingers- dance on the ends of the fingers with the heel extended.
TERMINOLOGY OF CLASSICAL DANCE
Pas (pa)- croc; rukh and combination of rukhs; Vikoristovuetsya as equivalent to the concept of "dance".
Croisee- a pose where the legs are crossed, one leg covers the other.
Efface- ignite the position of the body and nig.
Ecartee- bring in, open; a pose in which the entire figure is rotated diagonally.
Arabesque (arabesque)- A pose in which the knee is stretched with the leg raised back.
Attitude- A pose in which the knee is bent with the leg raised back.
Plie- Squat on two or one nose.
Demi-plie (demi pli)- a little squat, without squeezing your heels.
Grand-plie (grand plie)- a large squat, a knee bent to the edge, with a twisted heel in front of the foot.
Port de bras- to the right for the arms, body, head; they hurt the body and head.
Pas de bourree- carb dancing dance step, stepping with a small step.
Petit (pt_)- Small.
Demi (demi)- Average, small.
Grand- Great.
Battement- Rosmah, bittya.
Fondu (fondue)- tane rukh.
Rond- Rotate your foot along a circular path.
Releve- Walk on your fingers or on your fingers.
Tour (tour)- Turn.
Tour chaine- Take turns so you can go one after another.
Pirouette (feasts)- Shvidke wrap on the underside.
A la seconde (a la zgonde)- classical dance pose: the leg through the second position is raised up to 90" or higher.
Arabesque (Arabesque - Arabic)- one of the main poses of classical dance (which is called the style of Arabic frescoes), which consists of a raised leg with a bent knee. The Russian school of classical dance has adopted several types of arabesques. Arabesque type I and II - legs in position efface. Arabesques III and IV types - legs in position croise.
In type I arabesque - the arm that resembles the supporting nose is extended forward, the head is straightened to it, the other arm is placed at the side, the hands are pointed downwards, the body is slightly arched, and the back is arched (this also applies to other types of arabesques).
In the second type of arabesque, the arm is straightened forward, which suggests a raised nose, and the other hand is brought out and is sometimes visible from behind the back. The head is turned to the gazers.
In type III arabesque - the hand at the top of the nose is straight forward, the gaze is straight ahead, the other hand is pointed away.
In type IV arabesque – the hand is in front, proximal to the raised nose. Turn the body upside down until you can see it. The line of the hand passes at the line of the shoulders and is continued with the other hand.
The arabesque is embossed on a curved nose, on a plie, on the toes, on pointe shoes, on a shaved neck, with a turn and wraps.
The pose can be varied endlessly. Change the positions of the legs and arms, the position of the back, the head, the straightness of the gaze, and the urge to transform the expressive essence of the arabesque.
Attitude (attitude - pose, position)- One of the main poses of classical dance, the main feature of which is bending the knee of the raised leg back. In this case, the main line is established from the supporting leg, body and arms in the third position. The main views are from the effacee and from the croisee. For the performance, various changes are possible to enhance stage performance. For a typical pose, the leg bent at the knee allows the body to bend strongly.
The pose has an effacee attitude: the leg is raised, open, slightly flared. Her second hand is in the third position. The head is turned to the raised hand.
In a closed pose, the attitude is croisee, which is formed by a line that intersects, the body contours the raised leg, allowing you to wear your toes.
Adagio (adagio – peacefully, calmly)-
1) setting a consistent pace;
2) the dance composition is important for its lyrical character;
3) the main part of folding classical dance forms, which are completed at an appropriate pace;
4) a complex of developments in execution, foundations on various forms of releves and developpes.
Allegro (alegro - cheerful, joyful) -
1) fast, lively musical tempo;
2) part of a classical dance lesson, which consists of steps;
3) classical dance, a significant part of which is based on the stribkovy and finger technique.
Allongee-
1) classical dance technique, which is based on straightened, rounded positions of the arms;
2) classical dance pose: the leg is raised back and straightened in the knee (arabesque), the upper arm is raised up, the other is brought to the side, in a rounded position (arrondi), the elbows of the arms are straightened, wrists And the name is turned, which gives the pose “character” to the character;
3) one called arabesque.
Aplomb (aplomb - jealousy, self-righteousness) -
1) sung, free manner of viconny;
2) carefully save all parts of the body.
The term is similar to the techniques of virtuoso technology of the 18th century.
Robiti "aplombos" (faire des aplombs) meant strumming in the same rhythm on the fingers for several beats.
Arrondi (arrondi - rounding, rounding)- the designation of the rounded position of the arms (from the shoulder to the fingers) in classical dance (on the side of the bench, position allonge).
The principle of arondi indicates the main positions of the hands: softly (round) curved elbows, wrists, hands.
Bourree, pas de bourree (bourre, pas-de-bourre, vіd bourrer - stuff, stuff)- various dance steps, carbonated or angry, end with a change and without changing legs, in all directions and with a turn.
The main initial form is simple (en dehors and en dedans), with cross-stepping from one foot to the other with the insertion of a bow. The first two croci are placed on the fingers or fingers with a change of legs and lowered on the demi-plie on the 3rd part. At the hour when I step, my working leg rises impressively sur le cou-de-pied.
Battement (s) (batman - swing, battya)- A group of legs working. Classical dance has a variety of batman forms - from the simplest (tendus) to the complex, richly complex. The skin must immediately absorb the element of batman, which has great significance in exercise.
Battement tendu- extension and adduction of the stretched leg, without the sock being pulled under the footwear.
Battement fondu (Batman fondue)- soft, smooth, like a “tane” ruk.
Battement soutenu (batman hundred - vitrimuvati, pіdtrimuvati)- continuous collapse from tightening the legs in the fifth position.
Battement developpe- unhook, uncurl, wring the leg 90" straight away.
Balance (balance - swing, steal)- Ruh, let’s get going.
Chasse, pas- a cut with a protrusion, in which one leg of the palate reaches the other, joining at the V position at the top point of the cut. It is possible with an independent hand, and will serve others who will help us until the end of the great stribki.
Croise (croise - crossings)- one of the main principles of classical dance, in which the lines meet. The position of the croissie is achieved by turning the body 1/8 of a stake from the V position en face and straight ahead en dedans.
Developpe (developer - excuses, excuses)- Variety of battements. The working leg from the V position, bending, hovers with the toe along the supporting leg, rises to the knee and stretches forward, backwards or backwards, having reached the maximum height, drops to the V position.
Demi (demi - sing-, half)- the term indicates that Vikonanny is less than half a roc. For example: demi-plie – squat, demi-pointe – fingers, demi-rond – half a stake and in.
Demi-plie releve (demi plie releve, French, in demi-plie - raised, releve - raised) the term combines two arms into an inseparable whole; start squatting and then step up on your toes and fingers. This most important element of dance involves pirouettes, finger techniques and many others. in the ruins.
Degage (degage - drawn out, wilted)- raising the leg to the required height according to the principle of battements tendus of the forward transition of it.
Exercice (exercise - to the right)- the first part of the classical dance lesson - set the stage in the middle of the hall, so as to vibrate the professional skills necessary for ancient dance technique: the vibrancy and strength of the legs, the correct positioning of the body, the hands and head, stamina, coordination of arms.
En dedans (en dedan - in the middle, near the colo)-
1) “close” the position of the legs: the scrapers are closed;
2) straight forward with the working leg: back - down - forward, then in the middle, to the supporting leg;
3) wrap, straight on the supporting leg, in the middle.
En dehors (an deor - called, with stake) -
1) the basic position of the legs, adopted in classical dance - flared up, open (wonderful twist);
2) straightly move the working leg along the stake: forward - at the side - back, then in front of the supporting leg;
3) wrap, straightened in front of the supporting leg.
En face (en face - face to face, in person, directly)- frontal expansion of the Viconian figure in relation to the hall for spectators, very vertically.
Efface (eface, effacer - smooth)- one of the main principles of classical dance. It is indicated by the open-critic, inflamed nature of the position, the rou.
Entre (entre – entrance)
1) a dance appearance on stage by one or many Viconavians;
2) the first part of the flared classical dance forms (pas de deux, pas de trois, grand pas, pas d'action and so on), which often plays the role of exhibition.
Designated pas, crowned wind, on the rise of the ruk par terre - the earth. For example: rond de jambe en l'air, tour en l'air.
Ecarte (ekartі, ід ecarter - rozsuvati)- classical dance pose, in which the dancer’s body is flared diagonally, the leg is raised up (a la seconde), the body of the arms is in front of the raised leg; the hand that indicates a raised nose is in position III, the other is placed in position II; the head is turned straight at the same leg (backward) or in front of it (backward).
En l'air (an l'er - in the air)- designated pas, crowned wind, on the rise of the ruk par terre - earth. For example: rond de jambe en l'air, tour en l'air.
En tournant (en tournant - at the turn)- Rotate the body under the hour and turn the pas by 1/4 or 1/2 stake, whole stake, etc.
Fondu (fondue, v fondre - tanuti)- the value of soft, elastic plie in loose hands (battement fondu, sissonne fondue).
Fouette (fue - hlyosnuti)- The look of a dance turn, smooth, sharp; The open leg, during the turn, bends to the supporting leg and opens again with a sharp movement.
Jete (jet, ід jeter – throw, throw)- the term is carried to the rukhi, which ends with a kick of the foot on the spot or in a haircut.
Glisse, pas- Croc, in which the shkarpetka moves along the underside from V position IV, or move tombe on one leg to demi-plie. Vikoristovuetsya as an approach to pirouettes, to stribki. Glisse, pas in arabesque, repeated several times - one of the most beautiful and expressive styles of classical dance.
Grand (grand – great)- Indicates the maximum expression of the essence of the roc. For example: grand-plie - a deep squat, grand-battement jete - throwing your legs to as high a height as possible, grand-fouette - the worst form of fouette.
Grand pas (grand pas - great croque, great dance)- There is a rich dance-musical form that originated in the era of romanticism.
Grand battement- Great Batman.
Par terre (par ter - on the ground)- A term that indicates that the top is folded on the bottom.
Pas (pa – krok)- dance form:
1) designation of one of the types of dance steps (pas de bourree, pas glisse, pas balance, etc.);
2) a very expressive movement that follows the rules of classical dance;
3) a rich-part form of classical ballet.
Passe (pass, passer - pass)- walking with your working legs for an hour, moving from one position to another. The leg can be passed on the level sur le cou-de-pied or at the knee of the working leg, and also through the first position - passe par terre.
Pirouette (feasts)- An old term that denotes a different type of wrapper. The infection is more common in human dance. In women's dances, all types of wraps are called tours.
Plie (plie, from plier – zginati)- Squat on two or one nose.
Port de bras (por-de-bras, ід porter - wear and bras - hand)- correct movement of the arms in the main positions (rounded - arrondi or lowered - allonge) with a turn and tilt of the head, as well as a bend in the body.
Preparation (preparation - preparation)- preparing racks for wicker battements, ronds de jambe, pirouettes, strippers and other folding racks.
Releve-
1) step on the fingers, fingers;
2) raising the extended leg by 90" and higher in different straight lines and positions of classical dance.
Renverse (renvers - thrown over)- a strong, sharp bend to the body in a great pose, which troubling the pas de bourree en tournant, which ends with a straightened body. There are a lot of views - renverse en dehors, renverse en dedans. It is formed on the fingers, fingers, with a Stribkom and at the Plie.
Rond de jambe (rond de jambe - with a foot)- the circular movement of the working leg en dehors and en dedans.
Rond de jambe par terre- a circular roll of the foot along the underside, a circle with the toe along the underside.
Rond de jambe en l`air (Rond de jambe en ler)- with a foot at the wind.
Soutenu (hundred)- Vitrimuvat, encourage, draw in.
Sur le cou-de-pied (sur le de-pied - on the ankles)- position of the extended foot of the working leg on the ankle of the supporting leg (front or back).
Tour (tour – turn, turn)- Rotate the body around the vertical axis by 360".
Tour around the area (pirouette) or in the wind (tour en l'air) There are a lot of different species. Tour dehors et en dedans. Tour and pirouettes can begin in positions II, IV, V and end in different positions.
They are mainly divided into small and large, the first with one leg in the position sur le cou-de-pied or passe, the other in great poses - attitude, arabesque, a la seconde and others.
Tour chaines- step one by one in an angry manner, turning from foot to foot on the toes or fingers with protruding forward, backward or backward.
Dodana: 08/02/2013
Classical dance is a chain type of choreographic plasticity. This term is used by the whole world of ballet.
This is a subtle blend of the flows, great harmony with classical music and the minds of classical dance - this bends the bottom, great grace in the dance, wrapping, bendiness, freedom, plasticity, vitriol and power.
Classical dance is the basis of any dance, and ballet can be called the foundation of any stage dance. Viconnian classics are a high mysticism and an independent form of theatrical performance, which can develop any plot without singing or declamation.
Ballet has its own system and terminology for training dancers. Therefore, in order to achieve results in other specialized dances, it is necessary to start with classical dance lessons.
Its foundations are unique, and most of the dancers from various dance disciplines do not accept this rich step-by-step process from the classics.
The beginnings of this unique mystery include: development of body positioning, basic positions of the legs and arms, terminology, history of development and attitude.
Classical dance develops posture, vibrates consistency, moves to the point of mystery, develops softness and lightness. To learn to listen to your senses while dancing, to feel sung and expressive, fosters the development of intellect and culture.
Why is classical dance necessary? With our variety of styles and styles, it is difficult to find the most suitable one. Often you don’t immediately realize that this will become your dance, which will reveal the most devastating and most trembling feelings.
Thank you for being a very good teacher, knowing the basic skills of dancing, which is the first step, to go out and show what is planned. It seems that there is a sense of something new and there is no sense of understanding what happened before, but all the dances are deeply and closely connected with traditions, and do not waste the choreographic deterioration of the classics.
Beyond the borders of Russia, the practice of classical dance expends a lot of effort and pennies. Foreigners are greedy to record concerts, perform. They don’t waste an hour, and first of all they begin to develop the dance mystique – this is a classical dance.
The system of rules of dance is called upon to work the body of the hearing vicon and choreographer, the disciplined and the beautiful. It was established at once from the origins of ballet itself back in the 17th century, from that time on the classics are considered the main genre of musical theater. 
Forward view:
Department of Illumination of Moscow Metro
Incoming district lighting control
State budgetary lighting installation
Special (correctional) behind-the-light school VIII type No. 804
Lighting programadditional education for children
"Fundamentals of Choreography"
Artistic-aesthetic program directly l Values
Insured for school age from 8 to 17 days
Implementation term – 3 rocks
The program has been fragmented
preschool teacher
Rudik Olena Ivanivna
Moscow
201Zg.
1.Explanatory note:
Concept "Choreography";
Relevance;
The origin of choreography;
Types of choreography;
Scientific novelty of choreography;
The purpose of the program;
Program management;
Pedagogical ambushes;
principles of organization of the pedagogical process;
principles of managing the activities of convalescents;
Directness, term of program implementation, program features.
2. Main directions and changes in activity:
Organization of the initial process in the first century group – 7 – 10 years;
Organization of the initial process in another century group – 11 – 13 years;
Organization of the initial process in the third century group – 14 - 17 years;
Organization of the main categories;
Organization of the initial process within one occupation (structure of organization of employment) across all categories;
Methods of training, development and pedagogical technologies.
3. Basic program:
Initially - the thematic plan of the first rock began with a short change of divisions and themes;
Initially - the thematic plan of another fate begins with a short change of divisions and topics;
Initially, the thematic plan of the third story begins with a short substitution of divisions and themes;
4. Intellectual implementation of programs, material and technical intellects:
accommodation;
Special premises;
furniture;
Organizational minds;
Think methodically;
Personnel management;
External minds.
5. Predicted results:
A form of control is the first step for all groups;
Vimogi until the end of the first fate;
A form of control is another lesson for all age-old groups;
Vimogi until the end of another initial fate;
A form of control is the third principle of beginning for all age-old groups;
Vimogi until the end of the third primary fate;
6. List of references:
List of Wikipedia Literature;
7. Transfer of methodical additions to the lighting program:
Description of methods.
8. Transfer of regulatory and legal documentation collected during the organization of lighting activities and during the implementation of lighting programs.
The first section is “Explanatory note”.
Understand choreography(from the Greek choreo - I dance) embraces the various types of dance mystique, where the artistic image is created with the help of mental creative forces. Who cares that choreography is dance, and choreography is ballet, or, according to Zakharov R., the concept is much broader. This includes not only dances, folk dances, and classical ballet. The very word of the Greek language literally means that. Recently, this word began to be used to call everything that relates to the mystery of dance. Whose sense experiences the most daily dances.
Choreography - An original type of creative activity, following the patterns of development of the culture of marriage. Dance is a mysticism, and every mysticism can represent life in figurative and artistic form. The specificity of choreography lies in the fact that it conveys the thoughts and experiences of people independently, through the movement and mimes. Dance is also a way of non-verbal self-expression by a dancer, which is manifested in the appearance of rhythmically organized body movements in space and time. Dance has its roots in the cultural traditions of all human origins and successes. Over the long history of mankind, cultural development has changed and increased.
Relevance . At this time, choreographic mysticism is being embraced by both the traditional folk and the professional stage. Dance mystique is present in another world, form in the culture of each ethnic group, ethnic group. This phenomenon cannot be superficial, it is objective in nature and will always be relevant. Traditional folk choreography occupies a primary place in the social life of a marriage, as in the early stages of human development, and at the same time. Conquers one of the functions of culture, one of the various institutions of socialization of people and, first of all, children, children and young people, and also concedes low other functions that govern culture for galom. Our country already loves the choreographic mystique. The number of amateur dance groups around the river is growing, and the level of their mastery is advancing.
Choreography was bornat the dawn of humanity: dances that depicted labor processes, showed the ruins of creatures, dances of a magical nature, and warriors were still of prime importance. The stench of the people has become brutalized to the strength of nature. Without being able to explain them, they prayed, conjured, made sacrifices, begged for distant water, rain, sun, children, and death for the enemy. All this, however, can be learned from our time, from the mystique of the peoples of Africa, for example. Descriptions of dances by mandravniki and folklorists tell about the life of different peoples. Dance is one of the oldest and most popular forms of mysticism.
New themes, new images, a different style of dancing appeared in the dances of the peoples of our land. And a lot of lyrical, heroic, comical, sweet and smooth, whirlwind, fiery, collective and solo dances, which clearly and vividly reveal the image of our companions. Dances are happening: styles, forms, locations.
Choreography has three types:
Folk dance is a mysticism, based on the creativity of the people themselves;
Pobutovy dance is a type of dance that takes place in folk dances, and is celebrated at evenings, balls, etc.;
Professional dance, including classical ballet, is a type of stage dramatic art that requires professional choreographic adaptation of national and popular movements.
The body is now constructed of incredibly diverse rocs, which in their own way acquire all the roc's abilities endowed in humans by nature. All these laws are obliterated in the dance class.
Novelty of the programlies in a particularly oriented direction.
The task of the teacher of additional education lies not in the maximum accelerated development of the child’s creative abilities, not in the formulated terms and tempos, but directly in order to create every child’s mind for the greatest discovery and implementation ії їїїїнївінїї.
Scientific novelty The research of the choreography is in the future:
1. The place of the subject “Choreography” in the system of education and training of children in the minds of additional lighting and backlighting installations has been revealed.
2. The minimum (which gives profound physical, musical, aesthetic, moral development and fosters a healthy child) and optimal (which allows us to talk about the beginning of the formation of dance culture) substitution of the subject “Choreography” with 3 points has been determined, what children can learn without being a child in special choreographic ways. .
3. A developing infusion of choreography into the formation of physical and special abilities, the emotional sphere of students has been revealed; A health-improving effect has been revealed.
Purpose of the program: development of children's creative abilities through learning and familiarity with various types of choreographic art based on spiritual and moral values.
Program management:
forming a foreign culture for children;
Chances are that they are leading to spiritual, moral and cultural decline;
the development of ethical characteristics of dance for the development of morality, discipline, sense of responsibility, collectivism, organization;
The beginning of dance etiquette and formation is intended to transfer the culture of behavior and performance in dance to inter-personal performance in everyday life;
Safeguarding the emotional development of children, fostering a culture of emotions;
Safe molding and preservation of the correct positioning of the child, valuing the meat corset in the ways of characteristic, folk and ballroom dances, creating the culture of the Russian Federation;
Increase the period of rochy activity in the process, develop the need for rochy activity as the basis of a healthy life.
Encouraging mutual understanding, respect, kindness and emotional sensitivity among the participants in the enlightenment process;
Development of independence;
Revealing creative potential;
Implementation of individual needs of students;
Learning the necessary fundamentals and techniques of choreographic mystique;
The development of fantasy and reality;
Expanding the horizons of children in the field of dance mystique;
Helped the fathers in the ongoing process of change;
Satisfaction with the child’s cognitive interests;
Gaining knowledge of sleeping activities within the framework of lighting programs.
Pedagogical ambushes:
- the principle of navchannya, which is the principle of navchannya(During the initial process, not only knowledge is given, but a particularity is formed);
- principle of science(in this case, the tendency is to include scientific facts, theory and laws that reflect the current state of science or directly creative activity);
- the principle is linked with practice(to wrest away theoretical knowledge from the most practical tasks, to intelligently analyze and transform into unnecessary action, to create powerful glances);
- principle of systematicity and consistency(the initial process of singing logic is necessary before the rules are established);
- principle of accessibility(replacement and development of primary material is not necessary to induce intellectual, moral, physical demands in children);
The principle of accuracy(during the initial process, the maximum “inclusion” of all organs is sensitive to the child through the given possibilities: to guard, to survive, to vikorist, to remove knowledge and importance from practical activity);
- principle of information and activity(children can become subjects of the process of learning, understand the goals and objectives of the task, and have the ability to independently plan and organize their activities, consider posing their problems and wondering about their options, in this regard, address the current interests and needs of children);
- principle of value(knowledge taken away by children may become partly their knowledge, the basis of behavior and activity through the manifestation of cognitive activity, consolidation of the material covered, systematic monitoring of the results of learning);
Vakhuvannya of age-old peculiarities(Alternatively, the methods of work are oriented towards children of a particular age).
Principles of organizing the pedagogical process:
The linking principle the pedagogical process with life and practice, which conveys the need for a connection between theoretical knowledge and practical knowledge.
- principle of orientationpedagogical process for shaping the unity of knowledge and understanding, evidence and behavior of the recruits, which conveys to the organization of such activities, in which the study would be reconciled with the truth and living forces and the acquired knowledge and ideas would be based on the knowledge and skills of socially valuable behavior;
- collectivism principlethe beginning and training of children, directing towards the optimization of collective, group and individual forms of organizing the pedagogical process;
The principle of approach, consistency and systematicity of the pedagogical process, directing to the consolidation of previously acquired knowledge, knowledge, beginners, inflated special skills, their subsequent development and thoroughness;
- principle of accuracyas a reflection of the interdependence of intellectual knowledge and empathetic interaction;
- principle of aestheticizationIn every child's life, we are first given that training that transfers the shaping of the aesthetic order among the disciples to action as the basis of the moral order.
Principles of managing the activities of convalescents:
- principle of compensationpedagogical management with the development of initiative and independence of students;
Principle News and activitieslearning a complete pedagogical process, which involves the teacher organizing such interaction with the student, who remains in an active role;
- principle of courageto an individual child from the one with reasonable ability before her;
- principle of relying on positive valuesin humans, supporting the strengths of his individual;
- principle of usabilityIt is possible for families, schools and children, as it requires the teacher to achieve balance, harmony of external influxes onto it;
- principle of compensationdirect and parallel pedagogical actions that convey the teacher’s actualization of the spiritual, developing potential of the group, team, their transformation in the subject’s development of specialness;
- principle of feasibility and availabilityeducation and training, which conveys to the teacher the appearance of the child’s real capabilities, ahead of various demands, is negatively associated with his physical and mental health;
- principle of an integrated approachwhen organizing choreographic activities, take - with an aesthetically trained child, the slaughter of types of mystique interact with each other, flowing into the child in a complex manner. This interaction in the organization of choreography stems from the close interdisciplinary connections between music, creative mystique and other subjects.
The principle of unity of choreographic and formal mental development of childrenThis principle is based on the need for an organic interconnection between the aesthetic and the celestial formation of the child’s specialness. The choreographic activity of children will ensure intensive development of their mental awareness, emotional sphere, figurative and logical memory, and mentality. In the process of doing choreography, children exert all their mental strength and stagnate in their abilities in other types of activities;
The principle of artistic and creative activity and self-activity of children in choreography classesAdhering to this principle in choreography classes absolutely means the importance of their involvement in the aesthetic education of children. Choreography introduces children to the works of mysticism, polishes Victorian skills, becomes a substitute for spiritual life, especially artistic development, individual and collective creativity, self-expression of children. This can only be achieved if choreographic activity is not reproductive, but active independent creativity;
The principle of the aesthetics of a child's lifeThis principle is important for teachers-choreographers in organizing activities, activities, following the laws of beauty with children, and bringing joy. For a child, everything is of the highest importance: the luxury of the accommodation, the shabbyness of the costume, the shape of the special boots and the companionship with peers and adults, the mind to occupy that character of adventures. In this case, it is important to encourage all children to be active in creating and preserving the beauty of a healthy life. Beauty, in every created child who takes an active part, appears to be especially attractive, becomes sensitively sensitive, and acts as a jealous, jealous and propagandist. Adding beauty to everything is a necessary mental choreographic activity;
The principle of the appearance of the age-old characteristics of childrenThe development of all these principles when organizing choreographic activities with children allows you to work in an active way to develop the aesthetic development of children, awakening in them the abilities of active aesthetic understanding, emotional experience, imaginative thinking, and They also formulate their high spiritual needs.
This program is based on artistic and aesthetic directness. The term for the implementation of the program is 3 years for children aged 6 -14 years. When organizing the initial process, children are divided into three categories:
First century group – children aged 7-10 years;
another century group – children aged 11-13;
third century group - children aged 14-17 years.
The skin category operates autonomously, has its own initial plan and repertoire, and is planned for three years. Thus, the program has the potential for a wide, secular education of children from the beginning of implementation, with the launch of one teacher. Children are accepted before the child's luncheon, without having acquired any special skills, otherwise they may not have medical clearance to take up choreography.
Another section is “Basic directions and changes in activity.”
first century group – children aged 7-10 years:
Roku navchannya | Repertoire | Organizational visits |
1 rik | Russian dance; Polka; Czech dance; Dance composition “New Year's Surprise”; Russian dance “Barina”; Dance composition “Matrioshki” | Interview and viewing of children in the presence of fathers (legal representatives). Organizational Fatherland gatherings and awareness of the Statute of the establishment, the provisions of the children's dance association. Laying down agreements between the authorities and fathers (legal representatives). Formation of a special certificate of study. Organizational activities. Certification of students for pouches of the first teacher. Certification of students, behind the bags of primary fate. Organization of father's gatherings through fate (skin and initial quarter). At the discretion of the fathers and with the permission of the teacher, fathers (legal representatives) can take part in the process. An insightful lesson behind the pouches of basic fate. Participation in the future. Children who have successfully mastered the program material of the first stage of learning are transferred to another primary stage of learning. Children who have not mastered the program material of the first lesson for good reasons and for the sake of their fathers (legal representatives), repeat the material of the first lesson. |
2 rik | Dance composition "Golden Autumn"; Kozachok; Dance composition “Novorichna Kazka”; Dance composition “Friendship; Dance composition “Spring Kviti”; Dance “Change a couple” | |
3 rik | Dance composition "Leaves of Gold"; Lyalka’s dance composition”; Figured Waltz; Sports composition with fluff; Dance composition “Fun Heels”; Sports dance "Radist" |
Organization of the initial processanother age group – children aged 11-13:
Roku navchannya | Repertoire | Organizational visits |
1 rik | Dance composition "Autumn round dance"; Dance composition “Lyalki”; Dance composition “Snizhinki”; Dance composition "Dance with me"; Dance composition “Childhood”; Waltz "Friendship". | |
2 rik | Dance composition “Autumn”; Sports tank; Dance composition “Novorichna”; Polka "Find a match"; Figured Waltz; Dance composition “Childhood is me and you.” | Formed from children of the first fate. Organizational activities. Certification of students for pouches of the first teacher. Certification of students for primary school pouches. Organization of father's gatherings through fate (skin and initial quarter). At the discretion of the fathers and with the permission of the teacher, fathers (legal representatives) can take part in the process. An insightful lesson behind the pouches of basic fate. Participation in the future. Children who have successfully mastered the program material of another stage of learning are transferred to the third stage of learning. Children, who have not mastered the program material of another lesson, for good reason and for the benefit of their fathers (legal representatives), repeat the material of another lesson. |
3 rik | Dance composition “Falling, falling leaves”; Sports composition with subject; Dance composition “Winter has come before us”; The subject is the polka "Girlfriends"; Dance composition "Dances from this world"; Figured waltz. | Formed from children of another fate. Organizational activities. Certification of students for pouches of the first teacher. Certification of students for primary school pouches. Organization of father's gatherings through fate (skin and initial quarter). At the discretion of the fathers and with the permission of the teacher, fathers (legal representatives) can take part in the process. An insightful lesson behind the pouches of basic fate. The fate of the final call. Children who have successfully mastered the program material of the third stage of learning will receive their certificates. |
Organization of the initial processthird century group - children aged 14-17:
Roku navchannya | Repertoire | Organizational visits |
1 rik | Sports tank; Waltz (right turn); Greek dance "Sirtaki"; Polonaise; Quadrille. | Interview and viewing of children in the presence of fathers (legal representatives). Organizational Fatherland gatherings and awareness of the Statute of the establishment, the provisions of the children's dance association. Laying down agreements between the authorities and fathers (legal representatives). Formation of a special certificate of study. Organizational activities. Certification of students for pouches of the first teacher. Certification of students for primary school pouches. Organization of father's gatherings through fate (skin and initial quarter). At the discretion of the fathers and with the permission of the teacher, fathers (legal representatives) can take part in the process. An insightful lesson behind the pouches of basic fate. Participation in the future. Children who have successfully mastered the program material of the first stage of learning are transferred to another primary stage of learning. Children who have not mastered the program material of the first lesson, for good reason, and for the benefit of their fathers (legal representatives), repeat the material of the first lesson. |
2 rik | Sports composition with subject; Figured polka; Sea dance; Quadrille; Chachacha (domestic dances of the peoples of the world); Dance composition "Cowboys". | Formed from children of the first fate. Organizational activities. Certification of students for pouches of the first teacher. Certification of students for primary school pouches. Organization of father's gatherings through fate (skin and initial quarter). At the discretion of the fathers and with the permission of the teacher, fathers (legal representatives) can take part in the process. An insightful lesson behind the pouches of basic fate. Participation in the future. Children who have successfully mastered the program material of another stage of learning are transferred to the third stage of learning. Children who have not mastered the program material of another lesson, for an important reason, and for the benefit of their fathers (legal representatives), repeat the material of another lesson. |
3 rik | sports composition; Waltz; Dance composition “Fairs”; Chachacha (popular dances of the peoples of the world in choice); Dance composition "Carnival"; Quadrille. | Formed from children of another fate. Organizational activities. Certification of students for pouches of the first teacher. Certification of students for primary school pouches. Organization of father's gatherings through fate (skin and initial quarter). At the discretion of the fathers and with the permission of the teacher, fathers (legal representatives) can take part in the process. An insightful lesson behind the pouches of basic fate. The fate of the final call. Children who have successfully mastered the program material of the third stage of learning will receive their certificates. |
Organization takefor all centuries-old groups:
Rick navchannya | Vik | Organizational warehouse for initial employment | Form take | Group name | How much to borrow for a week and its triviality |
1 rik | 7 – 10 rocks | in a group | classroom | 10 - 15 | 2 times x 1 year. = 2 years |
2 rik | 11 – 13 days | in a group | classroom | 10 - 15 | 2 times x 1 year. = 2 years |
3 rik | 14 – 17 rocks | in a group | classroom | 10 - 15 | 2 times x 1 year. = 2 years |
Organization of the initial process within one initial lesson for all groups:
Organizational warehouse for initial employment: | Rick navchannya | Trival of busyness, everything: | Warehouse occupation and triviality of warehouse parts: |
|
in a group | 1 - 3 | 2 years | 5 Khvylin - part of the employment begins (Pobudova, Uklin). 10 Khvylin – preparation part (to the right: march, run). 30 hvilins – the main part of the activity (middle part, work on the repertoire) 15 hvilin break. |
Methods of learning, training, development and pedagogical technologies
"...It is important to discover the shortest method of training, the one that is open-minded and re-evaluated with certainty can be expressed in two positions: gymnastics for the body and music for the soul..."
Plato
Methods to get started with your knowledge :
Verbal methods(zherelom znannya є sleep chi drukovane word);
Scientific methods(to know with certainty objects, objects, objects);
Practical methods(Learn to extract knowledge and develop in your mind, ultimately practical actions).
Methods and forms that will improve the development of children:
Vihovannya form- This is an external expression of the process of inspiration. For the number of people covered by the process of conscription, the forms of conscription are divided into:
- individual;
- microgroups;
- group (collective);
- mass.
The effectiveness of the dynamic process depends on the form of organization. As the number of warriors increases, the strength of cultivation decreases.
Vihovannya method- These are specific ways of forming feelings, behaviors in the process of developing pedagogical tasks in the field of work that interacts with the students. This is a way of managing activity, in a process that promotes self-realization and the development of individuality. Vihovannya method:
- perekonannya;
- right;
- presented to Vikhovanets. socio-cultural norms
- notes and behavior;
- what to do with the situation;
- stimulation of activity and behavior.
Classification of the directions of spiritual work: mental, moral, ethical, aesthetic, labor, physical.
Moral assessment– a direct process of formation in the growing generation of valuable assets, high self-esteem, moral feelings and behavior similar to the ideals and principles of humanistic morality. Moral education is oriented toward the creation of social human principles that are being formed. Whatever knowledge, memory, skills that a person acquires will be significant for him, and become a part of his world view. Socially important knowledge, which is imparted to them for the benefit of marriage, is realized as a result of moral development.
At the basis of moral education, as the acquisition of human values, immutable moral principles, developed by people in the process of the historical development of marriage, lies the development of a conscious-emotional attitude to them, common knowledge and experience, morality new sense of activity, behavior.
Choreography as a way to shape the moral appearance of children
Dance, flowing directly into the child’s senses, shapes her moral outlook. This influx can be strong, even if it’s like a casserole. Introduce children to the creation of different emotional-figurative spaces, and we encourage them to experience.
Round dances and dances of various peoples arouse interest among people and seem to be international. The genre richness of the choreography helps to create heroic images and a lyrical mood, cheerful humor and intricate dances. Different people will feel that they will feel the joy of dancing, enrich the experiences of children, and their spiritual light. Collective dances also convey the highest spiritual orders, leaving children buried in spiritual experiences. The dance emphasizes the participants’ united zusil. Secret experiences create a friendly soil for individual development. The butt of comrades, in the dark, the joy of vikonanny activates the fearful, indifferent. To serve as a galm of negative manifestations for the self-indulgent, over-the-world, successful performance of other children.
Choreography activities are infused into the formal culture of preschool children. Carrying out various tasks requires children to have respect, intelligence, quick reaction, organization, and strong willpower. When finishing a dance, it is necessary to start and finish it immediately; Activities, steadily acquiescing to the music, escaping from impulsive noises, seeing each other, overtaking someone.
Thus, choreographic activity creates the necessary minds for the formation of the moral fibers of a child, lays the rudimentary foundations of the future culture of a future people.
Trudove Vihovannyacares about these aspects of the dynamic process, where work processes are formed, production containers are formed, and the practical methods of their use are learned.
The process in the training process acts both as a leading factor in the development of individuality, and as a way of creative mastery of the world, in order to achieve strong work activity in various spheres of work, and as an unknown method. component of backlighting, significantly centering the backlighting initial material, and so on This is part of the physical and aesthetic treatment.
Rozumovo Vihovannya– this is a systematic and purposeful pedagogical infusion into the child and interaction with her through the development of her mind and the shaping of her light. It proceeds as a process of rejuvenation with the hidden historical evidence accumulated by humanity and the representations of knowledge, intelligence, and skills. Under the human development of intelligence, we understand such a function of the brain, which is related to the adequate representation of the patterns and manifestations of excessive life.
Choreography as an activation of the mind's abilities.
Choreography is closely related to mental processes and requires respect, diligence, and conscientiousness. Children listen to music, identify the characteristic meanings and features of artistic images, and begin to understand the structure of creation. Responsible for a well-trained choreographer, after having sounded the ballet, the child begins to work on the first formalized and leveled lines: it signifies the zagalny character of the work, its tempo, the dynamic nature of the dance, the accompanying dance skills for expression Wow, I'll forgive you. This attempt at an aesthetic assessment of creation will require the active mental activity of the child.
In the choreographic activity, children are very pleased to figure out, combine the steps of dances, sleep and rock to the music. Dance, folk dance, pantomime and especially musical and playful dramatization encourage children to depict a picture of life, characterize any character, creative expressions, facial expressions, gestures. Who cares about the sequence of songs: children listen to music, discuss the topic, assign roles, then act. At the skin stage, new ideas emerge that encourage you to think, fantasize, and create.
Well, being busy with choreography is the most important aspect of a child’s overall harmonious development. The interconnections between the different sides of the dance develop in the process of engaging in different types and forms of choreographic activity. Emotional sensitivity and musicality allow children, in accessible forms, to enjoy the goodness of things, activate mental activity and, steadily and thoroughly, develop children physically. In a word, to raise healthy children, dance them, to raise beautiful children, dance them, to raise intelligent children, dance them.
Physical training- The invisible warehouse part is rich in superordinate systems. Current husbandry, which is based on high-quality production, requires a physically active young generation, capable of working in enterprises with high productivity, enduring advances in vandalism, and preparing for death. Atkivshchyna. Physical training also stimulates the development of skills in young people that are necessary for successful social and labor activity.
Dance as a means of physical development and training.
“Which child laughs when she has played with toys, which Garibaldi grins when he marries for love before the Fatherland, which girl rants at the first Duma about the Kohanna, which Newton creates the laws of the world and writes them on paper - through the residual factor is the meaty roc.”
I.M. Sechenov
We live in our body, without it it is impossible to live in this world, it is the center of our soul’s life. This unity cannot be developed without interrupting life at the same time. If the soul and body are in mutual interaction, flowing one on one, the peculiarity develops harmoniously. The body of this process is the foundation of specialness, through it one can understand the specialness, the essence of a person, through the body one can be, develop su There is nothing much stronger, we think.
Whether the training was good, it would always be inextricably linked with the work on the body. A stable, valuable person appears to us as upright, energetic, with a good posture, walk, and the ability to plastically collapse, dance, and curl with her body. Freedom, the relish of the outer rulers are inextricably linked with inner freedom, natural feelings, bodily and mental peace. Everything in a person is connected with the work of the muscles: the muscles, the respiratory system, and the nervous system that controls them. The more active the work of the muscles, the more intense the self-renewal of the body.
Human beings are 35-40% made up of meats. It is possible that all other systems of the body serve to bring the muscles into the body and ensure its effectiveness. Meat inactivity, especially in those suffering from nervous tension, is detrimental to health, provoking disruption of the activity of the autonomic nervous system, leakage of internal secretion. Lack of muscle activity can also lead to discoordination of the brain.
Simply collapsing a lot does not mean that all the damage to the body is affected. The idea of a healthy, strengthened body is often mildly associated with people’s experience of vigorous physical activity, running, exhausting sports, weight lifting, pumping muscles, etc. But few people can deal with this systematically and steadily, starting from early childhood and continuing their life through various causes. Before that, any kind of sport involves only one third of the sores, often with excessively unaggravated foot sores, put the goosebumps for support. In this sense, choreography may have a low priority compared to other types of choreography. Let's take a look at their actions.
1. Dance is the synthesis of music and music. Music, absorbed by the auditory receptor, infuses the soul into the entire human body, evokes reactions associated with changes in blood flow, breathing. Medicine has proven that under the influx of music into a person’s body, it is possible to call out or ease the awakening. Music itself, as a source of physiological influx, is used both in gymnastics and aerobics, and in gaming stretching and other forms of exercise, but the truth is that the organic evolution of music and ruin can only be achieved in dance, because dance itself is the materialization of musical creation, the inspiration of musical images of the plasticity of the human body.
2. Dance affects literally all groups of people; from foot sores to facial sores.
3. Dance is a complex, a synthesis of all physical rights; dance - this is a long walk, and a quick run, and a swift sweep, dance - this is a quick bulge and a static pantomime pose; dance is an energetic wrapping of the whole body and a perceptible movement of the finger; dance is the borderline tension and outer relaxation of this group of muscles.
4. Dance is natural and traditional to people, just like dancing itself. Dance is the child’s movements in the cart that responds to music and the mother’s song, the waltz of veterans, and the obsession of young people on the dance floors of discotheques. Dance is accessible to everyone, dance accompanies people from their origins to old age,
5. Dance is the source of burying and joyful emotions. Dance is sacred, as it has always been with you.
Emotional (aesthetic) inspiration– one of the basic components of spiritual training and the spiritual system, which promotes the development of aesthetic ideals, needs and tastes among spiritual practitioners. The science of aesthetic beauty can be mentally divided into two groups - theoretical knowledge and practical knowledge. The first group prioritizes nutritional attainment to aesthetic values, and the other – active inclusion to aesthetic activity.
Zavodannya:
- molding of aesthetic knowledge;
- inspiration of aesthetic culture;
- rejuvenated by the aesthetic and cultural decline of the past;
- shaping the aesthetic stage to reality;
- development of aesthetic feelings;
- the adaptation of people to the beautiful in life, nature, practice;
- developments will require life and activity according to the laws of beauty;
- molding an aesthetic ideal;
- molding is beautiful in everything: in thoughts, on the right, in the top, in the outer appearance.
Choreography as a means of aesthetic education and training of children.
PID of the ecstetical vihovansista people rosucomas, the yogo of the Sprimati, vіdchuvati rosumi is beautiful, is good as good as the I Delce, the creative is self -like in the Live of the Mystics, so to create “beautiful laws”.
Aesthetic creativity conveys to people the clarity of aesthetic ideals, artistic relish, and the ability to deeply experience aesthetic feelings.
Nature and the people put in the child the inclinations and the potential for intelligent beauty, aesthetic design, efficiency and mystery. Nowadays, the inclinations and abilities can be realized in a new world without the need for a more direct, organized artistic and aesthetic development and learning in the minds. Lack of attention to the natural development of children deprives them of true spiritual and aesthetic values. The flow of artistic-aesthetic, and at the same time anti-artistic information from it, overwhelms the unenlightened, aesthetically uninspired people. It is not possible to thoroughly review this information, provide critical analysis and correct evaluation. Therefore, it is very important to introduce children from an early childhood to the world of the true, great mysticism, to develop and create this aesthetic awareness on the visible images of ancient and worldly artistic creativity.
Acknowledgment of the choreographic activity of such authorities of dance, as the unity of music, the flow and games, to create choreography in the most efficient way of aesthetic learning and teaching of children at an early age. However, the implementation of this most important function of choreographic activity can only be achieved by following the previous principles of organizing choreography with children.
Self-exposure - forming in a child a clear goal of direct action on the development of her positive qualities and the subset of negative ones. Self-reflection is the result of specificity.
Zavdannya:
Be careful to understand your peculiarities of rice.
Understand the positive and negative reactions of those who are absent.
Engage in interaction with the team of same-year-olds.
Develop the need for self-knowledge, self-analysis, self-control, self-esteem.
The greatest influx on a child may Yogo sіm'ya. The family itself may begin to understand the goals and change of work. By stimulating the activity of students, it is possible only for the teacher’s full-time work, family and community.
Forms of pedagogical work from family:
- Organizational and pedagogical work with fathers;
- Pedagogical awareness of fathers;
- Providing individual assistance to fathers of adopted and foster children.
Scientific information:- Initial information on the appearance of stands and boxes is of great potential for illuminating the pedagogical process. At that very hour, she transfers the direct contact between the teacher and the father. Therefore, the form and method of presenting information, as well as its location, is important:
- photo displays and photo collages: stands presented with photographs of children that reflect their life in parole;
Newspaper is a new form of scientific and textual information. Vaughn adds her barvy, photographs of children, articles, authors of which are children, teachers and fathers themselves. The newspaper can include a report from the city, an interview, practical pleasure, news and tricks, humor and much more.
The journal is a way to establish a dialogue with the family at the initial stage of establishing a spivpractice.
Gold funds: - The video library can include films, recordings of children’s saints, entertainment, activities or simply the lives of children in UDV. This includes documentaries about nature, sports, mysticism, children's fiction and animated films that are suitable for watching parents and children.
Individual consultation- Motive for consultation: “We are against the problem together, but not against each other.”
Days of open doors- this day has become a source of interest and interest in how children can live together. This, first of all, is a way to get to know the fathers from the place, methods and techniques of education and training, the minds of children's activities. “Day of Open Doors” helps to reduce the negative and proactive attitude of fathers to children, their abilities, and bring them into another, previously unknown light. Can be held up to 3 times per river.
Fatherland collections:-the main form of work with fathers, which concentrates the entire complex of psychological and pedagogical interaction with the illuminating foundation of the family.
Online spilkuvannya with fathers through the Internet site, quarterly awareness of fathers with the children’s achievements
The third section is “Basic program”.
The initial thematic plan for the work of the first rock beginning for all centuries-old groups:
Usyogo | Theory | Practice |
||
Get busy | ||||
Abbetka of the musical ruhu | ||||
Elements of classical dance | ||||
Repertoire | ||||
Safety equipment | ||||
Partner exercise | ||||
AT ONCE: |
I. INTRODUCTION TO EMPLOYMENT:Zavodannya ob'ednannya. Robot plan. Familiarity with the repertoire. Understanding the mystique of choreography. Instruction on TV.
Theory:
Practice:
Theory
Practice:
Exercise in the middle of the hall(in form gri)
1. Positions nig /1, 2, 3.5/
3. Releve (climbing onto the shkarpetki)
4. Deme plie (spring)
5. Rond de jambes par terre (kick to the underside)
6. Twists on the spot (trim the speck)
7. Port de bras
5. Strings /hundreds of 6 positions/
4. ELEMENTS OF FOLK STAGE DANCE:
Theory:
Practice:
Diagonal:
5.REPERTOIRE:- (div. section 2)
6. MUSICAL AND DANCE GAMES, rehearsals and preparation before concerts:
Theory:
Ditina.
Practice: " Day and night”, “The sea is waving”, “Who swid?”
“Boys and girls”, “Handkerchief”, “Guess whose voice?”, “One, two islands”, “Standing straight”
7. SAFETY TECHNIQUES:
Theory: Rules of behavior at work. Hygiene measures We can help you form what you need to do. T.b. on the roads and cities. Rules of anti-terrorist and anti-fire security.
8. PARTNERSHIP EXPERIENCE:
Theory:
Practice:
The initial thematic plan for the work of another fate for all age-old groups:
All year | Theory | Practice |
||
Get busy | ||||
Abbetka of the musical ruhu | ||||
Elements of classical dance | ||||
Elements of folk stage dance | ||||
Repertoire | ||||
Musical and dance games. Rehearsals and preparation before concerts. | ||||
Safety equipment | ||||
Partner exercise | ||||
AT ONCE: |
I. INTRODUCTION TO EMPLOYMENT:Zavodannya ob'ednannya. Robot plan. Familiarity with the repertoire. Understanding the mystique of choreography.
2. THE ABC'S OF THE MUSICAL ROC:
Theory: Melody ta rukh. Pace. Contrasting music. Musical size. The rules are the logic of moving from one little one to another, the logic of turning - right-handed, left-handed.
Practice: Musically - open spaces to the right. Marching on the spot, near yourself, right-handed, left-handed. Figured marching with the Perebudovs from the colony in a line and back, from one stake to two. Walking: in a spring croak, on footstools, on heels. Dance steps in the images of creatures. Bavovna to the rhythm of music.
3. ELEMENTS OF CLASSICAL DANCE:
Theory : Specifics of the dance croc and run. Training of the child’s tenderloin-muscle apparatus: positioning, support, turnability, elasticity and tenderness of the gomilkovo-foot and kulsh-meat tenders. Positions of hands and feet. Exercises. Uklin.
Practice:
Exercises by versat/ facing the milestone /
1. Releve
2. Demi pli
3. Grand play
4. Rond de jambes par terre
Exercise in the middle of the hall
1. Positions nig /1, 2, 3.5/
2. Hand positions/preparation, 1, 2, 3./
3. Spins at home
4. Port de Bras
5. Stripes /hundreds of 1, 6 positions/
4. FOLK STAGE DANCE:
Theory: The plots and themes of folk dances. Features of folk
rukhiv. The position of hands is typical for solo and group round dances. Dance steps, leg positions, haircuts.
Practice: Russian dance: Positions of hands and feet. Dance Crocs:
round dance, shotgun, pier, flood. Koviralochka. Yalinka.
Harmonic. Croc polkas. Jumps, preparation before squatting /lads/.
Seizure. Winder. Bavovni near the valley. Stribki.
Diagonal:
“balls”, “goslings”, “toads”, “soldiers”, “dancing
Krok", "krok polka", podskok.
Dances: "Polka", "Polka Zhart", "Hopak", "Waltz".
5. REPERTOIRE: (div. 2 sections)
6. MUSICAL AND DANCE IGRI-25h
Theory: Play, rules of the game. Significance of igor development, inspiration
ditini.
Practice: " Day and night”, “The sea is waving”, “Who swid?” “Boys and girls”, “Handkerchief”, “Guess whose voice?
7. SAFETY TECHNIQUES:Rules of behavior at work. Hygiene measures We can help you form what you need to do. T.b. on the roads and cities. Fire safety rules
8. PARTNERSHIP EXPERIENCE:
Theory: Coordination of the hands, versatility of the legs. Development of bunkness.
Practice: The complex is to the right at the developments of the body.
The initial thematic plan for the work of the third rock is the beginning for all centuries-old groups:
No./p | everything | theory | practice |
|
Get busy | ||||
Abbetka of the musical ruhu | ||||
Elements of classical dance | ||||
Elements of folk stage dance | ||||
Elements of variety and ballroom dance | ||||
Partner exercise | ||||
Repertoire. Rehearsals and preparation before concerts. | ||||
Safety equipment | ||||
Together: |
1. INTRODUCTION TO EMPLOYMENT:Zavodannya ob'ednannya. Robot plan. Familiarity with the repertoire.
2. THE ABC'S OF THE MUSICAL ROC:
Theory: Dynamic colors in music. Features of music are marches.
Practice: Encourage the development of musicality (classical, folk and historical dance)
3. ELEMENTS OF CLASSICAL DANCE:
Theory: Rules of the Rukhs on Verstat. Understand about turn an deor ta an dedan. Logic and technology. Change the epolman (croisi and efasi). Rukh-zvezki (pas de bure). Regularities of coordination of the arms, head (backbone) and body (waist).
Practice:
Exercises by Verstat:Demi Pli (Grand Pli), Relyov, Naked the body, Batman tandu, Ron de jamme par ter, Batman Frappe, Grant Batman, Relevelyan, Pas de Bure, Batman Foundation.
Exercises in the middle:Positions of hands and feet, Demi Pli, Batman tandu, Ron de jambes part terre, Port de bras, Tanley
Stribki: Saute, Yeshapi, Shazhman de p'ie.
4. ELEMENTS OF FOLK STAGE DANCE:
Theory: Basic technical skills. The nature of women's dances. Shotguns of the Russian dance. Open and close, free positions of legs.
Practice:
Enter the versat: Releve, Demi Plie, Ron de jamme par ter, Batman tandu (Jete)
in the middle of the hall:Russian dance. Rukh hands. Round dance krok. Fractional krok. Academic and service life. Koviralochka, “Accordion”, “Yalinka”, flood, “Motuzochka” (with different compositions), fractions,
wrapping diagonally (“twists”).
Ukrainian dance: “walk”, “runner”, “cabbage cabbage”, landing, position of hands.
5. ELEMENTS OF VARIETY DANCE:
Theory: coordination of the arms, body, legs and heads from simple to complex. Characteristics of rice plasticity.
Practice: Rhythmic movements - with the head, arms, body. Strobes to the rhythm of music. The style of Latin American music has more plasticity.
6. PARTNERSHIP EXERCISE:
Theory: Coordination of the hands, versatility of the legs. Development of bunkness.
Practice: The complex is to the right at the developments of the body.
7. REPERTOIRE, REHEARSAL AND PREPARATION BEFORE CONCERT:- (Div. 2 divisions).
8. SAFETY TECHNIQUES.
The fourth section - Understanding the implementation of programs"
Material and technical minds.
Location:
The height of the space for choreography is less than 3.0 m.
For boys and girls, it is necessary to provide changing rooms, toilets, showers, wash basins with hand wash sinks with hot and cold water supplied to them, with 1 shower strainer and 1 sink for 10 persons.
Special areas:
When organizing theoretical occupations, it appears that the premises will have an area of less than 2 m2 per person;
To conduct dance performances, you will have: a concert hall with a capacity of 300 - 500 and an area of 200 - 400 m2;
Two costume rooms for boys and girls (10 – 18 m2) hand-linked to the stage;
Utility rooms (for storing costumes, decorations, etc.).
Special equipment:
The ballet crossbar in the hall should be installed at a height of 0.9 - 1.1 m above the support and at a height of 0.3 m above the wall;
One of the walls of the hall has mirrors with a height of 2.1 m;
The floors in the living room are made of non-prepared boards or covered with special linoleum;
Furniture:
Banquettes and tables.
Organizational minds:
Activities for children with additional education can be carried out every day of the year, including week-long holidays;
The additional illumination unit for children may be equipped with medical kits for providing medical assistance;
Activities with a group of children. Groups can be the same or different;
The list of occupancies is formed by looking at those that stink of additional equipment before the basic work of children and workers in dark-lighting installations;
When registered before the day of departure, the child is required to submit a report to the doctor about the state of health and the ability to take part in choreography groups;
It is not recommended to raise a child to take more time in 2 units (sections, studios, etc.). It is recommended to take a frequency of watering three times more than two times per week;
Between activities at the background lighting facility (regardless of the start) and the provision of additional lighting for children, there may be a break for repairs of at least a year;
The beginning of the installation of additional lighting must be no earlier than 8:00 a.m., and their completion must be no later than 20:00 a.m.;
Activities for children with additional education can be carried out every day of the day, including weeks and holidays;
It is difficult to keep children busy with additional education in the early days, as a rule, there is no need to exceed 1.5 years on weekends and holidays - 3 years. After 30 – 45 centuries. It is necessary to take a break and take a break for at least 10 minutes. for cleaning children and ventilating the area;
Choreography classes are carried out only in special clothes and in proper possession.
Think methodically:
Before concert costumes;
Tape recorder, cassettes, musical instruments. Methodical cards, cry. , DVDs, USB media, discs with recordings;
Methodical literature:Barishnikova T. “Abetka of choreography”, Rolf, Moscow, 1999, Volanova A., “Fundamentals of classical dance”, Mistetstvo, 1948, Ovechkina M. “Children dance”, Krasnodar, 1995, Ketrek N. “I want to dance”;
- piano.
Personnel intelligence:
- Concertmaster.
External minds:
- Interaction with lighting and cultural settings;
- participation in competitions, festivals, excursions, various events;
- Commercial activity is possible;
- Financemore budgetary
Fifth section – “Predicted results».
The first river is a beginning for all centuries-old groups.
FORM AND SEE CONTROL:
№ | Vidi works | Form and see control |
1. | Get busy | Spіvbesida |
2. | Abbetka of the musical ruhu |
|
3. | Elements of classical dance |
|
4. | Elements of folk stage dance |
|
5. | Repertoire |
|
6. |
|
|
7. | Safety equipment |
|
- until the end of the initial fate, the scientist is guilty of the nobility of the advancing ruins: bichny krok with flood, kolupchina, yalinka, accordion;
- Vikonati 1 folk stage dance;
- in classical dance, you know the positions of the hands and feet;
- know the rules for establishing the body in dance.
- remember to depict the sounds of a cat, a fox, a hare, a bear at the dance stage;
Another beginning for all centuries-old groups.
FORM AND SEE CONTROL:
№ | Vidi works | Form and see control |
1. | Get busy | Spіvbesida |
2. | Abbetka of the musical ruhu | Precise control of skin activity, work in the form of training, in the form of gri |
3. | Elements of classical dance | Precise control on the skin and sub-sacs, such as the skin area |
4. | Elements of folk stage dance | Control exercise, sub-bag exercise at the end of the skin quarter |
5. | Repertoire | Sub-bursa control of the skin quarter in the form of gris, concerts |
6. | Musical and dance games | Precise control of skin activity in the igor form |
7. | Safety equipment | Rozmov, the robot behind the cards. Twice a month. |
VIMOGI TO THE END OF THE INITIAL ROKU:
- until the end of the initial fate, the teaching is due to the nobility of the advancing era: the bull's-eye with the flood, kolupchina, yalinka, accordion, folk stage dance;
- nobility of the abetka of the musical movement;
- In classical dance, you know the positions of the hands and feet. Know the rules for installing the corps;
- mark the angle correctly;
- note the rumblings and finish with the end of the musical rumbling;
- be sure to depict in the dance stage the sounds of a cat, a fox, a hare, a bear, etc.;
- like fate, children may know and play “Polka”, a round dance based on the simplest elements of folk stage dance.
The third river is the beginning of all centuries-old groups.
FORM AND SEE CONTROL:
№ | Vidi works | Form and see control |
1. | Get busy | Spіvbesida |
2. | Abbetka of the musical ruhu | Precise control of skin activity, work in the form of training, in the form of gri |
3. | Elements of classical dance | Precise control on the skin and sub-sacs, such as the skin area |
4. | Elements of folk stage dance | Control exercise, sub-bag exercise at the end of the skin quarter |
5. | Elements of variety dance | Sub-bursa control of the skin quarter in the form of gris, concerts |
6. | Partner exercise | Precise control of skin activity in the igor form |
7. | Repertoire | Rozmov, the robot behind the cards. Twice a month. |
8. | Safety equipment | Spіvbesida |
VIMOGI TO THE END OF THE INITIAL ROKU:
- learned duties of the nobility of the Rukh: barrel croc, croc with a flood, kolupchina,winder;
- know the positions of hands and feet in classical dance;
- know the difference between circular arms and straight on the butt: batman tandu and ron de jambe par terre;
- know the rules for installing the body of the verstat;
- uchnі guilty vmіti vykonati: ekzersis bilya verstat /minimum elements/;por de bras;
- keep up the march, dance to the rhythm of the music. suprovod;
- in folk dance, you can add a combination like a cap, yalintsi, attached croci, accordion;
- be able to select the correct stroke for the VI position of the legs;
- include viconati “Polka”, round dance, variety dance based on the simplest elements.
The sixth section is “List of literature and methodological supplements.”
List of Wikilists:
1. Barishnikova T. “Abetka of the musical movement”, Rolf Moscow, 1999
2. Bazarova N. “Abetka of classical dance” Moscow, 1964
4. Blasis Do. “The Mystery of Dance” Moscow, 1934
5. Vaganova A. “Fundamentals of classical dance” Leningrad, 1934
6. Klimov A. “Fundamentals of Russian dance” Moscow, 1994
7. Ketrek N. “I want to dance” Moscow, 1998
8. Methodical guide to choreography
9. Root Z. “Dancing at the kindergarten” Moscow, 2004.
10 . A. Korgina “Practical handbook for preschool teachers” - Moscow, School Press, 2006,2007.
11. “Health benefits for preschool education programs for children” - supplement to the sheet of the Department of Youth Policy, education and social support for children of the Ministry of Education and Science of Russia - dated 12/11/2006. No. 06-1844.
1. Barishnikova T. “Abetka of the musical movement”, Rolf. Moscow, 1999 r_k
2. Ketrek M. “I want to dance” Moscow, 1998
3. Bobrova G. “The Mystery of Grace”, Leningrad, 1986
4. Methodological handbook: cards, cry.
Seventh section - Transfer of methodological additions to the lighting program.
- System for children’s adoption of lighting programs;
- tests and other forms of knowledge verification;
- calendar plans for initial work;
- a list of didactic materials and basic aids;
- Description of methods;
- method of organizing incoming employment;
- methods of practical preparation;
- Call.
The eighth section is “The transfer of regulatory and legal documentation that is reviewed when organizing lighting activities and during the implementation of lighting programs”:
- Convention on the Rights of Children (1989);
- Constitution of the Russian Federation (12.12.1993);
- Law of the Russian Federation “On lighting” (2012);
- Law of the Russian Federation “On the basic guarantees of the rights of children in the Russian Federation” (1998);
- Concept of artistic illumination in the Russian Federation (2004);
-Model regulations on the provision of additional education for children (1995);
- Sanitary and epidemiological benefits until the start of preschool education for children. Sanitary and epidemiological rules and regulations. SanPiN 2.4.4.1251-03 (20 chernya 2003 No. 27 D);
- Draft Federal Law "On Osvita"(1 breast 2010 r);
- statute of the Moscow State Budgetary Educational Institution of the Presnensky Park;
- regulatory documentation for the organization of the lighting process;
- plan and program lighting installation;
- Local lighting installations;
- Regulations about child welfare;
- the right to impose obligations on conscripts;
- agreement with fathers (legal representatives);
- special study sheet;
- the special officer is on the right;
- initially - the supreme plan for the current initial river;
- System of attestation of deposits;
- methodical additions to this program;
- Plan for work with fathers;
- take the layout;
- advertising activities ob'ednannya.
Friends! Let's repeat the terms of classical dance? Are you ready to convince yourself? Therefore, those who do not study in practice become forgotten, should periodically perform such intellectual exercises. Or maybe we can find out what’s new from you!
Adajio [Adagio] - Half, half of the dance.
Allegro [allegro] - Haircuts.
Aplomb [Aplomb] - Durability.
Arabesque [arabesque] - This is called a polio pose, and the name of the pose is similar to the style of Arabic frescoes. The classical dance has several types of “arabesque” positions No. 1,2,3,4.
Assemble [Assembly] - Get together, collect. Stribok from collecting woven legs from the wind. Cut from two legs to two legs.
Attitude [attitude] - Pose, position of the figure. The leg is raised up and bent.
Balance [balance] - Rock, get kidnapped. Rukh gets kidnapped.
Pas ballonne [pa ballonne] - Rozdmuhuvati, rozdmuhuvati. The dance is characterized by a stretched position at the moment of shaving, as well as strongly stretched legs in the wind until the moment of landing and bending one leg on sur le coude pied.
Pas ballotte [pas ballotte] - Vagatisya. Rukh, whose legs at the moment of cutting move back and forth, passing through the central point. The body leans forward and backward, the nibs are stuck.
Balancoire [balanceoir] - Goydalki. Get stuck at the grand battement jete.
Batterie [Batri] - Drum beat. The leg is in position sur le coude pied to beat a series of different shock waves.
Pas de bourree [pas de bourree] - a carved dance croque, stepping over small holes.
Brise [Brise] - Spread, trim. Rukh from the section of Stribki and Notes.
Pas de basque [Pas de Basque] - Croc of Basques. And that roc is characterized by a ratio of either 6/8 or so. Tripartite size. It turns forward and backward. Basques are a nationality of Italy.
Battement [Batman] - Swing, beat.
Battement tendu [batman tandu] - Extension and extension of a stretched leg, hanging leg.
Battement fondu [batman fondue] - M’yake, smooth, scho “tane” rukh.
Battement frappe [Batman Frappe] - Roc with a blow, or a shock roc.
Frappe [Frappe] - Beaty.
Battement double frappe [Batman double frappe] - Roc with a double strike.
Battement developpe [batman devloppe] - Rotate, uncurve, twist your leg 90 degrees in the right direction, pose.
Battement soutenu [batman hundred] - Vitrimuvati, support the roc from pulling up the legs in the fifth position, the uninterrupted roc.
Cabriole [cabriole] - The trimming of one leg is different.
Chain [Shen] - Lanzyuzhok.
Changement de pieds [Shazhman de p'ie] - Stribok zi change nig in the wind.
Changement [Shazhman] - Change.
Pas chasse [pa chasse] - Drive, push. The parterre is shaved, and at some point one leg kicks the other.
Pas de chat [pas de sha] - Kitten croque. This haircut, behind its character, resembles the soft ruff of a kitten haircut, which is supported by a strong body and a soft ruff of hands.
Le chat [le sha] - Kishka.
Pas ciseaux [pa seso] - Knives. The name of this stroke is similar to the nature of the roc of the legs, which are thrown forward across the line and drawn in the wind.
Coupe [coupe] - Uriv parts. Pіdbittya. Urivchastii rukh, short postovkh.
Pas couru [I smoke] - Running through the sixth position.
Croisee [krause] - Creation. A pose where the legs are crossed, one leg covers the other.
Degagee [Degage] - To make, bring.
Developpee [Devloppe] - Viymannya.
Dessus-dessous [ten-desu] - The upper part and the lower part, above and below. A look at pas de bourre.
Ecartee [ecart] - Lead in, take out. A pose in which the entire figure is rotated diagonally.
Effacee [eface] - Rotate the position of the body and bottom.
Echappe [Eshappe] - Virivatisya. Stribok from the other position and from the other to the heel.
Pas emboite [pa ambuate] - Put in, put in, put in. Whenever there is a change in the wind, the legs will be changed.
En dehors [an deor] - Call, with stake.
En dedans [en dedan] - In the middle, in the colo.
En face [en face] - Straight, directly positioned to the body, head and bottom.
En tournant [en tournant] - Obertati, turn the body under the hour of collapse.
Entrechat [entrechat] - Stripe with a note.
Fouette [fue] - Stegati, sich. The look of a dance turn, quick, sharp. During the turn, the open leg bends to the supporting leg and opens again with a sharp twist.
Ferme [Farm] - Shut up.
Pas faille [pa fai] - Pull up, kick up. A weakling roc. This stream has a flexible character and often serves to prepare the springboard before the next cutting. One foot kicks the other one.
Galloper [gallop] - Chase, retrace, gallop, rush.
Glissade [Glissad] - Get angry, forge. A stripper that fits without damaging the scrapers and underlays.
Grand [great] - Great.
Jete entrelacee [jet entrelacee] - Flip-over stripe.
Entrelacee [entrelace] - Interlace.
Jete [jete] - Kidok. Throw your feet on the spot or in the haircut.
Jete ferme [Jete ferme] - Closed strip.
Jete passé [jet passé] - stripe, What to Pass.
Lever [Leve] - Raise.
Pas [pa] - Croc. Rukh and combination of rukhs. Vikoristovuetsya as equivalent to the concept of “dance”.
Pas d'achions [pas d'aksion] - Action dance.
Pas de deux [pas de deux] - Dance of two Viconavians, classical blowing, call the dancer and the dancer.
Pas de trios [pas de trois] - Dance of three Viconavians, classical trio, often two dancers and one dancer.
Pas de quatre [pas de quatre] - Dance of the Four Viconavians, classical quartet.
Passe [Pass] - Conduct, pass. Successful collapse, carried out the transfer of legs.
Petit [Petit] - Small.
Petit battement - Small battement, on the ankle of the supporting leg.
Pirouette [feasting] - Yula, turntable. Shvidke wrap on the underside.
Plie [ple] - Squat.
Demi-plie - A little squat.
Pointe [pointe] - Shkarpetka, fingers.
Port de bras [port de bras] - To the right for the arms, body, head; they hurt the body and head.
Preparation [Preparation] - Preparation, preparation.
Releve [Releve] - Raise, lift. Step on your fingers or on your fingers.
Releve tape - increase the elevation of the leg by 900.
Renverse [ranverse] - Throw over, turn over. Throw the body over at a strong bend and in a turn.
Rond de jambe par terre [Ron de jambe par terre] - wrapping the foot along the underside, with the toe along the underside.
Rond [rond] - Kolo.
Rond de jambe en l'air [Ron de jambe en ler] - Kick your foot in the wind.
Soute [Soute] - Stribok on the spot for positions.
Simple [Sample] - Simple, simple ruin.
Sissonne [sison] - There is no direct translation. It means a type of cut, varied in shape and often stacked.
Sissonne fermee [Sisson fermee] - Closed trim.
Sissonne ouverte [Sissonne ouverte] - A haircut with crooked legs.
Sissonne simple [Sisson sample] - A simple stribok from two legs to one.
Sissonne tombee [Sisson Tombe] - Stribok from the falls.
Saut de basque [z de Basque] - Stribok Basques. Shove from one leg to the other by turning the body upwind.
Soutenu [darkness] - Vitrimuvat, encourage, draw in.
Sur le cou de pied [sur lek u de p'ie] - The position of one leg on the ankle of the other (supporting) leg.
Temps lie [tan lie] - Povyazane in an hour. A happy, smooth, angry roc.
Temps leve soutee [tan left soutee] - Stroke in the first, second or fifth positions on one and the tightest leg.
Tire-bouchon [tyre bouchon] - Twist, curl. Whose Russian leg is raised is in an upright position forward.
Tour chainee [tour shene] - Zchepleny, knitting lantsyug gurtkiv. Swede turns, so go one after another.
Tour en l'air [tour en ler] - Povitryany turn, tour at the wind.
Tour [tour] - Turn.
Twisting - Rozkrittya nig in the hip joint and gomilkovostopnom joints.
Coordination - Consistency and comfort of the whole body.
Summary of the open-ended creative activity "Rhythm with elements of choreography"
Title of the work: Summary of the open-ended creative activity “Rhythm with elements of choreography”
Author: Marina Gennadievna Petrova, preschool teacher, choreographer, MBUDO “Center for the Development of Creativity in Children and Youth”
Description of the work: synopsis of a bag lesson with choreography for children of the first lesson (5-6 years). This material will be useful to teachers of preschool education, teachers of arts, and music makers.
Purpose: check out the depth and importance of children’s knowledge at the stalls in the middle of the hall
Zavdannya:
1. Increase plasticity
2. Achieve the correctness of the law.
3. Mince the meat of the spine and the whole body.
Obladnannya:
1. Piano
2. Tape recorder, discs
3. Red mittens
4. Kilimkas for ground gymnastics
Stay busy
1.Uklin
- for girls
- for boys
2. Positioning the body:
-legs together (heels and toes)
- stretch the knees and bring them together
-Hands lie on your waist with your palms down, fingers forward, elbows facing down.
-Pull the blades together and lower them down
-Lower your shoulders and pull your neck up.
- Lives - retract the navel
3. Warm up with cola.(Children, at the musical entrance from the column, will wake up in the column, forgive the krok from the sock)
-Croque with a knitted toe and knee, the toe shows the width of the croc, hands on the belt.
-The edges are on the high undersided fingers, the knees are marginally retracted, the body is retracted uphill (there is no obvious bottle of water on the head and no spillage).
- Crooks on the heels, knees bent, hands on the belt.
- run along the stake, the knee is trimmed at once (the knee is white), the heels are raised high back to the seat, the scarves are pulled out. The crops are small, shaved high, hands on the waist, elbows down.
-Shave the scissors along the stake, bring your legs forward, straight in your knees and with pulled out scrapers, legs are replaced by a shave. Hands on the waist, back straight.
- “gallop” with the shoulder in front, facing the front, hands on the belt, elbows down, head turned right-handed. Look at your elbow and the sauce on the right, cutting off the attached crumbs along the stake.
- “gallop” with the left shoulder in front, standing with your back in a circle, hands on the waist, elbows to the side, head turned to the left side, cutting the side edges from the left legs.
- jump up and turn along the line of the dance. It is carried out on one leg, the other is raised with a highly bent knee and the toe is white against the knee of the supporting leg.
- Crocs with a knitted toe
This crock is covered with lines as if to start getting busy in its place.
4. Warm up in the middle of the room(Standing to the body, arms lowered to the side of the body, elbows and hands strongly stretched)
- Nahil and turn your heads
- “chaplya” head forward and backward
- “Dunno” raising and lowering shoulders
- “goydalka” lifting the shoulders across the
- round shoulders
- swing your arms ubik
- the body is slanted towards the tumbler, legs shoulder-width apart, hands on the belt, slanted at the side, bending at the waist.
- “top of the table” legs, bent at the knees, stand shoulder width apart, lean forward and pull your arms forward, representing the top of the table
- We put our hands on the pad in front, two arms on the pad, two arms on the belt.
- lifting and lowering on the toes, heels and heels stand together, knees at once, stand on the toes, heels trim at once.
- The “spring” squats with five feet of pressure on the frame.
- “bicycle” raising and lowering the heels along the road
- Scrapers in six positions, heels and scrapers at once, pulled out at the front of the knee, landing at the “spring”. The shave is long, and then the shredders are smaller.
5. Virazna plastic-parterne warm-up(on the underside).
- “Seated emphasis” - positioning the body, legs, arms, head.
Sitting on the underside, stretch your legs forward at once, press your knees to the underside, and stretch your toes strongly. The back is flat, pulled up across, hands on the belt, elbows down, shoulders down, shoulder blades across, neck borderline pulled up. Head straight to wonder.
- “Seated emphasis” - robotic stop.
We quickly straighten our feet along the cross, circular arches with our feet. We pay attention to the position of the back and the flexion of the knees.
- “Lump” - pull the knee up to the breasts, wrap your hands around the knee, gather into the chest, take the resting position.
- “Flying” - raise your arms in the direction of the flying wing, your legs are raised from the frame at 45 degrees, stretched in knees and scarves, your back is straight, your shoulders are lowered, your neck is open. We lower our legs onto the support, hands on the belt in the exit position.
- “Hrestik” - lie on the back, arms spread to the sides, legs together, knees and ankles pulled out. At point No. 2 (a few minutes below) we immediately raise our arms, legs and head, then lower them to the release position.
- “Raiduga” - lie on your back, arms spread to the sides, legs together, knees and ankles stretched, strongly strain your arms. Pull your shoulders under the supports, lift yourself up from the supports until you stand on the top of your head, your shoulder blades are together, your arms are strong. Accept the weekend camp.
- “Kutochok” - lying on the back, arms spread to the sides, legs stretched in knees and scuffs together. We raise straight legs uphill to point No. 2 (a few feet under the pads), then at point No. 4 (until the position of the cut is 90 degrees, again to point No. 2 and place the legs on the pad. (At this point, the right seats under the pads do not move, since ina) forever straight)
- “Metelik” - the normal position is sitting on the underside, the legs are joined by the feet, the knee is lying on the underside, hands are held by the legs. The back is straight, the shoulders are lowered across, the shoulders are strongly pulled across. Leaning forward on your feet, we apply the rest of the underpinnings to the underpinnings, placing the elbows on the underlay. We rise from the bench with a straight back in the exit position.
“Gander” - the ideal position is sitting on knees, feet spread to the sides, the heels of the seat do not appear on the underside, hands take hold of the heels, elbows bent, the back is level, shoulders are lowered down, the knees are strongly spread to the sides. We lean forward, place our chin and chest on the support, then rise to the release position.
- “Soldier” - the final position is standing on knees, the knee is shoulder-width apart, the hands are pressed against the sides of the chest (string), the back is flat, the shoulders are lowered down, the shoulder blades are pulled back. We place the plates back (with a plank) close to the base and turn them at the exit position.
- “Bridge” - the final position is standing on knees, the knees are wide apart. We bend back at the waist and place our hands on our feet to create space. The head is thrown back. We turn around at the exit position.
- “Logs” - the final position is lying on the underside on the stomach, arms stretched forward behind the head, legs together. Borderline stretching. Sidnits pull in their chests soothingly. We turn on our side on our right side, our foot lies on our nose, our hands are not connected. Then we turn over onto the other side through the body, without throwing our head straight.
- “Chovnik” - the usual position is lying on the back of the stomach on the stomach, arms stretched forward behind the head, legs together, buttocks live retracted. At the same time we raise our arms, legs and head up in the air, representing a chef, then at the exit position. Raise the choven and go forward, back - the choven moves.
- “Ring” - the final position is lying on your stomach, bending your knees and holding your feet with your hands. We raise our chained arms and legs up to form a ring. Lowered at the exit position.
- “Kalachik” – the usual position is lying on the stomach, legs stretched, arms lying across the chest on the palms. We raise our straight arms on our hands, resting our palms on the support, instantly bending the knees of our legs and bringing them closer to our heads, forming a ball. You don't need to use your fingers to reach the top of the head and the rest position.
- “Vijimannya” - for boys.
The starting position is lying on the stomach, the arms are lying on the palms of the chest, the elbows are bent, the legs are resting with their scallops on the support. The tulub is like a “tablet”, we straighten our arms all the way, raising the tulub - a plank, and lower the tulub, bending to touch the bases. The life does not sag, the seats do not rise to the top.
- “Vijimannya” – for girls.
Pochatkova position "Emphasis sedentary", put your hands on the pad back a little distance from the quilt. We lift the seats up from the lining with retracted knees and scallops that create a “height”, the seats are strongly pulled in, the head is thrown back. Turn around at the exit position.
6. Dance-games
- “Pranny” - children in the dance represent the process of manual dance, this dance develops respect and coordination of hands, all hands are repeated 4 times, it is difficult to connect hands and feet.
Hands up - stand with your legs together, hands clasped into fists, back straight, head straight.
- 4 times with fists we represent the movement through one side, then another
-4 times—fist to fist, apparently alternating, then one way or the other
-4 times, lower your arms down and wave your arms from side to side, simulating rinsing
-4 times - fist to fist, vichalyuvannya
- 4 times - raise your arms level with your chests, straight at your elbows, using the palms of your hands to represent fearfulness
- Raise your right hand up 4 times and lower your hand down, then with your left hand. Repeat. We represent – we depict whiteness.
-8 times - raise your offending arms up high and move your hands to resemble clothespins.
-4 times, we vibrate with a bent hand, we sing from the floor, we are tired.
Hands with your feet - stand on your heels on the underside, bending the left leg 2 times at the knee, then the right leg 2 times. The rings are bent once at a time when “rinsing” and “pinching” are performed. The hands and feet are joined together.
- Gra "Chervoni Chobitki"
The final stage, the children stand at the stake, hold hands and jump in the opposite direction of the anniversary arrow, sing a song:
Jump along the road
Chervony Chobitki
These are not chobitki
Lenochka’s legs (as Olenka was very good at jumping on the stake), the words are like a teacher.
All the children jump, turn around in the stake and caress at the bottom, and the one who was called to come out at the stake and shows her work jumping up again gets up at the stake, the game begins from the cob.
- Dance "Kachenyat"
The children ask their fathers to dance with them, stand near the bell in pairs, and the child on his right hand holds a red mitten. All rocs are drawn 3 times.
The cob becomes in front of the colo, the legs are together, the arms are raised and bent at the elbows, the hands represent a pumping motion.
-3 times with fists
-3 times before the shoulders
-3 times in circles
-3 times - splashing
Then everyone joins hands and jumps along the stake.
The first part of the dance is repeated again, the only ones clapping over their heads and jumping on the stake, and even in pairs (child with father).
For the third time, the winding arms clap in front, draping the sheepskin in front and spinning in pairs of jumps.
On the fourth day, the ruins dance standing in front of the colo. Uklin.
The children accompany their fathers to their place.
7. Uklin
