Taken from a wide variety of dance genres, the basic steps below will help you begin your journey as an aspiring dancer. Many fundamental steps work across all dance disciplines - it's a step change that works great for jazz, tap and samba. Clean up your basics or go for a new style of flying off your feet on the dance floor to dazzle the adoring crowd.
Ball change
Ball changes are found in most dance disciplines, including jazz, tap, lyrical and hip-hop. Because of its crossover appeal, it is typically one of the first steps taught to new dancers. The ball change is completed in two steps - transferring weight to the ball of the foot (1), then stepping back to the other foot (2). This step is usually connected to another step, such as a "ball change" motion.
- Step onto your right foot, placing all your weight on that leg.
- Lift your left leg and lean back behind your right leg, directly onto the foot ball.
- Shift your weight toward the ball of your left foot as you lift your right foot.
- Step back onto your right foot to complete the move.
- Pitch changes can be made to the right, left or in place. It is often used as a transition and it happens very quickly.
Chaine Turns
A chaîné turn is an introductory fast turn used in ballet and lyrical dance, although they are sometimes found in jazz and other styles. The name comes from the French, meaning "chain". Chaînés are simply a chain of quick turns on alternating legs. Starting from the first position, the turns move either along the floor in a straight line or in a circle.
- Start in the fifth position, right leg pointing to the right, pressed against the left leg, pointing to the left, arms at your sides.
- Raise both arms together, elbows slightly bent so that the curves of the arms and fingers touch just the waist.
- As you raise your arms, bend your knees, keeping your torso straight, and move your right leg to the right.
- Open your arms wide to the side as your leg slides to the right.
- Bring your left foot over, crossing it in front of your right as you approach the half-slipper.
- Bring your arms back into a curve with your waist as you turn your entire body with the momentum of your moving left leg. This is a half moon turn with both feet very close to each other.
- Repeat the sequence, but this time, as you engage the Relevant or Crescent, raise your arms up and into a gentle curve above your head, fingertips barely touching each other.
Methods of learning dance elements with children
In the process of mastering dance material, we conventionally distinguish three stages.
At the 1st stage (the beginning of using musical and rhythmic compositions in working with children), we rely on children’s ability to imitate, which is clearly expressed in preschool age. By imitating an adult, a child easily masters various types of movements and gradually begins to use them in independent activities (in games, dance improvisations).
The 2nd stage of training (after the children have already acquired some experience in performing as shown and have memorized several compositions) promotes the development in children of the ability to independently perform previously learned exercises (compositions as a whole and individual movements).
The 3rd stage of work is leading children to a creative interpretation of a piece of music, developing the ability to express themselves in movement to music, developing the ability to independently select and combine familiar movements and come up with their own, original exercises. The implementation of these tasks is most important in this program, since it is in the development of creativity and the ability to improvise that the main idea is concentrated - control of one’s own body, subtlety of musical perception, non-standard thinking, psychological freedom.
We approach each stage sequentially, but at the same time, they can be combined simultaneously (but with different repertoires).
Let us consider in more detail the methodology for organizing the pedagogical process at each stage:
The basis of the 1st stage of training is imitation of the teacher’s model of movement execution in the process of joint activity. / “Involving demonstration” (an expression by S.D. Rudneva) helps children master quite complex motor exercises. Performing movements together helps create a general high spirits; a single rhythmic breathing accompanied by music regulates psychophysiological processes and concentrates attention as much as possible. In such group rhythm classes, the students are exposed to a sort of hypnotic effect, the strength of which depends on the music and on how expressive and artistic the teacher’s display is. There is one more feature in the show - it must be “advanced”, that is, the movements are ahead of the music by a split second. This is necessary so that children have time to “translate” visual perception into a motor reaction. In other words, it takes time for the visual signals to reflect and then the muscle sensations will exactly coincide with the sound of the music. If such an advance in the demonstration does not occur, then the children’s movements (reflecting the teacher’s demonstration) are always slightly behind in relation to the music, which complicates the formation of musical-rhythmic skills.
There is one more feature of such a display - it must be given in a “mirror” reflection, since children repeat all movements automatically. In the process of imitation, children more easily develop a variety of motor skills and abilities. Thanks to “involving demonstration”, children cope with exercises that they could not do independently or with fragmentary demonstration with verbal explanations. However, the degree of complexity of motor exercises that children can perform in the process of imitation is not unlimited. To determine it, the teacher must determine the “immediate zone” of the child’s development (according to L.S. Vygotsky), which allows us to foresee the next step in his development. In the process of joint performance, it is important to let children feel their capabilities and consolidate them in their minds. With subsequent repetitions, the movements are refined, memorized and automated. Of course, this happens differently in children - for some it’s faster and easier, for others it’s slower, with some peculiarity. It is important that the teacher does not make any comments (at this stage of work), does not focus the children’s attention on the fact that they are not doing something well, and then gradually the complex elements of the exercises, repeated in various compositions, will be mastered.
The next stage of classes is the development of children’s This happens gradually, as if unnoticed by those involved. The teacher from time to time stops the demonstration during the joint performance and invites the children to continue performing the movements independently. This is a very important point, since in the case of performance only for show, children do not train voluntary attention, memory, and will. After several repetitions, together with the teacher, the children are invited to perform the entire composition independently from beginning to end (sometimes you can prompt with some gestures).
At this stage the following techniques are used:
— demonstration of performance of compositions by children (choice of presenters instead of teacher - in turn or at will);
- demonstrating the exercise with conventional gestures and facial expressions;
— verbal instructions;
— “provocations,” that is, the teacher’s special mistakes when showing them in order to activate children’s attention and encourage them to notice and correct the mistake.
Not all compositions should be learned with children to the level of independent performance from memory. Our task is to accumulate motor experience, develop skills and abilities, and for this we need to move a lot (to achieve automaticity, that is, skill), and we consider this stage of work as intensive training. However, some compositions that are convenient for inclusion in entertainment, matinees, dramatization games (spectacular, “spectacular”) can be learned with children for the purpose of subsequent performance (for example, these include: “Magic Flower”, “Squirrel”, “Exercise with hoops”, etc.). In this case, more careful work is carried out on the quality of performance, since it is important to cultivate in children a sense of beauty, a culture of movement, and the desire to do everything with full dedication. Thus, in parallel, there are two levels in working on compositions - “training”, performance for show (without carefully practicing movements) and leading children to independence, expressiveness in the execution of movements on individual compositions (accessible to the individual capabilities of children) with the aim of educating and developing the child’s personality . Independent performance of exercises indicates the development of motor skills, is an indicator of the learning outcome, as well as an indicator of the level of development of the most important mental processes - will, voluntary attention, musical and motor memory.
Next, based on the development of children’s plastic capabilities and expansion of their motor experience, we move on to the third stage, creative self-expression in movement to music. This also happens gradually. Thus, some compositions immediately include a “question-and-answer” form of performance, where improvisation on a certain musical fragment is assumed - bridge, chorus, etc. For example, in the composition “Dance while sitting”, children themselves come up with general developmental exercises to lose, in order to lose in the composition “The Three Little Pigs” - the Piglet dance, etc. Such small inclusions, on the one hand, train attention switching and the development of voluntary movements, and on the other hand, they prepare for improvisation on complete musical works.
Next, we move on to simple creative tasks, which include dramatizing songs. For example, in the song “Two Rams” (music by M. Kozlov), children perform movements in roles based on the text (in the form of two rams - White and Black), and in the dramatization of the song “Reckoning”, children depict the dialogue between a Girl and a Cat. For such tasks, songs with a bright, dynamic plot are selected that encourage movement (“Cats and Mouse”, “Plastic Crow” by Gr. Gladkov, “We Divide Everything in Half” by V. Shainsky, etc.).
The process of improvisation and playing songs is longer than just learning. So, first, children are asked to listen to a song, pronounce the text, then play “tests” in which children try to express the content of the song in movements. The role of the teacher is to observe the children’s manifestations, support them, in no case intercept their initiative and help in the selection of figurative movements and the design of a holistic composition. Older preschoolers and younger schoolchildren may be offered more complex tasks - for example, plastic improvisations on classical music (see the Appendix for the script of the suite to the music of M. Mussorgsky “Pictures at an Exhibition”) or composing fairy tales, “ballets”, etc. (See the Appendix for “Fairy Tales” that the children composed themselves and came up with dances included in the production).
At this stage of work, you can use the following methodological techniques:
• listening to music and talking about it; drawing, verbal descriptions of musical images;
• selection of poems, fairy tales and other works that help interpret the musical image;
• plastic improvisations of children, “tests” - without showing the teacher;
• demonstration of movement options by the teacher - children are asked to choose the most successful one.
Adults only occasionally join in the movement to stimulate children's activity. As a rule, such a need arises in connection with the design of movements invented by children into a single composition, since this task is still difficult for preschoolers and primary schoolchildren (and it is not easy for adults either!).
The most convenient way to develop children’s dance and play creativity, in our opinion, is the staging of popular fairy tales, such as “The Fly Tsokotukha” by K. Chukovsky, “The Cat’s House,” “12 Months” by S. Marshak, etc.7.
Summarizing what has been said, we emphasize that improvisation in both children and adults is possible only on the basis of the development of an ear for music, creative imagination, as well as on the basis of free control of one’s body, that is, when the movements are automated and do not distract attention to the technique of their execution . Jacques-Dalcroze also believed: “When everything related to rhythm and technique passes into the category of automatic, all attention will be freed up to convey the feeling
"2.
Therefore, if we want to achieve a truly artistic, and not a primitive interpretation of musical works in plastic, a lot of and meticulous work on motor skills is necessary. But the process of this technical work must also be engaging, playful and creative. And then children will develop, learn movements easily and involuntarily, unnoticed by themselves, mastering various and complex motor combinations.
And this in turn will stimulate their overall development. 2. Development of children in the process of mastering various types of movements.
Moving from simple to complex, at the beginning of work with younger preschoolers, attention is paid to mastering figurative play movements. These same exercises begin the development of motor qualities - plasticity, agility, etc., as well as motor skills. For example, such game exercises as “Bunny”, “Squirrel”, “Ball” - train the ability to easily jump on two legs; “Fox” is a “soft”, springy walk; “The ball rolled” - run; “Ball” - jumping on two legs; “Bear” - walking, waddling from one foot to the other, walking on all fours, lying on your back, clasping your legs with your arms, bent at the knees - rolling from side to side”; “Doggy” - walking on all fours, running; “Kitty” - standing on all fours, arching and arching your back (developing flexibility), etc.
These movements can be offered without music, in a game or when playing out poems, as well as in compositions (from the repertoire “RiTeddy Bear”, “Squirrel”, “Ball”, etc.).
Mastering figurative play exercises not only develops plasticity, expressiveness, movements, but also trains dexterity and accuracy, coordination; and, what is very important, they develop children’s imagination, their emotions, the ability to “revive” a game character, animal, toy, etc. For younger preschoolers, based on play exercises, all other types of movements are introduced - general developmental, basic, dance movements. Forming in pairs, one after another, in a circle is also best done in the process of learning games, dances, round dances, where these formations are logical and natural, and the children’s attention is concentrated and regulated by music.
To make it easier for children to change lanes while moving, you can also use visual references - the pattern of the carpet, the furniture in the room, the location of windows, walls, etc. In this case, it is important to correctly indicate the direction of movement - “right”, “left”, “forward” “Back” - that is, to connect the “muscular feeling” of the direction of movement and the word (that is, the 1st and 2nd signal systems - the basis for the formation of a skill according to I.P. Pavlov). You can also use the modeling method - lay out various dance figures and a sequence of changes on a flannelgraph or on a table (this technique is more used with older children).
Thus, the formation of the ability to navigate “on oneself” (right-left arm, leg), “from oneself” (right, left, forward, backward) is laid down in early preschool age and continues in subsequent years.
Dos-i-do
Dosh-i-do, used in square dancing, involves two dancers facing each other. They then spin around in a circular motion without turning. To complete the correct dosage, each dancer should stand on the same wall the entire time, providing a spin rather than an actual turn.
- Standing next to your partner and facing the opposite side of you, walk towards each other.
- When you reach the opposite pair, continue forward, moving easily between them.
- Don't turn around, keep walking and step to the side a few steps, keeping the dancer you just passed behind.
- Step back to complete the outline around the opposite dancer and return to your place next to your partner on the square.
EASY DANCE MOVES FOR CHILDREN
ABC of dance and dance movements for children 3-4 years old. 1.Position of the body: * The “tree” top of the head stretches upward towards the sun. 2.Walking: -A simple step at a different pace and character: – Soft (like a fox, cat) * With an oblique foot (a bear walks through the forest).
3. Running: *Small, light: (leaves flew, snowflakes flew, little mice ran, peas scattered). 4. Walking and running in combination: * Soft step and shallow running - (cat and mouse). * Heavy step and small run - (bears and mice) 5. Jumping: * On two legs: (with moving forward, backward, in place (bunnies jump, foxes are scared, kangaroos in the zoo). 6. Running and jumping in combination: * Based on the principle of contrast (in dynamic shades: quiet-loud, fast-slow, rhythmic patterns) 7. Stomp: * Kick one foot into the floor with the entire foot, (“Along the path, along the path”) * Stomp (alternately stomp with the right and left leg) 8. Exercise for hands, fingers and arms: * Arms: raise (forward, to the sides, up one or two), then lower. * Extend (forward, to the sides, up), then lower. * Exercises on muscle sensations: (“Stretch the elastic”, then sharply bring your hands together, stroke the water). * Hands: “bells are ringing”, (“shake off the water”, “fan yourself”, “goodbye”) * Exercise for fingers: – “squeeze” "fist, "throw out" the fingers. (Cat claws, soft paws (finger games). 9. Swinging the arms. * "Swinging on a swing": With a "spring" in the knees, make a good swing of the arms up, then gently lower them down . * Alternately raising one and the other hand. 10.Exercises for raising and lowering the shoulders: * Character is soft, calm and cheerful, playful. “Dunno has come” 11. Exercise for the head: * Bends forward (the bird drinks some water) * Bends to the side: (small clock) 12. Exercise for the body: * Slight bends to the side (tumblers) * Bends the body forward (crane). This course includes the study of various types of dance steps, running and jumping, the basic positions of the arms and legs in dance, the correct positioning of the body when moving, the development of an ear for music, stretching exercises, the development of turnout, working out the muscles of the legs, back and abs, as well as exercises to rebuild!
EASY DANCE MOVES FOR CHILDREN
The course is designed for working with children from 3 to 7 years old, and contains: a video of 6 parts, audio collections of 91 tracks, a teaching manual, and a certificate!
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vine
In front of the front, the dancer steps his right foot to the side and crosses the front to the left. Then the right leg comes out again and then the left leg comes in behind. Repetition. The vine is used in jazz dancing as well as country dancing.
- Step to the right and shift your weight to your right leg.
- Step to the right, behind the right foot, with the left foot.
- Step right with your right foot.
- Step right with your left foot, but this time just touch your toes to the floor next to your right foot.
- Step immediately to the left with your left foot.
- Step to the left, behind the left foot with the right foot... and continue.
Methodology for conducting classes in a children's dance group
Methodology for learning elements of ground gymnastics in working with preschool children.
Exercise in choreography is the foundation of dance. The exercise can be ground floor, classical, folk-characteristic, jazz and modern style.
Exercises on the floor, or ground exercise, allow you to achieve three goals :
1. Increase joint flexibility,
2. Improve the elasticity of muscles and ligaments,
3. Increase muscle strength.
Muscles and joints are prepared for traditional classical and folk exercises at the machine, which require high physical stress. These exercises also help correct some deficiencies in the body and legs and help develop eversion of the legs, develop flexibility and elasticity of the feet.
When performing these exercises, you must follow the following rules :
1. The main thing is to warm up well before starting classes, that is, do any exercises until a feeling of warmth appears in the muscles. 2. Initial training in exercises is best done outside of class, with individual work, to help each child. 3. During the learning process, each child performs the exercise to the best of his physical capabilities, but with systematic training, visibility and encouragement, he increases his capabilities. 4. It is imperative to take into account the child’s gender, his physiological characteristics, the state of the musculoskeletal system and physical fitness. 5. Perform flexibility exercises smoothly, without jerking, at a slow pace. 6. Perform each exercise until slight pain appears. 7. All exercises are aimed at strengthening various muscle groups and must be alternated with relaxation exercises. 8. Start stretching while “exhaling”, then breathe normally. Finish each exercise with a “breath.”
I. To learn to consciously control your muscles, exercises are used to tense and relax the body muscles
The exercises are performed while lying on your back, your arms lie freely along your body, palms down, your legs are freely extended, your heels are together, all the muscles of the body are relaxed. While doing the exercises, children should feel the tension of certain muscles, followed by their complete relaxation, which also needs to be felt. Breathing is free.
II. Exercises to improve the elasticity of the shoulder and forearm muscles
Repeat 4 times.
I.P. – standing on your knees, legs apart, grab your heels from the inside. “one or four times - move your pelvis forward, turn your shoulders, bend over. “five-eight” - return to I.P.
III. Exercises to develop flexibility of the shoulder and lumbar joints
Exercise 1. “Camel”
I.P. - on my knees. Bend your back and reach with your outstretched arms to your toes or to the floor behind your toes. Slowly moving your hands, grab your knees, while your hips should be pushed forward as much as possible.
Exercise 2. “Snake” Repeat 4 – 5 times. I.P. – lying on your stomach, knees straight, feet extended or in 1st position. Slowly raise your shoulders up and back, contracting your back muscles as much as possible and bending under your shoulder blades. Place your hands on the floor, as much as possible, near the body. A more complicated version: bending at the shoulder blades, fix your hands behind your head.
IV. Exercises to strengthen the abdominal press Exercise “Corner” Repeat 4-6 times. I.P. – sitting on the floor, stretching out your knees and feet. On the count of “one-two,” raise your legs off the floor (form an angle). Open your arms to the sides for balance. Fix the position at “three-four-five-six”. At seven or eight, come to I.P. Complicated option: perform the exercise from I.P. lying on your back, legs extended, arms along the body, palms down. On the count of “one-two”, simultaneously raise your body and outstretched legs. Then slowly return to I.P.
V. Exercises to improve the flexibility of the spine. Exercise 1. “Snail” Repeat 3 – 4 times. I.P. - sitting on your knees. On the count of “one-two-three-four,” the head dropped forward, followed by the shoulders, then the back rounded. At the count of “five-six-seven-eight” they slowly straightened up, trying, as it were, to “turn around” - “the snail showed its horns.” Then everything is done in the reverse order: first, the back and shoulders are slowly rounded, then the head, trying, as it were, to “curl up” - “the snail hid in the house.”
Exercise 2. “Teddy Bear”
I.P. – sitting on the floor, pressing your knees with your hands to your chest, your forehead touching your knees. Lie on your back in a tuck, then return to IP. - “swing” on your back”
Exercise 3. “Rainbow” Repeat 2 times. I.P. – lying on your back, arms extended along the body. On the count of “one-two-three-four,” place your feet on the floor behind your head; on the count of “five-six-seven-eight”, fix this position. Then slowly return to I.P.
Exercise 4. “Ring” by I.P. - lying on your stomach. Place your hands on the floor near your chest. Straightening your arms at the elbows, bend under your shoulder blades as much as possible. Then bend your knees and try to reach your head with your toes, forming a closed ring. Fix this position. Then return to I.P. To make this exercise easier, the legs at the knees are spread to a width that is comfortable for each child individually. Gradually, the legs are connected and the exercise is performed with the knees connected.
Exercise 5. “Box” by I.P. - lying on your stomach. The arms are extended along the body. Bend your knees. Use your hands to grab the outside of your ankles and stretch your arms up, simultaneously bending under your shoulder blades. Fix the position of the body. Slowly return to I.P. To make the exercise easier, first separate your legs, but gradually learn to perform the exercise with your legs connected. The effectiveness of this exercise can be enhanced if the teacher, having grabbed the child’s feet and hands with both hands, carefully lifts him and rocks him “up and down” - “swing”.
Exercise 6. “Kitty”. Starting position – rest on your knees. “One-two” - bend your back, raise your head up to the limit. “Three-four” - arch your back, lower your head down.
POSTURE
For dancing, it is important to have not only a proportional physique, but also correct posture.
Anatomically, human posture is considered in three planes passing through the general center of gravity of a person:
· transverse (horizontal), dividing the body into upper and lower halves;
· longitudinal (sagittal), which divides the body into two symmetrical parts - right and left;
· anterior-posterior (frontal), taking into account the structure of the front and rear parts of the body.
The basis of posture is the spine and its connections with the pelvic girdle.
The spine has curves: cervical (in front), thoracic (back), lumbar (forward), sacrococcygeal (back).
With normal posture, the curves of the spine are moderately expressed. The direction of the vertebral line is strictly vertical. The right and left parts are symmetrical: the neck-shoulder lines are at the same level, the angles of the shoulder blades are at the same height and at the same distance from the spine, the waist triangles (the space between the lines of the body and the arms extended along them) are the same.
In normal posture, the body axis, passing through the common center of gravity, is projected onto the middle of the support area, which ensures stable balance of the body.
LEGS INVERTION
Leg turnout is the ability to turn the legs (hips, legs and feet) into an en dehors
(outward), when, with a correctly positioned body, the thighs, legs and feet are turned with their inner side outward.
To determine the turnout of the legs, the child is brought to the machine and placed in the first position, holding the torso in a vertical position, then they are asked to squat deeply, gradually lifting their heels so that the hips open to the sides as much as possible (supinated), that is, they are asked to perform a grand plie
. By taking your hands by the hips just above the knees and helping the child open up, you can see whether he does it easily or with difficulty. With good natural eversion of the legs, both knees move freely to the sides along the line of the shoulder girdles, and the hip part and thighs form a straight line with the knees. If the leg eversion is insufficient, the knees do not open wide when squatting, but go forward, and cannot be opened with any effort.
An additional test of turnout is carried out by performing the so-called “frog” exercise, which is performed lying on your back by pulling your feet towards your buttocks, followed by opening your hips to the sides. If the knees are loosely adjacent to the floor, it means that the applicant has eversion in the hip joints (it is necessary to ensure that there is no deflection in the lower back).
The eversion of the legs at the hip joint can be checked in another way. The child stands sideways to the machine in position 1, holding onto the stick. Then the teacher raises his leg to the side by 900 and carefully moves it back, while ensuring that the leg maintains an eversion position. If the child has insufficient leg eversion, the heel and leg, when they are pulled back, do not maintain the eversion of the entire leg.
When determining the turnout of the legs, you should pay attention to:
ü on the structure of the hip joint - on the degree of compliance of the leg, that is, on the ability of the entire leg (thigh, lower leg, foot) to take an eversion position;
ü on the possibility of developing eversion of the legs based on the presence of active and passive eversion of the legs;
ü excessive hyperextension in the knee joints (pronounced X-shaped legs), which is sometimes caused by weakness of the ligamentous-muscular system and negatively affects choreography classes.
The inversion, or supine, position of the legs during the dance provides the artist with the opportunity to freely perform the movements of classical dance and creates conditions for such an interpretation of the choreographic pattern that meets the laws of artistic perception, the laws of beauty. The combination of natural and practiced leg turnout with a light step turns the dance into a truly captivating spectacle. Turning out the legs allows you to improve your technique and helps develop such a quality as artistry.
Greater mobility of the legs is explained by the fact that when the legs are in an everted position, the greater trochanter of the femur is located not outside, but behind the hip joint, thus eliminating the bone obstacle to the leg performing movements of large amplitude. Therefore, the requirement of good turnout of the legs is an absolute necessity for classical dance.
The eversion of the legs in the shin is affected by the ligaments of the knee joint, therefore attention is paid to their condition and to the possibility of stretching the internal ligaments of the knee joint with special exercises.
The turnout of the legs depends on two important factors.
Firstly
, from the structure of the hip joint. In some cases, the acetabulum is flattened, and in others it differs in depth. The deeper the head of the femur enters the acetabulum, and the stiffer the ligaments fixing the femur in the acetabulum, the less eversion of the legs, and, conversely, in children with good eversion of the legs, the copetabula is shallow and the ligaments are elastic.
The natural eversion of the legs also depends on the location of the acetabulum. In some cases they face forward, while in others they face more to the sides.
If the acetabulum is located laterally, then even with the femoral head deeply inserted into the socket, such a child can expect average eversion of the legs, and elastic, pliable ligaments help to achieve good supination (rotation) of the hip. If the acetabulums are facing forward, close to each other, and at the same time the heads of the femurs are set deep in them, then this anatomical structure of the leg makes children professionally unsuitable for choreography, since the amplitude of movement of their legs is limited.
Secondly
, the turnout of the legs also depends on the structure of the legs of the future dancer. The formation of the lower leg and foot in children usually ends by the age of twelve. By this time, the child’s toes are turned either outward or inward (“clubfoot”). Moreover, sometimes with good eversion in the hips there is poor eversion in the legs and feet and, conversely, with good eversion in the legs and feet there can be poor eversion in the hips. In the case of free eversion in the hips and insufficient eversion in the legs and feet, it is possible to achieve mobility of the knee joint and ankle (“develop” their eversion).
FOOT
The instep of the foot is determined when the legs are turned out and is checked one by one: first one leg, then the other. From position I, the leg moves to the side (to position II), the knee straightens. Using careful hands, the teacher checks the elasticity and flexibility of the foot. When there is an instep, the foot bends pliably, forming a month-like shape in profile.
The foot, an anatomically and functionally complex apparatus, is a support for the human body and performs spring functions and functions as a balance regulator, contributes to pushing off the body when walking, running, and jumping. And in classical dance it also plays a significant aesthetic role, creating with its elongated instep together with an outstretched leg a complete line in the dance pattern.
According to the anatomical structure, the foot is divided into normal, arched and flat. The foot has two longitudinal arches: internal and external. The inner (spring) has a height of 5-7 cm, the outer (support) is about 2 cm. The foot has a transverse arch.
Flattening of the longitudinal and transverse arches manifests itself in flat feet. This defect negatively affects choreography classes. With slight flat feet, it is possible to improve the arches of the feet with the help of targeted training.
The arch of the foot is the arching of the foot along with the toes. The shape of the instep depends on the structure of the foot and the elasticity of its ligaments. There are three forms of instep: high instep, medium instep and low instep.
"BALLET STEP"
The height of the ballet step is determined by turning the legs in three directions: to the side, forward and backward. First one leg is checked, then the other. To check the ballet step, the child stands sideways to the barre, holding onto it with one hand, or is taken to the middle of the hall. From the first position of the legs (with the correct position of the body), the working leg in an inverted position, straightened at the knee joint and with an extended instep, is raised to the side to the height to which the hip of the future artist allows this to be done. After checking the size of the passive step (performed with outside help), the active step (the ability to lift the leg on your own) is checked. The criterion in this case is the height to which the subject can raise his legs: for boys the norm is not lower than 900, for girls – above 900. It is necessary to pay attention to how easily the leg can be raised.
The step also creates lines in the dance, providing breadth and freedom of movement. The amplitude of the step to the sides and forward depends on the degree of eversion of the legs and the mobility of the hip joints. The amplitude of a step back depends on the mobility of the spinal column, the strength and elasticity of the posterior thigh muscles. The amplitude of the step contributes to the height of the jump.
BODY FLEXIBILITY
This is one of the main professional requirements for those who are going to study classical dance. It is an indicator of the plasticity of the artist’s body and gives expressiveness to the dance, thereby contributing to the creation of a stage image.
The flexibility of the body is determined by the amount of deflection of the subject back and forth. For this, the child is positioned so that the legs are extended, the feet are closed, and the arms are spread to the sides. Then the child bends back as far as possible, and he must be secured by holding his hands. Since the flexibility of the body depends on a number of components (mobility of joints, mainly the hip, flexibility of the spinal column, muscle condition), attention should be paid to the correct deflection in the area of the upper thoracic and lower lumbar vertebrae.
Checking forward flexibility (checking the flexibility of the spinal column and the elasticity of the popliteal ligaments) is also done by tilting the body down with the legs extended, both standing and sitting on the floor. The child should slowly tilt the body forward (strongly stretching the spine), trying to reach the legs with the body (stomach, chest) and head and at the same time clasp the ankles of the legs with the hands. With good flexibility, the body usually leans forward freely.
The flexibility of the body depends on the flexibility of the spinal column. The degree of mobility of the spinal column is determined by the structure and condition of the vertebral cartilage. Flexibility (or bending back) should be in the area of the lower thoracic and upper lumbar vertebrae. The forward and downward tilt of the body occurs due to the stretching of the intervertebral discs, as well as the calf, hamstring and hip muscles and ligaments.
BOUNCE
The jump gives the dance the necessary qualities: lightness, airiness, flight - and therefore is its important component.
The height of the jump is checked, which is performed with the legs in a free position with a preliminary short squat. Jumps are performed several times in a row. Attention is paid to the elasticity of the Achilles tendon, the strength of the push from the floor and the softness of the landing. At the moment of jumping, you need to pull your toes down.
For a jump, the quality denoted in choreography by the term ballon
(balloon) - the ability to jump high and elastically and maintain a pose pattern during the jump.
The height of the jump depends on the strength of the muscles, the coordination of the work of all parts of the body, and, in particular, the flexors and extensors of the joints: hip, knee, ankle, foot and fingers, and their mobility.
When jumping, the working muscles contract to their maximum for a short time, while two main forces act: the force of repulsion from the support and the force of gravity of the body. Therefore, the height of the jump is directly dependent on them. In this case, it is necessary that the individual parts of the body at the moment of its separation from the support are in a state of immobility in relation to each other.
MOVEMENT COORDINATION
Among motor functions, coordination of movements is of particular importance for dance. There are three main types of coordination: nervous, muscular, motor.
Nervous coordination is characterized by a sense of rhythm, balance, various poses, posture, etc. they can be committed to memory. Memorizing movement, professional memory is one of the features of coordination, depending on the work of the visual and vestibular apparatus and other organs.
Muscular coordination is characterized by group interaction of muscles, which ensures body stability (when walking, running and other movements).
Motor coordination is the process of coordinating the movements of body parts in space and time (simultaneous and sequential).
SUSTAINABILITY
The main characteristic of balance and aplomb of the body is stability.
The core of the aplomb is the spine, but good vision, normal functioning of the vestibular apparatus, coordination, general good physical development and a healthy nervous system play an important role in stability.
TEMPERAMENT
When teaching children to dance, it is necessary to know what type of higher nervous activity the psyche of a particular child belongs to.
There are four types of higher nervous activity in humans:
v the temperament of a sanguine person is strong, balanced, agile;
v the temperament of a choleric person is strong, unbalanced, mobile;
v phlegmatic temperament – strong, balanced, inert;
v melancholic temperament is weak.
Of the four types of temperaments, sanguine and choleric people are considered to be the most suitable for dancing, while phlegmatic people require special, individual lessons.
FORMS
Group;
Individual;
Individual group;
Ensemble
FORMS OF CONDUCTING CLASSES: lesson, rehearsal, competition, concert, festival, seminar, creative meeting.
| Description of the dance 1 verse 1-4 bars. Those dancing “one”, “two” clap their hands. 5-8 measures. Raising their right hand up and placing their left hand on their belt, they turn in their places to the right side, making 8 so-called “falls”: on “one” - a small step with the right foot to the right, on “two” - they place the left foot on the half-toes behind the right . (For a full rotation, 8 hits are obtained). 9-12 measures. Clap your hands as in bars 1-4. 13-16 measures. Turn with a “fall” from the left foot to the left side. Verse 2 bars 1-16. Holding hands, children move counterclockwise in alternating steps all around, verse 3, bars 1-16. The circle moves in the opposite direction. Verse 4 With their arms crossed in front of their chests, the dancers perform the following movements: 1 measure. On “one” - the right foot is placed to the right on the toe, with the heel up, “two” - the foot is placed on the heel, with the toe up. 2 bars Make three stomps with the right - left - right foot. 3-4 measures. Repeat the movements for 1-2 beats, but with the left foot. 5-8 measures. Repeat movements 1-4 beats. 9-12 measures. Holding hands, the dancers take six steps to the center with their right feet. Finish with three stomps, gradually tilting the body. 13-16 measures. Gradually straightening up, the children move back and finish the movement with three stomps. |
| Rules of the game Divide the children into two groups. One is “children” (sitting on chairs), the other is “sparrows”. Sparrows easily jump on their toes, spreading their wings (arms), performing a rhythmic pattern with stops on quarters. On piano, sparrows squat down and hit the floor with their fingers (pecking at grain). For final emphasis, the children sitting on the chairs clap their hands. Sparrows fly in different directions |
| Rules of the game The playing “mice” children are “in the house”, near one of the walls of the room. There is a “cat” sitting on a chair on the opposite wall - he is “sleeping”. When the alarming music starts playing, the “mice” sneak up on the “cat” and squat down. When loud music starts playing, the “cat” wakes up and catches the “mice”, which quickly run away “into the house”. |
Bass dance
Bass dance (French basse danse - “low dance”) is the collective name for jump-free court dances at a moderate or moderate-slow tempo, which were often called “walking dances.” These dances were widespread in France, Italy, and the Netherlands between the 2nd half of the 14th and mid-16th centuries. The compositional drawing was built in the form of a round dance, a chain, a procession. Bass dances were like a small choreographic composition in which the dancers showed themselves to the assembled society and demonstrated their wealth, splendor of outfits and nobility of manners. It was a ceremonial dance, more associated with walking than with dancing as such. It includes pavane, allemande, chime, sarabande, etc. There is also bassadanza, a more refined Italian variety of bass dance, popular in the 15th century. It has a more agile pace.
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Heel turn
In ballroom dancing, the heel turn involves turning onto the heel of the supporting leg while the other leg remains parallel. When the turn completes a full turn, the weight is placed on the other foot.
- Return to your right leg, turning your toes slightly toward your body.
- Shift your weight toward the heel of your right foot as you slide your left foot back.
- Slide your left foot on your heel, onto your right foot and around as you rotate your body, pivoting on your right heel.
- Rise up slightly on your foot balls as you complete your move.
To turn left, start with your right foot. To turn right, start with your left foot.
MAGAZINE Preschooler.RF
Master class for music directors of preschool educational institutions “Methods of learning musical-rhythmic movements through play.” Motto: “Dance more joyfully with us as soon as possible!”The purpose of the master class: to improve professional level and exchange experience. Objectives of the master class: • transfer of experience through direct and commented demonstration of the sequence of actions, methods, techniques and forms of pedagogical activity; • joint development of methodological approaches and techniques for solving the problem posed in the master class program; • reflection of their own professional skills by the master class participants; • increasing the level of professional competence of master class participants; • formation of an individual style of creative pedagogical activity of each master class participant. Methods and techniques: Practical, verbal, visual-motor.
Equipment: stereo system, CD with recordings: Playing with Santa Claus “The locomotive is coming, the locomotive is coming,” “Merry Aunt” music. Gladkova, Ivan Kupala “Ay, Zainka”, “Waltz-joke” by Shostakovich, “For me, for you” music by E. Poplyanova, any rhythmic polka.
Musical games, dancing, and exercises are necessary for preschoolers not only for entertainment, but also for their physical, mental and aesthetic development. They help children fall in love with music and respond emotionally to it; develop an ear for music and a sense of rhythm, enrich children with new musical knowledge, and expand their musical horizons.
The material through which musical and rhythmic education is carried out must meet the interests and capabilities of the child and be highly artistic. Instrumental music and round dances should be bright, with a pleasant melody, simple harmony and expressive dynamic shades. The performance of musical works must be accurate and artistic. It is necessary that musical works be accessible when reproduced and transmitted in dance. This allows children to convey the character of the music in the simplest movements, helping them to more deeply perceive and consolidate the content of the work.
The content of this section includes teaching children the ability to move in accordance with the nature of the music, with the means of musical expressiveness, as well as the ability to perform simple elements of dances, formations, exercises, dramatizations, dance in circles, play musical games, both plot and non-plot. classes and in independent activities outside of classes.
The tasks for this section are as follows:
- teach children to coordinate movements with the nature of music, with the most striking means of musical expressiveness: move rhythmically and expressively, play musical games, dance in circles, perform dances;
- develop in children a sense of rhythm, which is expressed in the fact that children feel rhythmic expressiveness in music, respond to it and convey it in movement;
- to develop artistic and creative abilities, which in children of senior preschool age are manifested in a unique individual expression of the game image, inventing, combining dance movements, constructing round dances, and using this knowledge in independent activities.
These tasks are solved by fulfilling the main requirement - the correspondence of the nature of movements to the content and development of the musical image.
When teaching children musical and rhythmic movements, dances, games, and exercises, music directors use various methods:
— visual-auditory (expressive performance of music);
- visual-motor (showing games, dances, individual rhythmic exercises);
- verbal (instructions, explanations during movements);
— exercises: multiple repetitions, varying familiar material; exercises in the ability to perceive and convey an image dictated by a song or music.
If these methods are chosen correctly, they will help the child more deeply and consciously assimilate the content and nature of the work.
The method of teaching musical-rhythmic movements is variable. The development of musical-rhythmic movements at each age stage occurs differently.
At the first stage of work, it is necessary to attract children's attention to music, to lead them to the ability to respond to music with movement. Already at a young age, the child responds emotionally to music, which is expressed in facial expressions and gestures. But his movements are imprecise and sometimes not coordinated with the music. The basis of learning for children of this age is imitation of the actions of an adult. The teacher needs, using personal example and relying on the child’s emotional responsiveness, to develop the ability to listen to music, remember and perform simple movements, small roles, and accurately complete tasks. It is necessary to draw children's attention to the fact that they need to move only when music is playing, teach them to react to changes in contrasting parts, marking them with changes in movements, and stop movements when the music ends.
The teacher's demonstration as a technique is needed at the initial stages of learning a game, dance, or exercise. In the future, the music teacher gives instructions during the performance and corrects the actions of individual children. During the school year, a music teacher teaches children various dance and figurative movements, which are then used in games, dances, and round dances.
Musical education through the use of movement takes on a slightly different character when working with middle school children. In the fourth year of life, children feel the change in contrasting parts of music, they can perform and master small musical tasks, but they are still poorly oriented in space. Therefore, the teacher’s task is to teach how to move in accordance with the brightly contrasting nature of the music, at a slow and fast pace, to respond to the beginning and end of the sound of music, to perform the simplest movements, to convey simple imitation movements of game images (“birds are flying,” “horses are galloping,” “ bunnies are jumping”, etc.).
In the fifth year of life, children already have experience listening to music, they can recognize familiar melodies, determine the nature of the music and individual means of musical expression (dynamics - loud, quiet; registers - high, low; tempo - fast, moderate).
Movements become more rhythmic, clear, consistent with the beginning and end of the music. Children perform more varied movements (straight canter, movement in pairs, single foot stomp, heel kick, etc.) and can move in accordance with the less contrasting nature of the music.
In games, the teacher, with his advice, can help children make their movements more similar to the movements of the characters. For example, in the game “Bear and Hares,” the teacher says: “The bunnies are cheerful, friendly, and jump easily. The bear walks heavily, waddles, his paws are large and heavy. Vova is a great guy, he performs the movements of a bunny very beautifully - easily, to the music, and Vitya is a real bear: he walks heavily, waddles, holds his hands correctly, like the paws of a bear,” etc.
The teacher seems to help the child find the right movement and convey the image correctly to the music. The coincidence of figurative words, music and movement develops the child’s imagination, the child more accurately conveys the character of the game character, movements become free, stiffness disappears, and confidence appears. A very important condition for children of the middle group in performing musical-rhythmic movements is expressiveness and clarity.
However, at this age children still need demonstrations of movements and clear, concise explanations. It is difficult for children to orient themselves in space and some formations, such as formation in columns, circles and others. The sequence of learning games, dances, exercises and the time spent on mastering them vary significantly. Some games and dances are learned by children in one or two lessons, while others require longer time.
Children of the sixth and seventh year of life already voluntarily master the skills of expressive and rhythmic movement. Auditory attention develops, and children’s individual abilities are more clearly demonstrated. They can convey with their movements the varied character of the music, dynamics, tempo, simple rhythmic pattern, change movements in connection with the introduction, with the change of parts of a musical work. Children can master a variety of movements (from rhythmic running with high leg lifts and jumping from foot to foot to polka step, half squat, etc.).
In the older group, the teacher achieves emotional and expressive performance of images by children.
In the preparatory group, children must be conscious of their role and perform movements more efficiently.
In older preschool age, the complication of the requirements of the musical and rhythmic repertoire is aimed at developing in children the ability to feel, experience, distinguish musical images and use means of their expression in movement. The ability to perceive and convey an image, to move expressively in accordance with music is formed in the process of learning games, round dances, dances, and exercises. All this is facilitated by expressive performance, imaginative and accurate display of movements, games, round dances, dramatizations, which give children the opportunity to act creatively.
Children's creative activity gradually develops through targeted learning, expanding musical experience, activating feelings, imagination and thinking.
Thus, in the conditions of interesting, exciting activity—musical and rhythmic—the child’s musical and aesthetic development occurs.
Let us consider specifically the methodology for conducting games, round dances, dances, exercises for children of primary, middle and senior preschool age and teaching methods.
The method of teaching musical-rhythmic movements to three- and four-year-old children is based mainly on the teacher showing children moving well, on emotional and figurative explanations and instructions. In games, the development of the plot is directed by music, determining the changes and nature of movements. The content of story games is dictated by the title and text. For example, the musical game “Vanya Walks.” Learning the game is associated with the disclosure of a musical and poetic image, with a story about its actions. The teacher can first explain to the children how to perform a round dance movement in a circle, then give them the opportunity, listening to the music and the words of the song, to independently portray “Vanya” in their own way. Games “Golden Gate”, “Trap”, game with Santa Claus “The steam locomotive is coming.”
Non-plot musical games most often have certain movements (“Wattage”). In such games, learning includes demonstration and explanation. Other techniques can also be used. First of all, children listen to music to feel its general mood and character. Next, they are explained the construction and form of the work (since the movements change in accordance with the parts, musical sentences, phrases).
In a playful way, various clapping, stamping, swinging, rotating the hands, etc. are learned. Then you can invite the children to figure out how to move to this music, discuss these options (using a children's demonstration) and, in conclusion, show the formation that the kids should learn. This technique helps to master skills in the active perception of music, the development of independent actions, and creative abilities. Dances are learned in the same way as games, but often require additional exercises in mastering and improving dance elements and changes that are unfamiliar to children. The teacher, using different music that corresponds to the movements, exercises the children in these skills.
Some exercises are of an auxiliary nature - aimed at mastering elements of movements that make it difficult for children to dance, dance, and play. We divide all present music directors into 3 age groups: - Younger preschool age (those who have cubes under their chair); - Middle preschool age (those who have rattles under their chair); - Senior preschool age (those who have spoons under their chairs).
Game exercise “Merry Aunt” music. Gladkova.
I have one aunt, this aunt is a merry fellow. When she dances, she does this: Oh, my hands, my hands, my hands are good Oh, my hands, my hands, let’s dance together for the soul!
I have one aunt, this aunt is a merry fellow. When she dances, she does this: Ah, my shoulders, my shoulders, my shoulders are good Ah, my shoulders, my shoulders, let’s dance together for the soul!
I have one aunt, this aunt is a merry fellow. When she dances, she does this: Oh, my sides are my sides, my sides are good Ah, my sides are my sides, let’s dance together for the soul!
I have one aunt, this aunt is a merry fellow. When she dances, she does this: Oh, my legs, my legs, my legs are good Oh, my legs, my legs, let’s dance together for the soul!
I have one aunt, this aunt is a merry fellow. When she dances, she does this: Oh, my ears, my ears, my hands are good Oh, my ears, let’s dance together for the soul!
I have one aunt, this aunt is funny. When she dances, she does this: My jumps, you jumps are good My jumps, let’s dance together for the soul!
In the first part of each verse, you can train children in performing various dance movements. We walk in a circle with a round dance step, a fractional step, hops, a small step on half toes, a side gallop, a step with high legs. To lose, each music director performs movements appropriate to the selected age.
The rabbits will dance to the music of Ivan Kupala “Ay, Zainka.” At the beginning, the bunnies wake up, then they wash themselves, jump to warm up, wiggle their ears, jump in circles, it turns out to be fun. The main thing is to perform all the movements while dancing. You can come up with a variety of movements, I relied on the well-known game - dance bunny.
Relax Exercise “Puppets” music “Waltz Joke” Shostakovich
Music director: Imagine that a thread is tied to each joint. From the beginning, all the threads are taut: the “dolls” stand with straight backs and arms raised high, since threads are also tied to the tips of their fingers. But then I begin to “cut off” the threads coming from the fingers one by one with scissors, and they fall freely. When I “cut” the threads from my elbows, my arms drop freely. Next I “cut off” the strings from the head, back, and knees. Our “puppet” completely relaxed and either squatted down or gently sank to the floor). The puppeteer participants, holding imaginary scissors in their hands, cut off the imaginary threads holding the limbs of the puppet participants. Music director: This exercise teaches children relaxation (relaxation). And lying on the floor during class is a great pleasure for the baby
Game exercise “Gnomes” (polka music) Children-gnomes go to the forest with empty baskets, return from the forest with berries (step 1/8, fractional step, retops) and with mushrooms (step ¼, heavy step).
Dance-game for kids “For me, for you”, music by E. Poplyanova.
1. I, you have Beautiful hands, (palms up and down) I, you have Beautiful legs. (putting your feet on your heels)
CHORUS: With our hands we clap, clap, clap, clap. You and I with our feet Top, top, top, top.
2. I, you have a Nose, like a button, (movement “bib”) I, you have a Mouth, like a cranberry. (kiss) CHORUS.
3. I, you (with a finger on the eyebrows) Beautiful eyebrows. I, you (pat yourself or a friend on the head) have a smart head. CHORUS.
4. I, you have cheeks like apples, I, you, have dimples on my cheeks. CHORUS.
5. I, you have ringing palms, I, you have legs like springs CHORUS: You and I have hands Slap, slap, slap, slap. (on the knees) You and I, with our legs, jump-jump, jump-jump!
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Rond
In ballet, roda or rond de jambe, consists of a pointed toe on a straight leg (or bent at the knee), drawing a semicircle on the floor or in the air. This can also be found in ballroom dancing.
- Start in the first position, pointing your toes and touching your toes. Step your leg forward with your knees straight and your leg pointing, not bent. Your weight is all on your supporting leg.
- Trace a semicircle on the floor or in the air with your legs and pointed leg - front, side, back - and return to the first position. This is the rond de jambe from the front.
- For the Back Rond, simply begin the movement by extending your leg to your back and bringing it to the front and first position.
Literature
- « Ballroom dance XVI - XIX centuries.
". Ivanovsky N.P. Edited by Yu.I. Slonimsky. Moscow-Leningrad, ed. Art, 1948 - " Ballroom dancing"
Sarikojumu dejas. Lasman Milda. Publishing house Latvias Valsts Izdevnieciba, Riga (Riga), 1954 - " Dance"
Textbook for theater universities (on stage dance). Vasilyeva E.D. M., Art, 1968 - " Rhythm at school, third lesson of physical education."
Educational and methodological manual. J.E. Firileva, A.I. Ryabchikov, O.V. Zagryadskaya, Rostov-on-Don “Phoenix”, 2014
swing
You and your partner are a dream team for ballroom dancing. The simplest turning step is part of your arsenal of smooth moves - use an open ball hold slightly apart from each other to show off your footwork. The lead starts on one leg, the follower mirrors the movements starting from the opposite leg.
- Keeping your weight on your right leg, lift your left leg and lower it down behind your right leg. Immediately shift your weight forward onto your right leg, rocking.
- Then step forward on the left, feet now together.
- Side step, starting with the left foot: side, step (right leg moves to left leg), step (weight now on left leg).
- Step right: step by step.
- Repeat the sequence.
Dance steps and movements
30.09.2015
Dance steps and movements contribute to the development of coordination and expressiveness of movements, sense of rhythm and musical ear of pupils, and are an excellent means of developing correct posture, physical development and physical training of children of any age.
1. Toe step (gymnastic step). I.P. – basic stance, hands on the belt. 1 – soft step forward with the right foot, placing the foot first on the toe, then on the heel; 2 – repeat count 1 on the left foot. 2. Half squats straight and with a turn to the left, to the right. I.P. – stand with heels together, toes apart. 1 – bend your knees slightly and squat without spreading your knees; 2 – I.P. You can perform different movements with your hands: hands on your belt, to the sides, swing back and forth, one hand up, the other down. 3. Half squat on one leg, the other forward on the heel. I.P. – stand with your heels together, toes apart, hands on your belt. 1 – slightly bend your right leg, transfer your body weight to it and place your left leg on your toe; 2 – I.P. 3 - slightly bend your left leg, transfer your body weight to it and place your right leg on your toe; 4 – I.P. 4. Side step. I.P. – stand with your feet together, hands on your belt. Step with your right (left) foot to the side, placing the other one. 5. Soft high step from the toe. I.P. – stand, legs in the third dance position, hands on the belt. 1 – high step forward with the right foot from the toe; 2 – repeat count 1s with the left leg. 6. Canter step to the side and forward. I.P. – basic stance, legs together, arms freely along the body. “and” - raise the right leg in the direction of the gallop, for example to the side; 1- lower your right into a half squat on both legs and push up, bringing your legs together with a slight movement to the right; “and” - land on your left foot, right to the side; 2 – repeat the movements of the count 1. 7. Alternate spring movement of the legs in a stance with legs apart. I.P. – stand with legs apart. Alternately bending and straightening your knees, you can perform different movements with your hands. 8. Leg to the side on the heel with a tilt to the side, arms to the sides. I.P. – stand, heels together, toes apart, hands on the belt. 1 – place your right foot on the heel, spread your arms to the sides, tilt your torso to the right; 2 – I.P. 3 - place your left foot on the heel, spread your arms to the sides, tilt your torso to the left; 4 – I.P. 9. Step with a jump. I.P. – main stand. 1 – step from the left foot with a jump on it, bend the right foot forward; move your left hand forward freely, your right hand back and down; 2 – repeat the movements of count 1 on the right leg. 10. Cross step to the side. I.P. – stand with your feet together, arms free. 1 – move your right leg to the right, 2 – bring your left leg forward behind your right. Repeat the count from 1. The same can be done to the left side, making free movements with your hands. 11. “Picking” I.P. – stand, hands on the belt. 1 – small jump on the left, bend the right one to the side on the toe, knee inward, head to the right. 2 - a small jump on the left, right - to the side on the heel, with a half-turn of the body to the right, head straight. 3-4 – repeat the movements of the count 1-2 on the other leg. Between the movements of one leg and then the other, you can perform a stomp (three hits on the floor, standing on slightly bent legs). 12. Polka step. I.P. – stand – legs in the third dance position (the heel of the right foot is placed in the middle of the left foot), hands on the belt. “and” - jump on the left leg, the right one forward and downwards. 1 – sliding forward gallop step from the right leg. 2 – step from the right foot, left on the back of the toe. “and” - 3-4 – repeat the movements of the count “and” - 1-2 with the left leg. 13. Basic movements of the “Twist” dance. I.P. – stand with your feet together, arms half-bent. 1 – lifting your heels off the floor, half squat, move your knees to the left: bend your left arm forward, bend your right arm back; 2 – accept I.P., change the position of the hands. The twist can be performed with your legs together and apart, moving your knees to the right or left, standing on one leg, the other bending and unbending, or remaining on the floor.
Based on materials from the manual by Zh.E. Firilyova, E.G. Saykina. "Fitness dance."
Things to remember
Before learning any actual dance steps, take preparation steps to ensure your success:
- Warm up your body by stretching. The simplest steps can cause muscle sores and injuries in a body not accustomed to the normal practice of dance.
- Learn your moves in a class taught by a professional dance instructor. This will reduce the risk of injury and allow you to learn the steps correctly.
- If a studio class is not an option, use an instructional DVD or online video that clearly explains what to do.
- Make sure your rehearsal space is free of heavy or breakable objects, giving you plenty of room to move around freely.
- Be patient with yourself as you learn. Even simple dance steps take time.
Methodological development “Rhythmic-dance complex in choreography class”
However, cognitive processes during rhythm classes are activated if the child can focus on the features of musical means of expression. The more complex and voluminous a piece of music is, the more movements are used, the more intensely auditory attention develops. It, in turn, contributes to the development of musical memory, which is based on the auditory and motor analyzers.
While performing movements to the music, students mentally imagine this or that image. It should be noted that each time the child reproduces the musical-game image in his own way and in new, unusual connections, combining dance elements, characteristic features of the character, modifying them into new, unfamiliar movements, conveying not only the appearance and character of the characters, but also the attitude towards him. This is how creative imagination is born.
Thus, musical and rhythmic activity has a beneficial effect not only on the physical, but also on the psychological state of students. Various creative tasks and games used in classes awaken interest and desire to study, form positive motivation for classes, and help to reveal the child’s creative potential.
Music as one of the main components
rhythmic and dance complex
Music is one of the powerful means of aesthetic education of children, reproducing the reality around us in sound images. The use of music in rhythm classes helps create correct ideas about the nature of movements, develops expressiveness, accuracy and individuality in the manner of performing exercises. Communication with music contributes to the musical and aesthetic development of the child, develops the foundations of his musicality (musicality is understood as the child’s ability to perceive certain content in music), and musical activity has a positive impact on the overall development of the child.
The influence of music has a positive effect on the emotional state of children, enabling them to gain general aesthetic, moral and physical development. It concentrates attention, memory, perception, supports performance, enhancing the effect of the exercises performed and improves the pedagogical process.
Music evokes a motor reaction in any person. Often this reaction remains hidden, expressed only in a change in muscle tone. The teacher needs to create conditions for the natural identification of motor reactions in the movement of the whole body. This develops students’ creative activity, imagination, ability to listen, perceive, evaluate their movements and musical accompaniment. The success of a teacher’s work in this direction will be determined not by the number of dance, rhythmic exercises, musical games and dances completed, but by the children’s ability to experience, think, remember and evaluate the culture of their movements. You should always pay attention to the facial expressions of moving children, since they clearly show what dance movements with musical accompaniment give to children.
