An analysis of the psychological and pedagogical literature and the experience of practical teachers, music workers, psychologists, and doctors suggest that the development of dance elements at each age stage is different. At a young age, the child emotionally responds to music, which is expressed in facial expressions, gestures. But the movements are not yet accurate and are sometimes not aligned with the music.
In the fourth year of life, children begin to feel the change of contrasting parts of music, they can perform and learn small musical tasks. They are still poorly oriented in space, so the teacher teaches them to move in accordance with the bright contrasting nature of music, at a slow and fast pace, to respond to the beginning and end of the sound of music, to perform simple movements, to transmit non-complex imitative movements of game images (birds fly, horses jump, bunnies jump).
In the fifth year of life, children already have experience listening to music, they can recognize familiar melodies, determine the nature of music. Movements become more rhythmic, clear, consistent with the beginning and end of the sound of music. Children perform more diverse movements. (straight gallop, movement in pairs, one foot trench, putting the foot on the heel) and can move in accordance with the contrasting nature of the music.
At the age of 5-7 years, children already control their movements relatively well, their actions to music are more free, easy and clear, they use dance improvisation without much difficulty. Children at this age arbitrarily possess the skills of expressive and rhythmic movement. Auditory attention develops, the individual characteristics of children are more pronounced. They can convey with movements the diverse nature of music, dynamics, pace, simple rhythmic pattern, change movements in connection with the change of parts of a musical work with the introduction. Children can master a variety of movements (from rhythmic running with a high rise of the foot and jumps from foot to foot to the polka step, half-squatting, etc.). Creative activity of children develops gradually through focused learning, expanding musical experience, enhancing feelings, imagination and thinking. The reaction of children to what they listen to is a creative display of music in action. At this age, the emotions caused by music create a certain motor activity, the task of the teacher is to direct it in the right direction, choosing for this an interesting and diverse musical and dance material.
Moving, as the music suggests, is a strict law that must be observed steadily throughout the lesson. Movements should flow out of music, be consistent with it, reflecting not only its general character, but also specific means of expression.
In the learning process, helping to find the right movement for the child, the teacher with his advice, a word, his own example, etc. The coincidence of the figurative word, music and movement, children's imagination develops, the child more accurately conveys the nature of the musical work, the movements become free, the stiffness disappears, and confidence appears.
In order to interest students in dance creativity, in the framework of the developed methodology, theoretical lessons were held in conjunction with practical exercises. In such classes, a general description of the dance was given, its features were noted. Talks were held about the peculiarities of the folklore of this nation, illustrations and slides were introduced to introduce children to costumes, and video materials on this topic were used. All this is necessary in order to introduce students to the world of those images, the music to which they will dance. The smoothness of the waltz, the cheerfulness and gaiety of the polka and gallop, the incendiary and the daring of many dance folk melodies, reflected in the movements of these dances, were verbally described by the teacher in such classes.
Great importance was attached to listening to and analyzing dance music (its character, mood, structural structure, rhythmic features). Music tells the movements a certain character, gives them an emotional coloring. Musical accompaniment should be bright, emotional, expressive. Among all the arts, in unity with which the dance develops, music is closest to it in generalization, associativity, and structural laws. But, the plastic pictorial language of the dance is still more specific, like the visual. Ideally, the dance itself is plastic music. Therefore, the existence of two components in a work - music and dance - is the result of a complex process of working on the organics of their combination. “Dance music,” wrote the great reformer and ballet theorist J.J. Nover, “is or should be a kind of program that enhances and predetermines the movement and play of each dance participant.” () Music in any manifestation creates, first of all substantial basis of dance. Giving the development of the emotional state of images, comparing its different stages, music offers dance an effective line for the plastic characteristics of actors and events. This, of course, is facilitated by the process of identifying the rhythmic and structural community. As a rule, the dance form is in varying degrees depending on the temporal and structural characteristics of the music: tempo, rhythm, meter and form of construction (period, sentence, phase). Among them, the most stringent ratio of the pace of music and dance.
One of the first characteristics of a dance is the tempo of the music.
The pace is always determined by the content and nature of the music. In the practice of music and dance work, the pace is most often applied: moderate, fairly fast, fast, leisurely, slow. The first stage of work on the tempo is to follow the tempo of the musical work, you need to learn how to perceive and transmit in the movements the different tempos of musical examples with all kinds of shades. Tempo is not just the speed of sounding, it is an artistic characteristic that affects the emotional perception of musical thought. Therefore, if the pace of music and dance does not coincide, it is always read as a discrepancy. It is necessary to find such a range of movements, such a degree of muscle tension in order to move at a given pace conveniently, naturally, and expediently. It is also necessary to teach the child to maintain stability in the dance. It is very useful to maintain the pace of the dance. An important task is to teach children to switch from one tempo to another, change the tempo of the dance in accordance with the change in the tempo of music.
The next characteristic of the dance is the meter. Naturally, the three-quarter structure of the measure will find a different plastic expression than the two-quarter structure, but not in formal coincidence with the lobes, but in a more complex temporal character, which determines this or that size and its metric pattern.
The third temporal characteristic of the dance is the musical rhythm, which has a huge impact on the perception of the dance as a whole. Music and dance live in a single physical and metric dimension, and at the same time they are quite freely correlated in rhythm, giving rise to rhythmic counterpoint. Thus, the composition of the dance is in significant proportion with the metric structure and form of the musical work. The term "dance composition" itself is interpreted differently. Composition - composition, composition, connection, connection. Within the framework of these four semantic readings, the dance composition is the composition of a single whole from various dance-plastic elements.
In the author's methodology for the development of motor motility in children 5-7 years old, the most common musical compositions were circle and linear construction. Circle is the composition most often repeated in various dances. And this is understandable, it carries a meaningful explanation for the children, the circle is the sun, this is the location around the fire, the hearth. In dance this homogeneous motive has a number of varieties: a vicious circle, an open circle, a circle in a circle, several circles in a common circle. The circle is the most common figure for various round dances and dance songs. Circle ornaments go back to very ancient forms of dance, are one of the brightest motifs and folk dance and modern choreography. A vivid example is one of the most famous Russian round dance “Birch” created by N. Nadezhdina. The endless interweaving in a circular motive creates, on the one hand, a stable and calm image, on the other, allows for changes and a variety of plastic options to create the volume of the image, its development, change of moods and impulses and affirm greatness and simplicity as a result of the action.
When using linear composition, the requirement to the laws of perspective arises especially clearly. The teacher should be familiar with them in order to avoid mistakes in the construction of the stage composition. For example, by arranging dancing children in a line, different visual effects can be achieved: equal growth can be maintained if higher performers are placed in the depth of the line; while reducing this growth, while strengthening this promising one, you can create the impression of a line that goes into the distance.
Of course, linear motifs, like circular motifs, have the opportunity to develop at the expense of pace, and rearrangement, and the location of the line in space.
Another characteristic of the dance, the significance of which is as great in teaching children as the previous ones, is the pattern of the dance. Any drawing of a dance does not exist by itself; it corresponds with vocabulary - the movement system of a choreographic work. Dance movements arise and develop not in abstraction, but in a certain spatial solution. Dance movements are peculiar signs, similar to sound, word, but plastically significant. Every movement is not static, but it can be dynamic in varying degrees and depending on this, but it is used differently. One movement needs a number of repetitions in order to assert itself, another is perceived immediately and does not need repetitions. The selection of movements in the dance must strictly correspond to the task, therefore, the use of an infinitely large number of various elements in one dance does not always determine its success. With a huge variety of options, the dance is most often divided into solo and mass, within the framework of this technique both options were used. In order for the children’s dance drawing to be clear and performed without much difficulty, it is necessary to repeatedly perform the same movement - exercises. The purpose of the exercise is different: to improve the basic movements ( walking, running, jumping);preliminary learning actions for story games and dances; development of expressiveness of the movement of characters in story games; compositional completeness of musical and dance movements in children.
Considering the question of the manifestation of creative activity by children, one cannot but say about the role of dances and their varieties (according to the teacher’s show, with fixed movements, folk dances with slow elements of folk dance, round dance with singing, improvisation). The dances activate the child’s hearing, produce clear, beautiful movements. In improvisational dances, the manifestation of children's creativity is most clearly observed; early learning of the elements of dance movements allows children to compose their own dance composition even at primary school age.
According to the implemented methodology, teaching children dance elements and then dancing began with learning how to walk and run correctly, which helped strengthen muscles, legs and body, children had to learn a series of exercises that helped them move well and expressively to peppy marching music. Work on the reflection in walking of the peppy, active nature of music contributes to the development of good posture, rhythm, coordination of movement of arms and legs, ease of stride. In addition, these movements associated with music are always accompanied by an emotional upsurge, which also has a beneficial effect on the development of motor skills of children.
Exercises, dance elements, dances, dances, which are part of the methodology for the development of motor motility of children 5-7 years old, dance creativity obey the general laws:
1. They are aimed at improving the quality of movement of children, the development of their ability to give movements a spring, smooth, or swinging character (depending on the musical-motor image).
2. They must teach children to give the basic movements (walking, running, jumping), elements of dance and dance the expressiveness dictated by music.
3. They should educate children in the ability to navigate in space, to move organizationally in a group without interfering with each other or to perform rebuilding in dances reflecting their character.
Learning the elements of dance and Russian dance that were precisely fixed and not familiar to children began with a show. For this, not only a personal example of the teacher was used, but also video material, posters. The demonstration of movements reflected their clarity and expressiveness, was necessarily associated with music, so that children could immediately understand the nature and characteristics of movement and music. Having learned this movement, the dance leader suggested performing it to other music so that the children would become accustomed to changing the character, dynamics, and pace of the movement accordingly.
The experiment showed in practice that in the early stages of introducing the technique, some children felt the character of the music well, but it was very difficult for them to convey it in motion. In many cases, the teacher himself had to get involved in the movement, use a verbal description of the movement, etc., to teach children to accurately convey the nature of music. The teacher’s participation in the dance has always intensified the activity of children, getting involved in the general rhythm of movements, children overcame the barrier of embarrassment, awkwardness and were more quickly involved in dance.
In addition, the implemented technique convinced researchers that all children love to dance, you just need to help some of them overcome the constraint of movement. The energy of the internal forces of the child at this age requires its expression. The pace, rhythm, pulse of our lives find their embodiment in motion in children. The teacher’s task is to combine the sequence of these movements into a composition that is simple in construction, to give them grace and expressiveness.
When doing the exercises, the shoulders of the children are slightly lowered, the rectifiers of the back are tinted, the quadriceps muscles of the thigh and rectus muscles of the abdomen are stretched. The movements are also aimed at stretching the front surface of the body, long and short peroneal muscles. The effectiveness of some exercises increases with slow execution. After performing movements to stretch the lumbar iliac muscle, you need to move on to exercises that tone the gluteal muscles. The movements of the shoulders realize the extension of the neck extensors, the lower stabilizers of the scapula are toned. Many of the exercises listed above are aimed at the development of the coordinated work of the muscles of the legs and arms, and the activation of gait reflexes. Changing the pace of performing dance movements not only enhances the effect on the cardiovascular and respiratory systems, but also helps to increase central nervous system stimulation and improve central nervous regulation of the motor act.
Performing these dance exercises provides the alternation of various types of reduction in the muscles of the leg, which helps to normalize their tone, in combination with the activation of gait reflexes. In movements on the heels, the muscles of the anterior surface of the lower leg are toned, the muscles of the posterior surface are stretched; when moving on toes for a turn. In exercises using half squats, the pelvis is held upright, the action is aimed at toning the quadriceps femoris, middle gluteus, which helps to normalize their tone. The position of the hands on the belt with the shoulders retracted to the rear tones the retainer blades. Exercises also on toning the oblique muscles of the abdomen, latissimus dorsi, anterior and posterior dentate muscles, major and minor round muscles, and square muscles of the lower back by alternating their stretching and contraction.
When assessing the physiological effect of dancing on the body of children, it is necessary to take into account the degree of maturity of the central apparatus for regulating motor functions, especially the age-related development of physiological systems of the body.
Diagnosis of the development of motor motility in children of 6-7 years of age by means of dance was carried out throughout the experiment in several stages. For this purpose, a special diagnostic package of test methods was developed, and the levels of motor motility development were highlighted, a comparison with which the results of the author's technique made it possible to judge its quality. In the psychological and pedagogical literature there is a rich description of diagnostic techniques, technologies, systems; diagnostics of children's groups on this topic was built in accordance with the laws and characteristics of existing experience.
The following characteristics of children corresponded to the first level (low): they easily repeat simple exercises in the wake of the teacher, but their repetitions are sluggish, slightly mobile, there is some confusion, lethargy, weak reaction to the sound of dance music.
The second level (middle) was characterized by free arbitrary movements of children, lightness, flexibility, speed of movements, response to the sound of dance music (tapping to the beat, clapping, turning the head, torso to the beat). However, this level is characterized by a weak creative activity of children.
The third level (high) suggested high motor activity of children, good coordination in space, coherence of individual parts of the movement in an integral motor act, free motor orientation to music, the ability to dance improvisation.
The diagnostic package of test methods included three test blocks:
1. A test to determine the ability of children to quickly coordinate in space. The block suggested the following task for the guys: to jump along the trajectory drawn in chalk, first on the right foot, and then on the left. The accuracy of the assignment was evaluated depending on the quality of execution from 1 to 3 points (in accordance with the above levels). The results of this test are given in table. 2,3,8,9.
2. A test to determine the tendency of children to dance creativity. Children were invited to the music (after preliminary listening) to portray the following characters: a daisy, a bee, a sun bunny, etc. The results were evaluated from 1 to 3 points (in accordance with the developed levels) and entered in the table.
3. Test to determine motor activity of children. Children are encouraged to repeat the dance elements shown by the leader. In this case, children from an older dance group were invited to show. They showed excerpts from the "dancing ducklings" and elements of rock and roll. Children under musical design had to repeat their actions. The results of this test, depending on the performance of children, were evaluated from 1 to 3 points (in accordance with the above levels).
During the experiment, the control group was a group of students of the 1st grade of a secondary school in the amount of 16 people. The experimental group consisted of 14 people, children 6-7 years old, students of the same school, enrolled in dance club.
The ratio of developmental levels of motor motility and points scored by children as a result of their testing
Input diagnostics showed that the level of motor motility development in children of both groups is approximately the same and corresponds to a low level.
The output diagnostics carried out according to the same tests showed that the level of motor motility development in the experimental group became noticeably higher and rose by 78% from the first to the second, and from the second to the third by 20%. In the control group, the result during repeated diagnosis almost did not change.
Thus, it was proved that if we purposefully teach children dance elements, dances, dances, and dance creativity, by introducing an appropriate technique, the development of motor activity in children aged 6–7 years will proceed more intensively and efficiently.
Foot position.
Positions and positions of the hands.
1. Circle
2. "Asterisk"
3. "Carousel"
4. "Tartlet"
5. "Chain"
Hand movements.
Handkerchief Handling (Women)
The most characteristic positions of the hands with a handkerchief in girls.
The most characteristic hand positions in young men.
Steps (Simple –Variable)
Fraction
The main movements of Russian folk dance.
Methods and techniques of characteristic folk dance
Foot position.
In folk dance used:
1.5 eversion positions classical dance - I, II, III, IV, V. 2. 5 lines:
I straight - both legs are set side by side and touch the inner sides of the feet.
II - both legs are placed parallel to each other at a foot distance.
III - both legs set side by side and touching the inside of the feet; the heel of one leg is in the middle of the foot of the other.
IV - both legs are placed on one straight line in front of each other at a distance of the foot.
V - both legs are set in one line in front of each other; the heel of one leg is in contact with the toe of the other.
3. 5 free.
In all 5 free positions, the legs are set so that the feet are in the direction between the corresponding open straight positions.
4. 2 closed.
I - both legs are turned inward and put on toes together; heels are set apart.
II - both legs are turned inward and set apart from each other at the distance of the foot between the socks; heels are divorced to the sides. In all these positions, the severity of the body is distributed evenly on both legs, the legs at the knees are extended.
Positions and positions of the hands.
1. 7 positions:
I, II, III positions are similar to I, II, III positions of the hands of classical dance.
IV - arms are bent at the elbows, hands are on the waist; thumb back, 4 others, assembled together, front. Shoulders and elbows are directed to the sides in one straight line.
V - both arms crossed at chest level, but not touching the body. Fingers gathered together lie on top of the shoulder of the opposite arm, just above the elbow.
VI - both arms are bent at the elbows, which are slightly raised and directed to the side. Index and middle fingers touch the back of the head.
VII - Both arms are bent at the elbows and laid behind the waist. The wrist of one hand rests on the wrist of the other; palms are turned up.
2. Preparatory and 2 main provisions.
Preparatory position - both hands are freely lowered along the body, hands are free and turned by the palm to the body.
The first position - both arms, rounded at the elbows, open to the sides at a height between the preparatory position and the second position: the hands are at the waist; fingers are freely assembled and open, palms are slightly turned up.
The second position - both hands are rounded at the elbows, open to the sides at a height between the III and II positions; fingers are freely assembled and open, palms are slightly turned up. In the first and second position, the hands can be moved back and forth. The level of the hands does not change.
3. Preparation for the start of the movement (preparation).
Preparation for the beginning of the movement is the movement of the hand, which is performed on a musical introduction, going at the pace of the musical accompaniment. With a musical size of 2/4, 3/4 or 6/8, preparation takes 2 measures;
with a musical size of 4/4 or 6/8 a slow tempo - 1 measure.
The musical size is 2/4. The movement takes 2 measures. Starting position; one hand on the machine, the other in a preparatory position. The head is turned away from the machine. 1 beat
The first quarter - the hand from the preparatory position, rounding at the elbow, rises in front of the body, just below the first position, and opens from the hand to the elbow to the side; in the first position; the brush is at waist level. The head leans forward slightly and turns toward the open hand; the second quarter is a pause.
2 beat.
First quarter - the hand is assembled at the elbow and, having described a small semicircle to the first position, is closed in the fourth. The gaze follows the movement of the brush. At the same time, the head tilts slightly and at the end of the movement of the hand turns from the machine and rises.
The second quarter is a pause.
Hand positions in group dances.
In Russian dances, performers hold hands or a handkerchief, forming a variety of drawings - constructions. Hands when building such figures can be raised up, opened to the sides, lowered down, etc. Shapes can be formed by girls or boys or boys and girls together.
1. Circle
In this figure, the number of participants is not limited, but there must be at least three people. Boys and girls, facing the center of the circle and holding hands, form a vicious circle. Hands freely, without tension, move at a slight angle from the body down or to the top. The movements in a circle, as a rule, go clockwise. Having made the casing soft along the turn in the direction of travel, young men and women go with a simple step or a variable, as well as a variable step with an inflow.
2. The asterisk.
Boys and girls, standing in the back of the head to each other in a circle, connect right or left hands in the center of the circle. Opposite hands are in the third or first position. This figure can be built from an even or an odd number of participants, but no less than three and no more than eight people. In this construction, you can move in a circle with a simple or variable step, as well as a step with a step.
3. "Carousel".
The basis of this figure is an asterisk. Boys form an “asterisk” with their right hands, and girls hold the right hands with their left hands. At least three, but no more than eight pairs can participate in the construction of this figure.
4. "Tartlet".
It is formed from two circles - a circle in a circle. Facing the center, boys and girls hold hands, forming each circle. The outer consists of boys, and the inner of girls. The “basket” moves with an “accordion” or a “squat”. The heads of the performers are turned in the direction of travel, to their partner or to the center of the circle.
5. "Chain".
Participants stand in a line, touching their elbows with each other. The arms are bent at the elbows and raised in front of you at chest level. The right hand, having described the semicircle from top to bottom, drops an elbow on the left hand of the partner standing on the right and, continuing the movement, pass under his left hand. A “chain” can move both left and right with an “accordion” or a “squat”. The heads are turned in the direction of travel or keep a straight position.
Russian dance for children from 3 to 8 years. Methods of teaching children and the organization of choreographic work
Hand movements.
1. Hand translations into various key points.
A) From the preparatory position to the first main one: for young men - the arms do not rise high to the side, the hands are at the waist level and, bending at the elbows, are transferred from the preparatory position to the first main one. For girls - hands rise along the body and are transferred to the first main position.
B) From the first main position to the third: hands from the first position rise forward to the second and, making a small semicircle, open to the sides.
C) From the third position to the fourth: hands from the third position gently lower their palms down and through the preparatory position, rising up in front of the body cross and go into the fourth position.
2. Handkerchief handling (female)
A) The handkerchief is located on the side of the palm of the hand, turned to the body: skipping the end of the handkerchief between the index and middle fingers, bring its short end between the middle and ring fingers to the side of the palm.
B) The handkerchief is located on the back of the hand, turned with the palm of the hand to the body: missing the short end of the handkerchief between the index and middle fingers, we bring it out between the index and thumb.
3. The most characteristic positions of the hands with a handkerchief in girls.
A) The right hand with a handkerchief with slightly bent fingers touches the chin. The edge of the palm is directed away from you. The left arm, bent at the waist level, supports the elbow of the right hand with the palm or back of the hand. The head is tilted to the right shoulder.
B) The bent fingers are connected by a “lock” at the chest level. The hands move slightly away from the body; the elbows are at the same height as the hands.
C) Both hands are raised up, the elbows are slightly rounded and directed to the sides. A handkerchief clings to the ends with both hands and is “beaten”.
4. The most characteristic positions of the hands of young men.
A) The right hand is bent at the elbow at chest level and clenched into a fist, directed by the back of the hand from the body. The left arm, bent at the elbow, is clenched into a fist, wound behind the back and is directed with the back of the hand toward the body. Hands do not touch the body.
B) The left hand is wide open to the side, palm up. The head is turned in the direction of the hand. The right arm, bent at the elbow, touches the back of the head with the fingertips, as if supporting the cap.
Steps
1. Simple
Movement takes 1/2 beat. The starting position of the legs is I free.
A) Moving forward. For each quarter, starting with the right foot, one step is taken. Young men put their foot on the whole foot; the steps are wide. The girls at the beginning put their foot on the low half-toes, then gently lower it to the whole foot.
B) Moving backward. The first quarter - the right leg takes a step back to the low half-toes and drops to the whole foot. The left one bends slightly at the knee and remains in front; the heel is slightly raised above the floor. The second quarter is the same step with the left foot.
2. The variable.
The movement takes one beat. I.p. - I am free.
A) Moving forward. The first quarter is the first eighth - step with the right foot forward, the second eighth - step with the left foot forward. The second quarter, the first eighth is a step with the right foot forward, the second eighth is a pause.
B) Moving backward.
3. Variable with a flush.
The movement takes one beat.
A) Moving forward.
The first quarter is the first eighth - step with the right foot forward, the second eighth - step with the left foot forward.
The second quarter is the first eighth - at the same time as the step with the right foot forward, the left leg rises slightly above the floor, the second eighth - the left leg with a simultaneous blow to the floor, falls to the whole foot.
Girls perform an inflow easily, with a heel. Boys - strongly, with the whole foot.
B) Moving backward.
It is executed as well as a variable step back. The inflow is performed in the same way as in the step forward.
4. Alternating with a heel.
Zatakt - a small half-squat on both legs. Hands rise to the side between the preparatory and the third position.
First quarter.
The first eighth is a step with the right foot forward on the rib of the heel; the leg at the knee is extended. The left arm, bending at the elbow, rises to the level of the chest; the hand is clenched into a fist, The right hand is wound behind the back. The second eighth - the left leg on the lower half-fingers is placed in a straight position to the right heel, as if knocking it out. The second quarter - the first eighth - the inflow with the whole foot of the right leg with a slight advance; at the time of the inflow, the knee bends slightly. The second eighth is a pause.
5. With a step over.
The movement takes one beat. I.P.- I direct.
First quarter first eighth - a small step with the right foot forward for the whole foot.
The second eighth - the left leg bending at the knee, taking a step, lowers into the first straight position for the whole foot, slightly ahead of the right in the half squat. At the same time, the right leg bends at the knee and rises above the floor.
The second quarter - the first eighth - the right leg is brought to the left and gently lowers to the floor for the whole foot in the first straight position.
The second eighth is a pause.
Characteristic folk dance for children from 5 to 10 years old Part 1
Fraction
Fractions consist of a blow from the entire foot - a strait and punches by half-fingers with a cushion of the foot and heel. Beats can be single or double. Based on these beats, various rhythmic compositions are created - fractions. All blows and percussion in fractions should be sharp, clear, rhythmic and light.
1. Fractional track.
The movement can be carried out on the spot and moving forward. The first quarter is the first eighth - a small leap forward to the entire foot of the left foot. The right one bends at the knee, and with the “shortened” foot slightly separates from the floor in a straight position. The second eighth is a hit with the heel of the right foot on the floor in I direct position. Second quarter - the movement repeats.
2. Fraction with a jump.
Movement takes 1/2 beat. Zaktak - simultaneously with a small jump on the left leg, the right one bends at the knee and slightly separates from the floor. The first quarter The first eighth - at the same time as hitting your foot with your foot on the floor, the left leg lowers in the I straight position, and the right foot makes a sharp heel at the heel with the left, and then the foot in the first straight position. Simultaneously with the second blow, the right foot is placed on the entire foot, and the left is separated from the floor. The second eighth is a small jump on the right foot. There are several types of fractions: "small spoken fraction", "three legs", "lame fraction" (three quarter), triple alternate tapping.
C) The main movements of Russian folk dance.
"Harmonic".
The movement takes one beat. I.P. - I am free.
“And” - the heel and the toe of the left foot are slightly raised above the floor and are moved to the right with a sliding movement.
“1” - The heel and the toe are lowered to the floor, the socks are touching.
“I” - The toe of the right and the heel of the left foot are raised above the floor and are moved to the right with a sliding movement.
“2” - The heel and toe are lowered to the floor, the heels are in contact.
"Picking"
The movement takes one beat. I.P. - I am free. There are two types: without jumps and with jumps.
“And” - simultaneously with turning the body to the left on the left leg, the right one, bending at the knee, makes a strong swing from the knee back - to the right.
“1” - the right leg, bent at the knee, is lowered with the toe to the floor; the heel is directed to the right.
“And” - simultaneously with the sliding movement of the left foot, the body and head turn towards the right foot. At the same time, the right leg, extending at the knee, rises forward by 45 °.
“2” - the right leg falls to the floor on the edge of the heel at the point where the toe was; rise is reduced. Kovyryolochka combines very well with the accordion, sediment, fractions and other basic elements of Russian dance.
"Rope"
There are five types of movement: simple, with a double blow, simple with a step over the entire foot or on the heel rib, with a milk blow with a step over the entire foot or heel, or with a double blow with brute force.
Simple.
“And” - with a small squat with the left foot slipping forward, the right one, bending at the knee, rises from the side of the left, touching it slightly, and at the level of the calf muscle is moved back. “1” - the right leg falls behind the left leg to the left of the heel in a crossed position. “And 2” - the movement repeats.
"Pendulum".
Types: with a jump on half-fingers, with a jump on the entire foot.
"Winder"
I.P. - I direct. The movement takes one beat. “1” - the left leg bent at the knee makes a small jump and falls to the whole foot. Right, bending at the knee rises back. “I” - the right leg, descending, makes a smear with the edge of the heel or the entire foot on the floor and rises forward by 45 °. “2” - a small jump on the entire foot of the left foot, the position of the right foot changes. The movement is repeated from the other leg.
"Hammers."
Movement takes 1/2 beat. I.P. - I direct. “1” - after a small jump on both legs, the left one with a bent knee lowers to low half-fingers; the knee is directed forward. The right one bends at the knee and with a “shortened” foot rises sharply in a straight position from the knee back - up, the toe is directed to the floor. “I” - a short hit to the floor with the half-fingers of the right leg, bent at the knee, near the left heel. After the blow, the leg bent at the knee immediately abruptly, accentuously bounces backward - upward in the upright position. The knee of the right leg should not extend far forward or backward from the knee of the left.
Methods and techniques of characteristic folk dance -2
"Crackers."
"Crackers" are characteristic of male dance.
Types: single claps and punches - fixing, single claps and punches - sliding, double claps and punches, built claps and punches. Single, double and triple claps make up popping combinations.
"Half squat."
1. With opening on the rib of the heel,
2. With the opening of the legs into the air,
3. Running - to the sides, on the rib of the heel,
4. Running gear - forward - backward. The movement takes one beat. I.P. - I direct.
“And” is a small jump on both legs.
"1" - a sharp and deep full squat.
“And” - a pause.
“2” - simultaneously with a sharp rise from a deep squat, both legs, stretching out at the knee, get divorced: the left one is forward on the rib of the heel, and the right one is backward on the half-toes.
“And” - a pause.
Types of full squatting:
« Goose Step ”,“ Ball ”,“ Slider ”,“ Bookmarks ”.
Semi-squats and squats can be performed on the spot and moving forward or to the side, with turns.
They can be combined and performed together with other elements - “picker”, “clapperboards”, jumps and a number of other elements.
The methodology of learning dance elements and dances with children of 6-7 years of age. The analysis of psychological and pedagogical literature and the experience of practical teachers, music workers, psychologists, and doctors suggest that the development of dance skills at each age stage is different. At a young age, the child emotionally responds to music, which is expressed in facial expressions, gestures. But the movements are not yet accurate and are sometimes not aligned with the music. In the fourth year of life, children begin to feel the change of contrasting parts of music, they can perform and learn small musical tasks. They are still poorly oriented in space, so the teacher teaches them to move in accordance with the bright 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 simple movements, to transmit non-complex imitative movements of game images (birds fly, horses are jumping, bunnies are jumping). In the fifth year of life, children already have experience listening to music, they can recognize familiar melodies, determine the nature of music. Movements become more rhythmic, clear, consistent with the beginning and end of the sound of music. Children perform more varied movements (straight gallop, pairwise movement, one-leg inflow, putting one foot on the heel) and can move in accordance with the contrasting nature of the music. At the age of 6-7 years, children already control their movements relatively well, their actions to music are more free, easy and clear, they use dance improvisation without much difficulty. Children at this age arbitrarily possess the skills of expressive and rhythmic movement. Auditory attention develops, the individual characteristics of children are more pronounced. They can convey with movements the diverse nature of music, dynamics, pace, simple rhythmic pattern, change movements in connection with the change of parts of a musical work with the introduction. Children can master a variety of movements (from rhythmic running with a high lift of the foot and jumps from foot to foot, to the step of a polka, half squat, etc.). Creative activity of children develops gradually through focused learning, expanding musical experience, enhancing feelings, imagination and thinking. The reaction of children to what they listen to is a creative display of music in action. At this age, the emotions caused by music create a certain motor activity, the task of the teacher is to direct it in the right direction, choosing for this an interesting and diverse musical and dance material. Moving, as the music suggests, is a strict law that must be observed steadily throughout the lesson. Movements should flow out of music, be consistent with it, reflecting not only its general character, but also specific means of expression. In order to interest students in dance creativity, theoretical lessons are held in conjunction with practical exercises. In such classes, a general description of the dance is given, its features are noted. This is necessary in order to introduce students to the world of those images, the music to which they will dance. The smoothness of the waltz, the cheerfulness and gaiety of the polka and gallop, the incendiary and the daring of many dance folk melodies, reflected in the movements of these dances, were verbally described by the teacher in such classes. Great importance is given to listening to and analyzing dance music (its character, mood, structural structure, rhythmic features). Music tells the movements a certain character, gives them an emotional coloring. Musical accompaniment should be bright, emotional, expressive. Among all the arts, in unity with which the dance develops, music is closest to it in generalization, associativity, and structural laws. But, the plastic pictorial language of the dance is still more specific, like the visual. Ideally, the dance itself is plastic music. Therefore, the existence of two components in a work - music and dance - is the result of a complex process of working on the organics of their combination. “Dance music,” wrote the great reformer and ballet theorist J.J. Nover, “is or should be a kind of program that enhances and predetermines the movement and play of each dance participant.” Music in any manifestation creates, above all, a meaningful basis for the dance . Giving the development of the emotional state of images, comparing its different stages, music offers dance an effective line for the plastic characteristics of actors and events. This, of course, is facilitated by the process of identifying the rhythmic and structural community. As a rule, the dance form is in varying degrees depending on the temporal and structural characteristics of the music: tempo, rhythm, meter and form of construction (period, sentence, phase). Among them, the most strict ratio of the pace of music and dance. In the methodology of the development of motor motility of children of 6-7 years of age, the most common musical compositions were circle and linear construction. Circle - the composition most often repeated in various dances. And this is understandable, it carries a meaningful explanation for the children, the circle is the sun, this is the location around the fire, the hearth. In dance this homogeneous motive has a number of varieties: a vicious circle, an open circle, a circle in a circle, several circles in a common circle. The circle is the most common figure for various round dances and dance songs. Ornaments of the circle go back to very ancient forms of dance, are one of the brightest motifs of both folk dance and modern choreography .. When using linear composition, the requirement for the laws of perspective arises especially clearly. The teacher should be familiar with them in order to avoid mistakes in the construction of the stage composition. For example, by arranging dancing children in a line, different visual effects can be achieved: equal growth can be maintained if higher performers are placed in the depth of the line; it is possible to reduce growth, while strengthening this promising one, to create the impression of a line that goes into the distance. Of course, linear motifs, like circular motifs, have the opportunity to develop at the expense of pace, and rearrangement, and the location of the line in space. Another characteristic of the dance, the value of which is as great when teaching children as the previous ones, is the pattern of the dance. Any drawing of a dance does not exist by itself; it corresponds with vocabulary - the movement system of a choreographic work. Dance movements arise and develop not in abstraction, but in a certain spatial solution. Dance movements are peculiar signs, similar to sound, word, but plastically significant. Every movement is not static, but it can be dynamic in varying degrees and depending on this, but it is used differently. One movement needs a number of repetitions in order to assert itself, another is perceived immediately and does not need repetitions. The selection of movements in the dance must strictly correspond to the task, therefore, the use of an infinitely large number of various elements in one dance does not always determine its success. With a huge variety of options, the dance is most often divided into solo and mass. In order for the children’s dance drawing to be clear and performed without much difficulty, it is necessary to repeatedly perform the same movement - exercises. The purpose of the exercise is different: to improve the basic movements (walking, running, jumping); preliminary learning actions for story games and dances; development of expressiveness of the movement of characters in plot games; compositional completeness of musical and dance movements in children. Considering the question of the manifestation of creative activity by children, one cannot but say about the role of dances and their varieties. The dances activate the child’s hearing, produce clear, beautiful movements. In improvisational dances, the manifestation of children's creativity is most clearly observed; early learning of the elements of dance movements allows children to compose their own dance composition even at primary school age. According to this technique, teaching children dance elements and then dancing begins with learning how to walk and run correctly, which helps strengthen muscles, legs and body, children must learn a series of exercises that help them move well and expressively to peppy marching music. Work on the reflection in walking of a peppy, active character of music contributes to the development of good posture, rhythm, coordination of movement of arms and legs, ease of stride. In addition, these movements associated with music are always accompanied by an emotional upsurge, which also has a beneficial effect on the development of motor skills of children. The exercises, dance elements, dances, and dances proposed below are subject to general laws: 1. They are aimed at improving the quality of movement of children, developing their ability to give movements a spring, smooth, or swinging character (depending on the musical-motor image). 2. They must teach children to give basic movements (walking, running, jumping), elements of dance and dance expressiveness dictated by music. 3. They should educate children in the ability to navigate in space, to move organizationally in a group without interfering with each other, or to perform rebuilding in dances reflecting their character. A BIG DATABASE FOR CHILDREN'S CHOREOGRAPHY HERE