Always distinguished by their variety, incendiary. Over a long period of time, a large number of different dance movements have been created. They have been honed for years and passed down from generation to generation.

Folk dance movements were closely related to the lifestyle of Russian people. Quite often, various squats, tides and claps are used in dances. The footwork is very active. Great importance is attached to the movement of the hands.

Folk dance movementsare separately divided into male and female elements. Male movements are very different from female movements. In men, strength is expressed in dance. Women are more majestic, they are characterized by smoothness.

Male elements of folk dance:

• "Crackers."
• "Pendulum".
• "Squats."

  "Crackers" is one of the most common element of dance. This is a different combination of both strokes and claps. When performing these movements, the elbows are removed from the body. The palms are tense. Impacts are made on the hips, shafts and soles. Some strokes are done with the back of the hand. Clapping is clapping. After them, the hands are parted in different directions.

“Pendulum” - is done on one leg. Like a pendulum, the leg "from the knee" swings back - forward or to the left - to the right. The second stands still. The pendulum turns out to be more spectacular with a jump.

"Squats" - is one of the most difficult elements in male dance. It requires systematic training. Great stamina, muscle strength of the legs and knee ligaments, good physical fitness. "Squats" are divided into two types: full squats and half-squats.

The main movements in female folk dance:

• "Herringbone".
• "Assaults."
• "Picking".

  "Herringbone" - performed smoothly in a circle, with rotation around the axis in different directions. Foot movements are complemented by various hand movements.

“Kovyryolochka” is a turn of the body on one leg, with a blow to the floor, with the heel of the other. Performed both with a bounce and without.

“Seizures” - are performed in small steps forward or to one side. The movements are smooth. Sometimes they are done on the spot, with a slow full turn, up to eight "fits" in one turn.

"Fractions" - performed together by men and women. Performers show their dexterity, skill, tenderness, character. "Fractions" are one of the most common movements in the Russian dance. “Fraction” can be a single, strong kick to the floor or a track of blows. They consist of various combinations. Men's punches are powerful and rhythmic.

It is necessary to produce in the center of the hall. All movements are unlearned from simple elements, gradually moving to complex movements. To learn how to dance, you need to understand not only the movements, but also to feel the nature of the dance.

The main elements of Russian folk dance

Foot position.

Positions and positions of the hands.

Hand positions in group dances.

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.

Foot position

In folk dance used:

1. 5 inverted provisions of classical dance - I, II, III, IV, V. 2. 5 direct:

I straight - both legs placed side by side and touching the inside of the feet.

II - both legs are placed in parallel at a distance of the foot from each other.

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 set 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 touches 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 elongated.

Hand positions and positions

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 at the back, 4 others, assembled together, in 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 hand, just above the elbow.

VI - both arms are bent at the elbows, which are slightly raised and directed to the side. The 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 movement (preparation).

Preparation for the beginning of the movement is the movement of the hand, which is performed on the 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 of 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 the 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. The head at the same time 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 in 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 of 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 “squatting”. 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 each other's elbows. 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”. Heads are turned in the direction of travel or keep upright.

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 toward 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: skipping 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 level of the chest. 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 arm 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 back. 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 back.

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 hit on the floor drops to the whole foot.

Girls perform an inflow easily, with a heel. Boys - strongly, with the whole foot.

B) Moving back.

It is executed as well as a variable step back. The inflow is carried out 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.

First eighth - step right foot forward on the heel rib; 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. Second eighth - the left leg on the lower half-fingers is set 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.

Second eighth - the left leg bending at the knee, taking a step, descends to the first straight position for the whole foot, slightly ahead of the right in half squats. At the same time, the right leg bends at the knee and rises above the floor.

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.

Second eighth - a pause.

Fraction

Fractions consist of a blow of the entire foot - a strait and half-fingering 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 quarters), 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 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 toe to the floor; the heel is directed to the right.

“And” - simultaneously with the sliding movement of the left leg, the body and head turn towards the right leg. 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 whole 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 backwards - upward, the toe is directed to the floor. “And” - a short hit to the floor with the half-fingers of the right leg, bent at the knee, near the left heel. After an impact, the leg bent at the knee immediately abruptly, accentuously bounces backward - upright. The knee of the right leg should not extend far forward or backward from the knee of the left.

"Crackers."

"Crackers" are characteristic of male dance.

Kinds : single claps and bumps - fixing, single claps and bumps - sliding, double claps and bumps; constructed claps and bumps. 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” - 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 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.

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Learning Tips

basic elements of Russian folk dance

The description of movements is mainly given in a pure form, without combinations. All elements in the textbook are sorted by the degree of difficulty from simple to complex, which makes it possible to master them sequentially. Some of the elements for convenience of study are combined into sections or groups.

To learn and perform elements of Russian folk dance, as well as dance combinations composed of various elements, it is necessary only in the middle of the hall. The execution of both individual elements and combinations in the middle of the hall gives the performer complete emancipation, creates greater freedom of movement, the ability to convey the nature of the movement and its manner, enhance expressiveness and complicate coordination and technique. At the same time, the hands and body of the performer are in those natural conditions in which this element was born and is currently in existence. This gives students the opportunity to transfer various movements to a study or dance with less time and effort. If a student holds onto the machine with one or two hands, he is constrained to some extent, which means that he does not always succeed in conveying the character of Russian folk dance, and most importantly, the manner of performance and personality. Often when performing any movement near the machine, and especially a combination, the character of the Russian dance is so lost that it can only be recognized by the melody accompanying this movement or combination. An exception can be made for learning a number of difficult elements, for example, full squats, half-squats, parts of jumps and some others. elements at the discretion of the teacher. But even in this case, learning the movements at the machine tool serves only as training, preparing the muscles and body of students to perform these movements in the middle.

In the process of passing the basic elements, it is necessary to pay great attention to the plasticity of the execution of movements, to the improvement of technical methods, the development of skill in students, and most importantly, to the development of individual abilities and the identification of creative personality.

In the description of the elements, the main position of the hands, body, and head most convenient for study is given. In the future, depending on the students' perception of this movement, the teacher can complicate it by adding more diverse positions of the hands, body and head.

When studying the basic elements, it is necessary to require the students to coordinate the movement of the legs, arms, body and head, that is, coordination of movements. Coordination helps the performer gain freedom, softness, plasticity and more emphasize the character, mood, manner and expressiveness of the movement.

Each mastered element must be developed and complicated without connecting it with other elements: gradually increase the tempo of musical accompaniment, complicate the coordination of hands, body and head, modify the character and manner of its performance, complicate and diversify its rhythmic pattern. Complicating and improving each individual element, revealing its technical and expressive capabilities, its diversity, students will not only consciously perceive the basic elements of Russian dance, but also master them creatively.

As elements are mastered, they can be combined at first in small, and later in more complex dance combinations. If the elements are well and correctly assimilated both in the technique of execution and in the nature of their presentation, then the whole combination made up of them will be performed in the Russian manner, in the Russian character.

It is necessary for students to develop improvisation and imagination, giving, as they master the elements of the task, and to independently complicate the individual elements and to compose dance combinations. Improvisation is an important feature of Russian folk dance, and it is necessary to pay great attention to this throughout the study, both of future performers and future teachers.

The tempo of musical accompaniment at the beginning of learning most of the elements should not be fast. In the future, if the nature of this element requires it, the pace speeds up.

Most of the elements are performed at a musical size of 2/4 (at the expense of “one- and two-and”), so this musical size is not given before each element. In cases where the movement is performed at a different musical size, it is indicated.

In the description of some elements that exist in different regions of Russia, but which have a different manner of performance specific to a particular locality, their local, specific names are given. The specificity of performance is expressed in the nature of the movement of the hands, body, head or in a peculiar rhythm. To study these movements, it is necessary to select the appropriate musical accompaniment. In the course of studying elements with local performance features, it is necessary to talk about the history of this area, about geographical conditions, about the life of the people living there, etc. In the process of training, you need to deal with performing negligence, decisively stop the rude or sugary manner of performance, since all this not only distorts the image, character of a Russian person, but also leads to a false, pseudo-Russian manner of performance.
The main provisions of the legs

There are a lot of positions and combinations of legs encountered at the time of dancing. They are different and sometimes unique. We distinguish from these various provisions and combinations those provisions which are initial for the performer, with which he most often begins or ends a movement. Such provisions are the main ones. In Russian folk dance, there are three such main points:

1) 1st free position (Fig. 39, a) - legs are free, without
tensions are on the floor, heels are together, socks are deployed under
a slight angle.

There is a variant of this position when the legs are placed next to each other and touch the inner sides of the feet. This position is called the 1st direct position (sometimes the 6th position) (Fig. 39, b);

2) 2nd free position (Fig. 40, a) - the legs are free, the socks are turned at a slight angle, the heels are at a foot distance from each other.

There is also a variant of the direct position of the feet: both legs are parallel at a foot distance from each other. This is the 2nd straight position (Fig. 40, b);

3) 3rd free position (Fig. 41, a) - the left leg is free, the right leg is also set freely, but so that its heel touches the middle of the foot of the left leg.

A variant of this position: both legs are set side by side and touch the inner sides of the feet, the heel of the right foot is in the middle of the left foot. This is the 3rd straight position (Fig. 41, b)
.

Fig. 39. The main provisions of the legs

A) 1st free; b) 1st direct

The main provisions of the legs

A) 2nd free; b) 2nd direct

Fig. 41. The main provisions of the legs a) 3rd free; b) 3rd straight

Key Hand Positions

Hands in Russian dance are very expressive and diverse. In combination with the movement of the head and body, they convey the character, mood of the performer, give the dance movement a national color. “I know your soul by hand,” wrote L. Tolstoy.

In round dances, dances, quadrille, and dance, there are many different positions and combinations of hand movements, coming from the individuality of the performer, the nature of the dance and local characteristics. But there are such hand positions that are found more often than others, are common for both boys and girls, and which are characteristic of the Russian national manner of performance. Such provisions are called basic. In the Russian folk dance there are four main and one preparatory provisions.

1) Preparatory (Fig. 42) - both hands are freely lowered along the body, hands are turned by palms towards the body.

2) 1st position (Fig. 43) - both arms are bent at the elbows and are at the waist. The elbows are directed to the sides and are in line with the shoulders. The hand does not bend. In girls, the fingers are clenched into fists, the back of the hand is directed strictly forward. Sometimes the fists seem to be open, but in either case the thumb remains pressed to the index finger. In guys, hands are usually wrapped around the waist - the thumb at the back, four others, squeezed together - at the front. Hands should not move toward the stomach.

This position of the hands, both in girls and in boys, is popularly called “akimbo”, “akimbo”, that is, propped up by the hands. In a Russian folk song is sung:

Stand up, sir, come on,

Bow to all the girls.

  “Hands on hips”, “hands with a samovar” and a number of others. Describing the dance of Natasha Rostova in the novel War and Peace, L. Tolstoy singled out this typical and bright position of his hands. “Natasha threw off her handkerchief, which was thrown over her, ran ahead of uncle and, propping her hands on her hips, made a movement with her shoulders and became”

Sometimes in some places in the Urals, in Siberia, guys have hands that are clenched like girls.

3) 2nd position (Fig. 44) - both hands, free at the elbows, are raised forward at chest level, the elbows are pointing down, the hands are turned with the palms up, the fingers are extended and connected to each other. This situation is characteristic of a number of moments in the dance: joining hands of guys and girls, giving them to each other, invitation, greeting with bread and salt, etc. The look is open, the head is raised.

1. 
   3rd position (Fig. 45) - both arms are wide open to the sides at chest level, palms are directed forward and upward, fingers are extended and connected to each other. In girls, the elbows are free, the hands are slightly below the level of the elbows, the hands are soft. The hands of the guys are wide open, the chest is straightened, the arms at the elbows are more extended than the girls. This position gives the impression of being removed and of great physical strength.
2. 
     4th position - both arms are crossed at chest level or, as is often said, arms are “folded”, folded crosswise, etc. For girls, their left hand is on top of their right, hands are freely touching the body. The hands are located on the inside of the elbow of the opposite hands, they are as if hidden under the elbow, the fingers are gathered together and half bent. This position of the hands gives the impression of home warmth. In guys, the left hand is on top of the right, the hands do not touch the body. The palms of the hands lie on opposite hands just above the elbow, the fingers are gathered together. Hands give the impression of confidence and strength. A proud fit of the head corresponds to this mood (Fig. 46, c). There are options for the 4th position for girls.

  a) The left hand lies on top of the right, hands freely touch the body. The palm of the right hand lies on the left hand, just above the elbow, the fingers are assembled together, the left hand is on the inside of the elbow of the right hand, as if hidden under it, the fingers are assembled together and half bent

  (see Fig. 46, b).

B) The arms are crossed just below the chest - the left over the right - and freely touch the body. The palm of the right hand supports the lower elbow of the left, and the palm of the left supports the lower elbow of the right. The fingers of both hands are assembled. In this position of the hands, as a rule, one mood is transmitted - thoughtful, with sadness. The movement is then executed very restrained.

In the 4th position, as in all its variants, the right hand can lie over the left (see Fig. 46, a).


  fig. 46

Combined Hand Positions

In addition to the four main and preparatory, we distinguish the combined positions of the hands, derived from the main, when, for example, the right hand is in one position and the left in the other. We do not establish the number of such combined provisions, nor the sequence of their implementation. They are a kind of improvisation of performers. Let us give an example of only a few combined positions: the right hand in the preparatory, the left in the 1st main position, or vice versa; the right hand in the 3rd main position, and the left in the 1st main position, or vice versa, etc.

Handkerchief in Russian dance

A traditional scarf or, as it was called in the old days, a “fly” (a piece of fabric cut off to its full width) is an integral part of a women's festive national costume. The kerchief organically entered the Russian folk dance, and all the dances, round dances began to be performed by girls and women with a kerchief.

Already in the XI century. the mural of the south tower of St. Sophia Cathedral in Kiev depicted a buffoon dressed as a woman who was dancing with a handkerchief in her hand. The German traveler Olearius, who visited Russia in the 18th century, writes: “Women have colorful handkerchiefs in their hands that are variegated, which they fly with when they dance.”

The handkerchief gives each movement great expressiveness, helps to reveal the character of the performers in the dance, emphasizes their mood. In round dances and some dances, using a kerchief, individual pairs or all performers are connected. Whole scenes are played out in game dances in which the handkerchief serves as a kind of symbol, it can depict a bed, a pillow, a whip, etc. Handkerchiefs are most often white in color, and during dancing they beautifully take off above the heads of the performers, like white doves.

Each girl lovingly embroidered and decorated her handkerchief, and the more skillful and talented the craftswoman was, the more elegant and richer he looked. By embroidered handkerchief it was possible to determine the taste and skill of the needlewoman - the future bride.

Girls in dance often boast in front of each other with their work, embroidery and lace. In round dance, quadrille, a girl sometimes gives a handkerchief to a guy whom she sympathizes with. With a wave of a handkerchief, they call the partner or partner to the dance. The girl invites the guy he likes to a dance or a round dance in a special way - either by lightly hitting him with a handkerchief on the shoulder, or with a bow, holding the handkerchief with both hands, or putting the handkerchief on the guy's shoulder. It happens so - a girl, not knowing whom to give preference to, who to invite to the dance, throws her handkerchief up, and each of the guys tries to catch him. The scarf goes to the most dexterous, fastest, and most daring.

All the elements must be learned with a handkerchief, as it helps to increase the expressiveness of each movement.
Handkerchief Handling

In dance, girls always keep their handkerchief straightened, do not crumple it. A handkerchief is taken either for one of its ends, or for the middle. In different dances and round dances, as well as in different places, the handkerchief is held in different ways.

1) Over the edge (Fig. 47)

A) Take the left hand by the end of the handkerchief and pass it from the palm of the hand between the index and middle fingers of the right hand away from you, then bring the end of the handkerchief between the middle and ring fingers to the side of the palm. Fingers are compressed, and the handkerchief comfortably lies in the hand.

B) Take the handkerchief with the left hand by the end and pass it between the index and middle fingers towards the palm of the hand, then bring the same end between the index and thumb and firmly press it with the thumb.

Fig. 47. Handling a handkerchief. For the end

Fig. 48. Handling a handkerchief. Beyond the middle

2) Beyond the middle(fig. 48)

All four ends of the handkerchief are on the same level and hang down.

A) The handkerchief is taken by the middle with two fingers - the middle and the index.

B) The handkerchief is taken by the middle with a “pinch” - three fingers: thumb, forefinger and middle.

C) The middle of the handkerchief is passed between the index and
middle fingers and presses the thumb to the palm.

The most common hand positions often found in dancing

In round dances, dances, dances, quadrille, there are many different positions of the hands, each of which is inherent in either boys or girls. We will consider only a few of the most characteristic provisions.

The most characteristic of girls(from  handkerchief)(Fig. 49) 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 inclined thoughtfully to the right shoulder or is directed straight.

B) The arms bent at the elbows are in front of the body at chest level. The hands are slightly away from the body, the elbows are at the same height as the hands. The palm of the right hand is turned to the body, the palm of the left of the body. The bent fingers of both hands are connected to each other by a so-called “lock”.

C) Both hands are raised up, the elbows are slightly rounded and directed to the sides. Handkerchief holds on to the ends with both hands. The gaze is directed at the handkerchief, the girl admires him, “beats” him.

Fig. 49. The most characteristic positions of the hands of girls (with a handkerchief; a, b, c)

G. D. e.

Fig. 49. The most characteristic positions of the hands of girls (with a handkerchief; g, d, f)
.

D) Both arms bent at the elbows at shoulder level. Hands
connected by palms and are above the right shoulder. The head is tilted to the right and lightly touches the cheek to the back of the left hand.

E) The body is slightly deployed with the right shoulder forward. Right
the arm is bent at the elbow and is upright at
the right shoulder; the elbow does not touch the body. The hand with the fingers bent is turned by the palm to the left and is at the level of the chin. The left hand is lowered and moves slightly back from the body.

E) The right hand in the 1st main position. The fingers of the left hand lie on the back of the right hand, the elbow does not press against the body.
Most characteristichand positions  at guys(fig. 50)

A) The right hand is bent at the elbow at chest level, the hand is 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. The head is turned to the right and slightly raised up, with a call.

B) The left hand is wide open to the side, palm up. The head is turned in the direction of the hand. The right hand, bent at the elbow, touches the back of the head with the fingertips, as if supporting the hat or cap. With all his appearance, the guy invites his partner to a dance.
  c) Hands are laid behind the back, at the waist. Hands open, fingers extended. The back of the left hand lies on the palm of the right hand. Shoulders are open, straightened, elbows are directed to the sides. The head is proudly raised.
  d) Hands bent at the elbows are wound behind the head. The elbows are directed to the sides and are above the level of the shoulders. The fingers of both hands are extended and slightly touch the back of the head.

  Fig. 50. The most characteristic hand positions in guys



Most commonhand positionsin in pairs

Hand movements

1)   Transfers from one main position to another

and from   preparatory position in the 1st basic.

For guys - hands are raised not high to the sides, hands, reaching the waist level, are turned with palms forward, hands are bent at the elbows and in a circular motion are transferred to the 1st main position.

For girls - hands rise along the body, with the hands gradually clenched into fists and transferred to the 1st main position - ■ “akimbo”.

b) From   1st ground position to 3rd

  (opening arms to the sides)

Hands from the 1st position rise forward to the 2nd position, and, making a small semicircle, open wide to the sides, stopping in the 3rd position.

When moving the hands forward, it is necessary to ensure that the hands do not touch each other. The gaze is directed to the right or left hand.

c) From   3rd position to 4th (female)

Hands from the 3rd position gently lower their palms down and through the preparatory position, continuing to rise in front of the body from the bottom up, cross below the chest in the 4th position (2nd option). The movement is slow, thoughtful, a little sad. The head follows the movement of the arms or stays down, leaning towards the right or left shoulder.

d) From   3rd position to 1st("Akimbo")

The arms are bent at the elbows, the hands moving in a semicircle forward, below the level of the elbow, and then down, put their fists (for girls) or palms (for guys) on the side of the waist, that is, in the 1st position. The elbows should remain at the same level with this movement.

All transfers of hands from one basic position to another can be performed by both hands simultaneously or alternately with each hand; the other hand remains in the same position. For example, from the 1st basic position - having “akimbo” - the right hand opens to the side in the 3rd, the head follows the movement of the hand, and the left remains in the 1st main position.
2


) The most common in dances and dances of various regions of Russia

Turning the brushes left and right in Kursk tanks and karagods.



  Movement "sow flour" (Kursk dance "Timonya"

P snapping fingers in dances and round dances (Voronezh region)

  “Laundry rinse” - the movement of hands p “Zelenginskaya quadrille” (Astrakhan region)

Getting Started

Not only hands and body are involved in the preparation, but also the general mood is created, which is necessary for the performance of a given movement at the pace and nature of the musical accompaniment of the dance. In the preparatory movement, as it were, a particle of dance, an application for a dance, should have already been put in place.

The movement of the hands from the preparatory to any other position occurs on 2 bars of the musical introduction (to lose). The teacher, at his discretion, can increase it. A musical introduction can be performed slowly and quickly depending on the nature of the music and dance. The fixed positions of the hands at the time the movement or combination begins may be different, but the character of the performed dance should be felt in any position. Most often, the hands from the preparatory position move to the 1st basic, that is, the student is “akimbo” before the movement. Hands can also be opened from the preparatory to the 3rd or 4th main or to some other position at the discretion of the teacher. We give an example of preparation for the movement, which is most often encountered in the process of study, namely: from the preparatory position to the first basic. The rest are described in the section "Hand transfers from one basic position to another."

Fig.. Preparation for the start of movement in girls. Fig. 81. Preparation for the start of movement in guys

  a) The girls.

The first beat - both hands are in a preparatory position. The girl does not just stand still, she listens to music, delving into her mood, or communicates with those standing nearby, turning her body and head to the right or left.

Second measure

  “One” - hands, bending at the elbows, begin to rise upwards along the body. The elbows are directed to the sides. “And” - the movement of the hands continues.

  “Two” - hands continue to rise along the body and come to the 1st main position. “And” - a pause.

Such training is most often inherent in a slow, smooth dance.

For a fast dance, a different kind of preparation is more characteristic, more perky.

The first beat - both hands are in a preparatory position. The girl listens to music. Second measure

“One” - hands are slightly retracted to the sides, hands are open, palms are directed forward. “And” - the movement of the hands continues.

  “Two” - the arms are bent at the elbows and are closed in a sharp circular motion in the 1st main position. The hands are compressed into fists. When performing a circular motion, the hands should not rise above the level of the elbow.

“And” - a pause.

b) The guys (Fig.).

The first beat - both hands are in a preparatory position. The guy is dancing, standing still, slightly lifting his heels off the floor to the beat of the music, or communicating with those standing nearby.

Second measure

  “Once” - both hands from the preparatory position rise side-up to the waist level, hands open, palms forward.

“And” - the movement of the hands continues.

“Two” - the arms are sharply bent at the elbows and, being rounded, are closed in a circular motion in the 1st main position. “And” - a pause.

In the future, speaking of the preparations for the beginning of the movement, for both girls and boys, we will mean precisely this movement of the hands from the preparatory position to the first basic one. In those cases where the preparation for the beginning of the movement is different, this will be specially agreed upon. The initial position of the hands before performing this or that element is given after the alleged preparation for the beginning of the movement.
Bows

The custom of greeting with the bow of a friend or even a stranger came to us from ancient times. This beautiful custom lives in our villages now. They used to say "brow," that is, respectfully bow, give thanks, greet. In the Kursk and Voronezh regions to this day, instead of "bowing" or "greeting," they sometimes say "cheesy". In Russia, where, when approaching many cities, roads climbed a hill or a high ridge, there was such a custom: travelers, on foot or on horseback, whether they were riding in carts or in carriages, poor or rich climbed off their horses, got off the carriages and bowed to the city. Such hills were called worship. In many cities of Russia, these names still remain - Poklonnaya Gora.

There are several types of bows.

A) A small bow - the body leans slightly, a nod is made
head.

B) Waist bow (tilt of the body to the belt) - the upper part of the body from the belt bends. Such a bow was very common in both women and men. At weddings, weddings, wanting to show that the bride has a good character, they said: "She is humble and worshipful with us." If the bride was stubborn and obstinate, she was forced to bow many times, saying: “Be humble and bow,” that is, a complaisant, good wife. In the boyar’s houses, a female bow to the waist during the ceremony of meeting guests was called “small custom”.

C) A bow below the belt - a deep, low bow to the ground. Most often this was a male bow, but this does not mean that the head touched the ground or floor. The lower the bow, the more respect was shown, and sometimes fawning. Sometimes with a deep bow, a hand or hat touched or almost touched the ground. Such a bow was especially widespread in the boyars' houses, when guests bowed respectfully to the mistress of the house, almost touching the floor with the fingers of his right hand, and he called it "great custom."

Almost all domestic obeisances turned to dance. Here they were complemented and decorated with hand movements, complicated and enriched with musical accompaniment.

In dance, the meaning of bow extends. This is not only a greeting, but also an invitation to the dance, and thanks for the dance - both from the guy and the girl. The lesson should also begin with a traditional Russian greeting bow, and end with a bow that has a different meaning - thanks to the teacher and accompanist. The bow can be performed on the spot, without steps (without approach), and with steps (with approach).

Simple lap belt in place

The movement takes 4 measures.

The initial position of the legs is the 1st free. Hands - in preparatory or 1st main position.

The first and second bars - the body from the waist bends down

Forward smoothly, without jerking. Third and fourth measures - the body straightens. This bow is performed equally by boys and girls.

Simple - with advancement (approaching forward and moving backward)

The movement takes 8 measures.

The initial position of the legs is the 1st free.

The first and second bars - three steps forward for each quarter, starting with the right foot, for the second quarter of the second bar the left leg is pushed to the right in the 1st free position.

The third and fourth measures - a bow in place.

Fifth and sixth measures - moving back from the right leg, three steps for each quarter, for the second quarter of the sixth measure, the left leg is placed on the right. Hands during the steps are transferred from the 1st main position through the 2nd to the 3rd main position. The hands are in no way closer.

Seventh and eighth measures - waist bow in place.

In girls, the hands at the same time as the body is tilted forward from the 3rd position are lowered into the preparatory position, and when the body is straightened, they rise along the body and at the end of the eighth measure they come to the 1st main position (“akimbo”). Simultaneously with the hands at the end of the eighth measure, the left leg bends slightly at the knee, and the right leg is separated from the floor and at the expense of "two" gently drops to the floor.

At the guys at the end of the bow, the hands simultaneously with the body tilt from the 3rd main position go to the 1st main position, and at the moment of straightening the body, at the expense of “times” - “and”, rising, cross at the level of the chest (without touching the body ), at the expense of "two" sharply open to the sides with a simultaneous influx of the right foot. In the female bow, one should feel sincere, graceful, and in the male one should feel strength, daring.

There are other peculiar nods. Here, for example, how a girl’s bow with an approach forward and a retreat, described above, can end.

In the sixth measure, at the count of “two”, the right hand with a scarf bends at the elbow, the palm is pressed above the chest near the left shoulder, while the left hand is lowered down to the preparation position. In this position, a bow is made.

After straightening the case, the right hand remains in the same position and only in the eighth bar to the count of “two” - “and” gradually descends down the case to the preparatory position. There are also other peculiar bows, complex in execution, which require great plasticity of the hands, musicality and dance of the performer. They are found in round dances (more often in games) in the central, northwestern and western regions of Russia.

Complicated holiday  (round dance) (female) (Fig. 82) The movement takes 8 measures.

The initial position of the legs is the 1st free. Hands are in a preparatory position. First beat

  “Two” - “and” - a step from the left foot.

Second measure

“One” - “and” - a step from the right foot.

“Two” - the left leg is attached to the right.

“And” - both hands, bending at the elbows, rise in front of them until the palms turned towards themselves are at the level of the face. Third measure

  “One” - the body from the waist begins to bend down. The position of the hands is changing.

  “And” - the right hand from the elbow begins to move to the right. The position of the left hand does not change.

  "Two" - the body stops in a bow position in the belt. The movement of the right hand continues. The left begins to move from the elbow to the left. The head turns to the left; the gaze follows the movement of the left hand.

  “And” - the right hand, rising from the elbow upwards, begins to move towards the head; the brush turns with the palm to the floor. The movement of the left hand continues.

Fourth measure

  "Time" - the right hand, continuing to move towards the head, describes with a brush a small circle, as if perpendicular to the floor. The left hand, rising from the elbow upward, begins to move towards the head; the brush turns with the palm to the floor.

  “And” - the brush of the right hand, continuing to describe the circle, falls down near the temple; while the brush rotates with the back to the temple. The left, continuing to move towards the head, describes with a brush a small circle, as if perpendicular to the floor.

Fig. 82. Complex festive (round dance) (female)

"Two"- the right hand, having made a full circle, again begins to move from the elbow to the right in a straight line parallel to the floor; the brush is turned with the back to the body; fingers extended and directed forward. The head turns to the right; the gaze follows the movement of the right hand. The left hand, continuing to describe the circle, falls down near the temple; while the brush rotates with the back to the temple.

"AND"- the right hand continues to move slowly to the right, as if waiting for the left. The left, having made a full circle, again begins to move from the elbow to the left in a straight line parallel to the floor; the brush is turned with the back to the body; fingers extended and directed forward. The head returns to its original position; look down.

Fifth beat

"Time"- "and"- simultaneously with the step of the left foot back, the body begins to straighten. Hands from the elbow drop down with outstretched fingers pointing to the floor and begin to move towards each other; brushes are turned to each other with the back side.

"Two"- “And” ■- step right foot back. Hands, continuing to move towards each other, meet in front of the body, but, not connecting, continue to move from the bottom up. When they reach the level of the chin, they diverge to the right and left; elbows fall down. The palms of the hands are turned towards each other; fingers are bent and directed upwards.

Sixth measure

"Time"- "and"- step left foot back. Hands, straightening at the elbows, continue to diverge to the right and left.

"Two"- "and"- The right leg is attached to the left in the 1st free position. Hands, ending the movement, come to the 3rd main position.

Seventh and eighth measures

The bow bow is in place. The right hand at the beginning of the bow bends at the elbow, and the palm is pressed above the chest near the left shoulder. The left falls down into the preparatory position. After straightening the case, the right hand gradually descends to the preparatory position.

This bow can be completed as follows: at the beginning of the bow, both hands, together with the tilt of the body, fall into the preparatory position. When straightening the body, the position of the hands does not change.

Complex, festive (round dance) in place (male)  (fig. 83)

The movement takes 2 measures.

The initial position of the legs is the 1st free. Hands are in a preparatory position.

  “And” (zaktak) hands, bending at the elbows, rise parallel to each other to the level of the chin; palms are turned to themselves; fingers slightly bent.

First beat

"Time"- the body, along with the hands, begins to bend in the belt.

"AND"- the body continues to bend in a bow. The arms, remaining parallel, begin to move from the elbows down and back to the body, not clinging to it. The elbows are pulled back.

"Two" -the body remains bent. The hands describe a circle as if perpendicular to the floor, after which the hands return to their original position. Simultaneously with the movement of the hands in a circle up, the body is slightly straightened.

"AND"- without stopping the movement, the hands from the elbows begin to move in a circle downwards, while the body again tilts slightly.

Having sharply changed the direction of movement, hands are spread apart to the 3rd main position. Simultaneously with the movement of the arms to the sides, the body straightens. Second measure

  “Time” - hands move towards each other and cross at chest level without touching the body. "And" - the influx of the left foot.

“Two” - simultaneously with the inflow of the right foot, the arms open wide to the sides. “And” - a pause.

In this bow, an intensified request, a double invitation, a respectful attitude and love for a girl. It can be performed with the approach forward - four steps and with the departure back - four steps. After leaving, you can perform a simple bow for 2 measures.

  Fig. 83. Complex festive (round dance) in place (male)
Arkhangelsk region (women)(fig. 84)

Musical size 4/4. The movement takes 4 measures. The initial position of the legs is the 1st free. The hands are in a preparatory position.

The first measure is three simple steps from the right foot to each quarter; in the fourth quarter, the left foot is placed on the right. At the third and fourth steps, the hands slightly rise to the sides of the body. Hands rotate palms forward, FINGERS extended.

Second measure   - low waist bow. At the same time as the body is tilted, the arms are bent from the elbows towards the diaphragm. The extended hand of the right hand is placed on the back of the left. The elbows are directed to the sides. Hands to the body do not touch.

Third measure   - the body is straightened, the position of the hands does not change.

Fourth measure   - a pause or proud departure.

Such a bow exists in the Pinezhsky district, in Leshukonye and a number of other areas of the Arkhangelsk region. It is performed in round dances and slow dances. There is grandeur, power, dignity. Men in the Arkhangelsk region do not bow so low, they with pride and dignity only slightly tilt their body and head. In Siberia, in Transbaikalia and in the Russian family settlements of the Chita region, such a deep bow does not exist.

And in dances and round dances, men and women only bow their heads, make a nod. And if for men the body leans a little forward, then in women only the head bends.

Fig. 84. The bow of the Arkhangelsk region (female)
Such obeisances are distinguished by pride and independence. They are performed on1 or 2 measures, depending on the nature of the melody. The girls' hands are calmly lowered with their palms down to themselves or folded on their chests - “with a little fist”.

The guys have their hands down or open to the sides, but slightly below the 3rd main position.

Steps

The word "step" is always associated with translational motion. Therefore, in olden times, the step was sometimes called "tread." A simple Russian dance step differs from a household step in that it is rhythmically connected with music, it is expressive, it shows both the personal character of the performer and the national character of the Russian person.

In many folk songs, the nature of the performed round dance or dance is clearly conveyed due to the characteristic of the step of the girl or guy.
For instance:

Red, the girl is coming

Like a grandmother is swimming

Oh, Lyuli, swimming! ..

Or:

Well done, smiling

Rarely walks, firmly steps.

In Russian folk dance, there are a large number of steps: a step with a step, a simple step on the heel rib, a variable step with a knockout, a variable step with a tide, etc., but all of them are based on a simple step and are either a variation of it or a development.

According to the execution technique, all steps are divided into simple and variable. Steps can be very diverse in nature. One and the same step can be performed at different rates and rhythms, with a different mood, etc., which is why the nature of the performance changes. With the help of steps, you can convey boldness, intimacy, daring, pride, cunning, etc., it depends on the music, the nature and content of the dance, the image that the performer creates, and sometimes the manner and nature of the steps varies depending on the terrain. in which this dance is performed.

Dance steps are the most characteristic element of folk choreography. They are the basis of all Russian dances, both ancient, traditional, and modern. Most often, steps are found in round dances, in slow and smooth dances. Steps are also an integral part of some elements - “attacks”, a number of fractions, etc. They play a large role in the connection of individual movements among themselves. In creating various human characters, moods, images, various positions and movements of the body, head and hands of the performer help in combination with steps. There can be a large number of such positions and movements in combination with each type of step.

We give only the most characteristic positions of the body, hands and their movements inherent in each type of step. Our task is to show not only the variety of types of steps, but also the methodology of their learning, the nature and manner of execution. The execution of various steps by men and women differs not only in character, but also in their methodology.

Simple steps

Main forward

Movement takesЅ tact.

Starting position of the legs1 free.

Hands in 1 -main position.

“Time” - “and” - step from the right leg, knees loose. The shoulders are proudly straightened, the head is raised with dignity, the body is taut and does not move during the execution of steps.

“Two” - “and” - second step, with your left foot.

The guys put their foot on the whole foot, the steps are wide, confident. The girls first put their foot on the low half-toes, then gently lower it to the whole foot; the steps are smaller, shorter than the guys, as if more careful. Sometimes girls perform steps only on low half-fingers. Such steps were dictated by a long suit - it was necessary to go so that the sundress did not move, "do not kick in the hem."

We give a description of the step for every quarter, but a simple step can be performed for every eighth or for a whole beat, depending on the task of the teacher and the nature of the dance. Hands during steps can be in one of the main positions, which can be changed in one, two or four steps.

With backward movement

Every quarter takes a step back. The steps are smooth, but shorter than when performing a step forward. Both the guy and the girl begin to step back from the low half-fingers. The foot is thus "reduced." When performing a step from the right foot, the knee of the left foot is relaxed or slightly bent. The right leg is placed on the low half-toes, then on the whole foot. The left leg remains in front at low half-fingers, the heel is slightly raised above the floor, the rise is not tense. Then the movement is repeated from the other leg. Girls have shorter steps than boys.

Hands can be in all basic positions. Sometimes, in order to further emphasize the attitude of a guy to a girl or girls to a guy, for example, during an invitation to a dance, both a guy and a girl do a little half-squat at the same time as a step; girls have it much less than guys. Hands at the same time open in the 2nd or 3rd basic position.

With a flood

a) With forward movement

Movement takes1 tact.

Starting position of the legs1 free.

Hands in 1 -main position.

"Time" - step with the right foot.

"AND" - the right leg bends slightly at the knee, the left, bent at the knee, with a reduced rise, rises slightly above the floor; the toe is pointing slightly to the left. The body rotates slightly to the left.

"Two" - the left foot descends with a trench in the entire foot next to the right, slightly in front of it. During the inflow, the knees of both legs straighten, handsdisclosed in the 3rd basic position. The body and toe of the left leg are directed slightly to the left.

“And” - a pause.

The movement continues with the left foot.

Guys make the tide louder, and the leg making the tide is placed further from the other leg, the arms open sharper, wider, and turning the body to the left is possible even more.

With backward movementMovement takes1 beat

"Time" - a step from the right foot, on the low half-toes.

"AND" - the right leg bends at the knee, the left, bent at the knee, with a reduced rise, rises slightly above the floor, the toe is directed slightly to the left. The body turns behind the leg slightly to the left.

"Two" - Inflow with the whole foot of the left foot. After the inflow, the leg remains ahead of the right. The toe and body are pointing slightly to the left. Hands may be in 3th main position or open at the time of the flood from13rd to 3rd position.

“And” - a pause.

The same steps forward and backward can be done without turning the case. Then the body and socks of the legs at the time of the step and the tide will be directed straight forward. The foot making a trench is placed slightly in front of the other leg.

In a step with a trench, with forward and backward movement, the trench with the whole foot can be replaced by a heel strike.

Inflow and strike can be performed not only on a strong, but also on a weak beat. In this case, the movement will take7g tact.

"Time" - A simple step from the right foot forward or backward.

"AND" - the inflow of the left foot or the heel of the left foot in1-m free position or next to the right leg, slightly in front of it, with the rotation of the body and toe of the foot slightly to the left, as described above. At the time of the inflow or heel, the knees of both legs are straightened.

The movement can be performed in a small semi-squat. In the latter case, after an inflow or a heel strike, the knees straighten.
With a creeping stomp - moving forward

Movement takes1 beat

Starting position of the legs1st the main thing. Hands in1m main position.

"Time" - step with the right foot.

“And” - the left leg, bending at the knee, rises slightly above the floor with a shortened foot.

“Two” - a slipping inflow with the whole foot of the left foot in a straight position near the toe of the right; at the time of the inflow, the knees of both legs are straightened. The center of gravity is on the right foot.

“And” - the left leg, moving forward, rises slightly above the floor. The left foot descends the entire foot slightly in front of the right.

With continued movement, a step is made from the left foot. This slipping stoke can also be done with a small half-squat on the supporting right leg: after a step with the right foot, the left leg slightly rises above the floor. At the same time, a small half-squat is done on the full foot of the right leg. At the moment of a sliding influx, the left leg extends with the left foot.

Often, with a simple step with a slipping influx, the supporting right leg after a sliding inflow of the left begins to straighten in the knee and moves from a full foot to low half-toes. The step with raising to half-fingers from the small half-squat described above is especially common. Accent-inflow can be performed on a weak beat. In this case, the movement will take 1/2 cycle.

“One” is a step with the right foot.

“And” - the left leg, sharply bending at the knee, makes the sliding stomp the whole foot near the toe of the right leg. With continued movement, the left foot makes a small step forward.

Thus, the pace of the music remains the same, but the movement speeds up: two steps are made for one beat - from the right and left legs - and two slipping strait. The nature of the movement changes from this.

All steps with slipping trenches with an emphasis on a weak beat can be done with straightened knees, in a small half-squat, and raising to half-fingers.

A slipping stoke in all the described forms of this step can be replaced by a slipping stomp. In this case, the foot making the slipping hit with the heel is greatly reduced in lifting. When a slipping inflow or blow is added to a simple step, the nature of the movement changes, becomes perky, playful, and even mischievous. And if you add hand movement to such a step, it will further help to emphasize the character and enrich the image created by the performer.

Here is one of the movements of the hands that is very characteristic of this type of step.

Hands from a preparatory position, bending at the elbows, rise in front of the body to chest level; fingers can be bent or extended, palms turned to the floor. The elbows are on the same level with the hands and are directed to the sides. In this position, the hands move alternately one front-up, the other back-down. So, when hitting or tapping with the left foot, the right hand moves up and down, the left hand moves back and down, rising no higher than the shoulder level. The body is straight, fit. The head is raised, the gaze is straight, or the head can be turned right or left.

You can emphasize and complement the execution of this step and the movement of the case. At the moment of a slipping strike or a tide with the left foot, the body turns left with the right shoulder forward; arms open to the sides and bent at the elbows are slightly below shoulder level and rotate with the hull, with a slight emphasis on a slipping inflow or blow.
On the edge of the heel - forward

Movement takes "/ g beat.

The initial position of the legs is the 1st free.

Hands - in the 1st main position.

“I” (tack) - a small swing of the right foot with a greatly reduced rise forward and upward. The knees of both legs are extended. Girls swing less than guys.

“One” - the right leg falls on the edge of the heel and goes to the whole foot. The center of gravity is transferred to the right leg. At the same time, the left leg rises to the lower half-toes.

The next step is done with the left foot.

This step can be performed with a little squat on the left leg, as well as with the raising of the toes. Squatting or lifting to the half-toes occurs at the start simultaneously with a slight swing of the right foot forward and upward. With all variants of this step, the right leg remains elongated at the knee, lifting is reduced.
On the edge of the heel with a flush - with forward movement

Movement takes 1 beat.

“I” (zaktak) - swing the right foot forward.

“One” - the right leg falls on the edge of the heel and goes to the whole foot.

"And" - the right leg bends slightly at the knee, the left, bent at the knee, with a reduced rise, rises above the floor.

"Two" - a trench with the left foot.

“And” - a pause, or movement begins with the left foot.

All the tributaries in this type of step can be replaced by a heel strike. A step on the edge of the heel with a flush or with a blow with the heel can be performed with the body turned to the right and left. This rotation of the hull is described above in a simple step with a trench.

As in a simple step with a trench — advancing forward, and in a step on a heel rib — with forward treads and heel strikes on a strong beat, they can be slipping.

In step on the edge of the heel with forward movement, a slipping hit by the heel can be performed on a weak beat.
On the edge of the heel with a slipping kick - with forward movement

Movement takes 1/2 beat.

“And” (zaktak) - swing the right foot forward.

“One” - the right leg falls on the edge of the heel and goes to the whole foot. The center of gravity is transferred to the right leg. At the same time, the left, rising to low half-fingers, breaks off the floor.

“And” - a slipping hit with the heel of the left foot near the middle of the right foot, followed by a small swing forward and up; the rise is greatly reduced. The knees of both legs are extended. With continued movement, a slipping heel strike is made from the other leg. This step can also be performed with a little squat on the supporting leg or with a raise to the toes.

A step on the rib of the heel and a step on the rib of the heel with a trench or a slipping blow can no longer be performed in a long sundress. This is not a round dance. It requires a different, shorter suit; with the help of such a step, the image created by the performer is also changed. So, the movement - a step - dictates to the teacher or choreographer the nature of the dance, the nature of its performance. In the "Monogram" dance staged

I.A. Moiseev in the State Academic Folk Dance Ensemble of Russia, the first part of the dance is built on a step on the heel rib with a slipping kick to a weak beat and with raising to half-fingers. Boys and girls perform the same step, but with a different character, different manner of performance. In this they are helped by hands, and the body, and the head. In guys, the left hand is bent at the elbow and wound behind the back, the right, stretching out at the elbow, makes a wave from the body, fingers are slightly clenched into a fist. A swing is made simultaneously with a slipping hit by the heel of the right foot at the expense of "and".Simultaneously with the next slipping hit with the heel of the left foot, also on account "and",the right arm bends at the elbow in front of the chest, without touching the body. The fingers remain slightly clenched into a fist. The head is turned to the right, towards the girl. All movements, the whole look of a guy speaks of courage and determination.

Girls go the same step, with a proud, independent look, which is achieved by other hand movements, the position of the head and body. The body is straight, taut, the head is raised up and turned toward the guy, to the left. Arms bent at the elbows are at chest level. The elbows are directed to the sides and are on the same level with the hands; fingers extended. And the girls and boys are taking this step at a slow pace.
Flush step

Moving forward

Movement takes Ѕ tact.

The initial position of the legs is the 1st free.

Hands - in the 1st main position.

“I” (zaktak) - a slight squat on both legs, the right leg is slightly separated from the floor.

“One” - at the same time as a step, the influx of the entire foot of the right leg - strong, confident in guys and softer, playful in girls. At the time of the inflow, the knees of both legs are extended. The left leg stays behind at the lower half-toes. In guys, the hands at the same time as the influx sharply open wide to the sides in the 3rd main position. Chest forward, head proudly raised. How many remove in this pose! In girls, the hands can remain in the 1st main position or go into the 3rd or 4th main position. At the time of the inflow, the right foot of the body is either straight or the right shoulder turns slightly forward and left. The pose is proud and at the same time kind of playful. This step is very characteristic of Russian dance.

With backward movement

With a small half-squat on both legs with a “shortened” foot, a small step from the right foot back and a tide. At the time of the inflow, the legs at the knees extend. The left one stays ahead in full foot or at low half-fingers, depending on the stride length. Hands can open in the 3rd main position or remain in their original position.

With an attack (with a prefix) - with advancement (female)

Movement takes 1 beat.

The starting position of the legs is the 1st straight.

Hands - in the 1st main position.

“One” is a small step (half a stop) with the right foot.

“I” - the left leg is placed on the right leg in the 1st straight position, with a small soft half-squat on both legs

“Two” - “and” - gently rise to the starting position.

The movement can be continued with both the right and left legs. This step can also be performed with a backward movement.

In this movement - grace and femininity. As a rule, it is performed at a very slow pace, smoothly, with various movements of the hands and handkerchief, for example: hands in the 2nd main position hold the handkerchief at opposite ends. The girl admires him. At the end of the movement to the account ".two"you can make a slight tilt of the body and head to the right or left.

Today, as I promised, we will begin to analyze the movements of Russian folk dance. Probably you should start from the very beginning (forgive the pun), i.e. from the position of the hands. So ... Starting position. Both hands are freely down on the sides, the hands are directed by the palms either to the body, or forward. 1st position. Both arms are raised forward, elbows are free, hands are palms up. 2nd position. Both arms are wide open to the sides, the elbows are not strained, the hands are directed with the palms up and slightly forward.

3rd position. In its pure form, the 3rd position is not typical for Russian dances. In the female dance, both hands of the performer sometimes rise to the 3rd position, when the girl beats the scarf, holding it with both hands at the ends. In stage Russian dance, the girl’s hands are sometimes held through the 3rd position, opening to the sides. Much more often, one hand rises to the 3rd position, while the other is in a different position.
HAND POSITIONS IN RUSSIAN DANCE 1st position. Both arms, bent at the elbows, lie sideways at the waist, in girls - with fists, sometimes with palms; in young men - more often with palms, sometimes with fists. The elbows are directed to the sides. This position can be called "akimbo." 2nd position. Arms crossed on the chest. In girls, their hands are either close to the body, or slightly retracted, the right hand is under the left hand, the hands are held in a fist and hidden under the elbows of the opposite hands. In young men, the arms are removed from the body, the elbows are directed forward, the right hand is above the left hand, the hands are palms on opposite hands, above the elbow.
3rd position (female). Both hands are raised low to the sides and are between the starting and 2nd positions, the elbows are free, the hands are directed with the palms forward. Sometimes a girl holds a handkerchief in her right hand. 4th position (female). The right arm, bent at the elbow, is raised from the elbow upward, the elbow from the body is laid to the side and directed downward, the hand turned by the palm of the hand towards the viewer is slightly higher than the right shoulder, fingers are bent and lowered to the palm of the hand. The left hand is freely lowered down and away from the body. COMBINED HAND POSITIONS IN RUSSIAN DANCE In Russian dance there are a large number of combined hand positions in which the right hand is in one position or position, the left in the other. Of these, we give only the most characteristic.

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5th position. One arm is in the 1st position, i.e., lies with the cam on the side at the waist. The other hand is in the starting position, i.e., it is freely lowered down. 6th position (female). The right hand is in the 3rd position, i.e. raised up, often with a handkerchief. The left hand is in the 1st position, i.e., lies with the cam on the side at the waist. The location of the dancers and the position of the hands in Russian pair dances. 7th position. Performers stand nearby, face in the direction of travel, a young man on the left, a girl on the right. With his right hand, the young man holds the girl’s left hand, both hands are lowered. Free hands lie on the side at the waist or down.

1.

8th position. Performers stand nearby, face in the direction of travel, a young man on the left, a girl on the right. With his right hand the young man holds the girl’s left hand; both arms, bent at the elbows, from the elbow are lifted vertically up and close to each other, the connected hands are at shoulder level, the elbows are down and close to the body. Free hands are either in the starting position, or in the 1st position, that is, lie on the side at the waist. 9th position. Performers stand at a large step, one from the other, face in the direction of travel, a young man on the left, a girl on the right. With his right hand the young man holds the girl’s left hand; the joined hands are slightly raised below shoulder level. Free hands are lowered down, that is, they are in the starting position or lie sideways at the waist. Performers deviate from each other, but look at each other.

In this position, the young man and the girl can: a) move forward, b) perform pairwise rotation: the young man steps in place, the girl walks around the young man. Raising the joined hands up from this position, the performers can rotate one by one, passing alternately under the raised hands, and the girl makes a turn to the young man, i.e., to the left, the young man makes a turn to the girl, i.e., to the right. 10th position. Performers face each other. The young man holds the girl by the waist with his right hand, the girl’s left hand rests on the young man’s right shoulder. The boy holds the girl’s right hand with his left hand, his joined hands are extended to the side.

11th position. Performers stand in front of each other at a step, holding hands (right for left, left for right); the joined hands are slightly down. The body and head can be tilted either to the right or to the left. In this position, pairwise rotation is possible. 12th position. The boy and the girl stand obliquely one from the other, with one right shoulder to the other. The right hands, bent at the elbows, are lifted vertically upward and from the elbow to the hand are connected from the side of the palm. The hands of the left hands, connected, as in a handshake, are located under the elbows of the right hands. Artists look at each other. In the Ural "Six" this position is called the "candle."

13th position. Performers stand with their right shoulders to each other. The right hands are rounded and bound at the elbows, the arms from the elbow are directed downward, the hands are slightly clamped into the cam. Left hands are on the side at the waist. The corps of performers is either straight or the upper part is deflected to the side; performers look at each other. In this position, pairwise rotation is very often performed, which in this case is called “twist”. 14th position. "Collar". Performers, a young man and a girl who are one step apart from each other, hold hands and raise them up, thus forming a “collar” into which other performers can go. There are several types of “collar”: a) Performers stand facing in the direction of travel, at a step distance from each other, a young man on the left, a girl on the right. With his right hand, the young man holds the girl’s left hand, both hands are raised up. Hands free or lowered, or lie sideways at the waist. In this position, the performers pass couples going towards the “gate”. Turning their faces in the other direction and intercepting with other hands — the youth of the left, the girl of the right — they form a “collar” through which the pairs move in the opposite direction. b) The performers stand facing each other at a step distance and hold hands, with the right hand for the left hand, with the left hand for the right, the joined hands are raised up.

15th position (triple). The young man is in the middle, two girls on the sides. The young man opened both hands behind the backs of the girls. The young man with his right hand holds the left hand of the girl, located on the right, and her hand from the elbow lies in front at the waist level, closed hands are located at the girl’s right thigh. With his left hand, the young man holds the girl’s right hand, which is on the left, and her hand from the elbow is in front at the waist level, her closed hands are at the girl’s left thigh. Free hands of girls are lowered down

The location of the dancers and the position of the hands in mass dancing is the 16th position. Artists stand side by side, holding hands. Hands can be: ‘a) lowered down, free at the elbows, b) raised forward to shoulder level, c) raised up, extended at the elbows, d) raised to the sides; in the latter case, the performers stand one from another at a distance of outstretched arms. 17th position. "Tartlet". The performers stand next to each other, side by side, facing the viewer or in a circle and hold in front the hands, opened to the sides, but not with the performer standing nearby, but through one on the right and left, so that the arms are crossed in front. Usually this arrangement is used in mass dancing, where young men and women in a circle stand through one. In this case, the boys hold hands with boys, girls with girls. This position is called the “basket” (see the figure on page 58). 18th position. "Star". Performers stand in a circle, in the back of the head one after another. The right hands are extended to the center of the circle and connected in the hands, the left hands lie on the side at the waist. When turning to the other side, the left hands are connected in the center, the right ones are placed on the waist.

As you can see, the positions and positions of the hands in Russian folk dance are very diverse. Next time we will take a look at the progress and progress of Russian folk dance. Sincerely, Natalya Dovbysh

V.F. MATVEEV

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V.F. MATVEEV

"THEORY AND METHOD OF TEACHING RUSSIAN NATIONAL DANCE"

Edited by

honored Art Worker of the Russian Federation, Head of the Department

choreographic art of SPbGUP, professor

Yu. I. Gromova

Matveev V.F. M33 Theory and methodology of teaching Russian folk dance:

Tutorial. - SPb .: Publishing house of SPbGUP, 1999 .-- 272 p.

ISBN 5-7621-0087-1 The manual introduces the basic elements of Russian folk dance,

the nature of their performance, teaching methods.

The course is designed for three years of study.

This manual is addressed to teachers-choreographers, choreographers of folk dance ensembles, as well as students studying choreographic art, directing and pedagogy of choreography.

Introduction

FIRST YEAR OF TRAINING

BASIC FOOT PROVISIONS

BASIC PROVISIONS OF HANDS

COMBINED PROVISIONS FOR HANDS HANDLING A HANDKERCHIEF

IN DANCES FOR GIRLS (WITH A SCARF) MOST COMMON POSITION OF HANDS IN DANCES FOR YOUNG

GAME WITH A SCARF

BODY POSITION, SHOULDER AND HEAD

GETTING STARTED

BOWS

DANCE RUN

PROGRESS PREPARATION FOR GRAINS

ADDITIONS

"MILLER"

"ROPE"

"MOTORALS"

HAMMERS

FLAKES

Squats

TALKS

TURNS

Circles

TRIP IN RUSSIAN DANCE

DANCE COMBINATIONS

INTRODUCTION

Russian folk dance is one of the most popular and favorite types of folk art. Dannos study guide introduces the basic elements of Russian folk dance, the nature of their performance, teaching methods and consists of three parts, each of which corresponds to a certain stage of training. In the first part of the training manual, a description of the main dance movements is given, in the second and third of their more complex options. Elements are arranged according to the degree of difficulty - from simple to complex, which allows them to be studied gradually. To learn and perform elements of Russian folk dance, as well as dance combinations composed of various movements, it is necessary only in the middle of the hall. At the initial stage of training, it is recommended that all the elements described below of Russian folk dance be performed in the so-called pure form from two to eight times alternately (no more than eight times from each leg). Exercises at this stage of the study are performed only with legs; hands, body and head are in basic positions, i.e. static. To learn a number of difficult elements (full squats, half squats and some jumps), you can resort to using the machine, holding it with one or two hands, which serves as the preparation of the muscles and body of the performers to perform these movements in the middle of the hall. As you master this or that movement, you can, adding various positions of the hands, body, head, and also increasing the tempo of the musical accompaniment, complicate it and diversify the rhythmic pattern of the dance, paying attention to the manner and expressiveness of the performance. When elements are well and correctly acquired, they can be combined into small, then more complex dance combinations. It is desirable that part of the dance combinations be composed of elements characteristic of a particular area and be performed in compliance with the manner and character of the region. The tempo of the musical accompaniment at the initial stage of training should not be fast. The performance of the elements in most exercises goes to the musical size 2/4 (at the expense of "one-and-one," two-and-one), so this musical size is not indicated before each element. Use this material in choreographic groups should be differentiated, taking into account the capabilities of individual participants. It is designed to be studied over three academic years. however, the dates may be changed depending on the specific conditions.

FIRST YEAR OF TRAINING BASIC FOOT PROVISIONS

There are a lot of positions and combinations of legs in the dance. From this set, we single out only those positions and combinations with which the performer most often begins or ends a movement. Such provisions are fundamental. There are four of them in Russian folk dance. 1st position: legs are free, without tension, are standing on the floor, heels are together, socks are turned at a slight angle, i.e. are put in a natural position. 2nd position: the legs are free, the heels are at a foot distance from each other, the socks are turned to the sides at a slight angle. 3rd position: the left leg is free, the toe is turned to the side at a slight angle, the right foot with the heel touches the middle of the left foot: the toe of the right foot is turned to the side at a slight angle. This position corresponds to the 3rd position of the legs in the folk stage dance. There is a variant of this position: both legs are set side by side and touch the inner sides of the feet, the heel of the right foot is located in the middle of the foot of the left foot. This position is characteristic for the execution of fractions. 4th position: both legs touch the inner sides of the feet, which corresponds to the 6th position of the legs in the folk stage dance.

BASIC PROVISIONS OF HANDS

Hands in Russian dance are very expressive, and their positions are diverse. In combination with the movements of the head and body, they convey the character and mood of the performer. give the dance a national color and special expression. In dance, square dance, dance and dance, there are many different positions and combinations of movements depending on the nature of the dance and local characteristics. Some of them are used more often and are common for both boys and girls. In the Russian folk dance there are four main positions of the hands and one preparatory. Preparatory position: both hands are freely lowered along the body, hands are directed by the palms to the body (inside). 1st position (“to get your hands on”): both arms are bent at the elbows and located at the waist. The elbows are directed to the sides and are in line with the shoulders. The hand does not bend, fingers are clenched into fists, the back of the hand is directed straight ahead, there is a variant of this position: the hands grasp the waist - the thumb is behind, the other four are squeezed together, in front. The most common mistake is the displacement (shift) of the hands to the stomach. 2nd position: both hands are free at the elbows, raised forward at chest level, cysts turned palms up, fingers extended and connected to each other. Head raised, eyes open. This position is typical for greetings with bread and salt, invitations, joining the hands of boys and girls, giving them to each other. 3rd position: both arms wide open to the sides at the chest level, palms pointing upward, fingers extended and connected to each other. Girls have elbows free, hands are soft. Boys have wide arms, chest is extended, arms at elbows are extended, than for girls. 4th position: both arms are crossed at chest level, folded with a “fist.” For the girls, the left hand rests on the right, the hands freely touch the body. The hands are hidden under the elbow, fingers are gathered together. The body is pulled up, the head is raised. as a young man, his left hand lies on his right at chest level, and his hands do not touch the body.

The palms of the hands lie just above the elbow, the fingers are gathered together. The body is tightened, the head is raised. A variant of this position for girls, arms crossed slightly below the chest (left over right), slightly retracted forward from the body. The palm of the right supports the bottom of the elbow of the left, and the palm of the left supports the elbow of the right. The fingers of both hands are assembled. This position of the hands gives the movement a pensive character, "with sadness."

COMBINED HAND PROVISIONS

The combined positions of the hands are built from the basic provisions and are a kind of improvisation of performers. For example: the right hand in the preparatory position, the left - in the 1st (or vice versa); the right hand is in the 3rd main position, the left hand is in the 1st (or vice versa). In round dances, dances, quadrilles, dances, there are various positions of the hands. inherent only to girls or only to boys. We will consider only the most characteristic of them, but first we will learn how to hold a handkerchief in hand during the dance.

HANDLING HANDKERCHIEF

With your left hand, take the end of the handkerchief and pass it from the palm of your hand between the index and middle fingers of your right hand, then bring the end of the handkerchief between the middle and ring fingers to the side of the palm: the fingers are compressed, and the handkerchief is comfortable in the hand. With your left hand, take the handkerchief by the end and pass it between the index and middle fingers towards the palm of your hand, then bring the same end between the index and thumb and firmly press it with the thumb. For the middle (all four ends of the handkerchief are on the same level and hang down)

The handkerchief is taken by the middle with the middle and index fingers with two fingers (it is passed between them on the back of the hand).

The handkerchief is taken by the middle with a “pinch” - with three fingers: thumb, forefinger, middle.

The middle of the handkerchief is passed between the index and middle fingers and pressed with the thumb to the palm.

MOST COMMON HAND POSITIONS

IN DANCES AT LEVUSHEK (WITH A SCARF)

1. The right hand (with a handkerchief) with slightly bent fingers touches the chin, palm edge pointing away from you. The left one is bent at the waist level and supports the elbow of the right hand with the palm or back of the hand. The head is inclined thoughtfully to the right shoulder or is directed straight.

2. Hands are bent at the elbows and are in front of the body, without touching it, at chest level (hands and elbows at the same height). The palm of the right hand is turned to the body, the palm of the left is from the body. The bent fingers of both hands are connected in a “lock”.

3. Hands raised up, elbows slightly rounded and directed to the sides. Handkerchief holds on to the ends with both hands. A look at a handkerchief: a girl admires it.

4. The arms are bent at the elbows at shoulder level, the sour is joined by the palms above the right shoulder. The head is tilted to the right and the cheek slightly touches the back of the left hand.

5. The body is slightly deployed with the right shoulder forward. The right arm is bent at the elbow and is upright at the right shoulder, the elbow does not touch the body.

The hand with the fingers bent is turned by the palm to the left and is at the level of the chin. The left hand is lowered down and slightly retracted from the body back.

6. The right hand in the 1st position (main). The fingers of the left hand lie on the back of the right hand, the elbow does not press against the body.

MOST COMMON HAND POSITIONS

In dancing at the YOUNG

1. The right hand is bent at the elbow at chest level, the hand is clenched into a fist (the back of the body). The left arm is bent at the elbow, clenched into a fist and wound behind the back (with the back to the body). The head is turned to the right, the chin is raised.

2. The left hand in the 3rd position. The head is turned in the direction of the hand. The right hand is bent at the elbow and touches the back of the head with the fingertips, as if supporting a hat or cap (cap).

3. Hands are laid behind the back at the waist. Hands open, fingers extended. The left hand on the back lies on the palm of the right. Shoulders are open, straightened, elbows are directed to the sides, head is raised. 4. Hands are bent at the elbows and wound behind the head. The elbows are directed to the sides and are above the level of the shoulders. The fingers of both hands are extended and touch the back of the head.

MOST COMMON HAND POSITIONS IN PAIRS

1. In round dances, dances, quadrilles, a girl and a young man stand facing the viewer or in the direction of movement in the dance. The girl is to the right of the boy. Her left hand and his right are bent at the elbows and are at shoulder level slightly in front of the body. The fingers of the girl’s left hand are bent and connected, the thumb is pressed to the index finger. The young man with his right brush picks up the girl’s left hand from below.

The girl’s right hand and the boy’s left hand are lowered down along the body, i.e. are in a preparatory position.

2. "Paul pretzel" - in dances and quadrille, a girl and a young man stand with their right shoulders to each other. Their right hands are crossed and located at the waist, the left also at the waist, acid

both hands are assembled with a cam. The body is pulled up and slightly deflected to the left, looking at each other; In appearance, this position resembles a pretzel.

3. In group dances, quadrille, round dances, two girls stand facing in the direction of movement, touching their shoulders. One of them holds the girl standing to her right with her right hand at the waist. The other holds the waist with his left hand

the girl to her left. Free hands are in the 3rd position. The body is pulled up and slightly tilted forward.

4. In dances, quadrille, round dances, a girl and a young man stand next to each other with their faces in the direction of movement. The girl is to the right of the boy. With his right hand he holds her by the waist, in his left hand (extended forward at chest level) lies the girl's left hand. Her right hand is in preparation. The case is tightened, a look at each other.

5. In dances, quadrilles, round dances (Siberian region), a girl and a young man stand nearby, facing the direction of movement. The girl is to the right of the boy. With his right hand he holds her by the waist, in the left hand (extended forward at chest level) lies the girl's right hand. Their joined hands maintain roundness. The girl’s left hand is on her right shoulder, her elbow is pointing down. Looking forward or at each other.

6. In dances and quadrilles (Siberian region), a girl and a young man are facing each other. The girl’s left hand is on the boy’s right shoulder, and the boy’s left hand is on the girl’s right shoulder. Their right hands are at the waist level and are connected as in a handshake, only the young man holds the girl’s hand by the fingertips.

7. In dances and quadrilles (Siberian region), a girl and a young man are facing each other. Girl. right side in the direction of movement, young man - left. Her left hand is on the boy’s right shoulder, one hundred right hand is on the girl’s left shoulder, their free hands lie on the waist.

8. "Ural candle" - in the square dance of "Shester". The girl and the boy are facing each other, slightly shifted to the left so. so that the girl’s right shoulder is opposite the boy’s right shoulder. Their right hands are bent at the elbows, directed forward and raised from the elbow up parallel to the body, as they say in the Urals, with a “candle”. Fingers with bent fingers are connected and are at eye level. The girl with the left palm supports the right elbow of the young man, and the young man with the left palm supports

girl's right elbow.

9. In the north quadrille, the girl and the boy are facing each other, slightly shifted to the left so that the girl’s right shoulder is opposite the boy’s right shoulder. Their right hands are bent at the elbows and directed forward at the level of the waist. At the same time, the girl with the right hand supports the right elbow of the young man, and the young man with the right hand supports the right elbow of the girl. The body is slightly folded back, looking at each other. The left hands of the dancers are in a preparatory position and slightly set aside from the body.

10. In group dances and quadrille, a girl and a young man are facing each other. The girl’s arms are stretched forward and crossed slightly above the wrist (left hand over right). The arms of the youth are extended forward. With his right hand, the young man takes the girl’s right hand by the brush, with the left hand of her left hand. The housing is pulled up and slightly folded back. Look at each other.

MOVEMENT OF HANDS

From the preparatory position to the 1st Boy: raise your hands slightly to the side, turn the hands at the waist level with your palms forward, bend your arms at the elbows and move in a circular motion to the 1st position. Girls: hands rise along the body, hands gradually clench into fists and are transferred to the 1st position (“akimbo”).

From the 1st position to the 3rd (opening arms to the sides). Hands forward to the 2nd position, maintaining roundness at the elbows (position of the 1st position of the hands of the classic

dance), and. without delaying, turning the hands with the palms up, open wide to the sides, stopping in the 3rd position. When moving your hands forward, you must ensure that the hands do not touch each other. The gaze at the moment of the 2nd position is directed to the hands. when the hands are extended to the 3rd position - forward, the head is raised, the body is pulled up.

From the 3rd position to the 4th (female) Hands gently lower the palms down and through the preparatory position lift up in front of the body (cross below the chest in the 4th position - - 2nd option). The head follows the movement of the right or left hand and ends the movement by tilting to the right or left shoulder, giving the impression of thoughtfulness, sadness.

From the 3rd position to the 1st (“with your arms”), bend your arms slightly at the elbows, the hands move in a semicircle forward, lowering the palms down below the level of the elbows, and put their fists or palms on the waist, that is, they are brought in 1- e position. The elbows must remain at the same level during this movement. All transfers of hands from one main position to another can be performed by both hands simultaneously or alternately with each hand. For example, from the 1st position, “akimbo” - the right hand goes into the 3rd position, the head follows the movement of the hand, and the left hand is about becomes in position 1. Then the movement is repeated with the left hand, etc.

MOST COMMON MOVED HAND MOVEMENTS IN DOORS AND DANCES OF DIFFERENT REGIONS OF RUSSIA

1. Turn the brushes left and right (in Kursk slippers and karagods)

Both arms are bent at the elbows, spread apart to the sides and slightly forward, raised from the elbow up parallel to the body. Brushes with open and connected fingers are directed forward and are at eye level.

One - turn the hands with the palms facing you, the back side forward. At the same time, the elbows move slightly forward.

And - turn the hands with the palms forward, the elbows move slightly back, returning to the starting position.

2. Tilts of arms left and right (in Kursk, Belgorod tanks)

Both hands are bent at the elbows, directed to the sides and slightly forward and raised from the elbow up parallel to the body. Brushes with open and connected fingers are directed forward and are not lower than the level of the head.

One - tilt the arms to the right, while the elbows remain at the same initial level. And - a pause. Two - hands, returning to their original position, lean to the left.

And - a pause.

3. Snapping fingers in dances and round dances (Voronezh region)

Hands are in the 2nd position, only the elbows are slightly lowered down.

One - click with the thumb and middle fingers; simultaneously lower the elbows of both hands parallel to the body; the brushes move outward and open with their “covered” palms up.

And - a pause.

Two - click with the thumb and middle fingers; at the same time, raise the elbows of both hands slightly up, to the starting position: the hands move inward and, as it were, slightly sag.

And - a pause.

4. "Ural circles" (in the dances of the Middle Urals) The right arm is slightly bent at the elbow and directed forward-to-side (between the 2nd and 3rd positions), the hand is raised slightly up. Left hand in preparatory or 1st position. The right hand moves clockwise from right to left, describing a small circle, while the hand bends slightly and straightens again at the elbow.

GAME WITH A SCARF

1. Hands in the 4th position; right hand on top.

Once the right hand is lifted up and to the right in a vertical position; the brush continues to move, turning the palm up.

And - a pause. Two - return the right hand to the 4th position.

And - a pause.

2. The right hand is in the 2nd position, its hand is directed palm down and slightly lowered; the left hand is in the 1st position.

Once the right hand is raised right-up in a vertical position p. Continuing movement to the right, lower to the 3rd position. Hand turn palm up.

And - a pause.

Two right hand to return to the original 2nd position.

And - a pause.

3. The right arm is bent at the elbow and is upright at the right shoulder. The elbow does not touch the body. The palm of the hand is turned to the left, slightly lowered and is at eye level. Left hand in 1st position.

One - lift the right hand up and down, turning the palm up.

And - a pause.

Two - lower the right hand brush left and down to its original position.

And - a pause.

BODY POSITION, SHOULDER AND HEAD

Body. In Russian female dances, the body is most often straight and calm, without sudden movements. Even when performing fractions, it remains direct, free, unstressed.

In a slow dance, the girl "" swims like a pava ", the body is tightened, the movements are smooth, calm. Only occasionally does the body lean slightly forward, on the right or left side or, while remaining straight, turn left and right.

In young men, the body is more mobile. When performing "crackers," he leans sharply forward, to the right or left side, turns from side to side and also abruptly straightens. During squats or jumps, he leans strongly forward or bends backward.

In a pair dance, the performers slightly deflect the body from each other or tilt it forward, for example, walking into the “gate”, inviting to the dance or bowing low to a broad Russian bow.

Shoulders. Usually straight, calm. Sometimes in a female dance, a girl shrugs her or. standing akimbo, at the same time with the inflow, fervently coquettishly raises and lowers one or both shoulders.

Head. The position of the head is determined by the nature of the dance and emphasizes its emotional content. In a slow girlish dance, the head landing is straight, calm, sometimes the head bends modestly and turns to the right or left shoulder.

In a quick dance, male or female, the performer’s head is slightly raised.

Sometimes a girl or a youth arrogantly throw up their heads, causing another performer to dance or ending with a “knee” hit with the nails on the floor. Consistent with the movements of the legs, body and arms. The head also moves and bends to the right, then to the left), shoulder or together with body leans forward.

In mass secrets, the performers or look forward in the direction of travel, or turn their heads to each other "communicating" with each other.The girl can shyly or playfully turn away, and the young man tilts his head forward, as if looking at the girl.

GETTING STARTED

In preparation, in addition to the movement of the arms and the body, a general mood is created necessary for the

Movements at a given pace and in accordance with the nature of the musical accompaniment, i.e., an application for a dance is given. The movement of the hands from the preparatory to any other position is performed for two measures of musical entry (loss). The teacher has the right, at his discretion, to increase it. A musical introduction is performed slowly or quickly - depending on the nature of the music and dance. The fixed position of the hands at the time the movement begins may be different, but in any position, the nature of the dance performed should be felt. Most often, hands from a preparatory position are transferred to the 1st position, that is, having "akimbo", but can also be opened in the 3rd. 4th or any other, at the discretion of the teacher. The following is an example of preparing for the movement. most common in the learning process, namely: from the preparatory position in the 1st.

I option (different for girls and boys)

For girls

1st step - both hands are in a preparatory position, the body is tightened, calm. The girl, as it were, listens to music, delving into her mood, or communicates with those standing nearby, turning her body and head to the right or left.

One-and-a - arms, bending at the elbows, rise upwards along the body. The elbows are directed to the sides.

Two - hands come to the 1st position.

And - a pause.

For boys

1st step - hands in preparatory position. The young man, standing still, is dancing, slightly lifting his heels off the floor to the beat of the music, or communicating with those standing nearby.

One-and-a - hands are raised side-up to the waist level, hands are open, palms are forward.

Two - arms bend sharply at the elbows and. rounding, in a circular motion close to the 1st position.

And - a pause.

II option (uniform for girls and boys)

1st step - hands in preparatory position.

Once - keeping roundness, hands rise forward to the height of the diaphragm, hands do not touch and are directed towards themselves (position of the 1st position of classical dance); look at the hands.

And the hands open with palms up; the elbows, softening slightly, turn downwards (2nd position).

Two arms, wide open, are spread apart (3rd position). In young men, their arms are wider and more elongated in their elbows than in girls. Sight

forward, the head is raised.

One - bend the arms at the elbows, turn the hands with palms down. And - in a circular motion of the hand to transfer to the 1st position of classical dance; brushes should not be above the level of the elbows. Two hands, not stopping, move to the body at the diaphragm level. And - hands. cowering or clasping

the waist with four fingers in front and one behind, closes to the 1st position.

There are various types of bows. Along with the generally accepted are their regional varieties. The shape or type of bow depends on its purpose. A bow can mean greeting each other, an invitation to a dance, gratitude for the dance from both the young man and the girl. Classes should begin with a bow-greeting, and end with a bow, which has a different meaning: an expression of gratitude to the teacher and accompanist. The bow is performed on the spot (without steps, without approach) and with steps (with approach).

1. A simple bow to each other (greeting, invitation)

The movement takes 2 measures.

The initial position of the legs is 1st.

Hands in preparatory or in the 1st position, the body is pulled up, looking forward.

One - the chin rises slightly. And - the head begins to sink forward.

Two - the body gradually leans forward. And - the body finishes with a slight tilt, the head finishes with a nod.

Once - the head begins to slowly rise up. And - after the head, the body begins to straighten. Two - the body and head continue to move. And - the body and head come to their original position. The bow is executed very calmly, smoothly, with dignity.

2. A simple waist bow in place

The movement takes 4 measures.

The initial position of the legs is 1st.

Hands in preparation or in the 1st position.

1-2nd measures - the body from the waist (belt) smoothly, without jerking, bends down and forward.

3-4th steps - the case also straightens smoothly. Young men bow slightly lower than girls.

3. A simple bow with advancement (going forward and going back)

The movement takes 8 measures.

The initial position of the legs is 1st.

Hands in 1st position.

1-2 steps - starting from the right foot three steps forward for each quarter; on the second quarter of the 2nd step, put the left foot to the right in the 1st position. Hands remain in the 1st position during steps.

3-4th measures - a simple bow in place.

5-6th measures - from the right leg three steps backward for each quarter; on the second quarter of the 6th measure, put the left foot to the right in the 1st position. Hands during the execution of steps are transferred from the 1st position through the 2nd to the 3rd. Hands in the 2nd position do not come together. 7-8th bar - waist bow in place.