MKU "Education Department of the Biysk City Administration"

MBOU DOD "Children and Youth Center "Priobsky"

Educational program

"Basics of Choreography"

(for children 5-6 years old)

Compiled by: Bondar A.A.

teacher of additional education.

2015

Explanatory note………………………………………………………………

Main directions and content of activities……………

Thematic planning of the first year of study…………..

Expected results after the first year of study...............

Thematic planning for the second year of study…………...

Expected results after the second year of study...............

Expected results after implementation of the program…………

Mechanism for evaluating the results obtained……………………..

Conditions for the implementation of the program ………………………………….

Bibliography ………………………………………………..

Explanatory note

The art of dance is a means of educating and developing a child’s personality, which can create fertile ground for revealing the potential of a young person. A harmonious combination of movement, music, and play creates an atmosphere of positive emotions, which in turn liberate the child and make his behavior natural and beautiful.

Dance classes develop physical qualities, develop correct posture, head position, gait, strength, agility, coordination of movements, eliminate physical disabilities (stooping, clubfoot, curvature of the spine, etc.). Dance teaches rules of behavior, good manners, and a culture of communication. Dance develops associative thinking, awakens imagination and encourages creativity. The content of choreography classes creates conditions for the self-realization of the individual and the disclosure of his creative potential.

The additional educational program “Fundamentals of Choreography” has an artistic and aesthetic orientation. Compiled on the basis of the standard program “The Wonderful World of Dance” (collection “Programs of secondary schools (classes) with a choreographic direction” / Edited by O.A. Petrashevich. - Mn.: National Institute of Education, 2005), as well as the methodology of E.V. .Gorshkova “From gesture to gesture” (on the development of creativity in dance in children 5-7 years old).

Relevance This program is due to the fact that movement and music, while simultaneously influencing the child, form his emotional sphere, coordination, musicality and artistry, affect his motor system, develop auditory, visual, motor (or muscle) memory, and teach noble manners.

Novelty This program is that it integrates such areas as rhythm, choreography, music, plastic, stage movement and is given to children in a playful way.

Purpose of the program- development of students’ creative abilities through choreographic art.

Tasks:

instill in children a love of dance;

proportionately shape their dancing abilities;

develop a sense of rhythm, emotional responsiveness to music, dance expressiveness;

cultivate artistic taste;

teach to fully perceive works of dance art.

This program is designed to work with students aged 5–6 years.

Designed for 2 years of study, 144 hours per year. Children study 2 times a week for 2 hours.

The program is based on the following regulatory documents:

Federal Law “On Education in the Russian Federation” No. 273-FZ dated December 29, 2012;

Model regulations on educational institutions for additional education of children (approved by order of the Ministry of Education and Science of the Russian Federation dated June 26, 2012 N 504);

Charter of the Municipal Budgetary Educational Institution Children's and Youth Center "Priobsky";

Convention on the Rights of the Child. Adopted and open for signature, ratification and accession by General Assembly resolution 44/25 of 20 November 1989;

Requirements for the content and design of educational programs for additional education of children (letter from the Ministry of Education of the Russian Federation from December 11, 2006 No. 06-1844

Main directions and content of activities

Various types of activities are used in the classes: rhythm and elements of musical literacy, dance alphabet and elements of rhythmic gymnastics, dance sketches, games and dances, ground gymnastics.

When working with preschoolers, learning proceeds in a spiral, with the material gradually becoming more complex. The next year of study, the teacher returns to the material covered at a higher level, using new musical material, taking into account the age characteristics of the children.

The teacher shows a certain flexibility in his approach to each specific group of children, taking into account the composition of the group, physical data and capabilities of the children.

To develop children's musicality and rhythm, appropriate rhythmic exercises and games are introduced. In the process of rhythm classes, children acquire good posture, plasticity of movements, and the ability to move easily and beautifully to music. Rhythmic exercises and games promote active perception of music, develop coordination of movements, attention, and memory. They are based on natural movements: steps, running, jumping, movements with objects (balls, hoops, jump ropes, ribbons, etc.) In musical-rhythmic movement, rhythm is understood in the broad sense of the word. It includes the development and change of musical images (main thoughts, feelings, musically arranged in a small structure), the structure of the work, tempo, dynamic, register, meter-rhythmic relationships. Therefore, in the process of practicing rhythmics, emotional responsiveness to music develops especially successfully, the skill of perception and reproduction of the musical and rhythmic basis of a work is acquired. Musical education through movement is carried out in games, dances, and sketches.

Forms and methods of teaching

Group and individual forms of training are used

Forms of conducting classes

training session;

open lesson;

conversation;

a game;

excursion;

music competition;

activity-holiday;

concert;

contest;

festival;

Methods:

The verbal method is used in conversation, storytelling, reading a book, and in analyzing a musical and artistic work.

The visual method is used when displaying reproductions, photographs, and video materials.

Practical is an exercise, training, rehearsal.

Practical methods of choreography include the following:

The method of combined movements, turning into small training studies.

Layout method.

Repetition method.

A method of collective creativity, determined by the following tasks:

elaboration and consolidation of the completed program material;

revealing the individuality of students through creative self-expression;

education of artistic taste;

assignment of choreographic compositions;

fostering determination, goodwill, and respect;

identification and development of abilities among students.

Purposeful personal development will be productive if not only teachers, but also parents are involved in the process of education and training.

In the modern dance group “Atmosphere”, parents are full participants in the educational process.

The desire to create conditions for the successful development of a child, for him to achieve great success in his favorite activity, leads to mutual understanding between the teacher and parents, to team unity and an atmosphere of trust. The following work contributes to this:

informing parents about the children’s successes and difficulties, about their activity in classes;

open classes for parents;

parent meetings;

organization and holding of joint cultural and leisure programs, reporting concerts;

involving parents in working on dance costumes

work of the parent committee.

Thematic planning

First year of study

Topic name

Number of hours

theory

practice

Total

Introductory lesson.

Ground gymnastics.

Dance sketches, games, dances.

Final lesson.

-

Total:

First year of study

The task of the first year of training is to teach children certain practical skills in the field of dance art and develop aesthetic taste.

1. Introductory lesson

Theory

Theory Dance ABC. Choreographic terms.

Practice

Positioning of the body;

Exercises for arms, hands, and fingers;

Shoulder exercises;

Exercises for the head;

Core exercises;

Performing dance ABC exercises.

Introducing children to the elements of dance movements:

Walking: simple steps at different paces and patterns;

Running and jumping in combination according to the principle of contrast;

Stomp: kick with one foot to the floor, alternating kicks with the right and left legs;

Stomping step, placing your foot on your toes in front of you;

Claps;

Exercises with attributes;

Introducing children to dance patterns and spatial orientation:

Exercises and games for orientation in space;

Formation in a circle;

Formation in a line;

Formation in two lines.

Performing exercises on orientation in space.

3. Ground gymnastics(exercises on the floor)

Theory Conversation. The influence of ground gymnastics on the structure and development of a dancer’s body. Basic concepts on the topic.

Practice

Introduction to the elements of ground gymnastics:

Exercises to develop flexibility;

Exercises for feet;

Exercises to develop stretching;

Exercises for the spine.

Performing training exercises on the floor.

Practice

Drawing up sketches based on the studied dance elements;

Children's writing of dance sketches;

Introducing children to games;

Using games in the classroom.

5. Final lesson

Practice Event “Final celebration”.

Expected results after the first year of study

As a result of the implementation of the program, it is expected that by the end of the first year of study, students will

know:

Names of basic dance movements and elements;

Terminology of ground exercise;

be able to:

Perform various exercises in accordance with the contrasting nature of the music;

React to the beginning of the music and its end, as well as walk rhythmically to the music, run lightly, clap your hands, stamp your feet, rotate your hands, spin around yourself, jump on two legs, master the simplest skills of playing with a ball;

Move in a circle, holding hands, one after another or in pairs; position yourself scattered around the hall and gather in a circle or in a line;

Perform elements of ground gymnastics.

Thematic planning

Second year of study

Topic name

Number of hours

theory

practice

Total

Introductory lesson.

Dance ABC and elements of dance movements.

Ground gymnastics.

Dance sketches, games, dances

Final lesson.

Total:

Second year of study

The task of the second year of training is to teach children new dance movements, to learn how to navigate in space and to create a dance pattern independently.

1. Introductory lesson

Theory Choreography as an art form. Rules of behavior in the choreographic hall.

2. Dance ABC and elements of dance movements

Theory Consolidating the learned movements and introducing new elements of the dance alphabet.

Practice

Exercises for the head: tilting the head forward, backward, to the sides, in a semicircle;

Shoulder exercises: calm or quick shoulder lifts up and down;

Exercises for arms, hands, fingers. Work on the expressiveness of raising your arms to the sides or up;

Exercises with objects. Development of acquired skills in playing with the ball.

Positioning of the body: continuing to work on the tightness of the back, positioning of the head.

Performing the taught dance ABC exercises.

Introducing new elements of dance movements:

Uniform running with overlap of the shin;

Light, uniform, high jumps;

Jumping from foot to foot;

Simple dance step, side step

Steps on half toes and heels;

Stomping: foot strikes the floor evenly and in threes;

Performing taught elements of dance movements.

Strengthening dance elements: half squats, turns on two legs, lifting the leg onto the heel.

Introducing children to dance drawings.

Conducting games to develop children's orientation in space.

Carrying out taught drawings and spatial orientation exercises.

3. Ground gymnastics(exercises on the floor)

Theory Conversation on the topic “The history of dance.”

Practice

Figurative movements;

Dance sketches on the floor.

Performing the taught ground gymnastics exercises for stretching and flexibility.

4. Dance sketches, games, dances

Practice

Composing dance elements in a static position or in motion.

Listening to music, fairy tales and inventing musical images and dance sketches.

Guessing musical riddles.

5. Final lesson.

Practice

- event “Final celebration”.

Performance on the stage with a dance number.

Expected results after the second year of study

As a result of the implementation of the program, it is expected that by the end of the second year of study, students will

know:

The beginning and end of the musical introduction;

Names of new dance elements and movements;

Rules for performing movements in pairs.

be able to:

Respond to dynamic shades in music;

Perform simple rhythmic patterns;

React to musical intro;

Perform dance elements beautifully and correctly;

Describe a piece of music;

It is good to navigate in space based on circular and linear patterns;

Perform movements in pairs, in groups;

Behave correctly on the stage.

Expected results after program implementation

As a result of the implementation of this program, it is expected that children will

know:

correct coordination of movement with music;

the name of the main musical-rhythmic movements and their elements;

correct movement on a certain area and in a certain pattern;

be able to:

understand and distinguish musical meters and rhythms;

identify and use basic patterns, directions in movement;

perform etudes, dance compositions and dances;

perform ground exercise exercises;

coordinate movements.

Mechanism for evaluating the results obtained

Monitoring the assimilation of program material is carried out by conducting initial, intermediate, final diagnostics and generalizing classes, as well as by observing students in the process of communication.

Initial control carried out at the beginning of the year.

Intermediate control carried out based on the results of the first half of the year in December, the tasks are to identify the level of students’ mastery of the program over six months, to determine changes in the level of development of creative abilities for a given period of study. The correctness of execution is assessed; technicality; activity; level of physical activity; knowledge of theoretical and practical parts.

Final control takes place at the end of the academic year (April - May), serves to identify the level of students’ mastery of the program over the year, changes in the level of development of creative abilities during a given period of study. During the final annual control, the following is assessed: correctness of execution; technicality; activity; level of physical activity; knowledge of theoretical and practical parts; creativity, artistry.

Forms of control:

Differentiated assessment, analysis, self-analysis, which are carried out during an open final lesson;

Viewing, testing, reporting, which are recorded during participation in city, regional competitions and festivals, in reporting concerts of associations and institutions.

Conditions for the program

This program is being implemented on the basis of the MBOUDOD “YuTs “Priobsky”, where there is the necessary stable material and technical base.

Classes take place in a specially equipped hall. The room is bright, clean, meeting all safety and sanitation requirements.

There is everything necessary for conducting classes: machines, mirrors, deck floor, rugs, air conditioners, locker room.

Teaching aids include teaching aids for all sections of choreographic activities, audio and video materials, a tape recorder, and a music center.

Bibliography

Briske I.E. Rhythm and dance. Chelyabinsk, 1993

Baryshnikova T. ABC of choreography. Attention: children. Moscow 2000

Erokhina O.V. Dance school for children. Your child's world. Rostov-on-Don “Phoenix” 2003

Root Z.Ya. Dancing with notes for kindergarten. Moscow 2007

Zaretskaya N.V. Dances for children of senior preschool age. Moscow 2007

Chibrikova-Lugovskaya A.E. Rhythm. Moscow 1998

Mikhailova M.A., Voronina N.V. Dancing, games, exercises for beautiful movement. Yaroslavl 2004

Developer information.

Full Name:

Bondar Alena Alexandrovna.

Job title:

7th category additional education teacher.

Teaching experience:

2 years.

Place of work: MBOU DOD "DYuTs Priobsky"

Address:

G.Biysk, Vasilyeva street 61/1. Tel. 45-08-03.

Education: Biysk Pedagogical College, Biysk.

Specialty: socio-cultural activities and folk

artistic creativity.

annotation

This program is designed for preschool children aged 5-6 years for two years of study, 144 hours per year.

The purpose of the program: to create conditions for the aesthetic development of the child’s personality through choreography.

The main task is to teach the child to dance beautifully, move in a free, relaxed manner and master the rhythm of dance, as well as solve health problems.

This material can be creatively used by a rhythm teacher or choreographer, taking into account the capabilities and abilities of their students.

The program “Fundamentals of Choreography” is intended for implementation in the MBOU DOD “DYuTs Priobsky” in Biysk.

Classical dance today is the foundation of any dance direction. Its elements have been formed over many years and by the best teachers of ballet schools in the world. All beginners who find themselves in the wonderful world of dance start from this direction.

Classical dance is, first of all, entertainment, beauty and the correct basis for any dance movement. It doesn’t matter in which direction the dancer will develop, he should start lessons with it.

Classical dance is movements that have been combined into one single system. But for this system to work, it needs to be revived. It’s one thing when a dance exists just like that, another when it helps to reveal feelings and a small story, such as “Swan Lake”.

History of development in Russia

Such a direction as classical dance appeared in Russia thanks to Peter I. The decree on meetings of 1718 included the mandatory holding of dances. A little later, dancing was present in masquerades and performances. And in 1773, the first ballet school in Russia opened in Moscow.

From that time until today, these schools have given the world dancers who glorify their Motherland with their talent.

The art of classical dance has its highest form in choreography called ballet. This is a story that was born thanks to music, but was revealed in choreography. It is divided into 2 parts: characteristic and classical dance. It is also divided into the following genres:

Comedy;

Symphony;

Tragedy.

Terms

Every dancer must know the terms of classical dance. There are a large number of them, but only the main ones are given below.

Adagio means "slow" in Italian. This exercise includes poses, bends, rotations and twists, which are performed at a slow pace. The main task of the adagio is to teach dancers to smoothly transition from one movement to another, listen to the music and develop stability.

Allegro - translated from Italian as “joyful”. These are small jumps that are performed at the end of the warm-up.

Entrechat - from French it means “crossed”. This is an exercise in which, during a jump, the dancer's legs spread and cross several times at a fast pace. This technique shows how virtuoso the performer is.

Pas de bure - movement consists of small steps.

Grand - translated from French means “big”. For example, there is such a movement as the Grand Batman Jeté, in which the leg is thrown to the maximum height for the dancer.

Par terr - "on the ground." Movements with such names mean that they are performed only on the floor.

Preparation - translated from French as “cooking”. Any movement, jump or spin begins with preparation.

The corps de ballet are artists who dance mass numbers.

Fondue is a smooth movement in which the legs bend and unbend.

Basic poses

Any pose of classical dance carries with it a task. But they are united by one goal - the development of coordination of movements. The most basic poses that dancers learn in their first year of training are:

• Epalman croisé forward. The hands are raised to the first position, while the head is slightly tilted towards the left ear, and the gaze is towards the right hand. Then the right leg is slowly moved forward with the toe extended. The arms also work simultaneously with the leg: the left one is moved to position III, the right one to position II. We look at the right hand.
• Epalman croisé back. The principle of movement is the same as in the first option, only here the left leg is slowly moved back, while the left hand smoothly moves from position I to position III, and the right hand to position II. The head follows the movement of the right hand.
• Effase forward. Without lifting it from the floor, we move our right leg forward. The left hand smoothly moves from position I to position III, and the right hand changes position to position II. When the hands are in the first position, the head should look straight and the gaze should be directed to the hands.
• Effase back. The left leg is moved back with a smooth movement. At the same time, the hands perform all the movements as in the forward version.

There is also a classical dance pose called arabesque. But since it is more difficult, beginners perform it after they have thoroughly studied the previously shown poses.

Folk dance

Folk classical dances are a cheerful, vibrant and festive art form. Such a dance was created not thanks to the best choreographers, as is the case with ballet, but from everything that surrounds us.

Being an ancient art, classical folk dance allows a dancer to transform from a passionate Spanish macho into a freedom-loving gypsy in a few minutes. By studying folk dances, a person comprehends the culture of each nationality, and also distinguishes between the broad Russian soul and the ease of movements of the peoples of Ireland, the excitement of the Ukrainian hopak and the wisdom of Japan.

Folk dance gives the dancer an excellent opportunity to visit any country without leaving the walls of the dance hall.

The most popular types of classical folk dance:

Gopak (Ukraine);

Sirtaki (Greece);

Hava Nagila (Israel);

Kalinka (Russia);

Csardas (Hungary).

Leg positions

A dancer's main weapon is his legs. Any position of classical dance exists for turning out the legs. The point is not to point your toes nicely in different directions, but to ensure that the entire leg, from the hip to the toes, is turned correctly. And to achieve this, you need to practice daily.

There are 5 positions:

1. Heels together and toes turned out so that the feet form a straight line on the floor.

2. Same as 1, only the distance between the heels should be approximately 30 cm.

3. The heel of one foot should touch the middle of the foot of the other foot. This position is used and rare in the dance world.

4. Feet turned out and parallel to each other. Thus, the dancer's weight is exactly in the center, that is, it does not rest on one of the legs.

5. This position is similar to 4, only here the feet should be pressed tightly together.

Hand positions

1 position. The arms are slightly rounded and at the level of the diaphragm. Palms face inward, shoulders down. Hands and elbows should form an oval.

2nd position. Arms open to the sides should be at a level slightly below the shoulder. The elbows are slightly bent, the fingers are tucked, and the palms and head are facing forward.

3rd position. The arms are slightly rounded and raised above the head. The brushes should be close, but not touching each other. The palms look down and the head looks straight.

Modern dance directions

Modern classical dance, like any other genre in this field, has many types and directions. It is considered the largest section in choreography. Each direction of modern dance has its own characteristics and manners. This makes it even more interesting and alluring.

Jazz is a dance style that appeared in the 19th century. It has its own branches, which have their own mannerisms and movements. Tap, freestyle, Afro-jazz, classic jazz, funk, Broadway jazz, soul - this is only a small part of the total number of types. Soul is considered the most virtuosic form. It is very similar to ballroom dancing and includes a huge number of complex movements and tricks.

Modern - completely abandoned the canons of classical dance and has its own philosophical approach to each movement. What is important here is the dancer's relationship with rhythm and music.

Ballroom dancing

This direction deserves special attention. This is not just a set of movements to music - it is sport, history, love and passion, combined together.

Partners communicate with each other using movements, touches and glances. The ballroom program includes 10 dances, which, in turn, are divided into 2 groups: European and Latin American.

The waltz is the noblest of all dances and the only one that did not undergo changes during the dance revolution.

Tango is a sensual dance where the main role is played by the partner. A dance full of passion and harmoniously combining fast, sharp and smooth movements.

Rumba is a dance as exciting as tango, but at the same time very gentle and calm.

Cha-cha-cha is an amazing dance that is based on the movement of the hips and legs. Its rhythm cannot be confused with any other (1,2, cha-cha-cha).

Classical dance training begins at the barre. The skills acquired at the machine are supported by daily training and are based on strict methodological rules.
Classes on the subject “Classical choreography” are not possible without detailed training of exercises on a classical machine.

The importance of training at the machine is difficult to overestimate, since it is at the machine that one develops:

• Leg musculature, turnout, dance step, elasticity of the Achilles tendon of the foot
• Correct body position, weight distribution on two and one leg, stability (aplomb)
• General fit of the figure, characteristic of classical dance
• Coordination of dancer's movements
• Positioning of hands and head, beautiful posture
• Rhythmic movements, musicality (the ability to move to music), the ability to withstand different tempos of music.

The sequence of exercises on a classic machine is not accidental. The teacher always takes into account the general objectives of the lesson, the usefulness and logical combination of movements, and the degree of their difficulty. The teacher usually varies the number of repetitions and the degree of physical activity on different muscle groups. It is not correct to combine movements in combinations only for the beauty of the exercise pattern or to fill out a musical phrase.

	Exercise execution time	Exercise name	The meaning of the exercise
		Plie in all positions	Plie warms up the leg ligaments for exercise
		Battements tendus	Battements tendus and Battements tendus jetes develop leg strength, develop foot
		Battements tendus jetes
		Ronds de jambe par terre (at the end of the port de bras combination)	Ronds de jambe par terre develops the rotational ability of the hip joint
		Battements fondus	Battements fondus produces the softness and elasticity necessary for jumping
		Battements frappes and doubles frappes	Battements frappes and doubles frappes trains the muscles to act quickly and clearly, in contrast (stacatto)
		Ronds de jambe en l'air	Ronds de jambe en l'air develops knee mobility
		Petits battements sur le coup-de-pied (can be combined with barre rotations)	Petits battements sur le coup-de-pied develops the foot, improves overall coordination, balance point
			Adajio builds hip strength and prepares the leg for prolonged work at heights greater than 90 degrees
		Grands Battements	Grands Battements promotes the development of the inner thigh muscles and tendons, which is central to stride development.
			Releve strengthens the foot, increases stability, and the ability to maintain balance on the high half toe

The first year of training, exercise at a classical machine is performed on the entire foot. In the future, each exercise begins on the foot and ends on the half toe. The teacher pays special attention to the turnout of the student’s high half-finger. Then the exercise is performed entirely on the half-finger. Half-finger exercises more actively develop the dancer's Achilles tendon, calf, gluteal and triceps (femoral) muscles. The arch of the foot is strengthened, the leg acquires a beautiful, finished line and ballet shape.
When practicing choreography at a classical barre, you need to ensure that the body, arms, and head are constantly involved in the exercise. We train more than just legs! It is imperative to observe the nature of the movement, knowing the correct translation of the term from French. Each exercise is a kind of little dance.

If the terms and figures outlined above are not yet familiar to you, this fact is not a problem for us. Come and we will learn them with you together! Good physical shape and regular attendance at classes are what we especially welcome among the students and teachers of the Educational Program. Our motto: It’s not a shame not to know something, it’s a shame not to do anything to learn!

I am gradually beginning to understand that dancing is becoming a big and important part of my life, along with music and vocals. Of course, work is to blame for this. And also the movie "Step Up". It’s so cool to be able to dance, to combine ballet and street dance. So far I have not been given either one or the other, but I am already beginning to understand the classic machine. Thanks to “Rhythms” - Yulia Vladimirovna explains everything very clearly to the guys, and I also listen and remember.

When throwing a leg forward or backward, the head looks to the side (center of the class), and when throwing a leg to the side, the head looks straight.
With battement tendu, the leg is brought forward with the heel. In general, where the heel is pointed is very important. Because if you direct it in the wrong direction, there will be no sense in the movement. I tried it myself last night.
When jumping, it is important to jump as high as possible and stay in the air for as long as possible. Only then can you have time to change position in the air from 5 to 2, from 5 to 5, etc.
Preparation for jumping (plie) must be very active so that the fragile, heavy and loose body is pushed upward.
According to the rules of classical graphics, you need to end the movement in the same position in which you started. With rare exceptions, which must be specified.
Demi plie(demi plie)- half squats (Fig. 8). It is important to achieve maximum bending of the legs at the knee joints without separating the heels from the floor. The weight of the body is evenly distributed on both feet without “blocking” the big toe. The knees and feet remain in an inverted position at all times, without violating the correct positions. The back is kept straight. The exercise is performed in I, II, III positions, less often and only at the support - in V, IV positions.

Grand plie. When performing the exercise (Fig. 9), you should keep your heels on the floor for as long as possible - the movement is performed through a demi plie. When straightening your legs, you need to place your heels on the floor as early as possible. You must rise onto your toes and place your heels on the floor with both legs at the same time. Throughout the entire exercise, maximum eversion of the hips and feet is maintained. The weight of the body is evenly distributed on both legs, without “sagging” on the big toes.

Batman(battement)- abduction of the working leg in any direction and returning it to the supporting leg. Each type of batman has its own shape and independent name.

Batman tandue sample(battement tendu simple) - placing the leg forward, to the side, back on the toe. The exercise promotes the development of leg lifting and strengthening of the ankle joint, and is preparatory for mastering a number of subsequent movements of this classification group. When performing batman tandu, the eversion leg is moved with a sliding movement from positions I, III, V forward, to the side, back on the toe and returns to i. n. The movement should be performed in a straight line from the heel of the supporting leg to the toe of the abducted leg and back (Fig. 10). Sliding the leg is performed first with the entire foot with a gradual lifting of the heel from the floor to the position of the extremely extended toe without emphasis on the toe in the final position. With a similar sliding movement, the leg returns to i. n. The support is straightened at the knee. The center of gravity is on the supporting leg. The working leg maintains an everted position.

Batman tandu demi plie(battement tendu demi plie) - a combination of abduction of the leg followed by adduction and a half-squat on two legs (Fig. 11). When performing the exercise, it is necessary to achieve complete fusion of the two movements. To do this, bending the legs at the knees begins slightly earlier than the working leg returns to position 1 or 3. The torso is held straight, the weight of the body during demi plie is evenly distributed on both feet.

Batman tandu pimp(battement tendu soutenu) - is an exercise of combining simultaneously performed abductions and adductions of the leg with a half squat on the supporting leg. In this case, the torso deviates slightly in the direction opposite to the working leg. After performing the exercise with your face, sideways to the support, the form of this movement becomes more complicated: i. p. - right in front on the toe (IV position) through I position to the right position back on the toe. In the future, it is possible to complicate the exercise with various hand movements, lifting onto half-toes, and changing the direction of movement.

Batman tandu zhete(battement tendu jete) - this exercise is profiling for all swing movements. Unlike Batman, tandu is performed with the toe lifted off the floor when abducted from i. n. In fact, it is a swing to a height of about 25° (Fig. 12). The movement should be clear, united, and energetic. The legs maintain an everted position, the center of gravity is on the supporting leg. Hands in 2nd position.

Batman tandu jete pointe (battement tendu jete pointe). In principle, this movement is no different from batman tandyu zhete, however, after abduction, the leg does not close into position, but is placed with the toe on the floor. The exercise can be performed 2-3 times in a row, then the leg is closed in position III (Fig. 13). As the movement becomes more complex, the leg is moved in a low arc from the right (left) position in front, behind on the toe (IV position) to the side on the toe and back, or in a “cross”.

Double Batman tandu(double battement tendu) is a variety of batman tandyu. Performed with the heel lowered to the floor in position II: with one, two, or three or more lowerings (Fig. 14). When the heel is lowered to the floor, the center of gravity remains on the supporting leg. The emphasis of the movement coincides with lowering the heel to the floor.

Batman frappe(battement frappe)- flexion and extension of the lower leg at an angle of 45° (Fig. 15). Before starting to study the movement, the position of the leg is mastered. sur le cou de pied(sur le coup-de-pied) (Fig. 16) . In gymnastics, the position in front (conditional) is used - the leg is bent at the knee, the toe is in front of the ankle of the supporting leg, the thigh is turned backward - the toe is pressed behind the ankle of the supporting leg. Batman frappe consists of quickly bending the shin from and. n. right (left) to the side in the position sur le cou de pie in front or behind with a slight blow to the supporting leg, followed by extension forward, to the side, back. The exercise is performed with a sharp, strong movement. At the same time, the hip and knee maintain an everted position. Since the exercise begins from i.p. leg to the side, then before starting, the leg from positions I, III through the batman tandu opens to the side, while the hand rises from the preparatory position through position I to II.

There is a more complicated version Batman double frappe(battement double frappe) , characterized by a double “kick” of the working leg at the supporting ankle.

Batman fondue(battement fondu)- a combination of a half-squat on the supporting leg with simultaneous bending of the free leg on the sur le cou de pied in front (behind), followed by extension of the working leg and straightening of the supporting leg (Fig. 17).

It is performed forward, to the side, backward, with the toe on the floor, with the leg raised to 45, 90°. When bending the leg into the sur le cou de pie position, the thigh should not be lowered immediately; the knee is first bent, and the thigh is held motionless at a height of 45°, then gradually lowered along with the lower leg to the final position. When batman frappe is performed at 90°, the leg first lowers to 45°, then bends as described above. Musical time signature is 2/4 or 4/4.

Double Batman fondue(double battement fondu) . The movement begins with a demi plie on the supporting leg, then a half-toe lift is performed, but the free leg does not open in the given direction, but lingers in a position bent at the ankle; then the half-squat on the supporting leg is repeated again with simultaneous straightening of the free leg by 45 or 90°; at the moment of final straightening of the free leg, straightening of the supporting leg is also performed, ending with lifting onto the half-toes.

Grand Batman Jete(grand battement jete) - swing your legs forward, to the side, back (Fig. 18). The movement is performed through the batman tandu until the toe touches the floor, then the leg rises to the maximum height and through the batman tandu returns to the I.P. (I or III position).

Grand Batman Jete Balance(grand battement jete balance) - swings forward and backward by 90° and higher through the first position (Fig. 19). The movement can be performed to the side: in i.p. facing the support or in the middle of the hall, alternately with one and the other leg. A combination with torso bending, half-toe lifting, and half-squats is possible.

Grand Batman Jete Pointe(grand battement jete pointe) performed like a Grand Batman Jete, but before the toe touches the floor (Fig. 20).

Grand Batman Jete Passe(grand battement jete passe) performed according to the rules of Grand Batman Jete, but with the transfer of the leg from one direction to another using a technique passe(Fig. 21): leg bent, hip turned out, knee to the side, toe at the supporting knee, without touching it. Performed forward and backward. Musical size 2/4.

Batman Devloppe(battement developpe) performed forward, to the side, back 90° and higher (Fig. 22). From the third position, the working leg, bending and sliding with an extended toe, rises to the knee of the supporting leg, after which it straightens in any direction and lowers into the standing position. Throughout the entire movement, the thigh maintains maximum eversion; when straightening the leg, the knee does not drop. When performing movements forward and to the side, the torso remains straight, when moving backwards, it bends slightly forward. Musical time signature: 2/4, 4/4.

Batman developpe passe (battement developpe passe). The working leg rises, then bends, the toe goes under the supporting knee without touching it (passe position), after which the leg rises again in any direction.
Batman devloppe with leg abduction 1/4 of the circle. The working leg is brought forward, then moved to the side and lowered into the i. n. The same is done in the opposite direction. Then the leg is raised to the side and moved forward or backward.
Batman devloppe with leg abduction 1/4 of the circle. The leg from the third position is raised forward by 90° and higher, the extended leg is pulled back across the side and lowered to the third position. It is performed similarly in the opposite direction.

Batman developpe passe. The leg rises forward, to the side, back, then with a short movement it lowers slightly and immediately sharply returns to its previous height. Musical time signature is 2/4 and 4/4.

Ron de jambe. This type of exercise includes moving the leg in an arc along the floor and in the air. Movement of the leg in an arc back, to the side, forward, that is, directed towards the supporting leg, is called en dedan (en dedans). Movement of the leg in an arc forward, to the side, back, that is, directed from the supporting leg, is called en deor (en dehors). Exercises in this group contribute to the development of mobility of the hip joints and eversion of the legs.

Rond de jambe par terre- movement of the extended leg in an arc, touching the floor with the toe (Fig. 23). The exercise is performed by uniformly moving the outstretched leg in an arc, separating the toes from the floor. The hip is in an everted position, the weight of the body is on the supporting leg.

Ron de jambes en lair(rond de jambe en l'air) - circular movements of the shin in the air (Fig. 24). From i.p. right (left) to the side at a height of 45°, circular movements with the shin, while simultaneously bending the knee inward (an deor), outward (an dedan) until the toe touches the calf muscle. The hip is in an everted position.

Grand Rhône de Jambes Jété (grand rond de jambe jete) - large leg swing in a 90° arc in the direction of an deor and an dedan.

Gymnastics all-around: Women's events. Ed. G 48 2nd, revised Floor exercise. T.S. Lisitskaya, V.E. Zaglada / edited by Gaverdovsky Yu.K. - M.: Physical culture and sport, 1986. - 336 pp., illus.”

Pas (pa ) - step; movement or combination of movements; used as equivalent to the concept of “dance”.
Pas d'actions (pas de action ) is an effective dance.
Pas de deux (pas de deux ) - a dance of two performers, usually a dancer and a dancer.
Pas de trois (pas de trois ) - a dance of three performers, usually two dancers and one male dancer.
Pas de quatre (pas de carte ) - dance of four performers.

Adagio (adagio ) - slow, slow part of the dance.
Allegro (allegro ) - fast, jumping.
Allongee (together ) - from Ch. lengthen, prolong, extend; a movement from the adagio, meaning an extended position of the leg and a hidden hand.
Aplomb (aplomb ) - stability.
Croisee (croisé ) - a pose in which the legs are crossed, one leg covers the other.
Degage (dégagé ) - release, take away.
Demi (demi ) - medium, small.
Ecartee (ekarte ) - retract, move apart; a pose in which the entire figure is turned diagonally.
Effect (efase ) - deployed position of the body and legs.
En dedans (en dedan ) - inside, in a circle.
En dehors (en deor ) - out, from the circle.
En face (en face ) - directly; straight position of the body, head and legs.
En tournant (en tournan ) - from Ch. "rotate"; turning the body while moving.
Grand (grandee ) - big.
Petit (petit ) - small.
Port de bras (port de bras ) - exercise for arms, body, head; tilts of the body and head.
Preparation (preparation ) - cooking, preparation.

Arabesque (arabesque ) - a pose whose name comes from the style of Arabic frescoes.
Attitude (attitude ) - posture, body position; the raised leg is half bent.
Passe (passe ) - from Ch. “to conduct, pass”; connecting movement, holding or moving the leg.
Sur le cou-de-pied (sur le cou de pied ) - the position of one leg on the ankle of the other, supporting one.
Tire bounchon (shooting range bouchon ) - “twist, curl”; the raised leg is in a half-bent forward position.

Balance (balance sheet ) - “to swing, sway”; swaying movement.
Balancoire (balance ) - “swing”, used in grand battement jete.
Battement (Batman ) - swing, beat.
Battement developpe (Batman Devloppe ) - swing, open, remove the leg 90* ​​in the desired direction.
Battement double frappe (batman double frappe ) - double strike movement.
Battement fondu (Batman fondue ) - soft, smooth, “melting” movement.
Battement frappe (batman frappe ) - movement with impact, or impact movement.
Battement soutenu (batman hundred ) - withstand, support; movement with pulling the legs in the fifth position, continuous movement.
Battement tendu (Batman tandu ) - abduction and adduction of an extended leg without lifting the toe off the floor.
Batterie (batry ) - drumming; the leg in the sur le cou-de-pied position makes a series of small striking movements.
Demi-plie (demi plie ) - small squat.
Dessus-dessous (ten-desu ) - upper-lower part, above-under, view of the ras de bourree.
Grand battement (grand batman ) - big batman.
Grand-plie (grand plie ) - big squat.
Jete (jete ) - leg throw on the spot or in a jump.
Pas coururu (I'm smoking ) - run through the sixth position.
Pas de bascue (pas de basque ) - Basque step; This movement is characterized by a count of 3/4 or 6/8 (three-beat time signature), performed forward and backward.
Pas de bourree (pas de bure ) - a chased dance step, stepping with a slight advance.
Petit battement (petit batman ) - a small batman, on the ankle of the supporting leg.
Plie (plie ) - squat.
Releve (relevé ) - from Ch. “raise, elevate”; lifting onto fingers or half fingers.
Relevelent (Relevelan ) - slow leg lift to 90*.
Soutenu (a hundred ) - from Ch. “to withstand, to support, to draw in.”

Fouette (fouetté ) - from the verb “to quilt, to flog”; type of dance turn, fast, sharp; During the turn, the open leg bends towards the supporting leg and opens again with a sharp movement.
Pirouette (pirouette ) - “spinning top, spinner”; fast rotation on the floor.
Port de bras (port de bras ) - tilts of the body, head.
Renverse (ranverse ) - from Ch. “overturn, turn over”; overturning of the body in a strong bend and in a turn.
Rond (ronde ) - “circle, round.”
Rond de jambe en l'air (Ronde de Jambes en Leur ) - circle with your foot in the air.
Rond de jambe par terre (Ronde de jambes par terre ) - circular movement of the leg on the floor, circle with the toe on the floor.
Tour (tour ) - turn.
Tour chain (tour chenet ) - “linked, connected”; quick turns following one after another.
Tour en l'air (tour en ler ) - tour in the air.

Assembly (assembly ) - from Ch. connect, collect; jump with outstretched legs collected in the air; jump from two legs to two legs.
Brise (breeze ) - to break, crush; movement from the section of jumping with skids.
Cabriole (cabriole ) - jump in place with one leg kicking the other.
Changement de pieds (Shazhman de pied ) - jump with a change of legs in the air (in the V position).
Coupe (coupe ) - knocking; jerky movement, short push.
Echappe (echappé ) - a jump with the legs opening to the second position and collecting from the second to the fifth.
Entrechat (entrechat ) - jump with a skid.
Glissade (glide path ) - “sliding”; a jump performed without lifting the toes off the floor.
Jete ferme (jete ferme ) - closed jump
Jet passé (jete passe ) - passing jump.
Pas ballonne (pa balone ) - to inflate, to swell; advancement at the moment of the jump in various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg sur le cou-de-pied.
Pass ballot (pa balotte ) - hesitate; a movement in which the legs are extended forward and backward at the moment of the jump, passing through a central point; the body leans forward and backward, as if oscillating.
Pass chasse (on the chasse ) - a ground jump with advancement, during which one leg kicks the other.
Pas ciseaux (pa pre-trial detention center ) - scissors; a jump with legs thrown forward in turn, stretched out in the air.
Pas de chat (pas de sha ) - cat step; a sliding jump from one foot to another, when one leg passes the other in the air.
Pas emboite (in ambuate ) - from Ch. “put in, put in, put in”; a jump during which there is a change of half-bent legs in the air.
Saute (sauté ) - jump in place by position.
Sissonne (Sison ) - a type of jump, varied in shape and often used.
Sissonne fermee (Sison Farm ) - closed jump.
Sissonne ouverte (sison overt ) - jump with leg opening.
Sissonne simple (Sison Simple ) - a simple jump from two legs to one.
Sissonne tombee (Sison Tombe ) - jump with a fall.

While studying in the “Classical and Contemporary Choreography” program, you will definitely attend theoretical classes. They take the form of small seminars and give students the necessary theoretical knowledge of the Fundamentals of classical choreography. Each student is given a note, which contains information on the topic of the seminar in a concise form.

For example, the topic “Basic Concepts of Classical Dance” involves studying the positions of the legs and arms in classical dance. The following issues are discussed at the seminar.

Five reversible leg positions:

Item name	Position description	General remarks
	The first is that the feet are turned with their toes to the sides in one straight line, turned out, the heels are connected.	The feet in the position should not rest on the big toe or little finger
	Second - the feet are turned with their toes to the sides along one straight line, turned out, the heels are spaced one from the other at a distance of the length of the foot.	In the second position, the center of gravity is distributed evenly on both legs.
	Third - the feet are turned outwards, one in front of the other, the heel of one foot is tightly adjacent to the middle of the foot of the other.	The reverse third position is studied only in the first year of training. It is no longer used in classical dance.
fourth	Fourth - the feet are turned out, one in front of the other at a distance of the length of the foot. The toe of one foot is opposite the heel of the other.	The fourth position, as the most difficult, is the last to be introduced to.
	Fifth - the feet are turned outwards, one in front of the other, the feet are pressed tightly together. The toe of one foot is at the heel of the other.	When moving from position to position, the toe of the working leg does not leave the floor, the position of the body will be maintained. The transition is carried out with one movement of the working leg, without trampling on the supporting leg.

The study of leg positions begins facing the machine. It is very important to immediately position the body correctly: the spine is vertical to the very top of the head, the stomach is tucked, the gluteal muscles are tucked and tense, the shoulders are lowered, the chest is open, the shoulder blades are not compressed at the back. The hands are on the surface of the machine stick opposite the shoulders, they do not clasp the stick, but lie freely on it. The thumb is on the barre stick, the wrist is down, the elbows are down, the armpits are not pinched. Head straight.

Three basic hand positions. Hand placement is the manner of holding them in a certain shape, at a certain height, in positions and other positions adopted in classical dance.
The first position directs the arms forward, the second - to the side, the third - upward. Other hand positions are combinations of the three basic positions.

Item name	Position description
Preparatory position	Preparatory position. The arms are lowered down, not in contact with the body. The elbows are directed to the sides, bent, forming an oval. The hands are rounded, not touching, pointing upward. The fingers are grouped, the thumb is directed towards the middle finger, without touching.
First position	First position. The arms are raised in front of the body at the level of the diaphragm, slightly bent at the elbows and wrists, forming an oval, palms facing you. In the first position, the arms support the body well during rotation, correctly guiding the dancer’s body for a big jump. The accepted height of the arms makes it possible not to cover the chest area, which is important from an aesthetic point of view.
Second position	Second position. The arms are open to the sides at shoulder height. The shoulders, elbows and hands are almost at the same level, forming a single line of the arm. Elbows facing back, palms facing the viewer. It is necessary to ensure that the hands do not go back, but are slightly in front of the shoulders. The second position helps maintain stability when performing exercises in the middle.
Third position	Third position. The arms are raised up and form an oval above the head. The hands should be slightly in front of the head, which is mandatory. You can check yourself: without raising your head, look up; if only your little fingers are visible, then the position is set correctly.

General remarks:
The shoulders are lowered down in all positions; it is undesirable to push them forward, lift them up, or pull them back.
When lowering and raising your arms, when moving from position to position, the movement of the arm begins from the hand.
In arabesque poses, both arms are extended freely, without tension.
When moving one hand, you need to make sure that it does not go beyond the line of the center of the figure.
When you move your hand, your gaze always follows the hand. Head position and facial expression are of great importance in dance. The expressiveness of the face and eyes inspires the poses. Students often strain their necks, bite their lips, and tighten their facial muscles during exercises and physical activity. These shortcomings should be addressed so that they do not become a habit.

You've probably already noticed that information on the basics of classical choreography at the seminar is worked out in quite some detail. with a focus on specific issues,having an applied nature. Teachers, choreographers, and modern dance dancers can easily use all the information received during the lesson in their work. Information is presented in a condensed form, which saves time on training. Recording tables and terms on electronic media facilitates the subsequent storage of the information received. Our teachers guarantee that in our notes and seminars you will not encounter “information garbage”, those. general knowledge-intensive phrases that have no particular value in the work.