Methods of learning dance elements with children

Taken from a wide variety of dance genres, the basic steps below will help you begin your journey as an aspiring dancer. Many fundamental steps work across all dance disciplines - it's a step change that works great for jazz, tap and samba. Clean up your basics or go for a new style of flying off your feet on the dance floor to dazzle the adoring crowd.

Ball change

Ball changes are found in most dance disciplines, including jazz, tap, lyrical and hip-hop. Because of its crossover appeal, it is typically one of the first steps taught to new dancers. The ball change is completed in two steps - transferring weight to the ball of the foot (1), then stepping back to the other foot (2). This step is usually connected to another step, such as a "ball change" motion.

1. Step onto your right foot, placing all your weight on that leg.
2. Lift your left leg and lean back behind your right leg, directly onto the foot ball.
3. Shift your weight toward the ball of your left foot as you lift your right foot.
4. Step back onto your right foot to complete the move.
5. Pitch changes can be made to the right, left or in place. It is often used as a transition and it happens very quickly.

Guz O.F.

West Kazakhstan State University named after. M.Utemisova, Kazakhstan

Methods of learning dance elements and dances with children aged 5-7 years

Analysis of psychological and pedagogical literature and the experience of practicing teachers suggests that the development of dance skills at each age stage occurs differently.

In the fifth year of life, children already have experience of listening to music, they can recognize familiar melodies and determine the nature of the music. Movements become more rhythmic, clear, consistent with the beginning and end of the music. Children perform more varied movements (straight canter, walking in pairs, single foot stomp, heel kick) and can move in accordance with the contrasting nature of the music.

At the age of 5-7 years, children already control their movements relatively well, their actions to music are more free, easy and clear, they use dance improvisation without much difficulty. Children at this age spontaneously master the skills of expressive and rhythmic movement. Auditory attention develops, and the individual characteristics of children are more clearly revealed. They can convey with their movements the varied character of music, dynamics, tempo, simple rhythmic patterns, and change movements in connection with changing parts of a musical work. At this age, emotions evoked by music create a certain motor activity; the teacher’s task is to direct it in the right direction by selecting interesting and varied musical and dance material for this.

Moving as the music dictates is a strict law that should be strictly observed throughout the lesson.

Music imparts a certain character to movements and gives them emotional overtones. The musical accompaniment should be bright, emotional, and expressive.

One of the first characteristics of dance is the tempo of the music. In the practice of music and dance work, tempos are most often used: moderate, fairly fast, fast, leisurely, slow. The first stage of working on tempo is following the tempo of a piece of music; it is necessary to teach how to perceive and convey in movements different tempos of musical examples with all sorts of shades. It is also necessary to teach the child to remain stable in dance. Training in maintaining a given dance tempo is very useful. An important task is to teach children to switch from one tempo to another, to change the tempo of the dance in accordance with the change in the tempo of the music.

In the methodology for developing motor skills of children 5-7 years old through dance creativity, the most common musical compositions are circle and linear construction. The circle is the composition most often repeated in various dances. And this is understandable, it carries a semantic explanation for children, the circle is the sun, this is the location around the fire, the hearth. In dance, this homogeneous motif has a number of varieties: a closed circle, an open circle, a circle in a circle, several circles in a common circle.

When using linear composition, the requirement for the laws of perspective arises especially clearly. The teacher must be well acquainted with them in order to avoid mistakes in constructing a stage composition.

It is recommended to begin teaching children dance elements and further dance by learning the correct step and run, which helps strengthen the muscles, legs and core; children should learn a number of exercises that help them move well and expressively to peppy marching music. Working on reflecting the cheerful, active nature of music in walking helps to develop good posture, rhythm, coordination of the movements of arms and legs, and lightness of step. In addition, these movements associated with music are always accompanied by an emotional upsurge, which also has a beneficial effect on the development of children’s motor skills.

All children love to dance, you just need to help some of them overcome the stiffness of their movements. The energy of a child’s internal forces at this age requires its expression. The tempo, rhythm, and pulse of our life are embodied in children in movement. The teacher’s task is to combine the sequence of these movements into a composition that is simple in construction, to give them grace and expressiveness.

When performing all exercises, the children's shoulders are slightly lowered, the spinal erectors are toned, the quadriceps muscles of the thigh and rectus abdominis are stretched. The movements are also aimed at stretching the anterior surface of the body, the long and short peroneus muscles. The effectiveness of some exercises increases when performed slowly. After performing stretching movements for the iliopsoas muscle, you need to move on to exercises toning the gluteal muscles. Shoulder movements stretch the neck extensors and tone the lower stabilizers of the scapula. Many of the exercises listed above are aimed at developing the coordinated work of the muscles of the legs and arms and activating gait reflexes. Changing the tempo of performing dance movements not only enhances the effect on the cardiovascular and respiratory systems, but also helps to increase stimulation of the central nervous system and improve the central nervous regulation of the motor act.

Chaine Turns

A chaîné turn is an introductory fast turn used in ballet and lyrical dance, although they are sometimes found in jazz and other styles. The name comes from the French, meaning "chain". Chaînés are simply a chain of quick turns on alternating legs. Starting from the first position, the turns move either along the floor in a straight line or in a circle.

1. Start in the fifth position, right leg pointing to the right, pressed against the left leg, pointing to the left, arms at your sides.
2. Raise both arms together, elbows slightly bent so that the curves of the arms and fingers touch just the waist.
3. As you raise your arms, bend your knees, keeping your torso straight, and move your right leg to the right.
4. Open your arms wide to the side as your leg slides to the right.
5. Bring your left foot over, crossing it in front of your right as you approach the half-slipper.
6. Bring your arms back into a curve with your waist as you turn your entire body with the momentum of your moving left leg. This is a half moon turn with both feet very close to each other.
7. Repeat the sequence, but this time, as you engage the Relevant or Crescent, raise your arms up and into a gentle curve above your head, fingertips barely touching each other.

Methods of learning dance elements with children

In the process of mastering dance material, we conventionally distinguish three stages.

At the 1st stage (the beginning of using musical and rhythmic compositions in working with children), we rely on children’s ability to imitate, which is clearly expressed in preschool age. By imitating an adult, a child easily masters various types of movements and gradually begins to use them in independent activities (in games, dance improvisations).

The 2nd stage of training (after the children have already acquired some experience in performing as shown and have memorized several compositions) promotes the development in children of the ability to independently perform previously learned exercises (compositions as a whole and individual movements).

The 3rd stage of work is leading children to a creative interpretation of a piece of music, developing the ability to express themselves in movement to music, developing the ability to independently select and combine familiar movements and come up with their own, original exercises. The implementation of these tasks is most important in this program, since it is in the development of creativity and the ability to improvise that the main idea is concentrated - control of one’s own body, subtlety of musical perception, non-standard thinking, psychological freedom.

We approach each stage sequentially, but at the same time, they can be combined simultaneously (but with different repertoires).

Let us consider in more detail the methodology for organizing the pedagogical process at each stage:

The basis of the 1st stage of training is imitation of the teacher’s model of movement execution in the process of joint activity. / “Involving demonstration” (an expression by S.D. Rudneva) helps children master quite complex motor exercises. Performing movements together helps create a general high spirits; a single rhythmic breathing accompanied by music regulates psychophysiological processes and concentrates attention as much as possible. In such group rhythm classes, the students are exposed to a sort of hypnotic effect, the strength of which depends on the music and on how expressive and artistic the teacher’s display is. There is one more feature in the show - it must be “advanced”, that is, the movements are ahead of the music by a split second. This is necessary so that children have time to “translate” visual perception into a motor reaction. In other words, it takes time for the visual signals to reflect and then the muscle sensations will exactly coincide with the sound of the music. If such an advance in the demonstration does not occur, then the children’s movements (reflecting the teacher’s demonstration) are always slightly behind in relation to the music, which complicates the formation of musical-rhythmic skills.

There is one more feature of such a display - it must be given in a “mirror” reflection, since children repeat all movements automatically. In the process of imitation, children more easily develop a variety of motor skills and abilities. Thanks to “involving demonstration”, children cope with exercises that they could not do independently or with fragmentary demonstration with verbal explanations. However, the degree of complexity of motor exercises that children can perform in the process of imitation is not unlimited. To determine it, the teacher must determine the “immediate zone” of the child’s development (according to L.S. Vygotsky), which allows us to foresee the next step in his development. In the process of joint performance, it is important to let children feel their capabilities and consolidate them in their minds. With subsequent repetitions, the movements are refined, memorized and automated. Of course, this happens differently in children - for some it’s faster and easier, for others it’s slower, with some peculiarity. It is important that the teacher does not make any comments (at this stage of work), does not focus the children’s attention on the fact that they are not doing something well, and then gradually the complex elements of the exercises, repeated in various compositions, will be mastered.

The next stage of classes is the development of children’s This happens gradually, as if unnoticed by those involved. The teacher from time to time stops the demonstration during the joint performance and invites the children to continue performing the movements independently. This is a very important point, since in the case of performance only for show, children do not train voluntary attention, memory, and will. After several repetitions, together with the teacher, the children are invited to perform the entire composition independently from beginning to end (sometimes you can prompt with some gestures).

At this stage the following techniques are used:

— demonstration of performance of compositions by children (choice of presenters instead of teacher - in turn or at will);

- demonstrating the exercise with conventional gestures and facial expressions;

— verbal instructions;

— “provocations,” that is, the teacher’s special mistakes when showing them in order to activate children’s attention and encourage them to notice and correct the mistake.

Not all compositions should be learned with children to the level of independent performance from memory. Our task is to accumulate motor experience, develop skills and abilities, and for this we need to move a lot (to achieve automaticity, that is, skill), and we consider this stage of work as intensive training. However, some compositions that are convenient for inclusion in entertainment, matinees, dramatization games (spectacular, “spectacular”) can be learned with children for the purpose of subsequent performance (for example, these include: “Magic Flower”, “Squirrel”, “Exercise with hoops”, etc.). In this case, more careful work is carried out on the quality of performance, since it is important to cultivate in children a sense of beauty, a culture of movement, and the desire to do everything with full dedication. Thus, in parallel, there are two levels in working on compositions - “training”, performance for show (without carefully practicing movements) and leading children to independence, expressiveness in the execution of movements on individual compositions (accessible to the individual capabilities of children) with the aim of educating and developing the child’s personality . Independent performance of exercises indicates the development of motor skills, is an indicator of the learning outcome, as well as an indicator of the level of development of the most important mental processes - will, voluntary attention, musical and motor memory.

Next, based on the development of children’s plastic capabilities and expansion of their motor experience, we move on to the third stage, creative self-expression in movement to music. This also happens gradually. Thus, some compositions immediately include a “question-and-answer” form of performance, where improvisation on a certain musical fragment is assumed - bridge, chorus, etc. For example, in the composition “Dance while sitting”, children themselves come up with general developmental exercises to lose, in order to lose in the composition “The Three Little Pigs” - the Piglet dance, etc. Such small inclusions, on the one hand, train attention switching and the development of voluntary movements, and on the other hand, they prepare for improvisation on complete musical works.

Next, we move on to simple creative tasks, which include dramatizing songs. For example, in the song “Two Rams” (music by M. Kozlov), children perform movements in roles based on the text (in the form of two rams - White and Black), and in the dramatization of the song “Reckoning”, children depict the dialogue between a Girl and a Cat. For such tasks, songs with a bright, dynamic plot are selected that encourage movement (“Cats and Mouse”, “Plastic Crow” by Gr. Gladkov, “We Divide Everything in Half” by V. Shainsky, etc.).

The process of improvisation and playing songs is longer than just learning. So, first, children are asked to listen to a song, pronounce the text, then play “tests” in which children try to express the content of the song in movements. The role of the teacher is to observe the children’s manifestations, support them, in no case intercept their initiative and help in the selection of figurative movements and the design of a holistic composition. Older preschoolers and younger schoolchildren may be offered more complex tasks - for example, plastic improvisations on classical music (see the Appendix for the script of the suite to the music of M. Mussorgsky “Pictures at an Exhibition”) or composing fairy tales, “ballets”, etc. (See the Appendix for “Fairy Tales” that the children composed themselves and came up with dances included in the production).

At this stage of work, you can use the following methodological techniques:

• listening to music and talking about it; drawing, verbal descriptions of musical images;

• selection of poems, fairy tales and other works that help interpret the musical image;

• plastic improvisations of children, “tests” - without showing the teacher;

• demonstration of movement options by the teacher - children are asked to choose the most successful one.

Adults only occasionally join in the movement to stimulate children's activity. As a rule, such a need arises in connection with the design of movements invented by children into a single composition, since this task is still difficult for preschoolers and primary schoolchildren (and it is not easy for adults either!).

The most convenient way to develop children’s dance and play creativity, in our opinion, is the staging of popular fairy tales, such as “The Fly Tsokotukha” by K. Chukovsky, “The Cat’s House,” “12 Months” by S. Marshak, etc.7.

Summarizing what has been said, we emphasize that improvisation in both children and adults is possible only on the basis of the development of an ear for music, creative imagination, as well as on the basis of free control of one’s body, that is, when the movements are automated and do not distract attention to the technique of their execution . Jacques-Dalcroze also believed: “When everything related to rhythm and technique passes into the category of automatic, all attention will be freed up to convey the feeling

"2.
Therefore, if we want to achieve a truly artistic, and not a primitive interpretation of musical works in plastic, a lot of and meticulous work on motor skills is necessary. But the process of this technical work must also be engaging, playful and creative. And then children will develop, learn movements easily and involuntarily, unnoticed by themselves, mastering various and complex motor combinations.
And this in turn will stimulate their overall development. 2. Development of children in the process of mastering various types of movements.

Moving from simple to complex, at the beginning of work with younger preschoolers, attention is paid to mastering figurative play movements. These same exercises begin the development of motor qualities - plasticity, agility, etc., as well as motor skills. For example, such game exercises as “Bunny”, “Squirrel”, “Ball” - train the ability to easily jump on two legs; “Fox” is a “soft”, springy walk; “The ball rolled” - run; “Ball” - jumping on two legs; “Bear” - walking, waddling from one foot to the other, walking on all fours, lying on your back, clasping your legs with your arms, bent at the knees - rolling from side to side”; “Doggy” - walking on all fours, running; “Kitty” - standing on all fours, arching and arching your back (developing flexibility), etc.

These movements can be offered without music, in a game or when playing out poems, as well as in compositions (from the repertoire “RiTeddy Bear”, “Squirrel”, “Ball”, etc.).

Mastering figurative play exercises not only develops plasticity, expressiveness, movements, but also trains dexterity and accuracy, coordination; and, what is very important, they develop children’s imagination, their emotions, the ability to “revive” a game character, animal, toy, etc. For younger preschoolers, based on play exercises, all other types of movements are introduced - general developmental, basic, dance movements. Forming in pairs, one after another, in a circle is also best done in the process of learning games, dances, round dances, where these formations are logical and natural, and the children’s attention is concentrated and regulated by music.

To make it easier for children to change lanes while moving, you can also use visual references - the pattern of the carpet, the furniture in the room, the location of windows, walls, etc. In this case, it is important to correctly indicate the direction of movement - “right”, “left”, “forward” “Back” - that is, to connect the “muscular feeling” of the direction of movement and the word (that is, the 1st and 2nd signal systems - the basis for the formation of a skill according to I.P. Pavlov). You can also use the modeling method - lay out various dance figures and a sequence of changes on a flannelgraph or on a table (this technique is more used with older children).

Thus, the formation of the ability to navigate “on oneself” (right-left arm, leg), “from oneself” (right, left, forward, backward) is laid down in early preschool age and continues in subsequent years.

Dos-i-do

Dosh-i-do, used in square dancing, involves two dancers facing each other. They then spin around in a circular motion without turning. To complete the correct dosage, each dancer should stand on the same wall the entire time, providing a spin rather than an actual turn.

1. Standing next to your partner and facing the opposite side of you, walk towards each other.
2. When you reach the opposite pair, continue forward, moving easily between them.
3. Don't turn around, keep walking and step to the side a few steps, keeping the dancer you just passed behind.
4. Step back to complete the outline around the opposite dancer and return to your place next to your partner on the square.

EASY DANCE MOVES FOR CHILDREN

ABC of dance and dance movements for children 3-4 years old. 1.Position of the body: * The “tree” top of the head stretches upward towards the sun. 2.Walking: -A simple step at a different pace and character: – Soft (like a fox, cat) * With an oblique foot (a bear walks through the forest).

3. Running: *Small, light: (leaves flew, snowflakes flew, little mice ran, peas scattered). 4. Walking and running in combination: * Soft step and shallow running - (cat and mouse). * Heavy step and small run - (bears and mice) 5. Jumping: * On two legs: (with moving forward, backward, in place (bunnies jump, foxes are scared, kangaroos in the zoo). 6. Running and jumping in combination: * Based on the principle of contrast (in dynamic shades: quiet-loud, fast-slow, rhythmic patterns) 7. Stomp: * Kick one foot into the floor with the entire foot, (“Along the path, along the path”) * Stomp (alternately stomp with the right and left leg) 8. Exercise for hands, fingers and arms: * Arms: raise (forward, to the sides, up one or two), then lower. * Extend (forward, to the sides, up), then lower. * Exercises on muscle sensations: (“Stretch the elastic”, then sharply bring your hands together, stroke the water). * Hands: “bells are ringing”, (“shake off the water”, “fan yourself”, “goodbye”) * Exercise for fingers: – “squeeze” "fist, "throw out" the fingers. (Cat claws, soft paws (finger games). 9. Swinging the arms. * "Swinging on a swing": With a "spring" in the knees, make a good swing of the arms up, then gently lower them down . * Alternately raising one and the other hand. 10.Exercises for raising and lowering the shoulders: * Character is soft, calm and cheerful, playful. “Dunno has come” 11. Exercise for the head: * Bends forward (the bird drinks some water) * Bends to the side: (small clock) 12. Exercise for the body: * Slight bends to the side (tumblers) * Bends the body forward (crane). This course includes the study of various types of dance steps, running and jumping, the basic positions of the arms and legs in dance, the correct positioning of the body when moving, the development of an ear for music, stretching exercises, the development of turnout, working out the muscles of the legs, back and abs, as well as exercises to rebuild!

EASY DANCE MOVES FOR CHILDREN

The course is designed for working with children from 3 to 7 years old, and contains: a video of 6 parts, audio collections of 91 tracks, a teaching manual, and a certificate!

see also

• EASY DANCE MOVES FOR CHILDREN

  Basic dance movements for preschoolers “So that the dance is beautiful” Hurry up to take advantage of discounts of up to 60% on the “Info-lesson” courses SO THAT THE DANCE IS…

• DANCE MOVES FOR CHILDREN

  The ABCs of dance and dance movements for preschoolers. Author: Olga Kienko. Exercises in dance classes contribute to the development of musicality, develop...

• DANCE MOVES FOR CHILDREN 6 YEARS OLD

  Choreography class for children 5-7 years old. Rhythm with elements of choreography. Title of the work: Summary of an open lesson of the creative association “Rhythmics...

• EASY DANCES FOR CHILDREN 8 YEARS OLD VIDEO

  Children's dances. For children 7-8 years old - watch the video for free. Children aged seven or eight love to dance. But not all. After all, there are more constrained kids...

  Read also:  Summary of a lesson on spiritual and moral education in the middle group “The image of a loving mother in the icon of the Blessed Virgin Mary”
• EASY DANCE FOR CHILDREN VIDEO

  Video dance lessons for beginners: dances for adults and children. Learn to dance at home! Video dance lessons for beginners: dancing for adults and children….

vine

In front of the front, the dancer steps his right foot to the side and crosses the front to the left. Then the right leg comes out again and then the left leg comes in behind. Repetition. The vine is used in jazz dancing as well as country dancing.

1. Step to the right and shift your weight to your right leg.
2. Step to the right, behind the right foot, with the left foot.
3. Step right with your right foot.
4. Step right with your left foot, but this time just touch your toes to the floor next to your right foot.
5. Step immediately to the left with your left foot.
6. Step to the left, behind the left foot with the right foot... and continue.

Heel turn

In ballroom dancing, the heel turn involves turning onto the heel of the supporting leg while the other leg remains parallel. When the turn completes a full turn, the weight is placed on the other foot.

1. Return to your right leg, turning your toes slightly toward your body.
2. Shift your weight toward the heel of your right foot as you slide your left foot back.
3. Slide your left foot on your heel, onto your right foot and around as you rotate your body, pivoting on your right heel.
4. Rise up slightly on your foot balls as you complete your move.

To turn left, start with your right foot. To turn right, start with your left foot.

“Methodology for teaching dance to preschool children”

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION

ADDITIONAL CHILDREN'S EDUCATION

NOVOSPASSKAYA CHILDREN'S SCHOOL OF ARTS IN ULYANOVSK REGION

«Dance training for children

preschool age»

Author:

Vershinina Tatyana Veniaminovna, choreography teacher

The organic unity of music and movements is necessary and natural. Movements must reveal the content of the music and correspond to the character, form, dynamics, tempo and rhythm of the musical work. At the same time, the movements encourage conscious perception of a piece of music. And the music becomes more understandable and easier to assimilate, giving movements special expressiveness, clarity, and rhythm. It is known that both in singing and in movement it is necessary to achieve complete compliance with the music. Vivid examples of the relationship between music and movement are demonstrated by such sports as rhythmic gymnastics, figure skating, and synchronized swimming.

A significant place in the musical and rhythmic education of preschoolers is given to dancing.

To teach a child to convey the character of a musical work, its figurative content through the plasticity of movements to music - this is exactly what the work on dance is aimed at. It is known that children love to dance. By dancing they satisfy their natural need for movement. In the expressive, rhythmic movements of the dance, feelings, thoughts, moods are revealed, and the character of children is revealed.

Dance

- synthetic art. It is aimed at solving the musical-rhythmic, physical, aesthetic and mental development of children. Movements to music accustom them to collective action and help foster a sense of collectivism, friendship, camaraderie, and mutual respect.

Movement to music strengthens the child's body. The satisfaction received by the child in the process of motor actions is accompanied by significant physiological changes in his body, breathing and blood circulation improve.

Cheerful music excites the nervous system, causing increased activity in the higher parts of the brain associated with associative, intellectual and volitional processes. The activity of skeletal muscles in preschool age is important, since in a growing organism the restoration of expended energy is characterized not only by a return to the original level, but also by its excess. Therefore, as a result of dancing, energy is not wasted, but rather gained. Musical and rhythmic movements contribute to the formation of motor skills and improve posture. Systematic dance classes are very useful for the physical development of children: posture improves, body proportions improve, and muscles become stronger. Gradually, children begin to move more easily, more gracefully, and become relaxed. Children develop qualities of movement such as lightness, flight, elasticity, dexterity, speed and energy. Thanks to music, the movements of preschoolers become clearer, more expressive and beautiful.

It has been noticed that if they like the music, the children have a desire to move, it is difficult for them to sit still, they literally “splash out” their emotions. Rhythm can be “experienced.” And it is easier for children to convey their understanding of music not through words, but through movements. And this is a good prerequisite for the creative process. By acquiring knowledge and skills in the field of dance art, children begin to understand that each dance has its own content, character, and image. To convey the expressiveness of dance images, the child must remember not only the movements themselves, but also their sequence (which in itself has a positive effect on the development of memory and attention), but also mobilize imagination, observation, and creative activity.

Dance accustoms children to the norms of cultural communication. Children are taught modesty, goodwill, and friendliness. Boys begin to treat their partners with care. Dance becomes one of the means of moral education of a child.

The dances consist of simple folk and classical dance movements. They can be divided into several types:

— dancing and dancing with fixed movements,

the construction of which is determined by the structure of the musical work;

- free dances
and dances
, in which the creative abilities of the performers are most clearly manifested;

— combined dances

, including fixed movements and free improvisation;

— folk dances and dances

, built on authentic elements of folk dance;

— character dances

, performed by various characters;

— children's ballroom dancing

, including polka, gallop, waltz steps and others.

Currently, the attention of children and teachers is attracted by modern rhythms of music and new dances. But sometimes you have to deal with the fact that children, watching adults dance in everyday life, imitate the worst examples of their performance (they make faces, break, dance rudely, unmusically). This causes great concern, since it is in preschool age that the foundations of artistic and musical taste are laid.

There are two ways to work on creating children's dances. The first way is to work on lightweight versions of already existing ballroom dances for adults, accessible to children, using the same music. They preserve the dance movements for adults and its pattern, but reduce the number of figures, simplify the composition, and eliminate the most difficult elements for children to perform.

Another way is to create a new children's dance based on music that children like and that is suitable in terms of musical structure and form. Such dances include program dance skills required for preschoolers (springs, hops, galloping steps, side steps, rhythmic claps, etc.), many of which are performed in a new modern manner. At the same time, new elements are introduced.

When composing new dances for preschool children, it is necessary to be guided by a number of artistic and pedagogical requirements. Each children's dance should have a bright emotional content and a unique flavor. Dancing should be accessible to children and meet their technical capabilities. Otherwise, training will turn into a tedious exercise and will lose its educational value.

Children's dance should be very concentrated and compact. It is not recommended to include a large number of different figures - this tires children. It is necessary to take into account the psychophysical characteristics of preschool children and carefully limit physical activity, which must be controlled. Namely:

- monitor children’s posture during classes and the nature of motor tasks;

— determine the dosage of physical activity, taking into account the doctor’s wishes;

- pay attention to children’s complaints during dance classes;

— in conversations with teachers and parents, find out all the data about the child’s health and his individual characteristics.

Dance for children should have a clear pattern of movements. It is necessary to remember to maintain the accuracy and completeness of the dance form, only in this case the dance will be convenient for repeated repetition. An organic relationship between movements and music is necessary, taking into account not only the general nature of the music, but also the basic means of musical expressiveness (dynamic, tempo, metrhythmic, harmonic features, register coloring, form of construction of a given work). The diversity of the children's dance repertoire (in content, mood) is also important. An interesting moment for children may be a change of dance partners, an element of play, jokes, unusual attributes, and costumes.

To interest children in dance, the teacher must give a general description of the dance and note its features. Listening to dance music, understanding its content and features, and analyzing its structure (individual parts, musical phrases) is of great importance. Children can be asked to clap accents, rhythmic patterns, the beginning of a new part, a musical phrase, etc. In the process of learning a dance, the teacher has to repeatedly return to the content and features of the music he listened to, helping children find shades of movement that reflect the nature of the music. It is necessary to introduce children to the world of the music to which they will dance.

The primary role is played by the teacher’s correct, clear, expressive display of movements. A good show makes children want to quickly learn how to dance just as beautifully. The teacher must specially prepare for this show, performing individual dance elements in front of a mirror. It is important to clearly show all the nuances of dance movements. The demonstration may be accompanied by verbal explanations and instructions. This will help make the learning process more conscious and accessible.

The teacher analyzes in advance what mistakes children may encounter when mastering a particular movement, finds the exact words to explain individual details, thinks through figurative comparisons, and clear, brief instructions.

When working on dance, preparatory dance exercises are of great importance.

It is recommended to first learn individual dance elements with children, which, as they are mastered, can be combined into dance figures. Children can stand scattered or in a general circle, in this case they can clearly see the teacher’s demonstration (no one stands with their back or side to him), and the teacher, in turn, has the opportunity to control the quality of movements. If children stand scattered, the teacher’s display should be mirrored.

More often it is necessary to show children who perform this or that movement well. There are cases when practice excludes any preliminary work on the dance or elements. The dance is learned entirely, the children perform the movements uncertainly, often make mistakes, and receive many comments from the teacher. All this reduces interest in dance, the training process becomes longer and becomes ineffective. Without mastering the technique of movement, it is impossible to achieve its expressiveness.

Musical accompaniment is of paramount importance. Music should be chosen in accordance with the requirements of good taste. As for its criteria (in relation to the musical design of dance classes), they are determined by such concepts as clarity, intelligibility, and completeness of the melody. When choosing a piece of music, specialists must thoroughly know it as a whole. Only then can the source material be available, varying it in different combinations for different pedagogical purposes.

Working to soundtracks of musical works gives the teacher the opportunity to observe each child, correct movements directly during the performance process, and captivate children with his own performance. And, of course, it’s nice to see the results of such work: clarity, synchronicity, rhythm, expressiveness, imagery - all these qualities are achieved with passion, and most importantly, by all children. Bright, interesting music makes you want to move, dance, and allows every child to open up and show what he is capable of. A certain level of development of children's musical abilities, and first of all, a musical-rhythmic sense, as well as good quality of their motor preparation is assumed. Of course, it is necessary to take into account the main areas of study in each age group.

Age characteristics of preschoolers

In children of the younger group

coordination of movements is insufficiently developed. They waddle, drag their legs, lower their heads, run and jump heavily. A characteristic feature of this age is excitement of the nervous system and insufficient inhibition, so children have a slow reaction to musical signals. Despite this, kids develop a strong interest in dancing. By strengthening it, children are taught to listen to music and move in accordance with it. Music for dancing should be bright and expressive in form, which helps to perform better dance movements. In the younger group, special attention should be paid to children’s ability to distinguish between the beginning and end of a piece of music and, in accordance with this, to begin and end movements.

When learning a dance, a certain sequence should be followed. First, the children listen to the music, then the teacher’s explanations about its character, the form of the piece, etc. You can show the dance together with a teacher or a previously prepared child. Then the teacher dances with the children, carefully watching them and helping them, for example, find their right leg or arm, spin in the right direction, etc.

For children of the younger group, it is necessary to select dances, the performance of which will contribute to the development of the following dance skills:

- walk and run rhythmically, conveying different tempos, marking the end and beginning of each part;

— perform movements with attributes (dolls, plumes, etc.);

- alternately stamp your feet, spin separately and in pairs, clap your hands, place your feet alternately on the heel, etc.

Indicators of children's development level:

— interest in the dance process of moving to music;

— expressiveness of movements;

- the ability to convey in plastic the character of music, a dance image.

In children of the middle group

As a result of training, education and the acquisition of direct experience, a large stock of specific ideas is accumulated and good posture is developed. They walk calmer, more evenly, run rhythmically and quite easily, can make simple movements with attributes, perform dance movements more easily and confidently, and more consciously change movements in accordance with the nature of the music. All this creates the prerequisites for successful further work on the development of dance skills. Dances for children have a more complex structure; dance movements reflect changes in the nature of the music in more detail.

Children in the middle group continue to be taught:

- consciously begin and end movements simultaneously with the beginning and end of the music;

- change the nature of movements in accordance with three different parts of a musical work;

— cultivate observation, initiative and independence;

- develop musical memory, sense of rhythm, creative imagination;

- move easily and freely in pairs;

- accurately perform elements of folk dances that are accessible by coordination: alternately placing the foot on the heel, “throwing out” the legs, half-squats, etc.

Indicators of children's development level:

— expressive and direct performance of dance movements to music;

— the ability to accurately coordinate movements with the basic means of musical expression;

- ability to memorize and independently perform compositions;

- use of various movements in improvisation to music.

A characteristic feature of children of the older group

is their desire for greater independence in dancing, for precision in performing movements, and interest in performance. Therefore, in the older group, dance training is more focused, for example, learning a specific movement necessary in dance. Children of this age are able to show creative initiative and add their own addition to the dance. The ability to display the emotional and expressive nature of music is improved, as children perceive a piece of music more deeply and consciously, and their coordination of movements is better developed. The musical material and children's movements become more complex. Thus, preschoolers learn to mark with movements the form of a musical work (two- and three-part, variation), as well as musical sentences. Work continues on teaching children to perceive tempo changes (slowing down, speeding up). Children's perception of register changes deepens. Of particular importance is the independent activity and creative manifestations of children (preschoolers independently rearrange themselves into large circles and small circles, maintaining the same distance, into columns and ranks). When working on the development of musical and rhythmic movements, great attention should be paid to developing in children the ability to move freely, naturally, easily and clearly. In dancing, older preschoolers perform more complex dance movements. We need to ensure that children perform movements rhythmically, expressively, beautifully, so that they can stop accurately when the music ends. Children are introduced to various formations and movements:

- move easily, gracefully, expressively, changing the direction of movement;

- move in accordance with the nature of the various variations;

— clearly perform rhythmic patterns, various elements of folk and ballroom dance;

- mark the strong beats of the bar.

By teaching preschoolers to deeply perceive musical works, it is possible to achieve an organic fusion of movements with music. However, it should be emphasized that successful mastery of the assigned tasks is possible only if systematic work is carried out with children, the result of which is that all children, and not just the most capable, master the material. And for this it is necessary to constantly check the children and, if necessary, work with some of them individually or in small groups.

Indicators of children's development level:

— expressive performance of dance movements to music;

- the ability to independently convey the basic means of musical expression in movements;

— mastering a large volume of different compositions;

- ability to improvise using a variety of movements;

— accuracy and correctness of execution of movements in dance.

Teaching preschool

motor skills contributes to the further accumulation of ideas and impressions, their systematization and generalization. At this age, the ability to move expressively and naturally in accordance with the varied nature of music (cheerful, cheerful, active, etc.) is consolidated. While completing the task, children learn to differentiate the nature of movements - when walking, convey either the solemn mood of a festive reorganization, or the calm nature of a folk dance, etc. At this age, children have almost complete control over their body and are able to coordinate movements. To interest them in rhythmic lessons, it is necessary to select more complex movements and formations designed for rapid changes of orientation. Musical works for dances are much more complex in form and means of musical expression. Children master dance movements:

- light spring running (with “overwhelm”), smooth dance step, jumps (light and strong), variable step, half-squats with the foot on the heel, polka step, running with high leg lifts, etc.

In the learning process, children gain a lot of experience, expand their knowledge, and learn many dance terms.

You need to think through the details of the presentation of the new dance. It should be taken into account that at this age children are already free to perform verbal tasks. It is quite possible that there is a different sequence of introducing a new dance: first, children listen to the music, determine its character and parts of the work, and after that the teacher explains the movements or shows them. In simple dances, all movements are learned at once, and in more complex ones, gradually. When the movements are mastered, the teacher directs the children’s attention to the accuracy and expressiveness of the performance. In simple dances, sometimes you can limit yourself to explanation or indication without demonstration.

Work continues on the beauty of movements, on the clarity and expressiveness of dance performances. Due attention is paid to fostering a culture of behavior in children. Children of six or seven years old should be conscious of their task and perform it as best as possible.

Indicators of children's development level:

— expressiveness, ease and accuracy of dance movements;

- the ability to independently perform a dance, conveying the means of musical expression in movements;

- mastering a large volume of different compositions, different in style and character;

— mastering complex types of movements;

- ability to improvise using a variety of dance movements.

The teacher implements all these tasks in the process of creative communication with children in various forms of work: in the classroom, in free time, when preparing and holding holidays and entertainment, in individual work with the child, etc.

Methodical techniques

For each dance, the teacher chooses the most effective way of explanation and teaching. Interesting teaching techniques make children want to dance.

Display method.

By showing children movements, the teacher gives them the opportunity to see the artistic embodiment of the image. Sometimes, mainly at the beginning of work, a specialist can perform it together with children. This captivates children and increases the desire to quickly master certain motor skills.

Verbal method.

Spoken speech is the link between movements and music. Verbal explanations should be brief, precise, figurative and specific. It is also necessary to pay attention to intonation and the force with which the word is spoken.

Improvisational method.

When learning to dance, children should gradually be led to free, spontaneous movement, as dictated by the music. When using this method, no preliminary listening to music is necessary. Children should try to find the right movements themselves. It is also not recommended to tell them the type of movement and mark those who are successful. But at the same time, we must carefully monitor that children do not invent movements that are not related to music.

Illustrative visualization method.

A full-fledged activity cannot take place without a story about dances, their history and diversity, without introducing reproductions, book illustrations, photographs and videos.

Game method.

The essence of the play method is that the teacher selects toys for children that help in learning. Toys (attributes) decorate the dance and have a great influence on its performance. Captivated by the toy, children stop fixating their attention on the technical features of the dance. Transformation games will help teach children to perform expressive movements and develop their imagination and creativity.

Concentric method.

This method consists in the fact that the teacher, as the children master certain movements and dance compositions, returns to what they have learned, but can now offer a more complicated version.

The pedagogical skill of the teacher, his ability to use the entire arsenal of methods and techniques for teaching dance, and his sensitive attitude towards children will help turn this process into an interesting activity for children. Modern children's dance in the hands of a thoughtful, creative specialist can be an excellent educational tool that has an ennobling effect on children.

Rond

In ballet, roda or rond de jambe, consists of a pointed toe on a straight leg (or bent at the knee), drawing a semicircle on the floor or in the air. This can also be found in ballroom dancing.

1. Start in the first position, pointing your toes and touching your toes. Step your leg forward with your knees straight and your leg pointing, not bent. Your weight is all on your supporting leg.
2. Trace a semicircle on the floor or in the air with your legs and pointed leg - front, side, back - and return to the first position. This is the rond de jambe from the front.
3. For the Back Rond, simply begin the movement by extending your leg to your back and bringing it to the front and first position.

Literature

1. « Ballroom dance XVI - XIX centuries.
   ". Ivanovsky N.P. Edited by Yu.I. Slonimsky. Moscow-Leningrad, ed. Art, 1948
2. " Ballroom dancing"
   Sarikojumu dejas. Lasman Milda. Publishing house Latvias Valsts Izdevnieciba, Riga (Riga), 1954
3. " Dance"
   Textbook for theater universities (on stage dance). Vasilyeva E.D. M., Art, 1968
4. " Rhythm at school, third lesson of physical education."
   Educational and methodological manual. J.E. Firileva, A.I. Ryabchikov, O.V. Zagryadskaya, Rostov-on-Don “Phoenix”, 2014

swing

You and your partner are a dream team for ballroom dancing. The simplest turning step is part of your arsenal of smooth moves - use an open ball hold slightly apart from each other to show off your footwork. The lead starts on one leg, the follower mirrors the movements starting from the opposite leg.

1. Keeping your weight on your right leg, lift your left leg and lower it down behind your right leg. Immediately shift your weight forward onto your right leg, rocking.
2. Then step forward on the left, feet now together.
3. Side step, starting with the left foot: side, step (right leg moves to left leg), step (weight now on left leg).
4. Step right: step by step.
5. Repeat the sequence.

Dance steps and movements

30.09.2015

Dance steps and movements contribute to the development of coordination and expressiveness of movements, sense of rhythm and musical ear of pupils, and are an excellent means of developing correct posture, physical development and physical training of children of any age.

1. Toe step (gymnastic step). I.P. – basic stance, hands on the belt. 1 – soft step forward with the right foot, placing the foot first on the toe, then on the heel; 2 – repeat count 1 on the left foot. 2. Half squats straight and with a turn to the left, to the right. I.P. – stand with heels together, toes apart. 1 – bend your knees slightly and squat without spreading your knees; 2 – I.P. You can perform different movements with your hands: hands on your belt, to the sides, swing back and forth, one hand up, the other down. 3. Half squat on one leg, the other forward on the heel. I.P. – stand with your heels together, toes apart, hands on your belt. 1 – slightly bend your right leg, transfer your body weight to it and place your left leg on your toe; 2 – I.P. 3 - slightly bend your left leg, transfer your body weight to it and place your right leg on your toe; 4 – I.P. 4. Side step. I.P. – stand with your feet together, hands on your belt. Step with your right (left) foot to the side, placing the other one. 5. Soft high step from the toe. I.P. – stand, legs in the third dance position, hands on the belt. 1 – high step forward with the right foot from the toe; 2 – repeat count 1s with the left leg. 6. Canter step to the side and forward. I.P. – basic stance, legs together, arms freely along the body. “and” - raise the right leg in the direction of the gallop, for example to the side; 1- lower your right into a half squat on both legs and push up, bringing your legs together with a slight movement to the right; “and” - land on your left foot, right to the side; 2 – repeat the movements of the count 1. 7. Alternate spring movement of the legs in a stance with legs apart. I.P. – stand with legs apart. Alternately bending and straightening your knees, you can perform different movements with your hands. 8. Leg to the side on the heel with a tilt to the side, arms to the sides. I.P. – stand, heels together, toes apart, hands on the belt. 1 – place your right foot on the heel, spread your arms to the sides, tilt your torso to the right; 2 – I.P. 3 - place your left foot on the heel, spread your arms to the sides, tilt your torso to the left; 4 – I.P. 9. Step with a jump. I.P. – main stand. 1 – step from the left foot with a jump on it, bend the right foot forward; move your left hand forward freely, your right hand back and down; 2 – repeat the movements of count 1 on the right leg. 10. Cross step to the side. I.P. – stand with your feet together, arms free. 1 – move your right leg to the right, 2 – bring your left leg forward behind your right. Repeat the count from 1. The same can be done to the left side, making free movements with your hands. 11. “Picking” I.P. – stand, hands on the belt. 1 – small jump on the left, bend the right one to the side on the toe, knee inward, head to the right. 2 - a small jump on the left, right - to the side on the heel, with a half-turn of the body to the right, head straight. 3-4 – repeat the movements of the count 1-2 on the other leg. Between the movements of one leg and then the other, you can perform a stomp (three hits on the floor, standing on slightly bent legs). 12. Polka step. I.P. – stand – legs in the third dance position (the heel of the right foot is placed in the middle of the left foot), hands on the belt. “and” - jump on the left leg, the right one forward and downwards. 1 – sliding forward gallop step from the right leg. 2 – step from the right foot, left on the back of the toe. “and” - 3-4 – repeat the movements of the count “and” - 1-2 with the left leg. 13. Basic movements of the “Twist” dance. I.P. – stand with your feet together, arms half-bent. 1 – lifting your heels off the floor, half squat, move your knees to the left: bend your left arm forward, bend your right arm back; 2 – accept I.P., change the position of the hands. The twist can be performed with your legs together and apart, moving your knees to the right or left, standing on one leg, the other bending and unbending, or remaining on the floor.

Based on materials from the manual by Zh.E. Firilyova, E.G. Saykina. "Fitness dance."

Things to remember

Before learning any actual dance steps, take preparation steps to ensure your success:

• Warm up your body by stretching. The simplest steps can cause muscle sores and injuries in a body not accustomed to the normal practice of dance.
• Learn your moves in a class taught by a professional dance instructor. This will reduce the risk of injury and allow you to learn the steps correctly.
• If a studio class is not an option, use an instructional DVD or online video that clearly explains what to do.
• Make sure your rehearsal space is free of heavy or breakable objects, giving you plenty of room to move around freely.
• Be patient with yourself as you learn. Even simple dance steps take time.

Methodological development “Rhythmic-dance complex in choreography class”

However, cognitive processes during rhythm classes are activated if the child can focus on the features of musical means of expression. The more complex and voluminous a piece of music is, the more movements are used, the more intensely auditory attention develops. It, in turn, contributes to the development of musical memory, which is based on the auditory and motor analyzers.

While performing movements to the music, students mentally imagine this or that image. It should be noted that each time the child reproduces the musical-game image in his own way and in new, unusual connections, combining dance elements, characteristic features of the character, modifying them into new, unfamiliar movements, conveying not only the appearance and character of the characters, but also the attitude towards him. This is how creative imagination is born.

Thus, musical and rhythmic activity has a beneficial effect not only on the physical, but also on the psychological state of students. Various creative tasks and games used in classes awaken interest and desire to study, form positive motivation for classes, and help to reveal the child’s creative potential.

Music as one of the main components

rhythmic and dance complex

Music is one of the powerful means of aesthetic education of children, reproducing the reality around us in sound images. The use of music in rhythm classes helps create correct ideas about the nature of movements, develops expressiveness, accuracy and individuality in the manner of performing exercises. Communication with music contributes to the musical and aesthetic development of the child, develops the foundations of his musicality (musicality is understood as the child’s ability to perceive certain content in music), and musical activity has a positive impact on the overall development of the child.

The influence of music has a positive effect on the emotional state of children, enabling them to gain general aesthetic, moral and physical development. It concentrates attention, memory, perception, supports performance, enhancing the effect of the exercises performed and improves the pedagogical process.

Music evokes a motor reaction in any person. Often this reaction remains hidden, expressed only in a change in muscle tone. The teacher needs to create conditions for the natural identification of motor reactions in the movement of the whole body. This develops students’ creative activity, imagination, ability to listen, perceive, evaluate their movements and musical accompaniment. The success of a teacher’s work in this direction will be determined not by the number of dance, rhythmic exercises, musical games and dances completed, but by the children’s ability to experience, think, remember and evaluate the culture of their movements. You should always pay attention to the facial expressions of moving children, since they clearly show what dance movements with musical accompaniment give to children.