Choreography program for cadets. “Basics of dance (cadets). Special conditions

20.06.2020

Choreography in the Victoria Cadet Corps as a means of harmonizing the personal development of students

Especially vivid examples of behavior and relationships are provided to us by everyday dances of different eras. Each historical era has its own everyday dances. The style of everyday choreography is largely determined by the living conditions of people, the morals and etiquette of society. Everyday dance provides an opportunity to learn and “try on” the culture of relationships, rules of behavior, and moral norms of various strata of society of a particular era.

Even in the era of Catherine II, special attention was paid to the development of music and dance in cadet corps. In such an atmosphere, the “noble youth” - the future light of the Russian officer corps - was brought up and trained. In the 19th century, ballroom dance in Russia occupied a strong place in the education program: teaching was conducted in all major educational institutions, the Russian school of ballroom dance was finally formed and the pedagogical principles of Russian teachers were approved

Ballroom dance - one of the means of aesthetic education and nurturing creativity in a person. Like any art, ballroom dancing can bring deep aesthetic satisfaction.

. Purpose classes is the formation of artistic, aesthetic, creative, performing abilities, introducing students to Russian cultural traditions and achievements of global culture

Tasks:

1 . to give children an idea of the general patterns of reflection of reality in choreographic art, specifically expressed in the connection of forms and lines of movement with the life content, meaning, feeling and mood of music. Knowing the general things, children themselves will be able to understand the dance material that may be encountered in their life practice;

2 . use specific means of the art of dance to harmonize the development of students, expand the scope of cultural and historical education of children: deepen and expand, through the means of historical and everyday dance, the cognitive capabilities of students in the field of history, geography, literature, folklore;

3 . use the ethical features of dance to cultivate morality, discipline, a sense of duty, collectivism, and organization; teach dance etiquette and develop the ability to transfer the culture of behavior and communication in dance to interpersonal communication in everyday life;

4 . increase the period of physical activity in the educational process, develop the need for physical activity as the basis of a healthy lifestyle.

The pedagogical process is structured in such a way that students, while acquiring knowledge, mastering the skills and abilities of dance activities, simultaneously form a worldview. Dance classes contribute to the aesthetic education of children, have an impact on physical development and contribute to the growth of their general culture.

For several years now, the dance ensemble “In the Waltz Whirlwind”, of which I am the leader, has been successfully developing in the Victoria cadet corps. I have developed a school program for choreography “Fundamentals of Dance Art” in the additional education system of the Victoria cadet corps.

In the process of work, from the whole variety of practical material offered by different genres and directions of choreographic art, movements of classical, folk, modern and historical everyday dances were highlighted, which most influence the diversified development of the individual and are accessible to children who do not have choreographic abilities.

The basis of the program was the study of examples of historical and everyday choreography. Each dance (“Polonaise”, “Mazurka”, “Polka”, “Figured Waltz”, “Pavane”, “Russian Lyrical”, etc.) included in the program introduces students to the history and geography of its origin, way of life and customs , the character and temperament of the people who invented it. Samples of historical and everyday dance expand the knowledge gained in history lessons with information about the history of costume and hairstyle, etiquette, and the relationship between men and women.

The dance ensemble “In the Waltz Whirlwind” is a regular participant in all school events, various holidays, parent meetings: “Mother’s Day”, “Cadet Day”, “Defenders of the Fatherland Day”, “Open Doors Day”, etc. My students regularly take part in city creative competitions, become winners and diploma winners (city).

The specificity of choreographic art is determined by its multifaceted impact on a person, which is due to the very nature of dance as a synthetic art form. Influencing the development of the emotional sphere of the individual, improving the human body physically, educating spiritually through music, choreography helps to gain confidence in one’s own abilities, gives impetus to self-improvement, to constant development. At various stages of its development, humanity has constantly turned to dance as a universal means of educating the body and soul of a person - a means of harmonizing the education of the individual.

Working curriculum

in the subject “Rhythmics and Choreography” in cadet classes

WORK PROGRAM



Explanatory note………………………………………………………………3 pages.
Calendar and thematic planning. …………………………………………5 pp.

Requirements for the level of training of students…………………...……………...8 p.
Schedule of the practical part of the working curriculum…….…………………..9 p. Effectiveness of mastering program material……………………………..9 p. List of literature for teachers ……………………………………………...……..10 pp. Scroll WEB sites for additional education on the subject………….10 p.

I . EXPLANATORY NOTE

This program is designed for five years of study. Based on the curriculum, 34 hours are allotted for the subject “Rhythm and Choreography”. According to the schedule, classes are held once a week for 45 minutes in grades 1 and 5.

The “Rhythmics and Choreography” program is designed to teach the basics of choreographic art from the first to the fifth grades in the classroom mode. The program is the basis of the lessons. It involves systematic and consistent training. However, the teacher, adhering to the content of the program, can be creative in conducting classes. This depends on the level of general and musical development of children, the skill of the teacher, and working conditions.

Rhythm lessons constantly alternate between load and rest, tension and relaxation. Students gradually get used to the increase in tension and workload, which then has a beneficial effect on other lessons.

Rhythm classes are closely related to learning in physical education and music lessons, complementing each other. After all, it is rhythm lessons, along with other subjects, that contribute to the overall diversified development of schoolchildren and correct emotional and volitional maturity. Children develop a sense of rhythm, an ear for music and memory. During the lessons, children improve their motor skills, their spatial orientation develops, their posture improves, and the clarity and precision of their movements is formed.

Rhythm has a positive effect on the mental development of children: after all, each lesson must be correctly understood, comprehended, correctly performed movements, involved in the activity on time, it is necessary to comprehend the correspondence of the chosen movements to the nature of the music.

These classes create favorable conditions for the development of the creative imagination of schoolchildren. Their impact on the formation of voluntary attention and memory development is also undeniable. Children's need for movement turns into orderly and meaningful activity. Rhythm lessons have an organizing and disciplining effect on children and help relieve excessive excitability and nervousness.

Rhythm lessons generally increase the creative activity and imagination of schoolchildren and encourage them to participate in the collective activities of the class. Gradually, students overcome their inhibitions, their awareness of responsibility for their actions to their comrades increases, and they acquire the ability to perform stage performances to music. Using elements of costume and scenery. It is convenient to use proven stage musical performances when holding children's matinees. I would especially like to note the value of folk dances. They introduce children to folk culture. All folk dances are intended to be performed together and improve children’s communication skills with each other. In them, children learn to be attentive to their partner and find a common rhythm of movement with him.

The program from 1 to 5 years of study contains the following sections:The program includes elements of historical and everyday dance, dance material of the most significant genres choreography: elements of classical, folk, modern dance, rhythm, ballroom dancing, elements of musical literacy,

High step, soft, springy step, toe step, stopping steps, walking on half toes, walking with high knees. Light hops, jumps, gallop. Diagonal turns, twists, concentration exercises, working in pairs, learning the skills of noble, polite address to a partner. Introduction of dance elements for the 5th grade with a cadet bias. Plastic and figures of a slow waltz. Waltz "promenade". Polonaise's steps and figures. Scheme and figures of the figured waltz. Elements of modern ballroom dancing. Jive steps. Cha-cha-cha steps.” Scheme and figures of the “Hussar Polka”. Elements of Rock and Roll.

The purpose and objectives of the educational program in rhythm and choreography.

Main target program - to continue to develop the aesthetic abilities of the younger generation through choreography. Introducing children to all types of dance art: from historical and everyday dance to modern dance, from children's dance to ballet performance.

To achieve this goal, it is necessary to solve the following tasks.

Educational and musical tasks:

· rely in teaching on the basic principles of pedagogy;

· continue to teach children to think, listen and hear the teacher, and be able to correct inaccuracies in performance;

· continue to instill in children a love of dance, to develop their dancing abilities (musical - motor, artistic - creative).

· to form in gifted children a complex of knowledge, skills andskills that allow further development of professional educational programs in the field of choreographic art;

Development of the ability to perceive the development of musical images, convey them in movements, coordinating these movements with the nature of the music, means of musical expressiveness,
development of general physical fitness (strength, endurance, coordination, flexibility);

· development of students’ communicative qualities;

· instilling in cadets an aesthetic, emotionally conscious attitude to music, developing musicality, a sense of rhythm, and inner hearing

· development of performing abilities, motor activity, coordination of movements, orientation in space, musicality, expressiveness in the execution of movements, the ability to independently evaluate a choreographic work;

· nurturing discipline, independence, endurance, creative activity, a culture of communication and respect for each other in the process of joint activities, instilling artistic taste.

Raising an organized, harmoniously developed personality;
Development of artistry, the ability to be liberated;
Give ideas about the storyline of the dance, about the correct combination of movements;
To give the basics of historical, everyday, ballroom dances.

Developmental tasks:

· continue to develop a sense of rhythm, emotional responsiveness to music;

· practicing coordination of movements and speed of reaction acquired in the 5th year of study;

· enrich dance expressiveness, coordination of movements, spatial orientation;

· develop imagination and the ability to improvise;

· develop artistry, the ability to perform ballroom and historical dances;

· pay special attention to instilling in cadets a general culture, aesthetic education, physical endurance and stamina.

Wellness:

· strengthening of various muscle groups, development of all body systems (respiratory, cardiovascular, etc.);

· prevention of poor posture and curvature of the spine, education of correct posture;

Formation of beautiful posture, expressiveness, plasticity of movements and gestures in dances, games, various dance combinations;

· formation of the correct arch of the foot, prevention of flat feet.

Educational tasks:

continue to cultivate artistic taste, interest in the dance art of different peoples, allowing them to respect and accept spiritual and cultural values;

· continue to work to unite the team, build relationships within it on the basis of mutual assistance and co-creation;

· take part in the school's concert life

education and development of personal qualities among cadets;
formation and development of a sense of loyalty to civic and professional duty, discipline, and a conscientious attitude to study.

Description of value guidelines for the content of the academic subject

The content of the program is aimed at educating creative, competent and successful citizens of Russia, capable of active self-realization in personal, social and professional activities. In the process of mastering the program, students’ health improves, general and specific skills, and methods of cognitive and subject activity are formed.

II CALENDAR - THEMATIC

PLANNING

in the subject of rhythm and choreography

Class 5

Teacher: Karamalikova Svetlana Ilyinichna

Number of hours: total 34 hours; per week 1 hour;

Thematic planning

№	Lesson topic	Number of hours	the date of the
№	Lesson topic	Number of hours	according to plan	actually
1 quarter
	Introductory lesson. Safety briefing.
	Waltz: basic step.
	Balance (learning waltz movements). Learning movements for the dance “Figured Waltz”.
	Right turn of the waltz. Learning movements for the dance “Figured Waltz”.
	Waltz track.
	Learning movements for the dance “Figured Waltz”.
	Left turn of the waltz. Dance performance "Figured Waltz" *Elements of folk exercise:* *demi-* plie *And* *demi-* gran -
	*For one hand. Performance of the dance “Figured Waltz”.* *battement* tendu

	with contraction of the foot, with the transfer of the foot to the heel - toe, on an outstretched leg, and with a half-squat. By one hand. Performance of the dance “Figured Waltz”.
	*For one hand. Performance of the dance “Figured Waltz”.* *Test lesson. No. 1* gete *Elements of folk exercise:* *initial 3rd position on an extended leg and -* plie. One hand
	*Learning movements for New Year's dances.* *For one hand. Performance of the dance “Figured Waltz”.* *Test lesson. No. 1* grand
	*on the 3rd position with a cross. By one hand. Learning moves for New Year's dances* passe -
	preparation for the rope. With hand work. New Year's dance performance.
	"Rope." With hand work. New Year's dance performance.
	Consolidation of the studied material.
	Test lesson. No. 2
	The history of the "Waltz".
	"Viennese Waltz". Musical size ¾.
	Right change of waltz in pairs Learning the basic movement for the dance “Padegras”
	Right change of waltz in pairs Learning the basic movement for the dance “Viennese Waltz”
	Left change of waltz in pairs. Learning the basic movement for the dance “Viennese Waltz”
	Left change of waltz in pairs Learning the main movement for the dance “Viennese Waltz”
	Balance. A combination of balance with a waltz turn to the side in the middle of the hall. Combination of balance with a waltz turn to the side in a pair in a circle
	manner of performance, character.
	Learning the basic movement for the dance “Viennese Waltz”
	Promenade, turn at hand. Learning the basic movement for the dance “Viennese Waltz”
	Drawing. (drawings for the dance Learning the basic movement for the dance “Viennese Waltz”).

	Performance of the dance “Viennese Waltz”
	Reinforcing the material learned
	Test lesson. No. 3
	Learning the movements for the “Hussar Polka” dance. Dance performance
	Learning the movements for the “Hussar Polka” dance. Dance performance
	"Rope." With hand work. New Year's dance performance.
	Learning the movements for the “Hussar Polka” dance.

Dance performance.

Learning the movements for the “Hussar Polka” dance. Dance performance.

Public lesson.

3 Contents of the curriculum
The program is designed taking into account the implementation of interdisciplinary connections in sections:
maintain the correct distance in a column in pairs;
independently determine the desired direction of movement according to the teacher’s verbal instructions, sound and musical signals;
maintain the tempo of movements, paying attention to the music;
perform flexibility and plasticity exercises in a certain rhythm and tempo;
easily, naturally and naturally perform all game and dance movements;
feel the change of parts of a musical work;
perform dance moves with simultaneous hand work (alternating step forward, backward, half-toe step) at a moderate and fast pace;
rearrange from one figure to another figure, know the names of these figures;
perform movements in combination;
be able to move and determine the character of the music;
be able to improvise on a topic given by the teacher.

Section “Rhythmics, elements of musical literacy” includes rhythmic exercises, musical games, musical-rhythmic listening tasks,artistic and expressive performance of music, listening and analysis of dance music . The exercises in this section continue to develop and enrich musicality: they form musical perception, give an idea of the expressive means of music, develop a sense of rhythm, the ability to navigate marching and dance music, determine its character, meter rhythm, structure and the ability to coordinate music with movement.

Using elements of rhythm and choreography contribute to the harmonious development of the body, technical skill, culture of movement, cultivate posture, develop flexibility and coordination of movements, help to learn the rules of choreography.

Section "Elements of classical, folk, pop and ballroom dance."

The exercise exercises included in the section contribute to the formation of correct posture, help correct physical deficiencies, teach the correct positioning of the body, the development of coordination of movements, and teach how to breathe correctly when performing exercises and dances. Exercises in folk stage dance are studied in a small volume: they include training exercises, stage movements in the middle of the hall and diagonally, and dance compositions.

BALL DANCING are an integral part of modern choreography, therefore they are included in the “rhythm - choreography” program for cadet students.

Ballroom dancing has a huge positive impact on the physical and emotional development of a child. Regular physical exercise that strengthens the child's various muscles is especially important because it concerns the growth process. Ballroom dancing also trains students’ memory, will help develop a child’s sense of dance, plasticity, coordination of movement and will liberate him, which will allow him to avoid many complexes in the future.

Ballroom dancing instills culture and aesthetic taste; from the first performances, the teacher teaches children to dress beautifully and be neat.

HISTORICAL AND EVERYDAY DANCE is a processing of folk dance material and reflects the characteristics of a certain era or environment. Historical and everyday dance develops important posture, slow measured gait, as well as nobility. Knowledge of historical and everyday dances is of great importance in the development of cadets and future officers and at the same time is a means of expanding the cognitive capabilities of students.

Section “Sketches and production work” includes folk, pop, ballroom, historical, everyday and children's story dances in educational, staged and stage versions.

4 Requirements for the level of training of students

Personal, meta-subject and subject-specific results of mastering extracurricular activities.

· personal results -the formation of self-esteem, including awareness of one’s capabilities, the ability to adequately judge the reasons for one’s success/failure; the ability to see one’s strengths and weaknesses, to respect oneself and believe in success, to express oneself as a bright individual during the training period, to create a unique stage image. Liberating on stage, possessing natural artistry, a child can mobile control his emotions, transform himself, which contributes to the development of the soul, the spiritual essence of a person.

· meta-subject results –the ability to control and evaluate one’s actions, make adjustments to their implementation based on assessment and taking into account the nature of errors, show initiative and independence in learning ; take into account different opinions and interests and justify your own position;allow for the possibility that people have different points of view, including those that do not coincide with one’s own, and focus on the partner’s position in communication and interaction; take into account different opinions and strive to coordinate different positions in cooperation; vision of the beauty of movements, identification and justification of aesthetic features in human movements and movements; managing emotions; technically correct performance of motor actions;

· substantive results - performing rhythmic combinations at a high level, developing musicality (forming musical perception, ideas about the expressive means of music), developing a sense of rhythm, the ability to characterize a piece of music, coordinate music and movement.

V. SCHEDULE OF IMPLEMENTATION OF THE PRACTICAL PART OF THE PROGRAM The most important link in the educational process is the recording, testing and assessment of students’ knowledge, skills and abilities. To track these results, diagnostics are provided, which are carried out in 2 stages:

incoming control;
final control.

Purpose of control:

incoming - diagnostics of the initial level of choreographic abilities of students;
final - determining the level of mastery of program material.

It is necessary to pay attention to the external stage characteristics of the student, as well as to check their professional physical characteristics, the condition of the feet, coordination of movements, musical and rhythmic coordination. Using this method, the levels of students' preparedness are determined.

The results of students’ work can be seen at open lessons, a reporting concert, etc.

8.G.Vlasenko. Dances of the peoples of the Volga region.

The program is designed for 2 years of study.

Classes 2 times a week for 1 academic hour. Total per year – 68 hours.

The most suitable form for implementing this program is the shape of a circle.

The number of participants is no more than 20 people.

The program implementation process involves 2 stages of training.

Stage I – grades 5-6 – basic level.

Stage II – grades 7-9 – basic level

The program provides a combination of both group and individual classes, meetings with interesting people, and, if possible, visits to the House of Culture, museums and other cultural institutions; joint work of the teacher, parents and children.

The main form of educational work with children: musical training classes, during which systematic, purposeful and comprehensive education and formation of the musical and dance abilities of each child are carried out.

Classes include alternating different types of activities: listening to music, training exercises, dance elements and movements. Conversations held in classes are appropriate to the age and level of development of the children. In these classes, children receive information about the art of choreography, its history of development and traditions.

The educational material for classes is extensive, its main content consists of exercises for the development of motor qualities and exercises of a training nature. This is due to the fact that one of the tasks of the work is the development and improvement of dancing abilities, abilities and skills.

The theoretical part of each section contains a list of knowledge acquired during the learning process: knowledge of musical literacy and the expressive language of dance, knowledge of the characteristic features and history of dance of different eras and peoples, knowledge of musical etiquette. The practical part includes a list of skills: exercises, movements, dances.

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Municipal educational institution

secondary school No. 4

"Choreography for cadet classes"

developed in 2012

for students in grades 5-9 (from 10 to 15 years old)

Implementation period – 2 years

in the discipline "Choreography"

Lesogorsk - 2012

EXPLANATORY NOTE

Among the many forms of artistic education of the younger generation, choreography occupies a special place. Dance classes not only teach you to understand and create beauty, they develop imaginative thinking and imagination, and provide harmonious plastic development.

Meanwhile, choreography, like no other art, has enormous potential for the full aesthetic improvement of a child, for his harmonious spiritual and physical development. Dance is the richest source of aesthetic impressions of a child, forms his artistic “I” as an integral part of the instrument of “society, through which it involves the most intimate and most personal aspects of our being into the circle of social life.” Choreography, choreographic art (from ancient Greek χορεία - dance, round dance and γράφω - writing) - dance art in general, in all its varieties.

Dance is a form of choreographic art in which the means of creating an artistic image are the movements and positions of the human body.

The syncretism of dance art implies the development of a sense of rhythm, the ability to hear and understand music, coordinate your movements with it, at the same time develop and train the muscular strength of the body and legs, plasticity of the arms, grace and expressiveness. Choreography classes provide physical activity equal to a combination of several sports. The movements used in the choreography, which have undergone long-term selection, have a positive effect on the health of children.

The development of modern society is so rapid that teenagers pay attention to their environment, reacting emotionally to the relations of society. By showing their bright emotions in dance, children receive a boost of energy in their performances in front of their family and friends.

Choreography has enormous potential for the full aesthetic improvement of a child, for his harmonious spiritual and physical development. Dance classes form correct posture, instill the basics of etiquette and competent behavior in society, and give an idea of acting skills. Dance is of great importance as a means of developing national identity. Obtaining information about the dances of different peoples and different eras is necessary, because... Every nation has its own, unique dances, which reflect its soul, its history, its customs and character. Dance material is given in elements and movements, learned according to the rules of the school of classical, folk and ballroom dance. An indicator of dance culture is the emotional perception of choreographic art, the ability to independently evaluate a choreographic work, musicality and expressiveness, nobility of manner of performance, understanding of the expressiveness of individual elements, a sense of camaraderie and mutual assistance.

Novelty of the program

This educational program was written based on an analysis of state programs for out-of-school institutions and secondary schools: “Mastery of Historical and Everyday Dance” Moscow 2005, “Ballroom Dance” S. G. Storoborova 1996. etc. All of the listed programs have their value, but their content is brief, concise, or, on the contrary, provides for a more in-depth study, which does not correspond to the conditions of a mass school. This program presents a special, broader integrated approach to the implementation of the goals and objectives of training, and the section of choreographic training has been increased.Students master the fundamental principles of synthetic dance art, including detailed preliminary work with musical material. The presented program “Choreography for cadet classes” is original and developed for students in grades 5-9 of a general education school aged 10-15 years, taking into account their age capabilities and abilities.

Relevance

This program is relevant due to the fact that the modernization of Russian education provides for the widespread use of choreography classes in secondary schools in the form of additional training. Ballroom dancing is necessarily included in the educational program for cadet classes.

Historical, everyday and ballroom dances play an important role in raising children. This is due to the versatility of ballroom dance, which combines the means of musical, plastic, sports-physical, ethical and artistic-aesthetic development and education.

Our school hosts the annual, already traditional “Cadet Ball”, where children take an active part and with great enthusiasm try to convey the beauty of the dance, its style and era. One of the objectives of the program is to prepare children for the Cadet Ball.

Pedagogical feasibility of the program

In the classes of the “Choreography for Cadet Classes” program, mass training in the basics of ballroom choreography takes place. This will certainly help the teaching staff in organizing the educational process of an educational institution, for example, in preparing school and extracurricular activities. At the same time, students who studied ballroom dance will subsequently become bearers and promoters of domestic and world ballroom choreography.

Mastering the program is not limited only to competitive ballroom dancing, since all dances included in the concept of “ballroom choreography” have equal rights in the educational process, and insist on the priority of one type of ballroom choreography (classical, folk-characteristic, historical, everyday, sports and etc.) is incorrect. Mastering the varieties of dances offered by the program is aimed at awakening in schoolchildren interest and respect for the national culture and art of other peoples.

The program is designed taking into account the planning of educational work in cadet classes, which includes weekly choreography classes. Students already have choreography skills, so the program includes only production activities and educational work.

Purpose of the program - formation of the student’s personality, the ideological and moral orientation of his consciousness in relation to choreographic culture.

Tasks:

To give children an idea of the general patterns of reflection of reality in choreographic art;

Use specific means of the art of dance to harmonize the development of students, expand the scope of cultural and historical education of children;

Use the ethical features of dance to cultivate morality, discipline, a sense of duty, collectivism, and organization;

To teach dance etiquette and develop the ability to transfer the culture of behavior and communication in dance to interpersonal communication in everyday life;

Provide emotional relief for students, cultivate a culture of emotions;

Ensure the formation and maintenance of correct posture of the child, strengthen the muscle corset through ballroom dancing, and cultivate a culture of movement.

Ballroom dance training should be encouraged throughout the year. To do this, it is advisable to inform dance duets about their rating in the class, school, city, republic. The role of an informant can be successfully performed by wall newspapers, photo newspapers, brochures, booklets, etc. A good tradition is to award dance couples at the end of each school year in various nominations (the most effective couple; the most technical couple; the most charming couple, etc.) followed by a concert or competition with the participation of all classes.

The origins of ballroom dance are in mass social dances. Social dances are divided into two groups: duet and line (performed by dancers one at a time, standing, in a line). These dance groups are also material for holding educational competitions and preparing concert performances.

In the process of implementing the program, it is necessary to involve students in attending concerts of the best choreographic groups working in other genres of choreography.

Distinctive featureprogram is the complexity of the approach to the implementation of educational tasks, which involve, first of all, the developmental orientation of the program. This complexity is based on the following principles:

The principle of consciousness and activity provides for awareness in relation to classes, the formation of interest in mastering dance movements and a meaningful attitude towards them, cultivating the ability to self-assess one’s actions and analyze them accordingly;

The principle of visualization helps to create an idea of tempo, rhythm, amplitude of movements; increases interest in a deeper and more lasting assimilation of dance movements;

The principle of accessibility requires setting students tasks that correspond to their strengths, gradually increasing the difficulty of the educational material being mastered according to the didactic rule: from the known to the unknown, from easy to difficult, from simple to complex;

The principle of systematicity provides for the continuity of the process of developing dance skills, alternating work and rest to maintain students’ performance and activity, and a certain sequence for solving dance and creative tasks;

The principle of humanity in educational work (unconditional faith in the good beginning inherent in the nature of every child, no pressure on the child’s will; deep knowledge and understanding of the physical, emotional and intellectual needs of children; creation of conditions for the maximum disclosure of the individuality of each child, his self-realization and self-affirmation) ;

The principle of democracy is based on the recognition of equal rights and responsibilities of adults and children, on the creation of an emotionally comfortable climate in the social environment.

The program highlights the following directions:

Development of children's physical abilities;

Acquisition of dance and rhythm skills;

Work on the dance repertoire;

Musical theoretical training;

Theoretical and analytical work;

Concert and performing activities.

Methods of control and management of the educational process -this is the observation of a teacher during classes, analysis of the preparation and participation of choreographic circle students in school events, evaluation of spectators, jury members, analysis of the results of performances at various events and competitions; open classes for parents; performances at themed events; organization and holding of competitions; participation of couples in competitive programs at various levels.

The knowledge, skills and abilities acquired in the classroom must be subjected to pedagogical control in order to identify the quality of the knowledge acquired by children within the framework of the training program.

Forms of pedagogical controlare final classes once every six months, open lessons, performances, competitions, which also help maintain interest in work and aim children to achieve a positive result. In the cognitive part of the lesson, the initiative and creative composition of dance combinations of students, shown by them during the lesson, analysis of their performance and search for solutions to proposed problem situations, are necessarily noted.

When assessing the result of practical work, namely the performances of students, they rely on the following criteria: high-quality performance of dance etudes and dances, the general aesthetic appearance of the performance, creative finds and independence of composed combinations.

To ensure the strength of knowledge and skills and the effectiveness of training in this educational program, control is carried out:

Input - pedagogical observation, interview with children and parents, conversation with the teacher (or teacher - class teacher);

Intermediate – demonstration performances, participation in concerts and competitions;

The final one is a creative report in the form of a test lesson or concert.

When analyzing the level of mastery of program material by students, the teacher uses maps of students’ achievements, where the mastery of program material and the development of other qualities of the child are determined at three levels:

Maximum - the student has fully mastered the program material, the student has high achievements (winner of international, all-Russian, regional, district competitions);

Medium – mastering the program in full, in the presence of minor errors (participates in shows, competitions at the level of the Children's Art Center, village, school);

Minimal – mastering the program incompletely, makes significant mistakes in theoretical and practical tasks (participates in competitions at the team level).

Techniques and methods for organizing the educational process:

Methods of visual perception - contribute to a faster, deeper and more durable assimilation by students of the course program, increasing interest in the exercises being studied. These methods include: showing exercises, demonstrating posters, drawings, videos, listening to the rhythm and tempo of movements, music, which helps to consolidate muscle feeling and remember movements in connection with the sound of musical passages. All this contributes to the development of musical memory, the formation of motor skills, and reinforces the habit of moving rhythmically.

Practical methods are based on the active activity of the students themselves. This is a method of holistic development of exercises, stepwise and game methods.

The method of holistic development of exercises and movements is explained by the relative accessibility of exercises. However, the use of this method implies the presence of a motor base obtained previously. This base includes motor elements and ligaments, which allow them to be used to master more complex movements in the future.

The step method is widely used to master a wide variety of exercises and dance movements. Almost every exercise can be paused to refine the motor movement, improve the expressiveness of the movement, etc. This method can also be used to study complex movements.

The gaming method is used when conducting musical and rhythmic games. This method is based on elements of competition between students and increasing the responsibility of each person for achieving a certain result. Such conditions increase the emotionality of learning.

The named teaching methods in practice can be supplemented by various methods of pedagogical influence on students.

The program is designed for 2 years of study.

Classes 2 times a week for 1 academic hour. Total per year – 68 hours.

The most suitable form for implementing this program is the shape of a circle.

The number of participants is no more than 20 people.

The program implementation process involves 2 stages of training.

Stage I – grades 5-6 – basic level.

Stage II – grades 7-9 – basic level

The program provides a combination of both group and individual lessons,

meetings with interesting people, if possible, visiting the House of Culture, museums and other cultural institutions; joint work of the teacher, parents and children.

EXPECTED RESULTS OF THE PROGRAM IMPLEMENTATION

As a result of the implementation of the “Choreography for Cadet Classes” program, students should know:

Special vocabulary;

Classical dance positions;

Main types of ballroom dancing;

Basic ballroom dance figures.

Students should be able to:

Perform the basic movements of ballroom dance accurately and expressively;

Move artistically to the music;

Create compositions from basic shapes.

In the process of ballroom dancing classes, the following concepts of musical literacy must be mastered: music is the rhythmic and emotional basis of dance. The connection between music and motor reactions of the human body. Musical genres: song, dance, march. Sound as the smallest building element of musical speech. Musical sound and its main properties: height, strength, timbre and duration. Musical phrase, sentence and theme. Dismemberment and coherence of musical speech. Melodic drawing. Dynamics as one of the most important means of expression in dance music, “dynamic rhythm”. Melody and accompaniment. Correspondence of plasticity with the melody in some dances or with the rhythm in others. One-part and two-part forms. The concept of meter (musical size). Two-, three-, and four-beat meters are the main musical meters of dance music. Durations: 1/2, 1/4, 1/8, 1/16; strong and weak beats. Zatakt. Syncope. Tempo, rhythm, rhythmic pattern. Legato, staccato. Instrumentation (orchestration), arrangement. The dependence of the plasticity of the dances being studied on the melody, rhythm and tempo of the music. Musical theme and artistic image.

Subject	Number of hours
Subject	1st stage	2nd stage
Introduction
Padégras Dance Basics
Polonaise Dance Basics
Basics of Samba Dance
Cha-cha dance basics
Jive Dance Basics
Tango dance basics
Slow Waltz Dance Basics
Viennese Waltz Dance Basics
Final diagnostics

Introduction.

Topic: Introductory lesson:

Questioning children.

Topic: Safety precautions:

Topic: Initial diagnosis:

2. Basics of padegras dance.

Topic: Learning the basics of dance:

Basic step along the line of dance;

The main step to the side.

Staging a simplified version of the padegras dance.

3. Polonaise dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

The main movement is forward;

- “bypass”;

Balance forward.

Topic: Staging a dance composition:

Performance of a simplified version of the polonaise dance.

5. Cha-cha-cha dance basics.

Topic: Topic: Music Basics:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Shifting weight from foot to foot, bending the knee back, making a figure eight with the pelvis;

Open chasse left - right (timestep);

Basic movement without turning and turning left;

- "Check";

Hand to hand;

Full turn right and left;

Locke chasse forward and backward;

Rond chasse;

Hip twist chasse.

Topic: Staging a dance composition:

Staging a simplified version of the cha-cha-cha dance.

9. Viennese waltz dance.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Right unfolded square;

Left unfolded square with crossing;

Changes with P.N. and with L.N;

- “Counter check” from left to right “Fleckerl”;

Right turn;

Left turn.

Topic: Staging a dance composition:

Viennese waltz dance performance.

10. Final diagnostics.

Topic: Report concert:

Introduction.

Topic: Introductory lesson:

Questioning children.

Topic: Safety precautions:

Safety briefing.

Topic: Initial diagnosis:

Identification of the level of learning ability that children have.

2. Basics of padegras dance.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

3. Polonaise dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Practicing basic dance movements.

4. Basics of samba dance.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Small squats on the 1st and 2nd beats, after lifting to the “and” feet together;

Basic movement with right and left legs;

Temple right and left;

Walk in place with the right and left legs;

Samba progress one at a time;

Promenade walk in pairs;

Corta jaka with P.N. forward and with L.N. back;

Progressive bota fogo face and back;

Volta right and left.

Topic: Staging a dance composition:

Performance of a simplified version of samba dance.

5. Cha-cha-cha dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Practicing basic dance movements.

6. Jive dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Open chasse to the right and left;

Open chassis forward and backward;

Doing the same thing instead of Chasse Locke;

Two chasse forward - two chasse back;

Ball changer;

Swing from toe to heel, holding onto support;

- “Rock with LN, with PN.”

- “Promenade link”.

- “Promenade ending.”

- “Right twist turn.”

- “Mini fivestep.”

- “Fivestep.”

- “Left turn on a progressive lateral step.”

Topic: Staging a dance composition:

Staging a simplified version of the jive dance.

7. Tango dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Move forward in a small circle, turning to the left;

- “Left square” (court forward and backward);

- “Large left square”;

- “Left unfolded square”;

- “Left open unfolded square”;

- “Left unfolded square back”;

- “Left open unfolded square back”;

- “Rock” (swinging back and forth).

- “Progressive lateral step.”

- “Move.”

- “Rock twist.”

- “Korte back.”

- “Progressive link.”

- “Closed promenade.”

- “Main left turn.”

- “Open promenade.”

- “Forestep”.

For step;

Topic: Staging a dance composition:

Tango dance performance.

8. Slow Waltz:

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Standing in sixth position, lower and rise;

Step forward with the right leg, pulling up the left leg, step back with the left leg, pulling up the right leg (lowering by 1, rising by 2.3, at the end - lowering);

The same with the left leg;

Step to the side with the right leg, pulling the left leg, lowering and lifting;

The same with L.N.;

- “Right square”;

- “Left square”;

- “Big right square”;

- “Big left square.”

9. Viennese waltz dance.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Practicing basic dance movements.

10. Final diagnostics.

Topic: Test lesson: -checking children's learning skills.

Topic: Report concert:

Demonstration of studied dance compositions.

In connection with the goals and objectives set for a given academic year, as well as the nature of creative events and competitions, the content of thematic planning may change.

CALENDAR - THEMATIC PLAN

No. No.	Chapter	Subject	Number of hours
			1st stage			2nd stage
			theory	practice	Total		theory	practice	Total
	Introduction	Introductory lesson. TB training. Initial diagnosis
	Padégras Dance Basics	Learning the Basics of Dance
	Polonaise Dance Basics	Basics of Music Literacy Orientation in space Learning the Basics of Dance Staging a dance composition
	Basics of Samba Dance	Basics of Music Literacy Orientation in space Learning the Basics of Dance Staging a dance composition
	Cha-cha dance basics	Basics of Music Literacy Orientation in space Learning the Basics of Dance Staging a dance composition
	Jive Dance Basics	Basics of Music Literacy Orientation in space Learning the Basics of Dance Staging a dance composition
	Tango dance basics	Basics of Music Literacy Orientation in space Learning the Basics of Dance Staging a dance composition
	Slow Waltz Dance Basics	Basics of Music Literacy Orientation in space Learning the Basics of Dance Staging a dance composition
	Viennese Waltz Dance Basics	Basics of Music Literacy Orientation in space Learning the Basics of Dance Staging a dance composition.
	Final diagnostics	Test lesson Report concert
	Total:

CONTROL AND METHODOLOGICAL SUPPORT

Lesson mode:

Classes can be held with the whole team, in subgroups, or individually.

Forms of classes:

Conversation, which presents theoretical information, which is illustrated with poetic and musical examples, visual aids, presentations, and video materials.

Practical lessons,where children master musical literacy and learn the basic elements of a dance composition.

Lesson-production, rehearsal -Concert numbers are practiced and children's acting abilities are developed.

Final lesson, completing the topic - a lesson-concert. It is held for the children themselves, teachers, and guests.

Field lesson –visiting exhibitions, museums, concerts, holidays, competitions, festivals.

In classes on solo performanceThe following teaching methods are used:

– visual-auditory;

– visual-visual;

– reproductive;

One of the leading methods of teaching children to dance is the teacher’s demonstration of the manner of performance.

Each lesson is structured according to the following scheme:

– ground gymnastics;

– exercise in the middle;

– learning new elements and combinations;

– repetition of the covered material;

– lesson analysis;

- homework assignment.

CONCERT AND PERFORMANCE ACTIVITIES

The repertoire is selected taking into account the age characteristics of the circle participants and their abilities.

The plan for concert activities is drawn up for the year, taking into account traditional school holidays and the most important events of the current year. Without the help of a teacher, children perform with a learned repertoire at their class holidays and parent-teacher meetings.

Creative reportis carried out once at the end of the academic year and provides for:

presentation of photo and video material from the performances;
summing up the activities of each student, rewarding the most successful and productive;
final reflection “What have I learned this year”;
performance at the prom.

The reporting concert is the final result of the work for the academic year. All children are required to perform, and all the best that has been accumulated over the year is performed.The main task of the teacher is to cultivate the qualities necessary for performance in the process of concert activity, to interest and captivate children in collective creativity.

Rehearsals are held before performances as planned. This is work on rhythm, dynamics, the performing style of each performer is polished.

TECHNICAL EQUIPMENT FOR CLASSES

1. Availability of a special office (assembly hall).

2. Availability of a rehearsal room (stage).

3. Music center, computer.

4. Recording phonograms in “+” and “ modes- ».

5. Electrical equipment.

6. Mirror.

7. Audio, video recordings, CD, MP3 format.

8. Recordings of performances, concerts.

REFERENCES FOR TEACHERS

Alfonso, P. K. The art of flamenco dance / P. K. Alfonso. – M.: Art, 1984.
Ballroom dancing / ed. M. Zhilamene. – Riga, 1954.
Baryshnikova, T.K. ABC of choreography / T.K. Baryshnikova. – St. Petersburg, 1996.
Bekina S.I. et al. “Music and Movement”, M., 2000
Bottomer U. “Learning to dance”, “EXMO-press”, 2002
Bottomer, B. “Dance Lessons” / B. Bottomer. – M.: Eksmo, 2003.
G. Howard “European Ballroom Dance Technique”, “Artis”, M. 2003
Dinnits E.V. “Jazz dances”, LLC “AST Publishing House”, 2004
Kaul N. “How to learn to dance. Sports ballroom dancing. Rostov-on-Don, “Phoenix”, 2004
Knorova E.V. Dance clubs for senior schoolchildren / E. V. Knorova, V. N. Svetinskaya - M.: Academy of Pedagogics. Sciences, 1958.
Lerd W. “Latin American Ballroom Dance Technique”, “Artis”, M. 2003
Mikhailova M. A. Dancing, games, exercises for beautiful movement / M. A. Mikhailova, E. V. Voronina. – Yaroslavl, 2000.
Revised European Dance Technique / trans. from English and ed. Yu. Pina - St. Petersburg, 1993.
Revised Latin American Dance Technique / trans. from English and ed. Yu. Pina - St. Petersburg, 1993.
Podlasy I. P. “Pedagogy: In 2 books,” “Vlados”, 2003.
Rean A. A. et al. “Psychology and Pedagogy”, “Peter”, 2004

LIST OF REFERENCES FOR CHILDREN

1. Brailovskaya L.V. “Dance tutorial: waltz, tango, samba, jive.” Rostov-on-Don, “Phoenix”, 2003

2. Ermakov D. A. “Dancing at balls and proms”, LLC “AST Publishing House”, 2004.

3. Ermakov D. A. “From foxtrot to quickstep”, LLC “AST Publishing House”, 2004.

4. Ermakov D. A. “In the whirlwind of a waltz”, LLC “AST Publishing House”, 2003.

5. Rubshtein N. “Psychology of dance sports or what you need to know to become the first,” M., 2000.

EXPLANATORY NOTE

Meanwhile, choreography, like no other art, has enormous potential for the full aesthetic improvement of a child, for his harmonious spiritual and physical development. Dance is the richest source of a child’s aesthetic impressions; it forms his artistic self as an integral part of society’s instrument, through which it involves the most intimate and personal aspects of our being in the circle of social life.

Dance is a form of choreographic art in which the means of creating an artistic image are the movements and positions of the human body.

Relevance

The school hosts the annual, now traditional “Cadet Ball”, where children take an active part and with great enthusiasm try to convey the beauty of the dance, its style and era. One of the objectives of the program is to prepare children for the Cadet Ball.

Pedagogical feasibility of the program

Purpose of the program - formation of the student’s personality, the ideological and moral orientation of his consciousness in relation to choreographic culture.

Tasks:

To give children an idea of the general patterns of reflection of reality in choreographic art;

Use specific means of the art of dance to harmonize the development of students, expand the scope of cultural and historical education of children;

Use the ethical features of dance to cultivate morality, discipline, a sense of duty, collectivism, and organization;

To teach dance etiquette and develop the ability to transfer the culture of behavior and communication in dance to interpersonal communication in everyday life;

Provide emotional relief for students, cultivate a culture of emotions;

Ensure the formation and maintenance of correct posture of the child, strengthen the muscle corset through ballroom dancing, and cultivate a culture of movement.

Distinctive feature program is the complexity of the approach to the implementation of educational tasks, which involve, first of all, the developmental orientation of the program. This complexity is based on the followingprinciples:

The principle of visualization helps to create an idea of tempo, rhythm, amplitude of movements; increases interest in a deeper and more lasting assimilation of dance movements;

The principle of democracy is based on the recognition of equal rights and responsibilities of adults and children, on the creation of an emotionally comfortable climate in the social environment.

The program highlights the followingdirections:

Development of children's physical abilities;

Acquisition of dance and rhythm skills;

Work on the dance repertoire;

Musical theoretical training;

Theoretical and analytical work;

Concert and performing activities.

Methods of control and management of the educational process. Observation of the teacher during classes, analysis of the preparation and participation of choreographic circle students in school events, evaluation of spectators, jury members, analysis of the results of performances at various events and competitions;open classes for parents; performances at themed events; organization and holding of competitions; participation of couples in competitive programs at various levels.

Forms of pedagogical control are final classes once every six months, open lessons, performances, competitions, which also help maintain interest in work and aim children to achieve a positive result. In the cognitive part of the lesson, the initiative and creative composition of dance combinations of students, shown by them during the lesson, analysis of their performance and search for solutions to proposed problem situations, are necessarily noted.

To ensure the strength of knowledge and skills and the effectiveness of training in this educational program, control is carried out:

Input - pedagogical observation, interview with children and parents, conversation with the teacher (or teacher - class teacher);

Intermediate – demonstration performances, participation in concerts and competitions;

The final one is a creative report in the form of a test lesson or concert.

When analyzing the level of mastery of program material by students, the teacher usesstudent achievement cards, where the assimilation of program material and the development of other qualities of the child are determined at three levels:

Maximum –the program material has been fully mastered by the student, the student has high achievements (winner of international, all-Russian, regional, district competitions);

Average -mastering the program in full, in the presence of minor errors (participates in shows, competitions at the level of the Children's Art Center, village, school);

Minimum –mastering the program incompletely, makes significant mistakes in theoretical and practical tasks (participates in competitions at the team level).

Techniques and methods for organizing the educational process:

Practical methods are based on the active activity of the students themselves. This is a method of holistic development of exercises, stepwise and game methods.

The named teaching methods in practice can be supplemented by various methods of pedagogical influence on students.

The program is designed for 2 years of study.

Classes 2 times a week for 1 academic hour. Total per year – 68 hours.

The most suitable form for implementing this program is the shape of a circle.

The composition of participants is 14 - 16 people.

The program implementation process involves 2 stages of training.

Ilevel – 5-6 grade – basic level.

IIstage – 7-9 grade – basic level

The content of the classes is aimed at ensuring comprehensive training of students based on the requirements of choreographic and musical disciplines.

EXPECTED RESULTS OF THE PROGRAM IMPLEMENTATION

As a result of the implementation of the “Choreography for Cadet Classes” program, students should know:

Classical dance positions;

Main types of ballroom dancing;

Basic ballroom dance figures.

Students should be able to:

Perform the basic movements of ballroom dance accurately and expressively;

Move artistically to the music;

Create compositions from basic shapes.

In the process of ballroom dancing classes, the following concepts of musical literacy must be mastered: music is the rhythmic and emotional basis of dance. The connection between music and motor reactions of the human body. Musical genres: song, dance, march. Sound as the smallest building element of musical speech. Musical sound and its main properties: height, strength, timbre and duration. Musical phrase, sentence and theme. Dismemberment and coherence of musical speech. Melodic drawing. Dynamics as one of the most important means of expression in dance music, “dynamic rhythm”. Melody and accompaniment. Correspondence of plasticity with the melody in some dances or with the rhythm in others. The dependence of the plasticity of the dances being studied on the melody, rhythm and tempo of the music. Musical theme and artistic image.

PROGRAM CONTENT

CONTENT OF THE FIRST STAGE PROGRAM

Introduction.

Topic: Introductory lesson:

Questioning children.

Topic: Safety precautions:

Topic: Initial diagnosis:

2. March. Rebuilding.

Topic: Learning the basics of marching:

The main step is in place;

3. Basics of padegras dance.

Topic: Basics of musical literacy:

Topic: Orientation in space:

Topic: Learning the basics of dance:

Basic step along the line of dance;

The main step to the side.

Topic: Staging a dance composition:

Staging a simplified version of the padegras dance.

4. Polonaise dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

The main movement is forward;

- “bypass”;

Balance forward.

Topic: Staging a dance composition:

Performance of a simplified version of the polonaise dance.

5. Cha-cha-cha dance basics.

Topic: Topic: Music Basics:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Shifting weight from foot to foot, bending the knee back, making a figure eight with the pelvis;

Open chasse left - right (timestep);

Basic movement without turning and turning left;

- "Check";

Hand to hand;

Full turn right and left;

Locke chasse forward and backward;

Rond chasse;

Hip twist chasse.

Topic: Staging a dance composition:

Staging a simplified version of the cha-cha-cha dance.

9. Viennese waltz dance.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Right unfolded square;

Left unfolded square with crossing;

Changes with P.N. and with L.N;

- “Counter check” from left to right “Fleckerl”;

Right turn;

Left turn.

Topic: Staging a dance composition:

Viennese waltz dance performance.

10. Final diagnostics.

Topic: Report concert:

CONTENT OF THE SECOND STAGE PROGRAM

Introduction.

Topic: Introductory lesson:

Questioning children.

Topic: Safety precautions:

Safety briefing.

Topic: Initial diagnosis:

Identification of the level of learning ability that children have.

2. March. Rebuilding.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of the march.

Topic: Orientation in space:

Getting to know the directions of movement.

Topic: Learning the basics of marching:

The main step is in place;

Basic step along the line of dance;

The main step in rebuilding.

Topic: Staging a dance composition:

Staging a simplified version of the reconstruction.

3. Basics of padegras dance.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

4. Polonaise dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Practicing basic dance movements.

5. Basics of samba dance.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Small squats on the 1st and 2nd beats, after lifting to the “and” feet together;

Basic movement with right and left legs;

Temple right and left;

Walk in place with the right and left legs;

Samba progress one at a time;

Promenade walk in pairs;

Corta jaka with P.N. forward and with L.N. back;

Progressive bota fogo face and back;

Volta right and left.

Topic: Staging a dance composition:

Performance of a simplified version of samba dance.

6. Cha-cha-cha dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Practicing basic dance movements.

7. Tango dance basics.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Move forward in a small circle, turning to the left;

- “Left square” (court forward and backward);

- “Large left square”;

- “Left unfolded square”;

- “Left open unfolded square”;

- “Left unfolded square back”;

- “Left open unfolded square back”;

- “Rock” (swinging back and forth).

- “Progressive lateral step.”

- “Move.”

- “Rock twist.”

- “Korte back.”

- “Progressive link.”

- “Closed promenade.”

- “Main left turn.”

- “Open promenade.”

- “Forestep”.

For step;

Topic: Staging a dance composition:

Tango dance performance.

8. Slow Waltz:

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Orientation in space:

Getting to know the directions of movements in dance.

Topic: Learning the basics of dance:

Standing in sixth position, lower and rise;

Step forward with the right leg, pulling up the left leg, step back with the left leg, pulling up the right leg (lowering by 1, rising by 2.3, at the end - lowering);

The same with the left leg;

Step to the side with the right leg, pulling the left leg, lowering and lifting;

The same with L.N.;

- “Right square”;

- “Left square”;

- “Big right square”;

- “Big left square.”

9. Viennese waltz dance.

Topic: Basics of musical literacy:

Musical and rhythmic characteristics of dance.

Topic: Practicing basic dance movements.

10. Final diagnostics.

Topic: Test lesson: -checking children's learning skills.

Topic: Report concert:

Demonstration of studied dance compositions.

In connection with the goals and objectives set for a given academic year, as well as the nature of creative events and competitions, the content of thematic planning may change.

CALENDAR - THEMATIC PLAN

n\n

Chapter

Subject

Number of hours

1st stage

2nd stage

theory

practice

Total

theory

practice

Total

Introduction

Introductory lesson. TB training.

Initial diagnosis

March. Rebuilding.

Learning the Basics of Dance

Padégras Dance Basics

Basics of Music Literacy

Orientation in space

Learning the Basics of Dance

Staging a dance composition

Polonaise Dance Basics

Basics of Music Literacy

Orientation in space

Learning the Basics of Dance

Staging a dance composition

Basics of Samba Dance

Basics of Music Literacy

Orientation in space

Learning the Basics of Dance

Staging a dance composition

Cha-cha dance basics

Basics of Music Literacy

Orientation in space

Learning the Basics of Dance

Staging a dance composition

Tango dance basics

Basics of Music Literacy

Orientation in space

Learning the Basics of Dance

Staging a dance composition

Slow Waltz Dance Basics

Basics of Music Literacy

Orientation in space

Learning the Basics of Dance

Staging a dance composition

Viennese Waltz Dance Basics

Basics of Music Literacy

Orientation in space

Learning the Basics of Dance

Staging a dance composition.

Final diagnostics

Test lesson

Report concert

Total:

CONTROL AND METHODOLOGICAL SUPPORT

Lesson mode:

Classes can be held with the whole team, in subgroups, or individually.

Forms of classes:

- conversation , which presents theoretical information, which is illustrated with poetic and musical examples, visual aids, presentations, and video materials.

- practical lessons, where children master musical literacy and learn the basic elements of a dance composition.

- lesson-production, rehearsal - Concert numbers are practiced and children's acting abilities are developed.

- field lesson – visiting exhibitions, museums, concerts, holidays, competitions, festivals.

One of the leading methods of teaching children to dance is the teacher’s demonstration of the manner of performance.

Each lesson is structured according to the following scheme:

– exercise in the middle;

– learning new elements and combinations;

– repetition of the covered material;

– lesson analysis;

– homework assignment.

CONCERT AND PERFORMANCE ACTIVITIES

The repertoire is selected taking into account the age characteristics of the circle participants and their abilities.

Creative report is carried out once at the end of the academic year and provides for:

summing up the activities of each student, rewarding the most successful and productive;

final reflection “What have I learned this year”;

performance at the prom.

Rehearsals are held before performances as planned. This is work on rhythm, dynamics, the performing style of each performer is polished.

TECHNICAL EQUIPMENT FOR CLASSES

1. Availability of a special office (assembly hall).

2. Availability of a rehearsal room (stage).

3. Music center, computer.

4. Recording phonograms in “+” and “ modes- ».

5. Electrical equipment.

6. Mirror.

7. Audio, video recordings, CD, MP3 format.

8. Recordings of performances, concerts.

REFERENCES FOR TEACHERS

Alfonso, P. K. The art of flamenco dance / P. K. Alfonso. – M.: Art, 1984.

Ballroom dancing / ed. M. Zhilamene. – Riga, 1954.

Baryshnikova, T.K. ABC of choreography / T.K. Baryshnikova. – St. Petersburg, 1996.

Bekina S.I. et al. “Music and Movement”, M., 2000

Bottomer U. “Learning to dance”, “EXMO-press”, 2002

Bottomer, B. “Dance Lessons” / B. Bottomer. – M.: Eksmo, 2003.

G. Howard “European Ballroom Dance Technique”, “Artis”, M. 2003

Dinnits E.V. “Jazz dances”, LLC “AST Publishing House”, 2004

Kaul N. “How to learn to dance. Sports ballroom dancing. Rostov-on-Don, “Phoenix”, 2004

Knorova E.V. Dance clubs for senior schoolchildren / E. V. Knorova, V. N. Svetinskaya - M.: Academy of Pedagogics. Sciences, 1958.

Lerd W. “Latin American Ballroom Dance Technique”, “Artis”, M. 2003

Mikhailova M. A. Dancing, games, exercises for beautiful movement / M. A. Mikhailova, E. V. Voronina. – Yaroslavl, 2000.

Revised European Dance Technique / trans. from English and ed. Yu. Pina - St. Petersburg, 1993.

Revised Latin American Dance Technique / trans. from English and ed. YU. Pina – St. Petersburg., 1993.

Podlasy I. P. “Pedagogy: In 2 books,” “Vlados”, 2003.

Rean A. A. et al. “Psychology and Pedagogy”, “Peter”, 2004

LIST OF REFERENCES FOR CHILDREN

1. Brailovskaya L.V. “Dance tutorial: waltz, tango, samba, jive.” Rostov-on-Don, “Phoenix”, 2003

2. Ermakov D. A. “Dancing at balls and proms”, LLC “AST Publishing House”, 2004.

3. Ermakov D. A. “From foxtrot to quickstep”, LLC “AST Publishing House”, 2004.

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