People lived in tribes, and consequently, all the most important features of their life, their way of doing things, were embodied in their ritual dances. There are two main themes in the ritual dances:
Hunting or war
Love Theme
Without considering deeper all the features of ritual dances, we note their mass character and, as a result, the need for a circular movement. This is where the form of the round dance came from, as an elementary ability to participate in the dance process also with the help of singing.
A little later, in more developed forms of dances, the division of dances into:
dance-games (of a military-hunting nature) Examples of military dances: Ukrainian "Gopak", Georgian "Khorumi"
cult dances, where a person tried to achieve more favorable conditions for life from the gods. Examples: "shamanic" dances of African tribes or peoples of the North of Russia
household dances, the most common and least dependent on the 2 most important factors of survival - food and understanding of the world. There are innumerable examples of everyday dances: almost every labor process had its own dance, which changed from village to village: the Russian dance "Lenok", the Ukrainian "And we sowed millet", "Lumberjacks", "Mowers", etc.
It was in everyday dance that the possibility of individual manifestation and the introduction of one's own choreography appeared, which was often approved by others.
A separate place is occupied by the love line of the dance - hence the variety in choosing a partner or solo performance. The most preserved, and therefore popular dances are dances with plots. For example, "Timonya" - a dance about the love relationship of one man and several girls - is one of the popular themes of the Russian people.
Stage 2: Greco-Roman period
The next stage in the complication of dance forms is the Greco-Roman historical period. The dance was already taught in educational institutions of that time. The ancient Greeks incorporated the principle of Harmony into dance. This was due to the fact that in the culture of that time there were already significant life ideals, and the person in them was presented as a significant subject for improving the soul and body. Ancient mythology (an abundance of plots with gods) was just the ideological engine for improving human nature, and dance was one of the tools for "processing" the human body and soul.
The dances of this period were divided into several categories:
Sacred dances (performed only in temples)
Public (military dances, mass celebrations with the participation of graces, satyrs, nymphs)
These are costumed and very competently arranged dramatic details of the most important details of the life of the Greeks.
It was these dance festivals, transferred in mythological plots to the theatrical stages of Hellas, that were the primary sources of modern ballet and other performances and shows.
Of course, during this period there were simpler dances: domestic, urban, rural.
Stage 3: "dark middle ages"
The next era, called the "gloomy Middle Ages" - tried to eradicate and expel dance from human life. The dance was assigned the cult of "devilish obsession", and the body (especially the female one) became a symbol of any form of defilement. Peering into this difficult (for dance) era, you understand why in Catholic Europe folk forms of dance are so primitive even now.
Apparently, until now, there is no such strong need in the race for decency in dance, as, for example, it has developed among the Slavic peoples. It was the various medieval branlies with their jumps and just steps that were the outlet that was allowed in those gloomy years.
However, here, too, a cheerful human disposition, and especially love, stirred the people in their mass city holidays.
Since the dawn of human civilization, dance has always been present in the culture of people as a means of social interaction, self-expression and non-verbal communication, and has also been an integral part of various religious and ceremonial rituals. Since its first appearance in the historical record (about 9,000 years ago), dancing has evolved significantly and countless styles have emerged that are still practiced today.
The ancient Egyptians used dance as a means to please the gods, to entertain the upper class of society, and for mass celebrations during harvest festivals. The Greeks and Romans continued this tradition, but viewed the dance as a gift from the gods. The Greeks also held annual celebrations in honor of the gods, during which a large amount of alcohol and dancing were obligatory.
A similar connection between dance and religion can in principle be found in any modern religion, but it is best seen in Hinduism, which is based on the belief that the entire universe was created in the dance of the Supreme Dancer Nataraja. Each of the 23 major Indian gods has their own distinct style of dance, and this love of dance has carried over into every aspect of life in India (this is most evident in Indian films, all of which feature dancing and singing).
Modern ballroom dancing originated in 15th century Italy. The rapid development of technology, trade and wealth that took place during the Renaissance quickly spread throughout Europe. The greatest number of innovations in music and dance styles occurred during the reign of Queen Elizabeth of England (1533 - 1603). During this time, many European dance masters came to England to create new dances for the Royal Court and the rest of the nobility. While dance and music were flourishing in London, the first dance schools were opened, in which all comers were taught how to perform complex steps, popular in those days. Some of the most popular dances at the time were the galliard, allemande, volte, gavotte, and ballet.
With each century, new styles of music and dance have come and gone. One of the most famous modern dances, the waltz first appeared on the European dance scene in the 17th century and was largely popularized after Johann Strauss created his magnificent pieces. Another early example of a dance that took the world by storm is the polka, which came into vogue in 1850 and subsequently spawned a wide range of similar energetic and fast dance styles.
So where did the dance come from, how did a person develop a craving for movement to a certain rhythm? A very interesting article by Konstantin Petrovich Chernikov about what dance is and, in fact, its origin, will tell about this perfectly.
In fact, dance, as a purely public, social phenomenon, is a whole layer that reflects, through its methods and techniques, the historical, social and cultural development of human society. This layer is very interesting and not deep enough, in my opinion, "plowed" by modern science. Historians have focused more on aspects of the economic and socio-political development of society, art critics pay much more attention to architecture or painting, and on modern theatrical and especially pop stages, dance plays a far from the first role in comparison with vocals or the same conversational genre. Why such disgrace? After all, choreographic art is perhaps the oldest in the world, it has survived millennia, originating in the human environment at a time when there was essentially no civilized society with its economy and politics. Why is dance, which at the dawn of human history, along with cult and magic, was the most important of all types of mental and socio-cultural activities of people, now faded into the background? When and why did this happen? In all this variety of questions, we will try to figure it out.
It is clear that dancing is not something without which a person cannot live, such as without water or food. Man, as a species, has gone through a long and very difficult path of evolution, on which his main task was survival.
This means that if an ancient man spent part of his precious time not on obtaining food or arranging life, but on practicing these same rhythmic body movements, then this was really very important for him. What could have been so important for our distant ancestors? Many tend to believe that these are ritual rites. Yes, it's logical. Gods and demons are not to be trifled with. They must be constantly revered, appeased, made sacrifices, but, you see, for honoring and sacrificing it is not at all necessary to jump, jump, rotate and wriggle at a certain pace and rhythm. You can do everything much more rationally and with less effort, which will still be needed on a hunt or in a war with neighbors. Most likely, the cause of the dance lies a little deeper than is commonly believed.
If you believe the explanatory dictionaries and encyclopedias that are numerous today, then you can generally define dance as an art form that displays the external manifestations of life in a figurative and artistic form, through the movements of the human body, facial expressions and pantomime. Dance. Isn't he what we see? Yes, it is, but not really. Not everything can be explained only by a simple reaction of a person to the world around him. What is the outward appearance of living nature, if not an ever-changing manifestation of the inner? Dance is based on action. But there can be no external action without internal action. All external actions, expressed in movements, gestures, postures, dance steps, are born and formed inside - in thoughts, sensations, feelings, experiences. Here we come, it seems to me, to the source. The root cause of the emergence of dance, as well as a religious cult, was the psyche, the inner, spiritual world of a person.
The psyche became the initiator of the emergence of dance as a social phenomenon. Of course, at first it was closely intertwined with the cult and magic, it was impossible to separate them from each other. The separation and narrower specialization of these phenomena occurred much later. And the cult gradually took over.
The supremacy of the cult is explained by the fact that magicians and priests were smart people and creative in their own way, so it was not difficult for them to figure out how to “swindle” and put pressure on their relatives, and the main motivator in this matter is fear of an unknown force.
Under these conditions, the dance faded into the background and began to only “serve” the rituals, decorate them and enhance the factor of psychological and energy-emotional impact on the participants in religious rites and ceremonies. We will talk about the impact of dance on the human body, but now let's return to the question of the reasons for its origin.
When did dance start? According to the logic of things, the most likely, in a chronological sense, the time of the emergence of dance traditions is the Madeleine period (15 - 10 thousand years ago).
It was during this period that primitive art and, above all, cave painting, reaches its highest level of development. It is logical to assume that it was during this period, when the increasingly complex human psyche and communication initiated the emergence of a need for fine arts, that there could be a need for other forms of art - including dance, rock paintings in the caves of France and Spain serve as confirmation of this, where out of 1794 drawings - 512 depict people in different poses and moments of movement, which are periodically repeated, in addition, about 100 drawings are dedicated to some kind of human-like creatures. Considering that cave painting is very realistic, even photographic, the artist could not yet think abstractly, he did not invent anything and painted what he saw with his own eyes, then you can ask - what did he see? If we discard the version of aliens or mutants, then most likely they are people dressed up in animals or some kind of spirits that they imitate.
Ancient man painted imitation of animals and spirit. But if people did it then, what is it if not a dance? At the same time, the birth of music and musical instruments takes place. All types of art were very closely connected, therefore, music was also connected with dance. The answer to the first question has been given. The dance does not leave such an exact “monument” as painting or architecture, but the birth of dance could hardly have happened before. Society was not ready. The next question is: how did the origin of dance culture occur?
We have already said that dance art originated in the depths of the increasingly complex human psyche and became an external manifestation of a person's need for a certain kind of body movements. With such needs, we meet with you all the time. In addition to instinct and natural reflexes, a person has a bio-mechanical memory. Man cannot live without muscle movement! If some organ, for one reason or another, is inactive for a certain time, then it will inevitably atrophy. We need movement to live! Everything in this world is in constant motion, everything vibrates and changes. Man is a child of this world and cannot exist apart from its objective laws. “Nothing lasts forever”, “Everything flows, everything changes” - says folk wisdom. Therefore, a person was forced, in addition to the necessary production movements, listening to the voice of nature, to make additional movements to maintain his vitality. It would seem, why should he do this, because primitive life was physically difficult and full of dangers, a person already received a lot of physical activity and obviously did not suffer from hypodynamia. But no!
We are beings with a complex and highly organized psyche, our feelings and thoughts affect our energy fields and therefore the mental, spiritual charge is even more important for us than the physical one, since it is our psyche that controls all physical processes in our body through bio-electrical impulses. I am convinced that it was this need for periodic mental recharging that initiated the earliest human need for rhythmic body movements. Pay attention - not in simple, but in rhythmic body movements. Why is that? Yes, because all our internal organs, the whole body and the nervous system are in constant vibration and pulsation, which have their own rhythm: the heart beats in a certain rhythm, the respiratory cycle is also carried out strictly rhythmically, etc. Therefore, psycho-energy charging should also be carried out rhythmically, so as not to fall into dissonance with the natural biological rhythms of the body. In this case, we are not talking about dances familiar to us, but about the culture of the earliest forms of rhythmic body movements accompanied by primitive, most likely voice and noise accompaniment, which can be classified as the very beginning of dance culture.
Among other things, listening to pleasant music and moving for pleasure produces the hormone of happiness, which is one of the indirect causes of dance.
The very psyche of ancient man became the initiator of dance art. The need for self-knowledge, the world, self-expression and pleasure. And representatives of the cult did not miss the opportunity, using dance in rituals. Most likely they were massive, which enhanced the effect through the "herd effect". In primitive society, it was almost impossible not to obey this effect, so the priests and leaders dictated the rules.
The first dances of antiquity were far from what is called this word today. They had a completely different meaning. With various movements and gestures, a person conveyed his impressions of the world around him, putting his mood, his state of mind into them. Shouts, singing, pantomime play were interconnected with the dance. The dance itself has always, at all times, been closely connected with the life and way of life of people. Therefore, each dance corresponds to the character, the spirit of the people from whom it originated. With the change in the social system, living conditions, the nature and themes of art changed, and the dance also changed. Its roots are deeply rooted in folk art.
Dances were very common among the peoples of the ancient world. The dancers strived to ensure that every movement, gesture, facial expression expressed some thought, action, deed. Expressive dances were of great importance both in everyday life and in public life.
For a man of a primitive society, dance is a way of thinking and living. In dances depicting animals, hunting techniques are practiced; the dance expresses prayers for fertility, rain and other urgent needs of the tribe. Love, work and ritual are embodied in dance movements. The dance in this case is so connected with life that in the language of the Mexican Tarahumara Indians, the concepts of "labor" and "dance" are expressed by the same word. Deeply perceiving the rhythms of nature, people of primitive society could not but imitate them in their dances.
Primitive dances are usually performed in groups. Round dances have a specific meaning, specific goals: to expel evil spirits, heal the sick, drive away misfortune from the tribe. The most common movement here is stomping, perhaps because it makes the earth tremble and submit to man. In primitive societies, squatting dances are common; dancers love to spin, twitch and jump. Jumps and whirls bring the dancers to an ecstatic state, sometimes ending in loss of consciousness. The dancers usually do not wear clothes, but do wear masks, elaborate headdresses, and often paint their bodies. As an accompaniment, stomping, clapping, as well as playing all kinds of drums and pipes made of natural materials are used.
The primitive tribes do not have a regulated dance technique, but excellent physical training allows the dancers to completely surrender to the dance and dance with absolute dedication, up to frenzy. Dances of this kind can still be seen in the islands of the South Pacific, in Africa and in Central and South America.
Ministry of Culture of the Russian Federation
Ministry of Culture of the Sverdlovsk Region
GOU SPO Sverdlovsk region
Asbestov College of Arts
Choreographic performance "Bound"
Final qualifying work
Executor:
Khazova Daria Alekseevna,
4th year student
choreographic department
________ ____________
date signature
Qualification work Scientific supervisor:
Admitted to the defense Lyashchenko N.A., teacher
Head department of the choreographic department of the choreographic
creativity creativity
________ ________________ ______ ________________
date N.A. Lyashchenko date signature
Asbest 2015
Chapter 1. Justification for the choice of choreographic production………..……….3
1.1. The history of the creation of dance, style……………………………….…..3
1.2. Sources and motivation for choosing the theme of the production………….13
Chapter 2. Musical and choreographic scenario……………….....………..16
2.1. Ideological and thematic analysis…………………………………………..16
2.2. The creative concept of the production……………………………...…...17
Chapter 3. Practical significance……………………………………………...24
Information sources………………………………………………26
Applications……………………………………………………………………27
Chapter 1. Justification for the choice of choreographic production
"Bound"
The history of the creation of modern dance
Modern dance is an independent form of art, where movements, music, light and colors are combined in a new way, where the body has really found its full-blooded language. Modern dance convinces people that art is a continuation of life and self-realization.
Modern dance is a relative, momentary concept. Each period of time has its own musical culture, which gives rise to new types of dance. Each dance can be called modern, but for its time. Thus, modern dance is modern dance, fashionable and relevant for its time. The purpose of modern dance is to express the feelings and moods of a person. This is a rather free, versatile dance style that does not have clear standards. Choreographers, in an effort to convey the thoughts and feelings of people, are in constant search, and invent new movements, often mixing different techniques, styles and directions.
Modern dance has its roots in classical ballet. On the one hand, modern dance was created as a reaction against the formal, rigid restrictions of classical ballet (for example, the emphasis in this style falls on free, expressive movements, which is not the case in classical ballet in which everything is subject to certain rules), on the other hand, modern dance has absorbed many of the movements and steps from classical ballet that have entered the modern dance repertoire.
The reason for the emergence of the modern direction of choreography was the crisis of the classical ballet school at the beginning of the 20th century. The dancers of that time needed new techniques to express new ideas about human freedom, far from the traditions of classical dance.
The concept of modern dance lies in the freedom and expressiveness of movements, which provide an amazing opportunity to express your feelings in the most vivid colors.
During the 20th century, many different directions appeared, modern dance includes such areas as: modern dance, contact improvisation, jazz modern, contemporary dance, free plastic, locking, pop locking, breakdance, hip-hop, jazz, funk and a lot others.
The ideas of modern dance were anticipated back in 1830 by the famous French teacher and stage movement theorist François Delsarte, who studied the connection between voice, gesture and emotion. He argued that only a gesture freed from convention and stylization is capable of truthfully conveying all the nuances of human experiences.
The prehistory of modern dance begins in the early 20th century, the three muses of early modern dance in America were Isadora Duncan, Ruth St. Denis and Loy Fuller. They created their own schools of modern ballet - an art free from conventions. Improvisation and free choreography is the main principle of modern dance art. They combined philosophy, drama, vaudeville and ancient history in their dances in different ways, which served as the starting point for creating the foundations of modern dance. The 20th century brought many new dance types and styles, the most famous of which are boogie-woogie, jazz dances, blues, Charleston, rock and roll, macarena, step, lambada, Latin American dances. At the end of the 20th century, disco dances, hip-hop, breakdance, hustle, krump, tectonics, rhythm and blues and others became widespread.
Isadora Duncan and a few of her like-minded people decided to challenge the traditional choreography. They opened their own schools, where they taught the basics of modern ballet. The main idea of this dance direction was free choreography based on improvisation and expression of one's own emotions. The generally recognized founder of modern dance is Isadora Duncan. She began her work at the end of the 19th century. Isadora Duncan is an innovator and reformer of choreography, who in her dances, freed from formalistic classical ballet forms, gave a plastic embodiment of musical content. She contrasted the classical school of ballet with free plastic dance. She used ancient Greek plastique, danced in a tunic and without shoes. One of the first to use symphonic music for dancing, including Chopin, Gluck, Schubert, Beethoven, Wagner. Isadora dreamed of creating a new person for whom dancing would be more than a natural thing. With her dance, she restored the harmony of soul and body. She opened dance to people in its purest form, “self-valuable only in itself”, built according to the laws of pure art. In the harmonic dance art of Isadora Duncan, the desire for harmony and beauty is expressed in an ideal form. Starting from music, she came in motion to the harmonic canon, and that is why she became the main and only founder of the entire dance modern. Duncan has achieved a perfect match of the emotional expressiveness of musical and dance images. The movement was born out of the music, not preceded it. Duncan dance language was the language of natural, expressive, free movements. Unusually expressive and musical, Isadora used free, liberated body movements in her improvisational dances. The main god Duncan was naturalness. In her name, she denied technique, exhausting exercise. The artistic practice of Duncan amazed contemporaries with an amazing fusion of the world of emotional experiences, plasticity and music.
The second generation in the field of modern dance are such choreographers as: Martha Graham, Doris Humphrey, Charles Weidman, Helen Tamiris, Chania Holm. Their merit lies, first of all, in the fact that each of them was not only a brilliant choreographer and performer, but also a teacher who created his own system for training dancers. M. Graham was the first teacher, choreographer and performer who consistently created a dance system. The success of her group is already brought by the first productions in New York in 1926, The Heretic and The Primitive Mysteries. Graham created performances based on the legendary epic theme, on the plots of ancient and biblical mythology. First of all, she sought to create a dramatic language of dance, capable of conveying the whole complex of human experiences. The second most important choreographer and teacher was Doris Humphrey. Paying great attention to the plastic refinement and technicality of the dance, Doris Humphrey at the same time opposed the beauty and refined dance of Saint-Denis. Her work was influenced by the folklore of the American Indians and Negroes, as well as the art of the East. She was the first in the United States to teach dance composition and summarized her experience in the book The Art of Dance.
In the 1950s, the third generation began to create. After the Second World War, young performers and choreographers faced a rather acute question: to continue the traditions of the older generation or to look for their own ways of developing dance art. Some of the choreographers completely abandoned the experience of previous generations and plunged headlong into the experiment. Many of them denied the usual stage space and transferred their performances to the streets, parks, etc., denied the form of the performance, involving the viewer in the theatrical action. The attitude towards costumes, music and other components of theatrical action has changed. Many choreographers have completely abandoned musical accompaniment and used only percussion instruments or noises. Composers often became co-creators of the choreographer, creating music at the same time as movement. One of those who continued the traditions of the previous generation was José Limón. His choreography is a complex synthesis of American modern dance and Spanish-Mexican traditions with sharp contrasts of lyrical and dramatic beginnings. Heroes are depicted at moments of the highest tension, extreme spiritual uplift, when the subconscious mind guides their actions. The greatest popularity was gained by his performances "The Moor's Pavane", "Dances for Isadora", "Mass of War Times". Merce Cunningham was undoubtedly the spiritual "father" of the choreographic avant-garde. He was one of those who went his own way and founded his own dance school. His performances amazed with an unexpected approach to the movement. Cunningham viewed the performance as a union of independently created, independent elements. M. Cunningham believed that any movement can be dance, and the composition of the dance is built according to the laws of chance. The main task of the choreographer is to create momentary choreography, where each performer has his own rhythm and movement. Just like M. Graham and D. Humphrey, M. Cunningham created his own technique and school of dance. Thus, by the beginning of the 70s of the twentieth century, several main schools of dance had developed - modern: the technique of M. Graham, D. Humphrey and H. Limon, the technique of M. Cunningham. At the same time, the system of jazz dance developed and improved.
Jazz dance developed from the dances of African tribes. Jazz dance was brought to America by slaves from Africa in the 17th and 18th centuries. Once in America, they quickly restored their holidays and customs and adapted: instead of drums, they used hand clapping and kicking the rhythm with their feet. For several centuries, there was a merger of two cultures, African and American, and as a result a unique incendiary dance arose. In the 20s. In the 20th century, jazz music and dance gained immense popularity. Professional dancers began to perform on the stage, who brought new techniques to the jazz style and began to teach jazz to others. At the same time, jazz was enriched with elements of European dances.
In the 40-50s. popular music has undergone significant changes, and dance has changed with it. Styles of modern jazz emerged during this period. Today, there are many styles of jazz that dance to different types of music. But all these styles combine energetic and rhythmic movements. Rhythm and coordination are the most important aspects of jazz dance. A characteristic feature of jazz is syncopation - not only the strong beats of the beat are accentuated, but also the weak beat of the beat. Jazz dance often uses the movements of the hips and pelvis, they give the dance a special expressiveness. Isolated movements are the main feature of jazz dance. Naturally, teachers and choreographers increasingly synthesized various techniques and styles of dance in their lessons and performances. The first teacher and choreographer who combined the techniques of modern dance and jazz dance in his work was Luigi (Eugene Louis) who synthesized the technique of classical dance and jazz. Gus Giordano in 1966 published the first textbook on modern jazz technique. Gradually, interest in modern jazz dance is growing, American teachers conduct the first seminars. Thus, by the beginning of the 70s, a new direction arose - modern jazz. Jazz dance, having gone from everyday, folklore dance through stage, theatrical, gradually becomes a special kind of dance art, and captures the whole of Europe. This school has conquered many countries of the world, it allows you to educate the dancer's body in the most comprehensive way. Jazz dance is constantly changing, partly because of that. That dancers can bring their own movements to the dance, and also because jazz is danced to a wide variety of music. Currently, there are types of jazz: classical jazz or traditional. These are early forms of jazz dance performed by Africans.
Afrojazz is an attempt to connect today's jazz with its African ancestor. It got its name from the name of the street in New York, where many theaters are located.
By the end of the 60s, jazz dance had firmly taken its place in a number of areas of modern choreography, and at the same time the process of merging the main schools of modern choreography began. The first teacher and choreographer who combined the techniques of modern dance and jazz dance in his work was Jack Cole Luigi (Eugene Louis) who synthesized the technique of classical dance and jazz. Gus Giordano in 1966 published the first textbook on the technique of modern jazz dance. Interest in modern jazz dance is gradually growing in Western Europe, American teachers conduct the first seminars.
In the 70s of the 19th century, street dance styles such as locking, breakdance, hip-hop became popular in America, in the 90s styles such as funk, krump. At the very beginning, these dances had a spontaneous character: young people, gathering together, arranged their own dance competitions, calling them battles. Then they began to prepare for the battles in advance, inviting spectators and support groups. Nowadays, such competitions are already held at the international level in various places on our planet.
Locking - technically, locking is very close to its progenitor hip-hop, so many elements were borrowed from there - sharp and intense movements, various throwing and shaking hands, jumps of various types and levels. Locking is a synthesis of movement and stillness.
Hip-hop is a cultural trend that originated among the New York working class in the late 1970s. This is a dance style on the basis of which the entire modern vocabulary of club dances is built. A cheerful and energetic, non-aggressive dance, based on the technique of which is the “swing” of the body, jumps, a combination of small movements with arms and legs. The music stands out with a broken, dynamic rhythm of medium speed with short inserts of instruments.
Breakdance - the first part presents the so-called upper break, which has practically endless possibilities, limited only by the imagination of the performer or team of performers. In it, you can fully and widely reveal yourself, improvising both on the go and before the performance, creating and inventing new elements and movements. The movements of this direction require some preparation from the dancer and are distinguished by the specificity of performance and imitate unusual types of movements for a person in everyday life: mechanical with fixation at certain points, or articulated, similar to the movements of clockwork toys, as well as imitation of robotic movements or movements of rubber limbs. The second major part, called breaking, sometimes called the lower breakdance, seems to us, as indicated above, to be active, energetic and requires decent physical preparation from the performer. The lower break looks very impressive and is filled with acrobatic elements.
Crump is a development of "Clowning" or "Clown Dance" style. Its distinctive feature is the power and strength of the performer, aimed at freeing the dancer from negative energy, by splashing out his emotions from the stage. The Clown Dance was created in the early 90s by Thomas Johnson, or Tommy the Clown. In 1992, Johnson began to combine various local dance elements and create a unique, versatile style that also helped him pursue his own career as a clown for children. The krump dancers interact more with each other and work with the partner's weight. Performers such as Missy Elliott, Chemical Brothers, Black Eyed Peas, using krumping in their videos, made the dance famous all over the world.
Contact improvisation appeared in 1972. Contact improvisation is a dance in which improvisation is built around the point of contact with a partner. Contact improvisation is a form of free dance. The American Steve Paxton is considered to be the founder of the Contact Improvisation school. As a choreographer and dancer, he studied modern and classical dance, did gymnastics and aikido, and also spent a lot of time researching dance improvisation. In contact improvisation, the movement follows the displacement of the point of contact between the bodies of the partners. The movement prevails when two bodies come into contact, the search for mutual spatial trajectories when interacting with the weight of the body. The dance is guided by the feelings of the partners, their intention to maintain or not to maintain physical contact and to continue the search for mutual support.
Hustle is a pair dance based on improvisation and "leading".
Translated from English hustle "hustle, crush." It is a collective name for dancing to disco music popular in the 1980s, such as disco fox, disco swing, and the hustle itself.
It is a “social” dance - that is, it is basically extremely simple, dances in four counts (disco-fox for three) to almost any music, does not require long training and allows anyone who wants to dance after a little practice.
The richer and more diverse the music became with the advent of new electric musical instruments, the more different musical directions arose, and with them different styles of dance. In the late 80s and early 90s, certain styles gained popularity with the advent of videos. The work of Michael Jackson, who was then called the king of pop music and the king of dance, gave rise to a new type of performance - "a la Jackson". His most famous clips from the albums "Thriller", "Bad", used the movements of disco, break, hip-hop.
In the 20th century, the term "variety dance" appears - this is a product of secular art history, it reflects, first of all, the place where the performer enters. That is, not a theater stage, but a platform for a variety show or a concert hall. The concept of "variety dance" also includes stylizations of folk dances, sports dances, demi-classics, dances in the styles of everyday choreography, step, currently on the stage we see quite a lot of performances, solved by means of jazz dance or modern dance. Thus, the concept of "variety dance" unites quite a lot of areas of choreographic art. However, at present, in many universities and institutes of culture and art, departments of precisely "variety" dance have been opened. Unfortunately, nothing can be done about this terminological confusion.
It can be said with full confidence that the 20th century was a real creative breakthrough for choreography and a kind of revolution in the culture of dance.
Summing up, we can say that modern dance is a relative, momentary concept, and each period of time has its own musical culture, which gives rise to new types of dance. However, modern dance styles have quite a variety of elements, which makes them more democratic and accessible to people with certain limitations in plasticity and flexibility.
The choreographic performance "Rope" was staged on the basis of the direction of modern dance - free plasticity.
Loose plastic- a movement that arose at the beginning of the twentieth century for liberation from the framework of classical dance and the merging of dance with life. In this style, principles were formulated on which modern and jazz-modern dance, contemporary, and even contact improvisation were based. Isidora Duncan became the founder of free plastics.
One of the ideological sources of free dance was the movement for physical perfection, the emancipation of the body, the denial of frames and boundaries, the mixing of dance directions and styles. The founders of free dance believed that everyone could and should dance, and that dance would help everyone develop and change their lives. Free plastic is always emancipation, self-expression, "flight", it is a special attitude towards oneself, one's body, a special way of thinking. Free plasticity allows you to be both spontaneous and conscious; makes it possible to express oneself in creativity, to feel the joy of movement, the harmony of the body with music and rhythm. Free plasticity is a direction in modern choreography. A type of stage dance, where elements of jazz choreography, modern style and classical dance technique are combined in an amazing way.
1.2. Sources and motivation for choosing the theme of the choreographic performance "The Bound"
The theme of the plot of the choreographic performance "Bound" is based on the short film "Rope". The short plot of the film (or rather, sketches) is as follows: a young man and a girl “come to their senses” in the middle of the street, they are tied back to back with a rope and cannot free themselves. The girl resists, and the guy goes the intended way. The passers-by they meet show different reactions to their situation: some ignore, others mock. The last person to meet unties them, he strokes the girl's face and unties her. Further, the girl realizes what happened and understands that she cannot be without a young man. The young man, when they untied him, wanted to hit the liberator, but simply drove him away, returned to the girl, and together they began to tie themselves up again with a rope.
Actually, this movie is a metaphor. The rope, as a symbol of relationships, a kind of unconscious or conscious dependence in relationships with one's half - this is precisely the main theme of this film.
Similar symbolism is often found in cinema, and in literature, in the songwriting of modern musicians, handcuffs, chains, fetters can be a variation of the rope. Similar plots can be found in the mythology of Plato: ideal creatures with four arms, four legs and two heads, who were separated by the creator and who have been looking for their soul mate all their lives on earth.
Another secondary theme in the film is the attitude of the people around them to the situation they observe, their reaction. The people around them get satisfaction from watching the torment of two people connected with each other. They are two passers-by who make fun of them, try to portray them, while their self-esteem rises from what they see. Further on their way they meet two hooligans who try to mock them, humiliate them. Only one person showed sympathy and his help.
At the end of the film, which is more interesting for understanding the meaning that the author put in: the characters walk together, holding each other's hands, she puts her head on his shoulder. Each viewer who has watched the film will draw their own conclusions: someone will say that love in a relationship should go hand in hand with the freedom of both partners, and someone will understand love as no longer freedom, but dependence.
Addiction happens not only in relationships based on love, but also in relationships between parents and children, in friendships between friends, between people who are forced to be together for some reason. My production shows the psychological dependence between two friends. Awareness of dependence on each other, when girlfriends crossed a certain line in their relationship with each other and they developed such a degree of psychological intimacy in which both or one of the two lost themselves and this circumstance began to burden each of them. For example, such a feeling may arise from empathy with each other in some difficult situations. Suppose a husband or fiancé left one of her friends - then the second friend becomes "everything" for the first - and a comforter, and an adviser, and a mother. At the same time, the comforter enjoys her need and significance, she feels strong, mature and wise - after all, her friend needs her advice, who readily uses them.
The comforter, forgetting about herself and her loved ones (husband, children), all day long experiences events from the life of her friend as her own, almost no longer distinguishing her life from the life of her friend. So there is a loss of self in the relationship of girlfriends and addiction arises. There comes a moment when everything in life begins to improve for the "unfortunate" girlfriend (for example, a man appears), she gradually moves away from the comforter - after all, she is no longer needed.
And here the comforter experiences real torment - she feels emptiness, loneliness (despite the presence of a husband and relatives), pain and jealous of her friend for her new chosen one, which causes her friend irritation and unwillingness to communicate. From the outside, this may look comical, but in fact this is a very painful situation that can end in neurosis, depression and loss of interest in life for the abandoned comforter. Often, besides, former girlfriends break up, ceasing to see and communicate with each other. And their friendship, in which there was a lot of good and sincere, comes to an end.
Conversation for younger students"History of the origin and development of dance"
(within the framework of aesthetic development)
Dear guys, have you ever wondered: “What is dance?” - when you saw a ballet performance on stage or on TV, a beautiful folk or pop dance. “Where do its origins come from? How to master this art? Today you will learn the history of the origin and development of dance art.
Even in the most ancient times, dance was one of the first languages in which people could express their feelings.
Do you know that the first dances of antiquity were far from what is called this word today? Ancient man conveyed his impressions of the world around him with various movements and gestures, putting his mood, his state of mind into them. Shouts, singing, pantomime play were interconnected with the dance. These actions had ritual significance. ANDThe first dances were of a ritualistic nature.
Dance has always been closely connected with the life and way of life of people. Therefore, each dance corresponds to the character, the spirit of the people from whom it originated. With the change in the social system, living conditions, the nature and themes of art changed, and the dance also changed.
Expressive dances were of great importance both in everyday life and in public life. Very often the festivities began and were accompanied by dancing. With the development of society, dances also developed, various forms appeared: already among the ancient Greeks, dances could be divided into sacred (ritual, ritual), military, stage, social and domestic. Approximately the same character dances were among other peoples.
In Rus', the origin of various dances dates back to ancient times. The most ancient Russian folk dance was a round dance - this is a mass dance, its pattern is a simple circle, personifying the movement of the Sun around the Earth. Later, quadrilles, lancets, sixes, etc. appeared.
But the first professional dances, the first ballets arose in medieval France. It was there that from dances with swaying and stomping, jumps and jumps, called branles (from the word Branle - swinging, round dance), French choreography arose over time. And to this day in professional choreography, the terminology is preserved in French.
In Russia, choreography originated in the 6th century. BC. and for a long time there were various teachings and teaching methods until more than a hundred years ago, the ballerina and teacher A.Ya. Vaganova did not create a logical clear system of classical dance. It is this system that has been teaching children classical dance for many years in ballet and choreographic schools, studios, and departments. It is the system of A.Ya. Vaganova is the basis of professional dance.
Preview:
Methodical development
"Features of teaching folk - stage dance in different age groups of a children's choreographic group"
Teacher - choreographer
Chesnokova T.E
- Introduction
- The value of folk culture and folk - stage dance in the aesthetic education of children.
- Construction of a folk-stage dance lesson in a children's choreographic group.
- Age features of teaching folk - stage dance.
Folk art is a wonderful inexhaustible treasury from which the creators of dances have scooped and will scoop material for their creativity. Only by loving, understanding and knowing folk art, one can use it and benefit it.
Dance is a kind of chronicle of the life of the people. Transformations in the life of the people are reflected in the development of folk art. New themes, plots, images come to the choreography. Recently stage dance has been noticeably enriched with technique, has become more expressive and complex. But as before, the soul of the people is reflected in these dances, one or another manner of performance is emphasized.
One of the treasures of folk art is folk dance.
And, since here we will talk about a children's folk group, it should be noted that folk dance is one of the most important means of aesthetic education of children.
Working with children means daily, hourly, from year to year to give the child your life spiritual experience, shaping his personality, developed comprehensively and harmoniously.
One of the links in the educational process as a whole can be considered a lessonfolk stage dance,in which education and training are inseparable.
Progressive teaching practice highlights the main directions of the educational process: “you need to teach easily, pleasantly, thoroughly”, “you need to teach in an accessible and durable way”.
Based on this, it is possible to single out the basic principles of the learning process that must be used in building a folk stage dance lesson:
- From simple to complex;
- Availability.
For example, when studying an element of Ukrainian dance - the “runner” movement, we first learn this movement in a circle in its “pure form”, only after that it can be performed in combination with other movements: various turns, hand positions, and then in more complex combinations.
It is best to explain new material simply, clearly, and laconic.
The lesson of folk-stage dance is based on the construction of a lesson of classical dance, which includes an exercise at the barre and in the middle.
Taking into account the peculiarities of folk dance in general, the lesson is built a little differently, more precisely, the second half of the lesson. If in classical dance the “middle” is adagio and allegro, then in folk-stage dance it is the learning of individual dance combinations and etudes. The order of exercises at the barre is set according to the principle of alternating movements that train different muscle groups.
In its finished form, a folk-stage dance lesson may look like this:
1) demi and grand plie.
2) Sliding the foot on the floor (battement tendu)
3) Heel exercises that work the heel
Supporting leg.
4) Small throws (battement tendu jete)
5) Exercise with relaxed foot (flic-flac)
6) Preparation for the "rope"
7) Low and high knee turns (battement fondu)
8) Fractional percussion
9) Rotational movements of the leg (rond de jambe)
10) 90 degree leg opening (devolope)
11) Zigzags
12) Big throws of the working leg 90 degrees (grand
Battement tendu jete)
13) Exercises facing the machine
14) Jumping
15) Squats
Exercise in the middle:
- Rotations
- Learning individual dance combinations, movements
- Etudes
But in this form, a lesson can only be built in work with an adult.
team, as the child's body can not withstand such a load.
From the above lesson of folk - stage dance, it is necessary to select only those familiar elements of the lesson that the child is capable of and help develop stability, coordination, musicality, at the same time, maintaining the overall structure of the lesson.
Children of different ages differ significantly from each other in terms of the degree of mental, moral and physical development. Taking into account the age characteristics, strengths and capabilities of children, the teacher-choreographer must build a folk-stage dance lesson, presenting optimal requirements for each age.
It is known that the featureyounger ageis his emotional activity, the desire for a specific, relatively short activity. That is, for younger children, the lesson can be built on game elements. In this case, any explained material will be better absorbed, due to the psychological characteristics of younger children, that is, the ability to active, emotional concrete activity. It is impossible to focus the child's attention on working out the same elements for a long time. In this case, he gets tired physically, attention is scattered. The child needs emotional release, a change of actions, a change of information.
IN adolescenceit is important to take into account the desire for adulthood, independence, a clearer awareness of their actions. Here, about 1/3 of the lesson is given to exercises at the barre, after which you can move on to the “middle”. The lesson should not be monotonous, from each of it, albeit a brief section, which is interesting to the child precisely because of its novelty, one must benefit. The teacher himself must decide what is the specific weight of each movement during the lesson, and determine the ratio of the parts of the lesson. The first, simplest movements anticipate more complex ones and are necessary for the child to dance correctly and beautifully later. At first, it is not necessary to keep the children's attention on one movement for a long time. Staying at the barre for too long can cause boredom and even loss of interest. It is advisable to start the “middle” with some exercises completed at the barre. Here, much attention is paid to the coordination of the movement of the legs, with the movements of the body and head. Gradually, classes in the “middle” become more complicated: the individual movements passed will be combined into small studies.
In the children's groupolder ageexercises at the barre become more technically and emotionally more difficult. The time allotted for classes in the "middle" is gradually increasing by reducing the exercises at the barre. Exercises, both at the barre and in the middle, change, the pace of their implementation accelerates, and the studies become more complex. All new elements should not be “given out” at once, during one lesson, it is necessary to carefully give children the opportunity to master some of the elements; then put aside the learned material for a while, replacing it with a new one. The correctness, clarity, accuracy of performing the elements of folk dance should enter the subconscious of the child, be fixed in his muscle memory, become a kind of reflex. Only in this case it is possible to create the necessary prerequisites for successful work on various dance numbers.
The musical content of the lesson is a matter of paramount importance. It is during a successive series of lessons that children are accustomed to a kind of melodic thinking. Accordingly, for the middle and older age, music is selected more diverse with a complicated rhythmic pattern and melodic coloring. In a young children's team, it is necessary to choose extremely clear melodies, bright, figurative, especially at first. Musical accompaniment in the lessons should be organically connected with the movements performed, should correspond to the nature of the movements, style and nationality, should be clearly consistent with the rhythm.
All taken together, it educates both the musical culture and the taste of children, which is of no small importance in the future.
A serious place in the construction of a lesson in folk - stage dance in the children's team has the selection of the repertoire and the studied nationalities, since not all nationalities can be taken for study in the children's team. For example, elements of Russian, Belarusian dance in a children's teamyounger agewill be assimilated more easily than the elements of Polish, Uzbek dance. In the children's groupmiddle and older ageaccordingly, the repertoire should be expanded. It is already possible to take elements of Ukrainian, Tatar, Bashkir dance and others for study.
Children are capable of learning an incredible amount. They actively, eagerly and gratefully respond to the word of the teacher.
All of the above allows us to conclude that not only the construction of a folk-stage dance lesson, but also all work with a children's dance group as a whole must be approached sensitively, professionally, competently, taking into account all the specific features of childhood, with love for children and for one's own professions.
Literature
1. Inozemtseva G.V. "Folk dance" - M., 1971
2. Reznikova Z.P. "Dances of the peoples of the world" - M., 1959
3. Stukolkina N.M. “Four Exercises. Lessons of characteristic dance "-
M., 1972
4. Uralskaya V.I. "Nature of dance" - M., 1981
5. Goleizovsky K.Ya. "Images of Russian folk choreography" - M.,
1964
- Gusev G.P. "Methods of teaching folk dance" - M., 2004
- Telegina L.A. "Folk - stage dance" - Samara, 2002
- Gusev G.P. "Methods of teaching folk dance: - Exercises at the barre" - M., 2003
- Uralskaya V.I. "Birth of dance" - M., 2982
