Педагогические науки / 5.
Современные методы преподавания
Romanov
V.A., Rudneva
L.V., Egorov A.I.
Pedagogical requirements for
expressive movements development by means of choreography for schoolgirls with muscle-skeleton disorder
The number of schoolchildren
with muscle-skeleton disorder is increasing nowadays. Literature data analysis
as well as our professional experience proves that such students face problems in independent living skills,
movement, training, communication, pastime, which makes the task of creating
necessary conditions for their socialization and integration in the society
especially important.
Within a framework of Accessibility State Programme
(2011 -2020) schoolchildren with different development delays, including muscle-skeleton
disorder (amputees, wheelchair invalids and others), will have the ability to
access the activities according to their interest, choreography among them. In
our opinion choreography provides the best possibility for character building,
esthetic development and cultivation of dancer’s personality in general.
Wheelchair dances started to develop in
The grounds for the wheelchairers classes were
provided by city of
In our opinion, dancing classes teach not only to understand beauty but
also to express beauty by body movements. Body expressiveness is one of the components
which delivers the dance “language”.
S.I. Ozhegov and Ju.I. Rodin consider expressiveness to be “the ability to
express your inner state by outer means” [1].
According to Ju. I. Rodin, Doctor of Psychology,
“expressiveness can be viewed as a certain unity of psycho-physiological system,
which include a number of co-existing and self-regulating functional systems of
preverbal and verbal levels, reflecting the values of external and internal
human impetus, manifesting itself as muscle movements. Every human movement is expressive, because it
always shows at least presence or absence of emotional experience (motor response),
person’s attitude to what is happening (motor behavior)” [3].
Thus, movement expressiveness is the means to deliver a certain emotional
state by acting.
Ju.I. Rodin states that “expressive movements can have their own,
independent of words, meaning. This refers to immediately arising emotions. It is
not the case with the expressive movements in the dance – they are scenic, different
from life-like, though at the same time “acting” calls for the actor’s special
emotion which enhances the technique” [3].
Literature data analysis shows that dance
movements expressiveness is determined, on the one hand, by the richness of
inner emotional experience and, on the other hand, by control of motor palette, choreographic vocabulary,
ability to convey these feelings. In our opinion it is determined by the inborn
potential of the performer and, at the same time, by the environment in which
the performer, the dancer lives.
Particularly the choreographer-tutor has a great effect on the modeling
of the pupil’s personality. Both these
factors are closely connected, but the minor role is played by spirituality, because you cannot rise to eminence
in any field without persistence and determination.
Principal expressive means of dancing art are harmonic movements, posture,
plastic, facial mobility, dynamic motion, tempo and rhythm, spatial design,
arrangement. Onstage dress and requisites are also of great importance but
the main thing in the dance is music, which enhances the expressiveness of
dancers’ movements and gestures, emotional charge of the dance in general.
The wheelchair schoolgirls’ ability to express emotions and display feelings is somewhat hindered due to primary
and secondary handicap, but it is absolutely necessary in dancing, and that
makes the girls look for means and techniques to encourage the development of
this ability. This quest is the aim of our investigation.
Successful solution of the movement expressiveness problem requires development
and introduction in the teaching process some necessary pedagogical conditions of
its perfection on the basis of intensification.
Taking into account professional experience of present day pedagogical researches we may say
that “pedagogical conditions are to be understood as a content validity of the components
which constitute the training and education
system” to which we can add from our professional experience “and creation of
such an educational process that would be aimed at reaching particular
didactical goals in the framework of training the girls the movement
expressiveness by means of choreography” [2; 4].
We have found out that the process of movement
expressiveness development in schoolgirls with muscle-skeleton disorder will be more efficient
under the following pedagogical conditions:
1. Use of special verbal and tactile
communication means;
2. Compensation of both
primary and secondary deviations of the schoolgirls with developmental delay in
dancing classes;
3. Creation of correctional-developmental environment in the
dancers’ training process, etc.
We have developed adaptive complexes of choreographical exercises for the basic part of a training class
for the movement expressiveness development
in schoolgirls with muscle-skeleton disorder.
The
complex consists of four training blocks with three exercises in each:
1. Port de bras of
I, II, III forms.
2. Musical rhythmical exercises for hearing perception.
3. The student listens to the music, determines its
character and follows with his hands movements rhythms of smooth, alarming
and expressive music.
4. Posture correction exercises in sitting position which
include different movements of the head, arms, body, performed separately and
in combinations.
The research involved two girls of 14 and 16 years
of age, disability status 2. The dancing classes took place two times a week,
duration of each 45 - 75 minutes.
We can state with certainty that the experimental
training complex aimed at development of movement expressiveness has proved
successful, which was demonstrated by the improved results of special tests.
The best results were obtained in “The evaluation of sense of rhythm” and “The
reflection of music character with the
arms movements” tests. In “Port de bras” test one of the students got the
highest result, and the other showed a satisfactory result. In our opinion it
can be explained by the personality traits of
the participants and their primary defect.
Despite
the sort time of its existence the Tulitsa ensemble
has repeatedly participated in the
city’s public events on different stages. The ensemble’s repertoire includes
both solo dances and duets.
Thus,
the analysis of our research shows that dancing is not only the means of
adaptive rehabilitation, motor recreation,
but also contributes a lot to
spiritual and esthetic development,
overcoming of isolation, to social integration and the realization of disabled
people’s creative potential.
Literature
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Ожегов С.И. "Словарь русского языка" (1949,
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