Music genre polka. Nod "in the rhythm of the dance"

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Target: Formation of the student's personality by the force of the influence of musical and choreographic arts.

Methodological goal: Improving approaches to the theory and practice of managing the quality of student education.

Tasks:

• educational: Active-practical and theoretical development of dance music genres: minuet, polonaise, gavotte, waltz, polka, children's ballroom dance. Assimilation of knowledge about the character, homeland, rhythm, size, tempo of each dance.
• educational: Education of artistic taste, emotional culture, communication, patriotic education.
• developing: The development of musical and choreographic abilities of students through the active development of the repertoire, the development of inner hearing, sense of rhythm, intellectual development.

Repertoire of musical compositions of the lesson:

1. D. Tukhmanov "Victory Day"
2. F. Gossec Gavot
3. V. Kachurbina, S. Rachmaninov, J. Strauss Polka
4. L. Boccherini, W. Mozart Minuet
5. E. Doga Waltz, M. Blanter "In the forest near the front", A. Peterbuzhsky "Blue handkerchief"
6. S. Joplen Reigtime.
7. M. Glinka, M. Oginsky Polonaise
8. F. Chopin Mazurkas No. 23, 19
9. Czech folk dance "Annushka"
10. Russian folk dances “From under the oak tree”, “Tell everyone, Nadyusha”, “Like at butter week”.

Preliminary work: Learning dance movements and staging dances: pas de grasse, polka, barre exercise, ragtime, waltz, polonaise, mazurka, minuet.

Basic terms of the lesson: Polonaise, waltz, mazurka, gavotte, minuet, polka.

Equipment: Piano, PC, Dance Music Genres presentation, D.S. Likhachev.

Type of lesson: Integrated.

Lesson type: Communication of new knowledge.

Possible personality-significant problem: Participation of students in a real living product of art, raising the level of social significance of culture and art.

During the classes

I. Organizational part of the lesson: students enter to the music of the march.

II. Introductory speech of the teacher, message of the goal and topic of the lesson.

Music teacher: From ancient times to the present day, people of all ages and professions love to move: march, dance; on holidays or just on free evenings, having fun at ease or participating in a solemn ceremony, not everyone knows how to dance well, but everyone wants to dance. Dance is joy!

III. Working on new material.

Choreography teacher: Many centuries ago, dances could be seen in rural squares, where peasants whirled to the simple sounds of home-made instruments, and in magnificent palace halls, accompanied by trumpets, violas or an orchestra.

P.m.: Most dances in one form or another have survived to our time. Of course, they differ from one another depending on the country in which they were born, on the time when this happened, on who performed them and where. You probably already guessed that the topic of our lesson is: “Genres of dance music”.

F.H.: Ancient Greek philosophers and writers - Plato, Aristotle, Plutarch, Lucian, who wrote a whole treatise "On Dance", which has come down to our days, thought about the aesthetic meaning of dance. Despite the difference in views, on the genre division of dance, they recognized its educational value, saw it not as a means of entertainment, but as a means of harmonious development of a person, conveying an emotional state.

P.m.: Over the centuries of its development, the dance has become much more complicated, turned into an independent art form, including different genres and directions. The dance reflects the customs and tastes of its time, its people. Every era has its favorite dances. In the 17th century, the minuet was fashionable, in a hundred years Europe will begin to dance the waltz, then the Charleston, the foxtrot, and the tango. New dances appear, old ones are forgotten. Sometimes the unexpected happens: everyday dance, seemingly long forgotten, suddenly acquires a second life, begins to sound in symphonies, operas, ballets. Separate movements formed, for example, the basis of classical dance, the hallmarks of which were sublimity, spirituality, and poetry.

F.H.: Elements of the classical simulator are essential components of training. They evenly develop the musculoskeletal system and all the muscles of the body and limbs, train breathing, form the correct posture and form the basis for a competent setting of the body.

P.m.: Moving to the beautiful music, absorbing its rhythm, breathing, passing music through your heart, dance to learn to express your emotions in a musically organized movement, develops emotionality, instills artistry.

F.H.: Bow, exercise at the machine.

(students bow and exercise at the barre)

How did the fate of the dance develop?

Polka. The name polka comes from the Czech half (meaning half a step). In the middle of the 19th century, this Czech folk dance became a ballroom dance. Its meter is two-part, the tempo is fast, the rhythm is built on the repetition of the rhythmic structures of the eighth and sixteenth durations, the dance is performed in pairs in a circle, there is nothing artificial, far-fetched, everything is alive, just fun. Where it is necessary to express joy and youthful enthusiasm, the polka is indispensable.

(Students dance the polka)

1840 passionate Polkommen proposed to call the year of the Polka. Polka is danced everywhere: at balls, in cafes, on the streets and even in shops. There were vests and ties "a la polka" and even haircuts "polka". At first, uncertain, timid, the dancers move more freely, bolder. Their eyes sparkle, there is a smile on their lips, they are carried away, seized with excitement. Everyone wants to learn a new dance. Paris only talks about the polka. What amazing field names:

• "Thunder and lightning";
• "Luxury train";
• "Light Blood";
• "Hungarian Polka".

It makes you want to listen to each of these Poles, composed by the composer J. Strauss. Try to guess the name by listening to the music.

(Sounds like one of the fields)

What means of expression led you to the correct answer?

In which album of piano music, written for children in the genre of suite, is there a polka?

How can polka be used in kindergarten?

• dance elements;
• put on a dance, dressing it up;

P.m.: We will try to listen to the music of Tchaikovsky's polka from the "Children's Album" and easily tap its rhythm with the help of your homemade musical instruments. Polka shapes are three-part. The first part is tapped by the rhythm of half the class, the second - the second, the third - all together.

(Polka by P.I. Tchaikovsky sounds, accompanied by a sound orchestra)

Gavotte. Gavotte came into fashion around 1600 and for the next century and a half became one of the most beloved ballroom and operatic ballet dances. Was included in the suite. Although some mannerisms are inherent in the movements of the gavotte, his music, as a rule, is distinguished by the clarity of the melody, the liveliness of the tempo, and the clarity of the rhythm. Its size is quadruple. Composers Lully, Rameau, Bach, Handel turned to the gavotte. S.S. gave new life to the gavotte. Prokofiev. The third movement of his classical symphony is the gavotte. Every note radiates with ingenuous fun, in music there is a leisurely and important confidence.

(students perform the Pas de Gras dance to the music of F. Gossec's gavotte)

And now listen to S. Prokofiev's gavotte and compare the sound of these two "identical" dances.

Minuet. Among the dances of the 18th and 19th centuries, the minuet was king. Minuet was born in a French village in the province of Poitou in Brittany. Under Louis XIV it becomes the main court dance, in Russia it gets to the assemblies of Peter I. The court minuet is slow, solemn, ceremonial. Each step of the dancers was planned in advance: they moved in such a way that a figure in the form of the letter "S" was obtained. From a direct lively folk dance, the minuet turned into a school of gallant manners. It was technically difficult, its performance had to be rehearsed a lot, to study postures and movements, to train in the performance of curtsies, to work out individual figures. The musical size of the minuet is three quarters. Characteristic elements are small, light steps; lady's bows with squats, showing the ability of the dancing lady to handle a wide and long dress, graceful poses of low raised hands with a beautiful bend of the hands, complementing the picture. The gentleman's movements are gallant and respectful in nature and express admiration for the lady. The gentleman and the lady look at each other, the lady may languidly lower her eyes from time to time.

The reforms of Peter I affected not only the economy and the state structure of Russia, but also its culture and way of life. The first newspaper comes out, the first museum and the first library are created. Among these numerous innovations, assemblies occupy a special place. A special decree of 1718 explains in detail how "to send these assemblies." Nobles, boyars, artisans, and even women came to the assemblies. Such a mixture of ranks and titles was unheard of! A Russian woman ceases to be a domestic recluse and for the first time takes part in public amusements on an equal basis with a man. Dancing becomes the main innovation of the assembly, the ability to dance becomes an integral part of noble education.

As is usually the case with every popular dance, the minuet immediately attracted the attention of composers. It is included in suites, sonatas, quartets. It becomes part of the symphony. The middle part of the minuet - the trio - is named after the number of performers in this part.

Let's listen to Mozart's minuet from "Little Night Serenade". Try to determine which instruments are part of the trio.

Answer the question: Is this dance music just for dancing or for listening too?

Polonaise. The 18th century gave world choreography another masterpiece - the polonaise. Unlike the minuet, the polonaise is not so difficult to perform: you do not need to memorize complex pas and memorize their strict sequence. the main thing in the polonaise was a proud posture and a special solemnity.

Polonaise originates from the Polish folk dance procession "Hodzony" (translated from Polish - on foot), which had a solemn sedate character and was performed at wedding celebrations. Over time, the dance fell in love so much that it became an integral part of other folk festivals, where it was performed with various objects. This is how “hodzones with candles”, “hodzones with pillows”, “hodzones with hops”, etc. appeared. But gradually the polonaise lost its simplicity and became a dance of the privileged strata of society.

In the 18th century, a polonaise was already invariably opening every grand, luxuriously furnished ball or dance evening. During the gallant procession, the guests showed themselves, their outfits, secular manners and nobility. All invitees could take part in the dance, without age restrictions. The procession was opened by the owner of the house, paired with the most noble lady, setting the movements repeated by the entire column. From the main hall, the polonaise could slowly move to the farthest rooms or the garden, where no music was heard and the movement continued to the inner rhythm of the dancers.

Polonaise starting position: legs in the first position, the gentleman's right hand supports the lady's hand at chest level, the gentleman's left hand is half-bent behind his back, the lady in her free hand holds a fan or supports a dress. Polonaise step: one measure - three steps with a slight shallow squat on the third beat. The size is three quarters.

Choreographers use polonaises written by F. Chopin, M.I. Glinka, P.I. Tchaikovsky. One of the most popular polonaises is "Farewell to the Motherland", written by the Polish composer Mihail Kleofas Ogiński (1765–1833).

In working with children, the task is not to master the pattern of the dance, but to let the dancers try on the atmosphere of the ball.

M.I. Glinka Polish act of the opera "Ivan Susanin". A magnificent ball in the castle of the Polish king Sigismund, the gentry, confident in their victory, carelessly feasts. The brightly lit hall is full of guests. The action opens with a brilliant polonaise.

(Glinka's polonaise sounds)

A ball in the 19th century is a serious test of ethical maturity. Albert Zorn's book A Grammar of Dance Art and Choreography (1888) hasn't aged a bit in 120 years.

Rules from this book:

1. The invitation to the ball must be sent out at least a week before the ball, so that the ladies have the opportunity to take care of their toilet. At the same time, the time of the beginning of the ball must always be clearly indicated in the invitations.
2. The gentleman turns to the lady with a request to honor him and dance with him. The word "honor" in this case can by no means be replaced by the word "pleasure".
3. If the lady accepts the invitation, then she gets up and goes to dance, if she refuses, she says without getting up: “Excuse me, please, I’m very tired at the moment”
4. A lady who refused would never have to immediately go dancing with another gentleman, because it could get her into a lot of trouble; she must wait a little.
5. The lady must strictly observe that the gentleman is on her left side, both during dances and when moving around the hall. It hardly needs to be mentioned that neither the ladies nor the gentlemen take off their gloves during the ball, and even more so they don’t dance without gloves.
6. At the end of the dance, you should take the lady to the place where she accepted your offer and bow.

Mazurka. Polish dance entered the ballrooms of many European countries. Daring, brilliance and grace distinguish the mazurka. Its pace is moderately fast, the size is tripartite. Many classics of Russian literature described this graceful ballroom dance. Listen to a fragment of the work of the great Russian writer. Remember the name and genre of this work of literature.

Q: How did the story end?

Compare the sound of two mazurkas by Chopin, describe each of them.

(Chopin's mazurkas No. 19, 23, M.I. Glinka from the opera "Ivan Susanin" sound, students perform elements of dance movements)

Waltz. A special place in the circle of dance genres is occupied by the waltz - the king of dances. Waltz in German means "spinning, whirling". Waltz was invented not by one person, but by thousands of people. And these people lived in small towns in Austria and Germany. Such towns were called, in contrast to large and noisy cities, with the word "landl" - a province. In the province, a dance was born, which was called "landler". Guys and girls gathered on the lawn and, to the sounds of a village violin, circling with bouncing began: one, two, three. Wooden shoes clatter to the ground, wooden skirts flutter. It was from this dance that the beautiful waltz originated. His movements are based on turning around himself and moving in a circle. Vienna is considered the official birthplace of the waltz.

It was as if a kind wizard flew a waltz around the world, conquering with his charm. It still reigns today. The waltz is everywhere: in serious and light music, in opera, operetta, ballet and song. No dance can compare with him in the versatility of feelings. Sadness, fun, delight, reflection, sadness - everything can be expressed by a waltz.

Scenes from operas and ballets pass before us in colorful shots.

…. Ball at the high-society nobleman. A young girl in a pink dress. With a beating heart, she waits: will no one ask her to dance? "Waltz, waltz!" - the voice of the manager is heard. Not immediately, as if from afar, a gentle soft melody arises. Her dreamy grace vividly draws a charming image of a girl. The first happy waltz of Natasha Rostova sounds.

But a completely different score. The name day of Tatyana's eldest daughter is celebrated in the Larins' house. A cheerful carefree waltz is spinning. Young people dance, old people gossip. But why suddenly the melody was distorted by anxiety? The ardent, enthusiastic young man saw his friend dancing with his bride, and the first bitter disappointment squeezed his heart.

Listen to how it will be and believe in the victory of the military waltz. Take a look at Viktor Popkov's painting "All the men were taken to the war."

(the waltz “The Blue Handkerchief” is performed, music by E. Petersburgsky, lyrics by Y. Galitsky and M. Maksimov and the waltz by M. Blanter “In the forest near the front”)

ragtime. It became widespread in the early 20th century. It was brought to Europe from across the ocean by jazz ensembles. The rhythm is nervous, tense. Elements of Latin American and African musical and dance folklore are used. Against the background of a monotonous measured accompaniment, syncopations and rhythmic interruptions appear in the melody. To master ragtime, you need a high level of coordination and breathing training, muscle endurance, competent setting of the body, arms, legs, head - all that classical dance gives. Ragtime requires a well-developed sense of rhythm, impeccable coordination, balance and acrobatic flexibility.

(performed ragtime to music by S. Joplin)

Russian folk dance art.

The language of folk melodies from different countries has evolved over thousands of years. One traveler, passing through Russia in the 18th century, wrote with surprise: “I happened to see that some dances used to be a song, they kind of poured out of a song, which at first was accompanied by rhythmic movements.”

(performed Russian dance "From under the oak" with scarves)

Music accompanies a Russian person all his life. She is near in work and in the struggle with the difficulties of life. Round dance and dance songs sound on holidays and in their free time. And how children love to dance!

(round dance game “Tell everyone, Nadyusha”)

And now the oil dance is being performed.

(dance performance)

And at the end of the lesson, the musical and choreographic composition “If the city is dancing”, music. A. Zhurbina.

IV. Reflection.

Students answer one of the following questions in writing:

1. Dance as transformation;
2. Give people a dance;
3. What or who do we represent when we dance;
4. Strong and weak performers;
5. Dance and children.

The background of creative work is classical dance music.

V. Summary of the lesson.

Literature:

1. Vladimirov V.N. Musical literature, - M., 1963.
2. Velikovich E.I. They dance here, - L., 1974.
3. Lifits I.V. Rhythmika, - M., 1989.
4. Toters T.T. Musical and rhythmic education and rhythmic gymnastics, - M., 1989.
5. Franio G.S. The role of rhythm in the aesthetic education of children, - M., 1989.

PROJECT

continuous directly - educational activities with children

Type of lesson: Thematic

Theme of the lesson: "In the rhythm of dance"

Group: preparatory for school

Age characteristic:

A characteristic feature of children in the preparatory group for school is the emergence of interest in problems that go beyond the scope of kindergarten and personal experience. Children are interested in the events of the past and the future, the life of different peoples. At the same time, the knowledge of reality in a preschooler occurs not in a conceptual, but in a visual, figurative and effective form.

Theme Feature

This event has a cognitive, developing and active character; is based on the use of multimedia material, musical repertoire and tasks aimed at developing the cognitive-musical sphere, motor skills of the child.

Lesson objectives system:

Educational aspect:

To learn to compare waltz and polka, to identify their similar and different features;

Development aspect:

Develop the ability to listen to the nature of music, to reflect using

various types of musical and practical activities, develop creative thinking, attention, memory.

Educational aspect:

Contribute to the formation of the spiritual culture of preschoolers, the education of the communicative qualities of the individual, interest and respect for the musical culture of different countries and peoples.

Develop the ability to work in a team;

cause joy, a sense of satisfaction from communicating with music.

Lesson structure:

№ p/n	Lesson stage	The activities of the educator	Children activities
	Introduction	Musical director: To live better in the world - We open the world of music to children: Round dances, games, dances, Every day is like a fairy tale! Hello children! There are many guests in our kindergarten today. Let's welcome them! I am glad to see you in the hall today, glad to see your smiles. At our meeting you will find a lot of new and interesting things.	Greet each other, guests. answer questions
	Main part Solving the rebus	Appeals to children: In front of you REBUS. I hid the topic of today's meeting in it. If you correctly arrange the balls by color, you will find out what we will be talking about. (gets the word DANCE) Musical director: That's right, the topic of our meeting is "Dance". He asks the children a question: Guys, what do you think, what is dance? Musical director: Dance is a way to express your mood and feelings through rhythmic steps and body movements. The dance has been around for a long time. Ancient people could not speak. Instead of words, they had sign language. (shows the children with gestures “goodbye”, “I love you”)	solve a rebus answer the question unravel the meaning of the teacher's gestures
	Viewing on the screen the dances of primitive people	Musical director offers to see the illustrations on the screen	watching images of the dances of primitive people on the screen
		Musical director asking questions: Why do people dance? Where can you see the dance performance? (People dance in moments of joy and fun, while they themselves rest and bring joy to others in order to be healthy) Do you like to dance? Let's cheer up everyone in the hall.
	Performance of a sports composition		children dismantle sultans and perform a sports composition
		Musical director: Children, tell me, is there a language in the world that all the people of the globe understand? It is true that the language of music and movement is understandable to all nations without translation. The dances of the peoples of the world are beautiful and distinctive in character. It depends on the country in which they were born, on the time when it happened, on who performed them and where. How many peoples - so many folk dances	answer questions listen to the teacher
	speech game "Call the dance right"	Let's play, I start and you finish. If the dance was born in England - he (English) If the dance was born in Ukraine - it is (Ukrainian) If the dance was born in Russia - he (Russian)	complete sentences by choosing the correct adjectives
	Creating a problem situation	Musical director: After you, the children of the older group will come to my lesson. They also love to dance and want to learn a lot about different dances. I have two sheets of paper. If you want, together we will make small newspapers for older children - friezes. In them we will talk about the dances we know. Would you like to be my assistants?
	Solving riddles about waltz and polka	Musical director offers to solve riddles that children will guess. 1. Partner, partner picked up And swirled in a whirlwind of dance Couples dance steps 1-2-3! What is this dance? Got it - speak up! (Waltz) 2. I am not a Polish girl, In Czech, I mean "half". My name, by the way, Tells you - a step is shorter. Oh, how much speed in the dance! This dance is called...	two children guess riddles, the rest of the children guess them
		Musical director: Our friezes will be called " WALTZ" and " POLKA».	as they solve riddles, children stick the names of newspapers - “ WALTZ" and " POLKA»
	Listening to music: "WALTZ" Levi's music "LITTLE POLECHKA" music by Alexandrov.	How did you guess that the first was the waltz? What is his mood like? And what is the music of the Pole? That's right, the polka is light, fast, mobile.	answer the teacher's question
	Watch the video "Viennese Waltz" and "Karelo-Finnish Polka"	Musical director offers to watch videos of polka and waltz	watching videos on multimedia installation
	Graphic representation of waltz and polka rhythm	Musical director: Every dance has its own rhythm. What is rhythm? (alternating) Who can clap the polka rhythm? (offers to clap one child, then all together) Who can clap the rhythm of the waltz? (offers to clap one child, then all together) But the rhythm can not only be slammed. It can be represented graphically. Now we will be divided into two subgroups. Some will draw the rhythm of the waltz. and others will cut out even circles - notes of the polka rhythm for our triplets.	listen to the teacher clap the rhythm children are divided at will into two subgroups: one - draws a waltz of snowflakes, a waltz of autumn leaves, a waltz of raindrops, a waltz of flowers, and so on. The second subgroup cuts out circles of the same size to represent the polka rhythm. Then the rhythmic sketches are glued onto the trises.
	Game "Be Careful" "Waltz Joke" D. Shostakovich	Head of Physical Education: Children, do you want to learn how to waltz? And we will learn in the game. Let's try to convey the mood of the waltz with smooth, light and unhurried movements. We will dance, stepping softly, gently swaying, spinning.	choose at will a badge with the image of flowers of various colors. To the music, the children perform the steps of the waltz. Upon completion, they are collected in 3 circles in accordance with the color of the flower. Then they change attributes at will and dance again.
	"Song about the Pole" music by Y. Chichkov	Musical director offers to guess what song he will now lose on the piano. That's right, it's called "Song about Polechka." Let's sing it.	They recognize the song by the melody played without words, remember its name and sing the song in chorus.
	Viewing a presentation about the "History of the Waltz"	Musical The teacher asks the children the following questions: In which country was the Polka dance born? (in the Czech Republic). Where was the dance "Waltz" born? (they do not know the answer). If we don't know something, where can we find it out? (ask, read, internet, TV…) I suggest you turn to our smart computer. The most attentive will hear the name of the homeland "Waltz"	answer questions watching a presentation
	Consideration of flags	Musical director: Waltz was born in Germany. Each state has its own symbols. How can we talk about the Czech Republic and Germany in our trises? (glue the flag). Look, in front of you lies the image of the flag. What can you say about him? (Flag of the Russian Federation). The Czech Republic and Germany also have their own flags. Let's glue their image on our friezes (gives two children an assignment glue the image of the flags).	look at the images of the flags of the Russian Federation, Germany, Czech Republic; glue the corresponding images on the trise
	Composition and performance of creative polka "Good beetle" music spadevecchia	Musical director: Who composes the dance? (people, choreographer). Do you want to be choreographers today? Let's create our own polka. And pictures will help us - helpers. Polka is a Czech folk dance that is known throughout the world. They dance it cheerfully and naturally, jumping in jumps.	answer questions the children take turns presenting their motion card, creating a polka sequence. perform a dance
	looking at pictures of waltz and polka, registration of trizes	Musical director: There are many pictures of dances on the tray. Here are the ones that you cooked with your parents, and those that I prepared. Choose one with a waltz or polka. Check it out for yourself and show your neighbors. Swap with each other. Now think and decide on which triz you will stick your picture. Musical director: There were a few pictures left on the tray. Why didn't you take them, children? (these are pictures depicting Russian dance, round dance). And how did you guess? (for costumes). It is true that each dance has its own music, its own rhythm, and its own costume.	look at the pictures, stick them on trises answer questions to justify their decision adults
	Working with color	Musical director: There is still free space on our friezes. Let's add colors. What color background is more suitable for a waltz? (white, pink, blue, as the dance is gentle, affectionate, graceful) And what color background will suit the polka? (yellow, orange, because the character is mischievous, playful, joyful) The teacher offers to decorate the trises with the appropriate color at will.	answer questions choose paper squares corresponding to the color scheme; stick them on trise
	Final part	Musical director: Let's look at our friezes. Do you think we did a good job? Let's pat ourselves. We are great! With these works, we go to visit the older children, and then hang them in your locker room. Tell your moms and dads about our interesting meeting	we consider ready-made triplets
	End of class:	Musical director: We learned a lot today in the hall. Girls, boys, are you tired? Musical director: I wish health and happiness to all And our meeting FOR-KRY-VA-YU!	answer (in chorus) We have one answer: Not tired, no, no, no!

1. Forms of organization of cognitive activity:

   1. Frontal.

      By subgroups

3) Individual.

Teaching methods:

1. verbal

   Visual

   Practical.

Forms of implementation of teaching methods:

2. questions for children

   assignments for children

   showing the mode of action

   bad situation,

   modeling,

   song and dance performance,

   watching videos and presentations

   manual labor

Means of education:

Multimedia installation, pictures depicting people dancing a waltz and a polka, squares of colored paper in bright and calm colors, sticky pencils for each child, cards - models depicting polka movements, two sheets of drawing paper, an image of the flags of the Russian Federation, the Czech Republic, Germany; presentation about the history of the waltz, video of the waltz and polka, rebus, riddles about the waltz and polka, illustrations of the dances of primitive people, sheets of paper for drawing and cutting rhythm, scissors, sultans, phonograms and notes of the musical repertoire.

Control system:

1. external control (carried out by the music director and the head of the physical

culture),

Polka can truly be called an international dance. This cheerful and mischievous dance is danced all over Europe. And each nationality, having mastered the basics of Czech dance, introduced its own national features and color into it.

The term "polka" comes from the Czech word p?lka, which means "half step". The fast pace requires agile footsteps, which makes the steps small, which led to the name of the dance. Poland is often considered the birthplace of the polka because of the consonant name, but this is not so. In addition, the Swedish folk dance with a musical size ¾ - Polish (polska) also introduces confusion.

History of occurrence

Polka is a cheerful, incendiary dance that appeared in the Czech province of Bohemia in the middle of the 19th century. Cheerful, joyful dance was appreciated, and, soon, not a single festival passed without a beloved dance. Polka is an integral part of any celebration: folk, secular, official.

The temperamental dance was also appreciated by classical composers: Bedrich Smetana, Antonin Dvorak, Johann Strauss-father and Johann Strauss-son and others. The polka quickly became fashionable in the Czech Republic, then in France, and then throughout Europe. In 1845, the dance was brought to Russia from Paris by the famous choreographer of the St. Petersburg imperial troupe, Nikolai Osipovich Goltz. First, the dance appeared on the stage, and then in the salons of aristocrats. Soon, not a single high-society reception could do without a polka. Languid ladies from high society were finally able to show their temperament in a cheerful and mischievous dance.

Now polka is common throughout Europe. In every corner, she has absorbed the national characteristics of different nationalities, and everyone who dances this dance rightfully considers it their own.

What is a polka?

Polka is a pair dance. Time signature is 2/4, tempo is fast. In order to dance the polka, it is enough to learn a few basic movements, but the fast pace requires a virtuoso performance of them. The basic step of the polka is of the same name, it consists of half steps connected by a prefix and performed in a circle of a couple in a circle along the line of dance or against the line of dance. To make the dance steps more spectacular, the lady can make a turn under the arm of the gentleman. A gallop in a circle, stomps, picks and other pas will embellish the dance. Polka is both a concert and social dance. The choreographers put on a polka for demonstration on stage. And at parties, corporate parties and balls, the polka dances with any partner to the right music.



Kinds

Polka conquered all of Europe. Almost every country has its own version of this dance. Polka is considered a folk dance in Russia, Belarus, Ukraine, the Czech Republic, Poland, Germany, the Scandinavian countries, the republics of the former Yugoslavia and many others. The incendiary dance also penetrated the countries of Northern Europe, the British Isles, and even the United States and Latin America. Each nation has brought its own characteristics to the dance: the Estonian yoksu-polka dances slowly, importantly, the Moldavian one is temperamental, the Belarusian one is graceful, the Ukrainian and Russian ones are fun. Having entered the repertoire of ballroom dances, the polka was replenished with ballroom varieties: the gallop polka, the mazurka polka, the cotillion polka appeared.

This light, cheerful dance has passed the test of time, and will delight us with its beauty, grace and cheerfulness for a long time to come.

Dance features

The polka can be danced by all skill levels. This is one of the very first dances that children learn in kindergarten. A novice dancer can limit himself to one or two movements, and a real virtuoso can demonstrate all facets of his skill. Since the main movement of the polka is the circling of the couple in a circle, the dancers must have good vestibular apparatus and stamina.

Dance is a kind of art in which artistic images are created by means of plastic movements and rhythmically clear and continuous changes in the expressive positions of the human body. Ballroom dancing is divided into 2 programs: European (standard) and Latin American (latina).

program European dances or Standard (Standard) make up 5 basic dances, such as: Slow Waltz (Slow or English Waltz), Slow Foxtrot (Slow Foxtrot), Tango (Tango), Quickstep or Fast Foxtrot (Quickstep) and Viennese Waltz (Viennesse Waltz).

Viennese Waltz. Musical size: 3/4. Tempo: 58-60 bpm.

The first Viennese Waltz dates back to the 12th - 13th century and is used in a dance called "Nachtanz". The Viennese Waltz came to us from Bavaria and was then called "German". Around the beginning of 1830, the composers Franz Lanner and Johann Strauss wrote several now very famous Waltzes of our era, thus contributing to the development and popularity of this dance. These Waltzes were quite fast, but by making the rhythm of the dance more comfortable, we now call them Viennese Waltzes and are always happy to dance.

Slow waltz. Musical size: 3/4. Tempo: 28-30 bpm.



The waltz was brought to the United States in the mid 1800s. The pace of the Viennese Waltz was quite fast, and soon composers began to write music that was much slower. From this music developed a new style of waltz called Boston, with slower turns and longer, gliding movement. Around 1874, the influential "Boston Club" formed in England and a new style of dance, the English, later called the Slow Waltz, began to emerge. However, it wasn't until after 1922 that this dance became as fashionable as the Tango. Strangely, what couples used to dance in the Boston Waltz is very different from what we do now. Immediately after the 1st World War, the Waltz is rapidly changing. In 1921 it was decided that the basic movement should be: step, step, prefix. When Victor Sylvester won the championship in 1922, the English waltz program consisted of just a Right Turn, a Left Turn and a Change of Direction. In 1926/1927 the Waltz was significantly improved. The basic movement has been changed to: step, side step, prefix. As a result of this, more opportunities for the development of figures appeared.

Tango. Musical size: 2/4. Tempo: 31-33 bpm.



The first time the Tango was performed in Europe before the 1st World War, at a tempo of 36 bars per minute. It comes from Buenos Aires (Argentina), where it was performed for the first time in "Barria Las Ranas", the Buenos Aires ghetto. It was then known as "Baile con corte" (dance with rest). The "dandies" of Buenos Aires changed the dance in two ways. First they changed the so-called "Polka Rhythm" into "Habanera Rhythm", and secondly, they called this dance Tango.

Slow Foxtrot. Musical size: 4/4. Tempo: 28-30 bpm.



Foxtrot, a dance that was born in the twentieth century and was named after the American performer Harry Fox (Harry Fox). It was originally performed at a tempo of 48 beats per minute. The problem that has taken Foxtrot in two directions is the tempo of the music. To the music that was performed at a pace of approximately 50 - 52 beats per minute, they danced the Quickstep or Fast Foxtrot, and to the one that was performed at a pace of 32 beats per minute (more slowly) - Slow Foxtrot (Slow Foxtrot). The charming Foxtrot, which has many interpretations, is both a simple and complex dance.

Quickstep. Musical size: 4/4. Tempo: 50-52 bpm.



Appeared during the 1st World War in the suburbs of New York, originally performed by African dancers. Debuted at the American Music Hall and became very popular in dance halls. Foxtrot and Quickstep share a common origin. In the twenties, many orchestras played the slow foxtrot too fast, which caused a lot of complaints among the dancers. Eventually, two distinct dances developed, the slow foxtrot, which was slowed down to 29-30 bpm, and the quickstep, which became a fast version of the foxtrot, played at 48-52 bpm. One of the dances that influenced the development of the Quickstep was the popular Charleston.

program Latin dance program or Latina (Latin) make up 5 basic dances, such as: Samba (Samba), Cha-cha-cha (Cha-Cha-Cha), Rumba (Rumba), Paso Doble (Paso Doble) and Jive (Jive).

Rumba. Musical size: 4/4. Tempo: 25-27 bpm.



The Rumba dance originated in Cuba. As a typical "hot climate" dance, it has become a classic of all Latin American dances. Rumba is a slow dance that is characterized by sensual, loving movements and gestures, has a Latin American style of movement in the hips, is an interpretation of the relationship between a man and a woman.

Cha-cha-cha. Musical size: 4/4. Tempo: 30-32 bpm.



An exciting, syncopated Latin American dance that originated in the 1950s as a slow-motion mambo. This dance was first seen in America's dance halls. Playing Cha-Cha-Cha music should produce a happy, carefree, slightly off-kilter atmosphere. Cha-Cha-Cha got its name and character because of the special repetitive basic rhythm and the specific maracas instrument. Recently, it was decided to shorten the name of this dance to Cha-Cha (Cha-Cha).

Samba. Musical size: 2/4. Tempo: 50-52 bpm.



Until 1914 this dance was known by the Brazilian name "Maxixe". The first attempts to introduce Samba into European dance halls date back to 1923-24, but it wasn't until after World War II that Samba became a popular dance in Europe. The samba has a very distinctive rhythm that is brought to the fore for its best fit with the national Brazilian musical instruments. It was originally called tamborim, chocalho, reco-reco and cabaca. The rhythmic national Brazilian dance Samba is now confidently included in the program of modern ballroom dancing. Samba includes characteristic Latin hip movements, which are expressed by the "Samba Bounce" springy movement.

Paso doble. Musical size: 2/4. Tempo: 60-62 bpm.



Dance of the Spanish Gypsies. A dramatic French-Spanish Flamenco style march where a man portrays a matador (brave man) in a bullfight, a lady depicts his cloak or a bull, as the case may be. Paso Doble. This dance focuses on creating the matador's Body Form with the addition of Flamenco dance moves in the arms, elbows, wrists and fingers. The feet, or rather the heels, are used to create the right rhythmic interpretation.

Jive. Musical size: 4/4. Tempo: 42-44 bpm.



Jive is the International version of the Swing dance, currently the Jive dance is performed in two styles - International and Swing and very often combine both in different figures. A very strong influence on Jive is provided by such dances as Rock "n" Roll and Jaterbug. Jive is sometimes referred to as Six Step Rock 'n' Roll. Jive is a very fast, energy-consuming dance. This is the last dance that is danced in competition and the dancers must show that they are not tired and are ready to perform it with more dedication.

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