How to do contemporary dance jumps

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Literature Analysis

1.1 Vids of Jumps

1.1.1 Manked jumps

1. 1.2 Average jumps

1.1.3 Large jumps

2. The role of eczersis in the machine and in the middle in the middle in the middle preparation for allegro movements. Working on allegro

2.1 Working on plie and battements fondus

2.2 Exercises that develop the strength and elasticity of the foot

2.3 The role of exercise at the barre in overcoming coordination difficulties when studying various jumps

2.4 The quality of the jump: balloon and elevation

2.5 Problems of coordination of arms, body and head

2.6 Features of the construction of jumps

The use of classical dance jumps in the modern direction contemporary

3.1 Contemporary - a type of modern choreography

3.1.1 Mindfulness as the basis of personal transformation in contemporary dance

3.1.2 Breathing rhythm control

3.2 Jumping as the most important expressive means of Contemporary dance. The use and interpretation of classical dance jumps

Conclusion

List of sources and literature used

Introduction

Relevance of the topic.

At the present time choreographic art has stepped far ahead. Since the end of the 20th century, choreographers have been trying to get out of the framework of classical dance. There are more and more new styles. But still, for more than four centuries, classical dance has remained the basis.

The theme of the course connects classical dance with the modern contemporary direction, since this style is most clearly demonstrated as a modern dance built on the feelings, experiences of the hero, combined with exquisite and graceful poses and jumps of classical dance.

Jumping technique is the most difficult part of the dance art, and at the same time, this is the section that makes it more expressive. The variety of allegro movements is very large. The jumps studied in a classical dance lesson are so diverse in amplitude and character that they can be combined with each other in such different ways that allow you to “fit” a dance passage into any musical time signature that, probably, there is no music left that cannot be danced to, which could not be expressed by means of classical dance. 9A.Ya. Vaganova

ballet historian, author of the book of memoirs of the fundamental research “Classical Dance”

Russian Soviet ballet dancer, choreographer, teacher and author of the book “Classical Dance Lessons”

Purpose and objectives of the study:

1. Describe allegro as parts of classic exercise

2. Get acquainted with all types of classical jumps

3. Learn how to develop the quality of a jump

4. Determine the value of allegro in the contemporary direction contemporary

Object of study

Subject of study as a component of

Types and groups of jumps studied and practiced in a classical dance lesson, which are an integral part of contemporary dance.

Research methods:

- Analysis

- analogy

- Induction

- Generalization

- Classification

- Observation

- Comparison

Section 1. Application of classic jumps (ALLEGRO) in the modern direction of CONTEMPORY 9000 9000

The most difficult part of the classical dance lesson, which is prepared for throughout the entire exercise, is the allegro.

Allegro- (allegro) - fast part of the lesson, jumps. Descriptions of jumps are found in all books describing classical dance, since this part is an integral part of the exercise.

Allegro is the most difficult part of the lesson. Everything that is produced by exercise and adagio is directly related to jumps and in many ways contributes to their development. But special attention should be paid to the jumps themselves.

In her study “Classical Dance”, ballet historian Lyudmila Blok writes: “Classical dance schematizes the jump, exhausting all its possibilities. We can imagine: jumping from one foot to the other foot, from one foot to two, from two feet to one, from two feet to two, and finally, a jump on one foot - that's it. Each of these types is developed in classical dance to a geometrically distinct scheme. This schematization is achieved, firstly, by the fact that the jump is not introduced into the dance by a random run or does not arise suddenly and accidentally; the jump is prepared by a harmonious sequence of introductory pas, for a run-up, and is always accompanied by a plie at the beginning and end, which makes it already complete.

In the book "Fundamentals of Classical Dance" A. Ya. Vaganova divides the jumps into two groups. “Classical dance jumps are extremely diverse in appearance. When we analyze them, we will see that they are divided into two main groups. In the first group - air jumps: for such a jump, the dancer must impart great strength to the movement, must freeze in the air. In the second group there are movements that cannot be done without leaving the ground, without jumping: but they are not directed upwards, but, like creeping plants, spread along the ground. 0006

Pas glissade [glissade] (sliding) - A small jump from the 5th position, advancing following the extended toe of the foot sliding on the floor, followed by sliding the toe of the other foot into the 5th position. It is performed together, without taking off the socks from the floor (with or without a change of legs).

Pas jete [jete] (throw) - jump from foot to foot. The group of jumps jete is diverse in form and is widely used in stage dance.

The following exercise serves as an initial study of pas jete.

Stand in V position, right foot in front; at the same time demi-plie, the left leg is retracted towards the II position with a sliding movement, while the knee and fingers are extended, and the toe touches the II position on the floor. Then push off with the right foot from the floor with a jump, stretching out the fingers and knee, return the left leg to the place of the right one and lower it onto the demi-plie. The right leg goes sur le cou-de-pied behind.

This is the way forward. When moving backwards, the leg standing in front goes to the side. The position sur le cou-de-pied is also ahead.

Further jete can be done in all directions; gradually developing the manner of dancing, do it with the hands in different small poses (head turns are the same as in assemble), and then move on to learning jete with leg abduction at 45 ° and grand jete at 90 ° ending in large poses .

Pas de basque [pas de basque] (Basque step; Basques are the people of northern Spain and southwestern France) - A jump from foot to foot, performed as follows: the foot makes a demi-rond toe on the floor, small on it (parterre ) the center of gravity is transferred with a jump, the other leg is moved forward through the I position and the legs are connected to the V position with slipping forward. Pas de basque backwards are also performed.

Pas assemble [assembly] (collect) - A jump from one leg to two, performed with the legs moving in a given direction, and collecting the legs during the jump together.

Stand in the 5th position, right foot in front, demi-plie and at the same time the left leg is retracted with a sliding movement towards the 2nd position and, extended, touches the toe of the floor in the 2nd position; with the right foot remaining in the plie, push off the floor, extending the fingers and knee; the left leg simultaneously with the right returns to the V position forward on the demi-plie.

From this plie, the movement is repeated on the other foot, and in this way a slight forward movement is achieved in this pas.

Pas emboitte [ambuate] (from emboîter le pas - to follow) - alternately throwing the legs bent at the knees forward or backward by 45 ° (petit E.) or 90 ° (grand E.) with the advance behind the toe of the raised leg E. en tournant with a jump according to the scheme repeats E. on half-toes and fingers, but the transition from foot to foot is carried out after a jump with a half-circle turn.

You can also do grand emboite, the leg is thrown higher and bent to the level of the knee. On stage, it's nice to apply emboite in a sequential row, starting with a very small one at the bottom, then throwing the leg higher and higher up to a grand emboite at 90 °.

Emboite en tournant . Stand in 5th position, right foot in front. Demi-plie, jump towards the II position, and fly off with the whole body and legs together, moving the bent left leg forward in the air, lower the right leg on the demi-plie with your back, bending the left leg in front of you to a height of 45 °, turn in the air with a jump , flying off in the same direction, moving the bent right leg forward, stop on the left on the pile face - and so on.

Hands should help. First, the right hand is in I position, the left is open in II, it is necessary to push off the floor, when jumping, throw the right hand to the side and, when stopping with your back, bring your left hand forward with your left foot; at the next turn and jump, throw the left hand to the side, and move the right hand forward along with the right foot, etc.

Medium jumps

Sissonne simple [Sisson sample] (from simple-simple, not complicated) - V position, demi-plie, a jump is made during which the legs are connected together, knees and fingers are extended. After the jump, drop down on one foot in plié, the other sur le cou-de-pied, and finish by making assemble.

Sissonne ouverte [Sison uvert] (from ouvertement - open) - This pas is a development of SISSONE SIMPLE, i.e. after jumping from the position sur le cou-de-pied, the leg opens 45 ° - to the side, forward or backward, (remaining in plié).

Sissonne ferme [Sison ferme] (from fermeture - closed) - A small jump. V position, demi-plie, the jump is performed in the direction (forward, backward or to the side), the working leg opens to the II position (45 °). When the pushing leg lands, the working leg closes into the 5th position (almost simultaneously).

Sissonne tombe [Sison tombe] (From tombée - fall) - V position, demi-plie, jump from two legs, passing movement right sur le cou-de-pied (or at the knee, depending on grand or pettit pas). Falling onto the plié on the left leg, while simultaneously taking the right leg out on the croise or efface, then, as if belatedly, on the plié (pas de bourre can be completed after a big jump)

Revoltade [revoltad] (from Italian rivoltare - turn over) - A jump with the transfer of the leg over the leg and turning in the air. Meets preim. in male dance. It is performed with the turn of the body en dehors and the simultaneous throw of the leg forward by 90, through which the jogging leg is transferred along the first position. The jump ends with a landing on the leg that performed the jump, the other leg rises back 90. ​​The body of the performer during takeoff assumes an almost horizontal position. Revoltade is played with en dedans. The approach to revoltade is sissonne tombee, pas failli, pas chasse, followed by a short pas coupe. Revoltade has several types.

Big jumps

Grand jete [grand jet] (grand-big, jete-throw) -

Performing a grand jet with "springboard" order preparation is a necessary transition step before any big jump. You need to send the body forward, you need to push off from something.

Techniques are different: you can use once glissade, coupe, which gives you the desired run.

Croise back, right leg behind. Passing the body strongly to the right leg, push it forward to the IV position efface with a strong push on the floor and sit on it, bending the whole body to this leg, push off the floor, throw the left leg on 90° forward on the croise and jump on it, trying to stay in the air with an attitude or arabesque position already expressed in the jump. The hands will go the following way: when the body leans strongly to the right, they rise to the second position; when all the weight is transferred to the right leg - the hands are connected in a preparatory position below, they need to take, as it were, force to jump, they come to the required position through the first position.

There is, although rarely used, grand jete back, which is performed as follows: left foot in front of croise, transferring the body strongly to the left foot back on the efface, on plie and pushing off, throw the right foot back croise on 90° and jump onto it in a developpee forward pose. The movement of the hands is the same as when performing grand jete forward.

Jete en tournant [jete en tournant],

Begins with preparation. Stand in 5th position, right foot in front. Make a small sissonne tombee forward with the right foot in IV position on the croisee, on the demi-plie on the right leg, then substitute the left leg behind and transfer the body to it on the demi-plie. The right leg with one stroke is thrown forward 90° and circles in the air as the body turns to the right. When making a turn, jump on the right foot and fall on the attitude croisee, not letting yourself be carried away by inertia and, at the final attitude, do not lean too much to the right side. "

How to choose the direction of dance according to the type of temperament

We all remember that in psychology classes we were told about four types of human temperament, and for those who were not taught psychology, they probably heard, even if they didn’t hear, then everything will become clear from the article. So, it is known that there are four types of human temperament: phlegmatic, choleric, sanguine and melancholic. Everyone has their own type of behavior in society. If you think that temperament does not affect a person's preferences, then we can say that this is a deep delusion. How to choose the direction of dance, how to understand yourself, first of all, of course, you need to try to start dancing.

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The popular hip-hop dance style originated in the second half of the 20th century. At that time, it was a pronounced Protestant direction. The dance and its performers protested against the existing order, the domination of money, corruption, and so on. However, over time, the hip-hop dance style has become very fashionable, popular, and therefore commercial.

Style: Street dance / Street dance Old School / Old School Robot Krump / Krump C-Wok / C-Walk Hip-hop / Hip-Hop New School / New School Hip-hop for children / Children's Hip-Hop Dance mix

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