How to do the prep dance
Preparatory Dance - UNCSA
The UNCSA Preparatory Dance program presents a unique opportunity for young dancers to experience the joy of developing their artistry in a nurturing atmosphere. Focusing on the etiquette and discipline necessary for building a solid foundation in ballet technique, this after-school, pre-professional training program has received national recognition for its excellence. The program runs from third to ninth grade, with children's ballet classes for younger dancers.
Preparatory Dance faculty are certified in the American Ballet Theatre National Training Curriculum that combines high quality artistic training, dancer health and child development. Classical ballet vocabulary is developed progressively with an emphasis on sound body alignment, musicality, coordination and attention to dynamic detail to prepare students to audition for the UNCSA High School Program, other pre-professional training programs or simple enjoy a lifetime of dance!
For students who want to follow a different path the new Prep Dance Contemporary Program ‘Stomping Ground’ is designed to introduce and develop the technical and creative aspects of Contemporary Dance for the young dancer. Drawing on multiple styles of dance and somatic practices, students will take Contemporary technique class twice a week followed by Dance Composition, Improvisation, or Performance Ensemble.
Fall Semester: September 6 – December 21, 2022
Spring Semester: January 3 – June 11, 2023
|Tuesday Jan. 3||Classes resume|
|Monday, Jan. 16||MLK Day, no classes|
|Monday, April 3 - Sunday, April 9||Spring Break, no classes|
|Monday, April 10||Classes resume|
|Monday, May 15 - Friday, May 19||Parents Observation Week|
|Monday, May 22 - Friday, May 26||Assessment Class Week|
|Monday, May 29||Memorial Day, no classes|
|Monday, June 5 - Saturday, June 10||Spring Festival Production Week - All Prep Students|
|Sunday, June 11||Summer Break|
For more information about the Preparatory Dance Program, visit Facebook, Instagram and Twitter.
with Gaylyn Lareese
Book Your Spot
FEBRUARY 24 - 26 2023
LAKE BURTON, GA
For the first time ever, join Gaylyn Lareese for this transformationalall inclusive 3 day intensive training program immersed in a cozy retreat environment.
Do you want to see more improvement toward your flexibility goals?
Do you want to expand your dance community and build relationships with other dancers?
Do you wish you could get the advantages of technical training without stepping into a ballet class?
Go from confused and frustrated to intuitive and aligned after learning these dance based stretch techniques with a science twist. Here you’ll gain in-depth education on how Gaylyn combines kinesthetic awareness and stretch techniques from her technical dance background (ballet, jazz, and modern) to enhance the mind-body connection, increase flexibility, and encourage personal success.
What others are saying about Gaylyn’s stretch expertise…
“The greatest thing I learned from dance is that every day you have a different body with different needs. Let’s learn some stretch techniques to help you workwith your body instead of against it.”
— Gaylyn Lareese
Meet The Host
Click here to watch Gaylyn’s stretch routines on YouTube.
Who is Gaylyn Lareese?
I am Gaylyn Lareese, a technically trained dancer and YouTube content creator with a BFA in Dance. Through dance stretch techniques and body science , I help women and femmes bridge gaps in their dance education to help them become more intuitive, intentional, and impactful creatives. My lifelong training in ballet, modern, and jazz has taught me that improving the mind-body connection is the best way to get what you want out of your body. This means we must learn how it works and how to listen to it. Historically, dance stretch techniques across different disciplines have been the keys to bridging mind-body connections. This is how elite and intuitive dancers are developed. But who’s to say we all can’t be elite and intuitive in our own daily lives?! Let me share some of these stretch techniques with you, and show you how to do them correctly so they can serve you for the rest of your life. Click here to learn more about me and Motion Prep™.
An opportunity to meet other dancers, study your craft, and refocus.
What will I learn at the Body + Mind Retreat?
How to optimize stretches in order to increase flexibility
Gaylyn’s stretch technique format rooted in dance based kinesthetic awareness
Basic level anatomical knowledge through stretching exercises
Introspective wellness activities and exercises to help you gain more information about yourself and your body needs
Am I a good fit for the Body + Mind Stretch Retreat?
You are a good fit for the 3-day Body + Mind Stretch Retreat if you are a…
Dancer looking to expand your dance community
Woman or femme looking to increase your flexibility and improve general mobility.
Dancer looking to supplement your dance training with more stretch practices based in body science and technical dance.
Dance educator looking to enhance your classes with more technical dance knowledge.
Woman or femme looking to balance your sedentary job or lifestyles with a physical practice that serves you
Have watched my stretch routines online and want to learn more in person with me and other like minded dance lovers
An all inclusive intensive…
3 day and 2 night retreat program led by Gaylyn Lareese.
Your 2 night stay in a beautiful property filled with a relaxing ambience along with the other retreat participants.
Fresh cooked meals prepared for you by the Motion Prep Team chef, enabling you to focus and get the most out of your experience.
Community with other like-minded women for an experience of wellness and self discovery.
Free time in the retreat schedule away from distractions to reflect, journal, and quiet your mind.
Be 18 or older at the time of the retreat
Identify as woman, trans woman, or femme
not be pregnant at the time of the retreat
A Comfy Cozy Cabin Weekend
LAKE BURTON, GA
Each retreat location is specifically selected based on Gaylyn’s taste for comfort and visual aesthetic. Situated right next to the Chattahoochee National Forest, the Body + Mind Stretch Retreat will be the perfect place to unwind and refocus as we stretch, share meals, and learn together. The program itinerary will be provided after your spot is secured and the registration form has been completed.
Early bird pricing is available until 11/25/22.
Registration ends 12/1/22
All beds are of equal size.
*NOTE: The Body + Mind Stretch Retreat has a strict NO REFUND policy. Due to limited seats available in this extremely intimate training, your seat cannot be easily replaced – especially on short notice. It is, however, transferable. If you know someone who would like the training and you want to bless them with it, e-mail us with all parties copied on the email at g[email protected] and we can update the name and email address on the registration. Other than that, this investment is non-refundable.
The Body + Mind Stretch Retreat is intended to be an intimate event to allow everyone more directed attention during the program. For this reason the number of available seats is very small.
Another stretch retreat is currently not being scheduled.
Classical dance, classical barre, ballet (training)
1. Demi-plie (demi-plie). Means bending, folding; Demi-plie half squat.
This exercise develops the correct position of the foot, which is important for jumping. Develops the hip, knee, ankle joints. Tightens the muscles of the back, which must maintain a straight, taut position. Demi-plie is learned from the first, second, fifth, fourth positions. Execution rules: in demi-plie in 1 and 2 positions:
the position of the foot on the floor is even, the emphasis of the foot on the thumb is not allowed: the heels should fit snugly on the floor, as this contributes to the development of the ankle joint.
The body is straight and taut, shoulders and hips are even. The center of gravity of the body is evenly distributed on both legs.
Before starting the movement, the free arm performs a propulsion. The squat is done smoothly and evenly.
2. Battement tendu (battman tendu).
The name battements literally means “beating”, “beating”, but here it means the uniform movement of the working leg. As a rule, the word battement does not have another word that defines the nature of the exercise. Battement tendu - abduction and adduction of a stretched leg along the floor forward. This movement is developed to the side, back. These are tight movements. Stretching the entire leg at the knee, instep and toes, developing leg strength. The movement is performed in the first and fifth positions of the legs. It is performed in the direction forward, sideways, back. Performing battement tendu with one hand behind the barre forward, the head is turned to the center of the hall, slightly deviated back, to the side - looks straight, the head is turned back to the center of the hall and the gaze is directed to the hand.
Rules of execution: The body is tightened. Hands lie freely on the machine, elbows are pubescent.
Battement tendu to the side. Rules of Execution: In battement tendu, the working leg moves exactly in a straight line, fixing the position of the heel against the starting position in each of the directions. The working leg is extremely everted in the hip, knee and ankle joints. The knees do not relax or bend during the entire
Battement tendu forward. Rules of execution: sliding of the working leg begins with the heel, and return to the position with the toe. Do not take your toe off the floor. Watch the thigh of the working leg and
tightened body. Do not put emphasis on the toe. The body is taut and calm. Keeps shoulders and hips even.
Battement tendu back. Rules of execution: back battement tendu begins with the abduction of the toe, returning to the position from the heel. Make sure that the shoulders do not turn towards the
working leg. The gluteal muscles are strongly stretched.
3. Battement tendu jete (battement tendu jete) – leg throw.
Movement develops the mobility of the hip and ankle joints, develops strength, ease of movement of the leg.
Performed in 1, 5 positions of the legs, in the direction forward, sideways, back.
Rules of execution: the movement is performed according to the rules of battement tendu, but with a throw into the air. The working leg performs a throw to a height of 25-45 degrees and actively returns to the position. The sock in all directions emphasizes the return of the foot to the position. The movement is performed evenly, the point is fixed by a sharp throw of the leg into the air. The movement brings up the mobility of the hip and ankle joints, the strength of the legs. It is unacceptable to swing the leg in the air (show the point).
Battement tendu jete to the side:
Performed according to the rules of battement tendu, only the throw is for air.
Battement tendu jete forward:
Performed according to the rules of battement tendu, only the throw is for air.
Battement tendu jete back:
The throw of the leg and its return is performed calmly, without the help of the body, the shoulders are even.
4. Rond de jambe par terre (Rond de jambe parterre) - “circle of the foot on the floor”.
The concept of en dehors (an deor) and en dedans (an dedan) .
In en dehors , the working leg, stretching forward, draws a semicircle with its toe on the floor, that is, sliding its toe “outward” in the direction from the supporting leg.
In en dedans , the working leg, stretching back, draws a semicircle with its toe along the floor, that is, sliding its toe “inward” towards the supporting leg.
Rond de jambe par terre is one of the main exercises that develop eversion, elasticity and mobility of the hip joint.
Passé parterre - sliding movement of the working leg on the floor.
Demi-ronde de jambe (demi-ronde de jamb parterre) - semi-circle with the foot on the floor.
Rond de jambe par terre are circular foot movements on the floor in the direction en dehors.
Sung in slow tempo from first position. Be sure to prepare for movement.
Rules of execution: in the passé par terre, the working leg is stretched to the limit and everted. During the passé through the first position, the foot of the working foot is evenly placed on the floor, avoiding resting on the big toe. Without separating the heels, without bending the toes, without going beyond the heel of the supporting leg. When stretching the leg forward or backward, the heel is against the heel. The body is taut and calm, the shoulders and hips are even. When en dehors, make sure that the heel is directed forward, the toe does not rest on the floor. Especially keep eversion on the move from the second position to the fourth back. Shoulders and hips should not turn towards the working leg. The supporting leg tends to turn out, the gluteal muscles are tightened. With en dedans, lead the working leg in a circle with the heel forward. Do not settle on the hips. Particularly maintain eversion when driving from behind to the second position. Shoulders and hips do not turn to the working leg. Bring the toe to a point in front against the first position. When the working leg passes through the first position, the weight of the body should not be transferred to it. The knees of both legs are extremely stretched. The body should not react to leg movements.
5 . Port De Bras. I, II, III Port de bras of classical dance (1,2,3 port de bras).
Port de bras - the correct passage of the hands through the main positions in combination with the turns and tilts of the head and the movements of the body. Learning different types of port de bras is good for developing dance coordination.
Only six types of port de bras. Below are the most common ones.
I Port de bras:
From the preparatory position, the arms rise to the first, then to the third, open to the second and return to the initial preparatory position.
Rules of execution: follow the correct position of the hands in positions.
The movement is executed as one, without stopping in positions.
II Port de bras:
It is obligatory to perform the preparation for the movement (hands from the preparatory position are raised to the first, then one hand is raised to the third, the other is opened to the second position).
Rules of execution: follow the correct position of the hands in positions.
The movement is executed as one, without stopping in positions.
III Port de bras:
It is obligatory to perform the preparation for the movement (hands from the preparatory rise to the first and open to the second position).
Execution rules: Keep the body tight. When leaning forward, do not round your back, the slope goes as if into the distance. When leaning forward, do not take your legs back, your knees should be stretched. Shoulders do not rise. When tilting back, the shoulders begin to tilt, then the lower back, the shoulders do not rise, the stomach is pulled in. Do not push your hips forward. Follow the hands in the third position (you need to see them without raising your head). If performed in fifth position, watch out for the forward foot.
6. Battement frappe. Double battement frappe (batman frappe, double batman frappe).
Battement frappe – striking movements (leg kick).
Movement develops the ability to control the lower part of the leg - from the knee to the toes; clearly, vigorously bend and unbend the leg with a fixed top, develops leg strength, agility and mobility of the knee.
Battement frappe performed to the side, forward and backward, toe to the floor (at the beginning of the movement) and at 25, 45 degrees.
When performing battement frappe to the side - the head is straight, when moving forward, the head is turned to the center of the hall, back - to the hand. It is performed in the first and fifth positions. The nature of the movement: clear, sharp.
Rules of execution: straighten and bend the leg in this exercise evenly, strictly adhering to the direction of the second position. The position of the cou-de-pied should be fixed tightly, especially in front, but without pressing on the supporting leg. The leg works from the knee. The hip part of the body is pulled up all the time. The body is straight and assembled. Shoulders open and slumped. The center of gravity of the body is exactly on the supporting leg.
Double battement frappe is a double battement. Two movements petit battement and battement frappe are combined. The rules are saved.
This movement is a complicated form of battement frappe: it has a double transfer of the working leg on the cou-de-pied forward and backward or back and forth; after a double transfer, the leg is extended in a given direction. To perform double battement frappe forward, the first blow must be made on the cou-de-pied from behind, and the second, respectively, on the cou-de-pied in front. When moving backwards, the first blow on the cou-de-pied is forward, and the second is back. When performing several movements in a row in the direction, strikes alternate in front and behind.
Movement develops the ability to control the lower part of the leg - from the knee to the toes; clearly, vigorously bend and unbend the leg with a fixed top, develops leg strength, agility and mobility of the knee.
When performing a double battement frappe, the rules of battement frappe and petit battement are observed (small battement, the movement consists of a clear transfer of the working leg from the position on the cou-de-pied in front to the position on the cou-de-pied behind and back).
This movement is performed to the side, forward and backward, with the toe on the floor (at the beginning of the study of the movement) and at 25, 45 degrees.
When performing a battement frappe to the side, the head is straight, when moving forward, the head is turned to the center of the hall, back - to the hand. It is performed in the first and fifth positions.
The nature of the movement: clear, sharp.
7. Battement fondu (batman fondue) - translated from French as “melting” batmans. This is a complex movement that develops strength, eversion, elasticity of the legs, giving smoothness and softness to movements.
The movement is performed to the floor, 45 and 90 degrees in all directions (forward, side, back). The correct execution of this movement will help in jumping, where the arrival must be soft and elastic.
Rules of execution: when performing to the side, observe the simultaneity of movement. Show exactly conditional cou-de-pied in front. Move through muscular resistance.
When moving from behind on a cou-de-pied, the knee remains everted, as if behind. Keep the hips and shoulders even, do not bend the lower back.
Bringing the working leg forward, it is necessary to push the heel forward. The thigh and knee are retracted first, the bottom of the leg lags behind. At the same time, the supporting leg starts demi-plié. Watch the body and hand on the stick.
Later, the work of the hands is included in the movement. With the beginning of the battement fondu, the hand gradually descends, coming into a preparatory movement at the moment of demi-plie of the supporting leg. When returning, it rises to the 1st position and opens to the 2nd position. The head is involved in the work, the gaze accompanies the movement of the hand.
When performing the movement forward and backward, the head remains turned to the hand, open to the II position, while performing the battement fondu to the side - the head en face.
8. Battement releve lent - Slow leg raise to 45 and 90 degrees. Performed forward, sideways and backwards. From the first, fifth position. Movement develops leg strength, step, lightness.
Execution rules: is performed at a slow pace. It is a preparatory movement. The body is tucked up, the shoulders are lowered. The supporting leg tends to turn out. The working leg is extremely stretched to the tips of the fingers.
When moving to the side, the shoulders, thigh, skating leg and working leg are in the same plane. Do not pull away from the stick.
When lifting the leg back, you need to make sure that the shoulders and hips are even.
When lifting the foot forward, it is necessary to watch the heel, keeping it in front. You can not "settle" on the supporting leg, holding on to the stick with one hand. The leg should rise and fall evenly.
9. Battement developpe (batman devluppe) - from fr. "take out, develop, deploy." It is performed forward, to the side, backward in the fifth position, in poses, arabesques.
Proper execution of this movement develops and develops beautiful lines and step; develops the strength of the legs, hips, step, prepares the legs and body for adagio at the barre and in the middle of the hall. When performing this movement, the leg is raised by 90 degrees and above.
Rules of execution: the working leg is extremely everted, the supporting leg is stretched and everted. The body is tightened, the hand lying on the stick maintains the correct position. If the working leg is in the dimple at the knee of the supporting leg, then the instep cannot be beveled, the knee is always deployed. When we take out the leg forward, to the side, back, it is necessary to monitor the height of the leg, do not lower the leg below the knee. Center of gravity on the supporting leg.
Later, the execution of the developpe battement is accompanied by a hand. During the movement of the leg to the knee, the arm rises to the 1st position. Head tilted, look at the hand. The leg is lifted in any direction, the arm opens to the second position, the head follows the arm. At the end of the movement, the arm simultaneously with the leg lowers to its original position.
10. Grand battement jete (grand battement jete) - movement with a large throw.
Performed to the side, forward, backward in the first, fifth positions. The leg throws 90 degrees or more.
The movement develops the strength and lightness of the legs, a large free step, the skill of throwing, which is used in jumping.
Rules of execution: the foot is actively involved in all movements. The foot is thrown with a sliding foot on the floor. Falls slowly. The legs are extremely extended. When throwing forward and backward, do not bend your knees. When throwing back, the leg is extremely stretched at the knee, instep, and fingers. The body simultaneously leans forward a little, but remains taut, shoulders and hips are even. The hand in II position does not go back. When throwing the working leg, the body remains motionless.
With grand battement jete forward and backward, the head is turned towards the hand opened in II position, with grand battement jete to the side, it is held straight.
11. Grand plie (grand plie) - big squat.
Movement develops the strength of the legs, develops elasticity, flexibility, eversion of the legs. It is performed in the first, second, fifth and fourth positions.
Execution rules: is initially studied facing the machine. Having completed the demi-plie, it is necessary to continue the squat, separating the heels from the floor (when they cannot be kept on the floor). Feet move to low toes. On the reverse, place your heels on the floor and then extend out of the demi-plie. The muscles of the back and pelvis are strongly tightened. The hips are everted. The knees open at the toe. According to this technique, grand plie is performed in the second position. In the second position, the heels do not separate from the floor. The whole figure is flat and the feet form a right angle. In all positions, the weight of the body is distributed evenly on both legs. The movement is performed evenly, without delay at the lowest point (thus, muscle strength is developed).
In II position, the heels do not come off the floor during the squat. In II and IV, V positions the center of gravity of the body is distributed evenly on both legs.
12. Temps leve sauté, pas echappe
Jumps (allegro) of classical dance are extremely varied. They are divided into two main groups. In the first group - air jumps: for such a jump, the dancer must give great strength to the movement, must freeze in the air. In the second group - movements that cannot be done without leaving the ground, without a jump: they are not directed upwards, they spread along the ground like “creeping plants”.
Air jumps are divided into four types:
¾ Jumps from two feet to two.
¾ Jumping from two feet to one.
¾ Jumping from one foot to the other.
¾ Combined jumps, in their structure consisting of several elements.
When performing a jump, the following must be observed:
1. A demi-plie must be done before any jump. When developing a jump, it is necessary to pay special attention to the correct demi-plie, that is, not to tear off the heels from the floor.
2. At the time of the jump, keep the legs tensely extended at the knee, instep and toes, if the jump is done with two legs. If it is performed on one leg, the other takes the position required by the posture, and it is necessary to strictly observe the eversion of the upper leg and the harmony of the back, that is, do not stick out the buttocks.
3. After the jump, the feet should touch the floor first with the toe, then smoothly move to the heel and lower to the demi-plie, then extend the knees.
Execution rules: jumps begin to study facing the barre. As soon as the elementary accuracy of execution is mastered, the study is transferred to the middle of the hall. During the jumps, the hands are initially held at the waist, then they are transferred to the preparatory position.
Temps leve sauté - jump from both feet to two. It is performed in the first, second and fifth position. The movement begins "zatakt". While jumping in the 5th position, the legs keep a good “tight” 5th position. Develop strength, elasticity and eversion of the legs. It is necessary to develop the springboard of the jump, the correct push with the heels from the floor, follow the outstretched knees, rise, fingers.
Pas echappe - clear jump. It is performed from the fifth position. It consists of two jumps: from both legs to both from the V position to the II position and from the II position to the V position. Legs open in 2nd position and close in 5th position at the last moment. Positions in the legs are fixed in the air.
Execution rules: demi-plie in positions V and II must be elastic and continuous. The heels are firmly pressed to the floor with the full eversion of the legs. This eliminates the possibility of a double demi-plie before the jump and preserves leg strength for the jump. Later, the movement of the head and hands is added.
13. Changement de pieds, pas assemble (shazhman de pied, pas assembly).
Changement de pieds - jump from both legs to both from V position to V. The change of legs occurs during their return to V position on demi-plie.
Develop strength, elasticity and eversion of the legs. It is necessary to develop the springboard of the jump, the correct push with the heels from the floor, follow the outstretched knees, rise, fingers.
Pas assemble - (French for "to assemble") a jump from both legs to both from the V position to the V position. Its feature is the connection of the legs in the air in the V position.
Performed to the side, with an accent forward and backward, as well as forward and backward.
Rules of execution: initially the jump is studied at the barre, at a slow pace, separately and only to the side. The jump is performed on strong eversion legs. The thrown leg does not rise above 45 degrees, it goes exactly to the side. The heel of the supporting leg does not rise before the jump, makes a strong push. Demi-plie before the jump and after the jump is elastic.
The movement is repeated from the other leg. There is a natural progression.
Pas assemble is executed in the opposite direction: the leg standing in front is thrown to the side, ending the movement in the V position back.
(developed by members of the classical dance committee in 2019, material compiled by O. Polisadova)
Choreographic Association "Dance"
Choreographic Association "Dance" was established in 1999. The team became a multiple laureate and diploma winner of various dance competitions. Children begin to study from an early age (from 3.5 years old) at the preparatory (paid) department of "Dance", from where students move to the budgetary groups of the "Dance Choreographic Association", starting from school age.
However, we also welcome those who come to us even without special training and at an older age. And if you have the preparation, then we will invite you to the group of the appropriate level of dance skills.
The choreographic association "Dance" works on the following programs: "Beginning", "First Steps", "Exercise".
The First Steps program
has an artistic orientation and a general cultural level of development.
Under the program "First Steps" - I teach children to take the first step into the dance life. This program allows the child to understand what dance is, to get in touch with the joys and difficulties of dance mastery and decide for themselves what the future path will be in this complex dance world. The program is designed for 2 years. It is implemented for students from 6 (schoolchildren) to 9 years old, boys and girls who are interested in choreographic art. Children master the following disciplines: rhythm, staging and rehearsal activities.
Having mastered the "First Steps" program, the child will be able to choose the dance direction in which he wants to improve in the future. If the results of mastering the program are high, and the desire to continue practicing is strong, then the young dancer will be transferred to the next group and continue training under the Exercise program.
The program "Beginning"
is implemented for children gifted in the field of choreography.
Has an artistic orientation and a basic level of development.
Implemented for students from 6 (schoolchildren) to 9 years old, boys and girls.
This program is for children who want to connect their lives with dancing. Within 2 years we improve the student's ballet data, develop rhythmic abilities, coordination, dance technique. In the training program: rhythmics, parterre gymnastics (exercises on the floor, giving preparation for learning classical dance), children's dance.
High demands are placed on students in this program for performing skills. Students not only study in the classroom, attend a master class of leading experts in the field of choreography, but also actively participate in the concert and competitive activities of the group. Upon completion of training under this program, children are enrolled in a group that is engaged in the "Exercise" program.
The Exercise program
has an artistic orientation and an in-depth level of development.
This program accepts children from the age of 8 who have basic choreographic training (according to the Beginning and First Steps programs, or who have the necessary skills and have passed the preliminary selection). The implementation period is 5 years. The Exercise program is aimed at mastering classical, folk, folk stage dances. Children studying under this program participate in a variety of concert and competitive activities of the group. Learn acting and make-up techniques. Learn the basic rules for staging dance numbers. They actively attend master classes of leading experts in the field of choreography. Graduates continue their studies in colleges and universities in the choreographic profile.
“..In order not to break down in the knowledge of dance art, you must first fall in love with dance…”
will master both the initial rhythmic training, and gymnastic exercises, and classical dance, and folk, and elements of children's and variety dances. If these terms do not mean much to you, then I will try to orient you in the complex world of dance styles:
- Rhythm is the first step in dance training. In these lessons we will study the rhythmic pattern of music, develop the ability to move in the right rhythm. Learn elementary dance skills (the simplest dance elements), develop ballet skills (stretching, flexibility).
- Gymnastics is a mandatory set of exercises that allows you to prepare the body of a future dancer and dancer for more complex dance movements.
- Children's dance is a choreography for children and about children. These are the same children's dances that you want to see at primary school age, for example, the dance of gnomes, the dance of flowers, the dance of crumbs, the dance of dolls.
- Classical dance is an ABC to help students understand and control their bodies. These are classes at the ballet barre and in the middle of the hall ... (Do you remember the ballet "Swan Lake" and "Giselle"? This is classical dance).
- Folk dance is a class at the barre and in the middle based on classical dance exercises, but in a folk style. (Ensembles "Birch", "Gzhel", Moiseev's ensemble).
- Modern pop trends are the dances that we see in concerts of pop performers, in musicals, at competitions, etc. (The show ballet "Todes" works in this style).
Everyone will dance, but the best students are invited to join the ensemble! And then you will know the life of real artists! It is very honorable and fun, but very responsible and not easy! Many rehearsals and performances are waiting for those who get into the ensemble! These are performances at various venues in St. Petersburg and beyond, participation in competitions and festivals. In concerts of various levels in costumes and make-up! Students of the choreographic association "Dance" have a decent training and can continue their education in specialized dance colleges and universities.
INFORMATION ABOUT THE TEACHER
Zwinger Victoria Alexandrovna
Viktoria Alexandrovna Zwinger, head of the choreographic associations "Dance" and "Tantsulechki".
Brought up on the traditions of the Leningrad Choreographic School. A.Ya. Vaganova, St. Petersburg Theater Academy. Cherkasov (acting department, diploma with honors) and the Humanitarian University of Trade Unions (folk choreography, diploma with honors). The teachers of Victoria Alexandrovna Zwinger were People's Artist of the RSFSR A.Yu. Tolubeev, Honored Worker of Culture of the Russian Federation, laureate of the Prize of the Government of the Russian Federation "Soul of Russia", artistic director of the folk group "Rossiyanochka" A.L. Nosikhin, A.V. Chernozemov, Professor of the Department of Scenes. movements of A.P. Olevanov, Professor of the Department of Choreographic Art, People's Artist of Buryatia, Laureate of the State Prize O.V. Ignatiev, Yu.A. Stadnik, T.P. Gradova, G.S. Vulikh, N.N. other wonderful teachers who managed to teach me not only to love the performing arts, but also to pass this love on to children.
I believe that it is very important “not to discourage the desire to dance!”, but it is also important “to be able to cultivate the will to win!”.
Amazing kind, sympathetic and highly professional accompanist Daiyana Vitalievna Bakaeva, a graduate of the Russian State Pedagogical University. Herzen (performing faculty, piano).
During the academic year:
- We give master classes by well-known teachers of various dance styles
- Dance routines are choreographed by professional choreographers
- We do photo shoots
- We give open lessons for parents
- and draw the line with an examination session, where students are evaluated by invited leaders and teachers of other choreographic associations (ensembles), actors, musicians ...
- And we say goodbye until the next school year with a solemn and cheerful party, where students are rewarded, contests and dances.
WE ARE WAITING FOR YOU IN OUR FRIENDLY TEAM! AND MAYBE IT'S YOU WE MISS!
Enrollment begins at the end of August, and classes from September 10! We are engaged in the house of children's creativity "Olimp" at the address: Roadside alley, 17 letter A and on the basis of school No. 76 at Bolotnaya st., 18. If you have any questions, you can ask them by phone: DDT "Olimp" 599-39-00, or 8-921-312-95-94 (head).
You can get more detailed information about the dance association "Dance" at the following links:
Our website: http:/ /horeograf-tanec.ru/
Film about us ->
OUR DANCE NUMBERS
Lullaby for Mom
Mothers and daughters fall asleep together and find themselves in a land of dreams... All fabulous wishes, all magical dreams, all maternal tenderness and love are expressed in this issue...
Issued in 2017. Zwinger V.A.
Caprices and Dreams
Fantasies go everywhere... By what methods we just do not achieve the fulfillment of our will. .. The princess will tell about this and something of her own, and her girls will approve everything.
Issued in 2017. Zwinger V.A.
The issue tells how girls in Russia had fun...
The number was created in 2016. Directed by Zwinger V.A.
Down the valley
The entire beauty of the Russian dance of the Smolensk region will be revealed by the composition "Along the Valley". Originally folk music and ethnic costumes will emphasize the originality of the room. This number was staged in 2016 by Aleksey Pavlovich Shyshkin, Associate Professor, Honored Worker of Culture of South Ossetia, Head of the Folk Dance Department of the Samara State Academy of Arts, Head and Chief Ballet Master of the Volga Patterns Ensemble.
This solo number is created in the style of Russian folk dance. Daria Poselskaya pleases us with the purity and beauty of her performing skills, and also infects us with a perky mood. The number was created in 2016.
Remember the story about Pinocchio. We tried to talk about how the puppets actually learn the secrets, and what happens then... Performed by "Dancers" (preparatory department) Children 5-6 years old. Number delivered in 2015.
The beauty of Russia is boundless. It is also expressed in folk crafts, songs, dances and music. We wanted to show the beauty and diversity of folk culture, both dance and visual. The number is performed in the Russian folk dance style. The number was created in 2015.
This is a story about a restless, cheerful and cocky little clown who is so charming that even offensive antics are forgiven for him. The number was created in 2016. Soloist of the Ensemble Evilina Stepuleva.
A bright solo number that tells about the adventures of a sunbeam. The number is performed by almost a real sunbeam. Valeria Sarafannikova is only 4 years old, and she feels confident on stage. The number appeared in 2016.
And again, our crumbs are talking about their favorite tumbler dolls. What are these dolls and how do they differ from others... The number was created in 2014.
"Oh, you're Porushka, Paranya"
The number is performed by the youngest artists of the group.. preschool children. The number was created in the manner of Russian stylization and captivates with its simplicity and sincerity
Cheerful Mexican dance that emphasizes the brightest features of the perky character of Mexico. The number was born in 2015.
"Goodbye, girls" - this number is dedicated to the 70th anniversary of the Victory. To the music of Bulat Okudzhava, we created a performance about how we met the war, said goodbye to our relatives and went to the front, our girls, someone's sisters, someone's daughters ... We tried to convey all the pain experienced by the girls going to the front and those who remained ...
"Blue Bird" - continues to conquer the scenes of St. Petersburg and the Leningrad region. The solo number created in the manner of classical dance continues to decorate the repertoire of our ensemble. This year, she was awarded the title of laureate of the III degree at the III open inter-municipal choreographic festival-competition "Dance Confetti-20I4", laureate of the I degree of the IV International Festival of Contemporary Choreographic Art "Northern Capital", laureate of the I degree of the city dance competition "Rhythms of St. Petersburg 2015".
"Horses" - sketch number. Previously, we called this number "Sketches of Russian life", but in the process of evolution, the number was renamed and it became known as "horses". This number won the title of laureate of the 1st degree of the international choreographic competition-festival "Petersburg Seasons", a diploma of the 3rd degree of the IV Interregional Festival of Contemporary Choreographic Art "ProDanceSPb".
"The Fly-Cuzzle" - a solo number, staged based on the fairy tale by K.I. Chukovsky. The plot is simple: Fly-Tsokotuha is preparing for the holiday. The samovar is already prepared, it remains to wait for your guests. And here they are… The number is staged in the character of a Russian folk dance on a medley of folk melodies. Daria Poselskaya made her debut with this number at the city competition "Rhythms of St. Petersburg 2015" and conquered the jury. Dasha became the winner of the city competition "Rhythms of St. Petersburg 2015", laureate of the 1st degree of the VI regional competition "Dance with us", laureate of the 3rd degree of the international competition "Baltic Coast" in which Igor Kolb, soloist of the Mariinsky Theater and Yegor Druzhinin were invited to the jury.
"Cabbage" - this number was created in this (2014-15) school year. The true folk dance, performed since ancient times in Russia “Veysya cabbage”, was taken as the basis. Its second name is "Wattle". The difference in names is due to the area in which it was performed. The room is bright and cheerful. He was highly appreciated by the jury members of various competitions and was awarded the titles of II degree laureate of the IV International Festival of Contemporary Choreographic Art "Northern Capital", laureate of the I degree of the city dance competition "Rhythms of St. Petersburg 2015", laureate of the I degree of the VI regional competition "Dance with us", the number became the winner of the creative contest "Minute of Glory".
"Russian!" - This provocative Russian number has been danced for the third year, but this year we have significantly changed the composition of the participants and complicated the choreography. This number was one of the most beloved in our repertoire. He fell in love not only with the participants, but also with our dear viewers. No wonder this year this number was highly appreciated by the jury of various competitions. We received the titles of the II degree laureate of the international choreographic competition-festival "Petersburg Seasons", the laureate of the III degree of the inter-municipal choreographic festival-competition "Dance Confetti", the laureate of the I degree of the IV International Festival of Contemporary Choreographic Art "Northern Capital", the laureate of the I degree of the city dance competition " Rhythms of St. Petersburg 2015”.
"Village Story" - a cheerful number created in the nature of Russian folk dance (stylization). The basis of the costumes was the folk arts and crafts "Dymkovo toy". Cheerful and playful chickens take away a basket of sweets from a sluggish and pompous lady. This year, the performance became a diploma winner of the III degree of the IV International Festival of Contemporary Choreographic Art "Northern Capital" and a laureate of the I degree of the city dance competition "Rhythms of St. Petersburg 2015".
"What a circus"
"This is such a circus" - a cheerful number created in the pop genre. This is how we see the performance of funny clowns who play funny scenes with each other. This number became the laureate of the II degree of the international choreographic competition-festival "Petersburg Seasons", the laureate of the III degree at the III open intermunicipal choreographic festival-competition "Dance Confetti-20I4", the laureate of the I degree of the IV International Festival of Contemporary Choreographic Art "Northern Capital", the laureate of I degree of the city dance competition "Rhythms of St. Petersburg 2015", laureate of the II degree of the IV Interregional Festival of Contemporary Choreographic Art "ProDanceSPb".
| North Russian Patterns |
"Northern Russian Patterns" - the name of the issue speaks for itself. Russian dance shows the beauty of the choreographic vocabulary of the northern regions of Russia. Smoothly, slowly moving girls. Their movements are full of majestic grace and confidence. This number was delivered in 2013 and restored in 2014. year and received the title of laureate of the III degree of the VI district competition "Dance with us" and the laureate of the I degree of the city competition "Rhythms of St. Petersburg 2015".
"Tarantella" is a cheerful Italian folk dance expressing the joy of the Italian people, their perky cheerful character. The number received the title of diploma student of the 1st degree of the IV International Festival of Contemporary Choreographic Art "Northern Capital" and the winner of the 1st degree of the city competition "Rhythms of St. Petersburg 2015"
"Leshachok" - the plot of this issue was inspired by Russian folk tales, where there is an amazing character Leshy. We thought about what kind of child Leshiy might have ... Of course, this is Leshachok! A cheerful, playful, playful kid, striving, like dad, to restore order in the forest, sometimes a very peculiar order. Our "Leshachok" is very cute and this is confirmed by the awards received in the 2014-15 academic year! At the international choreographic competition "Petersburg Seasons" laureate of the 1st degree, laureate of the 2nd degree at the interregional festival of contemporary choreographic art "ProDanceSPb", laureate of the 3rd degree at the III open intermunicipal choreographic festival-competition "Dance Confetti-20I4", laureate of the 2nd degree of the IV International Festival of Contemporary choreographic art "Northern Capital", laureate of the 1st degree of the city dance competition "Rhythms of St. Petersburg 2015", winner of the city competition "Rhythms of St. Petersburg 2015", laureate of the 3rd degree at the international competition "Baltic Coast". And all the above awards are for this academic year only.
"Branle" - this ancient dance, one of the first that has come down to us. It was danced in the squares during holidays and fun by people of various classes. We tried to fantasize about this topic. How did people dance a few hundred years ago. Girls of the 1st year of study take their first steps in choreography, performing the Branle dance.
Kittens and rats
"Kittens and rats" - this number lives the second year. The plot of the issue is close and understandable to all the children, because in each class a similar story must have happened. Here you can see the adventure of arrogant rats and resourceful kittens. This year the number was awarded the title of laureate of the 1st degree of the city competition "Rhythms of St. Petersburg 2015".
Charming "Porcelain dolls" settled in our house. Although the pupae are very similar, each pupae has its own character. The idea of this number was born by the head of the association "Dance" Victoria Alexandrovna in the winter of 2012-13 academic year, and the number appeared on the stage a year later. In 2013, in the spring, the number won the hearts of the audience and received 2nd place in the regional competition "Dance with us."
The Dragonfly number was conceived as a solo, but then a second composition was introduced, and then the Dragonflies were completely combined into a duet. Two frisky dragonflies merrily flutter and frolic, now freezing in place, then rapidly moving around the stage ... Music by P.I. Tchaikovsky's "The Lark" really helps the girls Daria Matinova and Yulia Korizno to flutter easily and naturally ... This number was highly appreciated at the international competition and awarded 1st place .... That's just because of the illness of one "dragonfly" the number was nominated as a solo.
Once Upon a Time in the Attic… »
I really wanted to get into the variety show and one night the sisters went to the attic in search of adventure, and there they found .... Costumes for variety show dancers .. and adventure! "Once Upon a Time in the Attic"... a cheerful pop number that adorned the band's repertoire....
"Russian" is the name of a composition on the theme of Russian melodies... The guys are very young, they have been studying for 1 year, but they are trying very hard. The Russian spirit and friendship also help. And the girls are delighted with the wide skirts that develop when turning!
Russian motif is with us and the motifs of ancient Russia, his creativity, his folklore live in us. The number entered the repertoire of the team. The composition is updated, but the soul of the dance remains ...
"What a circus" Children's dance "This is such a circus" The name speaks for itself . ...
In the photo on the left, the winners of the examination session (1 year of study) On the right, 1st place - Valeria Tkachenko, on the left, the owner of the diploma for 2nd place, Ekaterina Guryanova
Bully Boy The working title of the issue is “Stilyagi”, although it is not about the memory of the film of the same name, but rather about the style of music ... And even if the costumes are not finished yet, and the legs are striving to dance ... pleasure - the sea !!! As it should be when you really love to dance!
In the photo (from left to right): Alexandra Polyakova, Dasha Karpova, Alexander Vasilchikov, Tanya Lazovskaya, Rita Kryl, Maria Berezhnova, Victoria Protasyeva
Lamplighters The romantic music of Alexei Rybnikov from the beloved movie Pinocchio inspired us to create the dance number “Lanterns”. .