How to draw a dancer for kids

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Is it possible for a child to dance?

If a child wants to draw, parents buy felt-tip pens or allow them to create on wallpaper. If they notice that the baby has been splashing in the sea for hours on vacation, they are recorded in the pool. A loving parent, when choosing a circle, is repelled by the preferences of the child, and not by his abilities or his own desires. This is how the baby learns the world, searches for himself and grows up as a happy person.

When registering for classes, parents of Fiesta beginners often share their feelings: “My girl really wants to dance, but she has no hearing. Will we succeed?" “You see, we don’t have a dance figure, can we?”

We always ask: "Does the child want to dance?" If the answer is "yes", then there are no obstacles why he cannot come to class.

All the children are dancing!

Dancing ⏤ is natural for a child, as the dance movements are close to the natural movements of the body. Therefore, every child already knows how to dance, and everyone can learn to move beautifully and professionally on the floor.

But all children need a different amount of time to achieve the result: one gets every movement right away, the other needs to repeat the element several times. Do not rush the child, but help him adapt, tell him that difficulties are normal, and praise him whenever possible.

The only ban on dancing ⏤ contraindications for health reasons, when the doctor forbade the child to exercise actively.

What about talent?

The word "talent" in sports is a relative concept. Talent relaxes: at the start, movements are easy for a naturally physically strong child, he gets used to the thought “dancing is easy”. At one of the following workouts, he does not perform a new element and is lost. The first obstacle is ⏤ and it already seems to the talented that he does not like dancing.

Another diligent student is accustomed to the idea that for the result you need to work from training to training. Thanks to perseverance, he quickly catches up and outstrips a talented dancer. Therefore, in ballroom dancing, the stubborn win over the talented. Character "I see the goal ⏤ I see no obstacles" ⏤ the main talent in any sport.

What about the physical data of the child?

At the Fiesta Children's Dance Academy, we do not select beginners into groups, as in ballet or rhythmic gymnastics, because during the selection, the child's abilities are visible only at a specific point in time. Remember: the main thing is the desire of the child to dance, perseverance and character, and not physical data and talent.

The figure of children is just being formed: if at 4⏤5 years old a child is slightly overweight, this does not mean that he will not stretch out at 10⏤12 years old. Therefore, according to physical data at preschool age, it is impossible to assess the dance prospects of a child.

On the contrary, with ballroom dancing and our age-specific training program for beginner dancers, we help children grow up healthy and physically strong. You will be pleasantly surprised how, after 2 years of regular training, the figure of a child will change: the stooped back will straighten, the general silhouette and posture will stretch, the muscles of the body will strengthen, and the feet will unfold to an eye-pleasing parallelism.

Is ear for music important?

Here parents confuse ear for music and sense of rhythm. Ear for music is a quality that is given by nature. But for dancing, it is not needed: the child will move, and not sing a cappella. To feel the music, a dancer needs a sense of rhythm, and this skill can be developed through regular practice.

Shyness is also not a sentence?

Another thing that parents worry about is the child's shyness, when he is even afraid to go into the hall, let alone dance. If it is difficult for a child to socialize due to shyness, dancing, on the contrary, will help him adapt to the team and become more open and courageous.

There are 2 simple rules here:

1. leave mom at the door: if mom stays with the child in class, he sticks to her to stay in familiar surroundings. With mom in the gym, we do not give the child a chance to relax and socialize in the team.
2. do not put pressure on the child: at the first lesson we allow the shy child to sit on the bench. Usually, already at the second training session, the child begins to dance, even if he is still sitting on a bench. Then he gets used to the environment, and incendiary music and "crowd syndrome" do their job. Fear is replaced by curiosity, and the child begins to move: first separately in a corner, and then imperceptibly joins group

Of course, not every dancer will become a professional athlete. But if a child wants to dance, he can do anything regardless of his individual characteristics, and at the same time grow up physically and emotionally healthy, courageous and confident person.

More about sports ballroom dancing in the #PROdance blog:

Anastasia Bondarenko
08/30/2021

Tips for children involved in dancing.

You come to dance classes for the first time or come to a new group for yourself, to a new teacher. Like any person who enters a new team, you may have questions about how to behave correctly.

We will give you some tips to help you cope with your anxiety and doubts.

In the first few sessions, you will get used to your trainer's teaching style. Each coach has his own lesson plan:

• warm-up, physical activity, stretching,
• learning and practicing the basic elements of dance,
• learning a dance performance,
• improvisation work for dancers,
• dance battle or jam between students, etc.

In addition to a different program, each coach conducts a lesson in his own way: some teachers explain literally every movement they make; others first show all the movements, then explain; someone slowly shows the movements, and explains those points that are incomprehensible to the students. For some teachers, music plays the entire lesson, while others first work out everything without music, and only then begin to work out movement and dance to the music. And each of the methods has the right to exist, the main thing is to understand that, no matter how the teacher builds his lesson, the student should always get answers to all his questions. So, you always need to clarify the points that are in doubt.

Just during the first lessons, you will get used to your teacher, understand the program and form of the lesson, understand when it is time to ask a question, and when it is worth waiting and the coach will explain everything himself. Take your time and don't worry - give yourself time to get used to the new environment.

In order to feel at ease in a new team, it is important for any person to understand that he is part of a group. It is important on your part to show that you enjoy being in the group: do not be gloomy and overly serious, others may think that you do not like something. As a rule, this causes a defensive reaction in the group - people become serious towards you. Therefore, smile and enjoy the lesson, the fact that you are dancing with other people - you will be gladly received as a friendly and interested person. The teacher and the group will also show interest in you: ask questions, offer help. Do not push them away, do not be afraid, do not think that someone wants to offend you or violate your personal space - everyone wants to feel the community of the team and the cohesion of the team.

Each student wants to know what he is doing, what he needs to work on more intensively, where to be more attentive. The answers to these questions do not need to be looked for exclusively in the mirror, they need to be received from the teacher, at least at first. The teacher will be able to point out your strengths and weaknesses, encourage, inspire and suggest directions for development. Feel free to ask questions, consult, consult with your coach. This conversation will allow you to draw conclusions about the coach, about the direction you have chosen, about your level at the moment and about your capabilities.

Whether you started with a group that has just opened or joined an established group, you should prepare for class. Three main points of preparation can be distinguished: if he forgets the movements and makes no effort to remember!)

Dance classes are not only exciting, dynamic and bright. It is responsible, difficult and in some moments even scary. Do not be afraid to overcome yourself and work on yourself! And remember, EVERYONE CAN DANCE! Get started! Dare!

Training is, first of all, the repetition of the same action.

If you are learning a new figure or composition (variation, scheme, link, chain), then you need to repeat the same steps many, many times.

If you want to have a strong and beautiful movement, then you need to apply the same effort many, many times.

If you want to achieve accuracy, speed and coordination of movement, then you need to repeat the same sequence of actions many, many times.

For example:

• this could be an effort to straighten the knee;

• "straighten the knee before putting weight on the leg" action;

• sequence of actions “turn the body with the muscles of the back, take the leg out for a step, straighten the knee, start working with the supporting foot, collect the press and muscles of the buttocks, transfer weight, stretch the muscles of the body and arms”, etc.;

• effort to pull the foot;

• effort to keep the press always assembled;

• effort to keep the shoulder blades always lowered;

• and so on……

In a nutshell, training is creating a healthy habit. In order for your body to move competently, coordinated, plastic, fast, strong and beautiful, you need to get used to holding and moving like this. And in order for it to get used to holding on and moving like that, you need to repeat the same action or effort many, many times.

Once a useful habit has been formed, it is already difficult to get rid of it. If you try really hard and repeat the special moves and efforts every time you dance in training, you will get used to dancing correctly very quickly. And then you won't have to think about it every time.

Remember:

• the coach cannot create a habit for you and make some kind of effort for you, because it is your body, not his, and it should make the effort, not the coach's body, because it is you to go to the tournament , and not the coach, and the judge will look at you, and not at the coach. The coach can only explain to you how to do it, what is right and wrong, and what needs to be done so that you are better than everyone else. And to do this is only your task and depends only on you.

• Only the one who trains and repeats the most, the strongest, the hardest, and the longest wins.

• There are a lot of dancers, but only one first place! Everyone wants to keep it busy, everyone goes to training, everyone tries the best they can, but only the one who tries the hardest every minute in training wins.

• One minute in practice when you were chatting, inattentive, or not doing your best - that's another couple that beat you in the tournament. Opponents do not sleep! They try hard in training and want to take first place as much as you do.

• A coach cannot make you dance the best, train and win. Only you decide whether you need it or not. A coach cannot teach you to dance better than anyone if you do not do everything possible for this.

• Losing is the loss of a lazy dancer, winning is the winning of a talented coach.

You need to train EVERY DAY. Preferably a few hours.

Before training, you MUST warm up - jump, stretch, squat.

Before an individual lesson and self-training, you should have a PLAN in your head, which you must definitely tell your partner. For example, something doesn't work in the waltz or you don't like your feet in Latin. This is what needs to be worked out.

After individual lessons and group lessons, IT IS MANDATORY TO WORK OUT THE INFORMATION RECEIVED, otherwise the muscles WILL NOT REMEMBER ANYTHING.

Dynamic stereotype, or muscle memory, works within 48 hours (after class). If you do not repeat the information received, then at the next lesson you will have to start all over again - the muscles will ALL forget

Repeat songs as often as possible! Even repetition in the mind gives a huge positive result, because it is the brain, our thinking organ, that gives commands to our body!

Always work to your FULL POWER in class, in practice. If you dance without trying to IMPROVE SOMETHING, you do not grow as a dancer.

Spend as much time as possible on BASE and TECHNIQUE. Without precise technique, everything you do looks amateurish.

If you are tired and your muscles hurt, it means YOU HAVE WORKED IN vain.

The start of a private lesson can be the most effective moment for all 45 minutes of class. It is at the beginning of the lesson that you can determine whether the teacher and students will work productively or spend “not very pleasant” time together.

This does not refer to the amount of information the dancers will receive or the benefit they can derive from this individual lesson. It's about the overall good mood that the teacher and dancers may or may not get from the lesson.

In the end, an individual lesson on a positive note is the key to being remembered as a good student that the trainer enjoys working with. So, what do we need to do when you go to a private lesson? Here are 5 tips to keep in mind:

Have a plan for a private lesson

You need to know exactly what questions you are going to ask the trainer, what aspects of your dance you need to check. Even if you come to class with your trainer, don't expect them to know better than you what you need to work on. Start the lesson by briefly and clearly explaining to the coach what you would like to do today. And after that, everything will be in his hands.

Show your human side

Remember that there is a person in front of you just like you. Like you, your teacher may have good and bad moments in life. For this reason, try to start the individual lesson in a more friendly way. Don't attack him with all your problems with your partner or with a bad result from the last competition.

Instead, try starting the conversation the way you would with your friend. For example, you can ask him how he is doing. If the coach is from another city or country, ask him or her how you got there, whether the flight was easy... These small details will positively affect the mood of the whole lesson. Both you and the teacher will benefit from this.

Be intuitive

As a general rule, different teachers may specialize in different areas of dance. Someone can be very useful in musicality, someone in technical aspects. Therefore, if you want to get the most help, try to choose a lesson topic in which the knowledge gained will become more effective.

This is especially important when you are working with intermediate teachers. When you take an individual lesson with dance legends, you can be sure that they will give you all the information you need and useful in your particular case.

But when you see a teacher with less experience, try to find his strongest point. You will get good information and he/she will work with you confidently.

Check how you look

If there's one thing that makes all teachers go crazy, it's when a student looks inappropriate. And this does not mean only the dress code. It's all about attitude. Hold yourself in such a way that you can be immediately identified as a dancer. Always focus on the lesson. Don't yawn and never lose the thought discussed in the lesson.

Be a couple

Last but not least! Since we are talking about ballroom dancing, the most important aspect is the couple. Be a team!

Definitely, this is the most unpleasant thing when a partner and a partner argue with each other in the presence of a teacher. We all know that this happens to all couples sometimes. But let's not forget that this is the most difficult moment for the teacher when he/she has to look at this theatre.

Communication between student and teacher is the most important

In our dancesport world, connection and feelings between people are often the reason to tell a good dancer from a bad one. It's clear to everyone how important it is to be seen as a genuine, positive, hard-working person, and not someone obsessed only with the need to get results.

This is why this article does not mention the actual level of dancing you are at. All of these aspects, which are immediately felt by teachers as soon as they start working with you, are the main reason for liking you or not.

1. Competitors must:

• know and strictly observe the Rules, Regulations, program of competitions, conditions for their conduct;
• to have with you record classification books, as well as other documents, if they are provided for by the Regulations on the competition, and present them to the secretariat during registration;
• register for participation in the tournament at the time allotted for registration;
• have a neat appearance, suits appropriate for the competition;
• timely get acquainted with the plan-scenario of the competition, the schedule of entries, observe the schedule established for the tournament, stay in the places reserved for participants;
• enter the parquet in the order of entries scheduled for this stage of the competition;
• if there is one exit to the tournament area, the couples leaving the parquet must let the couples leaving the next run;
• follow the orders of the judges;
• if it is impossible for any reason to continue the competition, immediately inform the chief referee about this;
• , when participating in the final, go to the awards ceremony in the appropriate tournament costumes;
• at the end of the competition, through his representative or independently endorse the results of his performance in the classification books.

Note: in case of violation of the Rules or incorrect behavior, the main panel of judges issues a warning to the participant. In case of repeated violation, the athlete is suspended from participation in the tournament. In case of especially gross violations, the athlete may be suspended from participation in the tournament by decision of the panel of judges without warning.

2. Competitors have the right:

• to have a representative (one from the collective or team) to resolve all issues that arise during the tournament;
• when holding tournaments in certain types of competitions, take part in one or more types of choice, having declared this at registration;
• have the same accommodation conditions as other competitors;
• at the end of registration, no later than 15 minutes before the start of the competition, receive information on the procedure for holding the tournament;
• in the prescribed manner, before the start of the next stage, to receive information about the results of the preliminary rounds;
• for accommodation, registration and warm-up, contact the judges at the participants;
• on the issues of holding the tournament, through your representative (captain), contact the deputy chief judge, chief secretary, chief judge;
• at the end of the tournament, through your representative (captain), receive full information from the secretariat about the number of participants, the place taken, the coefficient of the tournament, entering it into the classification book.

"Sports ethics" is usually called a set of norms of behavior that regulate people's relations in the field of sports activities. In the ordinary sense, it is perceived as unwritten norms of behavior for people involved in sports. On the other hand, relatively recently sports ethics began to be considered as a science, an important part of general ethics. Both of these interpretations are closely interconnected, interdependent, often intertwined and have a common basis - morality as a necessary quality for favorable, positive relationships between participants in the sports process.

The ability to behave under the most difficult circumstances, which is a sign of internal organization, composure, discipline, culture - this is also the prerogative of sports ethics. For example, an athlete should never get into an argument with a judge. The unwritten laws of sports do not allow you to refuse to perform, play for time, leave the race, stop the game ahead of time, even if the athlete is sure that he still lost. It is unethical to express annoyance from dissatisfaction with a partner, rival. It is especially important to be able to control yourself after a loss. With dignity, paying tribute to the skill of the opponent, congratulate him on his victory. Attitude towards an opponent is an indicator of the true upbringing of an athlete.

Genuine ethics in sport is associated with such value concepts as patriotism, duty and responsibility, friendship and collectivism, honor and dignity, justice and unselfishness. Along with the development of interethnic and international sports relations, the norms of sports ethics acquire a universal character. A number of them are enshrined in the international rules for competitions in sports, and in a generalized form - in such official and semi-official establishments as the Olympic Rules, the Sports Manifesto and the Principle of Fair Play, introduced under the auspices of CIEPS (one of the cultural organizations of UNESCO) , etc. Since these norms are consistent with the universal norms of humane relations, they are part of the ethics of Russian athletes.

Human behavior is largely based on moral principles that reflect the moral side of his personality. At the heart of relations between the subjects of sports activity are universal moral principles: honesty, decency, justice, sense of duty, patriotism, collectivism, humanity, respect, reasonableness, courage and honor, etc.

are reduced to the requirements to behave in sports in a way worthy of a person: to honestly observe the established rules of the competition, not to resort to prohibited methods of achieving superiority over an opponent, not to be rude, etc. The reasons for deviations from the norms often lie not in ignorance of what is what is moral and what is immoral in sports, but in the absence of firm convictions and strong skills of moral behavior developed in relation to the characteristics of sports activities. Its specificity is such that even an athlete who has general moral convictions, but does not have practical experience brought to stable behavioral skills in difficult sports situations, may find himself in the role of a violator of the rules of sports ethics. This is the reason for the paramount importance of the methods of practical training in the process of mastering its norms.

Moral convictions are formed in the process of acquiring moral experience of behavior by a person. Therefore, the influence of the family, comrades in sports and studies, the media, especially television, is of some importance. It is also impossible to ignore self-education, which, together with upbringing, is one of the interdependent and complementary aspects of a single process of personality formation and development, a complex process that affects the entire spiritual world of a person with a special role for the mental sphere.

• Cook the evening before and tidy up the costume.
• On the eve of the tournament, the partner visits the hairdresser.
• Don't forget hairspray, cosmetics, eau de toilette and number pins.
• Clean shoes, glue if necessary.
• Don't forget sandwiches and drinks.
• Get your hair done (at home!), at the tournament, if necessary, fix it.
• If you want to take a coach with you to the tournament, take care of his travel and free admission to the tournament - for a coach, being at a tournament is work!
• Be at the competition 1 - 1.5 hours before the start.
• It is advisable for all club members participating in the tournament, as well as fans, to stay close to support each other.
• By the start of the competition, dancers must consider the entire hall and venue of the tournament, so as not to do this during the event.
• One of the partners or parents to control the registration of the couple;
• View the tournament schedule, the category performance program - if necessary, write down the order;
• 10 minutes before the performance, it is necessary to warm up;
• From now on, the dancers must be together, in pairs;
• After the dance, the dancers must approach the coach (if the coach is with you) and not the parents;
• Closely monitor entries and control the order of your participation.
• If you didn't exit on your turn, exit on the next one.
• Write down or buy "crosses" (printout with marks) for dances or places in the final for your couple. This is necessary for the coach for further analysis and work with your pair.
• If a dance couple has been remarked (parents should not panic and find out the nature of the remarks) - report the remark to the coach - he will be able to explain what happened to you and adequately respond to it, if necessary.

• Be at the competition 1-1.5 hours before the start.
• It is advisable for all club members participating in the tournament, as well as fans, to stay close to support each other.
• By the start of the competition, dancers must consider the entire hall and venue of the tournament, so as not to do this during the event.
• View the tournament schedule, the category performance program - if necessary, write down the order;
• 10 minutes before the performance, it is necessary to warm up;
• From now on, the dancers must be together, in pairs;
• After the dance, the dancers must approach the coach (if the coach is with you) and not the parents;
• Closely monitor entries and control the order of your participation.
• If you didn't exit on your turn, exit on the next one.
• Write down or buy "crosses" (printout with marks) for dances or places in the final for your couple. This is necessary for the coach for further analysis and work with your pair.

When starting to take a child to ballroom dancing classes, many parents refuse to participate in competitions, motivating them to do it for themselves. Others do not exclude participation in competitions, but choose 2-3 major tournaments per year. They are convinced that you first need to reach a certain level, and only after that think about rewards.

In fact, participation in competitions is important both for those who simply want to learn how to dance, and if the goal is victories and great acrylic prizes.

Competitions are an incentive for improvement and a second wind

Participation in tournaments and competitions keep dancers in good shape, make them constantly stay in good shape. In addition, any competitions temper character, shape personality, bring up willpower, composure, faith in victory. Even if you are dancing for yourself, why refuse such a bonus.

At competitions, children learn to empathize, cheer for each other, a team spirit is brought up, friendship grows stronger. By refusing to participate in competitions, parents tear the child away from the team, deprive him of the emotions necessary for raising a harmonious personality.

Refusal to participate in competitions reduces interest. Many children who show excellent results in the first year of training, subsequently begin to hack, lose interest in classes and soon give up dancing or continue to study only under pressure from adults. Interest burns out if it is not reinforced from the outside.

At competitions, participants compare themselves with other dancers, evaluate their strength. There is excitement, a spirit of competition. Winners receive a worthy reward for their efforts. The losers get a second wind, there is a desire to prove that they, too, are capable of more. You can do it for yourself and not dream of becoming a world champion and a coach, but the acquired skills and strong character in life will not hurt anyone.

Tournament practice is an important condition for victory

Those who believe that it is possible to participate in competitions only after reaching a certain level of skill are also mistaken. They throw all their strength into training - they drive compositions, study technique, take individual lessons. Only this is not enough.

Competitions are stress, excitement, adrenaline rush. To learn to control oneself, the practice of participating in events of this kind is necessary. Only when you start going to tournaments as a job, experience appears. The dancer learns to cope with difficulties, begins to hear the music, can concentrate, understands how to interact with the public, fans and fans.

Dance floor skills play a huge role. Competition is always a new environment. The ability to profitably present oneself, choose the right angle, not get lost in the crowd, cope with unforeseen situations - this and other invaluable experience is worked out only in practice.

There is also a rating of dancers. Winning a tournament for a permanent leader, who is known by the judges and loved by the fans, is easier than for a talent that has emerged from oblivion. Even if it's worth it. Each competition ends with a mandatory debriefing, analysis of mistakes and strengths.

Refusing to participate in ballroom dancing competitions means depriving the dancer of the fuel that moves him forward, both in dance activity and in life.

1. Never, under any circumstances, compare yourself to other performers.

2. Know your purpose clearly! Who do you want to become. If you don't know, don't be afraid to experiment.

3. In all colors and tones, imagine yourself to be who you want to become. This should be your daily work on yourself.

4. Constantly listen to music, varied in styles and directions. Don't stop looking for something new for yourself.

5. Do not skip rehearsals/trainings under any pretext.

6. Practice all the material learned in class or training at home.

7. Be sure to check with the teacher or trainer after the rehearsal or training for all elements of movements that are unclear to you during the lesson.

8. Don't take everything for granted. You are given the opportunity and conditions for development. Then you decide what to do with the acquired knowledge - apply or forget.

9. If something doesn't work out for you, it's just an excuse to work with double strength. Don't whine! Don't complain! Get up, get together and move forward towards your goal!

10. Improvisation. Be sure to improvise, combine different combinations and movements. Try, try and try again! This will be a good impetus for your professional growth.

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