How to prepare for dance tryouts

How to Prepare for a Dance Audition: Eight Keys For Success

Posted on June 23, 2014November 8, 2021 by Helen Kantilaftis

Auditions are a fact of life for the dancer. They are your chance to show your skills and talent to a panel of judges. Whether you are auditioning for college, a dance company, or an entertainment position, they can feel overwhelming to prepare for. Here are some tips to help get you on the right track.

1. Practice Regularly

Take dance classes in different styles consistently. During your classes, take your training seriously so that your technique is in peak form. Perform each combination in class to its fullest potential and take corrections in stride, employing them immediately. This will help condition your body and mind to the rigors of the audition world.

Know what style of dance you excel in, and then try something completely different. You never know when a choreographer is going to throw some ballet into a hip-hop routine these days. Versatility is a sought after quality in a dancer.

It also helps to take new classes regularly; that way you are continually testing your mental ability to pick up choreography quickly.

2. Gather Your Information

Be informed about what you are auditioning for. Are you auditioning for a Swan Lake role, or a music video backup dancer?

Learn as much as you can about the role or company you are auditioning for beforehand. Find out if there is a fee to audition and be sure to bring it with you. Then, find out if you need to bring or submit any documents. If the audition requires a resume and headshot, start to prepare the required documents.

Make sure your resume highlights your strengths and recent accomplishments, and includes your name and phone number. Also be sure to mention where you have trained, who you have studied with, and performance experience.

Your headshot should be a professional photograph. Some auditions may also require a full body photo. They may require you to apply and send this information in advance; others may want you to bring printed copies that they can keep.

3. Cross Train

Become a stronger dancer by cross training.

Increase your cardio health through running, biking, or swimming. Lift weights to increase your strength for partner work. Do yoga or Pilates to stretch, strengthen your core, and focus your mind. Be patient to find what works for you.

This will help you get through a long audition. Cross training also keeps you in physically good shape, so that the judges are seeing your best self when you audition.

4. Be Healthy

Get plenty of sleep in the week and night prior to your audition.

Maintain a plentiful and balanced diet. Focus on eating whole foods rather than processed foods as much as possible, especially the night before and day of the audition. Have a good, healthy, and filling meal the night before your audition, but don’t overdo it.

Eat a light meal an hour or so prior to your audition. This is very important so that you can function to your highest ability when auditioning. Drink plenty of water regularly.

5. Dress Appropriately

Be smart about knowing what you are auditioning for. A ballet role is going to want to see you in leotard, tights, ballet slippers, or pointe shoes. A hip-hop role will allow you to express your personality through your outfit.

If appropriate, wear something that helps you stand out in the crowd. Be edgy, but, keep it clean and neat. Inquire if you have any questions about the dress code. Bring the correct dance shoes as well.

6. Be Prepared for Anything

This may mean choreographing a short solo piece, participating in a group class, or performing an improvisation.

Find out if the audition will require a solo, and prepare by choreographing in advance. You can choreograph it yourself or have someone else choreograph it on you if you are more comfortable with that. Make sure your choreography suits the style of the audition and also shows off your technique and artistic ability. Practice your solo regularly.

This also means to bring back up supplies such as hair bands, bobby pins, band-aids, extra water, other dance shoes, knee pads, or anything else you think you might need.

7. Arrive Early

Give yourself time to check-in and warm up. A good, thorough warm up is essential to any dancer being able to perform at their best. Take time to center yourself, stretch, and move, even if they are giving you a warm up in the audition.

This time will also help orient you to the studio space. If you start to feel nervous, take a few deep, slow breaths to calm yourself down.

8. Be Positive

Remain lighthearted and natural if you begin to feel nervous at all. Channel your nerves into enthusiasm for the choreography.

The more you can allow your talent to shine through your dancing ability, the closer you will be to landing the job! Be there for yourself and your desire for the job.

There is no need to compare yourself to others, so leave your judgment at the door. Be optimistic in the time leading up to the audition and bring that passion into the studio with you. Be yourself, relax, and have faith in your abilities.

When the time comes to audition, focus your mind on the present moment rather than what the results will be.

Auditioning is a skill that should be practiced often and will improve over time. Remember to learn what you can from both good and bad audition experiences. Remain hopeful in yourself and dedicated to your craft to continuing growing as a dancer and performer.

Following these tips to prepare for a dance audition will give you the confidence you need to succeed. And remember…you have already done most of the work through your training!

Image Source: Lowell Hendrix

How to Prepare for a Dance Audition: Eight Keys For Success by Helen Kantilaftis

Musical Theatre

7 Tips for Acing Dance Team Tryouts

Gearing up for dance team tryouts? Whether you're trying out for a high school team, or one at the college or professional level, it can be an emotionally and physically demanding experience. But don't let your nerves get the best of you during the process! Whether this is your first tryout or your 20th, follow these tips so you can deliver your best performance when the big day finally gets here.

Tip #1: Get the details.

The more prepared you are walking into dance team tryouts, the more confident you'll feel. So do some digging so you can find out about any team skill requirements; for instance, certain techniques or dance moves you'll need to know, like splits or double pirouettes. Also, find out about any other important details, such as fees, weight limits, and what the day's event schedule looks like so you can plan ahead. Getting the lay of the land before the big day arrives will not only help you prepare better, but you'll feel more calm and focused as a result.

Tip #2: Take classes from a professional studio.

One of the best ways you can prepare for dance team tryouts -- and make sure your skills are absolutely spot-on -- is to take dance lessons ahead of time. In fact, getting professional instruction is your best bet for making it onto the dance team of your dreams. Plus, a strong background in dance will also give you an edge over other dancers trying out who have little or no formal training.

Do some research to identify what style of dance will best help you in your tryouts. For instance, ballet can help with balance, as well as poise. Jazz, on the other hand, can help you boost your precision and technique. If you're looking to take your style up a notch, then try a hip-hop class.

Not only can lessons from a dance studio give you the practice you need and help you perfect required skills, but the coaches can share their own stories, offering you plenty of tips and advice for what you need to do to ace your tryout.

Tip #3: Get in your best shape ever.

In addition to dance classes at a professional studio, start a workout plan at least a few weeks before your tryout. Skills are important, but so is endurance and flexibility. That's where a good workout plan -- which includes a combination of cardiovascular exercises balanced with stretching or yoga -- can help.

Tip #4: Take advantage of team clinics.

Some teams offer clinics before tryouts. This is a great way to prepare and learn the required choreography. It will also help you further develop your skills and find out exactly what judges want to see when you're performing. If you're not sure whether the dance team you're interested in offers clinics, contact the director.

Tip #5: Know the dress code.

When it comes to dance team tryouts, making the best impression possible is critically important. Even if you have all the right moves, if you're not dressed in the right way, then it can negatively impact the impression you leave behind. Judges will remember you for all the wrong reasons.

Many dance teams have a dress code for their tryouts. So follow it precisely if you want to get noticed in the best possible way by judges. If, however, there isn't a dress code, then wear clothes that are comfortable and show off your physique. For instance, try black dancewear bottoms and a colorful dancewear top. You're trying to be memorable so make sure you feel confident in whatever clothes you choose to wear.

In addition, pay special attention to your hair and makeup, including doing a hair style that's tied back. That way, you don't have to worry about your hair falling in your face, distracting you during tryouts. For your makeup, don't pile it on; simply apply enough to enhance your features. It's proven that the better you look, the better you'll feel.

Tip #6: Keep healthy habits.

It's so important to eat a healthy diet and get enough sleep leading up to the big day. If you eat a lot of junk food and stay up late, it's not only going to impact your day-of performance, but also your ability to get the most out of practices and workouts. That's why it's vital to maintain a balanced diet of protein, vegetables, and whole wheat. The day of the tryout, also make sure to eat a breakfast that will give you the fuel you need to perform at your best, such as peanut butter on whole wheat bread.

Tip #7: Do your best.

Part of doing your best means showing up on time. Judges will want to make sure you can follow the rules and being prompt, or even showing up a few minutes early, is important.

Also, during your dance team tryout, try not to let your nerves show. Personality is a big factor when judging, which is why you want to showcase yours. So hold your head high, smile and put your best foot forward. You want to show the judges you're excited to be there and that you're eager to be a part of the team.

If you do make a mistake, just roll with it. Keep smiling and don't stop moving. Judges expect some mistakes and nerves, especially at the beginning. But it's how you handle yourself afterward that will show how well you do under pressure -- and whether you're worthy of a spot on the team. Good luck!

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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 anxiety and doubt.

Get used to the new environment for the first few sessions

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

warm-up, exercise, stretching,
study and practice of the basic elements of dance,
learning a dance routine,
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 the 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.

Become a part of the team

In order to feel "at ease" in a new team, it is important for any person to understand that he is part of the 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.

Talk to the teacher

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.

Treat dance lessons responsibly

Whether you started with a group that has just opened or joined an already established group, you should prepare for class. There are three main points of preparation:

Repeat the learned movements, elements, dance sequences at home or before training so that the whole group works intensively and productively during the lesson (it’s one thing if a student doesn’t succeed, another thing, if he forgets the movements and makes no effort to remember!)
Be collected and neat. Make sure that it is pleasant and comfortable to be near you during the lesson.
Arrive to class on time, don't miss a workout without a good reason.

Dancing lessons 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.

When 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 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 trying your hardest - 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 OBLIGATORY TO WORK THE INFORMATION RECEIVED, otherwise the muscles WILL NOT REMEMBER ANYTHING.

Dynamic stereotype, or muscle memory, works for 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 the 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.

Ultimately, an individual lesson on a positive note is the key to being remembered as a good student who is a pleasure to work 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 trainer 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 follow the Rules, Regulations, program of competitions, conditions for their holding;
to have record classification books, as well as other documents, if they are provided for by the Competition Regulations, 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 judge about this;
when participating in the finals, enter 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, stating 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 disinterestedness. 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. The relations between the subjects of sports activities are based on 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 a person gaining moral experience of behavior. 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.

Before the tournament:

Cook the evening before and put the costume in order.
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, dancers must approach the coach (if the coach is with you) and not their 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.

At the tournament:

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, dancers must approach the coach (if the coach is with you) and not their 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. Don't skip rehearsals/trainings for any reason.

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

7. Be sure to check with the teacher or coach 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.

11. Be interested in what you do, what you dance. Always improve, look for new knowledge from other masters.

12. And remember the most important thing: dance is the soul dancing to the music!

Technique of special physical training of dancers aged 8-9

The article presents the technique of special physical training of dancers 8-9 years old at the stage of initial training. The developed technique is aimed primarily at developing the coordination abilities of dancers, taking into account the technical features of the performance of figures and dance elements of the European and Latin American programs. In the training process of young dancers, when implementing the methodology of special physical training, it is proposed to take into account the morphological and functional features of athletes. In the special physical training classes, young dancers should be divided into two subgroups depending on the somatotype: the first subgroup - athletes of the ectomorphic somatotype, the second subgroup - athletes of the endomorphic, mesomorphic and central somatotypes. According to the experimental methodology in the variable part of the classes, dancers of the first subgroup are offered a more active use of exercises of a speed-strength and strength nature, for athletes of the second subgroup - exercises for strength endurance. The paper presents an assessment of the effectiveness of the proposed methodology in terms of the dynamics of indicators of physical and technical readiness, morphological and functional data, sports results.

Keywords: special physical training; dance sport; primary school age; somatotype; morphofunctional characteristics.

Sports dancing as a "young" sport, where the sports component is strengthened, requires the development of a scientific substantiation of the training process, a critical rethinking of the available means, methods and forms of training. The problem of developing sports technologies and training methods for dancers is an urgent one. Only a few scientific studies are devoted to these issues [1; four; 5]. Constant monitoring of the morphofunctional state of the body and the level of physical fitness should be an integral part of children's sports training [2; 3].

Currently, there are practically no studies related to the scientific substantiation of the training process of dancers aged 8-9 years at the stage of initial training, the morphological and functional features of young dancers have not been studied, issues related to the use of means and methods of their special physical training are extremely poorly covered. Therefore, the development of an effective methodology for special physical training of young dancers, taking into account their morphofunctional features, is a very urgent task.

The purpose of the research is to develop a method of special physical training of dancers

8-9 years old at the stage of initial training, taking into account their morphological and functional features.

The study used pedagogical, somatometric, physiological and mathematical-statistical research methods. Of the pedagogical methods, the analysis of scientific and methodological literature and official documentary materials on sports dances, video recording and analysis of competitive compositions, peer review, pedagogical observation, testing, and pedagogical experiment were used. With the help of somatometric methods, the total body dimensions, skin-fat folds, carpal dynamometry indicators were determined, indices and coefficients were calculated, the somatotype was determined according to the scheme of B. H. Heath and J. E. L. Carter [6]. Of the clinical and physiological methods, pulsometry, the Bondarevsky test, the Yarotsky test in two variations were used, and the vital capacity of the lungs (VC) was determined.

A pedagogical experiment was carried out to substantiate the methodology. The experimental (EG) and control (CG) groups included 9 dance couples at the stage of initial training of the second year of study at the age of 8-9 years, having a similar level of physical development, physical and technical readiness (p > 0. 05) and having a sports at least one year of experience and the same competitive experience

. At the beginning and end of the pedagogical experiment, all participants were examined using a complex of pedagogical, somatometric and physiological methods.

The developed method of special physical training of young dancers at the stage of initial training, on the one hand, is aimed at developing all motor abilities, taking into account the morphological and functional characteristics of athletes, on the other hand, is based on conducting special physical training, taking into account the technical features of the performance of figures and elements of European dances. and Latin American programs, as well as taking into account the identified professionally significant motor qualities and trends in the development of dance sports.

The methodology implemented in the experimental group during 40-week microcycles in the preparatory and competitive periods of training included sets of special physical training exercises (SPP) used in four types of classes (lessons "outside the parquet", classes according to the European program, classes according to Latin American program, “running sessions”). In total, the methodology included 24 SPT sessions "outside the parquet" lasting 1 hour 15 minutes, 18 "running sessions" lasting 1 hour and 98 15-minute SFP complexes included in the classes of the European and Latin American program.

The complex of exercises of SFP lessons "outside the parquet" included mainly exercises of a coordinating nature, speed-strength exercises, elements of aerobics and choreography. From basic aerobics, we used basic aerobics steps with the absence and presence of a non-support phase, movements with a toe roll over the entire foot, movements from the heel with a roll over the entire foot, translational movements, rotational movements, combined (translational and rotational) movements. These exercises place high demands on the level of development of coordination abilities and statokinetic stability. Bundles of basic aerobic steps were performed to musical accompaniment at a pace of 130-140 beats per minute. Also, speed-strength and strength exercises of aerobics and stretching performed on mats were used. At the same time, a distinctive feature of the aerobic exercises used was their mandatory implementation with the toes of the feet extended to the maximum possible position.

Exercises from the SFP complex, used in the lessons under the European program,

predominantly consisted of movements of a coordinating nature. In a number of exercises of the proposed methodology, there were elements aimed at building the correct lines of the torso and shoulder girdle, necessary to maintain the position of the dances of the European program. The exercises used were performed without objects, as well as using gymnastic sticks, rubber bands and weights. The exercises of the SFP complex were performed in the classes, the main focus of which was teaching and improving the technique of performing figures and technical elements of the dances of the European program, performed by dancers of the skill class "E" (slow waltz, Viennese waltz, quickstep). The SPT complex occupied no more than 25% of the time of the training session.

Exercises from the SPT complex used in the Latin American program classes mainly consisted of complex coordination movements, speed-strength exercises, exercises for the development of quickness and joint mobility. In terms of volume, this set of SFP exercises did not exceed 25% of the time allotted for a training session. At the same time, the main focus of these classes is to increase the level of technical preparedness of young dancers in the Latin American program (samba, cha-cha-cha and jive dances). Exercises of the SFP complex were performed without objects, as well as using rubber bands and weights.

The SPP exercises used in the "running sessions" were divided into two sets: the SPP exercises used in the "running sessions" of the European Program; SPP exercises used in the "running sessions" of the Latin American program. These complexes include exercises that are mainly aimed at developing special endurance, taking into account the characteristics of the dance performance of the European and Latin American programs, as well as exercises of a coordinating nature.

SPT lessons according to the experimental methodology consisted of a basic and a variable part. The basic part consisted of exercises that were the same for subgroups of dancers with different somatotypes, and the exercises of the variable part were selected based on the morphological and functional characteristics of the athletes.

At the beginning of the dance season, the athletes of the experimental group were divided into two subgroups, taking into account the somatotype determined according to the scheme of B. H. Heath and J. E. L. Carter and the BMI index. The first subgroup consisted of dancers of the experimental group with an ectomorphic somatotype, characterized by a pronounced relative elongation of the body and its segments. This group included 66.7% of girls-check-dancers and 11.1% of boys-dancers (total

7 athletes). The BMI index of the dancers of this subgroup had low assessment values (in points according to WHO data): mainly with a slight decrease in body weight (-4 points - 85. 7%) and a moderate decrease in body weight (-3 points - 14.3%). The second subgroup consisted of dancers with a predominantly central somatotype (77.7% of boys and 11.1% of girls), as well as a mesomorphic somatotype (11.1% of boys) and an endomorphic somatotype (22.2% of girls). In total, the second subgroup consisted of 11 people.

A feature of the SPT methodology in the lessons according to the experimental program for the first subgroup of trainees (dancers of an ectomorphic somatotype) was the more active use of exercises of a speed-strength and power nature in the variable part of the lessons, for the second subgroup (dancers of other somatotypes) - exercises for strength endurance.

As a result of the studies carried out after the experiment, it was established that the greatest changes in the studied parameters were noted in the EG compared to the CG. The pedagogical effectiveness of the developed methodology is confirmed by differences (p < 0.05) in morphofunctional characteristics, indicators of coordination, rhythmic and speed-strength abilities, speed, flexibility, strength endurance, vestibular stability, balance function, ability to differentiate muscle efforts, technical readiness and sports results. EC and CG of young dancers.

In the EG, more pronounced morphological and functional changes (p < 0.05) occurred in such indicators as relative hand dynamometry, weight-to-height coefficient, ability to differentiate muscle efforts, body mass index. Positive changes in terms of balance function and vestibular stability by the end of the academic year were noted both among dancers from the EG and from the CG. At the same time, more pronounced changes (p < 0.05) were in the dancers of the experimental group.

The level of physical fitness of young dancers was determined by 20 test tasks. Positive changes by the end of the academic year in the control and experimental groups are associated, on the one hand, with age-related changes.0003

young dancers, on the other hand, with the training process in dancesport in the study groups. However, the changes in the indicators of physical fitness of the dancers of the experimental group for most of the test tasks were significantly greater (p < 0. 05) compared to the changes in the control group.

The greatest difference (> 10%) between the relative changes in the results of physical fitness of the experimental and control groups of boys during the pedagogical experiment was noted for such indicators as arm twist with a gymnastic stick (13.2%), squats in 20 seconds. (13%), rising to a sitting position in 20 sec. (17%), trunk extension in 20 sec (29.7%), the frequency of movements of the right and left legs in 10 sec. (15.9%), longitudinal split from the right and left legs (19.8% and 17.6%, respectively), transverse split (13.5%), holding hands in a dance position with weights of 1 kg.

In the study of changes in the rhythmic abilities of young dancers, it was noted that in boys from the EG, the total score for performing movements during 44 measures of the slow waltz of the European program in the experimental group during the experiment increased by 38.6%, in the control group - by 16.6 %. For girls from the EG this indicator improved by 28. 5%, for girls from the CG - by 19.3%. Similar data were obtained for the Latin American Program.

Technical readiness was determined by expert evaluation. Each pair takes turns in front of five expert judges for 1.5 minutes. performed the proposed schemes of the European and Latin American programs: slow waltz, Viennese waltz, quickstep, samba, cha-cha-cha and jive. The judges on a 10-point scale assessed the technique of performing dance patterns, taking into account the main criteria: rhythmic performance of the figures; the correct position of the body; pair movement; technical accuracy of figures execution. The overall score was derived as the arithmetic mean of the scores of five judges.

The increase in the technical readiness of dancers during the pedagogical experiment was calculated as the difference between the expert assessment, expressed as a percentage, of the control and experimental groups before and after the pedagogical experiment. According to the results of an expert assessment, the technique of performing dance compositions of the European program in the EG improved by 33-38%, in the CG - by 15-19%, in the Latin American program - by 36-41% and 17-19%, respectively.

In the course of the experiment, a comparative analysis of the complexity of the competitive compositions of the European and Latin American programs for dancers from the EG and CG, performed at competitions in mid-October 2011 and late May 2012, was carried out. The complexity of the composition of each dance was determined by the total and average complexity of non-repeating figures included in composition. The increase in the indicators of the average complexity of non-repeating figures in the competitive compositions of the dancers from the EG was better compared to the CG by

8% in slow waltz and 6.7% in European program quickstep, 14%, 15% and 12% in samba, cha-cha-cha and jive of the Latin American program.

Comparative analysis of the sports results of dancers in the control and experimental groups was carried out for a number of indicators at competitions in skill class "E" of the Moscow DanceSport Federation and the Russian DanceSport Federation during the dance season 2011/2012. With participation in an equal number of competitions, the sports result indicators of dance couples from the EG by the end of the dance season were significantly higher (p < 0.01) compared to the indicators of dancers from the CG. On average, in the EG, the indicator of the total number of points scored by couples during the dance season was 14.0 ± 4.8 points, in the CG - 7.2 ± 4.3 points, i.e. in 1.9times more (p < 0.01). According to the results of the season, four couples from the EG and one couple from the CG were transferred to the skill class "D", which indicates a higher level of technical preparedness and sports results of the dancers of the experimental group at the end of the pedagogical experiment.

Thus, the results of the study of the level of sports preparedness of young dancers in the course of the pedagogical experiment showed the effectiveness of the proposed experimental methodology, which is confirmed by the differences in morphological and functional characteristics, indicators of physical and technical readiness, sports results of dancers in the experimental and control groups. The study confirmed the validity of the hypothesis put forward about the training role of special physical training using exercises of a coordinating nature in relation to the technical skills of athletes at the stage of initial training and, as a result, an increase in their sports results.

Development and scientific substantiation of the methodology of special physical training of young dancers

with the primary use of coordination exercises in the annual cycle of training, taking into account the morphological and functional characteristics of athletes, presents significant opportunities for increasing the effectiveness of their training and competitive activities.

Literature

1. Yeresko I. E. Methods of improving the training process of dancers 7-9years on the basis of the use of choreographic means: Ph.D. dis. ... cand. ped. Sciences. Khabarovsk, 2005.

2. Zaitsev AA Biological substantiation of the concept of development of fitness components under the influence of somatotype-specific changes in the growing body of team-game sportswomen: author. dis. ... Dr. Biol. Sciences. M., 2006.

3. Lysova IA, Mukhina EV Improving the effectiveness of schoolchildren's physical fitness control // Physical culture: education, education, training. M., 2005. No. 4. S. 43-45.

4. Putintseva EV The structure of the types of primary training of children 7-9 years old in sports dances: author. dis. ... cand. ped. Sciences. Omsk, 2007.

5. Terekhova MA Methods of physical training of dancers aged 10-11 at the stage of initial sports specialization: author. dis. ... cand. ped. Sciences. Malakhovka, 2008.

6. Carter J. E. L. The heath-carter anthropometric soma-totype-instruction manual. San Diego, CA. U.S.A., 2002.

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TECHNIQUE OF THE SPECIAL PHYSICAL TRAINING OF 8-9YEARS OLD DANCERS

P. K. Lysov, A. Yu. Bredikhin

In article the technique of special physical training of 8-9 years old dancers is presented at a stage of initial preparation. The developed technique is aimed mainly at the development of coordination abilities of dancers taking into account technical features of execution of figures and elements of dances of the European and Latin American programs.