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8IMPROVING THE SYSTEM OF TRAINING THE CLASSICAL DANCE FOR STUDENTS
OF CHOREOGRAPHY AT THE UNIVERSITIES
MUKHAMEDZHANOVA MALIKA ZHALGASOVNA
master's teacher International Kazakh-Turkish university named after Khoja Ahmed Yasawi
Turkestan (Republic of Kazakhstan)
BEGALIYEV DULAT
specialty 6b02124-chor geography 3rd year student
Annotation: The modernization of the educational system for training choreographers in universities of culture in the field of classical dance is currently one of the priority areas for training specialists for cultural institutions, secondary educational institutions of culture, centers of additional education. The problem of improving the educational system is the integration of educational, scientific and practical activities.
A graduate of a university, a choreographer, a young specialist in the field of classical dance should be able to navigate in non-standard situations, apply the knowledge, skills, and skills acquired during the training period and project them into their professional activities.
The student's training should be carried out in the direct interrelation of three cycles: pedagogical, historical and professional, which includes specialized special and general developing humanitarian disciplines. The core disciplines of choreography were formed and developed historically, gradually. The interconnection of all educational cycles will help the graduate to successfully solve professional problems.
According to the republican educational standards, universities do not train teachers in certain types of dance: classical, folk stage, modern (jazz, modern, ballroom dance). Classical dance is one of the fundamental disciplines in the training of choreographers at the university in the specialty choreography, as well as a kind of incentive for constant physical development and professional growth.
Keywords: system, method, method classical dance, education, teacher, professional activity, goals, objectives.
Introduction: In accordance with the concept of modernization of Kazakh education, the main purpose of vocational education is to train a qualified employee of the appropriate level, direction and profile; an employee who is competitive in the labor market, competent and responsible, fluent in his profession and oriented in related activities; a person capable not only of effective work in the specialty at the level of world standards, but also ready for continuous professional growth.
Education implies not only the assimilation of knowledge, but also the formation of a harmoniously developed personality. A graduate of a university today must combine professionalism, a high level of culture, and the ability to work in a team and with a team. The relevance of this article lies in the fact that modern pedagogy of vocational education faces the need for in-depth study of the creative potential of a person, the creation of an educational environment conducive to the creative activity of the individual. In relation to the process of university training of a choreographer student, these tasks are specified in the need to develop special abilities and form special choreographic skills.
In order to solve these problems, it is necessary to further improve the content of education, teaching methods, improve pedagogical, performing and choreographic skills, and actively develop scientific and methodological work.
The classical dance school has its own history, scientific basis, educational system, and language structure. All this is recorded in textbooks and the works of remarkable and outstanding
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teachers, who bit by bit collected, developed and passed on the methodology of teaching classical dance from generation to generation.
A number of works are devoted to the issues of the historical development of choreographic art, in particular the methods of teaching classical dance, training professional performers in choreographic schools (choreographic colleges -now).
These are well-known sources of great scientific value. The fundamental work in the field of classical dance is the textbook by Professor A.Ya. Vaganova "Fundamentals of classical dance" [1]. N. I. Tarasov made a huge contribution to the development of classical dance with his unique work "Classical Dance" ("School of Male Performance") [2], as well as other famous teachers of the Soviet period, such as V. I. Ponomarev, V. E. Moritz, A. I. Chekrygin, N. P. Bazarova, V. A. Mey, V. S. Kostrovitskaya, A. A. Pisarev et al . The works of these authors are of great value, but they are intended primarily for teachers of choreographic schools and ballet dancers. The development of amateur choreography is very active in modern conditions, publications for the application of the school of classical dance for adults (students of colleges and universities of culture) are not enough.
Universities with a specialty in Choreography are an important element in obtaining professional education for a large number of choreography students. On the quality of training of a future specialist in the field of choreography, the professionalism of the teacher himself, his methods and methods of work have a huge impact. In universities, according to federal educational standards, teachers are not trained separately in the types of dance: classical, folk stage, modern, etc. Classical dance is one of the fundamental disciplines in the training of choreographers at the University.
The current level of development of choreographic art shows that when preparing amateur artists in amateur choreographic groups, art schools, a teacher or team leader requires a higher level of performing, pedagogical skills, knowledge in the field of dance composition, methods of teaching classical dance, since classical dance is the basis for the formation of the physical body of a ballet dancer, an ensemble.
The main part: Teaching choreographic disciplines at a university based only on technology cannot fully take into account the diversity of the creative process of preparing a choreographer student. These processes should be interconnected, then learning technologies and pedagogical skills will lead to the development of pedagogical qualities of the choreographer student's personality and his professional growth. Therefore, in modern conditions, there is a need to improve learning technologies and the process of forming professional competencies, knowledge, and skills in the field of classical dance not only in amateur choreographic groups, but also in higher and secondary educational institutions of culture and art.
This article aims to theoretically substantiate the ways and methods of training specialists in the field of classical choreography at a university for practical activity, to identify the pedagogical conditions for the formation of a modern classical dance teacher.
At the International Kazakh-Turkish University named after Khoja Ahmed Yasawi, the discipline "Theory and methodology of teaching classical dance" is taught in the specialty 6B02124 Choreography, where one of the types of professional activity of graduates is pedagogical work. Therefore, methodological and methodical methods of training classical dance teachers are among the fundamental ones.
Let's consider the concepts of "methodology" and "method". The methodology is a set of methods and techniques for performing any work (research, educational, educational, etc.) [3, p. 24]. The methodology of teaching the subject is a branch of pedagogical science, which is a private theory of learning, which can be learned in choreography only practically by studying with students. "A method is a way to achieve a certain goal, to solve a certain task" [3, p. 24]. The methods can be verbal (remarks, instructions, etc.), visual (showing movements, demonstrating visual aids etc.) and practical (exercise, rehearsal, performance).
One of the main postulates of choreographic education is the development and improvement of the motor function of the student, thus, the fundamental components are physical data (dance
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step, inversion, jump, flexibility), which make up the technical side of the classical dance exercise. However, the development of artistry, musicality, coordination, being an artistic component of choreography, is also relevant in the field of teaching choreographers to students in modern conditions. Is it possible to transfer the requirements of professional ballet training for children in choreographic colleges to university students? For those who begin to seriously and consciously engage in classical dance only at university, while not always having physical data? Is it possible to transfer knowledge and teach those professional muscular sensations that students of choreographic schools acquire?
In order to answer these questions, it is necessary to consider in detail the methods of teaching the statement of the basics in classical dance. In the process of many years of pedagogical practice, the authors rely on the vast experience and methodology of the Honored Ballet master of Kazakhstan Bapov Ramazan Salikovich in the selection of methods for setting the foundations in classical dance. He raised and produced a whole galaxy of highly professional ballet dancers, many of whom continue the traditions of their teacher in teaching after completing their performing career. R.S.Bapov is a follower of the traditions of classical dance education and training created by the legendary dancer and teacher Sh.Zhienkulova.
In her book "Tips from a classical dance teacher", A.V.Vaganova correctly suggests using her principles of setting the foundation in classical dance [1]. What is the setting of the basis in classical dance according to the Nikiforova method? First of all, this is the setting and work of the feet, body, and arms, in which the back cannot deviate back, behind the heels. In this case, the support leg is positioned perpendicular to the floor. It is necessary to educate the work of muscles through resistance to the floor and the supporting side. The shins are deployed from each other, from the inside out, while the muscles above the knees are raised and also deployed outward with effort. The gluteal muscles should be pressed against the groin, this makes it possible to support the back muscles. The shoulder blades should be "smoothed" (the author's word), pressed, but not strongly pressed, they should not be squeezed [4].
With the setting of the body, legs, arms and head, dance training begins in general. The earlier this work begins, the better, since you can not only teach, but also fix something. A competent method of setting the body contributes not only to the development of professional data, which include flexibility, inversion, dance step, stability (aplomb), pry), jump, helps to develop strength, dexterity, endurance, but also prevents injuries, and this is the key to the student's progress, his success. Muscles and ligaments should work with such requirements and sensations in all movements of classical dance, while the combinations of movements proposed by the teacher should not be long, so as not to overexert the muscles of the student. At the same time, with such a load, in the case of systemic exercises, muscles and ligaments stretch and become elastic.
Consequently, according to the methodology of A.V. Nikiforova, when setting the foundation "a properly placed body is the basis for any kind of pas..." [4], the basic requirements of classical dance imposed on the performer-choreographer are strengthened and developed, these are: aplomb, inversionaplomb, inversion, inversion, dance step, flexibility, etc. The laid foundation - the setting and work of the feet, body, hands in all positions of classical dance - "helps to develop strength, dexterity, endurance, prevents injuries and overload of the musculoskeletal system, makes it possible to master the technique of classical dance perfectly" [4, p. 10].
Thus, according to A.V. Nikiforova, the formulation of the basics of classical dance includes: -setting and working of the feet, body, arms, head in all positions of classical dance;
- muscular sensations in the work of the legs, body, arms;
- the development of eversion of the legs, elasticity of the muscles.
The analysis of educational and methodological sources on classical dance by various authors, including the Honored Teacher of the Russian Federation A.V. Nikiforova, their many years of experience working with professional performers makes it possible to use their proposed methodology in setting the foundation and developing the physical and technical data of students. This method of training professional performers is used not only in choreographic schools, but also
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in universities. Free and confident possession of the body, which is ready for any difficulties, is necessary not only for professional performers, and the use of author's techniques is the key to the development and further prosperity of the art of dance.
Thus, questions about the transfer of the requirements of professional ballet training for children in choreographic colleges to university students, about the transfer of knowledge and training to those professional muscular sensations that students of choreographic schools acquire do not raise doubts in the sense that the requirements of training choreographers at the university are aimed at the formation and application of knowledge, skills and abilities in their professional activities.
The contingent of applicants to the choreographic faculties of universities is very diverse in age, physical characteristics, creative abilities, and prospects for further development in the field of choreographic education. Taking into account all these circumstances, an individual approach to each student is necessary, especially at the initial stage of training, at which the foundation of performing, pedagogical and choreographic skills is laid. Professional knowledge of pedagogical methodology is very important at this stage of learning, when experience is transferred from "foot to foot", from mentor to student.
For example, when setting up the case, as a teacher specializing in Choreography, in classes with students, I lay the foundations for the development of aplomb at the machine, based on the methodology of A. Ya. Vaganova, which is as follows: "... during the exercise, the body should be held straight on the leg so that at any moment you can lower the hand that is holding for the stick, without losing your balance. This will serve as a prerequisite for the correct execution of the exercise in the middle of the hall. The foot of the foot standing on the floor should not rest on the thumb, and the weight of the body should spread over its entire surface. A body that does not stand straight, but tilts to the stick, it does not produce aplomb." Based on the technologies for the development of muscle sensations mastered during the training period, in the process of classical dance classes with students over inversion, we set ourselves the task of finding ways and methods that allow us to achieve elasticity of the ligaments of the musculoskeletal system in students, an individual approach to everyone is important here. This work should begin with studying the technology of inverted leg positions: 1st, 2nd, 4th and 5th, when performing leg movements at 45 and 90 degrees in these positions, paying attention to the location of the feet on the floor, the unfoldment of the knees, the work of the muscles of the legs and buttocks. Special attention is paid to the elongation of the body, the work of the back muscles and the development of flexibility of all parts of the spine, the location of the hands on the stick. This technique has a positive effect on the professional training of students, helps graduates successfully solve professional tasks in the field of pedagogical, performing and choreographic activities at their place of work.
Conclusion: Thus, the formulation of the basis according to the methodology of the Honored Teacher of the Russian Federation Alice Vasilyevna Nikiforova can be used not only for training professional ballet dancers, but also university students, future choreographers. This technique has been proven in practice, including by teachers of the Department of Classical and Modern Choreography of the Faculty of Choreography, gives positive results in the training of graduates and their further employment. Employers of educational institutions, creative amateur and professional groups employ graduates of the Faculty of Choreography, in particular the Department of Classical and Modern Choreography, as artists of ballet troupes of musical theaters.
The study showed that the content of vocational education, forms of classes and other processes aimed at training creative personnel in universities and institutions of culture and arts in Kazakhstan do not yet fully meet the needs of society. At the same time, at the present stage of the state's development, extensive work has been done to create the prerequisites for a new model of the vocational education system. Moreover, all the components of planning, organization, and functioning of a complex educational system have been revised.
Today, universities in Kazakhstan widely use modern learning technologies, which include computer technologies, interactive technologies, distance learning, experimental techniques and
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other methods of improving the educational process for personnel training. Kazakhstan's transition to market relations, accompanied by the formation of the republican labor market, has led to new requirements for educational and socio-cultural services, for the training of competitive, in-demand choreographers. All this implies profound qualitative changes in the entire system of choreographic education, improvement of the activities of cultural and art institutions, their strategies, goals, priorities and functions. In this regard, the training of highly qualified personnel in universities and institutions of culture and arts of Kazakhstan requires new approaches to the organization of the educational process for the training of choreographers. At the same time, the educational process for training choreographers in Kazakhstan is actively developing and improving today.
The analysis of the research topic shows that one of the main and demanded directions of choreographic art in universities and institutions of culture and arts of Kazakhstan is the training of specialists in national choreography, while studying the theory and methodology of classical dance based on the basics of choreography. At the present stage of development of our society, the problem of careful attitude to its origins, to traditional forms of national art, their values, and mental guidelines has sharply emerged.
World science has discovered and created conditions for the public study of the unique cultural phenomena of various ethnic groups. However, the analysis of the problem showed that the development of scientific thought on the study of classical dance was indicated mainly in the aspects of genesis and formation. In the context of the rapid growth of national consciousness in society, the awakening of interest in the history of their people, their cultural values, Kazakh art requires an objective assessment of not only the past, but also the present. At the present stage in Kazakhstan, the study of traditional art, including folk dance culture, is included in the state standards of higher professional education.
As practice shows, specialists in classical dance, as well as Kazakh dance, are in demand in all institutions of cultural and leisure and social leisure type, i.e. choreographic groups, regional and district centers of folk art, concert organizations. Kazakh dance culture has recently received a wide resonance throughout the republic - professional and amateur choreographic groups operate in every region and localities of the country. This fact reinforces the relevance of the research problem.
The study showed that the development of dance art in Kazakhstan as an integral subject of national culture is possible with the combination of sociological, socio-psychological, cultural, educational and other aspects of scientific analysis, because by themselves disparate research will bring much less results and will be less profitable than an integral, comprehensive, pedagogically oriented study.
A comprehensive analysis of cultural, economic, and political problems characteristic of modern Kazakhstan allowed us to identify the most significant directions in the formation of aesthetic and spiritual culture of the younger generation, as well as methods and methods of training and formation of professional qualities of future choreographers in the professional education system.
The analysis revealed the insufficiency of studying and applying genuine folk dance traditions in the educational and creative process. The content of both some training courses and the holistic organization of the educational and creative process in universities and institutions of culture and arts of Kazakhstan require revision and refinement.
Despite the fact that today in Kazakhstan there is a whole network of specialized departments and faculties that train choreographers, problems of training, discussions of specialists, an insufficient level of professional skill of choreographers is observed due to the uncertain methodology of teaching choreographic disciplines, as well as the lack of a holistic process for training choreographers in universities and institutions of culture and arts.
Knowledge and education seem to be perhaps the most researched objects of many sciences. However, this obvious characteristic actually conceals far from exhausted potential, which is explained by the wide subject field of this knowledge, skills and abilities of students, the specifics of each direction, each specialty under consideration. At the same time, today the Kazakh Dance
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School in the republic has a wide and distant prospect of development, further improvement of teaching and learning methods, training of highly qualified national personnel and formation of professional skills of future specialists in the conditions of universities and institutions of culture and arts.
The development and application of a systematic approach in the process of forming the professional skills of choreographers in universities and institutions of culture and arts of Kazakhstan seems to be a multi-stage process that includes all its constituent elements (subsystems) of the educational and creative process. The component and structural analysis of the system of formation of students' knowledge, skills and abilities is closely related to the functional analysis of the general training of choreographers, which has two aspects: it involves the disclosure of the mechanisms of internal and external functioning of the system of formation of highly qualified personnel in the field of world choreographic art and national choreography in Kazakhstan.
A systematic approach to the formation of professional skills of choreographers in universities and institutions of culture and arts of Kazakhstan is a powerful means of cognition and a methodological basis for solving practical tasks to improve the quality of the organization of the activities of institutions of socio-cultural and cultural-leisure type, as well as improving the level of professional choreographic art and choreographic education in Kazakhstan.
BIBLIOGRAPHY
1. Vaganova A.Ya. Osnovy klassicheskogo tantsa [Bases of classic dance]. Moscow, Lan', Planeta muzyki Publ., 2007. 192 p. (In Russ.).
2. Tarasov N. I. Pedagogika i repetitorstvo v klassicheskoy khoreografii [Pedagogics and tutoring in a classic choreography]. St. Petersburg, Lan', Planeta muzyki Publ., 2015. 256 p. (In Russ.).
3. Zvezdochkin V.A. Klassicheskiy tanets [Classical dance]. Rostov-on-Don, Feniks Publ., 2005. 410 p. (In Russ.).
4. Nikiforova A.V. Sovety pedagoga klassicheskogo tantsa [Advices of teacher of classic dance]. St. Petersburg, Iskusstvo Rossii Publ., 2005. 117 p. (In Russ.).
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