Dance in the life of a child, how to make a choice
My father, Alexander Nikolaevich Filippov, the founder of the ensemble, has long dreamed of his team. Prior to the creation of "Kalinka", he worked for some time as a teacher in the cultural center ZIL, then he was sent to the Palace of Culture. Serafimovich to open a choreographic circle. There, my father met the director A. A. Shurygina, with whom it was decided to create a children's ensemble. At first, Aleksandr Nikolaevich recruited children from the nearest schools of the district, walked around the neighboring courtyards, brought kids to trial lessons and taught dancing through the game. So over time, formed a team of the ensemble.
Of course, the love of dancing is the merit of my parents. My mother, a pianist, a graduate of the Gnessin Academy, from early childhood took me to concerts of the ensemble named after. Moses, choir them. Pyatnitskogo, Birches. Always, with bated breath, I looked at the stage, I wanted to be among the artists. Especially fascinating folk dance. I can not even say at exactly what moment came to him. I remember as many of myself as I remember Moses, Pyatnitsky, Birch. It always made a huge impression on me, and I wanted to dance, I wanted to be on the same stage with them.
Mom, seeing my desire, gave me first to the ensemble of them. Loktev, there I was about a year. Then she got into the Kalinka ensemble, where already Alexander Nikolaevich Filippov, my father, and the teachers instilled not only a love for the folk dance, but also a love for working on themselves. Then there was the Pyatnitsky Ballet School. Such a crucial step was already my decision, which I took to work on the professional stage precisely in the direction of folk dance. With tours I visited almost all countries of the world, and now I pass on the accumulated experience to the kids, continuing the work of my family.
Probably, I was born with her, to highlight the moment of awareness is not so simple. Since I remember myself from childhood, I always wanted to dance. I was attracted by everything that was connected with the stage, the lights and the hall. From my early childhood, my mother instilled an interest and a love for folk dance, explaining that this is the heritage of our culture and country. In the USSR, folk groups were a real example for imitation, all over the world they could not unravel the secret of the famous dance ensemble “Birch”, where actresses float around the stage, and the stunt numbers of the ensemble named after. Moses and now applauds the whole world.
The desire to move, the desire to dance, the desire to be on stage - the most important motivation for the artist. I did not even consider another profession for myself. Choreography, apparently, was laid in the DNA.
To my great regret, often the fashion for folk dance in our country wakes up during big sports events or international events,when all Russians remember “Kalinka” and wear kokoshniks. In the USSR, folk dance was considered incredibly prestigious, in almost every district of even a small town there existed its own folk choreographic group. Traditions were gathered and carefully tracked in each region.
After the change of power and the collapse of the USSR, difficult economic times began for the whole country, and folk dance still requires investment, since our costumes are not a white T-shirt and gymnastic leotard, but complex dresses, sewing, inlay. I remember how in the 90s famous groups were forced to sell unique costumes in order to pay salaries.
After the last World Cup in Russia, we felt a certain interest in folk dance and Russian dance in particular, I want to believe that interest in our culture is being revived and revived in full, as it was before, because it is culture and our heritage. Many in this regard depend on young people and young parents who lay the foundation for the idea of a country for their children.
It does not matter in which direction: choreography, vocals, folk art.But a strong nation that knows and honors its roots. Every time when my team "Kalinka" them. Filippova performs at international venues, we see the genuine interest in Russian folk dances. If you had seen how the people of Asia react to the performance with our legendary dance “Kalinka”, which is 50 years old, then pride in the country would overwhelm everyone.
I very much hope that this will continue further and that it will achieve, one might say, fanatical love for our culture and our country.
In fact, determining the genre in which your child would like to practice is the joint work of children and parents. Most of the children get into clubs, creative studios in connection with the interest or ambitions of their parents.
What is fundamental that you lay, where you bring the child, the child will love. At the very least, it is at the age of 4–5 years, when kids are brought into the collective and they still cannot distinguish between modern, folk or classical dance.What will appeal to positive emotions is the dance where the teacher will praise or tell you how to move, the studio where the parents will support the kid in every movement.
If the parent objectively sees the child’s predisposition to choreography at the age of 4–5 years, then you need to enroll in a group, go through the review and continue to support the talents of your baby. At 4 years of age, it is not easy to determine the specific direction in which the child will develop. It is important to adequately assess the physiology of the baby and natural data. Recently, young parents massively give daughters to classical dance in ballet studios, not realizing how many criteria a daughter must meet in order for these classes to bring her joy and happiness.
An experienced teacher in a choreographic studio will help determine how inclined your child is to one direction or another. But this will not happen immediately, but after a few years of study. Because, for example, in the classical direction we need certain data, characteristics. The folk dance also has its own criteria. In modern choreography, the requirements are simpler.
Towards the age of 7–8, it is already easier to determine which dance your child likes. Coordination of movements develops, children relate their successes with desires, friends and affections in circles appear.
At this age, children already go to concerts of other bands and see what they think is beautiful and how I would like to perform. Some kids will say: I like the classics, I like the ballet. Because already from 4–5 years of age they plunged into the sphere of choreography and begin to see the differences. Also, at the age of 7–8, children themselves participate in concerts, they are seen by other groups who have different directions. They understand: I like this more, something I do, or, conversely, less.
If you brought a child to a team, not to a club of interests, but to an ensemble that gives concerts that works on large stages, then I have only one advice: trust the teacher. What the teacher will tell you, then do it.Because each team has its own traditions, discipline, work programs.
The teacher, seeing your child, knows how to work with him. Therefore, you do not need to try to manage the learning process and try to train the teaching staff to work with your baby. Trust the teacher, the specialist knows better.
The main advice that I want to give to parents who have decided to put their children into choreography is to have patience. No matter how light, airy was the dance on stage, when you sit in the auditorium, behind the scenes - this is a hard work. A child can sometimes cry, be capricious, lazy, because it is hard and you need to be ready for it.
It is necessary for a child to tune in to the fact that he has to work on himself, to be purposeful, hardworking, because without these qualities, it is very difficult to achieve something both on stage and in life.
If you come to engage in an ensemble that already has certain traditions, then it already has an established schedule, this should be taken as a medical fact.The schedule is a complex administrative process that takes into account the employment of teachers, free halls, schedules of many other groups in the team.
As a rule, all children's groups work after the main school in the afternoon. Therefore, you need to prioritize. If you take your child to several circles, decide which circle is more important for you and why. Talk to the child, what business he would like to do the most, and what he is willing to pay less attention.
I can say as a teacher and mother of two children that it’s not worth overloading a child with a large number of extra classes. It is better to engage in one or two directions, and the child will be more successful than you give him in 10 circles, and he will be confused, lost, and more tired.
Combining two directions (for example, music and sports, dance and drawing) with the school is quite realistic without prejudice to the health and psyche of the student.
Everybody has crises, but they were transient.Just a couple of times I was visited by such thoughts. But the realization that I am in my place has always overcome all my crises. Probably, at least once in a life each person has a difficult period when he wants to leave and slam the door.
Difficulties have been on the professional stage, and in working with the children's team. But because of my great love for children and my profession, a bad mood disappears very quickly when I enter the classroom and see children who are just as in love with folk dance as I am.
I can say from the point of view of myself as a teacher and mother. I believe that every child needs to be developed creatively, it will always be a competitive advantage over others.
No wonder earlier in the classical gymnasiums taught painting, choreography, vocals, music, because it always has a positive effect on the development of the child. No matter what you choose from any creative direction, it never hurts development.
Therefore, my opinion: absolutely every child needs to develop creatively.The main thing is to choose the right, suitable direction for your baby, which will help to unlock the potential and develop the personality.
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