Basics of choreography Program. Modular program on modern choreography
Preview:
Department of Education of Moscow
Western District Education Department
State budgetary educational institution
Special (Correctional) School of Education School VIII View No. 804
Educational programadditional education of children
"Basics of choreography"
The program of the artistic and aestheticl. entry
Designed for students aged 8 to 17 years
The term of implementation is 3 years
The program is designed
teacher of additional education
Rudik Elena Ivanovna
Moscow
201z
1. Ready note:
The concept of "choreography";
Relevance;
Choreography origin;
Types of choreography;
Scientific novelty choreography;
The purpose of the program;
Program tasks;
Pedagogical principles;
Principles of the organization of the pedagogical process;
Principles of management of students;
Focus, program implementation, program features.
2. The main directions and content of activity:
Organization of the educational process in the first age group - 7 - 10 years;
Organization of the educational process in the second age group - 11 - 13 years;
Organization of the educational process in the third age group - 14 - 17 years;
Organization of basic classes for all age categories;
Organization of the educational process in the framework of one lesson (structure of the organization's organization) for all age categories;
Methods of learning education, development and pedagogical technologies.
3. Curriculum:
Educational and thematic plan for the first year of study with a brief content of sections and topics;
Educational and thematic plan for the second year of study with a brief content of sections and topics;
Educational and thematic plan of the third year of study with a brief content of sections and topics;
4. Conditions for the implementation of the program, material and technical conditions:
Premises;
Special premises;
Furniture;
Organizational conditions;
Methodological conditions;
Recrymination;
External conditions.
5. Predicted results:
Control form - the first year of study for all age groups;
Requirements for the end of the first school year;
Monitoring form - the second year of study for all age groups;
Requirements for the end of the second academic year;
Monitoring form - the third year of study for all age groups;
Requirements for the end of the third academic year;
6. References:
References used by teacher;
7. List of methodological applications to the educational program:
Description of techniques.
8. The list of regulatory and legal documentation used in the organization of educational activities and during the implementation of the educational program.
The first section is "explanatory note".
Concept choreography (from Greek. Choreo - Dance) covers various types of dance art, where artistic image is created using conditional expressive movements. Many believe that choreography is a dance, or choreography is a ballet, but, according to Zakharov R. The concept is much wider. It includes not only the dancing, folk and domestic, classic ballet. The very word of Greek origin, literally it means. But later this word began to call everything that belongs to the art of dance. In this sense, most of the modern dance figures use this word.
Choreography - the original type of creative activity, subordinate to the laws of the development of the culture of society. Dance is art, and all art should reflect life in figurative-artistic form. The specificity of choreography is that the thoughts, feelings, human experiences transfers without the help of speech, means of movement and facial expressions. Dance is also a way of non-verbal self-expression by a dancer, manifested in the form of rhythmically organized in space and television time. The dance existed and exists in the cultural traditions of all human beings and societies. For a long history of mankind, he changed, reflecting cultural development.
Relevance . Currently, choreographic art covers the traditional folk, and professional-scenic. Dance art is present to one degree or another form in the culture of each ethnic group, ethnic group. And this phenomenon cannot be an accident, it is objective and always relevant. Traditional folk choreography occupies a primary place in the social life of society, both in the early stages of human development and now. Performs one of the cultural functions, is one of the peculiar institutions of socialization of people and, first of all, children, adolescents and young people, and also performs a number of other functions inherent in culture in general. In our country, choreographic art is very loved. From year to year, the number of amateur dance groups is growing, the level of their skill increases.
Choreography was born At the dawn of mankind: still in primitive society there were dances, portraying labor processes that reproduced animal movements, a magical dancing, militant. In them, the man turned to the forces of nature. Without knowing how to explain them, he prayed, she broke, brought them victims, asking for a successful hunting, rain, the sun, the birth of a child or the death of the enemy. All this, however, can be seen in our time, in the art of the peoples of Africa, for example. Description of dancing travelers and folklinists talk about life, customs and in the nras of various nations. Dance is one of the most ancient and massive types of art.
New topics, new images, other execution manners appeared in the dances of the peoples of our country. There is a lot of lyrical, heroic, comic, slow and smooth or vortex, firing, collective and solo dance, in which the image of our contemporaries is bright and convincingly revealed. Dances have: styles, forms, content.
Choreography has three types:
Folk dance - art based on the work of the people himself;
Household dance - a dance type with folk origins, but executed at the evenings, balas, etc.;
Professional dance, including classic ballet - type of scenic dramatic art, requiring professional choreographic processing of national and folk origins.
The body can perform incredibly diverse movements, using almost all motorcycles laid out in nature. All these laws are absorbed in the dance lesson.
Novelty programit consists in personal-oriented learning.
The task of the teacher of additional education consists not to the maximum acceleration of the development of the creative abilities of the child, not in the formation of the timing and pace, but above all in to create every child all the conditions for the most complete disclosure and implementation of abilities.
Scientific novelty Choreography studies are as follows:
1. The place of the choreography is found in the system of education and children's education in the conditions of additional education institutions and general education institutions.
2. Distributed minimum (giving general physical, musical, aesthetic, moral development and contributing to the recovery of the child) and optimal (allowing to talk about the beginning of the formation of dance culture) the content of the subject "choreography" from 3 years, which children who do not possess special choreographic abilities .
3. The developing effect of choreography on the formation of physical and personal qualities, the emotional sphere of students; Revealed the healing effect of classes.
The purpose of the program: development of the creative abilities of children for the means of studying and acquaintance with various types of choreographic arts based on spiritual and malicious values.
Program tasks:
Formation of the general culture of children;
Respectful attitude to spiritually moral and cultural heritage;
The use of ethical features of dance to educate morality, discipline, sense of duty, collectivism, organization;
Training dance etiquette and the formation of the ability to endure the culture of behavior and communication in dance for interpersonal communication in everyday life;
Ensuring the emotional unloading of children, education of the culture of emotions;
Ensuring the formation and preservation of the correct posture of the child, strengthening the muscular corset with the means of characteristic, folk and ball dancing, to bring up the culture of the movement;
Increase the motion activity period in the educational process, develop the need for motor activity as the basis of a healthy lifestyle.
Education of mutual understanding, respect, goodwill and emotional responsiveness among the participants of the educational process;
Development of independence;
Disclosure of creative potential;
Implementation of individual abilities of students;
Learning the necessary basics and receptions of choreographic art;
Development of fantasy and imagination;
Expansion of the horizons of children in the field of dance art;
Help parents in the implementation of the educational process;
Satisfaction of the cognitive interest of the child;
Enrichment skills of joint activities in the framework of the educational program.
Pedagogical principles:
- the principle of raising learning (in the course of the educational process, not only knowledge is given, but also a personality is formed);
- principle of scientific relationship (Only scientific facts, theory and laws, reflecting the current state of science or areas of creative activity, are included in the learning content.
- principle of communication learning with practice(the use of the resulting theoretical knowledge in solving practical problems, the ability to analyze and convert the surrounding reality, produce their own views);
- the principle of systematic and sequence (building a learning process in a specific logic in accordance with the established rules);
- principle of accessibility (the content and study of the educational material should not cause intellectual, moral, physical exertion in children);
Principle of clarity (In the course of the educational process, the maximum "inclusion" of all the senses of the child through the provision of the opportunity: to observe, measure, use the knowledge gained and skills in practical activity);
- the principle of consciousness and activity (Children should become subjects of the process of knowledge, understand the goals and objectives of training, can be able to independently plan and organize their activities, be able to put their problems and search for ways to solve them at the same time, take into account the current interests and needs of children);
- principle of strength (knowledge gained by children should be part of their consciousness, the basis of behavior and activities through the manifestation of cognitive activity, fixing the material passed, systematic control of the learning outcomes);
Accounting of age-related features (The content and methods of work are focused on children of specific age).
Principles of the organization of the pedagogical process:
Communication principle Pedagogical process with life and practice, involving the need for the association of theoretical knowledge and practical experience.
- principle of orientation the pedagogical process on the formation in the unity of knowledge and skills, the consciousness and behavior of the pupils, which implies the organization of such activities in which students would convince the truth and the vital strength of the knowledge gained, ideas, mastered the skills and skills of socially valuable behavior;
- principle of collectivityteaching and educating children aimed at optimizing the combination of collective, group and individual forms of the organization of the pedagogical process;
The principle of continuity, sequence and systematic systematics of the pedagogical process, aimed at consolidating previously learned knowledge, skills, skills acquired personal qualities, their consistent development and improvement;
- principle of clarity as a reflection of the interdependence of intellectual knowledge and sensual perception of reality;
- the principle of aesthetization All children's life, primarily training and education, imposing the formation of aesthetic attitudes to reality as the basis of the moral relationship.
Principles of Pupil Management:
- principle of combination pedagogical management with the development of the initiative and independence of pupils;
Principle consciousness and activity students in a holistic pedagogical process, requiring a teacher of the organization of such interaction with the pupil, in which the latter could act in the active role;
- principle of respect to the identity of the child in combination with a reasonable demandingness to it;
- principle of support for positive qualities in man, supporting the strengths of his personality;
- principle of consistency Family demands, school and public to a child who binds teacher to achieve balance, harmony of external influences on it;
- principle of combination direct and parallel pedagogical actions involving the actualization of the educational, developing potential of the group, the collective, turning them into the subjects of education;
- principle of Postery and Accessibility training and education requiring a teacher to take into account the real possibilities of the child, the prevention of various overloads, adversely affecting its physical and mental health;
- the principle of an integrated approachwhen organizing choreographic classes - with aesthetic education of the child, various types of art interact with each other, comprehensively affecting the child. This interaction in organizing classes in choreography is carried out as a result of close interpremary ties with listening to music, visual art and other objects.
The principle of the unity of choreographic and general mental development of children -this principle is due to the need for the organic relationship between the aesthetic and general formation of the child's personality. Choreographic activities of children ensures the intensive development of their imagination, emotional sphere, figurative and logical memory, thinking. In the process of occupation of choreography, children lead all mental forces in motion and apply the abilities formed in this case;
The principle of artistic and creative activities and amateurness of children in choreography classes - withthe consistent of this principle in the class of choreography directly determines the effectiveness of these classes in the aesthetic education of children. Choreography introduces children with works of art, polishing performing skills, becomes the content of spiritual life, is a means of artistic development, individual and collective creativity, self-expression of children. This is achieved only when choreographic activities are not reproductive, but active independent creative;
The principle of aesthetics of children's life -this principle requires teachers-choreographers to organize relations, activities, communicating with children under the laws of beauty, bringing joy. For a child, everything has educational significance: the decoration of the room, the suit of the costume, the form of personal relationships and communicating with the peers and adults, the conditions of classes and the nature of entertainment. It is important to involve all children in active activities to create and preserve the beauty of their own life. Beauty, in the creation of which the child takes an active part, seems to him particularly attractive, becomes sensually tangible, makes it a zealous defender and propagandist. Maintaining beauty in everything is a prerequisite for choreographic activities;
The principle of accounting for the age characteristics of children -compliance with all these principles in organizing choreographic classes with children allows these classes with an effective means of the aesthetic development of children, awakening the ability of active aesthetic perception, emotional experience, figurative thinking, as well as the formation of high spiritual needs.
This program belongs to artistic - aesthetic orientation. The implementation period of the program is 3 years for children aged from 6-14 years. When organizing an educational process, children are divided into three age categories:
The first age group is children from 7-10 years;
the second age group is children from 11-13 years;
the third age group is children from 14-17 years old.
Each age category exists autonomously, has its own curriculum and repertoire, designed for three years of study. Thus, the program has the ability to wide age coverage from the beginning of its implementation, when performing it with one teacher. Children are accepted into children's association, excluding special skills, but having a medical admission to choreography classes.
The second section is "the main directions and content of the activity."
first age group - Children from 7-10 years old:
Years of study | Repertoire | Organizational events |
1 year | Russian dance; Polka; Czech dance; Dance composition "New Year's Surprise"; Russian dance "Baryn"; Dance composition "Matryshka" | Interview and watching children in the presence of parents (legal representatives). Organizational parent meeting and familiarization with the Charter of the institution, the situation of the children's dance association. Conclusion of contracts between institution and parents (legal representatives). Formation of a personal case of studying. Organizational lesson. Certification of students on the first half of the year. Certification of students, following the academic year. Organization of parental assemblies during the year (every studio quarter). At the request of parents and feasibility and with the permission of the teacher, parents (legal representatives) can participate in the course of classes. An open lesson on the academic year. Participation in the reporting event. Children who have successfully mastered the program material of the first year of study are transferred to the second study year. Children who have not mastered the program material of the first year of study for a valid reason and with the consent of parents (legal representatives), repeat the material of the first year of study. |
2 year old | Dance composition "Golden Autumn"; Cossack; Dance composition "New Year's fairy tale"; Dance composition "Friendship; Dance composition "Spring Flowers"; Dance "Change Couple" | |
3 year | Dance composition "Golden leaves"; Dance composition dolls "; Curly waltz; Sports composition with swallows; Dance composition "Cheerful heels"; Sporty dance "Joy" |
Organization of the educational processthe second age group - children from 11-13 years old:
Years of study | Repertoire | Organizational events |
1 year | Dance composition "Autumn dance"; Dance composition "Dolls"; Dance composition "Snowflakes"; Dance composition "Dance with me"; Dance composition "Childhood"; Waltz "Friendship". | |
2 year old | Dance composition "Autumn"; Sport dance; Dance composition "New Year"; Polka "Find a pair"; Curly waltz; Dance composition "Childhood is me and you". | Formed from the children of the first year of study. Organizational lesson. Certification of students on the first half of the year. Certification of students on the results of the school year. Organization of parental assemblies during the year (every studio quarter). At the request of parents and feasibility and with the permission of the teacher, parents (legal representatives) can participate in the course of classes. An open lesson on the academic year. Participation in the reporting event. Children who successfully mastered the program material of the second year of study are transferred to the third year of study. Children who have not mastered the program material of the second year of study, for a valid reason and with the consent of the parents (legal representatives), repeat the material of the second year of study. |
3 year | Dance composition "Fall, fall leaves"; Sport composition with the subject; The dance composition "That came to us winter"; Scene polka "girlfriends"; Dance composition "Dancing from around the world"; Figured waltz. | Forms of the second year of study. Organizational lesson. Certification of students on the first half of the year. Certification of students on the results of the school year. Organization of parental assemblies during the year (every studio quarter). At the request of parents and feasibility and with the permission of the teacher, parents (legal representatives) can participate in the course of classes. An open lesson on the academic year. Participation in the final reporting event. Children who have successfully mastered the third year training program material receive certificates. |
Organization of the educational processthe third age group is children from 14-17 years:
Years of study | Repertoire | Organizational events |
1 year | Sport dance; Waltz (right turn); Greek dance "Sirtaki"; Polonaise; Quadrille. | Interview and watching children in the presence of parents (legal representatives). Organizational parent meeting and familiarization with the Charter of the institution, the situation of the children's dance association. Conclusion of contracts between institution and parents (legal representatives). Formation of a personal case of studying. Organizational lesson. Certification of students on the first half of the year. Certification of students on the results of the school year. Organization of parental assemblies during the year (every studio quarter). At the request of parents and feasibility and with the permission of the teacher, parents (legal representatives) can participate in the course of classes. An open lesson on the academic year. Participation in the reporting event. Children who have successfully mastered the program material of the first year of study are transferred to the second study year. Children who have not mastered the program material of the first year of study, for a valid reason and with the consent of parents (legal representatives), repeat the material of the first year of study. |
2 year old | Sport composition with the subject; Figured polka; Sea dance; Quadrille; Cha- (household dances of the peoples of the world); Dance composition "Cowboys". | Formed from the children of the first year of study. Organizational lesson. Certification of students on the first half of the year. Certification of students on the results of the school year. Organization of parental assemblies during the year (every studio quarter). At the request of parents and feasibility and with the permission of the teacher, parents (legal representatives) can participate in the course of classes. An open lesson on the academic year. Participation in the reporting event. Children who successfully mastered the program material of the second year of study are transferred to the third year of study. Children who have not mastered the second year of study, for a valid reason and with the consent of parents (legal representatives), repeat the material of the second year of study |
3 year | Sports composition; Waltz; Dance composition "Fair"; Cha- (household dances of the peoples of the world by choice); Dance composition "Carnival"; Quadrille. | Forms of the second year of study. Organizational lesson. Certification of students on the first half of the year. Certification of students on the results of the school year. Organization of parental assemblies during the year (every studio quarter). At the request of parents and feasibility and with the permission of the teacher, parents (legal representatives) can participate in the course of classes. An open lesson on the academic year. Participation in the final reporting event. Children who have successfully mastered the third year training program material receive certificates. |
Organization of classesfor all age groups:
Year of study | Age | Organizational training session | Form of occupation | Pricing Group | Number of classes per week and their duration |
1 year | 7 - 10 years | group | audit | 10 - 15 | 2 times x 1 hour. \u003d 2 hours |
2 year old | 11 - 13 years | group | audit | 10 - 15 | 2 times x 1 hour. \u003d 2 hours |
3 year | 14 - 17 years | group | audit | 10 - 15 | 2 times x 1 hour. \u003d 2 hours |
Organization of the educational process within the framework of one training session for all age groups:
Organizational composition of training sessions: | Year of study | Duration of classes, total: | The composition of the classes and the duration of the components: |
|
group | 1 - 3 | 2 hours | 5 minutes - the introductory part of the class (construction, bow). 10 minutes - preparatory part (exercise: march, running). 30 minutes - the main part of the class (parter's middle, work on the repertoire) 15 minutes break. |
Methods of learning, upbringing, development and pedagogical technologies
"... It is difficult to imagine the best method of upbringing than the one that is open and checked by the experience of centuries, it can be expressed in two positions: gymnastics for body and music for the soul ..."
Plato
Methods used in training :
Slible methods(Source of knowledge is an oral or printed word);
Visual methods(The source of knowledge is observed objects, phenomena, visual aids);
Practical methods(Students receive knowledge and produce skills, performing practical actions).
Methods and forms used in the upbringing and development of children:
Form of education- This is an external expression of the upbringing process. By the number of people covered by the process of education, the form of education are divided:
- individual;
- micro-group;
- group (collective);
- mass.
The effectiveness of the educational process depends on the form of its organization. As an increase in the number of educational, the quality of education is reduced.
Methods of education- These are concrete ways to form feelings, behavior in the process of solving pedagogical problems in the joint activities of educated with educators. This is a way to manage activities, in the process of which self-realization and personality development is carried out. Parenting methods:
- conviction;
- exercises;
- presentation to the pupil. Social and cultural norm
- relationships and behaviors;
- raising situations;
- stimulating activities and behavior.
Classification in the directions of educational work: mental, moral, ethical, aesthetic, labor, physical.
Moral education - a targeted process of formation in the younger generation of value relations, high self-consciousness, moral feelings and behavior in accordance with the ideals and principles of humanistic morality. Moral education is focused on reproduction in the emerging consciousness of universal principles. Any knowledge, skills, the skills that the person acquire must be significant for him, to become part of his worldview. The social purpose of knowledge, which is to apply them for the benefit of society, is being implemented thanks to moral education.
At the heart of moral education as the assimilation of universal values, irreversive moral norms and principles developed by people in the process of historical development of society, there is a development of a conscious and emotional attitude towards them, the unity of knowledge and experiences, the moral meaning of activity, behavior.
Choreography as a means of forming a moral appearance of children
Dance, affecting the child's feelings, forms its moral appearance. This impact is stronger than any instructions. Introducing children with works of various emotionally-shaped contents, we encourage them to empathy.
Horics, dances of different nations are of interest to their customs, bring up international feelings. The genre richness of choreography helps to perceive heroic images and lyrical mood, cheerful humor and perky dances. A variety of feelings arising from the perception of dances enrich the experiences of children, their spiritual world. Collective dances also contribute to the solution of educational tasks, as children are covered by common experiences. Dance requires participants in uniform efforts. Common experiences create beneficial grounds for individual development. An example of comrades, general inspiration, the joy of execution is activated by timid, indecisive. For spoiled attention, unnecessarily self-confident, successful performance of other children, serves as a brake of negative manifestations.
Choreography classes affect the general culture of preschoolers. Alternation of various tasks requires children's attention, intelligence, speed of reaction, organization, manifestations of volitional effort. Performing a dance, you need to start and finish it in time; Act, constantly obeying the music, keeping impulsive desires to stand out, overtake anyone.
Thus, choreographic activities creates the necessary conditions for the formation of the moral qualities of the identity of the child, lays the initial foundations of the total culture of the future person.
Labor education It covers those aspects of the educational process, where labor actions are formed, production relations are being developed, labor tools and methods of their use are being studied.
Labor in the process of education acts as a leading factor in the development of the personality, and as a way of creative development of the world, gaining experience in experienced labor activities in various fields of labor, and as an integral part of general education, largely centered general educational material, and as an integral part of physical and aesthetic education.
Mental education - This is a systematic and targeted pedagogical effect on the child and interacting with it to develop his mind and the formation of the worldview. It proceeds as a process of mastering the generalistic experience, accumulated humanity and presented in knowledge, skills, skills. Under the mental development of a person, we understand this function of the brain, which consists in adequate reflection of the patterns and phenomena of the surrounding life.
Choreography as a means of activating mental abilities.
Choreography occupation is closely related to mental processes, as they require attention, observation, intelligence. Children listen to music, celebrate the characteristic semantic features of artistic images, learn to understand the structure of the work. Answering the questions of the choreographer, after the work sounded, the child makes the first generalizations and comparisons: determines the general nature of the work, its pace, dynamic color, is looking for dance tools for expressing its content. These attempts of aesthetic assessment of the work require active mental activities of the child.
In choreographic activities, children with great pleasure come up with, combine the movements of dance, singing and moving to the music. Dance, folk dance, pantomime and especially music-game dramatization encourage children to portray the picture of life, characterize any character using expressive movements, facial expressions, gestures. At the same time, a certain sequence is observed: children listen to music, discuss the topic, distribute roles, then already act. At each stage, new tasks arise, forcing it to think, fantasize, create.
Thus, choreography classes are the most important means of comprehensive harmonious development of the child's personality. The relationship between the various sides of the upbringing is developing in the process of occupying a variety of types and forms of choreographic activities. Emotional responsiveness and musicality will allow children in the available forms to respond to good feelings and deeds, intensify mental activity and, constantly improving the movement, will be very physically. In a word to make children healthy - learn to dance them to make children beautiful - learn them to dance to make children smart - Teach them to dance.
Physical education - An integral part of almost all educational systems. The modern society, which is based on highly developed production, requires a physically strong young generation capable of working with high performance in enterprises, to transfer increased loads, be prepared for the protection of the motherland. Physical education also contributes to the development of the youth qualities necessary for successful mental and employment.
Dance as a means of physical development and upbringing.
"Whether the child laugh at the sight of a toy, whether Garibaldi is smiling when he is driven for an excessive love of his homeland, whether the girl is trembling at the first thought of love, whether Newton creates world laws and writes them on paper - everywhere the final factor is muscular movement."
THEM. Sechenov
We live in our body, without it, it is not possible to exist in this world, it is the habitat of our soul. This unity can not be broken, without interrupting life at the same time. When the soul and body are in the interaction, affect each other - a harmoniously balanced personality develops. The body and its processes are the foundation of the person, through it you can understand the personality, the essence of a person, through the body you can build, develop thissu. supidity is much stronger than we think.
Any good upbringing at all times was inextricably linked to the work on the body. Stable, a full-fledged person seems to us, direct, energetic, with a good posture, gait, skill plastic move, dancing, driving their body. Freedom, the discrepancy of external movements is inextricably linked with internal freedom, natural feeling, bodily and peace of mind. Everyone in man is associated with the work of the muscles: both movement, and respiratory system, and the nervous system controlled by them. The more active the work of the muscles, the more intensive self-renewal of the body.
A person by 35-40% consists of muscles. Almost all other organism systems serve to bring muscle to move, ensure their performance. Muscular inaction, especially in combination with nervous tension, destructively affects health, provokes violations of the activity of the vegetative nervous system, the glands of the internal secretion. The lack of muscle activity also leads to the discoordination of the brain.
Just moving a lot - does not mean to use all the muscles of the body. Health idea, body improvement is often mistakenly binding to people's consciousness with turbulent physical activities, running, tedious sports, lifting weight, pumping muscles, etc. But few can do this systematically and constantly, starting from early childhood throughout life due to various reasons. In addition, any sport will usually use only one third part of the muscles, often leaving the stop muscles not developed muscles, muscle to maintain posture. In this sense, choreography classes have a number of advantages in comparison with other modes of motor activity. Consider some of them.
1. Dance is the synthesis of music and movement. The music perceived by an auditory receptor affects the overall condition of the entire body of the person, causes reactions associated with changing blood circulation, breathing. It is proved by medicine that under the influence of music in the human body, you can cause or weaken the excitement. That is why music, as a means of physiological impact, is also used in gymnastics and aerobics, and in Game Stretching and other types of classes, but a truly organic merger of music and movement can be achieved only in dance, since it is the dance that is the materialization of the musical work, the embodiment of musical Images and its contents of the Language of the Human Body.
2. Dance will use literally all muscle groups; From the muscles of the foot to the facial muscles.
3. Dance is a complex, the synthesis of all sorts of exercise; Dance is a slow walking, and quick run, and a rapid jump, the dance is a rapid explosive movement and a static pantomime posture; Dance is an energetic lightning rotation of the whole body and barely caught the movement of the finger; The dance is the limit voltage and the complete relaxation of a muscle group.
4. Dance is natural and inherent to man just like breathing itself. The dance is the movement of the child in the cradle responding to the music and the song of the mother, this is the waltz of gray veterans, and the obsession of young on the discos dancelords. Dance is available to everyone, the dance accompanies a person from his birth and to deep old age,
5. Dance is always delight and joyful emotions. Dance is a holiday that is always with you.
Emotional (aesthetic) upbringing- One of the basic components of the goal of upbringing and educational system, generalizing the development of aesthetic ideals, needs and tastes of pupils. The tasks of aesthetic education can be divided into two groups - the acquisition of theoretical knowledge and the formation of practical skills. The first group of tasks solves the issues of attachment to aesthetic values, and the second is active inclusion in aesthetic activity.
Tasks of admission:
- formation of aesthetic knowledge;
- upbringing aesthetic culture;
- mastering the aesthetic and cultural heritage of the past;
- formation of aesthetic attitude to reality;
- development of aesthetic feelings;
- promotion of a person to beautiful in life, nature, labor;
- the development of the need to build life and activities under the laws of beauty;
- formation of aesthetic ideal;
- the formation of the desire to be wonderful in everything: in thoughts, affairs, actions, appearance.
Choreography as a means of aesthetic education and learning children.
Under the aesthetic pupil of a person means his ability to perceive, feel and understand the beautiful, distinguish between good and bad, creatively act in life and art, live and create "according to the laws of beauty."
Aesthetic pupils assumes the presence of aesthetic ideals, artistic taste, ability to deeply worry aesthetic feelings.
Nature from birth is laid in the child the deposit and the possibility of comprehending the beauty, aesthetic attitude to reality and art. At the same time, these deposits and opportunities can be fully implemented only in conditions of purposeful organized artistic and aesthetic education and training. Neglecting the aesthetic development of children leaves them deaf to genuine spiritual aesthetic values. The flow of artistic and aesthetic, and together with it and anti-death information is overlapped with an uneducated, aesthetically uncompatible person. It turns out to be unable to deal with this information, give it a critical analysis and proper assessment. Therefore, it is very important from early childhood to introduce children into the world of genuine, large art, to develop and form their aesthetic consciousness at the outstanding samples of domestic and world artistic creativity.
The combination of the choreographic activity of such properties of dance, as the unity of music, movement and games, makes choreography the most fruitful means of aesthetic education and learning children at an early age. However, the implementation of this most important function of choreographic activity is possible only if certain principles of organizing conductors on choreography with children are observed.
Self-supply - Formation of a child of conscious targeted activities to improve its positive qualities and overcoming negative. The level of self-education is the result of the education of the person.
Tasks:
Ability to comprehend your personal qualities.
Feel a positive or negative reaction of others.
Be able to interact with the team of peers.
Develop the needs for self-knowledge, self-analysis, self-control, self-esteem.
The biggest impact on the child hashis family. It is with the family who should follow the understanding of the goals and the content of educational work. Spellic stimulation of students' activity is possible only with the joint work of the teacher, family and the public.
Forms of pedagogical work with family:
- Organizational and pedagogical work with parents;
- Pedagogical education of parents;
- Providing individual assistance to parents in teaching and raising children.
Visual information: - Visual information in the form of stands and corners has tremendous opportunities to consecrate the pedagogical process. At the same time, it does not provide for direct contact of the teacher and parent. Therefore, it is important for the form and method of filing information, as well as its maintenance:
- photo filins and photocollages: stands presented by photographs of children reflecting their livelihoods in parliament;
Newspaper is a new form of visual text information. It attracts with her painful, photographs of children, articles whose authors are the children, teachers themselves and their parents. The newspaper may include a report from the scene, interviews, practical advice, congratulations and gratitude, humor and much more.
Magazine - as a way to establish a dialogue with family at the initial stage of establishing cooperation.
Gold Funds: - VideoThek may include movies, records of children's holidays, competitions, open classes or just the life of children in the Udo. This includes documentaries about nature, sports, art, children's artistic and animated films that are suitable for the joint viewing of parents and children.
Individual consultation - Motive consultation: "We are together against the problem, but not against each other."
Days of open doors - This day is not only a means of satisfying interest in how children live in the union. This is, first of all, a way to introduce parents with content, methods and receptions of upbringing and learning, the terms of children's activities. "Open Day" helps to overcome the negative or biased attitude of the parents to the child, his abilities, see him in another, previously not famous light. Can be held up to 3 times a year.
Parent-teacher meeting:- The main form of work with parents, where the entire complex of psychological and pedagogical interaction of the educational institution and family is concentrated.
On-line communication with parents through the Internet site, quarterly familiarization of parents with the achievements of the child
The third section is the "curriculum".
Educational and thematic work plan for the first year of study for all age groups:
Total | Theory | Practice |
||
Enterprise | ||||
ABC music movement | ||||
Elements of classic dance | ||||
Repertoire | ||||
Safety technique | ||||
Parterial EXTERSIS | ||||
TOTAL: |
I. Introduction:Combine tasks. Work plan. Acquaintance with the repertoire. Acquaintance with the art of choreography. Briefing on TB.
Theory:
Practice:
Theory
Practice:
Exercise in the middle of the hall(in the form of the game)
1. Feet positions / 1, 2, 3.5 /
3. Reliev (lifting on socks)
4. Deme Plie (spring)
5. RUND DE ZAMB pairs of ter (circle foot by floor)
6. Cocks in place (keep the point)
7. pore
5. Jump / Sweet to 6 position /
4. Elements of the people's scenic dance:
Theory:
Practice:
Diagonal:
5. Repeater: - (see Section 2)
6. Music and dance games, rehearsals and preparation for concerts:
Theory:
Child.
Practice: " Day and night "," The sea is worried "," Who is more? "
"Boys and girls", "handkerchiefs", "Guess, whose voice?", "Once, Two Islands", "Steel Right"
7. Safety:
Theory: Rules of behavior in class. Hygienic requirements. Requirements for the form engaged. TB On the roads and public places. Rules of anti-terrorist and fire safety.
8. Partner Exercis:
Theory:
Practice:
Educational and thematic work plan of the second year of study for all age groups:
Total hours | Theory | Practice |
||
Enterprise | ||||
ABC music movement | ||||
Elements of classic dance | ||||
Elements of Peal Dance | ||||
Repertoire | ||||
Music and dance games. Rehearsals and preparation for concerts. | ||||
Safety technique | ||||
Parterial EXTERSIS | ||||
TOTAL: |
I. Introduction:Combine tasks. Work plan. Acquaintance with the repertoire. Acquaintance with the art of choreography.
2. Alphabet of musical movement:
Theory: Melody and movement. Pace. Contrast music. Musical size. The rules and logic of rebuildings from some drawings to others, the turning logic is to the right, left.
Practice: Musically - spatial exercises. Marching in place, around itself, right, left. Figure marching with rebuildings from the column in the rank and back, from one circle in two. Walking: a spring step, on the socks, on the heels. Dance steps in animal images. Cotton under the rhythm of music.
3. Elements of classic dance:
Theory : The specificity of the dance steps and running. Training of the art and muscular apparatus of a child: posture, support, feeding, elasticity and fortress of ankle and hip joints. Hand and leg positions. EXERSIS. Bow.
Practice:
Exercise from the machine / face to machine /
1. Reliev
2. Demi Piela
3. Grand Piala
4. Rond de Zamba pairs
Exercise in the middle of the hall
1. Feet positions / 1, 2, 3.5 /
2. Hand positions / preparatory, 1, 2, 3. /
3. Cocks on site
4. PORY De Bra
5. Jumping / honeym 1, 6 position /
4. People's stage dance:
Theory: Plots and themes of folk dances. Features of people
movements. Characteristic position of hands in solo and group dance dance. Dance steps, position positions, jumping.
Practice: Russian dance: positions of arms and legs. Dance steps:
hidden, fractional, palpal, triatops. Pickyryelochka. Christmas tree.
Harmonic. Polka step. Drinks, preparation for the jury / boys.
Sippars. Motal. Cotton hands. Jumping.
Diagonal:
"Balls", "Goosha", "Flagshate", "Soldiers", "Dance
Step "," Polka step ", swelling.
Dancing: "Polka", "Polka Joke", "Hopak", "Waltz".
5. Repertoire: (see 2 section)
6. Music and dance games-25CH
Theory: Games, Game Rules. Value of Games in Development, Education
child.
Practice: " Day and night "," The sea is worried "," Who is more? " "Boys and girls", "handkerchiefs", "Guess, whose voice?
7. Safety:Rules of behavior in class. Hygienic requirements. Requirements for the form engaged. TB On the roads and public places. Fire safety rules.
8. Partner Exercis:
Theory: Coordination of movement, foot feedback. Development of flexibility.
Practice: Complex exercise for body development.
Educational and thematic work plan of the third year of study for all age groups:
№ / P. | total | theory | practice |
|
Enterprise | ||||
ABC music movement | ||||
Elements of classic dance | ||||
Elements of Peal Dance | ||||
Estrade and ball dance elements | ||||
Parterial EXTERSIS | ||||
Repertoire. Rehearsals and preparation for concerts. | ||||
Safety technique | ||||
TOTAL: |
1. Introduction:Combine tasks. Work plan. Acquaintance with the repertoire.
2. ABC of Music Movement:
Theory: Dynamic shades in music. Features of music - marches.
Practice: Exercises for the development of musicality (classics, folk and historical and household dance)
3. Elements of classic dance:
Theory: Rules of movements at the machine. The concepts of the turns of the Academy of Sciences and An Dedan. Logic and technique. Shift Epolman (croise and effusive). Configure movements (pa de bora). The patterns of coordination of hands, heads (pores de s) and the hull (waist).
Practice:
Exercise at the machine:Demi Piela (Grand Plie), Reliev, Slopes of the caseBatman Tandu, Ron de Zamba pairs ter, Batman Frappe, Grant Batman, Reliev Liang, Pa De Burre, Batman Foundation.
Exercise in the middle:Positions of the hands and feet, Demi Plie, Batman Tandu, Ron de Zamba pairs of ter, pore de sorrow, Tanley
Jumping: Sot, Eshape, Suzhman de Peri.
4. Elements of the People's Scenic Dance:
Theory: Basic technical skills. The character of female dances. Fractional movements of Russian dance. Open and closed, free position positions.
Practice:
Exercises at the machine:Reliev, Demi Piela, Ron de Zamba pairs ter, Batman Tandy (can't)
in the middle of the hall:Russian dance. Hand movements. Hid step. Fractional step. Academic and variable steps. Pickyryelochka, "Harmoshka", "Fir-tree", triatops, "Rope" (with various compositions), fractions,
rotation diagonally ("twist").
Ukrainian dance: "Strokes", "Runanets", "Crazy", savings, hands.
5. Estrade dance elements:
Theory: coordination of the movement of hands, hull, legs and heads from simple to more complex. Characteristic features of plastics.
Practice: Rhythmic movements - head, arms, housing. Jumping under the rhythm of music. Plastic exercises in the style of Latin American music.
6. Partner EXTERSIS:
Theory: Coordination of movement, foot feedback. Development of flexibility.
Practice: Complex exercise for body development.
7. Repertoire, rehearsals and preparation for concerts:- (See 2 Section).
8. Safety technique.
Fourth Section - Program Implementation Conditions
Material and technical conditions.
Rooms:
The height of the premises for choreography classes should not be less than 3.0 m.
Separately for boys and girls it is necessary to provide room for dressing, toilets, showers, washbasins with shells for washing hands with a liner for hot and cold water, at the rate of 1 shower mesh and 1 sink for 10 people.
Special premises:
When organizing theoretical classes, premises are allocated at the rate of at least 2 m2 per person;
For dance performances, they are equipped with a concert hall with a capacity of 300 - 500 places of 200 - 400 m2;
Two costumes for boys and girls (10 - 18 m 2) in a convenient connection with the scene;
Utility rooms (for storing costumes, scenery, etc.).
Special equipment:
The ballet crossbar in the hall should be installed at a height of 0.9 - 1.1 m on the floor and a distance of 0.3 m from the wall;
One of the walls of the hall is equipped with mirrors for a height of 2.1 m;
The floors in the hall must be admissions unpacked or covered with special linoleum;
Furniture:
Banquette or chairs.
Organizational conditions:
Classes of children in additional education institutions can be held on any day of the week, including Sunday and Vacations;
The establishment of additional education of children should be equipped with medical aid kits to assist aid;
Classes with a group of children. Groups can be attendant or multiple;
The schedule of classes is drawn up with the fact that they are an additional burden on the mandatory academic work of children and adolescents in general education institutions;
When enrolling in the union, each child must submit a certificate from a doctor about the state of health with the conclusion of the possibility of dealing with choreography groups;
A visit to the child's classes in more than 2 associations (sections, studios, etc.) is not recommended. The multiplicity of occupation is recommended no more than two times a week;
Between classes in a general education institution (regardless of training) and a visit to the institution of additional education of children should be a break for at least an hour;
The start of classes in the institutions of additional education should be no earlier than 8.00 h, and their ending - no later than 20.00 h;
Classes of children in additional education institutions can be held on any day of the week, including Sundays and Vacations;
The duration of children in the institutions of additional education in school days, as a rule, should not exceed 1.5 hours on weekends and vacation days - 3 hours. After 30 - 45 min. Classes must be arranged a break of at least 10 minutes. for recreation children and ventilating premises;
Choreography classes should be carried out only in special clothing and footwear in good equipment.
Methodological conditions:
TO oNSERN Costumes;
Tape recorder, cassettes, musical instruments. Methodical cards, posters. , DVD discs, USB media, drives with recordings;
Methodological literature: Baryshnikova T. "Azbuka Choreography", Rolf, Moscow, 1999, Volanova A., "Basics of classical dance", art, 1948, Ovechkin M. "Dance children", Krasnodar, 1995, Katherk N. "I want to dance";
- Piano.
Personnel conditions:
- Concertremister.
External conditions:
- interaction with educational institutions, culture;
- participation in contests, festivals, excursions, various events;
- commercial activity is possible;
- Financingbudget.
Fifth section - "Predicted results».
The first year of study for all age groups.
Forms and types of control:
№ | Types of jobs | Forms and types of control |
1. | Enterprise | Interview |
2. | ABC music movement |
|
3. | Elements of classic dance |
|
4. | Elements of Peal Dance |
|
5. | Repertoire |
|
6. |
|
|
7. | Safety technique |
|
- By the end of the school year, the disciple must know the following movements: a side step with a perspective, a picker, a Christmas tree, a harmonica;
- execute 1 People's Dance;
- in the classic dance to know the position of the hands and legs;
- Know the rules for the production of the corps in the dance.
- be able to portray in the dance chairs of a cat, foxes, hare, bear;
The second year of study for all age groups.
Forms and types of control:
№ | Types of jobs | Forms and types of control |
1. | Enterprise | Interview |
2. | ABC music movement | Current control on each lesson, work in the form of a survey, in the form of the game |
3. | Elements of classic dance | Current control on each lesson, the final lesson at the end of each quarter |
4. | Elements of Peal Dance | Control classes, final lesson at the end of each quarter |
5. | Repertoire | Final control at the end of each quarter in the form of the game, concerts |
6. | Music - Dance Games | Current control on each lesson in the form of games |
7. | Safety technique | Conversation, work on cards. Twice a month. |
Requirements for the end of the school year:
- By the end of the school year, the disciple must know the following movements: a side step with a perspective, a hook, a Christmas tree, a harmonica, a people's stage dance;
- know the alphabet of the musical movement;
- In the classic dance to know the position of the hands and legs. Know the rules for the production of the corps, the legs of the machine;
- be able to correctly execute a bow;
- be able to start moving on time and finish it with the end of the musical movement;
- To be able to portray in the dancing chassis of cats, foxes, hare, bear, etc.;
- At the end of the year, children need to know and fulfill "Polka", the dance, built on the simplest elements of the people's scenic dance.
The third year of study for all age groups.
Forms and types of control:
№ | Types of jobs | Forms and types of control |
1. | Enterprise | Interview |
2. | ABC music movement | Current control on each lesson, work in the form of a survey, in the form of the game |
3. | Elements of classic dance | Current control on each lesson, the final lesson at the end of each quarter |
4. | Elements of Peal Dance | Control classes, final lesson at the end of each quarter |
5. | Estrade dance elements | Final control at the end of each quarter in the form of the game, concerts |
6. | Parterial EXTERSIS | Current control on each lesson in the form of games |
7. | Repertoire | Conversation, work on cards. Twice a month. |
8. | Safety technique | Interview |
Requirements for the end of the school year:
- Students need to know movement: side step, step with a perspective, picker, Motalka;
- to value the positions of the hands and legs in the classic dance;
- figure the difference between the circular movements and direct on the example: Batman Tandu and Ron de Zamba pairs of ter;
- know the rules for the production of the corps at the machine;
- Students must be able to fulfill: EXECUTS at the machine / minimum of elements /;
- To be able to fulfill the march, cotton under the rhythm of the music. accompaniment;
- In the folk dance, be able to perform a combination built on a picker, a Christmas tree, anxian step, a harmonica;
- To be able to fulfill the right jump on the VI position of the legs;
- To be able to fulfill "Polka", dance, pop dance on the simplest element.
Sixth section - "References and Methodological Applications".
References used by teacher:
1. Barshnikova T. "ABC of Music Movement", Rolf Moscow, 1999
2. Bazarov N. "ABC of classical dance" Moscow, 1964
4. Blazis K. "Dance Art" Moscow, 1934
5. Vaganova A. "Basics of classic dance" Leningrad, 1934
6.klimov A. "Fundamentals of Russian dance" Moscow, 1994
7. Katrek N. "I want to dance" Moscow, 1998
8. Methodological manual for choreography
9. Root Z. "Dancing in kindergarten" Moscow, 2004.
10 . A. Korigina "Practical manual for an additional education teacher" - Moscow, school press, 2006,2007.
11. "Approximate requirements for children's additional education programs" - an application for the letter of the Department of Youth Policy, Education, and Social Support of Children of the Ministry of Education and Science of Russia, of December 11, 2006 No. 06-1844.
1. Barshnikova T. "ABC of Music Movement", Rolf. Moscow, 1999,
2. Katrek N. "I want to dance" Moscow, 1998
3. Bobrova G. "The Art of Grazi", Leningrad, 1986
4. Meeting allowance: Cards, posters.
The seventh section is a list of methodological applications to the educational program.
- the system of assimilation by children of the educational program;
- tests and other forms of knowledge check;
- Calendar Plans for Educational Works;
- a list of didactic materials and textbooks;
- description of the methodology;
- method of organizing an introductory classes;
- Methods of practical training;
- Reports.
The eighth section- "List of regulatory documentation used in the organization of educational activities and during the implementation period of the educational program":
- Convention on the Rights of the Child (1989);
- Constitution of the Russian Federation (12. 12. 1993);
- Law of the Russian Federation "On Education" (2012);
- Law of the Russian Federation "On the basic guarantees of the rights of the child in the Russian Federation" (1998);
- the concept of art education in the Russian Federation (2004);
-Type of the educational institution of additional education of children (1995);
- Sanitary epidemic requirements for institutions of additional education of children. Sanitary epidemic rules and norms. Sanpin 2.4.4.1251-03 (June 20, 2003 No. 27 d);
- Draft Federal Law "On Education"(December 1, 2010);
- Charter of GBOU Moscow Dootc "Park Presnensky";
- regulatory legal documentation on the organization of the educational process;
- Plans and programs of the educational institution;
- local acts of the educational institution;
- Regulations on the children's association;
- the right and obligations of pupils;
- contract with parents (legal representatives);
- personal leaflet learning;
- Personal case of studying;
- Educational plan for the current school year;
- a system of certification of educational institutions;
- Methodical applications for this program;
- work plan with parents;
- Timetable of classes;
- association advertising.
Program for working with gifted children
Further: Selezneva Olga Nikolaevna Pedagogue of additional education MBOU Lyceum1
The relevance of the program
Today, the problem of identifying, developing and supporting gifted children is extremely relevant for Russia. The disclosure and implementation of their abilities and talents are important not only for a gifted child for a particular person, but also for society as a whole. Gifted, talented children and young people are the potential of any country, allowing it to effectively develop and constructively solve modern economic and social tasks. In this regard, working with gifted and highly motivated children is extremely necessary.
President Vladimir Putin said about the importance of this problem.Here is one of the points of Message to the Federal Assembly of the Russian Federation: «… It is necessary to complete the creation of a nationwide search and support system for talented children. The ability to develop your abilities from early age should have everything, regardless of the level of income, social status of parents and place of residence of families. I instruct the government to take into account this recommendation in the introduction of new educational standards and develop a rating of financing for pedagogical support of gifted children "
The proposed program contains the basic requirements of GEF. Detection of gifted children and children with high motivation, the organization of systemic work is one of the main tasks of modern school and educational practice in the modernization of the Russian education system.
Among the key areas of development of education within the framework of the national educational initiative, the "Our New School" is a special place to develop a system for supporting gifted children, improving the development of a creative environment to identify gifted children.
The program for working with gifted children takes into account the main tasks of the development of education in the region. One of the main educational purposes, in the program "Development of education in the Khanty-Mansiysk Autonomous Okrug-Ugra for 2014-2020", adopted by the Resolution of the Government of the Khanty-Mansiysk Autonomous Okrug-Ugra dated September 26, 2013 No. 378-p. It is "identifying and supporting gifted children and talented young people, including effective accompaniment of them at all stages of obtaining education."
Explanatory note
This The program is designed for individual learning students with special educational needs - gifted children in the field of choreography.It provides for the inclusion of tasks and tasks, the difficulty of which is determined by the novelty and the unusualness of such a situation that contributes to the appearance of the desire to abandon the sample, to show independence, as well as the formation of the skills to work in search and development of intelligence, curiosity.
Dannai am a program based on the following regulatory and legal documents:
Federal Law of December 29, 2012 No. 273-FZ "On Education in the Russian Federation";
Decree of the President of the Russian Federation of 01.06.2012 No. 761 "On the National Strategy of Action for Children for 2012-2017";
The Law of the KhMAO-Ugra "On Education in the Khanty-Mansi Autonomous District-Ugra" of July 1, 2013 No. 68-OZ;
order of the Department of Education and Youth Policy of the Khanty-Mansiysk Autonomous District - Ugra dated January 31, 2013 No. 63 "On approval of the concept of developing education in the general education system of the Khanty-Mansiysk Autonomous Okrug - Ugra";
National doctrine education in the Russian Federation until 2025;
Strategy for the development of the Khanty-Mansiysk Autonomous Okrug - Ugra until 2020;
Law of the Russian Federation "On Education in the Russian Federation";
The State Program of the Russian Federation "Development of Education" for 2013-2020 "(approved by the Order of the Government of the Russian Federation of 15.05. 2013 No. 792-P).
purpose programs:creation of favorable conditions that contribute to the disclosure and development of natural deposits and the creative potential of the child in the process of learning the art of choreography.
Tasks:
Formation of educational practical skills and skills of the predetermined areas of choreographic art, preparation of students in the application of knowledge gained in practical activity;
Formation and improvement of communicative interpersonal communication ("Executive Pedagogue", "Partner-Partner", "Ansembl / Collective");
Development of reproductive and productive imagination, fantasy, creativity, visual-figurative, associative thinking, independent artistic understanding of choreographic material;
Identification and development of the abilities laid in the pupil: musical hearing, memory, feelings of rhythm, the formation of skills to speak in dance language through emotions, gestures, plastic, facial expressions, the ability to move gracefully;
Program Typology.
Artist-aesthetic direction - By main content, setting goals and objectives.
Modified- The choreography curriculum is based on the presented exemplary training programs on choreography. Comprehensive - A comprehensive approach is that training is combined with the classical dance with the training of modern, folk, ballroom dancing, as well as with rhythm, parter gymnastics and the basics of acting skills.
General characteristics of the program
The program of the organization of individual training with gifted children creates the conditions for achieving the requirements of the educational standard to educate on individual training in the field of choreography, Conditions for social, cultural and professional self-determination, creative self-realization of the child's personality, its integration in the system of world and domestic cultures. The program pedagogically is advisable, as it contributes to more versatile disclosure of the individual abilities of the child, the development of interest in children in various types of activities and willing to actively participate in it, the ability to independently organize their free time.
Basic principles of implementation.
This program is designed to comply with the requirements of modern didactics and implies a special content, in addition, it has one important feature: it allows you to implement the pedagogical idea of \u200b\u200bthe formation of the schoolchildren of the ability to study - independently produce and systematize new knowledge.
In this capacity, the program ensures the implementation of the following principles:
the principle of consciousness and activitywhich provides, first of all, the upbringing of meaningful mastery of the dance technique; interest and creative attitude to solving the tasks;
principle of claritywhich provides for use in training a complex of funds and techniques (personal demonstration of receptions, video - and photographic materials, a verbal description of the new reception with reference to the previously studied);
principle of systematicwhich provides for the learning of the elements, regular improvement of the equipment of the elements and the study of new elements to expand the active arsenal of receptions, alternation of work and recreation in the learning process in order to preserve the performance and activity of students
the principle of humanistic trainingsupporting a subject-part in relation to interaction establishing an equal partnership between all participants in educational activities;
principle of Personal Selfness and Advanced Trainingwhich considers each subject of the educational process as an individuality;
the principle of personality-significant activity, involving students' participation in various forms of training activities in accordance with personal meanings and life plants.
principle of Individuality - Accounting for age features, accounting for individual characteristics of each child.
the principle of gradual increases - Gradual setting and fulfillment by the child more difficult tasks, in a gradual increase in the volume and intensity of the load. Sequence, regularity, alternation of workloads with rest.
principle creativeness implies the development and activation of creative abilities - every child;
the principle of variability and freedom of choice We are needed for self-realization.
the principle of emotional saturation. Art classes give the basis for creating a medium rich in value communication, stimulate positive emotions that have favorably affecting the physical and evident health of students and encouraging a child to further development.
principle of individualization It matters to implement a personal-oriented approach in the process of aesthetic education and creative development of the personality of students.
principle of dialogue It provides for the mastery of the arts language, not just the absorption of the proposed material, but the knowledge of the world through an active dialogue with it.
Principle of integration Based on the interpenetration of the specific language of one art in another.
Training methods used in the implementation of this program:
Verbal: story, explanation, explanation about the nature of dance and means of transmitting expressiveness of its images; Explanation, reminder - in the training; Evaluation of execution.
Visory: Showing, video demonstration, photo materials.
Practical: exercises reproducing, training, etc.
Heuristic : creative tasks of improvisational nature, etudes, independent deculations.
Method individual approach to each child,in which, originality, the manifestation of individuality, freedom of expression, is welcomed by non-standard approaches to solving creative tasks.
Age features of pupils. Leading forms and activities.
The program is focused on children 8-10 years old, manifesting interest and ability to choreography, dance art, designed for 2 years of study.
Leading forms organization of educational process there are practical and rehearsal lessons. Forms are used as: master class, conversation, video lesson, excursion, quiz, collective visiting concerts, performances, mass events. In class, along with front-end methods, work in pairs, individual work, work in MicroGroups.
The choice of forms, methods and activities in the study group is determined taking into account age and individual characteristics of pupils.
Psychological features of the age group 8 - 10 years:
Change leading activity with a game for training.
The development of new activities in presenting a child new social requirements, the emergence of new expectations of society. ("You're already a schoolboy, you must ... can you have the right ...")
Formation of the emotional-volitional sphere. Completed arbitrary regulation of its own behavior.
The immaturity of personal structures (conscience, decency, aesthetic representations).
Anxiety, fear of evaluation.
Orientation for communicating with a significant adult (teacher).
The formation of skills of educational reflection.
Development of cognitive functions.
Differences in the development of boys and girls (the predominance of the logical sphere in boys, emotionally sensual girls)
Orientation in behavior to justify the expectations and approval of significant adults
The choice of methods and forms of classes at this stage is due to the age features of pupils: these are gaming forms aimed at liberty, relieving fear of assessment, the formation of benevolent relations within the study group, to the perception and awareness of the art, the embodiment of their feelings and thoughts in images; on the development of an emotionally sensual sphere, immersion in a given situation
The program provides for the development of the educational environment of the lyceum.
Stimulating further creative activity, promotion:
The creation of mobile stands dedicated to the winners and commizers of school, municipal and regional competitions, conferences, competitions;
Public timely promotion of the winning pupils (rules, lightning announcements, the presentation of diplomas, diplomas, valuable gifts);
Presenting letters of letters to parents for their merits in the upbringing of gifted children at parental meetings, rules, prom.
Personal, MetaPered and Subsection Sensing programs.
personal results - active inclusion in communication and interaction with peers on the principles of respect and goodwill, mutual assistance and empathy, the manifestation of the positive qualities of the person and the management of their emotions, the manifestation of discipline, hard work and perseverance in achieving the goals.
metaPered results - detection of errors when performing learning tasks, selecting the methods of correction; Analysis and objective assessment of the results of their own labor, finding the possibilities and methods of their improvement; the vision of the beauty of movements, the allocation and substantiation of aesthetic signs in the movements and movement of man; emotion management; Technically proper motor action.
subject results - Performing rhythmic combinations, the development of musicality (the formation of musical perception, ideas about expressive means of music), the development of the feeling of rhythm, the ability to characterize the musical work, coordinate music and movement.
Value guidance of the program content are :
The basis of the construction of classes has laid the following principles of choreography, reflecting the creative orientation:
The productive development of the ability of aesthetic comprehension of art, as the ability to enter into a special form of spiritual communication with aesthetically transformed and ethically meaningful world of human feelings and emotions.
The focus on the formation of figurative thinking as an essential factor of artistic development. It is the figurative thinking that optimizes in a child an understanding of the aesthetic multidimensionality of the surrounding reality.
Development of artistic communication skills as the basis of the holistic perception of art.
Creating moral and aesthetic situations as the most important condition for the emergence of emotional and creative experience.
Education of improvisation skills as a basis for the formation of an artistic and distinctive attitude towards the environment.
Technologies, methods and forms of organization
For the development of creative gifts, the following innovative pedagogical technologies are applied:
Diagnostic technologies. Technologies allowing to identify the potential of the participant's creative abilities. This may be: watching students to identify their motor activity, plastic expressiveness, musical and rhythmic hearing, execution of creative tasks;
Creation technology. The main condition for the implementation of this technology is to upbringing the sense of tolerance;
Technologies for the formation of a psychophysical state. In this technology, a mild approach dominates, mainly these techniques of meditation and relaxation;
Technology of artistic perception and relationship / poetization of action. They include a totality of techniques that through the admission to the forms of artistic experience of human culture, carry out a phased transition of the performer from everyday perception to artistic understanding of dance movements;
Refraction and clips removal technologies include complexes of exercises and etudes to overcome psychological and physical obstacles to the free exercise of a variety of scenic activities;
Technologies for the development of the mental apparatus. Specific direction of training activities that make the purpose of increasing the mental lability of participants. This is achieved by the psychological attitude, where the emotionally saturated field of artistic communications is created;
Technologies for creating an artistic image. The imagination of the virtual reality of the stage action is usually not external, but internal limitations. An image is a sensually perceived integrity of the work, which determines the space, time, structure, relationship of the elements of a single artwork, its atmosphere.
Features of building choreographic classes.
Program classes are conducted in the form of collective, group, individual classes or rehearsals.
The program consists of sections corresponding to the age characteristics of schoolchildren who take into account the dynamics of the child's development.
Building choreographic classes, like any educational classes, is subject to such conditions as:
Preservation of the structure of the classes in general;
The ratio of the proportionate duration of its individual parts;
Proper drawing up tasks;
Holding a dynamic tempo;
Creating a business atmosphere;
Specific rules for building choreographic classes:
1. The choreographic lesson begins with a clear organization - the greetings of the teacher and the concertmaster in the form of a bow. This beginning of the classes is not a tribute to tradition, not a simple formality, but input into an educational action, concentration of attention.
2. All learning tasks are offered by studying without a re-explanation, except for new movements under study, which unambiguously contributes to the best work of attention. Consequently, it is necessary to take care that the proposed task is made competently and did not overload the attention of students taking into account their age and preparedness.
3. All the exercises begin with préparation, which introduces into the rhythm and character of the music and gives the starting position to start the exercise, and also fixes the end of each exercise, i.e. put the performing point.
4. The physical activity is distributed throughout the exercise, static and dynamic loads relate.
5. The work of various muscle groups alternates and correlates the pace of performing individual tasks.
The choreography program with gifted children provides for the use of estimates.
Evaluation of performance.
This program is subject to the laws of the educational process: has the goals and objectives determined by them the content of the interaction of the teacher with children, the result of training, education and development of the child. An important element in teaching children is monitoring and monitoring.
The main types of control are: Current control, intermediate certification, final certification.
The basic principles of conducting and organizing all types of supervoliability control are: Systemativity, accounting for individual characteristics of the student, collegiality.
Current control of student performance is aimed at maintaining educational motivation and interest, identifying the relationship of the learning subject to the subject, increasing the level of development of the program requirements.
Current control It has educational purposes and takes into account the individual psychological features of the student, is part of intraschool control.
Intermediate certification Determines the level of practical training of the student and the assimilation of the educational program of the association at a certain stage of training.
The quality of education learning is:
The level of cognitive motivation of educational activities of students (measured by the results of interim and final certification);
Participation activity in contests, festivals of various levels;
The activity of the participation of students in concerts, out-of-school institutions;
The positive dynamics of the achievements of the student in accordance with its abilities and cognitive interests: the positive dynamics of indicators of the number of winners and medals in various contests, festivals in associations.
As a motivation and stimulation of pupils aimed at disclosing creative and intellectual opportunities and abilities, social intelligences that generate various activities aimed at occupying a certain place in society, gain recognition and respect from the surrounding (public speeches), and spiritual behavior related to human self-improvement (learning new dances, compositions).
The main content of the program
Topics 1-2.The theory of choreographic art "My team is my second home" (viewing video footage).
Topics 3-4. Folk dance
Methods of folk characteristic dance. Movement of Russian dance.
Topics 5-6.The theory of choreographic art "Music is the basis of dance." Practice - Communication Music and Movement. Reflection in the movements of building a musical work. The concept of three musical genres - march - dance - song.
Topics 7-8.Historical and household, ballroom modern dance.
Ballroom dance technique. Magician movements.
Topics 9-10.
Topics 11-12.
Topics 13-14.The pace of musical work in dance movements. Perform movements at various rates, transition from one rate to another, acceleration and slowing down the specified tempo, preserving the specified tempo after the cessation of the sound of the music.
Topics 15-16. Folk dance
Methods of folk characteristic dance. Moldavian dance movements
Topics 17-18. Classic dance. Method of classic dance
Topics 19-20. The theory of choreographic art "Vocals and dance" (viewing video footage). Practice - dynamics and the nature of the musical work in dance movements. Playing with cotton and hacking a rhythmic pattern.
Topics 21-22.
Ballroom dance technique. Waltz movement.
Topics 23-24. Basics of acting skills
Topics 25-26.Parter's gymnastics. Exercise exercises for the mobility of the joints, the flexibility of the back, tube, stretching.
Topics 27-28. Folk dance
Methods of folk characteristic dance. Latvian dance movements
Topics 29-30.Production work . Etudes on the offered music
Topics 31-32Classic dance. Method of classic dance
EXTERSIS at the machine. Exercise in the middle of the hall. Allegro (jumping)
Topics 33-34. Historical and household, ballroom modern dance
Ballroom dance technique. Polionize movements.
Topics 35-36. Parter's gymnastics. Exercise exercises for the mobility of the joints, the flexibility of the back, tube, stretching.
Topics 37-38Work on the scene.
Topics 39-40 Theory of choreographic art
Dance history (viewing video materials). Learning dance composition.
Topics 41-42 acting bases Exercises on the attention of exercises on the imagination of the exercise on the liberation of muscles.
Topics 43-44Classic dance. Method of classic dance
EXTERSIS at the machine. Exercise in the middle of the hall. Allegro (jumping)
Topics 45-46. Staged work. Etudes on the offered music.
Topics 47-48 folk dance
Methodology of folk characteristic dance. Evidence of the Khanty Dance
Topics 49-50.Learning dance composition .
Topics 51-52 Theory of choreographic art. Stage Makeup and Scene Culture Country Magic - Ballet (View Stock Footage).
Topics 53-54 Work on the scene.
Topics 55-56 Historical and household dance. Ballroom dance technique. Branle.
Topics 57-58 Classic dance. Method of classic dance
EXTERSIS at the machine. Exercise in the middle of the hall. Allegro (jumping).
Topics 59-60 Parter's gymnastics. Exercise exercises for the mobility of the joints, the flexibility of the back, tube, stretching.
Topics 61-62. Dance compositions.
Topics 63-64 Theory of choreographic art "Stage costume" (viewing video footage). Work on the scene.
Topics 65 -66. Concert activities. Work on stage
Topics 65-66 Reporting concert.
Personal, MetaPered and Subject Program Snatches:
1. Development of curiosity, intelligence when performing a variety of problematic and heuristic tasks.
2. Development of care, perseverance, purposefulness, the ability to overcome difficulties - the qualities are very important in the practical activity of any person.
3. Formation of a valid attitude to other opinions, history and culture of other peoples.
3. Education of the sense of justice, responsibility.
4. Developing the autonomy of judgment, independence and nonstandarity of thinking.
5. Formation of aesthetic needs, values \u200b\u200band feelings.
6. Formation of installation on a safe, healthy lifestyle, the presence of motivation to creative work, work on the result, careful attitude towards material and spiritual values.
Literature for teacher
1. Age and pedagogical psychology: childhood, adolescence, youth - M.: Academy, - 2000. - 624c.
2. Kudryavtsev V.T. Childhood development and educational education - Ch. 1. / V.T. Kudryavtsev - Dubna, 1997. - 206s.
3. Profited G.N. Methodical recommendations and classic dance program for amateur choreographic teams. M., 1984.
4. Pulleva L.E. Some aspects of the methods of working with children in the choreographic team: Tutorial. Tambov: Publishing House of TSU. G.R. Derzhavina, 2001. - 80 s.
5. Purturova T.V., Belikova, A.N., Swedge O.V. Teach children to dance: a textbook for students of secondary vocational education institutions. - M.: Vlados. - 2003. - 256 C.: IL.
6. Childhood psychology: workshop. / Ed. A.A. Rean - M.: Olma - Press, 20047. - 224c.
7. Development of the creative activity of schoolchildren / Ed. A.M. Matyushkina. - M.: Pedagogy. - 1991. - 160 p.
8. Rutberg I. Pantomimima. Movement and image. M., 1981.
9. Selivanov V.S. Fundamentals of general pedagogy: theory and methodology of education: Tutorial / V.S. Selivanov - M.: Academy, 2004. - 336c. .
10. Tarasov N.I. Classic dance. 3rd ed. - SPb.: Publisher "Lan". - 2005. - 496 C.: IL.
11. Ufimtseva T.I. Child education. - M.: Science. 2000. - 230 s.
12. Choreographic art. Directory. - M.: Art. - 2005. With IL.
12. Yankovskaya ON Learning the child dance needed // Primary School. - 2000. №2. P. 34-37.
13. Yanaeva N.N. Choreography. Tutorial for the initial choreographic school. - M.: Release. - 2004. - 340 p.
Pedagogue of additional education ON Seleznev
Municipal budgetary educational institution
"Secondary school № 9"
municipal Education
city of Noyabrsk
Working programm
creative choreographic association "Zadorinka"
Compiler:teacher of additional education
MBOU SOSH№9.
Yangizova Olesya Viktorovna
Explanatory note
This educational program of the creative association "Zadorinka" is aimed at education and development in children of dance techniques and has an artistic and aesthetic orientation.
Choreography-art, beloved by children. The choreography is in itself a huge wealth for successful artistic and moral education, it combines not only the emotional side of art, but also brings joy, both the performer and the viewer. Diligence, patience, perseverance in achieving the result, self-confidence, independence, openness, help and mutual execution, communication with each other - the leading moments in the learning process.
One of the main tasks of the teacher is to identify and develop the creative personality of each student.
This program contains several sections: rhythmics, children's dance, elements of classic dance, elements of folk dance, cultural and national choreography and in the world of dancing.
When drawing up a working program, the experience of leading choreography specialists was used, modern trends took into account. The author of the program used methodical literature, basic programs, personal experience.
Objectives and tasks of the program
Basic targetprograms - the ability to the aesthetic development of the younger generation through choreography.
To carry out the goal, it is necessary to solve the following tasks.
Educational - musical tasks:
Give all children initial choreographic training, identify their inclinations and abilities;
Rely on training for basic principles of pedagogy;
Teach the interrelation of music and movement;
Teach children to think, listen and hear the teacher, be able to correct inaccuracies in performance;
Children's love for dance, form their dance abilities (musically motor, artistically creative).
Developing tasks:
Develop a sense of rhythm, emotional responsiveness to music;
Develop dance expressiveness, coordination of movements, orientation in space;
Awaken fantasy, the ability to improvisation;
Develop artistry, the ability to perform role-playing dances.
Educational challenges:
Raise artistic taste, interest in dance art of different peoples;
Rally the team, build a relationship based on mutual assistance and creativity;
Take part in the concert life of the school.
Distinctive features of the program
The program is designed for 6 years of study, is carried out in three stages, the age of children from 7-13 years.
First stage - Mastering the rhythms, the basics of classical dance, simple elements of the folk dance, learning children's dances. The age of children is 7-9 years old.
Tasks of the first stage of training:
Educational - to train the skills of musical movement.
Developing - develop musical and rhythmic coordination, muscular feeling, posture, foot, musical and motor memory.
Educational - to educate the ability to listen to the ability to listen, perceive, evaluate music.
Expected Result
To be able to reproduce exactly, to correctly perform the material taught;
Be able to distinguish between dynamic changes in music, create a musical and motor image;
Learn to listen carefully to music.
Second phase – Improving the knowledge gained, continuing to study the classic Exercis (as the basis of the right physical development and rhythmic education of the child), the study and execution of folk dances, acquaintance with modern dance directions. Continued at the first stage of work on the development of acting skills and upbringing abilities for dance and musical improvisation.
This stage can complete the so-called dance all-community for some categories of children. The same of these, which showed interest and ability to separate choreographic genres, made a desire to continue their education, can go to the third stage of training. The age of children is 9-11 years old.
Tasks of the second stage of training:
Educational - enrich children with new expressive means.
Developing - improve the techniques of musical expressiveness, posture, stop work, develop the plastic of the body, develop the motor imaging.
Educational - to raise a sense of responsibility, the desire for a clear, correct, beautiful task fulfillment, which in turn requires organizedness, activity, attention.
Expected Result
Be able to act independently and create;
- be able to properly own the techniques of musical movement, to express the specified image of plastics;
- be able to communicate in the team, show creative initiative
Third stage Specify specialized classes for children who have shown certain ability to dance. Improving his knowledge in the chosen genre, children actively master the repertoire. Teacher at this stage of work it is necessary to either carry out independent deculations, or resort to the help of special literature and video materials. The age of children is 11-13 years old.
The proposed program, from this point of view, will be innovative. She warne the teacher to work with children, regardless of their special physical data, to raise the choreographic culture and the impulse of the initial skills in the art of dance.
Tasks of the third stage of learning:
Educational - to solve staged and artistic tasks with means of stage and plastic expressiveness.
Developing - improve dance technique.
Educational - to form a conscious attitude towards classes.
Expected Result
Own dance terminology;
- to own scenic elements as means of expressing their thoughts, feelings and physical sensations;
- To be able to prove your point of view on the topic under discussion, correctly evaluate the artistic result seen.
The program is given by year of study, during which they should assign a certain minimum skill, knowledge, skills, information on the art of dance. The program provides for the teaching of the material on the "ascending spiral", that is, every year in certain topics we return to the previously traveled level.
Terms of implementation and diagnosis of the effectiveness of the educational program
First stage of learning (1.2 year of study)
The program at the initial stage of training is designed for two years. During this period, among the main tasks of the teacher, you can allocate:
Development of general physical training (force, endurance, dexterity);
Development of dance data (feeding, flexibility, jump, steps, stability and coordination), study of dance elements;
Development of rhythm, musicality, artistry and emotional expressiveness;
Education of hard work, patience, communication skills in the team.
The basis for teaching children of younger school age is to put a game start.
Properly selected and organized in the process of training dances - games contribute to the ability to work, cause interest in the lesson, to work.
One of the important factors of work at the initial stage of training is the use of a minimum of dance elements with a maximum of their combination capabilities.
Long-term study, the study of a small amount of material makes it possible to qualitatively assimilate it, which will continue to be a solid foundation of knowledge. A variety of combinations of dance movements creates the impression of novelty and develops the creative fantasy of children.
Training of dance movements occurs through practical display and verbal explanations.
Choreographic training (EXERSIS) is a sufficiently long process of producing a large number of all complicating musical - motor skills. Posses, positions, movements and combinations in various versions are new motor skills, new psychological and physical exertion.
Pedagogical psychology introduced the basic law of mastering material: to perceive, comprehend, remember, apply, check the result.
In this regard, the following formula is proposed: from sensations to feelings; From them to the habit. Consequently, the formula must be applied in such a sequence:
perceiving - Sensing
comprehensive - Feel
i remember - act, try
checking the result - show another
The formation of the plastic stereotype of each motor skill contributes conditional stimuli. They can be diverse: verbally speech explanations and teacher's comments; Professional teaching gestation show - visual contemplation and understanding; Observing in mirror reflection.
The principal approach to the absorption of dance movements is: the movement performed repeatedly becomes simple and affordable.
The ability is the first stage of mastering the action in which it is performed, but relatively slowly, uneconomical, with a very large number of errors and corrections and with continuous control of consciousness. Skill is a more advanced form of ownership of action.
Conventionally distinguished three stages in the formation of a dynamic stereotype of any motor skill.
The first stage. In the motor zone of the brain cortex, there is a widespread excitation, so the movement is performed inaccurate, accompanied by a large number of side effects, there is no coherence of blood circulation, breathing and other systems and organs with the activities of the propeller.
Main components of the method - music, musical movement, musical - plastic games, musical - psychological elements and the development of emotional expressiveness.
The body has at its disposal two different types of movement: arbitrary and involuntary.
Arbitrary are the movements of the limbs, hull, neck, face, eyes, lips, language. The involuntary movement is usually limited to the muscles inside the body.
At the first stage of training, it is appropriate to offer the following musical - psychological recipe: the score "and" sounds short, and the account "times" is longer, a weak share of the clock as it is hiding for a strong one.
Second stage. Conditional braking is developing primarily differential. This is promoted by verbal stimuli - explanations and amendments made by the teacher.
The excitation focuses only in certain areas of the sensitive - motor zone, movement becomes more accurate and coordinated. It is in the second stage and a dynamic stereotype begins to fix.
In this regard, the method of triple movement is based. There are five major feelings with which we perceive the world around us, but there is another feeling - this is coordination, a feeling of equilibrium.
Without educating the coordination of classes, the dance will be impossible, it must be developed and secured continuously. Ignoring this body's properties during the training will lead to significant difficulties in further work.
Starting with triple head turns.
The triple turns of the head are performed in combination with lateral flipping.
The following fundamental stereotype is a triple variable step back and forth.
In the complicated version, it is very important to maintain the conscious bending of the legs in the knee joint before the start of movement (with an accent). The noticeable part of the stereotype, which is constantly used in dance practice, is a kind of congenital "utterance" of the motor skill.
Third stage. As a result of multiple repetitions of movement and instructions of the teacher, the final consolidation of the system of temporal connections included in the dynamic stereotype of the motor skill is occurring. At the same time, the work of the internal organs and the musculoskeletal system becomes the coordinated operation. Externally, this is manifested in accuracy of movements, in the ease and grace of execution.
The key to the successful formation of any motor skill is conscious control over the implementation of movements on the principle - the thought is ahead of movement.
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{!LANG-0754cf42a3f60c2e25652526607bfc33!}
{!LANG-338b9c3735c94202e1e137d75f201d58!}
{!LANG-f6ef4dba937160dbe3aab4106ccf3f09!}
{!LANG-cb8bfd4d5a1df2e7459f2fe740c8dcba!}
{!LANG-eb5686b8a1686b01544c62a0214ffb3e!}
{!LANG-a63df8f2a11baba1cfd6cdfd3b1a8e95!}
{!LANG-736b2a93c18b8fcda33e8bfa799253c7!}
{!LANG-c18018c5e2e7352d8d41546334933d98!}
{!LANG-6725fcf098f67d5404141186ae40d58d!}
{!LANG-2f48510950c94f331c50454d3194ec5e!}
{!LANG-392bdf8fbad0cb93af5277ab18ee41dd!}
{!LANG-18d224e9b0b2ccc0f16d378a26c47637!}
{!LANG-15766781163301ee59e7d322cc786162!}
{!LANG-d1207a66627a523e5935488392bfefdc!}
{!LANG-befd167bd74b642847526ab77010e0da!}
{!LANG-2f48510950c94f331c50454d3194ec5e!}
{!LANG-392bdf8fbad0cb93af5277ab18ee41dd!}
{!LANG-18d224e9b0b2ccc0f16d378a26c47637!}
{!LANG-15766781163301ee59e7d322cc786162!}
{!LANG-d1207a66627a523e5935488392bfefdc!}
{!LANG-27bd2a5869ff59479d867867db980806!}
{!LANG-6afcd98bbed327147cfee1c59cbceecb!}
{!LANG-2f48510950c94f331c50454d3194ec5e!}
{!LANG-392bdf8fbad0cb93af5277ab18ee41dd!}
{!LANG-ddbd1a59207ae48d9caf61b49d628179!}
{!LANG-931d44608b3afda94e14c1ac7aa1d8f5!}
{!LANG-15766781163301ee59e7d322cc786162!}
{!LANG-d1207a66627a523e5935488392bfefdc!}
{!LANG-4e84ea369324cab198920c7585158e17!}
{!LANG-2f48510950c94f331c50454d3194ec5e!}
{!LANG-392bdf8fbad0cb93af5277ab18ee41dd!}
{!LANG-ddbd1a59207ae48d9caf61b49d628179!}
{!LANG-15766781163301ee59e7d322cc786162!}
{!LANG-d1207a66627a523e5935488392bfefdc!}
{!LANG-674c8de535ba3afa2a2567c3632dbe6f!}
{!LANG-9ded4989ea470dfef460a2d2865e268b!}
{!LANG-2f48510950c94f331c50454d3194ec5e!}
{!LANG-392bdf8fbad0cb93af5277ab18ee41dd!}
{!LANG-ddbd1a59207ae48d9caf61b49d628179!}
{!LANG-15766781163301ee59e7d322cc786162!}
{!LANG-d1207a66627a523e5935488392bfefdc!}
{!LANG-189c1e82ff2a73efecb4537212f49d48!}
{!LANG-2f48510950c94f331c50454d3194ec5e!}
{!LANG-392bdf8fbad0cb93af5277ab18ee41dd!}
{!LANG-ddbd1a59207ae48d9caf61b49d628179!}
{!LANG-15766781163301ee59e7d322cc786162!}
{!LANG-d1207a66627a523e5935488392bfefdc!}
{!LANG-c18018c5e2e7352d8d41546334933d98!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-08bc5a8a4d9eae85fbf72d662b2fe4a2!}
{!LANG-cdfa3ed94e10275f715a6a64bb2606c5!}
{!LANG-5b2fbca3091ab7f2c9ad9b6f42290ff3!}
{!LANG-04e2c533aae0368de3b4cd3422dbd7cf!}
{!LANG-a28faccd241321a6f787d8eb3a1d545e!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} Elements of classic dance
{!LANG-5b62be72736f700c50d5d060618d24e4!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-f9a619830af2b7e277551006f7a187bb!}
{!LANG-fb7cb72af7638925287b24fceeb6b220!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-e8f0f7b225c6ef337d45226fed72a6ed!}
{!LANG-f3756ac4bc73deb1e488ed314fba3cb8!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-4ed31679895f300da29656bbf9d3f50f!}
{!LANG-10e212a25e3ded19ed3bad84f4db52fe!}
{!LANG-fa7af86cc0ff5e084cfcec084fa138c2!}
{!LANG-f55fbb497efea872db4bd7519bbaea0d!}
Theory:
{!LANG-ada37b5cd335848abf5554c1e1a92554!}
{!LANG-863fb706fdddb132df641268ff6b61d6!}
{!LANG-affe000f75f8c870749491fd3e99af0d!}
{!LANG-fa4f6cd1cc0cbd80df2496fe9dc77cac!}
Practice:
{!LANG-45b4ca0250cfc0578fd444f3f7d0cf23!}
{!LANG-f29324f0bf10db4f04e45aa93ca124ae!}
{!LANG-9614b54b4aaa08ae719b152539fa8c77!}
{!LANG-a17d6ab162b2178c76bd6a33b0aaa2d9!}
{!LANG-e6dafa9e80f17e9ad9f9ee48e49de6e9!}
{!LANG-cd24c0831de7c74bc613d5fe7375c7e5!}
{!LANG-8bbbd370ce61df3a949280b2c593d5af!}
{!LANG-033af0b4134a055d6a73756220a4d11c!}
{!LANG-59dd25528e71a8d25d5aac8e864e7139!}
{!LANG-e9f69a25f2898adfd122ee3f60148945!}
{!LANG-d963cdd36d208df5abfb9f45103bfcab!}
{!LANG-7306a5860d8dffedbad0d946b2326b32!}
{!LANG-a943b7e91814becbb767c1ec2fc871d9!}
Theory:
{!LANG-f94250e5f93487d2e2fa7e435f58c2f9!}
{!LANG-f95a79e47170b34ea1437e9383f9200d!}
{!LANG-44c69c3fac323ea7fd72c067d53ecf60!}
Practice:
{!LANG-b779359860b555c5295eebd4da19cc32!}
{!LANG-d7412b99af264e0970d273d746679edb!}
{!LANG-e82a82cbb42a13b6f64fca5856adb53c!}
{!LANG-f88d775fc93f2deefbdbc62526d29626!}
{!LANG-026c1a574bc73ece9a3d3ef9b2225cc6!}
{!LANG-a814691c3f69a7ae72cc28b6d243e370!}
{!LANG-cbfa6f6a70eb620662e5f035f86703aa!}
{!LANG-bdd11236e23ea2e05451cdb18a046ec6!}
{!LANG-d01ca20c23ab2d52707262fa4d7c5287!}
Theory:
{!LANG-e6d888d7e5fc997e843f5e7be66d6efa!}
{!LANG-4cf4aca3ec2eeb32dfd62df9b9c28bcc!}
{!LANG-f16e54a433cb66b12570103966370a10!}
{!LANG-0b559c79648bc1a609755e782ccb5d0a!}
{!LANG-1e4893fc815b0c29b8dc41d79e24f037!}
{!LANG-752c3b16abb7b04b9df19e0c291ed15f!}
{!LANG-af0f5a82a818e1872cd5e8564c184e8c!}
{!LANG-73b344b45fe68a571d14c14ecfc0fd88!}
Practice:
{!LANG-37be601ba0cf3b2ecc727e1b050441f1!}
{!LANG-ee812e7bf6d954e8dc1c86b773824c29!}
{!LANG-8c32238bce3652c73f26be93b0ec6f0e!}
{!LANG-507137229611ff5a7590ae286e285e58!}
{!LANG-4c304af5f36185a0c5996326a8c89ee6!}
{!LANG-ee7e8148f861f6dcbedeae52fa0cf775!}
{!LANG-7105149c42f8b68bf0443bdff9bdbe0a!}
{!LANG-66b91e5a52993490a22167823bad8d5d!}
{!LANG-6bca36dff02facb302963f054d11faf1!}
Theory:
{!LANG-cce8758b52c9d5af5b0e23b767ef2de6!}
{!LANG-1deebef3dc083277a33147d67e8dc6c5!}
{!LANG-8906d2839b22178ea27c1eab3ea2060d!}
{!LANG-f605acee4ef12a94a03c74a0c829ae63!}
{!LANG-195a173aa33ebd4b63ee2deabf021b16!}
{!LANG-8bdc330017882e19cbb1e8cdfab51b40!}
Practice:
{!LANG-1d865e0ad0947c6584637c9405b0e005!}
{!LANG-dd37fd6196a13615fcdd0fed1b94e11c!}
{!LANG-a9f582ed592fb5b2c4a319dd2e6fcc09!}
{!LANG-469340dfbdcc2f387d5395d6d16a8909!}
{!LANG-dca16c3a60fa8ab0f6aa21f49ac4a4ae!}
{!LANG-9916b79e28feb25e8803c6ca812e0533!}
{!LANG-04ee16fa02f3c7d155161ab124d11363!}
{!LANG-837d21b6ecbc0e98496d6181aa6a4e01!}
Theory:
{!LANG-37b1014da9f7a8e8704c0dbec175e239!}
Practice:
{!LANG-5a2cea14fd9c59923784a640ce672ebf!}
{!LANG-eddbf1c17df0cb89a21fe7c1a76e4f66!}
{!LANG-7c20b8a1c57d14b6e8dd90bda15a8834!}
{!LANG-282e663443754370494dba782122f907!}
{!LANG-d0e7c1bccab1c9accff401dd0d5a3312!}
{!LANG-9aa494e8bedd5a93f691be4247000971!}
Theory:
{!LANG-a8da33569067f9d7dd26aed23f6d14d8!}
Practice:
{!LANG-2bf2680fb7efba50415d160a51c44094!}
{!LANG-8eb40f11442830155d280ff5b163f7c7!}
{!LANG-35bed9542d2206e07485ffa09579e766!}
{!LANG-08a7da8597d7ec596ad4cdf5e649a0ef!}
{!LANG-afd09c339c18fb061bdc389ff2ae505f!}
{!LANG-bd0567cc831e33df7863172a5034a833!}
{!LANG-7b598438319c7e8635ad6b24906ea594!}
{!LANG-acc97f808e1bc2058689239fbf91d0e5!}
{!LANG-91e838c0cb1d0a4aa4d00fa48500381b!}
{!LANG-04805c9ac200395e0ed3f465f677d0ba!}
{!LANG-fc61567f73e8f8e65014ff6b198f2d5f!}
{!LANG-0fc4681f9fd413b182246f5d63c73808!}
{!LANG-782a4908397f295e4c71e2a6797fa80d!}
{!LANG-01d1d6ae6ac99a96d8ddaf4eca4980a0!}
{!LANG-06336e7fbd920639613ff8eac562d3cd!}
{!LANG-5c660bd5d2871df4dcae0581e1fdbba5!}
{!LANG-415cec9064931165781cd278e2f423ca!}
{!LANG-aa722998a289a2a71f79779144a61196!}
{!LANG-e83bda8c10d1943002efcbe020be94c3!}
{!LANG-0b752520e5ca649086d97d6be5a20aa6!}
{!LANG-2bed8862a0ea85e604a96192437023f7!}
{!LANG-7df69c5096bfa6a17ae7b0c8cadc4e1e!}
{!LANG-e78833c7a348b7289bc2e21f8068e5b8!}
{!LANG-8fb905b827a4f0b9dbd14059e84dc8af!}
{!LANG-162517a3bf0f7ec751a144485de91bc2!}
{!LANG-8d00ba9c6550afb66a1022aeb6baca18!}
Theory:
{!LANG-6f1db631428f935066b726311e1ae883!}
{!LANG-7fb6b8d294b21409c231938a6f32fcb0!}
{!LANG-cb4633e3271d103300b5a79234c5eae2!}
{!LANG-21b2b7581185cb15b422b57a900087fb!}
{!LANG-2d8f9f5553250ea0a27991db4bfc10cc!}
{!LANG-ab975e6a5175015e6b167ec761b1f7e7!}{!LANG-7859e8a47a86e40bbfa47c2e173f7813!}
{!LANG-66b428a6beafcae53892a2cf659aa896!}
{!LANG-2bb6be33797ce2faee271cd04146d094!}
{!LANG-4121fac7f8c5a7deac25dbc68d14a5c7!}
{!LANG-a7ba97ae410022e1288f5cc35b148a95!}
{!LANG-cb454212c19792287c5d263637b3b72c!}
{!LANG-9280d2e9485b23bfc49f999606ae05f5!}
Theory:
{!LANG-9ce511e2330c1da4d68c75df2948ce8d!}
Practice:
{!LANG-df7a08320970f05799942bd0daab18b7!}
{!LANG-e6e16679c836941b61096257e4c84cb7!}
{!LANG-c221a6c8f03781a9a0306c75a8db8c2e!}
{!LANG-3369c31694279b005397090b16dae012!}
{!LANG-c0060b9bfbb9650820aa4085a75bbac3!}
{!LANG-5cce78f73d2bc0afedfeb17b1a8b08d1!}
{!LANG-2471f0f019c0ad6ea373366c79c0f02a!}
{!LANG-9b478dc510bdade5c3ca04b5e661e480!}
{!LANG-4987e069dba91731a6f52a6d97cce202!}
{!LANG-a7ba97ae410022e1288f5cc35b148a95!}
{!LANG-4f8571f9a8e0348592bcd59e3d491243!}
{!LANG-48560d1b7adc1462ed646ba4ae721f69!}
Theory:
{!LANG-0daa73206ea2bebdabeb0a469fde512d!}
{!LANG-08d6fc6f2af6e8ec008d7d44fca20159!}
{!LANG-ac86e69233d830ab85a68dbe47402253!}
{!LANG-660b3098d66a3e31be8670af94c7b812!}
{!LANG-8a7ff30e4b36f8effa6e70dc90a019c6!}
{!LANG-5f650592904f98841a721510a89a5cfa!}
Practice:
{!LANG-eeacb98e42513e30d9762718651bdbb6!}
{!LANG-b8fd4627d7a5c4b0ddb79afd6c7b7853!}
{!LANG-3e038ffb23cf5e7e9e18bf61dfcf32d2!}
{!LANG-1b4ef19da4e7149bd48d449218f78ea8!}
{!LANG-bd5d8be92ccf1b9634dd67d15feedda2!}
Theory:
{!LANG-cbd5a11390008cdbcec8ce63a46d11e6!}
Practice:
{!LANG-23496f462f7a3483da61e37e672e03c0!}
{!LANG-90abe24f43b5f6e3fc6481fef57c6ca2!}
{!LANG-f1d19ed5d45b02dfe3d871d225ef66db!}
{!LANG-7410cd4aeac49fd62ed658445fda69d2!}
{!LANG-27bd2a5869ff59479d867867db980806!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-282db5f9b913e48b23a41170cf30b20a!} {!LANG-f2d18041e2c61e007908f6f7ae5fc96d!}
{!LANG-f09b876aa6a3d0197df871668eabe4b2!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-282db5f9b913e48b23a41170cf30b20a!} {!LANG-bce62718b55a8f925621a1d22405cf6a!}
{!LANG-024fbd443eced19b52058b91bf0c4032!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!}
{!LANG-f6fb903a45e9c766fd16bbe942a7267b!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-1abc4a5e1a81fb62cb88fdd519fcd2e7!}
{!LANG-2f84465249aad70f7601bad12f84135a!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-4ed31679895f300da29656bbf9d3f50f!}
{!LANG-57156af0708a7cd9919ac48adc68393c!}
{!LANG-96eb90bd9617ff8a4c361e75a88d8213!}
{!LANG-73ae7e0109917d33beed331f0e88baca!}
Theory:
{!LANG-8f02c3198db51f73a0054f09b01032be!}
{!LANG-98c4be2bf94653cec575dce06a2d807a!}
Practice:
{!LANG-c4981076c9e9a52ed5e8750bcace2b5c!}
{!LANG-9318e862a4bab1fa212ae6671d062c0e!}
{!LANG-f0242024c831d5b0a1c51ccb43652b9f!}
{!LANG-8a37c85e69cb842e72a6c0e0421f2321!}
{!LANG-89e9b46b72c34ad26220cb9abf93a2c7!}
{!LANG-e2306bc7c1d99710ba41536225ca4e3c!}
{!LANG-a2bff29dbd66dade3fbf93176db2de76!}
{!LANG-b054c7e7ff827b1863a76a565a3d424f!}
{!LANG-44002c8c1bfa9b5b4cea0d80224ecf5b!}
{!LANG-e747498e341cac5d5b8dc5838b8d6204!}
{!LANG-91578d51f363bacdb07ca334b91d4943!}
{!LANG-c370159e8447855993c64a5a2d2a6acc!}
{!LANG-b3dd322b771e8d043de42ab5426ee588!}
Theory:
Practice:
{!LANG-38d9099f8a72384af6ab9c3f525bd00a!}
{!LANG-28e71ac8824a0dfc0150e61aa711e844!}
{!LANG-f36e485002f7f6df9b7239babc6df7eb!}
{!LANG-01ab6226e1da241686fded6427930af3!}
{!LANG-e1a6f1681c78235704649de523c73a0b!}
{!LANG-68bad0612c8d14880fd151a6a48c5fc9!}
{!LANG-15a480ed1f6bb2d2e92d2894933fe87b!}
{!LANG-3e2646c16d7720fc92b3dfce64f0fd4b!}
{!LANG-4516abb80b45a4a3de08f8c8ab25dc55!}
{!LANG-a38b0eab5dafd6d23042b3b27b41245f!}
{!LANG-4f6f29e60132aa03e13d03b3c2e1241c!}
{!LANG-e361409a6eeb0fd2ae035a3ea480e503!}
Theory:
Practice:
{!LANG-4449ffffd67f71860d42596cee64e75e!}
{!LANG-7f6796f1b7972744d47a117c610e743c!}
{!LANG-41b1389d69ce7d685506c388f4127493!}
{!LANG-4ae01ec7c648fab5bf826ab726dc002d!}
{!LANG-6f7fb29b20157f9e7dc82f8472e7762b!}
{!LANG-5224111ca291efb7d4acf1cd19688816!}
{!LANG-dbcf6c8bf5a4426f4e76f3c57702beab!}
{!LANG-8518214024a509f2c186c63c0a6afefe!}
{!LANG-a0aebcf297637980fdf382ec71b3c592!}
{!LANG-990f7e2a8de1b7fbb8de131d54cfc15d!}
{!LANG-6b948a9496e3fd895036ecae99d068c8!}
{!LANG-242886c7d424f38b426f00fdb13d9a13!}
{!LANG-e44ee111b817603d7b2cfa9569306e59!}
{!LANG-ea104a6d04e8935a463c4228db53da88!}
{!LANG-00a0d40d9db3ce2499f3ed8b01bfa4ea!}
{!LANG-31bfd3f419e256975c95f2baef201890!}
{!LANG-c342ab44ff35767f3babb6ad59c81382!}
{!LANG-14aefcfa616c794dceb5fa5d8a2e33bf!}
{!LANG-68a5c29e0022cfe7e5d3b02d2c18c827!}
{!LANG-879b5f023382e84edd94e0239343a318!}
{!LANG-c137024c02950d01ae253071b745439a!}
{!LANG-142e958665c95a24744798319e74bb4e!}
{!LANG-43d4211c32087c3be9a162c5d3989462!}
{!LANG-41e2ee614b7cfb9bef9b5d88555abd04!}
{!LANG-73c85d958d53a837bb5ab4c2e637e0cb!}
{!LANG-bdf6152682c70f2c8c4ee428b3cac6b3!}
Theory:
{!LANG-4d6fcb3a7ada3db00c8e021452224a6f!}
Practice:
{!LANG-b8e84263d9581dea49df83adca635362!}
{!LANG-82a0fa5e25dc4a5c885bc6d424990eb3!}
{!LANG-30920d9ba201e2c5eb836ba52bcbb34b!}
Theory:
Practice:
{!LANG-f3c9e05054f9aef23c7623039f78fe10!}
{!LANG-f1d19ed5d45b02dfe3d871d225ef66db!}
{!LANG-f8a34a719476e0edb91e208b828e9ab7!}
{!LANG-fb0cfca19ca0a16434fe93cdb34cfb51!}
{!LANG-7edb30e3b1ee5af4b136610bd07c7644!}
Theory:
{!LANG-991093b562f96cf9d72be7cb1304fe4a!}
Practice:
{!LANG-b4201292886f12bc95b3684dfaedfbf7!}
{!LANG-d86051588ebabaf3866e1d10d3c7dc4a!}
{!LANG-62121d8da6752c7c7a41e02a6e3df92e!}
{!LANG-0d27f1ff84a6b8393bce86ad501fad49!}
{!LANG-69b704508eb8bd3aad3d3fb7800ab66e!}
{!LANG-1ee812a6220ed45c2242d9c21083e082!}
{!LANG-121139377ddb6dc137764c6609644c0a!}
{!LANG-a87e8a6ac7880d4f1746d8db6cb9c61a!}
{!LANG-605534e7ac4f47cedefac32a63aca7ee!}
{!LANG-64ee9ec57eaeea81e8d4a72fbe54bdfc!}
{!LANG-601a2ff0b2a91b418d69bbe86aa4af67!}
{!LANG-f2a291bbc39e53a7c7843e0b18bcdaf7!}
{!LANG-070374a37349280a53e54b600a770a38!}
{!LANG-f65fe58ea5589bd070c18dfb5f0d5841!}
{!LANG-9dd51f42b40460dbe603c87148e3e047!}
{!LANG-8ae8564ba8aabc1cbb2957a0b1c9493d!}
{!LANG-0b6b9b4d2f1fabd0d1b40b327bfac65c!}
{!LANG-b3a3ba72167f3848dd9106f1a81246e1!}
{!LANG-1d8b057b4e9b12f48c8b105d557bf9c1!}
{!LANG-2f5e1124680d62cb839bd7388c3499f1!}
Theory:
{!LANG-583d95ec77eec3f44ab41099a88d75ea!}
Practice:
{!LANG-4618ea2972576a050da4713d1c7d1a89!}
{!LANG-377d7edb86ec80105e5a4bb534002bc2!}
{!LANG-8f5bbf476bf87553870a45075c5bc79c!}
{!LANG-219b15d57fa32c339f639ecc2234530c!}
{!LANG-cbb09697673b33100158933965c4f1bc!}
{!LANG-4286e76ee0c8f4c96937b55de287f3cc!}
{!LANG-274db932e8dc2f8b3d8e0df344fb259e!}
{!LANG-6c08f01913d945168ab97c6198e47f44!}
{!LANG-c93ddd16ed4e26be483e3d265c503982!}
{!LANG-4f71c04049a617fce1a400aada4298c1!}
{!LANG-95cada8bde380649503747fb2f93adea!}
{!LANG-524891164a3c9b881db54e1446a9bb69!}
{!LANG-9267b320ab4dac105b0354cf229fdeb9!}
{!LANG-1d4b1b4ac25ec5c3e40c0681f9119df2!}
{!LANG-ab73671f2d933bf8237f6e98136b86ea!}
{!LANG-ae4cb061c5d23154e94606eafccbbf9d!}
Theory:
{!LANG-7a9484dd0a82bab758bc3bd888b271ea!}
Practice:
{!LANG-ea525218527d917f84c39594741f3b76!}
{!LANG-6882139ff598e7317adeea7871eadef4!}
{!LANG-47bf8bfc489a0f1119d904e4c6c202cf!}
{!LANG-9b3ccb6cfea0bd3291683b732236bb7a!}
{!LANG-c1c16abfe2acdb6f576659230048d725!}
{!LANG-39fe3a450a3ac4480dba93caf2e56b06!}
{!LANG-61624a659cd1529f374d203ad967cc6e!}
{!LANG-b205ceeb7b7c9ca0d2bcb69a2336798f!}
{!LANG-f14211d512a07ed3004f0d125c544310!}
{!LANG-db8b748756c3b6833e34eb4ff6d28de9!}
{!LANG-82dde31152b88b1c7bcce99c2a30cd16!}
{!LANG-558197abe7446a7fe44d923c0e495163!}
{!LANG-a77d46ccea2142dcae3eeb7da7c950d0!}
{!LANG-a893bd6cbc41553fad99ef0e8c054b27!}
{!LANG-b4164e8cccfd91fa6dca0207d7ea7247!}
{!LANG-f0bc76a2abccbe71882d78f2118f4d98!}
{!LANG-616d119bb805d8f879dbe15693728aff!}
{!LANG-c0feb3eaa6b1dc51f69fbb7dd66bef26!}
{!LANG-a0ed184e841b6c76b0ef95079b3a6136!}
{!LANG-2578fe8e6b3d6d27154b87ffc79bd300!}
Theory:
{!LANG-317ff2c0df2763ca1db6c02171719f17!}
Practice:
{!LANG-a523d766457bdc373137f5961a581612!}
{!LANG-cb0839da73b3c16ffcc6670ff8196f25!}
{!LANG-02c18be99d6f9f5b4bcd8bdfb2ceef4b!}
{!LANG-f1d19ed5d45b02dfe3d871d225ef66db!}
{!LANG-b9cfc3babaeb43508d0770acf4a8a046!}
{!LANG-674c8de535ba3afa2a2567c3632dbe6f!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} Elements of classic dance
{!LANG-957c64e5520b489f7c4f4f05d70e269c!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-5ec54ebda9ee65f480a0fc8ff9eae472!}
{!LANG-35026c44c976881d2edcd71e086aa32a!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-0594da9af2f1dc34e6f26bf54272c448!}
{!LANG-ce48b25940432772f5f99b7af678d59e!}
{!LANG-4f52031dddca6d27a791978a91d9c4ee!} {!LANG-4ed31679895f300da29656bbf9d3f50f!}
{!LANG-702bea5ef11ec642574cf49332e30ccb!}
{!LANG-e408202ae54fe3b579d45256863e5836!}
{!LANG-0614e17a39408bd31390626bf71f649f!}
Theory:
{!LANG-6d222e0a5f15b54800356cd71e469ddc!}
Practice:
{!LANG-014c99a241aa5f7cfdf5eb2ea6811b0b!}
{!LANG-02970465f5de2bfec044dab91c7b4dec!}{!LANG-7859e8a47a86e40bbfa47c2e173f7813!}
{!LANG-ea3a2d0ed82fdd32b44d6b70f8ba38b0!}
{!LANG-de92c448e70ac85cbd05a89316223793!}
{!LANG-995c61ddb260b702d7f8d73ba9816513!}{!LANG-7859e8a47a86e40bbfa47c2e173f7813!}
{!LANG-2178fcfefea0d4af962f6fcf4c1542ad!}
{!LANG-2f2d82e78ccc171d70134a3c2f72da75!}
{!LANG-25ab855ec76d30ba6d1d37172b687c7b!}
{!LANG-d21777e9fcd9eb823169f0a93a4e9c5b!}
{!LANG-d0c92f9b8807e51f40f290b462bfa66e!}
{!LANG-55afb8ba7eabcb110fd5d9225f6c3374!}
Theory:
{!LANG-c74094f3ccc1b2e24a3c74d62c0a52b4!}
Practice:
{!LANG-5342a1fde6f520a3bfc6df53e5566206!}
{!LANG-743c93ea9428abd7e23319e83d2ceb92!}
{!LANG-537421472f455eecf8b54a5636b7f5da!}
{!LANG-de2c424cf04fe4248cab42547005cb9c!}
{!LANG-de5033e6a5c36323c0ee441a6ff62adb!}
{!LANG-1259ac8bee8bc4810b5fb0131d04726d!}
{!LANG-aa7b2a1775e7285cf9a0cc092223caee!}
{!LANG-00bc6158d398bbc6c3467cfd39e9db5f!}
{!LANG-de80a4df21051f0fed1aad07727f5954!}
{!LANG-8a9ab390ceb933bc543576a0cdc9055f!}
{!LANG-c74a8f7db907c7cdea3be2bbf0785302!}
{!LANG-642d3ec2c8e94b03ad6e0346715b8bd9!}
{!LANG-a2ba7824e32bddc5abbc0a3eabe99410!}
{!LANG-02d3d148bfd2e9ed6025a18cde709746!}
{!LANG-6e6537d031081295184d085c303eeb92!}
{!LANG-e8ca20ffc55ebc648650fef694052845!}
{!LANG-9ef57e5ec4b9d59f9c4c458d3533f1e0!}
{!LANG-dd2996bc5e6a25a150795f2ecdd00147!}
{!LANG-bd68b033fe8ee9f68bffa335a0d67269!}
Theory:
{!LANG-7a9484dd0a82bab758bc3bd888b271ea!}
Practice:
{!LANG-ee477bbd1fbd1a8ced8fd4c982ffba29!}
{!LANG-8b6b3d4768c4d31f418c99207d5008f1!}
{!LANG-1153a06220f4e2174df636c32215c0ec!}
{!LANG-f5ca3ccd1aff05b9dada07838df5c696!}
{!LANG-ab90979c84aae3310e6e296441da69bb!}
{!LANG-6d54a40f0bef23d75b00abe275f7aeca!}
{!LANG-5c07acdf95d119a4bd6ed4d6c1c42d75!}
{!LANG-8a279400fba87fe035f846005bef11cc!}
{!LANG-ac63215ca579ef5177444012486aef85!}
{!LANG-ba3847b0a66ff90d8ee7146163d9c9fe!}
{!LANG-52cc620ee261bc8ddcc3e43170c6a08e!}
{!LANG-c9664096e9b6cc403420713478eaba55!}
Theory:
{!LANG-317ff2c0df2763ca1db6c02171719f17!}
Practice:
{!LANG-0ea785684f30928a1d656fe4387bd2d8!}
{!LANG-76cf25b10887785396f41044d1a40a59!}
{!LANG-d7fdb736f60b7084bb562965e61079cb!}
{!LANG-f1d19ed5d45b02dfe3d871d225ef66db!}
{!LANG-57cb4b7079586f81986de0f6ce347516!}
{!LANG-a600dc6d89d5d249a2e4498363c89f6e!}
{!LANG-384d890f351fc4bc721f16bd32cb8860!}
Theory:
{!LANG-dde60e060c59ccf2c373a202240cfeba!}
{!LANG-7fb6b8d294b21409c231938a6f32fcb0!}
{!LANG-76160fb5a73e27dca4f1dbeff7dcbe1a!}
{!LANG-afc5516e745bed7f1efb45c33bf55067!}
{!LANG-de560480c571cd01665b38a09877db36!}
{!LANG-95087aa95a61e350b836c78789a7f111!}
{!LANG-acc0f9ba71570c72aec6b836d3e26e1d!}
{!LANG-9419058863f82485c338de61f1e17fca!}
{!LANG-bfb2fed0eed3a0576d8453d7fb87f609!}
{!LANG-b6a57d7f40f7658ef420c5ca089615cc!}
{!LANG-44013c24a04714aefaa5aa5d8b0bc452!}
{!LANG-7202076eedd90df717df668f11246e04!}
{!LANG-470caca338671aac88d0e1682667e7af!}
{!LANG-383216ccfa55cbedb9736088dfb6254c!}{!LANG-7859e8a47a86e40bbfa47c2e173f7813!}
{!LANG-e393f899c6df0711aa0e042c44a6675a!}
{!LANG-a7c0eb26af62e9abab370e9c9ce9b131!}
{!LANG-a233bfeee611e4caf82ee33e371c9ee6!}
{!LANG-46c097752391d9ef3d53a1608259ca28!}
{!LANG-cffbaf5d0cf90725c89e6a4a880a9d3f!}
Theory:
{!LANG-dfc7fba04494d65d258cf2519091d5b6!}
Practice:
{!LANG-91bf48e160e7215605cc8d5069310cb2!}
{!LANG-17fbb04fef0d63a728db30aef504b7dd!}
{!LANG-877ee5d8a49501e576c17d754fbe0733!}
{!LANG-b1098cff80e355d1bab3c85118c047ed!}
{!LANG-8ecbfa4e4801f99f9234a3d48f6a43f7!}
{!LANG-42741666fa2c0a97672633bcd0873314!}
{!LANG-79f080ad90b3f7e6ba0b8d9069dfc299!}
{!LANG-18fff492a24cc154f6a6253238220b2b!}
{!LANG-d50145cd860cf8e037681b678712c000!}
{!LANG-2cada6b45918d2f692a67add59df7d90!}
{!LANG-530ebe609e3aa53e5ac80506fda044e1!}
{!LANG-8066ba13153c00b7eed4fda7fe470959!}
{!LANG-dd1daf0209d18eba91f076c875937d40!}
{!LANG-88a46f6ad7df58434360b92b4960957f!}
{!LANG-da5ccea03bbb672d1364a16b7e07a1eb!}
{!LANG-a0db8dca16afb99db7ac6474ca2a4a7f!}
{!LANG-4c752fa95e476dac0632c19d0e1e1ef2!}
{!LANG-96fbed1e5856af984419fad745fec06b!}
{!LANG-e34c74faacd96e260ddb5d3436af686a!}
{!LANG-02a353e1d7d090048d36bbe06c890724!}
{!LANG-8c166dda1b74f23f19a6292fe8529308!}
{!LANG-f2cddf07b94ff327e0fefac2351228e9!}
{!LANG-dcbc3e53e8729344e616fc56d50db67c!}
Theory:
{!LANG-b73a2d5180768e05cd78f7fda520b47d!}
Practice:
{!LANG-4d2c7b92631364ba34eef1c28c431acb!}
{!LANG-979db49e2db82ad1fde3c7ba7b382f2f!}
{!LANG-a9ede9a3c328df76c16afde27cefcdd1!}
{!LANG-cdb48c40bce46258f83104a4e86b8660!}
{!LANG-28ce2e7cdd00eac6966c30a788a32df6!}
{!LANG-c5e03ab1aa194e79b0032b6ae1bab061!}
{!LANG-a1a2b182ecfbb2d88f0fc34e2f6c7ad8!}
{!LANG-a94dd5e7c5e80fb86e7b472f76a19759!}
{!LANG-ee4d331b104cbdc2ba497fcaebb38de2!}
{!LANG-f3f83a79e93db26b1f62277218665cf1!}
{!LANG-8c5a7df1b79d0c97ffa68767195447bc!}
{!LANG-fb2a1b159251b7e68f477758580b5a8b!}
{!LANG-1c35d149a8353a8a0b23c71e8bf77eec!}
{!LANG-4734d6e01601a29cfee0ce55d32856a5!}
{!LANG-578eed53b6ea286009371f14dcbe6405!}
Theory:
{!LANG-f9e77e1249c6437e365f2a8509141e00!}
Practice:
{!LANG-8dc3cdb801603f57305aa4349c44bdc4!}
{!LANG-41e586ae1783b2739d809384c59dd237!}
{!LANG-d7fdb736f60b7084bb562965e61079cb!}
{!LANG-f1d19ed5d45b02dfe3d871d225ef66db!}
{!LANG-ba1046f2ab42d3a614ba7cfbd8259f2b!}
{!LANG-8a71f8f3f07078549aee460abf4e45b3!}
{!LANG-361334a509dc99e5415e73e154cdfa90!}
{!LANG-d4efa96eab973197a5892c016ad17230!}
{!LANG-efdf29c304cc8ffe1e64298698ecf078!}
{!LANG-279c498e5f961fe81f8d8983948f5a25!}
{!LANG-c5c9686a3483ccd833527a31b83c14b1!}
{!LANG-10261ece780c8f1cddf6f22915b6cf78!}
{!LANG-0b3cbf75406dc948d2c96b58adf58302!}
{!LANG-cffcff5fb0b439e8a6ee647a5d3732ce!}
{!LANG-392315083f0823a23c5d3dea4963b513!}
{!LANG-402eea87da45083bd673f87d847c1468!}
{!LANG-736acec71e147b8f3efd1c61f88c18bf!} {!LANG-ff870d9b6d9bdc0432e3212415fb11c1!}{!LANG-bc83e3a468cd3ce4916e255bba884d41!}
{!LANG-ffe4b4e8a0d7a828c01492bc02e7c0db!}{!LANG-4b778747b02ee61c63ef20171d5fe5a7!}
{!LANG-5e0e207343edb7b4e4cfdf549bf543b3!}{!LANG-ef1e38697e9c25f11475c334fc4e855f!}
{!LANG-3bc9875440e1cca3dd9122ee333929d0!}{!LANG-9dde082e2235b1dbc228300ba21e2eda!}
{!LANG-f2cde571d0b8f7a65ad51968924b231b!} {!LANG-6f311869a84d2cbbac8b6a5a96ee17c4!}
{!LANG-e566c18e872077c7807033d0bd18d4c3!}
{!LANG-9722bce9f16da38a9caa04ff4d6664d5!}
{!LANG-461c0c4bbf62d079c712bf832c52c827!}
{!LANG-95d539ec964baf38d6736516a96a5fa5!}
{!LANG-db9209729eed411ba7d53e81a26e9c9c!}
{!LANG-711728f64a75ef1513585ac106d7713c!}
{!LANG-1e4c6d585400d437688ed534749f9816!}
{!LANG-77c9c278a372651d5e525269dc1760bb!}
{!LANG-ad9a9bf1de3c7175f8bba12f3bc83ca8!}
{!LANG-42d29b8e35345f368b31a0cbfedba52b!}
{!LANG-1823718a74f0adaec8b6b74c759025fc!}
{!LANG-f4c9898241526cdad0afafd58071ce27!}
{!LANG-77abf82ece2a8a58fbfaac6ade399e89!}
{!LANG-ba51e5deb48dbf31ae18f39de8d61500!}
{!LANG-8546d4483833f39ce0b2cb8022c2c218!}
{!LANG-8fb331656775253952275efbd1885572!}
{!LANG-adcb02b3de22d0776afe7a9c2ac5a057!}
{!LANG-0479100b69cc5088bc72811860d25b2d!}
{!LANG-b876cec3cfee2c5b8d11335058f9417b!}
{!LANG-917ef0330e0ff895711fe6e32a7b0189!}
{!LANG-68035738f4b4ec3428d02b9466dfd600!}
{!LANG-87367e0fcc5d1e6c3fe77762b03b2719!}
{!LANG-3ea48d8ff9f97b58c0aba5ef2498eb2a!}
{!LANG-7a0c5a427d92bd5380ab7dc34434bd3c!}
{!LANG-d69878c323d7b4e6886c665b96ed4310!}
{!LANG-d2f294ac4524d2540ee86526e8736e36!}
{!LANG-097690eae7e26feb7079aff64e260658!}
{!LANG-1f346ea6f2c9a739b47c3e6a973a3612!}
{!LANG-9516295eb2c5bfcd2f758d4192d590e2!}
{!LANG-b85358abfe30066ecb6ef8d0e028a541!}
{!LANG-5787c12b19356eba76ba8b9b526ada76!}
{!LANG-3da20fa251731685ce539c484f54b095!}
{!LANG-1eadb0018ec087fba2cea92f573deeea!}
{!LANG-a18155fc38c46907c94af67808a06b7d!}
{!LANG-51155187e5a98714503fabaa5fc27cc9!}
{!LANG-b85358abfe30066ecb6ef8d0e028a541!}
{!LANG-4875fd49adbdb062fca7c5def45ce26c!}
{!LANG-b53f7863b93236b159393ba4b716f6e9!}
{!LANG-c044d47605c8513b06ddf9dd9ea0e70a!}
{!LANG-99a24f7bde7099daa2134a8c379db3a1!}
{!LANG-72e08f49f2e9b13548a4f06104e9d61e!}
{!LANG-d7212f33c476f3fe843e09337ab390c1!}
{!LANG-b85358abfe30066ecb6ef8d0e028a541!}
{!LANG-a87a3a0a5feb3e30574b1f8cded7f0d1!}
{!LANG-61fcb60611b9dbf00cb476d9db44076c!}
{!LANG-06bfe1af61638250fb2aab879af64291!}
{!LANG-f01ed3cf2ec7b0fae540e61b294123ec!}
{!LANG-10abd7035c55ca408f1e7a6c1ed1a6f8!}
{!LANG-6e976439fa0d5be0a85b985ba64a413d!}
{!LANG-8407a382c2c5ad252a79560f34598768!}
{!LANG-a69add1dbaa3e7faa231c378e8d2cc14!}
{!LANG-1f10fbf8bb3980757ff0ed9508ab94a8!}
{!LANG-94a7fed732c734af7bc7fcfdde95c8f2!}
{!LANG-d852b4f50ac54b15967e944a9036d396!}
{!LANG-3e95df089fb26e9724aa9bc98a6a1941!}
{!LANG-1a2ceac43baab8ad8962c448e7832750!}
{!LANG-bde288c8dcf550b827b556687062f36c!}
{!LANG-b5abb0b7928437df0f59c526b1f9462c!}
{!LANG-d4ccd79a768acb198489ad74a70e6b49!}
{!LANG-658881f8fe0507d41e16317280946fd3!}
Compiler:
{!LANG-b3a491e0fe1b066aad8b9044e0da62af!}
{!LANG-38ab50f70c91e541bdb321ab12680802!}
{!LANG-68443a424741c373b79f80d59eef81f7!}
{!LANG-7d8f61d0231aadd8017cbe5cb59458da!}
{!LANG-503a7a780d5d24d63d5ffe1408d78e3a!}
{!LANG-08cf11ee6f301265eff86d7fd86efe2d!}
{!LANG-50c69ff24c11aa3454e0406177dfcf62!}
{!LANG-47b03d11684a53180586b87edf5b8311!}{!LANG-2d90822b3ffa14df4d6d5c82fbe78b6d!}{!LANG-baed0e81720d99922a123464fc9f7989!}
{!LANG-cba4154ef485e8b132c8a178a72b86d4!}
Explanatory note
{!LANG-e0598c085b7e33291b5291697d35ba48!}
{!LANG-348d8359e1115dcbda78247881d69f13!}
{!LANG-3b43f40cbc9f77674737e4f0aae89135!}
{!LANG-66ac74bc93c67cde5a7919c68d7df415!}
{!LANG-b3cedeeb7ee17e9399bf2bd7768aa981!}
{!LANG-7a4a7fcd01828ab88786805c12964cbe!}
{!LANG-5d6cf564dd4089f73db29252d68d8dae!}
{!LANG-cc71c273283bfef42dc8cd8cdee1fe1e!}
{!LANG-5a673086a6e8ff44857541e7a7e240a8!}
{!LANG-9806d57aededb7cc7b0511890193a22a!}
{!LANG-c3b05ed53f1bb1805885aaabc1513651!} {!LANG-53f7d9a5a74e4fde7e41f4be353eed4c!}
{!LANG-0dcb5ec023532491b48688c099c5a985!} {!LANG-1abfafdc42523d9f5232f6954923ad20!}
The relevance of the program {!LANG-3dd5e763b06b9845ff95e651c6312cfc!}
{!LANG-ce3030132494d918af0378d9002d9d72!} {!LANG-73ea860dc03c19811af832d980fe661d!}
The purpose of the program:
{!LANG-896b5c920e8190718bcced2a161adc72!}
Tasks:
{!LANG-09481b4e7adfc8b50d84fb5ec7edb312!}
{!LANG-06400108e2adfd66147eea4064624da5!}
{!LANG-0cfff9a01f6329e32f262efbae7cfe00!}
{!LANG-f827942edf838067dd2713e09473f82f!}
{!LANG-2a7668913c35b71f1a5eac31cd0ad58e!}
{!LANG-61122a441f1a82e9ea30e3be4ea9f10e!}
{!LANG-95473e4667d5fc4859fb3937bf223da7!}
{!LANG-6680d80682ee9d5fc9da97944132e996!}
{!LANG-5c3f34abca4b262ee61691be1ff3eef3!}
{!LANG-edfa48e8b7b092f09398d2c5124c0461!}
{!LANG-6637191e948dc1cb424ff580d18bf118!}
{!LANG-9137876508358f412c8fd67b9b177594!}
{!LANG-1b4372238d167a4ff9724a9fa7ac73e3!}
{!LANG-5ffa5fc0a3534439a945d87cd91e311e!}
{!LANG-1170ad16f451efc34e1ef0a823c811c4!}
{!LANG-3910f424571e48a6915a327ff0788866!} {!LANG-7e994647f7b5bf48de355288c2c21e3a!}
{!LANG-d95c5b13e5e5c02ecfacb1b411a4857f!}
{!LANG-c000dad3238ce26c8cde874b31defe87!}
Tasks:
{!LANG-bd2fd98615f5aea014d697b9b548cb4f!}
{!LANG-ffa63f6a94834c3a2cc13f11a8545b60!}
{!LANG-192395de60a1f6046c6e40b1a0c5e26f!}
{!LANG-c127d7937da355fbf98f8aca472b54b7!} {!LANG-3ffcc64b993365e19d0ad42001fb7dc1!} {!LANG-7828b862d8dbe73625695feda5cb59d7!} {!LANG-02147b3ada6c3f9ca035a94b80a96879!} {!LANG-98ddf7212c93f517e923222272c6b986!} {!LANG-0ab916ef6a6261a0a1c5cbcd19300e4f!}{!LANG-be3a0d4b44ff103e423da547972083bc!} {!LANG-16d898b3825a7da0a63a771d410d1781!} {!LANG-ea16494c4c653abbba9c8ce97f9e5583!}{!LANG-43c4050745fe6f3f388c78368017d9a6!}{!LANG-f213cafdd1e4dc53b49ce5aa3d8a85ee!}{!LANG-beae35c30c04e378514ee9612502575f!}{!LANG-447c23041e11fafb995376796999ad66!}
{!LANG-045d646d9a83af02ab0afb905668bfb0!} {!LANG-f454468e2a63fea18ec25b5af70c4b4e!}
{!LANG-141df29cbd7c4d1b9367a3e1168fd66e!}
№ {!LANG-46e29e7e0aa8e6033dbbc285732f3cab!} / {!LANG-46e29e7e0aa8e6033dbbc285732f3cab!}
{!LANG-44b1a0add31e6a25b9b8417778d2a836!} {!LANG-790915865199023645db0035d3a0847e!}
{!LANG-1b811c2e5aeee891af895cf70b883c11!}
Theory
Practice
Total
1
Enterprise
1
1
2
2
{!LANG-ac4827c9fa04b86e8e62478f2cee5472!}
3
40
43
3
{!LANG-7aa10e2a3ad5eb79cf82142c16aa7ea4!}
2
10
12
4
{!LANG-f1552e57caae039f18169adec94179d2!}
1
22
23
5
{!LANG-4c96bdeb34b8fee09738f6d6efbef872!}
2
24
26
6
1
21
22
7
{!LANG-751155c371c1704a08b9aa086900c36d!}
1
7
8
8
{!LANG-ec9e953c3c2b8b5e8c572f8981047ea9!}
6
6
{!LANG-1a67fa9e67dcfe09082bff1c89bac07d!}
1
1
2
TOTAL:
12
132
144
{!LANG-89f958c94fce3ecdf9c6c9da60c7bfbf!}
{!LANG-c1edfb8ed13787a025c6e8d50a2319a9!}
{!LANG-99d76969698105fdac9f41ad2638f811!}
{!LANG-2a50308cd53a081fb2fb0d2db4a9ecab!}
{!LANG-5c09393013b6230e161b512c38531286!}
{!LANG-7fb6b8d294b21409c231938a6f32fcb0!}
{!LANG-d841fa1bcdd5e6755c96feb05ffda966!}
{!LANG-06c0a0b2022a53a95e46735e1bbbfaac!}
{!LANG-479d1996248c140ec3108042626db7d4!}
{!LANG-dc5c6357be52c456032ba885a571ac1b!}
{!LANG-1aaa43d258566de38956be79128bc6f9!}
Theory: {!LANG-2d5e756f87954a30b1e2f279f4d0cb8d!}{!LANG-9d7787d7dc51684c14894c85fef03b62!}{!LANG-8c7b7f04f20187749d41a067c0dfe6f2!}
Practice:
{!LANG-74c68a54f898f155dcb0a0e3cf808d36!} {!LANG-6d5f66a48b5ccac59f35ab3939d539a3!}, {!LANG-ab8c536ef96974e25ce8dc0d8f7e055d!}, {!LANG-13d7ad4f7f73f559f22f13396c8dc396!}, {!LANG-32d61736ef65f2f52b053b16f9b0dae7!}, {!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}, {!LANG-856812804e259fad5bf867451c1066af!}.
{!LANG-444a348b5742a5f95c620bc3cc87c106!} {!LANG-6d5f66a48b5ccac59f35ab3939d539a3!}, {!LANG-ab8c536ef96974e25ce8dc0d8f7e055d!}, {!LANG-13d7ad4f7f73f559f22f13396c8dc396!}.
{!LANG-66c1f1007071fc14ae1169308a265ef6!}
{!LANG-f764e8bebf2968726b50bf4857535ef0!}
{!LANG-f7d46be48be7e4a772f9829722f704ca!}
{!LANG-3d838b217ec57a5f61a56cceb00e3dec!}
{!LANG-a571a303663755ea6674514c17afa511!}
{!LANG-43ea2ef4e5c768fa25301e0519e19b8b!}
{!LANG-39cdd7365ae5cdcff2356d545a327926!}
{!LANG-f738a06720b668e4dde2df4ceeeea426!}
{!LANG-e057f8eb4e0cb4fda3203caa295419fb!}
{!LANG-a3386ecefc5f9cd28c4f199bf8fe80a9!}
{!LANG-7a60f69d993dab4554c4a76909702ece!}
{!LANG-6fcbbfaa11b61352994aeee42eee2f6c!}
{!LANG-4037cbefab9950f6d0eea672ce7d068b!}
{!LANG-e46695f89d7f52704740b99b0602c2f3!}
{!LANG-d7cfa0a505d15d7c7bf39a0836ef2e2c!}
{!LANG-4db6ce5159fa99bbe22b8e78ef2c4a91!}
{!LANG-8fc642348dc74f6b1c568c23a829f3f1!}
{!LANG-df09abff25f45d69688898efd9b985a6!}
{!LANG-aa8bd9368871d277d299a4c0b2aaf6c7!}
{!LANG-ef461d62a92c1f11979cca83acbaa908!}
{!LANG-d4da401f3ca24bb24bc5ed5899b76ae5!}
{!LANG-4c96bdeb34b8fee09738f6d6efbef872!}
{!LANG-8645d5e8c8a0432e583d4944785200fc!}{!LANG-3fbf9bd8af2d239fd8fc91b7e1045502!}
Practice: {!LANG-bd7fc9ed9f512ef3a64ab758d9afdf18!}
{!LANG-2da0656d9d02b07544a791315ada33b1!}
{!LANG-45281c364e4e07cb3cd5e93a5fbf81a6!}
{!LANG-1e97829c40596112bd5bd670f5d8eac1!}
{!LANG-b373dae2e058758a50d4937ea7e96f52!}
{!LANG-ab16518da9751ae3f89a4c07135dab05!}
{!LANG-1bed1437d2afe9659f312d5f011e448d!}
{!LANG-a4cf63a4cb9b7eef462d300d2c9bb0a2!}
Practice:
{!LANG-91eeeb2882640f8edc18034e9fbf9d73!}
{!LANG-90395f8c72bbd84ea56bfa394c6060ab!}
{!LANG-751155c371c1704a08b9aa086900c36d!}
{!LANG-19d400325abced5e4018a5578e93eb3b!}
Practice:
{!LANG-36c9c7fbb67742ea24734c5afc0e325a!}
{!LANG-ec9e953c3c2b8b5e8c572f8981047ea9!}
{!LANG-361c7032e6441c48f5b4859df0557827!}
{!LANG-f13183ec1dc5417b99ab833a316c52d0!}
{!LANG-190f1295409db853361f1435c363875d!}
{!LANG-fc951419c609238d3bed2fd9f140d52c!}
{!LANG-1a67fa9e67dcfe09082bff1c89bac07d!}
{!LANG-217a7aba13e8829feb6b2f743e24c84c!}
Tasks:
{!LANG-9b1f6c69023dc638b8804f282af6e500!}
{!LANG-f5fd3ffbe6f65139d46c933446f7e3b3!}
{!LANG-a7f281d8217066fa56c26ed71d40cef8!}
{!LANG-c127d7937da355fbf98f8aca472b54b7!} {!LANG-3ffcc64b993365e19d0ad42001fb7dc1!} {!LANG-dcaf2b3e8146dca33521f8596087c026!} {!LANG-02147b3ada6c3f9ca035a94b80a96879!} {!LANG-98ddf7212c93f517e923222272c6b986!} {!LANG-0ab916ef6a6261a0a1c5cbcd19300e4f!}{!LANG-be3a0d4b44ff103e423da547972083bc!} {!LANG-16d898b3825a7da0a63a771d410d1781!} {!LANG-2cd03f7bc0ed789eb217184db1ddac00!}{!LANG-2080b03715b009f72f19ff564fe6fb91!}
{!LANG-045d646d9a83af02ab0afb905668bfb0!} {!LANG-4c6b6cd55317da502add47e184bf31e1!}{!LANG-85e3aa982ccfaa34a1d46e3f51395e80!}
{!LANG-bfa62f6c8aff51388dfb514f2b8abb90!}
№ {!LANG-46e29e7e0aa8e6033dbbc285732f3cab!} / {!LANG-46e29e7e0aa8e6033dbbc285732f3cab!}
{!LANG-44b1a0add31e6a25b9b8417778d2a836!} {!LANG-790915865199023645db0035d3a0847e!}
{!LANG-1b811c2e5aeee891af895cf70b883c11!}
Theory
Practice
Total
1
Enterprise
1
1
2
2
{!LANG-ac4827c9fa04b86e8e62478f2cee5472!}
1
35
36
3
{!LANG-d1da0cbc6017a75b4731e90d3eed1e9c!}
4
44
48
4
{!LANG-e2b586dfafe471da39ffe2c6f8b6c77d!}
2
25
27
5
{!LANG-f1552e57caae039f18169adec94179d2!}
1
18
19
6
{!LANG-4c96bdeb34b8fee09738f6d6efbef872!}
2
25
27
7
{!LANG-1bed1437d2afe9659f312d5f011e448d!}
3
34
37
8
{!LANG-751155c371c1704a08b9aa086900c36d!}
12
12
9
{!LANG-ec9e953c3c2b8b5e8c572f8981047ea9!}
6
6
{!LANG-1a67fa9e67dcfe09082bff1c89bac07d!}
1
1
2
TOTAL:
15
201
216
{!LANG-89f958c94fce3ecdf9c6c9da60c7bfbf!}
{!LANG-e13fb5c9c07ccd183bc5e333c9b995fc!}
{!LANG-71e4a3aa70d43d13940d21213eec1ed6!}
{!LANG-2a50308cd53a081fb2fb0d2db4a9ecab!}
{!LANG-eb1929169ea6e0b59702fa220a4a9354!}
{!LANG-7fb6b8d294b21409c231938a6f32fcb0!}
{!LANG-d841fa1bcdd5e6755c96feb05ffda966!}{!LANG-01c74ca03e86a78c037a58a01743297a!}
{!LANG-4ebeb82cc10387d52ba8d30608f2b8e4!}
{!LANG-3fdbbce740fb2e2a269d53bb8fe2000d!}
{!LANG-06c0a0b2022a53a95e46735e1bbbfaac!}
{!LANG-027b3da2dfab92776a7ac2f3b0fe5f07!}
{!LANG-60d039c235d3d9d83dde44e96f99d8e0!}
{!LANG-b57bf37e42241158ddb597a671a53bfa!}
{!LANG-4cefd7859acf17afc215c02a5950f410!}
{!LANG-1181a1191b628d5397f7ea7a6a81912c!}
{!LANG-479d1996248c140ec3108042626db7d4!}
{!LANG-0753ce7f1bf5af7e54d567ef43fafeab!}
{!LANG-b46d354993b57518545ec43a7096a047!}
{!LANG-567829c298c16a3323bc3eabfd7c8320!}
{!LANG-0daca8a897102f889994b0f0579a6ac6!}
{!LANG-4f1991cb1d9a24b03599d6bdc1b6211e!}
{!LANG-2aa74b472ebfe526844de1f136a02196!}
{!LANG-c5042d9b82a29e2375055d4931af1430!}{!LANG-07b1c38ecb196f7781218948637a696d!}{!LANG-f16215476c4d6f87213ae6886793dd6e!}{!LANG-faa86b4fb0c8ccbc3987268e577e88a0!}{!LANG-cade6d374ca8fce7d7cef9484ef14a6d!}
{!LANG-caa20dc5498cdb9625929d15c249abee!}
{!LANG-74c68a54f898f155dcb0a0e3cf808d36!} {!LANG-6d5f66a48b5ccac59f35ab3939d539a3!}, {!LANG-ab8c536ef96974e25ce8dc0d8f7e055d!}, {!LANG-13d7ad4f7f73f559f22f13396c8dc396!}, {!LANG-32d61736ef65f2f52b053b16f9b0dae7!}, {!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}, {!LANG-856812804e259fad5bf867451c1066af!}.
{!LANG-444a348b5742a5f95c620bc3cc87c106!} {!LANG-6d5f66a48b5ccac59f35ab3939d539a3!}, {!LANG-ab8c536ef96974e25ce8dc0d8f7e055d!}, {!LANG-13d7ad4f7f73f559f22f13396c8dc396!}.
{!LANG-528734a49e5af112a619916e763af978!}{!LANG-6d5f66a48b5ccac59f35ab3939d539a3!}, {!LANG-ab8c536ef96974e25ce8dc0d8f7e055d!}, {!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
{!LANG-12bf33e2823fe99e1d4b1bf6da03e1f8!}{!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
{!LANG-8f5a3ea10f8a3209f200d46cdcfbe4c8!}{!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
{!LANG-1cd0fc2ff85d88e37e3b5f268b5380ed!}{!LANG-6d5f66a48b5ccac59f35ab3939d539a3!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
{!LANG-3713460976d2e4420fd0f159670dc0c2!}{!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
{!LANG-ac9421757d2f535db61b689e8eec2a3f!}{!LANG-6d5f66a48b5ccac59f35ab3939d539a3!}, {!LANG-ab8c536ef96974e25ce8dc0d8f7e055d!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
{!LANG-f3d140b4668304c70a87f56f8401e97a!}
{!LANG-39dc0cbbb77ca087091a8837602ad9cf!}
{!LANG-060f106f089f512f128732120530bcd1!}
{!LANG-9895b765489f78ce3077ba91acd47ee8!}
{!LANG-ed453c8f2896f7108ea71b5f5d1e5ea5!}
{!LANG-2e6120e2fe483d5f2014aa84aeca0165!}
{!LANG-aa8bd9368871d277d299a4c0b2aaf6c7!}
{!LANG-ef461d62a92c1f11979cca83acbaa908!}
{!LANG-d4da401f3ca24bb24bc5ed5899b76ae5!}
{!LANG-6733521aa7883550d9f1dd6816aef296!}
{!LANG-f509d37c1e5dabdb34e8f88fc0966a50!}
{!LANG-e5a62e9b0d43c8aba2468efb7fc4cf61!}
{!LANG-76823c4577b3b4fae809bedc7e4c8cfe!}
{!LANG-72415995effa59bdc198fd6871d4f20e!}
{!LANG-d1a297fef095e711d3c4d6fbf31df1c1!}
{!LANG-ceceb1535ba02409202c137ed7d7f21b!}
{!LANG-4c96bdeb34b8fee09738f6d6efbef872!}
{!LANG-01253baddbdfc32a9e3c89ca887546c5!}».
Practice: {!LANG-5208b08e12d7c73b503c87a84d74ff47!}{!LANG-dc6d40bb7a21ab8bbaf5a6f33a11e7b7!}
{!LANG-147b23bdaf6f6b9254bcb4c75b21894d!}
{!LANG-45281c364e4e07cb3cd5e93a5fbf81a6!}
{!LANG-1e97829c40596112bd5bd670f5d8eac1!}
{!LANG-4a00b76368c0683eb6093abf9a34eee1!}
{!LANG-bd80ee146694e262f3291500af5cca1a!}
{!LANG-25f54060ce380237b0e53e7174e82cf5!}
{!LANG-f738a06720b668e4dde2df4ceeeea426!}
{!LANG-4d03963a290e5362b439c2947bc44b56!}
{!LANG-c45c2ba31708d2c72d62e396e1949075!}
{!LANG-da22560c1587f7d2af7dc8bcd85d13d7!}
{!LANG-1bed1437d2afe9659f312d5f011e448d!}
{!LANG-36559546f079404312e9b890dfa12e8e!}
Practice:
{!LANG-5dce53b7fd2be4240051a7fb0f96168b!}
{!LANG-484745b8720be7c44dda6d91542f6d21!}
{!LANG-91eeeb2882640f8edc18034e9fbf9d73!}
{!LANG-c8a3f2b9958371df9c5d810c0dbdb01a!}
{!LANG-3ad35537f21eb4abf2a614862ce34058!}
{!LANG-482791a6a14d7810948b0a1fa2b3800e!}
{!LANG-751155c371c1704a08b9aa086900c36d!}
{!LANG-68cb95aed441d8fb53485c1f74fcf26d!}
Practice:
{!LANG-36c9c7fbb67742ea24734c5afc0e325a!}
{!LANG-ec9e953c3c2b8b5e8c572f8981047ea9!}
{!LANG-5566e6497e969017e363bff981978b7b!}
{!LANG-ec14aa616cb82a95fd55456f2aabd27b!}
{!LANG-1a67fa9e67dcfe09082bff1c89bac07d!}
{!LANG-948a63afa7d769b9c87664bc2f6466ec!}
{!LANG-d8e3e642d1468c76ed586ab2f530de49!}
{!LANG-f782996e21fb4c31188195a2c9f689e4!}
Tasks:
{!LANG-6c2627d962cf77c42b1eb7a3c4411854!}
{!LANG-ef2407222a40b7c65634ec31f76306b6!}
{!LANG-4e08ddf7fcadbec2dd23ed0a12a126ba!}
{!LANG-c127d7937da355fbf98f8aca472b54b7!} {!LANG-3ffcc64b993365e19d0ad42001fb7dc1!} {!LANG-80784b7dc0383e92d7e7bb772d760729!} {!LANG-02147b3ada6c3f9ca035a94b80a96879!} {!LANG-98ddf7212c93f517e923222272c6b986!} {!LANG-0ab916ef6a6261a0a1c5cbcd19300e4f!}{!LANG-be3a0d4b44ff103e423da547972083bc!} {!LANG-16d898b3825a7da0a63a771d410d1781!} {!LANG-7946ece3224dfb61e4c2ce54eacc58de!}
{!LANG-045d646d9a83af02ab0afb905668bfb0!} {!LANG-aa631862542fa8c07067a50c7770625c!}
{!LANG-4124680ad075c099746581d0b2c29ae4!}
№ {!LANG-46e29e7e0aa8e6033dbbc285732f3cab!} / {!LANG-46e29e7e0aa8e6033dbbc285732f3cab!}
{!LANG-44b1a0add31e6a25b9b8417778d2a836!} {!LANG-790915865199023645db0035d3a0847e!}
{!LANG-1b811c2e5aeee891af895cf70b883c11!}
Theory
Practice
Total
1
Enterprise
1
1
2
2
{!LANG-ac4827c9fa04b86e8e62478f2cee5472!}
1
15
16
3
{!LANG-d1da0cbc6017a75b4731e90d3eed1e9c!}
4
34
38
4
{!LANG-e2b586dfafe471da39ffe2c6f8b6c77d!}
2
52
54
5
{!LANG-f1552e57caae039f18169adec94179d2!}
1
13
14
6
{!LANG-4c96bdeb34b8fee09738f6d6efbef872!}
2
25
27
7
{!LANG-1bed1437d2afe9659f312d5f011e448d!}
3
39
42
8
{!LANG-751155c371c1704a08b9aa086900c36d!}
15
15
9
{!LANG-ec9e953c3c2b8b5e8c572f8981047ea9!}
6
6
{!LANG-1a67fa9e67dcfe09082bff1c89bac07d!}
1
1
2
TOTAL:
15
201
216
{!LANG-89f958c94fce3ecdf9c6c9da60c7bfbf!}
{!LANG-b88ded65377549935c0f849a58705752!}
{!LANG-61d16fa110f30960971948aca7f024b6!}
{!LANG-2a50308cd53a081fb2fb0d2db4a9ecab!}
{!LANG-e45a19f27667e50663c21ea6ed885f01!}
{!LANG-7fb6b8d294b21409c231938a6f32fcb0!}
{!LANG-d068ec4c800e16b465f852fa9986d351!}
{!LANG-2aa74b472ebfe526844de1f136a02196!}
{!LANG-aead0c6abfec0e5a04dee80acacc6093!}{!LANG-07b1c38ecb196f7781218948637a696d!}{!LANG-7ae54e51156484dc0931623f73549688!}
{!LANG-0e079b5958d851af0e831ff5fb4767b3!}
{!LANG-bbde357c39231ba5ab17c8a84e1b166a!}{!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
{!LANG-f9deb3473f9448fe767e3384dd90b639!}{!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
{!LANG-1538a34549c4c836ebaaf0a3b42ae269!}{!LANG-e05684d24870a7f03ccc4e2d933b6fa6!}{!LANG-16338e3c4ba0940de7eccd3befa1759d!}
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Practice:
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Practice:
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1
Enterprise
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2
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3
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4
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5
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6
{!LANG-1bed1437d2afe9659f312d5f011e448d!}
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7
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8
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9
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10
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