Choreographic terminology is a system of special names designed to denote exercises or concepts that are difficult to briefly explain or describe.

In the 17th century (1701), the Frenchman Raul Feyet created a system for recording the elements of classical dance. These terms are recognized by experts in the field of world choreography at the present time.

Turning to the special literature, students experienced difficulties when faced with unfamiliar terms, such as: “Eversion of the legs”, and this is a necessary and indispensable condition for the technique of performing elements of classical dance, “Corpus” in gymnastics is an unacceptable term, it is replaced by “Posture” , "Balloon" - the ability to fix the pose in a jump, "Force" - the necessary preparatory movement hands to perform pirouettes, "Aplomb" - the stable position of the practitioner, "Elevation" - the ability of the athlete to show the maximum phase of the flight in the jump, "Priporacion" - preparatory exercises hand or foot before the start of the element, "Cross" - the execution of elements in the following directions: forward, sideways, back, sideways or in the opposite direction.

Knowledge of technical terms speeds up the learning process. Choreographic terminology characterizes the movement in more detail than gymnastic. This is the international language of dance, the ability to communicate with choreographers, understanding of special literature, the ability to briefly record training combinations, lessons, sketches, floor exercises, compositions.

Terminology is always built in accordance with the rules of word formation. The main advantage of the term is brevity. This makes it possible to reduce the time for explaining tasks, to maintain the density of the lesson.

But not always students manage to remember the choreographic terminology, so the idea arose of writing choreographic elements using gymnastic terminology, for a more accessible perception of the material being studied by students.

Experience shows that it is students who do not have choreographic training who have difficulty remembering the names of movements. As a rule, these are trampolines and jumpers on an acrobatic track. But the athletes who have fulfilled the CMS and MS standards do not always have knowledge of the terms and correct technique performing even the simplest elements. The creation of such a table, a large number of illustrations for the elements make it possible to streamline students' knowledge in the field of choreographic training, to be fluent in the terms of choreography and, if necessary, to use special literature on choreography.

POSITIONS OF HANDS AND LEGS IN CLASSICAL DANCE POSITIONS OF HANDS

preparatory

Hands down, rounded at the elbow and wrist joints, palm up. thumb inside palm

I - first

Hands forward, rounded at the elbow and wrist joints

II - second

Hands forward to the sides, rounded at the elbow and wrist joints, palms inward

III - third

Hands forward upward, rounded at the elbow and wrist joints, palms inward

HAND POSITION OPTIONS

Right hand in third position left hand in second position

Right hand forward, palm down, left hand back, palm down

Right hand in second position, left hand in preparatory position

Right hand in first position, left hand in preparatory position

Right hand in third, left hand in preparatory position

LEG POSITIONS

I - first

Closed toe stand out. Heels closed, toes out. The legs are located on the same line with a uniform distribution of the center of gravity throughout the foot

II - second

Wide leg stance with toes out. The legs are located from each other on the same line at a distance of one foot with a uniform distribution of the center of gravity between the feet

III - third

The right is attached to the middle of the left foot (socks out)

IV - fourth

Leg stand apart, right in front of the left (at a distance of one foot) socks outward (performed from both legs)

V - fifth

Closed stance right in front of the left, toes out (right heel is closed with the toe of the left, performed on both legs)

VI - sixth

Closed stance (heels and toes closed)

LIST OF EXERCISE ELEMENTS

Exercise - choreographic exercises in the established sequence at the support or in the middle.

TURNS 90°, 180°, 360°, 540°, 720°, 1080°.

METHODOLOGY OF TEACHING THE BASIC ELEMENTS OF THE EXERCISE

DEMI PLIE, GRANA PLIE (HALF Squat, Squat)

The purpose of the exercise is to develop the elasticity of the articular-ligamentous apparatus and "eversion" in the hip, knee and ankle joints. The exercise promotes the development of jumping ability by stretching the Achilles tendon.

Half squat(demi plie)

The semi-squat is performed in all positions. In this exercise, the heels do not come off the floor, the weight of the body is distributed evenly on both legs. Flexion and extension of the legs is performed smoothly, without stopping, "reverse", the knees are directed to the sides, along the line of the shoulders. Posture is straight.

squat(grand plie)

The squat is performed in all positions. First, a semi-squat is smoothly performed, then the heels gradually rise, and the knees bend as much as possible. When unbending, the heels first fall to the floor, then the knees straighten. When lifting the heels, do not rise high on the toes. The exception is the grand plie in the second position, where the heels do not come off the floor due to the wide position of the legs.

Flexion and extension should be performed smoothly, at the same pace. The pace is average. Before starting the exercise, the hand (if the movement is performed at the barre) or both hands (if the movement is performed in the middle) from the preparatory position are transferred from the preparatory position through the first position to the second. Then, with the beginning of leg bending, the arm (or both arms) descends from the second position to the preparatory one, and with the beginning of leg extension, the arm is again transferred through the first position to the second.

BANTMAN TANDYU (EXTENDED)

(position of the foot on the toe forward, to the side, back)

Flexion and extension of the foot by sliding along the floor to the position of the foot on the toe. It is performed from the first or fifth position in three directions: forward, sideways, back.

The purpose of the exercise is to teach how to properly stretch the leg in the right direction, develop strength and elasticity of the lift (ankle joint) and a beautiful leg line.

Batman tandyu(right side to toe)

Batman tandyu forward(right forward on toe)

banman tandyu back(right back on toe)

Batman tandyu back and forth is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing the batman tandyu, the entire foot slides on the floor first, then the fingers and the rise are gradually extended. The center of gravity of the body is on the supporting leg, the toe does not come off the floor.

Make sure that the knees remain extremely extended and both legs remain “turned out”. At the moment of stretching the leg, there should not be an emphasis on the toe. When the leg returns to initial position the foot gradually lowers to the floor. The heel drops to the floor only in the starting position.

When performed forward, the slide begins with the heel, and the foot returns with the toe to the IP. When performed backwards, the toe begins to slide, and the foot returns with the heel to the IP.

4/4 , the pace is slow. Later, the movement is performed from behind the beat. time signature -2/4, pace is average.

BATMAN TANDYU JETE (WAVING)

It develops muscle strength, the beauty of the line of the legs and the clarity of execution.

Small clear swings of the leg to the downward position and return to the starting position through the batman tandyu.

It is performed in the first or fifth position in three directions: forward - downward, to the side - downward, back - downward.

Batman tandyu jete aside

(swing right to the side - down)

Batman tandyu zhete forward

(swing right forward down)

Batman tandyu jeté back

(swing right back down)

Batman tandyu zhete is performed in the same way as batman tandyu, but when it reaches the position on the toe, the leg does not linger, but continues to move with a wave, where it is fixed at the height of the middle of the lower leg of the supporting leg (45 °). Both legs should be “turned out”, the muscles of the legs are tightened, and during the swing, the instep and toes of the working leg should be extremely stretched.

Returns to PI in a sliding motion through the position on the toe.

Musical size at the beginning of learning - 4/4 or 2/4, pace is slow. As the exercise is mastered, the leg swing is performed from the beat, the pace is medium.

GRAND BATMAN (WAVE RIGHT FORWARD, TO THE SIDE, BACK)

The leg is in this position both when performing large jette batmans (swings) fixed at 90 °, and when slowly raising the leg - relevelian.

Leg forward position

Leg position to the side

Leg back position

Large swings into the air and return to the starting position are performed in the first or fifth positions in three directions: forward, sideways, backward. From the starting position, the leg rises into the air with a wave, passing along the floor with a sliding motion, as in the batman tandyu jet, with the leg fixed at 90 ° (later on higher), and returns by sliding through the tandyu batman to the IP. Monitor the preservation of the “eversion” and tension of the knees, instep and toes of the working leg. Transfer the center of gravity of the body to the supporting leg. When performing a large swing forward and to the side, the body should remain strictly vertical. When performing a swing back, a slight tilt of the torso forward is allowed.

Musical size - 4/4. At the beginning of learning, the pace is slow. As you learn, the swing of the leg is performed due to the beat, the pace is medium, and the height of the swing increases in three directions: up and then up.

When performing relevant, the leg slowly rises forward, to the side or back and just as slowly lowers to its original position (through the batman tandyu). As you learn, the height also increases, as in the grand batman up and up.

RONDE DE JAMBES PARTERRERE (TOE CIRCLE ON THE FLOOR)

The main task of the exercise is the development and strengthening of the hip joint and the necessary “eversion” of the legs.

The movement is performed forward - an deor and backward - an de dan.

An deor(out)

From the first position, the sliding movement forward to the toe (batman tandyu), while maintaining the maximum "eversion" and tightness of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, while maintaining the "eversion" and tightness, it is carried back to the toe (batman tandyu) and slide back to the starting position

An dedan(inside)

When performing the exercise back (an dedan), the leg from the first position is glided back to the toe, then it is transferred by sliding to the side to the toe (to the second position), from the second position by sliding to the right forward position on the toe (batman tandyu) and returns to the original position by sliding position

The center of gravity of the body is maintained on the supporting leg. The working leg should pass all the main positions of the legs on the toe “inside out” at the same pace. Through the first position, the leg is carried out in a sliding motion with the obligatory lowering of the entire foot to the floor.

Time signature 3/4, 4/4, average tempo.

POR DE BRAS (EXERCISES FOR THE TRUNK AND ARMS)

A group of exercises that develops the flexibility of the body, the smoothness and softness of the hands and the coordination of movements.

Here one of the forms of por de bra is given, which consists in bending the body forward and unbending it, tilting the body back and returning to its original position.

The exercise is performed at the support and in the middle of the hall from the fifth position in the face position (en face) or in half a turn (croise, eface). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.

Fifth leg position, second arm position

Closed stance right in front of the left, toes outward, right heel closed with the toe of the left. Hands to the sides, rounded at the elbow and wrist joints, palm forward, thumb inside.

Fifth leg position, third arm position

Por de bra forward, hands in third position (torso forward, arms up, rounded at the elbow and wrist joints).

Fifth leg position, first arm position

Closed stance right in front of the left, toes outward, right heel closed with the toe of the left. Hands forward, rounded at the elbow and radio-metacarpal joints, palms inward.

Por de bra back, third hand position

Tilt the body back, arms up, rounded at the elbow and wrist joints, turn the head to the right (tilt the body back only with the shoulders back, without relaxing the muscles of the lumbar region).

Perform the exercise smoothly, observing the exact positions of the hands, accompanying their movement with a look and turn of the head. The musical size is 3/4, 4/4, the tempo is slow.

SUR LE COU AE PIE (FIXED POSITIONS OF BENT LEGS ON THE ANKLE)

The position of the leg on the ankle (sur le cou de pied) for performing batman frappe, batman fondue, petit batman, bottu. The right one, bent with a slightly unbent foot, is located above the ankle of the other leg, touching it with the outer part of the foot. The fingers are pulled back.

The sur le cou de pied position is performed in front and behind. In both cases, the knee of the bent leg should be “reversed” and directed exactly to the side along the line of the shoulder.

Sur le cou de pied

(basic position of the leg on the ankle in front)

Sur le cou de pied

(basic position of the leg on the ankle at the back)

Batman frappe consists of bending the working leg to the position of sur le cou de pied and extending it to the toe on initial stage training, and as they mastered in the downward position in the UTG-2,3 groups, and in the UTG-4, SS, VSM groups - on the half-fingers with lowering into various postures in the position on the toe or downward.

First, the exercise is learned with leg extension to the side, then forward and later back facing the support in slow pace. It is necessary to monitor the maximum "eversion" of the leg in the hip, knee and ankle joints.

When the flexion and extension of the leg in all three directions is mastered, then the flexion of the leg will be performed from the beat with an emphasis on the extension of the leg.

Musical size - 2/4, pace is average.

At first, only the position of sur le cu de pied in front and behind is learned. The leg from the fifth position is fixed over the ankle of the other leg and lowered again to the fifth position. This exercise is recommended to be learned facing the support. It is necessary to monitor the maximum “eversion” of the leg in the hip, knee and ankle joints, maintaining the correct posture and the center of gravity of the body on the supporting leg.

As the position of the leg on the ankle in front and behind is mastered, the change of position in front and behind is learned at a slow pace, and as it is mastered, at a fast pace. For learning the double frappe in the groups UTG-3, UTG-4 on half-fingers and in combination with demi-plié in poses.

Ankle leg position (sur le cou de pied) for performing batman fondue. This exercise consists in bending the leg into the position of sur le cou de pied with an extended “rise”, a simultaneous semi-squat on the supporting leg and extension of the working leg to the toe or downward in one of three directions.

Sur le cou de pied

in front (conditional position of the leg on the ankle in front)

Sur le cou de pied

behind (conditional position of the leg on the ankle at the back)

First, only the position of sur le cou de pied is learned in front, then behind. After that, a semi-squat is learned on the supporting leg and extension of the working leg, first to the side, then forward and back facing the support

Musical size - 2/4, pace is slow. The movement is very smooth.

It is necessary to monitor the "eversion" of the legs and the distribution of the center of gravity of the body on the supporting leg. When the movement is well mastered, various hand positions can be introduced, especially when performing exercises in the middle of the hall. In the UTG-3 group, a double batman fondue is learned, and in the UTG-4, SS, VSM groups, the exercise is performed on half-fingers.

PASS (TRANSLATIONS - "REVERSE" POSITION OF THE BENT LEGS FORWARD, TO THE SIDE AND BACK, TOE AT THE KNEE).

DEVELOPE (LEG FLEXION AND EXTENSION AT 90° AND HIGHER)

The exercise develops "eversion" in the hip, knee and ankle joints and is a leading exercise for the development.

Passe to carry out development forward

Stand on the left, right bent at the knee toe in front.

Passe to execute development back

Stand on the left, right bent to the side, toe at the knee behind.

Passe to carry out development aside

Stand on the left, right bent to the side, toe at the knee to the side.

If the leg is unbent forward, then from the starting position it is transferred from the position of sur le cou de pied in front. If the leg unbends back, from the position of sur le cou de pied from behind.

Then the working leg slides up on the supporting leg (but without touching it) and opens in the required direction. If the leg unbends to the side, then, without slightly bringing the toe to the knee of the supporting leg, it must be transferred to inner part supporting leg and then straighten.

When performing, it is necessary to monitor the “eversion” of the thigh, the tightness of the lift and fingers.

When the pass is well mastered, the second part of the movement is introduced - leg extension in one of three directions forward, sideways, back. First, the development is learned to the side, then forward and later back. To the side and back, leg extension is learned facing the machine. The movement is smooth. It is necessary to monitor the "eversion" of the leg during its extension and return to its original position. Time signature -3/4, 4/4, slow tempo. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passe position can also be used when moving the leg from one pose to another.

Development is performed from the fifth position in the UTG-3, UTG-4, SS, VSM groups in the upward position, and as it is mastered upward in three directions and on the half-fingers, into poses, in combination with elements of the chosen sport.

Squats are one of the most effective exercises, this is one of the most affordable ways not only to keep fit, but also to improve your body! Try out several types of SQUATS with this visual tutorial.

Squats are one of the four main workout exercises, along with pull-ups, push-ups, and dips. Therefore, it is not surprising that there are a huge number various kinds squats, which allow you to focus on the work of certain muscles, and simply introduce a certain variety into training. And today we want to introduce you to some of them.

10 types of squats

1. Classic squats

For what: all the muscles of the legs are evenly trained.

Initial position: standing, feet hip-width apart, arms along the body.

How to perform: while inhaling, taking the pelvis back, bend your knees to a right angle. As you exhale, return to the starting position.

2. Plie Squats

For what: focus on the gluteal muscles, quadriceps femoris and inner surface hips.

Initial position: standing, legs wider than shoulders, socks turned outward at right angles, hands on the belt.

How to perform: same way.

3. Narrow stance squats

For what: strengthen gluteal muscle, quadriceps hips and outer surface hips.

Initial position: feet together, arms along the body.

How to perform: same way.

4. Curtsy Squats

For what: emphasis - on the gluteal muscles.

Initial position: standing, legs crossed.

How to perform: while inhaling, taking the pelvis back, bend your knees to a right angle. Keep your body weight on the front leg, the foot of the second leg should not touch the floor with the heel. As you exhale, return to the starting position.

5. Balance squats

For what: to increase the load.

Initial position: feet at the width of the pelvis, one of the heels is raised up.

How to perform: As you inhale, pull your pelvis back, bend your knees to a right angle. Keep your body weight on the leg that is completely on the floor. As you exhale, return to the starting position. Repeat with the other leg.

6. One-Leg Pistol Squats

For what: for a significant load increase.

Initial position: on one leg, the second - in front of the weight, bent at the knee. Hold onto a chair with your hand.

How to perform: while inhaling, bend the supporting leg at the knee to a right angle, straighten the free leg forward. As you exhale, return to the starting position.

7. Squats on one leg "swallow"

For what: as in the previous exercise, but the load is shifted to the buttocks, the extensor muscles of the back and the back of the thigh.

Initial position: as in the previous exercise.

How to perform: while inhaling, bend the supporting leg at the knee, and take the free leg back, tilting the body forward. As you exhale, return to the starting position.

8. ✅ Jump Squats

For what: to increase the intensity of training and the development of explosive strength.

Initial position: feet shoulder width apart.

How to perform: while inhaling, bend your knees to a right angle, while exhaling, straightening your legs, jump up. As soon as your feet touch the floor, immediately begin to squat.

9. Side step squats

For what: the abductor and adductor muscles of the thigh are included in the work, the heart and respiratory system are trained.

Initial position: feet together.

How to perform: step to the side and, moving the pelvis back, bend your knees to a right angle. As you exhale, return to the starting position and repeat on the other side.

10. Jump Squats

For what: as in the previous exercise, but the load increases.

Initial position: feet together.

How to perform: jump up, spread your legs apart in a jump and, as soon as the feet touch the floor, bend your knees to a right angle. Extending your legs, push yourself up again, connect your legs in a jump and return to the starting position.

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Optional: Hand position

The difficulty of squats also depends on the position of the hands. There are several options, I will list them in ascending order of difficulty:

Alexander Mironenko

P.S. And remember, just by changing your consciousness - together we change the world! © econet

1. Place your feet at shoulder width. Position your feet so that your toes are slightly turned out to the sides.
2. Point your knees and toes to the same side. Shift your body weight onto your heels.
3. Press your feet firmly to the floor and do not lift them throughout the exercise.
4. If you are doing a squat without additional weights, you can hold your arms in front of you (this is the easiest way to balance), bring them behind your head, or cross them in front of your chest.
5. Keep your lower back "boat" with a slight deflection. Do not round it, including in the thoracic region.
6. Try not to lean forward. Watch your posture.
7. Do not bring your knees inward and do not spread them apart when rising from the bottom position. The knees should “look” in the same direction as the feet. Try not to bring your knees forward beyond the level of your socks.
8. Take a deep breath at the beginning of the exercise. In the future, when lifting, you need to exhale, when lowering - inhale.
9. You need to lower yourself to at least the parallel of the thigh with the floor. Better - even deeper, although it depends on the purpose of the exercise.
10. You do not need to straighten your legs to the end at the top point. Slightly before reaching full extension, immediately begin to move down.

Equipment

Additional equipment is needed for squats with weight (dumbbells, kettlebell, barbell).

For strength training are used:

• Elastic bandages for knee and wrist joints.
• Belt.
• Special overalls for squats (used only in competitive powerlifting).

What harm can squats do?

Squats in and of themselves are not dangerous. They become dangerous when they are not performed correctly. Squats create stress on the knee joints and tendons, the spine, especially when performed with weights. So that classes do not harm you, do them correctly.

Before you start training with squats, make sure that they are not contraindicated for you.

Contraindications for implementation:

• knee diseases and hip joints(arthritis, arthrosis);
• diseases and injuries of the spine (scoliosis, osteochondrosis of the lumbar spine);
• diseases of the cardiovascular system;
• excess body weight.

Common beginner mistakes leading to injury:

• Workout without a warm up. Without warming up the muscles, you can not start training.
• Forcing events. Some beginners test their limits by lifting more weight than they need to, or want to quickly achieve the desired result. There is pain in the joints, sprains, injuries.
• Stooped back. Incorrect posture during training threatens with spinal injuries.
• Workout despite the pain. At the slightest pain, the activity must be stopped.

Conclusion

Almost always (with the exception of those cases when classes are contraindicated for health reasons), the benefits of squats are a hundred times greater than the potential harm from them. This exercise is recommended for children and adults of all ages. Regularly squatting, you will strengthen the muscular system, become stronger, more resilient, more energetic, slimmer.

Grandfather is walking down the street. To meet - punk. Grandfather asks him:
- Son, how can I get to Lenin Street?
- So, grandfather. From here you go straight to Intourist. You will turn left after him. There will be a stop after two quarters. The eighth bus will drive up, but don't get on it. You sit on the fourth tram and go to the end. There is an underground passage nearby. In the transition on the left and on the right hand - the entrance to the subway. You go left. In the subway, wait for the train and sit in the first or second car, there are fewer people there. You will pass eight stations, get out, and go upstairs. There, to the left of the subway exit, a couple of blocks away is a monument to Marx. You will turn left at him. Then you will reach the market. But don't go there, everything is expensive there. You go around the market and turn into the alley. Grandmas sit there, they trade. You buy a turkey from them and back to the metro. You will reach the station "Vokzal". There you will take the fifth or twelfth electric train. You will reach the station "Gripkino". You get out - there are two roads, one asphalt, the other unpaved. You don't walk on asphalt. Go on the dirt road. You will go, in half an hour there will be a forest. You pass through the forest, there will be a pond, and by the pond there is an old construction site. Go to the construction site, there the wagon with bricks is overturned. You go for her and take off your pants. Then take a turkey and smash his head with a brick, and collect his brains. And f% and brains of a turkey, but I don’t need it, grandfather, because you are standing on Lenin Street.