Modern gymnastics is characterized by the intensity of competitive activity, constantly increasing coordination complexity of the exercises performed, the need to form stable and reliable technical skills.
All this makes high demands on the level of development of the CS, which in turn determine the ability of young gymnasts to master quite complex technical elements. Particularly high demands are placed on differentiation abilities, varieties of which are the temporal and spatial abilities of a person.
In order to rationally and effectively carry out the process of development and improvement of the CS, it is necessary to know the main features inherent in extra-class gymnasts. The model of the strongest gymnast determines the most significant indicators - model characteristics. An essential part of the model of the strongest female athletes are indicators that reflect the level of physical, psycho-physiological, technical-tactical and other qualities, including CS, which determine the result in rhythmic gymnastics.
According to the requirements of the competition rules, any performance of any action is characterized by its quality. The quality is manifested in the virtuosity of the performance, which is based on the gymnast's ability to optimally control and regulate the motor action. In rhythmic gymnastics, the control of a motor action is determined by the technique of possession of the object and the body and is defined as the virtuosity of performance.
Virtuosity is an over-technical performance of any element with a manifestation of the CS:
- ability to control temporal, spatial and power parameters of movements;
- ability to orientate in space;
- the ability to maintain balance, the ability to sense rhythm;
- the ability to voluntarily relax muscles;
- movement coordination.
In rhythmic gymnastics, two groups of CS are distinguished: motor abilities and specialized perceptions.
Agility is the ability to quickly and easily master new movements (learn quickly), consciously performing movements, reorganizing motor activity in accordance with the requirements of a changing environment and always finding the optimal solution.
The ability to reproduce, evaluate, measure and differentiate, the above-mentioned abilities, are based mainly on the accuracy and subtlety of motor sensations and perceptions, which often act in combination with visual and auditory analyzers. In sports activities, the accuracy of movements is understood as the quality of a motor act, realized by observing a predetermined system of characteristics.
the main task coordination improvement– provision of a broad basis (a fund of acquired motor skills) and on its basis the achievement of a versatile development of coordination abilities.
In order to successfully solve it, children are first of all taught a wide range of motor actions. To do this, in the classroom with them, a variety of exercises are used, most of which are new or unusual, most of which can be considered as coordination. The widest of them is the group of general preparatory coordination exercises.
As a means of educating motor-coordination abilities, in principle, various physical exercises and if their fulfillment is objectively connected with overcoming more or less significant coordination difficulties. Such difficulties have to be overcome in the process of mastering the technique of any new motor action.
However, as the action becomes habitual and the skill associated with it becomes more and more fixed, it becomes less and less difficult in terms of coordination and therefore stimulates the development of coordination abilities less and less. Novelty, at least partial, unusualness and the resulting extraordinary requirements for coordination of movements are the most important criteria when choosing exercises for an effective impact on motor-coordination abilities.
Particularly valuable in this regard are the infinitely varied combinations of movements that make up the material of gymnastics, as well as sports and outdoor games.
L.P. Matveev (1991) suggests the development of motor-coordinating abilities along two main lines:
1) The first line is implemented directly in the process of learning new motor actions, by sequentially solving new motor tasks arising from the need to coordinate movements and overcome obstacles that arise at the initial stages of motor skills formation.
2) The second line in the motor-coordinating abilities upbringing methodology is characterized by the introduction of an unusual factor in the performance of actions, which imposes additional requirements on the coordination of movements.
In the process of technical training, gymnasts need not only to master complex coordination of movements, but also to learn how to maintain it in various changing conditions, which is of great importance in their sports activities.
Gymnasts need to systematically perform new, more and more complex exercises in various conditions.
For the development of coordination of movements, dance movements, acrobatic and gymnastic exercises are used. But the best means are rhythmic gymnastics exercises, especially with objects, as well as elements of dance, which contribute to the development of coordination of movements, orientation in space and time. For the same purpose, exercises in turns are included in the classes.
In order to educate the CS for educational - training sessions put the gymnasts in new, unusual conditions for them: they change the main direction, perform exercises from the other leg and in the other direction. Change shape familiar items: give the ball big size; jump rope - shorter or longer, made of a different material; hoop - lighter or heavier, with a larger or smaller diameter; tape - longer or wider; stick - heavier and shorter; in execution strength exercises weights are used.
They change the usual conditions, thereby forcing the gymnasts to overcome the difficulties that arise. For example, during static balance exercises, they reduce the area of support, increase the number of rotational movements, bringing them to a maximum, perform exercises in balance at a very slow pace, while others at a very fast pace, etc.
When studying the elements of acrobatics, it is useful for gymnasts to perform exercises on the floor without a carpet, and as they master the technique, exclude insurance and assistance.
As a development of the CS, game and competitive methods are proposed. One of important conditions in classes with young gymnasts, it is a combination of general and special physical training, the components of which are flexibility and coordination of movements; in rhythmic gymnastics, in comparison with other motor qualities, much attention is paid to the development of flexibility and coordination abilities, because these qualities are crucial in achieving high sports results; thanks to the targeted development of flexibility, it is easier to carry out all types of gymnastic exercises- slopes, balances, jumps, waves.
In the implementation of purposeful development and improvement of coordination abilities, young athletes master various motor actions much faster and rationally.
The program for the development of the CS in gymnasts aged 9-11 years was based on sets of exercises for coordinating movements with various parts of the body; as well as exercises in unusual starting positions; on the accuracy of reproduction of movements in terms of space and time; on the speed of reaction; exercises with various objects (Table 2).
The proposed program of training means for the development of the CS in the educational and training process, with the systematic use of these means and methodological techniques, increases the accuracy of the gymnasts' motor actions.
Bibliography:
1. Belokopytova Zh.A. Evaluation of the competitive activity of highly qualified gymnasts: Method. recommendations / Zh.A. Belokopytov. - K., 1992. - 28s.
2. Bernstein N.A. On dexterity and its development / N.A. Bernstein. -M.: Physical culture and sport, 1991. - 288s.
3. Karpenko L.A. Key aspects of successful educational and training work in rhythmic gymnastics / L.A. Karpenko //Physical culture and health. - 2007. - No. 4. - P.45-49.
4. Matveev L.P. General theory of sports and its applied aspects /L.P. Matveev. - M.: Progress, 2001. - 324 p.
5. Nesterova T.V. The structure of long-term training of athletes at the level of achievements in rhythmic gymnastics /T.V. Nesterova //Modern Olympic sport and sport for all: XI Intern. scientific congress: at 4 pm - Minsk, 2007. - Part 1. - P.182-185.
TOMSK STATE PEDAGOGICAL UNIVERSITY
FACULTY OF PHYSICAL CULTURE AND SPORTS
GRADUATE WORK
Fundamentals of the methodology for developing flexibility and coordination of movement in young gymnasts
(gymnastics)
Performed:
6th year student of OZO
Kuzmina N.V.
Scientific adviser:
Doctor of Education
Sciences Zagrevsky O.I.
Thesis defended
"___" __________ 2004
OF MOVEMENT COORDINATION IN YOUNG GYMNASTS. 6
COORDINATION OF MOVEMENTS, AGE FEATURES. 9
preliminary training for young gymnasts. 25
STAGE OF PRELIMINARY PREPARATION. 33
gymnasts 5-6 years old at the preliminary stage at the beginning of the study. 33
and coordination of movements according to the experimental method. 35
APPENDIX.............................. 51
INTRODUCTION
At present, the characteristic features of modern sports are
its significant rejuvenation and steady growth of sports achievement.
Dedicated to research work, at first glance it seems that
modern science has left no unsolved problems. At the same time for practice
no matter how perfect it is, the desire to achieve
result faster and with less effort and money. That is, raise
quality, productivity and efficiency of social labor. In connection with
this raises a problematic situation associated with the need to create new
methods, technology, production techniques, training.
Up to a certain point, the need for practice to create new ways of solving
the tasks before it are satisfied due to the available scientific knowledge.
However, sooner or later this knowledge is not enough to solve
problems of the situation, there is a need to expand the theoretical
potential, the need to create a new scientific base, put forward new ideas,
concepts, scientific theories.
However, the continuous growth of results requires the search for new forms, means,
methods of working with young athletes. Purposeful many years of preparation
and the upbringing of high-class athletes is a complex process, success
which is determined by a number of factors. One of these factors is
development of flexibility and identification of more effective ways, means, methods,
with which it is possible to achieve the highest level in the shortest possible time
result. Due to the sharp decrease in recent years, the age of onset
rhythmic gymnastics, young gymnasts at the age of 8-9 should
perform a competitive program in four to six types of all-around. AT
within one or two years, it becomes necessary to teach girls the exercises
with different objects that differ from each other in many characteristics.
Therefore, the development of flexibility is of great importance and is one and
significant tasks of educational - training process. Sometimes against the background of priority
development of flexibility are manifested by a decrease in the motor fitness of young
gymnasts.
To date, it is relevant to identify the relationship between growth
individual qualities against the background of a positive transfer in the development of one quality
to others.
This topic was chosen and developed not by chance, since the significance
ability which is characterized as flexibility and coordination of movements
is fundamentally important in rhythmic gymnastics, namely without
development of flexibility and without improving the coordination of movements. In our opinion
it is impossible not only to achieve any results in sports, but in general
excluded for those involved to remain in this field of sports activities
or creativity.
We believe that flexibility is a fundamental quality for the sport of
which we are talking about in this work. Movement coordination is fundamental,
foundation of any physical activity associated not only with
rhythmic gymnastics, but in general for the general life of a person.
And having a certain baggage of initial knowledge regarding data of the form
abilities, we must take into account the individual characteristics of each child,
since predisposition and potentiality will be absolutely
different. In this sense, we must provide for a strictly individual approach to
choosing methods and methods of influence for the development of the qualities we need
(flexibility and coordination of movement). We understand that quality is determined
like flexibility, is specific and contains directions
affecting a certain range, so even if we apply
traditional method - we will definitely achieve results, which is impossible
tell about coordination movements because it is a quality, ability
a person is connected with the general laws of his internal development,
originally incorporated in his general life and subordinate
regularities independent of external physical influence. In that
sense, our task is to deliver human body in conditions
non-traditional and atypical of his daily physical activities, i.e.
the task of the coach is to invent a universal set of specific exercises
specific orientation, able to develop in those involved and coordination
movement and put this quality on a fundamentally new level.
A universal set of exercises that the coach uses in his work,
should have an impact not only to improve flexibility and coordination
movements, but also to maintain and develop the basic physical qualities
trainees, namely strength, speed, endurance, etc.
THE OBJECT OF THE RESEARCH is: the educational and training process with young
gymnasts.
THE SUBJECT OF THE RESEARCH is: the study and application of special
means and methods for the development of flexibility and coordination of movement.
THE PURPOSE OF THE THERAPY: evaluate the effectiveness of the means used and
methods for developing flexibility and coordination of movements.
HYPOTHESIS: We assumed that against the background of the development of flexibility and coordination
movement will increase the motor fitness of young gymnasts 5-6 years old by
pre-preparation stage.
OBJECTIVES OF THE RESEARCH:
1. The study of scientific literature on the research topic.
2. Develop a methodology for teaching the development of flexibility and coordination
movements in young gymnasts.
3. Experimentally check its effectiveness in the training process.
CHAPTER 1. FEATURES OF THE METHOD OF DEVELOPING FLEXIBILITY AND
OF MOVEMENT COORDINATION IN YOUNG GYMNASTS.
1.1.
Goals and objectives, features of rhythmic gymnastics as a sport.
The main goal of early physical education and sports is to create a strong
basis for raising a healthy, strong and harmoniously developed young
generations.
The main tasks of initial training:
1. Health promotion and harmonious development of all organs and
body systems involved.
2. Formation of correct posture and gymnastic style
performing exercises.
3. Versatile general physical fitness and initial development
motor qualities that are important in rhythmic gymnastics
(dexterity, flexibility, strength, speed, jumping ability and balance)
4. teaching the basics of exercise technique without and with objects.
5. Development of specific qualities: plasticity, danceability,
musicality, expressiveness and creative activity.
6. Instilling interest in rhythmic gymnastics,
education of discipline, accuracy, diligence and
independence.
7. Participation in demonstration performances and children's competitions
(L.A. Karpenko, 1989).
Features of rhythmic gymnastics as a sport
The abundance and specificity of means determine the methodological features
rhythmic gymnastics, among which, according to the authors (G.A. Bobrova,
1978; E.V. Biryuk, 1982; T.S. Lisitskaya, 1982), the most characteristic are
the following:
Firstly, the free movement of the gymnast around the site, which includes
elements of dance, ballet, facial expressions, plastics, elements without an object and with
objects, as well as some elements of a simplified, stabilized
acrobatics.
Secondly, rhythmic gymnastics is associated with the art of owning one's own
body in natural conditions. According to E.V. Biryuk (1982): "Artistic
gymnastics is the art of expressive movement.
Thirdly, a feature of rhythmic gymnastics is the musical
accompaniment. By merging the dynamics of movement with the nature of the musical
accompaniments, movements receive different emotional coloring and
acquire danceability. This connection is carried out not only in coordination
movement with the size and tempo of musical accompaniment, but also in the education of
involved in the ability to correctly understand music and perform movements in
according to its content and form. Music creates a brighter
idea of the nature of the movement.
Fourth, the peculiarity lies in the ability to effectively influence
aesthetic education
Fifth, the feature is associated with motor memory and attention.
To perform complex combinations, original exercises for a gymnast
must have good memory and attention. The complexity of motor structures
actions of gymnasts necessitates memorizing a large volume
relatively independent movements. This places demands on
motor memory of gymnasts, as well as such qualities as
performance, clarity and accuracy of movement reproduction,
According to J.A. Belokopytova (1988), the effectiveness of the training process during
much depends on a clear perception of movement.
Perception is based on visual sensations: the eye evaluates not only
remoteness of the subject and partners, but also traces the details of the studied and
improved movements, actions, allows you to get information about them.
The success of training and improvement in rhythmic gymnastics is largely
determined by the attention of the gymnast to the movements, their details, distinctness
perception, or otherwise - coordination of movements.
The attention of a gymnast is characterized by the following features: concentration,
wide distribution to moving objects (partners, objects), fast
switching from one episode to another, large volume (see
court) and intensity, especially in tense situations.
The next feature is the composition of the free exercise.
The trend towards a relative leveling of technical and physical capabilities
gymnasts who claim to win prizes in competitions of high
rank, significantly aggravates the competitive struggle, the victory in which
begins to be determined by the originality, novelty of the composition of arbitrary
programs (both in the individual and in the group championship).
The last feature is integrity.
Integrity consists in the participation of all parts of the body in the movement performed.
This means that the main movement given to the gymnast must necessarily
accompanied by additional movements. For example, the main movement: from
the initial position of the hand to the left, move them with an arc downward to the right.
Additional movements will be: a) movement of the head, lowering and
rising to the left with the movement of the hands; b) movement shoulder girdle, first
slightly lowering, then slightly rising according to the movement of the hands;
c) slightly noticeable inclinations of the torso in the direction of the movement of the arms.
In general, the exercises are performed together, gently with a slight bending of the arms in
joints. The movements of the hands slightly lag behind the movement of the arms. most brightly
the integrity of the movements is manifested in such exercises as wave and swing.
The above methodological features of rhythmic gymnastics
characterize mainly the activity of female athletes in the conditions of training
classes. The conditions under which the competition takes place are significantly different from
training conditions. In order to effectively overcome the difficulties posed by
competitive activity(emotional tension, starting
fever), a gymnast must have the following qualities: courage,
balance, self-control, perseverance, striving for success.
Rhythmic gymnastics - all-around.
Junior gymnasts compete in exercises with apparatus (jump rope,
hoop, ball, clubs, ribbon) and in an exercise without an object.
Gymnasts of senior ranks do not perform exercises without an object.
In addition to the all-around, the competition program also includes group (5
gymnasts) exercises with one or two objects.
1.2. FEATURES OF THE METHOD OF DEVELOPING FLEXIBILITY AND
COORDINATION OF MOVEMENTS, AGE FEATURES.
One of the most important physical qualities in rhythmic gymnastics is
flexibility - the ability to perform exercises with a large range of motion.
Without this quality it is impossible to bring up the expressiveness of movement,
plasticity and improve their technique, because with insufficient
mobility in the joints of movement are limited and constrained (T. S. Lisitskaya, 1982
Flexibility is needed to perform undulating movements, acrobatic
exercises included in the rhythmic gymnastics program for taking a pose
in flight while performing jumps (D. Mavromati, 1982).
In terms of their biomechanical essence, the vast majority of gymnastic
exercises require good mobility in the joints, and some even
completely dependent on the level of development of this quality.
With a high level of mobility, prerequisites arise for an economical
movements in the joint, since if the initial length of the muscles is greater, this
allows you to show more strength, the joints become more pliable,
this means that less force is required to carry out movement in the joint (Yu.V.
Menhin, 1989).
Insufficient mobility in the joints is a consequence of poor muscle elasticity and
ligaments surrounding these joints, as well as poor development of antagonist muscles
(D. Mavromati, 1972). It is not enough to raise the leg high, and then rapidly
put her down. You need to be able to keep your leg in a high position.
It is not enough to make a sharp bend back on one leg and, raising the other in
back balance, touch the floor with your hand, you still need to be able to raise it after that
body without lowering the leg. Thus, in close connection with the development of flexibility
it is necessary to develop the strength of the antagonist muscles.
Flexibility is manifested in the magnitude of the amplitude (range) of flexion-extension and
other movements. Accordingly, its performance is measured by the limit
amplitude of movements, estimated in angular degrees or linear values
(centimeters) (L.P. Matveev, 1991).
Amplitude is understood as the degree of development of the qualities of gymnastics, amplitude
movements and the scale of exercises with objects. The amplitude depends primarily
turn on the physical qualities of the athlete and the degree of her development. One of
the leading qualities when it comes to amplitude is flexibility.
Thanks to it, the implementation of all types of gymnastic exercises is facilitated -
slopes, balances, jumps, waves. Flexibility gives the athlete
plasticity, softness, grace. Modern rhythmic gymnastics
pays special attention to this quality, so it has a decisive
value in exercises with objects.
Emphasis is placed on the development of flexibility spinal column not only in
lumbar region, but also in the thoracic and cervical regions, which is important for mastering
waves, strokes, ring movements.
The technique of gymnastic exercises requires a large range of motion in
hip joint, eversion, high mobility of the ankle
joint. Equally important, in particular, for mastering the technique of possession
objects, has mobility in the shoulder, elbow, wrist joints during
all planes.
Distinguish between active and passive flexibility. Under active , flexibility
imply the maximum possible mobility in the joint, which the athlete
can manifest independently, without outside help, using only force
their muscles. Passive flexibility is defined by the highest amplitude that can be
to achieve due to external forces created by a partner, projectile, weighting.
The value of active flexibility is always less than passive. So, when abducting the leg
the range of motion in the hip joint is less than with the same movement,
performed with the help or stroke (L.P. Orlov, 1973).
Under the influence of fatigue, active flexibility decreases (due to a decrease
the ability of muscles to fully relax after a previous contraction), and
passive increases (due to less muscle tone, opposing
stretching) (B. A. Ashmarin, 1990).
It is in rhythmic gymnastics that active flexibility is of great importance,
providing the necessary freedom of movement, as well as allowing you to master
rational sports equipment.
However, optimal mobility in the joints can be achieved only with
simultaneous development of active and passive flexibility.
As a means of educating flexibility in art classes
gymnastics use stretching exercises performed with the utmost
amplitude.
Passive exercises can be dynamic (spring) or static
(holding posture) character. The greatest effect for the development of passive flexibility
brings a combination of spring movements followed by posture fixation (T.S.
Lisitskaya, 1982).
There are also general and special flexibility. General characterized
the maximum amplitude of movements in the largest joints, the second -
amplitude of movements corresponding to the technique of a particular motor
actions (B.A. Ashmarin, 1990).
With age, due to an increase in the mass of tendons (compared to muscles) and
some compaction of the muscle tissue itself tonic muscle resistance
tensile forces increase and flexibility deteriorates. For,
to prevent deterioration of mobility in the joints, especially noticeable in
at the age of 13-14 years, it is necessary to start the development of passive
flexibility. For the development of passive flexibility, the sensitive period will be
age 9-10 years, and for the active - 10-14 years (V.I. Filippovich, 1971).
Rhythmic gymnastics is a complex sport. feature
mastery in rhythmic gymnastics is the mastery of complex and subtle
coordination of movement, the ability to convey not only the general nature of the movement,
but also its details (Yu.N. Shishkareva and L.P. Orlov, 1954).
In rhythmic gymnastics, physical training is aimed at harmonic
development of all qualities. Great importance in children 5-6 years old is given to education
correct posture, excluding excessive lumbar deflection, stoop,
clubfoot. However, more attention than others is given to
development of flexibility and coordination abilities (T.S. Lisitskaya, 1982).
Coordination abilities (CS) are functional
the possibilities of certain organs and structures of the body, the interaction of which
causes the coordination of individual elements of the movement into a single semantic
motor action (B.A. Ashmarin, 1990).
In general terms, CS refers to the capabilities of a person that determine his
readiness for optimal control and regulation of motor action.
Coordination abilities include:
Orientation in space;
Accuracy of motion reproduction in terms of spatial, force and
time parameters;
CS are divided into general, special and specific types. To the most important
specifically manifesting CS in the subject-practical and sports
human activities include:
Capabilities Based on Proprioceptive Sensitivity
(muscular feeling);
Ability to orientate in space;
The ability to maintain balance;
Sense of rhythm;
Ability to rebuild motor actions;
Statokinetic stability;
The ability to voluntary muscle relaxation, V.I. Lyakh
(1989) indicates that the most favorable period for the development of CS in
girls is the age of 11-12 years.
The ability to orientate in space.
This ability is understood as the ability to accurately determine and timely
change the position of the body and carry out movement in the right direction. This
the ability of a person to manifest, under appropriate conditions, any
activities (on the gym, on the volleyball court,
tennis, basketball, etc.). It follows from this that the ability to navigate
in space is specifically manifested in each sport.
Its manifestation and development largely depend on the speed of perception and
assessment of the spatial conditions of the action, which
is achieved on the basis of the complex interaction of analyzers (among them
the leading role belongs to the visual).
The main methodological approach, specifically aimed at improving
this ability is the systemic execution of tasks containing
consistently increasing requirements for speed and accuracy of orientation in
space .
The ability to maintain balance.
The growth of sportsmanship in gymnastics largely depends on
activity of the vestibular analyzer. Along with motor and visual
analyzers, it provides orientation in space, affects the level
motor coordination and balance.
Observations show that gymnasts who do not have a well-developed
vestibular analyzer, usually have difficulty mastering the program material, they
have difficulty in mastering rotational movements and maintaining
equilibrium (Yu.P. Kobyakov, 1976)
The ability to maintain the stability of the posture (balance) in certain
positions of the body or in the course of performing movements has a vital
value, since the execution of even relatively simple movements requires
a sufficiently high level of development of the organs of balance.
The manifestation of balance is varied. In some cases it is necessary to keep
balance in static positions (stands on one leg in the position
"swallow", handstands in gymnastics and acrobatics); in others - along the way
performing movements (walking and running on a log or other narrow object and
etc.) - dynamic balance.
There is also a third form of balance - balancing objects and on
objects, for example, balancing with a gymnastic mace standing on
palms; holding the ball on the head while standing still or moving; retention
balance, standing on a roller, etc.
The improvement of static and dynamic stability occurs on the basis of
mastering motor skills, as well as in the process of systematic application
general and special preparatory coordination exercises. Elements
balance are an integral part of almost all movements: cyclic,
acyclic, throwing, acrobatic, sports and gaming, etc. (IN AND.
The variety of manifestations of equilibrium makes it necessary to clarify its
varieties. The study of body stability in motor activity
the structure of this DCC, its main components and manifestations are determined,
factors that determine development and criteria for assessing sustainability
body. Therefore, it is first necessary to define and justify
each of the structural elements of this quality.
Being a complex DCC, the equilibrium has the following components:
Rational arrangement of body links;
Minimization of the number of degrees of freedom of the moving system;
Dosage and redistribution of muscle effort;
The level of spatial orientation.
The basis for managing any balance is the interaction of the body with the earth
gravity. The higher the position of the common center of gravity above the support, the greater
gravitational forces exert an influence on it, and the more difficult it is to maintain
sustainability.
The first component - the rational arrangement of body links - contributes to
better balance. Correct posture when sitting or standing
promotes better body stability.
Rational mutual distribution of body parts significantly affects
muscle activity. So, in the squat position on one leg, the
activity of the muscles of the trunk and supporting leg.
Consequently, the location of the links of the body not only significantly affects
external perception of any motor action, but also contributes to
maintaining stability.
The second component of balance is the dosage and redistribution of muscle efforts.
Difficulty maintaining a stable body position after performing any
movement (turn, jump, somersault) is that the efforts of muscle
groups are short-lived, appearing only in certain phases
motor action, while at the beginning and at the end of movements the value of these
effort is different. The amount of applied muscle effort is largely
determined by a specific manifestation of equilibrium. For example, saving
balance on an elevated support and after performing a rotation requires completely
different types of efforts. In the second case, they need more
which is associated with the presence of a counter-rotation reaction.
Maintaining stability after performing various jumps requires
overcome certain inertial forces. The more difficult the jumping technique, the
more significant forces must be overcome. With a short duration
performance of motor actions there are additional difficulties,
related to solving problems of maintaining equilibrium in the shortest possible time
time interval. At the same time, the requirements for the manifestation of high
level of intramuscular and intermuscular coordination.
Different muscle groups, as you know, have an unequal degree of activity.
The muscles that perform the main load while holding have the greatest
links of the body in a state of equilibrium. For example, in a handstand more
high activity is characteristic of the muscles of the wrist joints and back muscles.
The third component of maintaining a stable body position is the level
spatial orientation. To perform any motor action, from
elementary natural movements:
holding any posture, walking, running - up to technically complex sports
exercises, a certain degree of orientation in space is necessary. How
it is better, the easier it is to maintain a stable position. Spatial
orientation ensures the accuracy of movements when moving the body and its
individual links.
In various types of motor activity, it is of great importance
spatial accuracy of movements. For example, the accuracy of a ball throw depends on
degree of accuracy in assessing the spatial characteristics of movements. Each
motor action has a certain structure, and information about its
parameters is sent through its specific channels to the control system.
Concepts such as "sense of distance", "sense of the ball" and so on, have
its basis is the interaction of a complex of functional systems, allowing
determine and control the distance. Therefore, maintaining the stability of the body
when performing many motor actions with closed eyes, much
more difficult than with open ones.
There are two main types of equilibrium: static and dynamic.
However, there are no reports of various manifestations in the literature.
static and dynamic balance, which leads to different interpretations
the leading role of some factors in the development and improvement of this
quality.
Therefore, the definition of specific manifestations of static and dynamic
balance is essential. Special studies have revealed
that both static and dynamic equilibrium have a series
specific and nonspecific manifestations. specific associated with
a specific type of sports activity, non-specific most often
characteristic of work and household activities.
The division into specific and non-specific manifestations is very conditional, since
it is impossible to make a clear distinction in complex motor activity
without disturbing the structure of the movement. However, the selection of these two
relatively independent groups is justified from the point of view of development and
improving body stability. It must be borne in mind that in order to
absolute stability of the body is impossible. While maintaining any balance
muscles are in a state of a certain tremor, which is more
manifests itself in the untrained, and therefore it is more difficult for them to achieve balance.
The state of the respiratory
It is known that during forced breathing, the oscillatory movements of the body
increase, resulting in a greater effort to maintain
balance. However, holding the breath for at least 30 seconds causes
reduction of body vibrations.
One of the factors affecting the ability to maintain a stable position
body, is the level of development of physical and coordination qualities,
A certain degree of development of power and speed qualities muscle allows
repeatedly repeat efforts of a different nature with the maximum possible
speed. Strengthen the manifestation of body stability certain indicators
sustainability. The higher the level of general and special endurance, the faster
the athlete masters various types of balance.
The ability to maintain balance also depends on the level of development
mobility in the joints. The higher the degree of mobility (to a certain extent),
the easier it is to ensure a rational arrangement of the body and its individual links and
thus manage sustainability.
The level of development of flexibility also affects the maintenance of balance. High
degree of flexibility of the cervical, thoracic, lumbar spine
allows you to take a stable position above the support.
A big role in maintaining balance, especially in rotational and jumping
exercises, plays dexterity. High levels of muscle and intramuscular
coordination provides the solution of rather complex motor tasks.
Therefore, the more difficult the sports exercise, the more dexterity is required for
maintaining a stable body position. In every sport manifestation
dexterity while maintaining stability has its own specifics. Manifested
dexterity also in expedient performance of actions, execution time
movements, in an instant correct assessment of the situation and an adequate reaction.
Equally important is the accuracy of movements, providing rational
the location of the links of the body above the support and unsupported state. Accuracy
motor actions contributes to their high efficiency, performance with
less expenditure of muscle effort and energy. She appears in perfect
form (visible side) of movements and a clear structure (content)
motor action.
Rhythm also has a certain meaning in a stable position of the body,
providing uniform distribution and redistribution of muscle efforts.
It determines the optimal ratio of the individual parts of the motor
actions, their continuity during a given time, as well as the nature,
consistency and amplitude of individual movements. Every exercise has
a certain duration in time (tempo) and a regular distribution
efforts (dynamics). Tempo and dynamics are closely interrelated and influence each other.
friend. Their optimal combination ensures the harmony of movements. In this case
there is a sense of the rhythm of walking, running, etc., which is impossible without a steady
body position.
One of the factors that increase the ability to maintain balance is
psychological and emotional state. High level
psychological preparation contributes to the balance of nervous processes -
essential condition for a stable position. Positive emotions also
contribute to increased performance, muscle activity and,
consequently, a more effective preservation of the balance of the body and its individual
The criteria for assessing the stable position of the body are as follows:
Spatial assessment and self-assessment of the location of body links in
maintaining a separate posture: in motion and in combination with
other types of motor actions;
The degree of conformity of the assessment and self-assessment of the location of the links of the body;
The degree of stability of the body after deviation from the basic position
within 5-10-15°;
The degree of body stability during additional movements (head,
hands, etc.);
The degree of stability of the body in a certain position;
The degree of stability of the body in various ways of moving in
space (walking, running, swimming, skiing, etc.);
The degree of body stability in various support conditions:
elevated, inclined, elastic, soft, hard, etc.;
The degree of stability of the body in an unsupported state;
The degree of body stability before the load (beginning of training), in
mid-class and after exercise;
The degree of stability of the body in combination with other species
motor actions: rotations, jumps, turns;
The degree of stability of the body when balancing objects.
Based on the above, we can give the following definition of this DCC:
balance is the ability to maintain the stability of the body and its individual
links in the support and unsupported phases of motor action.
Abilities based on proprioceptive sensitivity.
Research by V.I. Lyakh showed that abilities based on
proprioceptive sensitivity (muscular feeling - according to I.M. Sechenov),
are quite specific. These are the ability to reproduce, evaluate,
measuring, differentiation of spatial, temporal and power
motion parameters.
Explain the presence of a fairly wide range of so-called simple
abilities can most likely be the fact that the control of movements for various
parameters is carried out with the help of various proprioreceptors.
Ability to reproduce, evaluate, measure, differentiate
spatial, temporal and force parameters are based predominantly on
accuracy and subtlety of motor sensations and perception, often acting in
combined with visual and auditory abilities; with little motor experience
the sensations and perceptions of children are still too rough, inaccurate, poorly understood
errors in the reproduction, evaluation or differentiation of spatial,
temporal, spatio-temporal and power signs of movement. As
acquiring the experience of feeling and perceiving the parameters of the movements performed
become more precise, distinct and clear.
In each type of physical exercise, muscle-motor sensations and
perceptions are specific.
This is envy from the originality of coordination of movements, environmental conditions,
projectiles used. Specialized Perceptions in Sports
activities are otherwise called feelings. Most famous senses: distance
Fencers and boxers; subject - gymnasts; water - from swimmers;
time - for runners, cyclists, skiers, etc.
It follows from this that the ability to reproduce, differentiate,
measuring and evaluating spatial, temporal and power parameters
movement, action or activity in general, based on accuracy and
subtleties, specialized perceptions ("feelings"), are very diverse,
are specific in nature and develop depending on the characteristics
a certain sport.
However, these abilities are extremely rare in isolation. Besides
they are in certain connections with other special and
specific CS, as well as with physical and psychological characteristics.
These connections are due to the fact that in motor activity coordination
movements acts as an integral psychomotor process, in which, in unity,
and close interweaving, its various components are presented: intellectual
(programming and semantic), sensory, sensorimotor and motor
(performing, physical).
Ability to accurately reproduce, evaluate, measure and differentiate
movement parameters develop primarily with the systematic use
general and special preparatory coordination exercises, methods and
methodological techniques for the development of special CS. To improve efficiency
pedagogical influence use methodological approaches aimed at
improving these abilities. CS development methods are based on the system
performance of tasks that place high demands on the accuracy of execution
motor actions or individual movements. There are analytical tasks
(selective) - for the accuracy of reproduction, evaluation, measurement and
differentiation of predominantly one of any motion parameter
(spatial, temporal or force) and systematic - for accuracy
general motor control. Understand what separation is
conditionally, because the accuracy of reproduction, evaluation, etc., say,
spatial parameter in isolation from fidelity, estimates
etc. there is no temporary or force sign of movement.
In the real process of motion control and regulation, these types of accuracy
always appear in organic unity. Therefore, although it is possible
predominant differential impact on improving the accuracy of one
any movement parameter, it is obligatory to set it to achieve
the accuracy of performing a motor action as a whole (V.I. Lyakh, 1989). At
implementation of purposeful development and improvement of the CS, young
athletes much faster and more rationally master various
motor actions; at a higher quality level
new and easier to rebuild old training programs; faster
advance to the heights of sportsmanship and stay longer in the big
sports; improve more successfully sports equipment and tactics; easier
cope with tasks that require a high level of psychophysiological
functions in the sensorimotor and intellectual spheres; acquire the skill
rationally and economically spend their energy resources; constantly
replenish their motor experience; experience joy and pleasure
constant mastery of new and diverse types of physical exercises
(V.I. Lyakh, 1989).
Anatomical, physiological and psychophysical features of young gymnasts
1. Between 4 and 7 years, ossification of long bones begins. Ossification is coming
uneven and excessive power loads may interfere with this process.
2. At the same age, the bends of the spinal column are formed and
insufficiently compensated lumbar lordosis. Therefore, girls have
incorrect posture (they walk with their stomach forward). Thoughtful Application
classical exercises help correct posture.
3. In 5-6 year old children, the muscles are not yet formed, there is an uneven
development of individual muscle groups. Those with stronger flexor muscles
it is advisable to pay attention to the development of extensors and vice versa.
4. High intensity of metabolic processes, inefficiency of muscle efforts,
increased energy consumption can lead to rapid fatigue. That's why
loads should be small and have a "fractional" character with frequent
rest breaks.
5. Regulatory mechanisms of cardiovascular and respiratory systems not yet
perfect. The pulse rate is high and at rest, increases even with moderate
load, arterial pressure undergoes large fluctuations, breathing
fast and superficial. But under the influence of natural development and
regular classes, the functional capabilities of children increase. By 7-8 years
children can endure significant loads, but adapt better to
moderate-intensity activities.
6. Basic motor qualities develop unevenly and depend on
the state of the functional systems of the child and his respiratory experience. That's why
working through a variety of means.
7. Attention in children 5-6 years old is held with difficulty, its volume and stability
increase gradually and insignificantly. During the learning process,
use new, bright and brief stimuli to keep attention
children. There should be no more than 1-2 comments on the execution technique at one time.
8. Children 5-6 years old are not yet able to separate the non-essential from the main,
often fix their attention on the secondary. Therefore, in
at this age it is advisable to use a holistic teaching method, to study
simple exercises Use concise and precise explanations.
9. The visibility of learning is important at this age. Show
must be very precise and clear, as children often simply
copy the teacher and can repeat his mistakes. But for the development of the 2nd
signaling system, terminological replenishment showing should be
be accompanied by a concise and understandable explanation.
10. Emotional manifestations in children 5-6 years old are imperfect, strong-willed and
moral qualities are limited. Therefore, it is necessary
work tirelessly to develop these qualities in children, remembering that praise and
reward methods at this age are much more effective than punishment methods.
11. Musical accompaniment of classes at this stage of initial training
should be simple, understandable and accessible, close to children 5-7 years old
age. According to the new Regulations on the Youth Sports School, on initial stage training
accompanists are not included. It certainly makes it difficult
the work of trainers (L.A. Karpenko, 1989).
1.3. Characteristics of the means of OFP and SFP at the stage
preliminary training for young gymnasts
Successful implementation of comprehensive physical education of young gymnasts during
largely depends on the skillful selection of means and methods of physical training on
over a number of years in an annual cycle.
Complete physical training includes general and special training,
between which there is a close relationship. This separation allows better
build a pedagogical process using various means and methods.
Special physical training is directly aimed at the development
physical qualities specific to the sport.
Means of special physical training are: 1) competitive
exercises, i.e. holistic actions that are carried out in compliance with all
requirements set for competitions; 2) special preparatory
exercises directly aimed at the development of physical qualities. it
exercises aimed at developing muscle groups that carry the main
load when performing a holistic action
General physical training is aimed primarily at general physical
development of the gymnast, i.e. the development of physical qualities, which, although not
are specific to the sport but necessary in terms of
a comprehensive increase in the functional capabilities of the body.
General physical training enriches the athlete with a wide variety of
skills. Despite the various specific manifestations of physical qualities, all
they have common patterns of development, on the basis of which they manifest themselves in
or any other sport.
General physical training is aimed at the overall harmonious development of the whole
body, development of all its muscles, strengthening of organs and systems
body and increase its functional capabilities, improve the abilities
to coordination of movements, increase in speed, strength, endurance, agility,
flexibility, correction of shortcomings in physique and posture in young athletes.
The specific choice of means depends on the inclinations of those involved, existing
traditions of the sports team and available opportunities.
For young gymnasts, the means of general physical training will be walking, running,
climbing, exercises to develop a sense of balance, general developmental
exercises with and without objects, exercises with weights.
A significant place in the program of their studies should be given to mobile and
sports games, various types athletics, swimming and diving
General and special physical training must be presented in all
types of annual cycle - preparatory, competitive (basic) and
transitional, but the ratio and tasks are changing.
In the first years of training, it is necessary to pay great attention to the general physical
preparation (A.G. Shlemin, 1958; Z.I. Kuznetsova, 1957; A.G. Detinkov, 1962),
because it contributes to the diversified development and improvement of functional
capabilities of the body of young athletes. General physical fitness should
carried out throughout the year, varying in volume depending on
conditions in classes with young gymnasts is a combination of special and general
physical training, because only under this condition it is possible to achieve high
sports results.
CHAPTER 2. OBJECTIVES, METHODS AND ORGANIZATION OF RESEARCH.
The analysis of scientific and methodological literature made it possible to formulate the goal and
working hypothesis of the study.
Purpose: to evaluate the effectiveness of the means and methods used for the development
flexibility and coordination of movements.
Research hypothesis: against the background of the priority development of flexibility and coordination
the general motor fitness of young gymnasts may also increase 5–6
years at the preparatory stage.
2.1. Research objectives.
1. Determine the level of development of general and special preparedness.
2. Reveal the relationship between the development of flexibility, coordination of movements and
general motor fitness.
3. Development of an effective selection of funds in the training process,
aimed at improving general and special training.
2.2. Research methods.
To solve the tasks, the following research methods were used:
1. Study analysis of scientific and methodological literature;
2. Pedagogical observations;
3. Testing of motor qualities;
4. Methods of mathematical statistics.
2.3. Organization of the study
Analysisliterature. To obtain objective information on the issues under study, clarifications
research methods the literature was studied: about the physical qualities of athletes,
about the coordination abilities of children 5-6 years old, about the age characteristics of children
5 - 6 years. The characteristics of the OFP and SFP funds at the initial stage were studied.
training for young gymnasts; sports metrology data that allowed
objectively analyze and substantiate the results of research. There were also
analyzed 40 literary sources of domestic authors.
Pedagogical observations. Pedagogical observations were carried out on
competitions and training in the village of Kozhevnikovo. Observations were made on children 5
– 6 years of age since December 2003. to March 2004 in KSSh - 2 villages of Kozhevnikovo.
Testing of motor qualities. An important organizer and guide
A factor in the process of physical training is developmental control
qualities. One of the indicators characterizing the level of general physical
the preparedness of gymnasts is their successful passing of physical fitness tests.
As a result of a series of scientific studies, a complex of pedagogical
control tests. It characterizes the level of development of the main physical
qualities of children involved in rhythmic gymnastics. This complex
developed taking into account the normative documents of the Youth Sports School.
The following tests were used to determine flexibility:
"TWINE" on the right leg. Gymnasts 5-6 years old perform splits on the floor.
The distance from the floor to the hip is measured in centimeters. "Twine" allows
determine the development of flexibility in the hip joints.
"BRIDGE" is fixed for 2 seconds, the distance between the hands and heels is estimated
gymnasts in centimeters. "Bridge" allows you to determine the development of flexibility
spinal column.
"TWIST" in the shoulder joints with a rope is performed three times. measured
the distance between the brushes in centimeters. "Twist" allows you to determine
mobility in the shoulder joints.
Based on analyzes literary sources(V.I. Lyakh, 1989, 1998; A.V. Lagutin,
1996), three tests were used to determine the following
Ability to maintain balance;
Ability to coordinate movements;
Coordination abilities related to holistic motor
actions (ability to orientate in space).
The HERON test is performed as follows.
I.P. - stand on the right (left) leg, the knee of the left (right) is deployed in
side, the foot is pressed to the knee of the supporting leg. Hands forward with palms down.
At the command of the subject, he must close his eyes and maintain a fixed position.
the maximum amount of time.
As soon as small fluctuations in movement began to be observed, the stopwatch
stopped.
To determine the ability to coordinate movements, the test "UPOR
crouching - emphasis Lying".
I.P. – O.S.
1. Emphasis crouching;
2. Emphasis lying;
3. Emphasis crouching;
One point is awarded for one fully completed exercise, each of
four phases of the exercise is ¼ point.
The ability to orientate in space was assessed using a test
"EIGHT". Crawling in an emphasis, standing bent over, along an eight-shaped distance.
I.P. - Standing on half-fours (knees do not touch the floor) between two
cubes located at a distance of 1.5 meters from each other. one palm
hands is at the mark indicating the middle of the distance between the cubes.
Task: crawl on half-fours "EIGHT", bending around each cube three
times. Estimated task execution time in seconds. The result is taken into account
one try.
To determine the general physical fitness, the following tests were taken:
1. Long jump from a place. The distance is measured in centimeters.
2. Run 20 meters. Estimated task execution time in seconds. Three run
attempts and the best result is left.
3. Hanging on bent arms. Estimated task execution time in seconds.
I.P. - hanging on a high bar with an overhand grip, the chin is above the bar,
does not concern. As soon as the chin touches the crossbar, the stopwatch
stopped.
Methods of mathematical statistics.
All experimental results were processed using
methods of mathematical statistics set out in the relevant manuals
(L.P. Kanakova, O.I. Zagrevsky, 2003, etc.).
1. Arithmetic mean value of the feature:
2. standard deviation - dispersion:
3. arithmetic mean error:
4. Spearman's rank correlation coefficient.
5. Significance of differences was determined by rank
correlation coefficient:
According to the assessment of the reliability of the results obtained, the main
accepted 1 - 5% significance level.
CHAPTER 3. METHODOLOGICAL ASPECTS OF DEVELOPING FLEXIBILITY AND
OF MOVEMENT COORDINATION OF 5-6 YEARS GIRLS IN THE EDUCATIONAL AND TRAINING PROCESS ON
STAGE OF PRELIMINARY PREPARATION.
3.1.
The study of motor fitness of 5-6 year old gymnasts
preliminary stage at the beginning of the study.
Table #1
The level of motor fitness at the beginning of the study
| Tests | X | b |
| Standing long jump (cm) | 120,2 | 9,1 |
| Run 20 m (s) | 6,01 | 0,64 |
| Hanging on bent arms (s) | 4,0 | 3,04 |
| Twine (cm) | 19,8 | 4,9 |
| Torsion in the shoulder joints with a rope (cm) | 57,0 | 9,7 |
| Bridge (cm) | 8,8 | 0,7 |
| Balance on one leg (s) | 3,26 | 2,05 |
| Movement in an emphasis while standing along an 8-shaped trajectory (c) | 39,13 | 8,3 |
| Emphasis crouching emphasis lying (number of times) | 6,26 | 3,65 |
Table number 2
Correlation table of the relationship between the development of flexibility and coordination
movements at the beginning of the study
Based on the correlation analysis of gymnasts at the stage of preliminary
training revealed a weak inversely proportional relationship between flexibility
spinal column and coordination of movements, as well as mobility in
shoulder joints and statistical balance. Received coefficient
correlation was r=0.08, which is an unreliable indicator. Most
a strong directly proportional relationship was obtained between the mobility in
shoulder joints and coordination of movements, the correlation coefficient was
r = 0.3. The reliability of the results was not found (P> 0.05).
Table No. 3
Correlation table of the relationship between the development of coordination of movements
and general motor fitness at the beginning of the study.
| Tests | Standing long jump | Run 20 meters | Hanging on bent arms |
| Balance on one leg | 0,2 | 0,1 | 0,5 |
| Movement in an emphasis while standing along an 8-shaped trajectory | 0,2 | 0,4 | 0,1 |
| Emphasis crouching - emphasis lying | 0,4 | 0,03 | 0,7 |
Correlation analysis revealed the closest directly proportional relationship
between speed-strength and strength abilities, correlation coefficient
amounted to r = 0.7 and turned out to be significant (p< 0,05)
3.2. Characteristics of means and methods of development
flexibility and coordination of movements according to the experimental method.
As the analysis of literary sources showed, in rhythmic gymnastics, for
achievement of a high level of sportsmanship, it is necessary to develop
dealing with such qualities as flexibility. This position is confirmed and
our experimental studies. Therefore, the main task
pedagogical experiment for us was to improve the methodology
development of flexibility, based on the results of our own research.
The process of development of flexibility was carried out gradually.
The dosage of exercises aimed at developing flexibility was small, but
exercises were applied systematically, in each lesson. Also these
exercises were included in the morning exercises.
Before starting exercises to increase joint mobility,
a warm-up was performed to warm up the muscles.
Stretching exercises had an effect if they were repeated until the appearance of
feeling of mild pain.
The main means of developing flexibility were stretching exercises,
which could be dynamic (springy, flywheel, etc.) and
static (maintaining maximum amplitude in various postures)
character.
Stretching exercises were performed both with and without weights.
The use of weights allows you to accentuate the development of muscles,
providing movement in the joints.
Complexes of exercises aimed at developing mobility in various
joints of the musculoskeletal system, consisted of active exercises
(the maximum amplitude is achieved by the performer himself) and passive
(the maximum amplitude is achieved with the help of additional external forces).
The load in flexibility exercises in individual classes and throughout the year
increased by increasing the number of exercises and the number of repetitions.
The pace during active exercises was 1 repetition per 1 second; at
passive - 1 repetition in 1 - 2 seconds; retention static positions –
20-30 seconds.
When performing tasks on flexibility, a specific goal was set for the child,
let's say reach out with your hand to a certain point or object. Similar technique
allows for greater range of motion.
The main method of developing flexibility is the repeated method, where exercises on
stretching was performed in series of 10-12 repetitions in each. Amplitude
movements increased from series to series. Such exercises gave
the greatest effect, and if the children performed daily at home and did not miss
workouts. In training, 40% of the time was devoted to the development of flexibility.
The following ratio was applied in the use of developmental exercises
flexibility: 40% - active; 40% passive; 20% static.
Since children 5-6 years of age had classes 3 times a week,
homework system was used, which included:
exercises aimed at developing the flexibility of the spine, in the hip and
ankle joints, popliteal ligaments, as well as jumping rope. For
Development of Flexibility in the training process, exercises were used
speed-strength nature: springy movements, swings with subsequent
holding the legs. At the same time, if the exercises were performed with weights, the weight
weights should not have reduced the speed of swings or springy
movements (weights did not exceed 2-3% of the gymnast's body weight). As
methods of improving flexibility were used game and competitive
methods, then the classes were interesting and fun (who can bend
below; who, without bending his knees, will be able to lift a flat
subject, etc.).
Flexibility exercises were performed in the following sequence: at the beginning
exercises for the joints of the upper limbs, then - the trunk and lower
limbs.
The conditions for performing the exercise are greatly facilitated by the support.
Exercises were first performed at the support, then without support.
Active and passive flexibility develop in parallel.
Exercises used to develop flexibility:
1. Repeated springy movements that increase the intensity of stretching. N-
R: springy forward bends.
2. Movements performed in the largest possible amplitude. N-R: back bends
and forward to failure.
3. Inertia of movements of any part of the body. H-R: swing your legs forward or in
side with gradually increasing range of motion.
4. Additional external support. H-R: hand grips on the rail
gymnastic wall or a separate part of the body, followed by pulling
one part of the body to another.
5. Active help from a partner.
A set of exercises for the development of flexibility
1. Tilt forward, sitting legs apart. Touch your chest to the floor and hold it
position 2-3 seconds. To successfully meet this regulatory requirement,
a) sitting on the floor, legs together, leaning forward with the help of a trainer who
presses with hands in the area of the shoulder blades;
b) standing in an inclination forward, strive to touch the floor with the palms, then the forehead,
chested legs;
c) stand with your back to the gymnastic wall, lean forward, grab hold of
the second rail and pull towards you, leaning deeper and deeper (legs do not
bend);
d) standing facing the gymnastic wall, put your right foot on the rail on
the height of the belt (or chest) and, leaning forward, strive to touch with the chest
e) sitting legs apart wider, tilt forward with help.
2. Bridge from a prone position.
The ability to perform a bridge is essential not only for the development
body flexibility, but also for successful floor and acrobatic exercises.
Bridge exercises:
a) bending back, touching the wall with your hands;
b) kneeling, hands up, tilting back, trying to touch the floor with your hands;
c) sitting with your back to the wall, grasp the rail at head height, bend
feet and put shoulder-width apart, bending to stand up;
d) standing with your back to the wall, lean back and lean your hands against the wall,
complete the bridge;
e) lying on your back, bend your legs and rest your hands behind your head;
e) standing, tilting back bridge with the help of a trainer.
3. Raising a straight leg forward, to the side (to the height of the belt, chest), back
(above the knee), standing at the gymnastic wall and leaning on it with a free hand
hand on belt:
a) swing naked forward, backward, to the side, standing at the gymnastic wall and
leaning on it with your hand (when swinging your foot, turn the foot outward, the body and
keep your head straight)
b) stand facing (sideways) to the wall and put a straight leg on the rail at a height
belts. Squat on the supporting leg, keep the straight leg on the rail;
c) standing against the wall, raise the straight leg forward, to the side and back with the help of
trainer (avoid pain);
d) Standing against the wall, raise the straight leg forward, backward, to the side with
weighting (sandbags weighing 1 - 2 kg).
4. Twists in the shoulder joints with a rope.
To develop flexibility in the shoulder joints, it is recommended to regularly perform
a) circular motions hands in the lateral and frontal planes in turn,
sequentially and simultaneously;
b) also with maces, dumbbells, sandbags;
c) from a standing position, hands up with a rubber bandage, twist, lowering hands
back behind the back and returning to starting position;
d) too, but with a rope, arms up wider than shoulders.
5. Straight twine.
p.3. Raising the legs to the side by 90 degrees, contributes to good performance
straight twine and eliminates traumatic injuries. In addition to those indicated
a) from an emphasis lying legs apart wider, socks turned outward, rotation of the torso
to the right and to the left, putting his hands in one direction, then in the other.
Turning to the left, strive to touch the floor with the right thigh, turning
to the right, - left thigh;
b) standing facing the gymnastic wall, spread your legs apart wider. holding on
hands behind the wall, strive to go down as low as possible;
c) too, but stand on the 2nd - 3rd rail;
d) standing with legs apart wider, medicine ball between legs. Stretching legs to strive
sit on the ball
e) from the gray-haired legs apart wider, leaning on the hands forward, stand on your feet and
UDC 796.412.2:796.012.2
M. P. Bandakov, M. G. Mikryukova
Improving the methodology for the development of coordination abilities in girls 6-7 years old in rhythmic gymnastics
Based on the analysis of the existing definitions of the concepts of "coordination abilities", the article reveals their types in rhythmic gymnastics, which are classified as special motor abilities and specialized perceptions or "feelings".
Based on the results of previous studies, the authors of the article formulate a generalized concept of coordination abilities in rhythmic gymnastics.
Analysis of methodological approaches to differentiation and individualization of the process of development of coordination abilities in young athletes showed that in rhythmic gymnastics there are differences in the typological parameter "strength/weakness" nervous system on the process of excitation during training sessions are not taken into account. Although the individualization and differentiation of the training process according to the typological manifestations of the properties of the nervous system in other sports take place.
Article based on an analysis of existing definitions of "coordination abilities" reveal their types in rhythmic gymnastics, which are classified as specially-motor abilities and special perception or feeling.
Based on the results of previously conducted studies, the authors formulate a generalized notion of coordination abilities in artistic gymnastics.
Analysis of methodological approaches to the differentiation and individualization of the process of development of coordination abilities in young athletes showed that rhythmic gymnastics differences according to the typological parameter "strength-weakness" of the nervous system excitation process when conducting training sessions are not counted. Although there are individualization and differentiation of the training process typology manifestations of the properties of the nervous system in other sports.
Keywords: coordination abilities, rhythmic gymnastics, individualization and differentiation, "strength / weakness" of the nervous system in the process of excitation.
Keywords: coordination abilities, artistic gymnastics, individualization and differentiation, "strength-weakness" of the nervous system excitation process.
In connection with the active development and modernization of rhythmic gymnastics, the search for new methodological approaches to determining the content of training sessions is relevant and timely. This is also due to the fact that the existing system of training gymnasts does not fully meet modern requirements: there are no clearly developed methodological approaches to taking into account the peculiarities of the age development of 6-7-year-old children in the training process, and the possibilities of a differentiated approach to determining content of training sessions. According to I. A. Viner, rhythmic gymnastics belongs to the group of highly coordinated sports. Competitive exercises in rhythmic gymnastics consist of a number of complex movements: turns, balances, tilts, waves and flips, jumps, which are combined with a variety of apparatus work, which requires athletes to have a high level of preparedness in all types of training.
The analysis of numerous scientific studies has shown that in various sports the achievement of high sports results largely depends on individual morphological, functional, psychological and physical features athletes' bodies. Moreover, the level of development of coordination abilities, the presence of various typological features of the properties of the nervous system largely determine the manifestation of the maximum capabilities of athletes.
For a long time, the concept of coordination abilities was identified with the concept of "dexterity". At the same time, along with the concept of “dexterity”, there are a sufficient number of definitions.
© Bandakov M. P., Mikryukova M. G., 2015 164
definitions of the concept of "coordination abilities" in general and "coordination abilities in rhythmic gymnastics" in particular.
According to V. I. Lyakh, coordination abilities are the capabilities of an individual, which determine his readiness for optimal control and regulation of motor processes.
So, AS Merzlikin characterizes any motor action as a complex reflex process, each element of which proceeds strictly in coordination. It is known that with systematic and regular exercise, the skill becomes stereotyped and highly coordinated.
Yu. F. Kuramshin proposes to consider the coordination of movements as the result of a coordinated combination of the functional activity of various organs and systems of the body in interconnection with each other, that is, as a whole, or as a result of the coordinated functioning of one or more body systems; as a set of human properties that manifest themselves in the process of solving motor problems of different coordination complexity and determine the success of motor actions control and their regulation.
E. V. Pavlova, summarizing a number of works characterizing the most general abilities of a person in the process of controlling motor actions, presented the following summary classification of coordination abilities:
1. Reactive ability, consisting of auditory and motor response.
2. Differentiation ability, which includes the ability to differentiate spatial, temporal and power parameters of movement.
3. Ability to balance (static and dynamic).
4. Orientation ability, presented as the ability to determine the position of the body, as well as the movement of a person in the space-time field.
5. Rhythmic ability, due to which a sequence and interconnection of accentuated moments of a motor action are formed in human movements, which are the basis of the entire motor act.
6. The ability to switch in the process of motor activity, in accordance with the planned action program or the situation that has changed during its implementation.
In sports activities, all of the above abilities are manifested in their complex combination. An example of this is rhythmic gymnastics, the basic elements of which are a combination of the abilities listed above.
Analyzing the features of this sport, O. Kraizhdan in her study determined the composition of the coordination abilities of female athletes in rhythmic gymnastics, consisting of two groups:
1) special motor abilities;
2) specialized perceptions, or "feelings".
So, N. A. Bernshtein characterized motor coordination “as overcoming the excess of degrees of freedom of our organs of movement”, which in rhythmic gymnastics is manifested in all motor acts, both when working with an object, and in exercises without an object.
The ability to perform motor actions within a short time is called speed. In rhythmic gymnastics, speed is manifested in unity with other motor abilities. The degree of its manifestation depends, to one degree or another, on the complex of the gymnast's functional capabilities necessary to perform specific actions in the competitive composition.
At the same time, O. G. Rumba refers jumping ability to the parameters of explosive power. In the system of rhythmic gymnastics exercises, this motor ability is singled out as one of the leading ones, since the basis of competitive compositions, along with balances and turns, are jumps. How high the jump elements are performed, the technically correct they will be performed.
The second group of coordination abilities, represented by O. Kraizhdan in the form of specialized perceptions, was called “feelings” by V. I. Lyakh in sports practice.
Studying this problem, Yu. A. Arkhipova points out that specialized perceptions, often referred to as "feelings", can be considered as separate simple abilities, interconnected with special and specific coordination abilities and mental functions. In the development of coordination abilities and related specialized perceptions, a methodical approach is often used, which is based on increased requirements for various analyzers, creating conditions for the development of their
special sensitivity (exclusion or limitation of visual control, exclusion of hearing).
For rhythmic gymnastics, the category of specialized perceptions includes the following "feelings": time, rhythm, tempo, object, balance, orientation in space.
"Sense of time" is defined as an accurate perception of the duration of the performance of one or another component of the activity: the response time to any signal, the time of the flight phase in jumps, the time of the flight phase of the throw, the performance of some acrobatic element under the throw of an object. E. V. Beklemisheva, when improving the sense of time among gymnasts, recommends using measuring instruments, counting (out loud) the time of holding static postures and balances.
L. A. Karpenko defines “sense of rhythm” as the ability to correctly recreate spatial, temporal, power, speed-power, as well as spatio-temporal characteristics of movements, which largely determines the effectiveness of various motor actions. The “sense of rhythm” is of particular importance in the motor actions of rhythmic gymnastics, which is characterized by high coordination complexity and previous determinism of movements, where even minor deviations from the required rhythm of movements can significantly affect the result of the motor action in a competitive composition.
"Sense of pace" is a temporal characteristic, which is determined by the frequency of relatively uniform repetition of any movements. In rhythmic gymnastics, the more perfect the technique of performing a gymnastic element, the higher the rate a gymnast can perform this element under the throw of the apparatus. The ability of trainees to change the pace of movements in competitive conditions is determined by the level of their coordination readiness.
The "sense of space" is associated with the perception, evaluation and regulation of spatial parameters of movements: the distance to any object, the size of the site, the amplitude, direction, form of movement. For rhythmic gymnastics, this is the distance between the gymnasts in a group exercise, the direction of movement, the trajectory of the apparatus, the distance between the apparatus and the gymnast during the throw.
The "feeling of the apparatus" in rhythmic gymnastics occupies a special place, since work with the apparatus (ball, rope, hoop, clubs, ribbon) covers more than 80% of the time of both training and competitive processes.
"Sense of balance" is defined as the ability to maintain a stable body position. L. A. Karpenko believes that the duration of balance is an indicator of the level of its development, as well as the functional state of the central nervous system. This indicator is used as one of the criteria for fitness and readiness. artistic gymnasts to the competition.
An integral type of coordinating abilities is the ability or feeling for "orientation in space". So, E. S. Nikolaeva in her work indicates that with the help of general developmental exercises, the ability for spatial orientation develops most effectively, since visual and musculoskeletal sensations are simultaneously involved here, at the same time, exercises are accompanied by explanations, instructions and commands from the trainer.
Based on the results of previous studies, we can say that coordination abilities in rhythmic gymnastics should be understood as the result of the coordinated work of all types of physical abilities, including the ability to balance, differentiate, orientate in space, coordinate and combine movements, as well as including a sense of rhythm. and pace, which will allow female athletes to successfully solve problems that arise when performing new motor actions (elements) in changing conditions.
The formulated definition of the concept of coordination abilities in rhythmic gymnastics allows more accurate selection of exercises for the development of these abilities. However, an important role in improving the quality of the training process is played by taking into account the group and individual characteristics of female athletes. Moreover, the analysis and generalization of literary sources indicate that the issue of individualization and differentiation has recently attracted the attention of researchers more and more often, for example, E. N. Artyomova puts individualization at the basis of acmeological technologies of sports activities and elevates it to the rank of a principle that ensures to the sportsman realization of his individual abilities and achievements of the highest sports results . 166
N. B. Stambulova understands individuality as that which constitutes its macro-characteristics, manifests itself in creativity and stabilizes in the individual components of a specific activity. These macrocharacteristics, in her opinion, contain complexes of separate components that form:
1) characterization of a person as an individual (age, gender, neurodynamics, somatotype);
2) subjective characteristics (emotions, will, intellect, psychomotor);
3) personal characteristics (temperament, character, orientation, abilities);
4) characteristics of a person-individuality, refracted through experience, the chronology of historical events, individual characteristics.
So, S. V. Vorobyov believes that when organizing the training process, the individual characteristics of those involved, in particular motor typology, should be taken into account, as a result of which the structure of the training process is formed.
According to P. V. Kvashuk, in children's and youth sports, it is not an individual, but a differentiated approach to the construction of the training process that comes first, which involves taking into account the characteristics for various groups of young athletes that are important for building training loads, teaching technical and tactical actions, participation in competitions .
To date, there are a large number of works in which the authors propose to individualize and differentiate the training process according to the typological manifestations of the properties of the nervous system.
The relevance of the problem of individualization and differentiation in any sport is determined by the individual characteristics of the athlete, on which the success of his competitive activity depends. A large number of experimental studies carried out as part of the individualization of the training process indicates that the distinctive features that characterize trainees with strong and weak types of the nervous system were previously identified for the purpose of their further use in compiling a training program.
Unfortunately, there were no scientific studies in the field of rhythmic gymnastics, where the problem of differentiating the training process according to the typological features of the properties of the nervous system in terms of the “strength/weakness” parameter in the process of excitation would be raised.
When studying the problem under consideration, it can be judged that there is a contradiction between the increased requirements for the quality of competitive activity of female athletes and insufficient attention at the stage of initial sports training in rhythmic gymnastics, the issues of individualization and differentiation of the means of developing coordination abilities in girls of 6-7 years old, who have differences in the typological parameter "strength / weakness" of the nervous system in the process of excitation, which today have remained outside the scope of studying this problem.
Thus, the relevance of the study lies in overcoming this contradiction due to the theoretical and experimental substantiation of the methodology for the differentiated use of funds. sports training for the development of coordination abilities of 6-7-year-old gymnasts, who have differences in the typological parameter "strength/weakness" of the nervous system in the process of excitation as a condition for improving the quality of the training process and competitive activity.
Notes
I. Viner I. A. Training of highly qualified athletes in rhythmic gymnastics: dis. ... cand. ped. Sciences. SPb. them. P. P. Lesgaft. SPb., 2003. 120 p.
2. Baranov V. A. The methodology of the training process of swimmers at the stage of initial training based on a differentiated approach: dis. ... cand. ped. Sciences. Tambov, 2012. 171 p.
3. Lyakh V. I. Motor abilities of schoolchildren: fundamentals of theory and development methods. M.: Terra-Sport, 2000. 192 p.
4. Merzlikin A. S. Features of the influence of physical exercises of various directions on the motor-coordinating abilities of women of the second period middle age: dis. ... cand. ped. Sciences. M., 2001. 236 p.
5. Kuramshin Yu. F. Teoriya i metodika fizicheskoy kul'tury: ucheb. for stud. higher textbook establishments. M.: Sov. sport, 2003.: ill. 463 p.
6. Pavlova E. V. Improving the system of sports selection in rhythmic gymnastics based on indicators of the development of coordination abilities: dis. ... cand. ped. Sciences. Surgut, 2008. 145 p.
7. Krayzhdan O. Education of coordination abilities in girls aged 6-7 years at the stage of initial sports training in rhythmic gymnastics: dis. ... Dr. ped. Sciences. Chisinau, 2011. 214 p.
8. Bernshtein N. A. On dexterity and its development. M.: Physical culture and sport, 1991. S. 17-54.
9. Rumba O. G. The importance of the quality of work of the feet of athletes in rhythmic gymnastics // Strategy for the development of sports for all and the legislative foundations of physical culture and sports in the CIS countries. International scientific congress. Chisinau: Valinex SA, 2008, pp. 367-370.
10. Lyakh V. I. Coordination abilities of schoolchildren. Minsk: Polymya, 1989, p. 27.
11. Arkhipova Yu. A. Basic training of young gymnasts in exercises with objects: dis. ... cand. ped. Sciences. SPb., 1998. 169 p.
12. Kraizhdan O. Decree. op.
13. Beklemisheva E. V. The structure of throwing actions with the ball in rhythmic gymnastics and the methodology for their improvement: dis. ... cand. ped. Sciences. M., 2002. 203 p.
14. Karpenko L. A. (ed.). Rhythmic gymnastics: textbook. / under total ed. L. A. Karpenko. M.: Publishing House of VFKhG, 2003. 382 p.
15. Krayzhdan O. Decree. op.
16. Karpenko L. A. (ed.). Decree. op.
17. Nikolaeva E. S. Development of coordination abilities as a condition for effective training of 5-7 year old girls in exercises with objects in rhythmic gymnastics: dis. ... cand. ped. Sciences. Belgorod, 2006. 153 p.
18. Artemova E. N. Individualization of the training process of gymnasts 10-11 years old in beam exercises at the stage of in-depth specialization: dis. ... cand. ped. Sciences. Belgorod, 2009, p. 56.
19. Stambulova N. B. Psychology of a sports career: dis. ... Dr. psikhol. Sciences. SPb., 1999. 417 p.
20. Vorobyov S. V. Individualization of the training process of 12-13 year old ski racers at the stage of initial sports specialization: dis. ... cand. ped. Sciences. Kolomna, 2004. 133 p.
21. Kvashuk P. V. A differentiated approach to the construction of the training process of young athletes at the stages of long-term training: dis. ... Dr. ped. Sciences. M., 2003. 226 p.
22. Chibichik Yu. V. Individualization of the educational and training process of young judokas at the initial stages of training: dis. ... cand. ped. Sciences. Chelyabinsk, 2010. 180 p.; and etc.
1. Winer I.A. Podgotovka vysokokvalificirovannyh sportsmenok v hudozhestvennojgimnastike: dis.... kand. ped. science. SPb. of P.P. Lesgaft. SPb. 2003. 120 p.
2.V.A. Baranov Metodika uchebno trenirovochnogo processa plovcov na ehtape nachal "noj podgotovki na osnove differencirovannogo podhoda: dis.... kand. ped. nauk. Tambov. 2012. 171 p.
3. Lyakh V.I. Dvigatel "nye sposobnosti shkol" nikov: osnovy teorii i metodiki razvitiya. Moscow. Terra sport. 2000. 192 p.
4. Merzlikin A.S. Osobennosti vliyaniya fizicheskih uprazhnenij razlichnoj napravlennosti na dvigatel "no koordinacionnye sposobnosti zhenshchin vtorogo perioda zrelogo vozrasta: dis. ... kand. ped. nauk. Moscow. 2001. 236 p.
5. Kuramshin Y.F. Teoriya i metodika fizicheskoj kul "tury: ucheb. dlya stud. vyssh. ucheb. zavedenij. Moscow. Sov. sport. 2003. Ill. 463 p.
6. Pavlova E.V. Sovershenstvovanie sistemy sportivnogo otbora v hudozhestvennoj gimnastike na osnove pokazatelej razvitiya koordinacionnyh sposobnostej: dis. ... cand. ped. science. Surgut. 2008. 145 p.
7. Kraidgan O. Vospitanie koordinacionnyh sposobnostej u devochek 6-7 let na ehtape nachal "noj sportivnoj podgotovki v hudozhestvennoj gimnastike: dis. ... d-ra ped. nauk. Chisinau. 2011. 214 p.
8. Bernstein N.A. O lovkosti i ee razvitii. Moscow. Physical culture and sport. 1991. Pp. 17-54.
9. Rumba O.G. Znachenie kachestva raboty stupnej nog sportsmenok v hudozhestvennoj gimnastike // Strategiya razvitiya sporta dlya vsekh i zakonodatel "nyh osnov fizicheskoj kul" tury i sporta v stranah SNG. - Strategy of development of sport for all and legislative foundations of physical education and sport in the CIS countries. The Intern. scient. congress. Chisinau. Valinex SA. 2008. Pp. 367-370.
10. Lyakh V.I. Koordinacionnye sposobnosti shkol "nikov. Minsk. Polymya. 1989. P. 27.
11. Arkhipova U.A. Bazovaya podgotovka yunyh gimnastok v uprazhneniyah s predmetami: dis. ... cand. ped. science. SPb. 1998. 169 p.
12. Kraidgan O. Op. cit.
13.E.V. Beklemisheva Struktura broskovyh dejstvij s myahom v hudozhestvennoj gimnastike i metodika ih sovershenstvovaniya: dis. ... cand. ped. science. Moscow. 2002. 203 p.
14. Karpenko L.A. (ed.). Hudozhestvennaya gimnastika: ucheb / under the general editorship of L. A. Karpenko. Moscow. Publishing house of AFRG. 2003. 382 p.
15. Kraidgan O. Op. cit.
16. Karpenko L.A. (ed.). Op. cit.
17. Nikolaeva E.S. Razvitie koordinacionnyh sposobnostej kak uslovie ehffektivnogo obucheniya devochek 5-7 let uprazhneniyam s predmetami v hudozhestvennoj gimnastike: dis. ... cand. ped. science. Belgorod. 2006. 153 p.
18.E.N. Artyomova. Individualizaciya trenirovochnogo processa gimnastok 10-11 let v uprazhneniyah na brevne na ehtape uglublennoj specializacii: dis. ... cand. ped. science. Belgorod. 2009. P. 56.
19. Stambolova N.B. Psihologiya sportivnoj kar "ery: dis. ... d-ra psihol. nauk. SPb. 1999. 417 p.
20. Vorobyov S.V. Individualizaciya trenirovochnogo processa lyzhnikov gonshchikov 12-13 let na ehtape nachal "noj sportivnoj specializacii: dis. ... kand. ped. nauk. Kolomna. 2004. 133 p.
21. Kvashuk P.V. Differencirovannyj podhod k postroeniyu trenirovochnogo processa yunyh sportsmenov na ehtapah mnogoletnej podgotovki: dis. ... draped. science. Moscow. 2003. 226 p.
22. Chibichik Y.V. Individualizaciya uchebno trenirovochnogo processa yunyh dzyudoistov na nachal "nyh ehtapah podgotovki: dis.... kand. ped. nauk. Chelyabinsk. 2010. 180 p.; and others.
STATE COMMITTEE OF THE RUSSIAN FEDERATION FOR PHYSICAL CULTURE AND SPORT
STATE EDUCATIONAL INSTITUTION OF HIGHER PROFESSIONAL EDUCATION
VOLGOGRAD STATE ACADEMY OF PHYSICAL CULTURE
DEPARTMENT OF THEORY AND METHODOLOGY OF SPORTS DIRECTION, SPORTS DANCES AND AEROBICS
Final qualifying work
specialty 022300
"Physical Culture and sport"
Education of expressiveness and coordination of movements in rhythmic gymnastics through the use of musical games and dances
Student 502 group
faculty of specialized training
SELEDKINA TATYANA YURIEVNA
Scientific supervisors:
Candidate of Pediatric Sciences, Associate Professor Chikalova G.A.
Ph.D. Repnikova E. A.
Volgograd - 2005
Introduction
1.5 Summary
2.1 Research objectives
2.2 Research methods
2.3 Research organization
3.2 Methods of educating expressiveness and coordination of movements through musical games and dances
conclusions
Applications
Introduction
Rhythmic gymnastics is one of the types of the program Olympic Games with complex coordination activity, which requires from the athlete not only a wide range of skills, abilities and qualities, but also the manifestation of a high degree of motor expressiveness (1).
Relevance.Modern voluntary exercises have become very complex, many new peculiar compounds and elements have appeared. In this regard, the interpretation of the main means of expression in the compositions of arbitrary exercises is infinitely diverse. A high degree of proficiency in the art of expressive gymnastic movement is manifested in the ability of an athlete to accurately convey the nature and emotional content of music in the process of performing exercises, which is usually called expressiveness in rhythmic gymnastics (6).
Since rhythmic gymnastics is a rather young sport, it becomes necessary to develop expressiveness in girls aged 6-8 who begin to engage in rhythmic gymnastics. Therefore, practically from the first lessons it is necessary to develop this quality.
However, the question of the formation of expressiveness of movements in girls of this age remains insufficiently studied. Based on this, based on the study of psycho-functional characteristics, studies were conducted.
The purpose of the studywas the development of a methodology for the use of musical games in the educational and training process of classes in rhythmic gymnastics for the development of expressiveness.
Object of studywas the training process of girls 6-8 years old, engaged in rhythmic gymnastics.
Subject of study. The development of expressiveness of girls aged 6-8 years old, involved in rhythmic gymnastics, through musical games.
Research hypothesis.We believed that with the help of specially selected musical games, it is possible to more effectively develop the expressiveness of movements in girls of 6-8 years old who go in for rhythmic gymnastics.
Scientific novelty.For the first time, methodological approaches to the use of musical games as a means of developing the expressiveness of children aged 6-8 who go in for rhythmic gymnastics have been developed.
Practical significanceis expressed in the development of methodological approaches to the use of musical games as a means of developing the expressiveness of children 6-8 years old involved in rhythmic gymnastics.
The data obtained can serve as a guide for coaches and athletes in improving the composition of exercises and performance skills.
expressiveness rhythmic gymnastics training
Chapter I. State of the issue in the theory and practice of physical culture
1.1 Definition of expressiveness of movements
Even in the ancient world, dances, physical exercises to music were used to develop good posture, gait, and plasticity of movements. .
The development of musical movement culture was greatly influenced by the system of Francois Delsarte, who tried to establish a certain relationship between the emotional experiences of a person and his gestures, facial expressions. The works of Delsarte and his followers formed the basis of the theory of expressive movement and influenced the development of pantomime, classical dance, serving as the foundation for the creation of one of the directions in gymnastics - rhythmoplastic.
The theory of motor skill expressiveness formed the basis of L.N. Alekseeva. In her system of "harmonic gymnastics" great attention was paid to the etude work of improvisation, pantomime and dance.
Among the phenomena that caused an increased interest in gymnastics, the culture of movements, expressive plasticity, one cannot fail to mention Isadora Duncan (42).
Rhythmic gymnastics is one of the few sports whose subject of training and evaluation is the art of expressive movement. Despite the obvious gymnastic specificity, the concept of "expressive movement" belongs to the field of psychology. This term in psychological research refers to the external expression of mental states, especially emotional ones, in facial expressions and expression.
O. Elizarova (12) relates the expressiveness of movements to the aesthetic side of physical exercises. The author notes that to ensure the expressiveness of movements, a high technique of their execution is required, i.e. perfect mastery of skills, when all elements of the movement are brought to automatism. This is achieved with a high degree of perfection, movement control, when the athlete's consciousness is focused not so much on the execution technique, but on giving it an aesthetic image.
A high degree of mastery of the art of expressive gymnastic movement is manifested in the ability of athletes to accurately convey the nature and emotional content of music in the process of performing exercises, which is usually called expressiveness in rhythmic gymnastics (50).
But modern voluntary exercises, according to Z. Verbova (6), have become very complex, many new peculiar compounds and elements have appeared. The interpretation of the main expressive means (such as jumps, balances, turns, swings, waves, tilts) in the compositions of arbitrary exercises is infinitely diverse. The richness of the variety depends on the piece of music and on the individual abilities of the gymnast. It is with the help of choreography, according to T. Lisitskaya (26), that one of the main and most difficult tasks of developing mastery in gymnastics is solved - this is the problem of educating the expressiveness of movements. Particularly high demands are placed on it in rhythmic gymnastics, where athletes strive for a more imaginative solution of compositions, which is impossible without knowledge of the stable expressive means of choreographic classics.
According to the well-known art critic V. Vanslov (5), "the bulk of the choreographic movements of ballet means are formed by movements and poses that are emotionally expressive."
A number of authors Kryazh V.V. (23), Verbova Z. (6), Kostrovitskaya V., Pisareva A. (22), Evstratova N.A. (11) indicate that the ability for emotional experience is not yet expressiveness, since the very manifestation of emotionality must be clothed in a beautiful plastic form. Therefore, if the form is not developed, emotions remain without embodiment. The expressiveness of movements is manifested, it would seem, in "little things" - good posture, a beautiful head position and facial expression: without tilting the head, without turning it, not a single pose has a finished look, the expressiveness of the face and eyes inspires postures. The ability to take the correct position of the hands: they take a variety of positions, expressing with their plasticity the details of the emotional state of the gymnasts. With the help of hands, the most characteristic features of the style are created, the content of the fragment is detailed and revealed. With complex and rapid turns, the hands are subject to the conditions of taking the "force". Therefore, expressiveness is a quality that manifests itself in good technique, in the correct school of movements, it is a good "aplomb" and tempo during rotations, elegance, large amplitude with full clarity of emotional content (6).
Rhythmic gymnastics exercises are designed taking into account the anatomical, physiological and psychological characteristics of a woman's body, their tendency to soft, smooth, expressive movements performed to musical accompaniment. It has been established that, unlike other types of exercises, they are based on the principles of integrity, dynamism and dance character of performance (6,8).
The integrity of the exercises lies in the coordination of movements by various parts of the body (symmetrical, unidirectional and multidirectional, asymmetric) performed together and sequentially. An example of holistic exercises are the "wave" and wave-like movements, swings.
Dynamism lies in the ability of the gymnast to perform movements in accordance with different tempo, rhythm, amplitude and strength of musical accompaniment.
The dance character of the exercises is acquired due to the fact that they are performed to musical accompaniment. And thanks to this, they contain an emotional charge, convey the characteristic shades and means of expression of the music accompanied by them (8).
According to Kulagina I.E. (24), Elizarova O. (12), music and movement - it is difficult to name a more universal means of aesthetic and moral education of a child. Movement facilitates the perception and memorization of music, helps to remember the movement. All this gradually brings up in children a sense of rhythm, musical memory, develops aesthetic taste.
Musical accents are emphasized by additional movements of individual parts of the body. These can be accentuated expressive turns of the head, accentuated displacement of the torso and other motor accents that introduce very important nuances into movements that establish aesthetic expressiveness. In motor accents, it is very important to observe the measure of aesthetically expressive performance. It is characterized by the correspondence between the expressiveness of musical and motor accents.
When studying rhythmic gymnastics exercises, the most important thing is to achieve coordination of the movements that make up the exercise with its musical material. For the motor apparatus, these exercises are useful in that they train movement in different directions. Of particular benefit is the need to navigate the created compositions, in the intricate drawings that make up the exercise (25).
Considering the inseparability of the concepts of "music" and "movement", Lisitskaya T.S. (26) it was established that a piece of music influences the choice of expressive means: elements of facial expressions, pantomime, expressive coloring, jumps, turns, balances, poses. This can be illustrated with the following examples.
Music of a heroic nature gives rise to a number of emotional features. In the postures and movements of gymnasts, this is usually expressed by a raised head on an outstretched neck with a firm, attentive look. The arms are stretched tensely, the hands continue their line. The whole posture is characterized by activity and stability. The impression of activity is enhanced by the position on the high toes.
In music of a romantic-lyrical nature, which is characterized by a calm, contemplative mood with a certain amount of sadness and dissatisfaction. To the greatest extent, the mood is expressed in the position of relaxed hands with a limp dangling hand. Performers take many low positions - sitting, kneeling, half-bridges. Semi-relaxation and passivity of the postures are emphasized by relying on only one leg, while the other is half-bent, relaxed.
The nature of the bravura Spanish, Latin American dances - passionate, jubilant and even sharp - makes the performers push their chin forward, throw up their heads. The look is firm and resolute. The position of the hands is specific: on the belt, thigh. Postures are active, progressive, tense.
1.2 Characteristics of musical expressiveness
Music is one of the most powerful means of aesthetic education of children, reproducing the reality around us in sound images. The use of music in physical education classes in kindergartens and schools affects the creation of correct ideas about the nature of movements, develops expressiveness, accuracy and individuality in the manner of performing exercises, allows you to better understand the content, construction, rhythm and other characteristics of musical works (10,21,28) .
According to Zimina A.N. (16), music not only accompanies the movement, but determines its essence, i.e. the movement should not be only movement to the accompaniment of music or against the background of music, it must correspond to:
· The nature of the music
· Means of musical expression
· The form of a piece of music
Revealing the requirements for the nature of music, it must be said that each piece of music has its own character, which is expressed by all means of musical expression. Mastering them enables those involved to most fully reflect the nature of music in their movements (8,10).
In order to achieve this, the correct selection of musical accompaniment is necessary, which not only improves the quality of movements, but also gives them special expressiveness, therefore the music accompanying gymnastics should influence the emotional state of children, the development of coordination of movements, various types of memory.
The emotionality of classes will increase if children study to music that is accessible to their perception. It is better if these are children's songs. However, in each case, it is necessary to take into account the individual characteristics of the child. The main thing is that the music should be rhythmic, cheerful, emotional (8.45).
The ideological and emotional content of a musical work, as Roters T.T. (33), the composer conveys with the help of musical expressiveness - melody, harmony, rhythm, tempo. The combination of all these means creates musical images, the content of which reflects the composer's intention.
Among the above-mentioned means, tempo, metrorhythm, and dynamics are of particular importance for musical and rhythmic education.
Tempo is the speed at which a piece of music moves; metrorhythm - the organization of strong and weak beats, the ratio of different durations; dynamics - the strength (loudness) of the sound.
According to Evstratova N.A. (11), rhythm, inextricably linked with all the expressive means of a musical work, is reflected in the child's auditory-motor reaction as a holistic perception of music. Traditionally musical and rhythmic movements have the main goal to activate the perception of music, its images through expressive movements, to instill in children the skills of a conscious attitude to music, to help identify their musical, motor and creative abilities.
To do this, it is necessary to know the means of musical expressiveness, be able to distinguish them and correctly coordinate movements with the means of musical expressiveness, and systematically develop an ear for music. Only under this condition can gymnasts compare them with their muscular sensations.
When highlighting individual means of musical expression, it is necessary to take into account the entire complex that conveys the content of the work as a whole. For example, when giving tasks to change the strength of movements, it is necessary to select such music in which, by means of musical expressiveness, a positive emotional basis necessary for classes is created. At the same time, changes in dynamics are of great importance.
When teaching movements that are consistent with the means of musical expression, it is difficult to recommend a certain sequence. However, it should be remembered that all of them - tempo, meter, rhythm, timbre - will be united by a melody (48).
1.3 Psychofunctional characteristics of girls aged 6-8
The initial period of a child's life is characterized by the intensive development of all organs and systems. A child is born with certain inherited biological properties, including the typological features of the main nervous processes. But these features are only the basis for further physical development, and the determining factors are the environment and the upbringing of the child (4).
Back in the 19th century, the founder of pediatric pediatrics, S.F. Khotovitsky (1847) wrote that a child is a completely unique creature, with a number of structural features of organs and tissues. His body is different from the body of an adult and its main difference is continuous development (20).
The physical development of a child is a complex process of morphological and functional rearrangements, which is externally expressed in a change in the size of the body, the ratio of individual parts of the body to each other and the level of activity of the functions of the child's body (13).
By 5-7 years, there is an increase in growth rates - the period of the second retraction. Annual body growth at this time can be 7-10 centimeters (13).
As Klyuev M.E. (20), the development of the musculoskeletal system by the age of 7 is not completed. Each of the 206 bones of the skeleton undergoes a change in shape, size and internal structure. The process of ossification of the skeleton continues, the bones are rich in cartilaginous tissue, which does not have great strength, and is easily amenable to curvature.
The motor activity of the child has its own characteristics and is associated with the function of the cerebral cortex. It has been established that the greater the role played by the cerebral cortex in the development of movements, the longer the period of their development and the more complex and diverse the movements of an adult organism. The child first begins to function higher analyzers, and then develops complex locomotor acts that require complex coordination. This pattern requires the development of movements in a certain sequence (14).
The improvement of movements continues for many years and is associated with the formation of appropriate regulatory links, depends on the repetition of actions, i.e. from motor education, or workout.
An increase in the accuracy and speed of movements with an increase in the age of children is evidenced by the studies of L.E. Lubomirsky (1974, 1979). Using the example of studying movements of the tracking-control type, the author shows that children of 7-8 years old adhere to the tactics of pursuing a signal, they clearly show a delay in regulatory movements.
A significant improvement in the function that ensures the programming of the onset of actions occurs, according to L.E. Lubomirsky (1974), in the period from 7-8 to 11-12 years (38).
The nervous regulation of the activity of the heart in children is still imperfect. Irregularity in the frequency and strength of heart contractions is observed even at rest. During physical exertion, the heart muscle quickly gets tired, so exercises during exercise should be diversified. Blood pressure in children is lower than in adults, and ranges from 73 to 76 mm. rt. Art. Physical exercise is a great cardio workout. vascular system: the regulation of cardiac activity improves, the work of the heart becomes more economical.
An important fact is that by the school age of 7 years, the anatomical structure and physiological functions of the auditory analyzer can be considered sufficiently formed for the systematic teaching of children to music (40).
1.4 Application of the game method in the educational and training process
Play is one of the main forms of a child's activity. It occupies a particularly important place in the lives of children. The concept of play covers many very diverse phenomena: from the simplest movements of a baby with a rattle to sports games.
Most of the musical-motor exercises have a content understandable to children (the image of the game), which enhances, clarifies, deepens the impact of music. Supported by the teacher's explanation, the game image awakens and directs the imagination of children, fills their movements with content that is close to them and interesting, and makes the music clearer and more understandable (11).
The game is the main activity in preschool children. As the child develops, the games themselves and their role in mental development change. Games develop the general motor activity of children, promote cognitive activity (43).
The essence of the game, according to Anikeeva N.P. (2) in that it is not the result that is important in it, but the process of experiences associated with game actions. Although the situations played by the child are imaginary, the feelings experienced by him are real.
If classes are held in a playful way, children perceive and remember motor tasks more easily. They perceive exercises through auditory and motor analyzers and reproduce movements by repeating after the leader. Thus, there are prerequisites for improving the auditory, motor and visual types of memory (41).
Observations show that in order for younger children to start playing, it is not enough to be able to simply reproduce some actions, it is necessary that children develop a certain emotional attitude towards the character represented by the plot toy.
In no other activity does the child independently show so much perseverance, purposefulness, tirelessness, as in the game. He devotes himself entirely to a good game, opening all the "pores" of his soul.
About the huge educational impact of games on children, N.K. Kruzhskaya: "...Children grow up not only at school, but ... and in the process of playing they learn to organize themselves, learn to recognize life" (7).
Another extremely important advantage of gaming activity, according to Fomina N.A. (46), is the internal nature of her motivation, which also contributes to the development of children's creative abilities. Children play because they enjoy the gameplay itself. Educators who have clearly understood the value of play in terms of developing original thinking in children can use the natural need for children to play and the high level of motivation associated with this to gradually involve children in more complex and creative forms of play activity. Therefore, with an appropriate organization, the game creates favorable conditions for the development and improvement of the movements of a preschool child. Complex motor skills are acquired by the child not in the game, but through direct teaching, but the game creates conditions for their further improvement.
This is due to the fact that in the game the movements themselves are transformed from a means of achieving certain results into an independent goal of the child's play activity, thereby becoming the subject of his consciousness. Taking on a certain role, the child consciously seeks to reproduce certain movements characteristic of a certain character, intentionally conveys these movements (29).
But Stepanenkova E.Ya. (37) indicates that the beauty of movement is manifested in perfect physical control, which allows the body to dominate space and time. Playing, the child satisfies the natural need for movement. It is known that when a need is satisfied, a free power of imagination can develop. Schiller F. rightly wrote: "The reality of things is their business, the appearance of things is a matter of man, and the spirit, enjoying the appearance, rejoices not at what it perceives, but at what it reproduces."
Concerning specifically musical games, it should be noted that, creating one or another game image, children hear in music and convey various feelings in movement. Thus, they learn to subtly feel the emotional mood of the work. The ability to mark the beginning and end of a piece of music in motion, to highlight the rhythmic pattern of a melody, to realize the means of musical expression helps children (3).
The game of the child attracted many researchers. Studying the child in the process of play, they tried to answer questions related to the emergence of play and its significance in the life of the child.
The development of play activity was considered by them as a process of self-revealing of internal biological properties, as an activity of the body's internal energy outside the influence of people's life and work.
Representatives of progressive pedagogy approached the issue of game theory differently. Ushinsky K.D. repeatedly pointed out the great educational value of the game, preparing the child for creative work, for activity, for life. He noted that in the game the child seeks not only pleasure, but also serious activities, the game is a world of practical activity for the child, which satisfies not only physical needs, but also his spiritual needs (32).
1.5 Summary
The above characteristics of children aged 6-8, as well as the disclosure of the use of the game method and various musical games, suggest that it is possible to use specially selected musical games to develop the expressiveness of young gymnasts.
Based on the foregoing, we can conclude that already from the first lessons in girls of this age involved in rhythmic gymnastics, it is necessary to develop not only physical qualities aimed at improving the physical and technical training of athletes, but also pay attention to the development of expressiveness of movements.
Chapter II. Tasks, methods and organization of the study
The purpose of the study is to develop a methodology for the use of musical games and dances in a training session in rhythmic gymnastics for the development of expressiveness and coordination of movements in children aged 6-7, 8-9 years.
2.1 Research objectives
In accordance with the purpose of the work, the following tasks were solved in the course of the study:
Determine the means to develop expressiveness and coordination of movements.
To develop a methodology for the use of musical games and dances for the development of expressiveness and coordination of movement in children aged 6-7, 8-9 years old, involved in rhythmic gymnastics.
Check the effectiveness of the developed methodology in a pedagogical experiment.
2.2 Research methods
To solve the tasks, the following research methods were used:
Theoretical analysis and generalization of scientific and methodological literature.
Pedagogical testing.
Pedagogical experiment (comparison of two groups).
Method of mathematical statistics.
2.2.1 Theoretical analysis and generalization of scientific and methodological literature
The study and analysis of literary sources (articles, abstracts, educational and teaching aids) were carried out in order to get acquainted with the state of the problem under study in the literature. Literature data were analyzed, considering the content and structure of the application of the game method for the development of expressiveness of movements in the practice of physical culture and sports; features of the development of movement coordination in children 8-9 years old; the existing methods of raising expressiveness and coordination of movements in rhythmic gymnastics were analyzed; psychofunctional features of girls aged 6-7, 8-9 years old were studied.
A total of 63 literary sources were studied.
2.2.2 Pedagogical testing
To analyze the development of expressiveness and coordination in girls aged 6-8 years old, involved in rhythmic gymnastics, control exercises were taken, including a score from 1 to 5 points:
b - coordinated actions (excellent)
b. - not always coordinated actions (good)
b. - partially coordinated actions (insufficient or satisfactory)
b. - Almost no concerted action (weak or unsatisfactory)
b. - complete lack of concerted action.
TESTS, defining indicators of expressiveness of movements:
· Integrity
1 test. A hand wave is performed (arms to the sides) for 10 seconds.
Test. The wave is performed with the body back 3 times.
· Dynamism
3 test. Musical accompaniment 2/4 (fast tempo) is turned on. For 32 counts, jumps are performed on each count.
test. Under musical accompaniment 3/4 (slow tempo), the foot is brought out on the toe (right, left) to the strong beat (accent).
· dance character
3 musical fragments are included, the girls need to portray someone from the animal world that matches the nature of the music:
test. Gypsy tunes;
test. Lark;
test. Teddy bear.
TESTS, which determine the indicators of musical expressiveness:
· Dynamics
10 test. Under musical accompaniment, in which there is a quiet and loud sound, walking on toes in a semi-squat and jumping on two, respectively, are performed.
· Metrorhythm
11 test. To the musical accompaniment of 2/4, children are invited to clap on a strong beat, and then on a weak beat, 16 counts each.
test. To the musical accompaniment 3/4 on a strong beat, you need to stomp on two weak beats and clap. The task is completed during the square.
TESTS,determining the development of coordination of movements.
· Coordination
13 test. The ability to maintain balance in motion (dynamic balance) should be determined by the time it takes to pass the bench (narrow rail). The length of the bench is 4 meters, the width of the bar is 8 centimeters, the height is 20 centimeters. Children should reach the end of the bench in a convenient way for themselves and get off or jump off at will. The task is run three times. Time is determined by a stopwatch. The average result of the attempts made is taken into account (s.)
test. The ability to maintain balance while standing (static balance) is assessed using a modified Romberg test. The practitioner should stand with both feet on a bar 5 cm wide and 6 cm high, so that the toe is behind standing foot closely adjacent to the heel of the front leg, hands down, the child's gaze is fixed. A mistake and termination of the task is considered to be moving off the spot with at least one foot, turning, stepping over, shifting the heel or toe from the line (p.)
Note:8, 9 test - tempo, the nature of the performance is determined by the indicators of dynamism and the dance character of the expressiveness of movements, therefore they are automatically transferred.
The evaluation of the results of the study of expressiveness and coordination was carried out by assigning points for each control exercise.
2.2.3 Pedagogical experiment
The organization of the pedagogical experiment was carried out to prove the working hypothesis in accordance with generally accepted requirements (purity of conditions, sufficient sample).
For this, pedagogical testing was carried out, the experiment was carried out for one month in October 2003 and from November to December 2004 in rhythmic gymnastics classes, and musical games and dances were developed and introduced into the educational and training process.
The main objective of the experiment was to test the effectiveness of the method of using musical games and dances to develop expressiveness and coordination in a training session.
The experiment involved 20 girls aged 6-7, 8-9 years old, involved in rhythmic gymnastics. The experiment was carried out on the basis sports hall DK "40 years of October" in two stages.
At the 1st stage, the influence of the use of musical games on the development of expressiveness of movements in children 6-7 years old was studied.
This experiment was carried out by comparing the development of expressiveness of movements, musical expressiveness, coordination of movements of the experimental and control groups through the use of musical games and dances in the classroom.
The homogeneity of both groups was determined by the following indicators: the age of the subjects, the level of physical development and motor fitness.
2.2.3 Methods of mathematical statistics
The processing of the data obtained during the study was carried out using mathematical and statistical methods and consisted in calculating the arithmetic mean ( ?), standard deviation ( ?), the standard error of the arithmetic mean (mX).
With a normal distribution, the significance of differences in sample mean arithmetic values was determined using Student's t-test. (fifteen)
Differences were considered statistically significant at p<0,05, что является надежным уровнем значимости в педагогических исследованиях.
The calculation of these indicators is carried out using a PC, according to standard methods.
2.3 Research organization
The research was carried out on the basis of the sports school for children and youth of the Olympic reserve SDUSHOR No. 2 in the recreation center "40 years of October", with girls of 6-7 years old in the elementary training group (NP), 8-9 years old in the specialized training group involved in rhythmic gymnastics.
The studies were carried out during the period of coaching practice in October 2003, as well as from November to December 2004.
Chapter III. Research results and discussion
3.1 Analysis of indicators of expressiveness of movements performance by girls aged 6-8, who go in for rhythmic gymnastics
In our studies, the level of expressiveness of young gymnasts was assessed according to the following indicators: dynamism, integrity, dance character, tempo, metro-rhythm, character, dynamics. The methodology and organization for measuring each indicator are detailed in chapter II. .
2 groups of children were created: control and experimental. The number of students in each group was 10 people.
The results of the initial testing for the studied indicators of expressiveness of both groups are presented in Table 1 (Appendix 1) and graphically depicted in Figure 1.
Fig.1. Average indicators of expressiveness of the initial testing of children in the control and experimental groups, (points).
So, in the experimental group, the following average values were registered in terms of expressiveness: integrity 3.3±0.26 and 2.7±0.23, dynamism 3.2±0.33 and 3.4±0.4, dance character 3 .4±0.22, 3.1±0.18 and 3.4±0.16, dynamics 3.5±0.22, metrorhythm 4.0±0.26 and 3.2±0.39.
The pattern of testing children in the control group looks almost the same. Thus, the indicators of integrity were 3.2±0.25 and 2.9±0.23, dynamism 3.4±0.26 and 3.3±0.15, dance character 3.5±0.17, 3, 1 ±0.18 and 3.3 ±0.15, dynamics 3.5 ±0.23 and metro rhythm 3.6 ±0.22 and 3.4 ±0.22. The differences revealed by us are not statistically significant (p>0.05).
Thus, the analysis of the data obtained indicates the homogeneity of the children in the control and experimental groups. At the same time, the level of development of their expressiveness is assessed as average.
.2 Methods of developing expressiveness and coordination of movements through musical games and dances
An analysis of the methodological and scientific literature shows that rhythmic gymnastics is one of the sports with complex coordination activities, requiring from athletes not only a wide range of skills, abilities and qualities, but also a high degree of expressiveness and coordination of movements.
In the existing works that touch on this problem, gymnasts of already high class are mainly considered. Based on this, we have developed a methodology for the development of expressiveness and coordination of movements in children aged 6-7, 8-9 years old, involved in rhythmic gymnastics, through specially selected musical games and dances, which was carried out in 2 stages of training athletes. The methodology was developed taking into account the basic principles of building classes. (eight)
At the stage of initial training in the classroom according to the developed methodology, it was supposed to solve the following tasks:
Learn musical games
Develop musical expression
Develop expressiveness of movements
Rhythmic gymnastics classes are built according to the generally accepted scheme and consist of preparatory, main and final parts.
At the 1st stage, the musical games were divided into 2 groups of 10 games in each group. The first group includes games aimed at developing motor expressiveness ("Sea and brook", "Be smart", "Trappers and animals", "Gate", "To your flags", "Remember the melody", "Who was there before?", " Relay race", "Carousel", "Find out what instrument sounds") (Appendix 4), the second group - games aimed at developing musical expressiveness ("Snowmen and snowflakes", "Three bears", "Hares and a bear" , " Pass a circle or line", "Circle and circles", "Snake", "Passing the ball in a circle", "Be smart!", "Funny carousel", "Trap") (Appendix 5).
The first group of games was included in the main part of the lessons in order to additionally motivate the activities of those involved, prepare girls for learning new elements, allow them to master these elements without much effort, and increase interest in further work.
The second group of games was used in the final part of the lessons, since such games do not require much effort and are a good remedy relieve stress in children after class, and also allow you to solve the tasks.
Classes for children 6-7 years old are held 3 times a week, each of them included 2 games from each group.
The games alternated taking into account the indicators of the development of motor and musical expressiveness, their duration was determined by the content.
At the 2nd stage of training in the classroom according to the developed methodology, it was supposed to solve the following tasks:
unlearn musical dances
Develop musical expressiveness and expressiveness of movements
Develop movement coordination
At stage 2 of specialized training, taking into account the psychofunctional changes in children aged 8-9 and the main type of activity (educational), children's dances based on famous animated films were used as the main means of developing expressiveness and coordination of movements.
For the stage of specialized training, 8 dances of various degrees of complexity and intensity were selected.
In addition to the generally accepted warm-up, at the end of the preparatory part, simple dances were included, consisting of jumps, running exercises, jumps (3-5 movements), which are aimed at warming up the body (Papuans, brother Louis). Each dance was performed 2-4 times without stopping.
At the end of the main part, as an active rest, in order to relieve fatigue and distract from monotonous work, longer, more complex in terms of technique, including a greater number of steps, with complex coordination of hands and feet, characteristic dances on a certain subject (Latin American, crime novel).
Classes for children 8-9 years old are held 5 times a week, each of them included musical dances.
In the first week of classes, dances were learned in sequences, then they were performed as a complete composition.
At the end of the week, in the final part of the lesson, in order to increase the effectiveness of the methodology we developed, the gymnasts were asked to compose a composition to music (duration 20-30 seconds) from animated films, fairy tales, in order to create associations of movements.
Thus, we consider it appropriate to include specially selected musical games and dances in the content of rhythmic gymnastics training programs.
3.3 Analysis of the results of the pedagogical experiment
In the pedagogical experiment, the aim was to test the effectiveness of the developed methodology for the development of expressiveness and coordination among young athletes through specially selected musical games and dances.
The control group of children studied according to the traditional program, in the experimental group the classes were carried out according to the methodology developed by us.
For our research, indicators of motor expressiveness were taken: integrity, dynamism, dance character; musical expressiveness: tempo, dynamics, character, metro rhythm (9, 16).
The results of testing the experimental group before and after the experiment are presented in Table 2 (Appendix 2) and graphically depicted in Figure 2.
Fig.2. Average indicators of expressiveness of young gymnasts of the experimental group before and after the pedagogical experiment, (points).
Legend: 1,2-integrity; 3,4-dynamic; 5,6,7-dance character; 8.9-temp; 10-dynamics; 11.12-metrorhythm.
The control group in Table 3 (Appendix 3) and graphically in Figure 3.
Fig.3. Average indicators of expressiveness of young gymnasts of the control group before and after the experiment, (points).
Legend: 1,2-integrity; 3,4-dynamic; 5,6,7-dance character; 8.9-temp; 10-dynamics; 11.12-metrorhythm.
The results of the pedagogical experiment indicate that the girls of both the experimental and control groups experienced changes in the studied indicators after a month of classes. However, in the girls of the experimental group, the changes in the studied parameters are more pronounced than in the girls of the control group and are statistically significant (p<0,05).
In the experimental group, a significant increase in the following indicators was found. Thus, the integrity of movements increased on average by 30.3% and 33.3%, dynamism - by 28.1% and 32.3%, dance character - by 26.4%, 35.5% and 32.3%, pace by 28.1% and 32.3%, dynamics - by 37.1%, metro rhythm - by 22.5% and 31.2%.
In the control group, where classes were conducted according to the traditional method, there was also an increase in expressiveness indicators, but less pronounced. Statistical analysis did not reveal that the changes that occurred were significant (p>0.05).
Thus, the integrity of movements increased from 3.2±0.25 to 3.6±0.23 and from 2.9±0.23 to 3.3±0.23, which amounted to 12.5% and 13.8% respectively, dynamism - from 3.4±0.26 to 3.5±0.25 and from 3.3±0.15 to 3.4±0.17, which amounted to 2.9% and 3%; character increased from 3.5±0.17 to 3.7±0.16, from 3.1±0.18 to 3.3±0.17, from 3.3±0.15 to 3.5±0 ,15, which amounted to 5.7%, 6.4% and 6%, the rate of movements increased from 3.4±0.26 to 3.5±0.25 and from 3.3±0.15 to 3.4 ±0.17, which in percentage terms amounted to 2.9% and 3.03%, respectively, dynamics - from 3.5±0.23 to 3.7±0.22, which amounted to 5.7%, movement meter increased from 3.6±0.22 to 3.8±0.18 and from 3.4±0.22 to 3.6±0.15, which amounted to 5.9%.
Assessing the results of the study of the control group, it should be noted that in classes with children 6-8 years old, at the initial stage of preparation, it is possible to use only the basics of choreography. Therefore, the development of expressiveness in children of this age only by this means is not as effective as, for example, in gymnasts of a higher qualification. This, in turn, can explain the less pronounced changes in the expressiveness indicators in the girls of the control group in the pedagogical experiment.
Thus, the data obtained in the course of the experiment indicate that the methodology developed by us has a positive effect on the development of expressiveness indicators in children aged 6-8 who go in for rhythmic gymnastics. This indicates its effectiveness and expediency of application at the initial stage of training of young gymnasts.
conclusions
1. Analysis of the scientific and methodological literature gives grounds to conclude that there is a need to search for new (more effective) additional funds for the development of motor and musical expressiveness in children 6-8 years old, involved in rhythmic gymnastics.
A methodology for the development of expressiveness in children aged 6-8 years old, who go in for rhythmic gymnastics, has been developed on the basis of specially selected musical games that meet the main psychofunctional characteristics of children of this age.
The developed methodology for the development of expressiveness through musical games provides a significant improvement in indicators characterizing the level of development of expressiveness in children aged 6-8 years old who go in for rhythmic gymnastics.
Bibliography
1. Averkovich E.G. Analysis of arbitrary exercises in rhythmic gymnastics and ways to improve the performance skills of the strongest gymnasts. Abstract. dis. for the competition scientist, Ph.D. ped. Sciences. - M., 1980. - 1-15s.
Anikeeva N.P. Education by game: A book for teachers. - M.: Enlightenment, 1987. - 144 p.
Bekina S.I. etc. Music and movement. (Exercises, games and dances for children 5-6 years old) M .: Education, 1983. - 208s.
Berdus G.I., Berdus M.G. Introductory physical recreation in the form of rhythmic gymnastics and its impact on anatomical, morphological, functional and psychological indicators: Medico-biological control during physical culture and sports: Collection of scientific papers. - Alma-Ata, 1990. S.14-17.
Vanslov V. Grigorovich's ballets and problems of choreography. M., Art, 1971. - 17p.
Verbova Z. The art of arbitrary exercises. M., Physical culture and sport, 1967. - 85s.
Gelfan E.M. From play to self-education. M., Education, 1964. S.12-18.
Gymnastics and methods of its teaching: A textbook for the faculties of physical culture. / Edited by N.K. Menshikov. - St. Petersburg: Russian State Pedagogical University named after A.I. Herzen, 1998. - 463s.
Gymnastics: Textbook. - M.: Academy, 2001. - 448s.
Gubanov V.A. Gymnastics. Musical accompaniment for gymnastics. (Lecture for students - part-time students of the II course). M., 1971. S.5-11.
Evstratova N.A. Movement to music in the system of organizing a healthy lifestyle for preschoolers in kindergarten. Abstract Dis. cand. ped. Sciences, Samara, 1997. - 20p.
Elizarova O. Physiological characteristics of gymnastics: Lecture for students and students of the faculty improved. - M.: GTSOLIFK, 1980. - 29s.
Ermolaev Yu.A. Age physiology: Textbook for students ped. universities. - M.: higher school, 1985. - 384 p.
Zakharyeva N.N. Age physiology of preschool children: Textbook. - Volgograd. VGAFC, 1999. - 71s.
Zatsiorsky V.M. Fundamentals of sports metrology. - M.: Physical culture and sport, 1979. - 152p.
3imina A.N. Fundamentals of musical education of young children:
Textbook for students of higher educational institutions. - M.: VLADOS, 2000. - 304 p.
Games and entertainment / (Compiled by L.M. Firsova) - M .: Young Guard, 1989. - 25s.
Games - education, training, leisure. Edited by V.V. Petrusinsky // In four books (1 book). - M.: New school, 1994. - 368s.
Games, education, training, leisure. Edited by V.V. Petrusinsky // In four books (2 books). - M.: New school, 1994. S.24-31.
Klyuev M.E. Accounting for anatomical and physiological features when conducting physical exercises with younger students. - Riga, 1981. - 38s.
Kolodnitsky G.A. Musical games, rhythmic exercises and dances for children. Teaching aid for educators and teachers. - M.: Grom-Press, 1997. - 64 p.
Kostrovitskaya V., Pisarev A. School of classical dance. L., 1968. - 262p.
Kryazh V.V. Gymnastics, rhythm, plastic. - M.: Enlightenment, 1990. - 170s.
Kulagina I.E. Artistic movement (Method of LN Alekseeva): A manual for teachers of preschool institutions and secondary schools. M.: Flinta: science, 1999. - 120p.
Levin M.V. Gymnastics in the choreographic school. - M.: Tera-Sport, 2001. - 96s.
Lisitskaya T.S. Choreography in gymnastics. - M.: Physical culture and sport, 1984. - 176s.
Lisitskaya T.S. Rhythm + plastic: (230 exercises). - M.: Physical culture and sport, 1987. - 160s.
My language and dances at gymnastics lessons: A study guide. - Volgograd: VGAFK, 1996. - 78s.
Nesterov V.A., Vorotilkina I.M., Mogilev B.C. Motivational-emotional aspect of the motor activity of preschool children / Textbook. - Khabarovsk: Far East GAFC, 1998. P.4-17
Obukhova L.F. Child psychology: theories, facts, problems. - M.: Trivola, 1995. - 360s.
Features of the mental development of children 6-7 years of age. / Edited by D.B. Elkonin and L.A. Wenger. - M.: Pedagogy, 1984. - 167p.
Psychology of the junior school student. Edited by E.I. Ignatieva, M, 1960. S.13-25.
ZZ. Rothers T.T. Musical and rhythmic education and rhythmic gymnastics: A textbook for ped students. schools. - M.: Enlightenment, 1989. - 175p.
Rudneva S., Fish E. Rhythmics. Musical movement, - M.: Enlightenment, 1972. 334s.
Sobinov B.M. "Dancing" gymnastics. - M.: Sov. Russia, 1972. - 176s.
Sport, music, grace. 2nd revised edition. - M.: Physical culture and sport, 1984. - 144p.
Z7. Stepanenkova E.Ya. Theory and methods of physical education and development of the child: Proc. settlement - M.: Academy, 2001. - 368s.
Physiology of child development. / Under the editorship of V.I. Kozlova, D.A. Farber; scientific research Institute of Physiology of Children and Adolescents of the Academy of Ped. sciences of the USSR. - M.: Pedagogy, 1983. - 296s.
Firileva Zh.E., Saykina E.P. "Sa-Fi-Danse". Dance-game gymnastics for children: Teaching aid for teachers of preschool and school institutions. - St. Petersburg. Childhood press, - 352 p.
Fomin N.A., Filin V.N. Age features of physical education. - M.: Physical culture and sport, 1972. - 186s.
Fomina N.A. In the musical rhythm of fairy tales: Educational and methodological guide. - Volgograd: VGAFC, 1999. - 81s.
Fomina N.A. Musical and motor training in the system of physical education: Teaching aid. - Volgograd: VGAFK, 2000. - 35s.
Fomina N.A. Physical education of children of early and preschool age: Teaching aid. - Volgograd: VGAFK, 2000. - 33s.
Fomina N.A. Formation of motor, intellectual and psychomotor abilities of children 4-6 years old by means of rhythmic gymnastics of a plot-role-based orientation. Dis. for the competition scientific degree cand. ped. Sciences. Volgograd, 1996. S.10-24.
Fomina N.A., Maksimova S. Yu, Dropisnova E.P. The use of musical-motor means in physical education children of preschool age // Training of sports reserve and health: Materials of the All-Russian scientific and practical conference "Active problems of improving physical culture and training sports reserves"(October 26-29) - Volgograd: VGAFKD998. - P.221-223
Fomina N.A., Yatsenko A.M. Fairy-tale world of movements: Educational and methodological guide. - Volgograd: Change, 1999. - 43s.
Rhythmic gymnastics: A textbook for in-t of physical culture. / Edited by T.S. Lissitzky. - M.: Physical culture and sport, 1982. - 232p.
Gymnastics. Textbook for in-t of physical culture. Edited by L.P. Orlova.M., "Physical culture and sport", 1973. - 188 p.
Shmakov S.A. Her Majesty is a game: fun, fun, practical jokes for children, parents, educators. - M.: Mir "Master", 1992. - 160s.
Emotional expressiveness of athletes in rhythmic gymnastics and its psychological causes: Method. recommendations. - Smolensk, 1987. - 13s.
In each game, it is necessary to mark the best in order to increase their motivation for further activities.
Applications
Attachment 1
Table 1
Groups of subjects Expressiveness indicators, points 3.4±0.4 3.5±0.22 4.0±0.26 3.2±0.39 Control 3.2±0.25 2.9±0.23 3.4±0.26 3.3±0.15 3.5±0.17 3.1 ±0.18 3.3±0.15 3.4±0.26 3.3±0.15 3.5±0.23 3.6±0.22 3.4±0.22p >0.05 >0.05 >0.05 >0.05 > 0.05 >0.05 >0.05 >0.05 >0.05 >0.05 >0.05 >0.05t 0.28 0.61 0.47 0.23 0.36 0 0.45 0.47 0.23 0 1.18 0.44
The results of the initial testing of expressiveness of young gymnasts
Annex 2
table 2
Average indicators of expressiveness testing of 6-8 year old gymnasts of the experimental group in the pedagogical experiment
Values Stages of the experiment Expressiveness indicators, points Integrity DynamismDance characterTempoDynamicsmetrorhythm ?±m up to 3.3±0.262.7±0.233.2±0.333.4±0.43.4±0.223.1±0.183.4±0.163.2±0.333.4±0.43.5±0.224.0±0.263.2± 0.39 after4.3±0.263.6±0.24.1±0.184.5±0.174.3±0.214.2±0.254.5±0.274.1±0.184.5±0.174.8±0.134.9±0.14.2±0.25 p<0,05<0,05<0,05<0,05<0,05<0,05<0,05<0,05<0,05<0,001<0,01>0.05t2.73.02.372.563.03.02.92.372.565.23.212.17
Appendix 3
Table 3
Average indicators of testing the expressiveness of gymnasts 6-8 years old in the control group in a pedagogical experiment
Values Stages of the Experiment Expressiveness indices, points ?±mup to 3.2±0.252.9±0.233.4±0.263.3±0.153.5±0.173.1±0.183.3±0.153.4±0.263.3±0.153.5±0.233.6±0.223.4±0.22 after3.6±0.233.3±0.233.5±0.253.4±0.173.7±0.163.3±0.173.5±0.153.5±0.253.4±0.173.7±0.223.8±0.183.6±0.15p >0.05>0.05>0.05>0.05>0.05>0.05>0.05>0.05>0.05>0.05>0.05>0.05t1.21.20 .280.430.870.80.950.280.430.620.710.74
Appendix 4
I group of musical games.
"SEA AND STREAK"
Software content.Teach children to distinguish between long and short sounds.
I view.Children sit on chairs arranged in two semicircles (one after the other). In front are the younger children. When long sounds are heard, the younger ones smoothly raise and lower their hands up and down. When short sounds are heard, older children wave their hands. Long and short sounds alternate repeatedly in random order. At the end of the game, the most attentive children are celebrated and encouraged by the fulfillment of their desires. Naturally, all children, and not just the winners, participate in the "award" actions.
II view.Children are divided into two teams: "Sea" and "Stream". The composition of the teams is mixed by age. When long sounds are heard, the children of the "Sea" team move around the room, performing smooth movements with their hands back and forth. When short sounds are heard, the children of the "Brook" team move with a light run. Long and short sounds alternate several times in random order. At the end of the game, the children of the "Brook" team run away (while the older ones help the younger ones). The children of the "Sea" team are trying 1 to catch them.
III view.Children stand in two circles or form a circle and a column. In the "Sea" circle - the younger ones, in the "Brook" circle - the older ones. When long sounds are heard, the children of the "Sea" team raise and lower their clasped hands (waves go through the sea). When short sounds sound, the children of the "Brook" team, holding hands, run (a brook flows). Short and long sounds alternate repeatedly. At the end of the game, the teacher evaluates the speed and accuracy of the children's reactions. At the request of the winners, a performance of the song is carried out with all the children.
"BE SMART"
Program content. Teach children to move in accordance with the cheerful nature of the music; mark metrical accents in movements, change movements in a timely manner, start and end them.
Tasks. Cultivate attention, endurance, develop speed of reaction.
Game description. Chairs are arranged with their backs outward in a wide circle. Each child stands behind the chair. In the center, the leader squats down.
Measure 1. All children sit on chairs, and the leader stands up.
Measure 2. All children stand up, and the leader sits down.
Bars 3-4. The movements of measures 1-2 are repeated.
Bars 5-12. Children run together with the leader in a circle in one direction.
At the moment the music stops, all the children run inside the circle, and everyone sits on any free chair (option - stops and puts
palms of hands on the back of the nearest chair). One child is left without a place. He should not be chosen as the leader, since in this case he is, as it were, rewarded for his awkwardness. When the game is repeated, the leaders should choose the most dexterous child. At the end of the game while the children are running, it is recommended to put another chair so that all the children are dexterous. You should look for a free chair by running along the outside of the circle (behind the chairs).
Learning technique. At the 1st stage, children listen to the music for the game, analyze it together with the teacher, determine what movements can be performed under it. In a number of preparatory exercises, they learn to alternately get up and squat to the music. During the exercises, the teacher shows them exact patterns of movements.
At the beginning of the 2nd stage of training, the teacher gives the children to listen to the music for the game, explains its course and invites the children to start the game. Helps with directions during the game. At the first performance of the game, the educator can take on the role of the leader. If any of the children fails to do this or that movement, individual work is carried out with him.
At the end of the 2nd stage and at the 3rd stage of training, the children play the game on their own.
"CATCHERS AND Beasts"
Program content. To teach children to coordinate movements with the nature and form of program musical works; expressively embody the images of the game.
Tasks. Improve your music perception skills; to cultivate attention, endurance, orientation in space, to develop creative activity.
But one day trappers came to the forest to catch animals for the zoo. The trappers set up their camp at the edge of the forest and cautiously entered the forest. They go through the forest, stop, listen to the rustles of the forest. We went into the thicket and lay down in the bushes. And the forest is quiet. Only the cuckoo calls, and the birds chirp. But then the bears came out of their lairs. They go through the forest, roll over. They approached the bushes. dexterous hunters jumped out of the bushes here, threw them at the bears large networks and they were all caught. They sent the bears to their camp, and hid themselves again. There was silence again.
Suddenly wolves jumped out of the thicket. They crossed the clearing with great leaps, stopped and howled in a long way. The trappers ran out of the bushes and the wolves were caught. They were also sent to the camp, and again they hid in the bushes near a beautiful clearing. For a long time they waited. It was quiet in the forest. But then the bunnies jumped into the clearing. They circled on the green grass and were very close to the bushes. And the hunters are already here. Everyone; bunnies were caught and brought to their camp. There, the trappers put all the animals in cages, loaded the cages onto a big truck and took them to the zoo."
Learning technique. At the first lesson, children listen to a figurative story and music for the game. The distribution of roles is carried out at the request of the children (all movements of the characters are learned in advance in figurative exercises). The teacher monitors the progress of the game without stopping it. After the game is over, he gives explanations and conducts the game again. If there are inaccuracies in the actions of the children, in subsequent classes the teacher again conducts a series of figurative exercises. In the future, when improving the game, you can intersperse a figurative story with listening to music, use musical riddles, tell the story by one of the children, perform the game in subgroups (artists - spectators) with the assessment of movements by comrades. It is recommended to use the learned game as a performance, including it in the scenario of an evening of leisure or a holiday.
"GATE"
Give the concept of the duration of rhythmic patterns, quarters and eighths in the musical parts of the piece in 2/4, 4/4 size.
Children line up in pairs in a circle, holding hands. Pairs are calculated on the first and second.
At the beginning of the march, couples walk in a circle, keeping intervals. On "One" of the 8th measure, the teacher gives the command: "First!" or "Second!" The couples, whose numbers have been called, stop and form a "gate", turning to face each other, holding hands and raising them up. The unnamed "second" or "first" run into the formed "gates", and the right one in a pair runs ahead of his comrade. By the end of the musical phrase, they must run to their place. A piece of music - starts over, the couples go around in a circle again and the game starts again.
If there are a lot of couples, you can form two or three circles located in different parts of the hall. The most important thing is that the children have time to run around their circle for four musical measures and start the game again.
"TO YOUR FLAGS"
The players are divided into 3-4 teams and stand in a circle facing the center of the circle. In the center of each circle is a player with a colored flag. As soon as the music starts, everyone, except for the players with flags, moves around the hall, the site (in accordance with the nature of the piece of music). The music stops, everyone squats and closes their eyes, the players with flags, at the direction of the teacher, move to other places. After the words of the elder; "To your flags!" the players open their eyes, get up and run to the flags of their color. The team that will quickly line up in its circle (column, line, etc., as directed by the teacher) wins.
"WHO EARLIER?"
The teams are in opposite parts of the hall, the platform in some formation (circle, line, column, etc.). Children listen to the first part of the musical "Works" and perform the previously studied exercises. For the second part of the team, the children must change places and line up in the indicated leading order. For the third part of the team, the children run to the side lines, where for the first part the children perform the previously studied exercises, and on the third they move to the sidelines, line up and sit down.The team that quickly lines up and sits down wins.
"RELAY RACE"
In each column, the guide holds the ball and, to the music, advances with a polka step to a certain line. There he changes the ball, returns to his team at a gallop and passes the ball to the next team member, and he himself stands behind his team. The winner is the team, in which all participants without errors and complete tasks earlier.
"CAROUSEL"
Program content. To convey the bright contrasting nature of music in motion, taking into account the rhythm and register coloring. Develop rhythm, the ability to speed up, slow down the action in accordance with changes in music. Practice light running. Cultivate endurance, friendly relations. Follow the rules of the game.
Description.Children's chairs are placed in a circle, sideways to the center, with seats in one direction (for example, to the right) - this is a carousel. Chairs should be one less than the number of players. At the invitation of the teacher, the children sit on chairs. The child, - who did not have enough space, steps aside (did not have time to get a ticket).
The first part of the music. The carousel is spinning - the children, sitting on chairs, stomp notes to the beat of the music. The movement slows down, the carousel stops.
The second part of the music. Bars 1-2. Introduction. The children quietly get off the carousel and stand around the chairs facing one way. Together with them stands up, a child who has not received a ticket.
Bars 3-10. Easily run around the carousel. At the end of the music, they again take their places on the carousel. Anyone who did not have time to take a seat (left without a ticket) steps aside. The game is repeated.
Guidelines. While learning the game, the teacher gradually leads the children to the realization and transmission in motion of a slight acceleration at the beginning and a slowdown at the end of the first part of the music.
At first, when learning the game, you can put on 2-3 chairs less than the number. playing, as one child is sometimes upset if he does not participate in the game. Together with other children, he feels more confident. Gradually, the teacher teaches to consciously relate to the rules of the game.
It is advisable to put chairs in two (sideways to the center). At the festival, the game can be colorfully decorated: a hoop is hung from the ceiling in advance, to which long colored ribbons are attached; their ends are thrown onto the hoop. Before the start of the game, the ribbons are lowered and lightly tied to the backs of the chairs - a colored roof of the carousel is formed.
"KNOW WHAT INSTRUMENT SOUNDS"
Program content. Teach children to distinguish the timbre of musical instruments.
Type I. Children sit at tables in pairs. Before each pair - senior and youngest child- there is a set of cards. The teacher sits in front of the children. Tools are blocked by a small screen. A square sounds - you need to raise a card with its image, a tambourine - with the image of a tambourine, a metallophone - with the image of a metallophone. The teacher notes the children who made mistakes less often than others, and, at their request, performs a piece for listening.
II view.Children are built in 3 columns. To the sound of the square, the guys of the first column run around the room, to the sound of a tambourine - the second, to the sound of the metallophone - the third. The order of sounding instruments the teacher varies. At the end of the game, a competition is held: who is the most likely to line up in a column. Older children help the younger ones run in the right direction: and line up.
III view.Children are built in 3 circles. Each circle is formed by children of the same age. The guys of the first circle move with a light run to the sound of a square and freeze in place to the sound of other instruments, the guys of the second circle move to the sound of a tambourine, the third - to the sound of a metallophone. The order in which the instruments are played varies. At the end of the game, the winner circle is celebrated, and at the request of the children of this circle, a round dance game or dance is performed.
"REMEMBER THE MELODY"
The group or class is divided into teams of 5-6 people and lined up in columns. In front of each team at a distance of 8-10 m is an object (ball, mace, skittle). Each team is calculated in order:
5-Russian dance
Children, having heard their melody, move forward with dance movements or perform actions indicated by the teacher in motion.
A child who completes the task correctly brings the team a point. The game can be played with various tasks of the teacher.
Appendix 5
II group of musical games.
"SNOWMANS AND SNOWFLAKES"
Program content. Teach children to distinguish between calm and cheerful dance melodies.
Type I. Children, divided into two groups, sit in a semicircle near the piano.
To the music of the Polka, the "snowmen" clap their hands, to the music of the Waltz, the "snowflakes" should smoothly rotate their hands. Pieces are performed 6-8 times in different sequences. The winners are revealed, and at their request, a winter-themed song is performed.
II view. "Snowmen" and "snowflakes" sit on chairs at opposite walls of the room. To the music of Polka, the polka "snowmen" move in step, to the music of the Waltz - snowflakes spin. The plays are performed 6-8 times in different sequences. With the end of the sound, "snowmen" catch "snowflakes" ".
III view. Children perform the same tasks in two circles, the winners perform their favorite song about winter.
"THREE BEARS"
Program content. Teach children to distinguish the pitch of sounds.
Game aids. Planar images of bears - large, medium and small, 3 for each child; flat house.
I view.Children sit at tables to the right of the music director. He gives them pictures of bears. When the play sounds in a high register, the cubs go out for a walk (children move them in front of them on the table), when on average the bears are bigger, and when in the low register they are the biggest. Register change varies. At the end of the game, children are marked, more precisely than others who completed the task.
II view.Children are divided into three teams: Mishutki, Anastasia Petrovna
and Mikhail Ivanovichi. Everyone fits in the house (stands behind its planar
image). When the work sounds in a low register, from home
Mikhail Ivanovichs come out and move around the room, when in the middle - Anastasia Petrovna, and in the high - Mishutka. Sound registers change randomly. At the end of the play, Mikhail Ivanovichs catch the rest of the bears, and they run away to the house.
III view.Identical tasks are performed in three circles. At the end of the game, the winners ask the vanquished riddles about animals.
"HARES AND BEAR"
Program content. To teach children to move in accordance with music of a different nature, to end the movement at the moment the music stops, to emotionally perform light jumps of hares, a heavy tread of a bear.
Tasks.Cultivate auditory attention, endurance; develop creative activity.
Game description. All children are rabbits. One of the children is a bear. "Hares" sit on chairs (in "minks") against the wall, "bear" is in one of the corners of the room (in the "lair"). To the music of N. Rimsky-Korsakov, "bunnies" run out of "minks" and jump around the room. When the music starts to sound, a "bear" comes out of the "lair". He walks heavily, waddling, "Hares", when a "bear" appears, run into their "minks".
Learning technique. Children learn the movements of bunnies and bears during figurative exercises. Listen to musical works "Hare" and "Bear" separately. The teacher, in a conversation with them about the nature of music, reveals the images. When listening again, he compares two images of a hare and a bear, uses musical riddles: "Whom does the music tell about?".
During the game, he offers to listen to the following story: “Once upon a time there were funny bunnies. They loved to jump briskly across a green meadow. But the bear often interfered with them. they just heard that the bear was coming, they quickly galloped up and hid in the burrows. They sit, they don’t move their ears or paws. The bear left, and again the hares jumped merrily across the clearing. After the story, the teacher plays music and invites the children to play. First, the teacher can play with the children, taking on the role of a bear or one of the hares. When the game is repeated, the roles are played by the children themselves. After the end of the game, the teacher gives explanations about its course.
"PASS THE CIRCLE OR LINE"
The group or class is divided into 3 teams. Each team is divided in half and lined up opposite each other. Between the two halves of the team, eight circles or lines are drawn (marked) on the floor, gymnastic hoops are laid. The distance between them is 30-60 cm. Team captains, having flags in their hands, stand as guides in their teams. On the first signal, the captains move in a given rhythm in steps, running or jumping in circles or lines. One step is taken for each musical duration of the rhythmic pattern. The captains of the opposite part of the team, who received the flags, pass, run or jump in circles (lines) in the same rhythm, pass the flags to the next children, and themselves become the end of the opposite column.
For each violation of the rhythm, the team receives penalty points. The team with the fewest penalty points wins.
"CIRCLE AND CIRCLES"
The group or class is divided into four teams. Teams are built in the corners of the hall in tight circles facing the center of the circle, holding hands. At the command of the teacher or a musical signal, everyone lines up in the middle of the hall in a general circle and performs simple dance steps to the waltz, moving in a circle. When the melody sounds louder, everyone scatters to their places and, holding hands, line up in circles. The team that lines up first wins. The game starts again.
"SNAKE"
The group or class is divided into three teams and columns line up in the indicated places of the hall. The teacher chooses two melodies, for example, a polka and a waltz. Under the polka, all the children move in the hall like a snake, under the waltz they perform jumps in place or stand and conduct. As soon as the music stops, everyone runs to their seats. The column that lined up first wins.
"PASSING THE BALL CIRCLE"
Children are built in a circle facing the center. Each of the players has a rubber ball in their hands (if the circle is large, then you can give 2-3 balls).
A piece of music is performed at a slow, medium and fast tempo.
At slow pace the ball is thrown to the neighbor to the right in a circle; with an average, it is transferred in a circle to the left, and with a fast one, it rolls across the floor to the right. The player who makes a mistake receives a penalty point and continues the game. The winner is the children who did not make mistakes in determining the pace.
"BE SMART!"
Program content. Hear the beginning and end of music, the change of musical phrases. Independently, without showing adults, note in the movements a strong share of tact. Follow the rules of the game exactly.
Description.There are chairs in a wide circle, with their backs outward. Behind every chair stands a child. In the center is the driver, he squats down.
Measure 1. All the children sit down behind the chairs, as if hiding, and the leader gets up, trying, without leaving his seat, to look behind the backs of the chairs.
Measure 2. Children stand up, the driver squats down, as if hiding.
Bars 3-4. The movements are repeated.
Bars 5-12. All players run in the same direction in a circle (behind the chairs). The driver runs with everyone together in a general circle.
When the music ends, everyone sits on any chair. The one left without a seat becomes the driver. The game is repeated.
Guidelines. Before learning the game, invite the children to note the strong beat of the measure with claps. During the game, follow the correct posture: the back should be straight, the knees should be wide apart (when squatting), the feet should be slightly springy, the heels should not touch the floor.
"FUNNY CAROUSEL"
Software content.Lead to the ability to distinguish tempo changes in music (acceleration-deceleration) and respond to them with your movement.
Description. Children stand in a circle sideways to the center. Each in the hands of a stick with a plume at the ends and with a bell tied to the middle of the stick.
In the center of the circle on a bench is a child with a tambourine - a musician. Children hold chopsticks with both hands in front of them. You can replace the wand with a rattle or a colored flag.
Bars 1-8. Introduction. The carousel starts moving. Children walk in place, raising their knees high and pulling their socks. Wand. are holding in front of you.
The first part of the music. Bars 9-12 (rep 13-16). The carousel moves forward. Children with a clear step, raising their legs high, go to the right in a circle. The musician strikes the tambourine in the rhythm of the music.
Measure 17. Everyone raises sticks with bells (or rattles) up, rings them and puts them in front of them on the floor (perpendicular to the center). The musician puts his tambourine on the bench and stands. Into the general circle.
The second part of the music. The carousel gradually speeds up the movement. Children easily run in a circle, accelerating the pace of running. With the end of the music, everyone quickly raises their stick. If there is no stick in front of the child, he can run to another place in the circle where it lies. The one left without a wand is out of the game. The teacher chooses a new musician.
"LOVIShKA"
Program content. Hear the end of the musical phrase. To convey in words and claps the rhythmic pattern of the melody. Teach easy and rhythmic running.
Description.Children or the teacher choose a trap. He becomes, turning to the wall. Rest children - at the opposite wall facing him.
Bars 1-4 (with lead-in). Children quietly run up to the trap.
Bars 5-8. They clap their hands and say: "One, two, three, one, two, three! Well, hurry up and catch us!"
The children run away, the trap catches up with them.
Methodical instructions.Make sure that the children run up to the trap easily, rhythmically. No one should run until the music ends. Teach children to run up to the trap as close as possible without fear of being caught.
Tutoring
Need help learning a topic?
Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.
TOMSK STATE PEDAGOGICAL UNIVERSITY
FACULTY OF PHYSICAL CULTURE AND SPORTS
GRADUATE WORK
TOPIC
Fundamentals of the methodology for developing flexibility and coordination of movement in young gymnasts
(gymnastics)
Performed:
6th year student of OZO
Kuzmina N.V.
Scientific adviser:
Doctor of Education
Sciences Zagrevsky O.I.
Thesis defended
"___" __________ 2004
Grade ________
Tomsk 2004
INTRODUCTION 3
CHAPTER 1. FEATURES OF THE METHOD OF DEVELOPING FLEXIBILITY AND COORDINATION OF MOVEMENTS IN YOUNG GYMNASTS. 6
1.1. Goals and objectives, features of rhythmic gymnastics as a sport. 6
1.2. FEATURES OF THE METHOD OF DEVELOPING FLEXIBILITY AND COORDINATION OF MOVEMENTS, AGE FEATURES. 9
1.3. Characteristics of OFP and SFP means at the stage of preliminary training for young gymnasts. 25
CHAPTER 2. OBJECTIVES, METHODS AND ORGANIZATION OF RESEARCH. 28
2.1. Research objectives. 28
2.2. Research methods. 28
2.3. Organization of the study. 28
CHAPTER 3. METHODOLOGICAL ASPECTS OF FLEXIBILITY AND MOVEMENT COORDINATION DEVELOPMENT OF 5-6 YEAR GIRLS IN THE EDUCATIONAL AND TRAINING PROCESS AT THE STAGE OF PRELIMINARY TRAINING. 33
3.1. The study of motor fitness of 5-6 year old gymnasts at the preliminary stage at the beginning of the study. 33
3.2. Characteristics of the means and methods for the development of flexibility and coordination of movements according to the experimental method. 35
3.3. Research results. 43
CONCLUSIONS: 45
LITERATURE.. 47
APPENDIX ……………………………………………………………….. 51
INTRODUCTION
At present, the characteristic features of modern sports are its significant rejuvenation and the steady growth of sports achievement.
Devoted to research work, at first glance it seems that modern science has left no unsolved problems. At the same time, practice, no matter how perfect it is, is always characterized by the desire to achieve results faster and with less effort and money. That is, to improve the quality, productivity and efficiency of social labor. In this regard, a problematic situation arises related to the need to create new methods, technologies, production methods, and training.
Up to a certain point, the needs of practice to create new ways of solving the problems facing it are satisfied at the expense of existing scientific knowledge. However, sooner or later this knowledge is not enough to solve the problem of the situation, there is a need to expand the theoretical potential, the need to create a new scientific base, put forward new ideas, concepts, scientific theories.
However, the continuous growth of results requires the search for new forms, means, methods of working with young athletes. Purposeful long-term training and education of high-class athletes is a complex process, the success of which is determined by a number of factors. One of these factors is the development of flexibility and the identification of more effective ways, means, methods with which you can achieve the highest result in the shortest period of time. In connection with a sharp decrease in recent years in the age of starting rhythmic gymnastics, young gymnasts at the age of 8-9 must complete a competitive program in four to six types of all-around. Within one or two years, it becomes necessary to teach girls exercises with different objects that differ from each other in many characteristics. Therefore, the development of flexibility is of great importance and is one of the most significant tasks of the educational and training process. Sometimes, against the background of the priority development of flexibility, a decrease in the motor fitness of young gymnasts is manifested.
To date, it is relevant to identify the relationship between the growth of individual qualities against the background of a positive transfer in the development of one quality to others.
This topic was chosen and developed not by chance, since the significance of the ability of which is characterized as flexibility and coordination of movements is fundamentally important in rhythmic gymnastics, namely, without developing flexibility and without improving coordination of movements. In our opinion, it is not only impossible to achieve any results in sports, but it is generally impossible for those involved to remain in this area of sports activity or creativity.
We believe that flexibility is a fundamental quality for the sport we are talking about in this paper. Movement coordination is the fundamental principle, the foundation of any physical activity associated not only with rhythmic gymnastics, but also in general for the general life of a person. And having a certain baggage of initial knowledge regarding these types of abilities, we must take into account the individual characteristics of each child, since the predisposition and potential ability will be completely different. In this sense, we must provide for a strictly individual approach in the choice of methods and methods of influence for the development of the qualities we need (flexibility and coordination of movement). We understand that the quality, defined as flexibility, is specific and contains the directions of a certain range of influence, therefore, even if we apply the traditional methodology, we will definitely achieve results, which cannot be said about coordination movements, since this quality, the ability of a person is associated with the general laws of its internal development, originally incorporated in its general life activity and subject to laws independent of external physical influence. In this sense, our task is to put the human body in conditions unconventional and atypical for its everyday physical activity, i.e. the task of the coach is to invent a universal set of specific exercises of a specific direction, capable of developing movement coordination among those involved and putting this quality on a fundamentally new level.
A universal set of exercises that a coach uses in his work should have an impact not only to improve flexibility and coordination of movements, but also to maintain and develop the basic physical qualities of the trainees, namely strength, speed, endurance, etc.
OBJECT OF RESEARCH is: an educational and training process with young gymnasts.
SUBJECT OF RESEARCH is: study and application special means and methods for developing flexibility and coordination of movement.
THE PURPOSE OF THE THERAPY: evaluate the effectiveness of the means and methods used for the development of flexibility and coordination of movements.
HYPOTHESIS: We assumed that against the background of the development of flexibility and coordination of movement, the motor fitness of young gymnasts 5-6 years old at the stage of preliminary training would increase.
OBJECTIVES OF THE RESEARCH:
1. The study of scientific literature on the research topic.
2. To develop a methodology for teaching the development of flexibility and coordination of movements in young gymnasts.
3. Experimentally check its effectiveness in the training process.
CHAPTER 1. FEATURES OF THE METHOD OF DEVELOPING FLEXIBILITY AND
OF MOVEMENT COORDINATION IN YOUNG GYMNASTS.
1.1. Goals and objectives, features of rhythmic gymnastics as a sport.
The main goal of early physical education and sports is to create a solid foundation for raising a healthy, strong and harmoniously developed young generation.
The main tasks of initial training:
1. Strengthening health and harmonious development of all organs and systems of the body involved.
2. Formation of correct posture and gymnastic style of performing exercises.
3. Versatile general physical training and initial development of motor qualities that are important in rhythmic gymnastics (dexterity, flexibility, strength, speed, jumping ability and balance)
4. teaching the basics of exercise technique without and with objects.
5. Development of specific qualities: plasticity, danceability, musicality, expressiveness and creative activity.
6. Instilling interest in rhythmic gymnastics, fostering discipline, accuracy, diligence and independence.
7. Participation in demonstration performances and children's competitions (L.A. Karpenko, 1989).
Features of rhythmic gymnastics as a sport
The abundance and specificity of means determine the methodological features of rhythmic gymnastics, among which, according to the authors (G.A. Bobrova, 1978; E.V. Biryuk, 1982; T.S. Lisitskaya, 1982), the most characteristic are the following:
Firstly, the gymnast's free movement around the site, which includes elements of dance, ballet, facial expressions, plastique, elements without an object and with objects, as well as some elements of simplified, stabilized acrobatics.
Secondly, rhythmic gymnastics is associated with the art of controlling your body in natural conditions. According to E.V. Biryuk (1982): "Rhythmic gymnastics is the art of expressive movement."
Thirdly, a feature of rhythmic gymnastics is musical accompaniment. Thanks to the fusion of the dynamics of movements with the nature of the musical accompaniment, the movements acquire a different emotional coloring and acquire danceability. This connection is carried out not only in coordinating the movement with the size and tempo of the musical accompaniment, but also in educating the students the ability to correctly understand music and perform movements in accordance with its content and form. Music creates a more vivid representation of the nature of the movement.
Fourth, the peculiarity lies in the ability to effectively influence aesthetic education
Fifth, the feature is associated with motor memory and attention.
To perform complex combinations, original exercises, a gymnast needs to have a good memory and attention. The complexity of the structures of gymnasts' motor actions necessitates memorization of a large volume of relatively independent movements. This imposes requirements on the motor memory of gymnasts, as well as on such qualities as diligence, clarity and accuracy of movement reproduction,
According to J.A. Belokopytova (1988), the effectiveness of the training process largely depends on a clear perception of movement.
Perception is based on visual sensations: the eye evaluates not only the distance of the object and partners, but also traces the details of the studied and improved movements, actions, allows you to get information about them.
The success of training and improvement in rhythmic gymnastics is largely determined by the gymnast's attention to movements, their details, clarity of perception, or in other words - coordination of movements.
The gymnast's attention is characterized by the following features: concentration, wide distribution to moving objects (partners, objects), quick switching from one episode to another, large volume (seeing the platform) and intensity, especially in tense situations.
The next feature is the composition of the free exercise. The trend towards a relative equalization of the technical and physical abilities of gymnasts who claim to win prizes in high-ranking competitions significantly aggravates the competitive struggle, the victory in which begins to be determined by the originality, novelty of the composition. free programs(both in individual and group competitions).
The last feature is integrity.
Integrity consists in the participation of all parts of the body in the movement performed. This means that the main movement given to the gymnast must necessarily be accompanied by additional movements. For example, the main movement: from the initial position of the hand to the left, move them with an arc downward to the right. Additional movements will be: a) the movement of the head, lowering and rising to the left after the movement of the hands; b) the movement of the shoulder girdle, first slightly lowering, then slightly rising, according to the movement of the hands; c) slightly noticeable inclinations of the torso in the direction of the movement of the arms.
In general, the exercises are performed together, gently with a slight bending of the arms at the joints. The movements of the hands slightly lag behind the movement of the arms. The integrity of movements is most clearly manifested in such exercises as wave and swing.
The methodological features of rhythmic gymnastics listed above mainly characterize the activities of athletes in the conditions of training sessions. The conditions in which competitions take place are significantly different from the conditions of training. To effectively overcome the difficulties created by competitive activity (emotional tension, starting fever), a gymnast must have the following qualities: courage, balance, self-control, perseverance, striving for success.
Rhythmic gymnastics - all-around.
Junior gymnasts compete in exercises with apparatus (rope, hoop, ball, clubs, ribbon) and in exercises without apparatus.
Gymnasts of senior ranks do not perform exercises without an object.
In addition to the all-around, the competition program also provides for group (5 gymnasts) exercises with one or two apparatus.
1.2. FEATURES OF THE METHOD OF DEVELOPING FLEXIBILITY AND
COORDINATION OF MOVEMENTS, AGE FEATURES.
One of the most important physical qualities in rhythmic gymnastics is flexibility - the ability to perform exercises with a large range of motion. Without this quality, it is impossible to cultivate the expressiveness of movement, plasticity and improve their technique, since with insufficient mobility in the joints, movements are limited and constrained (T. S. Lisitskaya, 1982).
Flexibility is necessary to perform wave-like movements, acrobatic exercises included in the rhythmic gymnastics program, to take a posture in flight when performing jumps (D. Mavromati, 1982).
By their biomechanical nature, the vast majority of gymnastic exercises require good mobility in the joints, and some generally completely depend on the level of development of this quality.
With a high level of mobility, prerequisites arise for economical movement in the joint, since if the initial length of the muscles turns out to be greater, this allows you to show greater strength, the joints become more pliable, which means that less force is required to carry out movement in the joint (Yu.V. Menkhin, 1989 ).
Insufficient mobility in the joints is a consequence of poor elasticity of the muscles and ligaments surrounding these joints, as well as poor development of antagonist muscles (D. Mavromati, 1972). It is not enough to raise the leg high and then quickly lower it down. You need to be able to keep your leg in a high position. It is not enough to make a sharp bend back on one leg and, having raised the other to the rear balance, touch the floor with your hand, you must also be able to raise the body after that without lowering the leg. Thus, in close connection with the development of flexibility, it is necessary to develop the strength of the antagonist muscles.
Flexibility is manifested in the magnitude of the amplitude (range) of flexion-extension and other movements. Accordingly, its indicators are measured by the limiting amplitude of movements, estimated in angular degrees or linear values (centimeters) (L.P. Matveev, 1991).
Amplitude is understood as the degree of development of the qualities of gymnastics, the amplitude of movements and the scale of exercises with objects. The amplitude depends primarily on the physical qualities of the athlete and the degree of her development. One of the leading qualities when it comes to amplitude is flexibility.
Thanks to it, the performance of all types of gymnastic exercises is facilitated - inclinations, balances, jumps, waves. Flexibility gives the athlete plasticity, softness, grace. Modern rhythmic gymnastics pays special attention to this quality, so it is of decisive importance in apparatus exercises.
Particular importance is attached to the development of the flexibility of the spinal column not only in the lumbar region, but also in the thoracic and cervical regions, which is important for mastering waves, strokes, and ring movements.
The technique of gymnastic exercises requires a large range of motion in the hip joint, eversion, and high mobility of the ankle joint. No less important, in particular for mastering the technique of possession of objects, is mobility in the shoulder, elbow, wrist joints in all planes.
Distinguish between active and passive flexibility. Under active , Flexibility means the maximum possible mobility in the joint, which the athlete can show on his own, without outside help, using only the strength of his muscles. Passive flexibility is determined by the highest amplitude that can be achieved due to external forces created by a partner, projectile, weights.
The value of active flexibility is always less than passive. So, when the leg is abducted, the amplitude of movement in the hip joint is less than when the same movement is performed with the help or stroke (L.P. Orlov, 1973).
Under the influence of fatigue, active flexibility decreases (due to a decrease in the ability of muscles to completely relax after a previous contraction), and passive flexibility increases (due to less muscle tone that counteracts stretching) (B.A. Ashmarin, 1990).
It is in rhythmic gymnastics that active flexibility is of great importance, providing the necessary freedom of movement, as well as allowing you to master rational sports equipment.
However, optimal mobility in the joints can be achieved only with the simultaneous development of active and passive flexibility.
As a means of educating flexibility in rhythmic gymnastics exercises, stretching exercises are used, performed with maximum amplitude.
Passive exercises can be dynamic (spring) or static (holding a posture) character. The combination of spring movements followed by posture fixation brings the greatest effect for the development of passive flexibility (TS Lisitskaya, 1982).
There are also general and special flexibility. The general one is characterized by the maximum amplitude of movements in the largest joints, the second - by the amplitude of movements corresponding to the technique of a specific motor action (B.A. Ashmarin, 1990).
With age, due to an increase in the mass of tendons (compared to muscles) and some compaction of the muscle tissue itself, the tonic resistance of the muscles to the action of tensile forces increases and flexibility deteriorates. In order to prevent the deterioration of mobility in the joints, which is especially noticeable at the age of 13-14 years, it is necessary to start developing passive flexibility in a timely manner. For the development of passive flexibility, the sensitive period will be the age of 9-10 years, and for active flexibility, 10-14 years (V.I. Filippovich, 1971).
Rhythmic gymnastics is a complex sport. A feature of mastery in rhythmic gymnastics is the mastery of complex and fine coordination of movement, the ability to convey not only the general nature of the movement, but also its details (Yu.N. Shishkareva and L.P. Orlov, 1954).
In rhythmic gymnastics, physical training is aimed at the harmonious development of all qualities. Great importance in children 5-6 years old is given to the education of correct posture, excluding excessive lumbar deflection, stoop, clubfoot. However, more attention than others is paid to the development of flexibility and coordination abilities (TS Lisitskaya, 1982).
Coordination abilities (CS) represent the functionality of certain organs and structures of the body, the interaction of which determines the coordination of individual elements of movement into a single semantic motor action (B.A. Ashmarin, 1990).
In general terms, CS is understood as a person's capabilities that determine his readiness for optimal control and regulation of motor action. Coordination abilities include:
Orientation in space;
Accuracy of movement reproduction in terms of spatial, force and time parameters;
CS are divided into general, special and specific types. The most important specifically manifested CS in the subject-practical and sports activities of a person include:
Abilities based on proprioceptive sensitivity (muscle sense);
Ability to orientate in space;
The ability to maintain balance;
Sense of rhythm;
Ability to rebuild motor actions;
Statokinetic stability;
The ability to voluntary muscle relaxation, V.I. Lyakh (1989) indicates that the most favorable period for the development of CS in girls is the age of 11-12 years.
The ability to orientate in space.
This ability is understood as the ability to accurately determine and timely change the position of the body and move in the right direction. A person manifests this ability in the appropriate conditions of any activity (on the gymnastic ground, on the ground for playing volleyball, tennis, basketball, etc.). From this it follows that the ability to orientate in space is specifically manifested in each sport.
Its manifestation and development largely depend on the speed of perception and assessment of the spatial conditions of the action, which
is achieved on the basis of the complex interaction of analyzers (among them the leading role belongs to the visual).
The main methodological approach specifically aimed at improving this ability is the systematic execution of tasks containing consistently increasing requirements for the speed and accuracy of orientation in space. .
The ability to maintain balance.
The growth of sportsmanship in gymnastics largely depends on the activity of the vestibular analyzer. Along with motor and visual analyzers, it provides orientation in space, affects the level of motor coordination and the quality of balance.
Observations show that gymnasts, whose vestibular analyzer is not well developed, usually master the program material with difficulty, they experience difficulties in mastering rotational movements and maintaining balance (Yu.P. Kobyakov, 1976)
The ability to maintain the stability of the posture (balance) in certain positions of the body or in the course of performing movements is of vital importance, since the performance of even relatively simple movements requires a sufficiently high level of development of the organs of balance.
The manifestation of balance is varied. In some cases, it is necessary to maintain balance in static positions (stands on one leg in the “swallow” position, handstands in gymnastics and acrobatics); in others - in the course of performing movements (when walking and running on a log or other narrow object, etc.) - dynamic balance.
There is also a third form of balance - balancing with objects and on objects, for example, balancing with a gymnastic mace standing on the palm of your hand; holding the ball on the head while standing still or moving; maintaining balance while standing on a roller, etc.
Improving static and dynamic stability occurs on the basis of mastering motor skills, as well as in the process of systematic application of general and special preparatory coordination exercises. Elements of balance are an integral part of almost all movements: cyclic, acyclic, throwing, acrobatic, sports and games, etc. (V.I. Lyakh, 1989)
The variety of manifestations of equilibrium makes it necessary to clarify its varieties. The study of body stability in motor activity is in the field of view of many authors. However, the structure of this DCC, its main components and manifestations, factors that determine the development and criteria for assessing a stable body position have not yet been determined. Therefore, first of all, it is necessary to define and substantiate each of the structural elements of this quality.
Being a complex DCC, the equilibrium has the following components:
Rational arrangement of body links;
Minimization of the number of degrees of freedom of the moving system;
Dosage and redistribution of muscle effort;
The level of spatial orientation.
The basis of the control of any balance is the interaction of the body with the earth's gravity. The higher the position of the common center of gravity above the support, the greater the effect of gravitational forces on it and the more difficult it is to maintain stability.
The first component - the rational arrangement of the links of the body - contributes to a better balance. Proper posture in a sitting or standing position contributes to better stability of the body.
Rational mutual distribution of body parts significantly affects muscle activity. So, in the squat position on one leg, the activity of the muscles of the trunk and the supporting leg sharply increases.
Consequently, the location of the links of the body not only significantly affects the external perception of any motor action, but also contributes to the preservation of stability.
The second component of balance is the dosage and redistribution of muscle efforts. The difficulty of maintaining a stable body position after performing any movement (turn, jump, somersault) lies in the fact that the efforts of muscle groups are of a short-term nature, occurring only in certain phases of the motor action, while at the beginning and at the end of movements, the magnitude of these efforts is different . The amount of applied muscular effort is largely determined by the specific manifestation of balance. For example, maintaining balance on an elevated support and after performing a rotation requires a completely different nature of the application of efforts. In the second case, more of them are needed, which is associated with the presence of a counter-rotation reaction.
Maintaining stability after performing various jumps requires overcoming certain inertial forces. The more complex the jump technique, the more significant forces must be overcome. With the short-term nature of the performance of motor actions, additional difficulties arise associated with solving the problems of maintaining balance in the shortest possible period of time. At the same time, the requirements for the manifestation of a high level of intramuscular and intermuscular coordination sharply increase.
Different muscle groups, as you know, have an unequal degree of activity. The muscles that perform the main load while maintaining the links of the body in a state of balance have the greatest. For example, in a handstand, higher activity is characteristic of the muscles of the wrist joints and muscles of the back.
The third component of maintaining a stable body position is the level of spatial orientation. To perform any motor action, from elementary natural movements:
holding any posture, walking, running - to technically complex sports exercises, a certain degree of orientation in space is necessary. The better it is, the easier it is to maintain a stable position. Spatial orientation ensures the accuracy of movements when moving the body and its individual links.
In various types of motor activity, spatial accuracy of movements is of great importance. For example, the accuracy of a ball throw depends on the degree of accuracy in assessing the spatial characteristics of movements. Each motor action has a certain structure, and information about its parameters is sent through its specific channels to the control system.
Concepts such as "sense of distance", "sense of the ball", and so on, are based on the interaction of a complex of functional systems, which makes it possible to determine and control the distance. Therefore, maintaining body stability when performing many motor actions with closed eyes is much more difficult than with open ones.
There are two main types of equilibrium: static and dynamic. At the same time, various manifestations of static and dynamic balance are not presented in the special literature, which leads to different interpretations of the leading role of some factors in the development and improvement of this quality.
Therefore, the definition of specific manifestations of static and dynamic balance is important. Special studies have revealed that both static and dynamic equilibrium have a number of specific and non-specific manifestations. Specific ones are associated with a specific type of sports activity, non-specific ones are most often characteristic of work and household activities.
The division into specific and non-specific manifestations is very conditional, since it is impossible to make a clear distinction in complex motor activity without violating the structure of the movement. Nevertheless, the allocation of these two relatively independent groups is justified from the point of view of the development and improvement of body stability. It must be borne in mind that it is impossible to achieve absolute stability of the body. When maintaining any balance, the muscles are in a state of a certain tremor, which is more pronounced in the untrained, and therefore it is more difficult for them to achieve balance.
The state of the respiratory system has a certain influence on maintaining balance.
It is known that with forced breathing, the oscillatory movements of the body increase, which leads to a large expenditure of effort to maintain balance. At the same time, holding the breath for at least 30 seconds causes a decrease in body vibrations.
One of the factors affecting the ability to maintain a stable position of the body is the level of development of physical and coordination qualities. A certain degree of development of the strength and speed qualities of the muscles allows you to repeatedly repeat efforts of a different nature with the maximum possible speed. Strengthen the manifestation of the stability of the body certain indicators of stability. The higher the level of general and special endurance, the faster athlete learns different kinds of balance.
The ability to maintain balance also depends on the level of development of mobility in the joints. The higher the degree of mobility (to a certain extent), the easier it is to ensure a rational arrangement of the body and its individual links and thus control stability.
The level of development of flexibility also affects the maintenance of balance. A high degree of flexibility of the cervical, thoracic, and lumbar spine allows you to take a stable position above the support.
Agility plays an important role in maintaining balance, especially in rotational and jumping exercises. A high level of muscular and intramuscular coordination ensures the solution of rather complex motor tasks. Therefore, the more difficult the sports exercise, the more dexterity is required to maintain a stable body position. In each sport, the manifestation of agility while maintaining stability has its own specifics. Dexterity is also manifested in the expedient performance of actions, the time of execution of movements, in an instant correct assessment of the situation and an adequate reaction. Of no small importance is the accuracy of movements, which ensures the rational arrangement of the links of the body above the support and in the unsupported state. The accuracy of motor actions contributes to their high efficiency, performance with less expenditure of muscle effort and energy. It manifests itself in the perfect form (visible side) of movements and a clear structure (content) of the motor action.
Rhythm also has a certain value in a stable position of the body, providing an even distribution and redistribution of muscle efforts. It determines the optimal ratio of individual parts of the motor action, their continuity during a given time, as well as the nature, consistency and amplitude of individual movements. In any exercise there is a certain duration in time (tempo) and a regular distribution of efforts (dynamics). Tempo and dynamics are closely related and influence each other. Their optimal combination ensures the harmony of movements. In this case, there is a sense of the rhythm of walking, running, etc., which is impossible without a stable body position.
One of the factors that increase the ability to maintain balance is the psychological mood and emotional state. A high level of psychological preparation contributes to the balance of nervous processes - an important condition for a stable position. Positive emotions also help to increase efficiency, muscle activity and, consequently, more effectively maintain the balance of the body and its individual links.
The criteria for assessing the stable position of the body are as follows:
Spatial assessment and self-assessment of the location of body links while maintaining a separate posture: in motion and in combination with
other types of motor actions;
The degree of conformity of the assessment and self-assessment of the location of the links of the body;
Degree of body stability after deviation from the basic position within 5-10-15°;
The degree of body stability during additional movements (head, arms, etc.);
The degree of stability of the body in a certain position;
The degree of body stability in various ways of moving in space (walking, running, swimming, skiing, etc.);
The degree of body stability in various support conditions:
elevated, inclined, elastic, soft, hard, etc.;
The degree of stability of the body in an unsupported state;
The degree of body stability before the load (beginning of training), in the middle of the session and after the load;
The degree of body stability in combination with other types of motor actions: rotations, jumps, turns;
The degree of stability of the body when balancing objects.
Based on the above, we can give the following definition to this DCC: balance is the ability to maintain the stability of the body and its individual links in the support and unsupported phases of a motor action.
Abilities based on proprioceptive sensitivity.
Research by V.I. Lyakh showed that abilities based on proprioceptive sensitivity (muscular feeling - according to I.M. Sechenov) are quite specific. These are the abilities to reproduce, evaluate, measure, differentiate spatial, temporal and power parameters of movement.
The presence of a fairly wide range of so-called simple abilities can most likely be explained by the fact that the control of movements in various parameters is carried out with the help of various proprioceptors.
The ability to reproduce, evaluate, measure, differentiate spatial, temporal and power parameters are based mainly on the accuracy and subtlety of motor sensations and perception, which often act in combination with visual and auditory abilities; with little motor experience, the sensations and perceptions of children are still too rough, inaccurate, poorly perceived errors in the reproduction, evaluation or differentiation of spatial, temporal, spatio-temporal and force signs of movement. As experience is acquired, the sensations and perceptions of the parameters of the movements performed become more accurate, distinct and clear.
In each type of physical exercise, muscle-motor sensations and perceptions are specific.
This is envy from the originality of coordination of movements, environmental conditions, used projectiles. Specialized perceptions in sports activities are otherwise called feelings. The most famous senses are: distance - among fencers and boxers; subject - gymnasts; water - from swimmers; time - for runners, cyclists, skiers, etc.
From this it follows that the ability to reproduce, differentiate, measure and evaluate the spatial, temporal and power parameters of movement, actions or activities in general, based on the accuracy and subtlety of specialized perceptions ("senses"), are very diverse, are of a specific nature and develop depending on the characteristics of a particular sport.
However, these abilities are extremely rare in isolation. In addition, they are in certain relationships with other special and specific CSs, as well as with physical and psychological characteristics.
These connections are due to the fact that in motor activity the coordination of movements acts as an integral psychomotor process, in which its various components are represented in unity and close interweaving: intellectual (programming and semantic), sensory, sensorimotor and motor (performing, physical).
The ability to accurately reproduce, evaluate, measure and differentiate the parameters of movements develops primarily with the systematic use of general and special preparatory coordination exercises, methods and methodological techniques for the development of special CS. To improve the effectiveness of pedagogical influence, methodological approaches are used to improve these abilities. The methods of CS development are based on the systemic fulfillment of tasks that place high demands on the accuracy of performing motor actions or individual movements. There are analytical (selective) tasks - for the accuracy of reproduction, evaluation, measuring and differentiation of mainly one of any movement parameter (spatial, temporal or power) and systematic - for the accuracy of controlling motor actions in general. It is clear that such a division is conditional, because the accuracy of reproduction, evaluation, etc., say, of a spatial parameter is isolated from the accuracy of reproduction, evaluation, etc. there is no temporary or force sign of movement.
In the real process of control and regulation of motion, these types of accuracy always act in an organic unity. Therefore, although a predominantly differentiated effect on improving the accuracy of any one movement parameter is possible, it is mandatory to aim at achieving the accuracy of performing a motor action as a whole (V.I. Lyakh, 1989). When implementing the purposeful development and improvement of the CS, young athletes master various motor actions much faster and more rationally; at a higher quality level, they learn new things and easily rebuild old training programs; move faster to the heights of sportsmanship and stay longer in big sport; improve sports technique and tactics more successfully; easier to cope with tasks that require a high level of psychophysiological functions in the sensorimotor and intellectual spheres; acquire the ability to rationally and economically spend their energy resources; constantly replenish their motor experience; experience joy and pleasure from the constant mastery of new and diverse types of physical exercises (V.I. Lyakh, 1989).
Anatomical, physiological and psychophysical features of young gymnasts
1. Between 4 and 7 years, ossification of long bones begins. Ossification is uneven, and excessive force loads can disrupt this process.
2. At the same age, the bends of the spinal column are formed and insufficiently compensated lumbar lordosis occurs. Therefore, girls have an incorrect posture (they walk with their stomach forward). Thoughtful application of classical exercise exercises helps to correct posture.
3. In 5-6 year old children, the muscles are not yet formed, there is an uneven development of individual muscle groups. For those who have stronger flexor muscles, it is advisable to pay attention to the development of the extensor muscles and vice versa.
4. High intensity of metabolic processes, uneconomical muscular effort, increased energy consumption can lead to rapid fatigue. Therefore, the load should be small and have a "fractional" character with frequent pauses for rest.
5. The regulatory mechanisms of the cardiovascular and respiratory systems are not yet perfect. The pulse rate is high and at rest, increases even with moderate exercise, blood pressure undergoes large fluctuations, breathing is rapid and shallow. But under the influence of natural development and regular classes, the functional capabilities of children increase. By the age of 7-8 years, children can endure significant loads, but adapt better to moderate-intensity activities.
6. Basic motor qualities develop unevenly and depend on the state of the child's functional systems and his respiratory experience. Therefore, experts recommend in the initial period to increase the overall capacity of those involved with the help of a variety of means.
7. Attention in children of 5-6 years old is held with difficulty, its volume and stability increase gradually and slightly. In the learning process, it is necessary to use new, bright and brief stimuli to keep children's attention. There should be no more than 1-2 comments on the execution technique at one time.
8. Children 5-6 years old are not yet able to separate the inessential from the main, often fix their attention on the secondary. Therefore, in
At this age, it is advisable to use a holistic teaching method, study simple exercises, use short and precise explanations.
9. The visibility of learning is important at this age. The display must be very precise and clear, as children often simply
copy the teacher and can repeat his mistakes. But for the development of the 2nd signal system, replenishment of the terminological stock, the show should be accompanied by a brief and accessible explanation.
10. Emotional manifestations in children aged 5-6 are imperfect, strong-willed and moral qualities are limited. Therefore, it is necessary to work tirelessly on the development of these qualities in children, remembering that praise and encouragement methods at this age are much more effective than punishment methods.
11. Musical accompaniment of classes at this stage of initial training should be simple, understandable and accessible, close to children aged 5-7. According to the new Regulations on the Youth Sports School, at the initial stage of preparation, the involvement of accompanists is not provided. This, of course, complicates the work of trainers (L.A. Karpenko, 1989).
1.3. Characteristics of the means of OFP and SFP at the stage
preliminary training for young gymnasts
The successful implementation of the comprehensive physical education of young gymnasts largely depends on the skillful selection of means and methods of physical training over a number of years in an annual cycle.
Full physical training includes general and special training, between which there is a close relationship. This separation allows you to better build the pedagogical process, using various means and methods.
Special physical training is directly aimed at the development of physical qualities specific to this sport.
The means of special physical training are: 1) competitive exercises, i.e. holistic actions that are performed in compliance with all requirements established for competitions; 2) special preparatory exercises, directly aimed at the development of physical qualities. These are exercises aimed at developing muscle groups that carry the main load when performing a holistic action.
General physical training is aimed primarily at the general physical development gymnasts, i.e. the development of physical qualities, which, although not specific to this sport, are necessary from the point of view of a comprehensive increase in the functional capabilities of the body.
General physical training enriches the athlete with a wide variety of skills. Despite the different specific manifestations of physical qualities, they all have common patterns of development, on the basis of which they manifest themselves in a particular sport.
General physical training is aimed at the overall harmonious development of the whole organism, the development of all its muscles, strengthening the organs and systems of the body and increasing its functionality, improving the ability to coordinate movements, increasing speed, strength, endurance, agility, flexibility, correcting deficiencies in physique and posture in young athletes.
The specific choice of means depends on the inclinations of those involved, the existing traditions of the sports team and the available opportunities.
For young gymnasts, the means of general physical training will be walking, running, climbing, exercises to develop a sense of balance, general developmental exercises with and without objects, exercises with weights.
A significant place in the program of their classes should be given to outdoor and sports games, various types of athletics, swimming and diving. .
General and special physical training should be presented in all types of the annual cycle - preparatory, competitive (basic) and transitional, but the ratio and tasks change.
In the first years of training, it is necessary to pay great attention to general physical training (A.G. Shlemin, 1958; Z.I. Kuznetsova, 1957; A.G. Detinkov, 1962), because. it contributes to the versatile development and increase in the functional capabilities of the body of young athletes. General physical training should be carried out throughout the year, varying in volume depending on the period of training. The authors of the programs emphasize that one of the most important conditions in training with young gymnasts is a combination of special and general physical training, because. Only under this condition can high sports results be achieved.
CHAPTER 2. OBJECTIVES, METHODS AND ORGANIZATION OF RESEARCH.
Analysis of the scientific and methodological literature made it possible to formulate the purpose and working hypothesis of the study.
Purpose: to evaluate the effectiveness of the means and methods used for the development of flexibility and coordination of movements.
Hypothesis of the study: against the background of the priority development of flexibility and coordination, the general motor fitness of young gymnasts aged 5-6 at the stage of preliminary training can also increase.
2.1. Research objectives.
1. Determine the level of development of general and special preparedness.
2. To reveal the relationship between the development of flexibility, coordination of movements and general motor fitness.
3. Development of an effective selection of means in the training process aimed at improving general and special training.
2.2. Research methods.
To solve the tasks, the following research methods were used:
1. Study analysis of scientific and methodological literature;
2. Pedagogical observations;
3. Testing of motor qualities;
4. Methods of mathematical statistics.
2.3. Organization of the study
Literature analysis. To obtain objective information on the issues under study, to clarify the research methodology, the following literature was studied: on the physical qualities of athletes, on the coordination abilities of children 5-6 years old, on the age characteristics of children 5-6 years old. The characteristics of the means of OFP and SFP at the stage of initial training in young gymnasts were studied; sports metrology data, which made it possible to objectively analyze and substantiate the results of the research. Recommendations on rhythmic gymnastics coaches were also used. In total, 40 literary sources of domestic authors were analyzed.
Pedagogical observations. Pedagogical observations were carried out at competitions and trainings in the village of Kozhevnikovo. Observations were carried out on children 5-6 years of age from December 2003. to March 2004 in KSSh - 2 villages of Kozhevnikovo.
Testing of motor qualities. An important organizing and guiding factor in the process of physical training is the control over the development of qualities. One of the indicators that characterize the level of general physical fitness of gymnasts is their successful passing of physical fitness tests.
As a result of a series of scientific studies, a set of pedagogical control tests has been developed. It characterizes the level of development of the basic physical qualities of children involved in rhythmic gymnastics. This complex was developed taking into account the normative documents of the Youth Sports School.
The following tests were used to determine flexibility:
"TWINE" on the right leg. Gymnasts 5-6 years old perform splits on the floor. The distance from the floor to the hip is measured in centimeters. "Split" allows you to determine the development of flexibility in the hip joints.
"BRIDGE" is fixed for 2 seconds, the distance between the gymnast's hands and heels is estimated in centimeters. "Bridge" allows you to determine the development of the flexibility of the spinal column.
"TWIST" in the shoulder joints with a rope is performed three times. The distance between the brushes is measured in centimeters. "Twist" allows you to determine the mobility in the shoulder joints.
Based on the analysis of literary sources (V.I. Lyakh, 1989, 1998; A.V. Lagutin, 1996), three tests were used to determine the following types of CS:
Ability to maintain balance;
Ability to coordinate movements;
Coordination abilities related to holistic motor actions (the ability to orientate in space).
The HERON test is performed as follows.
I.P. - stand on the right (left) leg, the knee of the left (right) is turned to the side, the foot is pressed to the knee of the supporting leg. Hands forward with palms down.
On command, the subject must close his eyes and remain motionless for the maximum amount of time.
As soon as small fluctuations in movement began to be observed, the stopwatch was stopped.
To determine the ability to coordinate movements, the test "Squat UP - LAYING UP" was taken.
I.P. – O.S.
1. Emphasis crouching;
2. Emphasis lying;
3. Emphasis crouching;
One point is awarded for one fully completed exercise, each of the four phases of the exercise is ¼ point.
The ability to orientate in space was assessed using the G-8 test. Crawling in an emphasis, standing bent over, along an eight-shaped distance.
I.P. - Standing on half-fours (knees do not touch the floor) between two cubes located at a distance of 1.5 meters from each other. The palm of one hand is on the mark indicating the middle of the distance between the cubes.
Task: crawl on the half-fours "EIGHT", bending around each cube three times. Estimated task execution time in seconds. The result of one attempt is taken into account.
To determine the general physical fitness, the following tests were taken:
1. Long jump from a place. The distance is measured in centimeters.
2. Run 20 meters. Estimated task execution time in seconds. Three attempts are run and the best result is left.
3. Hanging on bent arms. Estimated task execution time in seconds.
I.P. - hanging on a high bar with an overhand grip, the chin is above the bar, does not touch. As soon as the chin touched the crossbar, the stopwatch was stopped.
Methods of mathematical statistics.
All the results of experimental studies were processed using the methods of mathematical statistics described in the relevant manuals (L.P. Kanakova, O.I. Zagrevskii, 2003, etc.).
1. Arithmetic mean value of the feature:
2. standard deviation - dispersion:
3. arithmetic mean error:
4. Spearman's rank correlation coefficient.
5. The significance of differences was determined by the rank correlation coefficient:
According to the assessment of the reliability of the results obtained, the 1–5% significance level was taken as the main one.
CHAPTER 3. METHODOLOGICAL ASPECTS OF FLEXIBILITY AND MOVEMENT COORDINATION DEVELOPMENT OF 5-6 YEAR GIRLS IN THE EDUCATIONAL AND TRAINING PROCESS AT THE STAGE OF PRELIMINARY TRAINING.
3.1. The study of motor fitness of 5-6 year old gymnasts at the preliminary stage at the beginning of the study.
Table #1
The level of motor fitness at the beginning of the study
Table number 2
Correlation table of the relationship between the development of flexibility and coordination
movements at the beginning of the study
Based on the correlation analysis of gymnasts at the stage of preliminary training, a weak inversely proportional relationship was revealed between the flexibility of the spinal column and the coordination of movements, as well as mobility in the shoulder joints and statistical balance. The resulting correlation coefficient was r=0.08, which is an unreliable indicator. The strongest directly proportional relationship was obtained between mobility in the shoulder joints and coordination of movements, the correlation coefficient was r = 0.3. The reliability of the results was not found (P> 0.05).
Table No. 3
Correlation table of the relationship between the development of coordination of movements
and general motor fitness at the beginning of the study.
Correlation analysis revealed the closest directly proportional relationship between speed-strength and strength abilities, the correlation coefficient was r = 0.7 and turned out to be significant (p< 0,05)
3.2. Characteristics of the means and methods for the development of flexibility and coordination of movements according to the experimental method.
As the analysis of literary sources has shown, in rhythmic gymnastics, in order to achieve a high level of sportsmanship, it is necessary to develop among those involved in such a quality as flexibility. This position is also confirmed by our experimental studies. Therefore, the main task of the pedagogical experiment for us was to improve the methodology for developing flexibility, based on the results of our own research.
The process of development of flexibility was carried out gradually.
The dosage of exercises aimed at developing flexibility was small, but the exercises were applied systematically, at each lesson. Also, these exercises were included in the morning exercises.
Before starting exercises to increase joint mobility, a warm-up was carried out to warm up the muscles.
Stretching exercises had an effect if they were repeated until a feeling of slight soreness appeared.
The main means of developing flexibility were stretching exercises, which could be dynamic (springy, swing, etc.) and static (maintaining maximum amplitude in various postures) character.
Stretching exercises were performed both with and without weights.
The use of weights allows you to accentuate the development of muscles that provide movement in the joints.
Complexes of exercises aimed at developing mobility in various joints of the musculoskeletal system consisted of active exercises (the maximum amplitude is achieved by the performer himself) and passive exercises (the maximum amplitude is achieved with the help of additional external efforts). The load in flexibility exercises in individual sessions and throughout the year increased due to an increase in the number of exercises and the number of their repetitions. The pace during active exercises was 1 repetition per 1 second; with passive - 1 repetition in 1 - 2 seconds; holding static positions - 20-30 seconds.
When performing tasks on flexibility, the child was given a specific goal, for example, to reach a certain point or object with his hand. This technique allows you to achieve a greater range of motion.
The main method of developing flexibility is the repeated method, where stretching exercises were performed in series of 10-12 repetitions each. The amplitude of movements increased from series to series. Such exercises gave the greatest effect, and if the children performed daily at home and did not miss training. In training, 40% of the time was devoted to the development of flexibility. The following ratio was used in the use of exercises for the development of flexibility: 40% - active; 40% passive; 20% static.
Since classes were held 3 times a week for children aged 5-6, a homework system was used, which included: exercises aimed at developing the flexibility of the spine, in the hip and ankle joints, popliteal ligaments, as well as jumping rope. For the Development of Flexibility in the training process, exercises of a speed-strength nature were used: springy movements, swings, followed by holding the legs. At the same time, if the exercises were performed with weights, the weight of the weights should not reduce the speed of swings or springy movements (weights did not exceed 2-3% of the gymnast's body weight). As methods for improving flexibility, games and competitive methods, then the classes were interesting and fun (who will be able to bend down; who, without bending their knees, will be able to lift a flat object from the floor with both hands, etc.).
Flexibility exercises were performed in the following sequence: at the beginning, exercises for the joints of the upper limbs, then for the trunk and lower limbs.
The conditions for performing the exercise are greatly facilitated by the support. Exercises were first performed at the support, then without support.
Active and passive flexibility develop in parallel.
Exercises used to develop flexibility:
1. Repeated springy movements that increase the intensity of stretching. N-R: springy forward bends.
2. Movements performed in the largest possible amplitude. N-R: bending back and forth to failure.
3. Inertia of movements of any part of the body. H-R: swing your legs forward or to the side with a gradually increasing amplitude of movement.
4. Additional external support. Н-Р: grips with the hands on the rail of the gymnastic wall or a separate part of the body, followed by pulling one part of the body to another.
5. Active help from a partner.
A set of exercises for the development of flexibility
1. Tilt forward, sitting legs apart. Touch the chest to the floor and hold this position for 2-3 seconds. To successfully meet this regulatory requirement, it is recommended that you master the following exercises:
a) sitting on the floor, legs together, tilting forward with the help of a trainer who presses his hands in the area of the shoulder blades;
b) standing in an inclination forward, strive to touch the floor with the palms, then with the forehead, chest of the legs;
c) stand with your back to the gymnastic wall, lean forward, grab the second rail and pull towards you, leaning deeper and deeper (do not bend your legs);
d) standing facing the gymnastic wall, put the right foot on the rail at the height of the belt (or chest) and, leaning forward, try to touch the leg with the chest;
e) sitting legs apart wider, tilt forward with help.
2. Bridge from a prone position.
The ability to perform the bridge is essential not only for the development of body flexibility, but also for successful floor and acrobatic exercises.
Bridge exercises:
a) bending back, touching the wall with your hands;
b) kneeling, hands up, tilting back, trying to touch the floor with your hands;
c) sitting with your back to the wall, grasp the rail at the height of your head, bend your legs and put them shoulder-width apart, bending to stand up;
d) standing with your back to the wall, lean back and leaning your hands against the wall, complete the bridge;
e) lying on your back, bend your legs and rest your hands behind your head;
e) standing, tilting back bridge with the help of a trainer.
3. Raising a straight leg forward, to the side (to the height of the belt, chest), back (above the knee), standing at the gymnastic wall and leaning on it with his free hand on the belt:
a) swinging naked forward, backward, to the side, standing at the gymnastic wall and leaning on it with your hand (when swinging your foot, turn your foot outward, keep your body and head straight);
b) stand facing (sideways) to the wall and put a straight leg on the rail at the height of the belt. Squat on the supporting leg, keep the straight leg on the rail;
c) standing against the wall, raise the straight leg forward, to the side and back with the help of a trainer (avoid pain);
d) Standing against the wall, lift the straight leg forward, backward, to the side with weights (sandbags weighing 1-2 kg).
4. Twists in the shoulder joints with a rope.
To develop flexibility in the shoulder joints, it is recommended to regularly perform the following exercises:
a) circular movements of the hands in the lateral and frontal planes alternately, sequentially and simultaneously;
b) also with maces, dumbbells, sandbags;
c) from a standing position, hands up with a rubber bandage, twist, lowering the hands back behind the back and returning to the starting position;
d) too, but with a rope, arms up wider than shoulders.
5. Straight twine.
It is recommended to start twine training with the exercises described in paragraph 3. Raising the legs to the side by 90 degrees contributes to the good performance of straight split and eliminates traumatic injuries. In addition to these exercises, the following are recommended:
a) from an emphasis lying legs apart wider, socks turned outward, turning the torso to the right and left, exposing the arms to one side or the other. Turning to the left, strive to touch the floor with the right thigh, turning to the right - with the left thigh;
b) standing facing the gymnastic wall, spread your legs apart wider. Holding hands on the wall, strive to go down as low as possible;
c) too, but stand on the 2nd - 3rd rail;
d) standing with legs apart wider, medicine ball between legs. Stretching your legs to try to sit on the ball;
e) from the gray-haired legs apart wider, leaning on the hands forward, stand on your feet and return to I.P.
The main task of coordination improvement is to provide a broad basis (the fund of acquired motor skills and abilities) and, on its basis, achieve a versatile development of coordination abilities.
In order to successfully solve it, children are first of all taught a wide range of motor actions. To do this, in the classroom with them used a variety of exercises, most of them new or unusual, most of which can be considered as coordinating. The widest of them was the group of general preparatory coordination exercises. In senior preschool age dominated by analytical coordination exercises that affect various special and specific c.s. Much attention at this age was paid to general developmental exercises without and with objects.
Speaking about the features of the development of c.s. older preschool age, it is necessary to highlight the problem of the optimal ratio of methods of standard - repeated and variable (variable) exercises.
The method of standard-repeated exercise is absolutely necessary in working with preschoolers, however, as students begin to confidently perform assimilated motor actions, it should give way to the method of variable exercise. Otherwise, the acquired skills can turn into inert stereotypes, and this is unacceptable, because. movement technique will be rebuilt in the future due to the growth of physical abilities and a significant increase in body size.
Among the techniques related to the method of variable (variable) exercise, at this age, techniques of strictly regulated variation should prevail.
As a means of educating motor-coordination abilities, in principle, a variety of physical exercises can be used, and if their implementation is objectively associated with overcoming more or less significant coordination difficulties. Such difficulties have to be overcome in the process of mastering the technique of any new motor action.
However, as the action becomes habitual and the skill associated with it becomes more and more fixed, it becomes less and less difficult in terms of coordination and therefore stimulates the development of coordination abilities less and less. Novelty, at least partial, unusualness and the resulting extraordinary requirements for coordination of movements are the most important criteria when choosing exercises for an effective impact on motor-coordination abilities.
Particularly valuable in this regard are the infinitely varied combinations of movements that make up the material of gymnastics, as well as sports and outdoor games.
With the development of the CS, the methodology of N.V. Khomyakov (1998) was taken as the basis. In his methodology, he proposed the use of special exercises at the initial stage of training aimed at eliminating motor asymmetry, which will contribute to the harmonious development of gymnasts, a more complete manifestation of coordination abilities and allow them to achieve better results in the future.
L.P. Matveev (1991) suggests the development of motor-coordinating abilities along two main lines:
The first line is implemented directly in the process of learning new motor actions, by sequentially solving new motor tasks arising from the need to coordinate movements and overcome obstacles that arise at the initial stages of motor skills formation.
The second line in the methodology of motor-coordinating abilities education is characterized by the introduction of an unusual factor in the performance of actions, which imposes additional requirements on the coordination of movements.
Coordination abilities in rhythmic gymnastics are manifested in the ability of a gymnast to perform exercises freely, easily, gracefully, as well as accurately and economically.
CS are closely related to the development of strength, speed and endurance.
In the process of technical training, gymnasts need not only to master complex coordination of movements, but also to learn how to maintain it in various changing conditions, which is of great importance in their sports activities.
Coordination is unthinkable without the development of articular-muscular sensitivity, which contributes to the formation of fine motor differentiation.
Therefore, gymnasts need to systematically perform new, more and more complex exercises in various conditions.
Dance movements, acrobatic and gymnastic exercises were used to develop coordination of movements. But the best means were rhythmic gymnastics exercises, especially with objects, as well as elements of dance, which contributed to the development of coordination of movements, orientation in space and time. For the same purpose, exercises in turns were included.
In order to educate the CS at the training sessions, the gymnasts were placed in new, unusual conditions for them: they changed the main direction, performed exercises from the other leg and in the other direction. Sometimes they changed the shape of familiar objects: they gave a large ball; jump rope - shorter or longer, made of a different material; hoop - lighter or heavier, with a larger or smaller diameter; tape - longer or wider; stick - heavier and shorter; when performing strength exercises, weights were used.
They changed the usual conditions, thereby forcing the gymnasts to overcome the difficulties that arise. For example, during static balance exercises, the support area was reduced or increased, the number of rotational movements was increased, bringing them to a maximum, exercises were performed in balance at a very slow pace, and others at a very fast pace, etc.
When studying the elements of acrobatics, it is useful for gymnasts to perform exercises on the floor without a carpet, and as they master the technique, exclude insurance and assistance.
Game and competitive methods were used as the development of the CS.
3.3. Research results.
Table No. 4
Correlation table of the relationship between the development of flexibility and coordination of movements at the end of the study.
Based on the correlation analysis, a weak inverse relationship was found between flexibility in the shoulder joints and orientation in space. The correlation coefficient was r = 0.08 and turned out to be unreliable at (p > 0.05). The closest direct proportional relationship is observed between flexibility in the hip joints and static balance, as well as between the flexibility of the spinal column and the coordination of movements, and orientation in space. The correlation coefficient was r = 0.4 and was not significant at (p > 0.05).
Table number 5
Correlation table of the relationship of general motor
readiness and coordination of movements at the end of the study
Correlation analysis revealed a strong directly proportional relationship between the coordination of movements and the strength endurance of the hands. The correlation coefficient was r = 0.6 and turned out to be significant (p< 0,05).
Table No. 6
Dynamics of indicators of development of flexibility and coordination of movements
in the process of research (X).
An increase in results is observed in all tests characterizing the development of flexibility (mobility of the spine was 0.2; mobility in the shoulder joints 1.34; mobility in the hip joints was 0.9), as well as coordination of movements (balance on one leg was 0.4; "squatting emphasis - lying emphasis" was 0.2; movement along the eight-shaped trajectory was 1.2), which indicates the reliability of the differences. Reliability of the statistic is significant p< 0,05.
Table number 7
Dynamics of indicators characterizing the general motor readiness in the course of the study.
During the study, a significant improvement was found in all indicators. Thus, an increase in results is observed in all tests that characterize motor fitness (speed abilities were 0.2; speed-strength abilities were 0.6; arm strength was 0.8), which indicates the reliability of differences p< 0,05.
Thus, we can conclude that the development of coordination of movements and flexibility in girls aged 5-6 years allows to increase the level of motor fitness.
CONCLUSIONS:
1. Analysis of literary sources and available data on the topic of the thesis showed that at the stage of preliminary training, one of the important conditions in classes with young gymnasts is a combination of general and special physical training, the components of which are flexibility and coordination of movements; in rhythmic gymnastics, in comparison with other motor qualities, much attention is paid to the development of flexibility and coordination abilities, because these qualities are crucial in achieving high sports results; thanks to the targeted development of flexibility, it is easier to perform all types of gymnastic exercises - inclinations, balances, jumps, waves;
In the implementation of purposeful development and improvement of coordination abilities, young athletes master various motor actions much faster and rationally.
2. Based on the results of the preliminary study, it was revealed:
– the level of development of motional qualities turned out to be insignificant in all indicators assessing the coordination abilities and flexibility of gymnasts at the stage of preliminary training.
– according to the indicators of general motor readiness, the level above the average is observed only in speed-strength abilities.
3. At the beginning of the study, a weak inversely proportional relationship (P > 0.05) between flexibility and coordination of movements was revealed, and between general motor fitness and coordination of movements, the relationship was above average (P< 0,05).
4. A complex set of means, methods and methodical techniques, aimed at developing flexibility and coordination of movements in the process of a pedagogical experiment, made it possible to significantly increase the level of motor fitness of young gymnasts. A significant increase in results is observed with the development of flexibility, coordination of movements, in strength training. And there are no significant changes in speed-strength readiness.
LITERATURE
1. Ashmarin B.A., Vinogradov Yu.A., Vyatkina Z.N., et al. Theory and methods of physical education: textbook. For students of the faculty. cult. ped. In-tov on spec. 03.03. - M.: education, 1990. - 287p.
2. Bobrova G.A. The art of borders. - Leningrad: Children's literature, 1986. - 109 p.
3. Bobrova G.A. Rhythmic gymnastics in sports schools. - M .: Physical culture and sport, 1974. - 264 p.
4. Bobrova G.A. Rhythmic gymnastics at school. - M .: Physical culture and sport, 1978. - 208s.
5. Bogen N.N. Movement training. - M .: Physical culture and sport, 1985. -193 p.
6. Varanina T.T., Varshavskaya R.A., Zinkovsky A.V. etc. Rhythmic gymnastics: a textbook for institutes of physical culture / Ed. Orlova L.P. - M.: Physical culture and sport, 1973. - 197 p.
7. Verkhoshansky Yu.V. Fundamentals of special strength training in sports. - M .: Fizkultura and sport, 1970. – 264 p.
8. Verkhoshansky Yu.V. Fundamentals of special physical training of athletes. - M.: Physical culture and sport, 1988. - 336 p.
9. Glass J., Stanley J. Static research methods in pedagogy and psychology. - M.: Progress, 1976. – 495 p.
10. Dyachkov V.M. physical training of an athlete. - M .: Fizkultura and sport, 1961. - 193 p.
11. Eleseeva I.I., Yuzbashev M.M. General theory of statistics: textbook / Ed. Corresponding Member RAS I.I. Eliseeva.-4th ed. revised. and additional - M.: Finance and statistics, 2000. - 480 p., ill.
12. Zatsiorsky V.M. cul.-M.: Physical culture and sport, 1982. - 256 p.
13. Zatsiorsky V.M. Physical qualities of athletes.-M.: Physical culture and sport, 1966. – 196 p.
14. Kanakova L.P. Fundamentals of mathematical statistics in sports: a manual. - Tomsk, 2001. - 125 p.
15. Karpenko L.A. Selection and initial training of those involved in rhythmic gymnastics: guidelines. - Leningrad 1999 -25 p.
16. Kechetjieva L., Vankova N., Chipryanova M. Teaching children rhythmic gymnastics. -M.: Physical culture and sport, 1985. - 96 p.
17. Kobyakov Yu.P. Training of the gymnast's vestibular analyzer. - M .: Physical culture and sport, 1976. - 64 p.
18. Korengberg V.V. Motor task, motor skill. - Gymnastics, issue 1, 1986
19. Kuznetsova Z.I. Development of schoolchildren's motor qualities. - M .: Enlightenment, 1967. - 204 p.
20. Lagutin A.B. Motor task and exercise for physical development for children 4-6 years old: Methodical development for students and listeners of the faculty of advanced training of the Academy. - M.: Printing house of the company "Ajax-N", 1996. - 52 p.
21. Lisitskaya T.S. Rhythmic gymnastics. - M .: Physical culture and sport, 1982. - 231s.
22. Lyakh V.I. Flexibility and methods of its development//Physical education at school. No. 1, 1999, - p. 25
23. Lyakh V.I. Coordination abilities of schoolchildren.-Mn.: Polymya, 1989. - 159 p.: ill.
24. Lyakh V.I. Coordination abilities of schoolchildren//theory and practice of physical culture. No. 1, 2000. - 24 p.
25. Lyakh V.I., Sadovski E. About concepts, tasks, place and main principles of coordination training in sports//Theory and practice of physical culture. No. 8, 1989. - 24 p.
26. Lyakh V.I. Improving specific coordination abilities//Physical culture at school, No. 2, 2001. - p. 7-14.
27. Lyakh V.I. Tests on the physical education of schoolchildren: A guide for the teacher. - M .: OOO “AST Publishing Firm”, 1998. - 272 p.
28. Mavromatia D. Rhythmic gymnastics exercises. - M .: Physical culture and sport, 1972. - 141s.
29. Matveev L.P. Theory methodology of physical culture. Textbook for in-s physical. culture. - M.: Physical culture and sport, 1991. - 549 p.
30. Menkhin Yu.V. Physical training in gymnastics. - M.: Physical culture and sport, 1989. - 224 p.
31. Nazarova O.M. Methodology for conducting classes in rhythmic gymnastics with children aged 5-6: Methodological development for a coach. - M.: 2001. - 39 p.
32. Orlov L.P. Gymnastics. - M.: Physical culture and sport, 1965. - 208 p.
33. Semyonov L. Tips for trainers: A collection of exercises and guidelines.-M .: Physical culture and sport, 1964. - 136 p.
34. Ukran M.N. Gymnastics. - M.: Physical culture and sport, 1971. - 304 p.
35. Filin V.P. testing of physical qualities in young athletes. -M.: Physical culture and sport, 1974. - 232 p.
36. Filin V.P. Training of young athletes. - M.: Physical culture and sport, 1965. - 334 p.
37. Kharchenko L.V. Improvement of basic coordination abilities in schoolchildren 8-12 years old with visual impairment. Author's abstract ... dis. cand. ped. Nauk. - Omsk, 1999. - 19 p.
38. Shishkareva Yu.N., Orlov L.P. Rhythmic gymnastics: textbook. for sections of physical culture groups. - 1954. - 400 p.
39. Shishmanova Zh. Big way. - M.: Physical culture and sport, 1980. -88 p.
40. Shlemin A.M. Young gymnast. - M .: Physical culture and sport, 1973. -376 p.