The history of the development of ballroom choreography in the Republic of South Africa

The purpose of the article is to analyze trends in the development of ballroom choreography in the Republic of South Africa. Research methodology is an organic set of basic principles of research: objectivity, historicism, multifactorial, systematicity, complexity, development, and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical- analytical. Scientific Novelty. An attempt was made to research the topical issues of the history of the development of ballroom choreography in the Republic of South Africa. Conclusions. The versatility of the choreoplastic language of ballroom dance leads to the fact that even in those regions where ballroom choreography was historically regarded as the art of outsiders (conquerors and colonizers), which contradicts local artistic and aesthetic traditions, ballroom dancing becomes a part of the local dance culture. In addition, it is the ballroom choreography that is the very integrative element that connects local cultures that are quite far from Western thinking with the global worldview system. International cooperation between amateur dancers and professionals is promising in terms of cultural interaction and exchange of experience in the field of choreographic art. In general, the analysis of the African experience allows us to conclude that after passing through the stage of a kind of "nationalization" and adaptation by local ethics and aesthetics, ballroom choreography organically merges into the system of organizing leisure time, scenic screen art, and sports. To date, from the point of view of the development of ballroom choreography for Africa, only the overcoming of economic difficulties remains relevant. In the context of government support, ballroom choreography functions as an important resource for recovery, education, socialization of the population; it is able to fit into the national system of education, leisure, culture, and sports in the vast majority of African countries. Keywords: ballroom choreography, ballroom dance, competition dance.

Formation in dance sports: technical and compositional features

The purpose of the article is to identify the features of historical development and the evolution of technical and compositional features of the choreographic form of the competitive type of sports ballroom dance formation. Methodology. The historical method was applied, which contributed to the consideration of the genesis and development of formation; the comparative method, which revealed the common and distinctive features of dance formation in the twentieth century. and at the present stage, which have helped to determine the characteristic stylistic and technical-compositional features of the formation, and others. Scientific novelty. Peculiarities of the historical development of the choreographic form of the competitive type of sports ballroom dance formation have been studied; the term "formation" is specified; the evolution of technical and compositional features of formation in dancesport at the beginning of the XI century is considered; the generally accepted traditional method of training, which is based on repeated repetition of the competitive composition, is analyzed; outlines the prospects of formation in modern dance sports. Conclusions. Active development of ballroom dancing at the beginning of the XXI century. contributed to its formation in the format of a complex and coordinated sport, which accordingly led to the development of sports and technical skills of dancers, as one of the components of the overall training system. At present, the perfect ballroom dance technique is understood as the most rational and effective way of performing, which allows achieving the best result. Over the past few years, dance formation has changed greatly – increased speed and dynamics of performance, there were numerous gradual changes in position without a complete stop, as well as the trend towards direct construction, which increased dance technique requirements and positively affected national and international competitiveness. Keywords: formation, ballroom dancing, dancesport, technical and compositional features.

DISCUSSÕES SOBRE GÊNERO NAS DANÇAS DE SALÃO: VAMOS DIALOGAR?

Resumo: O presente ensaio tem como objetivo discorrer sobre a importância de expandir os horizontes comunicacionais nas danças de salão, também conhecidas em sua origem por danças sociais, propondo uma forma de dançar que seja mais flexível, trazendo mais liberdade para os corpos e suas movimentações, sugerindo o desenvolvimento da escuta corporal mútua que possibilitará a condução compartilhada e o consequente diálogo entre corpos. A condução compartilhada surge especialmente para dar visibilidade à ação das mulheres, para que possam expressar uma postura mais ativa na dança. Esse trabalho adotou como método a pesquisa bibliográfica, com o objetivo de correlacionar as bases históricas das principais configurações das danças a dois, bem como as construções sociais dos papéis de mulheres e homens na sociedade, na época em que surgiram essas danças. O propósito é investigar o paradigma dominante, em que existem papéis distintos a serem desempenhados por damas e cavalheiros e o corpo acaba sendo compreendido apenas como um executor de passos. É também objetivo deste ensaio instigar professoras e professores a questionarem suas práticas de ensino e aprendizagem, para que proponham alterações em suas formas metodológicas de ensinar, a fim de que a prática da dança de salão não aconteça descontextualizada dos acontecimentos sociais de ordem contemporânea.Palavras-chave: Danças de salão. Igualdade de gênero. Diálogo corporal. Ensino da dança.Abstract: This essay aims to discuss the importance of expanding communicational horizons in ballroom dances, also known in its origins as social dances, proposing a way of dancing that is more flexible, bringing more freedom to bodies and their movements, suggesting the development of mutual bodily listening that will enable shared conduct and the consequent dialogue between bodies. Shared driving emerges especially for to give visibility to women's actions, so that they can express a more active posture in dance. This work adopted bibliographical research as a method, with the objective of correlating the historical bases of the main configurations of the two dances, as well as the social constructions of the roles of women and men in society, at the time these dances emerged. The purpose is to investigate the dominant paradigm, in which there are distinct roles to be played by ladies and gentlemen and the body ends up being understood only as a performer of steps. It is also the objective of this essay to instigate teachers and teachers to question their teaching and learning practices, so that they propose changes in their methodological ways of teaching, so that the practice of ballroom dancing does not happen out of context from contemporary social events.Keywords: Salon dances. Gender equality. Body dialogue. Dance teaching.

Anglicization and canonization of ballroom dance, late 19th - early 20th century

Purpose of the Article. The aim of the article is to analyze the processes of anglicization and canonization of ballroom dance, during the period of democratization of social dances in England, in the late 19th - early 20th centuries. Methodology is an organic set of basic principles of research: objectivity, historicism, multifactor essence, systematicity, complexity, development, and pluralism, to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical- analytical. Scientific Novelty. The scientific novelty lies in the identification of the processes of origin and development of competitive ballroom dancing in England at the end of the 19th - beginning of the 20th centuries. Conclusions. The widespread democratization of social dancing in England began as early as the 19th century when the Austrian waltz and other ballroom dancing became popular among all social strata. Democratic fervor of the common people, which at the end of the XIX century got the opportunity to relax on the resort coast of Great Britain, gave birth to the first dance competition in ballroom dancing. It was often noted by professional dance experts that the new British dance forms were superior to the original. Certainly, the distinctive features and high quality of British ballroom dancing were a matter of special professional pride. The advantages of a standardized English style as early as the late 30s. The XX century was recognized outside the country for the extraordinary success of British dancers in international ballroom dancing championships. Gradually, it established the international standard for ballroom dancing and was adopted by many of the world's dance organizations at the national level, with the exception of the United States of America (by many American competitive ballroom dancers, the English style was not adopted until the 1960s.).

Anglicization and Canonization of Ballroom Dance, Late 19th — Early 20th Century

The purpose of this article. The purpose of the article is to determine the specifics of the evolutionary processes in the English dance style of the XX — early XXI century. The methodology is an organic set of basic research principles: objectivity, historicism, multifactority, systemacity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem­chronological, concrete historical, statistical, descriptive, logical­analytical. The results. The evolution of the English dance style took place through professionalization. Communication at the international level between teachers­choreographers, the popularization of dance competitions and tournaments, the development of a judging system formed not only the content of new ballroom dances, but also the manner of their performance. The English style of performance has become a model for the world dance society for many years. Foreign­born dances, which were fashionable among the general public, were transformed by the British dance society in the 1920s and 1930s to form the so­called “English style” of ballroom dancing. Consistently claiming that dance is an expression of national character, the country’s professional dancers and dance teachers have sought to create a British dance form that is distinct from foreign forms. It was the process of “Anglicization” of foreign ballroom dancing that became one of the most important elements of the national dance culture of Great Britain in the 1920s and 1930s. The original British school of ballroom dancing, the style and methods of which were popularized in European countries in the early 1930s, led to the development and standardization of requirements for the conduction of competitions and championships. Improving the national rating system, the English system of training and identifying the best performers of ballroom choreography for many decades of the XX century remained the only generally recognized dance school in the world. Now the UK remains a leader in the art of ballroom choreography in many of its aspects — from pedagogical methods of training high­class performers and choreographers to the media and tournament sphere. The topicality. An attempt has been made to research the topical issues of the development of the English dance style of the XX — early XXI century. The practical significance. The research may be used in developing lectures by specialists in choreography.

Influence of France on the formation of ballroom choreography in the context of Western Europe culture development in the XVI — early XXI centuries

The purpose of this paper to analyze the transformations in the French ballroom and choreographic practice, in the context of the development of culture of Western European countries of the XVI — early XXI centuries. The methodology is an organic set of basic principles of research: objectivity, historicism, multifactority, systemicity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical and analytical. The results. The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries. The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries took place. The processes of transformation and democratization of ballroom choreography in the XVIII century, which already in the XIX century turned from salon art into a leisure object for various social strata throughout Europe, were investigated. In the XX century it was France that discovered non-European types of ballroom dancing for Europe, which subsequently acquired standardization in the English professional environment. In the XX century France became the country where foreign art forms appeared and adapted to the conditions of European realities. France attracted artists from all over the world because of the special national culture formed in it. During the XX century the art of ballroom choreography in France developed rapidly. French performers and teachers continued long-standing national traditions. This factor had a positive effect on the training level of dancers in the field of professional and amateur ballroom dancing. Since 2010, France has been an active member of the World Dance Sports Federation (WDSF). The French Dance Federation (Fédération Française de Danse) is one of the largest organizations that develops ballroom choreography in the country. Over the past decades, dozens of open national and world ballroom dancing championships have been held in French cities (Paris, Marseille, Lyon, Nice, etc.). The scientific topicality is to identify the processes of the influence of French culture on the development of ballroom choreography in the XVI — early XXI centuries. The practical significance. The research may be used in developing lectures by specialists in choreography.

PHYSICAL EDUCATION AS PRESCHOOLERS’ PHYSICAL DEVELOPMENT COMPONENT

The article considers philosophers’ and teachers’ scientific views on physical education and its impact on the personality’s all-round development; and formation of physical education as a science. Plato’s, Socrates’s, and Horace’s ideas of the importance of exercise and motor activity in different periods of people’s life have been identified; J. Comenius’s thoughts about the importance of properly selected, dosed physical exercises, their regularity in strengthening the children’s health, about their important function in terms of spiritual and ethical education have been revealed. J. - J. Rousseau’s thoughts on the importance of hardening of the body and senses and the formation of motor skills, moving games and daily walks in physical development; the idea of free upbringing of a comprehensively developed strong, skillful and intelligent personality have been given. J. Locke’s ideas about physical education from the person’s first days of life, about the study of refined manners, ballroom dancing, and other elements of gallantry, which externally distinguish “the noble” from the commoners, have been presented. Georges Demeny's thoughts on the importance of continuity of gymnastic exercises, the use of stretching exercises, relaxation, and movements to music have been revealed. The following ideas have been considered: the contribution to the theory of children’s physical education of such doctors and progressive figures as E. Pokrovskyi and E. Dementiev; Georges Demeny's gymnastic system of physical education with continuous classes, use of stretching exercises, relaxation and movements to music; the close connection of the mental education process with physical exercises of K. Ushynskyi; P. Lesgaft’s theory of physical education, based on the laws of harmony, gradualness and sequence of human development. The four groups of physical exercises and games by P. Lesgaft, and the idea of the folk games educational role have been proposed. The role of a teacher’s word, addressed to the child's mind and including sample mechanical imitation, an inseparable link between mental education and physical exercises, has been stated.

Improving the system of additional professional education for teachers-choreographers

Examined is specifics of professional activities of teachers choreographers under modern conditions. The increasing requirements for the competence of specialists are noted in connection with the increasingly complex conditions of their professional activities. The need to improve the system of training and advanced training is being actualized, taking into account the specifics of the problems they have to face. The results of a survey of coaches and judges of the regional sports Federation of dance sports of the Tyumen region are presented. Various aspects that characterize the problem field of the modern system of ballroom dancing have been studied. The assessment of the content characteristics of refresher courses that the respondents periodically take. The gaps in the system of professional development of teachers-choreographers that need to be eliminated are shown. A concept is proposed that can form the basis of additional education programs for ballroom dance teachers. The concept is based on a differentiated approach and includes four main stages. The result of professional development of specialists should be the implementation of the following main functions of the system of additional education: restorative, compensatory, innovative, corrective, the function of forming creative activity.

Influence of ballroom dancing on fatigue, body image, self-efficacy, and endurance of cancer patients and their partners

Physical activity has a high importance for cancer patients. The present study aimed to evaluate the influence of ballroom dancing on fatigue, body image, self-efficacy, and functional exercise capacity for patients with cancer. We collected data among participants of a regular dance training program for cancer patients with a questionnaire including the Body Image Scale (BIS), Brief Fatigue inventory (BFI), Short Scale for Measuring General Self-efficacy Beliefs (ASKU), and the 6-min walking test (6-MWT). 66 participants took part in the study, and among them, 39 participants also engaged in the 6-MWT: dance experience and the weeks of dance training were significantly associated with a higher walking distance in the 6-MWT. Participants with dance experience showed higher self-efficacy scores than participants without. Participants rated the influence of dancing on partnership positively. However, the dance training had no significant effects on fatigue or body image. Ballroom dancing may improve functional exercise capacity, and dance experience may be associated with a high self-efficacy and active lifestyle, which can be beneficial for cancer patients during and after treatment. Further studies are needed to assess the influence of ballroom dancing more deeply on physical activity and fitness and to learn more on impact on the partnership. As ballroom dancing seems to improve physical activity and wellbeing and can promote intimacy between partners, this intervention has the potential to support cancer survivors in various levels.