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Indecent dance polka

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  • Body weight transfer from two legs to one.
  • Bringing the foot to the toe - battement tendu - tattu buttman in 3 positions with a cross, one at a time (right foot and left foot).
  • Ascent to half-fingers (relevé - releve) in 3 positions.
  • The position of the leg in the position of sur le cou-de-pied (sur-le-cu-de-pied) front and back: foot - at the ankle of the supporting leg with a pulled out toe, the knee is bent and laid to the side. Sur le cou-de-pied (fr.) Literally - “on the neck of the foot” (on the ankle).
  • Throwing a leg with a straightened knee and a pulled toe - jeté (jet).
  • Bounce (step with bounce)
  • Pa glide
  • Pa Chasse

1 beat - Pa polka forward from the right foot:

Zatakt (And)Before starting the movement, gently soften the knee of the supporting left leg.

With a slight jump on the left foot, the right leg rises forward with a straightened knee and a pulled out toe (jeté - jet). Leg rises low above the floor. 1-I-2

Pa Chasse from the right foot forward:

Score 1- Pa glide (sliding step) with the right foot forward in 4 poses. from the toe to the whole foot. The knee of the right leg softens slightly. The left leg remains behind on the toe (in 4 poses). The knee of the left leg is straightened.

Count I- Straighten the knee of the right leg, with a sliding motion of the toe on the floor, pull the left leg to the right leg in 3 poses. (behind the right foot) and rise to the half-toes of both legs. The knees are almost straight.

Score 2- Second Pa glide (sliding step) with the right foot forward in 4 poses. from the toe to the whole foot. The knee of the right leg softens slightly. The left leg remains behind on the toe (in 4 poses). The knee of the left leg is straightened.

2 beat - Pa polka forward from the left foot:

Zatakt (And)The left leg, standing on the back of the toe, softens slightly in the knee and is carried forward along the floor through 1 position.

With a slight jump on the right foot, the left leg rises forward with a straightened knee and an extended toe (jeté - jet). Leg rises low above the floor. 3-I-4

Pa chassis with the left foot forward (similar to the score 1-I-2).

  • When performing Pa polka forward, throwing your legs forward on the top - jeté (jet) should be low and restrained. The knee is straightened, the toe is pulled out.
  • When playing Pa polka forward, the head turns slightly towards the leg that performs the step.

1 beat - Pa polka back from the left foot:

Zatakt (And)Before starting the movement, gently soften the knee of the supporting right leg.

With a slight jump on the right foot, the left leg rises from the floor, and remains behind the ankle of the supporting right leg with a bent knee and a pulled out toe - in the position sur le cou-de-pied (sur-le-cu-de-pied) from the back. The knee of the left leg is directed to the side. 1Straightening the left leg back and slightly to the left (the extended toe is on the floor), perform a small sliding step with the left foot back in 4 poses. on the low half-fingers.

The body rotates slightly to the left. The head remains in position - full face. ANDUsing a toe slide on the floor, pull the right foot to the left foot forward in 3 poses. (in front of the left foot) to the low half-toes. Weight is transferred to the right leg. 2Perform the second small sliding step with the left foot back in 4 poses. on the low half-fingers.

The right foot with the toe on the floor is pulled to the left foot forward in 3 poses. (in front of the left foot) to the low half-toes.

Weight remains on the left foot.

2 measure - Pa polka back from the right leg:

Zatakt (And)Before starting the movement, gently soften the knee of the supporting left leg.

With a small jump on the left foot, the right foot is the toe on the floor in 1 position. moves to the position behind the ankle of the left leg, with a bent knee and a pulled out toe - in the position of sur le cou-de-pied (sur-le-cu-de-pied) at the back. The knee of the right leg is directed to the side. 3-I-4Repeat the movement of the account 1-I-2 with the right foot.

  • Pa polka back is performed at low half-fingers.
  • When playing the back polka, the body rotates slightly towards the leg that performs the movement (to the right when playing from the right foot, to the left when playing from the left foot). The head remains in position - full face.

PA POLES IN THE RIGHT RIGHT

Dancers stand in a circle, facing the center.

Legs - in 3 position (right foot in front)

Hands - on the belt or in the ball position.

The movement takes 2 bars of musical accompaniment.

Zatakt (And)Before starting the movement, gently soften the knee of the supporting left leg.

With a slight jump on the left leg, the right leg rises forward / sideways with a straightened knee and a toe extended -

jeté (jet). Leg rises low above the floor.

The head turns to the right. 1Starting to turn the body to the right, perform a small sliding step with the right foot forward / to the side (along the dance line) to the low half-fingers. Transfer weight to the right leg.

The left leg remains on the back of the toe. ANDSlide the toe on the floor to pull the left leg back in 3 poses. (behind the right leg) to the low half-toes. 2Perform the second small sliding step with the right foot forward / to the side (along the line of dance) to the low half-fingers. Transfer weight to the right leg.

The left leg remains on the back of the toe.

Slightly soften the knee of the supporting right leg. ANDWith a small jump on the right foot, the first half of the turn to the right by 180 degrees ends. (to the position - with your back to the center).

At the jump, the left leg bends at the knee and is pulled back to the ankle of the right leg (the extended toe of the left leg almost touches the floor). The left leg is in the position of sur le cou-de-pied (sur-le-cu-de-pied) behind the supporting right leg.

The head turns to the left. 3Continuing to turn the body to the right, perform a small sliding step with your left foot forward / to the side (along the line of dance) to the low half-fingers. Transfer weight to the left foot.

The right leg remains behind on the toe. ANDPull the right foot back in 3 poses with a sliding motion of the toe on the floor. (behind the left foot) to the low half-toes. 4Perform the second small sliding step with the left foot forward / to the side (along the line of dance) to the low half-fingers. Transfer weight to the left foot.

The right leg remains behind on the toe.

Slightly soften the knee of the supporting left leg. ANDWith a slight jump on the left leg, the second half of the turn to the right by 180 degrees ends. (to the position facing the center).

The right leg bends at the knee and is pulled toe on the floor to the ankle of the left foot in front (the extended toe of the right foot almost touches the floor). Right leg - in the position of sur le cou-de-pied (sur-le-cu-de-pied) in front of the supporting left leg

The head turns to the right.

  • Pa polka in turn is performed at low half-fingers.
  • When playing the polka in a turn, the working leg performs the jeté movement only at the start of the first measure (at the first jump on the supporting leg). In the remaining bars on the takt (on the jumps), the free leg should be pulled to the supporting leg in the position of sur le cou-de-pied (sur-le-cu-de-pied).

In this case, the left leg is pulled into the position of sur le cou-de-pied (sur-le-cu-de-pied) behind the supporting right foot, and the right leg is pulled into the position of sur le cou-de-pied (sur-le-cu de pied) in front of the supporting left foot.

The leg is displayed in the direction of movement immediately before the step.

  • When playing Pa polka in a pair of bends, the free leg is also in sur le cou-de-pied (sur-le-cu-de-pied) position.
  • When performing Pa polka in a turn, most of the turn is performed on a jump.

    When performing Pa polka in a turn, the head turns in the direction of movement.

    General notes:

    • In all cases, during the execution of Pa polka, a push-pull movement is preliminarily performed - a jump on the supporting leg and preparation of the working leg for the step.
    • Pa polka jumps are small and light.
    • Before jumping, it is imperative to soften the knee of the supporting leg slightly.
    • The jump is executed with a slight slippage in the direction of movement.
    • When performing Pa polka, springy swaying up / down should not be emphasized. Movement - horizontal, along the floor.
    • The free leg is held forward or backward close to the supporting leg with a slightly bent knee.
    • All steps begin at the toe. Feet - inverted.

    Literature

    1. "Modern ballroom dance". A manual for students of cultural institutes, students of cultural and educational schools and leaders of ballroom dance groups. Edited by V. M. Striganov and V. I. Uralskaya. M.," Education ", 1978
    2. "Historical household dance". Textbook. I. Voronin. M.," Art ", 1980
    3. "Ballroom dancing." Sarikojumu dejas. Lasman Milda. Publisher Latvias Valsts Izdevnieciba, Riga (Riga), 1954
    4. "Dance". A manual for theatrical universities (on stage dance). Vasilieva ED, Art, 1968
    5. Educational and methodological recommendations for organizing work with a whole class in elementary school in rhythm, rhythmoplasty and ballroom dancing. Shutikov Yu.N. St. Petersburg, 2006
    6. "Rhythmics at school, the third lesson in physical education". Training manual. J.E. Firileva, A.I. Ryabchikov, OV Zagryadskaya, Rostov-on-Don" Phoenix ", 2014

    Note

    As described in the literature, Pa polka forward is performed at low half-fingers.

    The present description of the movement is given in the interpretation of G. Kondratenko, the head of the City Methodological Association of Ballroom Dance Teachers at the St. Petersburg City Youth Creativity Palace.

    Pa polka forward in classical ballroom dancing - the movement is sliding (not staccatized) and is performed as Pa chasse. See DANCE ELEMENTS with preliminary Jump. See DANCE ELEMENTS on the supporting leg.

    Video to the dance element "Pa polka"

    The dance element of the Polish dance is demonstrated back and forth by KONDRATENKO Galina Mikhailovna, the head of the City Methodical Association of Ballroom Dance Teachers at the St. Petersburg City Youth Creativity Palace.

    The entries were made at seminars of the City Methodological Association of Ballroom Dance Teachers of St. Petersburg, and at dance Seminars - workshops of the UNESCO International Dance Council in St. Petersburg, the 2014-2015 academic year.

    Video recordings of Pa Polka's forward, backward and cornering in pairs were made at dance Seminars - workshops of the UNESCO International Dance Council in St. Petersburg, the 2014-2015 academic year, and at the City Competition of Russian Ballroom Dancers among students and seniors in 2015, St. Petersburg.

    A bit from the history of dance, which is studied in Nizhny Novgorod CRET

    In 1845, the St. Petersburg audience, usually mostly indifferent to the productions of the Alexandrinsky Theater, flocked there from all over the city. The auditorium was crowded, performers were called for an encore several times. The Alexandrinsky Theater showed polka on stage. Thus, the dance, which has already divided Parisian society into those who dance it, and those who want to learn, received a “residence permit” in the aristocratic circles of Russia.

    They spoke and wrote about polka in Russia almost from the very moment it appeared in Paris in 1840. One attempt was even made to introduce the Polish to the public on stage, but the movements, although charming, were doubted by their freedom - even ardent Polish fans, who had previously known about it from newspapers or stories, doubted whether it would be proper for them to dance like that. In the Alexandrinsky Theater, on the other hand, the polka was specially “adapted” for the show, discarding everything that could be offended.

    Like in Paris, in St. Petersburg, the polka produced the effect of an exploding bomb. Immediately unprecedented fame was received by any dance teacher who could teach it. Husbands fled from their wives, and wives fled from their husbands to learn a new dance. Young officials, wishing to please the boss, did not ask him more about his health or progress, but only about whether he was dancing the Polish woman or if he saw how they were dancing. Young men trained in polka to exhaustion, sometimes literally falling from their feet. Even the doctors were delighted: finally, the residents of St. Petersburg began to move and exercise enough, which means to maintain their health.

    How did you perform polka at balls in the 19th century? At first, they simply went out into pairs in the hall and danced, moving in different directions and trying not to collide with each other. Frisky polka steps allowed both to spin, and to move forward or, making sure that it is safe, backward. At more official balls, they tried to form a circle in order to maintain order and avoid collisions. Not satisfied with the simple performance of the polka in pairs, the dancers began to insert it into other familiar dances - counter-dances, quadrille, cotillons.

    The popularity of polka and liberty in the execution of its steps led to the fact that various versions of polka immediately began to appear, and by the beginning of the 20th century their number had reached several tens. Often they were played to the same music, only the steps were different: somewhere a tributary was added, somewhere a little gallop, and when playing a Bohemian pa, it was necessary to put your foot on the heel.

    In open classes of the Nizhny Novgorod Club of the Reconstruction of Historical Dance, we will study Polish in March. Anyone can try this fun and elegant dance.

    We are engaged on Thursdays from 19.00 to 20.30 at the address Gagarina Ave., 97, building 2, on the territory of the State Agricultural Academy, on the 4th floor of the building of the Faculty of Engineering.

    For all questions, you can contact our group (https://vk.com/kritnn) or call +79519010389 (Andrey Gospodchikov, Chairman of the CRIT).

    The material and images were provided by Andrey Gospodchikov, Chairman of the CRIT.

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