Basic belly dance movements. Features of performing basic bellydance movements

Belly dance ( belly dance) - not just a dance. This is philosophy, harmony, health, passionate and graceful expression of feelings and emotions. Arabic dance classes are not like strenuous physical activity. Bellydance brings pleasure and pleasure; it evenly alternates between stress and relaxation, which does not allow you to fall down exhausted.

The path to health and harmony

Belly dance is invaluable for female body both physiologically and psychological points vision. Doctors say that by doing belly dancing, a woman develops all muscle groups in her body, including the deepest and even intimate ones, which are difficult to use when doing any other sport physical activity. Dance helps maintain the overall tone of the body, improve the contours of the figure, makes a woman feel fit and elegant, and not tortured by life and everyday life. Gradually, a regal posture and bewitching plastic movements are acquired, which emphasizes femininity and grace, regardless of the age, height and complexion of the lady. While studying Arabic dances, a woman learns to accept and love her body as it is, to impress others, to present herself in the most advantageous way. Many people say that thanks to belly dancing, their attitude towards their body has changed. If earlier they considered themselves “fat”, then, having come into contact with Arabic dances, they suddenly felt interesting and attractive and now speak of themselves only as “curvy” women. They believe in their charm, thereby making everyone around them find them charming. And such metamorphoses become possible thanks to oriental dance. When dancing, a woman can choose for herself exactly those movements that best allow her to express her feelings, which will show the beauty of her body. Despite the name, the main role in belly dancing is played by the spinal muscles. It is this dance that allows you to engage and train all muscle groups associated with the spine. Hence a perfectly straight back, flexibility, easy gait, improved blood circulation and work of cardio-vascular system. Bellydance will help strengthen the deep muscles of the back, and this in turn will prevent such unpleasant diseases as herniated intervertebral discs, osteochondrosis, and, in addition, will help relieve you of spinal curvature and relieve pain in the back and shoulders. Movements of the pelvis and hips activate blood circulation in the pelvic organs and relieve pain during menstruation. Training the pelvic muscles allows you to solve problems in the intimate area, improve sex life. Dance will help prepare the body for pregnancy and childbirth, and after childbirth, restore all body functions as quickly as possible and bring the figure back to normal. One of the main questions that interests women is whether classes contribute to belly dancing losing weight? Is it possible to lose weight by doing belly dancing? Arabic dance helps the body achieve harmony, improve the proportions of the figure: accordingly, lose weight for those who need to lose weight, and gain weight for those who need it. After just a few sessions, the waist begins to stand out more clearly, the condition of the skin improves, and the appearance of cellulite decreases. But even if you don't lose weight, you will learn to love your body so much that you will make everyone around you love it. The idea of ​​starting belly dancing seems ridiculous to many due to a bunch of acquired complexes. “No, this is not for me, I’m too old/fat/ugly/bow-legged/clumsy/...!” - standard excuse. And this is really just an excuse, because for classes belly dancing There are practically no restrictions or contraindications. Everyone can dance - from young “lolitas” to gray-haired matrons, from curvaceous “fat girls” to weightless “fluffs”. And there is no need to be shy! Get rid of your inferiority complex as soon as possible, and belly dancing will help you do this as quickly as possible.

What do you need for classes?

For classes, you will first need a suitable center and an experienced teacher. Belly dancing experts do not recommend starting to master the Arabic dance technique on your own, because in order to teach you to perform movements beautifully and, most importantly, correctly, very often the teacher will have to not only explain how it is done, but also show, and then control your attempts, help you feel and consolidate in your consciousness every movement. At first you will not need any special clothing for Arabic dance classes. Regular training pants and a top, preferably short, so you can see your belly in the mirror, are quite suitable, and socks, Czech shoes or ballet slippers for your feet: no shoes are needed. Typically, students also tie a colorful scarf around their hips to highlight their hip line. It looks very nice. For your mood, you can put shiny bracelets on your hands that will shimmer and make a melodious ringing at the slightest movement. In the future, if your passion for oriental dancing turns into something serious and you want to perform in public, you can buy or sew a dance costume yourself. Does the idea that you can become a real dancer seem unrealistic to you? Completely in vain. Many schools organize performances by their students in various concerts and holiday celebrations. The second most popular question that worries those who want to learn how to perform belly dance: How long does it take to study? It just depends on your level physical training and your goal. If you want to dance for yourself, your family and friends, then in 4-6 months you will be able to show off at a friendly party. There is only one condition: do not miss a single lesson! At the initial stage, every lesson is invaluable, and if you miss something, it will be very difficult to catch up later.

Let's dance!

One of the basic exercises that beginners must master is the so-called “figure eight”. In order to perform it, try to mentally imagine a horizontal figure eight, in the center of which you stand. Starting position: feet shoulder-width apart, left thigh slightly protruding forward. With this thigh, “swipe” along the left half of an imaginary figure eight, moving it as far back as possible, while under no circumstances lifting your heels off the floor! Then repeat the same with your right thigh to the right side. Eights can be “drawn” both forward and backward. Do it as many times as you like. This is a very useful and enjoyable exercise to perform. Now imagine that you are standing in the middle of a circle. Keeping your back perfectly straight, try to “walk” your buttocks through the back line through maximum amplitude, while pulling your stomach into yourself. Many people like the exercise called “rocking chair”. To perform it, you will have to stand on your toes, keeping your feet together and slightly bending your knees. Now, in turn, lift up your right thigh, then your left. Please note that all top part The body should remain motionless, only the hips work. The next exercise is called the “dome”. It is quite difficult to perform; this is one of those exercises that you need to feel with every muscle in order for it to turn out correctly and beautifully. It can be explained in words like this: inflate your stomach strongly, and then also pull it in strongly, then repeat it all over again. At the same time, it is necessary to maintain completely free breathing, without holding it or speeding it up! At first, the exercise should be performed at a slow pace, and when you feel it, gradually increase the speed and move to the rhythm of the music - the spectacle will be mesmerizing! When performing the dance movements, remember that your body and head should remain motionless, only your hips move. Do not straighten your legs or stand on them like on stilts, keep your knees slightly bent. Watch your posture - keep your back straight, chest forward, shoulders down. The muscles of your buttocks and abdomen remain relaxed, do not tense them! Hips are hips, but where should you put your hands? Of course, they should not hang around like lifeless lashes! Move them smoothly, imitating the movements of a sea wave.

Where to learn?

Demand creates supply. Thanks to rapid growth With the popularity of oriental dances in Russia, the number of schools and courses where this art is taught has become enormous. Unfortunately, not all of them are able to teach you how to dance truly correctly. Many centers aim to simply follow fashion trends in order to attract as many clients as possible. Oriental dance courses can now be found in almost every sports club. Master the real technique oriental dance in such centers you are unlikely to be able to. Therefore, if you want to study seriously and correctly, it is better to contact special schools of oriental dances, of which there are also quite a few already open. Classes usually take place two to three times a week, and you can choose the schedule and time that suits you best. The number of people in the group is approximately 8 or 10, sometimes there are more, but if the room in which you are to study is large, then no one will interfere with each other. As for payment, the price will depend on the prestige of the school you choose, and on the reputation and popularity of the teachers working there. In many schools, the art of oriental dance is taught by well-known dancers in professional circles who have completed internships in countries Arab world and having extensive experience. Naturally, classes in their groups are valued much more highly. On average, a one-time visit costs about 200-300 rubles, so it is more profitable to buy a subscription - 1500-2000 rubles for 8 classes.

If you don't have time...

Well, what if the baby is very small, you can’t leave him alone, and there are no relatives, or do they react extremely negatively to your every attempt to escape from the house? What to do? Lessons belly dancing you can take it without leaving your home - if only you had a VCR or CD player, because a huge number of cassettes and disks have already been released for sale that will help you master the technique of oriental dance. Of course, it is better to study in a group and under the supervision of a specialist, but if this is not possible, you can get by with a cassette. At least it's better than nothing at all. Educational films on belly dancing for beginners contain detailed recommendations on how to properly control the muscles, how to develop their mobility, what movements they can perform and how to do it to the rhythm of the music. The instructor will show you the basic movements on the screen belly dancing, the foundation on which you will further polish your skills - figure eights, Arabic steps, hip circles. In some training programs, they will even show you on a diagram how and where you should turn your hip, what trajectory you should follow to perform the wave, how the muscles work when performing shakes, how to place your legs correctly and where to place your hands. When you have mastered the simplest dance techniques, you can move on to the second stage for those who are continuing - learn individual dance compositions, including compositions with objects (shawl, cane), honing the movements of Arabic dance day after day.

1. Head. The back is straight, the stomach is pulled in, the shoulder blades are brought together, the head is tilted left and right. Achieve full contact between ear and shoulder. Now back and forth, the chin touches the chest, the back of the head touches the back. We work at a calm pace, without jerks. To avoid monotony, change directions of movements. For example, “Cross”: forward-backward, left-right, “Rhombus”: forward-left-back-right, “Semicircle”: turn to the right, continuous translation to the left, touching the chin to the chest. Point by point and seamlessly. Now we work in a plane parallel to the floor and ceiling. Without tilting or turning away our faces, we move our heads out. For convenience: you can help with your hands, place your palm at a short distance from your ear and try to touch your hand with your ear. We gradually increase the distance. We follow further, the head moves back and forth. Pulling our shoulders back, we pull our head forward, lifting our chin, now we pull it back without using our shoulder. Along the dots and connect them into a circle.

2. Waves with your arms*. Move your arm to the side, bend your elbow slightly. There are no straight arms in this dance. Try to lift one by one: shoulder, elbow, wrist, fingers up. The movement will end at the end of the nail. Now try to lower one by one: shoulder, elbow, wrist, fingers.

3. Shoulders*. Extend your arms to the sides, slightly bent at the elbows, but remember, your arms should remain in place, without moving. Move your shoulders in a circular motion forward and backward, both at the same time and alternately. Leaving your hands in this position, work your shoulders up and down, also simultaneously and alternately. Now let’s complicate things a little: with the shoulder joint we draw an infinity sign - ?, while the back is fixed, the arms are moved to the sides and should remain motionless.

4. Chest thrusts. Without using your shoulders, try to work with your chest, simulating a deep inhalation and exhalation. Achieve the maximum level at the top and bottom points.

5. Working the back. We work the group of oblique muscles. The pelvis is fixed, and the body is moved left and right (8 times). The position of the shoulders when performing this movement is parallel to the floor. Make slight bends forward and backward, and when leaning forward, we bring your shoulder blades together, pushing your chest forward, and when leaning back, you round your back, slouching a little. Try not to sudden movements, gradually increase the amplitude. (8 times)

6. Circle with the body *. Connecting movements * 5. Working out the back *. clockwise, and we get a “circle with the body at the points.” The more clearly you draw these points, the more effective the movement will be. If you do not fix the points of the drawing, you will end up with a smooth circle. Try alternating between a dotted circle and a smooth circle. To make it easier, try to imagine yourself standing in the center of a vertical pipe. Your back and chest should alternately touch the inner walls of the pipe.

7. Figure eight chest*. Legs slightly bent at the knees, pelvis fixed. Hands in front of you, in a ring, slightly bent at the elbows, palms facing the viewer. We draw a sign with the chest: the side is pinched (1 count), the chest goes down to the right (1 count), the chest goes to the right to the side (1 count), returns to the original (straight) (1 count).

8. Top wave*. Arms bent at the elbows, hands at the hips. Reverse: tilt the body with a straight back forward, gently round the back and move it back in that position, straighten the back and bend again. Straight: lean forward, bending your back, stretch forward and, straightening your back, move your body back.

9. Wave from top to bottom*. Hands at the top, connected. We round our back, bending slightly, then push our chest out, stretching forward a little, smoothly straighten our back, leaning back. You can try making this element near the wall. The distance between you and the wall is approximately 10-15 cm. First touch: shoulders - the wall, then we move our shoulders back, touch the wall with our chest, and also, moving our chest away, we move the touch to the level of the tummy. The next stage: the wall is the pelvis, and again we move our shoulders forward. Now move a little further away from the wall and try to repeat the movements in the same order, increasing the amplitude.

10. Bottom-up wave*. This is a set of movements *9. Top-down wave*, but performed in the reverse order. Let's try to make this Wave also near the wall. First touch: knees-wall, straightening your legs and moving them back, touch the wall with your pelvis, moving your pelvis away from the wall, push your stomach forward and move the touch to chest level. Last point touching the shoulders, and the entire body is laid back. Slightly rounding your back and leaning back, we repeat the first touch: knees - wall. Further all movements are in the same sequence.

11. Belly kicks*. After a couple of deep breaths and exhalations, release tension from the abdominal muscles. Now sharply draw in your stomach and hold for 5 seconds. and relax. It is necessary to stabilize breathing. Regardless of the work of the abdominal muscles, breathing should not be interrupted. Next movement: slowly pull in your stomach and push it out sharply. The accents of the blows can be changed and alternated, the main thing is to learn to control your breathing. If you do chops at a fast pace, your breathing must be fixed. We take a breath, exhale deeply, stop breathing, and only after that we pick up the pace in the beats

12. Lower wave*. Reverse: squatting at the knees, we push the pelvis forward, on semi-straight lines we move it back, the main thing is to maintain balance with the body. Direct: we work in reverse order. On semi-straight legs, with a arch in the back and a relaxed stomach, we bring the pelvis forward, drawing the stomach into ourselves, and return the pelvis back with more bent legs

13. Thigh pull *. Feet shoulder width apart. The movement is carried out in a vertical plane on straight legs, without lifting the feet from the floor. The chest remains motionless. Alternately, we move our hips as far as possible to the sides at equal distances from center line passing through the navel.

14. Semicircle and circle with the pelvis. We fix the body on straight legs, without lifting the feet from the floor, move the pelvis to the left, and smoothly move it across the front to the right. We return to the left also through the front. Similarly, we make 2 semicircles from behind (from left to right and from right to left), and finally, a full circle with the pelvis to the right (2 times). We move to the left in the same way.

15. Horizontal figure eight.*. The right thigh moves forward and smoothly moves back across the side, the left thigh moves forward, to the side, back. Do this movement without stopping, without engaging your core.

16. Thigh twist The top is fixed. The right hip bone moves forward, then the left one.

17. Rocking hips. The head is fixed at the same level, the top does not move. Knees slightly bent. We alternately bend the right knee, then the left, by stretching the lateral muscle.

18. Straight Egypt. Two legs are bent, the back is fixed, the pelvis kicks back and forth. When hitting forward, we pull in the stomach, when hitting back, we push out.

19. A plate is a circle with a basin in a horizontal plane. On well-bent legs, straightening the knees one by one, smoothly connect the 4 upper points in a circle: bring the right thigh up (bending the left knee a little more); move the pelvis straight up (stomach inward); left hip up; pelvis down (stomach released).

20. Warm up your legs*. Stretch your feet by stretching and contracting them. Rise up onto your toes and down, several times. Lift your heel from the floor to the maximum distance, imitating a spring, rise and descend without touching your heel to the floor. Squat down and place your hands on your feet. Now straighten your knees without lifting your arms. Do this movement several times. The legs must be warmed up.

21. Pendulum. This is a figure eight in a vertical plane. An infinity sign (?) is drawn on the wall with the thigh bones. Schematically, it will look like this: we bring the thigh up, move it to the side, lower it down and pull it towards ourselves, without stopping we continue with the other thigh.

22. Eight. horizontal plane, gently moving the thigh to the side, we move it back or forward, depending on the direction of the figure eight.

23. Barrel. Without working with the hips, on widely spread legs we draw the most big circle pelvis. We tilt the body, slightly helping, in opposite directions.

24. Hip strikes. The main, basic movement of this dance is the precise beating of hip strikes to the rhythm of the music. For ease of execution, the legs are slightly bent at the knees. The stance is half toes, but first try on a fully standing foot. Do not come close to the wall, 10-15 cm between your knee and the wall, without lifting your feet from the floor, touch one knee to the wall, then the other. The hip movement will be up and down. Practice precision in your strikes. Check the correct execution: book on your head for balance, legs bent - work your hips up and down. Alternate beating with each hip “1:1” (one-one). Gradually increase the number of times you hit each hip. The most popular beats: “l:l” - alternately, “2:1” - one hip hits 2 blows up, the other one beats. With each hip we make two upward strokes “2:2”. The strength of the blows also varies. Strong, hard, clear blows correspond folk style and are used mainly for certain beats in the rhythm. Calm, lighter hip movements are the basis of the classics of this style; the entire dance is saturated with them.

Basic keys.*25.Egyptian key*.The supporting leg is half bent at the knee, the foot is pressed firmly to the floor. The working leg is extended onto the half-toe, strongly bent at the knee. By extending and bending the knee of the working leg, we move the thigh up or down, respectively. Try doing 10 upward strokes. Make sure that the body does not “jump”. Only the hip should work.

26. Key screw*

The position of the legs is the same as in the Egyptian key, only the hip moves back and forth. Watch your breath

Shaking. The most spectacular trick movement of this dance. There are several varieties of this technique.

27. Sudan or beads: also called “butt shake.” Go to the wall, lean your back. Between the wall and reverse side knees 10-15 cm. Alternately straightening your knees, try to touch the wall with your feet. Gradually increase your speed. Remember: when performing any type of shaking, inner thigh, buttocks and stomach should be relaxed. This state will give an unusually bright degree of vibration and will not cause harm to health.

28. Egyptian shake. Knees are strongly bent and more active. We push not only back, but also well forward. This shaking is a derivative of the 1:1 technique. If in the Sudanese shake the hip line stands still and only the buttocks work, then in the Egyptian shake the hip bones work 1:1. If necessary, you can help yourself by working your heels. We knock on the floor with our heels, thereby raising the tempo of shaking and increasing the strength and amplitude. The shaking itself is similar to the movement of screws, but with greater dynamics. Feet are placed shoulder-width apart. The arms are spread to the side to balance the body. Trying not to strain the muscles of the abdomen and buttocks, we move the “bone” of the thigh forward and back. The hip movement is parallel to the floor. When we achieve the “lightness of the hip” effect, we increase the speed of hip rotation. We hold the body and arms in a fixed position. While studying and practicing these types of shakes, try to perform them on one leg. One leg is a support leg (we will transfer all the weight to it), the second is brought out onto the half-toe and moved to the side - this is the working leg. The working leg is the performer of the shaking. The shaking technique does not change.

The above list of movements is the main basic set. From these movements the dance is built. Try to perform all the elements clearly; blurred and unfinished movements will spoil the whole picture. Work through all these movements in folk (hard) and classical (soft) styles.

Hand placement. Beautiful hands- the basis of choreography. No matter how beautifully the pelvis works, without movement of the arms the dance will be empty. You can simply dance with your hands while telling a story. But you need to be able to work with your hands in positions that correspond to the positions of the pelvis and legs. If you are hitting the Egyptian technique, you work both hips and two arms, respectively, in the same positions, there are four of them: above, to the sides, in front, below. If you are working in the screw style, you have two arms open to the sides. If the movement is “key”, then you work one hip, and the position of the arms is accordingly asymmetrical. These are the most simple rules. If you can combine the work of your hands and body, based on these rules, then you can harmoniously decorate your dance with voluntary hand movements. There are also hand positions.

The brush should be gathered into a flower bud: the fingers are open to the sides, and the big and middle ones are touching, as if holding a coin. You can alternate between thumb and index finger. The assembly of the fingers also looks beautiful. Their movements resemble the work of a fan. Open your palm and try to form a fist with your fingers: start with the little finger, bending each one in turn. Now start with your index finger. Learn to also fan out your fingers from the “fist” position, from the little finger and index finger. Work on your hand motor skills. Soft, smooth circles with a brush different directions will add a touch of color to your dance. We do them slowly, periodically diluting them with elements from the hand technique.

Determining the structure of fitness classes - bellydance

The structure of a fitness-bellydance class, which lasts 60 minutes, consists of three parts: preparatory, main and final.

I. The preparatory part (warm-up) takes 15 minutes.

Goal: to warm up the muscles and ligaments before the dancing itself - to prepare the body as a whole and its individual parts, which will prevent injuries and make the classes more effective. During the warm-up, the entire body is mobilized, receiving a signal to start training.

Exercises are used to ensure:

1. Warming up - increasing internal body temperature, improving blood circulation in the muscles.

2. Stretching - increasing the elasticity of muscles and ligaments, increasing joint mobility.

Warming up manifests itself in a feeling of warmth and the appearance of light perspiration, as a result of which some functional changes occur in the body:

Gradual increase in heart rate;

· increase in the speed of metabolic processes;

· increasing the volume of circulating blood (increasing the amount of blood flowing to the muscles);

· increasing the rate of oxygen exchange between blood and muscles;

· increasing the speed of transmission of nerve impulses (improves coordination of movements);

· increased elasticity of muscles, ligaments, tendons (increases range of motion);

· increase in the amount of joint fluid and joint mobility.

The appearance of a feeling of warmth serves as a signal to use stretching exercises for the muscle groups that are to take on most loads during the lesson. When performing them, the intensity of the warm-up decreases somewhat, however, the importance of using such exercises is due to the need to prevent possible injuries and lower back pain.

Bellydance classes involve stretching the lateral muscles of the body (oblique abdominal muscles, intercostal muscles), back muscles, and thigh muscles.

Principles:

1) alternate processing individual parts body (starting from the head, i.e. from top to bottom):

· Warm up the head and neck

Warm-up for arms

Shoulder warm-up

· Warm-up for the core

Warm-up for the hips

· Warm up for feet

2) dance exercises. Those. all movements should not be mechanistic preparation of the body, but movements from which dance steps will then flow. Otherwise, too athletic a warm-up will fall out of general process training.

3) the call for cheerfulness, activity, and energy is relevant. A life-affirming impulse comes from the music, as well as the teacher’s body movements and his words.

4) the teacher warms up with the group, showing an example of proper physical and artistic activity.

5) movements should not be intricate or complex (i.e., repetition of well-practised movements, for example, basic ones, is preferable)

6) warm-up occurs non-stop

7) it is necessary to involve all parts of the body, but during the warm-up the main attention is paid to those groups of muscles, joints and ligaments that will bear the main load during the upcoming workout - these are the muscles, joints and ligaments associated with the work of the spine, hip, knee and ankle joints.

8) Sudden and intense movements without warming up can cause various injuries: sprains and tears of ligaments, displacement of vertebrae and even dislocations of joints.

Result: the body is ready to perform dance movements or preparatory training. Charger positive energy necessary for mastering new material, psychological readiness for the next - main - part of the lesson. Detachment from everyday, business, personal and other pressing problems of the student. To a large extent, this depends on the charisma and attitude of the teacher.

In the beginner group, at the beginning of each lesson, a “bow” (greeting) is performed, followed by a warm-up, which includes exercises for preparation, warming up, stretching and stretching the muscles:

Arms across the sides - in the lock, stretched up, shoulders down, stomach pulled in, back straight. Tilt of the body to the right, left; the arms open through the sides, are fixed with the elbow bent, the hands at the hips.

2. Waves with your arms: 3 times with the right, 3 times with the left, the non-working arm is bent at the elbow, the hand is fixed at the hip. Wide splashes with your hands will look brighter. Open up by swinging your arms up and out to the sides. Do this with both hands at the same time (2 times) and alternately: right-left for each count, tighten on the right for 2 counts; left-right for each count, tighten to the left for 2 counts.

The arms sighed, through the cross under the chest they opened to the sides, through the sides they rose up, dropped down in front (hands - 4 “butterflies”), sighed to the sides, the descending ones rose from the bottom up, opened to the sides, the head turned to the right, the hands sighed - repeat in the same way from (**) to the left.

Rotating the hands, arms rise up through the sides for 4 counts. We alternately stretch up with our right and left hands, stretching our sides (8 counts). Waves with your arms from the elbow: right-to-left for each count and pull to the right for 2 counts, left-to-right for each count and pull to the left for 2 counts. Rotating the hands, lower the arms down through the sides for 4 counts. (**) Hands sighed, open through the cross in front of the chest: right to the side, left - up, hands sighed, open through the cross in front of the chest: left to the side, right - up. Repeat from (**). The right one smoothly moves to the side with the palm up, the left - up (1 count), the left - to the side, the right - up (1 count), the left remains, the right goes to the side (1 count), both arms open to the sides and slightly bent at the elbow, turn the palms down (1 count).

3. Shoulders - first frontal, then lunge onto the right epalman (while standing on the right leg, the left on the toe), the left shoulder works, the right shoulder works on the left (2 times).

Palms straight in front of you, “rest against the wall”, turned towards the viewer, elbows bent and down, shoulders work, alternately: the right one goes forward, the left one goes back, the left one goes forward, the right one goes back, the right one goes forward, the left one goes back, pause(1 count), left forward - repeated in the same way, for a total of 16 counts.

Shaking the chest, full-face and with a lunge on the epalmans; the arms open from the chest to the sides, “stretching the thread.” During shaking, the emphasis is: the chest tends to rise.

We put our hands on the back of our hips, tilt our body back, stand in 4 counts, knees slightly bent, slowly rise, arms across the sides - lock upward, round back bent forward, knees slightly bent. The arms open over the top to the sides and go to the hips, a similar tilt (worth 8 counts).

Arms bent at the elbows, hands at the hips. *4. Chest strikes*: the chest goes up (shoulders in place) - and a sharp drop down (4 times). Three at a time: three strikes in a row with an emphasis up (4 times), three - with an emphasis down (4 times). The arms open to the sides, lunge onto the right epalmand: three blows up - through the half fingers we move to the left epalmand. Let's hit both epalmans up and down 2 times.

Arms bent at the elbows, hands at the hips.*5.Working the back*

6. Circle your body, you can open your arms to the sides, or leave one under the chest, the other to the side.

Arms bent at the elbows, hands at the hips. By points: chest up, right, down, left. By points and a continuous circle. Likewise to the left.

7. Figure Eight with chest Do it to the right (4 times), to the left (4 times), alternately: to the right (1 count), to the left (1 count), to the right (2 counts), similarly to the left.

Hands freely along the body, for each count, slowly, in waves, rise to the “sideways” position, while the chest: *7. Eight chest* down, for 4 counts, one semicircle for each count.

Left hand on the belt, right hand straight, up and to the left. Circle with the upper body: tilt to the left, bend back, bend to the right. Hands remained to the sides, waves alternately with each hand for each count (4 counts: right-left-right-left). A similar movement to the left. Repeat 2 times.

Arms bent at the elbows, hands at the hips. * 8. Upper wave * straight (4 times) full face, 2 times each on the right epalmand, full face, on the left epalmand, full face. Similarly, *8.Upper wave* is reverse.

9. Wave from top to bottom*, 4 times. *10.Wave from bottom to top*, 4 times.

Hands open to the sides. *11.Belly chops*: push out 4 times (each time for 2 counts), for each count: push out for the first 3 counts, pause for 4 (the belly remains pushed out), repeat 4 times. Similarly - *11.Belly chops* with the emphasis “pull in”.

The arms are open to the sides. * 12. Lower wave * straight: 4 times full face, 2 times each on the right epalmant, full face, on the left epalmand, full face. Likewise the reverse.

(**) Feet shoulder width apart. The left hand is on the belt, the right hand is up and to the left. Semicircle with the upper body: tilt to the left, forward, right (the right arm remains extended all the time); the right hand goes to the belt, the left - up and to the right, straight all the time, in a semicircle of the upper body: tilt to the right, back, left. Repeat 1 time from (**). The arms opened to the sides, the body leaned forward three times, the back was straight. Hands go back into the lock, bending back. Repeat similarly from (**) to the left.

Hands opened to the sides *13. Hip pull *.: alternately in each direction, for each count (8 counts). Now twice on each side, while the opposite hand goes away, bent at the elbow, palm to the face, the same hand makes a wave from the elbow to the fingertips for each count.

14. Semicircle and circle with the pelvis*, right and left. During the circle, the downward arms rise up and open to the sides.

Hands opened to the sides. * 15. Horizontal figure eight. * for 16 counts.

The arms opened to the sides. * 16. Hip twist *: right (1 count), left (1 count), right (2 counts), similarly - to the left, repeat 4 times. We complicate: right (1 count), left (1 count), left hand, bent at the elbow, went to the face, right thigh - 2 times in a row (each time for each count), similarly - to the left, repeat 4 times. Next - *16. Twist of the hip* for each count of 16 counts, the downward arms rose up and spun to the sides.

The arms opened to the sides. The hand with the same name as the working knee drops a little lower, then returns to its previous level. * 17. Rocking with hips *: 8 times to the right, 8 to the left; 4 each; 2 each; alternately; on every account.

Hands opened to the sides. * 18. Direct Egypt *: 3 times emphasis “push out”, pause, 3 times emphasis “inward”, pause. Repeat 2 times. There are 16 counts for each count, with the hands raised up through the sides for 8 counts and lowered down through the front for 8 counts.

Hands opened to the sides. * 19. Plate * to the right: at points (2 times), 2 times together (slowly), for 8 counts for each count, while on a fast plate the hands go up through the sides for 4 counts and 4 butterflies through the front is lowered to chest level for 4 counts, opening to the sides. Likewise to the left.

20. Warm up your legs

Arms opened to the sides. Supporting left leg on the entire foot, * 21. Pendulum * right foot on the half finger: 4 times to the right, 2 times forward (on the right epalmant), right, back. Same with the left foot. For forward and backward directions hand of the same name goes to face. *21.Pendulum* on a full foot: alternately, then with the right, then with the left thigh, 8 times. Then: right (1 count), left (1 count), right (2 counts), similar for the left hip, repeat 4 times.

The hands opened to the sides. * 22. Eight * for 16 counts, the hands descending in front rose upward and opened to the sides.

The arms opened to the sides. *23.Barrel*, 4 times to the right and to the left. The arms can remain at the sides; go back to the hips; one, bent at the elbow, with the hand to the face, the other, also bent at the elbow, with the hand touching the elbow.

24. Hip kick*.

Hands: hands of the same name to the side, opposite to the top. * 25. Egyptian key *, * 26. Key screw * start on the left epalmand, without stopping movements, move through the front semicircle to the right epalmand. After practicing the movement, on epalmans and when turning, the keys are diluted by moving the straight leg in front of you at 45°: key, withdrawal; 2 keys, output; 3 keys, output. Let's make it more difficult: the keys are performed with a gradual squat (bending the supporting leg more strongly) - and returning the supporting leg to its original slightly bent state during the withdrawal of the straight working leg. We end with a passage full circle around you for 8 “key-out” for 8 counts, circle to the right and left.

In the group for those who continue, the warm-up becomes more complicated: dance sequences are included, the tempo gradually increases from slow to faster, and half-fingers are added.

II. The main part takes 35 minutes.

In the main part of the lesson you need to achieve:

Increasing heart rate to the level of the “target zone”

· Promotions functionality different systems body (cardiovascular, respiratory, muscular).

· Increasing calorie consumption when performing special exercises.

The main part of the lesson is based on studying and training the elements of classical bellydance, which are divided into three groups: plastic, percussion, shaking.

The impact part is the most intense and requires the greatest energy expenditure. The group must be prepared for this type of load. Plastic and shaking are characterized by less load, especially after the first period of development.

To maintain interest among students, the teacher introduces new elements and movements, develops a sequence for each lesson that is as close as possible to the dance that the group must learn during the lesson. This combination includes elements of all three groups of bellydance elements (plasticity, blows, shaking) and is composed in such a way as to develop not only endurance, but also the coordination abilities of the students.

II.1. NEW MATERIAL. Practicing individual dance moves. New technology, repeating a technique that has not yet been worked out well, studying dance sequences.

1. New movements, development of new movements from previous lessons, explanation of the theory.

2. Technical block using new material:

2.1. One of the fundamental movements for the dance style being studied is shown, explaining in detail the technique of this movement. Let's start with more simple movement, gradually complicating it.

2.2. All together (teacher and students) we do it several times to the music.

2.3. We similarly show and explain the second fundamental movement.

2.4. Similarly, we all do it together several times to the music.

2.5. Let's connect these two movements.

If the movement is quite complex, then there may not be a second movement. Requirements for the above movements:

· not very complicated

· easily and logically connecting with each other in pairs

· suitable for cyclic repetition in a bunch

· load-bearing foundations of the plasticity of the dance being studied

· corresponding to the level of perception of this group of students

· interesting looking even outside the context of dance compositions

· it is logical if they are present in the part being worked on, following the technical blocks of the composition.

2.6. We perform this sequence all together to music several times.

2.7. We leave the students to perform this sequence.

2.8. We go around and reprimand everyone, often physically helping to correct the movement.

2.9. It is possible, even desirable, to change the music during the development of the combination.

2.10. At the end of the work - showing some common mistake for several people "from the opposite" and repeating it several more times (preferably together with them)

3. Technical blocks using new material: similar to the first.

4. Short composition.

4.1. Slow display of one of the parts of the composition with explanations. It is logical if this part contains movements of technical blocks.

4.2. All together - several times to the music.

4.3. We give a task: beginners and those lagging behind do only this part of the composition, and “advanced” do the entire composition, first with the teacher, then without him.

4.4. We leave the students to perform this sequence. We go around everyone and give each one a remark after the next passage of the composition.

In the group for beginners, previously learned movements are practiced, and new ones are learned, in their pure form (various movements of the hips, different kinds steps, etc.). This part can be performed in various directions and formations - circle, diagonal, lines, columns, etc., according to the instructions of the teacher, which accustoms students to mastering the stage space. The basic movements of belly dance can be divided into three groups, which correspond to different tempos of performance:

· movements slow tempo- all types of circles, figures of eight, waves, performed in various planes and various parts housings.

· medium-tempo movements - various movements of the hips (drops, strikes, rocking, etc.), as well as various types of steps (Egyptian step, cross step, return step, etc.)

· fast tempo movements - all types of shaking performed by various parts of the body.

In this part of the lesson we will learn basic movements belly dance of all three groups, repetition of previously studied material. Practicing dance movements in various directions, first at the teacher’s expense, then to the music. The principle and methodology of performing movements is explained. The following is a list of basic belly dance dance moves. It is also copyrighted (different schools have their own names for movements).

In the group for those who continue, new, more complex movements in combination with shaking, and more complex combinations for isolating movements are additionally included.

II. 2. REPEATING previous movements and short sequences non-stop. Study (repetition) of dance - in finished form (or in blocks, or completely - depending on the stage of study).

Repeat from simple to complex dynamic movements of this and previous classes non-stop. Aerobic exercise should gradually increase. Goal: give more physical activity, especially aerobic nature.

In the group for beginners - learning the first dance combinations, and later - compositions and performances. Dance sequences are taught using various movements, also first at the teacher’s expense, and then to music. Subsequently, these dance combinations and combinations are combined into one common dance to certain music. Here, the teacher, in addition to the technique of performing movements, also pays attention to the development of emotionality, danceability and musicality of students, because these qualities are the basis for training in the second group.

III. The final part (cool down) takes 10 minutes

The final part of the lesson uses exercises to:

· lower the heart rate to a level close to the original (from 120 to 70);

· gradually reduce metabolic processes in the body.

The final part of the classes is restorative in nature. To eliminate psychomotor and general tension, relaxation or stretching exercises are used.

Stretching exercises are performed to the accompaniment of slow, calm music. Their goal is to target the muscles that are most stressed during exercise. In particular, during the cool-down, special attention should be paid to the lumbar spine. Stretching at the end of a workout facilitates and speeds up the process of muscle recovery and maintains their elasticity.

III.1. SLOW COMPOSITIONS.

Slow, flexible ligaments and compositions. Alternatively, shaking: *27.Sudan (beads)*, 28.Egyptian shaking*. Full face, on both epalmants; adding arm movements, circles and figure eights with the hips, belly kicks.

III.2. GYMNASTIC PART / STRETCHING. Final stretches accompanied by slow music. A strength set of exercises based on the ground technique.

This part of the lesson consists of alternating spinal exercises and traditional stretches. The muscles and ligaments of the limbs and limb girdles are stretched, i.e. front, back and other surfaces of the thighs, shoulders, etc. Exercises for the spine are also, in fact, stretches, only aimed at the muscles and ligaments of the spinal column. Their importance is difficult to overestimate. Everyone needs them. Therefore, despite their external unattractiveness, the teacher should accompany the lesson with remarks about their benefits:

· positive influence on the spine and overall health

· psychophysical relaxation

· production of natural and correct posture

Relieving muscle tension

Reduced feelings of fatigue during and after exercise

deep breathing training

Increased body flexibility and joint mobility

Submission principles:

· soft music

You can use yoga poses (cobra, etc.)

· a certain order of exercises for the spine is preferable: up, side bend, sideways, forward, twisting, back, to the center

· it is advisable to correct students’ poses by walking around them

· for persons with serious pathologies associated with the spine, exercises for the spine are especially necessary, but the question of their choice should be decided by a doctor. Throughout this time, you should continue to move, but at a low enough pace to gradually reduce the heart rate.

In both groups - muscle stretching, stretching and relaxation of the spine. A “bow” (farewell) is performed.

Oriental belly dance

History of oriental dance

An ancient sacred dance, performed only by women, was known in several eastern cultures. Almost every country in which belly dancing is common calls itself its homeland. What is now understood as belly dancing is a mixture of ancient dance traditions different nations. There is also debate about the original purpose of the dance. Exists interesting version, which states that belly dancing was presented as a teaching lesson for a girl entering adulthood. More experienced women showed characteristic movements, which would be useful in the first and subsequent wedding nights. Also, constant small movements of the pelvis and hips had a beneficial effect on the blood circulation of the female organs and contributed to an easy birth. According to another version, the Sultan’s concubines and special court dancers were trained in seductive movements. They delighted the eyes of the ruler and nobles with sensual waves, shaking and swaying of their hips, as well as their luxurious, but rather open costumes.

With the spread of Islam, the seductive dance was forgotten, and it experienced its rebirth only in the 19th century. Then European women began to learn the art of oriental dance. A new style quickly gained popularity around the world, and sensual oriental movements were used for show productions. It was then that belly dancing began to be performed in cabarets and restaurants. The dancers wore heavy, ornate costumes embroidered with beads and sequins, which are still used today. Authentic numbers with objects - shawls, canes, swords, etc. have become especially popular.

Eastern dance. 17 girls performing belly dance

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The costume for oriental dance is called “bedla” and consists of long skirt or bloomers, beaded belt and bodice. The dancers also wear a lot of large jewelry.

Belly dance styles

Despite the characteristic general movements, some styles of belly dancing can vary significantly. Before choosing dance school Beginning dancers need to determine which style suits them best and which school teaches it greatest attention. It is also helpful to attend free classes and watch instructional videos.

The most common are Egyptian styles, in which there are classic oriental movements and many smooth waves:

• beledi - a flexible and chaste dance in a closed galabiya dress
• Saidi – a sharp and dynamic style, usually performed with a cane
• nubia - a very lively dance with a lot of shaking and walking, staging scenes from rural life
• gavazi – noisy, bright style performing in a beautiful flying suit
• Alexandria - a playful dance that plays with the long shawl in the dancer’s hands

The Arab school of dance represents one style - Khaliji. It focuses on the swinging of long hair and a special smooth gait. Khaliji is performed in a characteristic rectangular dress embroidered with gold threads. This style is used in the performances of many pop stars, for example, Shakira.

Turkish styles are show dances in revealing costumes, designed to create contact with the audience. The sensual performances of such dancers are popular in clubs and restaurants. This also includes a spectacular dance with a candelabra, a performance with a snake, and dances with ringing tambourines and cymbals. IN Lately popular and dance numbers, mixing traditional oriental movements and elements of flamenco, strip dance, reggaeton and other styles.

Basic movements of oriental dance

Most oriental dance movements are divided into waves, strikes and shakes. This depends on the tempo of the movement being performed: the fastest tempo produces shaking, and the smoothest and slowest tempo produces a wave.

The most popular movements in belly dancing are hip movements. Circles performed by moving the knees are called plates, wide amplitude circles are called barrels. Swinging the hips from side to side is also used: smoother movements are called rocking, and sharp movements are called blows. Due to the fast blows, the hips are shaken. Another fairly easy element is the twist - a sharp twisting of the hips to the right and left. Probably the most popular hip movement is the figure eight. When performing it, the hips twist and move to the side, drawing an infinity sign, while the body remains in place. There are direct and reverse, horizontal and vertical eights. Seductive, shallow shaking of the buttocks is performed by quickly alternating bending of the knees or through small strikes of the hips.

Belly dancing classes are popular in fitness clubs - they develop plasticity, heal the female organs and are a good aerobic exercise

Body waves are an important part of oriental ideas. When performing them, a wave seems to pass through the dancer’s body - from the forehead to the knees. This element is convenient to teach near the wall, alternately touching it in different parts bodies - from top to bottom and from bottom to top. Often the waves are localized in only one part of the dancer’s body - the hips, abdomen or chest. Wave-like movements are also performed with the hands.

The chest in belly dancing moves in a circle, performing figure eights or kicks. All these movements occur in the horizontal, vertical or diagonal plane. The dancer's diaphragm and shoulder blades take part in such movements, and shaking of the chest occurs due to the shoulders or knees.

Actually the belly plays in oriental dance minor role, their movements are quite complex. Experienced dancers perform belly waves and shakes, consisting of rapid contractions of the abdominal muscles. The soft tissues of the abdomen may also shake due to the knees.

The position of the body in oriental dance differs from the classical one. When performing movements, the buttocks and abs are tucked in, strong bends in the lower back are not allowed, and the knees are slightly bent. Sometimes the dancer leans her body back slightly, putting one leg forward. The most important thing in learning oriental dances is to achieve isolation of movements. For example, the chest can perform a quick shake, the arms can do undulating movements, the hips can do figure eights, and the legs can do smooth movements. Sometimes several movements are combined into one - strikes with one hip are performed with a gradual tilt of the body back, and the buttock shake is combined with walking.

Oriental tales: the most graceful dancers of Kazan

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More and more women, in pursuit of a chiseled figure, prefer not physical activity V gym, fitness or shaping, but beautiful and mysterious belly dancing. Its mystery lies not only in mesmerizing smooth movements and sex appeal, but also in the story itself.

Bellydance: history of origin

Now it is difficult to say where exactly this dance originated and when. Some researchers believe that its roots should be sought in Egypt, some believe that Belly dancing has Indian origins. Then it had a ritual meaning and was considered a dance, dedicated to the goddess fertility and, of course, had nothing in common with the belly dancing that we know.

However, in those ancient times it was performed in many countries - in northern Africa, Greece, the Roman Empire, Babylon. And the nomadic gypsies were considered its “distributors.”

Over time in every country belly dance acquired local features, movements and increasingly became not ritual, but entertaining dance.

After the French invasion of northern Africa in the 19th century, it came to Europe. After the prim minuets, mazurkas, and polonaises, the Europeans were literally dumbfounded sexuality of oriental dance. By the way, it was then that the name arose “bellydance” (“belly dance”), which was given to him by the American Sol Bloom, who first brought a troupe of oriental dance dancers to Chicago.

By that time, the primary, deep meaning of this dance was completely lost, and spectators came to see oriental dancers only for the sake of the show. By the way, the very name “belly dancing” is absolutely untrue, since it mainly involves the body and not the stomach.

Belly dance as a sport

Let's go back to popularity belly dancing as a sport. In principle, training with them gives the same effect as any training - blood flow is activated, heart muscle function improves and calories are burned. But in the case of belly dancing there is one peculiarity: no need to “force” the muscles to work, the body, feeling freedom, will force them to work.

As a result, purchase thin waist and slender, feminine thighs can be achieved much faster and in a more pleasant way than during hours of sweating on exercise machines, and the question of why you skip fitness classes will disappear by itself.

By strengthening the abdominal muscles, the functioning of the gastrointestinal tract improves, which means metabolism accelerates, which allows you to burn calories more efficiently and rid the body of toxins and wastes.

Add to this the awareness of your own sexuality, grace and flexibility, and here is the answer to the question, why belly dancing is so relevant.

Basic belly dance exercises

1. Exercise “Turkish statue”

Place your feet shoulder-width apart and bend your knees slightly. Raise your hands up and connect above your head. Smoothly lower them one by one to shoulder level with your palms to the sides. Then continue alternating movements with your hands until hip level, keeping your palms parallel to the floor.

2. Exercise “Magic Circle”

Only the upper part of the body works, the rest should be motionless. Then smoothly rotate your body in a circle: right-forward-left-back. On the count of 20, change the movement: left-forward-right-back.

3. Exercise “Persian Prayer”

Soft smooth movements move your hair from one shoulder to the other. If your hair is short, use your imagination.

4. Exercise « Boat"

Place your feet shoulder-width apart and place your arms behind your head with your elbows back. Sway your hips left and right. The movements are clear. The body and knees are straight.

5. Exercise “Flowing Silk”

Using your hips one at a time, we draw the number 8. This is done like this: move the hip back diagonally, bring it forward in a circle in place. Same thing with the other hip. Belly dance exercises using the hips very useful for expectant mothers.

6. Exercise “Ringing coins”

Place your right foot in front of your left on your toes, bend your knee slightly, turn your hip forward and immediately upward.

The right leg is placed on the toe in front of the left, with the knees slightly bent. The right hip rotates forward and upward. The body doesn't move. Then sharply “throw” your hip down. Do this several times, then work on the left thigh.

7. Exercise “Wave”

Pull your hips back as far as possible, bending slightly forward in your back. Place your palms together above your head. Slowly and smoothly move your hips forward and up, simulating a wave and, as it were, passing it on to your shoulders moving back. Take the starting position.