Presentation on the MCC "originality of dance culture." Spanish dance Presentation on the topic of flamenco dance

Presentation on rhythmMINISTRY OF EDUCATION AND SCIENCE OF THE CHELYABINSK REGION
state budgetary professional educational institution
"Zlatoust Pedagogical College"
Presentation on rhythm
Spanish dance
Completed by: Sysoeva Diana
Vladimirovna
Speciality:
Primary school teaching
Course 1, group 111B
Teacher:
Strelina. K.S.1
Maintaining
2
History of Spanish dance
3
Variety of Spanish dance
3.1
Flamenco
3.1.1
How to dance flamenco
3.2
Fandango
3.3
Bolero
4
Conclusion

Wrists gracefully flung upward, The sound of castanets suddenly cut through the calm... In a wild outburst of unbridled passion, a mad heart breathes with flame. Like a fire, the purple silk flared up and slid, flaring up on the skin... The tap dance struck dashingly with a shot - The body was filled with a sweet trembling. The wrists gracefully flung upward, The sound of castanets suddenly cut through the calm... In a wild outburst of unbridled passion, a mad heart breathes with flame. Like a fire, the purple silk flared up and slid, flaring up across the skin... The tap dance dashed with a shot - the body was filled with a sweet shiver

There are several versions of the origin of the word “flamenco”. There are several versions of the origin of the word “flamenco”. According to one of them, it is associated with the name of the Flamenco gypsy tribes (“tramps”, “deceivers”), who moved to Spain from India or from northern and central Europe back in the 16th century. They became the best performers of Andalusian songs and dances. According to one of them, it is associated with the name of the Flamenco gypsy tribes (“tramps”, “deceivers”), who moved to Spain from India or from northern and central Europe back in the 16th century. They became the best performers of Andalusian songs and dances. There is another version, dating back to the times of the cult of fire (from the Latin - “flamma”, that is, “fire”), especially revered by the people in ancient times. Or maybe the reason for such a name is given by the costumes of the dancers, emphasizing the thin and slender silhouette of the figure and the fanciful movements of the long-legged exotic bird flamenco (in Russian - flamingo)? There is another version, dating back to the times of the cult of fire (from the Latin - “flamma”, that is, “fire”), especially revered by the people in ancient times. Or maybe the reason for such a name is given by the costumes of the dancers, emphasizing the thin and slender silhouette of the figure and the fanciful movements of the long-legged exotic bird flamenco (in Russian - flamingo)?

How is Spanish dance born? When the red sun slowly sets behind the horizon and the day is replaced by a wonderful and warm evening, in the approaching dusk someone takes a guitar and the lingering tunes of flamenco begin to sound: How is Spanish dance born? When the red sun slowly sets behind the horizon and the day is replaced by a wonderful and warm evening, in the approaching dusk someone takes a guitar and lingering flamenco tunes begin to sound: I will tell about my sadness in a song, because singing means crying; I will tell you about my joy in a dance, because to dance means to laugh... I will tell you about my sadness in a song, because to sing means to cry; I will tell you about my joy through dancing, because dancing means laughing...

From time to time there is rhythmic clapping of hands and cheers of “Ole!” Thus, the audience participates in a spontaneous performance, cheering and inspiring the dancers and singers. Sometimes the same actor dances, sings and accompanies the guitar, demonstrating his universal art to the audience. From time to time there is rhythmic clapping of hands and cheers of “Ole!” Thus, the audience participates in a spontaneous performance, cheering and inspiring the dancers and singers. Sometimes the same actor dances, sings and accompanies the guitar, demonstrating his universal art to the audience.

Flamenco dancers caressing the castanets tree perform equally fiery performances. Invariably black eyes, black hair, gathered in a bun and crowned with a rose. How eloquent are the movements of their hands! Flexible, wriggling, expressive fingers weave intricate patterns, conveying the meaning and meaning of this dance. The movements of the men's hands are strict, sublime, they cut through the air like blows of a sword... Flamenco dancers caressing the wood of castanets perform no less fiery. Invariably black eyes, black hair, gathered in a bun and crowned with a rose. How eloquent are the movements of their hands! Flexible, wriggling, expressive fingers weave intricate patterns, conveying the meaning and meaning of this dance. The movements of the men's hands are strict, sublime, they cut through the air like blows of a sword...

Flamenco is pure improvisation. Each time it is performed in a new way, depending on the mental and emotional state. Only some of its elements are known in advance: guitar chords, dance figures, vocal techniques. But the creation of the composition itself, that amazing harmony of dance, music and singing, always takes place directly in front of the audience. Flamenco is pure improvisation. Each time it is performed in a new way, depending on the mental and emotional state. Only some of its elements are known in advance: guitar chords, dance figures, vocal techniques. But the creation of the composition itself, that amazing harmony of dance, music and singing, always takes place directly in front of the audience.

Spanish flamenco dance is full of passion and courage. Born in the depths of the soul, it is designed to express the richness of shades of human feelings: joy and sadness, love and disappointment, tenderness and hatred, melancholy and hope, which merge together under the chords of a guitar and the soulful sounds of songs. Spanish flamenco dance is full of passion and courage. Born in the depths of the soul, it is designed to express the richness of shades of human feelings: joy and sadness, love and disappointment, tenderness and hatred, melancholy and hope, which merge together under the chords of a guitar and the soulful sounds of songs.

Spanish dances gave impetus to the creation of many musical works by famous composers: J. Wiese (“Carmen”), N.A. Rimsky-Korsakov (“Spanish Capriccio”), A.S. Dargomyzhsky (“The Stone Guest”), C. Debussy (“The Spanish Hour”) and others. Spanish dances gave impetus to the creation of many musical works by famous composers: J. Wiese (“Carmen”), N.A. Rimsky-Korsakov (“Spanish Capriccio”), A.S. Dargomyzhsky (“The Stone Guest”), C. Debussy (“The Spanish Hour”) and others.

Test work What does the word “flamenco” mean? What does the word "flamenco" mean? Which country is it a symbol of? Which country is it a symbol of? Name the musical instruments that are used to perform flamenco. Name the musical instruments that are used to perform flamenco. Remember the characteristic color of the dance. Remember the characteristic color of the dance. What feelings is the dance intended to express? What feelings is the dance intended to express?

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Text content of presentation slides: Prepared by a 5th grade student of the Municipal Educational Institution of Children's Educational Institution "Children's Music School No. 1 of the city of Nalchik named after. Yu.H. Temirkanova Bzheumikhova Lilianna. Teacher Lopatina I.G. Presentation on the topic “Flamenco” Plan: Origins of flamenco Features Flamenco styles Instruments for performance Attributes of dance Origins (slide I) Flamenco arose in Andalusia under the influence of the cultures of peoples who coexisted for centuries on the same territory - Arab, Jewish, Christian and Gypsy. Echoes of African culture also reached the south of the Iberian Peninsula, mixing black rhythms with Andalusian ones. For most “non-Spaniards”, the classical image of Spain is associated with Andalusia. Wide-brimmed sombreros, colorful dresses with frills, a bright flower in her hair and passionate dancing. But after listening to what is sung in flamenco, we will see that at its core this music is dark and dramatic, and the folklore image of the Andalusian dancer is only its external, festive side. The land where flamenco originated is a far cry from the cheerful Andalusia depicted on souvenir shop postcards. Origins (slide II) In the Andalusian song, nostalgia merges with lyrical protest against injustice and oppression. The Arabs were expelled from Spain in 1492; Jews, of whom there were about 100 thousand in Spain in the 5th century, were forced to convert to the Christian faith in order not to be persecuted; Gypsies, eternal nomads who were persecuted, along with their simple belongings, carried with them the traditions of singing and dancing. Each of these peoples, at a certain point in history, lost their empire and were forced to adapt to new living conditions, accept someone else's faith, forget their favorite traditions, and merge with another culture. Their music became a hidden protest against injustice, a complaint about fate; their songs spoke about the gloomy reality of life. Flamenco is more than music. This is a whole worldview, an attitude towards life. You don't have to be a flamenco artist to belong to this world. Flamenco is, first of all, everything that is colored with strong emotions and emotional experiences. Origins (slide III) The first documentary mention of flamenco dates back to 1780, by which time its melodic structure and style had already been formed. The main categories of the population of Andalusia at that time were the nobility, the clergy, the bourgeoisie, artisans, workers, gypsies, as well as the stratum in terms of their well-being, they were at the lowest social level, consisting mainly of beggars and vagabonds. Villagers actively moved to the city, mainly due to the disastrous state of the villages, crushed by the rich nobility and plunged into poverty. In this atmosphere, flamenco gained strength and began to gain popularity, but until the last third of the 19th century it was not a national treasure and did not enjoy fame outside a narrow circle of amateurs. Origins (slide IV) The home of flamenco was the house. In traditional Spanish housing, all apartments were built around a common courtyard (patio), which was a kind of center of the entire house. This layout implied fairly close communication between neighbors, who were often members of one large family or clan. Inside the house, the patio was a place where holidays were celebrated and the secrets of singing were passed on. All this happened in a limited circle of relatives, so many of the most significant names in flamenco are family dynasties, where the secrets of the skill were passed on from generation to generation. Music was perceived as a dialogue, communication, which explains its improvisational nature. A dialogue between two cantaors, a cantaor and a guitarist, song and dance. Gradually, life taking place on the patio moved more and more to the street, for example, during the celebration of weddings, baptisms and other events. In some Roma settlements, these “flamenco fiestas” took on their own appearance. They took place outside the city, in temporary gypsy settlements. Apart from members of the same family, they were sometimes open to a wider public, where cantaores gained fame by demonstrating their abilities and their individual style of performance. Having moved beyond the family circle, flamenco began to penetrate other areas of Andalusian society. The famous cantaors and bailaors begin to take part in home fiestas. At the end of the 18th century, flamenco was already heard in taverns and inns along the Andalusian roads. Performance instruments. Cajun - Cajon: a favorite percussion instrument in flamenco. This is a small hollow wooden box with a hole in the wall, on which they knock with their palms, usually while sitting astride it. The sound of this instrument combines delightfully with the acoustic guitar, emphasizing its rhythm. Castacuelas - castanuelas: castanets. Hembra - embra: castanets held in the right hand (literally translated - “female”. Macho - macho: castanets held in the left hand .Palmas flamencas - palmas flamencas: rhythmic blows of three or four pressed fingers of one hand on the palm of the other, claps that accompany singing and dancing. Pitos - pitos: snapping fingers in the manner of castanets. Taconeo - tapping heels to the rhythm of a song. Golpeo - golpeo: hitting the table with fists. Features of the dance. A characteristic feature of flamenco dance is traditionally considered to be “zapateado” - beating the rhythm with heels, the rhythmic drum sound of hitting the heel and the sole of the shoe on the floor. However, in the early days of flamenco dance, zapateado was performed only by male dancers. Since this technique requires considerable physical strength, zapateado has long been associated with masculinity. Women's dance was more characterized by smooth movements of the arms, wrists and shoulders. Now the difference between women's and men's dance is not so clear, although arm movements, flexibility and fluidity still distinguish women's dance. The movements of the dancer’s hands are undulating, “caressing” and even sensual. The lines of the arms are soft, neither the elbows nor the shoulders break the smooth curve. It’s even hard to believe how smooth and flexible the lines of the hands subconsciously influence the overall perception of the bailaora dance. The movements of the hands are unusually mobile, they are compared to the opening and closing of a fan. The movements of the male dancer’s hands are more geometric, restrained and strict; they can rather be compared “to two swords cutting the air.” Flamenco styles. Bambas. This style appeared in a village in the province of Seville, called Aznalcázar. According to folk tradition, there is a custom there to organize competitions of strength between village residents during the summer and spring holidays. Each neighborhood or street competes to see who can lift the tallest and heaviest pole. Women take part in the competition on an equal basis with men. The largest pillar that can be lifted is called a “bamba”. One team member lifts it, and the rest support the pole with ropes tied to it. All this is accompanied by couplets called “bambas” Flamenco styles. Solea. The name of this style comes from the word “soledad” - loneliness. Solea is called the mother and queen of all songs. It is often spoken of in the plural - soleares, since not only each region, but also many cantaores have their own solea motif. These strict but beautiful songs undoubtedly belong to the most ancient styles of cante jondo. The first soleas, which appeared at the beginning of the 19th century, were intended to accompany dances. The song consisted of only three coples and was performed at a lively, dynamic tempo. Currently, this “sole de baile” is known as “soleariya”. Later, the masters of this style began to embellish the songs, lengthen them and perform them at a slower tempo, giving the solea more sad shades and expression, and the “sole grande” arose, which from Triana, its cradle, spread to Los Puertos, Cadiz and Jerez. The guitar plays a vital role in the performance of solea, coming to the fore like nowhere else in other styles. Falsetas performed by skilled tokaors can be so complex that many musicians refuse to even understand them. Solea is a surprisingly flexible style that can accommodate all the greatness of caña or polo and the frivolous joy of the songs of Cadiz. The world of Solea, the themes of her songs are life’s illusions, love and death. The poems of many soleas are real poems, full of beauty and poetic meaning. Flamenco styles. Campalnilleros. The origin of these songs is associated with rural monks. There was a custom where at the end of each week or month one of the monks had to wake up his neighbors so that they were ready for morning prayer. To attract attention, he would ring a bell (campanilla in Spanish). Sometimes he was accompanied by several other people who hit the empty jug and the metal triangle. This is the origin of the campanilleros style, and its emergence as a form of flamenco is attributed to cantaor Manuel Torres, whose performing talent turned campanilleros into a serious musical genre. He performed these songs accompanied by such famous toca players as Niño Ricardo and Currito de la Jeroma. Attributes of dance. Female image. An important element of the dancer's image is a traditional dress called a bata de cola - a typical flamenco dress, usually floor-length, often made of multi-colored polka dot material, decorated with frills and flounces. The prototype of this dress was the traditional attire of gypsies. An integral part of the dance is the graceful play with the hem of the dress. A Spanish shawl with very long tassels is one of the classic attributes of female flamenco dance: the shawl either twists around the dancer’s figure, emphasizing the slender female silhouette, or falls from the shoulders, forming the silhouette of a large, beautiful, restless bird. Another classic female flamenco attribute is a large fan. Attributes of dance. Male image. The traditional clothing of a male dancer is dark trousers, a wide belt and a white shirt with wide sleeves. Sometimes the edges of the shirt are tied at the front of the waistband. A short bolero vest, called a chaleco, is sometimes worn over a shirt. When a woman performs a traditionally masculine dance, the zapateado or farruca, she may also wear such a costume.

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