"Rhythmic gymnastics. Development of flexibility and coordination of movements in physical culture lessons in high school students "
Perched Turkish Ksenia Sergeevna
Teacher of physical culture
GBOU Lyceum №179
Saint Petersburg
Introduction
The need to work at school in lessons in rhythmic gymnastics is due to the fact that currently there is a lack of harmonious development among senior schoolgirls. Most girls have a pronounced disorder of posture, the absence of plasticity, femininity and culture of movements. Solving this problem in school conditions help artistic gymnastics.
Rhythmic gymnastics is one of the sports close to the art of dance and contributing to the aesthetic education of schoolgirls.
The harmonious development of engaged in the comprehensive improvement of their motor abilities, health promotion, the provision of creative longevity is all the purpose of rhythmic gymnastics.
In the process of classes, vital motor skills and skills are formed, special knowledge is acquired, moral and village qualities.
Exercises of rhythmic gymnastics correspond to the peculiarities of women's motility, their ability to perform soft, smooth motionsThis is one of the means of general and special training of schoolgirls.
Artistic gymnastics classes contribute to health promotion, comprehensive physical development, education of vital skills, improving performance, therefore, they contribute to the development of special motor qualities, allowing to perform movements in a given combination, pace and rhythm. In constructing rhythmic gymnastics, dexterity and flexibility, strength and endurance, mobility and elasticity are developing, coordination abilities, a sense of equilibrium and jumping.
Rhythmic gymnastics teaches to comply with the rules of aesthetic behavior, forms the concept of beauty of the body, brings up and instills the taste for beautiful, elegant, expressive movements, manners, gestures, poses.
One of the means of physical and aesthetic education is a choreography in which the dance and music are occupied important place. They contribute to the development of coordination of movements, restraint, emotionality, improving motor qualities. Musical support of classes is developing a musical hearing, a sense of rhythm, teaches to coordinate movements with music and ultimately develops intellectual abilities.
In the process of artistic gymnastics, the functional state of the body is improved. Gymnastic exercises have a beneficial effect on the central nervous system and the metabolism, muscles become stronger and elastic and can perform great physical work, the cardiovascular and respiratory system, the musculoskeletal system, is strengthened, the operation of the internal organs is improved, as a result of which overall performance increases and the durability of the body to adverse effects of the external environment.
Consequently, the problem of the physical development of schoolgirls by means of rhythmic gymnastics is relevant.
Organization of lesson in rhythmic gymnastics
General characteristics of rhythmic gymnastics with sports
The main means are:
Exercises without an object (equilibrium, waves, crackles, jumping, etc.);
- Exercises with objects (hoop, ball, bulbs, skipping, ribbon);
- elements of classic dance;
- elements of folk dances;
- elements of historical and modern dance;
- acrobatic exercises;
- Rhythmic (exercises for consistency of movements with music);
- elements of pantomime;
- elements of the main gymnastics (general arraying, construction, applied exercises);
- Exercises from other sports.
Exercises of the school program are free movement on the site, which includes elements of dance, plastics, facial expressions, pantomimes, rhythmically consistent with the music of movements without object and with objects, as well as some elements of simplified stylized acrobatics (semi-pacocci). Thus, the subject of study in rhythmic gymnastics is the art of expressive movement.
Features of the lesson of artistic gymnastics at school
The use of rhythmic gymnastics tools in physical education lessons during the school year allows to significantly increase the level of development of speed, endurance, speed-force qualities, dexterity, equilibrium, coordination of movements.
The lesson of rhythmic gymnastics at school has a significant impact on the cardiovascular system. The average pulse values \u200b\u200bwhen performing in the main part of the exercise lessons with objects are about 165 ° C / min.
Depending on the structure of the elements, as well as on their focus, both in the pedagogical plan and in the nature of the impact on the body engaged in school curriculum can be divided into 6 species:
1) Wrecked walk, run and jumps;
2) dance steps and their connections;
3) exercises for hands, torso (slopes, attacks), for balance;
4) exercises with objects;
5) jumping in place and with promotion;
6) Exercises for relaxation for muscles of hands, legs, torso.
In the preparatory part of the lesson lasting up to 8 minutes. The exercises of the 1st type are included, mainly (30 min.) - 2, 3, 4 and 5 species, and in the final (7 min.) - Exercises of the 6th type.
Preparation for the lesson and its conduct
Preparing for the lesson, the teacher must first of all determine its tasks, content, orientation. The novice teacher is recommended to draw up a summary in writing in writing, indicating dosage, placement engaged, predetermining possible errors and ways to correct them. In the future, with the acquisition of pedagogical experience, you can not write a fully lesson, but thoroughly thinking about the construction.
However, the plan-abstract should not turn into a dogma, exclude a creative beginning. Almost this means that, while maintaining a methodological sequence, purposefulness, a teacher may complicate, facilitate tasks, introduce new and so on.
An important condition for the correct organization of the lesson is thoughtful, planned placement of engaged in.
Preparatory part It is recommended to conduct in the movement of the column in a circle. When performing exercises, support needs schoolgirls so that they do not interfere with each other. When performing exercises in the middle of the hall, it is best to place schoolgirls in a checker order, and after 2-3 lessons should be changed.
When performing exercises with Promotion, it is recommended to move in the direction from the rear to the front line of 3-4 people with a return on the side lines back to its original position. When performing large hopping connections without an object and with objects, it is rationally moving diagonally with advancement from the rear line to the front (Fig. 1).
During the lesson, the teacher must reasonably combine the show of exercises with an explanation, especially when mastering new movements. The show must be technically competent and clear, with a certain expressive color. It must be remembered that the show cannot replace those instructions and comments that the teacher can do orally.
If gross errors occur in execution it is better to stop the whole group or student and again explain the task. Remarks can wear a "prophylactic" character, that is, before the task, the teacher warns the entire group or individual disciples about possible errors. The teacher needs not only to find a mistake, make a comment, but also to achieve from engaged in the fulfillment of their instructions, showing rigor and decisivity, but maintaining goodwill.
Musical accompaniment of occupation
Music in rhythmic gymnastics performs a number of special functions:
Thanks to music, rhythmic gymnastics is an effective means of aesthetic education. In the process of occupying, students get acquainted with musical literacy, with the concepts of rhythm and metrortma, the structure of the meter and tact, forms and the genre of music. It helps them deeply perceive music, develops with them an artistic taste. Music helps to solve other tasks of aesthetic education, such as the education of the beauty of the movement, culture of behavior;
- Music is essential when teaching movements, especially when upbringing expressiveness and artistry;
- Musical art has a lot of direct emotional effects. Large physical and mental loads are transferred to the music, efficiency increases, recovery processes are accelerated;
- Music in the lessons should be simple, affordable and expressive;
- For musical accompaniment, classic works, melodies of folk songs and dances, as well as modern music are used.
Training and technical training
Stages of learning
The learning process of exercises in rhythmic gymnastics can be conditionally divided into 3 stages. The 1st stage is to create a preliminary idea of \u200b\u200ba learning movement, the 2nd is its in-depth learning and, finally, the 3rd stage of improvement.
Creating a predependence is based on a number of characteristic methods and techniques. The main ones are the following:
1. Using the terminology of the exact name of the exercise, which, subject to the knowledge of terminology, immediately creates a certain motor view of the movement.
2. Show exercise, with which the visible image of the move is created primarily.
3. Explanation of the exercise, with the help of which the details of the techniques are specified, the elements of the expressiveness of the movement and other nuances.
4. Preliminary familiarization with movement is its primary, trial, execution.
From among the listed methods and techniques, the most important role is played by the show and explanation. In rhythmic gymnastics, the teacher himself is widely applied. The following requirements are presented to the show: accuracy, focus on solving full of certain tasks, compliance with this stage of exploring the exercise. Giving a figurative explanation, the teacher seeks the desired expressiveness of each movement, but at the same time clarifies the necessary elements of technology.
Worker exercise. Creating a preliminary representation of the movement directly, without a pronounced border, goes into the stage of in-depth learning.
Given the relatively high availability of artistic gymnastics exercises, it can be assumed that the primary learning stage is relatively short. As soon as the preliminary idea of \u200b\u200bthe learning movement is formed and in the process of initial training, the most rough mistakes are eliminated, it can be considered that the student has moved to the process of improvement.
Improving motion is the most time-consuming stage. It includes work on the expressiveness of the movement, accuracy of execution. Improving complex exercises may continue for many months.
Training Methods and Acceptance
In rhythmic gymnastics, it is customary to allocate 2 basic training in exercises. This is a method of holistic learning exercise and learning method by dismemberment.
Holistic method. This method is widely used in rhythmic gymnastics, which is explained by the relative availability of exercises. Almost any exercise, the difficulty of which corresponds to the level of preparation of the student, can be mastered integrity. At the same time, it should be borne in mind that the use of a holistic learning method implies the presence of a motor base obtained earlier. This motor database includes elements that are necessary both by themselves, for example, choreographic preparation elements and elements that allow them to master more sophisticated exercises. For example, the study of such a movement, as a vertical equilibrium of the foot forward or backward, is carried out holistically, but it is based on the ownership of the exercise system (Batman Tandy, Batman Zhete, Batman Devlostpe, Gran Batman Zhete, etc.).
The dismemberment method is used mainly when studying relatively complex exercises, as well as to correct the motor skills, to correct some errors or work on the expressive movements in its individual phases, for example, any leap in rhythmic gymnastics can be divided into several stages of action.
Preparatory Stage:
The 1st phase - "overclocking" (in the jumps from the place there is no);
The 2nd phase - "Witzok with Zamakh" (in jumping from the place - "shim");
The 3rd phase is "depreciation" (in jumping from the place - "hurdhes").
Basic stage:
4th phase - "pushing";
The 5th phase is "separation".
Stage of implementation:
6th phase - "Forming actions";
The 7th phase - "Fixation of Pose" (optional).
Finishing stage:
8th phase - "Preparation for landing";
9th phase - "depreciation";
The 10th phase is "binders and corrective actions".
In the process of mastering the exercise, various methods of work can be applied:
1. Operational comment and explanation. In the process of working on the movement great importance They have instructions that the teacher gives during the exercise. These instructions play the role of an external control point, with which a student can promptly submit its own actions. At the same time, the teacher always responds to the nature of the movement of the student and, introducing the correction, thereby applies the principle of feedback.
2. Music as a training factor. Musical accompaniment can be viewed as a factor of exposure to the student in the process of learning exercises. By changing the tempo, the rhythm of musical accompaniment, emphasizing the individual details of the movement, you can control the actions of the student, changing their character. Proper technique The use of music contributes to the absorption of motor skills.
3. Physical assistance techniques are used quite often, in particular, if necessary, adjust the actions of the student. So, when you master the jump step, the use of help is possible, due to which the duration of the flight phase increases. As a result, the student gets the opportunity to better feel the nature of the action in the performance of this movement. For example, with the help of a teacher, a student can better feel the coordination of movements in the performance of a wave and similar movements, when its own actions are directly physically managed by the teacher.
Different techniques of fixation are often used, with the help of which in sensations is fixed the most correct position characteristic of a particular phase of the exercise.
4. In the process of learning movements, self-control of actions from the student is important. The visual analyzer is extremely important. The simplest and most common reception is the work in front of the mirror. On the contrary, performing individual phases of movement or exercise entirely with closed eyes, it is possible to focus better on the motor sensations and thereby increase the effect of learning exercise.
Technical training
This paper uses the following from the listed funds: Exercises without an object, elements of classical dance, elements of folk dances, elements of historical and modern dance, rhythm, elements of the main gymnastics. All of these funds can be combined into one general, from which the main "school" of the rhythmic gymnastics movements is choreography.
In fig. 2 shows the main skills related to technical preparation. Conditionally, such basic technical training components can be distinguished: choreographic, musical and rhythmic, preparation without an object.
Under the choreography means everything that belongs to the art of dance. The choreographic training section includes elements of classical, folk, historical and modern dances, executed in the form of Exercis and in the middle.
Structure and principles for building a choreography lesson
The structure of the choreography lesson remains classic: preparatory, basic, final part.
In the preparatory part of the lesson, the tasks of the organization are solved, the mobilization of them for the upcoming work, preparation for the exercise of the main part of the lesson.
These tasks are resolved by the following means: a variety of walking and running, various dance connections, generalizing exercises. These exercises contribute to the mobilization of attention, prepare the articulated muscular apparatus, cardiovascular and respiratory system for subsequent work.
The main part of the lesson is solved with the help of a large arsenal of various movements: elements of classic dance, historical and folk dance, elements of free plastics, general weary exercises.
In the final part of the lesson, it is necessary to reduce the load with exercises for relaxation, stretching. In this part of the lesson, the results are summed up.
The choreography lesson is built on the following 4 principles:
Proportionality of individual parts of the lesson;
- Selection of exercises and the sequence of their execution;
- alternation of load and rest;
- drawing up training combinations for a lesson.
The sequence of exercises in the choreography lesson is strictly defined. First, the exercises are selected, locally affecting the ankle, knee and hip joints, then with a gradual increase in the amplitude of movements, including increasingly large muscle groups.
Rhythmic Gymnastics Program
The program consists of a practical section. The course of classes is designed for 20 hours, which can enter the variable part of the program in physical culture.
Preparatory lesson (5 min.) - Outmunishing exercises:
Different types of walk: on socks, heels, high step, in half-graced, in the critic;
- Various types of running: with a high lifting of the hip, bending the shin back;
- sharp step;
- rolling step;
- Various movements with hands;
- slopes.
The main part of the lesson (25 min.) - choreography:
a) Support:
Position positions;
- lifting on socks in combination with slopes, squats and semi-mans;
- wave;
- semi-trained (Demi Plie), squats (Gran Plie) with various movements of hands in combination with waves, slopes;
- putting the legs on the sock forward, backward, to the side (Batman Tandy);
- Mahi foot by 45 degrees ahead, back, to the side (Batman Zhete);
- Circles to the foot toe on the floor (Ron de Zamba pairs of terr) in combination with inclons;
- exercises for stretching from the initial position of the foot on the support in combination with inclons and semi-mans;
- Mahi (Gran Batman);
- Holding legs;
- Jumping 1, 2, 5th positions.
b) in the middle.
1. Standing in place:
Hand positions;
- waves and cramped hands;
- a holistic wave;
- slopes: ahead, back, on the parties (from various source positions);
- high equilibrium on one sock one, other back, hands on the parties;
- Rotate 360 \u200b\u200bdegrees on one, the other bent forward.
2. In motion:
Connection of exercises: equilibrium with a turn;
- Mahi with moving forward;
- round half-headed, wave moving forward;
- Drinks with moving forward;
- jumps on two with advancement forward;
- jump;
- open jump;
- Jump step.
3. Dance exercises.
a) dance steps:
Power step;
- Polka step;
- gallop pitch;
- Waltz Step (to the side, with a turn).
b) dance ligaments:
Polka step, swelling;
- Galop's step, jumping on two up;
- Waltz Step to the side, Waltz Step with Turning.
Final part (10 min.) - Exercises for the development of special qualities.
a) Exercises for the development of flexibility:
Slopes;
- gymnastic bridge;
- "folds";
- "Ring";
b) stretching exercises:
Drops;
- longitudinal twine;
- Great Mahi.
c) Equilibrium development exercises:
Equilibrium on two, standing on socks, hands up;
- equilibrium on one sock one, other back to 60 degrees, hands on the parties;
- "Wave" back and forth in a rack on socks.
d) Exercises for the development of coordination:
To coordinate the movements of the hands and legs.
4. Special exercises of rhythmic gymnastics to generate plastics, expressiveness, femininity:
Various movements with hands, accompanied by head movements;
- waves and cracklers;
- Dance steps.
5. Exercises on the connection of elements of artistic gymnastics with musical accompaniment: dance steps, dance connections, exercises in support.
Total requirements
1. Jumping techniques: jump and open.
2. High equilibrium on one sock one, other back.
3. Control exercises for flexibility - the bridge, on the stretching of the muscles of the legs - the longitudinal twine.
4. Performing a test composition without objects:
High equilibrium on one sock one, other back;
- Rotate 360 \u200b\u200bdegrees on one, the other bent forward;
- open jump;
- wave forward with promotion;
- Waltz step to the side.
Binding elements: wave with hands; Cross turn; tilt back; Soft step.
CONCLUSIONS
The use of elements of rhythmic gymnastics in the lessons of physical culture had a positive effect on physical development Pupils:
1. The adaptation of the student's body to physical exertion increased.
2. The flexibility and stretching of the leg muscles has improved.
3. Coordination has increased.
4. The equilibrium time has increased.
The results of tests on general physical training also increased, which suggests that the use of artistic gymnastics facilities contributes to a comprehensive, harmonious development of engaged in the study.
Improving posture, flexibility, coordination of movements contributed to the production of graziness and femininity among girls.
As the analysis of literary sources showed, in rhythmic gymnastics, to achieve a high level of sports skills, it is necessary to develop such quality as flexibility. This provision is confirmed by our experimental studies. Consequently, the main task of a pedagogical experiment to us was to improve the methodology for the development of flexibility, based on the results of their own studies.
The process of flexibility was carried out gradually.
The dosage of exercises aimed at the development of flexibility was small, but the exercises were used systematically, at each occupation. Also, these exercises were included in the morning gymnastics.
Before proceeding with the exercises to increase the mobility of the joints, a warm-up for heating muscles was carried out.
Stretching exercises gave effect if they were repeated before the appearance of the feeling of easy pain.
The main means of the development of flexibility were exercises for stretching, which could be dynamic (spring, fly, etc.) and static (preserving maximum amplitude at various postures).
Exercises for stretching were performed as with burdening so without it.
Using burdens allows emphasis on the muscles, providing movements in the joints.
Complexes of exercises aimed at the development of mobility in various joints of the musculoskeletal system, consisted of exercises active (the maximum amplitude is achieved by the executing themselves) and passive (the maximum amplitude is achieved with the help of additional external efforts). The load in the exercises on flexibility in individual classes and during the year increased by increasing the number of exercises and the number of their repetitions. The pace with active exercises was 1 repetition of 1 second; with passive - 1 repetition in 1 - 2 seconds; Holding static provisions - 20-30 seconds.
When performing tasks for flexibility to the child, a specific purpose was put, say to reach the hand to a certain point or subject. A similar admission allows to achieve greater amplitude of movements.
The main method of flexibility is the re-method, where stretching exercises were performed by series of 10-12 repetitions in each. The amplitude of movements increased from the series to the series. Such exercises gave the greatest effect, and if the children were performed daily and at home and did not miss training. In training, 40% of the time was given to the development of flexibility. The following ratio was used to use exercises for flexibility: 40% active; 40% -passive; 20% static.
Since in children of 5-6 years of age, the classes were held 3 times a week, a homework system was used, which included exercises aimed at the development of the flexibility of the spine, in the hip and ankle joints, ponded ligaments, as well as jumping on the rope. For the development of flexibility in the training process, speed-security exercises were used: spring movements, Mahi, followed by keeping legs. At the same time, if the exercises were carried out with burden, the weight of the burdening should not reduce the speed of performing moving or spring movements (burdening did not exceed 2-3% of the weight of the body of the gymnast). As methods of improving flexibility, gaming and competitive methods were used, then classes passed interestingly and fun (who could be leaning below; who, without bending his knees, will be able to raise a flat item with both hands, etc.).
Exercises for flexibility were performed in such a sequence: at the beginning of the exercise for the joints of the upper limbs, then the torso and the lower extremities.
Exercise conditions are much easier due to support. Exercises first were performed at the support, then without support.
Active and passive flexibility develop in parallel.
Exercises applied to flexibility:
Repeated springing movements that increase the intensity of stretching. Nr: Spring slopes forward.
Movements performed by possible greater amplitude. Nr: Tilt back and forward to failure.
Inertia movements, any part of the body. Nr: Mahi feet forward or to the side with a gradually increasing amplitude of movement.
Additional external support. H-p: Captures with hands for the rail of the gymnastic wall or a separate part of the body, followed by attracting one part of the body to another.
Active assistance to a partner.
Complex of exercises for flexibility
The tilt forward, sitting back apart. Touch the chest of the floor and keep this position 2-3 seconds. To successfully accomplish this regulatory requirement, it is recommended to master the following exercises:
- a) sitting on the floor, legs together, the slope forward with the help of a coach that presses his hands in the blades;
- b) standing in the slope forward, strive to touch the floor palms, then forehead, breasts;
- c) stand back to the gymnastic wall, lean forward, grab about the second rail and attract to yourself, leaving everything deeper and deeper (no legs bend);
- d) standing face to the gymnastic wall, put the right leg on the rail at the height of the belt (or chest) and, leaning forward, strive to touch the legs;
- e) Sitting the legs apart by the sewn, the slope forward with.
Bridge from the position of Löj.
The ability to perform the bridge is essential not only for the development of body flexibility, but also for successful free and acrobatic exercises.
Exercises for mastering the bridge:
- a) tilting back, touching the wall with their hands;
- b) standing on his knees, hands up, tilt back, strive to touch the floor with the hands;
- c) sitting with her back to the wall, take the hands of the rail at the height of the head, bend the legs and put on the width of the shoulders, flexing to get up;
- d) standing back to the wall, lean back and leaning hands about the wall, execute the bridge;
- e) lying on his back, bend legs and rest over your head;
- e) Standing, tilt back bridge with a coach.
Rising a straight leg forward, to the side (to the height of the belt, chest), back (above the knee), standing at the gymnastic wall and leaning about her hand free hand on the belt:
- a) Mahi Nagya forward, back, to the side, standing at the gymnastic wall and leaning on her with hand (with Maha, a foot turn outward, the body and head right);
- b) Stand face (sidel) to the wall and put a straight leg on the rail at the height of the belt. Squat on the support leg, hold the straight leg on the rail;
- c) standing at the wall, raise a straight leg forward, aside and back with the help of a coach (prevent painful sensations);
- d) standing by the wall, lift the leg forward forward, backwards with burdens (sand bags 1 - 2 kg).
Freaks in the shoulder joints with a skipping.
For the development of flexibility in the shoulder joints, it is recommended to regularly perform the following exercises:
- a) circular movements with hands in side and facial planes alternately, consistently and at the same time;
- b) also with bulbs, dumbbells, sandbags;
- c) from the standing position, hands up with a rubber bandage, get out, lowering hands back behind the back and returning to its original position;
- d) too, but with a skipping, hands up wider shoulders.
Shpagat straight.
Twine training is recommended to begin with the exercise described in p.3. Attaching legs to the side by 90 degrees, promotes a good fulfillment of direct twine and eliminates traumatic damage. In addition to these exercises, the following are recommended:
- a) From the end of the legs of the leg apart, the socks are turned outward, the rotation of the body to the right and left, exposing the hands to one, then in the other side. Turning to the left, strive to touch the floor with the right thigh, turning to the right, the left thigh;
- b) standing face to the gymnastic wall, spread the legs apart by sewing. Holding hands over the wall, strive to drop as low as possible;
- c) too, but get up on 2 - 3 rack;
- d) Standing the legs apart as a sewn, stinging the ball between the legs. Running legs strive to sit on the ball;
- e) from the seda feet apart by the sewing, leaning on the hands forward, stand up and return to I.P.
the main task Coordination improvement - ensuring a wide basis (Fund of assimilated motor skills and skills) and based on the achievement of the versatile development of coordination abilities.
To successfully solve it, children first traine in the extensive circle of motor actions. For this purpose, various exercises were used in the classes with them, most of which are new or unusual, most of which can be considered as coordination. The widest of them was a group of general preparatory coordination exercises. In senone preschool age Analytical coordination exercises are predominant, affecting various special and specific K.S. Much attention at this age was given to overall exercises without an object and with objects.
Speaking about the features of the development of K.S. A senior preschool age should be given the problem of the optimal ratio of methods of standard - repeated and variable (alternating) exercises.
The method of standard - re-exercise is absolutely necessary in working with preschoolers, however, as students begin to confidently carry out digestive motor actions, it must give way to a variative exercise method. Otherwise, the acquired skills can go into oblique stereotypes, and this is unacceptable, because The technique of movement will continue to be rebuilt due to the threshold of physical abilities and a significant increase in body sizes.
Among the techniques relating to the method of variable (variable) exercises, at this age should prevail the receptions of strictly regulated variation.
As a means of upbringing motor-coordination abilities, most varying physical exercises can be used, and if their fulfillment is objectively connected with overcoming more or less significant coordination difficulties. Such difficulties have to overcome in the process of mastering the technique of any new motor action.
However, as the action becomes familiar and is increasingly fixed by the skill associated with it, it becomes less difficult in coordination and therefore stimulates the development of coordination abilities. Niza, at least partial, unusual and caused by these extraordinary requirements for the coordination of movements are the most important criteria when choosing exercises for effective impact on the engine - coordination abilities.
Especially valuable in this respect are infinitely diverse combinations of movements that make up the material of gymnastics, as well as sports and moving games.
In the development of the COP, the methodology N.V. Homyakova (1998). In his methodology, he proposed application on initial stage Training of special exercises aimed at eliminating motor asymmetry, which will facilitate the harmonious development of gymnasts, a more complete manifestation of coordination abilities and allow to further achieve higher results.
L.P. Matveyev (1991) offers the upbringing of motor-coordination abilities going along two main lines:
The first line is implemented directly in the process of learning new motor actions, by a consistent solution to new motor problems arising from the need to coordinate movements and overcoming interference that occur at the initial stages of the formation of motor skills.
The second line in the methodology for the education of motor-coordination abilities is characterized by the introduction of an unusual factor when performing actions that make additional requirements for coordination of movements.
Coordination abilities in rhythmic gymnastics are manifested in the ability of gymnasts to perform exercises freely, easily, elegantly, and also accurately and economically.
COP are closely related to the development of strength, speed and endurance.
In the process of technical training, gymnasts should not only seize the complex coordination of movements, but also learn to maintain it in various changing conditions, which is of great importance in their sports activities.
Coordination is unthinkable without the development of the articulated and muscular sensitivity, which contributes to the formation of fine motor differentiation.
Therefore, gymnasts need to systematically perform new, increasingly complex, exercises in various conditions.
For the development of coordination of movements, dance movements, acrobatic and gymnastic exercises used. But the best tool served as artistic gymnastics exercises, especially with objects, as well as elements of dance, which contributed to the development of coordination of movements, orientation in space and in time. With the same purpose included exercises in turns.
In order to educate the COP at the training sessions, there were gymnasts in new, unusual conditions for them, the conditions: changed the main direction, carried out exercises on the other legs and in the other way. Sometimes changed the form of familiar items: gave a big size ball; The rope is a shorter or longer, made of another material; hoop - easier or harder, with a large or smaller diameter; ribbon - longer or wider; Stick - heavier and shorter; In the performance of power exercises, burdens were used.
Changed ordinary conditions, thereby forcing gymnasts to overcome emerging difficulties. For example, with static equilibrium exercises, the support area was reduced or increased, increased the number of rotational movements, bringing them to the maximum, carried out exercises in equilibrium in very slow, while others in a very fast pace, etc.
When studying the elements of acrobatics, it is useful to gymnasts to perform exercises on the floor without carpet, and as the technique is mastered to exclude insurance and assistance.
Gaming and competitive methods were used as the development of the COP.
State Committee of the Russian Federation on Physical Culture and Sport
State Educational Institution of Higher Professional Education
Volgograd State Academy of Physical Culture
Department of Theory and Methods of Sports Directors, Sports Dance and Aerobics
Graduation qualifying work
in the specialty 022300.
"Physical Culture and sport"
Education of expressiveness and coordination of movements in rhythmic gymnastics by applying music games and dances
Student 502 groups
faculty of profiled preparation
Sendlekina Tatyana Yurevna
Scientific leaders:
to. n., Associate Professor Chikalova G.A.
to. n. Repnikova E. A.
Volgograd - 2005.
Introduction
1.5 Summary
2.1 Research Objectives
2.2 research methods
2.3 Research Organization
3.2 Methods of upbringing expressiveness and coordination of movements through music games and dancing
conclusions
Applications
Introduction
Rhythmic gymnastics - one of the types of the program of the Olympic Games with difficulty formulation, requiring an athlete not only a wide range of skills, skills and qualities, but also a high degree of motor expressiveness (1).
Relevance.Modern arbitrary exercises have become very complex, many new peculiar compounds and elements have appeared. In this regard, the interpretation of fixed assets of expressiveness in arbitrary exercise compositions is infinitely diverse. The high degree of ownership of the expressive gymnastic movement is manifested in the ability of an athlete to accurately transmit in the process of exercising the nature and emotional content of the music that in rhythmic gymnastics is called expressiveness (6).
Since artistic gymnastics is a fairly young sport, there is a need to develop expressiveness in girls 6-8 years old, begin to engage in rhythmic gymnastics. Therefore, practically from the first lessons it is necessary to develop this quality.
However, so far the issue of the formation of expressiveness of movements in girls of this age is not sufficiently studied. Based on this, based on the study of psycho-functional features, studies were conducted.
The purpose of the study The development of the methodology for the use of music games in the training process of artistic gymnastics classes for the development of expressiveness was developed.
Object research The training process of girls is 6-8 years old engaged in rhythmic gymnastics.
Subject of study. Development of expressive girls 6-8 years old engaged in rhythmic gymnastics, through musical games.
Hypothesis research.We believed that with the help of specially selected musical games, it is possible to more effectively develop expressiveness of movements in girls 6-8 years old engaged in rhythmic gymnastics.
Scientific novelty.For the first time, methodical approaches were developed for the use of musical games as means of developing expressiveness of children 6-8 years old engaged in rhythmic gymnastics.
Practical significance It is expressed in the development of methodological approaches to the application of musical games as a means of developing expressiveness of children 6-8 years old engaged in rhythmic gymnastics.
The data obtained can serve as a guide for coaches and athletes in improving the composition of exercises and performing skills.
expressive Artistic Gymnastics Training
Chapter I. State of the issue in the theory and practice of physical culture
1.1 Determination of expressive movements
Still in the ancient world dancing, physical exercises to the music were used for the development of good posture, gait, plasticity movements .
The system of Francois Delsart, who tried to establish a certain relationship between the emotional experiences of man and his gestures, failing to establish a large influence on the development of musical and motor culture. The works of Delsart and his followers were based on the theory of expressive movement and had an impact on the development of a pantomime, classical dance, serving the foundation for creating one of the directions in gymnastics - rhythmoplastic.
The theory of expressiveness of the motor skill was based on the gymnastics L.N. Alekseeva. In her system of "harmonic gymnastics" paid great attention to the etude work of improvisation, pantomime and dance.
Among the phenomena, which caused increased interest in gymnastics, the culture of movements, expressive plastic, can not be mentioned by Aseedor Duncan (42).
Rhythmic gymnastics is one of the few sports, the subject of training and evaluating the art of expressive movement. Despite the obvious gymnastic specificity, the concept of "expressive movement" refers to the field of psychology. This term in psychological research is denoted by the external expression of mental states, especially emotional, in facial expression and expression.
O. Elizarova (12) refers expressiveness of movements to the aesthetic side of exercise. The author notes that to ensure expressiveness of movements requires a high technique of their implementation, i.e. Perfect ownership of skills when all elements of motion are brought to automatism. This is achieved with a high degree of perfection, controlling movements, when the consciousness of the athlete is directed not so much on the execution technique, as for giving it aesthetic image.
The high degree of ownership of the art of an expressive gymnastic movement is manifested in the ability of athletes to accurately transmit in the process of exercising the nature and emotional content of the music, which in rhythmic gymnastics is called expressiveness (50).
But modern arbitrary exercises, according to Z. Verbova (6), became very complex, many new peculiar compounds and elements appeared. Interpretation of fixed assets (such as jumping, equilibrium, turns, crackles, waves, slopes) in arbitrary exercise compositions are infinitely diverse. The wealth of diversity depends on the musical work and from the individual gymnast capabilities. It is with the help of choreography, according to Lisitskaya T. (26), one of the main and most difficult tasks of the formation of skill in gymnastics is solved - this is the problem of upbringing the expressiveness of movements. Especially high requirements for it are presented in rhythmic gymnastics, where athletes are striving for a more shaped solution of compositions, which is impossible without knowledge of stable expressive means of choreographic classics.
According to the famous art historian V. Vanaslov (5), the main mass of choreographic movements of ballet remedies are formed by movement and pose it is emotionally expressive. "
A number of authors Kryazh V.V. (23), Verbova Z. (6), Kostromitskaya V., Pisareva A. (22), Evstratova N.A. (11) indicate that the ability to emotional experience is not yet expressive, since the very manifestation of emotionality should be enjoyed in an excellent plastic form. Therefore, if the form is not developed, emotions remain without incarnation. The expressiveness of movements manifests itself, it would seem, in the "trifles" - a good posture, a beautiful position of the head and expression of the face: without head slopes, without her turns, no posture has a finished species, the expressiveness of the face and eye is spiritualized poses. Ability to take proper position Hands: they take a wide variety of positions, expressing their plastic parts emotional state of gymnasts. Using hands, the most characteristic features of the style are created, the content of the fragment is detailed and disclosed. With complex and rapid turns, the hands are subject to the conditions for the capture of "Force". Consequently, expressiveness is the quality that manifests itself in good technique, in the right school of movements, it is a good "applub" and the pace during rotations, elegance, a large amplitude with a complete clarity of emotional content (6).
Exercises of rhythmic gymnastics are compiled taking into account the anatomy-physiological and psychological characteristics of the body of a woman, their inclination to mild, smooth, expressive movements performed by musical accompaniment. It has been established that, unlike other types of exercises, they are based on the principles of integrity, dynamism and dance nature of execution (6.8).
The integrity of the exercise is to coordinate the movements by different blocks of the body (symmetrical, unidirectional and multidirectional, asymmetric) performed and sequentially performed. An example of holistic exercises serve "Wave" and wave-like movements, cracklers.
Dynamic lies in the ability of gymnasts to perform movements in accordance with various pace, rhythm, amplitude and power of musical accompaniment.
The dance nature of the exercises acquire due to the fact that they are performed under musical accompaniment. And thanks to this, contains an emotional charge, transmit characteristic shades and means of expressiveness accompanied by their music (8).
According to Kulagin I.E. (24), Elizarova O. (12), music and movement - it is difficult to name a more universal agent of aesthetic and moral education of the child. Movement facilitates the perception and memorization of music, helps to remember the movement. All this gradually brings up a feeling of rhythm, musical memory, develops aesthetic taste.
Musical accents are emphasized by additional movements of individual parts of the body. It can be accented expressive turns of the head, the underlined displacement of the body and other motor accents that are made in the movement important nuancesestablishing aesthetic expressiveness. In motor accents it is very important to observe the measure of aesthetically expressive implementation. It is characterized by the compliance of the severity of musical and motor accents.
When studying the exercises of rhythmic gymnastics, it is most important to achieve consistency of the movements that make up the exercise with its musical material. For the propeller, these exercises are useful in that the movement is trained in different directions. Special benefits should be necessary to navigate the compositions created, in the intricate patterns of the components of the exercise (25).
Given the continuity of the concepts of "music" and "Movement", Lisitskaya TS (26) It has been established that the musical work affects the choice of expressive means: the elements of the facial expressions, pantomimics, expressive painting, jumps, turns, equilibrium, pos. It is possible to illustrate this in the following examples.
Music of heroic nature generates a number of emotional features. In the poses and movements of the gymnasts, this is usually expressed by a raised head on an elongated neck with a hard attentive look. Hands are tensely elongated, the brushes continue their line. For all postures, activity and stability are characteristic. The impression of activity is enhanced by the position at high half-winges.
In the music of a romantic-lyrical character, which is characteristic of a calm, contemplative mood with some fractions of sadness, dissatisfaction. The most degree of mood is expressed in the position of relaxed with a limresting brush hand. The performers take a lot of low positions - sitting, in a rack on the knees, semi-seas. Semistry and passivity are emphasized by a support for one leg, while the other is semi-bent, relaxed.
The nature of the Brixwan Spanish, Latin American dances is a passionate, jealous and even sharp - forces executors to put forward the chin, throw his head. The look is solid, decisive. The position of the hands is specifically: on the belt, hip. Poses are active, progress, are tense.
1.2 Characteristics of musical expressiveness
Music is one of the mighty tools for the aesthetic education of children, reproducing the reality surrounding us in sound images. The use of music in the physical culture class in kindergartens and schools affects the creation of the correct ideas about the nature of movements, produces expressiveness, accuracy and individuality in the manner of exercise execution, allows you to deeper the content, construction, rhythm and other characteristics of musical works (10,21,28) .
According to Zimina A.N. (16), the music does not just accompanise movement, but determines its essence, i.e. The movement should not be only a movement under the accompaniment of music or on the background of music, it must fit:
· Music character
· Means of musical expressiveness
· Music form form
Revealing the demands on the nature of music, it must be said that each musical work has its own character, which is expressed by all means of musical expressiveness. Mastering them makes it possible to the most fully reflect the nature of the music in their movements (8.10).
In order to achieve this, the correct selection of musical accompaniment, which not only improves the quality of movements, but also gives them special expressiveness, therefore music accompanying gymnastics should affect the emotional state of children, the development of coordination of movements, different types Memory.
Emotionality of classes will rise if children will be engaged in music available to their perception. Better if it is children's songs. However, in each case, it is necessary to take into account the individual characteristics of the child. The main thing is that the music is rhythmic, cheerful, emotional (8,45).
The ideological and emotional content of the musical work, as Rothers notes T.T. (33), the composer transmits with the help of means of musical expressiveness - melodies, harmony, rhythm, pace. The combination of all of these funds is created by musical images, the content of which reflects the design of the composer.
Among the above-listed funds are of particular importance for musical - rhythmic education they have a pace, metrochrites, dynamics.
The pace is the speed of the musical work; Metrortim - organization of strong and weak fractions, the ratio of various durations; The speaker is the power (volume) of the sound.
According to Evstoretov N.A. (11), rhythm, in an inseparable connection with all the expressive means of the musical work is reflected in the audio - a child's motor reaction as a holistic perception of music. Traditionally, musical - rhythmic movements The main goal has to intensify the perception of music, its images through expressive movements, to instill the skills of a conscious attitude to music, help reveal their musical, motor and creative abilities.
To do this, it is necessary to know the means of musical expressiveness, be able to distinguish them and correctly coordinate movements with the means of musical expressiveness, systematically develop musical hearing. Only on this condition of the gymnasts can compare them with their muscle sensations.
Having separate means of musical expressiveness, it is necessary to take into account the entire complex, transmitting the content of the work as a whole. For example, giving tasks to change the strength of movements, you need to select such music in which the necessary emotional basis is created by the means of musical expressiveness. In this case, the importance is attached to the dynamics.
When teaching movements agreed with the means of musical expressiveness, it is difficult to recommend a certain sequence. However, it should be remembered that all of them - pace, meter, rhythm, timbre - combine melody (48).
1.3 Psychofunctional Features of Girls 6-8 years
The initial period of the child's life is characterized by the intensive development of all organs and systems. The child is born with certain inherited biological properties, including the typological features of the main nerve processes. But these features constitute only the basis for further physical development, and the defining factors are the environment and child education (4).
Back in the 19th century, the founder of Children's Pediatrics S.F. Hotovitsky (1847) wrote that the child is a completely peculiar being, with a number of features of the structure of organs and tissues. His body differs from an adult organism and its most important difference is a continuous development (20).
The physical development of the child is a complex process of morphological and functional rearrangements, which is externally expressed in the change in body size, the ratio of individual parts of the body among themselves and the level of activity of the functions of the children's body (13).
By 5-7 years, there is an increase in growth rates - the period of the second retractation. Annual body increase at this time can be 7-10 centimeters (13).
As noted by Klyuev M.E. (20), the development of the musculoskeletal system for 7 years is not completed. Each of the 206 skeleton bones undergoes a change in shape, sizes and internal structure. The process of ossification of the skeleton continues, the bones are rich in a cartilage tissue that does not have great strength, and is easily resurrected.
The motor activity of the child has its own characteristics and is associated with the function of the cerebral cortex. It has been established that the greater role is played by the brain bark in the development of movements, the longer the period of their development and the more difficult and more diverse movement of the adult organism. The child initially begin to function the highest analyzers, and then develop complex locomotive acts that require complex coordination. This pattern requires the upbringing of movements in a certain sequence (14).
Improving movements continues for many years and is associated with the formation of relevant regulatory links, depends on the repeatability of actions, i.e. From motor education, or workout.
On improving the accuracy and speed of movements with an increase in the age of children are evidenced by research L.E. Lubomirsky (1974, 1979). Using the example of studying tracking movements, the author's control is shown that children 7-8 years old adhere to the tactics of the signal, they clearly show the retardation of regulatory movements.
A significant improvement in the function that ensures the programming of the start of actions occurs, according to L.E. Lubomirsky (1974), in the period from 7-8 to 11-12 years (38).
The nervous regulation of the activity of the heart in children is still imperfect. The irregularity of the frequency and the forces of heart abbreviations is observed even alone. For exercise The heart muscle is quickly tired, so the exercises during classes should be diversified. Arterial pressure in children is lower than in adults, and ranges from 73 to 76 mm. RT. Art. Exercise perfectly train cardiovascular system: the regulation of cardiac activity is improved, the work of the heart becomes more economical.
An important fact is that the school 7 - summer age anatomical structure, and the physiological functions of the auditory analyzer can be considered sufficiently formed to systematically educate children with music (40).
1.4 Application of the game method in the training process
The game is one of the main forms of child's activities. In the life of children, she takes a particularly important place. The concept of the game covers many very diverse phenomena: from the simplest motion of a baby with a rattle to sports games.
Most musical - motor exercises He has a clear content (image of the game), which strengthens, clarifies, deepens the impact of music. Reinforced by the explanation of the teacher, the game image wakes up and directs the imagination of children, fills their movements close to them and interesting content, makes music more clear and understandable (11).
The game is the main activity in children of preschool age. As the child develops, the games themselves change and their role in mental development. Games develop the overall motor activity of children, contribute to cognitive activities (43).
The essence of the game, according to Anicheeva N.P. (2), in which it is not important in it, and the process of experiences related to game actions. Although the situations played by the child, imagine, but feelings are experienced, real.
If classes are conducted in a game form, children perceive and remember motor tasks. They perceive exercises through the auditory and motor analyzers and reproduce the movement by repeating the leader. Thus, there are prerequisites for improving the auditory, motor and visual types of memory (41).
Observations show that in order for younger children to start the game, there is not enough skill to simply reproduce any actions, it is necessary that children have a certain emotional attitude to the character, which is presented with a plot toy.
In no other activities, the child independently exhibits so much perseverance, dedication, tirelessness, as in the game. Good game He is given to all entirely, opening it all "pores" of his soul.
About the huge educational impact of games for children has repeatedly spoken by N.K. Local: "... Children grow not only on study, but ... and in the process of the game they learn to organize, learn to recognize life" (7).
Another exceptionally important advantage of gaming activities, according to Fomin N.A. (46), constitutes the inner nature of its motivation, which also contributes to the development of the creative possibilities of children. Children play because they like the gameplay itself. Teachers who clearly understood the value of the game from the point of view of development in children of original thinking, can use the natural need of children to play and associated with this high level of motivation for gradually involve children in more complex and creative forms of gaming activity. Therefore, with the appropriate organization, the game creates favorable conditions for the development and improvement of the movements of the child - a preschooler. Complex motor skills are absorbed by the child not in the game, but by direct learning, but the game creates conditions for their further improvement.
This is due to the fact that in the game the movements themselves from the means of achieving well-known results are transformed into an independent purpose of the child's gaming activity, thereby becoming the subject of his consciousness. Taking a certain role, the child consciously seeks to reproduce certain movements, characteristic of a certain character, deliberately transfers these movements (29).
But Stepanenkova E.Ya. (37) Indicates that the beauty of the movement is manifested in perfect physical control, which allows the body to rule over space and time. Playing, the child satisfies the natural need in motion. It is known that when the need is satisfied, the free power of imagination can develop. Schiller F. Fairly wrote: "The reality of things is their business, the visibility of things is the case of a person, and the spirit enjoying visibility, it is not rejoiced by the fact that he perceives, but what he reproduces."
Touching on specifically musical games, it should be noted that, creating one or another game image, children hear in music and transmit a variety of feelings in motion. Thus, they learn to finely feel the emotional mood of the work. The ability to note in motion the beginning and end of the musical work, to highlight the rhythmic pattern of the melody, to realize the means of musical expressiveness helps children (3).
The child's game attracted many researchers. Studying the child in the game of the game, they tried to answer questions related to the emergence of the game and its meaning in the child's life.
The development of gaming activity was considered by them as the process of self-declaration of internal biological properties, as the activity of the internal energy of the body outside the influence of the life and labor of people.
Otherwise, representatives of progressive pedagogy were approached to the question of the game. Ushshinsky k.d. Repeatedly pointed to a large educational value of the game that prepares a child to creative work, to activities, to life. He noted that the child is looking for not only pleasure, but also serious classes, the game is a world of practical activity for a child who satisfies not only physical needs, but also spiritual needs (32).
1.5 Summary
The above characteristic of children 6-8 years old, as well as the disclosure of the application of the game method and various musical games, suggests the use of specially selected musical games to educate expressiveness of young gymnasts.
Based on the foregoing, it can be concluded that already from the first lessons in the girls of this age engaged in rhythmic gymnastics, it is necessary to develop not only physical qualities aimed at improving the physical and technical training of athletes, but also to pay attention to the development of expressiveness of movements.
Chapter II. Tasks, methods and organization of research
The purpose of the study is to develop a methodology for applying music games and dances in a training session on rhythmic gymnastics for the development of expressiveness and coordination of movements in children 6-7, 8-9 years.
2.1 Research Objectives
In accordance with the purpose of working during the study, the following tasks were solved:
Define means to bring up expressiveness and coordination of movements.
Develop a methodology for applying music games and dances to develop expressiveness and coordination of movement in children 6-7, 8-9 years old engaged in rhythmic gymnastics.
Check the effectiveness of the developed technique in the pedagogical experiment.
2.2 research methods
The following research methods were used to solve the tasks:
Theoretical analysis and generalization of scientific and methodical literature.
Pedagogical testing.
Pedagogical experiment (comparison of two groups).
Method of mathematical statistics.
2.2.1 Theoretical Analysis and Generalization of Scientific Methodical Literature
The study and analysis of literary sources (articles, abstracts, educational and educational and methodological manuals) were carried out in order to familiarize themselves with the state of the problem under study in the literature. The analysis was subjected to literary data, considering the issues of the content and structure of the application of the game method for the development of expressiveness of movements in the practice of FKU; Features of the development of coordination of movement in children 8-9 years; An existing methods of education of expressiveness and coordination of movements in rhythmic gymnastics were analyzed; The psycho-functional features of girls 6-7, 8-9 years have been studied.
In total, 63 literary sources were studied.
2.2.2 Pedagogical Testing
To analyze the development of expressiveness and coordination in girls, 6-8 years old engaged in rhythmic gymnastics, control exercises were taken, including a ballroom rating from 1 to 5 points:
b - agreed actions (excellent)
b. - not always agreed actions (good)
b. - Partially agreed actions (insufficient or satisfactory)
b. - Practically lack of agreed actions (weak or unsatisfactory)
b. - Full absence of agreed actions.
Testsdefining indicators of expressive movements:
· Integrity
1 test. It is performed by a wave with hands (hands on the sides) for 10 seconds.
Test. A wave of the torso back 3 times.
· Dynothy
3 test. Music support 2/4 (fast tempo). Within 32 accounts, skiders are performed for each account.
test. Under the musical accompaniment of 3/4 (slow paced), the removal of the leg on the sock (right, left) is performed on a strong share (emphasis).
· Dance Character
It turns on 3 musical fragments, girls need to portray any of the animal world that meets the nature of the music:
test. Gypsy tunes;
test. Lark;
test. Teddy bear.
Testsdefining indicators of musical expressiveness:
· Dynamics
10 test. Under the musical accompaniment, in which there is a quiet and loud sound, walking on socks in the semi-traced and jumping on two respectively.
· Metrortom
11 test. Under the musical accompaniment of 2/4 children are offered to perform cotton on a strong share, and then on a weak 16 bills.
test. Under the musical accompaniment of 3/4 on a strong proportion, it is necessary to shove into two weak rods to strone. The task is performed during the square.
Tests Determining the development of coordination of movements.
· Coordination
13 test. The ability to hold equilibrium in motion (dynamic equilibrium) should be determined by the time of passage of the bench (narrow rail). The length of the bench is 4 meters, the width of the plank - 8 centimeters, the height is 20 centimeters. Children must reach the end of a bench convenient for themselves and go away or jump at will. The task is performed three times. Time is determined by the stopwatch. The average result of completed attempts is taken into account (p.)
test. The ability to maintain equilibrium during standing (static equilibrium) is estimated by a modified sample of romberg. The involuntary should stand with two legs on a strip of 5 cm wide and a height of 6 cm, so that the sock behind the standing legs closely adjoined to the heel in front of standing legs, the hands are lowered down, the child's look is fixed. The error and termination of the task is considered to be condescens from a place at least one foot, turn, steps, shift in the heel or sock from the line (p.)
Note:8, 9 test - tempo, the nature of the performance is determined by the dynamism indicators and the dancing nature of the expressiveness of movements, therefore are automatically transferred.
Assessment of the results of the study of expressiveness and coordination was carried out by placing points for each control exercise.
2.2.3 Pedagogical experiment
The organization of a pedagogical experiment was carried out to prove the working hypothesis in accordance with generally accepted requirements (cleanliness of conditions, sufficient sample).
For this, pedagogical testing was conducted, the experiment was carried out within one month in October 2003 and from November to December 2004 in artistic gymnastics classes and developed and implemented in the training process of musical games and dancing.
The main task of the experiment was to test the effectiveness of the methodology for applying music games and dances to develop expressiveness and coordination in the training lesson.
The experiment was attended by 20 girls aged 6-7, 8-9 years old engaged in rhythmic gymnastics. The experiment was carried out on the basis sports Hall DK "40 October" in two stages.
At the I-Ohm stage, the impact of the application of musical games to develop expressiveness of movements in children is 6-7 years old.
This experiment was carried out using a comparison of the development of expressiveness of movements, musical expressiveness, coordination of the movements of experimental and control groups by applying music games and dancing in classes.
The homogeneity of both groups was determined by the following indicators: the age of the subject, the level of physical development and motor preparedness.
2.2.3 Mathematical Statistics Methods
The processing of data obtained during the study was carried out with the help of mathematic-statistical methods and was to calculate the average arithmetic ( ?), medium quadratic deviation ( ?), standard error of the average arithmetic (MX).
With normal distribution, the accuracy of the differences in selective average arithmetic values \u200b\u200bwas determined using the Student T-criterion. (fifteen)
Differences were considered statistically significant<0,05, что является надежным уровнем значимости в педагогических исследованиях.
The calculation of these indicators is carried out using PEVM, according to standard methods.
2.3 Research Organization
Studies were conducted on the basis of the sports children's-youth school of the Olympic reserve SDYUSHOR №2 in DC "40 years of October", with girls of 6-7 years of initial training (NP), 8-9 years of a group of specialized training involved in rhythmic gymnastics.
Studies were carried out during the period of coaching practice in October 2003, as well as from November to December 2004.
Chapter III. Results of research and discussion
3.1 Analysis of indicators of expressiveness of the movement of movements for girls 6-8 years engaged in rhythmic gymnastics
In our studies, the level of expressiveness of young gymnasts was evaluated in the following indicators: dynamism, integrity, dance character, pace, metro, character, dynamics. Methodology and organization of measurement of each indicator are detailed in Chapter II .
Two groups of children were created: control and experimental. The number of 10 people engaged in each group.
The results of the initial testing according to the explicit expressiveness of both groups are presented in Table 1 (Appendix 1) and are graphically shown in Fig. 1.
Fig.1. The average indicators of expressiveness of the initial testing of children of the control and experimental groups, (points).
Thus, the following mean values \u200b\u200bwere recorded in the experimental group in terms of expressiveness: integrity 3.3 ± 0.26 and 2.7 ± 0.23, dynamism is 3.2 ± 0.33 and 3.4 ± 0.4, dance character 3 , 4 ± 0.22, 3.1 ± 0.18 and 3.4 ± 0.16, the dynamics of 3.5 ± 0.22, metrors 4.0 ± 0.26 and 3.2 ± 0.39.
An almost similar way looks like a pattern of testing children of the control group. Thus, integrity indicators were 3.2 ± 0.25 and 2.9 ± 0.23, dynamicity 3.4 ± 0.26 and 3.3 ± 0.15, dance character 3.5 ± 0.17, 3, 1 ± 0.18 and 3.3 ± 0.15, the dynamics of 3.5 ± 0.23 and metrortium 3.6 ± 0.22 and 3.4 ± 0.22. The differences that we identified are not statistically significant (P\u003e 0.05).
Thus, the analysis of the data obtained indicates the homogeneity of children of the control and experimental groups. At the same time, the level of development of their expressiveness is estimated as the average
.2 Methods of education of expressiveness and coordination of movements through music games and dancing
An analysis of the methodological and scientific literature shows that artistic gymnastics is one of the sports with difficult coordination activities requiring athletes not only a wide range of skills, skills and qualities, but also the manifestation of a high degree of expressiveness and coordination of movements.
In existing works affecting this problem, high-grade gymnars are mostly considered. Based on this, we have developed a methodology for the development of expressiveness and coordination of movements in children 6-7, 8-9 years old engaged in rhythmic gymnastics, through specially selected musical games and dances, which was carried out in the 2 phases of training athletes. The methodology is designed to meet the basic principles of building classes. (eight)
At the stage of initial training in classes on the developed method, the following tasks were assumed to solve:
Teach musical games
Develop musical expressiveness
Develop the expressiveness of movements
Artistic gymnastics are based on a generally accepted scheme and consist of the preparatory, primary and final parts.
At the stage of the Music Games were divided into 2 groups of 10 games in each group. The first group includes games aimed at the development of motor expressiveness ("sea and streams", "be dexterous", "hunting and animals", "knot", "to your flags", "Remember the melody", "Who used to?", " Relay "," Carousel "," find out what kind of tool sounds ") (Appendix 4), the second group - games aimed at the development of musical expressiveness (" Snowmen and Snowflakes "," Three Bear "," Hares and Bear " , " Pass the circle or line "," Circle and Circles "," Snake "," The transfer of the ball in a circle "," be dexterous! "," Merry Carousel "," Catching ") (Appendix 5).
The first group of games was included in the main part of the classes, in order to further motivate the activities of those involved, prepare girls to learn the new elements, allow without much effort to master these elements, increase interest in further work.
The second group of games was used in the final part of classes, since such games do not require special efforts and are a good tension tool in children after classes, and also allow solved tasks.
Classes for children 6-7 years have been held 3 times a week, each of them included 2 games from each group.
Games alternated taking into account the development of motor and musical expressiveness, their duration is due to the content.
At the 2 stage of training in classes on the developed method, the following tasks were assumed to solve:
Teach musical dancing
Develop musical expressiveness and expressiveness of movements
Develop coordination of movements
At step 2 of specialized training, given the psycho-functional changes in children 8-9 years old and the main type of activity (training), children's dances based on well-known animated films were used as the main means of developing expressiveness and coordination of movements.
For the specialized preparation stage, 8 dances of various differentities and intensity were selected.
In addition to the generally accepted workout, uncomplicated dances, consisting of jumping, running exercises, tissions (3-5 movements), which are aimed at warming up the body (Papuats, Louis Brantz) were included at the end of the preparatory part. Each dance was performed 2-4 times without stopping.
At the end of the main part as an active recreation, in order to remove fatigue and distract from monotonous work, more prolonged, complex design techniques, which include a larger number of steps, with complex coordination of hands and feet characteristic dancing for a certain subject (Latin American, pulp Fiction).
Classes for children 8-9 years old are held 5 times a week, musical dances have been included in each of them.
In the first week, the dancing occupations were trapped by bindings, then performed as a holistic composition.
At the end of the week, in the final part of the classes in order to improve the effectiveness of the methodology developed by us, the gymnasts were asked to compile a composition of the music (duration of 20-30 seconds) from animated films, fairy tales, in order to arise the associations of movements.
Thus, we consider it appropriate to include in the content of training programs on rhythmic gymnastics specially selected musical games and dances.
3.3 Analysis of the results of a pedagogical experiment
The pedagogical experiment was aimed at checking the effectiveness of the developed methodology for the development of expressiveness and coordination in young athletes through specially selected musical games and dances.
The control group of children was engaged in the traditional program, in the experimental group, classes were conducted on the methodology developed by us.
For our studies, indicators of motor expressiveness were taken: integrity, dynamism, dance; Musical expressiveness: tempo, dynamics, character, metrors (9, 16).
The results of testing the experimental group before and after the experiment carried out are presented in Table 2 (Appendix 2) and are graphically depicted in Fig.2.
Fig.2. The average indicators of expressive gymnasts of the experimental group before and after the pedagogical experiment, (points).
Legend: 1,2-integrity; 3,4-dynamic; 5,6,7-dance; 8,9-tempo; 10-dynamics; 11,12-metrors.
Control group in Table 3 (Appendix 3) and graphically in Fig.3.
Fig.3. The average indicators of expressive gymnasts of the control group before and after the experiment, (points).
Legend: 1,2-integrity; 3,4-dynamic; 5,6,7-dance; 8,9-tempo; 10-dynamics; 11,12-metrors.
The results of the pedagogical experiment suggest that girls both experimental and control groups across the month of classes have occurred changes in the indicators under study. However, girls experimental groups of changes in the studied indicators are more pronounced than in the girls of the control group and statistically significant (P<0,05).
The experimental group has a significant increase in the following indicators. Thus, the integrity of movements increased by 30.3% and 33.3%, dynamism - by 28.1% and 32.3%, dance, by 26.4%, 35.5% and 32.3%, The rate of 28.1% and 32.3%, the dynamics - by 37.1%, metrors - by 22.5% and 31.2%.
In the control group, where classes were carried out according to the traditional methodology, an increase in expressiveness indicators was also observed, but less pronounced. Statistical analysis did not reveal that the changes occurred are reliable (P\u003e 0.05).
Thus, the integrity of movements increased from 3.2 ± 0.25 to 3.6 ± 0.23 and from 2.9 ± 0.23 to 3.3 ± 0.23, which amounted to 12.5% \u200b\u200band 13.8% Accordingly, dynamism - from 3.4 ± 0.26 to 3.5 ± 0.25 and 3.3 ± 0.15 to 3.4 ± 0.17, which was 2.9% and 3%, dance indicators The character has increased from 3.5 ± 0.17 to 3.7 ± 0.16, from 3.1 ± 0.18 to 3.3 ± 0.17, from 3.3 ± 0.15 to 3.5 ± 0 , 15, which amounted to 5.7%, 6.4% and 6%, the rate of movements increased from 3.4 ± 0.26 to 3.5 ± 0.25 and 3.3 ± 0.15 to 3.4 ± 0.17, which in percentage ratio was 2.9% and 3.03%, respectively, the dynamics - from 3.5 ± 0.23 to 3.7 ± 0.22, which was 5.7%, the metro movement increased C 3.6 ± 0.22 to 3.8 ± 0.18 and 3.4 ± 0.22 to 3.6 ± 0.15, which was 5.9%.
Evaluating the results of the study of the control group, it should be noted that in the classes with children 6-8 years, at the initial stage of training, it is possible to use only the basics of choreography. Therefore, the development of expressiveness in children of this age only by this means is not so effective as, for example, at high qualification gymnasts. This in turn can explain the less pronounced changes in the expressiveness of the Girls of the control group in the pedagogical experiment.
Thus, the data obtained during the experiment indicate that the method developed by us has a positive impact on the development of indicators of expressiveness of children 6-8 years old engaged in rhythmic gymnastics. This indicates its effectiveness and feasibility of application at the initial stage of the preparation of young gymnasts.
conclusions
1. An analysis of scientific and methodical literature gives grounds to conclude that there is a need to search for new (more efficient) additional funds for the development of motor and musical expressiveness in children of 6-8 years old engaged in rhythmic gymnastics.
A methodology for the development of expressiveness in children has 6-8 years old engaged in rhythmic gymnastics, based on specially selected musical games that meet the main psychofunctional features of children of this age are developed.
The developed methodology for the development of expressiveness through musical games provides a significant improvement in the indicators characterizing the level of expressiveness in children of 6-8 years old engaged in rhythmic gymnastics.
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In each game it is necessary to celebrate the best to increase their motivation to further activities.
Applications
Attachment 1
Table 1
Groups Expressive Test Supporters, BallencyCompanical Tynamic CategoryPdin - MikmetriteMexperimental 3.3 ± 0.26 2.7 ± 0.23 3.2 ± 0.33 3.4 ± 0.4 3.4 ± 0.22 3.1 ± 0.18 3.4 ± 0.16 3.2 ± 0.33 3.4 ± 0.4 3.5 ± 0.22 4.0 ± 0.26 3.2 ± 0.39Control 3.2 ± 0.25 2.9 ± 0.23 3.4 ± 0.26 3.3 ± 0.15 3.5 ± 0.17 3.1 ± 0.18 3.3 ± 0.15 3.4 ± 0.26 3.3 ± 0.15 3.5 ± 0.23 3.6 ± 0.22 3.4 ± 0.22p\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05t 0.28 0.61 0.47 0.23 0.36 0 0.45 0.47 0.23 0 1,18 0.44
The results of the initial testing of expressiveness of young gymnasts
Appendix 2.
table 2
Average testing indicators of expressive gymnasts 6-8 years of experimental group in the pedagogical experiment
Siema stages of experiment Indicators of expressiveness, ballin incidence DynothyDance ChallengesPdin-Mikametrome ?± M to 33 ± 0.262.7 ± 0.233.2 ± 0.333.4 ± 0.43.4 ± 0.223.1 ± 0.183.4 ± 0.163.2 ± 0.333,4 ± 0.43.5 ± 0.224.0 ± 0.263.2 ± 0.39After 4.3 ± 0.263.6 ± 0.24.1 ± 0.184.5 ± 0.174.3 ± 0.214.2 ± 0.254.5 ± 0.274.1 ± 0.184.5 ± 0.174.8 ± 0.134.9 ± 0.14.2 ± 0.25 P.<0,05<0,05<0,05<0,05<0,05<0,05<0,05<0,05<0,05<0,001<0,01>0.05T2,73,02,372,563,03,02,92,372,565,23,212,17
Appendix 3.
Table 3.
Average test indicators of expressive gymnasts 6-8 years of the control group in the pedagogical experiment
The chiya stages of the expert indicators of expressiveness, the Ballenicity of Dynamic Tanning Tanning ?± MDO3.2 ± 0.252.9 ± 0.233,4 ± 0.263.3 ± 0.153.5 ± 0.173.1 ± 0.183.3 ± 0.153.4 ± 0.263.3 ± 0.153.5 ± 0.233.6 ± 0.223,4 ± 0.22 After 3,6 ± 0.233.3 ± 0.233.5 ± 0.253.4 ± 0.173.7 ± 0.163.3 ± 0.173.5 ± 0.153.5 ± 0.253.4 ± 0.173.7 ± 0.223.8 ± 0.183.6 ± 0.15P \u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05\u003e 0.05T1.21.20 .280.430.870.80.950.280.430.620.710.74
Appendix 4.
I Group of Music Games.
"Sea and River"
Software content.Teach children to distinguish long and short sounds.
I View.Children are sitting on chairs located two semicircles (one by one). Ahead are younger children. When long sounds sound, younger smoothly raise and lower the hands up and down. When short sounds sound, older children wave up hands. Long and short sounds alternate repeatedly in random order. At the end of the game are celebrated and the most attentive children are encouraged by their desires. Naturally, all children participate in "premium" actions, and not just winners.
II View.Children are divided into two teams: "Sea" and "River". The composition of the teams mixed by age. When long sounds are heard, the children of the "Sea" team move around the room, performing smooth movements with hands forward-back. When short sounds sound, the children of the "Rouh" team are moving with a light run. Long and short sounds alternate several times in random. At the end of the game, the children of the team "Rouh" run away (at the same time the senior help younger). The children of the "Sea" team try to catch them 1.
III view.Children stand in two circles or form a circle and column. In the circle "Sea" - the youngest, in the circle "River" - senior. When long sounds are heard, the children of the "Sea" team raise and lower the loving hands (waves walk around the sea). When short sounds are sounded, the children of the team "River", holding hands, run (streams flowing). Short and long sounds alternate repeatedly. At the end of the game, the teacher estimates the speed and accuracy of the reaction of children. At the request of the winners with all children, the song is being drawn.
"Be dextering"
Software content. Teach children move in accordance with the cheerful character of the music; Metric accents in the movements, change the movement time, start and erect them.
Tasks. Educating attention, exposure, develop the speed of the reaction.
Game description. The backs out of the wide circle are chairs. Each child is getting behind the chair. In the center is squatting leading.
Tact 1. All children are sitting on the chairs, and the presenter gets up.
Takt 2. All children stand up, and the lead sits down.
Tracked 3-4. Repeat movements of the clocks 1-2.
Tracked 5-12. Children run along with leading in a circle in one direction.
At the time of the end of the sound of music, all children run into the circle, and everyone sits on any free chair (option - stops and puts
palm hands on the back of the nearest chair). One child remains without a place. It should not be chosen by the lead, since in this case it would be awarded for his awkwardness. When re-conducting the game, you should choose the most agile child. At the end of the game, during the run of children, it is recommended to put another stools so that all children are destructive. Searching a free chair should run outside Circle (behind chairs).
Learning technique. At the 1st stage, children listen to music to the game, analyze it together with the teacher, determine which movements can be performed under it. In a number of preparatory exercises are trained alternate insertion and squatting to the music. During the exercises, the teacher shows them accurate movements.
At the beginning of the 2nd stage of teaching, the teacher gives children to listen to music to the game, explains her move and offers children to start the game. During the game helps directions. With the first execution of the game, the role of the lead can take on the educator. If any of the children fails, one or another movement is carried out with individual work.
At the end of the 2nd stage and at the 3rd stage of training, children play the game on their own.
"Hormols and Beasts"
Software content. Teach children to coordinate movements with the nature and form of programmatic works; expressively embody the images of the game.
Tasks. Improve music perception skills; Educating attention, exposure, orientation in space, develop creative activity.
But once arrived in the forest of beasts to catch animals for the zoo. They arranged the beasts their camp on the edge and carefully entered the forest. They go through the forest, stop, to the rustling of forests listened. I went to the very trap and lay down in the bushes. And in the forest quietly. Only the cuckoo is dug, and poultry is twitched. But came from the beggar of their bears. They go through the forest, roll over. To the bushes approached. The deft beasts from the bushes jumped here, threw big networks on the bears and they caught them all. We sent the bears to your camp, and they themselves hid again. Again the silence has come.
Suddenly the wolves jumped out of the thicket. They crossed the Polyana with big jumps, stopped and pulled out. Hormoles ran out of bushes and wolves, everyone caught. They were also sent to the camp, and themselves again in the bushes were hidden near the beautiful glade. Long they were waiting. The forest was quietly quiet. But the bunnies jumped into the glade. They circled on green grass and turned out to be very close to bushes. And the beasts are already here. All; Bunits caught and led to their camp. There, the beasts planted all animals in the cells, loaded the cells on a large truck and were lucky in the zoo. "
Learning technique. At the first lesson, children listen to a figurative story and music for the game. The distribution of roles is carried out at the desire of children (all the characters movement are tested in advanced exercises). The teacher monitors the course of the game without stopping it. After completing the game gives an explanation and again holds the game. If there are inaccuracies in the actions of children, in subsequent classes, the teacher reappears a number of figurative exercises. In the future, when improving the game, you can go a figurative story with listening to music, use musical riddles, the story of the plot is one of the children, the execution of the game in subgroups (artists - viewers) with the assessment of movements by comrades. An intertwined game is recommended to use as a performance, including it in the script of the evening of leisure or holiday.
"Knog"
To give the concept of the duration of rhythmic drawings, quarters and eighth in the musical parts of the work of 2/4, 4/4.
Children are built up in pairs in a circle, holding hands. Couples are calculated on the first and second.
At the beginning, the march pair go in a circle, while maintaining the intervals. On the "Once" of the 8th Tracker, the teacher submits the team: "First!" or "second!" Couples whose numbers were named, stopped and forming a "knot", turning face to each other, holding hands and raising them up. The unnamed "second" or "first" runs through the formed "knot", and the rightful pair runs ahead of his comrade. By the end of the musical phrase, they should reach their place. The musical work - begins first, the pairs go back in a circle and the game begins again.
If the couples have a lot, you can form two, three circles located in different parts of the hall. The most important thing is that children have time for four musical tacts to rest on their circle and start the game again.
"To your flags"
Players are divided into 3-4 teams and become a circle to the center of the circle. In the center of each circle there is a player with a color flag. As soon as the music is played, everything except players with flags moves around the hall, platform (in accordance with the nature of the musical work). Music stops, everything is squatted and closed eyes, players with flags on the instructions of the teacher are moving to other places. After the words of the senior; "To your flags!" The players open their eyes, get up and run to the flags of their colors. The team wins, which will be built faster in their circle (column, rank, etc., at the instructions of the teacher).
"Who used to?"
Teams are in opposite parts of the hall, platforms in some construct (circle, rank, column, etc.). Children listen to the first part of the musical "works and perform previously studied exercises. On the second part of the team, children should vary in places and build in the specified leading order. On the third part of the team, children run to side lines, where the first part of the children perform previously studied exercises, and The third moves on the side lines are line up in the ranks and sit down. Wins a team that will be built faster and sits.
"RELAY RACE"
In each column, the guide holds the ball and the polka is moving to the music to a certain feature. There he changes the ball, returns a gallop step towards his team and transmits the ball to the next team member, and he himself gets behind his team. Wins a team who has all participants without errors and earlier will perform tasks.
"CAROUSEL"
Software content. Transmit a bright-contrast nature of music in the motion, given the rhythm and register color. Develop rhythm, skill accelerate, slow down the action in accordance with changes in music. Exercise in a light run. Educate an exposure, friendly relationships. Observe the rules of the game.
Description.Children's chairs are set in a circle, sideways to the center, seats in one direction (for example, right) is a carousel. Chairs should be one less than the number of playing. At the invitation of the teacher, children sit on the chairs. The child - who did not have enough space, moves to the side (did not have time to take a ticket).
The first part of the music. The carousel is spinning - the children sitting on the chairs, pursue notes in the tact of music. Movement slows down, the carousel stops.
Second part of music. Tracked 1-2. Introduction. Children get quietly from the carousel and get up around the chairs face in one direction. Together with them gets up, a child who has not received a ticket.
Tracked 3-10. Easy run around the carousel. At the end of the music again occupy spaces on the carousel. One who did not have time to take place (remaining without a ticket), departs aside. The game is repeated.
Methodical instructions.Heading the game, the teacher gradually brings children to awareness and transmission in the movement of a slight acceleration at the beginning and slowdown at the end of the first part of the music.
At first, when learning the game, you can put on 2-3 chairs less than the number. Playing, since one child is sometimes upset if he does not participate in the game. Together with other children, he feels more confident. Gradually, the teacher teaches consciously refer to the rules of the game.
Chairs are desirable to put two (sideways to the center). On the holiday, the game can be colorfully decorated: the hoop will be suspended in advance to which long colored ribbons are attached; The ends are thrown into the hoop. Before starting the game, the tapes are lowered and slightly tied to the backs of chairs - a colored roof of the carousel is formed.
"Find out what tool sounds"
Software content. Teach children to distinguish the timbre of musical "tools.
I species. Children sit beyond the tables. Before each pair - a senior and youngest child - is a set of cards. The tutor is located in front of children. Tools are fallen by a small screen. The square sounds - you need to raise the card with its image, tambourine - with the image of the tambourine, metallophone - with an image of a metalfone. The teacher notes children who were mistaken about others, and by their wishes performs the work for the hearing.
II View.Children are built in 3 columns. The sound of the square is running around the room the guys of the first column, under the sound of the tambourine - the second, under the sound of the metal organophone - the third. The procedure for the process of tools teacher varies. At the end of the game there is a competition: someone will rather build into a column. Older children help younger to come running in the right direction: and build.
III view.Children are built in 3 circles. Each circle form children of one age. The guys of the first circle move with a slight run under the sound of the square and freeze in place under the sound of other tools, the guys of the second circle move under the sound of the tambourine, the third is the sound of a metal fond. The order of the sound of the tools varies. At the end of the game there is a winner's circle, and at the request of children of this circle marks a dance game or dance.
"Remember Melody"
A group or class is divided into teams of 5-6 people and is built into the columns. Before each team at a distance of 8-10 m lies with the object (ball, Bulaw, Kehal). Each command is calculated in order:
5-Russian dance
Children, having heard their melody, move forward with dance movements or perform in motion of the action specified by the teacher.
A child who has fulfilled the task, brings a team point. The game can be carried out with various tasks of the teacher.
Appendix 5.
II group of music games.
"Snowmen and snowflakes"
Software content. Teach children distinguish calm and vigorous dance melodies.
I species. Children separated into two groups are sitting by a semicircle near the piano.
Under the music of polka "Snowmen" clap your hands, to the music of the Waltz "Snowflakes" should be smoothly rotated with hands. Pieces are 6-8 times in different sequences. Winners are revealed, and by their wishes the song of the winter theme is fulfilled.
II View. "Snowmen "and" Snowflakes "are sitting on the chairs from the opposite walls of the room. Under the music of Polka is moving the polka" Snowmen ", to the music of the Waltz - Snowflakes are spinning. The plays turn 6-8 times in different sequences. With the end of the sound" Snowmen "catch" Snowflakes ".
III View. The same tasks are performed in two circles, the winners fulfill their favorite song about the winter.
"THREE BEARS"
Software content. Teach children to distinguish the height of sounds.
Gaming benefits. Plane images of bears - large, medium and small size, 3 for each child; Plane house.
I View.Children are sitting at the tables to the right of the music leader. He gives them pictures of bears. When the play sounds in a high register, the bear is going to walk (the children move them in front of them on the table), when on average - the bears is more, and when low - the largest. The change of registers varies. At the end of the game, children are marked, more precisely who have completed the task.
II View.Children are divided into three teams: Mishutki, Anastasia Petrovna
and Mikhail Ivanovichi. Everyone is placed in the house (stand behind its plane
image). When the work sounds in a low register, from home
out and moving around the room Mikhail Ivanovichi, when on average - Anastasia Petrovna, and in high - Mishutki. The sound registers are replaced by random. At the end of the sound of the play, Mikhail Ivanovichi, I catch the rest of the bears, and they run into the house.
III view.Identical tasks are performed in three circles. At the end of the game, the winners make a defeated riddles of animals.
"Hares and Bear"
Software content. Teach children move in accordance with the music of a different nature, to complete traffic at the end of the sound of the music, emotionally perform light jumps of the hare, heavy bear.
Tasks.Raise auditory attention, exposure; Develop creative activity.
Game description. All children are "hares." One of the children is "Bear". "Hares" are sitting on the chairs (in the "mink") at the wall, "Bear" is located in one of the corners of the room (in "Berorog"). On the music of N. Rimsky-Korsakov "Bunnies" run out of the "mink" and jumps moving around the room. When music begins to sound, from "Berloga" comes out "Bear". He goes hard, hareting, "hares" when the "bear" appears in their "minks".
Learning technique. Children are learning the movements of bunnies and bears during the figurative exercises. Listen to the musical works of "Zainka" and "Bear" separately. The teacher in a conversation with them about the nature of music reveals images. When re-hearing compares two images of Zaine and the Bear, uses musical riddles: "What music tells about whom?".
When holding the game, he suggested listening to the next story: "there were funny bunnies. They loved to jump on the green clearing. But they often interfered with them. Only bunnies are missing, and he is here as here - it goes, having grown over. How Just heard that. The bear goes, quickly rushed and hid in minks. Sit neither ears nor legs are stirred. Bear left, and joyed a hare across the glade. " After the story, the teacher performs music and offers children to play. First, the tutor can play with the children, taking on the role of a bear or one of the hares. With repeated holding games, the roles are performed by the children themselves. After graduating from the game, the teacher makes explanations about its course.
"Pass a circle or line"
A group or class is divided into 3 teams. Each team is divided in half and is built into the columns against each other. Between two half of the team on the floor are drawn (marked) eight circles or lines, gymnastic hoops are laid. The distance between them is 30-60 cm. Captains of teams that have boxes in the hands of the checkboxes are guided in their teams. According to the first signal, the captains in the specified rhythm are moved by a step, running or jumps on circles or lines. On each musical duration of the rhythmic pattern, one step is made. The captains of the opposite part of the team, received checkboxes, in the same rhythm pass, run or jump in circles (lines) transmit flags to the following children, and become the end of the opposite column.
For each rhythm violation, the team gets penalty points. The team wins the smallest number of penalty glasses.
"Circle and Circles"
A group or class is divided into four teams. Teams are built in the corners of the hall with dense circles face to the center of the circle, holding hands. According to the teacher's team or a music signal, everyone is built in the middle of the hall in the common circle and under the waltz perform simple dance steps, moving in a circle. When the melody sounds louder, everyone scatters in its place and, holding hands, are built into the circles. Wins the team that built before others. The game begins again.
"Snake"
A group or class is divided into three teams and builds columns in the specified places of the hall. The teacher chooses two melodies, such as polka and waltz. Under Polka, all children move in the hall "Snake", under the waltz perform in place or stand and conducted. As soon as the music stopped, everyone runs to their places. Wins a column that used to build up before.
"The transfer of the ball in a circle"
Children are built in a circle face to the center. Each of the rubber ball playing in their hands (if the circle is large, then you can give 2-3 balls).
The musical work is performed in slow, medium and fast pace.
At a slow pace, the ball is transferred to the right to the right in a circle; With an average - it is transmitted in a circle to the left, and with fast - rolled through the floor to the right. Playing, allowing a mistake, gets a penalty point and continues the game. The winner is children who have not allowed mistakes in determining the pace.
"Be dextering!"
Software content. I hear the beginning and end of music, shift musical phrases. Alone, without showing adults to celebrate a strong stake in the movement. Accurate to follow the rules of the game.
Description.A wide circle cost chairs, backs out. A child gets up behind each chair. In the center - driven, he squats.
Tact 1. All children are sitting on the chairs, as if hiding, and the leading gets up, trying, without going from her place, look behind the backs of the chairs.
Tact 2. The children get up, driving down squatting, as if hiding.
Tracked 3-4. Moves are repeated.
Tracked 5-12. All players run in one direction in a circle (behind chairs). Driving runs with everyone together in a common circle.
With the end of music, everyone sit on any chair. The remaining without a place becomes leading. The game is repeated.
Methodical instructions. Before learning the game, offer to children to cotton to mark a strong share of tact. During the game, monitor the correct posture: the back should be straight, the knees are widely divorced to the sides (when squatted), the feet of the legs are slightly spring, the heels do not touch the floor.
"Merry Carousel"
Software content.To bring to the ability to distinguish the tempo changes in music (acceleration-deceleration) and respond to them with your movement.
Description. Children stand in a circle side to the center. Everyone in the hands of a wand with a sultachik at the ends and with a bell tied to the middle of the sticks.
In the center of the circle on the bench is a child with a tambourine - a musician. Children hold wands with two hands in front of them. You can replace the wand rattle or color flag.
Tracked 1-8. Introduction. Carousel comes in motion. Children walk on the spot, raising her knees and pulling out the socks. Wand. Keep in front of them.
The first part of the music. TACKES 9-12 (13-16-GPO). Carousel moves forward. Children with a clear step, high raising legs, go to the right in a circle. A musician hits a tambourine in the rhythm of music.
Tact 17. All raise wands with bells (or rattles) up, ring them and put them in front of them to the floor (perpendicular to the center). The musician puts his tambourine on the bench and becomes. In a common circle.
Second part of music. Carousel gradually speeds up movement. Children are easily fleeing in a circle, speeding up the pace of running. With the end of music, each quickly raises the wand. If the child is not a stick, he can run into another location of the circle where it lies. The remaining without a stick comes out of the game. The educator chooses a new musician.
"Catching"
Software content. Healying the end of the musical phrase. Transfer with words and cotton rhythmic pattern of melody. Learn easy and rhythmic run.
Description.Children or tutor choose a fishing. He becomes turning to the wall. Rest children - the opposite wall face to him.
TACKS 1-4 (WITH USE). Children quietly run up to the catcher.
Tracked 5-8. Clap your hands and say: "Once, two, three times, two, three! Well, rather catching us!"
Children run away, catching them catchy.
Methodical instructions.To ensure that the children run up to the fishing easily, rhythmically. No one should run until the music end. Acquire children to run up to the fishing as close as possible, without fearing to be caught.
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UDC 796.412.2: 796.012.2
M. P. Bandakov, M. G. Mikryukova
Improving the methodology for the development of coordination abilities in girls 6-7 years old in rhythmic gymnastics
The article on the basis of the analysis of the existing definitions of the concepts of "coordination abilities" is revealed by their types in rhythmic gymnastics, which are classified as specially motor abilities and specialized perceptions or "feelings".
Relying on the results of previously conducted studies, the authors of the article formulate a generalized concept of coordination abilities in rhythmic gymnastics.
An analysis of the methodological approaches to differentiation and individualization of the process of development of coordination abilities in young athletes showed that in rhythmic gymnastics differences in the typological parameter "Power / weakness" of the nervous system for the proceeding process during training sessions are not taken into account. Although individualization and differentiation training process According to typological manifestations of the properties of the nervous system in other sports, there are.
Article Based on An Analysis of Existing Definitions of "Coordination Abilities" Reveal Their Types in Rhythmic Gymnastics, Which Are Classified As Specially Motor Abilities and Special Perception or Feeling.
Based on The Results Of Previously Conducted Studies, The Auto Formulate A Generalized Notion of Coordination Abilities in Artistic Gymnastics.
Analysis of methodological approaches to the differentiation and individualization of the process of development of coordination abilities in young athletes showed that rhythmic gymnastics differences according to the typological parameter "strength-weakness" of the nervous system excitation process when conducting training sessions are not counted. Although There AR Individualization and Differentiation of the Training Process Typology Manifestations of the Properties of the Nervous System in Other Sports.
Keywords: coordination abilities, rhythmic gymnastics, individualization and differentiation, "power / weakness" of the nervous system for the process of excitation.
Keywords: Coordination Abilities, Artistic Gymnastics, Individualization and Differentiation, "Strength-Weakness" of the Nervous System Excitation Process.
In connection with the active development and modernization of rhythmic gymnastics, the search for new methodological approaches to the definition of the content of training sessions is relevant and timely. This is also due to the fact that the existing system of preparing the gymnasts does not fully meet modern requirements: there are no clearly developed methodical approaches to accounting in the training process of the peculiarities of the age development of children of 6-7-year-old children, and the possibilities of a differentiated approach to the definition are not always implemented Contents of training sessions. According to I. A. Wiener, artistic gymnastics refers to a group of highly coordinated sports. Competitive exercises in rhythmic gymnastics consist of a number of complex movements: turns, equilibrium, slopes, waves and coups, jumps that are combined with a diverse work of the subject, which requires a high level of preparedness in all types of preparation from athletes.
An analysis of numerous scientific studies showed that in various sports, the achievement of high sports results largely depends on the individual morphological, functional, psychological and physical characteristics of the body of athletes. Moreover, the level of development of coordination abilities, the presence of various typological features of the properties of the nervous system largely determine the manifestation of the maximum possibilities of athletes.
For a long time, the concept of coordination abilities was identified with the concept of "dexterity". At the same time, along with the concept of "dexterity" there is a sufficient amount of
© Bandakov M. P., Mikryukova M. G., 2015 164
requirements of the concept of "coordination abilities" in general and "coordination abilities in rhythmic gymnastics" in particular.
According to V. I. Lyach, coordination abilities are the possibilities of the individual who determine its readiness for optimal management and adjustment of motor processes.
So, A. S. Merzlikin Any motor action characterizes as a complex reflex process, each element of which proceeds strictly coordinated. It is known that with the systematic and regular execution of exercises, the skill becomes stereotypical and highly coordinated.
Yu. F. Quurashshin proposes to consider coordination of movements as a result of a coordinated combination of functional activities of various organs and body systems in the relationship between themselves, that is, as a whole, or as a result of the coordinated functioning of some one or more organism systems; As a combination of human properties that are manifested in the process of solving motor problems of different coordination complexity and determine the success of motor actions and regulation.
E. V. Pavlova, summarizing a number of works that characterize the most common human abilities in the process of managing motor actions, presented the following consolidated classification of coordination abilities:
1. The reacting ability consisting of an auditory and motor reaction.
2. Differentiation capacity, which includes the ability to differentiate spatial, temporal and power parameters of motion.
3. Ability to equilibrium (static and dynamic).
4. Orientation ability presented in the form of an ability to determine the position of the body, as well as the movement of a person in a space-time field.
5. The rhythmic ability due to which the sequence and relationship of the accented motion moments are formed in the movements of the person, which are the basis of the entire motor act.
6. The ability to switch in the process of motor activity, in accordance with the conceived program of actions or the situation has changed during its implementation.
In sports activities, all the ability listed above appear in their complex combination. An example of this can serve as an artistic gymnastics, the basic elements of which are a combination of the abilities listed above.
Analyzing the peculiarities of this sport, O. Krydn in his study determined the composition of coordination abilities in athletes in rhythmic gymnastics, consisting of two groups:
1) special motor abilities;
2) specialized perceptions, or "feelings".
So, N. A. Bernstein described the motor coordination "as overcoming the excess degrees of freedom of our movements", which is manifested in rhythmic gymnastics in all motor acts, both when working with the subject and exercises without an object.
The ability to make motor actions within a short time is called speed. In rhythmic gymnastics, the speed is manifested in unity with other motor skills. The degree of its manifestation depends, in one way or another, from the complex of the functionality of the gymnasts necessary to carry out specific actions in the competitive composition.
At the same time, O. G. Rumba Jumper refers to the parameters of the explosive force. In the system of exercises of artistic gymnastics, this motor ability is isolated as one of the leading, since the basis of competitive compositions, along with equilibriums and turns, is jumping. How high the jump elements will be made, so technically right they will be executed.
The second group of coordination abilities presented by O. Krydn in the form of specialized perceptions, in sports practice, V. I. Lyakh called "feelings."
Studying this problem, Yu. A. Arkhipova indicates that specialized perceptions, often referred to as "feelings", can be considered as separate simple abilities, interconnected with special and specific coordination skills and mental functions. In the development of coordination abilities and related specialized perceptions, a methodological approach is often used, based on increased requirements for various analyzers, creating conditions for their development
special sensitivity (exception or limitation of visual control, exclusion of hearing).
For rhythmic gymnastics, the following "feelings" of specialized perceptions includes: time, rhythm, tempo, subject, equilibrium, orientation in space.
The "sense of time" will be determined as an exact perception of the duration of the execution of a particular activity component: the response time to any signal, the time of the flight phase in the jump, the time of the flight phase of the throw, the execution of any acrobatic element under the subject of the subject. E. V. Beklemishev, when improving the gymnasts, a sense of time recommends using measuring instruments, counting (loud) holding static poses and equilibrium.
"Rhythm's feeling" L. A. Karpenko defines how the ability to correctly recreate spatial, temporal, power, speed-power, as well as the spatial-temporal characteristics of movements, which largely determines the effectiveness of various motor actions. The special meaning of the "rhythm sense" acquires in the motor actions of rhythmic gymnastics, for which the high coordination complexity and the preceding determination of movements are characterized, where even minor deviations from the required rhythm of movements can significantly affect the result of the motor action in the competitive composition.
The "sense of tempo" is a temporary characteristic that is determined by the frequency of relatively uniform repetition of any movements. In rhythmic gymnastics, the more advanced technique for performing the gymnastic element, at a higher pace, this element of the gymnast can be performed under the cast of the subject. The ability to deal with the rate of movements in competitive conditions is determined by the level of their coordination preparedness.
The "sense of space" is associated with perception, assessment and regulation of spatial parameters of movements: distances to any object, site size, amplitude, direction, motion forms. For rhythmic gymnastics, this is a distance between gymnasts in a group exercise, the direction of movement, the trajectory of the object of the object, the distance between the subject and the gymnast during the throw.
The "feeling of the subject" in rhythmic gymnastics occupies a special place, since work with the subject (ball, rope, hoop, bulava, tape) covers more than 80% of the time of both training and competitive processes.
The "sense of equilibrium" is defined as the ability to preserve the sustainable position of the body. L. A. Karpenko believes that the duration of preservation of equilibrium is an indicator of the level of its development, as well as the functional state of the central nervous system. This indicator is used as one of the criteria for the training and readiness of artistic gymnasts to competitions.
An integral type of coordination ability is the ability or feeling for "orientation in space". So, E. S. Nikolaev in his work indicates that with the help of general array exercises, the ability to spatially referred to the most effectively, since visual and skin-muscular sensations are simultaneously involved here, at the same time exercises are accompanied by explanations, instructions and coach teams.
Relying on the results of previously conducted studies, it can be said that under coordination abilities in rhythmic gymnastics, it is necessary to understand the result of the agreed work of all types of physical abilities, including the ability to equilibrium, differentiation, orientation in space, coordination and combination of movements, as well as involving the feelings of rhythm and the pace, which will allow athletes in changing conditions to successfully solve problems arising when performing new motor actions (elements).
The formulated definition of the concept of coordination abilities in rhythmic gymnastics allows you to more accurately select exercises for the development of these abilities. However, an important role in improving the quality of the training process is played by the accounting of group and individual features of athletes. Moreover, the analysis and generalization of literary sources suggest that the issue of individualization and differentiation has recently increasingly attracts the attention of researchers, so, E. N. Artyomova puts individualization to the basis of acmeological technologies of sports activities and builds it in the rank of principle providing Athlete Implementation of its individual abilities and achievements of the highest sports results. 166.
H. B. Istanbulova under an individual understands what makes it macroscracteries, manifests itself in creativity and stabilizes in certain components of specific activities. These macroscracteries, in her opinion, contain complexes of isolated components forming:
1) human characteristic as an individual (age, gender, neurodynamics, somatotype);
2) subjective characteristics (emotions, will, intelligence, psychomotoric);
3) personal characteristics (temperament, character, orientation, ability);
4) Characteristics of human personality, refracted through experience, chronology of historical events, individual features.
So, S. V. Vorobyov believes that when organizing a training process, individual features of engaged in, in particular, motor typology, as a result of which the structure of the training process occurs.
According to P. V. Kvashuk, not an individual, and a differentiated approach to building a training process, which assumes the record of the features for various groups of young athletes, important to build training loads, training for technical and tactical actions, participation in first place in competitions .
To date, there are a large number of works in which the authors propose to individualize and differentiate the training process on typological manifestations of the properties of the nervous system.
The relevance of the problem of individualization and differentiation in any sport is due to the individual characteristics of an athlete, on which the success of its competitive activity depends. A large number of experimental studies conducted within the framework of the individualization of the training process indicates that the distinctive features characterizing those involved in the strong and weak types of nervous system to further use in the preparation of the training program.
Unfortunately, scientific research in the field of rhythmic gymnastics was not found, where the problem of the differentiation of the training process was affected by the typological features of the properties of the nervous system according to the "power / weakness" parameter for the excitation process.
When studying the problem under consideration, one can judge the presence of a contradiction between the increase in the quality of competition activities of athletes and insufficient attention at the stage of primary sports training in rhythmic gymnastics issues of individualization and differentiation of the development of coordination abilities in girls 6-7 years having differences in the typological parameter "Power / Weakness »The nervous system for the process of excitation, which today remained beyond the study of this problem.
Thus, the relevance of the study lies in overcoming this contradiction due to the theoretical and experimental substantiation of the methodology for the differentiated use of sports training for the development of the coordination abilities of gymnasts of 6-7 years, having differences in the typological parameter "Power / weakness" of the nervous system for the process of excitation as conditions for improve the quality of training process and competitive activities.
Notes
I. Wiener I. A. Preparation of highly qualified athletes in rhythmic gymnastics: dis. ... Cand. Ped. science Spb. them. P. P. Lesgafta. St. Petersburg., 2003. 120 s.
2. Baranov V. A. Methods of training processing process of swimmers at the initial preparation stage on the basis of a differentiated approach: dis. ... Cand. Ped. science Tambov, 2012. 171 p.
3. Lyakh V. I. Motor abilities of schoolchildren: the foundations of the theory and methods of development. M.: Terra-Sport, 2000. 192 p.
4. Merzlikin A.S. Features of the influence of physical exercises of various focus on the motor-coordination abilities of women of the second period of mature age: dis. ... Cand. Ped. science M., 2001. 236 p.
5. Quurashshin Yu. F. The theory and technique of physical culture: studies. For stud. Higher. studies. establishments. M.: OV. Sport, 2003: Il. 463 p.
6. Pavlova E. V. Improving the system of sports selection in rhythmic gymnastics based on the development of coordination abilities: dis. ... Cand. Ped. science Surgut, 2008. 145 p.
7. Corgen O. Education of coordination abilities in girls 6-7 years at the stage of primary sports training in rhythmic gymnastics: dis. ... Dr. Ped. science Chisinau, 2011. 214 p.
8. Bernstein N. A. About agility and its development. M.: Physical Education and Sport, 1991. P. 17-54.
9. Rumba O. G. The importance of the quality of the work of the feet of the feet of athletes in rhythmic gymnastics // Strategy for the development of sports for all and the legislative frameworks of physical culture and sports in the CIS countries. Intern. Scientific Congress. Chisinau: Valinex SA, 2008. P. 367-370.
10. Lyakh V. I. Coordination abilities of schoolchildren. Minsk: Half, 1989. P. 27.
11. Arkhipova Yu. A. Basic preparation of young gymnasts in exercises with objects: dis. ... Cand. Ped. science St. Petersburg, 1998. 169 p.
12. Corry O. Decree. op.
13. Beklemisheva E. V. Structure of shifted actions with the ball in rhythmic gymnastics and the method of their improvement: dis. ... Cand. Ped. science M., 2002. 203 p.
14. Karpenko L. A. (ed.). Rhythmic gymnastics: studies. / under total. ed. L. A. Karpenko. M.: Publishing House VFHG, 2003. 382 p.
15. Corgen O. Decree. op.
16. Karpenko L. A. (ed.). Decree. op.
17. Nikolaev E. S. Development of coordination abilities as a condition for effective girls learning 5-7 years old exercises with objects in rhythmic gymnastics: dis. ... Cand. Ped. science Belgorod, 2006. 153 p.
18. Artemova E. N. Individualization of the training process of the gymnasts 10-11 years in the exercises on the log at the stage of in-depth specialization: dis. ... Cand. Ped. science Belgorod, 2009. P. 56.
19. Istanbulova N. B. Psychology of a sports career: dis. ... Dr. Psychol. science St. Petersburg, 1999. 417 p.
20. Vorobyov S. V. Individualization of the training process of skiers-riders 12-13 years at the stage of primary sports specialization: dis. ... Cand. Ped. science Kolomna, 2004. 133 p.
21. Kwashuk P. V. Differentiated approach to building the training process of young athletes at the stages of many years of preparation: dis. ... Dr. Ped. science M., 2003. 226 p.
22. Chibikik Yu. V. Individualization of the training process of young judoists in the initial stages of preparation: dis. ... Cand. Ped. science Chelyabinsk, 2010. 180 s.; and etc.
1. Wineer I.A. Podgotovka Vysokokvalificirovannyh SportsmennoK V Hudozhestvennojgimnastike: Dis .... Kand. Ped. Nauk. SPB. of p.p. Lesgaft. SPB. 2003. 120 p.
2. V.A. Baranov Metodika Uchebno Trenirovochnogo Processa Plovcov Na Ehtape Nachal "Noj Podgotovki Na Osnove Differencirovannogo Podhoda: Dis .... Kand. Ped. Nauk. Tambov. 2012. 171 p.
3. Lyakh V.I. DVIGATEL "NYE SPOSOBNOSTI SHKOL" NIKOV: OSNOVY TEORII I METODIKI RAZVITIYA. MOSCOW. Terra-Sport. 2000. 192 p.
4. Merzlikin A.S. OSOBENNOSTI VLIYANIYA FIZICHESKIH UPRAZHNENIJ RAZLICHNOJ NAPRAVLENNOSTI NA DVIGATEL "NO KOORDINACIONNYE SPOSOBNOSTI ZHENSHIN VTOROGO PERIODA ZRELOGO VOZRASTA: DIS. ... Kand. Ped. Nauk. Moscow. 2001. 236 p.
5. Kuramshin Y.F. Teoriya I Metodika Fizicheskoj Kul "Tury: Ucheb. Dlya Stud. Vyssh. Ucheb. Zavedenij. Moscow. SOV. Sport. 2003. ILL. 463 p.
6. Pavlova E.V. SoversHenstvovanie Sistemy Sportivnogo Otbora v Hudozhestvennoj Gimnastike Na Osnove Pokazatelej Razvitiya Koordinacionnyh Sprosobnostej: dis. ... kand. Ped. Nauk. Surgut. 2008. 145 p.
7. KRAIDGAN O. VOSPITANIE KOORDINACIONNYH SPOSOBNOSTEJ U DEVOCHEK 6-7 LET NA EHTAPE NACHAL "NOJ SPORTIVNOJ PODGOTOVKI V HUDOZHESTVENNOJ GIMNASTIKE: DIS. ... D-Ra Ped. Nauk. Chisinau. 2011. 214 p.
8. BERNSTEIN N.A. O lovkosti i ee razvitii. MOSCOW. Physical Culture and Sport. 1991. PP. 17-54.
9. Rumba O.G. Znachenie Kachestva Raboty Stupnej Nog Sportsmenok V Hudozhestvennoj Gimnastike // Strategiya Razvitiya Sporta Dlya Vsekh I Zakonodatel "NYH OSNOV FIZICHESKOJ KUL" TURY I SPORTA V STRANAH SNG. - Strategy of Development of Sport for All and Legislative Foundations of Physical Education and Sport in The Cis Countries. The Intern. Scient. Congress. Chisinau. Valinex SA. 2008. PP. 367-370.
10. Lyakh V.I. KOORDINACIONNYE SPOSOBNOSTI SHKOL "NIKOV. MINSK. POLYMYA. 1989. P. 27.
11. Arkhipova U.A. Bazovaya Podgotovka Yunyh Gimnastok V Uprazhneniyah S Predmetami: Dis. ... kand. Ped. Nauk. SPB. 1998. 169 p.
12. Kraidgan O. Op. CIT.
13. E.V. Beklemisheva Struktura Broskovyh Dejstvij s Myachom V Hudozhestvennoj Gimnastike I Metodika Ih SoversHenstvovaniya: dis. ... kand. Ped. Nauk. MOSCOW. 2002. 203 p.
14. Karpenko L.A. (Ed.). Hudozhestvennaya Gimnastika: Ucheb / Under the General Editorship of L. A. Karpenko. MOSCOW. Publishing House of AFRG. 2003. 382 p.
15. Kraidgan O. Op. CIT.
16. Karpenko L.A. (Ed.). Op. CIT.
17. Nikolaeva E.S. Razvitie Koordinacionnyh Sposobnostej Kak USLOVIE EHFFEKTIVNOGO OBUCHENIYA DEVOCHEK 5-7 LET UPRAZHNENIYAM S Predmetami V Hudozhestvennoj Gimnastike: Dis. ... kand. Ped. Nauk. Belgorod. 2006. 153 p.
18. E.N. ARTYOMOVA. Individualizaciya Trenirovochnogo Processa Gimnastok 10-11 Let V Uprazhneniyah Na Brevne Na Ehtape Uglublennoj Specializacii: DIS. ... kand. Ped. Nauk. Belgorod. 2009. P. 56.
19. Stambolova N.B. Psihologiya Sportivnoj Kar "Ery: Dis. ... D-Ra Psihol. Nauk. SPB. 1999. 417 p.
20. Vorobyov S.V. INDIVIDUALIZACIYA TRENIROVOCHNOGO PROCESSA LYZHNIKOV GONSHKOV 12-13 LET NA EHTAPE NACHALIZACII: DIS. ... Kand. Ped. Nauk. Kolomna. 2004. 133 p.
21. KVASHUK P.V. Differencirovannyj Podhod K Postroeniyu Trenirovochnogo Processa Yunyh Sportsmenov Na Ehtapah Mnogoletnej Podgotovki: Dis. ... d Ra Ped. Nauk. MOSCOW. 2003. 226 p.
22. Chibichik Y.V. Individualizaciya Uchebno Trenirovochnogo Processa Yunyh Dzyudoistov Na Nachal "NYH Ehtapah Podgotovki: Dis .... Kand. Ped. Nauk. Chelyabinsk. 2010. 180 p.; And others.
Tomsk State Pedagogical University
Faculty of Physical Culture and Sports
THESIS
SUBJECT
Basics of the methodology for the development of flexibility and coordination of movement in young gymnasts
(rhythmic gymnastics)
Performed:
Student 6 Course Ozo
Kuzmina N.V.
Scientific adviser:
Doctor pedagogical
sciences Zagrevsky O.I.
Thesis is protected
"___" __________ 2004
Evaluation ________
Tomsk 2004.
Introduction 3.
Chapter 1. Features of the methodology for the development of flexibility and coordination of movements in young gymnasts. 6.
1.1. Goals and objectives, features of rhythmic gymnastics as a sport. 6.
1.2. Features of the methodology for the development of flexibility and coordination of movements, age features. nine
1.3. Characteristics of OFP and SFP at the preliminary preparation phase in young gymnasts. 25.
Chapter 2. Tasks, methods and organization of research. 28.
2.1. Tasks for research. 28.
2.2. Research methods. 28.
2.3. Organization of research. 28.
Chapter 3. Methodical aspects of the development of flexibility and coordination of the movement of girls 5 - 6 years in the training process at the stage of preliminary preparation. 33.
3.1. Investigation of motor preparedness of gymnasts 5 - 6 years at the preliminary stage at the beginning of the study. 33.
3.2. Characteristics of the means and methods for the development of flexibility and coordination of movements on the experimental technique. 35.
3.3. Research results. 43.
Conclusions: 45.
Literature .. 47.
Appendix ........................................................................ .. 51
Introduction
Currently characteristic features modern sport It is a significant rejuvenation and steady growth of sports achievement.
Debating himself to research work, at first glance it seems that modern science did not leave unresolved problems. At the same time, for practice, it was not perfect, it was always characterized by the desire to achieve the result faster and with less considerable strength and funds. That is, improve the quality, performance and efficiency of social labor. In this regard, there is a problem situation associated with the need to create new methods, technologies, production techniques, training.
Until some time, the need for the practice of creating new ways to solve tasks facing it is satisfied due to the existing scientific knowledge. However, sooner or later, these knowledge is not enough to solve the problem of the situation, the need to expand theoretical potential, the need to create a new scientific base, nominating new ideas, concepts, scientific theories.
However, the continuous growth of the results requires the search for new forms, funds, working methods with young athletes. The targeted long-term preparation and education of high-class athletes is the most complicated process whose success is determined by a number of factors. One of these factors is the development of flexibility and identifying more effective ways, funds, methods with which you can achieve in the lowest time the highest result. Due to the sharp decline in recent years, the beginning of the occupation of rhythmic gymnastics, young gymnasts already at 8-9 years old must carry out a competitive program in four - six types of all-around. Within one to two years, it becomes necessary to teach girls with exercises with different subjects that differ from each other with many characteristics. Therefore, the development of flexibility becomes important and is one and significant tasks of the training process. Sometimes against the background of the priority development of flexibility, a decrease in the motor preparedness of young gymnasts is manifested.
To date, the relevant detection of the relationship some qualities Against the background of positive transfer in the development of one quality to others.
This topic is selected and is not developed by chance as the significance of the ability of which is characterized as flexibility and coordination of movements is fundamentally important in rhythmic gymnastics, namely without the development of flexibility and without improving the coordination of movements. In our opinion it is impossible not only to achieve any results in sports, but is generally excluded for those involved in remaining sports activities or creativity.
We believe that flexibility is the first quality of the sport about which we are talking about in this work. Motion coordination is the primary, foundation of any physical activity associated not only with rhythmic gymnastics, but in general for the general human life. And possessing some baggage of initial knowledge relating to these types of abilities, we must take into account the individual features of each child, since the predisposition and potential ability will be completely different. In this sense, we must provide a strictly individual approach in the choice of methods and methods of impact for the development of the qualities you need (flexibility and coordination of movement). We understand that the quality defining as flexibility is specific and contains directions of affecting a certain range, so even if we apply the traditional methodology - we will definitely achieve results, which cannot be said about coordination movements, since this quality, human ability is due to The general patterns of its internal development initially laid down in its general livelihoods and subordinate laws, independent of external physical impact. In this sense, our task is to put the human body in the conditions of non-traditional and unpreicious everyday physical activity, i.e. The task of the coach to invent a universal complex of certain exercises of a specific orientation capable of developing and coordinating movement and put this quality to a fundamentally new level.
A universal exercise complex that applies a coach in his work should have an impact not only to improve the flexibility and coordination of movements, but also to maintain and develop the main physical qualities of training, namely, forces, speed, endurance, etc.
Object research Is: Training process with young gymnasts.
Subject of research is: the study and application of special means and methods for the development of flexibility and coordination of movement.
The purpose of the graduation work: Evaluate the effectiveness of applied funds and methods for the development of flexibility and coordination of movements.
HYPOTHESIS: We assumed that against the background of the development of flexibility and coordination of the movement, the motor preparedness of young gymnasts will increase 5-6 years at the stage of preliminary training.
Research tasks:
1. Study of scientific literature on research.
2. Develop a methodology for learning the development of flexibility and coordination of movements in young gymnasts.
3. Experimentally check its effectiveness in the training process.
Chapter 1. Features of the methodology for the development of flexibility and
Coordination of movements in young gymnasts.
1.1. Goals and objectives, features of rhythmic gymnastics as a sport.
the main objective early occupations Physical culture and sports - to create a solid foundation for upbringing a healthy, strong and harmoniously developed young generation.
The main tasks of initial training:
1. Strengthening the health and harmonic development of all organs and systems of the body.
2. Formation of proper posture and gymnastic style exercise.
3. Versatile general physical training and initial development of motor qualities that are important in rhythmic gymnastics (dexterity, flexibility, strength, speed, jump and equilibrium)
4. Learning the basics of exercise without objects and with objects.
5. Development of specific qualities: plasticity, dance, musicality, expressiveness and creative activity.
6. Increasing interest in rhythmic gymnastics training, education of discipline, accuracy, diligence and independence.
7. Participation in demonstrations and children's competitions (L.Akapenko, 1989).
Features of rhythmic gymnastics as a sport
Abundance and specificity of funds cause methodical features Artistic gymnastics, among which, according to the authors (G.A. Bobrova, 1978; E.V. Biryuk, 1982; TS Lisitskaya, 1982), the most characteristic are the following:
First, the free movement of the gymnasts on the court, including the elements of dance, ballet, facial expressions, plastics, elements without object and with objects, as well as some elements of a simplified, stabilized acrobatics.
Secondly, artistic gymnastics is related to the art of ownership by its body in vivo. According to E.V. Biryuk (1982): "Rhythmic gymnastics is the art of expressive movement."
Thirdly, a feature of rhythmic gymnastics is musical accompaniment. Thanks to the merger of the dynamics of movements with the character of musical accompaniment, movements receive various emotional color and acquire dance. This connection is carried out not only in coordinating the movement with the size and pace of musical accompaniment, but also in the upbringing of engaged in the ability to correctly understand music and perform movements in accordance with its content and form. Music creates a brighter idea of \u200b\u200bthe nature of the movement.
Fourth, the peculiarity is to effectively influence aesthetic education
Fifth, the feature is associated with motor memory and attention.
To perform complex combinations, the original gymnast exercises must have good memory and attention. The complexity of the structures of motor actions of the gymnasts causes the need to memorize a large volume relative to independent movements. This makes requirements for motor memory of gymnasts, as well as to such qualities as the perference, clarity and accuracy of motion reproduction,
According to J.A. Blindpety (1988), the effectiveness of the training process depends largely on a clear perception of motion.
Perception is based on visual sensations: the eye evaluates not only the remoteness of the subject and partners, but also traces the details of the studied and improved movements, actions, allows you to get information about them.
The success of learning and improving in rhythmic gymnastics is largely determined by the attention of the gymnasts to movements, their details, discrimination of perception, or otherwise - coordination of movements.
The attention of the gymnasts is characterized by the following signs: concentrated, wide distribution on moving objects (partners, items), fast switching from one episode to another, large volume (see the platform) and intensity, especially in tense situations.
The following feature is the composition of arbitrary exercise. The trend towards the relative equalization of the technical and physical possibilities of gymnasts, claiming to conquer prizes in high-ranking competitions, significantly exacerbates the competitive struggle, the victory in which begins to be determined by the originality, the novelty composition of arbitrary programs (both individually and in the group championship).
The last feature is integrity.
Integrity lies in the participation of all body links in the motion performed. This means that a given gymnast is the main movement must be accompanied by additional movements. For example, the main movement: from the initial position of the hand to the left to transfer their arc to the right. Supplementary movements will be: a) the movement of the head, descending and rising left for the movement of hands; b) movement shoulder belt, first slightly lowered, then slightly rising, respectively, the movement of hands; c) Slightly noticeable slopes of the body towards the movement of the hands.
In general, the exercises are performed in a punch, gently with a slight bending of hands in the joints. The movements of the brushes slightly behind the movement of the hands. The most vividly the integrity of movements is manifested in exercises such as a wave and wave.
The methodological features of rhythmic gymnastics listed above are mainly the activities of athletes in the conditions of training sessions. The conditions in which competitions occur are significantly different from the conditions of training. To effectively overcome the difficulties created competitive activities (Emotional tension, starting fever), gymnast must have such qualities: courage, balance, self-compliance, perseverance, desire for success.
Rhythmic gymnastics - all-around.
Gymnasts of younger discharges compete in exercises with objects (rope, hoop, ball, bulva, ribbon) and in exercise without an object.
Gymnasts of senior discharges Exercise without an object do not perform.
In addition to all-around the competition program, group (5 gymnasts) exercises with one or two objects are envisaged.
1.2. Features of the methodology for the development of flexibility and
Coordination of movements, age features.
One of the most important physical qualities in rhythmic gymnastics is the flexibility - the ability to exercise with a large amplitude of movements. Without this quality, it is impossible to educate the expressiveness of the movement, plasticity and improve their technique, because in case of insufficient mobility in the joints of the movement, (T. S. Lisitskaya, 1982) is limited.
Flexibility is necessary for carrying out wave-like movements, acrobatic exercises belonging to the artistic gymnastics program, to take poses in flight in the performance of jumps (D. Mavromati, 1982).
In its biomechanical essence, the overwhelming majority of gymnastic exercises require good mobility in the joints, and some generally depend on the level of development of this quality.
With a high level of mobility, there are prerequisites for economical movement in the joint, as if it turns out a greater source length of the muscles, it allows you to show more power, articulations become more connectives, it means that a smaller force is required to perform movement in the joint (Yu.V. Menhin, 1989 ).
Insufficient mobility in the joints - a consequence of the poor elasticity of muscles and ligaments surrounding these joints, as well as the poor development of antagonist muscle (D. Mavromati, 1972). It is not enough to high up to the leg, and then rapidly lower it down. We must be able to keep your leg in a highly raised position. It is not enough to make a sharp tilt back on one leg and, raising the other in the rear balance, touch the floor with the hand, you must still be able to raise the torso, without lowering the leg. Thus, in close connection with the development of flexibility, it is necessary to develop the strength of antagonist muscle.
Flexibility is manifested in the magnitude of the amplitude (scope) of bends-extensions and other movements. Accordingly, its indicators are measured by the limiting amplitude of the movements rated in angular degrees or linear values \u200b\u200b(centimeters) (L.P. Matveyev, 1991).
Under the amplitude is understood as the degree of development of gymnastics, the amplitude of movements and the scale of exercises with objects. The amplitude depends primarily on the physical qualities of the athlete and the degree of its development. One of the leading qualities when it comes to amplitude is flexibility.
Thanks to her, it is facilitated by all types of gymnastic exercises - slopes, equilibrium, jumps, waves. Flexibility gives athlete plasticity, softness, elegance. Modern rhythmic gymnastics pays special attention to this quality, so it is crucial in exercises with objects.
Of particular importance is attached to the development of the flexibility of the spinal column not only in the lumbar department, but also in breast cervical departmentsWhat is important for the development of waves, waves, movements ring.
The technique of gymnastic exercises requires a large amplitude of movements in a hip joint, feeding, high mobility of ankle joint. No less important, in particular, for the development of objects of ownership of objects, has mobility in the shoulder, elbow, ray-toll joints in all planes.
There are active and passive flexibility. Under active , The flexibility implies the highest possible mobility in the joint, which an athlete can show independently, without assistance, using only the power of its muscles. Passive flexibility is determined by the highest amplitude, which can be achieved by external forces created by a partner, projectile, burden.
The value of active flexibility is always less passive. So, when moving the movement of the amplitude of the movement in the hip joint is less than with the same movement made using or smear (L.P. Orlov, 1973).
Under the influence of fatigue, active flexibility decreases (due to the reduction of muscle ability to complete relaxation after the preceding reduction), and the passive increases (due to the smaller tone of muscles opposing stretching) (B. A. Ashmarin, 1990).
It is in rhythmic gymnastics that the active flexibility is of great importance, which ensures the necessary freedom of movements, as well as allowing to master rational sports techniques.
However, it is possible to achieve optimal mobility in the joints only with the simultaneous development of active and passive flexibility.
As a means of education of flexibility in rhythmic gymnastics, stretching exercises carried out with an extreme amplitude.
Passive exercises can be dynamic (spring) or static (retention of poses) of character. The greatest effect for the development of passive flexibility brings a combination of spring movements with subsequent fixation of the posture (TS Lisitskaya, 1982).
Allocate general and special flexibility. The overall characterizes the maximum amplitude of movements in the largest joints, the second - amplitude of the movements corresponding to the technique of a particular motor action (B.A. Ashmarin, 1990).
With age, due to the increase in the mass of tendons (comparatively with muscles) and some seal itself muscular fabric The tonic resistance of muscles by the action of stretching forces increases and flexibility is deteriorating. In order to prevent the deterioration of mobility in the joints, especially noticeable at the age of 13-14 years, it is necessary to start the development of passive flexibility in a timely manner. For the development of passive flexibility, the sensitive period will be the age of 9-10 years, and for active - 10-14 years (V. I. Filippovich, 1971).
Rhythmic gymnastics is a complex formal sport. A feature of skill in rhythmic gymnastics is the mastery of complex and fine coordination, the ability to transmit not only the overall nature of the movement, but also its details (Yu.N. Shishkareva and L.P. Yorlov, 1954).
In rhythmic gymnastics, physical preparation is aimed at the harmonious development of all qualities. Of great importance in children of 5-6 years is attached to the upbringing of the right posture, excluding excess lumbar deflection, stuff, closure. However, more attention compared to the rest is given to the development of flexibility and coordination abilities (T.S. Lisitskaya, 1982).
Coordination abilities (COP) are the functional capabilities of certain organs and structures of the body, the interaction of which causes the coordination of individual elements of movement into a single semantic motor action (B.A. Ashmarin, 1990).
IN general Under the COP is understood as the possibilities of a person who determine its readiness for optimal management and motor regulation. Coordination abilities include:
Orientation in space;
Accuracy of reproduction of movement in spatial, power and temporal parameters;
The COP is divided into common, special and specific species to the most important specific COP in the subject-practical and sports activities of a person:
Abilities based on proprigating sensitivity (muscular feeling);
Ability to focus in space;
Ability to maintain balance;
Sense of rhythm;
Ability to rebuild motor actions;
Stocietic stability;
Ability to arbitrary muscle relaxation, V.I. Lyakh (1989) indicates that the most favorable period for the development of CS in girls is the age of 11-12 years.
The ability to focus in space.
Under this ability it is understood as the ability to accurately determine and promptly change the position of the body and move in the right direction. This ability a person shows in relevant conditions of any activity (on a gymnastic platform, on a platform for playing volleyball, tennis, basketball, etc.). From this it follows that the ability to orientation in space is specifically manifested in each sport.
Its manifestation and development is largely dependent on the speed of perception and evaluation of spatial conditions of action, which
it is achieved on the basis of the integrated interaction of analyzers (among them the leading role belongs to the audience).
The main methodological approach specifically aimed at improving this ability is the systemic execution of tasks containing consistently increasing requirements for the speed and accuracy of orientation in space .
The ability to maintain equilibrium.
The growth of sportsmanship in gymnastics largely depends on the activities of the vestibular analyzer. Along with the motor and visual analyzers, it provides orientation in space affects the level of motor coordination and equilibrium quality.
Observations show that gymnasts that are not well developed the vestibular analyzer is usually developed, it is usually difficult to master the software material, they are difficulty in assimilation of rotational movements and preservation of equilibrium (Yu.P. Kobyakov, 1976)
The ability to maintain stability of postures (equilibrium) in those or other positions of the body or in terms of performing movements is vital, since the implementation of even relatively simple movements requires a sufficiently high level of development of equilibrium organs.
The manifestation of equilibrium is diverse. In some cases, it is necessary to maintain balance in static positions (stands on one leg in the "Swallow" position, stands on hand in gymnastics and acrobatics); In others, in the course of performing movements (in walking and running on a log or another narrow subject, etc.) - dynamic equilibrium.
There are also a third form of equilibrium - balancing objects and on objects, for example, balancing by the gymnastic mace standing on the palm; Hold the ball on the head, standing still or in motion; Holding equilibrium, standing on roller, etc.
Improving static and dynamic stability occurs based on the development of motor skills, as well as in the process of systematic use of general and special preparatory coordination exercises. Elements of equilibrium are part of Almost all movements: cyclic, acyclic, throwing, acrobatic, sports and gaming, etc. (V.I. Lyakh, 1989)
A variety of equilibrium manifestations causes the need to clarify its varieties. The study of the sustainability of the body in motor activity is in the field of view of many authors. However, so far the structure of this DCC is not defined, its main components and manifestations, factors that determine the development and criteria for assessing the sustainable position of the body are not identified. Therefore, first of all it is necessary to determine and substantiate each of the structural elements of this quality.
Being a complex DCC, the balance of the following components has an equilibrium:
Rational location of the blocks of the body;
Minimizing the number of degrees of freedom of the moving system;
Dosage and redistribution of muscle efforts;
Spatial orientation level.
The basis of control of any equilibrium is the interaction of the body with earth gravity. The higher the position of the general center of gravity over the support, the greater the impact on it the strength of gravity and the more difficult to maintain stability.
The first component is the rational arrangement of the links of the body to suit the better preservation of equilibrium. Right posture In the sitting position or standing contributes to better body stability.
The rational interpretation of the units of the body significantly affects the activity of the muscles. So, in the squat position on one leg sharply increases the activity of the muscles of the body and the supporting leg.
Consequently, the location of the body links does not only significantly affect the external perception of any motor action, but also contributes to the preservation of stability.
The second component of equilibrium is the dosage and redistribution of muscle efforts. The difficulty of preserving the stable body position after performing any movement (rotation, jump, knuckle) is that the efforts of muscle groups are short-term, it is possible only in certain motor-action phases, while at the beginning and in the end of the movements the magnitude of these efforts is different . The volume of the attached muscular effort is largely determined by the specific manifestation of equilibrium. For example, preservation of equilibrium on an increased support and after performing rotation requires a completely different nature of the application of the effort. In the second case, they need more, which is associated with the presence of an opposite response.
Preserving stability after performing various jumps requires overcoming certain inertial forces. The harder the jump technique, the more significant forces need to overcome. With a short-term nature of the implementation of motor actions, additional difficulties arise related to the solution of equilibrium conservation tasks to the maximum short period of time. At the same time, the requirements for the manifestation of high-level intramuscular and intermushkin coordination increase dramatically.
Different muscle groups are known to have an unequal degree of activity. Muscles carry out the main load when holding the body links in the equilibrium state. For example, in the hand on hand, higher activity is characteristic of the muscles of the ray-taking joints and muscles of the back.
The third component of preserving the stable position of the body is the level of spatial orientation. To perform any motor action, from elementary natural movements:
holding any posture, walking, running to technically complex sports exercises, requires a certain degree of orientation in space. What it is better, the easier it is to maintain a steady position. Spatial orientation ensures accuracy of movements when moving the body and its individual links.
In various types of motor activities, the spatial accuracy of movements is of great importance. For example, the count rate of the ball depends on the degree of accuracy of the spatial characteristics of movements. Each motor action has a specific structure, and information about its parameters is sent over its specific channels into the control system.
Concepts such as the "feeling of distance", the "ball feeling" and so on, have their own basis the interaction of a complex of functional systems, allowing to determine and monitor the distance. Therefore, the preservation of body stability When performing many motor actions with closed eyes is much more complicated than open.
Two main varieties of equilibrium are known: static and dynamic. At the same time, various manifestations of static and dynamic equilibrium are not presented in special literature, which leads to different interpretation of the leading role of some factors in the development and improvement of this quality.
Therefore, the determination of specific manifestations of static and dynamic equilibrium is essential. Special studies have revealed that both static and dynamic equilibrium have a number of specific and nonspecific manifestations. Specific related views of sports activities, nonspecific most often characteristic of labor and household activities.
Delivery on specific and nonspecific manifestations is very conditional, as it is impossible to carry out a clear distinction in complex motor activity without violating the structure of the movement. However, the allocation of these two relative to independent groups is justified in terms of the development and improvement of body stability. It is necessary to keep in mind that it is impossible to achieve absolute body stability. When maintaining any equilibrium, the muscles are in a state of a certain tremor, which is more manifested in untranslated, in connection with which it is harder to achieve equilibrium.
A certain effect on the preservation of equilibrium has the condition of the respiratory system.
It is known that with forced breathing, the oscillatory movements of the body increase, which leads to great costs of effort to preserve equilibrium. At the same time, the breathing delay is not less than 30 seconds causes a decrease in body fluctuations.
One of the factors affecting the ability to maintain a stable body position is the level of development of physical and coordination qualities, a certain degree of development of power and high-speed muscle qualities allows to repeated the efforts of different character to repeated with the highest possible speed. Enhance the manifestation of body stability of certain indicators of stability. The higher the level of general and special endurance, the faster the athlete masters various types of equilibrium.
The ability to retain equilibrium also depends on the level of development of mobility in the joints. The higher the degree of mobility (to a certain extent), the easier it is to ensure the rational location of the body and its individual links and thus control the stability.
The level of flexibility development also affects the preservation of equilibrium. The high degree of flexibility of the cervical, thoracic, lumbar spine allows you to take a stable position above the support.
A great role in preserving equilibrium, especially in rotational and jumping exercises, is playing dexterity. The high level of muscular and intramuscular coordination ensures solving sufficiently complex motor problems. Therefore, the more difficult sports exercise, the more agility is required to preserve the stable position of the body. In each sport, the manifestation of dexterity while maintaining stability has its own specifics. Dexterity is also manifested in the appropriate action, movement time, in the instantaneous correct assessment of the situation and adequate reaction. An important value is the accuracy of movements that ensures the rational arrangement of the blocks of the body above the support and insanid state. The accuracy of motor actions contributes to their high economy, fulfilling with less muscle and energy. It manifests itself in the perfect form (visible side) of movements and a clear structure (content) of motor action.
Rhythmicness also has a certain meaning in a stable body position, providing uniform distribution and redistribution of muscle efforts. It causes the optimal ratio of individual parts of the motor action, their continuity during the predetermined time, as well as the nature, consistency and amplitude of individual movements. In any exercise, there is a certain duration in time (tempo) and a natural allocation of effort (dynamics). The pace and dynamics are closely interrelated and affect each other. Their optimal combination provides harmony of movements. In this case, there is a sense of rhythm walk, running, etc., which is impossible without a stable position of the body.
One of the factors that increase the ability to maintain equilibrium is a psychological attitude and an emotional state. The high level of psychological training contributes to the equilibrium of nervous processes - an important condition for a sustainable position. Positive emotions also contribute to improving performance, muscle activity and, consequently, more efficiently preserving the equilibrium of the body and its individual links.
The criteria for assessing the sustainable position of the body are as follows:
Spatial assessment and self-assessment of the location of the blocks of the body while maintaining a separate posture: in motion and combined with
other types of motor actions;
The degree of compliance of the assessment and self-assessment of the location of the body links;
The degree of resistance of the body after deviation from the main position in the range of 5-10-15 °;
The degree of resistance of the body with additional movements (head, hands, etc.);
The degree of resistance of the body in a specific posture;
The degree of resistance of the body in various ways to move in space (walking, running, swimming, movement on skis, etc.);
The degree of resistance of the body in various conditions of support:
Increased, inclined, elastic, soft, rigid, etc.;
The degree of resistance of the body in a disadvantage;
The degree of resistance of the body to the load (starting training), in the middle of the classes and after the load;
The degree of resistance of the body in combination with other types of motor actions: rotations, jumps, turns;
The degree of body stability when balancing objects.
Based on the above, it is possible to give the following definition of this DCC: Equilibrium is the ability to maintain the stability of the body and its individual links in the supporting and non-viable phases of the motor action.
Abilities based on proprodoreventive sensitivity.
Research V.I. Lyakh showed that the abilities based on proprigative sensitivity (muscular feeling - according to I.M. Sechenov), quite specific. These are the ability to play, evaluate, measure, differentiate spatial, temporal and power parameters of motion.
It is possible to explain the presence of a fairly wide range of so-called simple abilities to the fact that the management of motions in various parameters is carried out with the help of various proprigororeceptors.
Abilities to playback, evaluation, measurement, differentiation of spatial, time and power parameters are based mainly on the accuracy and subtlety of motor sensations and perceptions, protruding often in combination with visual and auditory abilities; With a small motor experience, the feeling and perception of children is still too rude, not accurate, poorly realized errors in reproduction, evaluation or differentiation of spatial, temporal, spatial-temporal and power signs of motion. As experience gains and perception of parameters of the movements performed are becoming more accurate, distinct and clear.
In each form of physical exercise, muscle-motor sensations and perception are specific.
This is an envy of the originality of coordination of movements, environmental conditions used by shells. Specialized perceptions in sports activities are otherwise called feelings. The most famous feelings: distances - in fencers and boxers; subject - gymnasts; water - at swimmers; time - runners, cyclists, skiers, etc.
It follows from this that the ability to reproduce, differentiate, measure and evaluate the spatial, time and power parameters of motion, actions or activity as a whole, based on accuracy and subtleties, specialized perceptions ("feelings"), are very diverse, they are specific and developed Depending on the characteristics of a particular sport.
At the same time, these abilities are isolated extremely rare. In addition, they are in certain relations with other special and specific COPs, as well as with physical and psychological features.
These links are due to the fact that in motion activities coordination movements acts as a holistic psychomotor process, in which its various components are presented in unity and close intertwining: intelligent (programming and semantic), sensory, sensor and motor (performers, physical).
The ability to accurately reproduce, evaluate, measure and differentiate the parameters of movements is developing primarily in the systematic use of general and special preparatory coordination exercises, methods and methodological techniques for the development of special CS. To improve the effectiveness of pedagogical impact, methodical approaches are used to improve these abilities. The methods of development of the COP are based on the systemic execution of tasks that have increased requirements for the accuracy of motor actions or individual movements. Involve the tasks of analytical (electoral) - on the accuracy of reproduction, evaluation, measurement and differentiation of predominantly one of the parameter of the movement (spatial, temporary or power) and systematic - to the accuracy of managing actions in general. It is clear that such a separation is conditionally, because the accuracy of reproduction, evaluation, etc., say, the spatial parameter is isolated from the accuracy of playback, evaluation, etc. Temporary or force sign of motion is not found.
In the real process of control and controlling, these types of accuracy always act in organic unity. Therefore, although it is possible a preferential differentiated impact on improving the accuracy of a single movement parameter, the installation is obligatory to achieve the accuracy of the implementation of the motor action as a whole (V.I. Lyakh, 1989). In the implementation of targeted development and improvement of the COP, young athletes are much faster and more efficiently mastered by various motor actions; At a higher quality level, the old training programs are rebuilt with new and easier; faster progress to the heights of sports skills and remain longer big Sport; Sports technique and tactics are more successful; It is easier to cope with the tasks requiring a high level of psycho-physiological functions in the sensing engine and intellectual spheres; acquire the ability to rationally and economically spend their energy resources; constantly replenish your motor experience; Follow the joy and pleasure from constant mastering new and diverse types of exercise (V.I. Lyakh, 1989).
Anatomo-physiological and psychophysical features of young gymnasts
1. Between 4 and 7 years begins the ossification of long bones. Ocanification is unevenly, and excessive power loads can disrupt this process.
2. At the same age, the bends of the spinal column are made and there is insufficiently compensated lumbar lordosis. Therefore, girls appear in the wrong posture (they go, exposing the belly forward). Thoughtful use of classic exercises helps Correction of posture.
3. In 5-6 summer children, the muscles are not yet decorated, there is uneven development of individual muscle groups. Those who have stronger flexor muscles, it is advisable to pay attention to the development of extensors and vice versa.
4. High intensity of metabolic processes, the uneconomicality of muscle efforts, an increased energy source can lead to rapid fatigue. Therefore, the loads must be small and wearing a "fractional" character with frequent pauses for recreation.
5. Regulatory mechanisms of cardiovascular and respiratory systems are not yet perfect. The pulse frequency is high and alone, even at moderate load, blood pressure undergo large oscillations, student and superficial breathing. But under the influence of natural development and regular occupations The functionality of children rises. By 7-8 years, children can endure significant loads, but better adapt to moderate intensity.
6. Basic motor quality develop unevenly and depend on the state of the functional systems of the child and its respiratory experience. Therefore, experts recommend in the initial period to increase the overall capacity to engage in various funds.
7. Attention in children is 5-6 years old with difficulty, its volume and stability increase gradually and slightly. In the process of learning, it is necessary to use new, bright and brief stimulies to hold the attention of children. Comments on the technique of execution should be no more than 1-2 per reception.
8. Children 5-6 years old are not yet able to separate insignificant from the main, often fix their attention to the secondary. Therefore B.
It is advisable to use a holistic learning method, study simple exercises, use brief and accurate explanations.
9. Visuality of learning is important at this age. The show should be very accurate and clear since the children are often simple
Copy the teacher and can repeat its errors. But for the development of the 2nd signal system, the terminological replenishment reserves should be accompanied by a brief and affordable explanation.
10. Motionic manifestations in children 5-6 years old are imperfect, volitional and moral qualities are limited. Therefore, it is necessary to work tirelessly on the development of these qualities in children, remembering that praise and methods of encouraging at this age are much more effective than punishment methods.
11. Musical support of occupations at this stage of initial training should be simple, understandable and affordable, close children of 5-7 years old. According to a new position about the School of School, at the initial stage of training, the attraction of accompaniators is not provided. This is definitely difficult to work by coaches (L.A. Karpenko, 1989).
1.3. Characteristics of FPP and SFP at the stage
preliminary training in young gymnasts
The successful implementation of the comprehensive physical education of young gymnasts largely depends on the skillful selection of funds and methods of physical training over the course of a number of years in the annual cycle.
Full physical training includes overall and special training, between which there is a close connection. This separation allows you to better build a pedagogical process using various means and methods.
Special physical training is directly aimed at the development of physical qualities specific to this sport.
The means of special physical training are: 1) Competitive exercises, i.e. holistic actions that are performed in compliance with all requirements established for the competition; 2) Special preparatory exercises directly aimed at the development of physical qualities. These are exercises aimed at developing muscle groups carrying the main load when performing a holistic action.
General physical preparation is aimed primarily on the general physical development of the gymnasts, i.e. The development of physical qualities, which, although not specific to this sport, are needed from the point of view of a comprehensive increase in the functionality of the body.
General physical training enriches the athlete with the most diverse skills. Despite the various specific manifestations of physical qualities, they all have common patterns of development, on the basis of which they are manifested in a particular sport.
General physical training is aimed at the overall harmonic development of the entire body, the development of all its muscles, strengthening the organs and systems of the body and increasing its functionality, improve the ability to coordinate movements, an increase in speed, strength, endurance, dexterity, flexibility, correction of the deficiencies of the physique and posture from Young athletes.
The specific choice of funds depends on the inclinations of the engaged, existing traditions of the sports team and the available opportunities.
For young gymnasts, the means of general physical training will be walking, running, climbing, exercises to educate a sense of equilibrium, generalizing exercises with objects and without items, exercises with burdens.
A significant place in the program of their classes must be allocated to mobile and sports games, various types Athletics, swimming and water jump .
General and special physical training should be represented in all types of a year cycle - preparatory, competitive (main) and transitional, but the relationship and tasks change.
In the first years of study, we need to pay great attention to the general physical preparation (A.G. Schemen, 1958; Z.I. Kuznetsova, 1957; A.G. Decity, 1962), because It contributes to the versatile development and improving the functionality of the body of young athletes. General physical training should be carried out throughout the year, changing in the amount depending on the preparation period. The authors of the programs emphasize that one of the most important conditions in classes with young gymnasts is a combination of special and general physical training, because Only under this condition can be achieved high sports results.
Chapter 2. Tasks, methods and organization of research.
An analysis of scientific and methodological literature allowed to formulate the purpose and working hypothesis of the study.
Objective: Evaluate the effectiveness of used funds and methods for the development of flexibility and coordination of movements.
Research Hypothesis: Against the background of the priority development of flexibility and coordination, the overall motor preparedness of young gymnasts of 5 -6 years at the preliminary preparation phase may increase.
2.1. Tasks for research.
1. Determine the level of development of general and special preparedness.
2. To identify the relationship between the development of flexibility, coordination of movements and overall motor preparedness.
3. Development of an effective selection of funds in the training process aimed at increasing overall and special training.
2.2. Research methods.
To solve the tasks, the following research methods were used:
1. Study analysis of scientific and methodical literature;
2. Pedagogical observations;
3. Testing motor qualities;
4. Methods of mathematical statistics.
2.3. Organization of research
Analysis of literature. To obtain objective information on the issues under study, the refinement of the research methodology was studied literature: the physical qualities of athletes, about the coordination abilities of children 5 - 6 years old, about the age characteristics of children 5 - 6 years. The characteristics of the funds of OFP and the SFP at the initial training phase in young gymnasts were studied; Data of sports metrology, which allowed to objectively analyze and substantiate research results. Recommendations on rhythmic gymnastics of coaches were also used. In total, 40 literary sources of domestic authors were analyzed.
Pedagogical observations. Pedagogical observations were conducted at competitions and training in S. Kozhevnikovo. Observations were conducted for children 5 - 6 years old since December 2003. by March 2004 In KSSh - 2 s.Kozhevnikovo.
Testing motor qualities. An important organizing and guide factor in the process of physical training is to control the development of qualities. One of the indicators characterizing the level of general physical fitness of gymnasts is the successful passing of the tests of the OFP.
As a result of a series of scientific research, a complex of pedagogical control tests has been developed. It characterizes the level of development of the main physical qualities of children engaged in rhythmic gymnastics. This complex is developed taking into account the regulatory documents of the SHA.
To determine flexibility, tests were used:
"Twine" on the right leg. Gymnasts 5 - 6 years old perform twine on the floor. The distance from the floor to the hip in centimeters is measured. "Twine" allows you to determine the development of flexibility in hip joints.
The "bridge" is fixed 2 seconds estimated the distance between the hands and heels of gymnasts in centimeters. The Bridge allows you to determine the development of the flexibility of the spinal column.
"Frequently" in the shoulder joints with a skipper is performed three times. The distance between the brushes in centimeters is measured. "Frequent" allows you to determine mobility in the shoulder joints.
Based on the analyzes of literary sources (V.I.LAH, 1989, 1998; A.V. Bagutin, 1996), three tests were used, with which the following types of CS were determined:
Ability to preserve equilibrium;
Ability to coordinate movements;
Coordination abilities related to holistic motor actions (orientation ability in space).
Test "Heron" is performed as follows.
I.P. - Rack on the right (left) leg, knee left (right) departed, stop pressed to the knee of the support leg. Hands forward the palms of the book.
The subject command must close the eyes and save the fixed position the maximum amount of time.
As soon as small movement fluctuations began to be observed, the stopwatch was stopped.
To determine the ability to coordinate movements, the test "Personal fake - focusing LED" was taken.
I.P. - O.S.
1. Emphasis crop;
2. Pop lying;
3. Focus crop;
For one fully completed exercise, one point is accrued, each of the four phases of the exercise is ¼ points.
The ability to orientation in space was estimated using the Eight test. Crawn in the stop, standing bent, in the eight-fashioned distance.
I.P. - Standing on customers (knees do not touch the floor) between two cubes located at a distance of 1.5 meters from each other. The palm of one hand is located at a mark indicating the middle of the distance between the cubes.
Task: Putting on dirty "eight", rich every cube three times. The time is estimated in the execution of the task in seconds. The result of one attempt is taken into account.
The following tests were taken to determine the general physical training:
1. Long jump. Measured distance in centimeters.
2. Running 20 meters. The time is estimated in the execution of the task in seconds. Three attempts run and the best result is left.
3. VIS on bent hands. The time is estimated in the execution of the task in seconds.
I.P. - Visa on high crossbar Grogging from above, chin above the crossbar does not concern. As soon as the chin touched the crossbar, the stopwatch was stopped.
Methods of mathematical statistics.
All the results of experimental studies were processed using the methods of mathematical statistics set out in the relevant manuals (L.P. Kanakov, O.I. Zagrevsky, 2003, etc.).
1. The average arithmetic value of the feature:
2. Average quadratic deviation - dispersion:
3. Middle arithmetic error:
4. Range coefficient of correlation of the spirit.
5. The reliability of differences was determined by the rank coefficient of correlation:
According to the accuracy of the results of the results, 1-5% of the significance level was adopted as the main one.
Chapter 3. Methodical aspects of the development of flexibility and coordination of the movement of girls 5 - 6 years in the training process at the stage of preliminary preparation.
3.1. Investigation of motor preparedness of gymnasts 5 - 6 years at the preliminary stage at the beginning of the study.
Table №1
Musculosion level at the beginning of the study
Table number 2.
Correlation table of the relationship of the development of flexibility and coordination
movements at the beginning of the study
On the basis of correlation analysis, the gymnasts at the preliminary preparation stage revealed a weak inverse proportional relationship between the flexibility of the spinal column and the coherence of movements, as well as mobility in the shoulder joints and statistical equilibrium. The resulting correlation coefficient was R \u003d 0.08, which is an unreliable indicator. The strongest directly proportional relationship was obtained between mobility in the shoulder joints and coherence of movements, the correlation coefficient was R \u003d 0.3. The accuracy of the results was not detected (p\u003e 0.05).
Table number 3.
Correlation Table of Relationship Development Coordination of Movements
and general motor preparedness at the beginning of the study.
Correlation analysis revealed the most closely direct proportional relationship between speed-power and power abilities, the correlation coefficient was R \u003d 0.7 and turned out to be reliable (P< 0,05)
3.2. Characteristics of the means and methods for the development of flexibility and coordination of movements on the experimental technique.
As the analysis of literary sources showed, in rhythmic gymnastics, to achieve a high level of sports skills, it is necessary to develop such quality as flexibility. This provision is confirmed by our experimental studies. Consequently, the main task of a pedagogical experiment to us was to improve the methodology for the development of flexibility, based on the results of their own studies.
The process of flexibility was carried out gradually.
The dosage of exercises aimed at the development of flexibility was small, but the exercises were used systematically, at each occupation. Also, these exercises were included in the morning gymnastics.
Before proceeding with the exercises to increase the mobility of the joints, a warm-up for heating muscles was carried out.
Stretching exercises gave effect if they were repeated before the appearance of the feeling of easy pain.
The main means of the development of flexibility were exercises for stretching, which could be dynamic (spring, fly, etc.) and static (preserving maximum amplitude at various postures).
Exercises for stretching were performed as with burdening so without it.
Using burdens allows emphasis on the muscles, providing movements in the joints.
Complexes of exercises aimed at the development of mobility in various joints of the musculoskeletal system, consisted of exercises active (the maximum amplitude is achieved by the executing themselves) and passive (the maximum amplitude is achieved with the help of additional external efforts). The load in the exercises on flexibility in individual classes and during the year increased by increasing the number of exercises and the number of their repetitions. The pace with active exercises was 1 repetition of 1 second; with passive - 1 repetition in 1 - 2 seconds; Hold static positions - 20-30 seconds.
When performing tasks for flexibility to the child, a specific purpose was put, say to reach the hand to a certain point or subject. A similar admission allows to achieve greater amplitude of movements.
The main method of flexibility is the re-method, where stretching exercises were performed by series of 10-12 repetitions in each. The amplitude of movements increased from the series to the series. Such exercises gave the greatest effect, and if the children were performed daily and at home and did not miss training. In training, 40% of the time was given to the development of flexibility. The following ratio was used to use exercises for flexibility: 40% active; 40% -passive; 20% static.
Since in children of 5-6 years of age, the classes were held 3 times a week, a homework system was used, which included exercises aimed at the development of the flexibility of the spine, in the hip and ankle joints, ponded ligaments, as well as jumping on the rope. For the development of flexibility in the training process, speed-security exercises were used: spring movements, Mahi, followed by keeping legs. At the same time, if the exercises were carried out with burden, the weight of the burdening should not reduce the speed of performing moving or spring movements (burdening did not exceed 2-3% of the weight of the body of the gymnast). As methods of improving flexibility, gaming and competitive methods were used, then classes passed interestingly and fun (who could be leaning below; who, without bending his knees, will be able to raise a flat item with both hands, etc.).
Exercises for flexibility were performed in such a sequence: at the beginning of the exercise for the joints of the upper limbs, then the torso and the lower extremities.
Exercise conditions are much easier due to support. Exercises first were performed at the support, then without support.
Active and passive flexibility develop in parallel.
Exercises applied to flexibility:
1. Repeated springing movements that increase the intensity of stretching. Nr: Spring slopes forward.
2. Movements performed by possible greater amplitude. Nr: Tilt back and forward to failure.
3. Inertia of the movements of any part of the body. Nr: Mahi feet forward or to the side with a gradually increasing amplitude of movement.
4. Additional external support. H-p: Captures with hands for the rail of the gymnastic wall or a separate part of the body, followed by attracting one part of the body to another.
5. Active assistance to the partner.
Complex of exercises for flexibility
1. Tilt forward, sitting back apart. Touch the chest of the floor and keep this position 2-3 seconds. To successfully accomplish this regulatory requirement, it is recommended to master the following exercises:
a) sitting on the floor, legs together, the slope forward with the help of a coach that presses his hands in the blades;
b) standing in the slope forward, strive to touch the floor palms, then forehead, breasts;
c) stand back to the gymnastic wall, lean forward, grab about the second rail and attract to yourself, leaving everything deeper and deeper (no legs bend);
d) standing face to the gymnastic wall, put the right leg on the rail at the height of the belt (or chest) and, leaning forward, strive to touch the legs;
e) Sitting the legs apart by the sewn, the slope forward with.
2. Bridge from the position of Lözia.
The ability to perform the bridge is essential not only for the development of body flexibility, but also for successful free and acrobatic exercises.
Exercises for mastering the bridge:
a) tilting back, touching the wall with their hands;
b) standing on his knees, hands up, tilt back, strive to touch the floor with the hands;
c) sitting with her back to the wall, take the hands of the rail at the height of the head, bend the legs and put on the width of the shoulders, flexing to get up;
d) standing back to the wall, lean back and leaning hands about the wall, execute the bridge;
e) lying on his back, bend legs and rest over your head;
e) Standing, tilt back bridge with a coach.
3. Lifting the straight feet forward, to the side (to the height of the belt, chest), back (above the knee), standing at the gymnastic wall and relying about her hand free hand on the belt:
a) Mahi Nagya forward, back, to the side, standing at the gymnastic wall and leaning on her with hand (with Maha, a foot turn outward, the body and head right);
b) Stand face (sidel) to the wall and put a straight leg on the rail at the height of the belt. Squat on the support leg, hold the straight leg on the rail;
c) standing at the wall, raise a straight leg forward, aside and back with the help of a coach (prevent painful sensations);
d) standing by the wall, lift the leg forward forward, backwards with burdens (sand bags 1 - 2 kg).
4. Freaks in the shoulder joints with a skipping.
For the development of flexibility in the shoulder joints, it is recommended to regularly perform the following exercises:
a) circular movements with hands in side and facial planes alternately, consistently and at the same time;
b) also with bulbs, dumbbells, sandbags;
c) from the standing position, hands up with a rubber bandage, get out, lowering hands back behind the back and returning to its original position;
d) too, but with a skipping, hands up wider shoulders.
5. Twine straight.
Twine training is recommended to begin with the exercise described in p.3. Attaching legs to the side by 90 degrees, promotes a good fulfillment of direct twine and eliminates traumatic damage. In addition to these exercises, the following are recommended:
a) From the end of the legs of the leg apart, the socks are turned outward, the rotation of the body to the right and left, exposing the hands to one, then in the other side. Turning to the left, strive to touch the floor with the right thigh, turning to the right, the left thigh;
b) standing face to the gymnastic wall, spread the legs apart by sewing. Holding hands over the wall, strive to drop as low as possible;
c) too, but get up on 2 - 3 rack;
d) Standing the legs apart as a sewn, stinging the ball between the legs. Running legs strive to sit on the ball;
e) from the seda feet apart by the sewing, leaning on the hands forward, stand up and return to I.P.
The main task of coordination improvement is to ensure a wide basis (Fund of the learned motor skills and skills) and based on the achievement of the versatile development of coordination abilities.
To successfully solve it, children first traine in the extensive circle of motor actions. For this purpose, various exercises were used in the classes with them, most of which are new or unusual, most of which can be considered as coordination. The widest of them was a group of general preparatory coordination exercises. In the senior preschool age, analytical coordination exercises are dominant, affecting various special and specific K.S. Much attention at this age was given to overall exercises without an object and with objects.
Speaking about the features of the development of K.S. A senior preschool age should be given the problem of the optimal ratio of methods of standard - repeated and variable (alternating) exercises.
The method of standard - re-exercise is absolutely necessary in working with preschoolers, however, as students begin to confidently carry out digestive motor actions, it must give way to a variative exercise method. Otherwise, the acquired skills can go into oblique stereotypes, and this is unacceptable, because The technique of movement will continue to be rebuilt due to the threshold of physical abilities and a significant increase in body sizes.
Among the techniques relating to the method of variable (variable) exercises, at this age should prevail the receptions of strictly regulated variation.
As a means of upbringing motor-coordination abilities, most varying physical exercises can be used, and if their fulfillment is objectively connected with overcoming more or less significant coordination difficulties. Such difficulties have to overcome in the process of mastering the technique of any new motor action.
However, as the action becomes familiar and is increasingly fixed by the skill associated with it, it becomes less difficult in coordination and therefore stimulates the development of coordination abilities. Niza, at least partial, unusual and caused by these extraordinary requirements for the coordination of movements are the most important criteria when choosing exercises for effective impact on the engine - coordination abilities.
Especially valuable in this respect are infinitely diverse combinations of movements that make up the material of gymnastics, as well as sports and moving games.
In the development of the COP, the Methodology of N.V. Homakov (1998) was adopted as a basis. In its methodology, he proposed the application at the initial stage of training of special exercises aimed at eliminating motor asymmetry, which will facilitate the harmonious development of gymnasts, a more complete manifestation of coordination abilities and allow to achieve higher results.
L.P. Matsev (1991) offers upbringing motor - coordination abilities going along two main lines:
The first line is implemented directly in the process of learning new motor actions, by a consistent solution to new motor problems arising from the need to coordinate movements and overcoming interference that occur at the initial stages of the formation of motor skills.
The second line in the method of education of motor-coordination abilities is characterized by the introduction of an unusual factor when performing actions that make additional requirements for coordination of movements.
Coordination abilities in rhythmic gymnastics are manifested in the ability of gymnasts to perform exercises freely, easily, elegantly, and also accurately and economically.
COP are closely related to the development of strength, speed and endurance.
In the process of technical training, gymnasts should not only seize the complex coordination of movements, but also learn to maintain it in various changing conditions, which is of great importance in their sports activities.
Coordination is unthinkable without the development of the articulated and muscular sensitivity, which contributes to the formation of fine motor differentiation.
Therefore, gymnasts need to systematically perform new, increasingly complex, exercises in various conditions.
For the development of coordination of movements, dance movements, acrobatic and gymnastic exercises used. But the best tool served as artistic gymnastics exercises, especially with objects, as well as elements of dance, which contributed to the development of coordination of movements, orientation in space and in time. With the same purpose included exercises in turns.
In order to educate the COP at the training sessions, there were gymnasts in new, unusual conditions for them, conditions: changed the main direction, carried out exercises on the other legs and in the other way. Sometimes changed the form of familiar items: gave a big size ball; The rope is a shorter or longer, made of another material; hoop - easier or harder, with a large or smaller diameter; ribbon - longer or wider; Stick - heavier and shorter; In the performance of power exercises, burdens were used.
Changed ordinary conditions, thereby forcing gymnasts to overcome emerging difficulties. For example, with static equilibrium exercises, the support area was reduced or increased, increased the number of rotational movements, bringing them to the maximum, carried out exercises in equilibrium in very slow, while others in a very fast pace, etc.
When studying the elements of acrobatics, it is useful to gymnasts to perform exercises on the floor without carpet, and as the technique is mastered to exclude insurance and assistance.
Gaming and competitive methods were used as the development of the COP.
3.3. Research results.
Table number 4.
Correlation table of the relationship of the development of flexibility and coordination of movements at the end of the study.
Based on the correlation analysis, a weak reverse relationship between the flexibility in the shoulder joints and the orientation in space was revealed. The correlation coefficient was R \u003d 0.08 and turned out to be unreliable at (p\u003e 0.05). The most close direct protagonal relationship is observed between flexibility in hip joints and static equilibrium, as well as between the flexibility of the spinal column and the coherence of movements, and orientation in space. The correlation coefficient was R \u003d 0.4 and was not reliable at (p\u003e 0.05).
Table number 5.
Correlation Table of Transforming Common Motor
preparedness and coordination of movements at the end of the study
Correlation analysis revealed a strong directly proportional relationship between the coherence of movements and the power endurance of the hands. The correlation coefficient was R \u003d 0.6 and turned out to be reliable (P< 0,05).
Table # 6.
Dynamics of the development of flexibility and coordination of movements
In the process of research (x).
The growth of the results is observed in all tests characterizing the development of flexibility (the mobility of the spine was 0.2; mobility in the shoulder joints 1.34; mobility in the hip joints was 0.9), as well as coordination of movements (equilibrium on one leg was 0.4; "Explorer - stop lying" amounted to 0.2; movements on the eight-fashioned trajectory amounted to 1.2), which indicates the reliability of differences. The accuracy of statistics is significant P< 0,05.
Table number 7.
Dynamics of indicators characterizing general motor preparedness in the process of research.
In the process of the study, a reliable improvement was found in all indicators. Thus, the growth increase is observed in all tests that characterize motor preparedness (high-speed abilities amounted to 0.2; speed-powerful abilities 0.6; the strength of the hands is 0.8), which indicates the reliability of differences P< 0,05.
Thus, it can be concluded that the development of coordination of movements and flexibility in girls 5 - 6 years allows to increase the level of motor preparedness.
CONCLUSIONS:
1. An analysis of literary sources and available data on the topic of the theme showed - at the stage of preliminary training, one of the important conditions in classes with young gymnasts is a combination of general and special physical training, which is flexibility and coordination of movements; In rhythmic gymnastics, much attention is paid to the development of flexibility and coordination skills, since These qualities are crucial in achieving high sports results; Thanks to the focused development of flexibility, it is facilitated by all types of gymnastic exercises - slopes, equilibrium, jumps, waves;
In the implementation of targeted development and improvement of coordination abilities, young athletes are much faster and rationally mastered by various motor actions.
2. Based on the results of the preliminary study, it was revealed:
- The level of development of motorcycles was insignificant in all indicators that assess the coordination abilities and the flexibility of gymnasts at the preliminary preparation phase.
- According to the indicators of general motor preparedness, there is a level above average only in high-speed - power abilities.
3. At the beginning of the study, a weak is inversely proportional to the relationship (p\u003e 0.05) between the flexibility and coordination of movements, and between the total motor preparedness and coordination of movements, the relationship was higher than the average (p< 0,05).
4. A comprehensive set of means, methods and methodological techniques, aimed at the development of flexibility and coordination of movements in the process of a pedagogical experiment, made it possible to reliably increase the level of motor preparedness of young gymnasts. A reliable increase in results is observed in the development of flexibility, coordination of movements, in force preparedness. And the speed and powerful preparedness of reliable shifts is not observed.
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