НАВЧАЛЬНО-ВИХОВНА ДІЯЛЬНІСТЬ ЯК ПРОВІДНИЙ НАПРЯМ ЗМІСТУ ТВОРЧОГО ПЕДАГОГІЧНОГО ПРОЦЕСУ В САМОДІЯЛЬНИХ ХОРЕОГРАФІЧНИХ КОЛЕКТИВАХ: ТВОРЧЕ ОСМИСЛЕННЯ ДОСВІДУ К. ВАСИЛЕНКА

Abstract

The article analyzes the main activities of the postwar period choreographic groups in the dance theorists and practicing dance experts’ theoretical achievements. It is noted that on the basis of years of practice and experience of K. Vasylenko’s predecessors, his own didactic bases of work with amateur dance groups were developed and practically tested, which later became the basis of his author’s methodology. They included implementation of the following activities: 1) political and mass work; 2) educational activities; 3) staging work; 4) concert activity; 5) organizational and cultural work; 6) creative group and public leaderschoreographer’s seminars. Based on the analysis of artistic and pedagogical literature and periodicals of the second half of the twentieth century, the main components of educational activity in amateur choreographic groups according to K. Vasylenko are generalized and thoroughly revealed: 1) planning work; 2) training sessions; 3) learning and practicing of separate dance choreography and routines on the basis of which staging work will be carried out; 4) acting skills development; 5) ballroom dancing learning. It is established that each of the named components had an educational direction. The content of all components is considered. It was found out that in planning activities an important role was given to creating various work plans, keeping records of the team activities and self-government body functioning, the bureau. The organization of the initial training process peculiarities in dance groups led by K. Vasylenko are revealed: regularity of training sessions, the practical importance of training, application of mixed training, the subordination of educational work to the production plan of the team, use of various forms of the training organization. The role of acting skills and ballroom dancing leaning for the formation of participants’ creative individuality is determined. The practical significance of K. Vasylenko’s experience in modern conditions is proved, which is due to the requirements of the present and the needs of amateur activities in the qualitative organization of the pedagogical process in choreographic groups.