Психолого-педагогические аспекты подготовки педагога-хореографа (Psychological and pedagogical aspects of choreographer- teacher training)

Contents
Introduction 3
The tasks of the choreographer-teacher 4
Pedagogical tact 4
Choreographer-teacher’s methods of influence on students 5
Principles of pedagogical influence 7
Teacher’s gender competence 8
The role of ethical behavior 11
Collective activity in learning the choreography 11
The socio-psychological climate in the classroom choreography 12
Creating a situation of success 14
Building choreographic group members relationships 14
Critic and evaluation of the choreographer-teacher activities 15
Conflicts elimination by the teacher 18
Conclusion 20
References 21

In the poorly developed team people in fact are deprived of freedom, respect, rights and meeting the self-interest.It remains only one free way - to leave this team. For example, very often, it is in professional groups that the beginners cannot get along. Very often, in the heat of competition, some members of the group try to get rid of one of the performers, creating the unbearable conditions in the collective. To avoid this, the teacher should monitor the relations of group members and adjust them to the positive side, to implement the civilized norms in the collective life.The required direction of the teacher with the choreographic groups is constant monitoring of what is happening in the team and the factors of influence (psycho-pedagogical monitoring includes data collection and analysis of information), the elimination of negative factors and strengthening of the positive impact. It is necessary to remove the frustration, if it occurs, identifying and overcoming its causes. There may be disputes, claims, grievances, erroneousopinions, deterioration of relationships, failures in the interaction and not always useful informal micro groups (for example, blue-eyed boys, etc.) It is important for the teacher to identify all these stages, to implement tactical, but effective measures, and make sure that the problem is solved.Critic and evaluation of the choreographer-teacher activitiesWhen working with professional dance groups it is necessaryto monitor the development of participants’ knowledge. When monitoring it is necessary:To establish control over the students' knowledge of the situation and technique, but individually and selectively, on the borders, instead of doing continuous monitoring, becausethis is petty, breaking away the time and expressing full distrust to the people;To give business, constructive, friendly direction to the monitoring, and not to carry it out in order to "catch", to expose and punish;To pay greater attentionto the control of intermediate results, rather than the current ways of working, paying attention to the last, when the lag, bugs and ineptitude are noticed;Not to turn control into the petty fault-finding.If you find any omissions and deficiencies in the work of the people you should:Do not exaggerate the detected flaws;Speaking of the faults, remember that criticism should put a man on foot, not on knees, do not break him, and give him the strength and faith in himself;Do not get involved in the detection and enumeration of student’s weaknesses when criticizing. Try to see his good features. Start the conversation by stating good;Speak about the specific shortcomings in the work, and do not criticize the personality;Be able to forgive, to recognize the right to make a mistake, because people without mistakes do not happen;With common skill deficiencies in the group make it clear that this is not observed, but deal with one or more members;Never punish the group as a whole, because it usually rallies in opposition to the teacher.The result of any activity must always be evaluated by the teacher. When working with a team it is very important to apply the teaching evaluation.To rate means to compare someone or something with a certain standard, to set the level, degree or quality; to give opinions, judgments about the value or importance of someone or something.Assessment is as a philosophical category, focused on the norms of contemporary culture. Its goal is the student’s personality becoming and the development of a social-evaluative attitude toward the world.Forpedagogical evaluation it is important:To improve the assessment criteria and make them available to everyone;To ensure the adequacy of the assessment criteria for actions, results, knowledge, qualities and personality being valued. This is one of the most important manifestations of teacher’s justice;To be kind, but without the connivance of liberalism, injuring the man, now and in later life;To be generous with praise and approval if there is at least the slightest reason for this, but within a reasonable;Do not engage in artificially low or overestimates not turn them in under-bogeyman, a whip for the intimidation and coercion of people;To pay particular attention to changes in behavior, education, work, personality, and notice them in a timely manner. To report on theseen positive changes with the approval of the, without any delay; that supports and inspires people, and in the case of detection of negative traits ensure the reliability of their existence, frank and friendly talk with their owner, to identify ways to jointly address and change negative trends into positive;To give a clear account of how the evaluation will affect that person;To note that it is likely to have an impact on the group, which better than the teacher knows the evaluated person and will assess its validity.By their functional assessment may be:1. informational;2. regulatory;3. orienting; 4. stimulating. Approval or disapproval has tremendous power. The priority is a positive evaluation. Evaluation determines the socio-psychological weather around the party.Types of impact assessment are as follows:1. An open assessment (approval - disapproval, praise, comment, skillful promotion, appreciation - a reprimand, assignment of title).2. Hidden rating: a) "I - the message" - evaluation of participant's behavior "not in the forehead." The teacher talks about feelings and emotions, caused by thestudent’s behavior. b) "You - the message" - the teacher reads a student's expected state at the time of his committing an act. c) The natural consequences - the teacher points to the need to eliminate the consequences of the disciple offense. d) Positive interpretation of negative behavior passes the blame from the student to the circumstances.All types of impact assessment will be effective provided certain conditions are met by the teacher:The manager must be emotionally balanced. The rating in anger is unfair;At the time of the announcement of the evaluation the teacher’s tone should be well-wishing and friendly;A negative assessment is preceded with a positive start;Positive evaluation must be applied as often as possible.Conflicts elimination by the teacherAny conflict (especially destructive) demands the attention of the teacher and the team. It may increase, expand, and become long remembered. Unresolved, and even resolved destructive conflicts usually leave deep and long-lasting memories for the participants.Also with external normalization of their relations the past remain dry, strained, containing the possibility of new conflict on another occasion in the subconscious seat. It is unfavorable for the moral and psychological atmosphere in the group or team. The general conditions of conflict prevention are:A good selection of the group (taking into account the degree of conflict and its members);The formation of collective relations in it;Culture;Ethics of the relationship;Clear organizational procedures in the work and life of the group;Equity and efficiency of management;The requirement to resolve contradictions in the interests of the group;Teaching of choreographic collective performers to the constructive and correct ways of behavior in the event of contradictions.ConclusionThus, the pedagogical contact is the human, psychological and pedagogical intimacy of communicating people and their goals, thinking, interests, desires, attitudes, intentions and the teacher’s actions, contributing to the achievement of educational, training and developmental outcome. Pedagogical contact generates mutual respecting, mutual trust, understanding, willingness to work together in order to help each other to achieve common goals and to experience the satisfaction and even pleasure from it.Making contact requires understanding of mood, mental state, the position taken by the interlocutor in a conversation, his relationship to the teacher, and so, what is at stake. It is advisable to give personal communication, rather than dryly official. Strive to speak frankly. In difficult cases, the existence of psychological barriers of alienation, coldness, indifference of interlocutor makes teacher resort to more subtlemean, bringingpeople together. It is recommended to hold friendly tone, to show courtesy, to look at things from the perspective of the interlocutor, to treat sympathetic to his concerns and anxieties.If you have to make comments, then start with the praise. Criticize the action, rather than personality.ReferencesRussian references:Avratiner VI Training materials for teaching. M., 1969. Issue 1.Akimov BB, Elena SergievskayaTeacher ahead of time. / / The legacy of choreography. M., 1992. P.101-107.Bazarov NP Classical dance. Teaching methods of in the fourth and fifth grades. L., 1975.Baranov A. B. Creating the conditions for a positive ratio of the cultural values ​​in teaching dance / / Additional education. - 2005. - № 10. - S. 54-56.L. BondarenkoMethod of choreographic work in school and afterschool establishments. - Kiev, 1985.Bogolyubskaya MS Musical-choreographic art in the aesthetic and moral education. - M., 1986.Shatalov, TN Gender competence of the teacher-choreographer / / Electronic Journal of Research and Education VSPU "Facets of knowledge." Number 2 (7) 2010.Foreign references:Choreography [free internet resource] Wikipedia http://en.wikipedia.org/wiki/ChoreographyDancers and Choreographers [article from a free internet resource] http://www.bls.gov/ooh/Entertainment-and-Sports/Dancers-and-choreographers.htm#tab-1Burrows Jonathan Choreographer’s Handbook. 2010.Choreographers of the Royal Ballet: Wayne Mcgregor, Robert Helpmann, Kenneth Macmillan, Frederick Ashton, Christopher Wheeldon, John Cranko. 2010. – 39 p.Lambert M. Surhone Paul Harris (Choreographer). 2011. – 88 p.