“TANTSUTEHNIKA JA KOOSTÖÖOSKUSE ARENGU ÜHENDAMINE 6-7 AASTASTE LASTE BALLETITUNNIS” (juhendaja Anu Ruusmaa, MA).
LÜHIÜLEVAADE: Balletitehnika õpetamine väikestele lastele on keeruline ja nõuab tähelepanu ja täielikku kohalolu. Küllalt on näiteid, kus eelkooliealistele lastele esitatakse liiga kõrged nõudmised, mis võivad lõppeda hiljem eluaegsete traumadega, nii füüsiliste kui psüühilistega. Seega tehnika + lapse sotsialiseerimine tundub olema ainuõige võte, et valmistada last ette professionaalseks balletiõppeks, mis algab 9-11 aastaselt. Samuti valmistab selline tunnivorm last ette üleminekuks lasteaiast kooli. Õpetajale jääb suunav ja toetav roll lapse arengus.
Jane Ojasalu nägi palju vaeva tunni ülesehitusega, kahtles ja jõudis järeldusteni. Kaasaegne õpetaja peab olema paindlik ja iga hetk valmis muudatusteks. Püüd siduda asju, mis näiliselt justkui ei käikski kokku on tõsine väljakutse. Lapsed aga panevad õpetaja poolt pakutava vägagi kenasti kokku ja kui nad jõuavad lavale ja esinemisteni, siis on see just see ainuõige. Tehnikat sooritatakse särasilmi. Keegi ei tunne ju rõõmu rõõmututest tantsumasinatest.
Anu Ruusmaa
TÜ VKA ja EMTA õppejõud
LÄBITUD ÕPPEKAVA: tantsukunsti õppekava.
SUMMARY: In my final thesis on dance pedagogy I described and analyzed my teaching process from September 2013 until May 2014, when I practiced as a dance teacher in Erika Viira’s Pilates Academy. The group that I worked with consisted of 6 girls between ages 6 and 7. My goal was to improve their dance technique together with teamwork skills, carried by the wish of making the usually strict and repetitive ballet class more interesting and creative for the children.
This past year has offered me countless opportunities for continuous growth and selfdevelopment. It gladdens me that I did not get stuck on repeating the same way of doing exercises over and over again, but had in the course of my studies gained enough important and useful knowledge, which along with the habit of analyzing the content and course of my classes helped me to keep moving and progressing. I also give myself silent credit for the courage to try out new approaches and for seeing little setbacks as a creative not destructive force. I believe it is because of all that why I feel now, at the end of the year, so good and proud, when comparing the quality of my student’s dance technique in autumn and at the moment and recalling how enjoyable and inspiring was the process of getting here.
I did not start this dance year with only 6 young dance students, but also with 6 dear friends of mine. That is why it became so important for me to make them happy and improve their dancing as well as social skills in every way possible. My biggest concern was letting them down and therefore I gladly dedicated as much time as needed on preparing the classes and searching for new ideas and material. Children, as good friends do, gave me constantly sincere and honest feedback, their joys and worries became also mine, and so I put my heart and soul into making the joys larger and worries nonexistent.
I am writing these lines after one of this year’s last dance classes. I told children that we only have few more classes left and then is the time for a long-long summer break, after which they will meet with a new teacher, because next year I will not be able to teach them. The loud voices of protest and all my little dancers hugging me and clinging to me was something that I had not imagined, but I found it really heartwarming. It feels incredibly good to feel my students’ appreciation and care and it means the world to know that my most important critics see me as a good teacher.