Momentos y elementos de una clase Dalcroze

Hello, how are you? Well, much, much, much good, good afternoon. I hope you're having a good time. Today is Wednesday. Yes, today is Wednesday afternoon over there. And, well, I'd like to answer some of the questions that we've been asked About the course, but also I want to talk to you today about the 5 elements and The three moments that are inside a class of Alcross. As we've seen in other videos and in other publications, The classes, so that a class can be called a classe de Alcross, It has very specific elements. For example, we need to have a space, we need to have a group, We need the music, the movement and the materials. Those are the five elements. And it might seem that it's a little, I'm going to go, because it's impossible to do this in an online format, But no, it's not impossible. It's more difficult, but we need, say, have a certain management of technological resources to be able to carry out a cabo That's the dynamic with a group and this job. Excuse me, let me change this here. Well, that dynamic with the group has to, go, It's different when we have a group of children or adults who are online. O sea, it's very different working in that format, But that doesn't mean you have to sit in front of the TV all the time. The computer. So, that's one of the very important things. We have to make sure everyone is moving all the time. Prepare them for the movement, that their arms move, They should be aware of how they are sitting. So, that's one of the things we have to do now that we're working online. But well, I'll recap the five elements. We need music, movement and the music is almost always improvised. Music, movement. We need a group because we have, The activities we do have a social nature too. We also have many activities that need the reaction of someone else. We also need various materials. We need to have a tennis ball, we need to have some Chinese palettes, I want a masked man. But no specific materials. The materials are in function of your imagination. Or, if you think of something, you can use it as a material. The idea is only that it be a material that is pleasant to the touch, It stimulates movement and it serves us for our activity. And of course no sea dangerous. And then, finally, a look, you said, materials, space. Space is very important. Although we have, in this case, that we have a space a little more restricted, But we have to use it. And the idea of space is above all to use it intelligently. O sea, if yo tengo este espacio, I will not be able to see you. Then do everything possible to make the best use of this space. One of the things I've been using lately to better use the space It's this little thing here. So I'm without this thing, which is a tiny lens that gets in it. This is to put it on the phone, to put it on the camera. You are a macro. It's a small expansion of.67. And when I put it here, then I already have one, if you look there at the sides, There's a little distortion towards the sides. If you look from this side, the curtains look so half-shut. But that's what makes it more usable, I want you to see more of me, even if it's closer. Of course if I put you very, very close, then look, see my hands. Son of a giant. But the idea is that it's something, so we can use it. This, ah, bueno, when you guys comment here on the videos, I can't see who it is until I finish the live. And he says, I'd like to make this video public, But this video is for you. It's for the people here in the group. Entonces is a little exclusive for you. Well, what were you doing? The five elements. Music, movement, space, group, materials. That's basically what we can say we need. And we always talk about a sixth element. And the sixth element is the maestro, or sea, the qualified professor of the cross. Because I agree that there are certain things, say, Guidelines for a class to be called del cross. In addition to these elements, You also need to be a teacher with the proper certification. There are several certificates. The certificate is normal. That doesn't allow you to call yourself Maestro del Cruce. After the professional certificate. That's true, that's true in the United States and elsewhere, in England, Australia also believe that there is a professional certificate. That's the one with three marks. It's much more demanding, but that's what you can call Maestro del Cross. You teach children in primary school. And then there's the bachelor's, the master's, the bachelor's, And all this, and even the higher diploma. The higher diploma, which is the one that has the maestro Jeremy Dittus You'll be in the course by the end of February. Don't miss that course, it'll be muy bueno. And after the three moments of the class. There are people who talk about more moments, But basically the three moments we have are la vivencia, The analysis and application. La vivencia, then, is precisely that. It's the living musical element that we're going to work on. If I'm going to work with my students, for example, Now I'm working with the kids of the third grade of primary school, That lean black corches and double corches. Then, if I get there and tell you that in the first place, Then your chip will change and you'll start thinking about what What have you got to do? I'm going to look at it from an analytical point of view. From an intellectual point of view, that's not bad, But it's incomplete because we're not involving the body. And when the brain is involved, the body is as it is, Like a, almost, almost is like a sturbo. But if we do it the other way around, then our body will become a tool, a phenomenal instrument for the I'm going to learn. That's why it's important that first be the experience. And the most important thing is the experience. That's why sometimes we do, too. There are people who before the I'm not going to be able to do this. Because the warm-up is preparing the body for that I can start working, so I can start doing, Go, do what you see. O sea, calentamiento. What is it? And I say, well, if I'm gonna start using the top part of the body y estoy sentado, that sit in where they are sitting, I want to feel your arms. If I'm, for example, now that I'm wearing this tie and this Shirt, sea, that can use it, But that's not something that's just there, how to say? That is not a limiting factor, but that it is used to Learn to use it to move well. After, after that warm-up, Then the experience makes more sense. Because if you start, it's like starting to run without warming up. I'm going to give you a cramp at 500 meters. Then you have to warm up a little. No stretching, warm up a little so that after the muscles You start a soltarse. And it's the same thing that happens here. O sea, we need to prepare the body and do things very specific. For example, when I tell you that I'm going to walk, I'll tell you how to do it, I'll teach you how to do it. Put the weight back, how have you got to put the weight towards Go ahead. Because they seem like simple things, But we have to make them conscious. And afterwards, with that training, When they're doing it, when they're taking it to the end. Experience is much more meaningful to them. Once you have the experience, then, We're going to the analysis. What was that we did? What was it you felt? What's the name of what you were doing? How many steps are there? How many times could you do that? Have you identified a patron? Did you identify a patron? We had, there were things that changed. What was that I said? All those questions you have to ask yourself Children. Because for the students, not just the kids. Because it's not about telling them what we're doing, But they must find out from their experience what is what We're trying to transmit them. Then ask, ask, ask, ask. Let them find the answer. And if there are bad answers, it's okay. Because that means they're looking for her. And that's the most important thing, that they seek the answer. And finally, comes the application. O sea, what we take this we've been doing, We analyze you, we make you laugh. And we can do the same thing we did at the beginning, But now we're doing it from a different point of view. We can also make a musical piece that has those the elements. We can also make a dictation with those elements. Wow, there's a lot of things you can do when you have The fact analysis. So, those are the three moments of a class of - I'm not going anywhere. It's easy to say, but you need to have everything. Training so you have the eye to know what I'll give you a minute to analyze. in que momento tienes que utilizar más la vivencia y cómo (in what moment you have to use more the experience and how) You gotta take that movement so they're I'm learning. And not only sea moves by moving, Because that's also very important. No, it's not just moving by moving. It's to learn about this movement. Yes, no about the movement, about the element through The movement. Thank you so much for watching this video. Remember, we have our course on February 26 and 27 with the Maestro Jeremy Dittus is a waiter. Let's make some class observations. We'll be watching how a class is observed and we'll Being watching how our own classes are observed I'm going to go. When we see that of how to observe our own Classes, then we start to see, Ah, this is what I'm missing. This is what I'm missing. Where is the hare playing? Agree that it's in the details, Where we have to be seeing what we have I want to work with our students. Always try to take those difficulties, Those weak points or moments of opportunity in our class And turn them into a fortress. And that's what we're gonna be trying to do. To that point we're going to direct in this course, How to strengthen the learning process of your pupils Through your classes. So, well, well, greetings to those who are sending. Thank you so much to those who have been watching the video. And then we'll see you soon. - I'll see you later.