THE ESSENCE OF THE CONCEPT «EXECUTIVE MASTERY» IN SPORTS BALLROOM DANCING

In the article, the authors consider the main structural components of the concept of «performance skill» in sports ballroom dancing. Special emphasis is placed on the need for systematic development of technical skills, physical data and movement abilities of the dancer based on the close relationship between the development of the inner qualities of the personality, individual psychological characteristics, creative thinking and inner expressiveness. The main types of coordination abilities closely related to the formation of a high level of performance skills of future specialists in the field of choreographic art were identified: 1. The ability to orient, that is, the ability to determine and change the position of the body, performing a motor action in a certain direction. In ballroom dancing, this ability is manifested in the movement of the body depending on the position. 2. The ability to differentiate the parameters of movements, which consists in the accuracy and economy of observing the spatial, force and time parameters of movements. 3. The ability to respond - the ability to perform a short-term movement to a signal of the body or its parts. 4. The ability to rearrange motor actions, that is, the ability to transform habitual forms of movements, to switch from one motor action to another in changing conditions. The concept of «performance skill of a specialist in the field of choreographic art» is a synthesis of physical and spiritual beauty, a ratio of technical level and artistic and creative thinking of a dancer-performer, and based on their own teaching experience, the authors of the article claim that various methods include the development of necessary skills in dancers. Each of the methods implies a very specific system of exercises aimed at working out the qualities necessary to achieve a high level of performance and high sports results, but dance activity is not only mechanical work on «dancing» the elements of dance, but primarily the creation of one's «I» in dance