The Importance of Breathing Training in Folk Dance Teaching

The importance of breathing training in dance teaching is reflected in the two aspects of enhancing the quality of dance movements and sublimating the connotation of dance movements.For example,high-quality breathing can help performers complete the dance movements and improve the coordination of the movements;at the same time,the unique body rhythm formed by breathing can strengthen the visual effect of the performance and convey its spirit and soul to the audience.This requires folk dance teachers to carry out relevant training and teaching activities based on the categories and skills of dance breathing,such as changing students’ideological cognition,developing periodic breathing training courses,providing personalized guidance to students,and allowing students to adjust their learning and practice methods in the evaluation.

Characteristics of brainstem auditory evoked potentials of students studying folk dance

BACKGROUND： Previous experiments have demonstrated that brainstem auditory evoked potential is affected by exercise, exercise duration, and frequency. OBJECTIVE： Comparing the brainstem auditory evoked potential of students studying folk dance to students studying other subjects. DESIGN： Observational contrast study. SETTING： Physical Education College, Shandong Normal University PARTICIPANTS： Fifty-five female students were enrolled at Shandong Normal University between September and December in 2005, including 21 students that studied folk dance and 34 students that studied other subjects. The age of the folk dance students averaged （19 ± 1） years and dance training length was （6.0 ± 1.5） years. The students that studied other subjects had never taken part in dance training or other physical training, and their age averaged （22 ± 1） years, body height averaged （162 ± 5） cm, body mass averaged （51 ± 6） kg. All subjects had no prior ear disease or history of other neurological disorders. All students provided informed consent for the experimental project. METHODS： The neural electricity tester, NDI-200 （Shanghai Poseidon Medical Electronic Instrument Factory） was used to examine and record Brainstem Auditory Evoked Potential values of the subjects during silence, as well as to transversally analyze the Brainstem Auditory Evoked Potential values. The electrode positions were cleaned and degreased with soapy water, followed by ethanol. The selected bipolar electrodes were situated on the head： recording electrodes were placed at the Baihui acupoint, and the reference electrode was placed at the mastoid of the measured ear, with grounding electrodes in the center of the forehead. Brainstem Auditory Evoked Potential values were elicited by monaural stimulation of a ＂click＂ though an earphone; the other ear was sheltered by the white noise. The click intensity was 102 db, the stimulation frequency was 30 Hz, the bandpass filters were 1 000-3 000 Hz, the sensitivity was 5 ta V, and a total of 2 000 sweeps were averaged. Waveform identification and analysis： various components of the Brainstem Auditory Evoked Potential values were identified, and the peak latencies and peak-peak values were analyzed. MAIN OUTCOME MEASURES： Latency of Ⅰ , Ⅱ, Ⅲ, Ⅳ, Ⅴ and Peak-Peak Value of Ⅰ, Ⅲ, Ⅴwere measured. RESULTS： Fifty-five subjects were enrolled in the final analysis, without any loss. Compared to the students who studied other subjects ① Ⅰ -Ⅴ peak latencies （PL）： Ⅳ PL of the right ear of the folk dance students was obviously longer （P 〈 0.05）; ② Ⅰ, Ⅲ, V peak-peak values：Ⅰ peak-peak values of the right ear were obviously higher （P 〈 0.05）. CONCUSION： ① PL of the right ear of the folk dance students was obviously longer, which indicates that dancing results in a stronger sensibility to auditory stimuli. ②. Peak-peak values were obviously higher, which indicates that long-term exercise enhances the music senses and synchrony of auditory nerve impulses.

Analysis on the Advantages and Disadvantages of Using Multimedia Courseware in Chinese Folk Dance Classes

The development of technology will affect the development of traditional dance classes.The teaching method is no longer a singular course of teaching and learning.Multimedia courseware is a commonly used course technology,based on computer and projection technology,to convey rich knowledge to students.This paper discusses the use of multimedia courseware in dance classes,then,combined with the majors the author have studied,creatively discusses the influence of multimedia courseware on Chinese folk dance courses.

Injuries Requiring Surgery in Folk Dancers： A Retrospective Cohort Study of 9 Years

Background： In this study, we examined professional folk dancer injuries which required surgery and if there are any associated factors like age, gender, dexterity, dance style and to evaluate the return to their full capacity. Materials and Methods： Seventy five members of the Fire of Anatolia dance group （mean age： 26.8 ± 5.2; 18-38 years） performers were evaluated. The dancers suffered 14 orthopedic injuries requiring surgery （3 meniscus tears, 2 anterior cruciate ligament tears one of which is with posterolateral corner tear, 1 posterior cruciate ligament tear, 1 patellar dislocation, 1 scaphoid fracture, 1 extensor tendon cut in hand, 1 infrapatellar bursitis, 2 Hoffa’s fat pad syndromes, 2 symptomatic medial plicaes） during a nine-year period. Follow-up time was 51 ± 41.9 （29.5-92） months. Results： Following surgeries, the dancers could restart rehearsals in 12.7 ± 9 （range： 4 to 36） weeks and perform live on the stage in 16.2 ± 12.2 （range： 5 to 52） weeks on average. Conclusion： Males were 8.64 times more likely to suffer an injury requiring surgery compared to the females （p = 0.003） and twelve （85.7%） of these injuries were lower extremity injuries and were all located in the knee in Anatolian folk dancers.

Chinese Folk Dance -Taking Uighur Dance as an Example

Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.⑴ In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don't have a good performance and face expression, he or she can't express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage perfonnance, professional dancers and amateur dancers, taking the Uygur as an example.

Ecological Transformation of Minority Folk Dance

In the process of folk custom development, ecological transformation is a normal phenomenon.This article will study the minority folk dance ecology transformation based on the perspective of social historical development.The author will discuss the native pattern and variable pattern for the development of the minority folk dance and analyze the positive influence and negative influence on minority dance at this stage. To address the problems in the development, the author puts forward some countermeasures and feasible suggestions for its future development

Ecological Transformation of Minority Folk Dance

In the process of folk custom development, ecological transformation is a normal phenomenon.This article will study the minority folk dance ecology transformation based on the perspective of social historical development.The author will discuss the native pattern and variable pattern for the development of the minority folk dance and analyze the positive influence and negative influence on minority dance at this stage. To address the problems in the development, the author puts forward some countermeasures and feasible suggestions for its future development.

How Teacher Can Develop Children’s Creativity through Facilitating Possibility Thinking in Chinese Folk Dance Classroom

In recent decades,people has gradually focused on creativity especially in education and society.Through teaching activities,students may be able to use possibility thinking in their classes for developing creativity.Hence,it is important that understanding how teachers can develop children’s creativity by supporting possibility thinking.As a dance teacher,I am looking forward to bringing this knowledge into my teaching.Through a theoretical analysis and experiential combination,this paper aims to explore how teachers can cultivate children’s creativity by facilitating possibility thinking.

Jingxi Taiping Drum:A Lively Local Folk Dance

JINGXI Taiping Drum is a traditional form of dancing that is prevalent in Mentougou District of Beijing. With its great popularity and display of profound cultural elements, it was included in the first batch of China’s national intangible cultural heritage items in 2006.

Fengtai Huagudeng:A Folk Dance of China’s Han People

HUAGUDENG,literally translated as a flower drum lantern,is a folk dance of the Han nationality in China.Mainly popular in Fengtai and other counties in east China’s Anhui Province,the art form integrates dancing,singing,and gong and drum beats into a storyline.Among various huagudeng styles,Fengtai Huagudeng is regarded as an important branch,known for the expression of intense emotions and delicate dance movements.It has enjoyed a history of more than 1,000 years.One main reason for its lasting popularity is that the emotions conveyed by the dance strike a resonating chord with the viewers.During a show,performers and the audience become“playmates,”who come together to enjoy a good time.This also draws the participants closer with each other.The content of the performance is filled with typical elements of the countryside.

Yunnan’s Kaleidoscope of Folk Dances

THE 26 minority nationalitiesin the frontier province ofYunnan all have a long his-tory and rich cultural heritage.Weshould like to introduce some of themany folk dances they have createdin this beautiful land.The Hani people in Honghe Pre-fecture in southern Yunnan enjoyhunting.Young Hani girls and boysoften go to the mountains to huntand eXpress their love.When a boywins the heart of his beloved。

Discussion on Dong Ethnic Minority＇s Folk Culture and Aesthetic Psychology from the Perspective of Song and Dance ＂Duoye＂

In this paper, Dong ethnic minority＇s folk customs and aesthetic psychology are understood from the perspective of the nationality culture reflected in Dong song and dance ＂Duoye＂ so as to excavate the nationality spirit, and also the connotation and spiritual foundation of the humanity structure are explored, in which the dignified history, rich nationality characteristics, and elegant artistic quality are integrated together, for the purpose of inheriting the traditional culture and continuously innovating and developing the nationality culture.

Development of Chu-Han Culture and Contemporary Folk Dance in Xuzhou

Contemporary folk dance in Xuzhou is deeply influenced by Chu- Han culture,presenting some clear regional characteristics of Chu-Han culture like valuing ritual,grandeur,humanist spirit of enterprising and pursuing novelty.In order to promote the healthy development of contemporary folk dance in Xuzhou,and realize the interaction with Chu-Han culture,it is of great significance to create Chu-Han brand culture,to build dialogue mechanism with folk dancing culture in Xuzhou,to make connection with Chu- Han culture industry,and to fully express the artistic features of dance then in this area etc.