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.

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.

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.

A Folk Dance Feast

Botswanan dancers bring African vitality to Chinese audiences ON the evening of July 17,2011,the 20 young members of the Diwetse Cultural Group staged a feast of traditional Botswanan folk dances in Beijing.Between July 21 and August 4,they traveled to northwest China’s Xinjiang Uygur Autonomous Region where they performed at the Second

Farming Ritual and Festival Folk Custom of Dong Ethnic Minority Group

In order to pray for harvest and express gratitude, Dong ethnic arranged sacrifices of farming in accordance with periodicity of rice production and its requirements to festivals and calendar. Meanwhile, New Year, Pray in Spring and Return in Autumn not only play significant roles in agricultural production, but also evolve to farming holidays which are enriched with more social connotations. Centered on husbandry and production, some folklore that is rich in local color has been formed in Dong society. The writer introduced some farming ritual of Dong ethnic group, such as, sowing, Kai Yang Men, Rain-praying, Chang Xin, reaping and Lunar New Year, summarized their belief in the land worship, festival ritual, ancestor ritual and ceres ritual. It is concluded that sacrifice is a production-related folklore, which is formed by repeated operation and constant practice. Some taboos were also prohibited in agricultural sacrifice because people were not able to change the unfavorable reality of farming with their insufficient experience and knowledge; however, they resorted to witchcraft for the purpose of harvest. It is believed that the activity of sacrifice will also be kept in the life of Dong ethnic group due to their dependency on agriculture and the land.

The Influence of Contemporary Dance,Used in the Choreographic Process of Chinese Mongolian dance

China is a country that has 55 nationalities.The Chinese folk dance is a dance that also has 55 varieties of folk dances.Chinese Mongolian dance is one of those folk dances.The Chinese Mongolian dance mentioned in this paper can also be interpreted as an academically trained Chinese Mongolian dance.

深耕“两创” 绽放新姿——新时代舞蹈艺术揽胜

新时代以来,在“两个结合”和“两创”方针指导下,中国民族民间舞蹈新作中呈现的人民性更加深邃,人民的风姿仪态更加自信,民族民间舞蹈艺术的舞台意境更加高妙和神奇;中国古典舞创作者更加深入探究和挖掘中华优秀传统文化中的舞蹈文化元素,从历史文物和艺术遗产中提取舞蹈元素,再加以时代审美观照下的动态演绎,成为中国古典舞创作的一股强劲潮流;舞剧更是进入井喷式发展的马力全开时期,近200部舞剧不仅在现实题材方面勇猛推进,题材和舞台呈现样式也多姿多彩,与民同情,与时共进。中国舞蹈驶入全面推进、迅猛成长的快车道。

音乐剧中舞蹈的存在方式、独特价值与创作思考

音乐剧是一种融合了音乐、舞蹈等艺术要素的戏剧类型,音乐剧中的舞蹈具有促进情感互动与交流、推动故事情节发展、塑造鲜明人物形象等价值。为了使舞蹈在音乐剧中的作用得以充分发挥,必须提升其创编质量。可从以下几方面入手:一是结合不同语境创编舞蹈动作,展现特定内涵;二是注重舞蹈中主次关系的巧妙处理,做到相得益彰;三是注意舞蹈与其他表现载体的配合,增强戏剧效果;四是从民族舞蹈和地方舞蹈中汲取精华,凸显本土特色。