浅谈舞蹈批评对舞蹈发展的作用

舞蹈与世间万物一样,其发展都是在矛盾与批评之中进行的,舞蹈之所以能发展到今天,经历了从远古到近现代的蜕变,其过程离不开一个重要因素--舞蹈批评.舞蹈批评使舞蹈艺术在"言之有物"的基础上"言之有理",在感性的肢体语言之外建立了理性的思维基础,在舞蹈的历史长河之中,舞蹈批评与感性层次的舞蹈艺术是在矛盾中相辅而成的.惟有如此,并以此而拓展下去,舞蹈世界才可以有一方无边美好的前景!     

心灵之窗,舞蹈之魂——浅谈“眼神”在舞蹈艺术中的表现和训练

舞蹈是一种文化,是一种具有内涵美的艺术,能给人以崇高的想象与理解。眼睛是心灵的窗户,而眼神是舞蹈艺术的灵魂,眼神的运用是舞蹈艺术的精髓,眼神表现力对于完整表达舞蹈的意境具有非常重要的意义。本文分析了＂眼神＂对丰富舞蹈艺术内涵表现的重要意义和作用,研究了＂眼神＂在古典及现代舞蹈艺术中的表现特征和艺术体现,结合课题研究及自身舞蹈实践,提出了在舞蹈艺术训练中应着重把握的＂眼神＂训练方法及训练途径,为促进＂眼神＂艺术与舞蹈艺术的进一步完美结合提供借鉴。     

当代舞蹈教育的反思

在现代教育中,＂全面推进素质教育,培养学生的创新精神＂已经成为教育改革的基本精神。具体怎样做才可以实现从＂灌输型教育＂转换到＂创造型教育＂中来,也是这些年来舞蹈教育界共同探讨的问题之一。本文即是对舞蹈界现存的＂灌输型教育＂进行的反思。舞蹈教学是一个艰巨而漫长的过程,为了解决基本的身体素质和技术能力必须要从早期进行相关训练,并需要不断加强各方面的难度。在舞蹈专业教育中最常用的三种教学方法是示范法、讲解法和复习法。舞蹈教师通过示范,学员通过模仿学习教师的舞蹈动作而习得舞蹈专业技术内容,并通过不断重复的练习达到     

浅谈畲族舞蹈的形成和发展

随着人们生活水平的提高,越来越重视对传统文化的继承和发展,畲族舞蹈以自己独特的风格和艺术表现形式,激发了现代人对其的认知、探究兴趣。畲族舞蹈作为一种民族文化传统,充分体现了畲族人民的宗教习俗以及生活习惯,在社会中有着其重要的意义和价值,本文从畲族舞蹈的动作起源到早期的畲族舞蹈形态再到畲族舞蹈的多样性发展,来展现畲族在新世纪的发展动向,全文系统的对畲族舞蹈的形成和发展实施探究、分析。     

试论舞蹈基训中如何选择钢琴伴奏

舞蹈是一门综合艺术,舞蹈与音乐是紧密相连的艺术整体。在舞蹈教学中,音乐的应用是不可缺少的,舞蹈的艺术魅力通过音乐这一载体将展现出更加丰富多彩的艺术形象。＂乐中有舞,舞中有乐＂,歌舞辉映,音乐与舞蹈诠释出的艺术生命才能永存。有人说音乐是舞蹈的灵魂,钢琴伴奏在舞蹈基训当中显得尤为重要,它为舞蹈基训提供音乐诱导和启示,赋予舞蹈动作准确的节奏和表演内涵,因此,在舞蹈教学中,如何让钢琴伴奏与动作技术有机而紧密地结合,通过音乐将舞蹈动作的韵律性、规范性、风格性流畅地表现出来是关键所在。在形神皆备的钢琴伴奏中培养学生良     

论钢琴伴奏——“舞”中旋律

钢琴伴奏在舞蹈训练中起着非常重要的作用。舞蹈练习者会在钢琴伴奏的带动下,准确地找到舞蹈动作中所强调的要点,在钢琴伴奏中,音乐片段的选材、情绪的表现力等对舞蹈动作的帮助是非常大的。合适恰当的音乐伴奏能使舞蹈变得更加生动、形象。为此,弹好舞蹈的钢琴伴奏就显得尤为关键。     

浅析舞蹈作品欣赏课程的功效

近些年来,艺术教育中审美教育的基本表现形式和方法不断的提高。综合类高校对舞蹈学专业的学生,大力度的开展舞蹈作品欣赏课程。让我们在学习舞蹈专业实践的基础上,用心感受舞蹈作品的魅力,尽可能去理解,去沉浸,去欣赏舞蹈作品中人物、事物。让我们通过欣赏去发现舞蹈的美、感受舞蹈的情、理解舞蹈的史、体味舞蹈的意。     

浅谈舞蹈教学中伴奏音乐的选用

音乐和舞蹈是一对共源共生的姊妹艺术,在长期的发展过程中,音乐在舞蹈之中的作用越来越显著,甚至成为了舞蹈的灵魂之所在。舞蹈只有和伴奏音乐的完美契合,其艺术魅力才能得到最充分的表达,本文从音乐对于舞蹈的重要作用谈起,探求了不同形式的舞蹈中,对于伴奏音乐的具体运用。     

舞蹈艺术教育在普通高校的立体构建

舞蹈艺术教育在美育教育中占有举足轻重的作用,在普通高校中如何积极有效的开展舞蹈艺术教育？笔者认为通过开设《舞蹈鉴赏》课和《舞蹈形体》课、成立舞蹈团、开展丰富多彩的文艺活动一系列的立体构建,是贯彻实施素质教育的重要途径。     

解析音乐节奏与舞蹈之间的关系

舞蹈是一种利用身体语言的行为艺术,人们喜欢欣赏舞蹈,一般,大家在欣赏舞蹈作品的时候,对于舞蹈的评价是很好看,表情很好,技巧很棒,大部分人却忽视了在这美丽的舞动中有音乐的一份功劳。实际上,音乐对于舞蹈所产生的效果是很大的,在音乐中最主要的是节奏,节奏是音乐的灵魂,也是舞蹈的灵魂。把握准确的节奏才能够完整的诠释舞蹈的内容,才会准确地表达编舞者的作品构思与情感。     

Electromyographic analysis of grand-plié in ballet and modern dancers

PURPOSE: The purpose of this report is to describe lower extremity muscle activity in grand-plié, as determined by EMG analysis; to compare and contrast muscle function in grand-plié and demi-plié to support the hypothesis that grand-plié is not simply a deeper demi-plié, but rather a fundamentally different movement in terms of muscle use; and to present further evidence in support of the hypothesis that ballet dancers use muscles differently than modern dancers in dance movement. METHODS: Surface electromyography was used to analyze lower extremity muscle activity during grand-plié in first position with lower extremities turned out in five ballet and seven modern female professional dancers. RESULTS: Electromyographic (EMG) activity of tibialis anterior included continuous activity from heel-off during the lowering phase, through midcycle, and ending at heel-on during the rising phase in all grand-pliés; the majority of tibialis anterior EMG tracings in ballet dancers had additional activity at the end of the rising phase. All EMG tracings for vastus lateralis and medialis included a peak of activity during the lowering phase, a decrease (valley) at midcycle, followed by another peak during the rising phase; increased activity at the end of the rising phase was observed in most grand-plié in ballet, and not modern, dancers. Adductor EMG activity was also observed in all tracings with a peak during the lowering phase from heel-off to midcycle, a valley at midcycle, followed by a peak of activity in early rising phase; the midcycle valley was of lower, and the rising phase peak of higher, activity in ballet compared with modern dancers. Variation of EMG patterns was observed for lateral and medial gastrocnemius, gluteus maximus, and hamstrings. CONCLUSIONS: The data support the concept that lower extremity muscle activity in dance movement is comprised of three major types: (a) unique, characteristic activity required for the execution of the movement; (b) varied activity which is characteristic of dancers of different dance idioms; and (c) varied activity which may depend on factors such as balance, personal habit, and individual training background. Furthermore, EMG activity of vastus lateralis and medialis at the midcycle valley in grand-plié was significantly less in ballet dancers than in modern dancers despite similar degree of knee flexion, suggesting that ballet dancers may have lower patellofemoral joint reaction force at midcycle than modern dancers.     

论舞蹈教学中的美感培养

美是舞蹈的本质,是舞蹈的基本品格和艺术功能,舞蹈教学中的美感训练是舞蹈基本功训练中的基础.从影响舞蹈美感的因素入手,探讨舞蹈教学中培养学生美感的方法,使学生能够更好地认识美、感受美、体现美,从而达到丰富舞蹈教学方法的目的.     

Hyperoncotic hemodilution in the ewe asa model of therapy in EPH gestosis (author's transl)

Hyperoncotic hemodilution is proposed as a new therapeutic procedure in EPH-gestosis for improvement of uterine blood flow. By infusion of human albumin solutions in acute experiments on pregnant Merino sheep the effects of altered maternofetal colloid osmotic pressure gradients were investigated. The proposed hemodilution treatment improved uterine blood flow without a theoretically apprehended and undesired fetal hemoconcentration. An absolute indication for hypervolemic EPH-gestosis is suggested in accordance with modern knowledge of the pathophysiology of microcirculation. Isovolemic hemodilution is proposed to be of potential value in cases of EPH-gestosis with normovolemia, hypertension, intrauterine fetal growth retardation or other symptoms of placental insufficiency, at least as a subject to further studies.     

The power of dance: health and healing

This article explores the existence of common images in nursing and dance. Nurses can look to the performing arts and music to sustain their commitment to clinical practice. The dancer must bring the whole self to the dance: history, mind, body, and spirit. The dancer creates beauty and grace and interpretive images for the audience. Nursing involves "dancing on the edge" where one must balance Roach's five elements of caring with one's self to meet the needs of the patient. For both nursing and dance, excellence begins with a centering of the self in order to create and relate to the other. Through the dance, one comes to experience beauty and grace. Images from dance can nourish one's creative caring spirits.     

Places and patterns of drug use in the Scottish dance scene

Interviews were conducted with 135 participants in the Glasgow dance (rave) scene. Drug use in this group was varied and not merely restricted to drugs associated with dance events, such as MDMA (Ecstasy). The setting in which each drug was used varied greatly. Amphetamine, nitrites and Ecstasy were the drugs most commonly used at dance events. Pharmaceuticals were least likely to be used in such settings. However, some drugs, such as Temazepam, were sometimes used prior to or after attending rave events. It is suggested that dance drug users are polydrug users who use drugs in a setting specific fashion. As such it would be wrong to classify such users solely on the grounds of their very visible behaviour in the public arena (at dance events). Other forms of substance use engaged in by this group may have a greater potential for harm than that seen at raves. The implications of these findings are discussed.     

试论武术、舞蹈、巫术的交融与发展

中国是一个有着悠久传统文化的文明古国,在丰富多彩的传统文化中武术、舞蹈和巫术是社会发展中被人民所接受的文化形式。武术、舞蹈和巫术的种类繁多,风格迥异、各具特色。中国自古就有武舞同源的说法,中国文化对中国武术、巫术和舞蹈的滋养更是源源不断的,在形成和发展过程中不断的分合中,三者中的＂形＂与＂意＂是相互交融和发展的。     

Unspoken knowledge: Implicit learning of structured human dance movement.

The sequencing of dance movements may be thought of as a grammar. We investigate implicit learning of regularities that govern sequences of unfamiliar, discrete dance movements. It was hypothesized that observers without prior experience with contemporary dance would be able to learn regularities that underpin structured human movement. Thirty-one adults were assigned to either an exposure or a control group. Exposure consisted of 22 grammatical 3-, 4-, and 5-movement sequences presented twice in random order; sequence duration ranged from 9 to 19 s. In a test phase, exposure and control groups identified previously unseen sequences as grammatical or ungrammatical, and rated confidence of judgment. The exposure group selected significantly more new grammatical sequences in the test phase than the control group. In addition, for the exposure group, the zero correlation criterion, wherein no relation between confidence and accuracy indicates unconscious knowledge, was satisfied. Through exposure, novice observers can learn a grammar that governs the sequencing of dance movements. This has implications for implicit learning of long sequences, working memory, and the development of expectations through exposure to contemporary dance. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Perceived exertion and metabolic responses of women during aerobic dance exercise

The relationship between ratings of perceived exertion (RPE) and metabolic responses was examined during aerobic dance exercise with combined arm and leg movements. 16 women with previous aerobic dance instructional experience performed three consecutive trials of 8 min. each of aerobic dance exercise at a cadence of 124 and 138 beats.min.-1. Estimates of RPE reported at the end of each trial were significantly different across the trials while heart rate and % maximum heart rate were significantly different between Trials 1 and 3. Correlations and partial correlations between RPE and all metabolic variables were not significant across trials and with trials combined except for ventilation. Results indicated that RPE should not be used singularly as an indicator of exercise intensity during aerobic dance exercise.     

The common dance.

Contends that a relationship is a common dance enacted by each participant, in which each participant plays all parts, and in which the parts often seem to be divided among the participants. The following issues are explored: individual characteristics, point of view, communication, changing the dance, and dividing up the parts. It is suggested that, in the analogy of the common dance, apparent consistencies between a present relationship and other relationships can be understood without recourse to transference distortions, personality consistency, or fate. (PsycINFO Database Record (c) 2010 APA, all rights reserved)