According to the requirements of personnel training objectives, dance technology courses for dance majors should focus on style and aesthetic training, unify practicality and theory, and lower the function of "practice" to a more appropriate position.
This paper puts forward some suggestions on the curriculum reform and teaching material construction of dance technology courses for dance majors from seven aspects: teaching objectives, teaching tasks, teaching contents, teaching methods, teaching means and teaching effect assessment, for the reference of experts and peers who care about the teaching reform of dance majors.
First, the characteristics of dance major and the orientation of personnel training
The dance department of Beijing Dance Academy was formerly the dance history department founded in 1985. 1996 during the adjustment of the departments of Beijing Dance Academy, the department of dance history was renamed as the department of dance, with a major in dance history. After the reform of the teaching plan of Beijing Dance Academy in 2002, the connotation of the dance history major of the dance department was further expanded and officially renamed as the dance major. At present, the major of dance history is offered. Since the establishment of the Dance History Department in 1985, the College has trained five graduates of grade 85, grade 92, grade 95, grade 97 and grade 99.
The dance department is a theoretical department in many departments of the college. The undergraduate education of dance major focuses on theoretical teaching, emphasizing the cultivation of students' theoretical knowledge and cultural level. The course of dance technology is mainly to cultivate students' professional quality, and the course of dance technology is wide and shallow. Therefore, the cultural foundation of enrollment is higher than that of dance. Most of the students are dance majors in ordinary high schools, and there are also students in dance technical secondary schools. Most students majoring in dance are engaged in dance history, dance education, art media and art management after graduation.
In the teaching reform plan of Beijing Dance Academy in 2002, the training goal of dance professionals is defined as: "Higher professional talents who can engage in basic theoretical research, applied theoretical research, media editing and promote national dance education. Students are required to master the history and basic theory of dance development; Have a good cultural foundation and strong writing ability: reach CET-4: systematically master the basic knowledge of social humanities and natural sciences such as Chinese and foreign art history, aesthetics, psychology and human sports science; At the same time, it also emphasizes that students must master the basic rules and skills of dance training, performance and creation. This talent training goal puts forward higher requirements for the talent training program. By adjusting the course structure and increasing the teaching content, students can have a broader and more comprehensive foundation and quality. At present, there are 34 elective courses for students in school, and there are more than 20 courses, including 5 compulsory courses in dance technology. Due to the repositioning of talent training objectives, students have a broader cultural and artistic vision and a more comprehensive knowledge structure and talent structure, which further broadens the employment direction of graduates. These graduates can engage in dance research, dance teaching, art management, planning, editing and secretarial work. So far, quite a number of graduates have taken up education posts, and there are also some employers in the education industry. Due to the limited entry index, I hope that someone who comes in can teach both dance theory and dance technology. Therefore, at present, a certain number of dance graduates are engaged in the teaching of dance history in art colleges or ordinary universities, and also in the teaching of dance professional technical courses, including China classical dance, China folk dance, ballet, modern dance and practice repertoire.
Second, the current situation and problems of dance technology courses
From the original dance history major to the present dance major, in addition to a large number of professional theoretical courses, a large number of professional technical courses have been set up in the teaching plan and curriculum setting. The selection of these technical courses presents an all-round layout, breaking through the limitations of majors, and almost involves various professional technical courses in various dance technical departments, including China classical dance courses, China national folk dance courses, ballet courses, foreign folk dance (cancelled in recent sessions), modern dance courses, and so on.
However, for a long time, the course construction of this professional dance technology course has been marginalized, and its purpose and practicality are not clear enough, which has affected the actual teaching effect. At present, the contradictions mainly come from teaching materials, class hours and students.
First of all, in terms of teaching materials, due to the limitation of historical conditions, these dance technical courses were originally set up in the form of "direct introduction", which all originated from the gradual adjustment and continuous compression of performance professional technical courses in various dance technical departments, resulting in today's results. During this period, although teachers have made unremitting efforts and are close to the needs of dance science major, they have not been completely transformed and completely separated from the characteristics of dance technology major. It can really meet the special needs of the dance theory major. The teaching content, teaching form, teaching method and teaching means determined by it have failed to realize the direction change from training dance performance talents to training dance theory talents, so there is a situation that the teaching material content and teaching need two skins.
Secondly, in terms of class hours, if it is feasible to "introduce" teaching materials into dance technology courses at the beginning of offering dance history theory majors, it is because the supporting class hours give time guarantee. At that time, the college was in the early stage of transforming from secondary school to university, and the class hours and curriculum of dance history major were basically in the state of secondary school, and began to gradually move closer to the state of university. At that time, it was characterized by a large number of class hours, a large proportion of dance technology courses and a smaller proportion of theoretical courses than now. Take the 85-year curriculum as an example: the maximum class hours of China classical dance class are 432 (4 * 18 weeks *6 semesters), while ballet class is 360 (4 * 18 weeks *4 semesters) +(2 * 18 weeks *2 semesters). Take the classical dance class in China as an example. Although compared with the performance major of China Classical Dance Department, students have limited access to teaching materials, but in a good class, students have reached a good level, and they can also see the performance of authentic China classical dance and the completion of complete China classical dance skills. These have played a very good role in enriching their knowledge of dance theory, increasing their perceptual knowledge of dance and even broadening their employment opportunities.
Since the teaching plan reform of Beijing Dance Academy in 2002, according to the repositioning of the training goal of dance talents, in order to better adapt to social needs and make students' knowledge structure more comprehensive and reasonable, the dance department has carried out a series of teaching reforms in the following years, constantly adjusting the teaching plan and curriculum, making it further out of the state of technical secondary schools and more in line with the teaching rules of undergraduate courses and dance talents. This process shows that the total class hours are gradually reduced, the proportion of theoretical courses is gradually increased, and the proportion of technical courses is gradually reduced. The class hours of China classical dance class, China folk dance class, ballet class, modern dance class and repertoire practice class are all decreasing. Take China Classical Dance Class as an example. At present, the class hours are reduced to 44 classes (4 classes * 18 weeks *2 semesters). The ballet class is 180(6 * 18 weeks) +(4 * 18 weeks). The class ratio of classical dance in China 1985 decreased by 72/3(288), while that of ballet class decreased by12 (180).
In terms of students' source, the theoretical nature of the major itself determines that the cultural foundation of the teaching object is higher than that of the dance major. Therefore, the vast majority of students come from ordinary high schools, and the ideal candidates will have some professional knowledge and foundation of dance, while quite a few candidates have no foundation at all or claim to have a foundation of dance, which makes the students' overall foundation of dance not high, and also makes the training of dance technology courses have to start from a lower starting point. In addition, some candidates come from dance secondary specialized schools, and they have passed the cultural examination and reached the fractional line, which makes the students' dance foundation extremely irregular and brings difficulties to the teaching and training of the class. However, due to the sharp reduction of class hours, the difficulties in these two aspects caused by the problem of student source are further aggravated.
Due to the above reasons, various dance techniques and dance classes of dance majors are facing more and more difficulties and problems, and the contradictions are becoming more and more prominent. To sum up, these contradictions include the contradiction between the inherent practicality of dance technology course and the theory of students' learning, the contradiction between the teaching content and the goal of talent training, including the contradiction between the long training period required by the teaching form and nature and the short actual teaching period caused by the continuous reduction of teaching hours, and the contradiction between the large capacity of teaching materials and the small teaching hours. Including the contradiction between the high difficulty of the course and the poor basic conditions of the students, the contradiction between the class teaching system and the basic level of the students, etc. The contradiction between teaching content and talent training goal is the fundamental contradiction in a series of contradictions. In order to effectively solve the above contradictions and make teaching more suitable for the characteristics and laws of dance major, it is more and more urgent to reform various dance techniques and dance classes of dance major. This is the purpose of writing this article and the problem to be discussed in the next section.
Third, suggestions on the construction of dance technology courses.
Through the above analysis, we realize that it is imperative to carry out comprehensive and in-depth reform of various dance technology courses for dance majors. By thinking about the construction of dance technology courses for dance majors, the author focuses on the following seven aspects: what is the purpose, what is the content and how to attend the dance technology courses for dance majors.
(1) It is very necessary for dance majors to offer dance technology courses. According to the national education policy of "cultivating high-quality talents with comprehensive quality, innovative spirit and innovative ability", according to the training goal of "cultivating higher professional talents who can engage in basic theoretical research, applied theoretical research, media editing and promoting national dance education" and "students must master the basic laws and skills of dance training, performance and creation". According to the actual demand of the talent market for "multi-functional" talents and the diversified employment of previous and recent graduates of the dance department, it is necessary to offer dance technology courses such as China classical dance, China folk dance, ballet, modern dance, choreography and practice repertoire. The significance of offering these dance technology courses is to enable students to master the basic rules and skills of dance training, performance and creation, at the same time, to increase their theoretical knowledge and professional quality, to gain perceptual knowledge and experience of dance, and then to improve their theoretical understanding and prepare for future dance research, teaching and management.
(2) The clarity of teaching purpose is the core issue.
First of all, we should start from the training goal, which is the core problem of how to construct dance technology courses for dance majors. The purpose of offering dance technology courses for dance majors is to train dance theoretical talents rather than dance performers, and to train theoretical workers rather than actors, which is an essential difference from offering dance technology courses for other majors in teaching purposes. Specifically, the teaching purpose of dance technology course for dance performance majors is to cultivate students' stage performance ability through the training of physical ability and technical skills. The purpose of offering these dance technology courses for oral dance majors is to enable students to master certain dance performance ability and deepen their understanding of the traditional origin, cultural heritage and aesthetic norms of various dances through personal training experience.
In addition, considering the training goal of "requiring students to master the basic rules and skills of dance training" and the possibility that graduates may take up teaching posts, another part of these courses aims to enable students to master the corresponding teaching methods and acquire the corresponding teaching ability while training, so that those students who are interested in teaching these dance technology courses after graduation can take up their jobs with confidence through learning the teaching materials and mastering the teaching methods initially.
(3) The choice of teaching tasks is the key to solve various contradictions. In the choice of teaching tasks, we should consider two issues. One is the requirement of teaching purpose, and the other is the possibility of objective conditions. The first step, according to the requirements of the teaching purpose, is to make students achieve a certain balance between mastering the action teaching materials and understanding the connotation of the teaching materials, paying attention to both its practicality and the theoretical nature of these courses, so as to avoid turning the dance technical course of the dance major into a pure technical course and ignoring the integrity of the teaching purpose. Secondly, due to the limitation of objective conditions, the integrity of these courses in teaching function cannot be guaranteed. Taking China Classical Dance Class as an example, the students' poor physical condition, weak professional foundation, older age and irregular level, as well as the prominent contradiction between these constraints and the reality of short teaching cycle and few class hours, make it impossible for China Classical Dance Class of this major to have the teaching function of adding body rhyme to basic skills (leg skills) in the usual sense, and the previous teaching method of adding body rhyme to basic skills is also not feasible.
In view of the above analysis, in the choice of teaching tasks, we must be clear about the objectives, grasp the key points and choose properly. According to the requirements of teaching purpose, we should adjust the teaching direction to the training that embodies the essence of each dance technology course, firmly grasp the core content that represents the style and characteristics as the focus, and abandon those outstanding and unrealistic purely functional physical training tasks. Taking China classical dance class as an example, because the body rhyme part of China classical dance embodies the essence of China classical dance, as long as students master the body rhyme teaching material, they can fundamentally understand and understand China classical dance.
Therefore, to sum up, the general guiding ideology of the teaching task of dance technology courses for dance majors should be: focusing on style and aesthetic training, unifying practicality and theory, and cooperating with closely related ability and technical training as needed to reduce the acrobatic function of these courses to a more appropriate position. This is not only the requirement of teaching purpose, but also the requirement of objective conditions. Only in this way can the purpose of teaching arrangement be clear, economical and effective from the needs and conditions.
(D) Teaching objectives and tasks determine the choice of teaching materials. The teaching purpose and task stipulate the selection and organization of teaching materials, and the selection and organization of teaching materials for dance professional technical courses should focus on teaching materials with stylistic and aesthetic training significance. Taking China classical dance class as an example, generally speaking, the selection of teaching materials should be based on the content of body rhyme. The textbook is divided into the following three aspects: (1) Basic ability refers to training the range of motion and control ability of all parts of the body around the content of body rhyme, including the flexibility and flexibility of fingers, wrists, shoulders, waist, bone marrow and toes, the stability of body center of gravity and the control ability of various dances. (2) The basic technique refers to the technique of training the exact position of each part of the body and the single use of each part of the body around the content of body rhyme, including the basic hand-foot shape, the basic head-eye hand-foot position, dynamic elements, one-arm movements and the use of one-eye footwork. (3) Comprehensive application refers to the compound application and comprehensive application of various single techniques around body rhyme training, including compound arm movements, compound footwork and various types of comprehensive combinations. Posted in China Paper Download Center.