Innovation is the life of artistic works, and children dance's innovation needs to grasp children's psychological and physiological characteristics. Below, I searched and sorted out the innovations of children's dance for you. Welcome to read, I hope it will help you!
With the changes of the times, people have higher and higher requirements for the development of children's dance, so it is particularly important to innovate in the creation of children's dance works. This requires our choreographer to go deep into life, keep pace with the times, vigorously promote the positive innovation of children's dance in concept, content, form and means, and make children's dance more contemporary and attractive.
First, innovate the ontological factors of children dance's creation.
(A) the theme of children dance
Children's life is rich and colorful, and children's emotions and thoughts are also complex and diverse, so children dance's "colorful" is also an indispensable feature of children dance. Children of different ages have different life contents, different physiological and psychological characteristics, and different interests and concerns. This provides a very broad world for us to choose the theme of children dance. Fairy tales, fairy tales and fables that children are interested in, flowers, birds, insects and fish in natural scenery, wind and rain in mountains and rivers and everything in children's fantasy world can all be choreographed into vivid dance images. Go deep into children's lives and observe their fun, such as throwing handkerchiefs, dressing, folding quilts, jumping rubber bands, kicking shuttlecock and catching butterflies. According to their different age stages, according to their psychological state and way of thinking, we can capture the waves of their lives, impact their creative inspiration and choose creative materials. The theme of children dance is roughly as follows:
Fable theme: The biggest feature of this kind of theme is to convey a certain idea or explain a certain truth through the appearance and character of natural scenery or animals that children are very interested in. People are often portrayed with exaggeration, personification and fantasy, and natural animals and plants are personified and personalized.
Historical theme: This refers to the theme characterized by historical figures and events. On the basis of real historical figures and events, it can carry out necessary centralized generalization and appropriate fiction, reproduce the social features of a certain historical period, show the historical development trend, and make children receive certain education and enlightenment from dance. Such as cowboy Wang Erxiao and Jimaoxin.
Realistic theme: This kind of theme refers to the theme that directly reflects the spiritual outlook of contemporary children, such as loving the motherland, labor, science, being disciplined and helping others. More importantly, it embodies the realistic consciousness, subjective consciousness and participation consciousness of contemporary children.
The theme of children dance can be said to be all-encompassing. As long as we pay attention to children's world everywhere and carefully observe their every move, children dance's themes will emerge one after another. After choosing a good dance theme, the choreographer should have a sense of rhythm and beautify the action combination, and at the same time, use expressions such as comparison, repetition, metaphor and exaggeration to help the dance become a work with more charm and connotation.
(B) the structure of children dance
The structure of children dance has its own characteristics and laws. Children's physical and mental development determines that children dance is vivid, innocent and lively. Therefore, in the process of creating children dance, we need to grasp children's frank nature according to their specific emotions and their own life and inner feelings. Using the characteristics of short and vivid narrative and simple movements, we can better create an expressive dance structure that conforms to the characteristics of children's physical and mental development.
According to the needs of the author and works, the dance structure can be divided into:
Plot structure: narrative and drama and dance works with plot content. Through the capture of children's life themes, we can develop stories and improve dance movements and contents.
Space-time sequence structure: Arranging dance image behaviors and dance scenes in an objective and natural order conforms to the development logic of children's real life.
Staggered structure of time and space: breaking the natural order of real time and space, interweaving fairy tales, associations, dreams and hallucinations in the children's world according to the logical combination of artistic conception, and using flashbacks, interpolation and other methods to make the limited dance space have unlimited time and space penetration.
Emotional structure: Children's emotions are changeable. We can use a single emotion to dance according to emotion, and the emotion is (strong-weak-strong) or (weak-strong-weak) to push the climax and then fall back. Or use complex emotions to arrange a variety of complex emotions according to children's various emotions (joy, anger, sadness and joy) and through the change of event background.
(C) children dance's vocabulary
The selection and refinement of children dance's vocabulary is extremely important. It is an important link to correctly reflect children's psychological and emotional characteristics, express the intention and style of the work and make the work have strong vitality. Children dance's vocabulary can be cultivated from the following aspects:
Drawing lessons from traditional dance: children dance's vocabulary can be selected and refined according to the characteristics of children's classical dance, national folk dance, ballet and modern dance.
Looking for things from children's dance life, such as throwing handkerchiefs, wearing clothes, folding quilts and jumping rubber bands, which can show children's psychological characteristics, conform to children's habits and childlike innocence.
Innovation on the basis of real life and existing dance vocabulary: On the basis of representative dance vocabulary that is childlike and acceptable to children, by enriching and exaggerating children dance's vocabulary, the process of extending and developing it will make the structure of dance vocabulary richer, the performance more real, and make the audience get clear dance information visually. Of course, there should not be too many main words in children dance's works. Because children's consciousness and understanding ability are still in the primary stage of development, too many dance vocabulary will make them difficult to learn, which is likely to make them feel disgusted and uninterested. Secondly, a good children dance works, its plot is climax after climax. The main dance vocabulary mostly appears in the climax of the dance, and the movements should not be too complicated. Some choreographers have designed too many dance words to make the dance look good, which makes the whole dance lose its focus, which leads to the feeling that the audience's ideas are muddled and it is difficult to arouse the audience's * * *.
Second, the external factors of children dance's creative innovation
(A) the choice of music
The choice of children dance music should also conform to children's own characteristics, requiring clear rhythm, easy to remember melody and strong sense of music rhythm. This makes it easier for children to master it better and let them dance freely.
Music should not be too complicated, it should be chosen according to children's ability, and the emotional expression of music should be accurate. For example, cheerful, enthusiastic, nervous, sad ... no matter what emotions, they should be clearly and fully reflected in music, so as to be recognized, understood and expressed by children. On this basis, the selection of children's dance music can boldly try some other ideas, such as adding some sound effects according to the specific needs of dance. For example, children's laughter, crying, clapping or stamping, the sound of jungle birds and the sound of running water. It will make the whole dance music more vivid, better help children grasp the rhythm and improve the expressive force. Of course, the choreographer can't blindly add sound effects, and it needs to be added according to the requirements of dance and the acceptance of children. The application of sound effects should not be too much, otherwise the children will not understand the music accurately, which will distract their attention and lead to the children's failure to successfully complete the dance rehearsal.
(2) Design and layout of the stage
The use of beautiful lighting should be based on the requirements of children dance. For example, bright lights are suitable for cheerful dance, and the contrast of light intensity can better reflect the level of dance. For children's stage, the design should be more fairy tale and dreamy. The whole stage should not be too formal. Some small designs should be made according to children's childlike interest. For example, the stage can be designed as a small forest with trees, rivers and some small animals, which can be presented by stage scenery, and some physical layouts can be placed directly on the stage. Such as rockeries, models of small animals, etc. , will more vividly show the dream of children's world.
(C) the clever use of costume props
Children dance costumes and props must be suitable for the characteristics of the dance itself. For different dance contents, there are great differences in fabric, style and color characteristics. When designing stage costumes, we should closely follow the theme of children's dance creation and tailor the clothing styles according to the requirements. However, these design concepts are not immutable. With the improvement of people's aesthetics, the director's requirements for costume props are getting higher and higher. In the past, they may be simple clothes with bright colors, but now some choreographers are very creative and personify the costumes and headdresses of some animals. Children wear the costumes of various animals, such as tigers, rabbits and elephants. It can not only improve children's desire to perform, but also make the dance vivid and make the whole dance look more ornamental. In the choice of props, we should pursue the characteristics of children dance. The most important thing is to consider the safety of props. We shouldn't use sharp dance props to hurt children during the performance. In addition, the choreographer can also design his own dance props at will. The innovation and application of props have played an important role in the performance and expression of the whole dance.
To sum up, to create a good children dance, the directors need to go deep into children's lives, understand their inner world and be familiar with their language. On the basis of fully understanding and feeling life, innovate the dance concept. First of all, to innovate and enrich the theme and theme of dance, these are inseparable from the content and form of dance. Secondly, to understand how to express the content and how to deal with the structure, it also requires the director to inject new creative ideas and innovate from the content structure. Thirdly, the refinement and beautification of dance vocabulary are the main means of expression, and at the same time, contrast, repetition, metaphor and exaggeration can be used to help dance become more attractive works. To enrich this innovation, we need to consider the music selection of the whole dance, the arrangement of stage lighting background and the use of costume props. Only by fully considering the internal and external causes of dance and innovating from these two aspects can we better create excellent children's dance works with novel forms and ingenious ideas.
Development: Reference of children dance's Practice Skills
An excellent standard dancer is bound to polish the basic skills to perfection in daily training. The basic elements of standard dance can be summarized as: forward, backward, up, down and turn. This paper will make a preliminary discussion on Tony Dokman's "Forward and Backward" exercise, and share some effective training methods summarized by the author in his study and teaching.
Basic forward and backward exercises
In the basic forward and backward exercises, we usually use one, two, three and four to decompose the movements.
Forward tense
One: I feel that the head and tail vertebrae extend up and down respectively to lengthen the spine, keep the upper body vertical, and naturally relax the knees and ankles. At this time, the center of gravity of the body will move to the heel of the main foot;
Two: With the further folding of knees and ankles, the center of gravity rolls forward through the centers of feet, soles and toes. When it exceeds the toes, the sole of the strength foot moves forward, and after it is fully extended, the knee joint straightens, and the position where it touches the floor changes from the sole to the heel.
Three: it is the transition process of the center of gravity of two feet. While keeping the knees of the prime mover relatively straight, the knees and ankles of the prime mover are also completely straight, and the center of gravity is pushed to the prime mover, becoming a new prime mover;
Four: As the center of gravity continues to roll on the new main foot, the new power foot will be driven forward and close together. For students with a certain foundation, it can be emphasized that in this step, the new strength foot moves forward actively to speed up the foot collection.
When retreating
One: keep your upper body vertical, relax your knees and ankles, and move your center of gravity forward to the soles of your feet, just like when you walk forward;
Two: Knees and ankles are further closed, so that the center of gravity begins to roll backwards (if it is a double exercise, the backward person should not be too active in this step, and feel that the center of gravity of the forward person begins to move forward before moving). When the center of gravity exceeds the heel, move the foot backwards and stick it out;
Three: the original main foot knee is pushed straight, and the center of gravity is pushed to the power foot to become the new main foot. At this time, the sole of the new main foot touches the ground, and the knees and ankles are relatively straight;
Four: the center of gravity continues to roll on the new main foot, the heel of the new main foot gradually falls, the new strength foot comes back together, and the body becomes a ready state.
In addition, for junior students, the lack of ankle strength is often the key factor restricting progress, so targeted exercises should be added in teaching. The method is to let the students stand on tiptoe and complete the forward or backward movement every two beats. The whole process requires the sole of the foot to keep in contact with the floor all the time to experience the feeling of stretching the foot.
Combined with dance practice
The first part analyzes the basic technical essentials of forward and backward movement in detail, and introduces an ankle strength exercise suitable for junior students. The following will introduce how to integrate the elements of forward and backward into the basic steps of standard dance through practice.
In Waltz, forward and backward can be practiced in a closed exchange. In addition to the basic step-by-step combination, we also introduced two different exercise methods.
The first one takes four bars as a unit: the first one is a normal left foot change, and the second one is an in-situ lift exercise; The third and fourth section is the right foot, which changes steps and rises and falls in place, and then repeats the cycle. This exercise strengthens the technical essentials of four plus one in the last section, and has elements of upper body swing and reflexive movements.
Another exercise is also based on four bars: the first two bars are an extended left foot and change steps, one and two are unchanged, and the original three are extended to four beats, while the body on one side of the main foot is fully extended to drive the arm to extend upwards, as shown in the above picture; The third and fourth bars are the extended right foot and step change, and then the cycle is repeated. This exercise requires students' ankle ability, and it is also a good way to practice breathing and muscle stretching, which can be used as an advanced exercise for students with a certain foundation.
In foxtrot, the forward and backward exercises can be feather steps and three straight steps, such as forward feather steps, three straight steps and feather steps, then backward feather steps, three straight steps and feather steps, and then repeat the cycle.
In the trot, exercises with the same pace can be combined, such as locking one step forward, then walking with your right foot as a transition, then locking one step backward and walking with your left foot. The rhythm of such a four-bar cycle is SQQ, SS, SQQ, SS.
In tango, you can practice two steps, followed by a gradual lateral step, with two bars as a cycle and rhythms of SS and QQS.
Double practice
Both the basic forward and backward exercises and the exercises combined with dance steps can be completed by two people at the same time. The focus of double cultivation is to guide and follow. The following will introduce several methods of hand-held exercises.
Method 1: The man's hands are open, palms are down, and the woman's hands are placed on the man's back. Palm down can make both sides consciously press their shoulders, and at the same time avoid men forcing their female companions with their arms, and pay more attention to the guidance from their backs.
Method 2: It is basically the same as the first one, except that a woman guides the man with both hands. In this way, the guide and the guided can understand each other's roles and responsibilities, and avoid women's complete dependence on men.
Method 3: Both sides contact physically, but not by hand. This kind of exercise requires high technical ability of both men and women and can be used as an advanced exercise.
In the practice of pairs, in addition to walking straight forward and walking straight backward, we can also increase the practice of walking around each other to strengthen the sense of the position of reflexive movements (CBMP).
Dance to the music
All students' exercises should be performed in music. Beautiful music can not only stimulate students' interest, reduce the boredom of simple exercises, but also cultivate students' artistic sense, so that the use of footwork, muscle stretching and breathing coordination are naturally integrated into music. In this way, we can make a great leap from stepping on the spot to dancing.
All strength comes from the feet. Both professional dancers and amateur dancers need to start with the most fundamental exercises, listen to and perceive the subtle movements of the body, and pursue the simple return of the heart.
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