However, due to the influence of traditional educational concepts and the ignorance of children's age characteristics and development laws, there are still some misunderstandings in children dance's education.
1. One-sided pursuit of learning dance skills, emphasizing dance movement skills, and blindly asking children to carry out boring training are not conducive to children's physical and mental development, nor can they stimulate children's interest in dance, and even lead to tension between teachers and students.
2. The teacher looks at the children's dance from an adult's point of view and designs dance movements. Children's active participation is neglected in the activity, and their imagination, creativity and desire to explore actively are not stimulated. Moreover, if the actions designed by the teacher are not based on the child's age characteristics and development possibilities, it is easy to hurt the child.
3. In family education, parents lack their own dance knowledge and ability, even lack correct educational concepts, and neglect the cultivation of children's dance. Many parents think that children's participation in dance activities is useless and a waste of time. It is better to learn more knowledge and skills. This makes the present dance education have all kinds of misunderstandings.
So how should we position children's dance, make children's dance based on children's development, promote the formation of children's healthy personality, pay attention to the process of activities, emphasize the initiative and enthusiasm of children's activities, and make children's dance education develop in a positive, orderly, comprehensive and healthy direction? I think we must first have a correct understanding of the goal. Combined with the outline, we mainly outline the objectives from the following aspects:
1, can perceive dance music, understand dance content, feel dance movements, experience dance fun, and try to perform creative movements. Dance movements can meet the emotional requirements and means of expression of music.
2, like to participate in dance activities, reflect the happiness of dance activities, actively explore and express music with body movements, and can cooperate with others to enhance interest in dance activities.
3. Be able to control your body movements well, master the use of simple props, and communicate with people with actions and expressions. At the same time, I think the choice of content is also a key link. Our selection of materials should be in line with children's life experience and be liked by children.
At the same time, we also know that children's art education is also the enlightenment education to cultivate aesthetic ability. Children's aesthetic pleasure includes feeling beauty, discovering beauty and creatively expressing beauty. Therefore, teachers must introduce dance works so that children can feel and understand them. When children perform dance works, they can have artistic conception and association in their minds, and the recombination of old and new images can produce imagination, that is, creativity. When children have an understanding and feeling of dance works, they will not simply copy them, but will have new ideas and expressive force. Therefore, when teaching dance, we should start with the perception of dance works and complete it through four stages, namely, feeling dance works, learning movements, learning variants and improvising. In these four stages, the feeling of dance works in the first teaching is the basis and key to learning dance.
Feel the dance work first.
1. Feel the significance of dance works to children's development.
The characteristics of children's thinking development are from perceptual knowledge to rational knowledge, from concrete to abstract. Therefore, sensory dance works must be based on perceptual knowledge and existing experience, and rely more on intuitive, vivid and distinctive images. However, some dances in the teaching materials, such as Picking Tea, Cleaning Windows and Bunny, have only tunes, no lyrics and only general titles. Children don't understand the meaning of actions and the relationship between them, so they are isolated, uninterested and difficult to remember the order of actions. Children imitate actions when they study, and their thinking and imagination are not active. Such dance works are not directly visible physical images in front of children. Therefore, teachers should try their best to provide imaginative content to children through visual and auditory visual activities, and match it with inspiring and vivid language to let children perceive and get a clearer image. In this way, children can gradually devote themselves to the artistic conception of the works, associate and imagine, feel the works and improve their sensibility.
2. Pay attention to the following points when guiding children to perceive dance works:
(1) In dance teaching, children's observation sensitivity should be fully utilized, and teachers' questions should be purposeful, systematic, accurate and sensitive. Every time a child feels, he needs to have a request, and there can only be one request, so that the child's thinking is always in a positive and tense state. At the beginning, we should ask general big questions and gradually ask small questions, because the law of children's perceptual development is to have a general overall feeling of the work first, and then we can have a further feeling after repeated appreciation. The more I appreciate it, the more subtle, in-depth and comprehensive I feel. For example, when rehearsing Xinjiang Dance, a rhythmic exercise of our Jinyuan Branch, after appreciating the teacher's performance for the first time and the second time, we asked the children, "What do you think the teacher did?" After the third and fourth appreciation, I asked the child again, "What did the teacher do and how did he do it?" After the fifth and sixth appreciation, I asked, "When will it become a double circle? When can I return to my original position? How did it change? With what action? "
Teachers' questions should also be accurate. I participated in a dance fan creation activity "Flower Competition", and the children finally suggested creating a sunflower-like flower. I asked the children, "How do you make flowers bloom?" (Open from the center and open a big red flower), one child's point also points out the direction for other children. In this way, the child's dance movements are clearly pointed out.
Keenness of observation is not only a condition for finding subtle differences, but also a prerequisite for each child to get a unique feeling. Only in this way can our performance be accurate and rich.
(2) When you feel the dance, you should constantly pay attention to the children. Attention is the "portal" of knowledge. Only by focusing on stability can people have clear perception, efficient memory and active thinking.
In the teaching of group dance in large classes, I often use demonstration performances-put away pictures and listen to music, so that children can think while listening (what do you seem to see? Let the children put a video in front of them. -A demonstration performance of children's make-up by several excellent dancers in the big class (several children dance together and wear 1234- card), so that children can feel how the form of group dance changes. In this way, new and different stimuli appear constantly, gradually leading children's emotions to a climax, asking questions for children to observe, and children attract strong attention in order to gain further understanding. This intuitive means, which is slightly understood by children, is not only particularly easy to attract attention, but also can attract children's attention for a long time.
(3) Children's knowledge preparation: It is very important to enrich relevant knowledge and impressions before feeling a dance work. Children's rich life experience related to works can help children better perceive works.
3. Guide children how to feel dance works.
I took a class of "cleaning windows" when I was teaching in the middle class. In the preparation before class, I use the family's effective educational resources to guide parents to inspire and drive their children to learn to clean windows. In this way, if a child tries it himself, it will be very impressive after a long time, and because the child has certain representations in his mind, it will be easy to show dance and he will be willing to show dance. During the middle class teaching activities last semester, I asked the children: How to clean the windows? Some children say: wipe with the right hand, some children say wipe with both hands, some children say turn around, and some children say that they have to breathe to clean. Young children, the whole method and process of cleaning windows are quite complete. I will guide children to listen to which rhythm is more suitable for doing and writing. The combination of multiple senses enriches the interest of activities and enhances children's desire to express themselves.
For example, when teaching the rhythm "Tea Picking", the dance and music of "Tea Picking" are beautiful, but the children know nothing about "Tea Picking". Before teaching dance, they set up a certain theme network activity to let children know the shape, purpose and method of tea picking and the labor situation of tea farmers, so as to initially perceive the music of tea picking. Of course, picking apples and milking in teaching also need to enrich children's social practice experience.
For example, the dance "Little Rabbit" has a bright rhythm and vivid image, which helps children to express it with actions and games. It is the beauty of dance and creative expression. Therefore, teachers must introduce dance works so that children can feel and understand them. When children perform dance works, they can have artistic conception and association in their minds, and the recombination of old and new images can produce imagination, that is, creativity. When children have an understanding and feeling of dance works, they will not simply copy them, but will have new ideas and expressive force. Therefore, when teaching dance, we should start with the perception of dance works and complete it through four stages, namely, feeling dance works, learning movements, learning variants and improvising. In these four stages, the feeling of dance works in the first teaching is the basis and key to learning dance.