About the teaching and inheritance of folk dance
Folk dance generally refers to dance that is produced and spread among the people, is restricted by folk culture, is improvised but has a relatively stable style, and is mainly for self-entertainment. form. Below I will take you to understand the teaching of folk dance and the inheritance of folk art. I hope you like it!
1. The status, role and value of folk dance teaching
In the overall training of dance teaching, folk dance teaching focuses on the application category. To cultivate actors with high skills and skills, training alone is not enough, but folk dance teaching can train actors' expressiveness, as well as the development of joints and ligaments such as shoulders, neck, arms, waist, hips, knees, ankles, and even wrists and fingers. It has good basic training value in aspects such as relaxation, confrontation and coordination between various parts, force exertion and spread.
Practice has proven that folk dance teaching has a subtle effect on cultivating dancers’ physical functions and forming nationally distinctive body features, temperament and charm, especially on dancers’ flexibility and coordination. The effectiveness of adaptability, explosiveness, implicitness and rhythm cannot be replaced by any other basic training. Therefore, if there is not a scientific and systematic training process from simple to complex, from simple to complex, from single to combination, the actor's physical function must be able to master the rich rhythm changes, complex rhythm processing, subtlety of folk dance. It’s hard to imagine the dynamic transformation and the freedom to control the form in forming, connecting and extending.
Folk dance is an artistic treasure passed down from generation to generation by working people. It is rich in tradition and self-entertainment, and exudes a strong flavor of life, national temperament and artistic charm. However, the development of folk dance is basically spontaneous and remains in a state of oral tradition and convention. It is a project to scientifically analyze and organize folk dance materials, explore and research according to normative principles, and develop a set of teaching materials that are not only suitable for cultivating and improving the artistic quality of dancers, but also conducive to the protection and development of folk dance. Serious and important work.
2. Materials and teaching materials
If we go deep into the folk during festivals and participate in the lively scenes of folk dance, we will be infected by a simple passion , feel their artistic value and charm.
Those magical and wonderful folk dance materials cannot be transferred to the classroom for teaching intact. First of all, every specific folk dance material, due to various historical and social limitations, contains not only the essence but also the dross. Secondly, folk dance itself is a living and changeable art. Each specific folk dance material is not a rigid program. If it is moved to the classroom intact, it will only turn the living art into a dead dogma.
Therefore, materials cannot be equated with teaching materials. No matter how rich and beautiful the materials are, they can only be the raw materials of teaching materials. They cannot be used directly as teaching materials. They must be analyzed while preserving the style and characteristics of the materials. Arrange, summarize and refine to meet the scientific requirements of standardization and systematization. It originates from the material and is higher than the material. Teaching materials are more concentrated, more accurate, and more beautified than materials. They cannot be standardized once, but the flavor and spirit are gone, and they become a pile of lifeless parts. To have a thorough study of folk dance is not to simply imitate the external form, but to study, identify, experience and master it from the inside out, using both body and mind, and integrating form and spirit. Whether it is the change of body theory or the transformation of rhythm, it is by no means a simple technique, but an art of emotional expression that is rhymed, provides an accurate external image for the inner world, and is highly unified in form and spirit. We usually say that grace, charm and passion are the essence of folk dance, and this is the truth.
3. Teaching purposes and methods
The highest purpose of folk dance teaching is to make the various sensations produced by the actors and students' bodies accurate and effective through "dynamic shaping", and to be able to use their muscles as they wish. ?Speak?, rather than simply mastering some skills and styles, even to the extent of reproduction and resemblance. For example, folk dance's "little method" and some delicate accompanying movements, as well as "starting method", the intensity of sudden and pauses, the contrast of rhythm and the contrast of movements, etc., are the most naughty and charming , the most attractive "spark".
Rather than thinking of these wonderful sparkles and gleams as innocent technique, they might as well be compared to subtle revelations of a rich, sweet inner world.
In order for actors and students to achieve this ideal sense of self-beauty through training, it must be clear that technique is only a means to solve beauty, and more importantly, they must have rich potential awareness and a good sense of self. The actor's self-awareness determines the combination of body and mind, changes in intensity, and the use of proportion and energy. It's too exaggerated, and if the energy is exerted on the outside, it will exceed the scope and boundaries of beauty and become ugly. In particular, the amplitude and intensity of twisting of the waist, hips, and buttocks must not be excessive, let alone single. There must be a sway in the twist, a twist in the sway, a twist in the twist, and a twist. There are "floating" in "floating", "sinking" in "floating", and "ting" in "sinking". In a word, we must pay attention to the inner "energy". It is necessary to use mental energy to lead physical energy, and emotions to lead form. In this way, the dance comes alive, the advanced skills of complex movements are revealed, the temperament, grace, charm, and imagery are naturally different, and the style of the movements is revealed, which is beautiful.
4. From the folk to the folk
In order to continuously enrich and develop the teaching of folk dance and maintain its vitality, this kind of folk dance emerged from the soil of folk art. Folk dance teaching materials also need to go back to the folk dance process. The people not only appreciate dance, but also dance it themselves, expressing their feelings in light singing or cheerful dance, so they have the most say in folk dance teaching materials. Whether our folk dance teaching and teaching materials are in line with the taste of the people must be tested by the people.
You can perform it to veteran artists and local people and ask for their opinions, or you can perform it directly and make it a part of the folk dance. These are two feasible methods that are popular among the masses and are conducive to the protection and development of folk dance. ;