体育学院舞蹈专业英语文献翻译.docx

1、体育学院舞蹈专业英语文献翻译Dacea LnguageofLearg ada ouc Embodied weicard，MrcThe cnt status o dnce nOi col is tnuoat et. erhas this eflectte status of dance in t conciouss ofthe nralbc.MMastersresearch (Richard,0) idcte tht enrlist tahrs sedn as yetanoteradon t an already oveburdend curriculum； th, theyfiltose te

2、 ncrilepoeil r dne as a langage a fm of emboie learning Gnerli tches dot seeteselveasarists,letalon dancer， and therefe donteelcomfrale echng dan (ichard, 2009）。 orthe mt pat，genelist acers （and I elv tegnr ulc） v arnarrowviewoft danceeducationeails： te taerstandstthefront an eonstesa dance (e。. t M

3、carena）, wic t tdets learn repetIn this eahe-direced del o dannstucio the is litle rom for h velopmntof lvin kils(eronal， nterrsona， criical ad ceaiv hinkg）, sodied i the ecendyrevise Ontario rades 18health ad phyca edation urulm(Mintry ofduion, 21）. Mos of the akeholders educaton ve ry litle nowled

4、e oceatve ane， eind by ue tnso(1998)as”an rt form thati base onatual ovement ratrtha moeet of a pticular syle a on mght eein tap danc or ble (2) Increative dance exeencesthe studentcte danes and te teahersole is t to each dace or techniqe but tofaciitate learnng and creatin.Mang sble themanprofou mo

5、mentsf odilylearning wthia creati dnce settn gh el to bradedefintions ofeduationalearnin. Cancenn and Snowber （2009）recogize dace as a niq site forlein buoreve， and ourwrld： ance allows a elatonsp to evelo bewente oute rld ad o dis.or bod exprenc things ft， vi or physical eractionith te worl； theror

6、，thee are d o data tht our bois exerice befoe ou mins” (p. 188)。 Th icludesuch things a he ention of tc, the felof air on rsin as e mve trohsace， aswell phical interactons wth obects anothepeop. For many enralisecer, cretiv danceedctainsan eigma； hes teachers look toh ral dncers fo some iea f wa rea

7、tive daneis and o o tach it But for studoine dancers, creatveace is qually elusie beasthey hv h vry w experenc adnce tudents where tyerealowe t rt。 ye （1973) recgnes tat mangod ancr fail at ceative dane eain beau teyaroteof e oa。The ar sd tohsica gals suc a tacn hecls to do a coination o steps (p. 1

8、2)。 Kof （2000）diffetate bweendane ecaton and dnce tranin，te frmer bing ousd n ”thedvelope ofslfeprssin nd inerpretatnthrou motion wihlknowdgeas its aim and the latter ”maser nd xtueperfomance.I many Otrioschools hr dcedcatinis acually occurng, itis vy ofn replicationofeacerdirced studio ace tning （.

9、。 azz danc， ballroo dance, vieinspire dancesuch s BrtneySea outines). ReggioEmiia eduatrs, Cavzon,Pn， Porani， and Rniei（2007）, semtreognize h ichotomy betwee the worldoaetdosa cetiveacwhethey s,Is a boysoethingt train, or to liten to kow? Is it a copetitiv bywith biitiestoconuer or a body rch in cog

10、nitive， emtional， d expressive poentialits? (p。 4）. Tese Itaian uatorrecoizedancand mvmnta a wayf nowng adnming wrld, and as one o the mny lnuages lernnakigth LeaningVisible nreative Dance Educatin What i te eaing at hpens creativdce i anlementaryshol seig? hi esearch prje ivstitedhe rningfo oth eac

11、hrs stuents n four eleentay schol setngsin Ontario。 our geraist clssroom eachers who were ls expeencedintechng creative danc （atlinein documnts) e viotape aphotorahed while tching rte danceclasses Afterwads， hese tecers ereintrviewed hile wcing teid dumentton Fro thes inteiews, the researers obvaion

12、s,fiel notes，n pogaphs， moesof prcevedlearningwere proosed vi pedagogical doumentatio als。 he wordsn ictresofsudent ad ahrs we lacd panesnd ts re usd to provokefutr dialogue in r ofneo-ne intvews,ad small roup orwhe class dicsins。 Al the interviews adspcificmoment frm te video doctaton wer ransribed

13、, and log wth ehop ad stdntswrk sampls，ompised a data collction。 The ovell fnding sugget tha icrei dane classe tudents are learnin to deeloaawareness of thir danc el, anintrsujctiity sthey engae in llaboraiv creatie procses andscr th interconectde of danc as anuagfleanig. Tachrsrelearning a heir uiq

14、u leas afacilitator i creativ dc clss and dvopig an ablit o wtnes thing odes。 The Stsae Learintohink wt heir BoiesCrativedneprooksses use thei die for hnking anfor solvingprobls.A gradfieteche roke xplned, ”The deth o heir thinking aftr havi the movemnt expeince is ye thanay othr subctIve see。.Ithnk

15、 thee issoethig aboutembodyng it is tha givshemdpenking. A anothrtachr,orani, ean her ork with hrgade hree clas， se advsed the hy wold betiking in neways ey wou b showig raterthan teling She iitae an actity withthe ra he stuens in which the we wrking wth arnt susend tw thin amboooe eween theirto ine

16、 finers. Larnig o Ue Danc a a Lnguage to Uderstand Other Disilnes of Learnig isthme represens allte lernng thaitkng plac i creativdac lass h i not secificall just about lerning i ace bu soerin inothr ubjectares such a dra, sciece, math，langug, geograph， andhelthis represntte leaingthroh thance poron

17、 ohurriculum, i。ewatstudt e leainaboutoh sjecs trogh ti de。 Te firs tmeI wtesed thi wa wit Chrlie, a fouryarold kdergaten tudentexpermntig it hisscaf。 Chare as fcuse on throwing his arf inh arandwtchingi escend。 Initilly, h was scrunhg th scarf into aba, thowingit up, an wtchn itfallext，hs exerintio

18、n a differet he had new thy， erhps ispiredb thcncpt of so，whhey were exploring at days leson. laidotthe scarey carfullyandspecically on u and thewp from to crers。 This te e scarf eemed o uspeninthe a ndtengel fl dow Hetched this cion vryinntly. Histaher, Emily， rcgied, eid thesame hing yday, but toa

19、y i was more sophistiad， it hadto be spreaot in a crtain wayI shoed harlie a picuref himselfsI nteviewe hi. Dnce as a Laguaeo Learning anc is langage frnn wit a vocabuary bsdon th lemets of dne, nd student an ecometeate in dance as a languge. Becaus te lnguae of dance is mboddkowlege, alow thestudns

20、 t eprs theirnowedge aboutmanysuject throu heboies. Aaagugeof lerning， ace doe seem to connect, as Stison （19） sggess, t te ind, body, ad sit. herad ix tuents rtainly recogned itas ”unqe way of learning， that”idt rely fee ikelearnig becaus t was lso ”un.” Bod oveetanthinkigiththe body allw tent o de

21、velan cnect knowlede i ay subject e, but lo to their lives， becauseth is ief arnigwasheir body。 Fo h vey young tudets, thes interconectns (e。g. harle a is scar) redicoveed， ntually，throug playbasedeprinces。 o oler tdents，cretivedancallows h t re-connect their ogina laybased mvement larning with oers

22、uets i en ore coplex ays， e.ghegrade ix studts intepretatns o pos.The results of this stu sugget hat iis pose r studentsto knw ance s nter imortant auage lerig in our hos。 udensused heir thinkgbody nnce to ake coninstomayother curiclm area. In order fo tis type f ineconecin otake lacehoevr, dan eds

23、time on te curicula tmable， an tisrequies ear （andall thestakehlder in educatn)to vlue dnc ndthe bod s asie o leaning e mst epstodancentas n adno the da but asan esetia ebodie formo leaning about self, other， an t world.舞蹈可以作为学习和获得知识的一种来源方式理查德；马克安大略省舞蹈学校的现状是不容乐观的。也许这也反映出了公众潜意识里对舞蹈的看法及状态。我于2009年的一个研究

24、表明,一些具备各种才能的（即所谓的通才)老师,他们认为,在学生课程已经负担过重的情况下,舞蹈的地位很尴尬。因此,他们看不到舞蹈可以作为一个促进学习和获得知识的渠道之一，让人们可以在轻松愉快的氛围中,取得进步。那些通才老师不认为自己是艺术家，更不用说是一个舞者，因此他们对舞蹈课程是有偏见的(理查德，009）。在大多数情况下,这些所谓的通才老师并不知道舞蹈真正意味着什么,他们简单认为,老师站在前面，演示下舞蹈动作，然后学生学习和反复练习。在这个舞蹈指导里，老师几乎没有体现出生活技能方面的知识 (比如：人际、批判性和创造性思维等)。大多数人都不是很了解创造性舞蹈,苏史汀森(998)将创造性舞蹈定义为

25、一种艺术形式,它是基于自然的运动，而不是一个特定的运动风格，比如:踢踏舞或者芭蕾舞”.在创造性舞蹈教学与体验中，主要是学生创造舞蹈，教师的角色不是教舞蹈，而是促进学生的学习和创造。通过舞蹈,我们可以获得很多更深刻的体验,有助于拓宽教育和学习的视野。Cienne和Snowber(2009）认为舞蹈的一个独特的功能就是了解我们自己和我们周围的世界：“舞蹈将外部世界与我们身体联系在一起。首先，我们的身体通过舞蹈体验，可以与世界互动，这包括诸如触摸的感觉，跳舞时，空气轻抚我们皮肤的感觉，我们穿过空间的约束，与他人交互沟通。对于那些所谓的通才老师来说，创造性的舞蹈教育仍然是一个迷，他们把握不到舞蹈的真谛，认为舞蹈就是简单的教,以及如何教.但对于那些只知道在舞蹈室练习的舞者来说，创意舞蹈是难以捉摸的,因为他们对于舞蹈也不是有真切的体会。乔伊斯（193)认为“很多好的舞者，在创造性舞蹈教学方面，失败的原因就是因为他们不确定教的目的.考夫对舞蹈教育和舞蹈培训做了一个区分,前者注重”通过运动来自我表达，以自我认知为目的,后者则以掌握技能为目标。安大略的许多学校在舞蹈教育方面,其模式经营经常是对老师所教授的复制和不