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摩登舞端庄稳重、含蓄典雅，对于提高舞者审美情趣和个人修养有着普通交谊舞和拉丁舞累可替代的作用，亦因此深受大学生欢迎。但是，目前高校体育舞蹈选项课中，摩登舞教学受传统双人舞模式及舞蹈动作过于规范的制约，教学效果不甚理想。打破传统双人舞模式，着眼于培养舞者音乐鉴赏力、身体协调性及优美身形的单人摩登舞教学注重舞蹈基础练习，降低了舞蹈动作的难度。能够满足大学生学跳摩登舞的强烈愿望，提高教学效果。 相似文献
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本文就摩登舞教学环节中不同教学内容对大学生素质教育的促进作用展开讨论。事实证明,摩登舞多元化实用性教学包括:音乐鉴赏陶冶情操提高个人修为及价值品位;着装配饰讲究得体大方不失风度;技术动作教学注重规范强调原则;配合意识提升默契程度懂得自我检讨;礼节礼数体现人际交往相互尊重。通过摩登舞教学让大学生明确端庄的外表、优雅的举止、真诚的语言、热情的态度能反映出一个人的思想修养,文明程度和精神面貌;优质素养的大学生,才有可能得到社会的认可,获取更大的成功。 相似文献
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本文应用力学原理,对舞蹈过程中的力,进行了探讨,明确了舞伴间的合力,是摩登舞流畅、优美的基础,研究了舞蹈中的动力来源和相互转换,丰富了摩登舞教学理论。 相似文献
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体育舞蹈摩登舞选手身体素质训练探讨 总被引：1，自引：0，他引：1
体育舞蹈摩登舞是国际流行的一项时尚体育运动，它有丰富的娱乐内涵和强烈的体育竞赛特征。随着摩登舞的发展，其对选手的身体素质要求越来越高。本文借助体育运动训练原理和其他相关学科的研究成果，结合训练经验，就摩登舞选手的身体素质训练进行了较深入的研究，为摩登舞选手的训练提供理论参考。 相似文献
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摩登舞与拉丁舞的比较分析 总被引：5，自引：0，他引：5
体育舞蹈是当今国际上流行的时尚体育运动，具有强大的生命力，深受广大体育爱好者的喜爱和追求。本文对摩登舞与拉丁舞进行比较分析，其结果表明：摩登舞与拉丁舞虽然均属于体育舞蹈的同类体系，但是由于它们的发展阶段以及本身的风格和技术特点不同，而表现出较大的差异。体育舞蹈爱好者应有针对性地选择主攻发展方向，从而达到锻炼身体的良好效果。 相似文献
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应用力学原理剖析摩登舞训练技巧 总被引：2，自引：0，他引：2
摩登舞是运动中的舞蹈,当舞者开始滚动支撑腿的膝关节,随着膝关节的滚动,带动重心的移动,当重心与地板产生夹角后,根据力学原理,就产生了水平分力,这个水平分力就是摩登舞的动力来源;同时产生的垂直分力的反作用力,通过支撑腿、脊柱、贯穿头顶,支撑舞者在运动中依然能够保持挺拔,即：脚下生根,有立地顶天的感觉。由此,这个合力是跳好摩登舞的美键,也是摩登舞所有技巧的根本。 相似文献
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体育舞蹈是在有特定节奏的音乐引导下男女选手以娴熟精湛的技艺,高度协调的默契配合,展现出舞蹈、音乐、体育相结合的艺术之美的运动.体育舞蹈包含拉丁舞和摩登舞共10个风格迥异的舞种.1960年拉丁舞才正式成为世界公认的体育舞蹈比赛项目,拉丁舞几十年的发展历史虽然短暂,但是变化很大.从之前的娱乐舒缓的简单舞步发展到现在花样复杂多变、风格各异。 相似文献
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前言国际体育舞蹈是一项舞蹈与音乐有机的结合，并力求按照美的规律去显示高超的技艺的运动，也是一门身体与心灵相融合的艺术。它又称“国际标准交际舞”，共分两大类，一类为摩登舞，另一类为拉丁舞。本文探讨的主要是摩登舞，其中包括维也纳华尔兹，摩登华尔兹、摩登探戈，慢狐步和快步舞。一、维也纳华尔兹(VIEENNESE WALTZ)历史上最早记载的一种3/4节奏的舞蹈是1559年法国普罗旺斯地区流行的一种称为“沃尔塔”(Volta)的农民舞蹈，沃尔塔现已被宣称为意大利的民间音乐，在意大利语中，沃尔塔一词的意思为“旋转”，可见这种舞蹈… 相似文献
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《European Journal of Sport Science》2013,13(7):640-646
AbstractIn the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however, situational context has to be taken into consideration when explaining the influence of dance on mood. 相似文献
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文章采用文献资料法、调查法、数据统计法等研究方法,通过对我国职业组标准舞和拉丁舞选手进行比较分析,得出标准舞与拉丁舞虽同属于体育舞蹈项目下的两大分支,但因其舞蹈风格和技术特点的不同,所以在标准舞与拉丁舞选手体型、身高、性格等方面都存在差异。文章旨在为我国体育舞蹈后备人才力量的选拔以及体育舞蹈参与者结合自身特点选择发展方向提供参考和理论依据。 相似文献
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Amy Jo Vassallo Bronwyn L Trevor Liana Mota Evangelos Pappas Claire E Hiller 《Journal of sports sciences》2019,37(10):1113-1122
The purpose of this study was to systematically review the literature and synthesise the evidence on injury rates and characteristics in recreational, elite student, and professional dancers. Five online databases were searched from inception to January 2018 and screened by two independent reviewers. Primary research studies were eligible for inclusion if they reported injury rates in recreational, elite student, and/or professional dancers of any genre and measured individual dance exposure at the hour, event, or day level. Sixteen studies were included, with only three studies incorporating recreational dancers. Reported injury incidence rates were less than 5 injuries per 1,000 dance hours, however substantially different definitions and methods for measuring injury and dance exposure were used. Based on the current evidence there is not an identifiable difference in injury rate or characteristics between recreational, elite student, and professional dancers. However, there remains a lack of high quality comprehensive data available across levels and genres of dance participation, and greater focus on consistency and completeness of reporting in dance injury research is still required. 相似文献
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Pipsa Nieminen 《Sport, Education and Society》2013,18(2):221-234
Abstract The study was designed to determine how individuals become socialised into folk, competitive ballroom, ballet and modern dance through an investigation of background variables, the influence of significant others and the participation profiles of dancers, and the identification of those socialization and involvement variables that best discriminate among different groups of dancers. The subjects were 308 adolescent and adult dancers of at least 16 years of age who had pursued their main dance form for a minimum of three years. The data were collected by questionnaire, supplemented with some additional data gathered through personal interviews. Differences between the four dance groups were analysed using t‐test, Chi Square analyses, analyses of variance, Scheffe's multiple‐range test and discriminant analysis. Most subjects were from the middle or upper socio‐economic classes. Most art dancers were women while social dancers displayed a more even distribution of sexes. Ballet dancers were youngest and ballroom dancers oldest when they started dancing. Mother's influence was significant among those who had started dancing at a young age while a friend of the same sex was influential among all respondents regardless of the age at which they had taken up dancing. Among men the influence of a friend of the opposite sex was also significant. The involvement of other family members in dance correlated most strongly with folk dancing, least strongly with modern dance. The dance teacher or coach was perceived as the most encouraging person in every dance form. The most wide‐ranging past and present dance activities were found among modern dancers. The variables which best discriminated between dance forms were starting age, the variety of present dance activities and the intensity of practising one's main dance form. Such differences in socialisation into different dance forms should be taken into account when developing dance and dance teacher education curricula, teaching dance and planning recreational dance activities. 相似文献
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Due to the significant amount of time dancers spend on the forefoot, loads on the metatarsophalangeal joints are likely high, yet vary between dance movements. The purpose of this study was to compare joint motion and net joint moments at the metatarsophalangeal joints during three different dance movements ranging in demands at the foot and ankle joints. Ten healthy, female dancers (27.6 ± 3.2 years; 56.3 ± 6.9 kg; 1.6 ± 0.1 m) with an average 21.7 ± 4.9 years of dance training performed relevés (rising up onto the toes), sautés (vertical bipedal jumps), and saut de chat leaps (split jumps involving both vertical and horizontal components). Metatarsophalangeal joint kinematics and kinetics in the sagittal plane were calculated. Total excursion and peak net joint moments during rising or push-off were compared between the three dance movements. Greater extension of the metatarsophalangeal joints was seen during relevés compared to sautés or saut de chat leaps, and the largest metatarsophalangeal net joint moments were seen during saut de chat leaps. The metatarsophalangeal joints frequently and repetitively manage external loads and substantial metatarsophalangeal extension during these three dance movements, which may contribute to the high rate of foot and ankle injuries in dancers. 相似文献
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现代冰上舞蹈的创编中,融入各国文化与民族元素已经成为一种必然的发展趋势,我国冰上舞蹈运动员在冰上舞蹈的创编过程中融入中华文化元素,对于提高我国冰上舞蹈的比赛成绩、促进世界花样滑冰运动的发展具有重要意义。认为中华传统武术与民族舞蹈体现出的中华文化的内涵,是中华文化的表现形式之一。提出冰上舞蹈运动员在设计与表演中应从内容的来源、节奏的表现、舞蹈的编排、风格的展现等方面借鉴传统武术与民族舞蹈的元素,利于其用精彩的技术动作,深情地演绎出故事情景与音乐感受,使音乐表达与节奏的配合谐调、优美,用中华文化的博大精深征服观众与裁判。 相似文献
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冰上舞蹈是我国花样滑冰弱势项目,寻找与世界优秀选手的差距是提高我国冰上舞蹈运动员的关键。通过对2014年中国杯世界花样滑冰大奖赛冰上舞蹈比赛中外选手的比赛观察,对我国选手在短舞蹈和自由舞的技术和节目内容进行研究,发现我国选手在滑行技术、动作链接、节目完成和身体表现、节目编排以及音乐的表达方面与外国优秀选手之间还有一定的差距,特别是在滑行用刃、节目内容上存在不准确、对音乐理解和舞蹈动作不到位等问题。认为我国选手应尽快熟悉花样滑冰国际比赛的程序与规则,加强滑行技术的基础练习,建立专项艺术训练模式,提高花样滑冰冰上动作的艺术表演内涵与深度,才会使我国冰上舞蹈项目整体水平得到提升。 相似文献
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体育舞蹈中,舞蹈不仅仅是表现舞蹈节奏的工具,更重要的是体现出体育舞蹈的内在美来,因此必须将音乐与体育舞蹈有机紧密地融为一体,具有一定的音乐知识积累可以使舞者准确的理解舞曲的风格及内涵,把握各种舞曲的结构特点,了解不同的乐器,配器和声所带来的不同感觉和感受,进而准确的表现音乐提高音乐表现力。在进行音乐知识教育的时候要有针对性,要根据舞蹈的实际需要挑选与舞曲紧密相关的知识进行传授。 相似文献
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舞蹈的表现和表演能力日益成为限制我国花样滑冰运动员竞技水平提升的重要因素,培养花样滑冰运动员的舞蹈表现能力和表演能力是目前我国花样滑冰运动员培养工作中的重要任务.采用文献资料法对花样滑冰运动员舞蹈技能相关文献进行归纳总结,结果表明:舞蹈技能是花样滑冰运动员应该具备的基础能力,其包括芭蕾舞、国际标准舞、现代舞和民族舞等4种表现形式.提出花样滑冰运动员舞蹈技能的培养应从音乐素质、舞蹈能力和艺术表现力等3个方面入手,为花样滑冰竞技训练水平的提高理论参考. 相似文献
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焦喜便 《体育科技文献通报》2009,17(9):38-40
标准舞的基础训练内容有身体、技术、艺术、心理、思想政治教育、智力和战术训练。技术包括升降、反身、摆荡、倾斜、重心的移动、气息的运用、侧身、延伸、脚的位置、左右肩引导、外侧舞伴预备步、外侧舞伴侧行位置、外转圈、内转圈、轴转动作、平衡、足跟转、足跟运转、足跟拖、分式运转、刷步、右轴运转、并式运转等。升降、反身、摆荡、倾斜、重心的移动、气息的运用、侧身、延伸、舞蹈姿态是标准舞的九大技术。由于基础训练阶段的特性和标准舞技术的特性,升降、摆荡、反身、重心的移动、舞蹈姿态是标准舞基础训练阶段应重点练习的技术内容。本文主要通过课堂观摩,总结出目前国内标准舞课堂普遍使用的练习这五大技术的方法,希望能为标准舞的学科理论建设做一份贡献,并能为广大标准舞初学者提供具有参考价值的练习方法。 相似文献