共查询到19条相似文献，搜索用时 156 毫秒
1.
赵慧 《体育科技文献通报》2021,(2):181-182
体育舞蹈富有的大众化、社会化及市场化驱使其成为近年来发展迅速的综合性国际体育项目,并加速了我国体育舞蹈事业的发展。作为舶来品的体育舞蹈虽受中国化元素洗礼形成了独树一帜的表演风格,但由于体育舞蹈本质的西方化使中外选手的表演风格大相径庭。因此本文基于体育舞蹈的风格特点,以国内外四对知名优秀选手为研究对象,从基本技术、音乐选材、套路编排、情感表达分析其表演风格的差异性,力图将表演风格融入体育舞蹈的核心,进一步提高选手的表达能力。 相似文献
2.
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
3.
随着我国体育舞蹈界与国外同行之间交流的不断深入,我国体育舞蹈选手的舞蹈技艺有了长足进步,但与国外高水平选手相比,还在文艺修养、心理训练、音乐融洽性等方面存在较大差距.对中外体育舞蹈选手之间的差距进行分析并提出相应对策,对提高我国体育舞蹈这一运动项目的国际竞争力具有现实意义. 相似文献
4.
体育舞蹈作为一项新兴的运动项目,近年来在我国得到了长足的发展,但运动员的竞技水平与世界选手还相差甚远.通过传播学这一新角度,分析我国体育舞蹈的发展现状,提出相应的建议与措施,为促进体育舞蹈事业在我国的发展提供相关的理论支持与建议. 相似文献
5.
目前我国的体育舞蹈整体水平还比较低 ,与国外优秀选手相比 ,还存在着一定的差距 ,尤其是在选手的表现力方面。通过对培养和提高优秀体育舞蹈运动员表现力的研究 ,希望能为今后进一步提高我国体育舞蹈的运动技术水平提供有益的参考。 相似文献
6.
体育舞蹈选手气质特征的初步研究 总被引：1，自引：0，他引：1
从心理学角度探讨我国体育舞蹈选手的性别、年龄、舞种及训练水平与不同的气质结构的差异,总结出体育舞蹈选手的个性心理特征发展的一般规律,从而对不同选手应如何正确实施区别对待的心理调控方法,以及关于体育舞蹈项目的选材趋向提供宏观决策参考。 相似文献
7.
体育舞蹈是一项体育与艺术相结合的项目。在比赛中选手的表现能力是至关重要的,是取胜的关键。选手表现力的培养与提高是体育舞蹈训练中不容忽视的问题。本文就怎样培养体育舞蹈选手的表现力进行了多方面的探讨,以期为体育舞蹈训练提供参考。 相似文献
8.
试析影响体育舞蹈选手舞蹈技艺的几个非技术性问题 总被引：9，自引：2，他引：7
近几年来，我国体育舞蹈选手的技术水平有了较大的提高，但与欧美高水平选手相比，在人素养和舞蹈表现力方面还存在着一定的差距。对如何培养体育舞蹈选手的音乐修养、气质风度、化素养、舞蹈意识等几个非技术性问题进行探讨，旨在帮助舞蹈选手改变观念，提高舞蹈技艺。 相似文献
9.
青少年体育舞蹈选手运动损伤调查研究 总被引：1，自引：0，他引：1
青少年选手是体育舞蹈事业的明日之星,在从事体育舞蹈项目的队伍中,青少年选手人数最多。研究青少年问题就是研究体育舞蹈发展的未来。然而损伤是妨碍选手达到艺术颠峰的主要原因之一。因此,本文对湖北省青少年体育舞蹈选手运动性损伤进行了调查研究,结果表明：同性别不同舞种选手损伤率不同,同性别不同舞种选手损伤性质不同,不同性别、不同舞种损伤组织部位损伤率不同,不同舞种选手损伤部位不同,不同舞种损伤类型不同,摩登选手以慢性损伤为主,拉丁选手以急性损伤为主。体育舞蹈选手发生运动损伤的因素有很多：训练因素、比赛因素、场地因素等,本文针对选手运动损伤的实质因素,提出科学有效的应对方针。 相似文献
10.
体育舞蹈拉丁舞专业选手艺术表现能力研究 总被引：7，自引：0，他引：7
孟昭鑫 《天津体育学院学报》2004,19(3):66-68
借助舞蹈艺术理论和其他相关学科研究成果,并结合体育舞蹈特点以及训练经验,从主、客观两个方面阐述了制约体育舞蹈拉丁舞专业选手艺术表现能力的因素。提出了选手在舞蹈竞技中体现出的客观因素(各种表现)是物质基础,但它的体现必须具有艺术性,而艺术性是通过选手表现出的各种能力准确及巧妙地展现其主观美感意识的过程来实现的,这一过程反映的也正是选手艺术表现能力。 相似文献
11.
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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13.
‘Being in your body’ and ‘being in the moment’: the dancing body-subject and inhabited transcendence
Aimie C. E. Purser 《体育哲学杂志》2018,45(1):37-52
Sports studies is currently dominated by the intellectualist approach to understanding skill and expertise, meaning that questions about the phenomenological nature of skilled performance in sport have generally been overshadowed by the emphasis on the cognitive. By contrast, this article responds to calls for a phenomenology of sporting embodiment by opening up a philosophical exploration of the nature of athletic being-in-the-world. In particular, the paper explores the conceptualisation of immanence and transcendence in relation to the embodied practice of dance, engaging with Merleau-Ponty’s important insight that the body can be a source of transcendence. I also draw on data from in-depth qualitative interviews with professional contemporary dancers to explore dancers’ concepts of ‘being in your body’ and ‘being in the moment’, and to suggest that during the actual embodied practice of dance, dancers do not experience transcendence and immanence as they are conceptualised in philosophy. Rather, I argue, dancers experience a third mode of being that is somehow in-between these two binary terms. I have called this ‘inhabited transcendence’. 相似文献
14.
在2007～2008赛季“中国杯”花样滑冰大奖赛中，我国冰上舞蹈选手成绩较差，为了找出我国冰上舞蹈选手与世界高水平选手的差距，结合专家裁判组打分情况，采用现场观察、技术统计和录像分析等方法对我国冰上舞蹈选手与国外高水平选手的技术和得分情况进行比较与分析发现：我国选手在规定舞、自由舞、创编舞的比赛中，技术水平与节目内容水平均与国外高水平选手之间存在较大差距。 相似文献
15.
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
16.
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
17.
Steinberg N Siev-Ner I Peleg S Dar G Masharawi Y Zeev A Hershkovitz I 《Journal of sports sciences》2012,30(5):485-495
In the present study, we tried to determine the association between joint ranges of motion, anatomical anomalies, body structure, dance discipline, and injuries in young female recreational dancers. A group of 1336 non-professional female dancers (age 8-16 years), were screened. The risk factors considered for injuries were: range of motion, body structure, anatomical anomalies, dance technique, and dance discipline. Sixty-one different types of injuries and symptoms were identified and later classified into four major categories: knee injuries, foot or ankle tendinopathy, back injuries, and non-categorized injuries. We found that 569 (42.6%) out of the 1336 screened dancers, were injured.The following factors were found to be associated with injuries (P < 0.05): (a) range of motion (e.g. dancers with hyper hip abduction are more prone to foot or ankle tendinopathies than dancers with hypo range of motion; (b) anatomical anomalies (scoliotic dancers manifested a higher rate of injuries than non-scoliotic dancers); (c) dance technique (dancers with incorrect technique of rolling-in were found to have more injuries than dancers with correct technique); (d) dance discipline (an association between time of practice en pointe and injury was observed); and (e) early age of onset of menarche decreased risk for an injury. No association between body structure and injury was found. Injuries among recreational dancers should not be overlooked, and therefore precautionary steps should be taken to reduce the risk of injury, such as screening for joint range of motion and anatomical anomalies. Certain dance positions (e.g. en pointe) should be practised only when the dancer has already acquired certain physical skills, and these practices should be time controlled. 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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赛后恢复,决定着运动员在新一轮竞赛周期的训练和竞赛水平的发挥,同样决定着运动员在赛场的运动成绩。研究中等水平体育舞蹈标准舞运动员赛后恢复现状,针对现状制定恢复方法,为指导中等水平标准舞运动员在赛后恢复中提供科学的恢复方法。该文以北京体育大学艺术学院体育舞蹈专业标准舞运动员为研究对象,得出主要结论:(1)赛后恢复影响着体育舞蹈标准舞运动员在赛后训练的技术与质量。(2)赛后恢复影响着体育舞蹈标准舞运动员在下一场竞赛的水平发挥。建议:(1)中等水平体育舞蹈标准舞运动员在竞赛过后重视赛后恢复。(2)中等水平体育舞蹈标准舞运动员在竞赛过后要双管齐下,进行心理和生理的恢复。 相似文献