湖南瑶族的盘瓠文化     

万竹青 《零陵学院学报》2004,25(1):204-205

湖南的瑶族作为少数民族瑶族的一支，在祖先崇拜的原始宗教基础上，发展演变并逐步形成了独特的民族习俗——盘瓠化。  相似文献   

浅谈高职舞蹈教学中的策略与实践   总被引：1，自引：0，他引：1  

汲艳蕊 《黄冈职业技术学院学报》2010,12(5):60-62

舞蹈教育能够提高受教育者的艺术鉴赏力、创造力、艺术气质和修养。高职院校舞蹈教育主要以提高学生艺术气质,提高舞蹈基本能力和表现力以及对"美"的认识为目的。因此,要求我们在舞蹈教学中,必须坚持舞蹈基础为重点,突出美感教学。并根据学生的实际,因材施教,强化实践教学,确保高职舞蹈教学质量。  相似文献   

高校体育课拉丁舞教学初探——单人拉丁舞教学初探     

雍桂军 《桂林师范高等专科学校学报》2007,21(2):87-89

在高校体育教学中,单人拉丁舞教学是一门新的学科。它与其他体育项目教学有所不同,为了更好地提高教学质量,达到教学目标,单人拉丁舞教学应从课堂的优化、注重教学方法、抓住教学重点、难点等几个方面进行。  相似文献   

交谊舞选项课学生体育成绩的评价体系与指标构建研究     

司鹏巧  吴立柱  封彬 《保定师专学报》2011,(3):103-106

运用文献资料、问卷调查等方法,结合交谊舞项目特点及教学实践情况进行分析,对交谊舞课程学生体育成绩的评价体系进行了构建,并对评价指标进行筛选,确定二级指标中的技术动作、协作意识、进步幅度和出勤情况作为主体评价指标,运用权重评分法对学生的学习成绩进行综合评价,通过综合评价指标正确引导学生,促进学生树立正确的体育学习观,以便更好地完成体育教学目标.  相似文献   

还都猖愿与跳鼓坛比较     

孙文辉 《湖南城市学院学报》2011,32(4):68-72

"还都猖大愿"是遗存在新化县洋溪镇官渡桥的一种汉人大型傩仪,"跳鼓坛"是保存在新宁县八峒瑶乡的一种大型瑶族傩仪。两地相距数百里,隔着崇山峻岭,均地处幽寂偏僻,但两处的傩仪有许多相似之处。这种相似,能为我们提供一些文化人类学的思考。  相似文献   

体育舞蹈课中矫正学生自卑心理的探究     

王学农 《郧阳师范高等专科学校学报》2011,31(6):73-74

通过文献资料法、观察法,对体育舞蹈课中学生产生自卑心理的原因及其矫正的方法手段进行探究.得出在教学中对自卑型的学生应多给予鼓励和帮助,少些批评与责罚,增强其自信心,引导他们逐步走出自卑心理的屏障.  相似文献   

湘西瑶族村落民俗体育“舞虫灯”的口述史研究          下载免费PDF全文

孙群群  白晋湘  罗玲  宋彩珍 《体育科研》2017,(1):57-62

运用口述历史法、田野调查法、文献资料法等方法，对湘西瑶族村落民俗体育“舞虫灯”进行研究，研究发现：“舞虫灯”是湘西瑶族村落进行祭祀的一种古老民俗体育活动，其祭祀仪式由开场——打鼓敲锣、垫场——插秧舞、高潮——舞虫灯、结尾——打猎舞组成。舞虫灯的起源传说的口述记忆是现阶段了解其历史发展的重要途径。舞虫灯现代传承与发展的途径选择应该是多元化、科学化的一个缓慢自我完善过程。  相似文献   

Kinematic analysis of hip and knee rotation and other contributors to ballet turnout     

Amy E. Quanbeck  Sara C. Handley  Deborah S. Quanbeck 《Journal of sports sciences》2017,35(4):331-338

Turnout, or external rotation (ER) of the lower extremities, is essential in ballet. The purpose of this study was to utilise physical examination and a biomechanical method for obtaining functional kinematic data using hip and knee joint centres to identify the relative turnout contributions from hip rotation, femoral anteversion, knee rotation, tibial torsion, and other sources. Ten female dancers received a lower extremity alignment assessment, including passive hip rotation, femoral anteversion, tibial torsion, weightbearing foot alignment, and Beighton hypermobility score. Next, turnout was assessed using plantar pressure plots and three-dimensional motion analysis; participants performed turnout to ballet first position on both a plantar pressure mat and friction-reducing discs. A retro-reflective functional marker motion capture system mapped the lower extremities and hip and knee joint centres. Mean total turnout was 129±15.7° via plantar pressure plots and 135±17.8° via kinematics. Bilateral hip ER during turnout was 49±10.2° (36% of total turnout). Bilateral knee ER during turnout was 41±5.9° (32% of total turnout). Hip ER contribution to total turnout measured kinematically was less than expected compared to other studies, where hip ER was determined without functional kinematic data. Knee ER contributed substantially more turnout than expected or previously reported. This analysis method allows precise assessment of turnout contributors.  相似文献   

Performing Bandung: China’s dance diplomacy with India,Indonesia, and Burma, 1953–1962     

Emily Wilcox 《Inter-Asia Cultural Studies》2017,18(4):518-539

While dance was a common element of international diplomacy activities around the world during the 1950s and early 1960s, scholars have only recently begun to focus attention on this topic, especially as it concerns relationships forged beyond those of the Cold War superpowers. Using previously unexamined historical materials such as rare photographs and performance programs, dancer biographies, autobiographies and personal interviews, unpublished institutional histories, and contemporary periodicals, this article demonstrates not only that dance was an integral part of China’s inter-Asian cultural exchange between 1953 and 1962, but also that the PRC developed a distinct approach to dance diplomacy. Through a series of exchanges with India, Indonesia and Burma, China’s foreign ministers and dancers developed and refined a method of dance diplomacy in which the primary goal was to learn from, rather than export to, these neighboring countries. This approach harnessed the affective power of embodied aesthetic culture to literally “perform” Bandung ideals, namely, cooperation and mutual respect among Asian nations and an anti-imperialist cultural stance. Through the establishment in 1962 of the Oriental Song and Dance Ensemble, the PRC institutionalized this model of dance diplomacy, expanding it to include the entire Third World. Bandung-era dance diplomacy initiatives of the 1950s and early 1960s not only supported important new international alliances and political movements, but also asserted China’s self-identity as part of the East in the way that challenged Eurocentric ideals previously entrenched in China’s domestic dance field.  相似文献   

马王堆“导引术”与舞蹈的中医养生价值探析*     

朱〓奕 《广州体育学院学报》2017,37(5):80-83

马王堆"导引术"源自汉墓出土的帛画《导引图》中的图式,是迄今为止我国流传最广的一套用来保健与治疗疾病的养生功法;舞蹈作为一种人体动作的艺术,远古时代已被运用为导引养生手段.从梳理马王堆"导引术"与舞蹈养生同源、同功的渊源关系出发,运用中医哲学思想的"整体观念"理论,通过研究其形与神俱、精气神、经络说的养生观点,揭示了基于两者保健预防、祛病治疗、心理调剂的中医养生的实践价值.  相似文献