《巾舞歌辞》与中国早期戏剧的剧本形态

创作了西汉时期的《巾舞歌辞》是我国现存在最早的戏剧剧本。《巾舞歌辞》存在的事实表明，我国有剧本可考的戏剧史应上溯到西汉时期。     

竞技与艺术:论我国体育舞蹈的双重价值取向

文章采用文献资料、逻辑分析等方法,从舞蹈学、体育学的视角,回顾了体育舞蹈价值取向的历史演变,探讨了当前竞技取向与艺术取向下体育舞蹈的目标、功能和手段等方面的共性与异性;在此基础上分析了两种价值取向下我国体育舞蹈发展中出现的主要问题,并提出了双重价值整合的对策建议,以期为推动我国体育舞蹈发展提供有益的参考。     

贵州彝族婚嫁“跳脚舞”的社会功能剖析

舞蹈作为艺术,它所发挥的社会功能是毋庸置疑的。贵州彝族婚嫁“跳脚舞”源于贵州彝族特殊的婚俗,生动地反映了贵州彝族的社会面貌。根据中国当代舞蹈思想和外国舞蹈美学思想,作者认为贵州彝族婚嫁“跳脚舞”主要从五个方面来发挥其社会功能,它们相互联系,共同作用,传承和传播贵州彝族历史与文化。     

Body learning: examining the processes of skill learning in dance

This paper was stimulated by the authors' attempt to understand the process of skill learning in dance. Its stimulus was a period of fieldwork based at the Royal Ballet School in London, and subsequent discussions with the school's teachers and with academic colleagues about how it was that the young dancers developed their characteristic set of skills. The paper's focus and method is philosophical, although it draws on empirical data (albeit sparingly) where it is relevant to the discussion.

Many accounts of skill learning are premised on the presumption that learners come to know about their environment by representing it in the mind and that such representation is a result of a computational process involving information received through the senses. This is the dominant position of researchers in the field. In this paper, we discuss weaknesses in this information processing theory, and explore the elements of a more satisfactory approach. The account offered here locates dance skills within the context of development, in which skills are incorporated in learners through practice and training in dance environments. Dreyfus' theory of expertise and Bourdieu's theory of practice offer insights into the practical mastery young dancers carry in their bodies, which cannot be accurately formulated in terms of a system of representations. Dancers, from this perspective, do not passively follow instructions, but actively engage in tasks involving characteristic ways of moving that are situated in the nexus of relations between people and the distinctive contexts of dance. The paper suggests that skill learning in dance (or indeed any domain) is not a matter of processing information, but is imminent in the active, perceptual engagement of learner and context.     

妈祖民俗舞蹈皂隶舞探究——以莆田市灵川镇东汾皂隶舞为例

采用文献资料法和田野调查法,梳理了皂隶舞(傩舞)的产生和发展过程,分析了皂隶舞的表现形式、表演程序和动作特点,探究皂隶舞具有弘扬中华民族传统美德,宣传教化,娱乐健身等社会价值。     

国家节日的仪式在场及规约——延安新秧歌运动的文化阐释

在传统民间文化与现代政治文化中,庆典或节日仪式作为一种文化表演,是基于一定文化传统对一系列具有象征意义的符号加以程式化的表述性行为。但相对而言,前者具有一种阈限期娱神亦娱人的释放或调整功能,后者则强调特定话语场域政治目标指向中的节制与规范。延安时期的新秧歌运动已经明显地表现了出来了这一特点。伴随新生共和国的建立,陕北秧歌从农村而及城市、从西北边地而及全国的政治文化中心,逐渐成为代表共和国政治文化的红色仪典。新秧歌的这一发展轨迹及其作为国家仪式在一系列革命节日中的在场与规约,不仅凸显了其在国家政治文化和民众节日生活中的特殊地位,也深刻地反映了权威政治话语的力量和上层文化对民间文化的影响,以及特定政党意识形态的文化建构理想。     

巴渝舞、十部乐与蒙古乐曲——民族、民间、地方乐舞进入国乐殿堂探讨

民族、民间、地方乐舞进入国乐，是中华民族音乐化丰富发展的重要途径。汉《巴渝舞》、唐《十部乐》与清代的《蒙古乐曲》颇具典型意义。汉《巴渝舞》、唐《十部乐》，以至于清朝包括《蒙古乐曲》在内的诸番乐舞，都是在继承传统的基础上，不断从民族、民间、地方．以至域外音乐中吸取新的营养，丰富发展，奠了定中国多民族、多风格的音乐歌舞化基础。百乐会同熔炼，汇成中华民族音乐歌舞的海洋，在调和各民族、各地区的化精神，增强国家、民族的凝聚力方面起了有益的作用。     

论高校街舞教师的专业素养

通过街舞教学实践,从文化、技能、音乐三个方面,对高校街舞教师的专业素养进行阐述.旨在提高教师的教学能力和课堂教学质量.     

关于古典舞发展的分析与研究

目前中国古典舞无论是在创作形式还是在舞蹈表现力上都已经进入到瓶颈时期,大量作品主题不够鲜明、内容情节大同小异、舞者刻意追求高难度技术技巧而忽略对作品意境上诠释。为了使古典舞得到更好发展,在古典舞学习过程中除了加强对古典舞基础知识学习外,还要注重对其他艺术形式借鉴和应用,提升自身艺术修养,拓展创作思路,在掌握扎实基本功同时提高舞蹈表现能力。     

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