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舞蹈教育与审美教育外文文献翻译中英文

舞蹈教育与审美教育外文文献翻译中英文
舞蹈教育与审美教育外文文献翻译中英文

舞蹈教育与审美教育外文翻译中英文

英文

Theoretical Arguments for Dance as a Means of Providing Aesthetic

Education in Primary School

Sabina Macovei, Mihaela Zahiu, Roxana Sulea Abstract

Building autonomous and creative personalities is one of the ideals of integral education that also includes aesthetic education. One of its components is the education for self-expression through movement which can be achieved in school by means of physical education activities. The most representative artistic field enabling the development of an aesthetic posture through movement is dancing, and this is why we have chosen to dedicate our study to the formative-educative value of dancing and the importance of including it in primary school curricula, considering that the years spent in primary school are particularly significant in laying the foundations for the further development of the pupils’ personality.

Keywords: dance, aesthetic education, expressivity, motricity

1 Introduction

Aesthetics or “the science of artistic beauty”, as defined by Vianu (1936), is a cultural value that leaves its mark on human personality development. One of its manifestation forms is represented by dance, a human activity with many facets, from the simple pleasure of joining

together movement, music and feeling to the perfectionism of artistic performance.

From an educational perspective, this science prepares the human being to perceive, understand and promote artistic beauty. Essentially, it shapes the individual’s personality and behavior, by constructing hi s aesthetic attitude towards life and the surrounding world (Vianu, 1936; Dobrescu, 2008).

The role of aesthetic education in school has already been recognized and described in detail, as demonstrated by the rich specialized literature focusing on this to pic. In this context, Neac?u (1988) emphasizes that “the aesthetic component in the human personality structure” is achieved by educating the pupils’ sensitivity “for and through the beautiful”. The author highlights that aesthetic education has a well-def ined role in building the pupils’ personality, and it includes elements that go beyond the aesthetic and the artistic and can be traced back to philosophical, psychological, anthropological, ideological or cultural roots.

Along the same lines, Cristea draws a distinction between aesthetic education and other educational forms and methods used in school, specifying that the former develops sensitivity to beauty in art and nature, in society and in various artistic fields. Cultivating artistic attitude is one of the premises of pre-university education and it involves two

fundamental aspects: “education for art” and “education through art” (Cristea, 1947). The former aims at developing the pupils’ artistic sense and their desire to learn how to appreciate beauty in art and nature and to be receptive to values. Education through art is designed to develop the pupils’ personality, which will later incorporate new perspectives in adult age.

Physical education can also be included among the subjects whose goal is, among others, to achieve aesthetic education. Physical education is recognized to have formative-educative valences that contribute, along with the development of both motor and psychomotor behaviors and various bio-motor capacities, to ensuring a constant and consistent enhancement of creativity (St?nescu, 2002). Motor activities performed in schools contribute to achieving the pupils’ education for and through movement, thus directly contributing to the integral development of their personality.

2. Purpose and hypothesis

The purpose of our theoretical approach is to argue in favour of the formative-educative value of dance, as a means used to achieve aesthetic education, as well as in favour of the important role it plays in fulfilling the objective of physical education.

Our reference to primary school relies on both ontological and pedagogical considerations, this being a period in the pupils’ life that is

crucial for the construction of movement fundamentals, in parallel with the development of creativity and artistic sensibility. We start from the theoretical hypothesis that the implementation of the means of dancing into various sequences of physical education classes can contribute to achieving the goals of aesthetic education and to increasing the attractiveness of those classes.

3. Current state of play

Primary school, as the first schooling cycle, induces deep modifications in the children’s life and significantly influences their evolution over the years. This is a period of fundamental changes, with an influence on the further development of the personality because, due to its eminently educative function, primary education ensures the acquisition and the basis for “the construction of knowledge and skills later on in life” (Golu, 2010).

From the point of view of physical education, the beginning of primary school coincides with the time when children start acquiring the specialized motor skills specific to various motor or sports activities. The children’s future competences related to movement, t o motor learning and to self-expression through movement will depend on their experiences accumulated during primary school. According to Puran and St?nescu (2010), if movement patterns, along with motor communication and expression patterns, fail to be developed at the appropriate age, this will

have a limiting effect on the individual’s skill acquisition capacities.

During primary education, the formative purpose of pedagogical intervention targets the acquisition of abilities, capacities and intellectual operations, while physical and motor education aims at improving coordination (Golu, 2010). Among the elements making up motor capacity, coordination is a component that can be developed starting with an early age. Weineck (1994) noted that deficiencies in the manifestation of this capacity are not necessarily due to some insufficient hereditary predisposition, but rather to the inappropriate attention given to its development already in the first years of life. This capacity ensures the accuracy, fluidity and deftness of overall body movement and the movement of body segments or, to be more specific, it is the prerequisite for the best execution of the motor program (Manno, 1992). If we refer to dancing, we can state that coordination-related aspects are maximally involved in any dance, due to the variety and diversity of movements associated with music they include.

4. Perspectives in the field

According to pedagogical literature, aesthetic education in school pursues the following objectives (Cristea, 1994):

? to build up and educate sensibility to beauty;

?to cultivate taste and aesthetic judgments and to configure the aesthetic attitude;

? to develop creativity;

? to develop the capacity for social integration and receptivity to the environment.

Within physical education, aesthetic education can be achieved through expressive corporal activities, such as dance, rhythmic gymnastics, aerobics, aesthetic gymnastics, pantomime, eurhythmics etc. These activities have a self-shaping role on the body, with effects upon (Epuran, 2006):

? the creation of a real self-image, as compared to the ideal image;

? the increase of self-confidence, due to enhanced body awareness, self value and social awareness;

?the development of the capacity to use non-verbal language through bodily motor communication;

? the improvement of the capacity to cope with different situations.

In practice, the didactic approach can be oriented towards the development of two categories of competences, some of them of a motor-behavioral type, reflected by the execution capacities, others of a psycho-creative type, reflected by the creation capacities, as showed in Table below (Levieux, Levieux, 1997).

Within the formative-educative process, dance can be practiced in schools as a form of cultural and recreational education or as a method for developing motor skills, with an emphasis on the coordination-related

aspects. These elements result from the general modalities of dance practice that are oriented towards two types of activity:

? Physical-artistic activities – performed for fun, with a recreational or an educative-formative goal. We can include here educational approaches within physical education classes.

?Cultural-artistic performance activities –carried out in public. Dance, as a cultural activity with a stage presence, involves a purposeful communication, where both the expression and the motor aspects are performance-related. We can include here school feasts and participation in various festivals.

The objectives of aesthetic education through dance are equally focused on the motor, psychomotor, intellectual and creative aspects. We have listed below some of the aspects that can be developed through dance practice (Dobrescu, 2006):

?artistic attitude and execution, which ensure a correct body posture;

? corporal expressivity, plasticity and elegance in movement;

? musical sense, through the development of motor rhythmicity and musicality;

? corporal scheme and movement fundamentals;

?different types of coordination, through the utilization of a wide range of movements;

artistic personality, imagination and creativity.

Not accidentally, some definitions of dance formulated by specialists in physical education reflect these desiderata:

“Dance is the aesthetically evaluated rhyth mic movement through which different emotional states and feelings are expressed and where motor symbols are consciously composed for the pleasure and satisfaction of the execution, for the creation of some exquisite movement forms, of knowledge, expression and communication through body language” (Vi?an, 2005). “Dance is a group of corporal rhythmic movements performed to a melodic rhythm, used as a means of communication, motor education, physical development and health preservation, socialization and con fidence building.” (N?stase, 2011).

School dancing, in parallel with the development of an aesthetic attitude and of motor skills, enables pupils to overcome their inhibitions and develop their musical sensibility. It will thus contribute to the achievement of the competences pursued by self-expression activities through movement: voluntary desire for motor expression, for communication with other people and for using one’s own body as an expressive object (Usmer and Rollet, 1995). In an attempt to provide a more memorable definition of dancing, we have composed an acrostic that is shown in Table 2 below. We cannot claim, however, that our little word game satisfies all the rules usually associated with this poetic form.

5. Practical applications

Dance, as a motor-artistic activity, makes use of a varied and complex motor repertoire. Its accessibility depends on the target group and the objectives pursued. Through its judicious gradual implementation, it can be included in the content of physical education classes since the very first years of school. The acquisition of the specific motor content depends on the type of dance selected, on the school facilities available and last, but not least, on the te acher’s specialized knowledge (Vi?an, 2005).

Physical education curricula for the primary cycle specify neither reference objectives for aesthetic education, nor examples of activities to be used for learning how to dance. However, some of the curricula do include similar skills, for instance some steps specific to gymnastics. If we consider the recommendation that movement should be associated with music, we think that the introduction of some step types taken from folk dancing or dance sport would be most welcome. On the other hand, we should not overlook the contribution dancing can have to the education of movement fundamentals. From this perspective, it is important to emphasize the particular contribution it can have to the education of a correct body posture, an essential element to be developed in the first school years.

Correct posture represents a warranty for the health of the locomotor

apparatus and it depends on both the positioning of the body’s centre of gravity and on muscular activity. Building up the right posture and the bearing specific to various motor activities represents a prerequisite for each individual’s motor personality, its effects being reflected throughout his lifespan (Macovei and Vasile, 2009). If we analyze the reference objectives stipulated in the physical education curricula for the primary grades, we find that most of those objectives can also be achieved through means specific to dancing, whose educative offer also has the added value of being more attractive, due to the association between movement and music.

Practical and methodological experience has proved that the means of dancing, through their various and attractive contents, can be implemented into different parts of physical education classes, as they contribute to the education of aesthetic movement, the fulfilment of operational objectives, the increased diversity and attractiveness of the learning content (Vi?an, 2005; Macovei, Bu?u, 2008). In this context, we have developed a proposal that we present in Table below.

6. Conclusions

The implementation of the means of dancing in the content of physical education classes in primary school contributes to the achievement of the goals of aesthetic education, by ensuring the early construction of the aesthetic attitude in movement and the development of

the capacity for motor expression. Through dancing, children will be educated to freely express themselves, to repress their inhibitions, to know themselves and to communicate through their bodies. Dancing contributes directly to the education of a correct posture and builds up an aesthetic attitude of the body in motion, which eventually leads to harmonious physical development, in parallel with the development of coordination capacities.

中文

舞蹈作为审美教育的一种手段的理论论证

摘要

建立自主性和创造力的人格是教育的理想之一,其中还包括审美教育。它的组成部分之一是通过运动进行自我表达的教育,这可以在学校通过体育活动来实现。能够通过运动发展出审美姿势的最具代表性的艺术领域是舞蹈,这就是为什么我们选择将研究致力于舞蹈的形成性教育价值以及将其纳入小学课程的重要性的原因,考虑到在小学度过的几年特别重要,这为进一步发展学生的个性奠定了基础。

关键词:舞蹈,审美教育,表现力,运动能力

1引言

Vianu(1936)定义的美学或“艺术美的科学”是一种文化价值,在人类个性发展上留下了印记。它的一种表现形式是舞蹈,它是一种具有许多方面的人类活动,从将运动,音乐和感觉结合在一起的简单

乐趣到艺术表演的完美主义。

从教育的角度来看,这门科学使人们做好了感知,理解和促进艺术美的准备。本质上,它通过构建个人对生活和周围世界的审美态度来塑造个人的个性和行为(Vianu,1936;Dobrescu,2008)。

审美教育在学校中的作用已经得到了认可和详细描述,正如专注于该主题的丰富专业文献所证明的那样。在这种情况下,尼亚库(Neac)u,1988)强调“人格结构中的审美成分”是通过教育学生“对美丽的追求”而实现的。作者强调,美育在培养学生的人格中具有明确的作用,它包括超越美学和艺术的元素,并且可以追溯到哲学,心理,人类学,思想或文化的根源。

同样,克里斯蒂亚(Cristea)区分了审美教育与学校使用的其他教育形式和方法,并指出前者对艺术和自然,社会以及各个艺术领域的美感越来越敏感。培养艺术态度是大学预科教育的前提之一,它涉及两个基本方面:“艺术教育”和“通过艺术进行教育”(Cristea,1947年)。前者旨在培养学生的艺术感和渴望学习如何欣赏艺术和自然之美以及接受价值观的渴望。通过艺术进行教育旨在培养学生的个性,稍后将在成人时代融入新观点。

体育也可以包括在目标之中,以实现审美教育为目标的学科中。体育被认为具有形成性的教育价,随着运动和心理运动行为以及各种生物运动能力的发展,有助于确保创造力的持续不断提高(St?nescu,2002)。在学校进行的汽车活动有助于实现学生对运动的教育,并通过运动来实现,因此直接促进了他们个性的整体发展。

中英文文献翻译

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达到优生优育的目标。 4.编制科学的测量工具,多种方法综合运用。 5.注重文化,环境各种因素对早期教育的影响。 【参考文献】 [1]李彩红.早期教育对幼儿体格和智能的影响[J].中国妇幼保健,2010年34期:5029-5030. [2]杨宁.儿童游戏:行为种系发生与个体发生之间的桥梁——三论进化、发展和儿童早期教育[J].学前教育研究,2010年11期:3-11. [3]程沿彤.走出早教误区学会读懂孩子[J].黑龙江科技信息,2010年36期:227. [4]吴小姝.121例婴幼儿智能发育测试结果分析[J].安徽卫生职业技术学院学报,2010年06期:40-41. [5]刘颖.医院内对弃婴进行早期教育初探[J].山西护理杂志,1993年04期:29-30. [6]郭映红.家长参与对早期教育的影响——国内外相关研究述评[J].市场论坛,2010年11期:103-104. [7]王建春.浅谈婴幼儿语言发展与智力开发的关系[J].黑河学刊,2010年12期:172-175. [8]袁爱玲.学前创造教育课程及其理论构建[D].重庆,西南师范大学(博),2001. [9]裴小倩.全球化背景下有关中国学前教育的地域文化研究 [D].上海,华东师范大学(博).2010. [10]傅敏敏.关于培养幼儿早期阅读兴趣的研究[D].上海,华东师范大学(硕).2005. [11]卜维勤.绘画·成才:早期艺术教育对话[M].天津:新蕾出版社,2000年01月第1版. [12]陈汉生.教子成才的奥秘[M].郑州:中原农民主板社,1992年03月第1版.

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