In the physical training of non-professional dance education, the problem we have to solve is whether students can have a good figure and posture, and whether they can master the interactive movement links between different parts of the body flexibly and harmoniously through the joint activities of all parts of the body, so as to achieve the most basic physical qualities such as flexibility, control and strength of dance as much as possible, and continuously improve students' perception, imagination, sports ability and creativity in the training process.
For the vast majority of beginners, the self-control of the body is relatively poor, which is manifested in: sitting up straight, standing up straight, squatting, jumping, swinging unevenly and straightening. Is this because students still have feelings about their body parts? Undeveloped? State, do not understand the laws of body movement, so it is easy to cause physical training or whole body stiffness, or not soft. So in the process of physical exercise, we often say that some students can't dance, their bodies are stiff and their limbs are uncoordinated. Actually, this kind? Stiff? And then what? Discordant? It is precisely because students don't know their own bodies, lack of understanding of the laws of body movement, and lack of understanding of the relationship between exercise, breath and strength.
Common problems in physical training
1. The sense of rhythm is poor, and the movements are out of step with the rhythm. Most students who have this problem in dance lack rhythm awareness. How to solve this problem? Teachers can choose music with obvious sense of rhythm, first teach students how to shout and fight, and then move slowly with the beat, and then gradually return to normal speed after the movements are skillfully synchronized. Practice has proved that in the usual physical training, as long as students develop the habit of shouting in their hearts. Usually, students should always listen to music with different rhythms, follow the rhythm with the simplest body movements, or do some rhythm exercises, which will greatly improve people's inner rhythm.
2. The movements are weak. The reason for the problem is that students lack the awareness of internal support. In order to solve this problem, teachers can arrange for students to hold an object weighing about 2 kilograms in each hand, then put it in different arm positions to feel the force exerted by their hands and arms in different positions, and finally take the object away and do the same exercises without physical objects, so that students can slowly find the sense of exertion when holding physical objects, realize the source of force and gradually form the consciousness of internal force support.
3. Clumsy body and stiff movements. In this case, students often can't find the right point of exertion or overexert. At this time, teachers should pay special attention to the training of students' body parts, so that they can fully understand their own bodies, gradually achieve the purpose of freely operating various parts and muscles of their spine, and then find the feeling and state of relaxation in the future training process.
4. The action is not in place. Most students in this situation lack a sense of extension of action. In order to solve this problem, in training, teachers can guide students to do more stretching exercises and confrontation exercises, and feel the stretching feeling and internal resistance of limbs in the process of slower movements, so as to realize the coordination of action strength and breath control, thus gradually solving the problem of insufficient movements.
5. The movements are dull and expressionless. This is because students lack the inner feelings of combining with action. At this time, teachers should constantly inspire and guide students to pay attention to the inner feelings in the training process. In dance training, teachers can guide students to hum the melody of music in their hearts, gradually integrate their body and mind into the music situation, and slowly open the door to mental imagination.
These are common problems in physical training, especially in ordinary schools, especially among students without any dance foundation, and sometimes there are many problems at the same time. The author believes that physical training is not the imitation of external skills. To solve students' practical problems mechanically, teachers should let students master the laws and methods of physical exercise, and let students learn to control their limbs reasonably with inner consciousness, breath and strength, so as to gradually achieve the purpose of exercising.
Methods of physical exercise
The purpose of teachers' teaching is to enable students to master learning methods and improve their ability to solve problems. Students should fully understand the morphological changes of their limbs, every muscle and even every joint through learning, and give corresponding breathing and strength in each change. Then, through enlightening language, teachers gradually arouse students' inner consciousness, stimulate students' inner imagination, let students feel and experience the process of each training movement with their hearts, realize the strength, breathing, control and extension of the movement, turn unconsciousness into consciousness, and turn passivity into spontaneity, thus flexibly controlling limbs and freely expressing the connotation of dance.
In the process of physical training, some contents are taught to students through teachers' prior selection of materials, careful arrangement and arrangement, thus forming the accumulation of dance skills, such as dance steps and combinations. Some contents need to be inspired and guided by teachers, so that students can feel and experience themselves within the prescribed scope, such as the practice of more abstract elements such as breath, strength and control. Of course, these more abstract internal elements are the fundamental guarantee of externalized action skills. Therefore, in physical training or basic skills training, in order to get twice the result with half the effort, teachers should not be eager for quick success and instant benefit, and blindly teach movements when students have not fully understood and mastered the rules of movements, thus avoiding formal imitation and dance without connotation. So, is it necessary for teachers to do this before physical training or basic skills training? Exercise? Training enables students to exercise their bodies purposefully, systematically and consciously. The author will talk about the methods of physical training from three aspects.
1. Respiratory training. People's breathing rhythm is normal, for example, there is a pause when reading sentences, and there is breathing when singing. Sound is controlled by breath, and the breathing of dance is also controlled by body language. In physical training, when students are clear about the requirements of breathing, it will help them to change the phenomenon of passive action for action and imitation for imitation. Usually, the length of breath control directly affects the force, which is the preparation for the force generation. Of course, breath also plays a role in the process of body movements, which will directly affect the performance of dance style. Such as JIAOZHOU Yangko of Han nationality. Get up, slow down, push down, lift up, let go? The movements form a tough, stretched and neat style. At this time, the form, timing and rhythm of breathing need students to adjust with the dance body movements. It can be said that the breathing process and the action performance process are always linked.
How to use breath control, master the regulation law of breath and action, naturally arouse the active consciousness of action and give it vitality? The author believes that students should naturally inhale when their arms are raised during training, and hold their breath when they are still; When descending, exhale naturally; Quick action, quick breathing, slow action, long breath control and sustained strength. With breathing, action has vitality, and with vitality, action has aesthetic feeling. Practice has proved that the training result of arousing self-awareness is much more meaningful than simply imitating the teacher's learning action.
2. Idea training. Ideas are instructions from the human brain. The purpose of using ideas is to make students feel the force effect produced by the activities of various parts of the body, which is the basis of joint and limb flexibility training and muscle control. In training, the purpose of moving joints and muscles in various parts of the body is to make students fully realize the law of their own body movement and the relationship between movement and force. On the one hand, increase common joint training, such as flexibility and coordination training of joints such as waist, hip, wrist and knee; On the other hand, it is to develop some insensitive body parts of students, such as spine movement, muscle relaxation movement, chest scapula, scapula, costal scapula movement, strength connection and transmission movement. Teaching is to let students know their limbs through these exercises and gradually use them flexibly. Generally speaking, hands and feet are more sensitive, and there is little obstacle to exercise. But some parts of the body, such as the back, crotch and even the muscle groups of a certain part, seem to be less sensitive. And dance is inseparable from the role of these parts and muscles. How to start training? Teachers can instruct students to put the movement source of action in other insensitive parts of the body, such as a small sandbag as the movement source, and put it in the crotch, back or side waist of a certain part of the body, and then the brain sends out movement instructions to make the small sandbag change its position with the movement of this part, so as to gradually realize the role of the force generated by these parts. Of course, the difficulty of teachers' choosing training can be determined according to the specific situation of students, but in the process of training, factors such as strength, lyricism, expansion and action control should be integrated to fully develop students' physical exercise ability.
3. confrontation training. Its purpose is to generate internal forces. We know that any object will have a force and a strong origin, and what about this? A little harder? The function of the opposite direction is resistance. Dance movements with internal resistance will have vitality, explosiveness and extensibility. For example, any jumping action in the air will have a downward thrust at the moment of take-off, which is opposite to the force in the air. For example, in basic training of classical ballet? Get down? , in? Get down? Arrive? Upright? This process will always run through a kind of obstructive reverse force, thus making? Get down? The action process is very meaningful. If there is no resistance, what about this? Get down? It can only be called a change in appearance and figure. Generally speaking, the longer the resistance is maintained, the greater the ductility of the action and the more obvious the internal explosive force of the action. During training, teachers can often let students experience the effect of this resistance on body movements and compare the different effects produced by the strength of resistance. Through such training, students will master the ability to control limbs and develop the judgment of right and wrong behaviors.
In short, when selecting materials and arranging training contents, teachers should combine students' problems, adjust and arrange targeted training contents in time, and gradually correct students' shortcomings in physical training. Of course, sometimes the reasons for students' problems are not only technical categories, but also psychological factors such as students' self-confidence and interest. As a teacher, we should also guide and guide students from psychological, physiological and technical aspects.
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