From Mimicking to Choreographing：The Design and Implementation of a Fifth-Grade Folk Dance Curriculum

• Main Authors: Ching-Lung Tseng, 曾慶瓏
• Other Authors: Yi-Jung Wu
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/3wun8g

碩士 === 國立臺北藝術大學 === 舞蹈理論研究所 === 99 === Abstract Most instructors use “Mimicking” teaching method when they teach folk dance. These days, however, the education system is focusing on critical thinking and creativity, and the author hopes to stimulate students’ creativity during limited folkdance class hours. The purpose of this research is to design a folk dance curriculum for the Grade One-Nine Curriculum, based on the teaching of three folk dances Vesyolaya Kadril (Russia), Basistovska (Slovakia), and Endang (Malaysia). In addition to being introduced to dance costumes, music, and culture, students were taught basic dance steps and how to make a choreography. Action Research method was applied to the fifteen sessions of the class activity. The target was a group of thirty five students of Happy Elementary School (alia) in Tai Chung County. The author analyzed the data collected from the process which integrated the concept of choreography, and made necessary curriculum adjustments. Below are the results from the research: I. Curriculum Design： A. The structure and content of folkdance curriculum design including choreography 1. Introduction to the related geography, culture, custom background information of the region of origin of the dance, and the basic dance steps; 2. Introduction to basic dance combinations and short dances; 3. Practice of basic movements, and introduction to group choreography; 4. Review, confirmation, and practice of the choreography created during the process; 5. Group presentation. B. Content of “Choreography” in folkdance class 1. Those dances that use “props” or have “improvisation element” are more appropriate as class material. 2. Three choreography elements can be introduced in the class: “self-created movement”, “basic dance step combination” and “floor pattern variation.” The choreography exercise should progress gradually, with no more than two elements at the same time. II. Teaching Process A. Introduction to cultural background enriches students’ learning experience. It was found, however, that students’ learning attitude needs to be lift more. B. It is difficult for beginners to learn the style of Vesyolaya Kadril because the dance has more detailed movements than Basistovska and Endang that are easier for beginners. C. The use of props, game activity, simple movements, and practice can increase students’ learning interest. D. The use of teaching tool can assist instructors and students during the creativity process: 1. Although a “Choreography Study Check List” may be used to guide students in making choreography, the instructor must still supervise the examination, confirmation, and practice of students’ choreography. 2. “Using Slides” is convenient to remind the movement combination, and to review the newly created movement, and to learn the choreography from other teams. 3. Team leaders can use “Poster” during the group discussion, to lead teammates’ participation. Key Words: Folk Dance、Mimic、Creative、Choreograph、Curriculum Design、action research