舞蹈專業(yè)相關外文翻譯--舞蹈可以作為學習和獲得知識的一種來源方式

1、<p>　　2050漢字，1400單詞，7500英文字符</p><p>　　出處：Marc Richard O C T. Dance as a Language of Learning and a Source of Embodied Knowledge[J]. Physical & Health Education Journal, 2013, 79(1): 6-10.</p>

2、<p>　　Dance as a Language of Learning and a Source of Embodied Knowledge</p><p>　　OCT Marc Richard</p><p>　　The current status of dance in Ontario schools is tenuous at best. Perhaps this

3、reflects the status of dance in the consciousness of the general public. My Masters research (Richard, 2009) indicates that generalist teachers see dance as yet another add-on to an already overburdened curriculum; thus,

4、 they fail to see the incredible potential for dance as a language and form of embodied learning. Generalist teachers don't see themselves as artists, let alone dancers, and therefore don't feel comfo</p>

5、<p>　　Making visible the many profound moments of bodily learning within a creative dance setting might help to broaden definitions of education and learning. Cancienne and Snowber (2009) recognize dance as a unique

6、 site for learning about ourselves, and our world: "Dance allows a relationship to develop between the outer world and our bodies...our bodies experience things first, via our physical interaction with the world; th

7、erefore, there are kinds of data that our bodies experience before our minds</p><p>　　For many generalist teachers, creative dance education remains an enigma; these teachers look to the 'real' dance

8、rs for some idea of what creative dance is and how to teach it. But for studio-trained dancers, creative dance is equally elusive because they have had very few experiences as dance students where they were allowed to cr

9、eate. Joyce (1973) recognizes that "many good dancers fail at creative dance teaching because they are not sure of the goal. They are used to physical goals such as te</p><p>　　In many Ontario schools w

10、here dance education is actually occurring, it is very often a replication of teacher-directed studio dance training (i.e. jazz dance, ballroom dance, video-inspired dances such as Britney Spears routines). Reggio Emilia

11、 educators, Cavazzoni, Pini, Porani, and Renieri (2007), seem to recognize the dichotomy between the world of dance studios and creative dance when they ask, "Is a body something to train, or to listen to and know?

12、Is it a competitive body with abilities </p><p>　　Making the Learning Visible in Creative Dance Education </p><p>　　What is the learning that happens in creative dance in an elementary school se

13、tting? This research project investigated the learning for both teachers and students in four elementary school settings in Ontario. Four generalist classroom teachers who were also experienced in teaching creative dance

14、 (as outlined in the documents) were videotaped and photographed while teaching creative dance classes. Afterwards, these teachers were interviewed while watching the video documentation. From these int</p><p&

15、gt;　　The Students are Learning to Think with their Bodies </p><p>　　Creative dance provokes students to use their bodies for thinking and for solving problems. As grade five teacher Brooke explained, "T

16、he depth of their thinking after having the movement experiences is way more than any other subject I've seen...I think there is something about embodying it first that gives them deeper thinking." As another te

17、acher, Alorani, began her work with her grade three class, she advised them they would be thinking in new ways - they would be showing rather than telling.</p><p>　　Learning to Use Dance as a Language to Und

18、erstand Other Disciplines of Learning </p><p>　　This theme represents all the learning that is taking place in creative dance classes that is not specifically just about learning in dance but also learning i

19、n other subject areas such as drama, science, math, language, geography, and health. This represents the learning through the dance portion of the curriculum, i.e. what students are learning about other subjects through

20、creative dance. The first time I witnessed this was with Charlie, a four year-old kindergarten student experimenting with</p><p>　　Dance as a Language of Learning </p><p>　　Dance is a language o

21、f learning with a vocabulary based on the elements of dance, and students can become literate in dance as a language. Because the language of dance is embodied knowledge, it allows the students to express their knowledge

22、 about many subjects through their bodies. As a language of learning, dance does seem to connect, as Stinson (1998) suggests, to the mind, body, and spirit. The grade six students certainly recognized it as a "uniqu

23、e way of learning," that "didn't really feel</p><p>　　The results of this study suggest that it is possible for students to know dance as another important language of learning in our schools.

24、Students used their thinking body in dance to make connections to many other curriculum areas. In order for this type of interconnection to take place however, dance needs time on the curricular timetable, and this requi

25、res teachers (and all the stakeholders in education) to value dance and the body as a site of learning. We must reposition dance not as an ad</p><p>　　舞蹈可以作為學習和獲得知識的一種來源方式</p><p>　　安大略省舞蹈學校的現(xiàn)狀是不

26、容樂觀的。也許這也反映出了公眾潛意識里對舞蹈的看法及狀態(tài)。我于2009年的一個研究表明，一些具備各種才能的（即所謂的通才）老師，他們認為，在學生課程已經負擔過重的情況下，舞蹈的地位很尷尬。因此，他們看不到舞蹈可以作為一個促進學習和獲得知識的渠道之一，讓人們可以在輕松愉快的氛圍中，取得進步。那些通才老師不認為自己是藝術家，更不用說是一個舞者，因此他們對舞蹈課程是有偏見的(理查德，2009)。在大多數(shù)情況下，這些所謂的通才老師并不知道舞蹈真

27、正意味著什么，他們簡單認為，老師站在前面，演示下舞蹈動作，然后學生學習和反復練習。在這個舞蹈指導里，老師幾乎沒有體現(xiàn)出生活技能方面的知識 (比如：人際、批判性和創(chuàng)造性思維等)。大多數(shù)人都不是很了解創(chuàng)造性舞蹈，蘇史汀森(1998)將創(chuàng)造性舞蹈定義為一種藝術形式，它是基于自然的運動，而不是一個特定的運動風格，比如：踢踏舞或者芭蕾舞”。在創(chuàng)造性舞蹈教學與體驗中，主要是學生創(chuàng)造舞蹈，教師的角色不是教舞蹈，而是促進學生的學習和創(chuàng)造。</p&

28、gt;<p>　　通過舞蹈，我們可以獲得很多更深刻的體驗，有助于拓寬教育和學習的視野。Cancienne和Snowber(2009)認為舞蹈的一個獨特的功能就是了解我們自己和我們周圍的世界:“舞蹈將外部世界與我們身體聯(lián)系在一起。首先，我們的身體通過舞蹈體驗，可以與世界互動,這包括諸如觸摸的感覺，跳舞時，空氣輕撫我們皮膚的感覺，我們穿過空間的約束，與他人交互溝通。</p><p>　　對于那些所謂的通

29、才老師來說，創(chuàng)造性的舞蹈教育仍然是一個迷，他們把握不到舞蹈的真諦，認為舞蹈就是簡單的教，以及如何教。但對于那些只知道在舞蹈室練習的舞者來說，創(chuàng)意舞蹈是難以捉摸的，因為他們對于舞蹈也不是有真切的體會。喬伊斯（1973）認為“很多好的舞者，在創(chuàng)造性舞蹈教學方面，失敗的原因就是因為他們不確定教的目的。考夫對舞蹈教育和舞蹈培訓做了一個區(qū)分，前者注重”通過運動來自我表達，以自我認知為目的，后者則以掌握技能為目標。</p><p

30、>　　安大略的許多學校在舞蹈教育方面，其模式經營經常是對老師所教授的復制和不斷練習，例如爵士舞，舞廳跳舞等。而來自與意大利的學者，Cavazzoni，Porano和Renieri則認為，舞蹈似乎是認知世界的一個渠道，“是一個身體訓練的東西，或聽或感受，知道嗎？是身體與世界的溝通，是認知、情感、和富有表現(xiàn)力的潛力。這些是意大利教育者對舞蹈有獨特的認識?！?lt;/p><p>　　創(chuàng)造性舞蹈教育中學習的可見性<

31、;/p><p>　　創(chuàng)造性舞蹈教育中，學的是什么呢？本研究條查了安大略省四個小學的教師和學生的互動學習。還組織了所謂的通才老師的舞蹈教學，進行一個對比分析，教學過程會進行錄像和拍照。之后對這些老師進行采訪，并保存為視頻文檔，在這些訪談中，研究者會觀察，做筆記和拍照。對學生和老師采訪的筆記記錄和圖片，會被用于引發(fā)進一步的一對一訪談對話，以及小組或全班談論。所有的訪談資料都會被記錄成視頻和文件，并連同照片等?？傮w的研究結

32、果表明，創(chuàng)造性舞蹈課程，學生學習舞蹈的目標發(fā)展為認識自我，他們參與合作創(chuàng)新的過程，并發(fā)現(xiàn)更多的新的舞蹈形式和動作。將舞蹈作為一種學習的渠道。老師們也了解他們在創(chuàng)造性舞蹈教學中的獨特角色，即作為一個引導者，引導學生的學習的創(chuàng)造，開發(fā)學生的舞蹈方面的知識和能力。</p><p>　　學生們正在學習用身體來思考</p><p>　　創(chuàng)造性舞蹈可以引發(fā)學生用他們的身體來思考和解決問題。作為五年級教

33、師，布魯克解釋說，“他們的思維經過舞蹈學習后變的更有深度，這比任何學科的效果都更加好……我認為，是舞蹈開發(fā)了他們的能力，體現(xiàn)在它首先讓他們對外界的事物有更深的思考?！弊鳛榱硪粋€老師，艾羅妮在開始她的三年級舞蹈教學工作中，她建議學生們要以新的方式來思考。這是學生自發(fā)的一種思考行為，而不是被告知要這樣思考。</p><p>　　學習使用舞蹈作為一種語言來理解其他學科知識的學習</p><p>

34、　　這個主題的意思是說，創(chuàng)造性學習并不只是舞蹈學習中的一個特有形式，也存在于其他學科領域，如：戲劇、科學、數(shù)學、語言、地理、和健康保健等。這只是表示創(chuàng)造性教學是舞蹈學習的部分課程，即學生們也可以通過創(chuàng)意舞蹈的學習來獲得其他科目的知識，我第一次親眼看到的實例是，一個四歲的幼兒園學生，查理，嘗試把他的圍巾拋到空中，然后觀察她的下落。最初，他把圍巾縮緊成一團扔，然后看著它下落。接下來他做了個新的嘗試。他有一個新理論，或許靈感來自于漂浮的概念，

35、他把圍巾非常仔細的專門攤在地上扔，這次圍巾似乎掛起在空中，然后輕輕地飄。他看著這個做動作非常的專心，老師艾美麗發(fā)現(xiàn)了他昨天也做了同樣的事情，但今天它是更復雜，查理學會了新的方式進行實驗。</p><p>　　這項研究的結果表明，對學生來說，是有可能讓學生理解舞蹈的另一個重要的作用。那就是可以讓學生通過舞蹈來鍛煉他們的思維，通過思維的擴展后，連接到其他課程領域，獲得其他學科領域的知識。為了促使這種知識互連得發(fā)生，需