1. Background Analysis With the progress of Chinese society, children’s art education is heating up rapidly. For so many children who are eager to be influenced and baptized by art, I often ask myself this question, what do I do? What should be taught to these innocent and lovely children? During the period when I was engaged in children’s education, I found that although the current art education (including children’s dance) is in full swing, behind its prosperity, it has also fallen into a serious “misunderstanding”. Its main drawbacks are as follows: Two aspects: First, children's dance is full of "imitation" and "cloning". When we watch today's children's programs, we always find that today's children have a maturity that is far out of proportion to their actual age. They sing with unique accents and dance with contrived movements. The innocent, lively and unrestrained "true self" that children should have is extremely suppressed. The main reason is that many teachers cannot create excellent children's dance works by themselves. Therefore, when arranging children's dances, they can only imitate, adapt or imitate adult dances or children's dances on discs. This saves teachers time and effort on the one hand, and on the other hand, the dance movements created by teachers are poor. The so-called clever woman cannot make a meal without rice. Second, the current level of teachers in schools varies. At present, schools in our county generally have music teachers and dance teachers. The teachers themselves have not received professional training. They usually arrange programs and take dance classes based on their own experience. They do not know how to accumulate dance moves. Some have dance moves. But I don’t know how to arrange it. Judging from the shortcomings in the above two aspects, it is currently necessary to promote the development of children's dance in our county in the direction of originality, narrow the distance with developed areas, and truly allow children to dance with their own personalities and dance with their own language. In order for children's dance in our county to truly open up a sky of its own, create works with individuality and quality, and cultivate a group of talents with artistic potential, more dance teachers must master the methods of accumulating and choreographing children's dance movements. , because art without personality and art without creativity is dead art. Dance movements are like the vocabulary, words, and slang that people use to write articles. Without them, talking about dance creation would be water without a source and a tree without roots. I have been engaged in children's dance teaching and choreography for 8 years. The dance "Star of Hope" won the second prize in the fourth primary and secondary school students' art performance; "Mother's Wish" won the first place in the group dance at the first county primary and secondary school students art festival. First Prize; "Drunken Drum Baby" won the first prize for small dance and the Hangzhou City Excellence Award at the second county primary and secondary school student art festival; "Green Sorrow" won the first prize for group dance at the second county primary and secondary school student art festival; "Set Sail" won the Small Dance Special Award at the county's 3rd Primary and Secondary School Students Art Festival and the Hangzhou City Excellence Award. The above achievements all come from the continuous accumulation and arrangement of dance movements. Next, I will talk about the accumulation and arrangement of children's dance movements based on practice. 2. General rules of children’s dance movements. Before talking about the accumulation and arrangement of children’s dance movements, we must first understand the general rules of dance movements. Only by mastering their regularities can we better accumulate and arrange dance movements and become more knowledgeable. It can be well used in dance teaching and choreography practice. 1. Children’s dance movements should be visual and character-based. The characteristic of dance art is to reflect life and shape characters through dance movements. However, not any dance movement can complete the task of reflecting life and shaping characters. Only accurate, distinct and vivid movements can depict colorful pictures of life and create lifelike characters, thereby attracting, infecting and further Influence people's thoughts and feelings. For example, the group dance "Silkworm Baby" performed by a small school in the third county art festival created a shape with the appearance characteristics of a silkworm, especially the body slowly squirming like a silkworm. The image is very vivid and the dance is artistically displayed. The whole process of silkworms from baby silkworms to the final spinning of silkworms not only shows the spirit of selfless dedication of silkworms, but also praises people from all walks of life, including teachers, who are dedicated, selfless and dedicated. 2. Children’s dance movements should be full of emotion, condensed and concentrated. There are similarities between dance movements and the language of poetry. "The Book of Songs: Preface" says: "Poetry is where the ambition is, the ambition is in the heart, and the speech is poetry. Emotions are moved in the heart and are shaped by words. When words are insufficient, they sigh; when they sigh, they are insufficient, so they chant; The shortcomings of chanting are that you don’t know how to dance with your hands and dance with your feet.” It can be seen that dance is an image reflection of people’s thoughts and feelings in a highly excited state, and the same is true for children’s dance.

It should be like poetry, using as concise and concentrated movements as possible to express the broad and rich content of life, making the audience feel compact, full and leaving room for imaginative aftertaste. For example, there is a scene in the children's dance "Sunflower": dozens of young actors hold double fans and dance in a row from the back left side of the dance to the front right corner of the dance. The actors shake the double fans and slowly unfold them along the direction of advancement. Just like hundreds of millions of children opening their hearts, bathing in the morning glow, and embarking passionately on the glorious future of the socialist motherland. Another example is the children's dance "Star of Hope" created by me. At the end of the melody of "Love Devotion", all the actors hold a heart in their hands and slowly raise it to their heads, just like there is love and warmth everywhere in the world. , no more indifference, no more pain... giving the audience a deep impression and endless imagination. 3. Children’s dance movements should be novel and diverse. Social life is rich, complex, and ever-changing. If dance art wants to truly and vividly reflect the ever-changing and developing life, it cannot be achieved by poor and monotonous language. In addition, as a performing art, dance must attract the audience's attention and must reflect the public's concerns quickly, sensitively, novelly and diversified according to the needs of real life. For example, the children's dance "Donald Duck Twisters the Yangko Dance" directed by Guo Zihui uniquely organically combines the posture of Donald Duck with the Yangko dance of the Han Chinese. Yangko, a Chinese folk dance, combines Chinese and Western styles with a danceable figure that makes people laugh. Various explorations and attempts like this for the novelty and diversity of dance are worth learning from. 4. Children’s dance movements should have clear rhythm and rich rhythm. Dance should be in harmony with music. Many Chinese and foreign children’s dancers have always emphasized the relationship between music and dance. For example, "Music is the soul of dance", "Rhythm is the basic element of dance" and so on. Although some over-exaggerate the role of music and rhythm, it is enough to see that the distinct combination of rhythm and music is one of the most obvious features that distinguishes dance movements from other artistic languages. The "Four Little Swans Dance" in the world-famous work "Swan Lake" can be regarded as a treasure that perfectly combines dance and music. It not only has beautiful music melody, but also has a strong sense of rhythm and inner rhythm in the dance movements, which makes the audience immersed in the dance. When appreciating dance, a high degree of unity of visual image and auditory image can be achieved, so the artistic appeal is very strong. 3. Ways to accumulate children’s dance moves. Accumulating children’s dance moves cannot be completed in a day or two. It must take a long period of time and a lot of hard work. I will talk about some practical experiences below. 1. Accumulate children's dance movements from life practice. Life is the source of artistic creation, and the production of dance works and dance images also originates from life. Only when you are familiar with and understand life can you talk about the accumulation of life. Comrade Zhou Enlai said: "Long-term accumulation is obtained by chance." The accumulation of life comes from many sources, but the most important thing is the gain from personal observation and experience of life. In addition, you can also get inspiration from literary works, reports, news, website introductions, or from the life reflected in other works of art. Whether it is direct or indirect, we should start from loving life and absorb the "nutrition" of life anytime and anywhere, just like a piece of blotting paper, never letting go of the "juice" wherever it goes. Think about, understand and accumulate the life materials you have learned through your own (dance major) aesthetic point of view - just like an orderly stored warehouse. Based on the rich accumulation of life, when it is time to create, ideas will continue to emerge. For children's dance teachers, the depth and breadth of familiarity with life are no different from other literary and artistic creators. The difference and the most important thing is that in the process of familiarity with life, they must be good at thinking about the image of dance. If we only capture the labor movements and create only a simulation of the production process, this is not called dance, and of course it is not advisable. In the process of accumulating dance movements, one must be good at associating dance movements from movements in life. This kind of thinking activity is the image thinking of dance. When children's dance authors observe and experience life, they use dance image thinking to capture life materials and dance images in life. For example, if a certain kind of life gives us a strong impression, what is evoked in our minds is the action-oriented association of certain characters and situations. Then we gradually use dance techniques to see how the characters act and what scenes the life situations produce. …. So everything I feel strongly in life gradually forms rich dance movements in my mind.

Take the first-prize winning work "Compare" in the National Children's Song and Dance Video Competition as an example: The author Shen Xiang accumulated the experience from watching a tug-of-war competition between first-grade primary school students on the playground during activity class. He found that the winning group The children clapped each other's shoulders and jumped happily, while the children in the other group complained to each other, even quarreled, and wanted to compete again. Seeing this, the dance teacher used dance techniques to think about it. , very smoothly transforms this accumulation in life into dance movements: the actors hold each other's waists, take small steps, kick their legs, then shake their heads, and finally move their upper body backwards, looking forward, and at the same time, Move back in small steps as the rope moves, and then lift your legs back briskly. This series of movements is a dance movement that has been processed through dance image thinking. It is not as realistic as a camera, but the form and atmosphere of a children's tug-of-war competition have been sketched out. In addition to accumulating in real life, you also need to collect dance materials anytime and anywhere. For example: collecting and learning the etiquette of weddings, funerals, weddings, and celebrations among people from various places; the worship of gods and ghost-driving dances in temples, etc. In short, the more such materials you master, the wider your horizons will be, the wider your creative field will be, and the richer your dance moves will be. Otherwise, it will be difficult to create independently. Just imagine, how can a writer with poor vocabulary and language write vivid and touching articles and scripts? In short, practice has proved that the accumulation of "life materials" and "dance materials" is the "responsibility" that children's dance authors cannot relax from the beginning to the end. Only by putting in perseverance in physical and mental labor can they achieve success. 2. Accumulate children's dance movements from various artistic knowledge. Imagination - association and fantasy are an important feature of image thinking. Gorky said: "Imagination is also thinking about the world in its essence, but it mainly uses images to think, and it is the thinking of the 'world'." If a children's dance author does not have a rich imagination, he will not be able to imagine the world in real life. The image is created to be higher, stronger, more typical, more ideal, and more focused than actual life. Especially for the art of dance - which has always been regarded as a "moving poem and living painting". It is good at expressing people's lofty emotions and is an expressive art that pursues ideal "beauty". The imagination we are talking about is based on life. The imagination on the subject is the sublimation of "life accumulation"; it is a kind of image thinking that develops life; it is the ability to make life more idealized and more vividly reproduced in art. In real life, it is impossible to experience everything with one person's energy, but imagination can make up for the lack of life experience - fly wider with the wings of imagination, reach from here to there, and draw inferences about other cases. , you can create more ideal and perfect dance movements. Imagination comes from the accumulation of life and from the profound knowledge of art. For example: various works of art can indirectly provide you with more life knowledge and inspire you to think more broadly about images, which further enriches your imagination. There is always a charm that inspires people when seeing a good work of art, especially between sister arts. For children's dancers who have rich life accumulation and artistic knowledge, sometimes a good picture or a good song will help and inspire the dancer to develop the image thinking activities of dance, and many thoughts will be derived from it. Dance moves of the same theme, this is also an indispensable way to accumulate dance moves. Therefore, children's dance creators should learn and be exposed to various aspects of artistic knowledge like a dry land absorbing rain and dew, including literature, music, painting, opera, historical knowledge, customs, psychology, etc. In short, the more profound and extensive the knowledge, the stronger your artistic imagination, the stronger your ability to accumulate and derive dance movements. All accomplished writers and artists in ancient and modern times, both at home and abroad, have mastered a variety of knowledge and Skilled people. Cao Xueqin, a great writer in the Qing Dynasty of my country, not only had profound attainments in poetry and songs, but was also good at painting and calligraphy, and knew garden architecture, pharmacology, flowers and plants, and embroidery... That's why he wrote the immortal literary masterpiece "A Dream of Red Mansions". It is impossible for a writer or artist to create works of art that are superior to others and form his own style and genre without a foundation of various hobbies and profound knowledge. Just imagine, how can a person with poor knowledge and ignorance produce rich dance movements and use various movements to create a beautiful realm that makes people think gracefully? 3. Accumulate children's dance movements from traditional ethnic dances. my country's five thousand years of civilization development history has created extremely rich cultural heritage in the classical and folk dances of all ethnic groups in our country.

According to incomplete statistics in 1989 by Chen Chong, deputy editor-in-chief of "Collection of Chinese Ethnic and Folk Dances", "there are 17,636 folk dances from 56 ethnic groups in the country (Hong Kong, Macao and Taiwan are to be added). Among them, 14,291 are Han dances, and 14,291 are ethnic minority dances. Dance 3345”. There are more than 300 types of operas in our country and tens of thousands of traditional classical dances in ancient and modern repertoires. Although it is not yet possible to count how many types of dances there are and how many dance movements there are, they are extremely rich and colorful. **See you. As long as we are determined to learn deeply and down-to-earth from the traditional folk dances of our country, it is not very difficult to master the rich dance movements. To learn and inherit traditional national dances, we must not blindly absorb them without thinking. We must process and organize various dance movements rationally, taking the essence and discarding the dross. Only in this way can we truly become our own things and belong to us. . 4. Accumulate children's dance movements from the dance culture of various nations around the world. With the development of ballet and modern dance today, they are no longer exclusive to a certain country, but have become international dance arts. Their rich and diverse dance movements are of great help to our children's dance creations. Many examples of this aspect also emerged in the Fourth Primary and Secondary School Students Art Festival in our county. For example, the group dance "Xi'er·Snowflake" by Nanshan School absorbed the advantages of ballet's lightness, agility, straightness and stretch, giving people a refreshing feeling. The beautiful feeling that brightens the eyes, the modern dance "Dancing for Life" of Chun'an Radio and Television University has the unique excitement and emotion of dance, which left a very deep impression on people. The above are all representative works that have successfully learned and learned from children's dance movements. In addition to ballet and modern dance, folk dances from various countries around the world also provide us with a very broad space for learning. Therefore, we should seize all possible learning opportunities and learning conditions to continuously enrich and enrich ourselves. However, to learn and learn from foreign dance movements, we must absorb and melt them, combine them with the characteristics of children's dance of our own nation and region, and skillfully transform them into our own innovations centered on ourselves. Only such movements can truly have vitality and be worth tens of millions of dollars. "Welding" cannot be done mechanically. Just like when a person speaks, if some English words, Russian words or French or Japanese words appear from time to time in Chinese, it will appear extremely inconsistent and lead to the failure of creation. 4. Choreography of children's dance movements A successful children's dance work requires not only the accumulation of rich dance movements, but also the combination, choreography and application of movements. These accumulated children's dance movements must be refined and refined according to the needs of the content and characters. 1. Action choreography should reflect emotions. Emotions are moved in the heart and manifested in color, thus producing dance movements. However, some children's dance creators often unconsciously fall into the circle of one-sided pursuit of movements and beautiful compositions. The first thing a choreographer must figure out is what emotions and personalities you want to express. Experienced children's dance creators often first design the characters' continuous mood, consciousness and even subtext based on the clues of the dance structure, and follow this context to carve out the movements. . Children's dance creators with rich actor experience first let themselves enter the role and let the characters in the work come alive in themselves; on the basis of in-depth understanding of the role, they find and refine the here and now from their accumulated life and dance materials. , the dance image needed for this situation and scene. This creative method, which is similar to that used by drama actors when practicing sketches, is in line with the rules of children's dance creation - that is, using the experience of emotion as the driving force for movement. 2. The action choreography should be typical. This is the key to success. Typical dance movements are not that the broader the better, but the stronger the personality, the better - first, there must be a prominent character; second, there must be clear emotions. Humans have seven emotions: joy, anger, sadness, joy, love, evil, and desire. When they are happy, they will cheer and jump; when they are sad and angry, they will stamp their feet and punch their fists; hope makes people hold their heads high; disappointment makes people feel downcast;... Children's performance in this regard is more obvious and exaggerated. When designing children's dance movements, you must first make it clear what the emotions are, and the movements must also have a distinctive personality. Character includes the personality of the character and the style of the nation. For example, the children's dance "Red Silk Dance" uses the movements of "Liberation Yangko", which has the distinctive character of the Han people and the unique vitality of children. This kind of movement is typical. Many practical experiences have shown that refining the required children's dance movements based on national folk (including opera) dance materials is a shortcut to success. These folk dance movements tempered and accumulated from long-term national life have outstanding typical characteristics. , if used properly, will create a vivid and touching dance image. 3. The action choreography should highlight the "artistic conception".

The choreography of children's dance movements is not "complex" or "simple", but can highlight the "artistic conception". The "artistic conception" of a dance work is an artistic conception that transforms the theme idea into a "poetic and artistic conception". It is the unity of "emotion" and "intention" with "scenery" and "scenery". It is a human ideal - better than what is imagined in real life. Something higher. For example: the children's dance "Red Silk Dance" uses the red flags filling the sky in front of Tiananmen Square and the joy of the people as the choreographic atmosphere. "Lotus Dance" expresses the theme of infinite love for New China with the artistic conception of "high blue sky, long green water, and the fragrance of lotus flowers blown by the wind". Therefore, "artistic conception" is the overall situation, and choreographers should focus on the overall situation, start with small things (actions), and consider movements around the "artistic conception". Don't think that dance is just about flowers flying up and down, so you only focus on the gorgeousness and skills of the movements. This is easy to fail. In fact, there are not many movements. "Lotus Dance" only uses the "circling round" footwork from beginning to end. However, with the "Lotus Plate" (prop), it creates a beautiful and noble image of the lotus "floating on the water". People simply I didn't pay attention to whether its movements were simple, but I was intoxicated by the fascinating "artistic conception". 4. There should be contrasting changes in the action choreography. Just like speaking vividly requires restraint, elevation, pause, and frustration, the composition of dance movements must have contrast, change, and make it smooth and comfortable. Contrasts include fast and slow in time (rhythm), strong and weak, prolonged and short...etc. There are big and small in space (shape), high and short, square (sharp lines, ripples and corners) and round (soft, rounded), expansion (extension) and contraction (contraction), movement and stillness...etc. . These contrasting changes in children's dance should not be formal arrangements, but the motivation of the characters' inner emotions. For example: in life, when people receive certain stimulations, which cause changes in their inner emotions, they will be emotionally reflected as tense or relaxed, high-spirited or depressed, eager or calm...etc. The changes in dance movements also come from this. Contrasting movements increase the ups and downs of emotional changes, making various emotions appear more vivid and prominent in comparison. Therefore, it can make the dance movements more vivid. 5. Action choreography should be repetitive. This is also a commonly used technique in music. Music, as an art of sound, is often fleeting. Composers must try their best to leave a deeper impression on the audience, and repetition and reproduction are one of the ways. Dance and music are both temporal arts. Although dance still occupies a spatial image, it cannot be like a "sculpture" that stays there forever for everyone to watch. In order to keep the dance image and "artistic conception" in the hearts of the audience, repetition and reproduction techniques are also indispensable. There are many ways to do it: (1) The theme and action run throughout. Such as "Lotus Dance", "Drunk Drunk Baby", etc.; (2) The theme movements appear in different plots, paragraphs, and different rhythms. Similar to "Peacock Dance", "Red Silk Dance", etc.; (3) The main dance combinations (passages) appear repeatedly. Such as: "Ordos", "Harvest Song", etc.; (4) The beginning and end are the same dance processing or reproduction of "artistic conception". Such as: "Mountain Song", "Bamboo Forest Song", etc. 5. Pay attention to the four aspects mentioned above: accumulating life materials and dance materials; accumulating various artistic knowledge; learning and inheriting traditional ethnic dances; learning and drawing on the dance culture of various ethnic groups around the world. Although it is indispensable to enrich our children's dance movements However, from the perspective of the development of dance art, they are only "flows" and not "sources". Therefore, it is more important to create new creations on this basis. In other words, in dance creation, new dance movements are mainly created according to the needs of the life reflected and the emotions and thoughts of the characters expressed. However, this new creation is not starting from scratch and creating out of thin air away from the past tradition, but innovation, development and creation based on accumulation, inheritance and reference. Because of this, creating new dance movements is a basic skill for children's dance creators. I think that as long as we are deeply involved in life for a long time and have extensive learning and accumulation, when children's dance movements are stored in the brain to a certain amount, it will not be difficult to create a children's dance program.