What are dance sports
For Curt Sachs, the great musicologist who dealt intensively with dance in the 1930s and presented his findings in the work “A World History of Dance” (1933), which is still valid today, dance “stands at the roots closest to all art ”(1984: V). For him, dance is “our mother's art” because it “lives in time and space at the same time”, whose “exuberant zest for life tears the limbs out of dull calm, [...] because the dancer has magical power that gives him [...] ] Health, life donates; [...] there is no such thing as 'art' that is so wide ”(1984: 1).
These thoughts make the elementary elements of dance clear and show the importance of dance from the beginning. Even today, dance is an important part of social life in Germany, be it in dance culture, in the art of dance or in dance sport.
From a historical perspective, dance served from the so-called indigenous peoples through the courtly and later class society to today's individualistic society to connect groups or to separate one's own group from other groups. For example, the circle dances of the early days were a joint action with mostly cultic meaning, or the court dance a deliberate demarcation of the nobility from the common people. In addition, one always followed the social forms and norms of the country that developed the greatest political power and set the tone in taste and culture. Not infrequently, violations of the socially accepted conventions of dance were understood as an attack on one's own culture, one's own norms. So there were always dance bans, the dance was considered immoral and sinful. The waltz was also a scandal in the 18th century and even under the National Socialists, modern forms of dance - such as expressive dance - were frowned upon or even forbidden. Dance was never just moving as the mood took you, with or without music, but has always reflected the spirit of the times - it was definitely a means of political power.
The abuse of folk dance by the National Socialists in particular contributed to the fact that even today in our country German folk dance has a reputation for backwardness in research, teaching and teaching. In contrast to this, most countries or peoples worldwide are proud of their traditional dances, their traditional heritage.
It is certainly worth thinking about whether Goethe's statement is still valid that someone who does not know his origins and roots cannot shape his future and to what extent a society that allows this is robbing itself of its own roots and possibilities. Iskra Zankova (President GermanBallet advice/German Dance advice) even said in the 10th session (11.11.2010) of the BeiratTanzthe section “Council for Performing Arts and Dance” of the German Cultural Councilthat “children and young people should first learn something about their roots and therefore have to get to know the folk dances and folk songs of their country”.
Definition of terms: dance as everyday culture
Dance as an everyday culture can only be understood if it is initially clear that dance does not exist, but rather a multitude of different manifestations and styles, such as: historical dance, classical dance, modern dance, contemporary artistic dance, dance theater, contemporary dance forms such as Hip-hop, jazz, show etc., ballroom dancing with waltzes, tango, rumba, cha-cha-cha etc. up to German or international folk dance. In addition, the communication in all areas is aimed on the one hand at dance artists, professional stage dancers and on the other hand at lay people who dance with different motivation and ability - from toddlers to adults. Ambiguities in the definition, in discussions, etc. about dance are therefore almost inevitable. The umbrella organizations of dance in Germany that im GermannKulturratare united in the “Section Council for Performing Arts and Dance”, have therefore agreed on a common language regulation. For some years now a distinction has been made between: dance culture - dance art - dance sport.
Since “dance art” means artistic stage dance, ie high culture, everyday dance culture - with the largest and most diverse range - takes place today in the areas of “dance culture” and “dance sport”. If the rules with point evaluations in competitions, tournaments, etc. are decisive in dance sport, holistic education and social interaction are in the foreground in dance culture. The target group of dance culture are lay people, from toddlers (from the age of three) to senior citizens.
Dance as an everyday culture takes place in a wide variety of areas:
>> In early childhood education, dance education should have its starting point in the child's natural need for movement and play experiences (Martin / Ellermann 1998: 13). The versatile, rhythmic-musical-dance-influenced movement education must be the focus! This dance education requires in a special way a well-founded knowledge about the physical and psychological development of the child and the resulting possibilities to support the child and not - in the worst case - even harm him. For this responsible task, the educators must be trained accordingly.
>> In school education, the focus is on versatility. In addition to the opportunity to get to know the various manifestations and styles of dance, the children and young people must now be increasingly encouraged to discover their creative potential through improvisation and design tasks and to present themselves to an audience in order to increase their self-confidence and self-esteem. As a rule, these lessons are offered by the sports or music teachers. In projects, working with trained dance teachers or dance artists can be a good and interesting addition.
>> In extracurricular education, the participants - children, adolescents or young adults - usually want to learn a certain dance style (e.g. classical dance, hip-hop) or perfect themselves in it. But here, too, care must be taken that, as in any dealings with laypeople, responsible educators give the lessons, who observe the functional-anatomical laws and psychosocial relationships in order to avoid damage to health - physical and psychological.
>> In addition to the conditions mentioned above, the offers for adults also focus on being together in a group. These participants often seek a balance from their everyday and professional activities.
>> One area that will become more and more important in the future is dancing with seniors. It can't just be about entertaining them with sitting dances. They are interested in a wide range of offers which, on the one hand, challenge them in order to be able to keep themselves healthy and fit, but on the other hand also give them the opportunity to be with like-minded people in order to maintain social contacts. In particular, experienced dance teachers who are qualified for this target group and who meet these demands are in demand.
>> Dance was also discovered for rehabilitation and prevention. The combination of music and movement in particular seems to have a special effect here, for example, the pain can be forgotten by dancing together.
>> Dance therapy is a separate area, but should only be offered by specially trained dance therapists.
What dance can do as an everyday culture for children and young people
Dance pedagogy in everyday culture with its holistic educational requirements lays the foundations for a dance-accentuated, aesthetic education of young people. To do this, she uses potencies as offered by dance. This awakens and promotes:
>> Ability to express yourself through a wealth of variation in movement
>> Rhythmic-musical-dance variety in the interrelation of movement and music
>> Perception of one's own body and development of an individual body scheme / body image
>> Attitude towards responsible treatment of one's own body
>> Respect for the individuality of the other, including the other body
>> creative potential of each individual
>> Ability to work in a team in creative group processes
>> individual presentation skills with strengthening of self-esteem
>> Social skills when dancing in and with the group
>> Communication through movement
>> Developing and promoting critical skills
>> Awareness of the emergence and growth of one's own (German) culture,
>> Awareness and acceptance of cultures from other peoples or ethnic groups
>> Understanding of the historical roots of European and non-European cultures.
Dance pedagogy can therefore awaken and promote skills that are inherent in young people and help to develop personal and social skills. This implies building up and developing the ability and motivation to participate in society and to help shape it.
Furthermore, the personality-building debate when developing their own dance motifs or dances also shapes the young people,
>> be it in individual work when it comes to discovering and perceiving the body's diverse range of movement possibilities in order to develop something of your own
>> be it with partners or in a group, in order to accept the other in their individuality and to adapt.
Dance was and still is a central, socially recognized learning opportunity to get to know the opposite sex and to adapt to new partners again and again. Acceptance of the opposite sex is built up as a matter of course and intensively promoted. However, the need is also clearly recognized in the sense of gender mainstreaming to make gender-specific offers for boys in order to correct the image of men that has grown out of tradition and for girls in order to be able to express themselves free of psychological barriers.
Project work, demonstrations and competitions
A special challenge to social competence always arises when it comes to taking on pending tasks in personal commitment beyond the dance scene - a learning opportunity that is particularly available in connection with dance circles, club work, etc. A particularly fruitful pedagogical networking of the different challenges arises in connection with project work, demonstrations and competitions.
Project work is characterized by interdisciplinary and intercultural work as well as changing forms of work from individual work to work with partners and in small groups to cooperation in the overall group. This form is preferred when preparing dance performances when it comes to creating dances for a presentation. In this process, the creative potential of each individual is required, the ability to work in a team is required and the ability to criticize is built up. After all, the performance itself requires individual ability to express and present and - depending on the theme of the piece in question - put it at the service of the group.
In the competition, critical ability and tolerance are required in a special way, because the group faces a jury and has to learn to recognize the achievements of others, e.g. in the competition "Jugend tanzt" des Germann Federal associationss dance, a nationwide competition in the field of dance culture, at the dance tournaments of the GermannDance sport association, the international ballet competitions in Lausanne / Switzerland or Varna / Bulgaria.
Requirements and training opportunities for dance teachers
In dance culture, dance sport as well as in the art of dance, dance pedagogues are required who have the knowledge, abilities and skills as mentioned above Advisory Board for Dance / German Culturet recorded with representatives from dance culture and dance art in 2007 in his “minimum skills and basic knowledge for dance teachers”. There are training opportunities in state training centers, universities and colleges, and there are extra-occupational training and further training courses through which interested laypeople, but also dancers and teachers, can gain further qualifications in dance and pedagogy. On the one hand, there are offers that are more focused on one area, such as ballet pedagogue or dance teacher for ballroom dancing, and on the other hand, broad-based advanced training, such as the overall concept of dance pedagogy German Federal Association of Dance with the three successive levels: dance leader, dance teacher and certified dance teacher for the field of dance culture, in cooperation with universities, colleges and state associations.
Offers for dance in everyday culture
Dance as an everyday culture takes place today in clubs, dance studios, dance schools, fitness studios, adult education centers and schools, with extensive and varied offers for all ages and thus contributes to cultural education in dance.
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