Bolognez, Polka, Mazzuca, Russian, Spanish.

Throwing Dance (Slovakia) Acic Mashuk Dance (Turkey)

Silesia Group Dance (Poland) Prince Rama Dance (Myanmar)

Cavalry Dance (Georgia) Knife Horse Dance and Romance (Mexico)

Turkmen Folk Dance (Russia) Harvest Dance (Italy)

Shepherd of Bosnia and Herzegovina (Croatia) Hat Dance (Slovakia)

Basque de Group Dance (Poland) Appalachian Mountain Dance (USA)

Jiao Fang Dance (North Korea) Suite (New Zealand) Fuji Bai Jing (Japan)

Alonso's Wedding (Spain) Youth Dance (Mongolia)

Sicilian Style (Italy) Mongolian Wrestling Dance (Russia)

Indian dance is soft and lyrical, beautiful and smooth, with distinct rhythm and great charm. This is a very popular dance. Indian dance is loved by many female friends because of its changeable style, unique aesthetic feeling and mystery.

African dance is a cheerful wild dance, which originated from primitive tribes in Africa. The dance is a mixture of exaggerated and interesting movements such as shrugging, shaking chest and swinging hips, which is rough and graceful, and the style is natural and cheerful.

Korean dance basic hand position and foot position hand posture combination training pace training Gerry combination training

Andan Combination Training Arirang Agricultural Dance Changgu Dance Mask Dance Qiangshui Laifan Dance

One foot position, posture, breath, flexion and extension training 1 posture and breath to 2 flexion and extension and breath to 3 center of gravity and swing head.

Two-step training 1 flat step, sticky step 2 leg lifting, crane step 3 sinking step and pulling step.

Three Rhymes Training 1 Su Rhyme 2 Top Rhyme 3 Dun Rhyme 4 Horizontal Rhyme (Broken Rhyme) 5 Big Rhymes

Four-handed position, hand training 1 element hand training 2, back hand 3, outward stroke.

Part II: Style Training (also called Character Dance)

1 Guri combination, 2 Zaluguri combinations, 3 Shapri combinations, 4 Enmaori combinations.

Five Tallinn combinations, six Yangshan combinations, seven Yangtian combinations, and eight small jumps and turns.

Part III: Comprehensive Performance Training

1 Hanjiang 2 Double Fan Dance 3 Bird Ballad 4 Class Ayong 5 Qijiashan 6 Zhupuli 7 Double Sword Dance

On the expressive force of folk dance

Dance, as the art of body movements, has its special forms of expression. As far as dance vocabulary is concerned, it can be roughly divided into two parts: external body movements and internal modality. External form action refers to the externalized form of visibility such as dynamic law, dynamics and strength of dance; Intrinsic modality refers to the performer's inner psychological factors such as mood, emotion and consciousness. They depend on each other, at the same time, they restrict each other and are indispensable.

At the same time, through the inner experience of the emotion of the dance content, the beauty of passionate dance is fully displayed, so that the audience can enjoy and satisfy this beauty by being infected by emotion when watching emotional dance. To achieve this effect, students are required to have strong dance sensibility and expressive force. The sensibility and expressive force of dance come from the cultivation of children's external morphological movements and internal modality. Therefore, to cultivate the sensibility and expressiveness of dance,

Mao's Preface to Poetry in the Han Dynasty said: "Emotion moves in the middle, and words are the shape. If words are not enough, lament; Lament the shortcomings, so sing forever; Without eternal songs, it is better to dance with your hands and feet. " Mr. Wen Yiduo once said in "Talking about Dance": "Dance is the most direct, substantial, intense, sharp, simple and full expression of life perception." It can be seen that people have always regarded dance as the best way to express their emotions, and the appeal of dance is the power from the inner emotions of dance. Without the expression of inner feelings, any dance will be pale and lifeless.

It is inevitable that the expression is indifferent, the eyes are dull and the heart is empty during the performance. Performing for the sake of performing.

Bai Juyi, a poet in the Tang Dynasty, said, "He who touches people first is not in front of love". Teachers should stimulate children's emotions. First, they should be moved by dance. Then, they should use emotional language and actions to motivate and impress students. Only the emotions and emotions corresponding to the dance can they turn their inner emotions into passion, pour them into the dance movements and inject a fresh vitality into the dance. Teachers should also pay attention to creating appropriate situations and artistic conception for students, having the feeling of being there, being infected and edified by love and beauty. When teaching dance, teachers should first introduce the content of dance and have a preliminary impression on it. If it is a national dance, it should also introduce national customs, regional culture and so on. Then play dance music, feel the rhythm of dance in the music, and brew the artistic conception of dance.