Focusing on the TaskThere are numer

专注于任务<br><br>有很多干扰因素会干扰舞者在上课和排练时专注于工作以及专注于工作中重要要素的能力。专注于手头的任务会导致与工作成果相关的能力意识。相比之下，专注于与他人的比较会导致专注于证明自己的上等才能感到称职，并分散手头的任务。10舞者可能会开始关注与班上其他舞者的比较，以及身体形象问题，以及进步的步伐和担心自己不够熟练，无法在专业团体中工作。教师可以鼓励学生通过各种策略专注于任务。例如，通过承认和尊重每个人的属性和成就，<br><br>思考学习<br><br>老师可以通过识别每个学生的个人学习风格来增强学生的学习方式：视觉，听觉，分析，动觉空间，外在运动，内在运动等。帮助每个舞者了解各种学习方式的好处以及个人如何扩展自己学习新材料的方法可能会很有用。老师可以提出一些问题来鼓励舞者观察他们的学习方式[23]：我是否通过节奏或旋律听到音乐？我会通过形状设计或空间信息来学习材料吗？我在吸收新信息方面是视觉还是动觉的？我如何学得最好？它使学生​​有能力学习自己的学习方式。9最初，可以进行个人更正以适应这些学习风格的偏爱，从而使舞者的学习更加轻松。最终，可能会挑战学生尝试以通常不在其舒适范围内的方式进行学习。改善和扩展学习策略可同时增强技能发展和自尊。这也将使舞者在节目和表演的试听中具有优势，并可以增强自信心。<br><br>班级<br>建筑基础的结构和内容<br><br>每个老师都知道，舞蹈课不仅仅是地板上的一系列练习和组合。大多数老师围绕着一种特定的运动方法或一种特定的舞蹈技巧来组织一堂课。好的舞蹈课从基础知识和技能逐步发展为支持艺术形式复杂性的各种能力。在舞蹈训练的各个方面，教师都需要确定基本的基础，然后在该知识基础上建立基础。无论是以芭蕾舞，现代，爵士，非洲或城市舞蹈开设舞蹈班，都将探索某些基本的动作技巧。这些技能包括对齐，平衡机制，空间意识，音乐性，运动控制和协调性等方面。<br><br>混合搭配<br><br>教师可以通过提供各种学习机会来增强学习。有一天，可能会分析性地找到一种组合，即分解材料并检查其详细信息和组件。第二天，老师可能会从动觉的角度运用躯体练习来处理教材。[25,26]为了加深体验，可以通过各种状态来探索教材：感觉，感觉和身体。<br><br>可以增强学习效果的另一种教学策略是取消传统课程的某些方面，这些方面可能会限制使用多种感觉运动方式，特别是对于有一定经验的舞者。老师可以探索的策略示例包括：在某些天完全没有芭蕾课的情况下工作，没有镜子的工作，在某些天没有现代或爵士乐课的地板工作，消除房间里“前锋”的感觉（面对不同的方向），闭着眼睛尝试固定的工作，带走音乐并保持沉默，或者偶尔使用不寻常的音乐。情境多样性是挑战运动学习并促进进步的绝佳方法。<br><br>发展身体意识<br><br>舞蹈课的另一个重要组成部分是提高身体意识和身心联系。可以通过在课堂上融入体力劳动来直接解决这一问题，[14,25,26]，也可以通过传统的课堂结构和练习间接解决，强调意识和重点是舞蹈教学中的重要组成部分。刺激心身联系的有用工具是图像的使用。老师和学生共同创建的图像可以提供多维视角和体力工作经验，并可以整合搬家工人

专注于任务<br><br>有许多干扰干扰了舞者在上课和排练期间继续执行任务和专注于工作重要元素的能力。专注于手头的任务可以产生一种与工作成果相关的能力感。相比之下，注重与其他人的比较，则会导致注重证明自己优越，以便感到称职，并分散对手头任务的注意力。 10 舞者可能会关注与班上其他舞者的比较、身体形象问题，以及进步的速度和对不够熟练地在专业社区工作的恐惧。教师可以通过各种策略鼓励学生专注于这项任务。例如，通过承认和尊重每个人的属性和成就，教师可以减少学生与他人比较的冲动，并鼓励每个舞者继续专注于个人发展。<br><br>思考学习<br><br>教师可以通过识别每个学生的个人学习风格来促进学生学习：视觉、听觉、分析、运动空间、运动-外部、运动内在等。帮助每个舞者了解各种学习方式的好处，以及个人如何拓宽学习新材料的方法，是很有用的。老师可以提出一些问题，鼓励舞者观察他们是如何学习的[23]：我通过节奏或旋律听到音乐吗？我是通过形状设计还是空间信息来学习材料？我如何吸收新信息是视觉上的还是动感的？如何学到最好的？它使学生能够了解自己的学习风格。 最初，个人校正可以与这些学习风格偏好保持一致，以便舞蹈演员更容易学习。最终，学生可能会受到挑战，尝试学习的风格通常不在他们的舒适区。改进和扩展学习策略可同时促进技能发展和自尊。它还将给予舞者在节目和表演试镜方面的优势，并可以增强自信心。<br><br>类的结构和内容<br>建立基金会<br><br>每个老师都知道，舞蹈课不仅仅是一系列的练习和组合。大多数教师围绕特定的运动方法或特定的舞蹈技巧构建一个班级。良好的舞蹈课逐渐从基本知识和技能建立到支持艺术形式复杂性的广泛能力。在舞蹈培训的各个方面，教师需要确定基础，然后在此基础上再接再厉。无论是以芭蕾、现代舞、爵士乐、非洲舞还是城市舞蹈为本的舞蹈班，都将探索某些基本的运动技巧。这些技能包括对齐、平衡机制、空间感知、音乐性、运动控制和协调等方面。在吸收更复杂和更复杂的词汇和技能之前，必须建立这一基础。[24]<br><br>混合和匹配<br><br>教师可以通过以各种方式提供学习机会来加强学习。有一天，可能会进行分析，即分解材料并检查其细节和组件。第二天，老师可能会用体质练习从运动学的角度处理材料。[25，26] 为了加深体验，可以通过各种状态来探索材料：感觉、感觉和身体。<br><br>另一个可以加强学习的教学策略是去除传统课程的某些方面，这些方面可以限制使用多种感官模式，尤其是对于有一定经验的舞者。教师可以探索的策略示例包括：在某些日子里，在芭蕾课上完全不用酒吧，在没有镜子的情况下工作，在某些日子里在现代或爵士乐课上不做地板工作，消除房间里的"正面"感（面对各种方向），闭着眼睛尝试静止的工作，拿走音乐，默默地工作，或有时使用不寻常的音乐。上下文多样性是挑战运动学习和提高进步的绝佳方式。<br><br>培养身体意识<br><br>舞蹈课的另一个重要组成部分是提高身体意识和心与身体的联系。这可以通过将体格工作纳入课堂，[14，25，26]或通过传统的课堂结构和练习间接解决，强调意识和重点是舞蹈教学的一个重要组成部分。刺激心身连接的一个有用的工具是使用图像。由教师和学生共同创作的图像可以提供多维的物理工作视角和经验，并可以整合搬运工

Focusing on the TaskThere are numerous distractions that interfere with the dancer’s ability to stay on task and to focus on the important elements of the work during class and rehearsal. Focusing on the task at hand can lead to a sense of competence that relates to the results of one’s work. In contrast, focusing on comparisons to others can lead to the fixation on proving oneself superior in order to feel competent, and distract from the task at hand.10 Dancers might become concerned with comparisons with other dancers in the class, with body image issues, and with the pace of progress and fears of not being sufficiently skilled to work in the professional community. Teachers can encourage students to focus on the task through a variety of strategies. For example, by acknowledging and respecting the attributes and accomplishments of each individual, teachers can reduce the compulsion for students to compare themselves with others and encourage each dancer to remain focused on personal development.Thinking About LearningThe teacher can enhance student learning through recognition of each student’s personal learning style: visual, auditory, analytic, kinesthetic-spatial, kinesthetic-external, kinesthetic-internal, and so on. It can be useful to assist each dancer in understanding the benefits of the various learning styles and how the individual can broaden one’s approach to learning new material. The teacher can pose questions that encourage dancers to observe how they learn[23]: Do I hear music through rhythm or melody? Do I learn material through shape design or spatial information? Am I visual or kinesthetic in how I absorb new information? How do I learn best? It is empowering for students to learn about their own learning styles.9 Initially, individual corrections can be geared to align with these learning style preferences so that learning is easier for the dancer. Eventually, students can be challenged to attempt to learn in a style that is typically not in their comfort zones. Improving and expanding learning strategies enhances skill development and self-esteem simultaneously. It will also give the dancers advantages in auditions for programs and performances, and can boost self-confidence.Structure and Content of the ClassBuilding FoundationsEvery teacher knows that a dance class is more than a series of exercises and combinations across the floor. Most teachers construct a class around a particular approach to movement or a specific dance technique. A good dance class builds progressively from the basic knowledge and skills to a wide array of abilities that support the complexity of the art form. In each aspect of dance training, the teacher needs to identify the basic foundation, and then build upon that knowledge base. Whether a dance class is founded in ballet, modern, jazz, African, or urban dance, certain fundamental movement skills will be explored. These skills include aspects such as alignment, balancing mechanisms, spatial awareness, musicality, motor control, and coordination. This foundation must be in place before more complex and sophisticated vocabulary and skills can be absorbed.[24]Mixing and MatchingTeachers can enhance learning by providing opportunities to learn in a variety of ways. One day a combination might be approached analytically, that is, breaking down the material and examining its detail and components. The next day the teacher might use a somatic practice to address the material from a kinesthetic perspective.[25,26] To deepen the experience, the material can be explored through various states: feeling, sensory, and physical.Another teaching strategy that can enhance learning is the removal of certain aspects of the traditional class that can limit the use of multiple sensorimotor modalities, especially for dancers with some experience. Examples of strategies the teacher can explore include working entirely without the barre in ballet class on certain days, working with no mirrors, working with no floor work in modern or jazz class on certain days, removing the sense of “front” in the room (face various directions), trying stationary work with eyes closed, and taking away music and working in silence, or using unusual music on occasion. Contextual variety is an excellent way to challenge motor learning and enhance progress.Developing Body AwarenessAnother essential component of the dance class is increasing body awareness and the mind-body connection. This may be directly approached through incorporation of somatic work in the class,[14,25,26] or indirectly addressed through traditional class structures and exercises, emphasizing awareness and focus as an important component in dance instruction. A useful tool in stimulating the mindbody connection is the use of imagery. Imagery, created both by teachers and students, can provide a multi-dimensional perspective and experience of the physical work and can consolidate movemen<br>