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This semester's dance curriculum offers a rich and diverse range of content, encompassing various dance forms such as Chinese classical dance, folk dance, and modern dance, as well as relevant knowledge about the historical development of dance in both Eastern and Western traditions. Students will delve into the intricate connections between dance and culture, accurately grasp the unique characteristics of each dance style in terms of movement, rhythm, and emotional expression, and meticulously understand their origins and evolution. This is primarily reflected in the following four key aspects:

1. Basic Techniques and Body Control: Including balance, coordination, strength, and flexibility, which will be improved through decomposition, repetition, mirroring, and feedback exercises.

2. Dance Elements and Expression: Including rhythm, space, emotion, and musicality, which will be enhanced through perception, imitation, and matching exercises.

3. Dance Styles and Culture: Learning the characteristics, techniques, and cultural background of specific styles, which will be understood through practical exercises and cultural research.

4. Dance Choreography and Collaboration: From theme selection to movement arrangement, and then to teamwork and presentation of results, developing students' dance creation and collaboration abilities.

本学期的舞蹈课程内容丰富多样,既囊括了中国古典舞、民族舞以及现代舞等多种舞蹈形式，又涉及中西方舞蹈发展历程的相关知识.学生们将深入探寻舞蹈与文化之间千丝万缕的联系,精准把握各类舞蹈风格在动作、节奏以及情感表达上的独特特质,同时细致了解其起源脉络与发展走向.这主要体现在以下四个关键方面：

1.基本技巧与身体控制： 包括重心、协调、力量、灵活性等,通过分解、重复、镜像和反馈练习提高

2.舞蹈元素与表达： 包括节奏、空间、情感、音乐性等,通过感知、模仿、匹配练习,强化舞蹈表达

3.舞蹈风格与文化： 学习特定风格的特点、技巧和文化背景,并通过实践练习和文化研究来理解.

4.舞蹈编创与合作： 从主题选择到动作编排,再到团队合作和成果展示,培养舞蹈创作和协作能力.

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Students actively develop thinking, research, communication, social and self-management skills. (0402 - 01)

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Students actively develop thinking, research, communication, social and self-management skills. (0402 - 01)

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Teachers use local and global contexts to build the relevance of the curriculum. (0403 - 03)

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Teachers use local and global contexts to build the relevance of the curriculum. (0403 - 03)

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Teachers facilitate students to explore their own personal interests and ideas. (0403-01-0500)

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Teachers facilitate students to explore their own personal interests and ideas. (0403-01-0500)

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Students' ability to identify and foster healthy relationships, understand shared responsibility, and collaborate effectively.(0402 - 03)

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Students' ability to identify and foster healthy relationships, understand shared responsibility, and collaborate effectively.(0402 - 03)

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The school provides students with the opportunity to directly apply what they have learned through action. (0402-05-0100)

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The school provides students with the opportunity to directly apply what they have learned through action. (0402-05-0100)

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1. Regular Practice: Engage in practice sessions 1-2 times per week, with each session lasting at least 10 minutes, focusing on decomposition, repetition, and feedback exercises.

2. Self-Analysis: Utilize video recordings to analyze personal movements and document areas for improvement.

3. Diverse Learning Methods: Learn through watching videos, practicing imitation, and conducting research.

4. Cultural Research: Complete a research report on the cultural background of a selected dance style.

5. Collaborative Improvement: Participate in feedback and communication sessions within the group to refine dance pieces continuously.

1.每周练习1-2次，每次不少于10分钟，进行分解、重复和反馈练习。

2.利用视频分析自己的动作，并记录改进。

3.通过观看视频、模仿练习、查阅资料等方式进行学习。

4.完成文化背景相关的研究报告。

5.小组内进行反馈和交流，不断完善作品。

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Students will achieve a score of 80% or higher in correctly completing the assigned dance combinations. This includes demonstrating the following:

1. Rhythmic Precision and Emotional Expression: The ability to accurately perform movements in sync with the music's rhythm, as well as effectively express emotions through physical actions.

2. Dance Style Recognition and Description: The ability to identify and describe the characteristics of at least three different dance styles.

3. Understanding the Link Between Dance and Culture: The ability to articulate the relationship between dance and its cultural context.

4. Independent Choreographic Ability: The capacity to independently create and structure a dance sequence.

5. Effective Team Collaboration: The ability to collaborate effectively with teammates to complete a dance performance.

6. Clear Communication of Creative Vision: The ability to articulate the creative concept and theme of a dance piece.

期末考核能正确完成指定组合的 80% 以上.其中包括:

1.能根据音乐节奏,准确完成 动作.能运用肢体动作表达情感.

2.能识别并描述至少3种舞蹈风格的特点.

3.能阐述舞蹈与文化之间的联系.

4.能独立进行编排.

5.能在团队中有效合作,完成舞蹈作品.

6.能清晰表达舞蹈的创意和主题.

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PYP Dance Curriculum Integrating IB Teaching Philosophies:

1. Enhancing Expressiveness and Self-Expression: Improving dance performance and the ability to express oneself through dance, which aligns with IB's emphasis on Knowledgeable, Communicator, and Creative learner attributes.

2. Broadening Cultural Perspectives: Expanding cultural awareness and understanding of diverse cultural expressions through dance, which aligns with IB's emphasis on Knowledgeable, Inquirer, and Open-minded learner attributes.

3. Developing Creativity, Collaboration, and Communication Skills: Fostering creativity, collaborative abilities, and communication skills, which aligns with IB's emphasis on Thinker, Communicator, and Caring learner attributes.

PYP舞蹈课程融合IB教学理念:

1.提升舞蹈的表现力，学会用舞蹈表达自我，与IB的知识渊博、交流和创造力联系。

2.拓宽文化视野，理解不同文化的表达方式，与IB的知识渊博、探究和胸襟开阔联系。

3.培养创造力、协作能力和沟通技巧，与IB的思考、交流和关爱他人联系

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This semester's dance learning is structured to be progressive, fully fostering student autonomy. In the initial phase, students independently explore the stylistic features of different dance genres and actively solidify their foundational movements. Mid-semester, each group independently plans and presents a choreographed excerpt, receiving assessment and feedback. During this phase, students actively utilize opportunities for feedback from class practices and group discussions to autonomously adjust and optimize their choreographic concepts and movement techniques, deeply exploring dance creativity. By the end of the semester, students fully independently complete their group dance pieces, eagerly preparing for the final assessment. The final showcase comprehensively presents the results of their autonomous learning, highlighting their unique understanding and interpretation of dance, and fully demonstrating the significant achievements and brilliance achieved through student-driven learning.

本学期舞蹈学习循序渐进，充分激发学生自主性。初期，学生自主探索不同舞种的风格特色，主动夯实基础动作。期中，各小组自主策划并展示编舞片段，接受评估检验，期间积极利用课堂练习的反馈以及讨论交流的机会，自主调整优化编舞思路与动作技巧，深入挖掘舞蹈创意。期末，学生们完全自主完成小组作品，全力迎接最终考核，在期末展示中全方位呈现自主学习成果，彰显对舞蹈独特的理解与演绎，充分展现舞蹈学习中由学生自主驱动所达成的显著成效与风采。

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In the dance classroom, to cultivate students' critical and creative thinking skills, enabling them to analyze, evaluate, and solve problems, we emphasize the following content: Students will engage in choreographic analysis, deeply examining the structure, use of space, rhythm, and expression of existing dance works, thereby developing the ability to deconstruct dance. Simultaneously, through problem-solving in improvisation, students will receive challenges or prompts, utilizing creative thinking to develop movement solutions and experiment with them. Furthermore, students will learn to conduct dance critiques, providing constructive feedback to peers and analyzing dance performances, using evidence from the work to support their viewpoints. Finally, we encourage students to explore movement in unconventional ways, independently generating ideas, and solving movement-related problems, thereby fostering their creativity and autonomy.

在舞蹈课堂中，为了培养学生的批判性和创造性思维，使其能够分析、评估和解决问题，我们着重设计以下内容：学生将通过编舞分析，深入考察现有舞蹈作品的结构、空间运用、节奏和表达，从而具备解构舞蹈的能力。同时，通过即兴创作中的问题解决环节，学生将接收挑战或提示，运用创造性思维来开发动作解决方案并进行尝试。此外，学生还将学习进行舞蹈评论，向同伴提供建设性的反馈，并分析舞蹈表演，运用作品中的证据来支持自己的观点。最后，我们鼓励学生以非常规的方式探索动作，自主产生想法，并解决与动作相关的问题，以此激发他们的创造性和自主性。

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The dance classroom emphasizes fostering students' collaborative spirit. Through team choreography, students will work together in groups to complete dance pieces, developing communication and collaborative skills. Partner work will focus on building trust, mutual support, and cultivating an awareness of others' bodies and movements. Additionally, students will learn to give and receive respectful and constructive feedback, fostering an inclusive learning environment, and collaboratively find solutions when facing creative or technical challenges.

舞蹈课堂着重培养学生的合作精神。通过团队编舞，学生将在小组中合作完成舞蹈作品，锻炼沟通与协作能力。双人合作练习则侧重于建立信任、相互支持，并培养对他人身体和动作的感知。此外，学生将学习给予和接受尊重且具建设性的反馈，营造包容的学习氛围，并在面临创意或技术挑战时，共同寻找解决方案。

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For example, in the process of learning how to express ourselves, students can effectively communicate with their peers to create, trust and tolerate each other.

例如学生在学习我们如何表达自己的过程中，有效的与同伴沟通进行编创，相互信任和包容

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In the dance classroom, teachers are committed to facilitating each student's exploration of their unique personal interests and ideas. We encourage students to find their own voice in dance, showcasing their individual understanding and interpretation of dance through improvisation and free choreography. The teacher's role is to guide and inspire, providing a safe and supportive environment where students feel empowered to experiment and express themselves freely, ultimately discovering their own distinctive perspective and style within dance.

在舞蹈课堂中，教师致力于促进每位学生探索他们独特的个人兴趣和想法。我们鼓励学生在舞蹈中寻找自己的声音，通过即兴创作、自由编舞等方式，展现个人对舞蹈的理解和诠释。教师的角色在于引导和启发，为学生提供安全、支持性的环境，让他们敢于尝试、勇于表达，最终在舞蹈中找到属于自己的独特视角与风格。

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In a vibrant and creative classroom, we have carefully designed a unique teaching activity called "Movement Chain," aiming to provide students with a stage to fully showcase their individuality, broaden their thinking, and ignite their latent creativity. The rules of the activity are that one student initiates a movement, and then another student builds upon and creatively extends the previous movement, and so on. This process not only effectively develops students' keen imitation skills, enabling them to accurately capture the essence of the previous student's movement and quickly reproduce it, but more importantly, it greatly cultivates students' improvisational responsiveness. When faced with the constantly changing movements of the previous student, students need to mobilize their thinking within a very short time frame, conceiving novel and coherent movements. This encourages them to learn flexibility and adaptability, quickly organizing thoughts and sparking inspiration under sudden circumstances, thereby making their thinking more agile and active. This, in turn, lays a solid foundation for the flourishing development of their creativity, helping them navigate the sea of creativity freely, and reap growth and progress.

在充满活力与创意的课堂上，我们精心设计了 “身体接龙” 这一独特的教学活动，旨在为学生们搭建一个尽情展现个性、充分开阔思维的舞台，激发他们潜藏的无限创造力。活动规则是一位学生率先做出一个动作，而后另一位学生需要在前一位学生动作的基础上进行大胆的创造与延展，以此类推。这一过程不仅有效地锻炼了学生敏锐的模仿能力，使他们能够精准捕捉前一位同学动作的精髓并快速再现，更重要的是，极大程度地培养了学生即兴的反应能力。当面对前一位同学千变万化的动作时，学生们需要在极短的时间内调动思维，构思出新颖且连贯的动作，这促使他们学会灵活应变，在突发状况下迅速组织思路、激发灵感，从而让他们的思维更加敏捷、活跃，为其创造力的蓬勃发展奠定坚实基础，助力他们在创意的海洋中自由遨游，收获成长与进步。

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By playing music with different rhythms in class, students can improvise according to the feeling of music, which not only gives students the opportunity to show themselves, but also gives students space to create, in this process, teachers can quickly discover the characteristics of each child and teach students in accordance with their aptitude.

在课堂上通过播放不同节奏的音乐，让学生根据音乐的感觉来即兴，这不仅能够让学生有展示自己的机会，同时也给予学生创作的空间，在这个过程中教师能够迅速发现每个孩子的特点，进而因材施教。

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G1 Who we are :Dance makes us physically and mentally healthy.

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G1 Who we are :Dance makes us physically and mentally healthy.

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Open the dance link UOI "who we are" and students will create based on the characters of "Journey to the West. From the flexibility of the Sun Wukong to the calm of the Tang Seng, from the simple and honest manner of the Zhubajie to the loyalty of the Sha Seng, students can create dance movements through classic images, which can not only tap their own creativity, you can also learn to express your personality in dance language and open a unique artistic exploration journey.

打开舞蹈链接 UOI “我们是谁”，学生将基于《西游记》人物进行创作。从孙悟空的灵动到唐僧的沉稳，从猪八戒的憨态到沙僧的忠厚，学生借经典形象创编舞蹈动作，既能挖掘自身创造力，又能学会用舞蹈语言表达个性，开启独特的艺术探索旅程。

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The characters created by each group are lifelike, very creative, and the team cooperates tacitly.

The characters created by each group are lifelike, very creative, and the team cooperates tacitly.

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The dance link UOI "How do we express ourselves" opens a unique journey of exploration of emotional expression. At the beginning of the course, carefully selected video clips are used as guides to bring students into vivid situations. In these short films, they can intuitively see how the characters show the emotional waves in their hearts through delicate expressions, smart body movements and appropriate language, or the joy when they are happy, silent tears when sad, clenched fists when angry. At the same time, students can also deeply understand the way friendship is transmitted in different scenes, such as an encouraging look between friends, a warm hug, and a struggle to fight side by side. Through these rich visual presentations, it builds a solid foundation for students to understand and use dance movements to express emotions and friendship, let them show their emotional world more freely and creatively in the world of dance, start an artistic journey full of moving and growth, and then improve their emotional perception and expression ability, build a bridge between dance and life.

舞蹈链接 UOI “我们如何表达自己”，开启一场别开生面的情感表达探索之旅。课程伊始，精心挑选的视频短片作为引导，将学生带入一个个生动鲜活的情境之中。在这些短片里，他们能够直观地看到角色们如何通过细腻的表情、灵动的肢体动作以及恰到好处的语言来展现内心深处的情绪波澜，或是喜悦时的眉飞色舞、悲伤时的默默垂泪、愤怒时的紧握双拳。同时，学生们也能深切体会到友情在不同场景下的传递方式，比如朋友间一个鼓励的眼神、一次温暖的拥抱、一场并肩作战的奋斗。借由这些丰富的视觉呈现，为学生后续深入理解和运用舞蹈动作去表达情绪与友情筑牢基础，让他们在舞蹈的世界里更加自如且富有创意地展现自我情感世界，开启一段充满感动与成长的艺术征程，进而提升其情感感知能力与表达能力，在舞蹈与生活之间搭建起一座互通的桥梁。

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We adopt the mode of group cooperation to guide students to create dances with plots independently, so as to realize the expression of emotions. In this process, teachers provide students with accurate and appropriate guidance to help them skillfully integrate their emotions into dance movements to achieve emotional transformation and sublimation. This not only enables students to master effective methods of emotional management, but also greatly improves their choreography skills invisibly.

我们采用分组合作的模式，引导学生自主创作蕴含情节的舞蹈，以此来实现情绪的表达。在此过程中，教师为学生提供精准且恰当的引导，助力他们将自身的情绪巧妙地融入舞蹈动作之中，实现情绪的转化与升华。这不仅使学生掌握了情绪管理的有效方法，还在无形之中极大地提升了他们的舞蹈编创技能

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The fusion of dance and martial arts  舞蹈与武术的融合

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The fusion of dance and martial arts  舞蹈与武术的融合

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This semester, PYP fourth-grade students rely on school-based courses to carry out dance and martial arts characteristic courses and make every effort to prepare elegant demeanour display activities. At present, the teaching task is still in the stage of intense rehearsal. Due to time constraints, students encounter many challenges in the fluency of movement conversion, precise control of rhythm and tacit understanding of teamwork. Although several collective rehearsals have been organized, due to the uneven individual cooperation ability of students, there is still much room for improvement in the overall presentation effect of the integration of dance and martial arts, and further training is needed in the follow-up, in order to achieve a better display effect.

本学期，PYP 四年级学生以校本课为依托，开展舞蹈与武术特色课程，全力筹备风采展示活动。目前，教学任务尚处于紧张排练阶段。受时间限制，学生们在动作转换的流畅性、节奏的精准掌控以及团队协作的默契度方面遭遇诸多挑战。尽管已组织数次集体排练，但因学生个体配合能力参差不齐，致使舞蹈与武术融合的整体呈现效果仍有较大提升空间，后续还需进一步强化训练，以达成更佳的展示效果。

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In order to promote home-school cooperation, the school organized home-school co-construction rehearsals. In the process of rehearsal, the participation of students is better on the whole, but in the actual rehearsal, they still face certain challenges. Due to the tight rehearsal time, it is mainly concentrated in the large break, and some students fail to fully invest in the rehearsal, resulting in low completion of some links. Although the rehearsal time is limited, I try my best to adjust the arrangement to ensure that every student can participate in various exercises.

为了促进家校合作，学校组织了家校共建排练。排练的过程中，学生们的参与度整体较好，但在实际排练时，仍面临一定的挑战。由于排练时间较为紧张，主要集中在大课间进行，部分学生在排练时未能充分投入，导致部分环节的完成度不高。虽然排练时间有限，但我尽量通过调整安排，确保每个学生都能参与到各项练习中来。

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The dance links UOI "What time and space are we in" and starts the journey of exploring the mortise and tenon structure with the characteristics of Chinese mortise and tenon architecture as the starting point. The students use their bodies as their language, give full play to their imagination, and show the concave-convex fit and stable and changeable characteristics of mortise and tenon joints.

舞蹈链接 UOI “我们身处什么时空”，以中国榫卯建筑结构的特色为切入点，开启探索榫卯结构之旅。学生们以肢体为语言，发挥想象，展现榫卯的凹凸契合与稳固多变的特点。

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This exploration starts from the source of the development of ancient Chinese dance, and slowly moves forward along the long river of history, gradually combing the context of dance development. From the simple dance of primitive sacrifice, to the magnificent music and dance of the prosperous Han and Tang Dynasties, to the diversified integration of Song, Yuan, Ming and Qing Dynasties, students will have an in-depth understanding of the style, form, and style of dance in different periods, the evolution of connotation and other aspects, feel the unique charm and cultural heritage of dance art in the circulation of years, and explore the true meaning of dance art inheritance and development in the interweaving of ancient and modern times, start a journey of cultural dialogue and artistic edification across time and space.

此次探索自中国古代舞蹈的发展源头出发，沿着历史长河徐徐前行，逐步梳理舞蹈发展的脉络。从原始祭祀的质朴之舞，到汉唐盛世的恢弘乐舞，再到宋元明清的多元融合之态，学生们将深入了解不同时期舞蹈在风格、形式、内涵等方面的演变，感受岁月流转中舞蹈艺术的独特魅力与文化底蕴，于古今交织中探寻舞蹈艺术传承与发展的真谛，开启一场跨越时空的文化对话与艺术熏陶之旅。

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In cultivating students' creative thinking, classroom observations, student work, and interactive feedback reveal diverse responses to creative prompts. Students with active but shallow thinking often need guidance to delve deeper into their ideas rather than remaining stuck on novel but superficial ones. Conversely, introverted or hesitant students benefit from a supportive and encouraging environment, along with specific strategies for expanding their thinking.

在培养学生创造性思维的过程中，我们通过课堂观察、学生作业及互动反馈等方式，发现不同学生在面对创意启发时呈现出多样的反应。对于思维活跃但缺乏深度的学生，问题在于引导其深入探究而非仅停留在表面的新奇想法；而对于较为内敛、不敢表达创意的学生，则需着重营造宽松氛围，给予更多鼓励与具体的思维拓展方法。

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The choice of teaching content 舞蹈教学内容的选择

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The choice of teaching content 舞蹈教学内容的选择

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Question: This semester's dance courses have been gradually promoted from basic skills, dance combinations to finished dance, which has improved students' basic ability and expressive force. However, the problem is also more obvious. The teaching content of senior grades does not conform to the characteristics of the times and student development, with traditional style and lack of new ideas, which is difficult to stimulate interest. Moreover, the difficulty level is not accurate, which affects the learning effect of some students.

Measures: In the future, we should boldly innovate, combine the trend of the times and students' interests, and introduce novel dance types, such as jazz street dance fusion style, while taking into account classic elements. And according to the students' basic hierarchical design content, so that students at all levels can gain something, enhance students' interest and investment in the course, and improve teaching effectiveness.

问题：本学期的舞蹈课程从基本功、舞蹈组合到成品舞逐步推进，提升了学生基础能力和表现力。但问题也较为明显，高年级教学内容未贴合时代与学生发展特点，风格传统，缺乏新意，难以激发兴趣。而且难易程度把握不准，影响了部分学生的学习效果。

措施：未来应大胆创新，结合时代潮流和学生兴趣，引入新颖舞种，如爵士街舞融合风等，同时兼顾经典元素。并根据学生基础分层设计内容，让各层次学生都能有所收获，增强学生对课程的兴趣与投入，提升教学成效。

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In the early stage of this semester's dance class, the students were enthusiastic but disciplined, and there were many speeches and distractions. Although there have been improvements after the formulation of rules and reward and punishment mechanisms, there are still individual students who violate discipline. The enforcement needs to be strengthened. It is necessary to pay more attention to students with poor self-discipline to ensure good order.
本学期舞蹈课前期学生热情高但纪律差，讲话、走神现象多。制定规则与奖惩机制后虽有改善，但仍有个别学生违纪，执行力度待加强，需更关注自律性差的学生，确保良好秩序。

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Question： of the UOI unit theme and dance content of the fit is low, resulting in curriculum integration is more far-fetched. For example, under the theme of "sharing the Earth", although I try to embody the concept of environmental protection through dance, its direct connection with dance teaching is still insufficient. In the process of integration with UOI, it is a big challenge to establish effective links based on the characteristics of this discipline. Due to the interdisciplinary breadth of UOI, dance discipline often deviates from its own artistic expression and essential characteristics of body rhythm when combined with it. Too much emphasis on the explanation of cultural knowledge, while weakening the dance movements, rhythm, emotional expression and other key elements of the discipline of the depth of development. Lost the unique aesthetic value of dance and physical skills training function.

问题：部分UOI单元主题与舞蹈内容的契合度较低，导致课程整合显得较为牵强。例如，在“共享地球”主题下，虽然我尝试通过舞蹈来体现环保理念，但其与舞蹈教学的直接关联仍显不足。在与 UOI 融合过程中，立足本学科特点并建立有效链接是一大挑战。由于 UOI 跨学科的广度，舞蹈学科在与之结合时，往往容易偏离自身艺术表达和身体律动的本质特性。过于侧重文化知识的讲解，而弱化了舞蹈动作、节奏、情感表达等本学科关键要素的深度发展。丢失了舞蹈独特的审美价值和身体技能训练功能。

Measures： the future, we should focus on the aspects of dance movement vocabulary, style and rhythm, and find a natural and in-depth meeting point with UOI theme, so as to ensure that the independence and integrity of dance discipline can be demonstrated in the process of integration, let students not only broaden their horizons with the help of UOI, but also improve their professional quality of dance.

措施：今后应着重从舞蹈动作语汇、风格韵律等方面出发，寻找与 UOI 主题自然且深入的契合点，以确保在整合过程中舞蹈学科的独立性与完整性得以彰显，让学生既能借助 UOI 拓宽视野，又能扎实提升舞蹈专业素养

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Strengthen the proportion of English used in the classroom 加强课堂英文的使用比例

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Strengthen the proportion of English used in the classroom 加强课堂英文的使用比例

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In daily teaching, the frequency and fluency of English need to be improved, especially in the communication with non-Chinese Native students, I find myself using Chinese more in teaching, as a result, some students' understanding and participation are limited. In order to improve students' language skills and cross-cultural communication skills, I will pay more attention to the use of English in future classes, especially in dance terms, instructions and classroom interaction, to help students improve their English listening and speaking skills and provide them with a more comprehensive language environment.

在日常教学中，英语的使用频率和流畅度有待提高，尤其是与非中文母语学生的沟通中，我发现自己在教学中更多使用了中文，导致部分学生的理解和参与受限。为了提高学生的语言能力和跨文化沟通能力，我将在今后的课堂中更加注重英语的使用，特别是在舞蹈术语、指令和课堂互动中加强英语的表达，以帮助学生提高英语听力和口语能力，并为他们提供更全面的语言环境。

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In reflecting on the cultivation of students' social skills, a careful review of past teaching practices has been conducted. For example, in organizing group projects, it was observed that while some students demonstrated a willingness to communicate, their expression was often unclear and imprecise, leading to impeded information transfer. Similarly, during role-playing activities, some students struggled to understand issues from others' perspectives, resulting in inappropriate conflict resolution. From a pedagogical standpoint, there was an overemphasis on theoretical explanations, with comparatively insufficient practical scenario simulations, leaving students lacking in real-world experience in responding to various situations. To address these specific issues, subsequent efforts should include targeted expression training, optimized scenario design to enhance empathy development, and an increase in the proportion of practical activities. Through these improvements, we aim to tangibly enhance the effectiveness of social skills cultivation, promoting students to engage in interpersonal interactions with greater confidence and maturity, and achieving a steady improvement and development of their social competencies.

在对学生社交技能培养进行反思时，仔细回顾了过往的教学实践。例如在组织小组项目中，发现部分学生虽具备一定沟通意愿，但表达不够清晰准确，导致信息传递受阻；而在角色扮演活动里，有些学生难以站在他人角度理解问题，出现冲突解决不当的情况。从教学方法看，理论讲解过多，实际场景模拟相对不足，使学生缺乏真实情境下的应对经验。针对这些具体问题，后续应增加有针对性的表达训练，优化情境设计以强化同理心培养，并提升实践活动的占比，通过这些改进措施来切实增强学生社交技能培养的实效，促进学生在人际交往中更加自信、成熟地应对各种情况，实现社交能力的稳步提升与发展。

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Reflection on Individualized Dance Teaching

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Reflection on Individualized Dance Teaching

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1.In terms of teaching methods, although efforts are made to create a free atmosphere, the space for students to explore independently is still insufficient. For example, in the creative inspiration link, sometimes the guidance is too urgent and does not fully allow students to think independently and divergently, resulting in some students' unique ideas not being fully displayed.

2.In terms of material provision, although we try our best to cover a variety of dance styles, the depth and systematicness are lacking, which fails to fully meet the students' fine needs for materials in personalized creation.

In the following teaching, I will focus on improvement. Increase students' independent exploration time and enrich creative inspiration forms; Optimize the provision of materials and explain in depth the characteristics of various styles of dance; Improve the way of reflection and guidance。

1.在教学方法上，虽努力营造自由氛围，但给予学生自主探索的空间仍显不足。例如在创意启发环节，有时引导过于急切，未充分让学生自主发散思维，导致部分学生的独特想法未能充分展现。

2.在素材提供方面，虽然尽力涵盖多种舞蹈风格，但深度和系统性有所欠缺，未能充分满足学生在个性化创造时对素材的精细需求。

后续教学中，我会着重改进。增加学生自主探索时间，丰富创意启发形式；优化素材提供，深入讲解各类风格舞蹈特点；改进反思引导方式，全力提升学生的个性化创造与反思能力，让舞蹈课堂更具活力与成效。

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This semester's dance course boldly innovates on the traditional framework. It not only continues the beauty of body rhythm in Chinese classical dance, the regional charm of ethnic dance and the avant-garde expression of modern dance, but also adds trendy elements of jazz dance, stimulating students' artistic inspiration through the collision of diverse styles. The course design ingeniously integrates theoretical exploration with practical innovation. Once students complete the basic training module, the teaching content gradually shifts to more challenging areas.

1.In the basic skills and body control section: In addition to the regular center of gravity transfer and coordination training, it also introduces the unique explosive power training and body isolations (separation control) practice of jazz dance. Through step-by-step decomposition teaching and mirror feedback system, it helps students accurately master the power generation logic of different dance styles. In combination with dynamic stretching and core muscle strengthening courses, students can enhance their flexibility while building stable body control.

2.In the dance elements and expression section: The course delves deeply into the rhythm codes of various dance genres: from the musical adaptation of classical dance, which is "slow and lyrical, fast and passionate", to the precise capture of the complex and segmented rhythms in jazz dance. Through impromptu choreography mini-games and matching exercises with musical passages, guide students to combine spatial hierarchy changes with emotional narratives. For example, in the modern dance unit, students need to interpret the progression of different emotions based on abstract musical segments through the contraction and release of the body and the conversion of high and low Spaces.

3.Dance Style and Culture Module: Breaking away from the traditional single teaching model, a cultural workshop is set up for each dance style learned. When learning Dai dance, invite an inheritor of intangible cultural heritage to explain the cultural connotation of the peacock totem. When encountering jazz dance, one can trace its evolution from African folk dance to the Broadway stage. This immersive learning enables students to master the "Three Bends" posture of Dai dance and the "hip swing + chest lock" technique of jazz dance, while truly understanding the cultural basis behind the movements

4.The most innovative dance choreography and collaboration board: Deeply echoing the UOI theme. By adopting the "thematic proposition + free creation" model, students are transformed into creators and planners, independently forming teams and dividing tasks. They take the lead throughout the process from action design to stage scheduling, thereby enhancing their organizational and management skills.

When creating, students use dance as a medium, actively connecting their personal emotions with social issues, and transforming what they have learned, such as body control and rhythm perception, into a cross-genre integrated movement language. In team collaboration, the work is optimized through discussions and feedback, and the arrangement logic is refined with critical thinking. The final original work not only integrates the characteristics of various dance styles but also expresses students' thoughts on the world, achieving a fusion of art and UOI exploration.

本学期的舞蹈课程在传统框架上大胆创新，不仅延续中国古典舞的身韵之美、民族舞的地域风情与现代舞的先锋表达，还新增爵士舞的潮流元素，以多元风格碰撞激发学生艺术灵感。课程设计巧妙融合理论探索与实践创新，当学生完成基础训练模块后，教学内容便逐步转向更具挑战性的领域。

在基本技巧与身体控制板块：除了常规的重心转移、协调性训练，还引入爵士舞特有的爆发力训练与肢体 isolations（分离控制）练习，通过阶梯式分解教学与镜像反馈系统，帮助学生精准掌握不同舞种的发力逻辑。配合动态拉伸与核心肌群强化课程，让学生在提升柔韧性的同时，构建起稳定的身体控制能力。

舞蹈元素与表达环节中：课程深度挖掘各舞种的节奏密码：从古典舞 "慢板抒情、快板激昂" 的音乐适配，到爵士舞复杂切分节奏的精准捕捉。通过即兴编舞小游戏与音乐段落匹配练习，引导学生将空间层次变化与情感叙事相结合。例如在现代舞单元，学生需根据抽象音乐片段，通过肢体的收缩 - 释放、高低空间转换，诠释不同情绪的递进。

舞蹈风格与文化模块：打破传统单一教学模式，每学习一种舞蹈风格，便配套开设文化工作坊。学习傣族舞时，邀请非遗传承人讲解孔雀图腾的文化内涵；接触爵士舞时，则追溯其从非洲民间舞蹈到百老汇舞台的演变历程。这种沉浸式学习，让学生在掌握傣族舞 "三道弯" 体态与爵士舞 "摆胯 + 锁胸" 技巧的同时，真正理解动作背后的文化基因。

最具创新性的舞蹈编创与合作板：深度呼应 UOI 主题。以 “主题命题 + 自由创作” 模式，让学生化身创作者与策划者，自主组队分工，从动作设计到舞台调度全程主导，锻炼组织管理能力。

在编创时，学生以舞蹈为媒介，主动联结个人情感与社会议题，将身体控制、节奏感知等所学，转化为跨舞种融合的动作语言。团队协作中，通过研讨、反馈优化作品，用批判性思维打磨编排逻辑。最终的原创作品，既融合多元舞种特色，又表达学生对世界的思考，实现艺术与 UOI 探究的融合。

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Students will achieve a score of 80% or higher in correctly completing the assigned dance combinations. This includes demonstrating the following:

1. Rhythmic Precision and Emotional Expression: The ability to accurately perform movements in sync with the music's rhythm, as well as effectively express emotions through physical actions.

2. Dance Style Recognition and Description: The ability to identify and describe the characteristics of at least three different dance styles.

3. Understanding the Link Between Dance and Culture: The ability to articulate the relationship between dance and its cultural context.

4. Independent Choreographic Ability: The capacity to independently create and structure a dance sequence.

5. Effective Team Collaboration: The ability to collaborate effectively with teammates to complete a dance performance.

6. Clear Communication of Creative Vision: The ability to articulate the creative concept and theme of a dance piece.

期末考核能正确完成指定组合的 80% 以上.其中包括:

1.能根据音乐节奏,准确完成 动作.能运用肢体动作表达情感.

2.能识别并描述至少3种舞蹈风格的特点.

3.能阐述舞蹈与文化之间的联系.

4.能独立进行编排.

5.能在团队中有效合作,完成舞蹈作品.

6.能清晰表达舞蹈的创意和主题.

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1. Regular Practice: Engage in practice sessions 1-2 times per week, with each session lasting at least 10 minutes, focusing on decomposition, repetition, and feedback exercises.

2. Self-Analysis: Utilize video recordings to analyze personal movements and document areas for improvement.

3. Diverse Learning Methods: Learn through watching videos, practicing imitation, and conducting research.

4. Cultural Research: Complete a research report on the cultural background of a selected dance style.

5. Collaborative Improvement: Participate in feedback and communication sessions within the group to refine dance pieces continuously.

1.每周练习1-2次，每次不少于10分钟，进行分解、重复和反馈练习。

2.利用视频分析自己的动作，并记录改进。

3.通过观看视频、模仿练习、查阅资料等方式进行学习。

4.完成文化背景相关的研究报告。

5.小组内进行反馈和交流，不断完善作品。

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The PYP dance course integrates the teaching concepts of IB

This semester's dance course is guided by the core competencies of IB and achieves a deep integration of art education and all-round development through three major modules:

1. Conveying Meaning through Dance: Practicing the qualities of IB learners in physical expression

Knowledgeable: By integrating the Tang poetry song "Thoughts on a Silent Night", students interpret the poetic sentiment through actions such as the arc of raising the hand to look at the moon and the forward lean of the body to think of home, enabling them to understand that "dance is flowing literature".

Communicator: Through the practice of "dance partner dialogue" (responding to the other person's "happiness" or "sadness" with movements), non-verbal communication skills are cultivated, such as conveying friendliness with "spinning hugs" and expressing comfort with "patting the shoulder".

Creativity: In the improvisational section of modern dance, it is encouraged to reconstruct body language with "natural images" (such as flowing water and gentle breeze), for instance, using the Dai dance "Peacock Hands" to interpret "the lightness of friendship".

2. Cultural Dance Exploration: Cultivating a global Perspective through Diverse experiences

Knowledgeable: When learning Dai dance, combine geography classes to explain "the connection between Peacock Dance and the tropical rainforest environment" (such as imitating the "three bends" posture of peacocks wading through water), and make "cultural passports" to record interdisciplinary knowledge such as clothing and Musical Instruments.

Inquirers: Through the "Dance Archaeology" task (imitating the dance postures of Dunhuang murals), ancient cultural symbols are replicated with the body, such as exploring the artistic exchanges along the Silk Road by using the "rebound pipa" movement;

Broad-mindedness: When adapting African tribal dances, retain the core movements of the "life cycle" (such as the collective circle dance), and incorporate modern campus elements (such as adding skipping rope and high-five rhythms), experiencing the balance between cultural inheritance and innovation.

3. Collaborative dance Creation: Deepen IB values through team practice

Thinker: When creating the "Community Traffic Dance", the concept of "traffic congestion - unblocking" was expressed through "body contraction - expansion", and the IB concepts such as "order" and "collaboration" were transformed into dance logic by combining the knowledge of "Force and Movement" in science class.

Communicator: In cross-group feedback meetings, use sentence structures such as "I see your movements are very powerful. I suggest adding more spatial hierarchy variations" to cultivate constructive communication skills.

The caring person brought the final work "Community Traffic Dance" to the subway station for performance, using actions such as "bicycle shuttling" and "yielding to pedestrians" to convey the concept of civilized travel and practice IB's advocacy of "serving the community".

PYP 舞蹈课程融合 IB 教学理念

本学期舞蹈课程以 IB 核心素养为导向，通过三大模块实现艺术教育与全人培养的深度联动：

1. 以舞传意：在肢体表达中践行 IB 学习者品质

知识渊博：结合唐诗歌曲《静夜思》，用 “举头望月” 的抬手弧线、“低头思乡” 的躯干前倾等动作诠释诗词意境，让学生理解 “舞蹈是流动的文学”；

交流者：通过 “舞伴对话” 练习（用动作回应对方的 “快乐” 或 “忧伤”），培养非语言沟通能力，如用 “旋转拥抱” 传递友好，用 “轻拍肩膀” 表达安慰；

创造力：在现代舞即兴环节，鼓励用 “自然意象”（如流水、微风）重构肢体语言，例如用傣族舞 “孔雀手” 演绎 “友谊的轻盈”。

2. 文化探舞：在多元体验中培育全球视野

知识渊博：学习傣族舞时，结合地理课讲解 “孔雀舞与热带雨林环境的关联”（如模仿孔雀涉水的 “三道弯” 体态），制作 “文化护照” 记录服饰、乐器等跨学科知识；

探究者：通过 “舞蹈考古” 任务（模仿敦煌壁画舞姿），用肢体复刻古代文化符号，如用 “反弹琵琶” 动作探究丝绸之路的艺术交流；

胸襟开阔：改编非洲部落舞蹈时，保留 “生命循环” 的核心动作（如集体围圈舞），融入现代校园元素（如加入跳绳、击掌节奏），体验文化传承与创新的平衡。

3. 协作创舞：在团队实践中深化 IB 价值观

思考者：在编创《社区交通舞》时，用 “肢体收缩 - 扩张” 表现 “交通拥堵 - 疏通”，结合科学课 “力与运动” 知识，将 “秩序”“协作” 等 IB 概念转化为舞蹈逻辑；

交流者：跨组反馈会中使用 “我看到你的动作很有力量，建议加入更多空间层次变化” 等句式，培养建设性沟通能力；

关爱者：将期末作品《社区交通舞》带到地铁站展演，用 “自行车穿梭”“礼让行人” 等动作传递文明出行理念，践行 IB “服务社区” 的倡导。

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This semester, the dance learning progresses step by step, fully stimulating students' autonomy. In the early stage, students independently explore the style characteristics of different dance genres and proactively consolidate their basic movements. During the mid-term, each group independently planned and presented choreographic segments for assessment and verification. During this period, they actively utilized the feedback from classroom exercises and opportunities for discussion and exchange to independently adjust and optimize the choreographic ideas and movement techniques, and deeply explore the creativity of the dance. At the end of the term, students independently completed their group works, fully preparing for the final assessment. In the final presentation, they comprehensively showcased the achievements of their self-study, highlighting their unique understanding and interpretation of dance, and fully demonstrating the remarkable results and charm achieved through students' self-driven dance learning.

本学期舞蹈学习循序渐进，充分激发学生自主性。初期，学生自主探索不同舞种的风格特色，主动夯实基础动作。期中，各小组自主策划并展示编舞片段，接受评估检验，期间积极利用课堂练习的反馈以及讨论交流的机会，自主调整优化编舞思路与动作技巧，深入挖掘舞蹈创意。期末，学生们完全自主完成小组作品，全力迎接最终考核，在期末展示中全方位呈现自主学习成果，彰显对舞蹈独特的理解与演绎，充分展现舞蹈学习中由学生自主驱动所达成的显著成效与风采。

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In the dance course for the fourth grade, combined with the UOI theme "How We Express Ourselves", focusing on the exploration line of "Individual Emotion Recognition and Multiple Self-expression", through the personal creation path of "emotion - Name - spatial narrative", students' self-awareness and creative expression abilities are cultivated. In line with the core standards of IB, namely "Recognizing Emotions, taking responsibility, and innovative collaboration" :

Students first identify core emotions (such as "excitement", "calmness", and "curiosity") through the "Emotion Spectrum Wheel" activity, and anchor emotional traits with key words (such as "excitement = leaping starlight" and "calmness = drooping willow branch"). Then comes the "Name Body Poem" creation stage: Dissect the stroke structure of names (such as the left-right symmetry of "forest" and the point-like distribution of "rain"), and transform it into spatial dynamics - express the horizontal and vertical tension of "one" with "slowly extending both arms sideways", and interpret the delicate undulations of "heart" with "trembling fingertips + small steps of feet" Through the transformation of high and low Spaces (such as "squatting contraction → standing heel extension") and the contrast of rhythms (sudden stomping of feet vs. gentle breathing swings), each stroke is endowed with a unique emotional rhythm. In the "Topic Improvisation" stage, students, centering on the "growth story I want to tell", integrate emotional symbols and physical elements of their names to create a 30-second personal micro-dance drama - for instance, combining the fist clenching action of "anger" with the "fire" radical in their names, and through rapid circular drawing and directional jumping, Show the emotional transformation from "impatience" to "calmness". Although the course mainly focuses on individual creation, it implicitly instills a sense of responsibility for "individual expression and group connection" through the "mirror observation" and "emotional resonance circle" sections (where students form a circle to display fragments one by one and give non-verbal feedback such as "recognition, curiosity, and empathy" to their peers with micro-reactions through eye contact and body language). Ultimately, this enables students to deconstruct themselves in the process Not only does it master the artistic skill of "expressing one's inner self through space, rhythm and direction", but it also deepens the IB social cognition of "understanding the impact of one's own emotions on others".

在四年级舞蹈课程中，结合 UOI 主题 “我们如何表达自己”，聚焦 “个体情绪识别与多元自我表达” 探究线，通过 “情绪 - 名字 - 空间叙事” 的个人编创路径，培养学生自我认知与创造性表达能力，契合 IB“识别情感、责任担当、创新协作” 的核心标准：

学生首先通过 “情绪光谱轮盘” 活动识别核心情绪（如 “雀跃”“沉静”“好奇”），并以关键词锚定情感特质（如 “雀跃 = 跳跃的星芒”“沉静 = 垂落的柳枝”）。继而进入 “名字肢体诗” 创作环节：拆解姓名笔画结构（如 “林” 的左右对称、“雨” 的点状分布），转化为空间动态 —— 用 “双臂侧平举缓慢延展” 表现 “一” 的横直张力，以 “指尖颤动 + 足部碎步” 诠释 “心” 的细腻起伏，通过高低空间转换（如 “蹲姿收缩→立踵伸展”）和节奏对比（急骤的跺脚 vs 舒缓的呼吸式摆动），赋予每个笔画独特的情感节奏。在 “命题即兴” 阶段，学生围绕 “我想诉说的成长故事”，整合情绪符号与名字肢体元素，创作 30 秒个人微舞剧 —— 例如将 “怒” 的握拳动作与名字中的 “火” 字旁结合，通过快速划圈与变向跳跃，表现从 “急躁” 到 “平和” 的情绪转化。课程中虽以个人编创为主，却通过 “镜像观察” 与 “情感共鸣圈” 环节（学生围成圆圈依次展示片段，用眼神与肢体微反应给予同伴 “认可、好奇、共情” 等非语言反馈），隐性渗透 “个体表达与群体联结” 的责任意识，最终使学生在解构自我的过程中，既掌握 “用空间、节奏、方向诉说内心” 的艺术技能，更深化 “理解自我情绪对他人影响” 的 IB 社交认知。

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2024-2025 S2 Students actively develop thinking, research, communication, social and self-management skills. (0402 - 01)

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2024-2025 S2 Students actively develop thinking, research, communication, social and self-management skills. (0402 - 01)

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In the dance course for the fourth grade, combined with the UOI theme "How We Express Ourselves", focusing on the exploration line of "Individual Emotion Recognition and Multiple Self-expression", through the personal creation path of "emotion - Name - spatial narrative", students' self-awareness and creative expression abilities are cultivated. In line with the core standards of IB, namely "Recognizing Emotions, taking responsibility, and innovative collaboration" :

Students first identify core emotions (such as "excitement", "calmness", and "curiosity") through the "Emotion Spectrum Wheel" activity, and anchor emotional traits with key words (such as "excitement = leaping starlight" and "calmness = drooping willow branch"). Then comes the "Name Body Poem" creation stage: Dissect the stroke structure of names (such as the left-right symmetry of "forest" and the point-like distribution of "rain"), and transform it into spatial dynamics - express the horizontal and vertical tension of "one" with "slowly extending both arms sideways", and interpret the delicate undulations of "heart" with "trembling fingertips + small steps of feet" Through the transformation of high and low Spaces (such as "squatting contraction → standing heel extension") and the contrast of rhythms (sudden stomping of feet vs. gentle breathing swings), each stroke is endowed with a unique emotional rhythm. In the "Topic Improvisation" stage, students, centering on the "growth story I want to tell", integrate emotional symbols and physical elements of their names to create a 30-second personal micro-dance drama - for instance, combining the fist clenching action of "anger" with the "fire" radical in their names, and through rapid circular drawing and directional jumping, Show the emotional transformation from "impatience" to "calmness". Although the course mainly focuses on individual creation, it implicitly instills a sense of responsibility for "individual expression and group connection" through the "mirror observation" and "emotional resonance circle" sections (where students form a circle to display fragments one by one and give non-verbal feedback such as "recognition, curiosity, and empathy" to their peers with micro-reactions through eye contact and body language). Ultimately, this enables students to deconstruct themselves in the process Not only does it master the artistic skill of "expressing one's inner self through space, rhythm and direction", but it also deepens the IB social cognition of "understanding the impact of one's own emotions on others".

在四年级舞蹈课程中，结合 UOI 主题 “我们如何表达自己”，聚焦 “个体情绪识别与多元自我表达” 探究线，通过 “情绪 - 名字 - 空间叙事” 的个人编创路径，培养学生自我认知与创造性表达能力，契合 IB“识别情感、责任担当、创新协作” 的核心标准：

学生首先通过 “情绪光谱轮盘” 活动识别核心情绪（如 “雀跃”“沉静”“好奇”），并以关键词锚定情感特质（如 “雀跃 = 跳跃的星芒”“沉静 = 垂落的柳枝”）。继而进入 “名字肢体诗” 创作环节：拆解姓名笔画结构（如 “林” 的左右对称、“雨” 的点状分布），转化为空间动态 —— 用 “双臂侧平举缓慢延展” 表现 “一” 的横直张力，以 “指尖颤动 + 足部碎步” 诠释 “心” 的细腻起伏，通过高低空间转换（如 “蹲姿收缩→立踵伸展”）和节奏对比（急骤的跺脚 vs 舒缓的呼吸式摆动），赋予每个笔画独特的情感节奏。在 “命题即兴” 阶段，学生围绕 “我想诉说的成长故事”，整合情绪符号与名字肢体元素，创作 30 秒个人微舞剧 —— 例如将 “怒” 的握拳动作与名字中的 “火” 字旁结合，通过快速划圈与变向跳跃，表现从 “急躁” 到 “平和” 的情绪转化。课程中虽以个人编创为主，却通过 “镜像观察” 与 “情感共鸣圈” 环节（学生围成圆圈依次展示片段，用眼神与肢体微反应给予同伴 “认可、好奇、共情” 等非语言反馈），隐性渗透 “个体表达与群体联结” 的责任意识，最终使学生在解构自我的过程中，既掌握 “用空间、节奏、方向诉说内心” 的艺术技能，更深化 “理解自我情绪对他人影响” 的 IB 社交认知。

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How do we express ourselves? The student-led choreography section.我们如何表达自己，学生自主编创部分

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How do we express ourselves? The student-led choreography section.我们如何表达自己，学生自主编创部分

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Some students' movement designs still rely on intuitive imitation, lacking deep deconstruction of emotions (such as no connection to sociocultural contexts). In the future, "concept deconstruction workshops" will be added, introducing philosophical topics (e.g., "the individual and the collective in artistic expression") and integrating interdisciplinary cases (e.g., emotional conveyance in poetry and painting) to broaden the dimensions of thinking. Meanwhile, evaluation criteria need to be optimized by adding thinking-oriented indicators such as "creative logic chains" and "cultural relevance," driving students to advance from "movement performers" to "ideological creators."

反思与改进：

部分学生的动作设计仍依赖直观模仿，缺乏对情感深层解构（如未关联社会文化背景）。未来需增设 “概念拆解工作坊”，引入哲学议题（如 “艺术表达中的个体与集体”），并结合跨学科案例（如诗歌、绘画中的情感传递）拓宽思维维度。同时，需优化评价标准，增加 “创意逻辑链”“文化关联度” 等思维导向指标，推动学生从 “动作执行者” 向 “思想创作者” 进阶。

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2024-2025 S2 Students' ability to identify and foster healthy relationships, understand shared responsibility, and collaborate effectively.(0402 - 03)

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2024-2025 S2 Students' ability to identify and foster healthy relationships, understand shared responsibility, and collaborate effectively.(0402 - 03)

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In the second-grade dance curriculum, integrating the UOI theme "How We Organize Ourselves" and focusing on the inquiry line of "Transportation Systems and Community Services," students are guided to practice IB core skills through multi-dimensional activities:

Thinking Skills: Students observe and analyze the physical characteristics of transportation tools such as bicycles and ambulances (e.g., the "rapid stretching" movement of a fire truck corresponds to the timeliness of rescue), and compare the logical relationships between different transportation functions to cultivate critical thinking.

Research Skills: Through collecting video materials and imitating movements, students independently explore the connections between traffic dynamics and community operations.

Communication and Social Skills: In group improvisational choreography (e.g., designing movement schemes for "morning rush hour traffic guidance"), students work collaboratively and use the sentence pattern "Observation - Evidence - Suggestion" for cross-group feedback (e.g., "The 'waving to stop' movement is clear; it is recommended to add 'vehicle courtesy' interactions"), enhancing cooperation and constructive communication skills.

Self-Management Skills: In the movement design of "future transportation tools" (e.g., independently creating 踮脚旋转 movements for "flying delivery vehicles"), students learn to plan creative implementation paths and optimize movement logic by integrating mathematical knowledge of "spatial trajectories." Finally, through community-themed dance performances, they systematically integrate diverse skills and become active thinking, collaborative, and innovative community participants.

在二年级舞蹈课程中，结合 UOI 主题 “我们如何组织自己”，围绕 “交通系统与社区服务” 探究线，引导学生通过多维度活动践行 IB 核心技能：

思维技能上，观察分析自行车、救护车等交通工具的肢体特征（如消防车 “快速伸展” 动作对应救援时效性），并对比不同交通功能的逻辑关联，培养批判性思维；

研究技能上，通过视频素材收集与动作模仿，自主探究交通动态与社区运作的联系；

沟通与社交技能上，在小组即兴编创中（如设计 “早高峰疏导” 动作方案）分工协作，运用 “观察 - 证据 - 建议” 句式进行跨组反馈（如 “‘挥手叫停’动作清晰，建议增加‘车辆礼让’互动”），提升合作与建设性沟通能力；

自我管理技能上，在 “未来交通工具” 动作设计中（如自主创编 “飞行快递车” 的踮脚旋转动作），学会规划创意实现路径，并结合数学 “空间轨迹” 知识优化动作逻辑，最终通过社区主题舞蹈展演，系统性整合多元技能，成为主动思考、协作创新的社区参与者。

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Reflection and Improvement Directions

Areas for Optimization

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Reflection and Improvement Directions

Areas for Optimization

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Shallow Thinking: Some students' choreography stays at "surface imitation" (e.g., merely mimicking vehicle shapes) without expressing abstract concepts like "community service spirit." Philosophical discussions (e.g., "How do transportation tools reflect community care?") are needed to guide deeper thinking.

Limited Research Tools: Students mainly rely on videos for materials, with minimal use of practical methods like interviewing traffic police or mapping community transport. Cross-disciplinary research with UOI teachers will be introduced.

Inadequate Attention to Individual Differences: Introverted students’ ideas are underrepresented in group work. Mechanisms like "anonymous suggestion boxes" and "rotating leadership" will ensure every student’s voice is heard.

Improvement Strategies

Deepen Conceptual Links: Design "movement metaphor workshops" to guide students in expressing abstract concepts through analogy exercises (e.g., "How to translate ambulance sirens into physical tension?").

Diversify Research Methods: Provide "observation records" and "cross-disciplinary resource kits" (e.g., traffic engineering picture books, community planning models) to support diverse research approaches.

Optimize Collaboration Structures: Use the "Jigsaw Technique" to break complex tasks into independent modules, ensuring each student takes irreplaceable roles and enhancing individual participation.

反思与改进方向

1. 待优化问题

思维深度不足：部分学生的动作创编停留在 "形似"（如单纯模仿车辆外形），缺乏对 "社区服务精神" 等抽象概念的表达，需通过哲学探讨（如 "交通工具如何体现社区关怀？"）引导深层思考。

研究工具单一：学生主要依赖视频收集素材，对实地观察（如采访交警、绘制社区交通地图）等实践研究方法使用较少，后续可联合 UOI 教师开展跨学科调研。

个体差异关注不足：在小组协作中，少数内向学生的创意未能充分被倾听，需引入 "匿名提案箱"" 轮流主导制 " 等机制，确保每位学生的声音被重视。

2. 改进策略

深化概念链接：设计 "动作隐喻工作坊"，通过类比练习（如 "救护车的警报声如何转化为肢体的紧张感？"），引导学生用舞蹈表达抽象概念。

丰富研究方法论：提供 "观察记录表"" 跨学科资源包 "（如交通工程绘本、社区规划模型），支持多元研究路径。

优化协作结构：采用 "拼图式合作法"（Jigsaw Technique），将复杂任务分解为独立模块，确保每个学生承担不可替代的角色，提升个体参与感。

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2024-2025 S2 Teachers facilitate students to explore their own personal interests and ideas. (0403-01-0500)

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2024-2025 S2 Teachers facilitate students to explore their own personal interests and ideas. (0403-01-0500)

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Grade 1 Dance Reading Tang Poems
The lyrics are: "Moonlight by the window, snow outside the window, white egrets soaring high, geese floating on water. There are paintings in Tang poems, there are songs in Tang poems. Tang poems are like clear springs flowing into my heart." When learning the dance for this song, the teacher uses the lyrics to ask playful questions: "As moonlight spills down, how can our little hands show its gentleness?" "When white egrets soar, how should our bodies move to be as light as them?" The children actively brainstorm: some use slowly raised arms with gently wagging fingertips to show the flow of moonlight; some imitate egrets spreading wings, leaning slightly forward and hopping to depict soaring. One child notices the elegant curve of a goose’s neck while floating and uses soft neck lines with gentle arm strokes to portray "geese on the water."
The teacher skillfully integrates these original children’s movements into the group dance, such as arranging a sequence where everyone presents "moonlight," "egrets," and "geese" movements in turn, forming a vivid dance scene. During this process, the teacher observes that some children have excellent rhythm control, moving precisely to the music; some have rich physical expressiveness, bringing charm to simple movements through facial expressions and subtle body changes; others have a strong sense of space, cleverly using the venue to keep proper distance from classmates, avoiding collisions while creating a layered composition. Through the children’s choreography of the Reading Tang Poems dance, the teacher quickly identifies their unique strengths, providing a basis for subsequent personalized guidance and differentiated instruction.

Grade 3 Dance The Most Beautiful Flower Season
When choreographing the "Growth in Bloom" theme segment, the teacher encourages students to use movements to depict "their proudest moments." Some use "continuous cartwheels" to show "the 成就感 (sense of achievement) of learning to bike"; some express "the happiness of making friends" with "hands on cheeks + spinning"; others symbolize "the bloom of courage" by "clenching fists above the head and slowly opening them." The teacher strings these personalized movements into a "growth montage" and provides targeted guidance during rehearsals—inspiring rhythmically gifted students to design unique beats for their movements and encouraging those with delicate physical expression to add more facial expressions and breathing details.
In this process, the teacher not only taps into students’ needs for individual expression but also deeply understands each student’s personality, thinking style, and artistic potential by observing their movement preferences and creative ideas, laying the groundwork for subsequent stratified teaching.

一年级舞蹈《读唐诗》：其歌词为 “窗前的月光，窗外的雪，高飞的白鹭，浮水的鹅 。唐诗里有画，唐诗里有歌。唐诗像清泉，流进我心窝” 。在学习这首歌曲对应的舞蹈时，教师以歌词为引，发起充满童趣的提问：“月光洒下来，我们的小手可以怎么表现它的轻柔？”“白鹭高飞，身体要怎样动才能像它一样轻盈？” 孩子们积极开动脑筋，有的用缓缓向上扬起的手臂，指尖轻轻摆动来展现月光的流淌；有的模仿白鹭展翅，身体微微前倾，小步跳跃，表现出高飞的动态。还有孩子观察到鹅浮水时，脖子优雅地弯曲，于是用柔软的脖颈线条搭配手臂轻轻划动的动作，演绎 “浮水的鹅”。教师将这些孩子们原创的动作巧妙整合进集体舞蹈，比如编排一段大家依次展现 “月光”“白鹭”“鹅” 动作的序列，形成一幅生动的舞蹈画面。在这个过程中，教师留意到，有的孩子对动作的节奏感把握出色，能够精准地跟着音乐节奏舞动；有的孩子肢体表现力丰富，一个简单的动作，通过他们的表情和肢体的细微变化，就能展现出十足的韵味；还有的孩子空间感很强，在舞蹈中能巧妙地利用场地，和周围同学保持恰当的距离，避免碰撞的同时，让整个画面错落有致。通过孩子们对《读唐诗》舞蹈动作的编创，教师迅速捕捉到了他们各自的独特之处，为后续的个性化指导和因材施教提供了有力依据。

三年级舞蹈《最美的花季》：在编创 “花季成长” 主题段落时，教师鼓励学生用动作描绘 “自己最骄傲的瞬间”。有学生以 “连续侧手翻” 表现 “学会骑车的成就感”，有学生用 “双手托腮 + 旋转” 表达 “获得友谊的幸福”，还有学生通过 “握拳举过头顶缓缓展开” 象征 “勇气的绽放”。教师将这些个性化动作串联成 “成长蒙太奇”，并在排练中针对性引导 —— 对节奏感强的学生，启发其为动作设计独特节拍；对肢体细腻的学生，鼓励其加入更多表情与呼吸的细节。这一过程中，教师不仅挖掘了学生的个性表达需求，更通过观察动作偏好与创作思路，深入了解每位学生的性格特质、思维模式及艺术潜能，为后续分层教学提供依据。

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Kicking a Shuttlecock into Two Halves Dance for Grade 2

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Kicking a Shuttlecock into Two Halves Dance for Grade 2

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In the second-grade dance class teaching Jian'er Kicking Two Halves, I carried out teaching around the standard of "Teachers facilitate students to explore their own personal interests and ideas." At the beginning of the course, I first showed videos of kicking movements in different styles and sparked students' thinking with fun questions, such as "What kind of kicking movement do you think is the coolest?" I encouraged students to share their ideas, guiding them to actively pay attention to their own interest points. During the decompositional teaching of movements, I did not completely limit the standard form of the movements but left part of the session for students to freely play based on the theme of "Jian'er Kicking," such as designing unique starting movements or adding self-created hand coordination movements. When students put forward novel ideas, I organized group discussions to allow everyone to share and evaluate each other, promoting the collision of thoughts. At the same time, I also introduced a painting session, asking students to use brushes to depict their vision of "Jian'er Kicking," and then integrated the creativity from their paintings into dance movements, helping them transform personal ideas into actual dance expressions, fully respecting and stimulating students' autonomy and creativity in dance learning.

在二年级舞蹈课教授《健儿踢两半儿》时，我围绕 “教师助力学生探索个人兴趣与想法” 这一标准开展教学。课程初始，我先展示不同风格的踢腿动作视频，并以趣味提问激发学生思考，如 “你觉得怎样的踢腿动作最酷？” 鼓励学生分享想法，引导他们主动关注自身兴趣点。在动作分解教学中，我没有完全限定动作的标准形态，而是留出部分环节让学生基于 “健儿踢腿” 主题自由发挥，比如设计独特的起势动作或加入自创的手部配合动作。当学生提出新颖想法时，我会组织小组讨论，让大家互相分享、评价，促进思维碰撞。同时，我还引入绘画环节，让学生用画笔描绘自己心中 “健儿踢腿” 的模样，再将画中的创意融入舞蹈动作，帮助他们把个人想法转化为实际的舞蹈表达，充分尊重并激发学生在舞蹈学习中的自主性与创造性。

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In teaching practice, although animation shorts and interest surveys were used to stimulate students' enthusiasm for exploration, shortcomings remain. In teaching Reading Tang Poems for first graders and The Most Beautiful Flower Season for third graders, the exploration of students' interests often stayed on the surface, failing to fully connect with their life experiences and cultural knowledge, thus limiting in-depth exploration. The support for students' creativity lacked systematic methodological guidance, the evaluation was not specific or precise enough, and the expression of introverted students' ideas was insufficiently addressed. In future teaching, I will design more interactive activities closely linked to life experiences, introduce "creativity development" courses to teach movement choreography methods, and adopt anonymous proposal mechanisms and refined evaluation criteria to ensure that every student's interests and creativity can be fully explored and developed.

教学实践中，虽通过动画短片、兴趣调研等方式激发学生探索热情，但仍存在不足。在一年级《读唐诗》与三年级《最美的花季》教学里，对学生兴趣的挖掘多停留在表面，未充分关联其生活经验与文化知识，限制了深度探索；对学生创意的支持缺乏系统性方法指导，评价也不够具体精准，且未能充分关注内向学生的想法表达。未来教学中，我将设计更多与生活经验紧密结合的互动环节，引入 “创意发展” 课程教授动作编创方法，采用匿名提案、细化评价标准等方式，确保每个学生的兴趣与创意都能得到充分挖掘与发展 。

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2024-2025 S2 Teachers use local and global contexts to build the relevance of the curriculum. (0403 - 03)

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2024-2025 S2 Teachers use local and global contexts to build the relevance of the curriculum. (0403 - 03)

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As an IB dance teacher, to implement the standard of "Teachers use local and global contexts to build the relevance of the curriculum," I have gradually increased the proportion of English usage in dance classes this semester to construct bilingual learning scenarios from multiple dimensions. In the movement teaching section, I use a combination of Chinese and English to analyze the characteristic movements of Mongolian and Dai dances, such as using terms like "shoulder rotation" and "lateral movement" for explanation. Bilingual teaching PPTs are also used to label movement key points with both text and images, paired with English-narrated international dance teaching video clips to broaden students' global dance perspectives. In terms of classroom instructions, the frequency of English usage for basic instructions such as "Prepare," "Turn around," "Look forward," and rhythm-related instructions like "Fast" and "Slow" has significantly increased compared to last semester, with physical demonstrations provided to aid students' understanding. Additionally, during the course introduction phase, I play English-narrated global dance culture documentaries to guide students in comparing the similarities and differences between local traditional dances and world dance cultures from an international perspective.

作为一名 IB 舞蹈教师，为落实 “教师利用本地和全球背景增强课程相关性” 这一标准，本学期我在舞蹈课堂中逐步提升英文使用比例，多维度构建双语学习场景。在动作教学环节，我采用中英文结合的方式解析蒙古族、傣族舞蹈特色动作，如用 “shoulder rotation（肩部转动）”“lateral movement（横向移动）” 等术语辅助讲解，并通过双语教学 PPT 图文标注动作要点，搭配英文解说的国际舞蹈教学视频片段，拓宽学生的全球舞蹈视野。课堂指令方面，相比上学期，“Prepare（准备）”“Turn around（转身）”“Look forward（向前看）” 等基础指令及 “Fast（快速）”“Slow（慢速）” 等节奏指令的英文使用频率显著增加，同时配合肢体示范帮助学生理解。此外，在课程导入阶段，我会播放英文解说的全球舞蹈文化纪录片，引导学生从国际化视角对比本地传统舞蹈与世界舞蹈文化的异同。

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However, there is still room for optimization in the current teaching practice. Although English resources are integrated into multiple scenarios, the connection between some content and local culture remains weak. For example, when explaining Tibetan dance, international cases of Tibetan culture dissemination are not fully expanded, making it difficult for students to deeply understand local art within a global cultural context. Additionally, the difficulty level of English resources is not precisely controlled, as professional vocabulary in some videos and PPTs exceeds the language proficiency of lower-grade students, affecting their absorption efficiency of dance knowledge. In the future, I plan to further integrate bilingual teaching resources by adding an "English Introduction to Local Dance Culture" section in PPTs and introducing English commentary videos by internationally renowned dancers on Chinese traditional dance. Meanwhile, teaching content will be designed in layers according to students' English proficiency, and differentiated English instruction cards and learning guides will be created to ensure that every student can explore dance art in a global context while consolidating their dance expertise and bilingual skills in an adaptive language environment.

然而，当前教学实践仍存在优化空间。尽管在多场景融入英文资源，但部分内容与本地文化的联结仍显薄弱，例如在讲解藏族舞蹈时，未充分结合国际上对藏族文化的传播案例进行拓展，导致学生难以将本土艺术置于全球文化语境中深入理解。此外，英文资源的难度把控不够精准，部分视频与 PPT 中的专业词汇超出低年级学生的语言能力，影响其对舞蹈知识的吸收效率。未来，我计划进一步整合双语教学资源，在 PPT 中增设 “本地舞蹈文化英文介绍” 板块，引入国际知名舞蹈家对中国传统舞蹈的英文点评视频；同时，依据学生英语水平分层设计教学内容，制作差异化的英文指令卡片与学习指南，确保每位学生既能在全球语境下探索舞蹈艺术，又能在适配的语言环境中夯实舞蹈专业知识与双语能力。

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2024-2025 S2 The school provides students with the opportunity to directly apply what they have learned through action. (0402-05-0100)

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2024-2025 S2 The school provides students with the opportunity to directly apply what they have learned through action. (0402-05-0100)

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This semester, PYP students in Grades 2-5 relied on dance courses to participate in the preparation and performance of the drama festival, deeply integrating classroom knowledge into practice and effectively implementing the IB educational concept of "applying 所学 (what has been learned) directly through action." In the drama festival performances, students of all grades integrated dance skills with dramatic expressions, delivering wonderful results.

本学期，PYP 2-5 年级学生以舞蹈课程为依托，参与戏剧节节目筹备与演出，将课堂所学知识深度融入实践，切实落实 “通过行动直接应用所学” 的 IB 教育理念。在戏剧节演出中，各年级学生将舞蹈技巧与戏剧表达进行融合，交出了精彩答卷。

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《The Vegetables in the Garden Have Become Spirits》 for Grade 2

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《The Vegetables in the Garden Have Become Spirits》 for Grade 2

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Grade 2 students applied the achievements of "Chinese traditional opera body training" accumulated in dance classes to the performance of the Peking Opera A Garden of Vegetables Has Become Spirits. By imitating movements

such as "cloud hands" and "stage steps" in opera, combined with exaggerated expressions, they vividly portrayed the lively images of vegetables, fully showcasing the physical expressiveness learned in class on stage.

二年级学生将舞蹈课堂中积累的 “中国传统戏曲身段训练” 成果，应用于京剧《一园青菜成了精》的表演。他们通过模仿戏曲中 “云手”“台步” 等动作，配合夸张的表情，生动演绎出青菜们的鲜活形象，将课堂所学的肢体表现力充分展现在舞台上。

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Grade 3 students utilized the "rhythm training" and "formation change techniques" from class in the dance segments of the musical Matilda. With synchronized leg kicks and spins coordinated with energetic music, they pushed the joyful atmosphere in the play to a climax.

三年级学生在音乐剧《玛蒂尔达》的舞蹈段落中，活用课堂上的 “节奏感训练” 与 “队形变换技巧”，用整齐划一的踢腿、旋转动作，配合充满活力的音乐，将剧中的欢乐氛围推向高潮。

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Grade 4 students cleverly applied "narrative dance choreography" knowledge in the dance performance of La La Land. Through alternating duets and group dances, they told the romantic yet slightly regretful love story in the play with smooth movement transitions and delicate emotional expressions.

四年级学生在《lalaland》的舞蹈表演中，巧妙运用 “叙事性舞蹈编创” 知识，通过双人舞、群舞的交替呈现，以流畅的动作衔接和细腻的情感表达，将剧中浪漫又略带遗憾的爱情故事娓娓道来。

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Grade 5 studentsintegrated "application of cross-cultural dance elements" and "emotional tension training" in the stage performance of This Is Me. With highly powerful body movements and confident postures, they demonstrated the courage to break through oneself, vividly showcasing the achievements of emotional expression training from dance classes.

五年级学生则在《this is me》的舞台上，融合 “跨文化舞蹈元素运用” 与 “情感张力训练”，用极具力量感的肢体动作和充满自信的姿态，展现出突破自我的勇气，将舞蹈课堂中对情感表达的训练成果展现得淋漓尽致。