著者

成瀬 麻美 寺山 由美 宗宮 悠子

出版者

日本スポーツ教育学会

雑誌

スポーツ教育学研究 (ISSN:09118845)

巻号頁・発行日

vol.34, no.1, pp.1-11, 2014-05-31 (Released:2014-09-29)

参考文献数

51

---

In this study, the aim was to clarify types of “MOHO” which emerge from second grade elementary school children during expressive play. Since expressive play has a characteristic of “turning completely into a subject”, this study focused on the viewpoint of imitation. In the experiment, children were shown the picture cards of animals and vehicles, and they were asked to make an improvisational turn into the subject. After the experiment, analysis of the movements of the imitation was followed, and the types of “MOHO” were examined.The result indicated two types of “MOHO”; “Imitation of a subject” and “Imitation of others”. “Imitation of a subject” includes three types of imitations; “Imitation of a framework” in which children imitate the form of the subject only, “Exaggerated imitation” in which children exaggerate the characteristics of the subject, and “Original imitation” in which children express the subject beyond the actual feature in their own way. “Imitation of others” includes two types of imitations; “Mutual imitation” in which two or more children mutually imitating the subject’s movement, and “Reflective imitation” in which children take the other children’s movement into their own movement.

著者

宗宮 悠子 寺山 由美 會田 宏

出版者

The Japan Journal of Coaching Studies

雑誌

コーチング学研究 (ISSN:21851646)

巻号頁・発行日

vol.29, no.2, pp.169-180, 2016-03-20 (Released:2019-09-02)

参考文献数

38

---

The purpose of this study is to clarify the structure and coaching philosophy that leaders should have in order to further advance the talents of young dancers in Japan. In order to achieve this goal, we carried out interview surveys of 3 expert dance instructors who are active in Japan. As a result of quantitative analysis of what they said regarding coaching philosophy, the following 4 points were revealed. 1. The most exceptional dance instructors believe in the absolute necessity of shaping the “dancing body” through exhaustive and constant training. 2. They believe in instruction that promotes the dancer’s better understanding of his or her own body and the expressiveness that it can convey-in other words, the necessity of shaping the dancer’s expressive body. 3. In order to elicit the dancer’s self-confidence and proficiency, They believe it is important to instill a sense of dedication toward coming to terms with one’s own body as a dancer's body. 4. They believe that it is important to instill an awareness of the dynamic nature of dance, in other words to take the view of cultivating a frame of mind that enables the dancer to self-correct (through feedback) his or her own body and expressions in an objective fashion, thereby eliciting guidance that inspires the dancer’s dynamic performance. 5. The coaching philosophy of an outstanding dance instructors consists of four components: the formation of a body capable of dancing, the formation of a body capable of expression, the breeding of dedication, and the breeding of dynamism. It was thought that the philosophy has a structure in which all of these components are not independent of each other but instead interact, like the intermeshing cogs of gears.