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【教研动态】慧聚班本 共筑童梦——班本课程交流会_我的网站

一 |     慧聚班本          共筑童梦          班本课程交流会                     虞永平教授强调，课程的研究和实践应该以班级为基点，从而让班级成为实施幼儿园课程的主阵地。          2024年12月9日，我园为期一个月的班本课程已结束，在教学部门的组织下，全园老师齐聚四楼会议室，分享自己的收获和思考，进一步助推班本课程的深入开展。

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    Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing BingAt an amusement park in Beijing, a young female clown tossed an apple into the air several times, catching it each time and taking bites out of it along the way. The seemingly simple routine delighted visitors, many of whom pulled out their phones to film it. Videos of the act have garnered more than 6 million likes on Douyin, China's version of TikTok.
Bing Bing, a young acrobat born in the 2000s, told the Global Times that she first tested the "tossing and eating an apple" routine through short videos before taking it to the stage. After her first performance, she spent the holidays performing it, adjusting the movements and pacing based on how audiences responded.
"Performance is the hardest thing to master. Your facial expressions and body movements have to convey to the audience what you are doing and what you want to do," she said. "The goal is to make them know that you are performing, yet still find it entertaining."
According to Bing Bing, the training behind such performances is far less glamorous than the finished act suggests. "Training is very repetitive. You fail, repeat, fail again, succeed and then fail again," she said. "Practice is what turns quantity into quality, even facial expressions and body movements require deliberate practice." 
For Bing Bing, however, mastering the routine is only one part of the job. Once performers step in front of an audience, the carefully rehearsed movements have to adapt to a live and unpredictable setting.
Beyond the theater
In recent years, acrobatic performances have increasingly moved into aquariums, theme parks and cultural tourism venues, where audiences themselves become part of the performance rather than simply watching from fixed seats.
Bing Bing previously performed alongside other clowns at an aquarium, inviting visitors to participate in the act. She said the difference is not merely a change of venue: performers have to constantly interact with the people in front of them.
"Traditional stages are farther away from the audience and are better suited to performances that people simply watch," she said. "Aquariums and theme parks, however, place greater emphasis on interaction and connection with the audience. Even with the same routine and interactions, you can often get unexpected results."
That interaction also changes how performers think about rhythm and presentation. A routine that works in a theater cannot necessarily be transferred unchanged to a tourist attraction, where audience reactions, distance and participation can all alter what happens on stage.
Sun Dawei, head of the Wuqiao Acrobatic School, told the Global Times that this shift is also changing the industry's approach to production.
"Acrobatics used to focus mainly on showcasing skills. Now there is greater emphasis on story-telling and emotional expression," he said. "Performances are no longer confined to theaters, but are increasingly staged as resident shows at cultural tourism venues."
According to Sun, a production usually begins with a theme, followed by the selection of appropriate skills. Performers then refine the routine repeatedly before adding music and stage design and going through multiple rehearsals.
"Traditional signature skills and core fundamentals must be preserved," he said. "Content that simply pursues danger or no longer fits contemporary aesthetics needs to be repackaged. Traditional skills should be given new forms of expression while retaining their roots and appealing to modern audiences."
For Bing Bing, this shift has also been made possible thanks to short-video platforms. Her apple routine gained its first wide exposure online before audiences encountered it in person.
"Short videos have helped more people learn about Chinese acrobatics and traditional culture, and encouraged more people to go to theaters and watch performances offline," she said. 
The growing visibility of acrobatics online, however, has raised another question: once traditional skills enter new venues and digital platforms, how can performers avoid simply repeating familiar formulas?
    Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of LizaBreaking the formula
Russian aerial acrobat Liza, who has lived and worked in China for more than seven years and now performs regularly at Shanghai Qianguqing, a large-scale cultural tourism attraction featuring live performances, noted that the answer lies in how a show is constructed as a whole.
"A performance should start with an overall concept, and then you choose the props and music around it. Music itself can guide the choice of movements, provided the performer already has a solid technical foundation," Liza told the Global Times. "The transitions between movements have to be natural and smooth, like telling a story step by step. Costumes are also important because they complete the character. Everything needs to work together."
For Liza, technical difficulty should serve the performance rather than become the performance itself.
"Real professionalism means making the audience unable to see how hard you are working. Everything should look effortless," she said. "I value beauty and precision in movement. You should not make things more complicated simply to show off your skills. You should improve steadily as you grow as a performer, rather than constantly chasing greater difficulty."
She said that this is particularly important as increasingly extreme acts, including hair- and tooth-hanging, attract attention online.
"Most performers are following established templates, and I rarely see people creating something that is truly their own," Liza said. "You can find your own style and way of expression without taking excessive risks."
From an apple-tossing routine that drew more than 6 million likes to performances in aquariums and cultural tourism venues, traditional acrobatics is finding new ways to reach audiences. But bringing an old art back into the spotlight is not simply about making tricks harder or more spectacular. As Bing Bing's apple routine shows, sometimes it takes a familiar skill presented in an unfamiliar way to make a new generation stop and watch again.
。                   在展示中交流                     各班班主任老师从课程起源、实施过程、收获和反思等方面对班本课程进行了详细叙述。如大一班《柚子的旅行》以自然探索为主题，带领孩子们走进大自然，观察动植物的生长变化；中一班《幸“孕”之旅》以生命教育为切入点，让孩子们感受人体文化的魅力；中二班《人民币的奥秘》以人民币为载体，培养孩子们的探索精神……一个个生动的案例，充分展现了孩子的学习探究能力，老师“退位”后的教育智慧和孩子们带来的惊喜。                   大一班《柚子的旅行》                              大二班《我的名字》                    中一班《幸“孕”之旅》                               中二班《人民币的奥秘》                    小一班《秋天，你好》                              小二班《你好，秋天》                              专业引领 积蓄成长                               在年级组长、教研主任的点评后，园长屈慧就本次班本课程进行了专业引领，并指出，这次班本课程的开展，以尊重幼儿发展规律为基，助推幼儿深度学习为实，做到眼里有孩子，心中有尺度，让教育在实践生活中自然发生，充分激发了幼儿的学习兴趣和积极性，对于保教质量的提升起到了良好作用。在今后的开展中要注意课程内容的选择、教学方法与手段的创新、教育资源的整合与利用；希望大家总结经验，反思不足，更好地促进幼儿全面发展。                                                                      “一日生活皆课程。”在本次班本课程的基础上，我们将继续探究适合幼儿的课程，提升我园的保教质量。         END          #          扫码关注我们          图文：黄思婷 张娜          编辑：陶慈平          一审：唐代凯          二审：严 珊          三审：屈 慧。

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