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2008年2月,教育部办公厅下发了《关于开展京剧进中小学课堂试点工作的通知》,决定将京剧纳入九年义务教育阶段音乐课程,并确定了15首京剧经典唱段为教学内容,首先在北京、天津、黑龙江、上海、江苏、浙江、江西、湖北、广东、甘肃等10省市开展试点工作。这一举措曾引起社会各界热议,众说纷纭,褒贬不一。有人力挺,如文化部副部长周和平指出,京剧进校园,不是为了培养多少京剧演员,而是让青少年接受传统文化教育;有人谨慎观望,甚至反对,教育学者肖川撰文《京剧进课堂:试点不要虚晃一枪》指出,最好不要将京剧作为指令性的内容纳入课程之中,也有利于给学校校本课程的开发留有余地。这些讨论,让人们对京剧进课堂的关注度越来越高。京剧以下里巴人(战国时代楚国民间流行的一种歌曲)起家,进入宫廷后经文人墨客不断升华,成为中国文化的重要表现形式和发展方式。京剧进课堂只是一种手段,一种载体,目的是通过这一手段和载体培养下一代的民族文化素养。京剧进课堂折射出了教育观念和教育改革的新动向,同时也将如何弘扬传统文化的思考引向了深入。那么,一年多过去了,京剧进课堂到底推行得如何呢?学校、学生及社会对此又有些什么反映?本期我们刊发的三篇文章中既有对此问题的调研,又有学校和一线教师的实践经验,希望对大家有所裨益。
In February 2008, the General Office of the Ministry of Education issued the “Notice on Launching Peking Opera into Pilot Work in Primary and Secondary Schools”, deciding to include Peking Opera into the nine-year compulsory education music course, and identifying 15 classic Peking Opera aria as the teaching content, First of all, pilot projects should be carried out in 10 provinces and cities such as Beijing, Tianjin, Heilongjiang, Shanghai, Jiangsu, Zhejiang, Jiangxi, Hubei, Guangdong and Gansu. This measure has aroused heated discussions from all walks of life, divergent opinions, mixed reviews. Some people even think that, as Vice Minister of Culture Zhou Heping pointed out, Beijing Opera into the campus, not to train the number of Beijing opera performers, but to enable young people to accept traditional culture and education; some people cautiously wait and see, or even oppose the education scholar Xiao Chuan “Beijing Opera into the classroom: Pilot Do not shake the gun ”pointed out that it is best not to Beijing opera as a mandatory content into the curriculum, but also conducive to the development of school-based curriculum leave room. These discussions make people pay more and more attention to the classroom of Beijing Opera. After the Peking opera (a song popular in Chu State in the Warring States Period), the literati and smugglers continued to sublimate after entering the court, becoming an important manifestation and way of development of Chinese culture. Beijing drama into the classroom is only a means, a carrier, the purpose is to cultivate the next generation of national culture through this means and carrier. Beijing drama into the classroom reflects the new concept of education and education reform, but also how to carry forward the thinking of traditional culture more in-depth. So, more than a year later, what is the practice of Beijing Opera in the classroom? What are the reactions of schools, students and society? In this issue we have published three articles on both the issue and the school And first-line teacher’s practical experience, I hope everyone benefits.