【Abstract】In the backdrop of education reform， the dance education has been continuously developing in the colleges and universities of China. Therefore， it is of great importance and practical significance to optimize the curriculum design of dance major. This paper， based on the teaching experience， analyzes the curriculum design for dance major in the art colleges and universities from a new perspective， thus to explorea more suitablewayof teaching and improve teaching effectiveness.
【Key words】dance major； Curriculum Design
【作者简介】李进（1980.9-），男，汉族，山西太原人，中央民族大学舞蹈学院，硕士，讲师，担任编舞技法，剧目排练课程。
1. The Integration of Dance and Culture Education
Taking Korean dance as an example： in the view of the major of dance， Korean dance can be divided into three types： Chinese Korean dance， North Korean dance and South Korean dance； while in the view of the nature of dance itself， it can be divided into traditional part， creative part， and the part that students can design their own dance. In addition， the percussion should also be an indispensable part of Korean dance. Each folk dance has its unique musical instrument used to accompany， the change of the rhythm is the most prominent factor to show the characteristic of each dance. The rhythm and the style of the dance movements are directly connected. In order to improve the cultural awareness of the dancers and enrich their experience， teacher should let students focus on the cultural background behind the dance instead of the dance movements itself.
2. The Combination of Inheritance and Development
As the foundation for innovation and social development， the traditional part should be perfectly preserved. Students will find helpful in learning traditional and creative dance after they have laid a good foundation. This also applies to other types of folk dance. For instance， the self-creation of Northeast Yangko should be conducted after the students have consolidated the traditional part they have learned， so that the original style of the dance will not be lost. Besides， we should continue to develop the traditional part after inheriting， instead of remain stagnant. The dance should be adapted to the modern society and be made as a factor to promote the development of social civilization. Students should be given the opportunities to recreate the dance by themselves. Moreover， in view of the combination of inheritance and development， we should also ensure the exchange of information with local people. Folk dance comes from all parts of the country， so it is necessary to conduct folk art collection from all over the country and invite local experts to school to impart knowledge to the teachers and students.
3. The Systematic Theory behind the “Introductory Chinese folk dance” included in the Textbooks
According to the systematic theory， the curriculum design of Chinese folk dance should not only be based on the principle of “three characteristics”， but also should provide a place for introductory folk dance in the teaching materials. There are 56 nationalities in China， each nationalities and regions have their own types of folk dance. Through a systematic classification of all nationalities， we can find the exact folk dance that can represent the unique style of their respective systems and make a corresponding introduction systematically. For instance， the Daur folk dance， “Lurigaile” of the Mongolia branch， features in shouting while dancing； the folk dance of Wa nationality of Palaungic language features in the movements of waist and hair-whipping； and the folk dances of the Gaoshan nationality of the Indonesian language are all with distinctive style and characteristics. It is well known that the style of each folk dance is unique and cannot be replaced by each other. One of our goals of learning Chinese folk dance is to grasp and adjust to different styles in training or introductory training. Thus， it requires us to get ourselves involved into different types of dance， otherwise it cannot be done. That is to say， students can only adjust to and grasp different styles by experience different types of folk dance personally in class or in the real life. In a word， introduce the folk dances full of distinctive styles into the teaching materials is not only the demand of textbook itself， but also is the demand of scientific research and other aspects. A completely new pattern of Chinese folk dance textbook can only be created under the systematic theory， together with an integration of representativeness， training， systematism and introductory.
4. Conclusion
The teaching reform of folk dance cannot be completed overnight. We should start it from bit by bit and practice from every aspect. I hope the ideas mentioned above in this paper can serve as a reference to the teaching reform of folk dance.
