现今,学院派民间舞教学剧目存在着剧目匮乏与编创人员稀缺,创作教材选择类型单一与创作素材选材单调及教学剧目与课堂训练脱节等问题。同时,学院派民间舞教学剧目创作的风格化,现代化日趋明显,从几年前的小荷才露尖尖角发展到现今颇有争议的状况。《一片绿叶》《读梁祝》等一批边缘剧目引起人们的关注与思考。面对学院派舞蹈创作教学剧目单一,传统剧目老化,部分创作剧目因过分精致而失去应有的活力,这些都是现今学院派民间舞教学剧目创作所出现的问题,这些亟待解决的问题既是现实的又是历史的。在老化与现代之间便出现了一个鸿沟,怎样跨跃这个鸿沟是我们要面临和思考的问题。放开眼光,基于学院派又不囿于学院派,让民间舞从舞台回归到民族的根性文化中去,使得这个传统而古老的舞蹈,遵循她先传承后发展的本质规律去发展。怀着一种修补与完善的心态去重构它,以丰厚整个民族民间舞蹈文化内涵的取向来把握和弘扬我们本民族的民间艺术是我们义不容辞的责任。将现代人的现代精神融合于民族文化的厚士中创作出群众喜闻乐见的艺术精品去经受时代磨砺与考验是学院派民间舞教学剧目创作乃至整个民间舞创作的终极价值取向。 Nowadays, there are some problems in the repertory of academy’s folk dance teaching, such as the lack of play and the staffs who are scarce, the single type of writing materials and the monotonous selection of creative materials, and the disjunction between teaching repertory and classroom training. At the same time, the style and modernization of the academy’s folk dance teaching repertoire has become more and more obvious. From the atrocity of Xiao He only a few years ago to the quite controversial situation nowadays. A number of marginal repertoires such as “A Green Leaf” and “Butterfly Lovers” have aroused people’s attention and reflection. In the face of the single repertoire of academic dance teaching, the aging of traditional repertoires and the loss of due vitality of some repertory productions because of their exquisiteness, these are the problems that have arisen in the creation of repertory of folk dance teaching of academic schools. These problems to be solved are both realities It is history again. A gap has emerged between aging and modern times. How to bridge this gap is something we must face and think. Let’s take a broad view. Based on the academic school and the academic school, let the folk dance return from the stage to the root culture of the nation so that this traditional and ancient dance follows her essential laws of inheritance and development. It is our unshirkable responsibility to grasp and promote the folk art of our own nation with a kind of patching and perfecting mentality to reconstruct it in order to enrich the orientation of the cultural connotation of the entire national folk dance. Combining the modern spirit of the modern people with the thick people of the national culture, it is the ultimate value orientation for the creation of academic repertory of the folk dance teaching and even the creation of the folk dance through creating the fine arts loved by the masses to withstand the sharpening and testing of the times.