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Resach of Dance Education

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수록정보
수록범위 : 11권1호(2000)~30권2호(2019) |수록논문 수 : 511
한국무용교육학회지
30권2호(2019년 06월) 수록논문
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KCI등재

1동화를 활용한 통합적 유아발레교육 프로그램 개발

저자 : 신은경 ( Shin Eun-kyung ) , 탁지현 ( Tark Jee-hyun ) , 이지혜 ( Lee Ji-hye )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 2호 발행 연도 : 2019 페이지 : pp. 5-19 (15 pages)

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With today's enhanced importance of arts education based on humanistic thinking ability and creativity, there are constant needs of development of integrated educational program improving imagination, creativity, expression capacity and power of delivery. This study aims to develop an integrated pre-ballet program based on diverse forms and content of children's stories capable of inspiring preschool children aged 6-7, attracting their attention and arousing their interests. For the purpose of this, the present program intended to consider developmental features of children and educate in connection with their real life, in order to encourage children to have an open mind and stimulate their curiosity and inquiring mind based on the motif of fanciful, lyrical and didactic features of children's stories imbued with innocence of children.
First, the purpose of this program lies in encouraging children to experience the land of children's stories from the past to the present through dancing, after considering three characteristics of educational implications of 'space', 'encounter' and 'hope' based on multiple intelligence theory by means of children's story, and constituting the areas of writing (movement and composition), speaking (creation and expression) and reading (presentation and appreciation) with body.
Second, teaching-learning plan is composed of 14 sessions and is conducted in order of 1) warming up - expressing with body, 2) understanding the children's stories, 3) experience- expressing through dance, 4) performance- explaining and 5) communication. In other words, this program contributes to giving children spirit of challenge and courage towards a new future, by writing with body in the space, communicating with friends while talking about their feelings and ideas, making a presentation of dance based on a newly created story and giving them some reflective time.
Third, the instruction method must not only arouse humanistic imagination of children's story through ballet movement but also help children understand the principle of storytelling. Moreover, this instruction can give children an opportunity of newly recognizing the world of children's stories and showing interest in it, by expressing their own story through learning literary phenomena and scientific knowledge with their own body and making and applying media.
In conclusion, the developed integrated pre-ballet program will contribute to developing creative sensitivity, rational critical power and healthy social skills for problem-solving of real life scenes, by inviting children to naturally observe scientific knowledge and principles of children's stories and experience the process of asking questions, discussing and creating through the body movement.

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This study observed the knowledge education structures of contemporary dance through children's arts integrated dance education programs. This study viewed arts integrated dance and contemporary dance as synonyms and explained dance experience forms (methods) as grounds for knowledge creation. It explored knowledge education expandability as meaning and interpretation (inference) and not as knowledge of subjects and content as children's arts integrated dance education program structures. 
As observed in the program, making inferences of the everyday world and the significance of the space (symbolic experience) that participates in the creation and change of knowledge as self-discovery can newly be organized into a space in which historical, intellectual, artistic, and technical (medium) meanings are connected and knowledge creation systems (structures) such as media, records, memories, and storage (transmission, preservation) operate as simultaneity in dance experiences. Program development imagines knowledge generated through cultural and historical paths and constructs knowledge that creates meaning through lived experience, and it can present media and recording methods that act as knowledge and relationships between records and memories as experience structures and this signifies the expandability of knowledge education that confirms cultural identity and newly forms relationships through the experience of relational positions and the process in which our memories change into knowledge from records in which knowledge was formed.

KCI등재

3초등학교 저학년을 위한 궁중무용 교육의 가능성 연구 -교육연극을 활용한 춘앵무 교육 프로그램을 통하여

저자 : 김효 ( Kim Hyo )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 2호 발행 연도 : 2019 페이지 : pp. 37-61 (25 pages)

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Court dances are important in the teaching of traditional dances. This is because the court dances of a country are an accumulation of the best forms of choreographic traditions which were developed over a long period of time. In Korea, the curriculum of low grade elementary students includes Korean traditional folk dances such as Masked Dances, Sogo Dances, Ganggangsouwolae, etc. But court dances are not included. How did this happen? There are two possible reasons when we consider that stimulating student interest is demanded, especially for low grade elementary students. Korean court dances are not adequate to satisfy this condition. Firstly, court dances have become one of the most unfamiliar traditional arts. Secondly, court dances are based on slow rhythm and more delicate movements, in contrast to folk dances which are based on fast rhythm and dynamic movements. In order to integrate Korean court dances into the curriculum of low grade elementary students, it would be necessary to increase familiarity and add stimulating elements. This research starts from the hypothesis that Educational Theatre could be one of the methods to meet this need. Educational Drama is the 'applied theatre' which utilizes theatrical conventions for the purpose of education. Theatre is an artistic genre which represents real life at its normal speed. Therefore, if Educational Drama is used to teach court dances, it could compensate for lack of familiarity and accessibility to court dances. Educational Drama also integrates methods utilizing games so that it can effectively facilitate children's flow (or concentration) as in Csikszentmilhalyi's theory. This research has created a program of Chunaengmu utilizing Educational Drama for low grade elementary students. When it was executed in a class, its effectiveness was proven. None of the 28 participants abandoned the class and their flow was maintained at a high degree during the continuous two hours program. This article is a report that describes the program and the analysis of its execution.

KCI등재

4무용에서 감지의 기능과 담화화 과정 연구

저자 : 한혜리 ( Han Hea-ree )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 2호 발행 연도 : 2019 페이지 : pp. 63-74 (12 pages)

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“A study on the sommation function and discourse process in dance” is to explore the cognitive function of the body and process of semiosis in dance. In the field of arts changed according to the society of its time, the concept of dance uses the functional change of the body as the medium to be set by the exploration methods in the social, historic and studied academic fields, and by the mutual influence of the results. When the expression of passion of dance exists as the discourse that narrow down the gap between the emotions and cognition, it has the social function as the exteriority of passion and as the tool for communication. This social interaction of dance is recognized as the social system completed into the form of given environment or as the new network of establishing social relationship instead of the method of developing new type or form of dance. Discourse of dance is the process of interpreting the dance created by intuitive thinking through deductive reasoning and inference, and dance that is the expression of individual emotional state is the process of the individual body providing the perception to the atmosphere of communication. Here, dance is eventually the socializing process of individual language, which is the process of discourse in the social structure.

KCI등재

5움직임을 통한 지식의 체화

저자 : 오레지나 ( Oh Regina )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 2호 발행 연도 : 2019 페이지 : pp. 77-87 (11 pages)

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“Human body acquires culture by experiencing the environment in which it is surrounded, and thus Barba, E.(1993) maintains that each of us is a 'cultured' body.” Movement through the 'culturized' body addresses the problems by connecting “body and mind,” “body and environment,” and “an individual and an individual.” The embodiment of knowledge through movement is realized by the process of “movementthinking” that is the transaction among conscious, preconscious thinking-unificationself expression and self control-body and the world. When the nature of the movement that realizes the embodiment of knowledge and non-conscious knowledge is observed in the point of view based on pro-life existence, it reveals characteristics as follows. First, the movement begins with the ontological understanding based on life-ness. This is based on “Self Identity” in the relationship between self-consciousness and the other-ness. At the same time, it maintains its own individuality with uniqueness. Also, it joins the sustaining system of life, that is, the circle of life. Second, when 'information' comes to internalize as 'knowing' and becomes unified with 'body' by deconstructing the borders of 'knowledge' to become a practice, the embodiment is realized. As a result, the movement reflects will values and “being directed”. Third, in the cyclical system of the borderless unification of knowledge (consciousness) - body - movement, “movement thinking” is complementary for movement being directed toward something and reflective movement based on public relationship. Fourth, movement, as a substance of existence that fully reflects knowledge and conscious, is dance-knowledge that makes dance experience possible. Fifth, the premise of movement thinking is the restoration of the body-ness that means pro-eco body which regained nature and order of life. With this, the cycle of existence system is sustainable

KCI등재

6후기 구조주의 관점에서 바라본 무용예술 공간의 변화와 춤 이미지의 의의

저자 : 어수정 ( Eo Soo Jeong )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 2호 발행 연도 : 2019 페이지 : pp. 89-119 (31 pages)

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In today's modern society, space no longer refers to an objective, infinite and empty space but is an object experienced based on concrete behavior and exchange, and the perspective has changed as a relational space which is contextualized with the connotation of dynamics and sustainability. This study intended to expand the limited perspective of theater dance and call public attention to the meaning and value of the stage space, by considering the modern space as a potential image space and an interpretable text space whose meaning is constantly produced by people, and by approaching this meaning through reflecting onto the stage space.
This study aims to have a new understanding of the meaning of a modern space from the perspective of arts of dancing and clarify the artistic meaning of dance images represented in the process of performing it on the stage, by not only paying attention to the concept of heterotopia as a counter-space told by Michel Foucault as a space discourse of post-structuralism as well as the concept of space production supported by Henri Lefèbvre viewing the space as a dynamic space with constant appearance and disappearance and a reflection of social relationship, but also by applying them to the works. The arts of dancing has been changing its expression method according to the change of time, opinion of artist and public taste. Today, it is required to study regarding the way of realizing works of dance as a base of constant reproduction and re-creation, reconsider the meaning of stage space where the audience meet the works of dance, and find the multidirectional approach way to express space in the works of dance.

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