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한국무용교육학회> 한국무용교육학회지> 체화된 인지를 통한 무용과 신경과학 학제간 연구 고찰

KCI등재

체화된 인지를 통한 무용과 신경과학 학제간 연구 고찰

A study on interdisciplinary research for dance and neuroscience with embodied cognition

고현정 ( Go Hyeon-jeong )
  • : 한국무용교육학회
  • : 한국무용교육학회지 29권4호
  • : 연속간행물
  • : 2018년 12월
  • : 47-60(14pages)

DOI


목차

Ⅰ. 서론
Ⅱ. 체화된 인지와 무용수 뇌
Ⅲ. 거울신경 시스템과 무용
Ⅳ. 결론
참고문헌

키워드 보기


초록 보기


						
Human has a formidable ability that can control his/her own body to perform numerous numbers of skilled behaviours which appropriate to his/her own culture. This can be explained as embodied cognition. Dancers’ numerous movement repertories are highly skilled, and very accurate and complicate that require high control ability. Apart from this control ability, dancers also possess employing space-time, creative thinking for choreography that can offer un unique model to explore how dancer can integrate space-time and skilled movement. Human brain develops a specific process but it has the plasticity which continuously changes with learning and interaction with the environment and people. Dancers, who live with unspeakably fast or complex skilled movements production and re-production, clearly have the plasticity. Dancers who are composed of bodily knowledge, have a huge potential to neuroscientists to explore how the complicate movements can be learned, memorised, re-produced through dancers’ control ability and brain plasticity. Therefore, this study aims to provide the basis for interdisciplinary research of dance and neuroscience to vitalise dance research in terms of embodiment, bodily knowledge and brain.
Firstly, to provide the basis of interdisciplinary research for dance, it explores the impotance of the integrating body and brain, and dancers’ embodied cognition. Secondly, it discusses the intimate relationship between seeing dance and doing dance to understand dancers’ brain networks. Thirdly, for the communication of the dancer and the audience, it depicts kinesthetics and cognition of intersubjective-ity within a neuroscientific way.

UCI(KEPA)

I410-ECN-0102-2019-300-001380903

간행물정보

  • : 예체능분야  > 무용
  • : KCI등재
  • :
  • : 계간
  • : 1229-3547
  • :
  • : 학술지
  • : 연속간행물
  • : 2000-2020
  • : 550


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발행기관 최신논문
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1커뮤낼리티communality를 위한 예술통합교육 프로그램의 개발 방향

저자 : 오레지나 ( Oh Regina )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 3-13 (11 pages)

다운로드

(기관인증 필요)

초록보기

As communality means certain sense or characteristics within certain geographical area or group that forms of a community, it should be considered as an important element for planning Munwha yesul kyoyuk (Cultural Arts Education). Integrated arts education program for communality can form a cultural network which connects the individuals with the area in which they live. It can be a medium that gives certain unique geographical and public qualities to the way of life of the people in the area.
Integrated arts education program for communality should consider the following directions. First, integrated arts education program for communality should provide various artistic experiences for self-realization. Second, integrated arts education program for communality should internalize in individuals the common sense of history, eco-system, and human relationship. Third, integrated arts education program for communality should realize the certain competency of creating local culture which sustains and develops communality as well as competitiveness. Fourth, integrated arts education program for communality should have sustainable merits that realize interrelationships and networks among humans, nature, civilization. These merits form a life-long education system.
This article approaches the principle of developing intergrated arts education program through understanding communality, which addresses the problems of individuals and groups based on the sense of geographical community. As communality comes to root on peculiar culture in certain geographical area, creating communality demands the recognition of I, Now, and Here in terms of humanities as well as the practice of educational efforts.

2무용 체험의 교육적 기능

저자 : 황정옥 ( Hwang Jeong-ok )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 15-29 (15 pages)

다운로드

(기관인증 필요)

초록보기

Even the education system now wants to share and produce knowledge with empirical knowledge instead of forming content systems with rational knowledge. Contemporary dance education reasons (thinks) with the body and it also requires empirical knowledge. Because of this, the character of dance experiences, which are direct experiences, becomes the role and function of dance education. Today's society needs people who can express themselves well and who believe in their own abilities. This is because the limitations and problems that cannot be filled by rational knowledge can be restored by trust created by the imagination of our awareness. Because of this, this study, which aims to observe the educational functions of dance experiences, attempted to study dance education within the changes of today's society, or in other words, the position and contemporary character of dance experiences, and based on this, it explored the character of dance experiences as self-expression. This makes selfexpression as anticipated by the contemporary age a role of dance education and the results drawn through this study are as follows.
Dance education (lived experience) of the contemporary age does not refer to experiences that are incorporated into or displaced by knowledge but it exists within the flow of our consciousness that projects and introjects the world itself as we perceive it. By focusing on the unique functions that dance has as an arts form and not only understanding one's self (self-awareness) but also observing and exploring things that go beyond other cultures, other time periods, and other regions (objects, thoughts, phenomena), it collaborates in figuring out the position of one's own (culture) attitude and values. The contemporary character of dance education is in its exploration of methods that create experiences. As this is an awareness of a world that is 'discovered' by one's own senses and an act of 'giving meaning' to this, it is an ethical attitude that focuses on dance perception within relatedness and it is a realizable attitude through self-expression that cautiously thinks with the body.
Moments of dance experience are not continuations of moments but a time of formation- change. This is because one personally feels and thinks and faces time and the subject of formation-change with the heart. As self-expression in dance experience is not speculation or prediction but becoming that something with the heart (indirect experience), this leads to the issue of how we exist (how we will exist) and introspection. Self-expression exposes the larger truth in relationships and it is the image of imagination as spoken by internal calm (peace of mind) and the courage of self-expression in the world holds the anticipation that we can become liberated from all that defines us and stipulates us as concepts 'discovery' and 'giving meaning' in contemporary society begins from such courage. Thus, we search for the discernment and courage that allow us to understand experience in the proper direction from within dance experience and self-expression in dance experience expands the unique possibilities and potential of humans through such actions.

3무용의 의사소통 기능 연구

저자 : 한혜리 ( Han Hea-ree )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 31-44 (14 pages)

다운로드

(기관인증 필요)

초록보기

'Research on communication function of dance' is a study on the effect of dance to the world or society. In the process of culture of ideological practice, and in the process, we explored the function of dance as a practice method. The order of the study was to divide and explore the function of dance in the culture as the transfer of ideology and communicative action, and came to the conclusion as follows.
Dance is composed of technological mechanism and social environment in society or behavior system. The world 's dance, based on ideology embodied in technology and social environment, is composed of different technological mechanisms depending on the society of the times, and it transfers the ideology which is the resource of human thought.
Dance, which has been inherited and scattered around the world as a rational (or conceptual) knowledge accumulation and differentiated communication method, is a traditional dance, which is a window to look at the cultural or aesthetic value of a particular nation. It is a dance as a way of solving the desire of the members.
Dance in cultural texts. In other words, the transmitted dance is a practiced ideology. Dance at this time is not a recording method for the transmission and preservation of unchanging ideas or pastes of the past era, but a dance as a form of practice that acquires meaning from the social system.
Dance and cultural environment have difficulty to overcome regional closure. In addition, culture is a continuous social practice, and the function of dance as one of the ways of practicing is a communication function.
Successful dance behavior in communication, which is the inter-subject communication network, is to awaken the necessity of consciousness of one's own attitude.
Since recognition at the point where individual's desire or emotion is confirmed has the character of emotional unity and encouragement, the function of dance as communication is the nature of emotional unity and encouragement.

4체화된 인지를 통한 무용과 신경과학 학제간 연구 고찰

저자 : 고현정 ( Go Hyeon-jeong )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 47-60 (14 pages)

다운로드

(기관인증 필요)

초록보기

Human has a formidable ability that can control his/her own body to perform numerous numbers of skilled behaviours which appropriate to his/her own culture. This can be explained as embodied cognition. Dancers' numerous movement repertories are highly skilled, and very accurate and complicate that require high control ability. Apart from this control ability, dancers also possess employing space-time, creative thinking for choreography that can offer un unique model to explore how dancer can integrate space-time and skilled movement. Human brain develops a specific process but it has the plasticity which continuously changes with learning and interaction with the environment and people. Dancers, who live with unspeakably fast or complex skilled movements production and re-production, clearly have the plasticity. Dancers who are composed of bodily knowledge, have a huge potential to neuroscientists to explore how the complicate movements can be learned, memorised, re-produced through dancers' control ability and brain plasticity. Therefore, this study aims to provide the basis for interdisciplinary research of dance and neuroscience to vitalise dance research in terms of embodiment, bodily knowledge and brain.
Firstly, to provide the basis of interdisciplinary research for dance, it explores the impotance of the integrating body and brain, and dancers' embodied cognition. Secondly, it discusses the intimate relationship between seeing dance and doing dance to understand dancers' brain networks. Thirdly, for the communication of the dancer and the audience, it depicts kinesthetics and cognition of intersubjective-ity within a neuroscientific way.

5시뮬라르크로서의 현대 춤 디지털 이미지 : 무라드 메르조키의 《Pixel, 2014》을 중심으로

저자 : 나수진 ( Na Soo-jin )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 63-79 (17 pages)

다운로드

(기관인증 필요)

초록보기

The arts of dancing has been conducting various experiments and making different attempts to overcome the limitation of expression using advantages of the digital technologies. In this process, the digital image has increasingly gained independent status from the dependent and subordinate level of tool and become the core creating and delivering its meaning on its own, just like the body. Focusing on this phenomenon, the researcher suggests the theoretical basis of existence, independence, and creativity of the digital images shown in 《pixel》 of Mourad Merzouki in the light of the concept of simulacre formulated by Gilles Deleuze and analyzes features of the images in this work.
The digital images in 《pixel》 focuses on capture and disclosure of power, which can be the core of the art theory of Gilles Deleuze. Mourad Merzouki formed the digital images of various aspects embedded in 'Power' to represent the invisible theme of 'Power', structured the concept of 'Power' through differences and repetitions among these images, and took it to the cognitive area.
This is why the images in his work are not merely accessorial means to expand and strengthen expressions, but independent and substantial 'Dancing Partners' that become the center of meaning-creation by working together with human dancers and forming and leading the entire work.
As a result, 《pixel》 approaches how the image substantiates itself and creates its meaning in the digital era from the concept of simulacre of Gilles Deleuze, and it shows the image as a way to understand existence and such possibility by overcoming the negativity of the image which is recognized as fabrication and fake.

6Giodano, G. 의 생애와 재즈댄스

저자 : 우현영 ( Woo Hyun-young ) , 이지원 ( Lee Ji-won )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 81-99 (19 pages)

다운로드

(기관인증 필요)

초록보기

The study aims to examine dance passion and devotion and historical significance by tracing the footsteps of Giordano, G., the master of jazz dance history in the U.S. and recognized as a godfather. Giordano's unique resume, which established jazz dance moves as the son of immigrants, created the Jazz Dance World Congress and devoted to education, is a non-existent research in Korea that explores the receptive aspects and meanings of the movements shown in Korea. In this study, the great stroke of jazz dance in the U.S. has great significance in checking the heritage and lighting the value of jazz dance through the life of Giordano.

7한국 비보잉과 전통문화와의 관계

저자 : 이우재 ( Lee Woo-jae )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 101-118 (18 pages)

다운로드

(기관인증 필요)

초록보기

The study looked into the environment in which Korean B-boying has developed into a dance drama with dramatic elements in it to enhance traditional culture and present its cultural relevance to Korean tradition. B-boying has been judged difficult to be developed into a performing arts with impromptu and resistance based on a dance battle. Voluntarily breaking this perception and presenting the world's first dramatic dance, Korean B-boys, however, have become an international issue. These developmental factors were originated from Korean traditional culture and ethnicity. Korean dance drama was starting that the way as Koreans have loved singing and dancing in their life. From the Sanggo period to the Joseon Dynasty, ranging from singing and dancing to mask dance, it was eventually developed into a dance drama with perfect theatrical elements. Namsadang play is the only dance drama that has maintained its traditional form. It has been revealed that Ttangjaeju(Korean Traditional Ground Acrobatic) of Namsadang play is similar to that of B-boying. B-boying whose framework is a battle, is about who wins in competing dance and Ttangjaeju presents jesting between the Ttangjaeju player and the clown in a dramatic way. Since B-boying, born abroad, showing strong dance in the battle patterns, landed in Korea, it has been developed into a dance drama with dramatic elements. These cultural factors can be characterized by their long history that they are developed into dance dramas through dancing and singing. Therefore, Korean culture that loves dancing and singing suggests that the dramatic elements of Namsadang play and the environment in which Korean B-boying evolved into dance dramas are related to Korean traditional culture led to ethnicity.

8레옹 박스트의 무대의상에 내재된 오리엔탈리즘 특성 - 발레 뤼스 초기 작품을 중심으로-

저자 : 박경숙 ( Park Kyung-sook )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 121-144 (24 pages)

다운로드

(기관인증 필요)

초록보기

We can assign a great significance to the fact that Leon Bakst boldly broke formal framework when applying Orientalism to materialize his inspirations about the Orient using ballet stage costume design. Expression methods employed by this gifted artist suggested a new perspective via positive Orientalism based on longing for, respect and understanding of the Oriental culture.
As a result of analyzing Leon Bakst's costume, this study found that while he was not far away from the standpoint on the Orient commonly shared by all Western people, characteristics of Orientalism shown at his costume were extraordinarily positive breaking away from the existing negative view and created ideal images of Orientalism as equal culture with the West. That is certainly distinct from the views prevailed then.
Though Bakst emphasized exotic eroticism in costume designs of his characters such as dancers, slaves and concubines that reflected his typical Orientalism, he shaped sensual and mysterious images in a sophisticated way and earned an international success, contributing to forming a new cultural trend. His style, bringing Oriental colors, design and accessories into fashion, not only drew a stroke in world's fashion history, but also contributed to status enhancement and popularization of ballet.
As a result of this study, characteristics of Orientalism contained in Leon Bakst's costume were as follows.
First, he made pioneering creational work by successfully using and expressing sort of societal concept called Orientalism in his own art world.
Second, he achieved an overwhelming success by combining Oriental impression and sentiment with refined senses and dramatic expression, marking a new milestone in the history of ballet.
Third, boldly shaking away from the existing Orientalism, he built worldwide style of Orientalism as an equal cultural system.
Bold, creative and groundbreaking work of Leon Bakst might have suggested what a true artist should do, together with a great lesson, to all the students and learners who today learn, study and perform the arts of dance.

9번스타인의 「새들 1권」에 나타난 움직임과 음악의 상관관계 분석 및 교수방안

저자 : 김하림 ( Kim Ha-rim ) , 유승지 ( Ryu Seung-ji )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 147-168 (22 pages)

다운로드

(기관인증 필요)

초록보기

Known as a pianist as well as a piano pedagogue and a composer, Bernstein, S. (1927~) composed various works for piano learners. Emphasizing especially the importance of understanding movements when it comes to musical expressions, he has created musical pieces based on live animals or insects. Most notable of all is Birds 1, which is his first suite for piano education that consists between 8 pieces of 1-2 pages. This particular piece was all composed based on impressions of birds' movements and sounds using the modern composition techniques.
The purpose of this research is to analyze the correlation between movements and music, and explore teaching methods which would be helpful for the effective learning of Birds. The results are as follows: In Birds 1, Bernstein, S. suggested 2-3 motives to express the characteristic movements and sounds of each bird, and employed techniques to develop and transform these motives. With the repeated or changed patterns of rhythm according to the unit and conversion of beats, the changes in the movements are naturally described. The phrase and form are separated depending on the developing patterns of the motives, resulting in changes in the atmosphere. With the registers, intervals, and harmony reflecting birds' sounds or movements, the audience can imagine the kinds and sounds of different birds effectively. Furthermore, the continuous dissonance created from distinct use of atonality and bitonality. Birds 1 also implies the musical atmosphere effectively by employing descriptive directives that properly present the features of birds. Additionally, the piece delivers changes in musical nuance by the delicate use of dynamics and articulation.
For the effective learning of this piece which describes the characteristics of birds by combining various musical elements, the researcher suggests three teaching methods: 1) learning by using images; 2) learning by using plastic animee; and 3) learning by creative activities in which movements and performance are combined.
Through this study, it is expected that the piano teaching method through the understanding and application of movement becomes more active, and the piano work composed for education will be more actively used in the dance education field.

10Lloyd Newson의 《삶의 대가》에 나타난 헤테로토피아적 양상 연구 :자크 랑시에르의 신체 사유를 중심으로

저자 : 이서현 ( Lee Seo-hyeon )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 29권 4호 발행 연도 : 2018 페이지 : pp. 171-195 (25 pages)

다운로드

(기관인증 필요)

초록보기

The purposes of this study are to explore Heterotopia tendency in 《The Costing of Living》(2004) of Lloyd Newson who is a dancer expressing interests in life and society by collapsing the borderline of body and examine liberation characteristics of the work based on bodily ideas of Jacques Rancière. Although the same period refuses the fixed definition and all matters are refined by sharing and division again, modern people still follows the frame suggested as sole way of life unconsciously. And, others are neglected continuously based on the base of actual conditions. Therefore, this thesis intends to explore dancing art as heterogeneous and equal space that blurs the planned boundary of life based on 《The Costing of Living》 that intends to expresses coexisting others and reveal the appearance of liberal subjects again.
Therefore, this study will examine the body of 《The Costing of Living》 with 'Emanciped body' that creates new relationship and generate power by its own way in the space that does not include the center beyond the dichotomous base of traditional metaphysics. And, the examination of Heterotopia tendency of 《The Costing of Liv-ing》 in this way will make it possible to explore new method to transfer from silence of the subject without share in society to oratory. In addition, it's significant to discover the space that meditates the value of the life blurring the boundary and shows free and even power of community in Newson's work.

12
주제별 간행물
간행물명 수록권호

KCI등재

대한무용학회논문집
78권 4호 ~ 78권 4호

KCI등재

한국무용과학회지
37권 3호 ~ 37권 3호

KCI등재

무용역사기록학 (SDDH)
57권 0호 ~ 57권 0호

KCI등재

한국무용연구
38권 2호 ~ 38권 2호

KCI등재

무용예술학연구
15권 0호 ~ 23권 0호

KCI등재

무용예술학연구
78권 2호 ~ 78권 2호

KCI등재

무용예술학연구
24권 0호 ~ 34권 0호

KCI등재

무용예술학연구
35권 2호 ~ 45권 6호

KCI등재

무용예술학연구
46권 1호 ~ 57권 6호

KCI등재

한국무용교육학회지
31권 2호 ~ 31권 2호

KCI등재

대한무용학회논문집
78권 3호 ~ 78권 3호

KCI등재

무용예술학연구
58권 1호 ~ 67권 5호

KCI등재

무용예술학연구
68권 1호 ~ 77권 1호

KCI등재

한국무용과학회지
37권 2호 ~ 37권 2호

KCI등재

대한무용학회논문집
78권 2호 ~ 78권 2호

KCI등재

무용역사기록학 (SDDH)
56권 0호 ~ 56권 0호

KCI등재

무용역사기록학 (SDDH)
34권 0호 ~ 44권 0호

KCI등재

한국무용교육학회지
31권 1호 ~ 31권 1호

KCI등재

한국무용연구
38권 1호 ~ 38권 1호

초청시리즈
2019권 0호 ~ 2019권 0호
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