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한국무용교육학회> 한국무용교육학회지> 한영숙류 승무 구성의 철학적 고찰

KCI등재

한영숙류 승무 구성의 철학적 고찰

A philocophical research into Seung Mu

주연희 ( Joo Yeon-hee )
  • : 한국무용교육학회
  • : 한국무용교육학회지 30권4호
  • : 연속간행물
  • : 2019년 12월
  • : 167-182(16pages)

DOI


목차

Ⅰ. 서론
Ⅱ. 승무의 민족철학적 배경
Ⅲ. 승무의 구성과 미학
Ⅳ. 결론
참고문헌

키워드 보기


초록 보기


						
It is very important to study philosophical base of Seung Mu, in practice and trasition. Especially traditional Korean philosophy could be preferable for that purpose than foreign idea or religion.
Seung Mu, which means buddhist’s dance, are ideologically based on Sam Jae monism. It means that the three basic dimensions of universe, as Heaven, Earth, Human, came out of undifferentiated Unity, makes every way of being, relationships, movements and changes, and finally recovers as completed Unity by Human dedication.
This study reveals that Sam Jae monism offers structural foundation to Seumg Mu, so that through whole five acts, the performance are consturcted by the contemplated philosophic idea.
With this viewpoint, this study also tried to figure out the basic components of traditional Korean idea which makes philosophical foundation of Seung Mu, with other abundant traditional Korean culture.

UCI(KEPA)

간행물정보

  • : 예체능분야  > 무용
  • : KCI등재
  • :
  • : 계간
  • : 1229-3547
  • :
  • : 학술지
  • : 연속간행물
  • : 2000-2019
  • : 533


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1생애전환기 무용이 주체적 삶에 미치는 영향 -중장년층을 위한 춤 인문학 사례를 중심으로-

저자 : 김옥희 ( Kim Ok-hee )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 7-25 (19 pages)

다운로드

(기관인증 필요)

초록보기

This study searched into what a 50 + people dance experience could mean to an inquiry into a variety of self identity and life issues and a process of 'self -transformation' in the theory of subject. Michelle Foucault, the prominent post-modern philosopher, once stressed the importance of the self-transformation that the Greeks tried to get to through self consideration and self-discipline practice, striving toward “a life where they could be what they had never been before.” A dance experience of 50 people could be a process of self-discipline training where one can hone a bunch of life skills and the rare opportunity of self-consideration where one realizes the possibility of free choice and decision via a reasoning offered by some body movements, being freed from whatever bondages they had been under in the past. Voluntarily looking back on the past makes them ask a lot of questions about what had seemed natural and inevitable before and makes it a little hopeful to proceed further toward a newly emerging ethics where every decision will be based on an action based on ethics to become what we really want to be, not being based on the ethical rules and standards that were given by the society.
A dance experience in this study is nothing short of a self-transformation process that starts from all the body senses being woke up with the changed perception to being newly directed or coming back to a real undiscovered self and finally to the self poiesis. In conclusion, having a courage towards a true life involves recovering all the self-imprisoned senses of existence and coming up with a reasoning process penetrating into some quality aspects of body movements, and in this regard, some level of meaning will be discovered in which life and dance could be mutually connected.

2동시대 무용교육의 문화 정체성 해석 기능

저자 : 황정옥 ( Hwang Jeong-ok )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 27-40 (14 pages)

다운로드

(기관인증 필요)

초록보기

In light of a cultural age that demands the ability to discover and review values of life (self) that have been thrown from social ranks, conflicts, and trajectories, cultural identity has appeared as a core value of dance education. From this context, this study focused on the critical functions of dance experiences as existence technology that considers and cares for one's own life as techne that once stayed in arts worlds (systems) but spread into life spaces and explored their meaning and the following contents outflowed.
Dance experiences (dance education) assume interpretational functions of life as they are directly close to structures (projects) that communicate with the world using the body. Methodologies can make their approaches using dance literacy. Dance literacy makes interpretation and understanding of life possible using imagination that meets social ideologies (special meetings) through dance.
Interpretation is the ability to judge and understand subjects and it is the strongest way to determine the quality of life. This signifies truly knowing (feeling). Dance experiences that approach truth and that are truly felt (understanding and interpretation) fulfill such roles. At these times, understanding and interpretation convert numerous experiences to what is internal, act as meaning technology that is felt independently, and allow the formation of cultural identity.
Participation and sympathy emphasized in contemporary dance experiences are interpreting functions of life in which cultural identity is formed and this becomes meaning technology for life that operates as an ethical function that replaces philosophy and religion of previous times.

3크리에이티브 에이징의 관점에서 본 문화예술교육의 방향성

저자 : 탁지현 ( Tark Jee-hyun )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 43-59 (17 pages)

다운로드

(기관인증 필요)

초록보기

The pace of population change in Korea is more radical than in any other country in the world. The second half of life, which was considered a period of weakness and loss, is now a time of potential for a longer, healthier life with new meanings and goals. The shift of medical perspectives on aging from functional loss to the approach of 'creative aging', which focuses on the advantages and possibilities of a human being, constitutes a fertile ground for creativity and arts. From the perspective of creative aging, arts & culture education should have the following direction.
First, it prescribes a change of perception from 'passive aging' to 'creative aging'. Now it is important to pay attention to the possibilities created by aging, the creative things that can be achieved by aging. The issue of creative aging is not unique to older adults. All of us living at the same time should contemplate the words that divide our lives by life cycle from birth to aging, such as children, teenagers, middle-aged people, and old people.
Second, starting with the story and life of 'I'-the principal agent of arts & culture education- it should be a sustainable arts and culture education program that can create, restore and transform mutual life in the process of relating and interacting with others and communities.
Third, a local community base that pursues creative aging as a common goal should be established. And within it, we need to support the active connection and exchange with cultural and artistic activities that encompass age and cultural differences between generations, and state policies so that a venue for social interaction and lifelong arts education can be established.
Creative aging aims to create a healthy and meaningful life from an integrated perspective that encompasses the physical, mental, social and economic domains through artistic participation or creative activities. So it is necessary to set the direction for creative aging, not just a single task of arts and culture education, but to make efforts to change the perception of individuals, the paradigm of society as a whole, and policies together.

4예술통합무용 교육 방법론 실천 사례 연구 : 학교예술강사파견제 무용 교수학습과정안을 중심으로

저자 : 김유진 ( Kim Yu-jin )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 61-77 (17 pages)

다운로드

(기관인증 필요)

초록보기

The purpose of this study was to propose methods of recording for the field study planning and its implementation outcomes in integrated arts education as a way of dance education in school. Integrated arts education implemented in the study was based on the practice of case study. The directionality of contemporary education and the goals of dance education in school were based on the Teaching and Learning Process Plan(2009) for elementary school dance researched and developed in the dispatch project of school arts instructors in the field of dance. The investigator devised a teaching and learning process plan accordingly and implemented it at a elementary school in Ulsan.

5노인복지를 위한 무용교육의 필요성 및 활성화 방안

저자 : 박선우 ( Park Sun-woo )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 79-97 (19 pages)

다운로드

(기관인증 필요)

초록보기

This study is for the physical and mental health of older people in the aging age. In addition, this study is designed to provide of promoting dance education for the old. The proposals in this study are as follows: first, we need to change people's perception of arts education. Second, various programs are needed according to the characteristics of the elderly. The aging problem is a global problem.
For the elderly, education helps them adjust to society. Education helps to get rid of boredom and loneliness through communication with people. For older people, education goes beyond simple activities and serves as a medium for the social activities.
The state must solve this problem. Various studies should be done for the happy life of the elderly. In the field of education, programs for the elderly should be presented. It is urgent to develop arts education programs for the elderly.

6체화된 인지를 통한 뇌발달 무용 움직임 학습 연구

저자 : 고현정 ( Go Hyeon-jeong )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 99-112 (14 pages)

다운로드

(기관인증 필요)

초록보기

Dance, which consists of various shapes and functions, is an universal arts form of human expression that connects to the social interaction. Generally speaking, it exists similar forms across the cultures and the dancers have highly coordinated bodies, flexibilities and aesthetic aspects that express the beauty. Dancers have a potential for neuroscience that aims at the emotional, communicational, aesthetic, and integrated research into the shared social aspects. The physical and artistic demands of dance have various cognitive abilities that can be explored by neuroscientific methodology. We ignore that our knowing which, is our very basic yet magical aspects, arises not only from the brain but throughout the whole body because learning, thinking, creativity, intelligence occur through our body. Sense, movement, emotion and the integrated function of the brain is based on the body. The experience enables human become human. We have to move. We have to make movement. We have to move to know, to experience, to understand and to live well.
This study aims to contemplate the direction of the brain dance as a learning to enhance the cognitive development and address the logical basis of dance through exploring why our body is important for our cognition. This study explores firstly, the knowing through body to examine the importance of body in our knowing. Secondly, it depicts the dancer's knowing with the embodiment system on the neuroscience perspective to discuss the integrated knowing of the brain and body. Finally, it examines the importance of movement for the brain development to address the basis of dance can help to improve the cognitive development and explores the brain dance, which appropriates for the human brain development.

7무용 경험의 지식 확장 구조

저자 : 한혜리 ( Han Hea-ree )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 115-127 (13 pages)

다운로드

(기관인증 필요)

초록보기

This study is on the structure of dance experience linked to knowledge; independent participation in the process of recognizing dance was provided as the structure of dance experience. As the knowledge expansion, dance experience is eventually the behavior of participating independently on the cognitive functioning with the body. Here, this study considers that the independent participation becomes the structure of dance experience to have the factors of independent participation being intrinsic in the body, which was provided as introspection and spirituality. The concept derived in this study is summarized as follows.
The premise is that dance experience is independent participation in the dance recognition behavioral process rather than recognizing the dance.
Independent participation is the property of granting meaning to all those that are encountered in the structure of dance experience created by the mind of filtering and analyzing all observations.
The body that is the entity of dance experience is the place (or organ) that penetrates through the lives of the soul, mind and environment in the concept of embodiment, and is also the place where the cognitive functioning occurs.
Introspection as one of the factors of dance experience in the perceptual domain is the essence of human knowledge, and is the will in which the ego becomes human as the character.
In the dance experience, mind enables dance to have meaning and purpose, and this spirituality is expanded to universal knowledge in the ordinary world as the ability learned through experience.

8바이오 아트를 통한 무용의 시공간 확장 고찰

저자 : 김에스더 ( Kim Esther ) , 고현정 ( Go Hyeon-jeong )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 129-145 (17 pages)

다운로드

(기관인증 필요)

초록보기

In today's world technology, which is having a mass influenced in human daily lives. is rapidly growing by combining human and high-tech science and technology with the development of modern science and technology. As such technology entered the 20th century; such influences impacted the arts sector to those artists who accepted scientific approaches to create and expand ways of expressing that further developed into a new arts genre named, bio art, where biological technology is applied to arts.
Bio Art is a media that uses biological factors of the human body not only the external information but also the internal data to produce the artwork that represents the idea of trans-humanism appropriately which reflects the current trend of the technological development. Consequently, performing arts can also collaborate with the belief of trans-humanism in order to expand its own expressionism, in detail the space and time expression of the dance to improve more advanced human beings in an immediately changing society. Thus the dance needs to embrace this scientific technology to broaden its own boundaries such like other genres. Therefore, the question of this study is how such bio art can affect the expressions of the performing art, and when it has been applied to the dance how the time and space of the dance expression can be develop further. In order to reach the conclusion of this research question, the study was divided into two different contents; expression of the bio art into artistic thinking, and digital media with biological media that integrate into artistic method. The work of bio art was considered in the perspective of Pavis' theory of time and space (analyzing performance; theater, dance and film) which was then applied to the time and space of performing art. From this study, it can be concluded that bio art can enhance both the subjective inner time of the dance expression along with the gesture within the space.
Therefore, this study investigated how the time and space of the dance broaden in the present era where technology advances in a high speed level. Then, it developed further to transcend human biological limitations by collaborating the artistic expression of bio art and the concept of the time and space of dance in the trans-humanistic contemporary with humanism theme which can provide various different platforms and opportunity for wider expressions of dance.

9자스민 바르디몽의《정의 Justitia》에 나타난 시노그라피의 활용과 의미 분석

저자 : 이지원 ( Lee Ji-won ) , 김이경 ( Kim Lee-kyung )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 147-165 (19 pages)

다운로드

(기관인증 필요)

초록보기

Jasmin Vardimon added a number of meanings to his works through the strategy and application of the scenography. First, it provides a welcoming frame through stage equipment, and provides the audience with a check of their perception of truth and unreal behavior and traces the definition of faith. The second is to experience the montage of time through movement, enabling visual tactile sensation with film-like editing techniques. Empathy will be extended by the experiencing unconscious experiences with unfamiliar flows of time or unfamiliar experiences with familiarity. The third is to reexamine the sexual position of the woman who thinks fixedly around the female character from the current point of view. In order to divert and destroy violent thoughts about women who have not changed from the past until now, they have attempted variations and transformations of characters. Finally, through the props and music, the sense of space was tactilely expanded, and the metaphorical arrangement and the ironic music used to approach the hidden meaning of the work.

10한영숙류 승무 구성의 철학적 고찰

저자 : 주연희 ( Joo Yeon-hee )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 30권 4호 발행 연도 : 2019 페이지 : pp. 167-182 (16 pages)

다운로드

(기관인증 필요)

초록보기

It is very important to study philosophical base of Seung Mu, in practice and trasition. Especially traditional Korean philosophy could be preferable for that purpose than foreign idea or religion.
Seung Mu, which means buddhist's dance, are ideologically based on Sam Jae monism. It means that the three basic dimensions of universe, as Heaven, Earth, Human, came out of undifferentiated Unity, makes every way of being, relationships, movements and changes, and finally recovers as completed Unity by Human dedication.
This study reveals that Sam Jae monism offers structural foundation to Seumg Mu, so that through whole five acts, the performance are consturcted by the contemplated philosophic idea.
With this viewpoint, this study also tried to figure out the basic components of traditional Korean idea which makes philosophical foundation of Seung Mu, with other abundant traditional Korean culture.

12
주제별 간행물
간행물명 수록권호

KCI등재

대한무용학회논문집
78권 1호 ~ 78권 1호

KCI등재

한국무용과학회지
37권 1호 ~ 37권 1호

민족무용
23권 0호 ~ 23권 0호

KCI등재

한국무용연구
37권 4호 ~ 37권 4호

KCI등재

무용역사기록학 (SDDH)
55권 0호 ~ 55권 0호

KCI등재

한국무용교육학회지
30권 4호 ~ 30권 4호

민족무용
14권 0호 ~ 15권 0호

민족무용
12권 0호 ~ 13권 0호

KCI등재

대한무용학회논문집
77권 6호 ~ 77권 6호

민족무용
10권 0호 ~ 9권 0호

민족무용
6권 0호 ~ 8권 0호

민족무용
2권 0호 ~ 2권 0호

민족무용
3권 0호 ~ 5권 0호

민족무용
1권 0호 ~ 1권 0호

KCI등재

한국무용연구
37권 3호 ~ 37권 3호

KCI등재

한국무용과학회지
36권 4호 ~ 36권 4호

KCI등재

대한무용학회논문집
77권 5호 ~ 77권 5호

KCI등재

한국무용교육학회지
30권 3호 ~ 30권 3호

KCI등재

무용역사기록학 (SDDH)
54권 0호 ~ 54권 0호

KCI등재

대한무용학회논문집
77권 4호 ~ 77권 4호
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