논문 상세보기

한국무용교육학회> 한국무용교육학회지> 한국 무용교육의 변화

KCI등재

한국 무용교육의 변화

Changes in dance education in Korea

오레지나 ( Oh Regina )
  • : 한국무용교육학회
  • : 한국무용교육학회지 32권2호
  • : 연속간행물
  • : 2021년 06월
  • : 5-15(11pages)
한국무용교육학회지

DOI


목차

Ⅰ. 서론
Ⅱ. 무용교육의 변화 양상
Ⅲ. 평생교육으로서의 몸기반 교육
Ⅳ. 결론
참고문헌

키워드 보기


초록 보기

The remarkable changes in Dance Education in Korea show a progress shifting from “Dance Education as Technique-training” to “Dance Education as Social Welfare.”
“Dance Education as Technique-training” was mainly pursued during the heydays of the dance departments on which higher education tried to provide dance education to train experts in the three big areas of Korean Dance, Classic Ballet, and Modern Dance. During these days, “Arts for Arts’ Sake” was emphasized in dance education.
Arts education based on “Arts for Arts’ Sake” came to be criticized as it was no more than teaching technique itself. Therefore, school education began to find new contents or programs for dance education. This new phase of dance education can be called “pursuing new contents” stage.
Korea Arts and Culture Education Serive (Arte) opened a new horizon for Arts Education in Korea as it provided studies and training programs for “arts instructor (yesul kangsa)” in dace field.
These changes have brought about a new stage for dance education that can be called “Dance Education of Life (Life-centered Dance Education).” On this stage, various efforts to improve the quality of life through dance education and the social activities that new kind of dance education makes. These kind of result has been produced by the “arts instructor (yesul kangsa) support program” by Arte and its aftermaths. On this new stage of dance education, various new practices of dance has been apprearing as a form of social welfare.
The changes in dance education examined in this article are the characteristics of the history of the Dance Education in Korea. Dance Education in Korea is progressing toward a sustainable humanistic education based on body(ness) in social life. To make this changes sustainable, systematic dance education pursuing movements understanding (functional and expressive) bodiness should be planned. Also, cultural welfare should be promoted on the level of locality.

UCI(KEPA)

간행물정보

  • : 예체능분야  > 무용
  • : KCI등재
  • :
  • : 계간
  • : 1229-3547
  • : 2733-5461
  • : 학술지
  • : 연속간행물
  • : 2000-2021
  • : 604


저작권 안내

한국학술정보㈜의 모든 학술 자료는 각 학회 및 기관과 저작권 계약을 통해 제공하고 있습니다.

이에 본 자료를 상업적 이용, 무단 배포 등 불법적으로 이용할 시에는 저작권법 및 관계법령에 따른 책임을 질 수 있습니다.

32권3호(2021년 09월) 수록논문
최근 권호 논문
| | | |

KCI등재

1몸성(性)교육에 관한 기초연구

저자 : 오레지나 ( Oh¸ Regina )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 5-16 (12 pages)

다운로드

(기관인증 필요)

초록보기

This article examines the necessity of bodiness education and the desirable directions of it as well as the meaning of bodiness itself. In spite of its importance, education of body and its significance was neglected in the curricula focusing on the mental aspects, intellect and moral virtues. Approaching bodiness and understanding it is a way to overcome the limits of intellectualism in education.
Bodiness is the quality in which material, spirit, will and energy are harmoniously combined in a human body. This combination based on genetic information crosses over form and formless. When a human communicates with the world and gains knowledge, he or she acquires bodiness. Therefore, bodiness is what gives an individual uniqueness and identity.
Bodiness of an individual is the foundation of the elements in his or her characteristics such as personality, virtues, intelligence, creativity, and team spirit. Therefore, approaching bodiness is the very first step of the pedagogy. As bodiness education is the pedagogy through body toward self-realization, self-expressiveness and creativity, it should have several designed starting points.
First, bodiness education begins with an understanding of the nature of life. It should be the education of body and self, based on one's own body. Second, bodiness education should be the education that develops the potentiality of the body through various experiences. One accomplishes the balance of body and mind through a well-developed body. Third, bodiness education is not limited within the physical body itself. It aims the forming process of a mind in which the unification of an individual and the universe is realized. Fourth, it should be a form of education that promotes the ability of self-organization in the students.

KCI등재

2트랜스리터러시 비대면 무용교육 사례를 통한 디지털 정체성 고찰

저자 : 고현정 ( Go¸ Hyeon-jeong )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 19-29 (11 pages)

다운로드

(기관인증 필요)

초록보기

Over the past 20 years, academic interest in body and embodiment has become a key topic, with a sharp increase in social science, cognitive science, and neuroscience. The contemporary era is undergoing major changes in our daily lives through digital technology and globalised networks. Digital technology promotes widespread shifts and interaction between people, language, and artifacts on a previously unimaginable scale, and is rapidly changing our environment. The ability to read, write, and communicate for this should not just be the ability to operate media, but should be able to interact with each other, reflecting the process of creating a person's existence, thinking, and meaning in a critical and human way.
Contemporary communication crosses the media and huge information in the digital world is made quickly and in a variety of ways. Now that the world is constantly moving rapidly in the digital world, education cannot rule out the communication flow of reading and writing for this movement. Text for education is no longer written letters. The body can not only allow external experiences through these digital media tools, but also influence our internal experiences with the help of digital media. Now that the digital world is spreading at a rapid pace, it is essential to consider whether it is a contemporary bodily knowledge, and to consider what changes dance education should interact with digital space in a time of rapid change in communication. Therefore, this study aims to recognise the need for change in dance education, depict the body's cognitive embodiment in the digital world, and consider digital identity expression through this, and examine untact dance education cases as follows.
First, for the discussion of digital embodiment, the digital existence and body through transliteracy are considered.
Second, in order to consider the expression of digital identity, experience through untact dance education cases is discussed along with transliteracy dance text.

KCI등재

3K-POP댄스를 활용한 교육적 가치에 관한연구

저자 : 안창용 ( An¸ Chang-yong )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 31-45 (15 pages)

다운로드

(기관인증 필요)

초록보기

This study examines the background and characteristics of the development of K-POP dance, a cultural asset of Korea, and suggests definitions and concepts for terms that are currently used interchangeably.
In addition, based on this, this study was proposed to focus on educational value. Above all, as the background of the development of K-pop dance changed to visual music over time, the role of dance became very important, and the process of acceptance and change through overseas dance materials could be found.
Three characteristics of K-POP dance were derived as follows.
First, it had a 'compositional feature' to maximize the visual image as a constituent feature of the dance.
Second, it has a “reflection characteristics”, the code of public arts in Korea, which is reflected in the dance are represented.
Third, with the advent of YouTube, access to K-POP dance has become more convenient and has the characteristics of 'spreading through voluntary participation'.
In this way, based on the development background and characteristics of KPOP dance, it was judged that it would be appropriate to use the term 'K-POP dance' as an independent dance genre.
In addition, based on the previous research, K-POP dance was confirmed to have value as cultural art education, value as communication and healing, and educational value as a part of lifelong education. Therefore as an educational program that all generations can enjoy and learn, it was able to prove as a 'total package dance performance'.

KCI등재

4무용의 자기성찰 기능과 구조

저자 : 한혜리 ( Han¸ Hea-ree )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 47-59 (13 pages)

다운로드

(기관인증 필요)

초록보기

As the subject of this study, dance is the structural dance in which the dance is its purpose. In other words, for the representation of individuality, the subjectivity of dance is the dance in which the self of wholeness is participating in the attention, mental state, and direction of thought. And the dance is perceived in the representation structure of individuality.
In the dance structure of self-understanding, the attention, mental state, and direction of thought aim for self-awareness as wholeness that recognizes oneself and unconsciousness as they are.
When the recognition structure of individuality is explained as the introspection in a group of different individualities, the dance structure of introspection shall be the dance act process in which the gap between individualities could be realized (self-understood) in a group composed of individuals with individuality.
The contemporary dance with insight and sufficient good will suggested the community dance sharing the structure of dance that would pay attention to one's own spirit, rather than presenting the best dance for directing the direction of thought or having the advanced mental state.
Community dance is presented as the dance sharing system, instead of distorted and misused word for a long time, and the method to realize the structure had to be flexible according to the consciousness of times, region, and object.

KCI등재

5사운드의 정서적 효과 및 활용 방안

저자 : 김은수 ( Kim¸ Eun-soo )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 61-74 (14 pages)

다운로드

(기관인증 필요)

초록보기

Dance is an expressive arts that combines movement and music. Music imparts an emotional effect when the dancing body expresses life. The purpose of this study is to prove the emotional effect and application of sound on dancers.
As a result of examining the literature, human emotions classify into low-high arousal, negative-positive emotions categories and sound has a deep connection with human emotions. In dance, sound means all auditory forms that combine with movements.
This study suggests four categories of sound application methods that dancers can do.
First, to apply the functions of DAW and artificial intelligence music production programs.
Second, to arrange the sound in consideration of the timing of the entire work.
Third, to build a surround sound to achieve a spatial effect.
Fourth, to use the effector to describe the texture of the sound.
In the digital society, the body is significant in our expression of life. This study intends to help incorporate sound into dance.

KCI등재

6브레이크 댄스 탄생배경에 나타난 긍정 심리학

저자 : 이우재 ( Lee¸ Woo-jae )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 77-91 (15 pages)

다운로드

(기관인증 필요)

초록보기

The study is to illuminate what background B-boys created break dance in at the beginning from the view of positive psychology to find out the elements of the psychology inherent in it. They seem to have experienced 'flow' while dancing, which led them into a state of 'trance', 'euphoria' and 'ecstasy' and authentic satisfaction of life. Especially, a highly elated flow brought 'intense mental pleasure' of positive psychology, which seems to have been the key dynamics to them to get over poor surroundings and move forward to a positive life. What helped them get over negative emotion and violence from poor surroundings might be found in 'break dance' which is 'signature strength' of positive psychology. Break dance seems to have helped them raise their self-confidence up, show their creativity and strengthen 'positive emotion' such as hope, joy, presence and self-realization, which made them communicate with other people, raise sociality and look for 'a meaningful life' for individuals and groups. In the initial break dance, 'flow', 'signature strength' and 'positive emotion' might be found as the representative elements of positive psychology and the elements inherent in its birth background could be illuminated.

KCI등재

7Street dance를 통한 공간의 의미 연구

저자 : 이주영 ( Lee¸ Joo-young )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 93-106 (14 pages)

다운로드

(기관인증 필요)

초록보기

Street dance is the popular culture based on the free action. The culture of battle, busking, jam and cypher that is the most representative culture of street dance is the popular culture which destroys the boundary of space between ordinary world and arts by pursuing post-theater and appraised by the public by introducing their own dances in front of unspecified majority audience.
They are willing to create their own actions and want to be respected through self-immersion and concentration so that the street dance that is performed in the strange and uneasy circumstances can be appraised by the public.
The equal and horizontal relationship are made through the dance and opportunity of being grown up by exchanging the reaction based on the dance.
The space decides the space to dance and the place to stay by itself by pursuing new and strange one not as the different attempt to attract the people's attention, grants the meaning of the shared space that shares the aesthetic experience by the actions in aspect of 'human body' and creates the reconceptualization of the place regarding street dance. Current performing street dance, it becomes the stage on the street.
Moreover, all are the participants and observers as well in the space of the unspecified majority and the rolls of artists and audiences are converted in free and active ways. Therefore, 'space' forms the platform that recognizes 'myself' as well as provides the opportunity of knowing true 'myself' through free and instant actions. As the community pursues the external directionality in the space of such street dance, it can be called as the open space, anything is possible and all can happen in the open space.
That is because it expresses its own presence by occupying the identity of such space regarding that street dance creates the variety of contents by coming and going the real and media worlds and the cultural phenomenon is made through new and strange playful situation as well globally today,
Street dance pursues the external directionality of space thoroughly and such directionality extends the mental dimension that enables the respect and consideration as well as the sustainablity of the attitude of admitting and accepting the variety.

KCI등재

8프랑스 공연예술계의 코로나19 대응정책 분석

저자 : 장인주 ( Chang¸ In-joo )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 109-122 (14 pages)

다운로드

(기관인증 필요)

초록보기

Amid great social changes due to the spread of COVID-19, the performing arts - that typically requires a face-to-face contact in closed spaces - has been affected more greatly than any other field. This paper examines the French policies for performing arts in response to COVID-19, announced by the French Ministry of Culture between February 2020 and February 2021. The analysis of French policies shows that by extending the well established social welfare system, the French government has provided the artists with the effective support in the performing arts sector.
By extending the duration of the French unemployment insurance system, the so-called 'Intermittent', the French government supports the artists without requiring additional applications or verification of artistic activities. By greatly reducing its administrative costs and distributing large sums of support to large number of artists, the French government has recorded a remarkable precedent for institutional supporting policies.
Moreover, the trust company SACD managing the copyright of performances made many online videos availabe to general public immediately.
France also proceeded with the face-to-face performing arts festivals, reiterating its emphasis on the role of festivals and upholding the liveness of performing arts.
In the midst of COVID-19 pandemic, the analysis in this paper gives many important implications for further proposals of the Korean policies for performing arts.

KCI등재

9브레이킹 댄스 교육의 현황과 과제

저자 : 차윤미 ( Cha¸ Yun-mi )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 125-143 (19 pages)

다운로드

(기관인증 필요)

초록보기

This article aims to examine the current status of Korean breaking dance education and the current level, and present domestic university and government-level policy tasks to foster Korean breaking dance education and breaking dancers. The reason why this discussion is necessary is that the breaking education, which is currently underway ahead of the 2024 Paris Olympics, is poor for education to win medals in the Olympics, and a new education program and government-level support are urgently needed.
Accordingly, the following suggestions were made by analyzing the review items of the Trivium Value System, which is the breaking screening method of the 2024 Paris Olympics, and analyzing the current status of the breaking education.
First, education systems that are suitable for those majoring in breaking should be forstered, not with non-professors in educational institutions. Second, the fundamental concepts needed to establish the identity of the dance, along with an understanding of body mechanisms, should be able to educate the theory of the cultural and philosophical background involved in the dance and to educate the breaking dancers to find their characters. Third, more scientific and organized body training programs are needed to improve the performance of breaking dancers. Fourth, it will help foster professionals for breaking dancers by allowing them to use the general sports town and conduction state-run training every year to provide education programs across age groups and regions, including local dancers and young dancers.

KCI등재

10현대무용전공 대학생들의 학업생활과 진로설정을 위한 개선방안 탐색: FGI와 중요도 조사를 중심으로

저자 : 김규진 ( Kim¸ Gyu-jin )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 3호 발행 연도 : 2021 페이지 : pp. 145-161 (17 pages)

다운로드

(기관인증 필요)

초록보기

In order to provide the basic data for academic life and career setting of college students majoring in dance, this study conducted FGI survey targeting ten 4th grader college students majoring in modern dance, and carried out the importance survey on 7 items drawn to 15 persons from experts group, 40 persons from students group. As a result, the first ranking of expert groups was 'practically applicable convergence education' and the first ranking of student group was 'providing internship program through the cooperation with association, society and dance company, as a result of analyzing FGI and importance survey, we drew the implications such as “Diversification of curriculum for convergence arts education”, “Preparation of exchange system with related institutions for internships”, “Establishment of career information system in terms of university authorities or departments”.

12
권호별 보기
같은 권호 다른 논문
| | | | 다운로드

KCI등재

1한국 무용교육의 변화

저자 : 오레지나 ( Oh Regina )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 5-15 (11 pages)

다운로드

(기관인증 필요)

초록보기

The remarkable changes in Dance Education in Korea show a progress shifting from “Dance Education as Technique-training” to “Dance Education as Social Welfare.”
“Dance Education as Technique-training” was mainly pursued during the heydays of the dance departments on which higher education tried to provide dance education to train experts in the three big areas of Korean Dance, Classic Ballet, and Modern Dance. During these days, “Arts for Arts' Sake” was emphasized in dance education.
Arts education based on “Arts for Arts' Sake” came to be criticized as it was no more than teaching technique itself. Therefore, school education began to find new contents or programs for dance education. This new phase of dance education can be called “pursuing new contents” stage.
Korea Arts and Culture Education Serive (Arte) opened a new horizon for Arts Education in Korea as it provided studies and training programs for “arts instructor (yesul kangsa)” in dace field.
These changes have brought about a new stage for dance education that can be called “Dance Education of Life (Life-centered Dance Education).” On this stage, various efforts to improve the quality of life through dance education and the social activities that new kind of dance education makes. These kind of result has been produced by the “arts instructor (yesul kangsa) support program” by Arte and its aftermaths. On this new stage of dance education, various new practices of dance has been apprearing as a form of social welfare.
The changes in dance education examined in this article are the characteristics of the history of the Dance Education in Korea. Dance Education in Korea is progressing toward a sustainable humanistic education based on body(ness) in social life. To make this changes sustainable, systematic dance education pursuing movements understanding (functional and expressive) bodiness should be planned. Also, cultural welfare should be promoted on the level of locality.

KCI등재

2하브루타 기반 예술교육의 가치 탐색

저자 : 탁지현 ( Tark Jee-hyun )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 17-30 (14 pages)

다운로드

(기관인증 필요)

초록보기

Future generations are characterized by VUCA: volatility, uncertainty, complexity, and ambiguity. Arts education, which relies on past experience or has a form of unilateral follow-up, will be culled out of conformity with these changes of the times. Only when arts integrated education is able to present my opinions and ask questions will our children be able to realize the education of living life that they constantly think and practice without being trapped in safetyism. In this context, the humanities values of arts education based on Havruta are reconsidered as follows.
Through the process of making questions, communicating, understanding other people's thoughts, and applying our life, we can form a contemporary human being with creativity, culture, and personality. Through questions and answers, and the many unexpectedness, creativity, and the manifestation of life, everyone who participates interacts, becomes an opportunity to realize and leap forward, and leads to self-directed learning of life. Debate can also lead to philosophical and humanistic insights into human existence and life in an age of artificial intelligence and future, and experience human-to-human dialogue to form habits that are hard to obtain alone, such as listening, caring, cooperation, and concession.

KCI등재

3무용교육 프로젝트의 접근성과 참여 기능

저자 : 황정옥 ( Hwang Jeong-ok )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 33-45 (13 pages)

다운로드

(기관인증 필요)

초록보기

In this age of cultural diversity when the previous era's values are inverted, dance education projects are being positioned as public goods with no exclusion or competition. Not though equality but through the interest and participation of equity, dance is being consumed and employed, and the will to participate is described as accessibility to dance as public goods. From the condition that the social functions of dance education projects lie in communal experience in which communality is expressed, this study has explored accessibility to dance education projects and discussed the characteristics of participation experience. The contents of this study are as follows:
Accessibility to dance education projects as social involvement which means one is not excluded from any experience begins with this belief and attitude that each other's existence forms power within the experience to be together in the environment and condition that are flexible and metaphoric. Therefore, the condition of dance education projects lies in 'being together'. Various types of 'being together' are to participate in the experience that has not been considered as notions surrounding our lives, for instance, exclusion, alienation, deficiency, or narrow-mindedness.
Sharing the experience of dance education projects is the opportunity (indirect experience) that the ideas of self-expression metaphorized with the recalling of individual memories feel and recognize another life, beliefs and values, and historic memories while sharing the times of mine and others' and forms the environment to empathize with the relationship to sense self-dignity and respect for others. Therefore, feeling that we are different from each other itself is the contents (structure) of sharing the experience of dance education projects. Sharing experiences in dance education projects is empathic consideration, and in the contemporary environment where introspection to ask ourselves about our lifetime goals is assumed, meditation on and empathy with individual beings as self-responses to think (feel) with the body are positioned as social functions (involvement and participation) that work as an internal structure.

KCI등재

4발제주의 관점을 통한 무용 어포던스 공간 고찰

저자 : 고현정 ( Go Hyeon-jeong )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 47-57 (11 pages)

다운로드

(기관인증 필요)

초록보기

During the development of our childhood cognition, we naturally learn to recognise how certain objects provide other similar afford in environmental affords for ourselves, permeating the customs shared by our society through experience and becoming a part of the world. Human experience leads to embodied cognition and understands human behaviour. This may in part interchangeably discuss the theory of enactivism approach and affordance theory, with an understanding of areas such as architecture, arts, etc.
Dance relies on synesthesia in many ways. The space of dance given to a dancer is made up of the dynamic movements of the dancer's body, whose dance is constantly moving. However, the dynamics of the body are often underestimated despite the underlying position that the affordance evolves mutually between the agent and the environment in discussing the ever-adjusted affordance, including direct contextual and action-oriented perceptions.
Thus, in this study, it extends the intersubjectivity of environments and organisms from organisms to the interaction of agents and others, feeling the need to consider dance with dynamic characteristics of the dancer's body. Therefore, it aims to extend the affordance space and the concept of dancer's cognition for dance research field as well as the affordacne research field.
First, in order to discuss the affordance of dance, it analyses the correlation between enactivism and the affordance theory to provide validity to the discussion, and analyse the process of dance as a body cognition of the agent's movements through the special 'moment' of dance.
Second, it explores how the expansion of the affordance space of dance is achieved through the concept of social affordance, and consider the expansion of intersubjective affordance space of dance.

KCI등재

5커뮤니티댄스의 집단성과 비경쟁적 구조의 상관성

저자 : 한혜리 ( Han Hea-ree )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 59-74 (16 pages)

다운로드

(기관인증 필요)

초록보기

This study explores the functions of dance in the close community structure which is the result of each individual's decision and selective behavior for autonomous participation in dance. The conclusions of this study are as follows.
The close community dance is the experience of moving from each one's world towards the community world, and the dance as an expression of one's thinking and mind at that time is eventually the self-expression technique. In the process of understanding oneself and others, the perception of self-expression ability and social imagination of observation and 'taking the role of the others' is self-awareness in community dance. And in community dance, the self is realized into originality and identity.
The identity realized through acts is expressed into dance acts in the structure that shows self-control and belief emphasizing the independent individual with certain characteristics beyond oneself who is doing something now.
Community dance as the expression of independent individuals' thinking, is the dance of structure where the meanings are expressed in the place (community where other thinking, originality, and identity are communicated) for discussion and argument.
Community dance is the dance of re-education structure through institutional approach to provide benefits to everyone regarding the issue of unequal opportunity of education in the society where the 'voluntary management' of educational opportunity or self-directed leaning ability is emphasized.

KCI등재

6무용 즉흥연주를 위한 선법 분석 및 활용법

저자 : 김은수 ( Kim Eun-soo )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 77-89 (13 pages)

다운로드

(기관인증 필요)

초록보기

The purpose of this study is to present new modal utilizing ways that can be performed immediately on the keyboard by analyzing the modes with major or minor tonalities rather than the general analysis. For the analysis, among the eight medieval church modes, this study deals with the four authentic modes; Mixolydia, Lydia, Phrygia, and Doria.
Compared to the major, Mixolydia and Lydia show a difference of 7♭ and 4♯, and the Phrygia and Doria show a difference of 2♭ and 6♯ compared to the minor. Based on these differences, the key signatures are inferred.
The utilization of modes is examined in three categories: melody, harmony, and cadence.
For melody, accidentals on modes are replaced with the key signatures of the major or minor tonalities. For harmony, utilize the borrowed chords. Useful chords for modal improvisation are ♭Ⅱ and ♭Ⅶ, and effective harmonic progressions are Ⅰ-♭Ⅱ-Ⅰ and Ⅰ-♭Ⅶ-Ⅰ.
For cadence, use ♭Ⅱ, ♭Ⅶ instead of Ⅴ. ♭Ⅱ-Ⅰ, ♭Ⅶ-Ⅰ are more effective than Ⅴ-Ⅰ for authentic cadence.
Modes contain various emotions. This study analyzed the modes most efficiently and provided a creative ways to use it, opening up the possibilities of improvisation in dance. This study can be applied and developed in various ways, such as combining the rhythm of folk dance or applying modes to court dance.

KCI등재

7테크놀로지를 활용한 융복합 무용 작품분석

저자 : 김솔이 ( Kim Sol-yi ) , 차수정 ( Cha Su-jung )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 91-103 (13 pages)

다운로드

(기관인증 필요)

초록보기

The study aims to comparatively analyze the works of convergence dance using technology.
In this study, among the converged dance works using technology, two domestic cases and three overseas cases, which are permitted to disclose the data, were selected to carry out a comparative analysis of the characteristics of convergence technology using technology, and conducted interviews with the choreographers of organizations in Korea. The results of this study are as follows: 《Beyond Black, 2020》 by the Korea National Contemporary Dance Company shows a new choreography method using AI. HOWHYOU's 《GODOT, 2018》 is aims to automate dance performances, using technologies that were not used in the existing dance performances such as Black 2.0 and Gyrosens AΦE's 《0AR, 2018》 used AR to allow the audience to focus more, and showed various aspects by changing the graphic appearance of the dancer 《Celestial Motion II, 2019》 by Alexander Whitley Dance Company uses VR and AR motion capture to increase immersion in the work by giving the audience the feeling of being involved in the work together. 《Celestial Motion: Virtual Dance Experience, 2019》 recorded 《Celestial Motion II, 2019》 on a 360-degree camera, complementing the shortcomings of seeing only the flat surface of the work in conventional video.
This result will be an important approach to planning dance performances by expanding the changes in time and society ahead of the advent of the 4th Industrial Revolution and expanding the field of view of the audience with higher standards.

KCI등재

8정재만 산조춤《청풍명월 淸風明月》의 구성과 의미

저자 : 차수정 ( Cha Su-jung ) , 권리안 ( Kwon Rhee-ahn )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 105-125 (21 pages)

다운로드

(기관인증 필요)

초록보기

The study is concerned with addressing the dance composition and meaning contained in Jeman Jung's Sanjo Dance called Cheongpungmyeongweol. The conclusion of the study is as follows. First, Jeman Jung has the characteristics of the progressive arts activities establishing the popularization of the Korean dance and the various repertoires of the traditional creative dance. Second, the dance composition and meaning of Cheongpungmyeongweol are the five units of ideality, nature, freedom, sublimation, and return. Third, according to the explanation focusing on the dance meaning, ideality is the world of cleanness meaning dignity. Nature is the world of the abundance meaning harmony. Freedom is the world of brightness meaning freeness. Sublimation is the world of moon meaning the dual structure separating nature from me. Return means going back. Fourth, it is the dance containing the thought on the unity of heaven, earth, and a human being. It is desirable to do the study on the Korean traditional dance work and the continued study addressing the dancer's emotion and the philosophy underlying the dance choreography further.

KCI등재

9포스트 코로나 시대에 노인 무용 치료의 필요성과 실천방안

저자 : 최성애 ( Choi Sung-ae )

발행기관 : 한국무용교육학회 간행물 : 한국무용교육학회지 32권 2호 발행 연도 : 2021 페이지 : pp. 127-143 (17 pages)

다운로드

(기관인증 필요)

초록보기

This study recognizes the necessity of elderly persons dance-therapy for the mental / physical health of the elderly and seeks an action plan during this pandemic situation that brought about a global crisis.
After identifying the physiological, psychological, and social characteristics of the elderly who are vulnerable to Covid-19, it was found that the physical activity for the elderly during the Covid-19 epidemic is desperately required. Dance-therapy as a physical activity has the physical, mental, and social effects for the elderly to overcome Covid-19.
In regards to elderly dance-therapy, customized dance-therapies for diseases must be studied from a variety of perspectives. Also as there is a increase in people who desire dance based treatment activities for various diseases, it should be conducted with the aim of improving and preventing health or illness in the elderly.
To accomplish this, it is necessary to recognize the necessity of introducing active dance therapy by specialized institutions in charge of preventing disease in the elderly. In addition, it is necessary to revitalize the professional curriculum for dance therapy in regular university courses and social education programs, and to continuously create exchanges with specialized institutions for the elderly.
Today, Convergent Arts Therapy is pursuing and oriented toward the integration of body and mind, and can create new and improved areas. In particular, dance therapy is a therapeutic activity that helps psychological adaptation and recovery by using the medium of dance, so a new dance therapy can be created through technological fusion with adjacent field of study.
First, an accurate understanding of the elderly's experiences, needs, and rights is required, it is also necessary to create a customized design for elderly dance-therapy according to the diversity of diseases affecting the elderly.
Second, where face-to-face meetings are difficult and thereby make it difficult to treat the elderly with dance-therapy, in this era of digital transformation, overlapping and individualized elderly dance-therapy must be made mandatory via the linking the national administrative agency with each elderly living facility (home welfare, personalized care for the elderly, nursing welfare centers, cultural centers, long-term care centers, geriatric medical facilities, etc.).
To do this, it is necessary to establish a smart aging-platform and visualize elderly dance-therapy through a digital system. Third, it is necessary to identify diseases in the elderly by means of training dance therapists specializing in elderly dance-therapy, further to on-site training of dance therapists and develop various dance therapy programs.

1
발행기관 최신논문
자료제공: 네이버학술정보
발행기관 최신논문
자료제공: 네이버학술정보

내가 찾은 최근 검색어

최근 열람 자료

맞춤 논문

보관함

내 보관함
공유한 보관함

1:1문의

닫기