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한국무용교육학회> 한국무용교육학회지> 테크놀로지를 활용한 융복합 무용 작품분석

KCI등재

테크놀로지를 활용한 융복합 무용 작품분석

Analysis of convergence dance works using technology

김솔이 ( Kim Sol-yi ) , 차수정 ( Cha Su-jung )
  • : 한국무용교육학회
  • : 한국무용교육학회지 32권2호
  • : 연속간행물
  • : 2021년 06월
  • : 91-103(13pages)
한국무용교육학회지

DOI


목차

Ⅰ. 서론
Ⅱ. 테크놀로지를 활용한 융복합 무용작품
Ⅲ. 테크놀로지를 활용한 융복합 무용작품 분석
Ⅳ. 결론
참고문헌

키워드 보기


초록 보기

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.

UCI(KEPA)

간행물정보

  • : 예체능분야  > 무용
  • : KCI등재
  • :
  • : 계간
  • : 1229-3547
  • : 2733-5461
  • : 학술지
  • : 연속간행물
  • : 2000-2021
  • : 593


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32권2호(2021년 06월) 수록논문
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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
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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)

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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)

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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)

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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)

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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)

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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)

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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.

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