한국 무용비평계 연구 - 등단과정과 활동을 중심으로 -

이지선 한국무용예술학회 2007 무용예술학연구 Vol.21 No.-

By concentrating on the debut process and activities of the dance critics, one of the primary purpose of this study is understanding the dance criticism in Korea. The other is defining the problems which dance criticism in Korea has and suggesting the improvement devices.In early days, by appearing in the press at the editor?s requests, the writers, artists and dancers could be easily carry out as a dance critic without the specific debut process. From 1970s to 1990s, many dance critics could debut through the dance magazines. And recently, the most critics are coming out through the specific system like ?critic award? presented by dance magazines. The debuts of dance critic regardless of way of process are not objective and has no definite criterion. Either the debut through the magazine or through the specific system, editor?s choice is the most influential. If this social factor keep effect on the critic?s debut, their status and public trust will hardly be acquired.Also the activities of dance critics were too diversified and uneconomical to concentrate on their critiques. The main problem of the dance criticism in Korea which existing researches have insisted on was that there are insufficiency of dance critics. But at the result of this study, major causes are laid on not their number but their inactivity. Through the above discussion, I suggest follows,1. necessity of the academical criticism2. necessity of the economical support to the critic?s activities3. necessity of the training system for the dance criticDance criticism make the dance be popular and it discover the values and meanings of dance. In conclusion, this research can be a contribution to identify the way to expand the dance audience base and to improve in future-oriented by understanding the structure of the dance criticism in Korea and suggesting the expansive dance criticism culture which is under the opening culture markets.

댄스스포츠선수들의 무용학습경험이 경기수행력에 미치는 영향

이희정 ( Hee Jung Lee ),조진희 ( Jin Hee Jo ) 한국무용과학회 2014 한국무용과학회지 Vol.30 No.4

This research aims to analyze and establish the impact of dancesport players` dance learning experience on their performance. To solve the research issues, the objects of this research, 328 pro, amateur or student players on the Korean Federation of Dancesport who participated in national pro/amateur dancesport meetings of the Korean Federation of Dancesport, the Korean Amateur Athletic Association-affiliated organization were sampled and the total of 290 players were used for analysis. Frequency analysis was conducted to inquire the real status of dancesport players` dance learning experience with the collected data, and one-way ANOVA were conducted to inquire the relationship between dance learning experience and the performance. The results obtained through the above are as follows: First, the analysis on the real status of dancesport players` dance learning awareness showed that most players recognized the necessity of dance learning, and the reason recognizing the necessity was the improvement of expressiveness and flexibility. And the preferred dance forms by dancesport players are others followed by modern dance, and ballet. Second, the analysis on the difference in dance learning experience status and forms depending on individual characteristics showed that there are significant difference in dance learning experience status and forms according to sex, age and academic background. In terms of academic background college graduate and over there are many players experienced in dance learning. For the forms of dance learning experience, the higher academic background, the more players experienced in modern dance while the lower one, the more players experienced in ballet or others. In terms of dance learning experience depending on major status in dance, dance learning experience of players majoring in dance is modern dance followed by ballet. Third, analysis on the difference in dance learning experience status and forms according to dancesport empirical characteristics showed that for dance learning experience status depending on major, the majors, rated from highest to lowest, are latin dance, modern dance and 10 dance(10댄스). The ``form`` of dance learning experience according to major didn`t show a significant difference. For the dance learning experience according to level, rated from highest to lowest, are pro, amateur, and student. In terms of the dance learning experience form, pro and amateur experienced in ballet the most, while student experienced in others subjects the most. The analysis on the difference of dance learning experience depanding on player activity record showed that regarding dance learning experience status the longer activity record, the more experience in dance learning. Also dance learning experience forms of many players who have more than 6 year-activity career, rated from the highest to lowest, are modern dance, ballet and others while the forms of players under 5 year-activity record, rated from the highest to lowest, are others, modern dance and ballet. Fourth, the analysis on the difference in the performance depending on dance learning experience showed that the performance depending on dance learning experience have significant difference. Compared to a group without dance learning experience a group with dance learning experience showed higher technical skills and stability while physical control and concentration didn`t show significant difference. Regarding the difference in the performance depending on dance learning experience form, players who experienced modern dance had better technical skills, the sub-variables of performances than players who experienced Korean traditional dance. By putting the above results together, development of new training methods, which understand physical and mental development of dancesport players well, should be preceded to make dancesport players improve their performance and win a medal in international matches for the enhancement of national prestige through dance learning experience.

예술 고등학교 무용 전공자를 위한 포괄적 음악성 기반 무용음악교육의 효과

유연하,김은수 한국무용교육학회 2024 한국무용교육학회지 Vol.35 No.4

Dance is a form of art that combines movement and music. The ability to move musically is one of the important goals pursued by dancers. And for students of dance, it is essential to understand the relationship between the two aspects. This study aims to investigate effectiveness of dance music education applying compre- hensive musicianship, a major music education concept emphasizing creativity, synthesis and diversity. The result of the study can be summarized in following four categories. First, ‘expanded repertory’ of dance music will contribute to accurate ex- ecution and expressiveness of dance movements, and therefore help students to achieve high level of performance, as well as broad range of musical knowledge for choreographic capability. Second, ‘musicality development’ by dance music education will provide specialized music concept learning and re-organizing pro- cess, so that students can discover and apply the common factors of music and dance into their work. Third, ‘synthesis reinforcement’ will motivate students to find the connection between subjects of differing fields, leading them to grow as artists with various perspectives. And last, ‘creativity enhancement’ comes from learning and experiencing musical materials, contents, sentiments and images. Such extension of knowledge and experiments will bring about imagination and creativeness in dance. Dance music education, when grafted with comprehensive musicianship, is expected to result in improved and specialized musicality acquisition for dance students. Therefore, it is highly recommendable to apply these principles and cre- ate curriculum which can be implemented in arts high school scene in the near future. Through such dance music educational program, we will be able to see more young dancers, choreographers and dance teachers with excellent technique, artistry and originality.

A Remark on Dance Research Methodologies

나경아 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.-

Dance studies has formulated the logic system of movement and has progressed in association with other disciplines. This article sets two research objectives: first to examine the distinct characteristics of the dance medium and the movement analysis systems, and second to investigate the direction and process of dance studies. Dance derives from human experience. It exists in its contemporary forms as an embodiment of human history and culture, as an ephemeral event. Dance is thus analyzed in terms of its functional units and symbolic meaning systems. Researching dance requires a means to document dance movements but also an ontological meaning of dance. This article uses perspectives from aesthetics and science of art to explore the fundamental issues on dance studies and changes in positivist approaches to dance. Finally, it emphasizes the importance of researching dance per se, affirming multidisciplinary approaches within contemporary dance studies.

The Study on the aspect of ancient dance exchange between Korea and China from the view of foot steps

( Choi Youngran ),( Ko Kyunghee ) 한국체육학회 2016 국제스포츠과학 학술대회 Vol.2016 No.1

Purpose: The purpose of this study is to investigate the commonality of origins and the aspect of dance exchange especially from the view of foot steps between two history long close countries, Korea and China. This research examines the meaning, characteristics and similarity of foot steps of ancient dance of two counties, and will help to find the new way of exchanging ancient dance culture and future works for further development of new relationship. Method: In this study, first we surveyed literatures, and previous researches based on the evidence of relics, ruins and historical records. Next, the most popular existing dances with well-performed foot steps of both countries were compared and analyzed to find the similarities and differences. Finally, the aspect of dance exchange historical progress was also analyzed systematically. Result: In general, the oriental dance has been known as a upper body dance. But, the lower body, i.e., foot steps, in the oriental dance has been an essential part and had an important meaning and function. The most typical foot steps are “Hopping step” or “Stamping step.’ This Stamping step is now also found in Korean dance Ganggangsuweolae and Halangmu and China dance Dabga. This foot steps shows the similarity of two countries’ dance style and important dance movement. And the Hopping step is an important one showing historicity and change process, and also for understanding of dance origin. Conclusion: First, the Hopping step is a critical foot step in the origin of both Korean and China dance, and also shows similar characteristics. Second, these foot steps shows not only simply the dance movement, but also involving the elevation of emotion. Third, the ground hopping motion has a meaning and value as a primitive dance performance technique, and is also the oldest and still existing most dynamic movement. So, this movement is a connecting link between the ancient dance and the modern dance, and also expresses the exchange aspect of two countries’ ancient dance. Finally, this study will help the progress of dance culture and international exchange.

진주지역 무용단체의 공연활동과 지역 무용예술에 끼친 영향

황지유,남수진 영남춤학회 2021 영남춤학회지 Vol.9 No.3

The objective of this study is to understand the characteristics and work tendency shown in performance activities of dance companies in Jinju region, and also to seek for the development measures by analyzing the effects of dance company activities on dance arts in Jinju region. The research methods focused on video, relevant books, press release, and interview. The research subjects were limited to Jinju Municipal Dance Company, Jinju Eol Dance Company, Mucheon Dance Company, and Blue Willow Art Academy. The purpose of foundation of those four groups was commonly based on the development of dance arts, cultivation of civic emotion, and inheritance of traditional dance while there were also differences of purpose according to the tendency of activities. As the tendency, they pursued the tendency of traditional dance, new dance, creation, and dance theater, and traditional dance performance based on Kim Su-Ak’s style dance. After examining the activities of dance companies, total three kinds of development measures for dance arts in Jinju region were drawn. First, there should be financial support from Jinju City. Due to the support fund which is remarkably insufficient compared to other regions, many dance companies feel some burden of performance activities. Second, it is the creation of theaters in Jinju region. Currently in Jinju region, as the venues for dance performance, there are Gyeongnam Culture & Art Center and Hyunjang Art Hall. On top of the small number of theaters, the biggest problem is the size of stage in those theaters. For the continuous development of arts in Jinju region, the detailed dance education needs to be provided to young dancers like conducting a program for researching the representative arts or culture of Jinju or carrying out a contest. 이 연구는 진주지역 무용단체의 공연 활동을 통해 나타나는 특징과 작품성향을 파악하고, 무용단체의 활동이 진주지역 무용예술에 끼친 영향과 발전방안을 모색하는 것이 목적이다. 연구방법은 영상, 관련 서적과 보도자료, 인터뷰를 통한 면담을 중심으로 진행되었다. 연구대상 단체는 진주시립무용단, 진주얼무용단, 무천무용단, 푸른버들예악원으로 제한하였다. 4단체의 창단목적은 공통적으로 무용예술의 발전과 시민 정서함양 및 전통춤 전승을 바탕으로 이루어졌으나 활동 성향에 따라 목적의 차이점도 나타났다. 성향으로는 전통춤, 신무용, 창작, 무용극의 성향과 김수악류 춤을 바탕으로 한 전통춤 공연 등을 추구하는 것으로 나타났다. 무용단체의 활동을 살펴보고 진주지역 무용예술의 발전방안은 세 가지로 도출하였다. 첫째로 진주시의 재정적 지원이 이루어져야 한다. 타 지역에 비해 현저히 부족한 지원금으로 인해 다수의 무용단체가 공연활동에 대한 부담감을 안고 있다. 둘째 진주지역의 공연장 창출이다. 현재 진주지역에서는 무용공연이 가능한 장소로 경남문화예술회관과 현장아트홀이 있다. 공연장도 적은 편이며 가장 큰 문제는 공연장 무대의 크기이다. 셋째 신진무용인을 위한 교육이다. 진주지역 예술이 끊임없이 발전되기 위해서는 젊은 무용인들에게 세부적인 무용교육이 필요하다. 진주의 대표적인 예술이나 문화를 연구하는 프로그램을 진행하거나 공모전 등을 추진하는 것이다.

A Study on Re-structuralization of Dance Curriculum in Korea

( Yoonkyung Lee ),( Mihye Cho ) 한국체육학회 2016 국제스포츠과학 학술대회 Vol.2016 No.1

Purpose: As there have been growing interests on competency-based education, core competency are emphasized in the 2015-revised national curriculum. In this respect, this study is to provide baseline data to improve the dance competency for elementary and secondary education in Korea. This study is a part of process for developing competency-based dance curriculum, and based on the result of study of dance competency previously carried out. The main focus of this study is to structuralize the essential element, value, dance competency and contents category of dance education. Method: To achieve this goal, literature review, delphi survey, in-depth interview were adopted. Literature review was to seek the elements that make up the theoretical basis for dance education. And the elements were identified using delphi survey for three times. Ten general dance education experts were took for the survey. The elements constituting the theoretical foundation of dance education were selected for literature review by analyzing documents of P.E. curriculum and previous studies. In-depth interview was carried out three insider dance teachers and two outsider dance teachers who participated in the delphi survey to apprehend the context in between dance competency and contents category. Result: In 2015 revised P.E. curriculum, essential element, value, physical education competency and contents category were suggested to explain the meaning and concept of physical education. For this, delphi survey method was used to structuralize essential element of dance education, affirming the value and structure between dance and physical education, dance competency and contents category. As a result, dance education’s essential element was drawn by body movement. Dance education includes aesthetic, moral, social, creative, artistic, cultural, expressive, playful, practical and emotional value, which are highly correlated with the value of expressing physical education. After structuralization of dance competency and contents category, it was shown that dance morality is related to folk dance and creative dance, dance performance is related to movement education and practical dance, dance cognitive is to art of dance and folk dance, dance creation is related to creative dance. The meaning between dance competency and contents category identified by interview is as following. In terms of dance morality, it was mainly related with group dance such as creative dance, which goes forward the outcome cooperated with folk dance in process based on agrarian society. When it comes to dance performance competency, it was related with the category of practical dance and movement education with easy-to-practice characteristic, considering the fact that movement itself is related with performance and action, rhythm, emotion are properly combined. Because dance recognition competency contains contents structure long systematized through culture and history, it seemed related with art of dance and folk dance category. Regarding dance creation, it was related with creative dance including the students’ activity of creating, performing, making announcement and appreciating. Conclusion: First, this study, by focusing on core competency emphasized by recent national curriculum, suggested essential element which is basic concept of dance education prepared for competency-based curriculum, value, dance competency and contents category’s structuralized outcome. Second, based on the characteristic of dance education and explaining the meaning between contents category, it founded theoretical foundation. For the follow-up study, standardization study of contents structure in dance education which is a factor of developing curriculum needs to be carried out based on this study. And also the method of dance teaching-and-learning and how to evaluate it need to be drawn.

미디어 담론에 나타난 무용 의미 탐색

이예슬 ( Ye-seul Lee ) 대한무용학회 2019 대한무용학회논문집 Vol.77 No.3

This study analyzed the words and topics related to dance, focusing on news articles during the media discourse, to explore the meaning of dance recognized by the contemporary public. A total of 34,505 news articles related to 'dance' were collected from Korean Integrated News Database System (KINDS). The collected data went through a data cleaning process. Topic modeling analysis was carried out Latent Dirichlet Allocation(LDA) using to Netminer 4. The analysis resulted in five topics. First, the topic of the “Dance Festival” drew attention to the fact that a world-class dance festival that communicates and harmonizes with multicultural families and citizens through dance. Second, the topic of “Television Dance Program” highlighted dance survival, 'Dancing 9,' which focuses on dance. Third, the topic of Dance Education showed the therapeutic and educational effects of dance and cases of ballet educational institutions worldwide. Fourth, the role of dance in Korea becoming the center of Asian culture in the topic of Universalization of Dance and Choi Seung-hee, a world-renowned dancer, became an issue. Fifth, in the topic of Dance Performing Art, works by dance troupes from home and abroad and performances by world-renowned dance troupes in Korea made headlines.

무용전공 대학생이 인식하는 무용지도자의 진정성 리더십과 전공효능감, 무용활동몰입과의 구조적 관계

최은용 ( Eun-yong Choi ) 대한무용학회 2019 대한무용학회논문집 Vol.77 No.4

The purpose of this study was to analyze the relationship between dance instructor's authenticity leadership, major efficacy, and dance activity commitment. The subjects of this study were 266 students who majored in dance at the university of dance in Seoul and Gyeonggi - do. The main statistical methods are confirmatory factor analysis(CFA) and structural equation model analysis(SEM). The following conclusions were obtained through this process. First, the authenticity leadership of dance instructor has a positive effect on major efficacy of university students majoring in dance. Second, the authenticity leadership of dance instructor has a positive effect on the dance activity commitment of university students majoring in dance. Third, the major efficacy of dance major students' university students showed positive effect on dance activity commitment. Fourth, major efficacy was mediated between authenticity leadership and dance activity commitment. Therefore, in order to dance activity commitment of university students majoring in dance, it is necessary to increase the major efficacy and authenticity leadership of the instructor.

How dance can teach the literary imagination? : Action research on dance education model for liberal arts knowledge

( Ji Young Kim ),( In Sil Park ),( So Mi Lee ) 한국체육학회 2016 국제스포츠과학 학술대회 Vol.2016 No.1

Purpose: This study is designed to propose the professional and practical teaching knowledge and educational meaning of dance for developing liberal arts knowledge. Especially, it is to propose practical education plans through teaching examples by grafting the characteristics of Renaissance, Romanticism and Classicism age, and issues of art trend, literature, and works of arts into dance-related educational activities. Method: This is an action research project on the development of dance education programs that incooperates the grafting of literary imagination. Included are data collected from participatory observations, interviews, open-ended questionnaires, and journals of research from 18 dance instructors and preliminary dance instructors and 50 learners during a three-month-long dance instructor training program. Significant themes were fixed by conducting an inductive analysis and process analysis on those data. Result: “I am Sun King” and “My story of dance in history,” derived from Sun King, ballet of Louis XIV, who contributed to the development of various forms of art, as well as dance in modern Western history, were utilized as themes to form the basis of this study (8 themes and 16 sessions). The teaching content consists of three steps: The first is literacy developed, by appreciating dance in association with liberal art thinking; the second includes internalization of art in history, reconstitution to search for and the ability to express artistic meanings, and creative movements and expressiveness; the third is one for introspection and dream to associate various artistic experiences with the meaning of life and the establishment of values. This teaching method, leading narrative thinking and expression, could be realized by reconstitution of history and literature contents based upon story-telling instead of technique-centered dance education, ORDER(Observation, Reading, Discussion, Evaluating, Responsibility). Results of this study implicate that educational meanings in the context of learners include interest in history and literature knowledge, esthetic sense through arts, creative thinking and expressiveness, and the confidence for challenging new tasks, as well as the pleasure derived from relationships of friends, along with one’s design of dreams, etc. Conclusion: Dance education for liberal arts knowledge seeks for open-ended models of teaching for dance-based integrated art education in association with literary imagination. This study has significance in that it provides some perspectives of literary dance education and extends its educational values by professional development for preliminary dance instructors.