영화「자유부인」에 표현된 춤의 사회적 인식에 관한 고찰 - 1950년대 서울을 중심으로 -

변혁,정의숙 한국무용예술학회 2009 무용예술학연구 Vol.28 No.-

This study aims to acknowledge the social aspect that dance retains by analyzing a dance featured in Madame Freedom, a Korean film made in 1956 which brought about great controversy in Korean society in the 1950s. As this study examines the role of dance in the movie by adopting the method of drama analysis, it also looks at the dance’s image and how they influence in dance discourse. At the time when the movie was made, Korea experienced the flood of liberalization which to some extent affected the conservative Korean society to be changed. However, women were still expected to be “a wise mother and good wife” under Confucian ideology which restricted and limited women’s role in the society. By analyzing the plot of the movie, it was found that the Confucian idea on women’s role was reflected in the movie as well. The movie only focused on the main female character Oh Sun Young being corrupted by dancing, damaging the original role and image of dance. Also, it described that the female character had been morally corrupted through dance, instead of found her self- reliance by dancing. When it comes to analyzing visual and auditory elements, the changes in clothing and spaces in the movie illustrated the changing society and people’s thought. Also, various filming techniques made us see a professional dancer’s movement in the movie from males’ viewpoint. In conclusion, the movie seemed to describe dance as a mean to corrupt the female character. However, having a closer look at the movie enabled to see the true mean of the dance for the female character, realizing self-reliance and attaining true identity. In carrying out this study, it is expected that dance and film, two different genre in art form, are integrated, and bring us with various cross-genre products actively, which will finally contribute to promoting cultural diversity.

중세시대의 무용현상을 통한 무용의 발전방향 모색

김수진,박순자 기독교학문연구회 2015 신앙과 학문 Vol.20 No.2

Numerous social phenomena in modern society threatening the lives of people such as hedonism, commercialization of sex, heresy and superstition and infectious viruses are similar to those of the Middle Ages. Anxiety, horror and fear felt by individuals in the Middle Ages gradually spread to overall society and people tried to relieve these fears through dance. Although dance in the Middle Ages was on the one hand recognized as the ceremony of body due to Christianity which influenced society as a whole, asceticism which regarded body as something ignoble worked on the other hand as the cause of prohibition of dance. Still, feudal system which hierarchized human status produced more numerous and diverse kinds of dances. These dances in the Middle Ages appeared in the form of circle dance and parade dance as group dance and were expressed in various forms of movements and steps. In addition, they enabled individuals to experience catharsis and ecstasy phenomenon and were accompanied by ecstasy phenomenon of groups through contagion. On the basis of dance phenomenon in the Middle Ages, this study explored development direction of dance today; first, for the change of recognition on dance, it is necessary to launch promotion through mass media and prepare and execute plans such as ballet with explanation, ambulatory performance and crossover with other genres. Second, it is necessary to develop and implement dance therapy programs such as community dance, dance movement therapy and dance therapy for humans who cannot but feel anxiety in an insecure society. Third, as dance is an art with special factors of catharsis, ecstasy and contagion, it is necessary to restore Christian perspective of art which can infect equality and love to all people with religious self-awareness of virtuous art. This study hopes dance in modern society shall be used as a tool to treat human body and mind and save lives without following the practices of the Middle Ages through awareness of dancers. 현대사회에서 나타나는 쾌락주의, 성(性)의 상품화, 이단과 미신, 전염성 바이러스 등 인간의 생명을 위협하는 많은 사회적 현상은 중세시대의 사회적 현상과 유사하다. 중세시대의 개인의 불안과 공포, 두려움은 점차 사회적 공포로 확산되었고 인간은 무용을 통하여 이러한 두려움을 해소하고자 하였다. 그러나 당시 사회전반에 영향을 끼쳤던 기독교로 인하여 중세시대의 무용은 몸의 제의(祭儀)로 인식되어지기도 했지만 다른 한편으로는 금욕주의로 인해 신체를 미천하게 여김으로 무용의 금지령을 확산시키는 이유가 되었다. 반면, 인간의 신분을 계급화 하였던 봉건제도로 인하여 더 많고 다양한 종류의 무용을 파생하게 되었다. 이러한 중세시대의 무용은 집단무형식의 원무와 행렬무용의 형태로 나타났으며 다양한 형태의 동작과 스텝으로 표현되었음을 알 수 있었다. 또한, 개인의 카타르시스와 엑스타시 현상을 경험하게 하며 전염을 통한 집단의 엑스타시 현상을 동반하는 것을 알 수 있었다. 이러한 중세시대의 무용현상을 바탕으로 오늘날 무용의 발전 방향을 모색하여 보면 첫째, 무용에 대한 인식 변화를 위해 대중매체를 활용한 홍보와 해설이 있는 발레, 찾아가는 공연, 타 장르와의 크로스 오버 등과 같은 기획이 필요하다. 둘째, 커뮤니티 댄스, 무용 동작치료, 춤 치료 등과 같은 불안한 사회에서 불안한 심리를 느낄 수밖에 없는 인간을 위한 무용치료 프로그램 개발과 시행이 필요하다. 셋째, 카타르시스, 엑스타시, 전염성이라는 특수한 요소를 가진 예술이므로 종교적 자각에 의한 선한 예술의 감염으로 만인에게 평등과 사랑을 전염시킬 수 있는 기독교적 예술관의 회복이 필요하다. 이러한 방법론을 통하여 현대사회는 중세시대를 답습하지 않고 무용인들의 자각을 통하여 인간의 신체와 마음을 치유하는, 생명을 살리는 도구로 무용이 사용될 수 있기를 기대한다.

Clinical Management of Dance Injuries in a University Setting

Jeffrey A. Russell 한국예술종합학교 무용원 2022 무용과 이론 Vol.5 No.-

While research on injuries in dance is underdeveloped compared to research on sports injuries, the data clearly show that dancers experience a substantial number of injuries. Unfortunately, however, dancers generally do not have the same access to specialized healthcare that athletes do. As a result, many of their injuries are either improperly treated or not treated at all. A university is an ideal place in which to provide dance medicine care because of its typically well-controlled academic environment and its formative processes for university dancers that are designed to train the dancers for successful careers in dance performance or other dance-related professions. Appropriate attention to health, wellness, injuries, and healthcare should receive attention as part of this education. This paper identifies the framework needed for providing clinical management of dance injuries in a university. Essential to providing healthcare for dancers is an interdisciplinary collaboration between dance and health sciences. There are several ways such an association can be implemented, with all of them focused on ensuring that dancers can dance at a high level while experiencing optimum health and wellness. Among the possibilities are hiring a healthcare provider to work in the dance department, organizing specialized care with the university’s student health service, and creating relationships with interested healthcare professionals in the university’s community. Whichever method is incorporated, the needs of the university’s dancers must be the primary focus.

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.

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.

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.

파킨스를 위한 무용교육프로그램: Dance for PD

이경희 무용역사기록학회 2018 무용역사기록학 Vol.51 No.-

This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea. 본 연구는 우리나라 최초로 전문 지원무용수 지원센터에서 도입한 파킨스병 환자를 위한 무용교육 프로그램인 ‘댄스 포 피디(Dance for PD)’에 대해서 소개한다. Dance for PD는 2001년부터 미국의 마크 모리스 댄스그룹(Mark Morris Dance Group, MMDG)과 브루클린 파킨스 그룹(BPG)의 협력으로 출발한 파킨스병 환자들을 위한 세계적으로 유명한 무용 교육프로램이다. 현재, Dance for PD 프로그램은 뉴욕시를 비롯해서 전 세계적으로 20개국, 140개 지역에서 실시되고 있다. 이 프로그램은 이미 의학적으로 많은 의사· 전문가 또는 과학자들에게 그 효과가 검증되었고, 오늘날 4차 산업에 발맞추어 과학과 첨단기술을 이용하여 발전하고 있다. 파킨스병 환자의 장기적인 관리를 위해서는 약물치료를 포함한 다차원적 시도가 필요하다고 할 수 있다. 이러한 점을 고려할 때 무용교육은 신체기능 향상·회복이라는 효과 이외에 비슷한 호소문제를 가진 참여자들과 함께 어려움을 공유하고 서로 지지받으며 사회적 고립감과 외로움을 감소시키고, 움직임을 통한 비언어적 소통을 통해 즐거움을 공유하며 장애를 가진 사람들과도 관계를 가질 수 있다는 희망과 심리적 안녕감을 함께 증진시킬 수 있다. Dance for PD는 무용이 지니는 고유의 자원을 이용한 무용교육적 측면을 강조하고 있는 것이 특징이다. 교육과정에서 무엇보다 강조한 부분이 바로 치료가 아니라 무용교육이며, 교육자들은 치료사가 아니라 무용가임을 강조한다. 즉 Dance for PD에서 가장 중요시하는 한 가지 기본전제는 ‘예술적 경험’이다. 수업을 받는 동안 환자들은 자신이 환자라는 사실을 잠시 잊고, 온전히 춤 동작과 리듬에 몸을 움직이고, 동작을 수행하는 과정에서 느끼는 행복감과 성취감은 신체적 효능감과 함께 정신적 행복감을 줄 수 있다. 이 무용교육프로그램은 무용예술의 순기능과 역할을 의학적인 차원이 아니라 예술적 차원에서 접근한 것이어서 향후, 우리나라의 많은 무용 전공인들을 위한 새로운 직업창출에 기여할 것이라고 기대한다. 이미 2017년부터 국내에서 첫 강사진들을 배출하기 시작하였고, 올해 두 번째로 강사진들을 배출하였다. 이들은 현재 각 기관에서 파킨스병 환자들을 대상으로 실습하고 있으며, 수업에 참여하는 환자 역시 수업에 대한 만족도가 높다. 본 연구자는 직접 Dance for PD 무용교육 프로그램에 참여한 사람으로서 이 교육의 목적과 수업의 핵심원리 및 내용들을 소개하여 좀 더 많은 무용 전공인들이 이 분야에 관심을 갖기를 바란다. 이 무용교육프로램의 활성화로 인해 향후, 파킨스병은 물론 치매, 알츠하이머 분야로도 연구영역이 확대되어 무용 전공인들의 새로운 직업창출과 사회적 기여에 있어서도 중요한 역할을 할 수 있기를 기대한다.

A Study on the Introduction of Social Dance to Korea

( Yoon Hee Park ),( Hyun Jung Lee ) 한국체육학회 2016 국제스포츠과학 학술대회 Vol.2016 No.1

Purpose: The purpose of this study is to analyze the process of introducing social dance, which set foot on the Joseon territory together with the modern civilization of the western world at the time of enlightenment when the Joseon Dynasty started to develop into a modern form of state and to shed new light on the value and implication involving the introduction of social dance to Korea by 1) examining the process of introducing social dance to Korea based on the description of American Travelog written by Park Jeong-yang, a diplomatic minister to the United States and 2) analyzing the dancing parties held by an acting diplomatic minister Lee Ha-young and in foreign legations. Method: As a research method in this study, literature review has been conducted on the translated version of American Travelog, the primary material written by Park Jeong-yang along with other literatures, including 50 Years of Relations with US, Daehan Maeil Sinbo, Hwangseong Sinmun, and Maeil Shinbo. Result: First, the records in American Travelog confirm that social dance was first introduced to Korea by Park Jeong-yang, who was dispatched as a diplomatic minister to the United States in 1887, which is some nine years earlier than the previous key claim as to the introduction of social dance and this study is meaningful in that it presented the first clear evidential document regarding the introduction process of social dance. Second, while serving as an acting diplomatic minister, Lee Ha-young could be the very first person in Joseon who danced a social dance, and it was through the ball held at the Qing Dynasty‘s legation in 1905 that social dance was introduced to Joseon in earnest. It was hard to identify the format and content of social dance introduced at that time but it could be identified that social dance introduced here was apparently the one originally defined and practiced in the western world and that social dance was utilized not only for socializing purposes but also as a means of diplomatic exchanges or an upscale socializing culture for some people in privileged class. Conclusion: Social dance in early stage of Korea was a part of the high class socializing culture introduced to Korea together with a wave of modernization at the time of enlightenment. In particular, the knowledge and information on social dance picked up by Park Jeong-yang and Lee Ha-young who were dispatched to the United States served as an important experience in the process of modernization of Joseon afterwards, and social dance at the time of its introduction was utilized as a means of diplomatic exchanges in addition to serving socializing purposes, solidifying its presence at a historical time of Joseon’s modernization. In this vein, the value and implication of introducing social dance to Korea during the period of her modernization and enlightenment should be considered quite significant and noteworthy.

국내 댄스 뮤지컬의 등장 배경과 전개 양상

최원자(Choi, Won-Ja),조남규(Cho, Nam-Gyu),최현주(Choi, Hyun-Ju) 한국체육과학회 2015 한국체육과학회지 Vol.24 No.3

This study aims to present a sustainable development plan by looking at the evolution of the dance musical to musical background and emergence of the current domestic dance. Appeared in the background of the national dance musical saw at the center of the literature in order to realize these research objectives, the deployment process is performed when a total of 38 works, Venue, Performance deploying looked at how divided into three categories. Taken together, the specific results are as follow. First, the emergence of a national dance musical background has emerged as an attempt to create a musical you want to see in the form of a ‘dance’ in the center of the dance musical musicals of the ‘music’ center. Specifically, the timing of the dance musical in earnest in the country, “If you love, dance” premiered the work can be nyeonra 2004. Second, by the time the national dance of musical developments, the results seen by handing venues stars, major expansion scherne, in the form of long-term performances are limited in some works produced in the early days, after the dance musical material status is somewhat stagnant it can be determined that the level remains. You can also try the expectation that continue to develop as a new genre of performing arts, by even its size is similarly narrow musical and dance if the current deployment status of a musical dance musical performances seen over the place appeared in the form of Theater. Evolution seen in the center of a major expansion of the domestic musical way of dancing is greater share of the popular dance dance elements, more detailed attention despite using the name of a dance musical performances on nonverbal form by mixing with the concept of performance need can be seen.

중학교 무용전공학생들이 지각하는 무용 유능성과 무용 스트레스 간 관계

박도헌(Do Hun Park) 한국사회체육학회 2008 한국사회체육학회지 Vol.0 No.34

The objective of this research is to find out the relationship between dance ability and dance stress, by examining the dance ability, which expresses the dance-related self ability and by finding out the different level of stress, which is caused by individual and environmental problem in dance education, considering different backgrounds factors such as major and experience. The result of the examination of the average dance ability according to the background factors showed that there was a definite discrepancy on audience evaluation and dance ability, for the major aspect and there was a little discrepancy between high experience group and low experience group in the aspect of development level and parents evaluation. In the aspect of perceived ability factor, parents evaluation and dance ability showed the most average discrepancy. In order to find out the dance stress discrepancy on the middle school dance majors, on their major, experience level, perceived ability, we conducted a statistic analysis on dance stress level based on those 3 background factors. There was no meaningful discrepancy in statistics between stress factors according to the majors. This results can be understood as no discrepancy in stress levels caused by the dance majors. There was a meaningful discrepancy in statistics between stress factors according to the experience levels. This means that there is a different stress level caused by experience level. There was a meaningful discrepancy in statistics between perceived dance abilities. This means that there is a different stress level caused by their different level of abilities. In order to find out the relationship between dance ability and dance stress, a regression analysis was conducted by designating subordinate area(audience evaluation, development level, parents evaluation, dance ability, colleague evaluation) as the conformity factors, and by designating 6 factors(academic pressure, department instruction, instruction dissatisfaction, basic instruction, achievement pressure, body shape dissatisfaction) as prediction factors. Audience evaluation, parents evaluation, and dance ability factors all showed a relationship with achievement pressure. In addition, the colleague evaluation factor had closest relationship with achievement pressure, basic instruction, academic press, and academic pressure, respectively. However development level factor showed no relationship with any subordinate factors of dance stress. These results showed that the subordinate factors of dance ability were the cause of various stresses.