춤 아카이브 이론의 실천으로서 춤 전시: 뉴욕현대미술관의 < Judson Dance Theater: The Work Is Never Done >과 서울시립미술관의 <안은미래>를 중심으로

최윤영 ( Choi Yunyoung ) 무용역사기록학회 2020 무용역사기록학 Vol.59 No.-

This study aims to examine dance exhibitions as a way of putting the dance archival theory into practice. For this, I explore performance theories which are relevant to a dance archive and look into two dance exhibitions, Judson Dance Theater: The Work Is Never Done by MoMA and Known Future by SeMA, which reflect the new performance archival theories. These exhibitions have three features. First, the present is one of vital matters in the exhibition. Second, tangible and intangible archive are acceptable. Third, visitor’s action is a part of exhibition. These features show a dance exhibition can be a way of putting the dance archival theory into practice. In addition, these two exhibitions show that a dance exhibition is an effective way to hand down a valuable dance to next generation, because less time and space constraints than a performance can make more people have diverse experience about dance. I suggest that a dance exhibition is a good way of putting dance archival theory into practice.

커뮤니티댄스 사례를 통한 로컬댄스 활성화 방안: 미국을 중심으로

정은주 무용역사기록학회 2020 무용역사기록학 Vol.56 No.-

The purpose of this study was to examine the cases of community dance in America and to find out how to revitalize local dance. For this purpose, Marylee Hardenberg, who played a major role in the Mississippi River revival through a site-specific dance performance, Pat Granny's Dance program for Prisoner called 'Keeping the Faith' and Brooklyn's Care for the disable in a community dance program by Mark Morris were examined. In conclusion, the methods of activating local dances include first, use of specific places to create site-specific performance, second, development of programs for prisoner which can communicate with local publics and third, development various community dance program for disable. 이 연구는 국내에서 나타나는 커뮤니티댄스에 대한 연구의 일부로서 미국 커뮤니티댄스의 사례를살펴보고 이를 통한 국내 로컬댄스의 활성화 방안을 살펴보는 데 그 목적이 있다. 이를 위해 도널드후테라의 『누구나 다함께-미국커뮤니티댄스』에서 거론된 안무가들 중 커뮤니티댄스를 통해서 커뮤니티 안에 속해진 개인의 예술적 경험이나 정체성의 재발견 혹은 힐링에 그치는 것이 아니라 더 큰 맥락에서의 커뮤니티라는 ‘공동체’ 시각에서 환경, 교육, 사회 등과 관련된 ‘의식변화’에 중점을 둔 작업이라판단되는 3개의 다른 지역의 작업으로 선정하였다. 선정한 3개의 사례는 미시시피 지역에서 활동하는메릴리 하덴버그(Marylee Hardenbergh)의 장소특정적 무용공연을 통한 커뮤니티댄스, 시애틀 지역에서 활동하는 팻 그라니(Pat Graney)의 재소자를 위한 커뮤니티댄스 그리고 브루클린 지역에서 활동하는 마크 모리스(Mark Morris)의 장애인을 위한 커뮤니티댄스 프로그램 사례를 통해 국내 로컬댄스의활성화 방안을 모색하였다. 그 결과 첫째, 장소특정적 무용공연을 통한 로컬댄스의 활성화이다. 장소특정적 무용공연을 통해 커뮤니티라는 공동체가 삶의 터전 안에서 지켜나가야 할 장소, 그리고 그것이 환경보존으로 이어지는 인식을 변화시키는 기회를 제공할 것이다. 둘째, 여러 지역에 분포되어 있는 특정대상인 재소자를 위한커뮤니티댄스 교육을 통한 로컬댄스의 활성화이다. 재소자의 개인적인 삶의 질을 향상시키는 효과와더불어 재범률 가능성을 축소시킬 수 있고 교정시설 주변에 거주하는 커뮤니티의 불안감과 재소자에대한 편견을 긍정적으로 인식할 수 있는 변화의 기회를 가질 수 있다. 셋째, 장애의 종류에 따른 다각도의 커뮤니티댄스 프로그램 개발과 보급을 통한 로컬댄스의 활성화이다. 다각도의 프로그램 개발의 방향성을 모색하고 다양한 로컬지역으로 확산시켜 함께 공유할 수 있는 시스템을 구축한다면 장애인이라는커뮤니티의 사회적 고립을 막고 장애인뿐만 아니라 무용에 대한 긍정적인 인식을 확대시킬 수 있을것이다. 이와 같이 미국 커뮤니티댄스의 사례들을 통해 로컬댄스 활성화 방안을 모색해 보았으며 사례들을참고하여 국내 커뮤니티댄스에 접목시킬 수 있는 방안을 모색할 뿐만 아니라 지역의 안무가들이 자신의 커뮤니티에 관심을 갖고 연구를 지속해 나간다면 로컬의 특성을 갖는 또 다른 관점의 커뮤니티댄스를 제시할 수 있을 것으로 생각된다.

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.

무용 아카이브의 효율적 구축과 동향

정은영(Eun Young Jung),최현주(Hyun Ju Choi) 한국사회체육학회 2010 한국사회체육학회지 Vol.0 No.40

Dance art comes into spotlight as a new source of value creation in the 21st century`s cultural age. A variety of dance works appear on the stage, but there is neither an appropriate documentation of dance performance nor a well-managed archives system for that. Unlike art or the audio-vidual arts, the field of dance desperately requires a well-functioning archives system that could ensure the success of documentation, restoration and database building, and a new approach should be taken when the system is set up. Materials of dance art are part of important cultural assets and historical materials that affect the artistic value and position of a country, and the construction of a dance archives makes it possible to set up a network of cultural resources in the field of dance. Furthermore, that is mandatory for cultural and art education for people in general and for the creation of new culture and art. The purpose of this study was to suggest efficient ways of setting up an dance art archives in light of the importance of it in an effort to guarantee the efficiency of the management of dance art materials, which were part of national assets. The findings of the study were as follows: First, a database should be set up to cover all the materials linked to dance and relevant fields of culture and art. Second, a dance archives should function as a multiplex, compound cultural space instead of merely providing users with information. One of the strategies to make it happen is display of dance archives and the preparation of educational programs. Third, a digital archives should be built. In the future, the value and importance of a digital archives will gain in importance as a way to properly respond to surrounding environments that there are rapid changes in the production, management and distribution of information.

J. Margolis의 예술 작품의 존재론을 통한 무용 비평

손수현 영남춤학회 2016 영남춤학회誌 Vol.4 No.2

In this article, I tried to apply dance criticism based on the relativistic critique based on ontology of the works of art by Margolis. This application explored the applicability of dance criticism through the part of the description of the ontology of dance art which was presented in the article of "Dance Art Person Handwriting Nature" which he wrote about dance. In conclusion, according to the discussion of the marginalism, the criticism of dance art is not limited to the evaluation of the style considering only the movement of the body, but at the same time it claims to include cultural consideration because it has the cultural attribute of dance art, It can be said that it should include historical considerations because of the self - nature of dance art. In short, the scope of dance criticism is to evaluate the beautiful movements of the body, to evaluate the cultural part, and to evaluate the historical aspect. This view is more likely to be applied to the various dance works performed in modern times than in the classical ballet of the past, and that the Marxist relativistic criticism can consider various aspects of dance art than any other viewpoint It will be value. 마골리스는 인간이론을 토대로 인간과 예술 작품과의 유추를 통해서 예술작품의 존재론을 추론한다. 그러한 유추를 따라서 마골리스는 예술 작품이 단순한 물리적 대상이 아니고 물리적인 부분으로 환원되지 않는 부분을 가진 문화적으로 창발된 존재자라고 주장한다. 그리고 예술 작품이 문화적으로 창발된존재자라면 감상과 비평에 있어서 문화적 맥락을 배제할 수 없을 것이고, 문화적 맥락을 고려하는 것은 감상과 비평에 있어서 상대주의를 지지할 것이다. 이에 본 글에서는 마골리스의 예술 작품의 존재론에 근거하여 무용비평에 대하여 고찰하는데 그 목적이 있다. 우선적으로 마골리스의 예술 작품의 존재론을 살펴보는데 있어서 비환원적유물론을 통하여 살펴볼 것이며, 그러한 예술 작품의 존재론과 마골리스의 예술비평인 상대주의에 대하여 살펴 본 후 무용비평에 적용시키고자 한다. 결국마골리스의 논의에 따르면 무용예술에 대한 비평은 신체의 움직임만을 고려하는 스타일의 평가에 그치는 것이 아니라, 그것과 동시에 무용예술의 문화적 속성을 가지고 있기 때문에 문화적인 고려를 포함해야한다고 주장하고, 마지막으로 무용예술의 자필적인 본성으로 인하여 역사적인 고려까지도 포함해야한다고 볼 수 있다. 요컨대 무용 비평의 범위는 신체의 아름다운 움직임에 대한 평가와 문화적인 부분에 대한 평가, 역사적인 측면에 대한 평가를 행해야 하는 것이다. 이러한 관점은 과거의 고전 발레에서보다도 현대에 행해지는 다양한 무용 작품에대하여 적용가능성이 더욱 높으며, 마골리스의 상대주의 비평은 다른 여타의관점에서 보다도 무용 예술의 다양한 측면을 고려할 수 있다는 점이 그의 논의가 가지고 있는 가치일 것이다.

결과주의 교육관점에서 본 무용교육의 문제점과 해결방안

박한솔,변인숙 영남춤학회 2021 영남춤학회지 Vol.9 No.2

This study identifies problems based on the resultingist education perspective directed by dance through Bentham's resulting theory, and presents virtue-centered education through Aristoteles' moral theory to improve them. Through this, we would like to help implement all-round education, the essential purpose of dance education. In addition, we would like to contribute to building an educational paradigm that is right for today's educational reality by developing dance education with educational value required by modern society into virtue-oriented education. To achieve this goal, first, by exploring the resultant education of dance, the educational perspective of dance education was identified. Second, problems arising from the consequentialist educational perspective of dance education were derived and explored in conjunction with Bentham's consequential theory. Third, in order to solve the problem of the resultant educational perspective of dance education, we explored the direction of better dance education by presenting dance-oriented education through Aristoteles' moral theory. The results of this study must first combine the intellectual arete and moral arete of dance through virtue-centered education, which, by being established through ethos, must contribute to proper personality formation. Second, the correct curriculum should be implemented through the moderation of educators, which are virtuous-centered education, and moral acts according to ethos. Third, education should be implemented by paying attention to learners' inner tendencies, characteristics, and motivations as learners themselves become subjects through virtue-oriented education. Through this study, we hope that the direction of education directed by dance education will be combined with the essential purpose of dance education, which will lead to the development of correct dancers and integrity. 무용교육은 현대사회에서 가장 필요로 하는 덕목들이 내포되어 있는 교육이다. 무용교육에는 많은 교육적 가치가 존재함으로써 오늘날 인간이 사회를 살아가는 데 있어서 요구되는 교육이라 판단된다. 그러나 결과주의를 앞세우는 무용의 교육관점에 따라 몇 가지 논의해야 할 점을 발견할 수 있었다. 따라서 이 연구는 무용이 내포하는 결과주의 교육관점으로부터 발생한 문제점을 벤담(Bentham)의 결과론을 통해 파악하고, 이를 개선하기 위해 아리스토텔레스(Aristoteles)의 덕론을 통해 덕 중심 교육을 제시하였다. 이를 통해 무용교육의 본질적 목적인 전인교육이 이행되는 것과 더불어 무용의 교육적 가치를 제고하는 데 기여하고자 한다. 또한 현대사회에서 요구되는 교육적 가치를 지닌 무용교육이 덕 중심 교육으로 발전됨으로써 오늘날 교육 현실에 따른 올바른 교육 방향을 제시하는 데 의의가 있다. 이러한 목적을 달성하기 위해 첫째, 무용의 결과주의 교육을 탐색함으로써 무용교육이 지닌 교육관점을 파악하였다. 둘째, 무용교육이 내포하는 결과주의 교육관점에서 비롯되는 문제점을 도출하여 이를 벤담(Bentham)의 결과론과 연계하여 탐색하였다. 셋째, 무용교육의 결과주의 교육관점이 지닌 문제점을 해결하기 위해 아리스토텔레스(Aristoteles)의 덕론을 통해 무용의 덕 중심 교육을 제시함으로써 더 나은 무용의 교육 방향을 탐구하였다. 이에 따른 연구 결과는 첫째, 덕 중심 교육을 통해 무용의 지적 아레테(arete)와 기능적 아레테(arete), 그리고 도덕적 아레테(arete)를 겸비해야 하며, 이를 에토스(ehos)를 통해 확립함으로써 무용교육의 올바른 인격 형성에 기여해야 한다. 둘째, 덕 중심 교육인 교육자는 에토스(ethos)에 따른 도덕적 행위를 통해 무용교육의 올바른 교육과정을 실천해야 한다. 셋째, 덕 중심 교육을 통해 학습자 그 자체가 주체가 됨으로써 학습자의 내적성향, 특성, 동기에 주목하여 교육이 이행되어야 한다. 이 연구를 통해 무용교육이 지향하는 교육방향이 무용교육이 내포하는 본질적 교육목적인 전인교육이 함께 겸비됨으로써 올바른 무용인 양성과 더불어 청렴한 무용계로 발돋움하기를 기대한다.

대학생의 무용교육 경험이 무용인식과 무용참가의도에 미치는 영향

민들례 한국무용학회 2014 한국무용학회지 Vol.14 No.2

이 연구는 대학생들의 무용교육경험이 무용인식과 무용참가의도에 미치는 영향을 규명하기 위하여, 유의표집방법 을 이용하여 4년제 대학에 재학 중인 대학생 226명의 표본을 분석하였다. 조사도구는 설문지를 사용하였으며, 수 집된 자료는 t-test와 일원변량분석, 중다회귀분석을 이용하여 다음과 같은 연구결과를 도출하였다. 첫째, 남자가 여자보다 교육적 가치인식이 높고 1학년이 2학년, 3학년보다 무용관심도가 높았으며, 예체능계열이 인문계열에 비해 무용관심도가 높은 것으로 나타났다. 둘째, 무용경험이 있는 학생이 경험이 없는 학생보다 신체적 가치인식 과 교육적 가치인식이 높고 무용관심도와 참가의도가 높은 것으로 나타났다. 셋째, 실기와 실기 및 이론을 경험 한 학생이 무용수강을 경험하지 않은 학생보다 신체적 가치와 교육적 가치가 높게 나타났으며 이론을 경험한 학 생보다 실기 및 이론을 경험한 학생이 교육적 가치와 무용참가의도와 무용관심도가 높은 것으로 나타났다. 넷째, 교육적 가치는 관심도에 유의한 영향을 미치는 것으로 나타났다. 다섯째, 교육적 가치는 무용참가의도에 유의한 영향을 미치는 것으로 나타났다. The purpose of this study was to understand real condition of dance education experience and to investigate dance awareness and intention of participation in dance. For the purpose of this study, 226 students attending the university were selected by applying purposive sampling method. Survey questionnaire was used as research tool. By applying t-test, one -way analysis of variance, and multiple regression analysis to the collected data, the results were summarized as follows. First, males had higher educational value cognition than females; freshmen had higher concern degree of dance than sophomores and juniors; students in art major had higher concern degree of dance than students majoring in humanities. Second, students with dance experience had higher level of physical and educational value cognition, concern for dance, and intention of participation than students without dance experience. Third, students who had experienced dance practice class or students who had experienced both dance practice and theory class had higher physical and educational value than students without attending dance class; students who learned only theory had higher level of educational value, intention of participation in dance, and concern for dance than students who learned both practice and theory. Fourth, educational value had meaningful impact on concern degree. Fifth, educational value had meaningful impact on intention of participation in dance.

K-POP댄스를 활용한 교육적 가치에 관한연구

안창용 ( An¸ Chang-yong ) 한국무용교육학회 2021 한국무용교육학회지 Vol.32 No.3

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’.

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.

"댄스 리터러시" 개념 틀에 근거한 한국무용 핵심요인의 탐색

김현정 한국무용과학회 2019 한국무용과학회지 Vol.36 No.2

Now days concern and practice about dance as Culture and Art Education that purpose is to have Culture and Art literacy. However, the concern insufficient about Korean Dance that is part of Culture and Art Education. Since recently Many study have been being about Dance literacy that purpose of dance education as Culture and Art education, Dance Literacy concept is able to apply to Korean Dance study. The purpose of study is to explore the Korean Dance essential elements(purpose, contents, factor) based on conception of dance literacy. The research method of the study is literature analysis about Korean Dance studies by dance competence, dance knowledge, dance disposition that elements of dance literacy. The research result of the first, Korean dance competence is that the purpose of know how to do art expression skill of Korean Dance. To do this, we should understand contents about of korean dance body, music, emotion and expression. It can express through factor of movement, rhythm, breathing, moving line. Second, the purpose of Korean Dance knowledge is cognitive understanding of Korean Dance. To do this, we should understand contents about of Korean culture, history, philosophy and arts. It can get through factors that Korean Dance history, dance notation and creative method. Third, the purpose of Korean Dance disposition is understanding aesthetic state of Korean Dance. We can understand through contents about sensitivity, spirituality, religion and aesthetic. If it can understand through factors that Yin-Yang and five elements, Taeguk philosophy, the Unity of Heaven and Human philosophy, benevolence(仁), virtue (德), affection(情), you will have a high level of Korean Dance Literacy. This study is significant discuss in Culture and Art Education context about Korean Dance. This study can be used any korean dance education field. I proposed some future directions for developing teaching method and education program through get to education field and teacher. 현재 문화예술교육으로서 무용에 대한 관심과 실천이 높아지고 있으며, 이는 문화예술 소양을 갖추는 것을 목적으로 한다. 그러나 문화예술교육에서 한 부분을 차지하고 있는 한국무용에 대한 관심이 미흡한 실정이다. 최근 문화예술교육으로서 무용교육의 목적으로 제시된 댄스리터러시에 대한 관심과 연구가 많이 진행되고 있기에, 이를 한국무용에 적용하여 볼 만한 가치가 충분하다. 본 연구의 목적은 문화예술교육의 목적인 댄스리터러시의 개념에 근거하여 한국무용의 핵심요인(목표, 내용, 세부요소)을 탐색해보고자 한다. 연구 방법은 지금까지 한국무용 연구들을 댄스리터러시의 구성요소인 무용능, 무용지, 무용심을 기준으로 문헌 분석하고자 한다. 연구결과는 첫째, 한국무용 능은 한국무용의 기능적 예술표현하기 위함이 목표이다. 이를 위해서는 한국무용의 신체, 음악, 감정, 표현의 내용을 이해해야 한다. 이는 한국무용의 동작과 장단, 호흡, 동선의 세부요소들을 통해 실천해 볼 수 있겠다. 둘째, 한국무용 지는 한국무용의 인지적 이해를 목표로 한다. 이를 위해서 한국의 문화와 역사, 철학, 예술의 내용을 통해 이해할 수 있으며, 이는 한국무용사와 기록법, 안무법, 창작법의 세부요소들을 통해 얻을 수 있다. 셋째, 한국무용 심은 한국무용을 심미적 상태로 이해하는 것을 목표로 한다. 그 내용으로 감성과 영성, 종교, 미학을 통해 얻을 수 있다. 이는 세부요소인 음양오행과 태극사상, 천인합일사상, 인(仁), 덕(德), 정(情)의 이념에 대한 이해가 한국무용을 수준 높은 경지로 즐길 수 있게 할 것이다. 본 연구는 문화예술교육의 맥락에서 한국무용에 대해 논의하였다는데 의의를 가지며, 이는 여러 한국무용 교육 현장에서 활용될 수 있을 것이다. 후속 연구로는 실제 교육 현장의 교육 강사들을 통해 얻어지는 교수방법 및 프로그램 개발을 제안한다.