하브루타 기반 예술교육의 가치 탐색

탁지현 ( Tark Jee-hyun ) 한국무용교육학회 2021 韓國舞踊敎育學會誌 Vol.32 No.2

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.

콜롬비아 <몸의 학교> 교육 구조 연구

탁지현 ( Jee Hyun Tark ) 한국무용교육학회 2014 韓國舞踊敎育學會誌 Vol.25 No.4

<el Colegio del Cuerpo> has transferred the human body as a integrated object by understanding it in aesthetic, ethical, biological, environmental level. And they have achieved the progress of free will and academic performance of student, and settlement of social life and peace loving mind through dance education. When we pay attention to the education of <el Colegio del Cuerpo> which has played a pivotal role in the pursuit of happiness of life of columbian children, we can identify that First, they have clearly shown the power of education and art based on a new educational philosophy called ‘body integrate education’ and well organized management system. Second, they offered equal opportunity of education aim for the consolidation and awakening of sensitivity of students and citizens from all stratum. Third, they systemized the integrative educational methodology based on the theme from the daily life and lead to learn the life through embodiment and practice. Finally, their educational philosophy, curriculum and educational methodology focalized on practice of artistic education that forms the self-esteem which demonstrate a affirmative power in the face of hopeless reality. Today we are in the point of take-off stage for the culture advanced country. Fields of art education where children can take some time for introspection of their life have to be prepared more in each community. Furthermore if we absorb the educational philosophy and methodology of <el Colegio del Cuerpo> creatively in our dance education curriculum, we can realize an integrative dance education in new terms for the children who are holding a lots of problems like exam hell, academic stress, outcast, easeless friendship, lookism, multiculturalism and internet violence which correspond to the social problems of columbia and can achieve development of human nature, self-esteem, mature civic awareness etc.

문화예술교육 지원사업에 대한 예술강사 인식에 관한 연구

탁지현 ( Jee Hyun Tark ) 한국무용교육학회 2014 韓國舞踊敎育學會誌 Vol.25 No.3

Now days, the opportunity of art & cultural education is quantitatively expanding and the teaching artist support project is in progress actively. But there is a need to analysis the quality of the project, so this study has begun. To investigate the perceptions of teaching artist on art & cultural education support project, I had an interview with 10 dance teaching artists who``s working in Seoul & Gyeonggi area based on questions about operating system, training program, educational contents and environment and reached conclusions. First, application & selection system need to present a definite, reasonable standard and the process have to be clear. On the matching system of teaching artist and school, the limit of maximum lesson has to be standardized and the policy need improvement to help the connection of teaching hours. The purpose of evaluation must be reflecting and developing teaching artist themselves. And it is necessary to extend the term of a contract, raise the pay and expand the admit rate of teaching career. Second, the basic training composed of educational theory/method, practical training and networking is very essential, and the additional training program working for the development of the quality of education is needed. Teaching material must be made up for the creative contents and methods tied with new textbook. Third, the school have to set aside the space for the dance class before applying the support project and the center have to devise the way to provide the substantially required equipment for the dance class. Also the training program for the collaboration of school teacher and teaching artist is needed.

문화예술교육사 자격제도의 질적 개선 방안 모색 : 무용 분야의 교육과정 및 취업연계를 중심으로

탁지현 ( Tark Jee-hyun ) 한국무용교육학회 2018 韓國舞踊敎育學會誌 Vol.29 No.3

The qualification system of arts and culture education instructor has introduced to build a foundation of concrete, rational system by legislating the arts and culture education. Until now producing nearly 10,000 of instructors, the system is continually evolving through the statute revision and the curriculum development. Meanwhile, many kinds of problems of the system related to the curriculum, training, qualification, getting a job, field, working conditions and treatment were pointed out. This study revealed the current state of the system focused on the curriculum, training and getting a job after receiving the qualification and suggested several plans for the quality improvement. Firstly, the dance department in university has to be the preservice education spot for the arts and culture education instructors of dance. Therefore, curriculums of dance department in university are required to be changed by switching the realization on the entrance examination system and 3 division of the major established from the past. Secondly, the complete standard of the course, mandatory training, refresher training and internship(practical training) program needs to be strengthened and the in-service training course for the inexperienced and experienced indicators needs to be differentiated. Also revitalization of the autonomous study group or regional meeting of indicators and detailed political/financial support for them is necessary. Thirdly, to expand the field of instructors of dance who remains most in school/ social teaching artist, government has to strengthen the placement law of arts and culture education instructors and has to revitalize the political support and match-ing. Finally, by establishing a organic network platform, art and culture educators, demanders, planning institutes and local related organizations can share the source of programs, demand and supply, informations of the institute or organization. They can also self-match organically which is needed desperately for the arts and culture education instructors. In the period of talking about such as AI, 4th Industrial Revolution and posthuman, it is pleased to hear that the positive awareness and necessity of art education which distinguishes human from the AI is expanding. At the same time art and culture education instructors have to settle a flexible, firm identity of their own way of art and culture education and have to build critical thinking, flexibility and a new sense of value in the period of change.

포스트 코로나 시대 문화예술교육 향유 쟁점

탁지현 ( Tark Jee-hyun ) 한국무용교육학회 2020 韓國舞踊敎育學會誌 Vol.31 No.4

As the life of the shutdown caused by COVID-19 suddenly began in 2020, on-tact became commonplace beyond un-tact situation, which made non-contact life a new norm in many areas, including society, economy, education and culture. Now that non-contact has become new normal, online-based arts & culture education shows the potential to pursue universal accessibility, qualitative improvement and spread social values and fully implement them. Under these demands of the times, the current status of dance education was reviewed, focusing on arts & culture education sites changing due to the COVID-19, and exploring what aspects of arts & culture education in the post-COVID-19 period should be implemented to provide the basis for active mutual exchange of arts & culture education. In order to form an active enjoyment ecosystem of arts & culture education in the non-contact era, first, arts educators should play the role of guides, intermediaries, and facilitators who act as guides on how to make their own system, not as a role of conveying knowledge, by practicing unlearning to abandon the idea of old type and convert the frame of thought into new type. Second, we should explore new forms of contents that allow us to share our senses and continuously interact with each other even in non-contact, online situations, contents of ecological learning that coexist with the global environment, and contents that contain the essence of arts & culture education, not just functional education. Third, we need to systematically build the IT infrastructure needed for online- based education, which has been accelerated by COVID-19. In addition to hardware, educators and learners should prepare appropriate education programs and compensation systems to make good use of the digital environment, specific online content construction and delivery methods, regulations and philosophies on online-based education, and utilize them to help all citizens enjoy the right to enjoy culture and arts. Fourth, it is necessary to establish a platform that enables artists, art educators, consumers, planning agencies, and local related agencies to organically interact with each other to manage human resources, to provide resources such as online content, learning contents, learner’s learning support and management system, and tools for interaction and collaboration for learning activities. In addition, the role of a platform for sharing opinions should be possible so that public opinion in the field of arts & culture education can be communicated and reflected in administration and policies to achieve cultural democracy. It is a time when it cannot be overemphasized more than ever that it is the unrivaled value of culture and arts to provide new vitality and consolation through the power of creation to look at the world from a different perspective in the situation of pandemics such as COVID-19. We should also find ways together to promote and enjoy arts & culture education from a more active and self-reliant perspective along with reclaimed social and public values while maintaining the personal value of arts & culture education, that is the essence of self-fulfillment, self-understanding, and self-reflection.

무용수의 족관절 염좌 후 나타나는 족부 변형에 관한 연구

탁지현(Jee Hyun Tark) 한국무용과학회 2003 한국무용과학회지 Vol.7 No.-

본 논문은 발레 무용수에게서 가장 흔하게 발생하는 족부 부상 중 족관절 염좌를 경험한 후 나타나는 족부의 변형에 관하여 연구하고, 그 결과를 토대로 무용 부상에 대한 경각심을 일으킴으로써 부상의 예방 및 재활 치료의 중요성을 인식시키고자 하는데 그 목적을 둔다. 이러한 연구의 목적을 달성하기 위하여 설문조사를 통해 족관절 염좌의 경험이 있는 발레 전공 여대생 18명을 피험자로 선택하였으며, 그들의 양 쪽 족부 상태를 X-ray 촬영과 전방전위검사, 비골근력검사, 그 밖의 임상적 진단을 통하여 비교 연구한 결과 가설에 대한 다음과 같은 4가지 결론을 도출하였다. 첫째, X-ray 촬영을 통한 방사선학적 진단 결과 족관절 전방의 돌출물, 족관절 후방의 삼각골 또는 삼각돌기가 12명(66.7%)의 피험자에게서 양측성으로 발견되고, 1명(5.6%)은 염좌를 경험한 한쪽 족부에서만 발견되었다. 이러한 현상은 염좌의 후유증과 더불어 발레 무용수의 족관절 과다사용에 의한 것으로 사료되며, 해부학적 변형은 주로 양측성으로 나타난다는 결론을 얻었다. 둘째, 전방전위검사 결과 양쪽 족부가 비슷한 정도로 불안정하거나 (13명; 72.2%) 염좌의 경험이 있는 족부가 한 단계 더 불안정한(4명; 22.2%) 소견을 보였고, 비골근력검사 결과 피험자의 과반수 이상(55.6%)에서 염좌를 경험한 족부 근력이 매우 약한 것으로 나타났다. 그 밖의 임상적 진단 결과 염좌를 경험한 족부에서는 족관절 전방의 부종(11.1%), 전거비인대(50.0%) 또는 종비인대(11.1%)의 압통, 장모지굴건염(22.2%), 비골근염 (16.7%) 등이 발견되어 염좌의 경험이 있었던 족부는 염좌의 경험이 없었던 족부보다 임상적 변형이 더 많이 발견됨을 알 수 있었다. 셋째, 이와 같은 결과를 종합해 볼 때 족관절 염좌 후에 전방 충돌증후군, 후방 충돌증후군, 족관절의 불안정성, 비골근력의 약화, 전거비인대 또는 종비인대의 부종 및 압통, 장모지굴건염, 비골근염 등의 후유증이 발생할 수 있음을 밝힌다. 넷째, 이처럼 족관절 염좌 후 족부의 해부학적, 임상적 변형이 나타나는 것을 확인할 수 있었다. 이와 더불어 족관절 염좌 후 병원에서 꾸준한 치료와 재활운동까지 병행하여 염좌를 경험한 족부의 근력이 반대쪽 족부의 근력보다 더욱 강화된 피험자 1명의 경우에 비추어 볼 때, 족관절 염좌 후의 적절한 치료와 재활운동이 얼마나 중요한지를 확인할 수 있었다. 따라서, 차후 무용수의 부상에 관하여 더욱 과학적이고 실질적이고 임상적인 연구가 활발히 이루어질 것을 바라며, 더 나아가 족관절 염좌를 포함한 모든 무용 상해의 예방, 치료, 재활에 대해 더욱 신중하게 생각하는 마음 가짐을 강조하고자 한다. The purpose of this study is to investigate the metamorphosis of the ballet dancer's foot after an ankle sprain and to provide information to the importance of prevention and rehabilitation of dance injuries by provoking attention. For this purpose, 18 students at a women's college who major in ballet and experienced previous ankle sprain were selected. A series of comparative studies of the sprained foot and normal foot were made through the X-ray check ups, anterior drawer test, peroneus strength test and some clinical diagnostic measures. The following results were obtained: First, on X-ray examinations, 66.7% had exostosis of anterior ankle or Os trigonum and trigonal process of the posterior ankle on both sides. This anatomical metamorphosis appears on both sides of the ankle in general as a sequela of ankle sprain and overuse. Second, on the anterior drawer test results, both ankle drew to a similar degree(72.2%) or sprained ankles drew to a degree of more than the normal ankle(22.2%). On the peroneus strength test, sprained foot was remarkably weak on over half of the testees(55.6%). On the additional clinical diagnoses, swelling of the anterior ankle(11.1%), tenderness of the anterior talofibular ligament(50.0%) and calcaneofibular ligament(11.1%), tendonitis of the flexor hallucis longus(22.2%) and peroneus tendonitis(16.7) were observed in the sprained foot. Third, the sum of the above examinations show that this study has made clear that anterior impingement syndrome, posterior impingement syndrome, instability, weakness of peroneus strength, swelling and tenderness of anterior talofibular ligament and calcaneofibular ligament, tendonitis of flexor hallucis longus and peroneus tendonitis could originate as a sequelae of ankle sprain. Fourth, the results show that anatomical and clinical metamorphoses may appear after ankle sprain and the study has confirms the importance of pertinent treatment and rehabilitation, where one testee with a sprained foot eventually had a stronger foot compared to the normal side after implementation of constant treatment and rehabilitation program. In conclusions, although more scientific and clinical studies are required in the future, all ballet dancers should view any kind of dance injuries, including ankle sprain, more seriously and that prevention, treatment and rehabilitation should always be kept in mind.

유산소성 트레이닝이 발레무용수의 심폐기능, 혈중피로요인 및 신체적 자기효능감에 미치는 영향

탁지현 ( Jee Hyun Tark ) 한국무용교육학회 2012 韓國舞踊敎育學會誌 Vol.23 No.1

The aim of this study is to investigate the necessity and efficiency of the aerobic training via analysis of the change of cardio-respiratory function, fatigue factor in blood and physical self-efficacy in ballet dancers after 12 weeks of aerobic fitness training composed of ballet movement. The aerobic fitness training program was composed of basic ballet movement based on center encha?nement composition. 14 dancers majoring ballet were selected as subject who met the criteria of this study and experimental group(n=7) had 12 weeks of aerobic fitness training and the control group(n=7) had no training. To evaluate the change of the cardiorespiratory function of experimental group and control group, DAFT(Dance Aerobic Fitness Test) was performed before and after the training. During the test, heart rate, duration of movement, blood lactic acid concentration, blood glucose concentration were measured by factor analysis during the test. In addition, investigation using reliable physical-efficacy questionnaires was performed for measuring the physical self-efficacy. Statistical analysis of the data was performed using SPSS 12.0, between the groups and within the groups, and time series study. The results were as in the following. Firstly, when conducting DAFT after the aerobic training, the heart rate of experimental group in the stage2(p <0.05) and stage3(p <0.001) showed a significant decrease. In addition, at stage 3, the heart rate changes showed a significant difference between the groups after the training(p<0.01). Secondly, when conducting DAFT after the aerobic training, the duration of movement in experimental group has significantly increased (p <0.001), and these changes showed a significant differences between the groups as well(p<0.01). Thirdly, when conducting DAFT after the aerobic training, the blood lactic acid concentration of experimental group in the stage 2 showed a significant decrease(p<0.05). In addition, there was significant increase of blood lactic acid concentration at all-out period, recovering 15minutes(p<0.05), and recovering 30minutes(p<0.001). Fourthly, when conducting DAFT after the aerobic training, the blood glucose concentration of experimental group at recovering 15 minutes showed a significant increase(p<0.01). Fifthly, after the aerobic fitness training, there was significant improvement of perceived physical ability within the experimental group(p<0.05). In addition, as to the change of the physical self-efficacy, there was greater improvement after training in the experimental group than the control group, even though there was no statistical significance. To sum up the studies above, the 12weeks of aerobic training composed of ballet movement had positive effects during the dance performance of the ballet dancers via decreasing the heart rate and improving the duration of movement. In addition, the aerobic training had effect of lowering the blood lactic acid concentration and delaying the fatigue via retarding the timing of the abrupt increase of lactic acid. As the aerobic training increases the blood glucose concentration, it showed the positive effects on continuing the movement to assist the recovery of lactic acid. And it also improved the perceived physical ability among the physical self-efficacy factors of dancer and resulted the improvement of physical self-efficacy.

한국무용, 발레, 현대무용수의 신체조성, 체력 및 심폐지구력 비교 연구

정미송 ( Mi Song Jung ),최성이 ( Sung Yi Choi ),심재희 ( Jae Hee Shim ),탁지현 ( Jee Hyun Tark ) 대한무용학회 2006 대한무용학회논문집 Vol.46 No.-

카트린 드 메디치가 프랑스 문화예술에 이룬 업적 : 발레 양식의 형성을 중심으로

탁지현 韓國舞踊敎育學會 2010 韓國舞踊敎育學會誌 Vol.21 No.1

In the period of Renaissance in Italy, Medici was the most powerful family who supported and developed arts and studies remarkably. And Catherine de Medici is one of the most powerful person of the family who had a considerable influence upon the art & culture of France. She spent her life as a queen and lord of France for about 56 years and during this period she made various innovations on dance, music, poetry, construction, painting, sculpture, cuisine and many other cultures on France. She introduced and developed complex feast of dance, acting, music and poetry which become a opportunity of birth of ballet and affect the opera, drama and music. It also promoted dance education and dance theory. As a constructor, she almost built palace of Tuileries and took participate in constructions of palace of Louvre, Chenonceaux, Fontainebleau, Montceaux. She decorated inside and garden of these palaces with magnificent works of art like sculptures, paintings, ceramics and jewels. She also made the 'Grande cuisine' and etiquette of French court, introduced manufacturing perfume and new riding skill for women which led women to wear underwear, and spread the fashion of high-hilled shoes. Inside the spectacles as stated above that she planned and achieved success, there were political intention and it was indispensable element for her authority. But no matter what her original purpose and intention was, the achievement of Catherine on french art & culture cannot be overlooked even after couple of centuries. Especially, in spite of limitations of woman, she was ahead of the times exercising her influence over the Europe and it makes this study meaningfully.