무용의 지역사회교육적 접근에 대한 연구 : Community Dance의 개념과 범위

한혜리 韓國舞踊敎育學會 2008 韓國舞踊敎育學會誌 Vol.19 No.1

This study examined the applicability of community dance as community education by means of a case study based on the concept of community dance and proposed community dance as a response to the dancing demands of the times, with the aim of exploring the meaning and method of social approach to dancing as community education. Considering the function of communication among classes as a way to eliminate such conflicts and a way to strengthen the function of community education as a method, amid social instability such as the generation of various marginalized class by conflicts among classes, community dance was proposed. As a method of strengthening communication, community dance consists of creativity development and the resulting skills of solving problems in human lives. Creativity is the ability to connect knowledge with life, which is sharpened effectively through the understanding of and experience in arts. Therefore, community dance needs to maintain artistic levels, regardless of objects (age, disability, culture, education background, economic capacity, taste). Conceptually, community dance proposed in this study pursues happiness of individuals as a shared goal, weighs moral mentality as key value, and aims to cultivate emotions to justify individual desires by objective basis, with responsibility and obligations corresponding to autonomy and rights as practical elements. Community dance incorporating expectation on the salvation of social problems (crimes, poverty, conflicts among social classes) has the function of counseling and persuasion, with the attention of the community as a background. In addition, community dance for which the approach as art education is used aims to develop art enjoyment ability and creativity, available as an educational benefit or welfare at a community level, rather than individual tastes and choice. Community dance practitioners have to serve not only as a teacher, a choreographer, and a producer, but also have the practical ability for administration, fundraising, promotion and sales, and salary negotiation. The newly emerging job called dance animateur requires multi-dimensional classification and understanding on the community and citizens as well as the ability to suggest improvement or definition of a system based on an objective basis.

대학 교양교육과정내의 무용강좌 모형 연구

한혜리 韓國舞踊敎育學會 1993 韓國舞踊敎育學會誌 Vol.3 No.-

Lectures on dacne in college as liberal arts education shall have the lessons designed on the basis of following matters suggested when considered in any theoretical aspect of dacne education. Ultimately, the purpose of a chair in cultural dance in college is to provide opportunities for students to understand it, and further, opportunities to think something about it. The basic content that will be a theoretical frame for any dance course is suggested in this study as follows. (1) art-historic developmental processes of dance, its dialogue with different arts, and understanding of variable dances dependent on different historical periods. Explanation of the history of dance related to general society, culture and politics. (2) To what extent a work is creative? And, how dance is made, is it accomplished under what kind of cooperation with people of what kinds of field? (3) The problem of what does the auditor see and hear in everything of dance in respect of esthetic experience. What does it mean for one to go to the theater? And, What is expected there? Establishment of dance course within liberal arts curricula in college may be a result from the general student's interest and anticipation in dance art, though it is also to follwo properties of educational aim characteristical to each college. If in also true there has been an increasing tendency of general student's increased participation into dance lessons opened for professionals within the department of dance, and that any positive act of dance educators for this student's demand has been repuired. That is, development of an liberal arts program for general undergraduates other than dance education courses for dance majors is urgently needed. There is included liberal arts education in the courses of college education of which the aim is to pursue after creative and autonomous intelligence. Art has its role to take charge of within this realm of liberal arts education, and dance becomes an important content of this artistic education. Dance educators, therefore, may essentially be demanded of some exhibition of the aim and methodology of dance as a cultural education. Further, some policy study about in what menner dance should be done for the firm establishment of dance within the college curricula of liberal arts will remain ever essential. Every social and educational dimension will continue patterns and studies. Dance education should be prepared for this demand.

무용 경험의 지식 확장 구조

한혜리 한국무용교육학회 2019 韓國舞踊敎育學會誌 Vol.30 No.4

This study is on the structure of dance experience linked to knowledge; independent participation in the process of recognizing dance was provided as the structure of dance experience. As the knowledge expansion, dance experience is eventually the behavior of participating independently on the cognitive functioning with the body. Here, this study considers that the independent participation becomes the structure of dance experience to have the factors of independent participation being intrinsic in the body, which was provided as introspection and spirituality. The concept derived in this study is summarized as follows. The premise is that dance experience is independent participation in the dance recognition behavioral process rather than recognizing the dance. Independent participation is the property of granting meaning to all those that are encountered in the structure of dance experience created by the mind of filtering and analyzing all observations. The body that is the entity of dance experience is the place (or organ) that penetrates through the lives of the soul, mind and environment in the concept of embodiment, and is also the place where the cognitive functioning occurs. Introspection as one of the factors of dance experience in the perceptual domain is the essence of human knowledge, and is the will in which the ego becomes human as the character. In the dance experience, mind enables dance to have meaning and purpose, and this spirituality is expanded to universal knowledge in the ordinary world as the ability learned through experience.

무용이란 무엇인가? ( 사전에 나타난 무용의 개념과 정의 ) - 이론적 조명 편 ( 현실적 개념 인식이 필요성 ) -

한혜리 대한무용학회 1989 대한무용학회논문집 Vol.11 No.-

무용에서 감지의 기능과 담화화 과정 연구

한혜리 한국무용교육학회 2019 韓國舞踊敎育學會誌 Vol.30 No.2

A study on the sommation function and discourse process in dance” is to explore the cognitive function of the body and process of semiosis in dance. In the field of arts changed according to the society of its time, the concept of dance uses the functional change of the body as the medium to be set by the exploration methods in the social, historic and studied academic fields, and by the mutual influence of the results. When the expression of passion of dance exists as the discourse that narrow down the gap between the emotions and cognition, it has the social function as the exteriority of passion and as the tool for communication. This social interaction of dance is recognized as the social system completed into the form of given environment or as the new network of establishing social relationship instead of the method of developing new type or form of dance. Discourse of dance is the process of interpreting the dance created by intuitive thinking through deductive reasoning and inference, and dance that is the expression of individual emotional state is the process of the individual body providing the perception to the atmosphere of communication. Here, dance is eventually the socializing process of individual language, which is the process of discourse in the social structure.

공연예술로서의 무용에 나타난 민족과 민족문화 : 대한민국 무용제 이후 한국의 무용을 중심으로 mainly around Korean dances since the establishment of The Korean Dance Festival

한혜리 韓國舞踊敎育學會 1999 韓國舞踊敎育學會誌 Vol.10 No.2

From dance works that have been created from 1979 when The Korean Dance Festival made its first appearance to the 1990s, ways of expressing Korean racial and cultural characteristics can be categorized in several as follows ; First, elements comprising our ethnic legends, myths or culture(e.g., individual life of a master in one special art field, formations on the cultural asset level or products of traditional culture, etc.) are developed into a subject matter of work. Second, thought or religion representing racial characteristics becomes the substance of work. Third, employment of traditional musical rhythms or dance movements. Fourth, presentation of social events and the resulted confusion. People who acquired a life lesson from the emperialism now mention the importance of the race and ethnic culture and decide concretely not to fall into nationalism again at the end of the 20th century. In the future society people can not but live together in a harmony for the common goals of human race any problem will be world's common task to be solved, the significance and value of racial characteristics or ethnic culture lie in the uniqueness of seeking solutions in different ways. However, when uniqueness only remains to be individuality, there will be no meaning above difference, so universality will beom valuable ot the significance of uniqueness. In dance, acquirement of universality is so much important to our traditional element as preservation and transmission of traditional dance as it is one product of our ethnic culture, and through this universality our culture can be conceptualized. We should make efforts to reduce the possibility of twisting the essence of our ethnic culture rather than worrying about accepting elements of foreign dances or preserving traditions if the aspects of the subject matter, contents, rhythm or dance technique. And we must apprehend the danger of biased nationalism unable to put the preservation of traditional dance on the same level with the acceptance of foreign culture. The value of culture lies in the universality. The task of today's Korean dance as a part of our ethnic culture is to present universality. The task of today's Korean dance as a part of our ethnic culture is to present universality for our ethnic uniqueness to appeal to the whole human culture.

교양교육에서의 무용

韓慧里 韓國舞踊敎育學會 1996 韓國舞踊敎育學會誌 Vol.6 No.-

Are we successful? In our educational environment, we should think about dance education with questions as follows: 1. With curricula and methodologies centering around Western Knowledge has it been possible for us grant proper value and meaning to our own dance from a subjective standpoint? 2. Until now we are under the historical background giving superiority to science, and furthermore, through the national desire toward economical development and advanced power, people regard the problem of "how to live" is more important than that of "what kind of life should be have". In this circumstances, has been there realization of the educations for making people happy? If we have theoretical confusion in educating dance due to its peculiarity of using movements of body, and base our judgment of value on only physical beauty and moving techniques in appreciating works, we must find the reason in the lack of philosophical foundation of dance education. To present important facts that dance education should bear in mind is to help it avoid possible mess from discarded conventions and misunderstandings. ●The movements in dance can contribute to education at its best only as in a form of art. ●All forms of dancing by ages must be included in the curricula, and repertoire of dance must be diversified to accept affirmatively and understand truly all the gaps between races, nations and generation. ●The educational institute should develop, select programs from infant education to lifelong education and assign appropriately. ●To develop and realize the potentiality of the educand, educations by stages and inter connected must be emphasized.

구리 스퍼터링 의류소재의 전기전도성과 스텔스 특성 - 의류소재 기공 크기 변화를 중심으로 -

한혜리 복식문화학회 2023 服飾文化硏究 Vol.31 No.1

This research studied the electrical characteristics, IR transmission characteristics, stealth functions, and thermal characteristics of infrared thermal-imaging cameras of copper-sputtered samples. Nylon samples were prepared for each density as a base material for copper-sputtering treatment. Copper-sputtered NFi, NM1, NM2, NM3, NM4, and NM5, showed electrical resistance of 0.8, 445.7, 80.7, 29.7, 0.3, and 2.2 Ω, respectively, all of which are very low values; for the mesh sample, the lower the density, the lower the electrical resistance. Measuring the IR transmittance showed that the infrared transmittance of the copper-sputtered samples was significantly reduced compared to the untreated sample. Compared to the untreated samples, the transmittance went from 92.0–64.1%. When copper sputtered surface was directed to the IR irradiator, the IR transmittance went from 73.5 to 43.8%. As the density of the sample increased, the transmittance tended to decreased. After the infrared thermal imaging, the absolute values of △R, △G, and △B of the copper phase increased from 2 to 167, 98 to 192, and 7 to 118, respectively, and the closer the density of the sample (NM5→NFi), the larger the absolute value. This proves that the dense copper phase-up sample has a stealth effect on the infrared thermal imaging camera. It is believed that the copper-sputtered nylon samples produced in this study have applications in multifunctional uniforms, bio-signal detection sensors, stage costumes, etc.

무용의 의사소통 기능 연구

한혜리 한국무용교육학회 2018 韓國舞踊敎育學會誌 Vol.29 No.4

‘Research on communication function of dance’ is a study on the effect of dance to the world or society. In the process of culture of ideological practice, and in the process, we explored the function of dance as a practice method. The order of the study was to divide and explore the function of dance in the culture as the transfer of ideology and communicative action, and came to the conclusion as follows. Dance is composed of technological mechanism and social environment in society or behavior system. The world ‘s dance, based on ideology embodied in technology and social environment, is composed of different technological mechanisms depending on the society of the times, and it transfers the ideology which is the resource of human thought. Dance, which has been inherited and scattered around the world as a rational (or conceptual) knowledge accumulation and differentiated communication method, is a traditional dance, which is a window to look at the cultural or aesthetic value of a particular nation. It is a dance as a way of solving the desire of the members. Dance in cultural texts. In other words, the transmitted dance is a practiced ideology. Dance at this time is not a recording method for the transmission and preservation of unchanging ideas or pastes of the past era, but a dance as a form of practice that acquires meaning from the social system. Dance and cultural environment have difficulty to overcome regional closure. In addition, culture is a continuous social practice, and the function of dance as one of the ways of practicing is a communication function. Successful dance behavior in communication, which is the inter-subject communication network, is to awaken the necessity of consciousness of one’s own attitude. Since recognition at the point where individual’s desire or emotion is confirmed has the character of emotional unity and encouragement, the function of dance as communication is the nature of emotional unity and encouragement.

20 세기의 무용

한혜리 원광대학교 채문연구소 1992 역사와 사회 Vol.8 No.-