기표로서의 무용과 매개에 대한 연구

한혜리 ( Hea Ree Han ) 한국무용교육학회 2009 韓國舞踊敎育學會誌 Vol.20 No.3

This study developed the theme along two axes of the ``reality`` and the meaning of dance. The image represented by dance were regarded as ``signifier`` of human emotions as the signified. The intermediation that enable dance as ``signifier`` to be present as image were assumed to be time and spaces to conduct the study. The results of studies on dance image, time as a mediator and memories as suggested in this study are as follows. ·Dance as signifier is image as ``reality`` that will appear in memories as communities`` mutual subjective views, i.e., culture. ·If image is signifier to be decoding by community members, human emotions means a state where humans are free from minds or emotions having the function to compare and judge instead of removing them, i.e., ``Zhuang Zi`s Xiao Yao You``. ·Dance is the image that is free from values and the world of meanings thereby denying fixed values and surpassing the world of meanings. ·Dance is transferred with images. In this process, the ``expressions of body`` which are mediators determine the intensity of transfers. ·Dance image can be representations in that all realities whatsoever behind them are denied, thus the temporality possessed by dances is a way to be represented as image. ·Dance can be ``reality(virtual entity)`` instead of ``appearance`` or ``apparition`` and can be explained as ``image`` because time serves the role of a mediator.

무용 텍스트로서 비평의 교육적 기능 연구

한혜리 ( Hea Ree Han ) 한국무용교육학회 2013 韓國舞踊敎育學會誌 Vol.24 No.1

This study has two presuppositions: One is that criticism is to explore dance as conceptual frame having an intellectual structure, and the other is that dance is not the subject but the object of awareness and study. If criticism is to understand and evaluate dance, it is to discern and aware dance. Accordingly, dance criticism is the exploration on dance. In the dance education, the study on the criticism function goes beyond the modal classification if the study is based on general intellectual ability or if it is based on professional or literal arts capacity. Thus, this study was carried out to classify criticism between dance criticism as intellectual circles` narrative and criticism as conscious education, which was followed by the suggestion of the relation with the dance education. This study is the comparative study on the object and method of dance study and education, which is different from the method of dance criticism. And, the comparison is not for the stress of individual specialty but for the similarity and common feature. As the crisis of dance, crisis of criticism and crisis of dance education go together, criticism must cooperate with education. The field of dance education is a place to nurture appreciators having high level of understanding and critical viewpoint or future creators. In the educational dance based on the theme of searching for the definition of criticism, the results of exploring the criticism of knowledge text and the role of dance criticism of conscious education, are as follow. ? Dance education is educating criticism existing as a dance text, which is a product of research on dance based on the concept of interdisciplinary knowledge structure. ? Dance education involves teaching historical texts of dance and criticism is a knowledge storage place, preserving it in the form of a linguistic text on dance. ? Criticism text of the educational dance is something that can be comprehended with academic knowledge. ? Dance criticism participating in the conversation of knowledge world is knowledge text providing the actual issue on the knowledge problems of the same period. ? Criticism as a dance text is exploring dance with an inductive thinking and inferential thinking in the knowledge structure of academy and culture succeeding as the history of mankind. ? Dance criticism education, which is a knowledge text is educating on the conscious proposed by integration of cultural knowledge together with the academy which has been passed down through dance.

무용의 예술적 범 영역성에 관한 연구 -상호텍스트성(intertextualite)적 접근-

한혜리 ( Hea Ree Han ) 한국무용교육학회 2004 韓國舞踊敎育學會誌 Vol.15 No.2

무용 인식의 구조와 방법에 관한 연구 -감정이입과 주객합일을 중심으로-

한혜리 ( Hea Ree Han ) 한국무용교육학회 2005 韓國舞踊敎育學會誌 Vol.16 No.1

이미지 시스템에서 무용의 소통성 연구

한혜리 ( Hea Ree Han ) 한국무용교육학회 2006 韓國舞踊敎育學會誌 Vol.17 No.2

논문 1 : 동시대 커뮤니티댄스에서 창의성의 의미

한혜리 ( Hea Ree Han ) 한국무용교육학회 2015 韓國舞踊敎育學會誌 Vol.26 No.1

The study on the meaning of creativity contemporary community dance aims at suggesting the concept of post-community dance of the ecological environment society by connecting the change of concept on body into the change of the awareness of time, and also examined the meaning of creativity in the contemporary community dance through the relation between the awareness of time and the creativity in the ecological environment society. The findings of the study can be summarized as follows. The contemporary community dance exists in the structure of incorporating the individual potential into the awareness of time. If individual potentiality comes to have meaning through the interaction with social structures including community, it becomes creativity. Accordingly, if a dance in the previous age is mentally meaningful to appreciate or if it is a kind of arts that is possessed, the contemporary community dance is a dance experience belonging to participatory structure of the awareness of time. Since cooperation in experience implies feeling of personal ability through community, the characteristics of time and community in the contemporary community dance is a social involvement structure and also social participation system of dance. In the contemporary community sense, personal experience has certainty of meaning in the sharing world, which is the accessibility. Thus, the contemporary community dance participates in society through practice of the awareness of time that has continuity with voluntary willingness.

문화에서 춤의 교육적 기능과 안무의 예술적 요소와의 관계

한혜리 ( Han Hea-ree ) 한국무용교육학회 2018 韓國舞踊敎育學會誌 Vol.29 No.3

Having decided to present the functions of dance as an art and dance as a cultural experience with the aim of studying the concept of dancing in contemporary society, the study has come up with the following contemporary public concept of global dance and choreographed dance in now more diversified historical trajectory. Global dance refers to the dance as diversified cultural technique in which the historicity inherent in dance reveals itself as an ideology and merely as resistance to a single path of history in the culture that remembers cultural traditions as behaviors. Different societies that find themselves at different historical trajectories inherit their respective dances as global dance, because global dance functions as data for interpreting the dance that exists as the symbol of the contemporary societies. Since will and desire engage in succession of global dance and imagination and symbolism are implied in the process of choreographic action, the educational function of traditional dances is discovered in perceiving or utilizing the power inherent in humans, that is, potential. Choreography has evolved with the aim of recording dance in symbols. In that process, the work of refinement involved in creating simplified signs for the steps and the splendor and subtlety of steps grounded in music reading is referred to as choreography. In European culture, choreography is about geometrically organizing steps in the musical splendor, whereas in America which has entered into the world through a new historical trajectory, choreography refers to a content authored by a choreographer as an uncontested owner as dance. The global dance practices in the third-world countries which emerged in the trajectory of culture and history no earlier than in the 20th century when the historicization of culture was highlighted are interpreted not as a produced dance but as one of the contemporary social actions, as a dancing action that is implied in the culture in the form of tradition and succession instead of a concert. If it is untenable to distinguish art as independently produced choreography from culture as anonymously created dance, nothing that is called dance in the totally different cultural trajectory in the history of the West could last. Therefore, the artistry in the contemporary society should consist in discovery which can award value to things new and strange with an intuitive attitude used to diversity.

무용에서 이미지와 상상의 관계성 연구

한혜리 ( Hea Ree Han ) 한국무용교육학회 2005 韓國舞踊敎育學會誌 Vol.16 No.2

This study is aimed to define and conceptualize the range of imagination in dances through investigating into how imagination or imaginative power functions in creation and appreciation of dances and correlates with other human powers or spheres. To begin with, the author examined what dances create and concluded that dances are an appearance, which is an image. She also found that dance image is related to originality created by the mental function of imagination. As all imaginations do not lead to artistic works or scientific inventions, so imagination sometimes creates fictitious entities presented in images. And the relationship between such image and imagination was detected from investigating into the steps which imagination takes in its mental functions. Imagination may be regarded to function as a feeling in the processes of dance creation and dance appreciation or communication. The feelings of a choreographer create recognitive images which are real appearances, while the feelings of audience mental images which are fictitious entities. In this line, the relations between the said two-way imagination and dance image can be explained as below. First, imagination in dances is a fundamentally mental function which creates images. Second, in the process of understanding and interpreting dances, imaginative power converts recognitive images into mental images. Third, imaginative power, which enables one to interpret things in a manner differentiated from others, will lead to original images of dances, which express in bodily movements what has been perceived through sensual resources or forms. Fourth, imagination function connects memories with the future in such a manner as what does not exist may exist in images. Fourth, imagination function connects memories with the future in such a manner as what does not exist may exist in images.

무용 공유 공간으로서 디지털 미디어의 기능

한혜리 ( Han Hea-ree ) 한국무용교육학회 2020 韓國舞踊敎育學會誌 Vol.31 No.4

The results of this study on the “Functions of Digital Media as a Dance Sharing Space” for the definition of digital media dance through the functions of dance in a digital space could be summarized as follows. · In the theater dance and street dance classified on the basis of physical dance space, the theater as a dance space could be interpreted as a space for giving meanings while the street as a dance space could be interpreted as a space for participation. · The digital media working as a space of dance records characteristically mixes the dance records as unrelated information with intellectualized dance records. · The digital media dance is a dance with latent advanced productivity by using the digital media as the instrumental power based on the attributes of reflective dance.

동시대 커뮤니티댄스의 개념과 공동체성의 의미

한혜리 ( Han Hea-ree ) 한국무용교육학회 2019 韓國舞踊敎育學會誌 Vol.30 No.3

This study interprets dance as a kind of emotional expressions contemporary individuals perform as to the world they face. In that light, the study presupposes the body in dance as the agent of expression and the place for storing assimilated memories, and assumes dance as a way to put into action the contemporary ideology. Furthermore, the study presents the function of communality as a core value of the ideology in the process of discovering the phenomenon of contemporary dance in the community dance organization and awarding the meaning of dance to the act. The body in contemporary dance integrates all perceptions and experiences into a single, distinctive stream of world view. Thus, contemporary dance is the self-expression of body as a cultural memory involved in sensing. As a core value of contemporaneous community dance, communality serves to acquire the skill to render into action the body as a cultural memory that distinctively senses the world and free spirit.