팬데믹 시대 온라인 비대면 문화예술교육의 가능성과 과제 :꿈다락토요문화학교 사례를 중심으로

현혜연 ( Hyun Hye-yeon ) 한국예술교육학회 2020 예술교육연구 Vol.18 No.4

본 연구는 2020년 코로나 19라는 팬데믹으로 인한 사회적 환경변화 속에서 이루어진 비대면 온라인 교육이 문화예술교육의 주요 가치인 소통과 관계맺음을 가능하게 할 것인지를 경험적이고 실증적인 방법으로 탐구하고, 비대면 온라인 문화예술교육의 가능성과 과제를 숙고하고자 하였다. 그러한 목적을 위해 2020년 9월부터 10월까지 5차시에 걸쳐 온라인으로 진행한 문화예술교육 프로그램인 꿈다락토요문화학교 주말예술캠퍼스 사업 ‘크크키키 스핀오프, 나의 마을에 놀러와요’를 대상으로 연구를 진행하였다. 본 사례는 인근 5, 6학년 초등학생 50명이 참여하였고, 당초 대면교육으로 기획되었으나, 코로나 19로 인해 비대면으로 전환하여 운영되었다. 논문은 올해 팬데믹과 문화예술, 문화예술교육에 대해 이루어진 사회적 논의들을 고찰하고, 프로그램 사례의 교육과정과 온라인 비대면 수업 방법을 제시하였다. 다음으로 설문조사와 인터뷰 등을 통해 얻어진 연구의 결과를 분석하고, 실증적 과정에서 얻은 함의와 온라인 비대면 프로그램 설계시 고려할 사항을 정리하였다. 그에 따라 프로그램 설계시 플랫폼의 다각화, 시뮬레이션의 세밀화, 자기 주도적 학습의 기회와 구조 제시, 피드백의 중요, 인력의 역할에 대한 인식 전환과 인력 간 원활한 소통과 협력을 고려하여야 함을 제시하였다. 마지막으로 결론에서는 온오프 블렌디드 학습의 확대, 사회적 지원의 필요, 권리와 안전한 활동 장의 보장을 비대면 교육의 과제로 제시하였다. This study aims to explore the possibilities and challenges of online-untact culture and arts education in an empirical and empirical way whether it will enable communication and relationship, which is the main value of culture and art education, in 2020 due to the Pandemics of Corona 19. To that end, the research was conducted on 'Keke kiki Spin-off, Come to My Village,' a weekend art campus project of Kkumdarak Saturday Culture School, a culture and arts education program conducted online for five periods from September to October 2020. This case was participated by 50 elementary school students in the fifth and sixth grades nearby, and was originally planned for face-to-face education, but was operated by switching to non-face-to-face due to Corona 19. This year, the paper considered the social discussions made on fendemics, culture and arts education, and presented the curriculum of the program case and online-untact teaching methods. Next, the results of the research obtained through surveys and interviews were analyzed, and the implications obtained during the empirical process and considerations for designing the online non-face-to-face program were summarized. Accordingly, it was suggested that in the design of the program, the diversification of the platform, the detail of simulation, the presentation of opportunities and structures for self-directed learning, the importance of feedback, the role of human resources, and the smooth communication and cooperation between human resources should be considered. Finally, the conclusion presented the tasks of non-face-to-face education to expand on-off blend learning, the need for social support, and the guarantee of rights and safe field of activity.

어린이의 전시 관람 과정에 관한 인류학적 연구

현혜연(Hyun, Hye Yeon) 청운대학교 방송예술연구소 2014 미디어와 공연예술연구 Vol.9 No.2

이 연구는 어린이들의 전시 관람을 통한 문화예술의 경험을 관람의 목적과 목표, 선택의 과정, 경험이 갖는 의미를 중심으로 조사, 분석한 것이다. 연구를 위해 설문, 참여관찰과 인터뷰, 인터넷 행태, 정책과 문헌에 대한 자료조사를 통해 인류학적으로 고찰함으로써 예술경험과 문화산업의 관계를 규명하고자 하였다. 미래 인재 양성의 방향을 창의성과 문화 분야로 상정하고 있는 한국의 교육적 담론과 정책속에서 어린이의 예술 경험은 강조되고 있다. 그러나 그 경험의 주체는 어린이가 아니며, 경험의 과정은 제도 교육과 문화산업, 예술 시장이 만드는 산업의 맥락에 위치한다. 특히 상업화된 전시의 경험 과정이 주최측의 광고와 마케팅의 영향 속에서 부모와 학교에 의해 선택된다는 점, 상업적 매커니즘에 의해 만들어진 콘텐츠에 노출된다는 점은 어린이들이 이윤을 목적으로하는 문화산업에 편입되고 있음을 보여준다. 또한, 전시 관람의 목적과 효과, 내용에 대한 방향이 교과 교육에 대한 도움과 주류사회의 문화 체험에 있다는 점은 기존 제도 교육의 틀을 벗어나지 못한 한계를 보여 준다. 예술이 갖는 긍정적인 영향력과 효과는 어린이에게 중요한 경험이다. 따라서 날로 광폭해져 가는 문화산업의 폐해에 맞서는 대안이 되기 위해 전시 관람과 예술 경험의 과정을 재고해야 한다. This study researches goals and objectives, choosing process, experience contents of children s viewing exhibitions and experiencing art. This anthropological study analyzes the relationship between children s experience of art and the cultural industry through participatory observation, interview, policy and literature review, internet search, etc. Children s experience of art has been the focus of national educational discourses and policies, which emphasize on creativity and culture for cultivating young talents. However, children fail to independently experience art. Their experience significantly depends on educational system, cultural industry, and art market. Especially, their experiences of commercial exhibitions are often chosen by their parents or schools that are strongly influenced by sponsors advertisements and marketing strategies. Therefore children are easily exposed to the contents produced by the commercial mechanism, and their experience can be reduced to a part of the cultural industry pursuing profit. In addition, the goals, contents, and effects of children s experience of art are closely related to the school curriculum and the mainstream culture. Therefore most of these experiences are within the limitations of the existing educational system. Art has positive effects on children s experience. The experience of art should be considered as an alternative to the services of the cultural industry, which is increasingly provocative and violent only pursuing profit.

초,중,고 미술 교과서 속의 사진교육 연구

현혜연 ( Hye Yeon Hyun ) 한국사진학회 2014 AURA Vol.0 No.33

The present curriculum in Korea is the 2007 Revised National Curriculum, which is based on the 7th National Curriculum notified in 1997 and amended to reflect rapid changes in this society. The biggest changes on art textbooks in the 2007 Revised National Curriculum are to expand an area of art education beyond the existing art area to the visual culture and to cover photography and multimedia which are the most important factors in the present visual culture. Due to these, most of the art textbooks from the 3rd and 4th grade in an elementary school to a high school get to contain educational contents related to photograph. This change is meaningful in an aspect of that photography education gets to be treated in a public education category. However, there can be raised 3 problems in this change. 1) Most of the contents are limited in a taking photos with perspective and a photo collage without considering school age. 2) Photograph artworks are concentrated on some very specific photographers. 3) As photographic technique has changed with digital process, image transformation is described like a the most important tool. These above problems are caused by that all of the writing staffs are experts only in art and art education, not in photograph. In addition, it is another cause that curriculum and educational contents in photography education are not developed variously. Therefore, an aim and philosophy of photography education, effective educational contents, development of curriculum and diffusion of photography education should be attained in future.

통합 문화예술교육 유형과 프로그램 개발에 관한 연구

현혜연 ( Hye-yeon Hyun ) 현대사진영상학회 2023 현대사진영상학회논문집 Vol.26 No.2

문화와 예술 교육은 삶의 문제들을 적극적으로 다루면서 통합과 융합이 문화와 예술 교육의 중요한 주제와 방법으로 부각되었습니다. 하지만 통합된 문화와 예술 교육의 정의, 개념, 유형에 대한 연구는 아직 많지 않습니다. 본 연구는 통합된 문화와 예술 교육의 정의와 개념을 검토하고, 다음과 같은 여섯 가지 범주로 다양한 유형의 통합을 개념화하였습니다: 예술 장르 간의 통합, 예술과 기술의 융합, 다른 전문분야와의 통합, 사회 문제 중심의 통합, 예술과 교과목 통합, 그리고 참여자 통합. 이러한 분류와 범주화는 현대 문화와 예술 교육의 변화하는 상황을 반영합니다. 또한, 통합된 문화와 예술 교육 프로그램 개발을 위한 방법과 발전 요소들이 고려되었으며, 구체적인 예시를 통해 프로그램 개발을 위한 구체적인 방안들이 제시되었습니다. 이 연구를 통해 다양한 정의로 정리되지 않았던 통합된 문화와 예술 교육의 개념이 확립되고, 실제 현장에서 프로그램 개발에 적용 가능한 방안들이 제시될 것으로 기대됩니다. As culture and arts education actively dealt with life problems, integration and convergence became important topics and methods of culture and arts education. However, there is little research on the definition, concept, and type of integrated culture and arts education. This study examined the definition and concept of integrated culture and arts education and conceptualized various types of integration into six categories: integration between art genres, integration of art and technology, integration with other specialties, social issue-oriented integration, art and subject integration, and participant integration. This classification and categorization reflects the changing conditions of current culture and arts education. In addition, methods and development factors for developing integrated culture and arts education programs were considered, and specific measures for developing integrated culture and arts education programs were considered by presenting examples. Through this study, it is expected that the concept of integrated culture and arts education, which has not been organized into different definitions, can be established and measures that can be applied for program development in the actual field can be presented.

문화예술교육으로서의 사진교육의 교육과정 연구

허현주 ( Hyun Joo Huh ),유기상 ( Ki Sang Ryu ),현혜연 ( Hye Yeon Hyun ) 한국사진학회 2012 AURA Vol.0 No.27

디지털 카메라를 활용한 유아 사진 교육이 이미지 리터러시 능력 향상에 미치는 영향

노연숙 ( Yeon Sook Noh ),현혜연 ( Hye Yeon Hyun ),하동환 ( Dong Hwan Har ) 한국사진학회 2007 AURA Vol.0 No.16

DevSecOps 관점의 클러스터 계층 내 매니페스트 정적 분석에 관한 연구

김가현 ( Ga-hyun Kim ),김미진 ( Mi-jin Kim ),천예린 ( Ye-rin Chun ),현혜연 ( Hye-yeon Hyeon ),김성민 ( Seongmin Kim ) 한국정보처리학회 2024 한국정보처리학회 학술대회논문집 Vol.31 No.1

초등학교 사진교육의 학습모형에 대한 연구

이인희 ( In Hee Lee ),현혜연 ( Hye Yeon Hyun ) 현대사진영상학회 2010 현대사진영상학회논문집 Vol.13 No.-

Within elementary schools, arts education should be the education that must focus on developing creative and logical thinking instead of producing the field experts. In this perspective, photography in elementary schools should have the educational aim that nurtures to develop those elementary school students` creative, logical thinking capabilities. In other words, the education in elementary schools must proceed to create an environment to educate all of the elementary school students. Based on the theories of sprit-brain research and theory of multiple intelligences, the aim of photography in elementary schools is set up on the creatively, sensitively art friendly education and integrated education of logic and experiment. Furthermore, considering each individual learners disposition and each school`s circumstances, the composition of educational courses and drawing the learning model are selected for critical factors. With this, photography is very effective tool to nurture 9 different types of intelligence that is divided by the theory of multiple intelligences. It is judged that the possession of various ways to teach the field of photography and their contents would be very effective. To approach the educational model within photography, it should be conducted with the model of creatively, sensitively art friendly education (4 steps. understanding-experiment-application-organization); moreover, it could also be approached with the model for the integrated education of logic and experiment (5 steps, understanding-experiment-suggestion-application-organization). Also, one must be careful to select while designing the academic model since this research suggests that those typical learning models have their own viewpoints. The first suggestion on the PBL learning model is about the learning model. The second model of scavenger hunt learning model is about the tool application learning model. The third one is the cooperative learning model, which can also be characterized with the TGT learning model and STAD model. These two models are based on the viewpoint of class progress. Thus, these learning models allow people to understand that it would be very advantageous to have the photography class within elementary education and each school`s desire to build compatible. Finally, the teaching style of the photography class in elementary school can be changeable, depending on the decision of the types of learning models. At the beginning, it is essential to design and select the educational plan from the semester`s educational aim, learning models, and development of photography education. Therefore, the educational means must organize in accordance with the abovementioned learning models. The class must be proceeded with the consideration of students` environmental conditions with the anticipation of maximum educational effect as possible. Therefore, the photography class in primary schools can be expected with the most systematic and effective outcome as possible. In addition, it also allows to have compatible in the school system. To a greater extension, a demand from the education system for an accurate response will be able to be arranged.