공연장 브랜드파워가 티켓 구매행동에 미치는 영향 - 예술의 전당을 중심으로 -

김유리 한국예술경영학회 2012 예술경영연구 Vol.0 No.22

There are about 800 arts centers in the country. However, only few of them are remembered, ever visited, specially preferred by people. There would be a variety of factors affecting ticket purchase of the public to enjoy culture and arts: performing works or actors in particular. This study starts by questioning how the brand power of arts centers affects the consumers’ ticket purchasing behavior. In order to verify it, the study chose Seoul Arts Center, which considered being one of the domestic arts centers with brand power, and made a regression analysis of the effect of its brand power on ticket purchase based on 370 citizens who visited the arts center. The conclusion, made by an empirical analysis, is as follows. First, the survey showed that the effect of brand awareness of Seoul Arts Center on ticket purchase was 29.2 percent, a meaningful level with significance probability less than 0.01. Second, the analysis indicated that the effect of brand image of Seoul Arts Center on ticket purchase was 11.7 percent with significance probability less than 0.01. Third, the analysis indicated that the effect of perception of brand perceived quality of Seoul Arts Center on ticket purchase was 32.8 percent with significance probability less than 0.01. Lastly, this study indicated that the effect of brand loyalty of Seoul Arts Center on ticket purchase was 49 percent, a meaningful level with significance probability less than 0.01. Based on the regression analysis results, the study proposes the following recommendations to arts centers. First, each arts center should have key matrices to accurately evaluate the brand power of the arts center. Second, arts centers should target potential customers who have high loyalty through brand marketing. Third, arts centers should have the same brand asset as that of enterprises, getting out of the specialty of the artistic field. Finally, arts centers require developing a specific analysis of Consumers’ ticket purchase behavior. The study will hopefully make some contributions to the development of arts centers and performing industry. 브랜드(brand)의 시대다. 현 시대에서 브랜드를 부각시키고, 이미지를 강조하고, 호감도를 높이기 위한 브랜드 마케팅은 이제 경쟁에서 살아남기 위한 필수 전략이다. 국내의 800여 개의 공연장에서 적극적인 브랜드 마케팅을 펼치는 일이나 그에 대한 연구가 미흡한 실정에서 브랜드의 중요성을 파악하고, 또 얼마만큼의 브랜드파워를 가지고 있는지 측정하는 것은 의미가 있을 것이다. 본 연구는 공연장이 가진 브랜드파워가 소비자의 티켓 구매행동에 얼마만큼의 영향을 미칠 것인지에 대한 의문으로부터 출발한다. 그 중 예술의전당을 중심으로 브랜드파워가 티켓 구매행동에 미치는 영향에 대해 370명을 대상으로 설문조사하여 회귀분석을 실시하여 도출된 결론은 다음과 같다. 첫째, 예술의전당의 브랜드 인지도가 티켓 구매행동에 미치는 영향은 29.2%이며, 유의확률 p<0.01로 나타났다. 둘째, 예술의전당의 브랜드 이미지가 미치는 영향은 11.7%이며, 유의수준 역시 p<0.01에서 검증하였다. 셋째, 예술의전당의 브랜드 품질에 대한 지각이 미치는 영향은 32.8%로 나타났으며, 유의확률도 p<0.01로 나타났다. 넷째, 예술의전당의 브랜드 충성도가 미치는 영향은 49%로 나타났으며, 유의수준 p<0.01에서 검정하였다. 이를 바탕으로 다음과 같은 제언을 하고자 한다. 첫째, 각 공연장은 브랜드파워에 대한 정확한 인식과 대응전략을 수립해야 할 것이다. 둘째, 공연장은 브랜드 마케팅을 통해 충성도 높은 고객을 보유함으로써 관객층의 저변을 확장시켜야 한다. 셋째, 공연장은 예술분야라는 특수성에서 벗어나 기업과 동일한 브랜드자산을 보유해야 한다. 넷째, 공연장은 소비자의 티켓 구매행동에 대한 구체적인 분석이 필요하다. 본 연구에서 얻은 결론은 공연장이 마케팅 기법에 있어 브랜드파워의 중요성을 부각하고 브랜드 마케팅을 통하여 획일화된 전략에서 보다 다양한 마케팅 수립에 대한 방안을 제시하고자 함이다. 본 연구가 공연장과 공연산업의 발전에 조금이라도 기여할 수 있기를 기대한다.

Arts PROPEL 프로젝트 학습에 기초한 미술 감상 교육과정의 분석적 탐구

강현석 ( Hyeon Suk Kang ),이자현 ( Ja Hyun Lee ) 경북대학교 중등교육연구소 2005 중등교육연구 Vol.53 No.3

본 연구는 미술에서의 감상교육이 그동안 매우 소극적인 차원에서 이루어져 온 문제를 비판하고, 보다 적극적으로 감상의 문제를 통합적으로 이해할 것을 요청하고 있다. 미술 감상은 미술 작품의 창작이나, 미술적 지식의 습득, 개인의 반성과 분리되어서 이루어지는 활동이 아니다. 그것은 곧 작품의 지각을 통한 학습자 개인의 내면화, 세계와의 대화를 의미하며, 그런 점에서 감상은 앎과 생활이 하나로 이루어지는 매우 통합적인 활동이다. 그러나 기존의 미술 감상 교육은 이 점에 대하여 소극적이었으며, 특히 작품 창작, 지식의 습득, 미적 판단과 비평을 통한 반성이 통합적으로 이해되지 못하였다. 이 문제는 기존의 감상교육에 대한 전환을 요청한다. 따라서 본 연구는 이러한 입장에서 미술감상의 문제를 통합적으로 접근하는 유용한 도구를 제공해주는 Arts PROPEL 프로젝트 학습법에 기초하여 미술 감상교육의 문제를 논의해보고, 거기에 기초하여 미술감상 교육과정의 문제를 분석적으로 논의하고 있다 The purpose of this study is to search the curriculum of arts appreciation on the basis of Arts PROPEL Project. There are many critics about the nature of art education in the line of conception of aesthetic value, aesthetic experience, and artistic growth. The issue about the nature of art education is very important because the aesthetic value and experience influence on the art curriculum, especially on the appreciation. So, the biased conception of appreciation often brings about many problems in curriculum making and development in arts. Eisner have criticized the tendency of art education biased on the art production. The content structure of arts is made of three domains, aesthetic experience, expression, and appreciation. Production, comprehension, and criticism are important factors in art education. Among the rest, criticism has been less emphasized in arts education. But the domain of appreciation is more emphasized in the 7th curriculum at the national level. By the way, we have misconception of the nature of appreciation education. We argue appreciation education should be reconceptualized on the basis of Arts PROPEL which focused integrative learning, portfolio evaluation, and artistic developmentally practice. On the basis of Arts PROPEL Project, the curriculum of appreciation can be changed into new mode of art education. This work should be base on the reconception of appreciation, integrative learning of PROPEL, appreciation as reflective evaluation, and internalization of knowledge on arts. We should pay attention to the integrative possibility of appreciation curriculum. The appreciation curriculum we construct should be interpreted as a whole system not summative one. In the future we should consider the conception and curriculum of appreciation in the line of a educative experience and world making.

문화예술교육으로서 영화교육의 현황과 전망

민경원(Min Kyung Won) 한국영화학회 2011 영화연구 Vol.0 No.49

The arts & culture education that began in 2005 has brought about diversity of school arts & culture education in many respects for 7 years. The core of all education consists in the students who enjoy education and accept and develop arts & culture education. The purpose of arts & culture education is set in proper direction when they recognize and utilize the objectives and needs of arts & culture education properly. Arts & culture education has been expanded to a total of 8 areas by adding 3 areas of photograph, design, and crafts from 2010 to the existing 5 areas of theater, film, animation, dancing, and Korean traditional performing arts. However, it cannot be said that arts & culture education develops just because the genres of arts & culture education are expanded. How adequately the educational contents are organized, how properly the instructors are conveying the educational contents, and how actively students are participating in the education need to be examined. Particularly, the following two factors are urgent problems that should be solved anytime soon in order to attain film education. First, ‘teaching materials’ should be developed. It is reality that elementary and intermediary film education has been conducted with teaching plans prepared at the instructor’s discretion without film textbooks. The development of moving image data teaching aids and some teaching materials has been under way but the reality is that there are no official film education textbooks. Film textbooks should be developed and established anytime soon so that film education by differentiated level can be implemented and actively utilized in the film education fields. Second, ‘creative teaching method’ should be developed. Film art instructors’ training programs should be organized so that creative education by creative power teaching method can be attained, instead of just focusing on simple routine training. Arts & culture education that is based on creative writing should be approached differently from other general subject of studies education. ‘It is nothing particular. Isn’t it a creative teaching method since it is based on creative writing? Such preconceived notion should be discarded. In arts & culture education, it is the film education that should be conducted by systematizing creative teaching method so that the students’ imagination can be developed infinitely and applied to all the areas of daily life. And it should help the student grow as well-rounded persons contributing to society, if not necessarily grow as artists. Creative teaching methods should be applied to all aspects of arts & culture education in the school educational fields so that the students can enjoy arts & culture education pleasantly. Particularly in film education, educational activities encompassing entire moving image media should be developed and the concept of one-source-multi-education, the characteristics of film, should be expanded and developed to classes connected to diverse school educational courses of studies, and this is the purpose that film education as arts & culture education should pursue.

케네디센터 CETA 프로그램의 통합예술교육 방법론에 관한 고찰

오세준 한국무용교육학회 2018 韓國舞踊敎育學會誌 Vol.29 No.1

This study examines the method of Arts Integration in the Changing Education Through the Arts (CETA) program of the Kennedy Center. Examining this method leads to reflection on some issues on the Arts Integrated Education (Tonghap yesul kyoyuk) in Korea. Munwha yesul kyoyuk (Cultural Arts Education) in Korea and the Arts Integrated Education pursued as part of munwha yesul kyoyuk have greatly been influenced by Western discourses. As for the Arts Integrated Education (Tonghap yesul kyoyuk), consciously or unconsciously, it has been influenced by the concept of Arts Integration pursued in CETA at the Kennedy Center. The Arts Integrated Education in Korea, which is at first probably is a mere translated version of Arts Integration at the Kennedy Center but is now considered as an indigenous concept by many people, has not reached a consensual definition. In order to overcome the confusion caused in the Arts Integrated Education in Korea, practitioners and theoreticians in munwha yesul kyoyuk (Cultural Arts Education) need to understand the following. First, by nature the Arts Integration of the Kennedy Center is for helping students to get knowledge of academic subjects easily, rather than for the arts for art's sake. Second, the method of the Kennedy Center does not demand the arts to deconstruct their ‘genre’. Rather, it encourages students to be accustomed to the characteristics of each genre. Third, as the Korean word tonghap, the Korean translation of ‘integration’, tends to be understood as ‘removing borders’, tonghap yesul kyoyuk also tends to mean to many people ‘a new style of art in which the arts lose their peculiar forms’. Understanding these will help Koreans as a start point of the Koreans' building the identity of their Arts Integrated Education.

‘실천’으로서의 예술: 민중미술 이후, 한국 커뮤니티 아트(Community Arts)의 ‘상황’ - ‘재현’에서 ‘실천’으로 진화하는 예술개념에 관한 소고

박미연 한국예술경영학회 2013 예술경영연구 Vol.0 No.27

This thesis analyzes how Community Arts are changing art concept in korean art currents. Art projects for various communities are in the explosive growth trend around 2000, as government, local governments and other private organizations have carried out these art projects as part of cultural programs. Accordingly, many researches for Community Arts have been actively conducted from the perspective of cultural policy. However, most of researches are focused on analyzing the effects on a case-by-case basis without providing a clear definition or criteria of Community Arts. This current tends to ignore artistic significance of Community Arts and their historical origins. Consequently, it would bring about difficulties to get effectiveness of these art projects. In this situation, this thesis aims to trace historical lineage of Community Arts, and to analyze how Community Arts contribute to the evolution of art concept. This attempt would provide a theoretical basis to define the scope of Community Arts, and would offer a productive suggestion for planning of community art programs. Concretely, this thesis assumes 1980s Minjung-art as the pioneer of Community Arts. Minjung-art was a challenge to go beyond the boundaries between ‘art and life’. Before the advent of Minjung-art in Korea, art has been considered as ‘representation’ of world and artworks have been considered as being shown only at artworld such as galleries, museums, etc. As artwork, form of representation has functioned as the frame which seperated art world from real world, art ccould construct its own independent world. Thus, there was a clear distinction between the artist and the spectator, between art and non-art. This thesis proposes that Minjung-art tried to innovate this circumstance in art. It is because that Minjung-art seeked to break the boundary between art and life by involving in actual problems of the real world such as political and social issues and revolutionizing everyday-life through art practice. However, this thesis analyzes that the challenge of Minjung-art turned out a failure resulted from holding on to the certain art form, Realism. In addition, this thesis asserts that community arts inherit the issue of Minjung-art. It is because that Community Arts happen in the real places like streets, towns not in museums and above all, that they seek a solution to the problems of everyday life. However, Community Arts differ from Minjung-art in that they consider ‘pratice’ itself as art, without any other certain art form. Concretely, this thesis tries to propose a critical perspective for Community Arts by tracing evolution of art concept in community art currents through three selected cases. 이 논문은 커뮤니티 아트가 예술의 개념을 어떻게 바꾸어가고 있는가에 대한 분석이다. 한국에서 커뮤니티 아트를 표방하는 프로젝트 사업은 2000년을 전후로 폭발적으로 증가하는 추세에 있는데, 이는 정부나 지방자치단체 혹은 민간단체 등이 문화사업의 일환으로 주도적으로 수행한 데에 힘입은 바 크다. 커뮤니티 아트에 대한 연구 역시 문화정책의 관점에서 활발하게 논의되고 있는데, 대부분의 연구들이 프로젝트의 사업적 효과를 사례별로 분석하는 데에 그치고, 커뮤니티 아트에 대한 명확한 정의나 기준을 제공하지 못하는 실정이다. 이는 커뮤니티 아트가 예술로서 유의미한 지점, 그것의 역사적 기원을 간과하는 태도에서 기인한다. 결과적으로 합의된 기준이나 정의가 존재하지 않는 상황에서 커뮤니티 아트의 용어를 남발하는 것은 커뮤니티 아트에 대한 이해에 모호함만을 가중시키게 되며, 이러한 상황에서 시행되는 사업은 단발적인 이벤트로 끝날 뿐, 실효성을 거두기 어려울 것으로 판단된다. 이에, 이 논문은 한국 커뮤니티 아트의 역사적 계보를 추적하고 커뮤니티 아트가 예술의 흐름과 개념의 진화과정에 기여하는 방식을 면밀히 분석하고자 한다. 이러한 시도는 향후 커뮤니티 아트를 정의하고 범위를 설정하는 데에 이론적 기반을 제공하는 한편, 이후 전개되는 커뮤니티 아트 프로그램의 기획과 방향설정에 생산적 제안이 될 것이다. 구체적으로, 이 논문은 커뮤니티 아트의 선구적 작업으로 1980년대의 민중미술을 상정한다. 민중미술은 예술과 삶의 구분된 경계를 뛰어넘으려는 도전적 시도였다. 민중미술의 등장 이전까지 예술은 세계 혹은 세계 속 삶의 ‘재현’으로 인식되어 왔고, 미학적으로 완성된 재현의 형식인 예술 작품은 예술의 영역인 ‘전시장’에서 선보이는 것이 일반적이었다. 결국 재현의 형식은 예술의 영역과 삶의 영역을 구분짓는 틀로 작용해왔고, 이 형식으로 인해 예술은 삶과 괴리된 독자적 세계 구축이 가능했다. 따라서, 예술가와 관람자, 미학적 완성품으로서의 예술작품과 비예술품의 명확한 구별이 존재했다. 이 논문은 민중미술이 이러한 예술의 상황을 혁신하고자 했다고 본다. 민중미술가들은 현실의 문제에 직접적으로 개입하고 예술을 통한 삶의 변혁을 꾀함으로써 ‘삶과 예술의 통합’이라는 아방가르드의 테제를 실천하고자 했기 때문이다. 그러나 민중미술의 도전은 리얼리즘이라는 특정 형식을 통한 실천의 방식을 고수함으로써 예술을 형식적 틀 안에 가두게 되었고, 그 결과, 예술의 혁신이 곧 삶의 혁명이 되고, 예술가와 민중(관람자/비예술인/생활인)이 하나되는 문화대중주의의 실현과제는 실패하게 되었다는 것이 이 논문의 분석이다. 아울러, 이 논문은 예술의 현실개입, 예술을 통한 삶의 혁신이라는 민중미술의 문제의식을 커뮤니티 아트가 계승하고 있다고 평가한다. 커뮤니티 아트의 실행은 재현의 무대로서의 전시장을 떠나 삶의 현장에서 이루어지며, 일상의 현실적 문제들에 대해 발언하고 궁극적으로 이를 해결하기 위한 실천들로 이루어진다는 공통점을 지니는 까닭이다. 그러나, 커뮤니티 아트는 예술의 결정요소를 재현의 형식에 두지 않음으로써 민중미술과 차별화된다. 즉, 커뮤니티 아트가 주목하는 지점은 미학적 결과물을 생산해내는가의 여부가 아니라 삶 속에서 전개되는 사건들, 삶의 문제들을 해결하려는 실천 ...

문화예술교육의 교수-학습 방법으로서 ‘통합’과 ‘융합’ 개념 탐색: 실험적 소고

곽덕주,박혜연 한국문화교육학회 2021 문화예술교육연구 Vol.16 No.1

The paper aims to show how the concepts of integration and convergence are internally related to the nature of arts, especially their principles of creation, and to clarify the main principles of pedagogical principles of teaching and learning in arts and culture education, which can be employed in the actual practices of teaching arts and culture education in Korea. This is expected to greatly contribute to improving the quality of teaching practices in arts and culture education in Korea. To do so, we first comprehensively and critically examine how the concepts of integration and convergence have been understood in the discourse of arts and culture by researchers in Korea. Here we can see how the conceptual confusions and un-clarities have derailed the directions of arts education practice in Korea. And then we attempt to categorize three different kinds of arts’ ways of thinking, by drawing upon Gilles Deleuze’s and Susan Langer’s theories of arts, to show how they can be interpreted as three distinctive ways of integrating and converging our everyday experiences into meaningful forms and events. Lastly, the paper tries to clarify the pedagogical principles of teaching and learning in arts education practice in Korea by applying the examined concepts of integration and convergence to the three dominant approaches to arts education in Korea: cross-arts integration approach, knowledge related arts education and, community related arts education. 본 연구는 우리나라 문화예술교육의 실천에 질적인 차이를 가져다 줄 교수-학습 방법의 원리를문헌 연구에 기초한 논증의 방식으로 탐색하는 데 일차적 목적이 있다. 이를 위해 ‘통합’과 ‘융합’의 개념이 예술의 창작 원리와 어떻게 내적으로 연결되어 있는지를 보여줌으로써, 예술의 고유한 사고가 작동하는 방식으로 이루어지는 ‘통·융합적’ 문화예술교육의 실천적 원리를 제안하고자 한다. 연구 문제로는 첫째, ‘통합’과 ‘융합’ 개념이 우리나라 문화예술교육 담론에서 어떻게 이해되고 적용되는지를 비판적으로 검토한다. 둘째, 예술적 창작 활동에 고유한 세 가지 수준의 예술 언어를 다소 조작적으로 구분하여 기술함으로써 예술이 우리 경험을 어떻게 ‘통합’하고‘융합’하는지 살펴본다. 셋째, 이를 토대로 예술의 고유한 힘으로서 ‘통합’과 ‘융합’이 현재우리나라에서 실행되는 세 가지로 구분되는 대표적인 문화예술육의 접근들에서 어떻게 의미 있게적용되고 또 작동될 수 있는지 기술한다. 결론적으로 본 연구는, 예술장르 간 통합, 교과연계통합, 그리고 지역연계통합 예술교육에서 세 가지 차원의 예술 언어가 어떻게 각각 다르게 연루되는지체계적으로 보여줌으로써, ‘통합’과 ‘융합’ 형태의 교육적 경험을 창출하는 문화예술교육의실천적 방법 원리를 시론적으로나마 제안한다. 이것은 문화예술교육 강사들의 프로그램 기획 및실행의 질적 향상에 기여할 것이다.

미술과 공예: 그 경계와 위상

정무정 한국미술사교육학회 2007 美術史學 Vol.21 No.-

Distinctions between art and craft have been treated as an important issue in the art world since the Renaissance. Indeed, the entire discipline of art history is based upon a qualitative analysis which would elevate particular classes of objects and make light of others. However, they appear a fiction when we examine art history before the Renaissance. Why have certain art objects been selected to be part of art history while others were not? Were they selected to represent an aesthetic significance or were they a mere matter of convenience? The purpose of this paper is to examine the historical process in which an art object has been placed in either a craft category or a fine art category and explore how the dividing line between art and craft has been bolstered by social, ideological, and institutional system. Greek and Latin writers did not distinguish between fine arts and craft, using the word ‘art’ to refer to a skilled craft or science rather than to a creative activity. However, two complementary groups of arts were distinguished: the liberal versus the mechanical. The intellectual labor of the liberal arts was placed above the physical labor of the mechanical. The liberal arts encompassed intellectual activities and skills, such as grammar, rhetoric, astronomy, as well as music and poetry. The mechanical arts, on the other hand, included manual activities, ranging from weaving, wood carving, agriculture, pottery, and navigation to armament, in which subgroup were also found painting, sculpture, and architecture. During the medieval period, ongoing contempt for manual labor was mitigated by the moral value of work and self-sufficiency within the monastic way of life. Italian Renaissance artists and humanists claimed for the visual arts the same intellectual status as that of poetry and music, and leaving behind among the mechanical arts what would become known as craft. Renaissance theorists reinforced the intellectual and artistic claims of the visual arts by establishing academies devoted exclusively to painting, sculpture, and architecture, the three “arti del disegno.” With the help of these academies, the visual arts acquired an identity distinct from that of the mechanical arts, one that paved the way for the later notion of the fine arts. Although Renaissance theorists furthered the conceptual claims of visual arts, they did not link these claims to a concept of beauty in art. A theory of fine arts emerged clearly only in the eighteenth century, when such thinkers as Burke, Baumgarten, and Kant developed new philosophical principles for judging artistic beauty. Kant himself reinforced the notion of the division of mental and manual labor by presenting it as a transcendental necessity. This transformation introduced a theoretical border between the fine arts and all other arts. Although this distinction may have helped to clarify the nature of those activities now considered the fine arts, it left behind an ill-assorted group of activities under the medieval term mechanical arts. This type of discourse is also found in R.G. Collingwood’s Principles of Art in which he argues, it is necessary to disentangle the notion of craft from that of art proper in order to take the first step towards a sound aesthetic. Thus it is quite possible to say that the history of craft has been shaped by its exclusion from art history. The exclusion of craft is socially created and constantly reaffirmed by the gatekeepers of classical art history and aesthetics. The legacy of the hierarchical preoccupation with ‘lower’ and ‘higher’ forms of art has become so embedded in Western thought that it persists even today. Thus the deconstruction of the distinction between art and craft helps in dismantling the hegemonic framework for the triumph of modernism. In fact post-modernists and feminist art historians are deconstructing many of the most cherished assumptions of art history and aesthetics, especially the...

예술교육에서 예술인성교육의 개념

정현주,김정희,김수지 이화여자대학교 교육과학연구소 2014 교육과학연구 Vol.45 No.1

Arts education has been emphasized as a medium of character education in rapidly-changing societies. This study aimed to identify the concept of arts character education focusing on music and art activities. The concept of character was divided into three subcategories: Intra-personal, inter-personal, and sociocultural aspects. Characteristics and applications of music and art activities were suggested for each subcategory. Overall, understanding arts character education, which is different from regular arts education, is important because arts character education can be effective only when teachers and school staff are able to differentiate between the two educational approaches. Future studies in arts character education should be conducted based on a clear understanding of the significance of character in the arts, and curriculum and assessment for arts character education need to be developed as well. Future research should address how to facilitate desirable character development in school, including preventive aspects of arts character education. 현대사회의 변화와 그에 부응하는 인성교육의 방안으로 예술교육에 대한 중요성이 강조되고 있다. 이에 본 연구는 정부지원을 통한 다양한 예술인성교육이 시도되고 있는 현재 예술교육에서 예술인성교육의 개념과 핵심요소를 개인적, 관계적, 사회문화적 측면에서 논의하였다. 일반적인 인성교육은 학교 교육의 모든 교과를 포괄하는 관점에서 관련 덕목을 제시한 반면 본 연구에서는 예술교육에서 제공되는 활동의 심리.정서적 표현과 사회적 특성을 중심으로 예술인성교육의 개념과 핵심요소를 규명하였다. 예술의 개인적, 관계적, 사회적 특성을 중심으로 예술교육 내에서 어떻게 인성교육이 이루어질 수 있는지를 인성개념과 예술 내에서의 핵심 요소를 중심으로 살펴보고 이를 예술인성교육으로 명명하였다. 예술인성교육은 학교 내는 물론 학교 밖에서도 개인적, 관계적, 사회적 차원에서 계획되고 운영되어야 하며 바람직한 인성발달을 도모하기 위한 예방적 차원에서도 확대되어야 한다.

예술심리치료에서 예술의 창조적 차원에 대한 고찰 -예술에 대한 인지적 관점을 중심으로

이모영 한국예술심리치료학회 2008 예술심리치료연구 Vol.4 No.2

The purpose of this study was to reflect creative dimension of arts in arts psychotherapy mainly on cognitive approach to arts. First of all main theories and characteristics of cognitive approach were examined, which is important in creative dimension of arts. According to this approach, arts were regarded as fundamental methods of cognition by which perceptive reasoning is made, and they play a very momentous cognitive role in our understanding and constructing the world surrounding us. In particular the unique cognitive functions of arts that are flexible, integrative and creative play an effective role in the process of discovery and creation. And these characteristics of arts provide an essential theoretical basis explaining why arts have therapeutic effects in arts psychotherapies. The following creative dimensions were provided as the result of the discussion. First, arts stimulate our desire to create, pursue, and modify. Second, arts stimulate reasoning by promoting thoughtful and broad thinking. Third, arts enable us to think integrative. Fourth, arts promote flexible thinking. Fifth, arts promote creative thinking. Finally arts enable us to know what insightful experience is. It is expected that the studies, like this, will contribute to strengthening theoretical and practical basis by providing a theoretical ground for why arts have therapeutic effects and even to securing academic identity of arts psychotherapy.

Taekwondo and Korean Martial Arts in Idokan Poland Association’s Research (1993-2016): A Review

( Wojciech J. Cynarski ) 국제태권도학회 2017 International Symposium for Taekwondo Studies Vol.2017 No.-

Purpose: The General Theory of Fighting Arts became a perspective for undertaking studies concerning Taekwondo and other Korean martial arts as part of 1) the Idokan Poland Association (IPA), a martial arts research organization, 2) the scientific center at University of Rzeszow efforts, and 3) contributors to the publication Ido Movement for Culture. Journal of Martial Arts Anthropology. The purpose of the current research is to determine the influence of these studies on Taekwondo academics considering the focus of the IPA is Idokan Budo, a Japanese martial art. Methods: A relatively wide discourse analysis was conducted, including a monographic method with an analysis of the various sources and studies. A long-term participant observation among martial arts practitioners and researchers was also performed. Results: The IPA’s autonomous Division of Korean Martial Arts represents Kukkiwon Taekwondo, International Taekwon-Do Federation (ITF) Taekwon-Do, and all other Korean martial arts. Researchers from this section have published studies on Taekwondo and Korean martial arts in general. These researches were classified as 1) the delineation of Taekwondo and Shotokan Karate, 2) Taekwondo symbology research, 3) historical analyzes of prominent Taekwondo practitioners, 4) psychological and pedagogical research, 5) Taekwondo bio-technical and equipment research, 6) Taekwondo biomechanics and coaching, 7) the delineation of Taekwondo as a martial art and combat sport, 8) other Korean martial arts, and 9) the dissemination of Kukkiwon Taekwondo and ITF Taekwon-Do studies. Conclusions: This review determined four conclusions about the IPA’s contributions to Taekwondo academics. First, the IPA’s efforts have long-featured research on Kukkiwon Taekwondo and ITF Taekwon-Do research, which allows for deeper understanding of Taekwondo practice as a whole. Additionally, little-researched areas of Korean martial arts are given a voice in the IPA. Thirdly, IPA researchers publish both natural sciences and humanities papers, which permits a more holistic understanding of Taekwondo. Finally, the predominately Japanese-based IPA publications permit Taekwondo academia the ability to compare and incorporate research and practical knowledge within their own studies, thus broadening and enhancing their ability to contribute to Taekwondo academics.