한국 현대 춤 교육에 있어서 안무자 양성 교육 프로그램 현황분석 -고등교육기관 교과과정 분석을 중심으로-

손각중 ( Gak Jung Son ) 대한무용학회 2007 대한무용학회논문집 Vol.50 No.-

Primary purpose of this paper from basic point of view, a creator in the true sense of the word is trained through congenital ability of art and acquired education, is to analyze present condition of Korean education in train modern dance choreographer. In Korean dance education, choreography education is mostly trained in universities those are higher educational institutions and Conservatory. Furthermore short period training is operated in many organizations of art through training program and etc. Accordingly, second purposes of this paper are find strengths and weaknesses in Korean modern dance education through analyze present condition of modern dance education for train modern dance choreographer and propose a blueprint of choreography education. Therefore, this paper analyzes university`s curriculums which lessoned in department of dance and present condition of conservatory`s choreographer train program. In result, in Korean university curriculums spare much time for practical technique but inadequate for systematic choreography curriculums, whereas, theory of choreography such as method of choreography, study of choreography, impromptu, Labanotation and etc. are compulsory subjects and spare much time for choreography subjects in foreign universities, moreover they have systematical and various choreography subjects. These results are caused by standardization of majors in department of dance those are standardized 3 types in practical technique as Korean dance, modern dance and ballet. Sure, depend on rapidly changing cultural environment, increased interests in choreography and creation and increased curriculums which are related in compared with curriculums of the past. But, overall, lack of systematical education for choreography theory, method of choreography and method of dance recording. Especially, in Korean dance system insufficient of methods for record of choreography work and lack of effort for development and research. We are used to use video which is modern record system and partial choreography notes. For these reasons, Korean dance education system doesn`t have sufficient way to preserve superb works as original for future. And this system is caused by our lack of recognition of importance of choreography. Accordingly, university`s curriculums for improve choreography originality which is necessary for choreographer are should be aim to develop the originality. Originality development needs diversity of theory education and humanity training. So, Korean dance education system concentrates upon developing programs for train professional choreographer who can develop and research of curriculums for support to develop originality and unite theory and practical technique.

실용무용 대학생들의 코레오그래피 창작 메소드 적용 연구

김보현,안병순 한국콘텐츠학회 2024 한국콘텐츠학회논문지 Vol.24 No.10

이 연구는 루돌프 폰 라반(Rudolf Von Laban)의 에포트(Effort)요소를 활용한 안무 창작 실기프로그램을 통해 실용무용 전공자들의 코레오그래피(Choreography) 창작에 필요한 메소드를 적용하여 코레오그래피 창작에 긍정적인 영향을 탐색함에 목적이 있다. 이를 위해 코레오그래피 창작경력을 가진 실용무용 전공 대학생들을 대상으로 안무 창작 능력에 관한 객관적 자기 인식, 에포트요소의 개념인식에 관한 사전, 사후 설문조사와 인터뷰를 진행하였다. 이를 통해 두 가지 관점의 결과를 얻었다. 첫째, 라반의 에포트요소를 활용한 창작메소드 적용은 춤 기본기 중요도와 코레오그래피 창작능력에 대한 자기인식에 긍정적인 영향을 준다. 둘째, 라반의 에포트요소를 활용한 창작메소드 적용은 코레오그래피 4대 변화요인(공간, 시간, 무게, 흐름)의 창작활용에 긍정적인 영향을 준다. 결과적으로 이 연구는 안무 창작 실기프로그램을 통한 움직임의 질적인 면, 그 밖에 신체 움직임의 구체적인 원리를 탐색하고 적용해봄으로써 실용무용 전공 대학생들의 보다 깊이 있는 코레오그래피 창작에 긍정적인 방향성을 제시해주고 있다. The purpose of this study is to explore the positive impact on the creation of choreography by applying the method necessary for the creation of choreography by practical dance majors through a choreography creation practical program using Rudolf Von Laban's Effort element. To this end, a survey and interview were conducted before and after the objective self-awareness of choreography creation ability and the conceptual recognition of Effort elements for college students majoring in practical dance with experience in creating choreography. Through this, the results of two perspectives were obtained. First, the application of creative methods using Laban's Effort element positively affects self-awareness of the importance of basic dance skills and the ability to create choreography. Second, the application of creative methods using Laban's Effort elements has a positive effect on the creative use of the four major changes in choreography (space, time, weight, flow). As a result, this study presents a positive direction for the creation of more in-depth choreography of college students majoring in practical dance by exploring and applying the qualitative aspect of movement through the choreography creation practical program and other specific principles of body movement.

코레오그래피(Choreography) 관련 신문 기사 현황 및 분석

권오승,박성진,이해준 한국체육과학회 2023 한국체육과학회지 Vol.32 No.4

This study aims to analyze current situation and newspaper articles regarding choreography. To that end, data was analyzed in the big data system BIGKINDS. Approximately 380 news articles from 44 newspapers published from February 2009 to April 2023, 14 years and 2 months, and 185 news articles excluding false/misleading articles were selected and classified into 6 analysis categories. First, in terms of period, 2019 issued the most articles about choreography in the conclusion of false/misleading articles. The year 2016 issued the most articles about choreography, except for false/misleading articles. Second, when it comes to newspaper outlets, Mail Business Newspaper published the most based on the quality and quantity of news articles about choreography without false/misleading articles. Third, among the choreography, categories, the category with the highest weight in both total articles and false/misleading articles was content. All in all, choreography has become an independent area of art rather than taking advantage of K-POP popularity. High-quality content creation and active promotion are more important than ever in choreography development.

뮤지컬 작품 특성에 따른 무용 안무교육이 나아갈 방향에 관한 연구

임란정 ( Lim Ran Jung ),손각중 ( Son Gak Jung ) 한국무용예술학회 2014 무용예술학연구 Vol.48 No.3

The purpose of this study is suggesting an educational direction for the dance choreography professionalism in musical works in consideration of the expanding musical market in Korea. For this, this study selected global and domestic musical works, in which dance element has heavy weight. After verifying the characteristics of dance movement in the works, this study suggests a systematic education program for professional dance choreography. The contents of this study are; (1) theoretical approach on dance in musical performance, (2) drawing of dance movement characteristics required for actual musical site analysis, and, (3) suggestion of choreography education program to secure professionalism in dance choreography used in musicals. The contents of theory education, practice education and creation education to be included in the professional choreography education for musical are suggested as following by considering above characteristics of choreography. Based on the education content above, following stepwise education course is suggested. The stepwise education course consists of basic step, intensification step and site adaptation step. At the basic step, students will receive theory education and practice education. In the intensification step, theory education, practice education and creation education can go on in parallel. At the site adaptation step, the education content suggested from the aspect of creation education will be given.

K-팝 안무의 저작권 보호와 법적 과제 - 창작성, 계약 구조, 권리자-이용자 관계를 중심으로

김현숙 한국저작권위원회 2025 계간 저작권 Vol.38 No.2

K-팝은 단순한 음악 장르를 넘어 글로벌 문화 산업의 핵심으로 자리매김하고 있으며, 그 중심에는 독창적이고 완성도 높은 안무가 존재한다. K-팝 안무는 높은 예술적 성취와 산업적 파급력을 지니고 있음에도 불구하고, 그 저작권 보호를 둘러싼 법적 논의는아직 충분히 정립되지 못한 측면이 있다. 창작성 판단 기준의 모호성, 다수의 참여자가관여하는 복잡한 제작 구조, 명확하지 않은 계약 관행은 안무저작권의 귀속과 이용에 대한 해석상 혼란을 야기하고 있으며, 특히 커버댄스, 댄스 챌린지 등 2차적 이용의 확대는 새로운 형태의 권리 분쟁 가능성을 높이고 있다. 본 연구는 K-팝 안무의 저작권과관련된 법적 쟁점들을 창작성 및 보호 범위, 계약 구조 및 권리 귀속, 권리자-이용자 간법적 관계를 중심으로 분석하고, 산업 현실과 창작자의 권리를 균형 있게 보호할 수 있는 합리적 개선 방안을 모색하였다. 현행 저작권법 체계 내에서도 K-팝 안무는 창작성이 인정될 경우 전체적 구성과 맥락을 중심으로 무용저작물로 보호가 가능하며, 별도의입법적 개선보다는 해석론의 정립과 실무 적용이 중요함을 확인하였다. 또한, 현재의 계약 관행이 안무가의 권리 보호 및 기획사의 법적 지위에 모두 취약할 수 있다는 점을분석하고, 개선 방안으로 정부 용역계약 일반조건의 ‘지식재산권 공동소유 및 각자 사업화’ 모델을 K-팝 안무 계약에 적용하는 방안의 타당성과 현실적 한계를 검토하여 대안적 가능성을 제시하였다. 본 연구는 창작자 권리 보호와 산업 발전 간의 균형 달성을위해 명확한 계약 관행의 확립과 함께 산업 내 자율적 협의 및 사회적 합의가 필수적임을 강조한다. K-Pop has evolved into a global cultural force, with original and refined choreography at its core. Despite its artistic and economic value, legal discourse on copyright protection for K-Pop choreography remains limited. Unclear standards for originality, complex collaborative production, and non-standardized contracts have created uncertainty over authorship and usage rights. The growing use of choreography in cover dances and social media challenges further increases the risk of rights-related conflicts. This study analyzes legal issues surrounding K-Pop choreography in three dimensions: (1) originality and scope of protection, (2) production structure and contractual ownership, and (3) relationships between rights holders and users. It argues that K-Pop choreography can be protected under current copyright law as a choreographic work if originality is met, especially when considering the overall structure and expressive context of the choreography. Rather than advocating for legislative reform, the study emphasizes the need for interpretive consistency and practical enforcement. The paper also highlights that current contract practices may leave both choreographers and agencies legally vulnerable. As a potential solution, it examines the applicability of the “joint ownership and independent commercialization” model used in Korean government software contracts, exploring its feasibility and limitations when applied to choreography agreements. Ultimately, the study calls for clearer contract structures and stronger industry dialogue. It emphasizes that balancing creators’ rights with industry development requires not only legal clarity, but also voluntary cooperation and consensus-building within the creative ecosystem.

국내외 뮤지컬 전공학과 내 무용 교육 과정 분석을 통한 안무교육의 필요성

전유정 ( Chon Yuchong ) 무용역사기록학회 2016 무용역사기록학 Vol.42 No.-

The purpose of this study was to examine the state of choreography education as part of musical dance education in music departments in the United States, France, and South Korea to spread awareness about the necessity of creative choreography education to expedite the revitalization of the inclusive functions of dance in musical departments. In the United States, not only the theoretical dance classes but also advanced practical dance courses (tap, jazz, ballet, and modern dance) necessary for musical education are offered in a systemized way. Furthermore, other courses give students who have taken the practical courses the opportunity to produce their own works through creative choreography. All of these courses enable students to exert their creativity. Similarly, many creative dance courses are offered in France along with theoretical courses, although few professional dance techniques are taught in musical dance classes in professional arts schools specializing in theater in comparison with the case of the United States. Students who take creative dance courses are given a lot of time to produce their own works in collaboration with other fields. Indeed, they are educated to be fully aware of the roles of dance in works. In musical dance classes in South Korean colleges, however, there are generally no further attempts to provide opportunities to experience dance in the repertoires of existing musical works. Indeed, current musical choreography education is neither systematic nor professional enough to teach students to come up with creative, inclusive ideas through experiencing a wide variety of dance genres. Fundamentally, the curriculums of the musical departments aim to nurture the professional human resources necessary for musical production; dance choreography education should be integrated into and strengthened in these curriculums to foster actors who are skilled at acting, singing, and dancing. In addition, more cooperative programs should be prepared to provide opportunities to produce works in collaboration with other fields. In this way, competent human resources will develop into musical directors or producers who are aware that choreography is no longer a supplementary part of musical education but should rather be developed along with acting and music. As this sort of education is expected to nurture capable choreographers who can create choreography with an excellent understanding of drama, dance choreography education seems to be mandatory for a musical curriculum.

확장된 안무의 장에서 수행적 드라마투르기

김재리 무용역사기록학회 2019 무용역사기록학 Vol.54 No.-

This study aims to explore the performativity of dramaturgy with in the field of expanded choreography. I look into the concepts of expanded choreography after the 1990s and discuss Jeroen Peeters’s dramaturgy in the respect of performativity. The characteristics of expanded choreography are as follow. First, choreographers are capable of producing knowledge rather than an artifact. The knowledge that can be produced is not rigid but more comprehensive. Second, the choreographers carry out experimental choreography with the paradigm of interdisciplinary and meta-media performing arts. They All the collaborators can be considered as an author which used to be given to only choreographers. Third, many choreographers attempt to explore the relationship between the body and society. They consider the social engaging of dance into the choreography. To examine how dramaturgs elaborate their own performativity in the area of expanded choreography, I have chosen the physical dramaturgy of Jeroen Peeters. I found results as below. First, a theory can be discovered in the choreographic practice. Materials can be chosen not only body gestures and movements but also other media, philosophy, and theories. Second, the dramaturg should approach to the process of choreography with empirical research. The practice of dramaturgy is involved in embodied thinking, in structuring, and performative operation of whole process. Third, the role of dramaturgy is performatively changed in every individual work. In contrast with the classical dramaturgy, the new dramaturgy in contemporary dance not deal with the abstraction of knowledge but practice in the way of performativity. 본 연구는 컨템퍼러리 댄스에서 안무의 미학적, 형식적 변화와 함께 드라마투르기(Dramaturgy)를탐색하는 것에 목적이 있다. 이를 위해 1990년대 이후 전개된 확장된 안무의 개념을 살펴보고 드라마투르기 작업 사례를 분석하여 드라마투르기의 개념적, 실천적 논의를 전개했다. 컨템퍼러리 댄스에서는 무용의 자율적인 매커니즘을 벗어나 타매체와의 교류와 합류를 통해 창작의가능성을 발견하고, 안무의 과정에서 담론과 이론 등 지식생산을 춤의 주요한 과업으로 고려한다. 이러한 안무의 인식론적, 방법론적 패러다임의 변화에 따라 매체의 다양성, 담론 생성, 협업 등을 토대로안무의 실험이 전개되고 있으며, 기존의 움직임의 나열과 구성에 초점을 맞춘 좁은 의미에서의 안무를벗어나 ‘확장된 안무’로 논의되고 있다. 본고에서는 컨템퍼러리 댄스의 안무 개념 및 실천과 변화의 배경에서 수행적 드라마투르기에 관한개념적 논의와 유럽의 드라마투르그 예룬 피터스(Jeroen Peeters)의 드라마투르기를 사례를 중심으로다음과 같은 결과를 도출했다. 첫째, 수행적 드라마투르그는 고전적 드라마투르기에서 강조되었던 텍스트 중심의 역할에서 해방되어 창작 과정에서의 실천을 강조한다. 드라마투르그의 정체성은 고정된 것이아니라 창작의 과정에서 자유로운 ‘행위’를 통해 매번 변화한다. 둘째, 안무의 재료에 대한 실증적 접근을 강조한다. 안무의 과정에서 수집되는 재료들은 드라마투르그와 같은 협업자들이 ‘공동의’ 감각과 이미지를 발생시키고 대화를 만들기 위해서 중요한 요소이다. 셋째, 협업의 방법론에 대한 요구이다. 작업의 과정에서 협업자들은 각자의 관점과 감각으로 참여하며 이들의 실천은 무대 위에서 이질적으로 존재한다. 공동의 작업을 위한 안무의 방법론과 도구의 개발은 안무의 재료를 선정하고 질문을 구체화하며, 장면의 구성을 위해서 중요한 과정이다. 본고에서는 드라마투르기의 수행적 접근을 체계적으로 살피고 드라마투르기를 새롭게 변화하는 안무의 맥락 안에 위치시키고자하며, 21세기의 춤을 이해할 수 있는 관점을 제시하고자 했다.

온라인공연에서 안무는 어떻게 발생하는가 : 낫띵 시어터(Nothing Theater)의 사례

양은혜 ( Yang Eun Hye ),권태현 ( Kwon Taehyun ),박이선 ( Park Leesun ) 무용역사기록학회 2021 무용역사기록학 Vol.63 No.-

This study introduces the online theater development case of the Nothing Theater, which Korea’s performing arts scene depressed by the COVID-19 pandemic developed based on the game engine Unity. In the online theater, choreographer Hur Yoon-Kyung’s Miniature Space Theater: Open Beta and Cha Ji-Ryang’s Only People Who Want to Leave See Everything were presented as online performances. This study seeks to present the possibility of choreography in online performances by analyzing the choreography and physicality as well as the relationship between performance and audience displayed in those works. When the stage where choreography is implemented and the human body as its medium are displaced into a virtual space, questioning the uniqueness of choreography opens the way for a new interpretation of and discourse on choreography. In the work of Hur, it was observed that the three designed theaters-virtual theater, performance theater, and sound theater-were linked and combined through the audience’s movements. In the work of Cha, the audience moves in a three-dimensional space built by twisting and reconstructing a specific space. Suggesting the possibility of online performance, we demonstrate that choreography can be sensed through the composition of space without the physical body of performers and that the online theater can exist through the audience’s participation with their sensing bodies.

인공지능 안무 시대의 주체적 몸을 위한 제언

임수진 성균관대학교 트랜스미디어연구소 2022 트랜스- Vol.12 No.-

This study predicts and raises the changes that AI will bring to dance art when machine-based choreography began, and finds questions we can ask as human artists. Research suggests that one of the crises of dance in the era of machine creative arts is that artificial intelligence does not stay in the tool of human choreography but becomes the subject of choreography. It is based on the political discourse of choreography that artificial intelligence has the power to control and restrict human dancers. This comes from a sense of crisis that the AI takes over the area of choreography and the human choreographer remains an incompetent coordinator, and as a result, the dancer's dancing body can be reduced to a mechanical body controlled by AI. In order for these concerns not to become a reality, this study proposes three measures. First, choreographer and dancer should develop digital literacy to live in the age of AI art. Secondly, choreographer should acquire the ability to accurately distinguish the roles of human choreographer, dancer, and AI in creative work. Thirdly, various levels of discourse on AI dance should be formed by actively conducting mutual media research of dance and technology. Through these efforts, the human dancer will exist as a subject of art, not a passive agent in the new dance ecosystem brought by the innovation of artificial intelligence technology and will be able to face an era coexistence with artificial intelligence creativily and productively.

실용무용에서 ‘코레오그래피’의 개념과 현재적 쟁점

유화정 한국무용예술학회 2023 무용예술학연구 Vol.93 No.4

This study focused on the fact that the choreography in practical dance affects popular culture anddance art world. Accordingly, the concept, characteristics, and related issues of choreography werediscussed by exploring related literature and media content and interviewing experts. As a result of the study, the concept of choreography in practical dance was organized into plannedmovements in contrast to freestyle hip-hop, broadcast choreography linked to the K-pop industry, anddance and narrative as short form content. In addition, it was discovered that the concept of choreographyin practical dance overlaps with the concept of choreography in contemporary dance in terms of attitudeand identity toward choreography. Finally, this study is meaningful in that it discussed the three-dimensional aspects of choreography,which develop into the discovery of dancer’s personal style and self-identity, along with the acceleratingdemarcation phenomenon of the dance world.