초등무용교육의 전망과 과제

서예원 ( Suh Yewon ) 한국무용예술학회 2013 무용예술학연구 Vol.40 No.1

The purpose of this study was to examine the needs of art education and suggest the value and function of dance education as an art education, and propose the agenda for activation of dance education. Dance education in elementary schools has two important meanings: First, it helps elementary students to develop cognitive, temperamental, physical, and social abilities to convey their ideas and feelings by movements and second, it is above all a creative art education. Based on these values, this article presents the current conditions of dance education which is associated with physical education in elementary schools and suggests a few agenda to proliferate dance education in elementary schools. First, Dance education in elementary schools for now is not independent of physical education as a curriculum. It should gain its independence from physical education to recover its own educational values as an art and aesthetic education. Second, It should develop diverse teaching-learning methods and educational contents of dance education. And It should develop diverse teaching-learning media of dance education, dance image data and record dance music. Third, dance and dance programs should be included into various activities in elementary schools such as extra-curricula, experience learning, specialty and aptitude classes. After all, the purpose of an art education is cultivate creativity and imagination, communicate the relationship and complete the individuality through dance education.

미국 무용교육 제도를 통해 본 한국 무용교육의 선진화 방안

이지혜 ( Lee Ji-hye ) 한국무용교육학회 2016 韓國舞踊敎育學會誌 Vol.27 No.4

This study investigated strategies for advancement of dance education for development of dance education of Korea through dance education system of America. Dance needs to be included in arts subject of the regular curriculum, and this study suggested establishment of autonomous selection system of arts subject(dance, music, art, drama and etc), unification of dance education through the development of national education standards, pursuit of high-quality dance education using internet, subdivision of learning standards by age and level, necessity of active financial support from the government, and acceptance through the improvement of necessity recognition and value perception of dance education. Dance education in Korea has been revised several times despite its shorter history than America, and dance education as a cultural artistic education is in precarious position every year due to budget or institutional problem. At a time when dance graduates acquire certificate of physical education teacher every year and culture and arts teachers are being produced, the reality of dance education and the field are not making big changes, and accordingly, the education system or research and effort for national standards as contents, learning method, and evaluation are inadequate. At a time when the school dance education across the nation needs to take one step further through the issuance of dance teaching certificates, literature investigation on the dance education system of America and studies on the course of the national dance education helped to have hope for the future of dance education. Therefore, this study expects for the base of dance education to be expanded in the future through quantitative·qualitative development of research for dance education and challenge for systematic complement, and is looking forward to the day when the entire nation can receive dance education as dance education becomes activated.

A Study on Re-structuralization of Dance Curriculum in Korea

( Yoonkyung Lee ),( Mihye Cho ) 한국체육학회 2016 국제스포츠과학 학술대회 Vol.2016 No.1

Purpose: As there have been growing interests on competency-based education, core competency are emphasized in the 2015-revised national curriculum. In this respect, this study is to provide baseline data to improve the dance competency for elementary and secondary education in Korea. This study is a part of process for developing competency-based dance curriculum, and based on the result of study of dance competency previously carried out. The main focus of this study is to structuralize the essential element, value, dance competency and contents category of dance education. Method: To achieve this goal, literature review, delphi survey, in-depth interview were adopted. Literature review was to seek the elements that make up the theoretical basis for dance education. And the elements were identified using delphi survey for three times. Ten general dance education experts were took for the survey. The elements constituting the theoretical foundation of dance education were selected for literature review by analyzing documents of P.E. curriculum and previous studies. In-depth interview was carried out three insider dance teachers and two outsider dance teachers who participated in the delphi survey to apprehend the context in between dance competency and contents category. Result: In 2015 revised P.E. curriculum, essential element, value, physical education competency and contents category were suggested to explain the meaning and concept of physical education. For this, delphi survey method was used to structuralize essential element of dance education, affirming the value and structure between dance and physical education, dance competency and contents category. As a result, dance education’s essential element was drawn by body movement. Dance education includes aesthetic, moral, social, creative, artistic, cultural, expressive, playful, practical and emotional value, which are highly correlated with the value of expressing physical education. After structuralization of dance competency and contents category, it was shown that dance morality is related to folk dance and creative dance, dance performance is related to movement education and practical dance, dance cognitive is to art of dance and folk dance, dance creation is related to creative dance. The meaning between dance competency and contents category identified by interview is as following. In terms of dance morality, it was mainly related with group dance such as creative dance, which goes forward the outcome cooperated with folk dance in process based on agrarian society. When it comes to dance performance competency, it was related with the category of practical dance and movement education with easy-to-practice characteristic, considering the fact that movement itself is related with performance and action, rhythm, emotion are properly combined. Because dance recognition competency contains contents structure long systematized through culture and history, it seemed related with art of dance and folk dance category. Regarding dance creation, it was related with creative dance including the students’ activity of creating, performing, making announcement and appreciating. Conclusion: First, this study, by focusing on core competency emphasized by recent national curriculum, suggested essential element which is basic concept of dance education prepared for competency-based curriculum, value, dance competency and contents category’s structuralized outcome. Second, based on the characteristic of dance education and explaining the meaning between contents category, it founded theoretical foundation. For the follow-up study, standardization study of contents structure in dance education which is a factor of developing curriculum needs to be carried out based on this study. And also the method of dance teaching-and-learning and how to evaluate it need to be drawn.

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.

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.

논문 : 댄스 리터러시 혹은 무용소양 -문화예술교육으로서 무용교육의 목적 재검토

최의창 ( Eui Chang Choi ) 한국무용기록학회 2011 무용역사기록학 Vol.21 No.-

21세기 선진국으로 진입하는 과정에서 문화예술에 대한 국민적 관심과 국가적 지원이 활발해지고 있다. 문화예술교육에 대한 최근의 정책적 지원은 교육을 통해서 문화예술의 가치를 모든 사람들이 알고 체험하고 소중히 여길 수 있도록 하려는 중요한 조처다. 일반인을 문화예술적 소양을 지닌 사람(culture and art literate)으로 성장토록 돕는다. 문화예술교육의 한 분야로서 무용교육도 새로운 전기를 맞고 있다. 패러다임의 전환을 위하여 무용교육의 전 측면에 대한 다각적인 탐색이 실시되어야 한다. 본 연구는 문화예술교육으로서 무용교육의 목적을 재검토하고 하나의 대안을 찾아보려는 시도다. 무용교육이 추구해야할 새로운 목적으로 최근 외국에서 주목받고 있는 "댄스 리터러시"의 개념을 검토해본다. 먼저 기존의 주요 무용교육 모형들에서 제시한 목적들을 비교분석한다. 그리고 댄스 리터러시의 개념을 구체적으로 살펴본 뒤, 그 개념을 한국적으로 풀이해본다. 댄스 리터러시를 무용소양으로 재개념화하고 그것을 이루는 필수적 요소로서 무용능, 무용지, 무용심의 개념들을 소개한다. 마지막으로 무용교육의 목적으로 무용소양을 지향함으로써 얻어질 수 있는 긍정적 측면에 대해서 알아보고, 이것을 실현하기 위해서 시급히 이루어져야 하는 이론적, 실천적, 연구적 조처들을 소개한다. Culture and arts are gaining people`s interests in Korea. Recent policy investment in the culture and arts education provides opportunities by which people would experience and know the value of culture and arts. Culture and arts education(CAE) provides educational experiences for general people to become culture and art literate. In this perspective, dance education as an area in CAE stands at a turning point, and explorations from multi-perspectives on dance education are needed. This study attempts to reexamine the purpose of dance education as CAE and reconceptualize it as dance literacy. In order to do this, first, the goals suggested by the existing dance education models are analyzed. Second, the concept of dance literacy proposed by recent dance educators is described and analyzed in the context of dance education in Korea. Third, dance literacy is reconceptualized and its constitutive elements are identified. They are dance competence, dance knowledge, and dance disposition. The positive aspects that can be gained from dance literacy are surveyed. And a few theoretical, practical and research efforts are suggested in order to pursue the goal of dance literacy as the purpose of dance education.

Mimesis 이론 기반의 무용교육방법론 탐색 - Paul Ricoeur의 삼중 미메시스 이론을 중심으로 -

이병준 ( Byung Jun Yi ),이유리 ( Yu Ree Lee ) 한국무용예술학회 2013 무용예술학연구 Vol.45 No.6

Studies on MIMESIS have been limited by aesthetic point of view, but various studies are recently conducted by interdisciplinary approach. Based on MIMESIS theory, dance education which is one sector of art education is popularized to inner expression by body beyond the range of art due to the expansion of humane cultural awareness. Since 2000, general people have participated autonomously and dance education has been actively conducted within institutional condition through the institutionalization of culture and art education promoted by government. From angles of dance education method and teaching/learning method, children can improve their individual identity through the expressive learning by play and general adults can improve theirs through the process to imitate existing art works. And, experts or soon-to-be juniors make Mimetic learning during the processes that seniors practice and roles are played on the stage. The process to learn art education expands aesthetic thoughts under the background of dance appreciation, criticism, performance audience and theoretical knowledge. In dance education, Mimetic learning will give emotional satisfaction by dance learning with learner's new experience, relationship with others, physical expression, etc. In addition, dance education will be the base of roles for humane interaction by getting out of the artistic characteristics through all of those things. Therefore, dance education which is conducted generally in school and society has been studied by various education methods as Mimetic learning process by objects according to the phenomenon of social paradigm. The discussion about dance education method shows triple Mimesis stages based on Mimesis of French analysis scholar, Ricoeur, that Ⅰ stage Mimesis is teacher's experienced behavior, Ⅱ stage Mimesis is learner's imitation and Ⅲ stage Mimesis is reappearance of imitation. So, it shows the process that learners make triple Mimesis learning through the dance education. Therefore, teacher's empirical knowledge and capabilities in dance education make an effect on learners' ego, can bring structural change of behavior and show the study on capability of dance education methodology is necessary.

결과주의 교육관점에서 본 무용교육의 문제점과 해결방안

박한솔,변인숙 영남춤학회 2021 영남춤학회誌 Vol.9 No.2

This study identifies problems based on the resultingist education perspective directed by dance through Bentham's resulting theory, and presents virtue-centered education through Aristoteles' moral theory to improve them. Through this, we would like to help implement all-round education, the essential purpose of dance education. In addition, we would like to contribute to building an educational paradigm that is right for today's educational reality by developing dance education with educational value required by modern society into virtue-oriented education. To achieve this goal, first, by exploring the resultant education of dance, the educational perspective of dance education was identified. Second, problems arising from the consequentialist educational perspective of dance education were derived and explored in conjunction with Bentham's consequential theory. Third, in order to solve the problem of the resultant educational perspective of dance education, we explored the direction of better dance education by presenting dance-oriented education through Aristoteles' moral theory. The results of this study must first combine the intellectual arete and moral arete of dance through virtue-centered education, which, by being established through ethos, must contribute to proper personality formation. Second, the correct curriculum should be implemented through the moderation of educators, which are virtuous-centered education, and moral acts according to ethos. Third, education should be implemented by paying attention to learners' inner tendencies, characteristics, and motivations as learners themselves become subjects through virtue-oriented education. Through this study, we hope that the direction of education directed by dance education will be combined with the essential purpose of dance education, which will lead to the development of correct dancers and integrity. 무용교육은 현대사회에서 가장 필요로 하는 덕목들이 내포되어 있는 교육이다. 무용교육에는 많은 교육적 가치가 존재함으로써 오늘날 인간이 사회를 살아가는 데 있어서 요구되는 교육이라 판단된다. 그러나 결과주의를 앞세우는 무용의 교육관점에 따라 몇 가지 논의해야 할 점을 발견할 수 있었다. 따라서 이 연구는 무용이 내포하는 결과주의 교육관점으로부터 발생한 문제점을 벤담(Bentham)의 결과론을 통해 파악하고, 이를 개선하기 위해 아리스토텔레스(Aristoteles)의 덕론을 통해 덕 중심 교육을 제시하였다. 이를 통해 무용교육의 본질적 목적인 전인교육이 이행되는 것과 더불어 무용의 교육적 가치를 제고하는 데 기여하고자 한다. 또한 현대사회에서 요구되는 교육적 가치를 지닌 무용교육이 덕 중심 교육으로 발전됨으로써 오늘날 교육 현실에 따른 올바른 교육 방향을 제시하는 데 의의가 있다. 이러한 목적을 달성하기 위해 첫째, 무용의 결과주의 교육을 탐색함으로써 무용교육이 지닌 교육관점을 파악하였다. 둘째, 무용교육이 내포하는 결과주의 교육관점에서 비롯되는 문제점을 도출하여 이를 벤담(Bentham)의 결과론과 연계하여 탐색하였다. 셋째, 무용교육의 결과주의 교육관점이 지닌 문제점을 해결하기 위해 아리스토텔레스(Aristoteles)의 덕론을 통해 무용의 덕 중심 교육을 제시함으로써 더 나은 무용의 교육 방향을 탐구하였다. 이에 따른 연구 결과는 첫째, 덕 중심 교육을 통해 무용의 지적 아레테(arete)와 기능적 아레테(arete), 그리고 도덕적 아레테(arete)를 겸비해야 하며, 이를 에토스(ehos)를 통해 확립함으로써 무용교육의 올바른 인격 형성에 기여해야 한다. 둘째, 덕 중심 교육인 교육자는 에토스(ethos)에 따른 도덕적 행위를 통해 무용교육의 올바른 교육과정을 실천해야 한다. 셋째, 덕 중심 교육을 통해 학습자 그 자체가 주체가 됨으로써 학습자의 내적성향, 특성, 동기에 주목하여 교육이 이행되어야 한다. 이 연구를 통해 무용교육이 지향하는 교육방향이 무용교육이 내포하는 본질적 교육목적인 전인교육이 함께 겸비됨으로써 올바른 무용인 양성과 더불어 청렴한 무용계로 발돋움하기를 기대한다.

무용예술강사의 무용교육 경험과 가치인식: 도서지역 초등학교를 중심으로

김재은,윤필규 상명대학교 글로벌문화예술교육연구소 2023 문화예술융합연구 Vol.4 No.3

이 연구는 도서지역 학교에 출강하는 무용강사들의 교육경험을 통해 도서지역 문화예술교육의 필요성에대한 자료를 제공하는데 목적이 있다. 이를 위해 도서지역에 출강하고 있는 무용분야 예술강사들을 대상으로 도서지역 지원이유, 도서지역 학교 수업경험, 도서지역 예술교육의 중요성과 관련된 면담자료를 통해 결과를 도출하였다. 도서지역 학교들은 학생들에게 예술교육을 제공하고 싶어도 지리적 접근성의 어려움 때문에 학생들에게 예술교육경험을 제공하지 못함을 안타까워하고 있었다. 출강신청을 한 무용강사가 수업에 최선을 다할 수 있도록 시설과 편의를 제공하는 동시에 학생들에게 무용수업에 대한 정보를사전에 알려줌으로 무용강사들의 수업이 효과적으로 이루어질 수 있었다. 무용강사들을 배려하고 지원하는 학교 관계자들의 태도, 열린 마음으로 무용수업에 참여하는 학생들의 태도와 교육으로 인한 변화를경험하며 무용강사들은 도서지역에서 진정한 예술교육의 효과과 가치가 빛난다는 것을 깨닫는다. 이러한과정 중 문화예술교육의 소외지역에 문화예술교육을 전달하는 교육자로 소명과 사명감을 갖게 되며 문화예술교육의 가치를 높이 인식하는 학교와 학생들의 모습 속에서 교육자로 보람과 정체성을 재정립하게되었다. The purpose of this study is to provide data on the need for culture and arts education in islands through the educational experience of dance instructors attending schools in islands. To this end, interview data related to the reasons for supporting the island area, school experience in the island area, and importance of art education in the island area were collected for art instructors in the island area to draw results. Schools in the island area wanted to provide art education to students, but they could not provide art education experience to students due to inconvenience in accessibility. The dance class was effectively conducted by providing facilities and convenience to dance instructors who applied for the class so that they could do their best in the class, while informing students of information about the dance class in advance. Through the attitude of school officials who consider and support dance instructors, the attitude of students participating in dance classes with an open mind, and the changes of students due to dance education, dance instructors realize that true art education shines in islands. In the process, he became an educator who delivered culture and art education to underprivileged areas of culture and arts education, and re-established his worth and identity as an educator in schools and students who highly appreciated the value of culture and arts education.

무용교육표준 개발 연구

서예원 ( Suh Yewon ),조은숙 ( Cho Eun-sook ),문영 ( Moon Young ),김윤진 ( Kim Yoon-jin ) 한국무용예술학회 2013 무용예술학연구 Vol.42 No.3

The objective of this study is to define the concept and values of dance as part of arts education and to present systematic education standards. First, to explore the concept and values of dance as part of arts education, the authors analyzed the local and international dance education standards, such as the cases in the U.S. the U.K. and Australia. Second, to set the direction for developing dance education standards, the scope and levels of standards were suggested, which was also reflected in the high-impact interviews carried out subsequently. The high-impact interviews conducted with dance education specialists, dance professors and teachers were explained in details, and the requests made during the interviews with regard to education standards were reflected in the analysis process. In addition, through the intensive work by the council of experts and researchers, we were able to look into the structure/system of dance education standards, level of expectation for each standard item, plan for implementing dance education standards, and etc. Through the aforementioned process, the following dance education standards were presented: Dance education standards aim at the enlightenment of dance literacy. Here, literacy means the overall ability to read, write and comprehend/understand. Dance literacy means the integrated ability to understand the overall aspects of dance and present them in various ways. That is, to improve the comprehensive ability to speak, write, see and read through the course of experiencing, exploring and expanding the domain of dance as the objective of dance education standards. In light of this, dance literacy enables the learners to understand symbols and meanings in various dance movements and create movements of their own as a means to express themselves. In addition, it can be viewed as a concept of overall “understanding of dance,” which is to analyze, understand, appreciate and criticize the meaning of dance. Dance education standards are classified into the areas of production-execution and creation as well as response-appreciation and communication. Here, execution (dancing) touches upon the physical perception, coordination, understanding of movement elements, learning of performance principles and etc. Creation (making dance) is related to creating or composing movements, understanding expressional or creative principles, and etc. Appreciation (reading dance) encompasses the observation, analysis, interpretation, understanding of dance and etc. Communication (sharing dance) means the interchange, combination, sharing with other areas, understanding of social and cultural implications and the link to local society, and etc. Such areas of dance education standards lead to an in-depth course development based on the content and methods of the study. In other words, through a 3-step process of experience/understanding, study/discovery and extension/application, dance literacy can be obtained, which is the ultimate goal of dance education as part of arts and culture education: Here, experience/understanding is a step to experience movements through senses and cognitive understanding. Study/discovery is about experiencing, making comparisons of and analyzing various movements by further developing the first step of experience/understanding. Extension/application refers to executing dance education standards in connection and combination with other fields and other forms of arts by further developing the second step of study/discovery. Through this process, dance education standards for the educational systems of elementary and middle schools were presented, respectively. Moreover, based on the 3-step process, the levels of expectation were been suggested in consideration of the connection and links between different areas, courses and educational systems.